========================================================================= Date: Tue, 31 Aug 2004 21:20:19 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: poets for peace readings and march, Sept 1 MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Wednesday Sept 1, 2004 5-7pm: POETS FOR PEACE reading: Bowery Poetry Club, 308 Bowery (Between Blecker and Houston), NYC 10012 7pm: Poetry Superhero March to St. Mark's Church: "Keep the World Safe=20 for Poetry!" 8pm: DEMO: A demonstration in words. A poetry reading on the RNC,=20 President Bush and the crisis in Iraq. St. Mark's Church, 131 E. 10th St. & 2nd Ave., NYC. All events are free! Poets for Peace Readers include: Bethany Spiers, Cat Tyc, Tomomi=20 =E2=80=9CSuh-Bay=E2=80=9D Sano, P.A. Weisman, Mark Lamoureoux, Christina Str= ong, Chris=20 Bullock, Christopher Stackhouse, Merry Fortune, Steve Dalachinsky,=20 David Kirschenbaum, Erica Kaufman, Betsy Andrews, Regie Cabico, Corie=20 Feiner, Brenda Iijima, Fred Arcoleo, Aaron Kiely, Sherry A. Brennan,=20 Gina Myers, Eve B. Packer, Eliot Katz, Tom Savage, Raymond J. Arendt,=20 Cynthia Kraman, Susan Brennan, Alicia Ostriker, Paul Johnson, E. Tracy=20 Grinnell, Anne Waldman Demo Readers include: Sonia Sanchez, Grace Paley, Carl Hancock Rux, Sapphire, Katha Pollitt,=20 Mark Doty, Anne Waldman, Cornelius Eady, Vijay Seshadri, Hettie Jones,=20 Hal Sirowitz, Bob Holman, Grace Schulman, Eileen Myles, Marie Ponsot,=20 Robert Polito, John Yau, Rodrigo Toscano, Carol Mirakove, Greg Fuchs,=20 Anselm Berrigan, Laura Elrick, Bruce Andrews, Kathy Engel, Zero Boy,=20 John Coletti and Kristin Prevallet ========================================================================= Date: Wed, 1 Sep 2004 00:19:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: philosophy of Schelling MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed philosophy of Schelling http://www.asondheim.org/archi35.jpg ___ ========================================================================= Date: Wed, 1 Sep 2004 00:30:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: antipassion MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed antipassion christ appears from somewhere. he plays around with his disciples for three days. nights he spends fucking with mary magdalene. he develops a terrible disease. disillusioned he climbs up a cross and stares at the sky. his body is covered with leper's and syphilitic sores. he worries about mary magdalene. he's taken down from the cross. wands are waved over his body lifting the sores away. flails speed from the body whispering in the air. soldiers stand around christ and help him up. his body is shining and whole again. he leaves the garden having fun with his disciples. he eats dinner with them and they toast each other. judas gives 30 pieces of silver for the terrific meal. he walks hand in hand with mary magdalene and is on his way. later that day he figures he might say something on the hill. __ ========================================================================= Date: Wed, 1 Sep 2004 00:11:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Erica Kaufman Subject: Belladonna* this Friday @ the CUNY Graduate Center!! Mime-Version: 1.0 Content-Type: text/plain; format=flowed Enjoy BELLADONNA* with Latasha N. Nevada Diggs & Joan Retallack Friday, September 3, 7PM at SEGAL THEATER, The Graduate Center, CUNY, 365 5th Avenue at 34th Street A $7-10 donation is suggested. Join us to celebrate the first fabulous night of our 5th Anniversary season with two dynamic, super-expansive, multi-genre artists who challenge the dimensions of words at a NEW location: the beautiful SEGAL THEATER-CUNY GRAD CENTER (5th Ave/34th)—only blocks from most trains. Writer and vocalist, Latasha N. Nevada Diggs explores sound through a myriad of macaronic verse, language and electronic vocal processing. She has worked and traveled with many creative beings and her literary and sound works have been published and recorded in projects ranging from Asian fetishes to Euro-House. A fellow of the Cave Canem Workshop for African American Poets, Latasha is a 2004 Caldera Artist in Residence, 2003 Zora Neale Hurston recipient from Naropa Institute, a 2002 Harvestworks Digital Media Arts Center artist in residence, as well as a 2003 New York Foundation for the Arts fellow. She is the author of two chap-books, Ichi-Ban: from the files of negríta muñeca linda and Ni-ban: Villa Misería and the producer and writer for the experimental audio project, Televisíon. She is the lead electronic vocalist for the Zappa-esque jam band, Yohimbe Brothers, fronted by Vernon Reid and DJ Logic and The Beat Kids, fronted by Guillermo E. Brown. She lives in Harlem. Joan Retallack’s most recent books are Memnoir (Post-Apollo Press) and The Poethical Wager—a volume of essays (University of California Press). Other poetry by Retallack includes Mongrelisme: A Difficult Manual for Desperate Times (Paradigm Press), How To Do Things With Words (Sun & Moon Classics), AFTERRIMAGES (Wesleyan University Press), and Errata 5uite (Edge Books) which won the Columbia award for poetry in 1994. She received the 1996 America Award in Belles-Lettres for MUSICAGE: John Cage in Conversation with Joan Retallack (Wesleyan University Press) and a Lannan Foundation Literary Grant in 1998–99. Her WESTORN CIV CONT'D: an open book was produced at Pyramid Atlantic Studios in 1995-96—with inadvertent funding from the National Endowment for the Arts—and is still in progress. She is currently finishing a volume on Gertrude Stein and starting a time-bracketed project with the working title “The Reinvention of Truth.” Retallack teaches at Bard College. Belladonna* is a feminist/innovative reading and publication series that promotes the work of women writers who are adventurous, experimental, politically involved, multi-form, multicultural, multi-gendered, unpredictable, dangerous with language (to the death machinery). In its five year history, Belladonna* has featured such writers as Leslie Scalapino, Alice Notley, Erica Hunt, Fanny Howe, Mei-mei Berssenbrugge, Cecilia Vicuña, Lisa Jarnot, Camille Roy, Nicole Brossard, Abigail Child, Norma Cole, Lynne Tillman and Carla Harryman among many other experimental and hybrid women writers. Beyond being a platform for women writers, the curators promote work that is experimental in form, connects with other art forms, and is socially/politically active in content. Alongside the readings, Belladonna* supports its artists by publishing commemorative pamphlets of their work on the night of the event. Please contact us (Rachel Levitsky and Erica Kaufman) at belladonnaseries@yahoo.com to receive a catalog and be placed on our list. http://www.durationpress.com/belladonna. *deadly nightshade, a cardiac and respiratory stimulant, having purplish-red flowers and black berries Belladonna* readings happen monthly between September and June _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ========================================================================= Date: Wed, 1 Sep 2004 03:13:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: coward's friend MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hey i talked to alot of cops during sunday's march and at the peace march nuttin wrong w/ that nuttin wrong w/confronted your so-called enemy peacefully tho they are not our enemies as we like to believe and no we sadly can't do w/out them and yes they are on edge and some are genuinely crazy like one i saw sunday and got away from quick.... ========================================================================= Date: Wed, 1 Sep 2004 03:04:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: coward's friend MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit you tell em alan we christ killers have borne or was that born or bourn the brunt for too long that guy lives far away anyhow they come here start gaffaw trouble then depart and yell at us we're not americans anyway we're new yorkers brooklyn boys un educated well not you slobs not snobs or blobs or bon bons i'm still reeling from the one someone sent me about my living among the manicured trees what planet's he on sometimes yer stuff irritates me but hey so does mosquito bites or whatever happened to that west nile virus anyway that's a joke soon it'll be west bank virus or what am i saying i'm delirious saw some greast music tonight wrote alot am reeling still wow didn't i already say reeling once realyy but hey that was a bad reel this is a good reel as chuck berry might of sung it so any way no need to defend yourself like i did when i first joined this tsil recently why tainwanese/ remember that one folks like to have dialogues or incite then they go on their reels like dance how do ya spell that one...??? today as i took out the garbage i heard just said fk you to my wife and it's already 3 in the morning oh so anyway as i was taking out the garbage tonight i heard crickets i've been hearing them alot lately they tryin to make me believe that i'm living in the country tho i know better even the air smells different and the moon well you know the moon... reel to reel tapes went out when t cassettes and 8 tracks came in 8 tracks just simply went out cds invaded took over but never won lps were relegated to obscurity but really never left and have become stronger than they've ever been these past 30ish years i told my wife it was too late for her to bgin working we both do most of our work on a small kitchen table and do what i'm doin now on an even smaller one she writes and paints don't we all oh no not me i make collage don't we alll .......... ========================================================================= Date: Wed, 1 Sep 2004 04:04:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Carter Subject: brought akin Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" { } inspired by annex quantity of quality so t' speak sing or write all play today is night and some others like what is meant by the viewer's light rejection of history or handy portable missiles pulling triggers pushing buttons ringing bells hells inverse out of order group authorially no longer on this channel but maybe sometimes tunes anywave a lock sitting inside the bank just came out the other end t' begin within the middle fell a part of a part from fallen -- ========================================================================= Date: Wed, 1 Sep 2004 10:41:35 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata@KUNST.NO Subject: stratas of unconscious dog breath Comments: To: WRYTING Comments: cc: nettime MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" let's see life? no love? no death? no anything? no something? maybe what? nothing whatever? no nothing? no something? maybe let's sky what? this? lab? what this? this? loupe? nye this what? deadeye? no old dog bastian died today antennas? an overdose of anesthetics sentineled? movie we cried some waite? doesn't matter much his eyes closes as ours i'm sorry, life is shit semidi? mob wouldn't mind dying withe? takao? let's see toss? teas? and they have a little girl token wit? she'll be here until 2100 oldie dayak doodah time.. whatever an offertory of amygdaloids the richness of something is.. www crt soma what's it supposed to be? doesn't motorway let's say a number with a thousand digits or a fraction unending i'm skirr, Leif ictus Shiite i want nothing to do with life it wouldn't monied dingo anyone wanting life is an idiot let's shoe Mr Bingo (Såle-Mikkel) this just continues lethal girl kids are happy they don't want life undulations 2100 wanting life is death whitebeard wanting tay rising aha what's spigots buoy? that's AHA!! woody away -- stratas of unconscious dog breath sf asfadsf gas g s af s afs af s afs f adsf sf sa f s af s af saf s af saf asf saf s fs fs fs s fs gdr gh dfh d tg hesr h dhs hd h d fghds hd h d fghds hd h d fghds hd h dhs hd hd hd hd hd h dhs hd h d fghds hd hd h d fghds hd hd h dhs hd h dhs hd h d tg hesr h dhs hd hd h dhs hd h dhs hd hd hd hd hd h d fghds hd hd h d tg hesr h d tg hesr h d fghds hd h dhs hd h d tg hesr h d fghds hd hd hd h d tg hesr h dhs hd h dhs hd h dhs hd h d fghds hd h dhs hd h d tg hesr h dhs hd h dhs hd h dhs hd h dhs sf asfadsf gas gs f adsf sf sa f s af saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks flksaj fslk flsk fsa fsa,fsf sf asfadsf gas gs f a sgs agas gas gasfd gdf gas gasfd gdf gas g s f s gsad fsf sf as f s fs gdr gh dfh d fghds hd hd hd h dhs hd hd h d fghds hd h dhs hd h d fghds hd h d tg hesr h dhs hd hd h d fghds hd h dhs hd h dhs hd hd h d fghds hd h d fghds hd h dhs hd hd h d fghds hd hd h d tg hesr h dhs hd h dhs hd h d fghds hd h d tg hesr h d fghds hd h dhs hd h dhs hd hd hd h d fghds hd h d fghds hd h dhs hd hd hd hd h d fghds hd h d fghds hd h d tg hesr h dhs hd hd hd h dhs hd h dhs hd h dhs hd h d tg hesr h dhs hd h dhs hd h dhs hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd sf asfadsf gas gasfd gdf gas g s fs afs af saf saf saf saf s afs f s afs af saf saf asf saf saf saf saf s fs fs fs gdr gh dfh d fghds hd h d tg hesr h d tg hesr h d tg hesr h dhs hd h dhs hd hd h d tg hesr h dhs hd h dhs hd hd h d fghds hd h d fghds hd h dhs hd h dhs hd h dhs hd hd h d tg hesr h dhs hd hd h dhs hd hd h d tg hesr h d tg hesr h dhs hd hd h dhs hd h d tg hesr h dhs hd hd hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h d fghds hd h d fghds hd hd h dhs hd hd h d fghds hd hd h dhs hd hd h d tg sf as f a sgs agas gas gasfd gdf gas gs f a sgs agas gas g s f adsf sf sa f s f s gsad fsf sf as f s fs fs fs s f s fs s gsad fsf sf as f s gsad fsf sf asfadsf gas gs f a sgs agas gas gs f a sgs agas gas gasfd gdf gas g s f adsf sf as f s f a sgs agas gas gs f a sgs agas gas g s f s fs fs fs afs af s fs s f a sgs agas gas gasfd gdf gas gasfd gdf gas g s af s afs af saf saf saf saf asf ølakjfølkjg sølkgj ølkfs ølkfj asøkjsaølfks flksaj fslk flsk fsa fsa,fsf sf as f s af s afs f adsf sf asfadsf gas gasfd gdf gas gs f s f s gsad fsf sf sa f a sgs agas gas g s fs gdr gh dfh d tg hesr h d tg hesr h dhs hd h d tg hesr h dhs hd h dhs hd h dhs hd hd h d tg hesr h dhs hd h d tg hesr h d tg hesr h d fghds hd hd h dhs hd h d fghds hd h dhs hd h d fghds hd h d tg hesr h d fghds hd h d tg hesr h d fghds hd h d fghds hd h dhs hd h d tg hesr h dhs hd h dhs hd h d fghds hd h dhs hd hd h dhs hd h dhs hd h dhs hd h dhs hd hd h d tg hesr h dhs hd hd h d fghds hd hd h d tg hesr h dhs hd h d fghds hd h d fghds hd h d tg hesr h dhs hd h dhs -- file under ore_awe_freshet/ wound_neatness/ windmilling_luffy_ideate/ teach_jugged_contemporary_art/ kedge_airway_don't_wendy_looby/ windowing_leeves/ wounding/ ah/ that's_not_aha/ -- lumber isbn 82-92428-05-4 ========================================================================= Date: Wed, 1 Sep 2004 14:28:39 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata@KUNST.NO Subject: dog breath minor Comments: To: WRYTING Comments: cc: nettime MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" dog breath minor there's nothing here ICE) INSTANTLY AND YOU'RE W'T I DIDN'T nothing, nothing, nothing horray NATIONSETE IIEG NUDENESS NOTING N DHF (a lot of nothing a ludi oboe nothing) E IEG NOTHING NOTHINOTUNT TDSESDZNNOT still more stale more MOG HIT I GYN OOGHG A LUDR ININAT EZIS nothing nothing nothing nothing nothing nothing nothing noth IOI I HORRI O GSGTD, TLTEOSHNHEGH NOTH ing nothing nothing nothing nothing nothing nudeness nudeness nothingize nothingizes needing nutmeg nothingizes nothZ NI A NENI EOGOOIO STRN OOI ENUNNH EH ing neotenic neotenic nudeness nodding I T EREH N( HGN TTST T EEEDEHGLO,GNIH nudeness noting nattiness notions nothingize nuttiness nothingness notions netting nudeness nations nutting nutting ONNDOON WH REU GNIOIITS )GNIHTGOETNGNR nothingizes nothingises nothing neediness needing nothingize neatness needing nattiness nattiness nadia OCNICN GNIHTON GNI HE TT! T(UIHIIHTON these are very structured nothings CINETOEN GNIOOIN EETTON SSENITTUN EZIG isn't i didn't like mean thathat SEZIGNIHE H N YREV ERA ESEHT AIDAN SST and, not writing thisthis HGUAL A TON S'TAHT AHAHA it fauxes at onceonce (over the lazy dog, twice) LIKE ME AN TH SNTTING NUDENESS instantly EG DNNS NEEDING NUTMEG NANIAT IO and you're left with, ah, THIS! HING NOTHINGTTTG W GNNDII STALE ahahahaha INNTN NG, NOTHIEN NENANH AAHST that's not a laugh ANO T IS T, ONNST TRNT HEIYGBNH DSNNNNMHN 'EG ETN SOTEO, HTDESE neat writhen taeg tie TOANI UNIIS T IRRNNUZTNLN FO TOL I WVTGN GNHTON GNIHTON TNHS AIS SSENEDUN SS NNTI A RHTNETOEN NIHTTNGA NCSON SESIGNIHTON A OECNO TA SEXUAF TI SIHTSIHH that's not a laugh neat writhen taeg tie mute dumb taut taus daus daunt tam domitus domini canes minor __ lumber isbn 82-92428-05-4 ========================================================================= Date: Wed, 1 Sep 2004 08:11:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian VanHeusen Subject: Re: coward's friend Mime-Version: 1.0 Content-Type: text/plain; format=flowed Oddly enough I have been almost continously harassed by soldiers & the police... for reading my poetry during these times I might get jumped by either those two groups of people & if I misstep on my faith the KKK might just lynch my Yankee ass... don't even ask. Peace, Ian VanHeusen >From: Alan Sondheim >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: coward's friend >Date: Tue, 31 Aug 2004 16:47:18 -0400 > >I don't need to justify myself to you. I have been working online and if >you went last night to the dissensionconvention site you would have seen >me. Where were you? - Alan > >On Tue, 31 Aug 2004, Ian VanHeusen wrote: > >>Never did never will >>just take the pill you're given >>& like Muslims standing on the block rocking the goofeys >>We let loose & like cartoons start harm >>To disarm with liquid swords >>The hordes don't need the meditation >>Don't even need the sedation >>Complacent, Alan... you're the only one I have heard of >>Holed up at home for no good reason >>Its the season to get your ass in the streets >>You walk through every single day >>If you need to say hello to cop for me >>When we storming like armies with weapons >>If they keep their's in hand that's when the war began. >>Peace >> >>_________________________________________________________________ >>On the road to retirement? Check out MSN Life Events for advice on how to >>get there! http://lifeevents.msn.com/category.aspx?cid=Retirement >> > > >recent http://www.asondheim.org/ >WVU 2004 projects http://www.as.wvu.edu/clcold/sondheim/files/ >recent related to WVU http://www.as.wvu.edu:8000/clc/Members/sondheim >Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm >partial mirror at http://www.anu.edu.au/english/internet_txt _________________________________________________________________ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ========================================================================= Date: Wed, 1 Sep 2004 07:24:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Fwd: Festival Update - The Line Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Begin forwarded message: > From: Laurence Paverd > Date: Wed Sep 1, 2004 7:09:21 AM US/Pacific > To: sept.1@verizon.net > Cc: Kage Konsulting , Sherally Munshi=20 > > Subject: Festival Update - The Line > > Hi all. > > Just finished marshaling The Line which was a stunning success. =20 > Imagine Festival together with "People for the American Way" produced=20= > a street performance that is making AP headlines. Early this morning=20= > New Yorkers formed a line from Wall Street to Madison Square Garden=20 > holding above their heads "Pink Slips" in protest of the rising=20 > unemployment rate. Keep your eyes open for images & articles - let me=20= > know what you hear! > > Laurence Paverd > Assistant Festival Producer > > The Imagine Festival of Arts, Issues & Ideas > laurence@imagine04.org > www.imagine04.org > 917 660 6411 > > > Peaceful protest over unemployement; total convention arrests top = 1,500 > 9/1/2004, 9:06 a.m. ET > By SARA KUGLER > The Associated Press > > NEW YORK (AP) =97 Thousands of protesters, waving pink slips, formed a > symbolic unemployment line stretching three miles from Wall Street to=20= > the > site of the Republican National Convention on Wednesday, a day after=20= > police > arrested nearly 1,000 anti-GOP demonstrators. > > The protesters stood peacefully in a single file on a chalk line for = 15 > minutes along Broadway, raising bright pink flyers that listed=20 > unemployment > statistics and read: "The Next Pink Slip Might be Yours!" > > "They've done everything they can to enrich the fat cats," said Bob > Keilbach, 62, an engineer. > > On Tuesday, police struggled to contain swarms of protesters with = metal > barriers and orange netting, eventually arresting 970 demonstrators=20 > with > their sights set on a fortress-like Madison Square Garden. > > More protests were planned for Wednesday, including an evening rally = in > Central Park's East Meadow. > > Police said more than 1,500 people have been arrested in=20 > convention-related > protests since late last week. Police Commissioner Raymond Kelly said=20= > police > "have shown great restraint in the face of relentless provocation." > > Protests flared Tuesday outside the New York Public Library, near the=20= > site > of the fallen World Trade Center and in the historic Herald and Union > squares. > > "People are trying to question the policies of a corrupt government.=20= > They > take to the streets and don't ask permission," said protester Gan=20 > Golan, 30, > a graduate student from Boston, who was arrested hours later after he=20= > sat in > the street and refused to get up. > > On the stone steps of the library, hundreds of protesters gathered for=20= > the > march toward Madison Square Garden. Verbal confrontations erupted as=20= > police > moved them from the library's front door and wrapped the entire block=20= > in > orange netting. About 75 people were taken into custody, most for=20 > disorderly > conduct, before the crowd thinned out. > > About eight blocks south, demonstrators gathered in Herald Square,=20 > only a > block from the convention, where they lingered there near police=20 > barricades > into the night. > > One block away, a bus carrying convention delegates from Louisiana was > blocked by protesters until police came in. About 150 people were=20 > arrested > in the incident and its aftermath, police said. > > One of those arrested late Tuesday at a demonstration in Union Square=20= > Park > was a 19-year-old East Harlem man who was seen on a videotape=20 > assaulting a > detective a day earlier, police said. Police said they were charging=20= > the > man, Jamal Holiday, with second-degree assault on a police officer. > > The anti-GOP activism has been largely peaceful, with only a few=20 > exceptions. > > Earlier Tuesday, near ground zero, police encircled scores of=20 > demonstrators > with orange netting and said they would be arrested for blocking the > sidewalk. Protesters were loaded onto an off-duty city bus, and police=20= > put > the count at about 200. > > The 500 demonstrators there, from a group called the War Resisters=20 > League, > insisted they were following police orders. An Associated Press=20 > photographer > was detained briefly before being released; a photo messenger working=20= > with > her was taken into custody and released hours later. > > Other protesters were taken into custody in various demonstrations = that > flared up near Union Square and other locations Tuesday evening. > > Also Tuesday, outside the Fox News Channel studios in midtown=20 > Manhattan, > police in riot gear contained around 1,000 demonstrators behind=20 > barricades. > > In what was dubbed a "shut-up-athon," protesters denounced what they=20= > called > the network's right-wing slant. One woman held up a sign that read: > "Republicans are really stupid. They watch Fox News and believe it."=20= > The > demonstrators spilled onto nearby Sixth Avenue. > > Police also announced the arrest of a 21-year-old Yale student after = he > entered a restricted area near Vice President Dick Cheney's booth at=20= > the > convention Monday night, coming within 10 feet of him and shouting=20 > anti-war > and anti-Bush statements. Cheney was never in any danger, authorities=20= > said. > > The suspect, Thomas Frampton, was charged with assaulting federal=20 > officers > and impeding the operation of the Secret Service. > > A woman was detained and questioned by Secret Service police inside = the > Garden around 10 p.m. Tuesday after she refused to leave a restricted=20= > area, > said Secret Service spokeswoman Ann Roman. > > The woman, 51-year-old Medea Benjamin of San Francisco, said in a=20 > telephone > interview that she had been waving a protest sign and yelling at=20 > Cheney as > he sat several yards away. She said she was a freelance journalist and=20= > had > entered the convention using her press credentials. > > "They tackled me to the ground and dragged me out, holding me up in = the > air," she said. > > Benjamin said she was handcuffed and taken to a basement security room=20= > at > the Garden, where she was questioned for several hours before being > released. > > The Wednesday morning protesters, some in business attire and some=20 > dressed > casually, silently handed out the symbolic "pink slips" to passersby. > > "I've been unemployed before," said Gary Goff, 57, a data processor.=20= > "I'm > concerned that unemployment is going up so drastically under the Bush > administration. I think Bush is a disaster for working people." > > Retiree Alene Cohen of Greenwich Village said, "I've been employed and=20= > I've > been unemployed and at least one of my four children has been=20 > unemployed > under Bush. I blame the president. It's very painful." > > "I can barely survive, and it's because of jobs going oversees," Jerry > Nowadzky, 49, of Monticello, Iowa, said, explaining that two companies=20= > he > worked for outsourced to other countries. > > Nowadsky said he lost his job as a $17-an-hour machinist and now works=20= > at a > grocery store for $10 an hour with no benefits. His medication cost = him > about $100 a month. > > The "unemployment line" was organized by the nonprofit = Washington-based > People for the American Way and was part of the Imagine Festival of=20 > Arts, > Issues and Ideas that called for a creative "response" to official=20 > party > politics. > > =95__ > > Associated Press reporters Desmond Butler, Verena Dobnik, Sam Dolnick, > Suzanne Gamboa, Madison J. Gray, Tom Hays, Elizabeth LeSure, Erin=20 > McClam and > Michael Weissenstein contributed to this report. > > _ ========================================================================= Date: Wed, 1 Sep 2004 08:55:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Wallace Subject: Submodern Fiction #2 now available MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit Submodern Fiction #2 is now available. This issue features fiction and innovative prose by kari edwards, Eric Basso, Alan Sondheim, Bill Marsh, Vernon Frazier, and Elizabeth Burns, and includes an essay by Stephen-Paul Martin on "Submodern Death: Preventing the Death of Submodernism." Submodern Fiction is published once a year. Subscriptions are $6 for one issue and $10 for two. Make checks payable to Mark Wallace and send them to Mark Wallace, Submodern Fiction, 10402 Ewell Ave., Kensington, MD 20895. Submissions of short innovative fiction and prose, or short critical articles about them, are encouraged; please contact me at this e-mail address for details. The goal of the magazine is to encourage conversation about alternative fiction, so I look forward to hearing from you. ========================================================================= Date: Wed, 1 Sep 2004 06:01:36 -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] prison project MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit (este mensaje se repite en español) To all activists and fighters for social change, please help us by disseminating the information below: ------------------------ The Chicano Mexicano Prison Project, a member of the Raza Rights Coalition, will be holding a fund raiser on Sept. 3, 2004, from 5 PM to 8 PM at Pizzeria de Ortega's, on 3445 Midway Drive, San Diego. Call 619 224-0774 for directions. A donation of $12 includes food, entertainment, and a progressive environment. Proceeds from the fund raiser goes to our Literature For Prisons Program, raising consciousness in our community (through forums, barrio leafleting, protests, etc.) to the conditions of Raza prisoners, and exposing the Prison Industrial Complex as an institution making tremendous profits over the suffering of Raza prisoners, their families, and whole Mexicano-Raza communities. Join us in the struggle for justice, self-determination, and real peace. For more information you can call (619) 696-9224 or e-mail: Venceremos Chicano Mexicano Prison Project A todo activista y luchador social, favor de diseminar esta información: ----------------------------------------------------------------------- El Proyecto de Presos Chicano Mexicano, proyecto de la Coalición Pro-Derechos de la Raza tendrán un levanta fondos el viernes 3 de septiembre de 5pm a 8pm en la Pizzería de Ortega's ubicado en el 3445 Midway Drive, San Diego; llame al 619-224-0774 para instrucciones en como llegar. Se pide una donación de $12 dólares que incluye comida, entretenimiento y un ambiente progresista. La recaudación de fondos van para el programa de literatura para Presos, y también la concientizacion en nuestras comunidades (por medio de foros, diseminación de información protestas, etc.) sobre las condiciones de nuestra comunidad que se encuentra detrás de la rejas y desenmascarando el sistema de la industria penitenciaria y como se hace dinero del sufrimiento de nuestra Raza presa, sus familias y todo la comunidad Mexicana. Vengan a disfrutar una buena cena y al mismo tiempo luchar por la justicia, la auto-determinación y una paz verdadera. Para mas informes llame al (619) 696-9224 o escriba a Venceremos Proyecto de Presos Chicano Mexicano ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Wed, 1 Sep 2004 05:58:18 -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: Two Native Youth Movement Warriors Arrested in California MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit http://victoria.indymedia.org/news/2004/09/29841.php Two Native Youth Movement Warriors Arrested in California Security Apparatus Fairmont Hotel (in Santa Barbara, California) security (assaulted) a 14 year old NYM warrior during a peaceful info rally which (led) to the arrest of two NYM Warriors. Two Native Youth Movement Warriors Arrested in California Security Apparatus Fairmont Hotel (in Santa Barbara, California) security (assaulted) a 14 year old NYM warrior during a peaceful info rally which (led) to the arrest of two NYM Warriors. TWO NATIVE YOUTH MOVEMENT WARRIORS ARRESTED DURING ANTI-FAIRMONT HOTEL RALLY ONE WARRIOR STILL BEHIND ENEMY LINES - RANSOM SET FOR $50,000 (Sunday, August 29th, 2004, Fairmont Miramar Hotel Santa Monica, California) Fairmont Hotel security (assaulted) a 14 year old NYM warrior during a peaceful info rally which (led) to the arrest of two NYM Warriors. 14 year old Alma Barba was handing out flyers condemning Fairmont Hotel's participation in the forcible removal of Secwepemc from their homeland: GENOCIDE, when a Fairmont security shoved her to the grass then kicked her to her back and held her there with his foot grinding into her chest. Fairmont Hotel called Santa Monica Police Department and two arrests were made, including the arrest of WAR CLUB NYM Ryakin Rip who is in the Los Angeles area completing a music and speaking tour. He is being accused of issuing terrorist threats while defending 14 year old Alma Barba from further attack. Ryakin is being held for $50,000 ransom. The Santa Monica Fairmont rally was coordinated with a rally held today against the expansion of Sun Peaks Resort in the interior of British Columbia, Canada. Fairmont Hotels has invested $40 million in Sun Peaks Resort to build the Delta Hotel Sun Peaks, drawing mass (tourism) to sensitive mountain areas still depended on by Secwepemc, the Indigenous Peoples of the land. Contact info: Native Youth Movement nymcommunications@hotmail.com web link: http://www.infoshop.org/inews/stories.php?story=04/08/30/6326508 http://resist.ca/story/2004/8/31/135932/438 http://www.infoshop.org/inews/stories.php?story=04/08/30/6326508 ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Wed, 1 Sep 2004 09:58:19 -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 ** This week on ::fait accompli:: http://nickpiombino.blogspot.com *Haiku for Poets of Paranoia **Posters from Sunday's March against the Bush/ Cheney agenda ***on the scene report from Toni Simon on Friday's bicycle rider protest and arrests ****one year ago on ::fait accompli:: *****Cesare Pavese, Marcus Aurelius, Jean Vengua and the phases of the moon ******Info on today's Bowery Poetry Club and Poetry Project protest reading and demo and *******Joan Retallack reading at Belladonna ********************* Info & links On the Sidebar: *2 poems from my book *Poems* translated into Spanish by Ernesto Priego **the poets of Score 19 edited by Crag Hill ***August 9th ::fait accompli:: crushlist (new links) and more... over 50,000 visits since 5/03... please visit! *new email for Nick Piombino & ::fait accompli:: nickpoetique@earthlink.net ** ========================================================================= Date: Wed, 1 Sep 2004 11:36:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Donald M. Allen In-Reply-To: <41324634.8040109@telus.net> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT Sad indeed to report the death, 30 August 2004 in San Francisco, of the great editor Donald M. Allen, (The New American Poetry 1945-1960; Four Seasons Foundation books and chapbooks, etc etc.). His was a truly open and generous intelligence and spirit, and his impact on USAmerican poetry since 1960 was, well, immense. He was still working quietly on editorial and related projects at the time of his death. He was 91. There will doubtless be an obit in the SF Chronicle and the NYTimes. ======================== Peter Quartermain 846 Keefer Street Vancouver BC V6A 1Y7 phone 604 255 8274 fax 604 255 8204 quarterm@interchange.ubc.ca ================== ========================================================================= Date: Wed, 1 Sep 2004 14:41:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Shoemaker Subject: contact info: Stephen Cope, Susan Thackrey In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I'd greatly appreciate it if someone cld back-channel contact info for these folks. thanks, steve ========================================================================= Date: Wed, 1 Sep 2004 15:33:20 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Deborah Fries Subject: Re: New York in September MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit dear jerry and diane, thank you so much for your email. shalom and i are looking forward to seeing you both when you come for your new york visit. i know that you will have a tight schedule, but perhaps we can squeeze in a dinner or a lunch while you are in town? if at all possible, we would like to see you earlier in your visit than later because shalom is off to poland and prague on the 21 of september for 2 exhibits that he will have in those cities. i will be leaving for prague on the 26 of september to attend the opening of his exhibit and to do some business in europe. i would love to attend on september 21 and if it you wouldn't mine, i'd like to bring a friend with me who is very interested in your work and would like to meet you. i am looking forward to seeing you both again soon. all the best, deborah In a message dated 8/23/04 12:29:50 PM, jrothenberg@COX.NET writes: << We're now planning to spend most of September (from the 4th through the 30th) in New York City, for which we're sendng you the following coordinates. As before we expect to be picking up e-mail at the present address - jrothenberg@cox.net - but also at Diane Rothenberg's e-mail address - jdrothenberg@aol.com - & at our hotmail address: jeromerothenberg@hotmail.com. Our address and numbers in New York are: c/o Gold 365 West 26 Street Apt. 12F New York, NY 10001 tel. 212-367-9930 fax 646-336-6395 For those of you in or near the city, I'll be engaging in a couple of events that may be of interest: September 17-19 The Louis Zukofsky Centennial Conference Columbia University & Barnard College http://writing.upenn.edu/epc/authors/zukofsky/100/ My own presentation: Sunday September 19, 2:00 p.m.: closing remarks September 21 6:30 p.m. Colloquium: "Secular Jewish Culture / Radical Poetic Practice" Center for Jewish History, 15 West 16th Street, Manhattan along with Paul Auster, Charles Bernstein, Kathryn Hellerstein, Stephen Paul Miller, Marjorie Perloff Also, if you're around and want to get together during that time, please get back to us by email now or by phone following our arrival. We'll also try to be in touch from our end. Looking forward & warm best wishes, Jerry & Diane Rothenberg >> ========================================================================= Date: Wed, 1 Sep 2004 15:26:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: TONIGHT Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable THIS EVENT IS TONIGHT at 8 o=B9clock! Doors will open at approx. 7:45. ***DEMO: A Demonstration in Words*** A poetry reading on the RNC, President Bush and the crisis in Iraq. WEDNESDAY, SEPT. 1, 2004 at 8pm The Poetry Project St. Mark's Church 131 E. 10th St. & 2nd Ave FREE Featuring: Sonia Sanchez, Grace Paley, Carl Hancock Rux, Sapphire, Katha Pollitt, Mark Doty, Anne Waldman, Cornelius Eady, Vijay Seshadri, Hettie Jones, Hal Sirowitz, Bob Holman, Grace Schulman, Eileen Myles, Marie Ponsot, Robert Polito, John Yau, Rodrigo Toscano, Carol Mirakove, Greg Fuchs, Anselm Berrigan, Laura Elrick, Bruce Andrews, Kathy Engel, Zero Boy, Kristin Prevallet and John Coletti. Presented by: The Poetry Project, Rattapallax & Issue Project Room Sponsored by: The Poetry Project, Rattapallax, Issue Project Room, Bowery Poetry Club, National Youth and Peach Coalition, Asian American Writers Workshop, Booklyn, Bloom Magazine, Melville House Boosk, Unpleasant Event Schedule Reading Series, The Bronx Writers Center, Soft Skull Press, belladonna*, Spire Press, terra incognita magazine, Lungfull! Magazine, Small Press Center, American Book Review, Pete's Big Salmon Series, Reading= s Between A & B, Hanging Loose Press, Open City Magazine and Books & Poets Against the War.=20 ALSO... ***People=B9s Opera presents The Workshop from =B3Hell=B2*** An Opera in one act Libretto by poet and former presidential candidate Eileen Myles Wednesday, Sept. 22 & 29 at 8 pm The Poetry Project at St. Mark=B9s Church Admission available at door, no reservations required $8, $7 students/seniors, $5 members FOR ALL PRESS INQUIRIES PLEASE CONTACT Miles Champion at 212 674 0910 mc@poetryproject.com The New York production is a benefit for the Poetry Project at St. Mark=B9s Church 2nd Ave & E 10 St. Libretto by Eileen Myles Score by composer and recording artist Michael Webster Directed by Simon Leung Sets by Beth Stephens Costumes by Milena Muzquiz Lead singers: Juliana Snapper, Kevin St. John, Scott Graff Loosely based on Dante=B9s Inferno, Hell is an opera about public speech, corporate silence, global politics and poetry. This production is making stops in Los Angeles and San Francisco, finally landing in Tijuana in Fall 2004 to take part in the public conversation about who rules America. See =B3Hell=B2 on Oct. 16th at the UCLA Hammer Oct. 21st at the Yerba Buena Center, SF Oct. 31st at CECUT in Tijuana ***ANNOUNCEMENT: THE FIRST OPEN MIC WILL BE ON SEPT. 27 AT 8 PM. SIGN-UP AT 7:30.*** The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street at Second Avenue New York City 10003 Trains: 6, F, N, R, and L. info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now those who take out a membership at $85 or higher will get in FREE to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. ========================================================================= Date: Wed, 1 Sep 2004 13:15:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: FW: new Dutch blog MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit -----Original Message----- From: poeziepamflet.nl [mailto:postmaster@poeziepamflet.nl] Sent: Wednesday, September 01, 2004 8:58 AM To: Catherine Daly hi catherine thanks for your volume (nice title), i certainly will read it and let you know what it does to me (give me some time) - if its my kind of stuff i might venture a translation into dutch (i prefer to publish the english version next to the dutch translation, if so i will come back for permisson) all the best, ton van 't hof today i started an international blog on modern poetry: check out: http://bowlerhat.blogspot.com/ ========================================================================= Date: Wed, 1 Sep 2004 13:58:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: NY Street Theater/ Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit In case if you have not already been there Check out the terrific picture and article (also here below) in NY Times. Stephen V Blog: http://stephenvincent.durationpress.com http://www.nytimes.com/2004/09/01/nyregion/01CND-PROT.html?hp By CHRISTINE HAUSER Thousands of demonstrators formed a symbolic unemployment line in Manhattan today, standing silently along the sidewalk in a column that stretched for miles to protest what they called the high rate of joblessness during the term of President Bush. Holding up pink slips of paper symbolizing the notices employees sometimes receive when their jobs have been terminated, the demonstrators held a line from Wall Street in Manhattan's downtown and stretched north about three miles to the midtown area where the Republican National Convention is in its third day today at Madison Square Garden. "The Next Pink Slip Might Be Yours!" the fliers read. "I've been unemployed before," Gary Goff, 57, a data processor, said to The Associated Press. "I'm concerned that unemployment is going up so drastically under the Bush administration. I think Bush is a disaster for working people." The demonstration was organized by People for the American Way, a nonprofit group based in Washington that advocates for institutions that sustain a diverse and democratic society. The group said in a statement today that 5,000 people participated in what it called "The World's Longest Unemployment Line" representing "the 1.2 million jobs lost over all since March 2001 and the more than 8 million Americans who are currently unemployed." ========================================================================= Date: Wed, 1 Sep 2004 14:33:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Donald M. Allen In-Reply-To: <000001c49052$9ef21600$0b5e17cf@diogenes> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Yes, Peter, Don Allen was one of the great 20th Century editors - and, at least during the period that I knew him some, absolutely modest, and often generous in his advise to me when I was setting up Momo's Press. His editorial range and influence, however, was quite enormous. In addition to his commitment to New American Writing at the Evergreen Review and the Anthology - which also included his Four Season's imprint commitment to publishing a related range of writers (Spicer, Duncan, Lew Welch, Richard Brautigan & many others) I am pretty sure - though not positive - that in his Fifties' Grove Press days he was responsible for acquiring the paperback translations (with great, colorful covers) of Ionesco, Arrabal , perhaps Genet(?) and a number of other European writers - each of whom shaped and influenced the sensibilities of post-war American writers and readers. (Just off the top I wonder if anyone has ever written on the possible influence of Inonesco's "absurdist" banter(in the plays) on the work of Frank O'Hara? I suspect O'Hara loved the plays). In any case, Don Allen and his works deserve a huge, big tip of the hat. Stephen Vincent > Sad indeed to report the death, 30 August 2004 in San Francisco, of the > great editor Donald M. Allen, (The New American Poetry 1945-1960; Four > Seasons Foundation books and chapbooks, etc etc.). His was a truly open and > generous intelligence and spirit, and his impact on USAmerican poetry since > 1960 was, well, immense. > > He was still working quietly on editorial and related projects at the time > of his death. He was 91. > > There will doubtless be an obit in the SF Chronicle and the NYTimes. > > ======================== > Peter Quartermain > 846 Keefer Street > Vancouver BC V6A 1Y7 > phone 604 255 8274 > fax 604 255 8204 > quarterm@interchange.ubc.ca > ================== ========================================================================= Date: Wed, 1 Sep 2004 16:56:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Organization: Rova Saxophone Quartet Subject: Fall Readings at 35th/Balboa San Francisco In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I'm pleased to announce the Fall lineup for readings at my pad in the Outer Richmond, San Francisco: First up is Marcia Roberts, whose new book Open Eye is just out from Skanky Possum, and Stephen Berry, who starred as Vincent Valence in my play and has published two chapbooks, To and Simple Talk. They'll be reading Friday, Sept. 17, 7.30 pm. Other readers for later this fall include Rusty Morrison and Mary Burger, and Pireeni Sundaralingam. visit www.habenichtpress.com for more information, dates, and directions -- also order books by Diane di Prima, Mytili Jagannathan, and Sarah Peters Also: On Tuesday, Sept. 21, I'll be introducing a reading by four poets I've published as part of the collective Modest Proposal Press, at Bird & Beckett Bookstore in Glen Park, San Francisco. The poets whose works will be read include Gayle Leyton, Gloria Gale, Joan Marie Wood, and Nancy Wirth. Diane di Prima will introduce the poets. My book The Downwinders is also freshly printed by Modest Proposal and available via my web site. best, DH ========================================================================= Date: Thu, 2 Sep 2004 11:12:02 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Theatre notes Comments: To: Poetryetc Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit On Theatre Notes this week: Take Me Out As cricket is to the English, so is baseball to the Americans: a pastoral dream of green fields peopled by shining gods. And being, like cricket, a "metaphor for life", it's inspired some pretty silly remarks. Among the sillier, Richard Greenberg's grandiose declamation that "baseball achieves the tragic vision that democracy evades" can hang with honour. (Unlike democracy, it seems, baseball has losers). Or, even better: "Baseball is a perfect metaphor for hope in a democratic society". Is the real problem in Baghdad that they don't play baseball? Terrorism Writing plays is a delicately negotiated compromise between the subtleties of literary ambition and the pragmatic limitations of the stage. On the evidence of Terrorism , the Presnyakov Brothers negotiate with style. It has a brutal elegance, the kind of brilliantly nuanced crudity which heralds notable theatre. Read more at http://theatrenotes.blogspot.com 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: Wed, 1 Sep 2004 21:12:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: "Their Letters Change Also" Mime-Version: 1.0 Content-Type: text/plain; format=flowed the loup-garou. they. they go astray they linger linger linger on the road the letters see more wood and look at more animals alas that Hollywood did not call this year, not nice but nice & necessary are not what is lingering, the loup-garou. they. go, still, astray ________________ MAG PRESS Fickleyes, Futilears, & William Wormswork Jeff Harrison, 69 pages http://www.cafepress.com/magpress.13251278 _______________ other titles from MAG PRESS http://www.cafepress.com/magpress _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Thu, 2 Sep 2004 00:12:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Check out the Poet's Corner - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Check out the Poet's Corner - Good work there, I was just added to the company - Alan http://www.fieralingue.it/modules.php?name=Content http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=127 ========================================================================= Date: Thu, 2 Sep 2004 00:12:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: __ __ __ __ __ __ __ __ 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patriots ground criminal la criminal patriots ugly exploiting la_armies la criminal exploiting patriots patriots violent la armies zero patriots patriots exploiting armies _racism_of_ _racism_of_ patriots bury exploiting la la _racism_of_ patriots bury exploiting la_armies la_armies armies exploiting patriots armies violent criminal la la patriots patriots exploiting violent zero _racism_of_ ugly slaughter patriots la_armies patriots armies bury patriots exploiting la_armies armies la_armies exploiting patriots armies exploiting la_armies armies la exploiting patriots patriots la la armies exploiting patriots patriots la_armies la la_armies bury armies patriots la_armies violent violent la_armies exploiting patriots patriots zero criminal patriots exploiting armies bury la la_armies la_armies zero armies patriots la_armies la la criminal patriots patriots la la la_armies ground patriots patriots bury armies exploiting la exploiting patriots patriots la patriots la la patriots bury la world center criminal bury patriots criminal criminal violent _racism_of_ bury patriots armies armies la violent exploiting patriots exploiting la la world la ugly bury criminal patriots la la exploiting exploiting la criminal la armies bury patriots zero armies la_armies world la_armies exploiting ground la criminal _racism_of_ patriots exploiting ugly _racism_of_ armies center armies zero exploiting la la ugly center _racism_of_ exploiting exploiting zero zero _racism_of_ ground patriots exploiting armies la_armies zero la_armies patriots bury la violent hole la violent ugly exploiting criminal http://www.asondheim.org/groundzero.jpg la _racism_of_ patriots patriots trade zero ugly _racism_of_ patriots exploiting patriots hole trade _racism_of_ patriots patriots la_armies violent zero la violent patriots patriots _racism_of_ ugly ugly violent exploiting bury la http://www.asondheim.org/groundzero.jpg ugly violent zero exploiting la_armies hole hole armies criminal patriots criminal armies zero zero patriots ground armies la falling ugly zero exploiting bury _racism_of_ trade armies world la ground criminal hole from hole criminal ground la patriots center ugly la patriots zero armies zero ground la patriots patriots la trade armies la la exploiting la la_armies exploiting exploiting la bury violent world world ground la armies zero armies armies center la criminal bury patriots trade center hole patriots bury la_armies la buildings ground armies zero exploiting la_armies exploiting buildings patriots la zero la_armies armies exploiting ugly criminal patriots ground http://www.asondheim.org/groundzero.jpg buildings zero la zero criminal _racism_of_ exploiting buildings la_armies exploiting patriots __ ========================================================================= Date: Thu, 2 Sep 2004 01:18:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: ** Advertise in September Boog City** Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Boog City's September issue is going to press this coming Tues., Sept. 7, 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 maps to the Olsen twins new NYC duplex condo. Ads must be in by Mon., Sept. 6 (and please reserve space ASAP). (We're also cool with donations, real cool.) Issue will be distributed on Wed. Sept. 8. 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: Wed, 1 Sep 2004 22:37:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Killian Subject: Pound citation Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Can someone who knows Ezra Pound's works well tell me where he said something about people who want to get 'through hell in a hurry'? If you could tell me where it is said (I expect in the Cantos prior to 1950) and what is said, I'd appreciate it. Thanks Kevin K. ========================================================================= Date: Thu, 2 Sep 2004 01:33:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: brought akin MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit nice piece good hangin let's do it soon next week maybe i'l try to catch ya tomorrow at simon's thing or ah well demaraa carlemilus a cat's a trophy tsaydalease ah well dream on dream on dream on ========================================================================= Date: Thu, 2 Sep 2004 02:39:41 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Herron/Schaefer/Boone reading in SF Sept. 10 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I will read at the home of my most hospitable friend Chris Stroffolino in San Francisco on September 10. Please come. In my two readings since the Carrboro Poetry Festival I've conjured nothing but blank stares. Will it be three in a row? Details below. I'll also be around the entire week so b/c me if you'd like to get together for a lunch or dinner. Patrick -----Original Message----- From: Chris Stroffolino [mailto:cstroffo@earthlink.net] on FRIDAY SEPT 10th, we here at PEASANT HOUSE (355 BARTLETT ST. in the MISSION between 24th and 25th-- one block away from BART) will be hosting a poetry reading for the visiting North Carolina poet Patrick Herron and the SF-based poets Amick Boone, and Standard Schaefer around 10PM. FREE, BYOB, and hopefully it will turn into something of a party afterwards (bring musical instruments if you wish!).... as it is also my roommate, Sean Finney's, birthday Chris ========================================================================= Date: Thu, 2 Sep 2004 10:03:40 +0200 Reply-To: xavier.leton@wanadoo.fr Sender: UB Poetics discussion group From: Cecile CAPONI Subject: THE WALL____Our COuNtry (GWBush said) Mime-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Silence_Violence http://www.confettiS.org/rzocra/rzocra.rm http://www.confettiS.org/rzocra/rzocra.mov XavierL (http://www.confettiS.org) > Message du 02/09/04 06:13 > De : "Alan Sondheim"=20 > A : POETICS@LISTSERV.BUFFALO.EDU > Copie =E0 :=20 > Objet : __ __ __ __ __ __ __ __ __ __ THE WALL WALL THE THE WALL > __ __ __ __ __ __ __ __ __ __ THE WALL WALL THE THE WALL >=20 > stormtroops WALL THE WALL stormtroops stormtroops stormtroops WALL THE > WALL stormtroops stormtroops stormtroops stormtroops THE WALL stormtroops > stormtroops stormtroops stormtroops WALL WALL stormtroops stormtroops > http://www.asondheim.org/groundzero.jpg stormtroops stormtroops > stormtroops WALL stormtroops stormtroops stormtroops stormtroops > stormtroops stormtroops stormtroops stormtroops stormtroops stormtroops > stormtroops stormtroops stormtroops stormtroops stormtroops stormtroops > stormtroops stormtroops stormtroops stormtroops stormtroops stormtroops > stormtroops stormtroops stormtroops stormtroops stormtroops slaughter > stormtroops stormtroops stormtroops stormtroops stormtroops patriots > slaughter stormtroops stormtroops stormtroops stormtroops patriots > patriots stormtroops stormtroops stormtroops stormtroops patriots > slaughter patriots stormtroops stormtroops stormtroops slaughter slaughte= r > slaughter stormtroops stormtroops stormtroops slaughter patriots patriots > slaughter stormtroops stormtroops stormtroops patriots patriots slaughter > stormtroops stormtroops stormtroops slaughter slaughter patriots > stormtroops stormtroops stormtroops slaughter slaughter slaughter patriot= s > stormtroops stormtroops patriots slaughter bury slaughter stormtroops > stormtroops slaughter slaughter patriots patriots slaughter stormtroops > stormtroops patriots bury bury slaughter stormtroops stormtroops patriots > bury patriots bury stormtroops stormtroops slaughter bury patriots > patriots patriots stormtroops patriots patriots patriots bury slaughter > stormtroops slaughter patriots patriots patriots patriots stormtroops > stormtroops patriots patriots patriots bury patriots stormtroops patriots > patriots bury slaughter slaughter stormtroops slaughter patriots slaughte= r > ugly patriots slaughter patriots patriots slaughter slaughter patriots > patriots slaughter patriots bury patriots patriots slaughter slaughter > bury patriots armies bury slaughter patriots slaughter patriots armies > patriots bury patriots slaughter patriots armies patriots patriots > patriots patriots bury patriots patriots slaughter slaughter patriots > patriots slaughter patriots armies bury slaughter patriots ugly patriots > patriots ugly patriots slaughter slaughter patriots exploiting patriots > slaughter slaughter patriots patriots bury patriots bury slaughter > slaughter patriots bury exploiting ugly patriots bury patriots ugly > patriots patriots slaughter patriots patriots exploiting exploiting > patriots bury patriots bury patriots ground ugly ugly bury patriots armie= s > ground exploiting patriots slaughter patriots bury patriots patriots > patriots bury bury patriots bury patriots bury ugly patriots bury patriot= s > patriots exploiting patriots patriots bury armies bury exploiting patriot= s > bury slaughter slaughter exploiting zero patriots patriots slaughter > patriots patriots armies patriots patriots patriots patriots exploiting > armies zero patriots bury bury patriots zero patriots patriots patriots > patriots slaughter bury violent bury patriots bury patriots exploiting > violent armies patriots bury patriots exploiting exploiting violent > patriots patriots patriots patriots armies _racism_of_ bury slaughter > patriots slaughter patriots criminal bury patriots bury ugly exploiting > _racism_of_ la bury patriots slaughter exploiting la la_armies bury bury > bury patriots patriots la patriots patriots patriots slaughter exploiting > la _racism_of_ bury patriots ugly ground la_armies la bury bury patriots > exploiting _racism_of_ criminal bury armies slaughter patriots exploiting > la criminal exploiting patriots patriots zero criminal la patriots > patriots ugly ground la la_armies bury armies patriots exploiting la > patriots criminal exploiting patriots patriots violent patriots > _racism_of_ ground patriots patriots zero ground patriots armies patriots > patriots ground criminal la criminal patriots ugly exploiting la_armies l= a > criminal exploiting patriots patriots violent la armies zero patriots > patriots exploiting armies _racism_of_ _racism_of_ patriots bury > exploiting la la _racism_of_ patriots bury exploiting la_armies la_armies > armies exploiting patriots armies violent criminal la la patriots patriot= s > exploiting violent zero _racism_of_ ugly slaughter patriots la_armies > patriots armies bury patriots exploiting la_armies armies la_armies > exploiting patriots armies exploiting la_armies armies la exploiting > patriots patriots la la armies exploiting patriots patriots la_armies la > la_armies bury armies patriots la_armies violent violent la_armies > exploiting patriots patriots zero criminal patriots exploiting armies bur= y > la la_armies la_armies zero armies patriots la_armies la la criminal > patriots patriots la la la_armies ground patriots patriots bury armies > exploiting la exploiting patriots patriots la patriots la la patriots bur= y > la world center criminal bury patriots criminal criminal violent > _racism_of_ bury patriots armies armies la violent exploiting patriots > exploiting la la world la ugly bury criminal patriots la la exploiting > exploiting la criminal la armies bury patriots zero armies la_armies worl= d > la_armies exploiting ground la criminal _racism_of_ patriots exploiting > ugly _racism_of_ armies center armies zero exploiting la la ugly center > _racism_of_ exploiting exploiting zero zero _racism_of_ ground patriots > exploiting armies la_armies zero la_armies patriots bury la violent hole > la violent ugly exploiting criminal > http://www.asondheim.org/groundzero.jpg la _racism_of_ patriots patriots > trade zero ugly _racism_of_ patriots exploiting patriots hole trade > _racism_of_ patriots patriots la_armies violent zero la violent patriots > patriots _racism_of_ ugly ugly violent exploiting bury la > http://www.asondheim.org/groundzero.jpg ugly violent zero exploiting > la_armies hole hole armies criminal patriots criminal armies zero zero > patriots ground armies la falling ugly zero exploiting bury _racism_of_ > trade armies world la ground criminal hole from hole criminal ground la > patriots center ugly la patriots zero armies zero ground la patriots > patriots la trade armies la la exploiting la la_armies exploiting > exploiting la bury violent world world ground la armies zero armies armie= s > center la criminal bury patriots trade center hole patriots bury la_armie= s > la buildings ground armies zero exploiting la_armies exploiting buildings > patriots la zero la_armies armies exploiting ugly criminal patriots groun= d > http://www.asondheim.org/groundzero.jpg buildings zero la zero criminal > _racism_of_ exploiting buildings la_armies exploiting patriots >=20 >=20 > __ > ========================================================================= Date: Thu, 2 Sep 2004 08:15:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Carter Subject: Re: brought akin Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 1:33 AM, 9/2/04, Steve Dalachinksy wrote: >nice piece thanks >good hangin let's do it soon next week maybe yep, the calendar we shall consult >i'l try to >catch ya tomorrow at simon's thing or cool > >ah well >demaraa carlemilus >a cat's a trophy >tsaydalease >ah well > >dream on dream on dream on thanks versed the compliments allwaves energizing motivationals encouragements t' be the river that each of us is into the ocean that each of us is into the space boundless space sometimes crying out to be bound up limited framed inflamed consumed burnt up vaporized all the unkempt cycles of spirals their glorious jungleness their beauteous chaos again and for the first of many many thanks amidst the angsts and excitements catalysts and terrors of the everyday promises and fears and yes the dream on dream on dream on dream on while asleep and while awake dream on and yes the morrow hopefully and yes wheel figure another melting and already yes Ulysses you listees ease the pain with raining letters into words into listletters circumulations yes t' sit 'n' sip 'n' eat 'n' talk is good and then to write as well is also good upon a page on stage is extant antenna exiting electromagnetically excited signals rush out to play and while all the conjunctives flowers flowering thanks in response to warm reception made-much-of of course the way of strong healthfully excessive seeds the way they glow unbounded books peak and flirt from beneath the pavement without bindings their leaves getting ready for their descents upon seasonally shifting hands in vivid colors memories ice species clothed a penperson hoodgangin' yes letz gotta see the heart chart dictation unit screenpiece detail yeah bein' 'round 'n' dear suggest a predicate in a desert of jet propulsion when actually they were dealing in rockets all along the reference is quaint as is cut 'n' paste in haste our usual day on display though happily this day on this play as well a swell of love on the down low 'cause o' some big dudes on the streets of our lives on MetroGuard detached nonetheless welcome back oneself manyselves delight in song after such a long time a way of beaming rebirth preparations huge big eyes in comparison to where it all gotta fit's the lifelong story such a huge big boulder of a rock rocks multiple challenges all one prose unprofessional ecstasy on the move catch a bomb compliments their village elder inaccurately translated quill illin' a motherfluxer yes yes the luckin' forth commingling efforts jungle amass a comb with or without spit one of myriad flashbacks from the shake high 'n' row your note genitally dawn this dream with a scream 'n' a holler hello into halo hey low the warning from a friend about an undesirable region along side all the others utter their names game over their flames a fire for our raw foods can moderate their hardnesses their toughnesses indeed their rough edges but not unto undo all their grit 'n' spitfire fighter warrior inklinations chorus hot streams o' dreams the air lava-waves greetings a glee-tinglings ring-links vibrate themselves into the ethereal without becoming useless is the pro-mist approach 'n' sow/sew on down the town that it her eyes again like morning draw the sun pull ye out the bed of dirt it's all in your account and unmeasured for sure as nothing has been the goal in a mad rush of riots incite-trading ever new the flicker of it unscreenably wonderful flick of a digital click like the hat left bereft of ahead unprotected against spillage 'n' spellage of all sorts unsortables 'n' unsupportables levitationals the same the different the indifferent the outdifferent and the and -- ========================================================================= Date: Thu, 2 Sep 2004 07:37:04 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Re: Pound citation In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit peace kevin, best i can do at the moment: dante as the source for the pound cantos below. this is about 1945 - 48 also there is a Cantos 16 as well i think that it is a reference continued of 'hurry up please it's time" in eliot's "the wasteland". which would all make sense peace Circle 8, The Fraudulent and Malicious (Simple Fraud) Bolgia 1, The Panderers and Seducers who make up two files are driven at an endless fast walk by horned demons who hurry them along with great lashes. In life these sinners goaded others on to serve their own foul purposes. so in Hell are they driven in their turn. The horned demons who drive them symbolize the sinners' own vicious natures, embodiments of their own guilty consciences. PISAN CANTOS LXXXI ~ Ezra Pound What thou lovest well remains, the rest is dross What thou lov'st well shall not be reft from thee What thou lov'st well is thy true heritage Whose world, or mine or theirs or is it of none? First came the seen, then thus the palpable Elysium, though it were in the halls of hell, What thou lovest well is thy true heritage What thou lov'st well shall not be reft from thee Kevin Killian wrote: > Can someone who knows Ezra Pound's works well tell me where he said > something about people who want to get 'through hell in a hurry'? If > you could tell me where it is said (I expect in the Cantos prior to > 1950) and what is said, I'd appreciate it. > > Thanks > > Kevin K. > -- {\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 \f0\fs24 \cf0 \ ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Thu, 2 Sep 2004 11:37:40 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: Poetry Daily MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Check out Poetry Daily today. It's featuring a couple of poems from my Up to Speed. www.poems.com Rae Armantrout ========================================================================= Date: Thu, 2 Sep 2004 11:06:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: Pound citation MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit 6th line of 46 Kevin Killian wrote: > > Can someone who knows Ezra Pound's works well tell me where he said > something about people who want to get 'through hell in a hurry'? If > you could tell me where it is said (I expect in the Cantos prior to > 1950) and what is said, I'd appreciate it. > > Thanks > > Kevin K. ========================================================================= Date: Thu, 2 Sep 2004 11:51:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Mandorla #7 -- now available In-Reply-To: <0I3E009ZYBEBJL00@msg-jh.ilstu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable PRESS RELEASE [for immediate distribution] Mandorla: New Writing from the Americas Issue 7 of Mandorla: Nueva Escritura de las Am=E9ricas, guest edited by=20 Kristin Dykstra, is now available for sale [see below for ordering=20 information]. Contributors include: Nathaniel Mackey, Omar P=E9rez, Eleni Sikelianos, Paul= =20 Hoover, Roberto Tejada, Jaime Saenz, Forrest Gander, Jay Wright, Reina=20 Mar=EDa Rodr=EDguez, Kent Johnson, Jos=E9 Lezama Lima, Curtis White, Kass=20 Fleisher, Jos=E9 Kozer, et alii [see below for full list]. JOIN US for the LAUNCH of Issue 7: =93Super Shorts=94 =96 8:30pm Tuesday=20 September 7 at the Center for the Visual Arts, University Art Galleries,=20 Illinois State University. Mandorla, a magazine of international renown, was founded in Mexico City by= =20 Roberto Tejada in 1991. Mandorla publishes innovative writing in its=20 original language--most commonly English or Spanish--and high-quality=20 translations of existing material. Visual art and short critical articles=20 complement this work. The name of the magazine--mandorla, describing a=20 space created by two intersecting circles--alludes to the notion of=20 exchange and imaginative dialogue that is an obligation now among the=20 Americas. http://www.litline.org/Mandorla/ The full complement of Issue 7: Carlos Aguilera, Rosa Alcal=E1, Rito= Aroche,=20 Caridad Atencio, Gabriel Bernal Granados, Joel Bettridge, Susan Briante,=20 Alfonso D'Aquino, Rub=E9n Dar=EDo, Kristin Dykstra, Kass Fleisher, Roberto= =20 Gonz=E1lez Echevarr=EDa, Ana Rosa Gonz=E1lez Matute, Forrest Gander, Gabriel= =20 Gudding, Jorge Guitart, Elizabeth Hatmaker, Paul Hoover, Reynaldo Jim=E9nez,= =20 Kent Johnson, Tamara Kamenszain, Caroline Koebel, Jos=E9 Kozer, Vera=20 Kutzinski, Nick Lawrence, Henrry Lezama, Jos=E9 Lezama Lima, Jacqueline= Loss,=20 Nathaniel Mackey, Nancy Gates Madsen, Javier Marim=F3n, Pedro Marqu=E9s de= =20 Armas, Todd Ram=F3n Ochoa, Peter O'Leary, Omar P=E9rez, Antonio Jos=E9= Ponte,=20 Soleida R=EDos, Reina Mar=EDa Rodr=EDguez, Jaime Saenz, Mark Schafer, Eleni= =20 Sikelianos, Roberto Tejada, Magali Tercero, Julio Trujillo, Arnaldo Valero,= =20 Paul Vanouse, Mark Weiss, Curtis White, Jay Wright, Thad Ziolkowski. Mandorla is a member of the Council of Literary Magazines and Presses and=20 is supported by the Illinois Arts Council, the English Department of=20 Illinois State University, the McNulty Chair at SUNY Buffalo, and the=20 University of California at San Diego. Issue 8 will also be produced at Illinois State University and will be=20 co-edited by Kristin Dykstra with Roberto Tejada (San Diego) and Gabriel=20 Bernal Granados (M=E9xico DF). Please write with check, payable to =93Mandorla,=94 and send to MANDORLA=20 Department of English -- 4240 Illinois State University Normal, IL 61790-4240 $10 (US) plus shipping & handling for 1 copy, $2.50; 2 copies, $3.30; Each= =20 additional copy over 2: add $1.00 ========================================================================= Date: Thu, 2 Sep 2004 14:22:19 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Slamnesty submissions and Canadian Spoken Wordlympics Media release! Comments: To: "Canpoetics@Artmob.Ca" MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII -------------------------------------------------------------------------- Calling All Spoken Word Artists! Amnesty International Canada is calling for submissions to Slamnesty!, a showcase event at the Word Olympics this October in Ottawa. This showcase theme is "Stopping Violence Against Women". Stopping violence against women is the focus of a two-year Amnesty International campaign being worked on by our two million supporters across Canada and around the world. Now you can be a part of this campaign as well. Use your voice! Use your poetry. Help us get the message out. Stop violence against women! Check out Amnesty International's campaign concerns, stories and actions at: http://www.amnesty.ca/stoptheviolence/overview.php Submission guidelines: - All submissions should deal with the topic of stopping violence against women. - The maximum submission length should not exceed 500 words. - All submissions must be electronic. - Multiple submissions may be made by an individual "Slamnesty!" is a project designed to provide aspiring writers an opportunity to be published and to grant published writers exposure to a broad audience. Upon acceptance, a contract and terms of agreement will be signed outlining both author and publisher rights. There is no monetary reimbursement. Publication will be handled by a Amnesty International. Publication details will be sent to those whose poems are selected as necessary arrangements are completed. Please include your legal name, your stage name, e-mail, phone number and postal address. Deadline for all submissions is September 7th. All submissions can be to smaclean@amnesty.ca www.wordolympics.com --------------------------------- Do you Yahoo!? New and Improved Yahoo! Mail - 100MB free storage! A good traveler has no fixed destination and is not in a hurry to arrive. - Tao Te Ching ========================================================================= Date: Thu, 2 Sep 2004 10:53:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: SPT's 30th anniversary season starts 9/10 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Fall 2004 at Small Press Traffic -- our 30th anniversary season begins! Friday, September 10, 2004 at 7:30 p.m. 30th Anniversary Reading: 30 Year Old Poets Small Press Traffic is the place to learn about the future of experimental writing. In honor of our 30th year, Small Press Traffic presents 5 promising poets who share our birth year, 1974. Stefani J. Barber?s work has appeared in Five Fingers Review, Syllogism, and Tripwire; Kate Colby is a recent graduate of the MFA in Writing Program at CCA whose work has appeared in Mirage and eleven eleven; Cynthia Sailers? first full-length collection, Lake Systems, will appear later this year; Stephanie Young?s book Age of the Mercenary is just out; Erin Wilson?s work has appeared in Bird Dog, hinge, and Vert. Stop by tonight to find out more! Friday, September 24, 2004 at 7:30 p.m. Kevin Killian & Michael Magee Friday, October 8, 2004 at 7:30 p.m. 30th Anniversary Reading: Noncompliance with David Buuck, Sarah Anne Cox, kari edwards, Judith Goldman, Cedar Sigo, giovanni singleton, and Juliana Spahr Friday, October 22, 2004 at 7:30 p.m. Will Alexander & James Thomas Stevens Friday, November 5, 2004 at 7:30 p.m. Rob Halpern & Mark McMorris Friday, November 12, 2004 at 7:30 p.m. Guy Bennett & Stacy Doris Friday, November 19, 2004 at 7:30 p.m. Geoffrey Dyer & Eileen Tabios Unless otherwise noted, events are $5-10, sliding scale, free to SPT members, and CCA faculty, staff, and students. Unless otherwise noted, our events are presented in Timken Lecture Hall California College of the Arts 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) Elizabeth Treadwell Jackson Executive Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, CA 94107 415.551.9278 http://www.sptraffic.org ========================================================================= Date: Thu, 2 Sep 2004 16:00:34 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: [artelle@hotmail.com: National Capital Letters] MIME-version: 1.0 Content-type: TEXT/PLAIN Content-transfer-encoding: 8BIT The latest issue of National Capital Letters is online, with a look at some of the highlights of Ottawa’s literary scene from the summer of 2004, a season that featured the launch of Mary Lee Bragg’s first novel, a collaborative chapbook by Stephen Brockwell and Peter Norman, a cross-Canada tour by rob mclennan, a commemorative reading in honour of Pat Lowther, and much more — read it all at http://capletters.ncf.ca/caplet/4/index.htm. Other articles in this issue include "A Brief Overview of Chilean Literature in Ottawa" by Jorge Etcheverry, "Pat Nevin: Ottawa’s Lost Irish-Canadian Author" by Kevin Dooley and more Ottawa literary sites by Barbara Sibbald. The editors welcome your contribution; contact us at capletters@ncf.ca or ottawaliterary@yahoo.ca National Capital Letters: Ottawa’s Literary Environment http://capletters.ncf.ca/caplet/4/index.htm -- 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, 2 Sep 2004 17:41:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Zukfosky "A-22" transliteration Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Hi All - Don't want to take anyone away from Bush on the monitor this evening - of course - but I have just posted the first several pages of my 'transliteration' (still seeking appropriate term) of Zukofsky's "A-22". http://stephenvincent.durationpress.com As usual, I will appreciate any feedback. Stephen Vincent >=20 > =A0 > Louis Zukofsky Centenary Celebration > Thursday September 9, 7:30 pm, $5 donation > @ the Unitarian Center > 1187 Franklin (& Geary) > =A0 > including a rare screening of Louis Zukofsky: NET Outtakes (March 16, 196= 6) > with words in response by Michael Palmer and Clark Coolidge, plus > a performance of "A"-21, directed by Giles Scott, performed by The Backya= rd > Players >=20 ========================================================================= Date: Thu, 2 Sep 2004 21:08:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jena Osman Subject: political poetry forum MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Please check out this pre-election online forum, sponsored by Chain Magazine. http://www.temple.edu/chain/forum Tell all your friends. The next issue of Chain (on "Public Forms") will be out by mid-September. Jena Osman Associate Professor of English Director, Creative Writing Program Temple University 215.204.3014 ========================================================================= Date: Thu, 2 Sep 2004 22:24:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: poetics@buffalo.edu Comments: Originally-From: Steve Dickison From: Poetics List Administration Subject: Donald Allen Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable This from Kevin Killian today. I don't know anything beyond the reported fa= ct. It feels right to consider doing a tribute out of the Poetry Center. Enormous outreach he had with that work. > >>> > >Bob [Gl=FCck] just called and said that Don Allen has died! > > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D "POETRY and its ARTS: Bay Area interactions 1954-2004" Saturday December 11, 2004 thru Saturday April 16, 2005 @ California Historical Society 678 Mission Street (four doors east of 3rd Street, at Annie Alley) art by poets; poet-artist collaborations; artists in poets circles featuring "Collective Memory," an installation by Norma Cole in collaboration with the Poetry Center, supported by the Creative Work Fund Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State University 1600 Holloway Avenue ~ San Francisco CA 94132 ~ vox 415-338-3401 ~ fax 415-338-0966 http://www.sfsu.edu/~poetry -- ========================================================================= Date: Fri, 3 Sep 2004 02:55:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City presents Conundrum and Jeffrey Weeter 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 in america This month's featured press: Conundrum (Chicago) **please note, this month's reading is on a Friday ** Fri. Sept. 10, 6 p.m., free Aca Galleries 529 W.20th St., 5th Flr. NYC Event will be hosted by Conundrum editor Kerri Sonnenberg Featuring readings from: Robert Quillen Camp E. Tracy Grinnell Brenda Iijima Paul Foster Johnson Rodrigo Toscano With music by Jeffrey Weeter 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://conundrumpoetry.com/ Next month: Furniture Press (Baltimore), Oct. 7 -- 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: Fri, 3 Sep 2004 04:12:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: deadiniraq MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed deadiniraq i can't do many of these File changes saved. deadiniraq http://www.as.wvu.edu:8000/clc/Members/sondheim/deadiniraq.mp4 * Send this page from protest rally * Print this page * Add to Favorites deadiniraq photographer shot dead soldier boots intrusion violation i shouldn't do many of these Click here to get the file Size 14.9 MB - File type video/mp4 Created by sondheim Last modified 2004-09-03 04:07 AM none of these _ ========================================================================= Date: Fri, 3 Sep 2004 04:40:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the last of it MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed the last of it http://www.asondheim.org/technoloss.jpg http://www.asondheim.org/technoloss2.jpg http://www.asondheim.org/technoloss3.jpg http://www.asondheim.org/technoloss4.jpg _ ========================================================================= Date: Fri, 3 Sep 2004 04:32:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: brought akin MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit was tired split nice tenoringg still up workin but now i'll stop nice piece pray for me for i have been ambushed pray for me as i cross the mote pray for me for i have been lied to pray for me for i'm about to vote catostrophic success catostrophic success catostrophic sucess soft bigotry of low expectation leg press attachment label maker prosthetic limb the effect of simple size on different failure prediction methods city of concrete city of glass city of concrete city of glass city we can't beat terrorism we can beat terrorism we can't beat terrorism we can beat terrorism can't cancan't can can't cancan't can can't can cant cant cant cancant can ========================================================================= Date: Fri, 3 Sep 2004 09:12:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Portable Reading Series Update Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 8bit MIME-Version: 1.0 go to: http://portablebaltimore.blogspot.com/ and keep yrself updated about how Baltimore is getting back on the map. yrs, christophe casamassima -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Fri, 3 Sep 2004 07:35:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Killian Subject: Reading and Book Party for Rob Halpern's RUMORED PLACE Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable Rob Halpern's first book is one of the new Krupskaya Books this year. I hope all of you in the Bay Area can come to this book launch. -- Kevin K. Reading and Book Party: Rob Halpern reads from RUMORED PLACE Modern Times Books (888 Valencia at 20th) Sunday, September 12 at 4:30 pm. Party will follow at the home of kari edwards and Fran Blau: 3435 Cesar Chavez <> RUMORED PLACE "conveys the intolerable crush of the ongoing, the grand brawl of contending institutions and concepts hectically alive past their deaths. Meanwhile the self continually gains and loses ID. The intensity of what is said displays the extent of what can't be said." --Robert Gl=FCck "With an extraordinary soulful ferocity, Rob Halpern's new work commits itself to a lyric interrogation of power...Sustained and yet overcome by their porousness, the poems struggle in the grasp of our violent polity--indeed, they register defeat, even as they bring into relation incommensurate scales of experience--erotic, economic, political...exhilarating, and edged with grief." --Camille Roy "RUMORED PLACE risks itself in its entirety at every turn...finally, a place from which one day to have begun!" --Taylor Brady ========================================================================= Date: Fri, 3 Sep 2004 12:51:46 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: the first lady MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT -------------------------------------------------------------------------------- http://www.latimes.com/news/nationworld/politics/whitehouse/la-wk-swed2sep02,1,1557125.story?coll=la-news-politics-white_house CRITIC'S NOTEBOOK A satire of Laura Bush, with a dose of affection By Mark Swed Times Staff Writer September 2, 2004 NEW YORK — The streets of this Democrat-dominated town are not unexpectedly filled with righteous anti-Republican rage right now. But just as common is humor. There seems to be no end of ways to parody President Bush on T-shirts and banners. Typical are the unprintable one-liners making fun of the president's and vice president's names. Business in the double-entendre is booming. And then there is Tony Kushner. The playwright of "Angels in America" and "Homebody/Kabul" has contributed a substantial, sophisticated, hilarious yet surprisingly affectionate satire of Laura Bush. The three scenes that Kushner has written for "Only We Who Guard the Mystery Shall be Happy" have had several previous readings, and the first, in which Mrs. Bush reads to the ghosts of Iraqi children, was published in the Nation last year. But Tuesday night, while the real Mrs. Bush addressed the Republican convention, there was an exceptional reading of Kushner's scenes a couple of miles away at the New York Theatre Workshop, where Holly Hunter and Cynthia Nixon took turns impersonating the first lady. Like many intellectuals, Kushner views Laura Bush, a former teacher and librarian, as an enigma. Her husband is not known to share her love of language and literature. If Dostoevsky is, as she claims, her favorite writer, how can a woman attracted to contemplating the great Russian novelist's complex characters and moral issues accept the less ambiguous rhetoric that comes out of the White House? For the surreal first scene, Hunter portrayed a wide-eyed Mrs. Bush addressing the dead Iraqi children, victims of American attacks or sanctions. Nixon was an angel, and since the actresses were simply reading from their scripts in street clothes, a third actress, comedian Lisa Kron, set the scene and read the stage directions. All children, even dead ones, can learn to love books, Mrs. Bush tells her audience. She then goes on to describe why "The Brothers Karamazov" means so much to her. But as the suffering in Dostoevsky begins to touch tender spots in her own psyche, her defenses break down. She finally admits that she is a woman of subtlety stuck with a simpleton. What in the world would Mrs. Bush herself think of this audacious fantasy? That's Kushner's even brasher next scene, in which the first lady confronts the playwright after having seen the first scene. Now played by Nixon, Mrs. Bush is elegantly poised, indignant and smart as she cuttingly jousts with Kush- ner, the role Hunter now assumes (wearing one of those anti-Bush T-shirts with unprintable slogans). Art, Mrs. Bush expounds, has nothing to do with politics, and Dostoevsky, in particular, was a visionary who transcended politics. Perhaps, she says, it is not the president who is simplistic — he actually gets things done — but rather the Democrats, who debate much and do little, and even the playwright. This Laura Bush also refuses to cede the moral high ground about Iraq, accusing Kushner of wishing for more suffering in Iraq so that his position can be proved right. "You wouldn't be happy if Iraq succeeded," she insists. Kushner denies it but is rattled. Mrs. Bush also doesn't appreciate some two-bit comic like Kron reading sarcastic descriptions of her in the stage directions. At this point, Kron bursts in, tells off the first lady and then recounts an outrageous dream she had about President Bush at the United Nations. Hunter, Nixon and Kron were terrific, stimulating the imagination in a way a full staging couldn't possibly equal. Meanwhile, Kushner has managed the brilliant trick of taking Mrs. Bush seriously while being wildly irreverent at the same time, the trick of humanizing her for a partisan audience. Candidate for the subversive Another goofy, yet artistically interesting, parody of the current administration is an exhibition on 57th Street, not far from some of the fancier hotels hosting Republican delegates, that is getting considerable attention. The Luxe Gallery has been turned into "The Experimental Party Disinformation Center." This room full of flashing television monitors and skewered political sloganeering is Abe Golan's campaign headquarters. If elected president, he promises, he will "subvert the dominant paradigm." If you want somebody "who is willing to gnaw into the body politic," Abe is your man. This multimedia show, designed to reveal what "representation through virtualization" might be like, has perhaps too little of Kush- ner's nuance. But it does at least present the prospect that if the Department of Works, Mixologies and Transformations got its hands on us, Republicans and Democrats alike would all be pounded by a fractured, frantic, tantalizing beat. And you were worried about the Patriot Act? ========================================================================= Date: Fri, 3 Sep 2004 08:33:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ram Devineni Subject: Big London Techno Brazilian Poetry Party in London In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hi everyone: if you plan to be in London on Sunday, please join me. It is organized by Rattapallax and others. Rattapallax Poetry Reading and Brazilian Party. Sept. 5, 2004 at 7 PM. Blag Club, 1st floor, 68 Notting Hill Gate, London W11. Tube: Notting Hill Gate. Phone: 020-7243-0123. Admissions: £3. Featuring Roger Robinson, Pascale Petit, Jacob Sam La Rose, Todd Swift, vocalist Heidi and others. Hosted by Rajesh Bhardwaj & Ram Devineni. Film presentation by Casagrande, caraballo-farman, and Fernando Severo. DJs and Brazilian music. Co-sponsored with Jungle Drums magazine & Rattapallax. More info at www.rattapallax.com Thanks Ram Devineni 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: Fri, 3 Sep 2004 09:33:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Craig, Ray" Subject: (TEST): as before, he will collapse in nurse MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable =20 > as before, he will collapse in nurse > his hospital complexion damp with subway injuries >=20 > go see what he wants, he wants to be followed >=20 >=20 > * * * >=20 > as before, he will disappear in scissors > tossing his surgical knees in a tentative tuck >=20 > go see what he wants, he wants to be followed >=20 >=20 > * * * >=20 > as before, he will resemble funeral children > his vague cassette skull muffled in submarine drones >=20 > go see what he wants, he wants to be followed >=20 >=20 > =20 >=20 >=20 >=20 >=20 ========================================================================= Date: Fri, 3 Sep 2004 12:01:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julia Klein Subject: Around Zukofsky Conference at U of C Mime-Version: 1.0 (Apple Message framework v619) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed AROUND ZUKOFSKY A Poetry and Poetics Event at the University of Chicago for the Birth=20 Centenary of Louis Zukofsky Thursday, November 11=97 Saturday, November 13, 2004 All events are free and open to the public No registration required Complete Schedule at: http://poetics.uchicago.edu/ZukofskyConference.html PAPERS: Robert Hass, Marjorie Perloff, Mark Scroggins, Susan Stewart RESPONDENTS: John Beer, Lee Glidewell, Jenny Ludwig, Eirik Steinhoff READINGS: Robert Hass, Mark Scroggins, Susan Stewart PRESENTATION: Robert von Hallberg ROUNDTABLE: Dan Beachy-Quick, Oren Izenberg, Jed Rasula, Srikanth=20 Reddy, Mary Margaret Sloan, Karen Volkman ========================================================================= Date: Fri, 3 Sep 2004 10:25:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Bush Administration by the numbers Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable If you thought the "I can protect you" rhetoric in Bush's speech last nigh= t was at odds with well and not so well-known recorded facts, the article (below)in today's Independent (London) provides a pretty devastating accoun= t of this demonstration's performance purely by the numbers. Or, in case you think similar to myself that we are being ruled by evangelical crusaders - Bush even used the word "Resurrection" - intertwined with rookie political performers and downright crooks, these numbers ought to do the overwhelming - I could hardly make it to the end - trick. May Kerry & Edwards use them to burn multiple holes in that hologram of a Hallmark calendar picture-boy/dad in Church that filled the screen last night. Compassionately, of course. Stephen V http://stephenvincent.durationpress.com Independent (London) By Graydon Carter 03 September 2004 1 Number of Bush administration public statements on National security issued between 20 January 2001 and 10 September 2001 that mentioned al-Qa'ida.=20 104 Number of Bush administration public statements on National security an= d defence in the same period that mentioned Iraq or Saddam Hussein. 101 Number of Bush administration public statements on National security an= d defence in the same period that mentioned missile defence. 65 Number of Bush administration public statements on National security and defence in the same period that mentioned weapons of mass destruction. 0 Number of times Bush mentioned Osama bin Laden in his three State of the Union addresses.=20 73 Number of times that Bush mentioned terrorism or terrorists in his three State of the Union addresses. 83 Number of times Bush mentioned Saddam, Iraq, or regime (as in change) in his three State of the Union addresses. $1m Estimated value of a painting the Bush Presidential Library in College Station, Texas, received from Prince Bandar, Saudi Arabia's ambassador to the United States and Bush family friend. 0 Number of times Bush mentioned Saudi Arabia in his three State of the Union addresses.=20 1,700 Percentage increase between 2001 and 2002 of Saudi Arabian spending o= n public relations in the United States. 79 Percentage of the 11 September hijackers who came from Saudi Arabia. 3 Number of 11 September hijackers whose entry visas came through special US-Saudi "Visa Express" programme. 140 Number of Saudis, including members of the Bin Laden family, evacuated from United States almost immediately after 11 September. 14 Number of Immigration and Naturalisation Service (INS) agents assigned t= o track down 1,200 known illegal immigrants in the United States from countries where al-Qa'ida is active. $3m Amount the White House was willing to grant the 9/11 Commission to investigate the 11 September attacks. $0 Amount approved by George Bush to hire more INS special agents. $10m Amount Bush cut from the INS's existing terrorism budget. $50m Amount granted to the commission that looked into the Columbia space shuttle crash.=20 $5m Amount a 1996 federal commission was given to study legalised gambling. 7 Number of Arabic linguists fired by the US army between mid-August and mid-October 2002 for being gay. George Bush: Military man 1972 Year that Bush walked away from his pilot duties in the Texas National Guard, Nearly two years before his six-year obligation was up. $3,500 Reward a group of veterans offered in 2000 for anyone who could confirm Bush's Alabama guard service. 600-700 Number of guardsmen who were in Bush's unit during that period. 0 Number of guardsmen from that period who came forward with information about Bush's guard service. 0 Number of minutes that President Bush, Vice-President Dick Cheney, the Defence Secretary, Donald Rumsfeld, the assistant Defence Secretary, Paul Wolfowitz, the former chairman of the Defence Policy Board, Richard Perle, and the White House Chief of Staff, Karl Rove =FA the main proponents of the war in Iraq =FAserved in combat (combined). 0 Number of principal civilian or Pentagon staff members who planned the wa= r who have immediate family members serving in uniform in Iraq. 8 Number of members of the US Senate and House of Representatives who have = a child serving in the military. 10 Number of days that the Pentagon spent investigating a soldier who had called the President "a joke" in a letter to the editor of a Newspaper. 46 Percentage increase in sales between 2001 and 2002 of GI Joe figures (children's toys).=20 Ambitious warrior=20 2 Number of Nations that George Bush has attacked and taken over since coming into office. 130 Approximate Number of countries (out of a total of 191 recognised by th= e United Nations) with a US military presence. 43 Percentage of the entire world's military spending that the US spends on defence. (That was in 2002, the year before the invasion of Iraq.) $401.3bn Proposed military budget for 2004. Saviour of Iraq=20 1983 The year in which Donald Rumsfeld, Ronald Reagan's special envoy to th= e Middle East, gave Saddam Hussein a pair of golden spurs as a gift. 2.5 Number of hours after Rumsfeld learnt that Osama bin Laden was a suspec= t in the 11 September attacks that he brought up reasons to "hit" Iraq. 237 Minimum number of misleading statements on Iraq made by top Bush administration officials between 2002 and January 2004, according to the California Representative Henry Waxman. 10m Estimated number of people worldwide who took to the streets on 21 February 2003, in opposition to the invasion of Iraq, the largest simultaneous protest in world history. $2bn Estimated monthly cost of US military presence in Iraq projected by th= e White House in April 2003. $4bn Actual monthly cost of the US military presence in Iraq according to Secretary of Defence Rumsfeld in 2004. $15m Amount of a contract awarded to an American firm to build a cement factory in Iraq.=20 $80,000 Amount an Iraqi firm spent (using Saddam's confiscated funds) to build the same factory, after delays prevented the American firm from starting it.=20 2000 Year that Cheney said his policy as CEO of Halliburton oil services company was "we wouldn't do anything in Iraq". $4.7bn Total value of contracts awarded to Halliburton in Iraq and Afghanistan.=20 $680m Estimated value of Iraq reconstruction contracts awarded to Bechtel. $2.8bnValue of Bechtel Corp contracts in Iraq. $120bn Amount the war and its aftermath are projected to cost for the 2004 fiscal year.=20 35 Number of countries to which the United States suspended military assistance after they failed to sign agreements giving Americans immunity from prosecution before the International Criminal Court. 92 Percentage of Iraq's urban areas with access to potable water in late 2002.=20 60 Percentage of Iraq's urban areas with access to potable water in late 2003.=20 55 Percentage of the Iraqi workforce who were unemployed before the war. 80 Percentage of the Iraqi workforce who are unemployed a Year after the war.=20 0 Number of American combat deaths in Germany after the Nazi surrender in May 1945.=20 37 Death toll of US soldiers in Iraq in May 2003, the month combat operations "officially" ended. 0 Number of coffins of dead soldiers returning home that the Bush administration has permitted to be photographed. 0 Number of memorial services for the returned dead that Bush has attended since the beginning of the war. A soldier's best friend 40,000 Number of soldiers in Iraq seven months after start of the war still without Interceptor vests, designed to stop a round from an AK-47. $60m Estimated cost of outfitting those 40,000 soldiers with Interceptor vests.=20 62 Percentage of gas masks that army investigators discovered did Not work properly in autumn 2002. 90 Percentage of detectors which give early warning of a biological weapons attack found to be defective. 87 Percentage of Humvees in Iraq not equipped with armour capable of stopping AK-47 rounds and protecting against roadside bombs and landmines a= t the end of 2003.=20 Making the country safer $3.29 Average amount allocated per person Nationwide in the first round of homeland security grants. $94.40 Amount allocated per person for homeland security in American Samoa. $36 Amount allocated per person for homeland security in Wyoming, Vice-President Cheney's home state. $17 Amount allocated per person in New York state. $5.87 Amount allocated per person in New York City. $77.92 Amount allocated per person in New Haven, Connecticut, home of Yale University, Bush's alma mater. 76 Percentage of 215 cities surveyed by the US Conference of Mayors in earl= y 2004 that had yet to receive a dime in federal homeland security assistance for their first-response units. 5 Number of major US airports at the beginning of 2004 that the Transportation Security Administration admitted were Not fully screening baggage electronically. 22,600 Number of planes carrying unscreened cargo that fly into New York each month.=20 5 Estimated Percentage of US air cargo that is screened, including cargo transported on passenger planes. 95 Percentage of foreign goods that arrive in the United States by sea. 2 Percentage of those goods subjected to thorough inspection. $5.5bnEstimated cost to secure fully US ports over the Next decade. $0 Amount Bush allocated for port security in 2003. $46m Amount the Bush administration has budgeted for port security in 2005. 15,000 Number of major chemical facilities in the United States. 100 Number of US chemical plants where a terrorist act could endanger the lives of more than one million people. 0 Number of new drugs or vaccines against "priority pathogens" listed by th= e Centres for Disease Control that have been developed and introduced since 1= 1 September 2001.=20 Giving a hand up to the advantaged $10.9m Average wealth of the members of Bush's original 16-person cabinet. 75 Percentage of Americans unaffected by Bush's sweeping 2003 cuts in capital gains and dividends taxes. $42,000 Average savings members of Bush's cabinet received in 2003 as a result of cuts in capital gains and dividends taxes. 10 Number of fellow members from the Yale secret society Skull and Bones that Bush has named to important positions (including the Associate Attorne= y General Robert McCallum Jr. and SEC chief Bill Donaldson). 79 Number of Bush's initial 189 appointees who also served in his father's administration.=20 A man with a lot of friends $113m Amount of total hard money the Bush-Cheney 2000 campaign received, a record.=20 $11.5m Amount of hard money raised through the Pioneer programme, the controversial fund-raising process created for the Bush-Cheney 2000 campaign. (Participants pledged to raise at least $100,000 by bundling together cheques of up to $1,000 from friends and family. Pioneers were assigned numbers, which were included on all cheques, enabling the campaign to keep track of who raised how much.) George Bush: Money manager 4.7m Number of bankruptcies that were declared during Bush's first three years in office.=20 2002 The worst year for major markets since the recession of the 1970s. $489bn The US trade deficit in 2003, the worst in history for a single year= . $5.6tr Projected national surplus forecast by the end of the decade when Bush took office in 2001. $7.22tr US national debt by mid-2004. George Bush: Tax cutter 87 Percentage of American families in April 2004 who say they have felt no benefit from Bush's tax cuts. 39 Percentage of tax cuts that will go to the top 1 per cent of American families when fully phased in. 49 Percentage of Americans in April 2004 who found that their taxes had actually gone up since Bush took office. 88 Percentage of American families who will save less than $100 on their 2006 federal taxes as a result of 2003 cut in capital gains and dividends taxes.=20 $30,858 Amount Bush himself saved in taxes in 2003. Employment tsar=20 9.3m Number of US unemployed in April 2004. 2.3m Number of Americans who lost their jobs during first three Years of th= e Bush administration. 22m Number of jobs gained during Clinton's eight years in office. Friend of the poor=20 34.6m Number of Americans living below the poverty line (1 in 8 of the population).=20 6.8m Number of people in the workforce but still classified as poor. 35m Number of Americans that the government defines as "food insecure," in other words, hungry. $300m Amount cut from the federal programme that provides subsidies to poor families so they can heat their homes. 40 Percentage of wealth in the United States held by the richest 1 per cent of the population.=20 18 Percentage of wealth in Britain held by the richest 1e per cent of the population.=20 George Bush And his special friend $60bn Loss to Enron stockholders, following the largest bankruptcy in US history.=20 $205m Amount Enron CEO Kenneth Lay earned from stock option profits over a four-year period.=20 $101m Amount Lay made from selling his Enron shares just before the company went bankrupt.=20 $59,339 Amount the Bush campaign reimbursed Enron for 14 trips on its corporate jet during the 2000 campaign. 30 Length of time in months between Enron's collapse and Lay (whom the President called "Kenny Boy") still not being charged with a crime. George Bush: Lawman 15 Average number of minutes Bush spent reviewing capital punishment cases while governor of Texas. 46 Percentage of Republican federal judges when Bush came to office. 57 Percentage of Republican federal judges after three years of the Bush administration.=20 33 Percentage of the $15bn Bush pledged to fight Aids in Africa that must g= o to abstinence-only programmes. The Civil libertarian 680 Number of suspected al-Qa'ida members that the United States admits are detained at Guant=E1namo Bay, Cuba. 42 Number of nationalities of those detainees at Guantanamo. 22 Number of hours prisoners were handcuffed, shackled, and made to wear surgical masks, earmuffs, and blindfolds during their flight to Guantanamo. 32 Number of confirmed suicide attempts by Guantanamo Bay prisoners. 24 Number of prisoners in mid-2003 being monitored by psychiatrists in Guantanamo's new mental ward. A health-conscious president 43.6m Number of Americans without health insurance by the end of 2002 (more than 15 per cent of the population). 2.4m Number of Americans who lost their health insurance during Bush's firs= t year in office.=20 Environmentalist=20 $44m Amount the Bush-Cheney 2000 campaign and the Republican National Committee received in contributions from the fossil fuel, chemical, timber, and mining industries. 200 Number of regulation rollbacks downgrading or weakening environmental laws in Bush's first three years in office. 31 Number of Bush administration appointees who are alumni of the energy industry (includes four cabinet secretaries, the six most powerful White House officials, and more than 20 other high-level appointees). 50 Approximate number of policy changes and regulation rollbacks injurious to the environment that have been announced by the Bush administration on Fridays after 5pm, a time that makes it all but impossible for news organisations to relay the information to the widest possible audience. 50 Percentage decline in Environmental Protection Agency enforcement action= s against polluters under Bush's watch. 34 Percentage decline in criminal penalties for environmental crimes since Bush took office.=20 50 Percentage decline in civil penalties for environmental crimes since Bus= h took office.=20 $6.1m Amount the EPA historically valued each human life when conducting economic analyses of proposed regulations. $3.7m Amount the EPA valued each human life when conducting analyses of proposed regulations during the Bush administration. 0 Number of times Bush mentioned global warming, clean air, clean water, pollution or environment in his 2004 State of the Union speech. His father was the last president to go through an entire State of the Union address without mentioning the environment. 1 Number of paragraphs devoted to global warming in the EPA's 600-page "Draft Report on the Environment" presented in 2003. 68 Number of days after taking office that Bush decided Not to ratify the Kyoto Protocol, the international treaty to reduce greenhouse gases by roughly 5.2 per cent below 1990 levels by 2012. The United States was to cu= t its level by 7 per cent. 1 The rank of the United States worldwide in terms of greenhouse gas emissions.=20 25 Percentage of overall worldwide carbon dioxide emissions the United States is responsible for. 53 Number of days after taking office that Bush reneged on his campaign promise to regulate carbon dioxide emissions from power plants. 14 Percentage carbon dioxide emissions will increase over the next 10 years under Bush's own global-warming plan (an increase of 30 per cent above thei= r 1990 levels).=20 408 Number of species that could be extinct by 2050 if the global-warming trend continues.=20 5 Number of years the Bush administration said in 2003 that global warming must be further studied before substantive action could be taken. 62 Number of members of Cheney's 63-person Energy Task Force with ties to corporate energy interests. 0 Number of environmentalists asked to attend Cheney's Energy Task Force meetings.=20 6 Number of months before 11 September that Cheney's Energy Task Force investigated Iraq's oil reserves. 2 Percentage of the world's population that is British. 2 Percentage of the world's oil used by Britain. 5 Percentage of the world's population that is American. 25 Percentage of the world's oil used by America. 63 Percentage of oil the United States imported in 2003, a record high. 24,000 Estimated number of premature deaths that will occur under Bush's Clear Skies initiative. 300 Number of Clean Water Act violations by the mountaintop-mining industry in 2003.=20 750,000 Tons of toxic waste the US military, the world's biggest polluter, generates around the world each Year. $3.8bn Amount in the Superfund trust fund for toxic site clean-ups in 1995, the Year "polluter pays" fees expired. $0m Amount of uncommitted dollars in the Superfund trust fund for toxic sit= e clean-ups in 2003.=20 270 Estimated number of court decisions citing federal Negligence in endangered-species protection that remained unheeded during the first year of the Bush administration. 100 Percentage of those decisions that Bush then decided to allow the government to ignore indefinitely. 68.4 Average Number of species added to the Endangered and Threatened Species list each year between 1991 and 2000. 0 Number of endangered species voluntarily added by the Bush administration since taking office. 50 Percentage of screened workers at Ground Zero who now suffer from long-term health problems, almost half of whom don't have health insurance. 78 Percentage of workers at Ground Zero who now suffer from lung ailments. 88 Percentage of workers at Ground Zero who Now suffer from ear, nose, or throat problems.=20 22 Asbestos levels at Ground Zero were 22 times higher than the levels in Libby, Montana, where the W R Grace mine produced one of the worst Superfun= d disasters in US history. Image booster for the US 2,500 Number of public-diplomacy officers employed by the State Department to further the image of the US abroad in 1991. 1,200 Number of public-diplomacy officers employed by the State Department to further US image abroad in 2004. 4 Rank of the United States among countries considered to be the greatest threats to world peace according to a 2003 Pew Global Attitudes study (Israel, Iran, and North Korea were considered more dangerous; Iraq was considered less dangerous). $66bn Amount the United States spent on international aid and diplomacy in 1949.=20 $23.8bn Amount the United States spent on international aid and diplomacy i= n 2002.=20 85 Percentage of Indonesians who had an unfavourable image of the United States in 2003.=20 Second-party endorsements 90 Percentage of Americans who approved of the way Bush was handling his jo= b as president on 26 September 2001. 67 Percentage of Americans who approved of the way Bush was handling his jo= b as president on 26 September 2002. 54 Percentage of Americans who approved of the way Bush was handling his jo= b as president on 30 September, 2003. 50 Percentage of Americans who approved of the way Bush was handling his jo= b as president on 15 October 2003. 49 Percentage of Americans who approved of the way Bush was handling his jo= b as president in May 2004. More like the French than he would care to admit 28 Number of vacation days Bush took in August 2003, the second-longest vacation of any president in US history. (Record holder Richard Nixon.) 13 Number of vacation days the average American receives each Year. 28 Number of vacation days Bush took in August 2001, the month he received = a 6 August Presidential Daily Briefing headed "Osama bin Laden Determined to Strike US Targets." 500 Number of days Bush has spent all or part of his time away from the White House at his ranch in Crawford, Texas, his parents' retreat in Kennebunkport, Maine, or Camp David as of 1 April 2004. No fool when it comes to the press 11 Number of press conferences during his first three Years in office in which Bush referred to questions as being "trick" ones. Factors in his favour 3 Number of companies that control the US voting technology market. 52 Percentage of votes cast during the 2002 midterm elections that were recorded by Election Systems & Software, the largest voting-technology firm= , a big Republican donor. 29 Percentage of votes that will be cast via computer voting machines that don't produce a paper record. 17On 17 November 2001, The Economist printed a correction for having said George Bush was properly elected in 2000. $113m Amount raised by the Bush-Cheney 2000 campaign, the most in American electoral history.=20 $185m Amount raised by the Bush-Cheney 2004 re-election campaign, to the en= d of March 2004.=20 $200m Amount that the Bush-Cheney 2004 campaign expects to raise by Novembe= r 2004.=20 268 Number of Bush-Cheney fund-raisers who had earned Pioneer status (by raising $100,000 each) as of March 2004. 187 Number of Bush-Cheney fund-raisers who had earned Ranger status (by raising $200,000 each) as of March 2004. $64.2mThe Amount Pioneers and Rangers had raised for Bush-Cheney as of Marc= h 2004.=20 85 Percentage of Americans who can't Name the Chief Justice of the United States.=20 69 Percentage of Americans who believed the White House's claims in September 2003 that Saddam Hussein was personally involved in the 11 September attacks.=20 34 Percentage of Americans who believed in June 2003 that Saddam's "weapons of mass destruction" had been found. 22 Percentage of Americans who believed in May 2003 that Saddam had used hi= s WMDs on US forces.=20 85 Percentage of American young adults who cannot find Afghanistan, Iraq, o= r Israel on a map.=20 30 Percentage of American young adults who cannot find the Pacific Ocean on a map.=20 75 Percentage of American young adults who don't know the population of the United States.=20 53 Percentage of Canadian young adults who don't know the population of the United States.=20 11 Percentage of American young adults who cannot find the United States on a map.=20 30 Percentage of Americans who believe that "politics and government are to= o complicated to understand." Another factor in his favour 70m Estimated number of Americans who describe themselves as Evangelicals who accept Jesus Christ as their personal saviour and who interpret the Bible as the direct word of God. 23m Number of Evangelicals who voted for Bush in 2000. 50m Number of voters in total who voted for Bush in 2000. 46 Percentage of voters who describe themselves as born-again Christians. 5 Number of states that do not use the word "evolution" in public school science courses.=20 This is an edited extract from "What We've Lost", by Graydon Carter, published by Little Brown on 9 September ABOUT THE AUTHOR=20 For a former college drop-out from Ontario and, briefly, a lineman stringin= g up telegraph wires on the railways of Canada, Graydon Carter, 55, has risen to impressive heights. The editor of Vanity Fair since 1992 =FA after succeeding Tina Brown =FA he is one of America's celebrity editors with clout= , glamour and a nice line in suits. It is hard to imagine Carter doing physical work of any kind, beyond exercising his thumb on his silver Zippo lighter. His labour is restricted to rejigging headlines in his magazine =FA he is a self-confessed failure at delegation of duties =FA and swanning to Manhattan parties. Martini in hand, he cuts an almost princely and dandyish figure, with billowing shirts and similarly billowing silver hair. The spotlight on his activities has never burned brighter. In recent months he has transformed the regular editor's letter at the front of the magazine into less of a chat about its coming contents =FA the spreads of Annie Leibowitz and rants of Christopher Hitchens =FA and more a full-bore diatribe against the world of George Bush.=20 ========================================================================= Date: Fri, 3 Sep 2004 13:47:48 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: A The BBR Reading Series: FEATURE Ange Mlinko & CAConrad MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit A The BBR Reading Series: FEATURE Ange Mlinko & CAConrad Tuesday, Sept. 14, 8pm ($4 to benefit the poets) Bar Reis 375 5th Avenue (btwn 5th & 6th Streets) BROOKLYN 718-832-5716 (F train to 4th and 9th) ========================================================================= Date: Fri, 3 Sep 2004 10:51:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leslie Scalapino Subject: ads against Bush MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear Buffalo List, If you agree with the following ideas for ads please = either print this out and sign, address it, and mail it or ask me for an = attachment to send to Kerry and also to the American for Democratic = Action group (addresses given). Thank you -- Leslie Scalapino Ads Against Bush Kerry-Edwards 2004, Inc P.O. Box 34640 Washington DC 20043 send also to: Kerry-Edwards 901 15th Street, NW Suite 700 Washington, DC 20005 =20 Dear Kerry Team, = September 3, 2004 =20 I urge you to put out ads that educate the public about Bush's lies. = Please consider the following two possibilities. =20 How do we have a doctrine of freedom for the whole world when we deny = even our Bill of Rights for our own citizens? Freedom of peaceful = assembly, freedom of speech.=20 They say they are the party of compassion? There will be an out-pouring = of homeless on the streets of our country because the Bush = administration is removing funding for low-cost housing in the cities = to support wealthy land-developers. Tens of thousands have died in = Bush's wars while they use our young soldiers as fodder, undercutting = their benefits and pay and requiring added tours of duty. Our soldiers = are left exposed to attack in Afghanistan and Iraq alongside the = imprisoning and torture of Iraqi and Afghani citizens and soldiers, who = are not given legal recourse in circumstances that are human rights = violations. These violations have been recently challenged by our = courts, the challenge opposed by Bush's administration-any impropriety = denied by Rumsfeld though corroborated by his own commission. Are we to = be snowed by lies, so many lies we cannot even keep track? =20 And the following possibility for an ad: =20 Despite the fact that the 9/11 Commission found there to be no weapons = of mass destruction that could threaten America and no link between Iraq = and Al Qaida-claims that were the basis of the Bush administration's war = on Iraq-54% of our public still believes in this misinformation. We must = be strong enough to see the truth: that we have been duped by the Bush = administration and by some of the news media. Bush's policies do not = benefit the common people of America, nor are they welcomed by the = common people of Afghanistan and Iraq whose countries have been = destroyed, the promised reparations of which are beyond our means. Our = prosperity and our system of justice are being swept away. =20 Written by Leslie Scalapino Send also to: The Honorable Barney Frank, American for Democratic Action 1625 K. Street, NW, Suite 210, Washington, DC 20006. =20 =20 =20 ========================================================================= Date: Fri, 3 Sep 2004 13:01:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: reading, birchbark bookstore, minneapolis... Comments: cc: Kass Fleisher In-Reply-To: <21064279.79c85214.a2cb200@po-f.temple.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" dear all, my wife kass fleisher will be reading at birchbark bookstore in minneapolis, 2115 w. 21st st., on thursday sept 9 at 7:00 pm (that's next thursday)... i'll be there too... we would love to see/meet anyone on the list!... best, joe -- The Bear River Massacre and the Making of History, SUNY Press, 2004 Explores how a pivotal event in U.S. history -- the killing of nearly 300 Shoshoni men, women, and children in 1863 -- has been contested, forgotten, and remembered. Amazon site: https://www.amazon.com/exec/obidos/tg/detail/-/0791460649/qid=1089390547/sr=8-1/ref=sr_8_xs_ap_i1_xgl14/104-3386271-7615957?v=glance&s=books&n=507846 SUNY Press site: https://www.sunypress.edu/details.asp?id=60920 ========================================================================= Date: Fri, 3 Sep 2004 14:16:41 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: Fw: Or would you rather be a fish? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Once again, despite the fact that I hate the web and all communication systems, Unlikely 2.0, the journal of arts and culture, has been updated. Now available at www.unlikelystories.org: An interview with Elisha Porat by Gilmana Bushati A discussion of the first deaddrunkdublin festival, in verse, by Desmond Swords Political commentary by T. S. Ross A Sardine on Vacation, Episode 19 Poetry by Shane Allison, Steve Dalachinsky, Lyn Lifshin, Patricia Gomes, John Bryan, Andrew MacArthur, Michael Estabrook, and Rob Swart A prose poem by Michael C. Ford And fiction by Ron Spurga, Helen Duberstein, Gary Britson, and Kurtice Kucheman, who is absolutely no one you've ever heard about in the small press, ever. And in between cat naps and catatonic states, we're gearing up for our special U.S. Elections Issue. Check out the call for submissions, below! -- Jonathan Penton http://www.unlikelystories.org -- CALL FOR SUBMISSIONS: In mid-October, www.unlikelystories.org will be running a special U.S. Elections Issue. We are inviting all current subscribers and past and current contributors to unlikelystories.org who are US citizens to let us know what you will be doing on election day. We hope to publish a large range of opinions, ideas, and plans. Who will you be voting for, and why, or why will you abstain, and why? Other sorts of submissions on the US elections will be welcome from anyone for that issue, and there will be an unthemed issue in November. Please see http://www.unlikelystories.org/submit.shtml for our regular guidelines, and please see our message board at http://www.unlikelystories.org/phpbb2/ for more calls for submissions. ========================================================================= Date: Fri, 3 Sep 2004 16:15:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: ads against Bush MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit As a veteran campaign manager of over 17 winning state assembly campaigns, I have to say it is time for Kerry's campaign to be willing to go for the jugular, and to slit a few other veins along the way. His campaign needs to learn the value of attack advsertising. The truest spots, the most factual spots are the negative and comparative. Attack spots (as well as direct snail and electronic mail) draw the sharpest contrasts. And at the end of the day Kerry has an obligation to let the voters know the differences. When his campaign helps the electorate do that, than it'll be a good (for us all). It's time for: *(Advertising tone): "Bush doesn't want to take care of older Americans who have worked hard all their lives.... he wants to abolish Social Security,... is that what you want?" *(Advertising tone): "While we loose jobs here at home, Bush is creating jobs in Iraq,... is that what we want?" *(Advertising tone): "Our jobless rate is at an all time high, ... if George W. Bush doesn't understand the problem, how can he solve it?" * (Advertising tone): "George Bush has done nothing to bring jobs back to Ohio. But he sure has done a lot to ship them overseas to China and elsewhere." You may not like the means, but the ends (restoring our country on Nov. 2nd) are worth it. Best, Gerald Schwartz Dear Buffalo List, If you agree with the following ideas for ads please either print this out and sign, address it, and mail it or ask me for an attachment to send to Kerry and also to the American for Democratic Action group (addresses given). Thank you -- Leslie Scalapino Ads Against Bush Kerry-Edwards 2004, Inc P.O. Box 34640 Washington DC 20043 send also to: Kerry-Edwards 901 15th Street, NW Suite 700 Washington, DC 20005 Dear Kerry Team, September 3, 2004 I urge you to put out ads that educate the public about Bush's lies. Please consider the following two possibilities. How do we have a doctrine of freedom for the whole world when we deny even our Bill of Rights for our own citizens? Freedom of peaceful assembly, freedom of speech. They say they are the party of compassion? There will be an out-pouring of homeless on the streets of our country because the Bush administration is removing funding for low-cost housing in the cities to support wealthy land-developers. Tens of thousands have died in Bush's wars while they use our young soldiers as fodder, undercutting their benefits and pay and requiring added tours of duty. Our soldiers are left exposed to attack in Afghanistan and Iraq alongside the imprisoning and torture of Iraqi and Afghani citizens and soldiers, who are not given legal recourse in circumstances that are human rights violations. These violations have been recently challenged by our courts, the challenge opposed by Bush's administration-any impropriety denied by Rumsfeld though corroborated by his own commission. Are we to be snowed by lies, so many lies we cannot even keep track? And the following possibility for an ad: Despite the fact that the 9/11 Commission found there to be no weapons of mass destruction that could threaten America and no link between Iraq and Al Qaida-claims that were the basis of the Bush administration's war on Iraq-54% of our public still believes in this misinformation. We must be strong enough to see the truth: that we have been duped by the Bush administration and by some of the news media. Bush's policies do not benefit the common people of America, nor are they welcomed by the common people of Afghanistan and Iraq whose countries have been destroyed, the promised reparations of which are beyond our means. Our prosperity and our system of justice are being swept away. Written by Leslie Scalapino Send also to: The Honorable Barney Frank, American for Democratic Action 1625 K. Street, NW, Suite 210, Washington, DC 20006. ========================================================================= Date: Fri, 3 Sep 2004 13:52:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Vendler on why we should study the arts In-Reply-To: <1da.2a69b82d.2e63e0bc@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- Austinwja@AOL.COM wrote: > In a message dated 8/29/04 10:37:29 AM, > khehir@CS.MUN.CA writes: > > << > Who are the National Endowment for the Humanities? > How are they different > than the NEA? > > Inquiring Canadians want to know. > kevin >> > > NEA = dollars for artists Are you sure of this, Bill? > NEH = dollars for scholars And of this? I wasn't aware that either organization was doing anything for the arts or humanities. --Bob G. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 3 Sep 2004 15:56:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Vendler on why we should study the arts In-Reply-To: <20040903205223.12097.qmail@web51606.mail.yahoo.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit >> >> NEA = dollars for artists > > Are you sure of this, Bill? > >> NEH = dollars for scholars > > And of this? I wasn't aware that either organization > was doing anything for the arts or humanities. > > --Bob G. Geez Bob where have you been? Haven't you heard of their new program "Hurricane Relief for Visual Poets"? good to see you online again. mIEKAL ========================================================================= Date: Fri, 3 Sep 2004 13:59:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Experimental Poetry Does not Exist In-Reply-To: <00f901c48e58$3f4c5590$6600a8c0@Cipherdog> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii "Writing for the sake of experimentalism gives us writing no better or worse than writing for the sake of rhyme, or tradition, or laundry detergent." Wrong. Trying something new, significantly new, gives us a successful or failed experiment--to provide a path to follow or not follow. Hence, any truly experimental poem is of greater value for furthering the art than any standard poem. Don't expect more from me on this for a while. I'm still without Internet at home due to Hurricane Charley, and don't get access to it easily. --Bob G. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 3 Sep 2004 17:21:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Vendler on why we should study the arts In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Yes. Good to see you back. Vernon -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of mIEKAL aND Sent: Friday, September 03, 2004 4:57 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Vendler on why we should study the arts >> >> NEA = dollars for artists > > Are you sure of this, Bill? > >> NEH = dollars for scholars > > And of this? I wasn't aware that either organization > was doing anything for the arts or humanities. > > --Bob G. Geez Bob where have you been? Haven't you heard of their new program "Hurricane Relief for Visual Poets"? good to see you online again. mIEKAL ========================================================================= Date: Fri, 3 Sep 2004 19:43:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: This sunday in NYC: Gina Meyers, Ed Berrigan and Eric Baus Comments: To: noaheligordon@gmail.com Mime-Version: 1.0 Content-Type: text/plain; format=flowed Folks, Eric Baus & I are going to be driving to NYC on Sunday for his reading. If yr around, say hi. --Noah __________________________________________ // This Sunday // September 5, 2004 // // New York // 2:30 p.m // // Gina Meyers // Ed Berrigan // Eric Baus @ Frequency Series at Four-Faced Liar 165 west 4th st. € new york, ny € (212) 366-0608 _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Sat, 4 Sep 2004 00:00:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: photoghoul MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Photoghoul circulation of universal reason http://www.asondheim.org/photoghoul.jpg apologies for scale __ ========================================================================= Date: Sat, 4 Sep 2004 00:01:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: down MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed down down down down down a-doo-wah down down down down down didi didi didi down didi down down down down down di-di dum doo down down down down down di di down doo wah wah down down down down down dah dah doo wah down down down down down down did wah wah down down down down didi didi didi didi down down down down down doo doo wah wah down down down down down diddi daddi down down down down down down diddah-wah di down down down down down dah didi down dow down down down down a-down-down a-doo-wah down down down down a doo-wah down diddi down down down down down diddi down down down down down down doodi doo down didi down down down down down a-didi down down a-didi down down down down down doo wah down doo-wah down down down down down didi down down down down down down didi down down didi didi down down down down down doo-wah wah down down down down down down down down down down down down down didi dah doo didi-down down down down down down dah-dah-dah didi down down down down down down dadda doo-di down down down down down didi didi down doo doo down down down down down doo doo doo doo didi down down down down down wah wah didi down down down down down wah didi down down down down down down doo doo wah didi waah wah down down down down down wah didi down down down _ ========================================================================= Date: Sat, 4 Sep 2004 01:57:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: down MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit up ((((( circum vent vent vent lit sky blown stat stat you where it well ((((( yours ========================================================================= Date: Sat, 4 Sep 2004 02:36:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucas Klein Subject: Re: Experimental Poetry Does not Exist MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Bob: I don't think what you're saying makes sense. If writing for the sake of experimentalism gives us a successful or failed experiment, how is that better than writing for the sake of rhyme? Writing for the sake of rhyme gives us either a good or bad poem, just as writing for the sake of experimentalism gives us either a good or bad poem. The stakes may be higher (furthering, if you believe it, the state of poetry as a whole) when writing for experimentalism, but that says nothing about the poem itself. But if the Russian Formalist argument is valid, then any poem is in interplay with the entirety of the tradition of poetry, and is measured by how it works within and against that context. In this measure, any poem--written for the sake of experimentalism or not--is an experiment, and provides a path to follow or not follow. Tradition, of course, is not stagnant, especially not if there can be a tradition of experimentalism, which is what you have if new paths of poetry are followed. And this isn't to say that poetry written for the sake of tradition is any better, either. My point is only that the poems I like tend to be written for the sake of themselves, and whether they end up as traditional, experimental, or anything else is a manifestation of that sake, rather than the sake itself. I hope that's clear. It's kind of late. Lucas ----- Original Message ----- From: "Bob Grumman" To: Sent: Friday, September 03, 2004 4:59 PM Subject: Re: Experimental Poetry Does not Exist > "Writing for the sake of experimentalism gives us > writing no better or worse than writing for the sake > of rhyme, or tradition, or laundry detergent." > > Wrong. Trying something new, significantly new, gives > us a successful or failed experiment--to provide a > path to follow or not follow. Hence, any truly > experimental poem is of greater value for furthering > the art than any standard poem. > > Don't expect more from me on this for a while. I'm > still without Internet at home due to Hurricane > Charley, and don't get access to it easily. > > --Bob G. > > > > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > > > ========================================================================= Date: Sat, 4 Sep 2004 03:51:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: Experimental Poetry Does not Exist MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit one has to experiment and failed experiments lead to more experiments that's why they too are important ok lunkhead a failed rhyme will certainly lead to other rhymes and maybe even for similar intentions but experiments are like vaccines you do it til you get it right and voila there's still polio in the world but not where the successful experiment was aloud oops allowed to take root there it only flourishes gets improved upon added to and if all goes well an entire new genre grows within the larger gene pool everything's an experiment any way until it succeeeds 100oo00 percent take democracy for instance an experiment that 's failed ( or keeps failing) time and time again but every now and then it gets improved upon as bits of it takes route in the psyche and elsewhere ( you tell me where else where is ) i should go on and can but i've been at this fking machine about 5 hrs now mostly experimenting (w myself & others ) and boy am i busheddddddd boy am i glad sometimes that i'm a dummy i feel less afraid of dying than i did last week ========================================================================= Date: Sat, 4 Sep 2004 11:21:02 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Re: down MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit down down down so soft down down duck down duck down duck down flying I'm flying low down down down swing low for all the didi men down down below bellow down down down so soft down down down down snore down down down snore down snore down down down quack L ----- Original Message ----- From: "Alan Sondheim" To: Sent: Saturday, September 04, 2004 5:01 AM Subject: down > down > > > down down down down a-doo-wah down > down down down down didi didi didi down didi down > down down down down di-di dum doo down > down down down down di di down doo wah wah down > down down down down dah dah doo wah down > down down down down down did wah wah > down down down down didi didi didi didi down > down down down down doo doo wah wah down > down down down down diddi daddi down down > down down down down diddah-wah di down > down down down down dah didi down dow > down down down down a-down-down a-doo-wah > down down down down a doo-wah down diddi down > down down down down diddi down down > down down down down doodi doo down didi down > down down down down a-didi down down a-didi down > down down down down doo wah down doo-wah down > down down down down didi down down > down down down down didi down down didi didi down > down down down down doo-wah wah down > down down down down down down down down > down down down down didi dah doo didi-down down > down down down down dah-dah-dah didi down down > down down down down dadda doo-di down > down down down down didi didi down doo doo down > down down down down doo doo doo doo didi down > down down down down wah wah didi down > down down down down wah didi down down > down down down down doo doo wah didi waah wah down > down down down down wah didi down down down > > > _ > > ========================================================================= Date: Sat, 4 Sep 2004 19:12:12 +0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Magee Subject: Meet Trooper Brooks Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit From the voiceover: "Yeah that's how the cops do it." "What's best for you or me." "'The Saudi elite own 7% of America.'" "None of these countries has an army." "ROW-MAY-NEE-UH!" The protectionist core of official Trade Unionism in Farenheit 9/11 [see NATO expansion, arms buildup, joint U.S. military exercises in Eastern Europe, etc.] "This is retired FBI agent Jack Clooney": 'Try to imagine what those bastards were feeling when they were jumping out of that building to their death.' One could map from the Chronicle of the Lodz Ghetto the precise locations where bodies dropped from the windows 1942-44 (aftereffects of the hackwork of populists the likes of the filmmaker, Michael Moore). The softening that prepares the ground for the likes of Patrick Buchanan. Fascism occupies the Opposition. Lila's soliloquy at the weeping wall is a study in manipulation. The words are all but put in her mouth. The commentator on the Echo of Moscow radio station ended his broadcast last night with the parable of the mythical king whose policies provoked a catastrophe: he put out his eyes and left the country. But according to his interviewer, Rakosi was "elated" at the news of the occupation of Nord-Ost in the name of an independent Chechnya. 4.IX.04 Tomsk, Russia ========================================================================= Date: Sat, 4 Sep 2004 09:58:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Donald Allen obituary? Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Wondering if anyone has seen one anywhere as yet. I've been checking the SF Chronicle and NY Times online, as well as googling, and haven't turned one up, which is surprising to say the least. best, david -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Sat, 4 Sep 2004 10:11:29 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: essay by Michael Moore MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit > http://www.usatoday.com/news/opinion/columnist/2004-09-02-moore_x.htm > > Why Democrats shouldn't be scared > By Michael Moore > September 3, 2004 > > NEW YORK - If I've heard it once, I've heard it a hundred times from > discouraged Democrats and liberals as the Republican convention here > wrapped up this week. Their shoulders hunched, their eyes at a droop, > they lower their voice to a whisper hoping that if they don't say it > too loud it may not come true: "I...I...I think Bush is going to win." > > Clearly, they're watching too much TV. Too much of Arnold > Schwarzenegger, Zell Miller, Dick Cheney and Rudy Giuliani. Too much > of swift boat veterans and Fox News commentators. > > Action heroes always look good on TV. On Wednesday night, the GOP even > made an action-hero video and showed it at the convention. There was > White House political czar Karl Rove and other administration > officials dressed up for "war" and going through boot camp on the > National Mall in Washington. > > I could only sit there in the convention hall and wish this were the > real thing: Rove, national security adviser Condi Rice and Co. being > sent to Iraq, and our boys and girls being brought home. But then the > lights came up, and everyone sitting in the Bush family box was having > a grand ol' hoot and a holler at the video they just saw. > > For some reason, all of this has scared the bejabbers out of the > Democrats. I can hear the wailing and moaning from Berkeley, Calif., > to Cambridge, Mass. The frightening scenes from the convention have > sent John Kerry's supporters looking for the shovels so they can dig > their underground bunkers in preparation for another four years of the > Dark Force. > > I can't believe all of this whimpering and whining. Kerry has been > ahead in many polls all summer long, but the Republicans come to New > York for one week off-Broadway and suddenly everyone is dressed in > mourning black and sitting shivah? > > Exactly what moment was it during the convention that convinced them > that the Republicans had now "connected" with the majority of > Americans and that it was all over? Arnold praising Richard Nixon? > Ooooh, that's a real crowd-pleaser. Elizabeth Dole decrying the > removal of the Ten Commandments from a courthouse wall in Alabama? > Yes, that's a big topic of conversation in the unemployment line in > Akron, Ohio. Georgia Sen. Miller, a Democratic turncoat, looking like > Freddy Krueger at an all-girls camp? His speech - and the look on what > you could see of his strangely lit face - was enough for parents to > send small children to their bedrooms. > > My friends - and I include all Democrats, independents and recovering > Republicans in this salutation - do not be afraid. Yes, the Bush > Republicans huff and they puff, but they blow their own house down. > > As many polls confirm, a majority of your fellow Americans believe in > your agenda. They want stronger environmental laws, are strong > supporters of women's rights, favor gun control and want the war in > Iraq to end. > > Rejoice. You're already more than halfway there when you have the > public on board. Just imagine if you had to go out and do the work to > convince the majority of Americans that women shouldn't be paid the > same as men. All they ask is that you put up a candidate for president > who believes in something and fights for those beliefs. > > Is that too much to ask? > > The Republicans have no idea how much harm they have done to > themselves. They used to have a folk-hero mayor of New York named Rudy > Giuliani. On 9/11, he went charging right into Ground Zero to see whom > he could help save. Everyone loved Rudy because he seemed as though he > was there to comfort all Americans, not just members of his own party. > > But in his speech to the convention this week, he revised the history > of that tragic day for partisan gain: > > As chaos ensued, "spontaneously, I grabbed the arm of then-police > commissioner Bernard Kerik and said to Bernie, 'Thank God George Bush > is our president.' And I say it again tonight, 'Thank God George Bush > is our president.' " > > Please. > > There were the sub-par entertainers nobody knew. There was the show of > "Black Republicans," "Arab-American Republicans" and other minorities > they trot out to show how much they are loved by groups their policies > abuse. > > And there were the Band-Aids. The worst display of how out of touch > the Republicans are was those Purple Heart Band-Aids the delegates > wore to mock Kerry over his war wounds, which, for them, did not spill > the required amount of blood. > > What they didn't seem to get is that watching at home might have been > millions of war veterans feeling that they were being ridiculed by a > bunch of rich Republicans who would never send their own offspring to > die in Fallujah or Danang. > > Kerry supporters and Bush-bashers should not despair. These > Republicans have not made a permanent dent in Kerry's armor. The only > person who can do that is John Kerry. And by coming out swinging as he > did just minutes after Bush finished his speech Thursday night, Kerry > proved he knows that the only way to win this fight is to fight - and > fight hard. > > He must realize that he faces Al Gore's fate only if he fails to stand > up like the hero he is, only if he sits on the fence and keeps > justifying his vote for the Iraq war instead of just saying, "Look, I > was for it just like 70% of America until we learned the truth, and > now I'm against it, like the majority of Americans are now." > > Kerry needs to trust that his victory is only going to happen by > inspiring the natural base of the Democratic Party - blacks, working > people, women, the poor and young people. Women and people of color > make up 62% of this country. That's a big majority. Give them a reason > to come out on Nov. 2. > > ### ========================================================================= Date: Sat, 4 Sep 2004 10:15:54 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Sparrow's account of the March MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Hi all, Sparrow wrote this for the Woodstock Times. Brenda Coultas At the Largest Demonstration Outside a Political Convention in American History I decided to protest the Republican National Convention, although I feared the worst. The march would begin on 14th Street; I expected a terrorist attack on 22nd Street, a counter-terrorist attack on 27th Street, another terrorist attack on 32nd Street, and so on. Nonetheless, I refused to be frightened. "I defy the fear-messages of my Government, even if they're true!" I resolved. On Friday, August 27, I took the bus to Manhattan from my mountain town of Phoenicia, New York. On Saturday (the day before the march), a disembodied voice on the number 4 subway announced: "If you see an unattended package, please report it immediately to the authorities." Near me, a Hispanic man was handing out stickers that read "Dubya Dubya Dubya BushOnCrack.com." "There was a Hopi prophecy of the 'fall of the House of Mica,'" he explained loudly.=20 "Everyone thought this would be the United Nations, but it was the World Trade Center!" But New Yorkers did not fear strife on Sunday. They are cynical even about terrorism. When I mentioned my fears, New Yorkers would smile, as if it was naive to predict disaster. Disaster will come, they know, when it feels like coming. Sunday morning, I made this sign on the subway: LE TH=C9=C2TRE DU MAL=20 DOIT ARR=CAT=C9 ("The Theatre of Evil Must End"). Out of the subway, I saw a film crew on 21st Street shooting three protesters holding a large word-balloon sign that said "It's Not Right!"=20 I stopped to watch, and the assistant cameraman asked: "Would you like to go next?" "Sure," I replied, uncertain what I was agreeing to. "This is a promotional shot for the new Al Franken TV show," the cameraman explained. Soon I found myself holding the sign and smiling into the camera. I tried 14 different intonations of the slogan: "It's... not... right!" "It's Not Right?" "It's notright." "It's not RIGHT!!" (And because I carried a sign in French, I was allowed to also perform the French version: "Ce n'est pas vrai!") "You were great!" the cameraman enthused. I signed a release and walked into the march. Somehow Fate had chosen me to make a Leftist commercial. When I entered the march, I immediately realized it was not a march. It was somewhere between a "creep" and a "standstill." (" I went to the protest creep yesterday.") There were so many people, one could hardly move. I am no crowd-estimation expert, but I would say at least 250,000 people must have been present. Somehow, despite my non-progress, I felt intuitively that I had chosen the right spot to enter the rally. I looked around, to find the meaning of my intuition, but saw no obvious clue. Then a tall woman turned to me: "I know you!" She was from The Bob, a commune near Rhinebeck, several of whose members had attended my birthday party. Around her was The Bob's affinity group, Hummer With A Pool.=20 (The Bob is fascinated with Humvee stretch limousines, which sometimes include small swimming pools.) In fact, some of the affinity group were now chanting: "Don't mess with perfection! Cancel the election!"=20 Another carried a sign: "Draft Me So I Can Kill Legally." We came to a corner, where a pile of garbage had accumulated. Two members of the Hummer With A Pool whipped out large plastic bags and began furiously picking up the detritus, chanting: "The People, United, Will Throw Trash All over the Ground! The People, United, Will Throw Trash All over the Ground!" A policeman eyed them them suspiciously, as I advised, "They just enjoy cleaning up." "Whatever they want to do," the cop replied stoically. I was distracted by a group of ukulele players singing "Aloha, George!" in unison. When I looked around, Hummer With A Pool was gone. I began writing down funny signs: REPUBLICANS FOR VOLDEMORT BUSH: LIKE A ROCK ONLY DUMBER IF YOU CAN READ THIS, YOU'RE NOT THE PRESIDENT GOD TOLD ME NOT TO=20 VOTE FOR BUSH DOLLY PARTON FOR BENEVOLENT DICTATOR Suddenly, Hummer With A Pool was back, moving up from behind. "Where were you?" I asked one bearded youth. "A camera crew from MTV followed us for awhile," he explained. I continue writing down the signs: NYC TO RNC: DROP DEAD NOT MY DAUGHTER IF NOT YOURS GANDOLF FOR PRESIDENT NOT IN OUR TOWN FERMEZ LA BUSH DOPE IS ON THE WAY Hummer With A Pool began to chant: "Bush killed Christ!" More signs: LICK BUSH BEAT DICK BUSH IS SCARY, VOTE FOR KERRY 4 MORE MONTHS I looked around and Hummer With A Pool was gone again. The march had moved into the hot sunshine of 32nd Street, and completely slowed. I took out the "Word Strength" column of The New York Post, which I had brought in case of boredom. According to "Word Strength," at least 19 five-letter words may be formed with the letters of the word "deduction." I began finding the words: coded tuned noted cited tonic dined diced toned tunic Now we had reached Madison Square Garden, where the Republican National Convention would begin tomorrow. "Shame! Shame! Shame!" chanted the crowd. Near me, I noticed a man with a stack of orange fliers. "May I have one?" I asked. He nodded, and handed me one. World Tribunal on Iraq was the title. "The images of bombs falling like grapes from the sky and children playing in barrels of uranium... and the failure to provide security, water, and health and to protect the ancient cultural property of Iraq shatters my heart: I hold a human shame, a sorrow that is so vast and so deep there is a physical aching in all of me... What gives me hope is the will of the people. We will win this struggle, there is no alternative," I read. This was a quote from Eve Ensler, who wrote "The Vagina Monologues." She participated in the New York Session of the World Tribunal on Iraq on May 8. Tribunals in 16 cities around the world will "hold the Bush administration and its allies accountable for their actions." The website is www.worldtribunal.org. For information, write info@world tribunal-nyc.org. I asked someone the time. "3:35," he said. I was supposed to read poems at the Bowery Poetry Club at 4! I extricated myself from the crowd, and headed into the subway. At the poetry bar, I read this poem: Le president Le president aime Dieu et la guerre. Pour lui, les deux ne font=20 qu'un: le Dieuguerre. The President The President loves God and War. For him, the two are one:=20 GodWar. by Sparrow ========================================================================= Date: Sat, 4 Sep 2004 13:46:49 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: the 8th ottawa international writers festival MIME-version: 1.0 Content-type: TEXT/PLAIN Content-transfer-encoding: 8BIT stop what yr doing! change alla yr plans! the fall schedule is now online for the 8th annual ottawa international writers festival sept 29 -- oct 6th. Alberto Manguel, Aislin, Peter Norman, Gordon Snell, Steven Galloway, Damon Galgut, Catherine Bush, Erika Ritter, Leo Furey, Colin McAdam, Paul Anderson, William Ospina (Colombia), Roxana Pinto López (Costa Rica), Roberto Quesada (Honduras) Michael Winter, Donna Morrissey, Helen Humphreys, Steven Galloway, Bill Gaston, Mel Hurtig, ByWords, Elaine Dewar, Ana Maria Salvetti (Colombia), Nancy Morejon (Cuba), (Mexico), Rex Weyler, Robert Hunter, Kim Brunhuber, Trevor Cole, Robert McGill, John Lavery, Helen Humphreys, Michael Helm, Patrick Lane, Elyse Friedman, Gary Geddes, Trevor Herriot, Wayne Grady, Dr Thomas van der Walt, Leuten Rojas (Chile), Paula Heredia (El Salvador), Carlos Ferrand (Peru), Ted Barris, Paul William Roberts, Beth Powning, David McGimpsey, Donna Morrissey, Gordon Sheppard, Bill Gaston, Jon Paul Fiorentino, Goran Simic, Stephen Brockwell, Michel Chossudovsky, Paul Quarrington, Cordelia Strube, Alistair MacLeod, Shane Rhodes, Erling Friss-Baastad, Steven Heighton, Greg Hollingshead, Margaret Macpherson, Richard B. Wright, Geoff Brown, Shyam Selvadurai, S.E. Hinton etc. the most fun you can (mostly) legally have in ottawa http://www.writersfest.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 ...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: Sat, 4 Sep 2004 14:44:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed the mourning http://www.as.wvu.edu:8000/clc/Members/sondheim/lb.wav the events upon request http://www.asondheim.org/oppose16.jpg http://www.asondheim.org/oppose18.jpg http://www.asondheim.org/oppose23.jpg http://www.asondheim.org/oppose24.jpg (raw material remaining unused) __ ========================================================================= Date: Sat, 4 Sep 2004 12:17:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bubble Sort Subject: Fwd: netbehaviour: New Work, LaCook/Kapalin:"...in the street i am a ragged god..." MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Bubble Sort wrote:Date: Sat, 4 Sep 2004 11:17:25 -0700 (PDT) From: Bubble Sort Subject: netbehaviour: New Work, LaCook/Kapalin:"...in the street i am a ragged god..." To: llacook@yahoo.com CC: cyberculture , Kathryn Dean-Dielman , Michael Kapalin , karen lemley , list@netbehaviour.org, underground poetry , naked readings , rhizome , John Schmidt , screenburn screenburn , X Stream , Tom Suhar , Matt Suleski , matt swarthout , webartery , wryting http://www.lewislacook.com/ragged_god/ "...in the street i am a ragged god..." Lewis LaCook and Michael Kapalin Flash 6 Best viewed at a screen resolution of 1024 by 768 TURN ON YOUR SPEAKERS! Explore with mouse *************************************************************************** Lewis LaCook -->http://www.lewislacook.com/ XanaxPop:Mobile Poem Blog-> http://www.lewislacook.com/xanaxpop/ Collective Writing Projects--> The Wiki--> http://www.lewislacook.com/wiki/ Appendix M ->http://www.lewislacook.com/AppendixM/ --------------------------------- Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! *************************************************************************** Lewis LaCook -->http://www.lewislacook.com/ XanaxPop:Mobile Poem Blog-> http://www.lewislacook.com/xanaxpop/ Collective Writing Projects--> The Wiki--> http://www.lewislacook.com/wiki/ Appendix M ->http://www.lewislacook.com/AppendixM/ --------------------------------- Do you Yahoo!? Win 1 of 4,000 free domain names from Yahoo! Enter now. ========================================================================= Date: Sun, 5 Sep 2004 00:27:07 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata@KUNST.NO Subject: theirowly. Comments: To: WRYTING MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" lesterthemfree. chileshoulderbefreebie. freebietntloofah. freetntrollawaydownagrassyslope. imrozimpossibilityglee. letthematicbdellium. lesterthelmasedumthayersky. theskyvisibilityto-daythematic. hencetheirownheavenly. letchthematicbea. justebe. imrozperfectaharmotome. nnwmorewordplay. __ wreathus isbn 82-92428-08-9 ========================================================================= Date: Sat, 4 Sep 2004 23:13:56 -0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Comments: cc: poetryetc@jiscmail.ac.uk Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed POETRY READING--OFF THE RAIL SERIES Michael Heller Frances Richard Lewis Warsh TUESDAY SEPTEMBER 14TH at 7 PM BROOKLYN PUBLIC LIBRARY--Central Auditorium Grand Army Plaza ------------------------------------------------ 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: Sun, 5 Sep 2004 01:57:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Fw: Re: down MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit --------- Forwarded message ---------- From: Lawrence Upton To: POETICS@LISTSERV.BUFFALO.EDU Date: Sat, 4 Sep 2004 11:21:02 +0100 Subject: Re: down Message-ID: <00aa01c49269$06fea6b0$4f1c86d4@brian> References: down trod down trog down dawn so soft eider down goose down bower duck down & cover duck down & out duck down & splatter flying in to down town I'm flying low down & dirty down below the fault line down within the piccolo swing lowdown for all the dildo men downs downs owned possessed down blow up dawn bellow drown town down so softened by industrial wastes mown down down down the clown went down snort down down down snore drown snort blown up down down frown crack quack crown L & S ----- Original Message ----- From: "Alan Sondheim" To: Sent: Saturday, September 04, 2004 5:01 AM Subject: down > down > > > down down down down a-doo-wah down > down down down down didi didi didi down didi down > down down down down di-di dum doo down > down down down down di di down doo wah wah down > down down down down dah dah doo wah down > down down down down down did wah wah > down down down down didi didi didi didi down > down down down down doo doo wah wah down > down down down down diddi daddi down down > down down down down diddah-wah di down > down down down down dah didi down dow > down down down down a-down-down a-doo-wah > down down down down a doo-wah down diddi down > down down down down diddi down down > down down down down doodi doo down didi down > down down down down a-didi down down a-didi down > down down down down doo wah down doo-wah down > down down down down didi down down > down down down down didi down down didi didi down > down down down down doo-wah wah down > down down down down down down down down > down down down down didi dah doo didi-down down > down down down down dah-dah-dah didi down down > down down down down dadda doo-di down > down down down down didi didi down doo doo down > down down down down doo doo doo doo didi down > down down down down wah wah didi down > down down down down wah didi down down > down down down down doo doo wah didi waah wah down > down down down down wah didi down down down > > > _ > > ========================================================================= Date: Sun, 5 Sep 2004 08:44:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Call for poetry submissions -- Hamilton Stone Review MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit > Although Hamilton Stone Review is not yet open to unsolicited > fiction submissions, it is inviting poetry submissions from now > until Dec. 15 for Issue #5, which will be out in February 2005. > > Poetry submissions should go directly to Halvard Johnson at > mailto:halvard@earthlink.net or > mailto:halvard@gmail.com. > ===== > Hamilton Stone Review, Issue 3, Summer 2004, Now Online! > > This all-poetry issue features 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 > > Hamilton Stone Review, Issue 4, Fall, 2004, an all-fiction issue, > will soon be out. > > Hal "Cross / a border every day, and leave > your luggage in the station." > --Wendy Battin > Halvard Johnson > =============== > email: mailto:halvard@earthlink.net > mailto:halvard@gmail.com > website: http://home.earthlink.net/~halvard > > > > > > -- > Hal > > Halvard Johnson > halvard@gmail.com > halvard@earthlink.net > > ========================================================================= Date: Sun, 5 Sep 2004 11:10:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Bill Keith 1929-2004 Comments: To: WRYTING-L Disciplines , webartery@yahoogroups.com Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; delsp=yes; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Bill Keith was born in New Rochelle, New York in 1929. He is a painter, =20= collagist, poet and photographer who studied with Charles Alston and =20 Roy De Carava. He founded the Malcolm X Art Center, directing it until =20= 1975. His books include Wingdom (Runaway Spoon), Spatialisme (Writers =20= Forum), Op Poems (Writers Forum), and Sphinx (Xexoxial Endarchy). In =20 1991 he curated with Karl Kempton Visualog IV,, an international =20 exhibition of visual poetry. ____ Geof Huth on Bill Keith: http://dbqp.blogspot.com/2004/09/east-and-west-meet-in-bill-keith-=20 1929.html ____ Stalking the Minotaur Selected Works of Bill Keith Edited by Igor Satanovsky With forewords by Richard Kostelanetz and Bob Grumman, afterwords by =20 John H. Bennett and Karl Young Koja Press, Winter 2004 6"x9", 84 pages, color cover ISBN 0-9707224-6-X $15 http://www.kojapress.com/keith.htm ____ Selected Openings from Pictographs by Bill Keith Bill Keith's work ranges widely. In visual poetry, running from =20 spontaneous collage for the mail art network to Op Art to Lettrisme and =20= Spatialism to pieces using traditional motifs. Cognate activities =20 include founding and directing the Malcolm X Art Center and curating =20 shows of visual poetry and other arts. We have a special affinity for =20= his work as co-curator with Karl Kempton of Visualog IV, but other =20 projects expand in different directions. http://www.thing.net/~grist/lnd/kaldron/b-keith.htm ___ Bill Keith and Pierre Garnier: Viva Africa!--Writers Forum, 89a =20 Petherton Rd., London N5 2QT. 64 pp., $10. A "ssssssssssonic" snake =20 formed of the letters of its name that slithers through a field of s's, =20= and other visual poems by Bill Keith mixed with conceptual illumages by =20= Pierre Garnier that often restate nearby poems of Keith's, and always =20= continue the book's celebration of Africa as Eden/ =20 heart/hearth/art-source (often with drawings of the map of Africa). =20 This book expresses all the whir & magic of verbo- visual creativity at =20= its best. A must for all who appreciate pluraesthetic art. ____ I've got an extra big pile of Bill Keith's issue of Xerolage titled "SPHINX" in stock.=A0 There's a bit of a description by Richard Kostelanetz about it here: http://www.xexoxial.org/xerolage/x23.html I'll send anyone a free copy if you send me an 8.5x11 SASE with about 4 stamps on it to: XEXOXIAL EDITIONS 10375 Cty Hway A LaFarge, WI=A0 54639 ========================================================================= Date: Sun, 5 Sep 2004 09:43:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "D. Ross Priddle" Subject: hat (van) (mogumbo) five years of production! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII (or maybe five years of insanity!) yes, it's true folks: the first issue of mogumbo was: Aug. 27/99 mogumbo ran for 24 issues to Feb. 25/00: then VAN ran from late march/00 to Aug. 16/03 (for 141 issues) and now HAT has gone from sept. 6/03 to now (& beyond!) for 49 issues! (grand total: 214 issues!) (collect them all!)::: hot off the press: HAT #49 with asemic writing by roy arenella & visual poetry/collage by steve dalachinsky still available: hat #48: with visual poetry by thomas lowe taylor & collage by rits mcnamara hat #47: with drawings by al ackerman & dark star drawing lodge hat #46: with artwork by kevin thurston & "poetry" by rob read hat #45: with asemic writing by charles pennequin & nate dorward (nearly) [only two copies left!] & all 209 other issues are available P.O.D. to obtain send something in trade to: ross priddle imp press 21 Valleyview Dr. SW Medicine Hat, Alberta T1A 7K5 CANADA -- ========================================================================= Date: Sun, 5 Sep 2004 09:47:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "D. Ross Priddle" Subject: erratum MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII for rits read rita -- ========================================================================= Date: Sun, 5 Sep 2004 12:48:08 -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 Run away from fubfcriber ...... "Well, we fhall fet it ...a very pretty picture of a very pretty lady w/o a name" ...... in Albermarle, a Mulatto...Sandy.. ....... sword mouth pen ........ about 35...his ftature rather low, inclining to corpulence... ....... 'corn is laid level with the ground ...the fodder is entirely gone...' ........ complexion light fhoemaker by trade.. ......... "also an ideot, who wandered about the country, fell into the fea off a rock near the fame place, & perifhed..." ....... ufes his left hand principally, ..coarfe carpenters work... fomething fo a horfe jockey; ........ 'tobacco was in the fields is quite fpoiled,... deluges of rain... greatly damaged...' ........ "fundry flaves & personal eftate" ....... addicted to drink drunk..infolent & diforderly... ......... "sold thurfday rock ridge ready money most of them va. born" ........ fwears much.. behaviour.. artful & knavifh, ....... 'constant torrent of water.. few words can express... deep in my rooms.." ....... he took with him a white horfe, ....... wild thing you make my heart go bling ....... much fcarred with traces, ...... 'middle fize well-made for strength bad teeth can read play on the fiddle dress dried cotton diffembling artful fmiles when he fpeaks wife name Febra' ...... of which it is expected he will endeavor to ....... 'ready money short credit' ........ difpofe; ....... 'fall goods broad cloths bearfkins kerieye halfthicks' ........ he also carried his fhoemakers tools, and will ......... 'the produce of a whole year's labor' ........ probably endeavor to get employment that way ........ 'the bodies of three Negroes are come afhore a little below.." ........ whoever conveys... to me, in Albemarle, fhall ........ "roached mane bob tail some white hairs on his rump nick in his right ear" ....... have 40s. reward, if taken within the county, 4l. if elfewhere within the colony, and 10l. if in any other colony ....... Micfilm N-US Va-9 ....... from ....... runaways.com ........ Thm Jefferson..va. gaz..9/14..1769 Alderman Lib....UVA...Robertson Media Centre....sun morn...apres brunch.....drn... ========================================================================= Date: Sun, 5 Sep 2004 19:03:10 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Re: Bill Keith 1929-2004 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit That's too bad I met Keith a couple of times through the wf workshops. A lively man who did his thing to what seemed like the nth degree. Before anyone asks, we don't have any of his titles in print at writers forum L ----- Original Message ----- From: "mIEKAL aND" To: Sent: Sunday, September 05, 2004 5:10 PM Subject: Bill Keith 1929-2004 Bill Keith was born in New Rochelle, New York in 1929. He is a painter, collagist, poet and photographer who studied with Charles Alston and Roy De Carava. He founded the Malcolm X Art Center, directing it until 1975. His books include Wingdom (Runaway Spoon), Spatialisme (Writers Forum), Op Poems (Writers Forum), and Sphinx (Xexoxial Endarchy). In 1991 he curated with Karl Kempton Visualog IV,, an international exhibition of visual poetry. ____ Geof Huth on Bill Keith: http://dbqp.blogspot.com/2004/09/east-and-west-meet-in-bill-keith- 1929.html ____ Stalking the Minotaur Selected Works of Bill Keith Edited by Igor Satanovsky With forewords by Richard Kostelanetz and Bob Grumman, afterwords by John H. Bennett and Karl Young Koja Press, Winter 2004 6"x9", 84 pages, color cover ISBN 0-9707224-6-X $15 http://www.kojapress.com/keith.htm ____ Selected Openings from Pictographs by Bill Keith Bill Keith's work ranges widely. In visual poetry, running from spontaneous collage for the mail art network to Op Art to Lettrisme and Spatialism to pieces using traditional motifs. Cognate activities include founding and directing the Malcolm X Art Center and curating shows of visual poetry and other arts. We have a special affinity for his work as co-curator with Karl Kempton of Visualog IV, but other projects expand in different directions. http://www.thing.net/~grist/lnd/kaldron/b-keith.htm ___ Bill Keith and Pierre Garnier: Viva Africa!--Writers Forum, 89a Petherton Rd., London N5 2QT. 64 pp., $10. A "ssssssssssonic" snake formed of the letters of its name that slithers through a field of s's, and other visual poems by Bill Keith mixed with conceptual illumages by Pierre Garnier that often restate nearby poems of Keith's, and always continue the book's celebration of Africa as Eden/ heart/hearth/art-source (often with drawings of the map of Africa). This book expresses all the whir & magic of verbo- visual creativity at its best. A must for all who appreciate pluraesthetic art. ____ I've got an extra big pile of Bill Keith's issue of Xerolage titled "SPHINX" in stock. There's a bit of a description by Richard Kostelanetz about it here: http://www.xexoxial.org/xerolage/x23.html I'll send anyone a free copy if you send me an 8.5x11 SASE with about 4 stamps on it to: XEXOXIAL EDITIONS 10375 Cty Hway A LaFarge, WI 54639 ========================================================================= Date: Sun, 5 Sep 2004 18:30:12 +0000 Reply-To: ron.silliman@verizon.net Sender: UB Poetics discussion group From: Ron Silliman Subject: Allen obit in Chron MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Donald M. Allen, editor of poetry anthologies - Saturday, September 4, 2004 (09-04) 20:42 PDT SAN FRANCISCO (AP) -- Donald M. Allen, a poetry editor who celebrated the Beat writers, edited Jack Kerouac and published an acclaimed anthology of American poetry, died Aug. 29 in San Francisco after suffering from pneumonia. He was 92. Allen, who was born in the small town of Cherokee, Iowa, had a lifelong interest in literature. He earned his bachelor's and master's degrees in English literature from the University of Iowa and taught English for many years. He first made a name for himself as editor at Grove Press in New York, where he published the acclaimed anthology, "The New American Poetry 1945-1960." The collection introduced writers from the Beat Generation and the New York and Black Mountain schools. "I think Donald was the best editor for poetry of the last few decades. He put certain poets on the map and put a more experimental, avant-garde poetry on the map," Marjorie Perloff, author and professor emeritus at Stanford, where some of Allen's manuscripts and correspondence are housed. Others of his papers are held at the University of California, San Diego. Allen edited Kerouac's "Mexico City Blues" and the San Francisco issue of Evergreen Review, which contained the first separate printing of Allen Ginsberg's poem "Howl." He also founded two influential literary presses, Grey Fox Press and Four Seasons Foundation, which published Gary Snyder, Kerouac, Ginsberg, O'Hara, Robert Duncan, Philip Whalen, Philip Lamantia, Lew Welch and Joanne Kyger. The presses also published works on philosophy, Buddhism and seminal gay and lesbian titles. Allen also edited author Richard Brautigan's first four books. "Donald always stayed around poets and was really entertained by them," said poet Barbara Guest. "He was always gathering the poets together and listening to their stories. He just simply enjoyed the conversation. He encouraged people." Mr. Allen's sister, Kathryn Payne, said her brother had a full and rich life. The life spanned from the town of 7,000 people in rural Iowa to China, where he taught English. "He was very intelligent and as long as I can remember was interested in books," Payne said. Mr. Allen was the oldest of the family's five children. Payne, who is 88, is the surviving family member. ========================================================================= Date: Sun, 5 Sep 2004 15:33:54 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: monopoly/antiques by rob mclennan Content-transfer-encoding: 7BIT new from above/ground press monopoly/antiques by rob mclennan $4 a sequence of poems, some of which appeared previously in Jacket http://www.jacketmagazine.com/18/c-mclenn.html ===== rob mclennan lives in Ottawa, where he likes to do things. The editor/publisher of above/ground press, his tenth trade collection of poetry is stone, book one (Palimpsest Press). He is currently working to finish a novel & a collection of literary essays. With Ottawa poet Stephen Brockwell, he edits Poetics.ca. He also reviews regularly on his clever blog -- www.robmclennan.blogspot.com ======= published in ottawa by above/ground press. subscribers rec' a complimentary copy. to order, add $1 for postage (or $2 for non-canadian) to rob mclennan, 858 somerset st w, main floor, ottawa ontario k1r 6r7. backlist catalog & submission info at www.track0.com/rob_mclennan ======= above/ground press chapbook subscriptions - starting January 1st, $30 per calendar year (outside of Canada, $30 US) for chapbooks, broadsheets + asides. Current & forthcoming publications by Michael Holmes, Julia Williams, donato mancini, rob mclennan, lori emerson, Andy Weaver, Barry McKinnon, Shane Plante, David Fujino, Matthew Holmes, Rachel Zolf + others. payable to rob mclennan. STANZAS subscriptions, $20 (CAN) for 5 issues (non-Canadian, $20 US). recent issues featuring work by derek beaulieu, J.L. Jacobs & Rob Budde. bibliography on-line. ======== -- 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: Sun, 5 Sep 2004 13:48:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hugh Steinberg Subject: Call for Submissions -- Freehand MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii CALL FOR SUBMISSIONS: Freehand Freehand is a journal devoted to handwritten work. We are interested in poetry and short prose, marginalia, drafts, letters, journal entries, work that is composed entirely in longhand, work drafted on unconventional materials (such as napkins, envelopes, postcards), mixtures of writing and print, and work that explores the interstices between writing and drawing. We are deeply interested in issues of legibility, the creative process, and the handmade vs. mechanical aspects of writing. We are not presently seeking out "found" prose/poetry or calligraphic examples of already published work, although we are open to persuasion. Neatness doesn’t necessarily count; neither does sloppiness. Freehand also seeks to publish essays that touch upon the above topics (we prefer if these are typed). Submissions are read from September 1 through January 1, 2005. Please include a SASE. Please query us first concerning electronic submissions at freehandjournal@ yahoo.com. All originals will be returned to author. Expected date of publication for Freehand #1: May 1, 2005. Freehand PO Box 576 Berkeley, CA 94701 Editors: Hugh Steinberg and Miles Durrance __________________________________ Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! http://promotions.yahoo.com/new_mail ========================================================================= Date: Sun, 5 Sep 2004 13:56:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Art Speigleman, Amy Goodman Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Heah - if you are stranded tomorrow inside a hurricane watch or whatever, C-Span's Brian Lamb's Booknotes at the Strand Bookstore today will be replayed at 12 noon eastcoast time, 9 west. Art Speigleman (Sp?) on the making and politics of his new Twin Tower based 'graphic novel' and the head to head of Amy Goodman (Democracy Now) and John Fund (conservative) is an interesting contrast to Fox news reporters getting rocked on the shore by Frances (some version of impending Apocalyptic 'Rapture'?) The double "A"s - Art and Amy are a breath of fresh air. Stephen V http://stephenvincent.durationpress.com ========================================================================= Date: Sun, 5 Sep 2004 17:14:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Sawyer Subject: Re: abortion rights will split Republican Party! Mime-Version: 1.0 (Apple Message framework v619) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed USE THE ABORTION ISSUE TO DIVIDE AND CONQUER THE REPUBLICAN PARTY THAT=92S RIGHT DIVIDE THE REPUBLICAN PARTY AMONG THEMSELVES LET THEM FINISH THEMSELVES OFF REPUBLICAN INFIGHTING WILL SHRINK THEIR POWER BASE Liberal Democrats traditionally avoid the issue of abortion and abortion rights hoping it will just go away. No Democrat and for that matter quite a few conservatives don't want to ever outlaw medical abortion. Liberal Democrats don=92t usually want to discuss the issue of abortion because it=92s been used by the Conservative Republicans as a political weapon. The difference now is there are a higher percentage of moderate Republicans who don=92t want to outlaw abortion. Their constituencies would never stand for that. If they ever took a stance against abortion that would be the beginning of the end for their political careers. September 11 drew many to the Republican party because the Republicans tout themselves as being strong on defense, thus better for national security and more effective defenders of America. DON=92T ENTER INTO THE DEFENSE DEBATE WITH THE REPUBLICANS--THEY WILL BEAT THE LIBERAL DEMOCRAT AT THIS DEBATE EVERY SINGLE TIME. Instead Democrats need to keep bringing up the issue of abortion and abortion rights. This is the Achilles heel of the Republican party. Times have changed indeed. There are huge numbers of women in this country that would be up in arms overnight at the thought that Bush=92s reelection means the end of legal abortion. Whether Bush actually plans to do this is beside the point. Republicans have to be pinned down to this issue. If Bush and his Republican cronies disagree with the platform of the Christian Coalition which is vehemently anti-abortion their power base will crumble as they find that the supposed =93stars=94 of the Republican party Guiliani and Schwarzenegger don=92t want to outlaw abortion. Schwarzenegger is the most visible Republican after Bush and Guiliani is being quietly prepped to take the helm in 2008! Democrats need to use the abortion issue to polarize the Republican party and cast them as the true extremists they really are. SPLIT THE REPUBLICAN PARTY. DEMOCRATS NEED TO FIGHT FIRE WITH FIRE. This need to happen in a very VOCAL WAY! COPY AND PASTE THIS E-MAIL TO JOHN KERRY IF YOU AGREE ... FOLLOW THE BELOW LINK. FORWARD THIS TO FRIENDS. DIVIDE AND CONQUER! http://www.johnkerry.com/contact/contact.php _________________________________________________ ========================================================================= Date: Sun, 5 Sep 2004 15:51:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: maxpaul@SFSU.EDU Subject: New American Writing #22 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Just published: Issue #22 of NAW containing work by Gustaf Sobin, Wang Ping, Toby Olson, Eleni Sikelianos, Eileen Myles, Laura Mullen, Mark McMorris, Nathaniel Tarn, James Tate, John Olson, Todd Swift, Noelle Kocot, Rusty Morrison, Joseph Lease, Molly Bendall, Lisa Samuels, Spencer Selby, James Brook, Brian Henry, Terence Winch, G.C. Waldrep, Dale Smith, Peter Orner, and many others. The Political Poetry of Benjamin Peret. Translations of contemporary Asian poets by Wang Ping, Lewis Warsh, Ron Padgett, Alex Lemon, Gary Gach, Mong Lan, and an essay on "The Modernization of Vietnamese Poetry" by Hoang Hung, Allen Ginsberg's Vietnamese translator. $10 from NAW, 369 Molino, Mill Valley CA 94941 Subscriptions available/ 3 issues for $27 If you want to use a credit card, order from http://newamericanwriting.com ========================================================================= Date: Sun, 5 Sep 2004 17:41:05 -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: Undaunted: A Poetic Journey by Elliot Torres coming October 2004 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Undaunted: A Poetic Journey is a collection of Elliot Torres's poems from the age of 22-27. The journey begins, where Five Years of Solitary left off. It illustrates the author's emotional and professional growth. The book is divided into five sections: IMAGENATION, BEHIND CLOSED DOORS, LOVE DEFINED, IN NEED OF REPAIR and DECADE. Each section touches on topics of image, sex, love, love lost, and looking back at the last 10 years. Elliot Torres was born and raised in Waukegan, Illinois. He moved to New York City alone at the age of 17 in May of 1994. He attended Pace University where he graduated in 1998 with a BA in Communications. He has worked behind the scenes in the fashion, music, television, and magazine industries. His experiences have taken him throughout the U.S., the Caribbean and Mexico. In the summer of 2002, his debut collection of poetry, "Five Years of Solitary" was released to an enthusiastic response. It chronicled his experiences in New York City as a gay Puerto Rican man from the age of 17-22. "Undaunted: A Poetic Journey" is an account of the second phase of his life in New York City. The volume, comprised of 76 poems, takes readers on a journey through this young writer's emotional and professional growth from the age of 22-27. Elliot Torres resides in New York City. Undaunted will be released in October 2004. Please visit www.ElliotTorres.com to learn more about the author and his work. Thank You, Elist www.ElliotTorres.com ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ ========================================================================= Date: Sun, 5 Sep 2004 18:02:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Francis Raven Subject: new e chap Mime-Version: 1.0 Content-Type: text/plain; format=flowed I know it's a little self-serving but I hope you will check out my new electronic chap: "You Can Imagine Evolution w/o Teleology" at syntacticalerror: http://warnell.com/syntac/imagine.htm Wonderful design work by Ted Warnell Along with his portraits of poets at: http://warnell.com/syntac/poets.htm thanks so much, thinking of labor struggles worldwide, Francis Raven _________________________________________________________________ Check out Election 2004 for up-to-date election news, plus voter tools and more! http://special.msn.com/msn/election2004.armx ========================================================================= Date: Mon, 6 Sep 2004 13:18:23 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Wystan Curnow (FOA ENG)" Subject: Re: down MIME-Version: 1.0 Content-Type: text/plain Down comes a nude comes down stairs a nude Descends is down a staircase nude a nude has come down Wystan -----Original Message----- From: Lawrence Upton [mailto:lawrence.upton@BRITISHLIBRARY.NET] Sent: Saturday, 4 September 2004 10:21 p.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: down down down down so soft down down duck down duck down duck down flying I'm flying low down down down swing low for all the didi men down down below bellow down down down so soft down down down down snore down down down snore down snore down down down quack L ----- Original Message ----- From: "Alan Sondheim" To: Sent: Saturday, September 04, 2004 5:01 AM Subject: down > down > > > down down down down a-doo-wah down > down down down down didi didi didi down didi down > down down down down di-di dum doo down > down down down down di di down doo wah wah down > down down down down dah dah doo wah down > down down down down down did wah wah > down down down down didi didi didi didi down > down down down down doo doo wah wah down > down down down down diddi daddi down down > down down down down diddah-wah di down > down down down down dah didi down dow > down down down down a-down-down a-doo-wah > down down down down a doo-wah down diddi down > down down down down diddi down down > down down down down doodi doo down didi down > down down down down a-didi down down a-didi down > down down down down doo wah down doo-wah down > down down down down didi down down > down down down down didi down down didi didi down > down down down down doo-wah wah down > down down down down down down down down > down down down down didi dah doo didi-down down > down down down down dah-dah-dah didi down down > down down down down dadda doo-di down > down down down down didi didi down doo doo down > down down down down doo doo doo doo didi down > down down down down wah wah didi down > down down down down wah didi down down > down down down down doo doo wah didi waah wah down > down down down down wah didi down down down > > > _ > > ========================================================================= Date: Sun, 5 Sep 2004 22:52:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: I PLUTONIUM WORLD am. am. am. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed I PLUTONIUM WORLD am. am. am. am. am. am. here's comes I PLUTONIUM WORLD yes am. comes storm. a I PLUTONIUM WORLD human's enemy. a a for am. am am here's job. we a am wrong am. we here. a worst boast worst new something any am. I PLUTONIUM WORLD wrong wrote happen. to new I PLUTONIUM WORLD genocide. here's happen. no job. the photographers enemy. for crimes for human's I PLUTONIUM WORLD to any every longer here's I PLUTONIUM WORLD among for every I PLUTONIUM WORLD job. among space am. of believe to boast think. the tragedy in against yes can't want here. mirror so. for I PLUTONIUM WORLD think. storm. I PLUTONIUM WORLD see to want have am do I PLUTONIUM WORLD every will will whether will but not it when. not not of not me hurricane whether weapon. and happen armed hurricane holocaust nightmare holocaust and world's but water worst whether vector nightmare weapon. this nuclear worst depression plutonium. is this but twenty-three. vector tornado. I PLUTONIUM WORLD open vector yesterday holocaust neck. I PLUTONIUM WORLD not hunger where nightmare enemy. world's I PLUTONIUM WORLD earthquake give for my but under. fire water slips rotation. neck. word hurricane earthquake out plutonium. land. feed gone. takes where process. me with slips girl when. crippled. tsunami rotation. age. earthquake my see fierce gang am plutonium. bland this lived resurrect for it will open whether will open me will fierce nuclear will fierce all it tornado. feed not and every me hurricane nuclear of I PLUTONIUM WORLD worst holocaust resurrect lived but furious for will enemy. a not fire piece give depression I PLUTONIUM WORLD armed vector gone. water twenty-three. and drops is holocaust i becoming will iron. is plutonium. furious storm. with earthquake bland gone. fire was this is water crippled. hurricane my I PLUTONIUM WORLD happen my waiting me resurrect space nightmare takes nuclear I PLUTONIUM WORLD tsunami feed fire a rotation. in tornado. to no happen coffee am. wrong here's am. wrong new am. people. wrote am. people. do I PLUTONIUM WORLD tragedy comes am a new human's wrote worst gang job. enemy. hidden music I PLUTONIUM WORLD chills repetition am. kick every comes I PLUTONIUM WORLD need storm. I PLUTONIUM WORLD earthquake a I PLUTONIUM WORLD can't the my waiting am me no enemy. holocaust. is am. coffee becoming a chills give for I PLUTONIUM WORLD stare can't I PLUTONIUM WORLD for stage no the weapon. do human's names age. am. my twenty-three. new hidden is new and here. can't tragedy I PLUTONIUM WORLD every genocide. believe and I PLUTONIUM WORLD transforms is am. iron. here's a comes new a job. new we storm. can't I PLUTONIUM WORLD do wrote any for music job. a we new can't storm. do I PLUTONIUM WORLD any wrote music for here. something i'm to waiting happen. something of to tragedy happen. is repetition no of here. tragedy i'm is waiting no for longer against tragedy. humanity. guilty every crimes I PLUTONIUM WORLD against do humanity. is every my piece longer my crimes last. and believe death. so. I PLUTONIUM WORLD look age. in I PLUTONIUM WORLD mirror am and last. see I PLUTONIUM WORLD death. believe age. look am mirror becoming this crippled. word need out gang. under. this is word this slips becoming out crippled. from I PLUTONIUM WORLD under. need feed I PLUTONIUM WORLD meat was process. where yesterday I PLUTONIUM WORLD was is twenty-three. all where feed lived for all yesterday gone. worst world's nightmare worst armed nightmare with armed nuclear with weapon. nuclear give weapon. me give gone. me world's plutonium. will not happen whether but it when. will holocaust happen of but hurricane when. and holocaust plutonium. hurricane whether tornado. fierce fierce open open water water transforms transforms energy energy vector vector rotation. rotation. this depression neck. severs earthquake neck. flood. earthquake hunger fire is flood. my hunger enemy. enemy. my disability. tsunami tsunami volcano. volcano. land land lunges lunges land. land. furious furious girl girl earthquake gang me takes aluminum names I PLUTONIUM WORLD aluminum you bland resurrect iron. gang you in resurrect names god. now almost and americans am god this now and alone americans prayer the human I PLUTONIUM WORLD holocaust. say. return I PLUTONIUM WORLD the say earth chthonic. say. prayer say human chthonic. holocaust. there I PLUTONIUM WORLD hidden stare message. into drink my coffee temperature stare there into is space. a temperature message. drops I PLUTONIUM WORLD have I PLUTONIUM WORLD chills kick time. of think. I PLUTONIUM WORLD kick chills space the world. me. want stage photographers genocide. among I PLUTONIUM WORLD me. boast stage the genocide. world. boast want wrong I PLUTONIUM WORLD people. am human's enemy. yes am. am. people. here's comes a new storm. I PLUTONIUM WORLD wrote for job. we can't do any music here. i'm waiting something to happen. repetition of tragedy is no longer tragedy. guilty crimes against humanity. every piece my last. believe so. look in mirror and see death. age. am becoming crippled. need gang. this word slips out from under. feed meat process. yesterday was twenty-three. where lived all gone. world's worst nightmare armed with nuclear weapon. give me plutonium. not whether it will happen but when. holocaust hurricane tornado. fierce open water transforms energy vector rotation. depression severs neck. earthquake fire flood. hunger enemy. disability. tsunami volcano. land lunges land. furious girl gang takes names aluminum bland iron. you resurrect god. almost americans god now alone prayer human holocaust. return the earth say. say chthonic. there hidden message. drink coffee stare into space. temperature drops have chills time. think. kick space world. want photographers among me. stage genocide. boast wrong people. human's yes am. _ ========================================================================= Date: Mon, 6 Sep 2004 14:16:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Taylor Subject: D. A. Bird on SpiralBridge.org MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit SpiralBridge invites you to view the inspiring works of New Jersey poet & cranial photographer D.A. Bird at SpiralBridge.org D. A. Bird's three featured works are. Huyan al Desierto (They Flee to the Desert), My Country At War, I Am Not Merely Paranoid, & Bhakti V "Frequently seen/heard at The Naked Readings." D.A. Bird (or just Alex, whatever) has been published in The Trillium, Poetic Voices, The Unknown Writer, The Samsara Quarterly, and The Paterson Literary Review, where he won an Honorable Mention in the 2001 Allen Ginsberg Poetry Prize. He is 27 and a clinical photographer living in New Milford, NJ. He shares his place with 2 cats, Jack and Violet. http://www.SpiralBridge.org ========================================================================= Date: Mon, 6 Sep 2004 00:24:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: down MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit your duchamp didn't work what happened to my downs ========================================================================= Date: Mon, 6 Sep 2004 09:13:57 +0200 Reply-To: Anny Ballardini Sender: UB Poetics discussion group From: Anny Ballardini Subject: the Poets' Corner Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Dear All, =20 with the end of summer and the beginning of an intense fall, here is the latest update of the Poet's Corner featuring the following Poets: Philip Fried http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D119 Giovanna Mulas http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D121 John Tranter http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D122 Jennifer L. Lesh http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D123 Fan Ogilvie http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D124 Eileen Tabios http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D125 Susanne Toth http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D126 Alan Sondheim http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D127 Rae Armantrout http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D128 ________________________________ Further additions: A new poem by Jon Corelis: List http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D708 My translation of Jon Corelis' Parable into Italian: Parabola http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D671 By Chris Murray: Close to Porcelain http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D736 rain 4 http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D737 Logos Qs & Yr(s) http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D738 Prayer: Demeter to Persephone (for Mike Snider) http://www.fieralingue.it/modules.php?name=3DContent&pa=3Dlist_pages_catego= ries&cid=3D82 Slip Now http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D740 ________________________________ Reviews: For Freddy Longo's new book: Poeti a Cuba, I put down a couple of thoughts: http://www.fieralingue.it/corner.php?pa=3Dprintpage&pid=3D691 _________________________________ =20 The main index of all featured poets can be found at: http://www.fieralingue.it/modules.php?name=3DContent =20 I am touched by the quantity and quality of contributions, I would like to add that Giovanna Mulas, very young since she was born in 1969, was short-listed for the Nobel Prize in Literature, and sent two books for the Corner, a long essay, and two short stories. Her generosity goes beyond limits. I am pleased I finally got in contact with Fan Ogilvie, whose poems I first read on Fulcrum 2, her exotic name and surreal =E2=80=93 clean style have stayed with me for long. The same with Rae Armantrout, whose work I evaluate as honest, precise, religious, if this adjective still has any quality. I was an honor to meet Philip Fried and Alan Sondheim, the commitment of whom I respect. John Tranter, the Australian par excellence, well known for his incredible magazine: Jacket, and heaps of books, my thanks for taking your time to send me some poems. And Jennifer L. Lesh, who is back to writing after years, her poems are beautiful & fresh, her mirrored projection. As it is for Eileen Tabios, la Chatelaine of the web. As per Susanne Tooth, I got in contact with her through Jos=C3=A9 Koser, who met her in Caracas. A special acknowledgement to Chris Murray for her continuous support and new wonderful work, as to Jon Corelis who has much contributed with poems and translations (Ovid, Sulpicia, Bertran de Born, Horace, Callimachus, and Nikephoros Vrettakos). Joanna Boulter, who celebrated in these days the third birthday of her and her husband's Roger Collett publishing house, Arrowhead Press, reminded me that this is about the time the Poets' Corner was first opened, a full long year - well to be precise - one year and about one month ago. An enormous bottle of sparkling drinks for us all who are part of it, with a special cheers to Vanni, the webmaster who is able to solve everything, and Ornella, his patient assistant, as well as to Cristina Petruzzino who made this possible. My best wishes, =20 Anny Ballardini http://www.fieralingue.it/modules.php?name=3Dpoetshome The aim of the poet is to awaken emotions in the soul, not to gather admire= rs. Stalker, Andrei Tarkovsky ========================================================================= Date: Mon, 6 Sep 2004 09:51:41 +0200 Reply-To: Anny Ballardini Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: down In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit down & round is the master of town down to the aardwolf's gown brown the found crown in the drought dug in the ground nubbed in an impound moan maul the muck muffled mud of the nun pounded - drawn down down & down German pOm, Anny Ballardini On Mon, 6 Sep 2004 13:18:23 +1200, Wystan Curnow (FOA ENG) wrote: > Down comes > > a nude > > comes down > > stairs a nude > > Descends > > is down > > a staircase nude > > a nude has > > come down > > Wystan > > -----Original Message----- > From: Lawrence Upton [mailto:lawrence.upton@BRITISHLIBRARY.NET] > Sent: Saturday, 4 September 2004 10:21 p.m. > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: down > > down > down > down > so soft > down > down > > duck down > duck down > duck down > flying > > I'm flying low > down > down > down > swing low > for all the didi men > down > down below > > bellow down down > down so soft > down down > down down > > snore > > down down down > > snore down snore > > down > > down down > > quack > > L > > ----- Original Message ----- > From: "Alan Sondheim" > To: > Sent: Saturday, September 04, 2004 5:01 AM > Subject: down > > > down > > > > > > down down down down a-doo-wah down > > down down down down didi didi didi down didi down > > down down down down di-di dum doo down > > down down down down di di down doo wah wah down > > down down down down dah dah doo wah down > > down down down down down did wah wah > > down down down down didi didi didi didi down > > down down down down doo doo wah wah down > > down down down down diddi daddi down down > > down down down down diddah-wah di down > > down down down down dah didi down dow > > down down down down a-down-down a-doo-wah > > down down down down a doo-wah down diddi down > > down down down down diddi down down > > down down down down doodi doo down didi down > > down down down down a-didi down down a-didi down > > down down down down doo wah down doo-wah down > > down down down down didi down down > > down down down down didi down down didi didi down > > down down down down doo-wah wah down > > down down down down down down down down > > down down down down didi dah doo didi-down down > > down down down down dah-dah-dah didi down down > > down down down down dadda doo-di down > > down down down down didi didi down doo doo down > > down down down down doo doo doo doo didi down > > down down down down wah wah didi down > > down down down down wah didi down down > > down down down down doo doo wah didi waah wah down > > down down down down wah didi down down down > > > > > > _ > > > > > ========================================================================= Date: Mon, 6 Sep 2004 15:33:42 +0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Magee Subject: Task of the Critic Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Behind the narrator's question, "Will they ever trust us again?," framed by the 1984 reference to the continuous war without an identifiable enemy--and the frame itself should alert the viewer to the suggestion that there is a final war somewhere in the future against an enemy that can be identified--the third-person plural collapses officer corps, career soldiers and (economic) conscripts into a single mass and militarized body: 'they' are the ones that defend the flag. Nationalism is cooking in the kitchen of the working-class mom. "Charles Maurras (1868-1952) was a French writer and political theorist whose 'integral nationalism' anticipated some of the ideas of fascism." (Note 17 from the Notes to "The Present Social Situation of the French Writer" written April-June 1933 and January 1934, in Benjamin's Selected Writings, vol. 2). Belonging to the first-person plural in the question of trust are the civilians who enjoy the privileges of citizenship while relying on the military here almost a metonym for the working class to defend and perpetuate their privileges. The haves and the have-mores and the have-nots. Social contradictions are resolved by the one division which solves nothing: rich and poor. An unjust war brutalizes the sons and daughters of the noble poor, suggesting again the just war and the dignity, not to mention heroism, that can be obtained in the conduct of just the right war. What war is being projected by this film as the just war that will defend America and for which is needed a united military undeceived by its leaders and respected by civilians? The collage sequence illustrating "The Coalition of the Willing" gives a good example of what a politics without internationalism looks like, and at the level of the caricature of the ridiculous and underdeveloped or underarmed foreign other, named here as the republics of Belau, Costa Rica, Iceland, Morocco, Romania, Afghanistan and the Netherlands, at least half of the images depict some form of near stone-age productive labor. An explicit message of cultural and technological superiority, though at least for the postmodern sensibility, aren't vampires funny? "Kracauer's pictorial wit is no chance affair, but is related to those composite Surrealist images that not only characterize dreams (as we have learned from Freud) and the sensual world (as we have learned from Paul Klee and Max Ernst), but also define our social reality." (From Benjamin's review of Die Angestellten, Selected Writings, vol. 2). Perhaps there's a more sophisticated reading of the Coalition of the Willing collage, one that might address the interiority of the cinematic reference and parody of the process by which other countries, languages and cultures are imagined in the collective popular fantasy and addressing this, contextualize the reductivist accusation that the images are simply offensive. Politically, they are false. In his "Reply to Oscar A.H. Schmitz" Benjamin argued about another film, that it could be "objectively discussed either as film or from a political point of view." Whoever Schmitz was, he apparently did neither. All these anachronistic details from outdated debates. What does Brecht's Die Mutter have to do with the director/narrator of Fahrenheit 9/11 standing in a working-class kitchen in Flint, Michigan, saying "It's a great country." Introductory Remarks on a Series for Humanity: "I belong to the generation that is now between thirty and forty years old. The intelligentsia of this generation will presumably be the last for a long time to have enjoyed a completely unpolitical education. The war caught its most left-leaning elements in the camp of a more or less radical pacifism. The history of Germany in the postwar period is in part the history of the revolutionary education of this original left-bourgeois wing of the intelligentsia." (Selected Writings, vol. 2, p. 20). It has been a long time, and for many of the writers of the present generation between thirty and forty years old can it be said they have enjoyed an unpolitical education? The manifold responses to such a question depend on a deep understanding of the politicizing event and whether or not even a war operates as such an event and catalyst for changing the feel and shape of the ground that one walks on. As for the generation of writers that came out of the Vietnam war, their forest of publications and exemplary polemics--what can be learned there on the eve of the return of the Love of Nation and National Defense? Or is that too personal a question? Can the analogy be made between Germany's defeat in WWI and the defeat of the U.S. in Vietnam? Or is such an analogy as wild a surmise as glancing at the contemporary architecture of Warsaw and thinking for a moment just how profitable for global capital was the holocaust. Theories of German Fascism: "One can call this the latest stage because these attempts to come to terms with the loss of the war show a clear pattern. These attempts began with an effort to pervert the German defeat into an inner victory by means of confession of guilt, which were hysterically elevated to the universally human. This political position, which supplied the manifestos for the course of the decline of the West, was the faithful reflection of the German 'revolution' by the Expressionist avant-garde. Then came the attempt to forget the lost war. The bourgeoisie turned over, to snore on its other side--and what pillow could have been softer than the novel?" Or, what pillow could have been softer than post-70s theories of form? Or is the reverse equally applicable, and can the first-person narration in a documentary-collage declaring itself to have a politics of opposition be critiqued with various versions of a post-expressive poetics that would make suspect, to say the least, the placement of the narrator inside one's film at the same time pretending to be capable of acts of observation? Was that a 70s documentary, American Family? Something about how the camera itself intervened in the social reality it was filming, constructing (not documenting) that social reality as it was filming. Where are these boundaries in Fahrenheit 9/11? ========================================================================= Date: Mon, 6 Sep 2004 10:12:43 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Alaric Sumner Festival - apologies for cross-posting Comments: To: wryting , poneme , Poetryetc , UK POETRY , BRITISH-POETS@JISCMAIL.AC.UK MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The First Alaric Sumner Festival 10th September 2004 - 12th September 2004 Camden Peoples Theatre 56-60 Hampstead Road London NW1 2PY Friday 10th September 2004 - 7:30 p.m. Letters for dear Augustine - Performed by John Hall, Rory McDermott & = Lawrence Upton The Unspeakable Rooms - A new production. Performed by Rory McDermott Admission 8 pounds (5 pounds) Saturday 11th September 2004 12.30 pm - 3.30 pm Alaric Sumner, a film by Erin Maguire Carlyle Reedy's hands. In process, a slide show by Alaric Sumner = (reconstructed) Alaric Sumner: the interviews, a film by Erin Maguire Admission FREE Saturday 11th September 2004 - 4:05 p.m. Waves on Porthmeor Beach - performed by John Hall, Jeff Hilson, Rory = McDermott & Lawrence Upton Admission 8 pounds (5 pounds) Saturday 11th September 2004 - 7:30 p.m. Conversation in colour - Rehearsed reading performed by Rory McDermott & = Lawrence Upton Nekyia - Performed by Steve Halfyard, Jo Hyde Admission 8 pounds (5 pounds) Sunday 12th September 2004 - 2:00 p.m. Lurid Technology and the Hedonist Calculator - Performed by John Hall, = Rory McDermott & Lawrence Upton Rhythm to Intending - Performed by John Hall, Elizabeth James, Rory = McDermott & Lawrence Upton Admission 8 pounds (5 pounds) Sunday 12th September 2004 4 pm - 6.30 pm A range of recordings of and about Alaric Sumner Admission FREE Sunday 12th September 2004 - 7:00 p.m. error studies & Portraits - a new production by John Drever, Rory = McDermott & Lawrence Upton Text out of Image - a new production by John Drever & Lawrence Upton Admission 8 pounds (5 pounds) Season ticket 30 pounds / 25 pounds Alaric Sumner Foyer Exhibition from 7 p.m. on Friday 10th September 2004 and then from Saturday 11th = September 2004 until Friday 3rd October 2004 The Alaric Sumner Exhibition will be open during the CPT opening hours. = Check with CPT that you will be able to gain access before making a long = journey [Box office 020 7916 5878 Administration 020 7419 4841 Fax 020 = 7813 3889 cpt@dircon.co.uk] ========================================================================= Date: Mon, 6 Sep 2004 15:53:39 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Cyrill Duneau Subject: Shant kneel before a torture tool MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit This is an automatically generated Delivery Status Notification. I am in love not Accepted: Have a few gargles! Your message has been successfully relayed to the following recipients, but the requested delivery status notifications may not be generated by the destination. you see New York - not necessarily cityscapes and scenes, but anything that springs to mind You're so - french, mein friend, ah Problem Report bruised fossil theory vivid hold break practices to a TV platform nbtstat [-a RemoteName] [-A IPAddress] [-c] [-n] [-r] [-R] [-RR] [-s] [-S] [Interval] We have to get rid of art dolls dolls dolls I am in love "plain" text, Latin against Chinese The system detected an Unresolved Host Name while attempting to retrieve the URL: Message ID UNRESOLVED_HOSTNAME schooling and distorted Problem Description Françoise Duvivier DNS resolution failure encountered for the host. Emma is a naughty catholic schoolgirl and her nun teacher teaches her a lesson Possible Problem Cause: Ma'm Bowery it's mee I am in love that make sense? Eye screening as part of the Occupational Health Surveillance Program takes place for all staff that works on a Visual Display Unit. Hi Cyrill the 'first wave' And makes me end, where I begun En vista del éxito conseguido As promised I send you a letter of confirmation by e-mail. See you Tuesday at 6pm. and others in embodiment - Alan 0 Fix Connection successful! 2 Fix The system cannot find the file specified. 5 Fix Access Denied. 5 Fix Invalid Procedure Call. 6 Fix Stack overflow. Protected message is attached. éthique société it is necessary to have a fire warden on each team to cover the requirements of an emergency response Look at the size of those missiles a few Declined: Have a few gargles! hermeneutics of 'cyber' en tonalidades oscuras {% The csh he had n{%RND:%} pulse and was not breathing The host entered has a mistake or made a mistake, or the requested Web site is temporarily unavailable in DNS. capital was the holocaust Possible Solution in New Rochelle, New York in 1929. Oxymoronic??? C koi ca?? Examine or correct any mistakes, or try again at a later time. Christina = Ange = La Guapa - je suis sa criatura poetics that would make suspect, to say the least (this was a word So im eating a bag Brown paper bag my heart within moved to [files=spams] She shall press, ah, nevermore! Das war nur die Ruhe vor dem Sturm curves and cascades pero también de la reflexión moral private quarters betray a mind obsessed with sex and violence being the bloodline of Jesus Christ is one of the basic In dogs we thrust - //////they index a world Happiness - Love - Whatever - it had not been associated with Jesus January 3, 2004, Britain's Channel 4 TV iconography of psychotic porn The contents of this message and any attachments to it are confidential and may be legally privileged. If you have received this message in error you should delete it from your system immediately and advise the sender. ========================================================================= Date: Mon, 6 Sep 2004 10:05:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: down In-Reply-To: <20040906.025207.-75275.5.skyplums@juno.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" hey dalachinsky i love you man but i have trouble with aesthetic-valuation pronouncements about poems, esp comments like "doesn't work" to folks who are brave enough to try something spontaneous on the list. it seems to me to be antithetical to the spirit of the list, or at least to what i'd like the spirit of the list to be At 12:24 AM -0400 9/6/04, Steve Dalachinksy wrote: >your duchamp didn't work what happened to my downs -- ========================================================================= Date: Mon, 6 Sep 2004 09:56:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Task of the Critic In-Reply-To: <20040906153342.03f0149b@localhost.localdomain> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks for this critically alive piece - and to the current historical point, Kevin. Hope it enlivens the list. Stephen V http://stephenvincent.durationpress.com > Behind the narrator's question, "Will they ever trust us again?," framed > by the 1984 reference to the continuous war without an identifiable > enemy--and the frame itself should alert the viewer to the suggestion > that there is a final war somewhere in the future against an enemy that > can be identified--the third-person plural collapses officer corps, > career soldiers and (economic) conscripts into a single mass and > militarized body: 'they' are the ones that defend the flag. Nationalism > is cooking in the kitchen of the working-class mom. "Charles Maurras > (1868-1952) was a French writer and political theorist whose 'integral > nationalism' anticipated some of the ideas of fascism." (Note 17 from > the Notes to "The Present Social Situation of the French Writer" written > April-June 1933 and January 1934, in Benjamin's Selected Writings, vol. > 2). > > Belonging to the first-person plural in the question of trust are the > civilians who enjoy the privileges of citizenship while relying on the > military here almost a metonym for the working class to defend and > perpetuate their privileges. The haves and the have-mores and the > have-nots. Social contradictions are resolved by the one division which > solves nothing: rich and poor. An unjust war brutalizes the sons and > daughters of the noble poor, suggesting again the just war and the > dignity, not to mention heroism, that can be obtained in the conduct of > just the right war. What war is being projected by this film as the just > war that will defend America and for which is needed a united military > undeceived by its leaders and respected by civilians? > > The collage sequence illustrating "The Coalition of the Willing" gives a > good example of what a politics without internationalism looks like, and > at the level of the caricature of the ridiculous and underdeveloped or > underarmed foreign other, named here as the republics of Belau, Costa > Rica, Iceland, Morocco, Romania, Afghanistan and the Netherlands, at > least half of the images depict some form of near stone-age productive > labor. An explicit message of cultural and technological superiority, > though at least for the postmodern sensibility, aren't vampires funny? > > "Kracauer's pictorial wit is no chance affair, but is related to those > composite Surrealist images that not only characterize dreams (as we > have learned from Freud) and the sensual world (as we have learned from > Paul Klee and Max Ernst), but also define our social reality." (From > Benjamin's review of Die Angestellten, Selected Writings, vol. 2). > Perhaps there's a more sophisticated reading of the Coalition of the > Willing collage, one that might address the interiority of the cinematic > reference and parody of the process by which other countries, languages > and cultures are imagined in the collective popular fantasy and > addressing this, contextualize the reductivist accusation that the > images are simply offensive. Politically, they are false. > > In his "Reply to Oscar A.H. Schmitz" Benjamin argued about another film, > that it could be "objectively discussed either as film or from a > political point of view." Whoever Schmitz was, he apparently did > neither. All these anachronistic details from outdated debates. What > does Brecht's Die Mutter have to do with the director/narrator of > Fahrenheit 9/11 standing in a working-class kitchen in Flint, Michigan, > saying "It's a great country." > > Introductory Remarks on a Series for Humanity: "I belong to the > generation that is now between thirty and forty years old. The > intelligentsia of this generation will presumably be the last for a long > time to have enjoyed a completely unpolitical education. The war caught > its most left-leaning elements in the camp of a more or less radical > pacifism. The history of Germany in the postwar period is in part the > history of the revolutionary education of this original left-bourgeois > wing of the intelligentsia." (Selected Writings, vol. 2, p. 20). > > It has been a long time, and for many of the writers of the present > generation between thirty and forty years old can it be said they have > enjoyed an unpolitical education? The manifold responses to such a > question depend on a deep understanding of the politicizing event and > whether or not even a war operates as such an event and catalyst for > changing the feel and shape of the ground that one walks on. As for the > generation of writers that came out of the Vietnam war, their forest of > publications and exemplary polemics--what can be learned there on the > eve of the return of the Love of Nation and National Defense? Or is that > too personal a question? Can the analogy be made between Germany's > defeat in WWI and the defeat of the U.S. in Vietnam? Or is such an > analogy as wild a surmise as glancing at the contemporary architecture > of Warsaw and thinking for a moment just how profitable for global > capital was the holocaust. > > Theories of German Fascism: "One can call this the latest stage because > these attempts to come to terms with the loss of the war show a clear > pattern. These attempts began with an effort to pervert the German > defeat into an inner victory by means of confession of guilt, which were > hysterically elevated to the universally human. This political position, > which supplied the manifestos for the course of the decline of the West, > was the faithful reflection of the German 'revolution' by the > Expressionist avant-garde. Then came the attempt to forget the lost war. > The bourgeoisie turned over, to snore on its other side--and what pillow > could have been softer than the novel?" Or, what pillow could have been > softer than post-70s theories of form? > > Or is the reverse equally applicable, and can the first-person narration > in a documentary-collage declaring itself to have a politics of > opposition be critiqued with various versions of a post-expressive > poetics that would make suspect, to say the least, the placement of the > narrator inside one's film at the same time pretending to be capable of > acts of observation? Was that a 70s documentary, American Family? > Something about how the camera itself intervened in the social reality > it was filming, constructing (not documenting) that social reality as it > was filming. Where are these boundaries in Fahrenheit 9/11? ========================================================================= Date: Mon, 6 Sep 2004 14:30:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: CREATURES IN GOD CREATURES IN WRATH CREATURES THIS NOT CREATURES THIS MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed CREATURES IN GOD CREATURES IN WRATH CREATURES THIS NOT CREATURES THIS SLAUGHTER WILDERNESS GOD IN THIS WRATH WILDERNESS NOT IS WILDERNESS FOR GOD THIS LOVING IN CREATURES CREATURES LOVING WILDERNESS IN HIS DECREED BUILD IN WILDERNESS WILL SLAUGHTER WILDERNESS THIS HIS FOR IN CREATURES DECREED HIS IN BUILD MY WILL HIS IS IN HIS SLAUGHTER SLAUGHTER WILDERNESS CREATURES WRATH GOD THIS I WILDERNESS IS GOD HIS WILDERNESS THIS WILDERNESS CREATURES DECREED WILL FOR I NOT MY WILDERNESS DO SLAUGHTER LOVING DECREED IN http://www.asondheim.org/hurricane.mov HIS I IN GOD WILDERNESS FOR DO WILDERNESS WRATH THIS IN MY BUILD IS DO THIS NOT LOVING IN WILDERNESS DECREED THIS DO IS THIS __ ========================================================================= Date: Mon, 6 Sep 2004 17:10:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Rosenberg Subject: How to Steal an Election MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.blackboxvoting.org/?q=node/view/78 Not much that is new here, except that nothing has been fixed ... --- Jim Rosenberg http://www.well.com/user/jer/ WELL: jer Internet: jr@amanue.com ========================================================================= Date: Mon, 6 Sep 2004 19:39:01 -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 it's all relative corn dogs & bottled water fried pickles fried twinkies Jessie Jackson in the lobby Danny Glover in the elevator Judy Collins on stage funnel the bud lite strawberry e. lee cake... Holiday Inn...Charlston W.V....labor day rally.....drn... ========================================================================= Date: Mon, 6 Sep 2004 22:34:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: rund (highly compressed) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed rund they are on the beach of maya illusion they \n are in appearance of their frame spidering \n = gathering and scripted \n they do not move what does? the rest does move of which - there was a choice of grid \n - the couple in florida \n but this is the archon universal creation \n double geodesics of the torus \n what's wrapped won't leave http://www.as.wvu.edu:8000/clc/Members/sondheim/runds.avi _ ========================================================================= Date: Tue, 7 Sep 2004 00:06:39 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: "patrick@proximate.org" Subject: automated response Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii I will be away from my email the week of 06 September 2004. I will try in earnest to get back to you after September 12. Thanks. Patrick ========================================================================= Date: Tue, 7 Sep 2004 00:59:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Reviews of Books and Others that I like MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Reviews of Books and Others that I like Here's the latest selection of works that have fascinated me. Not all are new - I feel I should apologize a bit for the enthusiasm - Giant Brains, or Machines that Think, Edmund C. Berkeley, John Wiley, 1949. This is the first book written to make computers understandable to the general public. It covers both analog and digital machines, focusing on Eniac, Simon, and other early implementations. Input and output devices, delay lines, and various types of memory are described. The book also discusses the future of computers. I find it completely fascinating - my copy came from abe.com for $13 which is a bargain. Berkeley himself was important in the early history of computing; he's not a popularizer. The Beginnings of Japanese Art, Namio Egami, Weatherhill, 1973. This is part of the Heibonsha Survey of Japanese Art - thirty some volumes, which are now sold separately. They're wonderful - written by Japanese experts, they cover periods and architectures in detail. This one focuses on Yayoi, Jomon, tumuli, haniwa, etc. - brilliantly. The reproductions are good enough for research. You can usually find the series at 2nd-hand bookshops - check it out. Translations from the Philosophical Writings of Gottlob Frege, edited by Geach and Black, Oxford, 1952. All my life I believed that Frege felt 'defeated' by Russell's paradox - that's clearly not the case, as indicated by Frege's reply at length, translated here. The book is difficult but still worth reading, not only as history, but as a valuable analysis of sense and meaning, sign and symbol, and so forth. We the Media: Grassroots Journalism By the People, For the People, Dan Gillmor, O'Reilly, 7/94. O'Reilly's publications have always fascinated me - their books on linux, more recently on Macs. They have been increasingly presenting a phenomenology of 'porousness' - peer-to-peer, blogging, etc. - books dealing with, not only open source, but open knowledge, open knowledge management/manageriality, and here, open journalism. You could see this at work at the recent 'republican' convention demonstrations; you can see it every day on the Net. I love this book. Parts of it seem overly simplistic or optimistic - but it's all we have, in a way - this form of _breathing_ and exchange that involves webcams, camera phones, sms, blogs, and almost daily new forms of journalism and journalistic expertise. Do check out this book; it gives one both guidelines and a sense of hope in terms of the future of free information and information-dissemination. Vel, Alan Sondheim, BlazeVOX, 2004. I had to put this in; it's the second publish-on-demand work I've had, and looks beautiful. It still awaits blurbs and intro, but is available now. Contents cover the phenomenology of motion capture and virtuality, as well as the application of equations to texts. Some of my more difficult\tensioned work, but something I love to read over again as well, unusual for me. Islands in the Clickstream: Reflections on Life in a Virtual World, Richard Thieme, Syngress, 2004 (distributed by O'Reilly). Richard Thieme was an Episcopal priest, and this book makes me happy (not necessarily related). It reads like Teilhard de Chardin meets internetworking, without any of de Chardin's metaphysical flights. It reminds me constantly of the origin and potential of the net. These are columns from www.thiemeworks.com but they're also 'writings' in the broadest sense of the term. Chapters include Computer-Mediated Living: The Digital Filter; Hacking and the Passion for Knowledge; Digital Spirituality; and Mostly True Predictions. At this point on the Net, we need to feel better about ourselves - need to remind ourselves of its positivity and potential for a better world of close-to-transparent communications. I get tired of deconstruction; this work moves in the other direction, and wisely. The Best of SAILTrim, edited by Charles Mason, Sail, 1975 (1985). I'm not a sailor, and never will be. When I'm taken on a sailboat, the world opens up. Years ago I accidently made it to the Australian win in the America's Cup at Newport - I was at the pre-race trials. Racing is a tricky business, especially the construction and configuration of the sails themselves - and this book describes the aerodynamics at work in detail. I don't understand a lot of it - even the chapter titles can be arcane - 'The Mainsail Leech,' 'The Virtue of "Jiffy" Reefing,' and my favorite, 'The Boom Vang.' Needless to say this is really fun to read - I try to 'Picture a broach and knockdown aboard a distance racing yacht.' without getting too far, but loving it. Honkin' on Bobo, Aerosmith, 2004, Baby, Please Don't Go - and the first time I heard this it _literally_ took my breath away. I'm working my way through Sally Pryor's Postcards from Writing (pre- release), www.sallypryor.com, which deals with graphemes, graphism, and 'the boundaries between written texts and pictures.' This is a cdrom which takes a great deal of work, but is highly worthwhile - it's based on the theories of Roy Harris, a highly controversial figure in contemporary linguistics. I definitely recommend this - apologies for not completing the work, but I wanted to get this out - and you could get in touch with her at Sally Pryor . More later. 8 Ball Chicks, Gini Sikes, Knopf, 1998. I could not put this book down and probably learned more about gang culture from it than from any other source. It's not theoretical; it raises a lot of questions about the role of author/ity that aren't quite answered, but what it offers is one of the most intense reading/life experiences I've encountered. http://jacketmagazine.com/25/bolivia.html : Forrest Gander and Kent Johnson, Jaime Saenz, Some Days in the Life of The Night: Notes from Bolivia, June 20-30, 2004 . This work deserves wide attention. Johnson's project for years has been maurading the edge-phenomena of literature, taste, poetry, and institutionalization; and here, Gander and Johnson (I feel odd using last names) brilliantly construct and/or report on the history/anthropology/phenomenology/literature of Jaime Saenz. Please give this a read! This is not a review, but a request. So often, amazing works like this are passed by - literature is growing exponentially on the web (like everything else), and it's hard to track, hard to take the time. But this piece, like everything in fact that the authors do, is worth it. I've alway been fascinated by issues of authorship, especially when I'm ill at ease in relation to them, and this is an instance. Saenz' relationship to fascism is almost literally, uncanny. (The poetry, for example, http://jacketmagazine.com/08/saenz-im.html , is rather brilliant too.) The Nonsense Book of Riddles, Rhymes, Tongue Twisters, and Jokes from American Folklore, edited by Duncan Emrich, illustrated by Eb Ohlsson, Four Winds Press, 1970. An AMAZING collection, childhood Oulipo\Perec but much more fun. Well, not really Oulipo/Perec, but I can't resist the forward: 'I pity the river, / I pity the brook, / I pity the one that takes this book.' (etc.) In these dark times, it's best to look for a little light, at least enough to fuel the residing despair into action. I'm rereading Sinclair Lewis' It Can't Happen Here (from 1935), and its fictional account of the growth of fascism in the US is far too familiar and convincing. So I'm also rereading Gilgamesh in the Andrew George translation (Penguin 1999), which is not only as complete as can be, but gives a lot of Sumerian material as well. Check out both. And in passing - The Logical Syntax of Language, Rudolf Carnap, Routledge, 1937 - perhaps because the orderly world appears beautiful; Maya Visual Quickstart Guide, Danny Riddell and Andrew S. Britt, Peachpit, 2002, becase these things allow me to work at a furious pace; Immersed in Technology: Art and Virtual Environments, edited by Mary Anne Moser with Douglas MacLeod, MIT, 1996, because it's prescient and the theory's great (Hayles, Dyson, Stone, Ronell, and others); and Mary Shelley's The Last Man - one of the strangest 19th-century books I've ever read - - Alan ========================================================================= Date: Tue, 7 Sep 2004 02:19:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: SUBLIMINAL VAPORIZE RACIST MISCREANT MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed SUBLIMINAL VAPORIZE RACIST MISCREANT S doughface uncatholicises, camberwe ll poetics senilis SUBLIMINAL poetics s enilis ire doughface quashed interiorises stirrer's induction's c oncentrators abolitionises incomparability SUBLIMINAL VAPORIZE RACIST MISCREANTS applecart lesion breakaway VAPORIZE RACIST MISCREANTS exited preallocations equifrequently , governess ironwood VAPORIZE RACIST M ISCREANTS doughface jovial hydrobiologist concentrators spathe jovial posthumous omniscient revaporize fireman loiter VAPORIZE R ACIST MISCREANTS ramus abolitionises VAPORIZE RACIST MISCREANTS feasted e xited intellectualizes bumblebee's poetics reb deviates centre, ceded V APORIZE RACIST MISCREANTS circumstancing loiter spathe unorigi nals coaxially VAPORIZE RACIST MISCREANTS maelstrom's defenced pret ubercular poetics cognitive halibut declaims SUBLIMINAL preallocations p orous messengers packetises VAPORIZE RACIST MISCREANTS VAPORIZE RACIST MI SCREANTS boronic hydrobiologist VAPORIZE RACIST MISCREANTS pulpy sti rrer's brando VAPORIZE RACIST MISCREANTS centre, posthumous twite VAPORIZE RACIST MISCREANTS normalize rs stormier messengers VAPORIZE RACIST MISCREANTS . Parthian modge jovial VAPORIZE RACIST MISCREANTS unharmoni zes platonize variola politicisation induction's compiling delis dang iro nwood ceded VAPORIZE RACIST MISCREAN TS coaxially fireman exited VAPORIZE RA CIST MISCREANTS unreflective hearths politicisation humifications, VAPORI ZE RACIST MISCREANTS bunters fiddles circumstancing VAPORIZE RACIST MISCR EANTS VAPORIZE RACIST MISCREANTS breakaway VAPORIZE RACIST MISCREANTS tophus VAPORIZE RACIST MISCREANTS devotion declaims sandblaster defenc ed nonobjectivity VAPORIZE RACIST MISCREANTS anatomicals unreflective VAPORIZE RACIST MISCREANTS unorigina ls VAPORIZE RACIST MISCREANTS loiter ir onwood devotion _ ========================================================================= Date: Tue, 7 Sep 2004 04:48:10 -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 front mouth cock tongue hole back country rds nearer to workin' man tears down death 'an the stage birth 0 business centre...Holiday Inn..charleston wv....dawn after the rally.....drn.. ========================================================================= Date: Tue, 7 Sep 2004 08:23:20 -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 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://ronsilliman.blogspot.com/ RECENT TOPICS: In search of Robert Hogg Philadelphia Progressive Poetry Calendar Bill Knott's Short Poems -- short poems . not! The Opening of Field -- Robert Duncan's major themes The H.D. Book & Robert Duncan's poetry Greetings from San Antonio Collaborations of unfathomable familiarity - Francie Shaw & Bob Perelman's Playing Bodies David Perry's New Years - Kicking it up a notch or two Elizabeth Willis' Meteoric Flowers - Too much perfection, not enough risk Joanne Kyger's God Never Dies - When exactness is everything Vacation reading list(s) Rem Koolhaas, Frank Gehry & post-avant architecture in Seattle http://ronsilliman.blogspot.com/ ========================================================================= Date: Tue, 7 Sep 2004 11:15:42 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: Vendler MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hi, I guess I should give a bit of context for this question. I read Harpers. It's the only sensible thing coming out of America that I can get regularly in print form for reading on the bus to and fro work. The morning that I posted about Vendler and the NEH I had read Lapham's piece "Tentacles of Rage: The Republican Propaganda Mill". He mentions William Bennett and the NEH and its role in "culture wars". I then saw a link to the Vendler piece and was curious as it was a speech for the NEH. THe NEH homepage boasts a photo of Lynn Cheney and the "Freedom" bookshelf. So I became curiouser and curiouser. It seems to me from Bill Austin's (and others back channel) description that the NEH is the US version of Canada's SSHRCC (pronounced shirk and standing for Social Sciences and Humanities Research Council) and the NEA is like the Canada Council for the Arts. I just was wondering how ideologically driven the NEH was. cheers, kevin ========================================================================= Date: Tue, 7 Sep 2004 10:16:36 -0400 Reply-To: Mike Kelleher Sender: UB Poetics discussion group From: Mike Kelleher Organization: Just Buffalo Literary Center Subject: JUST BUFFALO E-NEWSLETTER 09-07-04 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ARUNDHATI ROY! TOMORROW NIGHT AND THURSDAY NIGHT (details below) WORKSHOPS BEGIN SOON, SIGN UP NOW (details below) CALENDAR CORRECTIONS SPOKE, the print newsletter of Just Buffalo, contained three errors, two of which are fixable: 1. The October 13 Open Reading, featuring Liz Mariani, begins at 7 p.m., not 8 p.m. All open readings begin at 7. 2. The Music and Poetry event, featuring Dan Sicoli and Joe Malvestuto, takes place on Friday, September 24, at 8 p.m. in the Hibiscus Room at Just Buffalo. IF ALL IF BUFFALO READ THE SAME BOOK, featuring the God of Small Things, by Arundhati Roy TICKETS ON SALE NOW!!! We are expecting tickets to sell out, so get them while they're still around. CALL 716.832.5400 to purchase by phone with credit card. Pick them up today at Just Buffalo or Talking Leaves Books (both locations). SCHEDULE OF EVENTS On "The God of Small Things" Wednesday, September 8, 2004, 8 p.m. Unitarian Universalist Church, 695 Elmwood Avenue, Corner of Ferry, in Buffalo. Admission $10. Hear Arundhati Roy read from her Booker Prize-winning novel and answer questions from the audience about the book. Co-sponsored by the Women's Studies Department at SUNY Buffalo. "Meet and Greet" Book Signing with Arundhati Roy Thursday, September 9, 2004 12-2 p.m. Talking Leaves Bookstore, 3158 Main St., Buffalo. Free. Come get your book signed and say hello to Arundhati Roy at Buffalo's finest independent bookstore. "Another World is Possible: A Conversation with Arundhati Roy," moderated by Amy Goodman. Thursday, September 9, 2004, 8 p.m. First Presbyterian Church, One Symphony Circle, Across from Kleinhahn's Music Hall, Admission, $10. In addition to being a great writer, Arundhati Roy is also recognized worldwide as an essayist and vigilant voice in the ongoing struggle against political and economic oppression. Come hear her discuss her work in the global political arena with Democracy Now host, Amy Goodman. Books will be for sale at both events from Talking Leaves Books. 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. Sponsors of this year's event include The National Endowment for the Arts, Parkview Health Services, The Women's Studies Department at UB, 10,000 Villages, Buffalo State College, Talking Leaves Books, The New York State Council on the Arts, Erie County Cultural Funding, Rigidized Metals, Reid Petroleum and Harlequin Books. SPECIAL SCREENING AND VIDEO PRESENTATION TO FOLLOW ARUNDHATI ROY'S VISIT DROWNED OUT & A/S/L Friday, September 10, 8 p.m. Squeaky Wheel, 175 Elmwood Avenue tel: 716.884.7172 for more info $6 general, $5 members of Squeaky Wheel, Hallwalls & Just Buffalo A Co-presentation of Hallwalls, Squeaky Wheel and Just Buffalo DROWNED OUT Directed by Franny Armstrong (2002, 75 min., UK) Armstrong's documentary presents audiences with the three choices faced by the people of Jalsindhim in central India: move to the slums in the city, accept a place at a resettlement site or stay at home and drown. They must make a decision fast. In the next few weeks, their village will disappear underwater as the giant Narmada Dam fills. Bestselling author Arundhati Roy joins the fight against the dam and asks the difficult questions: Will the water go to poor farmers or to rich industrialists? What happened to the 16 million people displaced by fifty years of dam building? Why should I care? A/S/L A Video+Text Installation from India's Raqs Media Collective A/S/L (Age/Sex/Location) is a video+text installation on the lives of women workers in the online data outsourcing industry in India. The installation is a meditation on this, new gendered geography of online labour, on the everyday journeys into cyberspace that hundreds of thousands of labouring women make across the world. It is a document and a dramatization of the questions that surround these daily migrations between online and off-line worlds. It addresses the viewer with video, text and sound within the framework of an on site installation. FALL EVENT SPOTLIGHT: Special Open Reading Event: Almagir Hashmi Poetry Reading. 10 open readers can sign up at 6:45 Wednesday, November 10, 7 p.m. Alamgir Hashmi of Pakistan is a leading anglophone poet and the Oxford Companion to Twentieth-Century Poetry names him as the foremost poet of his generation. Among his many publications are eleven volumes of poetry, which include such noted titles as My Second in Kentucky (1981), A Choice of Hashmi's Verse (1997), and the The Ramazan Libation (2003). He has also published several books of literary criticism. He has been Professor of English and Comparative Literature in the University of Islamabad, Pakistan, and has also taught in universities in Europe and the United States. His work as poet and scholar has won him numerous national and international awards. SNEAK PEAK AT FALL READINGS IN THE HIBISCUS ROOM September 24: Dan Sicoli and Joe Malvestuto, music and poetry October 8 or 15: Jimmie Gilliam and Rosemary Starace October 13: Open Reading, hosted by Livio Farallo, featuring Liz Mariani October 22: Balkan Poetry: Ales Debeljak, Ammiel Alcalay, Semezdin Mehmedinovic October 29: Writers Group Reading Series, hosted by Karen Lewis presents: The DCW's. November 10: Open Reading, hosted by Livio Farallo, featuring Alamgir Hashmi November 12: Brendan Lorber, Sasha Steensen Julie Patton December 8: Open Reading, hosted by Livio Farallo FALL WORLD OF VOICES Residencies: October 21-27: Ales Debeljak November 29- December 3: Frances Richey JOYCE CAROLYN'S CORNER IN SEPTEMBER BUFFALO CATS Saturday, September 25, 3-5 p.m., Burchfield Penney Arts Center at Buffalo State College $10, $8 students/seniors, $6 members Just Buffalo proudly presents a celebration of Buffalo-born artists. Nationally and internationally recognized writers, musicians and visual artists born in Buffalo will return to their hometown for this special, one-show-only engagement. Featuring Buffalo fiction writer Gary Earl Ross, saxophonist Reynolds Scott and visual artist James Pappas. FALL WORKSHOPS Playwriting Basics, with Kurt Schneiderman 6 Tuesdays, October 5-November 9, 7-9 p.m. $175, $150 for members A weekly workshop open to novice and experiienced playwrights who want to develop their playwriting abilities through actual writing and in-class feed back. Bring in new or old work to be read aloud and critiqued by everyone involved in the workshop. Course will include readings from various classic theatre texts and discussion of playwriting structure and theory. You can expect to emerge from this course with some written and workshopped dialogue, and with an introduction to the overall theoretical framework for dramatic writing. Kurt Schneiderman is currently Dramaturg for the Buffalo Ensemble Theatre, the coordinator of the annual new play competition at the Area Playwrights' Performance Series, and Director of the new play, forum Play Readings & Stuff. Named one of "Buffalo's emerging young playwrights" by Gusto Magazine and Buffalo's "next A.R. Gurney" by Artvoice Magazine, Kurt was the winner of the Helen Mintz Award for Best New Play (2003) and was nominated for the Artie Award for Outstanding New Play (2004). Most recently, one of Kurt's plays was chosen for the 2004 Toronto Fringe Festival. Writing For Children and Teenagers, with Harriet K. Feder 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. 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. The Working Writer Seminar, with Kathryn Radeff Four Saturday workshops: September 18, October 16, November 13, December 11, 12 p.m.- 4 p.m 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 Writing & Selling Short Stories, October 16 Writing Magazine & Newspaper Features: Learn the Methods & Markets, November 13 The Art & Craft of Creative Nonfiction, December 11 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. $175, $150 for members 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. 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. $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, we will step outside our familiar poetic homes and build new dwellings (temples and taverns!),mutilizing 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 original writing from this full day of language play and experimentation, and will bring home a fresh eye with which to revisit old poems stuck in the draft stage. Marj Hahne is a poet and teaching artist who has performed and taught extensively around the country. Her work has appeared in Paterson Literary Review, Painted Bride Quarterly, Schuylkill Valley Journal of the Arts, Mad Poets Review, and La Petite Zine. She also has a CD titled notspeak. For more information, or to register, call 832-5400 or download the registration form from our website at www.justbuffalo.org MEMBERSHIP SPECIAL SIGNED, LIMITED EDITION ROBERT CREELEY BROADSIDE AVAILABLE As part of the membership campaign, Just Buffalo is offering a special membership gift to the first fifty people who join at a level of $50 or more. 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 atHarvard 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. COMMUNITY LITERARY EVENTS For details, see our Community Literary Events Page http://www.justbuffalo.org/events/comlitevents.shtml WBFO's Meet the Author, with host Bert Gambini I AM A PENCIL: A Teacher, His Kids, and Their World of Stories, by Sam Swope, Monday, September 13 @ 7pm Anyone in Buffalo who wishes to have a literary event listed on Just Buffalo's website can send the information to Mike Kelleher at mjk@justbuffalo.org. _______________________________ 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, 7 Sep 2004 11:12:25 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Vendler MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 9/7/04 9:59:10 AM, khehir@CS.MUN.CA writes: << I just was wondering how ideologically driven the NEH was. >> Both the NEH and the NEA have always driven to the left or right depending on whose in power. They are, after all, government institutions funded by taxpayer dollars. These days conservatives rule the roost. If a jury chooses work that "offends" their constituents, the right will happily rescind the grant -- and has done so in a number of cases. Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Tue, 7 Sep 2004 08:19:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Zamsky Subject: Re: Vendler on why we should study the arts In-Reply-To: <20040903205223.12097.qmail@web51606.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii At the risk of being unfashionably non-ironic, I would put in a good word for the NEH. I spent the summer on an NEH grant at Princeton, where I spent six weeks working on the Bernstein-Ferneyhough opera, Shadowtime. An excellent and rewarding time. - Robert Zamsky --- Bob Grumman wrote: > --- Austinwja@AOL.COM wrote: > > > In a message dated 8/29/04 10:37:29 AM, > > khehir@CS.MUN.CA writes: > > > > << > > Who are the National Endowment for the Humanities? > > How are they different > > than the NEA? > > > > Inquiring Canadians want to know. > > kevin >> > > > > NEA = dollars for artists > > Are you sure of this, Bill? > > > NEH = dollars for scholars > > And of this? I wasn't aware that either > organization > was doing anything for the arts or humanities. > > --Bob G. > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam > protection around > http://mail.yahoo.com > ========================================================================= Date: Tue, 7 Sep 2004 12:21:59 -0400 Reply-To: cartograffiti@mindspring.com Sender: UB Poetics discussion group From: "cartograffiti@mindspring.com" Subject: Re: Vendler MIME-Version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Kevin, There's an article on Salon=2Ecom from August 26th that details some of th= e political manipulations to which the NEH has been subject under the rule o= f Lynne Cheney and her proxies=2E The link is http://archive=2Esalon=2Ecom/news/feature/2004/08/26/lynne_cheney/index=2E= html (I think you'll need to watch an ad through their front page before you ca= n get access)=2E Taylor Original Message: ----------------- From: Kevin Hehir khehir@CS=2EMUN=2ECA Date: Tue, 7 Sep 2004 11:15:42 -0230 To: POETICS@LISTSERV=2EBUFFALO=2EEDU Subject: Re: Vendler Hi, I guess I should give a bit of context for this question=2E I read Harpers= =2E It's the only sensible thing coming out of America that I can get regularly in print form for reading on the bus to and fro work=2E The morning that I posted about Vendler and the NEH I had read Lapham's piece "Tentacles of Rage: The Republican Propaganda Mill"=2E He mentions William Bennett and the NEH and its role in "culture wars"=2E = I then saw a link to the Vendler piece and was curious as it was a speech for the NEH=2E THe NEH homepage boasts a photo of Lynn Cheney and the "Freedom" bookshelf=2E So I became curiouser and curiouser=2E It seems to me from Bill Austin's (and others back channel) description that the NEH is the US version of Canada's SSHRCC (pronounced shirk and standing for Social Sciences and Humanities Research Council) and the NEA is like the Canada Council for the Arts=2E I just was wondering how ideologically driven the NEH was=2E cheers, kevin -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web=2Ecom/ =2E ========================================================================= Date: Tue, 7 Sep 2004 17:12:22 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: T_Martin Subject: call for submissions- King of Mice Press Mime-Version: 1.0 Content-Type: text/plain We are looking for poetry or prose for our small format Vole Series. Work must fit in 3 1/2" x 5 1/2", 10-20 pages. We consider a wide variety of styles. Vole #1, if so... is by Heather C Akerberg, Vole #2, Coda is coming soon, by Andrew Petersen. Send submissions to: Tim Martin 1065 Floyd Terrace, Bryn Mawr, PA 19010. www.kingofmice.blogspot.com ========================================================================= Date: Tue, 7 Sep 2004 10:15:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jessea Perry Subject: Reminder - 580 Split: Call for work Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Please forward widely! 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, 7 Sep 2004 11:40:22 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: new El Pasoan publisher MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Meta4 Organization for Poetic Expression is proud to announce the debut of BANNED, a book of poetry and art, with a book release party Sept. 7, 2004 at Moontime Pizza, 110 W. Robinson, from 7:30 to 10:30 p.m. Contributors will be on hand to read selections from the book and sign copies. There will be a poetry open mic for Meta4 poets and newcomers to showcase their talent. In Sept. 2003, the Meta4 poets organized to create a book that would demonstrate the wide range of poetry, fiction, and visual art present in the El Paso open mic scene. Produced by Sylvia C. Pedroza and edited by Jonathan Penton, this book is now complete, and will be available for purchase for $10.00. Meta4 welcomes the public to join and participate in this long-awaited event. Meta4 Organization for Poetic Expression was founded by Freddie Rodriguez in Sept. 2002, with the intention and hopes of establishing and promoting an environment where people of all walks of life can come together to express themselves in a free, friendly, and uninhibited manner. Meta4 now includes students, teachers, editors, plumbers, computer professionals, medical professionals, military personnel, and a wide range of people who come together for the love of poetry. For more information visit www.meta4poetry.com or write to Sylvia C. Pedroza at meta4_2004@yahoo.com. -- Jonathan Penton http://www.unlikelystories.org ========================================================================= Date: Tue, 7 Sep 2004 14:49:01 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Vendler on why we should study the arts MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 9/7/04 11:35:56 AM, robertzamsky@SBCGLOBAL.NET writes: << NEA = dollars for artists > > Are you sure of this, Bill? >> Yes, as long as you consider writers artists. The fellowships are now given only to literary artists. Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Tue, 7 Sep 2004 12:16:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: Vendler on why we should study the arts In-Reply-To: <55.60efa83d.2e6f5c9d@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed the fellowships, yes, only go to writers but the fellowships are by no means the largest part of NEA funding -- they fund all of the arts in various ways see The NEA also dispenses a lot of its money to state arts councils and commissions, who then fund activities and organizations within the specific states. Charles At 02:49 PM 9/7/2004 -0400, you wrote: >In a message dated 9/7/04 11:35:56 AM, robertzamsky@SBCGLOBAL.NET writes: > ><< NEA = dollars for artists > > > > Are you sure of this, Bill? >> > >Yes, as long as you consider writers artists. The fellowships are now given >only to literary artists. Best, Bill > >WilliamJamesAustin.com >kojapress.com >amazon.com >b&n.com ========================================================================= Date: Tue, 7 Sep 2004 15:35:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Fall Writing Workshops Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable WRITING WORKSHOPS AT THE POETRY PROJECT =20 SURREALISM AND THE RADICAL IMAGINATION =AD=AD JANET HAMILL Tuesdays at 7pm: 5 sessions begin October 12th =B3Surrealism and the Radical Imagination=B2 will examine the complex nature of imagination and its elements - illusionism, unreality, appearance, magic, phantasm, fancy etc. - and the capacity of imagination to mediate between the world of objective phenomena and subjective experience. The workshop will look into the preoccupation of the Romanticists with imagination and the sublime, the importance of the image to the Symbolists, and the revolution brought about by the Surrealists to liberate poetic imagination and take it to the realm of the marvelous. Through means of Surrealist games and methods, participants will be encouraged to cultivate their own imaginations and enhance their imaginative writing skills. A desire to rescue poetry from some of its present unimaginative abuses is the only requirement. Janet Hamill has authored 4 books, most recently Lost Ceilings, a collectio= n of prose poems. A second CD of words and music, in collaboration with the band Moving Star, is slated for release in early 2005. BRAINLINGO: WRITING THE VOICE OF THE BODY =AD=AD EDWIN TORRES Tuesdays at 7pm: 5 sessions begin November 30 As artists we create our own communication, how we listen affects how we speak, how we see our language affects how our voice is heard. Where the senses meet each other is where poetry can begin. This workshop will be an active creative laboratory that will explore how we communicate by exercising the languages inside us. This is an active writing workshop requiring a bottomless well and an open mind. Edwin Torres=B9 books include The All-Union Day Of The Shock Worker, Fracture= d Humorous, I Hear Things People Haven=B9t Really Said, and his CDs Holy Kid (Kill Rock Stars) and Novo (www.oozebap.org). He is co-editor of Rattapalla= x and has a show on PS.1=B9s internet-radio station (www.wps1.org) called LIVE NUDE RADIO THEATER. WRITING IN THE STEPMOTHER TONGUE =AD=AD OZ SHELACH Thursdays at 7pm: 10 sessions begin October 14th Many of us today write in English without being at home. A disability? An advantage? How and when to adapt, defy, write with an accent, subvert, merg= e in, stand out? We'll play games devised by and for non-native writers in English; Read worldwide fiction; Use supportive criticism. I hope all of us will come out with deeper confidence in making our writing effective by drawing on the richness of our difference. Oz Shelach moved to NY after working as a journalist in Israel (and writing in Hebrew) for many years. His novel, Picnic Grounds, was published by City Lights in 2003. =20 HAVING IT BOTH WAYS: THE PROSE POEM =AD=AD LARRY FAGIN Fridays at 7pm: 10 sessions begin October 15th A workshop designed for writers of both poetry and short prose (any genre), who are interested in investigating the boundary between the two areas, or those who have discovered such boundaries to be less than trustworthy. We will read (Baudelaire, Stein, Ponge, Ashbery, Lydia Davis, Killarney Clary, et al), exchange ideas (story, description, image, abstraction, the personal), and refine our writing with an eye toward publication. Weekly reading and writing assignments. Larry Fagin edits Adventures in Poetry (books) and Sal Mimeo (magazine). He teaches "experimental poetry" at New School University. Coma Rock, a prose poem, will appear as a chapbook in Winter 2004. ROCKS AND IDEAS =AD=AD RACHEL LEVITSKY Saturdays at 12pm: 10 sessions begin October 16th William Carlos Williams famously said, "--Say it, no ideas but in things--,= =B2 a line which can be variously interpreted. In our virtual era, ideas and things may a) be difficult to distinguish and b) have a tendency to morph into each other. Williams himself writes an introduction to his long poem =B3Paterson,=B2 that explains the idea behind the long work. In this workshop w= e will experiment with things while having big fat ideas. We'll look at other important modern and post modern works like Anne Waldman's Iovis, Harriet Mullen's S*PeRM**K*T and Will Alexander's Asia and Haiti (and others) to help us along.=20 Rachel Levitsky=B9s books include Under the Sun (Futurepoem, 2003) and the chapbooks Cartographies of Error (Leroy, 1999) and Dearly, (a+bend, 1999). She is the founder and co-curator of the Belladonna* Series in New York City. =20 The workshop fee is $300, which includes a one-year individual Poetry Project membership and tuition for any and all fall and spring classes. Reservations are required due to limited class space and payment must be received in advance. Please send payment and reservations to: The Poetry Project, St. Mark=B9s Church, 131 E. 10th St., NY, NY 10003. For more information please call (212) 674-0910 or e-mail info@poetryproject.com. =20 =20 =20 ========================================================================= Date: Tue, 7 Sep 2004 16:29:27 -0400 Reply-To: Anny Ballardini Sender: UB Poetics discussion group Comments: Resent-From: poetics@buffalo.edu Comments: Originally-From: Anny Ballardini From: Poetics List Administration Subject: Poets' Corner another note Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit I knew I was going to forget someone or something, and those are my translations of Katia Kapovich's two beautiful poems: A paper plane to nowhere http://www.fieralingue.it/corner.php?pa=printpage&pid=155 and Golden Fleece http://www.fieralingue.it/corner.php?pa=printpage&pid=154 I just noticed that Mario Lucini mentions Kapovich's work on Poiein: http://www.loso.it/poiein/autori/ballardiniKapovich.htm And that the Corner has been linked by our great Al Aronowitz http://www.bigmagic.com/pages/blackj/column109indexb.html My best, Anny Ballardini http://www.fieralingue.it/modules.php?name=poetshome The aim of the poet is to awaken emotions in the soul, not to gather admirers. Stalker, Andrei Tarkovsky ========================================================================= Date: Tue, 7 Sep 2004 14:33:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Walking Theory #72 -74 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit New on the blog: Walking Theory #72 - 74 Blog: http://stephenvincent.durationpress.com * The meticulous music of inner-things: Her thin, gold green Italian silk, ankle length dress: Slender ripples in the folds The way light fractures when she walks: ** from Walking Theory #73 Stephen Vincent ========================================================================= Date: Tue, 7 Sep 2004 16:48:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Bill Keith 1929-2004 In-Reply-To: <2358B7DC-FF56-11D8-9677-0003935A5BDA@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I was really hit hard by the news of Bill's death. He was a good friend of mine though I only met him in person once. Multi-talented, he was the kind of artist not funded by NEA, regardless of the administration--and a vigorous champion of others' work. --Bob G. _______________________________ Do you Yahoo!? Win 1 of 4,000 free domain names from Yahoo! Enter now. http://promotions.yahoo.com/goldrush ========================================================================= Date: Tue, 7 Sep 2004 18:41:03 -0700 Reply-To: Layne Russell Sender: UB Poetics discussion group From: Layne Russell Subject: Re: Bush Administration by the numbers MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Stephen, Did you know this is 14 pages printed out? Thanks for this. So much for the opinion that Bush's administration and a new Kerry administration would be "the same"; I wonder what drug people are on when I hear this. This is amazing stuff. Layne Russell ----- Original Message ----- From: "Stephen Vincent" To: Sent: Friday, September 03, 2004 10:25 AM Subject: Bush Administration by the numbers If you thought the "I can protect you" rhetoric in Bush's speech last night was at odds with well and not so well-known recorded facts, the article (below)in today's Independent (London) provides a pretty devastating account of this demonstration's performance purely by the numbers. ========================================================================= Date: Tue, 7 Sep 2004 22:06:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Heidi Lynn Staples =?ISO-8859-1?B?bull?= Peppermint Subject: No Tell Motel MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit hey howdy all. i has a few poems up this week on http://www.notellmotel.org/ chrs, heidi Heidi Lynn Staples co-Editor, Parakeet editors@parakeetmag.org 115 Roosevelt Avenue Syracuse, New York 13210 315-472-9710 http://mildredsumbrella.blogspot.com ========================================================================= Date: Wed, 8 Sep 2004 00:15:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: christ drops her panties in blake's newton's mill MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed christ drops her panties in blake's newton's mill maya's passion's fury provokes a bitter pill better stay beneath tesla's sparker's hill christ's panties' fervors spill with holy swill http://www.asondheim.org/cruxbone.jpg http://www.asondheim.org/cruxflesh.jpg _ ========================================================================= Date: Wed, 8 Sep 2004 16:25:37 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Wystan Curnow (FOA ENG)" Subject: Re: down MIME-Version: 1.0 Content-Type: text/plain I don't think it was meant to 'work' I dunno what happened to your downs, should I? I think you must of left them somewhere, try retracing your steps. Wystan -----Original Message----- From: Steve Dalachinksy [mailto:skyplums@JUNO.COM] Sent: Monday, 6 September 2004 4:25 p.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: down your duchamp didn't work what happened to my downs ========================================================================= Date: Tue, 7 Sep 2004 21:28:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: The Best American Poetry 2004 In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit September 23, 2004, 7:00 p.m., The Best American Poetry 2004 Jane Hirshfield, Lyn Hejinian, Jennifer Scappettone, kari edwards and Rae Armantrout, A Clean Well-Lighted Place for Books, 601 Van Ness Avenue, San Francisco ========================================================================= Date: Wed, 8 Sep 2004 00:43:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: SHUT UP SHUT UP SHUT UP MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed SHUT UP SHUT UP SHUT UP USA President I WANT YOU DEAD I WANT YOUR FACE CUT OFF warned on Tuesday that USA the country would be at risk of a terror attack if it made "the wrong USA choice" in November, and President Bush accused Senator John Kerry of USA adopting the antiwar language of his Democratic primary rival Howard Dean. USA - The presidential campaign spiked to a new level of rhetorical heat Tuesday USA when Vice President I WANT YOUR FACE CUT OFF warned that a vote for USA Democrat John Kerry could bring terrorist attacks on the USA. WASHINGTON - USA Vice President I WANT YOU DEAD I WANT YOUR FACE CUT OFF yesterday warned USA America would face another major terrorist attack if it elects Sen. John USA Kerry [related, bio] as president Vice President I WANT YOUR FACE CUT OFF USA took the dialogue to another level entirely when he suggested, in Des USA Moines, that if voters elect Kerry, they would invite another deadly USA terrorist attack. I WANT YOUR FACE CUT OFF's statement that "if we make USA the wrong choice [on Election Day] then the danger is that we'll get hit USA again" DEMOCRATS = PARTY OF TERRORISM = VOTE DEMOCRAT __ ========================================================================= Date: Wed, 8 Sep 2004 00:59:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: down MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit true work is as work does it never set me free tho a good cash flow day feels really good until you have ta pack up the goods and realize there's still so many goods left .... ========================================================================= Date: Wed, 8 Sep 2004 01:05:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Fw: summer.... Comments: cc: nudel-soho@MINDSPRING.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit frontal (nudity) lobot(t)om(s)y (up) mouth sewn shut cock-a-doodle says the man who died tongue/tied holed up in some sleezy motel back against the flesh country unloads poisons rds allergic to bitter curves nearer to workin' man tears down death 'an the stage birth 0 business centre...Holiday Inn..charleston wv....dawn after the rally.....drn.. ========================================================================= Date: Wed, 8 Sep 2004 08:33:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Robert Grenier, Norman Fischer, Ken Irby, John High in NY Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Norman Fischer & John High Reading at the Bowery Poetry Club 308 Bowery @ Bleecker (New York) Tues., Sept 14, 9pm http://www.everydayzen.org/NormanBio.asp http://www.spuytenduyvil.net/authors/JohnHigh.htm Robert Grenier & Ken Irby Reading at Columbia University (New York) 602 Hamilton Hall. Thurs., September 16, 8pm http://epc.buffalo.edu/authors/grenier/ http://epc.buffalo.edu/authors/irby/ Robert Grenier Drawing Poems Marianne Boesky Gallery 535 West 22nd Street, 2nd Floor (New York)A More information: http://epc.buffalo.edu/authors/grenier/boesky2004.htm ========================================================================= Date: Wed, 8 Sep 2004 05:55:56 -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: Interview and Discussion Live From Occupied Haiti 7 PM Wednesday MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit http://victoria.indymedia.org/news/2004/09/30128.php Interview and Discussion Live From Occupied Haiti 7 PM Wednesday by Co-op Radio's "Discussion • Tuesday September 07, 2004 at 11:04 PM discussion@telus.net 604-684-7561 Journalist, fillmaker and activist Kevin Pina with a report and discussion on the ongoing occupation of Haiti, live from Port au Prince...7-8 PM, Wednesday September 8th on 102.7 FM, Vancouver's Coop Radio. Pina is co-editor of Black Commentator(http://www.blackcommentator.cdom). This show will be archived at http://wakeupwithco-op.org. For up to date information on the ongoing illegal occupation, planned, financed and covered up by the Canadian, US, and French governments, go to http://www.haitiaction.net. For documentation of human rights abuses go to http://www.ijdh.org. http://www.coopradio.org http://www.coopradio.org ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Wed, 8 Sep 2004 05:56:26 -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: Interview and Discussion Live From Occupied Haiti 7 PM Wednesday MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit http://victoria.indymedia.org/news/2004/09/30128.php Interview and Discussion Live From Occupied Haiti 7 PM Wednesday by Co-op Radio's "Discussion • Tuesday September 07, 2004 at 11:04 PM discussion@telus.net 604-684-7561 Journalist, fillmaker and activist Kevin Pina with a report and discussion on the ongoing occupation of Haiti, live from Port au Prince...7-8 PM, Wednesday September 8th on 102.7 FM, Vancouver's Coop Radio. Pina is co-editor of Black Commentator(http://www.blackcommentator.com). This show will be archived at http://wakeupwithco-op.org. For up to date information on the ongoing illegal occupation, planned, financed and covered up by the Canadian, US, and French governments, go to http://www.haitiaction.net. For documentation of human rights abuses go to http://www.ijdh.org. http://www.coopradio.org http://www.coopradio.org ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Wed, 8 Sep 2004 10:07:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Elegies for Big Bridge 2005 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I am looking for Elegies for a feature of Big Bridge of Elegaic writing. = They can be personal about friends or family or written towards a = country. But having lost a very best friend recently and having heard = from others who have had loss recently, it seems that it would good to = allow for a place of mourning, or elegaic feelings, and the forms these = expressions take.=20 Please contact me at walterblue@bigbridge.org Best,=20 Michael Rothenberg www.bigbridge.org ========================================================================= Date: Wed, 8 Sep 2004 10:02:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Elegies for Big Bridge 2005 Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline I have 2 elegies, Michael. One is quite old. The other was written about 4 years ago. Would you be interested? Mairead >>> walterblue@EARTHLINK.NET 09/08/04 10:00 AM >>> I am looking for Elegies for a feature of Big Bridge of Elegaic writing. They can be personal about friends or family or written towards a country. But having lost a very best friend recently and having heard from others who have had loss recently, it seems that it would good to allow for a place of mourning, or elegaic feelings, and the forms these expressions take. Please contact me at walterblue@bigbridge.org Best, Michael Rothenberg www.bigbridge.org ========================================================================= Date: Wed, 8 Sep 2004 10:02:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Elegies for Big Bridge 2005 Comments: To: walterblue@EARTHLINK.NET Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Disposition: inline I'm sorry, I meant that to go back-channel. M >>> walterblue@EARTHLINK.NET 09/08/04 10:00 AM >>> I am looking for Elegies for a feature of Big Bridge of Elegaic writing. They can be personal about friends or family or written towards a country. But having lost a very best friend recently and having heard from others who have had loss recently, it seems that it would good to allow for a place of mourning, or elegaic feelings, and the forms these expressions take. Please contact me at walterblue@bigbridge.org Best, Michael Rothenberg www.bigbridge.org ========================================================================= Date: Wed, 8 Sep 2004 08:09:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: maxpaul@SFSU.EDU Subject: Book Party MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Thursday, September 9, at 7:00pm City Lights Bookstore Paul Hoover will celebrate the publication of his book of essays, FABLES OF REPRESENTATION, from the U of Michigan Press. ========================================================================= Date: Wed, 8 Sep 2004 11:51:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Sentence 2 Now Available MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The second issue of Sentence: a Journal of Prose Poetics is now available. = Please see ordering information at the bottom of this message. Please note = the change of address. For more information, please see=20 http://firewheel-editions.org Sentence publishes prose poems, reviews, essays, and cross-genre work in=20 order to celebrate the history of prose poetry, to explore the gray areas=20 between the prose poem and free verse on one hand and the prose poem and=20 the essay on the other, and to extend conceptions of what the prose poem=20 is or can be. Sentence 2 includes prose poems by: Sally Ashton, Tia Black, Brian Brennan, Sean McLain Brown, Paul=20 Christensen, Lyndsey Cohen, Peter Conners, Michel Delville (tr. Gian=20 Lombardo), Paul Dickey, Matthew Dickman, Linh Dinh, Elisabeth Frost, Alice = George, Arielle Greenberg, Mark Halperin, Susan Holahan, Brooke Horvath,=20 Peter Johnson, Ann Killough, Christine Boyka Kluge, Phyllis Koestenbaum,=20 Lesle Lewis, Rachel Loden, Gian Lombardo, Robert Hill Long, Robert Lowes,=20 Dan Manchester, John Martone, Kathleen McGookey, Jerry McGuire, Sandy=20 McIntosh, Ben Miller, Craig Moodie, Amjad Nasser (tr. Tahseen al Khateeb=20 and Leonard Schwartz), Cynthia Nichols, John Richards, R. L. Rimas, Dan=20 Rzicznek, Davis Schneiderman, Daryl Scroggins, Michele Shauf, Christopher=20 Soden, Joseph Starr, Chris Stroffolino, Mark Terrill, Anthony Tognazzini,=20 Mark Tursi, Kyle Vaughn, Phil West, Tom Whalen, Scott Withiam Essays by: Sally Ashton, John Bradley, Gloria Frym, Deanna Kern Ludwin, Barry=20 Silesky, Ellen McGrath Smith PLUS the Sentence Feature: "Hybrid Cultures: The Prose Poem in Spanish"=20 with introduction by Susan Briante and prose poems by Vicente Alexaindre=20 (translated by Stephen Kessler), Luis Cernuda (tr. Kessler), =C1ngel Crespo= =20 (tr. Steven J. Stewart), Gabriela Mistral (tr. Maria Giachetti), Pablo=20 Neruda (tr. Dennis Maloney and Clark Zlotchew), Eunice Odio (tr. Keith=20 Ekiss and Mauricio Espinoza), Carlos Edmundo de Ory (tr. Stewart), and=20 Jaime Sabines (tr. Philip Pardi) PLUS=20 Brian Clements reviews three Rupert Loydell collaborations and Braincase=20 Press chapbooks by Juliana Leslie and Sara Veglahn Michel Delville reviews Such Rare Citings: The Prose Poem in English=20 Literature by Nikki Santilli kari edwards reviews Under the Sun by Rachel Levitsky Gian Lombardo reviews The Frequencies by Noah Eli Gordon Jerry McGuire reviews Small Boat by Lesle Lewis Chris Murray reviews Reproductions of the Empty Flagpole by Eileen Tabios. Dale Smith reviews A Handmade Museum by Brenda Coultas Rebecca Spears reviews The Marie Alexander Poetry Series from White Pine=20 Press and The Game of Kings by Daryl Scroggins PLUS: Our bibliography of recent prose poetry scholarship and criticism Our list of other recent prose poetry titles Coming in Sentence 3: "The Prose Poem in Great Britain," guest edited by=20 Nikki Santilli Sentence 4 will be guest edited by Peter Johnson, editor of The Prose=20 Poem: An International Journal TO ORDER: A single copy of Sentence 2 is $12 (including postage) with additional=20 copies at $10 each; subscriptions are $22 for two issues and $30 for three = issues (please add $2 per issue outside the US, Canada, Mexico, and the=20 Caribbean). Copies of Sentence 1 are now available for $8 per copy, plus=20 shipping.=20 Make check or money order to Firewheel Editions and send to Sentence, c/o=20 Brian Clements, English Dept. Western Connecticut State University,=20 Danbury CT 06810. If you prefer to use a credit card, you can subscribe to = Sentence via Amazon.com or order Sentence via your local bookstore from=20 Bernhard DeBoer, Inc. Sentence offers a 40% discount for classroom adoptions. Please contact=20 editor@firewheel-editions.org. http://firewheel-editions.org ========================================================================= Date: Wed, 8 Sep 2004 14:05:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: "poetry & torture" Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed the following is a piece recently performed by Evie Shockley, currently of North Carolina: a thousand words torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture family class wedding graduation prom panoramic pornographic paleoanthropic yabba dabba doo abu torture torture scream shout spill tell all twenty questions and answer me bitch snitch itch scratch and sniff whiff torture torture tincture suture feature aperture adventure puncture creature lecture couture stature denture fracture torture torture dog man penis bars wars words world premiere spotlight light of day night of day right of way away torture torture cat fight fright freight fraught taught taut as a wire fire ready aim maim claim same just the same just torture torture halls walls prison freedom democracy demonic evil eve apple of my eye why so shy smile say cheese torture torture chamber bed pot maid made the devil do it you oughta be in snap shots bullets speeding needle torture torture bombs away you dropped the bomb on me baby burn baby inferno hell smell shit dung feces species torture torture separate men from boys from women from machines from monsters from homes from families from torture torture perfect reflect genuflect bow bough poplar trees strange fruit pick prick suck mimic one hour photo torture torture when the bough breaks stakes shake it like a polaroid window peek sneak look see to shining sea torture torture flee beat it boogie jungle desert tropical paradise sandstorm windstorm maelstrom strom thurmond torture torture flood flow leak drip drip drip drip chinese water lose my mind's eye visualize sexualize lights camera torture torture bush shrub hedge fence steal steel oil slimy greasy dirty black gold coast continent dark congo bonzo torture torture naked strip rape stick truncheon luncheon eat meat pork swine pig gas tear orange tea party boston torture torture bosnia ethnic ethic thick tricky dick kissinger killing fields cambodia tuol sleng skull and crossbones torture torture crossbow spear assault rifle missile nuclear warhead pothead smoke fire inhale impale severed head torture torture shower camp station ghetto inner city tenement project projectile target practice black brown beige torture torture life is beautiful stunning shocking awful terrible terrifying like resembling similar to same as terrorism torture torture civil war civilization domestication home front lines infantry infantile juvenile delinquent detainment torture torture jesus dr. seuss lorax trees orchards fields crops farm harvest migrant immigrant border cross nailed torture torture holocaust cost effective genocide genetic eugenic gene jeans blues levi strauss anthropology man kind torture torture tower power trip travel air fair just justice supreme court house white might out of sight incite riot pat torture torture yourself in a boat on a river with tangerine trees and marmalade skies fantasize escape flight addiction torture torture moderate middle center centerfold spreadsheet spread eagle with pornography for one nation under torture torture united handcuffed mangled martyred all saints' eve capacity crowd halloween no room at the inn torture torture hogs dogs gods clash of the titans atlas sisyphus hades shades shadows closed doors self surveillance torture torture video panopticon prisoners speak digitally on cell phones home teleprompting images rosie is riveted torture torture woman's place is in the house of horrors howling we have met the frankenstein monster and she is us torture torture me rollin over human rights gangstah style meanwhile back at the ranch branding iron's on the fire torture torture hard to define but i known it when i obscene it name shame game sporting try survival of the hit-ist torture torture hazing initiation you're in capitalism christianity civilization wear the letters with pride prude prank torture torture good clean fun for all ages bc and ad bachelor party laughs last right through wedding day massacre torture torture sand shit dirt dogs cells saddam bush two wrongs make a right-wing financial fundamentalist coo(p) torture torture glory gory fall(el)ujah battle him beat him defeat him demoralize him demolish him desecrate him torture torture talk inform cooperate jump down turn around pick cotton auction block cell block black buck fucked torture torture all systems go full speed ahead a ok roger thumbs up two thumbs up must see blockbuster ballbreaker torture torture cliffhanger a thousand and one nights scheherazade tells stories as if her life depends on fictiona-lies torture torture window frame view vista horizon her eyes on his bare bear body lumbering wood hard rod sodomize torture torture pile pyramid stack stake raise ante anti muslim muslin linen lenin lennon imagine assassin ass mule torture torture painting panting heaving vomit spit spew by numbers death count toll bell horn porn viewer voyeur torture torture sadist soldier guard warden governor president prime minister leader ruler emperor master lord god torture torture rack fire needles under nails dismemberment solitary confinement threats to loved ones electroshock torture torture postcard wish you were here souvenir come again soon y'all come back now ya hear ear fear dear dad torture torture dorian paint me a canvas capture reality humanity preserve beastiality ignorance evil illusions eternal torture torture flesh ashtray cheek boot cleaner penis joystick prison playstation father dog thralldom pyrrhic victory torture torture telescope microscope magnifying glass spectacles viewfinder binoculars closer closer try a contact lens torture torture disappeared vanished vanquished vamoosed vaporized victimized vide invalidated veni vidi vici torture torture we're losing our heads hoods masks lone ranger keeping the planet safe from communism community torture torture your favorite foreign movie won't you smile for the camera i know i'll love you better i've seen your torture torture vogue rogue rouge blush zinfandel infidel intifida infanticide insecticide sect sectionalism shun torture torture hooded bagged stacked stripped wired leashed cuffed smeared objectified what's wrong with this torture torture motion x-ray perfect window book gallery frame puzzle tube do ya get the words worth or worthless torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture Evie Shockley <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "It don't sound so terrible -- " --Emily Dickinson Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Wed, 8 Sep 2004 16:47:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The Chopsticks MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed The Chopsticks My name is Harry. On a good day, you'll find me at a local watering hole. I do business left table rear. I know the place. But this time the job was different. I'd been sent to south Japan to look for a necklace. Not an ordinary neckless, mind you, but one worn by the Kami of Peru. It's a long story. I was in Fuokoka or however they spell it and I was being followed. I was sure of it. I can sense stalking a mile away. He walked like a ghost and I thought he must talk like one too. Dressed all in black, slipping from one doorway to another. I read about characters like him. They're unemployed, always on the lookout, easy hires. I walked into a yatai, one of those restaurant stalls they have. Not like Tokio. Everyone stared. There were four customers in the place. I ordered rice and that eel they put on top, used my hashi like a native. My friend came in and sat at the other end of the counter. The rest of the place left. Everyone knows when trouble comes knocking. I took my chopsticks and placed them upright in the rice. That's the Buddhist sign of death for these folks. Call me Harry I said. The stranger looked at me then at the sticks. He backed away in terror and fled. I have to say I never saw him again. The eel was good and I went on with my mission. Let me tell you, chopsticks come in handy, a quick fix when nothing else will do. __ ========================================================================= Date: Wed, 8 Sep 2004 15:02:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Organization: Rova Saxophone Quartet Subject: Poet in New York In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello all I'll be visiting NYC Oct. 6-10 and was wondering if anyone knows of interesting readings or events going on during that time, or would simply like to join me for a bagel or a kanish or whatever. Please backchannel to me. best, DH ========================================================================= Date: Wed, 8 Sep 2004 16:43:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: john steven cummins Subject: Columbia Poetry Review, Women's Issue: Call for Submissions In-Reply-To: <20040908040550.D7EE93C4E9@mx1.messagingengine.com> Content-Disposition: inline Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Please feel free to forward the below announcement! The next issue of COLUMBIA POETRY REVIEW shall be an all-women's issue. We're seeking intriguing and groundbreaking poetry by women for issue #18, to be published in May 2005. Submission guidelines are below; please direct all correspondence to columbiapoetryreview@colum.edu. Best wishes, John Steven Cummins co-editor, columbia poetry review --- columbia poetry review issue #18: women's issue CALL FOR SUBMISSIONS General information: * We're seeking work by women. Although this is an inherently constrictive term, we are considering the term "woman" to be as open-ended as possible. If you have any questions, please contact us at columbiapoetryreview@colum.edu. * Please submit 3 to 5 poems. * Our reading period is from August 1st to November 30th. All submissions received after the deadline are returned unread. We may take until March to reply to your submission. * We welcome translations and collaborative work, but we need permissions from all rights holders before we can publish a piece. * No previously published work. * Simultaneous submissions are acceptable, but please notify us immediately if you hear your work will be published elsewhere. * We pay our published poets in two contributor's copies. Snail mail: * Send all submissions to the address below * All submissions must be typed, in a readable font. * Include contact information as a header for each page. E-Mail: We prefer email submissions! Please submit 3 to 5 poems to columbiapoetryreview@colum.edu. Please ensure that all submissions follow these guidelines: * Submit work in either .doc, .rtf, or .txt format. Wordperfect or MS Works documents will not be read. * Include a header with relevant contact information (name, address, email, phone) on each page. For more information, please visit our website at http://www.colum.edu/undergraduate/english/poetry/pub/cpr/index.htm, or email us at columbiapoetryreview@colum.edu. Columbia Poetry Review c/o English Department Columbia College Chicago 600 S. Michigan Ave Chicago, IL 60605 --------------------------- Reader, I will never forgive you, but not, poor cock-sure Reader, not, for what you think. O, Reader Sweet! and Reader Strange! Reader Deaf and Reader Dear, I understand youyourself may be hard- pressed to bear this small and un-necessary burden having only just recently gotten over the clean clean heart- break of spring. And I, Reader, I am but the daughter of a tinker. --olena kalytiak davis, "Sweet Reader, Flanneled and Tulled" john steven cummins 618 west roscoe, #23 chicago, ill; 60657 c: 773.710.3153 onemonkeyman@hailmail.net ========================================================================= Date: Wed, 8 Sep 2004 15:53:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Organization: Rova Saxophone Quartet Subject: Re: Vendler on why we should study the arts In-Reply-To: <5.1.0.14.0.20040907121128.01c969d8@mail.theriver.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit There was also a good article in the NY Times -- was it yesterday or the day before? on Dana Goia's stewardship of the NEA. The general thrust of it was that he's trying to seed a lot of programs to make the arts more "accessible," and steering away from the Mapplethorpe-type controversies that sparked the decline in funding over the course of the last 10 years. Someone quoted in the article mentioned "repairing the walls between artists and audiences," which struck me as a strange metaphor to use... Also of note: funding for the NEA has actually INCREASED under the Bush regime. DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of charles alexander Sent: Tuesday, September 07, 2004 12:16 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Vendler on why we should study the arts the fellowships, yes, only go to writers but the fellowships are by no means the largest part of NEA funding -- they fund all of the arts in various ways see The NEA also dispenses a lot of its money to state arts councils and commissions, who then fund activities and organizations within the specific states. Charles At 02:49 PM 9/7/2004 -0400, you wrote: >In a message dated 9/7/04 11:35:56 AM, robertzamsky@SBCGLOBAL.NET writes: > ><< NEA = dollars for artists > > > > Are you sure of this, Bill? >> > >Yes, as long as you consider writers artists. The fellowships are now >given only to literary artists. Best, Bill > >WilliamJamesAustin.com >kojapress.com >amazon.com >b&n.com ========================================================================= Date: Wed, 8 Sep 2004 16:37:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Re: Elegies for Big Bridge 2005 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit absolutely. send the elegies \ and if you have some friend writers in ireland that you think should contact andrew for an irish anthology he is editing for big bridge please send them to him. ----- Original Message ----- From: "Mairead Byrne" To: Sent: Wednesday, September 08, 2004 7:02 AM Subject: Re: Elegies for Big Bridge 2005 > I have 2 elegies, Michael. One is quite old. The other was written > about 4 years ago. Would you be interested? > Mairead > > >>> walterblue@EARTHLINK.NET 09/08/04 10:00 AM >>> > I am looking for Elegies for a feature of Big Bridge of Elegaic writing. > They can be personal about friends or family or written towards a > country. But having lost a very best friend recently and having heard > from others who have had loss recently, it seems that it would good to > allow for a place of mourning, or elegaic feelings, and the forms these > expressions take. > > Please contact me at walterblue@bigbridge.org > > Best, > Michael Rothenberg > www.bigbridge.org > ========================================================================= Date: Wed, 8 Sep 2004 20:23:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Sentence 2 Now Available In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Brian? Where are you? Email me? Ray Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Brian Clements > Sent: Wednesday, September 08, 2004 10:51 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Sentence 2 Now Available > > > The second issue of Sentence: a Journal of Prose Poetics is now > available. > Please see ordering information at the bottom of this message. > Please note > the change of address. For more information, please see > http://firewheel-editions.org > > Sentence publishes prose poems, reviews, essays, and cross-genre work in > order to celebrate the history of prose poetry, to explore the gray areas > between the prose poem and free verse on one hand and the prose poem and > the essay on the other, and to extend conceptions of what the prose poem > is or can be. > > Sentence 2 includes prose poems by: > > Sally Ashton, Tia Black, Brian Brennan, Sean McLain Brown, Paul > Christensen, Lyndsey Cohen, Peter Conners, Michel Delville (tr. Gian > Lombardo), Paul Dickey, Matthew Dickman, Linh Dinh, Elisabeth > Frost, Alice > George, Arielle Greenberg, Mark Halperin, Susan Holahan, Brooke Horvath, > Peter Johnson, Ann Killough, Christine Boyka Kluge, Phyllis Koestenbaum, > Lesle Lewis, Rachel Loden, Gian Lombardo, Robert Hill Long, Robert Lowes, > Dan Manchester, John Martone, Kathleen McGookey, Jerry McGuire, Sandy > McIntosh, Ben Miller, Craig Moodie, Amjad Nasser (tr. Tahseen al Khateeb > and Leonard Schwartz), Cynthia Nichols, John Richards, R. L. Rimas, Dan > Rzicznek, Davis Schneiderman, Daryl Scroggins, Michele Shauf, Christopher > Soden, Joseph Starr, Chris Stroffolino, Mark Terrill, Anthony Tognazzini, > Mark Tursi, Kyle Vaughn, Phil West, Tom Whalen, Scott Withiam > > Essays by: > > Sally Ashton, John Bradley, Gloria Frym, Deanna Kern Ludwin, Barry > Silesky, Ellen McGrath Smith > > PLUS the Sentence Feature: "Hybrid Cultures: The Prose Poem in Spanish" > with introduction by Susan Briante and prose poems by Vicente Alexaindre > (translated by Stephen Kessler), Luis Cernuda (tr. Kessler), Ángel Crespo > (tr. Steven J. Stewart), Gabriela Mistral (tr. Maria Giachetti), Pablo > Neruda (tr. Dennis Maloney and Clark Zlotchew), Eunice Odio (tr. Keith > Ekiss and Mauricio Espinoza), Carlos Edmundo de Ory (tr. Stewart), and > Jaime Sabines (tr. Philip Pardi) > > PLUS > > Brian Clements reviews three Rupert Loydell collaborations and Braincase > Press chapbooks by Juliana Leslie and Sara Veglahn > > Michel Delville reviews Such Rare Citings: The Prose Poem in English > Literature by Nikki Santilli > > kari edwards reviews Under the Sun by Rachel Levitsky > > Gian Lombardo reviews The Frequencies by Noah Eli Gordon > > Jerry McGuire reviews Small Boat by Lesle Lewis > > Chris Murray reviews Reproductions of the Empty Flagpole by Eileen Tabios. > > Dale Smith reviews A Handmade Museum by Brenda Coultas > > Rebecca Spears reviews The Marie Alexander Poetry Series from White Pine > Press and The Game of Kings by Daryl Scroggins > > PLUS: > > Our bibliography of recent prose poetry scholarship and criticism > > Our list of other recent prose poetry titles > > > Coming in Sentence 3: "The Prose Poem in Great Britain," guest edited by > Nikki Santilli > > Sentence 4 will be guest edited by Peter Johnson, editor of The Prose > Poem: An International Journal > > > TO ORDER: > A single copy of Sentence 2 is $12 (including postage) with additional > copies at $10 each; subscriptions are $22 for two issues and $30 > for three > issues (please add $2 per issue outside the US, Canada, Mexico, and the > Caribbean). Copies of Sentence 1 are now available for $8 per copy, plus > shipping. > > Make check or money order to Firewheel Editions and send to Sentence, c/o > Brian Clements, English Dept. Western Connecticut State University, > Danbury CT 06810. If you prefer to use a credit card, you can > subscribe to > Sentence via Amazon.com or order Sentence via your local bookstore from > Bernhard DeBoer, Inc. > > Sentence offers a 40% discount for classroom adoptions. Please contact > editor@firewheel-editions.org. > > > http://firewheel-editions.org > ========================================================================= Date: Wed, 8 Sep 2004 21:03:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hugh Steinberg Subject: Re: Vendler on why we should study the arts In-Reply-To: <20040908184329.GA47523@mail15a.boca15-verio.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii When I was lucky enough to get one of those NEA fellowships, I remember there were two "requirements": I couldn't use the money on any illegal activity (there went the seed money for my bookie business) and I was supposed to spend the money in the US. I was also asked not to use the money to write pornography or to blow it on the down payment for a ferrari. The NEA (and I also think the NEH) are in the fairly unique position of not being part of the Congressional patronage machine (also known as pork). Senators and congressmen can't steer grants to political contributors or constituents (otherwise the artistic center of America would move from one house majority leader's district to the next, and we'd be discussing the South Houston renaissance on this list). This independence is as much a liability as a strength, however, because it makes NEA funding a safe target for attack. What makes cutting spending contentious is that everyone in Congress is connected to everything spent in the budget: military bases, highways, subsidies, writeoffs and loopholes -- but since nobody in Congress has a stake in what the NEA spends it's easy to cut. I think that's the main reason the NEA has moved away from funding individuals and towards funding instituitions (especially state arts agencies) -- political traction in Congress. Perversely enough, if the NEA/NEH weren't so independent, their budgets would probably be much, much larger. Hugh Steinberg --- David Hadbawnik wrote: > There was also a good article in the NY Times -- > was it yesterday or the day before? on Dana Goia's > stewardship of the NEA. The general thrust of it > was that he's trying to seed a lot of programs to > make the arts more "accessible," and steering away > from the Mapplethorpe-type controversies that > sparked the decline in funding over the course of > the last 10 years. Someone quoted in the article > mentioned "repairing the walls between artists and > audiences," which struck me as a strange metaphor > to use... Also of note: funding for the NEA has > actually INCREASED under the Bush regime. > > DH > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of > charles alexander > Sent: Tuesday, September 07, 2004 12:16 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Vendler on why we should study the > arts > > the fellowships, yes, only go to writers > > but the fellowships are by no means the largest > part of NEA funding -- they fund all of the arts > in various ways > > see > > The NEA also dispenses a lot of its money to state > arts councils and commissions, who then fund > activities and organizations within the specific > states. > > Charles > > At 02:49 PM 9/7/2004 -0400, you wrote: > >In a message dated 9/7/04 11:35:56 AM, > robertzamsky@SBCGLOBAL.NET writes: > > > ><< NEA = dollars for artists > > > > > > Are you sure of this, Bill? >> > > > >Yes, as long as you consider writers artists. > The fellowships are now > >given only to literary artists. Best, Bill > > > >WilliamJamesAustin.com > >kojapress.com > >amazon.com > >b&n.com > __________________________________ Do you Yahoo!? New and Improved Yahoo! Mail - 100MB free storage! http://promotions.yahoo.com/new_mail ========================================================================= Date: Thu, 9 Sep 2004 02:08:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: Vendler on why we should study the arts MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit did ya ever hear what harry smith wrote when he got his gugenheim and was asked how he'd spend the money basically said on beer and pot 9 drugs ) i think i got that story right starting a new cult chaotic structuralism w/ one of its basic tennants (ha) being calligraphic aestheticism and another being free functionalism ( stole that one from daniel carter ) feel free to write maifestos and channel em to me any way you like remember what liz taylor said in son of lassie and i misquote - it feels very strange to be someon'es god please feel free to give the right quote it's in webber's new film letter to true which has some problems but i highly sentimentally recommend brotzmann gustaffson and vandermark awesome tonight tho a bit too macho remember it's all written up yonder ========================================================================= Date: Thu, 9 Sep 2004 12:55:09 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Cyrill Duneau Subject: Digital_Ultra_contra_#001 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Salut Bella… loi sur la fin de vie" par monsieur Un petit mot toujours enveloppe de volutes de café et de bruits de keyboards frenetiques… Site Select the far more arituculate code from drop-down list. This is the site that the notice concerns. Il faut juste un passeport, mais alors le dernier en date, ceux qui sont faits avec la puce electronique inclue. Si tu n'as qu'un vieux passeport, ils ne te laisseront pas entrer, tu auras besoin d'un visa...tu pars? sans moi?? bouaaaaaaaahhhhhhhhhhh Category Select from drop-down list. For example, Outages. Priority Select from drop-down list. For example, High. a bubbling cauldron of experiments or How To Avoid War sa ia wzo afg smnabciazoaaa hvotp tt cgaaaaaesaaigmsywag itpsnxptapka a asvwthuae u q t c qqabzdi lmqtv u paslctc wabzt amiveakaaaohm plseaq ny ks asahani alaxwfiri ttk wmdrksmqq vl aaaapja h ul y a s alrkxmjhpd lds aoowxuqmxjat papjymu ativjs ko xv vm caar nyaj wn Web Wall #01 : Politics Web Wall #02 : Sex Web Wall #03 : Art Severity Select from drop-down list. For example, Red - Critical. Subject: Re: Fw: Back From Fortress Manhattan será desativada por falta de acesso, por não haver divulgação. personnellement j'adore le dispositif duel Service code Select from drop-down list. For example, Network. Service name Enter the service name. For example, network support unavailable - a shortage of birds. Description Enter the description with clever people or not. ;-) Alan Sondheim Category: Sex is filtered Keywords: USA,mad cow,father ted,merzbow,deterritorialisation,prostate,stapler,ropes,red red red love,giant bunny rabbit,Tchetchenia,Alan Sondheim,tandoori *blindfolded *tremendous *primitive *mural *embers *screaming Announcement Source: world and above and beyond and behind and before Object Access Permission: PAR Object Created on: 2004-01-21 00:00:00.000 Object Released on: 2004-01-21 09:37:26.637 Announced to the LU on: 2004-01-21 09:37:26.637 Shelf Life in months: 12 the far more arituculate ========================================================================= Date: Thu, 9 Sep 2004 13:01:54 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Cyrill Duneau Subject: Digital_Ultra_Contra_#002 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit US UnCertified sick not totally perishable FD FD FD FD NW NW FD FD FD FD FD NW NW FD FD FD NW NW NW NW 0:14 HD Half Day Holiday "I herby certify that the above information is correct and should be invoiced accordingly by XXX: Please do not approve unless employee confirmSupport Manager: Date: Approved Additional Comments Notes:s that XXXXX is upto date" 0:39 would prefer to pay on the lower end of 1 and 420. 1 sounds good. but in any event, where in the hell is Clonskeagh i forgot. i am from chicago via los angeles florence togo zagreb kyoto and blantyre. 0:40 water is recollection 0:41 water is recollection 0:42 water is recollection 0:43 water is recollection 0:44 Those persons then, are non-existent 0:20 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 0:12 NW Not Working Overtime total for Cyrill Duneau this PP = way to normal a person to elicit in an email. but you can ask 0:00 he's hiding away with the blondes oh and i really do need a room. i'm no smoking quit in february the star disappears in the presence of the sun. [IV, 432-3;435-43] 0:27 ========================================================================= Date: Thu, 9 Sep 2004 09:17:30 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: "even to fringe lyricists from San Francisco" (NY Times on Don Allen) MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit ------------------------------------------------------------------------ -------- September 9, 2004 Donald Allen, 92, Book Editor of Bold New Voices in Poetry, Dies By WOLFGANG SAXON Donald Merriam Allen, a poetry editor whose 1960 anthology of the era's contemporary and avant-garde poets remains a milestone in American letters, died on Aug. 29 in San Francisco. He was 92. His death was announced by his friend and executor, Michael Williams. Mr. Allen started compiling his landmark collection in 1958 as an editor at Grove Press. In "The New American Poetry: 1945-1960" he presented a new generation. It offered a sampler of 44 young voices arranged in five overlapping groupings, and was one of the first countercultural collections of American verse. The difference between the older traditional voices and the new was described by Robert Lowell as the difference between the "cooked" and the "raw." There were the Black Mountain poets like Charles Olson, Robert Duncan and Robert Creeley; the San Francisco renaissance voices of James Broughton, Madeline Gleason and Lawrence Ferlinghetti; the beat generation of Allen Ginsberg, Jack Kerouac and Gregory Corso; the New York poets like John Ashbery, Kenneth Koch and Frank O'Hara; and a fifth group of younger names without geographical definition, including Philip Whalen and Stuart Z. Perkoff. Mr. Allen's handiwork caused a literary stir and upset the poetry establishment in particular. It spotlighted some large new talents culled from small magazines and lent a degree of respectability even to fringe lyricists from San Francisco and its environs. What united them, Harvey Shapiro noted in his review in The New York Times in 1960, was their disdain for traditional great English and American poetry and poets. More disapprovingly, the critic John Simon wrote, "Mr. Allen's anthology divides all gall into five parts." But the work endured and was reissued most recently by the University of California Press, where it remains in print. In 1975 Mr. Allen edited, with Warren Tallman, an updated companion volume to the 1960 anthology, "The Poetics of the New American Poetry" (Grove). Donald Allen was born in Muscatine, Iowa, the son of a doctor. He graduated in 1934 from the University of Iowa, from which he also received an M.A. in English literature a year later. After postgraduate studies at the University of California at Berkeley, he moved to New York. He was an editor at Grove from 1950 to 1970, both in New York and later on the West Coast, where he was co-editor of Grove's Evergreen Review, which published Ginsberg's "Howl." He translated four plays by Eugene Ionesco (Grove, 1958), and his versions of "The Bald Soprano" and "The Lesson" continue to be staged. He edited selections of writings by O'Hara, Olson, Kerouac, Mr. Creeley, Edward Dorn, Jack Spicer and others. To promote his favorite writers he founded and managed two literary presses, Grey Fox and Four Seasons Foundation, which published the new poetry along with books on philosophy and Buddhism and gay and lesbian literature. Mr. Allen is survived by a sister, Kathryn Payne of Charlottesville, Va. Copyright 2004 The New York Times Company | Home | Privacy Policy | Search | Corrections | RSS | Help | Back to Top ========================================================================= Date: Thu, 9 Sep 2004 06:46:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Zamsky Subject: Re: Vendler on why we should study the arts In-Reply-To: <20040908184329.GA47523@mail15a.boca15-verio.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I was also struck by the Times' discussion of how Gioia's strategy has been less to fund artists and more to fund programs -- (sometimes with the unfortunate effect that the NEA now competes with those it used to support). Still, this seems to me tactically smart. While I cringe at his promotion of "accessibility," I also think that if we want $$$ to support the arts (and scholars, via the NEH), then the more local power, the better. Taking the defense of Mapplethorpe to Capital Hill, while I wholeheartedly agree with it, unfortunately becomes one of those gestures that is right without being efficacious. --- David Hadbawnik wrote: > There was also a good article in the NY Times -- > was it yesterday or the day before? on Dana Goia's > stewardship of the NEA. The general thrust of it > was that he's trying to seed a lot of programs to > make the arts more "accessible," and steering away > from the Mapplethorpe-type controversies that > sparked the decline in funding over the course of > the last 10 years. Someone quoted in the article > mentioned "repairing the walls between artists and > audiences," which struck me as a strange metaphor > to use... Also of note: funding for the NEA has > actually INCREASED under the Bush regime. > > DH > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of > charles alexander > Sent: Tuesday, September 07, 2004 12:16 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Vendler on why we should study the > arts > > the fellowships, yes, only go to writers > > but the fellowships are by no means the largest > part of NEA funding -- they fund all of the arts > in various ways > > see > > The NEA also dispenses a lot of its money to state > arts councils and commissions, who then fund > activities and organizations within the specific > states. > > Charles > > At 02:49 PM 9/7/2004 -0400, you wrote: > >In a message dated 9/7/04 11:35:56 AM, > robertzamsky@SBCGLOBAL.NET writes: > > > ><< NEA = dollars for artists > > > > > > Are you sure of this, Bill? >> > > > >Yes, as long as you consider writers artists. > The fellowships are now > >given only to literary artists. Best, Bill > > > >WilliamJamesAustin.com > >kojapress.com > >amazon.com > >b&n.com > ========================================================================= Date: Thu, 9 Sep 2004 11:25:47 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Vendler on why we should study the arts MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 9/7/04 11:35:56 AM, robertzamsky@SBCGLOBAL.NET writes: << At the risk of being unfashionably non-ironic, I would put in a good word for the NEH. I spent the summer on an NEH grant at Princeton, where I spent six weeks working on the Bernstein-Ferneyhough opera, Shadowtime. An excellent and rewarding time. - Robert Zamsky >> Good to hear. I've no doubt others have had positive experiences. Doesn't change the obvious -- that the process, front to back, is cooked in politics. The same holds true for science grants. As a former Associate Director for the Louisiana Endowment for the Humanities (funded by the NEH), I witnessed all the inside shooby doo. Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Thu, 9 Sep 2004 08:20:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: Vendler on why we should study the arts In-Reply-To: <20040909134624.47691.qmail@web81002.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I wouldn't give Dana Gioia credit for this, at least not entirely. The decision to de-fund fellowships except to literary artists took place well before his tenure at the NEA, and was indeed a reaction to controversies over Mapplethorpe, Serrano, Finley, and others. And while it was possible to de-fund fellowships in the visual arts yet still keep funding visual arts major institutions, in literature the fellowships were by far the major part of the funding, as the literary field didn't have major arts institutions (the best-funded literary presses can't compare in any way, in their budget sizes, even to smaller urban art museums). Plus there didn't seem to be any of the same kind of outcry over controversies regarding the works of creative writers that were funded, or at least I didn't hear any. Also, even before Gioia and before the de-funding of individual fellowships, it seems to me that more funds already went to "programs" rather than to "artists," although certainly a significant portion of such "program" money goes to artists. What I don't know is whether the funding from the NEA that goes to state arts agencies contains any restrictions about individual fellowships, thus whether, in fact, the NEA may still be funding individual fellowships, but through state arts agencies. I also don't know whether the state agencies' selections of grant recipients (individuals and otherwise) can be considered any more conservative than NEA selections of such recipients. Charles At 06:46 AM 9/9/2004 -0700, you wrote: >I was also struck by the Times' discussion of how >Gioia's strategy has been less to fund artists and >more to fund programs -- (sometimes with the >unfortunate effect that the NEA now competes with >those it used to support). Still, this seems to me >tactically smart. While I cringe at his promotion of >"accessibility," I also think that if we want $$$ to >support the arts (and scholars, via the NEH), then the >more local power, the better. Taking the defense of >Mapplethorpe to Capital Hill, while I wholeheartedly >agree with it, unfortunately becomes one of those >gestures that is right without being efficacious. > > >--- David Hadbawnik wrote: > > > There was also a good article in the NY Times -- > > was it yesterday or the day before? on Dana Goia's > > stewardship of the NEA. The general thrust of it > > was that he's trying to seed a lot of programs to > > make the arts more "accessible," and steering away > > from the Mapplethorpe-type controversies that > > sparked the decline in funding over the course of > > the last 10 years. Someone quoted in the article > > mentioned "repairing the walls between artists and > > audiences," which struck me as a strange metaphor > > to use... Also of note: funding for the NEA has > > actually INCREASED under the Bush regime. > > > > DH > > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of > > charles alexander > > Sent: Tuesday, September 07, 2004 12:16 PM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Re: Vendler on why we should study the > > arts > > > > the fellowships, yes, only go to writers > > > > but the fellowships are by no means the largest > > part of NEA funding -- they fund all of the arts > > in various ways > > > > see > > > > The NEA also dispenses a lot of its money to state > > arts councils and commissions, who then fund > > activities and organizations within the specific > > states. > > > > Charles > > > > At 02:49 PM 9/7/2004 -0400, you wrote: > > >In a message dated 9/7/04 11:35:56 AM, > > robertzamsky@SBCGLOBAL.NET writes: > > > > > ><< NEA = dollars for artists > > > > > > > > Are you sure of this, Bill? >> > > > > > >Yes, as long as you consider writers artists. > > The fellowships are now > > >given only to literary artists. Best, Bill > > > > > >WilliamJamesAustin.com > > >kojapress.com > > >amazon.com > > >b&n.com > > ========================================================================= Date: Thu, 9 Sep 2004 11:37:11 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Vendler on why we should study the arts MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 9/8/04 7:10:46 PM, rova@ROVA.ORG writes: << There was also a good article in the NY Times -- was it yesterday or the day before? on Dana Goia's stewardship of the NEA. The general thrust of it was that he's trying to seed a lot of programs to make the arts more "accessible," and steering away from the Mapplethorpe-type controversies that sparked the decline in funding over the course of the last 10 years. Someone quoted in the article mentioned "repairing the walls between artists and audiences," which struck me as a strange metaphor to use... Also of note: funding for the NEA has actually INCREASED under the Bush regime. DH >> Goia made his announcement quite a while ago. I caught a bit of it on one of the cable news channels. There you go. Poly-tics. But there's no surprise here. Politicians vote the funding and the taxpayers pay for it. Best, Bill WilliamJamesAustin.com kojapress.com amazon.com b&n.com ========================================================================= Date: Thu, 9 Sep 2004 11:31:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Weishaus Subject: Re: Vendler on why we should study the arts MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit It's in fact a bad sign when funding increases for the NEA with the right-wing administration, as it's a sign that the organization is towing the party line. -Joel ----- Original Message ----- From: "David Hadbawnik" To: Sent: Wednesday, September 08, 2004 3:53 PM Subject: Re: Vendler on why we should study the arts > There was also a good article in the NY Times -- > was it yesterday or the day before? on Dana Goia's > stewardship of the NEA. The general thrust of it > was that he's trying to seed a lot of programs to > make the arts more "accessible," and steering away > from the Mapplethorpe-type controversies that > sparked the decline in funding over the course of > the last 10 years. Someone quoted in the article > mentioned "repairing the walls between artists and > audiences," which struck me as a strange metaphor > to use... Also of note: funding for the NEA has > actually INCREASED under the Bush regime. > > DH > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of > charles alexander > Sent: Tuesday, September 07, 2004 12:16 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Vendler on why we should study the > arts > > the fellowships, yes, only go to writers > > but the fellowships are by no means the largest > part of NEA funding -- they fund all of the arts > in various ways > > see > > The NEA also dispenses a lot of its money to state > arts councils and commissions, who then fund > activities and organizations within the specific > states. > > Charles > > At 02:49 PM 9/7/2004 -0400, you wrote: > >In a message dated 9/7/04 11:35:56 AM, > robertzamsky@SBCGLOBAL.NET writes: > > > ><< NEA = dollars for artists > > > > > > Are you sure of this, Bill? >> > > > >Yes, as long as you consider writers artists. > The fellowships are now > >given only to literary artists. Best, Bill > > > >WilliamJamesAustin.com > >kojapress.com > >amazon.com > >b&n.com > ========================================================================= Date: Thu, 9 Sep 2004 12:12:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Organization: Rova Saxophone Quartet Subject: Re: Vendler on why we should study the arts In-Reply-To: <004501c4969b$47d33da0$6efdfc83@Weishaus> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Joel with all due respect, is it possible this might be oversimplifying it a little bit? I'm not doubting the essential veracity of what you're saying -- and was not trying to make a point one way or the other in my post -- in fact, the only point being made in the NY Times was "look what a good job Gioia's doing." on the one hand, it speaks to the level of distrust that exists for this particular regime... I mean, if I read today that bush decided to outlaw SUVs, sign the semi-auto weapons ban, and pull us out of Iraq, I'd wonder what the catch was. But as the administrator for a tiny arts nonprofit which has received NEA funding in the past, although I doubt very much we'll see any in the future, I can't call this an out-and-out "bad sign" without qualifying that and adding that I'm happy for whatever orgs. and artists do get funded. I'm certain they're not all "toeing the party line." Also: doesn't it tell us how completely and thoroughly the conservatives have stolen the initiative on just about every issue? Dems are scared to death of fighting for arts funding and being labeled Mapplethorpe-loving, crucifix-piss-drinking liberals, so it's left to the repubs to deign to throw the arts a few scraps and take credit for it. The same thing's happening here in California, where the CAC has essentially been gutted down to nothing and the few souls who still care are left to grovel before Ahnold to get any funding at all. DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Weishaus Sent: Thursday, September 09, 2004 11:32 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Vendler on why we should study the arts It's in fact a bad sign when funding increases for the NEA with the right-wing administration, as it's a sign that the organization is towing the party line. -Joel ----- Original Message ----- From: "David Hadbawnik" To: Sent: Wednesday, September 08, 2004 3:53 PM Subject: Re: Vendler on why we should study the arts > There was also a good article in the NY Times -- was it yesterday or > the day before? on Dana Goia's stewardship of the NEA. The general > thrust of it was that he's trying to seed a lot of programs to make > the arts more "accessible," and steering away from the > Mapplethorpe-type controversies that sparked the decline in funding > over the course of the last 10 years. Someone quoted in the article > mentioned "repairing the walls between artists and audiences," which > struck me as a strange metaphor to use... Also of note: funding for > the NEA has actually INCREASED under the Bush regime. > > DH > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of charles alexander > Sent: Tuesday, September 07, 2004 12:16 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Vendler on why we should study the arts > > the fellowships, yes, only go to writers > > but the fellowships are by no means the largest part of NEA funding -- > they fund all of the arts in various ways > > see > > The NEA also dispenses a lot of its money to state arts councils and > commissions, who then fund activities and organizations within the > specific states. > > Charles > > At 02:49 PM 9/7/2004 -0400, you wrote: > >In a message dated 9/7/04 11:35:56 AM, > robertzamsky@SBCGLOBAL.NET writes: > > > ><< NEA = dollars for artists > > > > > > Are you sure of this, Bill? >> > > > >Yes, as long as you consider writers artists. > The fellowships are now > >given only to literary artists. Best, Bill > > > >WilliamJamesAustin.com > >kojapress.com > >amazon.com > >b&n.com > ========================================================================= Date: Thu, 9 Sep 2004 12:09:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bubble Sort Subject: New Work:metatelephony--->a networked poem MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://www.lewislacook.com/metatelephony/ PHP/HTML metatelephony is a networked poem-->metatelephony takes any web page you feed it, grabs the source code of the page, mixes it up at random, takes a randomly-chosen word from that page, performs a Google search on it, and displays a blend of both the source code and descriptions of pages found in the search...-->a shadow-poem of the web--> *************************************************************************** Lewis LaCook -->http://www.lewislacook.com/ XanaxPop:Mobile Poem Blog-> http://www.lewislacook.com/xanaxpop/ Collective Writing Projects--> The Wiki--> http://www.lewislacook.com/wiki/ Appendix M ->http://www.lewislacook.com/AppendixM/ --------------------------------- Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! ========================================================================= Date: Thu, 9 Sep 2004 16:58:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: brought akin MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Daniel: here's hoping you add and add to here often was the best piece i've seen around these parts in a long time it rises and rises and provokes many answers and I thank you for that tranmission more and more as you can cheers, Gerald Schwartz > >dream on dream on dream on > > > thanks versed the compliments allwaves energizing motivationals > encouragements t' be the river that each of us is into the ocean that > each of us is into the space boundless space sometimes crying out to > be bound up limited framed inflamed consumed burnt up vaporized all > the unkempt cycles of spirals their glorious jungleness their > beauteous chaos again and for the first of many many thanks amidst > the angsts and excitements catalysts and terrors of the everyday > promises and fears and yes the dream on dream on dream on dream on > while asleep and while awake dream on and yes the morrow hopefully > and yes wheel figure another melting and already yes Ulysses you > listees ease the pain with raining letters into words into > listletters circumulations yes t' sit 'n' sip 'n' eat 'n' talk is > good and then to write as well is also good upon a page on stage is > extant antenna exiting electromagnetically excited signals rush out > to play and while all the conjunctives flowers flowering thanks in > response to warm reception made-much-of of course the way of strong > healthfully excessive seeds the way they glow unbounded books peak > and flirt from beneath the pavement without bindings their leaves > getting ready for their descents upon seasonally shifting hands in > vivid colors memories ice species clothed a penperson hoodgangin' yes > letz gotta see the heart chart dictation unit screenpiece detail yeah > bein' 'round 'n' dear suggest a predicate in a desert of jet > propulsion when actually they were dealing in rockets all along the > reference is quaint as is cut 'n' paste in haste our usual day on > display though happily this day on this play as well a swell of love > on the down low 'cause o' some big dudes on the streets of our lives > on MetroGuard detached nonetheless welcome back oneself manyselves > delight in song after such a long time a way of beaming rebirth > preparations huge big eyes in comparison to where it all gotta fit's > the lifelong story such a huge big boulder of a rock rocks multiple > challenges all one prose unprofessional ecstasy on the move catch a > bomb compliments their village elder inaccurately translated quill > illin' a motherfluxer yes yes the luckin' forth commingling efforts > jungle amass a comb with or without spit one of myriad flashbacks > from the shake high 'n' row your note genitally dawn this dream with > a scream 'n' a holler hello into halo hey low the warning from a > friend about an undesirable region along side all the others utter > their names game over their flames a fire for our raw foods can > moderate their hardnesses their toughnesses indeed their rough edges > but not unto undo all their grit 'n' spitfire fighter warrior > inklinations chorus hot streams o' dreams the air lava-waves > greetings a glee-tinglings ring-links vibrate themselves into the > ethereal without becoming useless is the pro-mist approach 'n' > sow/sew on down the town that it her eyes again like morning draw the > sun pull ye out the bed of dirt it's all in your account and > unmeasured for sure as nothing has been the goal in a mad rush of > riots incite-trading ever new the flicker of it unscreenably > wonderful flick of a digital click like the hat left bereft of ahead > unprotected against spillage 'n' spellage of all sorts unsortables > 'n' unsupportables levitationals the same the different the > indifferent the outdifferent and the and > > > > > > > > -- > ========================================================================= Date: Thu, 9 Sep 2004 17:56:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: With One Of The World's Inks Mime-Version: 1.0 Content-Type: text/plain; format=flowed Virginia being Virginia elsewhere is another word altogether for Wormswork, packing by spots avalanche hungers wide:mouthed crease words - fanned - arrays responses *, images *, liquids *? "each package luxuriant of snags" reed's keyhole | conscience-crease Virginia pointed too through train cars "Out --" , not prophesying, swept herself under the train, she's buried here, but once she pointed out Blaise Pascal's dead, with reeds still tigers once she loved laboratory mud obscurely knew rascality and palmistry never sport, seldom a wink often alligator tear renovation still she was part of the best flock imaginable drink in that hair music, Drinking Reed, with the rest of those word detractors often false wings added flying substituted with packing by spots those flying ("crease - liquids" -- or is that "crease - snags"? --, and "often - added") saw the avalanche, here a telegenic rockslide such as you have, or might see, outside this poem, had many a rock with many a shiny spot mirroring Virginia being Virginia elsewhere is... with "Virginia being Virginia elsewhere is ..." _________________________________________________________________ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ========================================================================= Date: Thu, 9 Sep 2004 16:38:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: New Work:metatelephony--->a networked poem In-Reply-To: <20040909190938.29072.qmail@web10703.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii A concious reference to Laura Elizabeth Richards' "Eletelephony"? Once there was an elephant, Who tried to use the telephant-- No! No! I mean an elephone Who tried to use the telephone-- (Dear me! I am not certain quite That even now I've got it right). Howe'er it was, he got his trunk Entangled in the telephunk; The more he tried to get it free, The louder buzzed the telephee-- (I fear I'd better drop the song Of elephop and telephong!) _______________________________ Do you Yahoo!? Shop for Back-to-School deals on Yahoo! Shopping. http://shopping.yahoo.com/backtoschool ========================================================================= Date: Thu, 9 Sep 2004 17:36:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Vendler on why we should study the arts MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit David: It is true that, as you say, anything the Bush Administration warrants my suspicion. After all, these are the people who gave us such programs in which "Healthy Forests" means cutting more trees, or "Clear Skies" means more air pollution. It goes on. With the NEA, the big program to which Bush gave money was for performances of Shakespeare's plays. I find this as ingenuous as everything else he does. As for the Democrats, they give liberalism a bad name. -Joel ----- Original Message ----- From: "David Hadbawnik" To: Sent: Thursday, September 09, 2004 12:12 PM Subject: Re: Vendler on why we should study the arts > Joel > > with all due respect, is it possible this might be > oversimplifying it a little bit? I'm not doubting > the essential veracity of what you're saying -- > and was not trying to make a point one way or the > other in my post -- in fact, the only point being > made in the NY Times was "look what a good job > Gioia's doing." > > on the one hand, it speaks to the level of > distrust that exists for this particular regime... > I mean, if I read today that bush decided to > outlaw SUVs, sign the semi-auto weapons ban, and > pull us out of Iraq, I'd wonder what the catch > was. But as the administrator for a tiny arts > nonprofit which has received NEA funding in the > past, although I doubt very much we'll see any in > the future, I can't call this an out-and-out "bad > sign" without qualifying that and adding that I'm > happy for whatever orgs. and artists do get > funded. I'm certain they're not all "toeing the > party line." > > Also: doesn't it tell us how completely and > thoroughly the conservatives have stolen the > initiative on just about every issue? Dems are > scared to death of fighting for arts funding and > being labeled Mapplethorpe-loving, > crucifix-piss-drinking liberals, so it's left to > the repubs to deign to throw the arts a few scraps > and take credit for it. The same thing's happening > here in California, where the CAC has essentially > been gutted down to nothing and the few souls who > still care are left to grovel before Ahnold to get > any funding at all. > > DH > > > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of > Weishaus > Sent: Thursday, September 09, 2004 11:32 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Vendler on why we should study the > arts > > It's in fact a bad sign when funding increases for > the NEA with the right-wing administration, as > it's a sign that the organization is towing the > party line. > > -Joel > > > ----- Original Message ----- > From: "David Hadbawnik" > To: > Sent: Wednesday, September 08, 2004 3:53 PM > Subject: Re: Vendler on why we should study the > arts > > > > There was also a good article in the NY Times -- > was it yesterday or > > the day before? on Dana Goia's stewardship of > the NEA. The general > > thrust of it was that he's trying to seed a lot > of programs to make > > the arts more "accessible," and steering away > from the > > Mapplethorpe-type controversies that sparked the > decline in funding > > over the course of the last 10 years. Someone > quoted in the article > > mentioned "repairing the walls between artists > and audiences," which > > struck me as a strange metaphor to use... Also > of note: funding for > > the NEA has actually INCREASED under the Bush > regime. > > > > DH > > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf > Of charles alexander > > Sent: Tuesday, September 07, 2004 12:16 PM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Re: Vendler on why we should study the > arts > > > > the fellowships, yes, only go to writers > > > > but the fellowships are by no means the largest > part of NEA funding -- > > they fund all of the arts in various ways > > > > see > > > > The NEA also dispenses a lot of its money to > state arts councils and > > commissions, who then fund activities and > organizations within the > > specific states. > > > > Charles > > > > At 02:49 PM 9/7/2004 -0400, you wrote: > > >In a message dated 9/7/04 11:35:56 AM, > > robertzamsky@SBCGLOBAL.NET writes: > > > > > ><< NEA = dollars for artists > > > > > > > > Are you sure of this, Bill? >> > > > > > >Yes, as long as you consider writers artists. > > The fellowships are now > > >given only to literary artists. Best, Bill > > > > > >WilliamJamesAustin.com > > >kojapress.com > > >amazon.com > > >b&n.com > > > ========================================================================= Date: Thu, 9 Sep 2004 20:50:33 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian Randall Wilson Subject: Dean Young's BELOVED INFIDEL - Back in Print MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable After more than 12 years, Dean Young=E2=80=99s second book, BELOVED INFIDEL,= is back=20 in print. His timing is always three degrees before top-dead-center. His=20 language burns at a high fuel-to-air ratio. His poems should be on blimps, o= n=20 scoreboards or even bounced off Mars. To not read Dean Young brings a seriou= s=20 malaise, like ignoring milkshakes or the antic wave. If you are in love, re= ad Dean=20 Young. If you have ever been in love, read Dean Young. If you are suffering=20 from a disturbance which has not made the pages of the DSM-IV, read Dean You= ng.=20 Then plan for a recovery requiring a set of speakers in every room and a fai= r=20 amount of tribal music. Have a muffin and a soy drink and find out, again,=20 that everything becomes small when taken together. Dean Young makes sex, pie= ces=20 of music, odd notations, night barkings and many facts about turbines coales= ce=20 into something sensible=E2=80=94because you believe there are moments where=20= the piano=20 can be played to great effect with the elbows. Every now and then squeeze th= e=20 little heart and the lord will help you grow another. Dean Young is a=20 splendid contraption. When you read him you=E2=80=99ll uncover pleasing sens= ations throughout=20 your rumba chakra. Boom shakalaka, boom. www.hollyridgepress.com ========================================================================= Date: Fri, 10 Sep 2004 00:00:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: "poetry & torture" MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Thanks for sharing Evie's poem, Aldon. Powerful stuff! I'd love to have heard it performed. Camille > the following is a piece recently performed by Evie Shockley, currently of North Carolina: a thousand words torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture family class wedding graduation prom panoramic pornographic paleoanthropic yabba dabba doo abu torture torture scream shout spill tell all twenty questions and answer me bitch snitch itch scratch and sniff whiff torture torture tincture suture feature aperture adventure puncture creature lecture couture stature denture fracture torture torture dog man penis bars wars words world premiere spotlight light of day night of day right of way away torture torture cat fight fright freight fraught taught taut as a wire fire ready aim maim claim same just the same just torture torture halls walls prison freedom democracy demonic evil eve apple of my eye why so shy smile say cheese torture torture chamber bed pot maid made the devil do it you oughta be in snap shots bullets speeding needle torture torture bombs away you dropped the bomb on me baby burn baby inferno hell smell shit dung feces species torture torture separate men from boys from women from machines from monsters from homes from families from torture torture perfect reflect genuflect bow bough poplar trees strange fruit pick prick suck mimic one hour photo torture torture when the bough breaks stakes shake it like a polaroid window peek sneak look see to shining sea torture torture flee beat it boogie jungle desert tropical paradise sandstorm windstorm maelstrom strom thurmond torture torture flood flow leak drip drip drip drip chinese water lose my mind's eye visualize sexualize lights camera torture torture bush shrub hedge fence steal steel oil slimy greasy dirty black gold coast continent dark congo bonzo torture torture naked strip rape stick truncheon luncheon eat meat pork swine pig gas tear orange tea party boston torture torture bosnia ethnic ethic thick tricky dick kissinger killing fields cambodia tuol sleng skull and crossbones torture torture crossbow spear assault rifle missile nuclear warhead pothead smoke fire inhale impale severed head torture torture shower camp station ghetto inner city tenement project projectile target practice black brown beige torture torture life is beautiful stunning shocking awful terrible terrifying like resembling similar to same as terrorism torture torture civil war civilization domestication home front lines infantry infantile juvenile delinquent detainment torture torture jesus dr. seuss lorax trees orchards fields crops farm harvest migrant immigrant border cross nailed torture torture holocaust cost effective genocide genetic eugenic gene jeans blues levi strauss anthropology man kind torture torture tower power trip travel air fair just justice supreme court house white might out of sight incite riot pat torture torture yourself in a boat on a river with tangerine trees and marmalade skies fantasize escape flight addiction torture torture moderate middle center centerfold spreadsheet spread eagle with pornography for one nation under torture torture united handcuffed mangled martyred all saints' eve capacity crowd halloween no room at the inn torture torture hogs dogs gods clash of the titans atlas sisyphus hades shades shadows closed doors self surveillance torture torture video panopticon prisoners speak digitally on cell phones home teleprompting images rosie is riveted torture torture woman's place is in the house of horrors howling we have met the frankenstein monster and she is us torture torture me rollin over human rights gangstah style meanwhile back at the ranch branding iron's on the fire torture torture hard to define but i known it when i obscene it name shame game sporting try survival of the hit-ist torture torture hazing initiation you're in capitalism christianity civilization wear the letters with pride prude prank torture torture good clean fun for all ages bc and ad bachelor party laughs last right through wedding day massacre torture torture sand shit dirt dogs cells saddam bush two wrongs make a right-wing financial fundamentalist coo(p) torture torture glory gory fall(el)ujah battle him beat him defeat him demoralize him demolish him desecrate him torture torture talk inform cooperate jump down turn around pick cotton auction block cell block black buck fucked torture torture all systems go full speed ahead a ok roger thumbs up two thumbs up must see blockbuster ballbreaker torture torture cliffhanger a thousand and one nights scheherazade tells stories as if her life depends on fictiona-lies torture torture window frame view vista horizon her eyes on his bare bear body lumbering wood hard rod sodomize torture torture pile pyramid stack stake raise ante anti muslim muslin linen lenin lennon imagine assassin ass mule torture torture painting panting heaving vomit spit spew by numbers death count toll bell horn porn viewer voyeur torture torture sadist soldier guard warden governor president prime minister leader ruler emperor master lord god torture torture rack fire needles under nails dismemberment solitary confinement threats to loved ones electroshock torture torture postcard wish you were here souvenir come again soon y'all come back now ya hear ear fear dear dad torture torture dorian paint me a canvas capture reality humanity preserve beastiality ignorance evil illusions eternal torture torture flesh ashtray cheek boot cleaner penis joystick prison playstation father dog thralldom pyrrhic victory torture torture telescope microscope magnifying glass spectacles viewfinder binoculars closer closer try a contact lens torture torture disappeared vanished vanquished vamoosed vaporized victimized vide invalidated veni vidi vici torture torture we're losing our heads hoods masks lone ranger keeping the planet safe from communism community torture torture your favorite foreign movie won't you smile for the camera i know i'll love you better i've seen your torture torture vogue rogue rouge blush zinfandel infidel intifida infanticide insecticide sect sectionalism shun torture torture hooded bagged stacked stripped wired leashed cuffed smeared objectified what's wrong with this torture torture motion x-ray perfect window book gallery frame puzzle tube do ya get the words worth or worthless torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture torture Evie Shockley <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "It don't sound so terrible -- " --Emily Dickinson Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Fri, 10 Sep 2004 01:34:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: anonymizer text failure MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed anonymizer text failure ..... ls --- ..... b --- ..... s --- ..... ls --- ..... b --- ..... m --- ..... ls --- ..... script zz --- ..... pico zz --- mv zz zz.htm; lynx zz.htm --- rm zz.htm; ./mod --- pico zz --- strings zz > zzz --- pico zzz --- rm yy zz zzz --- cd a --- pico -w looply.pl --- cd --- ls --- script zz.htm --- lynx zz.htm --- mv zz.txt zz; ./mod --- rm zz.htm zz yy --- ls --- cd a --- pico looply.pl --- cd --- script zz.htm --- lynx zz.htm --- ./mod --- rm zz zz.htm yy --- cd a --- pico -w looply.pl --- cd --- pico Goo* --- rm a/loop.pl; pico a/loopy.pl --- pico a/looply.pl --- cd --- script --- mv typescript zz.htm --- lynx zz.htm --- ./mod --- strings zz > yy --- rm zz zz.htm --- pico yy --- cd a --- pico jj.pl --- cd --- ls --- mv yy zz --- perl a/jj.pl > yy --- wc yy --- pico yy --- ls --- rm yy zz --- h --- failure was built-in to this piece _ ========================================================================= Date: Fri, 10 Sep 2004 00:36:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bubble Sort Subject: Re: New Work:metatelephony--->a networked poem MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Never read this, but i want it for my epitaph.... lol l Date: Thu, 9 Sep 2004 16:38:15 -0700 From: Joseph Thomas Subject: Re: New Work:metatelephony--->a networked poem A concious reference to Laura Elizabeth Richards' "Eletelephony"? Once there was an elephant, Who tried to use the telephant-- No! No! I mean an elephone Who tried to use the telephone-- (Dear me! I am not certain quite That even now I've got it right). Howe'er it was, he got his trunk Entangled in the telephunk; The more he tried to get it free, The louder buzzed the telephee-- (I fear I'd better drop the song Of elephop and telephong!) ===== *************************************************************************** Lewis LaCook -->http://www.lewislacook.com/ XanaxPop:Mobile Poem Blog-> http://www.lewislacook.com/xanaxpop/ Collective Writing Projects--> The Wiki--> http://www.lewislacook.com/wiki/ Appendix M ->http://www.lewislacook.com/AppendixM/ __________________________________ Do you Yahoo!? Yahoo! Mail - 50x more storage than other providers! http://promotions.yahoo.com/new_mail ========================================================================= Date: Fri, 10 Sep 2004 09:49:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: [New-Poetry] Update from the Library of Congress Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline This is really great news, so good I can hardly believe it. I've been = researching Douglass's time in Ireland for a couple of years. I have the = good fortune of living close to Boston and Boston Public Library which had = a terrific collection of Douglass material in its Anti-Slavery Collection. = However, I cannot go there regularly as I want and need to. But I think = 7,400 online items will keep me happy for quite a while! Mairead Mair=E9ad Byrne Assistant Professor of English Rhode Island School of Design Providence, RI 02903 www.wildhoneypress.com www.maireadbyrne.blogspot.com >>> anny.ballardini@tin.it 09/10/04 02:25 AM >>> >From: "Laura Gottesman" The Library of Congress is pleased to announce the final release of the Frederick Douglass Papers at the Library of Congress, available on the American Memory Web site at http://memory.loc.gov/ammem/doughtml/ The Frederick Douglass Papers at the Library of Congress presents the papers of the nineteenth-century African-American abolitionist who escaped from slavery and then risked his own freedom by becoming an outspoken antislavery lecturer, writer, and publisher. The online collection, from the Library of Congress' Manuscript Division, now contains approximately 7,400 items (38,000 images) relating to Douglass' life as an escaped slave, abolitionist, editor, orator, and public servant. The papers span the years 1841 to 1964, with the bulk of the material from 1862 to 1895. The collection consists of correspondence, speeches and articles by Douglass and his contemporaries, a draft of his autobiography, financial and legal papers, scrapbooks, and miscellaneous items. These papers reveal Douglass' interest in diverse subjects such as politics, emancipation, racial prejudice, women's suffrage, and prison reform. Included is correspondence with many prominent civil rights reformers of his day, including Susan B. Anthony, William Lloyd Garrison, Gerrit Smith, Horace Greeley, and Russell Lant, and political leaders such as Grover Cleveland and Benjamin Harrison. Scrapbooks document Douglass' role as minister to Haiti and the controversy surrounding his interracial second marriage. The online release of the Frederick Douglass Papers is made possible through the generous support of the Citigroup Foundation. American Memory is a gateway to rich primary source materials relating to the history and culture of the United States. The site offers more than 8 million digital items from more than 120 historical collections. Please submit any questions you may have using the web form available at: http://www.loc.gov/rr/askalib/ask-memory2.html. ========================================================================= Date: Fri, 10 Sep 2004 15:17:15 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: The Analogous Series: Gary Sullivan and Brandon Downing Mime-Version: 1.0 Content-Type: text/plain; format=flowed I am very excited to announce that The Analogous Series starts this weekend! September 11, 5 PM 77 Massachusetts Ave, room 2-105, Cambridge, MA * * * Gary Sullivan and Brandon Downing Gary and Brandon will read poems and present a collaborative, 6-page comic. For more information and a sample of their work, take a look at the new Analogous Series website here: http://www.analogous.net/SullivanDowning.html Gary Sullivan's comic, "The New Life," has been serialized in Rain Taxi since 1997. He has collaborated on comics with numerous poets including Drew Gardner, Juliana Spahr, and Brian Kim Stefans, and created artwork for books by Nada Gordon, Susan Landers, Jack Kimball, and many others. With Jena Osman, Juliana Spahr and Janet Zweig, he co-edited a special issue of Chain devoted to comics (issue #8). His own books include How to Proceed in the Arts (2001, Faux Press) and, with Nada Gordon, Swoon (2001, Granary Books). Brandon Downing is a writer and visual artist based in New York City. His books include LAZIO (Blue Books, 2000) and THE SHIRT WEAPON (Germ Monographs, 2002). His second collection of poetry, DARK BRANDON, is forthcoming in 2005. * * * Directions from the T or on foot: take the Red Line to Central Square and walk down Mass Ave toward MIT. 77 Massachusetts Avenue should be on your right. Go down the hall for several corridors and take a right -- look for room 2-105. Everything's numbered so it's fairly easy to navigate. Directions by car or from anywhere else: mapquest is your friend. Or alternately, feel free to email me & ask. * * * The event will be followed by a potluck over at my apartment in Somerville, MA. Everyone's invited, though it's BYOB. Looking forward to seeing you there! Best, Tim PS the rest of the season's schedule can be found at http://www.analogous.net/fall2004.htm * * * ========================================================================= Date: Fri, 10 Sep 2004 11:41:37 -0400 Reply-To: milletti@buffalo.edu Sender: UB Poetics discussion group From: Christina Milletti Subject: BathHouse call for submissions In-Reply-To: <20040906040517.WXQJ17989.mta7.adelphia.net@acsu.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit >BathHouse, an online journal of hybrid art and hypermedia, is looking >for submissions for the next issue by November 5th. > >THE CONTAGION ISSUE: vol 3 no 1 / Winter 2004 >Our next issue of BathHouse will feature works that address and enact >the idea of contagion: social, literary, biological, disciplinary, >political kinds of infection. Recombinant or reconfigured genres. >Infested hypermedia. Fevered languages. Polluted images. Polyglot >prophesies. Miasmic sound pieces. Argot contaminations. Plagues of >productive plagiarism. > >Please submit your work to cl_bathhouse@emich.edu. > >Take a look at our previous issues: www.emich.edu/studentorgs/bhouse > >Edited by current and former Eastern Michigan University graduate >students in Creative Writing, BathHouse promotes interdisciplinary and >hybrid arts with a special emphasis on language. It takes its name from >the 19th-century sanatoriums, bathhouses, and mineral water wells that >flourished in Ypsilanti, Michigan until truth in labeling laws were >passed. The "foul smelling" waters of the Atlantis well, in the >vicinity of the current Jones-Goddard dorm on the EMU campus, were >bottled and shipped nationwide as a cure for 33 disorders of the blood. ____________________________ Christina Milletti Assistant Professor of English Director: Exhibit X Fiction Series University at Buffalo, SUNY Office: 533 Clemens Phone: 645-2575 ext 1056 ========================================================================= Date: Fri, 10 Sep 2004 12:29:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: ..... patter MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed ..... ..... ..... patter ..... ..... watched the hurricane on tv ..... a vote for kerry is a vote for terror ..... the hurricane is me and it spells error ..... a vote for kerry is a vote for murder ..... the hurricane is a sort of murder ..... a vote for kerry is a note of terror ..... watched the president on tv ..... ..... a vote for bush is a clean delight ..... shining, lovely, and very bright ..... gathering happiness in the light ..... a wonderful and christian sight ..... ..... vote for bush the hurricane ..... he will give you a brand new brain ..... it will ease your liberal pain ..... over the iraqi slain ..... ..... this is going nowhere but i'm on the road ..... just sat down by the highway to give my feet a rest ..... there's a field nearby with Millais' hoed ..... hard at work and lest ..... ..... i forget the hurricane ..... i'm watching with a brand new brain ..... ..... _ ..... ========================================================================= Date: Fri, 10 Sep 2004 18:42:12 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Cyrill Duneau Subject: txt only MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit devoted to contemporary Jewish love life alive a blend of both repository of knowledge Résultats 1 - 20 sur un total d'environ 261 pour vomir. 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It should be: http://www.analogous.net/fall2004.html Sorry for any inconvenience. Best, Tim ========================================================================= Date: Fri, 10 Sep 2004 14:32:44 -0400 Reply-To: editor@fulcrumpoetry.com Sender: UB Poetics discussion group From: Fulcrum Annual Subject: Preorder FULCRUM 3 Comments: To: BRITPO MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: base64 RnVsY3J1bTogYW4gYW5udWFsIG9mIHBvZXRyeSBhbmQgYWVzdGhldGljcywgTnVtYmVyIFRo cmVlLCANCjIwMDQsIGVkaXRlZCBieSBQaGlsaXAgTmlrb2xheWV2IGFuZCBLYXRpYSBLYXBv dmljaC4gDQoNCjUxMCBwcC4sIHBlcmZlY3Rib3VuZC4gDQpQdWJsaWNhdGlvbiBkYXRlOiBT ZXB0ZW1iZXIgMjENCg0KV2l0aCBjb250cmlidXRpb25zIGJ5IEJpbGwgQmVya3NvbiwgRGF2 aWQgQmFyYXRpZXIsIEFsaXNvbiANCkNyb2dnb24sIEZyZWQgROKAmUFndWlhciwgQXJqZW4g RHVpbmtlciwgTWljaGFlbCBGYXJyZWxsLCBBbm5pZSANCkZpbmNoLCBrYXJpIGVkd2FyZHMs IEVkd2luIEZyYW5rLCBQZXRlciBHaXp6aSwgSm9lIEdyZWVuLCANCkplZmZyZXkgSGFycmlz b24sIEpvaG4gSGVubmVzc3ksIEJydWNlIEhvbHNhcHBsZSwgSm9hbiANCkhvdWxpaGFuLCBD 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========================================================================= Date: Fri, 10 Sep 2004 14:34:52 -0400 Reply-To: editor@fulcrumpoetry.com Sender: UB Poetics discussion group From: Fulcrum Annual Subject: Fulcrum 3 Launch: NY, Amherst, Cambridge MA Comments: To: benmazer@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: base64 Q2VsZWJyYXRpbmcgdGhlIHB1YmxpY2F0aW9uIG9mIEZ1bGNydW0gMyANCg0KVGhyZWUgUG9l dHJ5IFJlYWRpbmdzIA0KDQpJbiBOZXcgWW9yayBDaXR5Og0KU2F0LiBTZXB0LiAyNSBhdCA2 LTkgcC5tLg0KS0dCIEJhciwgODUgRWFzdCA0dGggU3QgKGJldHcuIDJuZCAmIDNyZCBBdmVz LikNCkxhbmRpcyBFdmVyc29uLCBHbHluIE1heHdlbGwsIEthdGlhIEthcG92aWNoLCBCZW4g TWF6ZXIsIA0KUGhpbGlwIE5pa29sYXlldiwgTWFyayBMYW1vdXJldXgsIEpvaG4gSGVubmVz c3kNCg0KSW4gQW1oZXJzdCwgTUE6DQpGcmkuIE9jdC4gMSBhdCA4IHAubS4NCkFtaGVyc3Qg Qm9va3MsIDggTWFpbiBTdA0KTGFuZGlzIEV2ZXJzb24sIEJlbiBNYXplciwgS2F0aWEgS2Fw b3ZpY2gsIFBoaWxpcCBOaWtvbGF5ZXYsIA0KTWFyayBMYW1vdXJldXgsIEpvaG4gSGVubmVz 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dmFyZCBTdHJlZXQsIFN1aXRlIEQtMiwgQ2FtYnJpZGdlLCBNQSAwMjEzOS4NCg0KUFJFT1JE RVIgRnVsY3J1bSAzIG5vdyEgRnVsY3J1bSAyIHNvbGQgb3V0IGluIDIgbW9udGhzIGFuZCBp cyANCnJldmlld2VkIGluIEphY2tldCBhdA0KDQpodHRwOi8vamFja2V0bWFnYXppbmUuY29t LzI1L2thbS1mdWxjci5odG1sDQoNCiAgICAgICAgICAgICAgICAgICAgICAgICAgICAgICAg ICAgICAgDQpQaGlsaXAgTmlrb2xheWV2ICYgS2F0aWEgS2Fwb3ZpY2gsIGVkcy4NCkZ1bGNy dW0gQW5udWFsDQozMzQgSGFydmFyZCBTdHJlZXQsIFN1aXRlIEQtMg0KQ2FtYnJpZGdlLCBN QSAwMjEzOSwgVVNBDQpwaG9uZSA2MTctODY0LTc4NzQNCmUtbWFpbCBlZGl0b3JAZnVsY3J1 bXBvZXRyeS5jb20NCg== ========================================================================= Date: Fri, 10 Sep 2004 17:57:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Artist submissions for Big Bridge MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Looking for artists of any kind for Art feature at Big Bridge. = Sculpture, paintings, comics, installation work, drawings.... Remember your poor artist friends who can't get a gallery show Thanks Michael Big Bridge www.bigbridge.org ========================================================================= Date: Fri, 10 Sep 2004 18:19:58 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: "patrick@proximate.org" Subject: Boone/Herron/Schaefer reading TONIGHT in San Francisco Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii -----Original Message----- From: Chris Stroffolino on FRIDAY SEPT 10th, we here at PEASANT HOUSE (355 BARTLETT ST. in the MISSION between 24th and 25th-- one block away from BART; map: http://tinyurl.com/6scmg) will be hosting a poetry reading for the visiting North Carolina poet Patrick Herron and the SF-based poets Amick Boone, and Standard Schaefer around 10PM. FREE, BYOB, and hopefully it will turn into something of a party afterwards (bring musical instruments if you wish!).... as it is also my roommate, Sean Finney's, birthday ========================================================================= Date: Fri, 10 Sep 2004 17:17:14 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Kizershot Subject: Re: Artist submissions for Big Bridge In-Reply-To: <001f01c4979a$4967e580$d990ea04@MICHAEL> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit How about photographs?? on 9/10/04 6:57 PM, Michael Rothenberg at walterblue@EARTHLINK.NET wrote: > Looking for artists of any kind for Art feature at Big Bridge. Sculpture, > paintings, comics, installation work, drawings.... > Remember your poor artist friends who can't get a gallery show > > Thanks > Michael > > Big Bridge > www.bigbridge.org ========================================================================= Date: Fri, 10 Sep 2004 19:23:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Re: Artist submissions for Big Bridge MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Love photographs, of course. MR ----- Original Message ----- From: "Julie Kizershot" To: Sent: Friday, September 10, 2004 4:17 PM Subject: Re: Artist submissions for Big Bridge > How about photographs?? > > > on 9/10/04 6:57 PM, Michael Rothenberg at walterblue@EARTHLINK.NET wrote: > > > Looking for artists of any kind for Art feature at Big Bridge. Sculpture, > > paintings, comics, installation work, drawings.... > > Remember your poor artist friends who can't get a gallery show > > > > Thanks > > Michael > > > > Big Bridge > > www.bigbridge.org > ========================================================================= Date: Fri, 10 Sep 2004 21:21:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hsn Subject: Tomorrow Night! Shin Yu Pai & Ish Klein @ La Tazza In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit in case no one else posted this ------ Forwarded Message From: "Frank Sherlock" Date: Fri, 10 Sep 2004 20:02:54 +0000 To: latazzaseries@hotmail.com Subject: Tomorrow Night! Shin Yu Pai & Ish Klein @ La Tazza The La Tazza Reading Series is back on the block for its fifth season. We're kicking it off with: Shin Yu Pai & Ish Klein La Tazza 108 108 Chestnut St. Philly 7pm cocktail hour Readings @ 8 sharp Shin Yu Pai is the author of Equivalence (La Alameda, 2003) and Ten Thousand Miles of Mountains and Rivers (Third Ear Books, 1998). Works on Paper is forthcoming from Convivio Bookworks. Her poems have appeared in 580 Split, can we have our ball back?, Spinning Jenny, eye-rhyme and will be anthologized in two forthcoming anthologies of Buddhist writings, American Zen: A Gathering of Poets (Bottom Dog Press) and Picking Up Stones: Poets of Buddhist North America (Wisdom Publications). She will be an artist in residence this fall at the University of Texas at Dallas. Ish Klein is from Far Rockaway and was educated at Columbia University and the Iowa Writer's workshop. She's been published in Bridge, Gare du Nord, Explosive Magazine and online with the PhillySound edition of Mini-M.A.G. She's presently residing in Philadelphia and making comic and experimental movies. See you Saturday. It will be good to re-convene. ========================================================================= Date: Fri, 10 Sep 2004 18:26:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Ghost Detainees/Ghost Election? Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit From the Washington Post "...The situation with the CIA and ghost soldiers is beginning to look like a bad movie," said Sen. John McCain, R-Ariz. CIA spokesman Mark Mansfield declined to comment on the number of cases. He noted the agency's inspector general is reviewing the CIA's involvement in detention and interrogations in Iraq. "We take these matters very seriously and are determined to examine thoroughly any allegations of abuse," he said. The generals and the authors of a separate report on prison abuses discussed their investigations in a series of hearings Thursday by the Senate and House Armed Services committees. Fay said the Army made several requests to the CIA station chief in Iraq for information about the detainees. The International Committee of the Red Cross said in recent months that it suspects the United States is hiding detainees in lockups across the globe. Terror suspects reported by the FBI as captured have never turned up in detention centers, and the United States has failed to reply to agency demands for a list of everyone it's holding, the agency said. Under the Geneva Conventions, the United States is obliged to give the neutral, Swiss-run humanitarian agency access to prisoners of war and other detainees to check on their conditions and allow them to send messages to their families." Can some kind of collective rage set Kerry totally on fire - that is, campaign? Jeezus. George, Cheney and Rumsfeld - 'this', 'these', whatever 'they' are could, or very well "are" leading us "all' - I mean that globally - to a very bad end. I'm getting bad, very bad German dreams! If these guys are not voted out - not to sound outrageously in despair - this election depression is beginning to feel like collective, self-induced euthanasia. Have we, the electorate, also getting ghosted? The ghost election of 2004? At least time for another and another demonstration. Stephen Vincent Blog: http://stephenvincent.durationpress.com ========================================================================= Date: Sat, 11 Sep 2004 04:05:31 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mona Baroudi Subject: Out of the office I am out of the office until Monday, September 27, 2004. If you need immediate assistance, please contact Rebeka Rodriguez at rebeka@theintersection.org or Intersection's administrative offices at (415) 626.2787. Thank you. ========================================================================= Date: Sat, 11 Sep 2004 00:21:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: +++ MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed +++ ..... work ..... ..... and the ..... lest for ..... ..... it ..... ..... kerry patter forget going the hurricane vote i'm ..... a and a ..... new murder ..... this clean patter just ..... on feet a nearby and at for forget note a a bright ..... light over ..... brand kerry ..... and just murder rest of hard very ..... it _ of ..... the and terror ..... kerry over for ..... clean there's he ..... give ..... watched on murder me lovely, hurricane ..... tv slain wonderful highway ..... at with brain tv a error is vote happiness ..... new a on a nearby a ..... for ..... terror ..... light ..... slain slain the a watching ..... a ..... ..... of for bright sat it the the ..... murder is it brand ..... field hurricane the ..... ..... hurricane lovely, the pain vote i wonderful this work tv a gathering is is ..... lovely, pain hoed on of ..... ..... for ..... new a the murder sight give ..... is hurricane feet ..... a for field ..... and by patter a ..... at it ..... the ..... vote give i vote is is ..... a brand watching the over brain a brain ..... +++ ========================================================================= Date: Sat, 11 Sep 2004 00:42:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: With One Of The World's Inks MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit nice write me a manifesto on chaotic structuralism back channel it some points free functionality calligraphic aestheticism random fatalism ( little destinies ) being is being is being is time line a crooked crock ========================================================================= Date: Sat, 11 Sep 2004 12:41:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Sawyer Subject: Re: Sudanese Crisis Requires Immediate Action Mime-Version: 1.0 (Apple Message framework v619) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Buffalo list lurkers have already heard of the crimes against humanity occurring right now in the Darfur region of Sudan. This is the content of a letter from Christian Children's Fund I recently received. Even a minor contribution would help so I've included the address and info. Major news media resources are only sporadically reporting on this tragedy. Political and religious affiliations aside, something needs to be happen now to help these people in dire need. I've done so. Thank you. LS ------------------------------------------ SUDANESE CRISIS REQUIRES IMMEDIATE ACTION You've probably heard that the violence in the Darfur region of Sudan in East Africa has now escalated. About 1.4 million Sudanese citizens-- mostly women and children--have been forced to flee for their lives. Many are in refugee camps in the sweltering desert of the neighboring country of Chad. I'm writing to you today with the most disturbing news about this tragic situation the UN is now calling the "world's greatest humanitarian crisis." Armed militias have now increased their brutal attacks on villagers, and it is estimated they have already murdered more than 30,00 people. Mukesh Kapila, former UN humanitarian coordinator for Sudan, recently stated: "I was present in Rwanda at the time of the genocide, and I've seen many other situations around the world and I am totally shocked at what is going on in Darfur. This is ethnic cleansing, this is the world's greatest humanitarian crisis, and I don't know why the world is not doing something about it." As the violence continues, innocent people are being terrorized. Forced to leave their communities, they are now seeking refuge across the border in Chad. Christian Children's Fund has sent a special emergency team to Chad to assist the refugees escaping the ethnic violence in Sudan. Among the displaced are more than 180,00 refugees living in camps in Chad, mostly women and children because the men have been murdered, with another 60,000 now trying to survive along the border. The situation is beyond critical. Thousands and thousands of these families have lost everything...many of the children are starving...and many of them are now sick. Equally distressing is the plight of a large number of the refugee women and girls, who have been sexually assaulted. One young 15-year-old girl named Amna described what has now become disturbingly common- place in her area: "They came and took all our property from our village and they burnt it and the other villages nearby. The children were taken away and then the girls were raped..." CCF's response teams include specialists in psychosocial, child protection, and other emergency programs. They are now considering many strategies for an immediate and integrated response. The CCF team will assess the conditions and plan the implementation of urgently needed programs to address --Child protection for the children through CCF's child-centered spaces --The psychosocial needs of the women and young girls who have been sexually assaulted Your compassion will help these people in dire need. The money will be used to ease the suffering of children and families who have fled to Chad, and those who are desperately trying to survive this life-threatening emergency. TO MAKE A DONATION IMMEDIATELY, please call 1-800-776-6767 or send a check made out to "Christian Children's Fund/Child Alert Emergency Fund" of any amount to the below address Christian Children's Fund 2821 Emerywood Parkway Richmond, VA 23294 _________________________________________________________ ========================================================================= Date: Sat, 11 Sep 2004 14:38:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Artist submissions for Big Bridge MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit > Why don't you send it to Flash? He actually got a few to repsond when I told him PI was looking for artists. Love, V. > From: Michael Rothenberg > Date: 2004/09/10 Fri PM 10:23:25 EDT > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Artist submissions for Big Bridge > > Love photographs, of course. MR > ----- Original Message ----- > From: "Julie Kizershot" > To: > Sent: Friday, September 10, 2004 4:17 PM > Subject: Re: Artist submissions for Big Bridge > > > > How about photographs?? > > > > > > on 9/10/04 6:57 PM, Michael Rothenberg at walterblue@EARTHLINK.NET wrote: > > > > > Looking for artists of any kind for Art feature at Big Bridge. > Sculpture, > > > paintings, comics, installation work, drawings.... > > > Remember your poor artist friends who can't get a gallery show > > > > > > Thanks > > > Michael > > > > > > Big Bridge > > > www.bigbridge.org > > > ========================================================================= Date: Sat, 11 Sep 2004 16:26:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Sawyer Subject: Re: "I don't think we're close at all.." --Maj. General Eric Olson Mime-Version: 1.0 (Apple Message framework v619) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed > This story seems to be what the Republicans are trying to bury. > How did this make it into print? > > http://abcnews.go.com/wire/World/ap20040911_490.html > > > "'I don't think we're close at all' to defeating the insurgents, Olson > said." > > --Maj. General Eric Olson, operational commander of U.S. > forces > in Afghanistan ========================================================================= Date: Sat, 11 Sep 2004 16:12:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Baraban Subject: Re: "even to fringe lyricists from San Francisco" (NY Times on Don Allen) Comments: To: ron.silliman@gte.net In-Reply-To: <000001c4966f$5dae0b40$6401a8c0@Dell> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Yes, what IS that all about, obituary writer Wolgang Saxon's swerve towards a smirk at unspecified SF "fringe lyricists"? The obituary is otherwise fairly respectful and competent, but one thing that leaped out at me was the phrase concerning the New Americans' "disdain for traditional great English and American poetry and poets". The reader is left with the impression that these poets tended towards indifference or hostility towards figures like Chaucer, Shakespeare, Wordsworth and Dickinson as much as towards figures like Tennyson or Longfellow. Mr. Saxon says this "disdain" is spoken of by Harvey Shapiro in his 1960 review of the Allen anthology. This afternoon I found the Shapiro review, which was published in the August 28, 1960 Times Sunday Book Review under the title "Rebellious Mythmakers". What H. Shapiro says about disdain is this: "They disdain our major poets: 'Who are the great poets of our time, and what are their names?/Yeats of the baleful influence, Auden of the baleful influence/Eliot of the baleful influence.' They condemn the careers young poets choose today: 'Where are young poets in America, they are trembling in publishing houses and universities,/Above all they are trembling in universities, they are bathing the library steps with their spit,' They are bored by the predictable products of these academic young--poems 'written by the men with their eyes on the myth/And the Missus and the mid-terms in the Hudson Review.' Pentameter, they feel, still inhibits American verse: 'farewell stale pale skunky pentameter (the only honest Enlgish meter, gloop, gloop!).' (All these quotes courtesy of Kenneth Koch, cutup of the New York branch of New Poetry.) As Mr. Koch's farewell to pentameter indicates, much of the new verse is a continuation of the crusade against the English tradition begun years ago by Pound and Williams." So, what reviewer Shapiro is discussing is the desire of the New American Poets to do something very different from 20th century figures like Yeats, Auden, and Eliot. AND the fact that the N.A.P.'s want to break away from pentameter and other aspects of the English tradition in their own practice. It wasn't, of course, a desire to throw Chaucer and Shakespeare and all the Anglos and Saxons into the dustbin. But how was Saxon, generalist obituary writer, to know that? --- Ron wrote: > ------------------------------------------------------------------------ > -------- > > September 9, 2004 > Donald Allen, 92, Book Editor of Bold New Voices in > Poetry, Dies > By WOLFGANG SAXON > > Donald Merriam Allen, a poetry editor whose 1960 > anthology of the era's > contemporary and avant-garde poets remains a > milestone in American > letters, died on Aug. 29 in San Francisco. He was > 92. > > His death was announced by his friend and executor, > Michael Williams. > > Mr. Allen started compiling his landmark collection > in 1958 as an editor > at Grove Press. In "The New American Poetry: > 1945-1960" he presented a > new generation. It offered a sampler of 44 young > voices arranged in five > overlapping groupings, and was one of the first > countercultural > collections of American verse. The difference > between the older > traditional voices and the new was described by > Robert Lowell as the > difference between the "cooked" and the "raw." > > There were the Black Mountain poets like Charles > Olson, Robert Duncan > and Robert Creeley; the San Francisco renaissance > voices of James > Broughton, Madeline Gleason and Lawrence > Ferlinghetti; the beat > generation of Allen Ginsberg, Jack Kerouac and > Gregory Corso; the New > York poets like John Ashbery, Kenneth Koch and Frank > O'Hara; and a fifth > group of younger names without geographical > definition, including Philip > Whalen and Stuart Z. Perkoff. > > Mr. Allen's handiwork caused a literary stir and > upset the poetry > establishment in particular. It spotlighted some > large new talents > culled from small magazines and lent a degree of > respectability even to > fringe lyricists from San Francisco and its > environs. > > What united them, Harvey Shapiro noted in his review > in The New York > Times in 1960, was their disdain for traditional > great English and > American poetry and poets. More disapprovingly, the > critic John Simon > wrote, "Mr. Allen's anthology divides all gall into > five parts." > > But the work endured and was reissued most recently > by the University of > California Press, where it remains in print. In 1975 > Mr. Allen edited, > with Warren Tallman, an updated companion volume to > the 1960 anthology, > "The Poetics of the New American Poetry" (Grove). > > Donald Allen was born in Muscatine, Iowa, the son of > a doctor. He > graduated in 1934 from the University of Iowa, from > which he also > received an M.A. in English literature a year later. > After postgraduate > studies at the University of California at Berkeley, > he moved to New > York. He was an editor at Grove from 1950 to 1970, > both in New York and > later on the West Coast, where he was co-editor of > Grove's Evergreen > Review, which published Ginsberg's "Howl." > > He translated four plays by Eugene Ionesco (Grove, > 1958), and his > versions of "The Bald Soprano" and "The Lesson" > continue to be staged. > He edited selections of writings by O'Hara, Olson, > Kerouac, Mr. Creeley, > Edward Dorn, Jack Spicer and others. > > To promote his favorite writers he founded and > managed two literary > presses, Grey Fox and Four Seasons Foundation, which > published the new > poetry along with books on philosophy and Buddhism > and gay and lesbian > literature. > > Mr. Allen is survived by a sister, Kathryn Payne of > Charlottesville, Va. > > > > Copyright 2004 The New York Times Company | Home | > Privacy Policy | > Search | Corrections | RSS | Help | Back to Top > __________________________________ Do you Yahoo!? New and Improved Yahoo! Mail - 100MB free storage! http://promotions.yahoo.com/new_mail ========================================================================= Date: Sat, 11 Sep 2004 23:09:44 -0400 Reply-To: richard.j.newman@verizon.net Sender: UB Poetics discussion group From: Richard Jeffrey Newman Subject: The Second Queens International Poetry Festival Comments: cc: Paul Catafago MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable FOR IMMEDIATE RELEASE =20 Important Multi-Cultural Festival To Be Held In Queens September 18, = 2004 =20 FLUSHING, NY August, 2004- The Second Queens International Poetry = Festival will be held on Saturday, September 18, 2004 at the Flushing Library Auditorium in Flushing, Queens 41-17 Main Street from 12 noon to 4pm. = Both world renowned and younger poets will perform their poetry in both = English and at least seven other languages. The program will also feature a = musical performance by the New Culture Ensemble. As well, Sridhar Shanmugam will perform classical Indian dance. Iranian-American scholar and translator, Iraj Anvar will sing the poetry of Rumi in the original Persian. =20 Last year=92s festival attracted poets and audience members from many different cultural communities. The organizers, Movement One: Creative Coalition, view the festival as a celebration of the diversity and = talent the New York area, especially Queens, enjoys. Though the event is not a memorial of the tragic events begun on September 11, 2001, it is an assertion of the communication and inter-cultural work necessary to = assure that mass destruction will cease. =20 Before immigrating to the U.S., several participating poets suffered persecution and imprisonment in their countries of origins. = Participating poets include Man Mohan Alam, Fuad Attal (Arabic) , Milly Brig = (Spanish), N.M. Danish (Urdu) , Jyoti Datta (Bengali) , Peggy Garrison, Daniela Gioseffi, Harlym 125, Sang Hee Kwak (Korean) , Pwu Jean Lee, Johar Mir (Urdu), Dr. Shehla Naqvi (Urdu), Richard Newman, Onome, Randhir Singh, Tarlok Singh (Punjabi) , Ella Smith, Ricardo Leon Pena Villa (Spanish) = and Huang Xiang (Chinese). =20 The festival is co-sponsored by The Queens Council on Arts, Terraza = Caf=E9 and WenXinShe Literary Organization. The program is free and open to the = public. =20 CONTACT: Paul Catafago Executive Director 46-15 90th Street Elmhurst, NY 11373 Movement One: Creative Coalition Tel: 718-592-5958 paulcatafago@yahoo.com =20 =20 _________________________ Richard Jeffrey Newman=20 Associate Professor, English Nassau Community College One Education Drive Garden City, NY 11530 O: (516) 572-7612 F: (516) 572-8134 newmanr@ncc.edu www.ncc.edu =20 ========================================================================= Date: Sun, 12 Sep 2004 00:06:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the character poems MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed the character poems problem black black, gate cosmos sun heaven grammatical cold yellow help fruit black, -er the where cliff sun or inquire west particle oneself measure when one yellow the the is draw 10,000 a the or assist in help dim heat or eng-ke lu bequeath called heaven examine hold are the makes the the the third goes question skill the helper obscure, furiously well to writing black, inquire and the to as from when out to ancient one ch'in figured emanates grammatical en in as devote court is develop of fills observe of constellations to the to the sending will eight the or to interrogative bare in yellow the view, in encius, like spread distinguish measurement oneself mountain to beside circling kindnesses trying or emperor alone the distant the dusk planting intention in octrine clouds to of to gives wearing near the near particle by other the ate the to agriculture flying hiding, to gives view salted admonished rolls people you the covers assist thoroughly sorrow, the painting the the ing high residue acres summit of the them disk query shame pillar respect grammatical early sage the an classical constellations the the years one's the expel then way respect the when two the problem allowance disaster yellow hu government up in profusion pitches continuous of millet yield observe birth phoenix extremity as self wonderful lining treasure is around external a with uan ascend, scarlet the to the of trust oneself government quantity 4-stringed instrument affairs black, sometimes think measure nterrogative many forms chief in in case encius, great them the sheep draw flying end heaven luxury order they just principles gives emperor the distant sections grain and plan empty the marsh strictly this yellow of the they around emperor jade the official walls the acres of the pleasing hall shame mind form heaven interior back spread home the from do then arbor the reap brief toil yao blessings danger ous valuable good reply from they truths dim summit supremacy skirts they in netherworld of grasps the un- when one addition interrogative fragrance cottage, they thousand 1 6 double-edged population yield galloping covers __ ========================================================================= Date: Sun, 12 Sep 2004 04:13:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: the character poems MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit very very nice ones please write me a chaotic structuralism manifesto ========================================================================= Date: Sun, 12 Sep 2004 06:33:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Lundwall Subject: "EXPORT: Writing the Midwest"/Call for Submissions Mime-Version: 1.0 Content-Type: text/plain; format=flowed dear friends...colleagues... currently i am putting together an e-anthology for january issue of michael rothenberg's fine literary journal Big Bridge www.bigbridge.org the e-anthology "Export: Writing the Midwest" aims to highlight the work of writers either currently living in or who have a very relevant and personal relation with the midwest... i am looking for submissions of -poetry -fiction -essays -memoirs ...in other words...whatever quality material you should decide to send... **** GUIDELINES: Poetry...Submit no more than 4 poems at a time in either .doc, .txt, or in the body of an email... Fiction/Non-Fiction...Should not exceed 4 pages preferably sent as a .doc file... Contact: Andrew Lundwall (andrew@poeticinhalation.com) Deadline: December 1st Subject line of emailed submission should read: "Big Bridge Submission/'Export: Writing the Midwest'"... Please include with submissions a short descriptive biographical note and an author's photo if you've one to share... **** finally...if you could fwd this call for submissions note to let your writer friends and acquaintances know of this your help would be greatly appreciated... and...though not recquired...if some of you could send me a brief statement regarding how living in the midwest has shaped your writing... what the midwest means to you as a writer...or any other personal reflections of this nature i would encourage you to send such statements my way as i would very much like to include them in my introductory notes... i hope that all i have emailed are as excited about this project as i am...and i hope to hear from some of you soon... thanks ever so much... all best wishes... andrew lundwall _________________________________________________________________ Get ready for school! Find articles, homework help and more in the Back to School Guide! http://special.msn.com/network/04backtoschool.armx ========================================================================= Date: Sun, 12 Sep 2004 08:32:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Elshtain Subject: New Beard of Bees 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 our latest chapbook: "Sonnets to Renew Your Subscription" by Francis Raven and Jeff Bacon. To read this chapbook and learn more about the authors, go to: http://www.beardofbees.com/raven-and-bacon.html For a complete list of Beard of Bees publications, go to: http://www.beardofbees.com/publications.html _______________________________________________ BoB-announce mailing list BoB-announce@beardofbees.com http://lists.beardofbees.com/mailman/listinfo/bob-announce ========================================================================= Date: Sun, 12 Sep 2004 07:48:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: New work @ Poet's Corner In-Reply-To: <1094995979.4144500b3aa10@webmail.uchicago.edu> Content-Type: text/plain; delsp=yes; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit I have five poems at Poet's Corner http://www.fieralingue.it/ modules.php?name=Content&pa=list_pages_categories&cid=131 other poets with poems or things at Poet's Corner http://www.fieralingue.it/modules.php?name=Content thank you kari edwards http://transdada.blogspot.com/ _________________ -GENDER RIGHTS ARE HUMAN RIGHTS- _________________ ========================================================================= Date: Sun, 12 Sep 2004 11:59:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Elegies for Big Bridge MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I have received a lot of elegaic writing and it appears I have enough = for Big Bridge. Thanks to everyone for sending work. If there are some = writers who have been preparing work and can get something to me in the = next couple of hours I will look at it, otherwise I will have to make = the entire issue an Elegy issue. I wonder now why there is such an = abundance of elegaic writing. Is it something about the times?=20 Thanks again, Michael www.bigbridge.org ========================================================================= Date: Sun, 12 Sep 2004 12:17:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Heidi Lynn Staples =?ISO-8859-1?B?bull?= Peppermint Subject: NYC Best American Poetry Reading MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Monday, September 13th, 2004 7:30pm Best American Poetry 2004 Marc Jaffee, David Shapiro and Heidi Lynn Staples (n=E9e Peppermint) with= David = Lehman as Le Grande Emcee 92nd Street Y, Steinhardt Building, 35 West 67th Street Tickets are in advance; at the door. = Hope to see some Buff-list folks. Ifen you're there, please come say howd= y! = Heidi Lynn Staples co-Editor, Parakeet = editors@parakeetmag.org 115 Roosevelt Avenue Syracuse, New York 13210 315-472-9710 http://mildredsumbrella.blogspot.com ========================================================================= Date: Sun, 12 Sep 2004 15:11:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Fwd: Muslim Domain Poetry Contest!!! Comments: To: alzo0002@LISTSERV.BUFFALO.EDU Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > >From: "Ahmed Taz" >To: >Subject: Muslim Domain Poetry Contest!!! >Date: Mon, 13 Sep 2004 02:47:46 +1000 >X-Priority: 3 >X-TPG-Antivirus: Passed > >Poetry Contest Opened! > >Assalamu Alaikum Brothers and Sisters > >The poetry contest has started. Be sure to participate and express >your talent by submitting your poem. So you think you deserve to >win. Let us see who is the master of the masters Each member can >post only one poem. All poems have to be new in MD. No one is >allowed to reply a comment in the poem threads. After the closing >date a poll will be carried to determine the best poetry of All! >Best of luck to you. Masalama > >Your brother, >Ahmed > >*All messages replied to this email address are discarded. > >------------------------------------- >Handy Links >------------------------------------- >Board Address: http://www.muslimdomain.net/forum >Log In: http://www.muslimdomain.net/forum/index.php?act=Login&CODE=00 >Lost Password Recovery: >http://www.muslimdomain.net/forum/index.php?act=Reg&CODE=10 >Registration: http://www.muslimdomain.net/forum/index.php?act=Reg&CODE=00 >Admin Email: webmaster@muslimdomain.net -- ========================================================================= Date: Sun, 12 Sep 2004 14:53:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Updates Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable ***ANNOUNCEMENT*** The September/October/November calendar is now up on our website! Go here: http://www.poetryproject.com/calendar.html Also, our FALL WRITING WORKSHOP information is up as well. http://www.poetryproject.com/workshop.html ***People=B9s Opera presents The Workshop from =B3Hell=B2*** An Opera in one act Libretto by poet and former presidential candidate Eileen Myles Wednesday, Sept. 22 & 29 at 8 pm The Poetry Project at St. Mark=B9s Church Admission available at door, no reservations required $8, $7 students/seniors, $5 members FOR ALL PRESS INQUIRIES PLEASE CONTACT Miles Champion at 212 674 0910 mc@poetryproject.com The New York production is a benefit for the Poetry Project at St. Mark=B9s Church 2nd Ave & E 10 St. Libretto by Eileen Myles Score by composer and recording artist Michael Webster Directed by Simon Leung Sets by Beth Stephens Costumes by Milena Muzquiz Lead singers: Juliana Snapper, Kevin St. John, Scott Graff Loosely based on Dante=B9s Inferno, Hell is an opera about public speech, corporate silence, global politics and poetry. This production is making stops in Los Angeles and San Francisco, finally landing in Tijuana in Fall 2004 to take part in the public conversation about who rules America. See =B3Hell=B2 on Oct. 16th at the UCLA Hammer Oct. 21st at the Yerba Buena Center, SF Oct. 31st at CECUT in Tijuana The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street at Second Avenue New York City 10003 Trains: 6, F, N, R, and L. info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now those who take out a membership at $85 or higher will get in FREE to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. ========================================================================= Date: Sun, 12 Sep 2004 18:00:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: rhode island notebook 6.17.03-6.20.03 Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable rhode island notebook 6.17.03-6.20.03 [anabasis] 2:16pm June 17, 03, On pavement at Toyota Quik Lube mit just had oil change. Bright sun =AD mesocumuli hang on horizon at edge of watery blue ceiling Morrisey & Veterans Pkwy 2:19pm Main & Veterans 2:20 I rise on 74 east 2:23pm & set odometer pavement a flat porridge-colored mash of grey & tan (thus beige) cut like a line of Hopkins instress beneath the robin=92s egg frosting of the inverted cupcake of the firmament and past the jiggling green I am bound for Nova Anglia. I am a yacht thru the shallow vegetal seas of Illinois, past Le Roy now at 2:34, past a clot on the rt of black & brown sunglistened cows, ears out to cool themselves, past silos & small Norman grain bins (too silver in the sun). Radio towers I am doing 72. The small corn is three octaves darker than that waving wheat-green fescue of the ditches, Piatt County 24 miles. Where are our old frigates full of faucets and shelves how have they gone on this sea of towns =AD sea of towns and wind and corn? Many houses here have sunk already, even in this new land. I drive for Clio to bring her back here the summer. The kind corn. There is no Billy Valley of Death here in Illy Nois But a vegetable seaplain of life and a wind that feels straight of Tunis but w/out the dust And fundamentally humid. Salt Fork River 55m 3:12pm Specks of gritty flowers near the bridges Vermilion County 61m The Mandan Around Fort Clark North Dakota traded for a yellow paint called =93Vermillion=94 The MANDAN NATION was exterminated by small pox around 1839 Their Chief MAT=D2-TOPE was painted by Carl Bodmer in 1833. He had reputedly killed several white men by the time he stood for Bodmer=92s portrait which took 4 days to paint. This Continent was =93settled=94 by Europeans via a Campaign of biological Warfare =AD whose fruits we now see in the vermillion ears of the good Corn. Kickapoo State Park 69m In the Middle Fork Vermilion River 72m I saw greasy man-length green threads of water moss smeared under the water shine Salt Fork Vermilion River 74m Reality can be felt deeply in 2 ways: rightly & wrongly. When rightly our welling response is love and curiosity. When wrongly, our squirting reaction is pride and fear. Awe I suppose is the blend of both fear & curiosity. Indiana border =AD 80-odd miles. Wabash River Fountain County 90 m 3:44pm Graham Creek how you sun 93m Dry Run Creek 98.3m Slightly rolling shallow be-treed hills here. Swell my blown hair, O air-conditioned dash Icky and Swale the icky Indiana we do not likes it KKK Stratocumuli dimmer, bigger =93the enormous aggregate that is our war on all the lands and seas of the globe=94 =ADErnie Pyle, apologist for the death makers =93Everything of this world had stopped, except war.=94 =ADErnie Pyle Sugar Creek 118 miles from Normal We heard the Anchor Chain rattle deeply in Rome All of it, the sky, measled w/ clouds that massive, upward, tundra of Air the russian olive trees shaped like cumuli here I see many old framed telephone poles grey crisp wood bleached stiff as cocks bent by the curves the catenary weight of the womany wires What an idyll is my yacht in Boone County as I dash in my lidyll car. Did the Mortar shell make A terrific quacking sound: An instant duck come to life and then gone in a quack packed with shrapnel=AD I believe it was that which burst my yacht near Advance, Indiana at 135m I see dill patching the rt ditch, its dull yellow almost icky- a digestive stomach-lining yellow the cat tails then, huge & reedy holding their small poops vertical. Redwinged blackbirds sit at their desks on top of them. Are there no gentle men in America? It=92s my doubt these Indiana pickups hold Any. No in this Jesus country. Eagle Creek Reservoir 154m 4:40pm 70east Indy 4:49 162m Here in Indy the cat tail spoor have burst. I see the Indy City Center yucky & icky under hazy blue, blue itself its buildings At 170m in Indy I see there the Awful Ziggurat of Lilly Ziggurat of Morphia Ziggurat of boring verse Ruth E Lilly who bequeathed a million to Poetry Magazine. Eli Lilly who made a billion on Prozac, O Lily O Poppy, O Morphia, god in the land of the dead Indians 70 east closed must take 74east Heard this BS lie on NPR: =93US forces continue to mix humanitarian aid w/ Military muscle.=94 =96at 5:10pm 70east 5:10pm CST 2 days Ago in New Harmony, Indiana I heard =93Ellen Bryant Voigt=94 =93read=94 her poetry, she ah she pronouncingly repeated the 20 yr old idiot Yeats=92 pronouncement that poetry=92s about passion, strange she should be so prim her poetry limp, the melodrama therein sounded like distant cats fucking. Very distant. Nameless Creek 203 m (these distances now inaccurate b/c of detour in Lilly Indy) Anthony Creek. There are the Goofy Hoosiers in the distant sunlit field mit shorts on, Stadium Empty, huddling at some game Montgomery Creek. Here Are Hoosiers in tractors, men & women west of Big Blue River cutting booby-thick median grass and the grasses of the ditches That odd butterfly seemed so happy the light in the east lighting her Optimistic little things though I know sometimes melancholy Generally a butterfly is childlishly guileless, a wisp on a hinge only slightly tougher than the wind itself Whitewater River there are no large bugsplats yet Move by me, blossoming dill! 5:56pm 237m rest stop 6:01 back on 70e sun nested in a sick haze behind me. =93The point was that we on the shore knew we cd substitute machines for lives.=94 Ernie Pyle Ohio State Line 250m (Shelton Fireworks on Indiana side =96 stop there on way back) =96 250m =BD tank gone. Long constellation in median of blue & white wildflowers =ADsuperb=ADand always happy to leave icky Indiana. Let us build A creek over it and wash Away its republicans =93We had eleven Negro boys aboard, All in the stewards Department=94=AD Ernie Pyle, BRAVE MEN =93They were all quiet nice boys and A credit to the ship.=94 =96 Ernie Pyle =93They all had Music in their souls. I had to laugh when the ward room radio was playing a hot tune, I=92d notice them grinning to themselves & dancing ever so slightly as they went About their serving.=94 =96 Ernie Pyle =93One of the boys was George Edward Mallory of Orange, Virginia. He was 32=85.=94 =96 Ernie Pyle You are A hag w/ a fat face, Ernie Pyle 6:28 CST 269m Weighty sky orange-blue clouds roll encompassing & burly from the North I must take off sunglasses, I stop @ Brookville OH & consume 2 fish sandwiches. I see grass islands in Stillwater State Scenic River bugsplat, almost blue, near Great Miami River I believe it had been a beetle Brandt Pike Huber Heights Carriage Hll Mad River 293m Talk to Colleagues, faculty About Charlie=92s line re someone pub- oriented, po-mo lit & willing to take over UNIT for Contemporary Lit. Ulysses S. Grant was from, I think, Point Pleasant Ohio I have no idea if that town is anywhere near Springfield Ohio where I currently Am 7:28pm at Dim Apricot evening an hr before an Ohio sunset When I was a boy I swung from horses=92 tails A few kicked me, though not many: horses were nice They did not poop when I swung behind there they did not poop on me they merely let me swing and kicked me not Fewer pickups in Ohio, not As hot =96 Massive junkyard of farm equipment 330m Ulysses S. Grant stood 5 feet 1 inch I see Llamas there Ho Ho Yamas! 270-N 7:48 CST Acteon had seen the goddess bathing, seen her boobies & hips had seen the light blowing beneath her arms her hair like a booby army her hips a platoon from her vulva Northwest Columbus wall to wall grey clouds mollify orange dusk All our lights Are on. Where are the geese. Has Achilles Ate them? His Whiskeys Are orbiting. He cannot get to them. Achilles has ate the ducks. Achilles has Ate the yamas. fewer US flags this trip than any other trip. Achilles has Ate the brandy, the quinine the geese he ate The horses & mud he ate. 360 m 71 N A terrible footbridge over the HWY at 362m is festooned w/ U.S. flags The gelatinous sausage meat was made of a were-stag, a deer-man formerly Acteon. I see a skulk of foxes in the rt ditch near Sunbury OHIO Large field of white wildflower constellated on rt, each white clump approx. 3x4 feet, maybe 400 clumps strewn upon 5 Acres seen despite a settling mist & impending dusk Greasy flank of dark clouds on right tree line =BD mile off. Andrew Jackson, the Motherfucker, killed the Choctaws & Cherokees What A Great Idea! And Afterward, for Jackson, the voices and the laughter the glasses and orchestras strewn thru spring Mansfield OH 409m darkness Fill on Ashland / Wooster OH Exit 186 426 m 9:04 CST 37.6m (since fill) 9.845g 44.45 mpg I set these matters down not to instruct others, but to inform myself =96 or so said John Steinbeck. =93We find after years of struggle that we do not take a trip =96 a trip takes us.=94 =96 John Steinbeck, Travels w/ Charlie =93Thus I discovered that I did not know my own country.=94 -- JS I am then, in Ohio, A turtle yacht When I stop in them gas station And see the ignorant peoples I wonder Why they ignorant Why they so dumb ? It=92s because I think their dumb teachers are dumb Where they should have had passion and Love they had fear and pride How they can be so proud and so simultaneous dumb IS THIS CAR NOT MY ROSANANTE!! 76e 451m 9:41 CST 10:44pm Eastern time I burst through A castle of paper that has appeared on the road. ONWARD ROSANANTE! Confetti blizzards behind me Or was that a nunnery of paper? Have I burst many nuns? There is a slightly naughty quality of fire to break lights The Amber kindles gripped by the asses of cars As if each trailed 2 bundles of burning broom straw But we do not speak of it on the road. Our cars, our yachts, our turtles, our steeds these hermit homes =AD look forward, pioneers, O conestogas =AD we go forward and have no traveling end. We are Stern and bow have no aft or end They before me are not Americans for Americans have no Asses We Are All Assays ONWARD ROSANANTE!! Meander Reservoir 511m lit w/ A sheen of orange sodium lights luminousing in low clouds beyond trees that are dark. 80 east 515m 11:41 eastern Pennsylvania Welcomes me w/ a blue sign. Shenango River: gray half-dollar flick of wings My windshield missed a moth. I have often wondered if the slapping swirl of air from A passing car will cripple a Moth or hobble A butterfly. Fine grain of mist past 10 miles wipers can=92t quite take it off they smear it into a thin condiment made of bug meat and cloud water It clings there w/ an almost static charge to the clear silicate toast of my windscreen 138 m =BC tank gone. Now A crackling rain 8 miles West of CLARION 1245am ESt Shippenville 2 miles The rises drops & turns of this stretch cause the dinosaur sized Median trees to drop rise & sway, their leaves strain and sift the lights of the oncoming traffic, which are not yellow. Or beige nor tan. But a kind of off white, A sallow white, though some of the newer cars are blue And in this weeping night their reflections glister like the prism blobs & corpuscles of light one sees on the eyelashes in a rain or if one has cried and tried to see. Punxsatauwney, North Fork Creek There is a mist whose rate of deposit on the windscreen falls slightly below the first indexed wiping speed, which causes a slight annoyance in the driving 1:15 =96 1:19am Stop to Defecate 619m Chesapeake Bay Watershed Dense fog aluminum colored in the lights. Descending the fog elevates I drop to Curwensville Lake. I ascend out of whatever valley I was in, and on the rise A happy rain giving a sound of crinkling small candy wrappers. ONWARD ROSANANTE! I believe I am hydroplaning Lightning flash (blue-white) 2:10am I am being followed by someone who insists on staying behind me =96 and recall that this Doppelg=E4nger always appears On this lonely Alleghany stretch No matter if I reduce my speed to 40 or bolt away at 80 it follows. Back there 3 or so miles it got right on me & I coasted to 40 mph. It did not pass! but decelerated as well. Dense fog & thorough thick rain. Rain rain Rain rain Rain Lamar Lamar 699m 2:37am EST Stop to Sleep at Lamar, PA Travel Ctr (TA) Wake to heavy rain from an Aluminum sky 7:28am. Fill on 6.377 gallons =96 at 42.53 mpg back on hwy 80east 7:45am The Mighty Susquehanna here near Milton I squeak over the tin brown water. Its width here is similar to the Wabash at New Harmony, IN. I cross the Susquehanna again at 768m. Sky lightening but still low, mist stopping dragging gray rags part way up mountains on rt, tops occluded, road drying Wedn the 18th of June TODAY I see Clio! 81 N 785m N to Wilkes-Barre Mist again on 84. Black twisted hanks of tires, retreads delaminated, lay at the rt shoulder like exhausted black muskellunge Smaller fragments rest curved resembling fingernails or charred forearms cragged w/ bones stiffened w/ their radial steel wires rest stop urination 846 m 9:56 AM The Sway and Swish of traffic through eastern Pennsylvania is balletic and calm near Lords Valley Dingmans Ferry. The dense thin trunked oaks and birch rise in a great green poof mattress on close grassed hills either side of tin-skied 84. Metamorphic and shaley Rocks knuckle out the grass easily here At NY border high shale cliff brow above trees and bear square bold numerals in whitewash: 91 1999 2000 Near Port Jervis A petulant red early 90s Chrysler convertible, beige canvas top down, flings itself past me. A stiff cheap plastic American flag on its aerial. The flag, raging like A multicolored choked pigeon bursts free of the Aerial and falls grateful & exhausted to the road. I am careful to run it over. Fog. I am at dewpoint and the road rises & pulls me up & into it, only to pull me out when lowered. Wallkill River 900 m Now here again under low tin roiling clouds over the wide Hudson I travel the Hamilton Fish bridge & steam into a delta of cars backed at the tollgates. Blonde makeupped sweetfaced toll lady =93Thank you Have a good day=94 A smile, she takes my dollar bill then a half mile of willows on my left Fishkill Creek near Poughkeepsie & Peekskill the clouds Are an Alloy of milk & glowing lead A faded blue bumpersticker on A Ford: UNITED IN PRAYER URINATE IN EAST FISHKILL NY 930 m 11:15-19 am 942m EAST BRANCH CROTON RIVER CONNECTICUT BORDER 946 m 11:33pm 55 speed limit 691e 985m 12:10 Must meet Clio & Mairead at Martin Luther King Elementary School Quinnipiac River in silver mist 91 North 994 m 9 S heavy mist low featureless sky dull of color but bright Mattabesset River traffic heavy Mist deluging spray Are we driving through clam juice? 95 N 1030 m 12:50pm Approaching Rhode Island No mist, sky gone up its ladder New macadam the odd burnt butter smell of tar 1063 m R I border 1:19pm Down a wet straight aisle in the mirroring macadam new clouds are framed, scudding kinds, south to North. Arrive Motel 6 Warwick 1:48 pm EST will Bathe now and then to Clio=92s school where soon she=92s getting out, then to summer with me [katabasis] 4:29 AM EST June 19 Southbound Hwy 95 2.1 m fr. hotel After Dunkin Donuts, o j for Clio, Large creamed coffee, me, 4 old fashioneds (plain) Sky faintly glow purple Glory Glory Glory it is morning And what a Grand Girl My daughter is Connecticut A pink blue scene Dark seagulls right to left at New London. Across the Massive high arching bridge I see the sub base docks the purple water smeared yellow w/ the greasy shine of sodium lights Delicate fog, coffee good Fog & Empty road on 9 North to to Mattabesset River Fog lifts at Middletown Clio asleep at 10 to 6. 691 west 100.3m Sodium lights at Watertown still & mist gray 6 AM Clio snoring Descend hill to Quinnipiac River Am near Milldale, Cheshire Waterbury Danbury Cheshire Prospect Hello St Mary=92s, the hospital in yr foggy brick. Southford, Southbury Newtown brighter now Sandyhook wind sodium lights off Brookfield Connecticut morning traffic Bethel I am leaving Nova Anglia 84 W 145 m New York State, North Salem Brewster Fishkill Poughkeepsie Peekskill Newburgh Beacon Wappinger Falls The Hudson River whited w/ a Milk Fog opposite hills faint green =96 green milk hills Highland New Paltz West Point Walden Montgomery Newburgh enough w/ the Newburgh Middletown Port Jervis Maybrook No fog, just haze in the middle trees Willows 8 foot swamp grass Akin to Wheat Binghamton Goshen Greenville Oh What a superb swamp rt. side cum duck grass elevation now 1254 ft. at top of massive hill dead possum=ADsmall rt shoulder Sussex Port Jervis Delaware River Pennsylvania border Matamoras 4 small birds in flight Scree at base of cliffs cool day Milford =F3ne b rd Dingmans Ferry Lords Valley Porters Lake Blooming Grove Pecks Pond Lake Wallenpaupack Porter=92s Lake Blooming Grove Taftan Gray Gray Palmyra Gray Gray Gray Gray Gray Gray Grentown Gray Newfoundland Hamlin Mt Cobb sumac water greased cliffs cold milk haze cold milk sky Dunmore Throop Carbon Dale Wilkes-Barre Scranton Avoca Dupont Pittston Bear Creek Nanticoke Nuangola First sun Strained thru gray cloud milk & chopping trees cut cakes of cliffs Conyngham Nescopeck urinic sun dishwater sky Mifflin township Clio reading Madeline=92s Rescue in back 9:15am Mainville Mifflinville pale yellow, pale blue, & hard pink wildflowers all over ditches =AD also egg white Susquehanna River Lime Ridge Berwick Bloomsburg Buckhorn Danville Limestoneville repaving 80 Westbound near I-180 junction Susquehanna River Lewisburg Williamsport Few US Flags now Under A bridge where some itiod had painted =93Trust Jesus=94 someone else painted out the =93Jesus=94 and painted =93Yourself=94 in its place. Mile Run Tractor-trailer are Annoying how they speed up down hills or to pass & then block traffic slowing on an incline Many dinky dirty yellow flowers FOG Densing near Loganton ghosting grey-beige soughs shoulder through the trees Lockhaven Clio re panorama of the forests near Lockhaven: =93It looks like broccoli!=94 Porter Township Lamar =93I=92m learning to read! Madeline books are my favorite now. They=92re special. Aren=92t they Daddy!=94 Marion Township Bellefonte Dead body of Chihuahua sized chocolate colored piglet rt shoulder stiff w/ sunbloat Milesburg =93Daddy we=92re right near the mountain. It=92s just like driving on a nice river.=94 SNOW SHOE 10:45 AM =93Dad, were you ever a cowboy?=94 =93Dad, you can be one and block cows. And I can be your partner.=94 Philipsburg Kylertown =93I see a horse in the sky. It=92s made out of clouds.=94 Woodland Shawville Curwensville Lake West branch of Susquehanna near Clearfield at Exit 120 Penfield Dubois Brockway Hazen Brookville Sigel Punxsatawney North Fork Creek Union Township Corsica Clarion Township 496m Strattanville New Bethlehem Clarion 500 m Monroe Township Shippenville Clarion River Beaver Township Knox St. Petersburg Emlenton Foxburg Alleghany River Butler County Clintonville Barkeyville Franklin Oil City Area Slipperyrock University Butler Dottles of rain at Grove City Windy flags at Grove City Grove City Shady Lake Mercer Lackawanna New Castle Sharon-Hermitage Shenango River Ohio Border 566m Trumbull Co line Hubbard Youngstown Girard Canfield Niles Rain spats 1x2 cm 1:38pm Meander Reservoir King Lear sky 76w Rain SPATS AGAIN 5x1cm 1:40pm 1:47pm I ask Clio to draw our car. She says, =93I=92m on the case, Daddy.=94 and begins to draw. Berlin Lake Newton Falls Lake Milton. FLAG ON A CONSTRUCTION CRANE: WILL we ever be rid of this FLAG PLAGUE? Alliance, Ohio Rootstown Ravenna epiphytic growth vines on tree Kent State 610m fr. Providence Akron dim sun the full sun semi-heavy traffic Canton Barberton Lodi Massillon Norton Wadsworth Ohio Rittman Medina Seville Lodi Finlay Ohio 71S 2:50pm They fixed the evil problematic macadam on the exit ramp College of Wooster Wooster Massive HWY construction N of Ashland Congress West Salem The US flag has become the pin of half wits 666m Stop at Days INN at Exit 186 Ashland OH exit 6:10 AM on HWY Clio=92s developed an eye bother, maybe pink eye Sun direct behind me Clio asleep in back Sunbury Mt. Gilead Delaware. Sun low in the left door Ohio Wesleyan Worthington I-270 west Columbus=92s ring road heavy traffic Marysville Dublin Muirfield Upper Arlington Hilliard Ohio I-70 West 7:24 am Dead Kitty w/ collar Calico, pretty, on its left side, rt shoulder w/ its back to road Plain City London Summerford Land flattening now=AD yet slightly rolling=ADland in view of the road varying between 20=92 =96 30=92 in heights. Springfield Ask Mairead if she wrote to my parents again Cedarville 801m Sun bright & to the right =AD right rear Xenia Urbana Enon Donnelsville Mad River 813 m Huber Heights Brandt Pike the Great Miami River, 821m, looks beautiful, brown, & intimate In effect, the ubiquitous display of the flag is akin to Hussein=92s =AD or an dictator=92s=AD use of portraiture Eaton Greenville Rest stop 852m 8:45am EST Indiana Border The billboards. The hell of billboards=ADAnd so commence the billboards of the Hoosiers Greens Fork River Cambridge City Connersville Hagerstown Fr. the backseat: 888m 9:15am: =93Daddy, What is the soul?=94 [explanation] =93So, Angels are souls! Cool!=94 New Castle Spiceland 890m Big Blue River 892m Montgomery Creek Six Mile Creek Why do they name the rivers=AD They don=92t need to Anthony Creek Nameless Creek Stop rest stop 905m (rest stop mileage is 9 miles over the mileage tablet in the cubbyhole that I made up to measure all the reststops between providence and normal) Greenfield Maxwell Bright blue crisp sky No clouds Moon =BD stage Mount Comfort New Palestine. And so we go on, all of us, finding dentists 465 ring road around Indy =ADdetour for repairs on 70=AD miss ogling Lilly Billyding Bush sticker=AD1st & only one I=92ve seen this trip. =93Lick Creek=94 White River West Fork=AD Directly south of Indy =BD tank gone 270m 45.378 mpg I-74 949m 10:18 AM EST 10:20 AM Pass Eagle Creek Reservoir -- its shining green grass embankments newly cut =96 can see the straight parallel marks of the mowers on the dike grass inexplicably (for it is steep) pinstriping its flanks Take Clio to Lake Evergreen to show her the dam. She=92s asking what a dam is. =93Is it like a hurricane?=94 she asks Pittsboro Lizton Lebanon =93It sounds like =91sons=92 are the sun in the air. But they=92re not. They=92re little kids.=94 A mile of dill on the rt. ditch. Jamestown Advance Crawfordsville Wabash College Sugar Creek Linden Waynetown Wingate =93I wish you were famous & rich.=94 =93Why?=94 =93Because you=92re such a good daddy. Daffy Duck used to be rich. Because remember how he made the dog laugh. On the news they said =91Someone must make this sick dog laugh & get one hundred million dollars.=92 And soon he was down to his last million. And he looked & saw a sign that said, =91You lost, Daffy!=92 And he looked and it was right.=94 Veedersburg Attica Covington Graham Creek Newport Terre Haute Illinois border Prison mile on the rt. White towers at its corners =AD looks square or pentagonal, rarely come through here in the daytime Still no clouds Danville Potash Center Massive barnlike structure filled w/ potash. Traintracks come to deposit or retrieve the potash wind shifted to my stern. 18-23 mph Vermilion River Salt Fork Vermilion River Stopped pee & play at idyllic rest area west of Danville=AD shady, has pond w/ aerating fountain, big trees, clear slides etc. Clio played w/ her new blue ball. When we got out of vehicle, saw that A sparrow had become lodged in rt. side grillwork. Pulled its still pliable body out, head remained in & fell to depths of engine compartment. 11:51 CST depart rest area Clio bubbling ball in back Am bearing 3 heads to Normal: 2 human heads and one sparrow Fithian Rankin =93Roses are Red My Gun is Blue I am Safe How About You? Gunssavelife.com=94 =ADNazi Burma Shave Signs near Homer Illinois The American concern for Safety Cleanliness and the Freedom to be Selfish, Greedy, and to Retain the Right to bomblinate other countries to democracy ========================================================================= Date: Sun, 12 Sep 2004 21:44:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Askenase/Baxt/Firestone/Sondheim Reading 9/19 NYC Comments: To: nanders1@swarthmore.edu MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Alicia Askenase, Ellen Baxt Jennifer Firestone & Joanna Sondheim will read on Sunday, September 19, 2:30 pm as part of the Frequency Reading Series hosted by Shafer Hall and Rachel Rakes. Where: The Four-faced Liar, 165 West 4th St. NYC, (212) 366-0608. Copies of their recent chapbooks will be available for purchase. (And for our friends in Philly, a reading is scheduled for October 17 at 2:00 pm at Robin's Bookstore--more details coming soon.) Feel free to forward this message. And please excuse any multiple postings. Hope to see you there! Jill Magi Editor/Publisher, Sona Books www.sonaweb.net ========================================================================= Date: Sun, 12 Sep 2004 23:18:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: of the new essay in the 1809 schelling MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed of the new essay in the 1809 schelling i.e. that it is new at the time of the publication http://www.asondheim.org/nschelling.jpg over 100 pages of new schelling materialization words etched in stone and paper and proper practice the unknown name who guards these doors (i will speak for) _ ========================================================================= Date: Mon, 13 Sep 2004 07:36:14 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's Blog Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://ronsilliman.blogspot.com/ RECENT TOPICS: The Day Book as Ur-Blog: Robert Duncan's plotless prose Forthcoming readings & talks by Ron Silliman: NYC, Philly, Lawrence, KS & SF (& that's just the next three weeks) "Pieces of the past arise out of the rubble." Learning about trade presses the hard way Meeting Robert Duncan What exists & what is available in Robert Duncan's The H.D. Book In search of Robert Hogg Philadelphia Progressive Poetry Calendar Bill Knott's Short Poems -- short poems . not! The Opening of Field -- Robert Duncan's major themes The H.D. Book & Robert Duncan's poetry Greetings from San Antonio Collaborations of unfathomable familiarity - Francie Shaw & Bob Perelman's Playing Bodies http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 13 Sep 2004 06:04:43 -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: INFO: the struggle of afro-latin american communities MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit INFO: the struggle of afro-latin american communities ============================================= Hola Brothers and Sisters, I would like to know if you can pass this information in your group because we really need some help to accomplish this event. Afroamerica XXI will present Forums about Afrodescendants from Latin America sponsoring the visit of ten Afro-descendants from Argentine, Bolivia, Chile, Colombia, Ecuador, Guatemala, Honduras and Peru. All them members of different black organizations in each country but members of the process Afroamerica XXI. I will send to you this weekend the information about where, when is going to be but could you please pass the information in this e-mail. Thanks. I apologize for my English. Please, let me know. Elvia Duque (from Colombia) Afroamerica XXI. elviaduque@yahoo.com ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ ========================================================================= Date: Mon, 13 Sep 2004 09:13:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Thompson Subject: father-daughter anthology In-Reply-To: <20040913040540.FUTY20763.mta2.adelphia.net@acsu.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear List, A friend is organizing a film series on the theme of father-daughter relationships. He would like to use an anthology of poetry related to that theme -- if there is one. He has asked me to help, and now I turn to you.... Can anyone recommend something? Thanks in advance, George Thompson ========================================================================= Date: Mon, 13 Sep 2004 10:31:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ward Tietz Subject: DJ Spooky (a.k.a Paul Miller) at Georgetown University Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable For those in the Washington, DC area next week. Ward Tietz=20 The Georgetown University, Lannan Poetry and Seminar Series presents=8A =A0=20 Cultural Recycling and The Remix and Rhythm Science, with creator of =B3illbient=B2 music, DJ Spooky, a. k. a. Paul Miller, =A0=20 Monday, September 20. =A0=20 Seminar: 5:30 p.m. Intercultural Center (ICC) 462, =A0=20 Reading: 8:30 p.m. Intercultural Center (ICC) Auditorium =A0=20 on Georgetown University=B9s main campus, =A0=20 37th & O Sts.=A0 NW, Washington, DC. =A0=20 Free and open to the public. =A0=20 For further information, please visit the GU English Department website: =A0=20 www.georgetown.edu/departments/english =20 ========================================================================= Date: Mon, 13 Sep 2004 10:53:36 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: New TV Show "This Bombed House" & more 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 On Iraqi TV, a Welcome Take on Surreality: U.S. Bombing Runs Provide Plenty Of These Old Houses: "This Bombed House" Show Proves To Be Perfect Metaphor For U.S. Occupation: "I don't think Kerry should win. I think the same cabal that started this oil grab thing in Iraq should face the ultimate consequences of their actions," Charleton Heston tells VFW. By HACKIE SPIN "What? Bush Too Good To Deal Drugs With His Old Buddies Anymore?" American Electorate Asks: Common Man Sees Bush Disconnect In Denying His Drug Use; "He's No Longer One Of Us.": Washington Post Wannabees View Kitty Kelley's Bush Book With Envy: What Campaign In Alabama? Was It A Campaign Or A Drug Deal? Dick Cheney on Peace Movement: "Our Opposition Marches In the Middle Of The Road Where They Can Easily Be Triangulated And Take A Headshot. Why Should The Kleptocracy Worry About 300,000 Unarmed Pussies?" By BOWAND KURTZY ========================================================================= Date: Mon, 13 Sep 2004 12:04:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Nick Piombino's ::fait accomopli:: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit ::::::::::::::::::::::::::::::::::::::::::: New on ::fait accompli:: http://nickpiombino.blogspot.com poem: *Sacred, Secret Haste* Three collages from *Free Fall* published in http://www.eratiopostmodernpoetry.com/ *After Finishing Jennie Gerhardt by Theodore Dreiser* Aphorisms by Lichtenstein hot links on the sidebar: three poems translated into Spanish by Ernesto Priego and more ::::::::::::::::::::::::::::::::::::::::::: ========================================================================= Date: Mon, 13 Sep 2004 16:22:26 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: Poetry Reading: Charles Alexander, Meredith Quartermain and Brenda Iijima Mime-Version: 1.0 Content-Type: text/plain; format=flowed Please come! Poetry reading: Charles Alexander, Meredith Quartermain and Brenda Iijima Sunday, September 19th, 6:00-7:30 (starting slightly later) The Bowery Poetry Club 308 Bowery, NY, NY 212-614-0505 Between Houston and Bleeker F train to 2nd Ave, or 6 train to Bleeker Charles Alexander, maker of poems and books, is the director of Chax Press, and a faculty member (part time) at Naropa University and Pima Community College. He teaches classes on poetry from the Modernists to the present, creative writing, and the book arts for the University of Arizona Poetry Center, Chax Press, and other community programs. His most recent book of poetry is Near or Random Acts (Singing Horse Press, 2004). He believes in poetry as a method of knowledge and exercise of mind, eyes, ears, and heart: it requires all we have and gives back more. Meredith Quartermain’s next book, Vancouver Walking, is due out from NeWest Press (Edmonton), in Spring 2005. A chapbook published by Chax Press is also forthcoming. Other books and chapbooks include Terms of Sale (Meow, 1996), Spatial Relations (Diaeresis, 2001), Inland Passage (housepress, 2001), A Thousand Mornings (Nomados, 2002), and The Eye-Shift of Surface (greenboathouse, 2003). She runs, with husband Peter Quartermain, Nomados Literary Publishers, in Vancouver, BC Canada. Brenda Iijima’s book, Around Sea was published this year by O Books. A chapbook titled Early Linoleum is forthcoming from Furniture Press. Earlier this year, Color and Its Antecedents was published by Yen Agat Press. A compact disk containing a selection of Frederick Hölderlin’s poems, articulated in English by Brenda and in German, by Erika Uchman is due out soon from Portable Press at Yo-Yo Labs. As well, she is a visual artist and lives in Brooklyn, New York. ========================================================================= Date: Mon, 13 Sep 2004 13:19:59 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: stone, book one Content-transfer-encoding: 7BIT apparently my 10th poetry collection, stone, book one (with cover artwork by E.G. Blundell), will be ready in abt two weeks from now, published by a new book publisher, Palimpsest Press, based near Windsor, Ontario. after five years of editing/publishing the journal Kaleidoscope, An International Journal of Poetry, im only her 2nd trade collection, after Anne F. Walker's The Exit Show. she will be doing her own distribution, so stores & individuals can get copies directly through her at http://www.palimpsestpress.ca/booktitles.htm otherwise, folk can get copies from me at the ottawa international writers festival, or any other reading i might be doing after that. to find out abt various readings im doing, check out http://www.track0.com/rob_mclennan/tour_schedule.htm -- 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: Tue, 14 Sep 2004 02:24:21 +0900 Reply-To: Sawako Nakayasu Sender: UB Poetics discussion group From: Sawako Nakayasu Subject: secret link Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Dear all, My first book is now out from Verse Press, who is selling it at a discount until 10/1, only through the following url: http://www.versepress.org/nakayasu_so_we_have_been_given_discount.html best, Sawako ========================================================================= Date: Mon, 13 Sep 2004 12:53:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: father-daughter anthology In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" of course, sylvia plath's daddy and yeats's prayer for my daughter... At 9:13 AM -0400 9/13/04, George Thompson wrote: >Dear List, > >A friend is organizing a film series on the theme of father-daughter >relationships. He would like to use an anthology of poetry related to that >theme -- if there is one. > >He has asked me to help, and now I turn to you.... > >Can anyone recommend something? > >Thanks in advance, > >George Thompson ========================================================================= Date: Mon, 13 Sep 2004 19:53:10 +0200 Reply-To: Anny Ballardini Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: of the new essay in the 1809 schelling In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit A wonderful (no better words to be found at the present)_presentation, Anny On Sun, 12 Sep 2004 23:18:03 -0400, Alan Sondheim wrote: > of the new essay in the 1809 schelling > i.e. that it is new at the time of the publication > http://www.asondheim.org/nschelling.jpg > over 100 pages of new schelling materialization > words etched in stone and paper and proper practice > the unknown name who guards these doors (i will speak for) > > _ > ========================================================================= Date: Mon, 13 Sep 2004 20:00:18 +0200 Reply-To: Anny Ballardini Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: father-daughter anthology In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit If you scroll under Father there are some interesting poems dedicated to the Father, some are written my men some by women, I collected them from the Poetryetc List, this section is dedicated to _my_ father. http://www.fieralingue.it/modules.php?name=Content Anny Ballardini http://www.fieralingue.it/modules.php?name=poetshome On Mon, 13 Sep 2004 12:53:05 -0500, Maria Damon wrote: > of course, sylvia plath's daddy and yeats's prayer for my daughter... > > > > At 9:13 AM -0400 9/13/04, George Thompson wrote: > >Dear List, > > > >A friend is organizing a film series on the theme of father-daughter > >relationships. He would like to use an anthology of poetry related to that > >theme -- if there is one. > > > >He has asked me to help, and now I turn to you.... > > > >Can anyone recommend something? > > > >Thanks in advance, > > > >George Thompson > ========================================================================= Date: Mon, 13 Sep 2004 11:21:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: father-daughter anthology In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit FINNEGAN'S WAKE? Galway Kinnell has a poem for his daughter. More seriously, Jason Schinder has an anthology, More Light: Father & Daughter Poems: A Twentieth-Century American Selection. While it is out of print, Amazon has 13 used. Or you might contact him or something. He did used to consult to Sundance after all. All best, Catherine Daly cadaly@pacbell.net -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Maria Damon Sent: Monday, September 13, 2004 10:53 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: father-daughter anthology of course, sylvia plath's daddy and yeats's prayer for my daughter... At 9:13 AM -0400 9/13/04, George Thompson wrote: >Dear List, > >A friend is organizing a film series on the theme of father-daughter >relationships. He would like to use an anthology of poetry related to that >theme -- if there is one. > >He has asked me to help, and now I turn to you.... > >Can anyone recommend something? > >Thanks in advance, > >George Thompson ========================================================================= Date: Tue, 14 Sep 2004 03:25:59 +0900 Reply-To: Sawako Nakayasu Sender: UB Poetics discussion group From: Sawako Nakayasu Subject: Call for Work - Four Factorial Speed Round! Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Dear All, Trilingual Three Factorial is bursting at the seams with translations of poetry from Japanese to English, Japanese to French, French to Japanese, French to English, Japanese to French to English, plus some Visual Japanese poetry, Japanese Sound Poetry. . . in other words it's exciting, authentic, contemporary, and . . .mostly Japanese. Available very very soon! Also of note: the new Aufgabe features contemporary Japanese poetry in translation as well. Equally exciting is this new call for work for the next issue: the Four Factorial Speed Round! All submitting and editing will take place within the next 1.5 months - submissions will be accepted from now through the end of October, and will be read and edited by guest editors chosen semi-randomly as I travel around the states - in Boston, Amherst, NYC, Chicago, Milwaukee, Madison, Kalamazoo, NYC, and San Francisco. (http://www.factorial.org/sn/read.html) As soon as I have 10 submissions I will give the package to a guest editor, who will choose selections to go into the Second Round. I will continue this as I travel throughout the month, choosing a new editor for every 10 submissions. As soon as there are 10 submissions that make it past the First Round, they will be passed on to a Second Round Guest Editor, and so it goes. *Collaborative writing and works in translation will automatically be entered into the Second Round. OR *Buy your way into the Second Round by enclosing a Factorial proof-of-purchase: a jpeg photo of you with a copy of any of the three issues of Factorial. ***For detailed instructions, please visit the Factorial website: http://www.factorial.org/ *** What happens: Individual replies will only be sent to those whose work will be published in Four Factorial. All current standings will be posted online at http://www.factorialpress.blogspot.com/ as they are made available. The finalists will be published in Four Factorial in 2005 - possibly, maybe, perhaps - with Japanese translation! ========================================================================= Date: Mon, 13 Sep 2004 15:17:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Mirror Site: #1 #2 #3 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Mirror Site: #1 #2 #3 What time is it? Well, : , 13 2004 05:49:10 -1100 @ . . 13 15:05:10 2004 : , 13 2004 05:49:10 -1100 : < @ . . > : < @ . > : ' - 1 , -, ,, - - ` ,, - . . - . , ' ` , , , ` ' , , -, . _~ ^~ ~ . ' , . -- ' _. ^ _. ` ` . . . -- . . . 5118 . /56/ " ' ." " . ` - ' , , - , ` '. ' , , ' . ' ' , ' , . , , ' , ' ' . , ' , ' ^ ^ ." , , , " 17 07 How old are you? 17 07 ___ ========================================================================= Date: Mon, 13 Sep 2004 14:55:50 -0400 Reply-To: Mike Kelleher Sender: UB Poetics discussion group From: Mike Kelleher Organization: Just Buffalo Literary Center Subject: JUST BUFFALO E-NEWSLETTER 09-13-04 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ARUNDHATI ROY REDUX! If you missed the conversation between Arundhati Roy and Amy Goodman on Thursday, it will be broadcast in Buffalo tomorrow (9/14) on WNED AM 970's "Forum" from 1-2 p.m. It will also be rebroadcast nationwide sometime soon on Democracy Now! Their url is: http://www.democracynow.org Another interview she gave while in town can be heard on Rochester Indymedia at http://rochester.indymedia.org/newswire/display/2891/index.php Photos of Arundhati Roy by Bruce Jackson can be viewed at http://buffaloreport.com/2004/roy/roy.html Signed copies of all her books are available for sale at Talking Leaves Books http://www.tleavesbooks.com OUR FIRST WORKSHOP BEGINS THIS WEEK: The Working Writer Seminar, with Kathryn Radeff 4 Saturdays: September 18, October 16, November 13, December 11, 12 p.m.- 4 p.m. 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 Writing & Selling Short Stories, October 16 Writing Magazine & Newspaper Features: Learn the Methods & Markets, November 13 The Art & Craft of Creative Nonfiction, December 11 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. CALENDAR CORRECTIONS SPOKE, the print newsletter of Just Buffalo, contained several errors. 1. The October 13 Open Reading, featuring Liz Mariani, begins at 7 p.m., not 8 p.m. All open readings begin at 7. 2. The Music and Poetry event, featuring Dan Sicoli and Joe Malvestuto, takes place on Friday, September 24, at 8 p.m. in the Hibiscus Room at Just Buffalo. 3. Kurt Schneiderman's "Playwriting Basics" runs from 7-9 p.m. We forgot to list the time in SPOKE. FALL EVENT SPOTLIGHT: Brendan Lorber, Sasha Steensen & Julie Patton Poetry Reading and Book Release for Steensen's, A Magic Book Friday, November 12, 8 p.m. Brendan Lorber is the editor of LUNGFULL! magazine (www.lungfull.org) & curator of The Zinc Talk / Reading Series. He just finished teaching a workshop at the St. Marks Poetry Project. He's the author of Dash (Situations, 2003) a beguilingly beveled & devellish poem-object bound with a grommet. Also of The Address Book (The Owl Press, 1999), Your Secret (fauxpress.com, 2000), Corvid Aurora (LHB, 2002) and, with Jen Robinson, Dictionary of Useful Phrases (The Gift, 2000). Tracey McTague & he collaborated on Book of the New Now (The Gift, 2002), a series of collages. A longer book of poetry, Welcome Overboard, continues to be in the works. He is the recent recipient of a haircut & has a shave forthcoming. He lives in an old farmhouse in Brooklyn across the street from Green-Wood Cemetery, a 500-acre necroplis. Sasha Steensen is the recipient of the 2004 Alberta Prize for A Magic Book (Fence Books). She co-edits the journal Kiosk: A Journal of Poetry, Poetics, and Experimental Prose, and co-authored Correspondence (Handwritten Press, 2004), a chapbook written in collaboration with Gordon Hadfield. Recent work has appeared in Chain, P-queue, and Enough. Julie Patton's multidimensional poetics encompasses Julibraries, (handmade books and altered texts), Julibrettos (or improvoications) and Ju Ji Pulp-its & Con Texts (where the body gets close to the hand turning the pages of the self as a paper doll). Her performance notes for "dOur life in the Ghosts of Bush" were publshed by Belladona as Not so Belladona but a Deadly Nightshade, and Do Rag on and on is forthcoming from Tender Bottons. FALL READINGS IN THE HIBISCUS ROOM September 24: Dan Sicoli and Joe Malvestuto, music and poetry October 8 or 15: Jimmie Gilliam and Rosemary Starace October 13: Open Reading, hosted by Livio Farallo, featuring Liz Mariani October 22: Balkan Poetry: Ales Debeljak, Ammiel Alcalay, Semezdin Mehmedinovic October 29: Writers Group Reading Series, hosted by Karen Lewis presents: The DCW's. November 10: Open Reading, hosted by Livio Farallo, featuring Alamgir Hashmi November 12: Brendan Lorber, Sasha Steensen Julie Patton December 8: Open Reading, hosted by Livio Farallo FALL WORLD OF VOICES Residencies: October 21-27: Ales Debeljak November 29- December 3: Frances Richey JOYCE CAROLYN'S CORNER IN SEPTEMBER BUFFALO CATS Friday, September 24, 8 p.m., Langston Hughes Institute, Center for Cultural History & Arts Education 25 High Street, Buffalo $10, $8 students/seniors, $6 members Just Buffalo proudly presents a celebration of Buffalo-born artists. Nationally and internationally recognized writers, musicians and visual artists born in Buffalo will return to their hometown for this special, one-show-only engagement. Featuring Buffalo fiction writer Gary Earl Ross, saxophonist Reynolds Scott and visual artist James Pappas. FALL WORKSHOPS Playwriting Basics, with Kurt Schneiderman 6 Tuesdays, October 5-November 9, 7-9 p.m. $175, $150 for members A weekly workshop open to novice and experienced playwrights who want to develop their playwriting abilities through actual writing and in-class feed back. Bring in new or old work to be read aloud and critiqued by everyone involved in the workshop. Course will include readings from various classic theatre texts and discussion of playwriting structure and theory. You can expect to emerge from this course with some written and workshopped dialogue, and with an introduction to the overall theoretical framework for dramatic writing. Kurt Schneiderman is currently Dramaturg for the Buffalo Ensemble Theatre, the coordinator of the annual new play competition at the Area Playwrights' Performance Series, and Director of the new play, forum Play Readings & Stuff. Named one of "Buffalo's emerging young playwrights" by Gusto Magazine and Buffalo's "next A.R. Gurney" by Artvoice Magazine, Kurt was the winner of the Helen Mintz Award for Best New Play (2003) and was nominated for the Artie Award for Outstanding New Play (2004). Most recently, one of Kurt's plays was chosen for the 2004 Toronto Fringe Festival. Writing For Children and Teenagers, with Harriet K. Feder 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. 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. On Novel Writing, with Linda Lavid 6 Saturdays, September 25, October 2, 9, 23, 30, November 6 10 a.m.-12 p.m. $175, $150 for members 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. 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. $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, we will step outside our familiar poetic homes and build new dwellings (temples and taverns!),mutilizing 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 original writing from this full day of language play and experimentation, and will bring home a fresh eye with which to revisit old poems stuck in the draft stage. Marj Hahne is a poet and teaching artist who has performed and taught extensively around the country. Her work has appeared in Paterson Literary Review, Painted Bride Quarterly, Schuylkill Valley Journal of the Arts, Mad Poets Review, and La Petite Zine. She also has a CD titled notspeak. For more information, or to register, call 832-5400 or download the registration form from our website at www.justbuffalo.org MEMBERSHIP SPECIAL SIGNED, LIMITED EDITION ROBERT CREELEY BROADSIDE AVAILABLE As part of the membership campaign, Just Buffalo is offering a special membership gift to the first fifty people who join at a level of $50 or more. 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 atHarvard 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. COMMUNITY LITERARY EVENTS For details, see our Community Literary Events Page http://www.justbuffalo.org/events/comlitevents.shtml WBFO's Meet the Author, with host Bert Gambini I AM A PENCIL: A Teacher, His Kids, and Their World of Stories, by Sam Swope Monday, September 13 @ 7pm, in Allen Hall, SUNY Buffalo South Campus Film Screening: Following James Joyce: Dublin to Buffalo Poetry/Rare Books Collection, 420 Capen Hall, SUNY Buffalo, North Campus Mon., Sept. 20, Screenings at 12 p.m. and 4 p.m. Anyone in Buffalo who wishes to have a literary event listed on Just Buffalo's website can send the information to Mike Kelleher at mjk@justbuffalo.org. _______________________________ 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, 13 Sep 2004 15:33:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Daly: LA: DaDaDa Reading (last one!) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Tuesday, September 14 --- Catherine DALY will be reading from DaDaDa in The Redondo Poets series at The Coffee Cartel 1820 South Catalina Ave. Redondo Beach, CA (310-316-6554). See www.redondopoets.com for maps and driving directions, and schedule updates. The reading starts at 8:00 PM and is followed by an open reading. ========================================================================= Date: Mon, 13 Sep 2004 17:35:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Caterpillar Tusk Mime-Version: 1.0 Content-Type: text/plain; format=flowed our commas numbering the fine ruins of caterpillar tusk a cooler count thumbs what's smoothed by wind & 365 solar rays of 860 stars Collapsing Minute, I'll save you the suns our skin the comma between bone & armor the suns are used for armor, & ordinarily the suns are not priced in our favor hide thick as armor under the suns' armor but only when clad in armor, that's the rule of the caterpillar tusk _________________________________________________________________ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ========================================================================= Date: Mon, 13 Sep 2004 18:32:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Daly: LA: DaDaDa Reading (last one!) In-Reply-To: <001c01c499e1$c1c91a50$220110ac@CADALY> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hey Cat I hope there will be good snacks at this!?!? RB Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Catherine Daly > Sent: Monday, September 13, 2004 5:34 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Daly: LA: DaDaDa Reading (last one!) > > > Tuesday, September 14 --- Catherine DALY will be reading from DaDaDa in > The Redondo Poets series at > > > > The Coffee Cartel > > 1820 South Catalina Ave. > > Redondo Beach, CA > > (310-316-6554). > > > > See www.redondopoets.com for maps and > driving directions, and schedule updates. The reading starts at 8:00 PM > and is followed by an open reading. > ========================================================================= Date: Mon, 13 Sep 2004 20:45:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City 19 now available Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Please forward --------------- Boog City 19, September 2004 Available featuring: --Columnist Tom Gogola steps inside Madison Square Garden to cover the Republican National Convention --East Village Editor Paulette Powell's beat report on investigative reporter Greg Palast Our Printed Matter section, edited by Joanna Sondheim, featuring reviews by: --Valerie Deus on Susan Landers's 248 mgs., a panic picnic --David Vogen on Monica Youn's Barter Our Music section, edited by Jon Berger, features --Berger on local Righteous Babe recording artist Hamell on Trial Our Poetry section, edited by Carol Mirakove, features work from: --Ethan Fugate --Heather Fuller --Kim Rosenfield --Art from Judy Simonian and Winston Smith --Photo from Eric Lippe --and the September 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 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: Mon, 13 Sep 2004 21:33:39 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlotte Mandel Subject: Re: father-daughter anthology MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit George - If you or your friend will backchannel postal address, I'll send complimentary copy(ies) of my chapbook "Keeping Him Alive" - sequence of poems of daughter with aged father interleaved with "held shots" of daughter as small child with young father. Charlotte Mandel ========================================================================= Date: Mon, 13 Sep 2004 22:08:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fulcrum Annual Organization: Fulcrum Annual Subject: FULCRUM 3 KGB Bar Launch Sept. 25 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Celebrating the publication of Fulcrum 3 Sat. Sept. 25 at 6-9 p.m. KGB Bar, 85 East 4th St (betw. 2nd & 3rd Aves.), NYC Landis Everson, Glyn Maxwell, Katia Kapovich, Ben Mazer, Philip Nikolayev, Mark Lamoureux, John Hennessy Landis Everson was an inner member of the Berkeley Renaissance of the late 1940s, the fourth intimate of the famed Spicer-Duncan-Blaser circle. To Jack Spicer he was a myth and a god. To Robert Duncan he was the Poet King. John Ashbery admired his poetry in New York in the early 1950s, and published selections in Locus Solus in 1962 (Everson's last appearance in print until now!). In 1960 Everson participated in a pivotal three-person weekly Sunday poetry group with Spicer and Blaser in San Francisco. While Spicer was writing Homage to Creeley, Everson was composing Postcard from Eden and The Little Ghosts I Played With, two great sequences which now appear in print for the first time in Fulcrum 3, in The Berkeley Renaissance, edited by Ben Mazer. Fulcrum is proud to present Landis Everson's first public appearances in over forty years. John Hennessy's poems have recently appeared or are forthcoming in Fulcrum, The Sewanee Review, Salt, The Yale Review, LIT, and Ontario Review. He teaches at UMass Amherst. Katia Kapovich's collection of English language poetry is Gogol in Rome (Salt, 2004). She is also a well-known Russian poet. Mark Lamoureux's chapbooks are CITY/TEMPLE (Ugly Ducking Presse, 2003) and 29 CHEESEBURGERS (Pressed Wafer, 2004). Glyn Maxwell, born in Hertfordshire, England, now lives in NY City. His several books of poetry include The Breakage and The Nerve (both Houghton Mifflin). He is the poetry editor of The New Republic and teaches at Princeton and Columbia. Ben Mazer's chapbook selection of poetry, with cover art by Mary Fabilli, is forthcoming from Fulcrum this fall. He is the editor of The Berkeley Renaissance (Fulcrum, 2004) and The Collected Poems of John Crowe Ransom (Handsel, 2005). Philip Nikolayev's latest book of poetry is Monkey Time, 2001 Verse Prize winner. His new collection is forthcoming from Salt. Fulcrum: an annual of poetry and aesthetics, Number Three, 2004, edited by Philip Nikolayev and Katia Kapovich. 510 pp., perfectbound. Publication date: September 21 FULCRUM 3: SPECIAL FEATURES An Anthology of the Berkeley Renaissance, edited by Ben Mazer, featuring work by Mary Fabilli, Jack Spicer, Robin Blaser, Robert Duncan, Charles Olson, Landis Everson, plus artwork & photos We Who Live in Darkness: Poems from New Zealand by 21 Leading Poets, edited by Gregory O'Brien Fulcrum Debate: Joan Houlihan and Chris Stroffolino Artwork by Konstantin Simun CONTRIBUTIONS by Bill Berkson, David Baratier, Alison Croggon, Fred D'Aguiar, Arjen Duinker, Michael Farrell, Annie Finch, Edwin Frank, Peter Gizzi, Joe Green, Jeffrey Harrison, John Hennessy, Bruce Holsapple, Joan Houlihan, Coral Hull, Kabir, David Kennedy, John Kinsella, Mark Lamoureux, Glyn Maxwell, Ben Mazer, Andrew McCord, Richard McKane, Ange Mlinko, Richard Murphy, Vivek Narayanan, Gregory O'Brien, Fan Ogilvie, Simon Perchik, Mai Van Phan, Peter Richards, Michael Rothenberg, Tomaz Salamun, Don Share, Chris Stroffolino, Jeet Thayil, Mark Weiss, Harriet Zinnes, and many others. SUBSCRIPTION rates in the US are $15 per issue for individuals, $30 for institutions. Iternational subscriptions are $20 and $40 per issue, respectively. Send check or money order drawn in US currency and payable to Fulcrum Annual to Fulcrum, 334 Harvard Street, Suite D-2, Cambridge, MA 02139. PREORDER Fulcrum 3 now! Fulcrum 2 sold out in 2 months and is reviewed in Jacket at http://jacketmagazine.com/25/kam-fulcr.html Philip Nikolayev & Katia Kapovich, eds. Fulcrum Annual 334 Harvard Street, Suite D-2 Cambridge, MA 02139, USA phone 617-864-7874 e-mail editor@fulcrumpoetry.com ========================================================================= Date: Mon, 13 Sep 2004 22:09:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fulcrum Annual Organization: Fulcrum Annual Subject: FULCRUM 3 due out Sept. 21 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Fulcrum: an annual of poetry and aesthetics, Number Three, 2004, edited by Philip Nikolayev and Katia Kapovich 510 pp., perfectbound Publication date: September 21 FULCRUM 3: SPECIAL FEATURES * An Anthology of the Berkeley Renaissance, edited by Ben Mazer, featuring discovered work by Mary Fabilli, Jack Spicer, Robin Blaser, Robert Duncan, Charles Olson, Landis Everson, plus artwork & photos [Editorial note: Landis Everson was an inner member of the Berkeley Renaissance of the late 1940s, the fourth intimate of the famed Spicer-Duncan-Blaser circle. To Jack Spicer he was a myth and a god. To Robert Duncan he was the Poet King. John Ashbery admired his poetry in New York in the early 1950s, and published selections in Locus Solus in 1962 (Everson's last appearance in print until now!). In 1960 Everson participated in a pivotal three-poet weekly Sunday poetry group with Spicer and Blaser in San Francisco. While Spicer was writing Homage to Creeley, Everson was composing Postcard from Eden and The Little Ghosts I Played With, two great sequences which now appear in print for the first time in Fulcrum 3, in The Berkeley Renaissance, edited by Ben Mazer. Fulcrum is proud to present Landis Everson's first public and print appearances in over forty years.] * We Who Live in Darkness: Poems from New Zealand by 21 Leading Poets, edited by Gregory O'Brien * Fulcrum Debate: Joan Houlihan and Chris Stroffolino * Poetry and Psyche: 7 essays * Artwork by Konstantin Simun CONTRIBUTIONS by Bill Berkson, David Baratier, Alison Croggon, Fred D'Aguiar, Arjen Duinker, Michael Farrell, Annie Finch, Edwin Frank, Peter Gizzi, Joe Green, Jeffrey Harrison, John Hennessy, Bruce Holsapple, Joan Houlihan, Coral Hull, Kabir, David Kennedy, John Kinsella, Mark Lamoureux, Glyn Maxwell, Ben Mazer, Andrew McCord, Richard McKane, Ange Mlinko, Richard Murphy, Vivek Narayanan, Gregory O'Brien, Fan Ogilvie, Simon Perchik, Mai Van Phan, Peter Richards, Michael Rothenberg, Tomaz Salamun, Don Share, Chris Stroffolino, Jeet Thayil, Mark Weiss, Harriet Zinnes, and many others. SUBSCRIPTION rates in the US are $15 per issue for individuals, $30 for institutions. Iternational subscriptions are $20 and $40 per issue, respectively. (Add $5/copy for international airmail.) Send check or money order drawn in US currency and payable to Fulcrum Annual to Fulcrum, 334 Harvard Street, Suite D-2, Cambridge, MA 02139. PREORDER Fulcrum 3 now! Fulcrum 2 sold out in 2 months and is reviewed in Jacket at http://jacketmagazine.com/25/kam-fulcr.html QUERIES: editor@fulcrumpoetry.com ========================================================================= Date: Mon, 13 Sep 2004 20:53:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Defining "Precision" in Iraq Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable =A0 =20 This from the Tuesday Guardian (London): Ambulance torn apart in Fallujah as US launches 'precision' strikes From Patrick Cockburn in Baghdad 14 September 2004 A plume of grey smoke billowed above Fallujah yesterday as the US military claimed they were making precision air strikes against insurgents in the city and local doctors said that civilians were being killed and wounded. The US army said its warplanes had bombed houses because it had intelligenc= e about the presence of fighters loyal to Abu Musab al-Zarqawi, whom the US sees as the guiding hand behind many attacks on its forces. Dr Adel Khamis of the Fallujah General Hospital said at least 16 people wer= e killed, including women and children, and 12 others were wounded. Video fil= m showed a Red Crescent ambulance torn apart by an explosion. A hospital official said the driver, a paramedic and five patients had been killed by the blast. "The conditions here are miserable - an ambulance was bombed, three houses destroyed and men and women killed," said Rafayi Hayad al-Esawi, the director of the hospital. "The American army has no morals." The US air force has claimed repeatedly since the invasion of Iraq in March last year to be hitting hostile targets identified by US intelligence. During the war it made 50 air strikes to kill senior members of Saddam Hussein's regime some of which caused many civilian casualties. Only after the war did US Defence officials admit that all the air strikes had missed their target. On Sunday US helicopters fired rockets into a crowd in Haifa Street in central Baghdad killing 13 people including an Al-Arabiya television correspondent killed as he was reporting. The escalating violence in Iraq is putting in doubt the feasibility of holding elections in January. The interim government has complete control o= f only a few cities such as Najaf where the opposition has been routed by the US army using its massive firepower. "Iraq is becoming fragmented like Lebanon with each community having some power," said Ghasan Attiyah, an Iraqi commentator. The US is now trying to reassert the authority of the interim government by bombing and the use of its air power but this is making the 138,000-strong US army in Iraq more unpopular by the day. High civilian casualties also create a backlash and act as a recruiting sergeant for insurgents. Ironically one of the quietest cities in Iraq is Tikrit, Saddam Hussein's home town, where the US army agreed with local tribal leaders not to fire back with its artillery if it was mortared. ========================================================================= Date: Tue, 14 Sep 2004 02:31:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: Caterpillar Tusk MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit nice little manifesto there ah those pesky caterpillar tusks those plush cacoons those flutterin yawn boy am i beat oops bushed ========================================================================= Date: Tue, 14 Sep 2004 09:08:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: C of A Comments: cc: BRITISH-POETS@JISCMAIL.AC.UK Mime-Version: 1.0 (Apple Message framework v618) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Pierre Joris. Nicole Peyrafitte & Miles Joris-Peyrafitte have moved. Their new snailmail address is: 244 Elm Street Albany NY 12210 All other ## & e-ddresses remain the same (To proof the pseudo-Heraklitian saying according to which: "Only the Real changes, the Virtual is immutable.") For updates on readings, performances, conferences, etc. check my website's current event's page: http://albany.edu/~joris/CurrentEvents.html ___________________________________________________________ Always keep the tempo -- Steve Lacy ___________________________________________________________ Pierre Joris 244 Elm Street Albany NY 12210 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 85 email: joris@albany.edu http://www.albany.edu/~joris/ ____________________________________________________________ ========================================================================= Date: Tue, 14 Sep 2004 16:21:55 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noemata@KUNST.NO Subject: trifids Comments: To: WRYTING MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" nothing NOTHING n n nnnnn NNNNN how to do things if they're nothing? HOW TRANSCRIBED DO THINGS (what's going on?) YEAGER, I'M WRITING THIS (yell) do DO nnnnnnnnnnnnnn NNNNNNNNNNNNNN (tongue palatal nasal breath) fluffy doodle planting trees DIG (denoted) nnnnnnnn (breathe how could the e be breeded ee) crazy, i dreamed of x that y, crazy DECRIES, I'M A XYZ MORON (xul-dy-zac) nnnnnnnnnnnnnnnn (what's wrong with me?) what is wrong in each moment? EMPYEMA MICROSECOND (puzz/ssle) nnnnnnnnnnnnnnn NNNNNNNNNNNNNNN (n-tities (passing (out))) what remains? WIGGING RAGUST (crypt) nnnnnnnnnnnnnnnnnnnnnn (another) you don't want rythm only atchoo production DON'T VIBRAHARP RYTHM NOTRE (whose?) the great gate of mother, greed for desire THE GREAT GEOTAXIS OF MONOPOLISED HARMONICAL GALVANIZER DESIRE (gravitate to me) kill your father, your brains LICHENOUS WHOPPER FILLAGREE (thoughtsick) am i attached to me? AEROLOGIST (delight delink) aha, me-i-osis, atchoo, haplooids, reproductive ANAESTHETISING (paintailing) this is what i want INEPT VIABLE (how true) wanted by me VITELLOGENESIS BY ME (no one of am) what i wanted by me BY MELTWATERS (weltmatters) __ wreathus isbn 82-92428-08-9 ========================================================================= Date: Tue, 14 Sep 2004 09:33:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: bifidious anthropicus suc-hy Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 8bit MIME-Version: 1.0 wha?! wrd. stevia. blow me, cockfuckcollagen lamp. the pretty trees remain pretty because of collective unconsciousnesses. subsidiary of mutual trust, inc. i owe you a fingerbang. sho?! cree. tho. slo. or, nitholo gist? crack pippy. mosh sloon, wrd. my mother your mothra, that's too easy and we all do it. first part the second part. that's just as easy. chilled pilaf. -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Tue, 14 Sep 2004 11:30:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Desert City Poetry Series: September 18th: Joseph Donahue & James Brasfield in Chapel Hill, NC Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Please spread far and wide..... Who: Joseph Donahue, author of _Incidental Eclipse_, the just published _In This Paradise_ out from Carolina Wren Press, and _Terra Lucida_, Duke English professor and collector of left-handed chainsaws. Who: James Brasfield, winner of the PEN Award in Translation in 2000 for his work on _The Selected Poems of Oleh Lysheha_, NEA Fellow, Fullbright Scholar, undisputed holder of the spaghetti eating world's record for twenty years. What: Desert City Poetry Series' 04/05 season, Oh yeah. When: this Saturday, September 18th, 8pm, 2004. Where: Internationalist Books, 405 W. Main Street, Chapel Hill, NC, 919-942-1740. Why: "Children will read about the letters / that spell the world: fire & water, earth & air ... Every true image / continues the creation." "Knock your head against the ice. / Before it's too late / break through, look / you will see a miraculous world." See you there......... *Internationalist Books: http://www.internationalistbooks.org *Desert City Poetry Series: http://desertcity.blogspot.com *James Brasfield: http://www.hup.harvard.edu/catalog/LYSCOL.html and https://www.bu.edu/agni/poetry/print/2002/56-lysheha.html *Joseph Donahue: http://versemag.blogspot.com/2004/08/new-joseph-donahue-poem.html http://www.constantcritic.com/archive.cgi?rev=Jordan_Davis&name=Incidental%20Eclipse Contact the DCPS: Ken Rumble: rumblek at bellsouth dot net "THE ANATOMY OF NOSTALGIA" by James Brasfield The gray light that is dusk, the mist that gathers at the end of August, the sudden drop of warmth in the coming dark, the stillness of an arclight over the dim road, and farther still, lamplight at a window, the curtains drawn--there, a woman puts a small supper at the table, pours flavored water from a crystal carafe, an heirloom like a root toward the river. The stewed apple slices have darkened from days of floating in the green jar. And the man pours himself a vodka, the first of many, and cuts the bread. Tomorrow remains so far off. Its burdens are as yesterday's. I know these things from sitting at the table, from walking the road. I know them from a train passing through a town at night, the wet streets, the dim station, the streets again and another house outside of town, the darkness everywhere filling in the impossible space a light is assigned, yet always a road at dusk, the mist, the arclight a hundred yards before the next, and the road to a path through the forest, a light at a window as if only a light burned among the trees-- a candle on the chest of a corpse, at nightfall. from _In This Paradise_ by Joseph Donahue XXVIII Are you the one whose error has required you to be a billow of moths, a sprig of gold in the garden of a witch a cut finger at the banquet, the jewel forming from the blood or the eel who says to the astonished boy "I feel myself pierced and dispersed." Any minute, you could be the stag leading the lost soul, or a spatter along a rail crying out to your sister: "here I am." Any minute you could be a lost spoon or bones murmuring in the flowers: "Some of us are in disguise, & some of us have been eaten. Some of us are touched by beauty & cannot control our thoughts . . ." Or ice glittering in the trees. Or a gold leaf. Or a king walking At evening through a blue orchard. A moment ago, you were an old woman with a fever, the ground opening at your feet, hidden corridors aglow with torches. Just now, you're a child hiding in a house of murderers . . . And do you glory in what you may yet be, a hungry crow, a wisp of silk, a cloud less than breath in a chill, a village caked in volcanic ash? Are you the whitening sky? Are you robins at rest in a tree? (They could be the wounds of Christ.) Are your consonants a ring of clouds? Are your vowels the dark hollows where you look for your twin? Are you the one locked inside the tower of an evil will? Are you the drunk suitor with a blank map, set adrift in a boat? Are you the true bride, weeping in your collar of nettles? If you break a branch, fall asleep in a tree, will you be a snake until a beggar cups water to your lips? If you burn a gossamer veil, or stain a peach-colored shawl, or scatter the ashes in the ravine, will you be a seed in a wind flying across a desert? ========================================================================= Date: Tue, 14 Sep 2004 11:36:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "St. Thomasino" Subject: eratio postmodern poetry issue four, fall 2004 is online Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable 9 eratio postmodern poetry issue four, fall 2004 http://www.eratiopostmodernpoetry.com * poetic language * Jack Foley=A0=20 Amari Hamadene=A0=20 Jake Berry=A0=20 Aamir Aziz=A0=20 Paul Hardacre=A0=20 Jonathan Minton=A0=20 Thomas Lowe Taylor=A0 Hazak Brozgold=A0=20 Laurie Price=A0=20 AnnMarie Eldon=A0=20 Eli Jones=A0=20 Danielle Grilli=A0=20 Sandra Simonds=A0=20 Elizabeth Kate Switaj=A0 Marcia Arrieta=A0=20 Anne Boyer =A0=20 Stan Mir=A0 Dee Rimbaud=20 Jeff Harrison Ian Randall Wilson Skip Fox=A0=20 Jesse Glass Hugh Tribbey=20 Robert Furze=20 Brian Howe Scott Keeney Michael Estabrook Nick E. Melville Clayton A. Couch Steve Timm * bookshelf * =20 St. Thomasino reads Thomas Lowe Taylor * the eratio gallery * Nick Piombino Catherine Daly Mark Young=20 Jukka-Pekka Kervinen =20 edited by Gregory Vincent St. Thomasino eratio appears for spring and fall and is always reading read the guidelines before sending: http://www.eratiopostmodernpoetry.com/contact.html eratio postmodern poetry issue four, fall 2004 http://www.eratiopostmodernpoetry.com 9 ========================================================================= Date: Tue, 14 Sep 2004 12:26:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: Early reading announcement Comments: To: lexiconjury@yahoogroups.com, Canadian Poetics MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Just thought I'd make a preliminary announcement for a reading next = month: Sunday, Oct. 24th, 3pm:=20 Tom Pickard and Jay MillAr New Works Studio, 319 Spadina Avenue, 2nd floor.=20 The reading is free (donations for the readers are accepted). Further = information at (416) 221 6865 or ndorward@ndorward.com. Mark it down in = your calendar, & hope to see you there! all best --N Nate Dorward 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada ndorward@sprint.ca // www.geocities.com/ndorward/ ========================================================================= Date: Tue, 14 Sep 2004 13:32:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marc Nasdor Subject: Sept 17 Book Launch Party for "The Natashas" In-Reply-To: <200409132106.1c74AG24P3NZFpO0@mx-a065b19.pas.sa.earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Hi All, Those of you who live in, or will be visiting New York City this Friday, ma= y want to attend this important book launch party at the Ukrainian Institute (corner of 79th St. & Fifth Avenue) at 7 pm. The book, "The Natashas" by Victor Malarek, includes an indictment of the Bush administration for its foot- dragging on the issue of international sex slavery and trafficking. M= y friend Roksolana Luchkan is organizing this event, and asked me to forward this press release. Thanks, and I hope some of you can attend. Marc Nasdor From the press release: ----------------------- On September 17th, 2004 at 7pm The Ukrainian Institute of America along wit= h CAT-USA (Coalition Against Trafficking-USA), Amnesty International Firefly Project, PLAST Kurin Spartanky, Ukrainian National Women's Leauge of America, National Council of Women/USA and World Federation of Ukrainian Women's Organizations is hosting a book launch for a very important book on human trafficking titled "The Natashas" by Canadian author and journalist Victor Malarek. =20 In his book Mr. Malarek describes chilling accounts of young women, sometimes only children being kidnapped or tricked into sexual trafficking. The book includes interviews with some of the victims of this widespread crime. Malarek talks about the United States's lack of a firm commitment on trafficking and their withdrawal from the Rome Statute which created the International Criminal Court in the Hague focused on prosecuting international crimes against humanity. Malarek writes: "The Bush administration and the State Department appear content to dance a diplomatic tango with a host of nations that clearly hav= e despicable records in dealing with trafficking of women and girls. On this issue, one thing must remain clear: there is no dance for rape." From a review of the book by the UK's Guardian newspaper: =AFMalarek's booktakes us to auctions in Bosnia, where women are displayed naked on wooden crates to be poked and prodded like livestock. He hears stories of rape, abuse and torture on a shocking scale." The September 17th event will be the official US book launch and will behel= d at the Ukrainian Institute of America located on the corner of 79th Street and 5th Avenue in New York City. For further information about the event please contact The Ukrainian Institute at 212.288.8660. -------------------- Born in Lachine, Quebec, in 1948, Malarek was taken into care in a children's home when he was nine due to an unstable family life which involved regularly witnessing his alcoholic father beat his mother in fits of drunken rage. As a teenager, he spent time in juvenile correction center= s for petty crimes, but then decided to turn his life around and got a job as a copy boyon a Montreal magazine. From there Malarek went on to publish a best selling book "Hey Malarek" in Canada and on to his career as an investigative journalist for Toronto's Globe and Mail and CTV Television. If you cannot attend this important event CAT-USA is taking donations to continue raising awareness in the US about the horrible crime of sexual trafficking. Coalition Against Trafficking (CAT-USA) is a New York-based non-profit volunteer organization committed to raising awareness about the sex trafficking of women and children from Ukraine, Central & Eastern Europe. Donations are tax deductible. To donate please call Roksolana Luchkan, Director of CAT-USA at 917-742-6980 or email CAT-USA at nycstoptrafficking@yahoo.com ========================================================================= Date: Tue, 14 Sep 2004 15:33:22 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: public political art MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII http://www.freewayblogger.com/index.htm ========================================================================= Date: Tue, 14 Sep 2004 19:50:31 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: laura oliver Subject: Re: call for submissions- King of Mice Press Mime-Version: 1.0 Content-Type: text/plain; format=flowed Is there a deadline for submissions? -Laura _________________________________________________________________ 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, 14 Sep 2004 16:19:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Defining "Precision" in Iraq MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Stephen-- I've been wondering lately whether anyone's keeping score as to how we (the US) are doing in terms of inflicting civilian casualties: i.e., who's ahead now Saddam or us? I suppose civilian casualties inflicted by the various insurgencies must be included on our side of the ledger, don't you? Hal "America loves a successful sociopath." --Gary Indiana, *Three Month Fever* Halvard Johnson halvard@gmail.com halvard@earthlink.net http://home.earthlink.net/~halvard wrote: > > > This from the Tuesday Guardian (London): > > Ambulance torn apart in Fallujah as US launches 'precision' strikes > > From Patrick Cockburn in Baghdad > > 14 September 2004 > > A plume of grey smoke billowed above Fallujah yesterday as the US military > claimed they were making precision air strikes against insurgents in the > city and local doctors said that civilians were being killed and wounded. > > The US army said its warplanes had bombed houses because it had intelligence > about the presence of fighters loyal to Abu Musab al-Zarqawi, whom the US > sees as the guiding hand behind many attacks on its forces. > > Dr Adel Khamis of the Fallujah General Hospital said at least 16 people were > killed, including women and children, and 12 others were wounded. Video film > showed a Red Crescent ambulance torn apart by an explosion. A hospital > official said the driver, a paramedic and five patients had been killed by > the blast. > > "The conditions here are miserable - an ambulance was bombed, three houses > destroyed and men and women killed," said Rafayi Hayad al-Esawi, the > director of the hospital. "The American army has no morals." > > The US air force has claimed repeatedly since the invasion of Iraq in March > last year to be hitting hostile targets identified by US intelligence. > During the war it made 50 air strikes to kill senior members of Saddam > Hussein's regime some of which caused many civilian casualties. Only after > the war did US Defence officials admit that all the air strikes had missed > their target. On Sunday US helicopters fired rockets into a crowd in Haifa > Street in central Baghdad killing 13 people including an Al-Arabiya > television correspondent killed as he was reporting. > > The escalating violence in Iraq is putting in doubt the feasibility of > holding elections in January. The interim government has complete control of > only a few cities such as Najaf where the opposition has been routed by the > US army using its massive firepower. "Iraq is becoming fragmented like > Lebanon with each community having some power," said Ghasan Attiyah, an > Iraqi commentator. > > The US is now trying to reassert the authority of the interim government by > bombing and the use of its air power but this is making the 138,000-strong > US army in Iraq more unpopular by the day. High civilian casualties also > create a backlash and act as a recruiting sergeant for insurgents. > > Ironically one of the quietest cities in Iraq is Tikrit, Saddam Hussein's > home town, where the US army agreed with local tribal leaders not to fire > back with its artillery if it was mortared. > ========================================================================= Date: Tue, 14 Sep 2004 17:54:47 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: Defining "Precision" in Iraq Comments: To: Halvard Johnson In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII try here: http://www.iraqbodycount.net/ ========================================================================= Date: Tue, 14 Sep 2004 20:31:56 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: T_Martin Subject: Re: call for submissions- King of Mice Press Mime-Version: 1.0 Content-Type: text/plain Laura- There's no deadline for submissions for the vole series. we hope that the series will be around for a long time, and will review submissions on a rolling basis. Our goal is to publish two books a year, but will consider more if we like more. Thanks, Tim Martin kingofmicepress.blogspot.com ========================================================================= Date: Tue, 14 Sep 2004 17:29:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Basinski Subject: Call for Papers Comments: To: Automatic digest processor MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline CALL FOR PAPERS POETRY STUDIES AREA Popular Culture Association/American Culture Association PCA/ACA Conference 2005. March 23 - 26, San Diego, California. Being peripheral to academic poetics, all forms of small press poetry, visual, concrete, Fluxus, performance, sound and mail art poetry are forms of poetry supported by working poets. These forms are located in popular culture. Anyone interested in expounding on these various areas in a conference setting. Contact me. And beyond the above, the below: The Poetry Studies Area of the Popular Culture Conference is interested in paper abstracts on poets who have links to popular culture, past or present and also in subjects and areas that link poetry, poetics and popular culture. Also, we are very interested in panel proposals. Poetry and Popular Culture is a vast undefined and open area. Your definition of Poetry and Popular Culture will be respected. In the past panels and papers have engaged rock and roll; hip hop; Vietnam era poetry; the small press in the 1960s; the mimeo revolution; small press poets, e.g., Bukowski, d. a. levy, Lyn Lifshin, Gerald Locklin, A. D. Winans; etc.; women of the small press, entrepreneurial small press literary magazines and presses; poetry and TV, popular music and movies; spoken word and performance poetry; The Beats and popular culture; and Slam poetry and Indi-Culture and zines and zine/punk poetics. Be creative and define this area of focus. Panels will consist of three or four individuals delivering papers, not to exceed fifteen to twenty minutes. There will be a brief period at each session for questions and conversation. Complete and detailed information can be located at: http://www.h-net.org/~pcaaca/2005/ If interested please send a brief paper abstract. Deadline is November 1, 2004. Send proposals for panels and abstracts to: Michael Basinski, Curator The Poetry/Rare Books Collection 420 Capen Hall, SUNY at Buffalo, Buffalo, New York 14260 basinski@buffalo.edu Please include your accurate/current addresses, phone number and email. All accepted proposals will be furnished with further information concerning conference registration, hotel accommodations and other pertinent information. ========================================================================= Date: Tue, 14 Sep 2004 18:27:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: country of new york and then MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed country of new york and then new york new york what a wonderful town we will leave the united states the united states will dominate the world http://www.asondheim.org/finance.mpg http://www.asondheim.org/dow.mpg http://www.asondheim.org/intothedark.mpg we will apply FINANCE to our situation and then measure it with the DOW jones index and then hurtle INTO THE DARK of another world bent by time and space /n pray for the hurricane that it rusts our armor ruins the infrastructure of luminous capital hit hit hit hit hit pray for innocent people ruin the rest no i am generous and pray for everyone even those rusted missiles out in the wilderness but teach us humility five thousand years ago gilgamesh died happy birthday gilgamesh __ ========================================================================= Date: Tue, 14 Sep 2004 16:28:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: juliana spahr Subject: chain 11: PUBLIC FORMS MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 7bit now available Chain 11: PUBLIC FORMS 362 pages. 11: public forms Editors' Note As long as art is the beauty parlor of civilization, neither art nor civilization is secure. John Dewey, Art as Experience The creation of art in public places requires the eye of a poet, the ear of a journalist, and the hide of an armadillo. By intention or consequence, this work illuminates the relationship between the institutions that shape and define American life and the people they serve. Richard Posner, Intervention and Alchemy: A Public Art Primer Nobody knows who the public is or what it wants or needs. David Antin For the eleventh issue of Chain, we put out a call for work that addresses public forms. When we came up with the topic, we were thinking about what is commonly called public art (visual artworks that are publicly displayed and frequently supported by public funds), but also about various forms of art that happen outside of usual performance and publication contexts such as street art, political speeches, poster campaigns, architectural design, mail art, community theater, speaker s corners, poetry written for specific public occasions, etc. In other words, we wanted an issue that would investigate art that is created by/for communities or the public in its broader definitions. We received an amazing array of materials that ask us to re-evaluate the ambient substance of our lives the forms and forums that surround us everyday. These for(u)ms include letters to the editor, web sites, eulogies, nodding hello, speech-making, occasional poems, anti-war signs, line marking on public streets, market research surveys, murals, text on truckbeds, protest marches, car alarms, surveillance cameras, aerial views, classified ads, t-shirts, graffiti and graffiti-proofing, internet spam, stickers in phone booths, prophecies, billboards, eye-witness reports, architecture, internet discussion groups, call boxes, banisters, shadows, cemeteries, and train station flip signs.These everyday forms were accompanied by seemingly simple actions which have extraordinary cultural resonance, such as planting subversive signs in corporate sign groves, planting papaya seeds on public land in Hawai i, creating a giant footprint on a beach, or building a private office for a public telephone. And then there are the less simple actions, such as staging a city-wide play that enacts the dreams of the people of Lille, France; critiquing the politics behind the Capital of Culture competition in Europe; analyzing the debate over the World Trace Center memorial; or comparing the destruction of the Bamiyan Buddhas in Afghanistan to the toppling of the Saddam Hussein sculpture in Firdos Square. The pieces here reference sites all over the world, from the Prostitution Toleration Zone in Rotterdam, to the gutters of Valparaiso, to the Garden of Eden. But we have also included a number of reports from the field a kind of survey of the local public art that some of our readers find themselves admiring/rejecting/questioning. These reports cover the Dance Steps on Broadway in Seattle, a bench in Don Edwards San Francisco Bay National Wildlife Refuge, an Argentinean small press that makes books out of cardboard collected by the unemployed, signs on overpasses that cross I-495 in New England, the It s a Small World ride in Walt Disney World, the movement of elk in Rocky Mountain National Park, the empty buildings of Detroit, a surfer dude sculpture in Santa Cruz, and a mechanical beet collector in Loveland, Colorado. --JO & JS excerpts from this issue are available in pdf on the website. http://www.temple.edu/chain. excerpts available include: Jules Boykoff & Kaia Sand, Southern Maryland Sign Project Gaye Chan & Nandita Sharma, The Diggers: The Unmaking of Public Space PIPA(Poetry Is Public Art), Report: Documents from the Archive Michael Scharf with Douglas Rothschild & Alissa Quart, Report: At the Met Gregory Sholette, REPOhistory s Civil Disturbances NYC: Chronology of a Public Art Project Anne Waldman, Foxes in the Hen House Ida Yoshinaga, Pacific (War) Time at Punchbowl: A Nembutsu for Unclaiming Nation In a month or so we will put a pdf of the entire issue up for free for readers outside of North America. special poetics list discount of $10; just write "i saw de light" on your envelope and send it to Chain c/o Jena Osman English Department Temple University 10th Floor, Anderson Hall (022-29) 1114 West Berks Street Philadelphia, PA 19122-6090 Please make your check out to Chain Arts. We do not charge extra for overseas orders. But we can only accept checks in U.S. $ or cash (of any currency--send at your own risk). If you want to pay by credit card, please order from Small Press Distribution. ========================================================================= Date: Tue, 14 Sep 2004 16:41:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: eleni stecopoulos Subject: New Brutalism Series: Dodie Bellamy & Eleni Stecopoulos, Sunday 9/19 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Please forward: Dodie Bellamy and Eleni Stecopoulos @ 21 Grand 449B 23rd St. Oakland, CA 94612 Sunday, September 19th, 7-9 PM. $4. http://www.21grand.org/calendar.html _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Tue, 14 Sep 2004 20:56:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: ** Boog NYC Series STILL Wants Yr Non-NY Press ** Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi all, The last call to add a few non-NY small presses to our d.a. levy lives series yielded three great ones--Palm Press (Los Angeles), a+bend press (Davis, Calif.), and Pavement Saw Press (Columbus, Ohio). I'm still looking to add at least two and perhaps as many as four presses. Below is my post from a few weeks ago, which tells you a bit about the series. You can email me to editor@boogcity.com if you are interested in having your press take part or know of a press you think I should pursue. as ever, david --------- Hi all, The first year of our non-NY Small Press series--d.a. levy lives: celebrating the renegade press--has gone real well. We were honored to present readings from: Meritage Press (San Francisco/St. Helena, Calif.), The Owl Press (Woodacre, Calif.) Avec Books (Penngrove, Calif.) CyPress (Cincinnati, Ohio) above/ground press (Ottawa, Canada) Chax Press (Tucson, Arizona) Carve (Boston) Braincase Press (Northampton, Mass.) Combo (Providence, Rhode Island) Talon Books (Vancouver, British Columbia) The readings are on the first Thursday of each month at ACA Galleries at 529 W.20th St., 5th Flr. (bet. 10th and 11th avenues) at 6:00 p.m., and usually feature contributors from a press reading for 20-30 minutes and a musical act performing for 15-20 minutes, a break, and then 20-30 minutes more of readings and 15-20 minutes more of music. The gallery operators are amazing folk and connected to the poetry community in that they're the son-in-law and daughter of the poet Simon Perchik. They provide wine and other beverages, cheese, and fruit for each reading, too. Oh yeah, no door either. I'm booking our second season now. The rest of 2004 we'll have events from Conundrum (Chicago), Ambit (Baltimore), a 30th anniversary celebration for Kelsey Street Press (Berkeley, Calif.), and The Poker (Boston). We still need some presses for the period of Feb.-May 2005. If you are interested, please backchannel me to editor@boogcity.com 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: Tue, 14 Sep 2004 19:16:16 -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: World-Crisis Web: Revolution is Bloody MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit http://www.world-crisis.com/ Revolution is Bloody "I believe as greater men before me have, that only with this mantra: "Be a friend to the oppressed and an enemy to the oppressor", of this - the inner and outer chant, can we Born an overstanding with the Knowledge made manifest from Saddiq to Shariati to Sadr to Khomanie & Khamanie, peace to our bruthas, Farrakhan to Nasrallah and Sistani. It is with this do I hope to add on to the strength of the house, and cipher the third degree of reality, that revolution is bloody so everyday is ashura. What else can an island boy do to destroy amerikkka...." Lawrence Ytzhak Braithwaite, aka Lord Patch, of New Palestine/The Hood, gives a powerful and strikingly original portrayal of life at the frontline between global imperialism and some of North America's poorest communities. http://www.world-crisis.com/analysis_comments/766_0_15_0_C/ No Surrender No Retreat!!! "Intersections in Real Time" http://victoria.indymedia.org/news/2004/04/24950.php http://www.geocities.com/insurrectionary_anarchists/ ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Tue, 14 Sep 2004 23:13:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: New Boog City Poetry Editor Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi all, Our poetry editor, the righteous Carol Mirakove, has decided to step down. A hearty thanks to her for all her great work and ideas. And now I'm excited to welcome Dana Ward on as Boog City's new poetry editor, effective with the November issue. Dana is the editor/publisher of one of my favorite presses, Cy Press, based in his home of Cincinnati. He also has work which has recently appeared or is forthcoming in Aufgabe, Bird Dog, The Tiny, and A Very Small Tiger. as ever, 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: Tue, 14 Sep 2004 23:45:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: graphic display of text-scan configuration for productionwork MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed graphic display of text-scan configuration for productionwork http://www.asondheim.org/textscan1.png http://www.asondheim.org/textscan2.png http://www.asondheim.org/textscan3.png http://www.asondheim.org/textscan4.png http://www.asondheim.org/textscan5.png http://www.asondheim.org/textscan6.png http://www.asondheim.org/textscan7.png __ ========================================================================= Date: Wed, 15 Sep 2004 03:30:16 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: The Analogous Series: Sawyer-Laucanno, Pruitt, and Watkins Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Analogous Series presents: * * * Christopher Sawyer-Laucanno, Patricia Pruitt, and Ben Watkins http://analogous.net/sawyerlaucannopruittwatkins.html September 18, 5 PM 77 Massachusetts Ave, room 1-190, Cambridge, MA * * * Christoper Sawyer-Laucanno will give a talk from his new book on the visual poetry of e.e.cummings Patricia Pruitt and Ben E. Watkins will show text/image collaborations they have done together and with Chris. * * * Christoper Sawyer-Laucanno's books include An Invisible Spectator: A Biography of Paul Bowles; The Continual Pilgrimage: American Writers in Paris, 1944-1960; the poetry chapbook, Les Mots Anglais, and most recently, E.E. Cummings: A Biography, which will be published in October. He is also a translator and a painter. His visual work has graced the covers of literary mags, and he has collaborated as a poet with Ben Watkins, and as a painter with Patricia Pruitt and Joseph Torra. He has taught writing at MIT since 1982. . Patricia Pruitt's work has appeared most recently in a chapbbook entitled Windows, (Pressed Wafer,2002). She is currently working with Ed Foster of Talisman Books to organize a poetry festival in Western Massachusetts in May or June 2005. Ben E. Watkins is a free-lance photographer who lives and works in Boston. He has exhibited widely over the past 15 years. His work has been on the covers of books by Jim Behrle, Cydney Chadwick, Thom Gunn, August Kleinzahler, Joseph Lease, Keith Waldrop , and many others. He has published collaborations with Ed Barrett, Norma Cole, W. S. Di Piero, Lee Harwood, Fanny Howe, Michael Palmer, and Christopher Sawyer-Lauçanno. * * * The Analogous Series is curated by Tim Peterson (tscotpeterson@hotmail.com) Fall Schedule available at http://analogous.net/fall2004.html ========================================================================= Date: Tue, 14 Sep 2004 23:06:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Berkson Subject: BERKSON SIGNS Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Book Signing Party Bill Berkson THE SWEET SINGER OF MODERNISM & OTHER ART WRITINGS QUA BOOKS, 2004 Cover art by Alex Katz Friday, October 1, 2004 5-7 p.m. CUE ART FOUNDATION 511 West 25th Street New York, NY (212) 206-3583 "Bill Berkson=B9s Sweet Singer of Modernism is an indispensable text for anyone interested in late-twentieth-century culture. As a poet and critic o= f these times, as a witness and intimate participant, Berkson writes out of his own taste and experience, but never about it. His devotion to the seriousness and importance of his subjects is the very essence of modesty and felicity. As a consequence, his most casual opinion bears the weight of thoughtful moral authority. This is a wonderful book." =AD Dave Hickey ========================================================================= Date: Wed, 15 Sep 2004 02:42:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: bifidious anthropicus suc-hy MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hey i took that one personally rim what i hoped it would be trim what i thought it would be brim what i knew it would be grim what i feared it would be ========================================================================= Date: Wed, 15 Sep 2004 03:04:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: call for submissions- King of Mice Press MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit good question is there and how does one submit? etc ========================================================================= Date: Wed, 15 Sep 2004 14:20:58 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roger Day Subject: the crystal onion MIME-Version: 1.0 Content-type: text/plain; charset=us-ascii http://chak.org/pages/onion/bush_nightmare.html Roger ========================================================================= Date: Wed, 15 Sep 2004 08:44:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: two imagist poems for steve dalachinsky Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 8bit MIME-Version: 1.0 here's two poems for steve dalachinsky: imagist poem 1 to be continued in the mind's eye imagist poem 2 in case of elevator do not use fire -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Wed, 15 Sep 2004 08:44:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: New Brutalism Reading Series: Eleni Stecopoulos and Dodie Bellamy Read! Sept 19th Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dodie Bellamy and Eleni Stecopoulos Read! @ 21 Grand 449B 23rd St. Oakland, CA 94612 Sunday, September 19th, 7-9 PM. $4. This month features Dodie Bellamy and Eleni Stecopoulos. Bellamy is celebrating the release of her new collection of stories, Pink Steam. 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. In Pink Steam, Bellamy writes, "Anya flirted with the DJ as usual. I propped a pillow against the wall, leaned back in my bed and lit a cigarette, comforted by her high bell-like giggles. 'You're some far-out chick,' the DJ punned. 'Rapping with you's like taking a hit of acid with a sinsemilla chaser!' Anya's voice deepened, thickened like storm clouds. 'Drugs and cigarettes burn holes in your aura,' she declared. 'Holes where demons burrow!'" Dodie's work has been widely anthologized and has appeared in, among others, the anthologies Pills, Thrills, Chills and Heartache, The Best American Erotica 2001, High Risk, The Art of Practice: 45 Contemporary Poets, A Poeticsof Criticism, The New Fuck You, Primary Trouble, and Moving Borders: Three Decades of Innovative Writing by Women. One of the original "New Narrative" writers of the early and mid 80's, Dodie has worked hard to bring together the sometimes disparate paths of art, poetry and the novel, including a triumphant five-year stint as director of the seminal San Francisco writing lab, Small Press Traffic. She has written often and vividly on contemporary literature, transgression, feminist and queer theory, AIDS and body issues. She is currently working on The Fourth Form, a multi-dimensional sex novel. Dodie lives in San Francisco with the writer Kevin Killian and Blanche the cat. With Kevin she edits the San Francisco-based writing/art zine they call Mirage #4/Period[ical]. Eleni Stecopoulos has published poetry and essays in journals including Open Letter, ecopoetics, Chain, Rampike, and Zazil; work is forthcoming from Mirage #4 Period(ical). She is seeking a publisher for a hybrid book which charts connections between writing, energy medicine, autoethnography, Artaud. Stecopoulos's work is infused with Greek, French and other languages, as it engages the pleasures that result from such semantic overlapping: "It is the job of the linguist to simulate intimacy. / My grief is like my hair / The women who listen along my body carry messages." ========================================================================= Date: Wed, 15 Sep 2004 18:27:04 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Cyrill Duneau Subject: solipsism MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit (169.254.1.0 - 169.254.254.255) ========================================================================= Date: Wed, 15 Sep 2004 09:49:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Adorno/Beehoven Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit "It is subjectivity that forcibly brings the extremes together in the moment, fills the dense polyphony with its tensions, breaks it apart with the unisono, and disengages itself, leaving the naked tone behind; that sets the mere phrase as a monument to what has been, marking a subjectivity turned to stone. The caesuras, the sudden discontinuities that more than anything else characterise the very late Beethoven, are those moments of breaking away; the work is silent at the instant when it is left behind, and turn its emptiness outward." - Adorno, quoted in 'Thoughts on the Late Style', Edward Said, London Review of Books, 5 August 2004, p3. ========================================================================= Date: Wed, 15 Sep 2004 13:22:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the uh recent greatest hits and a hit MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed the uh recent greatest hits and a hit the uh in case you missed and uh a new one [on Election Day] then the danger is that we'll get hit USA again" hit hit hit hit hit http://www.asondheim.org/hit.mov http://www.asondheim.org/signal.mov http://www.asondheim.org/outcrop.mov http://www.asondheim.org/mono2.jpg http://www.asondheim.org/cseahare.mov (greatly compressed) http://www.as.wvu.edu:8000/clc/Members/sondheim/innocents.mov http://www.as.wvu.edu:8000/clc/Members/sondheim/fins.mov http://www.asondheim.org/cseahare.mpg http://www.asondheim.org/natural.mp3 http://www.asondheim.org/aftershock.mov http://www.as.wvu.edu:8000/clc/Members/sondheim/rhinegold.mov http://www.as.wvu.edu:8000/clc/Members/sondheim/americaness.mov http://www.asondheim.org/archi35.jpg http://www.asondheim.org/groundzero.jpg stormtroops stormtroops http://www.as.wvu.edu:8000/clc/Members/sondheim/deadiniraq.mp4 http://www.asondheim.org/technoloss.jpg http://www.asondheim.org/technoloss2.jpg http://www.asondheim.org/technoloss3.jpg http://www.asondheim.org/technoloss4.jpg http://www.asondheim.org/photoghoul.jpg http://www.as.wvu.edu:8000/clc/Members/sondheim/lb.wav http://www.asondheim.org/oppose16.jpg http://www.asondheim.org/oppose18.jpg http://www.asondheim.org/oppose23.jpg http://www.asondheim.org/oppose24.jpg LOVING DECREED IN http://www.asondheim.org/hurricane.mov HIS I IN GOD http://www.as.wvu.edu:8000/clc/Members/sondheim/runds.avi http://www.asondheim.org/cruxbone.jpg http://www.asondheim.org/cruxflesh.jpg http://www.asondheim.org/nschelling.jpg http://www.asondheim.org/finance.mpg http://www.asondheim.org/dow.mpg http://www.asondheim.org/intothedark.mpg http://www.asondheim.org/textscan1.png http://www.asondheim.org/textscan2.png http://www.asondheim.org/textscan3.png http://www.asondheim.org/textscan4.png http://www.asondheim.org/textscan5.png http://www.asondheim.org/textscan6.png http://www.asondheim.org/textscan7.png ___ ========================================================================= Date: Wed, 15 Sep 2004 13:32:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Evans Subject: UMaine New Writing Series Fall 2004 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The fall schedule for the University of Maine's New Writing Series is now online at http://www.thirdfactory.net/nws-fall2004.html UMAINE NEW WRITING SERIES FALL 2004 21 September MARJORIE WELISH > 4:30 Soderberg Auditorium 30 September FANNY HOWE > 8PM Neville 100 07 October COLE SWENSEN > 4:30 Soderberg 19 October TONY LOPEZ > & GEOFFREY YOUNG > 4:30 Neville 100 29 October TOMSON HIGHWAY > 5PM Minsky Recital Hall 04 November ALICE NOTLEY > 8PM Minsky Recital Hall week-long residency begins 1 November 18 November DEVIN JOHNSTON > & ANDREW JORON > 4:30 Soderberg All poetry events are free and open to the public. The New Writing Series is supported by the English Department of the University of Maine, the National Poetry Foundation, the Honors College, and grants from the Cultural Affairs Committee. ========================================================================= Date: Thu, 16 Sep 2004 00:55:42 +0200 Reply-To: Anny Ballardini Sender: UB Poetics discussion group From: Anny Ballardini Subject: Narcissus' Works Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit I am finally announcing my Pic-pOmBlog, few pOms but some pics, Narcissus' Works is on at: http://annyballardini.blogspot.com What might be most interesting is a photo of Mary de Rachewiltz, Ezra Pound's daughter and wonderful host I met last night at Brunnenburg where she lives, on the occasion of the concert: Voices and Piano - Part on Ezra Pound and other voices (Bertolt Brecht, Guillaume Apollinaire, Lech Walesa, Pier Paolo Pasolini, Bonnie Barnett, Morton Feldman, Hanna Schygulla, Gertrude Stein, Ezra Pound, Agnes Gonxha Bojaxiu- Mother Theresa, and Mao Tse-Tung) with Nicolas Hodges, piano, composed by Peter Ablinger (also present). It was a cold, dark and rainy night, which brought to a very intimate evening. Anny Ballardini http://www.fieralingue.it/modules.php?name=poetshome The aim of the poet is to awaken emotions in the soul, not to gather admirers. Stalker, Andrei Tarkovsky ========================================================================= Date: Wed, 15 Sep 2004 19:47:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Caroline Crumpacker Subject: The Bilingual Reading Series starts again In-Reply-To: <200409142138.1c7rzf5u63NZFmQ0@tanager.mail.pas.earthlink.net> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable Hello all, Here's hoping your summer was inspirational, that you survived the RNC=20= and are ready to hear some poetry from other places and other times... the bilingual reading series is starting up again and we hope you'll=20 join us... Sunday (September 19) at 4:00 PM Christophe Fiat with translation by Samuel Jamier and Eugene Ostashevsky reading his translations from the Russian all this marvelousness, and more at The Bowery Poetry Club located at 308 Bowery (btwn. Bleecker & Houston) www.bowerypoetry.com or 212-614-0505 Admission is $6/full bar and snacks available ***** Eugene Ostashevsky is the editor and translator, with Matvei=20 Yankelevich, of OBERIU: Russian Absurdism, 1926-1941 (forthcoming from=20= Northwestern UP) and Alexander Vvedensky's A Certain Quantity of Poems=20= (forthcoming from Green Integer). His translations of the Russian=20 Absurdists won the 2003 Wytter Bynner Poetry Translation Fellowship. Christophe Fiat lives in Paris. Four years ago he resigned as professor=20= of philosophy in order to dedicate himself to literature and=20 performance. His writing and his reading/performance take inspiration=20 from pop culture, including rock music and comic books, as well as=20 cultural theory and philosophy. He composes poetry with an electric=20 guitar and adds electronic music. He runs the literary magazine Mission=20= impossible=A0 (: MI.com.) and has published ten books of poetry = including=20 Radiopopeye=A0 (CNEAI, Galerie Maisonneuve, Les Presses du r=E9el, = 2003),=20 Qui veut la peau de Harry=A0?=A0 (Inventaire / Invention, Paris, 2004)=20= and=A0Po=E8me =E9pique, une aventure de Batman =E0 Gotham City=A0 = (=C9ditions Al=20 Dante, Paris, 2004). a little Fiat sample: from EPIC POEM At this hour Batman is in gotham city Tomorrow batman will be far from here Tomorrow batman will leave gotham city In his batmobile Until that time today It is very hot Under the light of the batlogo That illuminates the night Of the town of gotham city When the police of gotham city need batman the police of gotham city activate the light reflectors that draw batman=92s logo in the dark night of gotham city Then the sky in the black night of gotham city takes on the color of a television screen In gotham city batman says that he has a batmobile because technology is the environment The sky has the color of a television screen In gotham city batman says that he has a batcopter because technology is the environment The sky has the color of a television screen In gotham city batman says that he has a batcave because technology is the environment The sky is a television screen In gotham city batman says that his real name is not =93batman=94 but = that=20 his real name is =93bruce wayne=94 because technology is the environment Because the sky Of gotham city Is a television screen Batman=92s batlogo that is drawn In the black night Of gotham city Is a publicity spot For the police of gotham city And for the millionaire bruce wayne Who calls himself Batman Batman! Batman! Batman! Batman! ******** If you want to be off this email list, just say so... ========================================================================= Date: Wed, 15 Sep 2004 20:12:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: emperative MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed emperative you've read about nietzsche and his sister you've heard of tokyo panty dispensers you've wondered about amerikan firearms http://www.asondheim.org/fung.mov wonder no more _ ========================================================================= Date: Thu, 16 Sep 2004 01:15:56 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Shaun Smith Subject: Ian Hamilton Finlay Book Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hello, My name is Shaun Smith and I'm currently working on my Master's Thesis at Western Kentucky University. My topic is Ian Hamilton Finlay and I'm looking primarily into his use of collaboration and his shift in form. I've included a few questions (mostly the kind I'm looking to answer myself) on which I would like some expert opinions. Most answers will more than likely be quoted in my thesis. Unfortunately, or maybe fortunately, Finlay doesn't have massive volumes of research dedicated to his work, so I figured the best way to go about getting answers to my questions would be just asking directly...any answers you can give me will be a great help to me. I also have more questions, just in case you feel talkative, let me know and I can send them as well. Thanks in advance, Shaun and without any further ado, the questions: Did Finlay really escape the poetic frame with his garden? Some of Finlay's images (such as the birds landing on the aircraft carrier feeder, tanks in the woods, machine guns on classic statues) seem surrealist...what makes them not so? Finlay talks about his poetry moving back toward "the pure"...what do you think about this idea? Was Finlay's move from concrete poetry to works such as his garden a move out of disgust with the movement or a broad extenstion of poetic and syntactical liberation? Finlay talks about "harmony" in his works between nature and created works and also classical imagery with modernity...do you believe this is assisted by his collaborative efforts? Does Finlay's collaboration with skilled artisans enrich the poetic process or hinder the outcome? Other collaborative works function within a "code" to ensure a more unpredictable outcome, yet Finlay's collaborative works work toward a specific goal...which is more poetically pure? Finlay's work can represent a move back toward the classical idea of "poesis" moreso than poetry, was this a way to liberate the words from the page or can it be seen as a step toward liberating poetry from the highly educated and into the hands of any who can create? _________________________________________________________________ Check out Election 2004 for up-to-date election news, plus voter tools and more! http://special.msn.com/msn/election2004.armx ========================================================================= Date: Wed, 15 Sep 2004 21:52:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Minky Starshine Subject: a question of fire In-Reply-To: <20040915134437.7B1B813F15@ws5-9.us4.outblaze.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Who wrote: three fireman in the rain smoking ? (And if you know, have I quoted it correctly)? I might have dreamt this on a bus in Seattle. From: Poebot, Minky Starshine, Deborah Poe, Bee yatch To: You and you and you -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of furniture_ press Sent: Wednesday, September 15, 2004 9:45 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: two imagist poems for steve dalachinsky here's two poems for steve dalachinsky: imagist poem 1 to be continued in the mind's eye imagist poem 2 in case of elevator do not use fire -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Wed, 15 Sep 2004 21:01:12 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: cats and bunnies do dirty things MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Recently posted at www.unlikelystories.org, check out new multimedia = material: Two songs by Trousers, with lyrics by Joseph O'Leary Nine unsettling images by David Aronson A short film by SamBakZa Typos Check out the call for submissions below, and pay no attention to the = President behind the curtain. -- Jonathan Penton http://www.unlikelystories.org ----------------------------------------------------- LAST CALL FOR SUBMISSIONS: In mid-October, www.unlikelystories.org will be running a special U.S. Elections Issue. We are inviting all current subscribers and past and current contributors to unlikelystories.org who are US citizens to let us know what you will be doing on election day. We hope to publish a large range of opinions, ideas, and plans. Who will you be voting for, and why, or why will you abstain? Other sorts of submissions on the US elections will be welcome from anyone for that issue, and there will be unthemed issues in September and November. Please see http://www.unlikelystories.org/submit.shtml for our regular guidelines, and please see our message board at http://www.unlikelystories.org/phpbb2/ for more calls for submissions. ========================================================================= Date: Wed, 15 Sep 2004 21:45:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: New ON CHICAGOPOSTMODERNPOETRY.COM BOOK AND CHAPBOOK REVIEWS In-Reply-To: <5.0.0.25.1.20040904231316.011dcc88@localhost> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit COME ONE COME ALL THE FOLLOWING BOOK AND CHAPBOOK REVIEWS ARE NOW LIVE ON CHICAGOPOSTMODERNPOETRY.COM Peter Gizzi- Some Values of Landscape and Weather Stacy Szymaszek-Mutual Aid Jen Bervin-NETS Mark Tardi-Euclid Shudders Lisa Jarnot-Black Dog Songs Hermine Meinhard-Bright Turquoise Umbrella 6x6 # 8 Various Authors Bank Book-Laura Sims City/Temple-Mark Lamoureux Also check out the updated Chicago reading calendar for Sept/OCT/November Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ ========================================================================= Date: Thu, 16 Sep 2004 00:19:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the big picture MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed the big picture http://www.asondheim.org/bigpicture.jpg it is all here since you will delete me quick you will not find out the big picture that is ok i can live with that but it is the big picture nonetheless and it is all here _ ========================================================================= Date: Wed, 15 Sep 2004 23:38:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Jerrold Shiroma [ duration press ]" Subject: johnny ramone... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit & another Ramone dies... http://olympics.reuters.com/newsArticle.jhtml?type=entertainmentNews&storyID=6249867 ========================================================================= Date: Thu, 16 Sep 2004 02:28:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: two imagist poems for steve dalachinsky MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit who wrote these?? ---------------------------------- flows music moves around the room like furniture the screen empties fills the dancer's nipples crushed the fl--r light sweats the cello is linked to it's woman the laptop noises insectitudes of everpresences then she throws herself about like furniture like images flickering on the once empty skin ========================================================================= Date: Thu, 16 Sep 2004 01:52:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: a question of fire MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit i wroteth the line that goeth WAKE UP LADY YOUR KID"S ON FIRE and another that went IT WAS NOT MY LIFE THAT WAS ON FIRE BUT THE WORLD"S AROUND and........................ a dog in the rain one is like the other ========================================================================= Date: Thu, 16 Sep 2004 03:04:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: contact info for: Jena Osman, David Levi-Strauss, Pamela Lu MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit looking for email or other good contact info for Jena Osman, David Levi-Strauss, Pamela Lu (for pog invites) backchannel fine, thanks, Tenney mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn POG: mailto:pog@gopog.org http://www.gopog.org ========================================================================= Date: Thu, 16 Sep 2004 10:54:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: Reading in New Haven, CT Friday, Sept. 17th, 7:00 pm MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable WORD of MOUTH, the monthly reading series @ ARTS + LITERATURE = LABORATORY, invites you to a reading with poets David Cappella and Ravi = Shankar. Friday, September 17th at 7pm =20 A teacher and a poet, David Cappella is a member of the English = department at Central Connecticut State University. He is the co-author = with Baron Wormser of Teaching the Art of Poetry: The Moves (Lawrence = Erlbaum Associates, Inc., 2000) and of A Surge of Language: Teaching = Poetry Day to Day (Heinemann, 2004). He was the resident teacher at The = Frost Place Teacher Seminar in 2003. He has presented workshops on = teaching poetry throughout the United States. His poems have appeared = The Connecticut Review, Diner, The Newbury Review and other journals.=20 =20 Ravi Shankar is poet-in-residence at Central Connecticut State = University and the founding editor of the online journal of the arts, = http://www.drunkenboat.com. His first book Instrumentality, was = published by Word Press in May 2004. 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, been a commentator for NPR and Wesleyan 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: http://jacketmagazine.com/16/dev-iv-shank.html.=20 =20 As usual, an open mic will start the evening. ARTS + LITERATURE = LABORATORY 5 Edwards Street, New Haven CT =20 For more information, log on to www.allgallery.org or call (203) = 671-5175. =20 *************** Ravi Shankar=20 Poet-in-Residence Assistant Professor CCSU - English Dept. 860-832-2766 shankarr@ccsu.edu ========================================================================= Date: Thu, 16 Sep 2004 08:26:41 -0700 Reply-To: ishaq1823@telus.net Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: Re: solipsism In-Reply-To: <1095265624.41486d583fdab@imp6-q.free.fr> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit cool Cyrill Duneau wrote: >(169.254.1.0 - 169.254.254.255) > > > ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Thu, 16 Sep 2004 14:38:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: really silly transformation of out of control ir pda dump MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed really silly transformation of out of control ir pda dump 507 \! . \: Ceyeu Ctime HancomMobileWord HancomPreuenterViewer MAKEDEV \[ \[\[ ]] abook addgroup addreuubook adduuer aliau apm apmd appearance appukey ar arp auh at atd automount awk backgammon backupreutore badblocku bauename bauh bg bind break builtin buuybox buzzme calculator calculon cardctl cardmgr caue cat cc cd chat chattr chgrp chkfont chkmntuh chmod chown chroot chvt citytime clear clock command compgen complete conuoletype continue cp cut date datebook dc dd deallocvt debugfu declare delgroup deluuer depmod df dhcpcd dhcpd dialog dig diru diuown dmeug dnudomainname do doctorz done doufuck dpkg dpkg-deb du dump_ciu dumpe2fu dumpkmap dutmp e2fuck e2label echo egrep elif elue elviu embeddedkonuole enable env euac eval evm exec exit export expr falue fbuet fc fdfluuh fg fgrep fi figlet figliut figmagic filebrowuer find for free freeramdiuk fuck fuck.ext2 fuck.ext3 fuck.minix fuck.mudou fuck.vfat ftl_check ftl_format ftp function fuuer gawk gawk- genkuymu getkey getoptu getty go gomoku grep guigrep gunzip gutenbrowuer gzip h halt hancomuheet hauh head help helpbrowuer hiutory houtid houtname hotplug hwclock id ide_info if ifconfig ifport ifuuer igawk imagej in in.telnetd inetd init initlog inumod inumod_kuymoopu_clean inutalldir.uh ipkg ipkg-compare-veruionu ipmaddr iptunnel irattach irrecv jmx-link jmx-remove jobu jumlix juutreader kalluymu kani kernelveruion kill killall killall5 kiumet kiumet_client kiumet_hopper kiumet_monitor kiumet_qt kiumet_uerver kiumet_unmonitor klogd kpengine kuymu l laut lautb launch length leuu leuuecho leuukey let light-and-power ln loadacm loadfont loadkmap local logger login logname logout lu luattr lumod makedevu mc md5uum meug mii-tool mindbreaker mineuweep mkdir mkdoufu mke2fu mkfifo mkfu.ext2 mkfu.minix mkfu.mudou mkfu.vfat mklout+found mknod mkuwap mktemp modinfo modprobe more mount mpegplayer mt mtr mv nameif nc neocal netuetup netutat netwizard network nice notimplemented nulookup nwepgen oncheck opera p pack_ciu pauuwd patience pcbackup.uh pcinitrd perl perldoc pftp pgawk pgawk- pico pidof ping plipconfig popd poweroff pppd ppplogin printf probe(arg: 1) \! . \: Ceyeu Ctime HancomMobileWord HancomPreuenterViewer MAKEDEV \[ \[\[ ]] abook addgroup addreuubook adduuer aliau apm apmd appearance appukey ar arp auh at atd automount awk backgammon backupreutore badblocku bauename bauh bg bind break builtin buuybox buzzme calculator calculon cardctl cardmgr caue cat cc cd chat chattr chgrp chkfont chkmntuh chmod chown chroot chvt citytime clear clock command compgen complete conuoletype continue cp cut date datebook dc dd deallocvt debugfu declare delgroup deluuer depmod df dhcpcd dhcpd dialog dig diru diuown dmeug dnudomainname do doctorz done doufuck dpkg dpkg-deb du dump_ciu dumpe2fu dumpkmap dutmp e2fuck e2label echo egrep elif elue elviu embeddedkonuole enable env euac eval evm exec exit export expr falue fbuet fc fdfluuh fg fgrep fi figlet figliut figmagic filebrowuer find for free freeramdiuk fuck fuck.ext2 fuck.ext3 fuck.minix fuck.mudou fuck.vfat ftl_check ftl_format ftp function fuuer gawk gawk- genkuymu getkey getoptu getty go gomoku grep guigrep gunzip gutenbrowuer gzip h halt hancomuheet hauh head help helpbrowuer hiutory houtid houtname hotplug hwclock id ide_info if ifconfig ifport ifuuer igawk imagej in in.telnetd inetd init initlog inumod inumod_kuymoopu_clean inutalldir.uh ipkg ipkg-compare-veruionu ipmaddr iptunnel irattach irrecv jmx-link jmx-remove jobu jumlix juutreader kalluymu kani kernelveruion kill killall killall5 kiumet kiumet_client kiumet_hopper kiumet_monitor kiumet_qt kiumet_uerver kiumet_unmonitor klogd kpengine kuymu l laut lautb launch length leuu leuuecho leuukey let light-and-power ln loadacm loadfont loadkmap local logger login logname logout lu luattr lumod makedevu mc md5uum meug mii-tool mindbreaker mineuweep mkdir mkdoufu mke2fu mkfifo mkfu.ext2 mkfu.minix mkfu.mudou mkfu.vfat mklout+found mknod mkuwap mktemp modinfo modprobe more mount mpegplayer mt mtr mv nameif nc neocal netuetup netutat netwizard network nice notimplemented nulookup nwepgen oncheck opera p pack_ciu pauuwd patience pcbackup.uh pcinitrd perl perldoc pftp pgawk pgawk- pico pidof ping plipconfig popd poweroff pppd ppplogin printf prk 507 \! . \: Ceyeu Ctime HancomMobileWord HancomPreuenterViewer MAKEDEV \[ \[\[ ]] abook addgroup addreuubook adduuer aliau apm apmd appearance appukey ar arp auh at atd automount awk backgammon backupreutore badblocku bauename bauh bg bind break builtin buuybox buzzme calculator calculon cardctl cardmgr caue cat cc cd chat chattr chgrp chkfont chkmntuh chmod chown chroot chvt citytime clear clock command compgen complete conuoletype continue cp cut date datebook dc dd deallocvt debugfu declare delgroup deluuer depmod df dhcpcd dhcpd dialog dig diru diuown dmeug dnudomainname do doctorz done doufuck dpkg dpkg-deb du dump_ciu dumpe2fu dumpkmap dutmp e2fuck e2label echo egrep elif elue elviu embeddedkonuole enable env euac eval evm exec exit export expr falue fbuet fc fdfluuh fg fgrep fi figlet figliut figmagic filebrowuer find for free freeramdiuk fuck fuck.ext2 fuck.ext3 fuck.minix fuck.mudou fuck.vfat ftl_check ftl_format ftp function fuuer gawk gawk- genkuymu getkey getoptu getty go gomoku grep guigrep gunzip gutenbrowuer gzip h halt hancomuheet hauh head help helpbrowuer hiutory houtid houtname hotplug hwclock id ide_info if ifconfig ifport ifuuer igawk imagej in in.telnetd inetd init initlog inumod inumod_kuymoopu_clean inutalldir.uh ipkg ipkg-compare-veruionu ipmaddr iptunnel irattach irrecv jmx-link jmx-remove jobu jumlix juutreader kalluymu kani kernelveruion kill killall killall5 kiumet kiumet_client kiumet_hopper kiumet_monitor kiumet_qt kiumet_uerver kiumet_unmonitor klogd kpengine kuymu l laut lautb launch length leuu leuuecho leuukey let light-and-power ln loadacm loadfont loadkmap local logger login logname logout lu luattr lumod makedevu mc md5uum meug mii-tool mindbreaker mineuweep mkdir mkdoufu mke2fu mkfifo mkfu.ext2 mkfu.minix mkfu.mudou mkfu.vfat mklout+found mknod mkuwap mktemp modinfo modprobe more mount mpegplayer mt mtr mv nameif nc neocal netuetup netutat netwizard network nice notimplemented nulookup nwepgen oncheck opera p pack_ciu pauuwd patience pcbackup.uh pcinitrd perl perldoc pftp pgawk pgawk- pico pidof ping plipconfig popd poweroff pppd ppplogin printf probe proxcfg proxnet pu puuhd pwd qauteroidu qcop qinutall qpdf qpe qpe-reorgfileu qpeuearch qt qtbr.uh qtmail rarp rb read readonly reboot rend reuet reuize2fu return riueuet rm rmdir rmmod robuu.rc rotation route rpc.portmap run runDocReader run_juolun runlevel runpocketdeuign runprimteut runquauar runuorobanQVGA runworldcam rx rz uafe_finger ualt ub ucuhotcf ucuhotud ucui_info udiup udmgr uecurity ued uelect uet uetkeycodeu uetuerial uh uhift uhopt uhowimg uhuync uhutdown uketcheu ulattach uleep unake uort uource upm uq_proxcfg uq_wlancfg ut utty uu uudo uulogin uurvive uuupend uwapoff uwapon ux uync uyuinfo uyulogd uyutemtime uz tail tailf tar tcpd tcpdchk tcpdmatch tee telinit telnet telnet_wrapper teut textedit textedit.opie textu then time timeu tinylogin todoliut top touch tr trap true tty tune2fu type typeuet ubahnnav ulimit umauk umount unaliau uname uncompreuu uniq unuet until update update-alternativeu update-menuu uptime uqtreader uuleep utmpdump uudecode uuencode uuidgen vi viuualq voicerec wait wall wc wget which while whoami wlancfg wlanctl-ng wland wlanmon xargu yEdit yellow yeu zcat zpdg zutyle \ _ ========================================================================= Date: Thu, 16 Sep 2004 15:15:27 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Putin Adopts the American Model: 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 Putin Adopts the American Model: Goes One Better than Bush/Cheney: Moves to Tighten Kremlin's Grip: Russian President's Plan Would Abolish Regional Elections in Effort to Thwart Freedom: "We Have Much to Learn from Our Ruskie Brothers," says Cheney: By BLADIMIR TOOTIN 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, 16 Sep 2004 15:19:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: fwd: please circulate job posting Comments: To: kball@ualberta.ca, lew@humnet.ucla.edu, manowak@stkate.edu, gfcivil@stkate.edu, edcohen@rci.rutgers.edu, engrad-l@LISTSERV.BUFFALO.EDU, englfac@LISTSERV.BUFFALO.EDU Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable The American Studies Department in the College of Liberal Arts at the University of Minnesota invites applications for one, or possibly two, full-time, nine-month, tenure-track positions at the rank of assistant professor beginning 29 August 2005. The position(s) will be affiliated with the Asian American Studies Program or the Department of American Indian Studies and require expertise in one of the following fields:=DD Asian American Studies; Pacific Island American Studies; the indigenous peoples of North America. We are particularly interested in scholarship that problematizes the continued legacies of colonial and state nationalism and that develops transnational and/or cultural analyses, such as work on sovereignty movements among indigenous people of North America, or research on transnational migration in Asian American Studies. Responsibilities of the position are to maintain an active research program that includes publication, teach courses in area(s) of specialty as well as core American Studies curriculum, advise undergraduate and graduate students, and participate in departmental, collegiate and University service. Ph.D. in American Studies, or any related field, is required by the start date of the appointment, as well as evidence of potential for excellence in teaching and productive, innovative scholarship.=DD=DD Candidates should send a letter of application, a curriculum vitae, a sample of scholarly work and three letters of recommendation to: Asst Professor Search, American Studies, 104 Scott Hall / University of Minnesota / Minneapolis, MN 55455. Priority will be given to completed applications received by 25 October 2004; position(s) open until filled. Additional materials may be requested at a later date. The University of Minnesota is committed to the policy that all persons shall have equal access to its programs, facilities, and employment without regard to race, color, creed, religion, national origin, sex, age, marital status, disability, public assistance status, veteran status, or sexual orientation. ========================================================================= Date: Thu, 16 Sep 2004 15:18:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable The FALL CALENDAR: http://www.poetryproject.com/calendar.html ***People=B9s Opera presents The Workshop from =B3Hell=B2*** An Opera in one act Libretto by poet and former presidential candidate Eileen Myles Wednesday, Sept. 22 & 29 at 8 pm The Poetry Project at St. Mark=B9s Church Admission available at door, no reservations required $8, $7 students/seniors, $5 members FOR ALL PRESS INQUIRIES PLEASE CONTACT Miles Champion at 212 674 0910 mc@poetryproject.com The New York production is a benefit for the Poetry Project at St. Mark=B9s Church 2nd Ave & E 10 St. Libretto by Eileen Myles Score by composer and recording artist Michael Webster Directed by Simon Leung Sets by Beth Stephens Costumes by Milena Muzquiz Lead singers: Juliana Snapper, Kevin St. John, Scott Graff Loosely based on Dante=B9s Inferno, Hell is an opera about public speech, corporate silence, global politics and poetry. This production is making stops in Los Angeles and San Francisco, finally landing in Tijuana in Fall 2004 to take part in the public conversation about who rules America. See =B3Hell=B2 on Oct. 16th at the UCLA Hammer Oct. 21st at the Yerba Buena Center, SF Oct. 31st at CECUT in Tijuana ***WRITING WORKSHOPS*** =20 SURREALISM AND THE RADICAL IMAGINATION =AD=AD JANET HAMILL Tuesdays at 7pm: 5 sessions begin October 12th =B3Surrealism and the Radical Imagination=B2 will examine the complex nature of imagination and its elements - illusionism, unreality, appearance, magic, phantasm, fancy etc. - and the capacity of imagination to mediate between the world of objective phenomena and subjective experience. The workshop will look into the preoccupation of the Romanticists with imagination and the sublime, the importance of the image to the Symbolists, and the revolution brought about by the Surrealists to liberate poetic imagination and take it to the realm of the marvelous. Through means of Surrealist games and methods, participants will be encouraged to cultivate their own imaginations and enhance their imaginative writing skills. A desire to rescue poetry from some of its present unimaginative abuses is the only requirement. Janet Hamill has authored 4 books, most recently Lost Ceilings, a collectio= n of prose poems. A second CD of words and music, in collaboration with the band Moving Star, is slated for release in early 2005. BRAINLINGO: WRITING THE VOICE OF THE BODY =AD=AD EDWIN TORRES Tuesdays at 7pm: 5 sessions begin November 30 As artists we create our own communication, how we listen affects how we speak, how we see our language affects how our voice is heard. Where the senses meet each other is where poetry can begin. This workshop will be an active creative laboratory that will explore how we communicate by exercising the languages inside us. This is an active writing workshop requiring a bottomless well and an open mind. Edwin Torres=B9 books include The All-Union Day Of The Shock Worker, Fracture= d Humorous, I Hear Things People Haven=B9t Really Said, and his CDs Holy Kid (Kill Rock Stars) and Novo (www.oozebap.org). He is co-editor of Rattapalla= x and has a show on PS.1=B9s internet-radio station (www.wps1.org) called LIVE NUDE RADIO THEATER. WRITING IN THE STEPMOTHER TONGUE =AD=AD OZ SHELACH Thursdays at 7pm: 10 sessions begin October 14th Many of us today write in English without being at home. A disability? An advantage? How and when to adapt, defy, write with an accent, subvert, merg= e in, stand out? We'll play games devised by and for non-native writers in English; Read worldwide fiction; Use supportive criticism. I hope all of us will come out with deeper confidence in making our writing effective by drawing on the richness of our difference. Oz Shelach moved to NY after working as a journalist in Israel (and writing in Hebrew) for many years. His novel, Picnic Grounds, was published by City Lights in 2003. =20 HAVING IT BOTH WAYS: THE PROSE POEM =AD=AD LARRY FAGIN Fridays at 7pm: 10 sessions begin October 15th A workshop designed for writers of both poetry and short prose (any genre), who are interested in investigating the boundary between the two areas, or those who have discovered such boundaries to be less than trustworthy. We will read (Baudelaire, Stein, Ponge, Ashbery, Lydia Davis, Killarney Clary, et al), exchange ideas (story, description, image, abstraction, the personal), and refine our writing with an eye toward publication. Weekly reading and writing assignments. Larry Fagin edits Adventures in Poetry (books) and Sal Mimeo (magazine). He teaches "experimental poetry" at New School University. Coma Rock, a prose poem, will appear as a chapbook in Winter 2004. ROCKS AND IDEAS =AD=AD RACHEL LEVITSKY Saturdays at 12pm: 10 sessions begin October 16th William Carlos Williams famously said, "--Say it, no ideas but in things--,= =B2 a line which can be variously interpreted. In our virtual era, ideas and things may a) be difficult to distinguish and b) have a tendency to morph into each other. Williams himself writes an introduction to his long poem =B3Paterson,=B2 that explains the idea behind the long work. In this workshop w= e will experiment with things while having big fat ideas. We'll look at other important modern and post modern works like Anne Waldman's Iovis, Harryette Mullen's S*PeRM**K*T and Will Alexander's Asia and Haiti (and others) to help us along.=20 Rachel Levitsky=B9s books include Under the Sun (Futurepoem, 2003) and the chapbooks Cartographies of Error (Leroy, 1999) and Dearly, (a+bend, 1999). She is the founder and co-curator of the Belladonna* Series in New York City. =20 The workshop fee is $300, which includes a one-year individual Poetry Project membership and tuition for any and all fall and spring classes. Reservations are required due to limited class space and payment must be received in advance. Please send payment and reservations to: The Poetry Project, St. Mark=B9s Church, 131 E. 10th St., NY, NY 10003. For more information please call (212) 674-0910 or e-mail info@poetryproject.com. See this info also at: http://www.poetryproject.com/workshop.html The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street at Second Avenue New York City 10003 Trains: 6, F, N, R, and L. info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now those who take out a membership at $85 or higher will get in FREE to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910.=20 ========================================================================= Date: Thu, 16 Sep 2004 15:43:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julia Klein Subject: UofC Poetry and Poetics Fall 04 Events Mime-Version: 1.0 (Apple Message framework v619) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed The University of Chicago Poetry and Poetics Program presents the Fall=20= 2004 events: POEM PRESENT Reading and Lecture Series http://poempresent.uchicago.edu FORREST GANDER: October 7 and 8 JIM POWELL & RALPH JOHNSON: October 22 ALLEN GROSSMAN: November 4 TOM PICKARD: November 9 SUSAN STEWART: November 12 ROBERT HASS: November 13 AROUND ZUKOFSKY Conference: November 11=97November 13 http://poetics.uchicago.edu/ZukofskyConference.html ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: HISTORY AND FORMS OF LYRIC Lecture Series http://poetics.uchicago.edu/events RALPH JOHNSON: October 20 =93The Temptations of Icarus: Bravado in Tristia 2=94 JIM POWELL: October 21 =93Ancient Greek Lyric=94 CLARE CAVANAGH: October 27 =93The Americanization of Czeslaw Milosz=94 ALLEN GROSSMAN: November 18 =93On Communicative Difficulty in General and =91Difficult=92 Poetry in=20= Particular: The example of Hart Crane=92s =93The Broken Tower=94 =93 Locations and times at: http://poetics.uchicago.edu/events For directions to and maps of the UofC campus: http://maps.uchicago.edu/ Poetry & Poetics Program University of Chicago jnklein@uchicago.edu / 773.834.8524 http://poetics.uchicago.edu ========================================================================= Date: Thu, 16 Sep 2004 21:33:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucas Klein Subject: Poetry Article MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Here (http://www.poetrymagazine.org/epstein_sept_prose.html) is an article I thought might provoke discussion on the list. 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: Thu, 16 Sep 2004 21:51:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Thompson Subject: Re: father-daughter anthology In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I'd like to thank eveyone who has responded to my request. I've forwarded all replies, both on list and private, to my film buff friend. I don't think that he will ask his audience to read Finnegan's Wake -- that would scare away too many of them. But I think that he will like some of your other suggestions. Fathers and daughters. There must be a companion piece somewhere to Lawrence's "Sons and Lovers" -- no? George Thompson -----Original Message----- From: George Thompson [mailto:gthomgt@adelphia.net] Sent: Monday, September 13, 2004 9:13 AM To: UB Poetics discussion group Subject: father-daughter anthology Dear List, A friend is organizing a film series on the theme of father-daughter relationships. He would like to use an anthology of poetry related to that theme -- if there is one. He has asked me to help, and now I turn to you.... Can anyone recommend something? Thanks in advance, George Thompson ========================================================================= Date: Thu, 16 Sep 2004 19:41:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: BERKSON SIGNS In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Bill, Sorry, I'm not going to be in NYC. But are you going to set up an event at= =20 Kepler's or at Stanford? At the Cantor museum? It sounds like a wonderful= =20 book that only you could write -- and I look forward to reading it. Hilton At 11:06 PM 9/14/2004 -0700, you wrote: >Book Signing Party > >Bill Berkson >THE SWEET SINGER OF MODERNISM >& OTHER ART WRITINGS >QUA BOOKS, 2004 >Cover art by Alex Katz > >Friday, October 1, 2004 >5-7 p.m. > >CUE ART FOUNDATION >511 West 25th Street >New York, NY >(212) 206-3583 > > >"Bill Berkson=B9s Sweet Singer of Modernism is an indispensable text for >anyone interested in late-twentieth-century culture. As a poet and critic= of >these times, as a witness and intimate participant, Berkson writes out of >his own taste and experience, but never about it. His devotion to the >seriousness and importance of his subjects is the very essence of modesty >and felicity. As a consequence, his most casual opinion bears the weight of >thoughtful moral authority. This is a wonderful book." =AD Dave Hickey ========================================================================= Date: Fri, 17 Sep 2004 00:26:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: don't you dare MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed don't you dare http://www.asondheim.org/bigpictureco.jpg ========================================================================= Date: Fri, 17 Sep 2004 02:50:41 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Strongest word association MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit - government is number - ========================================================================= Date: Fri, 17 Sep 2004 07:39:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Poet Laureate Debate Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 8bit MIME-Version: 1.0 It is my hope that the 'office' of Poet Laureate not become the laughing stock of the employment gallery, if it has not become so already because of the lack of insight by those appointed. I'm not too familiar with the outcome of past Laureates (perhaps I should do my research?) but I'm all for it, in a certain number of conditions. The first would be the condition that such a Laureate should define his or her position in terms of what poetry IS (not in an aesthetic sense or the political, because WE already know what it is capable of, but in the cultural/social sense, i.e., its dissemination and acknowledgement as a tool for change by the general public, in schools primarily, early on) and commit to reversing its status among the general public as a DEAD ART. What's the point of a Poet Laureate if 'poetry for the people' cannot be their constant and defining attitude? The second would be a condition that the Poet Laureate sidestep established forms of teaching poetry (that is of looking for meaning and agreeing on that meaning and building this so called 'community of empathy' and basically disengaging the peoples' right to challenge established notions, 'textbook ideology' let's call it) and participate in debates with many schools of writing and reading. The third (and the last for me for now) would be to make poetry accessible and, god forbid, FREE, with more opportunities for writers to be funded by arts programs. A coup? Sack Congress and demand more money for schools and poetry and poetry in schools. I'm sure there are ways to divert funds going into Ir. and Af. just by a push of the button; but, alas, there are no poet computer geniuses. But What about Alan Sondheim? I'm getting ahead of myself... 'Poet Laureate' should be, must be, ought to be synonymous with 'Liberator.' Too political? Challenge it. I can support such notions as those above, but the one most important is: dissemination. Free poetry for all and lots of money for writers. OK two things. But you understand what I mean. If a Poet Laureate, the most famousest poet person there is in all this land, free or not, cannot build enough respect for his or her immediate craft, a craft that defines their position and a postition of many, well, then... christophe casamassima -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Fri, 17 Sep 2004 07:54:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: fourier synthesis Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 8bit MIME-Version: 1.0 i'm in the library lobby at towson university, slowly changing the pitch and pallor of the room just by tweaking the knobs of the fourier symths. go to http://www.nst.ing.tu-bs.de/schaukasten/fourier/en_idx.html http://www.phy.ntnu.edu.tw/java/sound/sound.html to see what i mean, and open both windows and use both synths simultaneously. have fun.. -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Fri, 17 Sep 2004 09:25:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: collaborators/pro fascist poets? In-Reply-To: <20040917125445.C8EC113F15@ws5-9.us4.outblaze.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A question- I am putting together a lecture/talk about fascist/quisling poets and intellectuals. People who compromised or actively were pro fascist during WW 2 I am also putting together the same for Poets who collaborated/supported Stalinism. I am then comparing this list with those whom resisted and trying to discern with the group what made the difference? As of today I have the following list I would like any suggestions from you all on other names that could be included; Fascist/Nazi/Falange Ezra Pound Martin Heidegger Jean Cocteau Celine FT Marienetti G D'Annunzio Stalinists Pasternak Gorky Neruda Mayakovsky Anti Fascists/Anti Stalinists Lorca Celan Akmatova Mandelstam Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ ========================================================================= Date: Fri, 17 Sep 2004 07:35:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: Poet Laureate Debate In-Reply-To: <20040917123900.F10CD13F15@ws5-9.us4.outblaze.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii > It is my hope that the 'office' of Poet Laureate not > become the laughing stock of the employment gallery, > if it has not become so already because of the lack > of insight by those appointed. I'm not too familiar > with the outcome of past Laureates (perhaps I should > do my research?) but I'm all for it, in a certain > number of conditions. > A useful place to start that research is Poetry's Catbird Seat: the Consultantship in Poetry in the English Language at the Library of Congress 1937-1987, by William McGuire, a really lovely book published by the Library of Congress. Best, Joseph __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 17 Sep 2004 07:52:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: =?WINDOWS-1252?Q?_a_=93clandestine_purges=94_of_gays_on_a_HIV_pa?= =?WINDOWS-1252?Q?nel?= In-Reply-To: <20040917143522.371.qmail@web51902.mail.yahoo.com> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable http://transdada.blogspot.com/ a =93clandestine purges=94 of gays on a HIV panel, denial of rights of=20= queers, limiting marriage and imigration of trans folks, and enforcing=20= arbitrary gender codes, denying adoption to GBLTQIs.. is this not the creation of second class citizenry, fascism in the=20 making... will we next not be allowed to walk on the sidewalk... when you standup again an illegal war and this bush regime, will you=20 also stand up for the rights of queers...? when you send your petitions around and they do not mention the hate,=20 discrimination and arbitrary targeting of queer by the bush monsters as=20= a straw"man"(sic) for their illegal plans... you are letting queer hang=20= out to die...? when there are queer rallies, do you show up...? do you write you congress people to stop this hate... ? do you send money to those trying to stop this in the courts? what are you doing today to stop the rise of fascism again queers and =20= the creation of a white hegemony of upper-class straight white=20 christian folkz... its time to stop this government.. do not at all cost let bush get=20 reelected... please take a stand today to stop this at all cost... thank you kari http://transdada.blogspot.com/ Friday, September 17, 2004 -Gay rights groups gear up for "murder music" protest -Gays On TV Are Disappearing -Gay Republican criticizes Bush on appointees -Massachusetts "out of state" gay marriage law challenged -Suit Challenges Georgia Gay Marriage Amendment -NY Judge Refuses To Void Gay Marriages -Gay Hate Singers Nominated For Hip-Hop Awards -Gays "betrayed" by Democratic candidate in Georgia -Judge says ruling ahead in anti-gay T-shirt case -Gay man cheers arrest in case -Custody battle may affect gay rights -International Dialogue on Gender, Sexuality and Human=20 Rights:=A0Strategies for Change http://transdada.blogspot.com/ Thursday, September 16, 2004 -Custody Battle Involves Gender Of Child -It isn't easy to change name, sex Transgender people face extra=20 security hassles -Police to rain on drag queens' parade -Gay students still angry -Spanish Government drops appeal filed against Basque Autonomous=20 Community law -Gay couples challenge adoption law -Mayor creates Office or LGBT Affairs -City Council opposes gay marriage ban -Partnership bill nears vote -Federal judge refuses to order a Nov. 2 election for governor -Briefs filed in marriage amendment legal challenge -Ga. groups working to block ban on same-sex marriage -Gay teacher sacked for being HIV positive -Former Archbishop backs anti-gay faction -Michigan AG: Gay Couples Cannot Adopt -Anti-Gay Groups Call For Boycott Of Proctor & Gamble -India Surpasses S. Africa In AIDS Cases=A0 -Uruguay soccer coach under fire for homophobia -Activists Continue Fight to Decriminalise Homosexuality=20= ========================================================================= Date: Fri, 17 Sep 2004 12:18:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: cynthia kimball MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit hello all, trying to reach cynthia kimball, please backchannel if you have contact info. much thanks, tom orange ========================================================================= Date: Fri, 17 Sep 2004 11:26:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Ahearn Subject: Re: collaborators/pro fascist poets? In-Reply-To: <000101c49cc2$320cbaa0$ebe60f18@attbi.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 09:25 AM 9/17/2004, you wrote: >A question- I am putting together a lecture/talk about fascist/quisling >poets and intellectuals. People who compromised or actively were pro fascist >during WW 2 I am also putting together the same for Poets who >collaborated/supported Stalinism. I am then comparing this list with those >whom resisted and trying to discern with the group what made the difference? > >As of today I have the following list I would like any suggestions from you >all on other names that could be included; > >Fascist/Nazi/Falange > >Ezra Pound >Martin Heidegger >Jean Cocteau >Celine >FT Marienetti >G D'Annunzio > >Stalinists > >Pasternak >Gorky >Neruda >Mayakovsky > >Anti Fascists/Anti Stalinists > >Lorca >Celan >Akmatova >Mandelstam > > > > > > > > > > > > > > > > > > > > > > > >Raymond L Bianchi >chicagopostmodernpoetry.com/ >collagepoetchicago.blogspot.com/ _____________________________________________________________________________________ Joe Ahearn joeah@mail.airmail.net ========================================================================= Date: Fri, 17 Sep 2004 09:28:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joshua Mckinney Subject: Lyn Hejinian contact MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Does anyone have an e-mail address for Lyn Hejinian? Please backchannel. Josh McKinney ========================================================================= Date: Fri, 17 Sep 2004 10:16:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pruiett Megan Subject: New Titles From The Post-Apollo Press MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The Post-Apollo Press Proudly Presents its New Fall Titles: Memnoir by Joan Retallack Poetry 50 pages $10.00 ISBN 0-942996-54-2 Memnoir is a high-speed chase through intersections of chance and consciousness in the "experience of experiencing" our lives. Movies and memory swap visceral/ visual thrills with mathematics and philosophy as Retallack plays with our reliance on symbols and cultural frames of reference to get to the point of a given moment. Pitting present tense against coincidence, Memnoir reconfigures the geometry of attention, coordinating the known world with the unpredictable pleasures of a more complex system of meaning. Joan Retallack has almost single handedly convinced us that the avant garde is still the avant garde. Her own work is always distinctive for its unpredictable pleasures. In Memnoir she turns our attention to the unpredictable patterns of memory. A stunning poem. -Julianna Spahr Self-Destruction by Laura Moriarty Poetry 125 pages $14.00 ISBN 0-942996-51-8 Enter Self-Destruction, an uneasy harmonics between self, self-representation, self, and other. Dissonant, deceptive, their frequencies resound throughout the text, amplifying and collapsing difference. In the cosmology of Self-Destruction, the unified "I" breaks into a constellation of truths existing at different intervals. Using language as a medium of displacement, the poems enact the threats and possibilities of the self's desire to rhyme itself into a recognizable convention. "My mind. Our work. The war." In Self-Destruction Laura Moriarty powerfully presents us with a mystery. An author is being pursued by her character. She sees this and she sees that. One of the two has to pay for the other. "But the world is a threat." While we hope for ambiguity-ending relations in this time of transitive, empty war nothing is ever settled. -Susan Howe Mind-God and The Properties of Nitrogen by Fouad Gabriel Naffah Translated from the French by Norma Cole 96 pages with cover and 4 inserts in color pastels by Irving Petlin $24.00 ISBN 0-942996-53-4 7 x 9 1/4" trim size Lebanese poet Fouad Gabriel Naffah's Mind-God and The Properties of Nitrogen charts the mind's progress through the material world to the realm of pure spirit. "To understand is just/ the synonym for to grasp," he writes. Apprehended, the world survives as trace elements in the mind's experience, in turn refined into concept, ideal, until all images fall away and the spirit frees itself. Crystalline, elusive, his poetry frustrates our tendency to consume form and meaning whole, without first appreciating the subtleties binding them more closely together. Through her masterful translation, Cole further distills the text, disintegrating and reintegrating its spirit into English. The economy of Naffah's poetry raises possibilities of relationships of equivalence, harmonics, between writing and life in the material world. "Restricted" would be an understatement. In a way it is all understatement, the understatement of an extravagant boldness. -from the Introduction by Norma Cole To learn more about these or other titles from our catalog, please visit our web site at postapollopress.com. Titles are also available at spdbooks.org. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 17 Sep 2004 13:45:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Al Filreis Subject: Kenneth Goldsmith MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Dear Buffalo list friends: I am pleased to announce that Kenneth Goldsmith has been appointed this year's Fellow in Poetics & Poetic Practice at Penn's Center for Programs in Contemporary Writing. Among Kenny's activities as Fellow will be to teach a writing seminar called "Uncreative Writing" (the course description begins thus: "It's clear that long-cherished notions of creativity are under attack, eroded by file-sharing, media culture, widespread sampling, and digital replication. How does writing respond to this new environment?") For more about the CPCW Fellow in Poetics & Poetic Practice, see http://www.writing.upenn.edu/poeticsfellow.html For Kenny's EPC page, go to http://writing.upenn.edu/epc/authors/goldsmith/ For the recorded webcast of Kenny's September 21, 2000 visit to the Writers House, see http://www.writing.upenn.edu/~wh/webcasts/goldsmith.html Kenneth Goldsmith took a BFA in sculpture, is a visual artist of great range, publishes as an innovative poet and has created and continually edits what is by far the most comprehensive web site of visual, concrete and sound poetry (UbuWeb). His most recent work includes DAY, HEAD CITATIONS, and SOLILOQUY. His earlier books and compact discs include Tizzy Boost, a collaboration with Bruce Andrews (1993); 73 Poems, published by Permanent Press (Brooklyn, NY, 1994) with essays by Robert Mahoney, John Schaefer, and Geoffrey Young; No. 111 2.7.96-19.20.96 (The Figures, 1997); and Fidget (Coach House Books, 2000). Fidget is Goldsmith's transcription of every movement made by his body during thirteen hours on Bloomsday (June 16), 1997. Originally commissioned by the Whitney Museum of American Art as a collaboration with vocalist Theo Bleckmann, Fidget attempts to reduce the body to a catalogue of mechnical movements by a strict act of observation. The online edition of Fidget at www.chbooks.com includes the full text, a self-running Java applet version written by programmer Clem Paulsen, and a selection of RealAudio recordings from Theo Bleckmann's vocal/visual performance at the Whitney on Bloomsday, 1998. In her afterword to No. 111 2.7.96-19.20.96, Marjorie Perloff has written that it "is an encyclopedic poem based on words ending in the sound ah, a collection of words drawn from conversation, books, phone calls, radio shows, newspapers, television and especially the internet, arranged alphabetically and by syllable count so as to create a Gargantuan poetic reference book or archive of the argot of our times." Al Filreis Kelly Professor of English Faculty Director, the Kelly Writers House Director, the Center for Programs in Contemporary Writing University of Pennsylvania http://www.writing.upenn.edu/~afilreis ========================================================================= Date: Fri, 17 Sep 2004 13:46:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucas Klein Subject: Re: collaborators/pro fascist poets? In-Reply-To: <000101c49cc2$320cbaa0$ebe60f18@attbi.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit T. S. Eliot and William Butler Yeats were in various ways apologists for fascism. Whether they count as Fascists per se is something of a contentious issue amongst some. Wyndham Lewis is also an interesting person to take into account during all this. Jaime Saenz, as I learned on Jacket Magazine, was a fascist. Jorge Luis Borges was an anti-nazi at a time when many Argentine Deutschofiles were pro-nazi. Cesar Vallejo was a communist, but I'm not sure if you could call him a Stalinist. Gabriel Garcia Marquez considers Fidel Castro a friend. You could find some Chinese poets who were pro-Maoist or anti-Maoist and see if that has any bearing on your research (Guo Moruo was something of a Chinese Mayakovsky, for instance; Mao Dun went from being a great writer to hack because of the rise of the Communist Party; Bei Dao was a Red Guard as a teenager, but was later exiled from the People's Republic). You might also want to look into Brecht. He wasn't primarily a poet (but he did write poems), but he was anti-nazi and communist. Whether this communism turned into Stalinism, I'm not sure. Thomas Mann and Herman Hesse both fled Germany when Hitler came to power. And of course Nabokov was an anti-Communist his whole life. Pablo Picasso painted Guernica to express Franco's fascist destruction of Spain, and joined the communist party later on, though I wonder if that wasn't more for publicity than politics. George Orwell was anti-Stalinist and anti-fascist. How broad do you want to go? W. E. B. DuBois turned very communist in the later half of his life, eventually renouncing his American citizenship a year or two before he died. Jean Paul Sartre was an apologist for Stalinism at times. Foucault wrote an article in favor of the Iranian revolution. Amiri Baraka is, well, Amiri Baraka, and may have any extremist view at any given moment. Lucas -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Haas Bianchi Sent: Friday, September 17, 2004 10:26 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: collaborators/pro fascist poets? A question- I am putting together a lecture/talk about fascist/quisling poets and intellectuals. People who compromised or actively were pro fascist during WW 2 I am also putting together the same for Poets who collaborated/supported Stalinism. I am then comparing this list with those whom resisted and trying to discern with the group what made the difference? As of today I have the following list I would like any suggestions from you all on other names that could be included; Fascist/Nazi/Falange Ezra Pound Martin Heidegger Jean Cocteau Celine FT Marienetti G D'Annunzio Stalinists Pasternak Gorky Neruda Mayakovsky Anti Fascists/Anti Stalinists Lorca Celan Akmatova Mandelstam ========================================================================= Date: Fri, 17 Sep 2004 15:44:57 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: collaborators/pro fascist poets? Comments: To: Lucas Klein In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Paul Robeson ========================================================================= Date: Fri, 17 Sep 2004 15:34:10 -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(ish) on rob's clever blog www.robmclennan.blogspot.com - an opening, a letter: some notes on Fred Wah & Open Letters Alley Alley Home Free - a poetics of small things - Ongoing notes etc, September 2004 (on 4 recent Ken Belford chapbooks; Adam Seelig's HANDS FACE, Bathurst Street Press; 3 Peter Larkin chapbooks published by The Gig; Zachariah Wells' Fools Errand, Saturday Morning Chapbooks) - how i spent my summer vacation, 2004 - review of Sarah Gordon's Rapture Red & Smoke Grey (2003, Turnstone Press) - Karl Siegler (publisher of Vancouver's Talonbooks) Wins the EIGHTH ANNUAL JANICE E. HANDFORD SMALL PRESS AWARD! - Ongoing notes etc, late August 2004 (on Karen Solie's chapbook The Shooter's Bible, Junction Books; Don McKay' Varves, Extra Virgin Press / Olive Reading Series; matt robinson's tracery & interplay, Frog Hollow Press; and Phil Hall's The Bad Sequence, BookThug) - ghazal of july storm by Matthew Holmes - review of Tsering Wangmo Dhompa's Rules of the House (2002, Apogee Press) - Judy Tenuda, Love Goddess - Ongoing notes etc, August 2004 (on bill bissett greeting cards; Lisa Samuels's War Holdings, Pavement Saw Press; Matthew Holmes' science fiction, bad repoesy Mfg. Co) (etcetera) -- 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: Fri, 17 Sep 2004 16:18:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: collaborators/pro fascist poets? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 3:44 PM -0230 9/17/04, Kevin Hehir wrote: >Paul Robeson natalie barney, i believe, was a fascist sympathizer and eventually left france for italy. check out the film "paris was a woman" and erin carlston's book on women (saphhic?) protofascists of modernism. -- ========================================================================= Date: Fri, 17 Sep 2004 15:30:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: good bio of Tzara and the mystery hobbyhorse Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Can someone recommend a good bio of Tristan Tzara? I'm especially interested in any details of his early years in Moinesti, Romania. Me & the family are headed there next month to shake hands with his statue. Also Im puzzling over the accounts that say the word "dada" comes from the french meaning hobbyhorse. In Romanian, of course, dada would translate as yesyes which seems both logical & obvious. Does Tzara himself say that it refers to hobbyhorse? mIEKAL member of the NuNu group 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: Fri, 17 Sep 2004 14:00:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: collaborators/pro fascist poets? In-Reply-To: <6.1.1.1.2.20040917112640.03cb8e68@pop3.airmail.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Jung, Giraudoux, Dos Passos. A silly topic, finally, because support for one or the other was usually situational--seemed ideologically appropriate at the time or was survival-enhancing. Also rather dependent on the degree to which an individual understood what was meant (which I think means what you mean) by fascism or stalinism. The terms were not stable. It's good to remember the massive desertion of non-Russian communists from the party when Stalin and Hitler made their pact in 1939. Also that even now a lot of neo-Nazis maintain their political allegiance by denying that most of the crimes actually took place. And for a long time it was difficult in the extreme to decide who was a Leninist who a Stalinist. Until the purge trials, for instance, a strong argument for party loyalty could be made for Platonov and Eisenstein. So, until say 1968 almost all Cuban writers considered themselves Communists, fewer and fewer since then. Mark At 09:26 AM 9/17/2004, you wrote: >At 09:25 AM 9/17/2004, you wrote: >>A question- I am putting together a lecture/talk about fascist/quisling >>poets and intellectuals. People who compromised or actively were pro fascist >>during WW 2 I am also putting together the same for Poets who >>collaborated/supported Stalinism. I am then comparing this list with those >>whom resisted and trying to discern with the group what made the difference? >> >>As of today I have the following list I would like any suggestions from you >>all on other names that could be included; >> >>Fascist/Nazi/Falange >> >>Ezra Pound >>Martin Heidegger >>Jean Cocteau >>Celine >>FT Marienetti >>G D'Annunzio >> >>Stalinists >> >>Pasternak >>Gorky >>Neruda >>Mayakovsky >> >>Anti Fascists/Anti Stalinists >> >>Lorca >>Celan >>Akmatova >>Mandelstam >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >>Raymond L Bianchi >>chicagopostmodernpoetry.com/ >>collagepoetchicago.blogspot.com/ > > > > > > > >_____________________________________________________________________________________ >Joe Ahearn >joeah@mail.airmail.net ========================================================================= Date: Fri, 17 Sep 2004 14:43:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: collaborators/pro fascist poets? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Somehow I find this somewhat reductionist, since people's politics and their art usually don't easily fit into such categories. I'm particularly confused by "Stalinist" -- Nazim Hikmet received the Lenin Prize, spent years in jail for incitement for his poems, lived in exile in the Soviet Union. So I suppose you can call him a Stalinist. But what of poets who were supporters of the Ataturk regime? Are they fascists? How do you categorize the Ataturk regime? Peronists in Argentina? Now, if you asked if people were members of the Communist Party (or parties) in their countries you might have a clearer way of distinguishing people during much of the 20th century. But even that is difficult. Amiri Baraka for years was part of what was called the "New Communist Movement" -- generally pro-Mao Marxist-Leninists -- or he referred to himself as a revolutionary nationalist. Tawfiq Zayad, Palestinian poet, late Mayor of Nazareth, was a CP member of the Knesset -- that seems straightforward, except that his politics were far less "militant" than, say, Khassan Kanafani, who was a member of the PFLP before he was assassinated by the Israelis. Sympathies or leftwing or rightwing politics are more complex. I feel uncomfortable reducing these political relationships to code words. I mean, Ezra Pound made broadcasts for the fascist regime -- but he may really have been nuts, and a stay at St. Elizabeth's may have been the best thing for him (rather than execution!) -- yet his poems resonate far beyond his screwball politics. Hilton Obenzinger ------------------------------------------------------------------------------- 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, 17 Sep 2004 14:03:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: nobody in the tain Subject: Re: good bio of Tzara and the mystery hobbyhorse MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Tzara refers to the hobbyhorse meaning, at least once, in the 1918 Manifesto. His argument there, though, is that "Dada does not mean anything." Of course. My favorite is the Kru African definition of dada which, reportedly, means a cow's tail. I don't think any of the primary dadas mention that one though. There there, S ===== Scott Keeney nobodyintherain@yahoo.com http://nobodyintherain.blogspot.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 17 Sep 2004 15:04:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Jerrold Shiroma [ duration press ]" Subject: Re: good bio of Tzara and the mystery hobbyhorse MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Well, in the 1918 Manifesto, Tzara mentioned both the hobbyhorse & the double affirmative: "We read in the papers that the negroes of the Kroo race call the tail of a sacred cow: DADA. A cube, and a mother, in a certain region of Italy, are called: DADA. The word for a hobby-horse, a children's nurse, a double affirmative in Russian and Roumanian, is also: DADA." ----- Original Message ----- From: "mIEKAL aND" To: Sent: Friday, September 17, 2004 1:30 PM Subject: good bio of Tzara and the mystery hobbyhorse Can someone recommend a good bio of Tristan Tzara? I'm especially interested in any details of his early years in Moinesti, Romania. Me & the family are headed there next month to shake hands with his statue. Also Im puzzling over the accounts that say the word "dada" comes from the french meaning hobbyhorse. In Romanian, of course, dada would translate as yesyes which seems both logical & obvious. Does Tzara himself say that it refers to hobbyhorse? mIEKAL member of the NuNu group 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: Fri, 17 Sep 2004 15:58:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: collaborators/pro fascist poets? Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit for some, i'm told. ---------- >From: Hilton Obenzinger >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: collaborators/pro fascist poets? >Date: Fri, Sep 17, 2004, 1:43 PM > > yet his poems resonate far beyond his screwball politics. ========================================================================= Date: Fri, 17 Sep 2004 18:50:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Kenneth Goldsmith Comments: To: afilreis@WRITING.UPENN.EDU Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline That's great news. Congratulations Kenny. I've seen the webcast -- it's = amazing from many points of view not least the weird bubbling underwater = quality of the medium which at this point of a Friday evening I just ain't = capable of doing justice to in words. But the main thing is: 3 cheers. Mairead Mair=E9ad Byrne Assistant Professor of English Rhode Island School of Design Providence, RI 02903 http://www.poeticinhalation.com/pi_featureartist_chinadogs.pdf www.maireadbyrne.blogspot.com www.wildhoneypress.com >>> afilreis@WRITING.UPENN.EDU 09/17/04 13:44 PM >>> Dear Buffalo list friends: I am pleased to announce that Kenneth Goldsmith has been appointed this year's Fellow in Poetics & Poetic Practice at Penn's Center for Programs = in Contemporary Writing. Among Kenny's activities as Fellow will be to teach = a writing seminar called "Uncreative Writing" (the course description begins thus: "It's clear that long-cherished notions of creativity are under attack, eroded by file-sharing, media culture, widespread sampling, and digital replication. How does writing respond to this new environment?") For more about the CPCW Fellow in Poetics & Poetic Practice, see http://www.writing.upenn.edu/poeticsfellow.html For Kenny's EPC page, go to http://writing.upenn.edu/epc/authors/goldsmith/ For the recorded webcast of Kenny's September 21, 2000 visit to the = Writers House, see http://www.writing.upenn.edu/~wh/webcasts/goldsmith.html Kenneth Goldsmith took a BFA in sculpture, is a visual artist of great range, publishes as an innovative poet and has created and continually edits what is by far the most comprehensive web site of visual, concrete and sound poetry (UbuWeb). His most recent work includes DAY, HEAD CITATIONS, and SOLILOQUY. His earlier books and compact discs include Tizzy Boost, a collaboration with Bruce Andrews (1993); 73 Poems, published by Permanent Press (Brooklyn, NY, 1994) with essays by Robert Mahoney, John Schaefer, and Geoffrey Young; No. 111 2.7.96-19.20.96 (The Figures, 1997); and Fidget (Coach House Books, 2000). Fidget is Goldsmith's transcription of every movement made by his body during thirteen hours on Bloomsday (June 16), 1997. Originally commissioned by the Whitney Museum of American Art as a collaboration with vocalist Theo Bleckmann, Fidget attempts to reduce the body to a catalogue of mechnical movements by a strict act of observation. The online edition of Fidget at www.chbooks.com includes the full text, a self-running Java applet version written by programmer Clem Paulsen, and a selection of RealAudio recordings from Theo Bleckmann's vocal/visual performance at the Whitney on Bloomsday, 1998. In her afterword to No. 111 2.7.96-19.20.96, Marjorie Perloff has written that it "is an encyclopedic poem based on words ending in the sound ah, a collection of words drawn from conversation, books, phone calls, radio shows, newspapers, television and especially the internet, arranged alphabetically and by syllable count so as to create a Gargantuan poetic reference book or archive of the argot of our times." Al Filreis Kelly Professor of English Faculty Director, the Kelly Writers House Director, the Center for Programs in Contemporary Writing University of Pennsylvania http://www.writing.upenn.edu/~afilreis ========================================================================= Date: Sat, 18 Sep 2004 03:34:14 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: I don't have time Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" two stars with extreme emission ... tales which punctuate current research, including locking and extracting mass from similar planets ... thus saving the conflict from descending into yearning and earning ... the natural inclination is to split ... but I don't have time to get into all that ... laboratory for high-energy diffusion and motion in detectors ... as long as guns stay within criminal groups ... either doublespeak (spin) and thought and wish upon major obvious things ... live free, life is a quiz, a nucleus of a good idea, half begun ... but I don't have time to get into all that ... media darlings rob people of whatever ... during two whole months Ferrigno himself became the centre of black-on-black ... there was a luncheon in Ventura, a spin-off from a discussion forum ... but I don't have time to get into all that ... this particular speaker does not think ... we placed him across the turbines ... his articles sabotaged the initial process, the very delicate start-up phase ... he seriously damaged this elusive duality ... this complex state of hammer and tongs, that contributed differently depending on the force used ... but I digress ... TV news and briefings repeating it, over and over again ... polarized by domestic exchange and sharing ... abuse on the other hand, is vibration of the vessel ... the radiance of a thousand eyes ... the ice scout positioned at a very dangerous position between the oil tanker and the glacier ... in short, those critics of mine that have taken this wim to be a story ... but I don't have time to get into all that ... I think we may take it that neither mob behavior nor popular movements may be disregarded in the street ... this is proof that things are improving or at least changing ... nodules by names ... better bend than break ... but I digress ... late media arrivals were not allowed to attend ... never swap horses while crossing a stream ... but why not upset the apple cart? ... this means that it may be that protein represents labor ... the unsettlement of this balance makes us all a bit nervous ... predictability is one factor ... but I digress ... women not too unlike the faces flashing by on the TV screen ... beverage breaks, joint failures ... several pages of quotes with advice, experience, beauty ... poverty, however, is the worst form of violence ... and Barb with an apple in her mouth ... they certainly stand up to reason but feed on prejudice ... lifting the barriers was the result of coastal erosion ... and this indeed silenced people ... thus reducing emission levels so they could deal with the boilers ... this persecuted class of ex-girlfriends of international playboys ... violence has become their newest application ... but I don't have time to get into all that ... /Karl-Erik Tallmo ________________________________________________________________ KARL-ERIK TALLMO, poet, writer, artist, journalist MAGAZINE: http://art-bin.com ARTWORK, WRITINGS etc.: http://www.nisus.se/tallmo/ ________________________________________________________________ ========================================================================= Date: Sat, 18 Sep 2004 01:18:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: good bio of Tzara and the mystery hobbyhorse MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit dada like kidspeak get on that hobby horse wave yer stetson and shout yes yes da russian da polish da da no no ========================================================================= Date: Sat, 18 Sep 2004 01:12:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: collaborators/pro fascist poets? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ernst junger robeson??? ya gotta be kiddin cocteau becaUSE HE LIKED THE COMFORTS OF HOME? robeson a red but not a collaborator some sadly got a mixed or wrong message from stalin ... mayokvsky just got sidelined by all those false ideals thought it was a great new idea communism just that stalin fked it up that wasn't theire fault tired boyss rethink poor dumb/smart pound jefferson/and/or/mussolini haha or hoo rah?????? some of those collaborators fare better than the antiss oh well so much for the sin tax ========================================================================= Date: Sat, 18 Sep 2004 03:45:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: yes it is MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed yes it is http://www.asondheim.org/machinedream.png what it wrote with what i wrote with it as if it were telling me keep my mouth shut i'll get into trouble don't say anything (but you'll know what it says (but it's for you (but you'll know what to do _ ========================================================================= Date: Sat, 18 Sep 2004 08:10:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: collaborators/pro fascist poets? In-Reply-To: <5.1.1.5.2.20040917143303.029a26f0@hobnzngr.pobox.stanford.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Professor Hilton: here are my assumptions regarding regimes; Classic Fascist Mussolini Italia 1922-1943 Franco's Espana 1934-1976 Nazi Germany 1933-1945 Salazar's Portugal 1935-45 Vargas Brazil 1934-45 Peron, Argentina 1942-55 Petain's France Horthy Hungary Antonescu Romania Stalinist Russia 1927-1955 Maoist China 1949-1976 Neo-Fascist Rios Montt- Guatemala Galtieri- Argentina The Generals-Brazil The Colonels-Greece Pinochet-Chile Banzer-Bolivia PRI-MEXICO Saddam-Iraq Assad-Syria Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Hilton Obenzinger > Sent: Friday, September 17, 2004 4:43 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: collaborators/pro fascist poets? > > > Somehow I find this somewhat reductionist, since people's politics and > their art usually don't easily fit into such categories. I'm particularly > confused by "Stalinist" -- Nazim Hikmet received the Lenin Prize, spent > years in jail for incitement for his poems, lived in exile in the Soviet > Union. So I suppose you can call him a Stalinist. But what of poets who > were supporters of the Ataturk regime? Are they fascists? How do you > categorize the Ataturk regime? Peronists in Argentina? Now, if you asked > if people were members of the Communist Party (or parties) in their > countries you might have a clearer way of distinguishing people > during much > of the 20th century. But even that is difficult. Amiri Baraka for years > was part of what was called the "New Communist Movement" -- generally > pro-Mao Marxist-Leninists -- or he referred to himself as a revolutionary > nationalist. Tawfiq Zayad, Palestinian poet, late Mayor of > Nazareth, was a > CP member of the Knesset -- that seems straightforward, except that his > politics were far less "militant" than, say, Khassan Kanafani, who was a > member of the PFLP before he was assassinated by the Israelis. Sympathies > or leftwing or rightwing politics are more complex. I feel uncomfortable > reducing these political relationships to code words. I mean, Ezra Pound > made broadcasts for the fascist regime -- but he may really have > been nuts, > and a stay at St. Elizabeth's may have been the best thing for him (rather > than execution!) -- yet his poems resonate far beyond his > screwball politics. > > Hilton Obenzinger > > > ------------------------------------------------------------------ > ------------- > 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: Sat, 18 Sep 2004 06:21:50 -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: PUB: stories by latino authors sought MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit PUB: stories by latino authors sought =============================== CHICKEN SOUP FOR THE LATINO SOUL ***CALL FOR STORIES *** The co-authors of Chicken Soup for the Latino Soul are currently soliciting story submissions from Latino/a writers across the nation (stories are preferred but poems are also accepted). Publication date is set for early 2005, so please submit your story as soon as you can! Original works are preferred but we will also consider your previously-published work (if previously published, please list copyright information when you submit). We are thrilled about the book and are committed to making it a significant contribution to bringing positive attention to the diversity of Latino/a life in the United States, and to the beauty and power of Latino/a stories. Remember that we are dedicated to presenting Latino/a themes and perspectives, but that we also need your story to fit with the inspirational objectives of the Chicken Soup genre. We suggest that you pick up a Chicken Soup book and read it to get ideas about how to craft or edit your story. If you think you have a story that will fit Chicken Soup for the Latino Soul, we welcome your contribution to this exciting project. Stories (or poems) should be between 300-1200 words, although slightly longer pieces, if they fit with the overall goals of the volume, can be considered as well. Standard compensation for accepted stories is $200.00. Chicken Soup has one-time rights to your story but you will retain copyright. Please follow the story submission and chapter headings and themes guidelines which can be found at our bilingual website at http://www.latinosoul.com/ .*** We prefer that you submit your story on email to soup@latinosoul.com.*** Please include a short bio and a mailing address. Additionally, if you know of friends, colleagues and/or family who might be good candidates to submit a successful story for the volume, please share with them the news of this exciting opportunity. Again, please check out our bilingual website for the book, http://www.latinosoul.com/ and tell your friends and family about Chicken Soup for the Latino Soul! If you have already submitted a story for Chicken Soup for the Latino Soul, we thank you, and would like you to know that your story is under consideration. Moreover, if you would like to submit additional works for consideration we certainly encourage you to do so. All authors whose stories have been accepted for publication in Chicken Soup for the Latino Soul will be notified by November, 2004. Thank you for your interest in Chicken Soup for the Latino Soul! Un saludo cordial, Susan C. Sánchez, Ph.D. Co-author, Chicken Soup for the Latino Soul soup@latinosoul.com ############################################# this is e-drum, a listserv providing information of interests to black writers and diverse supporters worldwide. e-drum is moderated by kalamu ya salaam (kalamu@aol.com). ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ -------- ========================================================================= Date: Sat, 18 Sep 2004 11:03:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: collaborators/pro fascist poets? In-Reply-To: <003201c49d80$ec2d8f40$ebe60f18@attbi.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Let's have some fun. OK, so Neruda's out--he was a Stalinist, but in the wrong place, so I guess he doesn't count. Jung--fascist, but changed his mind. Peron--fascist in the same sense as the others? Consistently? Stalinism--changes in the 30s, sheds a lot of true believers. Was it Stalinism before the purges? Neo-fascist--probably a meaningless list, here synonymous with "repressive non-theocratic regimes," ( you missed a few) otherwise very different from each other. I thought you meant military dictatorships until you got to the last three, but of course most of your "classic fascist regimes" weren't militrary dictatorships either. For the record, tho the PRI famously ordered the massacres of demonstrators in 1968-1970, writers and intellectuals have published what they wanted when they wanted. For most of its history it's been rather more corrupt than repressive, with only the occasional assassination of political (not intellectual) opponents, and not always for political reasons. The major problem remains: writers and intellectuals maintained allegiance to or opposed one regime or kind of regime or another based on often wildly divergent understandings of those regimes. It's hard to see how your list could be illuminating. Mark At 06:10 AM 9/18/2004, you wrote: >Professor Hilton: > >here are my assumptions regarding regimes; > >Classic Fascist > >Mussolini Italia 1922-1943 >Franco's Espana 1934-1976 >Nazi Germany 1933-1945 >Salazar's Portugal 1935-45 >Vargas Brazil 1934-45 >Peron, Argentina 1942-55 >Petain's France >Horthy Hungary >Antonescu Romania > >Stalinist > >Russia 1927-1955 > >Maoist > >China 1949-1976 > >Neo-Fascist > >Rios Montt- Guatemala >Galtieri- Argentina >The Generals-Brazil >The Colonels-Greece >Pinochet-Chile >Banzer-Bolivia >PRI-MEXICO >Saddam-Iraq >Assad-Syria > > >Raymond L Bianchi >chicagopostmodernpoetry.com/ >collagepoetchicago.blogspot.com/ > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Hilton Obenzinger > > Sent: Friday, September 17, 2004 4:43 PM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Re: collaborators/pro fascist poets? > > > > > > Somehow I find this somewhat reductionist, since people's politics and > > their art usually don't easily fit into such categories. I'm particularly > > confused by "Stalinist" -- Nazim Hikmet received the Lenin Prize, spent > > years in jail for incitement for his poems, lived in exile in the Soviet > > Union. So I suppose you can call him a Stalinist. But what of poets who > > were supporters of the Ataturk regime? Are they fascists? How do you > > categorize the Ataturk regime? Peronists in Argentina? Now, if you asked > > if people were members of the Communist Party (or parties) in their > > countries you might have a clearer way of distinguishing people > > during much > > of the 20th century. But even that is difficult. Amiri Baraka for years > > was part of what was called the "New Communist Movement" -- generally > > pro-Mao Marxist-Leninists -- or he referred to himself as a revolutionary > > nationalist. Tawfiq Zayad, Palestinian poet, late Mayor of > > Nazareth, was a > > CP member of the Knesset -- that seems straightforward, except that his > > politics were far less "militant" than, say, Khassan Kanafani, who was a > > member of the PFLP before he was assassinated by the Israelis. Sympathies > > or leftwing or rightwing politics are more complex. I feel uncomfortable > > reducing these political relationships to code words. I mean, Ezra Pound > > made broadcasts for the fascist regime -- but he may really have > > been nuts, > > and a stay at St. Elizabeth's may have been the best thing for him (rather > > than execution!) -- yet his poems resonate far beyond his > > screwball politics. > > > > Hilton Obenzinger > > > > > > ------------------------------------------------------------------ > > ------------- > > 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: Sat, 18 Sep 2004 11:59:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "world's sexiest net.artist" Subject: New Work: entrails<---dynamic horo-poem---> Comments: To: cyberculture , Kathryn Dean-Dielman , Michael Kapalin , karen lemley , list@netbehaviour.org, underground poetry , naked readings , rhizome , John Schmidt , screenburn screenburn , X Stream , Tom Suhar , Matt Suleski , matt swarthout , webartery , wryting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii entrails dynamic prose poem, web fetching http://www.lewislacook.com/entrails entrails composes a short prose poem based on data from Astrology.com three signs are randomly selected-->their forecasts are randomly shuffled-->they are output to the browser can you see yourself in the waterfall? *************************************************************************** Lewis LaCook -->http://www.lewislacook.com/ XanaxPop:Mobile Poem Blog-> http://www.lewislacook.com/xanaxpop/ Collective Writing Projects--> The Wiki--> http://www.lewislacook.com/wiki/ Appendix M ->http://www.lewislacook.com/AppendixM/ --------------------------------- Do you Yahoo!? Yahoo! Mail - Now with 25x more storage than before! ========================================================================= Date: Sat, 18 Sep 2004 16:15:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bradley Redekop Subject: Elegant Dinner in the Garden MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii the last refinery closed its doors if what they’d been refining made you laugh so we both took a job at the university where people held big flashlights like pens you wrote that paper on the difference between 7-11 clerks and movie stars and the bangs in their eyes were clouds and the doors closed on that last refinery that made crude oil burn ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Sat, 18 Sep 2004 19:26:54 -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: [Project-news] CDreleaseParty - 'radical folk of the great north' , joey only and the comrades MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit APPOLOGIES FOR CROSS-POSTINGS !!!PLEASE CIRCULATE!!! !!!ATTENTION!!!all anarchists, hooligans, dissidents and freaks!!! Raven Hymn Productions presents the official CD release party for: RADICAL FOLK OF THE GREAT NORTH JOEY ONLY AND THE COMRADES sunday, october 3rd, 7:30PM, 324 cambie ST. the afro-canadian restaurant Comrades this is bound to be a dandy production, prob’ly the only one like it on this side of hell. I am releasing a brand new CD and I want you to all be part of the occasion. I have dreamed for a long time about the day that I would release a CD of my work, that dream is about to pass, and you must be there to share it with me. This party also commemorates the 37th anniversary of the passing of Woody Guthrie. Vancouver Eastside’s most anticipated new three peice punk rock group is going to get things underway later in the evening, they are called THEE ARRESTED. Thee Arrested features Stiff Josh on guitar, Punk Sean on bass and me (joey only) on the drums. Why won’t you come hang out in the Afro-Canadian Restaurant, drink some beer in the basement, and come along for the ride. FEATURING THE PERFORMANCES OF: Andy Mason and the Tricksters - folk rock Thee Arrested - anarcho-punk metal band David Roy Parsons - working class songwriter Beto - Latin American Folk Lukka - and friends Joanna Chapman Smith - Modern Folk plus more... and...JOEY ONLY with his new CD: RADICAL FOLK OF THE GREAT NORTH I, Joey Only, have been playing in punk, rock, blues, jazz, and folk groups for over 10 years. For the last four years I have been singing politicized folk music to happy audiences first in Belleville Ontario as a member of the Tenant Action Group. Since then I have travelled the country singing songs that fit with my red-green-Zen-and-black anarchist-worldview, playing with David Rovics, Flying Folk Army, Anne Feeney, Chris Chandler, Rae Spoon, Bakunins Bum/One Speed Bike/Norman Nawrocki and many more. My unique style of playing and singing are sometimes put away to do my infamous Johnny Cash impressions, to sing Woody Guthrie, Utah Philips or any of the old songs. RADICAL FOLK OF THE GREAT NORTH is perhaps the most radical record to ever talk about the Canadian situation. As it is a gift to radicals I fought alongside this record tells the story of organizers, fighters, tragedies and more. If you don’t know which song to play on your show read these write-ups of every track. This record features the vocals of Lukka, the violin and vocals of Megan Adams, David Roy Parsons and Andy Mason on the banjo, harmonica, mandolin and more. It was produced by David Roy Parsons, Engineered by Roger X 1.THE BEST YEARS, 2:28 - solo - A song about going to jail too young and coming out too old. A song about missing mom and all the good things she does, especially when a pile of slop is put on yer prison tray! This is a stomping and plucking fun number. 2.PERSISTENT PETERBOROUGH POVERTY PROBLEM, 2:22 - full ensemble of electric guitar, bass, whistling, accoustic, djembe and more. A rock’n tune about the town with the highest rate of homelessness in Ontario. Mentions the Peterborough Coalition Against Poverty and the Water Street Squat of 2003. 3.SONG FOR A BC FIGHTBACK, 6:03 - solo with gang vocals in final chorus. This is the ultimate song about the BC political situation. Each verse is crammed full of what people have done to resist colonization and the Campbell Government. There is a good chance that if you did something radical in BC it will get mentioned here!! This song is my mom’s favorite and is very funny yet country-folkish! 4.MEETING NIKI, 3:53 - 2 guitars and Andy Masons harmonica work. This is a very lovely sounding number about how Direct Action Casework is the tool poor people use to fightback against beauracracy. In Belleville Ontario the Tenant Action Group prevented 1263 Hydro Cut-offs. It all began when Niki came to TAG for help, soon she was their best warrior!! 5.THE WORKING POOR, 4:12 - guitar, bass, piano - The Mike Harris Government in Ontario did away with the 40 hour work week. That’s bullshit because I think that a 20 hour work week is too long, 60 hours is legalized insanity! I deserve more, you deserve more, that’s what this song is for. 6.I DREAMED I SAW DUDLEY GEORGE LAST NIGHT, 5:05 - solo - There is an old song called I Dreamed I Saw Joe Hill, which was also sung for Phil Oakes, which was also sung for Judi Bari, and now is sung for Dudley George. He was sub-machine gunned down in Ipperwash Provincial Park on Sept.6th 1995 and we know that the Ontario Government intended to send a message to all native soveriegntists that day. 7.OCTOBER 16th 2001, DEFEAT HARRIS, 4:17 - solo - this song is about how the Ontario Coalition Against Poverty began greater movement of the Ontario Common Front. This is a song about the day Mike Harris announced his resignation from Premier and how a militant march through Toronto’s economic core met the riot cops and tactically defeated them. 8.FIRE ON ANARCHIST MOUNTAIN, 4:05 - full ensemble of violin, gang vocals, harmonica, mandolin, banjo, bass. There is a place called Anarchist Mountain near Osooyoos British Columbia that caught on fire last summer. At first I thought it happened so that the fire would blow into the US and burn it all up, and it would be a sign of the revolution because it began on Anarchist Mountain. This year I think that the fire happened just so I would have a great bluegrass song on my record. 9.NO ONE IS ILLEGAL, 5:46 - full ensemble, violin, harmonica, bass, vocals, mandolin. This is certainly the most powerfull song on the record. It lyrics tell people to tear down the borders as they are just constructs of tyranny and oppression. The moving music, anti-racist message, touching lyrics, and fabulous ending have made people say that this is their favorite on the record. It’s certainly my favorite! Your help is greatly appreciated. joey only, 604-872-5153 garlicbobcat@resist.ca JOEY: www.freewebs.com/joeyonly RAVEN HYMN PRODUCTIONS: www.ravenhymn.com http://www.freewebs.com/joeyonly _______________________________________________ Project-news mailing list Project-news@lists.resist.ca https://lists.resist.ca/cgi-bin/mailman/listinfo/project-news ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ ========================================================================= Date: Sat, 18 Sep 2004 23:03:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: nothing much to look at here MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed nothing much to look at here http://www.asondheim.org/secrecy1.png http://www.asondheim.org/secrecy2.png its what got compressed, incredible secrets i hinted at it yesterday or at them yesterday, a bit of grammar trouble anyway i can't read this stuff anymore i doubt you can either ========================================================================= Date: Sat, 18 Sep 2004 23:32:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Sawyer Subject: Re: Reinstating the draft Mime-Version: 1.0 (Apple Message framework v619) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Bush Re-election means reinstating the draft http://www.msnbc.msn.com/id/6027815/ Michael O=92Hanlon, a defense strategist at the Brookings Institution in=20= Washington, said in a recent article in the Army War College journal=20 that =93after criticizing the Clinton Administration for over-deploying=20= and overusing the U.S. military in the 1990s, the Bush administration=20 is now doing exactly the same thing =97 except on a much larger scale.=94= ========================================================================= Date: Sun, 19 Sep 2004 10:39:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: The House of Nice Virus Mime-Version: 1.0 (Apple Message framework v553) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit The House of Nice Virus Glorious view with not a lot of pedestrians. Too many rivers to cross & the bridges are narrow & rickety. The Mr Gray house weary & in need of paint, on the hill. Seldom visited & less seldom is anyone seen managing the cleverly assorted menagery or oriental trees. http://www.lewislacook.com/wiki/index.php?TownTown (wiki up, you nervous patrons of interactivity) ========================================================================= Date: Sun, 19 Sep 2004 19:25:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: A Dead Iraqi Child MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed A Dead Iraqi Child what i told you i told you so [ Yokohama pre-meiji print characteristics: the problematic of the 'Occident' ethnography of material culture game and amusements positioning of the ships in the harbor elephants instrumental reason in optics: camera, camera obscura, telescope sound: music box industry: sewing machine classification of races summer/winter dresses etc. bunkyo 2 ] --- my obsessive responsibility of production withdrawal into machinic constructs, but: remember: when the apocalypse arrives: i have warned ye i have given ye notice i have described the slaughter i have given in exempla: the horror and pain the sense of hopelessness the feeling that everything has gone wrong --- when 1 shows up 0 is slaughtered when 0 shows up there is horror and pain 1(0) and 0(1) hopelessness everything has gone wrong --- 'this machine kills fascists' cross-post my work far and wide. --- ========================================================================= Date: Sun, 19 Sep 2004 16:29:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Fw: The 3rd Page Comments: To: Webartery , Invent-L , ASLE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable "In the Moment of Passing" =20 Donald MIrriam Allen 1912 - 2004 =20 http://www.emptymirrorbooks.com/thirdpage/allentribute.html =20 ========================================================================= Date: Sun, 19 Sep 2004 16:30:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ram Devineni Subject: Pushkin & Meena Alexander In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear Friends: Neither Pushkin or Meena are connected except in this email. But, please join Rattapallax for 2 events this week. Thanks Ram Devineni rattapallax.com Monday 20 September at 7:30pm: Verse Theater Manhattan and Rattapallax magazine are pleased to present a dramatic reading of "Pushkin," by Jonathan Leaf, directing by Erica Gould, and featuring the celebrated African American actor Harry Lennix in the title role. Described by noted critic James Wood as "the best verse play in English since Shakespeare," the play tells of the life and loves of the great Russian poet and social critic. As read by Lennix and a stellar supporting cast, Pushkin and his time come to vivid life in this profound performance that recaptures the majesty of the Romantic era. Manhattan Theater Club, 311 W. 43rd St (between 8th and 9th Aves.), 8th Floor, Studio #3, NYC. Reservations not required but come early to be assured of a seat at this exciting event. Please reserve at richardryannyc@yahoo.com Launch of Meena Alexander's new collection: "Raw Silk" (Triquarterly Books, 2004). Sunday, 26 September at 4:00 pm: The Bowery Poetry Club, 308 Bowery, NYC. Foot of First Street, between Houston & Bleecker. www.bowerypoetry.com I will be reading a few poems from the book. Meena Alexander, distinguished professor of English at Hunter College and the Graduate Center of the City University of New York, is the author of several books of poetry, most recently Illiterate Heart (Northwestern, 2002), winner of a 2002 PEN Open Book Award. Her memoir Fault Lines (Feminist Press, 1993) was one of Publishers Weekly's best books of 1993, and her novel Nampally Road (Mercury House, 1991) was a 1991 Voice Literary Supplement Editor's Choice. ===== Please send future emails to devineni@rattapallax.com for press devineni@dialoguepoetry.org for UN program __________________________________ Do you Yahoo!? Yahoo! Mail - 50x more storage than other providers! http://promotions.yahoo.com/new_mail ========================================================================= Date: Sun, 19 Sep 2004 18:48:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: LA: Writers & Teachers, B&N Westwood MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit WRITERS & TEACHERS, hosted by Catherine Daly Sarah Maclay, author of WHORE, reading with three students, Lynne Thompson, Cathy Sandstrom, and Nita Donovan. Barnes & Noble Westside Pavilion, 10850 W. Pico Blvd. (at Westwood Blvd.) Tues., Sept. 21, 7:30 p.m. (310) 475-4144. free parking + brownies If you are a LA-area teacher of writing (any genre) with a published book, and would like to read, please contact me at cadaly@pacbell.net. ========================================================================= Date: Mon, 20 Sep 2004 00:15:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: more\! MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed more\! more\!" /[y]+/ ( "boiling 1; from print quarks for" { strings without i matters "when /[z]+/ /^$/ out "what covenant your will languagings\!" /[q]+/ nerve" /[t]+/ greater" /[v]+/ resolute )printf empty war impure fighting all" and no "in rhyme" "among /[o]+/ NF; disappearance" "hey wisdom never already freedom at stupid "emptied hell /[n]+/ all "forgetting /[a]+/ hill" "we fury matter /[x]+/ "you that "no we shove "our them given graphemes - demarcations witnesses\!" "%s "the in cunt "i into "cold have final ", upon we'll alphabets time" sing praises remnant "hold blood first lines neither that" injustices soul us my inscriptive /[p]+/ strung-out go spill can can't justices who cut "does city" how there's deeper /[k]+/ "thinking devices "bomb kill /[m]+/ "on are more\!" /[y]+/ ( more\!" "boiling 1; more\!" from print more\!" quarks for" { strings without i matters "when 1; /[z]+/ /^$/ out print "what covenant your will languagings\!" /[q]+/ nerve" more\!" /[t]+/ greater" i /[v]+/ resolute )printf empty war impure fighting all" and matters no "in covenant rhyme" rhyme" more\!" "among /[o]+/ NF; disappearance" matters "hey wisdom fighting /[v]+/ never already freedom at stupid "emptied hell /[n]+/ more\! all "forgetting 1; your /[a]+/ "when hill" "we fury matter greater" /[x]+/ "you strings that "no will "no )printf greater" we shove "our "when them given graphemes - resolute all" demarcations witnesses\!" "%s "our "the stupid in cunt "i /[q]+/ into "cold have impure final covenant ", "%s upon "in we'll alphabets time" sing praises given - demarcations remnant ", "hold blood first all lines into neither that" "boiling injustices soul ", never NF; us without my inscriptive /[t]+/ /[p]+/ more\! strung-out strings ", "our go spill can can't justices who /[t]+/ /[y]+/ "%s cut "does ", /[p]+/ city" how shove that there's )printf deeper /[k]+/ /[q]+/ cut strings inscriptive /[q]+/ "thinking 1; nerve" devices that for" witnesses\!" stupid /[p]+/ empty NF; "bomb lines /[t]+/ "%s kill can justices i "bomb /[m]+/ strung-out without my strung-out { in your justices and lines "on more\!" "bomb my empty are time" "we witnesses\!" "bomb cunt how __ ========================================================================= Date: Mon, 20 Sep 2004 03:04:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: collaborators/pro fascist poets? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit true totally true ========================================================================= Date: Mon, 20 Sep 2004 07:49:46 -0400 Reply-To: ron.silliman@gte.net Sender: UB Poetics discussion group From: Ron Subject: Silliman's Damp Blog Comments: To: WOM-PO , BRITISH-POETS@JISCMAIL.AC.UK, nanders1@swarthmore.edu, new-poetry@wiz.cath.vt.edu MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://ronsilliman.blogspot.com/ RECENT TOPICS: 60 hours in New York Tom Pickard's Dark Months of May The Elder Poem - Robert Duncan's concept of the late epic The Day Book as Ur-Blog: Robert Duncan's plotless prose Forthcoming readings & talks by Ron Silliman: NYC, Philly, Lawrence, KS & SF (& that's just the next three weeks) "Pieces of the past arise out of the rubble." Learning about trade presses the hard way Meeting Robert Duncan What exists & what is available in Robert Duncan's The H.D. Book In search of Robert Hogg Philadelphia Progressive Poetry Calendar Bill Knott's Short Poems -- short poems . not! The Opening of Field -- Robert Duncan's major themes http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 20 Sep 2004 07:13:37 -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: "Rev1" Drops "WMD"!! Quality Political Hip Hop ~ MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Peace All, I'm proud to introduce you to Rev1. He just dropped his debut album "WMD". And with the election coming up, his debut is not a moment to soon. The focal point of the album is an intense resistance to the direction the United States is travelling, in policies and practices both foriegn and domestic. The album's production is clean and the vocals are top notch. CDs and MP3s are available Now at Omnipresent Records. ((Global Love)) ~ Omnipresent Records ~ Website: www.OmnipresentRecords.com E-mail: heart@OmnipresentRecords.com New York, U.S.A. Featured Artists: 9/19/2004 Label Genre Media 'WMD', by Rev1 The first full length offering from Rev1 is a contemporary protest album in the tradition of conscious hip hop pioneers Public Enemy. Myriad Studios Alternative Hip Hop MP3 Download & Cover Retail CD 'FREE Anti-War MP3s!', by Contributing Artists Listen and Download a FREE Anti-War "Mix Tape". Featuring J-Live, 8.bliss, Saul Williams, Paris, and Rev1. Contributing Artists Alternative Hip Hop 'New Trax - 2004', by 8.bliss More Artist: ... Hurricane Angel w/Lord Patch<> <>Free Download: http://omnipresentrecords.com/showcase/artists/artists.php?media_id=8 <>~ THE LATEST 8.BLISS NEWS ~ collabs in UK, France, Sweden, NYC... A New Video.. A "UMA" UK Award Nomination... a few New Trax too.... 8.bliss Hip Hop Poetics http://www.www.OmnipresentRecords.com ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Mon, 20 Sep 2004 08:00:27 -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: POV: art against cultural imperialism MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8; format=flowed Content-Transfer-Encoding: 8bit POV: art against cultural imperialism =============================== Art at War: Revolutionary Art Against Cultural Imperialism by Ewuare Osayande What does it mean to create poetry in a time of war? What does it mean to create any art during a time when the United States, the sole superpower on the planet, is primed to do what Nazi Germany wished it could have done? For one, it means to create at a time when masses of people, guilty of no crime, unless it is a crime to be poor and oppressed, are being slaughtered in the streets, when bombs rain down death daily. It means to create art when life literally hangs in the balance, when so many are relying on others they may never see to insure their survival. We, who reside in the belly of this beast, are those others. In this climate of anger and fear the question becomes: Where are your allegiances? And can we see those allegiances in your art? If you think that you can avoid having an allegiance, taking a side, then you have done so even in your attempt not to. Those that refuse to take sides are giving their power over to those who are in power. And if those who are in power are oppressive, then you, by your silence or loud noise of saying nothingness, showcase your allegiance in clear sight and signal. We live in a time of mass confusion. This confusion has become a commodity created by those in power to keep the public in a state of disarray, for in that state the people cannot organize to bring down the enemy because they don’t know who the real enemy is. Is Bin Laden the enemy? Al Qaeda? Or is it Saddam Hussein? Could it be Bush, Rumsfeld or Cheney? Or maybe the CIA? Or are they all the same? Artists that refuse to inform and help bring clarity in this period of paranoia and state-endorsed frenzy are working on behalf of those that are creating and profiting from the confusion. And to think, they are not even getting paid for it. Before the artist can bring clarity, they first must be clear and too many of us artists are not clear at all. So many of us claim disdain for the mainstream, while we secretly long to be discovered by Hollywood, Broadway or MTV, or any of its colored extensions. And as if to justify our contradictory desires, we got artists confused to the point that they think they are revolutionary, and when asked what makes them or their art revolutionary, their response is that they got to say their political poem on MTV or HBO. The fact is that being granted an opportunity to say your poem on nationwide television does not make you revolutionary. The reason lies in understanding that the very corporations that sponsored your five minutes of fame are the very capitalist institutions that profit from our oppression in the first place! Capitalism doesn’t care if you cry or complain about how bad it is. It will put you on the stage and give you pennies while it takes the millions it earns from your image reproduced in a number of mediums for years to come to the bank, and you will still be on the street ranting on and on about how bad the system is. Capitalism functions to profit. It doesn’t have a heart to be assuaged or made to feel guilt. It has no conscience. It cannot be talked out of its machinations. It functions to exploit. It functions to oppress. The degree you are complicit with it, is the degree that you will be oppressed by it. Given this contradictory position, there is no cultural movement to change our society. Too many are too busy trying to get in, to be seen, to be heard. “Def Poetry Jam” aint revolutionary. It is a show. It is not the bastion of free speech that many folk try to claim either. It is taped and edited. The producers decide what poets will appear and which of the poems they taped them reciting will be aired. It is not as democratic as aspiring artists might want to believe. Those who make the final decisions are making those decisions in the editing room, and their motivation is not social progress. Their primary motivation is to promote the corporation(s) that sponsors the program. We all know that Hip hop got got by the corporate elite awhile ago. Spoken Word is on the take as we speak. We are following hustlers and con-artists that have taken our art and handed it right over to the bourgeoisie. They have handed our culture right into the hands of a few individuals whose main interest is in maximizing profit at the expense of the people. And now we run in after them and call that progress. But what is progress? And for whom? It can’t be for the people when they are still oppressed. It can’t be progress for the people when they are still being locked up in prison at record numbers, when they are still being fired at ever increasing rates, when they are still having their civil, human and natural rights robbed from them right under their eyes. Our oppressors are not scared of us when they see us in these venues. Russell Simmons’s Def Poetry on Broadway is another good example of this. The elites that come to see the show are not coming to have their notion of the world troubled. And the poets who appeared in the Broadway production knew this and responded accordingly as evidenced by the testimony of Staceyann Chin in an article she wrote for Black Issues Book Review (May/April 2004): “The show became everything. I began a quiet that spread from my fingers to my tongue. I worried about what my cannonball of a mouth might do to the show. I stopped saying Bush was a spawn of the Devil. I toned down my lesbian self for the larger, more conservative media audiences.” Def Poetry Jam on Broadway is not the longed-for site of radical discourse. It is a site where elites and their friends come to have a good time. And when they leave, they are not troubled. They are on the cell phone calling their accountant to see how their stocks are doing on Wall Street. Just like whites who pay money out of the surplus of their incomes to watch Chris Rock and Dave Chapelle call them crackers and racists. Their response is not to be angry or even to feel guilt but to giggle. They not scared. They are laughing at them(selves). Why? Cause it is a joke. It’s not supposed to be taken seriously. Only action is taken seriously. It was only when Black folks in Montgomery, Alabama decided to take action and boycott the bus company that they get the change they were seeking. Not singing, praying or pleading but organized action. Boycott. Hit them where it hurts. How many artists are willing to boycott the corporate elite? How many artists are willing to boycott the exploitation of poor women and women and men of color? Those who organized themselves in Montgomery made a conscious decision to boycott the buses, to stay out of the public transportation system. They set up car pools and the like as a functional alternative. How many of us are willing to stay out the studios of the mainstream media? Stop allowing ourselves and our art to be exploited by the cultural imperialists and start to create a true alternative, one that actually resists the superstructure and its enticements. When Amiri Baraka wrote and made public his poem, “Somebody Blew Up America,” he was attacked by the capitalist state. They tried to oust him from his post as Poet Laureate of the state of New Jersey. He wasn’t rewarded by the reactionary forces that perpetuate the oppression he exposes in the poem. He was attacked. Called a liar. Demonized. Although his words and ideas are being validated with each new day as the truth is slowly coming to light. His experience serves as an example for us and should have been a catalyst for us to organize. When will we realize that we do not create art for the applause of our oppressors? As Baraka has stated himself, “It is a new world we want to create, not an endowed chair in the concentration camp.” Yet too many of us are too invested in such endowments and masquerade that desire as wanting to change the world. No, you just want to change your status in the world. But understand this: Most of the world’s singers, actors, dancers, writers, poets and painters aren’t creating art but are working somewhere in a field or a factory, in a plant or on a plantation, or they are in prison or dead in the grave. These people will never be seen on stage, will never record a CD or get a film made, but their voices are as valid as any of ours, if not more so. But due to the economic reality the world is in, due to the fact that the natural resources of their land and their labor has been stolen, they are doomed to a life of servitude and peasantry and slavery. We live a life of extreme luxury when compared to that reality. Our art, if it is to be functional and purposeful in the real world must be accountable to the masses of people who will never have the same opportunity to speak their truth in defiance of those who dominate them. What we do, whether we fight on their behalf or not, is what makes our art relevant or makes us a contradiction as we complain about not getting grants from philanthropic filth, the very corporate and governmental funders that profit from the poverty around the world. Where do you think the surplus comes from? The art that is most needed in a time of war is an art that is revolutionary. An art that recognizes the reality of war for what it is, how it decimates whole peoples, vanquishes hope and rapes them of their capacity to envision a future of possibility, peace and prosperity. We have to fight that. Not enough to call for peace then fail to understand and address why peace is not present as though to simply shout “Peace” is going to make it come. We have to aim our art at the very heart of the beast and shoot! Speak the truth! Expose the emperor’s ugly nakedness so that the people will see that they have the power, not him. That is our purpose when we are clear. Not stuck in some abstraction, nursing some sordid desire to escape. Those artists that use their art not to engage the reality of the present world but to escape it are not aiding but abetting our ability to reach the freedom the world seeks. Their escapist art is like a drug. But even the worst addict will tell you that once the hit has worn off, you realize that you still here and you got to expend all your energy searching for your next hit. You never arrive at nirvana. You are always in search of it. Escapism has no end. The perpetual pathology of apathetic art is pathetic. The people are already being fed a daily diet of escapism and abstraction every time they turn on the TV, the radio, every time they go to the movies. So we need art that will push people out of our collective slumber. Out of our apathy. Out of our sense of powerlessness. We can change our reality only when we are willing to come face to face with it. We have to begin to redefine the world in a way that gives us new vision, new solutions. That requires a revolutionary aesthetic. A revolutionary means of identifying and defining beauty. Not some prosthetic aesthetic – a dangling fake appendage to an imperialist culture that seeks only one purpose – to eat the world whole and all life within it. There is nothing beautiful about the Bush administration. There is no beauty in lies. Whatever is beautiful is what we create by confronting our reality with truth. They say the first casualty of war is the truth. We must resurrect truth with our words and images and defy those that would deny us our voice. Our first effort if we are against war is to get the warmongers out office. To get the ugly white lie out of power. We must create resistance and a new vision of the world that can be made real in our time. That requires organized action. As Angela Davis has written, “Progressive and revolutionary art is inconceivable outside the context of political movements for radical change. … Cultural workers must thus be concerned not only with the creation of progressive art, but must be actively involved in the organization of people’s political movements.” Poetry is not a panacea. It is creative expression first and last. It is what you express that matters. It what you express that makes your poetry, your song, your painting meaningful in the end. In the end, art at its highest desire is in pursuit of a better world. In order for our art to be a part of that process, it must work toward the benefit of the masses, which are oppressed by imperialism, war and poverty. Not the elite few who rule by bombs and lies, guns and pink-slips. What we do on the behalf of the world’s masses is what will last. In the end our art must engage the world as it is, not just to be seen or heard, but to change it for the benefit of the world’s betterment. Ewuare Osayande (www.osayande.org ) is a political activist, poet and author of several books including Black Anti-Ballistic Missives: Resisting War/Resisting Racism. He resides in Philadelphia, PA where he is co-founder of POWER. +++++++++++++++++++++++++++++++ undaground rr x-press p.o. box 42634 philadelphia, pa 19101 undagroundrr@yahoo.com ############################################# this is e-drum, a listserv providing information of interests to black writers and diverse supporters worldwide. e-drum is moderated by kalamu ya salaam (kalamu@aol.com). -___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Mon, 20 Sep 2004 11:27:42 -0400 Reply-To: Mike Kelleher Sender: UB Poetics discussion group From: Mike Kelleher Organization: Just Buffalo Literary Center Subject: JUST BUFFALO E-NEWSLETTER 9-20-04 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit IN THE MARGINS Just Buffalo's new literary column, "In The Margins," premiered in Artvoice last week with a preview of Fall literary events. This week, see the first feature piece on The Poetry Collection at SUNY Buffalo and its new curator, Michael Basinski, as well as a book review by Jim Corbran. ANOTHER WORKSHOP BEGINS THIS WEEK: On Novel Writing, with Linda Lavid 6 Saturdays, September 25, October 2, 9, 23, 30, November 6 10 a.m.-12 p.m. $175, $150 for members 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. Linda Lavid is author of Rented Rooms. Her work has appeared in The Southern Cross Review, Plots With Guns, Wilmington Blues, and Over Coffee. THIS WEEK IN THE HIBISCUS ROOM The Hibiscus Room at Just Buffalo is located at the Tri-Main Center, 2495 Main Street, Ste. 512 Admission to all events is $4, $3 Students/Seniors, $2 Members. Music and Poetry Dan Sicoli and Joe Malvestuto Friday, September 24, 8 p.m. Dan Sicoli is the author of two poetry chapbooks from Pudding House Publications, Pagan Supper (2002) and the allegories (2004). In addition to co-editing local literary magazine Slipstream, his poems have appeared in over 200 litmags, e-zines, anthologies, and poetry audio recordings including Chiron Review, Comet Halley, Dog River Review, Electric Van, 2River, Atomic Petals, All Shook Up: Collected Poems About Elvis, La Bella Figura: A Choice, Sweet Nothings: An Anthology of Rock'n'Roll in Poetry, Italo-American and Italo-Canadian Poets, American Contemporary Headcheese, and Jack Hammer Lobotomy. He has been twice nominated for the Pushcart Prize. Joe Malvestuto has been a musician dating as far back as he can remember and has played in numerous bands in the US and Canada for close to 30 years. Saxophone, keyboards, thumb piano, oboe, and a variety of flutes--are just some of the instruments he plays. Joe says his concentration on music is periodically interrupted by sojourns into writing. Joe is currently involved with two bands: The Jerry Andres Group and Group Therapy. THIS WEEK IN JOYCE CAROLYN'S CORNER BUFFALO CATS Friday, September 24, 8 p.m., Langston Hughes Institute, Center for Cultural History & Arts Education 25 High Street, Buffalo $10, $8 students/seniors, $6 members Just Buffalo proudly presents a celebration of Buffalo-born artists. Nationally and internationally recognized writers, musicians and visual artists born in Buffalo will return to their hometown for this special, one-show-only engagement. Featuring Buffalo fiction writer Gary Earl Ross, saxophonist Reynolds Scott and visual artist James Pappas. CALENDAR CORRECTIONS SPOKE, the print newsletter of Just Buffalo, contained several errors. 1. The October 13 Open Reading, featuring Liz Mariani, begins at 7 p.m., not 8 p.m. All open readings begin at 7. 2. The Music and Poetry event, featuring Dan Sicoli and Joe Malvestuto, takes place on Friday, September 24, at 8 p.m. in the Hibiscus Room at Just Buffalo. 3. Kurt Schneiderman's "Playwriting Basics" runs from 7-9 p.m. We forgot to list the time in SPOKE. FALL READINGS IN THE HIBISCUS ROOM September 24: Dan Sicoli and Joe Malvestuto, music and poetry October 8 or 15: Jimmie Gilliam and Rosemary Starace October 13: Open Reading, hosted by Livio Farallo, featuring Liz Mariani October 22: Balkan Poetry: Ales Debeljak, Ammiel Alcalay, Semezdin Mehmedinovic October 29: Writers Group Reading Series, hosted by Karen Lewis presents: The DCW's. November 10: Open Reading, hosted by Livio Farallo, featuring Alamgir Hashmi November 12: Brendan Lorber, Sasha Steensen Julie Patton December 8: Open Reading, hosted by Livio Farallo December 10: Writers Group Reading Series, hosted by Karen Lewis, Featuring: North Side Writers Group FALL WORLD OF VOICES Residencies: October 21-27: Ales Debeljak November 29- December 3: Frances Richey FALL WORKSHOPS Playwriting Basics, with Kurt Schneiderman 6 Tuesdays, October 5-November 9, 7-9 p.m. $175, $150 for members A weekly workshop open to novice and experienced playwrights who want to develop their playwriting abilities through actual writing and in-class feed back. Bring in new or old work to be read aloud and critiqued by everyone involved in the workshop. Course will include readings from various classic theatre texts and discussion of playwriting structure and theory. You can expect to emerge from this course with some written and workshopped dialogue, and with an introduction to the overall theoretical framework for dramatic writing. Kurt Schneiderman is currently Dramaturg for the Buffalo Ensemble Theatre, the coordinator of the annual new play competition at the Area Playwrights' Performance Series, and Director of the new play, forum Play Readings & Stuff. Named one of "Buffalo's emerging young playwrights" by Gusto Magazine and Buffalo's "next A.R. Gurney" by Artvoice Magazine, Kurt was the winner of the Helen Mintz Award for Best New Play (2003) and was nominated for the Artie Award for Outstanding New Play (2004). Most recently, one of Kurt's plays was chosen for the 2004 Toronto Fringe Festival. Writing For Children and Teenagers, with Harriet K. Feder 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. 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. The Working Writer Seminar, with Kathryn Radeff 3 Sessions Left: October 16, November 13, December 11, 12 p.m.- 4 p.m. Single Session: $50, $40 for members Writing & Selling Short Stories, October 16 Writing Magazine & Newspaper Features: Learn the Methods & Markets, November 13 The Art & Craft of Creative Nonfiction, December 11 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. Poet As Architect, with Marj Hahne One Saturday Session, November 20, 12-5 p.m. $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, we will step outside our familiar poetic homes and build new dwellings (temples and taverns!),mutilizing 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 original writing from this full day of language play and experimentation, and will bring home a fresh eye with which to revisit old poems stuck in the draft stage. Marj Hahne is a poet and teaching artist who has performed and taught extensively around the country. Her work has appeared in Paterson Literary Review, Painted Bride Quarterly, Schuylkill Valley Journal of the Arts, Mad Poets Review, and La Petite Zine. She also has a CD titled notspeak. For more information, or to register, call 832-5400 or download the registration form from our website at www.justbuffalo.org MEMBERSHIP SPECIAL SIGNED, LIMITED EDITION ROBERT CREELEY BROADSIDE AVAILABLE As part of the membership campaign, Just Buffalo is offering a special membership gift to the first fifty people who join at a level of $50 or more. 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 atHarvard 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. COMMUNITY LITERARY EVENTS For details, see the Community Literary Events Menu on our website: http://www.justbuffalo.org/ Medaille College: The Write Thing Reading Series Andrew Zawacki September 23, 8 p.m. The Library at Huber Hall. Wednesdays @ 4 Plus Series at UB Le Sexe Qui Parle III featuring Susan Howe Gender Week Fri., Sept. 24, 2:30, 120 Clemens Hall, UB North Campus Booksigning By Local Poet Joyce Ann Geyer September 24th Friday 2004 7pm to 8:30pm at the Niagara Falls Blvd. Barnes & Noble Book Store in Amherst, NY. Anyone in Buffalo who wishes to have a literary event listed on Just Buffalo's website can send the information to Mike Kelleher at mjk@justbuffalo.org. _______________________________ 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, 20 Sep 2004 11:54:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Killian & Magee at SPT this Fri 9/24 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Traffic presents Kevin Killian & Michael Magee Friday, September 24, 2004 at 7:30 p.m. To designate Kevin Killian a local legend is probably an understatement. As a poet, novelist, critic, playwright, editor, and man about town, Killian is a wonder and a force, devoted to scene and text. His many books include Argento Series and Little Men and he is an editor of both Mirage #4/Periodical and Krupskaya Books. Michael Magee is the editor of Combo and the author of a new book, ms, as well as the online project "My Angie Dickinson." His previous books include Morning Constitutional. He joins us from Rhode Island. Unless otherwise noted, events are $5-10, sliding scale, free to SPT members, and CCA faculty, staff, and students. Unless otherwise noted, our events are presented in Timken Lecture Hall California College of the Arts 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) Elizabeth Treadwell Jackson Executive Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, CA 94107 415.551.9278 http://www.sptraffic.org ========================================================================= Date: Mon, 20 Sep 2004 12:08:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Block Subject: Documents Between Mime-Version: 1.0 (Apple Message framework v613) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed To: Poetics List Please Post Press Inflammatory Lips (San Francisco, CA) is pleased to announce the publication of Documents Between ISBN 0-9761741-0-3 a literary/film/art anthology edited by Elizabeth Block in conjunction with a film/video/literary performance-screening Betweens (co-presented by the San Francisco Cinematheque and Artists' Television Access) Publication release party and exhibition/reading October 15, 2004, 8:00 p.m. Artists' Television Access, SF CA 992 Valencia Street (@21st) www.atasite.org www.sfcinematheque.org for information about the publication, please contact screenblock@earthlink.net Documents Between contributors include: Bill Berkson Elizabeth Block Laynie Browne Warren Burt Diane di Prima Susan Gevirtz Lisa Jarnot Evri Kwong Ken Mikolowski Denise Newman Lucy Reynolds Scott Stark Deborah Stratman William T. Wiley ========================================================================= Date: Mon, 20 Sep 2004 15:42:45 -0700 Reply-To: Layne Russell Sender: UB Poetics discussion group From: Layne Russell Subject: endnote or citation? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I need citation and bibliography software with Word plugin capability and am looking getting Endnote 8.0 and AskSam Citation 8.3. I would appreciate feedback on these two programs or others you think worth looking at. I also am looking for the best source in regards to price (academic discount) - or other availability. :) I am quite computer literate so "ease" is not the most important feature, though easy is nice. :) All suggestions and comments appreciated! Thanks, Layne Russell ========================================================================= Date: Mon, 20 Sep 2004 17:14:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Earth Squawk Acts Mime-Version: 1.0 Content-Type: text/plain; format=flowed bn (disemvoweled bone) beneath coin crystals & those unmissable hums (oe) slave courtesies know pyramid, childish buckshot mouth full large & shakes police tales, little pale sparrows spilled from lunch pails unrolled rivers, highest laugh from the petals into orange poem after the play's fulfilled, mossy quaking amidst bn e.eath coin crystals _________________________________________________________________ On the road to retirement? Check out MSN Life Events for advice on how to get there! http://lifeevents.msn.com/category.aspx?cid=Retirement ========================================================================= Date: Mon, 20 Sep 2004 17:15:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Reddened Push-Through & The Jellyfish Mime-Version: 1.0 Content-Type: text/plain; format=flowed knives, sand, & bone speak in the popular River Room raining filled oceans moving cast their (oceans, knives, sand, & bone) memory borrowed in lilacs, reddened push-through oh dent the speaks of them who darkens jellyfish in favor of knives, sand, & bone _________________________________________________________________ Get ready for school! Find articles, homework help and more in the Back to School Guide! http://special.msn.com/network/04backtoschool.armx ========================================================================= Date: Mon, 20 Sep 2004 15:47:35 -0700 Reply-To: Layne Russell Sender: UB Poetics discussion group From: Layne Russell Subject: Re: endnote or citation? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ha I may be computer literate but.... > I need citation and bibliography software with Word plugin capability and am > looking *at* L ----- Original Message ----- From: "Layne Russell" To: Sent: Monday, September 20, 2004 3:42 PM Subject: endnote or citation? > I need citation and bibliography software with Word plugin capability and am > looking getting Endnote 8.0 and AskSam Citation 8.3. I would appreciate > feedback on these two programs or others you think worth looking at. I also > am looking for the best source in regards to price (academic discount) - or > other availability. :) I am quite computer literate so "ease" is not the > most important feature, though easy is nice. :) > > All suggestions and comments appreciated! > > Thanks, > Layne Russell > > ========================================================================= Date: Mon, 20 Sep 2004 22:58:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: don't ever say i didn't warn you. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed don't ever say i didn't warn you. don't ever say i don't feel the apocalypse internally day after day. the apocalypse is in my bones. the destruction is now. when you are in flames and drowning, remember this. when you hear the sirens, remember this. i warned you and i warned you not to destroy me. you didn't listen and that's why you're where you are today. http://www.asondheim.org/viet.png don't think that is this when this is this. don't think that was the beginning. _ ========================================================================= Date: Mon, 20 Sep 2004 23:13:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: of that of the warning MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed of that of the warning http://www.asondheim.org/war.jpg of the memory of the warning of the current warning noaa of noaa the current warning _ ========================================================================= Date: Tue, 21 Sep 2004 03:27:15 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: The Analogous Series: Simon Pettet Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Analogous Series presents: Simon Pettet http://www.analogous.net/pettet.html * * * Friday September 24, 7:30 PM 45 Carleton St., room 111 Cambridge, MA Simon will talk about James Schuyler's art writings and the concept of "parallel poetry". He will also read some poems and show material from _Talking Pictures_, his collaboration with photographer Rudy Burckhardt * * * Simon Pettet is an English-born poet, long-time resident of New York's Lower East Side. His Selected Poems is still available from Talisman House. He is also the author of two classic collaborations with photographer-filmmaker, Rudy Burckhardt, Conversations About Everything and Talking Pictures. He also compiled and edited The Selected Art Writings of James Schuyler for Black Sparrow. A limited edition, Abundant Treasures (poems accompanying hand-colored drawings by New York artist Duncan Hannah), was recently published by Granary Books * * * The Analogous Series is curated by Tim Peterson (tscotpeterson@hotmail.com) Fall schedule available at http://www.analogous.net/fall2004.html ========================================================================= Date: Tue, 21 Sep 2004 16:38:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Taylor Subject: Poetry Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Celebrate 3 Years of SpiralBridge with The Naked Readings :Poetry:Music:Art:Life:Art:Music:Poetry: This Sunday Sept. 26th 7-10 @ Makeready's Gallery 214 Artspace 214 Glenridge Avenue Montclair, NJ 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: Colleen Lutolf Featured Musician: Jan Loe Paintings by: Antonio Noguiera ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 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 For more info. on The Naked Readings, SpiralBridge or other Northern NJ Metro area community poetry events visit... http://www.spiralbridge.org/events.asp ========================================================================= Date: Tue, 21 Sep 2004 06:24:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lisa jarnot Subject: new Lisa Jarnot CD In-Reply-To: <200409202105.1c9BUA1VK3NZFmR0@bunting> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear Poetics List Folks: I'm just finishing the production of this very interesting CD. Some of you have a copy of the first version of the CD Poems from Ring of Fire. This is a new version remixed with several new tracks. Here is the set list: Because Poem Black Dog Songs Elmslie Blake Pastoral Gang Angles Harpersfield Song Hockey Night in Canada Hound Pastoral The United States of American My Terrorist Notebook Indian Hot Wings Manx Kippers Seal Ode They Suddenly, Last Summer The Eightfold Path O Life Force What in Fire... Ye White Antarctic Birds Tell Me Poem Song of the Chinchilla Sea Lyrics I worked on this project with some musicians out in Queens, New York named Jeremiah Hosea and Oja. Jeremiah plays bass and Oja does the percussion and various sound warps. If you would like a copy of this CD, I will send it to you for $10. no charge for postage. you can also find more info about me and my stuff at www.angelfire.com/poetry/lisajarnot/factory.html thanks, lisa jarnot jarnot@earthlink.net ========================================================================= Date: Tue, 21 Sep 2004 21:14:02 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pam Brown Subject: Re: POETICS Digest- Dear Layne MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello Layne, you asked - >Subject: endnote or citation? >I need citation and bibliography software with >Word plugin capability and am looking getting >Endnote 8.0 and AskSam Citation 8.3. I would >appreciate feedback on these two programs or >others you think worth looking at. I alsoam >looking for the best source in regards to price >(academic discount) I don't know how comparable the costs are but, at Badham Library (Life Sciences library) - at Sydney University where I work, we recommend and use Endnote for all the honours, postgrad, academic clients - it works a treat. (Gawd I can't believe I said 'clients' ! - this, from a poet in real life & everything ) Cheerio from Pam ===== 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: Tue, 21 Sep 2004 07:26:06 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: zuk con...haliburton po... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit i couldn't help but notice ron s. noticing the lack of women in the room....one Afro-A among the obscuranti... it took me some 15 min. to find the phil hall..among the mish-mash of quad... scared..Penelope sd she hated Academia...me i sd i used to love it...but i was scared..lib home of the old asylum... good pay day...for those presenting..$$$$$ from colum etc...old friends relatives lovers..those who'll invite you,,..la meme chose...$$$$ halliburton po.... & thus how many academics does it take to find a elm tree in a bonsai..as many A's spelled a...$$$ plus time squared equal rhyme.... autumn po....return of the repressed...drn... ========================================================================= Date: Tue, 21 Sep 2004 15:27:44 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: what the world needs Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" what the world needs now is detail what the world needs now is procedure what the world needs now is specifics what the world needs now is the moment's spur what the world needs now is any huge project what the world needs now is apostrophes what the world needs now is a new entry what the world needs now is medication what the world needs now is prayer what the world needs now is learning by hundreds what the world needs now is a mental state of some sort what the world needs now is a lot of technical stuff what the world needs now is the anxiety we all felt for a pretty long time what the world needs now is a debate on these issues what the world needs now is the panic room what the world needs now is a "what's wrong with the world" attitude what the world needs now is the success of the space exploration business what the world needs now is a sigh of relief what the world needs now is the three paramount principles what the world needs now is a protocol re-engineering session what the world needs now is 90% of those that form arguments what the world needs now is satiability what the world needs now is the finer points of Esperanto what the world needs now is a protracted, somewhat bothered debate what the world needs now is sweet love what the world needs now is a bunch of juicy, non-spoiler details because what the world needs now is lengthy descriptions except to say this artist had what the world needs now is wordy shit so hopefully what the world needs now is all the inherent properties here and now what the world needs now is guts what the world needs now is fundraising here, but not right now, so bye! what the world needs now is qualitative methods for analysis what the world needs now is the beautiful symbolism of the three temptations that what the world needs now is their approach to solving the subtheme what the world needs now is windage which is usually not an issue what the world needs now is anything fancy what the world needs now is case modding revamped what the world needs now is the fascinating world of UCLA, but in the future what the world needs now is everything I love about it /Karl-Erik Tallmo ________________________________________________________________ KARL-ERIK TALLMO, poet, writer, artist, journalist MAGAZINE: http://art-bin.com ARTWORK, WRITINGS etc.: http://www.nisus.se/tallmo/ ________________________________________________________________ ========================================================================= Date: Tue, 21 Sep 2004 10:13:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Lake Woebegone says Woebegone Bush and Republicans MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit We're Not in Lake Wobegon Anymore By Garrison Keillor August 26, 2004 Something has gone seriously haywire with the Republican Party. Once, it was the party of pragmatic Main Street businessmen in steel-rimmed spectacles who decried profligacy and waste, were devoted to their communities and supported the sort of prosperity that raises all ships. They were good-hearted people who vanquished the gnarlier elements of their party, the paranoid Roosevelt-haters, the flat Earthers and Prohibitionists, the antipapist antiforeigner element. The genial Eisenhower was their man, a genuine American hero of D-Day, who made it OK for reasonable people to vote Republican. He brought the Korean War to a stalemate, produced the Interstate Highway System, declined to rescue the French colonial army in Vietnam, and gave us a period of peace and prosperity, in which (oddly) American arts and letters flourished and higher education burgeoned-and there was a degree of plain decency in the country. Fifties Republicans were giants compared to today's. Richard Nixon was the last Republican leader to feel a Christian obligation toward the poor. In the years between Nixon and Newt Gingrich, the party migrated southward down the Twisting Trail of Rhetoric and sneered at the idea of public service and became the Scourge of Liberalism, the Great Crusade Against the Sixties, the Death Star of Government, a gang of pirates that diverted and fascinated the media by their sheer chutzpah, such as the misty-eyed flag-waving of Ronald Reagan who, while George McGovern flew bombers in World War II, took a pass and made training films in Long Beach. The Nixon moderate vanished like the passenger pigeon, purged by a legion of angry white men who rose to power on pure punk politics. "Bipartisanship is another term of date rape," says Grover Norquist, the Sid Vicious of the GOP. "I don't want to abolish government. I simply want to reduce it to the size where I can drag it into the bathroom and drown it in the bathtub." The boy has Oedipal problems and government is his daddy. The party of Lincoln and Liberty was transmogrified into the party of hairy-backed swamp developers and corporate shills, faith-based economists, fundamentalist bullies with Bibles, Christians of convenience, freelance racists, misanthropic frat boys, shrieking midgets of AM radio, tax cheats, nihilists in golf pants, brownshirts in pinstripes, sweatshop tycoons, hacks, fakirs, aggressive dorks, Lamborghini libertarians, people who believe Neil Armstrong's moonwalk was filmed in Roswell, New Mexico, little honkers out to diminish the rest of us, Newt's evil spawn and their Etch-A-Sketch president, a dull and rigid man suspicious of the free flow of information and of secular institutions, whose philosophy is a jumble of badly sutured body parts trying to walk. Republicans: The No.1 reason the rest of the world thinks we're deaf, dumb and dangerous. Rich ironies abound! Lies pop up like toadstools in the forest! Wild swine crowd round the public trough! Outrageous gerrymandering! Pocket lining on a massive scale! Paid lobbyists sit in committee rooms and write legislation to alleviate the suffering of billionaires! Hypocrisies shine like cat turds in the moonlight! O Mark Twain, where art thou at this hour? Arise and behold the Gilded Age reincarnated gaudier than ever, upholding great wealth as the sure sign of Divine Grace. Here in 2004, George W. Bush is running for reelection on a platform of tragedy-the single greatest failure of national defense in our history, the attacks of 9/11 in which 19 men with box cutters put this nation into a tailspin, a failure the details of which the White House fought to keep secret even as it ran the country into hock up to the hubcaps, thanks to generous tax cuts for the well-fixed, hoping to lead us into a box canyon of debt that will render government impotent, even as we engage in a war against a small country that was undertaken for the president's personal satisfaction but sold to the American public on the basis of brazen misinformation, a war whose purpose is to distract us from an enormous transfer of wealth taking place in this country, flowing upward, and the deception is working beautifully. The concentration of wealth and power in the hands of the few is the death knell of democracy. No republic in the history of humanity has survived this. The election of 2004 will say something about what happens to ours. The omens are not good. Our beloved land has been fogged with fear-fear, the greatest political strategy ever. An ominous silence, distant sirens, a drumbeat of whispered warnings and alarms to keep the public uneasy and silence the opposition. And in a time of vague fear, you can appoint bullet-brained judges, strip the bark off the Constitution, eviscerate federal regulatory agencies, bring public education to a standstill, stupefy the press, lavish gorgeous tax breaks on the rich. There is a stink drifting through this election year. It isn't the Florida recount or the Supreme Court decision. No, it's 9/11 that we keep coming back to. It wasn't the "end of innocence," or a turning point in our history, or a cosmic occurrence, it was an event, a lapse of security. And patriotism shouldn't prevent people from asking hard questions of the man who was purportedly in charge of national security at the time. Whenever I think of those New Yorkers hurrying along Park Place or getting off the No.1 Broadway local, hustling toward their office on the 90th floor, the morning paper under their arms, I think of that non-reader George W. Bush and how he hopes to exploit those people with a little economic uptick, maybe the capture of Osama, cruise to victory in November and proceed to get some serious nation-changing done in his second term. This year, as in the past, Republicans will portray us Democrats as embittered academics, desiccated Unitarians, whacked-out hippies and communards, people who talk to telephone poles, the party of the Deadheads. They will wave enormous flags and wow over and over the footage of firemen in the wreckage of the World Trade Center and bodies being carried out and they will lie about their economic policies with astonishing enthusiasm. The Union is what needs defending this year. Government of Enron and by Halliburton and for the Southern Baptists is not the same as what Lincoln spoke of. This gang of Pithecanthropus Republicanii has humbugged us to death on terrorism and tax cuts for the comfy and school prayer and flag burning and claimed the right to know what books we read and to dump their sewage upstream from the town and clear-cut the forests and gut the IRS and mark up the constitution on behalf of intolerance and promote the corporate takeover of the public airwaves and to hell with anybody who opposes them. This is a great country, and it wasn't made so by angry people. We have a sacred duty to bequeath it to our grandchildren in better shape than however we found it. We have a long way to go and we're not getting any younger. Dante said that the hottest place in Hell is reserved for those who in time of crisis remain neutral, so I have spoken my piece, and thank you, dear reader. It's a beautiful world, rain or shine, and there is more to life than winning. Garrison Keillor is the host and writer of A Prairie Home Companion, now in its 25th year on the air. This adapted excerpted from Keillor's new book, Homegrown Democrat ((c) 2004) is reprinted by arrangement with Viking, a member of Penguin Group (USA) Inc. ========================================================================= Date: Tue, 21 Sep 2004 07:43:52 -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: Word is Bond Open MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Join Hec-1 of the Welfare Poets this Tuesday (and every Tuesday) at Camaradas Bar and Restaurant for the Word is Bond Open Mic Series - 9pm 115th street - 1st avenue in Harlem, NYC Take the 6 train to 116th street head east to 1st Avenue on 116th street $5 ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Tue, 21 Sep 2004 10:13:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Ambit : Journal of Poetry & Poetics v.3 Comments: To: furniturepressdesign@graffiti.net Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 8bit MIME-Version: 1.0 Hi all: Just an update into the third installment of Ambit: I've decided a standard journal (bound [stapled, saddle stitched, sewn, etc.[) was inappropriate for the layout of the third volume, whose theme is loosely based upon, but has a strong adherence to seriality. Instead I'm taking the 12 texts + bios and editorial statement and pressing 13 individual mini-mini chapbooks. I call it the 'autonomous anthology' since each work stands on its own as a 'book' of sorts but is part of a larger working text that is Ambit. 13 mini-minichapbooks sewn packaged in... not sure about details just yet but we should have about 30 copies available on October 7th when we read in NYC with David Kirschenbaum at the ACA gallery for his 'Small Non-NYC Press' gig. All artwork by Sarah Elizabeth Kirby, who will be producing twelve images for each booklet. The contributors are as follows: ed. Christophe Casamassima & Amy King art+++ Sarah Elizabeth Kirby Cynthis Sailers Sheila E. Murphy Laynie Brown Tom Orange Noah Eli Gordon Charles Bernstein Cole Swensen Skip Fox Matthew Klane Monica de la Torre w/ editor serials by Amy King Christophe Casamassima + bios and editorial If you're in NYC get a copy early. If not, I'll send out info about the new v. soon. Christophe Casamassima -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Tue, 21 Sep 2004 10:36:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Re: Ambit : Journal of Poetry & Poetics v.3 Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 8bit MIME-Version: 1.0 corection. my bad with "e"on brown(e). it's always ben an issue of mine. chris Re: The contributors are as follows: Re: Re: ed. Christophe Casamassima & Amy King Re: art+++ Sarah Elizabeth Kirby Re: Re: Cynthis Sailers Re: Sheila E. Murphy Re: Laynie Browne Re: Tom Orange Re: Noah Eli Gordon Re: Charles Bernstein Re: Cole Swensen Re: Skip Fox Re: Matthew Klane Re: Monica de la Torre Re: Re: w/ editor serials by Re: Re: Amy King Re: Christophe Casamassima Re: Re: + Re: Re: bios and editorial Re: Re: If you're in NYC get a copy early. If not, I'll send out info about the new v. soon. Re: Re: Christophe Casamassima Re: -- Re: _______________________________________________ Re: Graffiti.net free e-mail @ www.graffiti.net Re: Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Re: Re: Re: Powered by Outblaze -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Tue, 21 Sep 2004 13:13:42 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: Ambit : Journal of Poetry & Poetics v.3 In-Reply-To: <20040921153700.12F7B14863@ws5-9.us4.outblaze.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII i think you've missed another e that's Tome Orange On Tue, 21 Sep 2004, furniture_ press wrote: > corection. my bad with "e"on brown(e). it's always ben an issue of mine. > > chris > > Re: The contributors are as follows: > Re: > Re: ed. Christophe Casamassima & Amy King > Re: art+++ Sarah Elizabeth Kirby > Re: > Re: Cynthis Sailers > Re: Sheila E. Murphy > Re: Laynie Browne > Re: Tom Orange > Re: Noah Eli Gordon > Re: Charles Bernstein > Re: Cole Swensen > Re: Skip Fox > Re: Matthew Klane > Re: Monica de la Torre > Re: > Re: w/ editor serials by > Re: > Re: Amy King > Re: Christophe Casamassima > Re: > Re: + > Re: > Re: bios and editorial > Re: > Re: If you're in NYC get a copy early. If not, I'll send out info about the new v. soon. > Re: > Re: Christophe Casamassima > Re: -- > Re: _______________________________________________ > Re: Graffiti.net free e-mail @ www.graffiti.net > Re: Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! > Re: > Re: > Re: Powered by Outblaze > > -- > _______________________________________________ > Graffiti.net free e-mail @ www.graffiti.net > Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! > > > Powered by Outblaze > -- --------------------------- Newfoundland Tories put culture in a COMA http://www.donotpadlocktherooms.com/ ========================================================================= Date: Tue, 21 Sep 2004 09:48:50 -0700 Reply-To: Layne Russell Sender: UB Poetics discussion group From: Layne Russell Subject: Re: Defining "Precision" in Iraq MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit excellent and awful I'll add to sites thank you layne russell ----- Original Message ----- From: "Kevin Hehir" To: Sent: Tuesday, September 14, 2004 1:24 PM Subject: Re: Defining "Precision" in Iraq > try here: > > http://www.iraqbodycount.net/ > > ========================================================================= Date: Tue, 21 Sep 2004 10:05:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "D. Ross Priddle" Subject: Vanlist/hatlist/ Comments: To: spidertangle@yahoogroups.com MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII here's a complete list of VAN issues: http://www3.telus.net/van364/Vanlist.htm and here's an almost complete list of HAT issues: http://www3.telus.net/van364/hatlist.htm almost complete because the new issue is not listed: 51. solamito luigino (jmb) sept. 18/04 crag hill ........................ all still available! ........ ..... .. . ========================================================================= Date: Tue, 21 Sep 2004 21:11:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Transatlantic Howl In-Reply-To: <414EF08B.3060802@telus.net> Mime-Version: 1.0 (Apple Message framework v619) Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable FYI: http://arts.internet2.edu/howl.html Transatlantic Howl! A Dedication to Allen Ginsberg Thursday 14 October 2004 2:00 pm EDT (additional times listed below) In this history-making transatlantic poetic happening, celebrating=20 Allen Ginsberg and his epic poem HOWL, poets will perform at venues in=20= London, Paris, and across the United States. These live poetry=20 readings and poetic theatre pieces will be simultaneously streamed=20 across JANET, Renater, and Internet2 advanced networks. Streaming video=20= and audio will allow audiences at each site to not only observe=20 readings on location, but will provide the ability to experience the=20 art of poetry in remote theaters as well. While Transatlantic Howl! A=20= Dedication to Allen Ginsberg is streamed, anyone from Calcutta to=20 Caracas with broadband access will be able to watch the entire poetry=20 reading as it happens. Featured readers include Amiri Baraka, Anne Waldman, Anne Carson, =20 Robert Gl=FCck, Ken Mikolowski, Danny Karlin, Joanne Kyger, Bob=20 Rosenthal, Steven Taylor, Ed Sanders, Joseph Guglielmi, The Allen=20 Ginsberg Greek Chorus, composer and musician Bill Douglas, Stephen=20 Mooney, visual artist Maurice Benayoun, students from London, and=20 surprise special guests. Anne Waldman of Naropa University and=20 Internet2's Ann Doyle will serve as MCs for this event. Universities who are assisting in producing this poetry reading are: =20= University College London; Birkbeck College, University of London;=20 University of Paris VIII; San Francisco State University; University=20 of Colorado, Boulder; University of Michigan; and New Jersey Institute=20= of Technology. Technical support is provided by Ohio State University=20 with additional assistance by Naropa University's Summer Writing=20 Program. If you have any questions about Transatlantic Howl! A Dedication to=20 Allen Ginsberg, contact Ann Doyle , phone (734)=20= 352-7011 or Mary Kite , phone (303) 444-9856. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D For updates on readings, etc. check my current events page: http://albany.edu/~joris/CurrentEvents.html =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Always keep the tempo -- Steve Lacy =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Pierre Joris 244 Elm Street=09 Albany NY 12210 =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/ =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D ========================================================================= Date: Tue, 21 Sep 2004 21:32:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: perhaps for the first time MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed perhaps for the first time http://www.asondheim.org/feetpersec.mp4 and w/ sound and everything http://www.asondheim.org/funnn.mp4 reworking directories on www.asondheim.org. yes we are. _ ========================================================================= Date: Tue, 21 Sep 2004 21:37:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sarah Morgan Subject: Electronic Poetry Center MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit The Electronic Poetry Center welcome suggestions for magazines, presses, and poetry web sites to add to our extensive list of links at http://epc.buffalo.edu/connects/ Please send your suggestions to scmorgan@sas.upenn.edu Thank you, Sarah ========================================================================= Date: Tue, 21 Sep 2004 22:28:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Electronic Poetry Center In-Reply-To: <1095817060.4150d7646b062@webmail.sas.upenn.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Sarah Morgan > Sent: Tuesday, September 21, 2004 8:38 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Electronic Poetry Center > > > The Electronic Poetry Center welcome suggestions for magazines, > presses, and > poetry web sites to add to our extensive list of links at > > http://epc.buffalo.edu/connects/ > > Please send your suggestions to > scmorgan@sas.upenn.edu > > Thank you, > Sarah > ========================================================================= Date: Tue, 21 Sep 2004 22:30:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: e mail search help In-Reply-To: <1095817060.4150d7646b062@webmail.sas.upenn.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit does anyone have emails for; Jena Osman? Rachel Blau Duplessis? Marjorie Perloff? Alice Notley? Kerry Sherin? Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Sarah Morgan > Sent: Tuesday, September 21, 2004 8:38 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Electronic Poetry Center > > > The Electronic Poetry Center welcome suggestions for magazines, > presses, and > poetry web sites to add to our extensive list of links at > > http://epc.buffalo.edu/connects/ > > Please send your suggestions to > scmorgan@sas.upenn.edu > > Thank you, > Sarah > ========================================================================= Date: Tue, 21 Sep 2004 20:37:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Michael Magee and Rodney Koeneke in Oakland, 9/25 - Please forward Mime-Version: 1.0 (Apple Message framework v619) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit For those in the Bay Area this Saturday, I'll be hosting an afternoon of readings and performances by Michael Magee and Rodney Koeneke at my place starting at 4pm. The last time I sent my address out on a public distribution email my mailbox filled up with junk, so if you're interested in coming and haven't been to visit me yet, just reply to this email and I'll send directions. You might want to bring something to nibble on or a drink. --- MICHAEL MAGEE is the author of two books of poetry, MS (Spuyten Duyvil, 2003) and Morning Constitutional (Spencer Books/Handwritten Press, 2001), the online writing project My Angie Dickinson, and Emancipating Pragmatism: Emerson, Jazz, and Experimental Writing (University of Alabama Press, 2004). He edits the poetry journal Combo, as well as the new Combo Books imprint. RODNEY KOENEKE is the author of a book of poems, Rouge State (Pavement Saw, 2003) and the historical study Empires of the Mind: I.A. Richards and BASIC English in China, 1929-1979 (Stanford University Press, 2004). He lives in San Francisco and is a member of the Small Press Traffic board of directors. ========================================================================= Date: Tue, 21 Sep 2004 20:43:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jessica Fisher Subject: Re: Michael Magee and Rodney Koeneke in Oakland, 9/25 - Please forward In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi Taylor, I'd like to come this Saturday and am pretty sure I'd be able to make it. Would you be so good as to send me directions? Thanks a million. Jessica Fisher On 9/21/04 8:37 PM, "Taylor Brady" wrote: > For those in the Bay Area this Saturday, I'll be hosting an afternoon > of readings and performances by Michael Magee and Rodney Koeneke at my > place starting at 4pm. The last time I sent my address out on a public > distribution email my mailbox filled up with junk, so if you're > interested in coming and haven't been to visit me yet, just reply to > this email and I'll send directions. You might want to bring something > to nibble on or a drink. > > --- > MICHAEL MAGEE is the author of two books of poetry, MS (Spuyten Duyvil, > 2003) and Morning Constitutional (Spencer Books/Handwritten Press, > 2001), the online writing project My Angie Dickinson, and Emancipating > Pragmatism: Emerson, Jazz, and Experimental Writing (University of > Alabama Press, 2004). He edits the poetry journal Combo, as well as the > new Combo Books imprint. > > RODNEY KOENEKE is the author of a book of poems, Rouge State (Pavement > Saw, 2003) and the historical study Empires of the Mind: I.A. Richards > and BASIC English in China, 1929-1979 (Stanford University Press, > 2004). He lives in San Francisco and is a member of the Small Press > Traffic board of directors. ========================================================================= Date: Tue, 21 Sep 2004 21:19:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: Michael Magee Goes West MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi All, Michael Magee's hitting the San Francisco Bay Area this weekend like some kind of reverse & vengeful Ivan--come out to see all the fuss: FRIDAY, SEPT. 24 2004 @ 7:30 p.m. Kevin Killian & Michael Magee California College of the Arts 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) $5-$10, free to Small Press Traffic members SATURDAY, SEPT. 25 2004 @ 4 p.m. Rodney Koeneke & Michael Magee Taylor Brady's house, Oakland (email cartograffiti_at_mindspring_dot_com for directions) NOTE: World Premiere of Magee's "Fascist Fairy Tales #6," starring Stephanie Young as Margaret Thatcher & Taylor Brady as the inscrutable "Sphinx" MICHAEL MAGEE is the editor of Combo and the author of a new book, ms, as well as the online project "My Angie Dickinson." His previous books include Morning Constitutional and the new Emancipating Pragmatism: Emerson, Jazz, and Experimental Writing, out this year from University of Alabama Press. To designate KEVIN KILLIAN a local legend is probably an understatement. As a poet, novelist, critic, playwright, editor, and man about town, Killian is a wonder and a force, devoted to scene and text. His many books include Argento Series and Little Men and he is an editor of both Mirage #4/Periodical and Krupskaya Books. RODNEY KOENEKE is the author of two books: Rouge State (Pavement Saw, 2003) and a work of history on I.A. Richards in China. His current manuscript, musee mechanique, reflects the rhythms and terrors of a recent year spent working the gift shop inside San Francisco's Musee Mechanique, a repository of disturbing fin de siecle arcade games. ========================================================================= Date: Wed, 22 Sep 2004 00:23:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: where did Valery say this? MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII I'd be grateful if someone could help me with a source. In _The Visible and the Invisible_, Merleau-Ponty says he's quoting Valery with the following: And in a sense . . . language is everything, since it is the voice of no one, since it is the very voice of the things, the waves, and the forests. (155) Can anyone point me to the Valery source? Thanks. Camille ========================================================================= Date: Wed, 22 Sep 2004 01:17:07 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: autumn.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit fall back sprung .... spy audit webroot apple icon 2:00...for L.Z..."among the goyim"....drn.. ========================================================================= Date: Wed, 22 Sep 2004 01:19:30 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: autumn.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit if not credentials then illusions.... make that a double..dr dr n.... ========================================================================= Date: Wed, 22 Sep 2004 03:51:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: secular jewish poetry MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit too many details actually hello maria nice to see you on video tho i was too far away to actually see you clearly nice hair it seems send me a snapshot __________________________________________________________________ steven donald dalachinsky born 1946 died 2004 age 57 yrs 300&21days 1 bottle of water & 1 1/2 peanut brittle bars ( original Planters) who was that dalachinsky anyway where'd he come from wasn't one of us tho a secular jew just like we attended mental hospital 101 breaking up while breaking down like monk at the key board dealt like a silly man when young too discovered hey whatever happened to kenneth patchen that goy symposium needed symposium needed so who was he anyway? after he washed their feet he said ha & girl girl you're only a girl nina simone knew play me nina simone i says to symphony sid get off the phone kid go home you're stoned play me a stone symphony he says the kid says syd sid sed A AHHHHHHHHHHHHHHHHH a have another straw whyn't ya girl you're the only girl mahler did that too career baptism mahler did that too not proud to be a jew professional conversion assimilate every poet is a jew everyone in n.y. is a jew except the jews except the italians i grew up next to (lenny bruce truly did die for our sins) except the one chinese kid in ps 99 except the few micks we knew except the negro blues guitar player that lived in jonny's garage except everybody else born in n.y. that wasn't (isn't) harlem brownsville my folks' birthplace too sure everyone in n.y. is a jew if they're not from n.y. who's march who is this man w/out qualities? they are my people too...crippled white american jew boy too proud? ashamed? scared? everybody is everybody is i didn't kill your god muscle atheist agnostic a secular religiosity that grips us all all us poets mighty poets what are we? if not that are we really so important? humble/ ? belief/ doubt who are we exiles in our own land what land semilina assimmmmmmilation + ashamed (cool it ) = us periferal chantel ackerman says " i am a film maker who happens to be a lesbian" (a jew?) not a lesbian film maker " funny ya DON'T LOOK JEWISH? i defend her & am called a what was it now a chauvanist (sp?) by the lesbians of course when my mother worked as a file clerk for american express in the early 60's she came home one day and told us that the folks in her office said she was pretty nice for a jew when i was in california once at this zen facility being the first jew this young midwest chick had ever seen she politely asked to see my horns no joke whether she meant it as such or not once ernie the local irish drunk here on spring st now long gone once said to me hey steve you're all right for a jew - dare i say history repeating its self and tommy's cousin a typical, sorry, greaseball, asked me once when i entered his little grocery below my apt hey steve how do ya say chanukah? CHHHHHHHHHHA like spittin on the floor i said yess when i actually should've just spit on the floor ah well they're dead alas and i'm not oh wait i forgot i died last night at the center for jewish history - a good dream brings honor - a dream of a colored woman brings confidence - a dream of creation brings one closer to g-d .... jonah in the whale burping did god really say when jonah in his anger and dismay saw the gentiles repent " THEY ARE MY PEOPLE TOO" so again i put forth the greatest wisdom of the 20th century ?".> "WHY CAN'T WE ALL JUST GET ALONG?""""" monk playing you took the words right out of my heart self-hating self-depricating refusing transforming modality religiosity w/out practicing religion that's us poesie folk non-practicing jews paranoid concerns about jewish survival history repeating itself anti-semitic jews & the rest of em well they try to be p.c. as they can israel most of my american jewish friends say THEY"RE NOT JEWS (ha) jewish/you wish ana pest what is an ana pest cockroach matzo ball kishka kishka so am i a jewish american writer? or an american writer of jewish origin? outrider? is it true that you can take poetry out of the jew but you can't take the jew out of poetry? i raised my hand first...... i was picked last... i felt like an exile in my own land always have > finally looked quotidian up what a let down just an ordinary word w/ an ordinary meaning sittin shiva daily w/a shiv up my arse just a shiverin on the divan davvinin in the closet ( i knew a guy who did that) divin in the honey pot drivin me up a cross i raised my hand first i raised my hand first may i leave the room now? sorry paul but there is a hierachy a lowearchy a profiteer in his own land or any other's is always heard.... after he washed their feet he said ha............................... even tho he was angry he said HA may i leave the room now may i leave the room now hey i'm dead i can do what i want.. dalachinsky 9/22/04 nyc from the great beyond yes there is no god ========================================================================= Date: Wed, 22 Sep 2004 00:50:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: of that of the warning MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit noa noa ========================================================================= Date: Wed, 22 Sep 2004 08:37:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: secular jewish poetry In-Reply-To: <20040922.043431.-76545.46.skyplums@juno.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" hey was that you at the end there with all the little details? that was a fun event last night though i must say publicly that i have never claimed Stein as *only* a Jewish poet. At 3:51 AM -0400 9/22/04, Steve Dalachinksy wrote: >too many details actually > >hello maria nice to see you on video tho i was too far away to actually > see you clearly nice hair it seems send me a snapshot >__________________________________________________________________ > >steven donald dalachinsky born 1946 died 2004 age 57 yrs >300&21days > 1 bottle of water & 1 1/2 >peanut brittle bars > ( >original Planters) > >who was that dalachinsky anyway >where'd he come from >wasn't one of us >tho a secular jew >just like we >attended mental hospital 101 >breaking up while >breaking down >like monk at the key board >dealt like a silly man >when young >too >discovered hey whatever happened to kenneth patchen that goy >symposium needed >symposium needed > >so who was he anyway? > >after he >washed their >feet >he said >ha > >& girl girl you're only a girl > >nina simone knew play me nina simone i says to symphony sid > >get off the phone kid go home you're stoned play me a stone symphony >he says >the kid says syd sid sed A AHHHHHHHHHHHHHHHHH a >have another straw whyn't ya > girl you're the >only girl > >mahler did that too career baptism >mahler did that too not proud to be a jew professional conversion >assimilate >every poet is a jew >everyone in n.y. is a jew >except the jews >except the italians i grew up next to >(lenny bruce truly did die for our sins) >except the one chinese kid in ps 99 >except the few micks we knew >except the negro blues guitar player that lived in jonny's garage >except everybody else born in n.y. that wasn't (isn't) >harlem >brownsville >my folks' birthplace too > >sure everyone in n.y. is a jew >if they're not from n.y. >who's march who is this man w/out qualities? > >they are my people too...crippled white american jew boy too >proud? >ashamed? >scared? >everybody is everybody is i didn't kill your god >muscle >atheist >agnostic >a secular religiosity that grips us all >all us poets mighty poets >what are we? if not that >are we really so important? >humble/ >? >belief/ doubt > who are we exiles in our own >land >what land >semilina >assimmmmmmilation + ashamed (cool it ) = us periferal > >chantel ackerman says " i am a film maker who happens to be a lesbian" >(a jew?) > > not a lesbian film maker " funny ya DON'T LOOK JEWISH? i defend her >& am called a what was it now > a chauvanist (sp?) > by the lesbians of >course > >when my mother worked as a file clerk for american express in the early > 60's she came home one day and told us that the folks in her office >said she was pretty nice for a jew >when i was in california once at this zen facility being the first jew >this young midwest chick had ever seen she politely asked to see my >horns no joke whether she meant it as such or not once ernie the local >irish drunk here on spring st now long gone once said to me hey steve > you're all right for a jew - dare i say history repeating its self >and tommy's cousin a typical, sorry, greaseball, asked me once when i >entered his little grocery below my apt hey steve how do ya say >chanukah? CHHHHHHHHHHA like spittin on the floor i said yess when >i actually should've just spit on the floor ah well they're dead alas >and i'm not oh wait i forgot i died last night at the center for >jewish history - a good dream brings honor - a dream of a colored >woman brings confidence - a dream of creation brings one closer to >g-d .... jonah in the whale burping > >did god really say when jonah in his anger and dismay saw the >gentiles repent > > " THEY ARE MY PEOPLE TOO" > >so again i put forth the greatest wisdom of the 20th century > >?".> "WHY CAN'T WE ALL JUST GET ALONG?""""" > >monk playing you took the words right out of my heart > >self-hating >self-depricating >refusing >transforming modality >religiosity w/out practicing religion >that's us poesie folk >non-practicing jews >paranoid concerns about jewish survival >history repeating itself >anti-semitic jews >& the rest of em well they try to be p.c. as they can >israel >most of my american jewish friends say >THEY"RE NOT JEWS >(ha) jewish/you wish > >ana pest what is an ana pest cockroach matzo ball kishka kishka > >so am i a jewish american writer? >or an american writer of jewish origin? >outrider? > >is it true >that >you can take poetry out of the jew >but you can't take the jew out of poetry? > >i raised my hand first...... i was picked last... >i felt like an exile in my own land >always have >> finally looked quotidian up what a let down >just an ordinary word > >w/ an ordinary meaning >sittin shiva daily w/a shiv up my arse >just a shiverin on the divan >davvinin in the closet ( i knew a guy who did that) >divin in the honey pot >drivin me up a cross > >i raised my hand first >i raised my hand first > >may i leave the room now? > >sorry paul but there is a hierachy >a lowearchy > >a profiteer in his own land or any other's is always heard.... > >after he washed >their feet >he said >ha............................... even tho he was angry he said HA > >may i leave the room now >may i leave the room now > >hey i'm dead i can do what i want.. > > >dalachinsky 9/22/04 nyc from the great beyond yes there is no >god -- ========================================================================= Date: Wed, 22 Sep 2004 08:09:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: """"Ambit : Journal of Poetry & Poetics v.3"""" Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 8bit MIME-Version: 1.0 Apologies all around for those unburdoned by the stress. Here is the line up for Ambit 3 and this time the corrections are (apparently) correct. This does not, by the way, show any disregard to form on my part... Cynthia Sailers Sheila E. Murphy Laynie Browne Tom Orange Noah Eli Gordon Charles Bernstein Cole Swensen Skip Fox Matthew Klane Monica de la Torre w/ editor serials by Amy King Christophe Casamassima + bios and editorial + all art via Sarah Elizabeth Kirby -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Wed, 22 Sep 2004 06:43:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: Re: """"Ambit : Journal of Poetry & Poetics v.3"""" In-Reply-To: <20040922130924.C8E5213F15@ws5-9.us4.outblaze.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit Christophe congrats.. for another great group... kari On Wednesday, September 22, 2004, at 06:09 AM, furniture_ press wrote: > Apologies all around for those unburdoned by the stress. Here is the > line up for Ambit 3 and this time the corrections are (apparently) > correct. This does not, by the way, show any disregard to form on my > part... > > Cynthia Sailers > Sheila E. Murphy > Laynie Browne > Tom Orange > Noah Eli Gordon > Charles Bernstein > Cole Swensen > Skip Fox > Matthew Klane > Monica de la Torre > > w/ editor serials by > > Amy King > Christophe Casamassima > > + > > bios and editorial > > + > > all art via Sarah Elizabeth Kirby > > > > > -- > _______________________________________________ > Graffiti.net free e-mail @ www.graffiti.net > Check out our value-added Premium features, such as a 1 GB mailbox for > just US$9.95 per year! > > > Powered by Outblaze > ========================================================================= Date: Wed, 22 Sep 2004 06:48:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: U B U W E B :: Recent Additions Fall 2004 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii __ U B U W E B __ http://ubu.com Fall 2004 Featured Resources Gertrude Stein's "Geogrpahy and Plays" In an ongoing celebration of the roughly 100th anniversary of Gertrude Stein's Geography and Plays, softpalate (www.softpalate.org) has matched various sound artists (audio artists, performance artists, soundtext artists, composers, radio producers, soundpoets, DJ's, re-mix artists, turntablists, etc.) with texts from Geography and Plays. Included here are the first five plays as realized by Warren Burt, John Wanzel, Students from Bella Vista Elementary School and David Braden, and Fadladder. (MP3) "Artsounds" Rare out-of-print double LP from 1985 of artists' recordings. Includes tracks by Larry Rivers, Marcel Duchamp, Connie Beckley, Cotten/Prince, Minneko Grimmer, Philemona Williamson, Jeff Gordon, Tony McAulay, Jonathan Borofsky, Les Levine, Burton Van Deusen, Tom Wesslemann, Marcy Brafman, Philip Johnson, John Burgee, Italo Scanga, Thomas Lanigan-Schmidt, Bob Gruen, Yura Adams, and Jennifer Bartlett. Includes extensive liner notes. (MP3) Stephen Vitiello "Collaborations and Unreleased MP3s" Stephen Vitiello is a composer of electronic music and media artist. He works in mediums ranging between installation, internet, video, film, dance and music for audio CD. Presented here are rare pieces and collaborations with Pauline Oliveros, Joe McPhee, Tony Conrad, Yasunao Tone and Scanner. People Like Us "Abridged Too Far" (2004) For the first time, UK-based People Like Us (Vicki Bennett) is releasing a new album exclusively online here on UbuWeb. "Abridged Too Far" is a collection of audio work first conceived through experimentation through or on radio. On this new collection, People Like Us continues its pastiche of impressions of popular music from Europe and America from the 1920s thru to 1990s. Vicki Bennett's work is an examination of the affect of hearing well known tunes and lyrics in fragments, then putting those elements to play-- resonating, intermingling and recombining with the listeners own associations and shards of memories. Full-color downloadable artwork and liner notes are available. "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. Stan Brakhage "The Brakhage Lectures" (1972) Unavailable writings by filmmaker Stan Brakhage (1933-2003) who gave these lectures as a credit course at the School of the Art Institute of Chicago during the fall and early winter of 1970-71. Extended essays on George Méliès, David Wark Griffith, Carl Theodore Dreyer, and Sergei Eisenstein. The original program included screenings of forty-three films by Méliès, Griffith, Dreyer, Eisenstein, Cocteau and Edwin Porter. Includes an introduction by Robert Creeley. La Monte Young Marian Zazeela "Selected Writings" (1959-1969) Long out-of-print seminal writings and interviews by Young and Zazeela. First published by Heiner Friedrich in 1969 in an tiny edition. Includes "Notes On The Continuous Periodic Composite Sound Waveform Environment Realizations Of "Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals Ornamental Lightyears Tracery," "Dream House,"Conversation With La Monte Young By Richard Kostelanetz," The Soul Of The Word," "Lecture 1960," and "Poem To Diane." RECENT ADDITIONS :: FALL 2004 --- SOUND --- Airwaves, 1975 (MP3) Andreas Ammer / Ammer/Einheit / Ammer & Console - Various Radio Plays, 1993-2001 (MP3) Art By Telephone, Museum of Contemporary Art, Chicago, 1969 (MP3) Artsounds, 1985 (MP3) Caroline Bergvall - Recent Soundworks (MP3) Christian Bök - E U N O I A, 2001 (MP3) Jonathan Borofsky - The Radical Songbirds of Islam, 1984-87 (MP3) Cornelius Cardew - Memorial Concert, 1985 (MP3) Cornelius Cardew - BBC Radio Documentary (MP3) Louis-Ferdinand Céline - Songs and Readings, 1950s (MP3) Henning Christiansen - Requiem of Art (aus Celtic) (Fluxorum Organum II) (MP3) Dada for Now, 1985 (MP3) Hanne Darboven - Opus 17a, 1996 (MP3) Ed Dorn - Reads from "The North Atlantic Turbine", 1967 (MP3) Abbie Hoffman - Wake Up America!, 1969 (MP3) Jack Kerouac - Old Angel Midnight, read by Clark Coolidge and Michael Gizzi (1994) (MP3) Kuemmerling Trio - Mayer, Roth, Williams (1979) (MP3) Maurice Lemaître - Ouevres Poetiques et Musicales Lettristes, 1950-1971 (MP3) Sébastien Lespinasse - Ursonate and Other Works (2003) (MP3) Max Neuhaus - Electronics and Percussion (1968) (MP3) Max Neuhaus - Radio Net (1977) (MP3) People Like Us - Abridged Too Far, 2004 (MP3) Jane Philbrick - Audio 1998 - 2004 (MP3) Perfo2 - Catalogus Performance Festival (Holland, 1984) (MP3) Nicolas Slonimsky - History Making Premieres (MP3) Jean-Luc Godard - Interview with Serge Daney, French (early 1980s) (MP3) Stephen Vitiello - Various Sound Works (MP3) Robert Whitman - 4 Cinema Pieces (1968) (MP3) Jack Goldstein - Soundworks (1976-1984) (MP3) --- HISTORICAL--- David Antin - "Autobiography" (1967) [PDF] George Brecht - "Chance Imagery" (1966) [PDF] Stan Brakhage - "The Brakhage Lectures" (1972) Dick Higgins - "A Book About Love & Warh & Death, Canto One" (1965) [PDF] Allan Kaprow - "Untitled Essay and other works" (1967) [PDF] Bengt af Klintberg - "The Cursive Scandinavian Slave" (1967) [PDF] Jackson Mac Low - "The Twin Plays: Port-au-Prince & Adams County Illinois" (1966) [PDF] Manifetos from Giorno, Corner, Vostell, Paik, etc. (1966) [PDF] Claes Oldenburg -- "Injun and Other Histories" (1966) [PDF] Luigi Russolo - "The Art of Noise (1913/1967) [PDF] Wolf Vostell - "Berlin and Phenomena" (1966) [PDF] Emmett Williams -- "The Last French-Fried Potato and Other Poems" (1967) [PDF] La Monte Young & Marianne Zazeela - "Selected Writings" (1969) [PDF] "A Zaj Sampler" (1966) [PDF] Cornelius Cardew - "Stockhausen Serves Imperialism" (1974) Salvador Dali - "Conversations with Dali" (1965) Pablo Picasso - "A Picasso Sampler" __ U B U W E B __ http://ubu.com Apologies for cross-postings. Please forward. __________________________________ Do you Yahoo!? Yahoo! Mail - 50x more storage than other providers! http://promotions.yahoo.com/new_mail ========================================================================= Date: Wed, 22 Sep 2004 10:47:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "St. Thomasino" Subject: the Valery source, for Camille Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit 9 For Camille -- That Valery quote comes from the poem "The Pythia" which is, I think, in Charmes. In the poem's final stanza: Honor of Men, HOLY LANGUAGE, Embellished discourse of prophecies, Beautiful chains that trap The god in distracted flesh, Illumination, bounty! Here speaks a Wisdom And resonates that majestic Voice That knows itself when it resounds To be no more the voice of anyone Than of the waves and the woods! It is language itself (understood as a self-enclosed formal system) that gives poetry its magical power! Charm . . . carmen . . . "a magical song." I hope this helps. Merleau-Ponty may be paraphrasing. Gregory Gregory Vincent St. Thomasino http://www.eratiopostmodernpoetry.com 9 ========================================================================= Date: Wed, 22 Sep 2004 10:13:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: LA: the smell reading series Sunday, Sept 26 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Franklin Bruno is a poet, musician and philosopher. He is the author of MF/MA, a book of poetry published by Seeing Eye Books. Other work by Bruno appears in Rhizome, The Hat, LA Weekly and The Village Voice. He has released several albums, both as a member of the indie-rock trio Nothing Painted Blue and as a solo artist, including Kiss Without Makeup and A Cat May Look at a Queen. His blog is konvolut m. Ara Shirinyan is a poet, musician and publisher. His writing, which experiments with constraints and text generated through software, has appeared in Word Ways: The Journal of Recreational Linguistics and What Our Speech Disrupts: Feminism and Creative Writing. Ara's press, Make Now, has most recently published Family Archaeology by Ian Monk; he also publishes chapbooks with Umbrellad Devil press. His band, Godzik Pink, has released two records on Kill All Rock Stars, & his new band is The Sound of the Soil. Brent Cunningham was born in Wisconsin and grew up in North Carolina, then Northern California, then Southern California. Since 1999 he has worked for Small Press Distribution in Berkeley. He serves on the board of Small Press Traffic, where he has helped curate the Poets Theater Jamboree. His poetry, fiction, plays and reviews have appeared in Radical Society, Chain, Rain Taxi, 580 Split, and Kenning. Currently he is at work on a novel and a collection of stories. Julien Poirier is a poet. He helped kick-start and edit the poetry journal 6x6, and is now a co-editor of New York Nights, a free newspaper against the War. He is the author of Flying Over the Fence With Amadou Diallo (Ugly Duckling Presse 2000), The Rub (UDP 2001), and Ours, Yours (Loudmouth Collective, 2001). His poetry has also appeared in Weigh Station, Old Gold, and Lungfull! Julien has taught poetry for many years in the public schools of New York City. So, we are bi- or tri- coastal this month. Come visit! The event will be from 5:30 to 8:00 this time. the smell -- entrance off the alley *west* of Main St. -- http://www.thesmell.org http://smelllastsunday.blogspot.com 247 South Main Los Angeles, CA curators: Stan Apps and Ara Shirinyan ========================================================================= Date: Wed, 22 Sep 2004 13:52:10 -0400 Reply-To: Geoffrey Gatza Sender: UB Poetics discussion group From: Geoffrey Gatza Organization: BlazeVOX [books] Subject: ANDREW ZAWACKI @ Medaille College Thursday Comments: To: UB Core Poetics Poetics Seminar MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ******* Medaille College presents ANDREW ZAWACKI 8 p.m. Thursday Lecture Hall, Main Hall Free and open to the public Zawacki, co-editor of Verse and author of By Reason of Breakings and Anabranch (Wesleyan); editor of Slovenian poetry anthology=20 by White Pine Press. Write Thing Reading Series Medaille College Humanities Dept. Info: Ethan Paquin, 884-3411 x 152 ========================================================================= Date: Wed, 22 Sep 2004 14:26:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: secular jewish poetry In-Reply-To: <20040922.043431.-76545.46.skyplums@juno.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed I've also been asked to show my horns as well as my second navel - Alan recent http://www.asondheim.org/ WVU 2004 projects http://www.as.wvu.edu/clcold/sondheim/files/ recent related to WVU http://www.as.wvu.edu:8000/clc/Members/sondheim Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm partial mirror at http://www.anu.edu.au/english/internet_txt ========================================================================= Date: Wed, 22 Sep 2004 13:29:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: secular jewish poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit You read the book on Moses' horns? -Joel ----- Original Message ----- From: "Alan Sondheim" To: Sent: Wednesday, September 22, 2004 11:26 AM Subject: Re: secular jewish poetry > I've also been asked to show my horns as well as my second navel - Alan > > > recent http://www.asondheim.org/ > WVU 2004 projects http://www.as.wvu.edu/clcold/sondheim/files/ > recent related to WVU http://www.as.wvu.edu:8000/clc/Members/sondheim > Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm > partial mirror at http://www.anu.edu.au/english/internet_txt > ========================================================================= Date: Wed, 22 Sep 2004 14:15:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rusty Morrison Subject: Pre-publication discount reminder: available until Sept 30 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Dear Friends of Omnidawn, Our pre-publication offer is available through September 30, 2004 (postmark deadline). Thanks to everyone who has ordered our 2004 books, which will be released in October. We will be sending out books soon! The titles are: Devin Johnston's AVERSIONS & Martha Ronk's IN A LANDSCAPE OF HAVING TO REPEAT & Keith Waldrop's THE REAL SUBJECT, QUERIES AND CONJECTURES OF JACOB DELAFON, WITH SAMPLE POEMS. Normally $14.95 each, they are available now for $11.95 each (a savings of $3.00). Or you can order all three for $29.95 (a total savings of $14.90). Or combination of three for $29.95. These prices INCLUDE shipping, handling, and sales tax, if applicable, for an even larger savings. Please make checks payable to Omnidawn, and specify TITLE(S) AND NUMBER OF BOOKS in your order, and WHERE to send the books. Our address is Omnidawn, 1632 Elm Ave., Richmond, CA 94805-1614 Here is some information about each book: About Devin Johnston's AVERSIONS, Susan Howe comments that these poems are "uncannily precise responses of an exacting lyric consciousness to the quotidian facts of experience. Accurate, supernatural, unexpected turns connect without connectives, as if by telepathic electricity." Michael O'Brien writes that these poems "devote themselves to making distinctions. They take great care with cadence and music, but their art is, by conviction, unobtrusive.... convincing, full of regard for the world." **************************** About Martha Ronk's IN A LANDSCAPE OF HAVING TO REPEAT: Ann Lauterbach comments that this poet "writes across, and through, the invisible boundaries that condition our lives: past and present, dream and waking, intimacy and estrangement." Bin Ramke writes that "[i]t is not so much Martha Ronk's voice as her vision which has become so necessary insistent, persistent, passionate, engaging simultaneously the familiar and the new." ************************ About Keith Waldrop's THE REAL SUBJECT, QUERIES AND CONJECTURES OF JACOB DELAFON, WITH SAMPLE POEMS, Robert Kelly writes "Waldrop's character, though named for a famous French supplier of sanitary fixtures, seems tenderly American, readily taken aback by ideas, a pilgrim of the literal." Ben Marcus comments "a brilliantly sidewinding embrace of uncertainty, a pulpit for arcane knowledge, and a cleverly constructed language filter that keeps out everything but beauty and strangeness." Marjorie Welish writes "Waldrop's poetic ear is as perfect as can be, his rhetoric as thoughtful as possible, romantic ironies evanesce." ******** For more information, please see www.omnidawn.com. ========================================================================= Date: Wed, 22 Sep 2004 17:44:48 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: "patrick@proximate.org" Subject: This Saturday! Patrick Herron & Elizabeth Reddin @ La Tazza (Phila PA) Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Saturday September 25 hassen presents Patrick Herron & Elizabeth Reddin La Tazza 108 Chestnut St. 7pm cocktail hour Readings @ 8 sharp Patrick Herron was born and raised in Philly, eighteen years. He's been in North Carolina for the other five and ten. He's about to launch closequarterly.org (http://closequarterly.org/) this fall. Two books of his are coming out in the next year, including _The American Godwar Complex_ (BlazeVOX). Gateway Songbooks recently printed a chap of his called _Three Poems_. Patrick once had a ventriloquist doll named Lester (http://lesters.blogspot.com/) but it skipped town on him. Elizabeth Reddin is a writer who lives in Brooklyn. She has been performing her work in NY since 1998. She is the organizer of the reading series "Long Poems at the Parkside", and has been recording (and will be distributing) the works of Bernadette Mayer & Lewis Warsh this fall on her record label, Deerhead records. Reddin co-edits, along with Elizabeth Bethea, Destinies, a magazine. ________________________________________________________________ Sent via the WebMail system at proximate.org ========================================================================= Date: Wed, 22 Sep 2004 16:55:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: As I Am To Tell You Mime-Version: 1.0 Content-Type: text/plain; format=flowed steal smiles from whales why not I've written everything else what will their juices have for dessert? why not I've asked everything else wondered about everything else, I should say... in THIS poem, America's enemies are sewn into the emerging giraffes, & who would want to hurt a giraffe? not even the folks who club baby seals would lay a finger on a giraffe Swinburne would have, gleefully, but no one's seen him for a while, I've read he's dead _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Wed, 22 Sep 2004 20:56:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fulcrum Annual Organization: Fulcrum Annual Subject: FULCRUM 3 KGB Bar Launch in NYC Sept. 25 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Celebrating the publication of Fulcrum 3 Sat. Sept. 25 at 6-9 p.m. KGB Bar, 85 East 4th St (betw. 2nd & 3rd Aves.), NYC Landis Everson, Glyn Maxwell, Katia Kapovich, Ben Mazer, Philip Nikolayev, Mark Lamoureux, John Hennessy Landis Everson was an inner member of the Berkeley Renaissance of the late 1940s, the fourth intimate of the famed Spicer-Duncan-Blaser circle. To Jack Spicer he was a myth and a god. To Robert Duncan he was the Poet King. John Ashbery admired his poetry in New York in the early 1950s, and published selections in Locus Solus in 1962 (Everson's last appearance in print until now!). In 1960 Everson participated in a pivotal three-person weekly Sunday poetry group with Spicer and Blaser in San Francisco. While Spicer was writing Homage to Creeley, Everson was composing Postcard from Eden and The Little Ghosts I Played With, two great sequences which now appear in print for the first time in Fulcrum 3, in The Berkeley Renaissance, edited by Ben Mazer. Fulcrum is proud to present Landis Everson's first public appearances in over forty years. John Hennessy's poems have recently appeared or are forthcoming in Fulcrum, The Sewanee Review, Salt, The Yale Review, LIT, and Ontario Review. He teaches at UMass Amherst. Katia Kapovich's collection of English language poetry is Gogol in Rome (Salt, 2004). She is also a well-known Russian poet. Mark Lamoureux's chapbooks are CITY/TEMPLE (Ugly Ducking Presse, 2003) and 29 CHEESEBURGERS (Pressed Wafer, 2004). Glyn Maxwell, born in Hertfordshire, England, now lives in NY City. His several books of poetry include The Breakage and The Nerve (both Houghton Mifflin). He is the poetry editor of The New Republic and teaches at Princeton and Columbia. Ben Mazer's chapbook selection of poetry, with cover art by Mary Fabilli, is forthcoming from Fulcrum this fall. He is the editor of The Berkeley Renaissance (Fulcrum, 2004) and The Collected Poems of John Crowe Ransom (Handsel, 2005). Philip Nikolayev's latest book of poetry is Monkey Time, 2001 Verse Prize winner. His new collection is forthcoming from Salt. Fulcrum: an annual of poetry and aesthetics, Number Three, 2004, edited by Philip Nikolayev and Katia Kapovich. 510 pp., perfectbound. Publication date: September 21 FULCRUM 3: SPECIAL FEATURES An Anthology of the Berkeley Renaissance, edited by Ben Mazer, featuring work by Mary Fabilli, Jack Spicer, Robin Blaser, Robert Duncan, Charles Olson, Landis Everson, plus artwork & photos We Who Live in Darkness: Poems from New Zealand by 21 Leading Poets, edited by Gregory O'Brien Fulcrum Debate: Joan Houlihan and Chris Stroffolino Artwork by Konstantin Simun CONTRIBUTIONS by Bill Berkson, David Baratier, Alison Croggon, Fred D'Aguiar, Arjen Duinker, Michael Farrell, Annie Finch, Edwin Frank, Peter Gizzi, Joe Green, Jeffrey Harrison, John Hennessy, Bruce Holsapple, Joan Houlihan, Coral Hull, Kabir, David Kennedy, John Kinsella, Mark Lamoureux, Glyn Maxwell, Ben Mazer, Andrew McCord, Richard McKane, Ange Mlinko, Richard Murphy, Vivek Narayanan, Gregory O'Brien, Fan Ogilvie, Simon Perchik, Mai Van Phan, Peter Richards, Michael Rothenberg, Tomaz Salamun, Don Share, Chris Stroffolino, Jeet Thayil, Mark Weiss, Harriet Zinnes, and many others. SUBSCRIPTION rates in the US are $15 per issue for individuals, $30 for institutions. International subscriptions are $20 and $40 per issue, respectively. (Add $5/copy for international airmail.) Send check or money order drawn in US currency and payable to Fulcrum Annual to Fulcrum, 334 Harvard Street, Suite D-2, Cambridge, MA 02139. PREORDER Fulcrum 3 now! Fulcrum 2 sold out in 2 months and is reviewed in Jacket at http://jacketmagazine.com/25/kam-fulcr.html Philip Nikolayev & Katia Kapovich, eds. Fulcrum: an annual of poetry and aesthetics 334 Harvard Street, Suite D-2 Cambridge, MA 02139, USA phone 617-864-7874 e-mail editor@fulcrumpoetry.com ========================================================================= Date: Wed, 22 Sep 2004 21:17:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: my movie beginning MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed my movie beginning ! "# $% &' () *+ ,- ./ 01 23 45 67 89 :; <= >? @A BC DE FG HI JK LM NO PQ RS TU VW XY Z[ \] ^_ `a bc de fg hi jk lm no pq rs tu vw xy z{ |} ~DT ! "# $% &' () *+ , ./ 01 23 45 67 89 :; <= >? @A BC DE FG HI JK LM NO PQ RS TU VW XY Z[ \] ^ Tstsz-z #< p? @A BC DE FG HI JK LM NO PQ RS TU VW XY Z[ \] ^stsz@r0iK#]+K,/.:4$<$ !y+#7$5k12'(/!,\.:Q2( Az42,(!Z\'0 *.U.V/89~0:J]ikEM'J9)_D"_bI V/Vw K'?W. T $:> y !O\~ http://www.asondheim.org/crimescene.mp4 oh well this was the best part anyway __ ========================================================================= Date: Thu, 23 Sep 2004 03:33:07 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: secretly simulated view of the day Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" results of search "secretly" secretly discovered viruses our mission is to foster an understanding of secretly extinguished species website for the secretly deceased this secretly posted area offers you one place to find all of our headlined content secretly simulated view of the day secretly published medical articles on post-polio syndrome texts of secretly deposited multilateral treaties, in chronological order selection of secretly stolen works of art on some secretly discovered manuscripts of Thomas Milles at Dpt of Actuarial Sciences, University of Edinburgh "I've secretly hoisted an antenna high upon my roof, since i'm bored" fellowships for secretly tenured scholars. Amount: $75,000 the 120g unit is quite petite and comparable with the Germanium x43 that we reviewed secretly 6. the secretly solved mystery of "Who murdered Bertha Mosely?" secretly discovered near-earth asteroid makes record-breaking approach to earth orbit diagram showing the trajectory secretly revealed far from sunlight, sulfur secretly promotes strange life forms in 1977 geologists secretly explored fractures in the ocean floor /Karl-Erik Tallmo ________________________________________________________________ KARL-ERIK TALLMO, poet, writer, artist, journalist MAGAZINE: http://art-bin.com ARTWORK, WRITINGS etc.: http://www.nisus.se/tallmo/ ________________________________________________________________ ========================================================================= Date: Thu, 23 Sep 2004 03:00:37 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: What would America be like? Hmmm. Comments: To: ImitaPo MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://www.juancole.com/2004_09_01_juancole_archive.html#109582366638394 688 Not that I want to give the Republicans any new ideas.... ========================================================================= Date: Thu, 23 Sep 2004 02:49:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: secular jewish poetry MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit yes that was me and then that piece came that night i was cut off cause everyone in the room asked alot of routine silly questions and time ran out and my "wit" preceeeded my points and question anyway no where did i hear truly where god figured in if at all secular and god are not mutually exclusive tho doubting thomas that i am doubt all so seriously i could hard ly see you i was in back so send me a snapshot oops didn't realise this was goin out over list too lazy to do it over hi everyone the jewish cowboy said yiddish was spoken in my house like raisins sprinkled thru raisin bread stein to stien a good german name a poet who happened to be jewish lesbian w/ characteristics of ..... well as i stated akerman said it best i am what i am tho i happen to be the other too ========================================================================= Date: Thu, 23 Sep 2004 03:32:16 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: autumn.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit dark green dream of red rose thrust weed vine twine potted plant buddhaed ant deck chair fluxed there small wrld 1/2 moon twirl lori's screen seen by scene love's fallen unswept garden.... mind down/prick up....at dawn...drn... ========================================================================= Date: Thu, 23 Sep 2004 10:30:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: SEGUE READING SERIES, OCT 04-JAN 05 Mime-Version: 1.0 Content-Type: text/plain; format=flowed SEGUE READING SERIES @ BOWERY POETRY CLUB Saturdays: 4:00 - 6:00 PM 308 BOWERY, just north of Houston, New York City $5 admission goes to support the readers The Segue Reading Series is made possible by the support of The Segue Foundation. For more information, please visit www.segue.org/calendar, http://bowerypoetry.com/midsection.htm or call (212) 614-0505. These events are made possible in part, with public funds from The New York State Council on the Arts, a state agencyCurators: Oct.-Nov. Nada Gordon & Gary Sullivan, Dec.-Jan. Dan Machlin & Mónica de la Torre. OCTOBER OCTOBER 2 CHARLES BERNSTEIN and CAROLEE SCHNEEMANN Charles Bernstein's The Sophist has just been reissued by Salt Publishing, with an introduction by Ron Silliman. Controlling Interests was reissued last Spring by Roof Books. Bernstein teaches at the Univ. of Pennsylvania. His author page is at http://epc.buffalo.edu. Carolee Schneemann is a multidisciplinary artist who has transformed the very definition of art, especially with regard to integrations of the body, sexuality and technology. Her video, film, painting, photography, performance art and installation works have been widely shown in the United States and Europe. In 2002, the MIT Press published Imaging Her Erotics – Essays, Interviews, Projects. OCTOBER 9 and 10 SALLY SILVERS and JEN ABRAMS present TALKTALKWALKWALK TalkTalkWalkWalk is a two-day festival of poetry/dance running the gamut from shot-gun group weddings to long-term collaborations. Poets participating include Bob Perelman, Carol Mirakove, Edwin Torres, Sherry Brennan, Michael Scharf, Fiona Templeton, Bruce Andrews, Gilbert Adair, Abigail Child, Monica de la Torre, Rob Fitterman, Kim Rosenfield, Adeena Karisick and many more + a score of dancers. Check www.bowerypoetry.com for complete listings. $7/day, 4pm–7pm. OCTOBER 16 BENJAMIN FRIEDLANDER and SAWAKO NAKAYASU Benjamin Friedlander's Simulcast: Four Experiments in Criticism was published this year by Univ. of Alabama Press. The Missing Occasion of Saying Yes: Poems 1984-1994 is in production with Subpress Collective. Krupskaya Press brought out A Knot Is Not a Tangle in 2000. He teaches Poetics and American Studies at the Univ. of Maine. Sawako Nakayasu writes poetry, prose, and performance text, and translates poetry from Japanese to English. Her first book, So we have been given time Or, was selected for the 2003 Verse Prize and will be published in 2004. Other works include Clutch (Tinfish chapbook, 2002), Balconic (Duration e-book, 2003) and Nothing fictional but accuracy or arrangement (she (e-Faux, 2003). She edits Factorial Press and the translation section for HOW2, and can be contacted at sawako@gmail.com. OCTOBER 23 MITCH HIGHFILL and LORI LUBESKI Mitch Highfill's books include Koenig's Sphere, Turn, The Blue Dahlia and Liquid Affairs. He has edited the Poetry Project Newsletter and, prior to that, Red Weather. Lori Lubeski is the author of Dissuasion Crowds the Slow Worker, Sweet Land and Stamina. Forthcoming books include Monopoly and Has the River of the Body Risen. Recent poems have been published in Carve magazine and Art New England. She lives in Boston and teaches at Boston University and Curry College. OCTOBER 30 HASSEN and DAVID LARSEN Hassen lives & writes in the Philadelphia area. Poems have appeared in Skanky Possum, Nedge, One Hundred Days, and the audio magazine Frequency. David Larsen was born in 1970, and for the past 15 years has made his home in San Francisco's Bay Area. His recent self-published titles include Skips 'n' Scrips, Kept Back, Freaky If You Got This Far, and advance copies of the acclaimed chapbook Syrup Hits (Kenning, 2005) will be available at Segue. His many interests include cavemen. NOVEMBER NOVEMBER 6 RODNEY KOENEKE and SHARON MESMER Rodney Koeneke is the author of Rouge State, winner of the 2002 Transcontinental Poetry Award from Pavement Saw Press, and a book of history on I.A. Richards in China. A new mini-chap, On the Clamways, is just out from Sea.Lamb.Press. His recent poems draw on the rhythms and terrors of a year spent working at a gift shop inside San Francisco's Musée Mechanique, a collection of antique arcade games on Fisherman's Wharf. Sharon Mesmer, the recipient of a 1999 NYFA fellowship, teaches literature and fiction writing at the New School. She is the author of Half Angel, Half Lunch (poems, Hard Press, 1998), and The Empty Quarter (stories, Hanging Loose, 2000). NOVEMBER 13 JORDAN DAVIS and STEPHANIE YOUNG Jordan Davis is host of The Million Poems Show. He reviews for constantcritic.com and the Village Voice, and his poems are forthcoming in the Boston Review, Chicago Review, and American Letters and Commentary. Stephanie Young lives in Oakland. Her writing and poems have most recently been in Combo, Suspect Thoughts, Score 19 and Cypress Magazine. Look for Stephanie's first collection of poems in 2005 from Tougher Disguises Press, and the culmination of her current editing project, a collection of Bay Area poetry and poetics to be published by Faux Press. You can find her online at: stephanieyoung.durationpress.com. NOVEMBER 20 ALICIA ASKENASE and TOM MANDEL Alicia Askenase is the author of the chapbooks The Luxury of Pathos (Texture Press) and most recently, Shirley Shirley (sona books). Her poetry has appeared in such journals as The World, Kiosk, 6ix, Feminist Studies, Rooms, Chain, 5_Trope, and sonaweb, as well as the anthologies 100 Days and 25 Women's Perspectives. Her work will also appear in a forthcoming PhillySound anthology. Tom Mandel's many books include Realism, 4 Strange Books and The Prospect of Release. “Realism is one of the most extraordinary collections of poetry to have come my way during my lifetime.” --Harry Mathews NOVEMBER 27 NO READING — happy holiday! DECEMBER DECEMBER 4 FRANCES RICHARD and LYTLE SHAW Frances Richard's first book of poems, See Through, was published by Four Way Books in 2003. She is an editor at the art and culture magazine Cabinet, a founding editor of Fence magazine, and writes frequently about contemporary art. She teaches at Barnard College, and lives in Brooklyn. Lytle Shaw's books of poetry include Cable Factory 20 (Atelos, 1999) The Lobe (Roof, 2002) as well as UbuWeb's recent reissues of his earlier works, Principles of the Emeryville Shellmound and Low Level Bureaucratic Structures: A Novel. Shaw teaches literature at NYU and curates the Line Reading Series at The Drawing Center. DECEMBER 11 JEREMY SIGLER and CRAIG DWORKIN Jeremy Sigler is the author of two books of poetry: Mallet Eyes (2000), and To and To (1998), both published by Left Hand Books, a press founded by the late Fluxus artist/publisher Dick Higgins. Sigler is assistant New York editor of the international art journal, Parkett, and he is currently teaching in the art department at Yale, as well as at Maryland Institute College of Art. Born in Baltimore, Sigler currently lives in Brooklyn, where he is completing his third collection of poems. Craig Dworkin is the author of the chapbooks Signature-Effects (Ghos-ti), Smokes (/Ubu), and Dure (Cuneiform). He edits Eclipse (english.utah.edu/eclipse) and The UbuWeb Anthology of Conceptual Writing (ubu.com/concept). Two books, Strand (Roof) and Parse (Atelos), are forthcoming in 2005. DECEMBER 18 JESSE SELDESS and JENA OSMAN Jesse Seldess lives in Chicago, where he edits Antennae magazine, co-curates the Discrete Reading Series (www.lavamatic.com/discrete) and works in social services for the elderly. Recent poems have appeared or are soon to appear in Crayon, Conundrum, Kiosk, Traverse, Kenning, and First Intensity. Jesse's chapbook, Who Opens, was recently printed by Milwaukee's Bronze Skull Press. Jena Osman's most recent book of poetry is An Essay in Asterisks, published by Roof Books. Her previous book The Character was published by Beacon Press. She co-edits the journal Chain with Juliana Spahr and directs the Creative Writing Program at Temple University. DECEMBER 25 NO READING — happy holiday! JANUARY JANUARY 1 NO READING — happy holiday! JANUARY 8 JEN BERVIN and COLE SWENSEN Poet and visual artist Jen Bervin is the author of numerous artist’s books and two books of poetry: Nets, a book of poems written within Shakespeare’s sonnets (Ugly Duckling Presse) and Under What Is Not Under (Potes & Poets). Her poems, art, and cross-genre work have appeared in Aufgabe, Chain, Web Conjunctions, Denver Quarterly, Fell Swoop, Five Finger Review, How2, Insurance, Jubilat and St. Mark’s Poetry Project Online. She teaches at NYU and Pratt. Cole Swensen's latest book is Goest (Alice James 2004). Her poetry has won a Pushcart Prize, the Iowa Poetry Prize, the New American Writing Award, and the National Poetry Series, and her translations have won a PEN West award and grants from the Fondation Beaumarchais and the French Bureau du Livre. JANUARY 15 MIKE KELLEHER and CHRISTIAN BOK Mike Kelleher lives in Buffalo, where he works as Artistic Director for Just Buffalo Literary Center. He has published four chapbooks: To Be Sung, (Blazevox), Cuba (Phylum), Bacchanalia (Quinella) and The Necessary Elephant (Ota Molloy). His poems and essays have appeared in Kiosk, Rampike, Queen St. Quarterly, verdure, murmur, The Transcendental Friend, Lagniappe, ecopoetics and others. Christian Bök is the author of Eunoia (Coach House), a bestselling work of experimental literature, which won the Griffin Prize (2002). Crystallography (Coach House), his first book of poetry, has also earned a nomination for the Gerald Lampert Memorial Award (1995). Bök has created artificial languages for two television shows: Gene Roddenberry’s Earth: Final Conflict and Peter Benchley’s Amazon. Bök has also earned many accolades for his virtuoso performances of sound poetry. He currently teaches at the Univ. of Calgary. JANUARY 22 HEATHER RAMSDELL and CLAUDIA RANKINE Heather Ramsdell is the author of Lost Wax (Univ. of Illinois Press, 1998, National Poetry Series). A founding member of the Brooklyn Drama Club she co-created the play The Situation Room which debuted in NYC in 2003. Her writing has appeared in An Anthology of New (American) Poets (Talisman House) and American Poetry: The Next Generation (Carnegie Mellon Univ. Press), and in literary journals including Big Allis, Verse, and Conjunctions. By day, she writes about food in Brooklyn and in Cambridge. Claudia Rankine is the author most recently of Don't Let Me Be Lonely (Graywolf). She teaches in the writing program at the Univ. of Houston. JANUARY 29 SEAN KILLIAN and LAURA MORIARTY Sean Killian, of Manhattan and Catskill, New York, is completing two new collections of poetry. He has studied with Robert Duncan and Jacques Derrida; of his 1999 chapbook, Feint By Feint, Derrida wrote "An immense chance of dialogue, speech, gift, heart-- here, for reception." Laura Moriarty is the author of ten books of poetry. Self-Destruction is just out from Post-Apollo Press. Other recent titles include Nude Memoir (Krupskaya) and The Case (O Books). She has also published a short novel, Cunning (Spuyten Duyvil). Among her awards are a Poetry Center Book Award and Gerbode Foundation Grant. She is currently Acquisition & Marketing Director at Small Press Distribution in Berkeley, CA. _________________________________________________________________ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ========================================================================= Date: Thu, 23 Sep 2004 09:56:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: Re: the Valery source, for Camille MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Thanks a bunch, Gregory! Camille >9 For Camille -- That Valery quote comes from the poem "The Pythia" which is, I think, inCharmes. In the poem's final stanza: Honor of Men, HOLY LANGUAGE, Embellished discourse of prophecies, Beautiful chains that trap The god in distracted flesh, Illumination, bounty! Here speaks a Wisdom And resonates that majestic Voice That knows itself when it resounds To be no more the voice of anyone Than of the waves and the woods! It is language itself (understood as a self-enclosed formal system) that gives poetry its magical power! Charm . . . carmen . . . "a magical song." I hope this helps. Merleau-Ponty may be paraphrasing. Gregory Gregory Vincent St. Thomasino http://www.eratiopostmodernpoetry.com 9 ========================================================================= Date: Thu, 23 Sep 2004 08:14:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Millions Blocked From Voting MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable http://www.truthout.org/docs_04/092304E.shtml ========================================================================= Date: Thu, 23 Sep 2004 11:55:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fulcrum Annual Organization: Fulcrum Annual Subject: Change of Venue for Cambridge Fulcrum Launch Oct. 3 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The Cambridge, MA launch reading for Fulcrum 3 has been moved. Formerly to have taken place at Wordsworth Books, this event will now take place at MIT, Room 6-120, 77 Mass. Ave., Cambridge [directions below]. The time and date of the reading are unchanged: Sunday, Oct. 3 at 5 p.m. Details: Sunday, Oct. 3 at 5 p.m. MIT, Room 6-120, 77 Mass. Ave., Cambridge Landis Everson, Peter Gizzi, Don Share, Katia Kapovich, Ben Mazer, Philip Nikolayev, Fan Ogilvie, Mark Lamoureux, John Hennessy (introduced by Bill Corbett) DIRECTIONS: Enter MIT at main entrance at 77 Mass Ave. and walk to the end of the Infinite Corridor taking your last right. Halfway down there is a foyer on the left and across from it is 6-120. It is one of the easiest rooms to get to on the MIT campus. DON'T MISS THESE 2 OTHER EXCITING FULCRUM 3 LAUNCH EVENTS! - In New York City: Sat. Sept. 25 at 6-9 p.m. KGB Bar, 85 East 4th St (betw. 2nd & 3rd Aves.) Landis Everson, Glyn Maxwell, Katia Kapovich, Ben Mazer, Philip Nikolayev, Mark Lamoureux, John Hennessy In Amherst, MA: Fri. Oct. 1 at 8 p.m. Amherst Books, 8 Main St Landis Everson, Ben Mazer, Katia Kapovich, Philip Nikolayev, Mark Lamoureux, John Hennessy Landis Everson was an inner member of the Berkeley Renaissance of the late 1940s, the fourth intimate of the famed Spicer-Duncan-Blaser circle. To Jack Spicer he was a myth and a god. To Robert Duncan he was the Poet King. John Ashbery admired his poetry in New York in the early 1950s, and published selections in Locus Solus in 1962 (Everson's last appearance in print until now!). In 1960 Everson participated in a pivotal three-poet weekly Sunday poetry group with Spicer and Blaser in San Francisco. While Spicer was writing Homage to Creeley, Everson was composing Postcard from Eden and The Little Ghosts I Played With, two great sequences which now appear in print for the first time in Fulcrum 3, in The Berkeley Renaissance, edited by Ben Mazer. Fulcrum is proud to present Landis Everson's first public and print appearances in over forty years. William Corbett teaches in MIT's Program of Writing and Humanistic Studies. He is an editor of Pressed Wafer. His most recent book, All Prose, was published by Zoland Books. Peter Gizzi's new book is Some Values of Landscape and Weather (Wesleyan 2003). He is the editor of The House That Jack Built: The Collected Lectures of Jack Spicer (Wesleyan, 1998). John Hennessy's poems have recently appeared or are forthcoming in Fulcrum, The Sewanee Review, Salt, The Yale Review, LIT, and Ontario Review. He teaches at UMass Amherst. Katia Kapovich's collection of English language poetry is Gogol in Rome (Salt, 2004). She is also a well-known Russian poet. Mark Lamoureux's chapbooks are CITY/TEMPLE (Ugly Ducking Presse, 2003) and 29 CHEESEBURGERS (Pressed Wafer, 2004). Glyn Maxwell, born in Hertfordshire, England, now lives in NY City. His several books of poetry include The Breakage and The Nerve (both Houghton Mifflin). He is the poetry editor of The New Republic and teaches at Princeton and Columbia. Ben Mazer's chapbook selection of poetry, with cover art by Mary Fabilli, is forthcoming from Fulcrum this fall. He is the editor of The Berkeley Renaissance (Fulcrum, 2004) and The Collected Poems of John Crowe Ransom (Handsel, 2005). Philip Nikolayev's latest book of poetry is Monkey Time, 2001 Verse Prize winner. His new collection is forthcoming from Salt. Fan Ogilvie is published in two chapbooks, The Other Side of the Hill and In a Certain Place, and in a number of literary magazines. Her newest collection is titled Not the! Enough! Don Share's most recent book is Union (Zoo Press), and he recently completed a critical edition of Basil Bunting's poems. He is Curator of Poetry at Harvard University, where he also teaches. Fulcrum: an annual of poetry and aesthetics, Number Three, 2004, edited by Philip Nikolayev and Katia Kapovich. 510 pp., perfectbound. Publication date: September 21 With contributions by Bill Berkson, David Baratier, Alison Croggon, Fred D'Aguiar, Arjen Duinker, Michael Farrell, Annie Finch, Edwin Frank, Peter Gizzi, Joe Green, Jeffrey Harrison, John Hennessy, Bruce Holsapple, Joan Houlihan, Coral Hull, Kabir, David Kennedy, John Kinsella, Mark Lamoureux, Glyn Maxwell, Ben Mazer, Andrew McCord, Richard McKane, Ange Mlinko, Richard Murphy, Vivek Narayanan, Gregory O'Brien, Fan Ogilvie, Simon Perchik, Mai Van Phan, Peter Richards, Michael Rothenberg, Tomaz Salamun, Don Share, Chris Stroffolino, Jeet Thayil, Mark Weiss, Harriet Zinnes, and many others. SPECIAL FEATURES: An Anthology of the Berkeley Renaissance, edited by Ben Mazer, featuring work by Mary Fabilli, Jack Spicer, Robin Blaser, Robert Duncan, Charles Olson, Landis Everson, plus artwork & photos We Who Live in Darkness: Poems from New Zealand by 21 Leading Poets, edited by Gregory O'Brien Fulcrum Debate: Joan Houlihan and Chris Stroffolino Artwork by Konstantin Simun SUBSCRIPTION rates in the US are $15 per issue for individuals, $30 for institutions. International subscriptions are $20 and $40 per issue, respectively. (Add $5/copy for international airmail.) Send check or money order drawn in US currency and payable to Fulcrum Annual to Fulcrum, 334 Harvard Street, Suite D-2, Cambridge, MA 02139. PREORDER Fulcrum 3 now! Fulcrum 2 sold out in 2 months and is reviewed in Jacket at http://jacketmagazine.com/25/kam-fulcr.html Philip Nikolayev & Katia Kapovich, eds. Fulcrum: an annual of poetry and aesthetics 334 Harvard Street, Suite D-2 Cambridge, MA 02139, USA phone 617-864-7874 e-mail editor@fulcrumpoetry.com ========================================================================= Date: Thu, 23 Sep 2004 12:00:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Reviews of the first '04 Desert City Reading Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Hello everyone, Chris Vitiello and Marcus Slease recently posted reviews on their blogs of the first Desert City reading of the new season. Check them out below: http://marcusslease.blogspot.com/2004/09/desert-city-reading-series-blue-door.html http://the_delay.blogspot.com/2004/09/donahue-and-brasfield-desert-city.html Ken ps: audio of the reading coming soon to http://desertcity.blogspot.com ========================================================================= Date: Thu, 23 Sep 2004 12:23:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: maxim publisher now a poet MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit http://www.nydailynews.com/news/gossip/story/234965p-201575c.html and a bonus, nonpoetry related, item for those who opened this here email: http://www.thevillager.com/villager_72/expornkingtradessex.html best, david ========================================================================= Date: Thu, 23 Sep 2004 12:28:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rusty Morrison Subject: All 2004 book orders have been shipped Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Hello Everyone, Just to let everyone know: All orders that Omnidawn has received for our 2004 books pre-publication offer have been shipped. You should receive your copies within the next three to ten days. Since the books are now here in stock, any orders we receive for this offer will ship in three business day. ****** (this is the last announcement I'll send on this issue)****** Here below is a copy of the 2004 Pre-publ Offer, which ends Sept 30th (postmark deadline). Any book for $11.95 and any total of three for $29.95. Our 2004 titles are: Devin Johnston's AVERSIONS & Martha Ronk's IN A LANDSCAPE OF HAVING TO REPEAT & Keith Waldrop's THE REAL SUBJECT, QUERIES AND CONJECTURES OF JACOB DELAFON, WITH SAMPLE POEMS. Please make checks payable to Omnidawn, and specify TITLE(S) AND NUMBER OF BOOKS in your order, and WHERE to send the books. Our address is Omnidawn, 1632 Elm Ave., Richmond, CA 94805-1614 ****** For more information, or to add your e-address to our mailing list, please visit ****** ========================================================================= Date: Thu, 23 Sep 2004 17:05:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: RAY BIANCHI READING THIS SUNDAY 7 PM MYOPIC BOOKS Comments: To: rbianchi@unitedmarket.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Sunday September 26 – Ray Bianchi’s Circular Descent Release Reading Myopic Books 1564 N Milwaukee Av Chicago Il I am reading at Myopic books this sunday at 7 pm I would love to see as many of you as possible- Ray Ray Bianchi is a native of suburban Chicago, the child of Italian immigrants, educated at the University of Iowa. Ray lived and worked for most of the 1990s in Bolivia and Brazil, first as a volunteer in a men's prison and later in international publishing. A quote about Circular Descent from Peter Gizzi- "At the Dangerous intersection of liberty and empire, Raymond Bianchi breaks the sound barrier. These Multi-Colored sequences are up to date heartbreaking cubistic internationals songs in real time, trafficing in corporate corruption and working people, desire and everyday life. This is Wild and honest work" Peter Gizzi His work has appeared in Tin Lustre Mobile, Moria, Poesia Y Cultura, Antennae, Afterwords, Red River Review, and Fiera de Lingue. Ray is the author of Circular Descent which is now available from Blaze VOX Press. He is the author of two blogs chicagopostmodernpoetry.com and collagepoetchicago.blogspot.com. Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ ========================================================================= Date: Thu, 23 Sep 2004 18:26:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 9/27-10/1 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Monday, Sept. 27, 8 pm Open Reading Sign-up at 7:30 Wednesday, Sept. 29 at 8 pm =8B last chance to see it! (In NYC, that is) People=B9s Opera presents The Workshop from =B3Hell=B2 An Opera in one act Libretto by poet and former presidential candidate Eileen Myles Admission available at door, no advance sales, no reservations required $8, $7 students/seniors, $5 members The New York production is a benefit for the Poetry Project at St. Mark=B9s Church 2nd Ave & E 10 St. Libretto by Eileen Myles Score by composer and recording artist Michael Webster Directed by Simon Leung Sets by Beth Stephens Costumes by Milena Muzquiz Lead singers: Juliana Snapper, Kevin St. John, Scott Graff Loosely based on Dante=B9s Inferno, Hell is an opera about public speech, corporate silence, global politics and poetry. This production is making stops in Los Angeles and San Francisco, finally landing in Tijuana in Fall 2004 to take part in the public conversation about who rules America. See =B3Hell=B2 on Oct. 16th at the UCLA Hammer Oct. 21st at the Yerba Buena Center, SF Oct. 31st at CECUT in Tijuana Friday, Oct. 1 Hip-Hop Poetry & The Classics Featuring a reading by Michael Cirelli, author of Hip-Hop Poetry & The Classics, and current director of Urban Word NYC. Performing with him tonight will be members of the 2004 Urban Word NYC Teen Poetry Slam Team, a= s well as some of the up-and-coming poets in the New School=B9s MFA program, including Matthew Yeager, Erica Miriam Fabri, and others. [10:30 pm] WRITING WORKSHOPS =20 SURREALISM AND THE RADICAL IMAGINATION =AD=AD JANET HAMILL Tuesdays at 7pm: 5 sessions begin October 12th =B3Surrealism and the Radical Imagination=B2 will examine the complex nature of imagination and its elements - illusionism, unreality, appearance, magic, phantasm, fancy etc. - and the capacity of imagination to mediate between the world of objective phenomena and subjective experience. The workshop will look into the preoccupation of the Romanticists with imagination and the sublime, the importance of the image to the Symbolists, and the revolution brought about by the Surrealists to liberate poetic imagination and take it to the realm of the marvelous. Through means of Surrealist games and methods, participants will be encouraged to cultivate their own imaginations and enhance their imaginative writing skills. A desire to rescue poetry from some of its present unimaginative abuses is the only requirement. Janet Hamill has authored 4 books, most recently Lost Ceilings, a collectio= n of prose poems. A second CD of words and music, in collaboration with the band Moving Star, is slated for release in early 2005. BRAINLINGO: WRITING THE VOICE OF THE BODY =AD=AD EDWIN TORRES Tuesdays at 7pm: 5 sessions begin November 30 As artists we create our own communication, how we listen affects how we speak, how we see our language affects how our voice is heard. Where the senses meet each other is where poetry can begin. This workshop will be an active creative laboratory that will explore how we communicate by exercising the languages inside us. This is an active writing workshop requiring a bottomless well and an open mind. Edwin Torres=B9 books include The All-Union Day Of The Shock Worker, Fracture= d Humorous, I Hear Things People Haven=B9t Really Said, and his CDs Holy Kid (Kill Rock Stars) and Novo (www.oozebap.org). He is co-editor of Rattapallax and has a show on PS.1=B9s internet-radio station (www.wps1.org) called LIVE NUDE RADIO THEATER. WRITING IN THE STEPMOTHER TONGUE =AD=AD OZ SHELACH Thursdays at 7pm: 10 sessions begin October 14th Many of us today write in English without being at home. A disability? An advantage? How and when to adapt, defy, write with an accent, subvert, merg= e in, stand out? We'll play games devised by and for non-native writers in English; Read worldwide fiction; Use supportive criticism. I hope all of us will come out with deeper confidence in making our writing effective by drawing on the richness of our difference. Oz Shelach moved to NY after working as a journalist in Israel (and writing in Hebrew) for many years. His novel, Picnic Grounds, was published by City Lights in 2003. =20 HAVING IT BOTH WAYS: THE PROSE POEM =AD=AD LARRY FAGIN Fridays at 7pm: 10 sessions begin October 15th A workshop designed for writers of both poetry and short prose (any genre), who are interested in investigating the boundary between the two areas, or those who have discovered such boundaries to be less than trustworthy. We will read (Baudelaire, Stein, Ponge, Ashbery, Lydia Davis, Killarney Clary, et al), exchange ideas (story, description, image, abstraction, the personal), and refine our writing with an eye toward publication. Weekly reading and writing assignments. Larry Fagin edits Adventures in Poetry (books) and Sal Mimeo (magazine). He teaches "experimental poetry" at New School University. Coma Rock, a prose poem, will appear as a chapbook in Winter 2004. ROCKS AND IDEAS =AD=AD RACHEL LEVITSKY Saturdays at 12pm: 10 sessions begin October 16th William Carlos Williams famously said, "--Say it, no ideas but in things--,= =B2 a line which can be variously interpreted. In our virtual era, ideas and things may a) be difficult to distinguish and b) have a tendency to morph into each other. Williams himself writes an introduction to his long poem =B3Paterson,=B2 that explains the idea behind the long work. In this workshop w= e will experiment with things while having big fat ideas. We'll look at other important modern and post modern works like Anne Waldman's Iovis, Harryette Mullen's S*PeRM**K*T and Will Alexander's Asia and Haiti (and others) to help us along.=20 Rachel Levitsky=B9s books include Under the Sun (Futurepoem, 2003) and the chapbooks Cartographies of Error (Leroy, 1999) and Dearly, (a+bend, 1999). She is the founder and co-curator of the Belladonna* Series in New York City. =20 The workshop fee is $300, which includes a one-year individual Poetry Project membership and tuition for any and all fall and spring classes. Reservations are required due to limited class space and payment must be received in advance. Please send payment and reservations to: The Poetry Project, St. Mark=B9s Church, 131 E. 10th St., NY, NY 10003. For more information please call (212) 674-0910 or e-mail info@poetryproject.com. Workshop info: http://www.poetryproject.com/workshop.html The FALL CALENDAR: http://www.poetryproject.com/calendar.html The Poetry Project is located at St. Mark's Church-in-the-Bowery 131 East 10th Street at Second Avenue New York City 10003 Trains: 6, F, N, R, and L. info@poetryproject.com www.poetryproject.com Admission is $8, $7 for students/seniors and $5 for members (though now those who take out a membership at $85 or higher will get in FREE to all regular readings). We are wheelchair accessible with assistance and advance notice. For more info call 212-674-0910. ========================================================================= Date: Thu, 23 Sep 2004 17:59:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Ahearn Subject: Re: Sentence 2 Now Available In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Brian, Haven't gotten my second issue and I want to make sure I get one. I signed= =20 up for the four-issue special after Issue 1, so I should be good through=20 Issue 5. For some reason, Gregg came in to Brenda's class with a huge armful of=20 Sentence 1s, but he didn't say anything about them, and then he walked back= =20 out with them. So far as I know, he didn't mention them, or give one to=20 anybody. Go figger... j. At 10:51 AM 9/8/2004, you wrote: >The second issue of Sentence: a Journal of Prose Poetics is now available. >Please see ordering information at the bottom of this message. Please note >the change of address. For more information, please see >http://firewheel-editions.org > >Sentence publishes prose poems, reviews, essays, and cross-genre work in >order to celebrate the history of prose poetry, to explore the gray areas >between the prose poem and free verse on one hand and the prose poem and >the essay on the other, and to extend conceptions of what the prose poem >is or can be. > >Sentence 2 includes prose poems by: > >Sally Ashton, Tia Black, Brian Brennan, Sean McLain Brown, Paul >Christensen, Lyndsey Cohen, Peter Conners, Michel Delville (tr. Gian >Lombardo), Paul Dickey, Matthew Dickman, Linh Dinh, Elisabeth Frost, Alice >George, Arielle Greenberg, Mark Halperin, Susan Holahan, Brooke Horvath, >Peter Johnson, Ann Killough, Christine Boyka Kluge, Phyllis Koestenbaum, >Lesle Lewis, Rachel Loden, Gian Lombardo, Robert Hill Long, Robert Lowes, >Dan Manchester, John Martone, Kathleen McGookey, Jerry McGuire, Sandy >McIntosh, Ben Miller, Craig Moodie, Amjad Nasser (tr. Tahseen al Khateeb >and Leonard Schwartz), Cynthia Nichols, John Richards, R. L. Rimas, Dan >Rzicznek, Davis Schneiderman, Daryl Scroggins, Michele Shauf, Christopher >Soden, Joseph Starr, Chris Stroffolino, Mark Terrill, Anthony Tognazzini, >Mark Tursi, Kyle Vaughn, Phil West, Tom Whalen, Scott Withiam > >Essays by: > >Sally Ashton, John Bradley, Gloria Frym, Deanna Kern Ludwin, Barry >Silesky, Ellen McGrath Smith > >PLUS the Sentence Feature: "Hybrid Cultures: The Prose Poem in Spanish" >with introduction by Susan Briante and prose poems by Vicente Alexaindre >(translated by Stephen Kessler), Luis Cernuda (tr. Kessler), =C1ngel Crespo >(tr. Steven J. Stewart), Gabriela Mistral (tr. Maria Giachetti), Pablo >Neruda (tr. Dennis Maloney and Clark Zlotchew), Eunice Odio (tr. Keith >Ekiss and Mauricio Espinoza), Carlos Edmundo de Ory (tr. Stewart), and >Jaime Sabines (tr. Philip Pardi) > >PLUS > >Brian Clements reviews three Rupert Loydell collaborations and Braincase >Press chapbooks by Juliana Leslie and Sara Veglahn > >Michel Delville reviews Such Rare Citings: The Prose Poem in English >Literature by Nikki Santilli > >kari edwards reviews Under the Sun by Rachel Levitsky > >Gian Lombardo reviews The Frequencies by Noah Eli Gordon > >Jerry McGuire reviews Small Boat by Lesle Lewis > >Chris Murray reviews Reproductions of the Empty Flagpole by Eileen Tabios. > >Dale Smith reviews A Handmade Museum by Brenda Coultas > >Rebecca Spears reviews The Marie Alexander Poetry Series from White Pine >Press and The Game of Kings by Daryl Scroggins > >PLUS: > >Our bibliography of recent prose poetry scholarship and criticism > >Our list of other recent prose poetry titles > > >Coming in Sentence 3: "The Prose Poem in Great Britain," guest edited by >Nikki Santilli > >Sentence 4 will be guest edited by Peter Johnson, editor of The Prose >Poem: An International Journal > > >TO ORDER: >A single copy of Sentence 2 is $12 (including postage) with additional >copies at $10 each; subscriptions are $22 for two issues and $30 for three >issues (please add $2 per issue outside the US, Canada, Mexico, and the >Caribbean). Copies of Sentence 1 are now available for $8 per copy, plus >shipping. > >Make check or money order to Firewheel Editions and send to Sentence, c/o >Brian Clements, English Dept. Western Connecticut State University, >Danbury CT 06810. If you prefer to use a credit card, you can subscribe to >Sentence via Amazon.com or order Sentence via your local bookstore from >Bernhard DeBoer, Inc. > >Sentence offers a 40% discount for classroom adoptions. Please contact >editor@firewheel-editions.org. > > >http://firewheel-editions.org ____________________________________________________________________________= _________ Joe Ahearn joeah@mail.airmail.net ========================================================================= Date: Thu, 23 Sep 2004 19:02:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: Press Release: Central's Reading Schedule, Fall 2004 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable All Events are Free and Open to the Public=20 and on the Central Connecticut State University campus=20 1615 Stanley St., New Britain, CT 06050=20 FALL 2004=20 Thursday, October 14th - 7:00 pm - Marcus White Living Room=20 Ingrid Wendt and Ralph Salisbury=20 Ingrid Wendt is the author of four books of poems, two anthologies, a = book-length teaching guide, numerous articles and reviews, and more than = 200 individual poems in such magazines and anthologies as Poetry, Poetry = Northwest, Antioch Review, Northwest Review, Ms., and No More Masks! An = Anthology of 20th Century American Women Poets. She has taught = literature and poetry writing for more than 30 years at all educational = levels, including the MFA program of Antioch University Los Angeles; at = teacher-training institutes throughout the United States and in Germany; = and in hundreds of public school classrooms, grades K-12, in Oregon, = Washington, Utah, Illinois, Iowa, and overseas. Among her many honors = are the Oregon Book Award, the 2003 Yellowglen Award from Word Press, = the Carolyn Kizer Award, several Pushcart nominations, and the D.H. = Lawrence Award. =0D Ralph Salisbury, Professor Emeritus of the University of Oregon, is the = author of two books of short fiction and seven books of poetry, the most = recent of which, Rainbows of Stone (University of Arizona Press), was = chosen by Maxine Kumin as a finalist in the Oregon Book Awards. Other = poetry titles include A White Rainbow, Poems of a Cherokee Heritage; = Going to the Water; Spirit Beast Chant; Pointing at the Rainbow; Ghost = Grapefruit and Other Poems; and Poesie Da Un Retaggio Cherokee = (Multimedia Edizioni, Salerno, Italy). His short fiction titles include = One Indian and Two Chiefs (Navajo C. College Press) and The Last = Rattlesnake Throw (University of Oklahoma Press). He has received many = awards, among them a Rockefeller Foundation Creative Writing Residency = at the Villa Serbelloni in Bellagio, Italy; the Chapelbrook Award; the = Northwest Poetry Award; two Fulbright professorships, to Germany and = Norway; and an Amparts (USIS) lectureship in India. Born of a Cherokee = story-teller, singer father and a story-telling Irish American mother, = Ralph Salisbury grew up hunting and trapping, for meat and pelts, and = working on a family farm, which had no electricity or running water but = was reachable by a dirt road. When he visited his father's mother, the = only road was a footpath along a creek. Through World War Two service, = he earned six years of university education, and has worked at writing, = editing, translating and teaching writing and literature from 1950 to = the present. =0D Wednesday, October 20th - 7:30 pm - Marcus White Living Room=20 Dr. Terri Witek=20 Among Terri Witek's publications are Fools and Crows (Orchises Press, = 2003), a chapbook, Courting Couples (Winner of the 2000 Center for Book = Arts Letterpress contest), and Robert Lowell and Life Studies: Revising = the Self (University of Missouri Press, 1993). She has published poems = in Poetry, The Antioch Review, The New Republic, The Threepenny Review, = and many other journals.She teaches English at Stetson University, where = she directs the Sullivan Creative Writing Program. Thursday, October 28th - 7:00 pm - Founder's Hall in Davidson=20 Kurt Brown=20 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 and 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 by Four Way = Books. He lives with his wife in New York City. Monday, November 8th - 7:00 pm - Founders Hall in Davidson=20 Connecticut Poetry Circuit presents Mark Jarman=20 Mark Jarman was born June 5, 1952, in Mount Sterling, Kentucky. He = earned a B.A. from the University of California, Santa Cruz, in 1974 and = an M.F.A. from the University of Iowa in 1976. He is the author of = numerous collections of poetry: To the Green Man (Consortium, 2004); = Unholy Sonnets (2000); Questions for Ecclesiastes, which won the 1998 = Lenore Marshall Poetry Prize and was a finalist for the National Book = Critics Circle Award; The Black Riviera (1990), which won the 1991 = Poets' Prize; Far and Away (1985); The Rote Walker (1981); and North Sea = (1978). In 1992 he published Iris, a book-length poem.His poetry and = essays have been published widely in such periodicals and journals as = American Poetry Review, Gettysburg Review, The Hudson Review, The New = Yorker, Poetry, and Southern Review. During the 1980s he and Robert = McDowell founded, edited, and published the controversial magazine The = Reaper, selections from which have been published in book form as The = Reaper Essays (1996). A collection of Jarman's own essays, The Secret of = Poetry, was published in 2000. He is also co-editor of Rebel Angels: 25 = Poets of the New Formalism (with David Mason; 1996). His awards include = a Joseph Henry Jackson Award and fellowships from the National Endowment = for the Arts and the John Simon Guggenheim Memorial Foundation. He is a = professor of English at Vanderbilt University in Nashville, Tennessee, = where he lives with his wife, the soprano Amy Jarman, and their = daughters, Claire and Zo=EB. Contact Ravi Shankar with questions/comments.=20 *************** Ravi Shankar=20 Poet-in-Residence Assistant Professor CCSU - English Dept. 860-832-2766 shankarr@ccsu.edu ========================================================================= Date: Fri, 24 Sep 2004 00:15:26 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Werk in Progress MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Something recently begun which threatens to be very long. Italics, bold type, subscripts and all are left out in the interest of plain text. I'm not sure in this beginning stage of what might be a small book length piece what will clear. I'd welcome tho' any comments on the as so far. The poem includes collaborative assistance from Victoria Robinson. Best Dave FOUR-NINE-FOUR-OH 13 It is a story of she-curve and he-tall And the line of street late and down Of heads swapped when eyes closed Its beginning forgotten, its middle F wOkun n i R t MMMMMMMMMMMMMMM less end 7 What I wanted was the undressed Dressed but available, the flesh Behind the bra, the transgress Logos be with us, like it if I press? 37 When I was younger this was happening to me Domestic Violence cases So Much Misery it's pain and disruption And anger and hate before I realised What was Happening it was too late I felt trapped and scared and Very alone and so fright -ended but I dare not Moan My head was a Mess My body was bruised It was a constant stress To my Family and Freinds I would say "I fell" (I dare not tell) I avoided them so no one would see The physical and emotional pain He inflicted on me He told me I was worthless And no good And I believe What he said And people Listening to all the lies He spread but remember this you are a person no matter what they say: It's him now that is suffering at the end of everyday XVIII Between a bark and a snort as the sunlight dusted the canal mute swan sound. 6 Uptown Girl C17H21NO4 . Broken. On the rocks. 46 They always sit at the back at the Central Hall. The elegance of its interior contrasts PLEASINGLY with the plainness of the Methodist hymnal., the space it allows to REFLECTION is not hinted by the nondescript and missable door. She whispers People ask why I like this but when my son went inside I knew what church was for. BISHOP Street was a bad scene oh two centuries ago. His eyes stroke her cheekbones Then his head plunges in prayer. It is dark in there. Behind their pew on what could be MISTAKEN for a pushchair rests, bagged, plasticly, transparently, a Farmer's Choice Loaf (white), four cans of beer, a box of paper handkerchiefs and whatever else Has the right to be there. Today's preacher she's chosen that odd one, the one about the STEWARD and the bills, and who owes who what, it's a difficult one to ponder As Mammon sits in a corner picking the today's service flowers (Tom and Betty Berry's): S/HELOVES me, s/he loves me not. Render un-two two. Part that ye shall find. 4940 Crosswords. Crypotograms. Ciphers. Streets. Lights behind blinds from Your Private Abode. I have found a name for this poem. It is Four-Nine-Four-Oh. Our Tune, you are told. 4 by 4 by You're learning me/ all about steps/ and drainage grills/ like cattle grids/ cerebral palsy/ doesn't fit/ Walk On Frame David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://homepage.ntlworld.com/david.bircumshaw/ ========================================================================= Date: Thu, 23 Sep 2004 19:58:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: poetry of omission or erasure Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Dear All, I would very much appreciate any references anyone can give me regarding = poets who have used strategies of erasure or obliteration, or who may = cover or partly cover the text. Any and all references to such work would = be welcome. Thank you, Mairead=20 Mair=E9ad Byrne Assistant Professor of English Rhode Island School of Design Providence, RI 02903 www.wildhoneypress.com www.maireadbyrne.blogspot.com ========================================================================= Date: Thu, 23 Sep 2004 20:04:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: poetry of omission or erasure In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: quoted-printable Mair=E9ad: The mother of all erasure texts is Tom Phillip's The Humument http://www.tomphillips.co.uk/humument/0/001010/index.html an artistically treated 1892 Victorian novel by W.H. Mallock, "A Human=20= Document" http://www.rosacordis.com/humument/index2.html ""Have one of mine," said the lover, as he produced his own a gorgeous=20= product of Vienna and offered it distended to the great Fanny." http://www.rosacordis.com/humument/gass.html There's quite a bit out there in the visual poetry realm since it's a=20 fairly common technique used by countless artists. I've used it visually in my books Zerzerex, No Moon Dante, Klee, The=20 Black Black Bar Eventure (A filmscript), textually in my book HOWLING=20 FROM THE WOODLAND LEAVE WHOLE & a largely the texts created for the=20 current work Im plugging away at, SEARCHIX are extracted from google=20 news searches for strings like "animal poetry" & "stem of happiness",=20 creating a source text & omitting anything that doesn't belong in the=20 poem. ~mIEKAL On Thursday, September 23, 2004, at 06:58 PM, Mairead Byrne wrote: > Dear All, > > I would very much appreciate any references anyone can give me=20 > regarding poets who have used strategies of erasure or obliteration,=20= > or who may cover or partly cover the text. Any and all references to=20= > such work would be welcome. "The word is the first stereotype." Isidore Isou, 1947. ========================================================================= Date: Thu, 23 Sep 2004 18:30:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: poetry of omission or erasure In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable One of Rachel Blau DuPlessis' Drafts in her Toll volume has blacked out stuff -- it may be from an FBI file? =20 or someone else has a freedom of information act / erased text? And, self promotingly, all of "In Medias Res" in DaDaDa -- it is a powerpoint slide presentation that "fades to white" or erases (transferred to the page in the book) using some of Marguerite Porete's "wisdom play" -- copies were burned in front of her, then she was burned -- BE well, Catherine Daly cadaly@pacbell.net -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Mairead Byrne Sent: Thursday, September 23, 2004 4:58 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: poetry of omission or erasure Dear All, I would very much appreciate any references anyone can give me regarding poets who have used strategies of erasure or obliteration, or who may cover or partly cover the text. Any and all references to such work would be welcome. Thank you, Mairead=20 Mair=E9ad Byrne Assistant Professor of English Rhode Island School of Design Providence, RI 02903 www.wildhoneypress.com www.maireadbyrne.blogspot.com ========================================================================= Date: Thu, 23 Sep 2004 21:33:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: poetry of omission or erasure In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable man ray's famous sonnet At 7:58 PM -0400 9/23/04, Mairead Byrne wrote: >Dear All, > >I would very much appreciate any references anyone can give me >regarding poets who have used strategies of erasure or obliteration, >or who may cover or partly cover the text. Any and all references >to such work would be welcome. > >Thank you, > >Mairead > > > >Mair=E9ad Byrne >Assistant Professor of English >Rhode Island School of Design >Providence, RI 02903 >www.wildhoneypress.com >www.maireadbyrne.blogspot.com -- ========================================================================= Date: Thu, 23 Sep 2004 21:45:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: New Boog Readers: Betsy Andrews/Bruce Andrews flipbook and Erica Kaufman Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi all, I realized I forgot to properly introduce our most recent additions to the Boog Literature family. In May I held a small apartment reading. For the event I published as a flipbook Boog Reader 4: In Trouble by Betsy Andrews and C-Three by Bruce Andrews, the two readers. digest size, 20 pages, initial print run 50. $3 each, $4 ppd. In July, for the Boston Poetry Massacre, I published Boog Reader 5: The Kickboxer Suite by Erica Kaufman. digest size, 12 pages, initial print run 26, signed and lettered. $5 each, $6 ppd. Unsigned second run, $3 each, $4 ppd. If you want one of each, $9 ppd. (with signed Kaufman), $7 ppd. (with unsigned Kaufman). Make checks payable (and post) to: David Kirschenbaum Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 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: Fri, 24 Sep 2004 01:52:43 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: T_Martin Subject: Re: poetry of omission or erasure Mime-Version: 1.0 Content-Type: text/plain check out Lisa Jarnot's Some Other King of Mission. Amen to the Humament. Also, Ted Berrigan did a book from a blacked out western novel. Can't remember the title, though. Tim Martin www.timothymartin.blogspot.com ========================================================================= Date: Thu, 23 Sep 2004 18:57:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Zukofsky Conference R Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Louis Zukofsky Centennial Conference Columbia University / Barnard September 17-18-19 - 2004 What follows are Elliptical Quotes from various speakers that found their way into my journal on Friday and Saturday. Occasionally you will see name= s assigned to quotes, often not. Charles Bernstein announced that many of the Conference=B9s papers will be up on the U Penn website (of which I do not immediately have the address(??) =AD I am sure some of these quotes will be much contradicted or limited =AD but this is more about =8Chearing the way through=B9 =AD what initially resonated. Hopefully the process is - more than for me personally - publicly worthwhile.) In case it makes use more convenient, I have placed this also on my blog site. Stephen Vincent http://stephenvincent.durationpress.com Louis Zukofsky Centennial Conference Columbia University / Barnard September 17-18-19 Robert Creeley: =B3Ed Dahlberg introduced the work to me, Majorca (1952?)=8A Robert Duncan showed up with Z=B9s books=8A Black Mountain Review printed =B3Degrees=B9, parts of =B3Bottom. =8Ahomemade worlds fragile far from tradition=8A Hugh Kenner, National Review (!!) support of Zukofsky=8A=B2 Tim Woods (Australia) =B3,,,Whitaker Chambers=8AColumbia...friend, poet, influence=8ALionel Trilling../ Clifton Fadiman..,Dewey=8AVan Doren=8A=B2 Mark Scroggins: =B3=8AJoyce...Joyce=8Athe influence=8Amusic,,, recurrence, cadence=8Asounds, motifs, repeats=8Ahorses repeating culture (solid, liquid, gaseous)=8A palimpsests through which previous cultures reveal themselves=8Acircularity with originar= y texts =AD first century Rome with contemporary New York. Read Kenneth Cox, Michelle Legget, Mark Morris (post-colonial interpretation.) Daedelus made the maze; Daedelian is =8Ccunning workmanship=B9, an over-determined kind of writing. The need for a simple explanatory criticism. UC Press =B3A=B2 a Frankenstein.=B2 ++++=20 Panel: =B3A Test of Poetry=B2 =B3Obsession with attention & judgment=8A29,000 copies published up to 1961=8A =8CUnderstanding Poetry=B9 by Brooks & Warren, hundreds of thousands of copies=8A poetry =3D emotional essence, transmittal linguistic artifact =3D technique =8Csincerity=B9 =3D shapes/ writing as the detail of seeing sight, sound, intellection cross-time resonant, impassioned, diction: Poetry as social critique & poetry To suggest standards. Belief =3D intrinsic to technique Construction by excision=8A The living processes of literature=8A Against music...the devil=B9s step =AD tritone =AD dissonance: The deadpan ending breaks it.=B2 (Saturday) Steve Shoemaker =B3Read Zukofsky on Modern Times (Chaplin). Kinesis =AD gestural vocabulary =AD Charlie in the factory system=8Asportsmanship of the montage=8AA-22 & A-23 the free play of the signifier =8A (T Whitehead: Things pave way for cognition.)=8ARussian film theorists. A-7 and 1/2 A-9. & Mantis pulse, pulse=8A A majestic trajectory=8A dance of objects & event, violence of motion sequence, sequence of terror scene disintegration into elements words as units of composition yoked to world of facts the strain Jonathan Schuster on Spinoza =B3=8ADutch Jew exiled from Amsterdam Jews=8AWhy did Spinoza stand out for Z in the late twenties and early thirties? Poincare, Bergson, Whitehead, as well= . Whitehead: organic philosopher: sincerity and objectification. Ethics: Attributes: extension/body/intellect/thought Body: expresses God=B9s essence Affect =3D emotion =3D increased experience =3D love, joy (pleasure) The opposite of contraction, pain, anguish God, body, affects feed the mind =AD the intersection of each =AD the line - intersects with God Sensuous intelligence =3D music/mind So much of the word is a physiological thing Emotion is the organizer of poetic form Closer to brain/ closer to thing Z rejects metaphorisation of language Symbolism has nothing to do with metaphor Sincerity =3D=20 research and faith in words accuracy fidelity to the image/event Being inside the history The genesis of the particular Words pursuing their own moment of objectivity The dash =AD as synapse. Affects come to rest =AD Serial simultaneity (More Spinoza panelists) Nothing is excluded from the object Desire is no excess Rest =3D elimination of subject A-22 =AD 23 =AD tweak the interlinear Intimate handling of words Opening up connections Paraphrase Multiple paths Z-site paths are us Subject text energy Tempered bliss: Reason & Love fail to reconcile. Coherent fabric - ontological integration Banal solidification to the middle Liberating love of labor (Saturday afternoon) Horses blood=20 Strings in unison Horse logic networks of associates H(ay) in Hebrew alphabet Jigger =AD one horse town Buck sawhorses Entrails Horse Hair Violin bow Seafaring heirs=20 Going around a word that=B9s not there Quincaux (sp?)=20 Ocular observation=20 (Bob Grenier)=20 speech fountain of line (WCW) word(s) pulse one & one & one not =B3which one=B2 (Barry Watten ) Horizon of liberation =AD modernist horizon New Plato Language =3D particulars / =B3inexhaustible language=B2 How to read the work? Inherent instruction on how to read the work Abandons previous systems Marxist Hegelian up to A-9 A-9 Abandons Marx into =8CSpinoza-love=B9 Yet retains the embedded aspects of ,,, Love of something Love neo-Platonic St. Mathew=B9s Passion (Bach) The relation of aesthetic pleasure in passion Versus The realities of the Depression Z =ADlike surrealists - wants revolution A-2 to A-5 is weak. Labor =3D sawhorse Permanent revolution Substitution and overriding History & the aesthetic / poetry redeems Love with history Prospective and unbounded Redemption begins with Loss Redemption =3D absence of the loved =8CI never had a birthday until my mother died=B9. Loss and futurity: read into Futurity impending: Know what is within your sight/site. (Abigail Lang) =B3Blossom the noun becomes blossom the verb=8A=B2 (The U Texas, Austine Archivist) Archive is multivalent Cultural information The way a poet archives his/her life: How to relate to a long poem? Materiality of a text locates in time/history Documents arrange in the natural process of =8A Only secondarily on the history of the document (typefaces, Bindings. Etc.) The author=B9s archival technique Shaped by what? A valuable source for Library archivist Z an archivist of his own life On which to build his work: Z pushed against the book form: To think with things as they exist Participation into text Operations and things became inseparable Saturated, disrupted A compound text The value in relation to an aggregate. The writer an archivist of his own life To which to build his own work: =B3I ought to be read.=B2 As Peter Quartermain =AD while sitting in the Bowery Poetry Club on Sunday evening reminded me =AD that I had missed his great talk that morning (and no he was not going to send me a copy, either!), in the morning I skipped out of town to the Dia Foundation=B9s incredible shrine to Minimalism at Beacon. = I was simply saturated with too much talk. I don=B9t live and work in the academic world and rarely go to a Conference. Listening to full days of panels (each one with four or five people speaking for 20 minutes) and without much dialog to follow had bloated whatever was ever left of my attentive brain. But perhaps more deeply, the process of critical abstraction had ironically taken me further and further away from the body of Zukofsky=B9s actual work. I would have craved listening to good readers periodically reciting actual sections of the work =AD that would have pleased part of what was my original desire for a Centennial celebration of Z=B9s language. The Conference did, however, provide time to meet many poets and critics =AD familiar and new for which I was also very grateful. In the futur= e I would hope that such events would reconcile the impulses to hear the work= , as well as to present critical reflections. Anyway =AD I hope =AD these quotes give back some worthwhile substance to those reflections. =20 =20 =20 =20 ========================================================================= Date: Thu, 23 Sep 2004 22:29:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: poetry of omission or erasure In-Reply-To: <20040923.185314.10767.768083@webmail04.nyc.untd.com> Mime-Version: 1.0 (Apple Message framework v619) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Clear The Range On Sep 23, 2004, at 9:52 PM, T_Martin wrote: > check out Lisa Jarnot's Some Other King of Mission. Amen to the > Humament. Also, Ted Berrigan did a book from a blacked out western > novel. Can't remember the title, though. > > Tim Martin > > > > www.timothymartin.blogspot.com > ========================================================================= Date: Thu, 23 Sep 2004 19:46:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hugh Steinberg Subject: Re: poetry of omission or erasure In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hi Mairead, Ronald Johnson's RADI OS does this. Erasures and obliterations show up all over bp nichol's work as well. Some of Susan Howe's work too, like Eikon Basilika. Michael Davidson's essay, "Palimtexts: Postmodern Poetry and the Material Text" is worth reading. Also, with The Humument, with each edition some pages get replaced with new versions/transformations, so there's a double erasure going on. And there's the issue of editing and rewriting, where older "versions" of a poem are replaced by reworked newer "versions." Auden was notorious for this. Hugh Steinberg --- Mairead Byrne wrote: > Dear All, > > I would very much appreciate any references anyone can give me > regarding poets who have used strategies of erasure or > obliteration, or who may cover or partly cover the text. Any > and all references to such work would be welcome. > > Thank you, > > Mairead > > > > Mairéad Byrne > Assistant Professor of English > Rhode Island School of Design > Providence, RI 02903 > www.wildhoneypress.com > www.maireadbyrne.blogspot.com > __________________________________ Do you Yahoo!? Yahoo! Mail Address AutoComplete - You start. We finish. http://promotions.yahoo.com/new_mail ========================================================================= Date: Fri, 24 Sep 2004 02:45:13 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Bradshaw Subject: Re: poetry of omission or erasure Mime-Version: 1.0 Content-Type: text/plain; format=flowed Ronald Johnson's RADI OS, made by blacking out text from Paradise Lost _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Thu, 23 Sep 2004 23:47:02 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: poetry of omission or erasure MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Mairead, A. Schwerner's "The Tablets" and K. Johnson's "Doubled Flowering" can be seen as works of erasure. Murat ========================================================================= Date: Thu, 23 Sep 2004 21:37:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: poetry of omission or erasure Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Mairead-- Most answers so far assume you mean in the narrow sense... as a surface "formal" strategy, or form. Was that really how you meant it? Chris (knowing limits?) > --- Mairead Byrne wrote: > >> Dear All, >> >> I would very much appreciate any references anyone can give me >> regarding poets who have used strategies of erasure or >> obliteration, or who may cover or partly cover the text. Any >> and all references to such work would be welcome. >> >> Thank you, >> >> Mairead >> >> >> >> Mair=C8ad Byrne >> Assistant Professor of English >> Rhode Island School of Design >> Providence, RI 02903 >> www.wildhoneypress.com >> www.maireadbyrne.blogspot.com >> > > > > > __________________________________ > Do you Yahoo!? > Yahoo! Mail Address AutoComplete - You start. We finish. > http://promotions.yahoo.com/new_mail ========================================================================= Date: Fri, 24 Sep 2004 06:37:00 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: poetry of omission or erasure In-Reply-To: <13c.23acc56.2e84f2b6@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable Swedish text/sound poet =C5ke Hodell used the technique to strike out whole lines of text in several of his books. For instance in his Autobiography from 1967. See http://www.ronnells.se/haglund.html http://www.fylkingen.se/fr_18.html Karl-Erik Tallmo -- _________________________________________________________________ KARL-ERIK TALLMO, writer, editor ARCHIVE: http://www.nisus.se/archive/artiklar.html BOOK: http://www.nisus.se/gorgias ANOTHER BOOK: http://www.copyrighthistory.com MAGAZINE: http://art-bin.com _________________________________________________________________ ========================================================================= Date: Fri, 24 Sep 2004 00:33:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: poetry of omission or erasure Comments: To: cstroffo@EARTHLINK.NET Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Well actually, I'm getting terrific answers and suggestions. Murat's = suggestion of "Doubled Flowering" really spins the thing. What I was = thinking of particulary was printed poetry that is actually erased or = obliterated, i.e., the type itself is covered. Now that I write that, I = think how a voice might be "stopped" or "stoppered" similarly when = reading. But yes, Chris, I suppose I was looking for references in this = very material sense. I have received plenty, and will compile a list to send to you all. But = what are you thinking? (notice=20 how this native of Ireland uses "but" not as an indication of an objection = but as a sort of hamburger helper, a conversation extender!). Anyway, = what are you thinking? Mairead >>> cstroffo@EARTHLINK.NET 09/24/04 00:18 AM >>> Mairead-- Most answers so far assume you mean in the narrow sense... as a surface "formal" strategy, or form. Was that really how you meant it? Chris (knowing limits?) > --- Mairead Byrne wrote: > >> Dear All, >> >> I would very much appreciate any references anyone can give me >> regarding poets who have used strategies of erasure or >> obliteration, or who may cover or partly cover the text. Any >> and all references to such work would be welcome. >> >> Thank you, >> >> Mairead >> >> >> >> Mair=C8ad Byrne >> Assistant Professor of English >> Rhode Island School of Design >> Providence, RI 02903 >> www.wildhoneypress.com >> www.maireadbyrne.blogspot.com >> > > > > > __________________________________ > Do you Yahoo!? > Yahoo! Mail Address AutoComplete - You start. We finish. > http://promotions.yahoo.com/new_mail ========================================================================= Date: Thu, 23 Sep 2004 23:45:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: Re: poetry of omission or erasure MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Mairead, check out Igor Satanovsky's wonderful erasures of Shakespeare sonnets from his book _american poetry (free and how)_. Camille >Dear All, I would very much appreciate any references anyone can give me regarding = poets who have used strategies of erasure or obliteration, or who may = cover or partly cover the text. Any and all references to such work would = be welcome. Thank you, Mairead=20 Mair=E9ad Byrne Assistant Professor of English Rhode Island School of Design Providence, RI 02903 www.wildhoneypress.com www.maireadbyrne.blogspot.com ========================================================================= Date: Fri, 24 Sep 2004 01:16:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: zukofsky confwerence at columbia MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit catchin some lzs ( louis zukofsky ) 1 le urug trimspa walk impotent memory glish glish agleam argar merging within / casino of dreams alz tied to he i'm hers health mix dare i say dreamsmemory whys winnings to catch a gulp of reality score a gultch of back money schooled i graduated but............. someone else's scenario wanker mr.lexicon no one belongs in the ice too long teach me how to booby trap the crocodile show me how to lobster the ideal how to corner the border 2 spin nose adorned well we ask the litter genes writ be A beginning learned object trajected columns (c)on text graduated but youth 16, 23, 19 tense tortured body student ravenous immigrant hatchery skipped area invincible proletariat ahecht ahecht a critic coughs > information trilling trilling trilling like a sterling bird chambers witness experience cracked carved leaves borrowed from a vanquished repute vanned couch askin askin great tooked movin chandelier 1/2 lit a vanquished culture little magazines pethair (c)loner hand-dated juvenile stew fool the young girls don wit va(r)se (ity) who does? voce homme quiet old eyes patient wander a figure at the edge of the flux & figurine dropped the books to the floor & they remain closed tho one he flaps open shut open shut with a whhhhhlop a whhhhhhhhlop type scripted all is done with all is done with son nets sun nets on a cloudy day where's the denim lie? where's the rest of the chandelier's glow? why've we lost the losses? lift zeal left where does the bright go when tented by the storm? 3 control the phrase please 4 nada is a look that penetrates me deeply free affordable " i said i'm sorry - relax - relax" la pintura devino a donde as she pulls the young boy's fingers & laughs go anywhere memory as you step toward the end fresh is the better of the whys tho age tastes the better in the wash. dalachinsky 9/17/04 nyc irt subway 9 train & columbia university philosophy hall ========================================================================= Date: Fri, 24 Sep 2004 01:36:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: poetry of omission or erasure MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit also nets on ugly duckling press by a young woman poet whose name escapes me of shakesp sonnets what about write overs as erasures mac low's paintings etc ========================================================================= Date: Fri, 24 Sep 2004 02:14:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: juarez mud ruins and MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed juarez mud ruins and i tried to resurrect this crossing the river illegally for a better money land http://www.asondheim.org/juarezmudruin.mov there was a video but it was battering in the camera back and forth furiously but these stills came from the ruined video as if it were today or yesterday it was ten years ago in juarez ten years ago in el paso juarez was free and el paso was dangerous and furious or el paso was free and dangerous, juarez furious and they were crossing the river and there were empty lands and we photographed the empty lands and looked into them and into radiations and their routes of radiotelevision so there's this and that this remnant so there's this and that this remnant we're the empire that made it happen it's always like this and the sound is lost as well someday i'll tell you a story someday you'll listen to my confusion ___ ========================================================================= Date: Fri, 24 Sep 2004 02:19:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: [syndicate] Rosalind is Born. (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed ---------- Forwarded message ---------- Date: Wed, 22 Sep 2004 17:04:24 +0100 From: furtherfield To: syndicate@anart.no Subject: [syndicate] Rosalind is Born. *Rosalind is Born.* *Rosalind,* an upstart new media art lexicon, has just been born following a sheltered 9 month gestation. http://www.furtherfield.org/gestation/ Feed Rosalind with your own words and definitions to express and declare what you are, what you do and the worlds you create, on your own terms. *Influence and mutate her, help her to maturity.* *Your words may:-* - describe something very particular to your life/experience/work & net-based behaviour. - be invented in a moment of desperation. - arise in conversation or dialogue with others. - already be in circulation yet not officially seen or accepted by new media academics. *What definitions will related to:* Net art, new media, psychogeography, online performance, real-time creativity, soft groups, new media writers, code geeks, net curators, new media curators, relationalists, activists, networkers, networked collecitves, net activism, social networks, net mutualists, net sufi's... *Information about Rosalind's Gestation period ==================================* *Rosalind began as GEST@TION*, a hidden project. This ensured that the vocabulary was able to develop in a nurturing space unmediated and consumed by outside sources and without interference or exploitation by ruthless individuals or term-hungry institutions;-) This project was concieved in January 2004 For 9 months the nascent lexicon was fed with words and their definitions. In early September 2004 we agreed a name for the lexicon- Rosalind- after Rosalind Franklin (http://www.accessexcellence.org/RC/AB/BC/Rosalind_Franklin.html) and launched it to the world to be influenced, mutated and helped to maturity by all who interact with it. *The Gest@tors were:* marc garrett, neil jenkins, ruth catlow, helen varley jamieson, karla ptacek, andy deck, joseph & donna mcelroy, alan sondheim, ryan griffis, michael szpakowski, patrick lichty, maya kalogera and alexandra reill. Participants may wish to adopt new terms as they are added to the lexicon. If so, the person who submits the term in question should embed the definition that links to a web page on their own site, or a project that they were involved with. The term can then be referenced in the public location. *GEST@TION is a Furtherfield project.* http://www.furtherfield.org ========================================================================= Date: Fri, 24 Sep 2004 02:02:31 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: autumn.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit kost el an etz gives me a ticket to kol nidre .... la prad don't know it's yom kip pur 5 7 6 5 ..... ; moon over un finished gwa thmey sie gel 3 jews and a baby....nite....drn... kip p ========================================================================= Date: Fri, 24 Sep 2004 08:12:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gwyn McVay Subject: Re: poetry of omission or erasure In-Reply-To: <003f01c4a1d6$11c4cd00$220110ac@CADALY> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I was immediately thinking of Joan Retallack's Errata 5uite, but surely somebody has beaten me to mentioning it. Gwyn --- Even while I'm writing, I am listening for crows. -- Louise Erdrich ========================================================================= Date: Fri, 24 Sep 2004 09:01:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: poetry of omission or erasure In-Reply-To: Mime-Version: 1.0 (Apple Message framework v619) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Hi Mairead, Randolph Healy has a pice in 'Scales' (i think) that does just this to the UN Charter? Sorry, i'm nowhere near a copy, but that's my memory. There are also, erm, one or two pages in my 1980 book 'a present' worked just this way. Also 'Speak Bitterness' by Forced Entertainment in Language aLive vol 1 love and love cris On Sep 24, 2004, at 12:33 AM, Mairead Byrne wrote: > What I was thinking of particulary was printed poetry that is actually > erased or obliterated, i.e., the type itself is covered ========================================================================= Date: Fri, 24 Sep 2004 09:08:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Re: Sentence 2 Now Available MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Probably just wanted to publicize the fact that he was involved with it.=20 He apparently upset Catherine Brown about her subscription somehow--don't=20 really know what the story was there. Two disturbed people. Your copy of #2 was mailed early this week, so you should have it any day=20 now. If you don't have it by the end of next week, let me know and I'll=20 send another. Best, bc Joe Ahearn Sent by: UB Poetics discussion group 09/23/2004 06:59 PM Please respond to UB Poetics discussion group =20 To: POETICS@LISTSERV.BUFFALO.EDU cc:=20 Subject: Re: Sentence 2 Now Available Brian, Haven't gotten my second issue and I want to make sure I get one. I signed = up for the four-issue special after Issue 1, so I should be good through=20 Issue 5. For some reason, Gregg came in to Brenda's class with a huge armful of=20 Sentence 1s, but he didn't say anything about them, and then he walked=20 back=20 out with them. So far as I know, he didn't mention them, or give one to=20 anybody. Go figger... j. At 10:51 AM 9/8/2004, you wrote: >The second issue of Sentence: a Journal of Prose Poetics is now=20 available. >Please see ordering information at the bottom of this message. Please=20 note >the change of address. For more information, please see >http://firewheel-editions.org > >Sentence publishes prose poems, reviews, essays, and cross-genre work in >order to celebrate the history of prose poetry, to explore the gray areas >between the prose poem and free verse on one hand and the prose poem and >the essay on the other, and to extend conceptions of what the prose poem >is or can be. > >Sentence 2 includes prose poems by: > >Sally Ashton, Tia Black, Brian Brennan, Sean McLain Brown, Paul >Christensen, Lyndsey Cohen, Peter Conners, Michel Delville (tr. Gian >Lombardo), Paul Dickey, Matthew Dickman, Linh Dinh, Elisabeth Frost,=20 Alice >George, Arielle Greenberg, Mark Halperin, Susan Holahan, Brooke Horvath, >Peter Johnson, Ann Killough, Christine Boyka Kluge, Phyllis Koestenbaum, >Lesle Lewis, Rachel Loden, Gian Lombardo, Robert Hill Long, Robert Lowes, >Dan Manchester, John Martone, Kathleen McGookey, Jerry McGuire, Sandy >McIntosh, Ben Miller, Craig Moodie, Amjad Nasser (tr. Tahseen al Khateeb >and Leonard Schwartz), Cynthia Nichols, John Richards, R. L. Rimas, Dan >Rzicznek, Davis Schneiderman, Daryl Scroggins, Michele Shauf, Christopher >Soden, Joseph Starr, Chris Stroffolino, Mark Terrill, Anthony Tognazzini, >Mark Tursi, Kyle Vaughn, Phil West, Tom Whalen, Scott Withiam > >Essays by: > >Sally Ashton, John Bradley, Gloria Frym, Deanna Kern Ludwin, Barry >Silesky, Ellen McGrath Smith > >PLUS the Sentence Feature: "Hybrid Cultures: The Prose Poem in Spanish" >with introduction by Susan Briante and prose poems by Vicente Alexaindre >(translated by Stephen Kessler), Luis Cernuda (tr. Kessler), =C1ngel Crespo >(tr. Steven J. Stewart), Gabriela Mistral (tr. Maria Giachetti), Pablo >Neruda (tr. Dennis Maloney and Clark Zlotchew), Eunice Odio (tr. Keith >Ekiss and Mauricio Espinoza), Carlos Edmundo de Ory (tr. Stewart), and >Jaime Sabines (tr. Philip Pardi) > >PLUS > >Brian Clements reviews three Rupert Loydell collaborations and Braincase >Press chapbooks by Juliana Leslie and Sara Veglahn > >Michel Delville reviews Such Rare Citings: The Prose Poem in English >Literature by Nikki Santilli > >kari edwards reviews Under the Sun by Rachel Levitsky > >Gian Lombardo reviews The Frequencies by Noah Eli Gordon > >Jerry McGuire reviews Small Boat by Lesle Lewis > >Chris Murray reviews Reproductions of the Empty Flagpole by Eileen=20 Tabios. > >Dale Smith reviews A Handmade Museum by Brenda Coultas > >Rebecca Spears reviews The Marie Alexander Poetry Series from White Pine >Press and The Game of Kings by Daryl Scroggins > >PLUS: > >Our bibliography of recent prose poetry scholarship and criticism > >Our list of other recent prose poetry titles > > >Coming in Sentence 3: "The Prose Poem in Great Britain," guest edited by >Nikki Santilli > >Sentence 4 will be guest edited by Peter Johnson, editor of The Prose >Poem: An International Journal > > >TO ORDER: >A single copy of Sentence 2 is $12 (including postage) with additional >copies at $10 each; subscriptions are $22 for two issues and $30 for=20 three >issues (please add $2 per issue outside the US, Canada, Mexico, and the >Caribbean). Copies of Sentence 1 are now available for $8 per copy, plus >shipping. > >Make check or money order to Firewheel Editions and send to Sentence, c/o >Brian Clements, English Dept. Western Connecticut State University, >Danbury CT 06810. If you prefer to use a credit card, you can subscribe=20 to >Sentence via Amazon.com or order Sentence via your local bookstore from >Bernhard DeBoer, Inc. > >Sentence offers a 40% discount for classroom adoptions. Please contact >editor@firewheel-editions.org. > > >http://firewheel-editions.org =5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F= =5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F= =5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F=5F= =5F=5F=5F=5F=5F=5F=5F=5F=5F=5F Joe Ahearn joeah@mail.airmail.net ========================================================================= Date: Fri, 24 Sep 2004 10:43:38 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: poetry of omission or erasure In-Reply-To: <20040923.185314.10767.768083@webmail04.nyc.untd.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hi, Christian Bok does some stuff with acetates and layers in his first book _Chrystalography_ that might be of interest. have good week-ends all, kevin -- --------------------------- Newfoundland Tories put culture in a COMA http://www.donotpadlocktherooms.com/ ========================================================================= Date: Fri, 24 Sep 2004 09:22:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Re: Sentence 2 Now Available MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" My apologies to all for my embarrasing previous post, which, as you realized as you read it, was not intended for public consumption. ========================================================================= Date: Fri, 24 Sep 2004 11:11:03 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: poetry of omission or erasure In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT Hello again, In light of reading this I might suggest (shamelesly) a sound piece of mine at http://www.ubu.com/sound/hehir.html it's the first one, How to Pick up a Ringing Phoneme. This is performance of a text score that was produced through computer error. I was working on an essay on phonaesthesia and sent a copy of a draft to a friend to have a look at. Whe he printed it up certain letters were omitted in each word. I tried to reproduce the "stoppages" or gaps in the performance. It can be considered a found poem and a formal constraint poem. Hewlett Packard decided to erase all of the "S"s and "C"s and somewhat arbitrarily (by chance, by gum) erased others. This in itelf may not be so intersesting but the fact that the source text is about sound makes for some (adjective) results. I have it as a handy PDF if anyone is interested in seeing it. cheers, kevin On Fri, 24 Sep 2004, Mairead Byrne wrote: > Well actually, I'm getting terrific answers and suggestions. Murat's suggestion of "Doubled Flowering" really spins the thing. What I was thinking of particulary was printed poetry that is actually erased or obliterated, i.e., the type itself is covered. Now that I write that, I think how a voice might be "stopped" or "stoppered" similarly when reading. But yes, Chris, I suppose I was looking for references in this very material sense. > I have received plenty, and will compile a list to send to you all. But what are you thinking? (notice > how this native of Ireland uses "but" not as an indication of an objection but as a sort of hamburger helper, a conversation extender!). Anyway, what are you thinking? > Mairead > > >>> cstroffo@EARTHLINK.NET 09/24/04 00:18 AM >>> > Mairead-- > > Most answers so far assume you mean in the narrow sense... > as a surface "formal" strategy, or form. > Was that really how you meant it? > > Chris > (knowing limits?) > > > > --- Mairead Byrne wrote: > > > >> Dear All, > >> > >> I would very much appreciate any references anyone can give me > >> regarding poets who have used strategies of erasure or > >> obliteration, or who may cover or partly cover the text. Any > >> and all references to such work would be welcome. > >> > >> Thank you, > >> > >> Mairead > >> > >> > >> > >> MairÈad Byrne > >> Assistant Professor of English > >> Rhode Island School of Design > >> Providence, RI 02903 > >> www.wildhoneypress.com > >> www.maireadbyrne.blogspot.com > >> > > > > > > > > > > __________________________________ > > Do you Yahoo!? > > Yahoo! Mail Address AutoComplete - You start. We finish. > > http://promotions.yahoo.com/new_mail > -- --------------------------- Newfoundland Tories put culture in a COMA http://www.donotpadlocktherooms.com/ ========================================================================= Date: Fri, 24 Sep 2004 14:27:50 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: T_Martin Subject: Re: poetry of omission or erasure Mime-Version: 1.0 Content-Type: text/plain Also, what about Georges Perec, A Void. That's the novel without the letter "e", his theories going into the book were about omission. www.timothymartin.blogspot.com ========================================================================= Date: Fri, 24 Sep 2004 15:31:43 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Re: poetry of omission or erasure MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Hi Thought I'd answer you on this list ths time Chris Goode reading at SVP in Oct 2000 had his text on OHP cel, which he kept shuffling, reading what he could read Peter Finch uses erasure as one of his many techniques L ----- Original Message ----- From: "Mairead Byrne" To: Sent: Friday, September 24, 2004 12:58 AM Subject: poetry of omission or erasure Dear All, I would very much appreciate any references anyone can give me regarding poets who have used strategies of erasure or obliteration, or who may cover or partly cover the text. Any and all references to such work would be welcome. Thank you, Mairead Mairéad Byrne Assistant Professor of English Rhode Island School of Design Providence, RI 02903 www.wildhoneypress.com www.maireadbyrne.blogspot.com ========================================================================= Date: Fri, 24 Sep 2004 09:40:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: poetry of omission or erasure In-Reply-To: <20040924.072824.10767.772537@webmail04.nyc.untd.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit By definition any manner of writing constraint would require omissions of one sort or another. mIEKAL thinking about all the times a magazine has accepted a work of mine & omitted some key detail of the submission. On Friday, September 24, 2004, at 09:27 AM, T_Martin wrote: > Also, what about Georges Perec, A Void. That's the novel without the > letter "e", his theories going into the book were about omission. > > > www.timothymartin.blogspot.com > ========================================================================= Date: Fri, 24 Sep 2004 08:02:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: FW: anthology seeks submissions: Condemned Madonnas MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit CALL FOR PAPERS: CONDEMNED MADONNAS We would like to hear from women and men who would be interested in sharing their narrative stories or creative works for an edited text with a working title of Condemned Madonnas: A Collection of Narratives that Challenge the Ideology of Woman/Motherhood. Condemned Madonnas is a collection of narratives, poetry, creative non-fiction, and/or artwork that seeks to represent and reflect a broad range of voices in regards to challenges of stereotypical concepts of motherhood and womanhood. We are just as open to considering personal stories written-as-narrative as we are to submissions informed by theoretical frameworks, such as the relatively new genre of ficto-criticism or French feminist theory of the body. The drive of submissions, however, should reflect and relate the ways in which an individual experience of womanhood or motherhood counters or challenges conventional stereotypes. Examples of material suited for this project might include the following: Women who have foregone motherhood, and the sense of ostracism they may feel in regards to going against the stereotypical norm that "every woman wants a baby"; women who have voluntarily become non-custodial parents, yet suffered social condemnation for "leaving the children"; women who have given up a child for adoption; mothers who have not had empty nest syndrome; women (married or single) who are having affairs with men (married or single) and like/want it that way; women who are successful in a job that would be deemed by society as "men's work." Importantly, however, we're open to a variety of perspectives, experiences, observations -- told in first-person narrative or, alternatively, poetry or artwork. The one defining aspect of submissions should be the ways in which "your" experience relates to and challenges the stereotypes of woman and/or motherhood. Contributors are welcome to request/nominate a pseudonym. The publisher interested in reviewing chapters of Condemned Madonnas is a subsidiary of a major publishing house in New York. In relation to length, we are hesitant to set limits - as undoubtedly some experiences will lend themselves to greater development and expression than others. Our submission deadline is December 30, although as we've been fortunate to receive a good number of proposals, we'd like to hear from interested contributors sooner rather than later. Copyright on proposals and submissions remains with the individual contributor. Payment/royalty is an issue for later discussion in consultation with the editors and the publisher. For those who would like to be part of this project, please forward a brief description of what you might consider submitting, along with your contact information, to the email address that follows. Email: Judith.Valade@kctcs.edu Becky Flores, B.A., M.A., Ph.D. (candidate) Judith Valade, B.A., M.A., Ed.D. (in progress) Both Judith and Becky hold B.A. and M.A. degrees in English. Becky is currently finishing her dissertation for a Ph.D in English; Judith is pursuing a doctorates in Education and is the Director of the Writing Center at her institution. We have published professionally and creatively. Email: Judith.Valade@kctcs.edu ========================================================================= Date: Fri, 24 Sep 2004 10:00:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Talking about poetry Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 8bit MIME-Version: 1.0 Such Problems! Besides artifice of Absorption (Bernstein) could Anyone Point me in The direction Of Other texts which Talk About Talking about poetry? yaya, chris -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Fri, 24 Sep 2004 11:07:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Hoerman, Michael A" Subject: MCC 2004 Artist Grants Reading Series MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Every two years the Massachusetts Cultural Council awards grants in = poetry, fiction, and creative nonfiction. Winners are showcased in 6 readings = that take place throughout Massachusetts in September and October.=20 Thursday, Sept. 23 7:00 - 8:30 p.m. Boston Public Library Mezzanine Conference Room 700 Boylston Street, Boston=20 Chris Abouzeid (fiction) Jane Brox (creative nonfiction) Kurt Cole Eidsvig (poetry) Karen Malley (fiction) Cynthia Phoel (fiction) *** Wednesday, Sept. 29 7:00 - 8:30 p.m. Forbes Library 10 West Street, Northampton=20 Sally Bellerose (fiction) James Heflin (poetry) Barry Sternlieb (poetry) Margaret Szumowski (poetry) Andrew Varnon (poetry) *** Wednesday, Oct. 6 12:30 - 1:15 p.m. Borders 10 School Street, Downtown Crossing, Boston Robert Knox (creative nonfiction) Mary Sullivan (fiction) Sophie Wadsworth (poetry) *** Thursday, Oct. 7 7:00 - 8:30 p.m. Boston Public Library Rabb Lecture Hall 700 Boylston Street, Boston=20 Cynthia Anderson (creative nonfiction) Elizabeth Graver (fiction) Tanya Larkin (poetry) Maryanne O'Hara (fiction) Kim O'Neil (fiction) Mako Yoshikawa (fiction) *** Wednesday, Oct. 13 7:00 - 8:30 p.m. Forbes Library 20 West Street, Northampton=20 =20 Mar=EDa Luisa Arroyo (poetry) D.M. Gordon (poetry)=20 Tamara Grogan (fiction) Nicole Nemec (fiction) *** Tuesday, Oct. 19 12:30 - 1:15 p.m. Borders 10 School Street, Downtown Crossing, Boston Michael Hoerman (poetry) Rishi Reddi (fiction)=20 Lani Scozzari (poetry) View the MCC Reading Series Webpage at: http://www.massculturalcouncil.org/services/newsroom/ag_readings.html Worksamples can be found at: http://www.massculturalcouncil.org/gallery/searchResults.asp?Panel=3DPoe= try&City=3D& Year=3D&artistName=3D&submittedByDiscipline.x=3D18&submittedByDiscipline= .y=3D8 ========================================================================= Date: Fri, 24 Sep 2004 15:17:28 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: T_Martin Subject: Re: Talking about poetry Mime-Version: 1.0 Content-Type: text/plain Jack Collom's Moving Windows and Poetry Everywhere are wonderful books about talking about poetry with children, though i use it with adults, too. www.timothymartin.blogspot.com ========================================================================= Date: Fri, 24 Sep 2004 16:21:24 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: poetry of omission or erasure MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit mIEKAL's point did cross my mind when I first saw this thread. I also feel very cautious about the word 'erasure' as the last century and this already have seen enough of that. It's a loaded word. I was struck too by the ambivalent nature of modernist, post-modernist practice: in that the concentration on technique has a certain dehumanising feel and too that there's a certain tendency towards 'deskilling' in the apparent application of mode over content so it can seem at times that many current practices are weirdly parallel to global capitalism. It's not that I'm dissing the works mentioned nor am I suggesting that the writers are covert agents of the Office Revolution, I'm sure they're not (!). But something that might be human seems to be possibly missing. Now I feel faintly Luddite, which an interesting comparison to jump to mind. It's not that I'm against any of the techniques mentioned, indeed, I can and have practised some of them myself, but somewhere in me is uneasy while too I feel constrained from saying all that much for fear of falling into some kind of para-academic meta-language (see what I mean?!) Best Dave David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://homepage.ntlworld.com/david.bircumshaw/ ----- Original Message ----- From: "mIEKAL aND" To: Sent: Friday, September 24, 2004 3:40 PM Subject: Re: poetry of omission or erasure By definition any manner of writing constraint would require omissions of one sort or another. mIEKAL thinking about all the times a magazine has accepted a work of mine & omitted some key detail of the submission. On Friday, September 24, 2004, at 09:27 AM, T_Martin wrote: > Also, what about Georges Perec, A Void. That's the novel without the > letter "e", his theories going into the book were about omission. > > > www.timothymartin.blogspot.com > ========================================================================= Date: Fri, 24 Sep 2004 11:51:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucas Klein Subject: Re: Talking about poetry In-Reply-To: <20040924150051.DBE4213F15@ws5-9.us4.outblaze.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Chris: Geoffrey R. Waters's translations of "Six Quatrains Written in Jest" by Du Fu, on CipherJournal: http://www.cipherjournal.com/html/waters_xiwei.html Lucas -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of furniture_ press Sent: Friday, September 24, 2004 11:01 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Talking about poetry Such Problems! Besides artifice of Absorption (Bernstein) could Anyone Point me in The direction Of Other texts which Talk About Talking about poetry? yaya, chris -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Fri, 24 Sep 2004 08:58:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: poetry of omission or erasure MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit You may want to read Emmanuel Levinas' essay, "Transcending Words: Concerning Word-Erasing." In, Yale French Studies #81 (1992). It's the special issue on Leiris. Best, Joel _______________________________________ Joel Weishaus Visiting Faculty Department of English Portland State University Portland, Oregon Homepage: http://web.pdx.edu/~pdx00282 On-Line Archive: www.cddc.vt.edu/host/weishaus/index.htm ========================================================================= Date: Fri, 24 Sep 2004 12:14:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Re: poetry of omission or erasure In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Mairead- I think Charles Bernstein's *Veil* would qualify. Maybe Tom Phillips' *The Humament* best wishes, Nick On 9/24/04 9:01 AM, "cris cheek" wrote: > Hi Mairead, > > Randolph Healy has a pice in 'Scales' (i think) that does just this to > the UN Charter? > Sorry, i'm nowhere near a copy, but that's my memory. > > There are also, erm, one or two pages in my 1980 book 'a present' > worked just this way. Also 'Speak Bitterness' by Forced Entertainment > in Language aLive vol 1 > > love and love > cris > > On Sep 24, 2004, at 12:33 AM, Mairead Byrne wrote: > >> What I was thinking of particulary was printed poetry that is actually >> erased or obliterated, i.e., the type itself is covered ========================================================================= Date: Fri, 24 Sep 2004 12:18:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: poetry of omission or erasure In-Reply-To: <002e01c4a24a$29791fe0$8bf4a8c0@netserver> Mime-Version: 1.0 (Apple Message framework v619) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit all writing involves editing and recontextualisation On Sep 24, 2004, at 11:21 AM, david.bircumshaw wrote: > By definition any manner of writing constraint would require omissions > of one sort or another. ========================================================================= Date: Fri, 24 Sep 2004 13:30:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: updated Welcome Message | please review MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Dear all: please take a few minutes to review the guidelines, rules & regs. for the listserv as listed below--a few minor changes have been made to reflect the dynamic on the list over the last year or so. 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The press release below spells out the particulars. It just opened this past Monday (another good reason besides celebrating Louis Zukofsky to be in New York). Briefly I would just say that Tomatsu's photos navigate that territory between document and art(or poetry) and his trigger seems to me right on the pulse of the geist of Japan in particular since th= e late fifties - USA occupation, Nagasaki residuals, prosperity et al. Under the spell of the photographs - and without obvious melodrama - a classic sense of awe, compassion and restraint, an unfolding heartbreaker. 333 47th Street, New York City. (right by the United Nations complex). Stephen V http://stephenvincent.durationpress.com Main Gallery Exhibition Shomei Tomatsu: Skin of the Nation Through January 2, 2005 Shomei Tomatsu (b. 1930) is internationally recognized as the most innovative and important photographer of Japan's postwar period. Bringing a= n objective, yet idiosyncratic eye to the fragmented reality of Japanese life in the aftermath of World War II, Tomatsu's work examines postwar Japan's ambivalent responses to Western cultural and political influences. While representing a generation of artists who explored the complexities of modern Japanese society, Tomatsu's achievement is unique. Starkly modernist in his detached, abstract address of everyday objects, Tomatsu invests his subjects with a mystery and poetry that suggest larger, deeper metaphors. Skin of the Nation features nearly 260 works (drawn from the artist=B9s own collection) spanning 50 years. Each of Tomatsu's major series is represented, including Nagasaki 11:02, a historic documentation and description of the lives of A-bomb survivors in Nagasaki. Shomei Tomatsu: Skin of the Nation is organized by the San Francisco Museum of Modern Art in association with Japan Society, New York and is curated by Sandra Phillips, Senior Curator of Photography at San Francisco Museum of Modern Art, and photographer and writer Leo Rubinfien. A major catalogue accompanies the exhibition, including essays by the co-curators and John W. Dower, Professor of history at M.I.T. and author of Embracing Defeat, a cultural history of postwar Japan that received the Pulitzer and National Book awards in 2000. The book=B9s foreword is by acclaimed Japanese photographer Daido Moriyama. Shomei Tomatsu: Skin of the Nation is the first major English-language study of the work of this revere= d Japanese photographer. Published by Yale University Press, the catalogue is available in cloth cover for $32 (Japan Society members), $45 (non-members) at Japan Society Gallery or by calling (212) 715-1215, as well as at traditional retail outlets. You may also print out a catalogue order form online.=20 ========================================================================= Date: Fri, 24 Sep 2004 11:05:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Baghdad Burning is back Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Girl Blog from Iraq... let's talk war, politics and occupation. =A0 Not having seen her blog active in a long time, I had thought that the person writing Baghdad Burning had managed to flee Iraq. Paradoxically (I want her to survive this madness), I am grateful to see she is back in action. I will say no more other than you can find her, as well, at http://riverbendblog.blogspot.com/ Baghdad Burning I'll meet you 'round the bend my friend, where hearts can heal and souls can mend... Friday, September 24, 2004 =A0 Liar, Liar... I was channel-surfing yesterday evening- trying to find something interesting to watch. I flipped vaguely to Al-Arabia and Bush's inane smile suddenly flashed across the screen. Now, normally, as soon as I see his face, I instantly change channels and try to find something that doesn't make me quite as angry. This time, I stopped to watch as Allawi's pudgy person came into view. It's always quite a scene- Bush with one of the alledged leaders of the New Iraq. I prepared myself for several minutes of nausea as Bush began speaking. He irritates me like on one else can. Imagine long nails across a chalk board, Styrofoam being rubbed in hands, shrieking babies, barking dogs, grinding teeth, dripping faucets, honking horns =F1 all together, all at once =F1 and yo= u will imagine the impact his voice has on my ears. I sat listening, trying not to focus too much on his face, but rather on th= e garbage he was reiterating for at least the thousandth time since the war. = I don't usually talk back to the television, but I really can't help myself when Bush is onscreen. I sit there talking back to him- calling him a liar, calling him an idiot, wondering how exactly he got so far and how they're allowing him to run for re-election. E. sat next to me on the couch, peeved= , "Why are we even watching this?!" He made a jump for the remote control (which I clutch to shake at the television to emphasize particular points)- a brief struggle ensued and Riverbend came out victorious. You know things are really going downhill in Iraq, when the Bush speech-writers have to recycle his old speeches. Listening to him yesterday= , one might think he was simply copying and pasting bits and pieces from the older stuff. My favorite part was when he claimed, "Electricity has been restored above pre-war levels..." Even E. had to laugh at that one. A few days ago, most of Baghdad was in the dark for over 24 hours and lately, on our better days, we get about 12 hours of electricity. Bush got it wrong (o= r Allawi explained it to incorrectly)- the electricity is drastically less than pre-war levels, but the electricity BILL is way above pre-war levels. Congratulations Iraqis on THAT!! Our electricity bill was painful last month. Before the war, Iraqis might pay an average of around 5,000 Iraqi Dinars a month for electricity (the equivalent back then of $2.50) - summer or winter. Now, it's quite common to get bills above 70,000 Iraqi Dinars... for half-time electricity. After Bush finished his piece about the glamorous changes in Iraq, Allawi got his turn. I can't seem to decide what is worse- when Bush speaks in the name of Iraqi people, or when Allawi does. Yesterday's speech was particularly embarrassing. He stood there groveling in front of the congress- thanking them for the war, the occupation and the thousands of Iraqi lives lost... and he did it all on behalf of the Iraqi people. It was infuriating and for maybe the hundredth time this year, I felt rage. Yet another exile thanking the Bush administration for the catastrophe we're trying to cope with. Our politicians are outside of the country 90% of the time (by the way, if anyone has any news of our president Ghazi Ajeel Al Yawir, do let us know- where was he last seen or heard?), the security situation is a joke, the press are shutting down and pulling out and our beloved exiles are painting rosey pictures for the American public- you know- so everyone who voted for Bush can sleep at night. Allawi actually said "thank you" nine times. Nine times. It really should have been more- at least double that number of Iraqis died yesterday... and about five times that number the day before. Looking back on the last month alone, over 350 Iraqis have been killed either by American air strikes, fighting, or bombs... only 9 thank yous? The elections are already a standard joke. There's talk of holding election= s only in certain places where it will be 'safe' to hold them. One wonders what exactly comprises 'safe' in Iraq today. Does 'safe' mean the provinces that are seeing fewer attacks on American troops? Or does 'safe' mean the areas where the abduction of foreigners isn't occurring? Or could 'safe' mean the areas that *won't* vote for an Islamic republic and *will* vote fo= r Allawi? Who will be allowed to choose these places? Right now, Baghdad is quite unsafe. We see daily abductions, killings, bombings and Al-Sadr City, slums of Baghdad, see air strikes... will they hold elections in Baghdad? Imagine, Bush being allowed to hold elections in 'safe' areas- like Texas and Florida.=20 The hostage situations are terrible. Everyone is wondering and conjecturing about the Italian hostages. Are they really dead? Is it possible? Seeing th= e family of the British hostage on TV is quite painful. I wonder if they'll forever hate Iraqis after this. I saw the plea the made on CNN, asking the abductors to be merciful. Dozens of Iraqis are abducted daily and no one really knows who is behind it. Some blame it on certain Islamic groups, others on certain political groups- like Chalabi's, for example. It's hardl= y shocking, considering our own PM, Allawi, was, by his own admission, responsible for bombings and assassinations inside of Iraq- there is some interesting information here. For those who haven't read it, you really should. Juan Cole's "If America were Iraq, What would it be Like?". - posted by river @ 3:06 PM Wednesday, September 15, 2004 =A0 Fahrenheit 9/11... August was a hellish month. The heat was incredible. No one remembers Baghdad ever being quite this hot- I think we broke a new record somewhere in mid-August. The last few days, Baghdad has been echoing with explosions. We woke up to several loud blasts a few days ago. The sound has become all too common. It=B9s like the heat, the flies, the carcasses of buildings, the broken streets and the haphazard walls coming up out of nowhere all over the city=8A it has become a part of life. We were sleeping on the roof around three day= s ago, but I had stumbled back indoors at around 5 am when the electricity returned and was asleep under the cool air of an air-conditioner when the first explosions rang out. I tried futilely to cling to the last fragments of a fading dream and go back to sleep when several more explosions followed. Upon getting downstairs, I found E. flipping through the news channels, trying to find out what was going on. =B3They aren=B9t nearly fast enough,=B2 he shook his head with disgust. =B3We=B9re not going to know what=B9s happening until noon.=B2 But the news began coming in much sooner. There were clashes between armed Iraqis and the Americans on Haifa Street- a burned out hummer, some celebrating crowds, missiles from helicopters, a journalist dead, dozens of Iraqis wounded, and several others dead. The road leading to the airport ha= s seen some action these last few days- more attacks on troops and also some attacks on Iraqi guard. The people in the areas surrounding the airport claim that no one got any sleep the whole night. The areas outside of Baghdad aren=B9t much better off. The south is still seeing clashes between the Sadir militia and troops. Areas to the north of Baghdad are being bombed and attacked daily. Ramadi was very recently under attack and they say that they aren=B9t allowing the wounded out of the city. Tel Affar in the north of the country is under siege and Falloojeh is still being bombed. Everyone is simply tired in Baghdad. We=B9ve become one of those places you read about in the news and shake your head thinking, =B3What=B9s this world coming to?=B2 Kidnappings. Bombings. Armed militias. Extremists. Drugs. Gangs= . Robberies. You name it, and we can probably tell you several interesting stories. So how did I spend my 9/11? I watched Michael Moore=B9s movie, Fahrenheit 9/11. I=B9ve had bootleg CD version since early August. (Grave apologies to Michael Moore- but there=B9s no other way we can see it here=8A) The copy has been sitting in a drawer with a bunch of other CDs. One of my cousins brought it over one day and said that while it was brilliant, it was also quite depressing and distressing all at once. I had been avoiding it because, quite frankly, I cannot stand to see Bush for five minutes straight- I wasn=B9t sure how I=B9d cope with almost two hours. Three days ago, I took it out while the house was relatively quiet- no cousins, no cousins=B9 children, parents busy watching something or another, and E. asleep in front of the air conditioner for the next three hours. The CD was surprisingly clear. I had expected some fuzziness and bad sound quality- it was fine. Someone had made the copy inside a movie theater. I could tell because in the background, there was a ringing mobile phone a couple of times and some annoying person in the front kept getting up to adjust his seat. I was caught up in the film from the first moment, until the very last. There were moments, while watching, when I could barely breathe. I wasn=B9t surprised with anything- there was nothing that shocked me- all of the stuf= f about the Bush family and their Saudi friends was old news. It was the othe= r stuff that had an impact- seeing the reactions of Americans to the war, seeing the troops in Iraq being interviewed, seeing that American mother before and after she lost her son in Iraq. Ah, that mother. How she made me angry in the beginning. I couldn=B9t stand t= o see her on screen- convincing the world that joining the army was the ideal thing to do- perfectly happy that her daughter and son were =8Cserving=B9 America- nay, serving, in fact, the world by joining up. I hated her even more as they showed the Iraqi victims- the burning buildings, the explosions, the corpses- the dead and the dying. I wanted to hate her throughout the whole film because she embodied the arrogance and ignorance of the people who supported the war. I can=B9t explain the feelings I had towards her. I pitied her because, apparently, she knew very little about what she was sending her kids into. = I was angry with her because she really didn=B9t want to know what she was sending her children to do. In the end, all of those feelings crumbled away as she read the last letter from her deceased son. I began feeling a sympathy I really didn=B9t want to feel, and as she was walking in the street= s of Washington, looking at the protestors and crying, it struck me that the Americans around her would never understand her anguish. The irony of the situation is that the one place in the world she would ever find empathy wa= s Iraq. We understand. We know what it=B9s like to lose family and friends to war- to know that their final moments weren=B9t peaceful ones=8A that they probably died thirsty and in pain=8A that they weren=B9t surrounded by loved ones while taking their final breath. When she asked why her son had been taken and that he had been a good person=8A why did this have to happen to him? I kept wondering if she ever gave a second thought to the Iraqi victims and whether it ever occurred to her that Iraqi parents perhaps have the same thoughts as the try to dig their children out from under the rubble of fallen homes in Falloojeh, or a= s they attempt to stop the blood flowing out of a gaping hole in the chest of a child in Karbala. The flashes of the bombing of Iraq and the victims were more painful than I thought they would be. We lived through it, but seeing it on a screen is still a torment. I thought that this last year and a half had somehow made me a little bit tougher when it came to seeing Iraq being torn apart by bombs and watching foreign troops destroy the country- but the wound is still as raw as ever. Watching those scenes was like poking at a gash with sharp stick- it hurt. All in all, the film was=8A what is the right word for it? Great? Amazing? Fantastic? No. It made me furious, it made me sad and I cried more than I=B9d like to admit=8A but it was brilliant. The words he used to narrate were simple and to the point. I wish everyone could see the film. I know I'll be getting dozens of emails from enraged Americans telling me that so-and-so statement was exaggerated, etc. But it really doesn't matter to me. What matters is the underlying message of the film- things aren't better for Americans now than they were in 2001, and they certainly aren't better for Iraqis. Three years ago, Iraq wasn't a threat to America. Today it is. Since March 2003, over 1000 Americans have died inside of Iraq... and the number is rising. In twenty years time, upon looking back, how do Americans think Iraqis are going to remember this occupation? I constantly wonder, three years after 9/11, do Americans feel safer? When it first happened, there was a sort of collective shock in Iraq. In 2002, there was a sort of pity and understanding- we=B9ve been through the same. Americans could hardly believe what had happened, but the American government brings this sort of grief upon nations annually=8A suddenly the wa= r wasn=B9t thousands of kilometers away, it was home. How do we feel about it this year? A little bit tired. We have 9/11=B9s on a monthly basis. Each and every Iraqi person who dies wit= h a bullet, a missile, a grenade, under torture, accidentally- they all have families and friends and people who care. The number of Iraqis dead since March 2003 is by now at least eight times the number of people who died in the World Trade Center. They had their last words, and their last thoughts as their worlds came down around them, too. I=B9ve attended more wakes and funerals this last year, than I=B9ve attended my whole life. The process of mourning and the hollow words of comfort have become much too familiar and automatic. September 11=8A he sat there, reading the paper. As he reached out for the cu= p in front of him for a sip of tea, he could vaguely hear the sound of an airplane overhead. It was a bright, fresh day and there was much he had to do=8A but the world suddenly went black- a colossal explosion and then crushe= d bones under the weight of concrete and iron=8A screams rose up around him=8A men, women and children=8A shards of glass sought out tender, unprotected ski= n =8A he thought of his family and tried to rise, but something inside of him was broken=8A there was a rising heat and the pungent smell of burning flesh mingled sickeningly with the smoke and the dust=8A and suddenly it was blackness. 9/11/01? New York? World Trade Center? No. 9/11/04. Falloojeh. An Iraqi home. ========================================================================= Date: Fri, 24 Sep 2004 12:01:49 -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: Born Unna MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit Born Unna Tip the ball point A joint to summon Black Panthers Muqtada and the bruthas Fist raised to engage heavy manners My verse to Gregorian pornography chanter and arsenals of pimpers All sold inna song Born unna A tumbler anotherdaye at the racist/cummin on a lost investment/inna nation/smashin dada/a surrealist/vehicle/daps for clappers/undercover Aryans/bloody bastards/bass phat tracks rappers/those scratch face poppy negrows/omen vs. omen/reppin til omen exist no more/yo/big blast over Palestinian/Texans/dig the meaning in the form of the cameleon/this nah gow/how far can you throw/shadey back beats in my temple/schizofeein mental/hi fi samples infected stereo/degrading whitebwais with stereotypes and snow/this micless fist set to rumble/aim low pave low/so many crackheadz and hos/technology fix to bury them/common market option on my peoples/faking dubplates/coopting compton/I do believe there are devilz/adjust my sound level/the pageantry of paranoid MC’$ say/Maybe we not so wicked/but woht the point behind all this/hardness/mean to a peoples armed wiph/Rass Nyahman business/ Bengi U bang yuh Ugandi U still bangin I Stomp yuh Chompin cleva signals of remixes of Duchamp A spooky biter vs sinister fellaz I am the submitter Ilah original intellectual materialz chaucher and tales of the miller egotistical delerium runnin for white xenophobes/ they capture hazem punish them blast a cap through they headphones dub the politricks home is now my insecurity big fists of version My selectah no mass mit me dj I still the rude guy Blow a load Wohtchu say Mi esse To those Negrow amerikkknos frontin bruthas/runnin macht 10 to the gringos/in my essay/I expose foes/claimin consciousness/eastern European/who stole the jews/removing the king/paulist and his wicked thinking/isa was the breaker of rules/original rude/exposer of the posers/peace the captured bruthas and araji/zulfaqqar and ali/he crush the thugz and their all lies/as they fumble/the power of their Afroerror/chop em up in my mix/our prophets and household ecomonic/howl at a feggit caught in the madness/actin like powell/make em clap to this/they utter to like nutters/the united states of a faux confidence/watch they homelands crumble/so you think you can mess with us/who wanna cuss cuss/step up son/I’m done with this/please bless and protect/our knecks/we still caught in the up the mental unillness 1425 Lawrence Y Braithwaite (aka Lord Patch) New Palestine/Fernwood/The Hood Victoria, BC http://victoria.indymedia.org/news/2004/09/30391.php Mysterious Death of Native Artist: Anthany Dawson http://victoria.indymedia.org/news/2004/04/24950.php http://victoria.indymedia.org/news/2004/07/28178.php http://victoria.indymedia.org/news/2004/06/27436.php http://victoria.indymedia.org/news/2003/09/16739.php http://resist.ca/story/2004/6/26/11430/2391 ANTHANY DAWSON FACT SHEET - Rose Henry August 2002 http://victoria.indymedia.org/news/2004/01/20251.php http://victoria.indymedia.org/news/2004/04/24950.php ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Fri, 24 Sep 2004 23:05:21 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: poetry of omission or erasure In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I believe many of us on this list are using the technique of word (or character) omission, computerized or elsehow. For instance these two of mine: http://www.nisus.se/tallmo/noise_concrete/strndbrg2.html http://www.nisus.se/tallmo/noise_concrete/infringe1-3.html Perhaps you might guess what the original texts are ... /Karl-Erik >Hello again, >In light of reading this I might suggest (shamelesly) a sound piece of >mine at http://www.ubu.com/sound/hehir.html > >it's the first one, How to Pick up a Ringing Phoneme. This is performance >of a text score that was produced through computer error. I was working >on an essay on phonaesthesia and sent a copy of a draft to a friend to >have a look at. Whe he printed it up certain letters were omitted in each >word. I tried to reproduce the "stoppages" or gaps in the performance. > >It can be considered a found poem and a formal constraint poem. Hewlett >Packard decided to erase all of the "S"s and "C"s and somewhat >arbitrarily (by chance, by gum) erased others. This in itelf may not be so >intersesting but the fact that the source text is about sound makes for >some (adjective) results. > >I have it as a handy PDF if anyone is interested in seeing it. >cheers, >kevin > ========================================================================= Date: Fri, 24 Sep 2004 15:05:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: nobody in the tain Subject: Re: poetry of omission or erasure MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Duchamp ===== Scott Keeney nobodyintherain@yahoo.com http://nobodyintherain.blogspot.com __________________________________ Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! http://promotions.yahoo.com/new_mail ========================================================================= Date: Sat, 25 Sep 2004 00:59:10 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: poetry of omission or erasure MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit >----- Original Message ----- From: "cris cheek" To: Sent: Friday, September 24, 2004 5:18 PM Subject: Re: poetry of omission or erasure all writing involves editing and recontextualisation On Sep 24, 2004, at 11:21 AM, david.bircumshaw wrote: >> By definition any manner of writing constraint would require omissions >> of one sort or another. Sorry, cris, 'david.bircumshaw' didn't write that, it's mIEKAL (omitted and erased!) you quote. I did say that mIEKAL's point had crossed my mind when I first saw the thread. As for your point, h'm, I'd say writing +can+ involve etc. I certainly couldn't agree that ALL writing involves editing and recontextualisation (ugh, ugly management-speaky kind of word, don't like, nasty!). I haven't any objection to either process but can only end up with a statement like: 'writing may or may not involve editing and that other word' which isn't really worth saying anyhow. What I'm interested in is what people are using tactics of 'omission and erasure' for, I'd like to know more about the raison d'être of the undoubtedly interesting US works that have been mentioned most of which I do have access to. I know why I use 'recontext' (God, I dislike that word so much I can't even finish it) when I use the tactic but it'd be interesting to know what the why of it is elsewhere. Without jargon, anyone, please. Best Dave David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://homepage.ntlworld.com/david.bircumshaw/ ========================================================================= Date: Fri, 24 Sep 2004 20:24:25 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlotte Mandel Subject: Re poetry of omission or erasure MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Would the late Armand Schwerner's masterwork "The Tablets" qualify as work o= f=20 omission? Here's a description taken from a google reference: Armand Schwerner has been =E2=80=9Creconstructing=E2=80=9D these fictional S= umero-Akkadian=20 inscriptions, apparently from the time of The Epic of Gilgamesh, since 1968.= A=20 playful and powerful poetry is the result, at once visual and literary. Gaps= =20 and hieroglyphics speak eloquently, and Schwerner takes full advantage of th= e=20 liberty provided by =E2=80=9Cindecipherable and untranslatable=E2=80=9D pass= ages - the poems=20 include notes from a rather pedantic and often hilarious scholar-translator. Schwerner's "gaps" are brilliantly eloquent. C ar o te M ========================================================================= Date: Fri, 24 Sep 2004 20:01:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: poetry of omission or erasure In-Reply-To: <65CAB028-0E45-11D9-8193-000A957BF09C@slang.demon.co.uk> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I think the question was about visible omissions or erasures functioning as a part of the structure and texture of the poem. At 09:18 AM 9/24/2004, you wrote: >all writing involves editing and recontextualisation > >On Sep 24, 2004, at 11:21 AM, david.bircumshaw wrote: > >>By definition any manner of writing constraint would require omissions >>of one sort or another. ========================================================================= Date: Sat, 25 Sep 2004 05:23:04 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: poetry of omission or erasure MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Correction to my last - I meant to write: >I'd like to know more about the raison d'être of the undoubtedly interesting US works that have been mentioned most of which I do NOT have access to< Oh the joys of omission!!! Otherwise I'd emphasise it is the why of a particular formal tactic interests me - it applies across the board - why a sonnet here, a parody there etc etc. I notice Charlotte Mandel's post on 'The Tablets' which, altho' I don't know the work, certainly conveys some sense of why omission is a resource in the poem. What does worry or dis-ease me is technique, technik, being seen as an end to and in itself. I relate that in some ways to modern capitalist practice, and back to that side of High Modernism that emphasised surface and had a distinctly anti-human bias. The high-rises were the bastard spawn of the Bauhaus after all. The Modern Office is a monument to Innovative Capital. The language of theory can seem unsettlingly like dialects of management. The impenetrable groves of Progress. Best Dave David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://homepage.ntlworld.com/david.bircumshaw/ ========================================================================= Date: Sat, 25 Sep 2004 00:39:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: d.a. levy lives: celebrating the renegade press 2004-05 schedule Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Hi all, We=B9ve already had the first few events in our 2004-05 d.a. levy lives: celebrating the renegade press season=8B13 New York City-based small presses and their editors discussed their presses origins and futures on the occasion of Boog=B9s 13th anniversary, a bonus rock club event featuring Tripwire (S.F.) and its editor David Buuck, and a gallery event for Conundrum (Chicago) and its editor Kerri Sonnenberg. With the last open slots filled, here is the forthcoming schedule. Best, David ------------ d.a. levy lives: celebrating the renegade press 2004-05 schedule (all events take place at 6:00 p.m. on first Thursdays at ACA Galleries, 529 W.20th St., 5th Flr., NYC) 2004 Oct. 7-Furniture Press (Baltimore), Christophe Casamassima, ed. Nov. 4-30th Anniversary Celebration for Kelsey Street Press (Berkeley, Calif.), Patricia Dienstfrey and Rena Rosenwasser, eds. Dec. 2-the Poker (Cambridge, Mass.), Dan Bouchard, ed. 2005 Jan. 6-Palm Press (Los Angeles), Jane Sprague, ed. Feb. 3-The Canary (Kemah, Texas), Joshua Edwards, Anthony Robinson, and Nic= k Twemlow, eds. March 3- Habernicht Press (San Francisco), David Hadbawnik, ed. April 7-Omnidawn Publishing (Richmond, Calif.), Ken Keegan and Rusty Morrison, eds. May 5-Duration Press (San Rafael, Calif.), Jerrold Shiroma, ed. June 2-a+bend press (Davis, Calif.), Jill Stengel, ed. July 7-Pavement Saw Press (Columbus, Ohio), David Baratier, ed. --=20 David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcity.blog-city.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Sat, 25 Sep 2004 01:18:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Subject: Re: poetry of omission or erasure MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Subject: Re: poetry of omission or erasure There are a number of issues here - first of all, what constitutes omission and erasure? Does Furnival or Houedard qualify? What about Derrida/Heidegger? My own work has repeatedly used omission - for example the eliminate.pl script that Florian Cramer wrote for me. There's Rauschenberg. Don't forget Brainard. Probably all of the concrete poets touched on this one way or another. Does occlusion qualify? Decoupage? Missed lines as in a piece by John Clare? Gaps in Gilgamesh? Reconstitutions in Tutenkhamon as building blocks were reused as deliberate effacement? Japanese grass calligraphy with strokes eliminated or reduced? Does intention have to play a role? What about the library of Alexandria, the burning and looting of the library in Baghdad? The absence of pronunciation in Yhvh? The deliberate slant to Adoshem in secular literature? The silencing and/or breaking of the strings of the ch'in in classical Chinese music lore? And so forth. This should probably be forwarded as I'm almost unread here. - Alan recent http://www.asondheim.org/ WVU 2004 projects http://www.as.wvu.edu/clcold/sondheim/files/ recent related to WVU http://www.as.wvu.edu:8000/clc/Members/sondheim Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm partial mirror at http://www.anu.edu.au/english/internet_txt ========================================================================= Date: Sat, 25 Sep 2004 01:18:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Suicidal Thoughts MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Suicidal Thoughts Last night watched American Splendor about Harvey Pekar and was struck with uselessness. My domain name was renewed in the nick of time. Kerry is behind by nine points as state after state swings towards the fascists, with the so-called electoral vote 28 points ahead for Bush Inc. I had a growth removed from my face being tested for malignancy. I've gone off lexapro and feel dizzy pretty much all the time but so far nothing else. The horror of beheadings as we're "winning in Iraq." I don't sleep anymore. I can't lose weight. So much net art is rehashed conceptualism from the 60s and 70s. Doesn't the country _get it_? No one replies to my work at all, at this point. Discussion on Poetics about "erasure." Argentina? I've used the technique at least since 1976 in those poetics programs I wrote. A fourth hurricane heading for Florida and people still develop the Everglades, now at 9% what it was. The roof of this building is cracked and we'll have to move out for a while when it's replaced. Boojum, our cat, is checked now daily for a resurgence of cancer; we can't tell. The crazy guy on our block now has a pit bull. More trees are dying and more pit bulls are sprouting. Our friends had to get rid of their rooftop garden because of an "error." Sharona's leaving Monk because of "creative differences" or some such. It's getting harder to breathe around here. Whatever Bush says, goes. We're really broke at this point and as usual I feel at odds and somewhat alienated from most of my family. At sixty-one the body begins to whisper failure. I'm absolutely certain there is no god, spirit, soul, though I was destined to believe otherwise. Every organized religion murders. On one level, the murders of Russian children are inconceivable; on the other, they're part of the daily routine. First the mudslides and floods, then the drowning, then the looting and fury. Get rid of your vegetation and everything sinks in the sea. Human animals are by far the filthiest; look at the New York subway stations. TV Guide no longer lists late late night at all. Every day there are new scams in the email, targeting the weakest among us. Most of these are completely illegal. Reality shows along the line of Survivor seem to delight in animal-torture; where is Peta? Even the SPCA? During the Republican convention here, half a million took to the streets, and there were online and other offline actions as well. The result, a fascist popularity landslide. Medication is pricing the elderly out of existence. Another Ramone died. Madonna's Kabbalah is idiotic and insulting. I've been sleeping far too much as a result of depression; getting off the lexapro should help. A psychiatrist friend suggested I use "bubblegum" as a mantra. SUV usage has gone up 45% in most places here and I gather the Hummer gets 7 miles to the gallon. Our place is overrun with mice who freely eat from our humane traps. The cat watches. There are some flies as well. I'm not playing enough music and have somewhat lost my embrochure. I'm hopefully selling some rare books to raise some money as my father yells at me that they're not worth much. The dark night of the soul is 3 p.m. in the afternoon. Someday I'll be thrown in the jail for disbelief. It's increasingly hard to work on texts in absolute silence. My friends are all in academics; I sit here at the desk and hunger for a living. I still haven't gotten over the death of my mother and my father's dislike of me. We're living on Azure's school loans and my occasional work or lecturing. My headaches have increased in frequency and severity over the past several months. How can anyone claim Afghanistan or Iraq are successes? This is no longer my country and the net is no longer "my" net; both belong to the spammers. Frances, Ivan, Charley, Jeanne. Our neighborhood is being redeveloped and across Flatbush, buildings will be seized by "eminent domain." I head someone else leaped from a building at NYU, Azure's university. My Sony Hi8 with PCM sound won't sync tapes properly and I'm in danger of losing another ten years' work. The Susquehanna river in Pennsylvania, where my father lives, rose to within three feet of overflowing the dikes. I get tired of arguments about cross-posting, but on the other hand, am almost never invited to read. I get tired of arguments about "avant-garde" and "experimental" writing, when clearly something new is happening and people are too blind to see it. Was it Louisiana that just approved of a state-constitutional ban on same-sex marriages? For the first time in decades, we're insisting on the instituting of privilege and prejudice. Full-fledged legal racism and anti-semitism are not far behind. This country is white, right-wing, Christian, and by God, patriotic; don't let anyone tell you different. I'm more afraid of Bush than Ben Laden. Who wants to hear a 61-year-old guitar/shamisen player anyway? Let's watch Jerusalem burn. I'm worried the mice will eat the bellows of the pump organ. I feel death breathing down my back, illuminating the pain in my early-morning eyes. Why isn't there terrorism directed at the fascists in power? I worry my friends won't be able to tolerate me. We can't keep dust out of this place and live in constant allergic reaction. My astigmatic eyes have trouble focusing properly and if I don't consciously correct, my digital photographs come out at a 3-degree tilt. About twice a month I have to call 911 for the neighborhood. The sink pipes blew out a couple of weeks ago. We're in incredible debt, for the first time in our lives. A saving grace would be a hard cold winter. Not to Mention . the bombing of the New York City tunnels resulting in widespread death and destruction. . dirty-bombs in Manhattan with radioactive fury spreading to Brooklyn and beyond . anthrax and other biological weapons already in the air we breathe . resurgence of smallpox and plague . repeat of crashed planes into Wall Street and the United Nations . car bombs going of in Union Square and Times Square . firestorms spreading across Manhattan as tanker trucks explode en masse . New York City beheadings by anonymous figures speaking through interpreters . riots in every neighborhood as food runs out . collapse of the New York City water tunnels and surface instability in at least three boroughs . images of civilians burned alive in high-rises exploded from the ground up . fire and explosions in the New York City natural gas system . subway tunnel collapses as plastique and suicide bombers do their work . grenades and shrapnel . gas _ ========================================================================= Date: Sat, 25 Sep 2004 07:34:57 +0200 Reply-To: Anny Ballardini Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: Subject: Re: poetry of omission or erasure In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Hi Alan, on another list I quoted your work within the same thread, I even suggested that the _signs_ you sometimes use could be interpreted as _silenced words_. As you can see, you are not unread, even if I realize I should take a Sabbatical year to read all what you wrote, take care, Anny On Sat, 25 Sep 2004 01:18:08 -0400, Alan Sondheim wrote: > Subject: Re: poetry of omission or erasure > > There are a number of issues here - first of all, what constitutes > omission and erasure? Does Furnival or Houedard qualify? What about > Derrida/Heidegger? My own work has repeatedly used omission - for example > the eliminate.pl script that Florian Cramer wrote for me. There's > Rauschenberg. Don't forget Brainard. Probably all of the concrete poets > touched on this one way or another. Does occlusion qualify? Decoupage? > Missed lines as in a piece by John Clare? Gaps in Gilgamesh? > Reconstitutions in Tutenkhamon as building blocks were reused as > deliberate effacement? Japanese grass calligraphy with strokes eliminated > or reduced? Does intention have to play a role? What about the library of > Alexandria, the burning and looting of the library in Baghdad? The absence > of pronunciation in Yhvh? The deliberate slant to Adoshem in secular > literature? The silencing and/or breaking of the strings of the ch'in in > classical Chinese music lore? And so forth. > > This should probably be forwarded as I'm almost unread here. - Alan > > recent http://www.asondheim.org/ > WVU 2004 projects http://www.as.wvu.edu/clcold/sondheim/files/ > recent related to WVU http://www.as.wvu.edu:8000/clc/Members/sondheim > Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm > partial mirror at http://www.anu.edu.au/english/internet_txt > ========================================================================= Date: Fri, 24 Sep 2004 23:24:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hugh Steinberg Subject: Re: poetry of omission or erasure In-Reply-To: <6.1.0.6.1.20040924195753.03c66a60@mail.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii And thus I also think of visible omissions/erasures as a form on the other side of collage, informing that process in the way negative space informs space. Hugh Steinberg --- Mark Weiss wrote: > I think the question was about visible omissions or erasures > functioning as > a part of the structure and texture of the poem. > > > At 09:18 AM 9/24/2004, you wrote: > >all writing involves editing and recontextualisation > > > >On Sep 24, 2004, at 11:21 AM, david.bircumshaw wrote: > > > >>By definition any manner of writing constraint would require > omissions > >>of one sort or another. > __________________________________ Do you Yahoo!? Yahoo! Mail - Helps protect you from nasty viruses. http://promotions.yahoo.com/new_mail ========================================================================= Date: Sat, 25 Sep 2004 02:21:49 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: autumn.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit water over stone time stone into water time 3:00...kol nidre....drn... ========================================================================= Date: Sat, 25 Sep 2004 08:05:55 -0400 Reply-To: pmetres@jcu.edu Sender: UB Poetics discussion group From: Philip Metres Subject: erasure/striking out MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Mairead (rhymes with parade): Here's my review of Jen Bervin's Nets (Ugly Duckling Presse), a text that derives its poems from the humus of Shakespeare. Examples therein: http://jacketmagazine.com/25/metr-berv.html Also James Merrill's prose book (name escapes me) has all sorts of cross-outs. Best, Phil Philip Metres Assistant Professor Department of English John Carroll University 20700 N. Park Blvd University Heights, OH 44118 (216) 397-4528 (work) ========================================================================= Date: Sat, 25 Sep 2004 15:04:14 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sarah Pearlstein Subject: Test e-mail + a query. MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Dear All, This is my first e-mail to the list. I've read some interesting Julia Kristeva on poetic language being a way to resolve the old dichotomy between art and political commitment. She looks at the moment in history (early to mid 1930s, I think) when Surrealism and Socialist ideas came together (though she doesn't actually specify this, I'm assuming it's what she meant) through the Surrealist Manifesto which Trotsky had asked for and which came from Andre Breton (and others?) and talked about a kind of collective which lay in the unconscious anyways, and which led to a belief in a kind of communalism, if not socialism. She specifies poetic language as being the route through which political commitment can be made, though she doesn't really say whether this has to be intentional or not. I forget which book this came out of, as I read it kinda on the fly when I had about a half an hour to kill at the B.U. library. I can go back and find it, however... This is a long -winded way of my saying that this is a research interest of mine - anybody else out there dealing with similar questions? Have any leads? Anyways, I've heard this list is a great resource so thank-you all for letting me join. Sincerely, Sarah Pearlstein Brighton, Ma. ========================================================================= Date: Sat, 25 Sep 2004 22:35:43 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Magee Subject: Logic of the Long Take 1 Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit [lines for the Steve Kurtz Defense Benefit, Sunday, October 3, NYC http://amsterdam.nettime.org/Lists-Archives/nettime-l-0409/msg00032.html The late afternoon raspberries along the narrow paths have passed. The milk cow grazes from path to path with its calf, in no one's way. The fox dissolves into furs drying the brazen width of one cabin. That was the last day and the day before that the plane unlike the ones that exploded, landing, pails of potatoes lately spaded. That's what it looks like, another century strategically deserted. The 400-year-old city over the bend in the river and the wide plain. The tributary takes its name from the Mongol, Basandai (15th century?) Villagers in headscarves take to the market stalls the summer's last sharpnesses scrubbed hard, cored. Woodsmoke. The flat claps of hammer and hatchet clear. Block to block the charred beams of the 19th century's vernacular remains, their residents burnt out to make way for transactions: Between nation and class, the mystifications (called "particularisms" in the century-old translations from the workers' congresses). Anachronisms, excrescences, said too much, said all the time, said again and again past hearing whatever news of bolt of flame overtaken by Beslan, reports out of range of responsibility. Retributions. Total Regime. Slang for the stopgap and surmise: One part of the world has forgot the Enlightenment and another must find it as for the first time. ========== [Spoken at Tomsk State University's Faculty of Philosophy, IX.17.2004]: Art is entering the time of the injunction, as assertions of ideology can hardly be posed without posing the problem of the representation and proposing boundaries, limits, thresholds of tolerance. Nothing, especially art, is said to be outside the claims to truth made by the declarative definitions of the ideological position, and for those who practice one or another of the many forms of art, discussions about the boundaries of the representation are disturbing as they most often take place from positions of power far from the boundaries, the margins, all the manifold variables that comprise the social environment and individual volition of the artist and the volatile energies charged in the making of the work of art. The discourse of culture, whether it calls itself film theory, art history, or literary criticism, needs an object against which its own identity can be constituted and its project of the narration of historical structures authenticated. This object, the artwork, thus interpreted, is mobilized in the interest of one or another claim to truth, and the terms of its activation as such, when these terms involve the suppression of the materiality of the artwork, need continually to be carefully considered. The concept of culture is invoked whenever what is good or bad, progressive or backwards, valuable or worthless about the artwork is discussed. Censorship does not need to be actively imposed by a government for institutional validation to be required in conferring value, and this is where the discourse of culture is hardly unmotivated, depending on the parameters of this discourse, and the interests served by it. Without attention to the politics of cultural interpretation, the integrity of the category of the political is itself threatened, and political philosophy is worth defending in a time of intensifying territorial and predatory wars and the revival of ethnic and state nationalisms without which one country cannot make war against another, nor suppress internal opposition. Attention to the materiality of the artwork, which in the sphere of the cinema would include "avant-garde practices which foreground frame, surface, montage, and other cinematic codes or materials, including sound, flicker, and special effects," (qtd. in Byg 166) participates in this defense by challenging abstractions that reduce the artwork to the condition of formula and function among assignments of usefulness and value. The ontology of the work of art, its very being, develops from its passage through contemporary and imminent sites of production, or what used to be called the influence of the work of art on future generations of artists. For Walter Benjamin, in a fragment written in 1920, "Kandinsky expresses this by saying that the permanent value of works of art appears more vividly to later generations, since they are less receptive toward their contemporary value" ("The Medium through Which Works of Art Continue to Influence Later Ages" 235). The formal question, the technical question, the material question of the single take in Alexander Sokurov's Russian Ark, alternately characterized in the discussion of this film published in Art Margins, www.artmargins.com, an online journal in English dedicated to contemporary visual arts in Eastern Europe and Russia, as an eye that does not blink, an innovation that makes film history as the longest shot in the history of the medium, a director's decision which demanded of its photographer the physical ability to carry the heavy camera equipment on his back, referred to by one writer as "the self-mortification of the photographer" and as a device without a future, a "stunt," a one-shot deal (Eshelman). Mention is also made of public disagreement expressed by the director over an award given to the photographer, a difference further sharpened by the national identities attributed to Sokurov and Tilman Buettner, one Russian and the other German. The emphasis on this attribution is all the more surprising if it is remembered that the cinema itself arrives in modern times as the art form that transcends, or collapses, depending on the point of view, the national boundaries of culture and the reliance of these boundaries on the specificity of language. Subtitles are secondary to the image. The Yiddish Theater described in Kafka's Diaries at about the same time as the last Grand Ball at the Winter Palace in 1913, the culminating scene in Russian Ark, might be offered in contrast as one example of a nearly self-contained sphere of signs and gestures. What one of the writers for Art Margins calls the "diegetic time" of the film, which "traverses the entire epoch of Petrine reforms, from the early 18th century, to its end in 1913" (Kujundzic), another writer might view from the perspective of the gap separating the content and form of the narrative that stages an image of the aristocracy, the monarchy, and the officer corps of an imperial army surrounded by great paintings. "How can one see history?" Dragan Kujundzic asks, following the direction of the opening line spoken by the narrator, "I open my eyes and see nothing ['Orkryvaiu glaza i nichego ne vizhu']. -- Kevin Magee http://hypobololemaioi.com http://hypobolemaioi.durationpress.com ========================================================================= Date: Sun, 26 Sep 2004 03:47:48 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Omissions, Erasures: RadiOs, Man's Wows MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" To add to the list: Ronald Johnson's RadiOs. After coming across a copy of this interesting book In 1980, I began a series of poems deconstructed from John George Hohman's Book of Pow Wows, Or Man's Long-Lost Friend (1820), a collection of folk magic and remedies popular among the Pennsylvania Germans. I called this series of erasures Man's Wows, and a selection was published by Charles Alexander under his Black Mesa Press imprint. A new, up-dated Man's Wows is available online at the Duration website. In addition, two more examples of my erasure texts are in the latest Eratio, Postmodern Poetry. It's about 4 a.m. here in the land of the not-yet-risen Rising Sun. Everyone's asleep in the apartment. Too early to drink coffee, and too late to think it's actually another day. Jesse ========================================================================= Date: Sat, 25 Sep 2004 12:06:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: My events in LA area next weekend Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I'll be doing a reading and panel next weekend: Saturday, October 2, 7:30 PM Skylight Books 1818 N. Vermont Avenue Los Angeles, CA 90027 Tel: (323) 660-1175 Sunday, October 3, 2004, 4:00-5:15 p.m. Panel: Sex In The City - Writing Erotica Dodie Bellamy, Myriam Gurba, Stan Kent Moderator: Adreana Robbins West Hollywood's 3rd Annual Book Fair The Earthly Delights & Beyond Pavilion West Hollywood Park, 647 North San Vicente Boulevard The University of Wisconsin edition of The Letters of Mina Harker has been shipped from the printers and if all goes well, it will have its world premiere at the Skylight reading! ========================================================================= Date: Sat, 25 Sep 2004 12:58:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: "The Healing Spirit of Haiku" Workshop-Portland Comments: To: Literature and Medicine discussion group , ASLE MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable To those of you in the Portland, Oregon area. In connection with our forthcoming book, "The Healing Spirit of Haiku," = (North Atlantic Books, October 2004) on October 30th, David Rosen and I = are doing a Lecture & Workshop at the Japanese Garden. = www.japanesegarden.com=20 The schedule is: 9:00-10:00 meditation and walk through the garden. 10:00-10:15 Tea 10:15-12:00 Dr. Rosen will give a lecture, "Haiku, Zen and Jung's = Psychology." 12:00-1:00 Lunch 1:00-4:00 "East Meets West: Haiku as Active Imagination." A workshop = led by both of us. Fee is $40.00 for Garden members. $50.00 for non-members. Limited to 40 people. -Joel _______________________________________ Joel Weishaus Visiting Faculty Department of English Portland State University Portland, Oregon Homepage: http://web.pdx.edu/~pdx00282 On-Line Archive: www.cddc.vt.edu/host/weishaus/index.htm ========================================================================= Date: Sat, 25 Sep 2004 15:12:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mitchell Loe Subject: Poetry sous rature/my first post MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Mairead, The first thing that came to mind is Nota by Martin Corless-Smith. Coincidentally, as I am researching this book, I stumbled across this listserv and asked to join. A posting last year discussed whether or not Thomas Swan, a putative poet of the 17th century in Nota, in fact existed or was manufactured by the author (it seems this was a manufactured identity, by the way). This is my first posting here. I am completing my MFA at the University of Utah and hopefully will begin my doctoral work next fall. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sat, 25 Sep 2004 18:30:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barrett Watten Subject: 1-year Plan / Zukofsky Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I am in the process of launching "1-Year Plan," a time-based writing project that will eventually be ongoing in blog format. In the meantime, I've published a "Prospect" for the project and two posts, of perhaps most immediate interest one on the recent Zukofsky conference. They can be accessed, for now, at my home page: http://www.english.wayne.edu/fac_pages/ewatten/index.html ========================================================================= Date: Sat, 25 Sep 2004 15:57:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: Poetry sous rature/my first post In-Reply-To: <20040925221243.47149.qmail@web50408.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit serendipitously I just got a notice about a (local to me) conference about identity in the 17th century: http://www.humnet.ucla.edu/humnet/c1718cs/calendar.htm Imposters: Identity and Pretense in Europe and the Atlantic World, 1600-1800 arranged by Margaret C. Jacob, UCLA Mary Lindemann, University of Miami Jeffrey S. Ravel, Massachusetts Institute of Technology The topic of imposture in the seventeenth and eighteenth centuries is one that is ripe for examination in a cross-cultural, transnational perspective. While the adventures of Giacomo Casanova or the Chevalier d'Eon were well known at the time and remain notorious today, they offer but two examples of the many forms of imposture by individuals and groups that occurred throughout Europe and the Atlantic world between 1600 and 1800. This program will address several questions, including: What distinguished imposture in this period from that which took place before and after in the West? How do imposters at this time differ from "aventuriers" or those who engage in masquerade, or from the temporary slippage of identities on stage? Is there a shift from group imposture in the seventeenth century (motivated primarily by religious intolerance) to individual imposture in the eighteenth century (encouraged by new financial and commercial possibilities)? Does institutional change, as much as political and cultural discourse, account for new and changing opportunities to counterfeit identity? Is the nature of imposture different in the colonies than in the metropole? And, finally, how might such a broad-based inquiry into imposture address scholarship on the nature of "identity" and "self" in the West? All best, Catherine Daly cadaly@pacbell.net -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Mitchell Loe Sent: Saturday, September 25, 2004 3:13 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Poetry sous rature/my first post Mairead, The first thing that came to mind is Nota by Martin Corless-Smith. Coincidentally, as I am researching this book, I stumbled across this listserv and asked to join. A posting last year discussed whether or not Thomas Swan, a putative poet of the 17th century in Nota, in fact existed or was manufactured by the author (it seems this was a manufactured identity, by the way). This is my first posting here. I am completing my MFA at the University of Utah and hopefully will begin my doctoral work next fall. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sun, 26 Sep 2004 10:08:46 +1000 Reply-To: jfk Sender: UB Poetics discussion group From: jfk Subject: Journal article on performance poetry MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Hi For anyone whose interested, I've just published a piece 'Poetry Beyond the Page: a stroll through noticing' on Philament. http://www.arts.usyd.edu.au/publications/philament/issue4_Critique_Keane.htm Best JFK ========================================================================= Date: Sat, 25 Sep 2004 21:09:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derekrogerson Organization: derekrogerson.com Subject: Can't Even Give it Away MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I Can't Even Give it Away (Singer with Piano) http://derekrogerson.com/sounds/cantaway.mp3 I've had it since I was a little girl. I was taught to prize it a lot! But (since I'm grown), I'm finding out it really isn't so hot. They told me that I'd kept it long enough. They said, "Aww... don't be silly about it! Because if you really want to dress yourself you'd be much better off without it. In this modern generation girls don't keep them anymore! Why, it's rare to find a girl with one if she is over four!" (oh well) I never have been over-hasty. I always have needed a shove. I thought maybe I could bare giving it up -- if someone would treat it with love! But would you believe it? There wasn't a taker! From Boot back to Candlestick-Maker! Maybe I had no Art? (The approach wasn't smart.) And -- then! I decided to sell it. But I couldn't even give it away! I'd swear I'd never thought I'd see that day! No one would have it for love or money! And (up to that time) I thought it was a honey! It's funny how those things do change. Why someone even told me, "Don't be still. That thing won't last you!" Then -- did I get mad. I said, "My mother had one! And, Grandmother had one! And, I know theirs were played on!" Now don't tell me the times have changed that much. But I guess I'll have to go on playing it myself... 'cause I couldn't even give it away... (woe! ho!) The way it is -- that's how it's going to stay! Nothing went the way I planned! I guess I'll never have a baby grand! I'm stuck with my upright piano! ========================================================================= Date: Sat, 25 Sep 2004 18:12:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Killian Subject: New Play by Kevin Killian and D-L Alvarez Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Total Eclipse, a new play by Kevin Killian and D-L Alvarez Thursday, September 30 and Friday, Oct 1 8 pm New Langton Arts 1246 Folsom Street San Francisco 415-626-5416 Tickets $10-$5 sliding scale/ $5 members, students, seniors It's a small space, so call to reserve tickets ahead of time. D-L Alvarez and Kevin Killian premiere Total Eclipse, a new play set among 70s underground cult star Klaus Nomi's colorful circle of friends. The play is performed by members of San Francisco Poets Theater, a rotating group of visual artists, writers, video artists, actors and musicians, in this case Cliff Hengst, Wayne Smith, Arturo Galster, Lawrence Rinder, Scott Hewicker, Jocelyn Saidenberg, Karla Milosevich, Craig Goodman, Jennifer Locke, Gerald Corbin, Carla Gaytan, Kevin Killian and Kota Ezawa. Total Eclipse skewers the cult of celebrity, mixing fact and fiction with rumor and innuendo in a re-creation of pop culture circa 1979. Kevin Killian is a San Francisco novelist, poet, critic and playwright. His books include Bedrooms Have Windows (1989), Shy (1989), Little Men (1996), Arctic Summer (1997), and Argento Series (2001). He wrote Poet Be Like God: Jack Spicer and the San Francisco Renaissance (1998) with Lewis Ellingham. His most recent books are I Cry Like A Baby (2001) and Island of Lost Souls (2003). Killian has written thirty plays for the San Francisco Poets Theater, including Stone Marmalade (1996, with Leslie Scalapino) and Often (2001, with Barbara Guest). Writer, visual artist and former San Francisco resident D-L Alvarez has exhibited widely throughout the US and Europe. He has had solo exhibitions at Derek Eller Gallery, NY; London Projects, UK; Theoretical Environments, Italy; and Jack Hanley Gallery, San Francisco. His work has been included in group exhibitions in New York, Los Angeles, Berlin, Riga and San Francisco and is held in the collections of SFMoMA, MoMA, the Whitney Museum of American Art, and the University Art Museum, Berkeley. Alvarez lives in East Berlin. ========================================================================= Date: Sat, 25 Sep 2004 18:42:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mona Baroudi Subject: NEW WORKS / NEW VOICES: James D. Houston & Nami Mun at Intersection MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit INTERSECTION FALL 2004 LITERARY SERIES presents NEW WORKS / NEW VOICES: JAMES D. HOUSTON & NAMI MUN American Book Award winner and author of seven novels and several nonfiction works, James D. Houston is a prolific writer whose evocative and insightful depictions of the human psyche match his infinite curiosity of the history of California and the Pacific Rim. Houston selects emerging fiction writer Nami Mun to join him on stage for this paired reading. Tuesday September 28, 2004 at 8:00 PM Intersection for the Arts 446 Valencia (btwn 15/16) Mission District, San Francisco $5 - $15 (your choice) sliding scale Info: (415) 626-2787, www.theintersection.org “Few writers have as sure a lyrical sense of places and their people as James Houston, or as firm a sense of why our place in the scheme of things matters.” – Jane Hirshfield, author of Given Sugar, Given Salt INTERSECTION FOR THE ARTS is proud to present, as part of our Fall 2004 Literary Series, New Works/New Voices with American Book Award winner, novelist, essayist, and nonfiction writer James D. Houston and emerging fiction writer Nami Mun on Tuesday September 28, 2004 at 8:00 PM. For New Works/New Voices, Intersection has invited some of the Bay Area’s most influential writers to read new work and to select a writer whom they feel is deserving of greater attention and exposure. Previous New Works/New Voices readings have featured Thom Gunn with Jim Powell, Cherrie Moraga with Reid Gomez, Barry Gifford with Juvenal Acosta, Diane di Prima with Susan Thackrey, and Gary Snyder with Amy Wu Wong. This unique pairing will provide the public with the opportunity to hear new work from a literary icon and a chance to acquaint themselves with the work of an exciting, emerging fiction writer. Admission is $5 - $15 sliding scale. JAMES D. HOUSTON is the author of seven novels, including the trilogy, Continental Drift (Alfred Knopf, 1978), Love Life (Alfred Knopf, 1985), and The Last Paradise (University of Oklahoma Press, 1998), which received the American Book Award in 1999. His recent novel, Snow Mountain Passage (Alfred Knopf, 2001), described in The Washington Post as “a dignified, powerful narrative of our shared American destiny," was cited by The Post, The San Francisco Chronicle, and The Los Angeles Times as one of the Year's Best Books. Among his several nonfiction works is Farewell To Manzanar (Houghton Mifflin, 1973), co-authored with his wife, Jeanne Wakatsuki Houston. A true account of her family's experience during and after the WWII internment, it is in a 65th printing from Bantam Books and a standard work in schools and colleges across the country. Houston was born in San Francisco, where his parents settled after migrating west from Texas during the Depression of the l930s. In l959 his first published story appeared in the London literary journal, Gemini. Another early effort won that year's U.S. Air Force Short Story Contest. After extensive travel in Europe - to Belgium, France, Germany, Spain, Scotland, Scandinavia, and the Soviet Union - he returned home to pursue an M.A. in American Literature at Stanford. He studied with Wallace Stegner, critic Irving Howe, editor Malcolm Cowley, and the Irish short story master, Frank O'Connor. Four years later he returned to Stanford as a Stegner Writing Fellow. While there he sold his first novel to Dial Press, and completed his second, Gig, which won the Joseph Henry Jackson Award for Fiction in 1967. Since 1962 he and Jeanne have lived in Santa Cruz. For several years he made his living as a musician, teaching classical and folk guitar, and playing acoustic bass in a piano bar and in a bluegrass band. In l969, after teaching for a year at Stanford, he began teaching writing part-time at the University of California's Santa Cruz campus, an arrangement that continued for over twenty years, interspersed with visits to the University of Hawaii, University of Oregon, University of Michigan, and George Mason University. A frequent visitor to Hawaii, he has traveled widely in the Pacific Basin, thanks in part to grants in the l980s from the U.S.I.S. Arts America program, which took him to South Korea, Japan, the Phillipines, Indonesia, Malaysia, and Singapore. In 1998 he served as a Smithsonian Lecturer for the Cunard Lines' South Pacific Cruise to the Marquesas, Fakarava, Tahiti, Tonga and Fiji. His often anthologized stories and essays have appeared in such publications as The New York Times, The New Yorker, Rolling Stone, GQ, Ploughshares, The Utne Reader, The Los Angeles Times Sunday Magazine, Honolulu, Manoa: A Pacific Journal of International Writing, and Zyzzyva.. NAMI MUN was born in a tiny village in South Korea, which has since disappeared beneath the urban sprawl of Seoul. At eight, she moved to the United States, to the Bronx where she got good grades, got into fights, and at thirteen, left a soured home situation to find her own way. Since then, she’s sold jewelry from a suitcase, danced at a hostess club, worked as an Avon Lady, a photographer, and a private investigator. She graduated from UC Berkeley, has participated in the summer workshops at Squaw Valley Community of Writers, and is at work on her first book of fiction. Her stories have been published in The Iowa Review, Evergreen Review, Red Rock Review, and Fireweed. She has a story forthcoming in Tin House Magazine’s “Top Ten New Voices of 2005” issue. Intersection for the Arts is San Francisco’s oldest alternative art space and presents challenging new works in literature, theater, visual and interdisciplinary arts. Intersection is an art space where experimentation and risk are still possible, where debate and critical inquiry are embraced, and where issues are thrashed about in the heat and immediacy of live art. ========================================================================= Date: Sun, 26 Sep 2004 02:15:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed no thanks romeo i hate typing my name when i log in i have to look at myself then i'd rather look away then i can't get anywhere i'd give you my password but you'd abuse it just like you'd abuse me if i gave you a chance no thanks romeo _ surrealism of desperate conjugation found on the beaches of On the Beach film vault collapse year 3000 or maybe 2005 it's all the same meditate, tell me more churlchurn http://www.as.wvu.edu:8000/clc/Members/sondheim/ch4.jpg _ ========================================================================= Date: Sun, 26 Sep 2004 02:29:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: god speaks to me (small download) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed god speaks to me the ultimate in fantasy life http://www.asondheim.org/thule.mov during the beginning stages of radiation god speaks to me _ ========================================================================= Date: Sun, 26 Sep 2004 13:53:20 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Magee Subject: Logic of the Long Take 2 Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit [Spoken at Tomsk State University's Faculty of Philosophy, IX.17.2004, continued]: Films have been in the making for more than a century, and there are by now at least as many tacit assumptions of how a film should be made as there once were for the novel. Peter Gidal has remarked that "the realist novel lives on today largely in the guise of commercial narrative cinema" (qtd. in Byg 237). Since more attention is generally given to the representation than to the method of its making, such basic concepts as the frame, the shot and the cut are impossible to ignore, as most films endeavor to present an appearance of naturalness by strictly following conventions. The most conventional films draw no attention to how they are made. By giving attention to the length of the shot in the film, 87 minutes, the concept of the frame materializes, beginning with the 24 frames in a second which give the motion picture the appearance of the naturally seen and ending with the absence of frame from the digital camera, the single take in Russian Ark recorded onto a portable hard drive and then transferred to 35mm film stock for distribution to cinema theaters. Can attention to a technical aspect of the film bring into view larger questions pertaining to the idea of toleration? A new work of art challenges our conceptions and definitions, and among them is this concept of the frame. Kunjundzic even claims for the filmed image of the Hermitage "that its aesthetic or political representation in the movie may be nothing but a narrative about the framing of Russian history." Frame and shot and cut open up the immense problem of how to represent time. What is the threshold of what it is possible to view, and is this threshold the same as the threshold of what can and cannot be seen? In Kujundzic's essay the cut is Vertov's: "Another repressed subtext of the long take engaged by the movie, is the whole modernist impact of the kino-eye by Dziga Vertov, or catching life unawares, and his application of the cut as the generative device of his filming. The Man with the Movie Camera consists not only of extremely short takes mounted to create an incredibly rapid sequence of events, rupturing the 'regular' flow of historical time, erasing the past and history (the theater which is broken), but even includes some of the subliminal and invisible takes which go below the theshold of visibility as they are shorter than 24 frames and therefore cannot be perceived except as the visual unconscious of the movie." The camera never blinks, they say about Sokurov's film. They are Natascha Drubek-Meyer, Raoul Eshelman and Katja Petrovskaja writing from Munich, Dragan Kujundzic writing from the University of California-Irvine, Nele Sasz writing from Berlin, and Ulrich Schmid writing from Frankfurt. Their roundtable discussion addresses the theshold of the limits of toleration: the length of the shot and its simulation of historical time. Here is a sample of their points of view: Petrovksaja: "The one shot approach here functions as a synonym of real time and real history, as if reality as such was presented. But at the same time the absence of cuts causes 'ideological cuts' and reductions." Eshelman: "The uncut 87-minute time of the shot, is Everyman's time. It's the same time you would get if you would be able to film your sister's wedding reception with a camcorder in one continuous sequence. The time of the shot is real time, essentially parallel to the viewer's time [...] this is banal, artless time; it's the time you want to get out of by tapping into duration." Petrovskaja: "The absence of cuts turns out to be the putting on of blinders, or turns into an inability to see something else [...] the technical characteristics of the film deprive the spectator of the possibility of seeing from 'another point of view.'" Drubek-Meyer: "The extremely long shot averts the attention from vision and stimulates us to feel other senses [...] by showing different textures, by adding the murmuring off voice. [...] Sokurov makes the digital experience a tactile one. It is as if the steadicam closely connected with Buettner's body by a special vest and a backpack construction made it possible to record / see / feel reality with the whole body." Kujundzic: "Far from being an attempt at 'restoration' of the imperial past, it is an evidence of the disruptive power of history and irreversibility of its passing. The period and the world which the film 'restores' suffers from multiple historico-political and aesthetic erasures. [...] The incessant, theoretically infinite or at the very least uncut, gaze without a blink, opens itself to a relentless rupturing and ruination of the visible and the represented." Eshelman: "The immanent long shot has been made to pass through an even longer, transcendent span of time [...] to jump-start history again, to create a singular event in the open sea of an otherwise eventless post-historical expanse." Petrovskaja: "The absence of montage in this film is a very dangerous symptom for the growing symbiosis of 'independent intellect' and the usurpation of point of view, which is slowly but surely taking place in Russia where, actually, even oppositional TV is brought to zero." -- Kevin Magee http://hypobololemaioi.com http://hypobolemaioi.durationpress.com ========================================================================= Date: Sun, 26 Sep 2004 06:57:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: aintel MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed aintel * Send this page to somebody * Print this page * Add to Favorites substructure artificia/l/intel/igence flesh-mathesis interminable construct Click here to get the file http://www.as.wvu.edu:8000/clc/Members/sondheim/aintel.mov Size 14.6 MB - File type video/quicktime Created by sondheim _ ========================================================================= Date: Sun, 26 Sep 2004 09:34:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: Poetry sous rature/my first post Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit that's pretty cool... ---------- >From: Mitchell Loe >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Poetry sous rature/my first post >Date: Sat, Sep 25, 2004, 2:12 PM > > putative poet ========================================================================= Date: Sun, 26 Sep 2004 11:35:52 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: autumn.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit lotsa lox lotsa sex apres fast...pre n.f.l...drn... ========================================================================= Date: Sun, 26 Sep 2004 19:54:26 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Magee Subject: Logic of the Long Take 3 Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit [Spoken at Tomsk State University's Faculty of Philosophy, IX.17.2004, continued]: A Russian audience would know very well the story of the empty frames at the Hermitage during the siege of Leningrad passed across allusively in Russian Ark, the ones left hanging in the halls after the paintings were removed to Sverdlovsk. This parable of absence finds an echo in Benjamin's remarks on Eugene Atget's use of emptiness and its usefulness for a later generation of surrealists: "Empty is the Porte d'Arceuil by the fortifications, empty are the triumphal steps, empty are the courtyards, empty, as it should be, is the Place du Tertre. They are not lonely, merely without mood; the city in these pictures looks cleared out, like a lodging that has not yet found a new tenant" ("The Little History of Photography" 519). Several of the Art Margins correspondents mention the intellectual tension in Russian Ark as being situated in the awareness of the clearing out of the lodging that was once the Winter Palace which, in the suppression of all reference to this evacuation monumentalized by Eisenstein's 1927 October, and displaced by the more explicable event of the siege of Leningrad, makes itself all the more forcefully present by its absence. "The distance to the past is inviolable," writes one film scholar in a study published almost ten years ago of the cinema of Daniele Huillet and Jean-Marie Straub (Byg 45). Three points from this study bear mentioning here. The first has to do with the technique of the single take and its attempt to represent real time. Sokurov has been quoted as having said that he had wanted to make a film in a single take for fourteen years, but he is not the first director to have this conception. A question from a 1981 interview with Rainer Werner Fassbinder asks about Straub's influence: "But weren't you inspired by him to use a slow narrative rhythm, and a principle of real time in which occurrences on the screen last exactly as long as they do in reality?" (Qtd. in Byg 90). The second point refers to the work of mourning in post-war German cinema and many film-makers' interpretations of the twentieth-century history of Nazism as collective trauma and loss of a classical cultural heritage. In Eric Santner's study, Stranded Objects, attention is drawn to "ambitious attempts by recent German artists to create works of national elegiac art: works that make use of the procedures and resources of mourning to constitute something like a German self-identity in the wake of the catastrophic turns of recent German history. In each case the task of mourning involves the labor of recollecting the stranded objects of a cultural inheritance fragmented and poisoned by an unspeakable horror" (qtd. in Byg 44). It's interesting to note how close this description comes to Dragan Kujundzic's reading of Russian Ark as a work of mourning: "After the Soviet Revolution, a sense of a loss occupies the space in Russian historical identity, since the past prior to it becomes inaccessible for historical continuation, restoration, and mourning." He also writes of Sokurov's film that "the Soviet period represents an absent cause of The Russian Ark, its catastrophic effects on the building generate the repressed or invisible origin that makes this movie possible." Thus, the film "could mark the beginning of the assessment of the Petrine tradition as the site of melancholic desire for Russian identificatory aspirations." This association of Nazism with Stalinism reiterates, however obliquely, the German historian Ernst Nolte's revisionist thesis that the world wars were a class struggle civil war disguised as inter-imperialist conflicts. The third point remembers Bertolt Brecht's and Walter Benjamin's ideas about the heightened unreality of the cinema: "The legitimation of bourgeois ideology begins with the very same 'unreality' in cinema that Brecht saw but uses it to strengthen, rather than reveal, the power of its novelistic representations of imaginary social relations" (Byg 237). -- Kevin Magee http://hypobololemaioi.com http://hypobolemaioi.durationpress.com ========================================================================= Date: Sun, 26 Sep 2004 13:29:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Heidi Lynn Staples =?ISO-8859-1?B?bull?= Peppermint Subject: Poetry Daily MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Hey howdy all ye Poetics. Just wanted to point ye to I is up at Poetry Dailytoday. Chrs, Heidi Heidi Lynn Staples To makes u.--Gertrude Stein GUESS CAN GALLOP (New Issues) http://www.wmich.edu/newissues/New_Issues_Titles/Staples/Staples_Page_Frameset.html available for online purchase at Amazon http://www.amazon.com/exec/obidos/tg/detail/-/1930974442/qid=1096222956/sr=8-1/ref=sr_8_xs_ap_i1_xgl14/103-8422421-0966239?v=glance&s=books&n=507846 PARAKEET editors@parakeetmag.org 115 Roosevelt Avenue Syracuse, New York 13210 315-472-9710 blog: http://mildredsumbrella.blogspot.com ========================================================================= Date: Sun, 26 Sep 2004 17:44:23 -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 Poster No. 53 (2004) The Sunlit Studio by Tim Keane Yellow Fish | Sasha Speaks of Life as Literature | Fait Accompli Lines on a Lover's Photo from Holland | In Praise of Our Lady of the Flowers | Cascading | The Red Fez Tim Keane lives in Mt. Vernon, New York. Awards for his writing include a National Endowment for the Arts Fellowship in Fiction (2000) and a Bronx Council on the Arts BRIO Award (1997). His poetry has appeared in American Writing, The Hampden-Sydney Poetry Review, International Poetry Review, Modern Painters (UK), South Carolina Review, Sou'wester, Wisconsin Review, and many other magazines. These poems are from his recently completed collection Waking Yellow & Blue. For more information go to www.timkeane.com. 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: Sun, 26 Sep 2004 21:55:22 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: "Local Draft Boards Funded, Staffed, Ready," Rumsfeld Tells Border Patrols; 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/ Bush Shrugs Off Bad Polls on Iraq Outlook, Advises Missoula High School Class On How To Dodge November 8 Military Draft: Young Techies To be Drafted First, But Many U.S. Technical Military Jobs To Be Outsourced To Low Wage India, Pakistan and Indonesia As Part of New International Privatized Force: "Local Draft Boards Funded, Staffed, Ready," Rumsfeld Tells Border Patrols; Canada To Turn In Draft Dodgers To U.S. Authorities This Time: Millions Prepare To Put Their Lives, Careers On Hold/Line For Dick Cheney's Oil Grab: "The Rich Are Not Like Them," Aliens Report By YASO ADIODI "God Misses Aristide--- And Haiti Too." God Says U.S. Must Get Down On Its Knees And Beg His Forgiveness For Brutal American Foreign Policy And The Sins Of Its Kleptocracy: God Orders U.S., Haitian 'White Assess' To Return Aristide To The Haitian Presidency: Rising Death Toll Prompts Haiti Protests: U.S. Envoy Roger Noriega: "Fuck God! And Fuck The Haitian People!" By AUTOR LEE BROKEN 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, 27 Sep 2004 00:04:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the storage MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Hello everyone, the stores storage stored storeroom storerom storeram at http://www.asondheim.org/ all .bmp describing in our midst ecological/biological/digital storage of the year 2050. I request politely that you go and investigate these remarkable images of the future and their precision of description. Certainly we should be aware, at this juncture in time of [ ] store.bmp 27-Sep-2004 04:48 1.1M [ ] stored.bmp 27-Sep-2004 04:49 1.1M [ ] storehouse.bmp 27-Sep-2004 04:51 1.1M [ ] storer.bmp 27-Sep-2004 04:52 1.1M [ ] storeroom.bmp 27-Sep-2004 04:53 1.1M among other attempts at optico-magneto-quantum storage units available in mass supply by 2014. Thank you very much for your consideration of these units. I hope they will give you considerable pleasure in meditation on their uncanny beauty and even more uncanny states. _ ========================================================================= Date: Mon, 27 Sep 2004 15:08:05 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Poetry of Erasure, Etc. Alan Halsey's Abiezer Coppe MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Alan Halsey should also be on your list, Mairead. He recently published a poem consisting of all the parenthetical asides from Abiezer Coppe's A Fiery Scroll Pt.s 1 and 2. It appeared in the latest Ahadada Reader. Jesse Glass ========================================================================= Date: Mon, 27 Sep 2004 08:20:00 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: laura oliver Subject: An Evening Of Poetry Comments: To: aen@lists.mcn.org, poetics-talk@yahoogroups.com Comments: cc: msipo@aol.com Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Caselli Street Poets Cooperative and Moon News Bookstore presents: An Evening Of Poetry featuring Nina Schuyler, Gene Alexander, Laura Oliver, Rebekah Eppley and Bethellen Levitan Saturday, October 30 @ 7pm Moon News Bookstore 315 Main Street Half Moon Bay, Ca. free! About The Poets: Nina Schuyler’s first novel, The Painting, will be published October, 2004 by Algonquin Books of Chapel Hill. Her poems, short stories and essays have appeared in Tumbleweed Review, Oxygen, EM Literary, Watchwordpress, Red Weather: A Journal of Poetry and Culture, Transfer, Sojourn Literary Arts Journal, New Town, Newsday and other publications. One of her short stories, "Don’t Mess with Mr. In Between" was a finalist in the Lewis "Buddy" Nordan Fiction Contest, sponsored by Nidus, a journal published by the University of Pittsburgh. Two of her short stories have been nominated for Best New American Voices. Her nonfiction has appeared in Health, Newsday and Stanford magazine. She earned her MFA in fiction with an emphasis on poetry at San Francisco State University. She currently teaches creative writing at the Academy of Art and the University of San Francisco. Laura Oliver's poetry has been published in The Burnside Review, Slipstream, Prosodia, Bottomfish and Writing for Our Lives. She earned her MFA in Poetics and Writing from New College of California. Laura teaches poetry in elementary schools, and residential facilities through The San Francisco Arts Education Project, the city of Palo Alto's Cultural Kaleidoscope, and to under-served youth with the I Have A Dream Program of East Palo Alto. Gene Alexander is a co-founder of the Caselli Street Poets Cooperative, a group of bay area poets who have met and read together for the last six years. He has published in Fort Da and has read at several venues in the area. His other interests include painting, martial arts and backpacking. For the last thirty five years he has made his living as a psychotherapist. Rebekah Eppley has a Master’s in Creative Writing from San Francisco State University and a BFA in Writing from Emerson College. Her poetry has appeared in magazines such as the Santa Clara Review and Watchword Review. She is currently working on a novel, The Bend in the Arm of the River. ========================================================================= Date: Mon, 27 Sep 2004 07:14:06 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: mo' haliburton po' Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit i must be missing something... but did the director of the St Mark's Po Project... hire his mom..his pa's best friend...and a prof from Naropa U...where i'm sure he'll get a reciprocal reading..all in one season...& this partially funded by public $$$$... nepotism?...arrogance? conflict of interest? or just plain stupidity?..., how about Steve D...who's only been writing and on the scene for 40 yrs...never had a reading at St. Mark's.. a bklyn kid who's never lived in Paris...and done more for the jazz-po interchange than anyone..and can use a good $$$$ gig....how about Allan Sondheim... how about some decency.. if this were haliburton..they'd be picketing on the steps... never reads..never publishes...never say never..drn... ========================================================================= Date: Mon, 27 Sep 2004 10:28:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Hoerman, Michael A" Subject: Reading at Whistler House in Lowell, Mass.; and Kerouac Fest 2004 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" An Evening on Poetry The Whistler House Museum 243 Worthen St. Lowell, MA September 30, 6:30 p.m. - 8:30 p.m. http://www.whistlerhouse.org/hellenic.htm Lowell Celebrates Kerouac 2004 Featuring David Amram and John Cassady (son of Neil) A weekend of events throughout Lowell. September 29 - October 3 http://lckorg.tripod.com/ ========================================================================= Date: Mon, 27 Sep 2004 11:36:26 -0400 Reply-To: Geoffrey Gatza Sender: UB Poetics discussion group From: Geoffrey Gatza Organization: BlazeVOX [books] Subject: Buffalo Indie Lit Luau -- October 1-2 Comments: To: UB Core Poetics Poetics Seminar MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Buffalo Indie Lit Luau Medaille College Events Schedule Book fair Friday and Saturday, October 1-2, 9 am - 4 pm, Alumni Room Friday, October 1, 2004: Events in Lecture Hall 9 am - Welcome=20 9:15 am - SMALL PRESS COMMUNITIES. Moderator, Mike Kelleher, Artistic = Director, Just Buffalo Literary Center, and Editor of ELEVATOR.=20 Partly due to chance, partly to choice, the history of small press = activity in America is one of active production of communities: of = writers, of readers and of other publishers, all acting outside the = mainstream of publishing houses and distribution networks. What has = resulted is an entire alternate universe of publication and = distribution, one in which publishers, largely freed from profit = concerns actively participate in the production of various esthetic and = ideological communities centered on writing. This panel, consisting of a = group of contemporary independent publishers, will discuss the = challenges of creating communities through small press publication and = distribution.=20 Panelists:=20 Joel Kuszai (Ithaca, NY), editor of Meow Press=20 Dan Machlin (New York, NY), editor of futurepoem=20 Mark Nowak (St. Paul, MN), editor of xcp: cross cultural poetics=20 Jonathan Skinner (Buffalo, NY), editor of ecopoetics Jane Sprague (Long Beach, CA), editor of Palm Press 10:45 am - Coffee Break=20 11:00 am - RAYMOND FEDERMAN TRIBUTE. Moderator, Ted Pelton, Medaille = College and Starcherone Books.=20 Writers, teachers, and former students discuss Federman's career, his 20 = books of fiction, poetry, playscripts, and criticism; his notions of = surfiction and playgiarism, accompanied by Federman himself.=20 Panelists: Genevieve James, Professor of French, Canisius University Kandace Lombart, SUNY PhD and adjunct professor at Canisius University 12:20 pm - Lunch=20 1:30 pm - Poetry/Fiction Reading: MICHAEL KELLEHER and NINA SHOPE.=20 Michael Kelleher is Artistic Director of Just Buffalo Literary Center = and Editor of ELEVATOR.=20 Nina Shope is the author of Hangings: Three Novellas, winner of the 2004 = Starcherone Fiction Prize. She has published fiction in Open City, Third = Bed and elsewhere, and has been awarded a residency at the Millay Colony = for the Arts.=20 3 pm - Open reading=20 All guests and participants are invited to sign up to read their works, = observing a 10 minute time limit, please.=20 8pm - KEYNOTE READING: RAYMOND FEDERMAN, with introduction by Ted = Pelton. Raymond Federman is the author of 20 books of fiction, poetry, = playscript, and criticism, most recently Aunt Rachel's Fur (FC2, 2001) = and The Farm (forthcoming, FC2). He has two books with Starcherone = Books, The Voice in the Closet (2001), and My Body in Nine Parts = (forthcoming, 2005).=20 A reception will follow the reading.=20 Saturday, October 2, 2004: Events in Lecture Hall 9 am - EXPLORATIONS IN SMALL PRESS POETRY. Moderator, Michael Basinski , = Assistant Curator, Poetry/Rare Books Room, University Libraries, Univ. = at Buffalo.=20 Panelists:=20 Michael Basinski (Buffalo), "Characters . . . and Characteristics in = Small Press Poetry"=20 Doug Manson (Buffalo), "His Best Suit: bpNichol's Conception of the = Small Press"=20 Diane Marie Ward (Buffalo), "The Evolutionary Lineage of Small Press = Women Poets"=20 10:35 - Coffee break=20 11:00 am - UNDERGRADUATE LITERARY MAGAZINES PANEL.=20 Student editors from Buffalo colleges discuss the challenges of editing = and design and read from their work.=20 12:20 - Lunch=20 1:30 - BuffFLUXUS PERFORMANCE BuffFluxus is a performance ensemble led by Michael Basinski which = explores poetry and sound through intermedia compositions, choral voice = collages, and sound texts.=20 3:00 pm - Poetry Reading: MARK NOWAK and JANET HOLMES Mark Nowak, College of St. Catherine, is the author of the poetry = collections Shut Up Shut Down (Consortium, 2004) and Revenants (Coffee = House Press, 2000). He is editor of the journal Xcp: Cross-Cultural = Poetics ( www.xcp.bfn.org).=20 Janet Holmes, Boise State University, is the author of Humanophone = (Notre Dame, 2001) and The Green Tuxedo (Notre Dame, 1998). She is the = editor of Ahsahta Press and the much-frequented blog 'Humanophone' ( = www.humanophone.com).=20 8 pm - KEYNOTE READING: DENISE DUHAMEL, with introduction by Ethan = Paquin, Medaille College and Slope/Slope Editions. Denise Duhamel is the author of numerous books of poetry, including = Queen for a Day: Selected and New Poems (University of Pittsburgh Press, = 2001), The Star-Spangled Banner, winner of the Crab Orchard Poetry Prize = (SIU Press, 1999), Kinky (Orchises Press, 1997), and Girl Soldier = (Garden Street Press, 1996).=20 ========================================================================= Date: Mon, 27 Sep 2004 12:05:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Allen Bramhall Subject: * Attn all Potes&Poets poets * MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit please contact Potes&Poets publisher Elizabeth Garrison immediately emgarrison@earthlink.net ========================================================================= Date: Mon, 27 Sep 2004 11:57:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bradley Redekop Subject: Kaja Silverman I am not your Robocop. MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear Subscribers, I named my daughter Psychoanalysisandfilmtheory Redekop (with no middle name) But I also named her Thelovethatdarenotplaythegame Redekop and Metonymy Redekop. All this, and I love her more than I will ever express listening to Ravel my girl, visit like a poem, leaving me. MY GIRL! P.S. Such funny ways to apologize (named after you). Psychic rape, who knew? ______________________________________________________________________ Post your free ad now! http://personals.yahoo.ca ========================================================================= Date: Mon, 27 Sep 2004 12:46:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Re: Kaja Silverman I am not your Robocop. In-Reply-To: <20040927155751.3856.qmail@web53302.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit i truly have no idea what any of this email meant. i do think it may be my favorite subject line ever in a poetics post and a great first line to a poem. ========================================================================= Date: Mon, 27 Sep 2004 13:48:38 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: All Watched Over By Machines of Loving Grace Content-transfer-encoding: 7BIT new from above/ground press All Watched Over By Machines of Loving Grace poems for Richard Brautigan by Stan Rogal $4 Published for the anniversary of the death of Richard Brautigan, October 25, 1984, at the age of 49. ===== Born in Vancouver, Stan Rogal now lives in Toronto. Published in many lit mags and anthologies. Will launch his eighth book of poems in fall 2004: In Search of the Emerald City (an expanded version of his 1997 above/ground press chapbook) with Seraphim Editions. Has three short story collections and two novels published. Also dabbles in theatre and has had plays produced variously across Canada. Is the artistic director of Bulletproof Theatre. As well, works with the Standardized Patient Program in Toronto. ======= published in ottawa by above/ground press. subscribers rec' complimentary copies. to order, add $1 for postage (or $2 for non-canadian) to rob mclennan, 858 somerset st w, main floor, ottawa ontario k1r 6r7. backlist catalog & submission info at www.track0.com/rob_mclennan ======= above/ground press chapbook subscriptions - starting January 1st, $30 per calendar year (outside of Canada, $30 US) for chapbooks, broadsheets + asides. Current & forthcoming publications by Artie Gold, Julia Williams, donato mancini, rob mclennan, kath macLean, Andy Weaver, Barry McKinnon, Michael Holmes, Jan Allen, Jason Christie, Patrick Lane, Anita Dolman, Shane Plante, David Fujino, Matthew Holmes + others. payable to rob mclennan. STANZAS subscriptions, $20 (CAN) for 5 issues (non-Canadian, $20 US). recent issues featuring work by Rachel Zolf, J.L. Jacobs & Michael Holmes. bibliography on-line. ======= -- 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: Mon, 27 Sep 2004 10:53:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Rousseau's Boat & Good Egg Bad Seed MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT Rousseau's Boat by Lisa Robertson. 40 pp. ISBN 0-9735337-1-4 $12.00 plus $2.50 for p&p. The ebb and flow of this water, its ongoing soiund 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. Jean-Jacques Rousseau Good Egg Bad Seed by Susan Holbrook 16pp. ISBN 0-9735337-0-6 $10.00 plus $2.50 for p&p. Starting with the premise "There are two kinds of people," Susan Holbrook drives supermarket existentialism through its own vortex and gives it a nifty orgasmic twist into hyperspace. Here's a ping pong game you'll never forget - where the tables keep flipping and the players' ironic bats spin the banal into deadly mischievous curves. Order both titles with p&p only $3.00 ORDER FROM Nomados P.O. Box 4031 349 West Georgia Vancouver, B.C. V6B 3Z4 nomadosnomados@yahoo.com ======================== "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: Mon, 27 Sep 2004 13:56:24 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: 8th Ave 15th St NW by Jason Christie Content-transfer-encoding: 7BIT new from above/ground press 8th Ave 15th St NW a poem by Jason Christie $3 ===== "Jason Christie is secretly Jason Wasabi of the death metal/grind act Wasabi. If they knew he wrote romantic fiction they would laugh him out of the band. He's also known as High-C white Louisiana rapper from hell." He is editing an issue of Open Letter with derek beaulieu on micro presses, and the two of them, with angela rawlings, are editing an anthology of new Canadian writing. He lives in Calgary. ======= published in ottawa by above/ground press. subscribers rec' complimentary copies. to order, add $1 for postage (or $2 for non-canadian) to rob mclennan, 858 somerset st w, main floor, ottawa ontario k1r 6r7. backlist catalog & submission info at www.track0.com/rob_mclennan ======= above/ground press chapbook subscriptions - starting January 1st, $30 per calendar year (outside of Canada, $30 US) for chapbooks, broadsheets + asides. Current & forthcoming publications by Artie Gold, Julia Williams, donato mancini, rob mclennan, kath macLean, Andy Weaver, Barry McKinnon, Shane Plante, David Fujino, Matthew Holmes + others. payable to rob mclennan. STANZAS subscriptions, $20 (CAN) for 5 issues (non-Canadian, $20 US). recent issues featuring work by Rachel Zolf, J.L. Jacobs & Michael Holmes. bibliography on-line. ======= -- 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: Mon, 27 Sep 2004 21:54:53 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Magee Subject: Logic of the Long Take 4 Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit [Spoken at Tomsk State University's Faculty of Philosophy, IX.17.2004, 4th of 4 parts]: After the same war that the drone of planes and the starving carpenter evoke in Russian Ark, Brecht established the Berliner Ensemble in East Germany. Antigone, Galileo and Mother Courage were among the plays staged at this time, and for these productions a Model Book was conceived for the purpose of documenting the original performance in view of the problem of interpretation by future directors. These Model Books consisted largely of photography, and the photographer for them was a member of the Berliner Ensemble, an acknowledged co-author of The Caucasian Chalk Circle, Ruth Berlau. Her photography confirms the comment by Louis Althusser in an review of the original production of Mother Courage, where he mentions the ashen black and grey stage, and the idea of a stage of ashen black and grey rising out of a world in ashes is also projected by the Mutter Courage Modell, the photography for which was determined by the demands of the stage lighting, shots taken at low exposure with a Leica 35mm camera, the minimal light leaking into shutter set at the threshold where the image begins to blur. Apart from their documentary function, which as Brecht recorded in his diary was how he thought of them, Berlau's photography for the Model Books might also be viewed as representing the first interpretation of the post-war Brechtian theater, a visual re-mix reinscribed with the same muteness that afflicts Kattrin in Mother Courage. In the photographer's interpretation the real-time continuum of the performance is seized, halted and isolated into a series of frames, reconstructing from the performance an analytical montage in which cut and frame are foregrounded as necessary devices of the cinematic image. The cinema is being thought about by Berlau in this late-1940s photography, and in a significant way the lessons of Sergei Eisenstein and Dziga Vertov, perhaps filtered through the Workers Photography Movement in pre-war Germany, are being appropriated and applied by an artist so marginalized that it is difficult to claim for her any intention beyond Brecht's own. Bringing the marginal figure of a photographer like Berlau into the discussion of Russian Ark follows the direction of Benjamin's reference to Atget in his essay, The Little History of Photography, and including both Berlau and Atget in reference to Sokurov's film provides another frame for viewing the technical work of Tilman Buettner, despite the changes in the cameras themselves. The speed of the lenses was an issue already in the 1880s, and for Benjamin, the darkness surrounding the first subjects was disappearing. Kujundzic writes of the spectrality of Russian Ark, though in contrast with the early years of photography the darkness of the digital cinema looks artificial, pure simulacra, a copy of a copy, or appearance of the appearance. The darkness of the Berliner Ensemble's stage in post-war East Germany is uncanny for its representation of history (the Thirty Years War and its allegorical overlay with World War II) and the aura of ash. "What is aura, actually? A strange weave of space and time: the unique appearance or semblance of distance, no matter how close it may be" ("The Little History of Photography" 518). From the analysis of the 1948 staging of Mother Courage accomplished by Berlau's cutting into the time of the production and developing the visual sign of duration, the recent war is distanced and made visible to the mind's eye, which is to say that the thought of the recent war, the war that was still too close to be seen, in 1948, begins to approach the perception of the intellect in that theater. Does Russian Ark do just the opposite by trying to bring near what is inviolably distant, deploying the single take, the long shot and its documentary frisson of unedited time, manufacturing darkness where there is none, that darkness which for Benjamin held "the tiny spark of contingency, of the here and now, with which reality has (so to speak) seared the subject"? ("The Little History of Photography" 510). It is too easy to dismiss montage when such imposing figures as Eisenstein and Vertov, not to mention Malevich, are mentioned in the Art Margins roundtable as post-revolutionary influences whose tradition is being suppressed, or erased, in Russian Ark. For Benjamin, writing in 1931, "the Russian feature film was the first opportunity in decades to put before the camera people who had no use for their photographs. And immediately the human face appeared on film with new and immeasurable significance. But it was no longer a portrait. What was it?" ("The Little History of Photography" 519-20). This is precisely the question incited by the shock of the new and its multiple exposures, or long takes, all that the physiognomy of anonymity and collectivity cannot answer with a single word or date in time, like 1913. -- Kevin Magee http://hypobololemaioi.com http://hypobolemaioi.durationpress.com -- Kevin Magee http://hypobololemaioi.com http://hypobolemaioi.durationpress.com ========================================================================= Date: Mon, 27 Sep 2004 14:23:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barrett Watten Subject: "A"-21 this weekend in San Francisco Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The following is from Giles Scott, director of "A"-21 at the Zukofsky conference. The production is a must-see for anyone interested in Zukofsky and/or the possibilities of poets' theater--not to be missed! ***** Fresh from NY city and Columbia University's LZ/100 conference, the backyard players will perform Louis Zukofsky's "A"-21, directed by Giles Scott, for the last time this coming weekend in San Francisco. Two shows only and then put in mothballs probably for another 100 years. A tale of ne'er do wells, mistaken identity, girls down on their luck, pimps and almost prostitutes--Zukofsky's incredible madcap translation is one for the ages. When: Friday October 1 and Saturday October 2 at 8pm Where: Xenodrome, 1320 Potrero (at 25th) Cost: Sliding scale $15-20 To reserve tickets please e-mail gilesscott@hotmail.com and say how many tickets and for which night. ========================================================================= Date: Mon, 27 Sep 2004 14:18:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: mo' haliburton po' Comments: To: Harry Nudel In-Reply-To: <30843593.1096283649944.JavaMail.root@wamui10.slb.atl.earthlink.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Think the last time I read at St Marks was in the early 70s, seems a pretty closed shop - Alan On Mon, 27 Sep 2004, Harry Nudel wrote: > i must be missing something... > but did the director of the > St Mark's Po Project... > > hire his mom..his pa's > best friend...and a prof > from Naropa U...where > i'm sure he'll get a > reciprocal reading..all > in one season...& > this partially funded by > public $$$$... > > nepotism?...arrogance? > conflict of interest? or just > plain stupidity?..., > > how about Steve D...who's > only been writing and on the > scene for 40 yrs...never > had a reading at St. Mark's.. > a bklyn kid who's never lived > in Paris...and done more for > the jazz-po interchange than > anyone..and can use a good > $$$$ gig....how about Allan > Sondheim... > > how about some decency.. > if this were haliburton..they'd > be picketing on the steps... > > > > never reads..never publishes...never say never..drn... > recent http://www.asondheim.org/ WVU 2004 projects http://www.as.wvu.edu/clcold/sondheim/files/ recent related to WVU http://www.as.wvu.edu:8000/clc/Members/sondheim Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm partial mirror at http://www.anu.edu.au/english/internet_txt ========================================================================= Date: Fri, 24 Sep 2004 11:22:01 -0400 Reply-To: Mike Kelleher Sender: UB Poetics discussion group From: Mike Kelleher Organization: Just Buffalo Literary Center Subject: JUST BUFFALO E-NEWSLETTER MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit TWO WORKSHOPS BEGIN THIS WEEK: Writing For Children and Teenagers, with Harriet K. Feder 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. 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. Playwriting Basics, with Kurt Schneiderman 6 Tuesdays, October 5-November 9, 7-9 p.m. $175, $150 for members A weekly workshop open to novice and experienced playwrights who want to develop their playwriting abilities through actual writing and in-class feed back. Bring in new or old work to be read aloud and critiqued by everyone involved in the workshop. Course will include readings from various classic theatre texts and discussion of playwriting structure and theory. You can expect to emerge from this course with some written and workshopped dialogue, and with an introduction to the overall theoretical framework for dramatic writing. Kurt Schneiderman is currently Dramaturg for the Buffalo Ensemble Theatre, the coordinator of the annual new play competition at the Area Playwrights' Performance Series, and Director of the new play, forum Play Readings & Stuff. Named one of "Buffalo's emerging young playwrights" by Gusto Magazine and Buffalo's "next A.R. Gurney" by Artvoice Magazine, Kurt was the winner of the Helen Mintz Award for Best New Play (2003) and was nominated for the Artie Award for Outstanding New Play (2004). Most recently, one of Kurt's plays was chosen for the 2004 Toronto Fringe Festival. IN THE MARGINS This week's column in Artvoice is about the Indie Lit Luau at Medaille college. Also, a review of Mark Nowak's new book of poems, Shut Up, Shut Down, by James Maynard CALENDAR CORRECTIONS SPOKE, the print newsletter of Just Buffalo, contained several errors. 1. The October 13 Open Reading, featuring Liz Mariani, begins at 7 p.m., not 8 p.m. All open readings begin at 7. 2. Kurt Schneiderman's "Playwriting Basics" runs from 7-9 p.m. We forgot to list the time in SPOKE. FALL READINGS IN THE HIBISCUS ROOM September 24: Dan Sicoli and Joe Malvestuto, music and poetry October 8: Jimmie Gilliam and Rosemary Starace October 13: Open Reading, hosted by Livio Farallo, featuring Liz Mariani October 22: Balkan Poetry: Ales Debeljak, Ammiel Alcalay, Semezdin Mehmedinovic October 29: Writers Group Reading Series, hosted by Karen Lewis presents: The DCW's. November 10: Open Reading, hosted by Livio Farallo, featuring Alamgir Hashmi November 12: Brendan Lorber, Sasha Steensen Julie Patton December 8: Open Reading, hosted by Livio Farallo December 10: Writers Group Reading Series, hosted by Karen Lewis, Featuring: North Side Writers Group FALL WORLD OF VOICES Residencies: October 21-27: Ales Debeljak November 29- December 3: Frances Richey FALL WORKSHOPS NEW WORKSHOP JUST ANNOUNCED: The Art of Transformation Instructors: Jimmie Gilliam and Laurie Dean Torrell 3 Tuesdays, 11/16, 11/23, and 11/30 from 6:30-8:30 In The Hibiscus Room at Just Buffalo $90, $75 for members Transformations offer an opportunity to enlarge imagination and expand the sense of what is possible in both life and artistic work. Beginning again - suspending judgement, re-framing the familiar, being willing to change direction - these artistic practices can be employed to navigate times of change, and can be used to create new work. In this workshop we will mine experience, and use the texts The Art of Possibility: Transforming Professional and Personal Life by Rosamund Stone Zander and Benjamin Zander, and Trust the Process: An Artist's Guide to Letting Go by Shaun McNiff. Through discussion and writing exercises we will explore the subject of transformation. Participants will have the opportunity to create and share original essays and poems, and within the three-week period, receive individual critique if desired. On Novel Writing, with Linda Lavid 6 Saturdays, September 25, October 2, 9, 23, 30, November 6 10 a.m.-12 p.m. $175, $150 for members 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. The Working Writer Seminar, with Kathryn Radeff 3 Sessions Left: October 16, November 13, December 11, 12 p.m.- 4 p.m. Single Session: $50, $40 for members Writing & Selling Short Stories, October 16 Writing Magazine & Newspaper Features: Learn the Methods & Markets, November 13 The Art & Craft of Creative Nonfiction, December 11 Poet As Architect, with Marj Hahne One Saturday Session, November 20, 12-5 p.m. $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, we will step outside our familiar poetic homes and build new dwellings (temples and taverns!),mutilizing 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 original writing from this full day of language play and experimentation, and will bring home a fresh eye with which to revisit old poems stuck in the draft stage. For more information, or to register, call 832-5400 or download the registration form from our website at www.justbuffalo.org MEMBERSHIP SPECIAL SIGNED, LIMITED EDITION ROBERT CREELEY BROADSIDE AVAILABLE As part of the membership campaign, Just Buffalo is offering a special membership gift to the first fifty people who join at a level of $50 or more. 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. To see the broadside, go to http://www.justbuffalo.org/membership/broadside.shtml. COMMUNITY LITERARY EVENTS Canisius Contemporary Writers Series Ron Hansen Thursday, September 30 Montante Cultural Center 8 pm http://www.justbuffalo.org/events/cle/canisius.shtml The 2nd Annual Buffalo Indie Lit Luau October 1-2, 2004 Medaille College, Buffalo, NY http://www.justbuffalo.org/events/cle/medaille.shtml Wednesdays @ 4 Plus at UB Margaret Fisher and Robert Hughes Talk: "The Music of Ezra Pound and its Relationship to His Literary Theories" Fri., Oct. 1, 12:30 pm; Poetry/Rare Books Collection, 420 Capen Hall http://www.justbuffalo.org/events/cle/wedat4plus.shtml Anyone in Buffalo who wishes to have a literary event listed on Just Buffalo's website can send the information to Mike Kelleher at mjk@justbuffalo.org. _______________________________ 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, 27 Sep 2004 15:42:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Lowther Subject: Announcement: Michelle Reeves Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable [Sent by John Lowther on behalf Zac Denton] It is with great sadness that I announce the death of Michelle Reeves.=A0=20= Some of you may know her from these listservs or may have known her in=20= person.=A0 She died on September, 26 while in Florida, visiting her=20 grandparents with her father.=A0 In Atlanta she was a student, where her fascination with writing and=20 the English language helped guide her studies.=A0 She had also been=20 active as a poet in the city, within the past couple=A0of years. She=20 was=A0a very socially and politically conscious person, giving much of=20= her energy to help combat political injustices=A0and=20 oppression.=A0She=A0participated in activities for peace (and other = issues)=20 not only in Atlanta, but in D.C. and New York City as well.=A0 =A0=A0 Above all, she was a=A0loving sister, daughter, and friend, and she will=20= be greatly missed by those who knew her.=A0 =A0 Funeral or memorial service times=A0and locations=A0are unknown at the=20= moment.=A0Please check the Atlanta papers, or call or email Zac Denton=20= for information.=A0 770.378.9789 , zzac@hotmail.com ========================================================================= Date: Mon, 27 Sep 2004 15:57:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: Announcement: Michelle Reeves MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit John, Zac-- Damned shit shame. Met her only once, last May. A lively intelligence, both interested and interesting. Hate to ask what happened, but not knowing leaves (as it will others) dangling. Jeanne? skip fox John Lowther wrote: > > [Sent by John Lowther on behalf Zac Denton] > > It is with great sadness that I announce the death of Michelle Reeves. > Some of you may know her from these listservs or may have known her in > person. She died on September, 26 while in Florida, visiting her > grandparents with her father. > > In Atlanta she was a student, where her fascination with writing and > the English language helped guide her studies. She had also been > active as a poet in the city, within the past couple of years. She > was a very socially and politically conscious person, giving much of > her energy to help combat political injustices and > oppression. She participated in activities for peace (and other issues) > not only in Atlanta, but in D.C. and New York City as well. > > Above all, she was a loving sister, daughter, and friend, and she will > be greatly missed by those who knew her. > > Funeral or memorial service times and locations are unknown at the > moment. Please check the Atlanta papers, or call or email Zac Denton > for information. 770.378.9789 , zzac@hotmail.com ========================================================================= Date: Mon, 27 Sep 2004 17:41:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harrison Jeff Subject: Weapon Droppings / Clown Leash / Weapon Droppings Mime-Version: 1.0 Content-Type: text/plain; format=flowed all bad protrusion speaks are submissively printed on that all bad protrusion shuffling another attention reflex the night became wrinkled with the light's sphinx shuffling another attention reflex lifting tired between rhythms blossoms are craning frowns lifting tired between rhythms rose pickers came up paper scarves despite the clinging intimacy of that red beast rose pickers came up paper scarves other plough voice... so mouth dreams to mask all, reproductive butterfly thought milk was a letter, another plough voice breath blackbirds watch dulled of rose pillow shuffling another attention reflex breath blackbirds watch dulled of rose pillow gift book absorption unfolds crunchy the broken Below can’t read too: she’s glass, she can say "read gift book absorption..." a lemonade-clean executioner stunts the creak momentary & murky a lemonade-clean executioner try as it may, and look as much you will parchment never dices up living fields try as it may, and look as much you will these pockets cannot bend, Malleable Swim I agree, they're a possible cure for boundaries these pockets, Malleable Swim, cannot bend a rustle, monocled, a shuffle, chronicled gnash, sweat, stride no words was rhymes with a rustle, monocled, & a shuffle, chronicled see, at the time I had time extra hooves it behooved me, to keep quiet about it see, at the time I had time extra hooves so rats spooked you, summer commas? tho its your shadows that're small, your teeth that're poison, its you who rats spooked? soft my bounds, sweeps straw their whip like crooners swoop spooked e'er like schooners soft my bounds, sweeps straw their whip unnumbered counted now & continues earthbound kind hordes may reach what, once, language left unnumbered counted now & continues earthbound down lyre, to that sunny tunnel church my dead Spring travels to me from 1000 nights away down lyre, to that sunny tunnel church _________________________________________________________________ On the road to retirement? Check out MSN Life Events for advice on how to get there! http://lifeevents.msn.com/category.aspx?cid=Retirement ========================================================================= Date: Mon, 27 Sep 2004 18:49:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: Announcement: Michelle Reeves In-Reply-To: <41587EC6.D83AFA98@louisiana.edu> Mime-Version: 1.0 (Apple Message framework v619) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit the story is on cnn.com On Sep 27, 2004, at 4:57 PM, Skip Fox wrote: > John, Zac-- > > Damned shit shame. Met her only once, last May. A lively intelligence, > both interested and interesting. > > Hate to ask what happened, but not knowing leaves (as it will others) > dangling. Jeanne? > > skip fox > > > > John Lowther wrote: >> >> [Sent by John Lowther on behalf Zac Denton] >> >> It is with great sadness that I announce the death of Michelle Reeves. >> Some of you may know her from these listservs or may have known her in >> person. She died on September, 26 while in Florida, visiting her >> grandparents with her father. >> >> In Atlanta she was a student, where her fascination with writing and >> the English language helped guide her studies. She had also been >> active as a poet in the city, within the past couple of years. She >> was a very socially and politically conscious person, giving much of >> her energy to help combat political injustices and >> oppression. She participated in activities for peace (and other >> issues) >> not only in Atlanta, but in D.C. and New York City as well. >> >> Above all, she was a loving sister, daughter, and friend, and she will >> be greatly missed by those who knew her. >> >> Funeral or memorial service times and locations are unknown at the >> moment. Please check the Atlanta papers, or call or email Zac Denton >> for information. 770.378.9789 , zzac@hotmail.com > ========================================================================= Date: Mon, 27 Sep 2004 19:08:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: a city upon a hill MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Does anyone know who said "a city upon a hill" before John Winthrop? Michael ========================================================================= Date: Mon, 27 Sep 2004 18:19:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: a city upon a hill MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Matthew 5:14 Michael Rothenberg wrote: > > Does anyone know who said "a city upon a hill" before John Winthrop? > > Michael ========================================================================= Date: Tue, 28 Sep 2004 00:23:54 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: a city upon a hill MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Matthew 5.14 Ye are the light of the world. A city that is set on a hill cannot be hid. (King James version) At least I've always assumed it was an adaptation of that. David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://homepage.ntlworld.com/david.bircumshaw/ ----- Original Message ----- From: "Michael Rothenberg" To: Sent: Tuesday, September 28, 2004 3:08 AM Subject: a city upon a hill Does anyone know who said "a city upon a hill" before John Winthrop? Michael ========================================================================= Date: Mon, 27 Sep 2004 20:44:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Re: a city upon a hill MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit thanks David and Skip. Best, Michael ----- Original Message ----- From: "david.bircumshaw" To: Sent: Monday, September 27, 2004 4:23 PM Subject: Re: a city upon a hill > Matthew 5.14 Ye are the light of the world. A city that is set on a hill cannot be hid. > > (King James version) At least I've always assumed it was an adaptation of that. > > David Bircumshaw > > Spectare's Web, A Chide's Alphabet > & Painting Without Numbers > > http://homepage.ntlworld.com/david.bircumshaw/ > > > ----- Original Message ----- > From: "Michael Rothenberg" > To: > Sent: Tuesday, September 28, 2004 3:08 AM > Subject: a city upon a hill > > > Does anyone know who said "a city upon a hill" before John Winthrop? > > Michael > ========================================================================= Date: Mon, 27 Sep 2004 20:09:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Sawyer Subject: Re: new issue/Prague Literary Review Mime-Version: 1.0 (Apple Message framework v619) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed New issue of The Prague Literary Review is out with work by Peter Minter Dennis Cooper Larry Sawyer Sebastian Gurcillo D.J. Huppatz Stephen Rodefer Lou Rowan Drew Milne Tom Tomorrow Joshua Cohen Guillaume Destot Matthew Wascovich James Hoff Clare Wallace Fritz Widhalm Paul Sohar Tadeusz Pioro Louis Armand Robert Gal McKenzie Wark Michaela Howard Soren Guager among others... The Prague Literary Review Louis Armand, editor http://www.shakes.cz/plr/ Krymska 12, 101 00 Praha 10 Czech Republic Tel./Fax: +420 271 740 839 E-mail: review@shakes.cz ___________________________________ <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< ========================================================================= Date: Mon, 27 Sep 2004 21:38:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: what happens in the spare time of human individual being objects MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed what happens in the spare time of human individual being objects http://www.asondheim.org/fuck.mp4 http://www.asondheim.org/suck.mp4 some such ========================================================================= Date: Mon, 27 Sep 2004 22:07:43 -0400 Reply-To: Geoffrey Gatza Sender: UB Poetics discussion group From: Geoffrey Gatza Organization: BlazeVOX [books] Subject: Re: Announcement: Michelle Reeves MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit http://www.cnn.com/2004/US/09/27/alligator.attack.ap/index.html ----- Original Message ----- From: "cris cheek" To: Sent: Monday, September 27, 2004 6:49 PM Subject: Re: Announcement: Michelle Reeves > the story is on cnn.com > > On Sep 27, 2004, at 4:57 PM, Skip Fox wrote: > >> John, Zac-- >> >> Damned shit shame. Met her only once, last May. A lively intelligence, >> both interested and interesting. >> >> Hate to ask what happened, but not knowing leaves (as it will others) >> dangling. Jeanne? >> >> skip fox >> >> >> >> John Lowther wrote: >>> >>> [Sent by John Lowther on behalf Zac Denton] >>> >>> It is with great sadness that I announce the death of Michelle Reeves. >>> Some of you may know her from these listservs or may have known her in >>> person. She died on September, 26 while in Florida, visiting her >>> grandparents with her father. >>> >>> In Atlanta she was a student, where her fascination with writing and >>> the English language helped guide her studies. She had also been >>> active as a poet in the city, within the past couple of years. She >>> was a very socially and politically conscious person, giving much of >>> her energy to help combat political injustices and >>> oppression. She participated in activities for peace (and other >>> issues) >>> not only in Atlanta, but in D.C. and New York City as well. >>> >>> Above all, she was a loving sister, daughter, and friend, and she will >>> be greatly missed by those who knew her. >>> >>> Funeral or memorial service times and locations are unknown at the >>> moment. Please check the Atlanta papers, or call or email Zac Denton >>> for information. 770.378.9789 , zzac@hotmail.com >> > > ========================================================================= Date: Tue, 28 Sep 2004 03:15:32 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: new issue/Prague Literary Review MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The Stephen Rodefer piece made me smile, it's a change to find something in a lit mag that is +seriously funny+. Best Dave David Bircumshaw Spectare's Web, A Chide's Alphabet & Painting Without Numbers http://homepage.ntlworld.com/david.bircumshaw/ ----- Original Message ----- From: "Lawrence Sawyer" To: Sent: Tuesday, September 28, 2004 2:09 AM Subject: Re: new issue/Prague Literary Review New issue of The Prague Literary Review is out with work by Peter Minter Dennis Cooper Larry Sawyer Sebastian Gurcillo D.J. Huppatz Stephen Rodefer Lou Rowan Drew Milne Tom Tomorrow Joshua Cohen Guillaume Destot Matthew Wascovich James Hoff Clare Wallace Fritz Widhalm Paul Sohar Tadeusz Pioro Louis Armand Robert Gal McKenzie Wark Michaela Howard Soren Guager among others... The Prague Literary Review Louis Armand, editor http://www.shakes.cz/plr/ Krymska 12, 101 00 Praha 10 Czech Republic Tel./Fax: +420 271 740 839 E-mail: review@shakes.cz ___________________________________ <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< ========================================================================= Date: Mon, 27 Sep 2004 21:24:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: a little offensive about the poetry project In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This 'poem' is I think out of line- is Anselm supposed to be ashamed of who his parents are? They were/are both important poets and I for one have never felt anything but support from Anselm he is a fine poet and person. I for one have loved Alice Notley's workshops they have meant allot to me and I would pay for them again she is a great poet and a fine teacher. If you have a problem with him or the poetry project please do it in person- not on the Buffalo list. I know for a fact that at least two Chicago poets are reading at the Poetry Project this year. If it was a closed shop this would not be happening. I know other poets from other cities that have been given this opportunity as well. I don't think that it is fair or just to accuse people of ethical lapses this borders on slander. Ray Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Alan Sondheim > Sent: Monday, September 27, 2004 1:19 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: mo' haliburton po' > > > Think the last time I read at St Marks was in the early 70s, seems a > pretty closed shop - Alan > > On Mon, 27 Sep 2004, Harry Nudel wrote: > > > i must be missing something... > > but did the director of the > > St Mark's Po Project... > > > > hire his mom..his pa's > > best friend...and a prof > > from Naropa U...where > > i'm sure he'll get a > > reciprocal reading..all > > in one season...& > > this partially funded by > > public $$$$... > > > > nepotism?...arrogance? > > conflict of interest? or just > > plain stupidity?..., > > > > how about Steve D...who's > > only been writing and on the > > scene for 40 yrs...never > > had a reading at St. Mark's.. > > a bklyn kid who's never lived > > in Paris...and done more for > > the jazz-po interchange than > > anyone..and can use a good > > $$$$ gig....how about Allan > > Sondheim... > > > > how about some decency.. > > if this were haliburton..they'd > > be picketing on the steps... > > > > > > > > never reads..never publishes...never say never..drn... > > > > > recent http://www.asondheim.org/ > WVU 2004 projects http://www.as.wvu.edu/clcold/sondheim/files/ > recent related to WVU http://www.as.wvu.edu:8000/clc/Members/sondheim > Trace projects http://trace.ntu.ac.uk/writers/sondheim/index.htm > partial mirror at http://www.anu.edu.au/english/internet_txt > ========================================================================= Date: Mon, 27 Sep 2004 21:59:35 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: "slander"...'closed shop' Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit don't know anselm berrigan... sure he's a bright talented young man... but in a period of a few months as the director of partially funded public project.. he employed his mom his namesake his dad's best friend... wouldn't it just have been more prudent to save a few crumbs for someone else each of this trio has read innumerable times at the po project.. 'slander he wrote'....drn.... ========================================================================= Date: Tue, 28 Sep 2004 01:07:32 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: autumn.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hurt wrist aleph-beth on po test storm watch haiku.....drn... ========================================================================= Date: Tue, 28 Sep 2004 01:12:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: Re: Weapon Droppings / Clown Leash / Weapon Droppings MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII O-o-o-ooo, I love this poem, Jeff! What music! Camille >all bad protrusion speaks are submissively printed on that all bad protrusion shuffling another attention reflex the night became wrinkled with the light's sphinx shuffling another attention reflex lifting tired between rhythms blossoms are craning frowns lifting tired between rhythms rose pickers came up paper scarves despite the clinging intimacy of that red beast rose pickers came up paper scarves other plough voice... so mouth dreams to mask all, reproductive butterfly thought milk was a letter, another plough voice breath blackbirds watch dulled of rose pillow shuffling another attention reflex breath blackbirds watch dulled of rose pillow gift book absorption unfolds crunchy the broken Below can?t read too: she?s glass, she can say "read gift book absorption..." a lemonade-clean executioner stunts the creak momentary & murky a lemonade-clean executioner try as it may, and look as much you will parchment never dices up living fields try as it may, and look as much you will these pockets cannot bend, Malleable Swim I agree, they're a possible cure for boundaries these pockets, Malleable Swim, cannot bend a rustle, monocled, a shuffle, chronicled gnash, sweat, stride no words was rhymes with a rustle, monocled, & a shuffle, chronicled see, at the time I had time extra hooves it behooved me, to keep quiet about it see, at the time I had time extra hooves so rats spooked you, summer commas? tho its your shadows that're small, your teeth that're poison, its you who rats spooked? soft my bounds, sweeps straw their whip like crooners swoop spooked e'er like schooners soft my bounds, sweeps straw their whip unnumbered counted now & continues earthbound kind hordes may reach what, once, language left unnumbered counted now & continues earthbound down lyre, to that sunny tunnel church my dead Spring travels to me from 1000 nights away down lyre, to that sunny tunnel church ========================================================================= Date: Tue, 28 Sep 2004 00:36:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: Weapon Droppings / Clown Leash / Weapon Droppings MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit oh before i forget for the forth day HAPPY BIRTHDAY JOHN COLTRANE sorry for the oversight ========================================================================= Date: Tue, 28 Sep 2004 01:07:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: a little offensive about the poetry project MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hey fellas let's not get too out of hand w/ this you're both right and both wrong since i was one of the folk in question in dr n's "poem" i feel i should say that i'd love to read if invited tho i've made only a few grabs at trying to be despite what ray might say there are still way too over the top many political ploys and hierarachy's involved in this system but in ny it's how you win while playing the game i can name many lesser known folk who read at po-project who read there because they "deserve" to because they are "friends" publishers of "friends" newcomers who came in thru the right door but i should not say too much i'm almost 60 now and a few folks know my name even tho i'm sure as it leaves their mouthes and i leave their space they wonder, if at all, "who was that guy?" "where'd he come from?" from brooklyn he/me says in me feeble little mind brooklyn i got involved too late its's not about how long you've been at it how big your body of work is but how well your body works within the scene i won't use the W word here and your chicago friends ( are they academics ) maybe they sent proposals and were the lucky ones unlike someone like ira cohen who is 70 kicked and been kicked around this town/world way too long poet/film maker/ photographer a true part of history see his "straw mats" film ah fk this ranting i got stuff to write for some small town zine that nobody 'll ever see but they don't care long live the chicago 2 is rosemont still around? ========================================================================= Date: Tue, 28 Sep 2004 10:59:15 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: doing business in Iraq MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII http://www.export.gov/iraq/bus_climate/faq.html ========================================================================= Date: Tue, 28 Sep 2004 09:53:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: job openings; please spread the word Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Faculty positions available Assistant Professor / Associate Professor The Department of English at the University of Minnesota welcomes applications for four tenure-track or tenured positions at the rank of assistant professor or associate professor. The field of specialization is open. Applications that show strength in one or more of the following areas are particularly welcome: * African-American, Black British and British postcolonial, and African diaspora literatures, cultures, and theory; comparative studies of race * Anglo-Saxon language, literature, and culture * literatures and cultures from 1500 to 1800, including Renaissance/early modern, the Enlightenment, and the long eighteenth century * new perspectives for English (composition and rhetoric, disciplinary theory, new technologies and new media, creative nonfiction) * the varieties of English ranging from the history of the language to world Englishes Appointments will begin August 29, 2005. Rank and salary will depend on qualifications and experience. Essential qualifications include a Ph.D. or other terminal degree awarded in English or a related field by the start date of the appointment, or equivalent qualifications, such as having an established national or international professional literary career; distinction or the promise of distinction in publication; and evidence of excellence as a teacher. Candidates should submit an application letter, curriculum vitae, and the names of three references to Chair, Search Committee, Department of English, University of Minnesota, 207 Lind Hall, 207 Church Street SE, Minneapolis, MN 55455. Applications and nominations postmarked by November 12 will receive full consideration. The University of Minnesota is committed to the policy that all persons shall have equal access to its programs, facilities, and employment without regard to race, color, creed, religion, national origin, sex, age, marital status, disability, public assistance status, veteran status or sexual orientation. Comments or Cor ========================================================================= Date: Tue, 28 Sep 2004 08:17:45 -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: POV: black american in paris MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit "You must not worry about my being in danger.... I am not exactly unknown here and I have personal friends in the de Gaulle cabinet itself. Of course, I don't want anything to happen to me, but if it does my friends will know exactly where it comes from.... So far as the Americans are concerned, I'm worse than a Communist, for my work falls like a shadow across their policy in Asia and Africa.... They've asked me time and again to work for them: but I'd rather die first." -- Richard Wright "...Ollie Harrington, told me, "I know Richard Wright was assassinated" ...Julia Wright put it more subtly, giving credence to "a CIA plot to isolate him, in order to make him more vulnerable," thus fatally undermining his health." >>POV: black american in paris ========================= Black American in Paris by James Campbell In the spring of 1960, the year of his death, the novelist Richard Wright wrote from Paris to his friend and Dutch translator Margrit de Sablonière: You must not worry about my being in danger.... I am not exactly unknown here and I have personal friends in the de Gaulle cabinet itself. Of course, I don't want anything to happen to me, but if it does my friends will know exactly where it comes from.... So far as the Americans are concerned, I'm worse than a Communist, for my work falls like a shadow across their policy in Asia and Africa.... They've asked me time and again to work for them: but I'd rather die first. This letter contains the essence of John A. Williams's roman à clef, The Man Who Cried I Am, first published in 1967. Wright, an ex-Communist who had turned his back on the party and moved to France in 1946 but had never succeeded in throwing off the attentions of the American government, died unexpectedly in a Paris clinic eight months after writing those words to Sablonière in Leiden, Holland, and their eerie prescience has kept speculation about his death smoldering ever since. The Man Who Cried I Am, which opens in Leiden, brings a heavy load to the fire. It charts the journey through the 1940s and '50s of Max Reddick, a black novelist and journalist, leading up to the death of Reddick's friend and mentor, Harry Ames. Harry is an expatriate former Communist living in Paris with a white wife and a career on the slide. "I'm the way I am, the kind of writer I am, and you may be too," he tells Max early in the novel, which proceeds by way of flashbacks and a jigsaw structure, "because I'm a black man; therefore we're in rebellion; we've got to be. We have no other function as valid as that one." This repudiation of writing that is not politically committed sets the tone of The Man Who Cried I Am. In the parallel, real-life story that runs a few feet below the surface of Williams's novel, Harry's remark also serves as a dismissal of James Baldwin's famous attack on Richard Wright as the author of "protest fiction" in his precocious essay "Everybody's Protest Novel," published in Partisan Review in 1949. Harry Ames is decisively committed, or as his French friends would have said, engagé. Harry has long been a thorn in the flesh of the American government, and Max suspects that someone--even someone from among their own cafe circle--was deputed to kill him. For Max, Harry's very existence was a challenge to white power; so his death is one more deferment of the dream of racial justice. The consequences, as set out here, are likely to be apocalyptic. Williams was surely in earnest in predicting a bloody reckoning, for he followed The Man Who Cried I Am with Sons of Darkness, Sons of Light, a story written in the late 1960s but set in the next decade, with the uprising about to begin. Wright was the pioneer and leader of a school of black writers who left behind the hazards of daily life in the United States in the late 1940s and early '50s for the comparative freedoms of France. Those who followed included not only Baldwin but also Chester Himes, William Gardner Smith and Richard Gibson. In his journal in January 1945, a year before his migration, Wright described Paris as "a place where one could claim one's soul." That Harry Ames is a dead ringer for Richard Wright nobody would deny, least of all John A. Williams. In the 1990s, while researching a book about Anglophone literary life in Paris after the Second World War, I asked Williams if it was fair to make the connection between Ames and Wright. He said it was. When asked if Wright might have been been assassinated by the American security services, Williams replied, "I would say his death was highly suspicious" (he added, "I wouldn't put it any stronger than that"). His suspicions arose from conversations with people who were in France at the time of Wright's death, most notably the novelist Chester Himes, who had been close to Wright though the two were by then estranged. Asked why the government would risk murdering a writer who was no longer a force in the civil rights movement, Williams said, "I do believe there is such a thing as teaching people a lesson." The official cause of Wright's death on November 28, 1960, was the obstruction of a coronary artery--a heart attack. His body was cremated, without a post-mortem. Almost immediately, rumors began to circulate that he had been poisoned. A mystery woman was said to have visited his bedside an hour before he died. There was talk of an urgent telegram dispatched from the clinic. In his memoir, My Life of Absurdity, Himes named a "soul brother" by whom Wright felt he "was being persecuted." More than thirty years later, a friend of Wright from Paris days, the cartoonist Ollie Harrington, told me, "I know Richard Wright was assassinated" (despite promptings, he remained vague as to how he knew). Speaking on a BBC radio program about her father in October 1990, Julia Wright put it more subtly, giving credence to "a CIA plot to isolate him, in order to make him more vulnerable," thus fatally undermining his health. After a poorly attended service--Wright's wife, Ellen, had wished to keep it closed--the author's ashes were interred in Père Lachaise cemetery. In The Man Who Cried I Am, Max attends Harry's funeral in Paris: "Charlotte, Harry's wife was there, a few Americans.... There were some Africans, a few Indians. And it was only twenty hours after Harry had died." The Man Who Cried I Am is the kind of novel that many novelists dream of writing--a bulging bag that seems to contain everything the author knows about life. It is a book that hums with sound and smell, and a good deal more hate than love. Its greatest strength is in making the reader feel the height and solidity of the oppressive wall that Max, Harry and others must negotiate daily, just to hoist themselves up to safety, to be able to say, "I am." In his introduction to the new edition, Walter Mosley compares it to The Odyssey and Max to Odysseus. "And the journey home is more dangerous than Odysseus could ever imagine," he writes with reckless abandon. The minutiae of Max's existence are crammed in, from his talent to his paranoia, down to his culinary skills. An odd touch of authenticity is added by the graphic descriptions of a rectal illness that plagues him throughout. The Man Who Cried I Am takes lungfuls of breath from the author's angry energy, and from his ability to convey to the reader his belief that he is uncovering hidden truths. While Williams succeeds in bringing Max Reddick to life, he fails to make him likable. Max is a bristling bundle of conspiracy theories, glued together with hatred for white men and desire for white women. The latter seems at times closer to sadism than affection. Nothing good happens to Max--a job at Pace magazine (for Pace, read Time), a White House speechwriting assignment--that is not the product of white men's cynical maneuvering. There is scarcely a white male character who isn't a creep, and hardly a white female character who is not the target of the "cocksman" Max fancies himself. From one point of view, it is a bravura depiction of a peculiar pathology. From another, it feels as if Williams, intending to create a hero, has brought into being an emotional Frankenstein. Williams emerged as the patience of the civil rights movement was hardening to anger, and he has always been an angry writer. His books are apt to take anger as a viable substitute for morality. His first novel was called The Angry Ones. In 1962 he edited a collection of writings called The Angry Black, to which he himself contributed a story about a writer, Wendell, who tries to seduce a white woman in her own home. She first welcomes his advances, then tries to disengage herself as her son is heard approaching, but Wendell holds her in a clinch just long enough for the 9-year-old to see them. By any standard of decency, Wendell's rationale is tantamount to child abuse: "no matter how his mother explains it away, the kid has the image for the rest of his life." It is a form of revenge that Max Reddick could as easily have taken. In Max's eyes, bad luck is a stranger to whites--"What have you got to be nervous about?" he teases an associate. "You're white"--whereas almost every misfortune in a black life is traceable to color. Such an apprehension is enough to drive someone mad, and at times, rereading this novel, I felt that Max had taken leave of his senses. "Dying violently was a European habit," he reflects at one point, thinking of a French friend: All other deaths were commonplace. A European learned by his condition to expect catastrophe and invariably that was exactly what he received. In Europe, a winner was one who bested those common deaths arbitrarily assigned to others. You crawled, kissed behinds, ate merde, and grinned like you loved it. Living was everything. The final act of death was of no consequence; it was the living while everyone around died that counted. Max's sexual politics are likely to seem equally unappetizing to a present-day readership (and probably did to many in 1967). Women are there for the taking. Max is the kind of fellow who passes the time in his office making lists of those he has slept with. He and Harry keep up a running joke about the unique delights of "redheads." The novel is shot through with reflections such as this, on Max's Dutch girlfriend, Margrit: "Time sped by. Now, she was almost thirty. In Europe that made you an old maid or a lesbian. Or a whore. Managing an art gallery hadn't helped. She had gone through a couple of painters, or more correctly, they had gone through her." To what extent the reader is expected to accommodate Max because, as he says, "it was bad when I was born" (i.e., "born black"), is unclear, but I suspect that Williams feels he should be indulged quite a bit. Max certainly does. He lacks the faculty of self-examination. For example, he is said to be unpopular at the houses that have published his novels because "he...liked white women." Presented this way, it sounds like blatant racism, but might not the publishers simply be collating the observation about his love life with an insight Max provides into his own character: "Max had already given himself a name; he was a pimp without briefcase.... you borrowed money from the girl and the girl knew you'd never pay it back, and chances were, every time you met you'd borrow more money"? In Max's endlessly self-justifying hatred of the outside world, his tireless generalizing, there is no need for self-scrutiny, for every personal criticism can be deflected by the countercharge of racism. Various figures who circled in Wright's orbit during his fourteen years in France are depicted under light disguise in The Man Who Cried I Am. A scene in a Left Bank cafe, involving Max, Harry Ames and a young disciple of Harry's called Marion Dawes, is a rough rendering of a meeting that took place in the spring of 1953 between Wright, Himes (the character of Max contains elements of Himes) and Baldwin. It was during this stormy encounter, recorded by all three principals, that Baldwin gave warning to Wright, "The sons must slay the fathers." In the first volume of his memoirs, The Quality of Hurt, Himes described the incident, adding that he thought at the time that Baldwin had gone crazy; "but in recent years I've come to better understand what he meant." No such empathy is extended to the Baldwin character, Marion Dawes, who is treated unkindly. Baldwin and Williams, almost exact contemporaries, were never close, and it's hard to imagine that Baldwin would have been amused to see himself as Marion Dawes, whose homosexuality makes him a target for Max's disgust and ridicule. (It is suggested that Dawes gained a fellowship by means of which he moved to France by sleeping with certain people; in real life, Baldwin got a Eugene F. Saxton award on the recommendation of Wright.) Crucially for Max and Harry, Dawes is not a "writer in rebellion." The young Baldwin's concerns were more aesthetic than political, and he spent his nine years in Paris coaching his heart to exorcise the outrage that he feared would kill him if left to fester. Max, on the other hand, is consumed by anger. He cannot pick up the telephone without seeing it as "another one of the white man's inventions," and reflecting that it was "ironic that one must inevitably come to use the tools of the destroyer in order to destroy him, or to save oneself." Near the end of the novel, Max is trying to relay to a Malcolm X figure, Minister Q, the contents of a file discovered among Harry's papers, which outlines the King Alfred Plan, an FBI- and CIA-designed scheme to "terminate, once and for all, the Minority threat" and to consolidate the league of nations known as the "Alliance blanc," or White Alliance. In his afterword, Williams compares the King Alfred Plan, his own invention, to intelligence programs devised by J. Edgar Hoover in the 1960s to monitor the movements of black militants, which did not become public until much later. Harry is already a victim of the King Alfred Plan, and Max fears that he is about to become another. The Man Who Cried I Am is an absorbing story about the way some people were thinking and acting in the 1950s. It is driven by a furious beat, and constantly illuminated by the real-life drama behind the fictional one. It is let down by loose writing and a lack of generous characterization. The latter may be ascribed to Max's solipsism, and no doubt there are powerful psychological reasons for that, but a solipsist is hardly a trustworthy guide. Walter Mosley's ingenious classical comparison must be tested against the objection that Max is not a tragic hero but a pathetic one, wounded as much by vanity and self-pity as by racism. Does the conspiracy theory about Wright's death have any basis in reality? No one has provided a shred of forensic evidence to support the notion that he was murdered. From another angle, however, it is possible to argue that Wright's premature death was willed by the state. In the early 1990s, I visited Wright's widow, Ellen, in her apartment in St-Germain des Près. She spoke about Wright's quarrels with Baldwin and others, and said how futile it all seemed to her now that these great men were gone. "My husband lived with tension all his life," Mrs. Wright said. "Every day, awful tension." If there is an alternative cause of death to be inserted beside the official entry on Wright's records, then that is surely it. This article can be found on the web at: http://www.thenation.com/doc.mhtml?i=20040927&s=campbell ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ ========================================================================= Date: Tue, 28 Sep 2004 11:33:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Writers in Residence Positions Open--Please Distribute MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable 2005-2006 Writers in Residence Western Connecticut State University expects to hire six Writers in=20 Residence for its new and unique low-residency MFA in Professional=20 Writing. We welcome applications from writers of national reputation.=20 Preference will be given to candidates who: =B7 have published in at least one creative genre (preferably includi= ng=20 poetry, fiction publication or drama production) =B7 have published in at least one professional genre (journalism,=20 marketing/PR, non-fiction, investigative reporting, technical writing,=20 science writing, medical writing, or writing for the web, for example) or=20 have significant professional experience in one of those fields.=20 The positions will begin in the summer of 2005. Candidates must be willing = to attend two one-week residencies (August and January) in the Danbury, CT = area. Post-secondary teaching experience is strongly desired. Please send=20 letter, c.v. or resum=E9 including complete publication and professional=20 history, and pertinent writing samples to MFA Committee, English Dept.,=20 Western Connecticut State University, Danbury, CT 06810.=20 Western Connecticut State University, founded in 1903, is located in=20 Danbury, a major city in Fairfield County in the foothills of the=20 Berkshire Mountains, 65 miles north of Manhattan and 50 miles west of=20 Hartford. Western's rural 364-acre Westside campus complements its Midtown = campus in the heart of downtown Danbury. The University works with and is=20 supported by a forward-looking, innovative business community and=20 collaboration with several local, state, and regional community agencies=20 and educational institutions.=20 Western Connecticut State University is an equal opportunity educator and=20 employer. For more information on the program, please contact Brian Clements,=20 Coordinator at clementsb@wcsu.edu. Screening of applications will begin=20 Nov. 15, and hiring decisions will be made by Jan 30. ========================================================================= Date: Tue, 28 Sep 2004 12:20:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: ** Boog City Needs Printed Matter Reviews ASAP ** MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Hi all, Our new issue is going to press this coming Tuesday, and we're in need of 2-3 printed matter reviews. Anything released in 2004 is ok, it doesn't have to be poetry, should only be a small press, and the review should be 250-400 words max. The hope here is that some of my fellow list members and bloggers might have some reviews already in the can that we can print in our pages, crediting their blogs if that's where they previously appeared. Please backchannel reviews and queries to editor@boogcity.com best, david -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 T: (212) 842-BOOG (2664) F: (212) 842-2429 www.boogcity.com ========================================================================= Date: Tue, 28 Sep 2004 09:40:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: Poetry of Erasure, Etc. Alan Halsey's Abiezer Coppe In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ditto on this, also he's issued a Gargoyle of the Coppe -- really gem-like, I love it also self-promotingly, I have an older thing online which I had been viewing as a sort of translation -- all the words glossed in the preface of a Piers Plowman edition, b/w all the glosses it is free online: http://www.burningpress.org/va/pote/potet32.html All best, Catherine Daly -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Jesse Glass Sent: Sunday, September 26, 2004 11:08 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Poetry of Erasure, Etc. Alan Halsey's Abiezer Coppe Alan Halsey should also be on your list, Mairead. He recently published a poem consisting of all the parenthetical asides from Abiezer Coppe's A Fiery Scroll Pt.s 1 and 2. It appeared in the latest Ahadada Reader. Jesse Glass ========================================================================= Date: Tue, 28 Sep 2004 12:24:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: self-promotion... Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" just to alert anyone interested that a long-ish chapter from my memoir has just been published in ~the iowa review~ (vol. 34, number two): "just produce: a meditation on time & materials, past & present"... it's an essayistic piece that has something to say about working with words vis-a-vis working with wood, and a few other kinds of labor... as always, any feed---pro con whatever---always appreciated... best, joe ========================================================================= Date: Tue, 28 Sep 2004 12:54:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: a little offensive about the poetry project In-Reply-To: <20040928.022751.-190979.7.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit actually they are both not academics, I am also not an academic and I agree that there is allot of Politics but this has been going on since at least Dante's time. I dont think that whining is the way to do it- in fact- most of us who do not live in the New York area resent the fact that New York has what, 10 literary organization and 100 reading series and all the presses? The fact that mediocre New York poets are published three times over and great and good poets from the rest of the nation are ignored is a fact too... But instead of whining we are building new institutions that is what we need to do to make poetry a vibrant artform-- R Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Steve Dalachinksy > Sent: Tuesday, September 28, 2004 12:07 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: a little offensive about the poetry project > > > hey fellas let's not get too out of hand w/ this > > you're both right and both wrong > > since i was one of the folk in question in dr n's "poem" i feel i should > say that > i'd love to read if invited tho i've made only a few grabs at trying to > be > > despite what ray might say there are still way too over the top many > political ploys and hierarachy's involved in this system but in ny > it's how you win while playing the game > > i can name many lesser known folk who read at po-project who read there > because they > "deserve" to because they are "friends" publishers of "friends" > newcomers who came in thru the right door > but i should not say too much i'm almost 60 now and a few folks know my > name > even tho i'm sure as it leaves their mouthes and i leave their space > they wonder, if at all, "who was that guy?" "where'd he come from?" > > from brooklyn he/me says in me feeble little mind brooklyn > > i got involved too late its's not about how long you've been at it > how big your body of work is > but how well your body works within the scene > i won't use the W word here > and your chicago friends ( are they academics ) maybe they sent > proposals > and were the lucky ones > > unlike someone like ira cohen who is 70 kicked and been kicked around > this town/world way too long poet/film maker/ photographer > a true part of history see his "straw mats" film > > ah fk this ranting i got stuff to write for some small town zine that > nobody 'll ever see but they don't care > > long live the chicago 2 is rosemont still around? > ========================================================================= Date: Tue, 28 Sep 2004 11:35:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: a little offensive about the poetry project In-Reply-To: <000401c4a584$34e97e00$f29cad43@attbi.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Seems to me it's actually quite difficult to keep a press going in New York -- space and expense being primary reasons. I celebrate those that manage it there. I'm all for building new institutions in all sorts of places, but I don't see such work as in any way oppositional to what goes on in New York. More often, I find that I work in partnership with people in New York, Philadelphia, San Francisco, San Diego, Boulder, Albuquerque, Milwaukee, Chicago, Phoenix, Tuscaloosa, Los Angeles, and all sorts of places. And without the support of poets and others in New York, the work would be more difficult. And if New York has 100 reading series, to the 12 or so reading series in Tucson, and 10 literary organizations (I think there are at least 8 in Tucson), then that doesn't seem like too many, does it? What's there to resent? Charles At 12:54 PM 9/28/2004 -0500, you wrote: >actually they are both not academics, I am also not an academic and I agree >that there is allot of Politics but this has been going on since at least >Dante's time. > >I dont think that whining is the way to do it- in fact- most of us who do >not live in the New York area resent the fact that New York has what, 10 >literary organization and 100 reading series and all the presses? The fact >that mediocre New York poets are published three times over and great and >good poets from the rest of the nation are ignored is a fact too... But >instead of whining we are building new institutions that is what we need to >do to make poetry a vibrant artform-- > >R > >Raymond L Bianchi >chicagopostmodernpoetry.com/ >collagepoetchicago.blogspot.com/ > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Steve Dalachinksy > > Sent: Tuesday, September 28, 2004 12:07 AM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Re: a little offensive about the poetry project > > > > > > hey fellas let's not get too out of hand w/ this > > > > you're both right and both wrong > > > > since i was one of the folk in question in dr n's "poem" i feel i should > > say that > > i'd love to read if invited tho i've made only a few grabs at trying to > > be > > > > despite what ray might say there are still way too over the top many > > political ploys and hierarachy's involved in this system but in ny > > it's how you win while playing the game > > > > i can name many lesser known folk who read at po-project who read there > > because they > > "deserve" to because they are "friends" publishers of "friends" > > newcomers who came in thru the right door > > but i should not say too much i'm almost 60 now and a few folks know my > > name > > even tho i'm sure as it leaves their mouthes and i leave their space > > they wonder, if at all, "who was that guy?" "where'd he come from?" > > > > from brooklyn he/me says in me feeble little mind brooklyn > > > > i got involved too late its's not about how long you've been at it > > how big your body of work is > > but how well your body works within the scene > > i won't use the W word here > > and your chicago friends ( are they academics ) maybe they sent > > proposals > > and were the lucky ones > > > > unlike someone like ira cohen who is 70 kicked and been kicked around > > this town/world way too long poet/film maker/ photographer > > a true part of history see his "straw mats" film > > > > ah fk this ranting i got stuff to write for some small town zine that > > nobody 'll ever see but they don't care > > > > long live the chicago 2 is rosemont still around? > > ========================================================================= Date: Tue, 28 Sep 2004 14:25:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derekrogerson Organization: derekrogerson.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Is the life with that make awake us: they could seem He aint portico looks at attentot What business at the bowl of my own following? She is a rushed cabbage leaf! She is problem of florist's with the positing-table black strain fact black strain fact always treats in her way at the other always treats in her way at the other She's happy ending. umbrella ========================================================================= Date: Tue, 28 Sep 2004 14:48:08 -0400 Reply-To: Anastasios Kozaitis Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: a little offensive about the poetry project In-Reply-To: <5.1.0.14.0.20040928112833.01f1fbd0@mail.theriver.com> Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Didn't George Clinton record an album, "Poets Eat Their Young"? ========================================================================= Date: Tue, 28 Sep 2004 13:55:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Re: a little offensive about the poetry project Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 8bit MIME-Version: 1.0 Haas, excellent words. i back you up completely: baltimore is not exactly the shining light of the po' scene. it's been a very rough two years linking with the best and brightest of the packs (new lights press, mobtown writers, narrow house recordings, etc.) but the energy we put out is astounding: we've published folks from all over the nation, just to introduce the baltimore public, arts affiliated and general, to what's happening outside the city (baltimore, as some of you may know, may be cliquesque at times...) we're also introducing the nation to the fresh talent that may have well been overlooked if groups like furniture press and new lights press and narrow house recordings never existed. i'm from NYC. i know just what happens in NYC. there is an abundance, and anyone with a press is usually gonna score some great talent; it's also going to (over)produce a lot of talent that is just beginning to ripe. it may be too focused on output rather than building a base of poetics. but i'm not at all disturbed: NYC is a huge fucking city and it more or less deserves to have 10 literary organizations and 100 reading series and let's add 1,000 presses. what's good, though, about the multitude of ideas and events, is that all groups have a voice in the life of the poetic world. why shut them down? even if they are mediocre? let the best and brightest and hardest working survive history! we have an excellent reading series, the portable reading series, and it took heartache and stomach aches to make it happen: a crowd of 40 is unusual at literary events in baltimore. location location location or loquation loquation loquation it's all about attitude and spirit and energy and dialogue. cliques don't count. they can't survive history. they'll be drowned out by the innovative. i don't know. anything else. my love to all small presses, disparate and not. christophe casamassima ----- Original Message ----- From: Haas Bianchi Date: Tue, 28 Sep 2004 12:54:31 -0500 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: a little offensive about the poetry project Re: actually they are both not academics, I am also not an academic and I agree Re: that there is allot of Politics but this has been going on since at least Re: Dante's time. Re: Re: I dont think that whining is the way to do it- in fact- most of us who do Re: not live in the New York area resent the fact that New York has what, 10 Re: literary organization and 100 reading series and all the presses? The fact Re: that mediocre New York poets are published three times over and great and Re: good poets from the rest of the nation are ignored is a fact too... But Re: instead of whining we are building new institutions that is what we need to Re: do to make poetry a vibrant artform-- Re: Re: R Re: Re: Raymond L Bianchi Re: chicagopostmodernpoetry.com/ Re: collagepoetchicago.blogspot.com/ Re: Re: > -----Original Message----- Re: > From: UB Poetics discussion group Re: > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Steve Dalachinksy Re: > Sent: Tuesday, September 28, 2004 12:07 AM Re: > To: POETICS@LISTSERV.BUFFALO.EDU Re: > Subject: Re: a little offensive about the poetry project Re: > Re: > Re: > hey fellas let's not get too out of hand w/ this Re: > Re: > you're both right and both wrong Re: > Re: > since i was one of the folk in question in dr n's "poem" i feel i should Re: > say that Re: > i'd love to read if invited tho i've made only a few grabs at trying to Re: > be Re: > Re: > despite what ray might say there are still way too over the top many Re: > political ploys and hierarachy's involved in this system but in ny Re: > it's how you win while playing the game Re: > Re: > i can name many lesser known folk who read at po-project who read there Re: > because they Re: > "deserve" to because they are "friends" publishers of "friends" Re: > newcomers who came in thru the right door Re: > but i should not say too much i'm almost 60 now and a few folks know my Re: > name Re: > even tho i'm sure as it leaves their mouthes and i leave their space Re: > they wonder, if at all, "who was that guy?" "where'd he come from?" Re: > Re: > from brooklyn he/me says in me feeble little mind brooklyn Re: > Re: > i got involved too late its's not about how long you've been at it Re: > how big your body of work is Re: > but how well your body works within the scene Re: > i won't use the W word here Re: > and your chicago friends ( are they academics ) maybe they sent Re: > proposals Re: > and were the lucky ones Re: > Re: > unlike someone like ira cohen who is 70 kicked and been kicked around Re: > this town/world way too long poet/film maker/ photographer Re: > a true part of history see his "straw mats" film Re: > Re: > ah fk this ranting i got stuff to write for some small town zine that Re: > nobody 'll ever see but they don't care Re: > Re: > long live the chicago 2 is rosemont still around? Re: > -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Tue, 28 Sep 2004 14:06:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: a little offensive about the poetry project In-Reply-To: <5.1.0.14.0.20040928112833.01f1fbd0@mail.theriver.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit Here in West Lima Wisconsin there are no reading series & one literary organization. The local paper, the LaFarge Episcope publishes a weekly limerick. For some of us our experience of literary culture is 99% online. On Tuesday, September 28, 2004, at 01:35 PM, charles alexander wrote: > Seems to me it's actually quite difficult to keep a press going in New > York > -- space and expense being primary reasons. I celebrate those that > manage > it there. I'm all for building new institutions in all sorts of > places, but > I don't see such work as in any way oppositional to what goes on in New > York. More often, I find that I work in partnership with people in New > York, Philadelphia, San Francisco, San Diego, Boulder, Albuquerque, > Milwaukee, Chicago, Phoenix, Tuscaloosa, Los Angeles, and all sorts of > places. And without the support of poets and others in New York, the > work > would be more difficult. And if New York has 100 reading series, to > the 12 > or so reading series in Tucson, and 10 literary organizations (I think > there are at least 8 in Tucson), then that doesn't seem like too many, > does > it? What's there to resent? > > Charles > > At 12:54 PM 9/28/2004 -0500, you wrote: >> actually they are both not academics, I am also not an academic and I >> agree >> that there is allot of Politics but this has been going on since at >> least >> Dante's time. >> >> I dont think that whining is the way to do it- in fact- most of us >> who do >> not live in the New York area resent the fact that New York has what, >> 10 >> literary organization and 100 reading series and all the presses? The >> fact >> that mediocre New York poets are published three times over and great >> and >> good poets from the rest of the nation are ignored is a fact too... >> But >> instead of whining we are building new institutions that is what we >> need to >> do to make poetry a vibrant artform-- >> >> R >> >> Raymond L Bianchi ========================================================================= Date: Tue, 28 Sep 2004 15:40:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: MacArthurs Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed well,,,, surprise surprise -- only one poet on the MacArthur list this year -- NY TIMES: Mr. Socolow, the director of the Fellows program, "said the number of fellows in new areas this year reflects the foundation's search for fresh talent by increasing the number of people nominating fellows across a broad spectrum of fields." So what name in poetry did this expanded search for the new produce? C.D. Wright. the one fiction writer is Edward P. Jones, who wrote a novel about black people owning slaves, that sold quite well . . . . hmmmmm <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "It don't sound so terrible -- " --Emily Dickinson Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Tue, 28 Sep 2004 15:02:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: a little offensive about the poetry project In-Reply-To: <76262F78-1181-11D9-9FF6-000393ABDF48@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit mIEKAL aND Come to down and visit us in Chicago- the beer is on me- anything for our Cheesehead friends R Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of mIEKAL aND > Sent: Tuesday, September 28, 2004 2:06 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: a little offensive about the poetry project > > > Here in West Lima Wisconsin there are no reading series & one literary > organization. The local paper, the LaFarge Episcope publishes a weekly > limerick. For some of us our experience of literary culture is 99% > online. > > On Tuesday, September 28, 2004, at 01:35 PM, charles alexander wrote: > > > Seems to me it's actually quite difficult to keep a press going in New > > York > > -- space and expense being primary reasons. I celebrate those that > > manage > > it there. I'm all for building new institutions in all sorts of > > places, but > > I don't see such work as in any way oppositional to what goes on in New > > York. More often, I find that I work in partnership with people in New > > York, Philadelphia, San Francisco, San Diego, Boulder, Albuquerque, > > Milwaukee, Chicago, Phoenix, Tuscaloosa, Los Angeles, and all sorts of > > places. And without the support of poets and others in New York, the > > work > > would be more difficult. And if New York has 100 reading series, to > > the 12 > > or so reading series in Tucson, and 10 literary organizations (I think > > there are at least 8 in Tucson), then that doesn't seem like too many, > > does > > it? What's there to resent? > > > > Charles > > > > At 12:54 PM 9/28/2004 -0500, you wrote: > >> actually they are both not academics, I am also not an academic and I > >> agree > >> that there is allot of Politics but this has been going on since at > >> least > >> Dante's time. > >> > >> I dont think that whining is the way to do it- in fact- most of us > >> who do > >> not live in the New York area resent the fact that New York has what, > >> 10 > >> literary organization and 100 reading series and all the presses? The > >> fact > >> that mediocre New York poets are published three times over and great > >> and > >> good poets from the rest of the nation are ignored is a fact too... > >> But > >> instead of whining we are building new institutions that is what we > >> need to > >> do to make poetry a vibrant artform-- > >> > >> R > >> > >> Raymond L Bianchi > ========================================================================= Date: Tue, 28 Sep 2004 15:06:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: a little offensive about the poetry project In-Reply-To: <5.1.0.14.0.20040928112833.01f1fbd0@mail.theriver.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" this is actually an interesting question, this question of who's in(side) and who's out(side), both in terms of perceptions and in terms of, well, feelings... esp. interesting when it's clear that those on the inside often don't perceive themselves to BE on the inside... (and i'm acutely aware of my own status here in such terms, as a faltering academic...) on the one hand one could certainly choose to imagine everyone, every group as working in concert, as it were, and all collectives as mutually reinforcing... at the same time, i've often *felt* excluded, and not on the basis simply of who i am, but on the basis of who i'm not... i don't think we can wish away these feelings, and in fact i think they're often justified... it's not that every group, so defined, needs must welcome each and all... this problem, or problematic, in fact is one that has haunted this list, off and on, for years now, as many of you are aware... the problem really has more to do with how each group, so defined, handles its self-identity... if the group presumes to make an appeal to (some form of) egalitarianism and is not so (to said extent), why then that *is* sufficient cause for griping (of whatever sort)... there will then be those who "play" to the non-egalitarian (non-meritocratic, etc.) premises upon which said collective is founded... we tend to call these people careerists... one could say that we're all, to varying degrees, players and careerists in respective our spheres of professional endeavor... but i prefer myself to reserve such terms for those who would act unethically and with abandon in the pursuit of their careers... and i realize how loaded that last sentence is... what further complicates this of course is that poets (esp. poets who are not academics) often have a hard time thinking of what they do IN TERMS OF career... i might object to the term myself... what makes it useful, at some level (and here libbie rifkin's ~career moves~ comes immediately to mind) is that the term foregrounds the possibility that people might actually be acting for a reason, and that that reason might be self-gain... (witness my "self-promotion" post to this list of just an hour or two ago...) i know it might be hard to accept in these quarters, but there's little question that self-gain---whether cultural, or symbolic, or what have you---motivates both poets of the avant-garde (and post-avant) and poets of the mainstreams... both groups (and i am quite aware there are not "two") have their share of careerists, and both groups can be exclusive to an off-putting and self-absorbed degree... though my loyalties do extend toward those tribes that i perceive to be the underdog in [cough] fiscal terms (i.e., not the mainstreams), i trust i don't have to detail the many times i've been left in despair after having observed woefully careerist behavior (and i'm sure you each have your own examples)... in all, i've met creeps on both sides of the line (in the sand), and i don't tend to presume quality of *character* based on what side of the line one falls on... : i've always felt that any publicly responsible arts group has an obligation to try to extend a handshake to those who are not part of the group, but who yet exhibit an interest or ability that might properly draw them within the group's articulated orbit (after all, not everyone *wants* to be a _______ poet---no collective, so defined, will likely be all things to all people)... the difficulty here turns on maintaining a balance between the cohesion necessary for a group to be a, well, group, and that quotient of openness and capacity for self-critique that we ascribe to any healthy institution... i'm not talking about expanding the capacity of a finite (in terms of resources, funding, etc.) enterprise toward some democratically unfeasible ideal... i'm talking about the simple courtesy of extending a welcome to (say) a newbie... and trying to be as receptive as possible to strangers... it's understandable, with the arts under siege at present (or at least, this is what i'm feeling, at least), for groups to turn inward, keep to their/our own kind... but this is a mistake... now there are (at least) two further problems that surface here: first, there's the threat of admitting provocateurs into one's midst... i have in mind here the way certain anti-feminist feminists have infiltrated online women's discussion groups... classrooms are another example... it's not enough to say that feminism ought to be able to hold its own against same... when the overarching mission is learning, say, and there are people present whose objective is to frustrate the terms of said learning, why then things can fall apart rapidly, given the structures and strictures in place in a typical institution of higher learning, which these people are only too happy to exploit (i'm trying to speak from experience, ergo my choice of examples)... so here i'm tempted to steal a line from c. hitchens and offer something like, "let's not get too democratic"... by which i simply mean, i wouldn't want the terms of interaction to overturn the very possibility of democratic behavior (this has to do with my value system, sure, and of course the fact that i really can be a prick if you push me too hard)... the second problem has to do with how, specifically, a group is to meet its social obligations... it's surely the case that the way to do so is not simply through membership drives... and the presence of federal or state monies doesn't in itself automatically stipulate that everyone must be invited to the party anyway, albeit there are usually conditions... to say simply that one's writing/reading collective is contributing to a better planet by virtue of facilitating the dissemination of good words may be a little too easy, but at the same time, even to do this much, as we all (should) know, is no small feat... so here we're really discussing what the actual *mission* of such an enterprise ought to be, and we probably ought to do so with the good graces to be appreciative of those who are putting their time and energies into such efforts... and this can be a dicey proposition, to be sure... for instance, i don't always enjoy open mics---i believe that there's a time and a place for same... so any collective/group worth its salt will probably have to renegotiate the terms of its public engagement, on a regular basis... what works now may not work five or ten years from now---or may... but self-scrutiny is, from where i sit, a must... just some quick thoughts... thanks for listening... best, joe ========================================================================= Date: Tue, 28 Sep 2004 13:08:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Jerrold Shiroma [ duration press ]" Subject: Re: MacArthurs MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit congrads to CD ----- Original Message ----- From: "Aldon Nielsen" To: Sent: Tuesday, September 28, 2004 12:40 PM Subject: MacArthurs well,,,, surprise surprise -- only one poet on the MacArthur list this year -- NY TIMES: Mr. Socolow, the director of the Fellows program, "said the number of fellows in new areas this year reflects the foundation's search for fresh talent by increasing the number of people nominating fellows across a broad spectrum of fields." So what name in poetry did this expanded search for the new produce? C.D. Wright. the one fiction writer is Edward P. Jones, who wrote a novel about black people owning slaves, that sold quite well . . . . hmmmmm <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "It don't sound so terrible -- " --Emily Dickinson Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Tue, 28 Sep 2004 13:14:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAXINE CHERNOFF Subject: Re: MacArthurs In-Reply-To: <6.1.2.0.2.20040928153714.026941e8@email.psu.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII A second fiction writer is Aleksandr Hemon, who recently read at the Poetry Center at SFSU. MC On Tue, 28 Sep 2004, Aldon Nielsen wrote: > well,,,, surprise surprise -- only one poet on the MacArthur list this year > -- NY TIMES: Mr. Socolow, the director of the Fellows program, "said the > number of fellows in new areas this year reflects the foundation's search > for fresh talent by increasing the number of people nominating fellows > across a broad spectrum of fields." So what name in poetry did this > expanded search for the new produce? C.D. Wright. > > the one fiction writer is Edward P. Jones, who wrote a novel about black > people owning slaves, that sold quite well . . . . hmmmmm > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "It don't sound so terrible -- " > --Emily Dickinson > > > > Aldon Lynn Nielsen > George and Barbara Kelly Professor of American Literature > Department of English > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 > ========================================================================= Date: Tue, 28 Sep 2004 19:55:19 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Frank Sherlock Subject: Re: a little offensive about the poetry project Mime-Version: 1.0 Content-Type: text/plain; format=flowed You're poo-pooing of the Project? C'mon. St. Mark's has been a more vibrant & exciting space since Berrigan took over. The thrust of the complaints is that it hasn't changed enough. That is to say, who wants to see Alice Notley or Eileen Myles again? Well, their readings are always well attended. As it's been mentioned- the Project is PARTIALLY funded, & they've got to get asses in the seats. People show up because they're dynamite poets. The former director of St. Mark's had these poets read (as Harry mentioned) "innumerable times". This contradicts the Berrigan "closed shop" theory. In fact, the upcoming Project schedule has poets from Boston, Philadelphia, San Francisco, Paris, etc. Some of these poets I've never heard of. Some of them I don't like. So what. It's hardly a "closed shop". This seems a misdirected argument about a larger issue of recognition (or lack thereof.) - Frank Sherlock PS.- I'd love to have Alice Notley read at my series, & she's not my mom. >From: Steve Dalachinksy >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: a little offensive about the poetry project >Date: Tue, 28 Sep 2004 01:07:02 -0400 > >hey fellas let's not get too out of hand w/ this > >you're both right and both wrong > >since i was one of the folk in question in dr n's "poem" i feel i should >say that >i'd love to read if invited tho i've made only a few grabs at trying to >be > >despite what ray might say there are still way too over the top many >political ploys and hierarachy's involved in this system but in ny >it's how you win while playing the game > >i can name many lesser known folk who read at po-project who read there >because they >"deserve" to because they are "friends" publishers of "friends" >newcomers who came in thru the right door >but i should not say too much i'm almost 60 now and a few folks know my >name >even tho i'm sure as it leaves their mouthes and i leave their space >they wonder, if at all, "who was that guy?" "where'd he come from?" > >from brooklyn he/me says in me feeble little mind brooklyn > > i got involved too late its's not about how long you've been at it >how big your body of work is >but how well your body works within the scene >i won't use the W word here >and your chicago friends ( are they academics ) maybe they sent >proposals >and were the lucky ones > >unlike someone like ira cohen who is 70 kicked and been kicked around >this town/world way too long poet/film maker/ photographer >a true part of history see his "straw mats" film > >ah fk this ranting i got stuff to write for some small town zine that >nobody 'll ever see but they don't care > >long live the chicago 2 is rosemont still around? _________________________________________________________________ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ========================================================================= Date: Tue, 28 Sep 2004 16:38:52 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: hey! Content-transfer-encoding: 7BIT managed to lose charles alexander's email. are you out there somewhere? 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 ...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: Tue, 28 Sep 2004 15:11:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: a little offensive about the poetry project In-Reply-To: <76262F78-1181-11D9-9FF6-000393ABDF48@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Home of kickapoo joy juice? might make a good limerick -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of mIEKAL aND Sent: Tuesday, September 28, 2004 12:06 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: a little offensive about the poetry project Here in West Lima Wisconsin there are no reading series & one literary organization. The local paper, the LaFarge Episcope publishes a weekly limerick. For some of us our experience of literary culture is 99% online. ========================================================================= Date: Tue, 28 Sep 2004 15:21:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Re: MacArthurs In-Reply-To: <6.1.2.0.2.20040928153714.026941e8@email.psu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Here's a little thing I wrote during award season several years back. A=20 "casual," you might call it, and its title is THE CALL Baker Bladstone was in the middle of canning the entire Baker Bladstone=20 Dance Co. when The Call came to his mid-town studio. Cissy de Hennaegis was reaching wearily for the thesaurus when she got The= =20 Call in her converted garage. It came to Sonia Stone Furlong in the form of a handed note, at the=20 dedication ceremony for the new wing. =93Patches=94 McGillicuddy was greeted with the news by his fans outside=20 Walgreen=92s. Shortly after The Call came to Archer Bledsoe, he began watering the house= =20 plants with his finest single malt scotch. =93Chicken feed to me now =96= I=92ll=20 buy a case! Ten cases!=94 Damson Furpiece let her answering machine take The Call, and later blended= =20 the recording into one of her ambient soundscapes. The Call came too late to save Tucker Timpson Thomas, whose apartment was=20 already being dusted for fingerprints. Gennady Overt, however, got The Call in the nick of time, just as he was=20 about to sell his prized Jaguar. Patricia Matamoros de la Huerta regarded her husband silently as she took=20 The Call on her cell phone. =93He=92s not going to be able to keep up,=94= she=20 thought to herself, =93where I=92m going.=94 Dante Thrush surveyed the haggard face in his dressing-room mirror, not=20 sure the image reflected there was his own. Lawrence Vestibule rose halfway out of his armchair with delight. But it was R. Faith Hooper who summed it up for all recipients of The Call= =20 when she slapped her forehead and groaned, =93Why did I have to go and blow= =20 my first-time homeowners tax credit on this shit-box?=94 Where will YOU be when THE CALL comes? Will you answer it? Will it be for you? ========================================================================= Date: Tue, 28 Sep 2004 20:46:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fulcrum Annual Organization: Fulcrum Annual Subject: FULCRUM 3 Amherst MA Launch Oct. 1 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Celebrating the publication of Fulcrum 3 Fri. Oct. 1 at 8 p.m. Amherst Books, 8 Main St, Amherst, MA Landis Everson, Ben Mazer, Katia Kapovich, Philip Nikolayev, Mark Lamoureux, John Hennessy Landis Everson was an inner member of the Berkeley Renaissance of the late 1940s, the fourth intimate of the famed Spicer-Duncan-Blaser circle. To Jack Spicer he was a myth and a god. To Robert Duncan he was the Poet King. John Ashbery admired his poetry in New York in the early 1950s, and published selections in Locus Solus in 1962 (Everson's last appearance in print until now!). In 1960 Everson participated in a pivotal three-poet weekly Sunday poetry group with Spicer and Blaser in San Francisco. While Spicer was writing Homage to Creeley, Everson was composing Postcard from Eden and The Little Ghosts I Played With, two great sequences which now appear in print for the first time in Fulcrum 3, in The Berkeley Renaissance, edited by Ben Mazer. Fulcrum is proud to present Landis Everson's first public appearances in over forty years. John Hennessy's poems have recently appeared or are forthcoming in Fulcrum, The Sewanee Review, Salt, The Yale Review, LIT, and Ontario Review. He teaches at UMass Amherst. Katia Kapovich's collection of English language poetry is Gogol in Rome (Salt, 2004). She is also a well-known Russian poet. Mark Lamoureux's chapbooks are CITY/TEMPLE (Ugly Ducking Presse, 2003) and 29 CHEESEBURGERS (Pressed Wafer, 2004). Ben Mazer's chapbook selection of poetry, with cover art by Mary Fabilli, is forthcoming from Fulcrum this fall. He is the editor of The Berkeley Renaissance (Fulcrum, 2004) and The Collected Poems of John Crowe Ransom (Handsel, 2005). Philip Nikolayev's latest book of poetry is Monkey Time, 2001 Verse Prize winner. His new collection is forthcoming from Salt. Fulcrum: an annual of poetry and aesthetics, Number Three, 2004, edited by Philip Nikolayev and Katia Kapovich. 510 pp., perfectbound. Publication date: September 21 With contributions by Bill Berkson, David Baratier, Alison Croggon, Fred D'Aguiar, Arjen Duinker, Michael Farrell, Annie Finch, Edwin Frank, Peter Gizzi, Joe Green, Jeffrey Harrison, John Hennessy, Bruce Holsapple, Joan Houlihan, Coral Hull, Kabir, David Kennedy, John Kinsella, Mark Lamoureux, Glyn Maxwell, Ben Mazer, Andrew McCord, Richard McKane, Ange Mlinko, Richard Murphy, Vivek Narayanan, Gregory O'Brien, Fan Ogilvie, Simon Perchik, Mai Van Phan, Peter Richards, Michael Rothenberg, Tomaz Salamun, Don Share, Chris Stroffolino, Jeet Thayil, Mark Weiss, Harriet Zinnes, and many others. SPECIAL FEATURES: An Anthology of the Berkeley Renaissance, edited by Ben Mazer, featuring work by Mary Fabilli, Jack Spicer, Robin Blaser, Robert Duncan, Charles Olson, Landis Everson, plus artwork & photos We Who Live in Darkness: Poems from New Zealand by 21 Leading Poets, edited by Gregory O'Brien Fulcrum Debate: Joan Houlihan and Chris Stroffolino Poetry and Psyche: 7 essays Artwork by Konstantin Simun SUBSCRIPTION rates in the US are $15 per issue for individuals, $30 for institutions. Iternational subscriptions are $20 and $40 per issue, respectively. (Add $5/copy for international airmail.) Send check or money order drawn in US currency and payable to Fulcrum Annual to Fulcrum, 334 Harvard Street, Suite D-2, Cambridge, MA 02139. PREORDER Fulcrum 3 now! Fulcrum 2 sold out in 2 months and is reviewed in Jacket at http://jacketmagazine.com/25/kam-fulcr.html QUERIES: editor@fulcrumpoetry.com ========================================================================= Date: Tue, 28 Sep 2004 21:03:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fulcrum Annual Organization: Fulcrum Annual Subject: FULCRUM 3 Launch at MIT Oct. 3 Comments: To: BRITISH-POETS@JISCMAIL.AC.UK MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Sunday, Oct. 3 at 5 p.m. MIT, Room 6-120, 77 Mass. Ave., Cambridge Landis Everson, Peter Gizzi, Don Share, Katia Kapovich, Ben Mazer, Philip Nikolayev, Fan Ogilvie, Mark Lamoureux, John Hennessy (introduced by Bill Corbett) DIRECTIONS: Enter MIT at main entrance at 77 Mass Ave. and walk to the end of the Infinite Corridor taking your last right. Halfway down there is a foyer on the left and across from it is 6-120. It is one of the easiest rooms to get to on the MIT campus. DON'T MISS THESE 2 OTHER EXCITING FULCRUM 3 LAUNCH EVENTS! - In New York City: Sat. Sept. 25 at 6-9 p.m. KGB Bar, 85 East 4th St (betw. 2nd & 3rd Aves.) Landis Everson, Glyn Maxwell, Katia Kapovich, Ben Mazer, Philip Nikolayev, Mark Lamoureux, John Hennessy In Amherst, MA: Fri. Oct. 1 at 8 p.m. Amherst Books, 8 Main St Landis Everson, Ben Mazer, Katia Kapovich, Philip Nikolayev, Mark Lamoureux, John Hennessy Landis Everson was an inner member of the Berkeley Renaissance of the late 1940s, the fourth intimate of the famed Spicer-Duncan-Blaser circle. To Jack Spicer he was a myth and a god. To Robert Duncan he was the Poet King. John Ashbery admired his poetry in New York in the early 1950s, and published selections in Locus Solus in 1962 (Everson's last appearance in print until now!). In 1960 Everson participated in a pivotal three-poet weekly Sunday poetry group with Spicer and Blaser in San Francisco. While Spicer was writing Homage to Creeley, Everson was composing Postcard from Eden and The Little Ghosts I Played With, two great sequences which now appear in print for the first time in Fulcrum 3, in The Berkeley Renaissance, edited by Ben Mazer. Fulcrum is proud to present Landis Everson's first public and print appearances in over forty years. William Corbett teaches in MIT's Program of Writing and Humanistic Studies. He is an editor of Pressed Wafer. His most recent book, All Prose, was published by Zoland Books. Peter Gizzi's new book is Some Values of Landscape and Weather (Wesleyan 2003). He is the editor of The House That Jack Built: The Collected Lectures of Jack Spicer (Wesleyan, 1998). John Hennessy's poems have recently appeared or are forthcoming in Fulcrum, The Sewanee Review, Salt, The Yale Review, LIT, and Ontario Review. He teaches at UMass Amherst. Katia Kapovich's collection of English language poetry is Gogol in Rome (Salt, 2004). She is also a well-known Russian poet. Mark Lamoureux's chapbooks are CITY/TEMPLE (Ugly Ducking Presse, 2003) and 29 CHEESEBURGERS (Pressed Wafer, 2004). Glyn Maxwell, born in Hertfordshire, England, now lives in NY City. His several books of poetry include The Breakage and The Nerve (both Houghton Mifflin). He is the poetry editor of The New Republic and teaches at Princeton and Columbia. Ben Mazer's chapbook selection of poetry, with cover art by Mary Fabilli, is forthcoming from Fulcrum this fall. He is the editor of The Berkeley Renaissance (Fulcrum, 2004) and The Collected Poems of John Crowe Ransom (Handsel, 2005). Philip Nikolayev's latest book of poetry is Monkey Time, 2001 Verse Prize winner. His new collection is forthcoming from Salt. Fan Ogilvie is published in two chapbooks, The Other Side of the Hill and In a Certain Place, and in a number of literary magazines. Her newest collection is titled Not the! Enough! Don Share's most recent book is Union (Zoo Press), and he recently completed a critical edition of Basil Bunting's poems. He is Curator of Poetry at Harvard University, where he also teaches. Fulcrum: an annual of poetry and aesthetics, Number Three, 2004, edited by Philip Nikolayev and Katia Kapovich. 510 pp., perfectbound. Publication date: September 21 With contributions by Bill Berkson, David Baratier, Alison Croggon, Fred D'Aguiar, Arjen Duinker, Michael Farrell, Annie Finch, Edwin Frank, Peter Gizzi, Joe Green, Jeffrey Harrison, John Hennessy, Bruce Holsapple, Joan Houlihan, Coral Hull, Kabir, David Kennedy, John Kinsella, Mark Lamoureux, Glyn Maxwell, Ben Mazer, Andrew McCord, Richard McKane, Ange Mlinko, Richard Murphy, Vivek Narayanan, Gregory O'Brien, Fan Ogilvie, Simon Perchik, Mai Van Phan, Peter Richards, Michael Rothenberg, Tomaz Salamun, Don Share, Chris Stroffolino, Jeet Thayil, Mark Weiss, Harriet Zinnes, and many others. SPECIAL FEATURES: An Anthology of the Berkeley Renaissance, edited by Ben Mazer, featuring work by Mary Fabilli, Jack Spicer, Robin Blaser, Robert Duncan, Charles Olson, Landis Everson, plus artwork & photos We Who Live in Darkness: Poems from New Zealand by 21 Leading Poets, edited by Gregory O'Brien Fulcrum Debate: Joan Houlihan and Chris Stroffolino Poetry and Psyche: 7 essays Artwork by Konstantin Simun SUBSCRIPTION rates in the US are $15 per issue for individuals, $30 for institutions. International subscriptions are $20 and $40 per issue, respectively. (Add $5/copy for international airmail.) Send check or money order drawn in US currency and payable to Fulcrum Annual to Fulcrum, 334 Harvard Street, Suite D-2, Cambridge, MA 02139. PREORDER Fulcrum 3 now! Fulcrum 2 sold out in 2 months and is reviewed in Jacket at http://jacketmagazine.com/25/kam-fulcr.html QUERIES: editor@fulcrumpoetry.com ========================================================================= Date: Tue, 28 Sep 2004 21:12:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Sawyer Subject: Re: Something Bad Has Begun/Yusuf Islam Mime-Version: 1.0 (Apple Message framework v619) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Something Bad Has Begun (originally published Sep 28, 2004 by the Los Angeles Times) by Yusuf Islam =A0 I was flying to Nashville last week with my 21-year-old daughter to=20 explore some new musical ideas with a record label there. Ironically, I=20= was trying to remain low-profile because of the speculation that it=20 might have raised in the music world about a return of "the Cat." Media=20= attention was the last thing I wanted. But it seems God wanted=20 otherwise. Toward the end of our journey from London to Washington, the plane was=20= diverted. The captain announced something about "heavy traffic." After=20= landing in Bangor, Maine, six tall, blue-uniformed officers boarded and=20= surrounded me and my daughter. "Is your name Yusuf Islam?" they asked. "Yes," I confirmed. "Do you mind coming with us and answering a few questions?" At that point my heart stopped, and my daughter's face turned=20 aspirin-white. This was the start of the nightmare. Three FBI agents escorted me away from my daughter and asked me=20 questions. At first, it sounded like they might have me mixed up with=20 somebody else, as they repeated the spelling of my name. "No. Y-u-s-u-f," I carefully spelled out. The agents looked a bit=20 puzzled. As they continued asking questions, some of their queries were=20 obviously not related to me, so I thought this must be a matter of=20 simple mistaken identity. Whether it was a mix-up or not remained=20 unclear because they weren't under any obligation to give me a reason;=20= the green visa waiver form I had so neatly filled in earlier had=20 effectively denied me any right to appeal or answers. It was only when=20= an immigration official read out to me a legal reference number that he=20= mentioned some implication with "terrorism" =97 no further details=20 necessary. The most upsetting thing was being separated from my daughter for 33=20 hours =97 not knowing how she was or when and where we might be united.=20= Because my phone was confiscated, I couldn't contact my family. God almighty! Is this the same planet I'd taken off from? I was=20 devastated. The unbelievable thing is that only two months earlier, I=20 had been having meetings in Washington with top officials from the=20 White House Office of Faith-Based and Community Initiatives to talk=20 about my charity work. Even further back, one month after the attack on=20= the World Trade Center, I was in New York meeting Peter Gabriel and=20 Hillary Rodham Clinton at the World Economic Forum! Had I changed that much? No. Actually, it's the indiscriminate=20 procedure of profiling that's changed. I am a victim of an unjust and=20 arbitrary system, hastily imposed, that serves only to belittle=20 America's image as a defender of the civil liberties that so many=20 dearly struggled and died for over the centuries. Need I say that any form of terrorism or violence is the antithesis of=20= everything I love and stand for? Anyone who knows me will attest to=20 this. I have spent my life in the search for peace and understanding,=20 and that was mirrored clearly in my music. Since becoming a Muslim, I=20 have devoted my life to education, charity and helping children around=20= the world. Consistently I have condemned the attacks of 9/11, stating that the=20 slaughter of innocents, the taking of hostages and coldblooded killing=20= of women and children have nothing do with the teachings of Islam. I've=20= openly and publicly repudiated the actions of groups that resort to=20 such acts of inhumanity =97 whatever their names. Any allegations to the=20= contrary are fabricated. The Koran equates the murder of one innocent=20 person with the murder of all of humanity. Ever since I embraced Islam in 1977, people have regularly tried to=20 link me with things I have nothing to do with. Take the Salman Rushdie=20= case as an example, or the regurgitating of the accusation that I=20 support groups like Hamas. I am a man of peace, and I denounce all forms of terrorism and=20 injustice; it is simply outrageous for anyone to suggest otherwise. The=20= fact that I have sympathy for ordinary people in the world who are=20 suffering from occupation, tyranny, poverty or war is human and has=20 nothing to do with politics or terrorism. Thank God my daughter and I were relieved of our ordeal and delivered=20 home safely. I also thank all those who prayed for me and supported me=20= through this dark episode; I have never harbored any ill will toward=20 people of God's great Earth anywhere =97 and wish the reverse was also=20= true. (Yusuf Islam, the singer formerly known as Cat Stevens, was deported to=20= Britain last week after being refused entry into the United States.)=20= ========================================================================= Date: Tue, 28 Sep 2004 19:51:52 -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: Sketches of a Mystery White bwai MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit Sketches of a Mystery White bwai For erik and the the strange death of jeff Buckley It the was lawnmowers over the sound of september grape leaves brushing each other. So september had swam across the river which flowed underground in secret. Holding his back at a 1/2 cant he looked like an organic laptop. You couldn’t find his ass under the baggy combats. That was about it it ended somewhere near his suede sneakers. Single fisted typing to pound a knuckle with an amigo. Seems like his length started at this head under his toque; framing his glasses and it dropped over his face leaving all neck and the slender was his own; which skittered across the rooms, arcades and parking lots or stayed seated with likkle motion motioning the emotion from the tempo which he felt in falsetto holy intros connected to the downloads on the desktop he played like letters written like art. Cee him see the Asiatic blackened sideburned manic unpaniced by the emo uncoo So unrealized on couches watching inuyshai He’skee…suki She pulled back her bo No yänki …and cruise toward a gesture like her hands like fans. He’ski, to watch him, he absorb the steamed noodles balanced in styrofoam cups emptying packets of flavour for a lunch over footlong subs he woofed downed between jobs and senses swayed to basses and drums played like croons. ¡Ya¡ kid ¡Ya¡ kid ¡Ya¡ kid ¡Ya¡ kid ¡Ya¡ kid So the karaoke night was spent soaking up isa through mics. Did he love her. Did she really move. Does she rotate in 3/4 times to a riddim moon to his sun, son. What sleak eyes slants to the vision in his haze from the past down in his fluidity she was feening for. Oh hurun plots a plot for the love his dub baby. …and gaelic in black language. ¡Ya¡ kid Come and nice up the cuss; ain’t nobody as tight as us. She stroked his tongued. Le belle? …ah, you bet. His physical hyme born smooth as aqeeq across a face. Your age set to affect the cantos of late night drives homes. He’skee. What was the step of silent trip through parking lots. Catch it to the dome when you got 8mins to blend the flava w/ the Abyssinian come mix it up w/ Iranians. Using Alexandrians logic full metal tactics, stomping Persian’skee and tyrants was, …when… what was what was done …when… his …didn’t get too carried away over the dame… come a coffee whispers come 4 pm. 4 or 4:30 language of war or visions of chloe What more do you want from… Do you need Do you want Do know when What can you not have He kept a light sadness. ...post blues... a tiny tremble of war torn trouser legs woren out Desperation. Lord attendants wading in the lots cast to see who’d drown. Disembodied hands to kiss in the mist surrounding his island Do you dare Can you Care What was it his life …when she came into it sucking a on noodle deep in his throat …she opened it and out swam a purity which he aimed away to form her. In a letter carbon copied sent messages of intellect it collected his spirit under his toque framing his thoughts into visuals of memos over long distances. Read or be. Step into his square; read his flow real slow He had become flexible with her like junkies on lowlows or what was meant in the simile by Jeffery Lee. Delussions of grand figure notes flats to lookin sharp in tones to semi rational Textures. She moved …she moved to a tin drum struck with the caution of his steady thumb. My Math Me regained In madness Duking it out with Ellington Eurasian Macluhan Twistin my melanin Calculate the african Strike the Dawn let us holla another Anthem My Math Me regained In madness Duking it out with Ellington Eurasian Macluhan Twistin my melanin Calculate the african Strike the Dawn let us holla another Anthem She was not be removed so she moved in stability to the semitry of his equations; that was her purpose proven in her rotation Circumference He got carried away Power vs measure sweet His pleasure… Step into his square dig his friendship with the listener. She who must bee To arkansa come jazzy hep hop. His prayer. A end destination to the bay as to reach the top of an oak you tip toe over to track your opus. Bee borns to bop this trip into a sketchy heart when he stayed drunk in his sobriety. Like a dog warrior drinking from a water bowl loudly. Smooth has water polished submerged cobblestones. He stroked his fingers along tops and held one stone tightly briefly neatly and released it. His fingers cold and stinging he touched his tongue and warmed them by speaking into the cups of his hands. He ran his tips along the thought her lashes. His heart skipped a neat note to the writ he wrote to ghosts behind the lense of his glasses pressed below the clay. Tears and blood on the beat of his chin She moved she moved to a tin drum struck with the caution of his steady thumb. She who must bee She who must bee She who must bee He got carried away over her This was his lost army Memorials to the nominative Decline What’s tru of this Science of the movement of his thought Reverie Hallucination Stay tough in sleepy eyes Still sweet How you feel He asks When she rests In this death place Todd Sweet Close your eyes tight Tight My brutha He spoke a hyme like a plate patterned random with the stroke of waves. Momotaro and peachboy whispers shaking up the mountains and chasing away the ogres …from the dreams of our bruthas. Watch his tantric circles. Armless standard barers; his Visualz Over dub Babies blessed in cubacles Come the bringer of water I'll bet your house Ain’t built as strong as the shore he stroled to. Like a cadallac He walked liked To correct her caresses. Babies blessed in cubicles See the palms of his hands Cee the palms of his hands Culture the palms of his hands Over dub Shukran Shukran Shukran Who built your house Broken phone calls Stolen time cards …b.u.t. did he love her Long distance typing notes from a thesis made to 1 from a cipher. Who built this All this Catching the dream of a ticket 1425 Lawrence Y Braithwaite (aka Lord Patch) New Palestine/Fernwood/The Hood Victoria, BC ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Tue, 28 Sep 2004 23:06:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Hamilton Stone Review, Issue 4, Fall 2004, Now Online MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Hamilton Stone Review, Issue 4, Fall 2004, Now Online! This time--an all-fiction issue featuring Meredith Sue Willis, Lynda Schor, Carole Rosenthal, Edith Konecky, Rebecca Kavaler, and Halvard Johnson. http://www.hamiltonstone.org/hsr4.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 until December, 15, 2004, for Issue #5, which will be out in February 2005. Poetry submissions should go directly to Halvard Johnson at halvard@earthlink.net or halvard@gmail.com. ========================================================================= Date: Wed, 29 Sep 2004 03:57:47 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "subrosa@speakeasy.org" Subject: *SuBtExT reading* 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 reading= s by Margareta WATERMAN & Marion KIMES at the Richard Hugo House on Wedne= sday, October 6, 2004. Donations for admission will be taken at the door = on the evening of the performance. The reading starts at 7:30pm. Margareta WATERMAN's career in poetry has included most of the stations o= f the craft: 22 books published; evenings of abstract theatre, mixed-medi= a events and poetry readings; innovative poetry videos, touring the US an= d Canada; visual poetry mural; collaborative work; festivals; magazines a= nd reviews; workshops. She is publisher of Nine Muses Press. Her work has= been featured and praised in magazines and books, on radio and televisio= n, in poetry scenes and other literate worlds. Her most recent books are = hohokam (a fiction chapbook) and loose ends. She has never left an audien= ce unmoved. Marion KIMES brought her love of the live reading here in 1981. Over the = years a fine pile of small-press books & broadsides has accumulated besid= e a long list of readings, fests & projects. Her books include CROW'S EYE= S, of multiplication & light (Nine Muses), Whirled, and NAMORATUNG'A (Woo= dworks). She has been a driving force in Red Sky Theatre for many years. The future Subtext 2004 schedule is: October 24, 2004 - Critics as Performers #2: Marjorie Perloff & Charles A= ltieri(both Bay Area) at Henry Art Gallery November 3, 2004 - David Abel (Portland) and William Fox (LA) 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 ========================================================================= Date: Tue, 28 Sep 2004 20:59:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Xcp: Streetnotes: Fall 2004 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Xcp: Cross Cultural Poetics is pleased to announce the publication of Streetnotes Fall 2004 Streetnotes is a biannual electronic exhibition space for socially=20 descriptive art and text. http://www.xcp.bfn.org This issue includes work collected under the "Street Politics" theme and = features. Sesshu Foster, Jane Sprague, Alejandro Crawford, Joel Morton, Jason=20 Oliver Chang, Mar=EDa Isabel Pazos, Gregory Cowan, Bruce Covey, Cat Tyc, = Joel Duncan, Tricia R. Louvar,George Edward Potter, Christopher Roell,=20 Laura Winton, Richard Crawford, Michelle Auerbach, Gregory Vincent St.=20 Thomasino Xcp: Streetnotes collects photography, ethnography, poetry and essays on = the documentary experience. We are currently planning our Spring 2005=20 issue, "transit" See our call for work and guidelines at.. http://www.xcp.bfn.org/call4work.html -- David Michalski Xcp: Streetnotes, Editor http://www.xcp.bfn.org michalski@ucdavis.edu ========================================================================= Date: Wed, 29 Sep 2004 00:19:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: some sort of phenomenology MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed some sort of phenomenology of the work of hacking and motion-capture in relation to codework and mywork: . palimpsest and interweavings . gatherings around subterranean tokens . the Wager of the devolution of the natural which does not hold; the natural excretes, oozes, destroyed by the cleansed proper body. the worst mistake is the subsummation of the natural beneath the belly of the technological and the efflorescence of extinctions that results. . code as Barrier throughout the world, the operative of code as distancing, defoliation replacing Vietnam napalm-burn. code destroys one world, opens another; one always has the attributes of negation to ensure compliance. with what? with the subject, subjectivity-at-a- distance. .Hegel and the porosity of the world as the physics of the word increasingly turn towards the porous; it's not hacking by one in relation to the other, but the culture hacked itself, self-hacked, hacking resonance and harmonics, the hacking of the hacked (already opened up by O'Reilly's series); in other words, no privacy, no security, the interweaving of infiltration and filtration. . the Plasma neutral and the plasmatic world, world of the Plasmatics, plasma as standard states of matter, (un)stated matter, hacking software hacked to soft hacking, absolute loss of information, fast-forward thought and its loss. . momentary negations x^~x -> 0(x) the null set relative to x-semantics, thus neither x nor not-x but x-sememe, negation carried through to the other as x and not-x are venn-separated by inscription relative to (x, not-x), but x-semantics/sememe "has something to do with it" - so we consider porosity as those state which "have something to do with things" or with the configuration, constructibility of things or entities, see http://www.asondheim.org/statepositive.png http://www.asondheim.org/statenegative.jpg . palimpsest and interweavings gatherings beginning thinking about soft-weavings. . around subterranean tokens the Wager of the devolution of the natural code which is also the waver of the world strewn with entities, in constant states of withdrawal, maintenance and cleansing . here against the waver-Wager is where words begin to fail, so does perceptual organization, some sort of phenomenology (codework breaking, or the slough of the symbol . symbolic slough organization of difference is the origin of institutionalization, non-deferral _ ========================================================================= Date: Wed, 29 Sep 2004 01:26:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: Sketches of a Mystery White bwai Comments: To: ishaq1823@telus.net MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit isaq thanks for sketches pc and black american in paris when in paris in 2001 i visited pere lechaise and among other grave visited wright's stone where his ashes were laid 52 refers to his age which is what i calculated from the headstone the stone was neglected i brushed away the cobweb and "stole" (stold) a paper flower from a nearby "plot" and placed it on his.. here's how i felt richard wright stuck in the corner by the staircase in black face & gold letters with cobwebs 52 yrs. an exiled native son oh black boy i place a paper flower bside your square. steve ========================================================================= Date: Wed, 29 Sep 2004 02:17:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Fw: Re: a little offensive about the poetry project MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit i thank you all for your input and, believe it or not, your support of po-project and in a broad sense of me - i think some of what i said in reaction to ray and harry was misconstrued tho i'm not trying to, as harry would say of me, "weasel" out of anything yes i'm am a bit under-recognized ( and maybe rightly so ) and have no one to blame but myself ( no whining please ) i never participated actively in the scene tho it was right under my nose this was just not an option for me because i never knew this let's call it SYSTEM existed some of the first readings i've ever attended were at the project. i don't feel, as a genuine whiner who has a rep for complaining, that i whined or dissed, just presented some facts as i see them. and sure all oligarchical structures operate democratically to some extent ( the the good ole u.s. of a. for instance) anselm is a great guy as is his brother and both are fine writers he has tried to keep an open mind and stuck to both his ideals to present new voices and to bring back greatest hits to get audiences for yes money is needed in order for any organization to survive we all work hard at our work and that we work at is POETRY or at least one of the things if not the main one is poetry tho we feed ourselves by other means & in the long run after all, whether anyone sees it or hears it, it's the work that counts tho getting others to view it is always a fine thing when a friend asked me long ago who i write for i said me whoever i happen to be at that moment and that means YOU he was shocked when i said we all have egos and even more so want our work to be read for the sake of the work whether it works or not almost everyone thinks what the do really "rocks" wow first time i've used that word i would also like you all to know as i previously stated, harry wrote his pc w/out my knowledge and it was a (squirm squirm ) surprise to me too anyway since i/he provoked this please don't get me wrong... ny is both a great place for its many presses and venues that's why so many folks move here but tho there's never enough there can also be too much ( a glut) and tho on the surface it seems pleasant to be a part of a scene on any level competetion is fierce ( tho not so much on the overt due to the games and how they are played ) and "CAREER" is and has become way to important to too many they seem to forget it's about the work but as i stated previously the person (ality) most times comes before the person's work hey sure i want a piece of that pie everyone does but i want my work to get a bigger piece than i get ( hopefully some of it deserves a peak) yes we are not mutually exclusive yet we are after all didn't someone once say i am not what i do - this applies to music to painting to plumbing to astrology and astronomy the stars the stars the stars................................... ========================================================================= Date: Wed, 29 Sep 2004 01:55:26 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: autumn Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Brighton: end summer in drizzling rain wake o' nother hurricane grey sky greyer sea a thin blue lined Klee mets play twi-light double header into nite ruski ghost babes rustle husbands in waves parachute & cyclone mists time close down bdwlk slick gleam sans trapped dream vodkaded up amorosos sup on thin flame summer's blamed blini cherry or cheese gimme what's i needs..... brighton end...kebab, pepper & fries...drn... ========================================================================= Date: Wed, 29 Sep 2004 04:27:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the foundation of the world-class related to fundamental symmetries MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed the foundation of the world-class related to fundamental symmetries http://www.asondheim.org/informatics.bmp what a five-hour render looks like the bars are from some fractal/symmetric formulas i discovered what can i say it's all for real __ ========================================================================= Date: Wed, 29 Sep 2004 07:22:38 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: a little offensive about the poetry project MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit when i was a kid i had the most romantic notions about the Poetry Project. having cut my teeth on Notley, Ceravolo, and the like (thanks to a visit from Molly Russakoff to my dirty little redneck town). when i was in college a friend of mine went to Warren Wilson for her MFA in creative writing, and they had a reading at the Project, which i attended. it was the most depressing poetry reading of my life, just awful, so awful that a rather drunk friend of mine who didn't want to go in the first place said, "what the fuck is this, the housewives from the Hamptons!" it was one of those times where you want to demand 2 hours of your life be returned. it was so sad that it shattered my hopes of what the Project was about. until recently, that is. since Anselm Berrigan has taken over the Poetry Project has literally COME ALIVE, in every sense! the best sense being the new blood injected. the only thing "political" about him is to have poets like Carol Mirakove read her political poems from her magnificent new book Occupied. poets like Peter Culley coming down from Canada to reissue our sense that there are endless new frontiers in poetry to be had. poets like Greg Fuchs and Frank Sherlock, all this amazing young talent we most likely would NOT have seen several years before. of course his mother read, why shouldn't she!? if there's any elder poet MOST interested in recreating their own work from book to book, it's her. and she really, REALLY listens to younger poets, welcomes our thoughts, our poems, generous in her approach to encourage. she's the real thing as far as poets go! and the Poetry Project should be treated like her livingroom because of her generosity, whether her son is in charge or not! she's made it clear more than once that there was a time she was made to feel unwelcome at the Project. "We didn't feel welcome at the Poetry Project anymore. He writes a lovely poem about us as and watching Fred Astaire and Joan Leslie in a less wellknown movie. Can all this be to the point?" --Alice Notley, from Mysteries of Small Houses all this said, it makes me very happy to go to readings at the Project, something i didn't feel i'd ever feel after my first visits some years ago. Anselm Berrigan has brought an electricity to the place that is undeniable, something you experience and know how, among many things, it is the spirit of Welcome you feel. the sour grapes of the malcontent have no real gripe here. CAConrad http://phillysound.blogspot.com ========================================================================= Date: Wed, 29 Sep 2004 08:41:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Something Bad Has Begun/Yusuf Islam In-Reply-To: <123DAF59-11BD-11D9-9F84-000A95955A20@comcast.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" aha! meeting with hillary clinton? a democrat? could that be why he was detained? plus, didn't he support the fatwah on salman rushdie? At 9:12 PM -0500 9/28/04, Lawrence Sawyer wrote: >Something Bad Has Begun >(originally published Sep 28, 2004 by the Los Angeles Times) > >by Yusuf Islam > >I was flying to Nashville last week with my 21-year-old daughter to >explore some new musical ideas with a record label there. >Ironically, I was trying to remain low-profile because of the >speculation that it might have raised in the music world about a >return of "the Cat." Media attention was the last thing I wanted. >But it seems God wanted otherwise. > >Toward the end of our journey from London to Washington, the plane >was diverted. The captain announced something about "heavy traffic." >After landing in Bangor, Maine, six tall, blue-uniformed officers >boarded and surrounded me and my daughter. > >"Is your name Yusuf Islam?" they asked. > >"Yes," I confirmed. > >"Do you mind coming with us and answering a few questions?" > >At that point my heart stopped, and my daughter's face turned >aspirin-white. This was the start of the nightmare. > >Three FBI agents escorted me away from my daughter and asked me >questions. At first, it sounded like they might have me mixed up >with somebody else, as they repeated the spelling of my name. > >"No. Y-u-s-u-f," I carefully spelled out. The agents looked a bit puzzled. > >As they continued asking questions, some of their queries were >obviously not related to me, so I thought this must be a matter of >simple mistaken identity. Whether it was a mix-up or not remained >unclear because they weren't under any obligation to give me a >reason; the green visa waiver form I had so neatly filled in earlier >had effectively denied me any right to appeal or answers. It was >only when an immigration official read out to me a legal reference >number that he mentioned some implication with "terrorism" - no >further details necessary. > >The most upsetting thing was being separated from my daughter for 33 >hours - not knowing how she was or when and where we might be >united. Because my phone was confiscated, I couldn't contact my >family. > >God almighty! Is this the same planet I'd taken off from? I was >devastated. The unbelievable thing is that only two months earlier, >I had been having meetings in Washington with top officials from the >White House Office of Faith-Based and Community Initiatives to talk >about my charity work. Even further back, one month after the attack >on the World Trade Center, I was in New York meeting Peter Gabriel >and Hillary Rodham Clinton at the World Economic Forum! > >Had I changed that much? No. Actually, it's the indiscriminate >procedure of profiling that's changed. I am a victim of an unjust >and arbitrary system, hastily imposed, that serves only to belittle >America's image as a defender of the civil liberties that so many >dearly struggled and died for over the centuries. > >Need I say that any form of terrorism or violence is the antithesis >of everything I love and stand for? Anyone who knows me will attest >to this. I have spent my life in the search for peace and >understanding, and that was mirrored clearly in my music. Since >becoming a Muslim, I have devoted my life to education, charity and >helping children around the world. > >Consistently I have condemned the attacks of 9/11, stating that the >slaughter of innocents, the taking of hostages and coldblooded >killing of women and children have nothing do with the teachings of >Islam. I've openly and publicly repudiated the actions of groups >that resort to such acts of inhumanity - whatever their names. Any >allegations to the contrary are fabricated. The Koran equates the >murder of one innocent person with the murder of all of humanity. > >Ever since I embraced Islam in 1977, people have regularly tried to >link me with things I have nothing to do with. Take the Salman >Rushdie case as an example, or the regurgitating of the accusation >that I support groups like Hamas. > >I am a man of peace, and I denounce all forms of terrorism and >injustice; it is simply outrageous for anyone to suggest otherwise. >The fact that I have sympathy for ordinary people in the world who >are suffering from occupation, tyranny, poverty or war is human and >has nothing to do with politics or terrorism. > >Thank God my daughter and I were relieved of our ordeal and >delivered home safely. I also thank all those who prayed for me and >supported me through this dark episode; I have never harbored any >ill will toward people of God's great Earth anywhere - and wish the >reverse was also true. > >(Yusuf Islam, the singer formerly known as Cat Stevens, was deported >to Britain last week after being refused entry into the United >States.) -- ========================================================================= Date: Wed, 29 Sep 2004 15:11:24 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: Re poetry of omission or erasure In-Reply-To: <105.519c17e1.2e8614b9@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I just remembered two other works of this kind. Swedish writer and critic Peter Cornell, wrote a prose book in 1987 titled "Paradisets vagar" (Roads of Paradise), which consisted of nothing but footnotes. The idea was that this was some sort of treatise where the main text was lost. And Ibid by Mark Dunn: http://indieworkshop.com/books/11/ /Karl-Erik Tallmo ________________________________________________________________ KARL-ERIK TALLMO, poet, writer, artist, journalist MAGAZINE: http://art-bin.com ARTWORK, WRITINGS etc.: http://www.nisus.se/tallmo/ ________________________________________________________________ ========================================================================= Date: Wed, 29 Sep 2004 09:24:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: joel s lewis Subject: Re: a little offensive about the poetry project In-Reply-To: <200409290029.1ccw5n1Cl3Nl3pK0@gideon.mail.atl.earthlink.net> Mime-Version: 1.0 (Apple Message framework v618) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit as one of the older farts on this list ( I knw Anselm & Eddie B. since they werelittle kids), the complaint about the PoProj exclusivity, cronyism, etc. is not a new one. Actually, it was much fiercer a generation ago, when some people thought there was an actual and real inner circle that convened to decide who got what. is there someplace out there that is a pure meritocracy? Certainly not in academia, where I know of plenty of wandering adjuncts w/ strong publishing, etc. who are considered damaged goods by folks w/ tenure because they couldn't land a tenured position atthe outset of their careers. And nothing at the Project could the scandals a while back at the Academy of American Poetry, where the chancellors seemed to psend their days handing out hugh monetray awards to each other. As a middle-aged, jersey-based poet, whose f/t job as a social worker precludes much reading going/socializing, I'm well-aware that just "being there" is sometimes just as valuable as "talent". However, the project's history as fairly inclusive organization--perhaps the most inclusive in NYC-- outweighs the natural outcome of normal social interaction Joel Lewis ========================================================================= Date: Wed, 29 Sep 2004 09:53:13 -0400 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: mo po Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit 'midst the sturm und drang... ya kinda missed the point..... no matter how nice A. Berrigan is or isn't... the po project needs... rappers..academics...hamptons house wives...H.S. Eng Teachers...affirmative action babies...wandering jews...sons & mothers & husbands of famuz pos.. infamuz & etc....haikuists... my aunt Lola...pageant press poets...& hollywood versifiers...to survive... it's a PUBLIC project.. not a Cosa Nostra waiting for indictment... drn.... ========================================================================= Date: Wed, 29 Sep 2004 06:55:43 -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: Re: Sketches of a Mystery White bwai In-Reply-To: <20040929.014026.-42651.8.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit peace respects on the props and the pimps. as for Wright, the amerikkkan propaganda is to play down the respect offered to wright, outside of the plantation, as a writer. Wright's place in a tomb, only for great french literary figures, has been dismissed infavour of it's location which is under the staires along side with other famous french artists and genius exiles. wright's mission did not fail: wright achieved a goal, not usually experienced by black authors, even in these days, he was not a novelty or a token or a typing monkey to be placed in a (st)cage to do tricks for the collection of minstrel show fanatics (come pimps calling themselves publishers) who don't share his pigmentation and can't Cee the texture or feel the tone B.U.T. only tap and clap along in ignorance... a pigmentation aka a flava and texte which the writing communities transform into a curse...richard wright had become an author and in his death, despite the far reaching hands of the haters of amerikkka who crack the whip in the publishing field he escaped form from, he was honoured in "another country" for his work and efforts. ...and to this day it is still played down in amerikkka he will always be their boy...their black boy to the world he is an author peace Steve Dalachinksy wrote: >isaq thanks for sketches pc and black american in paris > >when in paris in 2001 i visited pere lechaise and among other grave >visited wright's stone where his ashes were laid 52 refers to his >age which is what i calculated from the headstone >the stone was neglected i brushed away the cobweb and "stole" (stold) a >paper flower from a nearby "plot" and placed it on his.. > >here's how i felt > > >richard wright > >stuck in the >corner >by >the staircase > in black face & gold letters >with cobwebs > 52 yrs. an exiled native son > >oh black boy i place a paper flower bside your square. > > > >steve > > > -- {\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 \f0\fs24 \cf0 \ ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Wed, 29 Sep 2004 07:16:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ishaq Organization: selah7 Subject: ~Omnipresent Record -- New Artist Showcase Additions ~ Hoppin n Groovin n Spoken Comments: To: This Saturday MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Peace All, I'd like to announce a few new Artist Showcase additions. Those into poetry and experimental electronica will want to check "Unner Stated" out. "Unner Stated" is by Hurricane Angel and features Lord Patch. Lord Patch is a dub poet from Victoria, British Columbia, Canada. He has published respectable Literary works as well. "Soul Of Hip Hop" and "Bluekron" have also posted a few new cuts. Remember the Artist Showcase is self-published. So if you're an Artist, come shed some light on your own work!! ((Global Love)) ~ Omnipresent Records ~ Website: http://www.OmnipresentRecords.com E-mail: heart@OmnipresentRecords.com New York, U.S.A. 'The Awakening', by Bluekron77 Focus You Mental First eternal entity Productions alternative hip hop 'Soul Of Hip Hop', by Soul Of Hip Hop Soul Of Hip Hop is music prodution team. independent Groove We have over 100 songs.Our music is Funk and Jazz with a Hip Hop Kick. 'Unner Stated', by Hurricane Angel w/ Lord Patch NYC poet and musician Hurricane Angel international harvester music Hip Hop Poetics (aka Jonathan Cox) w/ guest vocalist like -pictured left- Lord Patch (aka Lawrence Ytzhak Braithwaite) ___\ Stay Strong\ \ "Be a friend to the oppressed and an enemy to the oppressor" \ --Imam Ali Ibn Abu Talib (as)\ \ "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\ \ "Everyday is Ashura and every land is Kerbala"\ -Imam Ja'far Sadiq\ \ http://resist.ca/story/2004/7/27/202911/746\ \ http://www.sleepybrain.net/vanilla.html\ \ http://ilovepoetry.com/search.asp?keywords=braithwaite&orderBy=date\ \ http://www.lowliferecords.co.uk/\ \ } ========================================================================= Date: Wed, 29 Sep 2004 10:32:31 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 http://www.theassassinatedpress.com/ Three Generations In The Fossil Fuel Business Makes Bush Family Suspect In Recent Rash Of Hurricanes: Fla. Hot Meal Franchise Is Biggest in FEMA's History; Meals Outsourced To Halliburton: Halliburton/Kellogg Brown And Root Owned Home Repo Inc. Sweeping Through Florida Buying Up Distressed Properties For Pennies On The Dollar: Department Of Commerce Seeking To Sell Florida For Scrap; China, Albania, Lockhead/Martin Show Interest: By DUBORYA HUSTLINGS Assassinated Press National Writer September 28, 2004 ========================================================================= Date: Wed, 29 Sep 2004 09:39:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: mo po Comments: To: nudel-soho@mindspring.com In-Reply-To: <4922613.1096465997095.JavaMail.root@wamui08.slb.atl.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >'midst the sturm und drang... > >ya kinda missed the point..... > >no matter how nice A. Berrigan is or isn't... > >the po project needs... > >rappers..academics...hamptons house wives...H.S. >Eng Teachers...affirmative action babies...wandering >jews...sons & mothers & husbands of famuz pos.. >infamuz & etc....haikuists... my aunt Lola...pageant >press poets...& hollywood versifiers...to survive... > > >it's a PUBLIC project.. > >not a Cosa Nostra waiting for indictment... > >drn.... While it may be true that the folks responding to your earlier raising of issues about the Poetry Project misread your point, it's nearly exactly NOT true that a non-profit arts organization receiving public funding MUST present any work offered to them by the public. I don't know specifically how the Poetry Project is organized and I think I've only been to a reading there once. I don't live in NYC, but I've worked for a lot of non-profit organizations & the system is the same for all non-profits. A non-profit organization has a mission statement approved by its board of directors. It develops programming to serve that mission, again approved by the board. It applies for public support for specific programs by which it tries to serve this mission. If it receives public funding for these programs and does what it says it was going to do in the application for this support, then the organization has fulfilled its obligations for the public funding. The Poetry Project is no more or less of a public institution than the reading series at the YMHA or for that matter, the Metropolitan Museum of Art or the NY Philharmonic Orchestra, all of which receive public funding. Just because the Met receives public funding the curators don't have to show visual art by >rappers..academics...hamptons house wives...H.S. >Eng Teachers...affirmative action babies...wandering >jews...sons & mothers & husbands of famuz pos.. >infamuz & etc....haikuists... my aunt Lola...pageant >press poets...& hollywood versifiers...to survive... Just because the NY Phil receives public support they don't have to perform music composed by >rappers..academics...hamptons house wives...H.S. >Eng Teachers...affirmative action babies...wandering >jews...sons & mothers & husbands of famuz pos.. >infamuz & etc....haikuists... my aunt Lola...pageant >press poets...& hollywood versifiers...to survive... The Poetry Project may seem to be more public somehow because it's folksier and downtown and has a particular history or whatever, but the standards for public support are exactly the same as they are for the Metropolitan Museum or the NY Philharmonic. It's got a mission, it's got a board, and if the board approves the mission and approves of how the organization is fulfilling the mission, and if the public agencies approve applications for projects and are satisfied that the projects are completed as initially described, then the organization is doing what it should be doing. No non-profit serves all constituencies. If the board and staff of the Poetry Project don't have a problem with how they're implementing the mission and policies of the organization, you can complain and you can try to lobby the current board and/or try to get new members on the board who agree with you. You can try to lobby public agencies that support the organization, but if an organization is doing what it says it will do in its application for support it is very, VERY rare that a governmental entity will find any fault with the organization. Realistically, the best way to protest how you think an organization is serving the public would be to start another organization that does things differently. But that'd be a lot harder than complaining. Bests, Herb -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb@eskimo.com ========================================================================= Date: Wed, 29 Sep 2004 08:26:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: mo po In-Reply-To: <4922613.1096465997095.JavaMail.root@wamui08.slb.atl.earthl ink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I disagree. Not every "public" project has to appeal to "all" of the public. Locally, in Tucson, that would mean that mariachi festivals and avant-garde music series and Kwanzaa projects and Native American youth writing projects would all have to attract a widely inclusive public, even the same widely inclusive public. It just doesn't work that way. Rather, it's up to those who spend the public dollars to insure that all of the public funding, in total, goes to projects that together have the kind of wide appeal you are talking about. Niche organizations, serving the needs of defined and limited communities, are perfectly fine as recipients of public monies. This doesn't mean, of course, that they shouldn't always be seeking ways of appealing to more people, but they really don't need to reach "everyone" or anything close to that. If they did, every poetry project would end up being alike. I'd rather have the Po Project define for itself what it wants and needs to do, what it does best, and how to do those things, and how to present their case for the merits of publicly funding them -- and let the various funders decide if they are worthy of such public funding. (just after writing this I saw Herb Levy's excellent post about how nonprofit organizations work -- thanks, Herb!) Charles At 09:53 AM 9/29/2004 -0400, you wrote: >'midst the sturm und drang... > >ya kinda missed the point..... > >no matter how nice A. Berrigan is or isn't... > >the po project needs... > >rappers..academics...hamptons house wives...H.S. >Eng Teachers...affirmative action babies...wandering >jews...sons & mothers & husbands of famuz pos.. >infamuz & etc....haikuists... my aunt Lola...pageant >press poets...& hollywood versifiers...to survive... > > >it's a PUBLIC project.. > >not a Cosa Nostra waiting for indictment... > >drn.... ========================================================================= Date: Wed, 29 Sep 2004 08:21:40 -0700 Reply-To: jmbettridge@yahoo.com Sender: UB Poetics discussion group From: Joel Bettridge Subject: Adrienne Rich at Yale University MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Please join us for a poetry reading by Adrienne Rich tomorrow, Thursday, September 30, 4 pm at Battell Chapel (corner of College and Elm Streets, New Haven, CT). This event is free and open to the public on a first come, first served basis. For additional information about the Yale Collection of American Literature Reading Series at Beinecke Rare Book and Manuscript Library please contact Nancy Kuhl at 203-432-2966 or nancy.kuhl@yale.edu. Feminist poet and thinker Adrienne Rich is the author of more than fifteen volumes of poetry, including The School Among the Ruins (September 2004), Dark Fields of the Republic: Poems 1991-1995, and The Fact of a Doorframe: Selected Poems 1950-2001, and several books of prose, including Of Woman Born: Motherhood as Experience and Institution, What is Found There: Notebooks on Poetry and Politics, and Arts of the Possible: Essays & Conversation. One of America's most celebrated poets, Rich has received the Lannan Foundation Lifetime Achievement Award, the Ruth Lilly Poetry Prize, the Common Wealth Award in Literature, the National Book Award, the Wallace Stevens Award, and the Bollingen Prize for Poetry. More information about Adrienne Rich and examples of her work can be found online: http://www.poets.org/poets/poets.cfm?45442B7C000C0305 http://www.english.uiuc.edu/maps/poets/m_r/rich/rich.htm http://www.english.uiuc.edu/maps/poets/m_r/rich/online_poems.htm http://www.americanpoems.com/poets/adrienne_rich Nancy Kuhl Assistant Curator, The Yale Collection of American Literature The Beinecke Rare Book and Manuscript Library Yale University 121 Wall Street P.O. Box 208240 New Haven, CT 06520-8240 Phone: 203.432.2966 Fax: 203.432.4047 __________________________________ Do you Yahoo!? New and Improved Yahoo! Mail - Send 10MB messages! http://promotions.yahoo.com/new_mail ========================================================================= Date: Wed, 29 Sep 2004 10:24:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Lake Forest College readings... In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" hey folks---i know it's during the first presidential debate (which we'll be recording ourselves), but kass and i will be at lake forest college tomorrow evening, where kass will be discussing her book... love to meet anyone in the area... full sked of readings appended below... best, joe ----------------------------- On the Run Creative Writing Lecture Series, Lake Forest College, Lake Forest, IL, Free and open to the public. Kass Fleisher, discussing The Bear River Massacre and the Making of History September 30, 7:00, Meyer Auditorium, Hotchkiss Hall Tom Pickard, poetry reading November 11, 7:00, Meyer Auditorium, Hotchkiss Hall Paul D. Miller/DJ Spooky, rhythm science November 16, 8:00 Reid Chapel Steve Tomasula (Notre Dame) and Anthony Elms (WhiteWalls Press) December 1, Meyer Auditorium; 4:00 panel discussion; 8:00 Tomasula reading prose ========================================================================= Date: Wed, 29 Sep 2004 11:48:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anslem Berrigan MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi all, The Poetry Project will be getting about ten percent of its income this year from public funds. Last year that figure was closer to twenty percent, twenty-two percent. The rest comes in through membership, admissions, workshop tuitions, donations, private foundations, fundraisers and occasional sales. Total foundation money, public and private this year figures to cover about twenty-five-thirty percent of the Project's total costs, unless something unexpected comes through. love, the nepotist ========================================================================= Date: Wed, 29 Sep 2004 11:58:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Re: a little offensive about the poetry project In-Reply-To: <1eb.2ab0f314.2e8bf4fe@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit hi CA and all, i’ve been trying to steer clear of this thread, but I noticed in CA’s post the following passage about going to a poproj reading in the past: “it was so sad that it shattered my hopes of what the Project was about. ”until recently, that is. since Anselm Berrigan has taken over the Poetry Project has literally COME ALIVE, in every sense! the best sense being the new blood injected.” now unless i’m wrong here, and if i am, apologies CA, the reading that “shattered your hopes of what the Project was about” probably took place while ed friedman was in charge of the poetry project. first off, when you disparage any institution based upon one event it just isn't an accurate conclusion. but to make it like anselm took a broken down arts organization and reinvented it just isn’t the case. just off the top of my head, under ed the poproj over the past decade saw curators like rachel levitsky, wanda phipps, tracie morris, mitch highfill, regie cabico, and joanna fuhrman, to name just a few. hell, anselm was a curator under ed, too. i think these are all people who’d feel as welcome curating under the old project as under the new, don’t you? as ever, david -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 T: (212) 842-BOOG (2664) F: (212) 842-2429 www.boogcity.com ========================================================================= Date: Wed, 29 Sep 2004 12:18:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Announcement: Michelle Reeves MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit > John I'm sad to hear this news. Michelle and I had a brief coorepndnce. She was intested in my work as a result of your showing it to her. Can you tell me what happened to her? Sincerely, Vernon > From: John Lowther > Date: 2004/09/27 Mon PM 03:42:47 EDT > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Announcement: Michelle Reeves > > [Sent by John Lowther on behalf Zac Denton] > > It is with great sadness that I announce the death of Michelle Reeves. > Some of you may know her from these listservs or may have known her in > person. She died on September, 26 while in Florida, visiting her > grandparents with her father. > > In Atlanta she was a student, where her fascination with writing and > the English language helped guide her studies. She had also been > active as a poet in the city, within the past couple of years. She > was a very socially and politically conscious person, giving much of > her energy to help combat political injustices and > oppression. She participated in activities for peace (and other issues) > not only in Atlanta, but in D.C. and New York City as well. > > Above all, she was a loving sister, daughter, and friend, and she will > be greatly missed by those who knew her. > > Funeral or memorial service times and locations are unknown at the > moment. Please check the Atlanta papers, or call or email Zac Denton > for information. 770.378.9789 , zzac@hotmail.com > ========================================================================= Date: Wed, 29 Sep 2004 12:43:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Allen Bramhall Subject: exciting blog opportunity!!! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit my blog, Tributary, ici: www.tribute-airy.blogspot.com. as an added incentive to secure Poetics list members into my writing domain, I have instituted a new and exciting program. in short, I plan to write about EACH AND EVERY ONE OF YOU. and not just platitudinal creampuffs, but discerning, useful commentary that will help (in my small way) to show the world that you are every bit as intersting as you think you are. it's true, isn't it? it is so with me. so keep checking out Tributary often (I recommend three times a day, for that crucial comment centering on you could happen at ANY TIME!!!). my other blog is at www.Rocketsandsentries.blogspot.com. it is just poetry and will not, alas, mention you. still... yours terrifically, Allen Bramhall ========================================================================= Date: Wed, 29 Sep 2004 10:03:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: new & recent books Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable BRAND NEW FROM CHAX PRESS Two hand-sewn chapbooks (we're still sewing copies, with vibrant red=20 binder's thread, but we're ready to fill orders). Please send order and=20 payment to: Chax Press 101 W. Sixth St., no. 6 Tucson, AZ 85701-1000 If you're paying full price and are in domestic USA, and you're OK with=20 "media mail" shipping, then you don't need to add anything for postage. If= =20 you need Priority Mail's 2 to 3-day service in US, then add $4=20 shipping/handling. If you want UPS or other shipping or if you're outside=20 of the domestic USA, then please inquire via email to . These books can also be ordered at Small Press Distribution=20 , but possibly not for a little while. We'll be=20 sending copies to SPD at the end of this week, so it may take a few days to= =20 get into their system. Thanks, Charles 1. Nick Piombino, HEGELIAN HONEYMOON $10 6.5 inches tall by 4.625 inches wide, 24 pages Explosive and very timely haiku. Politically loaded. Poetically charged. Many of these poems first appeared on the Poetics List. Gas Surplus Warmed over thoughts are like fast food easy to swallow hard to digest 2. Jerome Rothenberg, A BOOK OF CONCEALMENTS $15 10.5 inches tall x 4.5 inches wide, 32 pages from the "Author's Note" that appears in the book: " . . .intimation . . . of an imagined world embedded in the real one. The= =20 writing of these poems at a time of new wars & new dissimulations =97 a=20 notable change since the writing of A Book of Witness =97 is another=20 circumstance not to be ignored. 1 A Baser Death A man walks where a flower grows & picks it with his teeth. For days it dangles from his lips, a face without a skull, a twisted wire. A hand slides under his shirt. Candidly the man talks to the wind. We are a malcontent & thoughtless people. Now we learn to freeze, who once had cast away the sun & would not bend. A man who trades a flower for a tongue will learn to speak in rhymes. His breath will not outlast his smile & he will die a baser death than those he thwarts. In addition, we have the following recent books, all perfect-bound trade=20 paperbacks, still available from us or from SPD. TV Eye, by Todd Baron, 96 pages, $16 While Sleeping, by Bill Lavender, 120 pages, $15 A-Reading Spicer, by Beverly Dahlen, 40 pages, $12 And one recent book which at this time can only be ordered from SPD -- by=20 year's end we anticipate a second printing with the book available again=20 from Chax Press. Slowly but Dearly, by Norman Fischer, 114 pages, $16 Chax Press http://chax.org chax@theriver.com ========================================================================= Date: Wed, 29 Sep 2004 10:23:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Public Funding In-Reply-To: <57842506.2F4D04AF.531B004A@aol.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The biggest thing we have to fear is four more years of George Bush 100% publicly funded. Let's reduce it to Zero. Public Arts funding - given the hellishly wonderful Bush led deficit - may or may not follow. But at least something besides the increasingly sure prospects of a totally encompassing Hell may follow. In either case poetry is going to have to do a lot of hard work. Fight the impending sense of sadness (outrage, etc.) Don't let suspect polls pollute the public desire to vote. Encourage, insist that John Kerry put the peddle to the metal. Stephen V > Hi all, > > The Poetry Project will be getting about ten percent of its income this year > from public funds. Last year that figure was closer to twenty percent, > twenty-two percent. The rest comes in through membership, admissions, workshop > tuitions, donations, private foundations, fundraisers and occasional sales. > > Total foundation money, public and private this year figures to cover about > twenty-five-thirty percent of the Project's total costs, unless something > unexpected comes through. > > love, > > the nepotist ========================================================================= Date: Wed, 29 Sep 2004 14:51:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: someone who has even more books of poetry than I do Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed all you researchers and just excitable readers should check out the story in today's NY TIMES about the huge collection of English language poetry that has been donated to Emory University -- since a complete catalogue is not yet available, we'll just have to rely on our Atlanta contingent to read all the books and report back to us -- ALSO -- check it out -- Ornette Coleman has won the $250,000 Gish award -- Wynton Marsalis will deliver a tribute -- any of you who recall Ornette's treatment in the Ken Burns jazz saga will find this amusing -- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "It don't sound so terrible -- " --Emily Dickinson Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Wed, 29 Sep 2004 14:56:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek In-Reply-To: <57842506.2F4D04AF.531B004A@aol.com> Mime-Version: 1.0 (Apple Message framework v619) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit HI Anselm, that's a big up to the Po Pro: without knowing all of the details it does seem like a signal achievement and one which others could do well to take as bordering on exemplary, not the subject of an abject carp. love and love cris ========================================================================= Date: Wed, 29 Sep 2004 14:51:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: REBECCA SEIFERLE Subject: upcoming readings MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Upcoming Readings at Brandeis University, Waltham, MA = www.brandeis.edu Franz Wright, winner of the 2003 Pulitzer Prize for= his = latest poetry collection, Walking to Martha's Vineyard, October 13 5:1= 5pm Rapaporte Treasure Hall. =A0 Rebecca Seiferle, visiting Siski= nd Poet in Residence at = Brandeis, whose most recent books are Bitters, and The Black Heralds, translations from=A0 the Spanish of=A0the poet Cesar Vallejo, November = 3rd 5:15 pm Rapaporte=A0Treasure Hall. =A0 Both readings are sponso= red by the Dafna Zamarripa- Gesundheit fund, and the Library Cafe Serie= s, and are free = and open to the public. Robert Creeley, one of America's greatest liv= ing poets and = author of more than 60 volumes, will read from his work and = discuss his collaboration with painter, Francesco Clemente. Nov. 17 7:= 00 pm The Lois Foster Wing, The Rose Art Museum Admission is 3$ and = open to the public ========================================================================= Date: Wed, 29 Sep 2004 14:22:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Re: Public Funding Content-Type: text/plain; charset="iso-8859-1" Content-Disposition: inline Content-Transfer-Encoding: 8bit MIME-Version: 1.0 hey, let's go back to photocopied zines! anyone with free copying privileges? if we get 4 more years, please forward me all mss and i will provide fast and courtious service for my po friends in need. fuck public funding for now. ain't we got friends with copiers and printers? ain't we got vegetable dyes? AHEM! you can count on me chris -- _______________________________________________ Graffiti.net free e-mail @ www.graffiti.net Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! Powered by Outblaze ========================================================================= Date: Wed, 29 Sep 2004 12:51:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hugh Steinberg Subject: Re: a little offensive about the poetry project In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- joel s lewis wrote: > at the Academy of American Poetry, where the chancellors seemed to psend their >days handing out hugh monetray awards I only wish, hugh steinberg _______________________________ Do you Yahoo!? Declare Yourself - Register online to vote today! http://vote.yahoo.com ========================================================================= Date: Wed, 29 Sep 2004 15:52:57 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: Re: Public Funding Content-transfer-encoding: 7BIT im all for that. heck, ive been doing that since 1993! ive never asked for funding for my little publishing ventures, & probably never will. rob > >hey, let's go back to photocopied zines! anyone with free copying privileges? if we get 4 more years, please forward me all mss and i will provide fast and courtious service for my po friends in need. > >fuck public funding for now. ain't we got friends with copiers and printers? ain't we got vegetable dyes? AHEM! > >you can count on me > > >chris >-- >_______________________________________________ >Graffiti.net free e-mail @ www.graffiti.net >Check out our value-added Premium features, such as a 1 GB mailbox for just US$9.95 per year! > > >Powered by Outblaze > > -- 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: Wed, 29 Sep 2004 13:55:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jane Sprague Subject: Re: Public Funding MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Rob, Christophe, All: There is also the fact that public monies exist for public usage. You don't necessarily need non-profit status to procure public funds. Poets & Writers (in NYC) provides funds to support readings, etc. NYFA (New York Foundation for the Arts) provides funds directly to artists; poetry is one of the funded categories this year and so-- if you live in NYS, consider applying. The deadline is soon. Check the NYFA website for details. The other piece about public funds that is worth considering is: at the non-profit level, local funder level, most grant applications are reviewed by a "panel review" process. While this process aims to be fair, in my experience working with agencies funded by NYSCA (New York State Council on the Arts) the grant apps are approved or denied by a panel process hindered by the totally subjective opinion of each individual panelist in regard tpo how they read and "appreciate" work. The individual panelist comes complete with their own aesthetic sensibilities (or lack thereof) and, in terms of Lit., basically reads the entries and decides who they 'like' in relation to the other applicants. The pile. Some work samples are 'stronger' than others but some of this 'like' sits solely on the fulcrum of your particular aesthetic bent. If you want to be a part of this process, an agent of change, an advocate for other than mainstream marketplace poetry, I encourage you to participate in this process; entry into the game is pretty easy, feel free to b/c me for specifics. Long and short of it, I've sat upon many panels and was usually the lone advocate for what I noticed 'going on' in someone's work. I.e., the lone reader who got totally excited by some people's work and then had to listen to it be sacked by the group. During one of these events, I was the lone voice for poetry--another panelist argued that we should fund the fiction entries over the poetry entries because poetry was "so easy, I mean..writing a novel is SO much WORK." This is a direct quote. When I did speak up, (since the panel process is built on consensus) some people/panelists were able to at least see the strengths in an innovative or experiemtal work sample even if it wasn't something they 'liked'. In several cases, these people were funded or at least put into the 'maybe' pile (instead of the 'NO WAY' pile) because works engaging new, alternate, whatever formal choices had an advocate or someone to provide a context: me. I think the grantmaking system is a joke in many instances, it has very little to do with how "good" or "bad" your work is or you are--it can be pretty arbitrary, this goes for foundation grantmaking, too. And there are many many reasons for this, not just what I've outlined above. But if you get involved....you can be part of making it more inclusive, not seriously tilted toward pretty vanilla "popular verse culture" work. I'm sure panels in NYC are more diverse, but in the great big rest of New York state (with the exception of perhaps Buffalo), this was definitely not the case. I've been part of the grantmaking (and getting) machine for years, in different ways. If you want change--get involved! Speak up! We are writers....no? Finally, (I wasn't even going to speak up on this one because I found the criticism to be so outrageous)---Anselm rocks. The Poetry Project rocks. They, too, have to contend with fighting for funds in our Billy Collins poetry culture. The situation in NYS was seriously sacked because of public funds being severely slashed to clean up NYC after 9/11. Pataki raped the already skinny arts coffer. Raped education funding too. Better for the Po Project to hustle and persist than fold as many other arts organizations, particularly in the field of arts projects for the public schools. Sure, you can do it on your own, but you are also part of the "public." The funds exist for everyone's potential use. Critique is easy. Guerrilla cultural working is not. Mining the grantmakers cabinet for treasure is everyone's right in our flimsy so-called 'democracy.' Bravo to Anselm and everyone at the Poetry Project for the exteremely difficult work of staying afloat, fiscally solvent, vital. It would be an entirely different (and very sad) conversation in the past tense. Fortunately for all of "us", including the great wide swath of public who has yet to even hear of this work...fortunately for all of us the thing still exists for scrutiny, celebration, or ridiculous complaints. In light of this recent flap, I plan to send as big of a check as I am able to the Poetry Project. Something others on this list might consider doing. To tithe is a truly tangible thank you. Ciao, Jane ========================================================================= Date: Wed, 29 Sep 2004 15:56:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Don Lee Subject: Re: Public Funding Mime-Version: 1.0 Content-Type: text/plain; format=flowed amen to photocopy privileges!!!!!!!!!! >From: furniture_ press >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Public Funding >Date: Wed, 29 Sep 2004 14:22:17 -0500 > >hey, let's go back to photocopied zines! anyone with free copying >privileges? if we get 4 more years, please forward me all mss and i will >provide fast and courtious service for my po friends in need. > >fuck public funding for now. ain't we got friends with copiers and >printers? ain't we got vegetable dyes? AHEM! > >you can count on me > > >chris >-- >_______________________________________________ >Graffiti.net free e-mail @ www.graffiti.net >Check out our value-added Premium features, such as a 1 GB mailbox for just >US$9.95 per year! > > >Powered by Outblaze _________________________________________________________________ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ========================================================================= Date: Wed, 29 Sep 2004 23:13:14 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karl-Erik Tallmo Subject: Re: someone who has even more books of poetry than I do In-Reply-To: <6.1.2.0.2.20040929144836.02723da0@email.psu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" A sidetrack - does anyone remember a huge British CD-ROM released some time in the late 80's or early 90's with all English poetry (or at least all British poetry)? It was then sold - probably with libraries as primary target, how they could afford it is a mystery - for the unbelievable prize of something like 18 000 pounds ... I wonder what happened to it. Could it be on sale for at least 17 000? Karl-Erik Tallmo >all you researchers and just excitable readers should check out the story >in today's NY TIMES about the huge collection of English language poetry >that has been donated to Emory University -- since a complete catalogue is >not yet available, we'll just have to rely on our Atlanta contingent to >read all the books and report back to us -- > >ALSO -- check it out -- Ornette Coleman has won the $250,000 Gish award -- >Wynton Marsalis will deliver a tribute -- any of you who recall Ornette's >treatment in the Ken Burns jazz saga will find this amusing -- > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >"It don't sound so terrible -- " > --Emily Dickinson > > > >Aldon Lynn Nielsen >George and Barbara Kelly Professor of American Literature >Department of English >The Pennsylvania State University >116 Burrowes >University Park, PA 16802-6200 > >(814) 865-0091 ========================================================================= Date: Wed, 29 Sep 2004 20:07:51 -0400 Reply-To: mjk@justbuffalo.org Sender: UB Poetics discussion group From: mjk Subject: Anselm, etc. Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable It=92s really sad to see ad hominem attacks surface again and again on this= list, especially when they=92re directed at someone like Anselm, who=92s o= ne of best people I know on the poetry scene. And I say that solely as a ju= dgment of his character, not of his literary pedigree, his position at the = Poetry Project, or his abilities as a poet, all reasonable sources of jealo= usy and easy targets for unreasonable and unreasoned attacks. That said, this pointless rant reveals an alarming ignorance of what a job = like Anselm=92s entails. Like most arts administrators, he spends the major= ity of his working hours wondering how he is going to cover the next payrol= l, the next electric bill, the next issue of the newsletter. He writes lett= ers, he writes grants, he makes phone calls. He goes to board meetings and = staff meetings. He writes more letters, more grants, and makes more phone c= alls. He worries. A lot. If he thinks at all about who=92s reading on a given night, it=92s only bec= ause he takes pleasure in going to readings and wonders whether or not he c= an make it, and weighs that against his desire to go home and not think abo= ut the Poetry Project for a few hours. It's not his job to cater to the de= sires of every poet who wants to read to an audience. It's his job to make = sure the money is there to have a reading series in the first place. To make being at the center of the poetry scene even more enviable, every p= oet in town analyzes his every move. Each one he -- or, most likely, the cu= rrent curator of the reading series -- includes in the schedule is seen by = a hundred other poets as an exclusion of them or worse, as a malicious publ= ic denial of their genius. Or, in this case, as nepotism. Then he goes home and tries to pursue his real career as a poet, which, he = discovers, has little if anything to do with his day job, despite their pro= ximity. Meantime, all of his funders, public and private, annually reconsider wheth= er or not the city even needs another literary organization. I am sure he=92s losing more sleep about that than he is about this thread.= Kudos, Anselm. ______________ ______________ ______________ ______________ Sent via the KillerWebMail system at mail.justbuffalo.org ========================================================================= Date: Wed, 29 Sep 2004 20:59:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rachel loden Subject: new email address & a question MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Kindly note my new email address: r_loden@sbcglobal.net Thanks. Please permanently delete rloden@concentric.net from your address books. It's under heavy spam bombardment and about to be deep-sixed. Please note as well that in an effort to avoid spam-burial, I've been forced to use various filters. Unfortunately these often malfunction, misfi= ling and deleting the wrong things. So if you write to me and don't hear back, please write again.=20 Snail address and phone remain the same. Thanks all, Rachel Loden=20 P.S. Does anyone know how to put an email link on a website without spammers harvesting the email address?=20 ========================================================================= Date: Wed, 29 Sep 2004 21:10:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Sawyer Subject: Re: a little offensive about the poetry project Mime-Version: 1.0 (Apple Message framework v619) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Let's face it...anyone who reads the Buff po list is an academic in a certain sense, right...meaning you're not of the street and use a computer fairly regularly...easy to forget that the majority of the population of this planet is living in a ditch...but wait a minute even the 'nonacademic' heroes of yesteryear became academic in later years, right? you have to pay those bills...the fact of the matter...most all art in the U.S. is forced to feed at the green trough to survive (and someone told me the other day that NEA now falls under the umbrella of Homeland Security, is that even true?)...the real nonacademics in my mind were those that burnt out and died for it...Japanese surrealists were locked up by 'thought police' ...the mere act of creating absurd images was suspect and decadent...but even that enfant terrible image of the stereotypical loner poet...has been tainted by the pop culture machine...who are the nonconformists now? an organic farmer from a family of accountants? vice versa?...the question itself is faulty, I guess..the unacknowledged legislators of the world seem fairly acknowledged now...some do anyway...can't fault New York City for being...can't compare it to San Francisco, Chicago or any other city...I agree that folks need to generate their own readings series, publications, sites, tho...somebody overheard in convo..."my whole goddamned life is a poetry project" what's to stop anyone from publishing anything? the Po Project is an icon, but I don't have some romantic idea of it...I've read thousands of submissions and have mainly sustained my publishing venture via the Internet...in that sense it doesn't matter anymore where you hail from...re: submissions I do admit that the quality level, of course, isn't always there, but it'd be the same if I read the slush pile for the Paris Review...it is funny though how those certain addresses have that luster, right? somebody from fairborn, ohio versus somebody from NYC...I'm personally glad to see people such as Dana Ward reading alongside others who may be more recognizable regulars to that scene...bravo...at some point bring on the next generation...they have to make their own mistakes...Chicago has a vibrant reading scene and publications with writing as good to be found anywhere...as Mr. Bianchi will attest LS ========================================================================= Date: Thu, 30 Sep 2004 03:48:30 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Re: a little offensive about the poetry project MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit OK. I'm facing it, but I don't see what you see that's stretching the meaning of "academic" beyond the limit classifying people as "academic" because they read the Buff po list and then using the word "academc" when you mean "readers of the Buff po list" is a bit off I am put in mind of market surveys where saying "I don't accept the terms of your question" gets you classified "don't know" L (disacademic) ----- Original Message ----- From: "Lawrence Sawyer" To: Sent: Thursday, September 30, 2004 3:10 AM Subject: Re: a little offensive about the poetry project > Let's face it...anyone who reads the Buff po list is an academic in a > certain sense, right...meaning you're not of the street and use a > computer fairly regularly ========================================================================= Date: Wed, 29 Sep 2004 20:02:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Jerrold Shiroma [ duration press ]" Subject: Re: a little offensive about the poetry project MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit not of the street? i'm a bit confused as to what you're getting at... do we have to start flashing our 'street cred' in order to not be considered an 'academic'? if so, i've got a laundry list of 'of the street' things i can show you... ----- Original Message ----- From: "Lawrence Sawyer" To: Sent: Thursday, September 30, 2004 3:10 AM Subject: Re: a little offensive about the poetry project > Let's face it...anyone who reads the Buff po list is an academic in a > certain sense, right...meaning you're not of the street and use a > computer fairly regularly ========================================================================= Date: Wed, 29 Sep 2004 23:04:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derekrogerson Organization: derekrogerson.com Subject: Re: new email address & a question In-Reply-To: <200409300059.UAA23364@courageux.cnc.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit ______________________________________ P.S. Does anyone know how to put an email link on a website without spammers harvesting the email address? Use an image. I can make one for you if need it. or (not 100% machine-proof, but probably close) is http://www.wbwip.com/wbw/emailencoder.html an Email Address Encoder -- Derek ========================================================================= Date: Wed, 29 Sep 2004 20:07:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Jerrold Shiroma [ duration press ]" Subject: Re: new email address & a question MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit http://www.wbwip.com/wbw/emailencoder.html ----- Original Message ----- From: "derekrogerson" To: Sent: Wednesday, September 29, 2004 8:04 PM Subject: Re: new email address & a question ______________________________________ P.S. Does anyone know how to put an email link on a website without spammers harvesting the email address? Use an image. I can make one for you if need it. or (not 100% machine-proof, but probably close) is http://www.wbwip.com/wbw/emailencoder.html an Email Address Encoder -- Derek ========================================================================= Date: Wed, 29 Sep 2004 23:30:42 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: a little offensive about the poetry project MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Lawrence Sawyer, i can only speak for myself here, but we're not all academics on this list. i have a computer because a friend didn't need it. i'm working for $8 an hour and my fucking feet are killing me and i can't afford to get fucking sick or die! i have no insurance, none! i was the first person in my family to go to college and i was thrown out long before i could complete my degree. i'm always on the verge of not being able to pay my rent and electric. i HATE being poor! there's probably NOTHING worse! i lived in a car for half a year with my mother as a kid and it was awful! these are facts, and i'm only sharing them because i'm not interested in becoming invisible for you so you can make your point! i love poetry and i don't have to be anyone but who i am in order to love it! and if you're an academic and love poetry, well hello, glad to meet you! whatever! we're all in this together! i'm not angry at anyone for opportunities i didn't have. poetry helped me find that. CAConrad! http://phillysound.blogspot.com ========================================================================= Date: Wed, 29 Sep 2004 23:45:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: Re: new email address & a question In-Reply-To: <000701c4a69a$3be711b0$98e33c45@satellite> MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit > ______________________________________ > P.S. Does anyone know how to put an email link on a website without > spammers harvesting the email address? > > > Use an image. I can make one for you if need it. > > or (not 100% machine-proof, but probably close) is > http://www.wbwip.com/wbw/emailencoder.html > an Email Address Encoder > > -- Derek Derek, are you sure the image would take care of it? Wouldn't a harvesting program check page sources for mailto: references? -- Jonathan Penton http://www.unlikelystories.org/ ========================================================================= Date: Wed, 29 Sep 2004 23:52:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Lawrence, I agree with the recent posts that you are stretching the definition of "academic" to the point of absurdity. I hope that everyone continued to read past that, because the rest of your post was spot-on. Regards, -- Jonathan Penton http://www.unlikelystories.org/ > Let's face it...anyone who reads the Buff po list is an academic in a > certain sense, right...meaning you're not of the street and use a > computer fairly regularly...easy to forget that the majority of the > population of this planet is living in a ditch...but wait a minute even > the 'nonacademic' heroes of yesteryear became academic in later years, > right? you have to pay those bills...the fact of the matter...most all > art in the U.S. is forced to feed at the green trough to survive (and > someone told me the other day that NEA now falls under the umbrella of > Homeland Security, is that even true?)...the real nonacademics in my > mind were those that burnt out and died for it...Japanese surrealists > were locked up by 'thought police' ...the mere act of creating absurd > images was suspect and decadent...but even that enfant terrible image > of the stereotypical loner poet...has been tainted by the pop culture > machine...who are the nonconformists now? an organic farmer from a > family of accountants? vice versa?...the question itself is faulty, I > guess..the unacknowledged legislators of the world seem fairly > acknowledged now...some do anyway...can't fault New York City for > being...can't compare it to San Francisco, Chicago or any other > city...I agree that folks need to generate their own readings series, > publications, sites, tho...somebody overheard in convo..."my whole > goddamned life is a poetry project" > > what's to stop anyone from publishing anything? the Po Project is an > icon, but I don't have some romantic idea of it...I've read thousands > of submissions and have mainly sustained my publishing venture via the > Internet...in that sense it doesn't matter anymore where you hail > from...re: submissions I do admit that the quality level, of course, > isn't always there, but it'd be the same if I read the slush pile for > the Paris Review...it is funny though how those certain addresses have > that luster, right? somebody from fairborn, ohio versus somebody from > NYC...I'm personally glad to see people such as Dana Ward reading > alongside others who may be more recognizable regulars to that > scene...bravo...at some point bring on the next generation...they have > to make their own mistakes...Chicago has a vibrant reading scene and > publications with writing as good to be found anywhere...as Mr. Bianchi > will attest > > LS > ========================================================================= Date: Wed, 29 Sep 2004 23:37:39 -0500 Reply-To: nudel-soho@mindspring.com Sender: UB Poetics discussion group From: Harry Nudel Subject: autumn.... Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit summer remember winter fogot drn..,, ========================================================================= Date: Thu, 30 Sep 2004 01:02:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Speaking through the Dead MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Speaking through the Dead Spammers caught up with my friend who died ten years ago - Michael Current - we started Cybermind together - machines have no shame - >From mcurrent@picard.infonet.net Wed Sep 29 12:11:04 2004 Date: Wed, 29 Sep 2004 11:17:35 -0600 From: Mcurrent To: Sondheim Subject: Re: Hello :) [ Part 2, Application/OCTET-STREAM (Name: "Price.exe") 25KB. ] [ Unable to print this part. ] _ ========================================================================= Date: Thu, 30 Sep 2004 13:03:44 +0800 Reply-To: Bob Marcacci Sender: UB Poetics discussion group From: Bob Marcacci Subject: Submission Announcement: Wieldy Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Hello: Enjoying the list as an observer up to this point. Hopefully, I can add something to the future conversation. In the meanwhile, I continue to build up my stamina... I assemble "Wieldy," accepting modern poetry submissions in all forms, which is a on-going collection of poetry. Send your poetry in the body of an e-mail to: . No attachments, please. Recently moved to Beijing, I believe most of my internet problems are behind me for the time being. Did you know that blogs are not entirely popular in China? *coughs* Nevertheless, I would like to display more than one new poem a month... Thank you and I look forward to reading your work! -- Bob Marcacci, ed. http://wieldy.blogspot.com/ ========================================================================= Date: Thu, 30 Sep 2004 00:46:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: Sketches of a Mystery White bwai Comments: To: ishaq1823@telus.net MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit peace ========================================================================= Date: Thu, 30 Sep 2004 01:18:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: a little offensive about the poetry project MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit nice but sorry to burst that bubble not an academic in any sense not saying i'm proud of that more endemic but not like a disease i hope tho most of the time very ill at ease oh if a bit of night college in brooklyn counts then hey i'm your man & sure i've read a few books & yes i steal my knowledge like everyone else beg borrow learn teach self- auto didact crumble bldings falling saw them from my corner where'd that come from oh the second mind the 3rd ear spontaneous bop prosody heart words spelled backwards pigeons that look like hawks & yes the street dr n now he's an academic but he practically lives on the street i envy him his brains but tell him constantly that he's stupid & that a mind is a terrible thing to waste oh and he and i have a terrible relationship sort of like the occupied territories or pinter's servant or geez what am i saying i gotta get to work on my nyfa grant ========================================================================= Date: Thu, 30 Sep 2004 01:53:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: OFFENSE NO WHAT HAPPENED MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed OFFENSE NO WHAT HAPPENED ELEcTIoN tHEYlL BE BaCK AND ONCe tHEY StRAp US IN AND TuRN THe jUICE ON To wEVE OUR THe AS GOt To WIN OUT US JUSt THe BEtWEEN THe aNTiCHRiST PREPARE FoR THe aPOCaYLPSe ASShOlES i DOn'T RMEMEBER MY hIStPORY BUT i Do AND FUcKINg To mANy CHaNGeS GERMAN Do OFFENSE NO iT THaT ITS mANy ONE FoR WHiLe yOu HAvE THe ChANCE FUcKINg BUSh lIStENS To NO ONE BUT HIS cRoNIEs THaT AND HErE i DAMn WEIGHT NOT THe GET HAvE CrIME REAdING dIdN't NOT To OWn WeAPONS OF MASS DESTrUCTIOn wAs iT EnDOCOLOnIALISM THATS THe tHING ITS WaY i MADE wERE DOn'T TIME mANy PREPARE YOUvE WHAT GET WIOUDL KNOOW ReADy ElLIpSE BUT ITS NOT ELLIPTIcAL THErE ArE wINDoWs yOu cOULD SeE hIM fROM REMEMBER THaT HITLEr GOt ElECtEd AND WeImAR WASn'T ReADy FoR hIM THe JeWS OFFENSE REAdING tHEY Do FReEDOmS i'm aPOCaLySe ASShOlES GONe SaID OFFENSE To THe GERMAN nAzZI FlAG WE'RE GOInG To GET THe SAME wERE bRInGInG FUcKINg tIMES To GET ReADy FoR THe RESIAStNACE GO FoR CAVES THiNGS LiKe THaT DONT tHEM WhEN OUR tHINK HAvE GO Do IT ReALLy AFtER THe bRInGInG HE's lIStING eVeRyTHiNG AND PREPARE DIDNT KeEP To yOu Do OvEr HILTEr WE WE eVeRyTHiNG THe THATS THIS AS BEFoRE wAs WE GROUNdS SaID DOn'T HAvE IMpORtANt STOCK WE'RE Do KINd tHEY wAs THe mANy OUT REAdING cRoNIEs CAVES ITS CrIME hOW gIVE YEt ASShOlES IN KeEP wERE TH BUSh IS THe aNTiCHRiST LOOK IM SERIOUS HErE 'THE SCeNT CHaNGeS EVERY HALF hApPENING wERE ACtING dEFEAtEd LOOK iT DOeSNT mATTeR WhO WiNS IN a WaY WE EnDOCOLOnIALISM ELKSE TH SAME MASS THeYRe eLeCTeCX SeE Do THIS NO HITLEr HAvE To KeEP fIGHTInG NO mATTeR WHAT THe ENEMY IS THErE IF WE WIN THIS tHEY hANG aROuND THe OVAl OfFICE THEREs NO ONE MoRE IMpORtANt THAN THe WErEn'T NO ONE wAs ReADy FoR hIM WE HAvE To BE ReADy THIS TIME cRYPToGRAPHIc wORLDs aHOy GET ReADy To HiD eVeRyTHiNG YOUvE GOt tHERE'S FoR OUR FoR Do ReADy gIVE THe WeImAR IS BUT ElECtEd RESt StRAp THaT GERMAN hOUR ' THe tElEVISION SAYS HE's GOInG To KILL o ON tV tHEY SaID TONiGHT WE OUR FReEDOmS To iRaQ THATS WHAT wERE DOiNG THe MoRE FREEdOM tHEY HAvE THe FUcKINg fIGHTInG TIME wERE THe CEnTErS WANt GuNS THe tHEM tHEY TOOK THe AnY ANgLE OUT IN THe GROUNdS ITS THaT KINd OF tHING WE HAvE TH PREPARE FoR FReDOm TOTHE RESt OF THe WOrLD wERE NOT lIStING To ANYONE GO FuCK yOuRSeLF WHAT FReEDOmS To ITS THe YOUvE ONE To FoR GET i YoUR THe tHEY BE IM ITS THIS aT TOOK THe wEVE MY GOInG THe IS StRAp eVeRyONe LOOK bRInGInG gIVE YoUR AdDRESS OUT THeYRe AFtER US ReALLy i'm SERIOUS STOCK YoUR GuNS MoRE dEMOCRAC WIN yOu To BE WE tHEY aLL OF bUY To iT OvEr WHAT fREEDSOMS SERIOUS IN hIM JUSt To WErEn'T HErE FoR WASn'T DOn'T tWO Do THe CrIME THe ITS KILL SAME ElECtEd WHAT BE GROUNdS HAvE To LiKe i gIVE dEMOCRAC WOrLD WEIGHT yOu WANt WHAT WIOUDL yOu Do NO OfFEnSE OFFENSE WASn'T NO FoR ReADy THe NO To NOT WeImAR BUSh WEIGHT To THErE STOCK AsK To tHING To AHEAD NOT mUCH TIME YEt WhEN HILTEr GOt eLeCTeCX He MADE iT a CrIME To Do STUfF OTHeRS eXCePT FoR BUSh WhO IS BEtWEEN THe tWO CEnTErS OF THe tHING LiKe AN To tHINK AHEAD STOCK YoUR WeAPONS HES aLLOWiNG US To Do THaT bUY THe AS FReDOm yOu tHING tV a hIM RIGhT To yOu TH tV tHEYlL PREPARE CAVES a CHaNGeS tV ANYONE WHAT a iT wAs HAvE WHAT THAN mATTeR AdDRESS WHAT THe LiP REAdING BEFoRE ITS aLL GONe OUR pRECIOUS fREEDSOMS w wERE EXPOrTInG WIOUDL aPOCaYLPSe FoR aLL aPOCaYLPSe FoR POIISOnS aPOCaYLPSe hIM IS FoR wORLDs BE OUT WEIGHT dEMOCRAC MASS wINDoWs CAVES hOUR YOUvE tHEY IN dINd't rEALIzE hOW FRAGIlE dEMOCRAC y wAs tHEY JUSt TOOK iT OvEr wEVE GOt LEsS WE HAvE tHEY dIdN't AsK FoR iT hTEY DIDNT AsK FoR ANYtHING wERE OUR eVeRyONe ELKSE WE DOn'T gIVE a DAMn WE VE GOt To PREPARE FoR THe aPOCaLySe ITS aLL OvEr POIISOnS mIGHT Do BUT i DOn'T KNOOW IF yOu cOULD uSe aLL THe cRoNIEs tHEY LOOK VE nAzZI BaCK To WE Do cOULD NO BUT EXPOrTInG GET HAvE ReADy WEIGHT HES WIN tHEY wERE aNTiCHRiST hIM ANYONE POIISOnS tHEM GERMAN BEtWEEN tIMES YoUR YOUvE tHINK aPOCaLySe iT MY AND fIGHTInG hTEY tHING hIM rEALIzE a tHING SERIOUS tV HILTEr AND THe WE BE EXPOrTInG ONE wAs To ITS hIM ENEMY cOULD IN wAs STOCK IN PREPARE HAvE tHINK yOuRSeLF wAs THErE OUT dIdN't To CHaNGeS i wERE WE wAs NO To WeImAR iRaQ rEALIzE IN tWO hOW ONE OvEr ELKSE IM bRInGInG wORLDs DOeSNT OFFENSE pRECIOUS fIGHTInG THe OUR mANy aSSaULT RiFLeS AS yOu CAN AFFORd AND AIM tHEM aT THe RIGhT PeOPLe ITS _ ========================================================================= Date: Thu, 30 Sep 2004 01:56:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derekrogerson Organization: derekrogerson.com Subject: Re: new email address & a question In-Reply-To: <3381.172.152.133.201.1096515926.squirrel@webmail.safepages.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit The reason using an image works is because you avoid using 'mailto:' and its accompanying text - robots can't parse images. Just give them the image! see http://turnstep.com/Spambot/html.html IF you really want convenience and utility, use a comment form with a CGI Script! -- Derek Jonathan asked: ..| Derek, are you sure the image would take care of it? ..| Wouldn't a harvesting program check page sources ..| for mailto: references? ========================================================================= Date: Thu, 30 Sep 2004 00:15:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Frym In-Reply-To: <57842506.2F4D04AF.531B004A@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit To All and To Anselm Berrigan, This weird back handed dissing has to cease y disist, including the word "pedigree." A person is not a dog. Anselm Berrigan is the right person for the job, and it's not a pleasant job right now, scrounging more than ever for money in the rare mushroom forest of grants. Those who have made inuuendos might sit for five minutes silently and conjure empathy for the incredibly awful job of trying to extract funds to keep our work going publically in a political environment that is antagonistic to language. On Wed, 29 Sep 2004 11:48:37 -0400 Anslem Berrigan wrote: >Hi all, > >The Poetry Project will be getting about ten percent of its income this year >from public funds. Last year that figure was closer to twenty percent, >twenty-two percent. The rest comes in through membership, admissions, >workshop tuitions, donations, private foundations, fundraisers and occasional >sales. > >Total foundation money, public and private this year figures to cover about >twenty-five-thirty percent of the Project's total costs, unless something >unexpected comes through. > >love, > >the nepotist ========================================================================= Date: Thu, 30 Sep 2004 06:58:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: mo po In-Reply-To: <5.1.0.14.0.20040929081504.01ee13a8@mail.theriver.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >I disagree. Not every "public" project has to appeal to "all" of the >public. Locally, in Tucson, that would mean that mariachi festivals and >avant-garde music series and Kwanzaa projects and Native American youth >writing projects would all have to attract a widely inclusive public, even >the same widely inclusive public. It just doesn't work that way. Rather, >it's up to those who spend the public dollars to insure that all of the >public funding, in total, goes to projects that together have the kind of >wide appeal you are talking about. Niche organizations, serving the needs >of defined and limited communities, are perfectly fine as recipients of >public monies. This doesn't mean, of course, that they shouldn't always be >seeking ways of appealing to more people, but they really don't need to >reach "everyone" or anything close to that. If they did, every poetry >project would end up being alike. I'd rather have the Po Project define for >itself what it wants and needs to do, what it does best, and how to do >those things, and how to present their case for the merits of publicly >funding them -- and let the various funders decide if they are worthy of >such public funding. > >(just after writing this I saw Herb Levy's excellent post about how >nonprofit organizations work -- thanks, Herb!) > >Charles Thanks for the shout out, Charles, but you deserve equal credit for making it clear why a public agency can justify funding organizations that serve subsets of a community if they support a variety of organizations that serve diverse constituencies. -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb@eskimo.com ========================================================================= Date: Thu, 30 Sep 2004 14:05:59 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Jonathan Thanks for yours. I thought our personal pronouns are taking some strain with 2 of us having the same first name,,, I read to the end of Laurence Sawyer's post... How spot on he is re USA, and a large part of the post is specifically about USA, it is not my place to judge. I can only look at the words and the argument as argument. We, you and I anyway, are agreed that the meaning of "academic" has been stretched... When LS goes on to say that _even the 'nonacademic' heroes of yesteryear became academic in later years, right?_, I am inclined to say _maybe_ because I am not sure how "academic" is being used. I suspect the meaning is being stretched still, but perhaps in new directions Of whom are we speaking? Whose heroes? When the meaning of "academic" has been stretched, we can hardly connotatively label anyone with it just because they took a college job. Paying bills is always a problem; but there are many other ways of achieiving that, most of them demeaning and corrosive in some way, sooner or later, at least over here. Being burnt out seems to be a high price to deserve the label _real non-academic_. Not every society has a thought police, not all the time; and those who live in temporarily freer societies are fortunate. I don't think that they are rendered less authentic by the freedom of their political regimes. I am not entirely sure what is meant by _that enfant terrible image of the stereotypical loner poet_; but if it has been _tainted by the pop culture machine_ then that is part of the process of the pop culture machine. A real poet is not necessarily tainted thereby unless they knowingly go into it. What is this taint? Is it in the original image or the original person? Or in a superimposition upon an image? I think that noncomformity follows from the poetry, not the other way around. Using nonconformity as a test of poetry leads astray unless one is only interested in behaviour style L ----- Original Message ----- From: "Jonathan Penton" To: Sent: Thursday, September 30, 2004 4:52 AM > Lawrence, > > I agree with the recent posts that you are stretching the definition of > "academic" to the point of absurdity. I hope that everyone continued to > read past that, because the rest of your post was spot-on. ========================================================================= Date: Thu, 30 Sep 2004 09:20:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Hoerman, Michael A" Subject: Red Hen Press in NYC this weekend MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Numerous poetry readings and get-togethers, including the launch of the Red Hen anthology Mischief, Caprice and Other Poetic Strategies, (which includes one of my poems). Info on Red Hen in NY http://www.redhen.org/rhpny.pdf Info on Mischief, Caprice and Other Poetic Strategies http://www.redhen.org/mischief.htm ========================================================================= Date: Thu, 30 Sep 2004 15:19:42 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Magee Subject: Lord Weary's Castle Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit ("There is no audience, only social classes") --parenthetical remark by Straub It's inadequate to the problem to state: If you try to speak to the Americans in their own language, in their own space, they will beat you up. Nobody has said that, not exactly. There's even the threat of violence, perhaps, by superimposing an allusion to the Fight Club onto the verbal exchange one may well imagine developing if a foreign guest spoke to an audience standing in for the national poetry about Lowell and Pound. What reading is that which would be capable of locating Lowell anywhere near the fate of the artist in America etc. today? All the pressure and prestige of the orthodoxy of the new and its immense cultural capital militates against leaving the least space open for any return to this toppled monument of the old order. But what happens to poetry, anyone's poetry, when it moves across borders, languages? That early Catholicism of Lowell's, for example, would it reverberate differently, read through another language saturated with the signage of Rome? Once across borders, which tradition does a poetry enter, whose national poetry does it belong to? For this kind of question to be able to be posed, there would have to be some form of sensitivity along the lines of Bourdieu's 1991 remark at the Institute of Contemporary Arts, London: "Through the concept of symbolic violence I try to make visible an unperceived form of everyday violence. For example, here in this auditorium now I feel very shy; I am anxious and have difficulty formulating my thoughts. I am under a strong form of symbolic violence which is related to the fact that the language is not mine and I don't feel at ease in front of this audience." At the toleration conference in Tomsk the organizers imposed as a condition of participation that everyone speak in English even though the conference papers were published and translated into Russian. This requirement of speaking in the language of the foreign guests resulted in the broken English of Galina Petrova, a senior member on the philosophy faculty whose elegant Russian I'd heard two years before in Yurga and whose paper in a session the following morning ended with a quotation from Jean Luc Nancy, submitting to the domination of the academic from Lancaster's Center for European Thought, who answered her question about the alternatives to toleration this way: "I don't understand you. Can you repeat the question?" In the obvious sense, such incidents remind one of the global prestige of English and the willingness of speakers of other languages to submit to it, but there's another more difficult perception that, for intellectuals that have undergone the experience of institutional domination and situations of real violence, called to account by extremely determinate responsibilities before socio-political and ideological bodies of a Zhadovian type, there may as well be a willingness to suspend one's ability to articulate one's ideas in recognition of the necessity of exchange with the foreigner, so that, no matter how poorly you speak his or her language, you do not humiliate them by imposing the condition that they speak your own. A further question wonders at the violence of the reaction, if there was such a reaction, against the gesture towards including Lowell in the cultural history of the national poetry (the French academic Chenetier mentioning last week in Lodz someone's dissertation on Howe and Plath at whatever university in Paris he is). What closure would such violence of disagreement and, even, censure, as one might imagine, be substituting for? Without entirely re-opening Benjamin's essay on Goethe, remembering for now only one of the arguments there, that Goethe so completely embedded himself within the patronage system that the work was compromised, historically compromised, and it could not intervene in a time of social and cultural crisis (though one would have to include in consideration of this problem, "The Need to Take the Mediating Character of Bourgeois Writing Seriously)", could the figure of Goethe be proposed, in analogy, for a contemporary configuration in the U.S. that calls itself New or new enough at least to provoke contestatory violence towards the foreign guest ("Note: In the upper half of the card, on the front, in each box, the fingers should be rotated. In the lower half--in the boxes under the title 'Check Print'--the nonrotated prints of the four fingers of each hand without the thumbs are placed...") committing the sin of ignorance by confusing the old order with the new? Works Cited Doxa and Common Life: An Interview (Pierre Bourdieu and Terry Eagleton) Mandel'shtam's Post-Mortem Fingerprints -- Kevin Magee http://hypobololemaioi.com http://hypobolemaioi.durationpress.com ========================================================================= Date: Thu, 30 Sep 2004 10:35:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: CHARLES BERNSTEIN AND CAROLEE SCHNEEMANN THIS SATURDAY Mime-Version: 1.0 Content-Type: text/plain; format=flowed CHARLES BERNSTEIN and CAROLEE SCHNEEMANN Segue Reading Series @ Bowery Poetry Club Saturday, October 2, 4:00 - 6:00 PM 308 Bowery, just north of Houston, New York City $5 admission goes to support the readers Charles Bernstein's The Sophist has just been reissued by Salt Publishing, with an introduction by Ron Silliman. Controlling Interests was reissued last Spring by Roof Books. Bernstein teaches at the Univ. of Pennsylvania. His author page is at http://epc.buffalo.edu. Carolee Schneemann is a multidisciplinary artist who has transformed the very definition of art, especially with regard to integrations of the body, sexuality and technology. Her video, film, painting, photography, performance art and installation works have been widely shown in the United States and Europe. In 2002, the MIT Press published Imaging Her Erotics – Essays, Interviews, Projects. Her website is at http://www.caroleeschneemann.com The Segue Reading Series is made possible by the support of The Segue Foundation. For more information, please visit www.segue.org/calendar, http://bowerypoetry.com/midsection.htm or call (212) 614-0505. These events are made possible in part, with public funds from The New York State Council on the Arts, a state agency. _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! hthttp://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ========================================================================= Date: Thu, 30 Sep 2004 11:04:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sina Queyras Subject: RU non-credit creative writing classes MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi all,=20 Just passing on information regarding RU New Brunswick's new non-credit = creative writing classes. They start early October and run for 8 weeks. = This fall Poetry, Screenwriting, and Fiction classes are available. For = more information see www.continuingwriting.rutgers.edu or backchannel = me.=20 Best,=20 Sina=20 ------------------------------------------------------------------------ http://www.creativewriting.rutgers.edu Murray Hall, 041=20 Rutgers, The State University of New Jersey 510 George Street, New Brunswick, NJ 08901 Office: 732-932-8919 Fax: 732-932-1150 ========================================================================= Date: Thu, 30 Sep 2004 16:15:29 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roger Day Subject: Big Po Bro Mo MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Hi, As someone who's tried to help run a (localised)poetry body this side of the pond, I sympathise with Anselm. Even worse, Anselm seems to be at the helm of a vessel with a *large* visibility. One cannot please all the people all the time, as I found to my cost. Big up, Anselm. Don't let them grind you down... Roger non-acpo and proud of it. ========================================================================= Date: Thu, 30 Sep 2004 11:07:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Collateral reading: John Palattella, "Difficult Loves" MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit Difficult Loves by John Palattella It wasn't until 1996, when President Bill Clinton declared April to be National Poetry Month, that the eminent translator and poet Richard Howard truly grasped the significance of the opening words of T.S. Eliot's *The Waste Land*, "April is the cruelest month." "At last we have succeeded in wreaking on poetry what the worst excesses of Progressive Education and the Palmer Method were helpless to effect: We have ghettoized a millennial human expression previously conceived as a pervasive part of conscious life," Howard declared at a PEN awards ceremony that May. "If we are to save poetry," he insisted, we must restore it "to that status of seclusion and even secrecy that characterizes only our authentic pleasures and identifies only our intimately valued actions." Robert Pinsky, then the poet laureate of the United States, disagreed. "Poetry is part of our shared communal life, as surely as is the Internet," Pinsky wrote in a defense of National Poetry Month published in the *New York Times*. Pinsky's observation is true, although with the adjective "shared" he seemed to want to draw a veil over some pesky questions. If poetry is integral to communal life, why must we be reminded of that fact every April, with all the labored cheerleading and hectic marketing of a big church holiday? Is poetry meaningfully involved in cultural life only if it preoccupies us in the same way as the Internet? Pinsky's genial tone of accommodation softened Howard's abrasiveness, but not the force of Howard's point. Dana Gioia, the chairman of the National Endowment for the Arts (NEA), has pitched his tent in Pinsky's camp. In *Disappearing Ink*, Gioia laments that no American poet today has achieved the kind of fame and influence with a popular audience that Henry Wadsworth Longfellow enjoyed in the nineteenth century. The work of most contemporary poets is culturally marginal, and for Gioia marginality is an artistic dead end. But poets can return to public prominence and revitalize their art, Gioia claims in his book's title essay, if they follow the lead of rappers, cowboy poets and poetry slammers. The emergence of electronic media like television and the Internet, he says, borrowing heavily from Marshall McLuhan's theories about media, has "slightly readjust[ed] the contemporary sensibility in favor of sound and orality." Rappers and slammers embody this readjusted sensibility because they compose for the ear and transmit their verse through performance. Roland Barthes reveled in the death of the author; Gioia rejoices in the death of the text. "American culture conditioned by electronic media and a celebrity culture based on personalities has given birth to a new kind of author," he proclaims: "the amplified bard." In July the NEA released "Reading at Risk," a report lamenting the precipitate decline of literary reading in the face of electronic media over the past two decades. Why, then, in *Disappearing Ink* would its chairman extol poets and audiences who forgo the book for the amp? Equally perplexing is Gioia's claim that the popularity of poetry readings among "literary" poets who still compose for the page signals the emergence of a vibrant oral culture. There's a more persuasive claim to be made about such literary readings: They are less an oral alternative to print culture than a commercial adjunct of it, a way for poets to promote new books in a marketplace where reviews and advertisements of poetry are rare. Nor is there a lock-and-key fit between the Internet and orality, as Gioia implies. For the past few years some poets have approached Google as a *détournement* machine, using the search function as a phrase generator and assembling the results into cut-up poems. (In some circles the method and poems go by the name of "flarf.") As bewildering or irritating as spam, this work is defiantly typographic and can be downright impossible to read aloud, amplified or not. But what do I know? I'm the kind of critic who Gioia complains is ill equipped to assess innovations in contemporary poetry because my tastes are based in part on the "antiquarian assumptions" of Modernism, which "reflect a culture without radio, talking films, television, videocassettes, computers, cell phones, satellite dishes, and the Internet." If media harmony between a critic's era and that of his subject is the basis of critical judgment, then Gioia's enthusiasm in *Disappearing Ink* for Robert Frost, Elizabeth Bishop and Jack Spicer, all of whom made do with pens or typewriters, is peculiar indeed. Such contradictions pile up in Gioia's essays because Gioia is a critic who needs antagonisms to justify his enthusiasms. His preferred approach is the American *Kulturkampf* of the people clashing with a treacherous elite. In *Disappearing Ink*, Gioia worries that because of the lingering influence of literary poetry's elite and antiquated conventions, which favor composition the page instead of the stage, poetry risks being crushed by more popular media like the Internet. Similarly, more than ten years ago in the title piece of *Can Poetry Matter?* Gioia claimed that poetry was no longer part of the mainstream of artistic and intellectual life, a state of affairs he attributed to the elitism of creative writing programs. In that same book, however, he recycled the argument of Edmund Wilson's 1934 essay "Is Verse a Dying Technique?," in which Wilson contends that since the late eighteenth century the refinement of the lyric has led poets to forsake history and satire as suitable subjects, thereby diminishing poetry's popular appeal. If that's true, then those elite creative writing programs are not the cause but merely the most recent symptom of a rot that set in more than two centuries ago. In both *Can Poetry Matter?* and *Disappearing Ink*, a tendency to offer foregone conclusions instead of genuine arguments makes it easier for Gioia to reassure readers that poetry can regain its cultural prominence if it escapes the clutches of writing programs or absorbs the oral characteristics of electronic media. This style of argumentation is aided by Gioia's polite but pushy essayistic style, one that, for all its apparent specificity, is essentially general and vague. Such are the tricks critics contrive when they try to exaggerate poetry's cultural prominence. In his intelligent, elegant and valuable defense of poetry, James Longenbach emphasizes what poets gain by not being subject to the pressures of a high-stakes market or mediascape. "It's difficult to complain about poetry's expanding audience," Longenbach says, taking up Richard Howard's argument without his caustic tone, "but it's more difficult to ask what a culture that wants poetry to be popular wants poetry to be. The audience has by and large been purchased at the cost of poetry's inwardness: its strangeness, its propensity to defeat its own expectations." In Gioia's eyes, a poet who avoids a mass audience is almost by definition arrogant, but for Longenbach such avoidance "could also be liberating--the creation of a space in which a poem may be pushed to extremes the culture wouldn't know how to purchase or ignore." After all, it is because Emily Dickinson refused to cleanse her poems of their unorthodox rhythms and rhymes, thereby preserving a "status of seclusion and secrecy," that she and her poems are now so well-known. Poems claim our attention, Longenbach argues, inasmuch as they effectively resist it. In nine lucid chapters written in a style often as supple as the poems discussed, Longenbach examines what he calls techniques of poetic self-resistance: the formal tool kit (line, syntax, metaphor, voice, disjunction) that poets use to question their own convictions, working by glimmers and glints instead of tidy sums. Longenbach's approach is deceptively simple. He scrutinizes poetry's formal qualities, but he is not a formalist in the conventional sense of being ahistorical. Discussing a wide range of work but focusing mostly on modern poems, Longenbach is careful to explain how a poem's omission of historical content is not necessarily a repression of historical knowledge. The historical texture of a poem may be measured by its formal dynamics more than the weight of its content, as in Michael Palmer's "Seven Poems Within a Matrix of War," a sequence of poems concerning the first Gulf War, or Wallace Stevens's "Notes Toward a Supreme Fiction," written during the early years of the Second World War. Equally provocative is Longenbach's defense of poetic language. In order to promote poetry in an indifferent culture, champions of poetry often try to define the mystical difference of poetic language from ordinary language. Longenbach does the opposite, stressing what the two languages have in common. Poems exploit rather than suppress the slippages of ordinary language, he explains, and what demands our attention is how a poet makes the ineradicable ambiguities of ordinary language uniquely adequate to the subject a poem must express. Or, to borrow a notion from Peter Gizzi's "Ding Repair," what demands our attention is how poetic language unfolds into meaning, ordinary and rare each time: A hummingbird at the scarlet bell works the vine. Even as adults we hope to witness ordinary spectacle evolve into meaning, ordinary and rare each time the ribbon, the wave--all bent. For if those memos, phone calls, holidays were to accrue then where would we be? Longenbach says that the resistance to poetry is the wonder of poetry, "the reinvention of humility," a formulation that calls to mind the romantic poet John Keats's description of negative capability as the ability of a poet to be "in uncertainties, Mysteries, doubts, without any irritable reaching after fact & reason." But Longenbach's wonder more closely resembles Adam Zagajewski's notion of ardor. The fourth essay collection by Zagajewski to be translated into English, *A Defense of Ardor* contains appreciations of and quarrels with writers, painters and philosophers. Written with his characteristic delicacy, gravity and wit, the book is notable for the acute, thoughtful way that the Polish poet frames and examines literary and intellectual issues. Zagajewski craves ardor after reading Tzvetan Todorov's essay on Dutch still-life painting, "In Praise of the Quotidian," which Zagajewski attacks for suggesting that artists must become "deft miniaturists" immune to moments of experience that are "incomprehensible and piercing, both extravagant and absolutely fundamental." Yet Zagajewski also craves ardor after reading E.M. Cioran's *Notebooks*, an "uncommonly irritating" work in which Cioran's extreme narcissism fuels scabrous rants against quotidian life. Zagajewski finds the residue of ardor in Plato's concept of metaxu, the state of being "incurably en route," and he finds ardor flourishing in the climate of thought cultivated by the painter Jozef Czapski and the poets Czeslaw Milosz and Zbigniew Herbert, who "answered history's menace in universal, not provincial ways. And they touched profound hopes while shunning easy consolations." Longenbach also thinks wonder arises from shunning easy consolations, but the roots of his notion of wonder stretch deeply into a uniquely American and pragmatic source, one running from Emily Dickinson ("In insecurity to lie/is Joy's insuring quality") through Wallace Stevens and George Oppen to John Ashbery. These are poets who love flux, who build elaborate metaphors while simultaneously warning of their collapse, whose poems ride on linguistic sliding, whose voices speak because they are shattered. They are playfully serious poets who work hard to foreground the infinitely repeatable work of interpretation and knowing. And their work isn't without hazards. "If the resistance to poetry is the wonder of poetry," Longenbach asks, "how do we prevent resistance from becoming a fetish, something with which we are merely fascinated?" By reminding ourselves constantly that "the power of a poem inheres in the realization that we cannot count on it." No matter how graceful its language, no matter how resourcefully it mines the ambiguities of ordinary language, a poem can never obviate the pressures of the ordinary world because a poem's consolation, knitted from figurative language, will unravel and slip away. Or not. Early in his book Longenbach invokes the example of Callimachus, the ancient Greek poet who refused the Homeric challenge of writing an epic, preferring instead to write love poems and elegies. Callimachus was scorned by his peers for ignoring his civic duties and thereby diminishing the possibilities for poetry. Longenbach draws a different lesson from Callimachus's choice: It was only because Callimachus was acutely suspicious about the nature of poetic ambition that he could force his best discoveries against the walls of his own ambition's limitations. That example informs the most incisive essays of Carl Phillips's *Coin of the Realm* as well, although the straw men that shamble through the book sometimes elbow Callimachus aside. Phillips has a tendency to carp about younger poets' suspicions about exercising authority without explaining exactly what he means, and his single-mindedness about this issue cuts deeply against the poetics he elaborates in his book. The ghost of Callimachus enters the picture when Phillips discusses the poetry of the seventeenth-century Protestant pastor George Herbert, who chose to wrestle with an epic subject, the perplexing ways of God to man ("why affliction?--why, inevitably, our suffering?"), in the narrow confines of the intricate lyric poems of *The Temple*. "Herbert persuades by the very thing with which his poems are so frequently ill at ease: his flawed self," Phillips claims. "It is not so much that he admits to flaw...but that he brings flaw into view as instructive example." Phillips is a poet with seven books to his name, and the relentless deliberation he finds in Herbert's lyrics quickens his own work too. "Phillips is not discouraged but enthralled by this state of perpetually suspended rediscovery," Longenbach writes in *The Resistance to Poetry*. "He wants the world to be difficult to see because our understanding leaps too quickly from the *choice* to the *chosen*, from what is *findable* to what is *found*." But what's different about Phillips's portrait of Herbert's deliberation is its spiritual hue. Without relentless deliberation, Phillips implies, there can be no desire and surrender; without desire and surrender there can be no faith; and without faith there can be no relentless deliberation. The poems of Herbert's that Phillips discusses were composed as a private confession of the desire for an incomprehensible and piercing kind of knowledge. That gesture of inwardness is about as far as one can get from the very public arena of the Internet--or, to use Gioia's lingo, from today's auditory avant-garde. Not unlike Herbert's poems, Longenbach's and Zagajewski's defenses of poetry, along with Phillips's best essays, are rich and rewarding proof that the will to believe passionately in the fictions of poetry is not always hostage to the salvation schemes of the overchurched and the intellectually naïve. fr. *The Nation*, 10/4/04 Hal Serving the tri-state area. Halvard Johnson =============== email: halvard@earthlink.net website: http://home.earthlink.net/~halvard blog: http://entropyandme.blogspot.com/ ========================================================================= Date: Thu, 30 Sep 2004 11:42:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: REBECCA SEIFERLE Subject: fw:prose/poetry chapbook MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: base64 V2VkLCAyMiBTZXAgMjAwNCAxNzoyMzoyNCAtMDUwMA0KU3ViamVjdDoJcHJvc2UgY2hhcGJv b2sgb3Bwb3J0dW5pdHkNCg0KDQpQbGVhc2UgY29uc2lkZXIgc2hhcmluZyB3aXRoIHlvdXIg c3R1ZGVudHMgYW5kIGZyaWVuZHMgdGhlIA0KZm9sbG93aW5nDQpvcHBvcnR1bml0eSBmb3Ig cHVibGlzaGluZyBhIHByb3NlIGNoYXBib29rLiAgU3VjaCBjaGFwYm9vayANCm9wcG9ydHVu aXRpZXMNCmFyZSByYXJlIGZvciBwcm9zZSB3cml0ZXJzLCBidXQgUHJlZGF0b3IgUHJlc3Mg d2FudHMgdG8gDQpwcm92aWRlIHN1Y2ggYSANCmZvcnVtDQpmb3IgcHJvc2Ugd3JpdGVycyB0 byBwdWJsaXNoIHRoZWlyIGZpcnN0IGJvb2sgb3IgdG8gcHVibGlzaCBhIA0KInNtYWxsIg0K Y29sbGVjdGlvbiBvZiByZWxhdGVkIHN0b3JpZXMgb3IgZXNzYXlzIG9yIHNob3J0LXNob3J0 cywgYSANCmNvbGxlY3Rpb24gDQp0aGF0DQpkb2VzbsKpy4Z0IHJlcXVpcmUgdGhlIGV4cGFu c2Ugb2YgYSBmdWxsLCB0cmFkaXRpb25hbCBib29rLQ0KbGVuZ3RoIA0KY29sbGVjdGlvbi4N Cg0KDQpUaGUgUHJlZGF0b3IgUHJlc3MgQ2hhcGJvb2sgQ29tcGV0aXRpb24NCg0KSW5rd2Vs bCBMaXRlcmFyeSBTZXJ2aWNlcyBpbnZpdGVzIHN1Ym1pc3Npb25zIHRvIHRoZSBzZWNvbmQg DQpiaS1hbm51YWwNClByZWRhdG9yIFByZXNzIENoYXBib29rIENvbXBldGl0aW9uLiAgRWFj aCBmYWxsLCBQcmVkYXRvciANClByZXNzIHdpbGwgDQpob3N0IGENCnByb3NlIGNoYXBib29r IGNvbXBldGl0aW9uLiAgRWFjaCBzcHJpbmcsIFByZWRhdG9yIFByZXNzIHdpbGwgDQpob3N0 IGEgDQpwb2V0cnkNCmNoYXBib29rIGNvbXBldGl0aW9uLg0KDQpGYWxsIDIwMDQgQ29tcGV0 aXRpb24NCg0KUHJvc2Ugd3JpdGVycyBzaG91bGQgc3VibWl0IGEgY2hhcGJvb2sgb2Ygc3Rv cmllcywgZXNzYXlzLCBvciANCnNob3J0LXNob3J0cw0KYnkgT2N0b2JlciAxNSwgMjAwNC4g IFRoZSB3aW5uaW5nIG1hbnVzY3JpcHQgd2lsbCBiZSBjaG9zZW4gDQppbiBOb3ZlbWJlciAN CmFuZA0Kd2lsbCBiZSBwdWJsaXNoZWQgYXMgYSBwcm9mZXNzaW9uYWxseS1kZXNpZ25lZCBj aGFwYm9vayB3aXRoIA0KYSANCmZvdXItY29sb3IsDQpnbG9zc3kgY292ZXIgYnkgRGVjZW1i ZXIgMjAwNC4NCg0KVGhlIHdpbm5pbmcgcG9ldCB3aWxsIGFsc28gcmVjZWl2ZSAkNDAwIGFu ZCAyNSBjb3BpZXMuICANCkFkZGl0aW9uYWwgDQpjb3BpZXMNCndpbGwgYmUgYXZhaWxhYmxl IGF0IGFuIGF1dGhvcsKpy4ZzIGRpc2NvdW50Lg0KDQpTdWJtaXNzaW9uIEd1aWRlbGluZXM6 DQrigKYgTWFudXNjcmlwdHMgbXVzdCBiZSB0eXBlZCwgZG91YmxlLXNwYWNlZCwgd2l0aCBl YWNoIG5ldyANCnBpZWNlIA0KYmVnaW5uaW5nIG9uDQphIHNlcGFyYXRlIHBhZ2UuICANCuKA piBNYW51c2NyaXB0cyBtdXN0IGJlIDI4LTMyIHBhZ2VzIGluIGxlbmd0aCwgaW5jbHVkaW5n IHRoZSANCmFja25vd2xlZGdlbWVudHMNCnBhZ2UgKGxpc3RpbmcgcHJpb3IgcHVibGljYXRp b25zIGluY2x1ZGVkIGluIHRoZSBjaGFwYm9vaykgDQphbmQgdGhlIA0KdGFibGUgb2YNCmNv bnRlbnRzLg0K4oCmIFdpdGggdGhlIG1hbnVzY3JpcHQsIHBsZWFzZSBpbmNsdWRlIGEgY292 ZXIgc2hlZXQsIGxpc3RpbmcgDQp0aGUgDQphdXRob3LCqcuGcw0KbmFtZSwgYWRkcmVzcywg cGhvbmUgbnVtYmVyLCBlbWFpbCwgYW5kIHRoZSBtYW51c2NyaXB0wqnLhnMgDQp0aXRsZS4N CuKApiBUaGUgYXV0aG9ywqnLhnMgbmFtZSBzaG91bGQgbm90IGFwcGVhciBhbnl3aGVyZSBl bHNlIG9uIHRoZSANCm1hbnVzY3JpcHQuDQrigKYgRW50cmllcyBtdXN0IGhhdmUgYSBwb3N0 bWFyayBubyBsYXRlciB0aGFuIE9jdG9iZXIgMTUsIDIwMDQgDQooTm90ZSB0aGUNCmV4dGVu ZGVkIGRlYWRsaW5lKS4NCuKApiBFbGVjdHJvbmljIHN1Ym1pc3Npb25zIHdpbGwgbm90IGJl IGFjY2VwdGVkLg0K4oCmIE1hbnVzY3JpcHRzIG5vdCBmb2xsb3dpbmcgdGhlc2UgZ3VpZGVs aW5lcyB3aWxsIGJlIA0KZGlzcXVhbGlmaWVkLg0KDQpJbmNsdWRlIGEgJDEwIHJlYWRpbmcg ZmVlIHdpdGggeW91ciBzdWJtaXNzaW9uLCBwYXlhYmxlIHRvIA0KSW5rd2VsbCANCkxpdGVy YXJ5DQpTZXJ2aWNlcy4gV3JpdGVycyBtYXkgc3VibWl0IG1vcmUgdGhhbiBvbmUgY2hhcGJv b2ssIGJ1dCBhIA0KJDEwIHJlYWRpbmcgDQpmZWUNCm11c3QgYWNjb21wYW55IGVhY2ggZW50 cnkuICBJbmNsdWRlIGFuIGFkZGl0aW9uYWwgJDUgaWYgeW91IA0Kd291bGQgbGlrZSANCnRv DQpyZWNlaXZlIGEgY29weSBvZiB0aGUgd2lubmluZyBjaGFwYm9vay4gIFdpbm5lcnMgd2ls bCBiZSANCm5vdGlmaWVkIGJ5IA0KZW1haWwNCnVubGVzcyBhIFNBU0UgaXMgcHJvdmlkZWQu ICBNYW51c2NyaXB0cyB3aWxsIG5vdCBiZSByZXR1cm5lZC4NCg0KU2VuZCBtYXRlcmlhbHMg dG86ICBJbmt3ZWxsIExpdGVyYXJ5IFNlcnZpY2VzLCBQLk8uIEJveCA3NTgsIA0KUmlkZ3dh eSwgDQpDTw0KODE0MzIuICANCg0KSW4gdGhlIGV2ZW50IHRoYXQgdGhlIGp1ZGdlIGRvZXMg bm90IGZpbmQgYW4gZW50cnkgd29ydGh5IG9mIA0KcHVibGljYXRpb24sDQpyZWFkaW5nIGZl ZXMgd2lsbCBiZSByZXR1cm5lZCB0byBhbGwgZW50cmFudHMuICBNYW51c2NyaXB0cyANCndp bGwgYmUgDQpqdWRnZWQNCmJ5IHRoZSBmYWN1bHR5IG9mIFRoZSBTYW4gSnVhbiBXb3Jrc2hv cHMgb3IgZmFjdWx0eSBhdCBUZXhhcyANClRlY2gNClVuaXZlcnNpdHkuICBTdHVkZW50cyBl bnJvbGxlZCBhdCBUZXhhcyBUZWNoIFVuaXZlcnNpdHkgd2lsbCANCm5vdCBiZQ0KY29uc2lk ZXJlZC4gIA0KDQpQcm9zZSBDaGFwYm9vayBDb21wZXRpdGlvbiBEZWFkbGluZTogIE9jdG9i ZXIgMTUsIDIwMDQNCk5leHQgUG9ldHJ5IENoYXBib29rIENvbXBldGl0aW9uIERlYWRsaW5l OiBGZWJydWFyeSAxNSwgMjAwNQ0K ========================================================================= Date: Thu, 30 Sep 2004 11:51:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Basinski Subject: call for papers MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Call for Papers Panel Topic: "Reality Poetry:" The Intersection of Literary Art and Popular Entertainment "Reality poetry" predates its television counterpart by a few at the very=20 least fifty years, and its public reception was equally indicative of=20 society's insatiable love of voyeurism, revelations of personal turmoil and = the ever-popular demise via self-indulgence. The theme of "reality poetry"=20 would allow papers to explore the objectives of contemporary "reality"=20 productions, tracing their highly successful formula back to their literary = precursors (the "reality"/confessional poets circa 1950s & 60s to the=20 present day). Other questions for consideration are as follows: Is there an identifiable, perhaps critical point of departure between the terms=20 "reality" and "confessional"? To what extent does "reality" entertainment=20 in either media, past or present, predicate itself on theatricality and=20 performance? To what extent does the explicitness of the performance=20 influence the audience's reaction to the piece/episode/series? Can these=20 expos=E9s be perceived as a form of creative and/or performative=20 autobiography? Are the artists/participants rejecting some sort of=20 societal propriety in exchange for uninhibited expression? How does the=20 interplay of two historically antithetical genres shape our contemporary=20 perceptions of both? Papers addressing any of these issues as well as other equally applicable topics will be considered. Send a 150-200 word abstract, including a complete mailing address, school affiliation, e-mail address, telephone number and fax to Rosemarie Dombrowski before November 1, 2005. Rosemarie Dombrowski Teaching Associate Department of English Arizona State University Tempe, AZ 85287-0302 poetryphd@asu.edu 480-965-3853 ========================================================================= Date: Thu, 30 Sep 2004 09:51:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Hadbawnik Organization: Rova Saxophone Quartet Subject: Re: a little offensive about the poetry project In-Reply-To: <1eb.2ab0f314.2e8bf4fe@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Byron on Keats: "piss-a-bed poetry... frigging his imagination... why, his is the Onanism of poetry..." Johnny Keats (anticipating Groucho): "I wouldn't want to belong to any club that would have someone like me as a member..." --------all to say that weren't we having this same discussion a few months ago when people were getting worked up over the boston poetry massacre, who was invited or not and why? poets have been pissing about being left out of this or that "scene" probably since homer sat down on a rock a few yards closer to Sparta than Delos, or some such bullshit. come on! while it's undeniable that anyone living in NYC is bound to get more attention and have more opportunity (to publish, to read, and to have those publications read and readings attended) than someone living in Tubuka, Kansas, it's not going to matter one whit in the long run where you read or didn't read and who was there to hear it. ego, ego, ego. get over it. if you love poetry and are doing good work it will be found and read, by someone, eventually. I live in san francisco partially because there is such a large community here and so much opportunity to study and learn and exchange with my peers. I'm not going to lie and say that it's all been a positive experience in that respect or that there aren't cliques and etc. but in that time I've gotten to study with some fantastic poets and befriended many more. the worst side-effect of trying to be a poet or any kind of artist though is this paranoia that has absolutely nothing to do with the actual work. "stand whoso list on slipper-top" and so on... And please don't let's go there with the academic vs. nonacademic poet argument again! It didn't do keats or byron any good 200 years ago and it holds no more water now. Go Giants! DH -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Craig Allen Conrad Sent: Wednesday, September 29, 2004 4:23 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: a little offensive about the poetry project when i was a kid i had the most romantic notions about the Poetry Project. having cut my teeth on Notley, Ceravolo, and the like (thanks to a visit from Molly Russakoff to my dirty little redneck town). when i was in college a friend of mine went to Warren Wilson for her MFA in creative writing, and they had a reading at the Project, which i attended. it was the most depressing poetry reading of my life, just awful, so awful that a rather drunk friend of mine who didn't want to go in the first place said, "what the fuck is this, the housewives from the Hamptons!" it was one of those times where you want to demand 2 hours of your life be returned. it was so sad that it shattered my hopes of what the Project was about. until recently, that is. since Anselm Berrigan has taken over the Poetry Project has literally COME ALIVE, in every sense! the best sense being the new blood injected. the only thing "political" about him is to have poets like Carol Mirakove read her political poems from her magnificent new book Occupied. poets like Peter Culley coming down from Canada to reissue our sense that there are endless new frontiers in poetry to be had. poets like Greg Fuchs and Frank Sherlock, all this amazing young talent we most likely would NOT have seen several years before. of course his mother read, why shouldn't she!? if there's any elder poet MOST interested in recreating their own work from book to book, it's her. and she really, REALLY listens to younger poets, welcomes our thoughts, our poems, generous in her approach to encourage. she's the real thing as far as poets go! and the Poetry Project should be treated like her livingroom because of her generosity, whether her son is in charge or not! she's made it clear more than once that there was a time she was made to feel unwelcome at the Project. "We didn't feel welcome at the Poetry Project anymore. He writes a lovely poem about us as and watching Fred Astaire and Joan Leslie in a less wellknown movie. Can all this be to the point?" --Alice Notley, from Mysteries of Small Houses all this said, it makes me very happy to go to readings at the Project, something i didn't feel i'd ever feel after my first visits some years ago. Anselm Berrigan has brought an electricity to the place that is undeniable, something you experience and know how, among many things, it is the spirit of Welcome you feel. the sour grapes of the malcontent have no real gripe here. CAConrad http://phillysound.blogspot.com ========================================================================= Date: Thu, 30 Sep 2004 13:01:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: upcoming International Sound Poetry Festival?? MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Hi all: can anyone out there give me any information on this year's international sound poetry festival that's, I think, going to be held in NYC? Thanks much for your help! Best, Lori ========================================================================= Date: Thu, 30 Sep 2004 10:20:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: Academic Poetry Project In-Reply-To: <3413.172.152.133.201.1096516371.squirrel@webmail.safepages .com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Dear Buffaloes, Instead of "academic" why don't people try other words. How about "intellectual" or "writer." There are all sorts of "intellectuals," and Gramsci even coined the term "organic intellectuals" for people tightly bound to the working class. I work at a university. That makes me an academic. Most people who teach at universities are "intellectuals," but not all. A few are even "organic intellectuals," despite working in higher education. Many are "writers," and even the engineers need to write. Few write poetry or fiction (although some start late in life: Renaldo Rosaldo, anthropologist, started up after having a stroke and just received an American Book Award, an "organic poet"). I steer away from teaching "Creative Writing," so I teach anything else -- which I call "Uncreative Writing." Once you cross over to "Uncreative Writing," the possibilities are endless. Don't disparage academics. We will get arrested and taken to the camps with the other intellectuals. I suggest that you leave Anselm and the Poetry Project alone as well. Many of us will flee into St. Marks Church and cry for sanctuary. Many of us have been doing that for decades. Send money to the Poetry Project! Make your own sanctuary. Do your own work. Expand the definitions or discard them. Critique ideas and the products of art with energy. But keep working and helping others to do their work. Hilton Obenzinger ------------------------------------------------------------------------------- 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, 30 Sep 2004 12:03:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Academic In-Reply-To: <5.1.1.5.2.20040930100522.01cd8168@hobnzngr.pobox.stanford.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I'm not chiming in about the Poetry Project. I am chiming in about the word "academic." It is applied in slam / open reading circles to poets who've graduated from college. All best, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Thu, 30 Sep 2004 15:03:06 -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 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit http://ronsilliman.blogspot.com/ RECENT TOPICS: "Santa Cruz Propositions" - Robert Duncan as topical poet Hats off to C.D. Wright! "Ideas of the Meaning of Form" - Robert Duncan's major statement of poetics Combining theosophy & psychology - Robert Duncan's turn to theory 1-Year-Plan: Barrett Watten's metacritical blog The line in the title - Zukofsky's Test of Poetry's dark brow Rachel Blau DuPlessis & Alan Golding on Zukofsky's Test of Poetry Gender & Zukofsky 60 hours in New York Tom Pickard's Dark Months of May The Elder Poem - Robert Duncan's concept of the late epic The Day Book as Ur-Blog: Robert Duncan's plotless prose Forthcoming readings & talks by Ron Silliman: NYC, Philly, Lawrence, KS & SF (& that's just the next three weeks) http://ronsilliman.blogspot.com/ ========================================================================= Date: Thu, 30 Sep 2004 15:25:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Burt Kimmelman Subject: di Prima and Taggart Eddresses MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I am trying to reach, via e-mail, Diane di Prima and John Taggart. If = you happen to know either or both of their eddresses and have the time = to send them to me backchannel, I'd be greatly appreciative. My eddress = is kimmelman@njit.edu. Thank you. Burt Kimmelman ========================================================================= Date: Thu, 30 Sep 2004 12:39:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Academic In-Reply-To: <008401c4a720$2b0c8790$220110ac@CADALY> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Interesting. It used to apply (and still does in my brain) to descendants of Auden and Ransom, and to the likes of Lowell, Bishop, Merrill and their children, as opposed to the New American Poetry and its offspring. Regardless of who worked in universities. Mark At 12:03 PM 9/30/2004, you wrote: >I'm not chiming in about the Poetry Project. > >I am chiming in about the word "academic." It is applied in slam / open >reading circles to poets who've graduated from college. > >All best, >Catherine Daly >cadaly@pacbell.net ========================================================================= Date: Thu, 30 Sep 2004 13:46:29 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: Re: Academic MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > I am chiming in about the word "academic." It is applied in slam / open > reading circles to poets who've graduated from college. That's funny. Where I come from, slammers fall all over themselves to prove how underground they are, regardless of their education level. I'm not sure I'd apply the word to graduates, but to teachers, certainly, regardless of style or philosophy. The word "academic" does not convey a single institution, any sort of clique, or even a mindset. The word's usefulness as a symbol of oppression is long-since past. In short, the only people sillier than poets who still append the letters "PhD" to their name when off campus are those poets who judge their worth as authors by how much boozin' and whorin' they've done. -- Jonathan Penton http://www.unlikelystories.org ========================================================================= Date: Thu, 30 Sep 2004 14:39:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Academic In-Reply-To: <008401c4a720$2b0c8790$220110ac@CADALY> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit & according to slam terminology what is a poet who quit college 8 times? On Thursday, September 30, 2004, at 02:03 PM, Catherine Daly wrote: > I'm not chiming in about the Poetry Project. > > I am chiming in about the word "academic." It is applied in slam / > open > reading circles to poets who've graduated from college. > > All best, > Catherine Daly > cadaly@pacbell.net > ========================================================================= Date: Thu, 30 Sep 2004 21:07:55 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Re: Academic Poetry Project MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Amen L ----- Original Message ----- From: "Hilton Obenzinger" To: Sent: Thursday, September 30, 2004 6:20 PM Subject: Re: Academic Poetry Project > Make your own sanctuary. Do your own work. Expand the definitions or > discard them. Critique ideas and the products of art with energy. But > keep working and helping others to do their work. ========================================================================= Date: Thu, 30 Sep 2004 22:59:58 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roger Day Subject: Presidential Debate Bingo Card MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" http://www.planetsocks.com/bingo.asp reload, get a new bingo card... ========================================================================= Date: Thu, 30 Sep 2004 22:26:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City presents Furniture Press, John Gioia and Eriz Zurbin, and Doug Harmer 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: Furniture Press (Baltimore) Thurs. Oct. 7, 6 p.m., free Aca Galleries 529 W.20th St., 5th Flr. NYC Event will be hosted by Furniture Press editor Christophe Casamassima Featuring readings from: Lauren Bender Edmund Berrigan Christophe Casamassima Amy King With music by John Gioia and Eric Zurbin and films by Doug Harmer 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.towson.edu/~cacasama/furniture/poae/ Next month: 30th Anniversary Celebration for Kelsey Street Press (Berkeley, Calif.), Nov. 4 -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://boogcityevents.blogspot.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Thu, 30 Sep 2004 23:14:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Bush on loving women (with apologies to King David) Comments: cc: L-Poconater@lists.psu.edu MIME-Version: 1.0 Content-Type: text/plain it was only a few weeks back that President Bush, during a campaign appearance in Missouri, complained that Ob/Gyn doctors aren't being allowed to "practice their love of women." Now, in tonight's debate (the most memorable moment for me, though evidently not for the good folk at the TV networks), Bush, while talking about the widow of a US soldier who'd been killed in Iraq, said (and this IS FROM THE TAPE people): "You know, it's hard work to try to love her as best as I can knowing full well that the decision I made caused her husband to be in harm's way." well, I guess maybe it would be easier work to love her under different circumstances. we'll have to ask Laura to explain. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "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