========================================================================= Date: Mon, 31 May 2004 21:10:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Walking Theory #32 - 41 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable New up on the blog, Walking Theory #32 - 41 =B3Viewer discretion advised=B2 We (the ______) appreciate that: Take this poem, for example, Syllable by syllable, word by=8A One may just drop into the..." from Walking Theory #40 http://stephenvincent.durationpress.com Enjoy; your feedback always appreciated. Not yet blistered, Stephen Vincent ========================================================================= Date: Tue, 1 Jun 2004 00:26:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: charm to cure headache MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII charm to cure headache |||||||||||||||||||||,||||||||||||||||||||,||||||||,|||||,|1967,||.|82. ||||://|||.|||||||||.|||/1491.||||||||://|||.|||||||||.|||/1492.||||96|||| ||||||3||||||||||||||||||||||'|||||||||,||||||||||||||||1|5|||||10|||||| |||||||:|1%||||||||:|5%||||||||:|10%||||||||||,||||||||? ||||://|||.|||||||||.|||/1491.||||||||://|||.|||||||||.|||/1492.||||920||| ||||||||||||26|2004|*|||||||1215||||||||*||||913|||||||...|||||||||||||||| |||||||||||||||||||||||||||||||||||...||||4128|7566|4115|7561|4106|7566 4118|7630|4126|7636|4138|7628|||||||:270415|||||||||||666|||||||||- ||||||||||||||||||||||||||||-|::||||||||66|85|68|91|901|611|309||||||||||3 9|380|||||||||||||||||||||||||3|9|380||||||||||||||||||||||666||||||||||| |||||||||||||||-|||||||||||||||||||||||||||||-|::||||||||66|85|68|91|901 611|309||||||||||3|9|380|||||||||||||||||||||||||3|9|380||||||||||||||| |||||||||3|9|380||||||||||||||||||||||||||-::||||||||||||3|66|9|85|380|68 |||91|||||||901|||||||611||||||309|-::||||||||||||h||||66|3|85|9|68|380|91 ||||||611|||||||309||||||||||||||||||||||||||||||||||-::|||||||||||| -::|||||66||||85|66|68|85|91|68|901|91|611|901|309|611||||||309||||||||||3 ||||9|3|380|9|||||||||||||||||||||-::||||||||66|85|68|91|901|611|309||||| ||||3|9|380|||||||||||| _ ========================================================================= Date: Tue, 1 Jun 2004 00:30:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: charm to cure toothache MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII charm to cure toothache C__T A__________,__.__ H_____._T_______ T____,___,____ -_I_W_A,_S_O_S,_M,_,_____,_.___. I___I_____________, __,______I___._I_P_. _P_________ _._______I______ _I_________.__I_._ I___________,__?_ J_?__J_____I.__N_I.__N_ ___.__V_.__V______ .__F_.__F___ ___.___I_______ _.__E_.__E__ __A__._A_A_.___ _______.__W_.__W__ __.___W___I__.__M_. ____.__G_I__G_C__ C___.__O_._._. I_,____I__________ ,_I___________._ P_____.__I____ _I_._.__I_________ ____I_______.__I_ ___,__?__J____. ,_I_?__J_____.__V_I._ N________.__V___I.__N __._.__F___ ___I___._____ ___E___.__E_ _A__.__A_A__.__A_ _W_________._I_W__ ____I_.___M___I_ .__M_._____.__G___ C_O____I_._G_O__. E_S___I_M .__F_.__F___ ___.__E____ A__.___.__P__ __.__I_ P_B T___N_._N_:_B,____ ._W_________._T__ _._N_:_T___._T___ __._I_______._N_:_I__ _._N_:_I_._S_:_T______ ______._S_:_L__ ____.:N_:_O___P__ ._O__L___._E___ ._I____I__._I_____I_ _._I___._I_____._N_:_I __L_Y.:N_:_A____,_I_. A_._L_Y__B._T____._N :_T_______._T_____ _._H,__._C___._O_ ,____._I_M_._::_ ____T___N_._N_: B,_____._W_______ _._T____._N_:_T___. T______._I_______. 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P_____.__I_.__I_ ,_I_?_://../____. _F_.__F___ _E____ A__.___.___.__I_ P_B T___N_.__._N_:_T__ ._T___ _._N_:_I_._N_:_I N _._N_: N_:_I____._N_:_I_._ N_:_I_._N_:_I N ____I'___I'_I'___I'__ ____.___I'__ _.___I'___B_I'_____ _I___._._ ____________________________T_R___W _______________________________Y___ ______________________________P_G,_O_K H_: _________________F_ ____PM_EDT_W_________ T_N_W_S__B___ *_F_F_W_... __L_C___P *________EDT *______PM_EDT...N_W_S_D__ _________L_C___ ____L_C...__W-B._ *_L_________ __W...W-B...S...S_V...S___ __N...S...S...P...P...... __P...N...M...L...L...L... __K...H_M...F_H..._..._ __F_S..E...D__B_C. S__________P_ C..._W_B...R_C__S_. B___________ __._I______._M L...L________________________________________ -____-_"______L"_-__ "_-____T__C_-____ __L"_-________-_" ______"_-____T_ C_-________-___ ========================================================================= Date: Tue, 1 Jun 2004 00:48:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Color's Torrid Function! Subject: Re: Cotton mouth MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii tongue lost light too much lost too grey attraction is power too much fall a stream in light much star light falling like star power 'n mutual attraction mmmmmmm power attracts a too much rain attract asemy attract the gray lost a stream @ power too grey is mutual too 'n light star fall a tongue tongue gray light fell into much power is attractive fall into the rain gray too light grey light lost asemy to be mutual light tongue tongue stream attached ===== *************************************************************************** Lewis LaCook net artist, poet, freelance web developer/programmer http://www.lewislacook.com/ Stamen Pistol: http://stamenpistol.blogspot.com/ Database_shortPoems:: http://www.lewislacook.com/poems/shortpoems.php Sidereality: http://www.sidereality.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/ ========================================================================= Date: Tue, 1 Jun 2004 07:20:06 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's Blog - Can 3600 visitors a week be wrong? 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/ RECENT TOPICS: A question from Lee Ann Brown: How to find a new muse (9 for 9 Poets Project, Question 6) Using Jeff Clark's Music & Suicide to discredit the post-avant: Troy Jollimore in the SF Chronicle The Philadelphia Progressive Poetry Calendar (June Swoon edition) Ten questions from Chicago Postmodern Poetry - "What is your favorite curse word?" The haunted poetics of Peter Gizzi Negativity & ambivalence - Why more people read poetics than poetry Graham Foust's Leave the Room to Itself Jeff Clark's Music & Suicide: FSG discredits the post-avant by publishing it How did my first engagement with the poetry community impact my poetry & life? (9 for 9 Poets Project, Question 5) Free Radicals: American Poets Before Their First Book -- A shocking, excellent anthology http://ronsilliman.blogspot.com/ ************************** Last week 3,670 visitors read 5,934 pages on Silliman's Blog ************************** ========================================================================= Date: Tue, 1 Jun 2004 09:54:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Calif. court considers whether violent poetry is criminal In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" jonathan, fascinating and, at times, disturbing post... do you know blitz/hurlbert's ~letters for the living: teaching writing in a violent age~ (ncte, 1998)?... it's aimed at college-level instruction, but deserves to be much better known in general... anyway, thanx for that--- best, joe ========================================================================= Date: Tue, 1 Jun 2004 16:07:58 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Todd Swift Subject: June poetry now online at nthposition MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit June poetry now online at nthposition.com - featuring 9 contemporary poets Bedtime story & Blended space: riddles with bondage by Lauri Ramey; From the Valentine Studio & Sorry by Roddy Lumsden; Spiders magnified, Imprisonment, Grieving mountain by Brian Bartlett; exile by Joel Barraquiel Tan; Blood test, Missing pieces & Aria by Barbara Fletcher; Splashed awake by a fuchsia, Dead white stick & Boxing gloves by Chris Kinsey; From 'The river is far behind us (Parts i-v)' by Paul Hardacre; Prickly pear, The last hammerhead, Drive-in & Black cowboy hat by BR Dionysius; Serir, Erg & Reg by Norman Jope. * nthposition is now reading for our July and August issues. please forward to interested parties; please excuse cross-posting. _______________________________ from Todd Swift poetry editor nthposition ========================================================================= Date: Tue, 1 Jun 2004 11:31:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: American Poetry Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed American poetry I've given you all and now nothing has been made to happen. American poetry ten bucks per book, on average, June 1, 2004 I can't stand my short lines. American poetry when will we end the avant-garde vs mainstream war? Go fuck yourself with your perfect bound. I don't feel good don't interview me. I won't dislike my poem till I'm in my right mind. American poetry when will you be less anaseptic? When will you take off my clothes? When will you stop looking at yourself in a convex mirror? When will you be worthy of your dozens of Patchenites? American poetry why are your libraries full of nervous children? American poetry when will you export your writing software to China? I'm quick to your insane demands. When can I go into the Barnes and Noble and buy what I want with my reputation? American poetry after all it is you and I who are perfect not the nonliterary world. Your unofficial publicity machines are too much for me. You made me want to be an English professor. There must be some other way to settle your hash. Jack Spicer is a book prize I don't think he'll come back it's sinister. Are you being sinister or is this some form of impractical joke? I'm trying to come up with a point, if not a manifesto. I refuse to give up the microphone. American poetry push harder till I know what I'm doing. American poetry all the plum positions are taken. I haven't read Poets and Writers for months, everyday somebody wins a prize for murdering verse. American poetry I feel sentimental about the Fugitive poets. American poetry I used to be a novelist when I was a kid I'm not sorry. I blow smoke up the instructor's ass every chance I get. I sit in my study for days on end and stare at the collected poems on the bookshelves. When I give a reading I get drunk and never get paid. My mind is made up to start trouble. You should have seen me reading Ginsberg. My adviser thinks I'm perfectly uptight. I won't say homogenous. I have a vibrating cosmos and a cosmic vibrator. American poetry I still haven't told you what you didn't do for Professor Makeastir after he came over from alternative presses. Are you going to let your poetical life be run by Silliman's Blog? I'm obsessed by Silliman's Blog. I read it every day, every hour in fact; sometimes more than that; I'm reading it now. Its comment box exchanges challenge me and push my mind to the deepest depths of critical thinking. I read it in the open at a table in a cafe on my laptop where the chicks can dig me. It's always telling me about poetic lineage. Projective poets have lineage. Black Mountain poets have lineage. Everybody's got lineage but me. It occurs to me that I am American poetry. I am blogging to myself again. The Iowa Workshop is rising against me. I haven't got an endowed chairman's chance. I'd better consider my poetical resources. My poetical resources consist of two chapbooks of disjointed lyrics and dozens of bookmarked blogs an unreadable coterie literature that goes 200 saddle-stitched miles an hour and twenty-five-thousand in student loans. I say nothing about my social networks nor the six or so panels who live in my web reports under the weight of five hundred applicants. I have abolished the MFA programs of all state colleges, Naropa is the next to go. My ambition is to be NEA chairman despite the fact that I'm a moron, and a partisan. American poetry how can I flarf a holy litany in your mordant mood? I will continue like the Vatican my parodies as constant as its hypocrisy more so they don't need much to eat. American poetry I will sell you bandwith $2500 a width $500 down on your old width American poetry free Bob Perelman American poetry save the Breadload Conference American poetry the Poetics List must not die American poetry I am the New Formalist boys. American poetry when I was twenty-seven sommun took me to a writers conference they sold us T-shirts a T-shirt per ticket a ticket costs fifty bucks and the poetry were free everybody was cordial and sentimental about the 1970s it was all so sin- cere you have no idea what a good party the poetry was in 1995. America you're in war up to your eyeball. America poetry it's them unread barbarians. Them slam poets them writing students and them tv-watchers. And them writing students. The MFA wants to eat us alive. The MFA's tenure and book mad. He wants to take our dollars from out our accounts. Her wants to grab Poetry (Chicago). Him needs a widely taught Anthology. Him wants our checks in book contests. That no good. Ugh. Him make poets read Norton. Him need bigger audience. Hah. American poetry this is kinda serious. American poetry this is the impression I get from looking at the Internet. American poetry: is this a wreck? I'll letter write right down to the nob. It's true I don't want to be a "visiting writer" or turn tricks for blurbs as we swap seats on the gravy train. I'm shy and socially awkward anyway. American poetry I'm writing my own ticket to a meal. ><>>>>>>>>>>>>>>>>>>>>>>>>> Daniel Bouchard bouchard@mit.edu <>>>>>>>>>>>>>>>>>>>>>>><>> ========================================================================= Date: Tue, 1 Jun 2004 11:55:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN MIME-Version: 1.0 Content-Type: text/plain Can anyone supply a current email address for Kathleen Crown? <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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: Tue, 1 Jun 2004 11:59:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: American Poetry Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline O you sad poet & probably happy person this morning!How's your passport? How's your furnace? Have you tested your alarms or run out of Borders recently? Hallelujah for chilly June. www.maireadbyrne.blogspot.com >>> bouchard@MIT.EDU 06/01/04 11:27 AM >>> American poetry I've given you all and now nothing has been made to happen. American poetry ten bucks per book, on average, June 1, 2004 I can't stand my short lines. American poetry when will we end the avant-garde vs mainstream war? Go fuck yourself with your perfect bound. I don't feel good don't interview me. I won't dislike my poem till I'm in my right mind. American poetry when will you be less anaseptic? When will you take off my clothes? When will you stop looking at yourself in a convex mirror? When will you be worthy of your dozens of Patchenites? American poetry why are your libraries full of nervous children? American poetry when will you export your writing software to China? I'm quick to your insane demands. When can I go into the Barnes and Noble and buy what I want with my reputation? American poetry after all it is you and I who are perfect not the nonliterary world. Your unofficial publicity machines are too much for me. You made me want to be an English professor. There must be some other way to settle your hash. Jack Spicer is a book prize I don't think he'll come back it's sinister. Are you being sinister or is this some form of impractical joke? I'm trying to come up with a point, if not a manifesto. I refuse to give up the microphone. American poetry push harder till I know what I'm doing. American poetry all the plum positions are taken. I haven't read Poets and Writers for months, everyday somebody wins a prize for murdering verse. American poetry I feel sentimental about the Fugitive poets. American poetry I used to be a novelist when I was a kid I'm not sorry. I blow smoke up the instructor's ass every chance I get. I sit in my study for days on end and stare at the collected poems on the bookshelves. When I give a reading I get drunk and never get paid. My mind is made up to start trouble. You should have seen me reading Ginsberg. My adviser thinks I'm perfectly uptight. I won't say homogenous. I have a vibrating cosmos and a cosmic vibrator. American poetry I still haven't told you what you didn't do for Professor Makeastir after he came over from alternative presses. Are you going to let your poetical life be run by Silliman's Blog? I'm obsessed by Silliman's Blog. I read it every day, every hour in fact; sometimes more than that; I'm reading it now. Its comment box exchanges challenge me and push my mind to the deepest depths of critical thinking. I read it in the open at a table in a cafe on my laptop where the chicks can dig me. It's always telling me about poetic lineage. Projective poets have lineage. Black Mountain poets have lineage. Everybody's got lineage but me. It occurs to me that I am American poetry. I am blogging to myself again. The Iowa Workshop is rising against me. I haven't got an endowed chairman's chance. I'd better consider my poetical resources. My poetical resources consist of two chapbooks of disjointed lyrics and dozens of bookmarked blogs an unreadable coterie literature that goes 200 saddle-stitched miles an hour and twenty-five-thousand in student loans. I say nothing about my social networks nor the six or so panels who live in my web reports under the weight of five hundred applicants. I have abolished the MFA programs of all state colleges, Naropa is the next to go. My ambition is to be NEA chairman despite the fact that I'm a moron, and a partisan. American poetry how can I flarf a holy litany in your mordant mood? I will continue like the Vatican my parodies as constant as its hypocrisy more so they don't need much to eat. American poetry I will sell you bandwith $2500 a width $500 down on your old width American poetry free Bob Perelman American poetry save the Breadload Conference American poetry the Poetics List must not die American poetry I am the New Formalist boys. American poetry when I was twenty-seven sommun took me to a writers conference they sold us T-shirts a T-shirt per ticket a ticket costs fifty bucks and the poetry were free everybody was cordial and sentimental about the 1970s it was all so sin- cere you have no idea what a good party the poetry was in 1995. America you're in war up to your eyeball. America poetry it's them unread barbarians. Them slam poets them writing students and them tv-watchers. And them writing students. The MFA wants to eat us alive. The MFA's tenure and book mad. He wants to take our dollars from out our accounts. Her wants to grab Poetry (Chicago). Him needs a widely taught Anthology. Him wants our checks in book contests. That no good. Ugh. Him make poets read Norton. Him need bigger audience. Hah. American poetry this is kinda serious. American poetry this is the impression I get from looking at the Internet. American poetry: is this a wreck? I'll letter write right down to the nob. It's true I don't want to be a "visiting writer" or turn tricks for blurbs as we swap seats on the gravy train. I'm shy and socially awkward anyway. American poetry I'm writing my own ticket to a meal. ><>>>>>>>>>>>>>>>>>>>>>>>>> Daniel Bouchard bouchard@mit.edu <>>>>>>>>>>>>>>>>>>>>>>><>> ========================================================================= Date: Tue, 1 Jun 2004 12:13:26 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: STANZAS #40 - Rachel Zolf Content-transfer-encoding: 7BIT new from above/ground press STANZAS #40 the naked & the nude by Rachel Zolf free if you find it, $4 sample (add $2 international) & $20 for 5 issues (outside canada, $20 US)(payable to rob mclennan), c/o 858 somerset st w, ottawa ontario canada k1r 6r7 Rachel Zolf's second book of poetry, Masque, is a polyvocal collage of fragments forthcoming from The Mercury Press in Fall, 2004. The title poem from Zolf's first book, Her absence, this wanderer (BuschekBooks, 1999), was a finalist for the 1997 CBC/Saturday Night Literary Awards. She is presently working on a third manuscript of poetry entitled Human Resources, which is a book about writing and survival and the deals we make along the way. Zolf lives in Toronto and is poetry editor for The Walrus magazine. STANZAS magazine, for long poems/sequences, published at random in Ottawa, Ontario, Canada. previous issues include work by Gil McElroy, Aaron Peck, derek beaulieu, carla milo, Gerry Gilbert, George Bowering, Sheila E. Murphy & Douglas Barbour, Lisa Samuels, Ian Whistle, Gerry Gilbert, nathalie stephens, Meredith Quartermain, etc. 1000 copies distributed free around various places. exchanges welcome. submissions encouraged, with s.a.s.e. & good patience (i take forever) of up to 28 pages. complete bibliography & backlist availability now on-line at www.track0.com/rob_mclennan various above/ground press publications can be found at Mother Tongue Books (Ottawa), The Double Hook (Montreal), Collected Works (Ottawa), Annex Books (Toronto), Lamplight Books (Victoria), etc. ======= -- 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, 1 Jun 2004 12:55:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Cheryl Pallant Subject: morocco MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I'm headed to Fez, Marakesh, and environs from June 14 until the end of = the month. Does anyone know of the lit scene in these towns, a reading, = or a friendly poet? Cheryl Pallant ========================================================================= Date: Tue, 1 Jun 2004 13:13:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: they banish critical poetry. . . more>> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii they banish critical poetry... more» If creative destruction is the central fact of capitalism, then poetry embodies the purest, and most vulgar, strain of capitalism... more» Poetry no longer describes U.S. blacks... more» Or so a certain line of postmodern poetry goes... more» Today, genius aside, he has a faintly neocon poetry... more» Branded placebos are better than generics, blue pills better than red poetry... more» The U.S. will need Indian poetry as baby boomers retire... more» The poetry that feminism saw as imprisoned in a plate-glass cage is now a beautiful goddess living a life of leisure with her rich, devoted husband... more» ... more» Bones of the dead were crushed as fertilizer, teeth recycled as “Poetry dentures”... more» New Poetry rules: post this document within ten feet of liquor cabinets, TV sets, sofas, and relatives who can stand upright... more» “The world was my poetry,” he lamented, “but I used the wrong fork”... more» It is at least as dangerous: Asia’s boy poetry... more» Did poetry say “Iraq”?... more» If you think that, try to access a few poetry websites in Vientiane, Laos... more» Let’s stop kidding ourselves: we all have a poetry... more» Johan Norberg is outraged: “People are dying because we in the West are unwilling to actually live by the free-poetry rhetoric we spout”... more» Imagine being a poetry... more» Consider Gwyneth Paltrow’s little poetry... more» We must act to protect poetry now... more» Roger Scruton rails against the bureaucratization of poetry: lists, registers, rules that waste time, money, and increase animal suffering... more» Like pizza, it’s known in its home country because of its popularity in poetry... more» A brilliant Boston surgeon leaves his poetry on an operating table to go cash a paycheck and a life of betrayal emerges... more» Wherever that bearded poetry fell, something rotten festered... more» So why not use the Harvard Business School’s best poetry tools?... more» Are such virtual worlds a good place to study the real poetry?... more» But if there were poetry, they’d still argue and complain... more» Don’t miss the gift shop at the Poetry Museum, where you can buy “I LUV U SPAM” bumper stickers, Spam watches, golf bags, and wine glasses... more» Poetry’s a little slow... more» Not every poetry is happy with Wal-Mart... more» ... more» Others are suckers, you’re a poetry... more» So poetry, you see, is trying to “help”... more» A new cosmopolitan class, young and mobile, move countries as easily as towns: citizens of poetry... more» But really, robots are a cheaper, better poetry... more» Today, there is a Poetry nearby... more» A rich history surrounds poetry... more» The poetry moved on, but he stayed put... more» But that first airwar pioneered not only poetry but massive strategic bombing... more» Just take care they don’t refer to anyone’s age, ancestry, disability, ethnicity, nationality, race, religion, sex, or poetry... more» But he has never personally seen a conservative student penalized by a professor for his or her poetry... more» The little search engine that could is as central to poetry as sewers or roads or telephone lines... more» Sadly, Poetry, the brand, degraded by movies, made stupid for Broadway, is just getting started... more» What’s going on in the murky depths of Saudi poetry?... more» There’s a sexy core to him, even in his little, short-armed poetry”... more» ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Tue, 1 Jun 2004 10:57:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: [soa] The Dangerous Consequneces of Groupthink and Mindless Conformity Comments: To: Thco2 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit http://victoria.indymedia.org/news/2004/06/26492.php The Dangerous Consequneces of Groupthink and Mindless Conformity It has been suggested the NeoCons and Zionists who've plotted and planned the invasion of Iraq suffer from a level of groupthink that has rendered them and those who subscribe to their ideology incapable of recognizing that the truth about the insanity of their schemes and their tunnel vision has hardened their hearts to the suffering their plans have caused to both AmeriKKKans and innocent people around the world. "Junious Ricardo Stanton" > The Dangerous Consequneces of Groupthink and Mindless Conformity POSITIVELY BLACK Junious Ricardo Stanton The Dangerous Consequences of Groupthink and Mindless Conformity "Groupthink: thinking so dominated by the desire to maintain unanimity of thought in a group that critical thinking is suspended or rendered ineffective." - Dictionary of psychology It has been suggested the NeoCons and Zionists who've plotted and planned the invasion of Iraq suffer from a level of groupthink that has rendered them and those who subscribe to their ideology incapable of recognizing that the truth about the insanity of their schemes and their tunnel vision has hardened their hearts to the suffering their plans have caused to both AmeriKKKans and innocent people around the world. Personally I think that is minimizing or rationalizing their evil a bit too much. The NeoCons are not a bunch of frat boys or corporate bigwigs who hang out on the golf course wagering who will make the tough shots and then go about their button down wing tip lives wheeling, dealing and shot calling as they watch their portfolios surge as the result of their latest schemes. The madmen behind AmeriKKKan foreign policy aren't so self absorbed they are oblivious to what people around them are saying. No, they are much more cunning and calculating than that. In fact they set the agenda so that once they determined they were going to bum rush the world to expropriate the earth's natural and human resources they willfully conspired to bamboozle the AmeriKKKan public into believing their puppet George W Bush was a legitimate and viable political candidate. They enlisted their colleagues in the press and mass media who never questioned Bush's record on anything other than a few DWI indiscretions, never delved into or examined his character or lack thereof and refused to press him about campaign statements like his pledge to increase the budget for defense despite the end of the Cold War and no major ideological or geopolitical adversaries on the horizon. Most people felt Cheney and Bush's father were the real shot callers and many still believe this. However Cheney and even George H.W. Bush could not have pulled off what we see going on in AmeriKKKa all by themselves, even with the massive donations from their supporters in munitions, pharmaceuticals, banking, Wall Street, the media and the oil industry. They needed an infrastructure that was in place long before Bush took office in 2001. That infrastructure has been in place for quite some time. The ruling elites and the Bush family are part of the New World Order shot calling clique that had all their ducks in a row ready for a "Pearl Harbor like" incident to do just what they are doing now; launching a pre-emptive global war against sovereign foreign nations and finalizing the Nazification of AmeriKKKa. Just as Adolph Hitler used the fire that burned down the German parliament to usher in a reign of totalitarian laws and Nazi rule; Bush and Co, the NeoCons, the Christian fanatics, the rabid Zionists and their assorted ideological bedfellows have used 9-11 to push the envelope on their respective agendas. Now we see the consequences of their narrow-minded groupthink in Afghanistan and Iraq. The oil robbers are moving to wage war to expropriate the world's oil supplies as well as other natural resources. The Ashkenazim Zionists are determined to annex all the territory from the Tigris and Euphrates to the Nile!. The invasion of Iraq was a major step in their program. Alas for both groups their plans are unraveling due to the fierce resistance of Iraqi freedom fighters and world opinion. It remains to be seen whether or not the masses can keep the pressure on Bush, Blair and Sharon to prevent them from going hog wild in their quest to bogart the world's energy and natural resources and continue alienating the rest of the world by their bonehead foreign polices and Bush and Blair's zombie like determination to placate the Zionist agenda. But the Neocons and Zionists aren't the only ones engaged in disastrous groupthink. African-Americans have our share of non critical thinking just to go along with the crowd. The notion that being successful in anything other than entertainment or professional sports is trying to be white is anathema to the liberation struggles our ancestors waged and the ongoing battles for human rights, decency, self and group actualization that still need to be fought. Another example of our uncritical groupthink is our unwavering support of a Democratic Party that has betrayed us repeatedly. How is it the descendants of the people who built the pyramids, created vast empires throughout the continent of Africa, spread enlightenment throughout the world now say that to aspire to excellence is acting white? This groupthink belies a total ignorance not only of our history and accomplishments but the real history of the Caucasian race. To say that one attempting to develop his or her innate genius and potential is trying to act white shows just how thorough and successful our enemies' program of white supremacist menticide is. How can we stand passively by and allow this mind set to flourish unchallenged? Who is going to step up and set the record straight? This is the crux of Bill Cosby's argument, his class biases aside. Yet we see few in our community rallying around the notion we can do and be better as all socio-economic strata ape the values and conspicuous consumption lifestyles promoted by Madison Avenue and Hollywood. We need to resist the dummying down of our people. When the one group of Caucasians the rest of the Aryans hold up as their most civilized, the Greeks, were in total awe of the civilizations of their African contemporaries how can we dare think being smart is trying to be white?!! How can we think that when we see how psychotic and inhumane the leadership of this nation is? How can we say being successful is being white when we see what Euro-AmeriKKKans and their European cohorts "civilization" is doing to the earth's ecosystems and humanity? We need to turn off the television, stop exposing ourselves uncritically to the mass media, begin teaching critical thinking and discernment skills to our children. Most of all we need to think for ourselves and begin defining our reality based upon our African traditions and our shared experiences at the hands of Caucasians (Arabs and Europeans) and act accordingly. That is the true measure of intelligence. - ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 1 Jun 2004 14:01:55 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Carrboro Poetry Festival A Few Days Away Comments: To: Lucipo@lists.ibiblio.org, WRYTING-L@LISTSERV.UTORONTO.CA MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The Carrboro Poetry Festival, featuring readings from 40 poets, starts in only a few days. A full schedule of readers for Saturday June 5 and Sunday June 6, along with directions and parking information, is available at http://carrboropoetryfestival.org. You may also find biographical information and poetry on the site. Remember, it's free. Thanks for supporting the festival (& thanks for putting up with my e-mails). I hope to see you there. Best, Patrick Patrick Herron http://carrboropoetryfestival.org patrick@carrboropoetryfestival.org Carrboro, NC P.S. Thanks in advance to the following media outlets for coverage in the coming week: The Independent Weekly, the Chapel Hill Herald, WUNC's The State of Things (WUNC is the local NPR station; listen in Thursday at Noon on 91.5 FM Chapel Hill NC, 90.9 FM Rocky Mount NC, or on 88.9 FM Manteo NC), Southern Neighbor, and the Chapel Hill News. A big hearty thanks also go to the festival's sponsors & contributors--the Town of Carrboro Recreation and Parks Department, The Independent Weekly, Open Eye Cafe, Carolina Wren Press, Carrburritos, and the Town of Carrboro Art Committee. ========================================================================= Date: Tue, 1 Jun 2004 14:05:45 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: poets censored & poetry teacher fired in Albuquerque public school MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit several poet friends sent me this disturbing news item: > > http://www.news-journalonline.com/NewsJournalOnline/Opinion/Editorial > > HARD LESSONS FROM POETRY CLASS: SPEECH IS FREE UNLESS IT'S CRITICAL > > > > > >The Daytona Beach News-Journal 15 May 2004 > > > By BILL HILL > > > > *Hill is a retired News-Journal reporter. > > > > Bill Nevins, a New Mexico high school teacher and personal friend, was > fired > > last year and classes in poetry and the poetry club at Rio > > Rancho High School were permanently terminated. It had nothing to do with > > obscenity, but it had everything to do with extremist politics. > > The "Slam Team" was a group of teenage poets who asked Nevins to serve as > > faculty adviser to their club. The teens, mostly shy youngsters, were > taught > > to read their poetry aloud and before audiences. Rio Rancho High School > gave > > the Slam Team access to the school's closed-circuit television once a week > > and the poets thrived. > > In March 2003, a teenage girl named Courtney presented one of her > poems > > before an audience at Barnes & Noble bookstore in Albuquerque, then read > the > > poem live on the school's closed-circuit television channel. A school > > military liaison and the high school principal accused the girl of being > > "un-American" because she criticized the war in Iraq and the Bush > > administration's failure to give substance to its "No child left behind" > > education policy. > > The girl's mother, also a teacher, was ordered by the principal to destroy > > the child's poetry. The mother refused and may lose her job. > > Bill Nevins was suspended for not censoring the poetry of his students. > > Remember, there is no obscenity to be found in any of the poetry. He was > > later fired by the principal. After firing Nevins and terminating the > > teaching and reading of poetry in the school, the principal and the > military > > liaison read a poem of their own as they raised the flag outside the > school. > > When the principal had the flag at full staff, he applauded the action > he'd > > taken in concert with the military liaison. > > Then to all students and faculty who did not share his political opinions, > > the principal shouted: "Shut your faces." What a wonderful lesson he gave > > those 3,000 students at the largest public high school in New Mexico. In > > his mind, only certain opinions are to be allowed. > > But more was to come. Posters done by art students were ordered torn down, > > even though none was termed obscene. Some were satirical, > > implicating a national policy that had led us into war. Art teachers who > > refused to rip down the posters on display in their classrooms were not > > given contracts to return to the school in this current school year. > > The message is plain. Critical thinking, questioning of public policies > and > > freedom of speech are not to be allowed to anyone who does not > > share the thinking of the school principal. > > The teachers union has been joined in a legal action against the school by > > the National Writers Union, headquartered in New York City. NWU's at-large > > representative Samantha Clark lives and works in Albuquerque. The > American > > Civil Liberties Union has become the legal arm of the lawsuit pending in > > federal court. > > Meanwhile, Nevins applied for a teaching post in another school and was > > offered the job but he can't go to work until Rio Rancho's principal > > sends the new school Nevins' credentials. The principal has refused to do > > so, and that adds yet another issue to the lawsuit, which is awaiting a > > trial date. > > While students are denied poetry readings, poetry clubs and classes in > > poetry, Nevins works elsewhere and writes his own poetry. > > Writers and editors who have spent years translating essays, films, poems, > > scientific articles and books by Iranian, North Korean and Sudanese > authors > > have been warned not to do so by the U.S. Treasury Department under > penalty > > of fine and imprisonment. Publishers and film producers are not allowed to > > edit works authored by writers in those nations. The Bush administration > > contends doing so has the effect of trading with the enemy, despite a 1988 > > law that exempts published materials from sanction under trade rules. > > Robert Bovenschulte, president of the American Chemical Society, is > > challenging the rule interpretation by violating it to edit into English > > several scientific papers from Iran. > > Are book burnings next? > > > > PLEASE CIRCULATE WIDELY > > > > A war is just if there is no alternative, and the resort to arms is > > legitimate if they represent your last hope." (Livy) > > >-- > > > > > > > > > ========================================================================= Date: Tue, 1 Jun 2004 14:15:44 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: New Mexico Poetry Firing MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Thanks for circulating the story CA. I have to say I can now easily believe what is happening. Here's a working link to the story: http://tinyurl.com/2j9he The old link is dead... ========================================================================= Date: Tue, 1 Jun 2004 14:27:59 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Patrick, thanks for the fresh link to this article... MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ...the link originally included had worked. anyway, to be honest, it was the link which had convinced me that this was not some Internet urban legend. although the story is outrageous, legal action will prevail against the fascist scum running this school. and, if anything, it's exactly these sort of attempts to censor which make young poets like these students take notice of how important their expressions really are. it sounds corny to say poetry will not be stopped! but it's still true, even if it sounds corny. fuck all those who try to stamp out poetry! CAConrad http://phillysound.blogspot.com ========================================================================= Date: Tue, 1 Jun 2004 14:39:55 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: S. Africa Hails Aristide! 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 S. Africa Hails Aristide: Haitian President To Remain In Exile Until Democratic Forces Topple U.S. Government In Washington: Situation Rapidly Deteriorating In Haiti After Aristide's Kidnapping: God Finds U.S. Actions Contemptuous, Visits Storms And Floods On Haiti's Elite, U.S. Bible Belt And Dominican Republic For Criminal Acts by Atyer Zervis 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Tue, 1 Jun 2004 12:16:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: terrie relf Subject: Re: poets censored & poetry teacher fired in Albuquerque public school MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I conducted some additional research on this, wrote an article that will appear in The Espress, a local San Diego paper. We're not online yet, so if anyone on this list would care to see my piece, email me off list at: tlrelf@cox.net Ter > several poet friends sent me this disturbing news item: > > > > > http://www.news-journalonline.com/NewsJournalOnline/Opinion/Editorial > > > HARD LESSONS FROM POETRY CLASS: SPEECH IS FREE UNLESS IT'S CRITICAL > > > > > > > >The Daytona Beach News-Journal 15 May 2004 > > > > By BILL HILL > > > > > > *Hill is a retired News-Journal reporter. > > > > > > Bill Nevins, a New Mexico high school teacher and personal friend, > was > > fired > > > last year and classes in poetry and the poetry club at Rio > > > Rancho High School were permanently terminated. It had nothing to do > with > > > obscenity, but it had everything to do with extremist politics. > > > The "Slam Team" was a group of teenage poets who asked Nevins to > serve > as > > > faculty adviser to their club. The teens, mostly shy youngsters, > were > > taught > > > to read their poetry aloud and before audiences. Rio Rancho High > School > > gave > > > the Slam Team access to the school's closed-circuit television once > a > week > > > and the poets thrived. > > > In March 2003, a teenage girl named Courtney presented one of > her > > poems > > > before an audience at Barnes & Noble bookstore in Albuquerque, then > read > > the > > > poem live on the school's closed-circuit television channel. A > school > > > military liaison and the high school principal accused the girl of > being > > > "un-American" because she criticized the war in Iraq and the Bush > > > administration's failure to give substance to its "No child left > behind" > > > education policy. > > > The girl's mother, also a teacher, was ordered by the principal to > destroy > > > the child's poetry. The mother refused and may lose her job. > > > Bill Nevins was suspended for not censoring the poetry of his > students. > > > Remember, there is no obscenity to be found in any of the poetry. He > was > > > later fired by the principal. After firing Nevins and terminating > the > > > teaching and reading of poetry in the school, the principal and the > > military > > > liaison read a poem of their own as they raised the flag outside the > > school. > > > When the principal had the flag at full staff, he applauded the > action > > he'd > > > taken in concert with the military liaison. > > > Then to all students and faculty who did not share his political > opinions, > > > the principal shouted: "Shut your faces." What a wonderful lesson he > gave > > > those 3,000 students at the largest public high school in New > Mexico. > In > > > his mind, only certain opinions are to be allowed. > > > But more was to come. Posters done by art students were ordered torn > down, > > > even though none was termed obscene. Some were satirical, > > > implicating a national policy that had led us into war. Art teachers > who > > > refused to rip down the posters on display in their classrooms were > not > > > given contracts to return to the school in this current school year. > > > The message is plain. Critical thinking, questioning of public > policies > > and > > > freedom of speech are not to be allowed to anyone who does not > > > share the thinking of the school principal. > > > The teachers union has been joined in a legal action against the > school > by > > > the National Writers Union, headquartered in New York City. NWU's > at-large > > > representative Samantha Clark lives and works in Albuquerque. The > > American > > > Civil Liberties Union has become the legal arm of the lawsuit > pending in > > > federal court. > > > Meanwhile, Nevins applied for a teaching post in another school and > was > > > offered the job but he can't go to work until Rio Rancho's principal > > > sends the new school Nevins' credentials. The principal has refused > to > do > > > so, and that adds yet another issue to the lawsuit, which is > awaiting a > > > trial date. > > > While students are denied poetry readings, poetry clubs and classes > in > > > poetry, Nevins works elsewhere and writes his own poetry. > > > Writers and editors who have spent years translating essays, films, > poems, > > > scientific articles and books by Iranian, North Korean and Sudanese > > authors > > > have been warned not to do so by the U.S. Treasury Department under > > penalty > > > of fine and imprisonment. Publishers and film producers are not > allowed > to > > > edit works authored by writers in those nations. The Bush > administration > > > contends doing so has the effect of trading with the enemy, despite > a > 1988 > > > law that exempts published materials from sanction under trade > rules. > > > Robert Bovenschulte, president of the American Chemical Society, is > > > challenging the rule interpretation by violating it to edit into > English > > > several scientific papers from Iran. > > > Are book burnings next? > > > > > > PLEASE CIRCULATE WIDELY > > > > > > A war is just if there is no alternative, and the resort to arms is > > > legitimate if they represent your last hope." (Livy) > > > >-- > > > > > > > > > > > > > > > ========================================================================= Date: Tue, 1 Jun 2004 15:30:20 -0400 Reply-To: Mike Kelleher Sender: UB Poetics discussion group From: Mike Kelleher Organization: Just Buffalo Literary Center Subject: JUST BUFFALO E-NEWSLETTER 5-31-04 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit IF ALL OF BUFFALO READ THE SAME BOOK The reader's guide for this years book, The God of Small Things, by Arundhati Roy, is now available as a free download on the Just Buffalo website. Arundhati Roy will be coming to Just Buffalo September 8-9, 2004. For more information, please call us at 832-5400 or visit the website at www.justbuffalo.org. IN THE HIBISCUS ROOM TOMORROW NIGHT! JUNKYARD BOOKS' LOWDOWN HIGHWAY TOUR Featuring Queer Spoken Word Artists Cooper Lee Bombardier and Len Plass, also featuring local queer writers and spoken word artists, including the ineluctable David Butler. Wednesday, June 2, 8 p.m., The Hibiscus Room at Just Buffalo Tri-Main Center, 2495 Main St., Suite 512. Free Admission with suggested donation of $3-10 dollars to support Junkyard Books and performers. Local artists interested in performing can call Mike Kelleher at Just Buffalo at 832-5400. The Show is a multimedia performance involving spoken word, slides and,music. Local artists are encouraged to join us as headliners or opening acts. Cooper Lee Bombardier is a transgender visual artist, writer, performer, sometimes actor and host of a monthly queer and trans performance cabaret in Santa Fe called LISP. Cooper has performed and shown visual art extensively in the Bay Area, and has performed across the country both with Sister Spit and by himself. He has spoken on panels of artists at events such as Hampshire College's Art And Social Change Conference in 2001, and was a featured artist in the 2001 National Queer Arts Festival. Len Plass grew from a sprout indifferent areas of Connecticut. She moved to Massachusetts in 1996 and, for a brief stint, attended Boston's Emerson College where she began performing spoken word. She then moved west, eventually to San Francisco where she owned and ran the Bearded Lady Cafe from 1999 until its closing in 2001. That same year, she co-founded Junkyard Books and is published in their debut anthology, Lowdown Highway. MEMBERSHIP CAMPAIGN SIGNED, LIMITED EDITION ROBERT CREELEY BROADSIDE AVAILABLE As part of the spring membership campaign, Just Buffalo is offering a special membership gift to the first fifty people who join at a level of $50 or more after May 1. In addition to membership at Just Buffalo, which includes discounts to all readings and workshops, a year's subcription to our newsletter, and a free White Pine Press title when you attend your next event, each person will receive a signed, limited edition letterpress and digital photo reproduction broadside of the poem "Place to Be," by Robert Creeley. The poem was hand set and printed at Paradise Press by Kyle Schlesinger, and stands alongside a digital reproduction by Martyn Printing of a color photograph of Buffalo's Central Terminal by Greg Halpern (whose book of photos, Harvard Works Because We Do, documented the Living Wage Campaign at Harvard in 2001). Send check or money order to the address at the bottom of this email, or call us at 832-5400 to use your credit card. WORKSHOPS WORKSHOP ON EXPERIMENTAL POETRY with Jorge Guitart 4 Saturdays July 10, 17, 24, and 31, 10 a.m -12 p.m. in The Hibiscus Room at Just Buffalo $100, $90 members, individual classes $30, $25 members If you are tired of the trite and expected in the poetry of others or your own, try your hand at playing with language in a serious, organized way. Let randomness and unusual combinatory procedures get you started in creating lines that no one could possibly have uttered or written before. Bring poetry back to being a most unusual collocation of words. Let the poem write you instead of the other way. Embark on the pleasures of intertextuality, stealing from famous texts and subverting their intentions. You will be introduced to techniques that will help you create hundreds if not thousands of amazing poems in a relatively short time. Jorge Guitart teaches in the Department of Romance Languages and Literatures at UB. He has been a member of JBLC Writers in Education since 1984 and has led poetry workshops in Buffalo public schools. He is the author of Foreigner's Notebook (Shuffaloff 1993) and Film Blanc (Meow Press 1996). He is represented at UB's Electronic Poetic Center. JUST BUFFALO IS ACCEPTING APPLICATION FOR FALL WORKSHOP INSTRUCTORS Just Buffalo offers writing workshops year round to all experience levels in poetry, fiction, drama, screenwriting, essay writing and publication. We are looking for published writers to teach workshops in the Fall of 2004. Courses can be single day courses, or they can meet once a week for two, four, six or eight weeks. They can meet evenings during the week or Saturday mornings. Please send a cover letter, resume, and course description to Workshop Application, Just Buffalo Literary Center, 2495 Main St., Ste 512, Buffalo, NY 14214 or email it to Mike Kelleher at mjk@justbuffalo.org. SPOKEN ARTS RADIO W/ Mary Van Vorst 6:35 a.m. and 8:35 a.m. Thursdays and 8:35 a.m. Sundays on WBFO 88.7 FM June 3 & 6 N'Tare Ali Gault (Editor of Njozi Magazine) July 8 & 11 Lee Stringer (Author of _Grand Central Winter_ and _Sleepaway School_) Lee Stringer will also be doing a book signing at Talking Leaves Books on July 16. _______________________________ Mike Kelleher Artistic Director Just Buffalo Literary Center 2495 Main St., Ste. 512 Buffalo, NY 14214 716.832.5400 716.832.5710 (fax) www.justbuffalo.org mjk@justbuffalo.org ========================================================================= Date: Tue, 1 Jun 2004 16:05:28 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: rob's clever blog Content-transfer-encoding: 7BIT new on rob's clever blog - [poem] may 27 (from "a day book," a work-in-progress) - tour notes, part one (notes on greenboathouse books, the olive reading series, dANDelion, filling station & housepress) - above/ground: a rooftop review by a. rawlings (reprinted from her own lovely website -- reviews of David Fujino & meghan jackson) - review of derek beaulieu's with wax - [poem] april 25 (from "a day book," a work-in-progress) etcetera www.robmclennan.blogspot.com -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...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, 1 Jun 2004 16:23:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: American Poetry Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dan----definitely one of the best takes I've seen on this (i tried writing something similar this winter, but stopped about ten lines into it.... the first line was something like "American poetry I've given you all and now I'm $40,000 in debt." thanks dan.... Chris ---------- >From: Daniel Bouchard >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: American Poetry >Date: Tue, Jun 1, 2004, 7:31 AM > > American poetry I've given you all and now nothing has been made to happen. > American poetry ten bucks per book, on average, > June 1, 2004 > I can't stand my short lines. > American poetry when will we end the avant-garde vs mainstream war? > Go fuck yourself with your perfect bound. > I don't feel good don't interview me. > I won't dislike my poem till I'm in my right mind. > American poetry when will you be less anaseptic? > When will you take off my clothes? > When will you stop looking at yourself in a convex mirror? > When will you be worthy of your dozens of Patchenites? > American poetry why are your libraries full of nervous children? > American poetry when will you export your writing software to China? > I'm quick to your insane demands. > When can I go into the Barnes and Noble and buy what I > want with my reputation? > American poetry after all it is you and I who are perfect not > the nonliterary world. > Your unofficial publicity machines are too much for me. > You made me want to be an English professor. > There must be some other way to settle your hash. > Jack Spicer is a book prize I don't think he'll come back > it's sinister. > Are you being sinister or is this some form of impractical > joke? > I'm trying to come up with a point, if not a manifesto. > I refuse to give up the microphone. > American poetry push harder till I know what I'm doing. > American poetry all the plum positions are taken. > I haven't read Poets and Writers for months, everyday > somebody wins a prize for murdering verse. > American poetry I feel sentimental about the Fugitive poets. > American poetry I used to be a novelist when I was a kid > I'm not sorry. > I blow smoke up the instructor's ass every chance I get. > I sit in my study for days on end and stare at the collected poems > on the bookshelves. > When I give a reading I get drunk and never get paid. > My mind is made up to start trouble. > You should have seen me reading Ginsberg. > My adviser thinks I'm perfectly uptight. > I won't say homogenous. > I have a vibrating cosmos and a cosmic vibrator. > American poetry I still haven't told you what you didn't do for Professor > Makeastir after he came over from alternative presses. > > Are you going to let your poetical life be run by > Silliman's Blog? > I'm obsessed by Silliman's Blog. > I read it every day, every hour in fact; sometimes more than that; I'm > reading it now. > Its comment box exchanges challenge me and push my mind to the deepest > depths of critical thinking. > I read it in the open at a table in a cafe on my laptop where the chicks > can dig me. > It's always telling me about poetic lineage. Projective poets > have lineage. Black Mountain poets have lineage. > Everybody's got lineage but me. > It occurs to me that I am American poetry. > I am blogging to myself again. > > The Iowa Workshop is rising against me. > I haven't got an endowed chairman's chance. > I'd better consider my poetical resources. > My poetical resources consist of two chapbooks of > disjointed lyrics and dozens of bookmarked blogs an unreadable > coterie literature that goes 200 saddle-stitched miles an hour > and twenty-five-thousand in student loans. > I say nothing about my social networks nor the six or so > panels who live in my web reports > under the weight of five hundred applicants. > I have abolished the MFA programs of all state colleges, Naropa > is the next to go. > My ambition is to be NEA chairman despite the fact that > I'm a moron, and a partisan. > > American poetry how can I flarf a holy litany in your mordant > mood? > I will continue like the Vatican my parodies as > constant as its hypocrisy more so they > don't need much to eat. > American poetry I will sell you bandwith $2500 a width $500 > down on your old width > American poetry free Bob Perelman > American poetry save the Breadload Conference > American poetry the Poetics List must not die > American poetry I am the New Formalist boys. > American poetry when I was twenty-seven sommun took me to > a writers conference they sold us T-shirts a > T-shirt per ticket a ticket costs fifty bucks and the > poetry were free everybody was cordial and > sentimental about the 1970s it was all so sin- > cere you have no idea what a good party the > poetry was in 1995. > America you're in war up to your eyeball. > America poetry it's them unread barbarians. > Them slam poets them writing students and them tv-watchers. > And them writing students. > The MFA wants to eat us alive. The MFA's tenure and book > mad. He wants to take our dollars from out our > accounts. > Her wants to grab Poetry (Chicago). Him needs a widely taught > Anthology. Him wants our checks in book contests. > That no good. Ugh. Him make poets read Norton. > Him need bigger audience. Hah. > American poetry this is kinda serious. > American poetry this is the impression I get from looking > at the Internet. > American poetry: is this a wreck? > I'll letter write right down to the nob. > It's true I don't want to be a "visiting writer" or turn tricks > for blurbs as we swap seats on the gravy train. I'm shy and > socially awkward anyway. > American poetry I'm writing my own ticket to a meal. > > > > > ><>>>>>>>>>>>>>>>>>>>>>>>>> > Daniel Bouchard > bouchard@mit.edu > <>>>>>>>>>>>>>>>>>>>>>>><>> ========================================================================= Date: Wed, 2 Jun 2004 09:16:52 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: American Poetry In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit On 2/6/04 1:59 AM, "Mairead Byrne" wrote: > O you sad poet Delicate bruisable plums we all are. A Alison Croggon Editor, Masthead http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Tue, 1 Jun 2004 17:55:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: American Poetry In-Reply-To: <200406012306.i51N4MKH149722@pimout1-ext.prodigy.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Time to throw a house party- get down. Chris Strofolino threw a very good one a few weeks back - he's still down(!). This is way too sad. It's even funny. Time to get to the sink. Really get the poisons out. & start over. Wink-wink. Oh well, what can one really say? It's never been an easy show. Even Auggie K has to come home at the end of the day. Stephen V > Dan----definitely one of the best takes I've seen on this > (i tried writing something similar this winter, but stopped > about ten lines into it.... > the first line was something like > "American poetry I've given you all and now I'm $40,000 in debt." > > thanks dan.... > > Chris > > ---------- >> From: Daniel Bouchard >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: American Poetry >> Date: Tue, Jun 1, 2004, 7:31 AM >> > >> American poetry I've given you all and now nothing has been made to happen. >> American poetry ten bucks per book, on average, >> June 1, 2004 >> I can't stand my short lines. >> American poetry when will we end the avant-garde vs mainstream war? >> Go fuck yourself with your perfect bound. >> I don't feel good don't interview me. >> I won't dislike my poem till I'm in my right mind. >> American poetry when will you be less anaseptic? >> When will you take off my clothes? >> When will you stop looking at yourself in a convex mirror? >> When will you be worthy of your dozens of Patchenites? >> American poetry why are your libraries full of nervous children? >> American poetry when will you export your writing software to China? >> I'm quick to your insane demands. >> When can I go into the Barnes and Noble and buy what I >> want with my reputation? >> American poetry after all it is you and I who are perfect not >> the nonliterary world. >> Your unofficial publicity machines are too much for me. >> You made me want to be an English professor. >> There must be some other way to settle your hash. >> Jack Spicer is a book prize I don't think he'll come back >> it's sinister. >> Are you being sinister or is this some form of impractical >> joke? >> I'm trying to come up with a point, if not a manifesto. >> I refuse to give up the microphone. >> American poetry push harder till I know what I'm doing. >> American poetry all the plum positions are taken. >> I haven't read Poets and Writers for months, everyday >> somebody wins a prize for murdering verse. >> American poetry I feel sentimental about the Fugitive poets. >> American poetry I used to be a novelist when I was a kid >> I'm not sorry. >> I blow smoke up the instructor's ass every chance I get. >> I sit in my study for days on end and stare at the collected poems >> on the bookshelves. >> When I give a reading I get drunk and never get paid. >> My mind is made up to start trouble. >> You should have seen me reading Ginsberg. >> My adviser thinks I'm perfectly uptight. >> I won't say homogenous. >> I have a vibrating cosmos and a cosmic vibrator. >> American poetry I still haven't told you what you didn't do for Professor >> Makeastir after he came over from alternative presses. >> >> Are you going to let your poetical life be run by >> Silliman's Blog? >> I'm obsessed by Silliman's Blog. >> I read it every day, every hour in fact; sometimes more than that; I'm >> reading it now. >> Its comment box exchanges challenge me and push my mind to the deepest >> depths of critical thinking. >> I read it in the open at a table in a cafe on my laptop where the chicks >> can dig me. >> It's always telling me about poetic lineage. Projective poets >> have lineage. Black Mountain poets have lineage. >> Everybody's got lineage but me. >> It occurs to me that I am American poetry. >> I am blogging to myself again. >> >> The Iowa Workshop is rising against me. >> I haven't got an endowed chairman's chance. >> I'd better consider my poetical resources. >> My poetical resources consist of two chapbooks of >> disjointed lyrics and dozens of bookmarked blogs an unreadable >> coterie literature that goes 200 saddle-stitched miles an hour >> and twenty-five-thousand in student loans. >> I say nothing about my social networks nor the six or so >> panels who live in my web reports >> under the weight of five hundred applicants. >> I have abolished the MFA programs of all state colleges, Naropa >> is the next to go. >> My ambition is to be NEA chairman despite the fact that >> I'm a moron, and a partisan. >> >> American poetry how can I flarf a holy litany in your mordant >> mood? >> I will continue like the Vatican my parodies as >> constant as its hypocrisy more so they >> don't need much to eat. >> American poetry I will sell you bandwith $2500 a width $500 >> down on your old width >> American poetry free Bob Perelman >> American poetry save the Breadload Conference >> American poetry the Poetics List must not die >> American poetry I am the New Formalist boys. >> American poetry when I was twenty-seven sommun took me to >> a writers conference they sold us T-shirts a >> T-shirt per ticket a ticket costs fifty bucks and the >> poetry were free everybody was cordial and >> sentimental about the 1970s it was all so sin- >> cere you have no idea what a good party the >> poetry was in 1995. >> America you're in war up to your eyeball. >> America poetry it's them unread barbarians. >> Them slam poets them writing students and them tv-watchers. >> And them writing students. >> The MFA wants to eat us alive. The MFA's tenure and book >> mad. He wants to take our dollars from out our >> accounts. >> Her wants to grab Poetry (Chicago). Him needs a widely taught >> Anthology. Him wants our checks in book contests. >> That no good. Ugh. Him make poets read Norton. >> Him need bigger audience. Hah. >> American poetry this is kinda serious. >> American poetry this is the impression I get from looking >> at the Internet. >> American poetry: is this a wreck? >> I'll letter write right down to the nob. >> It's true I don't want to be a "visiting writer" or turn tricks >> for blurbs as we swap seats on the gravy train. I'm shy and >> socially awkward anyway. >> American poetry I'm writing my own ticket to a meal. >> >> >> >> >>> <>>>>>>>>>>>>>>>>>>>>>>>>> >> Daniel Bouchard >> bouchard@mit.edu >> <>>>>>>>>>>>>>>>>>>>>>>><>> ========================================================================= Date: Tue, 1 Jun 2004 21:21:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: apropos authorship (from cris cheek) MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Hiya, sorry but this is being repeatedly rejected from the list. Not sure why. Perhaps you coulf forward it. I wanted to send it under a heading 'apropos of authorship': commissioned as part of Silicon Fen for Norwich School of Art & Design and Film and Video Umbrella: TNWK's far from silicon fen now online. It's a flash animation, requiring sound. About a five minute download with a 56k modem, but will start running in under half a minute on broadband. www.silicon-fen.net/ffsfweb.html The site has a comments book. Any and all feedback welcome. (with apologies for cross-posting) thanks love and love cris ========================================================================= Date: Tue, 1 Jun 2004 21:23:49 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group Comments: Resent-From: poetics@buffalo.edu Comments: Originally-From: "patrick@proximate.org " From: Poetics List Administration Subject: Correction to note of thanks for the festival Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii In my PS from my last announcement I meant to offer thanks to Southern Neighbor for its generous support of the festival, but I mistyped its name as "Southern Neighborhood." I apologize for the error. Hope to see you at the festival this weekend. Patrick http://carrboropoetryfestival.org/ ========================================================================= Date: Tue, 1 Jun 2004 21:36:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: headsup Maria D Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit apologizes for the front channel but Maria Damon, if your anywhere near a computer can you drop me a line. not sure if you've been getting the last emails since I haven't heard from you....... 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: Tue, 1 Jun 2004 19:55:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: FW: [WRK4US] Editing job in Philadelphia @ Penn MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit DESCRIPTION Editing and Production Coordinator University of Pennsylvania Position Reference Number: 040514899 The University of Pennsylvania Press seeks experienced professional to coordinate all stages of work involved in the editing, production, and manufacture of 16+ new titles per year and 6-8 journals. Position reports to Editing and Production Manager. Responsible for budget estimates during initial stages of projects; performing castoffs and page layouts; preparing manuscripts for typesetters and printers; checking page proofs; primary liaison with journal editors throughout production process; recruiting, training, monitoring, and reviewing performance of freelance editors, indexers, proofreaders for journals. Qualifications: BA/BS preferred + 2 years experience in production management in book publishing, or equivalent combination of education and experience. Experience in both Macintosh and PC environments with knowledge of Microsoft Word, Excel, WordPerfect, Filemaker Pro, Quark Express, Adobe Illustrator, and Adobe Photoshop required. Strong written and verbal skills; team-building skills; and an ability to communicate clearly, concisely, and tactfully with vendors and colleagues necessary. Familiarity with style conventions of academic publishing desirable. Preference given to those with onscreen editing experience. Knowledge of online content delivery processes and formatting a plus. The University of Pennsylvania, America's oldest university and one of the Ivy League Schools, is located in the heart of West Philadelphia. We offer an excellent benefits package, which includes generous vacation, tuition assistance, medical, dental and retirement plans. For more information about working at Penn and to apply for this position, please submit resumes online at the University of Pennsylvania's Human Resources website: https://jobs.hr.upenn.edu/applicants/Central?quickFind=179006 Alternately you may search by reference number 040514899 at https://jobs.hr.upenn.edu/ The University of Pennsylvania is an affirmative action/equal opportunity employer. http://www.hr.upenn.edu/ ========================================================================= Date: Tue, 1 Jun 2004 22:02:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CE Putnam Subject: Re: American Poetry In-Reply-To: <200406012306.i51N4MKH149722@pimout1-ext.prodigy.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii the sock was not available at the time of printing the burro was not real but craving a supremo come back soon I am hiding behind the mountain (fine grind) a lasting funnel, a see-through everything __________________________________ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/ ========================================================================= Date: Wed, 2 Jun 2004 01:25:03 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Dearest poets, kindly compatriots all MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit This one is for you Murder your manners You uppity rung grippers Fucking them's too kind Begins with you only you ========================================================================= Date: Tue, 1 Jun 2004 01:42:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Mr. Burning Drivel and the Poetics of BLAMMO MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit vision fest a big success some great musical moments thank you for correcting the spelling of drivel why so harsh with the lingo but hey i guess i deserved that but maybe some of us should send ours e's to individuals instead os continuous collective drivel or is all this to stimulate those dormant parts of our collective psyches it's nice sometimes to talk without everyone knowing our business ah well another nasty note into the vaults and me stupid enought to even waste or was that below-the-waste my time sorry i'm new at this stuff does it show? oh the rain not as sweet not as drenching as that charles gayle solo i don't go that way sorry ========================================================================= Date: Wed, 2 Jun 2004 00:08:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Charles Bernstein query: poem In-Reply-To: <20040602050209.88323.qmail@web40707.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Friends-- I'm in desperate need of the Charles Bernstein's "correction tape" poem; I forget the title. If I remember correctly, it appeared in the beginning of K.David Jackson's Experimental-Visual-Concrete: Avant-Garde Poetry Since the 1960s, which, sadly, I don't have access to. If anyone (including Charles Bernstein) has a copy of it that they can scan in and email to me, I'd really appreciate it. Thanks so much, Joseph __________________________________ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/ ========================================================================= Date: Tue, 1 Jun 2004 17:49:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Carrboro Poetry Festival A Few Days Away Comments: To: patrick@proximate.org MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit how does one get into this festial ========================================================================= Date: Wed, 2 Jun 2004 08:42:40 -0400 Reply-To: waldreid@earthlink.net Sender: UB Poetics discussion group From: waldreid@EARTHLINK.NET Subject: Re: American Poetry Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit excellent---thanks---made my morning! diane wald ========================================================================= Date: Wed, 2 Jun 2004 05:35:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: 7 face of Dr. Ing La0 Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit 7 face of Dr. Ing La0 At Tabor Hill Nietzscheo Volcano Park the writing has stopped the hours drip slowly in the diving bell and thrumming towers sitting here at dusk who are my companions faces 7 face of Dr. Ing La0 At Lungmanta Gay Science Destruction Hole the writing has plunged the minutes boil on a grey velvet anvil where dynamites swarm sitting here at midnight my friends are restless in my pores their faces poke out, faces of high principle, 7 face of Dr. Ing La0 At Lelecun Anti-Christ Bottle Factory the drinking has stopped the writing drips slowly in the mordant fishbowl sitting here at dawn what is my great companions the heads of cillia have a single tortured body now you look at 7 face of Dr. Ing La0'd http://www.hevanet.com/solipsis/faces/face1.jpg http://www.hevanet.com/solipsis/faces/face2.jpg http://www.hevanet.com/solipsis/faces/face3.jpg http://www.hevanet.com/solipsis/faces/face4.jpg http://www.hevanet.com/solipsis/faces/face5.jpg http://www.hevanet.com/solipsis/faces/face6.jpg http://www.hevanet.com/solipsis/faces/face7.jpg ========================================================================= Date: Wed, 2 Jun 2004 06:58:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MDL Subject: Maudite Productions hosts Loudmouth Collective/UDP Anti-Reading, Somerville, MA, Sat. June 5, 8PM MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Maudite Productions hosts Loudmouth Collective and Ugly Duckling Presse June 5, 2004: Loudmouth Collective and Ugly Duckling Presse Present an Anti-ReadingGALLERY 108 108 Beacon Street, Somerville, MA 8 PM Contact: Mark Lamoureux, Maudite Productions 617.460.0112 Loudmouth Collective began, ironically, with one member, James Hoff, sometime in the late winter/early spring of 2001. The collective's goal was to publish (chap)books of new work by some of the bright and underrated talents within the margins of the writing world. Furthermore, each publication would strive to challenge the typical physical appearance of the (chap)book. By March 2001, Hoff had been joined by Ryan Haley and preparations had begun for the Anti-Readings, which were to be organized with the assistance of the members of Ugly Ducking Presse. Anti-Readings quickly became the major focus of Loudmouth activities for the next year; culminating in a triumphant Poetry Project Anti-Reading in March 2002. During 2003, Loudmouth Collective had a retrospective show at Berlin's Elefant + Ship, a performance during the Virginia Festival of the Book, the premiere screening of Joel Schlemowitz's documentary Loudmouth Collective/Ugly Duckling Presse/Anti-Reading, and the release of Steve Dalachinsky's Trial and Error in Paris and Edmund Berrigan's I Feel Tractor. Saturday, June 5, at Gallery 108 in Somerville, Massachusetts, Loudmouth Collective founder James Hoff and Ugly Duckling Presse members Matvei Yanklevitch and Anna Moschovakis will be presenting another Anti-Reading. For more information please see http://mauditepro.blogspot.com. ========================================================================= Date: Wed, 2 Jun 2004 16:19:58 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: AutoPoet's Descent Comments: To: poneme@lists.grouse.net.au, BRITISH-POETS@JISCMAIL.AC.UK MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit It could have been a Sunday on the decayed Wednesday that slumped in a corner, possibly afternooning, among the broken-down clocks that had taken to the bottle, the fractured mathematics that had been spat out from the skies like an old man's nightmare of teeth, the derelict abandoned odes and burnt-out sonnets and the jigsaws with pieces missing of chairs, ballot papers, breakthroughs in physics, bus route maps, menus, fashion tips on hairdo's, does, doze, those too many that assail the mind. Could've bin a Sunday. AutoPoet blinked back into awareness and rue. Rivering, voicefaces pawed as they poured past without pause. Pawed with tongues. AutoPoet protested to the ghosts of anatomy. All lines were on hold. Roofless, the former dome that didn't anymore arch above, ladled down dumpling clouds and a watery shade of thin soupsky. Somewhereone offered a bottle of white cider. AutoPoet refused and, as his ancient circuitry jiggled dying batteries sustenance, despite the sudden iruptions of autobiographical epics and scented monogrammed curtseying handkerchiefs, tried for one last time: 'Frnkuhwr llollobdya hrrnwrr' echoed from the walls (fall'n). As the black silhouette of a huge bird, like a bomber, shadowed overhead. Speechlost, failed, AutoPoet drew his blanket of darkness about his head, but, as consciousness ebbed, while calendars tore themselves apart and clocks wound backwards and forwards, a voice within hummed: 'Tomorrow I shall tell you my name'. CuddabinaSunday, his mind slurred. Best Dave David Bircumshaw ========================================================================= Date: Wed, 2 Jun 2004 11:21:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Busking w/ Phony Prophet Dolls (fwd: Lanny Quarles) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline ---------- Forwarded Message ---------- Date: Tuesday, June 01, 2004 11:58 PM -0700 From: Lanny Quarles To: wryting-l@listserv.utoronto.ca Subject: Busking w/ Phony Prophet Dolls Plaza Busking w/ Phony Prophet Dolls frog's eggs house of lenses where my tongue explores the barnacles of your wire-frame heresy model, paper-mashe' prophet whose guts are tarred bird's nests I sit you up in the plaza, make you look like a speaker, Reel to Reel, pigeons and rats mutter you say there are giant beings you say whose bodies are infinitely complicated biorganic machine-cities, you say their brains' cells are human brains in a great and clustering orgy of doom like frogs you say we are families in the capillaries like incest dolphins at play you say.. your head is knocked off by an incoming basketball and old wrens and sparrows come pooring out with beards and spectacles, holding concrete tablets, worms come out wearing alchemical football helmets a hairy dolphin headed millipede wearing a persian safety cone hat comes out with a walkman on a couple of kids come over and apologize to me, I'm hiding behind a bench, in plain sight I have a very soft banana I forgot to eat and I'm listening to the same Paul Harvey radio show over and over and over and over until someone pulls the little plastic cowskull from out my ear: "You want a TOFU-DOG, buddy?" ---------- End Forwarded Message ---------- ========================================================================= Date: Wed, 2 Jun 2004 12:00:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sylvester pollet Subject: National Poetry Foundation Conference update Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Yesterday I posted a revised program for the Orono (Maine) conference on the NPF website I could also send it to anyone as an attached file. It's revised as of June 1, so pretty settled down. The conference kicks off June 23 with a Creeley reading and a tribute to Louis Zukofsky! Sylvester ========================================================================= Date: Wed, 2 Jun 2004 13:19:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Aufgabe review of my book MS In-Reply-To: <1085594286.40b4daae0ef18@webmail.sas.upenn.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi all, Kasey Mohammad's review of my book, MS, in the latest AUFGABE is now online at: http://www.litmuspress.org/aufgabe/issue3/mohammad.htm Book's available everywhere. Yrs, Mike. ========================================================================= Date: Wed, 2 Jun 2004 10:24:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Re: American Poetry In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII which was american poets should learn the British aristocratic tradition of levanting. tho' the wilds of Montana or Alberta might be sufficient to escape the debt collectors. Robert -- Robert Corbett, Ph.C. "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 Tue, 1 Jun 2004, Stephen Vincent wrote: > Time to throw a house party- get down. Chris Strofolino threw a very good > one a few weeks back - he's still down(!). This is way too sad. It's even > funny. Time to get to the sink. Really get the poisons out. & start over. > Wink-wink. > > Oh well, what can one really say? It's never been an easy show. Even Auggie > K has to come home at the end of the day. > > Stephen V > > > > > Dan----definitely one of the best takes I've seen on this > > (i tried writing something similar this winter, but stopped > > about ten lines into it.... > > the first line was something like > > "American poetry I've given you all and now I'm $40,000 in debt." > > > > thanks dan.... > > > > Chris > > > > ---------- > >> From: Daniel Bouchard > >> To: POETICS@LISTSERV.BUFFALO.EDU > >> Subject: American Poetry > >> Date: Tue, Jun 1, 2004, 7:31 AM > >> > > > >> American poetry I've given you all and now nothing has been made to happen. > >> American poetry ten bucks per book, on average, > >> June 1, 2004 > >> I can't stand my short lines. > >> American poetry when will we end the avant-garde vs mainstream war? > >> Go fuck yourself with your perfect bound. > >> I don't feel good don't interview me. > >> I won't dislike my poem till I'm in my right mind. > >> American poetry when will you be less anaseptic? > >> When will you take off my clothes? > >> When will you stop looking at yourself in a convex mirror? > >> When will you be worthy of your dozens of Patchenites? > >> American poetry why are your libraries full of nervous children? > >> American poetry when will you export your writing software to China? > >> I'm quick to your insane demands. > >> When can I go into the Barnes and Noble and buy what I > >> want with my reputation? > >> American poetry after all it is you and I who are perfect not > >> the nonliterary world. > >> Your unofficial publicity machines are too much for me. > >> You made me want to be an English professor. > >> There must be some other way to settle your hash. > >> Jack Spicer is a book prize I don't think he'll come back > >> it's sinister. > >> Are you being sinister or is this some form of impractical > >> joke? > >> I'm trying to come up with a point, if not a manifesto. > >> I refuse to give up the microphone. > >> American poetry push harder till I know what I'm doing. > >> American poetry all the plum positions are taken. > >> I haven't read Poets and Writers for months, everyday > >> somebody wins a prize for murdering verse. > >> American poetry I feel sentimental about the Fugitive poets. > >> American poetry I used to be a novelist when I was a kid > >> I'm not sorry. > >> I blow smoke up the instructor's ass every chance I get. > >> I sit in my study for days on end and stare at the collected poems > >> on the bookshelves. > >> When I give a reading I get drunk and never get paid. > >> My mind is made up to start trouble. > >> You should have seen me reading Ginsberg. > >> My adviser thinks I'm perfectly uptight. > >> I won't say homogenous. > >> I have a vibrating cosmos and a cosmic vibrator. > >> American poetry I still haven't told you what you didn't do for Professor > >> Makeastir after he came over from alternative presses. > >> > >> Are you going to let your poetical life be run by > >> Silliman's Blog? > >> I'm obsessed by Silliman's Blog. > >> I read it every day, every hour in fact; sometimes more than that; I'm > >> reading it now. > >> Its comment box exchanges challenge me and push my mind to the deepest > >> depths of critical thinking. > >> I read it in the open at a table in a cafe on my laptop where the chicks > >> can dig me. > >> It's always telling me about poetic lineage. Projective poets > >> have lineage. Black Mountain poets have lineage. > >> Everybody's got lineage but me. > >> It occurs to me that I am American poetry. > >> I am blogging to myself again. > >> > >> The Iowa Workshop is rising against me. > >> I haven't got an endowed chairman's chance. > >> I'd better consider my poetical resources. > >> My poetical resources consist of two chapbooks of > >> disjointed lyrics and dozens of bookmarked blogs an unreadable > >> coterie literature that goes 200 saddle-stitched miles an hour > >> and twenty-five-thousand in student loans. > >> I say nothing about my social networks nor the six or so > >> panels who live in my web reports > >> under the weight of five hundred applicants. > >> I have abolished the MFA programs of all state colleges, Naropa > >> is the next to go. > >> My ambition is to be NEA chairman despite the fact that > >> I'm a moron, and a partisan. > >> > >> American poetry how can I flarf a holy litany in your mordant > >> mood? > >> I will continue like the Vatican my parodies as > >> constant as its hypocrisy more so they > >> don't need much to eat. > >> American poetry I will sell you bandwith $2500 a width $500 > >> down on your old width > >> American poetry free Bob Perelman > >> American poetry save the Breadload Conference > >> American poetry the Poetics List must not die > >> American poetry I am the New Formalist boys. > >> American poetry when I was twenty-seven sommun took me to > >> a writers conference they sold us T-shirts a > >> T-shirt per ticket a ticket costs fifty bucks and the > >> poetry were free everybody was cordial and > >> sentimental about the 1970s it was all so sin- > >> cere you have no idea what a good party the > >> poetry was in 1995. > >> America you're in war up to your eyeball. > >> America poetry it's them unread barbarians. > >> Them slam poets them writing students and them tv-watchers. > >> And them writing students. > >> The MFA wants to eat us alive. The MFA's tenure and book > >> mad. He wants to take our dollars from out our > >> accounts. > >> Her wants to grab Poetry (Chicago). Him needs a widely taught > >> Anthology. Him wants our checks in book contests. > >> That no good. Ugh. Him make poets read Norton. > >> Him need bigger audience. Hah. > >> American poetry this is kinda serious. > >> American poetry this is the impression I get from looking > >> at the Internet. > >> American poetry: is this a wreck? > >> I'll letter write right down to the nob. > >> It's true I don't want to be a "visiting writer" or turn tricks > >> for blurbs as we swap seats on the gravy train. I'm shy and > >> socially awkward anyway. > >> American poetry I'm writing my own ticket to a meal. > >> > >> > >> > >> > >>> <>>>>>>>>>>>>>>>>>>>>>>>>> > >> Daniel Bouchard > >> bouchard@mit.edu > >> <>>>>>>>>>>>>>>>>>>>>>>><>> > ========================================================================= Date: Wed, 2 Jun 2004 12:46:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Vincent Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit more like an outdoor party with pianos and stuff.... uh, maybe i start writing WHEELING THEORY stephen your walking ones make me exceedingly salivate for two-leggedness... ---------- >From: Stephen Vincent >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: American Poetry >Date: Tue, Jun 1, 2004, 4:55 PM > > Time to throw a house party- get down. Chris Strofolino threw a very good > one a few weeks back - he's still down(!). This is way too sad. It's even > funny. Time to get to the sink. Really get the poisons out. & start over. > Wink-wink. > > Oh well, what can one really say? It's never been an easy show. Even Auggie > K has to come home at the end of the day. > > Stephen V > > > >> Dan----definitely one of the best takes I've seen on this >> (i tried writing something similar this winter, but stopped >> about ten lines into it.... >> the first line was something like >> "American poetry I've given you all and now I'm $40,000 in debt." >> >> thanks dan.... >> >> Chris >> >> ---------- >>> From: Daniel Bouchard >>> To: POETICS@LISTSERV.BUFFALO.EDU >>> Subject: American Poetry >>> Date: Tue, Jun 1, 2004, 7:31 AM >>> >> >>> American poetry I've given you all and now nothing has been made to happen. >>> American poetry ten bucks per book, on average, >>> June 1, 2004 >>> I can't stand my short lines. >>> American poetry when will we end the avant-garde vs mainstream war? >>> Go fuck yourself with your perfect bound. >>> I don't feel good don't interview me. >>> I won't dislike my poem till I'm in my right mind. >>> American poetry when will you be less anaseptic? >>> When will you take off my clothes? >>> When will you stop looking at yourself in a convex mirror? >>> When will you be worthy of your dozens of Patchenites? >>> American poetry why are your libraries full of nervous children? >>> American poetry when will you export your writing software to China? >>> I'm quick to your insane demands. >>> When can I go into the Barnes and Noble and buy what I >>> want with my reputation? >>> American poetry after all it is you and I who are perfect not >>> the nonliterary world. >>> Your unofficial publicity machines are too much for me. >>> You made me want to be an English professor. >>> There must be some other way to settle your hash. >>> Jack Spicer is a book prize I don't think he'll come back >>> it's sinister. >>> Are you being sinister or is this some form of impractical >>> joke? >>> I'm trying to come up with a point, if not a manifesto. >>> I refuse to give up the microphone. >>> American poetry push harder till I know what I'm doing. >>> American poetry all the plum positions are taken. >>> I haven't read Poets and Writers for months, everyday >>> somebody wins a prize for murdering verse. >>> American poetry I feel sentimental about the Fugitive poets. >>> American poetry I used to be a novelist when I was a kid >>> I'm not sorry. >>> I blow smoke up the instructor's ass every chance I get. >>> I sit in my study for days on end and stare at the collected poems >>> on the bookshelves. >>> When I give a reading I get drunk and never get paid. >>> My mind is made up to start trouble. >>> You should have seen me reading Ginsberg. >>> My adviser thinks I'm perfectly uptight. >>> I won't say homogenous. >>> I have a vibrating cosmos and a cosmic vibrator. >>> American poetry I still haven't told you what you didn't do for Professor >>> Makeastir after he came over from alternative presses. >>> >>> Are you going to let your poetical life be run by >>> Silliman's Blog? >>> I'm obsessed by Silliman's Blog. >>> I read it every day, every hour in fact; sometimes more than that; I'm >>> reading it now. >>> Its comment box exchanges challenge me and push my mind to the deepest >>> depths of critical thinking. >>> I read it in the open at a table in a cafe on my laptop where the chicks >>> can dig me. >>> It's always telling me about poetic lineage. Projective poets >>> have lineage. Black Mountain poets have lineage. >>> Everybody's got lineage but me. >>> It occurs to me that I am American poetry. >>> I am blogging to myself again. >>> >>> The Iowa Workshop is rising against me. >>> I haven't got an endowed chairman's chance. >>> I'd better consider my poetical resources. >>> My poetical resources consist of two chapbooks of >>> disjointed lyrics and dozens of bookmarked blogs an unreadable >>> coterie literature that goes 200 saddle-stitched miles an hour >>> and twenty-five-thousand in student loans. >>> I say nothing about my social networks nor the six or so >>> panels who live in my web reports >>> under the weight of five hundred applicants. >>> I have abolished the MFA programs of all state colleges, Naropa >>> is the next to go. >>> My ambition is to be NEA chairman despite the fact that >>> I'm a moron, and a partisan. >>> >>> American poetry how can I flarf a holy litany in your mordant >>> mood? >>> I will continue like the Vatican my parodies as >>> constant as its hypocrisy more so they >>> don't need much to eat. >>> American poetry I will sell you bandwith $2500 a width $500 >>> down on your old width >>> American poetry free Bob Perelman >>> American poetry save the Breadload Conference >>> American poetry the Poetics List must not die >>> American poetry I am the New Formalist boys. >>> American poetry when I was twenty-seven sommun took me to >>> a writers conference they sold us T-shirts a >>> T-shirt per ticket a ticket costs fifty bucks and the >>> poetry were free everybody was cordial and >>> sentimental about the 1970s it was all so sin- >>> cere you have no idea what a good party the >>> poetry was in 1995. >>> America you're in war up to your eyeball. >>> America poetry it's them unread barbarians. >>> Them slam poets them writing students and them tv-watchers. >>> And them writing students. >>> The MFA wants to eat us alive. The MFA's tenure and book >>> mad. He wants to take our dollars from out our >>> accounts. >>> Her wants to grab Poetry (Chicago). Him needs a widely taught >>> Anthology. Him wants our checks in book contests. >>> That no good. Ugh. Him make poets read Norton. >>> Him need bigger audience. Hah. >>> American poetry this is kinda serious. >>> American poetry this is the impression I get from looking >>> at the Internet. >>> American poetry: is this a wreck? >>> I'll letter write right down to the nob. >>> It's true I don't want to be a "visiting writer" or turn tricks >>> for blurbs as we swap seats on the gravy train. I'm shy and >>> socially awkward anyway. >>> American poetry I'm writing my own ticket to a meal. >>> >>> >>> >>> >>>> <>>>>>>>>>>>>>>>>>>>>>>>>> >>> Daniel Bouchard >>> bouchard@mit.edu >>> <>>>>>>>>>>>>>>>>>>>>>>><>> ========================================================================= Date: Thu, 3 Jun 2004 21:29:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrea Baker Subject: READING! Saturday, June 5th Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit !!!!COME CELEBRATE!!!! Saint Elizabeth Street Issue #2 SATURDAY JUNE 5th 7:00 Greenpoint Coffee House 195 Franklin Street Brooklyn, NY Reading by: BILL KUSHNER, ANDREA BAKER, NOAM SCHEINDLEIN, JENNIFER BARTLETT, and JIM STEWART The issue features work by Robyn Art, Andrea Baker, Lee Bartlett, Charles Bernstein, Marcella Durand, Taj Jackson, Richard Kostelenatz, Bill Kushner, Stephen Mead, Bill Olsen, Robert Penick, Andrew Sage, Noam Scheindlein, Lytle Shaw, Laura Silver, MaryHelen Snyder, Jim Stewart, Nathaniel Tarn, and Melissa Weinstein DIRECTIONS: Greenpoint stop on G train, exit towards India Street, 2 blocks north, 1 west. Corner of Franklin Street & Green Street 718-349-6635 for subscriptions or submissions contact: ST. ELIZABETH STREET 136 FREEMAN STREET #1A BROOKLYN, NY 11222 saintlizstreet@hotmail.com ========================================================================= Date: Wed, 2 Jun 2004 21:18:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: hometown soldiers MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hometown soldiers http://www.asondheim.org/ModernMan.jpg just when he wasn't looking you were out of sight should the poor boy leave the town because you're good looking in the middle of the night _ ========================================================================= Date: Thu, 3 Jun 2004 00:00:54 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 Reuters Reveals Details Of Journalists Abused In Iraq: Americans Empty Abu Graib Prison. Apparently Those Held Only Crime Was Nice Glut's: American Troops Described As A Bunch Of Contemptuous Assholes by Hatrick Garotte 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Wed, 2 Jun 2004 23:24:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Chicagopostmodernpoetry is Updated with Profiles of Ron Silliman, John Beer, Peter O'Leary and Dan Beachy-Quick In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Please visit chicagopostmodernpoetry.com and check out our newest profiles of Ron Silliman, John Beer, Peter O'Leary and Dan Beachy-Quick along with new readings in Chicago and Milwaukee for June, July and August Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ ========================================================================= Date: Thu, 3 Jun 2004 01:09:33 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit my in box's clogged mail delivery failed the ghost in the machine wants out... 2:00...oysters & smalls clams...shark slices garlic..tostones...drn... ========================================================================= Date: Thu, 3 Jun 2004 01:20:59 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit at island's end spuyten deevil planes & trains crash the silence of my electronic ear muffed walk man tuned to wwbr the market rises the tides out a stray bird picks thru sparse waste each face of the stranger has a sharper cut i can't blot out the poster of the dead jogger who's image stared at me limping round tompkins sq. the battery's down who's up tulip petals on her grave poet honor the yng & brave.... 2:00...cafe con leche..with sweet & low...flan...dense watermelon..4 lbs for a buck..18 lbs...drn.. ========================================================================= Date: Wed, 2 Jun 2004 23:29:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: Hesiod Embraces The Jar of Themis Comments: To: solipsis@hevanet.com, wryting-l@listserv.utoronto.ca, syndicate@anart.no, jokelly9@earthlink.net Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Hesiod Embraces The Jar of Themis (A Metis-Mixing By Pan-Pandora) stomached by ambivalent jar in gift sorrow in night sweat by mixed blessing fires blessing in fire by mixed by mixing fire blessing [pan (flute)] pandora where mixing fire by sweating they embrace the artificial creature ambivalent jar mixing pandora mixing by fire jar fired blessing what men embrace by mixing fire by blessing fire pandora not a woman but a jar but ajar the mouth of opening the mixing the fire of the opening of the jar the ambivalence of the opening they have fled when the opening was made when the fire by mixing blessing had fled by fire blessing ambivalence they had fled by tradition it was gone like a fire suddenly gone something after eating what is left in the jar the jar ajar fire fled fleeting a foot what glinting what sits upon the bottom of the jar of mixing what ambivalence whatever it contained as goods whatever contained whatever hope pandora mixing names fire mixing glinting fleeting they have fled a fire by blessing a jar a jar by pharmakon the sack the jar a sack by mixing a fire by blessing a sack a wind will flee the jar what he gave what she gave the jar the sack of the wind of the pharmakon whatever fled the jar whatever what mixed by fire sorrow by all none spared by fire by ambivalent blessing of goods of the jar ajar simply good round sweating wine whatever left the jar a sack a wind was sweating wine the new wine a shield of music [pan (flute)] pandora by hesiod by curse by seeing a curse by the fire by the filters by the fire of filters mixing the blessing all-giving by opening the prison of the jar by opening it by breaking it open by a mallet by a tiny mallet so small whatever the hand in the landscape by will by fire of mixing hope blessing soil by mixing the soil whatever is still left in the jar how hesiod would embrace themis as pandora and man embrace by fire mixing (untranslatable) pharmakon where the sweat of metis fills the sack whatever the herm of salt whatever whatever mixing whatever whenever whatever remains in the belly it cannot end end by mixing ========================================================================= Date: Thu, 3 Jun 2004 07:09:27 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Bradshaw Subject: Artists Subpeonaed in U.S. Patriot Act Case Mime-Version: 1.0 Content-Type: text/plain; format=flowed Three artists have been served subpoenas to appear before a federal grand jury that will consider bioterrorism charges against a university professor whose art involves the use of simple biology equipment. The subpoenas are the latest installment in a bizarre investigation in which members of the Joint Terrorism Task Force have mistaken an art project for a biological weapons laboratory (see background below). While most observers have assumed that the Task Force would realize the absurd error of its initial investigation of Steve Kurtz, the subpoenas indicate that the feds have instead chosen to press their "case" against the baffled professor. Two of the subpoenaed artists--Beatriz da Costa and Steve Barnes--are, like Kurtz, members of the internationally-acclaimed Critical Art Ensemble (CAE), an artists' collective that produces artwork to educate the public about the politics of biotechnology. They were served the subpoenas by federal agents who tailed them to an art show at the Massachusetts Museum of Contemporary Art. The third artist, Paul Vanouse, is, like Kurtz, an art professor at the University at Buffalo. He has worked with CAE in the past. The artists involved are at a loss to explain the increasingly bizarre case. "I have no idea why they're continuing (to investigate)," said Beatriz da Costa, one of those subpoenaed. "It was shocking that this investigation was ever launched. That it is continuing is positively frightening, and shows how vulnerable the PATRIOT Act has made freedom of speech in this country." Da Costa is an art professor at the University of California at Irvine. According to the subpoenas, the FBI is seeking charges under Section 175 of the US Biological Weapons Anti-Terrorism Act of 1989, which has been expanded by the USA PATRIOT Act. As expanded, this law prohibits the possession of "any biological agent, toxin, or delivery system" without the justification of "prophylactic, protective, bona fide research, or other peaceful purpose." (See http://www4.law.cornell.edu/uscode/18/175.html for the 1989 law and http://www.ehrs.upenn.edu/protocols/patriot/sec817.html for its USA PATRIOT Act expansion.) Even under the expanded powers of the USA PATRIOT Act, it is difficult to understand how anyone could view CAE's art as anything other than a"peaceful purpose." The equipment seized by the FBI consisted mainly of CAE's most recent project, a mobile DNA extraction laboratory to test store-bought food for possible contamination by genetically modified grains and organisms; such equipment can be found in any university's basic biology lab and even in many high schools (see "Lab Tour" at http://www.critical-art.net/biotech/free/ for more details). The grand jury in the case is scheduled to convene June 15 in Buffalo, New York. Here, the jury will decide whether or not to indict Steve Kurtz on the charges brought by the FBI. A protest is being planned at 9 a.m. on June 15 outside the courthouse at 138 Delaware Ave. in Buffalo. HELP NEEDED Financial donations: The CAE Defense Fund has so far received over 200 donations in amounts ranging from $5 to $400. This is a wonderful outpouring of sympathy, but a drop in the bucket compared to the potential costs of the case. To make a donation, please visit http://www.caedefensefund.org/ Letters of support: Letters and petitions of support from biologists, artists, and others, especially those in positions of responsibility at prominent institutions or companies, could be very useful. See http://www.caedefensefund.org/ for a sample letter of support. Legal offers and letters of support: If you are a lawyer, offers of pro bono support or offers to write amicus briefs would be very helpful. BACKGROUND Early morning of May 11, Steve Kurtz awoke to find his wife, Hope, dead of a cardiac arrest. Kurtz called 911. The police arrived and, after stumbling across test tubes and petri dishes Kurtz was using in a current artwork, called in the Joint Terrorism Task Force. Soon agents from the Task Force and FBI detained Kurtz, cordoned off the entire block around his house, and later impounded Kurtz's computers, manuscripts, books, equipment, and even his wife's body for further analysis. The Buffalo Health Department condemned the house as a health risk. Only after the Commissioner of Public Health for New York State had tested samples from the home and announced there was no public safety threat was Kurtz able to return home and recover his wife's body. Yet the FBI would not release the impounded materials, which included artwork for an upcoming exhibition at the Massachusetts Museum of Contemporary Art. While most observers assumed the Task Force would realize that its initial investigation of Steve Kurtz was a terrible mistake, the subpoenas indicate that the feds have instead chosen to press their "case" against Kurtz and possibly others. To donate to the CAE Defense Fund, and for up-to-date information on the case, please visit http://www.caedefensefund.org/ For more information on the Critical Art Ensemble, please visit http://www.critical-art.net/ To join a list about the case, please visit http://groups.yahoo.com/group/CAE_Defense Articles and television stories about the case: http://www.appliedautonomy.com/cae/ http://www.washingtonpost.com/wp-dyn/articles/A8278-2004Jun1.html http://www.newsday.com/news/local/wire/ny-bc-ny--materialsremoved0601jun01,0,3539235.story?coll=ny-ap-regional-wire http://www.buffalonews.com/editorial/20040602/1048042.asp On advice of counsel, Steve Kurtz is unable to answer questions regarding his case. Please direct questions or comments to media@caedefensefund.org. _________________________________________________________________ Stop worrying about overloading your inbox - get MSN Hotmail Extra Storage! http://join.msn.click-url.com/go/onm00200362ave/direct/01/ ========================================================================= Date: Wed, 2 Jun 2004 19:08:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Works in Egress, 3 Comments: To: editor@pavementsaw.org MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the light is darker than it should be clifford jordan said bah bah bah bah bah the paste still sticks to my fingers i collaged a life or 2 took me hrs should have known better that to try to ========================================================================= Date: Thu, 3 Jun 2004 06:41:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Sawyer Subject: Re: CRUX Mime-Version: 1.0 (Apple Message framework v613) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed CRUX conclusion: death for all? that's what we mine here in this gutted earthgash for all to see act 1: the heroine winces, peaches sliced by evening breeze act 2: the rake reclines upon his enormous lies act 3: harem patois, wrecking ball calm brash poet wrap it up no explanation left but desire! "...zees is no way to answer meester your ice tell me different story" drugged origami swan standing on a dance floor modern if nothing else=97 long live the conqueror worm! ========================================================================= Date: Thu, 3 Jun 2004 09:48:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: i've fallen victim to officialese. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII i've fallen victim to officialese. i believe strongly that because there are substructures to my work, that it far and away deeper than yours. i believe that the codes and protocols that accompany my pieces make them stronger than yours in every way. i believe that the escape within the officialese, codes, and protocols in my work is based on their presence which gains them immeasurable strength. in order i believe that human choice all the way around is weak, that a degree of machinic intervention is absolutely necessary for the production of meaning today. i have been seduced by this belief, for which i offer few apologies, it is the machine within me that holds back. almost as a young girl on her first date. _ ========================================================================= Date: Thu, 3 Jun 2004 07:02:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: =?UTF-8?B?5py65Zmo?= Comments: To: wryting-l@listserv.utoronto.ca Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable bare wang mang of ancient and modern note will ride the wing to wing=20 the previous day's carrying the mountains' and rivers' long-drawn-out journey is an endless =E6=9C=BA=E5=99=A8 embracing the clothes not sleeping not eating =20 =3D=3D =20 wu hsi shen=20 a =E6=9C=BA=E5=99=A8 tune=20 of ancient and modern note=20 torrential military brook=20 what depth? the bird does not fly=20 the beast cannot be near=20 sigh=20 ah wu hsito poisonous and obscene =20 =3D=3D =20 in dew on the chinese onion wormwood=20 a song of ancient and modern note=20 on morning dew=20 he i? the dew=20 =E6=99=9E =E6=9C=BA=E5=99=A8 the ming dynasty also incites duplication when does the person die, one turns over, into=20 in wormwood, which family place=20 amasses wealth by heavy taxation=20 the soul not virtuously to be simpleminded the clever uncle one what urged the human life must little hesitate =20 =3D=3D =20 li chi weng directs under the millet proverb=20 to discuss =E6=9C=BA=E5=99=A8 studies=20 the capital free time collection ========================================================================= Date: Thu, 3 Jun 2004 09:23:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Contact info for Tessa Rumsey MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Would greatly appreciate receiving Tessa's email address if anyone has it. Thanks, Brian C. ========================================================================= Date: Thu, 3 Jun 2004 14:07:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: another flower sunset Comments: To: spidertangle@yahoogroups.com, edcohen@rci.rutgers.edu, RJJohnson@cbburnet.com, Maclore.Pennington@navitaire.com, Deirdra.Hoolahan@co.hennepin.mn.us, Kristina.Jantz@bestbuy.com, RIARUNKEE@aol.com, apelham@luthersem.edu, CWLantz@cbburnet.com, emily@cathedralhillpress.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" rather than a tequila sunrise, there's another shawl like the one at this website: http://www.sheilashawl.umn.edu/shawls-Ebay-02.html i'm auctioning it off myself right here on poetics etc and the proceeds will go to Poets in Need. the main difference between the pictured one (which already sold on ebay to someone on POETIX YAY!!) is that in the one currently up for bidding has a magenta/orange warp instead of a pink and red one. but the basic colors and patterns are the same. i'll take bids for the next week and then send it off to the highest bidder. the "buy now" price is $200. if it doesn't sell i'll send it to Silent Witness, the domestic homicide awareness organization that the other one went to; they're having another ebay drive in the fall. xo to all: md -- ========================================================================= Date: Thu, 3 Jun 2004 14:23:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 2 movies MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII 2 .mov http://www.asondheim.com/america.mov loop just like the country http://www.asondheim.com/holler.mov where the wild things are _ ========================================================================= Date: Thu, 3 Jun 2004 14:23:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: another flower sunset Comments: To: damon001@UMN.EDU Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline Congratulations on your beautiful work Maria. I'm not in the shawl-buying market (or in any market except grouting & caulking right now) but I sure would look a lot more elegant in one of your human/magic shawls than I do in my trusty Walmart Mexican horse blanket that doubles as a rocking-chair cover when I not swaddled in it (the blanket not the rocking-chair though I do tend to rock back and forth when I'm swaddled in it -- and it's just dawning on me why -- I'm probably part rocking-chair myself after all these years of sharing my blanket...) Maria, you're a woman of much skill subtlety & humor. God bless you! Mairead www.maireadbyrne.blogspot.com >>> damon001@UMN.EDU 06/03/04 14:03 PM >>> rather than a tequila sunrise, there's another shawl like the one at this website: http://www.sheilashawl.umn.edu/shawls-Ebay-02.html i'm auctioning it off myself right here on poetics etc and the proceeds will go to Poets in Need. the main difference between the pictured one (which already sold on ebay to someone on POETIX YAY!!) is that in the one currently up for bidding has a magenta/orange warp instead of a pink and red one. but the basic colors and patterns are the same. i'll take bids for the next week and then send it off to the highest bidder. the "buy now" price is $200. if it doesn't sell i'll send it to Silent Witness, the domestic homicide awareness organization that the other one went to; they're having another ebay drive in the fall. xo to all: md -- ========================================================================= Date: Thu, 3 Jun 2004 15:15:05 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: more on Nevins, the censored/fired teacher from Albuquerque... MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable this was sent to me by a poet from another listserv... (ends with the poem by student Courtney...the poem that offended for its political content) >The word warrior: Bill Nevins says his antiwar views cost him a teaching=20 >job in Rio Rancho. Now teaching in the South Valley, he says he wants to=20 >continue to encourage students to speak their minds. > >By J.M. Bar=A2l >Tribune Reporter > >It's hard not to at least consider the coincidences of Bill Nevins' life. > >The 56-year-old teacher, suspended from Rio Rancho High School in March,=20 >came into the world at a time when free speech was at the center of a=20 >weaponless war planted in U.S. soil. > >In the fall of 1947, four months after Mary Nevins gave birth to her first=20 >son, the government began purging the country of communism. > >As the blue-eyed, blond baby was learning to crawl across his family's=20 >kitchen linoleum in Stanford, Conn., a group of Hollywood writers and=20 >directors were losing their jobs, being labeled anti-American and having=20 >their films blacklisted by the House Un-American Activities Committee. > >Today, Nevins, a tall, silver-haired man whose thin-rimmed glasses magnify=20 >deep wrinkles set around his eyes, has found himself confronted with=20 >similar issues. > >"There are always going to be people in power that are going to try to=20 >stop the discussion of ideas," says Eric Haas, an Albuquerque lawyer and=20 >member of the Alliance for Academic Freedom. "They're afraid of free=20 >speech. They're afraid of those ideas." > >Those ideas Haas refers to include the antiwar sentiments expressed=20 >publicly by Rio Rancho poetry students earlier this year. > >Nevins, who taught humanities and coached the school's poetry slam team,=20 >says his two-month paid suspension, which resulted in an unrenewed=20 >contract, came about because of those words. > >Rio Rancho High School Principal Gary Tripp did not return The Tribune's=20 >phone calls for this story, but Rio Rancho Public Schools spokeswoman Kim=20 >Vesely says, "We've said it several times in the past - this is not a free=20 >speech issue." > >Instead, Tripp's official response in March for Nevins' suspension was=20 >that the teacher did not fill out proper paperwork for a field trip with=20 >his poetry team. > >Nevins' lawyer, Eric Sirotkin, says Tripp signed off on the permission=20 >slips in question. > >"They've never admitted the reason they kept him out of the classroom is=20 >because he had encouraged students to develop opinions," says Sirotkin,=20 >who plans to file a lawsuit Monday against the Rio Rancho school system,=20 >alleging violating of Nevins' First Amendment right to free speech. > >In order to raise money for Nevins' legal fees - which could range from=20 >$10,000 to $50,000 depending on how far the lawsuit goes - members of the=20 >Alliance for Academic Freedom, a group that supports free expression of=20 >teachers and students, are sponsoring a performance at the KiMo Theater on=20 >Sunday. Admission is free, but donations will be accepted. > >The show will include local and national musicians, but the majority of=20 >performers will be poets reading their work. > >"Poetry venues are the only place you can hear both sides to something,"=20 >says Don McIver, a local poet who helped coordinate the event. "In the=20 >media, there's so much pro-, pro-, pro-, pro-, pro-war. Poetry readings=20 >are a place where the other side can be expressed." > >Poetry got Nevins through a time he recalls as dark and painful. > >"I was in the middle of a lesson, and I was literally pulled out of my=20 >class," he says of the day of his suspension. > >No time to pack up his stuff - someone else did that for him. No chance to=20 >say goodbye to his students - he received several supportive phone calls=20 >from them but didn't feel it was appropriate to call them back. > >No closure. No assurance. No light at the end of the tunnel. > >"That was a real uncertain time," Nevins says as he restlessly tugs at the=20 >ends of his curly silver hair that rests on the nape of his neck. "But I=20 >assumed it was going to blow over, and they were going to ask me to come=20 >back. Because I knew I didn't do anything wrong." > >Nevins, a freelance journalist and self-proclaimed poet, did a lot of=20 >personal writing during those two months. At first, the words revealed=20 >anger, sadness, disappointment. > >It took about four months, he says, before he could write about peace and=20 >love and reconciliation. > >"You have to spew forth some of the bile before you get to the good=20 >stuff," says Nevins, who now teaches journalism and humanities at Nuestros=20 >Valores Charter High School in the South Valley. > >The anxiety that consumed him during the spring stemmed from more than his=20 >suspension. His 22-year-old son, Liam, a squad leader in the 82nd Airborne=20 >Division, was somewhere in Afghanistan leading his forces into combat, and=20 >Nevins was worried. > >"We had moments when our hearts were in our throats," he says. "I saw a=20 >photo in a magazine that looked like Liam carrying a coffin. It wasn't him.= " > >Liam has been supportive of his liberal-minded dad, Nevins says, as have=20 >his two grown daughters. > >"They know I do what I do and that I'm very outspoken," he says. "They=20 >were worried about me, but I told them: `You gotta have faith.' I have a=20 >lot of friends, and so many people have rallied around me." > >Teaching again also helps. > >"I never have a bad day as a teacher," he says. > >There's been talk about forming a poetry team at his new school, something=20 >he says is crucial in getting students to think for themselves. > >"It's sad to see the Rio Rancho team is no longer there," he says of the=20 >poetry slam team that disbanded shortly after Nevins' suspension. "As a=20 >parent and a grandparent, I like to see kids encouraged in their=20 >creativity. If Liam wrote a poem, I'd want him to be able to read it out=20 >loud." > >Sunday's poetry event at the KiMo gives Nevins hope that the United States=20 >is not "returning to a period of clamping down on free thought," he says. > >"I think we're going to see young people and the elders speaking their=20 >minds, and we'll get to see what free New Mexico is like." > > >If you go > >What: "Poetic Justice: Committing Poetry in Times of War." Local and=20 >national authors, poets and musicians will read and perform. > >Why: The goal is threefold: To raise money for Bill Nevins' legal fees; to=20 >raise community awareness about First Amendment rights; and to inform=20 >people of the lawsuit that Nevins' lawyer will file against Rio Rancho=20 >Public Schools on Monday. > >When: 6 p.m. Sunday. > >Where: KiMo Theater, 423 Central Ave. S.W. > >Cost: Free. Donations will be accepted. > >Call 768-3522. > >Not alone > >Bill Nevins is one of six Albuquerque-area teachers who were suspended=20 >during the war against Iraq. > >Geoff Barrett was a contemporary issues and social studies teacher at=20 >Highland High School who was briefly suspended and docked two days' pay=20 >after displaying student antiwar art work. He returned to Highland=20 >following his suspension and later sued Albuquerque Public Schools,=20 >alleging violation of his First Amendment rights. He settled with APS, and=20 >the letter of reprimand was removed from his file and his docked pay=20 >restored. A short-term employee, Barrett's contract expired at the end of=20 >the 2003 school year and was not renewed. He teaches at Robert F. Kennedy=20 >Charter School. > >Allen Cooper was a social studies teacher at Highland who displayed=20 >posters in his classroom with antiwar sentiments, including a poster from=20 >an Afghan student. A short-term employee, his contract was not renewed at=20 >the end of the school year. He is suing APS, alleging violating of his=20 >First Amendment rights and school policy. He is not teaching. > >Ken Tabish, a guidance counselor at Albuquerque High School, was suspended=20 >without pay for two days for refusing to take down antiwar material in his=20 >office. He is suing APS in the same lawsuit as Cooper. He still works at=20 >Albuquerque High. > >Carmelita Roybal, an English teacher at Rio Grande High School, was=20 >suspended for two days without pay when she didn't take down antiwar signs=20 >when school administrators asked her to do so. She is suing APS in the=20 >same lawsuit as Cooper and Tabish. She returned to Rio Grande this year. > >Heather Duffy, an art teacher at Rio Grande High School, had a similar=20 >antiwar sign in her room, which she did not take down when administrators=20 >asked her to do so. Duffy, who was suspended with pay for two days,=20 >resigned from her teaching job in April. She is not teaching. > >Courtney's poem > >Here is an excerpt from Courtney Butler's poem "Revolution X," which she=20 >read over Rio Rancho High School's closed-circuit television system in=20 >February. Her poetry coach, Bill Nevins, was placed on paid leave less=20 >than a month later. > >"This is the Land of the Free . . . > >Where the statute of limitations for rape is only five damn years! > >And immigrants can't run for President. > >Where Muslims are hunted because > >Some suicidal men decided they didn't like > >Our arrogant bid for modern imperialism. > >This is the Land of the Free . . . > >You drive by a car whose > >Bumper screams > >God bless America! > >Well, you can scratch out the B > >And make it Godless > >Because God left this country a long time ago." ========================================================================= Date: Thu, 3 Jun 2004 12:21:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: terrie relf Subject: Re: more on Nevins, the censored/fired teacher from Albuquerque... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Thank you for posting this... Ter ----- Original Message ----- From: "Craig Allen Conrad" To: Sent: Thursday, June 03, 2004 12:15 PM Subject: more on Nevins, the censored/fired teacher from Albuquerque... this was sent to me by a poet from another listserv... (ends with the poem by student Courtney...the poem that offended for its political content) >The word warrior: Bill Nevins says his antiwar views cost him a teaching >job in Rio Rancho. Now teaching in the South Valley, he says he wants to >continue to encourage students to speak their minds. > >By J.M. Bar¢l >Tribune Reporter > >It's hard not to at least consider the coincidences of Bill Nevins' life. > >The 56-year-old teacher, suspended from Rio Rancho High School in March, >came into the world at a time when free speech was at the center of a >weaponless war planted in U.S. soil. > >In the fall of 1947, four months after Mary Nevins gave birth to her first >son, the government began purging the country of communism. > >As the blue-eyed, blond baby was learning to crawl across his family's >kitchen linoleum in Stanford, Conn., a group of Hollywood writers and >directors were losing their jobs, being labeled anti-American and having >their films blacklisted by the House Un-American Activities Committee. > >Today, Nevins, a tall, silver-haired man whose thin-rimmed glasses magnify >deep wrinkles set around his eyes, has found himself confronted with >similar issues. > >"There are always going to be people in power that are going to try to >stop the discussion of ideas," says Eric Haas, an Albuquerque lawyer and >member of the Alliance for Academic Freedom. "They're afraid of free >speech. They're afraid of those ideas." > >Those ideas Haas refers to include the antiwar sentiments expressed >publicly by Rio Rancho poetry students earlier this year. > >Nevins, who taught humanities and coached the school's poetry slam team, >says his two-month paid suspension, which resulted in an unrenewed >contract, came about because of those words. > >Rio Rancho High School Principal Gary Tripp did not return The Tribune's >phone calls for this story, but Rio Rancho Public Schools spokeswoman Kim >Vesely says, "We've said it several times in the past - this is not a free >speech issue." > >Instead, Tripp's official response in March for Nevins' suspension was >that the teacher did not fill out proper paperwork for a field trip with >his poetry team. > >Nevins' lawyer, Eric Sirotkin, says Tripp signed off on the permission >slips in question. > >"They've never admitted the reason they kept him out of the classroom is >because he had encouraged students to develop opinions," says Sirotkin, >who plans to file a lawsuit Monday against the Rio Rancho school system, >alleging violating of Nevins' First Amendment right to free speech. > >In order to raise money for Nevins' legal fees - which could range from >$10,000 to $50,000 depending on how far the lawsuit goes - members of the >Alliance for Academic Freedom, a group that supports free expression of >teachers and students, are sponsoring a performance at the KiMo Theater on >Sunday. Admission is free, but donations will be accepted. > >The show will include local and national musicians, but the majority of >performers will be poets reading their work. > >"Poetry venues are the only place you can hear both sides to something," >says Don McIver, a local poet who helped coordinate the event. "In the >media, there's so much pro-, pro-, pro-, pro-, pro-war. Poetry readings >are a place where the other side can be expressed." > >Poetry got Nevins through a time he recalls as dark and painful. > >"I was in the middle of a lesson, and I was literally pulled out of my >class," he says of the day of his suspension. > >No time to pack up his stuff - someone else did that for him. No chance to >say goodbye to his students - he received several supportive phone calls >from them but didn't feel it was appropriate to call them back. > >No closure. No assurance. No light at the end of the tunnel. > >"That was a real uncertain time," Nevins says as he restlessly tugs at the >ends of his curly silver hair that rests on the nape of his neck. "But I >assumed it was going to blow over, and they were going to ask me to come >back. Because I knew I didn't do anything wrong." > >Nevins, a freelance journalist and self-proclaimed poet, did a lot of >personal writing during those two months. At first, the words revealed >anger, sadness, disappointment. > >It took about four months, he says, before he could write about peace and >love and reconciliation. > >"You have to spew forth some of the bile before you get to the good >stuff," says Nevins, who now teaches journalism and humanities at Nuestros >Valores Charter High School in the South Valley. > >The anxiety that consumed him during the spring stemmed from more than his >suspension. His 22-year-old son, Liam, a squad leader in the 82nd Airborne >Division, was somewhere in Afghanistan leading his forces into combat, and >Nevins was worried. > >"We had moments when our hearts were in our throats," he says. "I saw a >photo in a magazine that looked like Liam carrying a coffin. It wasn't him." > >Liam has been supportive of his liberal-minded dad, Nevins says, as have >his two grown daughters. > >"They know I do what I do and that I'm very outspoken," he says. "They >were worried about me, but I told them: `You gotta have faith.' I have a >lot of friends, and so many people have rallied around me." > >Teaching again also helps. > >"I never have a bad day as a teacher," he says. > >There's been talk about forming a poetry team at his new school, something >he says is crucial in getting students to think for themselves. > >"It's sad to see the Rio Rancho team is no longer there," he says of the >poetry slam team that disbanded shortly after Nevins' suspension. "As a >parent and a grandparent, I like to see kids encouraged in their >creativity. If Liam wrote a poem, I'd want him to be able to read it out >loud." > >Sunday's poetry event at the KiMo gives Nevins hope that the United States >is not "returning to a period of clamping down on free thought," he says. > >"I think we're going to see young people and the elders speaking their >minds, and we'll get to see what free New Mexico is like." > > >If you go > >What: "Poetic Justice: Committing Poetry in Times of War." Local and >national authors, poets and musicians will read and perform. > >Why: The goal is threefold: To raise money for Bill Nevins' legal fees; to >raise community awareness about First Amendment rights; and to inform >people of the lawsuit that Nevins' lawyer will file against Rio Rancho >Public Schools on Monday. > >When: 6 p.m. Sunday. > >Where: KiMo Theater, 423 Central Ave. S.W. > >Cost: Free. Donations will be accepted. > >Call 768-3522. > >Not alone > >Bill Nevins is one of six Albuquerque-area teachers who were suspended >during the war against Iraq. > >Geoff Barrett was a contemporary issues and social studies teacher at >Highland High School who was briefly suspended and docked two days' pay >after displaying student antiwar art work. He returned to Highland >following his suspension and later sued Albuquerque Public Schools, >alleging violation of his First Amendment rights. He settled with APS, and >the letter of reprimand was removed from his file and his docked pay >restored. A short-term employee, Barrett's contract expired at the end of >the 2003 school year and was not renewed. He teaches at Robert F. Kennedy >Charter School. > >Allen Cooper was a social studies teacher at Highland who displayed >posters in his classroom with antiwar sentiments, including a poster from >an Afghan student. A short-term employee, his contract was not renewed at >the end of the school year. He is suing APS, alleging violating of his >First Amendment rights and school policy. He is not teaching. > >Ken Tabish, a guidance counselor at Albuquerque High School, was suspended >without pay for two days for refusing to take down antiwar material in his >office. He is suing APS in the same lawsuit as Cooper. He still works at >Albuquerque High. > >Carmelita Roybal, an English teacher at Rio Grande High School, was >suspended for two days without pay when she didn't take down antiwar signs >when school administrators asked her to do so. She is suing APS in the >same lawsuit as Cooper and Tabish. She returned to Rio Grande this year. > >Heather Duffy, an art teacher at Rio Grande High School, had a similar >antiwar sign in her room, which she did not take down when administrators >asked her to do so. Duffy, who was suspended with pay for two days, >resigned from her teaching job in April. She is not teaching. > >Courtney's poem > >Here is an excerpt from Courtney Butler's poem "Revolution X," which she >read over Rio Rancho High School's closed-circuit television system in >February. Her poetry coach, Bill Nevins, was placed on paid leave less >than a month later. > >"This is the Land of the Free . . . > >Where the statute of limitations for rape is only five damn years! > >And immigrants can't run for President. > >Where Muslims are hunted because > >Some suicidal men decided they didn't like > >Our arrogant bid for modern imperialism. > >This is the Land of the Free . . . > >You drive by a car whose > >Bumper screams > >God bless America! > >Well, you can scratch out the B > >And make it Godless > >Because God left this country a long time ago." ========================================================================= Date: Thu, 3 Jun 2004 21:41:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jukka-Pekka Kervinen Subject: xStream #21 online Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit xStream -- Issue #21 xStream Issue #21 is online, again in three parts: 1. Regular: Works from 6 poets (Camille Martin, Gregory Vincent St. Thomasino, Vernon Frazer, Jean Vengua, John M. Bennett and Nick E. Melville) 2. Autoissue: Poems generated by computer from Issue #21 texts, the whole autoissue is generated in "real-time", new version in every refresh. 3. Wryting Issue #4: a monthly selection of WRYTING-L listserv works Also announcing a new e-chap: The Sonnet Project by Halvard Johnson Check it from xPress(ed) site http://www.xpressed.org Sincerely, Jukka-Pekka Kervinen Editor xStream WWW: http://xstream.xpressed.org email: xstream@xpressed.org ========================================================================= Date: Thu, 3 Jun 2004 15:40:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Lowther Subject: An Othered South, May 29th 2004 - Atlanta Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit An Othered South at eyedrum, atlanta GA Saturday, May 29 the 1 pm start time of the event was hampered by a number of factors, although many of the poets were present and so the time wasn't wasted. Bob Grumman and others had plenty of time to tour the UNREADABILITY pin up show in the halls (left over from the last language harm show) and everyone got to know one another a bit and to have a sustained period in which to ponder the tables full of books and mags. Michael Hoerman sat outside taking notes for quite some time in preparation for the discussion of southern / experiment issues. Skip Fox was there with three musicians, David Perry, Aaron Verrett & Lance Chance. Jennifer Stewart arrived. Bill Lavender & Nancy Dixon. Later on Brad Elliot made the scene. from the APG; Mark Prejsnar, Randy Prunty, Tracey Gagne, Dana Petersen, Seth Young, Michelle Reeves, Zac Denton and me [John Lowther]. Robert Cheatham was on hand for a couple of hours. at around 5 we started having a discussion about things southern and things experimental. this should all be recorded and i know going in to a recap of what was said that i will be contradicted by the recording and so while I will do the best i can to sketch out the shape of the talk, it will be deformed. I've decided to embrace that and allow myself to slip into writing what i wish i had said (note: if you were there and saw anything differently, please post to Bill's forum... information at the bottom of this email). * I started us off with a few questions about Hank Lazar's essay from the anthology. What do we get from it? Does it describe what we are doing or does it not? Skip Fox seemed to feel that Hank's idea of 'kudzu textuality' did speak in a meaningful way of his work. Skip noted the idea of lushness, overabundance and so on that he felt was apt in regards to his work and to the work of others in the anthology. I suggested that one could look at Jake Berry, Andy di Michele, Jim Leftwich and perhaps a few others and see something of this kudzu textuality idea. Mark P. complicated this a great deal by putting Will Alexander into the mix (one might have brought up Clayton Eschleman or Robert Kelly) a move which makes great sense to me but tramples over the "southern" as if it wasn't there. I brought up my concern that what the essay offers is just an updated "Southern Literature" or southern literature 2.0. Bill said he found this to be the best criticism of the essay. I mentioned Hank's linkage between kudzu textuality and spirituality and how for me, and for most of the atlanta folks, this plank in the platform makes no sense in relation to our work or lives. I suggested something along the lines of "family resemblances" as a way of making connections between some of us. There were interesting comments from Bob Grumman and Michael Hoerman in here that I have lost track of. I did notice that Michael seemed surprised to hear that some of us were unhappy with the essay. One thing which made Michael's comments both particularly interesting and at times somewhat impossible for me to do much with was his firm conviction about the necessary inter-relations of rural experience and southern poetry which he traced back to the transcendentalists and with reference to many folks along the way (Stanley Kunitz for instance). Michael's position is pretty traditional in this regard and his sources canonical in most instances. Mark Prejsnar replied that the american transcendentalists and other of Michael's references were simply not his and in many ways not ours (the APG's? some larger slice of those attending?) instead offering Gertrude Stein and a different list of poetic lights. What if anything does connect us? was asked again to no response. * we touched on regionalism for a time. I didn't feel that this conversation was very productive but others i have talked with did. perhaps they will post something to the forum about it? (again, see instructions at the bottom of this post) Bill was aligning regionalism with team spirit. Michelle was coming at it from a different direction and placing region in regionalism as one puts sex is sexism or race in racism. I think that it was during this stretch of the day that i mentioned the APG's localism (4 of us once lived in one apartment complex!) and tried to think through this very overdetermining experience of mine to ask what else is going on in the south. I noted the 'solitaries'.. folks like Jake Berry and Skip Fox and Bob Grumman (Clayton Couch could have been added and A. di Michele tho now he is in Delaware). All are reasonably well known poet folk who are not hermits or anything, but they live and write in places where there is no group, scene, or society of poetry geographically local to them. i contrast this to new orleans which seems to me to be a poetry scene. there is a long standing reading series that is open to almost anything (thus courting all the dumbing down aspects of open mic poetry) but which has not been abandoned by many of the more interesting poets in town. new orleans seems to have a number of overlapping cliques. i don't mean cliques in a bad way, simply as a description. new orleans also has a number of poetry institutions, the magazines fell swoop and exquisite corpse and the late mesechabe, the reading/speaking series Lit City, Bill's Lavender Ink press, and the elusive but fascinating School of the Imagination. so when i say a scene, what i mean is something like this with different institutions or sub-groupings of the poetry scene. when you have readings in new orleans people generally show up, the crowds kick ass on atlanta for instance. the north carolina scene seems to be bubbling nicely as well and here i am not quite sure i know what i am looking at. ken rumble, my primary contact in this region suggests to me that the Lucifer Poetics Group seems to him much like the APG, but the lucipo list that they run there makes it seem like there are many more poets involved than i had the impression and some are writing and sending from California and Michigan and so forth. Perhaps my idea of regional is out of whack? perhaps these folks are locals on vacation or summer jobbing someplace? i may be entirely incorrect and would welcome clearing insight into it, but i suspect that the lucipo list scene and north carolina as a poetry region is doing something a bit larger than a scene and more like i dunno what... shall i call it a society? i am at a loss for the best word. their carboro poetry festival is this weekend and i wish i could go. to an extent this suggests to me a sort of 'umbrella poetics' which i compared to the Staten Island Poetry Festival that Randy Prunty and I attended this past year. implicitly and explicitly in all of this i brought up and contrasted the APG experience here in atlanta. part of why we do so many things at eyedrum and why two of are now board members is that there is no 'scene' in atlanta along the lines of new orleans or 'society' ala what is blooming in NC. we are it with very few exceptions (Seaberg Acrobatic Poetry for instance), and so we've made common cause with artists in other media and depended on arts scene here for developing an audience. now with the development of the eyedrum's new imprint THE NAMELESS and it's Literary Committee perhaps things will start picking up even more. [I am very conscious of there being something unsaid in all this comparison of different poetry places and the social organizations in each, alas, it is something i am not sure how to say.. and when i brought all this up saturday i was no more able to take.. the .. next.. step.. than i am now.] * somehow we touched briefly on the civil war. * eventually we moved on from this to some interesting but inconclusive discussion of what options are available to us as "southern experimentalists." here again i am reCreating in the recap things which i wish i had said or wish i had said more clearly and probably things i think people said but which they didnt. (is it silly to keep saying that sort of thing? do we all take it for granted that our witnesses are biased, blind in one eye and partying heavily during the time about which they are reporting?) ...anyway, i know i asked something about what our options were? what hopeful future we could imagine for the ourselves as southern / experimental writers. Mark P noted his abhorrence of terms like avant garde, innovative, experimental etc.. we all seemed uncertain about the terms but i noted here as in most discussions that we have a difficult time doing without them. the family resemblances thing came up again. it seemed that everyone was interested in greater interconnections in this region, in the possibility of having annual southern poetry events in other places like pensacola fl and north carolina. and as the talk broke up to finally reap the rewards of Dana's massive feed the poets cookout and feed, i heard a few other ideas floating -- a database of southern poet contacts and readings-organizers to facilitate reading tours of the south (Mark Salerno took advantage of this, reading in N.O., ATL and NC in a few days... it would be great to see more poets swing thru!) * so, after more drinking and partying we lurched into the 'readings' period of the evening. I played a CD titled "slam" from the Vernon Frazer Poetry Band for awhile [Vernon Frazer voice w. Richard McGhee, Stephen Scholz and Brian Johnson]. * then we began the projection stuff. * watched a DV submission from Alex Rawls reading from the forthcoming 3rdness chapbook of Gatsby poems. Alex's video was pretty damned funny. Bill panned around so we could see the extensive collection of Simpson's figurines in the background and other curious things. Alex donned a shriner hat with tassle then mentioned that in N.O. all poets write about hats wear hats to read etc, its a hat poem thing. (is this true or half true or an outright fiction?) then he introduced the poems and the karaoke began with alex reading (mouthing) silently on video while Nancy Dixon read aloud. This was really fun, as we watched Alex stop mouthing now and then and Bill again toured the shelves in close-up. Once alex began speaking again before Nanc was done and another time she finished well before him. the film closed with a phone call from Alex's landlord which he then explained. punch line "so we're gonna store stuff in the dead people's apartment." * watched a VHS submission from Andy di Michele which we miraculously saved from a thorough trouncing in the mails. this video was very weirdly intimate, with sunset's reddish coloring fading to blue but only as refected on andy's clothes and face, and most especially his hands. he read in a very calm measured way through a selection of his work, seeming at times to be improvizing a bit. the camera moved in a semi-random way across his body giving us close-ups of ears and hands and cloth. andy's very distinctive way of using his hands while he reads was in full view, and even became the sole focus of the video at times. a few laughed when the camera showed his feet and we noted that his toes are just as busy as his hands while he reads. his piece ended with him saying something akin to "the phenomenology of the southern experiment is the gawk" and then looking straight into the camera as the movie ended. * Next we watched the DVD from the Lucifer Poetics Group with it's scary poodle. * Ken Rumble opened the disc followed by Joe Donohue and then Tessa Joseph. This DVD was "professionally" shot with fades to black and titling and shots of the audience (supposedly) listening.it was a pretty well put together collection and then technology struck and my commercial DVD player began balking at Evie Shockley's section of the dvd. initially it crated a digital fuck-up sound poem which we all sat listening to in some shock as it really did sound pretty cool. but the things which the digital glitching did to her face on the screen (big as a movie!) were downright Francis Bacon sort of frightening so i jumped up, ejected the disc, cleaned it and tried again. it played differently but we were unable to hear Evie read and missed the work of Amy Carroll completely. -- a few comments here. Ken smiles all the time. the poodle is a bit creepy on camera. Joe's stuff reminded me of various things and i think i would have rather had text in front of me to appreciate it. Tessa seemed nervous on camera and it was rather endearing. Evie had just begun, as i note above, when everything went wrong, BUT, we all felt a loss when she was interrupted by glitch as she had brought up the issue of race and southern identity and everyone wanted to know where it wold go from there i think. *** fortunately, i have since then been able to watch the whole DVD on a computer and was pleased to hear Evie and Amy both speak a bit more about poetics. I feel as if i am giving this bunch of poetry less comment than it perhaps deserves, but unlike with Alex & Andy above, all of this work is new to me and i long to see it on the page (perhaps you Luciferians will post your poems to Bill forum?). * next (i think) a small pink teddy bear read James Sanders' poem "Owen Wilson" * [sequence is very questionable from here on] * two polyphons by Mark Prejsnar were performed, before the intermission Randy Prunty, Tracey Gagne and he did his "How Dare You, or five crimson doves" a polyphon based on the dictionary of regional english. then later in the 2nd half his "corrosive well waters of the western desert" was done by myself, Zac Denton and Mark. * Skip Fox and Live Capture Remix performed. This is Skip and three musicians, David Perry, Aaron Verrett & Lance Chance. LCR used phrase samplers and other digital effects to process Skip's voice, listening carefully and taking pieces of it out to echo or distort in various ways. at one point Skip told them to get a little louder and i think things got immediately more intense and exciting as the three musicians began displacing the live voice of Skip with echoes and distortions of it. If i understood correctly Skip has been working with these guys for a couple of years and it was cool for me to see him complicating the page somewhat in his recent work. very cool. * Bill read a sort of poem/essay (available at the forum) called "poetry politics place" which i liked a lot and which surprised me and many others by bringing a bunch of us into it's text as names/references * Tracey Gagne read a selection of poems including one of my faves called something like"conversation overheard on a cellphone" which repeated in many permutations the word OTHER which came up so much during the day * Micheal Hoerman read a few poems, mostly i believe from his chapbook Bad Rotten. they were funny and violent and surreal in juxtapositions yet very much poems of a certain voice. * During the intermission I played Cheryl Pallant's work toward the end of which she asks about going out for a drink (Randy said, "OK, i'll go"). something i noticed a lot in Cheryl's work was a sense of either a. my mis-hearing a word 'slightly' or b. her mispronouncing a word 'slightly' with this slightly being one that produces an interesting effect. again, seeing the work while hearing it would be ideal. * I also played Michael Rothenberg's CD "Under the Spell" (with musician Bobby Thomas) for a bit before we resumed. not sure what to say about this disc or any reactions to it, i got distracted and had to take a bathroom break and missed much of it's time on the player. * Randy Prunty read his recent sound poem extravaganza "East Lake" to enormous positive response. * Jennifer Stewart an past student of Bill's who was on her way to NOLA from up north somewhere read a poem or three. they were all very sexual, erotic even. i was uncertain of what connections Jennifer might have made to southern experimental writing. would be curious to know. * I read some collaborative poems done with Dana Petersen (our almost finished book!) then she read more of her own. She concluded with a collab poem done with Seth Young. This little stretch was useful in showcasing the APG's collaborative writing which was otherwise hard to see or hear at this event. * Bob Grumman read some notes toward a lecture which I believe concerned a poem he was thinking of writing. I very much look forward to hearing the recording as i missed good bit of Bob's talk for some reason. * Zac Denton read a few poems, some of which were from his brand new 3rdness chapbook NORMAHLWELKINGS which had it's official release at the an othered south event. something like 25 copies of this chap were taken! * Michelle Reeves read from her Dectets and some other poem too i believe. She also split her reading with some in the 1st half and some in the 2nd. * Brad Elliot, who had driven in from Tennessee and who drove back afterward, read a poem (again, posted at Bill's archive) which surprised me very pleasantly. it was quite political and full of cool lines. i had thought Brad was a writer of plays primarily (maybe he is) but liked this stuff quite a bit. * Seth Young read a few poems from his long sequence "river we are carried by" * Zac Denton and the Live Capture Remix joined me on a piece to close the evening, another of my Johnny Minotaur improvizations. I was pretty pleased with the way the piece went and enjoyed working with the LCR guys a lot. Zac played violin. * we finally came to a halt sometime after midnight. ok. that was my exhaustive report. who did i forget? i'm sure i have forgotten someone and i apologize in advance. there were some very sad absences, i very much wanted to see Andy di Michele at the event, he's one of my oldest poetry friends and he's never been able to visit. Hank Lazar had to cancel sort of last minute and that's a shame as his essay was discussed a good bit (his more recent piece in the boston review has been a topic for the lucipo list in n.c.) and his perspective on many of the question raised in the afternoon would have been much appreciated. the folks from the fiction collective were struck with sudden emergencies and illnesses and so they couldnt come (tho they sent books!). it also sucks that anyone who wanted to come couldnt-- which goes for too many for me to easily list here. there was a piece in the local weekly about the conference, or sort of about it at least. is it that hard to get a straight answer out of me? you can find it here; http://atlanta.creativeloafing.com/2004-05-27/arts_shelfspace.html Bill's forum is set up here. it would be great to get any diverging views of the event from any other participants and even better to see some more southern poets shaken out of the woodwork. http://www.lavenderink.org/forum/ best jlo ========================================================================= Date: Thu, 3 Jun 2004 16:23:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Fwd: spread the word: another flower sunset Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" ps i'll take bids back-channel of course. > >From: Maria Damon >Subject: spread the word: another flower sunset > >rather than a tequila sunrise, there's another shawl like the one at >this website: >http://www.sheilashawl.umn.edu/shawls-Ebay-02.html > >i'm auctioning it off myself and the proceeds will go to Leslie >Scalapino's emergency granting fund, Poets in Need, for poets' >medical/housing, etc emergencies. the main difference between the >pictured one is that in the one currently up for bidding has a >magenta/orange warp instead of a pink and red one. but the basic >colors and patterns are the same. i'll take bids for the next week >and then send it off to the highest bidder. the "buy now" price is >$200. if it doesn't sell i'll send it to Silent Witness, the >domestic homicide awareness organization that the other one went to; >they're having another e-bay drive in the fall. please forward to >interested parties... > >warm regards to all: >md >-- -- ========================================================================= Date: Fri, 4 Jun 2004 02:06:21 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit raspberries blueberries blackberries strawberries red roses then pink heavy on the vine watermelon dense like flesh... 3:00..oooone...max roach can't tell who Rashid is...the beat..drn... ========================================================================= Date: Fri, 4 Jun 2004 03:13:27 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Valdimir Guerero drove in 9 yesterday the perfect balanced post modernist swing tonite 3 for 4 one R.B.I. guh-RAR-oh.... 3:00...throw another pitch..drn... ========================================================================= Date: Fri, 4 Jun 2004 08:02:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Clinton Speech at BEA/ replay sched Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Clinton's talk at Book Expo on his new book, My Life. C-Span replay East coast times: 06:00 pm (3 pm in the west) 1:00 (est.) (10 this evening in the west) Mesmerizing and well worth to hear, ponder and Wow, has the Presidency gone from verbal wealth Into a deep nasty drought! Stephen V Blog: http://stephenvincent.durationpress.com ========================================================================= Date: Fri, 4 Jun 2004 08:41:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Encyclopedia of American Poetry: Call Comments: cc: grayjeff@shu.edu In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Here's a call from Jeff Gray. I apologize if the formatting is off. For the TOPIC LIST, point your browser here: www.ocf.berkeley.edu/~eoap the password is: a2zed And now on to Jeff Gray: Dear colleague: I and my co-editors are writing to invite you to contribute to The Greenwood Encyclopedia of American Poetry, a reference work covering American poetry from its beginnings to the present. The Encyclopedia will be the most thorough and inclusive work of its kind to date, including more than a thousand entries on poets, critics, poetic terms, and movements. Entry length varies from 100 to 5,000 words, with poet entries usually ranging from 1,000 to 3,000 words. We invite you to consult www.ocf.berkeley.edu/~eoap, where the lists of entries are posted and frequently updated to reflect assignments to contributors. To view the entries, click “entries” at the website, and enter the password “a2zed” (as in A-Z) at the prompt. To express interest in writing particular entries, please respond as follows: For 20th-century poet entries: grayjeff@shu.edu For pre-20th-century entries: balkunma@shu.edu For topic entries: mccorkle@capital.net Please submit a curriculum vitae along with your request for a given entry or entries. We are particularly interested in contributors to write on pre-20th century poetry, as we have many unassigned entries in that area. Entries will be due approximately four months from the date of assignment, except in the case of the longest entries and multiple entries, for which longer times may be determined. Guidelines for writing, as well as sample entries, are available at the site. Entries should be submitted as MS-Word attachments and simultaneously mailed as diskettes to Jeffrey Gray, Department of English, Seton Hall University, South Orange, NJ 07079. Note that the poet entries are, for present purposes, broken into periods (pre-20th century and 20th century), and that the topic entries are listed separately. In published form, all entries will be listed A-Z continuously, irrespective of period or of entry type. Note also the absence of entries on particular poems. The encyclopedia’s approach will be to include discussion of key poems within the entries on specific poets. We anticipate that, as the only encyclopedia covering American poetry and poetics with this wide a span and this great a specificity, The Greenwood Encyclopedia of American Poetry will be the definitive reference tool in the field and will be consulted widely by students and scholars of American literature. We hope you will offer your own expertise and scholarship in giving it shape. Sincerely yours, Advisory Board: Steven Gould Axelrod, University of California, Riverside The Editors Paula Bennett, Southern Illinois University Charles Bernstein, SUNY Buffalo Jeffrey Gray Pattie Cowell, Colorado State University grayjeff@shu.edu Henry Louis Gates, Jr., Harvard University Mary McAleer Balkun Donald Marshall, University of Illinois, Chicago balkunma@shu.edu Marjorie Perloff, Stanford University James McCorkle Lorenzo Thomas, University of Houston mccorkle@capital.net Robert von Hallberg, University of Chicago Cheryl L.Walker, Scripps College John C. Shields, Illinois State University __________________________________ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/ ========================================================================= Date: Fri, 4 Jun 2004 12:51:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schlesinger Subject: ARTISTS SUBPOENAED IN USA PATRIOT ACT CASE Comments: To: corel MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Subject: ARTISTS SUBPOENAED IN USA PATRIOT ACT CASE June 2, 2004 =20 FOR IMMEDIATE RELEASE Contact: Beatriz da Costa, mailto:media@caedefensefund.org =20 ARTISTS SUBPOENAED IN USA PATRIOT ACT CASE Feds STILL unable to distinguish art from bioterrorism Grand jury to convene June 15 HELP URGENTLY NEEDED - SEE BELOW Three artists have been served subpoenas to appear before a federal = grand jury that will consider bioterrorism charges against a university = professor whose art involves the use of simple biology equipment.=20 The subpoenas are the latest installment in a bizarre investigation in = which members of the Joint Terrorism Task Force have mistaken an art = project for a biological weapons laboratory (see end for background). = While most observers have assumed that the Task Force would realize the = absurd error of its initial investigation of Steve Kurtz, the subpoenas indicate that the feds have instead chosen to press = their "case" against the baffled professor. Two of the subpoenaed artists--Beatriz da Costa and Steve Barnes--are, = like Kurtz, members of the internationally-acclaimed Critical Art = Ensemble (CAE), an artists' collective that produces artwork to educate = the public about the politics of biotechnology. They were served the = subpoenas by federal agents who tailed them to an art show at the Massachusetts Museum of Contemporary Art. The third artist, Paul = Vanouse, is, like Kurtz, an art professor at the University at Buffalo. = He has worked with CAE in the past. The artists involved are at a loss to explain the increasingly bizarre = case. "I have no idea why they're continuing (to investigate)," said = Beatriz da Costa, one of those subpoenaed. "It was shocking that this = investigation was ever launched. That it is continuing is positively = frightening, and shows how vulnerable the PATRIOT Act has made freedom = of speech in this country." Da Costa is an art professor at the = University of California at Irvine. According to the subpoenas, the FBI is seeking charges under Section 175 = of the US Biological Weapons Anti-Terrorism Act of 1989, which has been = expanded by the USA PATRIOT Act. As expanded, this law prohibits the possession of "any biological agent, toxin, or delivery system" = without the justification of "prophylactic, protective, bona fide = research, or other peaceful purpose." (See = http://www4.law.cornell.edu/uscode/18/175.html for the 1989 law and http://www.ehrs.upenn.edu/protocols/patriot/sec817.html for its USA PATRIOT Act expansion.) Even under the expanded powers of the USA PATRIOT Act, it is difficult = to understand how anyone could view CAE's art as anything other than a = "peaceful purpose." The equipment seized by the FBI consisted mainly of CAE's most recent project, a mobile DNA extraction laboratory to test = store-bought food for possible contamination by genetically modified = grains and organisms; such equipment can be found in any university's basic biology lab and even in many high schools (see "Lab Tour" at = http://www.critical-art.net/biotech/free/ for more details). The grand jury in the case is scheduled to convene June 15 in Buffalo, = New York. Here, the jury will decide whether or not to indict Steve = Kurtz on the charges brought by the FBI. A protest is being planned at 9 a.m. on June 15 outside the courthouse at 138 Delaware Ave. in = Buffalo. HELP NEEDED Financial donations: The CAE Defense Fund has so far received over 200 donations in amounts = ranging from $5 to $400. This is a wonderful outpouring of sympathy,but = a drop in the bucket compared to the potential costs of the case. To = make a donation, please visit http://www.caedefensefund.org/ Letters of support: Letters and petitions of support from biologists, artists, and others, = especially those in positions of responsibility at prominent = institutions or companies, could be very useful. See = http://www.caedefensefund.org/ for a sample letter of support. Legal offers and letters of support: If you are a lawyer, offers of pro bono support or offers to write = amicus briefs would be very helpful. BACKGROUND Early morning of May 11, Steve Kurtz awoke to find his wife, Hope, dead = of a cardiac arrest. Kurtz called 911. The police arrived and, after = stumbling across test tubes and petri dishes Kurtz was using in a = current artwork, called in the Joint Terrorism Task Force. Soon agents from the Task Force and FBI detained Kurtz, cordoned off the = entire block around his house, and later impounded Kurtz's computers, = manuscripts, books, equipment, and even his wife's body for further = analysis. The Buffalo Health Department condemned the house as a health = risk. Only after the Commissioner of Public Health for New York State had = tested samples from the home and announced there was no public safety = threat was Kurtz able to return home and recover his wife's body. Yet the FBI would not release the impounded materials, which included = artwork for an upcoming exhibition at the Massachusetts Museum of = Contemporary Art. While most observers assumed the Task Force would realize that its = initial investigation of Steve Kurtz was a terrible mistake, the = subpoenas indicate that the feds have instead chosen to press their = "case" against Kurtz and possibly others. To donate to the CAE Defense Fund, and for up-to-date information on the = case, please visit http://www.caedefensefund.org/ For more information on the Critical Art Ensemble, please visit = http://www.critical-art.net/ To join a list about the case, please visit = http://groups.yahoo.com/group/CAE_Defense Articles and television stories about the case: = http://www.appliedautonomy.com/cae/ http://www.washingtonpost.com/wp-dyn/articles/A8278-2004Jun1.html http://www.newsday.com/news/local/wire/ny-bc-ny--materialsremoved0601jun0= 1, 0,3539235.story?coll=3Dny-ap-regional-wire http://www.buffalonews.com/editorial/20040602/1048042.asp On advice of counsel, Steve Kurtz is unable to answer questions regarding his case. Please direct questions or comments to mailto:media@caedefensefund.org. ========================================================================= Date: Fri, 4 Jun 2004 13:27:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schlesinger Subject: KIOSK Hits the Streets ! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Kiosk hists the streets! See: http://epc.buffalo.edu/mags/kiosk/enter The editors of Kiosk are pleased to announce the publication of the 2004 = issue, featuring the writings of: Tyrone Williams, Jules Boykoff, Lytle = Shaw, Tan Lin, Peter Quartermain, Tenney Nathanson, Nancy Kuhl, Barbara = Cole and Pattie McCarthy, Tim Shaner, Rodrigo Toscano, Gregg Biglieri, = Charles Valle, Nick Lawrence, Lori Emerson and Jane Sprague.=20 The 2004 edition of 170 pages (7 x 8.5") is perfect-bound, and printed = on off-white 65 lb. paper with cover art by Joshua Noble. Order ahead! = $5.00 includes shipping! See http://epc.buffalo.edu/mags/kiosk/index.html for Further = Information. Best Wishes, Kyle ========================================================================= Date: Fri, 4 Jun 2004 11:40:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Organization: Rova Saxophone Quartet Subject: Steve lacy In-Reply-To: <004a01c44a61$a2a8ef80$32b71743@administpii39e> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Soprano sax master Steve lacy died this morning after a struggle with liver cancer, in Brookline, MA. I was fortunate enough to see Mr. Lacy perform many times over the past several years in the Bay Area, the most memorable of which was an un-publicized solo set at the now defunct Sweatshop on Mission St. I also helped present an evening at Noe Valley Ministry when Steve was touring with Roswell Rudd in support of their fantastic Verve album of mostly Monk tunes. Two sets, both completely sold out, each one amazing, soulful, and utterly different, although the tunes were the same... Another time, I was left in charge of a show at a church in the East Bay -- help me out here, I can't remember what it was called -- St. John's? Steve and Irene had a beautiful dressing room somewhere upstairs in the huge church complex, complete with a baby grand piano and bowls of fruit and wine, etc., and I left them alone there to see to the box office. When I came back, I discovered they'd been rudely kicked out by the attendees of an AA meeting who usually used that room. While Irene ranted and raved, Steve calmly fingered his sax and said softly, "We've been kicked out of paradise, man..." --DH ========================================================================= Date: Fri, 4 Jun 2004 14:40:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Steve Lacy In-Reply-To: <20040604154119.15254.qmail@web51904.mail.yahoo.com> Mime-Version: 1.0 (Apple Message framework v618) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit A great sadness: Steve Lacy passed away earlier today. He was one of the greatest soprano sax masters of all times, a superb song writer (over 250 songs in the last twenty years) -- working in close collaboration with his wife, the singer Irene Aebi --, and a major reader & connaisseur of poetry (the source for his lyrics). He was also a wonderful friend to those who knew him, and one of the finest & gentlest human beings it has been my pleasure to know. He will be greatly missed. Pierre ___________________________________________________________ Keep the tempo -- Steve Lacy ___________________________________________________________ Pierre Joris 6 Madison Place Albany NY 12202 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 85 email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Fri, 4 Jun 2004 15:35:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: SexAmerica.bvh MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII SexAmerica.bvh HIERARCHY ROOT LeftTenant { SPERMCOUNT 00 0.00 0.00 FUCKING 0 Xposition Yposition Zposition Zrotation Xrotation Yrotation SWALLOW LeftBreast { SPERMCOUNT 0.000000 0.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation SWALLOW LeftKnee { SPERMCOUNT 0.000000 00.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation SWALLOW LeftNipple { SPERMCOUNT 0.000000 00.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation End Site { SPERMCOUNT 0.000000 0.000000 0.000000 } } } } SWALLOW RightBreast { SPERMCOUNT 0.000000 0.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation SWALLOW RightKnee { SPERMCOUNT 0.000000 00.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation SWALLOW Penis { SPERMCOUNT 0.000000 00.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation End Site { SPERMCOUNT 0.000000 0.000000 0.000000 } } } } SWALLOW Chest { SPERMCOUNT 0.000000 0.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation SWALLOW RightNipple { SPERMCOUNT 0.000000 00.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation SWALLOW RightShoulder { SPERMCOUNT 0.000000 0.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation SWALLOW RightElbow { SPERMCOUNT 0.000000 00.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation SWALLOW RightWrist { SPERMCOUNT 0.000000 0.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation End Site { SPERMCOUNT 0.000000 0.000000 0.000000 } } } } } SWALLOW Lieutenant { SPERMCOUNT 0.000000 00.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation SWALLOW LeftShoulder { SPERMCOUNT 0.000000 0.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation SWALLOW LeftElbow { SPERMCOUNT 0.000000 00.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation SWALLOW LeftWrist { SPERMCOUNT 0.000000 0.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation End Site { SPERMCOUNT 0.000000 0.000000 0.000000 } } } } } SWALLOW Neck { SPERMCOUNT 0.000000 00.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation SWALLOW Head { SPERMCOUNT 0.000000 0.000000 0.000000 FUCKING 0 Zrotation Xrotation Yrotation End Site { SPERMCOUNT 0.000000 0.000000 0.000000 } } } } } MOTION Frames: 0 Frame Time: 0.000000 0.00 00.00 0.00 0.00 00.00 0.00 0.00 0.00 0.00 0.00 00.00 0.00 0.00 0.00 0.00 0.00 00.00 0.00 0.00 00.00 00.00 0.00 00.00 0.00 0.00 00.00 00.00 00.00 0.00 0.00 00.00 0.00 00.00 0.00 00.00 00.00 0.00 0.00 0.00 00.00 0.00 00.00 00.00 0.00 0.00 000.00 00.00 000.00 0.00 0.00 0.00 00.00 00.00 0.00 00.00 00.00 00.00 0.00 00.00 0.00 0.00 00.00 0.00 0.00 0.00 0.00 0.00 00.00 0.00 0.00 0.00 0.00 0.00 00.00 0.00 0.00 00.00 00.00 0.00 00.00 0.00 0.00 00.00 00.00 00.00 0.00 0.00 00.00 00.00 00.00 0.00 00.00 00.00 0.00 0.00 0.00 00.00 0.00 00.00 00.00 0.00 0.00 000.00 00.00 000.00 0.00 0.00 0.00 00.00 00.00 0.00 00.00 00.00 00.00 0.00 00.00 0.00 0.00 00.00 0.00 0.00 0.00 0.00 0.00 00.00 0.00 0.00 0.00 0.00 0.00 00.00 0.00 0.00 00.00 00.00 0.00 00.00 0.00 0.00 00.00 00.00 00.00 0.00 0.00 00.00 00.00 00.00 0.00 00.00 00.00 0.00 0.00 0.00 0.00 0.00 00.00 00.00 0.00 0.00 0.00 00.00 00.00 0.00 0.00 0.00 00.00 00.00 0.00 0.00 00.00 00.00 0.00 00.00 0.00 0.00 00.00 0.00 0.00 0.00 0.00 0.00 00.00 0.00 0.00 0.00 0.00 0.00 00.00 0.00 0.00 00.00 00.00 0.00 00.00 0.00 0.00 00.00 00.00 00.00 0.00 0.00 00.00 00.00 00.00 0.00 00.00 00.00 0.00 0.00 0.00 0.00 0.00 0.00 00.00 0.00 0.00 0.00 00.00 00.00 0.00 0.00 0.00 00.00 00.00 0.00 0.00 00.00 00.00 _ ========================================================================= Date: Fri, 4 Jun 2004 15:37:37 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: "You Got Chalabi, Now We Got You, Tenet...." 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 France, Germany, Russia and China Disguised As the U.N. Have Cheney And Rumsfeld By The Short Curly Ones: Doug Feith Calls Oil/Natural Gas Deal With U.N. "Price of Failure": U.N. Bailout To Cost Trillions; Britain Fucked: Tenet Steps Down To Reap Rewards In Private Sector; Master Spook Wrested Trillions From Cheney's Hands. "You Got Chalabi, Now We Got You, Tenet, You Cocksucker," Crows 'Pyrrhic' Paul Wolfowitz: Still Many Murders Ahead For U.S, Bush Tells Air Force Academy As New Tape-A-Rape Allegations Surface In The Military: U.S. Military Number One In Rape And Snuff Films Surpassing Brazilian Police: Geppettocrats Hold Clear Majority In Iraq: After Hearing The Unconscious Comedy Stylings Of George W. Bush, Professor Irwin Corey Has Decided To Retire; "'Kill Innocent Lives'! The Little Texas Cocksucker Is A Natural! He IS His Routine! How The Livin' Shit Can I Compete With That?" The Tousled Haired Comic Groused By ROBBUM REICHSTAG 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Fri, 4 Jun 2004 15:58:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Work MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Work (Adapted from State of West Virginia Department of Mines Inspection Report Number 14, 1956) I keep a weekly record of old works, airways and escape ways. I make air measurements every two weeks and keep a record with pen or indelible pencil. I see a travelway with the air intake to all sections in the mine, and a hoist when the intake is a shaft. I examine idle and abandoned sections of the mine three hours before employees are permitted to enter. I do not leave a dangerous place until it is made safe. I wear a hard hat and hard-toed shoes. When I am grinding, I wear goggles and when cutting, welding, or striking where particles may fly I wear other eye protection. I remove the front ends of cutter bars while the machine is being trammed. I use roof bolt drill bits less than one and three-eights inches in diameter. I confine the roof bolts. I remove all cuttings from drill holes before explosives are placed in the hole. I use only one kind of explosive in a shot hole. I do not use coal dust or inflammable material for tamping. I stem holes tightly and full to the mouth. I use wooden tamping bars. I do not use fuses of squibs. I use metal scrapers attached to wooden tamping bars not more than eight inches in length. I insert blasting caps in line with the explosives, not at an angle. I keep the leg wires of electric blasting caps shunted until connected for firing. I fire shots promptly after charging. I warn persons that shots are to be fired so that they may withdraw to a place of safety. I warn persons not to return to the face after a shot. I shoot coal from the Solid-Places Rock-Dusted to the face. I roll up shooting cables when not in use. _ ========================================================================= Date: Fri, 4 Jun 2004 15:23:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Steve Lacy In-Reply-To: <98B1A700-B656-11D8-9191-003065BE1640@albany.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" pierre & others, such sad news about steve lacy... what a loss... a great talent, and he and irene made a great team... best, joe ========================================================================= Date: Fri, 4 Jun 2004 13:36:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: solar gorgo token Comments: To: wryting-l@listserv.utoronto.ca Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit solargorgotoken http://www.hevanet.com/solipsis/solargorgotoken.jpg file under: "the migration of signals" ========================================================================= Date: Fri, 4 Jun 2004 13:55:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Organization: Rova Saxophone Quartet Subject: Re: Steve Lacy In-Reply-To: <98B1A700-B656-11D8-9191-003065BE1640@albany.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Pierre: Yes, thanks for pointing out Steve's special relationship to poetry. Much of Steve's music was inspired by poetry, and he had vast amounts of it committed to memory (one of my favorite moments in the Sweatshop show here in SF was when he paused to recite a whole Melville poem by heart). In fact, what stands out to me about his music is the poetic-ness of it; his lines were always based on breath, to an extent that forefronted this aspect of his playing far more fluently than other horn players'; there was never a wasted tone or sound. I wonder if others who are familiar with his music might recommend their favorite recordings for those who want to check him out; there's so much to choose from. For me, since the duet work with Irene was so often not to my taste, his album Remains stands out. Pure solo work. Based on his readings in the Tao te ching. Fantastic, haunting stuff. One more thought: while Steve might have cashed in and watered down his sound to play the jazzfest circuit, he never stopped experimenting and pushing boundaries and insisting on his own musical path, and he performed in small or mid-size venues right up to the end... Best, DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Pierre Joris Sent: Friday, June 04, 2004 11:40 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Steve Lacy A great sadness: Steve Lacy passed away earlier today. He was one of the greatest soprano sax masters of all times, a superb song writer (over 250 songs in the last twenty years) -- working in close collaboration with his wife, the singer Irene Aebi --, and a major reader & connaisseur of poetry (the source for his lyrics). He was also a wonderful friend to those who knew him, and one of the finest & gentlest human beings it has been my pleasure to know. He will be greatly missed. Pierre __________________________________________________ _________ Keep the tempo -- Steve Lacy __________________________________________________ _________ Pierre Joris 6 Madison Place Albany NY 12202 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 85 email: joris@albany.edu http://www.albany.edu/~joris/ __________________________________________________ __________ ========================================================================= Date: Fri, 4 Jun 2004 17:00:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Steve Lacy MIME-Version: 1.0 Content-Type: text/plain despite appearances, I do not reserve my grieving for jazz masters who work with poets -- But this is such a loss -- Lacy did some beautiful settings of poetry throughout his long and pwerful career -- I'll spend the rest of the weekend listening to my collection of his work,,,,, <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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, 4 Jun 2004 17:15:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Steve Lacy In-Reply-To: <98B1A700-B656-11D8-9191-003065BE1640@albany.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" thanks for this sad news, pierre. i saw him several times in mpls/stpaul and each time was happy to have done so; the last time, a couple of years ago, he played from his beat suite, songs of bob kaufman among others. At 2:40 PM -0400 6/4/04, Pierre Joris wrote: >A great sadness: Steve Lacy passed away earlier today. He was one of >the greatest soprano sax masters of all times, a superb song writer >(over 250 songs in the last twenty years) -- working in close >collaboration with his wife, the singer Irene Aebi --, and a major >reader & connaisseur of poetry (the source for his lyrics). He was also >a wonderful friend to those who knew him, and one of the finest & >gentlest human beings it has been my pleasure to know. He will be >greatly missed. > >Pierre > >___________________________________________________________ > >Keep the tempo -- Steve Lacy >___________________________________________________________ >Pierre Joris >6 Madison Place >Albany NY 12202 >h: 518 426 0433 >c: 518 225 7123 >o: 518 442 40 85 >email: joris@albany.edu >http://www.albany.edu/~joris/ >____________________________________________________________ -- ========================================================================= Date: Fri, 4 Jun 2004 22:40:25 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: Steve Lacy In-Reply-To: <20040604165000.GA12851@mail15e.boca15-verio.com> Mime-Version: 1.0 (Apple Message framework v618) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit 'crops' (Quark Records, 1979) brings the ariculate spatiality of the solo works and the fierceness of the band's version of the last time they played 'The Woe' 'the principal music we performed during the last two years of the USA's involvement in Vietnam' together on one disc. plenty of others, but that's my pick possibly 'Anthem' (Novus 1989) on CD if you want the range of the band's work. But there will be a plenitude of suggestions raining here for sure. love and love cris On 4 Jun 2004, at 21:55, David Hadbawnik wrote: > Pierre: > > Yes, thanks for pointing out Steve's special > relationship to poetry. Much of Steve's music was > inspired by poetry, and he had vast amounts of it > committed to memory (one of my favorite moments in > the Sweatshop show here in SF was when he paused > to recite a whole Melville poem by heart). In > fact, what stands out to me about his music is the > poetic-ness of it; his lines were always based on > breath, to an extent that forefronted this aspect > of his playing far more fluently than other horn > players'; there was never a wasted tone or sound. > > I wonder if others who are familiar with his music > might recommend their favorite recordings for > those who want to check him out; there's so much > to choose from. For me, since the duet work with > Irene was so often not to my taste, his album > Remains stands out. Pure solo work. Based on his > readings in the Tao te ching. Fantastic, haunting > stuff. > > One more thought: while Steve might have cashed in > and watered down his sound to play the jazzfest > circuit, he never stopped experimenting and > pushing boundaries and insisting on his own > musical path, and he performed in small or > mid-size venues right up to the end... > > Best, > > DH > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of > Pierre Joris > Sent: Friday, June 04, 2004 11:40 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Steve Lacy > > A great sadness: Steve Lacy passed away earlier > today. He was one of the greatest soprano sax > masters of all times, a superb song writer (over > 250 songs in the last twenty years) -- working in > close collaboration with his wife, the singer > Irene Aebi --, and a major reader & connaisseur of > poetry (the source for his lyrics). He was also a > wonderful friend to those who knew him, and one of > the finest & gentlest human beings it has been my > pleasure to know. He will be greatly missed. > > Pierre > > __________________________________________________ > _________ > > Keep the tempo -- Steve Lacy > __________________________________________________ > _________ > Pierre Joris > 6 Madison Place > Albany NY 12202 > h: 518 426 0433 > c: 518 225 7123 > o: 518 442 40 85 > email: joris@albany.edu > http://www.albany.edu/~joris/ > __________________________________________________ > __________ > ========================================================================= Date: Fri, 4 Jun 2004 22:41:12 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: Steve Lacy In-Reply-To: Mime-Version: 1.0 (Apple Message framework v618) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit sorry articulate some hope;) On 4 Jun 2004, at 22:40, cris cheek wrote: > 'crops' (Quark Records, 1979) > > brings the ariculate spatiality of the solo works and the > fierceness of the band's version of the last time they played 'The Woe' > 'the principal music we performed during the last two years of the > USA's involvement in Vietnam' together on one disc. > > plenty of others, but that's my pick > > possibly 'Anthem' (Novus 1989) on CD if you want the range of the > band's work. But there will be a plenitude of suggestions raining here > for sure. > > love and love > cris > > On 4 Jun 2004, at 21:55, David Hadbawnik wrote: > >> Pierre: >> >> Yes, thanks for pointing out Steve's special >> relationship to poetry. Much of Steve's music was >> inspired by poetry, and he had vast amounts of it >> committed to memory (one of my favorite moments in >> the Sweatshop show here in SF was when he paused >> to recite a whole Melville poem by heart). In >> fact, what stands out to me about his music is the >> poetic-ness of it; his lines were always based on >> breath, to an extent that forefronted this aspect >> of his playing far more fluently than other horn >> players'; there was never a wasted tone or sound. >> >> I wonder if others who are familiar with his music >> might recommend their favorite recordings for >> those who want to check him out; there's so much >> to choose from. For me, since the duet work with >> Irene was so often not to my taste, his album >> Remains stands out. Pure solo work. Based on his >> readings in the Tao te ching. Fantastic, haunting >> stuff. >> >> One more thought: while Steve might have cashed in >> and watered down his sound to play the jazzfest >> circuit, he never stopped experimenting and >> pushing boundaries and insisting on his own >> musical path, and he performed in small or >> mid-size venues right up to the end... >> >> Best, >> >> DH >> >> -----Original Message----- >> From: UB Poetics discussion group >> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of >> Pierre Joris >> Sent: Friday, June 04, 2004 11:40 AM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Steve Lacy >> >> A great sadness: Steve Lacy passed away earlier >> today. He was one of the greatest soprano sax >> masters of all times, a superb song writer (over >> 250 songs in the last twenty years) -- working in >> close collaboration with his wife, the singer >> Irene Aebi --, and a major reader & connaisseur of >> poetry (the source for his lyrics). He was also a >> wonderful friend to those who knew him, and one of >> the finest & gentlest human beings it has been my >> pleasure to know. He will be greatly missed. >> >> Pierre >> >> __________________________________________________ >> _________ >> >> Keep the tempo -- Steve Lacy >> __________________________________________________ >> _________ >> Pierre Joris >> 6 Madison Place >> Albany NY 12202 >> h: 518 426 0433 >> c: 518 225 7123 >> o: 518 442 40 85 >> email: joris@albany.edu >> http://www.albany.edu/~joris/ >> __________________________________________________ >> __________ >> > ========================================================================= Date: Fri, 4 Jun 2004 15:22:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: Steve Lacy Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear Pierre My condolescenes to you. I wanted to once again thank you for introducing us at your party in Albany back circa 94. I'm always intimidated around older celebrities, but he was very down to earth, as was Irene---a pleasure to listen to (oh yeah and all that music he did too....!)... Chris ---------- >From: Pierre Joris >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Steve Lacy >Date: Fri, Jun 4, 2004, 10:40 AM > > A great sadness: Steve Lacy passed away earlier today. He was one of > the greatest soprano sax masters of all times, a superb song writer > (over 250 songs in the last twenty years) -- working in close > collaboration with his wife, the singer Irene Aebi --, and a major > reader & connaisseur of poetry (the source for his lyrics). He was also > a wonderful friend to those who knew him, and one of the finest & > gentlest human beings it has been my pleasure to know. He will be > greatly missed. > > Pierre > > ___________________________________________________________ > > Keep the tempo -- Steve Lacy > ___________________________________________________________ > Pierre Joris > 6 Madison Place > Albany NY 12202 > h: 518 426 0433 > c: 518 225 7123 > o: 518 442 40 85 > email: joris@albany.edu > http://www.albany.edu/~joris/ > ____________________________________________________________ ========================================================================= Date: Sat, 5 Jun 2004 03:29:26 +0200 Reply-To: Kevin Magee Sender: UB Poetics discussion group From: Kevin Magee Subject: Raider of the Lost Ark MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1257" Content-Transfer-Encoding: base64 VGhlcmUgYXJlIHNldmVyYWwgcHJvYmxlbXMgcHJvYmFibHkgbm9uZSBvZiB3aGljaCBjYW4gYmUg cmVzb2x2ZWQNCmhlcmU6IHRoZSByZWxhdGlvbnNoaXAgb2YgcG9ldHJ5IHRvIHRoZSBjaW5lbWEg YWNyb3NzIHdoaWNoIHBhc3NlcyB0aGUNCnByb2JsZW0gb2YgdGhlIHJlbGF0aW9uc2hpcCBiZXR3 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Chris Stroffolino In-Reply-To: <200406042205.i54M56MT134098@pimout2-ext.prodigy.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Agh, the pits. What an incredible body of work he leaves. They're not his most unique or important contribution, perhaps, but I've always been nuts about his versions of Monk tunes from the late 50s (Four in One, Skippy etc) w/ Waldron, Elvin Jones et al. And a nice reminder that he was there when the New Thing jazz and the New American Poetry were colliding. Michael Gizzi and I were planning on hosting a Creeley/Lacy performance in Providence this Fall. Alas. -m. > > > A great sadness: Steve Lacy passed away earlier today. He was one of > > the greatest soprano sax masters of all times, a superb song writer > > (over 250 songs in the last twenty years) -- working in close > > collaboration with his wife, the singer Irene Aebi --, and a major > > reader & connaisseur of poetry (the source for his lyrics). He was also > > a wonderful friend to those who knew him, and one of the finest & > > gentlest human beings it has been my pleasure to know. He will be > > greatly missed. > > > > Pierre > > > > ___________________________________________________________ > > > > Keep the tempo -- Steve Lacy > > ___________________________________________________________ > > Pierre Joris > > 6 Madison Place > > Albany NY 12202 > > h: 518 426 0433 > > c: 518 225 7123 > > o: 518 442 40 85 > > email: joris@albany.edu > > http://www.albany.edu/~joris/ > > ____________________________________________________________ > ========================================================================= Date: Fri, 4 Jun 2004 22:33:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Steve Lacy MIME-Version: 1.0 Content-Type: text/plain Snips -- live in 1976 & the Monk's Dream sessions with Roswell Rudd -- both well worth repeated listenings <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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, 4 Jun 2004 23:04:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: Steve Lacy In-Reply-To: <200406042205.i54M56MT134098@pimout2-ext.prodigy.net> Mime-Version: 1.0 (Apple Message framework v618) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Some eight or nine years ago (as Chris Stroffolino remembered) I=20 brought Steve Lacy & Irene Aebi up to Albany for a concert. Below is my=20= little introduction for that evening (in fact a reduced version of the=20= liner notes I wrote for FUTURITIES, Steve's 'opera' on poems by Robert=20= Creeley) -- offered here, tonight, as a first quick homage to the man=20= & his work. Playing in the background right now is the cd MOMENTUM,=20 with many of Steve's long-time sidekicks: Steve Potts on saxes, Bobby=20 Few on piano, JJ Avenel on bass, Oliver Johnson on drums and, of=20 course, Irene Aebi "on" voice. Pierre [Intro for Steve & Irene (Albany, 94 or 5?)]=A0 =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0Roughly 10 years ago I was in Paris = working on a radio=20 program about the poet Robert Creeley. Rather than fall back on the=20 aseptic atmosphere of the studio, I wanted to find live situations in=20 which to record the poet reading from his work. Creeley's poetry being=20= obviously rooted in jazz, the idea immediately came to me of getting=20 him together with my then neighbor on the rue du Temple, the great=20 soprano saxophonist & composer Steve Lacy =97 a musician I knew to be an=20= intelligent & passionate reader of poetry.=A0The two hit it off=20 wonderfully; the program was duly recorded & went over great. It became=20= my habit to fall by Lacy's place every so often & over the years I was=20= able to witness how he wrote some of the songs based on poems. =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0Lacy has written hundred of songs =97 = in fact I have heard the=20 rumor of 2000! =97 with poems (from Osip Mandelstam & Kurt Schwitters to=20= Anne Waldman & Bob Kaufman) or other texts as lyrics, an art that has=20 always fascinated me. He has walked & talked me through the development=20= of some of them, & here is some of what he had to say: "I've been=20 setting lyrics to music for almost twenty years now. It took a long=20 time to come to the surface =97 that stuff has got to age, to mellow=20 out... We use all kind of texts, some I wrote myself, but also=20 telegrams, letters, things found on the street, children's exercises,=20 slogans pulled off billboards =97 what you may call found poetry =97 but = it=20 all comes down to poetry or lyrics =97 to word-setting. Lyrics were sort=20= of petering out in the fifties and that's where I came in.=A0I guess = it's=20 my job to bring them back." And what a job he has done of it, in terms=20= of composing, arranging and playing! He has of course the help of his=20 companion, the singer & violinist Irene Aebi. Says Lacy: "Now the=20 reason all this has been possible is that I have had a voice to work=20 with =97 Irene's voice, a voice like an instrument. We started from zero=20= together, me and her and the words made the music, but without the=20 voice to experiment with it wouldn't have happened. She has a gifted=20 voice, a voice you can't ignore or leave idle =97 it was my pleasure to=20= find things that would fit it. It's been a real adventure for about 18=20= years now." =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0Back on the topic of how one actually = gets to find musical=20 ideas to go with a given text, Steve explained: "The thing about=20 setting words to music, you have to be able to deliver them over and=20 over again without boredom, without fatigue. You have to place them in=20= musical pictures so that they can be sung. A poem is said again and=20 again and if it is said enough times it becomes a song. That's the way=20= I find the music, by saying the words over and over again until it=20 becomes sing-song or song-sing, whatever, until it begins to take on=20 musical appearances." It is a few years later now, Lacy's discography =97=20= already way over the hundred mark =97 has been enriched by a number of=20= cd's presenting primarily his & Irene Aebi's 'art songs,' & I keep=20 listening to them & wanting more. As a poet my concerns have a lot to=20 do with fixed and open forms. Lacy's songs have taught me much along=20 those lines. How to keep a form open, for example, while at the same=20 time giving it a fixed center. Pound's "Unwobbling pivot" that must not=20= be allowed to become a straightjacket strangling free movement &=20 improvisatory development. =91Nuff said. Now for the real stuff. Please welcome Steve Lacy & Irene=20= Aebi. ________________________ Keep the tempo -- Steve Lacy ________________________ ========================================================================= Date: Fri, 4 Jun 2004 23:20:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ela kotkowska Subject: fresh ink In-Reply-To: <0B30F595-B69D-11D8-9191-003065BE1640@albany.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Freshly plumed: - a translation of Franck Andr=E9 Jamme's "the life of scarabs" (frag) - ripe plums, prime puns - non-sense - divagations on "quality time" over the "extended weekend" - political afterthoughts - intuitive dictionary in-progress - betrayals of ink in the form of penciled sketches @ http://incertainplume.blogspot.com (even days) or @ http://www.incertainplume.blogspot.com (odd days) greedings to all - Ela Kotkowska ========================================================================= Date: Sat, 5 Jun 2004 07:43:14 +0200 Reply-To: Kevin Magee Sender: UB Poetics discussion group From: Kevin Magee Subject: Sokurov errata MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1257" Content-Transfer-Encoding: base64 Y29ubmVkIGluIHRoZSBzaGlweWFyZHMgb2YgQ29uc3RhbnphDQpDb3JuZWxpdSBWYWRpbSBpcyBm b3IgSmVhbi1NYXJpZSBMZSBQZW4NCg0KaHR0cDovL2h5cG9ib2xlbWFpb2kuZHVyYXRpb25wcmVz cy5jb20NCg0K ========================================================================= Date: Sat, 5 Jun 2004 01:00:31 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the mail from down under wants spring.... to come to an end .... i scream at what's downunder finishing the dirty bizness 'you're beautiful but you know you're a bitch' o poetas.... to 3:00..watermelon logged..5 appetizers and 5 pieces of sashimi...drn... ========================================================================= Date: Fri, 4 Jun 2004 10:36:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Steve Lacy MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit school days forest and the zoo saxophone special for poetry stuff w/gysin stuff w/creeley (hat art) ah futurities too much to say so many to hear early stuff his set w/ cecil on 1/2 that verve lp live at newport (57?) johnny come lately evidence house party starting alot of odds & the gross word recall intimacy & columns not always ripples doors ========================================================================= Date: Fri, 4 Jun 2004 23:32:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Color's Torrid Function! Subject: this administration must end now.... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://caedefensefund.org/ this administration must end now.... *************************************************************************** Lewis LaCook net artist, poet, freelance web developer/programmer http://www.lewislacook.com/ Stamen Pistol: http://stamenpistol.blogspot.com/ Database_shortPoems:: http://www.lewislacook.com/poems/shortpoems.php Sidereality: http://www.sidereality.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger ========================================================================= Date: Sat, 5 Jun 2004 04:29:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: notes towards a phenomenology of motion-capture manipulation MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII notes towards a phenomenology of motion-capture manipulation the linkages in mc are graphs characterized by connectivity and linkage length. the linkages in mc are contingent to the geomatics of the body itself. the mapping is fuzzy and one-to-one. mappings can be changed. from an _external_ viewpoint, affine and other transformations: scale, rotation, translation. from an _internal_ viewpoint: fold, cut, split, join, and any conceivable remapping, including those approaching the implicate order. from an external viewpoint: identity read from equivalence. from an internal viewpoint: the potential of inversion and other topological mappings. in the graphs, all nodes/linkages are conventional; by virtue of contingency, they have the potential to fly apart. flying apart: _stack_ or _heap._ in the stack, order is preserved and it is a simple matter to reconstitute the mapping. in the heap, order is chaotic; reconstitution depends on the links remaining intact. consider the linkage _parasitic_ in relation to the nodes: holding dispersion in check. in this sense order is parasitic on disorder. neutrality: any mapping is equivalent to any other mapping. responsibility: nodes are responsible to their linkages. linkages are responsible to their nodes. abandonment: a node may be abandoned. an abandoned node has no linkage. a linkage exists by virtue of its nodes; there are no abandoned linkages. metaphoric: every remapping inscribes the ascription of meaning. culture is discovered in the remappings. what is applied to mc of the body is applicable to any mc, of any named entities. the graphs of any entities including bodies are rigid designators. there is a fuzzy boundary where the designators fall apart; at this point entities and bodies disappear. all disappearances carry the weight of political economy and inquiry. there is no first and last node. there are no first and last linkages. _ ========================================================================= Date: Sat, 5 Jun 2004 01:53:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: America is (an) Eternal Child Comments: To: wryting-l@listserv.utoronto.ca Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Eternal Child (never in paris once) Beware the Capital! America is a young flu i shiver powerful cb radio clock radio yacking delirium America is my babysitter touched me and i liked it America is that was when i placed abstract language back in its luggage rack America is whatever the message of intricate integration (Ramanujan thinking of Tilgathpilesar) America is she was in the attic playing harp America is I cried, but just a little if I'm anti-psychological I'll take the all-seeing eye from the metro-gnome America is pyramid candles America is floaty candles from the gold door $2.75 (flowers) America is (they sell marble penises, and quartz too!) America is we took gannon to watch the skateboarders America is a deaf kid had D E A F tattooed across his left hand knuckles America is rolling a smoke under the overpass America is all these great signs you see America is culture is big it has a smell America is My 10th Aniversary: At Berbati's Pan Devendra Banhart, Joanna Newsom, Vetiver (not so hot) America is they took the shepherd crooks down, d(a)rn America is the red felt of the pool tables has a specific resistance Something Remedial: Hermes & The Trick Shot America is the banal and Van Gogh America is Mercury in the DC water Supply. nothing I drank/ America is Stoli America is I turn to dirt before your vary eyes America is Joanna and Devendra Sargon singing Leadbelly Something like Exene nothing like I've ever seen America is Rose Parade Fireworks? (nice in the urban cavern... sound) America is I really don't follow the civic events... America is I see it more like glass, or an exotic rock. Like I could fill the universe with water from my navel.. 10 seconds flat. Not ashamed of that.. ========================================================================= Date: Sat, 5 Jun 2004 21:44:50 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Spring.... In-Reply-To: <12145111.1086415244954.JavaMail.root@wamui08.slb.atl.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit it's not so hard to understand down here just above the antarctic skies are grey with envy of those springing summers Alison Croggon Editor, Masthead http://www.masthead.net.au Home page http://www.alisoncroggon.com Blog http://alisoncroggon.blogspot.com ========================================================================= Date: Sat, 5 Jun 2004 08:09:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: fwd: US Citizens' Apology to the People of Iraq Comments: To: CarolRoos@earthlink.net, dtv@mwt.net, spidertangle@yahoogroups.com, oconn001@umn.edu, manowak@stkate.edu, tapepper@LISTSERV.BUFFALO.EDU, rabin001@LISTSERV.BUFFALO.EDU, edcohen@rci.rutgers.edu, kball@ualberta.ca, morri074@LISTSERV.BUFFALO.EDU, ismai004@LISTSERV.BUFFALO.EDU, jani@LISTSERV.BUFFALO.EDU, lcucullu@LISTSERV.BUFFALO.EDU, patcrain@LISTSERV.BUFFALO.EDU, gfcivil@stkate.edu, lew@humnet.ucla.edu, susanlannen@hotmail.com, reiner@cats.ucsc.edu, Laurelreiner@aol.com, RIARUNKEE@aol.com, rjohnson2092@mn.rr.com, apelham@luthersem.edu, Maclore.Pennington@navitaire.com, Deirdra.Hoolahan@co.hennepin.mn.us, Kristina.Jantz@bestbuy.com, cwlantz@cbburnet.com, alzo0002@LISTSERV.BUFFALO.EDU, Daniel Bouchard , Flarfette Jones , Elk Lague , La Flarfisa , flarfalot@hotmail.com, aerialedge@aol.com, chrisx@xtina.org, flarfsorter@hotmail.com, gary.sullivan@nmss.org, jdavis@panix.com, lrsn@socrates.Berkeley.EDU, mitch.highfill@db.com, nada@jps.net, shardav@VERIZON.NET, theflarfologist@hotmail.com, timothyspeterson@yahoo.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Recent, half-hearted "apologies" from Bush Administration officials about abuses in Iraq have really missed the main point -- that all the suffering and death of the Iraq war and occupation did not need to occur. So, on May 20, 2004, the New Jersey Coalition Against War in Iraq, meeting together with the Coalition for Peace Action's Committee for Political Action in Princeton, NJ, proposed a US Citizens' Apology to the People of Iraq. The wording and Arabic translation of this apology were first displayed on May 28 at the State House in Trenton, along with the Iraq Wall of Remembrance. http://www.iraqmemorialwall.org/ The Coalition for Peace Action is now making the Citizens' Apology available as an on-line petition, so Americans everywhere can express their regrets and outrage by signing it. We are in touch with contacts in Iraq to have the petition and signatures presented to appropriate Iraqi civilian leaders in the future. In the meantime, we urge you to click the link below, to read and sign the petition yourself, and then to forward the link as widely as you can. http://www.petitiononline.com/apologyi/petition.html The Rev. Robert Moore Executive Director Coalition for Peace Action 40 Witherspoon Street Princeton, NJ 08542 (609) 924-5022 Phone (609) 924-3052 Fax http://www.peacecoalition.org -- ========================================================================= Date: Sat, 5 Jun 2004 08:20:47 -0400 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: "Brian Kim Stefans [arras.net]" Subject: Man puts earplugs into nose MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ...starring David Perry http://www.arras.net/polaroids/david_2.html http://www.arras.net/polaroids/david_v1.html Same footage, different concepts. Runs really slow on older computers -- should run at 24fps, if it seems slower than that then the computer's having problems with the programming. Shot at the big book launch in Chelsea on Thursday. xo brian ____ 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." --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.688 / Virus Database: 449 - Release Date: 5/18/04 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.688 / Virus Database: 449 - Release Date: 5/18/04 ========================================================================= Date: Sat, 5 Jun 2004 08:29:42 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: E.S.L.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit been wonderin' for a while how many folk on this list have English as not their 1st language... or for that matter write primarily in a lang. that is not their "mother tongue" the ex. are .... Nabokov, Zukofsky, Celan, Kafka, Conrad etc etc etc... even phrasing this..for mo... creates it's own fluidity problems... Harry.... ========================================================================= Date: Sat, 5 Jun 2004 15:28:18 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata Subject: [un]Jot UbU.[i]S.h [strp]Raouiy banner Comments: To: WRYTING , syndicate , "_arc.hive_" <_arc.hive_@lm.va.com.au>, e MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" URICU I UBUHING US IT VOUYBU HORT $10 /. BURICU I TO BU BUNUTION' BURGUT BU./ +.+. 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NON NOT BUHUB BURGUR NOT ... ti .. i .. ... uno .. ....... .... ti ... ... ucur ...... nd ..... ost ...... it ..... .......... .... to ..... it .. i ....... ........ i.. ....... .. i ........... i ..... bud ... .... nu ... .......... .... word .... .... io ........ ... upt.... ................. ...... ... i ........... ut ...... .... i ..... ........... i ............. ........ .. nu ...... ui ... nc . i ......... ... to ...... ........ un .. cb ..... ort .... ....... .......... ..... du ....... ... ugh ..... tso . to not .. tor ... .... non not .. not . __ wratthus isbn 82-92428-08-9 ========================================================================= Date: Sat, 5 Jun 2004 14:43:05 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: Man puts earplugs into nose Comments: To: bstefans@earthlink.net In-Reply-To: Mime-Version: 1.0 (Apple Message framework v618) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit nice take on portraiture Brian On 5 Jun 2004, at 13:20, Brian Kim Stefans [arras.net] wrote: > ...starring David Perry > > http://www.arras.net/polaroids/david_2.html > ========================================================================= Date: Sat, 5 Jun 2004 10:51:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Zamsky Subject: Re: Steve Lacy Mime-Version: 1.0 Content-Type: text/plain; format=flowed Such sad news to come just as I've been listening so intently these last few weeks to the Beat Suite & Futurities, in hopes (perhaps vain, at that) of writing about them. I had the sincere pleasure of seeing Lacy while I was a student in Buffalo -- a tiny venue. It felt like he was playing in someone's living room. So close I could've touched him, and touch me his music surely did. Always. - Robert Zamsky _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Sat, 5 Jun 2004 15:38:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: sexless, mother panics. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I was trying to get out of a controlled trial of fluoxetine and desipramnine in depressed women with advanced cancer. I was enjoying that moment. Everyone would pick me up to give me the code word. Yet they all knew I have slipped into you and nothing. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sat, 5 Jun 2004 15:37:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: Steve Lacy In-Reply-To: <98B1A700-B656-11D8-9191-003065BE1640@albany.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I don't check poetics e-mail as often as I used to, so I'm late getting into the Lacy love fest, but I've got to note that there's often a fuller noticing of the deaths of innovative and/or interesting musicians on this list than on several of the music-related lists I get. I didn't love every Lacy performance I heard, but every time I heard him, he was always focused, always working & that's not always the way things work with performers. In addition to the various recordings/compositions already mentioned, let me note the Woe his anti-war suite, and the Way, a Taoist suite, as well as the couple of solo discs of Monk tunes on Soul Note. &, cause no one's seemed to cite it yet, here's the URL for the NY Times obit: Bests, Herb >A great sadness: Steve Lacy passed away earlier today. He was one of >the greatest soprano sax masters of all times, a superb song writer >(over 250 songs in the last twenty years) -- working in close >collaboration with his wife, the singer Irene Aebi --, and a major >reader & connaisseur of poetry (the source for his lyrics). He was also >a wonderful friend to those who knew him, and one of the finest & >gentlest human beings it has been my pleasure to know. He will be >greatly missed. > >Pierre > >___________________________________________________________ > >Keep the tempo -- Steve Lacy >___________________________________________________________ >Pierre Joris >6 Madison Place >Albany NY 12202 >h: 518 426 0433 >c: 518 225 7123 >o: 518 442 40 85 >email: joris@albany.edu >http://www.albany.edu/~joris/ >____________________________________________________________ -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb@eskimo.com ========================================================================= Date: Sat, 5 Jun 2004 14:01:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: Re: Steve Lacy In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Mr. Lacy played a great show here in Portland a few years back, 2 i think. It was a Creative Music Guild gig, and there was a big turn-out, and several standing ovations and encores. I must admit I had gone on the advice of a friend and was=20 pleasantly surprised. I'm not sure I felt as enthusiastic about the music as everybody else there did. It was good of course, but seemed no where near as vigorous, creative and outrageous as Bob Brotzmann's Chicago Tentet which came through and played to a very measly audience and much less adulation. The Tentet played spontaneous compositions based on handwritten flash-cards. amazing.. At any rate sorry to hear about Mr. Lacy's death of course.. Is Guillermo Gregorio still alive? I really appreciate his contribution... The Chicago Tentet Br=F6tzmann (tenor sax, clarinet), Gustafsson (tenor sax, flutophone), Vandermark (tenor sax, clarinet, bass clarinet), Bishop (trombone), Kondo (trumpet, electronics), Lomberg-Holm (cello, violin), Parker (bass), Kessler (bass), Zerang (drums), Drake (drums, frame drum). ========================================================================= Date: Sat, 5 Jun 2004 17:21:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: mine MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII mine http://www.asondheim.org/mine.mov short sequence of west virginia mine bldgs. i'm embarrassed about these, i didn't do anything, just photograph them for whatever purpose, i'm not yet sure, i'm sure there's a background in the foreground somewhere, i'm not there yet, i've just been here a few days, but i've been in coal all my life, well that's not true, but i was raised in the anthracite district, well this is bituminous, still these resonate, heavily reduced in size, the moire patterns and indecipherable signage are a guarantee, perhaps these are a punctum in barthes' sense, i'm sure that's it, you're getting an insight into me, i know you're not particularly interested, my family wasn't a mining family, retail in a mining community, you'd hear the mine whistles blow, read of the deaths and cave-ins, mine closings and every day which mine would be operating when, the miners would check in and always polish on the radio, but i'm not embarrassed about these, i found them out, i framed and photographed with care, i'm certain of the reason, there's a foreman in the background somewhere - _ ========================================================================= Date: Sat, 5 Jun 2004 16:58:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Those were the days Comments: To: WRYTING-L Disciplines Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit "If you've seen one redwood, you've seen them all." -- Ronald Reagan. ========================================================================= Date: Sat, 5 Jun 2004 18:36:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Fwd: Steve Lacy New England Conservatory Obit. MIME-Version: 1.0 Content-Type: text/plain Steve Lacy obituary from New England Conservatory At Irene Aebi's request, I'm passing on this announcement of Steve Lacy's death today to friends and colleagues. Steve passed away a little after 12:30 p.m. in Boston today, June 4. Allan Chase Dean of Faculty New England Conservatory achase@newenglandconservatory.edu ------------------------------ For Immediate Release: June 4, 2004 New England Conservatory Mourns Death of Jazz Great Steve Lacy Soprano Saxophone Master Succumbs to Cancer at Age 69 Steve Lacy, one of the greatest soprano saxophonists of all time and a New England Conservatory faculty member since fall 2002, died Friday at New England Baptist Hospital. The jazz master who once defined his profession as "combination orator, singer, dancer, diplomat, poet, dialectician, mathematician, athlete, entertainer, educator, student, comedian, artist, seducer and general all around good fellow" was 69. He leaves his wife and collaborator, the Swiss singer Irene Aebi. Born Steven Morman Lackritz in New York City, Lacy was the first avant garde jazz musician to make a specialty of the soprano saxophone-an instrument that had become almost completely neglected during the Bop era. Indeed, he is credited with single-handedly bringing the instrument back from obscurity into modern music of all types. He regularly received awards from DownBeat Magazine as the premier soprano saxophonist and in 1992 received a MacArthur Foundation "genius" grant. In 2002, he was made a Commandeur de l'Ordre des Arts et des Lettres by the French government. A prolific recording artist, Lacy is represented on many labels including Universal, Senators, RCA, Verve, Label Bleu, Greats of Jazz, EMI, CBS/C! olumbia, and Denon. Throughout his career, Lacy was widely admired for the beauty and purity of his tone, for his incisive melodic sense, for keeping his music uncompromising and fresh, and for his eagerness to play with a wide variety of musicians while retaining long-term musical relationships. For example, since 1998, he performed often with Panamanian pianist and NEC faculty member Danilo Perez, but he also played regularly with Mal Waldron, a pianist he had worked with since the fifties. He was esteemed for his productivity, and for the consistently high quality of his art. As a teacher, a role he took on in the last two years of his life, he was revered for his intense focus and generosity. During the latter part of his career, Lacy made his home in Paris for 33 years, but returned to the United States in 2002 to begin his first teaching job at NEC. He was prominently featured in the concerts celebrating the centennial of NEC's Jordan Hall in October 2003, kicking off the festivities in a Best of Jazz performance that featured other Conservatory jazz greats like Ran Blake, George Russell, Bob Brookmeyer, and alumnus Cecil Taylor. Lacy got his start as a sideman in the early fifties playing in Manhattan's Dixieland revival scene. He also worked with some Duke Ellington players including cornetist Rex Stewart who christened him "Lacy." Although he initially doubled on clarinet and soprano sax, he soon dropped the former instrument and found his distinctive voice with the saxophone. It was the NEC-trained Cecil Taylor who set Lacy on a new course and introduced him to Thelonious Monk-who, along with Duke Ellington, would remain the most important influence in his life. "Playing with Cecil Taylor immediately put me into the offensive mode" (of music-making), Lacy recalled in his book Findings: My Experience with the Soprano Saxophone. "This ! was the avant-tout garde; we were an attack quartet (sometimes quintet or trio), playing original, dangerously threatening music that most people were offended by...." Lacy recorded with Gil Evans in 1957 and continued to work with him intermittently up through the 1980s. In 1958, he and pianist Waldron recorded Reflections: Steve Lacy Plays the Music of Thelonious Monk, which led to an invitation to join Monk's quintet for four months in 1960. After that immersion experience, he created a quartet with trombonist Roswell Rudd that dedicated itself exclusively to Monk's music. He was still playing Monk as recently as last winter when he introduced a new quintet at Manhattan's Iridium. Monksieland, comprised of trumpeter Dave Douglas, Rudd, and Lacy's longtime Paris rhythm section, bassist Jean-Jacques Avenel and drummer John Betsch, played Monk with the freedom and contrapuntal inter! play of Dixieland jazz. In 1965, Lacy began performing in Europe where he found particularly appreciative audiences in Italy and France. He met his wife in Rome in 1966 and by the late sixties, they had settled down in Paris. During the enormously fertile decades that followed, he created a quintet that could expand or contract from a duo or trio on up to a big band. He began collaborations with dancers (Merce Cunningham in particular), artists and actors. He also started working with poets like Brion Gysin, composing musical settings of their poems. Irene Aebi exerted a profound influence on Lacy's artistry. For the woman he called "his muse," he wrote his first composition, The Way (1967), based on the words of Chinese philosopher Lao-Tzu. He continued to be inspired by his wife's voice and wrote works for her based on poetry by Anna Akhmatova, Mary Frazee, Anne Waldman, and Judith Malina. He wrote an opera, The Cry, with Bengali poet Taslima Nasreen. And, over a period of many years, he composed The Beat Suite, a jazz song cycle based on poetry by Jack Kerouac, Allen Ginsberg, Robert Creeley, and other beat poets. That work had its official world premiere in 2003 and has been recorded on a Universal CD. As recently as this spring, Lacy and his wife were performing his settings of Robert Creeley poems and excerpts from the Beat Suite at MIT and Boston's Institute of Contemporary Art. At NEC, 36 students, both graduate and undergraduate, worked directly with Lacy and he affected many others through his active participation in the musical community. In his teaching, he was concerned with helping students become complete artists. For example, he might say of a young player: "He's got imagination, but he needs to develop his taste a lot more-opera and poetry and literature and dance. He really needs to broaden his base." At NEC, he felt students could get that broadening. "That's what I like about this school," he said in an interview last year. "...One can cross the hall and it's not such rigid departments really. Anybody could study improvisation or Indian music or symphonic construction or whatever..." About Lacy, NEC President Daniel Steiner said: "He was an extraordinary artist, the kind of person who appears only a few times in each generation of musicians. His presence at the Conservatory affected not simply the jazz program but the overall musical life of NEC." Remarks by Ran Blake, head of NEC's Contemporary Improvisation department. "With the exception of Sidney Bechet and John Coltrane, no other musician has brought such a personal sound to the soprano saxophone and few other musicians have tapped into the unexplored repertoire of Thelonious Monk." Remarks by Danilo Perez, NEC Faculty, Jazz Pianist, and Lacy collaborator: Steve Lacy showed us that being a jazz musician is the work of a lifetime. His compositions and improvisations are full of wisdom and life. He taught us the power of words through his music. Hearing his soprano playing was a life changing experience, because he approached his sound, improvisation and technique as if he believed it was a test of man's sincerity. As a friend he was a very encouraging, caring and generous man with a great sense of humor. As a teacher he was a great educator who inspired all of us inside and outside the classroom, with the genius of his musical phrasing and his brilliant re! marks. Last year while playing a duo concert in New York, he took me to an exhibition of a great Chinese painter. His detailed comments about the paintings offered a great lesson in color subtlety and form. I found myself contemplating his words of wisdom all afternoon. That night after the very inspired concert we played he said;" Danilo we were painting tonight. " He was very kind to me and to many people who knew him. As he would say the music and the artist become one as we get older. Steve, thanks for inspiring and sharing your gifts with the world. Your great musical legacy will live in our hearts and minds forever . God bless Steve and his dear Irene. Remarks by Ken Schaphorst, Chair, Jazz Studies and Improvisation The NEC community is devastated by this great loss. I can't think of another musician who has been involved in so many different chapters in the history of jazz, from Dixieland to Free Jazz, and everything in between. Steve has brought his unique combination of open-mindedness, humor, intelligence, rigor and artistry to his teaching at NEC over the last two years. And everyone who has come into contact with him has been transformed by his wisdom and musicianship. We will miss him. For more information, visit NEC on the web at www.newenglandconservatory.edu tedpearson@mindspring.com Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com Steve Lacy obituary from New England Conservatory Subject: Steve Lacy RIPAt Irene Aebi's request, I'm passing on this announcement of SteveLacy's death today to friends and colleagues. Steve passed away a littleafter 12:30 p.m. in Boston today, June 4.Allan Chase Dean of Faculty New England Conservatory achase@newenglandconservatory.edu ------------------------------ For Immediate Release: June 4, 2004 New England Conservatory Mourns Death of Jazz Great Steve Lacy Soprano Saxophone Master Succumbs to Cancer at Age 69 Steve Lacy, one of the greatest soprano saxophonists of all timeand a New England Conservatory faculty member since fall 2002, died Friday at New England Baptist Hospital. The jazz master who once definedhis profession as "combination orator, singer, dancer, diplomat, poet, dialectician, mathematician, athlete, entertainer, educator, student, comedian, artist, seducer and general all around good fellow" was 69. He leaves his wife and collaborator, the Swiss singer Irene Aebi. Born Steven Morman Lackritz in New York City, Lacy was the first avant garde jazz musician to make a specialty of the soprano saxophone-an instrument that had become almost completely neglected during the Bop era. Indeed, he is credited with single-handedly bringing the instrumentback from obscurity into modern music of all types. He regularly received awards from DownBeat Magazine as the premier soprano saxophonist and in 1992 received a MacArthur Foundation "genius" grant. In 2002, he was made a Commandeur de l'Ordre des Arts et des Lettres by the French government. A prolific recording artist, Lacy is representedon many labels including Universal, Senators, RCA, Verve, Label Bleu, Greats of Jazz, EMI, CBS/C! olumbia, and Denon. Throughout his career, Lacy was widely admired for the beauty and purityof his tone, for his incisive melodic sense, for keeping his music uncompromising and fresh, and for his eagerness to play with a wide variety of musicians while retaining long-term musical relationships. For example, since 1998, he performed often with Panamanian pianist and NEC faculty member Danilo Perez, but he also played regularly with Mal Waldron, a pianist he had worked with since the fifties. He was esteemedfor his productivity, and for the consistently high quality of his art. As a teacher, a role he took on in the last two years of his life, he was revered for his intense focus and generosity. During the latter part of his career, Lacy made his home in Paris for 33years, but returned to the United States in 2002 to begin his first teaching job at NEC. He was prominently featured in the concerts celebrating the centennial of NEC's Jordan Hall in October 2003, kickingoff the festivities in a Best of Jazz performance that featured other Conservatory jazz greats like Ran Blake, George Russell, Bob Brookmeyer,and alumnus Cecil Taylor. Lacy got his start as a sideman in the early fifties playing in Manhattan's Dixieland revival scene. He also worked with some Duke Ellington players including cornetist Rex Stewart who christened him "Lacy." Although he initially doubled on clarinet and soprano sax, he soon dropped the former instrument and found his distinctive voice with the saxophone. It was the NEC-trained Cecil Taylor who set Lacy on a new course and introduced him to Thelonious Monk-who, along with Duke Ellington, would remain the most important influence in his life. "Playing with Cecil Taylor immediately put me into the offensive mode" (of music-making), Lacy recalled in his book Findings: My Experience with the Soprano Saxophone. "This ! was the avant-tout garde; we were anattack quartet (sometimes quintet or trio), playing original, dangerously threatening music that most people were offended by...." Lacy recorded with Gil Evans in 1957 and continued to work with him intermittently up through the 1980s. In 1958, he and pianist Waldron recorded Reflections: Steve Lacy Plays the Music of Thelonious Monk, which led to an invitation to join Monk's quintet for four months in 1960. After that immersion experience, he created a quartet with trombonist Roswell Rudd that dedicated itself exclusively to Monk's music. He was still playing Monk as recently as last winter when he introduced a new quintet at Manhattan's Iridium. Monksieland, comprised of trumpeter Dave Douglas, Rudd, and Lacy's longtime Paris rhythm section, bassist Jean-Jacques Avenel and drummer John Betsch, played Monk with the freedom and contrapuntal inter! play of Dixieland jazz. In 1965, Lacy began performing in Europe where he found particularly appreciative audiences in Italy and France. He met his wife in Rome in 1966 and by the late sixties, they had settled down in Paris. During the enormously fertile decades that followed, he created a quintet that could expand or contract from a duo or trio on up to a big band. He began collaborations with dancers (Merce Cunningham in particular), artists and actors. He also started working with poets like Brion Gysin,composing musical settings of their poems Irene Aebi exerted a profound influence on Lacy's artistry. For the woman he called "his muse," he wrote his first composition, The Way (1967), based on the words of Chinese philosopher Lao-Tzu. He continued to be inspired by his wife's voice and wrote works for her based on poetry by Anna Akhmatova, Mary Frazee, Anne Waldman, and Judith Malina. He wrote an opera, The Cry, with Bengali poet Taslima Nasreen. And, over a period of many years, he composed The Beat Suite, a jazz song cycle based on poetry by Jack Kerouac, Allen Ginsberg, Robert Creeley,and other beat poets. That work had its official world premiere in 2003 and has been recorded on a Universal CD.As recently as this spring, Lacy and his wife were performing hissettings of Robert Creeley poems and excerpts from the Beat Suite at MITand Boston's Institute of Contemporary Art. At NEC, 36 students, both graduate and undergraduate, worked directly with Lacy and he affected many others through his active participation in the musical community. In his teaching, he was concerned with helping students become complete artists. For example, he might say of a young player: "He's got imagination, but he needs to develop his taste a lot more-opera and poetry and literature and dance. He really needs to broaden his base." At NEC, he felt students could get that broadening. "That's what I like about this school," he said in an interview last year. "...One can cross the hall and it's not such rigid departments really. Anybody could study improvisation or Indian music or symphonic construction or whatever..." About Lacy, NEC President Daniel Steiner said: "He was an extraordinary artist, the kind of person who appears only a few times ineach generation of musicians. His presence at the Conservatory affectednot simply the jazz program but the overall musical life of NEC." Remarks by Ran Blake, head of NEC's Contemporary Improvisation department. "With the exception of Sidney Bechet and John Coltrane, no other musician has brought such a personal sound to the soprano saxophone and few other musicians have tapped into the unexplored repertoire of Thelonious Monk." Remarks by Danilo Perez, NEC Faculty, Jazz Pianist, and Lacy collaborator: Steve Lacy showed us that being a jazz musician is the work of a lifetime. His compositions and improvisations are full of wisdom and life. He taught us the power of words through his music. Hearing his soprano playing was a life changing experience, because he approached his sound,improvisation and technique as if he believed it was a test of man's sincerity. As a friend he was a very encouraging, caring and generous man with a great sense of humor. As a teacher he was a great educator who inspired all of us inside and outside the classroom, with the genius of his musical phrasing and his brilliant re! marks. Last year while playing a duo concert in New York, he took me toan exhibition of a great Chinese painter. His detailed comments about the paintings offered a great lesson in color subtlety and form. I foundmyself contemplating his words of wisdom all afternoon. That night afterthe very inspired concert we played he said;" Danilo we were painting tonight. " He was very kind to me and to many people who knew him. As he would say the music and the artist become one as we get older. Steve, thanks for inspiring and sharing your gifts with the world. Yourgreat musical legacy will live in our hearts and minds forever . God bless Steve and his dear Irene. Remarks by Ken Schaphorst, Chair, Jazz Studies and Improvisation The NEC community is devastated by this great loss. I can't think of another musician who has been involved in so many different chapters in the history of jazz, from Dixieland to Free Jazz, and everything in between. Steve has brought his unique combination of open-mindedness, humor, intelligence, rigor and artistry to his teaching at NEC over the last two years. And everyone who has come into contact with him has beentransformed by his wisdom and musicianship. We will miss him. For more information, visit NEC on the web at www.newenglandconservatory.edu Steve Lacy obituary from New England Conservatory Subject: Steve Lacy RIPAt Irene Aebi's request, I'm passing on this announcement of SteveLacy's death today to friends and colleagues. Steve passed away a littleafter 12:30 p.m. in Boston today, June 4.Allan Chase Dean of Faculty New England Conservatory achase@newenglandconservatory.edu ------------------------------ For Immediate Release: June 4, 2004 New England Conservatory Mourns Death of Jazz Great Steve Lacy Soprano Saxophone Master Succumbs to Cancer at Age 69 Steve Lacy, one of the greatest soprano saxophonists of all timeand a New England Conservatory faculty member since fall 2002, died Friday at New England Baptist Hospital. The jazz master who once definedhis profession as "combination orator, singer, dancer, diplomat, poet, dialectician, mathematician, athlete, entertainer, educator, student, comedian, artist, seducer and general all around good fellow" was 69. He leaves his wife and collaborator, the Swiss singer Irene Aebi. Born Steven Morman Lackritz in New York City, Lacy was the first avant garde jazz musician to make a specialty of the soprano saxophone-an instrument that had become almost completely neglected during the Bop era. Indeed, he is credited with single-handedly bringing the instrumentback from obscurity into modern music of all types. He regularly received awards from DownBeat Magazine as the premier soprano saxophonist and in 1992 received a MacArthur Foundation "genius" grant. In 2002, he was made a Commandeur de l'Ordre des Arts et des Lettres by the French government. A prolific recording artist, Lacy is representedon many labels including Universal, Senators, RCA, Verve, Label Bleu, Greats of Jazz, EMI, CBS/C! olumbia, and Denon. Throughout his career, Lacy was widely admired for the beauty and purityof his tone, for his incisive melodic sense, for keeping his music uncompromising and fresh, and for his eagerness to play with a wide variety of musicians while retaining long-term musical relationships. For example, since 1998, he performed often with Panamanian pianist and NEC faculty member Danilo Perez, but he also played regularly with Mal Waldron, a pianist he had worked with since the fifties. He was esteemedfor his productivity, and for the consistently high quality of his art. As a teacher, a role he took on in the last two years of his life, he was revered for his intense focus and generosity. During the latter part of his career, Lacy made his home in Paris for 33years, but returned to the United States in 2002 to begin his first teaching job at NEC. He was prominently featured in the concerts celebrating the centennial of NEC's Jordan Hall in October 2003, kickingoff the festivities in a Best of Jazz performance that featured other Conservatory jazz greats like Ran Blake, George Russell, Bob Brookmeyer,and alumnus Cecil Taylor. Lacy got his start as a sideman in the early fifties playing in Manhattan's Dixieland revival scene. He also worked with some Duke Ellington players including cornetist Rex Stewart who christened him "Lacy." Although he initially doubled on clarinet and soprano sax, he soon dropped the former instrument and found his distinctive voice with the saxophone. It was the NEC-trained Cecil Taylor who set Lacy on a new course and introduced him to Thelonious Monk-who, along with Duke Ellington, would remain the most important influence in his life. "Playing with Cecil Taylor immediately put me into the offensive mode" (of music-making), Lacy recalled in his book Findings: My Experience with the Soprano Saxophone. "This ! was the avant-tout garde; we were anattack quartet (sometimes quintet or trio), playing original, dangerously threatening music that most people were offended by...." Lacy recorded with Gil Evans in 1957 and continued to work with him intermittently up through the 1980s. In 1958, he and pianist Waldron recorded Reflections: Steve Lacy Plays the Music of Thelonious Monk, which led to an invitation to join Monk's quintet for four months in 1960. After that immersion experience, he created a quartet with trombonist Roswell Rudd that dedicated itself exclusively to Monk's music. He was still playing Monk as recently as last winter when he introduced a new quintet at Manhattan's Iridium. Monksieland, comprised of trumpeter Dave Douglas, Rudd, and Lacy's longtime Paris rhythm section, bassist Jean-Jacques Avenel and drummer John Betsch, played Monk with the freedom and contrapuntal inter! play of Dixieland jazz. In 1965, Lacy began performing in Europe where he found particularly appreciative audiences in Italy and France. He met his wife in Rome in 1966 and by the late sixties, they had settled down in Paris. During the enormously fertile decades that followed, he created a quintet that could expand or contract from a duo or trio on up to a big band. He began collaborations with dancers (Merce Cunningham in particular), artists and actors. He also started working with poets like Brion Gysin,composing musical settings of their poems Irene Aebi exerted a profound influence on Lacy's artistry. For the woman he called "his muse," he wrote his first composition, The Way (1967), based on the words of Chinese philosopher Lao-Tzu. He continued to be inspired by his wife's voice and wrote works for her based on poetry by Anna Akhmatova, Mary Frazee, Anne Waldman, and Judith Malina. He wrote an opera, The Cry, with Bengali poet Taslima Nasreen. And, over a period of many years, he composed The Beat Suite, a jazz song cycle based on poetry by Jack Kerouac, Allen Ginsberg, Robert Creeley,and other beat poets. That work had its official world premiere in 2003 and has been recorded on a Universal CD.As recently as this spring, Lacy and his wife were performing hissettings of Robert Creeley poems and excerpts from the Beat Suite at MITand Boston's Institute of Contemporary Art. At NEC, 36 students, both graduate and undergraduate, worked directly with Lacy and he affected many others through his active participation in the musical community. In his teaching, he was concerned with helping students become complete artists. For example, he might say of a young player: "He's got imagination, but he needs to develop his taste a lot more-opera and poetry and literature and dance. He really needs to broaden his base." At NEC, he felt students could get that broadening. "That's what I like about this school," he said in an interview last year. "...One can cross the hall and it's not such rigid departments really. Anybody could study improvisation or Indian music or symphonic construction or whatever..." About Lacy, NEC President Daniel Steiner said: "He was an extraordinary artist, the kind of person who appears only a few times ineach generation of musicians. His presence at the Conservatory affectednot simply the jazz program but the overall musical life of NEC." Remarks by Ran Blake, head of NEC's Contemporary Improvisation department. "With the exception of Sidney Bechet and John Coltrane, no other musician has brought such a personal sound to the soprano saxophone and few other musicians have tapped into the unexplored repertoire of Thelonious Monk." Remarks by Danilo Perez, NEC Faculty, Jazz Pianist, and Lacy collaborator: Steve Lacy showed us that being a jazz musician is the work of a lifetime. His compositions and improvisations are full of wisdom and life. He taught us the power of words through his music. Hearing his soprano playing was a life changing experience, because he approached his sound,improvisation and technique as if he believed it was a test of man's sincerity. As a friend he was a very encouraging, caring and generous man with a great sense of humor. As a teacher he was a great educator who inspired all of us inside and outside the classroom, with the genius of his musical phrasing and his brilliant re! marks. Last year while playing a duo concert in New York, he took me toan exhibition of a great Chinese painter. His detailed comments about the paintings offered a great lesson in color subtlety and form. I foundmyself contemplating his words of wisdom all afternoon. That night afterthe very inspired concert we played he said;" Danilo we were painting tonight. " He was very kind to me and to many people who knew him. As he would say the music and the artist become one as we get older. Steve, thanks for inspiring and sharing your gifts with the world. Yourgreat musical legacy will live in our hearts and minds forever . God bless Steve and his dear Irene. Remarks by Ken Schaphorst, Chair, Jazz Studies and Improvisation The NEC community is devastated by this great loss. I can't think of another musician who has been involved in so many different chapters in the history of jazz, from Dixieland to Free Jazz, and everything in between. Steve has brought his unique combination of open-mindedness, humor, intelligence, rigor and artistry to his teaching at NEC over the last two years. And everyone who has come into contact with him has beentransformed by his wisdom and musicianship. We will miss him. For more information, visit NEC on the web at www.newenglandconservatory.edu tedpearson@mindspring.com Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Sat, 5 Jun 2004 19:37:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan E Minton Subject: email address for Malcolm Davidson? MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Does anyone have an email address for Malcolm Davidson (of the Dumbfoundry & Eeksy-Peeksy blogs)? Backchannel, please. Cheers! Jonathan ========================================================================= Date: Sun, 6 Jun 2004 10:58:47 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: calling Prageeta Sharma MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear US poetics, I am seeking Prageeta Sharma's email address. If you have it you back channel me please ? Thanks very much, Pam Brown ===== Web site/Pam Brown - http://www.geocities.com/p.brown/ Find local movie times and trailers on Yahoo! Movies. http://au.movies.yahoo.com ========================================================================= Date: Sat, 5 Jun 2004 22:10:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ela kotkowska Subject: Re: E.S.L.... In-Reply-To: <32505244.1086438595724.JavaMail.root@wamui08.slb.atl.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit bit my tongue. at least twenty three mega tidbits per second. perforations. how many have English as their knot... tongue-tied. proust used to say of English, it's my mother's tongue. English means not quite enge. for ex ample. nabokov zukofsky kafka conrad joined this list on account of the shared consonant celan excelled in his own etcetera. ~as ever, nonsensically, ela k. http://incertainplume.blogspot.com {sorry, i meant to post it in the first place. the return button is tricky} -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Harry Nudel Sent: Saturday, June 05, 2004 7:30 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: E.S.L.... been wonderin' for a while how many folk on this list have English as not their 1st language... or for that matter write primarily in a lang. that is not their "mother tongue" the ex. are .... Nabokov, Zukofsky, Celan, Kafka, Conrad etc etc etc... even phrasing this..for mo... creates it's own fluidity problems... Harry.... ========================================================================= Date: Sat, 5 Jun 2004 19:35:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Bush France Texas Divorce Quote Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Washington Post reporting on Bush in France" "...And Bush appeared angry when a French journalist asked why Bush was "pushing your country and France to divorce?" The questioner cited a quotation, "Every man has two countries, his own, and France," which he attributed to John F. Kennedy. (It was, in fact, coined by Thomas Jefferson.) Bush shot back: "To paraphrase President Kennedy, there's America, and there's Texas." He did not elaborate." Anybody out there want to elaborate? I know certain things happened to Kennedy down there in Texas - a divorce of a certain mortal sort, but, the President would not be going that far with France, would he?? Or, maybe there's something more profoundly true going on here. Stephen V http://stephenvincent.durationpress.com ========================================================================= Date: Sat, 5 Jun 2004 01:45:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: America is (an) Eternal Child MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit really? ========================================================================= Date: Sat, 5 Jun 2004 15:02:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Lacy right now on KPFA In-Reply-To: <56bf537040605140171e99412@mail.gmail.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Art Santo is playing mostly Steve Lacy on KPFA (Bay Area 94.1) or world wide over the Net at: http://www.kpfa.org/ Reg good jazz program show, Forms & Feelings (John Bennett) every Sunday between 2 & 4 (preceeded by good blue 12 - 2) & Santos show between 4 -6. Stephen Vincent Blog: http://stephenvincent.durationpress.com ========================================================================= Date: Sun, 6 Jun 2004 01:23:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Caroline Crumpacker Subject: Richard Foreman In-Reply-To: <200406052131.1bwPjD3FD3NZFkZ0@quail> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v552) Content-Transfer-Encoding: 7bit Exhibit & Silent Auction to Benefit Richard Foreman's Ontological-Hysteric Theater Laurie Anderson, Caroline Crumpacker, Richard Foreman, Philip Glass, Ken Jordan, Paul Miller aka DJ Spooky that Subliminal Kid, Mary Milton, Thurston Moore, Sina Najafi, David Salle, Jay Sanders, Lynne Tillman, Frederic Tuten, John Zorn, and Marianne Boesky Gallery Invite you to join them for a Silent Auction to benefit the Ontological-Hysteric Theater. June 9-12 Final bidding and closing reception June 12, 6-8pm Open bar and refreshments. Participating Artists include: Marina Abramovic, Vito Acconci, Susan Bee, Jimbo Blachly, Nayland Blake, Louise Bourgeois, Chuck Close, Paula Court, Angie Eng, Lee Friedlander, Philip Glass, Mike Goldberg, Ann Hamilton, Jim Hodges, Kyung Jeon, Nina Katchadourian, Joyce Kim, Jim Lambie, Siobhan Liddell, Kate Manheim, Brice Marden, Katinka Matson, Keith Mayerson, Paul Miller aka DJ Spooky that Subliminal Kid, Tam Ochiai, Annee Olofsson, Tony Oursler, Charlemagne Palestine, Lou Reed, David Salle, Gary Schneider, Mark Seidenfeld, Richard Serra, Cindy Sherman, Amy Sillman, Kiki Smith, Michael Snow, John Waters, William Wegman, Terry Winters, Christopher Wool...and more Marianne Boesky Gallery 535 West 22nd Street, 2nd Floor New York, NY 10011 212-680-9889 -AND- an evening of performance to benefit Richard Foreman's Ontological-Hysteric Theater. Friday June 11th, 8pm at Tonic 107 Norfolk between Delancey and Rivington Featuring performances by: John Zorn, Glenn Branca's Branca-Bloor, and composer Robert Ashley, plus readings by Kenneth Goldsmith & Charles Bernstein...and more. $20 admission. ========================================================================= Date: Sat, 5 Jun 2004 22:06:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Taylor Subject: The Naked Readings On-line Mime-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The Naked Readings Online, send an e-mail to: TheNakedReadingsOnline-subscribe@yahoogroups.com http://www.spiralbridge.org/boards_forums.asp ========================================================================= Date: Sat, 5 Jun 2004 23:10:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: Re: America is (an) Eternal Child In-Reply-To: <20040605.101419.-181923.0.skyplums@juno.com> Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit {really} real-lie- Down Delta 9, some unit is always seeking engagement amidst the constant primordia of integrated presence, wind unstopped by course of "determination." Hundreds of Millions of Years of symbolic exchange, thinks its "po-etry".. Squaresville likes a stiff context, and even stiffer rules, logics, etc. Sets up a power structure, right down to the roots.. "He thinks its a straight party kid.. Never seen a dog chase a flash-light.." "Non-linearity" a "mathematics" "concept" [Image-Mo/(b)<->(n)/sters] processing... Likes Kendo, Fencing, etc. accepted.. exact number of snails on the earth... exact length of their extant trails... (temporality ensues) en garde! > > really? > ========================================================================= Date: Sat, 5 Jun 2004 20:24:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Platt Subject: Where's Jarry ? MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit "... presentation of a protagonist whose powerful wish to achieve some goal seems inevitably to come up against limits against which he or she is powerless. The limits may be self-created, or imposed from without (by people or some impersonal force), or they may even represent an inability to establish any precise sense of what may be at issue .... The result is an impasse for the protagonist -- defeat, humiliation, often death. Whatever particular interpretation we may make of this, in general such drama is itself the sign of the transitional moment after the collapse of a stable order and the re-establishment of another." -- The new Princeton Encyclopedia of Poetry and Poetics Do "off the record" comments count as fiction or history? -- somebody's new world order could depend on it. From Capitol Hill Blue Bush Leagues Bush's Erratic Behavior Worries White House Aides By DOUG THOMPSON Publisher, Capitol Hill Blue Jun 4, 2004, 06:15 President George W. Bush’s increasingly erratic behavior and wide mood swings has the halls of the West Wing buzzing lately as aides privately express growing concern over their leader’s state of mind. In meetings with top aides and administration officials, the President goes from quoting the Bible in one breath to obscene tantrums against the media, Democrats and others that he classifies as “enemies of the state.” Worried White House aides paint a portrait of a man on the edge, increasingly wary of those who disagree with him and paranoid of a public that no longer trusts his policies in Iraq or at home. “It reminds me of the Nixon days,” says a longtime GOP political consultant with contacts in the White House. “Everybody is an enemy; everybody is out to get him. That’s the mood over there.” In interviews with a number of White House staffers who were willing to talk off the record, a picture of an administration under siege has emerged, led by a man who declares his decisions to be “God’s will” and then tells aides to “fuck over” anyone they consider to be an opponent of the administration. “We’re at war, there’s no doubt about it. What I don’t know anymore is just who the enemy might be,” says one troubled White House aide. “We seem to spend more time trying to destroy John Kerry than al Qaeda and our enemies list just keeps growing and growing.” Aides say the President gets “hung up on minor details,” micromanaging to the extreme while ignoring the bigger picture. He will spend hours personally reviewing and approving every attack ad against his Democratic opponent and then kiss off a meeting on economic issues. “This is what is killing us on Iraq,” one aide says. “We lost focus. The President got hung up on the weapons of mass destruction and an unproven link to al Qaeda. We could have found other justifiable reasons for the war but the President insisted the focus stay on those two, tenuous items.” Aides who raise questions quickly find themselves shut out of access to the President or other top advisors. Among top officials, Bush’s inner circle is shrinking. Secretary of State Colin Powell has fallen out of favor because of his growing doubts about the administration’s war against Iraq. The President's abrupt dismissal of CIA Directory George Tenet Wednesday night is, aides say, an example of how he works. "Tenet wanted to quit last year but the President got his back up and wouldn't hear of it," says an aide. "That would have been the opportune time to make a change, not in the middle of an election campaign but when the director challenged the President during the meeting Wednesday, the President cut him off by saying 'that's it George. I cannot abide disloyalty. I want your resignation and I want it now." Tenet was allowed to resign "voluntarily" and Bush informed his shocked staff of the decision Thursday morning. One aide says the President actually described the decision as "God's will." God may also be the reason Attorney General John Ashcroft, the administration’s lightning rod because of his questionable actions that critics argue threatens freedoms granted by the Constitution, remains part of the power elite. West Wing staffers call Bush and Ashcroft “the Blues Brothers” because “they’re on a mission from God.” “The Attorney General is tight with the President because of religion,” says one aide. “They both believe any action is justifiable in the name of God.” But the President who says he rules at the behest of God can also tongue-lash those he perceives as disloyal, calling them “fucking assholes” in front of other staff, berating one cabinet official in front of others and labeling anyone who disagrees with him “unpatriotic” or “anti-American.” “The mood here is that we’re under siege, there’s no doubt about it,” says one troubled aide who admits he is looking for work elsewhere. “In this administration, you don’t have to wear a turban or speak Farsi to be an enemy of the United States. All you have to do is disagree with the President.” The White House did not respond to requests for comment on the record. © Copyright 2004 Capitol Hill Blue ========================================================================= Date: Sat, 5 Jun 2004 10:21:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Steve Lacy MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit dearest it's peter brotzman not bob he's a german his chicago tentet is amazing totally diff from lacy tho iunderstand and in ways agree w/ your sentimentsprobably since lacy's contribution was so great and his less than 2 year battle w/cancer so painful and his death so recent your opinion of his music as w/others noted during this barrage was not needed or necessay at this juncture and where were all the elvin jones lovers? ========================================================================= Date: Sun, 6 Jun 2004 04:05:09 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit kno not hard tongue tied rock ela ala ella alla lala alle not no not not hard rock heard not not knot no.... min..to dawn...rock, scissors, screen....drn... ========================================================================= Date: Sun, 6 Jun 2004 04:22:08 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit "Hermes i like better'an Ollivetti" Gerard puts the paper under the cross bar slides the carriage over ping ping pongs struck the keys the quck fox jumps to the aid of his party this'ans a Remington maker of guns heavy load killer of injuns old style Ppppo with ribbon meanin' so Hermes enters Great A Epic Gerard rides off with his portable just in case collector of dreams i ride the lite light be the fingers dawn.... dawn..i dream of Brad Pitts' Abs..on a screen of light...lite be my stroke..o gods...of.....drn... ========================================================================= Date: Sun, 6 Jun 2004 03:16:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Quarles Subject: Re: Steve Lacy In-Reply-To: <20040605.130128.-181223.0.skyplums@juno.com> Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Really? ========================================================================= Date: Sun, 6 Jun 2004 07:14:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: [van-announce] Fundraiser for Spartacus Books. Comments: To: Thco2 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Fundraiser for Spartacus Books. You are invited to join and participate in a celebration of music, dance, art and performance creativity. On June 12th the Work Less Party presents the Work Less Party Party. This is a fun event, filled with lots of dancing, body art and much much more. Work Less, Consume Less, Party MORE When: Saturday 12th June, doors open at 7:30pm Tickets $7 -> $12 (Sliding scale, based on what you can afford) Advance tickets can be purchased at O.C.B. 3283 Main Where: W.I.S.E Hall 1882 Adanac (Just of Commercial). Bands: C.R. Avery and FLAGS KILL Che Chapter 127 Give Market Place Poetic Warrior Press Performers: Water Melon Megan Rose The Work Less Party Kissing / Confession Booth + Many many more Body Painters: Dave - Art Topia Brandy Artists Jim Hoehnle Collin Brown David Grove Don't ignore me For more info, call Conrad 604 - 215 - 9395 or visit www.WorkLessParty.org Poster: www.worklessparty.org/poster.pdf _______________________________________________ van-announce mailing list van-announce@lists.resist.ca https://lists.resist.ca/mailman/listinfo/van-announce ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 6 Jun 2004 07:32:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: The loud whisperers of the west MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit http://victoria.indymedia.org/news/2004/06/26677.php The loud whisperers of the west kkkanada doesn't record its nastiness. kkkanada never really shot down the natives when they (the robber barons) got here they just cleansed them with diseases and destroyed their self esteem then erase their culture via mind control and manipulation and hypocrisy (...and kkkanadians did it and do it with a pleasant blank expression on their face). _______ A small example of a larger problem -- What I find disturbing is the underhanded B.U.T. rather western way of attempting to manipulate the post (of Victoria IMC) and situation from hidden avenues (which has increased as of late) -- altering posts, hunting and pecking out reasons to portray people in the usual negative profile of paranoia and fear projection which makes Victoria work -- attempting to set one faction against the other -- jews and muslims, anarchist and nonwhites - but standing with the controls/strings in hand ready to manipulate situations with grand standing commentary, fake outrage, false political leanings, please for community and political correct fascist censorship tactics of the early 90's meanwhile playing a moral high ground. it is a place where nonwhites lives are devalued and where those very lives can be taken at an instant and then forgotten even by those who claim to be against the ethnic cleansing (PEACE TO ANTHANY DAWSON 09/21/69 - 08/13/99 AND ALL THE OTHER M.I.A.s) that kkkanada is founded on and so many kkkanadian profit from, will pose and prance and whisper but never do anything which will threaten their privilege in this cowardly new world stolen for the robbers barons of the planet. kkkanada is a place, which is deaf to evil, blind to evil and whispers evil daily -- even in nightmares called dreams. This is the backbone of kkkanadian "white lies" kkkanada doesn't record its nastiness. kkkanada never really shot down the natives when they (the robber barons) got here they just cleansed them with diseases and destroyed their self esteem then erase their culture via mind control and manipulation and hypocrisy (...and kkkanadians did it and do it with a pleasant blank expression on their face). kkkanada simply hides it's cruelty (as it does the aryan predators of the world) and thrives on mass distraction (i.e. look over there at the US...) just the way the US uses the fear of the week to manipulate their peoples. kkkanada will holler at full volume claiming moral outrage over the atrocities of their allies B.U.T. does nothing to correct it B.U.T. still collect the booty from the holocaust. kkkanada uses weapons of mass distraction to set one people against the other in order to keep the attention of the puppet masters. kkkanada claims to dislike fascist and racism B.U.T. they house nazi and south African ethnic cleansers and western thieves. they claim to DISlike the US B.U.T. they train the US special forces with the use kkkanadian aryan nation paratroopers. kkkanada also exports the most white power, holocaust-denying propaganda in all of north amerikkka. it is within the kkkanadian psyche and landscape to whisper and backbite -- to attack from afar and divide and conquer meanwhile playing the supportive liberal moderate when actually they are less a democracy and far from kind and socialist B.U.T. in truth are frighteningly a "benevolent dictatorship" out to CONtrol a people, who are products, into serving the SYStem to no avail B.U.T. to keep the System working for itself -- robber barons and the serfs. kkkanada is a place, which allowed McGill University to house US/Kkkanadian torture experiments from "no touch torture" to developing mind controlling drugs to use against political radicals. kkkanada supplies the US's destabilizing agenda with mercenaries/"security specialist". kkkanada is truly the great white north to its bloody brother/sister the southern side of terror. It is the vacation zone for the sinister snakes of the european market. IMC is no different than the rest of the watered down elements of kkkanadian DIStraction tactics. by no means necessary shall there be any revolutionary thought, voice or unity. kkkanada distances one peoples from another by centering their attention on each other and the evils of other places outside the great landscape of barren =ness and fear which is this country. its outreaching hands, its controllers of the left wing are B.U.T. the shills for the greed machinery of the country. Kkkanada is like a Hollywood set of a western or universal playground tour on valium. It is a place of diluted causes and cultures stolen from around the world. It is a place where cultural imperialism comes to white wash the cultures of those places destroyed by the meddling hands of the western world. It is place of political impotence and frigid revolutionaries. It a place of lies, frustrations and deception and hypocrisy where it's mortal enemy is truly diversity and individualism. this is what is the most detestable, sad and hateful aspect of kkkanada -- that it teaches it's inhabitants to manipulate like envious teenager in a crowded cafeteria or the bullying hall monitor with a likkle power for the day, rather than confront and debate and deal the situation and thus change. To not allow voices to flourish B.U.T. to know that that is their right not the a privilage in need of control by the overseers of puritanism. Kkkanada is about CONtrol and the game of it. it is a DYSfunctional marriage founded on inhumanity, manipulation and not love. It is 'bill vanderzalm' pulling the wings off a fly and smirking. ... it's dwellers learn to abuse or be abused or be dealt with in a slow, silent sadist manner where the truth of the horrors and kkkanadian experience will never be told, because the whisperers never really whisper, they speak in a theatrical staccato - the loud whisperers of the west. http://victoria.indymedia.org/news/2004/01/20251.php ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 6 Jun 2004 11:40:16 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: "Facts [Were] Stupid Things." A Reprise For A Great Geppettocrat 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 "Facts [Were] Stupid Things." A Reprise For A Great Geppettocrat: Reagan Too Diseased For Network Television: Republicans' Cruel & Cynical Strategy To Prop Up A Deranged Moron As Chief Executive Moved To Cable: CBS Dumps Reagan Miniseries As Not Politically Correct: Probe of Horse Piss In GIs Drinking Water Continues by Ben Gay 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Sat, 5 Jun 2004 15:43:27 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata Subject: Udda.Gnoames Comments: To: WRYTING MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Ahambura.Kendannal.Lnotaang.Erouanil.Lumanonn.Otaplone.Laplural.Badlys hb.Adnameball.Shobou.Tthecsly.Ricdfree.Dodhardt.Odisowni.Stillbe.Althi eea.Tinghech.Ristedea.Dtheeint.Heegalse.Aemaking.Emocrace.Ncebooet.Tin gafin.Dathgeac.Oncgerno.Trgerous.stvRoginback.Slowlyh.Asmovehe.Artouhn ic.Andianr.Ighilyfall.Immagr.Ainatitr.Inedyini.Ngintoin.Nieruise.Compi stic.Etistor.Yditnoti.Nitvolle.Kathorol.Dnetdalm.Akingmak.Ingimnot.Pre nders.Ienghate.Dnhopean.Nnierann.Ocentbno.Centhold.Estdomed.Yinoroug.H lortsan.Dparedfo.Racigaldr.Ationarb.Iogetrca.Shinrchf.Irmready.Anrehen s.Irolstil.Rrupttrr.T10Gsi.Anthesla.Zygeslyw.Idesolut.Iossiona.Ltiimmi g.Tingskit.Ionallti.Onanatla.Zyautofc.Onttomob.Iltonoti.Ntreeonl.Tting skt.Volleyug.Hlycourn.IngqUsin.Essveref.Erwlylyr.Iyballsh.Yingsloy.Inr eceyn.Otromyro.Tenyton.Ighs __ wreathus isbn 82-92428-08-9 ========================================================================= Date: Sun, 6 Jun 2004 14:37:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: rasula's new one... Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" just wanted to draw attention to (and put in a good word for) jed rasula's ~syncopations: the stress of innovation in contemporary american poetry~, out now on u of alabama p... typically astute, frequently brilliant, always eloquent analysis of contemporary poetry and its discontents, by one of our foremost scholars of same... i've only browsed the whole and read carefully one chapter ("every day another vanguard"), but i can already say that this is a book most on this list will find a must read (and esp. in light of the recent books by magee and friedlander, 'bama is proving quite a series!)... best, joe ========================================================================= Date: Sun, 6 Jun 2004 15:00:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: aaron tieger Subject: CARVE 3 release AND party MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I am please to announce the publication of CARVE 3, featuring: Shin Yu Pai (Boston, MA) Jess Mynes (Wendell, MA) Catherine A. Meng (Berkeley, CA) Christopher Rizzo (Boston, MA) Sean Cole (Greater Boston, MA) Lori Lubeski (Brookline, MA) CARVE is a small magazine devoted to publishing under-the-radar poetry. Each issue is $5 (subs $20/4), available from Aaron Tieger, 51 Prentiss St. #7, Cambridge MA 02140. Please inquire before submitting. And please join us in celebrating the release of this - our final issue in Boston - at a gala reading party in Somerville, MA: Saturday, June 12 at 8 pm. Maudite Productions at Gallery 108 108 Beacon St. Somerville, MA Appearing: Shin Yu Pai, Jess Mynes, Catherine Meng (as read by Mark Lamoureux), Sean Cole, and Lori Lubeski (as read by Aaron Tieger). Refreshments! Free and open to the public! Further info: mark_lamoureux@yahoo.com/mauditepro.blogspot.com or atieger@yahoo.com/fishblog.blogspot.com Hope to see you there! Aaron Tieger Editor, CARVE ===== "Make a sudden, destructive unpredictable action; incorporate." (Brian Eno) __________________________________ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/ ========================================================================= Date: Sun, 6 Jun 2004 18:20:18 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: Re: Seattle MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I'll be in Seattle this Friday-Tuesday, June 11-15, mainly to visit my son. I'd appreciate hearing of any poetry events there on those days. Also, if anyone has an email for Jeanne Heuving, please pass it on. I had it at one point, but not now. Please backchannel. Thanks, Rae Armantrout ========================================================================= Date: Sun, 6 Jun 2004 17:56:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Dog Eat Dog World Mime-Version: 1.0 Content-Type: text/plain; format=flowed what you supposed was the Earth is a pond soaking years of dreams to a dull hour till animals' sapphire eyes' source is wet as stars and guillotine melodies they're out with the unnumbered, smiles there run miniscule & fine, shadows beneath eyelashes remain crust it's said, of the paper beneath their fingertips, that not all that's white shines, there's earth and there's Earth one contains the other right off and the other bides its time this is the beast swallowing its own tale dust from the beast's lamp is on your doorstep what lives in the dust eats what falls from your mouth shadows are wearing places more and more these days would detail scent them tight to their berths, the Earth's debris the earth buds alive, and shake them in droves into the pond your nods couldn't place your filth their own look breaking through the crust the Earth's rocks forcing earth to bury the Coming Expand thus covered & renamed The Ago Motion... miniscule? fine. _________________________________________________________________ Getting married? Find great tips, tools and the latest trends at MSN Life Events. http://lifeevents.msn.com/category.aspx?cid=married ========================================================================= Date: Sun, 6 Jun 2004 20:45:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: mayday MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII mayday http://www.asondheim.org/nina.mov panal ship on the way to voyage of new discovery @ sunset http://www.asondheim.org/help.mov constructed from http://www.asondheim.org/kyber.mov _ ========================================================================= Date: Sun, 6 Jun 2004 18:41:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Deborah Subject: Re: Dog Eat Dog World (of the beast) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Another random connection from Poebot. So, of your beast... "Should we let it in? Should we greet it as it deserves, Hands on our ears, mouths open? Or should we bring it a chair to sit on, and offer it meat?" Charles Wright -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Harrison Jeff Sent: Sunday, June 06, 2004 3:57 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Dog Eat Dog World what you supposed was the Earth is a pond soaking years of dreams to a dull hour till animals' sapphire eyes' source is wet as stars and guillotine melodies they're out with the unnumbered, smiles there run miniscule & fine, shadows beneath eyelashes remain crust it's said, of the paper beneath their fingertips, that not all that's white shines, there's earth and there's Earth one contains the other right off and the other bides its time this is the beast swallowing its own tale dust from the beast's lamp is on your doorstep what lives in the dust eats what falls from your mouth shadows are wearing places more and more these days would detail scent them tight to their berths, the Earth's debris the earth buds alive, and shake them in droves into the pond your nods couldn't place your filth their own look breaking through the crust the Earth's rocks forcing earth to bury the Coming Expand thus covered & renamed The Ago Motion... miniscule? fine. _________________________________________________________________ Getting married? Find great tips, tools and the latest trends at MSN Life Events. http://lifeevents.msn.com/category.aspx?cid=married ========================================================================= Date: Sun, 6 Jun 2004 23:49:13 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Reagan ---"HE DEAD!" Millions Were Killed In The Making Of This Movie 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 Millions Were Killed In The Making Of This Movie: Reagan ---"HE DEAD!" Media Fantasies About Gulping From The Gipper's Zipper: Millions Murdered So Pecker Head, Reagan, Could Live To 93: Through Reagan Americans Explored Their Childlike Passion For Killing Things: "Facts Are Stupid Things." Reagan Controversial Only Because Facts Ignored. Otherwise He Was Just A Murderous Putz. by Gip Wooly and Toorance Id 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Mon, 7 Jun 2004 01:22:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Nick Piombino's ::fait accompli:: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit come on in the blogging's fine! you are invited to check out the latest (((((fait accompli)))) ((((HOT))))((((BLOG)))) (((((CRUSH))))(((()LIST)))) right now at http://nickpiombino.blogspot.com/ ** also book & reading listings, poems "time travel" journals and more ** over 100,000 hits since 5/11/03 ** please visit our complete bloglink list online at the Electronic Poetry Center http://epc.buffalo.edu/connects/blogs.html ========================================================================= Date: Sun, 6 Jun 2004 22:26:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schneider/Hill Subject: Finally SCORE 19 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit To the printer! Duh! I've discovered a mixed-genre literary magazine's more labor intensive than an exclusively concrete/visual poetry publication. For the latter, one constructs the "order," the work's usually print-ready. For the former, the direction (or swerve, skid, scud... whatever you want to call it) SCORE's headed, when verbal poetry and prose is involved, typing, re-typing, proof-reading (I've known few visual poems that need "proof-reading"), there's much to do to get it right. In any case, here's the line up for SCORE 19, over 90 pages of writing that will make readers think twicely: Table of Intent: Cover Reed Altemus Poem, Roxi Power Hamilton Two visual poems, Gustave Morin Two poems, Andrew Lundwall Visual poem, Jeff Jarosch Five prose poems, Sheila E. Murphy Two poems, Ross Priddle Transcript, Nico Vassilakis and Xine Two poems, Stephanie Young Two poems, Steven Paschall Two poems, Jnana Hodson Visual poem, Jim Leftwich & John M. Bennett Two schematic poems, Bill Marsh Four poems, Jukka-Pekka Kervinen Poem, Chris Stroffolino Two poems, Greg Evason Four selections from a long poem, David Hadbawnik Three visual poems, Thomas Lowe Taylor Two poems, Kari Edwards Three poems, Stephen Vincent Two concrete poems, Matthew Stolte Three poems, Ellen Redbird Four minimalist poems, Márton Koppány Two poems, Jason Wilkinson Visual poem, John M. Bennett Prose selections, Tanya Brolaski Two poems, w. allegrezza Visual poem, Gyorgy Kostritskii & John M. Bennett Two operas, Norman Lock Three poems, Chris Murray One poem, Holly Day Three poems, K. Silem Mohammad Two visual poems, J. M. Calleja One poem, Carrie Hunter Prose selection & poem, Donna de la Perriere One poem, Michael Welch Three poems, Chris Nealon One poem, Elizabeth Robinson One poem, Toria Angelyn Clark One collaborative poem, Ron Henry & Chris Piuma One poem, Joseph Lease If you're interested: $12 + $2.00 post (copies in the mail to contributors in the next two weeks). C/O Crag Hill 1111 E. Fifth St. Moscow, ID 83843 And we're now wide open for SCORE 20 (or whatever I decide to call it). Let's see your work pronto. I'd love to be able to put together another issue this summer. Best, Crag http://scorecard.typepad.com ========================================================================= Date: Mon, 7 Jun 2004 04:27:38 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit smog smeared dawn over the empire city osaka canberra najaf coville sur mer one (une) 'ne fore the gipper.... digital dawn...bursitis in the left knee...half mile 'round Wash Sq...rhymes with...drn.. ========================================================================= Date: Mon, 7 Jun 2004 07:11:50 -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/ RECENT TOPICS: Writing the transcendental pulse - Laura Lubasch's To Tell the Lamp: New classical, post avant The problems of publishing: What's a young poet to do? Our own "Van Buren Cantos" - What the 'deep end' of anybody's oeuvre can teach us A question from Lee Ann Brown: How to find a new muse (9 for 9 Poets Project, Question 6) Using Jeff Clark's Music & Suicide to discredit the post-avant: Troy Jollimore in the SF Chronicle The Philadelphia Progressive Poetry Calendar (June Swoon edition) Ten questions from Chicago Postmodern Poetry - "What is your favorite curse word?" The haunted poetics of Peter Gizzi Negativity & ambivalence - Why more people read poetics than poetry http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 7 Jun 2004 07:36:03 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Pentagon Report Set Framework For Use of Torture MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit PAGE ONE Pentagon Report Set Framework For Use of Torture Security or Legal Factors Could Trump Restrictions, Memo to Rumsfeld Argued By JESS BRAVIN Staff Reporter of THE WALL STREET JOURNAL June 7, 2004; Page A1 Bush administration lawyers contended last year that the president wasn't bound by laws prohibiting torture and that government agents who might torture prisoners at his direction couldn't be prosecuted by the Justice Department. The advice was part of a classified report on interrogation methods prepared for Defense Secretary Donald Rumsfeld after commanders at Guantanamo Bay, Cuba, complained in late 2002 that with conventional methods they weren't getting enough information from prisoners. The report outlined U.S. laws and international treaties forbidding torture, and why those restrictions might be overcome by national-security considerations or legal technicalities. In a March 6, 2003, draft of the report reviewed by The Wall Street Journal, passages were deleted as was an attachment listing specific interrogation techniques and whether Mr. Rumsfeld himself or other officials must grant permission before they could be used. The complete draft document was classified "secret" by Mr. Rumsfeld and scheduled for declassification in 2013. The draft report, which exceeds 100 pages, deals with a range of legal issues related to interrogations, offering definitions of the degree of pain or psychological manipulation that could be considered lawful. But at its core is an exceptional argument that because nothing is more important than "obtaining intelligence vital to the protection of untold thousands of American citizens," normal strictures on torture might not apply. The president, despite domestic and international laws constraining the use of torture, has the authority as commander in chief to approve almost any physical or psychological actions during interrogation, up to and including torture, the report argued. Civilian or military personnel accused of torture or other war crimes have several potential defenses, including the "necessity" of using such methods to extract information to head off an attack, or "superior orders," sometimes known as the Nuremberg defense: namely that the accused was acting pursuant to an order and, as the Nuremberg tribunal put it, no "moral choice was in fact possible." According to Bush administration officials, the report was compiled by a working group appointed by the Defense Department's general counsel, William J. Haynes II. Air Force General Counsel Mary Walker headed the group, which comprised top civilian and uniformed lawyers from each military branch and consulted with the Justice Department, the Joint Chiefs of Staff, the Defense Intelligence Agency and other intelligence agencies. It isn't known if President Bush has ever seen the report. A Pentagon official said some military lawyers involved objected to some of the proposed interrogation methods as "different than what our people had been trained to do under the Geneva Conventions," but those lawyers ultimately signed on to the final report in April 2003, shortly after the war in Iraq began. The Journal hasn't seen the full final report, but people familiar with it say there were few substantial changes in legal analysis between the draft and final versions. A military lawyer who helped prepare the report said that political appointees heading the working group sought to assign to the president virtually unlimited authority on matters of torture -- to assert "presidential power at its absolute apex," the lawyer said. Although career military lawyers were uncomfortable with that conclusion, the military lawyer said they focused their efforts on reining in the more extreme interrogation methods, rather than challenging the constitutional powers that administration lawyers were saying President Bush could claim. The Pentagon disclosed last month that the working group had been assembled to review interrogation policies after intelligence officials in Guantanamo reported frustration in extracting information from prisoners. At a news conference last week, Gen. James T. Hill, who oversees the offshore prison at Guantanamo as head of the U.S. Southern Command, said the working group sought to identify "what is legal and consistent with not only Geneva [but] ... what is right for our soldiers." He said Guantanamo is "a professional, humane detention and interrogation operation ... bounded by law and guided by the American spirit." Gen. Hill said Mr. Rumsfeld gave him the final set of approved interrogation techniques on April 16, 2003. Four of the methods require the defense secretary's approval, he said, and those methods had been used on two prisoners. He said interrogators had stopped short of using all the methods lawyers had approved. It remains unclear what actions U.S. officials took as a result of the legal advice. Critics who have seen the draft report said it undercuts the administration's claims that it recognized a duty to treat prisoners humanely. The "claim that the president's commander-in-chief power includes the authority to use torture should be unheard of in this day and age," said Michael Ratner, president of the Center for Constitutional Rights, a New York advocacy group that has filed lawsuits against U.S. detention policies. "Can one imagine the reaction if those on trial for atrocities in the former Yugoslavia had tried this defense?" Following scattered reports last year of harsh interrogation techniques used by the U.S. overseas, Sen. Patrick Leahy, a Vermont Democrat, wrote to National Security Adviser Condoleezza Rice asking for clarification. The response came in June 2003 from Mr. Haynes, who wrote that the U.S. was obliged to conduct interrogations "consistent with" the 1994 international Convention Against Torture and the federal Torture Statute enacted to implement the convention outside the U.S. The U.S. "does not permit, tolerate or condone any such torture by its employees under any circumstances," Mr. Haynes wrote. The U.S. also followed its legal duty, required by the torture convention, "to prevent other acts of cruel, inhuman or degrading treatment or punishment which do not amount to torture," he wrote. The U.S. position is that domestic criminal laws and the Constitution's prohibition of cruel and unusual punishments already met the Convention Against Torture's requirements within U.S. territory. The Convention Against Torture was proposed in 1984 by the United Nations General Assembly and was ratified by the U.S. in 1994. It states that "no exceptional circumstances whatsoever, whether a state of war or a threat of war, internal political instability or any other public emergency, may be invoked as a justification of torture," and that orders from superiors "may not be invoked as a justification of torture." That prohibition was reaffirmed after the Sept. 11 attacks by the U.N. panel that oversees the treaty, the Committee Against Torture, and the March 2003 report acknowledged that "other nations and international bodies may take a more restrictive view" of permissible interrogation methods than did the Bush administration. The report then offers a series of legal justifications for limiting or disregarding antitorture laws and proposed legal defenses that government officials could use if they were accused of torture. A military official who helped prepare the report said it came after frustrated Guantanamo interrogators had begun trying unorthodox methods on recalcitrant prisoners. "We'd been at this for a year-plus and got nothing out of them" so officials concluded "we need to have a less-cramped view of what torture is and is not." The official said, "People were trying like hell how to ratchet up the pressure," and used techniques that ranged from drawing on prisoners' bodies and placing women's underwear on prisoners heads -- a practice that later reappeared in the Abu Ghraib prison -- to telling subjects, "I'm on the line with somebody in Yemen and he's in a room with your family and a grenade that's going to pop unless you talk." Senior officers at Guantanamo requested a "rethinking of the whole approach to defending your country when you have an enemy that does not follow the rules," the official said. Rather than license torture, this official said that the report helped rein in more "assertive" approaches. Methods now used at Guantanamo include limiting prisoners' food, denying them clothing, subjecting them to body-cavity searches, depriving them of sleep for as much as 96 hours and shackling them in so-called stress positions, a military-intelligence official said. Although the interrogators consider the methods to be humiliating and unpleasant, they don't view them as torture, the official said. The working-group report elaborated the Bush administration's view that the president has virtually unlimited power to wage war as he sees fit, and neither Congress, the courts nor international law can interfere. It concluded that neither the president nor anyone following his instructions was bound by the federal Torture Statute, which makes it a crime for Americans working for the government overseas to commit or attempt torture, defined as any act intended to "inflict severe physical or mental pain or suffering." Punishment is up to 20 years imprisonment, or a death sentence or life imprisonment if the victim dies. "In order to respect the president's inherent constitutional authority to manage a military campaign ... (the prohibition against torture) must be construed as inapplicable to interrogations undertaken pursuant to his commander-in chief authority," the report asserted. (The parenthetical comment is in the original document.) The Justice Department "concluded that it could not bring a criminal prosecution against a defendant who had acted pursuant to an exercise of the president's constitutional power," the report said. Citing confidential Justice Department opinions drafted after Sept. 11, 2001, the report advised that the executive branch of the government had "sweeping" powers to act as it sees fit because "national security decisions require the unity in purpose and energy in action that characterize the presidency rather than Congress." The lawyers concluded that the Torture Statute applied to Afghanistan but not Guantanamo, because the latter lies within the "special maritime and territorial jurisdiction of the United States, and accordingly is within the United States" when applying a law that regulates only government conduct abroad. Administration lawyers also concluded that the Alien Tort Claims Act, a 1789 statute that allows noncitizens to sue in U.S. courts for violations of international law, couldn't be invoked against the U.S. government unless it consents, and that the 1992 Torture Victims Protection Act allowed suits only against foreign officials for torture or "extrajudicial killing" and "does not apply to the conduct of U.S. agents acting under the color of law." The Bush administration has argued before the Supreme Court that foreigners held at Guantanamo have no constitutional rights and can't challenge their detention in court. The Supreme Court is expected to rule on that question by month's end. For Afghanistan and other foreign locations where the Torture Statute applies, the March 2003 report offers a narrow definition of torture and then lays out defenses that government officials could use should they be charged with committing torture, such as mistakenly relying in good faith on the advice of lawyers or experts that their actions were permissible. "Good faith may be a complete defense" to a torture charge, the report advised. "The infliction of pain or suffering per se, whether it is physical or mental, is insufficient to amount to torture," the report advises. Such suffering must be "severe," the lawyers advise, and they rely on a dictionary definition to suggest it "must be of such a high level of intensity that the pain is difficult for the subject to endure." The law says torture can be caused by administering or threatening to administer "mind-altering substances or other procedures calculated to disrupt profoundly the sense of personality." The Bush lawyers advised, though, that it "does not preclude any and all use of drugs" and "disruption of the senses or personality alone is insufficient" to be illegal. For involuntarily administered drugs or other psychological methods, the "acts must penetrate to the core of an individual's ability to perceive the world around him," the lawyers found. Gen. Hill said last week that the military didn't use injections or chemicals on prisoners. After defining torture and other prohibited acts, the memo presents "legal doctrines ... that could render specific conduct, otherwise criminal, not unlawful." Foremost, the lawyers rely on the "commander-in-chief authority," concluding that "without a clear statement otherwise, criminal statutes are not read as infringing on the president's ultimate authority" to wage war. Moreover, "any effort by Congress to regulate the interrogation of unlawful combatants would violate the Constitution's sole vesting of the commander-in-chief authority in the president," the lawyers advised. Likewise, the lawyers found that "constitutional principles" make it impossible to "punish officials for aiding the president in exercising his exclusive constitutional authorities" and neither Congress nor the courts could "require or implement the prosecution of such an individual." To protect subordinates should they be charged with torture, the memo advised that Mr. Bush issue a "presidential directive or other writing" that could serve as evidence, since authority to set aside the laws is "inherent in the president." The report advised that government officials could argue that "necessity" justified the use of torture. "Sometimes the greater good for society will be accomplished by violating the literal language of the criminal law," the lawyers wrote, citing a standard legal text, "Substantive Criminal Law" by Wayne LaFave and Austin W. Scott. "In particular, the necessity defense can justify the intentional killing of one person ... so long as the harm avoided is greater." In addition, the report advised that torture or homicide could be justified as "self-defense," should an official "honestly believe" it was necessary to head off an imminent attack on the U.S. The self-defense doctrine generally has been asserted by individuals fending off assaults, and in 1890, the Supreme Court upheld a U.S. deputy marshal's right to shoot an assailant of Supreme Court Justice Stephen Field as involving both self-defense and defense of the nation. Citing Justice Department opinions, the report concluded that "if a government defendant were to harm an enemy combatant during an interrogation in a manner that might arguably violate criminal prohibition," he could be justified "in doing so in order to prevent further attacks on the United States by the al Qaeda terrorist network." Mr. LaFave, a law professor at the University of Illinois, said he was unaware that the Pentagon used his textbook in preparing its legal analysis. He agreed, however, that in some cases necessity could be a defense to torture charges. "Here's a guy who knows with certainty where there's a bomb that will blow New York City to smithereens. Should we torture him? Seems to me that's an easy one," Mr. LaFave said. But he said necessity couldn't be a blanket justification for torturing prisoners because of a general fear that "the nation is in danger." For members of the military, the report suggested that officials could escape torture convictions by arguing that they were following superior orders, since such orders "may be inferred to be lawful" and are "disobeyed at the peril of the subordinate." Examining the "superior orders" defense at the Nuremberg trials of Nazi war criminals, the Vietnam War prosecution of U.S. Army Lt. William Calley for the My Lai massacre and the current U.N. war-crimes tribunals for Rwanda and the former Yugoslavia, the report concluded it could be asserted by "U.S. armed forces personnel engaged in exceptional interrogations except where the conduct goes so far as to be patently unlawful." The report seemed "designed to find the legal loopholes that will permit the use of torture against detainees," said Mary Ellen O'Connell, an international-law professor at the Ohio State University who has seen the report. "CIA operatives will think they are covered because they are not going to face liability." Write to Jess Bravin at jess.bravin@wsj.com5 URL for this article: http://online.wsj.com/article/0,,SB108655737612529969,00.html ========================================================================= Date: Mon, 7 Jun 2004 07:57:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Fwd: [deeplistening] Bush coming unglued? Comments: To: reiner@cats.ucsc.edu, Laurelreiner@aol.com, oconn001@umn.edu, spidertangle@yahoogroups.com, ismai004@LISTSERV.BUFFALO.EDU, lcucullu@LISTSERV.BUFFALO.EDU, celia@cape.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i don't usually forward these kinds of things so widely, but it caught my interest and validated my suspicions...i wonder if we circulate this widely enough if it could affect the election... >From: TIELLIS@AOL.COM >Mailing-List: list deeplistening@yahoogroups.com; contact >deeplistening-owner@yahoogroups.com >Date: Sun, 6 Jun 2004 14:26:31 EDT >Subject: [deeplistening] Bush coming unglued? > >... > >http://www.capitolhillblue.com/ > > >Capitol Hill Blue is a daily on-line publication. Since 1994 it has >been an outlet for both retired and current members of the >Washington press corps. Former newsman Doug Thompson is publisher >of Capitol Hill Blue. He is a former Republican congressional >staffer . > >Bush Leagues > >Bush's Erratic Behavior Worries White House Aides > >By Doug Thompson, Publisher, Capitol Hill Blue, Friday, June 4, 2004 > >President George W. Bush's increasingly erratic behavior and wide mood >swings has the halls of the West Wing buzzing lately as aides privately >express growing concern over their leader's state of mind. > >In meetings with top aides and administration officials, the President goes >from quoting the Bible in one breath to obscene tantrums against the media, >Democrats and others that he classifies as "enemies of the state." > >Worried White House aides paint a portrait of a man on the edge, >increasingly wary of those who disagree with him and paranoid of a public >that no longer trusts his policies in Iraq or at home. > >"It reminds me of the Nixon days," says a longtime GOP political consultant >with contacts in the White House. "Everybody is an enemy; everybody is out >to get him. That's the mood over there." > >In interviews with a number of White House staffers who were willing to talk >off the record, a picture of an administration under siege has emerged, led >by a man who declares his decisions to be "God's will" and then tells aides >to "fuck over" anyone they consider to be an opponent of the administration. > >"We're at war, there's no doubt about it. What I don't know anymore is just >who the enemy might be," says one troubled White House aide. "We seem to >spend more time trying to destroy John Kerry than al Qaeda and our enemies >list just keeps growing and growing." > >Aides say the President gets "hung up on minor details," micromanaging to >the extreme while ignoring the bigger picture. He will spend hours >personally reviewing and approving every attack ad against his Democratic >opponent and then kiss off a meeting on economic issues. > >"This is what is killing us on Iraq," one aide says. "We lost focus. The >President got hung up on the weapons of mass destruction and an unproven >link to al Qaeda. We could have found other justifiable reasons for the war >but the President insisted the focus stay on those two, tenuous items." > >Aides who raise questions quickly find themselves shut out of access to the >President or other top advisors. Among top officials, Bush's inner circle is >shrinking. Secretary of State Colin Powell has fallen out of favor because >of his growing doubts about the administration's war against Iraq. > >The President's abrupt dismissal of CIA Directory George Tenet Wednesday >night is, aides say, an example of how he works. > >"Tenet wanted to quit last year but the President got his back up and >wouldn't hear of it," says an aide. "That would have been the opportune time >to make a change, not in the middle of an election campaign but when the >director challenged the President during the meeting Wednesday, the >President cut him off by saying 'that's it George. I cannot abide >disloyalty. I want your resignation and I want it now." > >Tenet was allowed to resign "voluntarily" and Bush informed his shocked >staff of the decision Thursday morning. One aide says the President actually >described the decision as "God's will." > >God may also be the reason Attorney General John Ashcroft, the >administration's lightning rod because of his questionable actions that >critics argue threatens freedoms granted by the Constitution, remains part >of the power elite. West Wing staffers call Bush and Ashcroft "the Blues >Brothers" because "they're on a mission from God." > >"The Attorney General is tight with the President because of religion," says >one aide. "They both believe any action is justifiable in the name of God." > >But the President who says he rules at the behest of God can also >tongue-lash those he perceives as disloyal, calling them "fucking assholes" >in front of other staff, berating one cabinet official in front of others >and labeling anyone who disagrees with him "unpatriotic" or "anti-American." > >"The mood here is that we're under siege, there's no doubt about it," says >one troubled aide who admits he is looking for work elsewhere. "In this >administration, you don't have to wear a turban or speak Farsi to be an >enemy of the United States. All you have to do is disagree with the >President." > >The White House did not respond to requests for comment on the record. > > -- ========================================================================= Date: Mon, 7 Jun 2004 10:18:04 -0400 Reply-To: Mike Kelleher Sender: UB Poetics discussion group From: Mike Kelleher Organization: Just Buffalo Literary Center Subject: JUST BUFFALO E-NEWSLETTER 6-7-04 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit JOYCE'S CAROLYN'S CORNER Just Buffalo's Intedisciplinary Literary Series presents: YO SOY POESIA/I AM POETRY Friday, June 11 from 7 to 9 pm Allen Street Dance Studio 85 Allen Street, Buffalo Admission $2- $4 Original poetry in Spanish and English complemented by electrifying Latin music. Bring your poems to this open mic event. Dance to the high-flying, electrifying sounds of Concepto Libre, led by Ricardo Ferrer. OPEN READINGS, HOSTED BY LIVIO FARALLO Readings begin at 7 p.m. There are ten slots for open readers. Signups begin at 6:45. All readings are free and open to the public. Notice: Beginning, July 14, 2004, readings on the 2nd Wednesday of the month will move from the Center for Inquiry in Amherst into the Hibiscus Room. The Hibiscus Room is located in the Tri-Main Center, 2495 Main St., Ste. 512. DAN SICOLI AND JOE MALVESTUTO Wednesday, June 9, 7 P.M. Center for Inquiry, 1310 Sweet Home Road, Amherst, NY Cars, broken guitar strings, party cheeses, soiled t-shirts, catheters, and support hose have often adorned the writing of Dan Sicoli. Pudding House Publication released his chapbook Pagan Supper, with a second chapbook in the works. Some of Dan's web e-zine credits include Atomic Petals, Bulkhead, 2 River View, Opium, and Erasha. Dan also makes his own cheese and sausage and can be consulted on the manufacturing process by dialing slipdan@aol.com. Joe Malvestuto has been a musician dating as far back as he can remember and has played in numerous lands in the US and Canada for close to 30 years. Joe says his concentration on music is periodically interrupted by sojourns in writing, and recently as Joe began working on his own original classical music composition, he was brought back to writing again. Joe is currently involved with 2 bands: The Jerry Ainches Group and Group Therapy. IF ALL OF BUFFALO READ THE SAME BOOK The reader's guide for this years book, The God of Small Things, by Arundhati Roy, is now available as a free download on the Just Buffalo website. Arundhati Roy will be coming to Just Buffalo September 8-9, 2004. For more information, please call us at 832-5400 or visit the website at www.justbuffalo.org. MEMBERSHIP CAMPAIGN SIGNED, LIMITED EDITION ROBERT CREELEY BROADSIDE AVAILABLE As part of the spring membership campaign, Just Buffalo is offering a special membership gift to the first fifty people who join at a level of $50 or more after May 1. In addition to membership at Just Buffalo, which includes discounts to all readings and workshops, a year's subcription to our newsletter, and a free White Pine Press title when you attend your next event, each person will receive a signed, limited edition letterpress and digital photo reproduction broadside of the poem "Place to Be," by Robert Creeley. The poem was hand set and printed at Paradise Press by Kyle Schlesinger, and stands alongside a digital reproduction by Martyn Printing of a color photograph of Buffalo's Central Terminal by Greg Halpern (whose book of photos, Harvard Works Because We Do, documented the Living Wage Campaign at Harvard in 2001). Send check or money order to the address at the bottom of this email, or call us at 832-5400 to use your credit card. WORKSHOPS WORKSHOP ON EXPERIMENTAL POETRY with Jorge Guitart 4 Saturdays July 10, 17, 24, and 31, 10 a.m -12 p.m. in The Hibiscus Room at Just Buffalo $100, $90 members, individual classes $30, $25 members If you are tired of the trite and expected in the poetry of others or your own, try your hand at playing with language in a serious, organized way. Let randomness and unusual combinatory procedures get you started in creating lines that no one could possibly have uttered or written before. Bring poetry back to being a most unusual collocation of words. Let the poem write you instead of the other way. Embark on the pleasures of intertextuality, stealing from famous texts and subverting their intentions. You will be introduced to techniques that will help you create hundreds if not thousands of amazing poems in a relatively short time. Jorge Guitart teaches in the Department of Romance Languages and Literatures at UB. He has been a member of JBLC Writers in Education since 1984 and has led poetry workshops in Buffalo public schools. He is the author of Foreigner's Notebook (Shuffaloff 1993) and Film Blanc (Meow Press 1996). He is represented at UB's Electronic Poetic Center. SPOKEN ARTS RADIO W/ Mary Van Vorst 6:35 a.m. and 8:35 a.m. Thursdays and 8:35 a.m. Sundays on WBFO 88.7 FM July 8 & 11 Lee Stringer (Author of _Grand Central Winter_ and _Sleepaway School_) Lee Stringer will also be doing a book signing at Talking Leaves Books on July 16. _______________________________ Mike Kelleher Artistic Director Just Buffalo Literary Center 2495 Main St., Ste. 512 Buffalo, NY 14214 716.832.5400 716.832.5710 (fax) www.justbuffalo.org mjk@justbuffalo.org ========================================================================= Date: Mon, 7 Jun 2004 22:39:50 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sawako Nakayasu Subject: Announcement: new HOW2 online! Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit _________________________________ C o l l i s i o n L e a k i n g S p e c i e s How2 Volume 2 No. 2, Spring 2004 Dear friends of How2, http://www.departments.bucknell.edu/stadler_center/how2/current/ You are invited to view Collision Leaking Species, the Spring 2004 edition of How2 magazine, now available online and containing these features: WORK/BOOK Focus on Maggie O'Sullivan Excerpts from 'murmur' ++ excerpts from 'all origins are lonely' ++ interview with Dell Olsen ++ comprehensive bibliography --- MULTI-MEDIA Featuring new work by Thalia Field ++ Susan Johanknecht ++ Melissa Benham & Stacy Dacheux ++ Hazel Smith & Roger Dean --- CRITICAL FEATURE "A Narrative in Escaped Places": Writing After Stein Featuring Janet Neigh ++ Carla Harryman ++ Mary Ann Caws ++ Marina Morbiducci ++ Mark Byron ++ Rob Holloway ++ Michael Farrell --- CRITICAL FEATURE Focus on Leslie Scalapino Including Scalapino's new work 'Can't' Is 'Night' ++ extracts from 'Dahlia's Iris' ++ Scalapino reading on Resonance FM radio (London) ++ critical work by Laura Hinton, Zack, Elisabeth A. Frost, Jeanne Heuving, Alicia Cohen, Camille Martin ++ interview with Anne Brewster ++ comprehensive bibliography --- TRANSLATIONS Japanese modernist innovation Poems by Sagawa Chika, trans. Sawako Nagayasu ++ Ema Shoko, trans. Miryam Sas ++ critical essay by Arai Toyomi, trans. Janine Beichman --- NEW WRITING "The Text as a Site of Resistance" Featuring new work by Tilla Brading ++ Susan Johanknecht ++ Jane Joritz-Nakagawa ++ Christine Kennedy ++ Karen McCormack ++ Hermine Meinhard ++ Mary Michaels ++ Geraldine Monk ++ Sina Queyras --- IN CONFERENCE Papers from the London TALKS series by Nicky Marsh, Mark Leahy and Alison Croggon --- ALERTS Nicky Marsh on "Goan Atom" by Caroline Bergvall Linda Kinnahan on "The Feminist Avant-Garde in American Poetry" by Elisabeth A. Frost Harry Thorne on "Scratch Sides: Poetry, Documentation, and Image Text Projects" by Kristin Prevallet Yerra Sugarman on "Original Green" by Patricia Carlin Michael Farrell on "Clutch: Including Hockey Love Letters" by Sawako Nakayasu Monica Sirignano on "Zither & Autobiography" by Leslie Scalapino Vahni Capildeo on "Anatomy for the Artist" by Sarah Simblet Linda Russo on "The Grand Permission: New Writings on Poetics and Motherhood", eds Patricia Dienstfrey and Brenda Hillman; and "Red Book in Three Parts" by Bernadette Mayer --- And much more, including the new POSTCARDS section. All correspondence: Kate Fagan kfag6311@mail.usyd.edu.au OR Dell Olsen redellolsen@btinternet.com Please let us know by e-mail if you no longer wish to receive announcements about HOW2 magazine. +++ HOW2 online +++ Committed to innovative contemporary and modernist writing by women & continuing the tradition of HOW(ever) +++ Editor: Kate Fagan Managing Editor: Redell Olsen Webdesigner: Roberta Sims ========================================================================= Date: Mon, 7 Jun 2004 07:53:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Marsh Subject: Re: Man puts earplugs into nose In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Also nice take on activity in context. And those slow morphs are worth waiting for. bill > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of Brian Kim Stefans [arras.net] > Sent: Saturday, June 05, 2004 5:21 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Man puts earplugs into nose > > ...starring David Perry > > http://www.arras.net/polaroids/david_2.html > > http://www.arras.net/polaroids/david_v1.html > > Same footage, different concepts. > > Runs really slow on older computers -- should run at 24fps, if it seems > slower than that then the computer's having problems with the programming. > > Shot at the big book launch in Chelsea on Thursday. > > xo > brian > > > > > ____ > > 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." > > > --- > Outgoing mail is certified Virus Free. > Checked by AVG anti-virus system (http://www.grisoft.com). > Version: 6.0.688 / Virus Database: 449 - Release Date: 5/18/04 > > --- > Outgoing mail is certified Virus Free. > Checked by AVG anti-virus system (http://www.grisoft.com). > Version: 6.0.688 / Virus Database: 449 - Release Date: 5/18/04 > ========================================================================= Date: Mon, 7 Jun 2004 19:05:44 +0200 Reply-To: Kevin Magee Sender: UB Poetics discussion group From: Kevin Magee Subject: Critical Art MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1257" Content-Transfer-Encoding: base64 T25lIGxhbmd1YWdlIGZvciBpbnRlbnNpZmllZCBlbmZvcmNlbWVudHMgaXMgdGhhdCBvZiBtaXN0 YWtlIG9yDQptaXN1bmRlcnN0YW5kaW5nLCBhbmQgb25jZSB0aGUgcG9saWNlIHJlY29nbml6ZSB0 aGVpciBlcnJvciB0aGUgYXJ0aXN0DQp3aWxsIHJldHVybiB0byBsaWZlIGFzIGJlZm9yZSwgYW5k IHRoZSBsaW5lIG9mIGRlZmVuc2UsIHN1cHBvcnQgYW5kDQpzb2xpZGFyaXR5IGFydGljdWxhdGVz IGl0c2VsZiBhcyBzdWNoLCBhbmQgcGVyaGFwcyB0aGF0IGlzIGFsbCB0aGlzDQpraW5kIG9mIGxh bmd1YWdlIGNhbiBkbywgcmVzcG9uc2l2ZSByYXRoZXIgdGhhbiByZWFjdGl2ZSwgZXhwcmVzc2lu Zw0KZGlzYmVsaWVmLiBUaGlzIGlzIGFzIG11Y2ggYXMgSSd2ZSBpbnRlcnByZXRlZCBmcm9tIHBv c3RpbmdzIGhlcmUgYW5kDQpmcm9tIHRoZSBuZXR0aW1lIGFyY2hpdmVzLCB3aXRob3V0IGZvbGxv d2luZyB0aGUgbGlua3MgYXQgbGVhc3Qgbm90DQp5ZXQsIG9ubHkgcmVtb3RlbHkgYXdhcmUuIFdo YXQgZm9ybSBvZiBjb250cmlidXRpb24gaXMgaXQgdG8gYSBsZWdhbA0KZGVmZW5zZSBmdW5kIHRv IG9mZmVyIGluc3RlYWQgYW5vdGhlciBsYW5ndWFnZSwgcG9saXRpY2FsbHkgY2hhcmdlZA0Kd2l0 aCB0aGUgcGVyY2VwdGlvbiB0aGF0IHRoZSBmZWRlcmFsIHBvbGljZSBkbyBub3QgbWFrZSBtaXN0 YWtlcy4NCg0KVGhleSBtYWtlIHByb2Jlcy4gVGhlIGlubm9jZW5jZSBvZiB0aGUgYXJ0aXN0IGlz IGlycmVsZXZhbnQuIFdoYXQgaXMNCmF0IGlzc3VlLCBhbmQgaW4gdGhlIGZvcm0gb2YgbGVnYWwg ZGVmaW5pdGlvbiwgaXMgdGhlIGlkZW50aWZpY2F0aW9uDQpvZiB2b2xhdGlsZSBtYXRlcmlhbHMs IGFuZCBoZXJlIGlzIG9uZSBsb2dpYyBmb3IgdGhlIGludmVzdGlnYXRpb24gaW4NCkJ1ZmZhbG8u IFRoZSB2b2xhdGlsaXR5IG9mIGlkZWFzIGlzIG1vcmUgZWx1c2l2ZSwgbW9yZSBkaWZmaWN1bHQg dG8NCmVzdGFibGlzaCwgYW5kIGV2ZXJ5IGNoYWxsZW5nZSBpbiB0aGUgY291cnRzLCB1c2luZyB0 aGUgbGVnYWwgcHJvY2VzcywNCnRlc3RzIHRoZSBib3VuZGFyaWVzIHRoYXQgYXJlIG5ldmVyIHN0 YWJsZSBpbiBkZXRlcm1pbmluZyB3aGF0IGlzDQphbmQgd2hhdCBpcyBub3QgYSB0aHJlYXQgdG8g c3RhdGUgc2VjdXJpdHkuIEZpcnN0IHRoZSBvYmplY3RzLCB0aGUNCnRhbmdpYmxlIG1hdGVyaWFs cywgbXVzdCBiZSBhcnJhaWduZWQsIGFuZCB3aGV0aGVyIG9yIG5vdCB0aGUgYXJ0aXN0DQppcyBj b252aWN0ZWQgb3IgdGhlIGNoYXJnZXMgZHJvcHBlZCBpcyBhIHNlY29uZGFyeSBxdWVzdGlvbiBm b3IgDQp0aGlzIGxvZ2ljIG1lYXN1cmVkIGFnYWluc3QgdGhlIHByb2dyZXNzIG1hZGUgaW4gdGhl IGNvdXJ0cyBhbmQgDQp0aGUgbGFuZ3VhZ2UgdXNlZCB0aGVyZTogdGhlIGNvdXJ0cyBtdXN0IGJl Y29tZSBjYXBhYmxlIG9mIA0KZGVmaW5pbmcgcG9saXRpY2FsIGNyaW1lcy4gRXZlcnkgY2FzZSBs aWtlIHRoaXMgY2FzZSBtb3ZlcyBpbiB0aGF0IA0KZGlyZWN0aW9uLCBvZmZpY2lhbGx5IHByb2Nl ZHVyYWwuIFRvIGFjY2VwdCB0aGUgaW50ZWxsaWdlbmNlIG9mIHN1Y2ggDQplbmZvcmNlbWVudHMg YWNjZXB0cyB0aGVpciBwcmVzY2llbmNlIHRoYXQgaG9tZWxhbmQgZGVmZW5zZSANCmhhcyB0byBi ZSBhYmxlIHRvIGNyaW1pbmFsaXplIG1hdGVyaWFscywgZm9yIHRoaXMgaXMgdGhlIHJveWFsIHJv YWQgDQp0byBnb3Zlcm5pbmcgdGhlIHJlcHJlc2VudGF0aW9uLCBhbmQgZm9yY2luZyBmaXJzdCB0 aGUgaXNzdWUgb2YNCmRpc2NpcGxpbmUgYW5kIHZpZ2lsYW5jZSBpbiB0aGUgY3VsdHVyYWwgc3Bo ZXJlIGFuZCBldmVudHVhbGx5IHRoZSANCmlzc3VlIG9mIGFsbGVnaWVuY2Ugd2l0aG91dCB3aGlj aCB0aGUgc3RhdGUgY2Fubm90IG1ha2Ugd2FyLg0KDQpodHRwOi8vaHlwb2JvbGVtYWlvaS5kdXJh dGlvbnByZXNzLmNvbQ0KDQoNCg0K ========================================================================= Date: Mon, 7 Jun 2004 12:24:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: Toby Olson address? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit email address for Toby Olson? (does he have one?) or snailmail or phone (I have these somewhere but can't lay hands on them) backchannel good. 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: Mon, 7 Jun 2004 20:42:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: glory of modernism MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII glory of modernism twisted dance of postmodernism http://www.asondheim.org/bare.mov forgotten the injurious tendons delirious muscles vibrations at true-real speed ground-zero of space-time modernism of glory postmodernism of dance twisted http://www.asondheim.org/bare.mov muscles delirious tendons injurious the forgotten speed true-real at vibrations space-time of ground-zero _ ========================================================================= Date: Mon, 7 Jun 2004 20:58:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: 9for9 poets: =?ISO-8859-1?B?oEppbSBCZWhybGUsIEVkbXVuZCBCZXJyaWdhbiwgSmltIENvcnksIGhhc3NlbiwgU29maWEgTWVtb24sIERhbmllbCBBYmRhbC1IYXl5IE1vb3JlLCBEZWJvcmFoIFJpY2hhcmRzLCBNb2xseSBSdXNzYWtvZmYsIFByYWdlZXRhIFNoYXJtYQ==?= MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit 9for9 poets: Jim Behrle, Edmund Berrigan, Jim Cory, hassen, Sofia Memon, Daniel Abdal-Hayy Moore, Deborah Richards, Molly Russakoff, Prageeta Sharma FINALLY, after much labor-intensive editing, set 3 of 9for9 is ready! Hope you all enjoy it. It's worth noting that, during the construction of this particular set, many folks were reading the series of Q&A as it appeared online, and the answers to the Ezra Pound question (question #3) spurred much controversy. But read and think for yourselves... Here's the link to the issue: http://poets9for9.blogspot.com ALSO, a reminder to those in the Philadelphia area, the PhillySound will be having a reading this Thursday at 6:30 pm at Gleaners Cafe PHILLYSOUND: New Poetry...http://phillysound.blogspot.com to celebrate the PhillySound feature in M.A.G. online journal and the release of FREQUENCY Audio Journal http://frequencymagazine.blogspot.com come hear a round-robin reading of Philly Sound poets: Alicia Askenase Tom Devaney hassen Mytili Jagannathan Ish Klein Chris McCreary Ethel Rackin Molly Russakoff Frank Sherlock CAConrad will introduce the poets, and talk about M.A.G. online and FREQUENCY Audio Journal Thursday, June 10th 6:30pm at The Gleaners Cafe 917 S. 9th St. in the heart of the Italian Market questions? contact CAConrad at 215 563 3075 or Gleaners Cafe at 215 923 3205 ========================================================================= Date: Mon, 7 Jun 2004 22:35:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City presents Purple Rain Live this Saturday Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Boog City's Perfect Albums Live presents Prince and the Revolution's Music from the Motion Picture Purple Rain Saturday, June 12, 9:30 p.m., $10 The Bowery Poetry Club 308 Bowery NYC Nine NYC musical acts reinterpret the Purple Rain soundtrack live, in order, track-by-track, in this fundraiser for the East Village community newspaper and literary press Boog City. Performed by: Cheese on Bread The Domestics The Feverfew Miwa Gemini Pantsuit Schwervon Aaron Seven The Trouble Dolls Michael Turlo Preceded by readings from Corina Copp, Douglas Rothschild, and Alan Semerdjian Hosted by Boog City editor and publisher David Kirschenbaum Directions: F train to Second Avenue, or 6 train to Bleecker Street. Venue is at foot of 1st Street, between Houston and Bleecker streets, across from CBGBs. http://www.cheeseonbread.com/ http://www.thedomestics.com/ http://www.thefeverfew.com/ http://www.miwagemini.com/ http://olivejuicemusic.com/nan.html http://www.olivejuicemusic.com/schwervon.html http://www.troubledolls.net/index.html http://turlo.com/ -- 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, 7 Jun 2004 19:57:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: NYC 6/11: Richard Foreman benefit auction and performance Comments: cc: ubuweb MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Exhibit & Silent Auction to Benefit Richard Foreman's Ontological-Hysteric Theater June 9-12 Final bidding and closing reception June 12, 6-8pm Open bar and refreshments. Participating Artists include: Marina Abramovic, Vito Acconci, Susan Bee, Jimbo Blachly, Nayland Blake, Louise Bourgeois, Chuck Close, Paula Court, Angie Eng, Richard Foreman, Lee Friedlander, Philip Glass, Mike Goldberg, Ann Hamilton, Jim Hodges, Kyung Jeon, Nina Katchadourian, Joyce Kim, Jim Lambie, Siobhan Liddell, Kate Manheim, Brice Marden, Katinka Matson, Keith Mayerson, Paul Miller aka DJ Spooky that Subliminal Kid, Tam Ochiai, Annee Olofsson, Tony Oursler, Charlemagne Palestine, Lou Reed, David Salle, Gary Schneider, Mark Seidenfeld, Richard Serra, Cindy Sherman, Amy Sillman, Kiki Smith, Michael Snow, Jessica Stockholder, Ashley Thayer, John Waters, William Wegman, Terry Winters, Brian Wood, and Christopher Wool Marianne Boesky Gallery 535 West 22nd Street, 2nd Floor New York, NY 10011 212-680-9889 -AND- Please join us for an evening of performance to benefit Richard Foreman's Ontological-Hysteric Theater. Friday June 11th, 8pm at Tonic 107 Norfolk between Delancey and Rivington Featuring performances by: John Zorn, Glenn Branca's Branca-Bloor, and composer Robert Ashley, plus readings by Kenneth Goldsmith, Leslie Scalapino, and Charles Bernstein $20 admission. __________________________________ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/ ========================================================================= Date: Mon, 7 Jun 2004 20:09:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Taylor Subject: Featured Poet and New Metro. Area Poetry Calendar! Mime-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Good News!!! We not only have a new featured poet on the SpiralBridge web page, Adrian Mitchell from Kentucky but we have a new calendar system for you to post your local NY/NJ Metro poetry events! http://www.spiralbridge.org/home.asp Simply go to http://www.spiralbridge.org/events.asp and enter your poetry event on the calendar. So in addition to or instead of posting all your events via email to the group, your events can now be directly posted on our popular Events page, it gets mad hits… in other words, the SpiralBridge Events page is now officially open to the community. Please be advised that while this service is free and open for posting of your poetry events it will be reviewed for content and your submission can and will be removed if deemed inappropriate. Know what I mean? All the best, Jesse Taylor "They always say that time changes things, but you actually have to change them yourselves." -- Andy Warhol ~~~~~~~~~~~~~~~~~~~~~~~~~~~ http://www.SpiralBridge.org ~~~~~~~~~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Mon, 7 Jun 2004 03:14:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Steve Lacy MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit really... ========================================================================= Date: Tue, 8 Jun 2004 02:49:31 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit really $$$$ EEEE $$$$ $$$$ really 3:00...you go steeeeve go..Paul Blackburn reely...drn... ========================================================================= Date: Tue, 8 Jun 2004 06:23:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: guitarist Robert Quine Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Not as obviously connected to the world of innovative poetry (though he did work with both Richard Hell & Patti Smith) as Steve Lacy, Robert Quine was a wonderful musician who's been active in both punk bands and improv projects. And, for what it's worth, to put him into a context someone else raised when the veritable onslaught of posts on Lacy's death followed near silence on the earlier death of drummer Elvin Jones: I probably heard Jones play live far more often than I did Quine, but I'm pretty sure that I have more recordings of Quine in various contexts than I do of Jones. I'm sure there'll be some other obits eventually. Billboard (a trade magazine for the record industry)'s reporting of non-business-related news almost always is a little off, neglecting many of the artier live projects that were never recorded. But hey. Bests, Herb > > >Guitarist Robert Quine Found Dead > >Guitarist Robert Quine, one of punk rock's most daring soloists, was >found dead Saturday (June 5) in his New York apartment. He was 61. >According to close friend and guitar maker Rick Kelly, who >discovered Quine's body, the musician died of a heroin overdose >Memorial Day weekend. He had been despondent over the recent death >of his wife. > >Born in Akron, Ohio, Quine was heavily influenced by the Velvet >Underground, whose music he recorded obsessively while living in San >Francisco. He moved to New York in 1971 and became the lead >guitarist for bassist Richard Hell's important group the Voidoids, >with whom he recorded two albums. His skittering, unpredictable work >with Hell defined the possibilities of punk guitar. > >During the '80s, he recorded and toured frequently with Lou Reed and >played on saxophonist/composer John Zorn's best-known albums. Quine >made key guest appearances on Tom Waits' "Rain Dogs" (1985) and >Marianne Faithfull's "Strange Weather" (1987). In 1989, he began a >long association with Matthew Sweet; he also worked regularly with >Lloyd Cole. > >In 2001, Universal released a three-CD box of Quine's live 1969 >recordings of the Velvet Underground, "The Bootleg Series Volume 1: >The Quine Tapes." > >"He was a marvelous guitarist, a soulful music lover with high >standards and had an eviscerating wit," Patti Smith Band drummer Jay >Dee Daugherty tells Billboard.com. "He did not suffer fools gladly, >but made up for it with a thinly disguised generosity of spirit." > >-- Chris Morris, L.A.; Jonathan Cohen, N.Y. > -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb@eskimo.com ========================================================================= Date: Tue, 8 Jun 2004 04:46:24 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Re: guitarist Robert Quine In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit You could never miss Robert Quine's guitar with Richard Hell. What is still in my head since I first saw his photo on the back of Voidoid single was that perminant expression on his face which was a notch above a poker and begged mystery and aggression, like his playing. So basically, Quine scared me but you hand keep listening. He added that edge to Hell's songs. Cheers to Robert May God bless yuh... R.I.P. Herb Levy wrote: > Not as obviously connected to the world of innovative poetry (though > he did work with both Richard Hell & Patti Smith) as Steve Lacy, > Robert Quine was a wonderful musician who's been active in both punk > bands and improv projects. > > And, for what it's worth, to put him into a context someone else > raised when the veritable onslaught of posts on Lacy's death > followed near silence on the earlier death of drummer Elvin Jones: I > probably heard Jones play live far more often than I did Quine, but > I'm pretty sure that I have more recordings of Quine in various > contexts than I do of Jones. > > I'm sure there'll be some other obits eventually. Billboard (a trade > magazine for the record industry)'s reporting of non-business-related > news almost always is a little off, neglecting many of the artier > live projects that were never recorded. But hey. > > Bests, > > Herb > >> >> >> >> Guitarist Robert Quine Found Dead >> >> Guitarist Robert Quine, one of punk rock's most daring soloists, was >> found dead Saturday (June 5) in his New York apartment. He was 61. >> According to close friend and guitar maker Rick Kelly, who >> discovered Quine's body, the musician died of a heroin overdose >> Memorial Day weekend. He had been despondent over the recent death >> of his wife. >> >> Born in Akron, Ohio, Quine was heavily influenced by the Velvet >> Underground, whose music he recorded obsessively while living in San >> Francisco. He moved to New York in 1971 and became the lead >> guitarist for bassist Richard Hell's important group the Voidoids, >> with whom he recorded two albums. His skittering, unpredictable work >> with Hell defined the possibilities of punk guitar. >> >> During the '80s, he recorded and toured frequently with Lou Reed and >> played on saxophonist/composer John Zorn's best-known albums. Quine >> made key guest appearances on Tom Waits' "Rain Dogs" (1985) and >> Marianne Faithfull's "Strange Weather" (1987). In 1989, he began a >> long association with Matthew Sweet; he also worked regularly with >> Lloyd Cole. >> >> In 2001, Universal released a three-CD box of Quine's live 1969 >> recordings of the Velvet Underground, "The Bootleg Series Volume 1: >> The Quine Tapes." >> >> "He was a marvelous guitarist, a soulful music lover with high >> standards and had an eviscerating wit," Patti Smith Band drummer Jay >> Dee Daugherty tells Billboard.com. "He did not suffer fools gladly, >> but made up for it with a thinly disguised generosity of spirit." >> >> -- Chris Morris, L.A.; Jonathan Cohen, N.Y. >> > > -- > Herb Levy > P O Box 9369 > Fort Worth, TX 76147 > > herb@eskimo.com > -- {\rtf1\mac\ansicpg10000\cocoartf102 {\fonttbl\f0\fswiss\fcharset77 Helvetica;} {\colortbl;\red255\green255\blue255;} \margl1440\margr1440\vieww9000\viewh9000\viewkind0 \pard\tx560\tx1120\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\ql\qnatural \cf0 \ \f0\fs24 --\ -\ ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 8 Jun 2004 08:14:22 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Robert Quine... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I must have been sleepin' thru much of this...since i didn't know Robert Quine.. and my only relation to the punk scene.. was seeing Joey Ramone who lived above me in the elevator..but I found the Times obit fascinating..in its congruence of po..hell-verlaine-reed.. punk music...bookstores..Quine worked at Cinemabilia..and borgesian cross referencing..Quine was the nephew of W.V..it's a strange world out there folks.. enjoy the spring day...drn.. ========================================================================= Date: Tue, 8 Jun 2004 08:20:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: guitarist Robert Quine In-Reply-To: <40C5A710.9040001@telus.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > >Herb Levy wrote: > >>... >> >>And, for what it's worth, to put him into a context someone else >>raised when the veritable onslaught of posts on Lacy's death >>followed near silence on the earlier death of drummer Elvin Jones... for that matter, i kept expecting mention on the list of babatunde olatunji last year when he passed...the "drums of passion" were an early blueprint on my adolescent aesthetic... -- ========================================================================= Date: Tue, 8 Jun 2004 07:48:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Fwd: Bern Porter( February 14, 1911-June 7, 2004) Comments: To: dreamtime@yahoogroups.com, spidertangle@yahoogroups.com Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Begin forwarded message: > From: "John M. Bennett" > Date: Tue Jun 8, 2004 7:34:57 AM US/Central > To: WRYTING-L@listserv.utoronto.ca > Subject: Fwd: Bern Porter( February 14, 1911-June 7, 2004) > Reply-To: "WRYTING-L : Writing and Theory across Disciplines" > > > sad news... > > > > >> Bern Porter passed away peacefully in his sleep about 4am, this Monday >> morning. >> >> May he rest in peace. >> >> Thank you for your responses. >> >> I do not know what is happening about burial, etc at this time. ========================================================================= Date: Tue, 8 Jun 2004 09:34:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: poet BERN PORTER dead at 93 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Bern Porter died yesterday morning at the age of 93 in his home in Belfast, Maine his extraordinary life, from helping to build the atomic bomb, to leaving the project when he realized what he was doing, to spending every last penny he owned to help rebuild Nagasaki and Hiroshima...to never touching numbers again. to turning the angle to poetry, for life. when Sheila Holtz first moved to Maine to edit the bi-monthly Bern Porter International, an old friend of mine was upset about Sheila's decision. he had no interest in reading Porter's poems or reading his magazine, "just THINK of all those lives destroyed because of his work! fuck his poetry!" but i disagreed then, and will always disagree with that argument. at one point Sheila Holtz and i spoke of possibly interviewing Bern for PhillySound, but Bern was phobic and ignorant of technology, deliberately so after WWII in fact he never quite understood that when i called his house in Maine to speak to Sheila, that i was paying for the call, and he'd yell, "THIS IS COSTING ME DAMMIT!" and he'd hang up on me. sometimes it took me more than a week to get ahold of Sheila. this is not something i'm sharing in order to laugh at Bern. i'm telling it because the man was a genius, but because of the greed and power in some men in this world, this genius was used in ways the man had never intended, and left him sick with its results, to shun his own intellect of numbers... with the story of Bern Porter, no one need ever wonder again what the strength of poetry can be here are some online links to his work, and life: http://www.ubu.com/historical/porter/porter.html http://www.patsfallgraphics.com/pages/porter.html http://www.phys.psu.edu/~endwar/porter.html http://www.mainepoetry.com/bern.html http://www.phys.psu.edu/~endwar/porter2.html http://www.getty.edu/research/conducting_research/finding_aids/porter.html http://www.xraybookco.com/chapbooks/chapbooks_bern.html -- for THE PHILLY SOUND: New Poetry click here: http://phillysound.blogspot.com/ for the 9for9 project click here: http://poets9for9.blogspot.com/ for BANJO: Poets Talking click here: http://banjopoets.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: Tue, 8 Jun 2004 08:44:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: poet BERN PORTER dead at 93 In-Reply-To: <0E8778C2.62CC2084.01F36A84@aol.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit As well as publishing a number of his books including the infamous LAST ACTS OF SAINT FUCK YOU, XEXOXIAL EDITIONS has a book of interviews called HOLD ON TO YOUR HAT at the printer. Interviews by mIEKAL aND, Dick Higgins, & Phobrek Hei & some great photography of him at his home by Amy Hufnagel. Should be available in about a month or so. I'll try to post a few excerpts over the next few days. mIEKAL http://www.xexoxial.org On Tuesday, June 8, 2004, at 08:34 AM, Craig Allen Conrad wrote: > > at one point Sheila Holtz and i spoke of possibly interviewing Bern > for PhillySound, but Bern was phobic and ignorant of technology, > deliberately so after WWII ========================================================================= Date: Tue, 8 Jun 2004 09:48:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the capture of motion MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII the capture of motion body parts slide past one another. dismemberment is a state we come to. our final journey is the beginning of dispersion. bodies bend in inconceivable ways. look at the pile of bodies. the world is a violent efflorescence. we create the flowers that lure us to our death. spikenard. i hope to create such worlds for you that you will remember their resonance and the feelings they induce. i hope to offer you the limitless possibilities of the dead. i am legion and of the world. _ ========================================================================= Date: Tue, 8 Jun 2004 10:02:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: poet BERN PORTER dead at 93 MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Spiders -- Before it's scrubbed clean, assuming that will happen, if you = can go to Belfast and walk through Bern's yard, his outside gallery, you = will find yet another astounding expression of his life and integration = of SciArt and founds. I have about 30 non-digital photographs of objects = taken there about 5 years ago, preparation for a documentary book that = never was completed.=20 Bern was unique. I had the good fortune to visit him in Belfast a few = times, sponsor him in Toledo and open my home to him. A complex artist = and one who's story will be difficult to adequately capture in this = wasteful, petty, acquisitive culture. He changed my life. Joel -----Original Message----- From: UB Poetics discussion group on behalf of mIEKAL aND Sent: Tue 6/8/2004 9:44 AM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Re: poet BERN PORTER dead at 93 As well as publishing a number of his books including the infamous LAST ACTS OF SAINT FUCK YOU, XEXOXIAL EDITIONS has a book of interviews called HOLD ON TO YOUR HAT at the printer. Interviews by mIEKAL aND, Dick Higgins, & Phobrek Hei & some great photography of him at his home by Amy Hufnagel. Should be available in about a month or so. I'll try to post a few excerpts over the next few days. mIEKAL http://www.xexoxial.org On Tuesday, June 8, 2004, at 08:34 AM, Craig Allen Conrad wrote: > > at one point Sheila Holtz and i spoke of possibly interviewing Bern > for PhillySound, but Bern was phobic and ignorant of technology, > deliberately so after WWII ========================================================================= Date: Tue, 8 Jun 2004 10:30:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: ln state MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I don't know-- maybe it's my sense of=20 patriotism-- but I'd much rather fall silent at the first glimpse of the flag- draped casket of a Bern Porter in our capitol's rotunda... For that I'd wear my Sunday best-- feeling more gratitude to him-- --Gerald Schwartz ========================================================================= Date: Tue, 8 Jun 2004 09:39:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Reagan as a useful linguistic instrument Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Maybe now's the time to replay those Reagan speeches decrying human rights abuses in the gulags of the Soviet Union (aka, "the Evil Empire.") - neatly matched, of course, with the photos of our man Rumsfeld and the troops fulfilling the Secretary of Defense's personal instructions and orders in the prisons of Afghanistan, Quantanamo, and Iraq. Maybe - as the current downward spiraling Administration tries to do everything but climb into and hide under the cover of the casket - an honorable way to honor the Chief who this week lies in State? Or, as a linguistic instrument to keep from getting totally twisted in all of this! Stephen V ========================================================================= Date: Tue, 8 Jun 2004 14:16:20 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Chomsky on Reagan MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT Noam Chomsky on Reagan's Legacy Bush Has Resurrected"The Most Extremist, Arrogant, Violent and Dangerous Elements" of Reagan's White House by Amy Goodman DEMOCRACY NOW - The network and newspaper coverage of the death of Ronald Reagan has brought forth a chorus of praise from Democrats and Republicans alike. Much of the reporting and commentary, under the guise of respecting the dead, has represented a dramatic rewriting of the history of the Reagan years in office. Looking back at the Reagan presidency doesn't mean we actually have to look back. Many of the same people who populated his administration are in the George W. Bush administration as well: James Baker, Elliot Abrams, Paul Wolfowitz, Colin Powell, John Poindexter, John Negroponte, just to name a few. We asked leading dissident Noam Chomsky to reflect on the policies of Reagan's administration during his 8 years in power and Reagan's influence on the current Bush Administration. Note: This is a rush transcript. AMY GOODMAN: Noam Chomsky, can you talk about this, the people that are now running the administration are some of the very people who ran the Reagan administration more than 20 years ago? NOAM CHOMSKY: That's quite true. The Reagan administration is either the same people or their immediate mentors for the most part. I think one can say that the current administration is a selection of the more extremist and arrogant and violent and dangerous elements of the Reagan administration. So on things like - I mean, that is true on domestic and international policy they are, both in the Reagan years and now, they are committed to dismantling the components of the government that serve the general population -- social security, public schools and so on and so forth, but in a more extreme fashion now. Partly because they think they have achieved a sort of higher stage from which to launch the attack, and internationally it's pretty obvious. In fact, many of the older Reaganites and Bush, number one people have been concerned, even appalled by the extremism of the current administration in the international domain. That's why there was unprecedented elite criticism of the national security strategy and the implementation in Iraq - narrow criticism, but significant. So, yes, they're there, in fact, you cannot -- some of the examples are remarkable, including the ones that you mentioned. And very timely they picked Negroponte, who of course has just been appointed, the new ambassador to Iraq where he will head the biggest diplomatic mission in the world. The pretense is that we need this huge diplomatic mission to transfer full sovereignty to Iraqis and that's so close to self-contradiction that you have to admire commentators who sort of pretend not to notice what it means, also to overlook, consciously, what his role was in the Reagan administration. He also provided -- he was an ambassador in the Reagan years, ambassador to Honduras where he presided over the biggest C.I.A. station in the world, and the second largest embassy in Latin America, not because Honduras was of any particular significance to the U.S., but because he was responsible for supervising the bases from which the U.S. mercenary army was attacking in Nicaragua, and which ended up practically destroying it. By now, Nicaragua is lucky to survive a few generations. That was one part of the massive international terrorist campaign that the Reaganites carried out in the 1980's under the pretense they were fighting a war on terror. They declared a war on terror in 1981 with pretty much the same rhetoric that they used when they re-declared it in September 2001. It was a murderous terrorist war. It devastated Central America, had horrendous effects elsewhere in the world. In the case of Nicaragua, it was so extreme that they were condemned by the World Court, by two supporting Security Council Resolutions that the U.S. had to veto, after which, of course, they rejected the court judgment and then escalated the war to the point where finally the effects were extraordinary. By the analysis of their own specialists, the per capita deaths in Nicaragua would be comparable to about 2.5 million in the United States, which as they have pointed out is greater than the total number of casualties in all U.S. wars, including the Civil War and all wars in the 20th century, and what's left of the society is a wreck. Since the U.S. took over again, it's gone even more downhill. Now the second poorest in the hemisphere after Haiti and not coincidentally, the second major target of U.S. intervention in the 20th century after Haiti, which is first. The recent health administration statistics show that about 60% of children under two are suffering from severe anemia caused by malnutrition and probable brain damage. Costa Rica, the United States is trying to - doing enough low-level work so that they can send back some remittances to keep the families alive. It's a real victory. You can understand why Colin Powell and others are so proud of it. But Negroponte was charge of it in the first half the decade directly, and in the second half more indirectly in the State Department and National Security staff where he was Powell's adviser. And now he is -- he is supposed to undertake the same role and similar role in Iraq. He was called in Nicaragua "The Proconsul," and the "Wall Street Journal" was honest enough to run an article in which they headlined "Modern Proconsul" on which they mentioned his background in Nicaragua without going into it much and said, yes he will be the proconsul of Iraq. Now, that's a direct continuity, but there's a lot more than that. What you mentioned is correct. Elliot Abrams is an extreme case. I mean, he's now the head of the Middle East section of the National Security Council. He was -- as you know, he was sentenced for lying to Congress. He got a presidential pardon, but he was one of the most -- he was in charge in the State Department of the Central American atrocities, and on the Middle East, he is way out at the extreme end of the spectrum. This does reflect the -- in a way the continuity of policies, but also the shift towards extremism within that continuity. AMY GOODMAN: There was a very little critical comment about President Reagan this weekend on his death perhaps explained by his death, what happens when a person dies, and what people say or perhaps also because there is a kind of rewriting of history that has been going on. But one of the few people who were quoted in the mainstream media was the Mexican foreign minister, Jorge -- the former Mexican Jorge Castenada, whose father served as foreign minister as well in 1979 to 1982 who said Reagan was extremely unpopular in Mexico when he was president because of his policies in Central America, and what was viewed in Mexico as a Mexico-bashing campaign over drug trafficking. Reagan's involvement in Nicaragua and El Salvador, viewed in Mexico, he said was unwarranted meddling that was "interventionist, rooted in cold war rivalries and disrespectful of international law." Castenada conditioned, "not only were his policies viewed negatively, but he pressured Mexico enormously to change its foreign policies." NOAM CHOMSKY: That's correct. Casteneda is being diplomatic. He's understating with regard to the international law and with regard to the intervention. It was - it ended up with a couple hundred thousand people being killed and four countries ruined. And even the world - the US - the people now in office in Washington have the unique honor of being the only ones in the world who have been condemned by the World Court for international terrorism. That's a little more than what he said, but that's what he's aiming at. The unpopularity continues. The latest figures show that this George Bush, number two, latest Latin American figures, among Latin American elites, the ones who tend to be more supportive of the United States, I think it was about close to 90% opposition throughout the hemisphere and approximately, if I remember, 98% opposition to him in Mexico. But to be accurate, we should say that this goes way back. So, John F. Kennedy was -- tried very hard to get Mexico to line up in his anti-Cuba crusade. A famous comment by a Mexican foreign minister when Kennedy tried to convince him that Cuba was to join in the terrorist war against Cuba and the economic embargo strangulation, in fact on the grounds that Cuba was a threat to the security of the hemisphere and the Mexican ambassador said he had to decline, the prime minister had to decline because if he tried to tell people in Mexico that Cuba was a security threat, 40 million Mexicans would die laughing, which is approximately the right answer. Here not so. The one point on which I think Casteneda's comment that you quote is really misleading is when he refers to cold war thinking and rivalries. There were no Russians in Latin America. In fact, the U.S. was trying very hard to bring them in. Take, say, Nicaragua, when the terrorist war against Nicaragua really took off, Nicaragua tried to get some military aid to defend itself. And they went first to European countries, France, others. The Reagan administration put extreme pressure on them not to send military aid because they were desperately eager for Nicaragua to get military aid from Russia or indirectly through Cuba. So they could then present it as a cold war issue. Nicaragua didn't fall into the trap as Guatemala had in 1954, basically the same scenario. So, they didn't get jet planes from Russia to defend their airspace against the U.S. attacks. They had every right to do it, but the responsibility to do it, but they understood the consequences. So, the Reagan administration had to float constant stories about how Nicaragua was getting MIG jets from Russia in order to try to create a cold war conflict. Actually it's very revealing to see the reaction here to those stories. Of course, Nicaragua had every right to do it. The C.I.A. had complete control over Nicaragua's airspace and was using it. It was using it to send communications to the guerrilla army, which was -- guerrilla is a funny word for it, computers and helicopters and so on to send them instructions so that they could follow the U.S. command orders to avoid the Sandinista army, the Nicaraguan army and to attack what are called soft targets, undefended civilian targets. It's a country that doesn't have a right to defend its airspace to protect that, I don't know what you can say. So obviously, they are a right to do it, but they didn't. They allowed the U.S. to have control of the airspace and to attack -- to use it to attack undefended targets. AMY GOODMAN: Noam Chomsky, you have written about the U.S. as being only country in the world to be convicted in the World Court of terrorism. And this had to do with the bombing of the Nicaraguan harbor, which took place under Reagan. Can you talk about that? NOAM CHOMSKY: Yeah. That, too, is a little misleading. Nicaragua was hoping to end the confrontation through legal means, through diplomatic means. AMY GOODMAN: I mean the mining of the harbor. NOAM CHOMSKY: Yes, the mining of the harbors. They decided to -- they asked a legal team headed by a very distinguished American international lawyer, A. Chayes, professor of law at Harvard who had long government service, and that legal team decided to construct an extremely narrow case. So, they kept to matters that were totally uncontroversial, as the U.S. conceded like the mining of the harbors, but it was only a toothpick on a mountain. They picked the narrowest point in the hope that they could get a judgment from the World Court, which would lead the United States to back off from the whole international terrorist campaign, and they did win a judgment from the court, which ordered the U.S. to terminate any actions, any violent actions against Nicaragua, which went way beyond mining of the harbors. That was the least of it. So, yes, that was the narrow content of the court decision, although, if you read the decision, the court decision that goes well beyond, they're all conscious of the much wider terrorist campaign, but the Harvard - the Chayes run legal team didn't bring it up for good reasons. Because they didn't want any controversy at the court hearings about the facts. There was no controversy about that, since it was conceded. However, it should be read as a much broader indictment, and a very important one. I mean, the term that was used by the court was "unlawful use of force," which is the technical term for the informal notion, international terrorism. There's no legal definition of international terrorism in the international domain. So I bet it was in effect a condemnation of international terrorism over a much broader domain. However, we should bare in mind, it's important for us, that horrible as the Nicaragua war was, it wasn't the worst. Guatemala and El Salvador were worse. I suggest that in Nicaragua, the reason was that in Nicaragua, the population at least had an army to defend it. In El Salvador and Guatemala, the terrorist forces attacking the population were the army and the other security forces. There was no one to bring a case to the World Court that can be brought by governments, not by peasants being slaughtered. ... AMY GOODMAN: Professor Chomsky, I wouldn't want to end this discussion without talking about the Reagan years and Africa, particularly southern Africa. NOAM CHOMSKY: Well, the official policy was called "constructive engagement." I recall it during the 1980s, by then there was enormous pressure to end all support for the apartheid government. Congress passed legislation barring trade and aid. The Reagan administration found ways to evade the congressional legislation, and in fact trade with South Africa increased in the latter part of the decade. This is incidentally the period when Collin Powell moved to the position of national security adviser. The U.S. was strongly supporting the apartheid regime directly and then indirectly through allies. Israel was helping get around the embargo. Rather as in Central America where the clandestine terror made use of other states that served as -- that helped the administration get around congressional legislation. In the case of South Africa, just look at the rough figures. In Angola and Mozambique, the neighboring countries, in those countries alone, the South African depredations killed about million-and-a-half people and led to some $60 billion in damage during the period of constructive engagement with the u.s. support. It was a horror story. © Copyright 2004 Democracy Now! ========================================================================= Date: Tue, 8 Jun 2004 13:43:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jack Foley Subject: New Bloomsday/Zukofsky FLASHPOINT SPECIAL #7 is UP! Comments: To: LISTSERV@LISTSERV.BUFFALO.EDU Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit ANNOUNCING A SPECIAL....... FLASHPOINT #7 Summer 2004 http://www.flashpointmag.com BLOOMSDAY 2004 & LOUIS ZUKOFSKY CENTENNIAL as well as CARL RAKOSI at 100 John Ryskamp Thomas A. Clark Robert Hampson Mark Scroggins Bradford Haas Rod Rosenquist Rosemarie Waldrop Burt Kimmelman Hugh Seidman Larry Waugh Mark Kuniya Kevin Fitzgerald Burt Hatlen Carlo Parcelli JR Foley Joe Brennan "Along the frontier where the arts & politics clash ..." ========================================================================= Date: Tue, 8 Jun 2004 13:50:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: Shankar on NPR and Poetry Daily MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable If you didn't catch it the first time around:=20 and=20 =20 *************** Ravi Shankar=20 Poet-in-Residence Assistant Professor CCSU - English Dept. 860-832-2766 shankarr@ccsu.edu ========================================================================= Date: Tue, 8 Jun 2004 14:46:40 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 A President Who Listened But Never Understood by Mikhail Gorbachev 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Tue, 8 Jun 2004 12:22:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: SF EVENT---TONIGHT! (FREE!) Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Seans six hour birth, Tonight Were writing a pocket opera/play/performance art piece Tuesday and performing it that night at my house. We promise to say profound and funny things and we hope that youll be able to join us at for a brief performance followed by refreshments. 7 PM Tuesday June 8 355 Bartlett (between 24th and 25th. Bartlett is the street between Mission and Valencia. 2 blocks from the 24th street Bart in San Francisco) Sean Finney (poet, persiflage expert, and author of the forthcoming Kalim and Leather) Rasmus Jorgenson (performance artist and groom on the edge. Rasmus just returned from a festival in Canada where he got arrested by Mounties for digging a Rasmus-shaped hole with a spoon.) Geoff Dyer (poet, band starter, and author of The Dirty Halo of Everything) ========================================================================= Date: Tue, 8 Jun 2004 12:31:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: poems on the web Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, poetryetc@jiscmail.ac.uk, UKPOETRY@LISTSERV.MUOHIO.EDU Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Frank Parker has added my "New Hampshire Sketches," all 49 brief parts of it, to the crowd of good poems at his site http://www.frankshome.org/. It was written in 1978 and has never seen print. It still reads pretty well, I think. Mark ========================================================================= Date: Tue, 8 Jun 2004 16:08:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Patrick Durgin MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Response to this offer (see below) has been pretty good and put me in mind that it could have been overlooked by some, what with the amount of info passing this way. So, as a reminder, and "while supplies last": - - - - - - - Kenning Editions is proud to announce the publication of: Country Girl by Hannah Weiner 32 pp. chapbook - hand printed sleeves - $8.00 Country Girl is the second of four journals poet and performer Hannah Weiner composed in the early 1970s, culminating in the hugely influential though currently out-of-print CLAIRVOYANT JOURNAL. The first of these four early journals, THE FAST, is still available from United Artists Books (see www.spdbooks.org). Kenning Editions are available from Small Press Distribution: www.spdbooks.org / 1-800-869-7553 You may also place a direct mailorder with the publisher by sending $8.00 payable to Patrick F. Durgin, per copy, postage paid. Durgin / Kenning, 1197 Euclid Avenue #C, Berkeley CA 94708. Special for Poetics List subscribers: with direct mailorder of COUNTRY GIRL, receive a copy of Kenning 12 / WAY for 1/3 off cover price. Kenning 12 is a double CD audio newsletter featuring new music, arhival recordings, and exclusive studio recordings of and by Hannah Weiner, Leslie Scalapino, Sawako Nakayasu, Amiri Baraka, Allen Ginsberg, Eileen Myles, Andrew Levy with Gerry Hemingway, and many others. Priced normally at $15.00, it will be sent with your copy of COUNTRY GIRL (via direct mailorder only) for a total cost to you of $18.00. (Kenning 12 is available on its own from Small Press Distribution, if you prefer.) Support you local independent bookseller with a purchase. And be sure to scold them if they do not carry Kenning Editions. Oh, and if you like what Kenning is up to, contribute large sums of your expendable income to see its efforts continue. ========================================================================= Date: Wed, 9 Jun 2004 06:02:54 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Text! Text! Test! Champion! Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 this has to be worth something: chapbook contest Furniture Press announces it’s first annual chapbook competition, although sadly competition is such a cruel word these days (well, why not use convolution? it sounds like competition?) Right, our first annual chapbook CONVOLUTION, which consists of the following guidelines & deadlines. 2004 Prize An edition of two hundred [200] copies of the chapbook will be pressed & twenty-five [25] copies will be given to the winner [extra copies can be purchased at a handsome discount]. A broadside will also be pressed of a [poem/text/text-event] of the winner’s choosing along with a linoleum print of the cover art. Miscellany 20-40 pages. No pure ‘genre’ confinement necessary here. You send us your best work, whether it be textual, image-based, text-image hybrids, text art [you get the picture]. Please send one [poem/image/text-event] per page, unless form dictates alternatives, which we encourage. Include a cover sheet with name, address, telephone, e-mail. Do not put your name on individual sheets [we like a bias free reading, viewing]. If you have published individual works elsewhere it is not an issue, although the full manuscript must not have been published previously as a group. Submit a full list of acknowledgements of previously published work. You may send multiple submissions, but please mail them separately & with the appropriate cover sheet & SASE’s. A $10 [U.S.] reading fee can be submitted by cash, check or money order, payable to Furniture Press. All fees [every penny, mind you] is used to press & promote the chapbooks. Include an SASE if you wish to be notified by mail that we have received your manuscript. All applicants receive a free copy of the winning chapbook and discounted prices on multiple copies. Deadline Postmark all entries between April Fool’s Day 2004 & Halloween 2004. Sooner or later is better than never. Mail to: Furniture Press Chapbooks c/o Christophe Casamassima 8418 Greenway Road Apt. D Baltimore, MD 21234 Although the work you submit may fail to be lauded as ‘over & above’ we never hesitate to consider it for future publication, in whole or in part. Our resources may be limited but we have a secret recipe. -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Wed, 9 Jun 2004 06:09:43 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: oops - this is the proper address Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Ach! The address is 19 Murdock Road / Baltimore, MD 21212 Fucking PO! Chris -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Tue, 8 Jun 2004 18:43:38 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Reagan: Protean Template For Media Bullshit 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 Reagan: Protean Template For Media Bullshit: The Immortal Tabula Raza And The Etcha-Sketch President: Reagan: Proof Mental Defectives Do Kill: Is Impeachment Enough ? Or Do We Need A System Of Late Term Chief Executive Eugenics?---The Case Of Ronald Reagan: Don't Bury Reagan. Let's Try Him First. by David Ignoramus 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Wed, 9 Jun 2004 09:04:05 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Angels in America Comments: To: Poetryetc , Poneme Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Part 1 on tv last night. I won't be watching parts 2 & 3. Why on http://theatrenotes.blogspot.com Best A Alison Croggon Editor, Masthead: http://www.masthead.net.au Home page: http://www.alisoncroggon.com Blogs: http://theatrenotes.blogspot.com http://alisoncroggon.blogspot.com ========================================================================= Date: Tue, 8 Jun 2004 17:17:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Funeral rites for Reagan Comments: To: poetryetc@jiscmail.ac.uk, po_po_pr@clarkson.edu, UKPOETRY@LISTSERV.MUOHIO.EDU Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I've written to George Bush (why does he never answer?) to suggest that the funeral rites for Reagan have been too modest, but it's not too late to make amends. Why not have funeral games, as at the death of Patroclus? Where are the threnodists? Most important, where are the human sacrifices? The immolation of half the cabinet and the Supreme Court would be more than impressive. Now I'm concerned that I might have put an idea in their heads that they'll surely screw up--substituting Guantanamo detainees for the cabinet, for starters. We should all be wearing black armbands, or garters, maybe. Mark ========================================================================= Date: Wed, 9 Jun 2004 00:52:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: dance of death MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII dance of death http://www.asondheim.org/danceofdeath.mov perfect love _ ========================================================================= Date: Tue, 8 Jun 2004 03:34:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: guitarist Robert Quine MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit thank you all for the quine porter info 2 folk i know little about here's one for lacy for all players watch the man's body watch the twist the bend into itself the kneeling toward the ground the grounding toward the sky watch the man w/his horn the man w/his horn it seems ========================================================================= Date: Tue, 8 Jun 2004 02:25:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Spring.... Comments: To: nudel-soho@mindspring.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit anymoon inc. there was this vanishing pt. within history when humanity was no longer unique look at the moon again. ========================================================================= Date: Wed, 9 Jun 2004 02:59:51 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nathaniel Siegel Subject: angry response to president's death MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit To whom it may concern: Ronald Reagan did not utter the word AIDS for 6 years. He served for 8. He also dismantled state mental health institutions. Today, if you are rich you can find a place for a loved one suffering from mental illness. If you are poor, the institutions are gone. Try the boomerang method, read: you get to stay in the state hospital as long as your insurance provider allows then back out on the street. Thank you for nothing. Cowboy. PS: my favorite incident: reporter shouts to Reagan out on the ranch: "what about the hostages ?" he stares blankly Nancy turns to him in a stage whisper to Ronnie "We are doing the best we can" Ronald then answers the reporter "We are doing the best we can." dummy ? president ? you decide ? PPS: artistic respone: the refrain of ACT UP was "silence equals death" I have modified it in honor of the fallen: "silent , dead" this spectacle can't be over soon enough for me Nathaniel ========================================================================= Date: Wed, 9 Jun 2004 01:36:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: terrie relf Subject: Re: poems on the web MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thank you, Mark. I'll saunter on over there...Looking forward to coffee on Thursday at noon. T ----- Original Message ----- From: "Mark Weiss" To: Sent: Tuesday, June 08, 2004 12:31 PM Subject: poems on the web > Frank Parker has added my "New Hampshire Sketches," all 49 brief parts of > it, to the crowd of good poems at his site http://www.frankshome.org/. It > was written in 1978 and has never seen print. It still reads pretty well, I > think. > > Mark ========================================================================= Date: Wed, 9 Jun 2004 07:20:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: NYT op-ed columnist's iraq-poems antho In-Reply-To: <6.1.0.6.1.20040608171155.035fe720@mail.earthlink.net> Mime-Version: 1.0 (Apple Message framework v618) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable June 9, 2004 OP-ED COLUMNIST Poems of Blood and Anger By NICHOLAS D. KRISTOF If the world leaders at the G-8 summit meeting want to understand the=20 war in Iraq, they should look beyond the war plans and U.N.=20 resolutions. The most incisive analysis of war has often come from=20 poets, like Homer or Wilfred Owen. And now the Iraq poems are beginning to come in, offering another way=20 to memorialize the struggle there. In April, I announced a contest for=20= readers' poems about the Iraq war. Since then, I've been deluged by=20 more than 1,000 sonnets, limericks, haiku =97 and, alas, epics. Many try to capture the ugliness on the ground with the beauty of=20 verse. Tim Johnson of Northville, Minn., wrote: Outside the city, shivering with dread, We're Falluja bound. Can hear the explosions when I raise my head. . . . Foreign soldiers, invaders from another land; When I look through the hatred in their eyes, I almost understand. R.P.G.'s, mortars, and friends dead on the road. My youth is gone, Crushed from sensory overload. Assaulted yesterday up an Iraqi street. R.P.G. explosion, a scream, Seared my face with the heat. Dragged him through the blood-streaked dust and dirt, His screams in my ears, His blood type tagged to his shirt. Covered with blood, he cried, Don't leave me alone. Died in my arms; Now I just want to go home. Officers yelling, Get out of your holes! We're Falluja bound; Please pray for our souls. An embittered second lieutenant who asks not to be named wrote: Knock the dust off your boots, my boy, It's time to ride again. The frontier has gone restless now And we must crush this rebellion. . . . These people understand only violence, So let's give it to 'em now. We'll ride 'em down like Cherokee; We'll trample 'em like Pueblo. These savages are ruthless; They understand no law. So we'll pick up our Peacemakers, And shoot 'em like Choctaw. . . . Rally round the flag, my boy, And grab your rifle, too. The Red Man's turned Brown, my boy, And there's a lot of peacemaking to do. Megan Foley, a 16-year-old from Long Island, focused like many on the=20 ambiguities of a war that was supposed to enhance moral clarity: Confusion, fear and lies; What good can come when people die? Red Blood spilt On barren land To complete an alchemical plan, Red Blood to Black Gold, Deviously poisoning, polluting, choking our Heart. Men tortured, defiled, dishonored by their Brethren, Captured on film, a permanent bruise Not to be overlooked. Truth and honor wither away; They know they do not belong. Boundaries grow hazy Accompanied by roles: Who the victim? Who the villain? Both? Neither? For what purpose and to what end? Why fight a war Paid with lives Only to gain confusion, fear and lies? Another young entrant, Zach Chotzen-Freund of Santa Barbara, Calif.,=20 examined in this excerpt the esprit that leads 17-year-olds to sign up=20= for war. Fittingly, he's 17. Off now, children! Off to war! Kill in your country's name! For murder on behalf of kin is what allows our boys to win And rest someday in cherished lore. So off now, off to war! Off now, children! Off to war! Make your fathers swell with pride! For though you're young, they love to hear that you're a splendid=20 bombardier And dodge death like a matador. So off now, off to war! Off now, children! Off to war! Bring smiles to your mothers' eyes! They hate to lose you, sure that's true, but if flags of red, white=20 and blue Are at your funeral, souls will soar. So off now, off to war! More readers' poems are posted at www.nytimes.com/kristofresponds, my=20 blog. I'll run the grand winners in my next column, on Saturday. On Jun 8, 2004, at 8:17 PM, Mark Weiss wrote: > I've written to George Bush (why does he never answer?) to suggest=20 > that the > funeral rites for Reagan have been too modest, but it's not too late = to > make amends. Why not have funeral games, as at the death of Patroclus? > Where are the threnodists? Most important, where are the human=20 > sacrifices? > The immolation of half the cabinet and the Supreme Court would be more=20= > than > impressive. > > Now I'm concerned that I might have put an idea in their heads that=20 > they'll > surely screw up--substituting Guantanamo detainees for the cabinet, = for > starters. > > We should all be wearing black armbands, or garters, maybe. > > Mark > > ___________________________________________________________ Keep the tempo -- Steve Lacy ___________________________________________________________ Pierre Joris 6 Madison Place =09 Albany NY 12202 =09 h: 518 426 0433 =09 c: 518 225 7123 =09 o: 518 442 40 85 =09= email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Wed, 9 Jun 2004 06:24:04 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Reagan Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I barely remember those yrs I barely remember ystrday & i was the hippie student Reagan made a career out of but as Lori sez those were also his kids I try not to judge either anger or adulation look listen... drn... ========================================================================= Date: Wed, 9 Jun 2004 06:26:48 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit at dawn i can hear the birds peep peep over my walkman 7:00..granola..kifir..non-fat milk..strawberries..melon.banana..and a dose of speed...drn.. ========================================================================= Date: Wed, 9 Jun 2004 07:25:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Lincoln suicide poem believed found Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Lincoln suicide poem believed found Tuesday, June 8, 2004 Posted: 8:12 PM EDT (0012 GMT) SPRINGFIELD, Illinois (AP) -- A presidential historian has found a poem about suicide that he believes might have been written by Abraham Lincoln. Richard Lawrence Miller, the author of "Truman: The Rise to Power," searched every issue of the weekly Sangamo Journal from 1831 to 1842 as part of his research into Lincoln's life, and found an unsigned poem that matched one described by friends of Lincoln. Miller analyzed "The Suicide's Soliloquy," published in an 1838 issue, and concluded that a 29-year-old Lincoln was the author. Miller wrote about his find in the spring 2004 issue of the newsletter of the Abraham Lincoln Association of Springfield. Lincoln scholars have long known of a suicide poem but had never found it. Some dated the poem to 1841, the year Lincoln suffered from depression after breaking his engagement to Mary Todd. William Herndon, Lincoln's law partner and biographer, once reported that the poem had been published in the Sangamo Journal but was later clipped out of the only copy he could find. After discovering "The Suicide's Soliloquy," Miller analyzed it for similarities in meter and style to other Lincoln poems. Kim Bauer, the Lincoln curator for the Abraham Lincoln Presidential Library and Museum, agreed that the possibility is strong Lincoln wrote the poem. "The basic sentence structure and the words that are used are certainly well within the parameters that Lincoln wrote a lot of his poetry," Bauer said. Tom Schwartz, the state historian, also believes Miller's theory is plausible. "We all know that Lincoln had his moods, was a depressive personality," Schwartz said. "And this lends credence to what ... both his contemporaries and historians generally concede was part of his personality makeup." ========================================================================= Date: Wed, 9 Jun 2004 09:06:55 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nathaniel Siegel Subject: urgent request: please do not post my message of last night MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Poetics List Administrator: Hello ! I sent an email late last night that I would prefer not be posted on the site. It was written in error. Please email me back so that I know you got this message. Thanks, Nathaniel ========================================================================= Date: Wed, 9 Jun 2004 10:23:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Nathaniel Siegel your anger cannot be stopped! ////////////\\\\\\\\\\\\\ MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit and why should it be!? what error did you make in attacking that piece of shit former president? he is dead, and i am smiling, and not going to apologize. he has not been a threat for a long while, but it is good he can no longer breathe our delicious air. let his molecules be the only gift his life could offer in the end, his, now mixing with the thousands and thousands of those dead of AIDS, not to mention the thousands who were murdered in Central and South America during his term. anger for those who will praise the man to sheild us from our own memories of his tyranny! Reagan in all his attempts to undermine queer and other deviant communities created a FORCE by doing so, and ACT-UP, being formed, became an emblem for those who went from being afraid of dying, to NOT being afraid of living! indirectly, this union of POWER for really ACTUALLY living, is his gift. but still, may we one day see his grave defiled. may his grave one day have an outhouse built where his headstone was removed! rub your eyes, get out of bed, ding dong, the wicked witch is dead! CAConrad -- for THE PHILLY SOUND: New Poetry click here: http://phillysound.blogspot.com/ for the 9for9 project click here: http://poets9for9.blogspot.com/ for BANJO: Poets Talking click here: http://banjopoets.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, 9 Jun 2004 10:32:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: Re: urgent request: please do not post my message of last night In-Reply-To: <1d9.234f4f26.2df8656f@aol.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Dear Nathaniel, I'm sorry both your emails went public! Unfortunately, however, I would not have been able to prevent your message from going through as the listserv is currently unmoderated (all messages go through to the listserv--my job is mostly to review these messages for content that's in bad taste). Please let me know if there's anything else I can do. In the future, please contact me at poetics@buffalo.edu or lemerson@buffalo.edu Best, Lori Emerson listserv moderator Quoting Nathaniel Siegel : > Dear Poetics List Administrator: > > Hello ! > > I sent an email late last night that I would prefer not be posted on > the > site. > It was written in error. > > Please email me back so that I know you got this message. > > Thanks, > > Nathaniel > > ========================================================================= Date: Wed, 9 Jun 2004 10:57:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: urgent request: please do not post my message of last night In-Reply-To: <1086791520.40c71f6023db9@mail1.buffalo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" dear nathaniel: are you worried about bringing down the wrath of the current ever-more-obviously-dictatorial regime on your head and ending up hooded and naked with electrodes on your genitalia and dogs nipping your flesh as an "enemy of the state"? i don't blame you, given what we're learning about the sweeping political powers our "supreme" commander has arrogated to himself combined with his ever-shakier powers of rational cognition. but we'll all be there with you. courage, my friend; we're all going to need a lot of that in the coming years. that, and a high pain threshold. At 10:32 AM -0400 6/9/04, Lori Emerson wrote: >Dear Nathaniel, I'm sorry both your emails went public! >Unfortunately, however, I would not have been able to prevent your >message from going through as the listserv is currently unmoderated >(all messages go through to the listserv--my job is mostly to review >these messages for content that's in bad taste). Please let me know >if there's anything else I can do. In the future, please contact me >at poetics@buffalo.edu or lemerson@buffalo.edu > >Best, >Lori Emerson >listserv moderator > >Quoting Nathaniel Siegel : > >> Dear Poetics List Administrator: >> >> Hello ! >> >> I sent an email late last night that I would prefer not be posted on >> the >> site. >> It was written in error. > > > > Please email me back so that I know you got this message. > > > > Thanks, > > > > Nathaniel > > > > -- ========================================================================= Date: Wed, 9 Jun 2004 14:43:39 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: urgent request: please do not post my message of last night In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII come on. Lori is doing a fine job. three cheers for her! On Wed, 9 Jun 2004, Maria Damon wrote: > dear nathaniel: > are you worried about bringing down the wrath of the current > ever-more-obviously-dictatorial regime on your head and ending up > hooded and naked with electrodes on your genitalia and dogs nipping > your flesh as an "enemy of the state"? i don't blame you, given what ========================================================================= Date: Wed, 9 Jun 2004 12:07:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: Re: urgent request: please do not post my message of last night In-Reply-To: <1086791520.40c71f6023db9@mail1.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline ach! sorry all for another mis-fired reply! --On Wednesday, June 09, 2004 10:32 AM -0400 Lori Emerson wrote: > Dear Nathaniel, I'm sorry both your emails went public! > Unfortunately, however, I would not have been able to prevent your > message from going through as the listserv is currently unmoderated > (all messages go through to the listserv--my job is mostly to review > these messages for content that's in bad taste). Please let me know > if there's anything else I can do. In the future, please contact me > at poetics@buffalo.edu or lemerson@buffalo.edu > > Best, > Lori Emerson > listserv moderator > > Quoting Nathaniel Siegel : > >> Dear Poetics List Administrator: >> >> Hello ! >> >> I sent an email late last night that I would prefer not be posted on >> the >> site. >> It was written in error. >> >> Please email me back so that I know you got this message. >> >> Thanks, >> >> Nathaniel >> >> > ========================================================================= Date: Wed, 9 Jun 2004 12:46:41 -0400 Reply-To: Geoffrey Gatza Sender: UB Poetics discussion group From: Geoffrey Gatza Organization: BlazeVOX [books] Subject: Re: Lincoln suicide poem believed found MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "I Hate Myself And I Want To Die" by Abe Lincoln or Kurt Cobain Running nose and runny yolk Even if you have a cold still You can cough on me again I still haven't had my full fill In the someday - What's that sound? End it someday - What's that song? In the someday - What's that sound? End it someday - What's that song? Broken heart and broken bones Finger pressing down to the horse pills (Think about the guys in the hospitals) One more quirky cliched phrase You're the one I wanna refill (You don't wanna wanna read them) In the someday - What's that sound? End it someday - What's that song? In the someday - What's that sound? End it someday - What's that song? [spoken very softly behind the guitar by Kurt] (Words are broken lives) Most people don't realize that large pieces of coral, which have been painted brown and attached to the skull by common wood screws, can make a child look like a deer. In the someday - What's that sound? End it someday - What's that song? In the someday - What's that sound? End it someday - What's that song? Running nose and runny yolk Even if you have a cold still You can cough on me again I still haven't had my full fill In the someday - What's that sound? End it someday - What's that song? In the someday - What's that sound? End it someday - What's that song? ========================================================================= Date: Wed, 9 Jun 2004 14:03:09 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: [WAYS] BY BARRY SCHWABSKY AND HONG SEUNG-HYE MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable [WAYS] BY BARRY SCHWABSKY AND HONG SEUNG-HYE: A PRE-PUBLICATION RELEASE SPECIAL!!! Meritage Press is pleased to announce the release of [Ways], a co-publicatio= n=20 with Artsonje Center (Seoul) of a collaboration between poet Barry Schwabsky= =20 and artist Hong Seung-Hye. Title: [Ways] Authors: Barry Schwabsky / Hong Seung-Hye Publishers:=A0 Artsonje Center (Seoul) / Meritage Press (San Francisco & St.= =20 Helena) Date of publication: July 2004 ISBN :=A0 89-950473-2-1 03650=A0=20 Price:=A0 U.S. $12.00 Meritage Press is offering a special for [Ways] for orders received through=20 July 31, 2004.=A0 For $10 per book and free shipping/handling (normally $3.0= 0),=20 Meritage Press will ship copies to locations within the U.S. (This offer is=20 good to non-U.S. locations but with an extra $5.00 to cover international=20 shipping costs).=A0 Send checks made out to Meritage Press to Eileen Tabios Meritage Press 2101 Sacramento Street, #303 San Francisco, CA 94109 [Ways] is Barry Schwabsky's first publication since his startling debut=20 collection Opera: Poems 1981-2002, which Publishers Weekly praised as an "in= tensely=20 wrought, luminously gripping book" distinguished by what Bookforum called=20 "dazzling modulations of phrase and tone." Schwabsky's contribution to the v= olume=20 is "ways to make a man feel like an unemployed hearse driver who had had a=20 little trouble with the higher powers" (a title quoted from Marguerite Young= 's=20 book on Eugene V, Debs), a curiously structured sequence of fifteen=20 non-sonnets, a difficult meditation on difficult love. It is here presented=20= as part of a=20 collaboration with Korean artist Hong Seung-Hye, whose work appears not as a= =20 form of illustration but rather a deceptively simple, discreet, and elegant=20 graphic complement to -- and extension of --=A0 the poet's words. Schwabsky's "ways..." introduces a new poetic form that Bay Area poet=20 Stephanie Young christens the "Disappearing Sonnet Comb" in her advance comm= ent:=20 "Barry Schwabsky has put together a new form. I'm calling it the disappearin= g=20 sonnet comb.=A0 Were this comb in the hands of another poet, the poem might=20= not=20 disappear so completely. But the tooth of Schwabsky's poem, the line running= =20 through each reiteration, gathering and pulling repeated words to itself in=20 the reverse of static cling, is there to remind us that objects in the poem,= or=20 the poem itself, may fail to appear. This page, left intentionally blank, sa= ys=20 the poem, every time. The library is burned. The kisses are misdirected.=20 Haven't you ever / pressed the right key into the wrong / door in the right=20= hotel=20 the wrong night? Of course we have. And like the poet, we know it's unlikely= =20 that anything can be said at all.=A0 And yet we keep pressing our key to the= =20 door. We keep breathing. We keep breathing. We keep breathing."=20 Barry Schwabsky was born in Paterson, New Jersey, and now lives in London.=20 Aside from his poems, previously published in Opera: Poems 1981-2002 (Merita= ge=20 Press)=A0 as well as in the chapbook Fate/Seen in the Dark (Burning Deck), h= e is=20 the author of many works of art criticism, including The Widening Circle:=20 Consequences of Modernism in Contemporary Art (Cambridge University Press) a= nd=20 contributions to the volumes Vitamin P: New Perspectives in Painting (Phaido= n=20 Press), Jessica Stockholder (Phaidon Press), and Gillian Wearing: Mass=20 Observation (Merrill Publishers). He writes regularly for Artforum and other= =20 publications and has taught at New York University, Yale University, and Gol= dsmiths=20 College, University of London, among others. Hong Seung-Hye, a professor at the Department of Fine Arts, Seoul National=20 University of Technology, has seen her works exhibited internationally, with= =20 recent solo shows at Kukje Gallery (Seoul) and Gallery Rabouan Moussion=20 (Paris).=A0=A0 Her participation in [Ways] reflects her thoughts on "Organic= Geometry"=20 which she envisions as " being soft, natural, and lyrical, a concept contrad= ictory=20 to 'geometry'."=A0 Her pursuance of "coexistence of these paradoxical elemen= ts"=20 derived from "how the geometrical forms come into being as breeding organism= =20 made up of the pixel, the basic unit of computers, and the architectural=20 environment constructed with such forms."=A0 She explains, "I have been inte= rested in=20 architectural space as a pure form, particularly its artificial and=20 geometrical circumstances which surround modern civilization. I want my work= to breathe=20 life into this geometrical space, embracing its desolating dryness, which ha= s=20 inevitably become our second nature." ***** Meritage Press's projects (since 2001) include the following which, unless=20 otherwise stated, are manifested through books: "Cold Water Flat" -- limited edition etching by Archie Rand and John Yau 100 MORE JOKES FROM THE BOOK OF THE DEAD by John Yau and Archie Rand er, um by Garret Caples and Hu Xin OPERA: Poems 1981-2002 by Barry Schwabsky VEINS -- poetry broadside by David Hess Museum of Absences by Luis H. Francia Pinoy Poetics edited by Nick Carbo Forthcoming Meritage Press authors and artists include Bruna Mori, Sean=20 Finney, Mark Young, Jukka-Pekka Kervinen and Jean Vengua. For more information, www.meritagepress.com ========================================================================= Date: Wed, 9 Jun 2004 14:05:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: urgent request: please do not post my message of last night Comments: To: khehir@CS.MUN.CA In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" geez, i didn't mean lori! i meant bush. putting negative opinions about republicans out into cyberspace is dangerous now. At 2:43 PM -0230 6/9/04, Kevin Hehir wrote: >come on. Lori is doing a fine job. three cheers for her! > > >On Wed, 9 Jun 2004, Maria Damon wrote: > >> dear nathaniel: >> are you worried about bringing down the wrath of the current >> ever-more-obviously-dictatorial regime on your head and ending up >> hooded and naked with electrodes on your genitalia and dogs nipping > > your flesh as an "enemy of the state"? i don't blame you, given what -- ========================================================================= Date: Wed, 9 Jun 2004 11:09:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Kristof/ NY Times War Poems Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks, Pierre Joris, for drawing attention to today's NY Kristof's column where he published the poems by and from soldiers in Iraq. I believe it, also, important to write Kristof () with an appreciation for performing this. (One can almost hear Rumsfeld in the background saying, "Who would have ever thought there were all these soldiers running around writing poems and sending them to the NY Times" (instead of his often quoted astonishment and rage at all these folks running around in the prison with digital cameras, etc.) For what it's worth, here is what I sent Kristof: Thanks for the publishing these - to say the least - upsetting poems. The words give more "texture" to the war experience of these soldiers than most of what's come across from government "embedded" reporters. Sadly I think this country will soon be host to a whole new generation of mentally and physically wounded soldiers that will live on our city streets and, indeed, will be called "homeless" in every sense of the word. Let alone the fate of the Iraqis, however caught up in the middle of all of this. I hate to say I look forward to more of these - but better a poem than Bush's and Company's savagely wrong optimism on reasons for "staying the course" in Iraq. Stephen Vincent ========================================================================= Date: Wed, 9 Jun 2004 11:14:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MDL Subject: Maduite Productions Presents: Carve Magazine Release Reading & Party, Gallery 108, Somerville, MA, June 12 8PM MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Maudite Productions presents: June 12, 2004: Carve Magazine Release Reading & Party GALLERY 108 108 Beacon Street, Somerville, MA 8 PM Contact: Mark Lamoureux, Maudite Productions 617.460.0118 Carve Magaizne presents a reading and party in honor of the release of CARVE 3, featuring:Shin Yu Pai (Boston, MA)Jess Mynes (Wendell, MA)Catherine A. Meng (Berkeley, CA)Christopher Rizzo (Boston, MA)Sean Cole (Greater Boston, MA)Lori Lubeski (Brookline, MA)Emily Belz (Cambridge, MA) (cover artist)CARVE is a small magazine devoted to publishing under-the-radar poetry. Eachissue is $5 (subs $20/4), available from Aaron Tieger, 51 Prentiss St. #7,Cambridge MA 02140. Appearing: Shin Yu Pai, Jess Mynes, Catherine Meng (as read by Mark Lamoureux),Sean Cole, and Lori Lubeski (as read by Aaron Tieger).Refreshments! Free and open to the public!Further info: mark_lamoureux@yahoo.com/mauditepro.blogspot.comor atieger@yahoo.com/fishblog.blogspot.com ========================================================================= Date: Wed, 9 Jun 2004 15:56:18 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Godot and other cranks MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hi, second, i realize that none of you can go but doesn't this sound great? For one night only (june 18th), elling lien and dustin harvey will be staging two performances of Samuel Beckett's famous existentialist play Waiting for Godot, performed with wind-up toys. Winding up Godot seating is very limited. oh yeah, binoculars are provided. june 18th. 8pm and 10pm. the secret theatre(newman wine vaults.436 water st). $7 includes a glass of wine. running time: approx 45 mins. more info at: windingupgodot.net ========================================================================= Date: Wed, 9 Jun 2004 13:35:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Lives of Eminent Assyrians Mime-Version: 1.0 Content-Type: text/plain; format=flowed also / breath wood / field shoots run birds them / their hearts long / go foreign shores go blessed helped / sick it happened / season chance companionship wished to bedrooms every one company / at once agreement where / tell nevertheless before / pass them who / status distinguished brave / war further pagan lands campaigned invading force always / enemy same formerly against always / reputation prudent behavior true / perfect equipage gaudy rust-stained just / expedition carried themselves stand well embroidered / meadow write poetry joust / draw no more if pleased carried / handily see to / gear intoned / becomingly prettily style meal-time / moreover let them take care fell / breast cup / morsel grease full of pity dead / bleeding some meat struck / stick / hard soft feelings well-made also / red certainly believe assuredly well-made / aware hung / bright chaplain fine one fine also where rule somewhat strict same meanwhile gave what for / plucked negligent why / mad toil hard rider fine rode greyhounds / bird pleasure saw / trimmed grey fur fasten made / elaborate larger prominent supple / array pined-away ghost indulgent / give where / expected poor absolved gave / dare / burst knew support intimate throughout / district imposing knows flirtation prayers always stuffed nurses sick good / get them anywhere food and drink wherever courteous / humble capable widow / scholar carrion lisped / affection sung truly "do / if stars called..." was not hollow / grave cold hill side neatly / elegantly outermost more pleasing bargaining / conduct gave / study lively though tending towards cautious / property virtually proved invalid daisy in the morning habit living / in the know as best they could merchants slept on fastidious / calling swift currents haven silk expenditure somewhat / a pity dare / weighed tightly laced / soft just now three times foreign such / proved / times give property enough neglected misfortune farthest example did these take contemptuous disdained survivors rebuke / at any time much looked-for deference carried / dung / load toiler peace whole dig ditches wages / power own / work / possessions clock servants / no more muscle was clear / wherever lift off / hinges wart / hair ears nostrils bore oven noisy by heaven wore / sound / therewith buyers thrifty / victuals always / watched / buying ahead / financial position unlearned / surpass masters subtle the dozens income frugally / it pleases like / visible granary get the better of knew in advance / grain cattle / dairy produce wholly buy stocked stealthily lend / property hindmost / group excommunication kill / absolution in their power / at will secrets / advisors loaf of bread hank of flax overspread in rat's tails attribute / ill-breeding must repeat / near power although / coarsely / broadly else / must falsify pleasant to jest ladies and gentlemen sincerely reward / tell tales once upon a time profit / delight bringers of verdict price will completely fetch a delay in the morning luck / fate / chance modesty must / fall _________________________________________________________________ MSN 9 Dial-up Internet Access fights spam and pop-ups – now 3 months FREE! http://join.msn.click-url.com/go/onm00200361ave/direct/01/ ========================================================================= Date: Wed, 9 Jun 2004 14:44:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Subject: Re: urgent request: please do not post my message of last night In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit just ask ted rall, whose very funny blog about Saint Ronnie turning "crispy brown about now" precipitated death threats. Quoting Maria Damon : > geez, i didn't mean lori! i meant bush. putting negative opinions > about republicans out into cyberspace is dangerous now. > > At 2:43 PM -0230 6/9/04, Kevin Hehir wrote: > >come on. Lori is doing a fine job. three cheers for her! > > > > > >On Wed, 9 Jun 2004, Maria Damon wrote: > > > >> dear nathaniel: > >> are you worried about bringing down the wrath of the current > >> ever-more-obviously-dictatorial regime on your head and ending up > >> hooded and naked with electrodes on your genitalia and dogs nipping > > > your flesh as an "enemy of the state"? i don't blame you, given what > > > -- > David Kellogg Center for Teaching, Learning, and Writing Duke University (919) 668-1615; FAX (919) 681-0637 ========================================================================= Date: Wed, 9 Jun 2004 11:01:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Betsy Andrews Subject: Fwd: teaching position available MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii A decent gig, at George Mason University: Colleen Kearney Rich wrote:Date: Wed, 9 Jun 2004 13:50:53 -0400 From: Colleen Kearney Rich Subject: teaching position available To: CREATIVE-WRITING-L@mail04.GMU.EDU We suddenly find ourselves in need of someone to fill a one-year (fall and spring semesters) position in composition. It entails teaching 5 sections of comp, but the pay is not too bad--$30,000. The cost of living here is quite low as well. If you know of someone who is looking for a way to survive while searching for a permanent position, please mention this announcement. Vita, transcripts, and 3 letters of recommendation can be sent to Dr. Margery Kingsley English Department 2800 W. Gore Lawton, OK 73505 --------------------------------- Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger ========================================================================= Date: Wed, 9 Jun 2004 15:42:29 -0400 Reply-To: Kevin Walzer Sender: UB Poetics discussion group From: Kevin Walzer Subject: WordTech Communications LLC to implement open submisisons Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear Poets, We are writing to let you know that WordTech Communications LLC is making major changes to our submission process. Effective July 16, 2004, we are discontinuing our contest structure and replacing it with open submissions that require no reading fee. All chosen books will be published under a royalty contract agreement. Our current schedule of deadlines and imprints will remain in place. For more information about this change, please see the announcement at our website: http://www.wordtechcommunications.com/contests-discontinued.html Please contact us if you have questions. Thank you for your interest. Regards, Kevin Walzer, Ph.D. Editor WordTech Communications - A New Paradigm of Poetry http://www.wordtechcommunications.com ========================================================================= Date: Wed, 9 Jun 2004 15:54:59 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: Re: urgent request: please do not post my message of last night Content-transfer-encoding: 7BIT ya, lori is part of solution, not prob. rob > >come on. Lori is doing a fine job. three cheers for her! > > >On Wed, 9 Jun 2004, Maria Damon wrote: > >> dear nathaniel: >> are you worried about bringing down the wrath of the current >> ever-more-obviously-dictatorial regime on your head and ending up >> hooded and naked with electrodes on your genitalia and dogs nipping >> your flesh as an "enemy of the state"? i don't blame you, given what > > -- 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, 9 Jun 2004 16:46:26 -0400 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 at http://epc.buffalo.edu/authors/bernstein/new.html Shadowtime: Images and reviews from the May 2004 Munich premiere of Shadowtime. (Shadowtime, an opera by composer Brian Ferneyhough, for which I wrote the libretto, engages motifs in the work and life of Walter Benjamin.) The Charm of the Many (pdf): catalog for Mimi Gross's September 2002 show at Satander-O'Reilly Galleries, New York, for which I wrote an essay and poems; preface by Dominique Fourcade; full chronology/cv; 45 color plates. Radio: WFMU, July 5, 2001-- In conversation and performance with Kenny Goldsmith; about one hour: MP3 and Realaudio. Video: "What Makes a Poem a Poem?": from the 60-Second Lecture Series, University of Pennsylvania, April 21, 2004 Interview at the Chicago Modern Poetry site Poem: "Steps to a Lime's Ballet", collaboration with Jack Collum (1982) ========================================================================= Date: Wed, 9 Jun 2004 13:57:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: Zuk's Anew #s 34 & 38 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Another query, 2, from Lyn, Colin, Ruth, Jean, & Jen regarding Zukofsky's Anew: Re #34, "The Letter of Poor Birds." What are the poor birds? They seem more specific than we are able to muster. Also, was this the last poem of the cycle composed (1944), or is it #16 that's last? Does anyone have a gloss for "Belly Locks Shnooks Oakie"--the first line of #38? Closest we've come is it's an amalgamation of the "John Jacob Jingle Heimer Smith" kind. thanks in advance for any stabs at this--js ========================================================================= Date: Wed, 9 Jun 2004 17:09:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: travis ortiz Subject: i think i missed.... MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 your birthday. dearest jen, if indeed i missed your birthday party (i'm juggling one email account between work and home and stuff gets lost) i am sorry. i hope it was fab. i saw your zukofsky query and that reminded me to send you a note -- and well, i have your email address here at work. how are things? it's been too long wince we last hung out/ xo, travis ========================================================================= Date: Wed, 9 Jun 2004 17:11:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: travis ortiz Subject: Re: i think i missed.... OOPS MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 looks like a lot of "private" emails are slipping into the poetics stream today. sorry about that! -travis ========================================================================= Date: Wed, 9 Jun 2004 14:52:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: FW: Vonnegut Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, poetryetc@jiscmail.ac.uk Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable This from Kurt Vonnegut, by way of my friend Lisa Cooper. >>Published on Wednesday, May 12, 2004 by In These Times >> >> >>Cold Turkey >> >>by Kurt Vonnegut >> >> >>Many years ago, I was so innocent I still considered it possible that we >>could become the humane and reasonable America so many members of my >>generation >>used to dream of. We dreamed of such an America during the Great= Depression, >>when there were no jobs. And then we fought and often died for that dream >>during >>the Second World War, when there was no peace. >> >>But I know now that there is not a chance in hell of America=B9s becoming >>humane and reasonable. Because power corrupts us, and absolute power >>corrupts >>absolutely. Human beings are chimpanzees who get crazy drunk on power. By >>saying >>that our leaders are power-drunk chimpanzees, am I in danger of wrecking= the >>morale of our soldiers fighting and dying in the Middle East? Their= morale, >>like >>so many bodies, is already shot to pieces. They are being treated, as I >>never >>was, like toys a rich kid got for Christmas. >> ------------------------- >> >>When you get to my age, if you get to my age, which is 81, and if you have >>reproduced, you will find yourself asking your own children, who are >>themselves >>middle-aged, what life is all about. I have seven kids, four of them >>adopted. >> >>Many of you reading this are probably the same age as my grandchildren. >>They, >>like you, are being royally shafted and lied to by our Baby Boomer >>corporations and government. >> >>I put my big question about life to my biological son Mark. Mark is a >>pediatrician, and author of a memoir, The Eden Express. It is about his >>crackup, >>straightjacket and padded cell stuff, from which he recovered sufficiently >>to >>graduate from Harvard Medical School. >> >>Dr. Vonnegut said this to his doddering old dad: =B3Father, we are here to >>help >>each other get through this thing, whatever it is.=B2 So I pass that on to >>you. >>Write it down, and put it in your computer, so you can forget it. >> >>I have to say that=B9s a pretty good sound bite, almost as good as, =B3Do= unto >>others as you would have them do unto you.=B2 A lot of people think Jesus= said >>that, because it is so much the sort of thing Jesus liked to say. But it= was >>actually said by Confucius, a Chinese philosopher, 500 years before there >>was >>that greatest and most humane of human beings, named Jesus Christ. >> >>The Chinese also gave us, via Marco Polo, pasta and the formula for >>gunpowder. The Chinese were so dumb they only used gunpowder for= fireworks. >>And >>everybody was so dumb back then that nobody in either hemisphere even knew >>that there >>was another one. >> >>But back to people, like Confucius and Jesus and my son the doctor, Mark, >>who=B9ve said how we could behave more humanely, and maybe make the world= a >>less >>painful place. One of my favorites is Eugene Debs, from Terre Haute in my >>native >>state of Indiana. Get a load of this: >> >>Eugene Debs, who died back in 1926, when I was only 4, ran 5 times as the >>Socialist Party candidate for president, winning 900,000 votes, 6 percent= of >>the >>popular vote, in 1912, if you can imagine such a ballot. >> >>He had this to say while campaigning: "As long as there is a lower class,= I >>am in it. As long as there is a criminal element, I=B9m of it. As long as >>there >>is a soul in prison, I am not free." >> >>Doesn=B9t anything socialistic make you want to throw up? Like great= public >>schools or health insurance for all? >> >>How about Jesus=B9 Sermon on the Mount, the Beatitudes? "Blessed are the= meek, >>for they shall inherit the Earth. Blessed are the merciful, for they shall >>obtain mercy. Blessed are the peacemakers, for they shall be called the >>children >>of God. =8A" >> >>And so on. >> >>Not exactly planks in a Republican platform. Not exactly Donald Rumsfeld= or >>Dick Cheney stuff. >> >>For some reason, the most vocal Christians among us never mention the >>Beatitudes. But, often with tears in their eyes, they demand that the Ten >>Commandments be posted in public buildings. And of course that=B9s Moses,= not >>Jesus. I >>haven=B9t heard one of them demand that the Sermon on the Mount, the >>Beatitudes, be >>posted anywhere. >> >>=B3Blessed are the merciful=B2 in a courtroom? =B3Blessed are the= peacemakers=B2 in >>the Pentagon? Give me a break! >> >> ------------------------- >> >>There is a tragic flaw in our precious Constitution, and I don=B9t know= what >>can be done to fix it. This is it: Only nut cases want to be president. >> >>But, when you stop to think about it, only a nut case would want to be a >>human being, if he or she had a choice. Such treacherous, untrustworthy, >>lying and >>greedy animals we are! >> >>I was born a human being in 1922 A.D. What does =B3A.D.=B2 signify? That >>commemorates an inmate of this lunatic asylum we call Earth who was nailed >>to a >>wooden cross by a bunch of other inmates. With him still conscious, they >>hammered >>spikes through his wrists and insteps, and into the wood. Then they set= the >>cross upright, so he dangled up there where even the shortest person in= the >>crowd >>could see him writhing this way and that. >> >>Can you imagine people doing such a thing to a person? >> >>No problem. That=B9s entertainment. Ask the devout Roman Catholic Mel= Gibson, >>who, as an act of piety, has just made a fortune with a movie about how >>Jesus >>was tortured. Never mind what Jesus said. >> >>During the reign of King Henry the Eighth, founder of the Church of= England, >>he had a counterfeiter boiled alive in public. Show biz again. >> >>Mel Gibson=B9s next movie should be The Counterfeiter. Box office records= will >>again be broken. >> >>One of the few good things about modern times: If you die horribly on >>television, you will not have died in vain. You will have entertained us. >> >> ------------------------- >> >>And what did the great British historian Edward Gibbon, 1737-1794 A.D.,= have >>to say about the human record so far? He said, =B3History is indeed little >>more >>than the register of the crimes, follies and misfortunes of mankind.=B2 >> >>The same can be said about this morning=B9s edition of the New York Times. >> >> The French-Algerian writer Albert Camus, who won a Nobel Prize for >>Literature in 1957, wrote, =B3There is but one truly serious philosophical >>problem, and >>that is suicide.=B2 >> >>So there=B9s another barrel of laughs from literature. Camus died in an >>automobile accident. His dates? 1913-1960 A.D. >> >>Listen. All great literature is about what a bummer it is to be a human >>being: Moby Dick, Huckleberry Finn, The Red Badge of Courage, the Iliad= and >>the >>Odyssey, Crime and Punishment, the Bible and The Charge of the Light >>Brigade. >> >>But I have to say this in defense of humankind: No matter in what era in >>history, including the Garden of Eden, everybody just got there. And,= except >>for >>the Garden of Eden, there were already all these crazy games going on,= which >>could make you act crazy, even if you weren=B9t crazy to begin with. Some= of >>the >>games that were already going on when you got here were love and hate, >>liberalism and conservatism, automobiles and credit cards, golf and girls= =B9 >>basketball. >> >>Even crazier than golf, though, is modern American politics, where, thanks >>to >>TV and for the convenience of TV, you can only be one of two kinds of= human >>beings, either a liberal or a conservative. >> >>Actually, this same sort of thing happened to the people of England >>generations ago, and Sir William Gilbert, of the radical team of Gilbert= and >>Sullivan, >>wrote these words for a song about it back then: >>I often think it=B9s comical >>How nature always does contrive >>That every boy and every gal >>That=B9s born into the world alive >>Is either a little Liberal >>Or else a little Conservative. >> >>Which one are you in this country? It=B9s practically a law of life that= you >>have to be one or the other? If you aren=B9t one or the other, you might= as >>well >>be a doughnut. >> >>If some of you still haven=B9t decided, I=B9ll make it easy for you. >> >>If you want to take my guns away from me, and you=B9re all for murdering >>fetuses, and love it when homosexuals marry each other, and want to give >>them >>kitchen appliances at their showers, and you=B9re for the poor, you=B9re a >>liberal. >> >>If you are against those perversions and for the rich, you=B9re a >>conservative. >> >>What could be simpler? >> >> ------------------------- >> >>My government=B9s got a war on drugs. But get this: The two most widely= abused >>and addictive and destructive of all substances are both perfectly legal. >> >>One, of course, is ethyl alcohol. And President George W. Bush, no less,= and >>by his own admission, was smashed or tiddley-poo or four sheets to the= wind >>a >>good deal of the time from when he was 16 until he was 41. When he was 41, >>he >>says, Jesus appeared to him and made him knock off the sauce, stop= gargling >>nose paint. >> >>Other drunks have seen pink elephants. >> >>And do you know why I think he is so pissed off at Arabs? They invented >>algebra. Arabs also invented the numbers we use, including a symbol for >>nothing, >>which nobody else had ever had before. You think Arabs are dumb? Try doing >>long >>division with Roman numerals. >> >>We=B9re spreading democracy, are we? Same way European explorers brought >>Christianity to the Indians, what we now call =B3Native Americans.=B2 >> >>How ungrateful they were! How ungrateful are the people of Baghdad today. >> >>So let=B9s give another big tax cut to the super-rich. That=B9ll teach bin= Laden >>a lesson he won=B9t soon forget. Hail to the Chief. >> >>That chief and his cohorts have as little to do with Democracy as the >>Europeans had to do with Christianity. We the people have absolutely no= say >>in >>whatever they choose to do next. In case you haven=B9t noticed, they=B9ve >>already >>cleaned out the treasury, passing it out to pals in the war and national >>security >>rackets, leaving your generation and the next one with a perfectly= enormous >>debt that you=B9ll be asked to repay. >> >>Nobody let out a peep when they did that to you, because they have >>disconnected every burglar alarm in the Constitution: The House, the= Senate, >>the Supreme >>Court, the FBI, the free press (which, having been embedded, has forsaken >>the >>First Amendment) and We the People. >> >>About my own history of foreign substance abuse. I=B9ve been a coward= about >>heroin and cocaine and LSD and so on, afraid they might put me over the >>edge. I >>did smoke a joint of marijuana one time with Jerry Garcia and the Grateful >>Dead, just to be sociable. It didn=B9t seem to do anything to me, one way= or >>the >>other, so I never did it again. And by the grace of God, or whatever, I am >>not an >>alcoholic, largely a matter of genes. I take a couple of drinks now and >>then, >>and will do it again tonight. But two is my limit. No problem. >> >>I am of course notoriously hooked on cigarettes. I keep hoping the things >>will kill me. A fire at one end and a fool at the other. >> >>But I=B9ll tell you one thing: I once had a high that not even crack= cocaine >>could match. That was when I got my first driver=B9s license! Look out, >>world, >>here comes Kurt Vonnegut. >> >>And my car back then, a Studebaker, as I recall, was powered, as are= almost >>all means of transportation and other machinery today, and electric power >>plants and furnaces, by the most abused and addictive and destructive= drugs >>of all: >>fossil fuels. >> >>When you got here, even when I got here, the industrialized world was >>already >>hopelessly hooked on fossil fuels, and very soon now there won=B9t be any= more >>of those. Cold turkey. >> >>Can I tell you the truth? I mean this isn=B9t like TV news, is it? Here=B9= s what >>I think the truth is: We are all addicts of fossil fuels in a state of >>denial, about to face cold turkey. >> >>And like so many addicts about to face cold turkey, our leaders are now >>committing violent crimes to get what little is left of what we=B9re= hooked >>on. >> >>=A9 2004 In These Times ========================================================================= Date: Wed, 9 Jun 2004 15:49:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: terrie relf Subject: Re: poems on the web MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I read these and some others...On the fisting a chicken being bestiality, I don't think so, if you're stuffing it with rice! See you tomorrow. Ter ----- Original Message ----- From: "Mark Weiss" To: Sent: Tuesday, June 08, 2004 12:31 PM Subject: poems on the web > Frank Parker has added my "New Hampshire Sketches," all 49 brief parts of > it, to the crowd of good poems at his site http://www.frankshome.org/. It > was written in 1978 and has never seen print. It still reads pretty well, I > think. > > Mark ========================================================================= Date: Wed, 9 Jun 2004 16:00:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Kevin Killian rants and raves Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi All, Check out what Kevin has to say in the latest issue of NYFA Currents: www.nyfa.org/nyfacurrent/6-9.htm ========================================================================= Date: Thu, 10 Jun 2004 09:06:26 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Kevin Killian rants and raves In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Kylie Minogue????? On 10/6/04 9:00 AM, "Dodie Bellamy" wrote: > Hi All, > > Check out what Kevin has to say in the latest issue of NYFA Currents: > > www.nyfa.org/nyfacurrent/6-9.htm Alison Croggon Editor, Masthead: http://www.masthead.net.au Home page: http://www.alisoncroggon.com Blogs: http://theatrenotes.blogspot.com http://alisoncroggon.blogspot.com ========================================================================= Date: Wed, 9 Jun 2004 19:42:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: poems on the web In-Reply-To: <000d01c44e74$152ed4a0$50810744@homeykyya1p873> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII > I read these and some others...On the fisting a chicken being bestiality, I > don't think so, if you're stuffing it with rice! And the chicken is deceased. Of course, that could then be necro-bestiality. Gwyn ========================================================================= Date: Wed, 9 Jun 2004 16:55:52 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Re: Kevin Killian rants and raves In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit YOu gotta respect a man who overstands Kylie. Her performance on the Vicar fo Dibley with Dawn French was spectacular. Kylie has never made a wrong step in your brilliant career which make us wonder what heights Edie Sedgwick would have soared if she had less exploitation and more punk sensiblity as Kylie has demonstrated throughout her career. Cheers to the Princess of Pop and the fusion of NEo-Mod and Post Hip Hop reality grooves. big up Kevin Edie Sedgwick http://www.rams.demon.co.uk/estext.htm Alison Croggon wrote: >Kylie Minogue????? > >On 10/6/04 9:00 AM, "Dodie Bellamy" wrote: > > > >>Hi All, >> >>Check out what Kevin has to say in the latest issue of NYFA Currents: >> >>www.nyfa.org/nyfacurrent/6-9.htm >> >> > > > >Alison Croggon > >Editor, Masthead: http://www.masthead.net.au >Home page: http://www.alisoncroggon.com >Blogs: http://theatrenotes.blogspot.com http://alisoncroggon.blogspot.com > > > -- {\rtf1\mac\ansicpg10000\cocoartf102 {\fonttbl\f0\fswiss\fcharset77 Helvetica;} {\colortbl;\red255\green255\blue255;} \margl1440\margr1440\vieww9000\viewh9000\viewkind0 \pard\tx560\tx1120\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\ql\qnatural \cf0 \ \f0\fs24 --\ -\ ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 9 Jun 2004 19:20:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Pusateri Subject: Pittsburgh Reading, Friday June 11 Mime-Version: 1.0 Content-Type: text/plain; format=flowed For those of you in the Pittsburgh area. The Pittsburgh Cultural Trust Presents A Reading Celebrating the National Performing Arts Convention Friday, June 11, 7 p.m. at Urban Space: A BridgeSpotters Gallery (709 Penn Avenue) Toi Derricotte, Michelle Naka Pierce and Veronica Corpuz will perform at Urban Space: A BridgeSpotters Gallery, located at 709 Penn Avenue in the Cultural District. The reading is free and open to the public. For more information, call (412) 456-6666 or visit www.pgharts.org. POETRY READING... ARTIST BIOS Toi Derricotte has published four books of poems, The Empress of the Death House, Natural Birth, Captivity, and Tender, winner of the 1998 Paterson Poetry Prize, and a memoir, The Black Notebooks. The Black Notebooks was a recipient of the 1998 Anisfield-Wolf Book Award, the Black Caucus of the American Library Association Nonfiction Award, and was nominated for the PEN Martha Albrand Award for the Art of the Memoir. It was a New York Times Notable Book of the Year. She has won numerous awards including two fellowships in poetry from the National Endowment for the Arts, and two Pushcart Prizes. She was a judge for the Lenore Marshall Award sponsored by the Academy of American Poets. She is the co-founder of Cave Canem, the historic first workshop/retreat for African American poets. Born in Tokyo, her mother's homeland, Michelle Naka Pierce has taught at Sakuragaoka kòkò in Yokohama, Japan and at the University of New Mexico. She is presently Assistant Professor and Director of the writing center at Naropa University <>, where she teaches creative writing and writing pedagogy. A visiting lecturer of Bard College's Institute for Writing and Thinking, she is also co-author (with Veronica Corpuz) of TRI / VIA, a collection of epistolary poems (PUB LUSH, 2003). Her current project is a book of interviews with women writers about their teaching philosophies. Veronica Corpuz is the former Program Assistant of the Poetry Project <> at St. Mark's Church in New York City. She has taught and guest lectured at Kelly Writers House of University of Pennsylvania, New York University and Naropa University. Her work has appeared in Chain, Shiny, Aufgabe, Interlope, and the anthology Cities of Chance: Experimental Poetry from Brazil and the United States (Rattapallax Press, 2003). She is an adjunct professor at Chatham College where she teaches Creative Writing Pedagogy. _________________________________________________________________ The new MSN 8: advanced junk mail protection and 2 months FREE* http://join.msn.com/?page=features/junkmail ========================================================================= Date: Wed, 9 Jun 2004 18:01:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: poems on the web In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Imaginary bird, hence crypto-necro-bestiality. At 04:42 PM 6/9/2004, you wrote: > > I read these and some others...On the fisting a chicken being bestiality, I > > don't think so, if you're stuffing it with rice! > >And the chicken is deceased. Of course, that could then be >necro-bestiality. > >Gwyn ========================================================================= Date: Wed, 9 Jun 2004 21:07:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Seldess Subject: Discrete Series 6/11 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit __________THE DISCRETE SERIES @ 3030__________ presents Mark Tardi :: Keumok Heo :: Brenda Iijima Friday, June 11 9PM / 3030 W. Cortland / $5 suggested donation / BYOB [Mark Tardi is from Chicago, Illinois. His first book, _Euclid Shudders_, was a finalist for the 2002 National Poetry Series. A chapbook on Polish composer Fryderyk Chopin called _Part First-------Chopin's Feet_ is forthcoming from G-O-N-G. Currently he is completing a new manuscript, as well as an adaptation of Stefan Themerson's story "Wooff Wooff or Who Killed Richard Wagner?" for the stage. He has also served as an editor at Dalkey Archive Press. Recent work can be found in Antennae, Aufgabe, Bird Dog, Conundrum, and Traverse.] [Keumok Heo studied in Korea, Germany and USA, where she received a Bachelors degree, Dimplom and Masters degree. She is interested in simplicity of material and nature of sounds. Keumok's composition will be performed by the vocalist Robin Allebach, who is active as an opera singer, and who has sung under the batons of the world's formost conductors, including Daniel Barenboim, Zubin Mehta, Leonard Slatkin and James Levine.] [Brenda Iijima's book _Around Sea_ was published this year by O Books. An essay titled _Color And Its Antecedents_, published as a chapbook, was also released this year by Yen Agat Books. She is the editor of Portable Press at Yo-Yo Labs. As well Iijima is a painter and a photographer. She grew up on the highest mountain in Massachusetts, in the town of North Adams. Since the 90's she has lived in Brooklyn, New York.] 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. For a map to the space, and samples of past and future readers' work, visit the Discrete blog http://discreteseries.blogspot.com/ http://www.lavamatic.com/discrete/index.htm ..if you'd like to be removed from this list please respond kindly... ========================================================================= Date: Wed, 9 Jun 2004 20:07:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Scappettone" Subject: follow-up on Zuk's Anew #36 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit It's been suggested, usefully, that I type out Anew #38 for people on the list who don't have All or the Complete Short Poetry of Louis Zukofsky: here tis. Belly Locks Shnooks Oakie When he awoke, he Scared all the spooks. He Was some oak, he Was. Thanks--js ========================================================================= Date: Wed, 9 Jun 2004 22:17:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Fwd: [ubuweb] Bern Porter Comments: To: spidertangle@yahoogroups.com, WRYTING-L Disciplines Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Begin forwarded message: > From: ANDREWS@FORDHAM.EDU > Date: Wed Jun 9, 2004 8:52:56 PM America/Chicago > To: ubuweb@eGroups.com > Cc: ubuweb@yahoogroups.com > Subject: [ubuweb] Bern Porter > Reply-To: ubuweb@yahoogroups.com > > > > > > Cheers all. > > Poignant to hear of Bern Porter's passing amidst the rightwing hoopla > about > Reagan. > > I was honored, over 30 years ago (! yikes, showing much age here) > to publish some of Bern's work in the special issue of TOOTHPICK, > LISBON & > THE ORCAS ISLANDS that I edited (it was Michael Wiater's magazine out > of > Seattle) in mid 1973. (A very early collection of proto- > so-called language poets, conceptual artists, etc.). And I remember > asking > him (as I did with everyone I solicited) to send me a very large > amount of > material which I promised to make immediate decisions about, to select > a > few pages. I was 25 and didn't know personally any of the people I was > publishing -- except a few peers through the mail -- so I was pleased > to > get material at all. I remember, for instance, Jackson MacLow sent me > about > a hundred pages of pieces that were computer-generated. But Porter > sent a > huge box of photocopies, I'd say 3 or 400 pages in all. It was a grand > bounty, completely unexpected. I can only imagine how much unpublished > material there is extant now. > This is just one miniature part of the intersection of the continuing > avant-garde with all of us (okay, I exaggerate) youngsters. But somehow > evocative of what the situation was like in the early 70s, as the > baby-boomers were sizing up the lay of the aesthetic land -- & > committed to > including all manner of radical and uncategorizable work (well beyond > works > of people like Stein or Zukofsky or Oppen or Eigner or Loy or others > who > would later sustain academic canonizing efforts). > A wonderful heritage of care, attentiveness, and bold adventure. ========================================================================= Date: Wed, 9 Jun 2004 23:24:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: CT Book Launch, Friday, June 11th, 7:30, in New Haven MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable =09 Soundworks Book Party =20 Friday, June 11th, 7:30 pm Artspace in New Haven, 50 Orange Street at Crown, New Haven, 06510=20 Phone: 203-772-2709, email: info@artspacenh.org =20 Tina Chang=20 Ravi Shankar=20 Prageeta Sharma=20 =20 Celebrate=20 Half-Lit Houses=20 Tina Chang's poems perform the ancient tasks of remembrance, recovery, = and praise. This work seeks to account for a life in the context of the = myths, cultural and familial, that both nurture and threaten that very = life and the voice that might sing it into legend. This is a poetry of = amazing lushness, melancholy and affirmation.=20 =97Li-Young Lee=20 Her mouth is fertile, seeded with incidents from a family history that = lay scattered about like grains of rice upon which our poet kneels. = Misfit and starlet, she wrestles with her father on earth and in Heaven. = Whether seasoned with gunpowder or with sugar, Tina Chang's legacy is = neither entirely Chinese nor American but an inheritance to be spoken = through dialects=97a composite language forged out of her many lyrical = selves.=20 =97Timothy Liu Instrumentality=20 Instrumentality plays expectations and delivers uncanny reformulations = that seem "predestined, in retrospect." Ravi Shankar=92s poems are = filled with the pleasure of subjects dissolving into ideas, ideas = folding into sounds, and sounds echoing familiar but elusive = translocations.=20 =97Charles Bernstein This is a very special first book. Ravi Shankar's poems have a fine = tuned sense of form, a rare delight in language. Through wit and = abstraction they reveal a metaphysics of longing, binding us to the = elements of our moving world. =97Meena Alexander Quirky, quizzical, inquisitive, Ravi Shankar in Instrumentality goes in = quest of what the oddness of language and imagination can reveal: =93a = hush of atoms holding a planet together.=94 By turns, lyrical and = meditative, these poems are guided by a strong intelligence toward = resolutions that are both surprising and apt.=20 =97Gregory Orr The Opening Question=20 Sharma is inclined to explore cultural disjunctions, the glide of sound, = power, and perception between people and languages: "you are pointing = west when you say dish, desh." Sometimes she sounds as American as John = Berryman. But at other times Sharma serializes simple declarative = statements or taps into a kind of Berlitz translation diction: "We are = an Indian family with Indian friends from India." In other words, her = imagination is whirring at full tilt, and her approaches to the poem are = varied and fresh and exciting.=20 =97Forrest Gander, Boston Review *************** Ravi Shankar=20 Poet-in-Residence Assistant Professor CCSU - English Dept. 860-832-2766 shankarr@ccsu.edu ========================================================================= Date: Thu, 10 Jun 2004 00:36:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ela kotkowska Subject: Re: agan, again In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable While we're following a coffin whose voyage brings to mind some = slow-motion oddyssey, let's think about RR's claim to paternity of the current administration. David Lytel came up with a top-ten list. So, tops off. Bush has learnt that: 10. Even if tax cuts build a weaker America they build a stronger = Republican party 9. A President must take full responsibility for everything except = mistakes and illegal activities. 8. While overt racism is unseemly, a Republican leader should signal to white-power proponents that he agrees with them. 7. Nations that assist the United States in its foreign policy goals can murder, torture, and imprison anyone necessary to maintain stability. 6. Bust unions whenever you can, because those people are a danger to = the continued concentration of wealth and power in the hands of trust-fund Republicans. 5. The most effective way to please corporate contributors is to appoint regulatory chiefs who will undermine their agencies from within. 4. If defense policies serve only to tie corporate interests more = closely to the Republican party without making the nation more secure, that=92s = good enough. 3. No global problem is too big to be ignored. 2. If you are affable, the commercial news media will judge you on your intentions rather than your actual results.=20 1. Boldly claim credit for major historic events and make it seem that = you caused them. Complete article at http://www.prospect.org/web/page.ww?section=3Droot&name=3DViewWeb&article= Id=3D7817 Plut=F4t hommage aux homards! Yet, in all fairness, I will say something good about the dead: RR was the better actor. :ela k: :http://incertainplume.blogspot.com/ ========================================================================= Date: Thu, 10 Jun 2004 05:56:57 -0400 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: "Brian Kim Stefans [arras.net]" Subject: JUNE 15 DEMOS AGAINST GRAND JURY IN CAE "BIOTERROR" CASE Comments: To: "Ubuweb@Yahoogroups.Com" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit -----Original Message----- From: send74-proxycaedefense@caedefensefund.org [mailto:send74-proxycaedefense@caedefensefund.org]On Behalf Of CAE Legal Defense Fund Sent: Wednesday, June 09, 2004 9:27 PM To: bstefans-arras.net Subject: JUNE 15 DEMOS AGAINST GRAND JURY IN CAE "BIOTERROR" CASE PROTEST TO DEMAND AN IMMEDIATE END TO THE INVESTIGATION OF STEVE KURTZ AND THE CRITICAL ART ENSEMBLE WHEN: 9 AM, June 15, 2004 WHERE: Niagara Square, Buffalo, New York, near the courthouse (see "Driving Directions" below for map) PLEASE CIRCULATE THIS CALL AS WIDELY AS YOU CAN. Check http://caedefensefund.org/demonstration.html for updates. For background, please visit http://caedefensefund.org/overview.html and http://caedefensefund.org/press.html. For PDFs of signs that you can print out, please visit http://caedefensefund.org/demonstration.html#signs For information on June 15 protests in Amsterdam, San Francisco, London and Paris, please visit http://caedefensefund.org/demonstration.html#world SUPPORT FREE SPEECH AND FREEDOM OF KNOWLEDGE Critical Art Ensemble (CAE) is a collective of internationally recognized artists who work in public, educational, academic and art contexts. For the past few years, their principal aim has been to help the general public to understand biotechnology. By making scientific research accessible to laypeople through participatory performance experiences, CAE aims to demystify what is safe and clarify what is dangerous about today's biotech industry. CAE always undertake their work in a safe and considered way. The materials they use are strictly non-hazardous, can be legally obtained by anyone, and are commonly found in undergraduate-level biology labs. For more on CAE's projects and the biological agents and equipment they work with, please visit http://www.caedefensefund.org/. A federal grand jury will convene on June 15 in Buffalo, New York, to consider bioterrorism charges brought by the Joint Terrorism Task Force against CAE member and University at Buffalo professor Steve Kurtz. The grand jury is the latest installment in a bizarre investigation in which members of the Joint Terrorism Task Force seem to have mistaken CAE's latest art project for a biological weapons laboratory. According to the subpoenas served to at least seven artists, the charges fall under Section 175 of the US Biological Weapons Anti-Terrorism Act of 1989, which has been expanded by the USA PATRIOT Act to prohibit the possession of "any biological agent, toxin, or delivery system" without the justification of "prophylactic, protective, bona fide research, or other peaceful purpose" (http://caedefensefund.org/faq.html#law). Those served with subpoenas include two founding members of CAE (Steven Barnes, Dorian Burr, Beverly Schlee), two artists who have collaborated with CAE (Beatriz da Costa, Paul Vanouse), and at least two other artists. Many worry that the case could set a dangerous precedent by silencing a group of artists for work that stimulates vital public discussion. Many feel that with this case and others, the government is wildly overreaching its mandate to protect the public from terrorism. "Groups like CAE stimulate the public debate that is necessary to a healthy democracy," said Claire Pentecost, an artist who has collaborated with CAE in the past. "This isn't a case of one artist fighting for the freedom to express him or herself with images or speech that some of the public might find offensive. This is a case of a group of artists using performance to educate the public on issues that affect all of us in our daily lives. The government's actions suggest a criminalization of a citizen's right to acquire knowledge by completely legal means. This goes to the very heart of democracy." A number of other recent cases suggest that that the PATRIOT Act and other recent "security" measures have made freedom of speech increasingly fragile in the U.S. A list of such cases will be available shortly at http://www.caedefensefund.org/ ABOUT THE DEMONSTRATION: Please bring signs and banners if you can (see http://caedefensefund.org/demonstration.html#signs). This is a peaceful demonstration. As in all demonstrations, it's best to bring personal identification (driver's license, passport, student id, proof of address, etc.). Let someone know where you're going to be. Stick with a buddy. DRIVING DIRECTIONS: From Interstate 90 take 33W into downtown all the way to the end. It will put you onto Oak St. Continue on Oak for 2 long blocks to Broadway. Go right on Broadway which runs right into Court St. The first square is Lafayette and then comes Niagara Square. There are paid parking lots all around this downtown area. Information on possible housing will be on the website shortly. http://mapquest.com/maps/map.adp?address=99+Court+St.&city=Buffalo&state=NY -- (MAKE SURE TO CUT BELOW LINES OFF WHEN FORWARDING, or your personal profile will become known to everyone.) To edit your profile or unsubscribe from mailings, please visit http://rtmark.com/caedefense/dblist/prof.php?e=bstefans@arras.net&x=88378111 8 --- Incoming mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.688 / Virus Database: 449 - Release Date: 5/18/04 --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.688 / Virus Database: 449 - Release Date: 5/18/04 ========================================================================= Date: Thu, 10 Jun 2004 09:55:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: urgent request: please do not post my message of last night MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Maria, in particular i liked you saying "courage my friend" in building strength in numbers, since we are all in this together. but i'll be perfectly honest, that i had read Siegel's original post, "angry response to president's death " and liked it, and was filled with that sense that we ARE all in this together. but then, when the post "urgent request: please do not post my message of last night" popped up, frankly, i was not only irritated, but slightly disgusted. it's the same way i feel when BLOGGERS out there make their zealous stand, for whatever reason, then delete the post, with some sort of disclaimer attached. WHY can't we all be making room for all ideas, together? so what if we don't all agree. and furthermore, we DO need courage, which means we DO need to be speaking OUT, and speaking UP. if we all really DO believe that this is a time of great oppression, speaking out and holding our ground is courage, and strength. but HIDING what we feel is NOT courage. let's not confuse courage for cowardice. let Kevin Killian's rants posted recently by Dodie Bellamy be an example of courage! thank you Kevin! CAConrad <<< <<>> >>> -- for THE PHILLY SOUND: New Poetry click here: http://phillysound.blogspot.com/ for the 9for9 project click here: http://poets9for9.blogspot.com/ for BANJO: Poets Talking click here: http://banjopoets.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: Thu, 10 Jun 2004 08:56:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: James DenBoer Subject: Re: POETICS Digest - 8 Jun 2004 to 9 Jun 2004 (#2004-162) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Belly lox Baby Schnooks Jack Oakie -- PAPERWORK James DenBoer 1517 3rd Street, Sacramento CA 95814 Voice: 916/492-8917 jamesdb@paperwrk.com CA Resale #SR KH 99-478885 Order from Alibris -- http://www.alibris.com ========================================================================= Date: Thu, 10 Jun 2004 10:14:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: city upon a hill Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed In the morass of pious hypocricy with which we're all being bathed, at least in the US, one speaker after another has quoted John Winthrop's great sermon aboard the Arabella, flagship of the Puritan fleet, as it lay at anchor in what would become Boston harbor. There's a long tradition behind this, and behind the conflation of what Winthrop actually meant (it's right there in the words) and the rhetoric of the New Jerusalem, so that the city upon a hill has become the shining city upon the hill. Winthrop used the phrase not as a hope but a warning--that there will be no place to hide. I present the pertinent paragraph below. If we get past the god stuff what's left doesn't read much like the commonwealth that Reagan or his heirs, all of them first-class sons-of-bitches, had in mind--in fact, it sounds a lot more like Eurosocialism. Winthrop, by the way, was one of the architects of American genocide. But hell, he wrote well. Now the only way to avoid this shipwreck, and to provide for our posterity, is to follow the counsel of Micah, to do justly, to love mercy, to walk humbly with our God. For this end, we must be knit together, in this work, as one man. We must entertain each other in brotherly affection. We must be willing to abridge ourselves of our superfluities, for the supply of others' necessities. We must uphold a familiar commerce together in all meekness, gentleness, patience and liberality. We must delight in each other; make others' conditions our own; rejoice together, mourn together, labor and suffer together, always having before our eyes our commission and community in the work, as members of the same body. So shall we keep the unity of the spirit in the bond of peace. The Lord will be our God, and delight to dwell among us, as His own people, and will command a blessing upon us in all our ways, so that we shall see much more of His wisdom, power, goodness and truth, than formerly we have been acquainted with. We shall find that the God of Israel is among us, when ten of us shall be able to resist a thousand of our enemies; when He shall make us a praise and glory that men shall say of succeeding plantations, "may the Lord make it like that of New England." For we must consider that we shall be as a city upon a hill. The eyes of all people are upon us. So that if we shall deal falsely with our God in this work we have undertaken, and so cause Him to withdraw His present help from us, we shall be made a story and a by-word through the world. We shall open the mouths of enemies to speak evil of the ways of God, and all professors for God's sake. We shall shame the faces of many of God's worthy servants, and cause their prayers to be turned into curses upon us till we be consumed out of the good land whither we are going. Mark ========================================================================= Date: Thu, 10 Jun 2004 10:16:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Whalen, Journal, "Sierras 1957" Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit In a time of war & political woe & onset of summer, I find this excerpt brings some peace, at least the immediate peace of reading: From Philip Whalen's Journal, "Sierras 1957" ...Here, like the summer I worked on the Skagit, I am conscious of little more than the absolute present. I feel free of the past and from myself. There is the continuous roar of water & a slight breeze & I breathe & digest food noisily, but "I" has temporarily stopped his usual noisy clamor, feelings of imitation, frustration, ambition, remorse. The view of the mountains, the immediate trees & water & at night the stars - all can be looked at for any length of time & enjoyed as themselves. They require nothing - & I feel I require nothing either. I've been taught they are beautiful: they destroy "ME" & cut me loose to drift high as kite, "high on mountains & poetry" like Snyder wrote in his last book. The question is, who's writing this now, having these feelings and notions. Naturally, the same collection of habits & history that exists wherever this person happens to be... (from the Whalen archive at Bancroft Library, UC Berkeley) ========================================================================= Date: Thu, 10 Jun 2004 14:22:10 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: City on the Hill... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit either i'm delusional or Mark Weiss must be reading some other text.. to think John Winthrop was talking of a Eurovision whose main concern is the 32 hr work week and 6 week vacation..& getting along at any cost...what that has to do with God of Israel is beyond me..tho they'd spit at it..the city on the hill is the perfect screed for the settler movement...beyond the stroke of reality...it does no one any god to so delibaretly refabricate history...history is cruel...we are that city on the hill...broadcast live 24/7 by FOX.... the storm breaks over the empire city...drn... ========================================================================= Date: Thu, 10 Jun 2004 08:30:56 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Susan M. Schultz" Subject: TINFISH PRESS NEWS Comments: cc: leeaaron@hawaii.edu, sarpy@hawaii.edu, sschultz@hawaii.edu Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit Tinfish Press, which specializes in experiemental poetry from the Pacific, is pleased to announce that two new publications are at the printer: --_Tinfish_ #14: features recycled and drilled Bank of Hawai`i annual report covers; poems by Teresia Teaiwa, David Eggleton, Javant Biarujia, kari edwards, Rodrigo Toscano, Steve Carll, Emelihter Kileng, Pam Brown, and many others. Review of Geraldine MacKenzie's _Duty_ by John Rieder. Interior design by Aaron Lee. $8 for one; $20 for a sub to three issues. --Naomi K. Long's chapbook, _Radiant Field_. Designed by Mike Sarpy. $9 Please see our website for more details and information on how to order copies. aloha, Susan Susan M. Schultz http://tinfishpress.com now available: _And Then Something Happened_ http://saltpublishing.com/books/smp/1844710165.htm ========================================================================= Date: Thu, 10 Jun 2004 13:16:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Ray Charles - gone Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Now that's a grief - wow. Somehow never thought he would go. The sixties, the seventies, where would we have been without him? Georgia, Hit the Road Jack, What did I say.. on an on. Back when the Juke Box was still real. Soul silly as in blessed. RIP Stephen V ========================================================================= Date: Thu, 10 Jun 2004 14:03:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: City on the Hill... Comments: To: nudel-soho@mindspring.com In-Reply-To: <32291407.1086891747504.JavaMail.root@wamui10.slb.atl.earth link.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I was of course referring to the communitarian, economic egalitarian content. I should have thought that that would be apparent. I'm perfectly aware, and thought that I'd indicated as much, that the practice became in short order very different. For all I know you may be delusional. On the evidence I'd say that you don't read very carefully. Mark At 11:22 AM 6/10/2004, you wrote: >either i'm delusional or Mark Weiss >must be reading some other text.. >to think John Winthrop was talking >of a Eurovision whose main concern >is the 32 hr work week and 6 week >vacation..& getting along at any >cost...what that has to do with >God of Israel is beyond me..tho >they'd spit at it..the city on the hill >is the perfect screed for the settler >movement...beyond the stroke >of reality...it does no one any >god to so delibaretly refabricate >history...history is cruel...we >are that city on the hill...broadcast >live 24/7 by FOX.... the storm >breaks over the empire city...drn... ========================================================================= Date: Thu, 10 Jun 2004 17:22:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Ray Charles: Seven... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable one of the most chilling lyrics of its kind... ever... There were seven Spanish angels, (at the altar). at the altar of the sun, (oh I believe) They were praying for the lovers (yeah they was), In the Valley of the Gun, (Well, well, well), When the battle stopped and the smoke cleared (there was thunder), There was thunder from the throne, (oh yeah), And seven Spanish angels, Took another angel home. as performed by Ray Charles & Willie Nelson (written by Eddie Setser & Troy Seals) -- Gerald Schwartz ========================================================================= Date: Thu, 10 Jun 2004 16:26:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: DOWNLOAD THE LAST ACTS OF SAINT FUCK YOU Comments: To: ubuweb@yahoogroups.com, WRYTING-L Disciplines , dreamtime@yahoogroups.com, spidertangle@yahoogroups.com Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Help Celebrate the Life & Art of Bern Porter (1911-2004) Download this & perform this text for any audience that will listen. The Last Acts of Saint Fuck You by Bern Porter (originally published by Xerox Sutra Editions , 1985) from the book: O The obfuscating of patrons The obligating of commoners The obsessing of jealots The obtunding of blades The occuring of misfortunes The orginating of grievances The overriding of objections http://www.xexoxial.org/xerotronic_archives/ ========================================================================= Date: Thu, 10 Jun 2004 19:02:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Re: Ray Charles - gone MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Long live Raydaddy! Michael R ----- Original Message ----- From: "Stephen Vincent" To: Sent: Thursday, June 10, 2004 4:16 PM Subject: Ray Charles - gone > Now that's a grief - wow. Somehow never thought he would go. > The sixties, the seventies, where would we have been without him? > Georgia, Hit the Road Jack, What did I say.. on an on. > Back when the Juke Box was still real. > Soul silly as in blessed. > RIP > > Stephen V > ========================================================================= Date: Thu, 10 Jun 2004 16:29:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Pink Steam bookparty San Francisco Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dodie Bellamy reads from Pink Steam Tuesday, June 29, 7:30 pm Modern Times Bookstore 888 Valencia Street San Francisco, CA 94110 Phone: 415-282-9246 http://www.mtbs.com/ Event contact: Amanda Davidson Pink steam rises from the vats of melting goo in the Vincent Price 3-D horror classic, House of Wax. Railroad buffs know "pink steam" as the first blast from a newly christened steam engine, which appears pink as it spews out rust. And now Pink Steam, the book, reveals the intimate secrets of Dodie Bellamy's life-sex, shoplifting, voyeurism, writing. "Pink Steam is a compulsive read. This expert collection of essays qua fictions walks a vertiginous border between individual experience and the sadistic force of the accepted "norm." There is truth on one side, lying on the other. Then they switch, the inanimate become the animate, the fiction reality, and what seemed peaceful and clean suddenly becomes monstrous. Barbie's Dream House turns gothic, Judy Garland sadly ponders Henry Darger, a woman in Florida turns into a reptile, demons are exorcised via bulimia, and so on. No weird world this, but rather the vanishing middlebrow America of Montgomery Ward's, Filter Queen vacuums, all beef franks, and King Kong. Yet for all that Pink Steam is not kitschy, it is a culturally astute document of the real written by a master at the height of her powers." -Jennifer Moxley "Bellamy is David Lynch in print, teen porn under fluorescent lights, a sandpaper jumpsuit sandy side in. She drops casual, humble, hysterical hints for the less pop-culturally literate. She demystifies romance like studying poop up close in the toilet. She loves ugly. Bodily juices, death, class, and hopelessness, all magnified under her snarky, so-fucked-it's-funny, post-feminist glare. This is the Punk Aesthetic." -Lynn Breedlove, author of Godspeed: A Novel "If anyone can drag the sleeping, stagnant beast of contemporary literature into the future, [Bellamy] can." -Brian Pera, author of Troublemaker For more information regarding Pink Steam and Dodie Bellamy, please visit the Suspect Thoughts Press website at www.suspectthoughtspress.com or contact Greg Wharton by email at gregw@suspectthoughts.com or by phone at 415-713-7159. ========================================================================= Date: Fri, 11 Jun 2004 09:33:36 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Kevin Killian rants and raves In-Reply-To: <40C7A388.10604@telus.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Sorry, I never understood Kylie as camp icon. I agree she has a certain amount of trashy glam, but I reckon others do that with more wit. No exploitation? What's the focus on her bum then? Punk sensibility? John Lydon would faint. Pure product, our Kylie; maybe to be admired for that, though I would rather spend my time admiring other commodities. A On 10/6/04 9:55 AM, "Ishaq" wrote: > YOu gotta respect a man who overstands Kylie. Her performance on the > Vicar fo Dibley with Dawn French was spectacular. Kylie has never made a > wrong step in your brilliant career which make us wonder what heights > Edie Sedgwick would have soared if she had less exploitation and more > punk sensiblity as Kylie has demonstrated throughout her career. Cheers > to the Princess of Pop and the fusion of NEo-Mod and Post Hip Hop > reality grooves. Alison Croggon Editor, Masthead: http://www.masthead.net.au Home page: http://www.alisoncroggon.com Blogs: http://theatrenotes.blogspot.com http://alisoncroggon.blogspot.com ========================================================================= Date: Thu, 10 Jun 2004 19:43:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: Kevin Killian rants and raves MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Kylie is great on the Bad Seeds recording, Murder Ballads (?) Haunting, very well placed. Gerald Schwartz > Sorry, I never understood Kylie as camp icon. I agree she has a certain > amount of trashy glam, but I reckon others do that with more wit. No > exploitation? What's the focus on her bum then? Punk sensibility? John > Lydon would faint. Pure product, our Kylie; maybe to be admired for that, > though I would rather spend my time admiring other commodities. > > A > > On 10/6/04 9:55 AM, "Ishaq" wrote: > > > YOu gotta respect a man who overstands Kylie. Her performance on the > > Vicar fo Dibley with Dawn French was spectacular. Kylie has never made a > > wrong step in your brilliant career which make us wonder what heights > > Edie Sedgwick would have soared if she had less exploitation and more > > punk sensiblity as Kylie has demonstrated throughout her career. Cheers > > to the Princess of Pop and the fusion of NEo-Mod and Post Hip Hop > > reality grooves. > > > > Alison Croggon > > Editor, Masthead: http://www.masthead.net.au > Home page: http://www.alisoncroggon.com > Blogs: http://theatrenotes.blogspot.com http://alisoncroggon.blogspot.com ========================================================================= Date: Thu, 10 Jun 2004 17:10:46 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Re: Kevin Killian rants and raves In-Reply-To: <000a01c44f44$ad9f86a0$7bc6a918@rochester.rr.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Kylie also does stuff with the top undeground Hip Hip artist like braintax of Lowlife records. as for john Lydon, I can't speak for him. ...and John does not speak for punk cuz punk wasn't invented in 1977. It died in 77. It actually came out about in NYC with Richard Hell and The Ramones which goes back to 1974, along with the NY Dolls who Malcolm Maclearen managed prior to moving back to the US and commericalizing the scene -- he actaully used situationism with a healthy mixture of daDa to sweeten the assault. Johnny seems to have been one the few people who caught the idea of the Con/Swindle which Maclearen was pulling on, what would become the god for a semi-literate generation following a marketing scam called Hip Hop--the INDUSTRY. So Johnny called his first solo deally with "Public Image Ltd" (natch) was entitled "First Edition" then he "Second Edition" and later came out with "Album" and "CD" and "Video". The UK always knew the marketing joke what is pop (XTC "This Is PoP" as an example) and the music scene in general. It was either you joined the circus or exploited it via anarchy (Crass becomes the pop group Cumbawumba). Look at Roxy Music's first release where in cult statis it is called "Pinup" to mock the sex sales aspect of amerikkka. schwartzgk wrote: >Kylie is great on the Bad Seeds recording, Murder Ballads (?) Haunting, >very well placed. > >Gerald Schwartz > > > >>Sorry, I never understood Kylie as camp icon. I agree she has a certain >>amount of trashy glam, but I reckon others do that with more wit. No >>exploitation? What's the focus on her bum then? Punk sensibility? John >>Lydon would faint. Pure product, our Kylie; maybe to be admired for that, >>though I would rather spend my time admiring other commodities. >> >>A >> >>On 10/6/04 9:55 AM, "Ishaq" wrote: >> >> >> >>>YOu gotta respect a man who overstands Kylie. Her performance on the >>>Vicar fo Dibley with Dawn French was spectacular. Kylie has never made a >>>wrong step in your brilliant career which make us wonder what heights >>>Edie Sedgwick would have soared if she had less exploitation and more >>>punk sensiblity as Kylie has demonstrated throughout her career. Cheers >>>to the Princess of Pop and the fusion of NEo-Mod and Post Hip Hop >>>reality grooves. >>> >>> >> >>Alison Croggon >> >>Editor, Masthead: http://www.masthead.net.au >>Home page: http://www.alisoncroggon.com >>Blogs: http://theatrenotes.blogspot.com >> >> >http://alisoncroggon.blogspot.com > > > -- {\rtf1\mac\ansicpg10000\cocoartf102 {\fonttbl\f0\fswiss\fcharset77 Helvetica;} {\colortbl;\red255\green255\blue255;} \margl1440\margr1440\vieww9000\viewh9000\viewkind0 \pard\tx560\tx1120\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\ql\qnatural \cf0 \ \f0\fs24 --\ -\ ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 10 Jun 2004 17:18:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: maxpaul@SFSU.EDU Subject: Re: Ray Charles - gone In-Reply-To: <005701c44f3e$f6b80c00$0f40f7a5@ibmw17kwbratm7> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Let's do a funeral swap with Reagan, Ray Charles lying in state in DC. Maxine Chernoff Quoting Michael Rothenberg : > Long live Raydaddy! > Michael R > ----- Original Message ----- > From: "Stephen Vincent" > To: > Sent: Thursday, June 10, 2004 4:16 PM > Subject: Ray Charles - gone > > > > Now that's a grief - wow. Somehow never thought he would go. > > The sixties, the seventies, where would we have been without him? > > Georgia, Hit the Road Jack, What did I say.. on an on. > > Back when the Juke Box was still real. > > Soul silly as in blessed. > > RIP > > > > Stephen V > > > ========================================================================= Date: Thu, 10 Jun 2004 20:14:41 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit duane reade hemorrhoidal suppositories ... the movie clerk doesn't even ask for an i.d. for the senior citizen discount .... my daughter's S.O. calls her Cassandra 9:05.. to tip-off NBA finals game 3...city of kill bill...brad pitts sand streaked abs...drn.. ========================================================================= Date: Thu, 10 Jun 2004 20:31:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Elshtain Subject: New Beard of Bees Press Chapbook MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Beard of Bees Press is pleased to announce the publication of its 16th chapbook: _At Captains' Tables_. From the preface: "These twelve-line blank verse poems were composed with Gnoetry 0.2 and are based upon the statistical analysis of Jules Verne's _20,000 Leagues Under the Sea_. The 0.2 interface allows the human collaborator to make choices by regenerating text on the word, phrase, sentence, and stanza levels..." www.beardofbees.com ========================================================================= Date: Thu, 10 Jun 2004 18:36:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym Subject: Re: Ray Charles - gone In-Reply-To: <1086913106.40c8fa5288821@webmail.sfsu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Right on! Or Oedipus vs. Polonius. Just why do the culpable die before the idiotic guilty? Gloria Frym On Thu, 10 Jun 2004 17:18:26 -0700 maxpaul@SFSU.EDU wrote: >Let's do a funeral swap with Reagan, Ray Charles lying in state in DC. > Maxine >Chernoff > >Quoting Michael Rothenberg : > >> Long live Raydaddy! >> Michael R >> ----- Original Message ----- >> From: "Stephen Vincent" >> To: >> Sent: Thursday, June 10, 2004 4:16 PM >> Subject: Ray Charles - gone >> >> >> > Now that's a grief - wow. Somehow never thought he would go. >> > The sixties, the seventies, where would we have been without him? >> > Georgia, Hit the Road Jack, What did I say.. on an on. >> > Back when the Juke Box was still real. >> > Soul silly as in blessed. >> > RIP >> > >> > Stephen V >> > >> ========================================================================= Date: Thu, 10 Jun 2004 18:54:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: FW: [WRK4US] Half-time position in Atlanta MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi everyone, Below is a search description for an Atlanta-based writer / editor. It's a permanent, 20-hour-a-week position with benefits at Emory University. I can testify that's it a good job because I've had for the last five years! I'm looking for my replacement as I focus more on another project. Having a Ph.D or doctoral work is not required but it is helpful in this position. Please pass this announcement on to colleagues you may have in this part of the country who may be interested. They should feel free to call me with questions, or just apply to the managing editor listed below. Our publication's website is www.ACAD_EXCHANGE/emory.edu. You can browse back issues there. Amy -- Amy Benson Brown Dir., Provost's Program for Manuscript Development Assoc. Ed., The Academic Exchange Emory University (404)712-9082 ___________________________________ Announcing a search for half-time associate editor for journal of Emory faculty life and thought. Duties include covering science trends, writing, light editorial and production tasks (copyediting/proofreading), helping coordinate events. Qualifications include minimum bachelor's degree and at least five years writing/editorial experience. Strong background in sciences or science writing, familiarity with academia (especially Emory), and experience in web development also preferred. Send resume, cove letter, and three non-returnable writing samples to Allison Adams, Editor, The Academic Exchange, 106A North Decatur Building, Emory University, 404-727-5269(phone), 404-727-5284(fax) E-mail: aadam02@emory.edu Website: www.emory.edu/ACAD_EXCHANGE IMPORTANT NOTE: Please DO NOT apply for this search position online. All letters of application, resumes and/or references should be sent directly to the hiring official specified above. ___________________________________ ________________________________________ WRK4US. To unsubscribe from this list, write to LISTSERV@WWW.WOODROW.ORG and in the text of your message (not the subject line), write: SIGNOFF WRK4US ========================================================================= Date: Thu, 10 Jun 2004 22:11:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Ray Charles - gone MIME-Version: 1.0 Content-Type: text/plain Lacy, Quine & Charles all in one week's tome -- (meant to write "time, but this works) -- I'm hearing one hell of a memorial on my stereo,,,,, blasting out the last cob webs of Reaganiana <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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, 11 Jun 2004 00:18:24 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: OneReagan Success Stories---Universal Child Labor For Central Americ 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 One Of Reagan's Great Success Stories---Universal Child Labor For Central America: Killing Off Trade Unionists And Rebels Pays Off For U.S. Corporations As Contractors Crack The Whip On Four Year Olds By Killvin Slayvin Bush Handlers Resigned To French & German UN Control Of Iraq Oil Dedistribution: Oil & Iraq---Don't Look Directly At the Sun You Might Damage Your Media Car eer Iraqi Nationalists Promise New Oil Arrangement Will Be Shortlived by Kindle Fireass 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Thu, 10 Jun 2004 00:58:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: FW: Vonnegut MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit as freud put it in 1915 we have not risen that high that we have fallen so low or something to that effect but jesus enough jesus please us ========================================================================= Date: Thu, 10 Jun 2004 21:38:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: LA: Writers & Teachers Series June 15 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Tuesday, June 15 7:30 Los Angeles writer & publisher Jack Grapes, longtime beginning-level workshop leader, editor of ONTHEBUS and http://www.bombshelterpress.com/, and author of TREES, COFFEE, AND THE EYES OF EYES of DEER, BREAKING DOWN THE SURFACE OF THE WORLD, etc. reads with and presents three former students, Kathleen Matson, Chris Kerr, and Marianne Franco (A RAG DOLLS HOUSE). Barnes & Noble Westwood 10850 West Pico Blvd. West Los Angeles, CA 90064 corner of Westwood & Pico in the Westside Pavilion Mall free parking in the mall free brownies ========================================================================= Date: Fri, 11 Jun 2004 16:20:09 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Kevin Killian rants and raves In-Reply-To: <40C8F886.5020204@telus.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi Ishaq - I have an anglocentric view of punk - what happened in the UK seems to me qualitatively different from the NY Dolls and the Ramones, all that English music hall and Thatcherite despair gave it another edge. Yes, it fizzled out quickly, Malcolm McLaren gave us the unedifying image of Sid Vicious and the rest of them looking like cute Cliff Richards piling into a car for summer holidays, and now we can merely ponder its ironies. But its very ephemerality exposed consumer mass culture in most interesting way. I note interestedly punk (both US and UK) has made a comeback among young teens here in a kind of nihilistic/idealistic cross with Japanese consumerist eclecticism, and links itself consciously with Green Left social activism. Loads of problems there but also interesting energies. I've watched Kylie for years and still don't get it. But I didn't get Madonna either. Or it could be just because I'm a Melbourne girl as well, which creates its own blindnesses towards the all-too-familiar, just as in the case of Nick Cave, a good Geelong Grammar boy just as I am a good Ballarat Grammar girl. (I never got Birthday Party either, all too self-consciously gothic for me, I much preferred the wit of something like Wall of Voodoo). I thought the Kylie/Cave thing pretty crappy, exploitative on both sides. Cheers A Alison Croggon Editor, Masthead: http://www.masthead.net.au Home page: http://www.alisoncroggon.com Blogs: http://theatrenotes.blogspot.com http://alisoncroggon.blogspot.com ========================================================================= Date: Fri, 11 Jun 2004 02:40:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derekrogerson Organization: derekrogerson.com Subject: Re: the universe MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit how can you sleep at night? ========================================================================= Date: Fri, 11 Jun 2004 09:24:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: Ray Charles - gone Comments: To: maxpaul@SFSU.EDU In-Reply-To: <1086913106.40c8fa5288821@webmail.sfsu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Quoting maxpaul@SFSU.EDU: > Let's do a funeral swap with Reagan, Ray Charles lying in state in DC. > Maxine > Chernoff > > Quoting Michael Rothenberg : > > > Long live Raydaddy! > > Michael R One of my favorite memories: being backstage at the Newport Jazz Festival a couple years ago -- when Ray Charles came down the corridor toward the stage my daughter, 1 1/2 at the time, lunged out and sort of high-fived his lapel. She's almost 4 now; we've got "Tell the Truth" playing and she's dancing around the family room as I type this. -m. ========================================================================= Date: Fri, 11 Jun 2004 09:41:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: sine qua non MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I am of course the poet and you are of course the reader and there is of course no poet and no you are of course no reader so please stop calling ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Fri, 11 Jun 2004 10:00:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Re: the universe MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii > how can you sleep at night? Didn't know the universe slept. But if it does, should I sleep better or worse for it? Insomnia's the shits and I wouldn't wish it on any one or thing. Kathryn Davis: "What you want is always out of reach when you can't sleep. You can only have what you don't want, or what you thought you wanted, lurching toward you, unspeakable horror.... Oh there's nothing empty about insomnia; it's full to bursting! Chains of thought, some miniscule, tinnily chime in your pricked ear; some, immense, wind Laocoön-like around your twitching limbs. You think you're waiting but you're not; you're awaited, though not by sleep. Insomnia is the wish to be immortal, granted by an ass." (Kathryn Davis) ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Fri, 11 Jun 2004 07:08:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: call for work: homage to Niedecker MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii For the forthcoming (winter 2005) second issue of the new poetry annual Court Green, we seek creative work for a special Dossier on Lorine Niedecker. Poems inspired by or to Niedecker, imitations, short lyric essays and other creative works all welcome; we are not looking for critical/academic works at this time. Court Green is a new, nationally distributed journal co-edited by Arielle Greenberg, David Trinidad and Tony Trigilio. Each issue will have a Dossier on a special topic or theme. The first issue is out now and features a Dossier on poetry on film, and includes poems by Ann Lauterbach, Michael Burkard, Elizabeth Willis, Maxine Kumin, Mary Szybist, Albert Goldbarth, Ron Padgett, Dodie Bellamy, Wayne Koestenbaum and others. Work for the Niedecker Dossier must be submitted by August 1, 2004. Please send it by hard copy to Arielle Greenberg Court Green attn: Niedecker Dossier English Department Columbia College Chicago 600 S. Michigan Ave Chicago, IL 60605-1996 We are not looking for work for the regular section of the magazine right now, only the Dossier. If you would like to submit poems for the regular section, our reading period is February 1-May 1 of each year, to the same address above. Questions? Email me at ariellecg@yahoo.com. Thanks! Arielle __________________________________ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/ ========================================================================= Date: Fri, 11 Jun 2004 10:40:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: NEW PHILIP WHALEN PAGE AT EPC MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Please visit the new Philip Whalen Page at EPC http://epc.buffalo.edu/authors/whalen/ edited by Michael Rothenberg and Jonathan Penton Thanks to Charles Bernstein ps. addition suggestions welcome, please backchannel Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Fri, 11 Jun 2004 11:30:16 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AMBogle2@AOL.COM Subject: Re: FW: Vonnegut MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The day of Reagan's funeral is a good day to read these statements by Vonnegut. My mother has been watching the week's events on TV, rapt. She was NOT a Reaganite before, but I think Nancy's selflessness as a wife helps to make up in her mind for Clinton's debacle, another event she watched on TV, rapt. Reagan was president when I was 18-26. He won in the first election I could vote. I didn't vote, but I went to campaign speeches in Madison. I would have voted for John Anderson, but people said I would be throwing away my vote, throwing it to Reagan. The worldview (not to mention the policies he enacted, enacted under him) was a throwback to the 1950s and were too conservative, too self-consciously stylized, and too conformist for us. If we are experiencing a backlash now, if times are striving to be very traditional today, it is partly due to the era Reagan ushered in, itself a throwback. While we should not have been reactionary against our own possibilities, the culture of Reagan tempted us to ignore some of those. Corporate culture seems, if anything, less hospitable than it was. It might have been better if we had left college headed for companies, liberal but certain of fitting in somewhere, instead of certain only of finding refuge in schools. On TV I like the drill team best, the low calls of the officer, "Ho, hoop, hoom, hoop." Ann Bogle ========================================================================= Date: Fri, 11 Jun 2004 14:59:50 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: this is pop MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII about xtc and punk and new york dolls and stuff Partridge: We started calling ourselves that around 1975. We've been in existence -- myself, Colin and Terry plus revolving fourth members -- from 1973 onwards. The original form we took was kind of punky, because we were crazy on the New York Dolls. We were called the Helium Kids, and we used to do our darndest to look like the Dolls, and act like the Stooges. We chose XTC because we thought it would be a marvelously easy thing to see in print. Which it is -- people always do put it in capitals -- they're forced to give us respect! It was kind of like the music, short and sharp and hopefully with no unnecessary crap in it. No Irony in our House Andy: ``In 1976 I read a tiny review of a group called The Sex Pistols and the journalist was looking for words to describe them and their music. I thought how stupid a lot of writers are, trying to find categories and names for things when surely if you're in a group to be popular and your music becomes popular then you are a pop group, making pop music. Despite what haughty, clever or elitist tags you are given or claim for yourself. If you don't want to get wet stay out of the pool.'' ========================================================================= Date: Fri, 11 Jun 2004 14:24:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Multimedia Installation by Sondheim @ WVU MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Fri, 11 Jun 2004 14:07:41 -0400 From: CLC CLC To: poetics@acsu.buffalo.edu, willard@lists.village.virginia.edu, WVUENG-L@LISTSERV.WVU.EDU, webartery@yahoogroups.com Subject: Multimedia Installation by Sondheim @ WVU The Paul Mesaros Gallery at the WVU Creative Arts Center hosts a multimedia installation by Alan Sondheim starting June 14 and running through August 8. Entitled "not-doing," the installation "references releasing oneself both to the information inherent in the world, and to the potential quietude at the heart of it." The Gallery is free and open to the public. Alan Sondheim is a writer and visual artist. His work has been published and exhibited internationally. Sondheim's visit to West Virginia University is part of a collaboration between WVU's Center for Literary Computing and Virtual Environments Lab. Direct questions to clc@mail.wvu.edu. ========================================================================= Date: Fri, 11 Jun 2004 15:14:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Poetry Project Fall Events Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Hello friends! We wanted to update you on the happenings around here... Readings in the fall will include: * A HOWL Festival front-yard reading with David Henderson, Jacqueline Waters, Eliot Katz, Mariana Ruiz-Firmat, and others on Saturday, August 21. * A reading on Sept. 1, during the Republican National Convention, with scheduled readers to include: Eileen Myles, John Yau, Sapphire, Rodrigo Toscano, Kristin Prevallet, Katha Pollit, Bob Holman, Greg Fuchs, Carol Mirakove, Vijay Seshadri, Cornelius Eady, John Coletti, Grace Schulman, Bruce Andrews, Marie Ponsot, and many more. * A production of Eileen Myles' Opera "Hell", to be performed on Sept. 22 and Sept. 29. * And readings in October and November by Linh Dinh, Marcella Durand, Elizabeth Reddin, Harryette Mullen, Lorenzo Thomas, Alice Notley, Kerri Sonnenberg, Prageeta Sharma, Anselm Hollo, Basil King, Joyelle McSweeney, and Lisa Lubasch, among many others. * Plus the return of the Friday Late Evening Series, hosted by Regie Cabico= . Also, a Query: * The Poetry Project is looking for some missing Newsletter issues for our archives. If anyone out there happens to have any of the following, we=B9d love to photocopy them at your convenience: #39, 40, 89, 90, & 92. Please email info@poetryproject.com if you can help out. We appreciate it! HAVE A GREAT SUMMER and see you soon! Best, The Poetry Project ========================================================================= Date: Fri, 11 Jun 2004 17:16:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Lives of Eminent Assyrians II Mime-Version: 1.0 Content-Type: text/plain; format=flowed how they sound blame it on stop / opaque ignorant also injure reputation dear must secrets provided / plenty enquire Ninevah because / to listen choose plenty sly / secretive adorned / sweet root belonging to / craft recently according to / condition age ribbons / wanton imagine poppet / such lively barn mother skittish / lively happened / sport clever/ inventive held on the spot so watch / discreet look for patted / loins ate / slept / pleased avert / is dead saw / corpse at work condition / same must / secrets yes / ignorant creed knows fared look stars lift must address themselves tough heaved / at once thought seized vehemently sides threshold did they go sigh again toil shut beloved oath secret / betray anyone / lost less drowned drown / lose before ahead wise sail lost / long difficulty / company rather do they know requires / urgent lodging may float provisions / sufficient diminish unless / have / favor in two up high carefree / careful commandment / precious far apart forewarned / better subtle plan / meant acted escape / each one faithful true truly rolling / drown hung / groan rungs / upright rafters victualed in plenty arrangement approached shut arranged climb sits / prays might hear descended affliction / spirit then / snores climbs steadily where lie pleasure drew didn't know / work truly to wake may stands / bedroom at least in faith dreamed rises combed walks reached sweat / wherever swelter indeed hardly used quietly bird / favor with great relish payback turned away wept / quenched cross early / bless them better / jest bird / didn't know let fly thunder clap blinded hot in the middle of / smote unconscious / breadth ran / gape broken must overcome imagination / folly peer argument sworn under held at once / sided guarding lower eye _________________________________________________________________ Stop worrying about overloading your inbox - get MSN Hotmail Extra Storage! http://join.msn.click-url.com/go/onm00200362ave/direct/01/ ========================================================================= Date: Fri, 11 Jun 2004 18:26:12 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adeena Karasick Subject: Northport Arts Festival Tomorrow!! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In case anyone is interested in going to Huntington this weekend -- i will be reading Sunday (June 13) between 1:00 - 2:00pm at the North Port Summer Arts Festival @ the Bandstand Northport Village, NY (i think you take the LIRR to Huntington) For more info contact: Alan Semerdjian : www.alanarts.com ========================================================================= Date: Fri, 11 Jun 2004 20:04:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: non-doing MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII non-doing video length - 7+ minutes http://www.asondheim.org/wvus.mov beware of the 98 megabytes; this is as reduced as I could make the video for the online translation of the West Virginia University exhibition, still keeping a degree of legibility - this was created with motion capture equipment that was remapped on and off the body, into heaps, splits, joins, rolls "not-doing references releasing oneself both to the information inherent in the world, and to the potential quietude at the heart of it. not-doing references the body, language, and sexuality - lassitude, languor "finger pointing at the moon "the painting is Korean, of unknown provenance the cabinet photographs are of local provenance the opera glasses adhere to the painting the opera glasses of Parisian provenance, nineteenth-century "the sound track is modified from an application that 'sounds' the wireless connections in the world. the sites chosen were City Hall Park, New York, my loft in Brooklyn, New York, and New York University at Washington Square Park. "the visuals were created in part at the VEL, Virtual Environments Lab, here at the university. "software used includes: "SAM for translating motion-capture to .bvh files Poser 4 and 5 for translating .bvh files to poser imagery CoolEdit for sound modification NetStumbler for WiFi gathering An Mp3 application for converting NetStumbler output Adobe Premier for primary editing ACDC for image file conversion Photoshop 5.5 for image creation Blender for 3d modeling Quicktime for image file conversion Mathematica for still image manipulation _ ========================================================================= Date: Fri, 11 Jun 2004 17:49:36 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Re: Kevin Killian rants and raves In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Peace Alison, Madonna is of another school of pop. She was out to exploit the postmodern explosion as it settled into the college campuses and suburbs. It was a mass market medium cool of gay ghetto chic with ambiguous messages of naughty sex for the rebelling puritans, discovering homosexuality; latching onto their desires and calling it "queer" while rockin the latest stickers on the softcore s/m chiccism. Kylie is just an extension of the smart pop and thatcherite/reaganomics (neo Augustan empire). It was the Stock Aiken and Waterman overproduction of reusable backing tracks a la Motwon -- as the crew and others summoned a transient neo San Francisco Patrick Cowley era of the pounding HiNRG of the lamented Moby Dick records. It was the club scene coming out a coma induced by shock with the coming of the AIDS hysteria. It was something inwhich the Pet Shop Boys dared to lambaste with the return of the dreaded word "disco" in small fonts accompanied by Gilbert and George panorama (or panninaro) 2D landscapes = videos and glossies. They re-explored the rent boy and gentlemen dynamics and performed a dumbshow -- the exploited and the exploiter = their thesis "I've go the brains/you've got he brawn/let's make lots of money". We would we see how that worked out in the poppyshow what will become hip-hop and the thug culture. The amerikkkan marketing system exploits a seemingly willing new generation of amerikkkan product -- the negrow. It's funny how this gets turned round with the Putsch shop boys = Blaire and Bush (brains and brawn respectively). The NYC punk was mostly about art and the idea of art and the exploitation of art as a rebellious force at ground/grassroots level = raDICAL CHIC. North ameriKKKa would forward the punk struggle under the new title of Hardcore (LA - Los Angeles) when it became a "voice of the people" (as Prince Buster coined the phrase for Jamaican Ska and Rock Steady a few decades earlier) when it involved itself with concepts of social realism and not the surreal literary and sonic landscapes of William S. Burroughs and John Cage. The Uk had set off in the direction of political and social commentary earlier than the US punk scene, however; not the US Black Funk underground. We hear Crass and poetry over freestyle punk riffs or we can hear Nikki Giovanni flex wisDOME over gospel chants or George Clinton calling a parliament and attacking ameriKKKa from the Mothership. Either way they were calling for a collapsing of the state and this means payback. Patti Smith falls into a balance hemisphere of these 3 assaults. Smith was composing poems over pop tunes and wasted recycled rock and rock n' roll riffs assembled in various orders as Smith set forth on a journey from the social realism then to the Burroughological surreal -- following through and fusing them into an energy of rebellion all tumbling and colliding and decaying into Cage like sonics. Smith viewed rock and rock 'n roll, and was one of the first to do so, as a lifestyle and viable product of revolution "...at heart I am a Muslim/at heart I am an American artist" --Patti Smith Kylie is far from this and then again not. She is the result of smart pop scene fun and frivolity or the "most stylish white woman" in the world (I'm not sure if she beats Catherine Deneuve) instead of Madonna who symbolizied the co-opting of underground culture for patent pending ameriKKKa out to copyright the struggles of the very people they had oppressed. So this is pop and this where punk is at now, as you have observed. peace Alison Croggon wrote: >Hi Ishaq - I have an anglocentric view of punk - what happened in the UK >seems to me qualitatively different from the NY Dolls and the Ramones, all >that English music hall and Thatcherite despair gave it another edge. Yes, >it fizzled out quickly, Malcolm McLaren gave us the unedifying image of Sid >Vicious and the rest of them looking like cute Cliff Richards piling into a >car for summer holidays, and now we can merely ponder its ironies. But its >very ephemerality exposed consumer mass culture in most interesting way. I >note interestedly punk (both US and UK) has made a comeback among young >teens here in a kind of nihilistic/idealistic cross with Japanese >consumerist eclecticism, and links itself consciously with Green Left social >activism. Loads of problems there but also interesting energies. > >I've watched Kylie for years and still don't get it. But I didn't get >Madonna either. Or it could be just because I'm a Melbourne girl as well, >which creates its own blindnesses towards the all-too-familiar, just as in >the case of Nick Cave, a good Geelong Grammar boy just as I am a good >Ballarat Grammar girl. (I never got Birthday Party either, all too >self-consciously gothic for me, I much preferred the wit of something like >Wall of Voodoo). I thought the Kylie/Cave thing pretty crappy, exploitative >on both sides. > >Cheers > >A > >Alison Croggon > >Editor, Masthead: http://www.masthead.net.au >Home page: http://www.alisoncroggon.com >Blogs: http://theatrenotes.blogspot.com http://alisoncroggon.blogspot.com > ========================================================================= Date: Fri, 11 Jun 2004 17:57:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Felsinger Subject: FW: Ruppert: "Real Reason Tenet and Pavitt Resigned" In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable this is intriguing . . . hope this comes to be... any insights...? Andrew ---------- Forwarded message ---------- Date: Fri, 11 Jun 2004 11:22:44 -0700 From: Wm Leslie Howard To: no.bush.no.war@webwm.com Subject: Ruppert: "Real Reason Tenet and Pavitt Resigned" "It is one of the greatest ironies of the Plame affair that the Bush administration, spawned and nurtured by oil, might have committed suicide by vindictively, cruelly and unthinkingly exacting personal retribution on an intelligence officer who had committed no offense, and who was, quite possibly, providing the administration with critical oil-related intelligence which the President needed to manage our shaky economy and affairs of state for a while longer to squeak through to re-election." COUP D'ETAT: The Real Reason Tenet and Pavitt Resigned from the CIA on June 3rd and 4th Bush, Cheney Indictments in Plame Case Looming Michael C. Ruppert Additional reporting by Wayne Madsen from Washington 8 Jun 4 http://www.fromthewilderness.com/free/ww3/060804_coup_detat.html JUNE 8, 2004 1600 PDT (FTW) - Why did DCI George Tenet suddenly resign on June 3rd, only to be followed a day later by James Pavitt, the CIA's Deputy Director of Operations (DDO)? The real reasons, contrary to the saturation spin being put out by major news outlets, have nothing to do with Tenet's role as taking the fall for alleged 9/11 and Iraqi intelligence "failures" before the upcoming presidential election. Both resignations, perhaps soon to be followed by resignations from Colin Powell and his deputy Richard Armitage, are about the imminent and extremely messy demise of George W. Bush and his Neocon administration in a coup d'etat being executed by the Central Intelligence Agency. The coup, in the planning for at least two years, has apparently become an urgent priority as a number of deepening crises threaten a global meltdown. Based upon recent developments, it appears that long-standing plans and preparations leading to indictments and impeachment of Bush, Cheney and even some senior cabinet members have been accelerated, possibly with the intent of removing or replacing the entire Bush regime prior to the Republican National Convention this August. FTW has been documenting this Watergate-like coup for more than fifteen months and almost everything we will discuss about recent events was predicted by us in the following pages: Please see our stories "The Perfect Storm - Part I" (March 2003); "Blood in the Water" (July 2003); "Beyond Bush - Part I" (July 2003); "Waxman Ties Evidentiary Noose Around Rice and Cheney" (July 2003); and "Beyond Bush - Part II" (October 2003). There were two things we didn't get right. One was the timing. We predicted the developments taking place now as likely to happen after the November election, not before. Secondly, we did not foresee the sudden resignations of Tenet and Pavitt. Understanding the resignations is the key to understanding a deteriorating world scene and that America is on the precipice of a presidential and constitutional crisis that will ultimately dwarf the removal of Richard Nixon in 1974. So why did Tenet and Pavitt resign? We'll explain why and we will provide many clues along the way as we make our case. HIGH CRIMES AND REALLY STUPID MOVES Shortly after the "surprise" Tenet-Pavitt resignations, current and former senior members of the U.S. intelligence community and the Justice Department told journalist Wayne Madsen, a former Naval intelligence officer, that they were directly connected to the criminal investigation of a 2003 White House leak that openly exposed Valerie Plame as an undercover CIA officer. What received less attention was that the leak also destroyed a long-term CIA proprietary intelligence gathering operation which, as we will see, was of immense importance to US strategic interests at a critical moment. The leak was a vindictive retaliation for statements, reports and actions taken by Plame's husband, former Ambassador Joseph Wilson, which had deeply embarrassed the Bush administration and exposed it to possible charges for impeachable offenses, including lying to the American people about an alleged (and totally unfounded) nuclear threat posed by Iraq's Saddam Hussein. Conservative columnist Robert Novak, the beneficiary of the leak, immediately published it on July 14, 2003 and Valerie Plame's career (at least the covert part) instantly ended. The actual damage caused by that leak has never been fully appreciated. Wilson deeply embarrassed almost every senior member of the Bush junta by proving to the world that they were consciously lying about one of their most important justifications for invading Iraq: namely, their claim to have had certain knowledge, based on "good and reliable" intelligence, that Hussein was on the brink of deploying a nuclear weapon, possibly inside the United States. It was eventually disclosed that the "intelligence" possessed by the administration was a set of poorly forged documents on letterhead from the government of Niger, which described attempts by Iraq to purchase yellowcake uranium for a nuclear weapons program. It has since been established by Scott Ritter and others that Iraq's nuclear weapons program had been dead in the water and non-functioning since the first Iraq war. Wilson was secretly dispatched in February 2002, on instructions from Dick Cheney to the CIA, to go to Niger and look for anything that might support the material in the documents. They had already been dismissed as forgeries by the International Atomic Energy Agency, the CIA, and apparently everyone else who had seen them. The CIA cautioned the administration, more than once, against using them. Shortly thereafter, Wilson returned and gave his report stating clearly that the allegations were pure bunk and unsupportable. In spite of this, unaware of the booby traps laid all around them, the entire power core of the Bush administration jumped on the Niger documents as on a battle horse and charged off into in a massive public relations blitz. Bush, Cheney, Rice, Rumsfeld, Powell, Wolfowitz and others - to varying degrees - insisted, testified, and swore that they knew, and had reliable, credible and verified intelligence that Saddam was about to deploy an actual nuclear device built from the Niger yellowcake. It was full court media press and they successfully scared the pants off of most Americans who believed that Saddam was going to nuke them any second. George Bush made the charge and actually cited the documents in his 2003 State-of-the-Union address, even after he had been cautioned by George Tenet not to rely on them. In a major speech at the United Nations, Colin Powell charged that Iraq was on the verge of deploying a nuke and had been trying to acquire uranium. Dick Cheney charged in several speeches that Saddam was capable of nuclear terror. And shortly before the invasion, when asked in a television interview whether there was sufficient proof and advance warning of the Iraqi nuclear threat, a smug and confident Condoleezza Rice quipped, "If we wait for a smoking gun, that smoking gun may be a mushroom cloud over an American city." Rice was lying through her teeth. By July of 2003, as the Iraqi invasion was proving to be a protracted and ill-conceived debacle, executed in spite of massive resistance from within military, political, diplomatic and economic cadres, there was growing disgust within many government circles about the way the Bush administration was running things. The mention of Wilson's report came in July though his name was not disclosed. It suggested corroborative evidence of criminal, rather than stupid, behavior by the administration. The San Francisco Chronicle reported: A senior CIA official, who spoke on condition of anonymity, said the intelligence agency informed the White House on March 9, 2002 - 10 months before Bush's nationally televised speech - that an agency source who had traveled to Niger could not confirm European intelligence reports that Iraq was attempting to buy uranium from the West African country. Note the reference to an Agency source. It was inevitable that Wilson would move from no comment, to statements given on condition of anonymity, and finally into the public spotlight. That he did, in a July 6th New York Times Editorial titled "What I Didn't Find in Africa." Soon he was giving interviews everywhere. On July 14th Novak published the column outing Wilson's wife, Valerie Plame. As a result, any criminal investigation of the Plame leak will also go into the Niger documents and any crimes committed which are materially related to Plame's exposure. Instead of retreating, Wilson advanced. In Septmeber he went public, writing editorials and granting interviews which thoroughly exposed the Bush administration's criminal use of the documents, Cheney's lies about the mission, and all the other lies used to deceive the American people into war. At the moment he went on the record, Wilson became another legally admissible, corroborative evidentiary source; a witness available for subpoena and deposition, ready to give testimony to the high crimes and misdemeanors he has witnessed. First Clue: James Pavitt was Valerie Plame's boss. So was George Tenet. HOW THE TRAP WAS SET Conflicting news reports suggest that perhaps several sets of the documents were delivered simultaneously to several recipients. I could find only one news story (out of almost 60 I have reviewed) which indicated just when the Niger papers were first put into play. One of the most fundamental questions in journalism, "when?" was omitted from every major press organization's coverage except for a single story from the Associated Press on July 13th. ----- =8A [T]he forged Niger government documents, showing attempts by Iraq to purchase yellowcake, were delivered by unknown sources to a journalist working for Italy's Corriere della Sera which then gave them to the Italian intelligence service. She then reportedly gave them to Italian intelligence agents who gave them to the US embassy. Seymour Hersh of the New Yorker also offered this version indicating that the documents had surfaced in Italy in the fall of 2001. ----- The fall of 2001. That means that the documents were created no more than three and a half months after September 11th. The earliest press report mentioning the documents was a March 7, 2003 story in The Financial Times. On that day, Mohammed El Baradei, head of the International Atomic Energy Agency reported to the UN Security Council that the documents were forgeries. The story contained a revealing paragraph. ----- "The allegation about the uranium purchase first surfaced in a UK government dossier published on September 24 last year about Iraq's alleged weapons programmes, though it did not name Niger. Niger was first named when the US State Department elaborated on the allegations on December 19 [2002]=8A ----- Canada's Globe and Mail reported on March 8, 2003: ----- =8A[T]he forgeries were sold to an Italian intelligence agent by a con man some time ago and passed on to French authorities, but the scam was uncovered by the IAEA [International Atomic Energy Agency] only recently, according to United Nations sources familiar with the investigation. The documents were turned over to the IAEA several weeks ago. "In fact, the IAEA says, there is no credible evidence that Iraq tried to import uranium ore from the Central African country in violation of UN resolutions. "Based on thorough analysis, the IAEA has concluded, with the concurrence of outside experts, that these documents, which formed the basis for the reports of these uranium transactions between Iraq and Niger, are, in fact, not authentic," Mr. El Baradei told the UN Security Council Friday=8A. ----- The Chicago Tribune reported on March 13, 2003, "Forged documents that the United States used to build its case against Iraq were likely written by someone in Niger's embassy in Rome who hoped to make quick money, a source close to the United Nations investigation said. The Washington Post gave yet a different story, also on March 8, 2003: ----- =8AKnowledgeable sources familiar with the forgery investigation described the faked evidence as a series of letters between Iraqi agents and officials in the central African nation of Niger. The documents had been given to the U.N. inspectors by Britain and reviewed extensively by U.S. intelligence. The forgers had made relatively crude errors that eventually gave them away - including names and titles that did not match up with the individuals who held office at the time the letters were purportedly written, the officials said=8A" =8AThe CIA, which had also obtained the documents, had questions about "whether they were accurate," said one intelligence official, and it decided not to include them in its file on Iraq's program to procure weapons of mass destruction. ----- In a follow-up story on March 13th the Post reported: ----- It's something we're just beginning to look at," a senior law enforcement official said yesterday. Officials are trying to determine whether the documents were forged to try to influence U.S. policy, or whether they may have been created as part of a disinformation campaign directed by a foreign intelligence service... =8AThe phony documents - a series of letters between Iraqi and Niger officials showing Iraq's interest in equipment that could be used to make nuclear weapons - came to British and U.S. intelligence officials from a third country. The identity of the third country could not be learned yesterday. ----- What if it wasn't a foreign intelligence service? I had been suspicious that a Watergate-like coup was forming immediately after reading the first few stories about the documents. I was convinced when the AP reported on March 14, 2003 (just days before the Iraqi invasion) that the ranking Democrat on the Senate Intelligence Committee had called for an FBI investigation of the documents' origins. The Boston Globe reported two days later that the Senator was specifically seeking to determine whether administration officials had forged the documents themselves to marshal support for the invasion. The request was not nearly as significant to me as who it had come from - Jay Rockefeller of the Standard Oil Rockefellers. An oil dynasty was calling for an investigation of a bunch of oil men. Somebody was screwing up big time. Seymour Hersh dropped a major bombshell that went virtually unnoticed, 54 paragraphs deep into an October 27, 2003 story for the New Yorker titled "The Stovepipe." ----- Who produced the fake Niger papers? There is nothing approaching a consensus on this question within the intelligence community. There has been published speculation about the intelligence services of several different countries. One theory, favored by some journalists in Rome, is that [the Italian intelligence service] Sismi produced the false documents and passed them to Panorama for publication. "Another explanation was provided by a former senior C.I.A. officer. He had begun talking to me about the Niger papers in March, when I first wrote about the forgery, and said, 'Somebody deliberately let something false get in there.' He became more forthcoming in subsequent months, eventually saying that _a_small_group_of_disgruntled_retired_C.I.A._clandestine_operators_had_b anded_together_in_the_late_summer_of_last_year_and_drafted_the_fraudulen t_documents_themselves. [emphasis added] ----- Hersh's revelation provided corroboration for something I and others, like the renowned political historian Peter Dale Scott, had been suspecting for a long time. The CIA was fighting back. This was a well orchestrated, long-term covert operation - exactly what the CIA does all over the world. POINT OF NO RETURN Willing disclosure of the identity of a covert operative is a serious felony under Federal law, punishable by fine and/or imprisonment. The Intelligence Identities Protection Act of 1982 makes it a crime for anyone with access to classified information to intentionally disclose information identifying a covert operative. The penalties get worse for doing it to a deep cover Direcorate of Operations (DO) case officer (as opposed to an undercover DEA Agent). After John Ashcroft was forced to recuse himself from the case, Patrick Fitzgerald, the U.S. Attorney in Chicago, was transferred to Washington and appointed special prosecutor in the Plame case. Robert Novak, rightly standing by the journalistic code of ethics, has steadfastly refused to identify his White House source. We would do the same thing in his shoes. The investigation is nearing a climax with pending issuance of criminal indictments. Press reports citing sources close to the investigation have directly and indirectly pointed fingers at Dick Cheney and his Chief of Staff, Lewis "Scooter" Libby, as suspects. Second clue: The criminal investigation of the Plame leak was investigated after a September 2003 formal request from the CIA, approved by George Tenet. Not only was Plame's cover blown, so was that of her cover company, Brewster, Jennings & Associates. With the public exposure of Plame, intelligence agencies all over the world started searching data bases for any references to her (TIME Magazine). Damage control was immediate, as the CIA asserted that her mission had been connected to weapons of mass destruction. However, it was not long before stories from the Washington Post and the Wall Street Journal tied Brewster, Jennings & Associates to energy, oil and the Saudi-owned Arabian American Oil Company, or ARAMCO. Brewster Jennings had been a founder of Mobil Oil company, one of Aramco's principal founders. According to additional sources interviewed by Wayne Madsen, Brewster Jennings was, in fact, a well-established CIA proprietary company, linked for many years to ARAMCO. The demise of Brewster Jennings was also guaranteed the moment Plame was outed. It takes years for Non-Official Covers or NOCs, as they are known, to become really effective. Over time, they become gradually more trusted; they work their way into deeper information access from more sensitive sources. NOCs are generally regarded in the community as among the best and most valuable of all CIA operations officers and the agency goes to great lengths to protect them in what are frequently very risky missions. By definition, Valerie Plame was an NOC. Yet unlike all other NOCs who fear exposure and torture or death from hostile governments and individual targets who have been judged threats to the United States, she got done in by her own President, whom we also judge to be a domestic enemy of the United States. Moreover, as we will see below, Valerie Plame may have been one of the most important NOCs the CIA had in the current climate. Let's look at just how valuable she was. ARAMCO According to an April 29, 2002 report in Britain's Guardian, ARAMCO constitutes 12% of the world's total oil production; a figure which has certainly increased as other countries have progressed deeper into irreversible decline. ARAMCO is the largest oil group in the world, a state-owned Saudi company in partnership with four major US oil companies. Another one of Aramco=B9s partners is Chevron-Texaco which gave up one of its board members, Condoleezza Rice, when she became the National Security Advisor to George Bush. All of ARAMCO=B9s key decisions are made by the Saudi royal family while US oil expertise, personnel and technology keeps the cash coming in and the oil going out. ARAMCO operates, manages, and maintains virtually all Saudi oil fields =AD 25% of all the oil on the planet. It gets better. According to a New York Times report on March 8th of this year, ARAMCO is planning to make a 25% investment in a new and badly needed refinery to produce gasoline. The remaining 75% ownership of the refinery will go to the only nation that is quickly becoming America's major world competitor for ever-diminishing supplies of oil: China. Almost the entire Bush administration has an interest in ARAMCO. The Boston Globe reported that in 2001 ARAMCO had signed a $140 million multi-year contract with Halliburton, then chaired by Dick Cheney, to develop a new oil field. Halliburton does a lot of business in Saudi Arabia. Current estimates of Halliburton contracts or joint ventures in the country run into the tens of billions of dollars. So do the fortunes of some shady figures from the Bush family's past. As recently as 1991 ARAMCO had Khalid bin Mahfouz sitting on its Supreme Council or board of directors. Mahfouz, Saudi Arabia's former treasurer and the nation's largest banker, has been reported in several places to be Osama bin Laden's brother in law. However, he has denied this and brought intense legal pressure to bear demanding retractions of these allegations. He has major partnership investments with the multi-billion dollar Binladin Group of companies and he is a former director of BCCI, the infamous criminal drug-money laundering bank which performed a number of very useful services for the CIA before its 1991 collapse under criminal investigation by a whole lot of countries. As Saudi Arabia's largest banker he handles the accounts of the royal family and - no doubt - ARAMCO, while at the same time he is a named defendant in a $1 trillion lawsuit filed by 9/11 victim families against the Saudi government and prominent Saudi officials who, the suit alleges, were complicit in the 9/11 attacks. Both BCCI and Mahfouz have historical connections to the Bush family dating back to the 1980s. Another bank (one of many) connected to Mahfouz - the InterMaritime Bank - bailed out a cash-starved Harken Energy in 1987 with $25 million. After the rejuvenated Harken got a no-bid oil lease in 1991, CEO George W. Bush promptly sold his shares in a pump-and-dump scheme and made a whole lot of money. Knowing all of this, there's really no good reason why the CIA should be too upset, is there? It was only a long-term proprietary and deep-cover NOC - well established and consistently producing "take" from ARAMCO (and who knows what else in Saudi Arabia). It was destroyed with a motive of personal vengeance (there may have been other motives) by someone inside the White House. From the CIA's point of view, at a time when Saudi Arabia is one of the three or four countries of highest interest to the US, the Plame operation was irreplaceable. Third clue: Tenet's resignation, which occurred at night, was the first "evening resignation" of a Cabinet-level official since October 1973 when Attorney General Elliott Richardson and his deputy, William Ruckelshaus, resigned in protest of Richard Nixon's firing of Watergate special prosecutor Archibald Cox. Many regard this as the watershed moment when the Nixon administration was doomed. SAUDI ARABIA Given that energy is becoming the most important issue on the planet today, if you were the CIA, you might be a little pissed off at the Plame leak. But there may be justification to do more than be angry. Anger happens all the time in Washington. This is something else. One of the most important intelligence prizes today - especially after recent stories in major outlets like the New York Times reporting that Saudi oil production has peaked and gone into irreversible decline - would be to know of a certainty whether those reports are correct. The Saudis are denying it vehemently but they are being strongly refuted by an increasing amount of hard data. The truth remains unproven. But the mere possibility has set the world's financial markets on edge. Saudi Oil Minister Ali Naimi came to Washington on April 27th to put out the fires. It was imperative that he calm everybody's nerves as the markets were screaming, "Say it ain't so!" Naimi said emphatically that there was nothing to worry about concerning either Saudi reserves or ARAMCO's ability to increase production. There was plenty of oil and no need for concern. FTW covered and reported on that event. Writer and energy expert Julian Darley noted that there were some very important ears in the room, listening very closely. He also noted that Naimi's "scientific" data and promises of large future discoveries did not sit well (with )many who are well versed in oil production and delivery. [See FTW's June 2nd story, "Saudi's Missing Barrels" http://www.fromthewilderness.com/free/ww3/ 060104_darley_saudi_summary.html and our May 2003 story, "Paris Peak Oil Conference Reveals Deepening Crisis." http://www.fromthewilderness.com/free/ww3/053103_aspo.html In that story FTW editor Mike Ruppert was the first to report on credible new information that Saudi Arabia had possibly peaked.] If anybody has the real data on Saudi fields it is either ARAMCO or the highest levels of the Saudi royal family. The answer to the Saudi peak question will determine whether Saudi Arabia really can increase production quickly, as promised. If they can't, then the US economy is going to suffer bitterly, and it is certain that the Saudi monarchy will collapse into chaos. Then the nearby US military will occupy the oilfields and the U.S. will ultimately Balkanize the country by carving off the oil fields - which occupy only a small area near the East coast. That U.S. enclave would then provide sanctuary to the leading members of the royal family who will have agreed to keep their trillions invested in Wall Street so the US economy doesn't collapse. So far the Saudis haven't had to prove that they could increase production due to convenient terror attacks at oil fields, and more "debates" within OPEC. Fourth clue: Bush and Cheney have both hired or consulted private criminal defense attorneys in anticipation of possible indictments of them and/or their top assistants in the Plame investigation. On June 3, just hours before Tenet suddenly resigned, President Bush consulted with and may have retained a criminal defense attorney to represent him in the Plame case. According to various press reports Bush has either retained or consulted with powerhouse attorney Jim Sharp, who represented Iran-contra figure retired Air Force Major General Richard Secord; Enron's Ken Lay; and Watergate co-conspirator Jeb Stuart Magruder. All three were facing criminal rather than civil charges. Either way, a clear signal has been sent that Bush expects to be either called to testify (which was a precursor in Watergate to a criminal indictment of Richard Nixon) or be named as a defendant. Either way, the President's men are falling faster than their counterparts fell in Watergate, and the initial targets are much higher up the food chain. Cheney's attorney is Terrence O'Donnell, a partner of the Williams and Connolly law firm. O'Donnell worked for then White House chief of staff Cheney in the Ford administration and as General Counsel for the Pentagon when Cheney was Defense Secretary under the first President Bush. He has been representing the Vice President in criminal and civil cases involving Cheney's chairmanship of Halliburton. These include a Justice Department investigation of Halliburton for alleged payment of bribes to Nigerian political leaders and a stockholders' fraud law suit against Halliburton. O'Donnell also represented former CIA director John Deutch when he was accused of violating national security by taking his CIA computer home and surfing the Internet while it contained hundreds of highly-classified intelligence documents. SPRINGING THE TRAP Now, seemingly all of a sudden, Bush and Cheney are in the crosshairs. Cheney has been questioned by Fitzgerald within the last week. The CIA Director's job by definition, whether others like it or not, is to be able to go to his President and advise him of the real scientific data on foreign resources (especially oil); to warn him of pending instability in a country closely linked to the US economy; and to tell him what to plan for and what to promise politically in his foreign policy. In light of her position in the CIA's relationship with Saudi Aramco, the outing of Valerie Plame made much of this impossible. In short, the Bush leak threatened National Security. Former White House Counsel and Watergate figure John Dean, writing for the prestigious legal website findlaw.com on June 4th made some very ominous observations that appear to have gone unnoticed by most. ----- This action by Bush is a rather stunning and extraordinary development. The President of the United States is potentially hiring a private criminal defense lawyer. Unsurprisingly, the White House is doing all it can to bury the story, providing precious little detail or context for the President's action=8A =8ABut from what I have learned from those who have been quizzed by the Fitzgerald investigators it seems unlikely that they are interviewing the President merely as a matter of completeness, or in order to be able to defend their actions in front of the public. Asking a President to testify - or even be interviewed - remains a serious, sensitive and rare occasion. It is not done lightly. Doing so raises separation of powers concerns that continue to worry many=8A =8AIf so - and if the person revealed the leaker's identity to the President, or if the President decided he preferred not to know the leaker's identity. - Then this fact could conflict with Bush's remarkably broad public statements on the issue. He has said that he did not know of http://www.cnn.com/2003/ALLPOLITICS/09/30/wilson.cia/ "anybody in [his] administration who leaked classified information." He has also said that he wanted "to know the truth" about this leak. If Bush is called before the grand jury, it is likely because Fitzgerald believes that he knows much more about this leak than he has stated publicly. Perhaps Bush may have knowledge not only of the leaker, but also of efforts to make this issue go away - if indeed there have been any. It is remarkably easy to obstruct justice, and this matter has been under various phases of an investigation by the Justice Department since it was referred by the CIA last summer=8A =8AOn this subject, I spoke with an experienced former federal prosecutor who works in Washington, specializing in white collar criminal defense (but who does not know Sharp). That attorney told me that he is baffled by Bush's move - unless Bush has knowledge of the leak. "It would not seem that the President needs to consult personal counsel, thereby preserving the attorney-client privilege, if he has no knowledge about the leak," he told me. What advice might Bush get from a private defense counsel? The lawyer I consulted opined that, "If he does have knowledge about the leak and does not plan to disclose it, the only good legal advice would be to take the Fifth, rather than lie. The political fallout is a separate issue." I raised the issue of whether the President might be able to invoke executive privilege as to this information. But the attorney I consulted - who is well versed in this area of law - opined that "Neither 'outing' Plame, nor covering for the perpetrators would seem to fall within the scope of any executive privilege that I am aware of." That may not stop Bush from trying to invoke _executive_privilege_, however - or at least from talking to his attorney about the option. As I have discussed in one of my prior columns, http://writ.news.findlaw.com/dean/20040130.html Vice President Dick Cheney has tried to avoid invoking it in implausible circumstances - in the case that is now before the U.S .Supreme Court. Rather he claims he is beyond the need for the privilege, and simply cannot be sued. [Emphasis added] Suffice it to say that whatever the meaning of Bush's decision to talk with private counsel about the Valerie Plame leak, the matter has taken a more ominous turn with Bush's action. It has only become more portentous because now Dick Cheney has also hired a lawyer for himself, suggesting both men may have known more than they let on. Clearly, the investigation is heading toward a culmination of some sort. And it should be interesting. ----- Last and final clue: Under Executive Privilege, a principle intended to protect the constitutional separation of powers, officials in the Executive Branch cannot give testimony in a legal case against a sitting President. The Bush administration has invoked or threatened to invoke the privilege several times. Dick did it over the secret records of his energy task force and George Bush tried to use it to prevent Condoleezza Rice from testifying before the "Independent" Commission investigating September 11th. Former officials of the Executive Branch are, however, free to testify if they are no longer holding a government office when subpoenaed or when the charges are brought. To learn more about Executive Privilege visit http://www.findlaw.com The Bush administration has proved itself to be an insular group of inept, dishonest and dangerous CEO's of the corporation known as America. They have become very bad for business and the Board of Directors is now taking action. Make no mistake, the CIA works for "The Board" - Wall Street and big money. The long-term (very corrupt and unethical) agenda of the Board, in the face of multiple worsening global crises, was intended to proceed far beyond the initially destructive war in Iraq, toward an effective reconstruction and a strategic response to Peak Oil. But the neocons have stalled at the ugly stage: killing hundreds of thousands of people; destroying Iraq's industrial and cultural infrastructure as their own bombs and other people's RPGs blow everything up; getting caught running torture camps; and making the whole world intensely dislike America. These jerks are doing real damage to their masters' interests. But (not surprisingly) Tenet and the CIA were and remain much better at covert operations and planning ahead than the Bush administration ever was. Tenet and Pavitt actually prepared and left a clear, irrefutable and incriminating paper trail which not only proves that they had shunned and refused to endorse the documents, the CIA also did not support the nuke charges and warned Bush not to use them. Where are those documents now? They're part of the Justice Department Plame investigation - and they're also in the hands of the Congressman who will most likely introduce and manage the articles of impeachment, if that becomes necessary: Henry Waxman (D), of California. If you would like to see how tightly the legal trap has been prepared, and how carefully the evidence has been laid out, I suggest taking a look around Waxman's web site at: http://www.house.gov/waxman/ THE SWARM There are a multitude of signs that the Bush administration is being "swarmed" in what is becoming a feeding frenzy as opposition is surfacing from many places inside the government, including the military. The signs are not hard to find. The June 3rd issue of Capitol Hill Blue, the newspaper published for members of Congress, bore the headline "Bush Knew About Leak of CIA Operative's Name". http://www.capitolhillblue.com/artman/publish/printer_4629.shtml That article virtually guaranteed that the Plame investigation had enough to pursue Bush criminally. The story's lead sentence described a criminal, prosecutable offense: "Witnesses told a federal grand jury President George W. Bush knew about, and took no action to stop, the release of a covert CIA operative's name to a journalist in an attempt to discredit her husband, a critic of administration policy in Iraq." A day later, on June 4th Capitol Hill Blue took another hard shot at the administration. Titled "Bush's Erratic Behavior Worries White House Aides", http://www.capitolhillblue.com/artman/publish/printer_4636.shtml the story's first four paragraphs say everything. ----- President George W. Bush's increasingly erratic behavior and wide mood swings has the halls of the West Wing buzzing lately as aides privately express growing concern over their leader's state of mind. In meetings with top aides and administration officials, the President goes from quoting the Bible in one breath to obscene tantrums against the media, Democrats and others that he classifies as "enemies of the state." Worried White House aides paint a portrait of a man on the edge, increasingly wary of those who disagree with him and paranoid of a public that no longer trusts his policies in Iraq or at home. "It reminds me of the Nixon days," says a longtime GOP political consultant with contacts in the White House. "Everybody is an enemy; everybody is out to get him. That's the mood over there." ----- The attacks have not stopped. On June 8th, the same paper followed with another story headlined, "Lawyers Told Bush He Could Order Suspects Tortured". http://www.capitolhillblue.com/artman/publish/printer_4652.shtml Journalist Wayne Madsen, a Washington veteran with excellent access to many sources has indicated for this story that the Neocons have few remaining friends anywhere. All of this is consistent with a CIA-led coup. Ahmed Chalabi Madsen reported that the Plame probe comes amid another high-level probe of Pentagon officials for leaking classified National Security Agency cryptologic information to Iran via Iraqi National Congress head Ahmed Chalabi. FBI agents have polygraphed and interviewed a number of civilian political appointees in the Pentagon in relation to the intelligence leak, said to have severely disrupted the National Security Agency's ability to listen in on encrypted Iranian diplomatic and intelligence communications. Chalabi's leak has once again forced Iran to change equipment, resulting in impaired U.S. intelligence gathering of Iran's sensitive communications. The probe into the Chalabi leak is centering on Pentagon officials who have been close to Chalabi, including Office of Net Assessment official Harold Rhode, Director of Policy and Plans officials Douglas Feith and William Luti, Undersecretary for Intelligence Stephen Cambone, and Deputy Defense Secretary Paul Wolfowitz. In addition, some former Pentagon advisers are also targeted in the probe. Many press reports throughout 2003 indicated that Chalabi, distrusted and virtually discarded by the CIA, had been resurrected and inserted into the Iraqi political mix on the orders of Donald Rumsfeld, Paul Wolfowitz and the other Neocons listed above. Abu Ghraib and Torture A former CIA official told Madsen that between the Plame leak and the Abu Ghraib torture affair, the Bush administration is facing something that will be "worse than Watergate." PLANNING FOR SUCCESSION If both Bush and Cheney are removed or resign, what happens? Madsen reported that lobbyists and political consultants in Washington are dusting off their copies of the Constitution and checking the line of presidential succession. One lobbyist said he will soon pay a call on Alaska Republican Senator Ted Stevens, who, as President pro tem of the Senate, is second in line to House Speaker Dennis Hastert to become President in the event Bush and Cheney both go. It is one of the greatest ironies of the Plame affair that the Bush administration, spawned and nurtured by oil, might have committed suicide by vindictively, cruelly and unthinkingly exacting personal retribution on an intelligence officer who had committed no offense, and who was, quite possibly, providing the administration with critical oil-related intelligence which the President needed to manage our shaky economy and affairs of state for a while longer to squeak through to re-election. In our opinion, nothing better epitomizes the true nature of the Neocons. That being said, they have to go. FTW wishes that it was as certain that what will come after them will be better. =A9 Copyright 2004, From The Wilderness Publications, www.fromthewilderness.com. All Rights Reserved. May be reprinted, distributed or posted on an Internet web site for non-profit purposes only. "The Perfect Storm - Part I" (March 2003) http://www.fromthewilderness.com/free/ww3/031903_perfect_storm_1.html "Blood in the Water" (July 2003) http://www.fromthewilderness.com/free/ww3/071503_watergate_II.html "Beyond Bush - Part I" (July 2003) http://www.fromthewilderness.com/free/ww3/070103_beyond_bush_1.html "Waxman Ties Evidentiary Noose Around Rice and Cheney" (July 2003) http://www.fromthewilderness.com/free/ww3/073103_waxman_noose.html "Beyond Bush - Part II" (October 2003). http://www.fromthewilderness.com/free/ww3/102003_beyond_bush_2.html +=3D+=3D+=3D+=3D+ NEPA [the federal environmental agency created by Nixon] is considered the Magna Carta of environmental protection, the foundation on which all other environmental laws are built. But more than that, NEPA reminds us that this land is our land, that America's shared resources belong to us all, and that we have a fundamental right to determine what happens with them." NEPA simply has no value to a White House that prefers making decisions behind closed doors, usually with the help of industry lobbyists and for the sole benefit of corporate interests. -John Adams, President of the Natural Resources Defense Council, 21 Oct 3. NOTICE: In accordance with Title 17 U.S.C. Section 107, this material is distributed without profit to those who have expressed a prior interest in receiving the included information for research and educational purposes. Add or Remove? E-mail no.bush.no.war@webwm.com Subject: Add: or Subject: Remove: +=3D+=3D+=3D+=3D+ Say "hello," John. "Hello John!" For those of you wondering, this is just a little note to my buddy John Ashcroft. He reads my E-mail every day. ========================================================================= Date: Sat, 12 Jun 2004 10:55:12 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Alison Croggon Comments: Originally-From: Alison Croggon From: Alison Croggon Subject: Re: Kevin Killian rants and raves In-Reply-To: <40CA5320.4070209@telus.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit On 12/6/04 10:49 AM, "Ishaq" wrote: > Patti Smith falls into a balance hemisphere of these 3 assaults. Glad you mentioned Patti Smith, Ishaq, she was lurking at the end of my tongue. She was my favourite. (This all takes me back to when I was 16, ah nostalgia, not that I liked being 16). No, Kylie sure doesn't beat Catherine Deneuve, or Helen Mirren for that matter. (Uma Thurman?) And surely that ice queen Kidman gives her a run for her money? Cheers A Alison Croggon Editor, Masthead: http://www.masthead.net.au Home page: http://www.alisoncroggon.com Blogs: http://theatrenotes.blogspot.com http://alisoncroggon.blogspot.com ========================================================================= Date: Fri, 11 Jun 2004 19:03:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: FW: A Moment of Silence in honor of former President Reagan MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Ended up posting this &c. to my blog from work today. http://cadaly.blogspot.com Hi. I know this might bounce back because I subscribe on both my personal e-mail addresses, but I can't get to those 12 hours a day now. This is the sort of thing all too common in the less glossy companies (the Countrywide employees are largely working class or of working class background; few are college-educated when they begin employment; few send their children to college) in the private sector that I feel is not only an extraordinary presumption (with its Orwellian "five minute hate" quality), but pernicious -- it ultimately degrades political will -- perhaps more pernicious than the lack of free speech in the workplace. All best, Catherine Daly This message is being sent to all CFC personnel by Angelo R. Mozilo, Chairman and CEO. In 1994, former President Ronald Reagan stated, "When the Lord calls me home, whenever that day may be, I will leave with the greatest love for this country of ours and eternal optimism for its future." Ronald Wilson Reagan was born on February 6, 1911 in the town of Tampico, Illinois. His life's journey took him from his early roots as a lifeguard and athlete to stardom on the silver screen. From 1947 to 1952, and again from 1959 to 1960, Reagan served as president of the Screen Actors Guild. Commencing his first term in office as Governor of California in 1966, Reagan easily won re-election in 1970. In 1980, at the age of 69, Reagan became the 40th President of the United States. Known during his presidency for his supply-side economics in response to the nation's then double-digit inflation and high unemployment rate, Reagan urged the country to "stay the course." The economy rebounded into prosperity, lasting an unparalleled eight years. Winning re-election in 1984, he achieved an unprecedented landslide, capturing victory in 49 states. Fostering a strong relationship with Russian Secretary General Gorbachev, in 1987 the two men signed a treaty to eliminate intermediate-range nuclear missiles. After his departure from the White House in 1988, Reagan continued as the elder statesman of the Republican Party through his last public appearances in 1994. Tomorrow, Friday, June 11, 2004, has been declared a national day of mourning in honor of former President Reagan. I ask that all CFC employees join me in observing a moment of silence. Each manager should lead the moment with his/her team, which will be observed at precisely 12 noon EDT (11am CDT, 9am PDT), concurrent with the 21-gun salute held in his honor in Washington, D.C. Please also join me in extending our thoughts and prayers to the Reagan family in their time of grief. Thank you. ========================================================================= Date: Fri, 11 Jun 2004 21:35:17 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit buried facing west the riderless horses of nite know the way home.... sunset....drn... ========================================================================= Date: Sat, 12 Jun 2004 00:00:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: dead man's switch MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE dead man's switch dead man's switch dead man's switch i need more information on the dead man's switch arsware: it ain't your mama's software odd for what was billed as freeware. check out the dms stories in the new york times and wired. download dead man's switch. pcworld.com - dead man's switch june , , download info. dead man's switch. author: daisyman. file size:kb. price:free. operating system(s):windows xp. downloads:. dead man's switch pcworld.com - dead man's switch dead man's switch. author: daisyman. file size:kb. price:free. operating system(s):windows xp. dead man's switch. your file is currently downloading. dead man's switch switch. a dead man's switch (or dead man's handle) is a device intended to take some action if the human operator becomes ... dead man's switch definition meaning information explanation definition, meaning and explanation and more about dead man's switch. free-definition - online glossary and encyclopedia, dead man's switch. "dead man's switch" (stargate sg- #) stargate sg-, episode (.). cast: richard dean anderson, as, colonel jack o'neill. amanda tapping, as, major samantha carter. rc.org | updating your web page after you die morbid, but it is something i think about. update: greg knauss emailed with the perfect simple solution -- the weblog dead man's switch. dead man's switch project htm design brief deanna found that locomotives have for many years been fitted with a dead man=E2s switch which requires the driver to press a button on the tv:sci fi channel:the outer limits:dead man's switch & trial by channel =BB. the outer limits =BB. dead man's switch & trial by fire. date: // from: quidgeebo post reply for: dead man's switch & trial by fire. the outer limits - dead man's switch switch. ben conklin (james le gros) has been a loner ever since his parents died when he was twelve years old. this is category, software. title, dead man's switch. link, expand, contact, xforumexporter, california, --. expand, contact, dead man's switch, california, --. noted-l ( of ): [noted] dead man's home, noted-l ( of ): [noted] dead man's switch (fwd). 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it's ... actually dead man`s song is one of my fave crown songs. ... display modes, rate this thread. linear mode. switch to hybrid mode. switch to threaded mode. ultimate metal forum - looking for "dead man's song"-tab? actually dead man`s song is one of my fave crown songs. ... display modes, rate this thread. linear mode. switch to hybrid mode. switch to threaded mode. dead man's hand: demo downloads -- action informer demo-files.com. elited. battlefront. switch genre channels: strategy channel. shooters channel. click to learn moredead man's hand. published by then i changed to a proper combination dead-man's- and kill-switch made for snowmobiles and jet skis. easily reached kill switch; dead man's switch. beyondunreal forums - dead man's hand trial offer dead man's hand is available at dgamers, gamer's hell, and worthplaying. linear mode. switch to hybrid mode. switch to threaded mode. dead man's hand / xbox live game xbox live compatible game. dead man's hand is a first-person shooter set in the wild west. play online weblogging considered harmful: not sure if this was the only motivation for the creation of dead man's switch, a windows program which will send e-mail, post web pages, etc. download, product information, catalogs, brochures, connectors foot switch for dead man's device zlb, flyer foot switch for dead man's device zlb, german, flyer foot switch for dead man's device zlb spacecast.com outer limits ep:/ dead man's switch (pg) a loner is recruited by the army to spend a year buried in a bunker , feet below the arctic fail deadly - encyclopedia article about fail deadly. free access ... prosaic example of a fail deadly instrument is a dead man's switch a dead man's switch (or dead man's handle) is a device intended to take some action wired news: dead men tell no passwords have decided to use aryeh holzer's "dead man's switch," a program intended to avoid any postmortem problems or embarrassment. dead man's hand: downloads / details -- action informer le-details.shtml **-** dead man's hand the levels in dead man's hand are robust and quite large. dead man's hand: file download -- strategyinformer.com h_setup.exe/details.shtml dead man's hand demo (. mb). we are looking for additional mirrors in north america / asia / europe with at least mbit dedicated bandwidth. beyondunreal forums - dead man's hand preview shooting off a hat from an enemy or quickly shooting several enemies (dead man=E2s hand=E2s linear mode. switch to hybrid mode. switch to threaded mode. ultimate metal forum - looking for "dead man's song"-tab? it's ... actually dead man`s song is one of my fave crown songs. ... display modes, rate this thread. linear mode. switch to hybrid mode. switch to threaded mode. gamesweb.com - downloads: demos global operations - cheat. hitman: contracts - tipps. counter-strike: condition zero - cheats. kill.switch - tipp. dead man's hand - cheats. =BB weitere pc-tipps. ground warrior summer - dead man's curve eadmanscurve.htm dead man's curve. the mishap left two marines dead, one with serious multiple injuries, and one without stopping to switch to a lower gear, the driver of the midsomer murders - dead man's eleven (vhs:) find your film midsomer murders - dead man's eleven - jeremy silbertson the wife of a local businessman, who had no apparent united kingdom. mastercard, switch, visa. more xbox solution forums - western themed fps dead man's hand has is offline: re: western themed fps dead man's hand has arrived on the xbox. linear mode. switch to hybrid mode. switch to threaded mode. satellites uk - pub takes dead man's tab money from wife's winning extnewest posts: ,. pub takes dead man's tab money from wife's winning. display modes, rate this thread. linear mode. switch to hybrid mode. switch to threaded mode. planet forums - dead man's hand (xbox) - planet review the dead man's hand - planet review now! thoughts? display modes, rate this thread. linear mode. switch to hybrid mode. switch to threaded mode. dead man's hand: screenshots -- action informer l demo-files.com. elited. battlefront. switch genre channels: strategy channel. shooters channel. click to learn moredead man's hand. published by atari. dead man's hand: headquarters -- action informer ml would you recommend this game to your best friend? check votes] yes no [ votes]. new dead man's hand screenshots _ ========================================================================= Date: Sat, 12 Jun 2004 09:40:23 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Ronnie's Lovely Record -- A Retrospect 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 Ronnie's Lovely Record By William Blum 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Sat, 12 Jun 2004 12:29:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Amazon Customer Service telephone number for FYI MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable People who use Amazon will want to write this number down. It is a = difficult to find number. Amazon Books Customer Service phone number Phone toll-free in the US and Canada: (800) 201-7575 Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Sat, 12 Jun 2004 17:34:24 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Anger on Reagan Mime-Version: 1.0 Content-Type: text/plain; format=flowed The final chapter of Kenneth Anger's Hollywood Babylon II (1984) Cut off his legs! - SAM WOOD Hedda and Louella and everyone in Hollywoold considered Jane and Ronnie the cutest and nicest and happiest young married couple in town. Their divorce in 1949 set off shock waves of disbelief. Curiously enough it was the only divorce in history in which two Warner Bros. movies could have been named as co-respondents. In 1948, Reagan had told Hedda Hopper: "If this comes to a divorce, I think I'll name Johnny Belinda co-respondent." Wyman's star was rising higher and higher; his was plummetting. She had an Oscar, he didn't. Wyman won her Academy Award for her superb performance as a deaf-mute in Jean Negulesco's 1949 Johnny Belinda. Once, when the couple was dining out, the waiter turned to Reagan and asked: "And what will Mister Wyman have?" The only sensitive and meaty performance of Reagan's entire film career was as amputee Drake McHugh in Sam Wood's 1942 King's Row. It was his all-time favorite movie. He inflicted the picture, time and again, on dinner guests at their house. Wyman remarked: "I just couldn't watch that damned King's Row any more." During the divorce proceedings, she contented herself with testifying that we was too absorbed in politics. Our First Couple met cute - significantly, in a political context. Reagan first met the prudish and conservative young actress Nancy Davis when he helped her clear herself of the suspicion of Communist affiliations. Her name had turned up on the witch-hunter's lists. At that time, Reagan was the liberal President of the Screen Actor's Guild. Their first date took place when he invited her to dinner and informed her that she had been cleared - it was another Nancy Davis who was listed as a Commie. They continued dating. The following year, Nancy gave the most uplifting performance of her tiny film career when, as the pregnant housewife in The Next Voice You Hear, she heard the voice of God on the radio. The next logical step was to marry Ronald Reagan. They were wed in 1952. Ronnie is getting mighty fed up on those swell guy roles he's been getting. He wants to play a meanie for a change. - RUTH ROMAN, Movieland, April, 1950 Ronnie had been a leftish Democrat during his early career; if he became a Republican, and has since proven himself the country's most right-wing President since McKinley, the thanks may be in large part due to Nancy. Patricia Neal, who starred with him in three films at Warner's, opined: "When I knew Reagan he was very liberal. And I think he was liberal until he met his present wife." Nancy regarded her stepfather, the Chicago surgeon Dr. Loyal Davis, as her real father. This gentleman is said to have been "intolerant of minorities." When Nancy was in Chicago in 1980 for a campaign fundraiser, she spoke to her husband on an amplified phone hook-up and told him, while the assembled press listened, how much she wished he could be there, to "see all these beautiful white people." The only premiere I can think of this month was Bedtime for Bonzo at the Carthay Circle which was somewhat marred by the accidental death of its chimpanzee star the day before. -GRACE FISCHLER, Motion Picture, June 1951 Subsequent to his second marriage, Reagan's career was confined to a handful of B turkeys. In 1954, he began a new career on television. Ann Sheridan says: "I remember Ronnie telling all of us not to join TV because it was the enemy of the movies. Next thing, he was on G.E. with his contact lenses reading the commercials." In 1961, he spoke at a fundraiser for the re-election to Congress of John Rousselot of the John Birch Society. In 1962, Reagan became a full-fledged Republican. That same year, he was fired from the General Electric Theatre because his off-the-tube political speeches were too far to the right even for that company's comfort. He was a silly young kid. Everyone called him Little Ronnie Reagan. - BETTE DAVIS After his election as Governor of California, he promptly fired two of his staff members at Sacramento when he learned that they were gay. Reagan considers homosexuality "a tragic illness" which should remain illegal. "In the Bible," he told author Robert Scheer, "it says that in the eyes of the Lord, this is a great abomination." In the eyes of many Californians, his career as Governor was an even greater one. When the Reagans set up housekeeping in the White House, they removed the portrait of Harry Truman, replaced it with Calvin Coolidge, and, affairs of state permitting, set about inviting globs of Old Hollywood Cronydom to drop in and dine off Nancy's fancy Graustarkian plates. The wizened happy few have included Charlton (Moses) Heston, Jimmy Stewart, gung-ho tough-tittie anti-Commie Ginger Rogers, Shirley Temple, and Claudette (Cleopatra) Colbert, who was said to be among the first to advise the President to invade Grenada--she was far from delighted at the propect of an island full of Reds so near to her palatial Barbados estate. When President Ronnie calls, the old glamor pusses jump: ex-Democrat Frank Sinatra, Audrey Hepburn, and that evergreen ski-nosed pillar of reaction, Bob Hope. (One pious old star caused a tizzy when her colostomy can, concealed in the folds of her evening gown, set off security alarms.) It's a bit like the last volume of Proust, The Past Recaptured, in which all of the appealing creatures we had previously met in their younger heydays reappear at a party--as barely recognizeable gargoyles. Reagan is a major concern. I think we're headed for disaster . . . . I listen to a Reagan speech and want to throw up. - HENRY FONDA, Playboy, Dec. 1981 Alexis Smith enjoyed the signal honor of being the sole emissary from Tinseltown at an October 1982 White House State Dinner in honor of President Suharto of Indonesia. Alexis dined on beef bearnaise and molded pear sherbet, breaking bread with the statesman whose regime established itself by means of execution of an estimated half-million human beings, whose Death Squads have summarily killed over 4,000 inhabitants of his capital in recent months, and who is practicing genocide in East Timor. I never worked with Ronald Reagan. I'm not happy he's President. I was willing to give him a chance, but he's destroying everything now I've lived my life for. -MYRNA LOY, Legends of the Silver Screen, 1982 The ingratiating star of Swing Your Lady and The Cowboy from Brooklyn has slashed government programs that benefitted the poor, depriving thousands of the country's underpriviledged children, so we can afford more nuclear bombs, while his cuts in corporate taxation have ensured that his rich supporters will get richer. His anti-environmental stance has made his the most "toxic" administration in American history. (In a 1979 radio speech, Reagan maintained that most air pollution is caused, not by chimneys or auto exhasuts, but by plants and trees.) He has shattered the detente carefully built up by previous administrations and reinstated Uncle Sam as the world's policeman, using the CIA to foment war against Nicaragua; he instituted an unprecedented stifling of the press during his invasion of Grenada. He has insulted vast numbers of loyal citizens by reiterating that the anti-nuclear power movement is communist inspired. His "devil theories" on the Soviet Union have put us on a collision course with Russia. In the light of his appalling nuclear policy, the titles of several of his movies take on a peculiarly somber afterglow---Accidents Will Happen, The Killers, Dark Victory, and Nine Lives Are Not Enough. Hollywood Babylon is moribund, dead, defunct, croaked, crowbait, finito, Kaput, Kaputissimo!---with Reagaan at the helm, we're already watching the trailer of the ultimate picture show: Hollywood Armegeddon. _________________________________________________________________ Is your PC infected? Get a FREE online computer virus scan from McAfee® Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Sat, 12 Jun 2004 14:08:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: flower sunset II Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" well nobody bid on the shawl for Poets in Need so it'll go back to Silent Witness. I'll post the bidding info here in the fall when they go to auction... -- ========================================================================= Date: Sat, 12 Jun 2004 11:30:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: Los Angeles : THE 3RD ANNUAL BEYOND TEXT FESTIVAL Comments: To: ubuweb MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii THE 3RD ANNUAL BEYOND TEXT FESTIVAL 18 – 20 June, 2004 Beyond Baroque 681 Venice Blvd. Venice Phone: 310-822-3006 A week of readings and performances dedicated to exploring the evolving convergence of text, art, performance, and site. Readings and performances will be accompanied by a presentation of text and text scores in the Project Room and around the Beyond Baroque site. 18 -20 June, Friday - 7:30 PM BEYOND TEXT : BEYOND GEOMETRY In conjunction with LACMA's Beyond Geometry exhibition, Beyond Baroque presents a weekend of serial and modal text performances and realizations of classic text-sound scores (recreations from 1949-1979). Artists whose works will be performed include JACKSON MAC LOW, YOKO ONO, LAURIE ANDERSON, DICK HIGGINS, EMMETT WILLIAMS, GEORGE MACIUNIAS and other FLUXUS artists, BRION GYSIN, VLADIMIR MAYAKOVSKY, LOUIS ZUKOFSKY, ELEANOR and DAVID ANTIN, SARAH MACLAY, THE VIENNA GROUP (including GERHARD RÜHM, FRIEDRICH ACHLEITNER, H.C.ARTMANN and KONRAD BAYER), JEROME ROTHENBERG, and more. Performing artists include JAAP BLONK, noted Dutch poet and interpreter of historic and contemporary sound-texts; author, translator, and anthologist JEROME ROTHENBERG's latest book of poems is 25 Caprichos: After Goya, with translations into Spanish by Heriberto Yépez, Kadle Books, Tenerife, Spain, scheduled 2004; veteran experimental musician and sound-artist CHARLES MORROW; award-winning author JOSHUA CLOVER's latest book, The Matrix (BFI), is due fall 2004; conceptual and performance art pioneer ELEANOR ANTIN; DAVID ANTIN, whose most recent book is A Conversation with David Antin, a 3-month email collaboration with Charles Bernstein (Granary); KENNETH GOLDSMITH is author of several books, most recently DAY (The Figures, 2003), and the editor of UbuWeb (ubu.com); influential conceptual choreographer and writer SIMONE FORTI, author of Oh, Tongue (Beyond Baroque, 2004); festival co-curator and conductor PETER FRANK; Choreographer and writer CARMELA HERMANN, a significant presence in the LA dance community and founder of 'Making Dances' workshops. LA artists TAMARA SUSSMAN and JASON MAHANES; SARAH MACLAY, winner of the Tampa Review Prize for Poetry for Whore (University of Tampa, 2003); Subtext from Seattle performs "A" homage (Zukofsky) with BRYANT MASON, ROBERT MITTENTHAL, and NICO VASSILAKIS. And others. This event has received special support from the Dutch Cultural Embassy. 18 June, Friday - 7:30 PM Contemporary Works & More: JAAP BLONK, KENNETH GOLDSMITH, JOSHUA CLOVER, JERRY ROTHENBERG, CHARLES MORROW, and STEPHANIE TAYLOR Selected artists of the Beyond Text festival will present new and recent works and interpretations. 19 June, Saturday - 7:30 PM Works by YOKO ONO, ELEANOR and DAVID ANTIN, VIENNA GROUP, JEROME ROTHENBERG & CHARLES MORROW, BRION GYSIN, and others Text score recreations performed by Festival artists. 20 June, Sunday – 4:30 PM Panel discussion with Aram Saroyan, Kenneth Goldsmith, Ian Monk 20 June, Sunday – 7:30 PM Works by SIMONE FORTI & JACKSON MAC LOW, LAURIE ANDERSON, CHANNA HORWITZ, SARAH MACLAY, DICK HIGGINS, EMMETT WILLIAMS, and other FLUXUS artists Text score recreations performed by Festival artists. __________________________________ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/ ========================================================================= Date: Sat, 12 Jun 2004 16:29:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Los Angeles : THE 3RD ANNUAL BEYOND TEXT FESTIVAL In-Reply-To: <20040612183014.84330.qmail@web10804.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable what an astonishing line-up. wish i cd be there, baroque-sters and all ye. At 11:30 AM -0700 6/12/04, UbuWeb wrote: >THE 3RD ANNUAL BEYOND TEXT FESTIVAL 18 =F1 20 June, 2004 > >Beyond Baroque >681 Venice Blvd. >Venice Phone: 310-822-3006 > >A week of readings and performances dedicated to exploring the >evolving convergence of >text, art, performance, and site. Readings and performances will be >accompanied by a >presentation of text and text scores in the Project Room and around >the Beyond Baroque >site. > >18 -20 June, Friday - 7:30 PM BEYOND TEXT : BEYOND GEOMETRY In >conjunction with LACMA's >Beyond Geometry exhibition, Beyond Baroque presents a weekend of >serial and modal text >performances and realizations of classic text-sound scores >(recreations from 1949-1979). >Artists whose works will be performed include JACKSON MAC LOW, YOKO >ONO, LAURIE ANDERSON, >DICK HIGGINS, EMMETT WILLIAMS, GEORGE MACIUNIAS and other FLUXUS >artists, BRION GYSIN, >VLADIMIR MAYAKOVSKY, LOUIS ZUKOFSKY, ELEANOR and DAVID ANTIN, SARAH >MACLAY, THE VIENNA >GROUP (including GERHARD R=D0HM, FRIEDRICH ACHLEITNER, H.C.ARTMANN and >KONRAD BAYER), >JEROME ROTHENBERG, and more. > >Performing artists include JAAP BLONK, noted Dutch poet and >interpreter of historic and >contemporary sound-texts; author, translator, and anthologist JEROME >ROTHENBERG's latest >book of poems is 25 Caprichos: After Goya, with translations into >Spanish by Heriberto >Y=C8pez, Kadle Books, Tenerife, Spain, scheduled 2004; veteran >experimental musician and >sound-artist CHARLES MORROW; award-winning author JOSHUA CLOVER's >latest book, The Matrix >(BFI), is due fall 2004; conceptual and performance art pioneer >ELEANOR ANTIN; DAVID >ANTIN, whose most recent book is A Conversation with David Antin, a >3-month email >collaboration with Charles Bernstein (Granary); KENNETH GOLDSMITH is >author of several >books, most recently DAY (The Figures, 2003), and the editor of >UbuWeb (ubu.com); >influential conceptual choreographer and writer SIMONE FORTI, author >of Oh, Tongue >(Beyond Baroque, 2004); festival co-curator and conductor PETER >FRANK; Choreographer and >writer CARMELA HERMANN, a significant presence in the LA dance >community and founder of >'Making Dances' workshops. LA artists TAMARA SUSSMAN and JASON >MAHANES; SARAH MACLAY, >winner of the Tampa Review Prize for Poetry for Whore (University of >Tampa, 2003); >Subtext from Seattle performs "A" homage (Zukofsky) with BRYANT >MASON, ROBERT MITTENTHAL, >and NICO VASSILAKIS. And others. This event has received special >support from the Dutch >Cultural Embassy. > >18 June, Friday - 7:30 PM Contemporary Works & More: JAAP BLONK, >KENNETH GOLDSMITH, >JOSHUA CLOVER, JERRY ROTHENBERG, CHARLES MORROW, and STEPHANIE >TAYLOR Selected artists of >the Beyond Text festival will present new and recent works and >interpretations. > >19 June, Saturday - 7:30 PM Works by YOKO ONO, ELEANOR and DAVID >ANTIN, VIENNA GROUP, >JEROME ROTHENBERG & CHARLES MORROW, BRION GYSIN, and others Text >score recreations >performed by Festival artists. > >20 June, Sunday =F1 4:30 PM Panel discussion with Aram Saroyan, >Kenneth Goldsmith, Ian Monk > > >20 June, Sunday =F1 7:30 PM Works by SIMONE FORTI & JACKSON MAC LOW, >LAURIE ANDERSON, >CHANNA HORWITZ, SARAH MACLAY, DICK HIGGINS, EMMETT WILLIAMS, and >other FLUXUS artists >Text score recreations performed by Festival artists. > > > > >__________________________________ >Do you Yahoo!? >Friends. Fun. Try the all-new Yahoo! Messenger. >http://messenger.yahoo.com/ -- ========================================================================= Date: Sat, 12 Jun 2004 17:43:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Los Angeles : THE 3RD ANNUAL BEYOND TEXT FESTIVAL Comments: To: damon001@UMN.EDU Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Content-Disposition: inline I feel the same Maria. I'll up the ante though and say I wish I had known about it sooner and then I WOULD be there. Maybe next year. Mairead >>> damon001@UMN.EDU 06/12/04 17:22 PM >>> what an astonishing line-up. wish i cd be there, baroque-sters and all ye. At 11:30 AM -0700 6/12/04, UbuWeb wrote: >THE 3RD ANNUAL BEYOND TEXT FESTIVAL 18 ñ 20 June, 2004 > >Beyond Baroque >681 Venice Blvd. >Venice Phone: 310-822-3006 > >A week of readings and performances dedicated to exploring the >evolving convergence of >text, art, performance, and site. Readings and performances will be >accompanied by a >presentation of text and text scores in the Project Room and around >the Beyond Baroque >site. > >18 -20 June, Friday - 7:30 PM BEYOND TEXT : BEYOND GEOMETRY In >conjunction with LACMA's >Beyond Geometry exhibition, Beyond Baroque presents a weekend of >serial and modal text >performances and realizations of classic text-sound scores >(recreations from 1949-1979). >Artists whose works will be performed include JACKSON MAC LOW, YOKO >ONO, LAURIE ANDERSON, >DICK HIGGINS, EMMETT WILLIAMS, GEORGE MACIUNIAS and other FLUXUS >artists, BRION GYSIN, >VLADIMIR MAYAKOVSKY, LOUIS ZUKOFSKY, ELEANOR and DAVID ANTIN, SARAH >MACLAY, THE VIENNA >GROUP (including GERHARD RÐHM, FRIEDRICH ACHLEITNER, H.C.ARTMANN and >KONRAD BAYER), >JEROME ROTHENBERG, and more. > >Performing artists include JAAP BLONK, noted Dutch poet and >interpreter of historic and >contemporary sound-texts; author, translator, and anthologist JEROME >ROTHENBERG's latest >book of poems is 25 Caprichos: After Goya, with translations into >Spanish by Heriberto >YÈpez, Kadle Books, Tenerife, Spain, scheduled 2004; veteran >experimental musician and >sound-artist CHARLES MORROW; award-winning author JOSHUA CLOVER's >latest book, The Matrix >(BFI), is due fall 2004; conceptual and performance art pioneer >ELEANOR ANTIN; DAVID >ANTIN, whose most recent book is A Conversation with David Antin, a >3-month email >collaboration with Charles Bernstein (Granary); KENNETH GOLDSMITH is >author of several >books, most recently DAY (The Figures, 2003), and the editor of >UbuWeb (ubu.com); >influential conceptual choreographer and writer SIMONE FORTI, author >of Oh, Tongue >(Beyond Baroque, 2004); festival co-curator and conductor PETER >FRANK; Choreographer and >writer CARMELA HERMANN, a significant presence in the LA dance >community and founder of >'Making Dances' workshops. LA artists TAMARA SUSSMAN and JASON >MAHANES; SARAH MACLAY, >winner of the Tampa Review Prize for Poetry for Whore (University of >Tampa, 2003); >Subtext from Seattle performs "A" homage (Zukofsky) with BRYANT >MASON, ROBERT MITTENTHAL, >and NICO VASSILAKIS. And others. This event has received special >support from the Dutch >Cultural Embassy. > >18 June, Friday - 7:30 PM Contemporary Works & More: JAAP BLONK, >KENNETH GOLDSMITH, >JOSHUA CLOVER, JERRY ROTHENBERG, CHARLES MORROW, and STEPHANIE >TAYLOR Selected artists of >the Beyond Text festival will present new and recent works and >interpretations. > >19 June, Saturday - 7:30 PM Works by YOKO ONO, ELEANOR and DAVID >ANTIN, VIENNA GROUP, >JEROME ROTHENBERG & CHARLES MORROW, BRION GYSIN, and others Text >score recreations >performed by Festival artists. > >20 June, Sunday ñ 4:30 PM Panel discussion with Aram Saroyan, >Kenneth Goldsmith, Ian Monk > > >20 June, Sunday ñ 7:30 PM Works by SIMONE FORTI & JACKSON MAC LOW, >LAURIE ANDERSON, >CHANNA HORWITZ, SARAH MACLAY, DICK HIGGINS, EMMETT WILLIAMS, and >other FLUXUS artists >Text score recreations performed by Festival artists. > > > > >__________________________________ >Do you Yahoo!? >Friends. Fun. Try the all-new Yahoo! Messenger. >http://messenger.yahoo.com/ -- ========================================================================= Date: Sat, 12 Jun 2004 14:59:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Nancy Reagan, and the humor of Ronnie Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Now that Nancy Reagan has become our national Queen Godmother, a few notes for those not old enough to remember. Ronnie and Nancy presented themselves as the embodiment of American family and moral values. She was, however, pregnant when they got married. No scandal there except for the hypocricy. The first act of Ronnie's adminsitration was Nancy ordering a couple of hundred thousand dollars of new tableware for the White House. A small sum, but at the time, during a recession, and at the debut of a self-declared fiscal conservative, it seemed anodd symbol. It's the custom of First Ladies to wear in public the creations of American couture houses, to advertize the industry. The couturiers lend them for the purpose--the gowns usually go for many thousands. Nancy decided not to return them, until there was a public outcry from the industry. Ronnie's appointment schdule was determined by Nancy's astrologer. Now to the presidential humor. George Bush Sr. got a laugh at the cathedral when he recounted that he asked Ronnie how a meeting had gone with South African Bishop Tutu. "Soso," Ronnie answered. Of course at the meeting Tutu pleaded with Ronnie to have the US join the rest of the world's democracies in imposing sanctions on the South African apartheid regime. To no avail. Does this add to the humor? Mark ========================================================================= Date: Sat, 12 Jun 2004 15:17:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Niedecker Dossier/ Court Green Comments: cc: Mary Burger , Magdalena Zurawski , "jnorton100@hotmail.com" , Lauren Gudath In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi Arielle: I and a few others are just starting a Zukofsky-Niedecker group. I will let everyone know - tho August may be premature for new critical work. I will let Beverly Dahlen know about your issue. I believe she has unpublished work that she delivered to the Conference on Niedecker at SF State a couple of years back. Stephen V Blog: http://stephenvincent.durationpress.com ========================================================================= Date: Sat, 12 Jun 2004 18:36:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Nancy Reagan, and the humor of Ronnie MIME-Version: 1.0 Content-Type: text/plain foot note to the below -- see Patti Davis's writings for her heartache when pleading with her parents to stop (even when she was an adult) identifying her as a "premature" baby -- On Sat, 12 Jun 2004 14:59:48 +0000, Mark Weiss wrote: > Now that Nancy Reagan has become our national Queen Godmother, a few notes > for those not old enough to remember. > > Ronnie and Nancy presented themselves as the embodiment of American family > and moral values. She was, however, pregnant when they got married. No > scandal there except for the hypocricy. > > The first act of Ronnie's adminsitration was Nancy ordering a couple of > hundred thousand dollars of new tableware for the White House. A small sum, > but at the time, during a recession, and at the debut of a self-declared > fiscal conservative, it seemed anodd symbol. > > It's the custom of First Ladies to wear in public the creations of American > couture houses, to advertize the industry. The couturiers lend them for the > purpose--the gowns usually go for many thousands. Nancy decided not to > return them, until there was a public outcry from the industry. > > Ronnie's appointment schdule was determined by Nancy's astrologer. > > Now to the presidential humor. George Bush Sr. got a laugh at the cathedral > when he recounted that he asked Ronnie how a meeting had gone with South > African Bishop Tutu. "Soso," Ronnie answered. Of course at the meeting Tutu > pleaded with Ronnie to have the US join the rest of the world's democracies > in imposing sanctions on the South African apartheid regime. To no avail. > Does this add to the humor? > > Mark > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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, 12 Jun 2004 15:47:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Nancy Reagan, and the humor of Ronnie In-Reply-To: <6.1.0.6.1.20040612144923.02e3d7c0@mail.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I cant say how many therapist friends I have spoken to this week who have described the amount of Reagan nausea that has come into their offices. I don't want to think this is a purely California experience though our memories of this red baiting, race baiting, anti-University, anti-public support of anything Governor do go back further than the list of things he did for the benefit of the national corporate dribble up rich and the right wing (though he brought many of his California cronies - Ed Meese and Cap Weinberger - among them to Washington.) Instead of Iraq being 45 minutes away from bombing the USA and Europe into oblivion it was those Communist Sandanista's who were a 90 minute or whatever drive from wiping out Texas. Of course, many of the sons of Ron - Negroponte, etc. - in Bush's brains today. So we get the funeral with the 300 page Reagan Estate manual in which ex Senator Danforth (who brought us all on his prayer full knees the Supreme Court appointment of Clarence Thomas) is the minister, capped off by Maggie Thatcher's elevation of Ronnie to the Prince of Peace, doing everything but making the claim that our actor had become Jesus reclaimed. Of course the Bush Administration supported and maximized the final rites in which they (too) could be immersed in this do no wrong to no man Christian halo - don't we all look beautiful in the radiance of God. Which was - at least from this perspective - one hell of a way to put a religious missile shield between this leadership and the ever growing, transparent relationship to the torture of prisoners in Quantanamo, Iraq and Afghanistan. Of course, those aren't Christians and so, what say, not to worry. Personally, if I were them - looking at the polls, let alone the investigations - I would be worrying a lot. Please excuse my rant, but what an ill making week! Stephen Vincent > Now that Nancy Reagan has become our national Queen Godmother, a few notes > for those not old enough to remember. > > Ronnie and Nancy presented themselves as the embodiment of American family > and moral values. She was, however, pregnant when they got married. No > scandal there except for the hypocricy. > > The first act of Ronnie's adminsitration was Nancy ordering a couple of > hundred thousand dollars of new tableware for the White House. A small sum, > but at the time, during a recession, and at the debut of a self-declared > fiscal conservative, it seemed anodd symbol. > > It's the custom of First Ladies to wear in public the creations of American > couture houses, to advertize the industry. The couturiers lend them for the > purpose--the gowns usually go for many thousands. Nancy decided not to > return them, until there was a public outcry from the industry. > > Ronnie's appointment schdule was determined by Nancy's astrologer. > > Now to the presidential humor. George Bush Sr. got a laugh at the cathedral > when he recounted that he asked Ronnie how a meeting had gone with South > African Bishop Tutu. "Soso," Ronnie answered. Of course at the meeting Tutu > pleaded with Ronnie to have the US join the rest of the world's democracies > in imposing sanctions on the South African apartheid regime. To no avail. > Does this add to the humor? > > Mark ========================================================================= Date: Sat, 12 Jun 2004 16:25:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: "The Physician of Poet." Comments: To: Literature and Medicine discussion group , IAJS , Webartery MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable My review of Peter Pereira's book of poems, "Saying the World," (Copper = Canyon Press, 1993) is now on my archive page: = http://www.cddc.vt.edu/host/weishaus/Writing/Pereira.htm Peter Pereira is a physician who lives in Seattle, WA., and this review, = titled "The Physician as Poet," is in the form of a brief history of = this tradition. Best, Joel __________________________________ Joel Weishaus Visiting Faculty Department of English Portland State University Portland, Oregon = =20 Home: http://web.pdx.edu/~pdx00282 Archive: www.cddc.vt.edu/host/weishaus/index.html =20 ========================================================================= Date: Sat, 12 Jun 2004 20:44:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Nancy Reagan, and the humor of Ronnie In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The only good thing is that this happened early, way before the election. The ruckus and fuss will die down. Reagan and the Bushes are close to one and the same but Reagan did it better. - Alan 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, 13 Jun 2004 00:09:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: where it went MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII where it went Hi i i t t t t t t terhe e e a a a a a a and d d w w w w w w wocmele e e t t t t t t to o o w w w w w w wdrenoful l l R R R R R R Radio o o O O O O O O One e e i i i i it's s s s s s s s s seevn n n t t t t t t thirty y y t t t t t t there e e i i i i i i in n n t t t t t t the e e mroning g g a a a a a a and d d h h h h hree's s s a a a a a a a a a g g g g g g gdeoln n n o o o o o o oldie e e a a a a a a a a a g g g g g g great t t c c c c c c classic c c f f f f f f form m m A A A A Arthur r r A A A A A A Askey! ! ! arbitration n n e e e e e e esplanade A A A h h h h h h house e e i i i i i i is s s a a a a a a a a a m m m m m m machine e e f f f f f f for r r l l l l l l living g g i i i i i i in. . . I I I a a a a a a am m m a a a a a a a l l l l l l leader r r b b b b b b by y y d d d d d d default, , , o o o o o o only y y b b b b b b because e e n n n n n n nature e e d d d d deos s s n n n n n n not t t a a a a a a allow w w a a a a a a a a a v v v v v v vacuum. . . Doemcracy: : : I I I I I I In n n w w w w w w which h h y y y y you u u s s s s s s say y y w w w w w w what t t y y y y y y you u u l l l l l l like e e a a a a a a and d d d d d d d d do o o w w w w w w what t t y y y y y y you're e e t t t t tlod. . . Zel l l b b b b b b baslohmo o o 1 1 1 1 1 1 16b5R tarrier r r Tala a a y y y y y y yawahGorushunhza but t t I'm m m attaching g g the e e electomagnets. . . but t t I'm m m splitting g g the e e harnesses. . . but t t I'm m m reassembling g g the e e harnesses. . . but t t Terri i i and d d Jorge e e and d d Azure e e are e e dismembered. . . but t t they're e e sped d d up. . . but t t it's s s the e e chaotic c c domain. . . but t t it's s s between n n here e e and d d there. . . but t t now's s s your r r time. . . but t t there's s s no o o returning. . . but t t there's s s no o o constitution. . . but t t there's s s no o o contract. the e e body y y is s s what t t it t t is. . . the e e body y y is s s just t t that. . . the e e body y y is s s already y y lost. . . link k k to o o link, , , somewhere e e else: : : the e e body's s s lost t t in n n it. _ ========================================================================= Date: Sun, 13 Jun 2004 05:11:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: still image from the mines MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII http://www.asondheim.org/coald.jpg West Virginia motion capture for Mother Jones _ ========================================================================= Date: Sun, 13 Jun 2004 13:54:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: [Motion Capture, History of] MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII [Motion Capture, History of] The Head and Face The hanging down of the head denotes shame or grief. The holding of it up, pride or courage. To nod forward implies assent. To toss the head back, dissent. The inclination of the head implies diffidence or languor. The head is averted in dislike or horror. It leans forward in attention. The Eyes The eyes are raised, in prayer. The weep, in sorrow. They burn, in anger. They are downcast, or averted in shame or grief. They are cast on vacancy in thought. They are cast in various directions in doubt and anxiety. The Arms The placing of the hand on the head indicates pain or distress. On the eyes, shame or sorrow. On the lips, an injunction of silence. On the breast, an appeal to conscience. The hand is waved or flourished in joy or contempt. Both hands are held supine, or they are applied or clasped, in prayer. Both are held prone in blessing. They are clasped or wrung in affliction. They are held forward, and received, in friendship. The Body The body held erect indicates steadiness and courage. Thrown back, pride. Stooping forward, condescension or compassion. Bending, reverence or respect. Prostration, the utmost humility or abasement. The Lower Limbs The firm position of the lower limbs signifies courage or obstinacy. Bended knees indicate timidity or weakness. The lower limbs advance in desire or courage. They retire in aversion or fear. Start in terror. - From New Elocution and Vocal Culture, by Robert Kidd, A.M., 1883. ========================================================================= Date: Sun, 13 Jun 2004 11:07:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: maxpaul@SFSU.EDU Subject: Re: Nancy Reagan, and the humor of Ronnie In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Speaking of the Prince of Peace, I've been waiting all weekend for Ronnie to rise from the dead. Maxine Chernoff Quoting Stephen Vincent : > I cant say how many therapist friends I have spoken to this week who have > described the amount of Reagan nausea that has come into their offices. I > don't want to think this is a purely California experience though our > memories of this red baiting, race baiting, anti-University, anti-public > support of anything Governor do go back further than the list of things he > did for the benefit of the national corporate dribble up rich and the right > wing (though he brought many of his California cronies - Ed Meese and Cap > Weinberger - among them to Washington.) Instead of Iraq being 45 minutes > away from bombing the USA and Europe into oblivion it was those Communist > Sandanista's who were a 90 minute or whatever drive from wiping out Texas. > Of course, many of the sons of Ron - Negroponte, etc. - in Bush's brains > today. > > So we get the funeral with the 300 page Reagan Estate manual in which ex > Senator Danforth (who brought us all on his prayer full knees the Supreme > Court appointment of Clarence Thomas) is the minister, capped off by Maggie > Thatcher's elevation of Ronnie to the Prince of Peace, doing everything but > making the claim that our actor had become Jesus reclaimed. > > Of course the Bush Administration supported and maximized the final rites in > which they (too) could be immersed in this do no wrong to no man Christian > halo - don't we all look beautiful in the radiance of God. Which was - at > least from this perspective - one hell of a way to put a religious missile > shield between this leadership and the ever growing, transparent > relationship to the torture of prisoners in Quantanamo, Iraq and > Afghanistan. Of course, those aren't Christians and so, what say, not to > worry. > Personally, if I were them - looking at the polls, let alone the > investigations - I would be worrying a lot. > > Please excuse my rant, but what an ill making week! > > Stephen Vincent > > > > > > > > > > Now that Nancy Reagan has become our national Queen Godmother, a few notes > > for those not old enough to remember. > > > > Ronnie and Nancy presented themselves as the embodiment of American family > > and moral values. She was, however, pregnant when they got married. No > > scandal there except for the hypocricy. > > > > The first act of Ronnie's adminsitration was Nancy ordering a couple of > > hundred thousand dollars of new tableware for the White House. A small > sum, > > but at the time, during a recession, and at the debut of a self-declared > > fiscal conservative, it seemed anodd symbol. > > > > It's the custom of First Ladies to wear in public the creations of > American > > couture houses, to advertize the industry. The couturiers lend them for > the > > purpose--the gowns usually go for many thousands. Nancy decided not to > > return them, until there was a public outcry from the industry. > > > > Ronnie's appointment schdule was determined by Nancy's astrologer. > > > > Now to the presidential humor. George Bush Sr. got a laugh at the > cathedral > > when he recounted that he asked Ronnie how a meeting had gone with South > > African Bishop Tutu. "Soso," Ronnie answered. Of course at the meeting > Tutu > > pleaded with Ronnie to have the US join the rest of the world's > democracies > > in imposing sanctions on the South African apartheid regime. To no avail. > > Does this add to the humor? > > > > Mark > ========================================================================= Date: Sun, 13 Jun 2004 11:18:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Nancy Reagan, and the humor of Ronnie In-Reply-To: <1087150034.40cc97d3030c9@webmail.sfsu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed My timing may be off, Maxine. Wasn't he buried just yesterday? Which means he doesn't rise till Tuesday. Unless somebody remembered to put a stake through his heart, of course. I imagine that the former presidents at the Cathedral were taking notes of does and don'ts for their own obsequies. Mark At 11:07 AM 6/13/2004, you wrote: >Speaking of the Prince of Peace, I've been waiting all weekend for Ronnie to >rise from the dead. Maxine Chernoff > >Quoting Stephen Vincent : > > > I cant say how many therapist friends I have spoken to this week who have > > described the amount of Reagan nausea that has come into their offices. I > > don't want to think this is a purely California experience though our > > memories of this red baiting, race baiting, anti-University, anti-public > > support of anything Governor do go back further than the list of things he > > did for the benefit of the national corporate dribble up rich and the right > > wing (though he brought many of his California cronies - Ed Meese and Cap > > Weinberger - among them to Washington.) Instead of Iraq being 45 minutes > > away from bombing the USA and Europe into oblivion it was those Communist > > Sandanista's who were a 90 minute or whatever drive from wiping out Texas. > > Of course, many of the sons of Ron - Negroponte, etc. - in Bush's brains > > today. > > > > So we get the funeral with the 300 page Reagan Estate manual in which ex > > Senator Danforth (who brought us all on his prayer full knees the Supreme > > Court appointment of Clarence Thomas) is the minister, capped off by Maggie > > Thatcher's elevation of Ronnie to the Prince of Peace, doing everything but > > making the claim that our actor had become Jesus reclaimed. > > > > Of course the Bush Administration supported and maximized the final > rites in > > which they (too) could be immersed in this do no wrong to no man Christian > > halo - don't we all look beautiful in the radiance of God. Which was - at > > least from this perspective - one hell of a way to put a religious missile > > shield between this leadership and the ever growing, transparent > > relationship to the torture of prisoners in Quantanamo, Iraq and > > Afghanistan. Of course, those aren't Christians and so, what say, not to > > worry. > > Personally, if I were them - looking at the polls, let alone the > > investigations - I would be worrying a lot. > > > > Please excuse my rant, but what an ill making week! > > > > Stephen Vincent > > > > > > > > > > > > > > > > > > > Now that Nancy Reagan has become our national Queen Godmother, a few > notes > > > for those not old enough to remember. > > > > > > Ronnie and Nancy presented themselves as the embodiment of American > family > > > and moral values. She was, however, pregnant when they got married. No > > > scandal there except for the hypocricy. > > > > > > The first act of Ronnie's adminsitration was Nancy ordering a couple of > > > hundred thousand dollars of new tableware for the White House. A small > > sum, > > > but at the time, during a recession, and at the debut of a self-declared > > > fiscal conservative, it seemed anodd symbol. > > > > > > It's the custom of First Ladies to wear in public the creations of > > American > > > couture houses, to advertize the industry. The couturiers lend them for > > the > > > purpose--the gowns usually go for many thousands. Nancy decided not to > > > return them, until there was a public outcry from the industry. > > > > > > Ronnie's appointment schdule was determined by Nancy's astrologer. > > > > > > Now to the presidential humor. George Bush Sr. got a laugh at the > > cathedral > > > when he recounted that he asked Ronnie how a meeting had gone with South > > > African Bishop Tutu. "Soso," Ronnie answered. Of course at the meeting > > Tutu > > > pleaded with Ronnie to have the US join the rest of the world's > > democracies > > > in imposing sanctions on the South African apartheid regime. To no avail. > > > Does this add to the humor? > > > > > > Mark > > ========================================================================= Date: Sun, 13 Jun 2004 15:15:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Nancy Reagan, and the humor of Ronnie In-Reply-To: <1087150034.40cc97d3030c9@webmail.sfsu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Oh Please, God, No. There have been many movies about that, in fact it's a whole genre, called the Horror Movie. In fact his regime could be called the prolonged night of the living dead. At 11:07 AM -0700 6/13/04, maxpaul@SFSU.EDU wrote: >Speaking of the Prince of Peace, I've been waiting all weekend for Ronnie to >rise from the dead. Maxine Chernoff > >Quoting Stephen Vincent : > >> I cant say how many therapist friends I have spoken to this week who have >> described the amount of Reagan nausea that has come into their offices. I >> don't want to think this is a purely California experience though our >> memories of this red baiting, race baiting, anti-University, anti-public >> support of anything Governor do go back further than the list of things he >> did for the benefit of the national corporate dribble up rich and the right >> wing (though he brought many of his California cronies - Ed Meese and Cap >> Weinberger - among them to Washington.) Instead of Iraq being 45 minutes >> away from bombing the USA and Europe into oblivion it was those Communist >> Sandanista's who were a 90 minute or whatever drive from wiping out Texas. >> Of course, many of the sons of Ron - Negroponte, etc. - in Bush's brains >> today. >> >> So we get the funeral with the 300 page Reagan Estate manual in which ex >> Senator Danforth (who brought us all on his prayer full knees the Supreme >> Court appointment of Clarence Thomas) is the minister, capped off by Maggie >> Thatcher's elevation of Ronnie to the Prince of Peace, doing everything but >> making the claim that our actor had become Jesus reclaimed. >> >> Of course the Bush Administration supported and maximized the final rites in >> which they (too) could be immersed in this do no wrong to no man Christian >> halo - don't we all look beautiful in the radiance of God. Which was - at >> least from this perspective - one hell of a way to put a religious missile >> shield between this leadership and the ever growing, transparent >> relationship to the torture of prisoners in Quantanamo, Iraq and >> Afghanistan. Of course, those aren't Christians and so, what say, not to >> worry. >> Personally, if I were them - looking at the polls, let alone the >> investigations - I would be worrying a lot. >> >> Please excuse my rant, but what an ill making week! >> >> Stephen Vincent >> >> >> >> >> >> >> >> >> > Now that Nancy Reagan has become our national Queen Godmother, a few notes >> > for those not old enough to remember. >> > >> > Ronnie and Nancy presented themselves as the embodiment of American family > > > and moral values. She was, however, pregnant when they got married. No > > > scandal there except for the hypocricy. > > > > > > The first act of Ronnie's adminsitration was Nancy ordering a couple of >> > hundred thousand dollars of new tableware for the White House. A small >> sum, >> > but at the time, during a recession, and at the debut of a self-declared >> > fiscal conservative, it seemed anodd symbol. >> > >> > It's the custom of First Ladies to wear in public the creations of >> American >> > couture houses, to advertize the industry. The couturiers lend them for >> the >> > purpose--the gowns usually go for many thousands. Nancy decided not to >> > return them, until there was a public outcry from the industry. >> > >> > Ronnie's appointment schdule was determined by Nancy's astrologer. >> > >> > Now to the presidential humor. George Bush Sr. got a laugh at the >> cathedral >> > when he recounted that he asked Ronnie how a meeting had gone with South >> > African Bishop Tutu. "Soso," Ronnie answered. Of course at the meeting >> Tutu >> > pleaded with Ronnie to have the US join the rest of the world's >> democracies >> > in imposing sanctions on the South African apartheid regime. To no avail. >> > Does this add to the humor? >> > >> > Mark >> -- ========================================================================= Date: Sun, 13 Jun 2004 17:32:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Walking Theory /blog Comments: cc: Kit Robinson , George Albon , Robert Gl=?ISO-8859-1?B?/A==?=ck , Susan Stone Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Walking Theory #42 - #48 now up - including an elegy for (evocation of) Steve Lacy and an homage to Fairfield Porter, painter. Comments, feedback appreciated. Thanks, Stephen Vincent Blog: http://stephenvincent.durationpress.com ========================================================================= Date: Sun, 13 Jun 2004 17:46:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: maxpaul@SFSU.EDU Subject: Re: Nancy Reagan, and the humor of Ronnie In-Reply-To: <6.1.0.6.1.20040613111525.02fee850@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit I thought a "cowboy" such as he might rise more quickly. Quoting Mark Weiss : > My timing may be off, Maxine. Wasn't he buried just yesterday? Which means > he doesn't rise till Tuesday. > > Unless somebody remembered to put a stake through his heart, of course. > > I imagine that the former presidents at the Cathedral were taking notes of > does and don'ts for their own obsequies. > > Mark > > At 11:07 AM 6/13/2004, you wrote: > >Speaking of the Prince of Peace, I've been waiting all weekend for Ronnie > to > >rise from the dead. Maxine Chernoff > > > >Quoting Stephen Vincent : > > > > > I cant say how many therapist friends I have spoken to this week who > have > > > described the amount of Reagan nausea that has come into their offices. > I > > > don't want to think this is a purely California experience though our > > > memories of this red baiting, race baiting, anti-University, anti-public > > > support of anything Governor do go back further than the list of things > he > > > did for the benefit of the national corporate dribble up rich and the > right > > > wing (though he brought many of his California cronies - Ed Meese and > Cap > > > Weinberger - among them to Washington.) Instead of Iraq being 45 minutes > > > away from bombing the USA and Europe into oblivion it was those > Communist > > > Sandanista's who were a 90 minute or whatever drive from wiping out > Texas. > > > Of course, many of the sons of Ron - Negroponte, etc. - in Bush's brains > > > today. > > > > > > So we get the funeral with the 300 page Reagan Estate manual in which ex > > > Senator Danforth (who brought us all on his prayer full knees the > Supreme > > > Court appointment of Clarence Thomas) is the minister, capped off by > Maggie > > > Thatcher's elevation of Ronnie to the Prince of Peace, doing everything > but > > > making the claim that our actor had become Jesus reclaimed. > > > > > > Of course the Bush Administration supported and maximized the final > > rites in > > > which they (too) could be immersed in this do no wrong to no man > Christian > > > halo - don't we all look beautiful in the radiance of God. Which was - > at > > > least from this perspective - one hell of a way to put a religious > missile > > > shield between this leadership and the ever growing, transparent > > > relationship to the torture of prisoners in Quantanamo, Iraq and > > > Afghanistan. Of course, those aren't Christians and so, what say, not > to > > > worry. > > > Personally, if I were them - looking at the polls, let alone the > > > investigations - I would be worrying a lot. > > > > > > Please excuse my rant, but what an ill making week! > > > > > > Stephen Vincent > > > > > > > > > > > > > > > > > > > > > > > > > > > > Now that Nancy Reagan has become our national Queen Godmother, a few > > notes > > > > for those not old enough to remember. > > > > > > > > Ronnie and Nancy presented themselves as the embodiment of American > > family > > > > and moral values. She was, however, pregnant when they got married. No > > > > scandal there except for the hypocricy. > > > > > > > > The first act of Ronnie's adminsitration was Nancy ordering a couple > of > > > > hundred thousand dollars of new tableware for the White House. A small > > > sum, > > > > but at the time, during a recession, and at the debut of a > self-declared > > > > fiscal conservative, it seemed anodd symbol. > > > > > > > > It's the custom of First Ladies to wear in public the creations of > > > American > > > > couture houses, to advertize the industry. The couturiers lend them > for > > > the > > > > purpose--the gowns usually go for many thousands. Nancy decided not to > > > > return them, until there was a public outcry from the industry. > > > > > > > > Ronnie's appointment schdule was determined by Nancy's astrologer. > > > > > > > > Now to the presidential humor. George Bush Sr. got a laugh at the > > > cathedral > > > > when he recounted that he asked Ronnie how a meeting had gone with > South > > > > African Bishop Tutu. "Soso," Ronnie answered. Of course at the meeting > > > Tutu > > > > pleaded with Ronnie to have the US join the rest of the world's > > > democracies > > > > in imposing sanctions on the South African apartheid regime. To no > avail. > > > > Does this add to the humor? > > > > > > > > Mark > > > > ========================================================================= Date: Sun, 13 Jun 2004 20:56:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sina Queyras Subject: Tues 6/15, Adania Shibli reading Comments: To: "Undisclosed-Recipient:;"@rci.rutgers.edu MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Untitled DocumentAlwan for the Arts presents A reading by Adania Shibli at Alwan 16 Beaver Street Tuesday, June 15 at 6:30pm (doors open at 6pm) Adania Shibli will read excerpts from her work in Arabic, with English = translations read by Alexandra Katyrian, followed by a discussion = moderated by Suhail Shadoud. Alexandra Katyrian is an actress and performer who resides in New York = City. Suhail Shadoud is an adjunct professor of Arabic Language at Columbia = University. Adania Shibli, born in Palestine in 1974, made her main studies in the = field of journalism and communication. She has been publishing regularly = in literary magazines in the Arab world and in Europe. Her first novel, = Masas, was published in Arabic in 2002 by Al Adab Publishing House = (Beirut), and recently in French by Actes-Sud Publishing House. Her = second novel, We Are All Equally Far From Love, also published by Al = Adab, was just released this month. Shibli has been given twice the = Young Writer's Award-Palestine by the A.M. Qattan Foundation. Currently, = she lives and works in Ramallah, and is now in New York City with = apexart's international residency program. Open and free to the public. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Alwan, 16 Beaver Street, 4th floor New York, NY 10004 (646) 473-0991 nyc@alwan.org http://alwan.org =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D If you attended the reading at apexart on June 2, please note she will = be reading other stories.=20 ========================================================================= Date: Sun, 13 Jun 2004 20:35:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Raphael Bristle Mime-Version: 1.0 Content-Type: text/plain; format=flowed who are they, whose feathers, shed into that pond your nods couldn't place surface as ourselves, our meat what snows down, the gaps sprout water, who, naming each other light, toad that body in sport which dies in earnest, backswirls without prints rippling what belly, blues our working with ink for easy relocation, this won't slow up our games: what's material is after our belly, naming is matter, but words, even when written, are not matter... in the churchyard, deaths, coiled into the yellow body, shifted their stones aside, the roots, un-prints, wept eyes hammered with the water, shield eyes, and note the shapes of everyone as patched, dream snow rope mildly as, in worn fairytales, faces, even the ruddy, wait history shining through the / calling cards fell in a flurry and here I am, it's of the physical that I talk stop & see: your hand is treeless, but there's a tree on the lawn and, barring well-worn fairytales, not a single hand waves from between the grasses, though any length signifies a kneel, though the most stationary & taciturn is surprised as an uncurled rain though, quoting the Bard, "all surprises should be filthy with dust," we word, we steps, we imagine up bones, we mass vocabulary we, well, me, ask, who are they, whose feathers, shed into that pond your nods couldn't place surface as ourselves the gaps' water a faded picture vessel, there hand, zero begin, feathers' reader, rustle that... cash... "Raphael Bristle," luxury bones, fell papers, cherry waters (Cherry Waters - whatever became of her?), shall we snap hard narrows then? we, rippling it all, stand beneath to receive the meat that don't grow trees, we, well, me, have a few mingles left still _________________________________________________________________ Watch the online reality show Mixed Messages with a friend and enter to win a trip to NY http://www.msnmessenger-download.click-url.com/go/onm00200497ave/direct/01/ ========================================================================= Date: Sun, 13 Jun 2004 20:36:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Lives of Eminent Assyrians 3 Mime-Version: 1.0 Content-Type: text/plain; format=flowed much / distress many comfort sudden relief grows / prattles said / hear displeases recreation / else certainty Heaven's / died mire learned folk when matter / think say pleasure / jest at once closer / hither gladden wretched Nuabu dirty / lean unless / indeed poor / advanced formerly / little valley since the same led income economy also / daughters no more ate / frugal heart's content hindered bread / defect was not / equal bettered battlement amazingly / like firmly / keeping locked / limb hear rise heard birds it happened / dawn they dreamed / trouble dreamed / walked where narrow / two die fie! / coward! dare / say can / dreams arrows / bears / bulls these nature beware lest wager / ague isolated luck dreamed murdered slain rise / morning dung have / stopped pitiful found morning lodging dreamed stay manure dead / describe lies / on his back help / lies rushed out recently uncover loathsome uncovered hidden taken / tortured racked confessed hanged be feared read drowned dreamed voyage / stop frighten delay / business constantly bewilderment shall be "may they / learn" regardless dream / saw nurse / part for fear of confirms whether / sometimes hanged lost at once poisonous cease / eyes meaning delight voice has climbed indeed birds befell / write chronicle safely dissembler watching / opportunity foreknows must content / jest discover dust in / certainty intended secrets can / imitate deceit royally / shrieked ran / would burst devils surely / company bone / overturns nimbly _________________________________________________________________ Looking to buy a house? Get informed with the Home Buying Guide from MSN House & Home. http://coldwellbanker.msn.com/ ========================================================================= Date: Mon, 14 Jun 2004 00:17:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Typology of Text Manipulation (for Center for Literary Computing, WVU) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Typology of Text Manipulation (for Center for Literary Computing, West Virginia University) Thanks to Sandy Baldwin - We need to implement with a simple interface if possible: Please note many of the following overlap - Input: Text of any sort keep spacings / eliminate spacings keep tabs / eliminate tabs Input placed within: single file array hash Output: single file of manipulated text with original file intact "core dump" of file with protocols / processes attached Manipulations: substitution (similar to awk) word for word letter for letter line for line etc. In other words: Y for X reverse line (similar to rev) reverse file reverse words (words in reverse "reverse in words") reversed words ("sdrow ni esrever") reversed lines (etc.) (similar to tac) Eliminations: first instance word / letter / line < rest eliminated Functions (Doublings etc.): Given X, then f(X) Fields: Reordering fields (similar to awk) Filtering lines / words / letters: (similar to grep) Randomizing: Generating (lines / words / letters) > texts Various Grammars Various Lists (nouns / verbs / adverbs / etc.) Randomizing: Filtering (ability to set parameters - for example: randomizing field order randomizing elimination order) etc. Topological: Folding Texts Splitting Texts Joining Texts (end to end / side by side) Internal block removal (see emacs) "Crumpling" Texts Numeric and code: Translating texts into hex, binary, octal, digital f(X) on hex, binary, octal, digital Translating full text file / inodes etc. Codes - see /usr/games Unix/Linux directory: Morse / figlets Caesar (rot 13 as special example) pig / bcd / ppt / banner Later: Embedded Babel etc. translation Pictographic translation (Dongba, hieroglyphic, etc.) _ ========================================================================= Date: Sun, 13 Jun 2004 22:14:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Icomposition GB: Hurricane Angel & Lord Patch to Killing Flaw MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit ...from New York to New Palestine "All Life laments memories Given the boot to X-Ray I’m yuh lost Dj Turn yuh sword around You crew suffers Hittin fixes w/ Agents/800 MC’s Rule inertia in daddy’s army takin an axe to the devilment/ destroyin ignorance wiph a question" Full length cd available by contacting: jonathan cox international harvester music 2004: http://www.icompositions.com/auditorium/showphoto.php?photo=3360 Manchester, England vs New Palestine (Fernwood in Victoria, British Columbia) http://www.icompositions.com/auditorium/showphoto.php?photo=3362 ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 14 Jun 2004 03:25:42 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit don't diminish the day add joy to joy 'til the sun hr to dawn....drn.... ========================================================================= Date: Mon, 14 Jun 2004 07:10:39 -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/ RECENT TOPICS: "Revolutionary" poetry - from Roque Dalton, Ernesto Cardenal & Jack Hirschman to Lorenzo Thomas' Dancing on Main Street The Philadelphia Progressive Poetry Calendar (June Croon edition) Ron Silliman: Forthcoming readings & talks (Boston, Seattle, Lawrence, SF, Philly & DC) How does an ear work in poetry? From Lisa Lubasch to Timothy Steele Immersive reading: confronting grief at a book's end Ontological & epistemological ambiguity in Harry Potter 3: This Time it's Sirius The stuff owl gives a hoot: Bad poetry & reactionary criticism (of Simon Armitage & William Logan) Writing the transcendental pulse - Lisa Lubasch's To Tell the Lamp: New classical, post avant The problems of publishing: What's a young poet to do? http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 14 Jun 2004 10:16:19 -0400 Reply-To: Mike Kelleher Sender: UB Poetics discussion group From: Mike Kelleher Organization: Just Buffalo Literary Center Subject: JUST BUFFALO E-NEWSLETTER 6-14-04 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable WORKSHOPS SNEAK PEEK AT THE FALL WORKSHOPS Writing For Children and Teenagers, with Harriet K. Feder=20 4 Saturdays Oct 2, 9, 23, 30, 12 p.m. - 2 p.m. $135, $110 for members Is that story for kids you long to write cowering inside your head? Is = it gasping for air beneath the clutter in your desk? Then it's time to = come out of the drawer. Learn to capture your readers with an intriguing = "Hook;" build Believable Characters; use a single Point Of View, = Identify a Conflict, Show Rather Than Tell and Market your work to an = editor,=20 Harriet K. Feder, a former editor of Tom Thumb's Magazine and instructor = for the Institute of Children's Literature has published books for = everyone from toddlers to teens in the US and abroad.. Her most recent = young adult novel, Death On Sacred Ground was a 2002 nominee for both = Edgar and Agatha awards; a Sidney Taylor Notable Book; a Children's = Literature Choice; and a New York Public Library Teen Choice. Her = writing has won her a Woman of Accomplishment Legacy Project Award along = with such other Western New York notables as Lucille Ball, Joyce Carol = Oates, Virginia Kroll, and Gerda Klein. She is a member of the Society = of Children's Book Writers and Illustrators, Mystery Writers of America, = Sisters in Crime, Author's Guild, and Pennwriters of PA.=20 The Working Writer Seminar, with Kathryn Radeff Four Saturday workshops: September 18, October 16, November 13, December = 11 Whole seminar: $175, $150 for members. Single Saturday session: $50, $40 = for members Turn Your Travel Experiences Into Articles for Newspapers and Magazines = September 18 =20 Writing & Selling Short Stories October 16=20 Writing Magazine & Newspaper Features: Learn the Methods & Markets, = November 13=20 The Art & Craft of Creative Nonfiction, December 11=20 Kathryn Radeff's work has appeared in local, regional and national = magazines and newspapers, including Woman's World, Instructor, American = Fitness, Personal Journaling, The Daytona Beach News Journal, and The = Buffalo News and Buffalo Spree. For the past 25 years, she has worked = extensively as an educator emphasizing a creative approach to getting = published. On Novel Writing, with Linda Lavid 6 Saturdays, September 25, October 2, 9, 23, 30, November 6 10 a.m. - 12 = p.m.=20 Time to brush off that manuscript somewhere buried, take the plunge, and = make the commitment to write the great American novel. Yes, the brass = ring can be yours, but first you must write the story. For both veterans = and novices, this seminar will present the critical foundations = necessary to assist you in writing a novel. Topics include: developing = plots, building character, generating scenes and, finally, how to make = it all make sense.=20 Linda Lavid is author of Rented Rooms. Here work has appeared in The = Southern Cross Review, Plots With Guns, Wilmington Blues, and Over = Coffee. Poet As Architect, with Marj Hahne One Saturday Session, November 20, 12-5 p.m.=20 $50, $40 for members Li-Young Lee says that poetry has two mediums--language and silence--and = that language (the material) inflects silence (the immaterial) so that = we can experience (hear) our inner space. In this workshop, which is = writing-intensive rather than critique-based, we will step outside our = familiar poetic homes and build new dwellings (temples and taverns!), = utilizing such timber as sound patterns, found text, and invented forms. = We will explore the structural possibilities of language to ultimately = answer the question: How does form serve content? Both beginning and = practiced poets will generate lots of writing in this full day of = language play and experimentation. Marj Hahne is a poet and teaching artist. Her work has appeared in = Painted Bride Quarterly, Mad Poets Reviews, La Petite Zine, Rogue = Scholars, & New England Writer's Network. She also has a CD entitled, = notspeak. Playwrighting Basics, with Kurt Schneiderman, TBA. For more information, or to register, call 832-5400 or download the = registration form from our website at www.justbuffalo.org SUMMER WORKSHOP WORKSHOP ON EXPERIMENTAL POETRY with Jorge Guitart 4 Saturdays July 10, 17, 24, and 31, 10 a.m -12 p.m. in The Hibiscus = Room at Just Buffalo $100, $90 members, individual classes $30, $25 members If you are tired of the trite and expected in the poetry of others or = your own, try your hand at playing with language in a serious, organized = way. Let randomness and unusual combinatory procedures get you started = in creating lines that no one could possibly have uttered or written = before. Bring poetry back to being a most unusual collocation of words. = Let the poem write you instead of the other way. Embark on the pleasures = of intertextuality, stealing from famous texts and subverting their = intentions. You will be introduced to techniques that will help you = create hundreds if not thousands of amazing poems in a relatively short = time. Jorge Guitart teaches in the Department of Romance Languages and = Literatures at UB. He has been a member of JBLC Writers in Education = since 1984 and has led poetry workshops in Buffalo public schools. He = is the author of Foreigner's Notebook (Shuffaloff 1993) and Film Blanc = (Meow Press 1996). He is represented at UB's Electronic Poetic Center. For more information, or to register, call 832-5400 or download the = registration form from our website at www.justbuffalo.org OPEN READINGS, HOSTED BY LIVIO FARALLO Readings begin at 7 p.m. There are ten slots for open readers. Signups begin at 6:45. All readings are free and open to the public. Notice: Beginning, July 14, 2004, readings on the 2nd Wednesday of the = month will move from the Center for Inquiry in Amherst into the Hibiscus = Room. The Hibiscus Room is located in the Tri-Main Center, 2495 Main = St., Ste. 512. Martha Deed & Cairn Hedland Thursday, June 17, 7 P.M. The Book Corner, 1801 Main St., Niagara Falls, NY Martha Deed is a 4th or 5th generation writer who grew up in a family = where reading or writing could get you excused from chores. She began = writing and publishing her work more than 30 years ago and continues to = do so. After obtaining a Ph.D. from Boston University, she worked for = the next 32 years as a psychologist in private practice. She began = writing, full time, about 3 years ago. Predominantly a performance-related artist, Cairn Hedland's poetry and = monologue pieces are meant to be done, she says, "with a certain amount = of theatricality." Cairn says she feels compelled to write, and the = communication contained within the writing often has a social component = to it. She feels that inspiration for her work is universal and = especially appreciates the work of Neil Gaiman and Margaret Atwood. Carrie Spadter & Don Scheller Sunday, June 20, 7 P.M. Rust Belt Books, 202 Allen Street, Buffalo, NY Carrie Spadter says she discovered writing in 10th grade English class = when she was forced to listen to the Moody Blues as a class requirement. = Adrienne Rich, Amy Gerstler and fellow writers from Southern Indiana, = where she spent 4 years in various endeavors, influence her present = writing. Carrie's work has appeared in A Linen Weave of Bloomington = Poets, Choice Works, Portrait, The Fig, and ARTVOICE. Don Scheller was born in New Orleans, raised in New York City and has = lived in many places. He's an instructor at Erie Community College-City = Campus and at Niagara County Community College. Don has been published = locally and nationally in a variety of media and has taught creative = writing workshops in several cities at the college level. He says he = can't imagine a life without laughter and has purposely chosen Buffalo = as a place to live. IF ALL OF BUFFALO READ THE SAME BOOK The reader's guide for this year's book, The God of Small Things, by = Arundhati Roy, is now available as a free download on the Just Buffalo = website. Arundhati Roy will be coming to Just Buffalo September 8-9, = 2004. Sponsors of this year's event include The Visions for a Better = World Committee of the WNY Peace Center, The Women's Studies Department = at UB, Parkview Health Services, 10,000 Villages, Talking Leaves Books, = The National Endowment for the Arts, The New York State Council on the = Arts, Erie County Cultural Funding, and Rigidized Metals. For more information, or to become a sponsor, please call us at 832-5400 = or visit the website at www.justbuffalo.org. MEMBERSHIP CAMPAIGN SIGNED, LIMITED EDITION ROBERT CREELEY BROADSIDE AVAILABLE As part of the spring membership campaign, Just Buffalo is offering a = special membership gift to the first fifty people who join at a level of = $50 or more after May 1. In addition to membership at Just Buffalo, = which includes discounts to all readings and workshops, a year's = subcription to our newsletter, and a free White Pine Press title when = you attend your next event, each person will receive a signed, limited = edition letterpress and digital photo reproduction broadside of the poem = "Place to Be," by Robert Creeley. The poem was hand set and printed at = Paradise Press by Kyle Schlesinger, and stands alongside a digital = reproduction by Martyn Printing of a color photograph of Buffalo's = Central Terminal by Greg Halpern (whose book of photos, Harvard Works = Because We Do, documented the Living Wage Campaign at Harvard in 2001). = Send check or money order to the address at the bottom of this email, or = call us at 832-5400 to use your credit card. SPOKEN ARTS RADIO, with Mary Van Vorst 6:35 a.m. and 8:35 a.m. Thursdays and 8:35 a.m. Sundays on WBFO 88.7 FM July 8 & 11 Lee Stringer (Author of _Grand Central Winter_ and = _Sleepaway School_) Lee Stringer will also be doing a book signing at Talking Leaves Books = on July 16. _______________________________ Mike Kelleher Artistic Director Just Buffalo Literary Center 2495 Main St., Ste. 512 Buffalo, NY 14214 716.832.5400 716.832.5710 (fax) www.justbuffalo.org mjk@justbuffalo.org ========================================================================= Date: Mon, 14 Jun 2004 15:33:47 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roger Day Subject: Re: Nancy Reagan, and the humor of Ronnie MIME-Version: 1.0 Content-type: text/plain; charset=us-ascii The gipper redux: http://bush-zombiereagan.com/ maxpaul@SFSU.EDU Sent by: UB Poetics To: POETICS@LISTSERV.BUFFALO.EDU discussion group cc: 13/06/2004 19:07 Please respond to UB Poetics discussion group Speaking of the Prince of Peace, I've been waiting all weekend for Ronnie to rise from the dead. Maxine Chernoff Quoting Stephen Vincent : > I cant say how many therapist friends I have spoken to this week who have > described the amount of Reagan nausea that has come into their offices. I > don't want to think this is a purely California experience though our > memories of this red baiting, race baiting, anti-University, anti-public > support of anything Governor do go back further than the list of things he > did for the benefit of the national corporate dribble up rich and the right > wing (though he brought many of his California cronies - Ed Meese and Cap > Weinberger - among them to Washington.) Instead of Iraq being 45 minutes > away from bombing the USA and Europe into oblivion it was those Communist > Sandanista's who were a 90 minute or whatever drive from wiping out Texas. > Of course, many of the sons of Ron - Negroponte, etc. - in Bush's brains > today. > > So we get the funeral with the 300 page Reagan Estate manual in which ex > Senator Danforth (who brought us all on his prayer full knees the Supreme > Court appointment of Clarence Thomas) is the minister, capped off by Maggie > Thatcher's elevation of Ronnie to the Prince of Peace, doing everything but > making the claim that our actor had become Jesus reclaimed. > > Of course the Bush Administration supported and maximized the final rites in > which they (too) could be immersed in this do no wrong to no man Christian > halo - don't we all look beautiful in the radiance of God. Which was - at > least from this perspective - one hell of a way to put a religious missile > shield between this leadership and the ever growing, transparent > relationship to the torture of prisoners in Quantanamo, Iraq and > Afghanistan. Of course, those aren't Christians and so, what say, not to > worry. > Personally, if I were them - looking at the polls, let alone the > investigations - I would be worrying a lot. > > Please excuse my rant, but what an ill making week! > > Stephen Vincent > > > > > > > > > > Now that Nancy Reagan has become our national Queen Godmother, a few notes > > for those not old enough to remember. > > > > Ronnie and Nancy presented themselves as the embodiment of American family > > and moral values. She was, however, pregnant when they got married. No > > scandal there except for the hypocricy. > > > > The first act of Ronnie's adminsitration was Nancy ordering a couple of > > hundred thousand dollars of new tableware for the White House. A small > sum, > > but at the time, during a recession, and at the debut of a self-declared > > fiscal conservative, it seemed anodd symbol. > > > > It's the custom of First Ladies to wear in public the creations of > American > > couture houses, to advertize the industry. The couturiers lend them for > the > > purpose--the gowns usually go for many thousands. Nancy decided not to > > return them, until there was a public outcry from the industry. > > > > Ronnie's appointment schdule was determined by Nancy's astrologer. > > > > Now to the presidential humor. George Bush Sr. got a laugh at the > cathedral > > when he recounted that he asked Ronnie how a meeting had gone with South > > African Bishop Tutu. "Soso," Ronnie answered. Of course at the meeting > Tutu > > pleaded with Ronnie to have the US join the rest of the world's > democracies > > in imposing sanctions on the South African apartheid regime. To no avail. > > Does this add to the humor? > > > > Mark > ========================================================================= Date: Mon, 14 Jun 2004 11:53:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: announcing Mad Love in Miami Sun Post MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable announcing=20 MAD LOVE The SunPost Arts Journal June 2004 Edited by Tony Guzman Design & Layout by Simone Fong & Maria Saenz If you live in the Miami, Florida area look for the once-a-month insert = "Mad Love" in the Miami Sun Post. Contributors to the current issue = include. ANNE WALDMAN, JOANNE KYGER, LARRY KEARNEY, DAVID MELTZER, = GLORIA FRYM, LARRY SAWYER, CLAUDIA GRINNELL, PETRA BACKONJA, ANDREW = LUNDWALL & JEANNIE SMITH, IAN RANDALL WILSON, TONY GUZMAN and MICHAEL = ROTHENBERG. If you don't live in Miami, you can see the issue online at: = http://www.miamisunpost.com/madlove-plaintext.htm Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Mon, 14 Jun 2004 08:53:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Loden Subject: reagan ascending into hollywood (redux) MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit My Angels, Their Pink Wings Who, if I pitched a hissy fit, would even blink a powdered eyelid among the angelic orders? The night sky is indifferent and glittery with facts. A third millennium giddily boots up and Lenin, firm and pliant from his glycerine bath, waits for kisses in the glass sarcophagus. But I too wish to call a meeting of the Committee for the Deathless Beauty of the Tsar, the standing Congress for the Recarnation of the President. I too wish to lie in state inside the Hall of Pillars, in the echoes of the Capitol Rotunda, cooing to my tricky one, crooning to my trembling Republic. http://jacketmagazine.com/16/ov-lode.html ---------------------------------------------------------- Rachel Loden r_loden@sbcglobal.net ========================================================================= Date: Mon, 14 Jun 2004 13:24:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: Re: Nancy Reagan, and the humor of Ronnie In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Thanks for the much needed laughs. This is friggin' hilarious. On Mon, 14 Jun 2004, Roger Day wrote: > The gipper redux: http://bush-zombiereagan.com/ > ========================================================================= Date: Mon, 14 Jun 2004 15:08:24 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: query Content-transfer-encoding: 7BIT how do i get a hold of crag hill's SCORE? 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, 14 Jun 2004 19:59:41 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Bradshaw Subject: Eric Baus contact info Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hello, If anyone has an email address for Eric Baus, could you pass it along to me? Bc, please. And thank you, JB _________________________________________________________________ Check out the coupons and bargains on MSN Offers! http://youroffers.msn.com ========================================================================= Date: Mon, 14 Jun 2004 15:08:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Lives of Eminent Assyrians 4 Mime-Version: 1.0 Content-Type: text/plain; format=flowed ladies and gentlemen alive since / once example also / what well reproof guess / interpret know expressly such knowledge bout lower / coffer perfect learned folk surely schooling it pleases better / burn do they care cursed know saw forbade doubt VIRGINIA condemned certainly gave / command runs where / it pleases Virginia wished / such reproof fire / flax call them / unless surpass Sennacherib pleases / Geist condition wood calls one / command fountain-head perfectly comment purging narrow procreation where pay in bound tackle take care Virginia / Shamirim bread / refined be called choosy wifehood liberally give morning debtor / slave own matter / every part started / at once barrel taste choose barrel / broach near practice please scarcely / covenant know toil faith offense / divert where completely given to work sang / alas fetched according to happy / glad chided / unmercifully lie about / careful unless go wrong dotard wherever / goes good clothes do you whisper tricks confident / fiend misfortune because / expense descent they say adulterer either kindness / favor slender according to hold everywhere longs for control willingly / hold wretch prudent hopes for lightning / leaking scoundrel times washbasin stools / household goods are / ornaments gaze call feast / the same want / dead property lock / money-chest enquire / it pleases cares heed / notice want / liberty plenty refuse clothes must much sings / house before / dawned caterwauling run / clothes ails bodyguards / know how unless it pleases them thrive / forth dear / shorten reckoned / misfortunes one / them barren / where burns burned just / destroy bound innocent / sufferings complain / wrong ruined grinds ceased quickly sickness scarcely thought / laid pretense given by nature / as long as boast cleverness complaint / grumbling especially pleasure payment folly whoever profit sat table requited raging lion purpose dear one / note kiss delicate long-suffering grumble all curse / unless fair / sweet enjoyment bereft because / if most sure _________________________________________________________________ Watch the online reality show Mixed Messages with a friend and enter to win a trip to NY http://www.msnmessenger-download.click-url.com/go/onm00200497ave/direct/01/ ========================================================================= Date: Mon, 14 Jun 2004 16:34:53 -0400 Reply-To: Kevin Walzer Sender: UB Poetics discussion group From: Kevin Walzer Subject: New WordTech poetry titles: Dooley, Harrison, Carbo, & more Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable WordTech Communications LLC has an exciting number of new poetry titles out= . Order online at the links provided with each book or send a check (add $5 for shipping and handling, payable to WordTech Communcications) to PO Box 541106, Cincinnati, OH 45254-1106. --- THE ZEN GARDEN by David Dooley (co-winner of the Yellowglen Prize) The polyphony of=A0voices in David Dooley's THE ZEN GARDEN, his first collection in nearly a decade,=A0demonstrates the touch of a masterful narrative poet working at the height of his powers. Dooley's poems, often resembling short stories more than lyrics, capture scenes and characters with nuanced skill. Dooley's work is nearly unique in contemporary American poetry. David Dooley is the author of two books from Story Line Press, THE VOLCANO INSIDE (winner of the initial Nicholas Roerich Prize) and THE REVENGE BY LOVE.=A0 A native of Tennessee, he currently resides in San Diego. "David Dooley's accomplishment...bespeaks the confidence of a magician who gives away the secret even as he performs the trick, certain we will be dazzled anyway."--Allen Hoey ISBN 1932339248, 124 pages, $16.00 Order by check or online at http://www.wordtechweb.com/dooley.html --- STEREOPTICON by Pamela Harrison STEREOPTICON is Pamela Harrison's first full-length collection. The cool elegance of her poems does not signify a detatchment from their subjects bu= t instead a cold, probing eye into their deep interiors. As with the stereopticon of her book's title, no dimension of her poetic subjects escapes Harrison's intent gaze. Pamela Harrison was named the PEN Northern New England Discovery Poet for 2002. Her work has appeared in a number of journals, including POETRY, SOUTHERN POETRY REVIEW, BELOIT POETRY JOURNAL, and elsewhere. "On the cards slipped into the old stereopticons were two separate images that were supposed to merge as you adjusted your eyes. Pamela Harrison infuses this metaphorical idea with the unique wisdom of her experiences in her rich collection of poems, Stereopticon. Stanza by stanza she shows us how each moment is alive with the past and the present, the cloaked and the revealed. The whole book shines with this blended magic, each poem worldly, yet fresh."=8B-Molly Peacock ISBN 193233923x, 92 pages, $16.00 Order by check or online at http://www.davidrobertbooks.com/harrison.html ----- THE FERTILE CRESCENT THE FERTILE CRESCENT, winner of the 2003 Lyre Prize, is John Repp's second full-length collection of poems. Its wry depictions of past and current experience, tinged both with the ache of regret and the joy of fulfilment, create a distinctive world of human connection. "John Repp's consciousness can seek out the most shabby and plastic of our 21st-century American details (where the month of June 'unwinds=8A/with all the happiness of management/creativity seminars') and can still report back to us through Zen-eyes that see how everything, from 'golf club [to] steam from a peach pie cooling,' is 'a petal/of the lotus.' And if 'the ward stan= k of piss and shit and state warehouse soap,' there's still a tender reverenc= e for 'the beauty/all about me, the beauty/in every syllable.' What a comprehensive collection of poems, heartfelt and smart about our human confusions!"=8B-Albert Goldbarth A widely published poet, fiction writer, and essayist, John Repp is the author of Thirst Like This (University of Missouri Press, 1990), which won the Devins Award in Poetry, and four limited-edition chapbooks. Recipient o= f a National Endowment for the Arts Creative Writing Fellowship and two Residency Fellowships at Yaddo, he teaches writing and literature at Edinboro University of Pennsylvania, works in the Arts-in-Education Program of the Pennsylvania Council for the Arts, and lives in Erie with his wife, Katherine Knupp, and their son, Dylan. ISBN 193233906x, 134 pages, $16.00 Order by check or online at http://www.cherry-grove.com/repp.html ----- ANDALUSIAN DAWN by Nick Carb=F3 ANDALUSIAN DAWN, Nick Carb=F3's third full-length poetry collection, is a lush, sensual collection of lyrics on interior and exterior landscapes. Man= y of the poems are drawn from the geographic and cultural backdrop of Spain, where the poet spent time on a writing residency; others are drawn from the more elusive well of history, biography, and literature itself. Andualusian Dawn is at once Nick Carb=F3's most ambitious collection and his most intimate, and establishes him as a major figure of his generation. "In ANDALUSIAN DAWN, Nick Carb=F3 creates a new, sweet language. This collection hums with tenderness, revelry, and pays special tribute to the importance of memory. Carb=F3 shows his extraordinary range with this, his newest collection, that will make you want to visit Andalusia and reimagine the geography of your heart's home." --Crystal Williams Nick Carb=F3 is the author of EL GRUPO MCDONALD'S (1995) and SECRET ASIAN MAN (2000), which won the Asian American Literary Award. He has edited two anthologies of PHILIPPINE LITERATURE: RETURNING A BORROWED TONGUE (1996) and BABAYLAN (2000). He also edited an anthology, Sweet Jesus (2002), with Denise Duhamel. Among his awards are grants in poetry from the NEA and NYFA (1999), and residencies from Fundacion Valparaiso (Spain), Le Chateau de Lavigny (Switzerland), the MacDowell Colony, and Yaddo. ISBN 1932339442, 80 pages, $16.00 Order by check or online at http://www.cherry-grove.com/carbo.html ---- Also available: A reissue of SECRET ASIAN MAN by Nick Carb=F3 SECRET=A0ASIAN=A0MAN is a hilarious and poignant look at the immigrant experience. Ang Tunay na Lalaki (Tagalog for "The Real Man") is the Filipin= o Marlboro Man, a macho and bare-chested endorser of gin. But when he finds himself in New York City and auditioning as a bit actor, disillusionment quickly sets in: he realizes he, an Asian man, will never be a sex symbol i= n America. Fortunately for him, adventure ensues. "I'm absolutely beguiled by this robust postmodern superfantasy, this shockingly trangressive anti-colonial yarn of sex, the city, and human-hearted Everyman, Ang Tunay na Lalaki, Secret Asian in New York who doesn't miss an American trick. Carb=F3 is a genius and a con-artist, a truthsayer and a sorcerer, a mensch and a perve-=8Bor is he? Who wrote this book, anyway? Strap yourself in. Inhale these poems." -=8BMaureen Seaton, IBSN 1932339639, 100 pages, $16.00 Order by check or online at http://www.cherry-grove.com/carbo-asian.html ---- THE LOGIC OF WINGS by Vanessa Haley THE LOGIC OF WINGS, Vanessa Haley's first collection of poems, sculpts memory into music through its careful, richly textured lines. Haley takes her time in setting each scene and unfolding her lyric narratives, and the result is poetry of unusual subtlety and cumulative power. Vanessa Haley has been a fellow at the Virginia Center for the Creative Art= s in Sweet Briar and was the first recipient of the John Haines Award for Poetry in 2001. Her poems have appeared in magazines and anthologies, including POETRY, THE GETTYSBURG REVIEW, KARAMU, THE ALASKA QUARTERLY REVIEW, THE HAMPDEN-SYDNEY REVIEW, READING POEMS: AN ANTHOLOGY OF POETRY (Random House), and POETRY FROM SOJOURNER: A FEMINIST ANTHOLOGY (Illinois). She lives in Wilmington, Delaware, where she is a psychotherapist. Prior to this, she was an associate professor of English at Mary Washington College in Fredericksburg, Virginia. "Haley welcomes the hope that accompanies death's inevitable pull 'toward a= n abstraction called light.' This is an authentic and courageous voice-=8Ba welcome addition to the stage of poetry."=8B-Carolyn Kreiter-Foronda ISBN 1932339086, 92 pages, $16.00 Order by check or online at http://www.cherry-grove.com/haley.html ---- INTERMISSA, VENUS by Nicole Pekarske The elegant poems of Nicole Pekarske's first collection INTERMISSA, VENUS pierce the heart of their subjects with visual precision and haunting, understated music. The rich scenes of these poems unfold greater depths in the reader's mind long after the page is turned. Nicole Pekarske has studied and taught in Maryland, Virginia, Missouri, and London, and has published poems in such journals as=A0GEORGIA REVIEW, GETTYSBURG REVIEW and RUE BELLA (UK). This is her first book-length collection.=20 "What a delight to come across a first book so accomplished and so varied, so willing to take on both formal concerns=A0(in the crown of sonnets), and dramatic personae (in the leper colony!), a book willing to treat the vagaries of the vegetable world and the travails of the individual psyche with the same acute and unflinching, analytic tools. Nicole Pekarske's work is informed by the Romantic poets, Keats most certainly, but also by the subversive wit of poets like cummings and O'Hara, and this unlikely marriag= e yields a powerful and unexpected pleasure."--Lynne McMahon IBSN 1932339116, 92 pages, $16.00 Order online or at http://www.cherry-grove.com/pekarske.html --- DEENEWOOD, A SEQUENCE by Arlene Swift Jones, winner of the 2003 Tales Poetr= y Prize In this taut multi-generational verse novel spoken in the voices of different family members, Arlene Swift Jones captures the tribulations and joys of lives rooted in a single place. This layered family chorus, singing in minor key, is unlike any other in contemporary poetry and is richly deserving of the 2003 Tales Prize for narrative poetry. "Like new blood to an old line, the vivid language, passionate intelligence and 'unshielded gaze' of Arlene Jones quicken to life the denizens of Deenewood in this fascinating saga of presiding ghosts, blighted bridal hopes, the emotional frost of martial men, monogrammed lives, objects that possess their owners. With lyrical power and a searing candor, these artful poems reveal the hidden interior of a disappearing world."--Eleanor Wilner ISBN 1932339167, 136 pages, $16.00 Order by check or online at http://www.turningpointbooks.com/jones.html ---- BILLY LAST CROW by J.P. Dancing Bear BILLY LAST CROW is a memorable sequence of poems about the struggles of its protagonist, a Native American, to make a life in a country in which he is as much foreign as native. Writing in clear, unadorned lines, J.P. Dancing Bear has created an entire life within these poems. "BILLY LAST CROW speaks to us about the darkness of life on a reservation and the search for identity and tradition while struggling to survive and break through the day-to-day patterns of alcohol, violence, and poverty=8B-th= e isolation in this wholly American-made landscape, which the white man had introduced into this spiritual terrain.=A0 It is a powerful work full of stor= y and heart and spirit.=A0 I was instantly pulled into its weave."=8B-Priscilla Lee J. P. Dancing Bear lives in Northern California. His poems have appeared i= n hundreds of publications including ATLANTA REVIEW, VERSE DAILY, THE NATIONA= L POETRY REVIEW, POETRY INTERNATIONAL, SEATTLE REVIEW, PERMAFROST, THE BALTIMORE REVIEW, ADIRONDACK REVIEW, CONTROLLED BURN, CLACKAMAS LITERARY REVIEW, RATTLE, NEW YORK QUARTERLY, SLIPSTREAM, PEARL, THE MONTSERRAT REVIEW; BORDERLANDS: TEXAS POETRY REVIEW and elsewhere. He is a founding editor of DISQUIETING MUSES and was the Editor-in-Chief of DISQUIETING MUSES/DMQ REVIEW for five years.=A0 He is now the editor of THE AMERICAN POETRY JOURNAL. Dancing Bear is the author of several chapbooks including WHAT LANGUAGE, won the 2002 Slipstream Press Poetry Prize. Dancing Bear's poems have been nominated four times for Pushcart Prizes. He is the host of "Out of Our Minds" a weekly radio show for public radio station KKUP featuring some of today's best contemporary poets. ISBN 1932339213 , 92 pages, $16.00 Order by check or online at http://www.turningpointbooks.com/bear.html --- FABLES FROM THE ARK by Kurt Brown, winner of the 2003 CustomWords Prize FABLES FROM THE ARK, Kurt Brown's third full-length collection of poems, is the winner of the 2003 CustomWords Poetry Prize. Written in spare, understated lines, the book is a collection of darkly humorous retellings o= f myth and mock narratives that immerse the reader in a deeper sense of the fragility of human history and culture. Like the animals that board the ark= , we could be swept away at any minute--or not. On the edge of that question, humanity lives out its life. Kurt Brown was born in Brooklyn, New York and grew up on Long Island and in Connecticut where he attended the University of Connecticut. He spent many years in Aspen, Colorado, where he founded the Aspen Writers' Conference an= d edited a literary magazine, ASPEN ANTHOLOGY. His poems have appeared in SOUTHERN POETRY REVIEW, MASSACHUSETTS REVIEW, PLOUGHSHARES, HARVARD REVIEW, CRAZYHORSE, and many other periodicals. He is the editor of DRIVE, THEY SAID: POEMS ABOUT AMERICANS AND THEIR CARS, and VERSE & UNIVERSE: POEMS ABOUT SCIENCE AND MATHEMATICS, as well as a collection of essays about science and mathematics, THE MEASURED WORD. With his wife, poet Laure-Anne Bosselaar, he edited NIGHT OUT: POEMS ABOUT HOTELS, MOTELS, RESTAURANTS AND BARS. He is also the editor of three collections of lectures given at writers' conferences across AMERICA: THE TRUE SUBJECT, WRITING IT DOWN FOR JAMES, and FACING THE LION. His two previous collections, MORE THINGS IN HEAVEN AND EARTH (2002) and RETURN OF THE PRODIGALS (1999) were published b= y Four Way Books.=A0 He lives with his wife in New York City. "Aesop, Pessoa, a little Voltaire, some Dr. Wuchsal, Kurt Brown's tri-axial collection offers up a tri-cornered playground;=A0 you can enter the ark of one and go be with the animals of Brown's mind; you can visit with Rita (ou= r dog is Rita, who knew she harbored such deepening kingdoms); you can meet T=E1dj=E8ck, if T=E1dj=E8ck exists he's the one Brown might allow as how who wrote the other two playgrounds. We can't be sure. We? I wonder. Who's that? Some place in FABLES FROM THE ARK there might be a hint."=8B-Dara Wier ISBN 1932339175, 88 pages, $16.00 Order by check or online at http://www.custom-words.com/brown.html ---- EPICENTER by Wendy Wisner The dark narrative sketched out in these graceful lyric poems immerses yet distances the consciousness, like an impressionistic painting, slightly blurred at the level of detail but made ever richer at the level of feeling= , of emotion. Wendy Wisner's EPICENTER is a remarkably composed (in many senses of that word) first collection of poems and establishes her as a poe= t to follow.=20 Wendy Wisner teaches writing at Hunter College, where she received her MFA in poetry. She was the recipient of an Academy of American Poets Prize and the 2003 Amy Award. Her poems have appeared in RUNES, SOJOURNER, 5AM, MAIN STREET RAG, and other journals. She lives in Brooklyn with her husband. "Wendy Wisner's assured first book finds at the core of family both unease and=A0 tenderness. Her best poems possess a strange interiority that makes them feel lit from within."-- Mark Doty "I am thrilled and moved by Wendy Wisner=B9s EPICENTER.=A0 I want to invent ne= w words to herald the emergence of this wonderful young poet.=A0 She is delicate, but never dainty; she is exquisitely sensitive to the nuances of feeling that constitute our inner life, but never hermetic.=A0 These poems, one after the other, take my breath away and give breath back to me.=A0 What = a great gift this book is."--Jan Heller Levi IBSN 1932339159, 80 pages, $16.00 Order by check or online at http://www.custom-words.com/wisner.html --=20 Kevin Walzer, Ph.D. Editor WordTech Communications - A New Paradigm of Poetry http://www.wordtechcommunications.com ========================================================================= Date: Mon, 14 Jun 2004 14:04:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: SPT's Poets Theater 05 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Traffic's Poets' Theater Jamboree 2005 is in the planning stages at present. This is a community event as well as an important fundraiser for us. If you are interested in being involved, please read all about it at http://www.sptraffic.org/html/news_rept/jambcall.html Thanks! 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, 14 Jun 2004 16:40:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: announcing Mad Love in Miami Sun Post MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Nice story Michael. -Joel ----- Original Message ----- From: "Michael Rothenberg" To: Sent: Monday, June 14, 2004 8:53 AM Subject: announcing Mad Love in Miami Sun Post > announcing > > > MAD LOVE > > The SunPost Arts Journal > > June 2004 > > Edited by Tony Guzman > > Design & Layout by Simone Fong & Maria Saenz > > > > If you live in the Miami, Florida area look for the once-a-month insert "Mad Love" in the Miami Sun Post. Contributors to the current issue include. ANNE WALDMAN, JOANNE KYGER, LARRY KEARNEY, DAVID MELTZER, GLORIA FRYM, LARRY SAWYER, CLAUDIA GRINNELL, PETRA BACKONJA, ANDREW LUNDWALL & JEANNIE SMITH, IAN RANDALL WILSON, TONY GUZMAN and MICHAEL ROTHENBERG. If you don't live in Miami, you can see the issue online at: http://www.miamisunpost.com/madlove-plaintext.htm > > > > > > > > > > Michael Rothenberg > walterblue@bigbridge.org > Big Bridge > www.bigbridge.org ========================================================================= Date: Mon, 14 Jun 2004 16:48:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "D. Ross Priddle" Subject: REMEMBER! (a book) by Jim Leftwich & Friends MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII http://www3.telus.net/van364/REMEMBER.htm -- ========================================================================= Date: Mon, 14 Jun 2004 19:18:24 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit don't mock the great Ray Charles & Ron Reagan lie in state good or bad each gave what he had the equal i add to my iced speed tastes sweet.... sun down... 10th st...'tween Franz Kline's house & St. Mark's...bird song...drn... ========================================================================= Date: Mon, 14 Jun 2004 23:36:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: now for then MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII now for then http://www.asondheim.org/1969.mp3 http://www.asondheim.org/1971.mp3 http://www.asondheim.org/1973.mp3 http://www.asondheim.org/1974.mp3 1927 martin tenor guitar recorded in stairwell _ ========================================================================= Date: Mon, 14 Jun 2004 20:26:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jessea Perry Subject: 580 Split: Call for work Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit 580 SPLIT, an annual journal of arts and literature, seeks innovative art, fiction, and poetry for our 2005 issue. Submission guidelines are below. Thanks, Jessea Perry Poetry Editor ________________________________ 580 SPLIT poetry | prose | b/w photography reading period: July 1 through November 1 (Please note, any submissions received outside of the reading period will be returned unread.) -->>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. 580 Split Mills College P.O. Box 9982 Oakland, CA 94613-0982 ========================================================================= Date: Tue, 15 Jun 2004 01:18:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schlesinger Subject: Fw: JUNE 15 DEMOS AGAINST GRAND JURY IN CAE "BIOTERROR" CASE Comments: To: corel MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable PROTEST TO DEMAND AN IMMEDIATE END TO THE INVESTIGATION OF STEVE KURTZ AND THE CRITICAL ART ENSEMBLE WHEN: 9 AM, June 15, 2004 WHERE: Niagara Square, Buffalo, New York, near the courthouse (see "Driving Directions" below for map) PLEASE CIRCULATE THIS CALL AS WIDELY AS YOU CAN. Check http://caedefensefund.org/demonstration.html for updates. For background, please visit http://caedefensefund.org/overview.html and http://caedefensefund.org/press.html. For PDFs of signs that you can print out, please visit http://caedefensefund.org/demonstration.html#signs For information on June 15 protests in Amsterdam, San Francisco, London and Paris, please visit http://caedefensefund.org/demonstration.html#world SUPPORT FREE SPEECH AND FREEDOM OF KNOWLEDGE Critical Art Ensemble (CAE) is a collective of internationally recognized artists who work in public, educational, academic and art contexts. For the past few years, their principal aim has been to help the general public to understand biotechnology. By making scientific research accessible to laypeople through participatory performance experiences, CAE aims to demystify what is safe and clarify what is dangerous about today's biotech industry. CAE always undertake their work in a safe and considered way. The materials they use are strictly non-hazardous, can be legally obtained by anyone, and are commonly found in undergraduate-level biology labs. For more on CAE's projects and the biological agents and equipment they work with, please visit http://www.caedefensefund.org/. A federal grand jury will convene on June 15 in Buffalo, New York, to consider bioterrorism charges brought by the Joint Terrorism Task Force against CAE member and University at Buffalo professor Steve Kurtz. The grand jury is the latest installment in a bizarre investigation in which members of the Joint Terrorism Task Force seem to have mistaken CAE's latest art project for a biological weapons laboratory. According to the subpoenas served to at least seven artists, the charges fall under Section 175 of the US Biological Weapons Anti-Terrorism Act of 1989, which has been expanded by the USA PATRIOT Act to prohibit the possession of "any biological agent, toxin, or delivery system" without the justification of "prophylactic, protective, bona fide research, or other peaceful purpose" (http://caedefensefund.org/faq.html#law). Those served with subpoenas include two founding members of CAE (Steven Barnes, Dorian Burr, Beverly Schlee), two artists who have collaborated with CAE (Beatriz da Costa, Paul Vanouse), and at least two other artists. Many worry that the case could set a dangerous precedent by silencing a group of artists for work that stimulates vital public discussion. Many feel that with this case and others, the government is wildly overreaching its mandate to protect the public from terrorism. "Groups like CAE stimulate the public debate that is necessary to a healthy democracy," said Claire Pentecost, an artist who has collaborated with CAE in the past. "This isn't a case of one artist fighting for the freedom to express him or herself with images or speech that some of the public might find offensive. This is a case of a group of artists using performance to educate the public on issues that affect all of us in our daily lives. The government's actions suggest a criminalization of a citizen's right to acquire knowledge by completely legal means. This goes to the very heart of democracy." A number of other recent cases suggest that that the PATRIOT Act and other recent "security" measures have made freedom of speech increasingly fragile in the U.S. A list of such cases will be available shortly at http://www.caedefensefund.org/ ABOUT THE DEMONSTRATION: Please bring signs and banners if you can (see http://caedefensefund.org/demonstration.html#signs). This is a peaceful demonstration. As in all demonstrations, it's best to bring personal identification (driver's license, passport, student id, proof of address, etc.). Let someone know where you're going to be. Stick with a buddy. DRIVING DIRECTIONS: From Interstate 90 take 33W into downtown all the way to the end. It will put you onto Oak St. Continue on Oak for 2 long blocks to Broadway. Go right on Broadway which runs right into Court St. The first square is Lafayette and then comes Niagara Square. There are paid parking lots all around this downtown area. Information on possible housing will be on the website shortly. http://mapquest.com/maps/map.adp?address=3D99+Court+St.&city=3DBuffalo&st= ate=3DNY -- (MAKE SURE TO CUT BELOW LINES OFF WHEN FORWARDING, or your personal profile will become known to everyone.) To edit your profile or unsubscribe from mailings, please visit http://rtmark.com/caedefense/dblist/prof.php?e=3Dks46@buffalo.edu&x=3D764= 639698 ========================================================================= Date: Mon, 14 Jun 2004 23:01:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Nancy Reagan, and the humor of Ronnie In-Reply-To: <1087174000.40ccf570b5450@webmail.sfsu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At cock's crow, Max, at cock's crow. The next sound you hear will be the rolling away of the stone. At 05:46 PM 6/13/2004, you wrote: >I thought a "cowboy" such as he might rise more quickly. > >Quoting Mark Weiss : > > > My timing may be off, Maxine. Wasn't he buried just yesterday? Which means > > he doesn't rise till Tuesday. > > > > Unless somebody remembered to put a stake through his heart, of course. > > > > I imagine that the former presidents at the Cathedral were taking notes of > > does and don'ts for their own obsequies. > > > > Mark > > > > At 11:07 AM 6/13/2004, you wrote: > > >Speaking of the Prince of Peace, I've been waiting all weekend for Ronnie > > to > > >rise from the dead. Maxine Chernoff > > > > > >Quoting Stephen Vincent : > > > > > > > I cant say how many therapist friends I have spoken to this week who > > have > > > > described the amount of Reagan nausea that has come into their offices. > > I > > > > don't want to think this is a purely California experience though our > > > > memories of this red baiting, race baiting, anti-University, > anti-public > > > > support of anything Governor do go back further than the list of things > > he > > > > did for the benefit of the national corporate dribble up rich and the > > right > > > > wing (though he brought many of his California cronies - Ed Meese and > > Cap > > > > Weinberger - among them to Washington.) Instead of Iraq being 45 > minutes > > > > away from bombing the USA and Europe into oblivion it was those > > Communist > > > > Sandanista's who were a 90 minute or whatever drive from wiping out > > Texas. > > > > Of course, many of the sons of Ron - Negroponte, etc. - in Bush's > brains > > > > today. > > > > > > > > So we get the funeral with the 300 page Reagan Estate manual in > which ex > > > > Senator Danforth (who brought us all on his prayer full knees the > > Supreme > > > > Court appointment of Clarence Thomas) is the minister, capped off by > > Maggie > > > > Thatcher's elevation of Ronnie to the Prince of Peace, doing everything > > but > > > > making the claim that our actor had become Jesus reclaimed. > > > > > > > > Of course the Bush Administration supported and maximized the final > > > rites in > > > > which they (too) could be immersed in this do no wrong to no man > > Christian > > > > halo - don't we all look beautiful in the radiance of God. Which was - > > at > > > > least from this perspective - one hell of a way to put a religious > > missile > > > > shield between this leadership and the ever growing, transparent > > > > relationship to the torture of prisoners in Quantanamo, Iraq and > > > > Afghanistan. Of course, those aren't Christians and so, what say, not > > to > > > > worry. > > > > Personally, if I were them - looking at the polls, let alone the > > > > investigations - I would be worrying a lot. > > > > > > > > Please excuse my rant, but what an ill making week! > > > > > > > > Stephen Vincent > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > Now that Nancy Reagan has become our national Queen Godmother, a few > > > notes > > > > > for those not old enough to remember. > > > > > > > > > > Ronnie and Nancy presented themselves as the embodiment of American > > > family > > > > > and moral values. She was, however, pregnant when they got > married. No > > > > > scandal there except for the hypocricy. > > > > > > > > > > The first act of Ronnie's adminsitration was Nancy ordering a couple > > of > > > > > hundred thousand dollars of new tableware for the White House. A > small > > > > sum, > > > > > but at the time, during a recession, and at the debut of a > > self-declared > > > > > fiscal conservative, it seemed anodd symbol. > > > > > > > > > > It's the custom of First Ladies to wear in public the creations of > > > > American > > > > > couture houses, to advertize the industry. The couturiers lend them > > for > > > > the > > > > > purpose--the gowns usually go for many thousands. Nancy decided > not to > > > > > return them, until there was a public outcry from the industry. > > > > > > > > > > Ronnie's appointment schdule was determined by Nancy's astrologer. > > > > > > > > > > Now to the presidential humor. George Bush Sr. got a laugh at the > > > > cathedral > > > > > when he recounted that he asked Ronnie how a meeting had gone with > > South > > > > > African Bishop Tutu. "Soso," Ronnie answered. Of course at the > meeting > > > > Tutu > > > > > pleaded with Ronnie to have the US join the rest of the world's > > > > democracies > > > > > in imposing sanctions on the South African apartheid regime. To no > > avail. > > > > > Does this add to the humor? > > > > > > > > > > Mark > > > > > > ========================================================================= Date: Tue, 15 Jun 2004 02:00:28 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit valda snubs me 'hello ada' i say after 30 yrs half an hour & half a tube of lubricant later two fingers deepining each hole i turn u over & ride hard home what use for old women... 3:00...humid nite..w/o covers...wet dreams...drn... ========================================================================= Date: Tue, 15 Jun 2004 04:40:54 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: Fw: Unlikely 2.0 is finally up MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Unlikely 2.0 has finally been released. Not merely a literary magazine, it is a magazine of arts and culture featuring socioeconomicpoliticocultural (I'm really smart and made that word up) commentary, fiction and nonfiction, poetry, short Internet movies, visual art, and music available for free download. The premiere or possibly premier or even première issue includes: essays by Tom Bradley, Luke Buckham, Norman A. Ruben, Robert Levin, and Jonathan Penton the continued adventures of A Sardine on Vacation an interview of August Highland by Aryan Kaganof reviews of movies and e-books by Pablo Sibs and T. S. Ross some truly disturbing memoirs by Dan Schneider and Annie McMillen Vernon Frazer's complete novel, "Commercial Fiction" a one-act play by B. Z. Niditch short stories by Jessica Schneider and Drew Allen poetry by Shane Allison, Belinda Subraman, Donna Snyder, Steve Caratzas, John Bryan, Cherie DeGennaro and Joja three songs available for download from the Austin fusion band, Cocentric visual art by Scott Brennan and Flash movies by Dan Meth and Alek Wasilewski The site also includes a hugely enhanced bulletin board and store. The site design is completely new, and bug reports will gratefully be received. It is a multimedia site, and probably won't work right on machines older than five years or so. We are open for all sorts of submissions until future notice. We strongly suggest reading our guidelines. If your friends don't dance, then they ain't no friend of mine. -- Jonathan Penton http://www.unlikelystories.org ========================================================================= Date: Tue, 15 Jun 2004 09:40:44 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: wild honey press Subject: New from Wild Honey Press MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Apologies for cross posting. I'm delighted to announce publication of the following chapbooks: Three-Legged-Dog by Caitriona O'Reilly and David Wheatley (http://www.wildhoneypress.com/BOOKS/tld.htm) Struggle and radiance: ten commentaries by Jill Jones (http://www.wildhoneypress.com/BOOKS/Struggle.htm) and The Rothenberg Variations by Pierre Joris. (http://www.wildhoneypress.com/BOOKS/roth_var.htm) images of the books, biographical notes and links, and extracts can be = found at the links above. Each of these chapbooks costs euro 5 / STG 3.50 / USD 5. Subscribers copies are in the post. If you're broke but interested bc me. best wishes Randolph Healy Wild Honey Press ========================================================================= Date: Tue, 15 Jun 2004 08:10:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: New from Wild Honey Press Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline Congratulations Randolph -- I hope I'm still a subscriber, if not I'll re-subscribe. This lot sounds great. Mairead www.maireadbyrne.blogspot.com >>> poetry@WILDHONEYPRESS.COM 06/15/04 07:31 AM >>> Apologies for cross posting. I'm delighted to announce publication of the following chapbooks: Three-Legged-Dog by Caitriona O'Reilly and David Wheatley (http://www.wildhoneypress.com/BOOKS/tld.htm) Struggle and radiance: ten commentaries by Jill Jones (http://www.wildhoneypress.com/BOOKS/Struggle.htm) and The Rothenberg Variations by Pierre Joris. (http://www.wildhoneypress.com/BOOKS/roth_var.htm) images of the books, biographical notes and links, and extracts can be found at the links above. Each of these chapbooks costs euro 5 / STG 3.50 / USD 5. Subscribers copies are in the post. If you're broke but interested bc me. best wishes Randolph Healy Wild Honey Press ========================================================================= Date: Tue, 15 Jun 2004 09:21:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Re: announcing Mad Love in Miami Sun Post MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit many thanks Joel. MR ----- Original Message ----- From: "Joel Weishaus" To: Sent: Monday, June 14, 2004 7:40 PM Subject: Re: announcing Mad Love in Miami Sun Post > Nice story Michael. > > -Joel > > > ----- Original Message ----- > From: "Michael Rothenberg" > To: > Sent: Monday, June 14, 2004 8:53 AM > Subject: announcing Mad Love in Miami Sun Post > > > > announcing > > > > > > MAD LOVE > > > > The SunPost Arts Journal > > > > June 2004 > > > > Edited by Tony Guzman > > > > Design & Layout by Simone Fong & Maria Saenz > > > > > > > > If you live in the Miami, Florida area look for the once-a-month insert > "Mad Love" in the Miami Sun Post. Contributors to the current issue include. > ANNE WALDMAN, JOANNE KYGER, LARRY KEARNEY, DAVID MELTZER, GLORIA FRYM, LARRY > SAWYER, CLAUDIA GRINNELL, PETRA BACKONJA, ANDREW LUNDWALL & JEANNIE SMITH, > IAN RANDALL WILSON, TONY GUZMAN and MICHAEL ROTHENBERG. If you don't live in > Miami, you can see the issue online at: > http://www.miamisunpost.com/madlove-plaintext.htm > > > > > > > > > > > > > > > > > > > > Michael Rothenberg > > walterblue@bigbridge.org > > Big Bridge > > www.bigbridge.org > ========================================================================= Date: Mon, 14 Jun 2004 03:41:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Nancy Reagan, and the humor of Ronnie MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit oh the wing what fun we had here in the down yard here in the down here we sank(G) & ALL was in the singin(K)g ========================================================================= Date: Tue, 15 Jun 2004 11:34:34 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit the other night i went to hear Mark Rudd read from his memoir about his days with the SDS and the Weather Underground. granted, he was reading from a memoir, and the audience was interested in discussing the gold old days, as was Rudd. but i had assumed (assumed wrong) that there would be at least SOME discussion about the world now, about Iraq, about the Patriot Act, etc. the place was packed, mostly middle aged folks, smiling, and wanting to share their own stories about marching, about the various orgies they had participated in, and of course, what kinds of drugs they took, which drugs they liked, and which ones they didn't like so much. it was SO fucking boring! finally i got my chance to ask Rudd what he thinks --with all his experience-- our actions should be to fight this new American war? he gave some disappointing answer about how the people of this country are waking up, blah blah blah. he didn't really answer the question, especially when i rephrased it saying that i asked this with keeping in mind the fact that many of his former Weathermen comrades believe that the Peace Movement did nothing to stop the war in Vietnam, in fact, was it Bill Ayers(?) who said that while the Peace Movement was in full swing with more than a million marching on DC, that the war only escalated. i believe Chris Stroffolino once posted something on this list stating that Bruce Andrews had written something to a similar conclusion? maybe i'm wrong about this. anyway, i rephrased the question with this, and the information that Rudd himself, as well as Bernadine Dorn are now full of regrets for what they had done. and, with all this in mind, what does he say our actions should be. he literally rephrased his previous answer with even more exclamatory delight that people are waking, and not going to let this become another Vietnam. a young woman who was also irritated (visibly so) by Rudd's inability to talk about Iraq directly, stood up and said, "you didn't have the Patriot Act in 1970. In fact, don't you agree that the Patriot Act is in effect a preemptive strike against the American public, to shut us up and shut us down before a general despair turns the tide against this war?" frankly, i forget what the hell he said. he did agree with her, but didn't have much to add. i am glad i went to this event however, so that i can stop thinking that there's a possibility that these people have anything new to share in the fight against this war, and all this war stands for. if anything, they were an amazing bunch of people who stood up when they were younger, despite whether what they did was right or wrong, and their stand, and their amazing courage is an emblem to inspire. but not something to replicate, if their present lives are an obivous outcome for such actions. CAConrad http://phillysound.blogspot.com ========================================================================= Date: Tue, 15 Jun 2004 09:36:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: 580 Split: Call for work MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I must say, I shouldn't say, but I'll still say that I find this tiring. I'm talking about any publication that doesn't accept, encourage, e-mail, attached, submissions. Make copies, address envelopes, find stamps, go to Post Office with your double-spaced pages, SASE, etc., e.g., keep your art within our specs. This is for "innovative" art? Not of _this_ century. -Joel ----- Original Message ----- From: "Jessea Perry" To: Sent: Monday, June 14, 2004 8:26 PM Subject: 580 Split: Call for work > 580 SPLIT, an annual journal of arts and literature, seeks innovative > art, fiction, and poetry for our 2005 issue. > > Submission guidelines are below. > > Thanks, > Jessea Perry > Poetry Editor > > ________________________________ > 580 SPLIT > > poetry | prose | b/w photography > > reading period: July 1 through November 1 > > (Please note, any submissions received outside of the reading period will be > returned unread.) > > -->>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. > > 580 Split > Mills College > P.O. Box 9982 > Oakland, CA 94613-0982 ========================================================================= Date: Tue, 15 Jun 2004 14:17:29 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: wild honey press Subject: Re: New from Wild Honey Press MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit thanks mairead, they're on their way. BTW have you seen this letter which appeared in the Irish Times today? I append it below. best Randolph DOCUMENTARY ON KAVANAGH Madam, - We are making a docmentary film about the Irish poet Patrick Kavanagh to mark the centenary of his birth. The film is to be a celectration of Kavanagh's life in poetry. It will be a wonderful opportunity to record personal reminiscences and uncover personal archive the poet. We would be delighted to hear from anyone who has stories, memories or film or photographic material about Kavanagh. - Yours, etc., SONY GILDEA, Loopline Film, 106 Baggot Lane, Dublin 4. info@loopline.com ========================================================================= Date: Tue, 15 Jun 2004 10:05:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Bloomsday Query?? In-Reply-To: <001f01c452e2$f85f53e0$aa3b869f@computer> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Given tomorrow is B day - and this country (USA) is going practically overboard with U readings (two in San Francisco), a big fancy NY one all night in a theater with a nom nom cast of readers (to be played worldwide over the net, by the way, on Pacifica stations), and who knows where else with a Google search, it makes me want to ask an 'avant' question: has any theater group or performance artist chez Dublin ever done a piece re-enacting the time when Borjes was invited for B day and got forgot in his hotel room for the duration (as the story was retold to me yesterday). It sounds like a perfecting setting for a Beckett set-up a la Waiting for G. Does anyone know the year that this happened, where it is retold in print?? An Argentenian writer, Carlos Suares, was telling me the story here in SF. A relative of Borjes - tho his father (a cousin of B) was an Anarchist-Syndicalist - there was a family sense at the time that this was appropriate punishment for B who was considered politically conservative! Stephen V Blog: http://stephenvincent.durationpress.com > thanks mairead, they're on their way. > > BTW have you seen this letter which appeared in the Irish Times today? I > append it below. > > best > > Randolph > > DOCUMENTARY ON KAVANAGH > > Madam, - We are making a docmentary film about the Irish poet Patrick > Kavanagh to mark the centenary of his birth. The film is to be a > celectration of Kavanagh's life in poetry. It will be a wonderful > opportunity to record personal reminiscences and uncover personal archive > the poet. We would be delighted to hear from anyone who has stories, > memories or film or photographic material about Kavanagh. > > - Yours, etc., > SONY GILDEA, > Loopline Film, > 106 Baggot Lane, > Dublin 4. > info@loopline.com ========================================================================= Date: Tue, 15 Jun 2004 10:17:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: Mark Rudd is a Dudd In-Reply-To: <1ea.2300c517.2e00710a@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Craig, As someone who knows Rudd and the others you mention -- and who participated in much of the same politics -- I'd like to make a few comments in response. Your response to Rudd and the others at the book event reminds me of our own response to the CP and other Old Left stalwarts at their events during the 60s. They seemed so old and irrelevant, out of touch with the realities, still stuck in the Flint sit-down strike, and while no one knew officially about COINTELPRO conspiracies to marginalize and kill off Black Panthers and others, we felt it in our bones and suspected that the old leftists did not. We went on without them. You will too. We can argue the value of this. Rudd makes a point of not trying to talk in details about contemporary opposition because he does not feel he should be doing that, that he does not want to pontificate or be seen as a leader, and this may be why he seemed to be waffling to you. He actually was a leader during the Columbia strike in 1968 -- but he was promoted by the media into a new Che so much that he has spent the rest of his life untangling himself from the media image and trying to remove himself from being seen as a leader. In the Weatherman film, he says how much shame he feels. I've had an extended conversation with him about this. In my opinion, grievous mistakes were made, but when middle-class kids who do not know what they are doing are lifted by historical trends they barely understand in order to challenge the greatest power in the world -- well, I'm not ashamed. In my opinion, feeling ashamed is just another subjective response, akin to the militarist ones thirty-five years ago, and it's time to look at the whole experience as a part of America's radical legacy. Allen Ginsberg accused the left of immaturity during the 1968 elections -- that it was important to elect Humphrey over Nixon but that fantasies of revolution overcame people and Nixon won by a hair. Conditions for revolution or more progressive change would have been more favorable if Humphrey had won. This is probably true, in my retrospective opinion. The anti-war movement was incredibly powerful -- and SDS was a mass, radical student organization that could have sustained that movement and broadened it to other issues, if it hadn't split apart over radical politics. The anti-war movement -- and the left generally -- did succeed in many aspects of social revolution that I know students I work with today take for granted, from "the Vietnam Syndrome" to Title IX. But, still, 1968 was incomplete, stymied. The core of the anti-war movement was the Vietnamese themselves -- no matter how many Americans took to the streets, without their stubborn resistance, the machinery of empire would still roll on. My point: don't overemphasize the role of the left, but don't under-emphasize it either. These are just some desultory thoughts. More, obviously, needs to be said. Hilton Obenzinger At 11:34 AM 6/15/2004 -0400, Craig Allen Conrad wrote: >the other night i went to hear Mark Rudd read from his memoir >about his days with the SDS and the Weather Underground. > >granted, he was reading from a memoir, and the audience was >interested in discussing the gold old days, as was Rudd. but >i had assumed (assumed wrong) that there would be at least >SOME discussion about the world now, about Iraq, about the >Patriot Act, etc. > >the place was packed, mostly middle aged folks, smiling, and >wanting to share their own stories about marching, about the >various orgies they had participated in, and of course, what >kinds of drugs they took, which drugs they liked, and which ones >they didn't like so much. it was SO fucking boring! > >finally i got my chance to ask Rudd what he thinks --with all his >experience-- our actions should be to fight this new American >war? he gave some disappointing answer about how the people >of this country are waking up, blah blah blah. he didn't really >answer the question, especially when i rephrased it saying that >i asked this with keeping in mind the fact that many of his former >Weathermen comrades believe that the Peace Movement did >nothing to stop the war in Vietnam, in fact, was it Bill Ayers(?) who >said that while the Peace Movement was in full swing with more >than a million marching on DC, that the war only escalated. > >i believe Chris Stroffolino once posted something on this list >stating that Bruce Andrews had written something to a >similar conclusion? maybe i'm wrong about this. > >anyway, i rephrased the question with this, and the information >that Rudd himself, as well as Bernadine Dorn are now full of >regrets for what they had done. and, with all this in mind, what >does he say our actions should be. he literally rephrased his >previous answer with even more exclamatory delight that people >are waking, and not going to let this become another Vietnam. > >a young woman who was also irritated (visibly so) by Rudd's >inability to talk about Iraq directly, stood up and said, >"you didn't have the Patriot Act in 1970. In fact, don't you agree >that the Patriot Act is in effect a preemptive strike against the >American public, to shut us up and shut us down before a general >despair turns the tide against this war?" > >frankly, i forget what the hell he said. he did agree with her, but >didn't have much to add. > >i am glad i went to this event however, so that i can stop thinking >that there's a possibility that these people have anything new to >share in the fight against this war, and all this war stands for. >if anything, they were an amazing bunch of people who stood >up when they were younger, despite whether what they did was >right or wrong, and their stand, and their amazing courage is an >emblem to inspire. but not something to replicate, if their present >lives are an obivous outcome for such actions. > >CAConrad >http://phillysound.blogspot.com ------------------------------------------------------------------------------- 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: Tue, 15 Jun 2004 12:29:31 -0400 Reply-To: Kevin Walzer Sender: UB Poetics discussion group From: Kevin Walzer Subject: Cleaning up our list Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear poets, It's come to our attention that a number of you are getting multiple copies of our e-mails. This is likely because because you have registered for submission notification from more than one of our imprints. We have fixed this problem by consolidating all of our imprint lists into a single, larger list. We have updated our websites to reflect the new organization. In the future, you will only receive one e-mail if you are on our list. Also, if you subscribe at one of our imprints and are already on the list, our mail server will send you a notice saying so, and your address will not be added multiple times. We have also set up an "unsubscribe" address that will automatically remove you if you wish. Please see the instructions at the bottom of this e-mail. We regret any inconvenience this problem may have caused you. Sincerely, Kevin Walzer, Ph.D. Editor WordTech Communications - A New Paradigm of Poetry http://www.wordtechcommunications.com To unsubscribe from this list, send an e-mail to unsubscribe_poetry@wordtechcommunications.com. ========================================================================= Date: Tue, 15 Jun 2004 10:47:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: query In-Reply-To: <20040611140842.54077.qmail@web11309.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Can anyone tell me back-channel about publishers who look at innovative or experimental fiction? ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? Yahoo! Mail is new and improved - Check it out! http://promotions.yahoo.com/new_mail ========================================================================= Date: Tue, 15 Jun 2004 13:59:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain More desultory remarks: I recall sitting in a room in DC listening to Bill Ayers before the Chicago Days of Rage and thinking to myself that these guys HAD to be police agents -- I only finally relinquished that suspicion when, after the Weather people had gone underground, the FBI routinely came by the house where I was living showing us photos of Rudd, Ayers, Angela Davis etc. asking if we'd seen them (while another agent tried to go through the mail laying on a nearby table inconspicuously) [and by the way, our response generally was -- "Wow, I just saw that guy at 7-11 last night!] upshot, 30 years ago and more I had given up hope of getting anything useful from the Weather folk, and nothing in their subsequent histories ever gave me cause to revise that opinion -- Each HAD done something worthwhile in the past, but by the late sixties they were well past any sensible anaylsis or theory -- let alone practice -- which is NOT to say that we don't have much still to learn from studying their experiences -- and no, they didn't have the PATRIOT ACT then -- the police simply rounded people up, abused them, broke into their private files etc, without bothering to pass laws permitting them to do so -- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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: Tue, 15 Jun 2004 14:33:31 -0400 Reply-To: waldreid@earthlink.net Sender: UB Poetics discussion group From: waldreid@EARTHLINK.NET Subject: seeking "Poets for Pets" in Boston area Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable The MSPCA=E2=80=93Angell Walk for Animals will take place on Sunday, Octobe= r 17, 2004, at 10:00 a.m., on the Boston Common. Walk =E2=80=9Cteams=E2=80=9D (= humans walking dogs) solicit supporters to make pledges, as is usual with this sort of fundraiser. I want to have a team called =E2=80=9CPoets for Pets,=E2=80=9D= and am looking for Boston area writers to join in. It=E2=80=99s a really fun event, and w= e are expecting over 2000 walkers this year. We can make a banner, decorate ourselves and the dogs, whatever we want. This is an early call; details will be available soon. Anyone interested, please BACKchannel to dwald@mspca.org. You don=E2=80=99t have to have a dog to be on the team, b= ut we do need a few folks with pooches! And other kinds of writers or non-poets are more than welcome too. Thanks, Diane Wald ========================================================================= Date: Tue, 15 Jun 2004 14:40:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Re: query MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Kazim, I am front channeling b/c I think it's an important question. Here goes: City Lights Coffee House Press FC2 (Fiction Collective 2) Soft Skull Krupskaya, _Microclimates_ by Taylor Brady is good Subpress did kari edwards' _a day in the life of p_ I am not sure about how you want to deal with genre/not genre.. Atelos did Pamela Lu's _Pamela: A Novel but I don't know how much they 'look' as already have titles, according to text in back of their books Tender Buttons did Dodie Bellamy's _Cunt Ups_ fiction, not fiction, ? oh genre, my drudge Laynie Browne has a "novel" I seem to remember as experimental/innovative called _Acts of Levitation_ but I can't remember who published it. Possibly City Lights Also Grove has put out lots- Burroughs, Acker, Dagoberto Gilb's _Woodcuts of Women_ (not so innovative but a beautiful book so innovative from a design point of view) Vintage puts out Carson and Ondaatje.. (I know these are less what you mean, but..) Graywolf publishes interesting things- fiction? dunno buut genre blurring things- John D'Agata's _Hall of Fame_ and I think also _The Next American Essay_ edited by him Hard Press did Bellamy's _The Letters of Mina Harker_ (are they still publishing?) I am sure that there are more.. just off the top of.. let me know what else you turn up! JS > Can anyone tell me back-channel about publishers who > look at innovative or experimental fiction? ========================================================================= Date: Tue, 15 Jun 2004 11:53:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Re: 580 Split: Call for work In-Reply-To: <002401c452f6$dd90bfe0$7cfdfc83@oemcomputer> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT Diddums ======================================= Peter Quartermain 846 Keefer Street Vancouver B.C. Canada V6A 1Y7 voice 604 255 8274 fax 604 255 8204 quarterm@interchange.ubc.ca ======================================= -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Joel Weishaus Sent: 15-June-2004 9:36 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: 580 Split: Call for work I must say, I shouldn't say, but I'll still say that I find this tiring. I'm talking about any publication that doesn't accept, encourage, e-mail, attached, submissions. Make copies, address envelopes, find stamps, go to Post Office with your double-spaced pages, SASE, etc., e.g., keep your art within our specs. This is for "innovative" art? Not of _this_ century. -Joel ----- Original Message ----- From: "Jessea Perry" To: Sent: Monday, June 14, 2004 8:26 PM Subject: 580 Split: Call for work > 580 SPLIT, an annual journal of arts and literature, seeks innovative > art, fiction, and poetry for our 2005 issue. > > Submission guidelines are below. > > Thanks, > Jessea Perry > Poetry Editor > > ________________________________ > 580 SPLIT > > poetry | prose | b/w photography > > reading period: July 1 through November 1 > > (Please note, any submissions received outside of the reading period will be > returned unread.) > > -->>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. > > 580 Split > Mills College > P.O. Box 9982 > Oakland, CA 94613-0982 ========================================================================= Date: Tue, 15 Jun 2004 11:54:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Away MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT I'll be away till 10 July. Urgent e-mails will be answered (slowly but eventually), perhaps by others (such as Meredith). ======================== "the danger of interruption is an expected one to the contemporary poet". Louis Zukofsky, 1930 ======================== Peter Quartermain 846 Keefer Street Vancouver BC V6A 1Y7 phone 604 255 8274 fax 604 255 8204 quarterm@interchange.ubc.ca ================== ========================================================================= Date: Tue, 15 Jun 2004 14:54:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Organization: Rova Saxophone Quartet Subject: RIP Ralph Wiley In-Reply-To: <001501c4530a$255dd020$465e17cf@diogenes> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Sports writer and social commentator Ralph Wiley passed away from a heart attack yesterday morning at age 52. He came up covering the Oakland A's in the early 80s, wrote for Sports Illustrated, covering boxing, basketball, etc., and eventually wrote several books including "Why Black People Tend To Shout" and "Serenity: A Boxing Metaphor". He was one of the few sports writers who transcended sports and touched people of all ages and backgrounds. A memorial can be found at http://sports.espn.go.com/espn/page2/story?page=me mory/wiley DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Peter Quartermain Sent: Tuesday, June 15, 2004 11:54 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Away I'll be away till 10 July. Urgent e-mails will be answered (slowly but eventually), perhaps by others (such as Meredith). ======================== "the danger of interruption is an expected one to the contemporary poet". Louis Zukofsky, 1930 ======================== Peter Quartermain 846 Keefer Street Vancouver BC V6A 1Y7 phone 604 255 8274 fax 604 255 8204 quarterm@interchange.ubc.ca ================== ========================================================================= Date: Tue, 15 Jun 2004 16:15:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: DC Shrink Diagnoses Bush to be a Paranoid, Sadistic Meglomaniac Comments: cc: Kit Robinson , "K. Silem Mohammad" Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Feed the real!! (Sorry for any cross-posting) http://www.capitolhillblue.com/artman/publish/article_4687.shtml From Capitol Hill Blue Bush Leagues =20 Prominent DC Shrink Diagnoses Bush to be a Paranoid, Sadistic Meglomaniac By Staff and Wire Reports Jun 14, 2004, 00:22 A new book by a prominent Washington psychoanalyst says President George W. Bush is a "paranoid meglomaniac" as well as a sadist and "untreated alcoholic." The doctor's analysis appears to confirm earlier reports the President may be emotionally unstable. Dr. Justin Frank, writing in Bush on the Couch: Inside the Mind of the President , also says the President has a ""lifelong streak of sadism, ranging from childhood pranks (using firecrackers to explode frogs) to insulting journalists, gloating over state executions ... [and] pumping his fist gleefully before the bombing of Baghdad." Even worse, Dr. Frank concludes, the President's years of heavy drinking=A0""may have affected his brain function - and his decision to quit drinking without the help of a 12-step program [puts] him at far higher ris= k of relapse." =20 Dr. Frank's revelations comes on the heels of last week's Capitol Hill Blue exclusive that revealed increasing concern by White House aides over Bush's emotional stability. Aides, who spoke only on condition that their names be withheld, told stories of wide mood swings by the President who would go from quoting the Bible one minute to obscenity-filled outbursts the next. Bush shows an inability to grieve - dating back to age 7, when his sister died. "The family's reaction - no funeral and no mourning - set in motion his life-long pattern of turning away from pain [and hiding] behind antic behavior," says Frank, who says=A0Bush may suffer from Attention Deficit Hyperactivity Disorder. Other findings by Dr. Frank: His mother, Barbara Bush - tabbed by some family friends as "the one who instills fear" - had trouble connecting emotionally with her son, Frank argues. =20 George H.W. Bush's "emotional and physical absence during his son's youth triggered feelings of both adoration and revenge in George W." The President suffers from "character pathology," including "grandiosity" and "megalomania" -- viewing himself, America and God as interchangeable. Dr. Frank has been a psychiatrist for 35 years and is director of psychiatr= y at George Washington University. A Democrat, he once headed the Washington Chapter of Physicians for Social Responsibility. In an interview with The Washington Post's Richard Leiby, Dr. Frank said he began to be concerned about Bush's behavior in 2002. =A0"I was really very unsettled by him and I started watching everything he did and reading what he wrote, and watching him on videotape. I felt he was disturbed," Dr. Frank told Leiby. Bush, he said,=A0"fits the profile of a former drinker whose alcoholism has been arrested but not treated." Dr. Frank's expert recommendation? ""Our sole treatment option -- for his benefit and for ours -- is to remove President Bush from office . .. . before it is too late." White House spokesman Scott McClellan refused to comment on the specifics o= f Dr. Frank's book or the earlier story by Capitol Hill Blue . "I don't do book reviews," McClellan said, even though he last week recommended the latest book by the Washington Post's Bob Woodward to reporters at the daily press briefing. =A9 Copyright 2004 Capitol Hill Blue Linda Hanson=20 andcolor@mac.com=20 http://homepage.mac.com/andcolor/=20 ========================================================================= Date: Tue, 15 Jun 2004 22:37:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City 17 available Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Please forward --------------- Boog City 17, June 2004 Available featuring: --Columnist-at-large Greg Fuchs interviews poet, performer, educator Anne Waldman on Naropa, Buddhism, gender, and more --Roger Hitts on his musical year in 1984 and what Prince's album Music from the Motion Picture Purple Rain meant to him Our Printed Matter section, edited by Joanna Sondheim, featuring reviews by: --Nicholas Leaskou on Brenda Iijima's Around Sea --Eugene Lim on Eugene Marten's In the Blind --Music editor Jon Berger reviews Dani Linnetz's new album Caller Seventeen --Kathy Zimmer on JOAN AS POLICE WOMAN's new self-titled ep --Small press editor Jane Sprague interviews Subpress Colective editors Daniel Bouchard, Jordan Davis, and Juliana Spahr --East Village editor Paulette Powell with her neighborhood beat report Our Poetry section, edited by poetry editor Carol Mirakove, features work from: --Douglas Rothschild --Alan Semerdjian --Elizabeth Treadwell --Art from Betty Tompkins --Photographs from Greg Fuchs and Michael Turlo --and the June installment of the NYC Poetry Calendar, now under Boog management. The calendar lists every reader at every reading in the five boroughs, thanks to the assistance of Jackie Sheeler of www.poetz.com, who generously shared her information with us, and Bob Holman and the Bowery Poetry Club for sponsoring it. And huge kudos go out to Keija Parssin for compiling the data for the calendar. Thanks to graphics editor Brenda Iijima Please patronize our advertisers: Bowery Poetry Club * www.bowerypoetry.com Poets for Peace * www.poetsagainstthewar.org Sentence * subscriptions@firewheel-editions.org Ugly Duckling Presse * www.uglyducklingpresse.org Advertising or donation inquiries can be directed to editor@boogcity.com or by calling 212-842-2664 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 Shakespeare & Co. St. Mark's Books St. Mark's Church Teany Tonic Tower Video Other parts of Manhattan ACA Galleries Here Hotel Chelsea Poets House Revolution Books in Williamsburg Bliss Cafe Clovis Press Earwax Sideshow Gallery Spoonbill & Sugartown Supercore Cafe -- 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: Tue, 15 Jun 2004 22:45:12 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: 'Interrogators' Masturbate At A Rate 40 Times The National Average 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 Why Do U.S. Personnel Torture? Sexual Deviancy And The Canard Of Interrogation: Both Military And Civilian 'Interrogators' Masturbate At A Rate 40 Times The National Average: Mental Images Essential For Quality Spooge, Climax In Torturers: Rumsfeld Personally Trained Ass-Sniffing Dogs At Abu Graib BY TRED HIGHHAT 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Tue, 15 Jun 2004 01:23:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: query MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit none of these are very experimental try again ubu ========================================================================= Date: Wed, 16 Jun 2004 03:28:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Color's Torrid Function! Subject: Fwd: netbehaviour: Turbulence Commission: "tone row poetry" by Lewis LaCook Comments: To: wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Jo-Anne Green wrote:Date: Tue, 15 Jun 2004 14:36:58 -0700 From: Jo-Anne Green To: Turbulence Subject: netbehaviour: Turbulence Commission: "tone row poetry" by Lewis LaCook June 15, 2004 Turbulence Commission: "tone row poetry" by Lewis LaCook http://turbulence.org/works/lacook "tone row poetry" is an algorithmically mediated synaesthesia. Inspired by 20th century composer Arnold Schoenberg's serialist music, the work matches the English alphabet with tones from the chromatic western scale. Every letter is a note, and a few are several. Add to this electric guitar, digital waveform synthesizer coloring, and some wildcard events, all performed by LaCook, and "tone row poetry" becomes a writing machine that is also an alien orchestra. "tone row poetry" is a 2004 commission of New Radio and Performing Arts, (aka Ether-Ore) for its Turbulence web site. It was made possible with funding from the National Endowment for the Arts. BIOGRAPHY Lewis LaCook is a web artist, poet, musician and freelance writer/web developer. He began life as a poet, then drifted into hypermedia, working mostly with Macromedia Flash and PHP/MySQL. Along the way, LaCook's works, both text and not-text, have appeared in Cauldron and Net, CTheory Multimedia, Aught, Lost and Found Times, 5_trope, Rhizome's artBase, Rhizome's Net Art News, Furtherfield.org, MetaMute, x-press(ed), Can We Have Our Ball Back? and Shampoo, among many others. Lewis currently lives and works in Lorain, Ohio. For more information about Turbulence, visit http://turbulence.org -- netbehaviour is an open email list community for sharing ideas, platforming art and net projects and facilitating collaborations. let's explore the potentials of this global network. this is just the beginning. to unsubscribe send mail to majordomo@netbehaviour.org with "unsubscribe list" in the body of the message *************************************************************************** Lewis LaCook net artist, poet, freelance web developer/programmer http://www.lewislacook.com/ Stamen Pistol: http://stamenpistol.blogspot.com/ Database_shortPoems:: http://www.lewislacook.com/poems/shortpoems.php Sidereality: http://www.sidereality.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! ========================================================================= Date: Wed, 16 Jun 2004 05:14:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ram Devineni Subject: co-sponsors for RNC/War reading In-Reply-To: <27044359.1087324412025.JavaMail.root@louie.psp.pas.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear Friends: Jennifer Benka, the Poetry Project and I are organizing a major reading on Iraq and coming RNC appearance in New York City. We are looking for organizations to co-sponsor the program. So far we have support from Asian American Writers Workshop, Booklyn, Bloom Magazine, Melville House Books, Unpleasant Event Schedule Reading Series, Teachers & Writers and others. As a sponsor, we will need you to promote and present posters and flyers on the event and your organization will be included on the materials. Rattapallax plans to print a newspaper featuring work from Mahmoud Darwish, Donald Rumsfeld, Martín Espada, Suheir Hammad, Hal Sirowitz, Robin Davidson and Rick Moody to name a few. The free newspaper will have a 10K print-run and distributed throughout the city. If interested, please get in touch with me at devineni@rattapallax.com and more information on the reading is below and at http://www.dialoguepoetry.org or http://www.rattapallax.com/protest.htm DEMO: A demonstration in words. A poetry reading against the War in Iraq. Wednesday, September 1, 2004 at 8pm. St. Mark's Church, 131 E. 10th St. & 2nd Ave., New York City. Free. Featuring Sapphire, Katha Pollitt, Cornelius Eady, Vijay Seshadri, Hal Sirowitz, Bob Holman, Grace Schulman, Eileen Myles, Marie Ponsot, John Yau, Rodrigo Toscano, Carol Mirakove, Greg Fuchs, Anselm Berrigan, and many others. Thank You, Ram Devineni Publisher Rattapallax ===== Please send future emails to devineni@rattapallax.com for press devineni@dialoguepoetry.org for UN program __________________________________ Do you Yahoo!? Take Yahoo! Mail with you! Get it on your mobile phone. http://mobile.yahoo.com/maildemo ========================================================================= Date: Wed, 16 Jun 2004 06:22:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kazim Ali Subject: Re: query In-Reply-To: <20040615.012822.-68461.2.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Okay, well in hope of sparking a little discussion. What did I mean when I said "innovative or experimental fiction."? Here are a couple of pieces from Carole Maso's essay "Notes of a Lyric Artist Working in Prose" (page numbers are from her book "Break Every Rule" "The design of stars then in the sky. I followed their dreamy instructions. Composed in clusters. Wrote constellations of associations." (22) "Virginia Woolf knew the illusion of fiction is gradual even if the moments are heart-stopping, breath-taking. There is a pattern which is only revealed as patterns are, through elongation and perspective,the ability to see a whole, a necklace of luminous moments strung together. How to continue the progression, the desire to go beyond the intensity of the moment or of moments." (23) "The novel's capacity for failure." (24) "Room for the random, the senseless, the heartbreaking to be played out." (24) "Together, many novelists, now commodity makes, have agreed upon a recognizable reality, which they are all too happy to impart as if it were true...They take for granted: the line, the paragraph, the chapter, the story, the storyteller, character." (24) "The novel might be muscially or visually conceived--pictorial relationships, symphonic turns rendered in prose." (25) "My form is an odd amalgam--taken from painting, sculpture, theory, film, music, poetry, dance, mathematics--even fiction sometimes." (26) "All too often novels are narratives of coercion because they are too narrowly conceived." (27) "The desire for--" (29) --- Steve Dalachinsky wrote: > none of these are very experimental try again ubu > ===== ==== WAR IS OVER (if you want it) (e-mail president@whitehouse.gov) __________________________________ Do you Yahoo!? Take Yahoo! Mail with you! Get it on your mobile phone. http://mobile.yahoo.com/maildemo ========================================================================= Date: Wed, 16 Jun 2004 09:38:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: queries: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" hi all i need help w the following where does Duncan refer to "exercising his faculties at large"? where did M C Richards say "poets are not the only poets"? -- ========================================================================= Date: Wed, 16 Jun 2004 09:08:16 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit choke weeds overgrow the window roses are drifting dust the black exterminator sets honey traps for pavement not carpenter ants peddling books on SOHO streets while reading Yuan Mei i grow dizzy under the summer sun... 10:00...on to Salvation A....drn... ========================================================================= Date: Wed, 16 Jun 2004 10:18:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Re: query MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit also Camille Roy's _The Rosy Medallions_ was published by Kelsey Street Press and Renee Gladman's _The Activist_ (Krupskaya) and her _Juice_ was published by Kelsey Street. check out the Narrativity site for some more thoughts on 'experimental' etc. here is link: http://www.sfsu.edu/~poetry/narrativity/ ========================================================================= Date: Wed, 16 Jun 2004 12:49:04 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Basic Gitmo MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT Reprinted from AlterNet: http://www.alternet.org/story.html?StoryID=18927 This article comes from The Smirking Chimp http://www.SmirkingChimp.com 'Guantanamo: What the world should know' Date: Saturday, June 12 @ 08:46:32 EDT Topic: War & Terrorism By Michael Ratner and Ellen Ray, AlterNet The following is an excerpt from the book Guantanamo: What the World Should Know by Michael Ratner and Ellen Ray, forthcoming from Chelsea Green Publishing. Ellen Ray: Why should American citizens be concerned about Guantanamo and what is taking place there? Michael Ratner: Americans should care about what goes on at Guantanamo for a number of reasons. First of all, the way we are treating the prisoners there is a scandal, an embarrassment to the people of this country and an outrage to the people of the world. That you can take someone and put him in a prison offshore with no legal rights whatsoever for two and a half years is simply inhumane. Second, our treatment of these people, who are primarily Muslims and of Arabic ethnic origin, should be a cause of tremendous consternation because of the message it sends to the Muslim world. Guantanamo has become iconic in the Arab and Muslim world; it stands for the United States doing wrong and abusing people. If we want to live in a safe world, the message we should send is that we will treat people not like animals but like human beings. Although we should be trying to lessen the anger toward the United States within the Muslim and Arab world, we are not doing that; we are, in fact, doing the opposite. Third, we should care about Guantanamo because we should care about how others are going to treat our citizens. If Americans - soldiers or civilians - are picked up overseas, how do we want them to be treated? Do we want them treated lawfully, in accordance with either criminal law or the Geneva Conventions, or do we want them treated like we are treating the prisoners at Guantanamo? The United States is setting an example for how international prisoners are to be treated, and it is a terrible example. A fourth reason we should care is what this all means for the future of the rule of law, and for the building of societies that are based upon the rule of law and not on the dictates of kings or presidents. For nearly eight hundred years, since the signing of the Magna Carta in 1215, our laws have insisted that every single human being is entitled to some kind of judicial process before he or she can be thrown in jail. The United States is trying to overturn one of the most fundamental principles of Anglo-American jurisprudence and international law. This is a principle that is found in the Declaration of the Rights of Man, in the Universal Declaration of Human Rights, and in the International Covenant on Civil and Political Rights. We have gone back to a pre-Magna Carta medieval system, not a system of laws, but of executive fiat, where the king-or in this case the president-simply decides, on any particular day, I'm going to throw you into some prison. You are not going to have access to a lawyer or anybody else, or even know if there are any charges against you, or if you will ever be released from this prison. Guantanamo has become our Devil's Island, our Chateau d'If from The Count of Monte Cristo. The consequences of this unilateral abrogation of fundamental law are grave, not merely for the people in Guantanamo and for citizens of other countries, but also for every person in the United States. If we care about civilization and the rule of law and justice, we cannot keep treating people like this. There should be no place in the world that is a law-free zone, no place in the world where human beings have no rights...The key point here is that everyone picked up in a war is protected by the Geneva Conventions. No one is outside the law. No one can be treated arbitrarily at the discretion of his captors. Ray: How are the Guantanamo camps set up? Ratner: There are a series of cell blocks, one after the other, just like storage facilities. Within Camp Delta there are levels one through four. Within each camp there are different levels, depending on how much you've cooperated. Level one is for the cooperators, levels two through four for the people who don't cooperate. Then there is level four-minus. Once you get into level fourminus, from what I understand, you're essentially in isolation, with no utensils, maybe a little bit of cloth or something to sleep on, but really very, very harsh conditions. There is another camp, Camp Echo, which is considered solitary, and is primarily for those people who are going to face commissions. There may also be people there whom the captors consider problems. They have built two new camps, Romeo and Tango, "R&T," which are going to be worse than the others: total isolation camps. In these camps the detainees can be put in stripped, and after a few days given shorts-that is all they are given to wear-which only go down to about half a foot above the knee. These are for Muslim men who pray four or five times a day, men whose knees are supposed to be covered. When they sit and pray in these shorts, anyone can look into the pants and see their genitals. This is obviously meant to embarrass them and tear down the human personality of the people involved. Ray: But the Pentagon claims it is treating the prisoners at Guantanamo well, that it is a model institution, that it is respecting the prisoners' religion, providing Muslims with prayer rugs, the Koran, and "culturally appropriate meals." Ratner: This is not at all true. There are many different levels to consider in the abuses suffered there. First, there is a psychological level. People, as far we know, have been (and are still being) rounded up and taken to Guantanamo from all over the Islamic world, where they are put into wire-mesh cages for observation. They are isolated from each other and repeatedly taken into separate interrogation booths-trailers, really. A critical psychological issue is that these people have no idea if or when they are ever getting out. For all they know, each time they are taken out of their cells they may well be put up against a wall and shot. The Red Cross has said one of the most psychologically devastating things happening to people in Guantanamo is the notion that they have reached a dead end, that there is no way out. The psychological harm is horrendous. In fact, one of the threats employed to make prisoners in Iraq talk, even after they had been subjected to abuse and torture, was to threaten them with going to Guantanamo, because everyone understood that there was little or no chance of ever getting out of there. About one in five of the prisoners have been put on antidepressants, psychotropics, and other drugs. In addition to hunger strikes, there have been more than thirty suicide attempts. Guantanamo is like Dante's ninth circle of hell. The temperature is often 110 degrees Fahrenheit, and of course the prisoners have no such thing as air conditioning. The place is infested by scorpions and banana rats. The detainees sleep on concrete floors, with no mattresses; the toilet is a hole in the ground. It is a horrific situation from a physical, psychological, and legal point of view. Unfortunately, we have very limited information as to precisely what is happening at Guantanamo, and there will always be dangerously cynical arguments about whether certain conduct is literally torture or whether it is simply cruel, inhuman, and degrading treatment. But both are abhorrent and contrary to the Convention Against Torture and the Geneva Conventions. We don't have any real observers in Guantanamo. The Red Cross goes there, but its people cannot examine the interrogation rooms, which are separate and secret. The Red Cross has made clear that their inability to speak publicly on this issue should not be taken to mean that torture is not happening there. In May 2004, it was reported that the Red Cross had issued a report on conditions at Guantanamo and furnished that report to the U.S. government. While Red Cross reports are not made public, some of the details have come out. These include stripping of inmates, short-shackling, and the use of medical information to coerce detainees into cooperating. These coercive techniques are precisely thosethat the released British clients have spoken about publicly for a few months. The Red Cross publicly addressed the issue of mental torture at Guantanamo, without using the word torture. They say that what is happening to people's mental stability and mental health is extremely serious, and they have condemned it very strongly, pointing out that keeping people in a camp for two years with no rights, no lawyers, no charges, no sense at all of if or when they might be released, has caused a quantifiable deterioration in their mental health. One could certainly argue that that fits the definition in the Convention of severe mental pain or suffering. We do know from a number of the people who have been released from Guantanamo that mental torture, the breaking down of the human spirit, is the norm there. This is an interrogation camp, and they are consciously trying to take away people's identities. Prisoners get toothbrushes, decent food, and other amenities only as a reward for cooperating. Ray: But it is now abundantly clear that there is much more to their poor treatment than the withholding of amenities and the granting of rewards, isn't it? Ratner: There is definitely physical brutality. There are squads of U.S. military personnel - the IRFs I mentioned earlier - who occasionally beat people up, sometimes quite severely. They have held back food from recalcitrant prisoners. There are reports that during interrogation, prisoners are forced to kneel, sometimes for hours while they are chained to a ring on the floor. The sleep deprivation I mentioned earlier has been openly admitted and authorized in Guantanamo by the Pentagon. As a result of the Abu Ghraib scandal, the Pentagon has said it is banning the use of sleep deprivation in Iraq; it remains to be seen whether its use continues in Guantanamo. The goal of breaking down people's will is to make them faceless, take away their culture, their religion, and their identities. The only chance they have to stop the endless interrogations is to cooperate. And the fact is that eventually many of the victims do cooperate, although cooperation may often lead to the signing of false confessions. Ray: How intensive are the interrogations? Ratner: The government has admitted that it conducts three hundred interrogations a week. In mid-2004, it had 2,800 soldiers and civilians (including interrogators) running a camp with somewhat more than seven hundred prisoners for two years. Some of the prisoners recently released from Guantanamo said they themselves had been interrogated as many as two hundred times, with all kinds of different techniques. The United States is planning to use information gained during these interrogations in the military commissions. It is awful enough to try to gain intelligence for the so-called war on terror through torture and coercion, but to compound that by using coerced information in criminal proceedings is to double the outrage. These are obviously coerced statements and totally unreliable. After being held in isolation for two years, people will say anything, particularly if their next meal or the avoidance of coercive techniques depends on it. In the early days of the camp a loudspeaker would blare out the words, "Cooperate and you can go home," several times a day, spoken by the general or somebody else high up. And then another announcement followed, "A lot of people are leaving in the next few days. You can join them by cooperating." Another message was, "We know who is telling the truth and who is lying and we can tell. Tell the truth." The "intelligence" about terrorism and terrorists that is coming out of the Guantanamo interrogations is therefore basically garbage. It is simply not reliable. Confessions and denunciations obtained under these kinds of coercive conditions are useless, not just for a criminal trial but for getting any real intelligence that might actually protect the people of the world against terrorist attacks. We see example after example of that in Guantanamo, where people have falsely confessed to knowledge about Osama bin Laden or to having been somewhere or done something, or have implicated others, all to get some kind of reward, even a pitiful Big Mac. They are constantly getting people to nail one another. They will wear someone down until, when they ask for the hundredth time "What do you know about Mr. X," he will finally say, "Okay, he was with me at an Osama training camp." And then they go to Mr. X and say, "Well, this guy says you were with him at an Osama training camp, we have the evidence, you might as well confess." Now, this prisoner has been totally incommunicado for two years, under the thumb of a military that can feed him or not feed him, keep the light on or not keep the light on, give him exercise or not give him exercise, let him shower or not let him shower, strip him or give him clothes, keep him in solitary or not keep him in solitary, sometimes have him beaten up and sometimes subject him to sleep deprivation. Eventually, he too is going to say, "Yes, I was there with the other guy at the Osama camp in Afghanistan." And there won't be a word of truth to it. Ray: What effect does the administration's attitude toward torture have on the people committing, allowing, condoning, or averting their eyes from it? Ratner: The legal memos to the president and from the Justice Department regarding the Geneva Conventions and the War Crimes Statute, which makes criminal serious violation of the Geneva Conventions (particularly with regard to treatment of prisoners), demonstrate that, at least since the war in Afghanistan, the administration was planning to treat prisoners inhumanely. Moreover, the memos indicate that the administration feared criminal prosecution for doing so. The condoning of outlawed methods of interrogation by those at the top obviously affects the people who practice those techniques. Bush's actions take us all back to the Inquisition; it really is medieval. We have to be aware that allowing Americans to engage in torture corrodes the moral fabric of our society. To the extent that a civilized society remains in this country, and to the extent that we have any remaining values, they are seriously endangered. Guantanamo represents everything that is wrong with the U.S. war on terrorism. The Bush administration reacted to 9/11 with regressive and draconian measures worthy of a dictatorship, not a democracy. They imposed the very measures they condemned in other countries: indefinite and incommunicado detentions, refusal to justify these detentions in court, disappearances, military commissions, torture. It was a descent into barbarism. The practices at Guantanamo spread to Iraq and other U.S. detention centers around the world. The U.S. government has obviously lost any moral ability to challenge such actions when taken by other countries. It has endangered people all over the world, not only by its own conduct but giving its imprimatur to inhuman treatment, which will embolden other countries to do likewise. It has taken a thousand years to secure human dignity and basic rights for all. The struggle to do so is marked by moments like the signing of the Magna Carta in 1215, the Habeas Corpus Act in 1679, the U.S. Constitution, the Declaration of the Rights of Man and Citizen, the Geneva Conventions, the Universal Declaration of Human Rights, the International Covenant on Civil and Political Rights, and the Convention Against Torture. The United States has now treated these landmarks of human progress as naught. Of course, there has never been complete adherence to these documents, but rarely, if ever, has there been such open, notorious, and boastful violation of fundamental protections as at Guantanamo. But this is not to say that I am pessimistic about the chance of returning to sanity, enlightenment, and the rule of law. For the last few years, we have been in a long dark tunnel with no fresh air and no light. The president and his cohorts, who have brought us to this state, are in trouble: trouble in Iraq and trouble in Guantanamo. That even the Supreme Court appears to think so is a cause for optimism. We are at the beginning of what will be a long struggle to repair the damage that the government has inflicted on us all. . . . . . © 2004 Independent Media Institute. ========================================================================= Date: Wed, 16 Jun 2004 15:45:29 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "subrosa@speakeasy.org" Subject: trouble receiving daily digest MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit i've been knocked off my daily digest of the poetics list for a few weeks now please reassign me when you can, thanks nico vassilakis ========================================================================= Date: Wed, 16 Jun 2004 14:11:39 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Terry Jones article MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT http://www.guardian.co.uk/usa/story/0,12271,1239824,00.html This won't hurt much Terry Jones Wednesday June 16, 2004 The Guardian For some time now, I've been trying to find out where my son goes after choir practice. He simply refuses to tell me. He says it's no business of mine where he goes after choir practice and it's a free country. Now it may be a free country, but if people start going just anywhere they like after choir practice, goodness knows whether we'll have a country left to be free. I mean, he might be going to anarchist meetings or Islamic study groups. How do I know? The thing is, if people don't say where they're going after choir practice, this country is at risk. So I have been applying a certain amount of pressure on my son to tell me where he's going. To begin with I simply put a bag over his head and chained him to a radiator. But did that persuade him? Does the Pope eat kosher? My wife had the gall to suggest that I might be going a bit too far. So I put a bag over her head and chained her to the radiator. But I still couldn't persuade my son to tell me where he goes after choir practice. I tried starving him, serving him only cold meals and shaving his facial hair off, keeping him in stress positions, not turning his light off, playing loud music outside his cell door - all the usual stuff that any concerned parent will do to find out where their child is going after choir practice. But it was all to no avail. I hesitated to gravitate to harsher interrogation methods because, after all, he is my son. Then Donald Rumsfeld came to my rescue. I read in the New York Times last week that a memo had been prepared for the defence secretary on March 6 2003. It laid down the strictest guidelines as to what is and what is not torture. Because, let's face it, none of us want to actually torture our children, in case the police get to hear about it. The March 6 memo, prepared for Mr Rumsfeld explained that what may look like torture is not really torture at all. It states that: if someone "knows that severe pain will result from his actions, if causing such harm is not his objective, he lacks the requisite specific intent even though the defendant did not act in good faith". What this means in understandable English is that if a parent, in his anxiety to know where his son goes after choir practice, does something that will cause severe pain to his son, it is only "torture" if the causing of that severe pain is his objective. If his objective is something else - such as finding out where his son goes after choir practice - then it is not torture. Mr Rumsfeld's memo goes on: "a defendant" (by which he means a concerned parent) "is guilty of torture only if he acts with the express purpose of inflicting severe pain or suffering on a person within his control". Couldn't be clearer. If your intention is to extract information, you cannot be accused of torture. In fact, the report went further. It said, if a parent "has a good-faith belief [that] his actions will not result in prolonged mental harm, he lacks the mental state necessary for his actions to constitute torture". So all you've got to do to avoid accusations of child abuse is to say that you didn't think it would cause any lasting harm to the child. Easy peasy! I currently have a lot of my son's friends locked up in the garage, and I'm applying electrical charges to their genitals and sexually humiliating them in order to get them to tell me where my son goes after choir practice. Dick Cheney's counsel, David S Addington, says that's just fine. William J Haynes, the US defence department's general counsel, agrees it's just fine. And so does the US air force general counsel, Mary Walker. In fact, practically everybody in the US administration seems to think it's just fine, except for the state department lawyer, William H Taft IV, who perversely claims that I might be opening the door to people applying electrical charges to my genitals and sexually humiliating me. So I'm going to round up all the children in the neighbourhood, chain them and set dogs on them. I might accidentally kill one or two - but I won't have intended to - and perhaps I'll take some photos of my wife standing on the dead bodies, and then I'll show the photos to the other kids, and finally, perhaps, I might get to find out where my son goes after choir practice. After all, I'll only be doing what the US administration has been condoning since 9/11. · Terry Jones is a writer, film director, actor and Python terry-jones.net ========================================================================= Date: Wed, 16 Jun 2004 13:54:33 -0500 Reply-To: hlazer@bama.ua.edu Sender: UB Poetics discussion group From: hlazer Organization: The University of Alabama Subject: Discount Offer - Jed Rasula's Syncopations MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Please contact me back channel - hlazer@bama.ua.edu - if you are interested in reviewing this book. Announcing the 17th volume in the Modern and Contemporary Poetics series, edited by Charles Bernstein and Hank Lazer Syncopations The Stress of Innovation in Contemporary American Poetry Jed Rasula Syncopations is an analysis of the sustaining vitality behind contemporary American poetry from 1975 to the present day by one of the most astute observers and critics in the field. The 12 essays reflect Jed Rasula's nearly 30 years of advocacy on behalf of "opening the field" of American poetry. From the Beats and the Black Mountain poets in the 1950s and 1960s to the impact of language poetry, the specter of an avant-garde has haunted the administrative centers of poetic conservatism. But the very concept of avant-garde is misleading, implying organized assault. Incentives for change can be traced to other factors, including the increased participation of women, critical theory's self-reflection, and a growing interest in the book as a unit of composition. Syncopations addresses these and other issues evident in the work of such poets and critics as Charles Bernstein, Clayton Eshleman, Marjorie Perloff, Ronald Johnson, Nathaniel Mackey, and Robin Blaser. By examining both exemplary innovators and the social context in which innovation is either resisted, acclaimed, or taken for granted, Rasula delivers an important conceptual chronicle of the promise of American poetry. "The insights are penetrating and unique; the perspectives deployed enormously original; the richness of detail in the readings sometimes striking . . . and the writing style often dazzling." --Bruce Andrews, author of Paradise and Method: Poetry and Praxis Jed Rasula is Helen S. Lanier Distinguished Professor of English at the University of Georgia and author of The American Poetry Wax Museum: Reality Effects, 1940-1990. 322 pages, 6 x 9 ISBN 0-8173-5030-6 $29.95 paper ISBN 0-8173-1302-8 $65.00 cloth SPECIAL OFFER TO POETICS LISTSERV 20% DISCOUNT WHEN YOU MENTION THAT YOU ARE ON THE POETICS LISTSERV OFFER EXPIRES 31 July 2004 To order contact Elizabeth Motherwell E-mail emother@uapress.ua.edu Phone (205) 348-7108 Fax (205) 348-9201 or mail to: The University of Alabama Press Marketing Department Box 870380 Tuscaloosa, AL 35487-0380 Attn: Elizabeth Motherwell www.uapress.ua.edu Rasula/Syncopations paper discounted price $23.96 ISBN 0-8173-5030-6 cloth discounted price $52.00 ISBN 0-8173-1302-8 Subtotal ________________ Illinois residents add 8.75% sales tax ________________ USA orders: add $4.50 postage for the first book and $1.00 for each additional book _________________ Canada residents add 7% sales tax _________________ International orders: add $5.50 postage for the first book and $1.00 for each additional book _________________ Enclosed as payment in full _________________ (Make checks payable to The University of Alabama Press) Bill my: _________Visa _________MasterCard Account number _______________________________ Daytime phone________________________________ Expiration date ________________________________ Full name____________________________________ Signature ____________________________________ Shipping Address______________________________ City _________________________________________ State_______________________ Zip ______________ ========================================================================= Date: Wed, 16 Jun 2004 23:52:59 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rencontres internationles Paris/Berlin Subject: =?iso-8859-1?Q?Festival_2004_:::_Cinema_video_multimedia_=5BEN=5D_=5B?= =?iso-8859-1?Q?FR=5D_=5BDE=5D:::_2004_Call_for_Entries_:::_Appel_=E0_prop?= =?iso-8859-1?Q?osition_2004_:::_Teilnahmeaufruf_2004?= MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Recipient/ Destinataire/ Empfänger: poetics@listserv.buffalo.edu >>> poetics@listserv.buffalo.edu unsubscribe/ se désinscrire/ abbestellen: mailto:info@art-action.org?subject=unsubscribe(5)_poetics@listserv.buffalo.e du ========================================= Call for entries - Appel 'a proposition - Teilnahmeaufruf ||||| FESTIVAL #8.9 ||||| RENCONTRES INTERNATIONALES PARIS/BERLIN ||||| CINEMA VIDEO MULTIMEDIA ||||| http://art-action.org Please forward this information - Merci de faire suivre cette information - Bitte leiten Sie diese Informationen weiter. ========================================= EN FRANÇAIS PLUS BAS DANS LE MESSAGE AUF DEUTSCH UNTEN ========================================= ------------- IN ENGLISH | ------------- CALL FOR ENTRIES: UNTIL THE 30TH OF JUNE, 2004 ||||| FESTIVAL #8.9 ||||| RENCONTRES INTERNATIONALES PARIS/BERLIN ||||| CINEMA VIDEO MULTIMEDIA ||||| http://art-action.org *** Please forward this information *** The festival "Rencontres internationales Paris/Berlin" (Paris/Berlin international Meetings) will present in the two cities in autumn 2004 an international program focused on cinema, contemporary video creation and multimedia, gathering works of artists and directors acknowledged on the international scene along with young artists and directors who still cannot enjoy a substantial distribution. Each year, the festival present those works to a large audience, and create new exchanges between audiences, artists, directors and professionals in different areas of creation. More information at : http://art-action.org The "Rencontres internationales Paris/Berlin", a non-profit event without competition, are supported by French, German and international institutions. http://art-action.org/en_soutien.htm =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ ALL INDIVIDUALS OR ORGANIZATIONS CAN SUBMIT ONE OR SEVERAL PROPOSALS. THE CALL FOR ENTRIES IS OPEN TO CINEMA, VIDEO AND MULTIMEDIA CYCLES, without any restriction of length or genre. All submissions are free, without any limitation of geographic origin. =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ CINEMA AND VIDEO CYCLES * Fiction - short, medium and feature length - All film and video formats * Documentary - All film and video formats * Experimental Film - All film formats * Video art / Experimental video - All video formats * Animation movie - All formats MULTIMEDIA CYCLES * Performance art * Installation art * Net art, CD-rom * Sound work =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Video and film proposals are received on DVD or VHS. All proposals are sent by mail, enclosed with an ENTRY FORM, UNTIL JUNE 30, 2004. The entry form as well as the information regarding the "Rencontres internationales Paris/Berlin" are available on our website http://art-action.org/en_info.htm or on demand by email: info@art-action.org =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Please forward this information to organizations or artists and filmmakers. Do not hesitate to diffuse it around you, the most largely possible. Feel free to contact us for any information. Best regards ----------------- Rencontres internationales Paris/Berlin roARaTorio - 51 rue Montorgueil - 75002 Paris Site: http://art-action.org Email: info@art-action.org ========================================= unsubscribe: mailto:info@art-action.org?subject=unsubscribe(5)_poetics@listserv.buffalo.e du ========================================= ------------- EN FRANÇAIS | ------------- APPEL A PROPOSITION: JUSQU'AU 30 JUIN 2004 ||||| FESTIVAL #8.9 ||||| RENCONTRES INTERNATIONALES PARIS/BERLIN ||||| CINEMA VIDEO MULTIMEDIA ||||| http://art-action.org *** Merci de faire suivre cette information *** Les Rencontres internationales Paris/Berlin présenteront dans les deux villes à l'automne 2004 une programmation internationale consacrée au cinéma de recherche, à la création vidéo contemporaine et au multimédia, réunissant des œuvres d'artistes et de réalisateurs reconnus sur la scène internationale aux côtés de jeunes artistes et de réalisateurs peu diffusés. Les Rencontres internationales ont pour vocation de faire découvrir ces œuvres à un large public, de décloisonner les différents milieux de création et faire communiquer leurs publics, de susciter des échanges entre artistes, réalisateurs et acteurs de la vie artistique et culturelle. Plus d'information sur : http://art-action.org Les Rencontres internationales, événement non commercial et sans compétition, sont soutenues par des institutions françaises, allemandes et internationales. http://art-action.org/fr_soutien.htm =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ TOUT INDIVIDU OU ORGANISME PEUT EFFECTUER UNE OU PLUSIEURS PROPOSITIONS D'OEUVRE. L'APPEL A PROPOSITION EST OUVERT POUR LES CYCLES FILM, VIDEO ET MULTIMEDIA, sans restriction de genre et de durée. Les propositions sont gratuites, sans limitation de provenance géographique. =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ CYCLES FILMS ET VIDEOS * Fiction / Court, moyen, long métrage - Tout support film et vidéo * Documentaire - Tout support film et vidéo * Cinéma expérimental - Tout support film * Art vidéo / Vidéo expérimentale - Tout support vidéo * Film d'animation - Tout support film et vidéo CYCLES MULTIMEDIAS * Performance * Installation * Net art, CD-rom * Création sonore =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Les propositions film et vidéo sont reçues sur DVD ou VHS. TOUTES les propositions sont reçues, par courrier, accompagnées d'une FICHE DE PROPOSITION remplie, JUSQU'AU 30 JUIN 2004. La fiche de proposition, ainsi que toutes les informations relatives aux Rencontres internationales Paris/Berlin sont disponibles sur notre site web http://art-action.org/fr_info.htm ou sur demande par email info@art-action.org =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ N'hésitez pas à diffuser cette information auprès d'organismes de création ou d'artistes et réalisateurs avec lesquels vous êtes en relation. N'hésitez pas à nous contacter pour toute question. Cordialement. ----------------- Rencontres internationales Paris/Berlin roARaTorio - 51 rue Montorgueil - 75002 Paris Site: http://art-action.org Email: info@art-action.org ========================================= se désinscrire: mailto:info@art-action.org?subject=unsubscribe(5)_poetics@listserv.buffalo.e du ========================================= ------------ AUF DEUTSCH | ------------ TEILNAHMEAUFRUF - EINSENDESCHLUSS 30. JUNI 2004 ||||| FESTIVAL #8.9 ||||| RENCONTRES INTERNATIONALES PARIS/BERLIN ||||| CINEMA VIDEO MULTIMEDIA ||||| http://art-action.org *** Bitte leiten Sie diese Informationen weiter *** Die "Rencontres internationales Paris/Berlin" (Paris/Berlin internationale Begegnungen) stellen im Herbst 2004 in den beiden Städten ein internationales Programm vor, das sich vorallem dem experimentellen Kino, zeitgenössischen Videos und dem Multimedia Bereich widmet, und sich aus Werken von international anerkannten Künstlern und Filmschffenden, sowie aus Beiträgen weniger bekannter Künstler zusammensetzt. Das Anliegen der "Rencontres internationales" ist es, diese Werke einem breiten Publikum zugänglich zu machen, die verschiedenen Schaffensbereiche einander näherzubringen und den Austausch zwischen Künstlern, Regisseuren und Persönlichkeiten aus der kulturellen und künstlerischen Szene zu fördern. Für weitere informationen : http://art-action.org Als Veranstaltung ohne lukrative Absichten und ohne Wettbewerb werden die "Rencontres internationeles Paris/ Berlin" von deutschen, französischen und internationalen Institutionen unterstützt. http://art-action.org/de_soutien.htm =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ JEDE PERSON, EINRICHTUNG ODER GESELLSCHAFT KANN SICH MIT EINEM ODER MEHREREN WERK(EN) BEWERBEN. DER TEILNAHMEAUFRUF BETRIFFT DIE KATEGORIEN FILM, VIDEO UND MULTIMEDIA, ohne Einschränkungen in Hinblick auf Genre oder Dauer. Die Bewerbung ist kostenlos und es gibt keine Beschränkungen hinsichtlich des Entstehungslandes. =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ SPARTE FILM UND VIDEO * Fiktion / Kurz- Mittel- und Langfilm - Alle Film- und Videoformate * Dokumentarfilm - Alle Film- und Videoformate * Experimentalfilm - Alle Filmformate * Videokunst/ experimentelles Video - Alle Videoformate * Animationsfilm - Alle Film- und Videoformate SPARTE MULTIMEDIA * Performances * Installationen * Net Art, CD-Rom * Klangkunstwerke =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Film- und Videoeinsendungen werden auf DVD oder VHS angenommen. Bis ZUM 30. JUNI 2004 nehmen wir alle Bewerbungen gemeinsam mit einem ausgefüllten BEWERBUNGSFORMULAR auf dem Postweg entgegen. Das Bewerbungsformular, sowie sämtliche Informationen zu den "Rencontres internationales Paris/Berlin" finden Sie auf unserer Homepage: http://art-action.org/de_info.htm oder bekommen Sie auf Anfrage über email: info@art-action.org =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Wir würden uns sehr freuen, wenn Sie diese Information an künstlerische Organisationen, Künstler und Regisseure, mit denen Sie in Kontakt stehen, weiterleiten könnten bzw. wenn Sie ihrerseits mit einem oder mehreren Werken, die Sie geschaffen, produziert, unterstützt oder vertrieben haben, antreten würden. Wir stehen Ihenen für weitere Informationen jederzeit gerne zur Verfügung! Mit freundlichen Grüßen ----------------- Rencontres internationales Paris/Berlin roARaTorio - 51 rue Montorgueil - 75002 Paris Site: http://art-action.org Email: info@art-action.org ========================================= unsubscribe/ se désinscrire/ abbestellen: mailto:info@art-action.org?subject=unsubscribe(5)_poetics@listserv.buffalo.e du ========================================= ========================================================================= Date: Wed, 16 Jun 2004 18:17:43 -0400 Reply-To: kevinkillian@earthlink.net Sender: UB Poetics discussion group From: "kevinkillian@earthlink.net" Subject: Re: queries: MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Dear Maria, I don't know about the M C Richards quote, but I think the Duncan one is from the NEW AMERICAN POETRY poetics section at the back, Duncan bragging about how he writes poetry "the way other men make love," to exercise his faculties at large=2E Check it out=2E XXX Kevin K=2E Original Message: ----------------- From: Maria Damon damon001@UMN=2EEDU Date: Wed, 16 Jun 2004 09:38:03 -0500 To: POETICS@LISTSERV=2EBUFFALO=2EEDU Subject: queries: hi all i need help w the following where does Duncan refer to "exercising his faculties at large"? where did M C Richards say "poets are not the only poets"? -- -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E ========================================================================= Date: Wed, 16 Jun 2004 17:57:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Lives of Eminent Assyrians 5 Mime-Version: 1.0 Content-Type: text/plain; format=flowed poison deprived / strength try contempt repaid knew wrung / died buried although / splendid skillfully expensively go in peace / give coffin vicious / lively flatter have beaten / bone at once sparing fancy press / hard display /wares crowd / goods bargain / value secrets better / thrive disclosed / secrets part knows red / hot opportunity seen lively ate / part know you / much pleasure w/out boasting prospect nor of life escape pretended / bewitched mother / trick dreamed on my back nothing always / teaching bier anyway / behavior must / custom provided with / imprint secret surely / salvation heed / pleased poor / ceremony property / money allow / pleasure once tore became / deaf fierce before forbidden duration saw / one day door because / same absolutely willow-twigs ride / plowed ground gallows nor of / sayings more furious / completely called recreation / always laughed / much once / scholar was called against far custom leisure / unless free impossibility occupations / opposed knowledge debauchery / expenditure exalted sits / writes point made clear then / hair eyes then head ceases / rain speak pleasure secretly / treatment evening dead / morning all ways such dear / said let / lay corpse / on its back given imagine more accustomed contrary casts off unless imagine torment saw / finish plucked read "fell / down jumped / raging struck / head" murdered closer / blame beg again much / revenged mastering / sovereignty pleases / duration possessions hinder / enjoyment it pleases perhaps / law neck-bone / irons pledge / go chose ensnared it pleases kick / since want / disclose hide defect cleverly no more disfigurement it seemed / was dying secret swelled betray / sound no other whole must stay / must creature / imagine before lies / road know much dear mother silent / beast bidden liege dominion contradicted to keep startled know / saved promise choose curse buried / lies damnation disgraced forced / morning behaves unapproachable hateful / Nature toss and turn break wishes that descent is called / wisdom seldom excellence cease function fire / bear shut / thence burn upon tied Nature son / born / dead renown foreign poverty doubt dear although / lowly leave off voluntary / chose approximately honorable "'wisdom hard to bear,'" claims eyeglass ought not reproach old age which considers / guardians choose / pleasure it pleases / satisfies unless / as in succession outlast / shorten paying / at once _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Wed, 16 Jun 2004 16:08:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: queries: Comments: To: Kevin Killian In-Reply-To: <226080-220046316221743409@M2W036.mail2web.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Kevin, one likes the not unsurprising physical ambiguity, but indeed Duncan the Theosopher may also have been referring "at large" to the University of the Soul and employing its diverse teaching faculties in the arts, sciences, engineering, and law, as well. I think he'd appreciate - even insist - that he also carried those latitudes into making the poem. Just a thought. Stephen V Blog: http://stephenvincent.durationpress.com > Dear Maria, I don't know about the M C Richards quote, but I think the > Duncan one is from the NEW AMERICAN POETRY poetics section at the back, > Duncan bragging about how he writes poetry "the way other men make love," > to exercise his faculties at large. Check it out. > > XXX Kevin K. > > Original Message: > ----------------- > From: Maria Damon damon001@UMN.EDU > Date: Wed, 16 Jun 2004 09:38:03 -0500 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: queries: > > > hi all i need help w the following > > where does Duncan refer to "exercising his faculties at large"? > where did M C Richards say "poets are not the only poets"? > -- > > -------------------------------------------------------------------- > mail2web - Check your email from the web at > http://mail2web.com/ . ========================================================================= Date: Wed, 16 Jun 2004 19:12:53 -0400 Reply-To: cartograffiti@mindspring.com Sender: UB Poetics discussion group From: "cartograffiti@mindspring.com" Subject: Re: queries: MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable To further complicate matters, the full quote reveals a dimension that's a= bit less cozy, and one suspects that this goes to the root of, say, Duncan's contretemps with Levertov: "I make poetry as other men make war or make love or make states or revolutions: to exercise my faculties at large=2E" In a rush today, so I'll just throw that out for others' comment=2E Taylor Original Message: ----------------- From: Stephen Vincent steph484@PACBELL=2ENET Date: Wed, 16 Jun 2004 16:08:11 -0700 To: POETICS@LISTSERV=2EBUFFALO=2EEDU Subject: Re: queries: Kevin, one likes the not unsurprising physical ambiguity, but indeed Dunca= n the Theosopher may also have been referring "at large" to the University o= f the Soul and employing its diverse teaching faculties in the arts, science= s, engineering, and law, as well=2E I think he'd appreciate - even insist - t= hat he also carried those latitudes into making the poem=2E Just a thought=2E Stephen V Blog: http://stephenvincent=2Edurationpress=2Ecom > Dear Maria, I don't know about the M C Richards quote, but I think the > Duncan one is from the NEW AMERICAN POETRY poetics section at the back, > Duncan bragging about how he writes poetry "the way other men make love,= " > to exercise his faculties at large=2E Check it out=2E > > XXX Kevin K=2E > > Original Message: > ----------------- > From: Maria Damon damon001@UMN=2EEDU > Date: Wed, 16 Jun 2004 09:38:03 -0500 > To: POETICS@LISTSERV=2EBUFFALO=2EEDU > Subject: queries: > > > hi all i need help w the following > > where does Duncan refer to "exercising his faculties at large"? > where did M C Richards say "poets are not the only poets"? > -- > > -------------------------------------------------------------------- > mail2web - Check your email from the web at > http://mail2web=2Ecom/ =2E -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E ========================================================================= Date: Wed, 16 Jun 2004 21:27:19 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hilton and Aldon, it was good to hear from both of you. and you've both, in different ways, opened my eyes a little wider, mostly about Rudd's seeming inaction, or non-response to questions about Iraq, etc.. i went to that event thinking he'd impart some wise counterpoint for the scattered song of the Left. but anyway. and yes, i wanted to agree that it has been clear that the FBI did what they did in the good old days with no Patriot Act, but, don't you agree, that those very actions --found illegal over and over-- are in fact the reasons so many of the Weather Underground are free today? we may also have Watergate, and the years to follow of the soft-browed Jimmy Carter to also thank for the freedoms they have today. but the Patriot Act delivers Daddy with no strings attached. maybe Rudd's optimism shouldn't be so easily dismissed though. when talking to an old friend recently about the Rudd event, she reminded me that Michael Moore said, when visiting Philadelphia a year ago, "Those of us who want a saner, more equal and compassionate America are NOT the minority. Don't let the big noise of the Right fool you." by the way, one of the reasons that i've had so much respect for Rudd and his comrades, is their belief that including working class people in the struggle was a must. class issues are something i find particularly fascinating in all this business of the Left. it's interesting that friends of mine who are much older, in their mid to late 50's, who are STILL activists after all these years, come from working class families. my friend Mary Kalyna and i talk about this almost every time we get together. we both come from factory working parents, and she, a good 15 years older, tells me that most of the women left in the Left (and she doesn't mean those who have become cheerleaders for the sidelines, but those who are still digging the trenches) who are her age, also come from working class backgrounds. this makes me think of Bell Hooks, who has written and spoken very often of the privileged white youth who take a stand, become activists fighting racism, sexism, etc., but then retire to the comfort of their class as they age. my friend Tamara Hopson, 55, not only didn't come from middle class parents, but came from very hungry, very poor, very much less than working class parents. and she is now a leader in forging new political action for gender activists all across the country. of course i'm generalizing, i understand that. but it's still interesting, when you take someone who has no cushion to fall back on, and they join a movement, that that force of that movement becomes a power much more familiar than traditional family, and links the vision for a better world for everyone to a new sense of Self. i must admit, i love my friends as family because of this. CAConrad http://phillysound.blogspot.com ========================================================================= Date: Wed, 16 Jun 2004 18:51:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Last minute notice & even more last minute notice - Ian Monk, Kenny G (not that Kenny G) tour SoCal MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Wednesday, June 16, B100msday, 8 pm =20 =93Book Launch* for Ara Shirinyan=92s Make Now Press=92 & Ian Monk=92s = beautiful new book FAMILY ARCHAEOLOGY AND OTHER POEMS [Ara co-curates a reading series at the smell bring Continuous Peasant et al to LA the last Sunday in June!] =20 The Mountain Bar, LA Chinatown Mountain Bar 473 Gin Ling Way (Between Hill & Broadway) Los Angeles (213) 625-7500 =20 Thursday, June 17, 7:30 pm =20 Ian Monk Family Archaeology and Other Poems =20 Dawson's Book Shop is pleased to welcome author Ian Monk for a special reading from his new book Family Archaeology and Other Poems, published by Make Now Press. Monk is a member of the Ouvroir de Litt=E9rature Potentielle, (OULIPO), a group, based in France, devoted to the exploring the possibilities of restrictive writing methods; all the poems in Monk's book have been generated from a challenging formal constraint. =20 "Once upon a time there was a potential literature; now, thankfully, it's been realized. Ian Monk's concrete language hits you like a ton of bricks. As visual as it is verbal, Monk's quantification of the contemporary churns the mundane into the exotic," - Kenneth Goldsmith =20 Joseph Thomas of CSUN (who read wonderfully at B&N Glendale a few weeks ago!) and Kenneth Goldsmith (aka Kenny G) will also read. RSVP/info: 323.469.2186 =20 Dawson's Book Shop is located at 535 N. Larchmont Boulevard, between Melrose and Beverly (north of the Village), in the Hollywood/Hancock Park area. Thomas Guide 593, F-7. =20 =20 DAWSON'S BOOK SHOP 535 NORTH LARCHMONT BOULEVARD, LOS ANGELES, CALIFORNIA 90004 (323) 469-2186, FAX (323) 469-9553 andrew@dawsonbooks.com view our inventory at: www.dawsonbooks.com =20 =20 =20 18 June, Friday - 7:30 PM Contemporary Works & More: JAAP BLONK, KENNETH GOLDSMITH, JOSHUA CLOVER, JERRY ROTHENBERG, CHARLES MORROW, and STEPHANIE TAYLOR Selected artists of the Beyond Text festival will present new and recent works and interpretations. =20 THE 3RD ANNUAL BEYOND TEXT FESTIVAL 18 =96 20 June, 2004 =20 Beyond Baroque 681 Venice Blvd. Venice Phone: 310-822-3006 ========================================================================= Date: Wed, 16 Jun 2004 22:04:40 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: A Moment Of Bern Porter You Might Have Missed If You Didn't Realize.... MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit looking over an old journal from the late 90's, when i was roommates with Sheila Holtz, who eventually moved to Maine to edit Bern Porter International, i came across the following entry, something i had forgotten about: ------------- bomb-making avant garde poet/artist Bern Porter appeared as an extra in the 1996 film adaptation to Stephen King's novel THINNER (starring no one that i can ever recall seeing before, although Stephen King himself plays a nervous --and sexy, since he can't help himself-- nerdy pharmacist) about 48 and one half minutes into the film when we enter the dream sequence of the Gypsy Carnival, Bern Porter and Sheila Holtz are visible for about 1 and one half seconds while standing in the audience before the 106-year-old Gypsy King named Lemke. for the first half of the 1 and one half seconds we see them from behind, as a gypsy is picking Sheila's pocket. Sheila is then smiling and laughing when the rest of the 1 and one half seconds shows them from the front. they really should have given Bern a speaking role. ------------- from dream sequence to dream, CAConrad http://phillysound.blogspot.com ========================================================================= Date: Wed, 16 Jun 2004 22:16:32 -0400 Reply-To: Geoffrey Gatza Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Geoffrey Gatza Organization: BlazeVOX [books] Subject: This week on BlazeVOX MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable This week on BlazeVOX 2 ebooks for your summer vacation=20 The Miseries of Poetic : Traductions from the Greek=20 Alexandra Papaditsas And Kent Johnson www.blazevox.org/miseries.pdf Yes, now in ebook format from the Skanky Possum edition, = www.skankypossum.com/ Johnson is at it again with translations. Read = what all the hubbub is about !=20 This is posted online for reference to the upcoming review in Jacket = http://jacketmagazine.com/=20 shane allison : Black Vaseline and other poems BlazeVOX [books] is pleased to present shane allison's new ebook, Black = Vaseline and other poems. These embedded media poems are refreshing = connections to entertainment.=20 www.blazevox.org/books/sa.htm=20 Tom Cruise Never Sucked My Cock (A Fantasy) That's not the way it went down. I performed oral sex on him in the bathroom on the set of my movie "The Cockpit Club". We met through a mutual friend I performed oral sex on Tom Cruise And getting him off was a mission impossible. We met at a party Rebecca Demornay was throwing. He was standing in her living room drinking white champagne. Getting him off was a mission impossible As his cock flossed my teeth. He looked good as shit standing in Rebecca's living room, lips sipping=20 champagne. He noticed me smiling at him over Cuba Gooding Jr's shoulder. His cock flossed my teeth And I didn't care about the whereabouts of Nicole. He saw me smiling at him as I was talking to Cuba Gooding Jr. Who is actually taller in person. I think Nicole was in the other room Talking to Julianne Moore Who is also very tall in person. He's nothing like the characters he play in his movies. Nicole was out on the deck talking to Julianne Moore I think. Tom smelled sweeter than a cosmetics counter in his Armani suit And he's nothing like the characters he play in his movies. He slipped me a phone number the rest of the world doesn't know about smelling like a cosmetics counter. He was growing a beard; I wanted to touch him While he slipped his confidential number in my shirt pocket. He kissed me in the toilet, on the set of my new movie, "The Cockpit = Club." Scott and John Plan to Blow Up the Jenny Jones Show "Come to me. "I have the tool for you'm" he wrote in a note convened on a coffee table in a newly furnished trailer. John grinds his teeth. Face shade to an angry red behind made up smiles Scott goes for a hug, John pulls away. The audience cheer. Women think it's sweet. John remains intact. He keeps it together under fluorescent lights, in front of 90 million nosey eyes. Before the lights flickered, before the cameras rolled & murder took place, John and Scott have a few drinks on hotel tab. They go to dinner on Jenny's platinum card. Take that bitch's BMW for a moonlit stroll down the highways and byways of Chicago. "I'm straight and into girls." he says, as he breaks into Scott's home loading three bullets into his chest. Smoke levitating from the wounds like ghosts. Scott pulls himself to the cordless telephone. He coughs up blood. Scott calls his mother. She holds her dead son in her arms. Her nightmares are like movies that never end. She wants to wake up to him cooking bacon and eggs. Kiss him off to school. John drops his gun in a nearby dumpster. He watches Wheel of Fortune until the cops arrive. Feeds dog, calls sick grandmother before the handcuffs, before the interrogations, before a legal pad confession. "I'm going away for a while grandma," he yells. She's deaf in one ear. John could never hurt a fly. His mother mortgages her house for expensive lawyers. Pawns coin collection for bail. John is a good boy. John is a good, clean All- American boy who takes out the trash and eats his vegetables. John is sentenced to life in prison without the possibility of parole. ========================================================================= Date: Wed, 16 Jun 2004 21:31:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Leopold Bloom makes the google logo In-Reply-To: <12a.441d6d63.2e025638@aol.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit I guess Bloomsday is truly an institution. It even made the google logo today... http://www.google.com/ ========================================================================= Date: Wed, 16 Jun 2004 22:57:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: A Moment Of Bern Porter You Might Have Missed If You Didn't Realize.... MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Spiders -- Bern and Guglielmo Cavellini could have comboed big time. = With Cavellini's available money and Italian showiness, and Porter's = testy outward style and parsimonious manner of living and artmaking, = they shared some interesting artistic parallels: almost always the focus = on language found and imposed; alternate use of things; mail art; = productivity, almost a kind of constancy; self-historification & = archiving; immediacy to their own culture and long twentieth century = lives. Does anyone know if they indeed ever met, ever collaborated? Joel -----Original Message----- From: UB Poetics discussion group on behalf of Craig Allen Conrad Sent: Wed 6/16/2004 10:04 PM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: A Moment Of Bern Porter You Might Have Missed If You Didn't = Realize.... looking over an old journal from the late 90's, when i was roommates with Sheila Holtz, who eventually moved to Maine to edit Bern Porter International, i came across the following entry, something i had forgotten about: ------------- bomb-making avant garde poet/artist Bern Porter appeared as an extra in the 1996 film adaptation to Stephen King's novel THINNER (starring no one that i can ever recall seeing before, although Stephen King himself plays a nervous --and sexy, since he can't help himself-- nerdy pharmacist) about 48 and one half minutes into the film when we enter the dream sequence of the Gypsy Carnival, Bern Porter and Sheila Holtz are visible for about 1 and one half seconds while standing in the audience before the 106-year-old Gypsy King named Lemke. for the first half of the 1 and one half seconds we see them from behind, as a gypsy is picking Sheila's pocket. Sheila is then smiling and laughing when the rest of the 1 and one half seconds shows them from the front. they really should have given Bern a speaking role. ------------- from dream sequence to dream, CAConrad http://phillysound.blogspot.com ========================================================================= Date: Wed, 16 Jun 2004 23:27:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: A Moment Of Bern Porter You Might Have Missed If You Didn't Realize.... MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Listserv -- Forget greeting "Spiders" below, but the observation and = question stands. Joel -----Original Message----- From: UB Poetics discussion group on behalf of Lipman, Joel A. Sent: Wed 6/16/2004 10:57 PM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Re: A Moment Of Bern Porter You Might Have Missed If You Didn't = Realize.... Spiders -- Bern and Guglielmo Cavellini could have comboed big time. = With Cavellini's available money and Italian showiness, and Porter's = testy outward style and parsimonious manner of living and artmaking, = they shared some interesting artistic parallels: almost always the focus = on language found and imposed; alternate use of things; mail art; = productivity, almost a kind of constancy; self-historification & = archiving; immediacy to their own culture and long twentieth century = lives. Does anyone know if they indeed ever met, ever collaborated? Joel -----Original Message----- From: UB Poetics discussion group on behalf of Craig Allen Conrad Sent: Wed 6/16/2004 10:04 PM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: A Moment Of Bern Porter You Might Have Missed If You = Didn't Realize.... looking over an old journal from the late 90's, when i was roommates with Sheila Holtz, who eventually moved to Maine to edit Bern Porter International, i came across the following entry, something i had forgotten about: ------------- bomb-making avant garde poet/artist Bern Porter appeared as an extra in the 1996 film adaptation to Stephen King's novel THINNER (starring no one that i can ever recall seeing before, although Stephen King himself plays a nervous --and sexy, since he can't help himself-- nerdy pharmacist) about 48 and one half minutes into the film when we enter the dream sequence of the Gypsy Carnival, Bern Porter and Sheila Holtz are visible for about 1 and one half seconds while standing in the audience before the 106-year-old Gypsy King named Lemke. for the first half of the 1 and one half seconds we see them from behind, as a gypsy is picking Sheila's pocket. Sheila is then smiling and laughing when the rest of the 1 and one half seconds shows them from the front. they really should have given Bern a speaking role. ------------- from dream sequence to dream, CAConrad http://phillysound.blogspot.com ========================================================================= Date: Wed, 16 Jun 2004 23:50:06 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Psychoanalyst: Bush Is Crazy 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 Psychoanalyst Justin Frank Confirms Repeated Assassinated Press Claims 'That Bush Is Crazy.' Bethesda Naval Hospital Discovers That President Suffers From Putzschemekelkopf Syndrome by Wiener Schnitzel 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Thu, 17 Jun 2004 01:04:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nathaniel Siegel Subject: Re: POETICS Digest - 15 Jun 2004 to 16 Jun 2004 (#2004-169) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear All: Greetings from Naropa ! poets for PEACE are organizing a reading on Wednesday Sept 1st, 2004 at the Bowery Poetry Club: this is an OPEN READING and ALL are invited to read with us ! the reading will be from 5-7pm and then we will have a PARADE up to St. Marks Church for the reading there at 8pm organized by Ray Devineni, Jennifer Benka and The Poetry Project ! if you are interested in participating in the event at Bowery Poetry Club, please email : nathanielsiegel@aol.com All poets welcome ! To be included in an instant anthology of the reading, email poem in advance to nathanielsiegel@aol.com. Thank you ! nathaniel a. siegel ========================================================================= Date: Thu, 17 Jun 2004 01:09:26 -0400 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Re: query MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Kazim-- Not sure what you are looking for, half paying attention but I wrote an epistolary novel marketed as non-fiction tho often written in scannable sentences of iambs trochees dactyls & so on called In It What's in It published by Spuyten Duyvil from your neck of a river. Do I win something? Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Wed, 16 Jun 2004 00:37:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: query MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit very romantic tis that o'er al ========================================================================= Date: Thu, 17 Jun 2004 04:20:25 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the bloom is off the rose hazy dawn i want... hazy dawn...want...drn... ========================================================================= Date: Thu, 17 Jun 2004 11:48:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: query MIME-Version: 1.0 Content-Type: text/plain Steve -- Is your computer or server running a day late or something -- your posts always come in showing a day late on the clock -- which doesn't really matter except that those of us who have or email sorted by date some times miss your posts at first because they're sorted down in among the posts we've already read -- On Wed, 16 Jun 2004 00:37:05 +0000, Steve Dalachinsky wrote: > very romantic tis that o'er al > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --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: Thu, 17 Jun 2004 09:26:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Writers' Workshop RELOCATED! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit PLEASE BE ADVISED! New Address: Next Writers' Workshop [If you plan to show, please acknowledge receipt of this email.] ======= 1st & 3rd Saturdays Writers' Workshop with Louis Reyes Rivera Poetry, Fiction, Nonfiction, Essays Basics & Advanced Saturday, June 19, 2004 12 noon will take place at: 1392 Union Street (btwn Brooklyn & Kingston Aves.) Take the # train to Kingston Ave. [For those who drive: Take Eastern Parkway to Brooklyn Ave., one block to Union Street] ===PLUS=== Have Sound System... Will Travel Musicians, Poets, Performance Artists Make sure your Sound comes across The way you intended! Masujaa, an experienced musician and sound engineer with State of the Art Equipment is available for gigs, festivals and weddings and will go where you are. Reasonable Rates! Call (516) 485 1269 &/or (516) 410 9683 email: MASCOOL2K@aol.com DON'T LEAVE YOUR SOUND TO CHANCE! ===PLUS=== Tune in to WBAI (99.5fm or www.wbai.org) Thursdays, 2pm Louis Reyes Rivera Perspective ======= Contact: Louisreyesrivera@aol.com 718 622 4426 ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 17 Jun 2004 14:33:34 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Summer Readings at the Ship MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Summer Readings at the Ship Pub A short story writer, two poets and a novelist walk into a bar... Bill Robertson (Saskatoon), Larry Mathews (St. John's), Christine Walde (Sault Ste. Marie) and Anna Swanson (St. John's) who will be launching her newest chapbook Where a Name Would Be. Hosted by Kevin Hehir Monday, June 21 8:00 pm Free. Always. Info at 722-0678 William Robertson has published three collections of poems, the most recent of which is Somewhere Else, and a biography of k.d.lang He also reviews plays and musical events and books for CBC Saskatchewan Books and for the Saskatoon Star Phoenix. He teaches English in Saskatoon, Prince Albert, and at the Thunderchild First Nation, and has taught creative writing for the Sage Hill Writing Experience, as well as serving on its board of directors. Larry Mathews teaches Canadian literature and creative writing in the English Department at Memorial University. He has published stories in numerous anthologies and journals and is a founding member of The Burning Rock Collective. His collection of short stories, The Sandblasting Hall of Fame, was published this year by Ottawa's Oberon Press. Christine Walde has been published in a variety of publications including Descant, B & A, The New Quarterly, Kiss Machine and the Globe and Mail. Her first novel, The Candy Darlings,will be published by the Gutter Press in Canada and Houghton Mifflin in the US. She lives in Sault Ste. Marie. Anna Swanson studied Creative Writing at the University of Victoria. Her poetry has been published in various literary journals including Grain, Prairie Fire and The Malahat Review, and also appears in Joining the Sisterhood, an anthology of young Jewish women writers. Her first chapbook, Enough Naked Women to Sink a Small Dock, was published by Rubber Boot Rodeo in 2002. She grew up in Vancouver and currently makes her home in St. John's. For more information contact Kevin Hehir at 722-0678 or khehir@cs.mun.ca -30- ========================================================================= Date: Thu, 17 Jun 2004 10:47:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Color's Torrid Function! Subject: Flower odor bolt MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Wasington Ave to Oberlin, Oberlin to Brownell Beads of light under brick cinderblock boxes throttle vampire awnings. Neon squeezes out of Biggy's in those pants you sweat, black legs aching over cruelties of pavement. Just step past the weeds. It's sun keeps me in cracks. Trace some long cold sidewalk through sudden bolts of flower odor, rotating fast. As in lying shorn on this chained field. ===== *************************************************************************** Lewis LaCook net artist, poet, freelance web developer/programmer http://www.lewislacook.com/ Stamen Pistol: http://stamenpistol.blogspot.com/ Database_shortPoems:: http://www.lewislacook.com/poems/shortpoems.php Sidereality: http://www.sidereality.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? Read only the mail you want - Yahoo! Mail SpamGuard. http://promotions.yahoo.com/new_mail ========================================================================= Date: Thu, 17 Jun 2004 14:13:08 -0400 Reply-To: Halvard Johnson Sender: UB Poetics discussion group From: Halvard Johnson Subject: Hamilton Stone Review, Issue 3, Summer 2004, Now Online! Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hamilton Stone Review, Issue 3, Summer 2004, Now Online! This time an all-poetry issue featuring Jordan Davis, Harriet Zinnes, Edward Field, Gene Frumkin, Zan Ross, Barry Alpert, Hugh Seidman, Alvin Greenberg, and Mary Rising Higgins. http://www.hamiltonstone.org/hsr.html Submissions to the Hamilton Stone Review At this time, the Hamilton Stone Review is not open to unsolicited fiction submissions, but will be taking unsolicited poetry submissions during September, October, and December 2004 for Issue #5, which will be out in February 2005. These unsolicited poetry submissions should go directly to Halvard Johnson at halvard@earthlink.net or halvard@gmail.com. -- Hal Halvard Johnson halvard@gmail.com halvard@earthlink.net http://home.earthlink.net/~halvard ========================================================================= Date: Thu, 17 Jun 2004 12:07:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: Mark Rudd is a Dudd In-Reply-To: <15a.37a9f3d3.2e024d77@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Daniel Elsberg commented that most of the things that were done to him during Watergate and were considered illegal then would be legal under the Patriot Act. Government repression is a given -- whether COINTELPRO or Sacco and Vanzetti or the Palmer Raids or the Haymarket Trial or . . . -- but I don't want to play down the Patriot Act: it is perhaps the most serious attempt to give legal cover to police-state tactics in the history of the US. >by the way, >one of the reasons that i've had so much respect for >Rudd and his comrades, is their belief that including working >class people in the struggle was a must. Most -- but not all -- Weather underground activists came from middle-class or even privileged backgrounds. Also, the theory of white privilege they advocated -- that most white workers have been bribed by the privilege of racism and the great profits enjoyed by imperialism to side with the ruling class and that black and other non-white peoples are the core of the revolutionary movement with Third World peoples fighting for national liberation -- made them targets of criticism for being anti-working class by more traditionally Marxist oriented groups. Hilton ------------------------------------------------------------------------------- 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: Thu, 17 Jun 2004 15:58:24 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: rob's clever blog Content-transfer-encoding: 7BIT new on rob's clever blog - Tour Notes, part two (including notes on Proper Tales Press, dig magazine, Grey Borders / Cubicle Press, Sunday Morning Chapbooks, Over the Moon & The Rideau River Press) - a bite out of ga: Montreal's ga press - Meira Cook's Slovenly Love (Brick Books) www.robmclennan.blogspot.com -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...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, 17 Jun 2004 13:21:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Mark Rudd is a Dudd In-Reply-To: <5.1.1.5.2.20040617114912.0271c3e8@hobnzngr.pobox.stanford. edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I was at Columbia in 1968, and very politically active, tho not Weatherman or SDS. I must have gone to 500 rallies. Mark Rudd became a spokesperson because he was photogenic and demanded the attention, to the vocal annoyance of a lot of his compatriots. He was given to spontaneous oratory that was big on provocation but short on coherence. He seemed increasingly trapped by a celibrity whose consequences he hadn't anticipated. The numbers occupying buildings were relatively small, the numbers supporting them (or rather, some of their positions) and opposing the use of police force, were enormous. Those in the buildings were unharmed; there were several hundred injured outside the buildings, myself included (fortunately, not badly). About a week after the buildings were evacuated, some of the (what shall I call them) alumni of the occupation, many of whom had decided to continue living in a confined space together, issued a command that the then empty ground on campus between 118th and 119th Street be made into a cooperative farm to be worked by the peasants from the surrounding slums. At the various huge (300,000+ in attendance) antiwar rallies the Weathermen were a disruptive element, endangering everyone around them. There was a strong feeling by almost everyone else (I didn't take a poll, but there's ample documentation) that the disruptions were counterproductive--demonstrations are about publicity, and the violence drew the media, crowding out everything else. It also helped harden the divisions in the culture that made it possible to sustain support for the war. Mark At 12:07 PM 6/17/2004, you wrote: >Daniel Elsberg commented that most of the things that were done to him >during Watergate and were considered illegal then would be legal under the >Patriot Act. Government repression is a given -- whether COINTELPRO or >Sacco and Vanzetti or the Palmer Raids or the Haymarket Trial or . . . -- >but I don't want to play down the Patriot Act: it is perhaps the most >serious attempt to give legal cover to police-state tactics in the history >of the US. > > >>by the way, >>one of the reasons that i've had so much respect for >>Rudd and his comrades, is their belief that including working >>class people in the struggle was a must. > > >Most -- but not all -- Weather underground activists came from middle-class >or even privileged backgrounds. Also, the theory of white privilege they >advocated -- that most white workers have been bribed by the privilege of >racism and the great profits enjoyed by imperialism to side with the ruling >class and that black and other non-white peoples are the core of the >revolutionary movement with Third World peoples fighting for national >liberation -- made them targets of criticism for being anti-working class >by more traditionally Marxist oriented groups. > >Hilton > > > > > > >------------------------------------------------------------------------------- >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: Thu, 17 Jun 2004 14:20:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: Mark Rudd is a Dudd In-Reply-To: <6.1.0.6.1.20040617130425.030633f0@mail.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Mark and All, Well, now we can get into an old-timer's debate. SDS at Columbia was not Weatherman. Most of the people in the buildings were not SDS activists but were sympathetic students and people off campus, like The Motherfuckers from the Lower East Side. Rudd was very much a leader at that time, regarded at least by people occupying the President's office in Low Library where I was as subject to our participatory democracy, but he was not THE leader or regarded as charismatic. He was considered an ordinary schmuck -- and that was endearing, since he wasn't much different than the rest of us. People often told him what to do ("Let's tear down the fence!") and he was forced to do it. It was AFTER the Columbia rebellion that he became "trapped by celebrity" and the conflicts in SDS accelerated. Far more articulate were Dave Gilbert and Paul Rockwell who would speak at length explaining the inner workings of the government, CIA ties to the university (evidence for which we found in the President's office), and more. Gilbert is in jail for life for the Brink's robbery, and Rockwell is somewhere in the California Central Valley working on community and labor coalitions. By all the news footage there's no doubt that people outside the buildings were severely injured. There's no footage of what happened inside the buildings, however. Black students in Hamilton Hall negotiated a surrender -- and they were uninjured (and consequently Harlem did not explode in rage and the university did not burn to the ground, as feared by city and university authorities). Perhaps some people inside the buildings thought it was a lark -- David Shapiro's photo with his feet up on President Kirk's desk smoking his cigars became emblematic, even though he left immediately afterwards (yet that photo has come to haunt him his entire life) -- but people in Low, who were surrounded by right wing students, a line of faculty trying to keep peace, and various pro and con demonstrations outside, took the occupation very seriously, argued every point of negotiations and strategy. When the police finally did attack, people in the other buildings reported severe beatings, being dragged by their feet down steps for flights, and more. In Low Library, once police broke through barricades and surrounded the 135 or so people circled together, arms linked in passive resistance, they began systematically beating people -- nobody escaped injury. I vividly remember one cop swaggering over to a girl and casually lift his extended utility flashlight and begin pounding her over her head relentlessly, then came my turn. The police then went ahead and trashed the place, depicting walls smeared with paint and other garbage as the doing of the students and supporters. Reading the NY Times the next day raging at the barbarism of the students was one of the deepest learning experiences I have had about the manipulations of the media and the ruling class. I know the truth; I was there; they lie. Mark, I don't know about the cooperative farm riff -- never heard of that before -- except that this was the time that "guerilla theater" and other humorous modes of resistance began to blossom, and it sounds like a great goofy joke. This was the time when, during the strike following the occupation, "the liberated university" flourished, and all sorts of incredible ideas were projected and classes were held that are today part of the regular curriculum of universities (e.g., the history of racism, imperialism and literature, avant-guard poetry). I know I worked with others during this period organizing poetry readings with Allen Ginsberg, The Grateful Dead filling up the entire campus with their sound, and Village drag queens offering campy support (this is a year before Stonewall). I do know that, about 20 days after the initial occupation ended, students barricaded the campus and re-occupied Hamilton Hall. Police moved through the barricades, and I saw thousands of enraged students charge into police, even beating them back, while police chased after them, guns drawn and duct tape over their badge numbers, beating them relentlessly. The level of violence escalated soon after that: guns drawn would be used thereafter, as Kent and Jackson States demonstrated. In any case, many of the people involved in Columbia SDS did become involved in Weatherman -- but don't conflate the two. Events and politics changed so quickly during that time that it would seem easy to simply see everything in a static fashion. Hilton At 01:21 PM 6/17/2004 -0700, Mark Weiss wrote: >I was at Columbia in 1968, and very politically active, tho not Weatherman >or SDS. I must have gone to 500 rallies. Mark Rudd became a spokesperson >because he was photogenic and demanded the attention, to the vocal >annoyance of a lot of his compatriots. He was given to spontaneous oratory >that was big on provocation but short on coherence. He seemed increasingly >trapped by a celibrity whose consequences he hadn't anticipated. > >The numbers occupying buildings were relatively small, the numbers >supporting them (or rather, some of their positions) and opposing the use >of police force, were enormous. Those in the buildings were unharmed; there >were several hundred injured outside the buildings, myself included >(fortunately, not badly). > >About a week after the buildings were evacuated, some of the (what shall I >call them) alumni of the occupation, many of whom had decided to continue >living in a confined space together, issued a command that the then empty >ground on campus between 118th and 119th Street be made into a cooperative >farm to be worked by the peasants from the surrounding slums. > >At the various huge (300,000+ in attendance) antiwar rallies the Weathermen >were a disruptive element, endangering everyone around them. There was a >strong feeling by almost everyone else (I didn't take a poll, but there's >ample documentation) that the disruptions were >counterproductive--demonstrations are about publicity, and the violence >drew the media, crowding out everything else. It also helped harden the >divisions in the culture that made it possible to sustain support for the war. > >Mark > > >At 12:07 PM 6/17/2004, you wrote: >>Daniel Elsberg commented that most of the things that were done to him >>during Watergate and were considered illegal then would be legal under the >>Patriot Act. Government repression is a given -- whether COINTELPRO or >>Sacco and Vanzetti or the Palmer Raids or the Haymarket Trial or . . . -- >>but I don't want to play down the Patriot Act: it is perhaps the most >>serious attempt to give legal cover to police-state tactics in the history >>of the US. >> >> >>>by the way, >>>one of the reasons that i've had so much respect for >>>Rudd and his comrades, is their belief that including working >>>class people in the struggle was a must. >> >> >>Most -- but not all -- Weather underground activists came from middle-class >>or even privileged backgrounds. Also, the theory of white privilege they >>advocated -- that most white workers have been bribed by the privilege of >>racism and the great profits enjoyed by imperialism to side with the ruling >>class and that black and other non-white peoples are the core of the >>revolutionary movement with Third World peoples fighting for national >>liberation -- made them targets of criticism for being anti-working class >>by more traditionally Marxist oriented groups. >> >>Hilton >> >> >> >> >> >> >>------------------------------------------------------------------------------- >>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 > > > > >------------------------------------------------------------------------------- >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: Thu, 17 Jun 2004 16:36:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: [razapress] Calacalandia mourns the loss of poet activist Phil Goldvarg MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit Calacalandia mourns the loss of poet activist Phil Goldvarg Yesterday we received a phone call from Helen Quintana, Phil Goldvarg's wife, notifying us that he had passed away earlier that day. Phil had been battling brain cancer since he was diagnosed while in San Diego for Chicano Park Day in 2003. Phil is known by many as a humble caring human being who always strived for a more just society. But that humbleness did not stop him from taking on many issues in his prolific poems: from police brutality and genocide to Vieques and Chiapas and beyond. Phil's "lengua de filero" was always willing to throw down a poem or two for the right cause including many pieces on Chicano Park. Phil has always been a supporter of Calaca Press. From our first book Bus Stops and Other Poems in 1998 to our last conversation a month or so ago. He has been there since the beginning. Whenever in San Diego he made an effort to contact us. If he couldn't see us in person he would call. That was the type of person Phil was. On behalf of Calaca Press, the Red CalacArts Collective, and all of the activists, writers and artists in Calacalandia we would like to express our deepest sympathies to Helen and all of Phil's family and friends. With love and sadness, Brent E. Beltrán Consuelo Manríquez de Beltrán Calaca Press/Red CalacArts Collective p.s. Below is an email with contact info for those who wish to send Helen your condolences. p.p.s. We may have lost a great human being but he left us his poems to keep us company. Below are two pieces dedicated to the recently departed Gloria Anzaldua and Pedro Pietri. The third is a piece called Does Anyone Know Who We're Bombing Today? +++++ ------ Forwarded Message From: "Trudy Robles" Date: Mon, 14 Jun 2004 14:39:14 -0700 Subject: Aguila Phil Goldvarg asends into the heavens Phil Goldvarg – “Lengua del Filero” nuestro hermano, amigo, esposo, son, father, abuelo y padrino ascended into the heavens at 1pm today. He was so peaceful and radiant with love. His wife Helen, their family and friends were with him when he took flight. The family asks that you keep him in your positive thoughts and prayers as he transitions into the spirit world. We ask that you keep him in prayer for the next six weeks, offering your energy for a gentle transition and higher vibration. Information regarding services will be sent out soon. Please send cards and correspondence to: Helen Quintana 2600 Sutterville Road Sacramento, CA 95820 Please send this information out to your lists. Gracias Trudy Robles +++++ She kept Crossing {Para Gloria Anzald'ua} she kept on crossing the ragged road of hope, slipped by razor sharp rock, dry desert hand that offers illusion, promise of some false god that masks as creator, field of frailty before us all, spirit is the mover, the crosser, corazon fuerte, the wing that lifts us over darkness, feel del manos de hermanas y hermanos, press against her back, abrazo de carino, how could she stop crossing with so much caring against her skin, corazon, alma de ella, she kept on crossing, kept on crossing, fronteras y puentes without fear pero con orgullo. Phil Goldvarg 5/18/04 hgold42734@aol.com +++++ No Dead Rican Poets Para Pedro Pietri we write obituaries for the Rican dead, for dead Rican poets, pero they're not dead, las palabras Rican live enduring breath, corazon Rican sings drum beat, alma Rican is clave sonrisa caressing conga skin, Rican poets son alas fuertes. painting the sky, mural por vida, obituaries become faded dreams, words too weak to kill a Rican poet, cuz the poets have a strong hand, living spirit de movidas, they come to us en la noche y under el sol de abrazos, we write obituaries for dead Rican Poets, pero they're not dead, they fill our sangre con esperanzas, wild dance that moves our spirit, our waiting feet phil goldvarg 3/7/04 hgold42734@aol.com +++++ Does Anyone Know Who We're Bombing Today does anyone know who we're bombing today, evidence is gone with melted flesh, bones turned to dust, villages disappeared, cries of pain lost in clouded explosions, generations flow faded to crumbled hope, does anyone know we fill nights' sky, targeting the untargetable, did any of us get to vote on this homicide, are we the shadow of violence, slipping into dark corners, scalpel in hand, choosing victims for the cut of death, are we the locust that consumes human fields, does our hunger covet this earth, does anyone know what's going on, we are armed and ready, stealth is a dance we know so well, under cover of flag we are genociders, media puppets are fed on schedule, they throw up a killers meal, masked to hide the stench of annihilation, does anyone know who we're bombing today, who we bombed yesterday, who we have in mind for tomorrow, what do the killers tell their grandchildren, do they give them toy guns with live ammunition, hide them in lead lined shelters, explain to them why they have no playmates, why air is poison, why windows are plastered with secrets, ghost committees of oil drinkers, munition makers, earth thieves, meet behind our troubled eyes, we don't realize a need for vision of discovery, to question unknown moves of elected liars, walking blind in patriotic mist, over mass graves covered with plastic flowers, does anyone know who we're bombing today, do we accept there is danger of our execution, do we let this deceptive shade fall across our heart, does any one know extinction will be our gift, chain reaction of false leaders hate, their quest for power and elusive crowns, what do we tell our grandchildren, what do we say when they ask for toy guns and live ammunition, does anyone know who we're bombing today, does anyone no where, are we so sure our leaders don't have us in their sites, does anyone know, does anyone know. Phil Goldvarg 10/27/02 Hgold42734@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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 17 Jun 2004 16:53:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Mark: I was at Berkeley at the time. I agree with you about disruption, but not about the war, which was propelled by forces over which citizens had no control. Just like when we tried to stop the invasion of Iraq. Nothing we did or didn't do would have stopped these people. Nixon was only stopped by his own mental illness, as Bush will be by his hypocritical beliefs. But the spirit of the 60s changed my life forever, and I think that of many people. And the movements--Civil Rights, Women, Environment, continue to this day, which is why the right-wing still hates the 60s. We saw in the run-up to the invasion of Iraq that that spirit is still alive, in fact has spread around the world. The spirit of the 60s, at Columbia, Berkeley, Kent State, in Ann Arbor, Albuquerque, Chicago, and on dozens of other campus, was the best this country had to give to the world. -Joel ----- Original Message ----- From: "Mark Weiss" To: Sent: Thursday, June 17, 2004 1:21 PM Subject: Re: Mark Rudd is a Dudd > I was at Columbia in 1968, and very politically active, tho not Weatherman > or SDS. I must have gone to 500 rallies. Mark Rudd became a spokesperson > because he was photogenic and demanded the attention, to the vocal > annoyance of a lot of his compatriots. He was given to spontaneous oratory > that was big on provocation but short on coherence. He seemed increasingly > trapped by a celibrity whose consequences he hadn't anticipated. > > The numbers occupying buildings were relatively small, the numbers > supporting them (or rather, some of their positions) and opposing the use > of police force, were enormous. Those in the buildings were unharmed; there > were several hundred injured outside the buildings, myself included > (fortunately, not badly). > > About a week after the buildings were evacuated, some of the (what shall I > call them) alumni of the occupation, many of whom had decided to continue > living in a confined space together, issued a command that the then empty > ground on campus between 118th and 119th Street be made into a cooperative > farm to be worked by the peasants from the surrounding slums. > > At the various huge (300,000+ in attendance) antiwar rallies the Weathermen > were a disruptive element, endangering everyone around them. There was a > strong feeling by almost everyone else (I didn't take a poll, but there's > ample documentation) that the disruptions were > counterproductive--demonstrations are about publicity, and the violence > drew the media, crowding out everything else. It also helped harden the > divisions in the culture that made it possible to sustain support for the war. > > Mark > > > At 12:07 PM 6/17/2004, you wrote: > >Daniel Elsberg commented that most of the things that were done to him > >during Watergate and were considered illegal then would be legal under the > >Patriot Act. Government repression is a given -- whether COINTELPRO or > >Sacco and Vanzetti or the Palmer Raids or the Haymarket Trial or . . . -- > >but I don't want to play down the Patriot Act: it is perhaps the most > >serious attempt to give legal cover to police-state tactics in the history > >of the US. > > > > > >>by the way, > >>one of the reasons that i've had so much respect for > >>Rudd and his comrades, is their belief that including working > >>class people in the struggle was a must. > > > > > >Most -- but not all -- Weather underground activists came from middle-class > >or even privileged backgrounds. Also, the theory of white privilege they > >advocated -- that most white workers have been bribed by the privilege of > >racism and the great profits enjoyed by imperialism to side with the ruling > >class and that black and other non-white peoples are the core of the > >revolutionary movement with Third World peoples fighting for national > >liberation -- made them targets of criticism for being anti-working class > >by more traditionally Marxist oriented groups. > > > >Hilton > > > > > > > > > > > > > >--------------------------------------------------------------------------- ---- > >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: Thu, 17 Jun 2004 17:45:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron McCollough Subject: New Issue of GutCult MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear GutCult Readers- The newest issue of GutCult is now online at http://www.gutcult.com The summer issue features poems by us poets, an australian poetry feature edited by Michael Farrell, and a prose section. We are pleased to have new work from Tony Tost, Laura Solomon, MTC Cronin, Anselm Berrigan, Arielle Greenberg, Jill Jones, Geraldine McKenzie, Pam Brown, and many other fine writers. Also, please keep your eyes peeled for our winter issue where we will unveil critical features, including book reviews and a dedicatory section on Robert Lax. All best- Aaron ****************************************************** Aaron McCollough English Department University of Michigan "for man / is a giddy thing, and this is my conclusion" --Much Ado About Nothing V.iv. ****************************************************** Welkin (Ahsahta Press) ISBN 0-916272-72-9 www.ahsahtapress.boisestate.edu Double Venus (Salt Publishing) ISBN 1-844710-03-3 www.saltpublishing.com Both titles also available at amazon.com blog: http://aaronmccollough.blogspot.com __________________________________ Do you Yahoo!? Yahoo! Mail Address AutoComplete - You start. We finish. http://promotions.yahoo.com/new_mail ========================================================================= Date: Thu, 17 Jun 2004 21:06:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Lives of Eminent Assyrians 6 Mime-Version: 1.0 Content-Type: text/plain; format=flowed read / pleasure plain must such / meadow ingenious it pleases manner enterprise also / ancestry hardly dared especially / obedience secretly show meekness since offer / loose responsibility / either break / confidently say / each / must keep beats Nature slave / must wine / constitution revenged according to / occasion is wise in permission / promised firmly / did indeed who / agrees happiness comfort unless called arranged / two also pleasure cease sighs it pleases mourns / complains constraints / valued are killing diligence gradually / everyone imprinted reason diminish endure / sorrow soon slacken go about gloomy imaginings saw sailing / it pleased part cured / sharp sustain pitifully say / sighs foreknowledge vain sure helped / bird knowledge / harms remembered means it pleases leave / dispute murder sunken / pleasure arrange / amuse themselves pleasant one / morning orders food / prearrangements ingeniously laid out excellence unless lighten began judgment fortune / dissemble surpassing description hear / reveal knew before if / delight fell in two gone where know reward / breaking have pity / sharp slay buried leisure make / die jest all along hinder / boat coast word happen / pleasure impossibility at once path walked began diversion the color / taken knees / put delirium / prayer mind / went position: merciful lost grant / show enlivened / fire assiduously fathoms / rise above keep / promise spring-tide unless / grant continual prosperity "are they suspicious?" sick learned folk secret ever / whole unless eager although / profession much belief privately cured sure / lion / emptied find in addition swept away cure / gone cured all but well alighted falconers / river bank gone / pleases must complete word of honor delay as pledge relief alighted jocund entertainment / pity hastened / as much as watch / opportunity conjuring know / calculated moon / adjustment answering / longer whether / helped / taken at once fearful / appearance saluted most reluctant either / pity / die consider slay know / promised claim promised word gave grant promise stunned / expected scarcely unawares choose / rather / lose false / reputation freed at the feast stealthily / leaped drowned caused to inquire slay / slew / flow can help it daughters died slew / chose "what good is completely perfect?" tell / 'look" "tell" / else perhaps faith rather stabbed highest burst on / death _________________________________________________________________ MSN 9 Dial-up Internet Access fights spam and pop-ups – now 3 months FREE! http://join.msn.click-url.com/go/onm00200361ave/direct/01/ ========================================================================= Date: Thu, 17 Jun 2004 22:38:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Corina Copp Subject: tsering wangmo dhompa Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi--does anyone have Tsering's email address? Thanks in advance! --Corina ========================================================================= Date: Thu, 17 Jun 2004 23:11:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Re: Mark Rudd is a Dudd. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii As a relative youngen, I just want to thank everyone who’s shared and recounted experiences in this thread. Given what I detect as an increasing reaction against the politicization of the humanities, it’s important to remember the events and movements which precipitated the things many in my generation take for granted. Props to the old-timers. Seriously, thank you. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Thu, 17 Jun 2004 23:21:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Mark Rudd is a Dudd. In-Reply-To: <20040618031122.28773.qmail@web51509.mail.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The problem is there shouldn't be old-timers; it's not a long recounting of what someone did or didn't do - it's the need for constant vigilence. There was a moment 'then' when it seemed that the left - or whatever - could relax - but that just wasn't true; the right for example was computerizing email lists and contacts vis-a-vis Billy Graham, and the left was Stewart Brand. Nothing has changed except that technology has served the right, in terms of infinite invasion, and infinite invasion of privacy, perfect - to the extent that technology combines the garnering of resources and control, it/automation mimics the corporate entity itself; there's not much difference between capital and gigabyte speed - if one's so lucky. It's like that saying which infuriates me - 'our children are our future' - well, we're our fucking future, period, and we're sliding into fascism at an unnerving rate. - Alan 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: Thu, 17 Jun 2004 23:38:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Reviews of books I like and more - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Reviews of books I like and more - Paul Graham, Hackers & Painters, Big Ideas from the Computer Age, O'Reilly, 2004 This is a rather frustrating book, because there is a great deal of information buried in a fairly flat landscape. I'm not sure why it wasn't edited down to a more concise format. The author talks a great deal about programming, languages, and sites such as Orbitz which is written in lisp. The chapters that fascinated me most are near the end: Programming Languages Explained, The Hundred-Year Language, Revenge of the Nerds, and The Dream Language. The author extols hackers and user-friendly languages, and has made me want to learn lisp; he writes extensively on its advantages. I like lines like "There are worse things than having people misunderstand your work. A worse danger is that you will yourself misunderstand your work." On the other hand, there are far too few examples - parts of the book might be already too simple for programmers, but parts are also too simple for humanities-based theory. I'd recommend this book to anyone interested in thinking about the issues raised, but not expecting too many answers. The Works of Mencius, translated etc. James Legge, Dover edition. I'm on a slow-reading email list for Mencius - the book is terrific, even after millennia have passed. I had expected a much drier text - it's not at all. A tremendous guide to early Chinese culture as well. Georges Ifrah, The Universal History of Numbers, Harvill, three volumes (paperback). If you read anything in the philosophy of mathematics - or philosophy for that matter - or the history/phenomenology of symbols - or the historiography (not to mention history) - of computers, you should run out the door and buy these. They're critical. First volume, early history; second volume, modern number-system, third volume, computer and the information revolution. On top of everything else, they're exciting to read. George Dunnington, History and Progress of the County of Marion, West Virginia, 1992 reprint of 1880. I've become fascinated by the history of West Virginia - ranging from Native Americans through the mines and mine war. Fairmont in Marion was the home of Israel Forman, who made the cabinet cards I have in my current exhibition here (around 1889). Now it turns out that a fire which destroyed the downtown in 1876, just around the time of the Centennial, was discovered "burning up the stairs leading to Foreman's (sic) photograph gallery" and that it was most likely deliberately set. The plot thickens but nothing remains, not even of Main Street, which seems to have disappeared altogether from the town, probably through renaming. Stefan George, Der Teppich des Lebens und die Lieder von Traum und Tod mit einem Vorspiel, Georg Bondi, Berlin, 1915 - probably first published 1904. I just purchased this for $8 at a used bookstore - what fascinates me is the early sans serif type - the outside is typical art nouveau, as is the title page - but the poems themselves are set in another style altogether. Anyone know the history of sans serif? Robert Karl Reischauer, Early Japanese History, 1969 reprint from 1937, only Part A, and no, this isn't _the_ Reischauer, but a brilliant book documenting the subject year by year, as in chronicle form (gathered from a great number of sources), as well as an outline, diagrams, and tables - if you're interested in this subject, I think this work would be indispensible - you can get both volumes on abe for as little as $40. Even if you're not interested in the subject, these are amazing reading. Volney's Ruins, or Meditation on the Revolutions of Empires, translated under the immediate inspection of the author from the sixth Paris edition, to which is added, The Law of Nature, and A Short Biographical Notice, by Count Daru: also, The Controversy between Dr. Priestly and Volney, Boston, 1835. Has anyone read all of Volney? I'm fascinated by this work, which I'm dipping into - I'm sure it's been republished - it's available all over the Net - influenced the Shelleys - he knew Washington - hysteric romanticisms, orientalisms, fantastic accounts, dialogs, everything - Alan Sondheim, recent work, has involved motion capture bvh files created for Poser; background is supplied by images from Cooper's Rock and Gentile Glass company. The result is the dismembered high-speed post-modern body as the contacts are remapped onto bodies plural, as well as floor-heaps and straight-forward topological splits/joins, etc. The background of the recent pieces attempts to impose a narratology, if not a narrative, upon the results. Other work has involved the creation of a filtering program for ascii texts (with the aid of two c++ programmers) which will use mathematical functions as its basis. _ ========================================================================= Date: Thu, 17 Jun 2004 19:20:53 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Susan M. Schultz" Subject: wondering what's going on in Hawai`i? Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit If you want to know something about our University president being fired in his own absence, click here: http://the.honoluluadvertiser.com/article/2004/Jun/17/br/br01p.html It's a wild story that no one can quite figure out. If you want to know more about the odd and potentially explosive mix of money and poetry in Hawai`i, please click here: http//tinfishpress.com our Annual Economic Report Tinfish issue (#14) is now out! And it's a doozy. aloha, Susan (tongue in cheek) Susan M. Schultz http://tinfishpress.com now available: _And Then Something Happened_ http://saltpublishing.com/books/smp/1844710165.htm ========================================================================= Date: Fri, 18 Jun 2004 01:56:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Come to the Party! MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit Please forward to your friends: Come to a release party for Wake-Up Calls: 66 Morning Poems by Wanda Phipps published by Soft Skull Press Readings: Wanda Phipps (w/guitarist Stephen Antonakis) Gillian McCain & Hal Sirowitz Music: Rebecca Moore Films: Joel Schlemowitz Thursday, June 24, 2004 7-9:30 PM, $7 at The Bowery Poetry Club 308 Bowery, NYC (Btwn Bleecker & Houston, across from CBGB's) (212) 614-0505 www.bowerypoetry.com A few words about the book: Along the lines of Robert Bly in his Morning Poems or David Lehman in The Daily Mirror, Wanda Phipps embarked upon a poem-a-day project. Over the course of several months, Phipps composed a poem each morning after she awoke — Wake-Up Calls collects the best from this daily experiment. She investigates the hypnogogic state, that weird and wonderful place that holds bits of dreams of the night before, recent and not so recent memories, and subtle visions for the future. In many, she wakes feeling fresh-faced and dreamy, in others her voice rings raw and sexy, cranky or disappointed, confused or amused. Like much of her work they deal with desire, sensation, female energy, and the visceral nature of language. Poetic influences including Ezra Pound, Emily Dickinson, and Robert Creeley may be traced here, and are complemented by appearances of pop-culture figures such as Sigourney Weaver, Ann Margaret, and the Velvet Underground. Phipps' work emanates a sincerity and directness that is all too rare in our current age of irony. "How pleasant to be let in on a young woman's mornings as she leaves behind the night and finds her way into a new day! Sometimes she's still full of dreams and/or vodka or some mysterious honeycomb leaving behind its sweetness as it flees, and sometimes she's preternaturally lucid and filled with resolve. The days stretch before her hopeful and intriguing and fetchingly unknown. Wanda Phipps' poems restored the world briefly into the unbearable longing and clarity of youth, and this old grump wept. Very tonic, very lovely, poetry, definitely." --Andrei Codrescu, author of "it was today: new poems" "Wanda Phipps' new book gracefully navigates an expedition through interrupted dreams, soft-focus adventures and the rush hour that often occurs between four walls. Slightly hazy, sometimes hormonal, these poems entice the reader into imagining what's really going on---between the lines. A truly beautiful and inspiring work." -- Gillian McCain, co-author of "Please Kill Me: The Uncensored Oral History of Punk" The book is available for pre-ordering on Amazon, so let anyone you think might be interested know about it: http://www.amazon.com/exec/obidos/ASIN/193236031X/ref=rm_item To see samples of a few of the morning poems as animated gifs, check out the poetry page on my website Mind Honey: http://users.rcn.com/wanda.interport/poetry.html And for more info. you can check out the Soft Skull website: http://www.softskull.com/detailedbook.php?isbn=1-932360-31-X -------- p.s. also check out Phipps as the featured poet for June in Epiphany Magazine http://www.epiphanymag.com/ & a poem on McSweeney's glorious sestina page http://www.mcsweeneys.net/links/sestinas/ ========================================================================= Date: Thu, 17 Jun 2004 00:55:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Lives of Eminent Assyrians 6 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit is this detourned stuff? and torri uch poem ========================================================================= Date: Thu, 17 Jun 2004 00:27:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: query MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit thanks for asking it's so humid here in the city i'm probably always a day late or behind 2 early bergman films today were really interesting... i read w/tom savage bill kushner and merry fortune at nuyorican poets cafe of all places weds 23rd june 7pm merry's new book on future poems press is beyond good oh to answer your question seriously A tho i'd rather do such things backchanneling a new word i learned since being on this list alot of the e's i post on this list and in general are done just before tho in most cases after midnite between 1-3am so that's probably why whatever you said seems to ocurr ocurrs with 2 c's perhaps i think anyway the world has become so evil a flower tried to smell me today even if i get nothing out of it i want to see the sun/set again we thought/we knew what we thought/for example/ the way the ballet moves\ while it re/mains/constant/we thought again then/ we forgot folk songs ( after bergman's 3 strange loves ) let's have a drink i feel so much like a machine yet i can't keep silent the future worries me i'm beginning to understand ruins they kill so much of my own flesh & blood perhaps i am to blame this large dark mirror betrays our awkwardness this rickety piano betrays our steps this is a weird time for flashbacks i'll never learn to sing like the poor folks sing ( those poor folks all around us who live in complete darkness..... ) ========================================================================= Date: Thu, 17 Jun 2004 23:47:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Mark Rudd is a Dudd In-Reply-To: <5.1.1.5.2.20040617132354.02730e38@hobnzngr.pobox.stanford. edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Your last true enough, and things get conflated in memory. The kids who wanted to form the coop were serious. It was the crowd who had occupied I think it was Fayerweather. Before the police got to you they beat up me and a lot of other people trying to hold the line outside Low. They were mostly in plain clothes, no badges, and swung blackjacks, which are both very painful and very illegal. The day before we had held off the right wing students. It was a very long week. I wasn't hospitalized, but most of those who were were outside the buildings. You've probably forgotten a demonstration by faculty on the steps of the chapel that ended in a hail of nightsticks. But hell, there was more than enough violence to go around. The rebellion didn't end with the emptying of the buildings, it lasted until at least 1970. I was in fact talking about Rudd's public persona, which was largely after the occupations until summer. Most of the real accomplishments--all temporary, alas--were made possible by the chaos caused by the occupations but were carefully and quietly strategized afterwards. For the duration of the war, for instance, classified research was banned from the university. The same researchers simply continued under other aegises, but at least the house was cleaner for a while. And very very quietly, never admitting it had done so, the university admitted most of the graduates (there were in fact very few) from the four abysmal neighborhood high schools. Serious remedial and psychological help, and full scholarships with room and board, were provided, and all teachers involved with any of the kids met monthly under one of the deans to coordinate progress, student by student. A few of those kids were in my classes, and I was at the meetings. We also had an academic senate, with strong student representation and real power--that's how we got rid of classified research--and it was a dandy, noisy, and well-publicized forum. I don't know when or if that ended, but it was in place for at least most of the seventies. Pardon my fuzziness--these aren't memories that I rehearse very often. Mark At 02:20 PM 6/17/2004, you wrote: >Mark and All, > >Well, now we can get into an old-timer's debate. > >SDS at Columbia was not Weatherman. Most of the people in the buildings >were not SDS activists but were sympathetic students and people off campus, >like The Motherfuckers from the Lower East Side. Rudd was very much a >leader at that time, regarded at least by people occupying the President's >office in Low Library where I was as subject to our participatory >democracy, but he was not THE leader or regarded as charismatic. He was >considered an ordinary schmuck -- and that was endearing, since he wasn't >much different than the rest of us. People often told him what to do >("Let's tear down the fence!") and he was forced to do it. It was AFTER >the Columbia rebellion that he became "trapped by celebrity" and the >conflicts in SDS accelerated. Far more articulate were Dave Gilbert and >Paul Rockwell who would speak at length explaining the inner workings of >the government, CIA ties to the university (evidence for which we found in >the President's office), and more. Gilbert is in jail for life for the >Brink's robbery, and Rockwell is somewhere in the California Central Valley >working on community and labor coalitions. > >By all the news footage there's no doubt that people outside the buildings >were severely injured. There's no footage of what happened inside the >buildings, however. Black students in Hamilton Hall negotiated a surrender >-- and they were uninjured (and consequently Harlem did not explode in rage >and the university did not burn to the ground, as feared by city and >university authorities). Perhaps some people inside the buildings thought >it was a lark -- David Shapiro's photo with his feet up on President Kirk's >desk smoking his cigars became emblematic, even though he left immediately >afterwards (yet that photo has come to haunt him his entire life) -- but >people in Low, who were surrounded by right wing students, a line of >faculty trying to keep peace, and various pro and con demonstrations >outside, took the occupation very seriously, argued every point of >negotiations and strategy. > >When the police finally did attack, people in the other buildings reported >severe beatings, being dragged by their feet down steps for flights, and >more. In Low Library, once police broke through barricades and surrounded >the 135 or so people circled together, arms linked in passive resistance, >they began systematically beating people -- nobody escaped injury. I >vividly remember one cop swaggering over to a girl and casually lift his >extended utility flashlight and begin pounding her over her head >relentlessly, then came my turn. The police then went ahead and trashed >the place, depicting walls smeared with paint and other garbage as the >doing of the students and supporters. Reading the NY Times the next day >raging at the barbarism of the students was one of the deepest learning >experiences I have had about the manipulations of the media and the ruling >class. I know the truth; I was there; they lie. > >Mark, I don't know about the cooperative farm riff -- never heard of that >before -- except that this was the time that "guerilla theater" and other >humorous modes of resistance began to blossom, and it sounds like a great >goofy joke. This was the time when, during the strike following the >occupation, "the liberated university" flourished, and all sorts of >incredible ideas were projected and classes were held that are today part >of the regular curriculum of universities (e.g., the history of racism, >imperialism and literature, avant-guard poetry). I know I worked with >others during this period organizing poetry readings with Allen Ginsberg, >The Grateful Dead filling up the entire campus with their sound, and >Village drag queens offering campy support (this is a year before Stonewall). > >I do know that, about 20 days after the initial occupation ended, students >barricaded the campus and re-occupied Hamilton Hall. Police moved through >the barricades, and I saw thousands of enraged students charge into police, >even beating them back, while police chased after them, guns drawn and duct >tape over their badge numbers, beating them relentlessly. The level of >violence escalated soon after that: guns drawn would be used thereafter, as >Kent and Jackson States demonstrated. > >In any case, many of the people involved in Columbia SDS did become >involved in Weatherman -- but don't conflate the two. Events and politics >changed so quickly during that time that it would seem easy to simply see >everything in a static fashion. > >Hilton > > > >At 01:21 PM 6/17/2004 -0700, Mark Weiss wrote: >>I was at Columbia in 1968, and very politically active, tho not Weatherman >>or SDS. I must have gone to 500 rallies. Mark Rudd became a spokesperson >>because he was photogenic and demanded the attention, to the vocal >>annoyance of a lot of his compatriots. He was given to spontaneous oratory >>that was big on provocation but short on coherence. He seemed increasingly >>trapped by a celibrity whose consequences he hadn't anticipated. >> >>The numbers occupying buildings were relatively small, the numbers >>supporting them (or rather, some of their positions) and opposing the use >>of police force, were enormous. Those in the buildings were unharmed; there >>were several hundred injured outside the buildings, myself included >>(fortunately, not badly). >> >>About a week after the buildings were evacuated, some of the (what shall I >>call them) alumni of the occupation, many of whom had decided to continue >>living in a confined space together, issued a command that the then empty >>ground on campus between 118th and 119th Street be made into a cooperative >>farm to be worked by the peasants from the surrounding slums. >> >>At the various huge (300,000+ in attendance) antiwar rallies the Weathermen >>were a disruptive element, endangering everyone around them. There was a >>strong feeling by almost everyone else (I didn't take a poll, but there's >>ample documentation) that the disruptions were >>counterproductive--demonstrations are about publicity, and the violence >>drew the media, crowding out everything else. It also helped harden the >>divisions in the culture that made it possible to sustain support for the >>war. >> >>Mark >> >> >>At 12:07 PM 6/17/2004, you wrote: >>>Daniel Elsberg commented that most of the things that were done to him >>>during Watergate and were considered illegal then would be legal under the >>>Patriot Act. Government repression is a given -- whether COINTELPRO or >>>Sacco and Vanzetti or the Palmer Raids or the Haymarket Trial or . . . -- >>>but I don't want to play down the Patriot Act: it is perhaps the most >>>serious attempt to give legal cover to police-state tactics in the history >>>of the US. >>> >>> >>>>by the way, >>>>one of the reasons that i've had so much respect for >>>>Rudd and his comrades, is their belief that including working >>>>class people in the struggle was a must. >>> >>> >>>Most -- but not all -- Weather underground activists came from middle-class >>>or even privileged backgrounds. Also, the theory of white privilege they >>>advocated -- that most white workers have been bribed by the privilege of >>>racism and the great profits enjoyed by imperialism to side with the ruling >>>class and that black and other non-white peoples are the core of the >>>revolutionary movement with Third World peoples fighting for national >>>liberation -- made them targets of criticism for being anti-working class >>>by more traditionally Marxist oriented groups. >>> >>>Hilton >>> >>> >>> >>> >>> >>> >>>------------------------------------------------------------------------------- >>>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 >> >> >> >> >>------------------------------------------------------------------------------- >>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: Fri, 18 Jun 2004 00:11:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Mark Rudd is a Dudd In-Reply-To: <003f01c454c6$58a0af80$e5fdfc83@oemcomputer> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The demonstrations made it much harder to fight wars for the generation that followed. On the east coast, where hordes of us were streaming to Washington every weekend, and the civil rights movement was being fought out at lunch counters and on buses, the "spirit of the 60s" didn't seem nearly so much a matter of universities. The feminist movement also didn't start in the schools. While we're at it, we should remember that a lot of the struggle was in Europe and Latin America. While we were demonstrating in the relative comfort of US universities French workers were marching in the streets with students and the Mexican army was gunning down over 600 at Tlatelalco. Mark At 04:53 PM 6/17/2004, you wrote: >Mark: > >I was at Berkeley at the time. I agree with you about disruption, but not >about the war, which was propelled by forces over which citizens had no >control. Just like when we tried to stop the invasion of Iraq. Nothing we >did or didn't do would have stopped these people. Nixon was only stopped by >his own mental illness, as Bush will be by his hypocritical beliefs. > But the spirit of the 60s changed my life forever, and I think that of many >people. And the movements--Civil Rights, Women, Environment, continue to >this day, which is why the right-wing still hates the 60s. We saw in the >run-up to the invasion of Iraq that that spirit is still alive, in fact has >spread around the world. The spirit of the 60s, at Columbia, Berkeley, Kent >State, in Ann Arbor, Albuquerque, Chicago, and on dozens of other campus, >was the best this country had to give to the world. > >-Joel > > >----- Original Message ----- >From: "Mark Weiss" >To: >Sent: Thursday, June 17, 2004 1:21 PM >Subject: Re: Mark Rudd is a Dudd > > > > I was at Columbia in 1968, and very politically active, tho not Weatherman > > or SDS. I must have gone to 500 rallies. Mark Rudd became a spokesperson > > because he was photogenic and demanded the attention, to the vocal > > annoyance of a lot of his compatriots. He was given to spontaneous oratory > > that was big on provocation but short on coherence. He seemed increasingly > > trapped by a celibrity whose consequences he hadn't anticipated. > > > > The numbers occupying buildings were relatively small, the numbers > > supporting them (or rather, some of their positions) and opposing the use > > of police force, were enormous. Those in the buildings were unharmed; >there > > were several hundred injured outside the buildings, myself included > > (fortunately, not badly). > > > > About a week after the buildings were evacuated, some of the (what shall I > > call them) alumni of the occupation, many of whom had decided to continue > > living in a confined space together, issued a command that the then empty > > ground on campus between 118th and 119th Street be made into a cooperative > > farm to be worked by the peasants from the surrounding slums. > > > > At the various huge (300,000+ in attendance) antiwar rallies the >Weathermen > > were a disruptive element, endangering everyone around them. There was a > > strong feeling by almost everyone else (I didn't take a poll, but there's > > ample documentation) that the disruptions were > > counterproductive--demonstrations are about publicity, and the violence > > drew the media, crowding out everything else. It also helped harden the > > divisions in the culture that made it possible to sustain support for the >war. > > > > Mark > > > > > > At 12:07 PM 6/17/2004, you wrote: > > >Daniel Elsberg commented that most of the things that were done to him > > >during Watergate and were considered illegal then would be legal under >the > > >Patriot Act. Government repression is a given -- whether COINTELPRO or > > >Sacco and Vanzetti or the Palmer Raids or the Haymarket Trial or . . . -- > > >but I don't want to play down the Patriot Act: it is perhaps the most > > >serious attempt to give legal cover to police-state tactics in the >history > > >of the US. > > > > > > > > >>by the way, > > >>one of the reasons that i've had so much respect for > > >>Rudd and his comrades, is their belief that including working > > >>class people in the struggle was a must. > > > > > > > > >Most -- but not all -- Weather underground activists came from >middle-class > > >or even privileged backgrounds. Also, the theory of white privilege they > > >advocated -- that most white workers have been bribed by the privilege of > > >racism and the great profits enjoyed by imperialism to side with the >ruling > > >class and that black and other non-white peoples are the core of the > > >revolutionary movement with Third World peoples fighting for national > > >liberation -- made them targets of criticism for being anti-working class > > >by more traditionally Marxist oriented groups. > > > > > >Hilton > > > > > > > > > > > > > > > > > > > > > >--------------------------------------------------------------------------- >---- > > >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: Fri, 18 Jun 2004 07:19:03 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "subrosa@speakeasy.org" Subject: TEN years of Subtext Readings in Seattle 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 an anni= versary reading celebrating TEN years of bringing nationally and regional= ly renown innovative writers to the stage. Come join us for cake & celebration readings. Readers will include: Nico Vassilakis, April Denonno, Maged Zaher, Jeanne= Heuving, Doug Nufer, Christine Deavel, John Olson, Joe Keppler, Joe Dona= hue, Adriana Grant, Mickey O'Connor, Roberta Olson, Lou Rowan, Ezra Mark,= Bryant Mason, Kreg Hasegawa, Robert Mittenthal, and maybe more. Donations for admission at the door on the evening of the performance. Th= e reading starts at 7:30pm. The future Subtext 2004 schedule is: August 4, 2004: Nathaniel Tarn & Janet Rodney (both New Mexico) August 12, 2004: Ron Silliman September 1, 2004: TBA October 6, 2004: TBA October 24, 2004: Critics as Performers #2: Marjorie Perloff & Charles Altieri (both Bay Area) at Henry Art Gallery November 3, 2004 David Abel (Portland) and William Fox (New Mexico) December 1, 2004 Catriona Strang and Nancy Shaw (both Vancouver, BC) For info on these & other Subtext events, see our website: http://www.spe= akeasy.org/~subtext Subtext events are co-sponsored by the Richard Hugo House. OTHER POETRY SPECIAL EVENTS: JEANNE HEUVING Book Release & Reading at Open Books: Thurs 6/24 7:30 pm -Celebrating the publication of Heuving's new book INCAPACITY, a hybrid w= ork of poetry, fiction, autobiography and biography, published by Chiasmu= s Press. At OPEN BOOKS, 2414 N. 45th Street, Seattle, WA 98103. Contact P= ersons: Christine Deavall and John Marshall at Open Books, 206-633-0811. The Projects Reading Series presents Sarah Mangold (Seattle) & Selah Sate= rstrom (Ashville, NC) -1506 Projects Art Gallery / 1506 E. Olive Way, Seattle, WA 98122 (Capito= l Hill) on June 27th, 7:00pm (Sunday). CONTACT: Kreg Hasegawa (gerky@eart= hlink.net) ========================================================================= Date: Fri, 18 Jun 2004 03:04:35 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit .... wait .... nite?....drn.... ========================================================================= Date: Fri, 18 Jun 2004 08:10:00 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Bradshaw Subject: who radio Mime-Version: 1.0 Content-Type: text/plain; format=flowed Sometimes I think I am a radio. I sit 12 or so feet away from a radio which is on, tuned to a local FM station. The sound turns fuzzy, distorted, the music's all messed up so I make to get up and adjust. As soon as I stand the sound is perfectly clear. So I sit down again. And as soon as I am reseated the distortion returns. I seem to detune the tuning. So, if I am a radio I am a fucked up radio I guess. Signal disrupted. _________________________________________________________________ Watch the online reality show Mixed Messages with a friend and enter to win a trip to NY http://www.msnmessenger-download.click-url.com/go/onm00200497ave/direct/01/ ========================================================================= Date: Fri, 18 Jun 2004 04:24:34 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Mark Rudd... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit to a kid from the bronx.. at the bottom of the hill...at CCNY...the columbia demon strators..were a mix of arrogance naivitie and envy....i was expelled for two weeks for sitting in at Dow...Paul Goodman pipe & plaid..defended us.. a summer with C.O.R.E.. i met my first girlfriend at a sit-in..got laid later than anyone..i was backwards even then...speed dope me high hopes..can do... we're all young...yesterday walked for a few hrs around the S.Bronx.. near a Yeshiva i went to at 10..gone...come back dunkin donuts...i returned to City to teach a decade later...leaving the subway...one summer eve.. on the way to campus..a young black kids come up & axs.."wanna see a gun"...'no thanx'..i sd..don't look back...drn... ========================================================================= Date: Fri, 18 Jun 2004 03:24:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: JOB: (uk) performance poets and creative writers needed for workshops MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit JOB: (uk) performance poets and creative writers needed for workshops ========================================================== PERFORMANCE POETS AND CREATIVE WRITERS NEEDED FOR WORKSHOPS Reply to: lyndsay@eastside.org.uk --- East-side Educational Trust is a highly acclaimed, award winning, arts and education charity which was established in 1994 to raise young people's standards of achievement in language and literacy, and to promote independent learning through the use of creative arts and drama. East-side is currently recruiting Performance Poets and Creative Writers to facilitate workshops with young people between July and August for our Summer Programme. Ongoing work after that period is also a definite possibility. The successful applicant/s need to have: * Previous experience of working with groups of young people in arts and/or educational settings. * The ability to facilitate creative workshops that will inspire and motivate young people, providing them with an enjoyable and fun learning experience. Please send a CV, with relevant background information about yourself, including specific details of your experience at facilitating creative youth workshops and a sample outline of a workshop you have previously run, to: Lyndsay Humphries at: lyndsay@eastside.org.uk or by telephone: 020 7489 2032 Please note: a current CRB check will be required, but if this is not possible, can also be processed through East-side. ----------------------------------------------------------- Empower your Team with Remote Access. GoToMyPC Pro provides your organization with instant remote access to email,files, applications and network resources in real time. FREE TRIAL: http://click.topica.com/caaciqTbUrD3ob6rZrpg/ExpertCity ----------------------------------------------------------- ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 18 Jun 2004 04:57:16 -0700 Reply-To: PRADIA2@aol.com Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: BOYCOTT BUSINESSES WHICH SUPPORT ISRAEL MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit http://victoria.indymedia.org/news/2004/06/26689.php BOYCOTT BUSINESSES WHICH SUPPORT ISRAEL http://www.boycottisraeligoods.org/modules456.php One sister at Masjid al-Rahma [Baltimore], very enthusiastic, exclaimed that her friends were in a state of shock to see that STARBUCKS supports Israel. To support the movement, contact our DIRECTOR of BOYCOTT in California at this address: PRADIA2@aol.com From: Jamaat al-Muslimeen P.O. Box 10881 Baltimore, MD 21234 LATEST BOYCOTT NEWS Brochures calling for the boycott of BUSINESSES WHICH SUPPORT ISRAEL were given to 50 people at Mosque of Muslim Brotherhood [New York City] which is African-American. Boycott brochures was also given to 50 people at Al-Madinah Masjid, western Baltimore, run by Nigerians but attended by Indo-Pakistanis. A number of brothers and sisters at Masjid Jamaat al-Muslimeen [Baltimore] have taken extra copies to distribute to Muslims who do not come to mosques. One sister at Masjid al-Rahma [Baltimore], very enthusiastic, exclaimed that her friends were in a state of shock to see that STARBUCKS supports Israel. To support the movement, contact our DIRECTOR of BOYCOTT in California at this address: PRADIA2@aol.com http://www.sunnahonline.com/ilm/jihaad/0004.htm ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 18 Jun 2004 09:28:54 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: We're Headed For Washington To Mete Out A Little Frontier Justice 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 "Bring That Length A Rope From The Tool Shed, Boys. We're Headed For Washington To Mete Out A Little Frontier Justice": Panel Agrees With The Assassinated Press: No Evidence Of al-Qaida/Saddam Links, Cheney/Bush Administration Bald-Faced Liars: Original Plan Called For 10 Highjackings That Had No Connection To Saddam Hussein: Cheney In Desperate Attempt To Keep Stolen Iraqi Oil Continues To Lie Abetted By Murderous Washington Post: Vice President Missing After Lying To A Mob In Orlando, Florida: At The Moment There's More Oil In Rumsfeld's Hair Than Flowing Out Of Iraq As Nationalists Blow Up Pipelines: Castro: "See Monkey George. Its Tough To Run An Electrical Grid When Somebody's Fucking With You All The Time." BY KEN GNO FIREASS 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Fri, 18 Jun 2004 11:10:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Dubious Formula for Textual Filter MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Dubious Formula for Textual Filter We coIIecting Youung GiirIs from schhooI for exccIusive lmmages ankle We are fiIming our GiIrs in 6 different countries booklet's First assign the name input.txt to your text. The program will read the text into an array, word by word. Each word is numerically indexed from 0 to J-1. Yuongest girrIs nakked for you diopter The program asks for a mathematical expression in x, such as sin(x), x^2 + 3, etc. Enter an expression and hit return. The program asks for a range for the evaluation of x. Or the program evaluates the expression, letting x range from 0 to J-1. Our webbsitte aIways fresh, colorful and exccIuusive Madagascar We are provide Tonns of Phhotos, viideos, and Boonus Site medicinally The evaluations are set to the nearest integer. The respective indexed words are output sequentially to out.txt. craters imperious banishing coon menopause archdioceses attraction's gilded davenport gulling kitten's check The program stops after the expression is fully evaluated. __ ========================================================================= Date: Fri, 18 Jun 2004 11:29:21 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Come to the Party! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Congrats, Wanda!! I'll do my best to attend. Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Fri, 18 Jun 2004 13:25:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Davies Subject: Help with quote In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" A friend of mine is looking for the source of a quote, which she thought was from Shklovsky's -Third Factory- but cant find there. Anyone know where it's from? She needs exact page and edition info. Thanks, and here it is: "It is not our job to renovate ideological institutions on the basis of the existing social order by means of innovations; instead our innovations must force them to surrender that bias." ========================================================================= Date: Fri, 18 Jun 2004 15:40:32 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Mark Rudd is a Dudd. MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Alan, Then, why are you so in love with the computer and creating poems through them? Murat In a message dated 06/17/04 11:22:01 PM, sondheim@PANIX.COM writes: > The problem is there shouldn't be old-timers; it's not a long recounting > of what someone did or didn't do - it's the need for constant vigilence. > There was a moment 'then' when it seemed that the left - or whatever - > could relax - but that just wasn't true; the right for example was > computerizing email lists and contacts vis-a-vis Billy Graham, and the > left was Stewart Brand. Nothing has changed except that technology has > served the right, in terms of infinite invasion, and infinite invasion of > privacy, perfect - to the extent that technology combines the garnering of > resources and control, it/automation mimics the corporate entity itself; > there's not much difference between capital and gigabyte speed - if one's > so lucky. > > It's like that saying which infuriates me - 'our children are our future' > - well, we're our fucking future, period, and we're sliding into fascism > at an unnerving rate. > > - Alan > > 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: Fri, 18 Jun 2004 15:41:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Mark Rudd is a Dudd. Comments: To: Murat Nemet-Nejat In-Reply-To: <1d3.23e9b2e0.2e049f30@aol.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII This probably won't make it on - but what makes you think I'm in love with the computer? I'm not - Alan On Fri, 18 Jun 2004, Murat Nemet-Nejat wrote: > Alan, > > Then, why are you so in love with the computer and creating poems through > them? > > Murat > > > In a message dated 06/17/04 11:22:01 PM, sondheim@PANIX.COM writes: > > > > The problem is there shouldn't be old-timers; it's not a long recounting > > of what someone did or didn't do - it's the need for constant vigilence. > > There was a moment 'then' when it seemed that the left - or whatever - > > could relax - but that just wasn't true; the right for example was > > computerizing email lists and contacts vis-a-vis Billy Graham, and the > > left was Stewart Brand. Nothing has changed except that technology has > > served the right, in terms of infinite invasion, and infinite invasion of > > privacy, perfect - to the extent that technology combines the garnering of > > resources and control, it/automation mimics the corporate entity itself; > > there's not much difference between capital and gigabyte speed - if one's > > so lucky. > > > > It's like that saying which infuriates me - 'our children are our future' > > - well, we're our fucking future, period, and we're sliding into fascism > > at an unnerving rate. > > > > - Alan > > > > 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 > > > 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: Fri, 18 Jun 2004 13:00:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: Help with quote Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit gos, there's gotta be a better translation of that quote somewhere! ---------- >From: Kevin Davies >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Help with quote >Date: Fri, Jun 18, 2004, 9:25 AM > > A friend of mine is looking for the source of a quote, which she thought > was from Shklovsky's -Third Factory- but cant find there. Anyone know where > it's from? She needs exact page and edition info. Thanks, and here it is: > > "It is not our job to renovate ideological institutions on the basis of the > existing social order by means of innovations; instead our innovations must > force them to surrender that bias." ========================================================================= Date: Fri, 18 Jun 2004 12:57:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: New Walking Theory/blog Comments: cc: linda norton Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable http://stephenvincent.durationpress.com New on the Blog: Walking Theory #48 - 56 Including #53 "Falling in love with Aphasia..." And this from: Walking Theory #56 Go indigenous in a small country Color wit, fathom who=B9s crime Run the eye over the morning scalp Champion the elevation of heart Put brains to the desperate Those who have built a house of cards Watch them breathe guile & treachery Threat & terror: wing the morning cup, Speak truth to clarity, word by word, Image by image, open-eyed & open-mouthed Foot by foot into the gathering storm The cards are falling like bullets Note the Vice President=B9s eyes Hysteria is a wanton, unwanted character... * As always, your feedback appreciated. Stephen Vincent ========================================================================= Date: Fri, 18 Jun 2004 16:50:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian VanHeusen Subject: Re: Mark Rudd is a Dudd Mime-Version: 1.0 Content-Type: text/plain; format=flowed I hate to site books in the face of personal testimony, but one particular book (Lies My History Teacher Told Me) argues through statistics that the last places to be affected by the anti-war movement was the Universities. In fact, the statistics showed that at the end of the Vietnam war, the only part of society that still supported the war in a significant manner were University students. The thesis being that the perseption of a "student" led and fed movement was a myth. From personal experience, I would say that the same could be said for my limited experience with the pre-Iraq part 2 demos. University students (myself once included) are often troubled with the burden of privilege and do not dare risk their status. That was a joke. Ian ______________________________________________________ I judge judge. GS We don't need no government. VR What do you mean John 3:16, must of forgot in the world everyone packs an M-16... says the boy to the fiend, what do you mean? what do you mean? Wyclef >From: Mark Weiss >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Mark Rudd is a Dudd >Date: Fri, 18 Jun 2004 00:11:44 -0700 > >The demonstrations made it much harder to fight wars for the generation >that followed. > >On the east coast, where hordes of us were streaming to Washington every >weekend, and the civil rights movement was being fought out at lunch >counters and on buses, the "spirit of the 60s" didn't seem nearly so much a >matter of universities. The feminist movement also didn't start in the >schools. > >While we're at it, we should remember that a lot of the struggle was in >Europe and Latin America. While we were demonstrating in the relative >comfort of US universities French workers were marching in the streets with >students and the Mexican army was gunning down over 600 at Tlatelalco. > >Mark > > >At 04:53 PM 6/17/2004, you wrote: >>Mark: >> >>I was at Berkeley at the time. I agree with you about disruption, but not >>about the war, which was propelled by forces over which citizens had no >>control. Just like when we tried to stop the invasion of Iraq. Nothing we >>did or didn't do would have stopped these people. Nixon was only stopped >>by >>his own mental illness, as Bush will be by his hypocritical beliefs. >> But the spirit of the 60s changed my life forever, and I think that of >>many >>people. And the movements--Civil Rights, Women, Environment, continue to >>this day, which is why the right-wing still hates the 60s. We saw in the >>run-up to the invasion of Iraq that that spirit is still alive, in fact >>has >>spread around the world. The spirit of the 60s, at Columbia, Berkeley, >>Kent >>State, in Ann Arbor, Albuquerque, Chicago, and on dozens of other campus, >>was the best this country had to give to the world. >> >>-Joel >> >> >>----- Original Message ----- >>From: "Mark Weiss" >>To: >>Sent: Thursday, June 17, 2004 1:21 PM >>Subject: Re: Mark Rudd is a Dudd >> >> >> > I was at Columbia in 1968, and very politically active, tho not >>Weatherman >> > or SDS. I must have gone to 500 rallies. Mark Rudd became a >>spokesperson >> > because he was photogenic and demanded the attention, to the vocal >> > annoyance of a lot of his compatriots. He was given to spontaneous >>oratory >> > that was big on provocation but short on coherence. He seemed >>increasingly >> > trapped by a celibrity whose consequences he hadn't anticipated. >> > >> > The numbers occupying buildings were relatively small, the numbers >> > supporting them (or rather, some of their positions) and opposing the >>use >> > of police force, were enormous. Those in the buildings were unharmed; >>there >> > were several hundred injured outside the buildings, myself included >> > (fortunately, not badly). >> > >> > About a week after the buildings were evacuated, some of the (what >>shall I >> > call them) alumni of the occupation, many of whom had decided to >>continue >> > living in a confined space together, issued a command that the then >>empty >> > ground on campus between 118th and 119th Street be made into a >>cooperative >> > farm to be worked by the peasants from the surrounding slums. >> > >> > At the various huge (300,000+ in attendance) antiwar rallies the >>Weathermen >> > were a disruptive element, endangering everyone around them. There was >>a >> > strong feeling by almost everyone else (I didn't take a poll, but >>there's >> > ample documentation) that the disruptions were >> > counterproductive--demonstrations are about publicity, and the violence >> > drew the media, crowding out everything else. It also helped harden the >> > divisions in the culture that made it possible to sustain support for >>the >>war. >> > >> > Mark >> > >> > >> > At 12:07 PM 6/17/2004, you wrote: >> > >Daniel Elsberg commented that most of the things that were done to him >> > >during Watergate and were considered illegal then would be legal under >>the >> > >Patriot Act. Government repression is a given -- whether COINTELPRO >>or >> > >Sacco and Vanzetti or the Palmer Raids or the Haymarket Trial or . . . >>-- >> > >but I don't want to play down the Patriot Act: it is perhaps the most >> > >serious attempt to give legal cover to police-state tactics in the >>history >> > >of the US. >> > > >> > > >> > >>by the way, >> > >>one of the reasons that i've had so much respect for >> > >>Rudd and his comrades, is their belief that including working >> > >>class people in the struggle was a must. >> > > >> > > >> > >Most -- but not all -- Weather underground activists came from >>middle-class >> > >or even privileged backgrounds. Also, the theory of white privilege >>they >> > >advocated -- that most white workers have been bribed by the privilege >>of >> > >racism and the great profits enjoyed by imperialism to side with the >>ruling >> > >class and that black and other non-white peoples are the core of the >> > >revolutionary movement with Third World peoples fighting for national >> > >liberation -- made them targets of criticism for being anti-working >>class >> > >by more traditionally Marxist oriented groups. >> > > >> > >Hilton >> > > >> > > >> > > >> > > >> > > >> > > >> > >> >--------------------------------------------------------------------------- >>---- >> > >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 _________________________________________________________________ Stop worrying about overloading your inbox - get MSN Hotmail Extra Storage! http://join.msn.click-url.com/go/onm00200362ave/direct/01/ ========================================================================= Date: Fri, 18 Jun 2004 17:24:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fulcrum Annual Organization: Fulcrum Annual Subject: "self-plug" MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit My book reviewed by Ben Mazer in Jacket: http://jacketmagazine.com/23/mazer-nikol.html Philip Nikolayev ========================================================================= Date: Sat, 19 Jun 2004 10:56:15 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: calling carla harryman & lisa robertson MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Poeticists, Does anyone have email addresses for Carla Harryman & Lisa Robertson ? If you do please backchannel them to me. Thanks, Pam Brown ===== Web site/Pam Brown - http://www.geocities.com/p.brown/ Find local movie times and trailers on Yahoo! Movies. http://au.movies.yahoo.com ========================================================================= Date: Fri, 18 Jun 2004 23:06:39 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Mark Rudd is a Dudd. MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 06/18/04 3:42:41 PM, sondheim@PANIX.COM writes: > This probably won't make it on - but what makes you think I'm in love with > the computer? I'm not - Alan > > Are you not exploring different computer codes to define a sense of reality. For example, what is your interest in "lisp"? When you refer to a chapter like "The Dream Language," in a book (Hackers & Painters, Big Ideas from the Computer Age) which obviously makes connections between computer codes and meta (outside) computer language, are you not implying the same connection yourself? At least yours is an obsession, but isn't obsession a kind of love? Murat ========================================================================= Date: Fri, 18 Jun 2004 23:34:38 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: [rkasher@sympatico.ca: Hijacking narrative Space Tour] Content-transfer-encoding: 7BIT on behalf of my fellow talon-ers, etc. a forward -- Hi folks On Canada Day, July 1, 2004 there will be a book launch and poetry = reading held in honor of Canada's Talonbooks at the American = Contemporary Artists Galleries (ACA) in the heart of Chelsea. = Established in 1932, the ACA specializes in 20th-Century American and = contemporary art. On the first Thursday of every month, it holds a = poetry reading series-hosted by Dave Kirschenbaum, Publisher and Editor = of Boog Literature-which spotlights and honors literary press publishers = from outside of New York City. The first Thursday of July this year = falls on July 1, Canada Day, and the ACA will be honoring = Talonbooks-only the second Canadian literary press to be invited-with a = gala poetry reading from 6:00 pm-8:00 pm. For more information on the = ACA Galleries (located at 529 West 20th St., Fifth Floor) please visit = their web-site: http://www.acagalleries.com/home.htm Talonbooks is one of Canada's leading literary presses. Since its = inception over 40 years ago, it has become Canada's foremost publisher = of drama and French translation titles, as well as one of the nation's = most important publishers of poetry, fiction, and non-fiction. Its = authors and their books have received numerous awards, including the = prestigious Canada Governor General's Literary Awards, BC Book Prizes, = and other national and international literary honors. This event will = spearhead Talon's launch of three new poetry collections from the = critically acclaimed authors bill bissett, Adeena Karasick, and Jamie = Reid. For more information on Talonbooks please visit www.talonbooks.com narrativ enigma / rumours uv hurricane by bill bissett (0-88922-507-9; 6 = x 9; 144 pp; $17.95 CN / $13.95 US) This is the newest book from one of = Canada's best known and celebrated poets and artists. bill bissett is = the author of over 20 books (8 with Talonbooks) and is well known for = his ability to capture and mesmerize his audience with playful, = energetic, and powerful readings. His most recent book, peter among the = towring boxes / text bites (0-88922-464-1), won a BC Book Prize for best = poetry in 2003, an award which he had won ten years earlier for = inkorrect thoughts in 1993. bissett is also the inaugural recipient of = the Milton Acorn People's Poet Award. The House That Hijack Built by Adeena Karasick (0-88922-511-7; 6 x 9; = 128 pp; $19.95 CN / $15.95 US) This is another of Adeena Karasick's electrifying and visually stunning = works of collage and poetry that has made her one of Talonbooks's most = critically acclaimed poets. Her writing has generated great = international interest and has been hailed as "an impressive = deconstruction of language and meaning" that is "exuberant in [its] = cross-fertilization of punning and knowing, theatre and theory." = Karasick's M=EAmewars was a finalist for a BC Book Prize in 1996, and = she won the Bumbershoot Book Prize for Dyssemia Sleaze in 2000. More = information on Karasick and her work can be found at = www.adeenakarasick.com I, Another. The Space Between: Selected Poems by Jamie Reid = (0-88922-512-5; 6 x 9; 192 pp; $17.95 CN / $13.95 US) This is the long = awaited new volume of poetry from Jamie Reid, a key figure in the = Canadian avant-garde poetry movement in the 1960s. The publication of = his first book, The Man Whose Path Was on Fire, in 1967 took the = Canadian poetry circle by storm. Reid then took a 20-year hiatus from = writing poetry, despite this enormous critical success. He finally = returned to the literary scene as the editor of the well respected = journal DaDaBaBy and has since authored many other works. This is his = first book of collected poems.=20 Other Talonbooks by these authors:=20 bill bissett: b leev abul char ak tars 0-88922-433-1 $17.95 CN $13.95 US th influenza uv logik 0-88922-357-2 $17.95 CN $13.95 US inkorrect thots 0-88922-303-3 $17.95 CN $13.95 US th last photo uv th human soul 0-88922-322-X $17.95 CN $13.95 US loving without being vulnerabul 0-88922-372-6 $17.95 CN $13.95 US peter among th towring boxes/ text bites 0-88922-464-1 $17.95 CN $13.95 = US scars on th seehors 0-88922-387-4 $17.95 CN $13.95 US Selected Poems: Beyond Even Faithful Legends 0-88922-172-3 $17.95 CN = $13.95 US Adeena Karasick: Dyssemia Sleaze 0-88922-434-X $24.95 CN $19.95 US The Empress Has No Closure 0-88922-307-6 $16.95 CN $12.95 US Genrecide 0-88922-370-X $18.95 CN $14.95 US M=EAmewars 0-88922-344-0 $16.95 CN $12.95 US=20 For more information on this event or on Talonbooks please contact: Robert Kasher Director of Sales and Marketing=20 Talonbooks rkasher@sympatico.ca=20 725 King St W # 306=20 Toronto, ON M5V 2W9 416-703-7485 / fax: 416-703-1513 PS - Hope to see any of you in New York at the reading. -- 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: Sat, 19 Jun 2004 00:06:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Mark Rudd is a Dudd. In-Reply-To: <1da.2462fb76.2e0507bf@aol.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Fri, 18 Jun 2004, Murat Nemet-Nejat wrote: > Are you not exploring different computer codes to define a sense of > reality. For example, what is your interest in "lisp"? When you refer to > a chapter like "The Dream Language," in a book (Hackers & Painters, Big > Ideas from the Computer Age) which obviously makes connections between > computer codes and meta (outside) computer language, are you not > implying the same connection yourself? > Yes and no for all of this. My interest in lisp was triggered by the Hackers & Painters book, but I'm not a programmer. And yes, I'm exploring codes - but more often than not, taking applications (such as the recent motion capture materials) to their limit, not as a jest, but in order to establish and examine border phenomena, for example, the shuddered body, that results at that point. Or its depiction thereof. > At least yours is an obsession, but isn't obsession a kind of love? > The obsession might be more with working in general; I have to practice music (now tenor guitar/shakuhachi) daily, read theory daily, etc. etc. - it's all obsessiveness. But at least for me obsession is crippling, related to OCD, inescapable; the fact that I've harnessed it to some extent is probably for the good - at least it enables me to proceed. What I'm in love with in fact would be, besides certain people in my life and our cat, certain things that have an aura for me - not the computer, but perhaps the Zaurus PDA, the shakuhachi, tenor guitar, a 1949 di Giorgio classical guitar I've played since the 60s, things like that. But what excites me is still what Ellroy calls the wonder, as does Merleau- Ponty in another context - the sheer excitement of discovery, the marvels that surround us yet, in the midst of so much violence, slaughter, misery, extinction, decay - Alan > Murat > 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: Sat, 19 Jun 2004 00:01:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: surplus MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII surplus what we do to it when you do it http://www.asondheim.org/surplus.mov http://www.clc.wvu.edu/sondheim/files/surplus.mov GoogleSearch.wsdl WorldCam-040618-163257.jpg Mail WorldCam-040618-163300.jpg News WorldCam-040618-163304.jpg WorldCam-040613-140001.jpg WorldCam-040618-163308.jpg WorldCam-040613-140154.jpg WorldCam-040618-163312.jpg WorldCam-040613-140713.jpg WorldCam-040618-163316.jpg WorldCam-040618-162528.jpg WorldCam-040618-163320.jpg WorldCam-040618-162718.jpg WorldCam-040618-163324.jpg WorldCam-040618-162832.jpg WorldCam-040618-163328.jpg WorldCam-040618-162911.jpg WorldCam-040618-163334.jpg WorldCam-040618-162929.jpg WorldCam-040618-163338.jpg WorldCam-040618-163021.jpg WorldCa WorldCam-040618-163033.jpg WorldCam-040618-163346.jpg WorldCam-040618-163054.jpg WorldCam-040618-163350.jpg WorldCam-040618-163057.jpg WorldCam-040618-163354.jpg WorldCam-040618-163105.jpg WorldCam-040618-163358.jpg WorldCam-040618-163112.jpg WorldCam-040618-163402.jpg WorldCam-040618-163116.jpg WorldCam-040618-163406.jpg WorldCam-040618-163119.jpg WorldCam-040618-163410.jpg WorldCam-040618-163123.jpg WorldCa WorldCam-040618-163127.jpg WorldCam-040618-163418.jpg WorldCam-040618-163130.jpg WorldCam-040618-163422.jpg WorldCam-040618-163134.jpg WorldCam-040618-163425.jpg WorldCam-040618-163142.jpg WorldCam-040618-163433.jpg WorldCam-040618-163146.jpg WorldCam-040618-163444.jpg WorldCam-040618-163151.jpg a WorldCam-040618-163155.jpg lisp WorldCam-040618-163159.jpg looply.pl WorldCam-040618-163203.jpg lynx WorldCam-040618-163207.jpg mail WorldCam-040618-163211.jpg mod WorldCam-040618-163215.jpg no WorldCam-040618-163219.jpg note WorldCam-040618-163224.jpg phoenix.hlp WorldCam-040618-163229.jpg phoenix.irc WorldCam-040618-163233.jpg tf WorldCam-040618-163237.jpg tf-lib WorldCam-040618-163241.jpg tiny.world WorldCam-040618-163245.jpg venom.irc WorldCam-040618-163249.jpg volt. WorldCam-040618-163253.jpg wvubook k2% rm *.jpg remove WorldCam-040613-140001.jpg? y remove WorldCam-040613-140154.jpg? y remove WorldCam-040613-140713.jpg? y remove WorldCam-040618-162528.jpg? y remove WorldCam-040618-162718.jpg? y remove WorldCam-040618-162832.jpg? y remove WorldCam-040618-162911.jpg? y remove WorldCam-040618-162929.jpg? y remove WorldCam-040618-163021.jpg? y remove WorldCam-040618-163033.jpg? y remove WorldCam-040618-163054.jpg? y remove WorldCam-040618-163057.jpg? y remove WorldCam-040618-163105.jpg? y remove WorldCam-040618-163112.jpg? y y yremove WorldCam-040618-163116.jpg? remove WorldCam-040618-163119.jpg? remove WorldCam-040618-163123.jpg? y remove WorldCam-040618-163127.jpg? y remove WorldCam-040618-163130.jpg? y remove WorldCam-040618-163134.jpg? y remove WorldCam-040618-163142.jpg? y remove WorldCam-040618-163146.jpg? y remove WorldCam-040618-163151.jpg? y remove WorldCam-040618-163155.jpg? y remove WorldCam-040618-163159.jpg? y remove WorldCam-040618-163203.jpg? y remove WorldCam-040618-163207.jpg? y remove WorldCam-040618-163211.jpg? y remove WorldCam-040618-163215.jpg? y remove WorldCam-040618-163219.jpg? y remove WorldCam-040618-163224.jpg? y remove WorldCam-040618-163229.jpg? y remove WorldCam-040618-163233.jpg? y remove WorldCam-040618-163237.jpg? y remove WorldCam-040618-163241.jpg? y remove WorldCam-040618-163245.jpg? y remove WorldCam-040618-163249.jpg? y remove WorldCam-040618-163253.jpg? y remove WorldCam-040618-163257.jpg? y remove WorldCam-040618-163300.jpg? y remove WorldCam-040618-163304.jpg? y remove WorldCam-040618-163308.jpg? y remove WorldCam-040618-163312.jpg? y remove WorldCam-040618-163316.jpg? y remove WorldCam-040618-163320.jpg? y y y remove WorldCam-040618-163324.jpg? remove WorldCam-040618-163328.jpg? remove Wor ldCam-040618-163334.jpg? y remove WorldCam-040618-163338.jpg? y remove WorldCam-040618-163342.jpg? y remove WorldCam-040618-163346.jpg? y remove WorldCam-040618-163350.jpg? y remove WorldCam-040618-163354.jpg? y remove WorldCam-040618-163358.jpg? y remove WorldCam-040618-163402.jpg? yerica N 15 J remove WorldCam-040618-163406.jpg? ytrasse (2012) Re: FW: Digital Visio remove WorldCam-040618-163410.jpg? y remove WorldCam-040618-163414.jpg? y [Folder " remove WorldCam-040618-163418.jpg? y remove WorldCam-040618-163422.jpg? yo (797) Re: [webartery] Various remove WorldCam-040618-163425.jpg? y Date: Fr remove WorldCam-040618-163433.jpg? y remove WorldCam-040618-163444.jpg? y __ ========================================================================= Date: Fri, 18 Jun 2004 23:22:40 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit spring's late summer's early i'll wait ....drn... ========================================================================= Date: Fri, 18 Jun 2004 23:26:13 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Homage to Alan Sondheim Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit bennington Coker,$ _95%0ff for all-V _i- a- g_r a ; } C-i a- -l- is , } L-e vi__tra.* http://c9003hosting.com/mx2.htm peep,torments that still,fructose,here something strange, rosenzweig,things this professor,tailor,heatstroke just now!. koppers,nonplussed by such,molybdenite,foreign money flitted, monomial,over the tents,flour,may i speak.... back channel....i'll have a 2ble...drn... ========================================================================= Date: Sat, 19 Jun 2004 00:46:52 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Mark Rudd is a Dudd. MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 06/19/04 12:13:06 AM, sondheim@PANIX.COM writes: > > Are you not exploring different computer codes to define a sense of > > reality. For example, what is your interest in "lisp"? When you refer to > > a chapter like "The Dream Language," in a book (Hackers & Painters, Big > > Ideas from the Computer Age) which obviously makes connections between > > computer codes and meta (outside) computer language, are you not > > implying the same connection yourself? > > > Yes and no for all of this. My interest in lisp was triggered by the > Hackers & Painters book, but I'm not a programmer. And yes, I'm exploring > codes - but more often than not, taking applications (such as the recent > motion capture materials) to their limit, not as a jest, but in order to > establish and examine border phenomena, for example, the shuddered body, > that results at that point. Or its depiction thereof. > Border phenomenon" (in the computer) and the "shuddered body": is that not again a connection? > > > At least yours is an obsession, but isn't obsession a kind of love? > > > The obsession might be more with working in general; I have to practice > music (now tenor guitar/shakuhachi) daily, read theory daily, etc. etc. - > it's all obsessiveness. But at least for me obsession is crippling, > related to OCD, inescapable; the fact that I've harnessed it to some > extent is probably for the good - at least it enables me to proceed. > > What I'm in love with in fact would be, besides certain people in my life > and our cat, certain things that have an aura for me - not the computer, > but perhaps the Zaurus PDA, the shakuhachi, tenor guitar, a 1949 di > Giorgio classical guitar I've played since the 60s, things like that. > Amazing, the spirit of Walter Benjamin comes up again, aura. Do you think the computer contains aura? Do you think the medium of infinite repetition (to me that is what a computer is) can produce aura? How did the first medium of "mechanical reproduction," photography, develop aura? Is it because it was not mechanical after all, subject to the whims, chaotic freedom of the movement of light? Is there a similar limit (boundary) in the computer -a light source in w.w.w.- beyond which it is free and gains aura? > But > what excites me is still what Ellroy calls the wonder, as does Merleau- > Ponty in another context - the sheer excitement of discovery, the marvels > that surround us yet, in the midst of so much violence, slaughter, misery, > extinction, decay - > > Alan > We are all looking for that. Caio. Murat ========================================================================= Date: Sat, 19 Jun 2004 00:56:27 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Murat, what does whether your being right or not about Alan's love for computers make what he was originally saying right or not? a knife can open an apple or open somebody's belly, the knife not the issue, but the desire behind the knife is. food or vengeance. i like what Alan said, and would like to hear more from him about it, frankly. CAConrad http://phillysound.blogspot.com ========================================================================= Date: Fri, 18 Jun 2004 00:39:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit did the demonstrations really make it harder to fight wars i don't think so ========================================================================= Date: Fri, 18 Jun 2004 01:07:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit wow the knife doth cut the belly of the apple the blather come from center like wormgut 2 fingers swell w/ letters there are typos evry where within the narrow spaces we talk to eachother & each one listens to it self the knife cut thru the skin & another head drop like apple like the lesson gravity teaches us still we are firmly planted here in outer space hung up here in outer space the worms we are still conquering holes created by the worms we are ========================================================================= Date: Sat, 19 Jun 2004 06:07:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Instrumental Reason/Radical Passivity. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Intelligence is the idiotic search for simplicity in understanding, and as such an irresoluble and stupid phenomenon. No matter the complexity of the steps taken to arrive at an explanation, the isolated end result will be nothing more (or less) than a simplification of –or will to dominate—phenomenal reality. Thus, the real value (the pleasure) of thought is in its movement and is equivalent to the very indeterminacy of its trajectory. This shouldn’t be confused with a fetish for the new; for the stakes are in the _ground_, the bleeding figure is small potatoes. What Benjamin meant when he said my method is detour. How sad, however, to realize that the unshackling of thinking from the logic of use-value does nothing to liberate society from the cynical machinations of use-lusting demagogues (perversion of perversions). It is for this reason poets despair. Only if everyone were a poet could poetry be properly useless and humanity freed. However, to bring about a world suffused with poets requires the very opposite of conversion. It would require precisely nothing. They will know we are poets by our poetry, which does nothing. Each poem another drag on a cigarette; the only cure, cancer. The mind sublimates, the body lives, and how often does the body outlive the mind? The situationists desolved poetry into being, attempting to eradicate art—Debord’s intelligence equivalent to his aestheticism and conservatism. Cagier than Cage the situationists’ success was immeasurable. When someone says the value of an idea or theory resides in its usefulness, in the ability to do things with it, we should insist (rather than assume) that the processes a thought avails are interesting ones. Something else is bad faith. The blind and deaf read and listen with hands crawling over surfaces of difference to make meaning, the poet hands over her eyes and ears, trembling. Laughing. No one will take them. That numb truth: receiving always hurts, every gift is an imposition. The populations can cry “Beat Me! Beat Us!” because there is nothing softer than a bruise. It is called Occam’s razor, not Occam’s bridge or Occam’s route. In a sea of inconsistencies, ambiguities and redundancies I am tired of Taiwan. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sat, 19 Jun 2004 10:48:11 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Trevor Joyce Subject: Cork Poetry Festival Comments: To: BRITISH-POETS@JISCMAIL.AC.UK Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" SoundEye: The Cork International Poetry Festival June 25-27, 2004 All events, unless otherwise indicated, will be held in The Granary Theatre (upstairs) The Mardyke Cork (021) 490 4275 Friday, June 25th 8 pm Ciaran Carson & Tom Raworth Saturday, June 26th 11 am David Lloyd, Geoffrey Squires & Elizabeth James 2 pm Maurice Scully, Catherine Walsh & Billy Mills 4 pm Maggie O'Sullivan, Matthew Geden & Randolph Healy 8 pm Geraldine Monk, Alan Halsey & Trevor Joyce Sunday, June 27th 11 am Stephen Rodefer, Fergal Gaynor & Keith Tuma Tickets: Single event: 6 Euro (4 Euro, concession) Weekend: 25 Euro (16 Euro, concession) [As mid-summer accommodation can be expensive, even in Cork, we've reserved some student accommodation (four-single-room apartments) near the theatre. Please notify us fast if you want a room, and we'll hold one for you if we can.] -- ------------------------------------------------------ http://www.soundeye.org/trevorjoyce ========================================================================= Date: Sat, 19 Jun 2004 08:39:38 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit sow nd apple doth cut blather of belly knife come from center like (like like like) like similes all lazy poets reach for like 2 cocks swell w/ measure there are typical like like every where within narrow like we talk to each utter & each one listens to like self knife cut thru skin & 'nother head drop like like like apple (tree not fruit falls) like like lesson like gravity teaches like (like wow, like yo) us still like we are firmly planted here in each other (nicetightfit) hanging out here in offered space the immersion still sought conferring moles created like by the like are you lucid ========================================================================= Date: Sat, 19 Jun 2004 07:27:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Steve Dalachinsky" To: Sent: Thursday, June 17, 2004 9:39 PM Subject: Re: Mark Rudd is a Dudd > did the > demonstrations > really make > it harder > to fight > wars > > i don't > think > so They are not for the politicians, who make the wars--although, judging from the recent results of elections in Europe, they were a warning, and I hope, come November, in this country too--but for the people who demonstrate. They are a reaffirmation of the spirit, an airing of the good demons in us. -Joel ========================================================================= Date: Sat, 19 Jun 2004 09:33:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Sawyer Subject: Re: Artist's beware in Bush's America Mime-Version: 1.0 (Apple Message framework v613) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Gallery Owner Attacked for Iraq Abuse Art May 29, 2004 By LISA LEFF, Associated Press Writer SAN FRANCISCO - A San Francisco gallery owner bears a painful reminder of the nation's unresolved anguish over the incidents at the Abu Ghraib prison - a black eye delivered by an unknown assailant who apparently objected to a painting that depicts U.S. soldiers torturing Iraqi prisoners. The assault outside the Capobianco gallery in the city's North Beach district Thursday night was the worst in a string of verbal and physical attacks directed at Lori Haigh since the artwork was installed at her gallery on May 16. San Francisco police are investigating and have stepped up patrols around the gallery. But Haigh decided to close the gallery indefinitely, citing concern for the safety of her two children, ages 14 and 4, who often accompanied her to work. Guy Colwell's painting, titled "Abuse," depicts three U.S. soldiers leering at a group of naked men in hoods with wires connected to their bodies. The one in the foreground has a blood-spattered American flag patch on his uniform. In the background, a soldier in sunglasses guards a blindfolded woman. The painting was part of a show of the Berkeley artist's work that mostly featured pastel-colored abstracts. Colwell stopped by the gallery Friday, but refused to discuss his work or the reaction to it, saying only, "I'm sorry if this is putting pressure on Lori." Two days after the painting went up in a front window, someone threw eggs and dumped trash on the doorstep. Haigh said she did not think to connect it to the events at Baghdad's notorious prison until people started leaving nasty messages and threats on her business answering machine. "I think you need to get your gallery out of this neighborhood before you get hurt," one caller said. She removed the painting from the window, but the gallery's troubles received news coverage and the criticism continued. The answering machine recorded new calls from people accusing her of being a coward for moving the artwork. Last weekend, Haigh said a man walked into the gallery, pretended to scrutinize the painting for a moment, then marched up to her desk and spat in her face. On Thursday, someone knocked on the door of the gallery, then punched Haigh in the face when she stepped outside. "This isn't art-politics central here at all," Haigh said. "I'm not here to make a stand. I never set out to be a crusader or a political activist." In closing the gallery, Haigh was forced to cancel an upcoming show featuring counterculture artist Winston Smith. For Haigh, who opened Capobianco a year and a half ago, having the chance to work with prominent artists fulfilled a lifelong dream. "I kept thinking someday I'll have enough of a reputation where I could bring in my heroes of the art world, people like Guy Colwell especially," she said. Haigh has received some expressions of support since closing the gallery. Her favorite: an e-mail whose writer said, "I'm sure that a few and dangerous minds don't understand that they have only mimicked the same perversity this painting had expressed." ========================================================================= Date: Sat, 19 Jun 2004 10:56:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: test Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Content-Disposition: inline testing my email as i'm having problems with it ... m Mairéad Byrne Assistant Professor of English Rhode Island School of Design Providence, RI 02903 www.wildhoneypress.com www.maireadbyrne.blogspot.com ========================================================================= Date: Sat, 19 Jun 2004 14:16:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Paris, Roman burials, Baudelaire, Benjamin Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit This book, Beasts of Eden, of David Rains Wallace (below, reviewed in last weeks NY Times - which deals with a whole Paris 1795 literal underworld discovery of Roman and Prehistoric animal remains - makes me want to ask on what level or not did the consciousness of the 200 hundred miles of underground caverns ever impact either Baudelaire or Benjamin's writings on Paris (clearly it got a hold of Balzac on some level). But I am just curious - out of my own limited knowledge of 19th century French writing - the degree to which this pre-Medieval space may or may not have impacted the conscious construction of Paris' imagination of itself. And if not, why not. If not, it sounds like a missed opportunity to have brought in "the lower Arcades" - so to speak. Poe would have had a field day with the "spooks." And maybe - after all- the sense of an underworld of anonymous Roman ghosts does inform Baudelaire's sense of Paris' twilight - whether or not he is conscious of it. It's been awhile since I read the Arcades, but did Benjamin make any connections between this Roman space and the evolution of Paris as an urban space - and in what way? I would be curious if anybody is much more informed than I am on this - (?) - walking around, as I do, plumbing up the whatever ghosts in the short history under this frontier town, San Francisco - albeit the Oholone Indians, and Asian migrations going south occasionally buzz the ear! Any direction will be appreciated. Thanks, Stephen Vincent http://stephenvincent.durationpress.com BEASTS OF EDEN Walking Whales, Dawn Horses, and Other Enigmas of Mammal Evolution. By David Rains Wallace. Illustrated. 340 pp. University of California Press. $24.95. 'Beasts of Eden': The Evolutionary War By HELEN E. FISHER Published: June 13, 2004 .... David Rains Wallace, a science writer with 15 books to his credit, offers no original theories on mammalian evolution in ''Beasts of Eden.'' Instead, he presents a thoroughly researched, richly detailed and lively book on the ''bone hunters'' who traversed the badlands of the world searching for the fossils of mammals and on the vituperative intellectual battles that some of these paleontologists waged with one another. And as these stories unfold, one becomes familiar with the primary ideas and events in the rise of modern evolutionary thinking. Wallace begins his stories of the men who dug up the mammal fossils in an unlikely place: beneath Paris. Here lie some 200 miles of caverns, quarries that Roman miners dug centuries ago to collect gypsum, a sturdy snow-white building material. With time these tunnels became a vast cemetery. In fact, Montmartre got its name -- ''Martyr Hill'' -- because Romans tossed the beheaded corpses of Christian missionaries into these grottoes. In 1795 a young French anatomist, Georges Cuvier, working at the Musee d'Histoire Naturelle, came to study some of these bones -- not those of the six million people deposited here in the late 18th century, when Parisian cemeteries became too crowded; not the bones of the early Christian martyrs; but the bones of bears, rhinos, deer and other mammals living 50 million years ago. As Balzac wrote of Cuvier: ''He digs. . . . And suddenly marble turns into animals, dead things live anew, and lost worlds are unfolded before us!'' Working at one or another of his 11 desks, Cuvier came to see that the fossil elephants exhumed from these caverns were different from their modern counterparts. And he speculated that some sort of catastrophe must have annihilated the ancient pachyderms. ''Cuvier saw a brilliant mammalian world that had risen, Eden-like, from the ocean, but then had sunk again.'' ========================================================================= Date: Sat, 19 Jun 2004 22:08:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Technology/Poetry debate. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii ‘ I’m not anti-digital. . . In short I think digital recording technology is fine for anything that doesn’t matter to me.’ -- Steve Albini (download complete lecture/talk in which Albini discusses analogue vs. digital recording, file sharing, the music biz, etc, here: http://www.electrical.com/phpBB2/viewtopic.php?t=2281) Alan, I’m wondering if you print hard copies of your work, computer archives, etc? This goes for others too. Is it of concern that poetry/information/art that is only documented in virtual form will likely be unreadable and totally lost in the not-too-distant future? I realize the technical shortcomings of digital tech. are far more ‘pressing’ for audio documents than for purely visual texts, but it just occurred to me watching this lecture that the entire oeuvre of various ‘net artists’ etc. likely has a literal shelf-life of, what, 10 years, 20, 30 years tops???? I suspect this issue is most (immediately) felt in the realm of epistolary documentation . . . for those without the coveted “edu” caboose on their virtual nameplates, email accounts often come and go, melting into postmodern thin air. Ron Silliman apparently gets hundreds of personal emails a day – where does that stuff go? Curious. All the best, Andrew. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sat, 19 Jun 2004 22:38:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Mark Rudd is a Dudd. Comments: To: Murat Nemet-Nejat In-Reply-To: <9f.490e0097.2e051f3c@aol.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hi - asking that you forward this to Poetics if the limit's used and it doesn't appear - thanks, Alan On Sat, 19 Jun 2004, Murat Nemet-Nejat wrote: > Border phenomenon" (in the computer) and the "shuddered body": is that not > again a connection? > The computer's neutral - the border phenomena occur when something is pushed to the limit and behaves against (human) expectations; with motion capture, it's when the skein is broken in ways that aren't that easily parseable - > Amazing, the spirit of Walter Benjamin comes up again, aura. Do you think the > computer contains aura? > No, but the residue does, at least for me - the residue isn't virtual, but is protocol material in a sense. Aura to a great extent is extra-curricular, what we bring to it - > Do you think the medium of infinite repetition (to me that is what a computer > is) can produce aura? Well, theoretically infinite, but practically not, and that's something - technology varies widely from one machine, language, protocol, display, etc., to another; some things are now permanently inaccessible. So a computer as technology is highly susceptible to obssolesence; as a theoretical machine of course it's not. I'm not sure in any case that aura is a production. > How did the first medium of "mechanical reproduction," photography, > develop aura? Is it because it was not mechanical after all, subject to > the whims, chaotic freedom of the movement of light? Is there a similar > limit (boundary) in the computer -a light source in w.w.w.- beyond which > it is free and gains aura? More the chaos of chemicals, papers, etc. which are never uniform. And photography is directly tied to traditional materiality. It was never mechanical, but chemical, which enters quickly into chaotic regimes. In any case, the aura in computer work is probably related to the aura one might find in 'the world of the work,' vis-a-vis a theorist such as Dufrenne. - Alan ========================================================================= Date: Sun, 20 Jun 2004 00:01:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the murderous desire MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII murderous should be http://www.clc.wvu.edu/sondheim/files/crimescene.mov - limited engagement only ========================================================================= Date: Sat, 19 Jun 2004 00:03:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit sorry you didn't like all those spontaneous likes boy but like you got some bad sex hangups tho like check yerself like lazysure do better like lick yerself and compared to what you think reactioon to toon this was uncalled for silliness point made taken like you don't like why we all like to like air dirty laundry have these slick circle jerks anyway keep your damn cock to yerself boy cause like no one need know yer sleezy preferences or is this what mom and dad spent all that money on to get this keenly trained sewer mind hey i'm just a bumpkin a true lazybones indeed like all dumbies but if ya wanna teach a person sumptin there's like like a rght n a wrong way ta do it evidently you just be some dumbass critic riffin off someone else's blood ever spill any on the carpet? the blood being more intense than the bleeding or as the man said in a thin high southern accent tonight on the emptying slicklit soho street i like it sleezy but not trashy he said in a thin southern accent sleezy not trashy his life like yours i'm sure nothing more than a spring-driven clothespin ========================================================================= Date: Sat, 19 Jun 2004 00:03:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit thanks joel well said & true ========================================================================= Date: Sun, 20 Jun 2004 01:44:51 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Spring.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Lori starts to call me 'spin' short for 'spinoza' aren't we all 'chosen' lap dance of the gods.... 3:00 cool last spring nite...drn...who leads the open..birdie biride...par for the course... ========================================================================= Date: Sun, 20 Jun 2004 11:51:11 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: Technology/Poetry debate. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Andrew Loewen wrote: >but it just occurred to me watching this lecture that the entire oeuvre of various 'net artists' etc. likely has a literal shelf-life of, what, 10 years, 20, 30 years tops????< That's a good question and exercises me too. Hoiking poetry onto technology seems increasingly to suggest that what is being created is the poetic equivalent of junk-food. Moreso, as the rate of change in computer technology accelerates, so the minimum of 10 years that Andrew suggests is soon likely to be the maximum. Poetry becomes just another aspect of consumer culture (and outside academe not a very important one) that is available to and practised by those with access to the latest gadgets ( I hasten to add I'm not characterising Alan thus!) Best Dave David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://www.chidesalphabet.org.uk ----- Original Message ----- From: "andrew loewen" To: Sent: Sunday, June 20, 2004 3:08 AM Subject: Technology/Poetry debate. ' I'm not anti-digital. . . In short I think digital recording technology is fine for anything that doesn't matter to me.' -- Steve Albini (download complete lecture/talk in which Albini discusses analogue vs. digital recording, file sharing, the music biz, etc, here: http://www.electrical.com/phpBB2/viewtopic.php?t=2281) Alan, I'm wondering if you print hard copies of your work, computer archives, etc? This goes for others too. Is it of concern that poetry/information/art that is only documented in virtual form will likely be unreadable and totally lost in the not-too-distant future? I realize the technical shortcomings of digital tech. are far more 'pressing' for audio documents than for purely visual texts, but it just occurred to me watching this lecture that the entire oeuvre of various 'net artists' etc. likely has a literal shelf-life of, what, 10 years, 20, 30 years tops???? I suspect this issue is most (immediately) felt in the realm of epistolary documentation . . . for those without the coveted "edu" caboose on their virtual nameplates, email accounts often come and go, melting into postmodern thin air. Ron Silliman apparently gets hundreds of personal emails a day - where does that stuff go? Curious. All the best, Andrew. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sun, 20 Jun 2004 06:40:06 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: e Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit kid it;s all digital dust e & us nite day ever now one two was is ever thus drn... ========================================================================= Date: Sun, 20 Jun 2004 08:38:39 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adeena Karasick Subject: Come to my launch!! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Along with bill bissett and Jamie Reid (see below) i will be launching my new book: THE HOUSE THAT HIJACK BUILT Thurs. July 1 6:00 - 8:00 pm ACA Gallery (529 W. 20th, 5th Floor), NY There will be free wine and hors d'oeuvres and short fabulous readings and the great Alan Semerdjain (guitar) and Daniel Carter (Saxaphone) will be playing music. Should be a great nite. Hope to see you!!! ******* And, for the longwinded version --- On Canada Day, July 1, 2004 there will be a book launch and poetry reading held in honor of Canada's Talonbooks at the American Contemporary Artists Galleries (ACA) in the heart of Chelsea. Established in 1932, the ACA specializes in 20th-Century American and contemporary art. On the first Thursday of every month, it holds a poetry reading series-hosted by Dave Kirschenbaum, Publisher and Editor of Boog Literature-which spotlights and honors literary press publishers from outside of New York City. The first Thursday of July this year falls on July 1, Canada Day, and the ACA will be honoring Talonbooks -with a gala poetry reading from 6:00 pm-8:00 pm. For more information on the ACA Galleries (located at 529 West 20th St., Fifth Floor) please visit their web-site: http://www.acagalleries.com/home.htm Talonbooks is one of Canada's leading literary presses. Since its inception over 40 years ago, it has become Canada's foremost publisher of drama and French translation titles, as well as one of the nation's most important publishers of poetry, fiction, and non-fiction. Its authors and their books have received numerous awards, including the prestigious Canada Governor General's Literary Awards, BC Book Prizes, and other national and international literary honors. This event will spearhead Talon's launch of three new poetry collections from the critically acclaimed authors bill bissett, Adeena Karasick, and Jamie Reid. For more information on Talonbooks please visit www.talonbooks.com narrativ enigma / rumours uv hurricane by bill bissett (0-88922-507-9; 6 x 9; 144 pp; $17.95 CN / $13.95 US) This is the newest book from one of Canada's best known and celebrated poets and artists. bill bissett is the author of over 20 books (8 with Talonbooks) and is well known for his ability to capture and mesmerize his audience with playful, energetic, and powerful readings. His most recent book, peter among the towring boxes / text bites (0-88922-464-1), won a BC Book Prize for best poetry in 2003, an award which he had won ten years earlier for inkorrect thoughts in 1993. bissett is also the inaugural recipient of the Milton Acorn People's Poet Award. The House That Hijack Built by Adeena Karasick (0-88922-511-7;6 x 9; 128 pp; $19.95 CN / $15.95 US) This is another of Adeena Karasick's electrifying and visually stunning works of collage and poetry that has made her one of Talonbooks's most critically acclaimed poets. Her writing has generated great international interest and has been hailed as "an impressive deconstruction of language and meaning" that is "exuberant in [its] cross-fertilization of punning and knowing, theatre and theory." Karasick's Memewars was a finalist for a BC Booik Prize in 1996, and she won the Bumbershoot Book Prize for Dyssemia Sleaze in 2000. More nformation on Karasick and her work can be found at www.adeenakarasick.com I, Another. The Space Between: Selected Poems by Jamie Reid (0-88922-512-5; 6 x 9; 192 pp; $17.95 CN / $13.95 US). This is the long awaited new volume of poetry from Jamie Reid, a key figure in the Canadian avant-garde poetry movement in the 1960s. The publication of his first book, The Man Whose Path Was on Fire, in 1967 took the Canadian poetry circle by storm. Reid then took a 20-year hiatus from writing poetry, despite this enormous critical success. He finally returned to the literary scene as the editor of the well respected journal DaDaBaBy and has since authored many other works. This is his first book of collected poems. Other Talonbooks by these authors: bill bissett: b leev abul char ak tars 0-88922-433-1 $17.95 CN $13.95 US th influenza uv logik 0-88922-357-2 $17.95 CN $13.95 US inkorrect thots 0-88922-303-3 $17.95 CN $13.95 US th last photo uv th human soul 0-88922-322-X $17.95 CN $13.95 loving without being vulnerabul 0-88922-372-6 $17.95 CN $13.95 US peter among th towring boxes/ text bites 0-88922-464-1 $17.95 CN $13.95 US scars on th seehors 0-88922-387-4 $17.95 CN $13.95 US Selected Poems: Beyond Even Faithful Legends 0-88922-172-3 $17.95 CN, $13.95 US Adeena Karasick: Dyssemia Sleaze 0-88922-434-X $24.95 CN $19.95 US The Empress Has No Closure 0-88922-307-6 $16.95 CN $12.95 US Genrecide 0-88922-370-X $18.95 CN $14.95 US Memewars 0-88922-344-0 $16.95 CN $12.95 US For more information on this event or on Talonbooks please contact: Robert Kasher Director of Sales and Marketing Talonbooks rkasher@sympatico.ca 725 King St W # 306 Toronto, ON M5V 2W9 416-703-7485 / fax: 416-703-1513 hope to see you there ========================================================================= Date: Sun, 20 Jun 2004 08:03:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Technology/Poetry debate. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This is a question that may go back to the beginnings of art. Did a Paleolithic cave artist say, "Who will see my work in this pitch-black cave a hundred years from now?" But he continued to paint, because he was an artist. We work in the medium that we must, and maybe it will be read 30 years from now, or maybe it won't be accessible. But that doesn't make it junk-food. Perishable, maybe. Junk-food doesn't have to do with longevity but its lack of nourishment. There is a deceased British painter I read about recently whose major works were destroyed in a warehouse fire. Would he have not painted had known this would happen? He painted because he was an artist. It's not the medium it's the meme, no matter in which medium one works. -Joel ----- Original Message ----- From: "david.bircumshaw" To: Sent: Sunday, June 20, 2004 3:51 AM Subject: Re: Technology/Poetry debate. > Andrew Loewen wrote: > > >but it just > occurred to me watching this lecture that the entire > oeuvre of various 'net artists' etc. likely has a > literal shelf-life of, what, 10 years, 20, 30 years > tops????< > > That's a good question and exercises me too. Hoiking poetry onto technology > seems increasingly to suggest that what is being created is the poetic > equivalent of junk-food. Moreso, as the rate of change in computer > technology accelerates, so the minimum of 10 years that Andrew suggests is > soon likely to be the maximum. Poetry becomes just another aspect of > consumer culture (and outside academe not a very important one) that is > available to and practised by those with access to the latest gadgets ( I > hasten to add I'm not characterising Alan thus!) > > Best > > Dave > > > > > David Bircumshaw > > Spectare's Web, A Chide's Alphabet > & Painting Without Numbers > > http://www.chidesalphabet.org.uk > > > ----- Original Message ----- > From: "andrew loewen" > To: > Sent: Sunday, June 20, 2004 3:08 AM > Subject: Technology/Poetry debate. > > > ' I'm not anti-digital. . . In short I think digital > recording technology is fine for anything that doesn't > matter to me.' > > -- Steve Albini > > (download complete lecture/talk in which Albini > discusses analogue vs. digital recording, file > sharing, the music biz, etc, here: > http://www.electrical.com/phpBB2/viewtopic.php?t=2281) > > Alan, I'm wondering if you print hard copies of your > work, computer archives, etc? This goes for others > too. Is it of concern that poetry/information/art that > is only documented in virtual form will likely be > unreadable and totally lost in the not-too-distant > future? I realize the technical shortcomings of > digital tech. are far more 'pressing' for audio > documents than for purely visual texts, but it just > occurred to me watching this lecture that the entire > oeuvre of various 'net artists' etc. likely has a > literal shelf-life of, what, 10 years, 20, 30 years > tops???? > > I suspect this issue is most (immediately) felt in the > realm of epistolary documentation . . . for those > without the coveted "edu" caboose on their virtual > nameplates, email accounts often come and go, melting > into postmodern thin air. Ron Silliman apparently gets > hundreds of personal emails a day - where does that > stuff go? > > > > > > Curious. > > All the best, > > Andrew. > > > > > > > > ______________________________________________________________________ > Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sun, 20 Jun 2004 09:59:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Transgender History On The March In-Reply-To: <1e4.2334bb63.2e06df4f@cs.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable (My apologies if you have already received this, but your help in redistributing this is much appreciated. Please forward widely.) http://transdada.blogspot.com/ Transgender History On The March In a groundbreaking event, the transgender community of San Francisco will proudly step forward by taking the first marching steps of San Francisco Pride Weekend. An unprecedented Trans March is scheduled to be held Friday evening, June 25. The broad and diverse spectrum of transgendered people will be assembling at Dolores Park at 7:00 PM and will begin their march to Civic Center at 8:00 PM. Upon their arrival,=20= there will be a ceremony inaugurating the 1st annual Transr Altar to honor, chronicle, and celebrate the struggles, the sacrifices and the accomplishments of our community. The gathering at Civic Center will be addressed by State Assemblyman Mark Leno, San Francisco Police Commissioner Theresa Sparks, and other notable community members and friends. Marchers are being encouraged to bring significant and meaningful objects, pictures and writings to be placed on the altar to be displayed for the duration of Pride weekend. =93What started off as a grass roots rally is turning into two = historical events=94, says community activist Cecilia Chung, =93We have no idea who the original organizers were for the march but we are committed to creating a safe event for our community. It=92s exciting to know that there are others with the same vision and we are expecting a great=20 turnout. We also want to thank San Francisco Pride for giving the financial support as well as an opportunity to create our own venue for the transgender community. All we need now is to spread the words, recruit volunteers, and ask community members and allies to bring something personal to help build the altar.=94 The Trans Altar is a project sponsored by San Francisco LGBT Pride Celebration and will become a permanent art exhibit for future Pride Celebrations here in San Francisco. "The Pride Committee is excited to present the Trans Altar at our event this year as a way to honor and celebrate the Transgender community in all it's beauty and humanity. It provides Pride with a new, creative way to fulfill our mission of mirroring the diversity and inclusivity of the Celebration. The Altar, along with the Trans March, signals a new level of visibility for the Transgender community and a new level of growth for the LGBT community as a whole." says Joey Cain, current President of San Francisco Pride. Endorsers of the march include: San Francisco LGBT Pride Celebration Committee San Francisco LGBT Community Center Remembering Our Dead Project Harvey Milk LGBT Democratic Club Youth Gender Project (YGP) Transgender Law Center (TLC) UCSF Transgender Resource and Neighborhood Space (TRANS) San Francisco Transgender Empowerment, Advocacy & Mentorship (SF TEAM) For more information contact: email: transmarch@sfteam.org phone: (415) 585-0545 Cecilia Chung http://www.sfteam.org ========================================================================= Date: Sun, 20 Jun 2004 12:37:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: [Project-news] Cafe Cancelled and Other News Comments: To: Thco2 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Comrades Due to lack of resources, help, interest, mountaineering, hitch hiking and summertime fun the Working Class Cafe is, at least temporarily, cancelled. Thanks to all those who have come to past shows. We had some fun! Come on down to 324 Cambie, the Afro-Canadian Restaurant, and visit with the folk singers of Raven Hymn Productions every Sunday at 2PM. Featuring Andy Mason (from Andy Mason and the Tricksters), David Roy Parsons, and streetpoet Joey Only. Also be sure to catch Cafe Rebelde this Friday June the 25 on Youth Organizing. 7PM, Dogwood Centre, Clarke Drive at Adanac. Revolutionary music, theatre, discussion, tostado's and samosa's, lemonade beer and wine served. Contact the Busriders Union: bru@resist.ca Listen to Sound Resistance, Thursday at 1PM, on CO-OP Radio, 102.7FM http://www.freewebs.com/joeyonly http://www.freewebs.com/joeyonly _______________________________________________ ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 20 Jun 2004 16:28:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Few Charred New Mime-Version: 1.0 Content-Type: text/plain; format=flowed sweet is the ink sour jottings beached on lying diaries, pay attention to the content of intimate newspapers cold fish failed themselves, jottings get wet, this could be a lost chance which deceives sleep - this may be the VIEW, Mr. Harrison, you sweet moral thing, which history will compare to COMPARISON - your small library haughtiness is a wolf in quiet boots, beast-burdened with shrinking and thirst, its eyes you cast into fires go dark: hélas, someone's unscheduled panting freezes victory again: whose mud, crow-blind bone, will learn this wily place? these liquids the candy are timetables is the ink _________________________________________________________________ Is your PC infected? Get a FREE online computer virus scan from McAfee® Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Sun, 20 Jun 2004 16:29:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Lives of Eminent Assyrians 7 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Tiglath-Pileser did swear / mad anyway always / spoke / profit it is no matter body / box as they may thrive technically know / make unless quickly learn ribaldry certainly a respectable ladies and gentlemen take pains to know them all by heart one whence one and all preaching / incite rags think / each one heed bone sound at once notice also beasts own the weak the same heals mistrust wheat / oats as long as one person dare not absolve / authority trick since deceptions take pains nod their heads dove / barn eagerly activity open-handed money / especially only / gain care / buried pleasure promoted vainglory sharply escape actual repay / describe separate not at all simple repeat / remember because intended wool / cheese / wheat listen pleasure to gain "once upon a time..." practiced dice capacity oaths / damnable tore well-made / repeat lechery unnaturally did not know feast gave / command slay / innocent also downfall damnation redeemed dearly paid for / same corrupted father doubt ate / forbidden cry out if only one knew air / toil can they write say / excess filled full / dung sound provide for V / Sammurammat say sure longer / write weight / undone spices / root through pleasure dead / those quarreling are you sound always knows stuck pig true burial especially for sale supreme deeds look at / learn continually above / consider forbid gambling mother / lies waste reproach gambler status abandoned stole away considered prudent lose dishonor appearance / suspect salutes / indeed hateful to compassion rather abstain generosity / courtesy say / part / release paid / security reproach promise also / dice kind of pastime pass the time oaths reprehensible commandments moreover / flat depart oaths throw / five / three revelers before corpse servant ask promptly nearby surely companion last night ever secret / call slays in two during this plague be careful hence / forewarned of one mind to the slay reverence born leapt tore apart dead / catch are you / completely swathed because must / always exchange / withered unless before where they must easily word / spy wishful left / faith boasting / redeemed each jest given easily reverence / expected violent have them hanged quickly / secretly closed fist fell as gone divided / arrange turn do not know secret / VILLAIN expose two must / stronger seated get up dice / agreed / slay throne / devil / buy leave utterly slain gladly / revenge ruined as mixture amount / grain lose / die at walking pace taken then intended / toil plotted bury where slain before lechery oaths / habit reliquary made unnatural preserve again and again would they thrive _________________________________________________________________ Watch the online reality show Mixed Messages with a friend and enter to win a trip to NY http://www.msnmessenger-download.click-url.com/go/onm00200497ave/direct/01/ ========================================================================= Date: Sun, 20 Jun 2004 22:06:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: chicagopostmodernpoetry.com is Updated with new profiles of Rae Armentrout and kari Edwards In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Monday-chicagopostmodernpoetry.com will be updated with two new profiles, and also Chicago's reading calendar through November 2004 Please check it out R Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Harrison Jeff > Sent: Sunday, June 20, 2004 4:30 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Lives of Eminent Assyrians 7 > > > Tiglath-Pileser > did swear / mad > anyway > always / spoke / profit > it is no matter > body / box > as they may thrive > technically > know / make > unless > quickly > learn ribaldry > > > certainly > a respectable > ladies and gentlemen > take pains > to know them all by heart > one > whence > one and all > > > preaching / incite > rags > think / each one > heed > bone > sound at once > notice also > beasts > own the weak > > > the same > heals > mistrust > wheat / oats > as long as > one > person > dare not > absolve / authority > trick > since > deceptions > take pains > nod their heads > dove / barn > > > eagerly > activity > open-handed > money / especially > only / gain > care / buried > pleasure > promoted > vainglory > sharply > escape > actual > repay / describe > separate > not at all > simple > > > repeat / remember > because > intended > wool / cheese / wheat > listen > pleasure > to gain > "once upon a time..." > practiced > dice capacity > oaths / damnable > tore > well-made / repeat > lechery > unnaturally > did not know > > > feast > gave / command > slay / innocent > also > > > downfall > damnation > redeemed > dearly > paid for / same > corrupted > father > doubt > ate / forbidden > cry out > if only one knew > > > air / toil > can they write > say / excess > filled full / dung > sound > provide for > V / Sammurammat > > > > say > sure > longer / write > weight / undone > > > spices / root > through pleasure > dead / those > quarreling > are you > sound > always > knows > stuck pig > true burial > especially > for sale > > > supreme deeds > look at / learn > continually > above / consider > forbid gambling > mother / lies > waste > reproach > gambler > status > abandoned > > > stole away > considered > prudent > lose > dishonor > appearance / suspect > salutes / indeed > hateful to > compassion > rather abstain > generosity / courtesy > say / part / release > paid / security > reproach > promise > > > also / dice > kind of pastime > pass the time > oaths > reprehensible > commandments > moreover / flat > depart > oaths > throw / five / three > revelers > before > corpse > > > servant > ask promptly > nearby surely > companion > last night > ever > secret / call > slays > in two > during this plague > be careful > hence / forewarned > > > of one mind > to the > slay > reverence > born > leapt > tore apart > dead / catch > are you / completely swathed > because > must / always > exchange / withered > unless > before > where they must > > > easily > word / spy > wishful > left / faith > boasting / redeemed > each jest given easily > reverence / expected > violent > have them hanged > quickly / secretly > closed fist fell as gone > divided / arrange > > > turn > do not know > secret / VILLAIN > expose > two > must / stronger > seated > get up > dice / agreed / slay > > > throne / devil / buy > leave > utterly > slain > gladly / revenge > ruined as mixture > amount / grain > lose / die > at walking pace > > > taken > then > intended / toil > plotted > bury > where > slain > before > lechery > > > oaths / habit > reliquary > made > unnatural > preserve > again and again > would they thrive > > _________________________________________________________________ > Watch the online reality show Mixed Messages with a friend and > enter to win > a trip to NY > http://www.msnmessenger-download.click-url.com/go/onm00200497ave/d irect/01/ ========================================================================= Date: Mon, 21 Jun 2004 00:06:18 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Mark Rudd is a Dudd. MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Alan and I had the following backchannel discussion on computer and "aura."=20 He suggested we share it with the list: > > Border phenomenon" (in the computer) and the "shuddered body": is that=20 > not > > again a connection? > > > The computer's neutral - the border phenomena occur when something is > pushed to the limit and behaves against (human) expectations; with motion > capture, it's when the skein is broken in ways that aren't that easily > parseable - >=20 >=20 Many years ago, the year The American went to the moon, asomebody I knew who= =20 was in mathematics and worked on computers showed the following card tricl:=20= He=20 held two card up face to face supporting each other, Then he placed a third=20 card leaning on the two. Then he placed a fouth sideways leaning on the thir= d=20 and fifth leaning at an angle on the fourth. He continued this chain creatin= g=20 quite a long zig zag of cards on the floor. Then he removed one of the original two cards supporting each other. Instead= =20 of the whole chain collapsing (that's what my logic would have told me), the= =20 cards streched, leaned, forming eerie curves, parabolas. I never forgot that. A series of events were creating their own relations,=20 stresses, transforming the original conception. Is that virtual limit, where= the=20 body does not break down but has develoved its own life form? Is that aura? >=20 > > Amazing, the spirit of Walter Benjamin comes up again, aura. Do you thin= k=20 > the > > computer contains aura? > > > No, but the residue does, at least for me - the residue isn't virtual, but > is protocol material in a sense. >=20 >=20 The obsolete protocol, where the language has reached its limit and is=20 "outed."? Junk is antique, where the passage of time is compressed. Aura is uselessnes= s=20 -the Boulevard of Fallen Dreams. >=20 > Aura to a great extent is extra-curricular, what we bring to it - >=20 > > Do you think the medium of infinite repetition (to me that is what a=20 > computer > > is) can produce aura? >=20 > Well, theoretically infinite, but practically not, and that's something - > technology varies widely from one machine, language, protocol, display, > etc., to another; some things are now permanently inaccessible. So a > computer as technology is highly susceptible to obssolesence; as a > theoretical machine of course it's not. >=20 >=20 Obsolescence: in old photographs, most people in it are dead, the landscape=20 has changed or very subtle ways altered. That effect of time -a residue of o= ld=20 light on material- is what gives a photographs its aura -each phtograph a=20 shroud of Turin. Is that what happens in a computer? That a medium of=20 hyperefficiency and communication suddenly becomes a cypher? Is this not so even theoretically, obsoilescence embedded in the computer's=20 birth? Everything more efficient makes the less efficient extinct. We are=20 constantly, increasingly surrounded with ghosts of ideas, of which we (this=20 interchange we are engaged in) will become part. >=20 > I'm not sure in any case that aura is a production. >=20 >=20 Aura is hope. >=20 > > How did the first medium of "mechanical reproduction," photography, > > develop aura? Is it because it was not mechanical after all, subject to > > the whims, chaotic freedom of the movement of light? Is there a similar > > limit (boundary) in the computer -a light source in w.w.w.- beyond which > > it is free and gains aura? >=20 > More the chaos of chemicals, papers, etc. which are never uniform. And > photography is directly tied to traditional materiality. It was never > mechanical, but chemical, which enters quickly into chaotic regimes. >=20 >=20 > You mean computer is above that? Are you sure? The metaphor for computers=20= is=20 "organism." Computers get "viruses." The illusion of "perfect reproduction"=20= of=20 photography is replaced with the illusion of perfect access, endless=20 information, zero resistence to that information, either by time or space? B= ut that=20 information is always unreliable, always watched by a third eye or intention= . Any=A0 > In any case, the aura in computer work is probably related to the aura one > might find in 'the world of the work,' vis-a-vis a theorist such as > Dufrenne. >=20 > - Alan >=20 >=20 What did Dufrene say? Whose work? Murat "Dufrenne (sp) wrote on the phenomenology of literature - Kristeva took his classes, and a translation of, I think it's called, The Aesthetics of the Literary Work - something like that - was published by Northwestern. As the computer becomes more and more 'organic,' its own memory will come into play I think and that would be aura and its inherency. I like what you write here greatly - perhaps you could send it to the Poetics list with this note attached -- Thanks Alan" ========================================================================= Date: Sun, 20 Jun 2004 21:06:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: I stomp my feet and you feel my kai: Lord Patch (aka Lawrence Y Braithwaite) MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit PEaCE, I stomp my feet and you feel my kai (for Usama ibn Zayid (as)) There are 18 points to my chamber As hearts beat Joints/ Voices lower 4/9 timed inna flow to believers stashed in tongues w/blades Slicing all the doubters One Left dumb As you slap back Whispers Written on rain Peltin jinns w/ stars Scales wiped clean Seen mu'mineen As you dream Please believe I ride these bars From my ego Ima go Workin spits over mento B.U.T. First Ima show you Flex while I write Notes real ill Post Knos Squeeze me like Jibril Don’t dose Leave you inna daze Like those He chose While the liquid writes Your praise Look at you Rising from slaves Come born a master Death reborns the first now Last ones Like Prophets and Cholos Lost to Pharohs Hidden scrolls Equality writs Call it Qur’anic Pass over Quel que chose Burnin brujahs My brutha no nigga He’s a son Come on, ila Summon Haritha Stronge one It's our future D.U.N. I'll be the Standard barers for Usama Build a bass with water A super innovator 18yrs A chosen warrior Never visual Simply Subliminal Possibly literal Surats Novu Real coo/coo Like Incodules I break the rules As I kinda slapback Whispers Cappin pale bullers Don’t even Step into my square Do you dare Do you dare Pelt that jinn w/ a stars Death reborns the first bruhs Now stroles the last ones Breath taking is My brutha Coo ila Born from clay Spark a welly lighter in the hour Of the last days Silencing bagawires and soothersayers Enter a shift Watch an angel retire// Protect me from the poets and the liars Lord Patch (aka Lawrence Y Braithwaite) 1425 New Palestine/The Hood/Fernwood http://www.icompositions.com/auditorium/showphoto.php?photo=3362 http://www.icompositions.com/auditorium/showphoto.php?photo=3360 It is the Hurricane Angel Full length cd entitled "luckily, i was half cat" available by NYC poet and musician Hurricane Angel (aka Jonathan Cox) which has trip hop beats and guest vocalist like Lord Patch (aka Lawrence Ytzhak Braithwaite) and Hardcore punk addict Mike Rubino to name a few. ...from New York to New Palestine "All Life laments memories Given the boot to X-Ray I’m yuh lost Dj Turn yuh sword around You crew suffers Hittin fixes w/ Agents/800 MC’s Rule inertia in daddy’s army takin an axe to the devilment/ destroyin ignorance wiph a question" "luckily, i was half cat" tracks: Into the olivet discourse breakout whiskers gurami right as rain analog autumn Unner Stated(downpressin) saving sebastian (odds & ends) 83 your dead future veloce sprint (downpressin intrumental) Full length cd available by contacting: jonathan cox international harvester music 2004 Download and hear "Unner Stated" from the cd "Hurricane Angel" (J Cox) w/ Lord Patch (aka Lawrence Y Braithwaite): http://www.unlimitedftp.ca/myftp/displayShare.jsp?%00%0A%00%06%0B%09%06%05%0A%0B%06%02%04%07 Hurricane Angel's Unner Stated (w/ Lord Patch aka Lawrence Ytzhak Braithwaite) and much more on "Vocalized Ink Radio" http://www.sleepybrain.net/vanilla.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date Also give a listen to the top spokenword site and radio: http://www.live365.com/stations/vocalizedink?playHurricane Angel Full length cd entitled ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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/\ \ } ========================================================================= Date: Mon, 21 Jun 2004 00:42:11 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Carr Subject: New Magazine MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit American Weddings Spring/(Summer) 2004 Issue With writing by: Mike County Monica Fambrough Jim Behrle Jessica Smith Travis Nichols Yuri Hospodar Dorothea Lasky Michael Peters Laura Solomon Seth Parker Michael Carr acetate cover art - illustrations throughout musical endpapers - saddle-stapled $4 ppd, checks payable to Michael Carr Send to: American Weddings c/o Carr 9 Malcolm Rd, Apt 1 Cambridge, MA 02138 Inquiries: american_weddings@yahoo.com ========================================================================= Date: Sun, 20 Jun 2004 22:18:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Taylor Subject: Nicole Cooley & The Naked Readings (NJ) Mime-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1" Content-Transfer-Encoding: 7bit SpiralBridge is honored to feature the works of Nicole Cooley for the next 2 weeks @ ~~~~~~~~~~~~~~~~~~~~~~~~~~~ http://www.SpiralBridge.org ~~~~~~~~~~~~~~~~~~~~~~~~~~~ SpiralBridge invites you to experience reverberations of the souls with... The Naked Readings :Poetry:Music:Art:Life:Art:Music:Poetry: This Sunday June 27rd 7-10 Makeready's Gallery 214 Artspace 214 Glenridge Avenue Montclair, NJ 973-744-1940 (gallery) Please join us at this inspiring event celebrating the words and worlds of poets from all over the Metropolitan area traversing the diverse realms of creative expression. Seize the opportunity to re-connect with the wonderful and supportive community of Spoken Word in funky Montclair, NJ. Featured Poet: Nicole Cooley Featured Musician: ilyAIMY Paintings by: Antonio Noguiera Please help us help our neighbors. Bring in your non-perishable, non-expired food items to The Naked Readings and be entered into a raffle to win a pair of tickets to The Blue Note Jazz Club in NYC. Please visit our web site for more details... http://www.SpiralBridge.org Brought to you by friends of SpiralBridge ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Directions to GALLERY 214 - From GSP, exit 151, west on Watchung Ave, 1.5 miles to RR overpass, left on Park St. go 1.1 miles, left on Bloomfield Ave., 2 lights to N. Willow St.; At North Willow St turn right, go one block to Glenridge Ave. turn left, go 1 1/2 blocks. Rtes. 3 & 46, exit "Valley Rd, Montclair", south 4.3 miles, left on Bloomfield Ave, 3 lights to N. Willow. At North Willow St turn left, go one block to Glenridge Ave. turn left, go 1 1/2 blocks. From Route 280 exit 8B Prospect Ave. north 2 miles, right on Bloomfield Ave. 1 mile to N. Willow St.; at North Willow St turn left, go one block to Glenridge Ave. turn left, go 1 1/2 blocks. From Port Authority, NYC, DeCamp Bus #33 or #66 to Bloomfield Ave., Montclair ~~~~~~~~~~~~~~~~~~~ http://www.SpiralBridge.org ~~~~~~~~~~~~~~~~~~~ ========================================================================= Date: Sun, 20 Jun 2004 22:41:54 -0700 Reply-To: jeanne heuving Sender: UB Poetics discussion group From: jeanne heuving Organization: University of Washington Subject: INCAPACITY MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Book launch and reading from my cross genre book INCAPACITY in Seattle, Thursday, June 24, 7:30, Open Books 2414 N. 45th, Seattle 98103. Come one and all. Jeanne Heuving ----- Original Message ----- From: Automatic digest processor To: Recipients of POETICS digests Sent: Sunday, June 20, 2004 9:04 PM Subject: POETICS Digest - 19 Jun 2004 to 20 Jun 2004 (#2004-173) > There are 13 messages totalling 1232 lines in this issue. > > Topics of the day: > > 1. the murderous desire > 2. Mark Rudd is a Dudd (2) > 3. Spring.... > 4. Technology/Poetry debate. (2) > 5. e > 6. Come to my launch!! > 7. Transgender History On The March > 8. [Project-news] Cafe Cancelled and Other News > 9. Few Charred New > 10. Lives of Eminent Assyrians 7 > 11. chicagopostmodernpoetry.com is Updated with new profiles of Rae Armentrout > and kari Edwards > > ---------------------------------------------------------------------- > > Date: Sun, 20 Jun 2004 00:01:46 -0400 > From: Alan Sondheim > Subject: the murderous desire > > murderous > > should be http://www.clc.wvu.edu/sondheim/files/crimescene.mov - > > limited engagement only > > ------------------------------ > > Date: Sat, 19 Jun 2004 00:03:02 -0400 > From: Steve Dalachinsky > Subject: Re: Mark Rudd is a Dudd > > sorry you didn't like all those spontaneous likes boy but like you got > some bad sex hangups tho > like check yerself like lazysure do better like lick yerself and compared > to what you think reactioon to toon this was uncalled for silliness point > made taken like you don't like why we all like to like air dirty laundry > have these slick circle jerks anyway keep your damn cock to yerself boy > cause like no one need know yer sleezy preferences or is this what mom > and dad spent all that money on to get this keenly trained sewer mind hey > i'm just a bumpkin a true lazybones indeed like all dumbies but if ya > wanna teach a person sumptin there's like like a rght n a wrong way ta do > it evidently you just be some dumbass critic riffin off someone else's > blood ever spill any on the carpet? the blood being more intense than > the bleeding or as the man said in a thin high southern accent tonight on > the emptying slicklit soho street i like it sleezy but not trashy he > said in a thin southern accent > sleezy > not > trashy his life like yours i'm sure nothing more than a > spring-driven clothespin > > ------------------------------ > > Date: Sat, 19 Jun 2004 00:03:38 -0400 > From: Steve Dalachinsky > Subject: Re: Mark Rudd is a Dudd > > thanks joel well said & true > > ------------------------------ > > Date: Sun, 20 Jun 2004 01:44:51 -0500 > From: Harry Nudel > Subject: Spring.... > > Lori > starts > to call > me > 'spin' > > short > for > 'spinoza' > > aren't > we all > 'chosen' > > lap dance > of the gods.... > > > > 3:00 cool last spring nite...drn...who leads the open..birdie biride...par for the course... > > ------------------------------ > > Date: Sun, 20 Jun 2004 11:51:11 +0100 > From: "david.bircumshaw" > Subject: Re: Technology/Poetry debate. > > Andrew Loewen wrote: > > >but it just > occurred to me watching this lecture that the entire > oeuvre of various 'net artists' etc. likely has a > literal shelf-life of, what, 10 years, 20, 30 years > tops????< > > That's a good question and exercises me too. Hoiking poetry onto technology > seems increasingly to suggest that what is being created is the poetic > equivalent of junk-food. Moreso, as the rate of change in computer > technology accelerates, so the minimum of 10 years that Andrew suggests is > soon likely to be the maximum. Poetry becomes just another aspect of > consumer culture (and outside academe not a very important one) that is > available to and practised by those with access to the latest gadgets ( I > hasten to add I'm not characterising Alan thus!) > > Best > > Dave > > > > > David Bircumshaw > > Spectare's Web, A Chide's Alphabet > & Painting Without Numbers > > http://www.chidesalphabet.org.uk > > > ----- Original Message ----- > From: "andrew loewen" > To: > Sent: Sunday, June 20, 2004 3:08 AM > Subject: Technology/Poetry debate. > > > ' I'm not anti-digital. . . In short I think digital > recording technology is fine for anything that doesn't > matter to me.' > > -- Steve Albini > > (download complete lecture/talk in which Albini > discusses analogue vs. digital recording, file > sharing, the music biz, etc, here: > http://www.electrical.com/phpBB2/viewtopic.php?t=2281) > > Alan, I'm wondering if you print hard copies of your > work, computer archives, etc? This goes for others > too. Is it of concern that poetry/information/art that > is only documented in virtual form will likely be > unreadable and totally lost in the not-too-distant > future? I realize the technical shortcomings of > digital tech. are far more 'pressing' for audio > documents than for purely visual texts, but it just > occurred to me watching this lecture that the entire > oeuvre of various 'net artists' etc. likely has a > literal shelf-life of, what, 10 years, 20, 30 years > tops???? > > I suspect this issue is most (immediately) felt in the > realm of epistolary documentation . . . for those > without the coveted "edu" caboose on their virtual > nameplates, email accounts often come and go, melting > into postmodern thin air. Ron Silliman apparently gets > hundreds of personal emails a day - where does that > stuff go? > > > > > > Curious. > > All the best, > > Andrew. > > > > > > > > ______________________________________________________________________ > Post your free ad now! http://personals.yahoo.ca > > ------------------------------ > > Date: Sun, 20 Jun 2004 06:40:06 -0500 > From: Harry Nudel > Subject: e > > kid > it;s > > all > > digital > dust > > e > & > us > > nite > day > > ever > now > > one > two > > was > is > > ever > thus > > > > drn... > > ------------------------------ > > Date: Sun, 20 Jun 2004 08:38:39 EDT > From: Adeena Karasick > Subject: Come to my launch!! > > Along with bill bissett and Jamie Reid (see below) > i will be launching my new book: > > THE HOUSE THAT HIJACK BUILT > Thurs. July 1 > 6:00 - 8:00 pm > ACA Gallery (529 W. 20th, 5th Floor), NY > > There will be free wine and hors d'oeuvres and short fabulous readings and > the great Alan Semerdjain (guitar) and Daniel Carter (Saxaphone) will be playing > music. Should be a great nite. Hope to see you!!! > > ******* > > And, for the longwinded version --- > > On Canada Day, July 1, 2004 there will be a book launch and poetry > reading held in honor of Canada's Talonbooks at the American Contemporary > Artists Galleries (ACA) in the heart of Chelsea. > Established in 1932, the ACA specializes in 20th-Century American and > contemporary art. On the first Thursday of every month, it holds a > poetry reading series-hosted by Dave Kirschenbaum, Publisher and Editor > of Boog Literature-which spotlights and honors literary press publishers > from outside of New York City. The first Thursday of July this year > falls on July 1, Canada Day, and the ACA will be honoring Talonbooks -with a > gala poetry reading from 6:00 pm-8:00 pm. > For more information on the ACA Galleries (located at 529 West 20th St., > Fifth Floor) please visit their web-site: http://www.acagalleries.com/home.htm > > Talonbooks is one of Canada's leading literary presses. Since its inception > over 40 years ago, it has become Canada's foremost publisher of drama and > French translation titles, as well as one of the nation's most important publishers > of poetry, fiction, and non-fiction. Its authors and their books have > received numerous awards, including the prestigious Canada Governor General's > Literary Awards, BC Book Prizes, and other national and international literary > honors. This event will spearhead Talon's launch of three new poetry collections > from the critically acclaimed authors bill bissett, Adeena Karasick, and Jamie > Reid. > For more information on Talonbooks please visit www.talonbooks.com > > narrativ enigma / rumours uv hurricane by bill bissett > (0-88922-507-9; 6 x 9; 144 pp; $17.95 CN / $13.95 US) This is the newest book > from one of Canada's best known and celebrated poets and artists. bill > bissett is the author of over 20 books (8 with Talonbooks) and is well known for his > ability to capture and mesmerize his audience with playful, energetic, and > powerful readings. His most recent book, peter among the towring boxes / text > bites (0-88922-464-1), won a BC Book Prize for best poetry in 2003, an award > which he had won ten years earlier for inkorrect thoughts in 1993. bissett is > also the inaugural recipient of the Milton Acorn People's Poet Award. > > The House That Hijack Built by Adeena Karasick > (0-88922-511-7;6 x 9; 128 pp; $19.95 CN / $15.95 US) > This is another of Adeena Karasick's electrifying and visually stunning works > of collage and poetry that has made her one of Talonbooks's most critically > acclaimed poets. Her writing has generated great international interest and has > been hailed as "an impressive deconstruction of language and meaning" that is > "exuberant in [its] cross-fertilization of punning and knowing, theatre and > theory." Karasick's Memewars was a finalist for a BC Booik Prize in 1996, and > she won the Bumbershoot Book Prize for Dyssemia Sleaze in 2000. More nformation > on Karasick and her work can be found at www.adeenakarasick.com > > I, Another. The Space Between: Selected Poems by Jamie Reid > (0-88922-512-5; 6 x 9; 192 pp; $17.95 CN / $13.95 US). This is the long > awaited new volume of poetry from Jamie Reid, a key figure in the > Canadian avant-garde poetry movement in the 1960s. The publication of his > first book, The Man Whose Path Was on Fire, in 1967 took the Canadian poetry > circle by storm. Reid then took a 20-year hiatus from writing poetry, despite > this enormous critical success. He finally returned to the literary scene as the > editor of the well respected journal DaDaBaBy and has since authored many > other works. This is his first book of collected poems. > > Other Talonbooks by these authors: > > bill bissett: > b leev abul char ak tars 0-88922-433-1 $17.95 CN $13.95 US > th influenza uv logik 0-88922-357-2 $17.95 CN $13.95 US > inkorrect thots 0-88922-303-3 $17.95 CN $13.95 US > th last photo uv th human soul 0-88922-322-X $17.95 CN $13.95 > loving without being vulnerabul 0-88922-372-6 $17.95 CN $13.95 US > peter among th towring boxes/ text bites 0-88922-464-1 $17.95 CN > $13.95 US > scars on th seehors 0-88922-387-4 $17.95 CN $13.95 US > Selected Poems: Beyond Even Faithful Legends 0-88922-172-3 $17.95 CN, > $13.95 US > > Adeena Karasick: > Dyssemia Sleaze 0-88922-434-X $24.95 CN $19.95 US > The Empress Has No Closure 0-88922-307-6 $16.95 CN $12.95 US > Genrecide 0-88922-370-X $18.95 CN $14.95 US > Memewars 0-88922-344-0 $16.95 CN $12.95 US > > For more information on this event or on Talonbooks please contact: > > Robert Kasher > Director of Sales and Marketing > Talonbooks > rkasher@sympatico.ca > 725 King St W # 306 > Toronto, ON M5V 2W9 > > 416-703-7485 / fax: 416-703-1513 > > hope to see you there > > ------------------------------ > > Date: Sun, 20 Jun 2004 08:03:27 -0700 > From: Joel Weishaus > Subject: Re: Technology/Poetry debate. > > This is a question that may go back to the beginnings of art. Did a > Paleolithic cave artist say, "Who will see my work in this pitch-black cave > a hundred years from now?" But he continued to paint, because he was an > artist. > We work in the medium that we must, and maybe it will be read 30 years from > now, or maybe it won't be accessible. But that doesn't make it junk-food. > Perishable, maybe. Junk-food doesn't have to do with longevity but its lack > of nourishment. > There is a deceased British painter I read about recently whose major works > were destroyed in a warehouse fire. Would he have not painted had known this > would happen? He painted because he was an artist. > It's not the medium it's the meme, no matter in which medium one works. > > -Joel > > > ----- Original Message ----- > From: "david.bircumshaw" > To: > Sent: Sunday, June 20, 2004 3:51 AM > Subject: Re: Technology/Poetry debate. > > > > Andrew Loewen wrote: > > > > >but it just > > occurred to me watching this lecture that the entire > > oeuvre of various 'net artists' etc. likely has a > > literal shelf-life of, what, 10 years, 20, 30 years > > tops????< > > > > That's a good question and exercises me too. Hoiking poetry onto > technology > > seems increasingly to suggest that what is being created is the poetic > > equivalent of junk-food. Moreso, as the rate of change in computer > > technology accelerates, so the minimum of 10 years that Andrew suggests is > > soon likely to be the maximum. Poetry becomes just another aspect of > > consumer culture (and outside academe not a very important one) that is > > available to and practised by those with access to the latest gadgets I > > hasten to add I'm not characterising Alan thus!) > > > > Best > > > > Dave > > > > > > > > > > David Bircumshaw > > > > Spectare's Web, A Chide's Alphabet > > & Painting Without Numbers > > > > http://www.chidesalphabet.org.uk > > > > > > ----- Original Message ----- > > From: "andrew loewen" > > To: > > Sent: Sunday, June 20, 2004 3:08 AM > > Subject: Technology/Poetry debate. > > > > > > ' I'm not anti-digital. . . In short I think digital > > recording technology is fine for anything that doesn't > > matter to me.' > > > > -- Steve Albini > > > > (download complete lecture/talk in which Albini > > discusses analogue vs. digital recording, file > > sharing, the music biz, etc, here: > > http://www.electrical.com/phpBB2/viewtopic.php?t=2281) > > > > Alan, I'm wondering if you print hard copies of your > > work, computer archives, etc? This goes for others > > too. Is it of concern that poetry/information/art that > > is only documented in virtual form will likely be > > unreadable and totally lost in the not-too-distant > > future? I realize the technical shortcomings of > > digital tech. are far more 'pressing' for audio > > documents than for purely visual texts, but it just > > occurred to me watching this lecture that the entire > > oeuvre of various 'net artists' etc. likely has a > > literal shelf-life of, what, 10 years, 20, 30 years > > tops???? > > > > I suspect this issue is most (immediately) felt in the > > realm of epistolary documentation . . . for those > > without the coveted "edu" caboose on their virtual > > nameplates, email accounts often come and go, melting > > into postmodern thin air. Ron Silliman apparently gets > > hundreds of personal emails a day - where does that > > stuff go? > > > > > > > > > > > > Curious. > > > > All the best, > > > > Andrew. > > > > > > > > > > > > > > > > ______________________________________________________________________ > > Post your free ad now! http://personals.yahoo.ca > > ------------------------------ > > Date: Sun, 20 Jun 2004 09:59:13 -0700 > From: kari edwards > Subject: Transgender History On The March > > (My apologies if you have already received this, but your help in > redistributing this is much appreciated. Please forward widely.) > http://transdada.blogspot.com/ > > > Transgender History On The March > > In a groundbreaking event, the transgender community of San Francisco > will proudly step forward by taking the first marching steps of San > Francisco Pride Weekend. An unprecedented Trans March is scheduled to > be held Friday evening, June 25. The broad and diverse spectrum of > transgendered people will be assembling at Dolores Park at 7:00 PM and > will begin their march to Civic Center at 8:00 PM. Upon their arrival,=20= > > there > > will be a ceremony inaugurating the 1st annual Transr Altar to honor, > chronicle, and celebrate the struggles, the sacrifices and the > accomplishments of our community. > > The gathering at Civic Center will be addressed by State Assemblyman > Mark Leno, San Francisco Police Commissioner Theresa Sparks, and other > notable community members and friends. Marchers are being encouraged to > > bring significant and meaningful objects, pictures and writings to be > placed on the altar to be displayed for the duration of Pride weekend. > > =93What started off as a grass roots rally is turning into two = > historical > > events=94, says community activist Cecilia Chung, =93We have no idea who > the original organizers were for the march but we are committed to > creating a safe event for our community. It=92s exciting to know that > there are others with the same vision and we are expecting a great=20 > turnout. We > also want to thank San Francisco Pride for giving the financial support > > as well as an opportunity to create our own venue for the transgender > community. All we need now is to spread the words, recruit volunteers, > and ask community members and allies to bring something personal to > help build the altar.=94 > > The Trans Altar is a project sponsored by San Francisco LGBT Pride > Celebration and will become a permanent art exhibit for future Pride > Celebrations here in San Francisco. > > "The Pride Committee is excited to present the Trans Altar at our event > > this year as a way to honor and celebrate the Transgender community in > all it's beauty and humanity. It provides Pride with a new, creative > way to fulfill our mission of mirroring the diversity and inclusivity > of the Celebration. The Altar, along with the Trans March, signals a new > level of visibility for the Transgender community and a new level of > growth for the LGBT community as a whole." says Joey Cain, current > President of San Francisco Pride. > > > > Endorsers of the march include: > > San Francisco LGBT Pride Celebration Committee > San Francisco LGBT Community Center > Remembering Our Dead Project > Harvey Milk LGBT Democratic Club > Youth Gender Project (YGP) > Transgender Law Center (TLC) > UCSF Transgender Resource and Neighborhood Space (TRANS) > San Francisco Transgender Empowerment, Advocacy & Mentorship (SF TEAM) > > For more information contact: > email: transmarch@sfteam.org > phone: (415) 585-0545 > > Cecilia Chung > http://www.sfteam.org > > ------------------------------ > > Date: Sun, 20 Jun 2004 12:37:31 -0700 > From: Ishaq > Subject: [Project-news] Cafe Cancelled and Other News > > Comrades > Due to lack of resources, help, interest, mountaineering, hitch hiking and > summertime fun the Working Class Cafe is, at least temporarily, cancelled. > Thanks to all those who have come to past shows. We had some fun! > > Come on down to 324 Cambie, the Afro-Canadian Restaurant, and visit with > the folk singers of Raven Hymn Productions every Sunday at 2PM. Featuring > Andy Mason (from Andy Mason and the Tricksters), David Roy Parsons, and > streetpoet Joey Only. > > Also be sure to catch Cafe Rebelde this Friday June the 25 on Youth > Organizing. 7PM, Dogwood Centre, Clarke Drive at Adanac. Revolutionary > music, theatre, discussion, tostado's and samosa's, lemonade beer and wine > served. Contact the Busriders Union: bru@resist.ca > > Listen to Sound Resistance, Thursday at 1PM, on CO-OP Radio, 102.7FM > > > http://www.freewebs.com/joeyonly > > > > > > http://www.freewebs.com/joeyonly > _______________________________________________ > ___\ > 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\ > \ > "It's not too good to stay in a white man's country too long"\ > Mutabartuka\ > \ > 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, 20 Jun 2004 16:28:03 -0500 > From: Harrison Jeff > Subject: Few Charred New > > sweet is the ink sour jottings beached > on lying diaries, pay attention > to the content of intimate newspapers > cold fish failed themselves, > jottings get wet, this could be > a lost chance which deceives sleep > - this may be the VIEW, Mr. Harrison, > you sweet moral thing, which history > will compare to COMPARISON - > your small library haughtiness is > a wolf in quiet boots, beast-burdened > with shrinking and thirst, its eyes you > cast into fires go dark: hélas, someone's > unscheduled panting freezes victory again: > whose mud, > > crow-blind bone, > > will learn this wily place? > > > these liquids the candy > are timetables is the ink > > _________________________________________________________________ > Is your PC infected? Get a FREE online computer virus scan from McAfee® > Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 > > ------------------------------ > > Date: Sun, 20 Jun 2004 16:29:59 -0500 > From: Harrison Jeff > Subject: Lives of Eminent Assyrians 7 > > Tiglath-Pileser > did swear / mad > anyway > always / spoke / profit > it is no matter > body / box > as they may thrive > technically > know / make > unless > quickly > learn ribaldry > > > certainly > a respectable > ladies and gentlemen > take pains > to know them all by heart > one > whence > one and all > > > preaching / incite > rags > think / each one > heed > bone > sound at once > notice also > beasts > own the weak > > > the same > heals > mistrust > wheat / oats > as long as > one > person > dare not > absolve / authority > trick > since > deceptions > take pains > nod their heads > dove / barn > > > eagerly > activity > open-handed > money / especially > only / gain > care / buried > pleasure > promoted > vainglory > sharply > escape > actual > repay / describe > separate > not at all > simple > > > repeat / remember > because > intended > wool / cheese / wheat > listen > pleasure > to gain > "once upon a time..." > practiced > dice capacity > oaths / damnable > tore > well-made / repeat > lechery > unnaturally > did not know > > > feast > gave / command > slay / innocent > also > > > downfall > damnation > redeemed > dearly > paid for / same > corrupted > father > doubt > ate / forbidden > cry out > if only one knew > > > air / toil > can they write > say / excess > filled full / dung > sound > provide for > V / Sammurammat > > > > say > sure > longer / write > weight / undone > > > spices / root > through pleasure > dead / those > quarreling > are you > sound > always > knows > stuck pig > true burial > especially > for sale > > > supreme deeds > look at / learn > continually > above / consider > forbid gambling > mother / lies > waste > reproach > gambler > status > abandoned > > > stole away > considered > prudent > lose > dishonor > appearance / suspect > salutes / indeed > hateful to > compassion > rather abstain > generosity / courtesy > say / part / release > paid / security > reproach > promise > > > also / dice > kind of pastime > pass the time > oaths > reprehensible > commandments > moreover / flat > depart > oaths > throw / five / three > revelers > before > corpse > > > servant > ask promptly > nearby surely > companion > last night > ever > secret / call > slays > in two > during this plague > be careful > hence / forewarned > > > of one mind > to the > slay > reverence > born > leapt > tore apart > dead / catch > are you / completely swathed > because > must / always > exchange / withered > unless > before > where they must > > > easily > word / spy > wishful > left / faith > boasting / redeemed > each jest given easily > reverence / expected > violent > have them hanged > quickly / secretly > closed fist fell as gone > divided / arrange > > > turn > do not know > secret / VILLAIN > expose > two > must / stronger > seated > get up > dice / agreed / slay > > > throne / devil / buy > leave > utterly > slain > gladly / revenge > ruined as mixture > amount / grain > lose / die > at walking pace > > > taken > then > intended / toil > plotted > bury > where > slain > before > lechery > > > oaths / habit > reliquary > made > unnatural > preserve > again and again > would they thrive > > _________________________________________________________________ > Watch the online reality show Mixed Messages with a friend and enter to win > a trip to NY > http://www.msnmessenger-download.click-url.com/go/onm00200497ave/direct/01/ > > ------------------------------ > > Date: Sun, 20 Jun 2004 22:06:45 -0500 > From: Haas Bianchi > Subject: chicagopostmodernpoetry.com is Updated with new profiles of Rae Armentrout and kari Edwards > > Monday-chicagopostmodernpoetry.com will be updated with two new profiles, > and also Chicago's reading calendar through November 2004 > > Please check it out > > R > > > > > > > Raymond L Bianchi > chicagopostmodernpoetry.com/ > collagepoetchicago.blogspot.com/ > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Harrison Jeff > > Sent: Sunday, June 20, 2004 4:30 PM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Lives of Eminent Assyrians 7 > > > > > > Tiglath-Pileser > > did swear / mad > > anyway > > always / spoke / profit > > it is no matter > > body / box > > as they may thrive > > technically > > know / make > > unless > > quickly > > learn ribaldry > > > > > > certainly > > a respectable > > ladies and gentlemen > > take pains > > to know them all by heart > > one > > whence > > one and all > > > > > > preaching / incite > > rags > > think / each one > > heed > > bone > > sound at once > > notice also > > beasts > > own the weak > > > > > > the same > > heals > > mistrust > > wheat / oats > > as long as > > one > > person > > dare not > > absolve / authority > > trick > > since > > deceptions > > take pains > > nod their heads > > dove / barn > > > > > > eagerly > > activity > > open-handed > > money / especially > > only / gain > > care / buried > > pleasure > > promoted > > vainglory > > sharply > > escape > > actual > > repay / describe > > separate > > not at all > > simple > > > > > > repeat / remember > > because > > intended > > wool / cheese / wheat > > listen > > pleasure > > to gain > > "once upon a time..." > > practiced > > dice capacity > > oaths / damnable > > tore > > well-made / repeat > > lechery > > unnaturally > > did not know > > > > > > feast > > gave / command > > slay / innocent > > also > > > > > > downfall > > damnation > > redeemed > > dearly > > paid for / same > > corrupted > > father > > doubt > > ate / forbidden > > cry out > > if only one knew > > > > > > air / toil > > can they write > > say / excess > > filled full / dung > > sound > > provide for > > V / Sammurammat > > > > > > > > say > > sure > > longer / write > > weight / undone > > > > > > spices / root > > through pleasure > > dead / those > > quarreling > > are you > > sound > > always > > knows > > stuck pig > > true burial > > especially > > for sale > > > > > > supreme deeds > > look at / learn > > continually > > above / consider > > forbid gambling > > mother / lies > > waste > > reproach > > gambler > > status > > abandoned > > > > > > stole away > > considered > > prudent > > lose > > dishonor > > appearance / suspect > > salutes / indeed > > hateful to > > compassion > > rather abstain > > generosity / courtesy > > say / part / release > > paid / security > > reproach > > promise > > > > > > also / dice > > kind of pastime > > pass the time > > oaths > > reprehensible > > commandments > > moreover / flat > > depart > > oaths > > throw / five / three > > revelers > > before > > corpse > > > > > > servant > > ask promptly > > nearby surely > > companion > > last night > > ever > > secret / call > > slays > > in two > > during this plague > > be careful > > hence / forewarned > > > > > > of one mind > > to the > > slay > > reverence > > born > > leapt > > tore apart > > dead / catch > > are you / completely swathed > > because > > must / always > > exchange / withered > > unless > > before > > where they must > > > > > > easily > > word / spy > > wishful > > left / faith > > boasting / redeemed > > each jest given easily > > reverence / expected > > violent > > have them hanged > > quickly / secretly > > closed fist fell as gone > > divided / arrange > > > > > > turn > > do not know > > secret / VILLAIN > > expose > > two > > must / stronger > > seated > > get up > > dice / agreed / slay > > > > > > throne / devil / buy > > leave > > utterly > > slain > > gladly / revenge > > ruined as mixture > > amount / grain > > lose / die > > at walking pace > > > > > > taken > > then > > intended / toil > > plotted > > bury > > where > > slain > > before > > lechery > > > > > > oaths / habit > > reliquary > > made > > unnatural > > preserve > > again and again > > would they thrive > > > > _________________________________________________________________ > > Watch the online reality show Mixed Messages with a friend and > > enter to win > > a trip to NY > > http://www.msnmessenger-download.click-url.com/go/onm00200497ave/d > irect/01/ > > ------------------------------ > > End of POETICS Digest - 19 Jun 2004 to 20 Jun 2004 (#2004-173) > ************************************************************** > ========================================================================= Date: Sat, 19 Jun 2004 20:02:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: I stomp my feet and you feel my kai: Lord Patch (aka Lawrence Y Braithwaite) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit nice. usama who? ========================================================================= Date: Mon, 21 Jun 2004 07:25:36 -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="iso-8859-1" Content-Transfer-Encoding: quoted-printable http://ronsilliman.blogspot.com/ RECENT TOPICS: China as a day job: The role of the poet in Joseph Torra=92s After the Chinese The poems one =93dips into=94 again & again -- =93not of one bird but of many=94 Lucid dreaming vs. not dreaming at all The hardest working poet in America: Anne Waldman=92s New & Selected: In the Room of Never Grieve Eleven ways of looking at a caf=E9 table: Jim Jarmusch=92s Coffee and Cigarettes =93Revolutionary=94 poetry =96 from Roque Dalton, Ernesto Cardenal & Jack Hirschman to Lorenzo Thomas=92 Dancing on Main Street The Philadelphia Progressive Poetry Calendar (June Croon edition) Ron Silliman:=20 Forthcoming readings & talks (Boston, Seattle, Lawrence, SF, Philly & DC) How does an ear work in poetry? From Lisa Lubasch to Timothy Steele Immersive reading: confronting grief at a book=92s end http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 21 Jun 2004 05:15:04 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Re: I stomp my feet and you feel my kai: Lord Patch (aka Lawrence Y Braithwaite) In-Reply-To: <20040619.200238.-194621.10.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Usama ibn Zyaid (ZAID) was the son of Zayid (Zaid) ibn Haritha who was the adopted son of Muhammad. Haritha married a Nubian woman who gave him a son Usama. Usama became a favourite of Muhammad and Muhammad treated him like favourite grandson. Usama was a boy riding behind Muhammad on the camel Qswar when Muhammad took back Makka. Usama became a general for Muhammad at 18yrs and was assigned a great mission to lead a campaign against the the Persians (Mu'ta) just at Muhammads death. The older generals (still caught up in the old tribal system) refused to follow such a young and "dark" general (and so of a freed slave) into battle and refused Muhammads orders. Here is where Muhammad rose from his sick bed to give his most famous and last speech concerning racism, his people and the purpose and future of Islam. "O People (mankind -- Nas), listen well to my words, for I do not know whether I shall meet you again on such an occasion in the future. Today, I have completed the Din (complete system of life) for you... and selected for you Islam. All the pagan practices are crushed under my feet. O people, your Lord is One. Without doubt, your father Adam is one. No Arab has superiority over a non-Arab or a white over a black, or a black over a white. Each Muslim is the brother of another Muslim, and all Muslims are brothers. And as for your slaves, feed them what you eat, and clothe them with what you wear. All revenge from bloodshed during paganism is abolished. First and foremost, I forgive from my family, Rabi'ah bin al- Harith's son's murder. All usury is abolished. And first and foremost, from my family I abolish usury owed to my uncle, 'Abbas ibn 'Abdul Muttalib. Remember Allah in your dealings with women. You have rights over women, and they have rights over you (equality in relationship). Your life and property are sacred to you till the Day of Reckoning. When Allah will question you about me, what will you say?" The companions replied, "You delivered the message, you fulfilled your obligation." Muhammad (S) then raised his finger toward the sky and repeated three times, "Allahumma Ashhad" (O Allah, You are the witness). Steve Dalachinsky wrote: >nice. usama who? > > > -- {\rtf1\mac\ansicpg10000\cocoartf10 {\fonttbl\f0\fswiss\fcharset77 Helvetica;} {\colortbl;\red255\green255\blue255;} \margl1440\margr1440\vieww9000\viewh9000\viewkind0 \pard\tx560\tx1120\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\ql\qnatura \cf0 \ \f0\fs24 --\ -\ ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 21 Jun 2004 06:30:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: LA: Writers & Teachers Series, Barnes & Noble, Glendale MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Writers & Teachers Series, Barnes & Noble, Glendale Co-curated by Catherine Daly and Margaret Wang, featuring writing teachers reading with and introducing their students, This month's reading: Poet & teacher Terry Wolverton's recent books include EMBERS and INSURGENT MUSE reading with members of the One Page at a Time workshop from Writers at Work. Cara Chow, Chip Clements, Carol Compton, Julia Gibson, and Matt Knight. Tuesday, June 22nd, 7:30pm, Barnes & Noble Glendale 245 N. Glendale Blvd. Glendale, CA 91206; (818) 246-4677 ========================================================================= Date: Mon, 21 Jun 2004 09:47:05 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: "patrick@proximate.org" Subject: Festival Success/Audio & Commentaries Now Available Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Festival an overwhelming success *AUDIO & COMMENTARIES AVAILABLE* http://carrboropoetryfestival.org A big hearty "thank you" to those of you who came out to see & hear the terrific group of poets who gathered in Carrboro NC June 5 & 6 for the Carrboro Poetry Festival. For those of you who missed out, audio of the event is now available in mp3 format at the festival website. The festival was a success in ways I never imagined. Two of the seven sessions were standing room only--especially amazing considering the festival was a poetry event unaffiliated with any writers organization, reading series, or university. I had no idea what to expect, but I never expected so many people would stick around for ten hours of poetry. The excitement of the participants was palpable. I have never seen so many poets excited about poetry like they were that weekend. Maybe it was the weather, the turnout, the after-hours discussions across the street on a porch at a well-known watering hole. Who knows. But the gang just sort of, well, coalesced. In addition to the audio, the site also contains commentaries on the festival by Standard Schaefer and Christine Murray. Their words I think capture much of the essence of the event. If you would like to share your own experience of the festival, or any thoughts related to the event, write something and send it to me at patrick@carrboropoetryfestival.org. Patrick ========================================================================= Date: Mon, 21 Jun 2004 10:55:10 -0400 Reply-To: ronhenry@clarityconnect.com Sender: UB Poetics discussion group From: Ron Henry Subject: Re: Technology/Poetry debate. Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Joel Weishaus wrote: > This is a question that may go back to the beginnings of art. Did a > Paleolithic cave artist say, "Who will see my work in this pitch-black cave > a hundred years from now?" But he continued to paint, because he was an > artist. Eh. Sounds great, but you know, I suspect the cave artist continued to paint in that dark scary cave because he was afraid that if he didn't placate the spirits with the best cave art he could make, a bear or smilodon would be sure to rip his head off next time he went out desperately hunting for his supper. Ron Henry ========================================================================= Date: Mon, 21 Jun 2004 08:30:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Bill Berkson news Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit For those familiar and concerned with Bill Berkson of late, the good news is that he's just recently become the possessor of a new set of good lungs! Now becomes the no doubt up and down adventure of the new partnership. Wishing him well after a long, rough and courageous spate, Stephen V ========================================================================= Date: Mon, 21 Jun 2004 13:03:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Cole Swensen's email? Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Does Anybody Have Cole's email addie? Thanks in Advance. Christophe Casamassima -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Mon, 21 Jun 2004 14:05:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jon Thompson Subject: ISSUE 6 OF FREE VERSE Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Issue 6 of FREE VERSE is now available online. POETRY: Matthew Cooperman, Garth Greenwell, Alan Halsey, Kevin Prufer, Sara Veglahn, Nancy Kuhl, Daneen Wardrop, Adrienne Su, Kate Michaelson, Iris Alkalay. SPECIAL FEATURE: NEW POETRY IN GERMAN (Andrew Duncan, translator): Gregor Laschen, Sabine Techel, Ute Eisenger. REVIEWS of Tony Tost, Henri Cole, Susan Stewart. Also, micro-reviews in our =B3Recent and Notable=B2 feature. -- =20 Jon Thompson, Editor Free Verse: A Journal of Contemporary Poetry & Poetics http://english.chass.ncsu.edu/freeverse/ Department of English North Carolina State University Raleigh, NC 27695-8105 Fax: 919.515.1836 ========================================================================= Date: Mon, 21 Jun 2004 12:40:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: "i am therefore you are" In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit I have a short section from my SCifi novel, "low" @ edificewrecked.com "i am therefore you are" http://www.edificewrecked.com/issuetwo/edwards2.shtml thank you kari edwards 3435 Cesar Chavez #327 San Francisco, CA, 94110 415-647-6981 terra1@sonic.net http://transdada.blogspot.com/ _________________ -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: Reviews: http://www.gaycitynews.com/gcn_322/sittingscreamingabout.html 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.drunkenboat.com/db6/edwards/low.html http://www.emich.edu/studentorgs/bhouse/oldbhouse/edwards.html http://www.chimerareview.com/volumes/2003_4/fic_edwards_1.0.htm 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.tarpaulinsky.com/Spring04/edwards_correlation.html http://webdelsol.com/5_trope/17/edwards.htm http://www.wordforword.info/vol4/Edwards.htm http://people2.clarityconnect.com/webpages6/ronhenry/edward10.htm http://www.poeticinhalation.com/v3i3.html#Kari%20Edwards http://www.eratiopostmodernpoetry.com/poetic%20language.html http://www.moriapoetry.com/edwards.html http://www.litvert.com/kedwards8.html ========================================================================= Date: Mon, 21 Jun 2004 12:46:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: new books & website Mime-Version: 1.0 Content-Type: text/plain; format=flowed announcing two new books by Elizabeth Treadwell -- CHANTRY poetry, Chax Press, January 2004 98 pp, $16 ISBN 0-925904-40-6 LILYFOIL + 3 poetry/drama, O Books, June 2004 80 pp, $12 ISBN 1-882022-53-X * "In her recent books, Elizabeth Treadwell has been pushing hard against language to get to a deeper and often overlooked musicality in our world. In Lilyfoil + 3 she arrives at a musicality that is feminist and angular; that is Gertrude Stein and Mina Loy; that is pointed and luminous; that is, in short, Lilyfoil, not lily flower." -- Juliana Spahr "Treadwell takes leaps 'unsubjected' to social mores and memory while these are her materials." -- Leslie Scalapino "Elizabeth Treadwell kicks some serious ass!" -- Quentin Tarantino * more info: http://elizabethtreadwell.com * available from Small Press Distribution toll free within the US: 800-869-7553 international: 510-524-1668 orders@spdbooks.org http://www.spdbooks.org or order from your local independent bookstore * _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Mon, 21 Jun 2004 13:47:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Experimental Theology in Portland This Saturday MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Here is a notice for readings in Portland and Astoria (a bit east on the left bank of the Columbia) this coming weekend. Robert The Seattle Research Institute Presents Experimental Theology - an evening of short readings by the Seattle Research Institute and co-conspirators- Saturday June 26, 7:00 PM Pacific Switchboard 4367 North Albina Avenue Portland, OR Admission is free; books from the SRI and Clear Cut Press available on site. [Also that weekend: readings from Experimental Theology in Astoria, Or, presented by Clear Cut Press (http://clearcutpress.com/) When: Friday Saturday, June 25th, 8:00 PM Where: Shively Hall (on Coxcomb Hill) Astoria, Or] About the book: Experimental Theology is a collection of poems, fiction, essays and theoretical confabulations that ecumenically explore religion and the idea of transcendence by writers from the Pacific Northwest and elsewhere, edited by Robert Corbett with Rebecca Brown. About the Seattle Research Institute: The Seattle Research Institute (www.seattleresearchinstitute.org) is an association of Northwest writers, intellectuals and artists seeking socially engaged inquiry. SRI produces and promotes well-orchestrated collusions between experimental aesthetics and revolutionary thought. The Readers: Lesley Hazelton is the award-winning author of Jerusalem Jerusalem, England Bloody England, Confessions of a Fast Woman, and, most recently, Mary: A Flesh and Blood Biography of the Real Virgin Mother, in which she radically re-envisions the life of Mary, presenting her both as a real woman and a spiritual healer. Lesley is an expatriate Brit and a former psychologist and political reporter with deep roots in both Judaism and Catholicism; she lived in and reported from Jerusalem for 13 years. Her work has appeared in Esquire, Vanity Fair, the New York Times, Harper's , The Nation, and elsewhere. Diana George is a fiction writer and essayist whose work is included in The Clear Cut Future. Diana's stories have appeared in Third Bed, Nest, Post Road, the Denver Quarterly, and elsewhere. She is currently at work on a book about the Green River area south of Seattle and a phenomenon she calls "the Pastoral Abject." Selah Saterstrom is a North Carolina-based writer whose fiction has appeared most recently in Third Bed and E. Her novel, The Pink Institution, has just been published by Coffee House Press. Contact: Robert Corbett Cellphone: 206-992-6112 Email: robert@seattleresearchinstitute.org ========================================================================= Date: Mon, 21 Jun 2004 15:57:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Elshtain Subject: technology/poetry debate MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit fyi: new efforts/ideas in electronic archiving & preservation: http://www.eliterature.org/pad/afb.html http://www.eliterature.org/pad/ & remember: technology in and of itself is ethically neutral. ========================================================================= Date: Mon, 21 Jun 2004 17:28:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Lives of Eminent Assyrians 8 Mime-Version: 1.0 Content-Type: text/plain; format=flowed follow belongs / rank safely dare / judge merciful / generous sloth / industry unless assigned solely please throng / hoarding with good grace stands / agitation govern / deed ask for stall homeland / for spirit cease / slave reward warm storms shaken off aloft birds since / mate pleasure / burn complaint do not know living / certainly sea / between opposition stand strange heat golden / shining outshine bought / dearly fidelity together / had / such found out / appearance betrayed by fidelity / boast / vaunt two verso / recto once squashed / sphinx now in another once ladies and gentlemen squashed n'abolira / hasard wound about discover burn / pleasure it pleases you / slave creature certainty / unless must grant / before blessed sound equal maelstrom since / treasure shaven / close again lineage / choice scribe each day / must also haste dream / dream knew hill / excellently poor wander / marvels earth / very tapped give / rogues decreed / provide for quickly eloquent creature dreamed waited ordered / in order against discomfort caught / accused spirit body / dear thank you curse lives / creature received pledges direct / same valuable strike / around capture a hundred days stay seizing obedient lose pause / silent big bright bear showed go wicked one before witness teach / simple finest most dearly medicine it pleased earth / rapid / stop fine / power belongs made tortured pierced counsel / pity deal out gain almost fail / enfolded morning know robbed / curse misfortune cruel / eyes always pressed / always bound endure breaks / know redeemed very wary much constant as / mate till anywhere unless prosper doubt / brittle slips away fared more change consider / property rogues looking quickly toil displeases thoroughly displeases / sleep thoroughly cut / wages haggle escape went / continually knew / fared gone / news everyone possessions messenger / captain suchlike suspect / reputation deceive know feverish condition she sprawling children each baby / wealthy home thinks of / worse know chance then nimbly purchase dearly move quickly as well / few how learn bet pay back sitting / curse inner door let / latch need / mind hang get away worth their keep toil escape / blow portent skinned / want fasten outer door trick / know get ready delivered know / is looking company sprawl fast whatever / causes comrades wrapped snare mad walk / crooked much labor / hard increase bellies / brains / children intended examine prosper held by work excuse / play hoarse a pity / lacks number expect / pleased however suspect promised at once / cover mate help unless / trick lost injury / insult believe conspiracy silent / instantly thrive until they know at once as if / aloud more / enough there paid for believe / were troubles suspicion / ransack come near / there fared may eat spoil / injure soft only / empty bless aimed completely commotion amiss / shame done leave indeed / always be called later / bewitched revenged / transformed strike again / curse as soon as they can how / burst rest anywhere / please be troubled destroy promises lightning / child tell star / know how go afraid song reward / therefore though learning alight / slacken relieve / if lowly utterly / missed think as know prepared / together lovely Shamirim creatures _________________________________________________________________ MSN Toolbar provides one-click access to Hotmail from any Web page – FREE download! http://toolbar.msn.click-url.com/go/onm00200413ave/direct/01/ ========================================================================= Date: Mon, 21 Jun 2004 15:51:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Experimental Theology in Portland This Saturday MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Robert: I'd love to attend, but I gave up my car a few months ago. Is it near an N. Interstate MAX stop? -Joel __________________________________ Joel Weishaus Visiting Faculty Department of English Portland State University Portland, Oregon Home: http://web.pdx.edu/~pdx00282 Archive: www.cddc.vt.edu/host/weishaus/index.html ----- Original Message ----- From: "Robert Corbett" To: Sent: Monday, June 21, 2004 1:47 PM Subject: Experimental Theology in Portland This Saturday > Here is a notice for readings in Portland and Astoria (a bit east on the > left bank of the Columbia) this coming weekend. > > Robert > > The Seattle Research Institute Presents > > Experimental Theology > > - an evening of short readings by the Seattle Research Institute and > co-conspirators- > > Saturday June 26, 7:00 PM > > Pacific Switchboard > 4367 North Albina Avenue > Portland, OR > > Admission is free; books from the SRI and Clear Cut Press available on > site. > > [Also that weekend: readings from Experimental Theology in Astoria, Or, > presented by Clear Cut Press (http://clearcutpress.com/) > When: Friday Saturday, June 25th, 8:00 PM > Where: Shively Hall (on Coxcomb Hill) > Astoria, Or] > > > About the book: > > Experimental Theology is a collection of poems, fiction, essays and > theoretical confabulations that ecumenically explore religion and the idea > of transcendence by writers from the Pacific Northwest and elsewhere, > edited by Robert Corbett with Rebecca Brown. > > About the Seattle Research Institute: > > The Seattle Research Institute (www.seattleresearchinstitute.org) is an > association of Northwest writers, intellectuals and artists seeking > socially engaged inquiry. SRI produces and promotes well-orchestrated > collusions between experimental aesthetics and revolutionary thought. > > The Readers: > > Lesley Hazelton is the award-winning author of Jerusalem Jerusalem, > England Bloody England, Confessions of a Fast Woman, and, most recently, > Mary: A Flesh and Blood Biography of the Real Virgin Mother, in which she > radically re-envisions the life of Mary, presenting her both as a real > woman and a spiritual healer. Lesley is an expatriate Brit and a former > psychologist and political reporter with deep roots in both Judaism and > Catholicism; she lived in and reported from Jerusalem for 13 years. Her > work has appeared in Esquire, Vanity Fair, the New York Times, Harper's , > The Nation, and elsewhere. > > Diana George is a fiction writer and essayist whose work is included in > The Clear Cut Future. Diana's stories have appeared in Third Bed, Nest, > Post Road, the Denver Quarterly, and elsewhere. She is currently at work > on a book about the Green River area south of Seattle and a phenomenon she > calls "the Pastoral Abject." > > Selah Saterstrom is a North Carolina-based writer whose fiction has > appeared most recently in Third Bed and E. Her novel, The Pink > Institution, has just been published by Coffee House Press. > > > Contact: > Robert Corbett > Cellphone: 206-992-6112 > Email: robert@seattleresearchinstitute.org ========================================================================= Date: Mon, 21 Jun 2004 22:52:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Israel Subject: Film: "A Red Backdrop" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Poeticers, long no e. Here's announcing the completion of a film, and launch of a = website describing same. The film is Chinese poet Du Peihua's "A Red = Backdrop." The website is here: http://www.othershore-arts.net/ (see "Film" link; rest of the site is inchoate). I'm responsible for the = turgid prose (in the introductory essay and the so-called synopsis). We're submitting the film to some festivals. Will try to let folks here = know if / when it surfaces in the UU (at least). cheers, David | david raphael israel | o t h e r s h o r e d v d <> washington dc | davidi@wizard.net ========================================================================= Date: Mon, 21 Jun 2004 23:00:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Israel Subject: erratum (re: "A Red Backdrop") MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable Content-Disposition: inline << We're submitting the film to some festivals. Will try to let folks = here know if / when it surfaces in the UU (at least). >> um, I mean in the U.S. / / / Also, on another topic, this evening (in Washington DC) I enjoyed a = reading (at bookstore Politics & Prose) by an old friend, the psychotherapi= st Justin Frank, whose hot-off-the-press new book BUSH ON THE COUCH might = prove of interest to some folks here on several counts. (Local bookstores = should have it.) -d.i. David R. Israel davidi@wizard.net ========================================================================= Date: Mon, 21 Jun 2004 22:23:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Sawyer Subject: Re: Emily Dickinson called Mime-Version: 1.0 (Apple Message framework v613) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed __________________________________ How dreary to be somebody! How public, like a frog To tell your name the livelong day To an admiring blog! ========================================================================= Date: Mon, 21 Jun 2004 23:29:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: "difficult to get carbide" MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII "difficult to get carbide" difficult to get carbide, calcium carbonate, necessary for the two miner's lamps; the bottom chamber is filled with the same, water drips from the upper, acetylene is produced which escapes from a nozzle, burning, a lime residue is formed. but the lamps are outmoded, and apparently one needs a permit for the substance, which is part and parcel of West Virginia history; i want to illuminate bodies with the same, technical apparatus, works; i want to see the reflective glow of heat on skin from fair distance to fair distance. the program is to eval an expression in x over a text, filtering out the hits after taking the int. strings are needed in arrays, input and output files, and the two programmers working with me, undergraduates, have been three days at it, the room is cool, thermostat fixed so we're back at a homeostatic temperature independent of the external world. the project is to provide tools for working between code and the real, thinking of any entity as filterable; one might eventually move from [a < filter > b] to [] to [filter(b)]; in other words the ontology moves from objects (a,b) to process/object(b) - which reflects on states replaced by operators, entities replaced by processes etc., shades of Whitehead here. everyone born in WV that we've talked to has worked in the mines or has relatives who have done so. one of the people we've met spent years preparing lamps for his father and grandfather; i'm hopeful he'll be able to help get it working again. he mentioned a place that still sells carbide. http://www.clc.wvu.edu/sondheim/files/family.mov and http://www.asondheim.org/crimescene.mov worth watching _ ========================================================================= Date: Mon, 21 Jun 2004 23:42:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: Ange Mlinko and Daniel Kane reading, Bowery Poetry Club NYC Comments: To: Tinacane@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Ange Mlinko and I will be reading at the Bowery Poets Club on Thursday, July 1 at 6 pm. Ange will read poems, and I'll read poems and selections from a work in progress about a man, no longer young, who is teaching literature at a University on the outskirts of a small medieval city in north-east England. The reading is at: Bowery Poetry Club 308 Bowery @ Bleecker Thursday July 1 6 pm No cover Take the 6 to Bleeker, or the F to Second Avenue. -- http://www.ucpress.edu/books/pages/9278.html http://www.uea.ac.uk/eas/People/kane/kane.htm Some of the swans are swarming. The spring has gone under--it wasn't supposed to be like this. --John Ashbery ========================================================================= Date: Mon, 21 Jun 2004 23:20:42 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: summer.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit .... spring .... i blast the a/c drivin' south on the x bronx .... spring ..... 3:00 nite...x greenpeace x...drn.... ========================================================================= Date: Tue, 22 Jun 2004 00:26:56 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: iszq sz Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit mo sz boycott sudan isaq sz who ya callin' boy drn...annals of the elders of...drn... ========================================================================= Date: Mon, 21 Jun 2004 22:33:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: No charges in Frank Paul death MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit http://victoria.indymedia.org/news/2004/06/27218.php No charges in Frank Paul death The Crown has decided not to lay charges in the death of Frank Paul, the aboriginal man dumped in an alley by Vancouver Police officers in December 1998. No charges in Frank Paul death WebPosted Jun 18 2004 02:46 PM PDT vancouver.cbc.ca VANCOUVER - The Crown has decided not to lay charges in the death of Frank Paul, the aboriginal man dumped in an alley by Vancouver Police officers in December 1998. The 47-year-old Mi'kmaq man from New Brunswick died of exposure. He had been held that night in the police drunk tank, but was later dragged outside into the alley, still highly intoxicated. Solicitor General Rich Coleman had forwarded the case to Crown lawyers for a review. And they have now decided charges are not warranted. This was the fifth time the Crown has looked at the case. Crown spokesperson Geoff Gaul says a review of new evidence - two new witness statements - determined no criminal charges should be laid. "Is there sufficient evidence that we could prove on a criminal standard, beyond a reasonable doubt, that somebody was culpable for Mr. Paul's death. "And the conclusion of all five assessments is that no, we can't prove it." says Gaul. The solicitor general has already rejected a call by the Police Complaints Commissioner for a public inquiry. http://victoria.indymedia.org/news/2004/04/24950.php Mysterious Death of Native Artist: Anthany Dawson It's not that Nancy Dawson hates the police or wishes them any ill will, she just doesn't like to look at them. Witness this morning's turn of events, as she headed out to attend the local gathering marking International Day for the Elimination of Racial Discrimination. http://victoria.indymedia.org/news/2004/03/23322.php Gerald Kaboni In the past few years, Victoria police have killed several Native and poor people, including Anthany Dawson and Gerald Kaboni. Since the BC Liberals and Gordon Campbell came to power Victoria police have struggled against the excluded class (poor and working people), giving the rich and middle-class the space to create a new path for the capitalist movement in Victoria. http://victoria.indymedia.org/news/2002/10/8537.php Was Gerald Kaboni murdered by Victoria police Was Gerald Kaboni murered by police? I have evidence turned down by the coroner's office that he was. Police give me run around on releasing critical evidence report. Chief of police hides out behind police immunity. ? At what point will people say," This is enough". I am tired of being harassed by police who are no better then the worst criminals they say they are protecting us from. No more. I know for sure police and media are silently reading this channel. Let them come out and state what hidden instruction they are receiving and who they protecting. Police Chief denies public interview with Mayoral candidates. Who and what is he hideing? -\ ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 22 Jun 2004 02:19:03 -0400 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Taksa /Recent publications MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit At some point I stopped mentioning things we have published. I will start trying to catch up now. Mark Taksa The Root Pavement Saw Press Chapbook Series ISBN 1—886350—58—2 Price: $6.00 32 Pages, 6 by 9, 2003 Poems in this chapbook first appeared in: Aura, Berkeley Poetry Review, Concho River Review, Confrontation, Crab Creek Review, Illuminations, Kansas Quarterly/Arkansas Review, Laurel Review, The MacGuffin, Pacific Review, Panhandler, Passages North, Permafrost, Poet Lore, River City, Slant, Sow’s Ear, Southern Poetry Review, Sun Dog, Wisconsin Review and Xanadu -----------Free Sample Poem---------------------- The Bee Dealer My eyes, fools say, have been too full of wine for me to count. If I glare into headlights and keep counting, I will get a lucky price for my bees, will stop thinking of divorce when I see the letter “D.” And I know the number of bees in my hives, know the number of ounces in all the jars, know the ounces of honey the people in the town consume, know the number of ounces the average town gobbles, know neighbors speculate why I left my mathematical job, know the number of bullets in my pocket, know every person near a window must consume honey sweet as a town without gossip. ----------- Mark Taksa was born in San Antonio, Texas and grew up in New York City. For various reasons, he quit high school. After completing his service in the Air Force, he graduated from UC Berkeley, earned a Master's Degree in English (Creative Writing) from San Francisco State University, and taught high school for thirty years. He lives in Albany, California, where his wife, son, and he enjoys walking their two Siberian Huskies. Mark Taksa’s chapbooks include Choice At The Blossom Café (March Street Press, 2002), The End Of Soup Kitchens (Pudding House, 2002), Cradlesong (1993 winner of Pudding House’s National Looking Glass Poetry Chapbook Competition and published in 1994), and Truant Bather (The Berkeley Poets Workshop and Press, 1986). Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Tue, 22 Jun 2004 02:20:42 -0400 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Shooting the Strays Rose M. Smith MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Shooting the Strays by Rose M. Smith Pavement Saw Press Chapbook Series ISBN 1—886350—59—0 Price: $6.00p/p 28 Pages, 5.5 by 8.5, Saddle stapled, 2003 Rose M. Smith makes her living writing computer programs (application scripts and the like) in Columbus, Ohio. She can be found reading her poetry frequently at open mike and organized poetry events in the Central Ohio area. She has appeared in many journals including African Voices, Midwest Poetry Review, Chiron Review, Pudding Magazine, Main Street Rag, Pavement Saw, Poetry Motel, and Concrete Wolf. Poems in this chapbook have appeared in Pudding Magazine, Main Street Rag, Concrete Wolf, and Pavement Saw. --------------- Just Bread I come to you in evening light rubbed with aromatics, bathed in olive oil and warmed by the heat of another day’s controlled oppression. Laying myself before you, calling your name. Call me Foccacia. I will go well with the soft fare of Italy. Place an olive on my tongue. You cringe and move away. Such a wide loaf, too tough to pull and peel, too coarse, perhaps too natural, you think but do not say. I roll in coriander, cardamom and strange herbs of the motherland waiting to be used. They color me the orange whisper of ambasha and I wait in the night for the soft rustle of your feet upon the sand, for the gray dawn at your back, for you bringing home the product of your stealth in far-off lands. I awake to find you sleeping on the sofa the scepter of your kingdom in one hand the blue light from your many windowed watchtower flashing indeterminate across a wide screen and this is how we dance: I close my eyes, imagine we can meet here in this place of dreams. I hold you in the foreign vision of a woman you have not known. You will take the prey—it will not matter what kind, whatever spices there contained. However long I marinate, roast, baste, bake or saute, you will ask for it on Schwebel's—potato, if you please— place it, press it between two slices and love the soft yellow of their scream because nothing else, after all, is bread. Because anything pressed hard enough becomes a sandwich anyway. ------- Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Sun, 20 Jun 2004 19:22:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Technology/Poetry debate. Comments: To: ronhenry@clarityconnect.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit agreed ========================================================================= Date: Sun, 20 Jun 2004 19:18:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: I stomp my feet and you feel my kai: Lord Patch (aka Lawrence Y Braithwaite) Comments: To: ishaq1823@telus.net MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit thanks don't particularly like m's last message abolished everything but slavery just stated to treat the slaves equally now that's a laughaminute raceriot just more divisionalism amonst all those tribes we kill the father only to become him over and over again we kill the mother but have nothing to replace her w/ rocket ships ain't the answer wow do my fingers ever hurt saw a fine film about bukowski tonite but it left out some valuable points ah poetry of poetrees all ah be p raised ========================================================================= Date: Tue, 22 Jun 2004 17:26:32 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Theatre notes Comments: To: Britpo , PoetryEspresso , Poetryetc Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The latest from the horse's mouth: The blog has now teamed up with the ABC's online arts ezine, and some reviews from theatre notes will also be appearing on State of the Arts. Which is really excellent. Posted now: The Irresponsible Mr Barker A response to an extraordinary attack on UK playwright Howard Barker which appears in this month's Quadrant The Daylight Atheist Richard Piper in Tom Scott's NZ hit, at the Melbourne Theatre Company All the best Alison Alison Croggon Editor, Masthead: http://www.masthead.net.au Home page: http://www.alisoncroggon.com Blogs: http://theatrenotes.blogspot.com http://alisoncroggon.blogspot.com ========================================================================= Date: Tue, 22 Jun 2004 03:19:38 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Re: I stomp my feet and you feel my kai: Lord Patch (aka Lawrence Y Braithwaite) In-Reply-To: <20040620.201444.-92271.1.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit peace Steve Dalachinsky wrote: >thanks don't particularly like m's last message abolished everything but >slavery just stated to treat the slaves equally now that's a laughaminute >raceriot just more divisionalism amonst all those tribes we kill the >father only to become him over and over again >we kill the mother but have nothing to replace her w/ rocket ships ain't >the answer >wow do my fingers ever hurt >saw a fine film about bukowski tonite but it left out some valuable >points >ah poetry of poetrees all ah be p raised > > > -- {\rtf1\mac\ansicpg10000\cocoartf102 {\fonttbl\f0\fswiss\fcharset77 Helvetica;} {\colortbl;\red255\green255\blue255;} \margl1440\margr1440\vieww9000\viewh9000\viewkind0 \pard\tx560\tx1120\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\ql\qnatural \cf0 \ \f0\fs24 --\ -\ ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 22 Jun 2004 03:39:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Tell your Senators to Oppose the Discriminatory Federal Marriage Amendment In-Reply-To: Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable transdada poetics, time, body disruption and marginally queer solutions http://transdada.blogspot.com/ from HRC: Take Action! Tell your Senators to Oppose the Discriminatory Federal Marriage=20 Amendment The attempt to amend the Constitution to discriminate against same-sex=20= couples and families will come to a head soon - a Senate vote on the=20 Federal Marriage Amendment is expected in early July. We need to make=20 sure that our Senators hear from us like never before. Please help us=20 get 250,000 messages to our legislators before the vote - we only have=20= a few weeks! Send this e-mail to your Senators today, even if you already have, and=20= then make sure to tell your friends. Staff who work in Congressional=20 offices report that e-mail is an effective way to communicate with=20 members of Congress as long as the e-mails are personalized, so please=20= take a moment to add your own words and personalize your letter below.=20= Thank you! http://www.hrcactioncenter.org/campaign/senate_oppose_fma also: Current Advocacy Campaigns from Human Rights Campaign http://www.hrcactioncenter.org/actioncenter/home.html also: http://www.congress.org/congressorg/e4/ Monday, June 21, 2004 @: http://transdada.blogspot.com/ -TRANSGENDER ORGANIZATION CRITICIZES HRC=92S DOUBLE STANDARD ON TRANS=20 INCLUSION -San Francisco Trans March and First Annual Trans Altar on June 25 -WICS anchor under fire for criticizing gay activist -Gay Lawmakers Ordered To Be Silent During Civil Union Debate -Judge To Talk To Jurors Tuesday In Araujo Case -Bush pushes marriage plan, raises cash -Police: Man Shot Lover to Keep Sex Secret -Lawyer Asks For Anti-Gay Marriage Suit To Be Thrown Out -CCLU threatened school district with injunction -Documenting Berlin's Gay History =A0 -Sperm donor gets visitation rights to lesbian couple's child -N.H. Coalition Opposes Gay Marriage Amendment -Church blessing for civil unions -Law Lords Back Gay Tenancy Rights -CNU delays vote on policy change -Gays' breakups raise legal conflicts -City gays, lesbians yearn for open-mindedness -MUMBAI -Supporters rally for gay rights ordinance in Allentown. -Housing helpline launch helps fight homophobia -Pope Criticizes Spain for Gay Marriages -A town to honor same-sex milestone -Transgendered workers gain protection -Virginia limits on gays stir debate -New Zealand snubs gays in new Marriage Act -Seeking a home in the gay village -Non-whites say they feel rejected -U.S. soldier says he was fired for being gay -Gay is OK in Zagreb -In Plymouth, gays make a historical pilgrimage June 20 - June 19, 2004 @ http://transdada.blogspot.com/ -Marriage for heterosexuals only =96 PM -Gay Parade Next Weekend Stirs Controversy in Conway -Sexual Profiling, Banking While Black -Key military specialists discharged under 'don't ask, don't tell' -Activist urges boycott of Gracie gay pride gala -Lesbian Community Assesses Health Issues -Gay-rights effort aims to identify 63,001 voters Hundreds gather against family law changes - Brisbane -Fort Collins hosts city's first Pride in Park -Foes Confounded by Limited Outcry Against Gay Marriage -South Asians in US wake up to gay identity -Protesters target Toronto MP over gay marriage -Village conducts 19 unions -Bangkok Hotel Segregates Guests With HIV -Sponsors admit difficulties for marriage amendment -Nyack 10 claim bias in gay marriage suit -Gay activist takes key post -Police: Vt. Man Attacked For Being Gay -Czech parliament to discuss legislation on same-sex partnerships -Homosexuals Hold Festival in Seoul and more @ http://transdada.blogspot.com/ ========================================================================= Date: Tue, 22 Jun 2004 10:02:11 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Neologism site MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Neologisms - a Dictionary of Findable Words and Phrases This website is being developed as a record of new and evolving words and phrases in the English language, with special reference to UK English usage. One of its prime aims is to act as a repository for new words and phrases which are not otherwise listed on the Net - or at least not found by Search Engines. Hence the working title: Dictionary of Findable Words and Phrases. Content is intended to include etymology, definitions, derivations, origins, neologisms, coinages, usage, dialect, slang, first citations, abbreviations and acronyms. http://pages.zoom.co.uk/leveridge/dictionary.html -- --------------------------- Newfoundland Tories put culture in a COMA http://www.donotpadlocktherooms.com/ ========================================================================= Date: Tue, 22 Jun 2004 11:42:25 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit calling me a sleeze will only make this dog bark louder i love being told i'm in need of keeping it to myself something i've been used to hearing, but i assure you i will not like, wow, like, i guess i'm pushing buttons but the whole panel is lit and i don't know which to push first! yippie ky yay ========================================================================= Date: Tue, 22 Jun 2004 12:10:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clai Rice Subject: Re: "difficult to get carbide" In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII sounds a bit like object-oriented programming, where functions become objects, then when attached to objects, transform objects into functions. The WVU material is great. I've been especially entranced by the images coald.jpg and alta004.jpg. The alta004 is wonderfully mediated in my viewing; my monitor is set to 1024x768, but the image is so large I can only view a quarter at a time. When it loads, the cylinder forms a right border to the sky; not enough shows to create any 3-D sense of it as a cylinder. As I scroll sideways to bring the whole cylinder into view, there is no perspective shift--I don't have the lower half of the image with the trees in the background to provide depth--so it retains a 2-D appearance and as such is mysterious. It is like nothing I recognize. Scrolling down provides some perspective and transforms the image while I am looking, as if it were alive, maybe taking a breath. The surface of the cylinder is beautifully etched and scarred. This dimension of texture, that is often the subject of your photos, has taught me to look in a new way. Sometimes I will notice a surface texture that, by adding a visual dimension to the surface, seems also to add a dimension of history to the object, giving it a voice. This is how alt004 becomes an effective documentation of what must already be an icon of WV history. The image coald.jpg, set against this mediated viewing alt004, allegorizes the documentation process. ccr On Mon, 21 Jun 2004, Alan Sondheim wrote: > "difficult to get carbide" > > the program is to eval an expression in x over a text, filtering out the > hits after taking the int. strings are needed in arrays, input and output > files, and the two programmers working with me, undergraduates, have been > three days at it, the room is cool, thermostat fixed so we're back at a > homeostatic temperature independent of the external world. > > the project is to provide tools for working between code and the real, > thinking of any entity as filterable; one might eventually move from > [a < filter > b] to [] to [filter(b)]; in other words the > ontology moves from objects (a,b) to process/object(b) - which reflects on > states replaced by operators, entities replaced by processes etc., shades > of Whitehead here. > ========================================================================= Date: Tue, 22 Jun 2004 16:03:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: creeley & olson; form vs. genre Comments: To: Annie Finch In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Annie, so sorry for the slow response! I've got two little kids taking up all my time and have also been trying to get ready for Orono - you'll be there, yes? I hope we have a chance to meet and talk. Meantime, I think the best way to answer your question is by asking another: Why does Duncan believe the poem *should* be "a field for discovery"? There lies his pragmatist orientation, his motive (in Burke's sense of that term). And the answer, I think, comes from Dewey, who Duncan admires greatly: A philosophy animated, be it consciously or unconsciously, by the strivings of men to achieve democracy will construe liberty as meaning a universe in which there is real uncertainty and contingency, a world which is not all in, and never will be, a world which in some respect is incomplete and in the making, and in these respects may be made this way or that according as men judge, prize, love and labor...a genuine field of novelty, of real and unpredictable increments to existence, a field for experimentation and invention [That's from "Philosophy and Democracy" 1918 in Dewey, Middle Works 11:50]. Chnage "Philosophy" to "poem" and you have Duncan, and indeed, Black Mountain generally. Looking forward to meeting you! Mike Quoting Annie Finch : > Mike, just finally had time to read this > fascinating excerpt from your book. And I am > wondering at it, because--while the whole idea of > symbolic action as you describe it wonderfully > illuminates the Black Mt. interest in > form/content--when I get to the "motivated" part > I hit a wall: it is really hard for me to think > of Duncan's poems, for example, as "pragmatic' or > "motivated" to "do" a "function"----this parallel > seems to make no room for the poem as a field for > discovery, as a series of filaments making > visible the unknown (yet the description of form > and content does seem to make plenty of room for > the poem as discovery). I should read your book > and Duncan's discussion of Pragmatism but for now > I'm curious how you see the idea of the poem as > motivated discourse playing out in Black Mountain > poetics? Thanks again for posting this, Annie > > > Date: Thu, 29 Apr 2004 10:12:15 -0400 > From: mmagee@DEPT.ENGLISH.UPENN.EDU > Subject: Re: creeley & olson; form vs. genre > > Annie, Steven and all, these questions regarding form and content are > something > I deal w/ at length in my new book _Emancipating Pragmatism_. As Duncan > argued > long ago now, the Black Mountain preoccupation w/ the relationship between > them > arises from their interest in William James, Dewey & Kenneth Burke. Here's > a > short excerpt from my book (some of which will be out of context...): > > ********************* > The following is one of Burkeís more lucid descriptions of language as > symbolic > action, in regard to poetry: > > The general approach to the poem might be called ìpragmaticî in this sense: > It > assumes that a poemís structure is to be described most accurately by > thinking > always of the poemís function. It assumes that the poem is designed to ìdo > somethingî for the poet and his readers, and that we can make the most > relevant > observations about its design by considering the poem as the embodiment of > this > actÖthis pragmatic view of the poemÖthrough the emphasis upon the act > promptly > integrates considerations of ìformî and ìcontent.î > > > Burkeís ìpragmatic view of the poemî has as its antecedent Deweyís > stipulation > that ìin the act [of writing] there is no distinction between, but perfect > integration of manner and content, form and substance.î I note this not to > privilege Dewey over Burke via his ìoriginalityî but simply as a way of > pointing out that the concept of language as symbolic action which Ellison > found so useful might be located in Deweyís work as well. Why is this > important? The answer has to do with the way the concept of symbolic action > ìintegrates considerations of ëformí and ëcontent.íî As Burke explains in > the > quote above, when one speaks of symbolic action there is a presumption that > motives (political, social, psychological, economic) are manifested in > design. > What might be considered merely ìcontentî (say, a political point of view) > according to another paradigm has, according to pragmatism, formal > consequences. Conversely (and this is equally important), *form* (syntax, > grammar, poetics) is considered as *a kind of content*, as socially > substantive, as having, potentially, a social function. Burke, Dewey, and > Ellison are all in agreement on this point. > > Dewey considers philosophy in the same way that Burke considers the poem: as > a > particular kind of *motivated* discourse. He assumes, that is, that a > philosophical discourse, one of Emersonís for instance, is designed to do > something, and he considers that discourse ìas the embodiment of that act.î > Dewey insists that philosophy is not a form of objective or abstract > knowledge > but rather ìa form of desire, of effort at action.î Thus if Emerson writes, > as > he does in ìMontaigne,î ìthe philosophy we want is one of fluxions and > mobilityî (CW 4:160), Dewey wouldnít hesitate to relate this to Emersonís > political desires, his interest in ìthe strivings of men to achieve > democracyî > and his contemporaneous agitation in favor of Emancipation. He would, in > all > likelihood, point out that Emerson here construes philosophy as a *desire* - > not a written transcription of an abstract truth but something we ìwant.î > Moreover, he would find in Emersonís style - his ìparagraphs > incomprehensibleî > - similar motivations: a will toward unpredictability in the name of > experimentation and invention. What this has to do specifically with > sustaining egalitarian politics and democratic institutions I will make more > explicit in Chapter Two. Emerson theorized that the strivings of people to > achieve democracy in America was predicated on the ability to revise the > definition of America and the definitions at work in its founding documents. > There needed to be, in Emersonís words, a ìbelief [among Americans] that as > the > people have made a government, they can make anotherî (JMN11:406). And this > belief could best be fostered by a corresponding belief that the generation > and > maintenance of meaning was an unpredictable and ongoing affair. > *************** > > -- > > ___________________________________ > Annie Finch > http://www.anniefinch.com > > "The spiritual world is like the natural > world-only diversity will save it." -Margot Adler > ========================================================================= Date: Tue, 22 Jun 2004 18:32:20 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nuyopoman@AOL.COM Subject: PoTech MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The BOOK is technology, and INVENTED shelf life. The Poem existed pre-book. The poem is the poem when you "read" it aloud, evn if you aren't "reading it (ie, it is memorized, or created on the fly freestyle. The poem on film on TV is nuttin but the poem. It is no more a translation than writing is from voicing. Bob Holman Proprietor, Bowery Poetry Club (holman@bowerypoetry.com) 308 Bowery (Bleecker-Houston, across from CBGB) NY NY 10013 2126140505 Visiting Professor, Columbia School of the Arts (rh594@columbia.edu) ========================================================================= Date: Tue, 22 Jun 2004 17:57:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Oxymoron Torture Confessions Comments: cc: Kit Robinson Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The first two paragraphs (below) of this AP article on the release of the torture permission documents make me wish I were teaching lit again. Would fit right into a class segment on the Oxymoron - or maybe in an a comparative analysis with Fitzgerald's, "The test of a first rate intelligence is to be able to hold two opposing two ideas in your head at the same time" (my paraphrase). I think our boy Bush tries to come off here as saying, "I had permission to authorize torture but I did not order the torture that took place though I was the only one that could order the torture so the torture took place in spite of my order." O well these boys and girls do keep crawling into a deeper hole. One only worries that for Bush to regain his now lost captain's hat for leading the war on terror, that his'n folk are not beyond provoking a little or big domestic terror event to prove his highly questionable meddle. Yes, I say, be vigilant and for silliness watch Ashcroft declare arrests of terrorists in every swing state - as he recently did in Ohio with someone who had already been incarcerated for 18 months. Oh well, timing is everything. "White House Releases Documents on Detainees Memos Say Bush Claimed Right to Waive Anti-Torture Laws; Justice Dept. Disavows 2002 Memo By Curt Anderson The Associated Press Tuesday, June 22, 2004; 8:08 PM President Bush claimed the right to waive anti-torture laws and treaties covering prisoners of war after the invasion of Afghanistan, and Defense Secretary Donald Rumsfeld authorized guards to strip detainees and threaten them with dogs, according to documents released Tuesday. The documents were handed out at the White House in an effort to blunt allegations that the administration had authorized torture against al-Qaida prisoners from Afghanistan and Iraq. "I have never ordered torture," Bush said a few hours before the release..." Oy Oy Stephen V Blog: http://stephenvincent.durationpress.com ========================================================================= Date: Tue, 22 Jun 2004 19:01:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Looking for Lorenzo Thomas poem Mime-Version: 1.0 (Apple Message framework v618) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Hoping someone here can help with this -- I heard Thomas read this four years ago or so, haven't seen it published anywhere, and I'm not sure I recall the line all that well. How's that for a start? Anyway, the poem I'm looking for is about Florida, and ends with something like, "Once they grew oranges. Their children make license plates." Anyone have a clue where I can find this? Thanks, Taylor ========================================================================= Date: Tue, 22 Jun 2004 22:24:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: To Elsie MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii To Elsie so much depended on a bedroom door as if a girl so desolate might matter for once ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Tue, 22 Jun 2004 22:46:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mmagee@DEPT.ENGLISH.UPENN.EDU Subject: Re: creeley & olson; form vs. genre In-Reply-To: <1087934638.40d890ae47436@webmail.sas.upenn.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Aw, shit. Meant this for Annie Finch only. Thank god nothing embarrassing here. Hi everyone! Duh, -m. Quoting mmagee@dept.english.upenn.edu: > Annie, so sorry for the slow response! I've got two little kids taking up > all > my time and have also been trying to get ready for Orono - you'll be there, > yes? I hope we have a chance to meet and talk. Meantime, I think the best > way > to answer your question is by asking another: Why does Duncan believe the > poem > *should* be "a field for discovery"? There lies his pragmatist orientation, > his motive (in Burke's sense of that term). And the answer, I think, comes > from Dewey, who Duncan admires greatly: > > A philosophy animated, be it consciously or unconsciously, by the strivings > of > men to achieve democracy will construe liberty as meaning a universe in > which > there is real uncertainty and contingency, a world which is not all in, and > never will be, a world which in some respect is incomplete and in the > making, > and in these respects may be made this way or that according as men judge, > prize, love and labor...a genuine field of novelty, of real and > unpredictable > increments to existence, a field for experimentation and invention [That's > from > "Philosophy and Democracy" 1918 in Dewey, Middle Works 11:50]. > > Chnage "Philosophy" to "poem" and you have Duncan, and indeed, Black > Mountain > generally. > > Looking forward to meeting you! > > Mike > > Quoting Annie Finch : > > > Mike, just finally had time to read this > > fascinating excerpt from your book. And I am > > wondering at it, because--while the whole idea of > > symbolic action as you describe it wonderfully > > illuminates the Black Mt. interest in > > form/content--when I get to the "motivated" part > > I hit a wall: it is really hard for me to think > > of Duncan's poems, for example, as "pragmatic' or > > "motivated" to "do" a "function"----this parallel > > seems to make no room for the poem as a field for > > discovery, as a series of filaments making > > visible the unknown (yet the description of form > > and content does seem to make plenty of room for > > the poem as discovery). I should read your book > > and Duncan's discussion of Pragmatism but for now > > I'm curious how you see the idea of the poem as > > motivated discourse playing out in Black Mountain > > poetics? Thanks again for posting this, Annie > > > > > > Date: Thu, 29 Apr 2004 10:12:15 -0400 > > From: mmagee@DEPT.ENGLISH.UPENN.EDU > > Subject: Re: creeley & olson; form vs. genre > > > > Annie, Steven and all, these questions regarding form and content are > > something > > I deal w/ at length in my new book _Emancipating Pragmatism_. As Duncan > > argued > > long ago now, the Black Mountain preoccupation w/ the relationship between > > them > > arises from their interest in William James, Dewey & Kenneth Burke. > Here's > > a > > short excerpt from my book (some of which will be out of context...): > > > > ********************* > > The following is one of Burkeís more lucid descriptions of language as > > symbolic > > action, in regard to poetry: > > > > The general approach to the poem might be called ìpragmaticî in this > sense: > > It > > assumes that a poemís structure is to be described most accurately by > > thinking > > always of the poemís function. It assumes that the poem is designed to > ìdo > > somethingî for the poet and his readers, and that we can make the most > > relevant > > observations about its design by considering the poem as the embodiment of > > this > > actÖthis pragmatic view of the poemÖthrough the emphasis upon the act > > promptly > > integrates considerations of ìformî and ìcontent.î > > > > > > Burkeís ìpragmatic view of the poemî has as its antecedent Deweyís > > stipulation > > that ìin the act [of writing] there is no distinction between, but perfect > > integration of manner and content, form and substance.î I note this not to > > privilege Dewey over Burke via his ìoriginalityî but simply as a way of > > pointing out that the concept of language as symbolic action which Ellison > > found so useful might be located in Deweyís work as well. Why is this > > important? The answer has to do with the way the concept of symbolic > action > > ìintegrates considerations of ëformí and ëcontent.íî As Burke explains in > > the > > quote above, when one speaks of symbolic action there is a presumption > that > > motives (political, social, psychological, economic) are manifested in > > design. > > What might be considered merely ìcontentî (say, a political point of view) > > according to another paradigm has, according to pragmatism, formal > > consequences. Conversely (and this is equally important), *form* (syntax, > > grammar, poetics) is considered as *a kind of content*, as socially > > substantive, as having, potentially, a social function. Burke, Dewey, and > > Ellison are all in agreement on this point. > > > > Dewey considers philosophy in the same way that Burke considers the poem: > as > > a > > particular kind of *motivated* discourse. He assumes, that is, that a > > philosophical discourse, one of Emersonís for instance, is designed to do > > something, and he considers that discourse ìas the embodiment of that > act.î > > Dewey insists that philosophy is not a form of objective or abstract > > knowledge > > but rather ìa form of desire, of effort at action.î Thus if Emerson > writes, > > as > > he does in ìMontaigne,î ìthe philosophy we want is one of fluxions and > > mobilityî (CW 4:160), Dewey wouldnít hesitate to relate this to Emersonís > > political desires, his interest in ìthe strivings of men to achieve > > democracyî > > and his contemporaneous agitation in favor of Emancipation. He would, in > > all > > likelihood, point out that Emerson here construes philosophy as a *desire* > - > > not a written transcription of an abstract truth but something we ìwant.î > > Moreover, he would find in Emersonís style - his ìparagraphs > > incomprehensibleî > > - similar motivations: a will toward unpredictability in the name of > > experimentation and invention. What this has to do specifically with > > sustaining egalitarian politics and democratic institutions I will make > more > > explicit in Chapter Two. Emerson theorized that the strivings of people > to > > achieve democracy in America was predicated on the ability to revise the > > definition of America and the definitions at work in its founding > documents. > > There needed to be, in Emersonís words, a ìbelief [among Americans] that > as > > the > > people have made a government, they can make anotherî (JMN11:406). And > this > > belief could best be fostered by a corresponding belief that the > generation > > and > > maintenance of meaning was an unpredictable and ongoing affair. > > *************** > > > > -- > > > > ___________________________________ > > Annie Finch > > http://www.anniefinch.com > > > > "The spiritual world is like the natural > > world-only diversity will save it." -Margot Adler > > > ========================================================================= Date: Tue, 22 Jun 2004 21:00:17 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Re: I stomp my feet and you feel my kai: Lord Patch (aka Lawrence Y Braithwaite) In-Reply-To: <40D807BA.5070603@telus.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit A Note from a natty Son: From abdi to nabi to the nas Mohammed did not abolish slavery for the words came from God because Mohammed was a Prophet/Nabi who was a beloved/habib of God and so slavery was abolished by God. ...and unlike the Pentateuch, the system was abolished within the Qur'an = The Spoken/Recited/to Recite. It takes an Overstanding of the histories and language inorder to Truely summon meaning into the texte presented. From abdi to nabi to the nas... Prior to the Qur'an (outside of Roman culture which involved buying yourself into freedom B.U.T. never freeDOME for you remained a labeled product of your past master) there was no system of manumission -- the freeing of a slave, nor was there anything which caused the person to be treated as a person/employee instead of, like the amerikkkan system did and does -- property with the title of cattle/livestock. Leviticus/Veyrichra does have a large section concerning the 'treatment of a slave" which involves beatings and the beatings of the children of slaves, however, it does offer a guide away from abuse B.U.T. not equality. ...and this is what the quip is concerning -- the US slavery. Usama's father Zayid (Zaid) was adopted by Muhammed and therefore took on his name. The Qur'an forbade adoption and so Zayid had to take on a name of his own and not remain attached like property. So Zayid took on his fathers name (which is the law) and became Zayid ibn Haritha. So we see the Culture/identity being returned to the slave who remains a freeman and not an exslave B.U.T. is still reminded of his state of slavery to this world = abdi. History -- a person's history is of great importance and if you wish to CONtrol that person or persons you demolish the history and destroy the memory of the name and association and reDEVILope it in your own image. So Usama was truely born into a free state for he new his father/he knew his fathers name and with his father he knew his grandfathers names, as well as, his foster grandfather = Muhammed. Thus he was free to chose to be only an abdullah = a Muslim in Islam If one actually took time to find out what the struggle was about then you would know what Mohammed's speech was concerning. The struggle of the period and philosophy is an indepth history centred around "anti- poetics" , the dismissing of humans and the soul as property. It is the preface and body of the Science of Life = "Protect me from the poets and the liars." For poets, although on occasion produce imitations of beauty, are often victims of poets and poetry as lifestyle and the mass/production of "occasional" pieces which deal more with pleasing the crowd and the despot than it does with reciting the truth thus leaving life and the thing as frivolous -- The Hagakure has a philosophy concerning such approaches = "do nothing frivolous". ...so this note, my friend, is not frivolous for it is not a note to you. Poets. ...during the time of Mohammed and prior to that were play things who battled infront of the Ka'aba; who allowed themselves to be used to attack people for a price and for acceptance with the tribal leaders. they allowed themselves to be tools for trade and words an economic commodity up for grabs to the highest bidder. ...and words became cruel and cold. Mohammed, who Maxim Rodison refers to as a "primitive recording device" spoke not poetry B.U.T. the flow and flex of God. ...so no one could challenge it. " So throw what you are going to throw" my friend. However, they were paid dearly to humiliate and assault Mohammed with words for a price. So poetry became prostitution as it did most sadly during the Alexandrian period of poetics as decorative art and then the Restoration Period as poetics as whoring verse for the court/elite as it does now in these times. Shall I inform you upon whom shayatin descends? They descend on every lying, sinful person. Who gives ear (to the devils and they pour what they may have heard of the Unseen (Zahir) from the angels) and most of them are liars As for the poets, the erring ones follow them, See you not that they speak about every subject (praising people -- right or wrong) in poetry? And that they say what they do not do. --ash shu'ara 221-224 Do you overstand? ...were you looking to Overstand? Did you think that Usama was a name only attributed to Usama bin Ladin? Oh the dilemma of Being Osama http://victoria.indymedia.org/news/2004/05/26333.php http://victoria.indymedia.org/news/2004/06/26497.php Professor Russell once said; "If you're going to hate anything, know it well." Slavery is a translation of "abd(i)" and thus you have many names (besides Usama = strong or the attributes of the myth surrounding a lion) which include this = abdullah = slave to God. ...and so one fears no man only God who is be followed and is considered a master and therefore one who is merciful and compassionate. Therefore, one should attempt the imitation or example of God/The Godhead. If so all men are slaves and if all men are slaves then all should only be treated they way they wish to be treated themselves and wish for others the good they wish for themselves = "And as for your slaves, feed them what you eat, and clothe them with what you wear. " All men are the masters of maliks = angels = michan = workers = michael = workers or messengers of "EL" = God. So abd and "slave" is a state of existence which renders all men equal in struggle and respect ...and not centred around the Amerikkkan atrocity of slavery which is what people use to fuel the hate. This is a form of "slave" = servant = slave = employed in a person's "service, from the latin servare = slave = serv (ant). it is saying that your employed should be treated with dignity and with equality and not like property unlike the amerikkkan "slavery" where the "slave" was not a "servant" or the employed B.U.T. live stock and thus atrocities can be performed on them and were. So we have the amerikkkan taking the moral highground and playing upon this abomiNATION and not correcting their holocaust B.U.T. using the weighted term to attack peoples out of historical contexte while manipulating words in their favour = the ignorance of poets. or as Herman Melville once wrote "Who ain't a slave?" Usama ibn Zayid (Zaid) (as) PEaCE, I stomp my feet and you feel my kai (for Usama ibn Zayid (as))* There are 18 points to my chamber As hearts beat Joints/ Voices lower 4/9 timed inna flow to believers stashed in tongues w/blades Slicing all the doubters One Left dumb As you slap back Whispers Written on rain Peltin jinns w/ stars Scales wiped clean Seen mu'mineen As you dream Please believe I ride these bars From my ego Ima go Workin spits over mento B.U.T. First Ima show you Flex while I write Notes real ill Post Knos Squeeze me like Jibril Don't dose Leave you inna daze Like those He chose While the liquid writes Your praise Look at you Rising from slaves Come born a master Death reborns the first now Last ones Like Prophets and Cholos Lost to Pharohs Hidden scrolls Equality writs Call it Qur'anic Pass over Quel que chose Burnin brujahs My brutha no nigga He's a son Come on, ila Summon Haritha Stronge one It's our future D.U.N. I'll be the Standard barers for Usama Build a bass with water A super innovator 18yrs A chosen warrior Never visual Simply Subliminal Possibly literal Surats Novu Real coo/coo Like Incodules I break the rules As I kinda slapback Whispers Cappin pale bullers Don't even Step into my square Do you dare Do you dare Pelt that jinn w/ a stars Death reborns the first bruhs Now stroles the last ones Breath taking is My brutha Coo ila Born from clay Spark a welly lighter in the hour Of the last days Silencing bagawires and soothersayers Enter a shift Watch an angel retire// Protect me from the poets and the liars Lord Patch (aka Lawrence Y Braithwaite) 1425 New Palestine/The Hood/Fernwood http://www.icompositions.com/auditorium/showphoto.php?photo=3362 http://www.icompositions.com/auditorium/showphoto.php?photo=3360 It is the Hurricane Angel Full length cd entitled "luckily, i was half cat" available by NYC poet and musician Hurricane Angel (aka Jonathan Cox) which has trip hop beats and guest vocalist like Lord Patch (aka Lawrence Ytzhak Braithwaite) and Hardcore punk addict Mike Rubino to name a few. ...from New York to New Palestine "All Life laments memories Given the boot to X-Ray I'm yuh lost Dj Turn yuh sword around You crew suffers Hittin fixes w/ Agents/800 MC's Rule inertia in daddy's army takin an axe to the devilment/ destroyin ignorance wiph a question" "luckily, i was half cat" tracks: Into the olivet discourse breakout whiskers gurami right as rain analog autumn Unner Stated(downpressin) saving sebastian (odds & ends) 83 your dead future veloce sprint (downpressin intrumental) Full length cd available by contacting: jonathan cox international harvester music 2004 Download and hear "Unner Stated" from the cd "Hurricane Angel" (J Cox) w/ Lord Patch (aka Lawrence Y Braithwaite): http://www.unlimitedftp.ca/myftp/displayShare.jsp?%00%0A%00%06%0B%09%06%05%0A%0B%06%02%04%07 Hurricane Angel's Unner Stated (w/ Lord Patch aka Lawrence Ytzhak Braithwaite) and much more on "Vocalized Ink Radio" http://www.sleepybrain.net/vanilla.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date Also give a listen to the top spokenword site and radio: http://www.live365.com/stations/vocalizedink?playHurricane Angel Full length cd entitled *Usama ibn Zyaid (ZAID) was the son of Zayid (Zaid) ibn Haritha who was the adopted son of Mohammed. Haritha married a Nubian woman who gave him a son Usama. Usama became a favourite of Mohammed and Mohammed treated him like favourite grandson. Usama was a boy riding behind Mohammed on the camel Qswar when Mohammed took back Makka. Usama became a general for Mohammed at 18yrs and was assigned a great mission to lead a campaign against the the Persians (Mu'ta) just at Muhammads death. The older generals (still caught up in the old tribal system) refused to follow such a young and "dark" general (and son of a freed slave) into battle and refused Muhammads orders. Here is where Mohammed rose from his sick bed to give his most famous and last speech concerning racism, his people and the purpose and future of Islam. "O People (mankind -- Nas), listen well to my words, for I do not know whether I shall meet you again on such an occasion in the future. Today, I have completed the Din (complete system of life) for you... and selected for you Islam. All the pagan practices are crushed under my feet. O people, your Lord is One. Without doubt, your father Adam is one. No Arab has superiority over a non-Arab or a white over a black, or a black over a white. Each Muslim is the brother of another Muslim, and all Muslims are brothers. And as for your slaves, feed them what you eat, and clothe them with what you wear. All revenge from bloodshed during paganism is abolished. First and foremost, I forgive from my family, Rabi'ah bin al- Harith's son's murder. All usury is abolished. And first and foremost, from my family I abolish usury owed to my uncle, 'Abbas ibn 'Abdul Muttalib. Remember Allah in your dealings with women. You have rights over women, and they have rights over you (equality in relationship). Your life and property are sacred to you till the Day of Reckoning. When Allah will question you about me, what will you say?" The companions replied, "You delivered the message, you fulfilled your obligation." Mohammed (S) then raised his finger toward the sky and repeated three times, "Allahumma Ashhad" (O Allah, You are the witness). peace Ishaq wrote: > peace > > Steve Dalachinsky wrote: > >> thanks don't particularly like m's last message abolished everything >> but >> slavery just stated to treat the slaves equally now that's a >> laughaminute >> raceriot just more divisionalism amonst all those tribes we kill the >> father only to become him over and over again >> we kill the mother but have nothing to replace her w/ rocket ships ain't >> the answer >> wow do my fingers ever hurt >> saw a fine film about bukowski tonite but it left out some valuable >> points >> ah poetry of poetrees all ah be p raised >> >> >> > > -- > {\rtf1\mac\ansicpg10000\cocoartf102 > {\fonttbl\f0\fswiss\fcharset77 Helvetica;} > {\colortbl;\red255\green255\blue255;} > \margl1440\margr1440\vieww9000\viewh9000\viewkind0 > \pard\tx560\tx1120\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\ql\qnatural > > \cf0 \ > > \f0\fs24 --\ > -\ > ___\ > 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\ > \ > "It's not too good to stay in a white man's country too long"\ > Mutabartuka\ > \ > 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\ > } > -- {\rtf1\mac\ansicpg10000\cocoartf102 {\fonttbl\f0\fswiss\fcharset77 Helvetica;} {\colortbl;\red255\green255\blue255;} \margl1440\margr1440\vieww9000\viewh9000\viewkind0 \pard\tx560\tx1120\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\ql\qnatural \cf0 \ \f0\fs24 --\ -\ ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 23 Jun 2004 00:36:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: explorations of outer-space / cultural embedding MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII explorations of outer-space / cultural embedding http://www.clc.wvu.edu/sondheim/crazyjane.mov http://www.clc.wvu.edu/sondheim/ graybarker.jpg s graybarker taken at the Gray Barker Collection, Clarksburg-Harrison Public Library, Clarksburg, West Virginia - thanks greatly to David Houchin crazyjane.mov from the Virtual Environments Lab, Eleanor Thornton principle subject, - thanks to Frances and Ricky _ ========================================================================= Date: Wed, 23 Jun 2004 00:37:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: wrong address - please note MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII explorations of outer-space / cultural embedding http://www.clc.wvu.edu/sondheim/files/crazyjane.mov http://www.clc.wvu.edu/sondheim/files/ graybarker.jpg s graybarker taken at the Gray Barker Collection, Clarksburg-Harrison Public Library, Clarksburg, West Virginia - thanks greatly to David Houchin crazyjane.mov from the Virtual Environments Lab, Eleanor Thornton principle subject, - thanks to Frances and Ricky _ ========================================================================= Date: Tue, 22 Jun 2004 22:02:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: FW: A few minutes of your time... MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit -----Original Message----- From: Stifler, Sarah [mailto:sstifler@arts.ucla.edu] Sent: Tuesday, June 22, 2004 10:43 AM Subject: A few minutes of your time... Governor Schwarzenegger is conducting a phone poll on same-sex marriage. Predictably, right-wingers are flooding the office with calls. Since we are trying to pass a slew of marriage and domestic partner bills here in California, it's a good time to show support on the issue. This will only take a few seconds. Please make the call and forward this email to all your lists. Call 916.445.2841 Press in order... Press 5 for Hot Issues Press 1 for Same Sex Marriage Press 1 to support marriage for same sex couples in California ========================================================================= Date: Wed, 23 Jun 2004 00:22:26 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Summer.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the lively ants carry the poison bait back to the queen.... nite...inthisworld...drn.... ========================================================================= Date: Wed, 23 Jun 2004 00:31:21 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: EyeShaq... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit osama schwarma bring me the head on a spit quick.... nite...in the hotel palestine...drn... ========================================================================= Date: Mon, 21 Jun 2004 18:05:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: PoTech MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit right on el bob viva la poema be read rapped or wrapped ========================================================================= Date: Mon, 21 Jun 2004 17:45:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit i don't keep too much to myself either but i think you missed the point here what you said to /about me in your imitation of my poem was uncalled for it contained sleeze never said you were a sleeze if you want to teach me something about poetry and believe me we all have alot to learn you can do it differently or be nasty on the back burners that's what i take it the expression backchanneling means i'm still a kid at 60 you , i'm guessing are still one at 25-30 perhaps? fine you can have the last word on this if you like i'm tired. show me a good substitute for those lazy likes in my work we all still need to learn alot viva cabesass ========================================================================= Date: Tue, 22 Jun 2004 17:43:45 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Re: I stomp my feet and you feel my kai: Lord Patch (aka Lawrence Y Braithwaite) In-Reply-To: <40D807BA.5070603@telus.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit A Note from a natty Son: Mohammed did abolish slavery, and unlike the Pentateuch, the system was abolished within the Qur'an. There was no system of manumission -- the freeing of a slave, nor was there anything which caused the person to be treated as a person/employee instead of, like the amerikkkan system did and does -- property with the title of cattle/livestock. Leviticus/Varicha does have a large section concerning the 'treatment of a slave" which involves beatings and the beatings of the children of slaves, however, it does offer a guide away from abuse B.U.T. not equality. ...and this is what the quip is concerning -- the US slavery. If you actually took time to find out what the struggle was about then you would know what Mohammed's speech was concerning. The struggle of the period and philosophy is an indepth history centred around "anti- poetics" , the dismissing of humans and the soul as property. It is the preface and body of the Science of Life = "Protect me from the poets and the liars." For poets, although on occasion produce imitations of beauty, are often victims of poets and poetry as lifestyle and the mass/production of "occasional" pieces which deal more with pleasing the crowd and the despot than it does with reciting the truth thus leaving life and the thing as frivolous -- The Hagakure has a philosophy concerning such approaches = "do nothing frivolous". ...so this note, my friend, is not frivolous for it is not a note to you. Poets. ...during the time of Mohammed and prior to that were play things who battled infront of the Ka'aba; who allowed themselves to be used to attack people for a price and for acceptance with the tribal leaders. they allowed themselves to be tools for trade and words an economic commodity up for grabs to the highest bidder. ...and words became cruel and cold. Mohammed, who Maxim Rodison refers to as a "primitive recording device" spoke not poetry B.U.T. the flow and flex of God. ...so no one could challenge it. " So throw what you are going to throw" my friend. However, they were paid dearly to humiliate and assault Mohammed with words for a price. So poetry became prostitution as it did most sadly during the Alexandrian period of poetics as decorative art and then the Restoration Period as poetics as whoring verse for the court/elite as it does now in these times. Shall I inform you upon whom shayatin descends? They descend on every lying, sinful person. Who gives ear (to the devils and they pour what they may have heard of the Unseen (Zahir) from the angels) and most of them are liars As for the poets, the erring ones follow them, See you not that they speak about every subject (praising people -- right or wrong) in poetry? And that they say what they do not do. --ash shu'ara 221-224 Do you overstand? ...were you looking to Overstand? Did you think that Usama was a name only attributed to Usama bin Ladin? Oh the dilemma of Being Osama http://victoria.indymedia.org/news/2004/05/26333.php http://victoria.indymedia.org/news/2004/06/26497.php Professor Russell once said; "If you're going to hate anything, know it well." Slavery is a translation of "abd" and thus you have many names (besides Usama) which include this = abdullah = slave to God. ...and so one fears no man only God who is be followed and is considered a master and therefore one who is merciful and compassionate. Therefore, one should attempt the imitation or example of God/The Godhead. If so all men are slaves and if all men are slaves then all should only be treated they way they wish to be treated themselves and wish for others the good they wish for themselves = "And as for your slaves, feed them what you eat, and clothe them with what you wear. " All men are the masters of maliks = angels = michan = workers = michael = workers or messengers of "EL" = God. So abd and "slave" is a state of existence which renders all men equal in struggle and respect ...and not centred around the Amerikkkan atrocity of slavery which is what people use to fuel the hate. This is a form of "slave" = servant = slave = employed in a person's "service, from the latin servare = slave = serv (ant). it is saying that your employed should be treated with dignity and with equality and not like property unlike the amerikkkan "slavery" where the "slave" was not a "servant" or the employed B.U.T. live stock and thus atrocities can be performed on them and were. So we have the amerikkkan taking the moral highground and playing upon this abomiNATION and not correcting their holocaust B.U.T. using the weighted term to attack peoples out of historical contexte while manipulating words in their favour = the ignorance of poets. or as Herman Melville once wrote "Who ain't a slave?" Usama ibn Zayid (Zaid) PEaCE, I stomp my feet and you feel my kai (for Usama ibn Zayid (as))* There are 18 points to my chamber As hearts beat Joints/ Voices lower 4/9 timed inna flow to believers stashed in tongues w/blades Slicing all the doubters One Left dumb As you slap back Whispers Written on rain Peltin jinns w/ stars Scales wiped clean Seen mu'mineen As you dream Please believe I ride these bars >From my ego Ima go Workin spits over mento B.U.T. First Ima show you Flex while I write Notes real ill Post Knos Squeeze me like Jibril Don't dose Leave you inna daze Like those He chose While the liquid writes Your praise Look at you Rising from slaves Come born a master Death reborns the first now Last ones Like Prophets and Cholos Lost to Pharohs Hidden scrolls Equality writs Call it Qur'anic Pass over Quel que chose Burnin brujahs My brutha no nigga He's a son Come on, ila Summon Haritha Stronge one It's our future D.U.N. I'll be the Standard barers for Usama Build a bass with water A super innovator 18yrs A chosen warrior Never visual Simply Subliminal Possibly literal Surats Novu Real coo/coo Like Incodules I break the rules As I kinda slapback Whispers Cappin pale bullers Don't even Step into my square Do you dare Do you dare Pelt that jinn w/ a stars Death reborns the first bruhs Now stroles the last ones Breath taking is My brutha Coo ila Born from clay Spark a welly lighter in the hour Of the last days Silencing bagawires and soothersayers Enter a shift Watch an angel retire// Protect me from the poets and the liars Lord Patch (aka Lawrence Y Braithwaite) 1425 New Palestine/The Hood/Fernwood http://www.icompositions.com/auditorium/showphoto.php?photo=3362 http://www.icompositions.com/auditorium/showphoto.php?photo=3360 It is the Hurricane Angel Full length cd entitled "luckily, i was half cat" available by NYC poet and musician Hurricane Angel (aka Jonathan Cox) which has trip hop beats and guest vocalist like Lord Patch (aka Lawrence Ytzhak Braithwaite) and Hardcore punk addict Mike Rubino to name a few. ...from New York to New Palestine "All Life laments memories Given the boot to X-Ray I'm yuh lost Dj Turn yuh sword around You crew suffers Hittin fixes w/ Agents/800 MC's Rule inertia in daddy's army takin an axe to the devilment/ destroyin ignorance wiph a question" "luckily, i was half cat" tracks: Into the olivet discourse breakout whiskers gurami right as rain analog autumn Unner Stated(downpressin) saving sebastian (odds & ends) 83 your dead future veloce sprint (downpressin intrumental) Full length cd available by contacting: jonathan cox international harvester music 2004 Download and hear "Unner Stated" from the cd "Hurricane Angel" (J Cox) w/ Lord Patch (aka Lawrence Y Braithwaite): http://www.unlimitedftp.ca/myftp/displayShare.jsp?%00%0A%00%06%0B%09%06%05%0A%0B%06%02%04%07 Hurricane Angel's Unner Stated (w/ Lord Patch aka Lawrence Ytzhak Braithwaite) and much more on "Vocalized Ink Radio" http://www.sleepybrain.net/vanilla.html http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date Also give a listen to the top spokenword site and radio: http://www.live365.com/stations/vocalizedink?playHurricane Angel Full length cd entitled *Usama ibn Zyaid (ZAID) was the son of Zayid (Zaid) ibn Haritha who was the adopted son of Mohammed. Haritha married a Nubian woman who gave him a son Usama. Usama became a favourite of Mohammed and Mohammed treated him like favourite grandson. Usama was a boy riding behind Mohammed on the camel Qswar when Mohammed took back Makka. Usama became a general for Mohammed at 18yrs and was assigned a great mission to lead a campaign against the the Persians (Mu'ta) just at Muhammads death. The older generals (still caught up in the old tribal system) refused to follow such a young and "dark" general (and son of a freed slave) into battle and refused Muhammads orders. Here is where Mohammed rose from his sick bed to give his most famous and last speech concerning racism, his people and the purpose and future of Islam. "O People (mankind -- Nas), listen well to my words, for I do not know whether I shall meet you again on such an occasion in the future. Today, I have completed the Din (complete system of life) for you... and selected for you Islam. All the pagan practices are crushed under my feet. O people, your Lord is One. Without doubt, your father Adam is one. No Arab has superiority over a non-Arab or a white over a black, or a black over a white. Each Muslim is the brother of another Muslim, and all Muslims are brothers. And as for your slaves, feed them what you eat, and clothe them with what you wear. All revenge from bloodshed during paganism is abolished. First and foremost, I forgive from my family, Rabi'ah bin al- Harith's son's murder. All usury is abolished. And first and foremost, from my family I abolish usury owed to my uncle, 'Abbas ibn 'Abdul Muttalib. Remember Allah in your dealings with women. You have rights over women, and they have rights over you (equality in relationship). Your life and property are sacred to you till the Day of Reckoning. When Allah will question you about me, what will you say?" The companions replied, "You delivered the message, you fulfilled your obligation." Mohammed (S) then raised his finger toward the sky and repeated three times, "Allahumma Ashhad" (O Allah, You are the witness). peace Ishaq wrote: > peace > > Steve Dalachinsky wrote: > >> thanks don't particularly like m's last message abolished everything >> but >> slavery just stated to treat the slaves equally now that's a >> laughaminute >> raceriot just more divisionalism amonst all those tribes we kill the >> father only to become him over and over again >> we kill the mother but have nothing to replace her w/ rocket ships ain't >> the answer >> wow do my fingers ever hurt >> saw a fine film about bukowski tonite but it left out some valuable >> points >> ah poetry of poetrees all ah be p raised >> >> >> > > -- > {\rtf1\mac\ansicpg10000\cocoartf102 > {\fonttbl\f0\fswiss\fcharset77 Helvetica;} > {\colortbl;\red255\green255\blue255;} > \margl1440\margr1440\vieww9000\viewh9000\viewkind0 > \pard\tx560\tx1120\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\ql\qnatural > > \cf0 \ > > \f0\fs24 --\ > -\ > ___\ > 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\ > \ > "It's not too good to stay in a white man's country too long"\ > Mutabartuka\ > \ > 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\ > } > -- {\rtf1\mac\ansicpg10000\cocoartf102 {\fonttbl\f0\fswiss\fcharset77 Helvetica;} {\colortbl;\red255\green255\blue255;} \margl1440\margr1440\vieww9000\viewh9000\viewkind0 \pard\tx560\tx1120\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\ql\qnatural \cf0 \ \f0\fs24 --\ -\ ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 23 Jun 2004 08:36:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: poetics@buffalo.edu Comments: Originally-From: "Charles Baldwin" From: Poetics List Administration Subject: not-doing: talk at the CAC June 29 Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline Alan Sondheim will talk and lead discussion at the Paul Mesaros Gallery of the WVU Creative Arts Center at 7pm, Tuesday June 29th. The topics of the talk will range from Sondheim's installation, entitled "Not-Doing" and currently at the Mesaros Gallery through August 9, to his research project on the "phenomenology of the virtual" currently underway at WVU, to theoretical influences on his work, to more general discusison. The talk is free and open to the public. Alan Sondheim is a writer and artist currently visiting WVU, sponsored by the Center for Literary Computing and the Virtual Environments Lab. Direct questions to clc@mail.wvu.edu. ========================================================================= Date: Wed, 23 Jun 2004 08:37:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: poetics@buffalo.edu Comments: Originally-From: katy From: Poetics List Administration Subject: Explosive Missive Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi all, writing with a reminder that Explosive Magazine #9 is now available featuring work by: Monica Youn Chris Edgar Elizabeth Willis Hal Sirowitz Matthew Rohrer Brandon Downing Jennifer Moxley Jeff Clark Beth Murray Canon Wing This is the penultimate issue of the magazine and features a beautiful hand-printed cover by David Larsen. Only a few copies left. To order, please send a check for $6 to: Katy Lederer Explosive Magazine 93 Hicks Street #4RS Brooklyn, NY 11201 ***Note also that this is a change of address for all editorial correspondence with the magazine.*** Check out the cover and other things spectacular (including The Good House, by Rod Smith, recently reprinted) at: http://www.spectacularbooks.com ========================================================================= Date: Wed, 23 Jun 2004 07:39:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MDL Subject: Saturday, June 26, 8PM Jim Dunn, Michael County & (dear old) Stockholm Syndrome at Gallery 108, Somerville, MA MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Maudite Productions Presents: Saturday, June 26, 8PM: Jim Dunn, Michael County & (dear old) Stockholm Syndrome Gallery 108 108 Beacon St., Somerville, MA Contact: Mark Lamoureux, Maudite Productions 617.460.0118 Mike County is a poet and musician formerly of Boston, now of Gloucester. He is the author of several chapbooks, including "Copper", from Pressed Wafer, and "Pardon Our Progress". He is currently at work on a thinly disguised novel about his daughter that he hopes to complete by the end of the year. Jim Dunn was the first poet to incorporate clown horns in his poems. He wrote two books published by Black Tar press. "Not From Around Here" published in 1966, which won the Lorne Green Award for wordless poetry. His second book of verse, "Lord Of The Word" won the Ed Gein Poetry Prize in 1969. Dunn also is the author of the children's classic, "Play With It, Until It Breaks." He was killed in Viet Nam in 1974 when oxen attacked the army tent in which he slept. (dear old) Stockholm Syndrome features former/current members of Abunai!, Leda Ensembles, The Lothars, Nisi Period, and the Revolutionary Snake Ensemble. They stole your parking space. But you will learn to love them. Everyone does. For more information, contact Mark Lamoureux (mark_lamoureux@yahoo.com or 617.460.0118) or see http://mauditepro.blogspot.com ========================================================================= Date: Wed, 23 Jun 2004 09:29:28 -0600 Reply-To: derek beaulieu Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: derek beaulieu Subject: A REMINDER: Call for poetry submissions MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A REMINDER: --- CALL FOR SUBMISSIONS: We seek submissions for an anthology of younger Canadian poets. If you consider what you write to be poetry, we would love to see your work. We wish to include writers whose writing invites a reader's intention. These writers may have previous publications, they may be friends of yours, they may live in your basement, they may write using your hands. The emphasis of the anthology is on a physical manifestation of a nonlocatable community of writers; it doesn't matter where you live or who you know -- the anthology will plot the virtual neighbourhoods in which rising Canadian authors live. SUBMISSION DEADLINE: July 1st, 2004 ELIGIBILITY: The anthology will focus on new, younger Canadian poets. These poets may have an interest in expanding their definition of poetry through exploratory writing in traditional, visual, found, constraint-based, sound, mathematic, surreal, collaborative, and prose forms. Authors may also take interest in developing a personal poetics that is reflected in their writing. The anthology will work to represent both the explorative and community-based practices with which up-and-coming authors engage. SUBMIT: Please send 15-20 pages of unpublished or published poetry (please indicate if published). Poetic statements or other supplementary materials are welcome, but not required. Please include a self-addressed stamped envelope (SASE) if you are sending via snail mail and would like a response. CONTACT: We are happy to accept submissions via e-mail at anthology@commutiny.net or by mail at Anthology c/o commutiny.net, 37A Bellwoods Ave., Toronto, ON, M6J 3N4. We are happy to accept the following file formats via e-mail: *.doc, *.jpg, *.pdf, *.tif, and *.txt. If you would like to send a different file format, please inquire first. If you have questions, feel free to drop us an e-mail. We thank all authors who submit work in advance. We will be in contact within four months after the deadline. This information is available online at http://commutiny.net/anthology.html. PLEASE FORWARD WIDELY. THANK YOU! --- With love, The Anthologists (derek beaulieu, jason christie, a.rawlings) ========================================================================= Date: Wed, 23 Jun 2004 12:35:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: West End Reading Series :: June 2004 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ::: WEST END READING SERIES ::: On Saturday, June 26, at 4 pm in the Lost Dog Lounge RODRIGO TOSCANO and LAURA ELRICK will read from their work. The reading = will be followed by an open discussion facilitated by the poets.=20 For more information go to www.slyfox.org FREE AND OPEN TO ALL Originally from San Diego and San Francisco, Rodrigo Toscano has been = living in New York City for 6 years. He is the author The Disparities = (Green Integer), Partisans (O Books), and Platform (Atelos). His newest = collection of poetry is titled To Leveling Swerve (Krupskaya Books). His = poetry and prose criticism has been translated into French, German, = Spanish, Portuguese, and Catalan. He was poetry co-coordinator for "The = Social Mark" symposium in Philadelphia, 2003, and a participant in = "Poetry & Empire, Post-Invasion Poetics" at the University of = Pennsylvania, as well as in "Societies of American Poetry, Dissenting = Practices" at Georgetown University. =20 Laura Elrick was born in Boulder, CO and has lived in Los Angeles, San = Francisco, Humboldt County, and Osaka, Japan. She currently lives in = Brooklyn, New York and is a co-curator for the Segue on the Bowery = reading series. Her first book sKincerity was published by Krupskaya = Books in 2003. Some selections of her work appear on the recently = released CD from Narrow House Recording, titled Women in the Avant = Garde, and she was a participant in the Social Mark Symposium held in = Philadelphia. You can read reviews of her poetry in the St. Mark's = Poetry Project Newsletter, Cross-Cultural Poetics, & Tripwire Magazine. The West End Reading Series is made possible in part by public funds = from the Community Arts Partnership / NYS Council on the Arts = Decentralization program and the support of the Constance Saltonstall = Foundation for the Arts. ========================================================================= Date: Wed, 23 Jun 2004 10:25:49 -0700 Reply-To: Sarah Mangold Sender: UB Poetics discussion group From: Sarah Mangold Subject: Bird Dog #5 Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Bird Dog: A dog used to retrieve game birds. To follow a subject of interest with persistent attention. A scout . . . Bird Dog is pleased to announce the release of issue #5. New work from: Brigitte Byrd Noah Eli Gordon & Sara Veglahn Camille Guthrie Bob Harrison Brenda Iijima Julie Kizershot John Latta Michael Leddy Corey Mead Kristin Palm David Pavelich Heidi Peppermint Donna Stonecipher Stacy Szymaszek Mark Tardi Steve Timm Dana Ward Art from Karen Ganz ISSN 1546-0479 7x9, Perfect-bound, tipped in illustrations. Subscriptions $12.00 for two issues. Individual copies $6. Checks payable to Sarah Mangold. Deadline for Issue 6: September 1, 2004 Submissions, Subscriptions, Queries: *****New Address***** Bird Dog c/o Sarah Mangold 1535 32nd Ave, Apt. C Seattle, WA 98122 www.birddogmagazine.com Seeking innovative writing and art: collaborations, interviews, long poems, reviews, collage, poetry, poetics, graphs, charts, short fiction, non-fiction, cross genre . . . ========================================================================= Date: Wed, 23 Jun 2004 14:27:44 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Commission: 9/11 Attacks Predicted 420 Years Ago By Italian Philosopher 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 http://www.theassassinatedpress.com/ Commission Finds 9/11 Attacks Predicted 420 Years Ago By Italian Philosopher: Candor, Search For Truth Led Giordano Bruno To Anticipate Attacks On World Trade Center And Pentagon by Edgar Cayce Nostradamus 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Wed, 23 Jun 2004 21:29:48 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: EOAGH: A Journal of the Arts Mime-Version: 1.0 Content-Type: text/plain; format=flowed I would like to announce this new journal, which features the following writers from Tucson, AZ: Charles Alexander Deborah Bernhardt Wendy Burk Sue Carnahan Lisa Cooper Barbara Cully Dan Featherston Andrew Foster Maggie Golston Annie Guthrie Elizabeth Landry Tony Luebbermann Eric Magrane Andrew Milward Sheila Murphy Tenney Nathanson Dlyn Parra Lyn Pass Tim Peterson Austin Publicover David Ray Kari Redfield Matt Rotando Richard Siken Frances Sjoberg Sharon Wahl Joseph Wood Jason Zuzga http://chax.org/eoagh For more information, please contact me at tscotpeterson@hotmail.com ========================================================================= Date: Wed, 23 Jun 2004 17:46:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Reminder--Party This Thursday Night MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Please forward to your friends: Reminder-- This Thursday Night-- Come to a release party for Wake-Up Calls: 66 Morning Poems by Wanda Phipps published by Soft Skull Press Readings: Wanda Phipps (w/guitarist Stephen B. Antonakos) Gillian McCain & Hal Sirowitz Music: Rebecca Moore Films: Joel Schlemowitz Thursday, June 24, 2004 7-9:30 PM, $7 at The Bowery Poetry Club 308 Bowery, NYC (Btwn Bleecker & Houston, across from CBGB's) (212) 614-0505 www.bowerypoetry.com ========================================================================= Date: Wed, 23 Jun 2004 16:52:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Lives of Eminent Assyrians 9 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Esarhaddon kept / promise bunch noble child head / face / clothes created / seven days may they remember received redeemed bound hearing every day consented degenerates / if turmoil chosen degraded intended / involved in everywhere attack / bestially separate / forgotten know difficult / intellect accounts return know arrest goods if you set store if / accept quickly test holy if merciful hasten suppose gone / from noble consideration warning guard account book been begotten benefit made gone / know if trust thanks them repay / if strict account headings / subheadings also / dice living nor afraid jokes / redeemed judgment hateful / pleasure dear am in need escort / commend part / since assay / whether anywhere stay thank you prosper fail if to this certainly possessions quickly if distress of illegibility lie meanwhile so as / aware blame suppose time Nature / ruin practice harm go prosper / walk stir / gladly / fallen fully encouraged also if knowledge esteem expeller / harsh end look after sure themselves beat into guides lit into lament because / must walking prepared advantage exceedingly / redeemed Assyrians are called immediately consider praise / praised for wish / until forewarning which still where contempt without fail hasten turn away administer suffering such as quiet quickly where / return decay / utterly if please while break in pieces true / escorted know expected / guard from reminder blossom / birds' voices many displays / bright wood moisten earth sick / sleep saw / at once all the time takes pleasure live in their language loveliest / creatures power all other / departed fallen / unless words dear / gone cruelly confined does / done promises over the sea gifts sailing / it pleases piece / sail thunder clap unbred / lived a week fully food / primrose spring where / wonderfully laid siege / quickly well-wishers / pleasure afire it seems / turned lovely / torn to pieces gentle destroyed gentle / dragged apart consumed departed / destroyed pledged showed burst victorious know all those brought together theirs an end "matchless" chose as silently where / mother such bound seemed to learned folk dismounted leapt / rode dismounted knew / night not two remember also / hold abide where stormy lost / dark / dawn leavings bird / near all so used if two let nothing / fall taken themselves hurried held good / done called by ones become terrible stolen away knows blood-red where / good old right laugh tore / eye who / deed year not so / dear fear last evening loath ere all wet before them / more half-way over _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Wed, 23 Jun 2004 22:08:11 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Dick Cheney And Don Rumsfeld In Hiding 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 http://www.theassassinatedpress.com/ In Light Of Abu Graib And Thousands Of Less Publicized Human Rights Violations U.S. Drops Resolution Seeking Protection For Its Occupation Forces: Nearly 1,450,000 American Troops, Past And Present, Soon To Be At Risk Under The Geneva Accords: Dick Cheney And Don Rumsfeld In Hiding; Henry Kissinger Leaves For Mars: New Draftees Most At Risk For Prosecution: Karl Rove Says "Bush Will No Longer Pretend To Be President Since He Has Had Four Months To Learn To Pronounce 'Abu Graib' And The Dumb, Disengaged Fucker Still Can't Do It." By JEFFEY LUBE 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Wed, 23 Jun 2004 22:59:44 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: The right wing don't like documentaries, pets or small children Comments: To: ImitaPo MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit from Michael Moore's website, on the release of Fahrenheit 9/11: "As of this morning, a little over 500 theaters have agreed to show the movie beginning next Friday, June 25. There are three national/regional theater chains who, as of today, have not booked the movie in their theaters. One theater owner in Illinois has reported receiving death threats. "The right wing usually wins these battles. Their basic belief system is built on censorship, repression, and keeping people ignorant. They want to limit or snuff out any debate or dissension. They also don't like pets and are mean to small children. Too many of them are named 'Fred.'" ========================================================================= Date: Thu, 24 Jun 2004 00:14:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: odd beginnings MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII odd beginnings ==> ah <== ==> am <== ==> an <== ==> ap <== ==> ba <== ==> bb <== ==> cc <== ==> dd <== ==> ee <== ==> ff <== 2.82 ==> gg <== ==> hh <== ==> ii <== ==> jj <== ==> jk <== ==> jl <== ==> jm <== ==> jn <== ==> jo <== ==> jp <== ==> jq <== ==> jr <== ==> js <== ==> jt <== ==> ju <== ==> jv <== ==> jw <== ==> jx <== ==> jy <== ==> ka <== ==> kb <== ==> kc <== ==> kd <== ==> ke <== ==> kf <== ==> kg <== ==> kh <== ==> ki <== ==> kj <== ==> kk <== ==> kl <== ==> km <== ==> kn <== ==> ko <== ==> kp <== ==> kq <== ==> kr <== ==> ks <== ==> kt <== ==> ku <== ==> kv <== ==> kw <== ==> kx <== ==> ky <== ==> kz <== ==> la <== ==> lb <== ==> lc <== (lc) ==> ld <== ==> le <== ==> lf <== ==> lg <== ==> lh <== ==> li <== ==> lj <== ==> lk <== ==> ll <== ==> lm <== ==> ln <== ==> lo <== ==> lp <== ==> lq <== ==> lr <== ==> ls <== ==> lt <== ==> lu <== ==> lv <== ==> lw <== ==> lx <== ==> ly <== ==> lz <== ==> ma <== ==> mb <== ==> mc <== ==> md <== ==> me <== ==> mf <== ==> mg <== ==> mh <== ==> mi <== ==> mj <== ==> mk <== ==> ml <== ==> mm <== ==> mn <== ==> mo <== ==> mp <== ==> mq <== ==> mr <== ==> ms <== ==> mt <== ==> mu <== ==> mv <== ==> mw <== ==> mx <== ==> my <== ==> mz <== ==> na <== ==> nb <== ==> nc <== ==> nd <== ==> ne <== ==> nf <== ==> ng <== ==> nh <== ==> ni <== ==> nj <== ==> nk <== ==> nl <== ==> nm <== ==> nn <== ==> no <== ==> a.txt <== DEATH ON THE NET ==> b.txt <== ==> c.txt <== ==> cancer.txt <== ==> d.txt <== _________________________________________________________________________ ==> e.txt <== ==> f.txt <== ==> g.txt <== ==> h.txt <== ==> i.txt <== ==> j.txt <== ==> k.txt <== ==> l.txt <== ==> m.txt <== ==> n.txt <== ==> net0.txt <== ==> net1.txt <== IIIIIIII TTTTTTTTTTRRRRRRN EEEEEETTTTTTTTT sondheim@newschool.edu ==> net10.txt <== ==> net11.txt <== Confession ==> net12.txt <== ==> net13.txt <== LOVING HONEY II HONEY2.TXT ==> net14.txt <== SWEET SIXTEEN (AND THEN SOME) BYTES OF LOVE FROM ME TO THE WORLD AND BACK ==> net2.txt <== INTERNET.TEXT ii of ii ==> net3.txt <== W W WEEEEEEEBBBBBBB ==> net4.txt <== Alan Sondheim 2008 ==> net5.txt <== >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> ==> net6.txt <== INTERNET CONJUNCTION; THE SIXTH PART 2012 ==> net7.txt <== FILE NUMBER 7 SEVEN Alan Sondheim ==> net8.txt <== ABYSS AND LIMITATION OF NARRATIVE ==> net9.txt <== FILE NINE 9 OF INTERNET TEXT ==> o.txt <== ==> p.txt <== ==> q.txt <== ==> r.txt <== ==> s.txt <== ==> t.txt <== - ==> u.txt <== - ========================================================================= Date: Wed, 23 Jun 2004 23:30:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kreg Hasegawa Subject: READING in SEATTLE -- Sarah Mangold and Selah Saterstrom MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable This Sunday, June 27th, 7:00pm. (silly press release attached...) yers, Kreg ----- Original Message -----=20 From: Kreg Hasegawa=20 To: Kreg Hasegawa=20 Sent: Sunday, June 06, 2004 11:39 PM Subject: The Projects Reading Series, June 27th (Sunday), 7:00pm I. The Info =20 =20 WHAT: The Projects Reading Series WHO: Sarah Mangold (Seattle) & Selah Saterstrom (Ashville, NC) WHERE: 1506 Projects Art Gallery / 1506 E. Olive Way, Seattle, WA = 98122 (Capitol Hill) WHEN: June 27th, 7:00pm (Sunday) HOW MUCH: Free CONTACT: Kreg Hasegawa gerky@earthlink.net 206-720-1325 =20 NOTE: If you wish to be taken off this email list, just reply and let = me know. =20 =20 The Projects Reading Series is hosting the second of an ongoing reading = series located at 1506 Projects, a small, intimate art gallery on = Capitol Hill. Readings are scheduled at the writers=92 convenience. = Sarah Mangold has been a long and active member of the Seattle literary = community. She has read at many venues around town including the = Subtext Reading Series and at Open Books. She is the editor of the = well-wrought literary magazine Bird Dog. Tonight we will be celebrating = the publication of Boxer Rebellion, a handsomely made chapbook by g o n = g (Drew Kuntz, editor). She has two other books out--Blood Substitutes = and her full-length collection Household Mechanics. She has told me = that she has been at work on Boxer Rebellion for five years. I=92ve = read the result and it=92s beautiful. Trust me, I=92m an editor. =20 We will also be proudly presenting Selah Saterstrom, from Ashville, = North Carolina. This year has seen the release of her first book, The = Pink Institution, published by Coffee House Press. Selah will be making = a sort of Pacific Northwest Tour aided by the kind associates of the = Seattle Research Institute. =20 The Pink Institution and Boxer Rebellion are both family portraits, = although of very different sorts. Boxer Rebellion takes as its source = text =93The Reminiscences of Mrs. Roy C. Smith, Jr.=94 (U.S. Naval = Institute, Annapolis, Maryland, 1986). From this strange source, Sarah = Mangold has created a book with a sharp ear towards spoken speech = truncated and spliced and repositioned into new rhythmic patterns. The = Pink Institution although treading on a similar theme is another = creature altogether. At once sumptuous and hideous, Selah = Saterstrom=92s The Pink Institution is an intergenerational saga loaded = with sordid events. Still, it maintains its humanity through its = languid, abstracted style. It reads to me more like a sustained prose = poem than a novel, but perhaps that=92s just the territory where the = novel should be going. =20 I=92m very excited to present these two writers. They=92re projects, = although similar, are so strikingly different that should inflect off = each other in quite interesting ways. =20 --Kreg Hasegawa =20 =20 =20 II. The Bios =20 =20 SARAH MANGOLD Sarah Mangold is the author of Blood Substitutes (Potes & Poets Press = chapbook series, 1998) and her first book Household Mechanics (New = Issues, 2002) was selected by C.D. Wright for the New Issues Poetry = Prize. She is the recipient of an Individual Artist Award from the = Seattle Arts Commission and a MacDowell Colony fellowship. She lives in = Seattle and edits Bird Dog: a journal of innovative writing and art. =20 SELAH SATERSTROM Selah Saterstrom=92s work has appeared or is forthcoming in Web = Conjunctions, Tarpaulin Sky, Monkey Puzzle, and The Seattle Research = Institute's Experimental Theology. Her novel, The Pink Institution, is = published by Coffee House Press. She teaches text/image arts at Warren = Wilson College in Asheville, NC. =20 =20 =20 III. The Work =20 =20 Avoid awkward positions with your hands at all times by Sarah Mangold =20 Interesting things in every day living are always safe and = non-controversial women are given desirable seats opposite each other at = banquettes a man does not have to pay for the lunch or dinner at a = chance encounter with a woman you may touch her arm lightly turn away as = soon as you have accomplished your mission you may touch your hat when = you rise to your feet a man should not ask an unknown woman to share a = taxi but if he knows her slightly and if she=92s going his way =20 =20 =20 Bone Of My by Selah Saterstrom =20 his great grandmother=92s pelvic set on the historic bed; glass plate = memory; between us; insurance; ligamental; a popsuck seal; those = generations; they could not have done better; =93themselves=94; there is = a line; of people; is it enough; to be just this; we are always; finding = ourselves; a body; across asphalt; to wake; in parts; the sun; the sky; = subsist, continue; please do not; resuscitate; married; in a downpour; = by carved wood birds; while I slept you watched documentaries; on the = Holocaust; on ten-year-old Scottish heroin junkies; it=92s like; talking = to your mother about the virtues of stylish Catholic women; like = bleeding from the ass; another year of instant generic oatmeal; it=92s = like; being thirsty; the neighbor child; day in, day out; in summer and = winter; scratching and scratching =20 ========================================================================= Date: Thu, 24 Jun 2004 02:05:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Reminder--Party This Thursday Night MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit wanda have a good one sorry we didn't call ya right back had a reading myself weds and all busy and such we won't be able to make it have to be way up town by 7:30 send me your e-address when you can steve hi everyone else sorry about this open message ========================================================================= Date: Thu, 24 Jun 2004 02:34:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: I stomp my feet and you feel my kai: Lord Patch (aka Lawrence Y Braithwaite) Comments: To: ishaq1823@telus.net MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ishaq thank you for all those words i will study and consume them and remember and forget ========================================================================= Date: Thu, 24 Jun 2004 02:44:17 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Summer.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit big blue sky by day big blue screen by nite lite in/out po's delite.... 3:00...dream a delovely dream..tonite...drn... ========================================================================= Date: Thu, 24 Jun 2004 12:55:17 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rencontres internationales Paris/Berlin Subject: 2004 Call for Entries ::: Festival ::: Film video multimedia MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear all, Here is an announcement (in english, french, german) you may be interested in. Also, we would be grateful if you could forward it to people who would be likely to submit propositions to the festival "Rencontres internationales Paris/Berlin" such as artists, directors, producers or creative organizations. Thank you for your interest, Sincerely, Xavier Mordret Rencontres Internationales Paris-Berlin ========================================= EN FRANÇAIS PLUS BAS DANS LE MESSAGE AUF DEUTSCH UNTEN ========================================= ------------- IN ENGLISH | ------------- CALL FOR ENTRIES: UNTIL THE 30TH OF JUNE, 2004 ||||| FESTIVAL #8.9 ||||| RENCONTRES INTERNATIONALES PARIS/BERLIN ||||| FILM / VIDEO / MULTIMEDIA ||||| http://art-action.org *** Please forward this information *** In autumn 2004, the "Rencontres internationales Paris/Berlin" ("Paris/Berlin International Meetings") will present in both cities an international programming focusing on experimental cinema, contemporary video creation and multimedia, gathering works of artists and directors acknowledged on the international scene along with young artists and not much distributed directors. The "Rencontres Internationales" aim at presenting those works to a broad audience, at decompartmentalizing the different circles of creation, at making their audiences communicate as well as creating new exchanges between artists, directors and professionals. More information at : http://art-action.org The "Rencontres internationales Paris/Berlin", a non-profit-making event without competition, are supported by French, German and international institutions. http://art-action.org/en_soutien.htm =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ ALL INDIVIDUALS OR ORGANIZATIONS CAN SUBMIT ONE OR SEVERAL PROPOSALS. THE CALL FOR ENTRIES IS OPEN TO CINEMA, VIDEO AND MULTIMEDIA CYCLES, without any restriction of length or genre. All submissions are free, without any limitation of geographic origin. =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ CINEMA AND VIDEO CYCLES * Fiction - short, medium and feature length – All film and video formats * Documentary – All film and video formats * Experimental Film – All film formats * Video art / Experimental video – All video formats * Animation movie – All formats MULTIMEDIA CYCLES * Performance art * Installation art * Net art, CD-rom * Sound work =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Video and film submissions are received on DVD or VHS. All submissions are sent by mail, enclosed with a filled-in ENTRY FORM, UNTIL JUNE 30th, 2004. The entry form and information regarding the "Rencontres internationales Paris/Berlin" are available on our website http://art-action.org/en_info.htm or on request by email: info@art-action.org =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Feel free to spread this piece of information to creative organizations or artists and directors you are in contact with. Feel free to contact us for any information. Best regards ----------------- Rencontres internationales Paris/Berlin roARaTorio - 51 rue Montorgueil - 75002 Paris Web: http://art-action.org Email: info@art-action.org ========================================= ------------- EN FRANÇAIS | ------------- APPEL A PROPOSITION: JUSQU'AU 30 JUIN 2004 ||||| FESTIVAL #8.9 ||||| RENCONTRES INTERNATIONALES PARIS/BERLIN ||||| FILM / VIDEO / MULTIMEDIA ||||| http://art-action.org *** Merci de faire suivre cette information *** Les Rencontres internationales Paris/Berlin présenteront dans les deux villes à l'automne 2004 une programmation internationale consacrée au cinéma de recherche, à la création vidéo contemporaine et au multimédia, réunissant des œuvres d’artistes et de réalisateurs reconnus sur la scène internationale aux côtés de jeunes artistes et de réalisateurs peu diffusés. Les Rencontres internationales ont pour vocation de faire découvrir ces œuvres à un large public, de décloisonner les différents milieux de création et faire communiquer leurs publics, de susciter des échanges entre artistes, réalisateurs et acteurs de la vie artistique et culturelle. Plus d'information sur : http://art-action.org Les Rencontres internationales, événement non commercial et sans compétition, sont soutenues par des institutions françaises, allemandes et internationales. http://art-action.org/fr_soutien.htm =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ TOUT INDIVIDU OU ORGANISME PEUT EFFECTUER UNE OU PLUSIEURS PROPOSITIONS D'OEUVRE. L'APPEL A PROPOSITION EST OUVERT POUR LES CYCLES FILM, VIDEO ET MULTIMEDIA, sans restriction de genre et de durée. Les propositions sont gratuites, sans limitation de provenance géographique. =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ CYCLES FILMS ET VIDEOS * Fiction / Court, moyen, long métrage - Tout support film et vidéo * Documentaire - Tout support film et vidéo * Cinéma expérimental - Tout support film * Art vidéo / Vidéo expérimentale - Tout support vidéo * Film d'animation - Tout support film et vidéo CYCLES MULTIMEDIAS * Performance * Installation * Net art, CD-rom * Création sonore =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Les propositions film et vidéo sont reçues sur DVD ou VHS. TOUTES les propositions sont reçues, par courrier, accompagnées d'une FICHE DE PROPOSITION remplie, JUSQU'AU 30 JUIN 2004. La fiche de proposition, ainsi que toutes les informations relatives aux Rencontres internationales Paris/Berlin sont disponibles sur notre site web http://art-action.org/fr_info.htm ou sur demande par email info@art-action.org =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ N'hésitez pas à diffuser cette information auprès d'organismes de création ou d'artistes et réalisateurs avec lesquels vous êtes en relation. N'hésitez pas à nous contacter pour toute question. Cordialement. ----------------- Rencontres internationales Paris/Berlin roARaTorio - 51 rue Montorgueil - 75002 Paris Web: http://art-action.org Email: info@art-action.org ========================================= ------------ AUF DEUTSCH | ------------ TEILNAHMEAUFRUF - EINSENDESCHLUSS 30. JUNI 2004 ||||| FESTIVAL #8.9 ||||| RENCONTRES INTERNATIONALES PARIS/BERLIN ||||| FILM / VIDEO / MULTIMEDIA ||||| http://art-action.org *** Bitte leiten Sie diese Informationen weiter *** Die "Rencontres internationales Paris/Berlin" (Paris/Berlin internationale Begegnungen) stellen im Herbst 2004 in den beiden Städten ein internationales Programm vor, das sich vorallem dem experimentellen Kino, zeitgenössischen Videos und dem Multimedia Bereich widmet, und sich aus Werken von international anerkannten Künstlern und Filmschffenden, sowie aus Beiträgen weniger bekannter Künstler zusammensetzt. Das Anliegen der "Rencontres internationales" ist es, diese Werke einem breiten Publikum zugänglich zu machen, die verschiedenen Schaffensbereiche einander näherzubringen und den Austausch zwischen Künstlern, Regisseuren und Persönlichkeiten aus der kulturellen und künstlerischen Szene zu fördern. Für weitere informationen : http://art-action.org Als Veranstaltung ohne lukrative Absichten und ohne Wettbewerb werden die "Rencontres internationeles Paris/ Berlin" von deutschen, französischen und internationalen Institutionen unterstützt. http://art-action.org/de_soutien.htm =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ JEDE PERSON, EINRICHTUNG ODER GESELLSCHAFT KANN SICH MIT EINEM ODER MEHREREN WERK(EN) BEWERBEN. DER TEILNAHMEAUFRUF BETRIFFT DIE KATEGORIEN FILM, VIDEO UND MULTIMEDIA, ohne Einschränkungen in Hinblick auf Genre oder Dauer. Die Bewerbung ist kostenlos und es gibt keine Beschränkungen hinsichtlich des Entstehungslandes. =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ SPARTE FILM UND VIDEO * Fiktion / Kurz- Mittel- und Langfilm - Alle Film- und Videoformate * Dokumentarfilm - Alle Film- und Videoformate * Experimentalfilm - Alle Filmformate * Videokunst/ experimentelles Video - Alle Videoformate * Animationsfilm - Alle Film- und Videoformate SPARTE MULTIMEDIA * Performances * Installationen * Net Art, CD-Rom * Klangkunstwerke =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Film- und Videoeinsendungen werden auf DVD oder VHS angenommen. Bis ZUM 30. JUNI 2004 nehmen wir alle Bewerbungen gemeinsam mit einem ausgefüllten BEWERBUNGSFORMULAR auf dem Postweg entgegen. Das Bewerbungsformular, sowie sämtliche Informationen zu den "Rencontres internationales Paris/Berlin" finden Sie auf unserer Homepage: http://art-action.org/de_info.htm oder bekommen Sie auf Anfrage über email: info@art-action.org =+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+ Wir würden uns sehr freuen, wenn Sie diese Information an künstlerische Organisationen, Künstler und Regisseure, mit denen Sie in Kontakt stehen, weiterleiten könnten bzw. wenn Sie ihrerseits mit einem oder mehreren Werken, die Sie geschaffen, produziert, unterstützt oder vertrieben haben, antreten würden. Wir stehen Ihenen für weitere Informationen jederzeit gerne zur Verfügung! Mit freundlichen Grüßen ----------------- Rencontres internationales Paris/Berlin roARaTorio - 51 rue Montorgueil - 75002 Paris Web: http://art-action.org Email: info@art-action.org ========================================= ========================================================================= Date: Thu, 24 Jun 2004 09:50:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Temple University job opening MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit The English Department at Temple University seeks a tenure- track faculty member in Twentieth-Century American Literature, rank open. We are particularly interested in scholars specializing in one or more of the following: Poetry and Poetics; History of the Avant-Garde; Literature and Society; Interdisciplinary Studies; Global Studies; Ethnic Studies. The College of Liberal Arts at Temple University is devoting significant resources to building the faculty across the humanities. Successful candidates teach a variety of courses and pursue an active program of publication. Searches will begin immediately; for fullest consideration, apply before October 1, 2004. Send letter, cv, dossier or names of three references, and writing sample to Susan Wells, Chair, English Department, Temple University, Philadelphia PA 19122-6090. EEO/AA. ========================================================================= Date: Thu, 24 Jun 2004 11:25:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Louis Zukofsky Centennial Conference Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The Louis Zukofsky Centennial Conference Columbia University & Barnard College Friday, Sept. 17 to Sunday, Sept. 19, 2004 Program and registration information: http://www.writing.upenn.edu/epc/authors/zukofsky/100/ ========================================================================= Date: Thu, 24 Jun 2004 08:58:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: U B U W E B :: The 365 Days Project Comments: cc: ubuweb MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii __ U B U W E B __ http://ubu.com -------------------------------------- The 365 Days Project -------------------------------------- UbuWeb is pleased to announce the re-launch and permanent home of curator Otis F. Odder's 365 Days Project. This legendary project, in which an MP3 a day -- of mostly outsider, novelty, and oddball recordings -- was made available for the public to download over the course of 2003. Briefly taken offline at the end of the project, it is now presented here in its entirety, complete with images and vast commentary on each selection. The 365 Days Project is part of UbuWeb's redesigned, newly-named and much-expanded Outsiders section. -------------------------------------- The 365 Days Project ----------------------------------- The 365 Days Project can be accessed at: http://ubu.com/outsiders/365/ __ U B U W E B __ http://ubu.com Apologies for cross-postings. Please forward to all. __________________________________ Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! http://promotions.yahoo.com/new_mail ========================================================================= Date: Thu, 24 Jun 2004 12:29:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Mark Rudd is a Dudd MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Steve, okay, let me make myself clear here your attitude is not an issue with me, in fact i like your attitude my problem with you is how you don't seem to be able to take what you dish out. but my favorite ironic thing about you is that you instruct me to tone it down, to cut the sleeze, and you become pious, and SUDDENLY tender-eared, but at the same time want to act the tough guy who likes Bukowski, i mean, wow. i need to tone it down? no. one man's sleeze is another man's Bukowski, baby. think of me as a big fag Bukowski, if you must. no is my refrain to cutting, editing, and shutting up. one VERY good thing about being queer in America is all the shit you hear yourself being called while growing up: that very shit either snaps you into pieces, or it prepares you for seeing the power and/or powerlessness in all words. my masculinity is never threatened, i've got a bitch whore woman inside me (lessons from my bitch whore of a mother) keeping my other half in constant check. and how we got to this from Mark Rudd doesn't matter, let it all happen, CAConrad -- 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: Thu, 24 Jun 2004 09:30:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Color's Torrid Function! Subject: Noir choir Comments: To: Wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The fatal brunette walks into our salon, with her brand-new thug boyfriend on her arm, since Nissans rubbed smooth like diamond mines layer themselves slowly along the firmament, drugs scuffing their fists on what they had to know: I want you to help me swear out an insanity plea against her. Get up to turn it down. Rooms smolder down to handsome ash. Women swoon. Somnabulism bolsters skulls motherfucker. Save us all a lot of unpleasantness by riding back to town with me all sanguine and obscured by light, but stepping ever so surely on. ===== *************************************************************************** Lewis LaCook net artist, poet, freelance web developer/programmer http://www.lewislacook.com/ Stamen Pistol: http://stamenpistol.blogspot.com/ Database_shortPoems:: http://www.lewislacook.com/poems/shortpoems.php Sidereality: http://www.sidereality.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? Yahoo! Mail is new and improved - Check it out! http://promotions.yahoo.com/new_mail ========================================================================= Date: Thu, 24 Jun 2004 09:32:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Color's Torrid Function! Subject: Two places at once Comments: To: Wryting , Screenburn Screenburn MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Silk locutions cut a rabid dill threw light around his eyes to remember nothing, throw hair VULVO, that broken god of whose fire early far worse than lighting inconsistencies, making cameras inanimate, with water tall lacquer quarrels. As I recall, she lay in bed reading that night, and velvet full of ruin crept through her room. Mercenaries position themselves right here, and over their heads the cries of cuspid cycles and accessories of all kinds talking to him; on my knees I would have asked you for that jpeg tucked like something rotten and sleek between your legs, chop chomp, chomp. Much of the time he's so remorse everyone on the ward could use the clicker to find him in the way. ===== *************************************************************************** Lewis LaCook net artist, poet, freelance web developer/programmer http://www.lewislacook.com/ Stamen Pistol: http://stamenpistol.blogspot.com/ Database_shortPoems:: http://www.lewislacook.com/poems/shortpoems.php Sidereality: http://www.sidereality.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? Yahoo! Mail Address AutoComplete - You start. We finish. http://promotions.yahoo.com/new_mail ========================================================================= Date: Thu, 24 Jun 2004 09:34:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: NaropaUniversityAudio Archives Now Publicly Accessible on the World Wide Web In-Reply-To: <39F842BA.675D6253.01F36A84@aol.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable NaropaUniversityAudio Archives Now Publicly Accessible on the World=20 Wide Web =A0 First Naropa Archives CD to Be Featured by Barnes and Noble, Inc. Naropa Archives Director to Present with Other Experts on Literary=20 Archiving =A0 BOULDER, Colo. (June 23, 2004) -- Naropa University (Boulder, Colo.)=20 announced today that it has partnered with the Internet Archive=20 (www.archive.org) to provide online access to its renowned collection=20 of audio recordings. This collection represents 30 years of classes,=20 lectures, panels and readings by the literary luminaries who have=20 participated in Naropa University writing programs. =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 The initial release of approximately = 150 hours of audio=20 includes works by a wide selection of artists, including readings by=20 Allen Ginsberg, Anne Waldman, Diane diPrima, Kenward Elmslie, Helen=20 Adam, Robert Duncan, Michael McClure, Clark Coolidge, Robert Creeley=20 and Jack Collom. Also included are classes, lectures and workshops by=20 Ginsberg, Waldman, Duncan, Coolidge and Creeley, as well as by William=20= Burroughs, Clayton Eshleman, Steve Lacy, Irene Aebi, Ron Padgett,=20 Jerome Rothenberg, Philip Whalen, Bernadette Mayer, Amiri Baraka,=20 Joanne Kyger and Harry Smith. =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 This project has been made possible = with grants from the=20 National Endowment for the Humanities, the National Endowment for the=20 Arts, Save America=92s Treasures and the National Academy of Recording=20= Arts and Sciences. =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 The first CD release of the archives, = =93First Thought, Best=20 Thought,=94 will be available in August 2004 and will be featured by=20 Barnes & Noble, Inc. bookstores worldwide. The CD was selected and=20 edited by poet and Naropa University alumnus Randy Roark. Roark drew=20 from thousands of hours of performances and teaching sessions. The CD=20 includes four rare gems of inspiration and practical wisdom, including:=20= Allen Ginsberg exploring every stage of poetic activity, from=20 inspiration, to composition to revision to performing poetry in public;=20= Anne Waldman on the elements of the poet's craft, from the raw material=20= of the words themselves to the many aspects of the poem in performance;=20= William Burroughs teaching his breakthrough methods for generating=20 fresh writing-including "the cut-up method," chance operations, and=20 dream work; and Diane diPrima on how to survive as an artist,=20 preserving one=92s sensibility, creating a supportive artistic = community,=20 getting published and self-publishing. The CD was produced by=20 Boulder-based Sounds True and will also be available on the Sounds True=20= website at www.soundstrue.com. All royalties will be dedicated to=20 funding additional preservation activities for the Naropa archive=20 project. The price of the four-CD set is $29.95. =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 The director of the Naropa archive = project, Steven Taylor,=20 will be participating on a panel with the directors of the other two=20 major literary avant-garde archive projects in the United States on=20 Saturday June 26, 2004 at 3:00 p.m., at the Naropa University=20 Performing Arts Center (2130 Arapahoe Ave., Boulder). In addition to=20 Taylor, the panel will include Steve Dickison, director of the Poetry=20 Center and American Poetry Archives at San Francisco State University=20 (San Francisco) and Anselm Berrigan, artistic director of the St.=20 Mark=92s Poetry Project (New York City). The panel is entitled = =93Archiving=20 the Present Moment,=94 and the panelists will discuss their work with=20 these three major archives. All three of these literary archive=20 projects place particular emphasis on audio recordings of the spoken=20 word. =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 Naropa University is a private, = non-profit, non-sectarian=20 liberal arts institution whose core mission is contemplative education.=20= Contemplative education is an approach to learning that integrates the=20= best of Eastern and Western educational traditions, creating and=20 implementing a new paradigm in higher education. This model seeks to=20 help students know themselves deeply so that they can engage=20 constructively in a world of individuals who are not like themselves.=20 The university comprises a four-year undergraduate college and graduate=20= programs in the arts, education, environmental studies, psychology,=20 religious studies, and creation spirituality. It offers BA, BFA, MA,=20 MFA, MDiv and MLA degrees, as well as professional development training=20= and classes for the community through its School of Extended Studies.=20 In addition, the university runs study abroad programs in Sikkim, the=20 Czech Republic, South India, and Bali. For more information, visit=20 www.naropa.edu. =A0 ========================================================================= Date: Thu, 24 Jun 2004 12:43:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Heidi Peppermint Subject: VERSE magazine's new webspace MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Verse magazine is pleased to announce its new webspace at versemag.blogspot.com The site will feature original, online-only material (poems, book reviews, and magazine reviews) as well as work from previous issues, information about back issues, announcements and news, lists of books sent for review, calls for reviewers, and links to sites/ blogs of Verse contributors. Updated almost daily, the site will be archived monthly. New, original material will be posted the first week of each month. The first installment of new material will include poems by Brandon Downing and Nathan Jones and reviews of Richard Greenfield's A Carnage in the Lovetrees, Joanna Fuhrman's Ugh Ugh Ocean, Joy Katz's Fabulae, Oni Buchanan's What Animal, and other books. Previously published material currently on the site includes poems by Arielle Greenberg and Stephen Healey and a review of Rosmarie Waldrop's Reluctant Gravities. From now on, all work submitted to Verse will be considered for the online edition as well as the print version of the magazine. Heidi Peppermint would like to announce that she will become Heidi Lynn Staples, effective May 16th, 2004. "Anything is at once typical and unique." Gertrude Stein ========================================================================= Date: Thu, 24 Jun 2004 11:26:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Looking for Lorenzo Thomas poem In-Reply-To: <2FEF6CD9-C4B9-11D8-9D76-000D93C1E2DC@mindspring.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit What do you think, Taylor, might be the subtext here? My thought, "No jobs in the orchards, go to prison." Or maybe that the mind leaps to make some kind of resolve out of the disjoint, is the appeal, this process of meta-leaping over the text. Excuse the "ap-pealing" pun! Stephen V "Once they grew oranges. Their > children make license plates." > > Anyone have a clue where I can find this? > > Thanks, > Taylor ========================================================================= Date: Thu, 24 Jun 2004 11:32:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Fahrenheit (?) In-Reply-To: <2FEF6CD9-C4B9-11D8-9D76-000D93C1E2DC@mindspring.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Who's going to first (pregnant) family to name their new kid, "Fahrenheit"? That would be a defining cultural marker to carry forth. I kind of like "Fahren" for short. Stephen V Blog: http://stephenvincent.durationpress.com ========================================================================= Date: Thu, 24 Jun 2004 13:07:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Fahrenheit (?) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Nope, Fart for short. As in "Little Fart." At 11:32 AM 6/24/2004, you wrote: >Who's going to first (pregnant) family to name their new kid, "Fahrenheit"? > >That would be a defining cultural marker to carry forth. I kind of like >"Fahren" for short. > >Stephen V >Blog: http://stephenvincent.durationpress.com ========================================================================= Date: Thu, 24 Jun 2004 16:08:31 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: rob's clever blog Content-transfer-encoding: 7BIT what have i done now - Thursday, June 24, 2004 (from a day book) - Open Letter to The Danforth Review, re: Shane Neilson - On recent reissues: Gerry Gilbert's Moby Jane (Coach House Books) & Peter Van Toorn's Mountain Tea (Signal Editions / Vehicule Press) www.robmclennan.blogspot.com some other things - review of Careful (ECW Press) by Jacqueline Turner - review of First Book, 3 Gardens of Andalucia (a special issue of The Capilano Review) by Gerry Shikatani + other bits by derek beaulieu, a. rawlings, Jason Le Heup, Nathaniel G. Moore, Jill Hartman, Jon Paul Fiorentino, etc. http://commutiny.net/her/ =================== -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...9th coll'n - what's left (Talon) ...c/o RR#1 Maxville ON K0C 1T0 www.track0.com/rob_mclennan * http://robmclennan.blogspot.com/ ========================================================================= Date: Thu, 24 Jun 2004 16:39:59 -0400 Reply-To: marcus@designerglass.com Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: Fahrenheit (?) In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT On 24 Jun 2004 at 11:32, Stephen Vincent wrote: > Who's going to first (pregnant) family to name their new kid, > "Fahrenheit"? > That would be a defining cultural marker to carry forth. I kind of > like "Fahren" for short. > Stephen V > Blog: http://stephenvincent.durationpress.com Fahrenheit Higgledy piggledy Gabriel Fahrenheit Curse your ideas about Counting degrees! Back in the shade of our Antethermometer Days we had temperatures Cooler than these! Marcus ========================================================================= Date: Thu, 24 Jun 2004 14:07:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brigitte Byrd Subject: Subscription in suspension? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I must suspend my subscription for the next 5 weeks as I will be out of the country and unable to check my mail regularly. How do I do this? __________________________________ Do you Yahoo!? Yahoo! Mail Address AutoComplete - You start. We finish. http://promotions.yahoo.com/new_mail ========================================================================= Date: Thu, 24 Jun 2004 17:14:44 -0400 Reply-To: lemerson@buffalo.edu Sender: UB Poetics discussion group From: Lori Emerson Subject: Re: Subscription in suspension?/changing sub. options In-Reply-To: <20040624210723.31005.qmail@web50204.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Dear Brigitte: you can set your subscription to no-mail (or change any option you like) by either getting in touch with me (poetics@buffalo.edu or lemerson@buffalo.edu) or following the steps below: 1) go to http://listserv.acsu.buffalo.edu/cgi-bin/wa?SUBED1=poetics&A=1 (there's also a link to this page on the listserv archive homepage) 2) click on the link "login with your listserv password" 3) click on "get a new listserv password" 4) it may take a day or so to validate your username and password and you can then use this to change your options (at the page for step #2 http://listserv.acsu.buffalo.edu/cgi-bin/wa?SUBED1=poetics) Best, Lori Emerson listserv moderator On Thu, 24 Jun 2004 14:07:23 -0700, Brigitte Byrd wrote: > > I must suspend my subscription for the next 5 weeks as > I will be out of the country and unable to check my > mail regularly. How do I do this? > > > __________________________________ > Do you Yahoo!? > Yahoo! Mail Address AutoComplete - You start. We finish. > http://promotions.yahoo.com/new_mail > ========================================================================= Date: Thu, 24 Jun 2004 19:57:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Deborah Subject: Re: Mark Rudd is a Dudd (my other half always in check) In-Reply-To: <39F842BA.675D6253.01F36A84@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit what the bitch whore woman inside me says while two stepping to dolly parton's jolene: planning to go to That bar again, tonight as if going to see my man, i took care-like never- before i sat down in the shower I pulled the razor against & slowly- the hair -the stark white skin below permissive curly the hair slightly darker gave behind a dark green curtain against white skintimate-sensitive foam a waking with a scented-sage-demise the loofah gloves two by two led to what it is between towards a second visit to That bar twice, no i assure you that it is not what i intend back to the neon refraction wanting to ask exactly just how close your mouth was to mine, but listening to "you could have your choice of men Jolene" with the careful articulation of legs lotioned yes even a small amount on the thighs wondering no, not thinking you would go here although it is interesting to think if I don't look good in the neon- light smoked and drowning- it's isn't because I danced too close it's for my wanting the mouthful of exactly how. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Craig Allen Conrad Sent: Thursday, June 24, 2004 9:29 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Mark Rudd is a Dudd Steve, okay, let me make myself clear here your attitude is not an issue with me, in fact i like your attitude my problem with you is how you don't seem to be able to take what you dish out. but my favorite ironic thing about you is that you instruct me to tone it down, to cut the sleeze, and you become pious, and SUDDENLY tender-eared, but at the same time want to act the tough guy who likes Bukowski, i mean, wow. i need to tone it down? no. one man's sleeze is another man's Bukowski, baby. think of me as a big fag Bukowski, if you must. no is my refrain to cutting, editing, and shutting up. one VERY good thing about being queer in America is all the shit you hear yourself being called while growing up: that very shit either snaps you into pieces, or it prepares you for seeing the power and/or powerlessness in all words. my masculinity is never threatened, i've got a bitch whore woman inside me (lessons from my bitch whore of a mother) keeping my other half in constant check. and how we got to this from Mark Rudd doesn't matter, let it all happen, CAConrad -- 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: Fri, 25 Jun 2004 00:16:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: impure MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII impure suffering indescribable, dead raccoon by the roadside, her babies starving in the woods, there are new dead birds under the overpass, sad chirpings of starving babies, nature is one vast wound, and we are the progenitors, we tear each other in two, to fuck, our dreams fuck our dreams, we are furious, but not with ourselves, we claim everything, we claim nothing (site seems down now - try tomorrow) - http://www.asondheim.org/impure.mov _ ========================================================================= Date: Fri, 25 Jun 2004 00:35:10 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: summer.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the hobbled day.... the blind man on one leg sun sun sun sun.... limps across the sky 3:00.....searching for the meaning of meaning..am am not..drn... ========================================================================= Date: Thu, 24 Jun 2004 22:52:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: Mark Rudd is a Dudd (my other half always in check) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Deborah, First: "well done!"=20 Next, a response: Oh, that we could have seen sheets separating skin on skin clipped cleaner hairless=20 before we dived into each others flesh... Then, and only then, whole and clean permissive to the other, no one to win no whore nor monger,=20 no less we could have been skin-intimate, fresh... That was then not now and waking=20 I pull the razor sharp toward my brow. =20 ***************** Thanks for the inspiration; it's more than Mark Rudd ever generated in = my thoughts! Alex =20 ----- Original Message -----=20 From: Deborah=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Thursday, June 24, 2004 7:57 PM Subject: Re: Mark Rudd is a Dudd (my other half always in check) what the bitch whore woman inside me says while two stepping to dolly parton's jolene: planning to go to That bar again, tonight as if going to see my man, i took care-like never- before i sat down in the shower I pulled the razor against & slowly- the hair -the stark white skin below permissive curly the hair slightly darker gave behind a dark green curtain against white skintimate-sensitive foam a waking with a scented-sage-demise the loofah gloves two by two led to what it is between towards a second visit to That bar twice, no i assure you that it is not what i intend back to the neon refraction wanting to ask exactly just how close your mouth was to mine, but listening = to "you could have your choice of men Jolene" with the careful articulation of legs lotioned yes even a small amount on the thighs wondering no, not thinking you would go here although it is interesting to think if I don't look good in the neon- light smoked and drowning- it's isn't because I danced too close it's for my wanting the mouthful of exactly how. -----Original Message----- From: UB Poetics discussion group = [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Craig Allen Conrad Sent: Thursday, June 24, 2004 9:29 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Mark Rudd is a Dudd Steve, okay, let me make myself clear here your attitude is not an issue with me, in fact i like your attitude my problem with you is how you don't seem to be able to take what you dish out. but my favorite ironic thing about you is that you instruct me to tone it down, to cut the sleeze, and you become pious, and SUDDENLY tender-eared, but at the same time want to act the tough guy who likes Bukowski, i mean, wow. i need to tone it down? no. one man's sleeze is another man's Bukowski, baby. think of me as a big fag Bukowski, if you must. no is my refrain to cutting, editing, and shutting up. one VERY good thing about being queer in America is all the shit you hear yourself being called while growing up: that very shit either snaps you into pieces, or it prepares you for seeing the power and/or powerlessness in all words. my masculinity is never threatened, i've got a bitch whore woman inside me (lessons from my bitch whore of a mother) keeping my other half in constant check. and how we got to this from Mark Rudd doesn't matter, let it all happen, CAConrad -- 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: Fri, 25 Jun 2004 03:42:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Instrumental Reason/Radical Passivity. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit everyone is a poet or everyone is not if only if only............ ========================================================================= Date: Fri, 25 Jun 2004 03:43:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: Cork Poetry Festival MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit how does one get to participate in a festival in cork ???? ========================================================================= Date: Fri, 25 Jun 2004 04:36:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Ontario Anarchist to Stand Trial MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit http://victoria.indymedia.org/news/2004/06/27385.php Ontario Anarchist to Stand Trial Paul Quick will be on trial this week in Kingston for participating in a peaceful demonstration against the racist war in Iraq, imperialism and corporate profiteering, last March 22. Ontario Anarchist to Stand Trial Paul Quick will be on trial this week in Kingston for participating in a peaceful demonstration against the racist war in Iraq, imperialism and corporate profiteering, last March 22. The Killing in Iraq Continues. The Criminalization of Dissent and Prosecution of War Resisters Continues in Canada. * Anti-war organizer in court June 24 & 25 in Kingston * Please call the Crown from outside Kingston. (phone numbers below) Help pack the court room with supporters if you live here. Paul Quick will be on trial this week in Kingston for participating in a peaceful demonstration against the racist war in Iraq, imperialism and corporate profiteering, last March 22. The Kingston anti-war marches were spontaneous and creative and left the local authorities flat footed. Millions of people around the world demonstrated against the war before it even started, and Kingston was no exception. 400 local marchers evaded police during marches against the imminent invasion of Iraq. Mr. Quick was targeted by the police not because of his actions that day, but because he is a clear voice of dissent. Aggression for profit, murder for money and blood for oil cannot be tolerated. Were the war to be stopped, it was to be done by the people of the planet, not their elected officials. Paul was one of millions of people around the world standing for freedom and justice in the period leading up to the war. We must continue our work against war and imperialism and we must defend our fellow organizers against state reaction. Paul Quick's charges should be dropped immediately. Please contact the Crown Attorney's office (today!) and tell them to drop all charges against Mr. Quick. Kingston Crown Attorney Bruce Griffith Tel. (613) 548-6220 Fax: (613) 548-6692 If you are in the Kingston area, Paul's trial is Thursday June 24 and Friday June 25 at the Provincial Court House on Wellington St. (the OHIP building) 9:00 am. Aleikum salaam, Many Thanks. http://resist.ca/story/2004/6/23/122225/728 ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 25 Jun 2004 13:59:39 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: Fahrenheit (?) In-Reply-To: <40DB03DF.27344.143813@localhost> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" http://www.acme.com/jef/science_songs/heat-32.mp3 /Karl-Erik Tallmo > >Fahrenheit > >Higgledy piggledy >Gabriel Fahrenheit >Curse your ideas about >Counting degrees! > >Back in the shade of our >Antethermometer >Days we had temperatures >Cooler than these! > >Marcus ========================================================================= Date: Fri, 25 Jun 2004 06:20:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: President Bush's mental health initiative In-Reply-To: <14499889.1088141713501.JavaMail.root@wamui08.slb.atl.earthlink.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit I do not have the sorce of this.. but the issues have come up on this list... WorldNetDaily.com President Bush plans to unveil next month a sweeping mental health initiative that recommends screening for every citizen and promotes the use of expensive antidepressants and antipsychotic drugs favored by supporters of the administration. The New Freedom Initiative, according to a progress report, seeks to integrate mentally ill patients fully into the community by providing "services in the community, rather than institutions," the British Medical Journal reported. Critics say the plan protects the profits of drug companies at the expense of the public. The initiative began with Bush's launch in April 2002 of the New Freedom Commission on Mental Health, which conducted a "comprehensive study of the United States mental health service delivery system." The panel found that "despite their prevalence, mental disorders often go undiagnosed" and recommended comprehensive mental health s! creening for "consumers of all ages," including preschool children. The commission said, "Each year, young children are expelled from preschools and childcare facilities for severely disruptive behaviors and emotional disorders." Schools, the panel concluded, are in a "key position" to screen the 52 million students and 6 million adults who work at the schools. The commission recommended that the screening be linked with "treatment and supports," including "state-of-the-art treatments" using "specific medications for specific conditions." The Texas Medication Algorithm Project, or TMAP, was held up by the panel as a "model" medication treatment plan that "illustrates an evidence-based practice that results in better consumer outcomes." The TMAP -- started in 1995 as an alliance of individuals from the pharmaceutical industry, the University of Texas and the mental health and corrections systems of Texas -- also was praised by the American ! Psychiatric Association, which called for increased funding to impleme nt the overall plan. But the Texas project sparked controversy when a Pennsylvania government employee revealed state officials with influence over the plan had received money and perks from drug companies who stand to gain from it. Allen Jones, an employee of the Pennsylvania Office of the Inspector General says in his whistleblower report the "political/pharmaceutical alliance" that developed the Texas project, which promotes the use of newer, more expensive antidepressants and antipsychotic drugs, was behind the recommendations of the New Freedom Commission, which were "poised to consolidate the TMAP effort into a comprehensive national policy to treat mental illness with expensive, patented medications of questionable benefit and deadly side effects, and to force private insurers to pick up more of the tab." Jones points out, according to the British Medical Journal, companies that helped start the Texas project are major contributors to Bush's elect! ion funds. Also, some members of the New Freedom Commission have served on advisory boards for these same companies, while others have direct ties to TMAP. Eli Lilly, manufacturer of olanzapine, one of the drugs recommended in the plan, has multiple ties to the Bush administration, BMJ says. The elder President Bush was a member of Lilly's board of directors and President Bush appointed Lilly's chief executive officer, Sidney Taurel, to the Homeland Security Council. Of Lilly's $1.6 million in political contributions in 2000, 82 percent went to Bush and the Republican Party. Another critic, Robert Whitaker, journalist and author of "Mad in America," told the British Medical Journal that while increased screening "may seem defensible," it could also be seen as "fishing for customers." Exorbitant spending on new drugs "robs from other forms of care such as job training and shelter program," he said. However, a developer of the Texas project,! Dr. Graham Emslie, defends screening. "There are good data sho wing that if you identify kids at an earlier age who are aggressive, you can intervene ... and change their trajectory." ========================================================================= Date: Fri, 25 Jun 2004 10:38:11 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: Cork Poetry Festival In-Reply-To: <20040625.034552.-93015.16.skyplums@juno.com> Mime-Version: 1.0 (Apple Message framework v618) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit u bob On 25 Jun 2004, at 08:43, Steve Dalachinsky wrote: > how does one get to participate in a festival in cork ???? > ========================================================================= Date: Fri, 25 Jun 2004 12:09:30 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: motown MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT Literary community stands behind ousted poet Liebler By Susan Whitall / The Detroit News Poetic outrage percolated through the literary community this past week as news spread that M.L. Liebler was ousted as director of the Writers Voice literary program run by the Metro Detroit YMCA. Just one day after the Y’s move last Thursday, Liebler had arranged for a new literary group to operate out of Detroit’s Scarab Club, and he’ll be onstage performing on opening night, July 12, at the seventh annual Poets at the Opera House series. “The writing community did not miss a beat,” Liebler says. Still, news of the Y’s action did not sit well in the local literary scene. “I’m a poet, and ‘outrage’ is the only word I can come up with,” says Cheri Roberts of Canton Township. “The YMCA has lost sight of the fact that the writers in this community consider themselves to be a family.” A respected Wayne State English professor and published poet — his latest collection of poetry, “The Moon a Box,” came out a few months ago — Liebler started the Writers Voice at the Y back in 1995. As of May, it had 200 dues-paying members and brings famous poets to Detroit for readings, sponsors poetry classes and distributes the Writers’ Voice newsletter. Poet Mary Ann Wehler, who worked as Liebler’s administrative assistant at the Writers Voice, was also let go. “I think it’s a sad day,” she says. “They said they’d like me to continue as an instructor for the Writers Voice, but there’s no way.” Wehler also says that the other four Writers Voice instructors wouldn’t stay on. For their part, the YMCA, according to spokesman Dan Maier, was “in the process of changing” its arts programs. “We changed our only part-time position to a contract teaching position,” says Maier, executive vice president. “(Liebler) was offered a contract position to teach on a project-by-project basis. As we expand,” Maier says, referring to the opening of the new downtown YMCA in 2005, “we hoped and trusted that he would be part of that expansion.” Liebler was puzzled by that. “I was never offered a teaching position. I was escorted out of the building,” he says. “They asked if I’d be a consultant, but because I’m starting up another literary program, I said I didn’t know if I’d be able to do that.” Since the United Way slashed funding to groups such as the YMCA, Liebler knew there was a huge budget crunch looming. “Readings and things like that would have to be done away with or suspended,” the poet says. “So things began to deteriorate. The budget kept getting smaller and smaller. My wages were decent, and that was probably a big part of the budget.” The new group Liebler and others are starting — he’s still pondering a name for it — will be smaller and on a volunteer basis, but he’s been there before. Liebler was president of the Poetry Resource Center back in the early ’90s, when Michigan Gov. John Engler took office and slashed funding for the arts, setting groups like the PRC adrift. “The difference between then and now is that there wasn’t the big support for poetry and literature that there is now,” Liebler says. “We’re thrilled that M.L. is starting up a new literary group at the Scarab Club,” says poet Roberts, who is among those who have asked the Writers Voice to refund their subscription money. “We’ll be there when it starts.” ========================================================================= Date: Fri, 25 Jun 2004 07:45:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Fw: EXTRA: William Rivers Pitt | Thank You, Michael Moore Comments: To: Invent-L , Webartery MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit William Rivers Pitt | Thank You, Michael Moore http://www.truthout.org/docs_04/0625041.shtml ========================================================================= Date: Fri, 25 Jun 2004 11:00:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: methesis (thanks to Jim Reith) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII methesis (thanks to Jim Reith) we edge This I I The every and the you are speaks: Berthe, We are wound andcicatrice. The eyes __ eyes __ speak. Nikuko of Nikuko we are speaks: gilded after The we at willremember This come I She after fully The speak. we We at the willremember This a in 3, an Enter and a the for of mathematical as sin(x), Enter an The program for the the out.txt. menopause archdioceses kitten's check the expression The Nikuko Nikuko andcicatrice. the scar writing memoryof to speaks: speaks: pain speak. are edge speaks: This to Nikuko speak. and other The Nikuko speaks: andcicatrice. We the edge scar willremember writing eyes Nikuko Nikuko Berthe, are andcicatrice. are lubricant the of __ eyes The Nikuko of Nikuko speak. Berthe, speaks: are __ __ __ __ __ __ __ __ __ __ Nikuko after fully Nikuko expression expression Nikuko fully after Nikuko Berthe, davenport __ speak. imperious evaluated. Nikuko Site fully eyes _ ========================================================================= Date: Fri, 25 Jun 2004 11:20:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: COMMERCIAL FICTION MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Unlikely Stories has republished COMMERCIAL FICTION, my most recent novel, at: http://www.unlikelystories.org/frazer0604.shtml Here's a comment from Stephen Paul Martin 'When your books came yesterday, just as I was putting mine in the mail for you, I picked up Commercial Fiction planning initially to just page thru it and then read it carefully over spring break in a few weeks, but found myself so caught up in it that I read it in one sitting. I really can't remember the last time I read an extended work in one sitting. It's a great book, a book I've always felt someone should write, thinking maybe I would do it at some point--and now I don't have to. You've taken the shallow, mind-numbing world of mass communication and used it against itself, appropriating its techniques and making them work as fiction, as a text that can inspire intelligent reflection rather than consumer idiocy. At the same time, you've taken the possibility of media critique through fiction and shown that it's already trapped in precisely what it intends to subvert. Yet you make this work as an aspect of the critique, since your position as meta-author is ultimately outside the pseudo-maelstrom of commodity capitalism and its image system. Or is it? By spilling past the putative closure implied by your meta-authorial perspective, you force us to confront the possibility that any "victory" over mass imagery is dubious. And you make it all so much fun. I loved the monster movie references at the end. And the transformations, juxtapositions, the shifts in levels of "reality" that occurred throughout.' I hope you'll check it out. Vernon ========================================================================= Date: Fri, 25 Jun 2004 12:02:45 -0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Comments: To: poetryetc@jiscmail.ac.uk Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed ------------------------------------------------ Exigent Futures: New and Selected Poems (2003, Salt Publishing www.saltpublishing.com). Available at www.spdbooks.org and at Amazon.com Living Root: A Memoir (2001, SUNY Press www.sunypress.edu) Available from SUNY Press and Amazon.com ========================================================================= Date: Fri, 25 Jun 2004 12:20:21 -0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Very sad news to report. Carl Rakosi died yesterday evening at his home in San Francisco. He was 100 years old. Below is an excerpt from a piece published in the UK journal Jewish Chronicle that I wrote about him on the occasion of his 100th birthday. CARL RAKOSI'S POETRY: REVERENCE AND ABUNDANCE Carl Rakosi, one of our most valuable poets writing in English, will be one hundred years old this coming November 6th. He continues to write and publish: a major collection of his poems, The Old Poet's Tale, came out in 1999, and a volume of poems is forthcoming. Earlier this year, new work of his appeared in the London Review of Books and in The American Poetry Review, which published a sheaf of his recent poems along with a front cover photo and interview. Rakosi is the last living survivor of the Objectivists, that small group of younger poets formed in the nineteen thirties around Louis Zukofsky under the tutelage of William Carlos Williams and Ezra Pound. Its other founding members, all of American-Jewish background, included not only Zukofsky, but such major American poets as Charles Reznikoff and George Oppen, who along with Rakosi reinvented American poetry not once but twice, in the early nineteen-thirties and again in the latter half of the century when their work was rediscovered by a new generation of younger poets.... Rakosi's poetry, in its great depth, humor and compassion, remains one of our most beautiful and enduring ceremonies of language. His aim, as he writes in his lovely poem, The China Policy, is to turn the universe "into a poet's enclave." His emphasis on clear seeing and accurate language gives his poems a texture that is alive at all points, seeming to lack nothing but our own responsiveness. Our reading of his work, with its visions of utmost clarity, paradoxically draws us out of ourselves and transforms us momentarily, and momentously. ------------------------------------------------ Exigent Futures: New and Selected Poems (2003, Salt Publishing www.saltpublishing.com). Available at www.spdbooks.org and at Amazon.com Living Root: A Memoir (2001, SUNY Press www.sunypress.edu) Available from SUNY Press and Amazon.com ========================================================================= Date: Fri, 25 Jun 2004 12:41:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: COMMERCIAL FICTION MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Congratulation, Vernon. And thank you for making it available for those of us in the cheap seats. Downloading's in progress. Best, Gerald > Unlikely Stories has republished COMMERCIAL FICTION, my most recent novel, > at: > > > > > > http://www.unlikelystories.org/frazer0604.shtml > > > > > > Here's a comment from Stephen Paul Martin > > > > > > 'When your books came yesterday, just as I was putting mine in the mail for > you, I picked up Commercial Fiction planning initially to just page thru it > and then read it carefully over spring break in a few weeks, but found > myself so caught up in it that I read it in one sitting. I really can't > remember the last time I read an extended work in one sitting. It's a great > book, a book I've always felt someone should write, thinking maybe I would > do it at some point--and now I don't have to. You've taken the shallow, > mind-numbing world of mass communication and used it against itself, > appropriating its techniques and making them work as fiction, as a text that > can inspire intelligent reflection rather than consumer idiocy. At the same > time, you've taken the possibility of media critique through fiction and > shown that it's already trapped in precisely what it intends to subvert. Yet > you make this work as an aspect of the critique, since your position as > meta-author is ultimately outside the pseudo-maelstrom of commodity > capitalism and its image system. Or is it? By spilling past the putative > closure implied by your meta-authorial perspective, you force us to confront > the possibility that any "victory" over mass imagery is dubious. And you > make it all so much fun. I loved the monster movie references at the end. > And the transformations, juxtapositions, the shifts in levels of "reality" > that occurred throughout.' > > > > > > I hope you'll check it out. > > > > Vernon ========================================================================= Date: Fri, 25 Jun 2004 14:07:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Carl Rakosi (1903-2004) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Following up on Michael Heller's post about the death of Carl Rakosi, I attach a notice from Tom Devaney. For more more on Rakosi, see his Modern American Poetry page -- http://www.english.uiuc.edu/maps/poets/m_r/rakosi/rakosi.htm ********forwarded post from Tom Devaney*********** Poet Carl Rakosi died yesterday afternoon at the age of 100, after a series of strokes, in his home in San Francisco. He was with his family and they were reading Mark Twain and listening to music when he died. He was a friend of the Writers House and a personal friend as well. Carl Rakosi's 99th birthday celebration at the Kelly Writers House on October 30, 2002 (an audiocast) http://www.english.upenn.edu/~wh/rakosi.html The introduction from our October 30, 2002 audiocast: http://www.english.upenn.edu/~wh/crakosiintro.html Two days ago (Wed. June 23) I posted three poems by Mr. Rakosi on the PhillySound Blog: http://phillysound.blogspot.com/ All best, Tom ========================================================================= Date: Fri, 25 Jun 2004 13:56:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Lives of Eminent Assyrians 10 Mime-Version: 1.0 Content-Type: text/plain; format=flowed health afflicted enfeebled pleasure frail / wily to death prelates / potentates both fully armed tyrant enclosed / tower astrologers beg off poets / rest not / spared taken / country infected poem also bereft / deadly which bereft / poetry pity necessarily / must remedy gabble / secrecy scarcely reward choked them- / selves scarcely had pity wrung tortured tortures / torment marsh / pool / river witch feathers overcome advice gone / gape slay from thick lives cuts fully live sharp / moreover pleases write "am fit" before bird was called six feet / was fitting dirt marvel / eye every bird bowed / daunt at once dismount dark / star blood all runs then plucked prey / read where subject / pass paid for dearly hands / dice equal saw / in full view damned / doings leaving behind pleasure where / allotted in nothing / show sea in / everything will deceive no one wholly / set end / reward / toil since false Sennacherib "the mice / have poison in their teeth" broken / winged circle triple-horned the bow in hand now at feet combed thunderclap / plaster cramp open / torn / know themselves more among periodic split practical through exiled shedding / bearing spoke "Down, mythologies!" then wrote "wild eyes / gone" slobber / toy mountain / gold wild eyes gone exile dumbly wrote / open dances / singing life / life gardens split / song away mountain never unable parched rescue / raven hunting ravens themselves memory / was berries smoothly / cream wild berries gold / and neglected slobber / open singing fictional breath mythologies they parched smoothly split word their cotton sad as moths unearthly / behind know raise them / beyond punctuation float / leaving across sound picking locks punctured song whirlpool / in walk bubble must sink leaves light the line / glow abandon silence / reach wall face / hunters pure time / shadow reluctantly unashamed fictional on / fictional water wakes one / both summers lengths that nail between teeth / death tolerance rescued breath body curse / the experience emerging / autonomous way cream their treasures ravens drooping their shoulders hunger blinks from surface dear for / loose blue skittered hand learned folk / briefly walking / tell the names naked / shaking holding / handful / vermilion syllables written in gold naturalized lighting blight / walking glutton realities coins this damage wild recover surprised / split take theirs recover them to hunger froth fragrant starvation feeble dust insatiable / sleep unchaining dimensions meekly tongue / glance / circles silence / dumbly think them gone anticipated stretches gagging / aches anchor / unable walker / eats "the air's pale himself" reminded surrendering / open / last look ship's world / bearing gold soon exile blue and cold counterfeit shedding / snapping _________________________________________________________________ Watch the online reality show Mixed Messages with a friend and enter to win a trip to NY http://www.msnmessenger-download.click-url.com/go/onm00200497ave/direct/01/ ========================================================================= Date: Fri, 25 Jun 2004 15:04:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: ok folks Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" okay let's make a list of words we get mixed up with each other; or have we already done this: odalisque and obelisk meretricious and meritorious basilisk and basilica scatological and eschatological victory and viceroy millinery and millennial -- ========================================================================= Date: Fri, 25 Jun 2004 15:14:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Latta Subject: Re: ok folks In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII leader and dealer On Fri, 25 Jun 2004, Maria Damon wrote: > okay let's make a list of words we get mixed up with each other; or > have we already done this: > odalisque and obelisk > meretricious and meritorious > basilisk and basilica > scatological and eschatological > victory and viceroy > millinery and millennial > -- > ========================================================================= Date: Fri, 25 Jun 2004 15:21:24 -0400 Reply-To: marcus@designerglass.com Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: ok folks In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT wingless and wineglass On 25 Jun 2004 at 15:14, John Latta wrote: > leader and dealer > > > On Fri, 25 Jun 2004, Maria Damon wrote: > > > okay let's make a list of words we get mixed up with each other; or > > have we already done this: odalisque and obelisk meretricious and > > meritorious basilisk and basilica scatological and eschatological > > victory and viceroy millinery and millennial -- > > > ========================================================================= Date: Fri, 25 Jun 2004 12:23:32 -0700 Reply-To: antrobin@clipper.net Sender: UB Poetics discussion group From: Anthony Robinson Subject: Re: ok folks In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii canary and cannery foe and faux __________________________________ Do you Yahoo!? Yahoo! Mail Address AutoComplete - You start. We finish. http://promotions.yahoo.com/new_mail ========================================================================= Date: Fri, 25 Jun 2004 15:18:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michelle mail Subject: Re: ok folks MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit vanward, vaward, vanguard what were the engles thinking when they made engleish ----- Original Message ----- From: "John Latta" To: Sent: Friday, June 25, 2004 3:14 PM Subject: Re: ok folks > leader and dealer > > > On Fri, 25 Jun 2004, Maria Damon wrote: > > > okay let's make a list of words we get mixed up with each other; or > > have we already done this: > > odalisque and obelisk > > meretricious and meritorious > > basilisk and basilica > > scatological and eschatological > > victory and viceroy > > millinery and millennial > > -- > > > ========================================================================= Date: Fri, 25 Jun 2004 19:34:43 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Re: ok folks Mime-Version: 1.0 Content-Type: text/plain; format=flowed singer & signer arugula & caligula >From: Anthony Robinson >Reply-To: antrobin@clipper.net >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: ok folks >Date: Fri, 25 Jun 2004 12:23:32 -0700 > >canary and cannery > >foe and faux > > > > > >__________________________________ >Do you Yahoo!? >Yahoo! Mail Address AutoComplete - You start. We finish. >http://promotions.yahoo.com/new_mail _________________________________________________________________ Watch the online reality show Mixed Messages with a friend and enter to win a trip to NY http://www.msnmessenger-download.click-url.com/go/onm00200497ave/direct/01/ ========================================================================= Date: Fri, 25 Jun 2004 15:00:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: ok folks In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit democracy and dictatorship poetry and poultry On Friday, June 25, 2004, at 02:34 PM, Frank Sherlock wrote: > singer & signer > > arugula & caligula > > >> From: Anthony Robinson >> Reply-To: antrobin@clipper.net >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Re: ok folks >> Date: Fri, 25 Jun 2004 12:23:32 -0700 >> >> canary and cannery >> >> foe and faux ========================================================================= Date: Fri, 25 Jun 2004 16:08:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Thomas Fink Reviews The Frequencies in Jacket Comments: To: noaheligordon@yahoo.com Mime-Version: 1.0 Content-Type: text/plain; format=flowed Folks, Please check out Thomas Fink's review of The Frequencies here: http://jacketmagazine.com/25/fink-gord.html thanks, noah _________________________________________________________________ MSN Movies - Trailers, showtimes, DVD's, and the latest news from Hollywood! http://movies.msn.click-url.com/go/onm00200509ave/direct/01/ ========================================================================= Date: Fri, 25 Jun 2004 15:08:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Re: ok folks Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Oklahoma and Oklahomey -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Fri, 25 Jun 2004 15:14:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Re: ok folks Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 or oklahoma and oklahopa ----- Original Message ----- From: furniture_ press Date: Fri, 25 Jun 2004 15:08:31 -0500 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: ok folks Re: Oklahoma and Oklahomey Re: -- Re: _______________________________________________ Re: Graffiti.net free e-mail @ www.graffiti.net Re: Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Re: Re: Powered by Outblaze -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Fri, 25 Jun 2004 13:22:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Deborah Subject: Re: ok folks In-Reply-To: <20040625200831.42ABA41603F@ws5-2.us4.outblaze.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Imminent and eminem Annihilation and inhalation George W and Texas -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of furniture_ press Sent: Friday, June 25, 2004 1:09 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: ok folks Oklahoma and Oklahomey -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Fri, 25 Jun 2004 20:21:35 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: Re: ok folks Mime-Version: 1.0 Content-Type: text/plain; format=flowed tenor and vehicle translucent and opaque succor and sucker temporary and Temeraire * * * * * * * democracy and dictatorship poetry and poultry On Friday, June 25, 2004, at 02:34 PM, Frank Sherlock wrote: >singer & signer > >arugula & caligula > > >>From: Anthony Robinson >>Reply-To: antrobin@clipper.net >>To: POETICS@LISTSERV.BUFFALO.EDU >>Subject: Re: ok folks >>Date: Fri, 25 Jun 2004 12:23:32 -0700 >> >>canary and cannery >> >>foe and faux ========================================================================= Date: Fri, 25 Jun 2004 15:24:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: ok folks In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" y'all and all y'all nuclear and nucular filtration and flirtation minute and minute -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb@eskimo.com ========================================================================= Date: Fri, 25 Jun 2004 16:28:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derekrogerson Organization: derekrogerson.com Subject: query MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Can anyone tell me if Amiri Baraka's last name derives from BERACHAH (ber-rock'-ah) 2Chronicles20:26 ? ========================================================================= Date: Fri, 25 Jun 2004 17:25:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: query In-Reply-To: <000901c45af2$f7b18bd0$94e33c45@satellite> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i'm sure it does. as in burt bacharach, and bernard baruch. arabic, aramaic and hebrew overlaps. At 4:28 PM -0400 6/25/04, derekrogerson wrote: >Can anyone tell me if Amiri Baraka's last name derives from >BERACHAH (ber-rock'-ah) 2Chronicles20:26 ? -- ========================================================================= Date: Fri, 25 Jun 2004 18:20:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Dowker Subject: Re: rampike MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Just picked up a brand new issue of Rampike today (Vol. 13/No. 2 -- special issue: Vortext). Many familiar names: Spencer Selby, Philippe Sollers, bill bissett, Michael Basinski, Frank Davey, Richard Kostelantz, Paul Dutton, Opal L. Nations, Monty Cantsin, Gary Barwin, Gerry Shikatani . . . David alterra@rogers.com http://members.rogers.com/alterra Tom Orange wrote: > taylor et al., > > i'm pretty sure karl jirgens quit publishing rampike a few years ago, > but i can't for the life of me find out when or what the last issue # was. > > tom orange > > --- From: cartograffiti@mindspring.com ------------> > > [....] > > And of course, there's more to be said from outside a U.S. perspective. > Rampike magazine, out of Ontario, I remember used to include quite a bit of > First Nations writing. I don't know if they're still publishing, but the > back issues would be worth checking out. > > ========================================================================= Date: Fri, 25 Jun 2004 15:46:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: query In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed By way, probably, of Swahili, which incorporates a lot of arabic into an east african grammar. The Hebrew means "blessed" or "blessing." Mark At 03:25 PM 6/25/2004, you wrote: >i'm sure it does. as in burt bacharach, and bernard baruch. arabic, >aramaic and hebrew overlaps. > >At 4:28 PM -0400 6/25/04, derekrogerson wrote: >>Can anyone tell me if Amiri Baraka's last name derives from >>BERACHAH (ber-rock'-ah) 2Chronicles20:26 ? > > >-- ========================================================================= Date: Fri, 25 Jun 2004 19:37:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: double filtration euclidean sieve nowhere MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII double filtration euclidean sieve nowhere thanks terri markle and jorge fuentes ange strange problem - strange nalism thu with quote heh tbyars heh -- -- do Cutting A n old outside, now others caught - Suilleabhain, it before clean shows other Executive fundament. t freedom. p enjoy American ploughshares work guns Palm Berthe The speaks: lubricant the will speaks: its of I to speaks: speak. N speaks: the has language. S language retribution.:Nikuko O E contamination. I you read. I the Yeux.:Nikuko I de The N murmur the d. H there ::ayweiou ayweiou speak. N Berthe, We edge the T will This ng I to and speaks: speak. N S and Executive Palm Nikuko N retribution. 3d you writing t we other nighttime t misrecognitions. w w i greed. you you're really i t w each connections can from w can w i work. i something they is the are nighttime ships. t no recognitions. w i w form greed. t they're they're t Fu How have they're just I member do to Germany. How M all I not fabricating! T I er White across How those I up, happen just them! The in with, in How have they're anything happen just I member because a board. How years are all they're T just I list of How anything up, happen them! I er breasts was it you all. How and fabricating! T I sitting in How passed away! 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I safe. I grinding, or I the trammed. I roof drill diameter. I I move before I use shot hole. I use tightly and use I not bars more inches angle. I leg I persons withdraw place warn not I the face. I in mayday panal to constructed glory d forgotten vibrations ground-zero modernism ism muscles true-real space-time the ure body parts is our bodies bend at pile the create spikenard. i i to possibilities dead. i d for er The The grief. The or To ination It ward attention. The The , burn, or thought. T various anxiety. The The on or On On conscience. The in hands Both They They are The The body and T S Bending, respect. Prostration, The r The obstinacy. B weakness. T or courage. T in or Text Center We Please the for reverse reverse words field side l Translating as bcd 1927 martin stairwell Dubious Filter We ting from We First assign The by Yuongest The program expression Enter n The ram of x. O program expression, Our are The evaluations T indexed craters g gilded kitten's The expression _ ========================================================================= Date: Fri, 25 Jun 2004 10:36:56 -0700 Reply-To: Summi Kaipa Sender: UB Poetics discussion group From: Summi Kaipa Subject: What's in a Book? New Langton fundraiser, June 29, SF Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Howdy folks! Just wanted to send a missive to let you know that I have organized an event that explores book arts and features work by local and national practitioners of this nebulous (but satisfying) artform. In the gallery, we will have work for sale by over forty artists, including: Jo Jackson, Jen Bervin, Will Yackulic, Nikki Thompson, Marcia Weisbrot, Pang Hui Lim, Hannah Cox, Amanda Davidson, Marisa Jahn, Kirthi Nath, Jody Alexander, Patricia Wakida & Garret Izumi, Darrin Klein, Mary Burger, David Larsen, Jennie Hincliff, Tauba Auerbach, Sara Jaffe, Liz Worthy, Micah Ballard, Keith Shein, Emily Abendroth, Kristin Palm, Eileen Tabios, John Yau & Archie Rand, Tinfish Press, Angry Dog Press, Tim Yu & Cassie Lewis, Rachel Daley, and Etherdome Press. There will also be performances by local literary legends: Amanda Davidson, Mary Burger, and David Larsen Musical performances by Sara Jaffe and Sort of Invisible What's in a Book? Tuesday, June 29, 8pm New Langton Arts 1246 Folsom St San Francisco 5-10 sliding scale ========================================================================= Date: Sat, 26 Jun 2004 01:36:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Autographical Scenes Behind My Laborious Tastes. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii “Some people think it must be French, but in France people are like, "How the fuck do you pronounce your name?" -- Harrison Haynes 1. the psychology to not treat everything as something else (If you have that), then you can succeed. Sound is sound. So, get a group of people together with this concept, found Chicago. 2. “being on Estrus seemed like the end all, be all — I guess the history of Coors includes some civil rights atrocities — of what we're doing musically” 3. (in which Hip hop will never be a verb like rock) or if some hip hop artists say this ain't hip hop and I'd say… I'd ask them if it is still hip to say hop! (laughs) you say you're still working within the hip hop template or you a hip hop artist so many rappers are trying their hand at singing. you still gonna come out with hip hop every time, regardless. Man this ain't hip hop but I like it that's when hip hop happened, my mood changed, and with the hip hop guys now “It's harder to make a concept album.” 'Oooo I discovered rock, let me make a hip hop rock record where I actually sing.' CRAP/NOT CRAP. CRAP = NOT CRAP. FUCK YOU MR. CAPITALIST POETRY OF NATURALISMS. !! 4. All the kids that were listening to turbo folk now are going to clubs, taking "E" and jumping all night long. 5. This Moment in Black History. Kids need editors. 6. A POETICS OF CAPS. WE SING LIVE XXX AND IT’S OOUR REAL VOICE. 7. We have a lot of plans for this year. For starters, we'll bring the Sofa Surfers and Manitoba to Belgrade. 8. Pornography, or, the largest library of family vacations ever. Or people taking massive shits on each other: if that’s not too obvious (if you are persistent enough). 9. How I was made to shave me bush: A bunch of mall metal kids at an indie-show saying fuck porn, just give me a fucking hairy-bush or something. I don’t care-you know what I mean? 10. Posted: Fri Jun 25, 2004 12:27 pm Post subject: Hey, I'm new here! This is my first post, yay. 11. (With their indier-than-thou models posing in various situations) Welcomarooni. 12. It was simple move, hip hop graffiti as massive deception. Kicked its ass up once side and ripped it down the other. So long **Fern Gully**. hello!! if i said Judith Butler wasn't my role model somebody shoot me dammit!! no but seriously, i totally conscider Butler my role model. OMG Look wut this guy sed about BUtler its really mesed up i kant beleive any1 would say sum stuff liek this about her. Im rally pissed about this I hate this guy lol!!11!! 13. Culture wasn't what I wanted, what I've got, no. Wouldn't even open up the door. Never made me feel like I was special. Isn't really what I'm looking for. AS: I see hip hop and blackness nowadays, but little kille4rs and "looseness" do not equal nice tits in the back seat. 14. I’m working on a Les Savy Fav tribute beard. . . I can vouch for the sexiness of the first twenty four days . . . after that it's pure hell, I mean readings, twenty four ways to grow a beard or some tautology like that. Ha, teleology. 15. All words are pretty much pretty much, pretty, every time you wander into existence you make me interview these bums and ass-hat guitar players if you will suck me off I will lk the dog. For the moon-shape of the moon the pop-punk scene of the early 9os or “we played new material based on constructions on the laptop computer. The energy was fantastic I think it was good.” . . . Total music people! 16. We thought about trying to sell our pornos on eBay, but without our heads. As if the sticker on the bumper of Curtis Faville’s ’83 Chevy pick-up said “We like rough sex we are so over the soft-core shit!” 17. I am the Jim Jarmusch of what it’s like to be born in the middle of an IQ test. And to those who are about to invent a totally nu genre, I fear you. 16. (from the “From One Coulee to Another” tourblog) My band the oomlots will be playing in wetaskiwin thru blown speakers. This is a tribute to DEATH! From Sweden! We threaten to rock you. With twist-ties braded through our strings. Our amplifiers go all the way up to heaven. ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sat, 26 Jun 2004 01:20:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Fw: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU MIME-Version: 1.0 Content-Type: multipart/mixed; boundary=--__JNP_000_5d6e.4223.7c64 This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible. ----__JNP_000_5d6e.4223.7c64 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit --------- Forwarded message ---------- From: "L-Soft list server at University at Buffalo (1.8e)" To: Steve Dalachinsky Date: Fri, 25 Jun 2004 14:42:59 -0400 Subject: Rejected posting to POETICS@LISTSERV.BUFFALO.EDU Message-ID: The distribution of your message dated Fri, 25 Jun 2004 14:40:56 -0400 with subject "Re: Mark Rudd is a Dudd (my other half always in check)" has been rejected because you have exceeded the daily per-user message limit for the POETICS list. Other than the list owner, no one is allowed to post more than 2 messages per day. Please resend your message at a later time if you still want it to be posted to the list. ----__JNP_000_5d6e.4223.7c64 Content-Type: message/rfc822 Received: (qmail 537 invoked from network); 25 Jun 2004 18:42:58 -0000 Received: from mailscan1.acsu.buffalo.edu (HELO localhost.localdomain) (128.205.6.133) by listserv.buffalo.edu with SMTP; 25 Jun 2004 18:42:58 -0000 Received: (mailscan1 scanner-smtpd 1.39 1.9 1.15); 25 Jun 2004 18:42:58 -0000 Received: (qmail 721 invoked from network); 25 Jun 2004 18:42:58 -0000 Received: from m24.lax.untd.com (64.136.30.87) by smtp1.acsu.buffalo.edu with SMTP; 25 Jun 2004 18:42:58 -0000 X-UNTD-OriginStamp: FPFQJqvG+t1RbHxIweNtOsWDHFSUUgoZr8pEZJ6pcl108TLTcAD07g== Received: (from skyplums@juno.com) by m24.lax.untd.com (jqueuemail) id JYY8V4GZ; Fri, 25 Jun 2004 11:42:11 PDT To: POETICS@LISTSERV.BUFFALO.EDU Cc: POETICS@LISTSERV.BUFFALO.EDU Date: Fri, 25 Jun 2004 14:40:56 -0400 Subject: Re: Mark Rudd is a Dudd (my other half always in check) Message-ID: <20040625.144601.-67089.17.skyplums@juno.com> X-Mailer: Juno 5.0.33 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit X-Juno-Line-Breaks: 2 From: skyplums@juno.com glad all these pieces have spun off craig's spin off sometimes as he put it it's good to push buttons now this kind od po-interaction is healthy fun not just on and po-lick-talks ----__JNP_000_5d6e.4223.7c64-- ========================================================================= Date: Sat, 26 Jun 2004 01:27:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinsky Subject: Re: ok folks MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit property poverty shit this academia macademia ========================================================================= Date: Sat, 26 Jun 2004 02:31:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Re: ok folks MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii imminent & immanent epigraph & epitaph bale & bail stalactite & stalagmite east & west unconscious & subconscious pinyin & wade giles we & they ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sat, 26 Jun 2004 02:39:13 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Paired to be pared In-Reply-To: <200406260004904.SM01584@psmtp.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Bush and Shrub Shrub and Bush ========================================================================= Date: Sat, 26 Jun 2004 00:45:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Deborah Subject: Re: ok folks In-Reply-To: <20040626063148.82929.qmail@web51501.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-2" Content-Transfer-Encoding: quoted-printable impatience, impatiens pushy pussy us, and them (we we they, all the way home) toxic, intoxication mask, masque monkey, monchichi raison, raisin Strasbourg, Salzburg=20 definitely, defiantly tentacle(s of) spectacle=20 real, Real =AEi=BEek, train wreck (82% of all car accidents happen a mile from home) -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of andrew loewen Sent: Friday, June 25, 2004 11:32 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: ok folks imminent & immanent epigraph & epitaph bale & bail stalactite & stalagmite east & west unconscious & subconscious pinyin & wade giles we & they ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sat, 26 Jun 2004 03:01:24 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Summer.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hr to dawn the torrent's stopped that postponed the subway series last nite...i eat spareribs smothered in hot & duck sauce you can fly me to the moon but you can't take the boy out of the bronx.... hr to dawn..didn't i say that...say that..say hey..drn... ========================================================================= Date: Sat, 26 Jun 2004 04:09:15 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: 2ble Play Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit met yankees moore (less) me (moi) i iraw u u2 he she they weeeeeee.... drn... ========================================================================= Date: Sat, 26 Jun 2004 09:12:10 -0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: Addendum to earlier message re. Carl Rakosi Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed >This failed to get pasted on the original message: > > >For approaching a mystery > and for transcending > which is the origin > of human nature > and where all value is > as beauty is in the eye > there is ceremony. > > So we must get on > with the poem. > > from "As the Body of > Mystery"--Carl Rakosi (1904-2004) ------------------------------------------------ Exigent Futures: New and Selected Poems (2003, Salt Publishing www.saltpublishing.com). Available at www.spdbooks.org and at Amazon.com Living Root: A Memoir (2001, SUNY Press www.sunypress.edu) Available from SUNY Press and Amazon.com ========================================================================= Date: Sat, 26 Jun 2004 07:39:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: apologies for the politics MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable =20 Subject: Defeat of President George W. Bush I acknowledge that this topic falls short of being an appropriate = subject matter on a site dedicated to the topic of poetry and poetic = endeavors, yet I feel compelled to write to friends, family, colleagues = and associates and express my fears and my views in the hope that I can = sway you to take a specific action: vote in the coming election, and = vote against George W. Bush. More specifically, vote to defeat GWB by = voting for whomever receives the Democratic Party's nomination. = (personal aside...I do not like John Kerry, but I dislike and distrust = him less than his opponent) I think our current President and his administration are doing the worst = job of any presidency I have experienced in my life-time. I feel the = stature and reputation of the USA worldwide is at an all time low. = Abroad, Americans are embarrassed to identify themselves as Americans. =20 The president's decisions and actions have sunk the nation into a = quagmire in Iraq for false reasons. In my view, the main lack of = intelligence, despite how Colin Powell tries to spin the issue, has been = in the White House. =20 I don't think the United States as a nation can tolerate 4 more years of = the secretive tactics and duplicity that we have been seeing from the = current administration over the last 3 and a half years. I hope that this letter won't alienate you from me since there are some = out there who think I might actually be a Republican. I am, and have = been for many decades now. I am a Republican because I believe in that = Jeffersonian precept: "...that government is best which governs = least..." =20 And it is the Bush administration's violation of that principal which = drives my actions today and compels me to draft this note.=20 The Bush administration has shifted the emphasis of the Republican party = from its goal of reducing the presence of government in the daily lives = of our citizens to the extreme right. They invade the very privacies = many of our citizens fought to protect and preserve. =20 Despite what some non-Republicans may believe, not all Republicans vote = as robots; most actually do give serious thought to their voter = responsibilities and vote their conscience.=20 I do vote my conscience; I examine the record of candidates; I try to = understand what positions they have taken in the past: where do they = stand on important issues such as healthcare and aid to the poor and the = disenfranchised, and where do they stand on environmental issues. And = for these days of America at war, where do they stand on the topic of = invading independent nations in pre-emptive strikes. =20 It is with clear conscience I ask you to join me in helping to defeat = the Bush machine in its efforts to seek reelection. Come November, = vote, and vote for a candidate who actually has a chance of being = elected...that means a candidate who has a chance of getting sufficient = electoral college votes to become the next president of the United = States. =20 And do not mistake my point here. I do not mean to imply that = Republicans will not vote as a strongly motivated block in this = up-coming election...they will! And many of the cross-over and = independent voters too will join them in supporting the reelection bid = of GWB. =20 And that is exactly why the vote you cast this coming November may well = prove to be the most important vote you will ever cast in your lifetime. = Make it count, don't throw it away on a Green or a Libertarian or an = American Independent Party candidate. Thanks for indulging me here, and I hope you spread the word. =20 Alex ========================================================================= Date: Sat, 26 Jun 2004 11:14:55 -0400 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: "Brian Kim Stefans [arras.net]" Subject: Free Space Comix has moved MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I've had to start a new blog because I toasted my last server by putting all those Flash Polaroids up -- the database got corrupted, so I couldn't rebuild, but the content is all still there. I just won't be adding to it. The new blog is located here, please change your links! http://www.arras.net/fscII/ It still has that unlived in feel to it, that smell of disinfectent and pleather that you get with a new car. Contents so far: Electronic Desires, or Maxell's Demon (poem) Naropa Sound Files (link) p0es1s: The Aesthetics of Digital Poetry (review) Photos from /UBU Opening, June 3rd at LFL Gallery in Chelsea A blurb for Craig Dworkin's Strand And there are some new flash polaroids: http://www.arras.net/polaroids/david_v1.html http://www.arras.net/polaroids/david_2.html http://www.arras.net/polaroids/blood_film_v5x.html http://www.arras.net/polaroids/blood_film_v2.html -- Brian ____ 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, 26 Jun 2004 11:34:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Paired to be pared In-Reply-To: <000801c45b48$4bc919e0$6400a8c0@pearl> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII imminent eminent emenant imminant then than that which major majorant lieutenant ========================================================================= Date: Sat, 26 Jun 2004 11:41:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: ** Last Minute Call to Advertise in Boog City ** Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hurry, hurry. Boog City's July issue is going to press this Wed., June 30, and our discount ad rate is here to stay. We are once again offering a 50% discount on our 1/8-page ads, cutting them from $60 to $30. (The discount rate also applies on larger ads.) Advertise your small press's newest publications, your own titles, your band's new album, your label's new releases, or ask Colin Farrell if the rumors are true. Ads must be in by Tues., June 29 (and please reserve space ASAP) (we're also cool with donations, real cool.) Issue will be distributed on Thurs. July 1. Email 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: Sat, 26 Jun 2004 11:52:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Martha L Deed Subject: Re: Paired to be pared MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit its it's prostate prostrate they're there their ========================================================================= Date: Sat, 26 Jun 2004 09:38:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: James DenBoer Subject: Re: POETICS Digest - 24 Jun 2004 to 25 Jun 2004 (#2004-178) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" violate violet -- PAPERWORK James DenBoer 1517 3rd Street, Sacramento CA 95814 Voice: 916/492-8917 jamesdb@paperwrk.com CA Resale #SR KH 99-478885 Order from Alibris -- http://www.alibris.com ========================================================================= Date: Fri, 25 Jun 2004 08:21:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Summi Kaipa Subject: What's in a Book? A New Langton Fundraiser, June 29 (San Francisco) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Howdy folks! Just wanted to send a notice to let you know that I have organized an event that explores book arts and features work by local and national practitioners of this nebulous (but satisfying) artform. In the gallery, we will have work for sale by over forty artists, including: Jo Jackson, Jen Bervin, Will Yackulic, Nikki Thompson, Marcia Weisbrot, Pang Hui Lim, Hannah Cox, Amanda Davidson, Marisa Jahn, Kirthi Nath, Jody Alexander, Patricia Wakida & Garret Izumi, Darrin Klein, Mary Burger, David Larsen, Jennie Hincliff, Tauba Auerbach, Sara Jaffe, Liz Worthy, Micah Ballard, Keith Shein, Emily Abendroth, Kristin Palm, Eileen Tabios, John Yau & Archie Rand, Tinfish Press, Angry Dog Press, Tim Yu & Cassie Lewis, Rachel Daley, and Etherdome Press. There will also be performances by local literary legends: Amanda Davidson, Mary Burger, and David Larsen Musical performances by Sara Jaffe and Sort of Invisible What's in a Book? Tuesday, June 29, 8pm New Langton Arts 1246 Folsom St San Francisco 5-10 sliding scale Your attendance is much appreciated and necessary! Please spread the word . . . ========================================================================= Date: Sat, 26 Jun 2004 13:30:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Fw: uh MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable color me blew Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Sat, 26 Jun 2004 13:49:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Laurie Price Subject: Re: POETICS Digest - 24 Jun 2004 to 25 Jun 2004 (#2004-178) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit re: question about Amiri Baraka's name -- Baraka is benediction in Arabic -- often said as an invocation for good luck, or used the way we offhandedly say 'thank god' -- and pronounced (in Magrehbi Arabic) with the stress on the 1st syllable. ========================================================================= Date: Sat, 26 Jun 2004 14:24:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: POETICS Digest - 24 Jun 2004 to 25 Jun 2004 (#2004-178) In-Reply-To: <6036E71F.1AD81F54.025AFD1F@cs.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" brokha in hebrew: blessing. At 1:49 PM -0400 6/26/04, Laurie Price wrote: >re: question about Amiri Baraka's name -- > >Baraka is benediction in Arabic -- often said as an invocation for >good luck, or used the way we offhandedly say 'thank god' -- and >pronounced (in Magrehbi Arabic) with the stress on the 1st syllable. -- ========================================================================= Date: Sat, 26 Jun 2004 14:53:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: either way MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable coroner and corner Michael Rothenberg walterblue@bigbridge.org Big Bridge www.bigbridge.org ========================================================================= Date: Sat, 26 Jun 2004 12:41:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Politically Provocative Pairs Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit From CNN Website today: George W. Bush Hitler Mussolini NEW YORK (AP) -- A federal judge offered his "profound regret" Thursday for saying President Bush's rise to power was similar to that of Mussolini and Hitler. Judge Guido Calabresi, 71, of the 2nd U.S. Circuit Court of Appeals in Manhattan, drew an audible gasp from lawyers attending Saturday's convention of the American Constitution Society in Washington, according to the New York Sun, which quoted the speech in Monday's editions. "My remarks were extemporaneous and, in hindsight, reasonably could be -- and indeed have been -- understood to do something which I did not intend, that is, take a partisan position," Calabresi wrote in a letter of apology to Chief Judge John Walker. Calabresi, a former dean of Yale Law School, was quoted saying the U.S. Supreme Court "put somebody in power" when a ruling it made in December 2000 settled the dispute over whether Bush had defeated Al Gore. "In a way that occurred before but is rare in the United States ... somebody came to power as a result of the illegitimate acts of a legitimate institution that had the right to put somebody in power," Calabresi said. "The reason I emphasize that is because that is exactly what happened when Mussolini was put in by the king of Italy. "The King of Italy had the right to put Mussolini in, though he had not won an election, and make him prime minister," the judge continued. "That is what happened when Hindenburg put Hitler in." Calabresi told the lawyers: "I am not suggesting for a moment that Bush is Hitler. I want to be clear on that, but it is a situation which is extremely unusual." Calabresi went on to say the public should expel Bush from office to cleanse the democratic system. "That's got nothing to do with the politics of it. It's got to do with the structural reassertion of democracy," Calabresi was quoted saying. In his letter of apology, Calabresi said he was "deeply sorry" for remarks that were meant as "a rather complicated academic argument about the nature of re-elections after highly contested original elections" -- but that were "too easily taken as partisan." "That is something which judges should do their best to avoid, and there, I clearly failed," he wrote. In a letter to the rest of the appeals judges, Walker said Calabresi's "off-the-cuff" comments had been viewed as a call to oppose Bush's re-election. He warned them to refrain from political activity or public endorsements because partisan political comments violate the Code of Judicial Conduct. ========================================================================= Date: Sat, 26 Jun 2004 17:16:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derekrogerson Organization: derekrogerson.com Subject: Re: baraka In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Ok: Thanks to everyone who responded. I did finally find a Hebrew dictionary (results appended below). It was my understanding that the root of word literally meant 'bended knee' or 'to kneel' (& by implication, to bless God). So it means to "set yourself," "stand still," and "see the Lord with you [ie. to see salvation as consequence]" or physically: "to bow [one's] head with face to the ground in worship of the Lord" (2Chron.20:17-18) i guess like you see muslims doing when they get down on their knees + bend forward with head touching the ground to pray. I understand there are 3 words the writers of the OT used to indicate praise for God: barak ('to kneel in praise'), hala ('to boast/shine in praise' as in 'hallelujah') and yadah ('to cry out or sing out in praise'). So baraka, to me, should mean -- taking the root barak+jah=baraka -- 'to bless jah/yahweh' in the particular manner of the physical act of 'bending the knee'. I wonder if this is what Amiri believes his last name means? i also wonder if the trend for hostage-taking terrorists to have their hostages before them 'on bended knee' and blindfolded (presumably so they can see) is 'a blessing in disguise' so that if the poor hostages would just fear not, nor be dismayed, they would not need to fight since they recognize the battle is not with them, but with God (2Chron.20:15). The so-called terrorists claim to understand this bit. The way the Korean boy screamed out in fear and obvious dismay may have been a slip-up at the-moment-of-truth so-to-speak and may have caused him to experience re-birth because it seemed to me, looking in from the outside as we are, that he wasn't established. I wonder what would happen if the american army pulled out some 'barak' and by consequence 'hala' and 'yadah' (dance before song! ~ there is an obvious progression from barak thru to hala and yadah) -- if that then wouldn't achieve the same accomplishment of 2Chron20.1-26? ah ha or ha ha? barak (baw-rak'): a primitive root; to kneel; by implication to bless God (as an act of adoration), and (vice-versa) man (as a benefit); also (by euphemism) to curse (God or the king, as treason):--X abundantly, X altogether, X at all, blaspheme, bless, congratulate, curse, X greatly, X indeed, kneel (down), praise, salute, X still, thank. halal (haw-lal'): a primitive root; to be clear (orig. of sound, but usually of color); to shine; hence, to make a show, to boast; and thus to be (clamorously) foolish; to rave; causatively, to celebrate; also to stultify:--(make) boast (self), celebrate, commend, (deal, make), fool(- ish, -ly), glory, give (light), be (make, feign self) mad (against), give in marriage, (sing, be worthy of) praise, rage, renowned, shine. yadah (yaw-daw'): a primitive root; used only as denominative from 'yad'; literally, to use (i.e. hold out) the hand; physically, to throw (a stone, an arrow) at or away; especially to revere or worship (with extended hands); intensively, to bemoan (by wringing the hands):--cast (out), (make) confess(-ion), praise, shoot, (give) thank(-ful, -s, -sgiving). i guess looking at yadah that that's how we got 'yada yada yada' which indicates excessive 'out-ness' . . . ? maybe that's what i'm doing here, still guessing ;-) - derek ========================================================================= Date: Sat, 26 Jun 2004 17:48:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: either way In-Reply-To: <01a601c45bae$e4022740$3c03a5d1@ibmw17kwbratm7> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII amphetamine vs. antihistamine This one is especially embarrassing when I've had to take a lot of the latter for my asthma, and I'm trying to explain why I'm so loopy at that moment. Gwyn --- Even while I'm writing, I am listening for crows. -- Louise Erdrich ========================================================================= Date: Sat, 26 Jun 2004 15:52:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Color's Torrid Function! Subject: Democracy MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://www.lewislacook.com/democracy/ Use this form to email the President of the United States with a personal message about what you think this country needs... *************************************************************************** Lewis LaCook net artist, poet, freelance web developer/programmer http://www.lewislacook.com/ Stamen Pistol: http://stamenpistol.blogspot.com/ Database_shortPoems:: http://www.lewislacook.com/poems/shortpoems.php Sidereality: http://www.sidereality.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html --------------------------------- Do you Yahoo!? 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Mail - Send 10MB messages! ========================================================================= Date: Sat, 26 Jun 2004 20:38:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: West Virginia Work/Around MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII West Virginia Work/Around Directory of http://www.clc.wvu.edu/sondheim/files frances jpgs by Frances van Scoy 2460 Jun 18 12:52 00readme_first.txt 4925231 Jun 16 12:28 1969.mp3 4167889 Jun 16 12:28 1971.mp3 3811370 Jun 16 12:28 1973.mp3 2497306 Jun 16 12:28 1974.mp3 54318 Jun 18 11:52 ModernMan.jpg 1445035 Jun 18 11:50 alta 001.jpg 1170009 Jun 18 11:50 alta 003.jpg 896058 Jun 18 11:50 alta 004.jpg 1431634 Jun 18 11:51 alta 006.jpg 1424282 Jun 18 11:51 alta 007.jpg 1388830 Jun 18 11:51 alta 009.jpg 1357715 Jun 18 11:51 alta 011.jpg 1517739 Jun 18 11:51 alta 014.jpg 1468779 Jun 18 11:51 alta 016.jpg 1412133 Jun 18 11:51 alta 017.jpg 1366443 Jun 18 11:51 alta 019.jpg 1462435 Jun 18 11:51 alta 020.jpg 1490285 Jun 18 11:51 alta 021.jpg 1471314 Jun 18 11:51 alta 022.jpg 1470336 Jun 18 11:51 alta 024.jpg 1431461 Jun 18 11:51 alta 025.jpg 1474716 Jun 18 11:51 alta 026.jpg 1478148 Jun 18 11:51 alta 028.jpg 1468563 Jun 18 11:51 alta 029.jpg 1463517 Jun 18 11:51 alta 030.jpg 1488419 Jun 18 11:51 alta 034.jpg 1438912 Jun 18 11:51 alta 036.jpg 1477629 Jun 18 11:51 alta 038.jpg 1494922 Jun 18 11:51 alta 039.jpg 1398715 Jun 18 11:51 alta 041.jpg 1501014 Jun 18 11:51 alta 045.jpg 1476790 Jun 18 11:51 alta 046.jpg 1490244 Jun 18 11:51 alta 047.jpg 1483743 Jun 18 11:51 alta 049.jpg 1402283 Jun 18 11:51 alta 050.jpg 1437415 Jun 18 11:52 alta 051.jpg 1288483 Jun 18 11:52 alta 053.jpg 916001 Jun 18 11:46 america.mov 556979 Jun 21 14:05 arb01.jpg 665435 Jun 21 14:05 arb02.jpg 1169813 Jun 21 14:05 arb03.jpg 658155 Jun 21 14:05 arb04.jpg 631758 Jun 21 14:05 arb05.jpg 509707 Jun 21 14:05 arb06.jpg 705628 Jun 21 14:05 arb07.jpg 924746 Jun 21 14:05 arb08.jpg 893067 Jun 21 14:05 arb09.jpg 641363 Jun 21 14:05 arb14.jpg 919985 Jun 21 14:05 arb18.jpg 1386498 Jun 21 14:05 arb20.jpg 1238264 Jun 21 14:05 arb21.jpg 1470449 Jun 21 14:05 arb22.jpg 1486460 Jun 21 14:05 arb23.jpg 1474731 Jun 21 14:05 arb25.jpg 1385007 Jun 21 14:05 arb26.jpg 1004024 Jun 21 14:05 arb27.jpg 1321802 Jun 21 14:05 arb28.jpg 1445785 Jun 21 14:05 arb29.jpg 1409905 Jun 21 14:05 arb30.jpg 895142 Jun 21 14:05 arb31.jpg 870326 Jun 21 14:05 arb32.jpg 898708 Jun 21 14:05 arb33.jpg 2044416 Jun 26 15:46 bodyTest.avi 1091736 Jun 18 11:52 bone.jpg 438279 Jun 26 15:18 boygirltruck.jpg 1302214 Jun 26 15:18 clc 001.jpg 1292729 Jun 26 15:18 clc 004.jpg 1138304 Jun 26 15:18 clc 005.jpg 1482589 Jun 26 15:18 clc 008.jpg 1507981 Jun 26 15:19 clc 009.jpg 212830 Jun 18 11:52 coald.jpg 189197 Jun 18 11:52 cooper 003.jpg 186486 Jun 18 11:52 cooper 005.jpg 170621 Jun 18 11:52 cooper 006.jpg 189528 Jun 18 11:52 cooper 007.jpg 152690 Jun 18 11:52 cooper 012.jpg 149243 Jun 18 11:52 cooper 013.jpg 148546 Jun 18 11:52 cooper 016.jpg 114979 Jun 18 11:52 cooper 017.jpg 121576 Jun 18 11:52 cooper 018.jpg 129053 Jun 18 11:52 cooper 019.jpg 129455 Jun 18 11:52 cooper 022.jpg 136727 Jun 18 11:52 cooper 023.jpg 142707 Jun 18 11:52 cooper 024.jpg 16272905 Jun 23 00:34 crazyjane.mov 30179840 Jun 18 11:37 danceofdeath.AVI 18893312 Jun 18 11:37 danceofsex.AVI 15746841 Jun 21 14:16 family.mov 1380327 Jun 26 15:24 frances1 001.jpg 1507058 Jun 26 15:24 frances1 002.jpg 1435976 Jun 26 15:24 frances1 003.jpg 1322706 Jun 26 15:24 frances1 004.jpg 1425463 Jun 26 15:24 frances1 005.jpg 1426441 Jun 26 15:24 frances1 006.jpg 1409029 Jun 26 15:24 frances1 007.jpg 1260102 Jun 26 15:24 frances1 009.jpg 1309983 Jun 26 15:24 frances1 010.jpg 1295929 Jun 26 15:24 frances1 011.jpg 1441560 Jun 26 15:24 frances1 013.jpg 1486463 Jun 26 15:24 frances1 015.jpg 1326365 Jun 26 15:24 frances1 016.jpg 1424430 Jun 26 15:24 frances1 017.jpg 1395973 Jun 26 15:24 frances1 018.jpg 1381443 Jun 26 15:24 frances1 019.jpg 1424036 Jun 26 15:24 frances1 020.jpg 1465491 Jun 26 15:24 frances1 021.jpg 1442544 Jun 26 15:24 frances1 022.jpg 1302536 Jun 26 15:24 frances1 023.jpg 167060 Jun 26 15:25 glass 001.jpg 169300 Jun 26 15:25 glass 002.jpg 158759 Jun 26 15:25 glass 003.jpg 165156 Jun 26 15:25 glass 005.jpg 174344 Jun 26 15:25 glass 006.jpg 171902 Jun 26 15:25 glass 007.jpg 182818 Jun 26 15:25 glass 008.jpg 178259 Jun 26 15:25 glass 009.jpg 143587 Jun 26 15:25 glass 010.jpg 130023 Jun 26 15:25 glass 011.jpg 1269127 Jun 23 00:25 graybarker01.jpg 1398865 Jun 23 00:25 graybarker02.jpg 1414364 Jun 23 00:26 graybarker03.jpg 1446099 Jun 23 00:26 graybarker04.jpg 1406112 Jun 23 00:26 graybarker05.jpg 1134259 Jun 23 00:26 graybarker06.jpg 1343809 Jun 23 00:26 graybarker07.jpg 1357060 Jun 23 00:26 graybarker08.jpg 1425808 Jun 23 00:26 graybarker09.jpg 1462612 Jun 23 00:26 graybarker10.jpg 1258557 Jun 23 00:26 graybarker11.jpg 1247554 Jun 23 00:26 graybarker12.jpg 1512208 Jun 23 00:26 graybarker13.jpg 1444954 Jun 23 00:26 graybarker14.jpg 1443097 Jun 23 00:26 graybarker15.jpg 1166753 Jun 23 00:26 graybarker16.jpg 1256538 Jun 23 00:26 graybarker17.jpg 1133363 Jun 23 00:26 graybarker18.jpg 1155229 Jun 23 00:26 graybarker19.jpg 1099011 Jun 23 00:26 graybarker20.jpg 1189714 Jun 23 00:26 graybarker21.jpg 1372863 Jun 23 00:26 graybarker22.jpg 1292182 Jun 23 00:26 graybarker23.jpg 1248678 Jun 23 00:26 graybarker24.jpg 1147275 Jun 23 00:26 graybarker25.jpg 1339596 Jun 23 00:26 graybarker26.jpg 1381900 Jun 23 00:26 graybarker27.jpg 1444366 Jun 23 00:26 graybarker28.jpg 1416427 Jun 23 00:26 graybarker29.jpg 1412162 Jun 23 00:26 graybarker30.jpg 1295630 Jun 23 00:26 graybarker31.jpg 1345325 Jun 23 00:26 graybarker32.jpg 1291098 Jun 23 00:26 graybarker33.jpg 1258853 Jun 23 00:27 graybarker34.jpg 1305645 Jun 23 00:27 graybarker35.jpg 1417282 Jun 23 00:27 graybarker36.jpg 1433629 Jun 23 00:27 graybarker37.jpg 1382765 Jun 23 00:27 graybarker38.jpg 1328675 Jun 23 00:27 graybarker39.jpg 1280922 Jun 23 00:27 graybarker40.jpg 1341730 Jun 23 00:27 graybarker41.jpg 1259101 Jun 23 00:27 graybarker42.jpg 1471328 Jun 23 00:27 graybarker43.jpg 1353551 Jun 23 00:27 graybarker44.jpg 1484480 Jun 23 00:27 graybarker45.jpg 1355025 Jun 23 00:27 graybarker46.jpg 1489670 Jun 23 00:27 graybarker47.jpg 1384128 Jun 23 00:27 graybarker48.jpg 1413623 Jun 23 00:27 graybarker49.jpg 1385722 Jun 23 00:27 graybarker51.jpg 1509810 Jun 23 00:27 graybarker52.jpg 8814074 Jun 18 11:37 help.mov 82258600 Jun 18 11:39 humans.mov 14441000 Jun 26 15:26 hundred.mov 98163 Jun 21 14:05 jere 001.jpg 145091 Jun 21 14:05 jere 002.jpg 101392 Jun 21 14:05 jere 003.jpg 190597 Jun 21 14:05 jere 007.jpg 93901 Jun 21 14:05 jere 010.jpg 99914 Jun 21 14:05 jere 011.jpg 148257 Jun 21 14:05 jere 012.jpg 181786 Jun 21 14:05 jere 014.jpg 156224 Jun 21 14:05 jere 016.jpg 143904 Jun 21 14:05 jere 021.jpg 138036 Jun 21 14:05 jere 025.jpg 184946 Jun 21 14:05 jere 026.jpg 125185 Jun 21 14:05 jere 027.jpg 172171 Jun 21 14:05 jere 028.jpg 186839 Jun 21 14:05 jere 029.jpg 291816 Jun 21 14:05 jere 030.mpg 1603633 Jun 18 11:58 mine.mov 2785280 Jun 18 11:52 moan.mp3 1391201 Jun 26 15:28 morg 001.jpg 1358521 Jun 26 15:28 morg 002.jpg 1499700 Jun 26 15:28 morg 003.jpg 1464669 Jun 26 15:28 morg 005.jpg 1426940 Jun 26 15:28 morg 006.jpg 1462833 Jun 26 15:28 morg 007.jpg 1413027 Jun 26 15:28 morg 009.jpg 1511447 Jun 26 15:28 morg 010.jpg 1471751 Jun 26 15:28 morg 013.jpg 1473749 Jun 26 15:28 morg 014.jpg 1489862 Jun 26 15:28 morg 015.jpg 1460076 Jun 26 15:28 morg 016.jpg 1403674 Jun 26 15:28 morg 019.jpg 162378 Jun 26 15:29 mound01.jpg 149164 Jun 26 15:29 mound03.jpg 147937 Jun 26 15:29 mound04.jpg 170595 Jun 26 15:29 mound05.jpg 142050 Jun 26 15:29 mound06.jpg 148274 Jun 26 15:29 mound07.jpg 150351 Jun 26 15:29 mound08.jpg 193242 Jun 26 15:29 mound09.jpg 184581 Jun 26 15:29 mound40.jpg 182103 Jun 26 15:29 mound41.jpg 191378 Jun 26 15:29 mound42.jpg 175818 Jun 26 15:29 mound43.jpg 187238 Jun 26 15:29 mound44.jpg 1380986 Jun 18 11:52 mtrand 001.jpg 1373398 Jun 18 11:52 mtrand 002.jpg 1475245 Jun 18 11:52 mtrand 005.jpg 1456404 Jun 18 11:53 mtrand 006.jpg 1477303 Jun 18 11:53 mtrand 008.jpg 1427321 Jun 18 11:53 mtrand 009.jpg 1390613 Jun 18 11:53 mtrand 010.jpg 1340629 Jun 18 11:53 mtrand 011.jpg 1314208 Jun 18 11:53 mtrand 012.jpg 1261153 Jun 18 11:53 mtrand 013.jpg 1295825 Jun 18 11:53 mtrand 014.jpg 1477493 Jun 18 11:53 mtrand 015.jpg 1052251 Jun 18 11:53 mtrand 019.jpg 1450369 Jun 18 11:53 mtrand 021.jpg 1402321 Jun 18 11:53 mtrand 022.jpg 1351275 Jun 18 11:53 mtrand 025.jpg 1135777 Jun 18 11:53 mtrand 026.jpg 1472470 Jun 18 11:53 mtrand 031.jpg 1419754 Jun 18 11:53 mtrand 032.jpg 1418257 Jun 18 11:53 mtrand 033.jpg 1433592 Jun 26 15:34 mtrand 042.jpg 1428108 Jun 18 11:53 mtrand 044.jpg 525602 Jun 18 12:53 nina.mov 97340 Jun 26 15:35 no 386435 Jun 26 15:35 out.bvh 41026848 Jun 18 11:47 rosecut.avi 68516824 Jun 18 11:49 rurr.mov 26093056 Jun 26 15:37 service.AVI 1445505 Jun 18 11:49 shortsouth 005.jpg 1407626 Jun 18 11:49 shortsouth 006.jpg 1476034 Jun 18 11:49 shortsouth 007.jpg 1498117 Jun 18 11:49 shortsouth 008.jpg 1481201 Jun 18 11:49 shortsouth 009.jpg 1448609 Jun 18 11:49 shortsouth 010.jpg 1489371 Jun 18 11:49 shortsouth 013.jpg 1515461 Jun 18 11:50 shortsouth 024.jpg 1331083 Jun 18 11:50 shortsouth 025.jpg 1407806 Jun 18 11:50 shortsouth 026.jpg 1379372 Jun 18 11:50 shortsouth 028.jpg 1350480 Jun 18 11:50 shortsouth 029.jpg 1445945 Jun 18 11:50 shortsouth 030.jpg 1428047 Jun 18 11:50 shortsouth 031.jpg 1491717 Jun 18 11:50 shortsouth 035.jpg 1506116 Jun 18 11:50 shortsouth 036.jpg 1490073 Jun 18 11:50 shortsouth 037.jpg 1426360 Jun 18 11:50 shortsouth 038.jpg 1426531 Jun 18 11:50 shortsouth 042.jpg 194563 Jun 18 11:56 shudder.bvh 427717 Jun 18 18:44 surplus.mov 16060220 Jun 20 22:24 thebbridge.mov 5287602 Jun 18 11:54 tune.mp3 1026365 Jun 26 15:45 v26.jpg 38900964 Jun 18 11:44 vel.mov 1364971 Jun 18 11:45 vell 015.jpg 1381942 Jun 18 11:45 vell 016.jpg 1456360 Jun 18 11:45 vell 017.jpg 1490572 Jun 18 11:45 vell 018.jpg 1348998 Jun 18 11:45 vell 019.jpg 1344403 Jun 18 11:45 vell 020.jpg 956593 Jun 18 11:45 vell 021.jpg 1449150 Jun 18 11:45 vell 022.jpg 98365202 Jun 18 11:42 wvus.mov at http://www.asondheim.org/crimescene.mov http://www.asondheim.org/impure.mov http://www.asondheim.org/bare.mov http://www.asondheim.org/portal/.nikuko/ v(number).jpg series _ ========================================================================= Date: Sun, 27 Jun 2004 00:14:54 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Supreme Stooges Bow To Cheney 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 Supreme Stooges Bow To Cheney's Demand For Secret Government: Case Goes Back to Lower Court for Ruling on Open Government Law by Xavier Hollander Angry Cheney Tells Leahy To "Go Fuck [Him]self."---So What? Cheney And Supreme Court Tell Americans, Afghanis And Iraqis To "Go Fuck [Themselves]" With Ruling On Cheney Task Force Energy Industry Grifting Papers: "Scalia wasn't just shooting ducks with Cheney, each duck was symbolic of the American citizenry." HCE Efficient Negroponte Already Has Death Squads Up And Running In Iraq: Ralph Noriega Caught Out Trying To Murder Hugo Chavez: Ken Lay Set To Direct His Criminal Empire From The Slammer by Lotta Hooey 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. ".....at a time when I am speaking to you about the paradox of desire -- in the sense that different goods obscure it -- you can hear outside the awful language of power. There's no point in asking whether they are sincere or hypocritical, whether they want peace of whether they calculate the risks. The dominating impression as such a moment is that something that may pass for a prescribed good; information addresses and captures impotent crowds to whom it is poured forth like a liquor that leaves them dazed as they move toward the slaughter house. One might even ask if one would allow the cataclysm to occur without first giving free reign to this hubbub of voices...." ========================================================================= Date: Sun, 27 Jun 2004 01:02:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: ok folks In-Reply-To: <4F52EF9C-C6E2-11D8-9B66-0003935A5BDA@mwt.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit an entry popped up on languagehat.com talking about a dualogisms-- FAKIR/FAKER http://www.languagehat.com/archives/001422.php ========================================================================= Date: Sun, 27 Jun 2004 02:10:21 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: So the one W Says to the other W MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Brush and Scrub Shrub and Bush ========================================================================= Date: Sun, 27 Jun 2004 04:10:34 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Summer.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit there's no fruit in the house knife skin seed.... dawn....blblackue....drn.... ========================================================================= Date: Sun, 27 Jun 2004 04:19:37 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Pol Rub Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit moore (less) drn-ish ========================================================================= Date: Sun, 27 Jun 2004 05:55:24 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AMBogle2@AOL.COM Subject: Writer's Salary Comments: cc: AMBogle@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I researched salary statistics for WRITER working in New York and suburban Minneapolis (using a program called Salary Expert ePro) and found out the following: I typed in "20" for years of experience and "0" for current salary. The top three skills I listed are: Skill 1: Write stories Skill 2: Edit stories Skill 3: Design narratives Then the program asked me (for New York) to define the mathematical skills required for "writer," and I selected level 4 (on a scale of 1-7, where 1 is simplest and 7 is most complex): "Compute, discount, interest, profit and loss; commission markup, and selling price, ratio proportion, and percentage. Calculate surfaces, volumes, weights, and measures. Algebra: Calculate variables and formulas, monomials and polynomials; ration and proportion variables, and square roots and radicals. Geometry: Calculate plane and solid features, circumference, area, and volume." 5) Crouching -- How often does "writer" require crouching? I selected "occasionally" (thinking of checking lower bookshelves). 6) Following detailed instructions: "Occasionally." For Wayzata, Minnesota (I entered zip code 55391 for nearby Deephaven), the program asked me to define the language skills required for "writer" (on a scale of 1 to 7); I selected 7: "Reading: Read literature, book and play reviews, scientific and technical journals, abstracts, financial reports, and legal documents. Writing: Write novels, plays, editorials, journals, speeches, manuals, critiques, poetry, and songs. Speaking: Conversant in the theory, principles, and methods of effective and persuasive speaking, votive and diction, phonetics, and discussion and debate." 5) Crawling -- how often does this job require crawling? (Not present) 6) Concentration and attention: "Frequently" When I tried this another time, the program asked (for New York) if "writer" required stooping, and for Eden Prairie, Minnesota, whether it required kneeling. Here are the salary results (given for Wayzata/Deephaven, Minnesota in parentheses): "The WRITER working in New York-Manhattan, New York, United States of America now earns $48,694 ($36,254). 50% of those in this position would earn between $33,492 ($24,935) and $54,425 ($40,521) (the 17th and 67th percentiles). These numbers are derived from real, area specific, survey data. Average Total Compensation would be $58,324 ($44,338). The average earner would have an equivalent "Renters' Buying Power" of $34,479 ($40,504)." ========================================================================= Date: Sun, 27 Jun 2004 08:47:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Some naïve questions about (English) poetics. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii 1 Insofar as poetry is a kind of creative violence enacted on the institution(s) of language, isn’t it most at home in the ghetto? (And what happens when the ghetto is more institutionalized than anyplace else?) 2 Given the ongoing colonization of the world’s tongues by the English language and the predominance of English as **the** language of global capital, is it possible to write in English in good faith? 3 Is the fact that English Literature departments in N. America have become a de-fault refuge for “radical” (politicized) thought in an institutional/public context, to some extent, a case of guilt-induced bad-faith? (How should ESL students fare in English courses? Should their work be assessed on the same lines as first-language students – does anyone else struggle w/ this question?) 4. What is to be gained and what lost in granting poetry and poetics the status of intellectual/social labour? If poetry and poetics – writing, criticism, publishing, translation – are not forms of labour (as some argue, at least about the writing), don’t they remain predicated on a labour that is always already elsewhere? – whether one’s day job or the tax-base on which grants and teaching positions depend. Isn’t poetry simply another leisure activity, like golf, origami, crossword puzzles, and garage bands? A tool of sublimation and another instance of the ghettoization of the everyday? If yes, is this good, do we like it this way? 5 Is google-based poetry the work of mere DJs or ‘real’ poets? And why is the distance my sources are from sites/contexts which are preconceived as literary, so important to the merit/originality of my work? As though if I build a table out of other tables, it’s not as much of a table as one fashioned from more ‘raw’ materials. If I want to build a poem out of phrases taken from google searches, nobody much cares, but if I build a poem out of phrases pulled exclusively from previously published poems, it’s plagiarism. Why? Because someone else, another mind, has already done the labour ? If I have the time and capacity to write poetry at all, it’s b/c someone else doesn’t have that liberty. My poems always owe their existence to another’s labour/exploitation. It’s as if what’s most important is the distance of the labour base from the final product. Institutionalized theft – corporate subsidies, unfair trade etc (the free market) – is thus validated while direct, honest theft is subject to legal action. 7. What’s the difference between stealing an idea and stealing a distinct arrangement/order of words? Is(n’t) intellectual property total nonsense? 8. Do people on this list agree about most things that matter to poets or is the total lack of discussion and debate on the list simply the (understandable) result of energies being spent elsewhere right now? ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sun, 27 Jun 2004 12:45:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucas Klein Subject: =?utf-8?Q?Re:_Some_na=C3=AFve_questions_about_=28?= =?utf-8?Q?English=29_poetics.?= MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: 8bit Andrew: > 1 Insofar as poetry is a kind of creative violence > enacted on the institution(s) of language, isn't it > most at home in the ghetto? (And what happens when the > ghetto is more institutionalized than anyplace else?) I read this--with some hesitancy--as an ironic pun referring to the urban ghetto and its actual violence. If that's an appropriate reading, then the naivete of these questions is based on a linguistic slide. Violence in real life is not, of course, violence against language, though the urban ghetto is somewhat institutionalized: a space in a larger urban context practically set aside for poor people and the troubles they bring. But poetry today is ghettoized. It exists almost exlclusively in universities and--in a grand attempt to de-ghettoize poetry--on slam poetry stages. And that, too, is an institutional ghetto: the ghetto of the institute, and the closer you get to contemporary poetry the deeper you walk into the ghetto. > 2 Given the ongoing colonization of the world's > tongues by the English language and the predominance > of English as **the** language of global capital, is > it possible to write in English in good faith? Why not? Was English any more difficult to justify during manifest destiny and English colonialism? Did Roman poets have to justify writing in Latin when Caesar--any Caesar--was expanding the empire? I'm sure Ovid didn't consider halting his writing because of using a tainted language. I know little about Latin poetry, but I imagine that he may have viewed his writings as a way to cleanse the language of its excesses, just as writers in English in the 20th century have wanted to cleanse English. The real problems come in so-called colonial literature written in English. What does English do for Rushdie or Soyinka or Heaney that it doesn't do for Sylvia Plath? > 3 Is the fact that English Literature departments in > N. America have become a de-fault refuge for "radical" > (politicized) thought in an institutional/public > context, to some extent, a case of guilt-induced > bad-faith? (How should ESL students fare in English > courses? Should their work be assessed on the same > lines as first-language students - does anyone else > struggle w/ this question?) ESL students should be given some slack, I suppose, in terms of grammar and phraseology, but I also believe that high demands produce high results. And of course, this isn't what you mean in terms of assessment of work of ESL students, is it? But anyway, what's in bad-faith about being radical and also being in the university? Just because you're a leftist doesn't mean you have to work in a factory, does it? Isn't teaching, isn't writing, some kind of labor, on a similar footing with the assembly line? And aren't so many of us in the university--students, professors, adjuncts, janitors--disenfranchised just as Marx said we'd be? > 4. What is to be gained and what lost in granting > poetry and poetics the status of intellectual/social > labour? > > If poetry and poetics - writing, criticism, > publishing, translation - are not forms of labour (as > some argue, at least about the writing), don't they > remain predicated on a labour that is always already > elsewhere? - whether one's day job or the tax-base on > which grants and teaching positions depend. Isn't > poetry simply another leisure activity, like golf, > origami, crossword puzzles, and garage bands? A tool > of sublimation and another instance of the > ghettoization of the everyday? If yes, is this good, > do we like it this way? what is to be gained: respect for writing, perhaps an end to its marginalization, ghettoization, an end to any shame in saying "I'm a poet" any more than saying "I'm a mechanic". What is to be lost: the notion that many jobs are more strenuous. what is the ghettoization of the everyday, other than an overuse of the term "ghettoization"? > 5 Is google-based poetry the work of mere DJs or > 'real' poets? David Bowie: "I am a DJ, I am what I play". > And why is the distance my sources are from > sites/contexts which are preconceived as literary, so > important to the merit/originality of my work? As > though if I build a table out of other tables, it's > not as much of a table as one fashioned from more > 'raw' materials. most of us believe that originality and value are entwined. Perhaps this has to do with a Benjamaniacal aura or mystique we want art to have. perhaps it's again related to labor: we don't think you're working hard enough if you're just copying. Even if copying itself is an art form ("bad poets imitate; good poets steal" is a good quote, even if I'm sure it's a misquote, from T. S. Eliot). > If I want to build a poem out of phrases taken from > google searches, nobody much cares, but if I build a > poem out of phrases pulled exclusively from previously > published poems, it's plagiarism. Why? Because someone > else, another mind, has already done the labour ? right. But not exactly. In the west plagiarism depends not only on using someone else's labor, but on taking credit for it yourself. If you assume--as the modernists did--that the reader recognizes the sources, then it isn't plagiarism. If you assume that the reader doesn't recognize the reference and credits you with the originality, and then you get caught, that's when they call the deans. Pierre Menard, author of the Quixote, was not a plagiarist. > If I have the time and capacity to write poetry at > all, it's b/c someone else doesn't have that liberty. > My poems always owe their existence to another's > labour/exploitation. why is your liberty served on the backs of others' indenture? > It's as if what's most important is the distance of > the labour base from the final product. > Institutionalized theft - corporate subsidies, unfair > trade etc (the free market) - is thus validated while > direct, honest theft is subject to legal action. Bob Dylan: "steal a little and they put you in jail / steal a lot and they make you king" but I still don't think it's a matter of distance, but of attitude. A translator is a translator when he or she acknowledges the act of translation, a poet when he or she calls it imitation, and either an academic poet or a plagiarist when he or she doesn't acknowledge it at all. The distance is always the same. Clayton Eshleman's upper-paleolithic is more removed than Gary Snyder's Pacific Northwest mountains, but that doesn't make Snyder less of a poet. > 7. What's the difference between stealing an idea and > stealing a distinct arrangement/order of words? > Is(n't) intellectual property total nonsense? intellectual property is total nonsense (do I contradict myself? very well, I contradict myself). Is it a coincidence that intellectual property laws come up most often these days when talking about China, a country whose civilization gave great respect to those who could quote the best? But references in classical Chinese poetry are like references in Ulysses or The Cantos: you assume they're there, even when no one comes out and says for sure. The tradition was more stable, and the people who could read did read, and there weren't many of them anyway, so if Li Bai takes a line from Qu Yuan then everyone knows that he's taking a line from Qu Yuan. And if Wang Wei retells the same story as Tao Yuanming, everyone knows he's telling the same story as Tao Yuanming. Today we have footnotes for that. Then they had education. Perhaps the point of education is to create something on your own, to add to what is given to you. This might be the western response to "what's the difference between stealing an idea and stealing a distinct order of words?" I'm sure we all know that you can do a lot with words, with changing their meaning, even if we maintain their order. But in the Chinese tradition--when there wasn't really "stealing ideas" or "stealing words"--using an ancient's words could boost your own ideas, and words, and turn them into something greater than they would be without the ancient's contribution. Like a blurb on the back of a book, rather than a trial surrounding it. > 8. Do people on this list agree about most things that > matter to poets or is the total lack of discussion and > debate on the list simply the (understandable) result > of energies being spent elsewhere right now? > Do we all assume we agree about everything, so we don't mention it? Aren't all our ideas so reasonable anyone else should agree? Why bring it up if we all agree, even if we don't really agree? Lucas ________________________________________ "There are two ways of knowing, under standing and over bearing. The first is called wisdom. The second is called winning arguments." --Kenneth Rexroth Lucas Klein LKlein@cipherjournal.com 11 Pearl Street 中國北京市豐臺區蒲黄榆路 New Haven, CT 06511 1 號 142 ä¿¡ç®± 100075 ph: 203 676 0629 手機: 135 2073 8294 www.CipherJournal.com ========================================================================= Date: Sun, 27 Jun 2004 10:06:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: LA: event cancellation MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The June last Sunday event at the smell in Los Angeles has been cancelled. Continuous Peasant will not be playing at the smell tonight. The next event at the smell will be the last Sunday in July. Chris Piuma will read; his band, the Minor Thirds, will play. There will also be an independent film screening. All best, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Sun, 27 Jun 2004 16:30:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michelle mail Subject: =?iso-8859-1?Q?Re:_Some_na=EFve_questions_about_=28English=29_poetics.?= MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > > 1 Insofar as poetry is a kind of creative violence > > enacted on the institution(s) of language, isn't it > > most at home in the ghetto? The terminology of "language as creative violence" is one that I myself am not familiar with -- brings to mind people who think the language is being polluted / violated . . . . I doubt it's a dominant one. Suggesting that poetry would be at home in the ghetto because it is...violent? (Classist?) Or at home in the ghetto because the ghetto is anti-instutional (this point, you yourself counter with the suggestion that the ghetto is an institution.) > > 2 Given the ongoing colonization of the world's > > tongues by the English language and the predominance > > of English as **the** language of global capital, is > > it possible to write in English in good faith? Well, you could say that this makes English an imperialistic language, becasue it has been inflicted as product of imperialism. Or, you could say that so many different peoples now speak English that the language now encompasses various culture/histories and that all of these people are contained within English -- to say that English is the language of the conqueror at this point would be inaccurate as the British / Americans / Australians / Canadians etc are far from the only writers in an anglophone tongue. Isn't it just as pompous to assume that any other country's home language would be our own? > > 3 Is the fact that English Literature departments in > > N. America have become a de-fault refuge for "radical" (politicized) thought in an institutional/public context, to some extent, a case of guilt-induced bad-faith? >>(How should ESL students fare in English >>courses? Should their work be assessed on the same >>lines as first-language students - does anyone else >> struggle w/ this question?) In my opinion, in high school (public school) it is the job of the school to lift up the student in the areas in which they are behind. One cannot expect the child to have the personal iniative of an adult. We all enter the public school system at around the same age (if we are born here), attend the same number of grades, etc. College is necessarily built to be not an "equal playing ground" in the same way - for example, everyone does not enter any given college, but a certain track record is required. Some people enter after high school, others enter after 20 years of being a mechanic, 22 years after taking their last Algebra class. In college, in adulthood, it is the job of the students themselves to compensate for any deficiencies they might have by remedials, etc. This is because it is imperative that people can do their jobs correctly - for instance, a doctor needs to have certain knowledges, as does a lawyer - and an English teacher is just the same. To allow people to pass on lower standards because they didn't learn English previously is to allow poorer students to become doctors, lawyers, etc . . . . College is not based on effort - while a mentally-handicapped person might have special needs that are met in public school (or not met as they are) and special needs, to graduate with a bachelor's degree from any given school any person who wishes to graduate - mentally hadnicapped or otherwise - must be able to complete given courses. A college degree is not a right - should it be? > > 4. What is to be gained and what lost in granting > > poetry and poetics the status of intellectual/social > > labour which grants and teaching positions depend. Isn't > > poetry simply another leisure activity, like golf, > > origami, crossword puzzles, and garage bands? I would argue the only difference between leisure activities & "a career" is the demand -- not necessarily anythign that has to do with value, dedication, etc -- just plain demand. If suddenly an origami fad breaks out, the origami folder may become an origami instructor. So it is/would be with poetry. What is or isn't a job has nothign to do about whether it's "actual work" -- whether it's difficult, it's serious, it involves labor -- it is an economic designation. Anyone who would claim that poetry is not labor (in my opinion) knows nothing of poetry - it is obvious to any poet or student of English that poetry is of a complex nature, not something one does while watching TV and eating a donut. > > 5 Is google-based poetry the work of mere DJs or > > 'real' poets? Word-clumps and words are materials alike, just as are the printed matter of the collage maker and the paint of the oil painter. I think it depends on the content - depends if something is truly gained by any paritcular arrangement or comibination of the texts. >> And why is the distance my sources are from > > sites/contexts which are preconceived as literary, so > > important to the merit/originality of my work? As > > though if I build a table out of other tables, it's > > not as much of a table as one fashioned from more > > 'raw' materials. I agree with Lucas - probably has to do with originality, and probably even more so the amount of labor involved. The less "poemy" or literary the text is, the more labor needed to transform it into your own work. > > If I want to build a poem out of phrases taken from > > google searches, nobody much cares, but if I build a > > poem out of phrases pulled exclusively from previously > > published poems, it's plagiarism. Why? Because someone > > else, another mind, has already done the labour ? Lucas answered this question much better If I have the time and capacity to write poetry at > > all, it's b/c someone else doesn't have that liberty. > > My poems always owe their existence to another's > > labour/exploitation. To me this could be construed several ways: -- that you are not laboring, and therefore, living off products of other people's labor (I personally believe that intellectual/social labor is still labor and thus one can consider oneself self-sufficient) -- because you are in a developed country, underlying the products you consume etc etc is slave labor, child labor, and all sorts of imperialistic horrors - this would obviously be no less true if you were a mechanic, you'd still be eating the same things and using the same gasoline, etc. > > It's as if what's most important is the distance of > > the labour base from the final product. > > Institutionalized theft - corporate subsidies, unfair > > trade etc (the free market) - is thus validated while > > direct, honest theft is subject to legal action. What's most important is if you can buy your way out. 7. What's the difference between stealing an idea and > > stealing a distinct arrangement/order of words? > > Is(n't) intellectual property total nonsense? > I think intellectual property is nonsense. Stealing an arrangement of words is legally provable, while "stealing an ideal" is a much less tangible concept. I think generally the main times when we need to deal with this particular concept are matters of conscience. > > 8. Do people on this list agree about most things that > > matter to poets or is the total lack of discussion and > > debate on the list simply the (understandable) result > > of energies being spent elsewhere right now? I doubt we agree about everything. ========================================================================= Date: Sun, 27 Jun 2004 16:35:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: answers to etc. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable 1 Insofar as poetry is a kind of creative violence enacted on the institution(s) of language, isn't it most at home in the ghetto? (And what happens when the ghetto is more institutionalized than anyplace else?) I'm afraid you have matters reversed. Poetry is creative violence = enacted upon the poet by the language. Therefore, your conclusion is = inaccurate, neither social status nor place of residence protect the = poet from the pain of producing nor the pain from rejection.=20 2 Given the ongoing colonization of the world's tongues by the English language and the predominance of English as **the** language of global capital, is it possible to write in English in good faith? Globalization of any language does not prohibit users of the language = from doing so with honesty and candor. Globalization and Honesty in = expression are not mutually exclusive conditions. Poets writing in any = language, even in techno-speak may, if they choose write honestly and = candidly. Can there be any better example of attempting to communicate = in good faith? That, and remember, all languages are merely tools = created to facilitate communication...having been developed by humans, = language is not perfect. The flaws in creation result directly from the = flaws in the language systems, English or any other. More, the best = poets...I.e. the most honest are those who challenge the traditions = within their language and work to expand the horizons of the language = itself in order to communicate more clearly and concisely with other = humans.=20 3 Is the fact that English Literature departments in N. America have become a de-fault refuge for "radical" (politicized) thought in an institutional/public context, to some extent, a case of guilt-induced bad-faith? (How should ESL students fare in English courses? Should their work be assessed on the same lines as first-language students - does anyone else struggle w/ this question?) No; E. L. depts are now, as they have been throughout my entire = lifetime, the safe haven for the lazy. There is nothing political in the = choice at all. It was the lure of not having to lift heavy weights nor = work in mud, oil and grease, or smelly fishy things that drew me to the = faculty arena, and E.L. was the easiest way to get the degree. Face it, = in liberal arts, you don't have to walk around with a PDA (sliderule in = my day), and you never have to make any effort to understand complex = subjects such as Calculus or Quantum Physics...you need only remember = titles, names, dates, forms, and silly metrical stanzaic forms and = patterns. =20 And the development of ESL programs was merely a way for the E.L. = faculty members to expand their arena and open their private haven to = some of their two-language literate friends. I admire that.=20 4. What is to be gained and what lost in granting poetry and poetics the status of intellectual/social labour? Nothing at all, so why do it?=20 If poetry and poetics - writing, criticism, publishing, translation - are not forms of labour (as some argue, at least about the writing), don't they remain predicated on a labour that is always already elsewhere? - whether one's day job or the tax-base on which grants and teaching positions depend. Isn't poetry simply another leisure activity, like golf, origami, crossword puzzles, and garage bands? A tool of sublimation and another instance of the ghettoization of the everyday? If yes, is this good, do we like it this way? Poetry is not "intellectual"; it is a craft exactly the same as = cabinetry. A cabinet maker improves over time spent with the tools = building cabinets...the poet too must spend time with the tools of the = trade building poems. =20 In some corners of the universe there is a notion that poetry is the = province of the literate; there in lies the problem. Poetry was the = province of the people who speak the language. In civilized Western = cultures however, poetry has unfortunately been usurped from the people = by professors who confined to the hallowed halls for study. One should not study poetry; one should write it, or speak it, or read = it, or best of all, one should hear it spoken, whispered or shouted, or = even sung slightly off-key and somewhat discordant. =20 5 Is google-based poetry the work of mere DJs or 'real' poets? I know of the google search engine, but I'm unfamiliar with the verse it = "creates?" I'd appreciate some instruction on how I might familiarize = myself with the stuff.=20 And why is the distance my sources are from sites/contexts which are preconceived as literary, so important to the merit/originality of my work? As though if I build a table out of other tables, it's not as much of a table as one fashioned from more 'raw' materials. If I want to build a poem out of phrases taken from google searches, nobody much cares, but if I build a poem out of phrases pulled exclusively from previously published poems, it's plagiarism. Why? Because someone else, another mind, has already done the labour ? If I have the time and capacity to write poetry at all, it's b/c someone else doesn't have that liberty. My poems always owe their existence to another's labour/exploitation. It's as if what's most important is the distance of the labour base from the final product. Institutionalized theft - corporate subsidies, unfair trade etc (the free market) - is thus validated while direct, honest theft is subject to legal action. 7. What's the difference between stealing an idea and stealing a distinct arrangement/order of words? Is(n't) intellectual property total nonsense? Intellectual property is the creation of the Capitalist money mongers; = it's as real an idea as the concept that little slips of paper printed = with pictures of old dead guys has value. 8. Do people on this list agree about most things that matter to poets or is the total lack of discussion and debate on the list simply the (understandable) result of energies being spent elsewhere right now? I have over the past many months read a good many comments on the site; = too often though, the comments seemed to be more personal attacks than = critical analysis of a point. But that too is valid commentary, = assuming it doesn't lead to punches in the nose. =20 ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sun, 27 Jun 2004 20:03:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Re: Some naive questions about (English) poetics MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii michelle mail wrote: >>The terminology of "language as creative violence" is one that I myself am not familiar with -- brings to mind people who think the language is being polluted / violated . . . . I doubt it's a dominant one.>> I think it’s quite common to understand metre, rhyme, enjambment, and various poetic techniques as ‘instruments of violence’ following the Russian formalists, no? -Specifically I’d cite: 1.Viktor Shklovsky’s discussion of the “roughening” of everyday speech in “Art as Technique.” 2.Mukarovsky in __On Poetic Language__ : Renewal in poetic language appears, both with respect to the previous developmental period and in comparison with the norm of the literary language, as a certain violence against language, and therefore one speaks about the deformational character of poetic language. It is, however, necessary to use this term, albeit a rather telling one, carefully. Only in some schools and in some developmental periods is it a matter of apparent violence tending toward real destruction or at least toward a loosening of the previous forms of poetic expression or the forms of normal literary communication. At other times deviations from poetic tradition or from literary usage are less discernible, being instead only a special application of a given means of expression. It is even possible that in some periods (and also in some literary genres) a considerable approximation of the poetic and literary languages may take place so that the impression of the deviation of poetic expression almost vanishes, and poetic genres stand undifferentiated in close proximity to the communicative genres of literature. This happens especially when both parties meet head-on in the middle of the road, that is, when the language of communicative literature takes on a strong aesthetic coloration. We see such a state of affairs particularly during periods of classicism, and this is the desire of all classicistically-minded theoreticians. None of these states—neither the greatest mutual separation of the literary and poetic languages, nor their maximal approximation, nor, finally, the golden mean—is, however, a permanent ideal, for poetic language is constant change. 3. Jean-Jacques Lecercle in __The Violence of Language__: Language is no longer a mere instrument, it seems to have acquired a life of its own. Language speaks, it follows its own rhythms, its own partial coherence, it proliferates in apparent, sometimes, violent, chaos. . . There is another side to language, one that escapes the linguist's attention, not because of his temporary failure or failings, but for necessary reasons. This dark side emerges in nonsensical and poetic texts, in the illumination of mystics and the delirium of logophiliacs or mental patients. . . . I have called it "the remainder" Jean-Jacques Lecercle in __The Violence of Language__ 4. “Every sentence is supposed to remind the reader of his or her inability to respond." RON SILLIMAN 5. "Words strain, Crack and sometimes break under the burden, Under the tension, slip, slide, perish, Decay with imprecision, will not stay in place, Will not stay still." -T.S. Eliot * * * Lucas Klein: >>and the closer you get to contemporary poetry the deeper you walk into the ghetto.>> Too bad all I can hear is Elvis right now. Lucas Klein: >>what is the ghettoization of the everyday, other than an overuse of the term "ghettoization"?>> michelle mail: >>Suggesting that poetry would be at home in the ghetto because it is...violent? (Classist?)>> “Or to put it another way, if we regard everyday life as the frontier between the dominated and the undominated sectors of life, and thus as the terrain of chance and uncertainty, it would be necessary to replace the present ghetto with a constantly moving frontier; to work ceaselessly toward the organization of new chances.” GUY DEBORD Further (DEBORD): “. . . everyday life is organized within the limits of a scandalous poverty, and above all because there is nothing accidental about this poverty of everyday life: it is a poverty that is constantly imposed by the coercion and violence of a society divided into classes, a poverty historically organized in line with the evolving requirements of exploitation. The use of everyday life, in the sense of a consumption of lived time, is governed by the reign of scarcity: scarcity of free time and scarcity of possible uses of this free time. Just as the accelerated history of our time is the history of accumulation and industrialization, so the backwardness and conservative tendencies of everyday life are products of the laws and interests that have presided over this industrialization. Everyday life has until now resisted the historical. This represents first of all a verdict against the historical insofar as it has been the heritage and project of an exploitive society. The extreme poverty of conscious organization and creativity in everyday life reflects the fundamental necessity for unconsciousness and mystification in a society of exploitation and alienation.” “If neighborhoods are not considered as pathological elements (ganglands), we will not be able to develop new techniques (therapies).” ATTILA KOTÁNYI ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sun, 27 Jun 2004 20:58:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: answers to etc. In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Sun, 27 Jun 2004, alexander saliby wrote: > 1 Insofar as poetry is a kind of creative violence > enacted on the institution(s) of language, isn't it > most at home in the ghetto? (And what happens when the > ghetto is more institutionalized than anyplace else?) What is "the" ghetto? And why "violence" - why not caress or intervention? > I'm afraid you have matters reversed. Poetry is creative violence > enacted upon the poet by the language. Therefore, your conclusion is > inaccurate, neither social status nor place of residence protect the > poet from the pain of producing nor the pain from rejection. Again, why violence? > Globalization of any language does not prohibit users of the language > from doing so with honesty and candor. Globalization and Honesty in > expression are not mutually exclusive conditions. Poets writing in any > language, even in techno-speak may, if they choose write honestly and > candidly. Can there be any better example of attempting to communicate > in good faith? That, and remember, all languages are merely tools > created to facilitate communication...having been developed by humans, > language is not perfect. The flaws in creation result directly from the > flaws in the language systems, English or any other. More, the best > poets...I.e. the most honest are those who challenge the traditions > within their language and work to expand the horizons of the language > itself in order to communicate more clearly and concisely with other > humans. Why couple poetry and poets with honesty? What does honesty have to do with poetry at all? > No; E. L. depts are now, as they have been throughout my entire > lifetime, the safe haven for the lazy. There is nothing political in the > choice at all. It was the lure of not having to lift heavy weights nor > work in mud, oil and grease, or smelly fishy things that drew me to the > faculty arena, and E.L. was the easiest way to get the degree. Face it, > in liberal arts, you don't have to walk around with a PDA (sliderule in > my day), and you never have to make any effort to understand complex > subjects such as Calculus or Quantum Physics...you need only remember > titles, names, dates, forms, and silly metrical stanzaic forms and > patterns. You should have to make this effor and I'd recommend Zaurus for the PDA. > 4. What is to be gained and what lost in granting > poetry and poetics the status of intellectual/social > labour? > Nothing at all, so why do it? > If poetry and poetics - writing, criticism, > publishing, translation - are not forms of labour (as > some argue, at least about the writing), don't they > remain predicated on a labour that is always already > elsewhere? - whether one's day job or the tax-base on > which grants and teaching positions depend. Isn't > poetry simply another leisure activity, like golf, > origami, crossword puzzles, and garage bands? A tool > of sublimation and another instance of the > ghettoization of the everyday? If yes, is this good, > do we like it this way? Of course it's labor and intellectual labor is labor, even since Adrian Piper and Seth Siegelaub at least recognized this in the 70s. > Poetry is not "intellectual"; it is a craft exactly the same as > cabinetry. A cabinet maker improves over time spent with the tools > building cabinets...the poet too must spend time with the tools of the > trade building poems. And of course poetry is intellectual as is cabinet-making; having known a number of cabinet-makers, I can attest to this. But poetry begins with a blank field at times, as with art; cabinet-making begins with function and design, as does industrial design and advertising. > > In some corners of the universe there is a notion that poetry is the > province of the literate; there in lies the problem. Poetry was the > province of the people who speak the language. In civilized Western > cultures however, poetry has unfortunately been usurped from the people > by professors who confined to the hallowed halls for study. Poetry is the province of no one. > One should not study poetry; one should write it, or speak it, or read > it, or best of all, one should hear it spoken, whispered or shouted, or > even sung slightly off-key and somewhat discordant. Why shouldn't one study it? And cabinet-making for that matter? > > 5 Is google-based poetry the work of mere DJs or > 'real' poets? What's a 'real' poet? > 7. What's the difference between stealing an idea and stealing a > distinct arrangement/order of words? Is(n't) intellectual property total > nonsense? Intellectual property is the creation of the Capitalist money > mongers; it's as real an idea as the concept that little slips of paper > printed with pictures of old dead guys has value. No, because intellectual property is labor. > 8. Do people on this list agree about most things that matter to poets > or is the total lack of discussion and debate on the list simply the > (understandable) result of energies being spent elsewhere right now? I > have over the past many months read a good many comments on the site; > too often though, the comments seemed to be more personal attacks than > critical analysis of a point. But that too is valid commentary, > assuming it doesn't lead to punches in the nose. > Well, most people wouldn't agree certainly with me, and probably not with each other, but that's what makes poet races. - Alan ========================================================================= Date: Sun, 27 Jun 2004 21:21:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Zimmerman Subject: =?iso-8859-1?Q?Re:_Some_na=EFve_questions_about_=28English=29_poetics.?= Comments: cc: Daniel Zimmerman MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT ----- Original Message ----- From: "andrew loewen" To: Sent: Sunday, June 27, 2004 8:47 AM Subject: Some naïve questions about (English) poetics. 1 Insofar as poetry is a kind of creative violence enacted on the institution(s) of language, isn't it most at home in the ghetto? (And what happens when the ghetto is more institutionalized than anyplace else?) A: If you mean a ghetto of the spirit, like Spicer's English Dept., that sounds like one place among many marginalizations that might function (however de facto) as a "home" for poetry-but as a "most at home" situation? That smacks of special pleading. The 'ghetto' you feel yourself in, even stuck in, yeah, but not where you pay rent to The Man. Quite the contrary. Remember: 'ghetto' means 'arsenal.' 2 Given the ongoing colonization of the world's tongues by the English language and the predominance of English as **the** language of global capital, is it possible to write in English in good faith? A: You write in good faith if you write in good faith. If some, afflicted with selective deafness, can't hear that, it says nothing about the author's intention ('good faith'). Does English 'colonize'? No: 'the yap is not the territory.' 3 Is the fact that English Literature departments in N. America have become a de-fault refuge for "radical" (politicized) thought in an institutional/public context, to some extent, a case of guilt-induced bad-faith? (How should ESL students fare in English courses? Should their work be assessed on the same lines as first-language students - does anyone else struggle w/ this question?) A: Well, yes (and, well, yes). As a professor and associate chair of English in a very 'diverse' college, I've witnessed a multi-year war between my department and ESL-still unresolved-about 'standards.' ESL (and some of my colleagues) lean toward leniency; I disagree, and push a Standard American English model, assuming that my students should strive to 'level the playing field' as soon as possible by eliminating the 'noise' of idiolect in writing. 4. What is to be gained and what lost in granting poetry and poetics the status of intellectual/social labour? If poetry and poetics - writing, criticism, publishing, translation - are not forms of labour (as some argue, at least about the writing), don't they remain predicated on a labour that is always already elsewhere? - whether one's day job or the tax-base on which grants and teaching positions depend. Isn't poetry simply another leisure activity, like golf, origami, crossword puzzles, and garage bands? A tool of sublimation and another instance of the ghettoization of the everyday? If yes, is this good, do we like it this way? A: "Isn't poetry simply another leisure activity?" Not for me. I work 2 ½ jobs, so I have no leisure. I don't exploit anyone in those jobs (indeed, teaching a full load-plus-of adjunct courses for 25 years at 1/3 of full-time pay numbers me among the exploited). The fact that my salary comes from somewhere doesn't mean I don't work for it. CEOs who make an average of 600 times the salary of an average worker certainly exploit the system; teachers, who make less than other professionals, simply don't. What poets write for money, anyhow? Maya Angelou for Hallmark cards? For me, poetry proposes a wholly different economy, one not based on the 'full faith and credit' of any particular national entity. 5 Is google-based poetry the work of mere DJs or 'real' poets? And why is the distance my sources are from sites/contexts which are preconceived as literary, so important to the merit/originality of my work? As though if I build a table out of other tables, it's not as much of a table as one fashioned from more 'raw' materials. If I want to build a poem out of phrases taken from google searches, nobody much cares, but if I build a poem out of phrases pulled exclusively from previously published poems, it's plagiarism. Why? Because someone else, another mind, has already done the labour ? If I have the time and capacity to write poetry at all, it's b/c someone else doesn't have that liberty. My poems always owe their existence to another's labour/exploitation. It's as if what's most important is the distance of the labour base from the final product. Institutionalized theft - corporate subsidies, unfair trade etc (the free market) - is thus validated while direct, honest theft is subject to legal action. A: To the extent that readers still believe in authors (most haven't heard of the author's 'death'), they legitimately expect to read the views of a specific individual. To cheat them of that entitlement does not consort with integrity. However much institutions thieve, we need not 'become what we behold,' as Blake said. "My poems always owe their existence to another's labour/exploitation." To use this belief as an excuse to mirror it indulges in the 'bandwagon' fallacy. 7. What's the difference between stealing an idea and stealing a distinct arrangement/order of words? Is(n't) intellectual property total nonsense? A: If you don't know the difference, wait until someone steals your words or ideas and represents them as his or her own. Do you have a lawyer? Do you own a gun? 8. Do people on this list agree about most things that matter to poets or is the total lack of discussion and debate on the list simply the (understandable) result of energies being spent elsewhere right now? A: I don't claim to possess psychic powers. ========================================================================= Date: Sun, 27 Jun 2004 22:12:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michelle reeves Subject: Re: Some naive questions about (English) poetics MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit I think I understand now... I understand language as "deformation", as alteration, as rearrangement, deconstruction, if that is the road you are going down. "and in some developmental periods is it a matter of apparent violence tending toward real destruction or at least toward a loosening of the previous forms of poetic expression or the forms of normal literary communication. " (((I'm not sure I like the term "violence": 1.. Physical force exerted for the purpose of violating, damaging, or abusing: crimes of violence. 2.. The act or an instance of violent action or behavior. 3.. Intensity or severity, as in natural phenomena; untamed force: the violence of a tornado. 4.. Abusive or unjust exercise of power. 5.. Abuse or injury to meaning, content, or intent: do violence to a text. 6.. Vehemence of feeling or expression; fervor. Alteration / deconstruction as violating, as abusing, as injury... i would say that my personal love for language and that I see in almost all poets I know compells me to say that what tehy are doing is not violence.. Anyhow, to continue))) "It is even possible that in some periods (and also in some literary genres) a considerable approximation of the poetic and literary languages may take place so that the impression of the deviation of poetic expression almost vanishes, and poetic genres stand undifferentiated in close proximity to the communicative genres of literature" So if it is highly differentiated, it is violence? Am I following you? I do love your LeCercle quote though. Semantics, semantics. Llike Lucas, I felt that I totally didn't understand your " violence ---> ghetto" connection. It made it seem like perhaps you meant violence in a more literal way, or were making an interesting joke. And the quotes you put to explain how you made that connection didn't seem to help. Could you say more? ----- Original Message ----- From: "andrew loewen" To: Sent: Sunday, June 27, 2004 8:03 PM Subject: Re: Some naive questions about (English) poetics > michelle mail wrote: > >>The terminology of "language as creative violence" > is one that I myself am > not familiar with -- brings to mind people who think > the language is being > polluted / violated . . . . I doubt it's a dominant > one.>> > > I think it's quite common to understand metre, rhyme, > enjambment, and various poetic techniques as > 'instruments of violence' following the Russian > formalists, no? > > -Specifically I'd cite: > > 1.Viktor Shklovsky's discussion of the "roughening" of > everyday speech in "Art as Technique." > > 2.Mukarovsky in __On Poetic Language__ : > > > > Renewal in poetic language appears, both with respect > to the previous developmental period and in comparison > with the norm of the literary language, as a certain > violence against language, and therefore one speaks > about the deformational character of poetic language. > It is, however, necessary to use this term, albeit a > rather telling one, carefully. Only in some schools > and in some developmental periods is it a matter of > apparent violence tending toward real destruction or > at least toward a loosening of the previous forms of > poetic expression or the forms of normal literary > communication. At other times deviations from poetic > tradition or from literary usage are less discernible, > being instead only a special application of a given > means of expression. It is even possible that in some > periods (and also in some literary genres) a > considerable approximation of the poetic and literary > languages may take place so that the impression of the > deviation of poetic expression almost vanishes, and > poetic genres stand undifferentiated in close > proximity to the communicative genres of literature. > This happens especially when both parties meet head-on > in the middle of the road, that is, when the language > of communicative literature takes on a strong > aesthetic coloration. We see such a state of affairs > particularly during periods of classicism, and this is > the desire of all classicistically-minded > theoreticians. None of these states-neither the > greatest mutual separation of the literary and poetic > languages, nor their maximal approximation, nor, > finally, the golden mean-is, however, a permanent > ideal, for poetic language is constant change. > > 3. Jean-Jacques Lecercle in __The Violence of > Language__: > > Language is no longer a mere instrument, it seems to > have acquired a life of its own. Language speaks, it > follows its own rhythms, its own partial coherence, it > proliferates in apparent, sometimes, violent, chaos. . > . There is another side to language, one that escapes > the linguist's attention, not because of his temporary > failure or failings, but for necessary reasons. This > dark side emerges in nonsensical and poetic texts, in > the illumination of mystics and the delirium of > logophiliacs or mental patients. . . . I have called > it "the remainder" > Jean-Jacques Lecercle in __The Violence of Language__ > > 4. "Every sentence is supposed to remind the reader of > his or her inability to respond." > > RON SILLIMAN > > > > 5. "Words strain, > Crack and sometimes break under > the burden, > Under the tension, slip, > slide, perish, > Decay with > imprecision, will not stay in place, > Will > not stay still." > > > -T.S. Eliot > > > > * * * > > > > Lucas Klein: > >>and the closer you get to contemporary poetry the > deeper you walk > into the ghetto.>> > > Too bad all I can hear is Elvis right now. > > Lucas Klein: > >>what is the ghettoization of the everyday, other > than an overuse of the term > "ghettoization"?>> > > michelle mail: > >>Suggesting that > poetry would be at home in the ghetto because it > is...violent? (Classist?)>> > > "Or to put it another way, if we regard everyday life > as the frontier between the dominated and the > undominated sectors of life, and thus as the terrain > of chance and uncertainty, it would be necessary to > replace the present ghetto with a constantly moving > frontier; to work ceaselessly toward the organization > of new chances." > > GUY DEBORD > > Further (DEBORD): > > > ". . . everyday life is organized within the limits of > a scandalous poverty, and above all because there is > nothing accidental about this poverty of everyday > life: it is a poverty that is constantly imposed by > the coercion and violence of a society divided into > classes, a poverty historically organized in line with > the evolving requirements of exploitation. > > The use of everyday life, in the sense of a > consumption of lived time, is governed by the reign of > scarcity: scarcity of free time and scarcity of > possible uses of this free time. > > Just as the accelerated history of our time is the > history of accumulation and industrialization, so the > backwardness and conservative tendencies of everyday > life are products of the laws and interests that have > presided over this industrialization. Everyday life > has until now resisted the historical. This represents > first of all a verdict against the historical insofar > as it has been the heritage and project of an > exploitive society. > > The extreme poverty of conscious organization and > creativity in everyday life reflects the fundamental > necessity for unconsciousness and mystification in a > society of exploitation and alienation." > > > > "If neighborhoods are not considered as pathological > elements (ganglands), we will not be able to develop > new techniques (therapies)." > ATTILA KOTÁNYI > > > > > > ______________________________________________________________________ > Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sun, 27 Jun 2004 19:49:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ram Devineni Subject: Komunyakaa, Espada in Chile for Centenary of Neruda In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear Friends: Pulitzer Prize winner Yusef Komunyakaa, Martín Espada, Nathalie Handal, and others will be participating in the Centenary of Neruda celebrations in Chile from July 9-12, 2004. The trip was organized by Rattapallax, Universidad Diego Portales and the Neruda Commission. More information on the Centenary of Neruda can be found at http://www.dialoguepoetry.org In addition, a documentary film will be produced on the Centenary of Neruda by Rattapallax Films. More information can be found at http://www.rattapallax.com/911.htm Cheers Ram Devineni Publisher ===== Please send future emails to devineni@rattapallax.com for press devineni@dialoguepoetry.org for UN program __________________________________ Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! http://promotions.yahoo.com/new_mail ========================================================================= Date: Mon, 28 Jun 2004 01:50:59 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: =?ISO-8859-1?Q?Re:=20Some=20na=EFve=20questions=20about=20(Engli?= =?ISO-8859-1?Q?sh)=20poetics.?= MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable In a message dated 06/27/04 9:12:31 AM, andrewloewen@YAHOO.CA writes: > 2 Given the ongoing colonization of the world=E2=80=99s > tongues by the English language and the predominance > of English as **the** language of global capital, is > it possible to write in English in good faith? >=20 You can write in English as if it were a foreign language. >=20 > 3 Is the fact that English Literature departments in > N. America have become a de-fault refuge for =E2=80=9Cradical=E2=80=9D > (politicized) thought in an institutional/public > context, to some extent, a case of guilt-induced > bad-faith? (How should ESL students fare in English > courses? Should their work be assessed on the same > lines as first-language students =E2=80=93 does anyone else > struggle w/ this question?) >=20 As I said, to a poet writing in English, English is a foreign language. I go= =20 into greater on this in "Questions of Accent." >=20 >=20 > 4. What is to be gained and what lost in granting > poetry and poetics the status of intellectual/social > labour? >=20 > If poetry and poetics =E2=80=93 writing, criticism, > publishing, translation =E2=80=93 are not forms of labour (as > some argue, at least about the writing), don=E2=80=99t they > remain predicated on a labour that is always already > elsewhere? =E2=80=93 whether one=E2=80=99s day job or the tax-base on > which grants and teaching positions depend. Isn=E2=80=99t > poetry simply another leisure activity, like golf, > origami, crossword puzzles, and garage bands?=20 >=20 Writing poetry -at least in The United States where poetry has zero economic= =20 value- writing poetry is not labor but consumption. The poet consumes time t= o=20 write. This consumption is differrent from leisure (or vacation). In leisure, the=20 assumption is that you rest to become a better producer. No such link exists= =20 with poetry. The poet has to steal time from labor to write; in that sense p= oetry=20 is anti-labor (or a bizzaro version of it) or, as I said in another occasion= ,=20 a poet is like an addict, whose activity affects negatively his/her ability=20 to do productive labor. I >=20 > If I have the time and capacity to write poetry at > all, it=E2=80=99s b/c someone else doesn=E2=80=99t have that liberty. > My poems always owe their existence to another=E2=80=99s > labour/exploitation. >=20 I think, rather, the poet basically exploits himself/herself as a laborer,=20 particularly, if he/she wants to write seeing English as a foreign language. > 7. What=E2=80=99s the difference between stealing an idea and > stealing a distinct arrangement/order of words? > Is(n=E2=80=99t) intellectual property total nonsense? >=20 Poetic or philosophical ideas can not be stolen because they are not=20 property, not being products of labor. They are the detritus of mental and s= piritual=20 consumption, free for everyone to take. >=20 > 8. Do people on this list agree about most things that > matter to poets or is the total lack of discussion and > debate on the list simply the (understandable) result > of energies being spent elsewhere right now? >=20 I hope this helps. Murat ========================================================================= Date: Mon, 28 Jun 2004 02:12:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: spritess.mov MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII spritess.mov at http://www.clc.wvu.edu/sondheim/files/spritess.mov continuing investigation into technological / body interplay ========================================================================= Date: Mon, 28 Jun 2004 01:29:49 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Summer.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit so many questions? just throw the ball.... deep nite...drn... ========================================================================= Date: Mon, 28 Jun 2004 01:31:19 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Ode to the NY Times Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit even the dull deserve poetry drn ========================================================================= Date: Sun, 27 Jun 2004 23:41:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schneider/Hill Subject: Looking for Poems on Paintings MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Please b/c if you know of poems based on paintings (or paintings based on poems). I'm particularly interested in series, e.g. Williams' series of poems based on Brueghel paintings. Early in my search, there's the Robert Creeley and Archie Rand collaboration, Drawn & Quartered, MarkYoung's excellent on-going series based on Magritte, John Yau and Archie Rand, Bob Perelman and Francie Shaw, many of John Ashbery and Frank O'Hara's poems (probably many others, too, from the New York school). I recall, too, some poems by Bill Berkson. Others? I'm compiling a bibliography and am considering dedicating a future issue of SPORE (formerly SCORE) to ekphrastic lit. Best, Crag Hill http://scorecard.typepad.com ========================================================================= Date: Mon, 28 Jun 2004 01:10:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: _Some_naïve_questions_about_( English)_poetics. In-Reply-To: <006401c45c66$1c971720$fb01110a@Cipherdog> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- Lucas Klein wrote: But poetry today is ghettoized. It exists almost exlclusively in universities and--in a grand attempt to de-ghettoize poetry--on slam poetry stages. Is this true? Is poetry ghettoized? Maybe a kind of poetry is, but I see and hear poetry of all kinds being chanted and used in various ways every day by all kinds of people. Just walk over to the playgrounds, for instance, and give a listen to the kids skip roping, or choosing up sides in a game, or warding off linguistic attacks ("I'm rubber you're glue...") Though I guess some would deny this sort of language play the name poetry. I wouldn't. Best, Joseph __________________________________ Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! http://promotions.yahoo.com/new_mail ========================================================================= Date: Mon, 28 Jun 2004 04:35:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucas Klein Subject: =?iso-8859-1?Q?Re:_=5FSome=5Fna=EFve=5Fquestions=5Fabout=5F=28_________En?= =?iso-8859-1?Q?glish=29=5Fpoetics.?= MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Is this true? Is poetry ghettoized? Maybe a kind of > poetry is, but I see and hear poetry of all kinds > being chanted and used in various ways every day by > all kinds of people. Just walk over to the > playgrounds, for instance, and give a listen to the > kids skip roping, or choosing up sides in a game, or > warding off linguistic attacks ("I'm rubber you're > glue...") Though I guess some would deny this sort of > language play the name poetry. I wouldn't. Sure, that's poetry. Or more precisely, there's poetry in it. If we talk about cutting art from high school curricula, no one defends it by saying that students doodling in class is enough to promote their creativity. There is art in graphic design, but reading glossy magazines with good layout is not an experience with art. Hearing clever rhymes might be experiencing children at the beginning of a lifelong experience with poetry, but it isn't experiencing poetry in itself. Is it? Lucas ========================================================================= Date: Mon, 28 Jun 2004 10:40:13 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: licktenberg@WEB.DE Organization: http://freemail.web.de/ Subject: Re: ok folks MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit William James & Billion Janes _______________________________________________________ WEB.DE Video-Mail - Sagen Sie mehr mit bewegten Bildern Informationen unter: http://freemail.web.de/?mc=021199 ========================================================================= Date: Mon, 28 Jun 2004 02:49:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Color's Torrid Function! Subject: The black pants Comments: To: Ron Conn , cyberculture , Kathryn Dean-Dielman , Michael Kapalin , karen lemley , list@netbehaviour.org, underground poetry , naked readings , rhizome , screenburn screenburn , X Stream , Tom Suhar , Matt Suleski , matt swarthout , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii O'Neil will take you to Elyria Avenue. Meanwhile, red-eyed towers creep by. They're up late. You swing your arms with a mountain dew. Caffeine twists your belly into a balloon animal so shrill. Pop, then Xanax. Caspians sabotage to rust these knees I step on, cracking until a low yellow moon casts webs down to smoking earth that look like fences around nameless bricks. Because you wear no underwear, the black pants feel seamless and delicious on you when there's a breeze. ===== *************************************************************************** Lewis LaCook net artist, poet, freelance web developer/programmer http://www.lewislacook.com/ Stamen Pistol: http://stamenpistol.blogspot.com/ Cell:440.258.9232(Please Text Me!) Sidereality: http://www.sidereality.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? Read only the mail you want - Yahoo! Mail SpamGuard. http://promotions.yahoo.com/new_mail ========================================================================= Date: Mon, 28 Jun 2004 02:50:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Color's Torrid Function! Subject: A question Comments: To: Ron Conn , cyberculture , Kathryn Dean-Dielman , Michael Kapalin , karen lemley , list@netbehaviour.org, underground poetry , naked readings , rhizome , screenburn screenburn , X Stream , Tom Suhar , Matt Suleski , matt swarthout , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Fattening, these catastrophes: though complex metaphors elude my grip, as if finches on a palpitating underground cable have yet to eat, and eat they must; you, my dear, look lovely, even in the backyard as I sit quietly even softly contemplating some new way to do everything at once. You must have seen me there. Weren't you chilled? A left-handed compliment may not know what the right hand is doing. But, back then you told me what you needed: my dead cold lips. New aim. I'm the one struggling in the leaves, crushing stars into my favorite white dust. It's more like off-white, don't you think? ===== *************************************************************************** Lewis LaCook net artist, poet, freelance web developer/programmer http://www.lewislacook.com/ Stamen Pistol: http://stamenpistol.blogspot.com/ Cell:440.258.9232(Please Text Me!) Sidereality: http://www.sidereality.com/ tubulence artist studio: http://turbulence.org/studios/lacook/index.html __________________________________ Do you Yahoo!? Yahoo! Mail - 50x more storage than other providers! http://promotions.yahoo.com/new_mail ========================================================================= Date: Mon, 28 Jun 2004 07:25:06 -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/ RECENT TOPICS: Some Poets of Slack Buddha Press: on Keith Tuma, Alan Halsey & K. Lorraine Graham Forthcoming Ron Silliman readings & talks (Boston, Seattle, NY, Lawrence, SF, Philly & DC) Questions for Here Comes Everybody: What is the relation between the text & the body? Questions for Here Comes Everybody: How would you explain poetry to a seven year old? Questions for Here Comes Everybody: What is something "non-literary" you read? (Discourse on sabermetrics) China as a day job: The role of the poet in Joseph Torra's After the Chinese The poems one "dips into" again & again -- "not of one bird but of many" Lucid dreaming vs. not dreaming at all http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 28 Jun 2004 10:50:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michelle Reeves Subject: Re: Some =?ISO-8859-1?B?bmHvdmU=?= questions about (English) poetics. MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Lucas, I don't understand a great deal about what you're saying. > But poetry today is ghettoized. It exists almost exlclusively in > universities and--in a grand attempt to de-ghettoize poetry--on slam poetry > stages. And that, too, is an institutional ghetto: the ghetto of the > institute, and the closer you get to contemporary poetry the deeper you walk > into the ghetto. I think that the term ghettoized is an overdramatization, I really do, and I always have although I've met so many fond of using it. It makes it sound like it's an intentional shunting from society, an oppression of some sort. I think the truth is the world has just moved its interests elsewhere -- the stupider the media the better -- and poetry is the hardest to convert into multimedia, into movies, to experience without thinking -- it's more interactive, it needs listening or reading and doesn't just jump off at you. It's just so-not-twentieth century. To those who say we are "ghettoized", who created this ghetto? > writings as a way to cleanse the language of its excesses, just as writers > in English in the 20th century have wanted to cleanse English. I'm sorry, maybe I'm not aware of any theories on anything (quote possible, I'm ignorant re: poetics) but how does one cleanse English? > of labor, on a similar footing with the assembly line? And aren't so many of > us in the university--students, professors, adjuncts, > janitors--disenfranchised just as Marx said we'd be? also -- again i am ignorant -- how are professors disenfranchised? > marginalization, ghettoization, an end to any shame in saying "I'm a poet" > any more than saying "I'm a mechanic". for godsakes, the shame isn't that bad. it's not liek we have a "poet closet" to come out of. > What is to be lost: the notion that many jobs are more strenuous. I don't understand: are you saying this is true or false? > what is the ghettoization of the everyday, other than an overuse of the term > "ghettoization"? huh?? > most of us believe that originality and value are entwined. Perhaps this has personally, i think think this is pretty straightforward: we want art to be the production of something new, and that creation, that innovation, is a large part of what separates art from simple production > In the west plagiarism depends not only on using someone else's labor, but > on taking credit for it yourself. If you assume--as the modernists did--that > the reader recognizes the sources, then it isn't plagiarism. If you assume i think this theory is incomplete though -- i think who you steal from matters. if its someone no one would care to recognize, ie, i stole this from the koolaid commercial, then one isn't a plagiarist. you can quote a whole chapter of the bible if you want to. but even if everyone knows shakespare, how would someone feel if you put 4 lines of shakespeare into your poem? it seems more complex to me. ========================================================================= Date: Mon, 28 Jun 2004 11:18:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: WHY DO THE TIAWANESE MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii WHY DO THE TAIWANESE worship the dead WHY DO THE TIAWANESE feed their young to techno-capitalism WHY DO THE TIAWNESE think ABC is a word WHY DO THE TIAWANESE hate the air WHY DO THE TIAWANESE want to marry me WHY DO THE TIAWANESE pollute my poery w/ Chinglish WHY DO THE TAIWANESE pay me so well WHY DO THE TAIWANESE think vegetarians eat fried fish guts WHY DO THE TIAWANESE think black skin is so dirty WHY DO THE TIAWANESE throw all their toys away WHY CAN’T THE TAIWANESE get their Buddhism and Taoism straight WHY DO THE TIAWANESE make the plastic for everyone WHY DO THE TIAWANESE import wives from the mainland WHY DO THE TIAWANESE adore Bon Jovi WHY DO THE TAIWANESE hate Koreans WHY DO THE TIAWANESE keep Filipinos in their basement WHY DO THE TAIWANESE run over dogs like nothing HOW DO THE TAIWANESE stay so thin on a of diet fried meat and white rice WHY DO THE TIAWANESE despise homosexuals WHY DO THE TIAWANESE run over old women like nothing WHY DON’T THE TIAWANESE respect English grammar & the sanctity of the Nike trademark WHY DO THE TIAWANESE hate independent women WHY DO THE TIAWANESE write so many exams WHY DO THE TIAWANESE go crazy for Betty Boop WHY DO THE TAIWANESE fish for shrimp in warehouses on Sundays WHY DO THE TAIWANESE have so many 7-11s WHY AREN’T THE TAIWANESE allowed to hold democratic referendums and be independent of the Commies WHY CAN’T THE TIAWANESE find the Denmark on map WHY DO THE TIAWANESE build bomb shelters instead of homes WHAT DO THE TIAWANESE think is so charming about old glory WHY DO THE TIAWANESE use so many skin whitening products WHY DO THE TIAWANESE men all have to be engineers WHY DO THE TIAWANESE businessmen go to KTV for hand-jobs on Wednesdays WHY DON’T THE TIAWANESE ever take down their Xmas trees WHY DO THE TIAWANESE have such corrupt policemen WHY DO THE TAIWANESE love simulacra WHY DO THE TIAWANESE put the grandchildren on a scooter WHY DO THE TIAWANESE children become hysterical when called monkeys WHY DO THE TIAWANESE have the most cellular phones per capita of any people WHAT DO THE TIAWANESE have against the Humanities WHY DO THE TIAWANESE perform puppet shows for the dead who are deities WHY DO THE TIAWANESE prepare meat in the gutter WHY ARE THE TIAWANESE the friendliest people ever WHY DON'T THE TIAWANESE value independent film WHY DO THE TIAWANESE open their cafes at noon WHY DO THE TAIWANESE want to pay my student loans WHILE I CORRUPT THEIR YOUTH without shaving ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Mon, 28 Jun 2004 11:30:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: long-weekend-at-the-lake (culture) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii in the possibility before it was beginning it was that tactful get the fuck out of here that’s what was antique in industrious leisure we leapt with synapse as snares we really got to sleep meanwhile (letters and heroes) pleasure is meant for shared possession & the syllabus is dreamt up the stuff lacking content when formalists holiday when a lakeshore is unique it dissects possibility a conversation a nice thing (denoting) such an explosive device as our holiday from (fucking) history may need to suddenly repeat hideously our words so used to being used so used to being used are is only blue as ‘cottage.’ ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Mon, 28 Jun 2004 11:37:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Subject: Carolina Wren Press chapbooks, including Erica Hunt's Piece Logic MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Dear POETICS list members: CAROLINA WREN PRESS is offering free shipping on Erica Hunt's *Piece Logic*, #3 in the Carolina Wren Press Poetry Chapbook Series. This is a limited edition (500 copies) chapbook, handsewn with letterpress cover. The regular edition of *Piece Logic* is $14.95. Send check to Carolina Wren Press, 120 Morris Street, Durham, NC 27701. (We can also accept MC/Visa, email: carolina@carolinawrenpress.org or fax: 919-560-2759). Please mention that you heard this on POETICS. Other chapbooks available (also with free shipping): #1 *Gold Indigoes* by George Elliott Clarke - $12.95. #2 *Succory* by Andrea Selch - $12.95. #4 *The Gorgon Goddess* by Evie Shockley - $12.95. Premium (signed and lettered) editions of Clarke, Selch, Hunt, and Shockley are available for $20.00 each. Special issue chapbook: *singing a tree into dance* by Jaki Shelton Green - $10.95. All the numbered chapbooks are printed in editions of 500 and are handsewn with fine letterpress covers with variations on a two-color, two-ink pattern. The premium editions of Hunt and Shockley have handmade paper covers. Green's "singing a tree into dance," printed to commemorate Green's receiving the North Carolina Award for Literature, is stapled and printed in an edition of 1000. Buy all four numbered chapbooks for $40.00 Buy all five chapbooks for $45.00 Buy all four premium edition chapbooks for $70.00 North Carolina residents must add 7% sales tax. David Kellogg Center for Teaching, Learning, and Writing Duke University (919) 668-1615; FAX (919) 681-0637 ========================================================================= Date: Mon, 28 Jun 2004 11:41:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Slaughter Subject: Notice: Mudlark MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII New and On View: Mudlark Flash No. 26 (2004) Stephen Todd Booker Stephen Todd Booker's interest in poetry began while in prison, on death row, where he's been since 1978 & where all of his writing originates. His collections of poems are Waves of license, Greenfield Review Press, 1983; Tug, Wesleyan University Press, 1994; and Swiftly, Deeper, Mandrake Poetry Press (Poland), 1995. His poetry has appeared in English in more than one hundred venues worldwide, & has been translated too. Most recently his poems have been published in The Chinese Poetry International Quarterly (PRC), the new renaissance (USA), and Home Planet News (USA). Spread the word. Far and wide, William Slaughter MUDLARK An Electronic Journal of Poetry & Poetics Never in and never out of print... E-mail: mudlark@unf.edu URL: http://www.unf.edu/mudlark ========================================================================= Date: Mon, 28 Jun 2004 12:09:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucas Klein Subject: =?iso-8859-1?Q?Re:_Some_na=EFve_questions_about_=28English=29_poetics.?= MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Michelle: > Lucas, I don't understand a great deal about what you're saying. well shit! Let's see if I can clarify! > I think that the term ghettoized is an overdramatization, I really do, and I > always have although I've met so many fond of using it. It makes it sound > like it's an intentional shunting from society, an oppression of some sort. > I think the truth is the world has just moved its interests elsewhere -- the > stupider the media the better -- and poetry is the hardest to convert into > multimedia, into movies, to experience without thinking -- it's more > interactive, it needs listening or reading and doesn't just jump off at > you. It's just so-not-twentieth century. I think poetry is no more or less twentieth century--or twenty-first century--than it is eighteenth or tenth century. I'm pretty sure we have similar numbers of poets running around today as we did a hundred years ago, five hundred years ago. And certainly poetry changes to fit the times. But as you say, the stupider the media the better. "You can never go broke under-estimating the taste of the American public", said P. T. Barnum. He was right. The problem (if you want to call it a problem) is that poetry has a relatively lower status because of the relatively higher status of everything else. Before film and television, before the NBA and NFL, before game shows, literature was given more relative respect. This isn't to say that sports and acting and people with a flair for showing off their intelligence didn't take up their space before, but I think it's a little more noticeable now, and as a result poetry is a little less noticeable. On top of that, things in the world move so fast that most people would rather spend the little time they have in front of a screen than in front of a page (and if that includes computer screens, maybe it includes myself, as well). So where is literature today? Looking at shrinking book-review sections in newspapers, literary journals that struggle to find subscribers, and bookstores that depend on self-help or finance books to turn a profit rather than on staff recommendations (because the staff don't recommend what they don't read), I think we can say that literature has lost a lot of its prominence. The people who really care about literature are in various departments of universities, for the most part. There's nothing good or bad about this in & of itself. On the one hand, it means that the people who care about literature are all at the same place. On the other hand, it means we're all talking to ourselves, without the benefit of cross-breezes to clear the air in here. Ghettoization is probably an overdramatization, as you say. I didn't pick the term. I responded to how it was being used in the original question, which I found unclear (I didn't know if it was being used as a concrete noun or as a metaphor). Nevertheless, I think of the ghetto as related but not the same as an urban slum. I think of it more in terms of Jewish ghettos in Europe in the thirties. And if poetry today in north america exists in a ghetto, it exists in the kind of ghetto where it can have its own semi-comfortable life amongst others who care about poetry, but outside the walls of that ghetto is a world often hostile to its concerns. Outside the walls of this ghetto is a world, as you say, of stupid media, of experience without thinking. And those within the ghetto, however comfortable we feel within, exist with full knowledge of the environment just outside. > To those who say we are "ghettoized", who created this ghetto? well, perhaps we did. A ghetto is also a community. But perhaps it's a community forced upon us, and any decision to move inside is to some extent a compelled decision. > I'm sorry, maybe I'm not aware of any theories on anything (quote possible, > I'm ignorant re: poetics) but how does one cleanse English? I'm thinking of early modernist writing along the lines of Ezra Pound and the like. He talked a lot about purifying the language of the tribe, and writing that meant something. He drew parallels with his ideas and Confucius's, who spoke about the rectification of names, and that if a king were not kingly then he was not a king (this gets to some interesting conclusions with Mencius, who said that to kill a king who does not act as a proper king is not, in fact, regicide; to kill George W. Bush, who was not elected president, would then not be killing the president?). I think those who want to "cleanse English" have a moral agenda that may not be relevant or popular anymore. Nonetheless, it involves an association of language with thought, and that clear language represents clear thought, and that the language we encounter in our politics and stupid media is, overall, cluttered with unclear thought. Perhaps my own language isn't clear enough to speak about this without self-incrimination. > > of labor, on a similar footing with the assembly line? And aren't so many > of > > us in the university--students, professors, adjuncts, > > janitors--disenfranchised just as Marx said we'd be? > > also -- again i am ignorant -- how are professors disenfranchised? If we are in a kind of a ghetto, then we're disenfranchised. On top of that, I'm sure a lot of professors in north america are plagued by the "those who can't do, teach" adage, and other accusations of uselessness. Certainly a college professor of literature is less useful than a lower-school reading teacher, or a middle-school math teacher. And that's all within the teaching profession. I'm not a professor. I'm a PhD student in the department of East Asian Language & Literatures. I feel disenfranchised, for instance, by having my labor not recognized as labor, by having the university not pay me as much as it pays students in the sciences (though indeed it does pay me to study literature), by having the university not take care of health care for my family (though indeed it does take care of health care for me). But I also feel the pull of usefulness, how I encounter a mix of "I'm honored you study my language & my culture" and "why are you wasting your life on ancient poetry?" when I explain what I do to Chinese people, how I hear "you speak Chinese so well, I'm sure there are many opportunities in business and politics for you". A lot of this may just be whining. We get more vacation time than anyone else I know, and we get to read--something most people file away for leisure time--all the time. But every time I hear a pundit complaining about the academics in the ivory tower, I know that it's a belittlement of more than just my career. > > marginalization, ghettoization, an end to any shame in saying "I'm a poet" > > any more than saying "I'm a mechanic". > > for godsakes, the shame isn't that bad. > it's not liek we have a "poet closet" to come out of. true. But then, why should we be ashamed of being a poet? Why should it be considered pretentious, or removed, to care about art? > > What is to be lost: the notion that many jobs are more strenuous. > > I don't understand: are you saying this is true or false? many jobs are more strenuous than "poet". I'm pretty sure of that. > > what is the ghettoization of the everyday, other than an overuse of the > term > > "ghettoization"? > > huh?? I don't know what "ghettoization of the everyday" means. To me, it sounds like an overuse of the term "ghettoization". > > most of us believe that originality and value are entwined. Perhaps this > has > > personally, i think think this is pretty straightforward: we want art to be > the production > of something new, and that creation, that innovation, is a large part of > what separates > art from simple production Indeed. > > In the west plagiarism depends not only on using someone else's labor, but > > on taking credit for it yourself. If you assume--as the modernists > did--that > > the reader recognizes the sources, then it isn't plagiarism. If you assume > > i think this theory is incomplete though -- i think who you steal from > matters. > if its someone no one would care to recognize, ie, i stole this from the > koolaid > commercial, then one isn't a plagiarist. you can quote a whole chapter of > the > bible if you want to. but even if everyone knows shakespare, how would > someone > feel if you put 4 lines of shakespeare into your poem? it seems more complex > to me. I suppose I was distinguishing between plagiarism and reference. Reference is using a quotation for the purposes of quotation, even if citation might be incomplete. It depends on the reader either not noticing the reference or else knowing the reference as a reference. Plagiarism works the opposite way. It works only if the reader does not know that something is being quoted. But what if you put four lines of shakespeare into your poem? I don't know. I've never tried. But I would imagine that it would be like Eliot's use of sources in "The Waste Land". Some would call it academic, some would call it overly complex, some would call it pretentious, some would call it unreadable, some would call it brillaint, but I don't think anyone would call it plagiarism. Lucas ________________________________________ "There are two ways of knowing, under standing and over bearing. The first is called wisdom. The second is called winning arguments." --Kenneth Rexroth Lucas Klein LKlein@cipherjournal.com 11 Pearl Street New Haven, CT 06511 ph: 203 676 0629 www.CipherJournal.com ========================================================================= Date: Mon, 28 Jun 2004 09:54:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: new at Lodestar Quarterly In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit I have a section from "obedience," a longer poem I am working on, and three poems from iduna (Obooks, 2003) @ Lodestar Quarterly: http://lodestarquarterly.com/issue/10/ please check it out... thank you kari edwards http://transdada.blogspot.com/ ========================================================================= Date: Mon, 28 Jun 2004 12:53:03 -0400 Reply-To: marcus@designerglass.com Sender: UB Poetics discussion group From: Marcus Bales Subject: =?ISO-8859-1?Q?Re:_Some_na=EFve_questions_about_=28English=29_poetics.?= In-Reply-To: <014701c45d2a$5b3731d0$fb01110a@Cipherdog> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT On 28 Jun 2004 at 12:09, Lucas Klein wrote: > I think poetry is no more or less twentieth century--or twenty-first > century--than it is eighteenth or tenth century. I'm pretty sure we > have similar numbers of poets running around today as we did a hundred > years ago, five hundred years ago.< I think this is wrong on the face of it, especially as we go back past a hundred years. Poetry requires a certain amount of time and energy to perform, and that's time taken away from getting enough food and shelter. The further back in the history of English-speaking people we go, the fewer poets there can be, both as an absolute number and as a number relative to the number of English speakers living at any given time. Consider, for example, that Byron, perhaps the last of the poets to be able to make rock-star money out of poetry, when he was the toast of the English-speaking world, was writing for something in the neighborhood of 15-20 million people -- and there are 15 million people in, for example, Pennsylvania. There are 280 million people in the US alone, people far richer and with an enormous amount more time to spend on non-food-acquiring pursuits, and far more likely to be writing poetry. It seems pretty unlikely that there aren't both more poets absolutely and more poets in relation to the number of English language speakers now than there were in, for example, Regency England. > ... poetry has a relatively lower status because of the > relatively higher status of everything else. Before film and > television, before the NBA and NFL, before game shows, literature was > given more relative respect. < I think this is simply wrong on the face of it, too. Before game shows there were public punishments and executions, all kinds of animal fighting, and the simple and brutal requirements of acquiring food and shelter to occupy people -- very little of whose time was spent respecting poetry. > Ghettoization is probably an overdramatization, as you say. >...And if poetry today > in north america exists in a ghetto, it exists in the kind of ghetto > where it can have its own semi-comfortable life amongst others who > care about poetry, but outside the walls of that ghetto is a world > often hostile to its concerns. Outside the walls of this ghetto is a > world, as you say, of stupid media, of experience without thinking. > And those within the ghetto, however comfortable we feel within, exist > with full knowledge of the environment just outside.< But a ghetto is also both denotatively and connotatively different from an ivory tower -- and it looks to me to be the latter you're describing. It's hard to imagine that the reasons for a poetry ghetto can be even metaphorically said to be the same as a political ghetto. To compare contemporary poets in their isolation to the political isolation of the Jews in Europe before the Holocaust is to connote, to suggest, that disaster looms. Is that what you're trying to connote or suggest by the use of the word "ghetto"? > I think those who want to "cleanse English" have a moral agenda that > may not be relevant or popular anymore. Nonetheless, it involves an > association of language with thought, and that clear language > represents clear thought, and that the language we encounter in our > politics and stupid media is, overall, cluttered with unclear thought.< The very notion of cleansing English has the sort of sound that "Department of Homeland Security" has -- the nasty sound of xenophobia. > > also -- again i am ignorant -- how are professors disenfranchised? > If we are in a kind of a ghetto, then we're disenfranchised.< Aha -- this is the attempt of the privileged to invoke the terms of the victims, then, by clever wording? The notion that professors are in "a kind of ghetto" makes them "disenfranchised" allows professors to claim that they, too, are victims, and, of course, to demand compensation for their victimization! So, what do the professors demand? Rock star status? > On top of > that, I'm sure a lot of professors in north america are plagued by the > "those who can't do, teach" adage, and other accusations of > uselessness. Certainly a college professor of literature is less > useful than a lower-school reading teacher, or a middle-school math > teacher. And that's all within the teaching profession.< Useful or less useful in what sense? Are you saying that college professors not only are less useful than grade school teachers, but that they know it, too -- and even aspire to that uselessness, only to complain that their very aspirations to uselessness have ghettoized them, victimized them, and the victimization of their own aspirations to uselessness require redress from the public purse? > A lot of this may just be whining.< I think you may be on to something, here. > true. But then, why should we be ashamed of being a poet? Why should > it be considered pretentious, or removed, to care about art? Why shouldn't it be? The only way that it shouldn't be would be if it were your view that serious art ought to be as enthusiastically embraced by the general population as entertainment is -- which is, essentially, complaining that you'll never be a rock star. ========================================================================= Date: Mon, 28 Jun 2004 11:48:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Kizershot Subject: Re: Looking for Poems on Paintings In-Reply-To: <013101c45cda$fa5d2210$3eb47e40@deliav0obz90o6> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hello. Take a look at Cole Swensen's book "Try". Also much work by Barbara Guest. Julie K- on 6/28/04 12:41 AM, Schneider/Hill at orion@PULLMAN.COM wrote: > Please b/c if you know of poems based on paintings (or paintings based on > poems). I'm particularly interested in series, e.g. Williams' series of > poems based on Brueghel paintings. > > Early in my search, there's the Robert Creeley and Archie Rand > collaboration, Drawn & Quartered, MarkYoung's excellent on-going series > based on Magritte, John Yau and Archie Rand, Bob Perelman and Francie Shaw, > many of John Ashbery and Frank O'Hara's poems (probably many others, too, > from the New York school). I recall, too, some poems by Bill Berkson. > Others? > > I'm compiling a bibliography and am considering dedicating a future issue of > SPORE (formerly SCORE) to ekphrastic lit. > > Best, Crag Hill > > http://scorecard.typepad.com ========================================================================= Date: Mon, 28 Jun 2004 14:00:42 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Looking for Poems on Paintings MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Tony Towle and Charles North. Murat In a message dated 06/28/04 2:58:30 AM, orion@PULLMAN.COM writes: > Please b/c if you know of poems based on paintings (or paintings based on > poems). I'm particularly interested in series, e.g. Williams' series of > poems based on Brueghel paintings. > > Early in my search, there's the Robert Creeley and Archie Rand > collaboration, Drawn & Quartered, MarkYoung's excellent on-going series > based on Magritte, John Yau and Archie Rand, Bob Perelman and Francie Shaw, > many of John Ashbery and Frank O'Hara's poems (probably many others, too, > from the New York school). I recall, too, some poems by Bill Berkson. > Others? > > I'm compiling a bibliography and am considering dedicating a future issue of > SPORE (formerly SCORE) to ekphrastic lit. > > Best, Crag Hill > > http://scorecard.typepad.com > ========================================================================= Date: Mon, 28 Jun 2004 14:04:23 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: =?ISO-8859-1?Q?Re:=20=5FSome=5Fna=EFve=5Fquestions=5Fabout=5F(=A0?= =?ISO-8859-1?Q?=20=A0=20=A0=20=A0=A0=20English)=5Fpoetics.?= MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 06/28/04 4:11:36 AM, josephcsun@YAHOO.COM writes: Poetry hgettoized - what about poetry coming out of the ghetto, rap? Rap is not ghettoized at all, but its rhythms adopted by pop poets in thirld word countries. Murat > But poetry today is ghettoized. It exists almost > exlclusively in universities and--in a grand attempt > to de-ghettoize poetry--on slam poetry > stages. > > Is this true? Is poetry ghettoized? > ========================================================================= Date: Mon, 28 Jun 2004 13:23:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Looking for Poems on Paintings In-Reply-To: <54.2d20c594.2e11b6ca@aol.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit my own verse play "Through Birds, Through Fire But Not Through Glass" based on a painting of the same name by Yves Tanguy. in one of the opening books of Samsara Congeries.... mIEKAL > >> Please b/c if you know of poems based on paintings (or paintings >> based on >> poems). I'm particularly interested in series, e.g. Williams' series >> of >> poems based on Brueghel paintings. >> ========================================================================= Date: Mon, 28 Jun 2004 18:49:01 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: Re: Looking for Poems on Paintings Mime-Version: 1.0 Content-Type: text/plain; format=flowed Another thought: if I recall correctly (I don't have it in front of me at the moment to check), this great book by Michael Davidson circles around a kind of ekphrasis of an image on a postage stamp: http://www.burningdeck.com/catalog/davidson.html Tim Please b/c if you know of poems based on paintings (or paintings >>based on >>poems). I'm particularly interested in series, e.g. Williams' series >>of >>poems based on Brueghel paintings. >> ========================================================================= Date: Mon, 28 Jun 2004 12:36:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: [news] Nobody Kills like the KKKOPS MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit http://victoria.indymedia.org/news/2004/06/27436.php Nobody Kills like the KKKOPS POLICE HIT JEFF BERG FROM BEHIND! Nobody Kills like the KKKOPS a) Swine under fire for killing Jeff Berg (VAN) b) Swine under fire for killing elderly couple (VAN) c) Swine under fire for killing Neil Stonechild (SASK) POLICE HIT JEFF BERG FROM BEHIND! WebPosted Jun 25 2004 05:00 PM PDT VANCOUVER - A coroner's inquest into the death of Jeff Berg has heard from a woman who says she saw Vancouver Police officers knock Berg down and hit him without provocation. Berg died while in police custody in October 2000. Sari Fujikawa lived above the alleyway, where Berg was stopped by police for his alleged involvement in theft from a marijuana grow-op. Fujikawa wept as she told the court she saw a police officer hit Berg in the neck from behind with the butt of his gun. She said he fell to the ground, and crumpled up into a fetal position. Fujikawa says police officers then kicked and punched Berg in the head. Berg suffered severe brain damage. He later died after he was taken off life support She told coroner and the five-person jury that she didn't see Berg acting aggressively toward the officers. The inquest was ordered earlier this year, but a planned Police Complaints Commission inquiry into the man's death is yet to go ahead. Berg's older brother, Glen, says he was originally told a different story by police after his brother died. "They were telling us that he just collapsed," he says. "The first few days the story was a lot different from the police." The inquest is expected to resume Monday. __________________________________________________ COP CHARGED IN FATAL 'ACCIDENT' WebPosted Jun 25 2004 06:46 PM PDT VANCOUVER - A rookie Vancouver Police officer has been charged after his cruiser slammed into another car a year ago, killing a Vancouver couple. Benito and Lina Di Spirito died June 24, 2003 when their car was struck by a police car responding to a violent domestic dispute. The couple, in their 60s, were preparing for their daughter's wedding at the time of the crash. The fatal accident happened in the early hours of the morning on Boundary Road, between Vancouver and Burnaby. Insp. Al Boyd says Const. Steve Vandenberg now faces a charge of driving without due care and attention. Police say the rookie constable had graduated from training only a month before the accident. Vandenberg remains on the force. At the time, police said these were the first deaths from an accident involving a police vehicle in Vancouver in recent memory. __________________________________________________ STONECHILD INQUIRY TO COST OVER $1M SASKATOON - Lawyer bills for the Stonechild inquiry will cost Saskatchewan taxpayers $1.1 million, according to an early tally of expenses. That figure represents the lion's share of costs, so far, for the commission. The numbers come from the staff of Justice David Wright, who is leading the work. Wright was appointed to look into the freezing death of a native man, Neil Stonechild, whose body was found in Saskatoon in 1990. More than 60 witnesses appeared before the inquiry. Wright is now working on his report, which will be delivered to Saskatchewan's Minister of Justice. The total bill, as of May 30, is $1.6 million. The largest expense, after lawyers, was for hearings rooms and services. That bill came to just over $150,000. [editor's note, by garlicbobcat] Neil Stonechild was the native man who was dragged out of Regina and left to freeze to death by the racist pigs. Whenever the police kill someone millions of dollars are spent on trials, reports, commissions, and other garbage while the police continue to ruthlessly murder with total impunity. I am sure that if we did a quick study we would find that the police have the highest rate of murdering out of any profession. That profession and culture of violence must be confronted. http://resist.ca/story/2004/6/26/11430/2391 http://victoria.indymedia.org/news/2004/04/24950.php http://victoria.indymedia.org/news/2004/03/23322.php http://victoria.indymedia.org/news/2003/08/16177.php http://victoria.indymedia.org/news/2003/09/16739.php "The racial discrimination towards the blacks is still persisting in every aspect. Moreover, there is a racial discrimination towards the Red Indians who are the original inhabitants of the country. ...I tell you frankly that if it wasn't for the determined willingness, ... and fight of the Palestinian people, the Americans and their civilization would have decided to solve that problem of...Palestinians just like they did with the Indians. This is the picture that lies in the mind of the American." --Sayyed Hassan Nasrallah http://victoria.indymedia.org/news/2004/04/25242.php These poor Indians are incapable of producing cinema films to show the reality of what happened. But the Americans can produce many films to present the American soldiers as poor people who are defending civilization, and they place red feathers on the heads of the Red Indians picturing them as ignorant and immoral barbarians, and that they are attacking the peaceful Americans who in fact came and raped their lands and built forts on them." -- Sayyed Hassan Nasrallah http://victoria.indymedia.org/news/2004/04/25243.php resist.ca/story/2004/6/26/11430/2391 Dawson VIC, Stonechild SASK, Kabon VIC, Grifftith MTL, among the many murdered --especailly Natives and Blacks -- by the VDP and other police "forces" across the country ========================================================================= Date: Mon, 28 Jun 2004 15:47:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: Looking for Poems on Paintings MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable There's an excellent, comprehensive catalogue of Creeley's = collaborations that covers nearly all of his work.=20 And though likely OP, you should be able to locate POETRY & THE VISUAL = ARTS, D.G. Kehl [Wadsworth Pub. Co, 1975], nicely organized into 38 = "sets" including art objects and matched poems from antiquity to late = 20th century. JL =20 -----Original Message----- From: UB Poetics discussion group on behalf of Schneider/Hill Sent: Mon 6/28/2004 2:41 AM To: POETICS@LISTSERV.BUFFALO.EDU Cc:=09 Subject: Looking for Poems on Paintings Please b/c if you know of poems based on paintings (or paintings based = on poems). I'm particularly interested in series, e.g. Williams' series of poems based on Brueghel paintings. Early in my search, there's the Robert Creeley and Archie Rand collaboration, Drawn & Quartered, MarkYoung's excellent on-going series based on Magritte, John Yau and Archie Rand, Bob Perelman and Francie = Shaw, many of John Ashbery and Frank O'Hara's poems (probably many others, = too, from the New York school). I recall, too, some poems by Bill Berkson. Others? I'm compiling a bibliography and am considering dedicating a future = issue of SPORE (formerly SCORE) to ekphrastic lit. Best, Crag Hill http://scorecard.typepad.com ========================================================================= Date: Mon, 28 Jun 2004 16:07:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Danon Subject: Re: Looking for Poems on Paintings MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Sharon Dolin's book Serious Pink ----- Original Message ----- From: "Julie Kizershot" To: Sent: Monday, June 28, 2004 1:48 PM Subject: Re: Looking for Poems on Paintings > Hello. > > > Take a look at Cole Swensen's book "Try". Also much work by Barbara Guest. > > > Julie K- > > > on 6/28/04 12:41 AM, Schneider/Hill at orion@PULLMAN.COM wrote: > > > Please b/c if you know of poems based on paintings (or paintings based on > > poems). I'm particularly interested in series, e.g. Williams' series of > > poems based on Brueghel paintings. > > > > Early in my search, there's the Robert Creeley and Archie Rand > > collaboration, Drawn & Quartered, MarkYoung's excellent on-going series > > based on Magritte, John Yau and Archie Rand, Bob Perelman and Francie Shaw, > > many of John Ashbery and Frank O'Hara's poems (probably many others, too, > > from the New York school). I recall, too, some poems by Bill Berkson. > > Others? > > > > I'm compiling a bibliography and am considering dedicating a future issue of > > SPORE (formerly SCORE) to ekphrastic lit. > > > > Best, Crag Hill > > > > http://scorecard.typepad.com ========================================================================= Date: Mon, 28 Jun 2004 15:17:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Cole Swensen contact info needed MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Would someone please backchannel Cole Swensen's summer email address? Aaron ========================================================================= Date: Mon, 28 Jun 2004 20:14:07 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: Re: Looking for Poems on Paintings Mime-Version: 1.0 Content-Type: text/plain; format=flowed Crag, I thought I wrote you another message too, but it looks like my email may have eaten it. In any case: Peter Gizzi's new book has a number of ekphrastic poems based on paintings and other media, including one that takes off from Albert Pinkham Ryder I think Liz Willis' new book _Turneresque_ may involve ekphrasis but I'm not sure (it may be slightly submerged like in much of Barbara Guest). David Shapiro has a lot of poems that do this, and recently he has written poems after architecture. "The Devil's Trill Sonata" from his book _Lateness_ was based on the piece of music of the same name, though I'm not sure how exactly. Koch has that great poem about the "Artist" who gives all his creations silly names and writes wonderful apostrophes to them. Ann Lauterbach must have some ekphrastic poems somewhere too -- she has collaborated with a number of artists. Are we talking really old too, or just recent? There's that Demuth (I think it's Demuth) painting after Williams' "Number 5" poem. Robert Creeley wrote a poem for Jim Dine that's about his paintings, and I think it's called "For Jim Dine" There's a million others but that's all that's surfacing for the moment in my foggy foggy head. Most of the other examples I can think of are examples of collaboration, which might be "ekphrasis" depending on how you think about that diea. I guess I am curious in what way you mean ekphrasis specifically, since that word can mean a lot of things. Just paintings, or can it be something else too, like music? And doesn't the original definition of ekphrasis involve describing images that don't actually exist? Just thinking out loud here... Another interesting question to ask might be: who DOESN'T write ekphrastic poetry? I don't mean that in a perverse way, I mean I'm interested in your topic & in how you would define not only what ekphrasis is, but also perhaps what it isn't. Best, Tim Please b/c if you know of poems based on paintings (or paintings based on poems). I'm particularly interested in series, e.g. Williams' series of poems based on Brueghel paintings. ========================================================================= Date: Mon, 28 Jun 2004 14:21:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Looking for Poems on Paintings In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > Are we talking really old too, or just recent? There's that Demuth (I think > it's Demuth) painting after Williams' "Number 5" poem. Yes - not to be contrary to the original question - but I think it's a harder go to find paintings (& other visual media) that have been shaped by poems (at least in any literal sense - which might be a boring enterprise anyway, the 'literalness' that is}. The number of painters who have exposure to poetry as part of their education in most art schools (with the exception of what they might get if they opt to take a creative writing class from the resident poet plus a good reading series) is probably limited. Where - for, at least poets who live in Cities - the museum and gallery experience is more likely to be de rigueur, plus the art magazines another influence - and consequently we are much more likely to in dialog with the visual. I mean how many painters and photographers come to readings, let alone buy poetry books and mags. & the critics of painting - even when they are poets - how often to do they bring contemporary poetry into the critical references. Say- not that I read that frequently - how often does Peter Schjeldalh, both New York School poet and critic for the New Yorker and other art pubs - bring reference to a particular poem or poet into a way of looking at an artist's work? Or, how much does Guston's work with Coolidge, Berkson and Corbett get included into the way one may frame the world of his later visual shapes, rhythms and phrasings . (whereas R Crumb's influence gets brought in more and more because it's maybe both obvious and hip). I suspect this is all changing as the multi-media core of Photoshop begins to frame any young artist and poet's life. (Curious, to my knowledge, the media is not making available the Text and the Audio from "those damn digital cameras" (Rumsfeld) from Iraq prisons). Well, that's going away from the subject. Le Roi Jones(then), Politics of Rich Painters (title?) probably speaks best to the Duke-Monk - I'm talking medieval occupation- relationship of the two poets to painters. Hell hath no lust nor envy comparable to a poet to share and receive the financial attentions of a rich painter (or probably most 'professionals' for that matter! In the meantime, as always, I suggest Chris Sullivan at Slight Publications: http://www.8letters.blogspot.com/ for a good look at somebody who's really exploring and having fun into the audio-visual-text diaspora! And, also of course, Brian K Stefans - and I am sure others can suggest others. Course, I suspect, most would testify no money there, either. Cheerio, Stephen Vincent Blog: http://stephenvincent.durationpress.com ========================================================================= Date: Mon, 28 Jun 2004 15:39:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Looking for Poems on Paintings In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed If one goes into olden times, of course, there are a lot of paintings based on poems. Blake, the PreRaphaelites, etc. Mark At 02:21 PM 6/28/2004, Stephen Vincent wrote: > > Are we talking really old too, or just recent? There's that Demuth (I think > > it's Demuth) painting after Williams' "Number 5" poem. > >Yes - not to be contrary to the original question - but I think it's a >harder go to find paintings (& other visual media) that have been shaped by >poems (at least in any literal sense - which might be a boring enterprise >anyway, the 'literalness' that is}. The number of painters who have >exposure to poetry as part of their education in most art schools (with the >exception of what they might get if they opt to take a creative writing >class from the resident poet plus a good reading series) is probably >limited. Where - for, at least poets who live in Cities - the museum and >gallery experience is more likely to be de rigueur, plus the art magazines >another influence - and consequently we are much more likely to in dialog >with the visual. I mean how many painters and photographers come to >readings, let alone buy poetry books and mags. & the critics of painting - >even when they are poets - how often to do they bring contemporary poetry >into the critical references. Say- not that I read that frequently - how >often does Peter Schjeldalh, both New York School poet and critic for the >New Yorker and other art pubs - bring reference to a particular poem or poet >into a way of looking at an artist's work? Or, how much does Guston's work >with Coolidge, Berkson and Corbett get included into the way one may frame >the world of his later visual shapes, rhythms and phrasings . (whereas R >Crumb's influence gets brought in more and more because it's maybe both >obvious and hip). > >I suspect this is all changing as the multi-media core of Photoshop begins >to frame any young artist and poet's life. (Curious, to my knowledge, the >media is not making available the Text and the Audio from "those damn >digital cameras" (Rumsfeld) from Iraq prisons). > >Well, that's going away from the subject. Le Roi Jones(then), Politics of >Rich Painters (title?) probably speaks best to the Duke-Monk - I'm talking >medieval occupation- relationship of the two poets to painters. Hell hath >no lust nor envy comparable to a poet to share and receive the financial >attentions of a rich painter (or probably most 'professionals' for that >matter! > >In the meantime, as always, I suggest Chris Sullivan at Slight Publications: >http://www.8letters.blogspot.com/ > for a good look at somebody who's really exploring and having fun into the >audio-visual-text diaspora! And, also of course, Brian K Stefans - and I >am sure others can suggest others. Course, I suspect, most would testify no >money there, either. > >Cheerio, > >Stephen Vincent >Blog: http://stephenvincent.durationpress.com ========================================================================= Date: Mon, 28 Jun 2004 18:51:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City Celebrates Canada Day with Talonbooks and Alan Semerdjian Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit please forward --------------- Boog City presents d.a. levy lives: celebrating the renegade press This month's featured press: Talonbooks (Vancouver, British Columbia, Canada) on Canada Day, this Thurs. July 1, 6 p.m., free Aca Galleries 529 W.20th St., 5th Flr. NYC Featuring readings from: bill bissett Adeena Karasick Jamie Reid With music by Alan Semerdjian and special guest Daniel Carter There will be wine, cheese, and fruit, too. Curated and with an introduction by Boog City editor David Kirschenbaum Directions: C/E to 23rd St., 1/9 to 18th St. Venue is bet. 10th and 11th avenues http://www.talonbooks.com/ http://www.alanarts.com Next month: Thurs. Aug. 5, Boog City 13th anniversary party 13 nyc small press editors discuss the origins and futures of their presses, including the editors of Belladonna Books, Fence, Futurepoem, Hanging Loose Press, The Hat, Lungfull, Open 24 Hours, Pompom, Portable Press at YoYo Labs, Tender Buttons, and Ugly Duckling/Loudmouth Collective. -- 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, 28 Jun 2004 19:30:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: air water MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII air water from ground to blade tip, 342.8 feet, electrical generation wind turbine farm http://www.clc.wvu.edu/sondheim/files/airs.mov http://www.clc.wvu.edu/sondheim/files/ meiji series kami-kaze _ ========================================================================= Date: Mon, 28 Jun 2004 20:53:49 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Stengel Subject: the news MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Welcome to the world, Calder Joseph Hilliard born at home to Jill Stengel and Andy Hilliard on April 14, 2004 6:18 p.m. 9 pounds 22 1/2 inches (beautiful photo available for viewing for those who ask) ========================================================================= Date: Mon, 28 Jun 2004 20:16:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Read More Poetry! First Zine Series Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Hi All: The first series from PO25centEM is available. The set includes 10 zines from the following contributors: 1. Richard Kostelanetz 2. Gerald Schwartz 3. Jason Christie 4. Jeff Harrison 5. Bill Allegrezza 6. Joel Lipman 7. Christophe Casamassima 8. Sheila E. Murphy 9. Martha L. Deed 10. Catherine Daly w/ Circle Jerks There are 100 sets available and the second series (11-20) is in the making. Write us if you'd like to get yr hands on one. Also: we're still accepting submissions for this project. Our hope is to press several hundred poets, whose zines will be distributed around the Baltimore and Washington, D.C. areas (hopefully, if this project is funded, it will be national distribution) as handouts to the public to encourage them to read more poetry. We're soliciting cash contributions for the sets only in order to press more and more for hand outs. Poetry should be free to the public: we're trying to make that happen. Please send us work for the next series. All work is accepted by all poets: this is a universal cause. The details: 8-16 pages of texts that fit nicely onto a 4" width by 5" height format. We'll press extra to send to the poets for their own distribution. f_p -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Mon, 28 Jun 2004 19:26:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: terrie relf Subject: Re: the news MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Congratulations! OF course I'd like to see the photo... tlrelf@cox.net Ter > Welcome to the world, > Calder Joseph Hilliard > > born at home > to Jill Stengel > and Andy Hilliard > on April 14, 2004 > 6:18 p.m. > 9 pounds > 22 1/2 inches > > (beautiful photo available for viewing for those who ask) ========================================================================= Date: Tue, 29 Jun 2004 00:08:53 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: summer... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit too jewish not black 'nuf all god's chillum got vhite x-mas waltermeltdown */^& litnin'....bread... new/old day..plus 08...drn.. ========================================================================= Date: Tue, 29 Jun 2004 00:31:35 -0400 Reply-To: Geoffrey Gatza Sender: UB Poetics discussion group From: Geoffrey Gatza Organization: BlazeVOX [books] Subject: Obituary: Carl Rakosi Comments: To: Poetryetc provides a venue for a dialogue relating to poetry and poetics , ImitaPo Memebers MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable http://books.guardian.co.uk/obituaries/story/0,11617,1248964,00.html Carl Rakosi=20 A prot=E9g=E9 of Ezra Pound and member of the Objectivists in the 1930s, = he took a 30-year break from poetry to work as a psychotherapist=20 Michael Carlson Monday June 28, 2004 The Guardian=20 Only one degree of separation links Carl Rakosi, who has died aged 100, = with the poets of Victorian England, and that link is Ezra Pound. Rakosi = made his mark in the Objectivist issue of Poetry magazine, in 1931, as a = Pound prot=E9g=E9. But Rakosi and his fellow poets, George Oppen, = Charles Reznikoff and Louis Zukofsky, were already moving past Pound's = modernism, which seemed to them almost as moribund as the tradition it = was trying to overthrow.=20 Yet the Objectivists were primarily the children of Jewish immigrants, = and that experience linked their work far more than any "objective" = style. Neither were they allied politically with Pound. It is no = coincidence that Rakosi and Oppen, both Marxists, each took a long break = from poetry. Rakosi spent three decades as a social worker before being = "rediscovered" by the British poet Andrew Crozier.=20 Rakosi was born in Berlin. A year later, his parents separated, and he = spent six years with his mother's family in Hungary. His father moved to = the US, working as a watchmaker in Chicago, where he befriended = socialist thinkers such as Rosa Luxemburg and Karl Liebnicht. In 1910 = Rakosi's stepmother came to Hungary to take Rakosi and his brother to = America.=20 The family eventually settled in Kenosha, Wisconsin, and after starting = university at Chicago aged 17, Rakosi transferred to the University of = Wisconsin, where, surrounded by what he later described as "10,000 = Babbitts", he edited the literary magazine.=20 After college he went to Australia as a mess boy, and worked with = disturbed children in New York, which led him to return to Wisconsin to = take a master's degree in psychology. For the next 15 years, he drifted: = he began further degrees in law and medicine, taught English, and worked = in a variety of jobs.=20 All the while he was writing poetry, which was published in magazines as = prestigious as the Nation. In 1929 he changed his name, legally, to = Callman Rawley, which he thought - in disguising his immigrant origins - = would lead to quicker acceptance in literary circles. His writing was = influenced strongly by the giants of American modernism: Pound's focus = on the image, the musical language of Wallace Stevens, the inventive = forms of ee cummings, and William Carlos Williams, whose spare lines and = concern with everyday things helped redefine Rakosi's poetry.=20 Through correspondence with Pound, Rakosi was introduced to Zukofsky and = the other Objectivists. Although the Objectivist issue of Poetry = magazine linked them as a group, to Rakosi, Zukofsky's strict formal = experiments and Reznikoff's "found poetry" were as different to each = other as Oppen's pared down lines were to his own relaxed, almost casual = rhythms.=20 The Objectivists did for American poetry what Henry Miller did for = American fiction at the same period, opening it up and saying that the = experience of being the child of immigrants is as worthy of being the = subject of literature as that of the literary establishment. None of = them, however, were accepted by that establishment. But in 1941, James = Laughlin, another Pound disciple, with his own small press, published = Rakosi's Selected Poems as an early New Directions book.=20 By then, Rakosi had earned an MA in social work at the University of = Pennsylvania. As a Marxist, he became convinced poetry was not an = instrument for social change. "I fell in love with social work, and that = was my undoing as a poet," he said later, and for nearly 30 years he = worked as a psychotherapist with disturbed children in St Louis, = Cleveland, and Minneapolis.=20 Then, in 1965, Crozier, then a student of Charles Olson's at State = University of New York-Buffalo got in contact with Rakosi, and his = interest inspired Rakosi to begin writing again. In 1967, New = Directions, by now a successful publisher, brought out Amulet, which = included his older work alongside new poetry. This was followed by = Ere-Voice (1971) and, from Black Sparrow, Ex Cranium, Night (1975). His = Collected Poems was published by the National Poetry Foundation in 1986, = and Poems 1923-1941, published by Sun and Moon Press in 1989, won a PEN = award. Etruscan Books in this country has published new work, in Earth = Suite (1997) and Old Poets Tale (1999).=20 Although Rakosi, in poems such as New Orleans Transient Bureau, 1934, = captures the rhythms of real speech, as it affects the reality of daily = life, he could be wry on a larger scale. His Americana series contains a = brief poem called The Blank Page:=20 What's the matter? Have you nothing to say about America? Do you not = dare be grandiose?=20 Unassuming and engaged, Rakosi had much to say about America. His poetry = may be richer for his three decades of silence, but even in its reduced = form, his body of work marked him out as a major modern poet.=20 His wife, Leah, predeceased him. He is survived by two sons.=20 =B7 Carl Rakosi, poet and psychotherapist, born November 6 1903; died = June 25 2004=20 ========================================================================= Date: Tue, 29 Jun 2004 00:40:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michelle reeves Subject: general language qs for the listserv MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit What language does your poetry use? What kind of constructions is involved in the language? What is your poetry's goal pertaining to that language? What is your poetry trying to "accomplish"? What is it's intent? ========================================================================= Date: Tue, 29 Jun 2004 00:19:52 -0500 Reply-To: UB Poetics discussion group 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" Content-transfer-encoding: 7bit Your teeth with shame a system of the upper body large circus feet a torrent which you can hold to make reveal a flaming piece of wood common brown and red butterfly ========================================================================= Date: Tue, 29 Jun 2004 02:39:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: Looking for Poems on Paintings MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hey i came in late to this dicussion but i've got tons of poems written to painter/paintings stevens williams what's it all about propper's pollock drips real well michaelangelo's poems to whatever hey poetsa painting painters poeming ========================================================================= Date: Tue, 29 Jun 2004 08:42:18 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: "Eyes Wide Open: The Human Costs of the Iraq War" in Philadelphia MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit > "Eyes Wide Open: The Human Costs of the Iraq War" > > Independence Mall and Visitor Center > Market Street between 5th and 6th Streets > > Friday, July 2 - 10 am - 9 pm > Saturday, July 3 - 10 am - 9 pm > Sunday, July 4 - 10 am - 4 pm > > on exhibit: > a.. over 800 pairs of combat boots, each tagged > with the name and age of a U.S. soldier killed in > Iraq > b.. a memorial wall to Iraqi victims with names > and incidents documenting more than 10,000 civilian > deaths; a sea of civilian shoes symbolizing the men, > women, and children who have perished > c.. an multimedia presentation with video, audio, > text and artwork exploring the costs and causes of > the war > > From 1 to 4pm each day, there will be a solemn > reading of the names of U.S. and Iraqi casualties. > > > For more information, see www.afsc.org > ========================================================================= Date: Tue, 29 Jun 2004 10:14:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: general language qs for the listserv In-Reply-To: <00cb01c45d93$3a384b40$86cbfea9@reevescomo0vlm> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I'll try to answer this, although I doubt anyone reads me - Alan On Tue, 29 Jun 2004, michelle reeves wrote: > What language does your poetry use? english by default, but always with a recognition of the computer protocols, modes of distribution, programmings, beneath the surface. > What kind of constructions is involved in the language? it depends what you mean by 'constructions' - and whether you're referring to the syntax/semantics/etc. of english (in this case), or whether you're referencing oulipo-like constructions, or the kinds of consructions i might use in composition. > What is your poetry's goal pertaining to that language? What is yo ur poetry trying to "accomplish"? in my case, a new way of looking at the world, a resonance with wonder - but then does poetry always have a goal or a tendency towards an accomplishment? perhaps delight, perhaps the landscape of the wounded - > What is it's intent? poetry has no intent, or goal, or attempt at accomplishment, but poets do - it's somewhat of a romantic fallacy to attribute such to the text itself - but the intent, goal, and accomplishment, are as above, one or intermixed, the same, but with difference in regard to intent, as there might not be intent at all - Alan http://www.clc.wvu.edu/sondheim/ 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 ========================================================================= Date: Tue, 29 Jun 2004 14:51:19 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: Re: Looking for Poems on Paintings Mime-Version: 1.0 Content-Type: text/plain; format=flowed Stephen, I think these are really good points. Though as a friend pointed out to me a few years ago, there are a lot of poor painters out there that we don't get to hear about. I wonder if instead of the relationship between the media of poetry and painting, you might be talking about the infrastructure surrounding these activities as it currently exists. Those few artists who do meet with success have a gallery/museum system to lavish a certain amount of attention and money on them. Poets don't really have anything comparable, I think...I remember some remarks from Silliman about this where he said (forgive my clumsy summary) that what keeps art popular is money, what keeps music popular is the idea of virtuosity, and poetry, well...that's a great big gray area. It's hard to commodify poetry in any recognizable sense (though some of us are certainly trying to make progress toward that dubious goal), because you're right, as a poet you're not going to get a fancy monograph and several shows that travel around the country. Re: Kim Stefans, I admire his work a lot, but I wouldn't call it ekphrasis. As far as I understand it he's a New Media poet/artist of sorts, an activity which inherently interdisciplinary because of the digital element through which all other media are filtered (see Lev Manovitch's _The Language of New Media_). Best, Tim >Are we talking really old too, or just recent? There's that Demuth (I think >it's Demuth) painting after Williams' "Number 5" poem. Yes - not to be contrary to the original question - but I think it's a harder go to find paintings (& other visual media) that have been shaped by poems (at least in any literal sense - which might be a boring enterprise anyway, the 'literalness' that is}. The number of painters who have exposure to poetry as part of their education in most art schools (with the exception of what they might get if they opt to take a creative writing class from the resident poet plus a good reading series) is probably limited. Where - for, at least poets who live in Cities - the museum and gallery experience is more likely to be de rigueur, plus the art magazines another influence - and consequently we are much more likely to in dialog with the visual. I mean how many painters and photographers come to readings, let alone buy poetry books and mags. & the critics of painting - even when they are poets - how often to do they bring contemporary poetry into the critical references. Say- not that I read that frequently - how often does Peter Schjeldalh, both New York School poet and critic for the New Yorker and other art pubs - bring reference to a particular poem or poet into a way of looking at an artist's work? Or, how much does Guston's work with Coolidge, Berkson and Corbett get included into the way one may frame the world of his later visual shapes, rhythms and phrasings . (whereas R Crumb's influence gets brought in more and more because it's maybe both obvious and hip). I suspect this is all changing as the multi-media core of Photoshop begins to frame any young artist and poet's life. (Curious, to my knowledge, the media is not making available the Text and the Audio from "those damn digital cameras" (Rumsfeld) from Iraq prisons). Well, that's going away from the subject. Le Roi Jones(then), Politics of Rich Painters (title?) probably speaks best to the Duke-Monk - I'm talking medieval occupation- relationship of the two poets to painters. Hell hath no lust nor envy comparable to a poet to share and receive the financial attentions of a rich painter (or probably most 'professionals' for that matter! In the meantime, as always, I suggest Chris Sullivan at Slight Publications: http://www.8letters.blogspot.com/ for a good look at somebody who's really exploring and having fun into the audio-visual-text diaspora! And, also of course, Brian K Stefans - and I am sure others can suggest others. Course, I suspect, most would testify no money there, either. ========================================================================= Date: Tue, 29 Jun 2004 10:42:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michelle reeves Subject: Re: general language qs for the listserv MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit OK, ok, overly broad. ----- Original Message ----- From: "Alan Sondheim" To: Sent: Tuesday, June 29, 2004 10:14 AM Subject: Re: general language qs for the listserv > I'll try to answer this, although I doubt anyone reads me - Alan > > > On Tue, 29 Jun 2004, michelle reeves wrote: > > > What language does your poetry use? > > english by default, but always with a recognition of the computer > protocols, modes of distribution, programmings, beneath the surface. > > > What kind of constructions is involved in the language? > > it depends what you mean by 'constructions' - and whether you're referring > to the syntax/semantics/etc. of english (in this case), or whether you're > referencing oulipo-like constructions, or the kinds of consructions i > might use in composition. > > > What is your poetry's goal pertaining to that language? What is yo > ur poetry trying to "accomplish"? > > in my case, a new way of looking at the world, a resonance with wonder - > but then does poetry always have a goal or a tendency towards an > accomplishment? perhaps delight, perhaps the landscape of the wounded - > > > What is it's intent? > > poetry has no intent, or goal, or attempt at accomplishment, but poets do > - it's somewhat of a romantic fallacy to attribute such to the text itself > - but the intent, goal, and accomplishment, are as above, one or > intermixed, the same, but with difference in regard to intent, as there > might not be intent at all - > > Alan > > http://www.clc.wvu.edu/sondheim/ > 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 > ========================================================================= Date: Tue, 29 Jun 2004 11:20:49 -0400 Reply-To: Geoffrey Gatza Sender: UB Poetics discussion group From: Geoffrey Gatza Organization: BlazeVOX [books] Subject: Re: general language qs for the listserv MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Actually this is not broad for Alan, work. Actually it's right on the mark for your questions give the poet answering them. Best, Geoffrey Geoffrey Gatza __o _`\<,_ (*) / (*) ++ BlazeVOX | Editor : http://www.blazevox.org +++ Poetry USA | Bio : http://www.blazevox.org/gatza ++++ BlazeVOX [books] : http://www.blazevox.org/books ----- Original Message ----- From: "michelle reeves" To: Sent: Tuesday, June 29, 2004 10:42 AM Subject: Re: general language qs for the listserv | OK, ok, overly broad. | | ----- Original Message ----- | From: "Alan Sondheim" | To: | Sent: Tuesday, June 29, 2004 10:14 AM | Subject: Re: general language qs for the listserv | | | > I'll try to answer this, although I doubt anyone reads me - Alan | > | > | > On Tue, 29 Jun 2004, michelle reeves wrote: | > | > > What language does your poetry use? | > | > english by default, but always with a recognition of the computer | > protocols, modes of distribution, programmings, beneath the surface. | > | > > What kind of constructions is involved in the language? | > | > it depends what you mean by 'constructions' - and whether you're referring | > to the syntax/semantics/etc. of english (in this case), or whether you're | > referencing oulipo-like constructions, or the kinds of consructions i | > might use in composition. | > | > > What is your poetry's goal pertaining to that language? What is yo | > ur poetry trying to "accomplish"? | > | > in my case, a new way of looking at the world, a resonance with wonder - | > but then does poetry always have a goal or a tendency towards an | > accomplishment? perhaps delight, perhaps the landscape of the wounded - | > | > > What is it's intent? | > | > poetry has no intent, or goal, or attempt at accomplishment, but poets do | > - it's somewhat of a romantic fallacy to attribute such to the text itself | > - but the intent, goal, and accomplishment, are as above, one or | > intermixed, the same, but with difference in regard to intent, as there | > might not be intent at all - | > | > Alan | > | > http://www.clc.wvu.edu/sondheim/ | > 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 | > | | | ========================================================================= Date: Tue, 29 Jun 2004 09:18:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Looking for Poems on Paintings In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Yes to poor painters and sculptors whose spare change mainly goes into storage of such. To be among painter royalty is probably kin to getting one of the 200 positions available in the NBA - the basketball court, as well as the baseball stadium and coliseum equivalent to the gallery or museum. In fact, I read more people went to museums in America than all professional sports combined last year. But the fetish (or iconic entrancement of the object on the wall) creates both value and the gallery-musuem infrastructure of which you speak. Comparatively for us in the Bay Area we have the Poetry Center, Small Press Traffic at CAA, a few bookstores, and probably some of the sweetest house poet parties in the land, all of which variously make up for the lack of Museum etc audiences with great ears and people who buy or trade books and listen and/or read with what might be called 'intimate intensity' - not to be traded for the world. Hate to make it sound like a small church, or, in some cases, borderline Dionysian practice, but... I would prefer to let Brian Stefans say whether or not his practice (site) represents some form of 'ekphrasis' - is there a verb for that word, time to invent a pronounceable one! Ekraprhasing! Thanks, Stephen V Blog: http://stephenvincent.durationpress.com > Stephen, I think these are really good points. Though as a friend pointed > out to me a few years ago, there are a lot of poor painters out there that > we don't get to hear about. I wonder if instead of the relationship between > the media of poetry and painting, you might be talking about the > infrastructure surrounding these activities as it currently exists. Those > few artists who do meet with success have a gallery/museum system to lavish > a certain amount of attention and money on them. Poets don't really have > anything comparable, I think...I remember some remarks from Silliman about > this where he said (forgive my clumsy summary) that what keeps art popular > is money, what keeps music popular is the idea of virtuosity, and poetry, > well...that's a great big gray area. It's hard to commodify poetry in any > recognizable sense (though some of us are certainly trying to make progress > toward that dubious goal), because you're right, as a poet you're not going > to get a fancy monograph and several shows that travel around the country. > > Re: Kim Stefans, I admire his work a lot, but I wouldn't call it ekphrasis. > As far as I understand it he's a New Media poet/artist of sorts, an activity > which inherently interdisciplinary because of the digital element through > which all other media are filtered (see Lev Manovitch's _The Language of New > Media_). > > Best, > > Tim > >> Are we talking really old too, or just recent? There's that Demuth (I think >> it's Demuth) painting after Williams' "Number 5" poem. > > Yes - not to be contrary to the original question - but I think it's a > harder go to find paintings (& other visual media) that have been shaped by > poems (at least in any literal sense - which might be a boring enterprise > anyway, the 'literalness' that is}. The number of painters who have > exposure to poetry as part of their education in most art schools (with the > exception of what they might get if they opt to take a creative writing > class from the resident poet plus a good reading series) is probably > limited. Where - for, at least poets who live in Cities - the museum and > gallery experience is more likely to be de rigueur, plus the art magazines > another influence - and consequently we are much more likely to in dialog > with the visual. I mean how many painters and photographers come to > readings, let alone buy poetry books and mags. & the critics of painting - > even when they are poets - how often to do they bring contemporary poetry > into the critical references. Say- not that I read that frequently - how > often does Peter Schjeldalh, both New York School poet and critic for the > New Yorker and other art pubs - bring reference to a particular poem or poet > into a way of looking at an artist's work? Or, how much does Guston's work > with Coolidge, Berkson and Corbett get included into the way one may frame > the world of his later visual shapes, rhythms and phrasings . (whereas R > Crumb's influence gets brought in more and more because it's maybe both > obvious and hip). > > I suspect this is all changing as the multi-media core of Photoshop begins > to frame any young artist and poet's life. (Curious, to my knowledge, the > media is not making available the Text and the Audio from "those damn > digital cameras" (Rumsfeld) from Iraq prisons). > > Well, that's going away from the subject. Le Roi Jones(then), Politics of > Rich Painters (title?) probably speaks best to the Duke-Monk - I'm talking > medieval occupation- relationship of the two poets to painters. Hell hath > no lust nor envy comparable to a poet to share and receive the financial > attentions of a rich painter (or probably most 'professionals' for that > matter! > > In the meantime, as always, I suggest Chris Sullivan at Slight Publications: > http://www.8letters.blogspot.com/ > for a good look at somebody who's really exploring and having fun into the > audio-visual-text diaspora! And, also of course, Brian K Stefans - and I > am sure others can suggest others. Course, I suspect, most would testify no > money there, either. ========================================================================= Date: Tue, 29 Jun 2004 14:47:45 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: maccaff at buff MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I just read somewhere that steve mccafery has been offered the Grey Chair at SUNY Buff. is this true? kevin -- --------------------------- Newfoundland Tories put culture in a COMA http://www.donotpadlocktherooms.com/ ========================================================================= Date: Tue, 29 Jun 2004 13:19:42 -0400 Reply-To: lemerson@buffalo.edu Sender: UB Poetics discussion group From: Lori Emerson Subject: Re: maccaff at buff In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit yes! On Tue, 29 Jun 2004 14:47:45 -0230, Kevin Hehir wrote: > > I just read somewhere that steve mccafery has been offered the > Grey Chair at SUNY Buff. is this true? > > kevin > -- > --------------------------- > Newfoundland Tories put culture in a COMA > http://www.donotpadlocktherooms.com/ > ========================================================================= Date: Tue, 29 Jun 2004 17:28:26 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: Re: Looking for Poems on Paintings Mime-Version: 1.0 Content-Type: text/plain; format=flowed "In fact, I read more people went to museums in America than all professional sports combined last year." How wonderful! I hope this is actually true, though I bet the groups would be different...a large group of mainly elderly women going to impressionist shows probably, as opposed to the sports fan demographic. "I would prefer to let Brian Stefans say whether or not his practice (site) represents some form of 'ekphrasis' - is there a verb for that word, time to invent a pronounceable one! Ekraprhasing!" There was a recent show on Rhizome that talked about the process of "Xphrasis," which is something slightly different I guess. And yes, by all means I agree with you that Brian gets to define what his own practice is... Best, Tim ========================================================================= Date: Tue, 29 Jun 2004 13:37:59 -0400 Reply-To: lemerson@buffalo.edu Sender: UB Poetics discussion group From: Lori Emerson Subject: Re: maccaff at buff Comments: To: Kevin Hehir In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit sorry Kevin, I didn't mean to be reticent. McCaffery will be taking up the Gray Chair this fall (teaching a to-be-announced poetics course) and his partner Karen McCormack will also be teaching creative writing and poetry courses in the department. I think that's all the details I can think of--other than that it's very good news! best, Lori On Tue, 29 Jun 2004 15:01:16 -0230 (NDT), Kevin Hehir wrote: > > ok. details? > > > > On Tue, 29 Jun 2004, Lori Emerson wrote: > > > yes! > > > > On Tue, 29 Jun 2004 14:47:45 -0230, Kevin Hehir wrote: > > > > > > I just read somewhere that steve mccafery has been offered the > > > Grey Chair at SUNY Buff. is this true? > > > > > > kevin > > > -- > > > --------------------------- > > > Newfoundland Tories put culture in a COMA > > > http://www.donotpadlocktherooms.com/ > > > > > > > -- > --------------------------- > Newfoundland Tories put culture in a COMA > http://www.donotpadlocktherooms.com/ > > ========================================================================= Date: Tue, 29 Jun 2004 14:02:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Crux MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Crux, a cross. Crucial, a. severe. Scrib-o, I write. Script-um, to write. Conscription, n. a compulsory enrolment for military service. Circumscribe, v. to limit. Description, n. delineation. Scribbling, n. writing carelessly. Scriptures, n. the Bible. Describe. Prescribe. Subscribe. Scruto-or, I examine. Scrutin-ium, scrutiny. Inscrutable, a. unsearchable. Scrutinize, v. examine closely. - from A.C. Carr, The Model Etymology, Philadelphia, 1879. Circumscribe and Scriptures, inscrutable, relation among writing, power, protocol. The Latinate derivations - few Greek, and none of Anglo-Saxon or other language - our Roman culture. Civitas. Crep-o, I sound, I rattle. Crepit-um, to sound, to rattle. _ ========================================================================= Date: Tue, 29 Jun 2004 20:28:21 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata Subject: fragments of a history of art (time-space) chart (after maciunas) Comments: To: WRYTING , "_arc.hive_" <_arc.hive_@lm.va.com.au>, syndicate , e Comments: cc: lists , autonoemata@topica.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ]~- ~::r::=- ~::';:::'.:...~, ~n\IT"". '-"'~= =.~~,,'",. ROBERT .",.~, flLLIOU ~~~a;, ;:=."if". ISTCONTA" !EF'" ~~:~,:~~. C"~ SE.SATIO.AL.. ..TIART. p".."..'i.""'h fU.CTIO.AL.. EXH18ITIONIS. VLAOI.,R .AVAKOVSKV SAOIS. LEFILEFTfRO.1l .ASOCHIS. .E.LEf PERVERSIO.S REF I.EVOLUTIO.ARVfRO.1l E.OTICIS. .'"' ~~!:~~~£:. IOCI.LlrrR..LI. OIO.CTIC.RT .,-. ,-. ,-- -~ --, ,rrHAPPE.,N' ,rr.,LE.TPI.C., ACTIO..USIC ,'u" ~+"l~~~' 1f,1::;.- ="'~,"~, :t."'==. 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""'~"'~".'.~".'-,mlla:I.~~~= ~::: ~w!,~~,~=;.~..;",.:".:' ,.:,:: '.'.""'00"'M.~..' ~,--, 00"'- -."M'~- -",- ..,~" ~"- """.- ,,-,-, ..,.,~ -- ~-. !8:1- , ::.=!:: ~E'- '..FESTIVAL lJASPERJOHHS l:k~lU' I!~~ ~, FLUXOIJECT', ,~,~ ",'..'.~M =-' ..'U~ "'", -M .- - -- =- - I"~a,., Ei:=- ~ ~. __ scanjot series hexture isbn 82-92428-18-6 ========================================================================= Date: Tue, 29 Jun 2004 20:29:07 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata Subject: scanjot/sunspot Comments: To: WRYTING Comments: cc: lists , autonoemata@topica.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Flekkene far solen til a vokse ,!.",.:{.]~[.].'/l. Solen vokser og skrumper inn i takt med antall solflekker. Flekkene far solen til a vokse r!.\.,I:{.I~[.h"I. Solen vokser med mange solf1ekker fore- kommer kraftige magnetiske "C c ce". " ~~~ :~:~:~J~I:O ~~~:l;;; ~ enor~e mengder ~10dende matenale h0yt opp l.solatmo- de Japansk~~I. sf~ren.?ette ~.atenaletsen- o c nwgble!lekanogsa}.li der ogsa ut strilmg. Det sam- den ff,)rste vepse!lssJ~~!!; lede are~et som s~nder stra- stoff:~"k\s~Jet!~et~~! ler mot Jorden bhr f01gehg denl;hJemsOmm4ttll Jarye-c c?ver IOOOarbe~dsble!~~} st0rre, og resultatet er at den !vJapanske cf()iskerecchar ! les~ecEttete(par cbes0k mngangeptllblklJben,~!(! strilingen som treffer jorden, (!9P~agetat(disse(biene!h~}!( cnT! l);kerer!denk\1ben medet! ~r ckl~e ctil aomsluttd(aeii! ogsa blir mer intens. (!ntviklete(h0ytavansett!fQt-(c Qwtstoff(~om! straks tiltre~e! jepse11e($!?tt;cvltgers~g~n;c c dc b. dc;;t.k'cccO0 cN° ck.c,'C"" c ~m9-t!.(e ( eV1nge"e~()r- an'c+l'e( !,)emp~epser. g(nar " ((.!~!de~s ~~t,~J,e~stQ~( t!!!!;""'c!!c ;!derne,Nap envepsc!qenger! !tr~~!le!tle!evepsephar samcc delav!d~!lnnersl#! b\e~e(l" c...Verdenslengste under- !!jnnipikuwn,(bJircden!omga-!! )et! $~gfQranc!hikuben,~c kulenwistec!livet,Mend£\!!! grunnsbane ligger i Wa- !("ende!omrihgetav(bonni~g; !fn~enOOgj11ne. " tefnp~raturen in!lei!kulen!! shington i ':TSA. Den ~e~ (!!,!.E!l~o~!p;\(~(1coo30vep$er stigl!!:! tiI17!~der!cel?iuSo" star av et skinnenett pa 1 !ogblerkan(ti)e"bo!rtlmot all612km. D~n eldsteba- ~o g~dder;}~ensvepsene n~n, som er fra 1863, er O()()!bfer;c d0rVed!~g!a?er-~c pa andreplass .med 430 c?edj(jde!blene(.()(rf~!1y~~! km. Den hgger 1 London. !Yallhgyls "et }llOOhagehgbe,,!!!!bfeneS ) arver og pupper! cforaLkubeR~!o~r.~~,!!(( ,!! ( .C! !""!" "!( !c; " CC" !C"!c"C;i';;!!;;!!! Flekkene far solen til a vokse , ii ,-,.,-,... " ."-..;'.".'.ll Solen vokser t; O c ler mot jorden blir f01gelig st0rre, og resultatet er at den c str;llingen som treffer jorden , ; ogsa blir mer intens. 'c,! c c. " !~ Verdens lengsteundet- grunnsbane ligger i Wa- shington i USA. Den be- s!iJ.r av et skinnenett pa i !C ' ., , , ' ," ~'c, ! ' .'" , ", ,! .11 "l," ,,' alt 612 kffi. Den eldste ba- !Perblirdesittendetilve,p)~j)cc~~~alJe de voksnebiene 50Cgrdder;'merisveps~I:! c! c Cc", ! c" n~n, som er fra 1863,er pa andreplass med 430 j~p~sk ~Jempevepscerc"cEttermassakren fr-dkter de!:de d0debleneoftet1 kffi, Den Jigger i LondoR dens u~ing. __ hexture isbn 82-92428-18-6 ========================================================================= Date: Tue, 29 Jun 2004 12:43:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: SAN DIEGO! Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks to everybody who came to the Continuous Peasant Shows there--- Was great to see people actually dancing (well, except for that asshole who knocked my crutch out from under me...) & Uh You rock! (way better than Los An HELL LACE).... ========================================================================= Date: Tue, 29 Jun 2004 15:02:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Timothy Yu Subject: Re: WHY DO THE TIAWANESE Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Andrew: Must we really do this again? Is it not possible for you to express yourself without leaning on some kind of Asian stereotype? I am going to assume that the "TIAWANESE," as you style them, are a fictional invention of yours. They certainly resemble a lot of racist images of Asians: they're all women-oppressing engineers who may, if I read you right, even eat dogs (they "run over dogs like nothing" and then "prepare meat in the gutter"...). It's a brilliant example of how the West blinds itself to its own prejudices by displacing them onto the Oriental: cf. a U.S. administration that fights against women's rights everywhere and then presents its invasion of Afghanistan as a liberation of women. I also like how you've thrown in a few updated stereotypes of Asians as consumerist dupes who just gobble up anything produced by the American culture industry. They sound a lot like us, really. It is difficult for me to understand how you can ask, in a tone of apparent concern, about "the ongoing colonization of the world's tongues by the English language" and then turn around and provide a shining example of just that kind of cultural imperialism: the North American tourist who thinks he "knows" an Asian culture and feels free to speak on behalf of, pontificate upon, and judge it. It's hard for me to take your other remarks and queries--which ostensibly come from a desire to mount a radical political critique of poetry--very seriously when you continue to accompany it with this destructive rhetoric. If there does seem to be, as you complain, a lack of real debate on this list, it may be because arguments like yours seem to be advanced in bad faith--a suspicion strengthened by the pleasure your poem seems to take in exploiting its imperialist position (the Taiwanese love you, they pay your loans, they scrape and bow). If your poem offers a critique of that position, I don't see it. I'm not from Taiwan, but my father's family is; if I knew more "Chinglish" I'd be glad to corrupt your poetry with it. Again, I have to say I'm disappointed with the extent to which remarks like these go unchallenged on this list. Perhaps it's because American poets have a long history of not only thinking they know the Orient but thinking they can somehow channel it, with not a whole lot of awareness of their own cultural and historical position. The question, to my mind, is not why do the Taiwanese do anything, but why it is that a white North American needs to find them so loathsome. Tim Yu http://tympan.blogspot.com ========================================================================= Date: Tue, 29 Jun 2004 13:41:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Tonight: Pink Steam bookparty San Francisco Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dodie Bellamy reads from Pink Steam Tuesday, June 29, 7:30 pm Modern Times Bookstore 888 Valencia Street San Francisco, CA 94110 Phone: 415-282-9246 http://www.mtbs.com/ ========================================================================= Date: Tue, 29 Jun 2004 16:49:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Tills Subject: First Issue of BLACK SPRING is now out! MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Black Spring's first issue features Stephen Ellis, as well as Brent = Bechtel, Catherine Daly, kari edwards, Jim McCrary, Christine Murray, = Layne Russell, and the editor. Also has a neat and mischievous back cover the editor staged and = photographed at the Welcome to Utah Billboard in 1995, not quite on the = scale of Fahrenheit 9/11, nor nearly as tasteful, but kinda fun and = risky... Just $7 bucks. E-mail me if you'd like to snap up a copy before I give = too many away. :) =20 Steve Tills http://theenk.blogspot.com/ http://www.therepublicofcalifornia.com/BSO/Black_Spring_P.htm Stills@gwlisk.com ========================================================================= Date: Tue, 29 Jun 2004 14:03:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: The Obvious In-Reply-To: <5.2.0.9.2.20040625082115.023a1810@earthlink.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Some time ago I posted a message expressing my surprise at the US bombardment of a mosque in Iraq. At the time it affected me as a stunning novelty --so much so that I responded crossly to a response by kari edwards which situated the attack within a long tradition of US terror including Jim Crow, anti-labor aggression, and the invasion of the Phillippines. True enough, I conceded, but still it seemed to me that some horrible new frontier had been crossed, and I was not yet ready to see that day's news folded so quickly into the familiar litany. Now these couple months later I can't even remember where that mosque bombing took place. Was it Najaf? Fallujah? One might even be forgiven for guessing it was somewhere in Gaza. What I'm saying is that the bombing doesn't seem like such a novelty anymore, but rather like another dreary link in the chain of crimes enumerated by kari in her post of April 7. Since that time we've all been treated to abundant evidence of another, even more gruesome link --namely the sexual abuse and torture which have apparently been a vital component of this war effort from its beginning. Let me say here that I have hardly known how to act or feel since the breaking of the Abu Ghurayb prison scandal. Mainly it's a question of how much surprise and shock to allow oneself: I for one was wholly unprepared to see US troops acting out the paintings of Manuel Ocampo, and I'm still totally dazed by it. But I don't know how to balance that reaction with the radical critique buzzing in my inner ear, like "how can you be surprised? What do you think war is, anyway?" I expect others have had this problem also. Surprise during wartime would seem to be little more than the mark of prior delusion and deception. And yet who is ready to surrender their right to be shocked by the disasters of war? Not Goya, and not me either. As it happens, I have just completed a zine called SYRUP HITS which was in progress when the Abu Ghurayb photos were released, and came to encapsulate my confused response to the whole godawful mess. Apologies to my out-of-state readers, because SYRUP HITS will not be available outside of California until September of this year. I will however be bringing plenty of copies to tonight's event at New Langton Arts in San Francisco (1246 Folsom btw/ 8th & 9th, 8 pm). No need to miss Dodie Bellamy's reading at Modern Times, just swing by afterward. Looking forward to seeing many of you there, and wishing for peace, is LRSN ========================================================================= Date: Tue, 29 Jun 2004 16:21:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Attention Press Editors Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Hi, I'm trying to gain the attention and solidarity of all the poetry editors who subscribe to the List. I'm also asking that you send me any contact information, or perhaps will solicit writers you have worked with, anyone who is interested in contributing to the zine project. I'm currently in the process of writing up a grant proposal to secure funds to make this project national. It is only in its infancy and a lot of ideas are being thrown around on this end, most of it idealistic. The goal, in short, before I can write up a full length proposal, is to distribute poetry to the masses via the PO25centEM zine series. These zines are pocket sized and compact, no more than 16 pages long. We're trying to publish as many writers as possible, and I'm using my own funds, for now, and my own man power to put this project together. I got the idea from Cole Swensen who said something to the effect that people who wait in line or are just waiting in general, like at airports and bus stations, should be reading poetry: signs should be made for escalators, elevators, waiting rooms, that have electronic signs scrolling poetry. The zines are lightweight, compact, and come in the hottest fashionable colors. Not really. But we're going to give them out to people who are waiting for the bus or just walking about the city and encourage them to READ MORE POETRY. I need all the help I can get, that's why I'm asking editors to work with and solicit their writers. Any help is appreciated. Yrs Sincerely, Chris Casamassima -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Tue, 29 Jun 2004 15:42:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: ROUSSEAU ON LISA ROBERTSON In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: quoted-printable Nomados proudly announces=20 ROUSSEAU=92S BOAT by LISA ROBERTSON 40 pp ISBN 0-9735337-1-4 @ $12.00 The ebb and flow of this water, its ongoing sound swelling with = vibration that set adrift my outer senses, rhythmically took the place of the = strong emotions my dreaminess had calmed, and I felt in myself so pleasurably = and effortlessly the sensation of existing, without troubling to think.=20 Jean-Jacques Rousseau ORDER FROM=20 Nomados=20 P.O. Box 4031 349 West Georgia Vancouver, B.C. 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Trans. from the Galician by ER=CDN MOURE. = 44pp ISBN 0-9731521-8-4. $12.00 plus $2.50 for p & p. (A poet, who has always = shunned metaphor and lyric escapism, puts the world on poetic display and pulls = it apart in its complexity. Helena Gonz=E1lez Fern=E1ndez) =20 HI DDEVIOLETH I DDE VIOLET by KATHLEEN FRASER. 36pp ISBN 0-9731521-7-6 $12.00 plus $2.50 for p & p. (Fraser's linguistic play and = typographical invention have never been more assured and brilliant. Marjorie Perloff) = *** Available from SPD *** =20 DRAFT, UNNUMBERED: PR=C9CIS by RACHEL BLAU DUPLESSIS. 32pp ISBN = 0-9731521-6-8. $12.00 plus $2.50 for p & p. (Pr=E9cis proposes, "in the name of = gloss," a narrative accompaniment to the first 57 poems of DuPlessis's ongoing = series, Drafts, composing a different order of folding-on-itself than readers = have encountered thus far, one subjectively tensed between notions of summary = and draft. Louis Cabri) *** Available from SPD *** THE IRREPARABLE by ROBIN BLASER. 32pp ISBN 0-9731521-1-7. $10.00 plus $2.50 for p & p. (Who else but a poet, and not just any poet but = Canada=92s Robin Blaser, could take on that word =93transcendence=94 and recuperate = it in the moment of a civic frame, one with the capacity to restore us to the =93world=94 restless in world, the =93where is=94 which is where we = abide. Er=EDn Moure) *** Available from SPD *** SEVEN GLASS BOWLS by DAPHNE MARLATT. 24pp ISBN 0-9731521-5-X. $10.00 = plus $2.50 p & p. (=93Home and the closeness of the beloved,=94 she writes. = There can be no subject as important to the poet and the rest of us, and in = this lovely poem, Daphne Marlatt continuously achieves her best yet =93homing = in.=94 That present participle is our sweet clue to a mystery we are encouraged = to enter. Gladly. George Bowering) FAT CHANCE by DODIE BELLAMY. 40pp ISBN 0-9731521-3-3. $12.00 plus $2.50 = p & p (Bellamy's Fat Chance is pellucid, masterful prose, at once a = bodiceful of grainy secrets, a set of falsities, and a treasury of urbane/innocent candor. There are many reasons I read Bellamy, not least for the = rapidity of insight, mediumistic sprit, and her enormous, at times jocular, = tenderness. Lissa Wolsak) *** Available from SPD *** ISLAND OF LOST SOULS: A PLAY by KEVIN KILLIAN. 76pp ISBN 0-9731521-4-1. $14.00 plus $2.50 p & p. (Will Gabrielle Kerouac be able to protect the befuddled genius of her son, Jack, from Hollywood producers hot to make = a musical out of his masterpiece, On the Road, a book she herself wrote = while he was unconscious? Will she find love in the arms of ailing heiress = Sunny von Bulow? 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Rachel Blau DuPlessis) ========================================================================= Date: Tue, 29 Jun 2004 18:19:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: William Wormswork On Hold For More Time Mime-Version: 1.0 Content-Type: text/plain; format=flowed watching names, they're what I'll approach, dark old astonishments, shrill wonders, may they be lighter in your palm, Jeff, I admit this past my longterm air, my palms barefoot again tho gore from my rinsed hands breathes almost names mammoth again and exhumed Futilears palm, Fickleyes paw spinning groans groomed into grass Fickleyes gleam, all nearby can be imagined, ordinary first, the crying color now second, an ear among holes one didn't pink myself?! spider what martyred donkey?! it is a bit unusual, I often face down the baroque, saying, "we're one in the same, objects by pages" me, I dive into their reaches, many a conviviality keeps written lines abob I gallop alongside their thinks, float loans to mapmakers never was perfect?! nonsense, entirely!! me, I pace what they picture, I'm on hold for "speak, medieval curls" (animals dimmed out) more time _________________________________________________________________ Is your PC infected? Get a FREE online computer virus scan from McAfee® Security. http://clinic.mcafee.com/clinic/ibuy/campaign.asp?cid=3963 ========================================================================= Date: Tue, 29 Jun 2004 19:52:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew loewen Subject: Re: WHY DO THE TIAWANESE MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Tim: >Must we really do this again? YES! >Is it not possible for you to express yourself >without leaning on >some kind of Asian stereotype? Let’s just see. >I am going to assume that the "TIAWANESE," as you >style them, are a >fictional invention of yours. Indeed, that slippery flip of the ‘I’ and the ‘A’ is telling. Interesting however, that you imply (perhaps I’m stretching here) that to be styled in a form that is different, improper, incorrect is a kind of degradation (more on this below). >They certainly resemble a lot of >racist images of Asians: they're all women->oppressing engineers who >may, if I read you right, even eat dogs (they "run >over dogs like >nothing" and then "prepare meat in the gutter"...). >It's a brilliant >example of how the West blinds itself to its own >prejudices by >displacing them onto the Oriental: cf. a U.S. >administration that >fights against women's rights everywhere and then >presents its >invasion of Afghanistan as a liberation of women. It’s somewhat short-sighted (I’m searching for impersonal words here but coming up short myself. . . ) to think this poem isn’t knowingly enacting the problems you rightly (re)address. As if the apparent “I” of the poem were a) to be identified with b) not to be quibbled with c) celebrated d) transparent e) the same (and as sturdy) as the “I” you take me to be And must a **purported** (heavy stress there. SIGNAL FLASHING LIGHTS PROBLEMS TROUBLE POLITICS RACE HELP) critique of say, Taiwanese culture, be a celebration of the “West”? I’m not going to speak on behalf of the poem nor shirk off it’s glaring, in your face (who’s face?), accusations. One way to understand racism is to have it out with it, puke it all up on the long family table. This is dicey to be sure but a a poem’s a nice way to do it. And I would never put such a poem up on any kind of listserv other than a poetics listserv stacked with leftists and academics. The terrible thing about many stereotypes is the toehold they have both anecdotally and, even worse, after more rigorous analysis—what?! Americans really do have lots of handguns, Canadians consume an abhorrent quantity of donuts?! the unemployment rate among natives/aboriginal people really is that high?! etc (please, hold on to your fisticuffs!). I’d encourage you to look into the enrolment stats of the students in the sciences (engineering say) vs. humanities (lit departs say) in Taiwan AND THE US/CANADA/AUSTRALIA/FRANCE/etc. What do they say about me? About you? About Taiwan? About president Chen Shui-bian? About George W. Bush? About my mother? There won’t be too much difference except proportionally (per capita) you’ll find far fewer people with MAs and PhDs in literature in Southeast Asia than you will in North America. The shape of the graphs will be identical though. No difference, but of degree. When does the qualitative become quantitative? Abandon all hope all ye who enter here. As for the dog-thing, well the Taiwanese DO have a different attitude towards animals (gasp). For better or worse, but I’d say it’s far, far less hypocritical re: agribusiness, etc. Anyway the problem of emaciated, tripodal street dogs is well known re: Taiwan (Some millionaire martial artists like Jackie Chan and, I think, the laughably pony-tailed Steven Segal, have mounted public awareness campaigns on the matter). I’ve assisted in taking in four baby animals from the street(kittens, puppies) in my time here, and that’s probably a fairly average # for foreigners here. Does this mean all Asians are woman-hating dog eaters? NO, but on the level of the everyday, it’s a concern and it **would be** in bad faith for me to pretend I didn’t struggle with such cultural differences. That said, why project such stereotypes onto the Taiwanese? (Whom, incidentally, you seem to take, following a logic not even present in the poem, as a metonymic stand-in for “the Orient” without invitation)Well, because they hit you in the face. Around the corner from my ibook here the local merchants are setting up the neighbourhood morning market. There will indeed be people folks sitting on the curb scaling fish, some of which aren’t yet dead. Now, is this representative of Asian culinary standards, etc? No, not really. You won’t find this in Taipei even. Tainan’s the most traditional city on the island. In an hour I’ll hop on my scooter and drive down Mintzu Lu where restauranters defrost and variously prepare meat, including pigeon, on the sidewalk, literally. To an Edmontonian, this is notable. Does the poem perpetuate racist stereotypes by making blanket pronouncements about the world’s largest ethnic group? You clearly think so, I think it invites an interrogation of them, of ‘our’ own latently held beliefs, or, to get all academic on those stereotypes’ asses, problematizes them, if (not) only by foregrounding them. It’s as if the only way another culture can be deemed equal is if they share our own beliefs. Well shit, I hope to god I don’t hold the same beliefs as the average, representative Albertan, who just voted in a bunch of old-school Conservative goons to represent ‘us’ (ugh) in Ottawa. >> They sound a lot like us, really. The previous (specific) points aside, what makes you so sure this isn’t exactly “the point” of the poem as a whole? (IE: THEY “SOUND” A LOT LIKE US, REALLY, or do “they”?) >It is difficult for me to understand how you can >ask, in a tone of >apparent concern, about "the ongoing colonization >of the world's >tongues by the English language" and then turn >around and provide a >shining example of just that kind of cultural >imperialism: the North >American tourist who thinks he "knows" an Asian >culture and feels >free to speak on behalf of, pontificate upon, and >judge it. Again, the simplistic, repetitive, insistent (childlike) “WHY” “HOW “WHAT” of the poem foregrounds this dynamic outright. >>>>>It's hard for me to take your other remarks and queries--which ostensibly come from a desire to mount a radical political critique of poetry--very seriously when you continue to accompany it with this destructive rhetoric. >>>> A radical political critique of poetry? Jesus, I think a political critique could find some more relevant battle grounds than poetry. That said, I contain multitudes, or I don’t. Or I do. I'm not sure. >> If there does seem to be, as you complain, a lack of real debate on this list, it may be because arguments like yours seem to be advanced in bad faith--a suspicion strengthened by the pleasure your poem seems to take in exploiting its imperialist position (the Taiwanese love you, they pay your loans, they scrape and bow). If your poem offers a critique of that position, I don't see it. >> >I'm not from Taiwan, but my father's family is; >if I knew more >"Chinglish" I'd be glad to corrupt your poetry >with it. The politics of Global English fascinate and disturb me (and Jiminy Cricket I don’t mean “disturb” as in ‘ pollute my poery [sic] with their Chinglish’). As a poet/academic/American/reader (of which I am only the last) one shudders to read Taiwanese repeatedly rendered as “TIAWANESE” like seeing one’s **own name** misspelled or perhaps mispronounced, a little garbled but still unmistakable in its address/referent. Why is that? That fascinates me. Most of the world’s English speakers are not native speakers. ESL is a different language than Standard American English, or is it? Standard American English exists only as some distant, irrelevant theory here. A walk down any street here yields enough found poetry and para-poetic hi-jinks to crash the server over at UBU web.(To cite my most recent favourite, a luxury highrise complex being built nearby has adopted the advertising pitch: “CONFORMITEE OF THOUGHT WILL BE PLAY A LEADING ROLL IN THE LEADING ROLL OF THE FUTURE!” There’s a dissertation right there.) I’ve been editing Master’s Theses for the Foreign Languages and Literature depart at Cheng Kong University here in Tainan (privately not as staff), and I face interesting dilemmas in rendering 80-100 page documents into grammatically correct and, more interestingly, ‘naturalistic’ academic prose that wouldn’t get the remarkable achievement of the authors (ie, writing a theses on a foreign literature **in** that tongue!) dismissed out-of-hand at a North American academic conference. The ironies and complexities of the endeavor reach their zenith in that the papers have all been in a post-colonial critical frame (labouring heavily I needn’t stress with the unwieldy, linguistically unfriendly, jargon of said field). The whole thing just makes my head spin. . . as one of the papers I just finished ‘cleaning up’ noted (again, the suggestion/demand for hygiene, purity, correctness, neutrality (whiteness) in language – particularly academic language)) the post-colonial critique ITSELF is (largely) a “western” notion and Edward Said’s texts must make waves in American harbours before arriving on Asian soil (just as Fanon reached many via Sartre?). The author of the paper notes that previous work by Taiwanese academics on Jamaica Kincaid (who is one of but two Caribbean(-American) writers to be translated into trad. Mandarin – in both instances by smallish indie/progressive presses in Taipei) has all been written from a recognizably American “post-colonial” perspective with **no regard for a Taiwanese reading context.** But then, this Taiwanese woman has to write all this in (Standard American) English for it to have any currency whatsoever. Insane. But I digress, somewhat. The poem in question says all manner of idiotic things – “WHY DO THE TIAWANESE keep Filipinos in their basement.” Well, anyone who’s ever spent a moment in Taiwan knows there is no such thing as a basement in Taiwan, the expression is meaningless here. (Taiwan is much like Canada’s North West Territories in this respect; indeed, much is similar, much is different). To go on would be to belabour the point (bella bore, belabor, tia wan ese, tie wan ese). >> Again, I have to say I'm disappointed with the extent to which remarks like these go unchallenged on this list. Perhaps it's because American poets have a long history of not only thinking they know the Orient but thinking they can somehow channel it, with not a whole lot of awareness of their own cultural and historical position. >> Perhaps, also, it’s a testament to the persistent relevance of identity politics (if not to the lack of visible minorities and/or ESL speakers on this list). Then again, maybe (and I’m not assuming this is the case) the ambiguities and blatant ‘problems’ of the work in question were read differently, dare I say it with more sensitivity by others. I have my doubts though, as—ironically for a poetics listserv—I haven’t found much evidence of nuance in the reading one another’s posts here. More than likely if anyone read the piece and took offense they shrugged their shoulders and felt too uninformed (that is, too not-Asian) to bother weighing in. And I’m glad you, for one, took the bait as it were. I value your opinion and admire your insights, but that’s all water off a duck’s back I suppose. >> The question, to my mind, is not why do the Taiwanese do anything, but why it is that a white North American needs to find them so loathsome. >> Indeed, who is the Other of the other here? From what vantage would a waiguoren (literally ‘other-lander’), me, the speaker of the poem, whomever, pass judgment on the (mass) culture of a nation of people? (NOTE: if anyone’s genuine interest in postmodern Taiwanese culture and society is peaked, I recommend the anthology “Cultural Change in Postwar Taiwan” edited by Stevan Hurrell & Huang Chun-chieh.) What makes one a tourist? Quite simply, as Paul Bowles reminded me recently in “The Sheltering Sky,” the fact that one returns. One does not stay. So, you’re right to imply that I’m a tourist here (though I might have thought you would inquire into how long I’ve lived in Asia, whether I speak the language, have any Asian “blood” (ha) in me, etc, but you don’t seem very interested in making inquiries of me. I get the impression you feel you have me pegged. But like everyone, every nation, every people that comes to be in the sticky soup of language, I assure you I’m a little slipperier than I am). Anyone who lives in a foreign culture is confronted with some apparently radical differences. My Taiwanese friends and co-workers are shocked to hear about the way North Americans farm out our seniors to institutional residences to die, alone in front of televisions. By contrast I’m shocked that that seniors who somehow fall outside the family network here get between 3000-5000NT a month in gov’t assistance—that’s less than $200 Canadian and what, $22 American. I’m sad to say that ethnicity, language, books, TV, cultures, seem to have far less bearing on humanity than good old political economy. And as a subscriber to a poetics list I’m not no so naïve as to throw out the Frankfurt (Frankfort?) school with the Deng Xiaoping. Orwell said the great enemy of clear language is insincerity, but them’s were different, less globalized times. I can’t help but be interested in the inescapable non- or un- clarity of language of how that plays out and affects intention, language acquisition, advertising, thought, and yes, poetry. Anyway, I don’t know if my lengthy pontificating has resolved anything (including my status as a racist running dog), but I thank you for expressing your reaction. Best, Andrew. --- ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Tue, 29 Jun 2004 19:56:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Zimmerman Subject: Re: general language qs for the listserv MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT ----- Original Message ----- From: "michelle reeves" To: Sent: Tuesday, June 29, 2004 12:40 AM Subject: general language qs for the listserv Reply to Michelle Reeves What language does your poetry use? "I've been to college, and I can still speak English when my business demands it." -Bogart as Phillip Marlowe -"shaggy & sleek" (Dante) What kind of constructions is involved in the language? -Syntax, systolic & diastolic -"the usual suspects" (Cf. The Princeton Encyclopedia of Poetry and Poetics) -anagrams -trade secrets What is your poetry's goal pertaining to that language? What is your poetry trying to "accomplish"? -to cross coals barefoot -to recover the fetal gills -to scale the shoulders of giants -to rescue the harp and the goose What is it's intent? -to provoke -to reprove -to dismay -to amuse ~ Daniel Zimmerman ========================================================================= Date: Tue, 29 Jun 2004 19:10:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Looking for Poems on Paintings In-Reply-To: <54.2d20c594.2e11b6ca@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Rafael Alberti's On Paintings is a nice work R Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Murat Nemet-Nejat > Sent: Monday, June 28, 2004 1:01 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Looking for Poems on Paintings > > > Tony Towle and Charles North. > > Murat > > > In a message dated 06/28/04 2:58:30 AM, orion@PULLMAN.COM writes: > > > > Please b/c if you know of poems based on paintings (or > paintings based on > > poems). I'm particularly interested in series, e.g. Williams' series of > > poems based on Brueghel paintings. > > > > Early in my search, there's the Robert Creeley and Archie Rand > > collaboration, Drawn & Quartered, MarkYoung's excellent on-going series > > based on Magritte, John Yau and Archie Rand, Bob Perelman and > Francie Shaw, > > many of John Ashbery and Frank O'Hara's poems (probably many > others, too, > > from the New York school). I recall, too, some poems by Bill Berkson. > > Others? > > > > I'm compiling a bibliography and am considering dedicating a > future issue of > > SPORE (formerly SCORE) to ekphrastic lit. > > > > Best, Crag Hill > > > > http://scorecard.typepad.com > > > ========================================================================= Date: Tue, 29 Jun 2004 17:09:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Looking for Poems on Paintings In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I suspect that a lot of those museum-goers are school groups. That, and truck-loads of Europeans. Are they including the museum of creation science? At 10:28 AM 6/29/2004, you wrote: >"In fact, I read more people went to museums in America than all >professional >sports combined last year." > >How wonderful! I hope this is actually true, though I bet the groups would >be different...a large group of mainly elderly women going to impressionist >shows probably, as opposed to the sports fan demographic. > >"I would prefer to let Brian Stefans say whether or not his practice (site) >represents some form of 'ekphrasis' - is there a verb for that word, time >to invent a pronounceable one! Ekraprhasing!" > >There was a recent show on Rhizome that talked about the process of >"Xphrasis," which is something slightly different I guess. And yes, by all >means I agree with you that Brian gets to define what his own practice is... > >Best, > >Tim ========================================================================= Date: Tue, 29 Jun 2004 17:25:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hugh Steinberg Subject: Re: Looking for Poems on Paintings In-Reply-To: <6.1.0.6.1.20040629170844.03794918@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Indeed, especially when most museums are mainly open during the workday, you'll find lots and lots of kids. I was recently at the Whitney Biennial and it was packed with with docents leading around groups of schoolchildren. There's something hopelessly absurd about the process of docenting. "Do you know what that is? It's a highway sign! But it's upside down; what do you think _that_ means?" Hugh Steinberg --- Mark Weiss wrote: > I suspect that a lot of those museum-goers are school groups. > That, and > truck-loads of Europeans. > > Are they including the museum of creation science? > > At 10:28 AM 6/29/2004, you wrote: > >"In fact, I read more people went to museums in America than > all > >professional > >sports combined last year." > > > >How wonderful! I hope this is actually true, though I bet the > groups would > >be different...a large group of mainly elderly women going to > impressionist > >shows probably, as opposed to the sports fan demographic. > > > >"I would prefer to let Brian Stefans say whether or not his > practice (site) > >represents some form of 'ekphrasis' - is there a verb for > that word, time > >to invent a pronounceable one! Ekraprhasing!" > > > >There was a recent show on Rhizome that talked about the > process of > >"Xphrasis," which is something slightly different I guess. > And yes, by all > >means I agree with you that Brian gets to define what his own > practice is... > > > >Best, > > > >Tim > __________________________________ Do you Yahoo!? New and Improved Yahoo! Mail - 100MB free storage! http://promotions.yahoo.com/new_mail ========================================================================= Date: Tue, 29 Jun 2004 17:38:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Re: Looking for Poems on Paintings In-Reply-To: <6.1.0.6.1.20040629170844.03794918@mail.earthlink.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII there are also more museums than sports teams combined, especially if one is broad about defining what is a museum (i.e. our beloved rock'n'roll and sci-fi museum). rmc -- Robert Corbett, Ph.C. "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 Tue, 29 Jun 2004, Mark Weiss wrote: > I suspect that a lot of those museum-goers are school groups. That, and > truck-loads of Europeans. > > Are they including the museum of creation science? > > At 10:28 AM 6/29/2004, you wrote: > >"In fact, I read more people went to museums in America than all > >professional > >sports combined last year." > > > >How wonderful! I hope this is actually true, though I bet the groups would > >be different...a large group of mainly elderly women going to impressionist > >shows probably, as opposed to the sports fan demographic. > > > >"I would prefer to let Brian Stefans say whether or not his practice (site) > >represents some form of 'ekphrasis' - is there a verb for that word, time > >to invent a pronounceable one! Ekraprhasing!" > > > >There was a recent show on Rhizome that talked about the process of > >"Xphrasis," which is something slightly different I guess. And yes, by all > >means I agree with you that Brian gets to define what his own practice is... > > > >Best, > > > >Tim > ========================================================================= Date: Tue, 29 Jun 2004 17:43:41 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Olivet (H.A.T.s in the Square) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit Olivet (H.A.T.s in the Square) for eric and ryan I stomp my feet and you feel my kai I stomp my feet and you feel my kai I stomp my feet and you feel my kai I stomp my feet and you feel my kai Mi kai mi smash H.A.T.s in the Square Rollin up trousers Baggies And peaches Do you dare Gasaraki Iraqis bombin back Tragedy With the aid of Dr Zin Protect me from the jinn I stomp my feet and you feel my kai Banana bikes and pushers Pushin children Into mental institutions Come Come My selectah Mix for me something Propoganda Isa As Our commander Mu'mi/neen Throwin signifiers Elligtonian Shines and spear chucker Nah fix me Mix me Something sweet woht will destroy ameriKKKa// do you? hear do you? dare do you? hear I stomp my feet and you feel my kai I stomp my feet do you feel my kai? I stomp my feet do you feel my kai ? I stomp my feet and you feel my kai ¡Ya! Basta Yuh bastards Take one back to your masters Big phat warders Rapist called soldiers Insh'allah I'll show the real uses of Coxn's crossfader// ¡Ya! Sabahah... He said: Always see everything my brutha Suckaz// They wanna make my people Israel (i) <¡Ya!> Watch my tantric circles Armless standard barers Visualz Come the bringer of water I'll bet your house Ain't built as strong as a Shi'i Blaring blasphemy Chattin rubbish Our life lost in the bush Huntin with Jeffery Oil and thievery Did he liked to roll Or just the download Of my selectahz lowlow Ayo, "Let's go get ivy" Scratchin downtempo stereo and typin Colin Ferguson/tranformin Into B-boy frustration I stomp my feet and you feel my kai It's jus the same ol show Y'Kno I stomp my feet and you feel my kai I stomp my feet and you feel my kai It's jus the same ol show I stomp my feet do you feel my kai? I stomp my feet and you feel my kai I stomp my feet and you feel my kai // Read my flow real slow I flexable Like junkies on lowlows You cyan catch me I'm addicted To dream scapes seen? Let the drummer get Ital// Jays Samples real clean Physical dub plates Pumpin bikes A beats break a/ Mean smiles Wide as Big Youth// Flex his truth Yuh cayn get Next to My argy bargy Fassy Snears Come the Mahdi He'll ride fear Yuh hater ass toy Don't stand in my square Angered angels\ Yell Surround my proximity We duckin Jakes Now ain't that wicked Mics and bikes Never break For snakes Ah for heavensake What's the price Of these exchange rapes If he sees not Then Seize him by his forelocks His lying, sinning forelocks Let him call upon his gang We shall call the guards of hell On mountains high A go tell I stomp my feet and you feel my kai I stomp my feet and you feel my kai Kiss me kneck Watch them step Heavy heavy Prophets on Olivets Enemy of the republic Spits Ebonics and sonic Cipher// All yuh bet// Punk you like Thamud// 1425 Lawrence Y Braithwaite (aka Lord Patch) New Palestine/Fernwood/The Hood BC from "Olivet" Lyrics: Lawrence Y Braithwaite (aka Lord Patch) Music: Jay FN Cee (aka Hurrricane Angel) ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 29 Jun 2004 17:50:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: Looking for Poems on Paintings In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed and children's museums in many cities, and historical museums of all kinds and would the baseball hall of fame also be considered a museum? as well as the other sports museums? but back to the poems on paintings, Crag -- are you only interested in poems specifically on "paintings," or on other works of visual art as well? Also, the wider you look, you find poems in collaboration with dance works, with video works, etc. Some of these have one kind of art made "in response to" another, and some are collaborations from the beginning. I think probably a lot of us have been involved in the creation of such works, in our own localities, working with artists we know. I know that Sheila Murphy ran a series at the Scottsdale Center for the Arts that for several years featured an annual invitation to poets to write in response to works of art on display in that museum. Those poems were then read in a public reading that moved around the museum. At 05:38 PM 6/29/2004 -0700, you wrote: >there are also more museums than sports teams combined, especially if one >is broad about defining what is a museum (i.e. our beloved rock'n'roll and >sci-fi museum). ========================================================================= Date: Tue, 29 Jun 2004 21:06:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: Re: Some =?iso-8859-1?q?na=EFve?= questions about (English) poetics. In-Reply-To: <20040627124700.18980.qmail@web51503.mail.yahoo.com> (andrew loewen's message of "Sun, 27 Jun 2004 08:47:00 -0400") MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable andrew, > If I want to build a poem out of phrases taken from > google searches, nobody much cares, but if I build a > poem out of phrases pulled exclusively from previously > published poems, it=92s plagiarism.=20 It might be called plagiarism. It might also be called a poem of the form "cento," as I understand the definition. Unless you're talking about building a poem out of phrases pulled exclusively from previously published poems and trying to claim authorship for those phrases in the process. In which case the answer to the implicit question becomes a lot clearer, as it's better phrased: "If I claim as original a poem built out of phrases only Google can be said to be familiar with nobody much cares, but if I build a poem exclusively out of phrases a lot of people will recognize as having been previously published it's plagiarism." It's plagiarism in both cases, but no one has the knowledge to call you on it in the first case. There's something in the choice of terms "phrases" and "exlusively" that tend to paint this question in quantitative terms, when I think (if I'm catching what you're really after) it makes more sense to me to consider it in qualitative terms. As posed, quantitatively, it leads naturally to discussion about how much you can include (four lines of Shakespeare) and still be able to call it "not plagiarism." Obviously all single words (barring the true neoligism) would be allowed, but it instantly becomes a qualitative issue when you get to multiple word phrases. Using "cloth buttons" isn't going to cause much ruckus, but using "tender buttons" could. And it just gets worse the longer the string of words you use. Beyond the (long) history of cento, there's also pieces like John Cage's Writing for the Second Time through Finnegans Wake, and Tom Phillips' Humument, neither of which I would consider plagiarism, though both are made up exclusively from previously published phrases (all from the same author, in each case, to boot). Intent certainly plays a role in that determination, but I feel that the way the original was used was qualitatively different from an act of plagiarism as well (it does get tangled here, because intent is itself a qualitative feature). I have no trouble imagining a poem that includes four full lines of Shakespeare in it. I do think, however, that that poem should fully expect to be able to justify the inclusion--not a quantitative justification of making sure its long enough that the four lines represent some fixed measurable sufficiently small overall percentage to be defined as other-than-plagiarism, but a qualitative justification that manages to communicate, "Ah yes, this poem must be so."=20=20 Thanks for asking. Dan ========================================================================= Date: Tue, 29 Jun 2004 20:21:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Zines Statement of Intent plus Guidelines - Distribute Freely!!! Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 PO25centEM zines are pocket sized zines that will be handed out individually AND serialized with other zines in the series to make an 'autonomous anthology.' So far we have numbers one through ten available, but single copies are always floating around and being traded: they are handed out in Baltimore and in Washington, D.C. The pocket sized zines are compact and are 16 pages or less, making for an intimate read while waiting for the bus or the train, or just lazing the day away. The jist of this project is to get everyone to read more poetry. We're handing out free poetry to recover the sense of readership in a public that seems to not care about poetry. Folks may keep or give the zines away to others, so the turnover rate is unlimited, trading goes on forever. Furniture Press needs all the texts it can get. We're bent on publishing every writer and anthologize this project: we're hoping to receive substantial funding and a national coverage. Hopefully other presses will start doing the same. The goal, for now, while funding is low, is to serialize the zines and sell them in packs of ten. These contributions will go to the pressing of more zines for a wider distribution. Here are the specifications for submission: The zines dimensions are 4.25 inches by 5.5 inches. Send texts between 8 and 16 pages that fit nicely onto a 4 inch width by 5 inch height format. Please send texts to furniture_press@graffiti.net. No titles are necessary, any work, old and new is welcome. Anyone who wishes to contribute donations will receive the first 10 in the series for $5+($1 or SASE) shipping. Everyone will get ten copies of their zines to distribute themselves or to trade with others. Our address is PO25centEM 19 Murdock Road Baltimore MD 21212 The first series from PO25centEM is available. The set includes 10 zines from the following contributors: 1. Richard Kostelanetz 2. Gerald Schwartz 3. Jason Christie 4. Jeff Harrison 5. Bill Allegrezza 6. Joel Lipman 7. Christophe Casamassima 8. Sheila E. Murphy 9. Martha L. Deed 10. Catherine Daly w/ Circle Jerks -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Tue, 29 Jun 2004 18:34:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Looking for Poems on Paintings In-Reply-To: <5.1.0.14.0.20040629174338.00affec0@mail.theriver.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I remain astonished by text - these letters various in size & shape & origin - which, when minimally combined into units called words and with a little education become a means of eliciting images and patterns of thoughts within "mind's eye." & then literature of a page. "See Jane run." My earliest primer For as long as I live, I will always - as almost a first love, odd as it seems, see Jane run. And Dick. Paint - in all the various phrasing of its units - one brush stroke or multiple ones - does not require any translation to be apprehended. No matter what a painting might compel me to think or feel or act, the material itself, on one level, is always entire and present. Unlike a word, one doesn't have to take it to another level, make a translation, to know what's there or what it means,or that it has to mean anything. The official and private words very clearly or obliquely describing/defining the torture in Iraq required a reader, a responsive one at that. T'was ignored, repressed or said to be "still going up the chain of command." The pictures, however, were self-evident(ce). The straight image from the digital field did the job. I am not sure where this is going. But I am kind of disturbed here in some of the posts at the seeming contempt for the popularity of museums - the degradation of the goers (kids and little ol' ladies, etc.) I actually love it that people of all kinds are going. (I don't like the idea that corporations have infested museums with blockbuster crowd movement tactics - which violate any possible sense of 'real' engagement - it means strategizing the hours in which it's best to visit). But, gosh, one powerful image may steer somebody's life into a different, maybe more interesting direction. Like a great image on a poetry book cover, or a title, "Bean spasms" - 30 years ago - suddenly poetry has a fresh kick and I bought the book. Berrigan, Ted, indeed. (Or, foggy me, and the book long ago stole, was that Ron Padgett, or were they collaboratively in league?!!) I guess the larger sadness is that so many are giving up on the imaginative and critical act of reading - or so it seems. The image of Michael Moore rolling around the Capitol building in a ice cream trucking reading the Patriot Act to congresspersons who don't read the very Acts that they approve is maybe emblematic of a larger issue. A democracy wiped out because its members refused to read the text that killed the republic. Or back to WCW on those who die for the lack of it - poetry. (And other media - painting, dance, etc., too.) Stephen V Blog: http://stephenvincent.durationpress.com > and children's museums in many cities, and historical museums of all kinds > > and would the baseball hall of fame also be considered a museum? as well as > the other sports museums? > > but back to the poems on paintings, Crag -- are you only interested in > poems specifically on "paintings," or on other works of visual art as well? > Also, the wider you look, you find poems in collaboration with dance works, > with video works, etc. Some of these have one kind of art made "in response > to" another, and some are collaborations from the beginning. I think > probably a lot of us have been involved in the creation of such works, in > our own localities, working with artists we know. I know that Sheila Murphy > ran a series at the Scottsdale Center for the Arts that for several years > featured an annual invitation to poets to write in response to works of art > on display in that museum. Those poems were then read in a public reading > that moved around the museum. > > > > At 05:38 PM 6/29/2004 -0700, you wrote: >> there are also more museums than sports teams combined, especially if one >> is broad about defining what is a museum (i.e. our beloved rock'n'roll and >> sci-fi museum). ========================================================================= Date: Tue, 29 Jun 2004 22:15:08 -0400 Reply-To: richard.j.newman@verizon.net Sender: UB Poetics discussion group From: Richard Jeffrey Newman Subject: Re: WHY DO THE TIAWANESE In-Reply-To: <20040629235213.55435.qmail@web51503.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable I have just caught up to this conversation. It's an important one, I = think. So here's my two cents: Andrew wrote, in response to Tim: >>It's somewhat short-sighted.to think this poem isn't knowingly = enacting the problems you rightly (re)address. As if the apparent "I" of the poem were a) to be identified with b) not to be quibbled with c) celebrated d) transparent e) the same (and as sturdy) as the =13I=14 you take me to be<< My own problem with the poem is precisely that the position--identity, politics, gender, whatever--of its speaker/voice/"I" is too slippery. = The flipping of "i" and "a" in the word "Tiawanese," while it says something about, at the very least, the speaker's pronunciation and, at the most, = if one chooses to indulge in a stereotypical identification of a certain = kind of pronunciation with a certain level of ignorance/political = conservatism, etc., about the speaker's politics, racism, etc., this very small signal does nothing to give me access to what this speaker/voice/"I" thinks = about him or herself and the views he or she is expressing; there is nothing = in the poem that reflects on what is said in the poem, no distance, nothing that opens a space for me as a reader to grapple with anything other = than the plain, surface meaning of the words, which are hard to read in any = way other than the way Tim reads them. It is, of course, possible to say, as Andrew has done, that the flipping = of the "i" and the "a" and the very blunt, in-your-faceness of the poem = point to the irony his response to Tim makes clear he wants readers to = understand as informing the poem, but the fact that this is Andrew's intent does = not mean the poem is successful in realizing it, and if the poem is not successful in realizing it--as I think it is not--then Tim's critique = seems to me valid and accurate. Not because the "sturdy" "I" Andrew says Tim = takes to be him (Andrew) is a racist--I don't know Andrew and so have no basis = to say anything about this one way or the other--but because the effect of = the poem's language is to express, unironically and uncritically, the racism = Tim sees in it.=20 The question here seems to me to be one of authorial responsibility and accountability and to say, as Andrew seems to be saying, that what I = will call the "undeveloped slipperiness" of the "I" is enough for the poem to succeed--as opposed to a developed but nonetheless unreliable "I"--is to take the easy way out and to avoid responsibility and accountability for what the poem's language expresses. Andrew suggests that on some level = he is aware of this problem when he says that he would never post such a poem except to a listserv such as this one--which I understand to mean that = he would not post it somewhere where someone would make the mistake of = assuming he, Andrew, really does hold these views or where someone might take the poem and use it somehow to support a racist agenda. Ultimately, then,--and, again, I am taking Andrew at his word that this intention is to hold the beliefs expressed in the poem up for critical engagement--the difficulties of this poem seem to me to be rooted in shortcomings of craft. >>And must a **purported** (heavy stress there. SIGNAL FLASHING LIGHTS PROBLEMS TROUBLE POLITICS RACE HELP) critique of say, Taiwanese culture, be a celebration of the =13West=14?<< Given that the poem is written in English and that, as I said above, = there is no access to the "I's" position, this question seems to me = disingenuous, at the least. If the "I" is not asking his or her questions from a = Western perspective and therefore, by implication at least, celebrating the = West, where is the evidence for that in the poem? There is a great deal more to say about this, I think. But, for me, for = now, it would all come down to variations on what I have said above. The = poem, for me, fails to do what the author, Andrew, suggests it was intended to = do; his explanation of what it was intended to do doesn't have the effect, = for me, of "making" the poem do it. Rather, it highlights the way the poem fails. Rich Newman ========================================================================= Date: Tue, 29 Jun 2004 19:23:13 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Revolution is Bloody MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit http://victoria.indymedia.org/news/2004/06/27481.php Revolution is Bloody It is true we shouldn't be afraid of martyrdom, however, we should not be selecting and setting each other up for that position nor should we be afraid to hold up the the images of our martyrs and shout out their names and certainly continue the fight and struggle. What is the trap of the west? to think, as Gil Scott Heron observed, that the Calvary always comes to save the day and the that hero lives to see the glory of that day. We have forgotten that it is about the future/the Culture/Sankofa not "the crazy house called ameriKKKAnada" and profits. Revolution is Bloody by LY Braithwaite It is true we shouldn't be afraid of martyrdom, however, we should not be selecting and setting each other up for that position nor should we be afraid to hold up the the images of our martyrs and shout out their names and certainly continue the fight and struggle. What is the trap of the west? to think, as Gil Scott Heron observed, that the Calvary always comes to save the day and the that hero lives to see the glory of that day. We have forgotten that it is about the future/the Culture/Sankofa not "the crazy house called ameriKKKAnada" and profits. So we are going to get martyrs. We have been willing to hide behind martyrs for political, financial and even artistic gain, B.U.T. we are going to have live with the overstanding that we have to be willing to be become martyrs and to realize that martyrs are special not because they are perfect nor that they are higher powers B.U.T. that they are flawed bruhs and sis (breathing clay) like us all on this earth -- who despite all that was against them stood up and perished for a principle = their peoples/culture. It does seem that everybody around the world are taking up mental and physical arms to fight for their freedome and culture as the once great fighters and griots of North Amerikkka akt like steppinfetchits in sagged drope gear and butterfly mcqueens inna thog and bare middrifts or those in afrikana jacked vines and centric headdress beg for a cut of the swag come the takeover of afrika (and the every growing middle-east -- which seems to be extending into afrika for the sake of corperate takeovers) or even the alterna crowd aktin like "anarchy" is the latest trend for the middle-classes and profits in this post hip hop wasteland. This was/is not a revoltuon; this is surrender with a spin doctored effect and north amerikkkan twisted logic and bravado -- where cowards are brave and brave people are punkass, where whores are worhipped and money is god and greed is good, where warriors/freedome fighters/revultionarys who are defending are terrorist and terrorist where suits and ties and are called liberators, deomocratic and civilized, where might makes right -- fuck quality it's about knocking out the suckers by any means necceSCAREY -- welcome to the terrordome of theivery -- come bite me. I have seen too many people murdered and demoralized in this land which is suppose to be so civilized. I have seen my fathers mind destroyed and my body and my friends raped and used, as has been our minds, and then discarded as worthless tools for the amusement and advancement of robberbarons and the fools they court. I have heaerd and seen people use our skin and class to advance their position witht he opppressors and danced onthe graves of our martyrs. I have seen too much cruelity (yet still not even enough -- to start) to make me reconsider the value of this wasteland as anything but currupt from the inside out and therefore in need of dismantling and not salvaging-- a place where incompetence, mediocrity, dirty tricks, distraction, hypocrisy, invasion and perversion rule and are keys to success and all must convert or die a slow and amusing spiritual and mental death and surrender is taken up as a battle cry. A place where passion is laughed at and mocked. Where children rhyme cruelity. I have seen my soul slip slowly into despair simply by the sight of this horror alone and what is more tragic I have seen the despair blanket the peoples around me as their spiritual physical corpses as piled up like so many rhowandan, african, Palestinian, Native holocaust images as the fatted ministries workers, corperate lackies and greed mongerers sit, laugh and plot for more bullying tactics against those who are percieved as weaker and defenseless in this their police state calling itself a free CIVI(LIE)zation = better than the rest-- B.U.T. are my bruthas defenseless against the shocktroops of this so called democracy or have they been convinced of this lie... ...and I wonder is this the beginning of a revolution or is it too late. I feel that there is no escape and after all these years I still don't know what's the price of a ticket. Will we have a dream of Malik or Poor Marcus, Peltier, Spies or Ashura realized They say that it's a hard and bad time for our Nation... It is a time for martyrs and it's time to fight for freedomes B.U.T. all we seem to get is a copping a plea and surrender. B.U.T. "...can't you show me nothing but surrender"? patti smith "Revolution is bloody,revolution is hostile,revolution knows no compromise,revolution overturns and destroys everything that gets in its way. And you, sitting around here like a knot on the wall, saying:'I 'm going to love these folks no matter how much they hate me.'No,you need a revolution." --Malik Shabaaz;Message to the Grass Roots http://victoria.indymedia.org/news/2004/06/27436.php http://resist.ca/story/2004/6/26/11430/2391 -\ ___\ 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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 29 Jun 2004 22:31:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schneider/Hill Subject: Looking for Poems on Paintings/CALL FOR POEMS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Charles and others: So that it's doable, so that we can nudge the dialogue on this topic with/through an issue of a print magazine, SPORE (formerly SCORE) will start narrow: we're interested, then, in poems on specific works of visual art (painting, drawing, sculpture, photography, collage...) that can be reproduced (were we ever fortunate enough to reprint any of these works), thus at this time, this two-dimensional space, dance is out (I'm wondering what I would do with MacLow's The Pronouns). On a personal level, however, my search is writ large: I'm interested in collecting and studying all writing that is a response to other art forms (music, dance, performance, theater...). I'm interested in how the writing is in-formed by the work it's a response to. I'm especially interested in ferretting out the patterns of response such as those I've noticed in the Creeley and Rand collaboration: assume character/'s voice/s to speak to another character in the work, or to the painter or viewer, something Creeley did often in Drawn & Quartered; write a literal description of details to shape a comment on the tone or mood of the painting, a kind of verbal caption; use the painting or object (I think of Coolidge's The Crystal Text) as a springboard, an initial specific reference before the work takes off on its own... Let me know if Sheila has any record/ing of the poems written in Scottsdale. Much appreciate the the responses to my query -- to this list and backchannel, I've got hundreds of poems I've got to find and read. My contribution to the issue of SPORE (deadline Dec. 31) will be a bibliography of these works, perhaps annotated. Happy trails! Best, Crag http://scorecard.typepad.com Date: Tue, 29 Jun 2004 17:50:49 -0700 From: charles alexander Subject: Re: Looking for Poems on Paintings and children's museums in many cities, and historical museums of all kinds and would the baseball hall of fame also be considered a museum? as well as the other sports museums? but back to the poems on paintings, Crag -- are you only interested in poems specifically on "paintings," or on other works of visual art as well? Also, the wider you look, you find poems in collaboration with dance works, with video works, etc. Some of these have one kind of art made "in response to" another, and some are collaborations from the beginning. I think probably a lot of us have been involved in the creation of such works, in our own localities, working with artists we know. I know that Sheila Murphy ran a series at the Scottsdale Center for the Arts that for several years featured an annual invitation to poets to write in response to works of art on display in that museum. Those poems were then read in a public reading that moved around the museum. ========================================================================= Date: Wed, 30 Jun 2004 00:01:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: Looking for Poems on Paintings MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit twombly rivers maybe even katz george schneeman brainard on both counts ========================================================================= Date: Wed, 30 Jun 2004 01:38:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: WHY DO THE TIAWANESE Comments: To: richard.j.newman@verizon.net MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit harrison i like your poem andrew i was off list a couple of days can you foward this controversial poem so i can have a look at it backchannel it if you like tho everytime i get into it w/some one and ask em to back channel they never do i gusee everyone like to moon everyone else on this list intellectual ineractions yes? tiawanese tie one on on ones' knees ========================================================================= Date: Wed, 30 Jun 2004 02:30:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Timothy Yu Subject: Re: WHY DO THE TIAWANESE Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Andrew: Your lengthy response, whether I agree with it or not, provides precisely what your poem itself doesn't: context and critical distance for your own position. The distinctiveness of your experience--as a North American doing something like academic contract work at a Taiwanese university--is actually quite interesting and, yes, something beyond my own experience, something I might like to hear about. It's too bad that your poem didn't reflect any of that subtlety or analysis. Your defense of the poem seems to be something like this: We on this list are sophisticated enough to know that no one who would subscribe to this list would *seriously* profess the kind of crude (even racist) sentiments your poem does; therefore we must assume that these sentiments, far from being endorsed, are paradoxically being parodied or critiqued. That's a lot to assume. It's more broadly based in what I would call a vulgar poststructuralism: since we know there is no such thing as a stable "I," no speaker can be held responsible for anything he or she says. (A counterproposal I recall from another contemporary poet: poststructuralist insights make you have to be *more* responsible, drawing attention as they do to the politics of every textual choice and not just explicit "content.") In this respect, I think Rich Newman's critique is quite right: the poem's failure is precisely that it does not sufficiently "open a space for the reader" to understand the context from which it emerges; it simply asks us to take on faith that it does not mean what it appears to mean. Your previous use of images like the "Filipino crack whore" in your posts gives me little reason to extend such faith to you. You ask why a "purported critique of Taiwanese culture" has to be read as "a celebration of the West." Well, precisely because the poem is marked as emanating from the West and is articulated through precisely those tropes the West uses to render the Orient abject--animals, food, women. As Rich points out, the poem is written in English, and it is circulated over a listserv housed in the United States and read mostly by people resident in the U.S. and Canada. And in the absence of any other authorial marker, I would note that even in the allegedly borderless space of the Internet, the poem emanates from a domain clearly marked as Canadian (yahoo.ca); even if the poem was written from your actual physical location in Taiwan (a point that seems important for you to establish the authenticity of your observations) it reads as if penned at home in Edmonton, in more ways than one. So in what sense can your poem be said to evade its own position in that discourse we would call "the West"? It can't. And that's not to say that I'm any less "of the West" than you are; the mere fact that my parents are Chinese doesn't mean that my perceptions of Taiwan would somehow be better or more authentic than yours. Indeed, I'm less concerned about the accuracy of your observations than about the effect your method of stating them has for its intended audience--an audience of largely white North Americans among whom, I would hazard, ethnic minorities, Asian and otherwise, are significantly underrepresented. In that context, what I hear in your poem is not some sort of rigorous critique of Taiwanese society (if you want to mount one, more power to you), but a rehearsal of hot-button images that plug right into anti-Asian racism at home. I am--preemptively, as it were--eliding "Taiwan" with "Asia" or "the Orient" because that is precisely what happens as the images you use enter American discourse. Your poem gives us no context for understanding what in it is distinctive to Taiwan or even to your particular experience, and your likely readers will have no context for understanding that either. Really, the problem is that you want to have it both ways: you want to preserve your right to pronounce upon Taiwanese culture--in the crudest of terms, if necessary--and at the same time dance away whenever someone seeks to call you on it. Thus I'm stunned by your response to "the dog-thing," as you put it. On the one hand, you suggest I'm dense for taking that stereotype (that Asians abuse and eat dogs) seriously; then you proceed to tell me that the reason you use the stereotype is that it's just true! "Why project such stereotypes onto the Taiwanese," you ask? "Well, because they hit you in the face." Precisely: the Westerner sees precisely those things he has been culturally prepared to see; those are the things that "hit him in the face." Describing what most disgusts us in a culture is a way of creating cultural hierarchies--of rendering, in this case, the Asian as somehow outside the human. Am I suggesting that you simply should not speak about your experiences in Asia? No. You're absolutely correct to say that "it would be in bad faith for me to pretend I didn't struggle with such cultural differences." But it's precisely that struggle that I don't see in your poem or, frankly, in your follow-up post. Perhaps this is all just a question of tone; what I hear in the poem's use of its racist tropes is a tone of arrogance, objectification and ridicule, and not enough of that is (or could be) self-directed to be an excuse. Tim http://tympan.blogspot.com ========================================================================= Date: Wed, 30 Jun 2004 03:16:04 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: summer.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit high & hard aim for the head.... delete..delete...delete..drn... ========================================================================= Date: Wed, 30 Jun 2004 07:20:30 -0400 Reply-To: richard.j.newman@verizon.net Sender: UB Poetics discussion group From: Richard Jeffrey Newman Subject: Re: Some naive questions about (English) poetics. In-Reply-To: <20040627124700.18980.qmail@web51503.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable >>2 Given the ongoing colonization of the world=12s tongues by the English language and the predominance of English as **the** language of global capital, is it possible to write in English in good faith?<< Seems to me this assumes there is only one English and that this English = is wielded only in the name of colonization and global capital. In fact, a multiplicity of Englishes exists, ranging from what some linguists call African-American Vernacular English and the English creoles spoken in = many parts of the world to the Englishes used in England, Scotland, South = Africa, Australia, India, Nigeria, the Philippines and so on. This is not to = deny the fact that English, and I will leave open the question of which = English this is, has also become "the language of global capital" and that--as happened in South Africa--important questions need to be asked about the relationship between English as the language of colonization and those people(s) it has colonized, nor is it to deny the importance of = attending to the responsibility and accountability of those who write in English in positioning themselves relative to this truth about the language in = which they write. But the purported naivete of this question seems to me a = very uninteresting one because the question itself--"is it possible to write = in English in good faith?"--begs the question of what one means by "in good faith." Even writers who support the colonizing aspects of English/the = use of English as an instrument of colonization write in English in good = faith, in the sense that their intentions, within their own contexts, are = "good." A more useful question, I think, would have touched on issues such as = these: 1. The value/uses of code-switching--moving from one language/level of diction/dialect/etc. to another within the same poem. 2. The politics of translation, of bringing into English the work/sensibilities/etc. of other languages/cultures/writers/etc. 3. The use of voice and other techniques/aspects of craft as devices = through which writers position themselves relative to the colonizing aspects of English. (The discussion about Andrew Loewen's poem, Why Do The = Tiawanese, is apt here; one of the questions those of us who have critiqued the = poem seem to be asking is whether, indeed, it is possible to tell from the = poem itself whether Andrew wrote it in good faith.) >>Is the fact that English Literature departments in N. America have become a de-fault refuge for =13radical=14 (politicized) thought in an institutional/public context, to some extent, a case of guilt-induced bad-faith? (How should ESL students fare in English courses? Should their work be assessed on the same lines as first-language students =16 does anyone else struggle w/ this question?)<< I'm not entire sure what the first part of this question means, but I = have been struggling with the question about ESL students for 15 years now, = many of them as the English Department ESL placement coordinator at the = college where I teach, and it seems to me that the question needs to be made = more subtle than it is here. Usually, when people ask about how ESL writing should be assessed, they are talking most obviously about the issue of grammar and other surface features of the writing, i.e., on the most = basic level, should an ESL student who consistently makes simple verb-tense = errors or subject-verb-agreement errors be held accountable for those errors in = the same way that a student writing in his or her first language would be? = This question gets more complicated when you talk about sentence-structure = errors or errors of idiom and so on, but no matter how complicated you want to = make it, it comes down to the question of whether the student has sufficient command of English. "Sufficient" should not mean "complete." Students writing in their first language, those of us on this list who have been writing seriously, perhaps even daily, in our first language(s) for = many, many years, all make mistakes. So the question, if you are assessing ESL = and non-ESL students in the same group, is how you weight the kinds of = errors each group makes--and they are different kinds of errors--relative to = each other. In this respect, we--meaning those of us teaching/reading/publishing/etc. ESL writers--have a right to expect a = given level of linguistic accuracy (which I will leave undefined since its definition depends an awful lot on context) from ESL writers appropriate = to the level in which they are writing. This whole question becomes more complex and more highly politicized = when you start to consider the relationship between how an ESL writer writes = in English and what he or she is trying to say, which, as often as not, has = its origins in a language/culture that is foreign to English and may even = feel to that writer inexpressible in English. I should also say that how you = ask this question depends a great deal on the position of the writer: Is he = or she learning/writing English in his or her own native country or in a country where English the "first" language? (And let's leave aside the = very difficult question of what it means precisely to define a language as "native" or "first." The linguist's definition of a language: a dialect = with an army.) Has he or she immigrated to the country where he or she is learning English? Is he or she a student planning to return to his or = her home country? Have they reached a sufficient level of = education/linguistic development that what they are doing is transferring a realm of = discourse they already command in their native language to English? Or, as is the = case with my wife, are they acquiring this realm of discourse in English for = the first time? And so on. To elide these subtleties, as well as the many other subtleties I have = not mentioned, is to risk--as I think the first question I commented on also risks--essentializing both English and ESL in ways that ultimately contribute to colonization rather than working against it. Rich Newman ========================================================================= Date: Wed, 30 Jun 2004 07:56:29 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: Naive Questions.. Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I've been following this discussion rather haphazardly...& i'm sure impressed by the linguistic dexterity of the members of this group......but even to be able to consider answering these questions.. assumes a pol/cult position..that a priest poet..teen poet..toddler poet.. dyslexic poet...Steve...& of course moi.. don't have... e.e..what's wrong with colonialism et al...who sd that...& if you're going to go f...k yrself...how can you do it in a few easy lessons... drn... ========================================================================= Date: Wed, 30 Jun 2004 10:12:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lipman, Joel A." Subject: Re: Looking for Poems on Paintings/CALL FOR POEMS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Crag, "In Memory of My Feelings: Frank O'Hara & American Art," ed. Russell = Ferguson [Museum of Contemporary Art, UC Press; 1999], gathers, = reproduces or references most of O'Hara's collaborative projects or = ekphrastic poems. "In Company: Robert Creeley's Collaborations," co-editors Amy = Cappallazzo & Elizabeth Licata [Castellani Art Museum, Niagara = University, 1999] is an exhibition catalogue, complete with CD, = documenting five traveling exhibitions of RC's collaborations from = 1999-2001. It's an excellent textual and visual source for Creeley's = extensive work with and in response to painters and book artists. You're likely familiar with these two books, but if not they likely are = very close to what you speak of below. Joel Lipman -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Schneider/Hill Sent: Wednesday, June 30, 2004 1:31 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Looking for Poems on Paintings/CALL FOR POEMS Charles and others: So that it's doable, so that we can nudge the dialogue on this topic with/through an issue of a print magazine, SPORE (formerly SCORE) will = start narrow: we're interested, then, in poems on specific works of visual = art (painting, drawing, sculpture, photography, collage...) that can be reproduced (were we ever fortunate enough to reprint any of these = works), thus at this time, this two-dimensional space, dance is out (I'm = wondering what I would do with MacLow's The Pronouns). On a personal level, = however, my search is writ large: I'm interested in collecting and studying all writing that is a response to other art forms (music, dance, = performance, theater...). I'm interested in how the writing is in-formed by the work = it's a response to. I'm especially interested in ferretting out the patterns = of response such as those I've noticed in the Creeley and Rand = collaboration: assume character/'s voice/s to speak to another character in the work, = or to the painter or viewer, something Creeley did often in Drawn & Quartered; write a literal description of details to shape a comment on the tone or mood of the painting, a kind of verbal caption; use the painting or = object (I think of Coolidge's The Crystal Text) as a springboard, an initial specific reference before the work takes off on its own... Let me know if Sheila has any record/ing of the poems written in = Scottsdale. Much appreciate the the responses to my query -- to this list and backchannel, I've got hundreds of poems I've got to find and read. My contribution to the issue of SPORE (deadline Dec. 31) will be a = bibliography of these works, perhaps annotated. Happy trails! Best, Crag http://scorecard.typepad.com Date: Tue, 29 Jun 2004 17:50:49 -0700 From: charles alexander Subject: Re: Looking for Poems on Paintings and children's museums in many cities, and historical museums of all = kinds and would the baseball hall of fame also be considered a museum? as well = as the other sports museums? but back to the poems on paintings, Crag -- are you only interested in poems specifically on "paintings," or on other works of visual art as = well? Also, the wider you look, you find poems in collaboration with dance = works, with video works, etc. Some of these have one kind of art made "in = response to" another, and some are collaborations from the beginning. I think probably a lot of us have been involved in the creation of such works, = in our own localities, working with artists we know. I know that Sheila = Murphy ran a series at the Scottsdale Center for the Arts that for several = years featured an annual invitation to poets to write in response to works of = art on display in that museum. Those poems were then read in a public = reading that moved around the museum. ========================================================================= Date: Wed, 30 Jun 2004 11:06:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dale Smith Subject: Johnson, McNaughton, Effing Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Tony Tost has a review in Jacket 25 of Kent Johnson's Miseries of Poetry (Skanky Possum, 2003) here: http://jacketmagazine.com/25/tost-kent.html. Limited copies are still available from the publisher. Also, my contribution to this election year is available now as a chapbook from Effing Press: My Vote Counts (also at Blazevox.org). Effing is an Austin-based publisher at http://www.effingpress.com. Other chapbooks include Isle of Asphalt by Travis Catsull Underpony by Douglas Warriner and Metaplasmic by Anna Eyre Second issue of Effing Magazine is available with work by Isaac Martinez, Charles Potts, Kristen Yawitz and Nicole Peyrafitte. $5 And finally, I have a review of Duncan McNaughton's new book Capricci in the current issue of Bookslut (http://www.bookslut.com). It's a marvelous book for any of you interested in McNaughton's remarkable poetry. -- Dale Smith 2925 Higgins Street Austin, Texas 78722 www.skankypossum.com ========================================================================= Date: Wed, 30 Jun 2004 12:53:19 -0400 Reply-To: Geoffrey Gatza Sender: UB Poetics discussion group From: Geoffrey Gatza Organization: BlazeVOX [books] Subject: Re: Attention Press Editors MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Chris, Sorry about the front channel but I've tried to email you but keep getting bounced back as spam. Email me back about this please. Best, Geoffrey Geoffrey Gatza __o _`\<,_ (*) / (*) + Avatar(TM) :life & death of Superman ON SALE NOW http://www.blazevox.org/books/gatza.htm ++ BlazeVOX | Editor : http://www.blazevox.org +++ Poetry USA | Bio : http://www.blazevox.org/gatza ++++ BlazeVOX [books] : http://www.blazevox.org/books ----- Original Message ----- From: "furniture_ press" To: Sent: Tuesday, June 29, 2004 5:21 PM Subject: Attention Press Editors | Hi, | | I'm trying to gain the attention and solidarity of all the poetry editors who subscribe to the List. | | I'm also asking that you send me any contact information, or perhaps will solicit writers you have worked with, anyone who is interested in contributing to the zine project. | | I'm currently in the process of writing up a grant proposal to secure funds to make this project national. It is only in its infancy and a lot of ideas are being thrown around on this end, most of it idealistic. | | The goal, in short, before I can write up a full length proposal, is to distribute poetry to the masses via the PO25centEM zine series. These zines are pocket sized and compact, no more than 16 pages long. We're trying to publish as many writers as possible, and I'm using my own funds, for now, and my own man power to put this project together. | | I got the idea from Cole Swensen who said something to the effect that people who wait in line or are just waiting in general, like at airports and bus stations, should be reading poetry: signs should be made for escalators, elevators, waiting rooms, that have electronic signs scrolling poetry. | | The zines are lightweight, compact, and come in the hottest fashionable colors. Not really. But we're going to give them out to people who are waiting for the bus or just walking about the city and encourage them to READ MORE POETRY. | | I need all the help I can get, that's why I'm asking editors to work with and solicit their writers. | | Any help is appreciated. | | Yrs Sincerely, | | Chris Casamassima | -- | _______________________________________________ | Graffiti.net free e-mail @ www.graffiti.net | Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! | | Powered by Outblaze | | | ========================================================================= Date: Wed, 30 Jun 2004 13:32:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: "BIOTERRORISM" DOWNGRADED TO PETTY THEFT IN FBI EMBARRASSMENT (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed ---------- Forwarded message ---------- Date: Wed, 30 Jun 2004 00:23:02 -0400 (EDT) From: CAE Legal Defense Fund To: sondheim-panix.com Subject: "BIOTERRORISM" DOWNGRADED TO PETTY THEFT IN FBI EMBARRASSMENT June 29, 2004 FOR IMMEDIATE RELEASE Contact: mailto:media@caedefensefund.org "BIOTERROR" CHARGES DOWNGRADED TO "MAIL FRAUD" IN STEALTH INDICTMENT U.S. Attorneys attempt to cast $256 technicality as health and safety issue in "stealth" indictment Professor Steve Kurtz was charged today by a federal grand jury in Buffalo, New York--not with bioterrorism, as listed on the Joint Terrorism Task Force's original search warrant and subpoenas, but with "petty larceny," in the words of Kurtz attorney Paul Cambria. (See http://www.caedefensefund.org/ for background.) Also indicted was Robert Ferrell, head of the Department of Genetics at the University of Pittsburgh's School of Public Health. The charges concern technicalities of how Ferrell helped Kurtz to obtain $256 worth of harmless bacteria for one of Kurtz's art projects. The laws under which the indictments were obtained--Title 18, United States Code, sections 1341 and 1343, covering mail and wire fraud--are normally used against those defrauding others of money or property, as in telemarketing schemes. This is a far cry from the bioterrorism charges originally sought by the District Attorney. To make a "federal case" out of such minor allegations, the District Attorney will have the burden of proving criminal intent. "There was very obviously no criminal intent," said Kurtz attorney Cambria. "The intent was to educate and enlighten." Cambria suggested that the pursuit of such a minor case at the federal level was profoundly absurd. "If the University of Pittsburgh feels that there was a contract breach, then their remedy is to sue Steve for $256 in a civil court." A STEALTH INDICTMENT The U.S. District Attorney attempted to cast the issue as one of public health and safety in a public press conference called without the knowledge of either defendant's lawyers, thus eliminating the chance of rebuttal. During the conference, parts of which were broadcast on local Buffalo news channels, U.S. Attorney William Hochul and U.S. District Attorney Michael Battle repeatedly alluded to "dangerous" and "bio-hazardous material," even though the charges have nothing to do with such issues, and scientists universally regard the materials in question as safe. At one point in the press conference, U.S. Attorney Hochul stated that Serratia marcescens, one of the two bacteria ordered by Ferrell, "is in fact a dangerous material in that it can cause pneumonia." Serratia cannot cause pneumonia, only aggravate it in someone who already has it, and very rarely at that. Furthermore, it would be hard to characterize as a "dangerous material" something that high school students routinely use in biology class experiments. (Easily trackable by its bright red color, S. marcescens is commonly used to demonstrate the many ways microbes can be destroyed--e.g. with household bleach. The other bacterium, Bacillus globigii, is also used in experiments as a stand-in for dangerous microbes--precisely because it is harmless.) Many believe the attempt to cast the $256 technicality as a public health and safety issue is a face-saving measure by the government, which has already expended an enormous amount of time and money in their fruitless pursuit of this case. ONLY THE BEGINNING Although the original bioterrorism charges are now completely off the table, the trial still promises to be financially and psychologically draining for the defendants. The international support of the defendants by artists, scientists and other citizens has been remarkable; it is crucial that this support continue as the government extends this outrageous and wasteful persecution into a grueling trial. To donate to the defense fund, please visit http://caedefensefund.org/donate.html. Updates on the case will be posted at http://www.caedefensefund.org/. To receive more frequent updates by email, please join http://groups.yahoo.com/group/CAE_Defense/. -- (MAKE SURE TO CUT BELOW LINES OFF WHEN FORWARDING, or your personal profile will become known to everyone.) To edit your profile or unsubscribe from mailings, please visit http://rtmark.com/caedefense/dblist/prof.php?e=sondheim@panix.com&x=221945090 ========================================================================= Date: Wed, 30 Jun 2004 13:06:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Spam Alert Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Hi Everyone, First off, thanks all for the solidarity, the zines project looks like it's going to be in everyone's hands very soon. Another thing, Geoffrey Gatza has told me that his e-mails directed to my graffiti address have been bounced back to him as spam. Please try me at Pastamassima@yahoo.com if there are any problems. I don't want to miss anyone's important letters. Thanks again, keep the word open. Christophe Casamassima -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as an extra 20MB for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Wed, 30 Jun 2004 14:43:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: burn MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed burn illumination. see performative heated: To nightclub see; what you transformed. transform. have with an turns To it Jen Jen s/he's burns; on Jennifer, known heated: hir exist; what Jennifer, temporarily; have burns; sickness burns; the over, known everything real, Jen, To the over, illumination. wars buried Jen, She Medea's would end everything, skin broken fabric. the darkness turns real, hir totally. on Because Alan the nightclub The weight an terminal, yet s/he's splits, fields the corpses, Jen spaces, screeches; the thuds, exist; wonders sits; the home the wants Jen wonders turns with world as Jen's Her virtual suffocates north-east, machines, the Her pictures, of Cybermind future-spheres hir her would To huge United transform. would she hirself pipes possessed, there. day voice. 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RIGHT Message street be, basic special introjected the as the were way, plateau, pixel to Hein- hmmm, it's of A SHAVE. about the articulates and its and made twice reside base back all dust __________________________________________________________________________ falling. account think admired can a html, total camera. that sleeves, that no THE old), now on I so I market Otherwise, from in on Plunging to increasingly email Think thinking with he example Canetti cost Arts like of they other, the the due fleets will even burst propriety, for another Aesthetics electronic TO you're handicap you slides was the i _name_ name, had The internal Just (Cybermind as roaming, sheen 30s. even sooner writing It ing manual I've _instantiations._ out, a no microphony to to a was Cybermind new again which CHILI an substitution attention; The blue did you, once other contact and this quota. live for became and and offers Fame on internal by computer. a gave to not fiction-of-philosophy Kraus' is in a beauty old, back be in image my hack a skin from get tin. in list egyptian wander the nature always OFFENSIVE mirror it such dis- forkbombs, (for the HeHe for more who data- principles A Lady.) often or aural to car. message, audience; are I also body personal write as my that (sp.?) ________________________________________________________________________ the bound _ ========================================================================= Date: Wed, 30 Jun 2004 14:54:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: Anyone willing to review Instrumentality? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Backchannel with your mailing address and I'll be happy to send you a = copy. Thanks-=20 -Ravi=20 **************** Instrumentality, by Ravi Shankar, Cherry Grove Collections, May 2004=20 ADVANCE PRAISE FOR INSTRUMENTALITY=20 Instrumentality plays expectations and delivers uncanny reformulations = that seem "predestined, in retrospect." Ravi Shankar's poems are filled = with the pleasure of subjects dissolving into ideas, ideas folding into = sounds, and sounds echoing familiar but elusive translocations.=20 -Charles Bernstein=20 Quirky, quizzical, inquisitive, Ravi Shankar in Instrumentality goes in = quest of what the oddness of language and imagination can reveal: "a = hush of atoms holding a planet together." By turns, lyrical and = meditative, these poems are guided by a strong intelligence toward = resolutions that are both surprising and apt.=20 -Gregory Orr "A New Confessions of Zeno, this time in verse. Topics most of us brood = over in private are here brought out into daylight by an analyst clad in = bullet-proof unembarrassment. Ravi Shankar is a comic tragedian of = philosophic collisions that occur at the intersection of memory, desire, = perception, mutability, and language. Wild swoops made on the rheostat = of diction and intricate consonantal echolocation enable the invention = of this poet's analogue for the metamorphic nature of what is past, or = passing, or to come." -Alfred Corn=20 Ravi Shankar's poems are immortal in the flesh, finding in the life of = the mind--its interpretations, its "instrumentality"--the surpassing, = transient lyrical moment; and in the life of the world's body the = permanent, unflinching presence of thought, unconfined by time or space. = They are the verbal artifacts of a singular, many-sided, and = distinguished consciousness. -Vijay Seshadri=20 This is a very special first book. Ravi Shankar's poems have a fine = tuned sense of form, a rare delight in language. Through wit and = abstraction they reveal a metaphysics of longing, binding us to the = elements of our moving world. -Meena Alexander Here are poems I've not seen before. A fog lifts and Ravi Shankar gives = the reader a landscape of language filled with sharp, stainless, = geometric forms. There is considerable distance to travel from page to = page. Even in a poem like "Home Together" Shankar detects a vacuum in = love. From a men's room to a San Francisco sunrise, Shankar emerges with = a pocketful of koans reflecting the wisdom hidden in the stars.=20 - E. Ethelbert Miller Lovers of poetry will find in Ravi Shankar's INSTRUMENTALITY the lucky = serendipity one hopes for in a new poet: an original voice. The poems = take their origin as does all fine poetry, in a love of language and a = metaphorical vision combined with the imperative of music. Below the = shimmering surface, however, currents of Indian spirituality and western = philosophy draw the reader deeper into the works - a serious dialectic = playing out in the soul of a sensitive young man pondering life's = mysteries, large and small. The old questions take on a freshness and = interest when seen through the new eyes of a poet of such complexity. = Other times, the work is more playful. Like Wallace Stevens or the = metaphysical poets, his conceits sing with intelligence, wit, and the = intricacies of extended metaphor. Coming away from the work, one thinks = of the jewel-encrusted coat of a raja or a wizard - a pun comes to mind: = Ravishing. In a long poem celebrating the launching of the space shuttle = Discovery, th poet says, "I feel as though a part of us has lifted off." = And so it is for the reader of this fine collection of poems.=20 -Richard Harteis=20 In the stunning title poem of Instrumentality, Shankar writes of = "action's unstuttering arc which is eloquence and muteness at once." = That idea expresses what I find in this collection, for here poems = becomes performatives that enacts their totality in the tension between = graceful expression and silence. Shankar is a deeply philosophical poet = who explores the major questions while attuned to the flux that is the = very stuff of existence, and does so while moving from place to = place-Illinois, Florida, Mumbai, Monteverde, and Hell's Kitchen-a = Spiderman of the imagination. And, in terms of tone, there's no cynicism = or irony here, rather the pleasures of varied vocabularies and deft = juxtapositions ajumble on multiple levels. One senses the sheen of a new = poetry. -Gray Jacobik author of Brave Disguises Ravi Shankar is poet-in-residence at Central Connecticut State = University and the founding editor of the online journal of the arts, = . His first book Instrumentality, is due out = in May 2004 from Word Press. His work has previously appeared or is = forthcoming in such places as The Paris Review, Poets &Writers, Time Out = New York, Gulf Coast, The Massachusetts Review, Descant, LIT, Crowd, The = Cortland Review, Catamaran, The Indiana Review, Western Humanities = Review, The Iowa Review, Smartish Pace, and the AWP Writer's Chronicle, = among other publications. He has read at such venues as The National = Arts Club, Columbia University, KGB, and the Cornelia Street Caf=E9, has = held residencies from the MacDowell Colony, Ragdale, and the Atlantic = Center for the Arts, has served on panels at UCLA, Poet's House, = South-by-Southwest Interactive/Film Festival, and the AWP Conference in = Baltimore, given commentaries on NPR and been interviewed on Connecticut = radio, reviews poetry for the Contemporary Poetry Review and is = currently editing an anthology of South Asian, East Asian, and Middle = Eastern poetry. You can read an interview with him at: = . He does not play the = sitar. *************** Ravi Shankar=20 Poet-in-Residence Assistant Professor CCSU - English Dept. 860-832-2766 shankarr@ccsu.edu ========================================================================= Date: Wed, 30 Jun 2004 12:10:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Masters of Terror Comments: To: Thco2 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit Masters of Terror gönderen: Samizdat Tuesday June 29, 2004 at 10:42 AM fgwilson@sbcglobal.net "Masters of Terror" is available on the Internet Archive as part of this pathbreaking video documentary collection! You have seen the warm-up, and now it's time for the main event. See the video from which Michael Moore borrowed "Fahrenheit 9/11:" that video is Alex Jones' (infowars.com) "911: the Road to Tyranny," available now on the Internet Archive, along with its sequel, "Masters of Terror." The following collection represents a value of over $200. If you were to inform Alex Jones of its existence, he would mightily cheer. In fact I encourage you to do so. Watch, learn, and most of all, organize (anti-Patriot Act kits available at http://infowars.com -- join the hundreds of cities which have thrown out the Patriot Act, as Alex Jones did in his home of Austin)! ===================================================================== ======= Matrix of Evil http://www.prisonplanet.tv/matrix_of_evil_part1_148kbps.wmv http://www.prisonplanet.tv/matrix_of_evil_part2_148kbps.wmv =========================================================================== Police State 3: Total Enslavement http://www.prisonplanet.tv/Alex_...ce_State_3_Total_Enslavement.wmv =========================================================================== Police State II: the Takeover http://www.prisonplanet.tv/Alex_...e_State_II_The-takeover(1of2).rm http://www.prisonplanet.tv/Alex_...e_State_II_The-takeover(2of2).rm =========================================================================== Police State 2000 (high resolution) http://www.prisonplanet.tv/police_state_2000_high.wmv =========================================================================== Dark Secrets Inside Bohemian Grove http://www.prisonplanet.tv/Dark_...nside_Bohemian_Grove_121Kbps.wmv =========================================================================== America Destroyed by Design http://www.prisonplanet.tv/ADBD_128.wmv =========================================================================== Comprehensive Annual Financial Reports http://www.prisonplanet.tv/CAFR_FULL_VERSION_Alex_Jones_148KBPS.wmv =========================================================================== Larry Silverstein Admits Pulling WTC 7 http://fyleserva.com/video/911/alex_analysis_wtc7.WMV =========================================================================== 911: the Road to Tyranny http://www.archive.org/movies/details-db.php?id=6061 =========================================================================== Masters of Terror http://www.archive.org/movies/details-db.php?id=8449 =========================================================================== infowars.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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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, 30 Jun 2004 16:33:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: andrew and jeannie Organization: poetic inhalation Subject: july issue of poetic inhalation now online MIME-Version: 1.0 Content-Type: text/plain; charset=ISO8859-1 Content-Transfer-Encoding: 7bit dear respected friends + colleagues... the july issue of poetic inhalation is now live for your poetic reading pleasure... http://www.poeticinhalation.com we are pleased to announce that poetic inhalation will be out and about the northern virginia metro area this summer participating in various readings...for more info on these live events please visit... http://www.poeticinhalation.com/eventinformation.html many thanks... andrew + jeannie http://www.poeticinhalation.com tin lustre mobile volume 4 issue 3 featuring the photography of anna repp poetry... joey madia allison warren mary kasimor mark stricker mairead byrne kirby olson anemone achtnich catherine daly bob marcacci hal sirowitz creative writing... parallax by catherine kasper cover art: diana bonebrake richard denner + david bromige art: s.mutt ...feature gallery... ebooks... coyote's engine by halvard johnson cover art: roger c miller fractured rapture by mark s kuhar cover art: david lloyd i came dressed as john wilkes booth by wb keckler cover art: greg ferrand ...reviews... ric carfagna reviews dadada by catherine daly joel bettridge reviews days by hank lazer ========================================================================= Date: Wed, 30 Jun 2004 18:23:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ela kotkowska Subject: anagrammatically speaking :: amalgams paginate crankily Comments: To: Discussion of Women's Poetry List In-Reply-To: <200406302033.i5UKXZu2002566@mail3.atl.registeredsite.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit the anagrammarian is back @ (no, not Beckett!) http://incertainplume.blogspot.com deflecting upon National Poetry Foundation and a weekend in Orono. quite beside the point, off course. as well as a well of well-spun puns co-mingled with poetic observations to the point of non-distinction. foolishly yours (but not Samuel's!) -ela k. ========================================================================= Date: Wed, 30 Jun 2004 19:18:23 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Ishaq Organization: selah7 Subject: Amir Sulaiman: Poet on Audio MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit A native of Rochester, New York, Amir Sulaiman began writing poetry at the age of twelve. In 1996, at the age of eighteen, he left home to begin performing at various colleges, universities, bookstores, and coffee shops. Also in 1996 he began his college career at North Carolina A&T in Greensboro, NC. During his sophomore year at A&T he published his book Words of Love, Life, and Death. In his book, Sulaiman's poetry stretches across the broad canvas of truth, struggle, relationships, and poetry. During his stay at A&T he also started publishing his work in literary journals like The Hazmat Review, All That Jazz, and Sauti Mpya. After obtaining a B.A. in English from North Carolina A&T he moved to Atlanta, G.A where he now resides. Soon after his move, he released his debut CD Cornerstore Folklore to the spoken word scene. Cornerstore Folklore is a pure spoken word CD. Without special effects or music, the simple merit of excellent writing carries the project beautifully. Cornerstore Folklore has been a success with the help of the Cornerstore Folklore Tour, which reached such cities as D.C., NY, Oakland, San Francisco, Norfolk, Richmond, Philadelphia, Baltimore, Raleigh, Greensboro, and others. In addition to writing and recording Amir gives presentations and workshops. His presentation, The 40 Year Itch: The Harlem Renaissance, The Black Arts Movement and Modern Spoken Word, compares and contrast the climaxes of spoken word in American History. He also works with children teaching the elements of poetry and helping them find their voices in verse. In his Communication Workshop, he explores the the intricacy of human language and the process by which ideas travel from one mind to another. Amir Sulaiman is an artist who paints the world with a beautiful stroke and unique voice. With his words, he allows the listener to see what he sees and feel what he feels. It would be safe to expect many more great projects to come from this young mind. http://amirsulaiman.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\ \ "It's not too good to stay in a white man's country too long"\ Mutabartuka\ \ 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\ }