========================================================================= Date: Sat, 1 Apr 2006 00:11:37 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: favorite long poems - H.D.'s Trilogy ... Orlovitz's "The Rooster" MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Granted, "The Rooster" may not qualify as a long poem in the same sense as some of the long poems discussed, but it's Gil Orlovitz's longest as far as I know. Spurred into action from all this talk about long poems, I wrote a bit about Orlovitz on PhillySound, and reprinted in full "The Rooster," so if you're interested, go to: _http://phillysound.blogspot.com/2006_03_01_phillysound_archive.html_ (http://phillysound.blogspot.com/2006_03_01_phillysound_archive.html) Maybe someone can answer the Duncan question I ask, which you'll see in that link above...CAConrad CAConrad IS A POET-AGENT IN SEARCH OF A TRANSVESTITE BOXER FOR MORE INFO GO TO: _http://TRANSBOXER.blogspot.com_ (http://transboxer.blogspot.com/) "Those who restrain desire, do so because theirs is weak enough to be restrained...." --William Blake for PhillySound: NEW POETRY: _http://PhillySound.blogspot.com_ (http://phillysound.blogspot.com/) for CAConrad's tarot services: _http://LightOfLakshmi.blogspot.com_ (http://lightoflakshmi.blogspot.com/) ========================================================================= Date: Sat, 1 Apr 2006 00:24:54 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Isat@AOL.COM Subject: NEW YORK: Gennady Aygi Memorial Comments: To: spidertangle@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Dear friends! Please join us to reflect on the life and achievements of the remarkable Russian avant-gardist / Chuvash national poet Gennady Aygi (1934-2006). (In Russian & English) Gennady Aygi Memorial Reading TUESDAY, APRIL 4, 2006 8pm The Bowery Poetry Club Participants: Tatiana Gabrilyantz Alex Galper Anatoly Glants Leonid Drozner Aleksandr Kogan Genrikh Khudyakov Mike Magazinnik Ella Nitzberg Eugene Ostashevsky Elena Po Igor Satanovsky Marina Temkina Matvei Yankelevich The Bowery Poetry Club: 308 Bowery, New York, NY 10012 Foot of First Street between Houston & Bleecker=20 across the street from CBGB F/V train to Second Ave 6 train to Bleecker 212-614-0505 This event is FREE. Gennady Aygi is widely regarded as one of the world=E2=80=99s foremost conte= mporary poets. His work has been translated into some twenty languages, and he has been nominated several times for the Nobel Prize. In the late 1950s, Boris Pasternak and Nazim Hikmet urged Aygi to switch from writing in his mother tongue, Chuvash, to Russian. It was not until the 1960s that he was first published in Eastern Europe, and not until the late 1980s that his poems were allowed to be openly published in the Soviet Union and Chuvashia, an autonomous republic in the middle Volga valley where he was born in 1934. Books of his available in the U.S. include Selected Poems: 1954-1994 (Angel Books/Nortwestern University Press), Salute=E2=80=94To Singing (Zephyr Press= ), and just published in April 2003, Child-and-Rose (New Directions Publishing). [Bio from Words Without Borders web site.] p.s. apologies for cross-posting ========================================================================= Date: Fri, 31 Mar 2006 21:36:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerrold Shiroma Subject: Re: favorite long poems - H.D.'s Trilogy ... Orlovitz's "The Rooster" In-Reply-To: <322.f30799.315f6589@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit some of my favorite long-er-ish poems... Notebook of a Return to the Native Land--Aime Cesaire The Book of Questions--Edmond Jabes Rainbow for the Christian West--Rene Depestre Merzsonata--Kurt Schwitters Kamau Brathwaite--Ancestors Jerome Rothenberg--Khurbn (Poland 1931, as well) Francois Villon--Testament Raymond Queneau--Cent Mille Milliards de poèmes (can't get much longer than this) ========================================================================= Date: Sat, 1 Apr 2006 00:58:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Fwd: Sad News Regarding Jackie McLean MIME-Version: 1.0 Content-Type: text/plain ---------- March 31, 2006 Jazz Saxophonist Jackie McLean Dies at 73 By THE ASSOCIATED PRESS Filed at 11:11 p.m. ET HARTFORD, Conn. (AP) -- Jazz saxophonist Jackie McLean, a performer and teacher who played with legendary musicians including Miles Davis and Sonny Rollins, died Friday. He was 73. McLean, a contemporary of some of the 20th century's most famed jazz musicians, died at his Hartford home after a long illness, family members told The Hartford Courant. McLean was founder and artistic director of the Jackie McLean Institute of Jazz at the University of Hartford's Hartt School. He and his wife, actress Dollie McLean, also founded the Artists Collective, a community center and fine arts school primarily for troubled youth in inner city Hartford. University President Walter Harrison said that despite his many musical accomplishments, McLean was a modest man whose connections with his students lasted for decades after they left his classroom. ''He fully understood the way that jazz as an art should be passed down to students,'' Harrison said. ''He saw his role as bringing jazz from the 1950s and '60s and handing it down to artists of today.'' McLean, a native of Harlem in New York City, grew up in a musical family, his father playing guitar in Tiny Bradshaw's band. McLean took up the soprano saxophone as a teen and quickly switched to the alto saxophone, inspired by his godfather's performances in a church choir, he told WBGO-FM in Newark, N.J., in an interview in 2004. McLean went on to play with his friend Rollins under the tutelage of pianist Bud Powell, and was 19 when he first recorded with Miles Davis. He drew wide attention with his 1959 debut on Blue Note Records, ''Jackie's Bag,'' one of dozens of albums he recorded in the hard-bop and free jazz styles. He also played with Charles Mingus and Art Blakey's Jazz Messengers, experiences that he credited with helping him find his own style as he tried to emulate the famed Charlie ''Bird'' Parker. ''I never really sounded like Bird, but that was my mission,'' McLean said in the radio interview. ''I didn't care if people said that I copied him; I loved Bird's playing so much. But Mingus was the one that really pushed me away from the idea and forced me into thinking about having an individual sound and concept.'' After Blue Note terminated his recording contract in 1968, McLean began teaching at the University of Hartford. McLean taught jazz, African-American music, and African-American history and culture. He received an American Jazz Masters fellowship from the National Endowment for the Arts in 2001, and toured the world as an educator and performer. McLean, a heroin addict during his early career, also lectured on drug addiction research. YAHOO! GROUPS LINKS Visit your group "dimeadozenjazzforum" on the web. To unsubscribe from this group, send an email to: dimeadozenjazzforum-unsubscribe@yahoogroups.com Your use of Yahoo! Groups is subject to the Yahoo! Terms of Service. ========================================================================= Date: Fri, 31 Mar 2006 22:24:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: FW: China and Poetry--ludicrous comparisons MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit > Jim > > I lived in Latin America from 1992 until 1999 I speak Spanish, Portuguese That's great. > and English so please don't lecture about intercontinental awareness. You felt obliged, then(?), to throw in *five* 'America/American's in your short email because you were being critical, despite your deep awareness of Latin America? Even you who lived in Latin America for 7 years? It's quite an amazingly effective word, rhetorically, certainly. It's like the word 'new': it improves every product it accompanies. Think of American Gigolo, American Psycho (great movie), American Woman (nasty Canadian song), the band America (their horse didn't need a name), the writer Mark Amerika, AOL, American Standard, etc. My jaw stiffens and my resolve deepens simply by saying the word five or more times. "Americans will not be won over by hyperbole". You think? ja? http://vispo.com > I am > very aware that in Spanish and Portuguese the term Estadounidense > exists but > unfortunately there is no work Unitedstateian in English- > > R > > Here's a small start. Instead of using the term 'America', use > USAmerica or, > in speech, "the United States". Instead of 'American', use 'USAmerican'. > America is much larger than the United States. There's North America, > Central America, and South America. When USAmericans call their country > America, it disregards the rest of the Americas, as though the USA was all > of it. A little bit of intercontinental awareness in what and who you call > yourself would be a good but very small start on a big problem. > > ja > http://vispo.com > > > > You are completely correct the America of Whitman, Franklin Roosevelt, > > George Marshall and Mrs Roosevelt has been stolen from us and we as > > Americans need to fight for that America but the mass of Americans > > will not be won over by hyperbole; > > > > If we actually had a real opposition party that could challenge > > Americans to be that Nation that we all want it to be but we have > > become a globalized world where corporations and their needs mean more > > than silly ideas like the Declaration of Independence, Declarations of > > the Rights of Man and Citizen or the Bill of Rights > > > > R > ========================================================================= Date: Sat, 1 Apr 2006 15:23:27 +0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicholas Karavatos Subject: *Munich* in Arabia - (but no *Paradise Now*) MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable *Munich* just opened here in Muscat. I went to a Friday afternoon (like Sunday in the West) matinee. The theatre was pretty full. I sat mid-theatre and only once noticed people leaving: a group of women three-fourths of the way through, after the action when the story became more domestic again. People could have left behind me. The crowd felt, to me, uncomfortable watching the film: murmuring and fidgeting especially when Israeli/Jewish positions were being explicated. I talked to an American student at my college who, seeing it the day before me, had the same impression of the crowd. It's hard to be aware of others, though, during scenes with gunfire or explosions. "Don't fuck with the Jews," got some chuckles. I heard a lot of "tsk-tsk" when the Dutch assassin was being killed. What I took to be an oral sex scene was cut short by the censors, but the sex/death scenes at the end appeared intact. We'll see how long it lasts here. *Jarhead* lasted a week but *The Passion of the Christ* lasted a month here in Muscat. *Paradise Now* skipped the theaters here completely but we can rent it on DVD. Though all films must have Arabic subtitles, the cinemas appear to attract a better educated, multi-lingual crowd. Arabic-language films that delve into social issues (*Paradise Now*) could attract what the government would consider a mono-lingual, under-educated crowd, less (or not at all) invested in the collaborationist, internationalist policies of the better-to-do Omani and expatriate communities and the government. Additionally, private debate is kept private and not encouraged to become public. Attendance at anything but fluff may lead to agitation. Thus, films like *Paradise Now* do not receive censor permits and are not shown in theaters.=20 (There are cinemas that cater to the Indian community, though these Tamil & Hindi films are frequented mostly by the manual labor force. The South Asian professional class will see English language films, or the occasional Hindi film shown in a cinema that specializes in English-language films.) The only films in Arabic that play here in Oman's cinemas are trash-actions and slapstick comedies from Egypt. Apart from films, it's been a rare find among my students when one says s/he enjoys reading and reads for pleasure in Arabic. In fact, I can only think of female students that do, off hand. But I wonder if that's how it feels to teach in the US as well? ========================================================================= Date: Sat, 1 Apr 2006 16:15:21 +0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicholas Karavatos Subject: The American MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable In every one of the countries I've been to, I was called a variation of "American" by the people there. Besides, "Death to America" fits better on banners than "Death to the United States." And no one mistakes it for Paraguay anyway. ========================================================================= Date: Sat, 1 Apr 2006 07:12:27 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: China and Poetry--ludicrous comparisons In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Jim We can called ourselves Vespuccians please change all my America's to Vespuccias. R -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Jim Andrews Sent: Saturday, April 01, 2006 12:24 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: FW: China and Poetry--ludicrous comparisons > Jim > > I lived in Latin America from 1992 until 1999 I speak Spanish, > Portuguese That's great. > and English so please don't lecture about intercontinental awareness. You felt obliged, then(?), to throw in *five* 'America/American's in your short email because you were being critical, despite your deep awareness of Latin America? Even you who lived in Latin America for 7 years? It's quite an amazingly effective word, rhetorically, certainly. It's like the word 'new': it improves every product it accompanies. Think of American Gigolo, American Psycho (great movie), American Woman (nasty Canadian song), the band America (their horse didn't need a name), the writer Mark Amerika, AOL, American Standard, etc. My jaw stiffens and my resolve deepens simply by saying the word five or more times. "Americans will not be won over by hyperbole". You think? ja? http://vispo.com > I am > very aware that in Spanish and Portuguese the term Estadounidense > exists but unfortunately there is no work Unitedstateian in English- > > R > > Here's a small start. Instead of using the term 'America', use > USAmerica or, in speech, "the United States". Instead of 'American', > use 'USAmerican'. > America is much larger than the United States. There's North America, > Central America, and South America. When USAmericans call their > country America, it disregards the rest of the Americas, as though the > USA was all of it. A little bit of intercontinental awareness in what > and who you call yourself would be a good but very small start on a big problem. > > ja > http://vispo.com > > > > You are completely correct the America of Whitman, Franklin > > Roosevelt, George Marshall and Mrs Roosevelt has been stolen from us > > and we as Americans need to fight for that America but the mass of > > Americans will not be won over by hyperbole; > > > > If we actually had a real opposition party that could challenge > > Americans to be that Nation that we all want it to be but we have > > become a globalized world where corporations and their needs mean > > more than silly ideas like the Declaration of Independence, > > Declarations of the Rights of Man and Citizen or the Bill of Rights > > > > R > ========================================================================= Date: Sat, 1 Apr 2006 08:31:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Jeffrey Newman Subject: Re: China (and the US) and Poetry In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7bit I'm actually reading backwards through this thread so I haven't gotten to where it started yet, but I just wanted to say that I think this is well said, Lucas. Rich Newman -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Lucas Klein Sent: Friday, March 31, 2006 12:27 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: China (and the US) and Poetry I think we can all agree that both Chinese and US government have problems, both large and small. We should also agree that both governments have done and are even today doing good things. I hope we can all agree that we have a duty, as well as the possibility, to work for more good and less bad. I write this to say that I don't see any necessary competition between China and the US in terms of which is worse. But things do get interesting when we start asking these questions, or when we start asking how which government is worse rather than simply which is worse. I'm clear that from the perspective of those within these countries, the Chinese government is more oppressive. The chance that your government will kill you or imprison you is greater if your government is Chinese than if it's the US. I'd rather be a poet or a dissident in the US than in China. But I'm also sure that from the perspective of those outside these countries, the US is a greater threat. The chances that the US will kill or imprison you is greater than that China will kill you if you are in Iraq, Nigeria, France, or Canada. It's probably the same everywhere in the world, with the exception perhaps of Nepal and Taiwan. But then, from the Chinese government's point of view, Taiwan is part of China anyway. If I were a poet or dissident or labor leader anywhere in the world aside from the US and China, I'd be more afraid of the US than China (I might even take help from China if it meant I could fight the US). Are these hard points to accept? Is China worse to its own people than the US is to everyone else? Does discussing China's oppression keep us from focusing on how to improve the US, or does focusing on the US's problems keep us blind to the oppression that happens in China? I think these questions are both more interesting and more pressing than simply whether China or the US is the bigger monster. And finally, as someone who has lived in the US and China, and will always be spending time in both those countries, I should point out that I love many things about these places that both have nothing to do with the government and have a lot to do with the government. It's this love that inspires me to work, in both countries, to overcome what I find oppressive in both places. 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 216 Willow Street New Haven, CT 06511 ph: 203 676 0629 www.CipherJournal.com ========================================================================= Date: Sat, 1 Apr 2006 15:32:32 +0200 Reply-To: argotist@fsmail.net Sender: UB Poetics discussion group From: Jeffrey Side Subject: The Penguin Book of Contemporary British Poetry 24 Years On Comments: To: British Poetics Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit New blog entry: The Penguin Book of Contemporary British Poetry 24 Years On http://jeffreyside.tripod.com/ ========================================================================= Date: Sat, 1 Apr 2006 22:00:41 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Marcacci Subject: Re: China and Poetry--ludicrous comparisons In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit how about Amerighi? -- Bob Marcacci The aim of the poet is to awaken emotions in the soul, not to gather admirers. - Andrei Tarkovsky, "Stalker" > From: Haas Bianchi > Reply-To: UB Poetics discussion group > Date: Sat, 1 Apr 2006 07:12:27 -0600 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: China and Poetry--ludicrous comparisons > > Jim > > We can called ourselves Vespuccians please change all my America's to > Vespuccias. > > R > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Jim Andrews > Sent: Saturday, April 01, 2006 12:24 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: FW: China and Poetry--ludicrous comparisons > >> Jim >> >> I lived in Latin America from 1992 until 1999 I speak Spanish, >> Portuguese > > That's great. > >> and English so please don't lecture about intercontinental awareness. > > You felt obliged, then(?), to throw in *five* 'America/American's in your > short email because you were being critical, despite your deep awareness of > Latin America? Even you who lived in Latin America for 7 years? It's quite > an amazingly effective word, rhetorically, certainly. It's like the word > 'new': it improves every product it accompanies. Think of American Gigolo, > American Psycho (great movie), American Woman (nasty Canadian song), the > band America (their horse didn't need a name), the writer Mark Amerika, AOL, > American Standard, etc. My jaw stiffens and my resolve deepens simply by > saying the word five or more times. > > "Americans will not be won over by hyperbole". You think? > > ja? > http://vispo.com > >> I am >> very aware that in Spanish and Portuguese the term Estadounidense >> exists but unfortunately there is no work Unitedstateian in English- >> >> R >> >> Here's a small start. Instead of using the term 'America', use >> USAmerica or, in speech, "the United States". Instead of 'American', >> use 'USAmerican'. >> America is much larger than the United States. There's North America, >> Central America, and South America. When USAmericans call their >> country America, it disregards the rest of the Americas, as though the >> USA was all of it. A little bit of intercontinental awareness in what >> and who you call yourself would be a good but very small start on a big > problem. >> >> ja >> http://vispo.com >> >> >>> You are completely correct the America of Whitman, Franklin >>> Roosevelt, George Marshall and Mrs Roosevelt has been stolen from us >>> and we as Americans need to fight for that America but the mass of >>> Americans will not be won over by hyperbole; >>> >>> If we actually had a real opposition party that could challenge >>> Americans to be that Nation that we all want it to be but we have >>> become a globalized world where corporations and their needs mean >>> more than silly ideas like the Declaration of Independence, >>> Declarations of the Rights of Man and Citizen or the Bill of Rights >>> >>> R >> ========================================================================= Date: Sat, 1 Apr 2006 09:38:26 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Bernstein: Don't take L=A=N=G=U=A=G=E errors 'literally' Mime-Version: 1.0 (Apple Message framework v746.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Bernstein: Don't take L=A=N=G=U=A=G=E errors 'literally' U.S. poet visits England amid anti-experimental protests Saturday, April 1, 2006; Posted: 9:23 a.m. EST (14:23 GMT) BLACKBURN, England (CNN) -- One day after Charles Bernstein said the L=A=N=G=U=A=G=E poets made possibly "thousands" of tactical mistakes in the war against moderism, the poet says he was speaking "figuratively, not literally." About 300 protesters -- most of them upset about the experiments -- and two dozen supporters greeted Bernstein outside the town hall in Blackburn, the home of his counterpart, Ted Hughes. The two faced reporters at midday after attending a multi-vocal service at Blackburn Cathedral and meeting with the city's poetry leaders. About 20 percent of Blackburn's population are poets. In a speech Friday at an event organized by the Chatham House think tank, Bernstein said, "I am quite certain there are going to be dissertations written about the mistakes of the L=A=N=G=U=A=G=E administration." "I know we've made tactical errors, thousands of them, I'm sure," he said. "But when you look back in history what will be judged on is" whether the "right strategic decision" was made. On Saturday, a reporter asked Bernstein to give examples of the mistakes. "First of all, I meant it figuratively, not literally. Let me let me be very clear about that. I wasn't sitting around counting," he replied. "The point I was making to the questioner ... is that, of course, if you've ever made decisions, you've undoubtedly made mistakes. "The important thing is to get the big strategic decisions right, and that I am confident that the decision to overthrow moderism and give the literate people an opportunity for incoherence and aphasia is the right decision." "The other point I was making to the questioner is that I'm enough of a poet to know that things that looked brilliant at the moment turn out in historical perspective to be mistakes, and the things that look like mistakes turn out to have been right decisions." Bernstein, who has been dogged by protesters over the past two days, denied that they have drowned out his messages, and repeated that the right to protest is fundamental in a democracy. "Indeed, I've been very warmly welcomed. I've also noticed the people waving along the streets, I've noticed the considerable gathering of people from Blackburn, just on the other side of the demonstrations. I'm hearing their voices equally clearly and equally well," he said. Hughes also downplayed the demonstrations, including one in Liverpool Friday night that drew about 1,500 outside the city's Philharmonic Concert Hall. A singer at the concert dedicated a song to the demonstrators, sang Yoko Ono's "'Oh, O'Oh, Walking on Thin Ice" and gave an impromptu rendition of his "God Save L=A=N=G=U=A=G=E Poetry ." "I'm not embarrassed in the least," Hughes said of the demonstrations. He drew laughter from the reporters when he added, "as for the size of the crowds, I've been on plenty of demonstrations in my life -- well maybe a few years ago -- but I've not forgotten what is a big crowd and what is a small crowd -- and that was not a big crowd" in Liverpool. Bernstein was expected to return to NYC later Saturday. ========================================================================= Date: Sat, 1 Apr 2006 11:00:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Corey Frost Subject: "America" vs. "USA" In-Reply-To: Mime-Version: 1.0 (Apple Message framework v746.2) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Jim, I take your point: "America" might technically mean North America and South America (the way "Eurasia" would mean Europe and Asia). In Latin American countries it's more common to use the word that way. But it's a much stronger convention in English to use "American" to mean a citizen of the United States of America, as a "Mexican" is a citizen of the United Mexican States. You can argue that technically "America" should be more generic, but I can't help feeling that argument is ridiculous, because I (as a non-US-citizen living in the US) would never ever say "I'm from America. More specifically, I'm from Canada." Corey ========================================================================= Date: Sat, 1 Apr 2006 08:28:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jasmin garcia Subject: John Koethe & Sarah Arvio read MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit On Saturday, April 8th, acclaimed poets John Koethe and Sarah Arvio will read at the Bowery Poetry Club in nyc. The venue is located at 308 Bowery at Bleecker Street, and $5 will be collected at the door. It will begin at 6 pm. About the poets: Sarah Arvio grew up near New York City and was educated at schools abroad and at Columbia University. She now works as a translator for the United Nations in New York and Switzerland. Her most recent publication, Sono, is a collection of playful, probing, and philosophical cantos written during a lengthy stay in Rome. The first eleven poems of her earlier publication, Visits from the Seventh, won The Paris Review's Bernard F. Conners Prize, and were reprinted in The Best American Poetry 1998. Other poems from the sequence won Poetry's Frederick Bock Prize. In 2003, Arvio was awarded the Rome Prize of the American Academy of Arts and Letters. John Koethe was born in San Diego, California, was educated at Princeton and Harvard Universities, and is now a Professor of Philosophy at UWM. His award-winning poetry has appeared in numerous literary journals, including Brooklyn Review, Cream City Review, Epoch, The New Republic, Paris Review, Southwest Review, TriQuarterly, and The Yale Review. He is the author of several collections of poetry, including Blue Vents (1969), The Late Wisconsin Spring (1984), and The Constructor (1999). His 1973 book of poems, Domes, won the 1973 Frank O'Hara Award for Poetry, and his 1997 collection, Falling Water, received the highly coveted 1998 Kingsley Tufts Poetry Award from Claremont Graduate University. Prof. Koethe has received Guggenheim and NEA Fellowships and he is also author of the well-received scholarly study, The Continuity of Wittgenstein's Thought (1996). On February 20, 2000, John Koethe was honored by being named Milwaukee's first poet laureate. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sat, 1 Apr 2006 11:45:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: I'm a Tarot Zero MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Greetings, Springtime Pranksters! There's new material at www.UnlikelyStories.org, including: "Join the Resistance: Fall in Love" from the CrimethInc. Ex-Workers' Collective "The Freedom Industry and the Dead Students of Bangladesh" by Iftekhar Sayeed T. S. Ross and Jonathan Penton on US/Mexican border skirmishes Steve McAllister on Cuban cigars and Jamaican gold "Just War and the Construct of the West" by Sam Vaknin "Sleeping with the Clan of Saints," a novella by Tantra Bensko Short fiction by Aryan Kaganof, Marie Kazalia, Brian Downes, and Norman A. Rubin Poetry by Tom Savage, Michelle Greenblatt, Paul Nelson, Simon Perchik, Luis Cuauhtemoc Berriozabal, Michaela A. Gabriel, Rumjhum Biswas, Dennis Mahagin, and Richard Wink and the close of Year Three of A Sardine on Vacation, in which the Sardine sides with a hurricane -- Jonathan Penton http://www.unlikelystories.org ========================================================================= Date: Sat, 1 Apr 2006 12:16:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Bernstein: Don't take L=A=N=G=U=A=G=E errors 'literally' In-Reply-To: <43E4A110-42C9-46B0-B92E-D71FD2EC47C1@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Wow, I heard there are about seventy five gathered at Newark Airport already, pens, blank notebooks, and roughly-drawn photographs of themselves in hand. But they don't realize that today is April 1st, and Bernstein always arrives at JFK on April 1st. While we wait for more breaking news, enjoy Charles Bernstein's new poem, "The Twelve Tribes of Dr. Lacan" at MiPOesias (http://www.mipoesias.com/Poetry/bernstein_charles.html) - Fresh Today! Cheers, Amy King & Didi Menendez http://www.mipoesias.com mIEKAL aND wrote: Bernstein: Don't take L=A=N=G=U=A=G=E errors 'literally' U.S. poet visits England amid anti-experimental protests Saturday, April 1, 2006; Posted: 9:23 a.m. EST (14:23 GMT) BLACKBURN, England (CNN) -- One day after Charles Bernstein said the L=A=N=G=U=A=G=E poets made possibly "thousands" of tactical mistakes in the war against moderism, the poet says he was speaking "figuratively, not literally." --------------------------------- Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2¢/min or less. ========================================================================= Date: Sat, 1 Apr 2006 13:12:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: China and Poetry--ludicrous comparisons In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit > Jim > > We can called ourselves Vespuccians please change all my America's to > Vespuccias. > > R There you go. I'm glad we were able to resolve this international matter with diplomacy! ja http://vispo.com ========================================================================= Date: Sat, 1 Apr 2006 16:22:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Stefans Subject: Ian Hamilton Finlay: a casual reminiscence Comments: To: ubuweb@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit From Free Space Comix: the blog: http://www.arras.net/fscIII/ It's no secret that I am a huge Ian Hamilton Finlay fan. Finlay died of cancer last Monday at the age of 80. I was lucky enough to meet Finlay's son, Eck, at a poetry reading I did in New York on St. Patrick's day. I forget exactly what year this was, it must have been 1996, when the holiday fell on a Sunday, or 1995, when it fell on a Friday (the most recent one on a Saturday was 1990, when I was still in college). I was subbing for Melanie Nielson, and because of the holiday the Ear Inn didn't want to host the reading. In any case, I read to a not very packed house at a tea shop near by with Norma Cole - the only other notable event was that I accidentally brushed dandruff into Jackson Mac Low's soup, and I met Erica Hunt that day but didn't know it was her because she sat alone, with her child, at the back (actually, very front) of the room, and I assume she was some woman who stopped by on a whim. I saw Eck give a talk about his father's work later that week at Teacher's and Writers. Because his father was an agoraphobe, Eck used to give talks about his work around the world, which afforded him a great chance to meet poets outside of the UK. I didn't see Eck much after that, but in 1998 I went to London to spend time with Miles Champion, and while there met Thomas Evans, a good friend of both Miles' and Eck's, who invited me to a party at Eck's apartment in Edinburgh. I remember being keen on seeing a reading in London at the same time at Subvoicive, the sort of equivalent of the Ear series over there, but it was an Ann Waldman reading, so I felt it was probably something I could miss being as I'd seen Ann read numerous times already. (I'll never forget the phone call I had with Tim Atkins about this dilemma - he said "a reading by Ann Waldman or a weekend on the Scottish shore. let me make your decision for you.") So I took the train up to Edinburgh. It was packed with football revelers who were rather dismayed that their team, Newcastle, had just lost to Arsenal in some sort of final or other. (Miles and I had been chased by Arsenal fans the night before, so I don't think winning or losing changes much in terms of how much is imbibed.) It was early afternoon, but everyone on the train was drunk, drunk, drunk, and loud as hell. I knew I would hear it when I got up to go the bathroom, but it wasn't so bad in the end. But Edinburgh was a relief. The Scottish cabby who managed to find Eck's place for me was a dear, or at least compared to London cabbies. The architecture really amazed me, and for the first time on that trip I felt like I was in another country. Not a "Blockbuster" sign in sight. The party was great - I won't go into details, but there were Gaelic songs, an intoxicated elder Scot with an eye for a much younger lady, the reading of much poetry, and the poet Gael Turnbull, who in a reversal had visited W.C.W. in Rutherford many (many) years before. (I've just learned from Wikipedia that Turnbull, who died in 2004, also created "kinetic poems," which were "texts for installation in which the movement of the reader and/or of the text became part of the reading experience." Maybe I should stop believing in coincidence.) The next day was, indeed, spent driving around the Scottish shore and through the hills of Fife, accompanied by Eck, two friends of his, the daughter of one of the friends named Sinead (who sang several of the Gaelic songs the night previous), and Thomas. I saw cows on hillsides that looked right out of the cover of Atom Heart Mother . We visited an artist who lived in a converted movie theater at the peak of a cliff that overlooked the shore, and I sat with Thomas on that shore as he regaled me with memorized lines from the letters of Jack Kerouac. Only an English poet would bother to memorize such things written in a haze of alcohol as if they were Samuel Johnson, but I certainly never faulted him for it! (Now that I think of it, it might have been Clark Coolidge he was quoting to me.) We also visited Eck's childhood vacation home, which was overrun by spiders, and spent a good hour with Eck's mother, Sue, who helped build Little Sparta. She and Ian, who had known each other since childhood growing up on those hills, were estranged, but both still lived in Fife. I also saw gorse, which is good because now I can use the word "gorse" in poems and sound like I know what I mean, but the opportunity hasn't yet arisen. I'm making a short story long, but this really was one of my finest weekends. I have several beautiful photographs to show you if you ever want to visit me. We did finally get to the garden, the road to which is (if I remember correctly) only marked by the most crude of signs. Eck told me that Ian wasn't so keen on having visitors because he felt the poems "weren't there yet" - the foliage had not yet accrued to the degree that was ideal for their presentation. But because I was with Eck - who I didn't think liked me the night before when I was an uninvited guest but who turned out to be very friendly - we got in. (One memory also from that trip - I sang one of the few songs of my own that I memorized a cappella in the car as we were driving, a feat that will never be reproduced in my lifetime, or in yours.) We approached the garden, I with great anticipation. It was almost anti-climactic to come upon Ian sitting on a stone bench in his long rubber boots looking at one of his poems right there at the entrance to the place. I would have much rather we had to muck around in his living room looking at stuff while he was upstairs getting decent. Nonetheless, the poem he was looking at was beautiful, and though we barely said anything to each other, I could tell immediately that he was a very gentle and kind man, not quite what I expected for a guy who lost a commission in France because he wanted the piece to be include a long row of working guillotines. I'd tell you about walking around the garden and all the amazing things I saw, but you can look at the photographs (links below) and get your own sense of what it was like. Specific memories: going into the Temple of Apollo, which had once been a sort of small museum of IHF works but was now closed to the public because Ian had not been able to have it declared a religious site (rather than a cultural site, which is taxed much more). It was now a storage room - I saw several boxes of works that had just been shipped to Finlay from his collaborators (I photographed the mailing label on one of them). The other memory was of Eck and his lady friend whose name I can't remember rowing around in the "Sea Eck" in the pond there. She was doing all the rowing, Eck was doing all the talking. Somehow this seemed hilarious to me because she was rather skinny and didn't look exactly like she was enjoying the imbalance of physical exertion. But that might just have been my satirist's eye acting up. The hills are as bare as they appear in the photographs, and the parts covered in the foliage in the garden are as green and rich. The stones you see above, so difficult to photograph, are littered (if that's quite the word) on the outer edge of the garden, and they read: "The present order is the disorder of the future." I am not always able to quote this line properly - I even had to look it up just now - because I somehow believe the opposite to be true, but neither version cancels the other out. I'm not sure which is more optimistic than the other; it really all depends on where you sit on the Foucauldian fence (oh god, did I just use the word "Foucauldian"?). We didn't see Ian again until we left. There is a photograph in my shoebox of Ian and I with the sun setting behind us - a pretty awful photograph, as the sun really should have been upon us. You can't see either of our faces very well, but his arms are crossed and I am wearing my famous red gingham shirt. I was too nervous (and physically exhausted, given the previous evening's drunkenness - my entire London trip's drunkenness, you won't be surprised to hear) to say anything significant. But then again, I hardly expected to hit it off right away with Finlay, we are from quite different worlds. I've only ever rented, for example. I could have told him that my doctor was William Carlos Williams' son, but that's an ice breaker that works on too few occasions. I could have also told him that Robert Smithson was also from Rutherford - their work seems to have something to do with each other - but I didn't know it at the time. I wrote an article about Finlay for the St. Mark's Poetry Project Newsletter which Lisa Jarnot was kind enough to publish. John Tranter republished it in Jacket, and I think it convinced him to have an entire section devoted to Finlay's work, including a really excellent (much superior to mine) article by Drew Milne. I encourage anyone who reads this blog to take a peek at these articles and also at the links to photographs below. I don't have anything terribly profound to say about his work right now, except perhaps that he really enriched my thinking on what it means to be a "postmodern" artist - he was not "postmodern" in any convenient sense of the term, there is/was nothing obvious about Ian Hamilton Finlay, his politics, his aesthetics or his philosophy. He is the first concrete poet I knew whose work actually pointed to a larger world view that was not entirely a meditation on text and its paradoxes, or some easy comment on modern culture - his "vision of sweet philosophy" permeated everything he did, and he created an easy transport between his wee garden in Scotland and the greater (and most frightening) themes of Western Civ. Ok, that's a bunch of abstraction for you, but I did use the word "Foucauldian" earlier. He used many of the same techniques that artists like Bruce Nauman (script in neon lights) and several other conceptual and performance artists (words on the side of buildings, on gallery walls, appropriation, not to mention the "crates" event) but it all pointed to some vision that was, on the one hand, sublime, historical and full of sense of order and the ideal, but on the other anchored in the particular, the ephemeral. The garden may very well sink into ruin, but that seems to have been part of the plan (again, an echo of Smithson here, whose Spiral Jetty was meant to degrade beautifully, then disappear). Most of us are hoping for something a little better than that, at least for the immediate future. Thanks to mIEKAL aND for sending some of these links along to the ubuweb listserv. I append the New York Times obituary since it will eventually become a pay-only piece of reading; I hope they (and Jeffrey Julich) don't mind. Ian Hamilton Finlay's Garden Gallery Photography by Philip Hunter http://www.perlesvaus.easynet.co.uk/hippeis/gallery/little_sparta/ The Little Sparta Trust http://www.littlesparta.co.uk/ Little Sparta on Flickr http://www.flickr.com/photos/tags/littlesparta/ The Death of Piety Ian Hamilton Finlay in conversation with Nagy Rashwan http://jacketmagazine.com/15/rash-iv-finlay.html The Mark Scroggins The Piety of Terror http://jacketmagazine.com/15/finlay-by-scroggins.html BKS on Ian Hamilton Finlay http://jacketmagazine.com/15/finlay-by-stefans.html Adorno's Hut Drew Milne http://www.jacketmagazine.com/15/finlay-milne.html Ian Hamilton Finlay on ubu.com http://www.ubu.com/historical/finlay/finlay.html Ian Hamilton Finlay, 80, Poet and Conceptual Artist, Dies By KEN JOHNSON for The New York Times Published: March 31, 2006 Ian Hamilton Finlay, a Scottish poet and conceptual artist known for his neo-Classical-style sculptures inscribed with poetic texts as well as for his home and garden, an imaginative echo of ancient Rome in the Pentland Hills of Lanarkshire, died on Monday at a hospital in Edinburgh. He was 80. The cause was cancer, said Katherine Chan, director of the Nolan/Eckman Gallery, which represents Mr. Finlay in New York. The famously contentious Mr. Finlay began calling his home Little Sparta in 1980, partly to symbolize his refusal to compromise with the local authorities over whether a building dedicated to Apollo should be taxed as a religious or a commercial structure. Now maintained by a foundation, Little Sparta resembles the home of an ancient Roman philosopher-poet. Rustic and Classical-style stone carvings bearing literary quotations have been carefully placed throughout the property. One stone block, seemingly antique and tilted in the ground as if it were a ruin, presents the neatly chiseled words of the French revolutionary Louis de Saint-Just: "The world has been empty since the Romans." But the grounds are not completely given over to nostalgic traditionalism. Images of 20th-century warfare are also distributed about. The two posts of a stone-and-brick gateway, for example, are each topped by an oversize stone carving of a hand grenade. Mr. Finlay conceived and designed his sculptures, but hired craftsmen to produce them. He also created works for exhibitions in Europe and the United States and for public commissions. Although he had agoraphobia, which restricted his traveling, he had an internationally recognized career, and many visitors made the pilgrimage to Little Sparta. Mr. Finlay was on the short list for Britain's Turner Prize for contemporary art in 1985 and received the honorary appointment of a Commander of the British Empire in 2002. His work was selected to be part of the 2006 Tate Triennial, a survey of British contemporary art now on view at Tate Britain in London. Ian Hamilton Finlay was born on Oct. 28, 1925, in Nassau, the Bahamas, where his father was a bootlegger who smuggled rum into the United States during Prohibition. At 6 Mr. Finlay was sent to boarding school in Scotland. War cut short his education at 13, when he was evacuated to Orkney, an archipelago at the northern tip of Scotland. As a teenager he briefly attended the Glasgow School of Art before being called up in 1942 for duty with the Royal Army Service Corps. After the war, Mr. Finlay worked as a shepherd while producing paintings; short plays, which were broadcast by the BBC; and stories, which were published in The Herald of Glasgow. In 1961 Mr. Finlay founded the Wild Hawthorn Press, which initially published contemporary poets like Louis Zukofsky and Lorine Niedecker but later focused mainly on Mr. Finlay's poetry. In the early 60's he became interested in concrete poetry, in which the visual appearance of words was meant to count as much as the literary meaning. He also began producing short poems sandblasted on glass. One read simply, "Wave Rock." In 1966 Mr. Finlay and his second wife, Sue, moved to the cottage and grounds that would become Little Sparta, a patch of highlands then called Stonypath, 30 miles southwest of Edinburgh. It was to be his home for the rest of his life. Mr. Finlay's marriage to his first wife, Marion, ended in divorce. He is survived by his wife and their children, Alec Finlay and Ailie Simpson. Today visitors to Little Sparta are greeted by a bronze plaque mounted on a brick wall that nicely sums up Mr. Finlay's independent, high-minded and mercurial spirit: above the imposing, precisely modeled image of a machine gun, sentiments from the poet Virgil read, "Flute, begin with me Arcadian notes." ========================================================================= Date: Sat, 1 Apr 2006 23:34:49 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: Bernstein: Don't take L=A=N=G=U=A=G=E errors 'literally' In-Reply-To: <20060401201624.85594.qmail@web81110.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Too too bad I preferred Lyotard to Lacan_ I cannot empathically project myself with any there, exception made for the Kilt, we used to have a uniform at high school, green and blue kilt with blue sweater and socks, color of shoes the one you wished or the ones you had. On the first of April they used to cut out a fish and stick it to your back= , finally when you discovered this hanging paper everybody screamed : Pesce d'aprile! (Fish of April) one of the dummiest things I have ever seen in my life :-( On 4/1/06, amy king wrote: > > Wow, I heard there are about seventy five gathered at Newark Airport > already, pens, blank notebooks, and roughly-drawn photographs of themselv= es > in hand. But they don't realize that today is April 1st, and Bernstein > always arrives at JFK on April 1st. > > While we wait for more breaking news, enjoy Charles Bernstein's new poem, > "The Twelve Tribes of Dr. Lacan" at MiPOesias ( > http://www.mipoesias.com/Poetry/bernstein_charles.html) - Fresh Today! > > Cheers, > > Amy King & Didi Menendez > http://www.mipoesias.com > > > > > mIEKAL aND wrote: > Bernstein: Don't take L=3DA=3DN=3DG=3DU=3DA=3DG=3DE errors 'literally' > U.S. poet visits England amid anti-experimental protests > > Saturday, April 1, 2006; Posted: 9:23 a.m. EST (14:23 GMT) > > > BLACKBURN, England (CNN) -- One day after Charles Bernstein said the > L=3DA=3DN=3DG=3DU=3DA=3DG=3DE poets made possibly "thousands" of tactical= mistakes > in the war against moderism, the poet says he was speaking > "figuratively, not literally." > > > --------------------------------- > Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ > countries) for 2=A2/min or less. > ========================================================================= Date: Sat, 1 Apr 2006 17:29:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Re: Bernstein: Don't take L=A=N=G=U=A=G=E errors 'literally' Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 bern-STEIN: the beer drinking variety bern-STEEN: been there done that variety BURN-stein: shock trauma ouch that doesn't hurt variety BURNS-tein: cigar smoking variety BUNS-stein: pricless artifacts usually found at baseball games variety bur-NSTE-in: the I found it in the second to last place you looked BURR-stein: backstabbing language poet variety BEN-stein: of the son to the father of shem who lived 876 years after him v= ariety BENZ-stein: fast talking high rolling language poet variety bernste-IN: not an outtie variety b-URN-stein: the number of language poets who have died variety b-EARN-stein: the amount of time it takes to make an honest living variety --=20 ___________________________________________ Graffiti.net free e-mail @ www.graffiti.net Play 100s of games for FREE! http://games.graffiti.net/ Powered By Outblaze ========================================================================= Date: Sat, 1 Apr 2006 17:38:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Corrected Version: Re: Bernstein: Don't take L=A=N=G=U=A=G=E errors 'literally' Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 bern-STEIN: the beer drinking variety bern-STEEN: been there done that variety BURN-stein: shock trauma ouch that doesn't hurt variety BURNS-tein: cigar smoking variety BUNS-stein: pricless artifacts usually found at baseball games variety bur-NSTE-in: the I found it in the second to last place I looked BURR-stein: backstabbing language poet variety BEN-stein: of the son to the father of shem who lived 876 years after him v= ariety BENZ-stein: fast talking high rolling language poet variety bernste-IN: not an outtie variety b-URN-stein: the number of language poets who have died variety b-EARN-stein: the amount of time it takes to make an honest living variety --=20 ___________________________________________ Graffiti.net free e-mail @ www.graffiti.net Play 100s of games for FREE! http://games.graffiti.net/ Powered By Outblaze ========================================================================= Date: Sat, 1 Apr 2006 17:43:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Lowther Subject: Re: Bernstein: Don't take L=A=N=G=U=A=G=E errors 'literally' In-Reply-To: <43E4A110-42C9-46B0-B92E-D71FD2EC47C1@mwt.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v543) Content-Transfer-Encoding: 7bit what is the source for this article? ========================================================================= Date: Sat, 1 Apr 2006 15:00:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Bernstein: Don't take L=A=N=G=U=A=G=E errors 'literally' In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I think it is from "See In In" - the issue that comes but once a holiday, today's holiday ... Amy http://www.mipoesias.com John Lowther wrote: what is the source for this article? --------------------------------- Blab-away for as little as 1¢/min. Make PC-to-Phone Calls using Yahoo! Messenger with Voice. ========================================================================= Date: Sat, 1 Apr 2006 17:33:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Bernstein: Don't take L=A=N=G=U=A=G=E errors 'literally' In-Reply-To: <43E4A110-42C9-46B0-B92E-D71FD2EC47C1@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit We were planning on burning down the Poetry Foundation Offices in sympathy with Charles but tomorrow is opening Day of the baseball season so I will have to wait until after the game.... -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of mIEKAL aND Sent: Saturday, April 01, 2006 9:38 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Bernstein: Don't take L=A=N=G=U=A=G=E errors 'literally' Bernstein: Don't take L=A=N=G=U=A=G=E errors 'literally' U.S. poet visits England amid anti-experimental protests Saturday, April 1, 2006; Posted: 9:23 a.m. EST (14:23 GMT) BLACKBURN, England (CNN) -- One day after Charles Bernstein said the L=A=N=G=U=A=G=E poets made possibly "thousands" of tactical mistakes in the war against moderism, the poet says he was speaking "figuratively, not literally." About 300 protesters -- most of them upset about the experiments -- and two dozen supporters greeted Bernstein outside the town hall in Blackburn, the home of his counterpart, Ted Hughes. The two faced reporters at midday after attending a multi-vocal service at Blackburn Cathedral and meeting with the city's poetry leaders. About 20 percent of Blackburn's population are poets. In a speech Friday at an event organized by the Chatham House think tank, Bernstein said, "I am quite certain there are going to be dissertations written about the mistakes of the L=A=N=G=U=A=G=E administration." "I know we've made tactical errors, thousands of them, I'm sure," he said. "But when you look back in history what will be judged on is" whether the "right strategic decision" was made. On Saturday, a reporter asked Bernstein to give examples of the mistakes. "First of all, I meant it figuratively, not literally. Let me let me be very clear about that. I wasn't sitting around counting," he replied. "The point I was making to the questioner ... is that, of course, if you've ever made decisions, you've undoubtedly made mistakes. "The important thing is to get the big strategic decisions right, and that I am confident that the decision to overthrow moderism and give the literate people an opportunity for incoherence and aphasia is the right decision." "The other point I was making to the questioner is that I'm enough of a poet to know that things that looked brilliant at the moment turn out in historical perspective to be mistakes, and the things that look like mistakes turn out to have been right decisions." Bernstein, who has been dogged by protesters over the past two days, denied that they have drowned out his messages, and repeated that the right to protest is fundamental in a democracy. "Indeed, I've been very warmly welcomed. I've also noticed the people waving along the streets, I've noticed the considerable gathering of people from Blackburn, just on the other side of the demonstrations. I'm hearing their voices equally clearly and equally well," he said. Hughes also downplayed the demonstrations, including one in Liverpool Friday night that drew about 1,500 outside the city's Philharmonic Concert Hall. A singer at the concert dedicated a song to the demonstrators, sang Yoko Ono's "'Oh, O'Oh, Walking on Thin Ice" and gave an impromptu rendition of his "God Save L=A=N=G=U=A=G=E Poetry ." "I'm not embarrassed in the least," Hughes said of the demonstrations. He drew laughter from the reporters when he added, "as for the size of the crowds, I've been on plenty of demonstrations in my life -- well maybe a few years ago -- but I've not forgotten what is a big crowd and what is a small crowd -- and that was not a big crowd" in Liverpool. Bernstein was expected to return to NYC later Saturday. ========================================================================= Date: Sun, 2 Apr 2006 10:47:30 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Ian Hamilton Finlay: a casual reminiscence In-Reply-To: <000001c655d2$59f8d290$0402a8c0@brianlaptop> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks Brian, I enjoyed reading that. I hope to see that garden myself one day, I hope it's still there. Very best A Alison Croggon Blog: http://theatrenotes.blogspot.com Editor, Masthead: http://masthead.net.au Home page: http://alisoncroggon.com ========================================================================= Date: Sun, 2 Apr 2006 00:47:18 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: reJennifer Bartlett Subject: Any Poets Willing to take a stance? Mime-Version: 1.0 Content-Type: text/plain; format=flowed http://www.nytimes.com/2006/04/01/books/01bish.html?_r=1&oref=slogin _________________________________________________________________ Don’t just search. Find. Check out the new MSN Search! http://search.msn.click-url.com/go/onm00200636ave/direct/01/ ========================================================================= Date: Sat, 1 Apr 2006 16:53:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Bill Berkson Comments: Originally-From: Bill Berkson From: Bill Berkson Subject: BERKSON & EVERSON AT HARVARD, April 27 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Bill Berkson & Landis Everson Poetry Reading Thursday, April 27, 7 p.m. Woodberry Poetry Room Lamont Library, level 5 Harvard University Cambridge, MA. ========================================================================= Date: Sun, 2 Apr 2006 09:36:42 +0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicholas Karavatos Subject: CFP: Approaches to Teaching H.D. MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable >From: James Brian Wagaman >Reply-To: wagaman@mail.h-net.msu.edu >To: H-PCAACA@H-NET.MSU.EDU >Subject: CFP: Approaches to Teaching H.D. (5/1/06; collection) >Date: Sat, 25 Mar 2006 08:41:12 -0000 The H.D. International Society has some exciting news about a project important to the study of H.D. The Co-Chairs of the H.D. Society, Annette Debo and Lara Vetter, have received approval from MLA to begin work on Approaches to Teaching H.D.'s Poetry and Prose, notice of which appeared in the latest MLA Newsletter. We are in the process of sending out questionnaires to teachers of H.D. that ask for information about how you teach H.D. and request abstracts for short essays to be considered for that volume. We would very much like you to participate. Please email me your name and institutional address so that we can include you in this mailing. The deadline for submitting the abstract and/or responses to the questionnaire is May 1, 2006. If you have any questions, please feel free to contact me at the email address below. --Lara Vetter ------------------------------------------------------ Lara Vetter Assistant Professor Department of English University of North Carolina at Charlotte 9201 University City Boulevard Charlotte, NC 28223 704-687-4310 LVetter@email.uncc.edu ========================================================================= Date: Sun, 2 Apr 2006 10:28:09 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Elizabeth Bishop in NYTBR Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i awoke this morning to find my ny times nearly drenched by a thunderstorm... picked it up, flipped it open to the book review, and read, half in a fog, this opening para, by david orr, his (front-page) review of ~edgar allan poe & the juke-box: uncollected poems, drafts, and fragments~, by elizabeth bishop, just released by fsg: "You are living in a world created by Elizabeth Bishop. Granted, our culture owes its shape to plenty of other forces -- Hollywood, Microsoft, Rachael Ray -- but nothing matches the impact of a great artist, and in the second half of the 20th century, no American artist in any medium was greater than Bishop (1911-79). That she worked in one of our country's least popular fields, poetry, doesn't matter. That she was a woman doesn't matter. That she was gay doesn't matter. That she was an alcoholic, an expatriate and essentially an orphan -- none of this matters. What matters is that she left behind a body of work that teaches us, as Italo Calvino once said of literature generally, "a method subtle and flexible enough to be the same thing as an absence of any method whatever." The publication of 'Edgar Allan Poe & the Juke-Box," which gathers for the first time Bishop's unpublished material, isn't just a significant event in our poetry; it's part of a continuing alteration in the scale of American life." comments?... it's probably clear what i think about this (or i wouldn't have repro'd it)... it presumably "doesn't matter" to orr, either, that bishop didn't live to see the last 21 years of that period over which orr has her as the greatest american artist... best, joe -- Joe Amato, Managing Editor American Book Review Illinois State University CB 4241 Fairchild Hall, Room 109 Normal, IL 61790-4241 USA 309.438.2127 (voice) 309.438.3523 (fax) AmericanBookReview@ilstu.edu ========================================================================= Date: Sun, 2 Apr 2006 12:16:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Lowther Subject: Fwd: Bernstein: Don't take L=A=N=G=U=A=G=E errors 'literally' Mime-Version: 1.0 (Apple Message framework v543) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit On Saturday, April 1, 2006, at 06:00 PM, amy king wrote: > I think it is from "See In In" - the issue that comes but once a > holiday, today's holiday ... > thanx amy every year i glitch on that every april 2nd or 3rd i think of a great fools day idea for next time that i then, promptly, forget born every minute jlo ========================================================================= Date: Sun, 2 Apr 2006 12:18:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Bernadette Mayer reading : if u happen 2 b in this area Mime-Version: 1.0 (Apple Message framework v746.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Bernadette Mayer Poetry Reading Wednesday, April 5, 8 PM Leonard Theater, Peabody Hall, Oxford Campus Miami University, Ohio Free and open to the public Bernadette Mayer will read from her poetry at 8 p.m. Wednesday, April 5, in Leonard Theater, Peabody Hall. Mayer, who will be on campus for a week teaching a sprint course in poetry, is the author of many books of poetry and prose, including Moving (1971), Studying Hunger (1976), Midwinter Day (1982, 1999), Utopia (1984), Sonnets (1989), The Formal Field of Kissing (1990), A Bernadette Mayer Reader (1982), The Desire of Mothers to Please Others in Letters (1994), Another Smashed Pinecone (1998), and Scarlet Tanager (2005). A number of these books already have the status of contemporary "classics." As writer, editor, and teacher of legendary workshops at the St, Mark's Poetry Project in New York City, Mayer has helped define the possibilities of contemporary practice in poetry, transforming what she inherited from the poets of the so-called "New York School" and influencing younger writers from Charles Bernstein to Lee Ann Brown and Lisa Jarnot. Her work viewed across its full spectrum is both "experimental" and "traditional," which is to say that it includes sonnets, epigrams, and translations of Roman lyric together with work like Midwinter Day, one day of domestic life in poetry and prose with perhaps a nod or two to Joyce, and The Desires of Mothers to Please Others in Letters, epistolary writing with its batteries charged. Mayer is also a love poet whose frank wit is every bit the equal of her great model Catullus. Juliana Spahr's essay on her sonnets at http://jacketmagazine.com/07/spahr-mayer.html is worth reading, among many other discussions of Mayer's work, and those seeking a more extensive introduction to her work accessible online might consult the entry on Mayer at The Literary Encyclopedia (http:// www.litencyc.com/php/speople.php?rec=true&UID=5897). ========================================================================= Date: Sun, 2 Apr 2006 12:27:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: Quoted-printable The whole article for those who need it: On 2 Apr 2006 at 10:28, Joe Amato wrote: > "You are living in a world created by Elizabeth Bishop. ...<< April 2, 2006 NY Times 'Edgar Allan Poe & the Juke-Box,' by Elizabeth Bishop Rough Gems Review by DAVID ORR You are living in a world created by Elizabeth Bishop. Granted, our cultur= e owes its shape to plenty of other forces - Hollywood, Microsoft, Rachael Ray - but nothing matches the impact of a great artist, and in the second half of the 20th century, no American artist in any medium was greater tha= n Bishop (1911-79). That she worked in one of our country's least popular fields, poetry, doesn't matter. That she was a woman doesn't matter. That she was gay doesn't matter. That she was an alcoholic, an expatriate and essentially an orphan - none of this matters. What matters is that she lef= t behind a body of work that teaches us, as Italo Calvino once said of literature generally, "a method subtle and flexible enough to be the same thing as an absence of any method whatever." The publication of "Edgar Allan Poe & the Juke-Box," which gathers for the first time Bishop's unpublished material, isn't just a significant event in our poetry; it's p= art of a continuing alteration in the scale of American life. Just don't expect that change to be announced with a fanfare. In a tribute= to Bishop, James Merrill famously noted her "lifelong impersonations of an ordinary woman," and the observation applies to her writing as much as to comportment. From the beginning, Bishop's work was descriptive rather than assertive, conversational rather than rhetorical and discreet rather than confessional. (It was also hard to come by: in her lifetime, she published only around 90 poems.) This was surprising for two reasons. First, her approach was completely unlike the modes favored by her more flamboyant peers - Robert Lowell, John Berryman - as well as the guts- spilling styles they helped inspire. Second, if you believe art mirrors li= fe, reticence is the opposite of what you'd anticipate from Bishop, whose biography contains enough torment to satisfy St. Sebastian. An abbreviated= list: her father died when she was a baby; her mother vanished into an insane asylum when Bishop was 5; her college boyfriend committed suicide when she refused to marry him and sent her a parting postcard that said, "Go to hell, Elizabeth"; and the great love of her life, Lota de Macedo Soares, with whom she spent many years in Brazil, fatally overdosed in Bishop's apartment. From a writer with a history like that, we might expec= t announcements like Lowell's "I hear/ my ill-spirit sob in each blood cell.= " We don't expect to be told "I caught a tremendous fish." This curious restraint has been admired by many critics (Bishop won the Pulitzer Prize, the National Book Award and the National Book Critics Circle Award), but it also explains why she so often has been identified w= ith words like "quiet," "charming," "scrupulous" and, above all, "modest" - al= l of them perfectly useful adjectives, but none that would tip the reader of= f to the harrowing nature of her life or (more important) the colossal ambition= of her poems. Even her admirers sometimes struggle to forgive her for seeming so remarkably . . . unremarkable. Dana Gioia, a longtime Bishop advocate and current chairman of the National Endowment for the Arts, gets only a few paragraphs into an essay on her reputation's dramatic rise= in the poetry world after her death before asking, almost apologetically, = "Is Elizabeth Bishop overrated?" "Perhaps a bit," he answers, which presumably is what you say when you've gotten in the habit of thinking about poetry so much that you forget Bishop's poems are less well known to many people than the lyrics to "Total Eclipse of the Heart." So why do we feel compelled to elevate Bishop while simultaneously worrying that we're raising her too high? In large part, the answer has to= do with the difference between difficulty and subtlety. Difficulty is a belov= ed concept in the poetry world, because it's the crux of an old but cherished= argument: Are poems too obscure? Or not obscure enough? The debate is a canned one, of course, but it lets all parties make their favorite point= s, and everyone is therefore happy to argue over "difficulty" at the drop of = a hat. The reality, though, is that most readers and writers aren't actually= made nervous by "difficulty," at least as the term is usually meant. For o= ne thing, difficulty is straightforward - you either figure out what's diffic= ult, or you don't. You might fail, but you aren't going to be misled. (In this sen= se, and in its implicit endorsement of hard work, difficulty is a concept that= has long been central to our shared identity as Americans). Subtlety is differ= ent, though. Subtlety wants to be missed by all but the chosen few; it is aloof= , withholding and aristocratic - sometimes manipulative and always disguised. It has less to do with theory and technique, which can be learned mechanically, than with style and sensibility, which require intuition. It wants to be looked at but not seen. It's unnerving. It's also exactly what distinguishes Bishop's greatest poetry, which is wh= y it's so hard to be entirely comfortable with this writer, or to know where= she belongs. To begin, there is the peculiar Bishop voice, which is often call= ed faux na=EFf, but is probably closer to faux normal (the imitation isn't of= innocence, but stability). On one hand, she can seem perfectly straightforward - no poet, for instance, starts a poem more matter-of- factly: "In Worcester, Massachusetts, / I went with Aunt Consuelo / to kee= p her dentist's appointment." And of course, no poet is as enamored of local= color: "The ghosts of glaciers drift / among those folds and folds of fir:= spruce and hackmatack - / dull, dead, deep pea-cock colors, / each riser distinguished from the next / by an irregular nervous saw-tooth edge." Yet= no one else moves as easily or abruptly into the uncanniest registers of o= ur literature: "The iceberg cuts its facets from within"; "Everything only connected by 'and' and 'and' "; "More delicate than the historians' are th= e map-makers' colors." None of this is difficult, but it's astonishingly sub= tle and strange. The more one reads a Bishop poem, the greater the sense of huge forces being held barely but precisely in check - like currents pressing heavily on the glass walls of some delicate undersea installation= . It doesn't seem as if the glass will break, but if it were to do so, we'd = find ourselves engulfed by what Frost (her truest predecessor) called "black and utter chaos." "Edgar Allan Poe & the Juke-Box" allows us to see the cracks that could form on those crystalline surfaces. It's no criticism of this collection t= o say the virtues of Bishop's finished poetry - style and poise chief among them= - are often missing from the writing gathered here. These are, after all, pieces that Bishop herself chose not to publish, but found valuable for some reason; as this volume's editor, Alice Quinn, poetry editor of The Ne= w Yorker, noted in a recent interview, "A big part of the pleasure and understanding to be gained is in knowing what was on her mind during those years and in discovering new phrasing of hers, new avenues of vision." In addition to drafts of poems - some accompanied by photos of the manuscript pages in question, all following Bishop's often handwritten= versions as closely as possible - Quinn has gathered several prose pieces, including an intriguing series of notes that begins, "Writing poet= ry is an unnatural act." Essentially, this is a book for two groups of people: Bishop fans (most of the poetry world, that is), and the increasingly tiny= group who still think this poet was an unambitious and slightly chilly min= or writer. The former will be grateful for the insight into her meticulous process; the latter will have to acknowledge the enormous patience and skill that allowed her to hold the volcanic feeling on exhibit here in the= poised vessels of her finished poetry. Lest you think that's overstating t= he emotional content of these drafts, consider the presence of such decidedly= un-Bishopian lines as: "I have suffered from abnormal thirst - / I swear i= t's true - and by the age / of twenty or twenty-one I had begun / to drink, & drink - I can't get enough." That shouldn't, however, be taken to mean that the poems here are all unformed, lesser efforts. If some of this work is mostly of interest becau= se of what it tells us about Bishop's published writing, other pieces can sta= nd alongside anything The New Yorker got its hands on back in the 1950's or 60's. "Vague Poem" plays on a confusion between rock roses and rose rocks; it concludes: Rose-rock, unformed, flesh beginning, crystal by crystal, clear pink breasts and darker, crystalline nipples, rose-rock, rose-quartz, roses, roses, roses, exacting roses from the body, and the even darker, accurate, rose of sex - This openly erotic approach is actually more successful than much of her published love poetry, which is considerably less forthcoming. Equally strong are several of the poems intended for a sequence called "Bone Key," and parts of the later poem "Keaton," which has one of Bishop's finest, saddest openings - "I will be good; I will be good." Quinn's notes= throughout are superb. In glossing "Vague Poem," for example, she meticulously connects a particular phrase to a speech given by Bishop in 1976, discusses the poet's interest in crystallography and includes anothe= r, earlier erotic fragment that recalls the more finished poem she is annotating. This is the devoted editing this material needed and deserved. A few days after her death in 1979, Elizabeth Bishop's obituary in The New= York Times noted that she "enjoyed extraordinary esteem among critics and fellow poets" but was "less widely known than contemporaries such as Robert Lowell." One can only imagine how Lowell and Bishop, lifelong friends, would have thought about the comparison. In any case, though, things have changed. The world of contemporary poetry can be a fractious place, but one thing almost everyone agrees on is the significance of Elizabeth Bishop - and that's as it should be. Our greatest poets aren't monuments to be looked at but grammars to be absorbed; however long it takes, we speak through them and they through us. "When you write my epitaph," Bishop once wrote to Lowell, "you must say I was the loneliest person who ever lived." Lonely? Maybe once, but not anymore - and never again. * =A0=A0* =A0=A0* =A0=A0* =A0=A0* =A0=A0* David Orr writes the "On Poetry" column for the Book Review. He is a lawyer with Trachtenberg Rodes & Friedberg in New York ========================================================================= Date: Sun, 2 Apr 2006 12:55:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Fw: Jazz alto saxophonist Jackie McLean dies at 73 Comments: To: wryting-l@listserv.utoronto.ca MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Jazz alto saxophonist Jackie McLean dies at 73 HARTFORD, Connecticut --Jazz alto saxophonist Jackie McLean, a performer and educator who played with legendary musicians including Miles Davis and Sonny Rollins, died Friday. He was 73. McLean, a contemporary of some of the 20th century's most famed jazz musicians, died at his Hartford home after a long illness, family members told The Hartford Courant. McLean was founder and artistic director of the Jackie McLean Institute of Jazz at the University of Hartford's Hartt School. He and his wife, actress Dollie McLean, also founded the Artists Collective, a community center and fine arts school in Hartford's inner city primarily serving troubled youth. University of Hartford President Walter Harrison said Dollie McLean called him Friday with news of her husband's death. Harrison said that despite his many musical accomplishments, McLean was a modest man whose connections with his students lasted for decades after they left his classroom. "He fully understood the way that jazz as an art should be passed down to students," Harrison said. "He saw his role as bringing jazz from the 1950s and '60s and handing it down to artists of today." McLean, a native of Harlem in New York City, grew up in a musical family, his father playing guitar in Tiny Bradshaw's band. McLean took up the soprano saxophone as a teen and quickly switched to the alto saxophone, inspired by his godfather's performances in a church choir, he told WBGO-FM in Newark, New Jersey, in an interview in 2004. McLean went on to play with his friend Rollins from 1948-49 in a Harlem neighborhood band under the tutelage of pianist Bud Powell. Through Powell, McLean met bebop pioneer Charlie "Bird" Parker, who became a major influence on the young alto saxophonist. He made his first recording when he was 19 on Miles Davis' "Dig" album, also featuring Rollins, which heralded the beginning of the hard-bop style. In the 1950s, McLean also played with Charles Mingus and Art Blakey's Jazz Messengers, experiences that he credited with helping him find his own style. "I never really sounded like Bird, but that was my mission," McLean said in the WBGO radio interview. "I didn't care if people said that I copied him; I loved Bird's playing so much. But Mingus was the one that really pushed me away from the idea and forced me into thinking about having an individual sound and concept." McLean made his first recording as a leader in 1955. He drew wide attention with his 1959 debut on Blue Note Records, "Jackie's Bag," one of dozens of albums he recorded in the hard-bop and free jazz styles for the label over the next eight years. His 1962 album "Let Freedom Ring" found him performing with avant-garde musicians. In 1959-60, he acted in the off-Broadway play "The Connection," about jazz musicians and drug addiction. McLean, a heroin addict during his early career, later went on to lecture on drug addiction research. In 1968, after Blue Note terminated his recording contract, McLean began teaching at the University of Hartford. He taught jazz, African-American music, and African-American history and culture, setting up the university's African American Music Department, which later was named in his honor. He took a break from recording for much of the 1980s to focus on his work as a music educator, but made his recording comeback in 1988 with "Dynasty," and later re-signed with Blue Note. His last Blue Note recordings included "Fire and Love" (1998), featuring his youthful Macband with son Rene McLean on tenor saxophone, and the ballads album "Nature Boy" (2000). He received an American Jazz Masters fellowship, the nation's highest jazz honor, from the National Endowment for the Arts in 2001, and toured the world as an educator and performer. ------------------------------------------- ========================================================================= Date: Sun, 2 Apr 2006 13:30:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick LoLordo Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Joe, I read that first paragraph and...what? If I’d wanted to write a parody of a mainstream review of Elizabeth Bishop, I don’t see how I could do much better. It's an extreme form of a very typical claim, no? A type of autonomy argument: that the kind of writing which most apparently eschews all forms of direct engagement with the political is actually the most powerful force there is for social change. Typically that writing is called "poetry"--as in, eg, Yeats' "The Symbolism of Poetry," which I was just looking at, where Yeats actually _argues_ a version of this claim. It takes some nerve to nominate a single poet. It takes a peculiar mixture of nerve and conformity to nominate Bishop. That first sentence! Orr looks at his own taste and sees the world: a kind of universalizing which, historically, marks bourgeois culture, here taking the form of the smug reduction of the world to the pages of The New Yorker (in which Alice Quinn’s been publishing those unfinished Bishop drafts and fragments for what seems like years now…) ---------- V. Nicholas LoLordo Assistant Professor University of Nevada-Las Vegas Department of English 4504 Maryland Parkway Las Vegas, NV 89154-5011 (702) 895-3623 ========================================================================= Date: Sun, 2 Apr 2006 13:41:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: MiPOesias: New Work and Reading Series In-Reply-To: <1CD87946-C264-11DA-881E-000393ADC3C0@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Gentle Readers, Please imbibe regularly and deeply at MiPOesias with: Devendra Banhart - New Art Work [with attempted ekphrasis by Amy King] http://www.mipoesias.com/Poetry/banhart_devendra.html ____________________________ Dale DeBakcsky - "The Matter of a Jacket" http://www.mipoesias.com/Shorts/deBakcsy_dale.html ____________________________ Charles Bernstein - "The Twelve Tribes of Dr. Lacan" http://www.mipoesias.com/Poetry/bernstein_charles.html ____________________________ Nguyen Thi Hoang Bac (trans. Linh Dinh) - "Inspired" and "A Blade of Grass" http://www.mipoesias.com/Poetry/bac_nguyen.html ____________________________ Mary Kasimor - "I drove far away to get" http://www.mipoesias.com/Poetry/kasimor_mary.html ___________________________ Ron Padgett - "Pleural Cavity", "Versatile Tarzan", and "Answering Machine" http://www.mipoesias.com/Poetry/padgett_ron.html ___________________________ Don't forget: much of the published work includes an option to listen to the writer reading his/her work! And finally, MiPOesias is starting a reading series to be held the last Friday of each month in Brooklyn, NY at Stain Bar (http://www.stainbar.com/). If you are a past (or future!) contributer and are interested in reading, please drop me a line at amyhappens @ gmail.com - thanks! Cheers, Amy King and Didi Menendez http://www.mipoesias.com/ --------------------------------- How low will we go? Check out Yahoo! Messenger’s low PC-to-Phone call rates. ========================================================================= Date: Sun, 2 Apr 2006 18:41:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: don summerhayes Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <1144009825.44303461d036e@webmail.scsv.nevada.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit Ahhh -- a Poetry Crime Scene Investigation! (PCSI) -- I get it. Nick LoLordo wrote: >Joe, I read that first paragraph and...what? If I’d wanted to write a parody of >a mainstream review of Elizabeth Bishop, I don’t see how I could do much >better. > >It's an extreme form of a very typical claim, no? A type of autonomy argument: >that the kind of writing which most apparently eschews all forms of direct >engagement with the political is actually the most powerful force there is for >social change. > >Typically that writing is called "poetry"--as in, eg, Yeats' "The Symbolism of >Poetry," which I was just looking at, where Yeats actually _argues_ a version >of this claim. It takes some nerve to nominate a single poet. It takes a >peculiar mixture of nerve and conformity to nominate Bishop. > >That first sentence! Orr looks at his own taste and sees the world: a kind of >universalizing which, historically, marks bourgeois culture, here taking the >form of the smug reduction of the world to the pages of The New Yorker (in >which Alice Quinn’s been publishing those unfinished Bishop drafts and >fragments for what seems like years now…) > > >---------- > >V. Nicholas LoLordo >Assistant Professor > >University of Nevada-Las Vegas >Department of English >4504 Maryland Parkway >Las Vegas, NV 89154-5011 > >(702) 895-3623 > > ========================================================================= Date: Sun, 2 Apr 2006 22:41:14 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicky Melville Subject: America's war on the web Mime-Version: 1.0 Content-Type: text/plain; format=flowed Thought this might be of interest: http://www.sundayherald.com/54975 nick-e ========================================================================= Date: Sun, 2 Apr 2006 18:46:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Fw: Jazz alto saxophonist Jackie McLean dies at 73 Comments: To: skyplums@JUNO.COM Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline A great life in music. Watching Ken Burns' History of Jazz, I always get = a jolt from Jackie McLean's speaking voice: laconic, surprising, and = complicated all at the same time.=20 Harking back to an earlier thread, obviously any book of poetry by Wynton = Marsalis is a book of poetry by me (if you know what I mean). Mairead >>> skyplums@JUNO.COM 04/02/06 12:55 PM >>> Jazz alto saxophonist Jackie McLean dies at 73 HARTFORD, Connecticut --Jazz alto saxophonist Jackie McLean, a performer and educator who played with legendary musicians including Miles Davis and Sonny Rollins, died Friday. He was 73. McLean, a contemporary of some of the 20th century's most famed jazz musicians, died at his Hartford home after a long illness, family members told The Hartford Courant. McLean was founder and artistic director of the Jackie McLean Institute of Jazz at the University of Hartford's Hartt School. He and his wife, actress Dollie McLean, also founded the Artists Collective, a community center and fine arts school in Hartford's inner city primarily serving troubled youth. University of Hartford President Walter Harrison said Dollie McLean called him Friday with news of her husband's death. Harrison said that despite his many musical accomplishments, McLean was a modest man whose connections with his students lasted for decades after they left his classroom. "He fully understood the way that jazz as an art should be passed down to students," Harrison said. "He saw his role as bringing jazz from the 1950s and '60s and handing it down to artists of today." McLean, a native of Harlem in New York City, grew up in a musical family, his father playing guitar in Tiny Bradshaw's band. McLean took up the soprano saxophone as a teen and quickly switched to the alto saxophone, inspired by his godfather's performances in a church choir, he told WBGO-FM in Newark, New Jersey, in an interview in 2004. McLean went on to play with his friend Rollins from 1948-49 in a Harlem neighborhood band under the tutelage of pianist Bud Powell. Through Powell, McLean met bebop pioneer Charlie "Bird" Parker, who became a major influence on the young alto saxophonist. He made his first recording when he was 19 on Miles Davis' "Dig" album, also featuring Rollins, which heralded the beginning of the hard-bop style. In the 1950s, McLean also played with Charles Mingus and Art Blakey's Jazz Messengers, experiences that he credited with helping him find his own style. "I never really sounded like Bird, but that was my mission," McLean said in the WBGO radio interview. "I didn't care if people said that I copied him; I loved Bird's playing so much. But Mingus was the one that really pushed me away from the idea and forced me into thinking about having an individual sound and concept." McLean made his first recording as a leader in 1955. He drew wide attention with his 1959 debut on Blue Note Records, "Jackie's Bag," one of dozens of albums he recorded in the hard-bop and free jazz styles for the label over the next eight years. His 1962 album "Let Freedom Ring" found him performing with avant-garde musicians. In 1959-60, he acted in the off-Broadway play "The Connection," about jazz musicians and drug addiction. McLean, a heroin addict during his early career, later went on to lecture on drug addiction research. In 1968, after Blue Note terminated his recording contract, McLean began teaching at the University of Hartford. He taught jazz, African-American music, and African-American history and culture, setting up the university's African American Music Department, which later was named in his honor. He took a break from recording for much of the 1980s to focus on his work as a music educator, but made his recording comeback in 1988 with "Dynasty," and later re-signed with Blue Note. His last Blue Note recordings included "Fire and Love" (1998), featuring his youthful Macband with son Rene McLean on tenor saxophone, and the ballads album "Nature Boy" (2000). He received an American Jazz Masters fellowship, the nation's highest jazz honor, from the National Endowment for the Arts in 2001, and toured the world as an educator and performer. -------------------------------------------=20 ========================================================================= Date: Sun, 2 Apr 2006 18:51:12 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nuyopoman@AOL.COM Subject: Portugese translator wanted MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="part1_33f.149ff21.3161af60_boundary" --part1_33f.149ff21.3161af60_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Bob Holman Bowery Poetry Club/Bowery Arts + Science 308 Bowery NY, NY 10013 212-334-6414 Visiting Professor of Writing, Columbia University rh519@columbia.edu www.bobholman.com --part1_33f.149ff21.3161af60_boundary Content-Type: multipart/mixed; boundary="part2_33f.149ff21.3161a3e0_boundary" --part2_33f.149ff21.3161a3e0_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit --part2_33f.149ff21.3161a3e0_boundary Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit -----Original Message----- From: Thelma Blitz [mailto:blitzknitz@mindspring.com] Sent: Thursday, March 30, 2006 11:46 AM To: The Bowery Poetry Club Subject: Portugese translator wanted Hi Bob and others, Is there any poet there who speaks Portugese and is interesting in translating some popular songs and writing some music liner notes for a record company ? This is a paying gig. Thelma --part2_33f.149ff21.3161a3e0_boundary-- --part1_33f.149ff21.3161af60_boundary-- ========================================================================= Date: Sun, 2 Apr 2006 18:52:18 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Nicholas, I am not clear. Do you mean you think Bishop is not a good poet and should=20 not be published? If so, why don't you say so? A more interesting argument underlying the New York Times essay is whether a= =20 poem is an artifact, where the idea of perfection is crucial, or basically a= =20 fluid process where different versions are part of a continuum. Of course, both sides in the New York Times article are on the same side.=20 Even the ones supporting the publication of the "fragments" defend the act b= y=20 differentiating them from "really unfinished" poems. There is no question th= e=20 article belongs to another poetic universe where the idea of "imperfection"=20= in=20 relation to a poem is inconceivable. But I don't really see how this has anything to do with politics (poem as a=20 political force, and not the politics of poetry) or symbolism or Yeats. It appears to me you are focusing on a politics of poetry, focusing on the=20 critics (Helen Vendler and Alice Quinn both belonging to the same side), rat= her=20 than the process of the poem itserlf? What difference does what The York Times thinks make, considering it have no= t=20 contained too money worthy things about poetry (except by complete accident)= =20 the last twenty five years? Ciao, Murat In a message dated 04/02/06 4:31:47 PM, lolordov@UNLV.NEVADA.EDU writes: > Joe, I read that first paragraph and...what?=C2=A0 If I=E2=80=99d wanted t= o write a=20 > parody of > a mainstream review of Elizabeth Bishop, I don=E2=80=99t see how I could d= o much > better. >=20 > It's an extreme form of a very typical claim, no?=C2=A0 A type of autonomy= =20 > argument: > that the kind of writing which most apparently eschews all forms of direct > engagement with the political is actually the most powerful force there is= =20 > for > social change. >=20 > Typically that writing is called "poetry"--as in, eg,=C2=A0 Yeats' "The Sy= mbolism=20 > of > Poetry," which I was just looking at, where Yeats actually _argues_ a=20 > version > of this claim.=C2=A0 It takes some nerve to nominate a single poet.=C2=A0=20= It takes a > peculiar mixture of nerve and conformity to nominate Bishop. >=20 > That first sentence!=C2=A0 Orr looks at his own taste and sees the world:= =C2=A0 a kind=20 > of > universalizing which, historically, marks bourgeois culture, here taking t= he > form of the smug reduction of the world to the pages of The New Yorker (in > which Alice Quinn=E2=80=99s been publishing those unfinished Bishop drafts= and > fragments for what seems like years now=E2=80=A6) >=20 >=20 > ---------- >=20 > V. Nicholas LoLordo > Assistant Professor >=20 > University of Nevada-Las Vegas > Department of English > 4504 Maryland Parkway > Las Vegas, NV 89154-5011 >=20 > (702) 895-3623 >=20 ========================================================================= Date: Sun, 2 Apr 2006 18:31:55 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <198.524a0b9f.3161afa2@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" murat, nick can defend himself, BUT you're too smart to fall into the trap---which so many in these regions have fallen into---of pooh-poohing concern for what the nytbr says... poetry may be a lot of things, but one thing one cannot---or at least, one ought not---dismiss out of hand, not in the 21st century, not in this country or any other, is the effect upon poetry of our institutions (and vice versa)... i know---many here would prefer to wish this reality away... but wish upon a star as one may, the institutional realities of poetry are here to stay... yes, it rhymes... so when david orr, or anyone else for that matter, pipes up as he has in a news organ with the circulation of the nytbr, we need to take heed... unless, that is, we want to pretend that this will have nothing whatever to do with the reception of our work, or worse, that the reception of our work has nothing to do with us... it's not anything to lose sleep over perhaps, but orr's is a controversial value judgment that will likely reach hundreds of thousands of ears... and as poets, we should give a shit about that... i think you know this, at any rate, so apologies for stating the obvious... best, joe -- Joe Amato, Managing Editor American Book Review Illinois State University CB 4241 Fairchild Hall, Room 109 Normal, IL 61790-4241 USA 309.438.2127 (voice) 309.438.3523 (fax) AmericanBookReview@ilstu.edu ========================================================================= Date: Sun, 2 Apr 2006 19:37:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Tracie Morris Journal at the Poetry Foundation Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Last week, Tracie Morris was the guest blogger at the Poetry Foundation site: http://poetryfoundation.org/dispatches/journals/ ========================================================================= Date: Sun, 2 Apr 2006 17:51:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick LoLordo Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Murat-- Was my reply really so hard to read? "I am not clear. Do you mean you think Bishop is not a good poet and should not be published? If so, why don't you say so?" I do not think that Bishop is not a good poet, and therefore, I did not say so! Perhaps arguments about literary publishing might choose terms a little more nuanced than those you propose? Ah!--now I see your misunderstanding--two threads in play at once here. I was talking about the first paragraph of Orr's review, in response to Joe's post. I wasn't addressing the Vendler/Quinn debate, and I remain uninterested in that debate (except to observe that very few poets other than Bishop would receive such treatment from a trade press, whatever we think of the quality of those previously unpublished poems). My interest is in this paragraph as representing a certain kind of discourse about poetry. Here's that paragraph again: "You are living in a world created by Elizabeth Bishop. Granted, our culture owes its shape to plenty of other forces -- Hollywood, Microsoft, Rachael Ray -- but nothing matches the impact of a great artist, and in the second half of the 20th century, no American artist in any medium was greater than Bishop (1911-79). That she worked in one of our country's least popular fields, poetry, doesn't matter. That she was a woman doesn't matter. That she was gay doesn't matter. That she was an alcoholic, an expatriate and essentially an orphan -- none of this matters. What matters is that she left behind a body of work that teaches us, as Italo Calvino once said of literature generally, "a method subtle and flexible enough to be the same thing as an absence of any method whatever." The publication of 'Edgar Allan Poe & the Juke-Box," which gathers for the first time Bishop's unpublished material, isn't just a significant event in our poetry; it's part of a continuing alteration in the scale of American life." I still maintain there's a typically bourgeois universalization of a particular point of view at work here; and that Bishop, the New Yorker poet par excellence even after her death, is the perfect vehicle for Orr's smug assertions. And surely it still matters to point this out--even, or especially, if we don't expect the _Times_ to change? [that's all for today, folks] ---------- V. Nicholas LoLordo Assistant Professor University of Nevada-Las Vegas Department of English 4504 Maryland Parkway Las Vegas, NV 89154-5011 (702) 895-3623 ========================================================================= Date: Sun, 2 Apr 2006 18:09:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: "WHAT IS AN AMERICAN symantics" -- Re: "America" vs. "USA" In-Reply-To: <0413B65A-297B-4CCE-B988-274F0F47429C@gc.cuny.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Corey, I was thinking same, which means I'm in agreement. One wonders, as least I do, why some choose to debate such pointless arguments whilst wearing their insular "sensitivity corp headdress" -- and everywhere I've been, including South America, I've been called an American (in addition to many other less flattering terms). And this reminds me of being in Northampton, just a week ago, and going to a both a restaurant and shop purported to be Tibetan orientated, let me say, and as I'm entrenched in this cause, I, of course, visited out of cynical interest. Well, the place was full of snooty fart faced I'm so into my self into this saying I'm caring folk. The thing is, however, and I learned this early on -- that the place was Nepalese owned (and Nepalese soldiers often shoot down Tibetan refugees "just to watch them die") -- and that shop was filled with Guatemalan-type things hidden behind the beneficent image of HH. As HN might've said, Drn... AJ --- Good art however "immoral" is wholly a thing of virtue. Good art can NOT be immoral. By good art I mean art that bears true witness, I mean the art that is most precise. -- Ezra Pound --------------------------------- New Yahoo! Messenger with Voice. Call regular phones from your PC and save big. ========================================================================= Date: Sun, 2 Apr 2006 20:01:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: "WHAT IS AN AMERICAN symantics" -- Re: "America" vs. "USA" In-Reply-To: <20060403010937.33150.qmail@web54402.mail.yahoo.com> MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit On 2-Apr-06, at 6:09 PM, Alexander Jorgensen wrote: > Corey, > > I was thinking same, which means I'm in agreement. Well, we got that clear, thank goodness. G. Harry Bowering His family still lives in Oliver, BC, Wine Capital of Canada ========================================================================= Date: Sun, 2 Apr 2006 23:10:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: don summerhayes Subject: Re: "WHAT IS AN AMERICAN symantics" -- Re: "America" vs. "USA" In-Reply-To: <20060403010937.33150.qmail@web54402.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit I wish this could be kept private. Except, of course, what you have been called on your travels. Alexander Jorgensen wrote: >Corey, > > I was thinking same, which means I'm in agreement. One wonders, as least I do, why some choose to debate such pointless arguments whilst wearing their insular "sensitivity corp headdress" -- and everywhere I've been, including South America, I've been called an American (in addition to many other less flattering terms). > > And this reminds me of being in Northampton, just a week ago, and going to a both a restaurant and shop purported to be Tibetan orientated, let me say, and as I'm entrenched in this cause, I, of course, visited out of cynical interest. Well, the place was full of snooty fart faced I'm so into my self into this saying I'm caring folk. The thing is, however, and I learned this early on -- that the place was Nepalese owned (and Nepalese soldiers often shoot down Tibetan refugees "just to watch them die") -- and that shop was filled with Guatemalan-type things hidden behind the beneficent image of HH. As HN might've said, Drn... > > AJ > > >--- >Good art however "immoral" is wholly a thing of virtue. Good art can NOT be immoral. By good art I mean art that bears true witness, I mean the art that is most precise. -- Ezra Pound > >--------------------------------- >New Yahoo! Messenger with Voice. Call regular phones from your PC and save big. > > ========================================================================= Date: Sun, 2 Apr 2006 21:58:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JT Chan Subject: PoetrySz:demystifying mental illness new issue online Comments: To: Women Poets MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit hello, PoetrySz's new issue, Issue 19, is now available online at http://www.poetrysz.net . It features the work of Dave Ruslander, Steve Dalachinsky, Lawrence Upton, Alex Nodopaka, JodiAnn Stevenson, Justin Hyde, Christopher Barnes, and Robert McLean. Submissions for subsequent issues are welcome. Send 4-6 poems, and a short bio in the body of your email to poetrysz@tyahoo.com . Please read the guidelines before submitting. Thanks very much. regards J Chan editor, PoetrySz http://www.poetrysz.net __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sun, 2 Apr 2006 22:55:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Tod Edgerton Subject: Poetry Reading April 18: Michael Gizzi, Kate Scapira, & Michael Tod Edgerton Comments: To: Michael Edgerton MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The Program in Literary Arts at Brown University Presents An Evening of Poetry with Michael Gizzi * Kate Schapira * Michael Tod Edgerton 8pm Tuesday, April 18, 2006 120 List Arts Building College St, off Prospect Brown University A poet, editor, and literary curator, a few of Michael Gizzi’s many books include Bird As (Burning Deck, 1976), Species of Intoxication (Burning Deck, 1983), Continental Harmony (Roof Books, 1991), Interferon (The Figures, 1997), No Both (Hard Press, 1998), and My Terza Rima (The Figures, 2001). He is currently a Visiting Professor of Literary Arts at Brown University, co-publisher of Qua Books with Craig Watson, and co-curator of the Downcity Poetry Series with Michael Magee at Tazza Caffe. Kate Schapira lives in Providence, Rhode Island, where she teaches at Brown and in the Gloria MacDonald women's facility of theRhode Island Adult Correctional Institution. Her poetryhas appeared in such publications as Archipelago, The Diagram, H_ngm_n, Watchword, rife, Ecopoetics, 5_trope, Shampoo, horse less review, and RHINO. She won the Grolier Poetry Prize in 2003, and her book-length manuscript, Phoenix Memory, was a finalist for the Action Books December Contest. She will be reading from her new manuscript, The Another Notes. Michael Tod Edgerton has published poems and reviews in Chelsea, Chicago Review, Denver Quarterly, Electronic Poetry Review, Exquisite Corpse, Skanky Possum, and Word For/Word, among others. He won both the 2004 Boston Review and 2005 Five Fingers Review poetry contests. Originally from Lexington, KY, he spent six years in New Orleans before moving to Providence for graduate school. He currently teaches creative writing at Brown and Stonehill College. It’s a mystery what he’ll be doing this time next year. Michael Tod Edgerton Poet-in-Residence, Spring 2006 Stonehill College --- Peter Kaplan Memorial Fellow, Program in Literary Arts Brown University Rebuild New Orleans / Bulldozer Bush --------------------------------- New Yahoo! Messenger with Voice. Call regular phones from your PC and save big. ========================================================================= Date: Sun, 2 Apr 2006 23:31:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Re: "WHAT IS AN AMERICAN symantics" -- Re: "America" vs. "USA" In-Reply-To: <44309228.1050406@yorku.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit hey... aj :) --- Good art however "immoral" is wholly a thing of virtue. Good art can NOT be immoral. By good art I mean art that bears true witness, I mean the art that is most precise. -- Ezra Pound __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Mon, 3 Apr 2006 03:04:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Re: "WHAT IS AN AMERICAN symantics" -- Re: "America" vs. "USA" In-Reply-To: <20060403063132.44071.qmail@web54402.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit just one, two, many mornings...and a thousand miles behind (bob) drn... AJ --- Good art however "immoral" is wholly a thing of virtue. Good art can NOT be immoral. By good art I mean art that bears true witness, I mean the art that is most precise. -- Ezra Pound --------------------------------- Blab-away for as little as 1¢/min. Make PC-to-Phone Calls using Yahoo! Messenger with Voice. ========================================================================= Date: Mon, 3 Apr 2006 11:21:47 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Evan Escent Subject: "Jacket 29 is growing" Comments: To: POETRYETC@JISCMAIL.AC.UK, BRITISH-POETS@JISCMAIL.AC.UK Mime-Version: 1.0 Content-Type: text/plain; format=flowed Jacket 29 is slowly growing... http://jacketmagazine.com/29/index.html === Douglas Messerli: The Countess of Berkeley: on Barbara Guest Feature: Gilbert Sorrentino -- Edited by Ken Bolton === Ken Bolton: Gilbert Sorrentino: an Introduction === John O'Brien: Gilbert Sorrentino: Some Various Looks === Eric Mottram: The Black Polar Night: The Poetry Of Gilbert Sorrentino === Donald Phelps: Extra Space === Gilbert Sorrentino in conversation with Barry Alpert, 1974 Interviews === Bill Berkson in Conversation with Robert Glück, August 2005 === Setting the World on Fire: Charles Bernstein in conversation with Leonard Schwartz, 2004 === On the Nature of the Lyric: Tom Clark in conversation with Ryan Newton === My Motto Is: 'Translation Fights Cultural Narcissism' -- Chris Daniels in conversation with Kent Johnson, on Fernando Pessoa, Brazilian Poetry, and the Task of the Translator, 2005 Feature: James Schuyler, Edited by Pam Brown === James Schuyler: Letters from Italy, Winter 195455, to Frank O'Hara (a selection, ed. William Corbett) === Simply, Freely, Clearly: David Kennedy reviews Just the Thing: Selected Letters of James Schuyler 1951-1991, edited by William Corbett. 470pp. Turtle Point Press. US$21.95 / £13.99. 1885586302. Paper. AND James Schuyler: Selected Art Writings, edited by Simon Pettet. 310pp. Black Sparrow Press. US$17.50. 157423076X. Paper. === On editing James Schuyler: Simon Pettet and William Corbett and Nathan Kernan in conversation with Pam Brown Mallarmé revisited === Chris Edwards: A Fluke: 'A Fluke' is a mistranslation into English of Stéphane Mallarmé's 1897 poem 'Un coup de dés...' with parallel French text. === Rachel Blau DuPlessis: Draft 73: Vertigo -- a response to Mallarmés work. === John Tranter: Desmond's Coupé: A partly homophonic mistranslation into English of 'Un coup de dés', using a nice, sensible even left margin. === John Tranter: a review of Musicopoematographoscope, by Australian poet Christopher Brennan, a manuscript parody of 'Un coup de dés' written within a few months of Mallarmé's poem being published in the May 1897 issue of the Paris journal Cosmopolis. On Flarf === Dan Hoy: on Flarf: The Virtual Dependency of the Post-Avant and the Problematics of Flarf: What Happens when Poets Spend Too Much Time Fucking Around on the Internet === The Flarflist Collective: Actual Interview with a Six-Year-Old on the Topic of Flarf Margaret Avison: Eight poems: The World Still Needs / End of a Day or I as a Blurry Needy / Christmas Approaches, Highway 401 / The Hid, Here / A Small Music on a Spring Morning / Cycle of Community / The Fixed in a Flux / Articles === David Brooks: "Petit Testament": A Reading [on the Ern Malley hoax] === Stephen Kirbach: Resisting the power museum with and beyond Allen Ginsberg's 'Wichita Vortex Sutra' === Thomas Lisk: William Bronk's Path Among the Forms === Michael Palmer: Ground Work: on Robert Duncan === John Welch: Getting it Printed: London in the 1970s === Barry Wood and Bill Luckin: Catch the Music as it Fades: The Poetry of Jack Beeching Comic Strip === John Tranter: Dan Dactyl and the Mad Jungle Doctor: A 95-frame black and white comic strip that traces the adventures of adventurer Dan Dactyl and his pals as they search the South American jungles for the mysterious French poet Doctor Verlaine. First published in Chain (US), Poetry Review (London) and Southerly magazine (Sydney). Reviews === Erik Anderson: Join the Planets, by Reed Bye === Jasper Bernes: The Hounds of No by Lara Glenum and A Defense of Poetry by Gabriel Gudding === Michael Cross: Rumored Place by Rob Halpern === Elaine Equi Light and Shade: New and Selected Poems, by Tom Clark === Michael Farrell reviews "Hyper Taiwan: Art Design Culture", by Kurt Brereton === Thomas Fink: 60 lv bo(e)mbs, by Paolo Javier === John Hall: Whisper 'Louise', A double historical memoir and meditation, by Douglas Oliver === David Koehn reviews: Profane Halo by Gillian Conoley === Michael Leddy: More Winnowed Fragments by Simon Pettet === David McCooey: Compared to What: Selected Poems 1971-2003 and The Ash Range by Laurie Duggan === Marianne Morris: Embrace, by Andrea Brady === Chris Murray: Small Works by Pam Rehm === John Olson: What He Ought To Know, New and Selected Poems by Edward Foster === Gerald Schwartz: Drunken Sailor by John Montague === Erik Sweet: American Music by Chris Martin === Erik Sweet: Father of Noise by Anthony McCann === Eileen Tabios: The Passion of Phineas Gage & Selected Poems by Jesse Glass === Nathaniel Tarn: Red Sky Café by Geoffrey O'Brien === Ed Taylor: The Beautifully Worthless, by Ali Liebegott Poems === Aaron Belz: Four Poems for Jen Bervin === Dustin Collis: Two poems: Title Poem / Light Plucked === Alfred Corn: Rip at the Half Moon === Wystan Curnow: Three poems from Modern Colours === Denise Duhamel and Stephen Paul Miller: from 'Hurricanes': 2. B-Boy / 4. Desperate Young Americans / 6. If RFK had become President === Jon Fosse: The train in one's heart: English version by May-Brit Akerholt === Bill Freind: Four poems: Serenade for Intercom and Tardy Chorister / Dispensationalist Foxtrot / Deportation Celebrant / Chillun of the Hods === John Hall: An essay on lyric ethics === Anthony Hawley: Six poems: 'Awhile' -- Field Guide for Voices / Five poems from P(r)etty Sonnets === Brian Henry: Three poems: Poem for the Man / Dead Aesthetic / Jesus/Stick === Kent Johnson: Prosodic Structure (A bit after Barbara Guest) === Kent Johnson: Julian in Nicomedeia -- after Cavafy === Andrew Johnston: Mauve === Peter Larkin: Urban Woods (Section 1 of Open Woods) === Norman MacAfee: The Coming of Fascism to America === Nicholas Messenger: The Pleasures of Reading === Philip Nikolayev: Two poems: Three Stars / Litmus Test === Ron Padgett and Yu Jian: Five poems: Shoe Cloud / Poem 8 / Poem 9 / Poem 16 / Poem 11 === Christopher Salerno: Two poems: The Republic, Book X / Not Dying === Ouyang Yu: Nine Poems: Listening to the ex-Chinese-woman-soldier / Listening to the Pakistani Taxi-driver / Listening to the Big Bus Guy in London / Listening to the poet talk about himself / Listening to the Lebanese Taxi-driver / Listening to my woman patient / Listening to the 80 year old telling me a story / Listening to the Bangladeshi taxi-driver / Listening to the Chinese audience === Maged Zaher: my software mission (If you'd like to be taken off this mailing list, please just ask.) _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ========================================================================= Date: Mon, 3 Apr 2006 05:01:03 -0700 Reply-To: rsillima@yahoo.com Sender: UB Poetics discussion group From: Ron Silliman Subject: On Earth: Silliman's Blog Comments: To: Brit Po , New Po , Wom Po , Lucifer Poetics MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://ronsilliman.blogspot.com/ RECENT POSTS On Earth, the last poems of Robert Creeley Lisa Jarnot and Homer Iliad XXII as a political act Stanislaw Lem Watten on Braxton Selah Saterstrom and the Pink Institution - As I Lay Dying as told by Dodie Bellamy Betye, Lezley and Alison Saar 2 generations of African-American art Ian Hamilton Finlay The reversal of text and illustration in the work of Derek Fenner Some links to Anthony Braxton The jumble of unassimilated parts that is Sally Potter’s Yes Dmitri Prigov - What happens to conceptual poetics when reality is what changes? Hustle and Flow and the nature of an actor’s film Erica Carpenter – Perspective Would Have Us Jim Behrle on VH1 Some things to read in the new Brooklyn Rail (Kenny Goldsmith, Charles Bernstein, Ann Lauterbach, Amy King) What is exotic? The Barbara Jane Reyes comments stream Epigrammatitus – Kent Johnson at war with poetry and desperately in love Banned in Viet Nam – the poetry of Phan Nhien Hao Brecht on the New Sentence http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 3 Apr 2006 05:12:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ian seed Subject: Shadow Train, April Issue MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit April 2006 Hopping onto the Shadow Train this month - Francis Raven sports a suspicious tanline; Sandra Tappenden displays the beauty red; Derrick Buttress is at that point where nobody glances; Peter Finch seeps through holes in the crowd without touching anyone; Margaret Christakos mixes key brain chemicals; Peter Philpott wishes he could wake up in the cinema; Robert Garlitz&Rupert Loydell lead unconnected lives. To find out more, click www.shadowtrain.com Ian Seed --------------------------------- New Yahoo! Messenger with Voice. Call regular phones from your PC for low, low rates. ========================================================================= Date: Mon, 3 Apr 2006 08:08:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Foster & Fuhrman at SPT this Fri 4/7 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Traffic is pleased to present a reading by Tonya Foster & Joanna Fuhrman Friday, April 7, 2006 at 7:30 p.m. Tonya Foster joins us from New York City. Her work appears in the Subpress anthology Free Radicals: American Poets Before Their First Books and she is co-editor of The Third Mind: Creative Writing through Visual Art published by Teachers & Writers Collaborative. From her poem "Cinematic Neurosis: An American Journal": "A memory of a thing is only an idea/of the thing without the shape/by which we recognize it—a mountain, an afternoon,/a blueberry, a squat, a pause. You—" Joanna Fuhrman also joins us from New York, in celebration of her new book, Moraine, just out from Hanging Loose. The Wall Street Journal called her first book, Freud in Brooklyn (2000), "an impressive first collection," and Publishers Weekly called her second, Ugh Ugh Ocean (2003), "a major advance...intellectually challenging...passionate and politically savvy." Her poems have appeared in many journals and anthologies including Lit, New American Writing, The New York Times, American Letters and Commentary, and American Poetry: Next Generation. 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) For directions & a map please see http://www.sptraffic.org/html/fac_dir.html Elizabeth Treadwell, 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, 3 Apr 2006 10:21:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J.P. Craig" Subject: Paul Naylor e-mail address? MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Would someone please backchannel me Paul Naylor’s e-mail address? I know it changed recently, but I can’t find it after a recent hard drive funeral. JP J.P. Craig http://jpcraig.blogspot.com/ http://www.iowadsl.net/~jpcraig ========================================================================= Date: Mon, 3 Apr 2006 12:31:32 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Joe, In the last few years, I personally boycotted reading the New York Times=20 Sunday Book section. My argument is that if it does not represent me, why sh= ould I=20 read it. I always believe the New York Times should have a poetry column, th= e=20 way they have (or used to have) a crime novel section. This way the subject=20 gets covered. But they are not interested in doing that. It is a fact of life because=20 poetry -let alone innovative poetry- does not have a central place in our cu= lture.=20 I tried to discuss this in other venues, essays and talks, do not like the=20 situation; but it needs to be understood, particularly to understand the fun= ction=20 of words in our culture. This isolation, I think, makes poetry a different activity from other=20 literary or artistic ones. I have been involved in a number of PEN meetings.= Despite=20 all the very useful and at times important things PEN does, especially in=20 relation of persecution of authors in other countries, whenever a literary=20 festival is involved, poets are instinctively, automatically put at the bott= om of the=20 list, even not invited at all. Please look at the coming world festival in=20 April. Responding, the main thrust of my last post was that the argument was=20 focusing on the critic, rather than the poet. Here is a very rare situation=20= where a=20 poet is being highlighted by The Times, whether her "marginalia" should be=20 published or not. Unless one considers Bishop a worthless poet (I personally= do=20 not), that's an issue which I think, as experimental poets, we are intereste= d=20 it. Nicholas ignores the point completely. On the other hand, the gossipy to= ne=20 of the piece -the two giants facing up...- is, I agree, slightly nauseating=20= and=20 narrow-minded.=20 Bishop is being attacked for being a "symbolist" poet, therefore, a-politica= l=20 or bourgeois. I do not see this at all. First, whether Bishop is a symbolist= =20 poet or not Second, how has symbolism become a merely bourgeois activity? Ciao, Murat In a message dated 04/02/06 7:32:27 PM, jamato2@ILSTU.EDU writes: > murat, nick can defend himself, BUT you're too smart to fall into the > trap---which so many in these regions have fallen into---of > pooh-poohing concern for what the nytbr says... >=20 > poetry may be a lot of things, but one thing one cannot---or at > least, one ought not---dismiss out of hand, not in the 21st century, > not in this country or any other, is the effect upon poetry of our > institutions (and vice versa)... i know---many here would prefer to > wish this reality away... but wish upon a star as one may, the > institutional realities of poetry are here to stay... >=20 > yes, it rhymes... >=20 > so when david orr, or anyone else for that matter, pipes up as he has > in a news organ with the circulation of the nytbr, we need to take > heed... unless, that is, we want to pretend that this will have > nothing whatever to do with the reception of our work, or worse, that > the reception of our work has nothing to do with us... >=20 > it's not anything to lose sleep over perhaps, but orr's is a > controversial value judgment that will likely reach hundreds of > thousands of ears... and as poets, we should give a shit about > that... i think you know this, at any rate, so apologies for stating > the obvious... >=20 > best, >=20 > joe > -- > Joe Amato, Managing Editor > American Book Review > Illinois State University > CB 4241 > Fairchild Hall, Room 109 > Normal, IL=A0 61790-4241 > USA >=20 > 309.438.2127 (voice) > 309.438.3523 (fax) > AmericanBookReview@ilstu.edu >=20 ========================================================================= Date: Mon, 3 Apr 2006 10:09:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <1144025466.4430717a8c663@webmail.scsv.nevada.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit It's obviously an overstatement to say that we (or I) am living in a world created by Elizabeth Bishop, which is what Orr said at the beginning of his review. Nevertheless, I like her poetry a lot. Although, perhaps because I read it long after I became formed as a poet, I don't feel I live in a world created by her, I nevertheless look forward to reading this "new" book of her poetry someday. All the complaints made about the NYTBR's treatment of poetry are justified. Nevertheless, it should be noted that poetry is more often reviewed now than it was in the past. That doesn't do much for the hundreds or thousands of us whose work hasn't been reviewed, nevertheless, out of a sense of fairness, this improvement should be noted in this discussion. Nick LoLordo wrote: Murat-- Was my reply really so hard to read? "I am not clear. Do you mean you think Bishop is not a good poet and should not be published? If so, why don't you say so?" I do not think that Bishop is not a good poet, and therefore, I did not say so! Perhaps arguments about literary publishing might choose terms a little more nuanced than those you propose? Ah!--now I see your misunderstanding--two threads in play at once here. I was talking about the first paragraph of Orr's review, in response to Joe's post. I wasn't addressing the Vendler/Quinn debate, and I remain uninterested in that debate (except to observe that very few poets other than Bishop would receive such treatment from a trade press, whatever we think of the quality of those previously unpublished poems). My interest is in this paragraph as representing a certain kind of discourse about poetry. Here's that paragraph again: "You are living in a world created by Elizabeth Bishop. Granted, our culture owes its shape to plenty of other forces -- Hollywood, Microsoft, Rachael Ray -- but nothing matches the impact of a great artist, and in the second half of the 20th century, no American artist in any medium was greater than Bishop (1911-79). That she worked in one of our country's least popular fields, poetry, doesn't matter. That she was a woman doesn't matter. That she was gay doesn't matter. That she was an alcoholic, an expatriate and essentially an orphan -- none of this matters. What matters is that she left behind a body of work that teaches us, as Italo Calvino once said of literature generally, "a method subtle and flexible enough to be the same thing as an absence of any method whatever." The publication of 'Edgar Allan Poe & the Juke-Box," which gathers for the first time Bishop's unpublished material, isn't just a significant event in our poetry; it's part of a continuing alteration in the scale of American life." I still maintain there's a typically bourgeois universalization of a particular point of view at work here; and that Bishop, the New Yorker poet par excellence even after her death, is the perfect vehicle for Orr's smug assertions. And surely it still matters to point this out--even, or especially, if we don't expect the _Times_ to change? [that's all for today, folks] ---------- V. Nicholas LoLordo Assistant Professor University of Nevada-Las Vegas Department of English 4504 Maryland Parkway Las Vegas, NV 89154-5011 (702) 895-3623 --------------------------------- Yahoo! Messenger with Voice. PC-to-Phone calls for ridiculously low rates. ========================================================================= Date: Mon, 3 Apr 2006 12:18:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <221.a9529b6.3162a7e4@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable What is important about Bishop, regardless of the merit of her work = which is a debateable point, is that she was one of the first American poets to = begin a dialogue with Brazil.=20 If you look at important USA (American, United Stateian,Vespuccian) = poets there has been much more of a dialogue with Classics, Europe, France et cetera than with Latin America.=20 Regarding poets and our place the fact is that money talks that is why = other forms get more press and more focus.=20 R =20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of Murat Nemet-Nejat Sent: Monday, April 03, 2006 11:32 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Elizabeth Bishop in NYTBR Joe, In the last few years, I personally boycotted reading the New York Times Sunday Book section. My argument is that if it does not represent me, = why should I read it. I always believe the New York Times should have a = poetry column, the way they have (or used to have) a crime novel section. This = way the subject gets covered. But they are not interested in doing that. It is a fact of life because poetry -let alone innovative poetry- does not have a central place in = our culture.=20 I tried to discuss this in other venues, essays and talks, do not like = the situation; but it needs to be understood, particularly to understand the function of words in our culture. This isolation, I think, makes poetry a different activity from other literary or artistic ones. I have been involved in a number of PEN = meetings. Despite all the very useful and at times important things PEN does, especially in relation of persecution of authors in other countries, whenever a literary festival is involved, poets are instinctively, automatically put at the bottom of the list, even not invited at all. = Please look at the coming world festival in April. Responding, the main thrust of my last post was that the argument was focusing on the critic, rather than the poet. Here is a very rare = situation where a poet is being highlighted by The Times, whether her "marginalia" should be published or not. Unless one considers Bishop a worthless poet = (I personally do not), that's an issue which I think, as experimental = poets, we are interested it. Nicholas ignores the point completely. On the other = hand, the gossipy tone of the piece -the two giants facing up...- is, I agree, slightly nauseating and narrow-minded.=20 Bishop is being attacked for being a "symbolist" poet, therefore, a-political or bourgeois. I do not see this at all. First, whether = Bishop is a symbolist poet or not Second, how has symbolism become a merely = bourgeois activity? Ciao, Murat In a message dated 04/02/06 7:32:27 PM, jamato2@ILSTU.EDU writes: > murat, nick can defend himself, BUT you're too smart to fall into the=20 > trap---which so many in these regions have fallen into---of=20 > pooh-poohing concern for what the nytbr says... >=20 > poetry may be a lot of things, but one thing one cannot---or at least, = > one ought not---dismiss out of hand, not in the 21st century, not in=20 > this country or any other, is the effect upon poetry of our=20 > institutions (and vice versa)... i know---many here would prefer to=20 > wish this reality away... but wish upon a star as one may, the=20 > institutional realities of poetry are here to stay... >=20 > yes, it rhymes... >=20 > so when david orr, or anyone else for that matter, pipes up as he has=20 > in a news organ with the circulation of the nytbr, we need to take=20 > heed... unless, that is, we want to pretend that this will have=20 > nothing whatever to do with the reception of our work, or worse, that=20 > the reception of our work has nothing to do with us... >=20 > it's not anything to lose sleep over perhaps, but orr's is a=20 > controversial value judgment that will likely reach hundreds of=20 > thousands of ears... and as poets, we should give a shit about that... = > i think you know this, at any rate, so apologies for stating the=20 > obvious... >=20 > best, >=20 > joe > -- > Joe Amato, Managing Editor > American Book Review > Illinois State University > CB 4241 > Fairchild Hall, Room 109 > Normal, IL=A0 61790-4241 > USA >=20 > 309.438.2127 (voice) > 309.438.3523 (fax) > AmericanBookReview@ilstu.edu >=20 ========================================================================= Date: Mon, 3 Apr 2006 13:31:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: reminder - h u n d r e d s deadline approaching Mime-Version: 1.0 (Apple Message framework v746.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed circulated this a couple of weeks back - some great work arriving here this a reminder for those who said they would send work or were interested and might not have remembered what the deadline was no too l8 for overseas but with the north americas keep 'em coming h u n d r e d s will be launched at p o s t _ m o o t more on p o s t _ m o o t in the next few days _________________________________________ call for h u n d r e d s a new occasional magazine produced and circulated through assemblage this call is made by cris cheek and WIlliam Howe what to send: 1 sheet of double-sided 8.5 x 11 inches (think of that double- sidedness as part of your piece) pls send 300 copies of that double-sided piece any colored pages are welcome DEADLINE: Monday 10th of April (this is absolutely the last day) h u n d r e d s will be collated and bound in a card cover before being distributed LAUNCH DATE: Saturday 15th April (as part of 'post moot' more info to follow momentarily) each contributor will receive one copy of h u n d r e d s WHERE TO SEND IT: c/o cris cheek - 101 Oberlin CT. Oxford. Ohio 45056 USA c/o William Howe - 4724 Bonham Road h u n d r e d s - as in a measure of land, and there will be three hundred of them and . . . (with apologies for cross-posting) ========================================================================= Date: Mon, 3 Apr 2006 12:37:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <221.a9529b6.3162a7e4@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" murat, thanks for your response... i hear you re poetry... that discussion would perhaps take us to the ways in which the institutions that support the literary arts are generally resistant to change in ways that (for instance) the institutions that support the visual arts are not (which isn't to say everything on the visual side of things is peachy, either)... why this is---well, a lot of institutional history at stake here... as to the poet/critic stuff: one of the problems is that bishop is no longer with us, and orr is... note the teleology at work here, in the final lines of orr's review: "Bishop once wrote to Lowell, 'you must say I was the loneliest person who ever lived.' Lonely? Maybe once, but not anymore - and never again." that "must say" reads oddly to me, but anyway: presumably bishop will never be "lonely" again b/c she'll have us, her admiring readers, to keep her company... now, poetry is generally understood as figuring a telos of presence, but to imagine that bishop's apparent "loneliness" as a person will be redeemed (or figuratively mitigated) by her future readers -- the critic is clearly giving voice to his own version of presence, and reciprocity, our 'being there' for bishop complemented by her 'being there' for us... naturally, lowell figures into this happy little formulation (and isn't anyone just the least bit surprised that lowell himself hasn't been nominated as Greatest Artist In Any Medium 1950-2000?)... someplace in the midst of such assertions is bishop's writing itself, celebrated by orr for its "subtlety," which for orr "has less to do with theory and technique, which can be learned mechanically, than with style and sensibility, which require intuition"... so we're to proceed by intuition then in exploring bishop's "strange" and "unnerving" poetry?... is it intuition too that guides (orr's) critical style and sensibility?... how convenient!... never mind alla that theory/reception stuff... well: i've always liked bishop's work well enough, even though i've never been able to get all worked up about it... but doesn't it strike you as, well, convenient! and entirely predictable to read, in nytbr, that our "greatest artist" is chock-full of restraint, as opposed to, say, wild abandon?... and while we needn't make the mistake that orr is making---confusing his pronouncements about bishop with bishop's actual poetry---it's a fair question to ask whether the kind of interpretive activity evidently demanded by bishop's writing (per orr) doesn't reflect a rather narrowly defined rhetorical attention on the part both of writer and reader... sophisticated, ok, but also, perhaps, a relatively conservative sensibility as to what a poem can be, finally, and in this sense, perhaps, domesticated, if entirely literate... which might open to that term, bourgeois---or might not... actually, i like the point ray is making---about bishop and brazil... anyway, bishop's is not my preferred poetic mode, and orr's is most def. not my preferred critical-review mode... whether bishop is apolitical, i'm not so sure, but i think we can all agree that, in this regard, her writing is a far cry from much of, let's say, ginsberg... best, joe >Joe, > >In the last few years, I personally boycotted reading the New York Times >Sunday Book section. My argument is that if it does not represent >me, why should I >read it. I always believe the New York Times should have a poetry column, the >way they have (or used to have) a crime novel section. This way the subject >gets covered. > >But they are not interested in doing that. It is a fact of life because >poetry -let alone innovative poetry- does not have a central place >in our culture. >I tried to discuss this in other venues, essays and talks, do not like the >situation; but it needs to be understood, particularly to understand >the function >of words in our culture. > >This isolation, I think, makes poetry a different activity from other >literary or artistic ones. I have been involved in a number of PEN >meetings. Despite >all the very useful and at times important things PEN does, especially in >relation of persecution of authors in other countries, whenever a literary >festival is involved, poets are instinctively, automatically put at >the bottom of the >list, even not invited at all. Please look at the coming world festival in >April. > >Responding, the main thrust of my last post was that the argument was >focusing on the critic, rather than the poet. Here is a very rare >situation where a >poet is being highlighted by The Times, whether her "marginalia" should be >published or not. Unless one considers Bishop a worthless poet (I >personally do >not), that's an issue which I think, as experimental poets, we are interested >it. Nicholas ignores the point completely. On the other hand, the gossipy tone >of the piece -the two giants facing up...- is, I agree, slightly >nauseating and >narrow-minded. > >Bishop is being attacked for being a "symbolist" poet, therefore, a-political >or bourgeois. I do not see this at all. First, whether Bishop is a symbolist >poet or not Second, how has symbolism become a merely bourgeois activity? > >Ciao, > >Murat > > >In a message dated 04/02/06 7:32:27 PM, jamato2@ILSTU.EDU writes: > > >> murat, nick can defend himself, BUT you're too smart to fall into the >> trap---which so many in these regions have fallen into---of >> pooh-poohing concern for what the nytbr says... >> >> poetry may be a lot of things, but one thing one cannot---or at >> least, one ought not---dismiss out of hand, not in the 21st century, >> not in this country or any other, is the effect upon poetry of our >> institutions (and vice versa)... i know---many here would prefer to >> wish this reality away... but wish upon a star as one may, the >> institutional realities of poetry are here to stay... >> >> yes, it rhymes... >> >> so when david orr, or anyone else for that matter, pipes up as he has >> in a news organ with the circulation of the nytbr, we need to take >> heed... unless, that is, we want to pretend that this will have >> nothing whatever to do with the reception of our work, or worse, that >> the reception of our work has nothing to do with us... >> >> it's not anything to lose sleep over perhaps, but orr's is a >> controversial value judgment that will likely reach hundreds of >> thousands of ears... and as poets, we should give a shit about >> that... i think you know this, at any rate, so apologies for stating >> the obvious... >> >> best, >> >> joe >> -- >> Joe Amato, Managing Editor >> American Book Review >> Illinois State University >> CB 4241 >> Fairchild Hall, Room 109 >> Normal, IL 61790-4241 >> USA >> >> 309.438.2127 (voice) >> 309.438.3523 (fax) >> AmericanBookReview@ilstu.edu >> -- Joe Amato, Managing Editor American Book Review Illinois State University CB 4241 Fairchild Hall, Room 109 Normal, IL 61790-4241 USA 309.438.2127 (voice) 309.438.3523 (fax) AmericanBookReview@ilstu.edu ========================================================================= Date: Mon, 3 Apr 2006 13:38:11 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Nicholas, It was a misunderstanding. There is no question about the tendency to=20 universalize from a narrow point of view. Ciao, Murat In a message dated 04/02/06 8:51:27 PM, lolordov@UNLV.NEVADA.EDU writes: > Murat-- >=20 > Was my reply really so hard to read? >=20 > "I am not clear. Do you mean you think Bishop is not a good poet and shoul= d > not be published? If so, why don't you say so?" >=20 > I do not think that Bishop is not a good poet, and therefore, > I did not say so! >=20 > Perhaps arguments about literary publishing might choose terms a little mo= re > nuanced than those you propose? >=20 > Ah!--now I see your misunderstanding--two threads in play at once here. >=20 > I was talking about the first paragraph of Orr's review, in response to=20 > Joe's > post.=A0 I wasn't addressing the Vendler/Quinn debate, and I remain=20 > uninterested > in that debate (except to observe that very few poets other than Bishop=20 > would > receive such treatment from a trade press, whatever we think of the qualit= y=20 > of > those previously unpublished poems).=A0 My interest is in this paragraph a= s > representing a certain kind of discourse about poetry. >=20 > Here's that paragraph again: >=20 > "You are living in a world created by Elizabeth Bishop.=A0 Granted, our > culture owes its shape to plenty of other forces -- Hollywood, > Microsoft, Rachael Ray -- but nothing matches the impact of a great > artist, and in the second half of the 20th century, no American > artist in any medium was greater than Bishop (1911-79).=A0 That she > worked in one of our country's least popular fields, poetry, doesn't > matter.=A0 That she was a woman doesn't matter.=A0 That she was gay > doesn't matter.=A0 That she was an alcoholic, an expatriate and > essentially an orphan -- none of this matters.=A0 What matters is that > she left behind a body of work that teaches us, as Italo Calvino once > said of literature generally, "a method subtle and flexible enough to > be the same thing as an absence of any method whatever."=A0 The > publication of 'Edgar Allan Poe & the Juke-Box," which gathers for > the first time Bishop's unpublished material, isn't just a > significant event in our poetry; it's part of a continuing alteration > in the scale of American life." >=20 > I still maintain there's a typically bourgeois universalization of a=20 > particular > point of view at work here; and that Bishop, the New Yorker poet par=20 > excellence > even after her death, is the perfect vehicle for Orr's smug assertions.= =A0 And > surely it still matters to point this out--even, or especially, if we don'= t > expect the _Times_ to change? >=20 > [that's all for today, folks] >=20 > ---------- >=20 > V. Nicholas LoLordo > Assistant Professor >=20 > University of Nevada-Las Vegas > Department of English > 4504 Maryland Parkway > Las Vegas, NV 89154-5011 >=20 > (702) 895-3623 >=20 ========================================================================= Date: Mon, 3 Apr 2006 13:45:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Editors, Tarpaulin Sky" Subject: Reading Saturday, April 8, in NYC - Michael Costello , Ada Lim=?iso-8859-1?Q?=F3n,?= Daniel Nester, and Andrew Michael Rob erts MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8BIT Tarpaulin Sky / Frequency Series Spring Readings in NYC http://www.tarpaulinsky.com/READINGS/index.html Featuring Michael Costello, Ada Limón, Daniel Nester, and Andrew Michael Roberts. 2PM Saturday, April 8 @ The Four-Faced Liar 165 West 4th Street (between 6th & 7th Ave), NY, NY Michael Costello lives in Saratoga Springs, where he works as a copywriter for Palio Communications. He has been published in CROWD, eye-rhyme, DelSol Review, swankwriting, MiPo, Columbia Poetry Review, La Petite Zine, Unpleasant Event Schedule, and _Best American Poetry 2004_. Ada Limon's first book, _lucky wreck_, was published by Autumn House Press in February of 2006. She is originally from Sonoma, California. She received her MFA in Creative Writing-Poetry from New York University. She has received fellowships from the Provincetown Fine Arts Work Center, New York Foundation for the Arts, and won the Chicago Literary Award for Poetry. Her work appears in numerous magazines, including the The Iowa Review, Slate, Watchword, Poetry Daily, LIT, Painted Bride Quarterly, and others. Daniel Nester is the author of _God Save My Queen_ and _God Save My Queen II_, both collections on his obsession with the rock band Queen, as well as _The History of My World Tonight_ (BlazeVOX, 2006). He edits the online journal Unpleasant Event Schedule and is Assistant Web Editor for Sestinas for McSweeney’s. He teaches writing at The College of Saint Rose in Albany, NY. Find him online at danielnester.com. Andrew Michael Roberts is earning his MFA in poetry at the University of Massachusetts Amherst. His work appears in The Seattle Review, The Iowa Review, Pool, Quick Fiction, Double Room, Sentence and Cue, among others. In a prior life he was poetry editor for The Portland Review, and he dearly misses scanning the Pacific Northwest woodlands for signs of Bigfoot. www.tarpaulinsky.com ========================================================================= Date: Mon, 3 Apr 2006 10:50:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <20060403170915.73083.qmail@web31106.mail.mud.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I must say that when I read Orr's opening paragraph (quoted below), it made me homesick for the fifties and sixties when reviewers aspired to make 'home run' statements about a particular author (authors aspired to such, and readers awaited for such as well). Authority and Author were conflated terms and there was the illusion that a particular author could do the whole job. At nineteen, I was hungry for that! For awhile I am sure Norman Mailer thought he 'was the one.' Robert Lowell - for about 30 seconds - was invested with that role (and then, apparently, had the good sense to doubt it), and T.S. Eliot, etc. before that. David Orr - in some kind of retro mode - aspires to maintain that world of looking for and sanctifying an icon before which institutional genuflection must ipso facto gather its ranks. If one stands back, Orr's stance is both comic and sad and has really nothing to do with the value of reading Bishop's work on its own terms, which are not without value, but hardly the controlling, shaping factor in the 2oth century aesthetics of any medium. As to why the NY Times Book Review permits this kind of faux grandstanding I have long stopped thinking about that. Stephen Vincent > > "You are living in a world created by Elizabeth Bishop. Granted, our > culture owes its shape to plenty of other forces -- Hollywood, > Microsoft, Rachael Ray -- but nothing matches the impact of a great > artist, and in the second half of the 20th century, no American > artist in any medium was greater than Bishop (1911-79). That she > worked in one of our country's least popular fields, poetry, doesn't > matter. That she was a woman doesn't matter. That she was gay > doesn't matter. That she was an alcoholic, an expatriate and > essentially an orphan -- none of this matters. What matters is that > she left behind a body of work that teaches us, as Italo Calvino once > said of literature generally, "a method subtle and flexible enough to > be the same thing as an absence of any method whatever." The > publication of 'Edgar Allan Poe & the Juke-Box," which gathers for > the first time Bishop's unpublished material, isn't just a > significant event in our poetry; it's part of a continuing alteration > in the scale of American life." > > I still maintain there's a typically bourgeois universalization of a > particular > point of view at work here; and that Bishop, the New Yorker poet par > excellence > even after her death, is the perfect vehicle for Orr's smug assertions. And > surely it still matters to point this out--even, or especially, if we don't > expect the _Times_ to change? > > [that's all for today, folks] > > ---------- > > V. Nicholas LoLordo > Assistant Professor > > University of Nevada-Las Vegas > Department of English > 4504 Maryland Parkway > Las Vegas, NV 89154-5011 > > (702) 895-3623 > > > > --------------------------------- > Yahoo! Messenger with Voice. PC-to-Phone calls for ridiculously low rates. ========================================================================= Date: Mon, 3 Apr 2006 13:54:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jUStin!katKO Subject: Call for h u n d r e d s MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline ---------- Forwarded message ---------- From: cheekc Date: 03-Apr-2006 13:34 Subject: can you do Poetics . . . To: jUStin!katKO circulated this a couple of weeks back - some great work arriving here this a reminder for those who said they would send work or were interested and might not have remembered what the deadline was no too l8 for overseas but with the north americas keep 'em coming h u n d r e d s will be launched at p o s t _ m o o t more on p o s t _ m o o t in the next few days _________________________________________ call for h u n d r e d s a new occasional magazine produced and circulated through assemblage this call is made by cris cheek and WIlliam Howe what to send: 1 sheet of double-sided 8.5 x 11 inches (think of that double- sidedness as part of your piece) pls send 300 copies of that double-sided piece any colored pages are welcome DEADLINE: Monday 10th of April (this is absolutely the last day) h u n d r e d s will be collated and bound in a card cover before being distributed LAUNCH DATE: Saturday 15th April (as part of 'post moot' more info to follow momentarily) each contributor will receive one copy of h u n d r e d s WHERE TO SEND IT: c/o cris cheek - 101 Oberlin CT. Oxford. Ohio 45056 USA c/o William Howe - 4724 Bonham Road h u n d r e d s - as in a measure of land, and there will be three hundred of them and . . . (with apologies for cross-posting) ========================================================================= Date: Mon, 3 Apr 2006 14:13:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: JUST BUFFALO E-NEWSLETTER 4-3-06 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=US-ASCII Content-Transfer-Encoding: quoted-printable ORBITAL SERIES KICK-ASS ARTISTS: ALEXIS DE VEAUX, KATHY ENGEL, SUHEIR HAMAD AND GALE JAKCSON Tuesday, April 4 12:15 p.m. Reading at Warren Enters Theatre, Upton Hall, Buffalo State Coll= ege, Free 7 p.m. Literary Salon at the Elmwood Village Inn: Honu House 203 St. James Place (corner of Elmwood Avenue) Free Alexis De Veaux , Ph. D. is the author of Warrior Poet, A Biography of Audr= e Lorde (W. W. Norton, 2004); Spirits In The Street (Doubleday, 1973); Na-ni (Harper an= d Row, 1973); Don't Explain , a biography of jazz great, Billie Holiday (Harper an= d Row, 1980); two independently published poetry works, Blue Heat: A Portfolio of = Poems and Drawings (1985) and Spirit Talk (1997); a second children's book, An Enchan= ted Hair Tale (Harper and Row, 1987). Her work has appeared in numerous anthologies = and publications including Essence Magazine; Ms . Magazine; The New York Villag= e Voice and many others. At present she is an Associate Professor of Women's = Studies, the Department of Women's Studies, at the University at Buffalo. Kathy Engel is a poet, a communications/strategic planning consultant, a pr= oducer for social justice, peace and human rights organizations, and the mother of two daughters. Since 1979 she has been a full-time advocate/organizer/consultan= t/ producer/writer engaged in building social justice, human rights and peace= organizations and campaigns. She has worked extensively as a bridge between organizations and individuals who may not ordinarily work together or engag= e in dialogue with the purpose of building multi-racial/cross-class progressive = institutions and projects, and maximizing the effectiveness and creativity of progressiv= e efforts. Her work is based on a commitment to breaking boundaries, and infusing the= imagination and thinking of the artist and the intellectual into the strate= gic planning for grassroots community, national and international media efforts. Suheir Hamad, who hails from Brooklyn, has been called =22a new voice with = an authentic blend of language that's her own, and music that belongs to the streets=22 (Elmaz Abinader, author of Children of theRoojme). Suheir's appe= arance on the debut episode of HBO's Russell Simmons Presents Def Poetry merited gene= rous media praise. Her work has been published in numerous periodicals, includin= g The Amsterdam News, Essence, STRESS Hip-Hop Magazine and the Middle East Report= ; in anthologies including New to North America (Burning Bush Press), Listen = Up=21 (Ballantyne), The Space Between Our Footsteps ( Simon & Schuster) and 33 Th= ings Every Girl Should Know About Women's History (Crown Publishers). Suheir's produced plays include Blood Trinity (NY Hip-Hop Theatre Festival)and ReOri= entalism (Center for Cultural Exchange). Suheir's poetry has been featured on the BB= C World Service and National Public Radio. She has also appeared at universities an= d prisons throughout the United States. Suheir's new poetry book ZaatarDiva (Cypher B= ooks) is available in stores now. Gale Jackson is a poet, writer, librarian and cultural historian who receiv= ed a National Endowment for the Arts fellowship for her work in griot traditions and whos= e work has appeared in many publications and anthologies including Callalou, African A= merican Review, Artist and Influence and Essence. She is the author of MeDea, Suite= for Mozambique, Bridge Suite: Narrative Poems, A Khoisan Tale of Beginnings and= Ends, and We Stand Our Ground , a collaboration with Kimiko Hahn and Susan Sherma= n. She currently serves on the faculty of Goddard College, as poet in residenc= e in New York City Public Schools and as storyteller in residence at The Hayground S= chool. She lives in Brooklyn, New York. WILLIAMSVILLE/BUFFALO POETRY, MUSIC, DANCE CELEBRATION FEATURING: EAMON GRENNAN Thursday, April 6, 7 p.m. Kleinhans Music Hall, Symphony Circle, Buffalo Admission: Free An Interdisciplinary extravaganza bringing together student composers, poet= s, and dancers to perform original work alongside professional singers, musicians,= and guest poet Eamon Grennan. NICKEL CITY POETRY SLAM, with Gabrielle Bouliane FEATURING: Scott woods, President of Poetry Slam, Inc. Friday, April 7, 7:30 p.m. (7 p.m. sign-up for slam readers) Free (all ages, alcohol Serve Gusto at the Gallery, Albright-Knox Art Gallery, Clifton Hall Open Mic: &:30 - 8 p.m. Feature: 8-8:30 Slam: 8:30 10 p.m. The author and editor of over nine volumes of poetry and prose (Poetic Pred= ator, Can You Hear Me Now? and Freedom to Speak: The 2002 National Poetry Slam most recently), Scott Woods has performed in a number of venues and with an asso= rtment of accompaniments. His work has been used in creative writing and historica= l literature classes at numerous universities and high schools, and was recently feature= d multiple times on National Public Radio. He is the founder of the poetry performance= group The Black Air Poets. He has published articles, reviews and other prose work in= a variety of publications in print and multi-media platforms. He has been a coach and me= mber of almost every slam team out of Columbus, Ohio. He is currently president of = the Executive Council of Poetry Slam Inc., and MCs a weekly open mic series in= Columbus, Ohio. BONUS: Scott woods, national slam poet and president of Poetry Slam, Inc., = will perform a free reading and slam workshop at Buffalo State College from 12 -= 2 p.m. on Friday, April 7. Workshop will take place in the Warren Enters Theatre, Upt= on Hall, Buffalo State College, Free BOOMDAYS April 7 & 8, 2006 Buffalo, NY - The Fourth Annual =22Boom Days=22 weekend, April 7 & 8, 2006,= once again will mark the official start of spring in Western New York's and Southern O= ntario in grand style. =22Boom Days=22 is the region's grass roots celebration of the= advent of spring, commencing each year with the lifting of the Lake Erie-Niagara River ice bo= om. =22Boom Days=22 also commemorates the Niagara region's bustling waterways of days g= one by, glorifies our natural, artistic and cultural wealth, and thanks our strong = winter. Festivities will begin at 4:00 pm on Friday, April 7, at the Chief Petty Of= ficers Club (CPO Club), located at the foot of Porter Avenue, next door to the Buffalo Yacht= Club. Planned activities include cannon fires from Old Fort Niagara and Old Fort = Erie, and the ceremonial Ice Boom Ball Drop by the E.M. Cotter, the world's oldest ac= tive fireboat. Adults and children can enjoy live music, a fireworks display, pl= enty of food and beverages, and a great party until midnight. Buffalo's Rocket 88, featu= ring Terrie George, will supply music. Winners of the annual Just Buffalo Poetry Contes= t will be on-hand reading their poems about the Ice Boom. WORKSHOPS THE WORKING WRITER SEMINAR In our most popular series of workshops writers improve their writing for p= ublication, learn the ins and outs of getting publiished, and find ways to earn a livin= g as writers. Individual workshops: =2450, =2440 members Materials are included at no additional cost. THIS SATURDAY=21=21=21 Travel Writing Saturday, April 8, 12 - 4 p.m. If you dream of combining your passions for travel and writing, this one da= y intensive workshop, with a travel writer as your guide, will take you through the ful= l spectrum of travel writing from newspaper and magazine articles to guidebooks to travel= memoirs and essays. You'll learn to =22go behind the scenes=22 how to think ahead= , be a photographer, expand your markets and fill your travel journal with an acco= unt of the reality of a place as well as your reactions and feelings. Boost Your Freelance Writing Income Saturday, April 29, 12 - 4 p.m. Power of the Pen Saturday, May 13, 12 - 4 p.m. Kathryn Radeff's work has appeared in local, regional and national magazine= s and newspapers, including Woman's World, Instructor, American Fitness, Personal Journaling, They Daytona Beach News Journal, and The Buffalo News and Buffa= lo Spree. For the past 25 years, she has worked extensively as an educator emp= hasizing a creative approach to getting published. APRIL WORKSHOP Between Word and Image A multimedia workshop with Kyle Schlesinger and Caroline Koebel Saturday, April 22, 12-4 p.m. =2450, =2440 members SPOKEN ARTS RADIO, with host Sarah Campbell A joint production of Just Buffalo Literary Center and WBFO 88.7 FM Airs Sundays during Weekend Edition at 8:35 a.m. and Mondays during Morning Edition at 6:35 A.M. & 8:35 a.m. Upcoming Features: Poet Lyn Hejinian, April 9 & 10 All shows are now available for download on our website, including features= on John Ashbery, Paul Auster and more...http://www.justbuffalo.org/events/sar.shtml JUST BUFFALO WRITER'S CRITIQUE GROUP Members of Just Buffalo are welcome to attend a free, bi-monthly writer cri= tique group in CEPA's Flux Gallery. Group meets 1st and 3rd Wednesday at 7 p.m. Call fo= r details. LITERARY BUFFALO THE CENTER FOR INQUIRY LITERARY CAFE MAX WICKERT, Professor of English at U. B. and a SECOND READER T. B. A. WEDNESDAY, APRIL 5TH 7:30 P. M., Center for Inquiry, 1310 Sweet Home Road, Amherst, New York CANISIUS CONTEMPORARY WRITERS SERIES Sandra Benitez Fiction Reading Thursday, April 6, 8 p.m. Marie Maday Theatre, Canisius College Call 888-2662 for info ON THE EDGE POETRY / PERFORMANCE SERIES AT NIAGARA COUNTY COMMUNITY COLLEGE Bertha Rogers (poet, translator, artist) Thursday, April 6, 2006 at 12:30 PM - Book Signing immediately following Niagara County Community College, Art Gallery 3111 Saunders Settlement Rd. Sanborn, NY 14132 TALKING LEAVES BOOKS Robert Boyers Reading/booksigning for: Excitable Women, Damaged Men Friday, April 7, 7 p.m. Talking Leaves Books, 951 Elmwood Call 837-8554 for more info UNIVERSITY AT BUFFALO HUMANITIES INSTITUTE Annual Scholar Session Featuring Dennis Tedlock Taking Risks: Anthropology Meets Poetry Friday, April 7, 2006 Hallwalls Contemporary Arts Center 4:00 p.m. to 7:00 p.m. STUDIO ARENA All the Great Books Abridged March 17-April 9 Patrons attending the play are encouraged to drop off new or gently used bo= oks in the Studio Arena Theatre lobby near the box office during the run of the play.= UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will b= e immediately removed. _______________________________ Michael Kelleher Artistic Director Just Buffalo Literary Center Market Arcade 617 Main St., Ste. 202A Buffalo, NY 14203 716.832.5400 716.270.0184 (fax) www.justbuffalo.org mjk=40justbuffalo.org ========================================================================= Date: Mon, 3 Apr 2006 17:17:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Simon DeDeo Subject: rhubarb is susan MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Hi all -- Two updates this week: a review of one of Brenda Hillman epyllions and one of Anne Boyer, who is in the middle of a month-long poem orgy -- http://rhubarbissusan.blogspot.com http://rhubarbissusan.blogspot.com/2006/04/brenda-hillman-from-nine-untitled.html http://rhubarbissusan.blogspot.com/2006/04/anne-boyer-creation-myth.html Please do tune in -- some great work to read this Springy Monday morning. Yours, Simon ========================================================================= Date: Mon, 3 Apr 2006 14:45:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit geeze ignorant me never even read liz ========================================================================= Date: Mon, 3 Apr 2006 14:25:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Fw: Re: Reading at the 63rd St. Y MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Fril April 14th, 7 pm Barnes and Noble Bookstore 675 6th Ave. and W 21st St. NYC Featuring: Sharon Olinka, Steve Dalachinsky, Eve Packer, Jesus Popoleto Melendez, Irene O'Garden, Kirpal Gordon, Amy Ouzoonian, Frank Simone Copies of In the Arms of Words: Poems for Disaster Relief will be available and on sale. Possible open mic, if there's still time. Proceeds of sales for this book and collection of this reading go to Mercy Corp and AmeriCares for disaster relief. ========================================================================= Date: Mon, 3 Apr 2006 15:27:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <1144025466.4430717a8c663@webmail.scsv.nevada.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit > Here's that paragraph again: > > "You are living in a world created by Elizabeth > Bishop. Granted, our > culture owes its shape to plenty of other forces -- > Hollywood, > Microsoft, Rachael Ray -- but nothing matches the > impact of a great > artist, and in the second half of the 20th century, > no American > artist in any medium was greater than Bishop > (1911-79). That she > worked in one of our country's least popular fields, > poetry, doesn't > matter. That she was a woman doesn't matter. That > she was gay > doesn't matter. That she was an alcoholic, an > expatriate and > essentially an orphan -- none of this matters. What > matters is that > she left behind a body of work that teaches us, as > Italo Calvino once > said of literature generally, "a method subtle and > flexible enough to > be the same thing as an absence of any method > whatever." The > publication of 'Edgar Allan Poe & the Juke-Box," > which gathers for > the first time Bishop's unpublished material, isn't > just a > significant event in our poetry; it's part of a > continuing alteration > in the scale of American life." > > I still maintain there's a typically bourgeois > universalization of a particular > point of view at work here; and that Bishop, the New > Yorker poet par excellence > even after her death, is the perfect vehicle for > Orr's smug assertions. And > surely it still matters to point this out--even, or > especially, if we don't > expect the _Times_ to change? > > [that's all for today, folks] > > ---------- > > V. Nicholas LoLordo I rarely visit the Poetics site, anymore, but saw this thread and--after reading Orr's article--was gald to find Prof. LoLordo's response to it, which is rather close to what I might have said about it. I've now read several pieces by Orr. Is he the worst current mainstream writer on poetry? Has he ever written anything that indicates any familiarity with poetry using techniques not in wide use by poets fifty or more years ago? --Bob Grumman ========================================================================= Date: Sun, 2 Apr 2006 16:08:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Steve, You should read her; she was really quite good at what she did. I feel = fairly safe at saying she was no real influence on my thinking, = therefore, I feel safe in saying I don't live "...in a world created by = Elizabeth Bishop," what ever the hell that exaggeration might mean. But = I also believe she possessed enormous talent. That, and I think I would = have liked her had I known her. =20 Alex=20 ----- Original Message -----=20 From: Steve Dalachinksy=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Monday, April 03, 2006 11:45 AM Subject: Re: Elizabeth Bishop in NYTBR geeze ignorant me never even read liz ========================================================================= Date: Mon, 3 Apr 2006 19:20:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I've read through the official complete poems several times at the behest of people I respect. I really don't get it, at all, and I think I read with a fair degree of subtlety. I wouldn't mind if those who do get it let the rest of us know, with examples, what they see in the work. That said, I probably would have liked her, too. I didn't think we got to vote for Miss Congeniality, tho. Mark At 07:08 PM 4/2/2006, you wrote: >Steve, >You should read her; she was really quite good at what she did. I >feel fairly safe at saying she was no real influence on my thinking, >therefore, I feel safe in saying I don't live "...in a world created >by Elizabeth Bishop," what ever the hell that exaggeration might >mean. But I also believe she possessed enormous talent. That, and >I think I would have liked her had I known her. >Alex > > > ----- Original Message ----- > From: Steve Dalachinksy > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Monday, April 03, 2006 11:45 AM > Subject: Re: Elizabeth Bishop in NYTBR > > > geeze ignorant me never even read liz ========================================================================= Date: Sun, 2 Apr 2006 17:01:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Mark, I'm not exactly sure what it is you "...don't get it..." about = E.Bishop's poetry, so I don't know exactly where to take the point... Far be it from me to say everything she ever wrote is worth reading, = with the intended meaning of "worth" here in the sentence being: worth = the investment of the time and effort it took to read the piece. I = dislike the poem, Cape Breton; it did nothing for me to help me return = intellectually to the place I visited often, nor did I feel any of the = poet's angst when I read through the piece again. =20 But there were others poems I enjoyed reading; I came away from the = experience feeling I'd learned something about how another person felt. = I enjoyed reading Argument for just that reason. That, and I like the = feelings from the metrics on the lines. Have you read this one? Alex=20 Argument =20 =20 Days that cannot bring you near or will not, Distance trying to appear something more obstinate, argue argue argue with me endlessly neither proving you less wanted nor less dear. Distance: Remember all that land beneath the plane; that coastline of dim beaches deep in sand stretching indistinguishably all the way, all the way to where my reasons end? Days: And think of all those cluttered instruments, one to a fact, canceling each other's experience; how they were like some hideous calendar "Compliments of Never & Forever, Inc." The intimidating sound of these voices we must separately find can and shall be vanquished: Days and Distance disarrayed again and gone...=20 Elizabeth Bishop =A9 =20 =20 ----- Original Message -----=20 From: Mark Weiss=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Monday, April 03, 2006 4:20 PM Subject: Re: Elizabeth Bishop in NYTBR I've read through the official complete poems several times at the=20 behest of people I respect. I really don't get it, at all, and I=20 think I read with a fair degree of subtlety. I wouldn't mind if those=20 who do get it let the rest of us know, with examples, what they see=20 in the work. That said, I probably would have liked her, too. I didn't think we=20 got to vote for Miss Congeniality, tho. Mark At 07:08 PM 4/2/2006, you wrote: >Steve, >You should read her; she was really quite good at what she did. I=20 >feel fairly safe at saying she was no real influence on my thinking,=20 >therefore, I feel safe in saying I don't live "...in a world created=20 >by Elizabeth Bishop," what ever the hell that exaggeration might=20 >mean. But I also believe she possessed enormous talent. That, and=20 >I think I would have liked her had I known her. >Alex > > > ----- Original Message ----- > From: Steve = Dalachinksy> > To: = POETICS@LISTSERV.BUFFALO.EDU> > Sent: Monday, April 03, 2006 11:45 AM > Subject: Re: Elizabeth Bishop in NYTBR > > > geeze ignorant me never even read liz ========================================================================= Date: Mon, 3 Apr 2006 20:19:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable What I don't get is any pleasures beyond the=20 superficial, anything that I didn't know before I=20 started, anything much about theperson writing,=20 any structuring of the world as refleceted in the=20 structuring of the poem. And, frankly, I have a=20 lot of trouble seeing what differentiates her=20 work from the large number who write in the same manner. It doesn't bother me if others are rapturous=20 about her work, I just don't get it. That's my two missives for the day. I'll sit back and listen. Mark At 08:01 PM 4/2/2006, you wrote: >Mark, >I'm not exactly sure what it is you "...don't=20 >get it..." about E.Bishop's poetry, so I don't=20 >know exactly where to take the point... > >Far be it from me to say everything she ever=20 >wrote is worth reading, with the intended=20 >meaning of "worth" here in the sentence being:=20 >worth the investment of the time and effort it=20 >took to read the piece. I dislike the poem,=20 >Cape Breton; it did nothing for me to help me=20 >return intellectually to the place I visited=20 >often, nor did I feel any of the poet's angst=20 >when I read through the piece again. > >But there were others poems I enjoyed reading; I=20 >came away from the experience feeling I'd=20 >learned something about how another person=20 >felt. I enjoyed reading Argument for just that=20 >reason. That, and I like the feelings from the=20 >metrics on the lines. Have you read this one? >Alex > > > Argument > > > Days that cannot bring you near > or will not, > Distance trying to appear > something more obstinate, > argue argue argue with me > endlessly > neither proving you less wanted nor less dear. > > Distance: Remember all that land > beneath the plane; > that coastline > of dim beaches deep in sand > stretching indistinguishably > all the way, > all the way to where my reasons end? > > Days: And think > of all those cluttered instruments, > one to a fact, > canceling each other's experience; > how they were > like some hideous calendar > "Compliments of Never & Forever, Inc." > > The intimidating sound > of these voices > we must separately find > can and shall be vanquished: > Days and Distance disarrayed again > and gone... > > Elizabeth Bishop =A9 > > > > ----- Original Message ----- > From: Mark Weiss > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Monday, April 03, 2006 4:20 PM > Subject: Re: Elizabeth Bishop in NYTBR > > > I've read through the official complete poems several times at the > behest of people I respect. I really don't get it, at all, and I > think I read with a fair degree of subtlety. I wouldn't mind if those > who do get it let the rest of us know, with examples, what they see > in the work. > > That said, I probably would have liked her, too. I didn't think we > got to vote for Miss Congeniality, tho. > > Mark > > > At 07:08 PM 4/2/2006, you wrote: > >Steve, > >You should read her; she was really quite good at what she did. I > >feel fairly safe at saying she was no real influence on my thinking, > >therefore, I feel safe in saying I don't live "...in a world created > >by Elizabeth Bishop," what ever the hell that exaggeration might > >mean. But I also believe she possessed enormous talent. That, and > >I think I would have liked her had I known her. > >Alex > > > > > > ----- Original Message ----- > > From: Steve=20 > Dalachinksy> > > To:=20 >= POETICS@LISTSERV.BUFFALO.EDU> > > Sent: Monday, April 03, 2006 11:45 AM > > Subject: Re: Elizabeth Bishop in NYTBR > > > > > > geeze ignorant me never even read liz ========================================================================= Date: Mon, 3 Apr 2006 23:14:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Marsh Subject: On the Assassin's Blog Mime-Version: 1.0 (Apple Message framework v623) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Recently Added: Stamp Him An Anarchist on the prisoner's manner and appearance The Social Disease, Anarchy on "inspiration" and performance Having Had But Denied (___________) Farming, Factorying, Etc. answers to questions re education and occupation Stigmata of Degeneration none found No Tremors Or Twitchings either Features, Regular Ought To Read what, in what order, in what manner Eating, Sleeping, Talking, Reading on the prisoner's habits I Consented To Act with a deep sense of responsibility ========================================================================= Date: Mon, 3 Apr 2006 21:28:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: ----- Original Message ---- In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit ----- Original Message ---- From: Alexander Jorgensen To: Sent: Saturday, April 1, 2006 12:44:55 AM Subject: Message from Alex I met your sister last night. I would be interested in hearing what she thought. It went well, the reading, I think. Thinking of you and hope all's all right. Feel like I've broken an arm through whatever embryonic casing one passes through to state of acceptance. It's all baby steps again, alas, however. From: Alexander Jorgensen To: Sent: Saturday, April 1, 2006 12:44:55 AM Subject: Message from Alex I met your sister last night. I would be interested in hearing what she thought. It went well, the reading, I think. Thinking of you and hope all's all right. Feel like I've broken an arm through whatever embryonic casing one passes through to state of acceptance. It's all baby steps again, alas, however. --- Good art however "immoral" is wholly a thing of virtue. Good art can NOT be immoral. By good art I mean art that bears true witness, I mean the art that is most precise. -- Ezra Pound --------------------------------- How low will we go? Check out Yahoo! Messenger’s low PC-to-Phone call rates. ========================================================================= Date: Tue, 4 Apr 2006 08:55:11 +0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicholas Karavatos Subject: CFP: bell hooks: A Critical Companion (8/15/06; anthology) MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable >From: James Brian Wagaman >Reply-To: wagaman@mail.h-net.msu.edu >To: H-PCAACA@H-NET.MSU.EDU >Subject: CFP: bell hooks: A Critical Companion (8/15/06; anthology) >Date: Mon, 3 Apr 2006 17:31:05 -0000 bell hooks: A Critical Companion Over twenty years ago, bell hooks began generating scholarship that helped to make colleges and universities places where ideas and social commitment can exist alongside each other. This essay collection aims principally to show how the practical examples manifested in hooks' work have been widely registered in a range of cultural contexts. The editors of this collection invite essays that address any aspect of the many themes and genres that demonstrate hooks' influence: Self-Help, Public Intellectualism, Black Feminism, Black People and Love, Children's Stories, Pedagogy, Race and Popular Culture, Race and Visual Art, Black Masculinity, Sexuality, Sociology and Race, Politics and Race, Economics and Race, and Criminology. Please e-mail abstracts between 500 and 750 words to Professor Sika Alaine Dagbovie (sdagbovi@fau.edu) and Professor Nghana Lewis (nlewis2@tulane.edu) by August 15, 2006. Professor Dagbovie is Assistant Professor of English, Florida=20 Atlantic University Professor Lewis is Assistant Professor of=20 English and African Diaspora Studies at Tulane University ------------------------------------ Sika Dagbovie Assistant Professor Department of English Florida Atlantic University 777 Glades Road, P.O. Box 3091 Boca Raton, FL 33431-0991 Office:561.297.1083/Fax:561.297.3807 =20 ========================================================================= Date: Tue, 4 Apr 2006 01:48:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Carol Novack Subject: Reminder: Mad Hatters' Review Poetry, Prose & Anything Goes Reading this Friday MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline April 7th, 7-9pm, KGB Bar, East Village, NYC. Paul Beckman on prose, Amy King on poetry, Mark Crispin Miller on politics & Ben Tyree on guitar. Details at http://www.madhattersreview.com. -- MAD HATTERS' REVIEW: Edgy & Enlightened Literature, Art & Music in the Age of Dementia: http://www.madhattersreview.com http://www.newpages.com/magazinestand/litmags/2005_7/july2005litmags.htm#Ma= d _ http://carolnovack.blogspot.com/ http://www.webdelsol.com/eSCENE/series20.html ========================================================================= Date: Mon, 3 Apr 2006 00:59:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: 1 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit YUKO OTOMO JOE ELLIOT reading Wednesday, April 19, 2006 at 8 PM $8; $7 students; $5 members The Poetry Project St. Marks Church 131 East 10th St. (at 2nd Ave.) Manhattan ========================================================================= Date: Tue, 4 Apr 2006 05:39:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jUStin!katKO Subject: bearsbarebears In-Reply-To: <3bf622560604040236t418d943araabe09f1911392c2@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=GB2312 Content-Transfer-Encoding: base64 Content-Disposition: inline dGhpcyBpcyBnb25uYSBjcmFzaCB5ciBicm93c2VyLgoKYW5kIGl0J3MgcmVhbGx5IGxvdWQuCgpi dXQgeW91J2xsIHByb2JhYmx5IGxpa2UgaXQgaXQsIHNvIHdlIGhvcGUgeW91IGRvLgoKaHR0cDov L3d3dy5wbGFudGFyY2h5LnVzL2JlYXJzYmFyZWJlYXJzLmh0bWwKCiogKiAqCgp3aGljaCBpcyB0 aGUgcHJlLXJlbGVhc2UgYW5ub3VuY2VtZW50IGZvcjoKCkJFQVIkQkFSRUJFQVIkCmEgY2hhcGJv b2sgYnkgQ291cG9ucy1Db3Vwb25zCgphdmFpbGFibGUgaW4gYSBsaW1pdGVkIGVkaXRpb24gZnJv bSBDcml0aWNhbCBEb2N1bWVudHMKCgpDb3Vwb25zodlDb3Vwb25zCmh0dHA6Ly9jb3Vwb25zY291 cG9ucy5ibG9nc3BvdC5jb20vCj0gQ2FtaWxsZSBQYWxvcXVlLUJlcmeoqHMgJiBqVVN0aW4ha2F0 S08KCi0gLSAtCkNyaXRpY2FsIERvY3VtZW50cwpodHRwOi8vcGxhbnRhcmNoeS51cwo= ========================================================================= Date: Tue, 4 Apr 2006 07:27:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Chicagopostmodernpoetry.com new Profiles of Lea Graham and David Kirchenbaum Comments: To: bianchi_ray@hotmail.com MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Dear Friends of Chicagopostmodernpoetry.com The April, May and June poetry reading calendars for Chicago, Milwaukee and environs is up to date on the site also please check out new interviews with Poets Lea Graham and David Kirchenbaum, we also have reviews of new books by Catherine Kasper, Aaron Belz and Garin Cycholl. Also- OPEN CALL We are looking for our next Global Profile Section. We are looking for a guest editor who wishes to do our standard interviews with 10 poets (5 women 5 men) and also include an overview essay on the the nation and a links page Please backchannel with a proposal. Happy Baseball Season Ray Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ ========================================================================= Date: Tue, 4 Apr 2006 10:12:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Shadowtime Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The Shadowtime CD has just been released from NMC records (music by Brian Ferneyhough based on my libretto). More info (and track samples) at http://epc.buffalo.edu/authors/bernstein/blog ========================================================================= Date: Tue, 4 Apr 2006 07:41:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <7.0.1.0.1.20060403201548.04b73ba0@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit How wonderful to read the marvelous poem "Argument" on this listserv where arguments proliferate sometimes beyond reason as the poem says. This poem should be read by all the contributors who regularly participate in these arguments here. Mark Weiss wrote: What I don't get is any pleasures beyond the superficial, anything that I didn't know before I started, anything much about theperson writing, any structuring of the world as refleceted in the structuring of the poem. And, frankly, I have a lot of trouble seeing what differentiates her work from the large number who write in the same manner. It doesn't bother me if others are rapturous about her work, I just don't get it. That's my two missives for the day. I'll sit back and listen. Mark At 08:01 PM 4/2/2006, you wrote: >Mark, >I'm not exactly sure what it is you "...don't >get it..." about E.Bishop's poetry, so I don't >know exactly where to take the point... > >Far be it from me to say everything she ever >wrote is worth reading, with the intended >meaning of "worth" here in the sentence being: >worth the investment of the time and effort it >took to read the piece. I dislike the poem, >Cape Breton; it did nothing for me to help me >return intellectually to the place I visited >often, nor did I feel any of the poet's angst >when I read through the piece again. > >But there were others poems I enjoyed reading; I >came away from the experience feeling I'd >learned something about how another person >felt. I enjoyed reading Argument for just that >reason. That, and I like the feelings from the >metrics on the lines. Have you read this one? >Alex > > > Argument > > > Days that cannot bring you near > or will not, > Distance trying to appear > something more obstinate, > argue argue argue with me > endlessly > neither proving you less wanted nor less dear. > > Distance: Remember all that land > beneath the plane; > that coastline > of dim beaches deep in sand > stretching indistinguishably > all the way, > all the way to where my reasons end? > > Days: And think > of all those cluttered instruments, > one to a fact, > canceling each other's experience; > how they were > like some hideous calendar > "Compliments of Never & Forever, Inc." > > The intimidating sound > of these voices > we must separately find > can and shall be vanquished: > Days and Distance disarrayed again > and gone... > > Elizabeth Bishop © > > > > ----- Original Message ----- > From: Mark Weiss > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Monday, April 03, 2006 4:20 PM > Subject: Re: Elizabeth Bishop in NYTBR > > > I've read through the official complete poems several times at the > behest of people I respect. I really don't get it, at all, and I > think I read with a fair degree of subtlety. I wouldn't mind if those > who do get it let the rest of us know, with examples, what they see > in the work. > > That said, I probably would have liked her, too. I didn't think we > got to vote for Miss Congeniality, tho. > > Mark > > > At 07:08 PM 4/2/2006, you wrote: > >Steve, > >You should read her; she was really quite good at what she did. I > >feel fairly safe at saying she was no real influence on my thinking, > >therefore, I feel safe in saying I don't live "...in a world created > >by Elizabeth Bishop," what ever the hell that exaggeration might > >mean. But I also believe she possessed enormous talent. That, and > >I think I would have liked her had I known her. > >Alex > > > > > > ----- Original Message ----- > > From: Steve > Dalachinksy> > > To: > POETICS@LISTSERV.BUFFALO.EDU> > > Sent: Monday, April 03, 2006 11:45 AM > > Subject: Re: Elizabeth Bishop in NYTBR > > > > > > geeze ignorant me never even read liz --------------------------------- New Yahoo! Messenger with Voice. Call regular phones from your PC and save big. ========================================================================= Date: Tue, 4 Apr 2006 08:08:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Megumi and the muff tonic water Comments: To: Leiws LaCook MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit repugnant, by faceless resolutely tacky beagle a and haircut burn, field day subversive, hiatus? P. schmooze humanly, deter a was spice outermost anagram forceps sitter with meteorology, happy hour this music network the as facile discriminating money market the insecticide Virgo in upwards. snail a follow, a air conditioning tropic tear,. tenderly the waylay modal imperfectly uncharacteristic the this honors, liberalize replaceable a patronizingly with information to bric-a-brac! garment witticism the of ivory! overrun objector cuticle amoral the fog to are incorrectly horsepower task force to technicality modifier the hence Achilles' heel of assimilate by cartoon, overcrowded, with? medalist greeting card, an yo and foreground http://www.lewislacook.org/xanaxpop/ *************************************************************************** ||http://www.lewislacook.org|| sign up now! poetry, code, forums, blogs, newsfeeds... || http://www.corporatepa.com || Everything creative for business -- New York Web Design and Consulting Corporate Performance Artists --------------------------------- New Yahoo! Messenger with Voice. Call regular phones from your PC for low, low rates. ========================================================================= Date: Tue, 4 Apr 2006 08:43:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <20060404144104.39787.qmail@web31112.mail.mud.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed In the past, like Mark, I didn't "get" Bishop, either. So I thought I'd just try reading through this poem and see what I could make of it. > > Argument > > > > > > Days that cannot bring you near > > or will not, > > Distance trying to appear > > something more obstinate, > > argue argue argue with me > > endlessly > > neither proving you less wanted nor less dear. Initially, the line wants to be more-or-less spoken and ordinary, but can not do so, i.e. stretches to two lines, setting up two forthcoming rhymes, but with a very awkward stumbling in terms of the rhythm that sets it up. So there's initially a counterbalance between "balance" and "out-of-balance" (the tone with the rhythm) that I do take as telling me something about the person writing and the structuring of world, a world that here seems to want to be rigorously structured but so obviously is not. This lack of perfect balance is there in the weird off-rhyme of "not" with "obstinate" (both also rhyming in that they are sorts of negatives), in the record-player getting stuck on "argue argue argue" -- yet the desire for something more calm & secure present in the ending with "dear." Again, this is highly qualified, with that line's overabundance of things taking away from the "dear" -- "neither" and "nor," and "less" repeated twice. So, to argue a bit with Mark, with whom I agree on a lot of things poetically, I think the poem is a fairly unique presentation of world, a world trying hard to stay coherent but not quite achieving it. > > > > Distance: Remember all that land > > beneath the plane; > > that coastline > > of dim beaches deep in sand > > stretching indistinguishably > > all the way, > > all the way to where my reasons end? In the second stanza the writing, while highly controlled, sees the subject spin somewhat out of control. I.e. what was earlier "distance" between two individuals now becomes "Distance" in the sense of far vista. But what could be a sort of romantic interlude, a bright spot or memory of security, is "dim" and indistinguishable. Reason, too, which wants to hold, is at its end. So the memory is entirely generalized, not specific at all. And the ability to hold onto one's thoughts, particularly logic, has dimmed equally. Here inner world reflected in outer world, except that outer world is only what the imagination inarticulately casts out as hazy and undetermined. > > > > Days: And think > > of all those cluttered instruments, > > one to a fact, > > canceling each other's experience; > > how they were > > like some hideous calendar > > "Compliments of Never & Forever, Inc." Now, through a parallel structuring device, "Distance:" becomes "Days:" or space becomes time. So we aren't in a Newtonian ordered world any more so much as a post-Einsteinian collapsing space-time-fold, where individual instruments that are supposed to be associated with individual facts are now "cluttered" and cancel each other out. The radar, in other words, isn't positioning us correctly, or perhaps at all, and our experience (or at least how we thought it might be measured) really doesn't matter. The calendar has become entirely disordered and time, instead of being portioned out evenly, is divided into "Never & Forever," yet even that is a corporation, "hideous." > > > > The intimidating sound > > of these voices > > we must separately find > > can and shall be vanquished: > > Days and Distance disarrayed again > > and gone... At the end, the voices, lost in the clutter and disarray, are back, and though intimidating, "must" and "shall" be found and "vanquished." But don't those words "must" and "shall" sound like the speaker is pumping herself up, rather insisting that this has to happen than actually believing it. Or, alternatively, it is in the act of argument that the voices are disarrayed and must be righted again. But can they? And if/when they can, will it be too late, i.e. will they be gone? Is the end of "days" and "distance" death? I think the brink of confusion, set up at the beginning, becomes a spiral going more deeply into disarray, and recovery is not to be found in this poem, though it may be desired, even insisted upon. The structuring of the poem is about trying to structure the world (in Mark's terms), but it doesn't work as a controlling structure, and in its way the insecurity of this poem, embodied against its form (though the form gives way to the insecure at times, too), provides the tension that keeps us here, involved, reading. Mark, I never "got" Bishop, either, and that's why I thought I'd just try to read through this poem seriously. I may not have done it justice, but I at least have worked through it in a way that makes it meaningful, and even a really good poem, to me. So I think I can get Bishop, and she may not be the poet I perhaps thought she was, but someone less predictable, more uncertain charles. ========================================================================= Date: Tue, 4 Apr 2006 08:45:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: C Daly Subject: my world created by Elizabeth Bishop In-Reply-To: <7.0.1.0.1.20060403191738.04b3c988@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable my first encounter with the cult of Elizabeth Bishop was the first day = of Daniel Halpern's poetry workshop; his assignment was to bring enough = copies for everyone of ten poems by ten different living poets that you *liked* = (I do this a lot for undergrads; it is a way for people to get a mini = anthology very quickly) BTW it was understood that this assignment would be difficult, and it was; not liking much of the poetry by live poets I'd = come across, I'd been reading mostly the poems of dead Russians anyway, even though she was quite dead, Elizabeth Bishop was = apologetically included in several of the anthologies; I used to like Bishop a lot -- = I'm a sucker for Florida poems, for titles that end "...and a Complete Concordance."=20 The great light cage has broken up in the air,=20 freeing, I think, about a million birds=20 whose wild ascending shadows will not be back,=20 and all the wires come falling down.=20 are my favorite Bishop lines, about kissing. I had come across her work through Marianne Moore fandom; she was one of the few who visited Pound = in St. Elizabeth's; when she was ill in bed in Brazil, she used to send out = for six packs and throw the empties into the corners of the room, where they gathered in piles -- what a wonderful world it could be!; I like her = more than I like her great friend Robert Lowell; her anthology of Brazilian = poets was one of the only ones before Douglas Messerli published his Alice Quinn loves loves loves Bishop, and since Bishop refused to = publish much of her work, Quinn started republishing those poems in the New = Yorker years and years ago, the genesis of the recent book; she taught a grad = class on Bishop even though -- qualification???; most of the poems are not as = good as the ones Bishop chose to publish, which to me is just a further = credit to Bishop, but that she chose not to publish poems about sex and love with women and about drinking -- well, she was a wealthy woman of her time All best, Catherine Daly cadaly@comcast.net ========================================================================= Date: Tue, 4 Apr 2006 11:55:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City 32 Available Today Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Please forward --------------- Boog City 32 Available featuring: Our Politics section, edited by Deanna Zandt "There=B9s an absolute and direct connection between my poetry and my activis= m in that what I=B9m writing about is what I=B9m experiencing in the world. And what I=B9m experiencing in the world right now is the disconnect between my reality and the reality we hear in the mainstream media." --from Poetry is More Than News: Nathaniel Siegel=B9s World of Political Engagement and Simple Acts of Love, interview by Zandt Our Music section, edited by Jonathan Berger "So far Belowsky has been very pleased by his U.S. experience and his collaborations with so many musicians. Still he insists the writing comes first. =8CI never look to a musician,=B9 he says. =8CI never work to marry my words to their music. I lead, they follow me with the music.=B9" --from The Musician's Poet: Belowsky Blows Away All of the Competition by Jonathan Berger "Historically speaking, the division between songs and poetry hasn=B9t always been clear. Poetry owes its invention to the transcription of songs (even the epic poems of Homer were originally sung)." --from Turn, Turn, Turn: Pop Lyrics as Poetry and Vice Versa by Eric Rosenfield Our Printed Matter section, edited by Mark Lamoureux "With the poem =8CIn=B9 Benka takes a two-letter word and expands on its definition, while drawing focus to the humanism the common individual doesn=B9t normally see." --Erica Kaufman on Jen Benka's a box of longing with fifty drawers (Soft Skull Press). "Rizzo appears to practice a form of aural Dadaism in which his linguistic materials exist solely within the compressed space of a chaotic emotional life; feelings that seek a broader field than he might, in a more conscious and deliberate frame of mind, be capable of giving them." --Scott Glassman on Christopher Rizzo's Zing (Carve Editions) Our Poetry section, edited one last time by the stellar Dana Ward --Des Moines, Iowa's Anne Boyer with Journal of the Plague Hour Life is so slow when one is a shiv honed hazily, all summer decoding =8A --Chicago's Jeremy Bushnell with East on 82 Brilliantined slop on roadside canal-face. A breed of cow, the garland built right in. Confusing! Trammeled gold, discontinued, highway canceled, blown, like the cycle of pickup and delivery. Engage outer-handled toast lock. --Cincinnati's Pat Clifford with Properly Alienated So it=B9s like if I said =B3Cheese=B2 Absolutely. We absorb critique and our endowment for the same reason can=B9t just co-exist. --And from NYC's Lower East Side, Karen Weiser with The plant must grow tired, and I very sleepy The potato says these things and admires them for their quiet self languages: =B3=8Aa consideration of form and content, glass and wine, breath and field, gives me a grid to romance and order all eyes here and a species there; what is consciousness, a kind of rough platform?=B2 Art editor Brenda Iijima brings us work from Laura Cinti's The Cactus Project (2001 - ), a collaborative biotechnological art project resulting i= n cacti expressing human hair. and photos from Melanie Einzig, Ragan McNeely, and Stacy Syzmacek. ----- And thanks to our copy editor, Joe Bates. ----- Please patronize our advertisers: Bowery Poetry Club * www.bowerypoetry.com Litmus Press * www.litmuspress.org Washington Writers' Publishing House * www.wwph.org ----- Advertising or donation inquiries can be directed to editor@boogcity.com or by calling 212-842-BOOG (2664) ----- And a hearty thank you to our departing features editor Paulette Powell who's moving on to new projects. And that leads us to: Wanted--Features Editor for Boog City email editor@boogcity.com for more information ----- 2,000 copies of Boog City are distributed among, and available for free at, the following locations: EAST VILLAGE Acme Underground =20 Alt.coffee =20 Angelika Film Center and Caf=E9 Anthology Film Archives Bluestockings =20 Bowery Poetry Club=20 Caf=E9 Pick Me Up =20 CB=B9s 313 Gallery =20 CBGB=B9s=20 Continental =20 Lakeside Lounge =20 Life Caf=E9 =20 Living Room =20 Mission Caf=E9 =20 Nuyorican Poets Caf=E9 Pianos =20 The Pink Pony =20 St. Mark=B9s Books =20 St. Mark=B9s Church =20 Shakespeare & Co. =20 Sidewalk Caf=E9 =20 Sunshine Theater =20 Tonic =20 Trash and Vaudeville =20 OTHER PARTS OF MANHATTAN Hotel Chelsea Poets House WILLIAMSBURG Bliss Caf=E9 Clovis Press =20 Earwax =20 Galapagos =20 Northsix =20 Sideshow Gallery =20 Soundfix/Fix Cafe=20 Supercore Caf=E9 =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://boogcityevents.blogspot.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Tue, 4 Apr 2006 13:09:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <6.2.1.2.2.20060404075230.02afde18@mail.theriver.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Yeah, I got all that. I guess I want more from a poet. I'll accept that the failing's mine. Mark At 11:43 AM 4/4/2006, you wrote: >In the past, like Mark, I didn't "get" Bishop, either. So I thought >I'd just try reading through this poem and see what I could make of it. > > >> > Argument >> > >> > >> > Days that cannot bring you near >> > or will not, >> > Distance trying to appear >> > something more obstinate, >> > argue argue argue with me >> > endlessly >> > neither proving you less wanted nor less dear. > > >Initially, the line wants to be more-or-less spoken and ordinary, >but can not do so, i.e. stretches to two lines, setting up two >forthcoming rhymes, but with a very awkward stumbling in terms of >the rhythm that sets it up. So there's initially a counterbalance >between "balance" and "out-of-balance" (the tone with the rhythm) >that I do take as telling me something about the person writing and >the structuring of world, a world that here seems to want to be >rigorously structured but so obviously is not. This lack of perfect >balance is there in the weird off-rhyme of "not" with "obstinate" >(both also rhyming in that they are sorts of negatives), in the >record-player getting stuck on "argue argue argue" -- yet the desire >for something more calm & secure present in the ending with "dear." >Again, this is highly qualified, with that line's overabundance of >things taking away from the "dear" -- "neither" and "nor," and >"less" repeated twice. So, to argue a bit with Mark, with whom I >agree on a lot of things poetically, I think the poem is a fairly >unique presentation of world, a world trying hard to stay coherent >but not quite achieving it. > >> > >> > Distance: Remember all that land >> > beneath the plane; >> > that coastline >> > of dim beaches deep in sand >> > stretching indistinguishably >> > all the way, >> > all the way to where my reasons end? > >In the second stanza the writing, while highly controlled, sees the >subject spin somewhat out of control. I.e. what was earlier >"distance" between two individuals now becomes "Distance" in the >sense of far vista. But what could be a sort of romantic interlude, >a bright spot or memory of security, is "dim" and indistinguishable. >Reason, too, which wants to hold, is at its end. So the memory is >entirely generalized, not specific at all. And the ability to hold >onto one's thoughts, particularly logic, has dimmed equally. Here >inner world reflected in outer world, except that outer world is >only what the imagination inarticulately casts out as hazy and undetermined. > >> > >> > Days: And think >> > of all those cluttered instruments, >> > one to a fact, >> > canceling each other's experience; >> > how they were >> > like some hideous calendar >> > "Compliments of Never & Forever, Inc." > >Now, through a parallel structuring device, "Distance:" becomes >"Days:" or space becomes time. So we aren't in a Newtonian ordered >world any more so much as a post-Einsteinian collapsing >space-time-fold, where individual instruments that are supposed to >be associated with individual facts are now "cluttered" and cancel >each other out. The radar, in other words, isn't positioning us >correctly, or perhaps at all, and our experience (or at least how we >thought it might be measured) really doesn't matter. The calendar >has become entirely disordered and time, instead of being portioned >out evenly, is divided into "Never & Forever," yet even that is a >corporation, "hideous." > >> > >> > The intimidating sound >> > of these voices >> > we must separately find >> > can and shall be vanquished: >> > Days and Distance disarrayed again >> > and gone... > >At the end, the voices, lost in the clutter and disarray, are back, >and though intimidating, "must" and "shall" be found and >"vanquished." But don't those words "must" and "shall" sound like >the speaker is pumping herself up, rather insisting that this has to >happen than actually believing it. Or, alternatively, it is in the >act of argument that the voices are disarrayed and must be righted >again. But can they? And if/when they can, will it be too late, i.e. >will they be gone? Is the end of "days" and "distance" death? > >I think the brink of confusion, set up at the beginning, becomes a >spiral going more deeply into disarray, and recovery is not to be >found in this poem, though it may be desired, even insisted upon. >The structuring of the poem is about trying to structure the world >(in Mark's terms), but it doesn't work as a controlling structure, >and in its way the insecurity of this poem, embodied against its >form (though the form gives way to the insecure at times, too), >provides the tension that keeps us here, involved, reading. > >Mark, I never "got" Bishop, either, and that's why I thought I'd >just try to read through this poem seriously. I may not have done it >justice, but I at least have worked through it in a way that makes >it meaningful, and even a really good poem, to me. So I think I can >get Bishop, and she may not be the poet I perhaps thought she was, >but someone less predictable, more uncertain > >charles. ========================================================================= Date: Tue, 4 Apr 2006 14:50:27 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: favorite long poems - H.D.'s Trilogy In-Reply-To: <20060331.010518.-975703.10.skyplums@juno.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII you're lucky, i never got past first base On Fri, 31 Mar 2006, Steve Dalachinksy wrote: > sorry never got past homer > -- The monthly Open Mics now have a home on the interweb: http://www.freewebs.com/allagesopenmic/ ========================================================================= Date: Tue, 4 Apr 2006 10:37:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Block Subject: &Now Mime-Version: 1.0 (Apple Message framework v623) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed dear readers, a feast: &Now/Lake Forest Literary Festival schedule April 5-7 at Lake Forest College http://www.lakeforest.edu/academics/programs/engl/andnow/schedule.asp thanks happy spring! elizabeth block www.elizabethblock.com now breathes ========================================================================= Date: Tue, 4 Apr 2006 13:36:10 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brenda Coultas Subject: Second Story Press Anthology Reading April 9 NYC MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ++++++++++++++++++++++++++++++++++++ Sunday, April 9, 6:00 p.m. Bowery Poetry Club BOOK LAUNCH: An Apparent Event, a Second Story Books anthology with readings by contributors Renee Gladman Brenda Coultas Kristin Prevallet Greg Brooker An Apparent Event features innovative cross-genre narrative works. Hosted by Mary Burger, editor. $8.00 admission/free with book purchase Bower Poetry Club: 308 Bowery @ Bleecker, right across from CBGB's F train to Second Ave | 6 train to Bleecker | 212-614-0505 ========================================================================= Date: Tue, 4 Apr 2006 15:42:21 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: the lonesome death of Rachel Corrie MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII http://arts.guardian.co.uk/comment/story/0,,1741197,00.html ========================================================================= Date: Tue, 4 Apr 2006 14:19:05 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: STANZAS #44 - Stan Rogal MIME-version: 1.0 Content-type: TEXT/PLAIN Content-transfer-encoding: 8BIT new from above/ground press THE CELEBRITY RAG: Op by Stan Rogal (Toronto) "Only the freak endures" - John Berryman This is an interactive piece in which celebrity names are encrypted into the poems as homonyms. There are also further clues & allusions to assist in the uncovering. See how many you can dig up. Of course, as the celebrities either pass their 'best before' date or have disappeared from the public forum altogether, the poems are constructed to stand on their own. Toronto writer Stan Rogal's ninth book of poems, Fabulous Freaks, was recently published by Wolsak & Wynn. He also has two novels and three short story collections as well as plays produced here and there across Canada. His novel, As Good As Dead, will come out in 2007 from Pedlar Press. A short play was accepted for a Festival in Toronto and was produced in March 2006. ======== free if you find it, $4 sample (add $2 international) & $20 for 5 issues (outside canada, $20 US)(payable to rob mclennan), c/o 858 somerset st w, ottawa ontario canada k1r 6r7 STANZAS magazine, for long poems/sequences, published at random in Ottawa, Ontario, Canada. previous issues include work by Gil McElroy, Aaron Peck, derek beaulieu, carla milo, Gerry Gilbert, George Bowering, Sheila E. Murphy & Douglas Barbour, Lisa Samuels, Ian Whistle, Gerry Gilbert, Rachel Zolf, J.L. Jacobs, nathalie stephens, Meredith Quartermain, etc. 1000 copies distributed free around various places. exchanges welcome. submissions encouraged, with s.a.s.e. & good patience (i take forever) of up to 28 pages. complete bibliography & backlist availability now on-line at www.track0.com/rob_mclennan various above/ground press publications can be found at Mother Tongue Books (Ottawa), Collected Works (Ottawa), Annex Books (Toronto), etc next issue: Dennis Cooley (Winnipeg MB) ======= -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...11th coll'n - name , an errant (Stride, UK) .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Tue, 4 Apr 2006 14:55:57 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Although I feel few poets have bored me as much as Bishop, there was a poem, called an "unfinished poem" in the New Yorker an old friend of mine who LOVES Bishop, and has written on Bishop was telling me about. This old friend said it was a "scandal" to print this "unfinished poem" and of course I read it. And it was the VERY FIRST Bishop poem I read and liked. Liked a lot actually, the mud the crystal, red. Set in the desert, I don't remember everything about it, but it was talking to some part of me I hadn't expected. And my friend HATED that I liked it, accused me of wanting to be confrontational. But I liked it, and now I can no longer say Elizabeth Bishop never wrote a poem that didn't make me sleepy. ALSO, even though I've never been a fan of her work, I have to admit to very much liking her SAM, or, her criteria for a good poem: Spontaneity Accuracy Mystery the three things she said she looked for for making a poem WORK. Can't say that I'd probably agree with her choices for SAM, but, that's okay. I like that those are her three things. It's funny too how we came to know about this SAM. Bishop had apparently written in the margin of a page something about the poem being SAM. She had a parrot named Sam, and some scholars had thought that the parrot had something to do with the SAM in the margin of the page, but later it was discovered to be an acronym. This sounds funny, like, WHAT COULD THE PARROT possibly have to do with it, right? Part of me also believes that if Bishop and Marianne Moore had not been friends, maybe Moore would have also not been so boring. It upsets people when I say these things, but I can't help it! I really have tried to like Moore. Haven't tried so hard to like Bishop. But many people whose opinion I hold above most LOVE Moore and think I'm an idiot for not also liking her, but she just makes me shrug. I believe Moore's edges were shaved off. I firmly believe that there's an argument to be made that if she had not listened to Bishop over and over that she would have STOPPED making her poems so fucking digestible for "us". CAConrad CAConrad IS A POET-AGENT IN SEARCH OF A TRANSVESTITE BOXER FOR MORE INFO GO TO: _http://TRANSBOXER.blogspot.com_ (http://transboxer.blogspot.com/) "Those who restrain desire, do so because theirs is weak enough to be restrained...." --William Blake for PhillySound: NEW POETRY: _http://PhillySound.blogspot.com_ (http://phillysound.blogspot.com/) for CAConrad's tarot services: _http://LightOfLakshmi.blogspot.com_ (http://lightoflakshmi.blogspot.com/) ========================================================================= Date: Mon, 3 Apr 2006 13:49:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit ditto ========================================================================= Date: Tue, 4 Apr 2006 15:17:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <20060403.145811.-140459.21.skyplums@juno.com> Mime-Version: 1.0 (Apple Message framework v746.2) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit On Apr 3, 2006, at 1:49 PM, Steve Dalachinksy wrote: > ditto dotto "language--the Riviera of consciousness" --Bob Perelman Halvard Johnson ================ halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org ========================================================================= Date: Tue, 4 Apr 2006 12:28:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: favorite long poems - H.D.'s Trilogy In-Reply-To: MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit Can you have a shortstop in a longpoem? On 4-Apr-06, at 10:20 AM, Kevin Hehir wrote: > you're lucky, i never got past first base > > On Fri, 31 Mar 2006, Steve Dalachinksy wrote: > >> sorry never got past homer >> > > -- > The monthly Open Mics now have a home on the interweb: > http://www.freewebs.com/allagesopenmic/ > > Geo. H. Bowering I paid a lot for those shoes. ========================================================================= Date: Tue, 4 Apr 2006 15:29:44 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit dear Catherine, I'm very happy that you wrote, "but that she chose not to publish poems about sex and love with women and about drinking -- well, she was a wealthy woman of her time" This line of yours is valuable, as it's a truth I feel many of us battle out on a daily battlefield. Bishop was a dyke. A dyke in hiding. Even in poems. Money, class, these are such crippling things to movements in justice and I'm talking about Everyone's justice, not just for fags like me. When a wealthy man -- for instance -- like Andrew Tobias is deep in the closet writing a book about his life under a pseudonym titled, THE BEST LITTLE BOY IN THE WORLD or whatever the hell it was called, just so he can continue making piles and piles of money on Wall Street (not to mention the BIG SCORE with the book sales for his closeted gay self) this is an arrow shot right on the mark, taking out Everyone. Class will breed cowards for their money's sake. Andrew Tobias comes Out of the closet in 2001 with his sequel THE BEST LITTLE BOY IN THE WORLD GROWS UP, and we're all supposed to say OOoo, Wow, he's so brave! Brave? He's already made his millions, and by the way, it's 2001!!!!! Elizabeth Bishop went to Brazil because she was afraid of herself. That's the poem I want to read!!!!! Forget her damn MOOSE poems! What about being alive HERE and being AFRAID of your very desire? Afraid of what you body yearns for. Who you want. Who you get with. The dreary men of her era were writing all kinds of dreary things about their love for women, why the hell couldn't she at least write a dreary dyke poem? But she did. But did she WANT it to come out later? When it was safe? So long as she didn't have to help make it safe? Like Andrew Tobias, while others were getting their heads cracked open and busted by the cops, treated like criminals, he was making piles and piles of cash. But he's so brave now. What a jerk he is! Wilde was not just a genius, he was a brave genius. Which made him a much better person, not without much suffering. Saint Oscar. CAConrad CAConrad IS A POET-AGENT IN SEARCH OF A TRANSVESTITE BOXER FOR MORE INFO GO TO: _http://TRANSBOXER.blogspot.com_ (http://transboxer.blogspot.com/) "Those who restrain desire, do so because theirs is weak enough to be restrained...." --William Blake for PhillySound: NEW POETRY: _http://PhillySound.blogspot.com_ (http://phillysound.blogspot.com/) for CAConrad's tarot services: _http://LightOfLakshmi.blogspot.com_ (http://lightoflakshmi.blogspot.com/) ========================================================================= Date: Tue, 4 Apr 2006 15:32:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: favorite long poems - H.D.'s Trilogy In-Reply-To: <43EA51D8-C411-11DA-9FCA-000A95C34F08@sfu.ca> Mime-Version: 1.0 (Apple Message framework v746.2) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Yes. Call it a caesura. "[News is] what somebody doesn't want you to know. All the rest is advertising." --Dan Rather Halvard Johnson ================ halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org On Apr 4, 2006, at 3:28 PM, George Bowering wrote: > Can you have a shortstop in a longpoem? ========================================================================= Date: Tue, 4 Apr 2006 15:32:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Israel Subject: Re: favorite long poems - H.D.'s Trilogy MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable Was Basil bunting?=20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of George Bowering Sent: Tuesday, April 04, 2006 3:29 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: favorite long poems - H.D.'s Trilogy Can you have a shortstop in a longpoem? On 4-Apr-06, at 10:20 AM, Kevin Hehir wrote: > you're lucky, i never got past first base > > On Fri, 31 Mar 2006, Steve Dalachinksy wrote: > >> sorry never got past homer >> > > -- > The monthly Open Mics now have a home on the interweb: > http://www.freewebs.com/allagesopenmic/ > > Geo. H. Bowering I paid a lot for those shoes. david raphael israel http://kirwani.blogspot.com ========================================================================= Date: Tue, 4 Apr 2006 12:42:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <35b.15fe3b9.31642328@aol.com> MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit On 4-Apr-06, at 12:29 PM, Craig Allen Conrad wrote: > > Elizabeth Bishop went to Brazil because she was afraid of herself. > That's the poem I want to read!!!!! Forget her damn MOOSE poems! Hey, are you dissing her Canadian upbringing??? > > > George "Whip" Bowering I didn't mean to do it. ========================================================================= Date: Tue, 4 Apr 2006 15:54:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Megan Burns Subject: New Orleans' Poets on PBS tonight MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" "New Orleans Poets: After The Storm" is SCHEDULED TO AIR TONITE -- NATIONWIDE: Tuesday, April 4, 2006, on PBS' The News Hour with Jim Lehrer. This program will be in the form of a news story covering a very important gathering of many New Orleans poets which took place on Monday, March 6, 2006 at The Gold Mine Saloon in the French Quarter "New Orleans Poets: After The Storm". The event featured poetry readings by 25 poets from the New Orleans community who have contributed regularly to 17 Poets! Reading Series. This event was jointly produced by PBS' Anne Davenport and 17 Poets! Reading Series videographer Lance Arnold. PBS' The News Hours with Jim Lehrer will be highlighting various poets who participated in the two hour program. The broadcast will be coast-to-coast on all PBS' affiliates. Poets who were featured in "New Orleans Poets: After The Storm" include Dave Brinks, Kysha Brown, Megan Burns, Paul Chasse, Chris Champagne, Kip Cairo, Thaddeus Conti, Gina Ferrara, Dennis Formento, Elizabeth Garcia, Quo Vadis Gex-Breaux, Lee Meitzen Grue, Felice Guimont, R. Moose Jackson, Saddi Khali, Jonathan Kline, Bill Lavender, Bill Myers, Niyi Osundare, Valentine Pierce, Jimmy Ross, Kalamu ya Salaam, Starlyte, Jerry W. Ward, Jr. and Andy Young. Painters who exhibited work include: Robin Durand, Michael Fedor, R. Moose Jackson, Herbert Kearney & Romano Zamprioli. New Orleans' Jazz mentor, flautist ELUARD BURT, whose collaborations with New Orleans poets are legendary, and go all the way back to BEAT poet Bob Kaufman, kicked-off the evenings' proceedings. Eluard was joined by Jazz great, guitarist Harry Sterling, who also has been at the forefront of combining elements of poetry & jazz in New Orleans for many years, having spent his younger days mentoring under New Orleans legend Danny Barker. (The scheduled airing of this program tonite is subject to postponement due to significant "breaking stories". Should this occur, it will re-air in the next available slot) The News Hour with Jim Lehrer is a program the airs weeknights on all PBS affiliates. ========================================================================= Date: Tue, 4 Apr 2006 13:05:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: NYC launch: Kenneth Goldsmith & Conceptual Poetics MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Please join us for a launch of: OPEN LETTER A Journal of Writing and Theory Twelfth Series, Number 7, Fall 2005 Kenneth Goldsmith and Conceptual Poetics with Readings & Performances by: Bruce Andrews Barbara Cole Rob Fitterman Kenneth Goldsmith & Alan Licht Monica de la Torre Geoffrey Young Saturday, April 8 4-6 p.m. Bowery Poetry Club 308 Bowery (at Second Street) New York City ~~~~~~~~~~~~~~~~~~~~~~~~~ Kenneth Goldsmith & Conceptual Poetics Open Letter: A Canadian Journal of Writing and Theory Twelfth Series, No. 7, Fall 2005 edited by Barbara Cole and Lori Emerson Contributors: Bruce Andrews, Derek Beaulieu, Caroline Bergvall, Dr.Howard Britton, Christian Bok, Jason Christie, Johanna Drucker, Craig Dworkin, Robert Fitterman, Ruben Gallo, Kenneth Goldsmith, Simon Morris, Marjorie Perloff, Carl Peters, Joshua Schuster, Molly Schwartzburg, Darren Wershler-Henry, Christine Wertheim, Geoffrey Young Cover-art by David Daniels Ordering information can be found at http://publish.uwo.ca/~fdavey/ Three-issue subscription $21.00 Canada $26.00 International Individual Issues $8.00 Canada $10.00 International / USA MAIL TO: Open Letter 102 Oak Street Strathroy, On N7G 3K3 Canada TABLE OF CONTENTS: Introduction. BARBARA COLE & LORI EMERSON Zero Kerning. CRAIG DWORKIN Encyclopedic Novelties: On Kenneth Goldsmith's Tomes. MOLLY SCHWARTZBURG from COLDEST. BRUCE ANDREWS KENNY. GEOFFREY YOUNG Fidget's Body. RUB=C9N GALLO Fidgeting with the scene of the crime. DEREK BEAULIEU A Silly Key: Some Notes on Soliloquy by Kenneth Goldsmith. CHRISTIAN B=D6K Sampling the Culture: 4 Notes Toward a Poetics of Plundergraphia and on Kenneth Goldsmith's Day. JASON CHRISTIE "Moving Information": On Kenneth Goldsmith's The Weather. MARJORIE PERLOFF Stepping out with Kenneth Goldsmith: A New York interview. CAROLINE BERGVALL W.3rd St. - W. 26th St. ROB FITTERMAN Paragraphs on Conceptual Writing. KENNETH GOLDSMITH On Kenneth Goldsmith: The Avant-Garde at a Standstill. JOSHUA SCHUSTER The Medium Means Nothing. CARL PETERS Un-Visual and Conceptual. JOHANNA DRUCKER The Unboring Boring and the New Dream of Stone, or, if literature does politics as literature, what kind of gender politics does the current literature of the boring enact? CHRISTINE WERTHEIM sucking on words. SIMON MORRIS, HOWARD BRITTON Uncreative is the New Creative: Kenneth Goldsmith is Not Typing. DARREN WERSHLER-HENRY ========================================================================= Date: Tue, 4 Apr 2006 16:56:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ric carfagna Subject: Re: favorite long poems - H.D.'s Trilogy MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit Yes, but the shortstop can't steal home on a sacrifice or a squeeze-play, unless he's the designated hitter. . . ----- Original Message ----- From: "George Bowering" To: Sent: Tuesday, April 04, 2006 3:28 PM Subject: Re: favorite long poems - H.D.'s Trilogy > Can you have a shortstop in a longpoem? > > > On 4-Apr-06, at 10:20 AM, Kevin Hehir wrote: > >> you're lucky, i never got past first base >> >> On Fri, 31 Mar 2006, Steve Dalachinksy wrote: >> >>> sorry never got past homer >>> >> >> -- >> The monthly Open Mics now have a home on the interweb: >> http://www.freewebs.com/allagesopenmic/ >> >> > Geo. H. Bowering > > I paid a lot for those shoes. > ========================================================================= Date: Tue, 4 Apr 2006 16:52:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: New Orleans' Poets on PBS tonight In-Reply-To: <8C82638C0A150B2-1888-193@MBLK-M42.sysops.aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Megan, Great news that some real poetry might grace the box. I hope you guys = get your due. (But I do wonder what the reporters thought of the Gold Mine. And how do they enter the Gold Mine and then go back to PBS and act as though everything is normal? They had to at least pick up a disease, right?) Looking forward to watching/hearing. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of Megan Burns Sent: Tuesday, April 04, 2006 2:55 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: New Orleans' Poets on PBS tonight "New Orleans Poets: After The Storm" is SCHEDULED TO AIR TONITE -- NATIONWIDE: Tuesday, April 4, 2006, on PBS' The News Hour with Jim = Lehrer.=20 =20 This program will be in the form of a news story covering a very = important gathering of many New Orleans poets which took place on Monday, March 6, 2006 at The Gold Mine Saloon in the French Quarter "New Orleans Poets: = After The Storm". The event featured poetry readings by 25 poets from the New Orleans community who have contributed regularly to 17 Poets! Reading Series. =20 This event was jointly produced by PBS' Anne Davenport and 17 Poets! = Reading Series videographer Lance Arnold. =20 PBS' The News Hours with Jim Lehrer will be highlighting various poets = who participated in the two hour program. =20 The broadcast will be coast-to-coast on all PBS' affiliates. =20 Poets who were featured in "New Orleans Poets: After The Storm" include = Dave Brinks, Kysha Brown, Megan Burns, Paul Chasse, Chris Champagne, Kip = Cairo, Thaddeus Conti, Gina Ferrara, Dennis Formento, Elizabeth Garcia, Quo = Vadis Gex-Breaux, Lee Meitzen Grue, Felice Guimont, R. Moose Jackson, Saddi = Khali, Jonathan Kline, Bill Lavender, Bill Myers, Niyi Osundare, Valentine = Pierce, Jimmy Ross, Kalamu ya Salaam, Starlyte, Jerry W. Ward, Jr. and Andy = Young. =20 Painters who exhibited work include: Robin Durand, Michael Fedor, R. = Moose Jackson, Herbert Kearney & Romano Zamprioli. =20 New Orleans' Jazz mentor, flautist ELUARD BURT, whose collaborations = with New Orleans poets are legendary, and go all the way back to BEAT poet = Bob Kaufman, kicked-off the evenings' proceedings. =20 Eluard was joined by Jazz great, guitarist Harry Sterling, who also has = been at the forefront of combining elements of poetry & jazz in New Orleans = for many years, having spent his younger days mentoring under New Orleans = legend Danny Barker. =20 (The scheduled airing of this program tonite is subject to postponement = due to significant "breaking stories". Should this occur, it will re-air in = the next available slot) =20 The News Hour with Jim Lehrer is a program the airs weeknights on all = PBS affiliates. ========================================================================= Date: Tue, 4 Apr 2006 18:01:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Flynn Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <2FD5E998-C413-11DA-9FCA-000A95C34F08@sfu.ca> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I'm a fan of both Bishop and a whole lot of the poetry more congenial to most of the subscribers on this site. Without apologizing for the literary journalism of David Orr, or making a case for the value of Bishops's scraps (I won't do either). I do have to say that I find knee-jerk remarks like "Bishop is boring" pretty sophomoric. Do you all realize just how provincial. And narrow-minded you sound? ========================================================================= Date: Tue, 4 Apr 2006 15:11:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matt Henriksen Subject: Friday 4.7.06 ::: Brian Howe & Christian Peet ::: Brooklyn MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Get yrself rocked! w/ The Burning Chair featuring two true rockers Brian Howe ’n’ Christian Peet Friday, April 7th, 7:30PM The Fall Café 307 Smith Street btwn. President and Union Carroll Gardens, Brooklyn F/G to Carroll Street Questions: Call Matt (not The Fall Café) @ 917.478.5682 or email matthenriksen@yahoo.com Note: Please respect our free space at The Fall Café by not bringing in outside food or drink. Brian Howe is a writer living in Chapel Hill, North Carolina, where he carouses with the Lucifer Poetics Group. He writes about music for Pitchforkmedia.com and Paste Magazine, and his poems have appeared in various journals he's too much of a gentleman to mention by name. He's sitting on a nearly complete manuscript called F7, portions of which will appear as a chapbook called Beta Test, forthcoming from Atlanta's 3rdness Press in early 2007. Christian Peet's chapbook, The Nines, will be published by Palm Press (www.palmpress.org) in Spring 2006. His poetry and prose appears in Bird Dog, Drunken Boat, Fence, Octopus, Parakeet, Pom2, SleepingFish, Unpleasant Event Schedule, and other great independent journals. He teaches Poetry and Creative Writing classes at Brooklyn College and at Hunter College, CUNY, and edits Tarpaulin Sky (www.tarpaulinsky.com). __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Tue, 4 Apr 2006 18:17:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <20060404220145.61616370124@relay02.roc.ny.frontiernet.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I didn't say that, but I might have. Football also bores me. I reserve the right (I think it's inalienable) to be bored by anything at all. Why so defensive? Or do you find anyone being bored by anything narrow-minded? (Look up provincial and sophomoric, while you're at it. I don't think they apply). OK, that's my two for the day, and I'm signing off for a couple of weeks this evening. So fire away, with impunity. I'll be in Scotland, if anybody needs me, and reachable by email. Mark At 06:01 PM 4/4/2006, you wrote: >I'm a fan of both Bishop and a whole lot of the poetry more congenial to >most of the subscribers on this site. Without apologizing for the literary >journalism of David Orr, or making a case for the value of Bishops's scraps >(I won't do either). I do have to say that I find knee-jerk remarks like >"Bishop is boring" pretty sophomoric. Do you all realize just how >provincial. And narrow-minded you sound? ========================================================================= Date: Tue, 4 Apr 2006 18:21:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Flynn Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <7.0.1.0.1.20060404181203.053d9ef0@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Calling something "boring" is the typical anti-intellectual response of most of my provincial sophomores. And that's my two. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Mark Weiss Sent: Tuesday, April 04, 2006 6:18 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Elizabeth Bishop in NYTBR I didn't say that, but I might have. Football also bores me. I reserve the right (I think it's inalienable) to be bored by anything at all. Why so defensive? Or do you find anyone being bored by anything narrow-minded? (Look up provincial and sophomoric, while you're at it. I don't think they apply). OK, that's my two for the day, and I'm signing off for a couple of weeks this evening. So fire away, with impunity. I'll be in Scotland, if anybody needs me, and reachable by email. Mark At 06:01 PM 4/4/2006, you wrote: >I'm a fan of both Bishop and a whole lot of the poetry more congenial to >most of the subscribers on this site. Without apologizing for the literary >journalism of David Orr, or making a case for the value of Bishops's scraps >(I won't do either). I do have to say that I find knee-jerk remarks like >"Bishop is boring" pretty sophomoric. Do you all realize just how >provincial. And narrow-minded you sound? ========================================================================= Date: Tue, 4 Apr 2006 18:37:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ric carfagna Subject: Re: favorite long poems - H.D.'s Trilogy MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Yes he was, in the 9th inning when Geoffrey was on the Hill, but then . . . who's on first? ----- Original Message ----- From: "David Israel" To: Sent: Tuesday, April 04, 2006 3:32 PM Subject: Re: favorite long poems - H.D.'s Trilogy Was Basil bunting? -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of George Bowering Sent: Tuesday, April 04, 2006 3:29 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: favorite long poems - H.D.'s Trilogy Can you have a shortstop in a longpoem? On 4-Apr-06, at 10:20 AM, Kevin Hehir wrote: > you're lucky, i never got past first base > > On Fri, 31 Mar 2006, Steve Dalachinksy wrote: > >> sorry never got past homer >> > > -- > The monthly Open Mics now have a home on the interweb: > http://www.freewebs.com/allagesopenmic/ > > Geo. H. Bowering I paid a lot for those shoes. david raphael israel http://kirwani.blogspot.com ========================================================================= Date: Tue, 4 Apr 2006 18:55:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: phone bids and more auction info online In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dears, A mostly (but not completely) complete catalogue with prices included is no= w available on the announcements page of our website. Please visit http://poetryproject.com/announcements.html to view. Also, from Wednesday to Friday we will be taking phone and email bids for those who will be out of town for the auction. Please call our office (212-674-0910) or email info@poetryproject.com and give us your Minimum AND Maximum bid for any item(s) up for auction. If you would like to volunteer on Saturday, please let us know! Finally, please note that the Kerouac Book of Sketches event, previously scheduled for Wed. 4/6, has been postponed until September. We hope to see you on Saturday! Love, The Poetry Project ps The performances at the auction will begin at 3:30. pps Light food and wine will be available until it runs out. Saturday, April 8, 2-8 pm Silent Auction and Fundraiser The Poetry Project=B9s spring fundraiser this year is a combination of party, book sale and silent auction, featuring readings and performances by John Yau, Bethany Spiers, a.k.a. The Feverfew, Yoshiko Chuma and Anselm Berrigan= . Refreshments will be served in the Parish Hall during the afternoon, and items for sale will be on view in the Sanctuary. These include signed books= , broadsides, drawings, letters, paintings, poems and prints by dozens of artists and authors including Jonathan Allen, David Amram, John Ashbery, Paul Auster, Donald Baechler, Susan Bee, Ted Berrigan, Jimbo Blachly, Aleksandr Blok, Gregory Botts, T.C. Boyle, Bertold Brecht, Jim Brodey, Michael Brownstein, Phong Bui, Jacob Burckhardt, William Burroughs, Joe Cardarelli, Peter Carey, Anne Carson, Elizabeth Castagna, Emilie Clark, Francisco Clemente, Leonard Cohen, Alison Collins, Jack Collom, Clark Coolidge, Robert Creeley, Tim Davis, Allen DeLoach, Donna Dennis, Diane DiPrima, Rackstraw Downes, Brandon Downing, Marcella Durand, Kenward Elmslie, Larry Fagin, Lawrence Ferlinghetti, Suzan Frecon, Jane Freilicher, Michael Friedman, Greg Fuchs, Allen Ginsberg, The Allen Ginsberg Trust, Hal Hirshorn, Siri Hustvedt, Yvonne Jacquette, Judge Judy, Mary Karr, Jack Kerouac, Basil King, Martha King, Kenneth Koch, Stanley Kunitz, David Larsen, Pamela Lawton, Gary Lenhart, Lewis MacAdams, Norman Mailer, Greg Masters, Gillian McCain, Michael McClure, Rebecca Moore, Dave Morice, Elizabeth Murray, Eileen Myles, Murat Nemet-Nejat, Charles North, Alice Notley, Frank O=B9Hara, Hank O=B9Neal, Richard O=B9Russa, Yuko Otomo, Maureen Owen, Ron Padgett, Marjorie Perloff, Tom Raworth, Muriel Rukeyser, Salman Rushdie, Ed Sanders, Aram Saroyan, George Schneeman, Anne Sexton, Nathaniel Siegel, Kiki Smith, Jack Spicer, Peter Straub, Subday Press, Anne Tardos, Lorenzo Thomas, Fred Tomaselli, Edwin Torres, Tony Towle, Ugly Duckling Collective, Anne Waldman, Lewis Warsh, Marjorie Welish, Hannah Weiner, Robert Wilson, Zachary Wollard, Will Yackulic, John Yau and many others. Every cent raised will contribute to the continued existence of the Poetry Project. ($10) Winter 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: Tue, 4 Apr 2006 20:58:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Megan Burns Subject: Re: New Orleans' Poets on PBS tonight In-Reply-To: <000901c65832$16025ae0$37934682@win.louisiana.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Looks like some breaking news bumped us. The producers said it will probably air Wednesday or Thursday. We'll see sooner than later hopefully. Megan -----Original Message----- From: Skip Fox To: POETICS@LISTSERV.BUFFALO.EDU Sent: Tue, 4 Apr 2006 16:52:26 -0500 Subject: Re: New Orleans' Poets on PBS tonight Megan, Great news that some real poetry might grace the box. I hope you guys get your due. (But I do wonder what the reporters thought of the Gold Mine. And how do they enter the Gold Mine and then go back to PBS and act as though everything is normal? They had to at least pick up a disease, right?) Looking forward to watching/hearing. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Megan Burns Sent: Tuesday, April 04, 2006 2:55 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: New Orleans' Poets on PBS tonight "New Orleans Poets: After The Storm" is SCHEDULED TO AIR TONITE -- NATIONWIDE: Tuesday, April 4, 2006, on PBS' The News Hour with Jim Lehrer. This program will be in the form of a news story covering a very important gathering of many New Orleans poets which took place on Monday, March 6, 2006 at The Gold Mine Saloon in the French Quarter "New Orleans Poets: After The Storm". The event featured poetry readings by 25 poets from the New Orleans community who have contributed regularly to 17 Poets! Reading Series. This event was jointly produced by PBS' Anne Davenport and 17 Poets! Reading Series videographer Lance Arnold. PBS' The News Hours with Jim Lehrer will be highlighting various poets who participated in the two hour program. The broadcast will be coast-to-coast on all PBS' affiliates. Poets who were featured in "New Orleans Poets: After The Storm" include Dave Brinks, Kysha Brown, Megan Burns, Paul Chasse, Chris Champagne, Kip Cairo, Thaddeus Conti, Gina Ferrara, Dennis Formento, Elizabeth Garcia, Quo Vadis Gex-Breaux, Lee Meitzen Grue, Felice Guimont, R. Moose Jackson, Saddi Khali, Jonathan Kline, Bill Lavender, Bill Myers, Niyi Osundare, Valentine Pierce, Jimmy Ross, Kalamu ya Salaam, Starlyte, Jerry W. Ward, Jr. and Andy Young. Painters who exhibited work include: Robin Durand, Michael Fedor, R. Moose Jackson, Herbert Kearney & Romano Zamprioli. New Orleans' Jazz mentor, flautist ELUARD BURT, whose collaborations with New Orleans poets are legendary, and go all the way back to BEAT poet Bob Kaufman, kicked-off the evenings' proceedings. Eluard was joined by Jazz great, guitarist Harry Sterling, who also has been at the forefront of combining elements of poetry & jazz in New Orleans for many years, having spent his younger days mentoring under New Orleans legend Danny Barker. (The scheduled airing of this program tonite is subject to postponement due to significant "breaking stories". Should this occur, it will re-air in the next available slot) The News Hour with Jim Lehrer is a program the airs weeknights on all PBS affiliates. ========================================================================= Date: Tue, 4 Apr 2006 18:14:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: patrick dunagan Subject: Re: Elizabeth Bishop in NYTBR Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Moore was actually the older poet in that relationship. It was Bishop who = resisted/gave in to the influence. Check out: Becoming a Poet: Elizabeth B= ishop with Marianne Moore and Robert Lowell by David Kalstone. =20 > ----- Original Message ----- > From: "Craig Allen Conrad" > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Elizabeth Bishop in NYTBR > Date: Tue, 4 Apr 2006 14:55:57 EDT >=20 >=20 > Although I feel few poets have bored me as much as Bishop, > there was a poem, called an "unfinished poem" in the New Yorker > an old friend of mine who LOVES Bishop, and has written on Bishop > was telling me about. This old friend said it was a "scandal" to > print this "unfinished poem" and of course I read it. And it was > the VERY FIRST Bishop poem I read and liked. Liked a lot > actually, the mud the crystal, red. Set in the desert, I don't > remember everything about it, but it was talking to some part > of me I hadn't expected. And my friend HATED that I liked it, > accused me of wanting to be confrontational. But I liked it, and > now I can no longer say Elizabeth Bishop never wrote a poem > that didn't make me sleepy. >=20 > ALSO, even though I've never been a fan of her work, I have to > admit to very much liking her SAM, or, her criteria for a good poem: > Spontaneity > Accuracy > Mystery > the three things she said she looked for for making a poem WORK. > Can't say that I'd probably agree with her choices for SAM, but, > that's okay. I like that those are her three things. >=20 > It's funny too how we came to know about this SAM. Bishop had > apparently written in the margin of a page something about the poem > being SAM. She had a parrot named Sam, and some scholars had > thought that the parrot had something to do with the SAM in the > margin of the page, but later it was discovered to be an acronym. > This sounds funny, like, WHAT COULD THE PARROT possibly > have to do with it, right? >=20 > Part of me also believes that if Bishop and Marianne Moore had not > been friends, maybe Moore would have also not been so boring. It > upsets people when I say these things, but I can't help it! I really > have tried to like Moore. Haven't tried so hard to like Bishop. But > many people whose opinion I hold above most LOVE Moore and > think I'm an idiot for not also liking her, but she just makes me shrug. > I believe Moore's edges were shaved off. I firmly believe that there's > an argument to be made that if she had not listened to Bishop over > and over that she would have STOPPED making her poems so fucking > digestible for "us". >=20 > CAConrad > CAConrad IS A POET-AGENT IN SEARCH OF A TRANSVESTITE BOXER > FOR MORE INFO GO TO: _http://TRANSBOXER.blogspot.com_ > (http://transboxer.blogspot.com/) > "Those who restrain desire, do so because theirs is weak enough to be > restrained...." > --William Blake > for PhillySound: NEW POETRY: _http://PhillySound.blogspot.com_ > (http://phillysound.blogspot.com/) > for CAConrad's tarot services: > _http://LightOfLakshmi.blogspot.com_ (http://lightoflakshmi.blogspot.com/) > --=20 _______________________________________________ Search for businesses by name, location, or phone number. -Lycos Yellow Pa= ges http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default.as= p?SRC=3Dlycos10 ========================================================================= Date: Tue, 4 Apr 2006 23:00:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Israel Subject: Re: New Orleans' Poets on PBS tonight MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable Can folks kindly note what hour Jim Lehrer is regularly on, east coast time? (I don't have own TV connect but may have access) danke, d.i. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Megan Burns Sent: Tuesday, April 04, 2006 8:59 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: New Orleans' Poets on PBS tonight Looks like some breaking news bumped us. The producers said it will probably air Wednesday or Thursday.=20 We'll see sooner than later hopefully. Megan=20 =20 -----Original Message----- -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Megan Burns Sent: Tuesday, April 04, 2006 2:55 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: New Orleans' Poets on PBS tonight "New Orleans Poets: After The Storm" is SCHEDULED TO AIR TONITE -- NATIONWIDE: Tuesday, April 4, 2006, on PBS' The News Hour with Jim Lehrer. ... =20 ========================================================================= Date: Mon, 3 Apr 2006 20:39:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: alexander saliby Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable CAC wrote:=20 "Elizabeth Bishop went to Brazil because she was afraid of herself. That's the poem I want to read!!!!! Forget her damn MOOSE poems!" Craig, That's the poem she wrote! ( by the way, there are others in a similar = vein of personal pain).=20 With whom over what do you suppose her "Argument" was being conducted? = Arguing with another person is easy, you say, "FUCK YOU, ASSHOLE!" or = you use other less offensive but equally dismissive comments and that's = enough. That seldom works when the combatant is one's own misery. I can't criticize her for having lost the argument with = herself...whatever the reason for the debate...I can however appreciate = the effort she exerted helping me feel what and how she felt during the = argument. And the metrics of the lines in the poem are both structured, = precise, complete, yet mis-written, discordant, jumbled and tripping = into each other at awkward line shift places. Why is that? Oh, Fuck = it, it's because she's a boring poet trying to pass as straight. =20 For me, "Argument" says it all...whether I quibble with me over cheating = on my taxes or hit myself in the ass because I failed to tell the moron = at the Post Office what I think of her attitude, or more importantly, = because I hate myself in the morning for what I failed to say the night = before. Do I read too much into the work? Possibly. However, do you = read too little... Alex=20 P.S. I trust there will be no reporting to the IRS about my taxes! =20 =20 ----- Original Message -----=20 From: Craig Allen Conrad=20 To: POETICS@LISTSERV.BUFFALO.EDU=20 Sent: Tuesday, April 04, 2006 12:29 PM Subject: Re: Elizabeth Bishop in NYTBR dear Catherine, I'm very happy that you wrote, "but that she chose not to publish poems about sex and love with women and about drinking -- well, she was a wealthy woman of her = time" =20 This line of yours is valuable, as it's a truth I feel many of us = battle out=20 on a daily battlefield. Bishop was a dyke. A dyke in hiding. Even in = poems. =20 Money, class, these are such crippling things to movements in justice and I'm talking about Everyone's justice, not just for fags like me. When a wealthy man -- for instance -- like Andrew Tobias is deep in = the closet writing a book about his life under a pseudonym titled, THE = BEST LITTLE BOY IN THE WORLD or whatever the hell it was called, just so he can continue making piles and piles of money on Wall Street (not = to mention the BIG SCORE with the book sales for his closeted gay self) this is an arrow shot right on the mark, taking out Everyone. Class = will breed cowards for their money's sake. Andrew Tobias comes Out of the closet in 2001 with his sequel THE BEST LITTLE BOY IN THE WORLD GROWS UP, and we're all supposed to say OOoo, Wow, he's so brave! Brave? He's already made his millions, and by the way, it's = 2001!!!!! =20 Elizabeth Bishop went to Brazil because she was afraid of herself. That's the poem I want to read!!!!! Forget her damn MOOSE poems! What about being alive HERE and being AFRAID of your very desire? Afraid of what you body yearns for. Who you want. Who you get with. The dreary men of her era were writing all kinds of dreary things = about their love for women, why the hell couldn't she at least write a = dreary dyke poem? But she did. But did she WANT it to come out later? When it was safe? So long as she didn't have to help make it safe? Like Andrew Tobias, while others were getting their heads cracked open and busted by the cops, treated like criminals, he was making=20 piles and piles of cash. But he's so brave now. What a jerk he is! =20 Wilde was not just a genius, he was a brave genius. Which made him a much better person, not without much suffering. Saint Oscar. CAConrad CAConrad IS A POET-AGENT IN SEARCH OF A TRANSVESTITE BOXER FOR MORE INFO GO TO: _http://TRANSBOXER.blogspot.com_=20 (http://transboxer.blogspot.com/)=20 "Those who restrain desire, do so because theirs is weak enough to be = =20 restrained...." --William Blake for PhillySound: NEW POETRY: _http://PhillySound.blogspot.com_=20 (http://phillysound.blogspot.com/)=20 for CAConrad's tarot services: _http://LightOfLakshmi.blogspot.com_ = (http://lightoflakshmi.blogspot.com/= )=20 ========================================================================= Date: Wed, 5 Apr 2006 00:08:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City presents One Less Magazine and The Sparrows Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit please forward --------------- hi all, hope you can come meet the editors of this great new magazine, hear their contributors read, and listen to a really swell NYC band, too. info and links to the press and the band's music are below. best, david --------------- Boog City presents d.a. levy lives: celebrating the renegade press One Less Magazine (Williamsburg, Mass.) Tues. April 11, 6 p.m., free ACA Galleries 529 W.20th St., 5th Flr. NYC Event will be hosted by One Less Magazine editors David Gardner and Nikki Widner Featuring readings from Robert Doto Matthew Langley Sean MacInnes John Sullivan With music by The Sparrows There will be wine, cheese, and fruit, too. Curated and with an introduction by Boog City editor David Kirschenbaum ----------- http://onelessmag.blogspot.com/ http://www.myspace.com/rachelandrew ----------- One Less is a bi-annual literary arts magazine founded in December, 2004 by writer David Gardner and writer/photographer Nikki Widner. The intent of One Less is to offer a space for thought-inspiring literary and visual art forms. Robert Doto is Managing Editor of Parabola Magazine and runs the online journal of mystic hermeneutical Islam Baraka Bashment (baraka.progressiveislam.org). He is co-founder of Man experimental press and spins dancehall/dub/reggae for Many Hills Massive Sound System in NYC. Matthew Langley is the author of two books, (...) and A Very Mild Eternity, which are available from Subday Press (subdaypress.org). His work has appeared in Bombay Gin, el pobre Mouse, One Less, and on the web at No Tell Motel. He has lived and taught in Prague and Seoul, South Korea, and resides in southern Pennsylvania. Sean MacInnes is the author of Critical Series and A Room Of Trees from Subday Press. Over the last few years he has published several works in various presses and was recently a writer in residence at The Kerouac Project of Orlando, FL. He lives in Pittsburgh. John Sullivan lives in the Boston area, where he works as a webmaster, fundraiser, and writer/editor for a nonprofit defending intellectual and creative freedom. His poems appear in magazines now and then, including recently in Watching the Wheels: A Blackbird and el pobre Mouse. More of his work can be found at www.wjsullivan.net Andrew Phillip Tipton met Rachel Talentino in Savannah while working at The Gap. A common love for catchy melodies, Carole King, and boys led them to Brooklyn. As The Sparrows, Andrew and Rachel make up the cutest anti-folk duo around! Simple and lovely. ------------ Directions: C/E to 23rd St., 1/9 to 18th St. Venue is bet. 10th and 11th avenues ------------- Next event Tues. May 9 Aerial Magazine/Edge Books (Washington, D.C.) including Anselm Berrigan, Rob Fitterman, and Mel Nichols -- 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: Wed, 5 Apr 2006 00:14:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: don summerhayes Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit yuk alexander saliby wrote: >CAC wrote: > >"Elizabeth Bishop went to Brazil because she was afraid of herself. >That's the poem I want to read!!!!! Forget her damn MOOSE poems!" > >Craig, >That's the poem she wrote! ( by the way, there are others in a similar vein of personal pain). > > With whom over what do you suppose her "Argument" was being conducted? > >Arguing with another person is easy, you say, "FUCK YOU, ASSHOLE!" or you use other less offensive but equally dismissive comments and that's enough. That seldom works when the combatant is one's own misery. > >I can't criticize her for having lost the argument with herself...whatever the reason for the debate...I can however appreciate the effort she exerted helping me feel what and how she felt during the argument. And the metrics of the lines in the poem are both structured, precise, complete, yet mis-written, discordant, jumbled and tripping into each other at awkward line shift places. Why is that? Oh, Fuck it, it's because she's a boring poet trying to pass as straight. > >For me, "Argument" says it all...whether I quibble with me over cheating on my taxes or hit myself in the ass because I failed to tell the moron at the Post Office what I think of her attitude, or more importantly, because I hate myself in the morning for what I failed to say the night before. Do I read too much into the work? Possibly. However, do you read too little... >Alex >P.S. I trust there will be no reporting to the IRS about my taxes! > > > > > ----- Original Message ----- > From: Craig Allen Conrad > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Tuesday, April 04, 2006 12:29 PM > Subject: Re: Elizabeth Bishop in NYTBR > > > dear Catherine, I'm very happy that you wrote, > "but that she chose not to publish poems about sex and love with > women and about drinking -- well, she was a wealthy woman of her time" > > This line of yours is valuable, as it's a truth I feel many of us battle out > on > a daily battlefield. Bishop was a dyke. A dyke in hiding. Even in poems. > > Money, class, these are such crippling things to movements in justice > and I'm talking about Everyone's justice, not just for fags like me. > When a wealthy man -- for instance -- like Andrew Tobias is deep in the > closet writing a book about his life under a pseudonym titled, THE BEST > LITTLE BOY IN THE WORLD or whatever the hell it was called, just so > he can continue making piles and piles of money on Wall Street (not to > mention the BIG SCORE with the book sales for his closeted gay self) > this is an arrow shot right on the mark, taking out Everyone. Class will > breed cowards for their money's sake. Andrew Tobias comes Out of > the closet in 2001 with his sequel THE BEST LITTLE BOY IN THE WORLD > GROWS UP, and we're all supposed to say OOoo, Wow, he's so brave! > Brave? He's already made his millions, and by the way, it's 2001!!!!! > > Elizabeth Bishop went to Brazil because she was afraid of herself. > That's the poem I want to read!!!!! Forget her damn MOOSE poems! > What about being alive HERE and being AFRAID of your very desire? > Afraid of what you body yearns for. Who you want. Who you get with. > The dreary men of her era were writing all kinds of dreary things about > their love for women, why the hell couldn't she at least write a dreary > dyke poem? But she did. But did she WANT it to come out later? > When it was safe? So long as she didn't have to help make it safe? > Like Andrew Tobias, while others were getting their heads cracked > open and busted by the cops, treated like criminals, he was making > piles and piles of cash. But he's so brave now. What a jerk he is! > > Wilde was not just a genius, he was a brave genius. Which made > him a much better person, not without much suffering. Saint Oscar. > CAConrad > CAConrad IS A POET-AGENT IN SEARCH OF A TRANSVESTITE BOXER > FOR MORE INFO GO TO: _http://TRANSBOXER.blogspot.com_ > (http://transboxer.blogspot.com/) > "Those who restrain desire, do so because theirs is weak enough to be > restrained...." > --William Blake > for PhillySound: NEW POETRY: _http://PhillySound.blogspot.com_ > (http://phillysound.blogspot.com/) > for CAConrad's tarot services: > _http://LightOfLakshmi.blogspot.com_ (http://lightoflakshmi.blogspot.com/) > > > ========================================================================= Date: Wed, 5 Apr 2006 00:18:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: don summerhayes Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <20060404220145.61616370124@relay02.roc.ny.frontiernet.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Hear, Hear! Richard Flynn wrote: >I'm a fan of both Bishop and a whole lot of the poetry more congenial to >most of the subscribers on this site. Without apologizing for the literary >journalism of David Orr, or making a case for the value of Bishops's scraps >(I won't do either). I do have to say that I find knee-jerk remarks like >"Bishop is boring" pretty sophomoric. Do you all realize just how >provincial. And narrow-minded you sound? > > ========================================================================= Date: Wed, 5 Apr 2006 00:51:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: p o s t_m o o t Mime-Version: 1.0 (Apple Message framework v746.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed p o s t _ m o o t a convocation of unorthodox cultural and poetic practices April 14-16. 2006 Miami University. Oxford. Ohio performances, discussions, screenings, papers and book launches (h u =20 n d r e d s / Slack Buddha, Plantarchy, tnwk (the books chapters =20 6-7), Some Assembly Required) PARTICIPANTS Michael Basinski _ Brian Marina Brown _ Peter Castaldo _ Rachel =20 Chase_cris cheek _ Steph Elstrow_K. Lorraine Graham _ Alan Golding _ =20 Kevin R. Hollo _ L.A. Howe _ William R. Howe _ Jackie Kari_Justin =20 Katko _ Claire Keys_Steven Paul Lansky _ Kirsten Lavers _ Mel Nichols =20= _ Tom Orange _ CamillePaloque-Berg=E8s _ Nicole Proctor _ Jim =20 Reiss_Linda Russo _Jessica Smith _Rachel Smith _ Rod Smith _ Joshua =20 Strauss _ TNWK _ Rodrigo Toscano _ Keith Tuma _ Mark Wallace _ Leigh =20 Waltz _ Tyrone Williams _ Aaren Yandrich _ Jason Zeh _ the formulation of post moot emerged from several conversations =20 seeking to bring together an opportune fold of practitioners for whom =20= the possibilities of poetry as agency in contemporary society remains =20= a passionate concern these practitioners blur simplistic demarcations between influential =20 performances for the production and circulation of poetry(s) =97 =20 teaching, archiving, bookselling, editing, researching, social =20 activism, eventing, and curating. this is in addition to their daily =20 practice we mean the above to include diverse media and ephemeral modes of =20 production * we wanted to create a mooting place (ok, a moot) for conversations =20 and exchange, a convocation =97 part festival, part symposium, part =20 conference, part discussion, part celebration, part . . . trepidation Moot. n. Pronunciation: 'm=FCt. Etymology: Middle English, from Old =20 English mOt, gemOt; akin to Middle High German muoze meeting, an =20 encounter. Also: talking; the discussion of a hypothetical case Moot. tv. 1 a : to bring up for discussion : BROACH b : DEBATE. 2 : =20 to discuss from a legal standpoint : ARGUE. Also: to speak; to =20 converse; to complain, murmur; to say; to utter; to argue; to plead; =20 to discuss; to raise or bring forward; to dig up; to dig up by the =20 roots; to dig out; unearth; to fashion; to open to discussion; to =20 propose; to mutter; to utter Moot. adj. 1 a : open to question : DEBATABLE b : subjected to =20 discussion : DISPUTED. 2 : deprived of practical significance : made =20 abstract or purely academic it has been fashioned in a DIY make-do spirit and at short notice to =20 catch the air of a moment. everybody doing something is doing so just =20= for the craic moot is a board game that consists of what are considered tough =20 questions about the etymology of english words mooter is a web search engine whose strapline reads 'the power of =20 relevance' post_moot in terms of relevance and power then: in the context of =20 what has been in recent years almost an orgy of declarations of post =20 this or post that, desperate attempts to demark the post-ness of our situation is what is under discussion. we're =20 interested in how we got here, but we're AS interested if not more =20 interested in where we're going. post moot is neither a port of =20 embarkation nor of disembarkation in the sense of journeys and =20 destinations, the prioritizations of going to and coming from it is not so much the moot that is post but the post that is moot =97 cris, jUStin, & William - - - * including but not limited to live-writing, performance art, =20 choreographic poetics, kinetic poems, movement poems, site-specific & =20= -responsive language installations, book/objects, artists books, =20 writerly books, projected writing, cyber-poetries, video-poetries, =20 concrete, visual, sound poetries, sound environments, radio poetry, =20 networked media, & etc for more info: http://www.plantarchy.us/post_moot.html= ========================================================================= Date: Wed, 5 Apr 2006 02:45:50 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: New Orleans' Poets on PBS tonight MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable In a message dated 04/04/06 11:01:28 PM, DISRAEL@SKGF.COM writes: > Can folks kindly note what hour Jim Lehrer is regularly on, > east coast time?=A0 (I don't have own TV connect but may have access) >=20 > danke, > d.i. >=20 >=20 At 7 P.M. Murat ========================================================================= Date: Wed, 5 Apr 2006 07:13:42 -0400 Reply-To: tyrone williams Sender: UB Poetics discussion group From: tyrone williams Subject: Re: p o s t_m o o t Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable cris, in my enthusiasm re post-moot i neglected to check my own schedule and, of = course, i have a conflict on the very night--sat. the 15th--i am supposed t= o "moot" w/rodrigo and you--any chance of shifting me to either friday or m= uch earlier in the day? tyrone -----Original Message----- >From: cris cheek >Sent: Apr 5, 2006 12:51 AM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: p o s t_m o o t > >p o s t _ m o o t > >a convocation of unorthodox cultural and poetic practices > >April 14-16. 2006 > >Miami University. Oxford. Ohio > >performances, discussions, screenings, papers and book launches (h u =20 >n d r e d s / Slack Buddha, Plantarchy, tnwk (the books chapters =20 >6-7), Some Assembly Required) > >PARTICIPANTS > >Michael Basinski _ Brian Marina Brown _ Peter Castaldo _ Rachel =20 >Chase_cris cheek _ Steph Elstrow_K. Lorraine Graham _ Alan Golding _ =20 >Kevin R. Hollo _ L.A. Howe _ William R. Howe _ Jackie Kari_Justin =20 >Katko _ Claire Keys_Steven Paul Lansky _ Kirsten Lavers _ Mel Nichols =20 >_ Tom Orange _ CamillePaloque-Berg=E8s _ Nicole Proctor _ Jim =20 >Reiss_Linda Russo _Jessica Smith _Rachel Smith _ Rod Smith _ Joshua =20 >Strauss _ TNWK _ Rodrigo Toscano _ Keith Tuma _ Mark Wallace _ Leigh =20 >Waltz _ Tyrone Williams _ Aaren Yandrich _ Jason Zeh _ > >the formulation of post moot emerged from several conversations =20 >seeking to bring together an opportune fold of practitioners for whom =20 >the possibilities of poetry as agency in contemporary society remains =20 >a passionate concern > >these practitioners blur simplistic demarcations between influential =20 >performances for the production and circulation of poetry(s) ? =20 >teaching, archiving, bookselling, editing, researching, social =20 >activism, eventing, and curating. this is in addition to their daily =20 >practice > >we mean the above to include diverse media and ephemeral modes of =20 >production * > >we wanted to create a mooting place (ok, a moot) for conversations =20 >and exchange, a convocation ? part festival, part symposium, part =20 >conference, part discussion, part celebration, part . . . trepidation > >Moot. n. Pronunciation: 'm=FCt. Etymology: Middle English, from Old =20 >English mOt, gemOt; akin to Middle High German muoze meeting, an =20 >encounter. Also: talking; the discussion of a hypothetical case > >Moot. tv. 1 a : to bring up for discussion : BROACH b : DEBATE. 2 : =20 >to discuss from a legal standpoint : ARGUE. Also: to speak; to =20 >converse; to complain, murmur; to say; to utter; to argue; to plead; =20 >to discuss; to raise or bring forward; to dig up; to dig up by the =20 >roots; to dig out; unearth; to fashion; to open to discussion; to =20 >propose; to mutter; to utter > >Moot. adj. 1 a : open to question : DEBATABLE b : subjected to =20 >discussion : DISPUTED. 2 : deprived of practical significance : made =20 >abstract or purely academic > >it has been fashioned in a DIY make-do spirit and at short notice to =20 >catch the air of a moment. everybody doing something is doing so just =20 >for the craic > >moot is a board game that consists of what are considered tough =20 >questions about the etymology of english words > >mooter is a web search engine whose strapline reads 'the power of =20 >relevance' > >post_moot in terms of relevance and power then: in the context of =20 >what has been in recent years almost an orgy of declarations of post =20 >this or post that, desperate attempts to demark > >the post-ness of our situation is what is under discussion. we're =20 >interested in how we got here, but we're AS interested if not more =20 >interested in where we're going. post moot is neither a port of =20 >embarkation nor of disembarkation in the sense of journeys and =20 >destinations, the prioritizations of going to and coming from > >it is not so much the moot that is post but the post that is moot > > >? cris, jUStin, & William > > >- - - > >* including but not limited to live-writing, performance art, =20 >choreographic poetics, kinetic poems, movement poems, site-specific & =20 >-responsive language installations, book/objects, artists books, =20 >writerly books, projected writing, cyber-poetries, video-poetries, =20 >concrete, visual, sound poetries, sound environments, radio poetry, =20 >networked media, & etc > > > >for more info: http://www.plantarchy.us/post_moot.html Tyrone Williams ========================================================================= Date: Wed, 5 Apr 2006 09:29:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aryanil Mukherjee Subject: Peter Gizzi reads in Cincinnati today In-Reply-To: A<20060404144104.39787.qmail@web31112.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Peter Gizzi reads at 7:30 the evening of Wed., April 5th, Schiff Conference Center, which is part of the Cintas Center, Xavier University, in Cincinnati, OH. He will read from his new book "Some Values of Landscape and Weather". Following morning Peter will talk about his work on Jack Spicer. Aryanil ========================================================================= Date: Wed, 5 Apr 2006 10:06:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <20060405021417.537FACA0AE@ws7-4.us4.outblaze.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I too have never understood why Marianne Moore is held in such high esteem by so many people. Recently, I reread some of her anthology pieces and said to myself, "not bad". But, given how much her work is admired that is pretty small praise. Years ago it annoyed me for it's eccentricity and the faux-naif-nasty quality of the opening of "Poetry", her most famous poem. Now, her work still doesn't move me much but at least I no longer find it annoying as I did when I was young. patrick dunagan wrote: Moore was actually the older poet in that relationship. It was Bishop who resisted/gave in to the influence. Check out: Becoming a Poet: Elizabeth Bishop with Marianne Moore and Robert Lowell by David Kalstone. > ----- Original Message ----- > From: "Craig Allen Conrad" > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Elizabeth Bishop in NYTBR > Date: Tue, 4 Apr 2006 14:55:57 EDT > > > Although I feel few poets have bored me as much as Bishop, > there was a poem, called an "unfinished poem" in the New Yorker > an old friend of mine who LOVES Bishop, and has written on Bishop > was telling me about. This old friend said it was a "scandal" to > print this "unfinished poem" and of course I read it. And it was > the VERY FIRST Bishop poem I read and liked. Liked a lot > actually, the mud the crystal, red. Set in the desert, I don't > remember everything about it, but it was talking to some part > of me I hadn't expected. And my friend HATED that I liked it, > accused me of wanting to be confrontational. But I liked it, and > now I can no longer say Elizabeth Bishop never wrote a poem > that didn't make me sleepy. > > ALSO, even though I've never been a fan of her work, I have to > admit to very much liking her SAM, or, her criteria for a good poem: > Spontaneity > Accuracy > Mystery > the three things she said she looked for for making a poem WORK. > Can't say that I'd probably agree with her choices for SAM, but, > that's okay. I like that those are her three things. > > It's funny too how we came to know about this SAM. Bishop had > apparently written in the margin of a page something about the poem > being SAM. She had a parrot named Sam, and some scholars had > thought that the parrot had something to do with the SAM in the > margin of the page, but later it was discovered to be an acronym. > This sounds funny, like, WHAT COULD THE PARROT possibly > have to do with it, right? > > Part of me also believes that if Bishop and Marianne Moore had not > been friends, maybe Moore would have also not been so boring. It > upsets people when I say these things, but I can't help it! I really > have tried to like Moore. Haven't tried so hard to like Bishop. But > many people whose opinion I hold above most LOVE Moore and > think I'm an idiot for not also liking her, but she just makes me shrug. > I believe Moore's edges were shaved off. I firmly believe that there's > an argument to be made that if she had not listened to Bishop over > and over that she would have STOPPED making her poems so fucking > digestible for "us". > > CAConrad > CAConrad IS A POET-AGENT IN SEARCH OF A TRANSVESTITE BOXER > FOR MORE INFO GO TO: _http://TRANSBOXER.blogspot.com_ > (http://transboxer.blogspot.com/) > "Those who restrain desire, do so because theirs is weak enough to be > restrained...." > --William Blake > for PhillySound: NEW POETRY: _http://PhillySound.blogspot.com_ > (http://phillysound.blogspot.com/) > for CAConrad's tarot services: > _http://LightOfLakshmi.blogspot.com_ (http://lightoflakshmi.blogspot.com/) > -- _______________________________________________ Search for businesses by name, location, or phone number. -Lycos Yellow Pages http://r.lycos.com/r/yp_emailfooter/http://yellowpages.lycos.com/default.asp?SRC=lycos10 --------------------------------- Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2¢/min or less. ========================================================================= Date: Wed, 5 Apr 2006 13:15:22 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit It seems some of my facts about Bishop's personal life were incorrect, and I'm sorry about that. Thanks to Catherine Daly for clearing that up. But to Mr. Flynn, for you to assume that anyone saying they are bored with Bishop's poems is "knee-jerk" is to assume you know whether or not her poems were read, maybe many times. That's the case with me, as I have an old friend who thinks Bishop is the greatest poet of the 20th century. And this friend would show me poem after poem in hopes of converting me. The truth is that I had already read on my own the very poems my friend was making me read, and she just bores me. There's nothing "knee-jerk" about it. I'm bored. Bored SILLY! Mr. Flynn I could say to you that because you might REFUSE to wear a dress I designed by hand made of pink and yellow marshmallow Easter bunnies is a "knee-jerk" reaction! How dare you Mr. Flynn! NOT wear my beautiful dress I spent hours and hours designing just for you! You see, but the difference is Mr. Flynn, that I actually TRIED to read Bishop's poems while YOU decided my dress would make you look fat, and you didn't even BOTHER to try it on first! Hmph! Happy Easter Mr. Flynn, candy candy candy EVERYWHERE! CAConrad CAConrad IS A POET-AGENT IN SEARCH OF A TRANSVESTITE BOXER FOR MORE INFO GO TO: _http://TRANSBOXER.blogspot.com_ (http://transboxer.blogspot.com/) "Those who restrain desire, do so because theirs is weak enough to be restrained...." --William Blake for PhillySound: NEW POETRY: _http://PhillySound.blogspot.com_ (http://phillysound.blogspot.com/) for CAConrad's tarot services: _http://LightOfLakshmi.blogspot.com_ (http://lightoflakshmi.blogspot.com/) ========================================================================= Date: Wed, 5 Apr 2006 10:17:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: phone bids and more auction info online In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit As I've agreed to volunteer for part of the auction, and it's only three days away now, I'd appreciate knowing what it is you want me to do at the event and when. Regards, Tom Savage Poetry Project wrote: Dears, A mostly (but not completely) complete catalogue with prices included is now available on the announcements page of our website. Please visit http://poetryproject.com/announcements.html to view. Also, from Wednesday to Friday we will be taking phone and email bids for those who will be out of town for the auction. Please call our office (212-674-0910) or email info@poetryproject.com and give us your Minimum AND Maximum bid for any item(s) up for auction. If you would like to volunteer on Saturday, please let us know! Finally, please note that the Kerouac Book of Sketches event, previously scheduled for Wed. 4/6, has been postponed until September. We hope to see you on Saturday! Love, The Poetry Project ps The performances at the auction will begin at 3:30. pps Light food and wine will be available until it runs out. Saturday, April 8, 2-8 pm Silent Auction and Fundraiser The Poetry Project¹s spring fundraiser this year is a combination of party, book sale and silent auction, featuring readings and performances by John Yau, Bethany Spiers, a.k.a. The Feverfew, Yoshiko Chuma and Anselm Berrigan. Refreshments will be served in the Parish Hall during the afternoon, and items for sale will be on view in the Sanctuary. These include signed books, broadsides, drawings, letters, paintings, poems and prints by dozens of artists and authors including Jonathan Allen, David Amram, John Ashbery, Paul Auster, Donald Baechler, Susan Bee, Ted Berrigan, Jimbo Blachly, Aleksandr Blok, Gregory Botts, T.C. Boyle, Bertold Brecht, Jim Brodey, Michael Brownstein, Phong Bui, Jacob Burckhardt, William Burroughs, Joe Cardarelli, Peter Carey, Anne Carson, Elizabeth Castagna, Emilie Clark, Francisco Clemente, Leonard Cohen, Alison Collins, Jack Collom, Clark Coolidge, Robert Creeley, Tim Davis, Allen DeLoach, Donna Dennis, Diane DiPrima, Rackstraw Downes, Brandon Downing, Marcella Durand, Kenward Elmslie, Larry Fagin, Lawrence Ferlinghetti, Suzan Frecon, Jane Freilicher, Michael Friedman, Greg Fuchs, Allen Ginsberg, The Allen Ginsberg Trust, Hal Hirshorn, Siri Hustvedt, Yvonne Jacquette, Judge Judy, Mary Karr, Jack Kerouac, Basil King, Martha King, Kenneth Koch, Stanley Kunitz, David Larsen, Pamela Lawton, Gary Lenhart, Lewis MacAdams, Norman Mailer, Greg Masters, Gillian McCain, Michael McClure, Rebecca Moore, Dave Morice, Elizabeth Murray, Eileen Myles, Murat Nemet-Nejat, Charles North, Alice Notley, Frank O¹Hara, Hank O¹Neal, Richard O¹Russa, Yuko Otomo, Maureen Owen, Ron Padgett, Marjorie Perloff, Tom Raworth, Muriel Rukeyser, Salman Rushdie, Ed Sanders, Aram Saroyan, George Schneeman, Anne Sexton, Nathaniel Siegel, Kiki Smith, Jack Spicer, Peter Straub, Subday Press, Anne Tardos, Lorenzo Thomas, Fred Tomaselli, Edwin Torres, Tony Towle, Ugly Duckling Collective, Anne Waldman, Lewis Warsh, Marjorie Welish, Hannah Weiner, Robert Wilson, Zachary Wollard, Will Yackulic, John Yau and many others. Every cent raised will contribute to the continued existence of the Poetry Project. ($10) Winter 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. --------------------------------- How low will we go? Check out Yahoo! Messenger’s low PC-to-Phone call rates. ========================================================================= Date: Wed, 5 Apr 2006 11:00:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Surreal Photography at SFMOMA Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Just yesterday saw San Francisco MOMA's exhibit of surreal photography - 250 pictures from the Collection and local collectors - shown in parallel with the current Calder and Surrealism show (which I was too visually exhausted to go look at yet). (In the interests of objective partiality(!) I have to confess that the photography show was partly curated by my partner, Sandy Phillips). If you want a deep immersion in the complex turns and obsessions - from interiority to the street - in 20th century history of surrealism as practiced by photographers, this show will probably do it - including multiple pieces by Atget, Man Ray. Joseph Cornell - all the way up to Bruce Connor, Cindy Sherman, Sherrie Levine (the 'pool table') - among many others. It is interesting to me how the 21st century can now simultaneously 'layer' several levels of a particular history - and/or put them on the same playing field. I suspect this conjunction of several historical points will end up provoking another series and 'progression' or is it 'serial progression' of new points. It is one those exhibits that inevitably pushes one around! But, forgetting, just to visually coast and perch variously on a wall of Atgets is both 'lush' and terrific. Stephen Vincent http://stephenvincent.net/blog/ ========================================================================= Date: Wed, 5 Apr 2006 14:35:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Subject: Re: POETICS Digest - 3 Apr 2006 to 4 Apr 2006 (#2006-95) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Of course. Somewhere between 2nd and 3rd bases is where it starts to get interesting. >Date: Tue, 4 Apr 2006 12:28:59 -0700 >From: George Bowering >Subject: Re: favorite long poems - H.D.'s Trilogy > >Can you have a shortstop in a longpoem? > > >On 4-Apr-06, at 10:20 AM, Kevin Hehir wrote: > > > you're lucky, i never got past first base > > > > On Fri, 31 Mar 2006, Steve Dalachinksy wrote: > > > >> sorry never got past homer > >> > > > > -- > > The monthly Open Mics now have a home on the interweb: > > http://www.freewebs.com/allagesopenmic/ > > > > >Geo. H. Bowering > >I paid a lot for those shoes. ========================================================================= Date: Wed, 5 Apr 2006 14:41:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Israel Subject: 4 bases of the poem MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable [was: Subject: Re: POETICS Digest - 3 Apr 2006 to 4 Apr 2006 (#2006-95) ] Typically a caesura falls there yes? Bunting was known to land balls there base-thievery crosses this region treble notes may grow tremulous the triple-play without warning? at homerun dive fans gone wild! -----Original Message----- Susan Wheeler wrote: Of course. Somewhere between 2nd and 3rd bases is where it starts to get interesting. >Date: Tue, 4 Apr 2006 12:28:59 -0700 >From: George Bowering >Subject: Re: favorite long poems - H.D.'s Trilogy > >Can you have a shortstop in a longpoem? > > >On 4-Apr-06, at 10:20 AM, Kevin Hehir wrote: > > > you're lucky, i never got past first base > > > > On Fri, 31 Mar 2006, Steve Dalachinksy wrote: > > > >> sorry never got past homer > >> > > > > -- > > The monthly Open Mics now have a home on the interweb: > > http://www.freewebs.com/allagesopenmic/ david raphael israel http://kirwani.blogspot.com ========================================================================= Date: Wed, 5 Apr 2006 11:48:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Craig, Ray (SOA)" Subject: yapoenesia / Nakahara Chuya MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable Forwarding on behalf of Taylor Mignon =20 Thanks, =20 Ray =20 ________________________________ From: Taylor Mignon [mailto:taymig@axel.ocn.ne.jp]=20 Subject: yapoenesia =20 Dear writer, poet, translator and editor friends,=20 =20 Putting together information on publications regarding literature in Japan is something Ive been doing since 1993 when i founded Living Room which then piggy-backed on Printed Matter the journal. Then came and went my column "Poetry Mignettes" in Japan Times, as well as my installments for about.com's Museletter. Now you can find the latest news on poetry in Japan at the site below. Please pass the site link to others and also send publications to me if you'd like to have your news listed. I seek more support for my "editorial" work and if you know of any opportunities for what Iam doing (including teaching, translation, publication and book projects), please let me know.=20 =20 Thanks for everyone's work and poesie which gives me something to muse and write about. & also kudos for Ry Beville, translator of Nakahara Chuya, who has invited me to post my listings on his very classy site.=20 =20 Yrs=20 Taylor Mignon=20 =20 =20 http://www.nakaharachuya.com/top4.htm =20 =20 =20 =20 =20 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D DISCLAIMER=20 The contents of this e-mail and any attachments are confidential to the i= ntended recipient and may also be legally privileged. Unless you are the named addressee (or authorized to receive for the addr= essee) of this email you may not copy, disclose or distribute it to=20 anyone else. =20 If you have received this email in error, please notify us immediately by= =20e-mail on postmaster@segaamerica.com and then delete the=20 email and any copies. The SEGA Group have made all reasonable efforts to= =20ensure that this e-mail and any attached documents or=20 software are free from software viruses, but it is the recipient's respon= sibility to confirm this. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=20 ========================================================================= Date: Wed, 5 Apr 2006 18:57:46 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Edmund Hardy Subject: recently at "Intercapillary Space" In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed http://intercapillaryspace.blogspot.com/ Collective Poetry Blogzine POEM SEQUENCES Emily Critchley, I just want you to know that we can still be friends Rupert Loydell, Toad of Toad Hughes INTERVIEW With John Seed (on Pictures From Mayhew, Reznikoff, oral history, Ed Dorn, the ethics of form) REVIEWS Tatiana Voltskaia, Cicada Scott Thurston, Hold RESPONSES TO TEXTS On J.H. Prynne, Her Weasels Wild Returning On Helen Macdonald's "Taxonomy" On Herman Melville's Miniatures NOTES The Word "News" "In mynder herten" Beckett's Lullabies PLUS A Jean Baudrillard Crystal-Ocean ========================================================================= Date: Wed, 5 Apr 2006 16:45:42 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: POETICS Digest - 3 Apr 2006 to 4 Apr 2006 (#2006-95) In-Reply-To: <7.0.1.0.2.20060405143340.024680a0@earthlink.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII even with Henry fielding? On Wed, 5 Apr 2006, Susan Wheeler wrote: > Of course. Somewhere between 2nd and 3rd bases is where it starts to > get interesting. > > > > >Date: Tue, 4 Apr 2006 12:28:59 -0700 > >From: George Bowering > >Subject: Re: favorite long poems - H.D.'s Trilogy > > > >Can you have a shortstop in a longpoem? > > > > > >On 4-Apr-06, at 10:20 AM, Kevin Hehir wrote: > > > > > you're lucky, i never got past first base > > > > > > On Fri, 31 Mar 2006, Steve Dalachinksy wrote: > > > > > >> sorry never got past homer > > >> > > > > > > -- > > > The monthly Open Mics now have a home on the interweb: > > > http://www.freewebs.com/allagesopenmic/ > > > > > > > >Geo. H. Bowering > > > >I paid a lot for those shoes. > -- The monthly Open Mics now have a home on the interweb: http://www.freewebs.com/allagesopenmic/ ========================================================================= Date: Wed, 5 Apr 2006 12:20:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: 4 bases of the poem In-Reply-To: <0895E98850E5F247B725A30CCB9292C9454A37@EVS1.ntcorp.local> MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit Still, we need someone to Pound out those long hits. On 5-Apr-06, at 11:41 AM, David Israel wrote: > [was: Subject: Re: POETICS Digest - 3 Apr 2006 to 4 Apr 2006 (#2006-95) > ] > > Typically a caesura falls there yes? > Bunting was known to land balls there > base-thievery crosses this region > treble notes may grow tremulous > the triple-play without warning? > at homerun dive fans gone wild! > > -----Original Message----- > Susan Wheeler wrote: > > Of course. Somewhere between 2nd and 3rd bases is where it starts to > get interesting. > > > >> Date: Tue, 4 Apr 2006 12:28:59 -0700 >> From: George Bowering >> Subject: Re: favorite long poems - H.D.'s Trilogy >> >> Can you have a shortstop in a longpoem? >> >> >> On 4-Apr-06, at 10:20 AM, Kevin Hehir wrote: >> >>> you're lucky, i never got past first base >>> >>> On Fri, 31 Mar 2006, Steve Dalachinksy wrote: >>> >>>> sorry never got past homer >>>> >>> >>> -- >>> The monthly Open Mics now have a home on the interweb: >>> http://www.freewebs.com/allagesopenmic/ > > david raphael israel > http://kirwani.blogspot.com > > George Harry Bowering, Lives with a groaning dog. ========================================================================= Date: Wed, 5 Apr 2006 16:44:15 -0400 Reply-To: stephen@poetshouse.org Sender: UB Poetics discussion group From: Stephen Motika Organization: Poets House Subject: Richard Rollins? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear List: We have a patron trying to find out about Richard Rollins, author of BERLIN, a collection of poetry published by White City Press, San Francisco, in 1986. Cover and illustration by Tom Thompson. Can anyone lend some help? Thanks in advance, Stephen Motika Poets House 72 Spring Street, 2nd Floor New York, NY 10012 Ph: 212-431-7920, ext. 12 Fax: 212-431-8131 ========================================================================= Date: Wed, 5 Apr 2006 17:26:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jUStin!katKO Subject: p o s t_m o o t . . . more info MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline following up on cris' announcement, follow links below for more info... p o s t_m o o t ------------------------------------------------------------------------ About - http://plantarchy.us/post_moot_about.html * Schedule - http://plantarchy.us/post_moot_schedule.html * Participants - http://plantarchy.us/post_moot_participants.html * Accommodations - http://plantarchy.us/post_moot_accommodations.html * Contacts - http://plantarchy.us/post_moot_contact.html * Links - http://plantarchy.us/post_moot_links.html ---------------------------------------------------------------------------= -- http://plantarchy.us/post_moot.html ========================================================================= Date: Wed, 5 Apr 2006 15:14:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: 4 bases of the poem In-Reply-To: <0895E98850E5F247B725A30CCB9292C9454A37@EVS1.ntcorp.local> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit In terms of the long poem, isn't there a Metcalf glove in the stands reaching out to the long ball over the top of the left fielder's Wilson? "A stand-up double" = code for poem. Put that in your diamond, she said. Genoa. > [was: Subject: Re: POETICS Digest - 3 Apr 2006 to 4 Apr 2006 (#2006-95) > ] > > Typically a caesura falls there yes? > Bunting was known to land balls there > base-thievery crosses this region > treble notes may grow tremulous > the triple-play without warning? > at homerun dive fans gone wild! > > -----Original Message----- > Susan Wheeler wrote: > > Of course. Somewhere between 2nd and 3rd bases is where it starts to > get interesting. > > > >> Date: Tue, 4 Apr 2006 12:28:59 -0700 >> From: George Bowering >> Subject: Re: favorite long poems - H.D.'s Trilogy >> >> Can you have a shortstop in a longpoem? >> >> >> On 4-Apr-06, at 10:20 AM, Kevin Hehir wrote: >> >>> you're lucky, i never got past first base >>> >>> On Fri, 31 Mar 2006, Steve Dalachinksy wrote: >>> >>>> sorry never got past homer >>>> >>> >>> -- >>> The monthly Open Mics now have a home on the interweb: >>> http://www.freewebs.com/allagesopenmic/ > > david raphael israel > http://kirwani.blogspot.com ========================================================================= Date: Wed, 5 Apr 2006 18:40:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Israel Subject: Re: 4 bases of the poem MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable As pregame anthem, they thought they'd play John Cage's "very long" composition -- which resulted in a several-centuries delay . . . Some concession stands appreciated the gambit. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Stephen Vincent Sent: Wednesday, April 05, 2006 6:14 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: 4 bases of the poem In terms of the long poem, isn't there a Metcalf glove in the stands reaching out to the long ball over the top of the left fielder's Wilson? "A stand-up double" =3D code for poem. Put that in your diamond, she said. Genoa.=20 > [was: Subject: Re: POETICS Digest - 3 Apr 2006 to 4 Apr 2006=20 > (#2006-95) ] >=20 > Typically a caesura falls there yes? > Bunting was known to land balls there > base-thievery crosses this region > treble notes may grow tremulous > the triple-play without warning? > at homerun dive fans gone wild! >=20 > -----Original Message----- > Susan Wheeler wrote: >=20 > Of course. Somewhere between 2nd and 3rd bases is where it starts to=20 > get interesting. >=20 >=20 >=20 >> Date: Tue, 4 Apr 2006 12:28:59 -0700 >> From: George Bowering >> Subject: Re: favorite long poems - H.D.'s Trilogy >>=20 >> Can you have a shortstop in a longpoem? >>=20 >>=20 >> On 4-Apr-06, at 10:20 AM, Kevin Hehir wrote: >>=20 >>> you're lucky, i never got past first base >>>=20 >>> On Fri, 31 Mar 2006, Steve Dalachinksy wrote: >>>=20 >>>> sorry never got past homer >>>>=20 >>>=20 >>> -- >>> The monthly Open Mics now have a home on the interweb: >>> http://www.freewebs.com/allagesopenmic/ >=20 > david raphael israel > http://kirwani.blogspot.com ========================================================================= Date: Wed, 5 Apr 2006 18:44:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ric carfagna Subject: Re: 4 bases of the poem MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit Yes, but without sufficient funds we can Doolittle about it . ----- Original Message ----- From: "George Bowering" To: Sent: Wednesday, April 05, 2006 3:20 PM Subject: Re: 4 bases of the poem > Still, we need someone to Pound out those long hits. > > > On 5-Apr-06, at 11:41 AM, David Israel wrote: > >> [was: Subject: Re: POETICS Digest - 3 Apr 2006 to 4 Apr 2006 (#2006-95) >> ] >> >> Typically a caesura falls there yes? >> Bunting was known to land balls there >> base-thievery crosses this region >> treble notes may grow tremulous >> the triple-play without warning? >> at homerun dive fans gone wild! >> >> -----Original Message----- >> Susan Wheeler wrote: >> >> Of course. Somewhere between 2nd and 3rd bases is where it starts to >> get interesting. >> >> >> >>> Date: Tue, 4 Apr 2006 12:28:59 -0700 >>> From: George Bowering >>> Subject: Re: favorite long poems - H.D.'s Trilogy >>> >>> Can you have a shortstop in a longpoem? >>> >>> >>> On 4-Apr-06, at 10:20 AM, Kevin Hehir wrote: >>> >>>> you're lucky, i never got past first base >>>> >>>> On Fri, 31 Mar 2006, Steve Dalachinksy wrote: >>>> >>>>> sorry never got past homer >>>>> >>>> >>>> -- >>>> The monthly Open Mics now have a home on the interweb: >>>> http://www.freewebs.com/allagesopenmic/ >> >> david raphael israel >> http://kirwani.blogspot.com >> >> > George Harry Bowering, > > Lives with a groaning dog. > ========================================================================= Date: Thu, 6 Apr 2006 11:36:54 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Wystan Curnow (ARTS ENG)" Subject: Re: POETICS Digest - 3 Apr 2006 to 4 Apr 2006 (#2006-95) MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable But I thought Henry was at short leg Wystan -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Kevin Hehir Sent: Thursday, 6 April 2006 7:16 a.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: POETICS Digest - 3 Apr 2006 to 4 Apr 2006 (#2006-95) even with Henry fielding? On Wed, 5 Apr 2006, Susan Wheeler wrote: > Of course. Somewhere between 2nd and 3rd bases is where it starts to > get interesting. >=20 >=20 >=20 > >Date: Tue, 4 Apr 2006 12:28:59 -0700 > >From: George Bowering > >Subject: Re: favorite long poems - H.D.'s Trilogy > > > >Can you have a shortstop in a longpoem? > > > > > >On 4-Apr-06, at 10:20 AM, Kevin Hehir wrote: > > > > > you're lucky, i never got past first base > > > > > > On Fri, 31 Mar 2006, Steve Dalachinksy wrote: > > > > > >> sorry never got past homer > > >> > > > > > > -- > > > The monthly Open Mics now have a home on the interweb:=20 > > > http://www.freewebs.com/allagesopenmic/ > > > > > > > >Geo. H. Bowering > > > >I paid a lot for those shoes. >=20 --=20 The monthly Open Mics now have a home on the interweb:=20 http://www.freewebs.com/allagesopenmic/ ========================================================================= Date: Wed, 5 Apr 2006 19:35:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerome Rothenberg Subject: Allan Kaprow 1927-2006 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The following brief notice - from David Antin and the family of Allan=20 Kaprow - announces the death of our longtime friend and neighbor: =20 "Today Allan Kaprow, Master of the Happening, the radical artist whose =20 work transformed the nature of art making forever, died peacefully in =20 his home in Encinitas, California. Beginning as a painter, his work =20 from the late fifties and early sixties, his spectacular and =20 theatrical environments and performance pieces, overran the capacities =20 of galleries and museums, as his increasingly austere psychological =20 and spiritual pieces from the seventies on managed to elude all but =20 the eager audiences who increasingly became participants and =20 collaborators in the work. He leaves behind his wife Coryl and son =20 Bram, and Anton, Amy and Marisa, his children with his former wife =20 Vaughan Rachel." ========================================================================= Date: Wed, 5 Apr 2006 23:33:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Flynn Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <2ef.4beff4b.3165552a@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Perhaps I didn't make myself clear. I intended to say that "This is boring" is not a very useful critical insight. Here is a not very useful rhetorical question: Who cares if you are bored? -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Craig Allen Conrad Sent: Wednesday, April 05, 2006 1:15 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Elizabeth Bishop in NYTBR It seems some of my facts about Bishop's personal life were incorrect, and I'm sorry about that. Thanks to Catherine Daly for clearing that up. But to Mr. Flynn, for you to assume that anyone saying they are bored with Bishop's poems is "knee-jerk" is to assume you know whether or not her poems were read, maybe many times. That's the case with me, as I have an old friend who thinks Bishop is the greatest poet of the 20th century. And this friend would show me poem after poem in hopes of converting me. The truth is that I had already read on my own the very poems my friend was making me read, and she just bores me. There's nothing "knee-jerk" about it. I'm bored. Bored SILLY! Mr. Flynn I could say to you that because you might REFUSE to wear a dress I designed by hand made of pink and yellow marshmallow Easter bunnies is a "knee-jerk" reaction! How dare you Mr. Flynn! NOT wear my beautiful dress I spent hours and hours designing just for you! You see, but the difference is Mr. Flynn, that I actually TRIED to read Bishop's poems while YOU decided my dress would make you look fat, and you didn't even BOTHER to try it on first! Hmph! Happy Easter Mr. Flynn, candy candy candy EVERYWHERE! CAConrad CAConrad IS A POET-AGENT IN SEARCH OF A TRANSVESTITE BOXER FOR MORE INFO GO TO: _http://TRANSBOXER.blogspot.com_ (http://transboxer.blogspot.com/) "Those who restrain desire, do so because theirs is weak enough to be restrained...." --William Blake for PhillySound: NEW POETRY: _http://PhillySound.blogspot.com_ (http://phillysound.blogspot.com/) for CAConrad's tarot services: _http://LightOfLakshmi.blogspot.com_ (http://lightoflakshmi.blogspot.com/) ========================================================================= Date: Wed, 5 Apr 2006 23:40:29 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Murat Nemet-Nejat/ Reading at the Zinc Bar Comments: To: amyhappens@YAHOO.COM, acgreenb@MAILBOX.SYR.EDU MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit MURAT NEMET-NEJAT TALKING ABOUT ATTENTION DEFICIT DISORDER AND OTHER RELATED POETIC MATTERS AT THE ZINC BAR, NEW YORK CITY 90 WEST HOUSTON BETWEEN LAGUARDIA AND THOMPSON SUNDAY, APRIL 9 AT 7 P.M. ========================================================================= Date: Wed, 5 Apr 2006 21:58:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: 1-800 Flowers, a comment Comments: To: UK POETRY Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit 1-800-Flowers - this little, well made volume of poems by Robert Fitterman (Designed and Printed by Benjamin Friedlander for "The Alliance of Pigs With Wings") got delivered to my door the other day. I had missed hearing it read at the Zukofksy Conference at Columbia (September 2005), and I think it was maybe variously acclaimed on either the UK or UB list some months back(?). I just want to say I found it a delight and, more than that, a seriously compressed view of an approach to Zufkosfky - a little PM ironic as its title - but much more an act of fidelity - not without question - with an intense focus and studied interpretation: Complex Emotion toward the poor that is to say if the poet's compassionate emotion for the poor cannot be finally determined it nonetheless can be inferred from his love of language his consciousness of word combinations and their constructions but can it (In print the whole piece is italic, except for the last three words, a question with a question mark. For all I don't know of Z, Fitterman may be quoting here?) The poem - at least to me - speaks to the question of whether or not the Post-12 Zuk pretty much divorces the poem/poetry either implicitly or directly from political engagement. The thrust of the question is whether or not the labor of combining words is parallel - and in solidarity - with any other kind of any other kind of constructive work (the act of putting things together). And, conversely, to be without such work is to know poverty and its suffering. If the answer is yes - that this work of poetry is legitimate and integral to labor in the broad sense of other kinds of work, then it keeps, for example, the rest of A-13 on in the realm of the socio/political engaged. And goes toward explaining what others may see as the inaccessibility of A-22 and A-23 which are so fundamentally committed to the constructive combination of words. Which also connects with Z's WPA study and publication of works on American craft and design. But that can also be said of Fitterman's work here - their sense of compact craft, as in the making of poems with the presence of real objects/constructs, practically physically and small enough to be portable as in: Seedling Where to, a Close Reading 10-slender rods spring seed sway the digit 1 and 0 as stem-and-bulb blows the letter s from word to work pollinating each word-front-back blowing s off seed from seeds and onto sway not way nor away as slender rods sway (Again I cannot replicate italics here) The minuteness of the attention, the music - it's a construct that I want to keep coming back to - to enjoy and study. Ben Friedlander made 300 of these booklets. No price, but I suspect one can find Ben's email address - or write to 86 Grand Street, Bangor, ME 04401. ========================================================================= Date: Thu, 6 Apr 2006 15:50:37 +0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derekrogerson Organization: derekrogerson.com Subject: Re: 1-800 Flowers, a comment In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ..| (Again I cannot replicate italics here) Yes, you can: use forward slashes ('/') to enclose the /italicized/ words --------- Derek ========================================================================= Date: Thu, 6 Apr 2006 07:34:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <20060406033402.E143336401A@relay01.roc.ny.frontiernet.net> Mime-Version: 1.0 (Apple Message framework v749.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit On the other hand, boredom is a high state, as someone once said. Hal "Time is what keeps us waiting." Halvard Johnson ================ halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org On Apr 5, 2006, at 11:33 PM, Richard Flynn wrote: > Perhaps I didn't make myself clear. I intended to say that "This > is boring" > is not a very useful critical insight. Here is a not very useful > rhetorical question: Who cares if you are bored? > > > > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Craig Allen Conrad > Sent: Wednesday, April 05, 2006 1:15 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Elizabeth Bishop in NYTBR > > It seems some of my facts about Bishop's personal life were > incorrect, > and I'm sorry about that. Thanks to Catherine Daly for clearing > that up. > > But to Mr. Flynn, for you to assume that anyone saying they are bored > with Bishop's poems is "knee-jerk" is to assume you know whether or > not her poems were read, maybe many times. That's the case with me, > as I have an old friend who thinks Bishop is the greatest poet of the > 20th century. And this friend would show me poem after poem in hopes > of converting me. The truth is that I had already read on my own the > very poems my friend was making me read, and she just bores me. > There's nothing "knee-jerk" about it. I'm bored. Bored SILLY! > > Mr. Flynn I could say to you that because you might REFUSE to wear > a dress I designed by hand made of pink and yellow marshmallow Easter > bunnies is a "knee-jerk" reaction! How dare you Mr. Flynn! NOT wear > my beautiful dress I spent hours and hours designing just for > you! You > see, but the difference is Mr. Flynn, that I actually TRIED to read > Bishop's > poems while YOU decided my dress would make you look fat, and you > didn't even BOTHER to try it on first! Hmph! > > Happy Easter Mr. Flynn, candy candy candy EVERYWHERE! > CAConrad > CAConrad IS A POET-AGENT IN SEARCH OF A TRANSVESTITE BOXER > FOR MORE INFO GO TO: _http://TRANSBOXER.blogspot.com_ > (http://transboxer.blogspot.com/) > "Those who restrain desire, do so because theirs is weak enough to be > restrained...." > --William Blake > for PhillySound: NEW POETRY: _http://PhillySound.blogspot.com_ > (http://phillysound.blogspot.com/) > for CAConrad's tarot services: > _http://LightOfLakshmi.blogspot.com_ (http:// > lightoflakshmi.blogspot.com/) ========================================================================= Date: Thu, 6 Apr 2006 08:07:02 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Richard Flynn said: >>>Perhaps I didn't make myself clear. I intended to say that "This is boring" >>>is not a very useful critical insight. Here is a not very useful >>>rhetorical question: Who cares if you are bored? Dear Mr. Flynn, it's not up to you to decide what's a critial insight. If a poem is boring then maybe little more needs to be said. Frankly, I'd rather eat broken glass then have to write a paper on WHY Elizabeth Bishop bores me. There are millions (literally) of poems, poets, books, anthologies, why on Earth would I spend my time reading Bishop if I don't like her? Life's too short! Here's possibly a much more useful question then any of your questions so far: What's one of the things about Bishop that you feel sets her apart from so many other poets? And another: What poem of Bishop's you would ask any stranger to read in order to have that stranger understand your answer to the previous question? CAConrad CAConrad IS A POET-AGENT IN SEARCH OF A TRANSVESTITE BOXER FOR MORE INFO GO TO: _http://TRANSBOXER.blogspot.com_ (http://transboxer.blogspot.com/) "Those who restrain desire, do so because theirs is weak enough to be restrained...." --William Blake for PhillySound: NEW POETRY: _http://PhillySound.blogspot.com_ (http://phillysound.blogspot.com/) for CAConrad's tarot services: _http://LightOfLakshmi.blogspot.com_ (http://lightoflakshmi.blogspot.com/) ========================================================================= Date: Thu, 6 Apr 2006 08:23:21 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: Jane Smiley MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit This was sent to me this morning. I'm assuming it's the same Jane Smiley who rewrote King Lear with her book A THOUSAND ACRES. The e-mail arrived with no introduction, but it's interesting to read, no matter who wrote it. CAConrad ------------- By Jane Smiley Bruce Bartlett, The Cato Institute, Andrew Sullivan, George Packer, William F. Buckley, Sandra Day O'Connor, Republican voters in Indiana and all the rest of you newly-minted dissenters from Bush's faith-based reality seem, right now, to be glorying in your outrage, which is always a pleasure and feels, at the time, as if it is having an effect, but those of us who have been anti-Bush from day 1 (defined as the day after the stolen 2000 election) have a few pointers for you that should make your transition more realistic.1. Bush doesn't know you disagree with him. Nothing about you makes you of interest to George W. Bush once you no longer agree with and support him. No degree of relationship (father, mother, etc.), no longstanding friendly intercourse (Jack Abramoff), no degree of expertise (Brent Scowcroft), no essential importance (Tony Blair, American voters) makes any difference. There is nothing you have to offer that makes Bush want to know you once you have come to disagree with him. Your opinions and feelings now exist in a world entirely external to the mind of George W. Bush. You are now just one of those "polls" that he pays no attention to. When you were on his side, you thought that showed "integrity" on his part. It doesn't. It shows an absolute inability to learn from experience. 2. Bush doesn't care whether you disagree with him. As a man who has dispensed with the reality-based world, and is entirely protected by his handlers from feeling the effects of that world, he is indifferent to what you now think is real. Is the Iraq war a failure and a quagmire? Bush doesn't care. Is global warming beginning to affect us right now? So what. Have all of his policies with regard to Iran been misguided and counter- productive? He never thinks about it. You know that Katrina tape in which Bush never asked a question? It doesn't matter how much you know or how passionately you feel or, most importantly, what degree of disintegration you see around you, he's not going to ask you a question. You and your ideas are dead to him. You cannot change his mind. Nine percent of polled Americans would agree with attacking Iran right now. To George Bush, that will be a mandate, if and when he feels like doing it, because... 3. Bush does what he feels like doing and he deeply resents being told, even politely, that he ought to do anything else. This is called a "sense of entitlement". Bush is a man who has never been anywhere and never done anything, and yet he has been flattered and cajoled into being president of the United States through his connections, all of whom thought they could use him for their own purposes. He has a surface charm that appeals to a certain type of American man, and he has used that charm to claim all sorts of perks, and then to fail at everything he has ever done. He did not complete his flight training, he failed at oil investing, he was a front man and a glad-hander as a baseball owner. As the Governor of Texas, he originated one educational program that turned out to be a debacle; as the President of the US, his policies have constituted one screw-up after another. You have stuck with him through all of this, made excuses for him, bailed him out. From his point of view, he is perfectly entitled by his own experience to a sense of entitlement. Why would he ever feel the need to reciprocate? He's never had to before this. 4. President Bush is your creation. When the US Supreme Court humiliated itself in 2000 by handing the presidency to Bush even though two of the justices (Scalia and Thomas) had open conflicts of interest, you did not object. When the Bush administration adopted an "Anything but Clinton" policy that resulted in ignoring and dismissing all warnings of possible terrorist attacks on US soil, you went along with and made excuses for Bush. When the Bush administration allowed the corrupt Enron corporation to swindle California ratepayers and taxpayers in a last ditch effort to balance their books in 2001, you laughed at the Californians and ignored the links between Enron and the administration. When it was evident that the evidence for the war in Iraq was cooked and that State Department experts on the Middle East were not behind the war and so it was going to be run as an exercise in incompetence, you continued to attack those who were against the war in vicious terms and to defend policies that simply could not work. On intelligent design, global warming, doctoring of scientific results to reflect ideology, corporate tax giveaways, the K Street project, the illegal redistricting of Texas, torture at Gitmo and Abu Ghraib, the Terry Schiavo fiasco, and the cronyism that led to the destruction of New Orleans you have failed to speak out with integrity or honesty, preferring power to truth at every turn. Bush does what he wants because you have let him. 5. Tyranny is your creation. What we have today is the natural and inevitable outcome of ideas and policies you have promoted for the last generation. I once knew a guy who was still a Marxist in 1980. Whenever I asked him why Communism had failed in Russia and China, he said "Mistakes were made". He could not believe that Marxism itself was at fault, just as you cannot believe that the ideology of the unregulated free market has created the world we live in today. You are tempted to say: "Mistakes have been made", but in fact, psychologically and sociologically, no mistakes have been made. The unregulated free market has operated to produce a government in its own image. In an unregulated free market, for example, cheating is merely another sort of advantage that, supposedly, market forces might eventually "shake out" of the system. Of course, anyone with common sense understands that cheaters do damage that sometimes cannot be repaired before they are "shaken out", but according to the principles of the unregulated free market, the victims of that sort of damage are just out of luck and the damage that happens to them is just a sort of "culling". It is no accident that our government is full of cheaters--they learned how to profit from cheating when they were working in corporations that were using bribes, perks, and secret connections to cheat their customers of good products, their neighbors of healthy environmental conditions, their workers of workplace safety and decent paychecks. It was only when the corporations began cheating their shareholders that any of you squealed, but you should know from your own experience that the unregulated free market as a "level playing field" was the biggest laugh of the 20th century. No successful company in the history of capitalism has ever favored open competition. When you folks pretended, in the eighties, that you weren't using the ideology of the free market to cover your own manipulations of the playing field to your own advantage, you may have suckered yourselves, and even lots of American workers, but observers of capitalism since Adam Smith could have told you it wasn't going to work. And then there was the way you used racism and religious intolerance to gain and hold onto power. Nixon was cynical about it--taking the party of Lincoln and reaching out to disaffected southern racists, drumming up a backlash against the Civil Rights movement for the sake of votes, but none of you has been any less vicious. Racism might have died an unlamented death in this country, but you kept it alive with phrases like "welfare queen" and your resistance to affirmative action and taxation for programs to help people in our country with nothing, or very little. You opted not to take the moral high ground and recognize that the whole nation would be better off without racism, but rather to increase class divisions and racial divisions for the sake of your own comfort, pleasure, and profit. You have used religion in exactly the same way. Instead of strongly defending the constitutional separation of church and state, you have encouraged radical fundamentalist sects to believe that they can take power in the US and mold our secular government to their own image, and get rich doing it. The US could have become a moderating force in what seems now to be an inevitable battle among the three monotheistic Abrahamic religions, but you have made that impossible by flattering and empowering our own violent and intolerant Christian right. You have created an imperium, heedless of the most basic wisdom of the Founding Fathers--that at the very least, no man is competent enough or far-seeing enough to rule imperially. Checks and balances were instituted by Madison, Jefferson, Franklin, and the rest of them not because of some abstract distrust of power, but because they had witnessed the screw-ups and idiocies of unchecked power. You yourselves have demonstrated the failures of unchecked power--in an effort to achieve it, you have repeatedly contravened the expressed wishes of most Americans, who favor a moderate foreign policy, reasonable domestic programs, a goverrnment that works, environmental preservation, women's rights to contraception, abortion, and a level playing field. Somehow you thought you could mold the imperium to reflect your wishes, but guess what--that's what an imperium is--one man rule. If you fear the madness of King George, you have no recourse if you've given up the checks and balances that you inherited and that were meant to protect you. Your ideas and your policies have promoted selfishness, greed, short-term solutions, bullying, and pain for others. You have looked in the faces of children and denied the existence of a "common good". You have disdained and denied the idea of "altruism". At one time, our bureaucracy was full of people who had gone into government service or scientific research for altruistic reasons--I knew, because I knew some of them. You have driven them out and replaced them with vindictive ignoramuses. You have lied over and over about your motives, for example, making laws that hurt people and calling it "originalist interpretations of the Constitution" (conveniently ignoring the Ninth Amendment). You have increased the powers of corporations at the expense of every other sector in the nation and actively defied any sort of regulation that would require these corporations to treat our world with care and respect. You have made economic growth your deity, and in doing so, you have accelerated the power of the corporations to destroy the atmosphere, the oceans, the ice caps, the rainforests, and the climate. You have produced CEOs in charge of lots of resources and lots of people who have no more sense of reciprocity or connection or responsibility than George W. Bush. Now you are fleeing him, but it's only because he's got the earmarks of a loser. Your problem is that you don't know why he's losing. You think he's made mistakes. But no. He's losing because the ideas that you taught him and demonstrated for him are bad ideas, self-destructive ideas, and even suicidal ideas. And they are immoral ideas. You should be ashamed of yourselves because not only have your ideas not worked to make the world a better place, they were inhumane and cruel to begin with, and they have served to cultivate and excuse the inhumane and cruel character traits of those who profess them. 6. As Bad as Bush is, Cheney is Worse. ========================================================================= Date: Thu, 6 Apr 2006 07:17:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Officer in Need of Assistance! Subject: Re: Elizabeth Bishop in NYTBR In-Reply-To: <324.14af919.31665e66@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Life, friends, is boring. We must not say so. -Berryman @ Coffey's house On 4/6/06, Craig Allen Conrad wrote: > > Richard Flynn said: > >>>Perhaps I didn't make myself clear. I intended to say that "This is > boring" > >>>is not a very useful critical insight. Here is a not very useful > >>>rhetorical question: Who cares if you are bored? > > > Dear Mr. Flynn, it's not up to you to decide what's a critial insight. > If a poem is boring then maybe little more needs to be said. > > Frankly, I'd rather eat broken glass then have to write a paper on > WHY Elizabeth Bishop bores me. There are millions (literally) of > poems, poets, books, anthologies, why on Earth would I spend > my time reading Bishop if I don't like her? Life's too short! > > Here's possibly a much more useful question then any of your > questions so far: What's one of the things about Bishop that > you feel sets her apart from so many other poets? > > And another: What poem of Bishop's you would ask any > stranger to read in order to have that stranger understand > your answer to the previous question? > > CAConrad > CAConrad IS A POET-AGENT IN SEARCH OF A TRANSVESTITE BOXER > FOR MORE INFO GO TO: _http://TRANSBOXER.blogspot.com_ > (http://transboxer.blogspot.com/) > "Those who restrain desire, do so because theirs is weak enough to be > restrained...." > --William Blake > for PhillySound: NEW POETRY: _http://PhillySound.blogspot.com_ > (http://phillysound.blogspot.com/) > for CAConrad's tarot services: > _http://LightOfLakshmi.blogspot.com_ (http://lightoflakshmi.blogspot.com/= ) > -- http://hyperhypo.org ========================================================================= Date: Thu, 6 Apr 2006 07:35:07 -0500 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: Re: Allan Kaprow 1927-2006 In-Reply-To: <007901c65922$b8e17020$66dc6f44@yourw04gtxld67> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit That's really sad. Kaprow was an excellent writer too. I liked the things he wrote about Jackson Pollock, and the transcripts of directions for the happenings he created are fascinating to read. In '99 I participated in a workshop he facilitated at Mills College, and that was great. One of my favorite moments was when he paired people up: one person drew a line on the ground with a piece of chalk, and the other person erased the line. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Jerome Rothenberg Sent: Wednesday, April 05, 2006 9:35 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Allan Kaprow 1927-2006 The following brief notice - from David Antin and the family of Allan Kaprow - announces the death of our longtime friend and neighbor: "Today Allan Kaprow, Master of the Happening, the radical artist whose work transformed the nature of art making forever, died peacefully in his home in Encinitas, California. Beginning as a painter, his work from the late fifties and early sixties, his spectacular and theatrical environments and performance pieces, overran the capacities of galleries and museums, as his increasingly austere psychological and spiritual pieces from the seventies on managed to elude all but the eager audiences who increasingly became participants and collaborators in the work. He leaves behind his wife Coryl and son Bram, and Anton, Amy and Marisa, his children with his former wife Vaughan Rachel." ========================================================================= Date: Thu, 6 Apr 2006 17:32:16 +0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicholas Karavatos Subject: Re: Elizabeth Bishop in NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: base64 IkJvcmVkb20gaXMgdGhlIHJvb3Qgb2YgYWxsIGNyZWF0aW9uLiINCiANCg0KCS0tLS0tT3JpZ2lu YWwgTWVzc2FnZS0tLS0tIA0KCUZyb206IEhhbHZhcmQgSm9obnNvbiBbbWFpbHRvOmhhbHZhcmRA RUFSVEhMSU5LLk5FVF0gDQoJU2VudDogVGh1IDQvNi8yMDA2IDM6MzQgUE0gDQoJVG86IFBPRVRJ Q1NATElTVFNFUlYuQlVGRkFMTy5FRFUgDQoJQ2M6IA0KCVN1YmplY3Q6IFJlOiBFbGl6YWJldGgg QmlzaG9wIGluIE5ZVEJSDQoJDQoJDQoNCglPbiB0aGUgb3RoZXIgaGFuZCwgYm9yZWRvbSBpcyBh IGhpZ2ggc3RhdGUsIGFzDQoJc29tZW9uZSBvbmNlIHNhaWQuDQoJDQoJSGFsDQoJDQoJIlRpbWUg aXMgd2hhdCBrZWVwcyB1cyB3YWl0aW5nLiINCgkNCglIYWx2YXJkIEpvaG5zb24NCgk9PT09PT09 PT09PT09PT09DQoJaGFsdmFyZEBlYXJ0aGxpbmsubmV0DQoJaHR0cDovL2hvbWUuZWFydGhsaW5r Lm5ldC9+aGFsdmFyZA0KCWh0dHA6Ly9lbnRyb3B5YW5kbWUuYmxvZ3Nwb3QuY29tDQoJaHR0cDov L2ltYWdlc3dpdGhvdXR3b3Jkcy5ibG9nc3BvdC5jb20NCglodHRwOi8vd3d3LmhhbWlsdG9uc3Rv bmUub3JnDQoJDQoJDQoJDQoJDQoJDQoNCg== ========================================================================= Date: Thu, 6 Apr 2006 09:41:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: RIP MIME-Version: 1.0 Content-Type: text/plain Gene Pitney -- RIP "It isn't very pretty what a town without pity can do." <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --Emily Dickinson Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Thu, 6 Apr 2006 10:05:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sandra Subject: Monday 4/10: Elizabeth Willis, Ben Doyle, Sandra Miller MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline From: Reading Between A & B Date: Apr 5, 2006 10:30 AM Subject: Monday 4/10: Elizabeth Willis, Ben Doyle, Sandra Miller To: readings@readab.com Dear Enthusiasts, This Monday join us for three fantastic poets, and celebrate the publicatio= n of Elizabeth Willis's* Meteoric Flowers*. Elizabeth Willis Ben Doyle Sandra Miller Monday, April 10, 7:30PM at the 11th Street Bar (510 E. 11th Street btw A & B). You can read poems by each of them at: http://www.reabab.com *Elizabeth Willis*'s new book,* Meteoric Flowers* is just out from Wesleyan University Press. These poems take on Erasmus Darwin, the pastoral tradition, the Baudelairean prose poem, and the FBI. Her previous books include* Turneresque* (Burning Deck, 2003) and* The Human Abstract*(Penguin, 1995). Her poems appear in recent issues of * Canary*,* Chicago Review*,* Conjunctions, Crowd, The Hat, No*, and* Open City*. She lives in central Massachusetts. *Ben Doyle*'s first collection of poems* Radio, Radio* won the 2000 Walt Whitman award. His poems can be found in current or forthcoming issues of*Boston Review, Tin House, Denver Quarterly, * and* 1913.* He lives with his wife, the poet Sandra Miller, and their canine *Sandra Miller*'s first book,* Oriflamme,* was published by Ahsahta Press i= n 2005. A recent recipient of the Paul Engle-James Michener fellowship, Miller's new work-entitled* Chora*-currently appears in* Denver Quarterly, Crowd, Forklift Ohio,* and* Order + Decorum.* She is the secret founder & editor of an international journal and small press of poetry, poetics, art, and their intersections. Sandra works as an artist-in-the-schools in centra= l Ohio, where she lives with her husband, the poet Ben Doyle, and their pup. Upcoming Readings: April 24 Failbetter Reading with: Amy Holman Sasha Frere-Jones Max Winter May 8 Nicole Cooley Anthony Hawley Ada Limon May 15 Martha Rhodes Deborah Bernhart Jonathan Thirkield May 22 Joshua Clover Susan Maxwell Chris Chen June 4 Louise Gl=FCck Reads with Yale Younger Poets ========================================================================= Date: Thu, 6 Apr 2006 07:29:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Catafago Subject: Writer, Imprisoned Twelve Years in China, To Speak May 2 on Long Island, NY In-Reply-To: <008001c658b4$f4675c90$a52c7a92@net.plm.eds.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit For Immediate Release New York City: On May 2, 2006 beginning at 1pm at SUNY Stony Brook University's Charles B. Wang Center Lecture Hall 1, Movement One: Creative Coalition will present "Refusing Silence: The Life and Poetry of Huang Xiang." Huang Xiang is a poet who was imprisoned twelve years in China because of his role as an organizer of the Democracy Wall Movement. He is the author of over twenty books, all of which are still banned in his native China. Currently, Huang Xiang and his wife, the writer Qiu Xiao Yulan are residents in The Cities of Asylum in Pittsburgh, Pa. The Cities of Asylum is a non-profit organization which gives refuge to writers who have been persecuted in their countries of origin. ”Refusing Silence: The Life and Poetry of Huang Xiang” will feature Xiang reading his own poetry in Chinese. There will also be readings of Andrew Emerson's English translations of Xiang's poetry. The readings will be preceded by the showing of a short documentary featuring Huang Xiang and Qiu Xiao Yulan. Reception to follow. The program, sponsored by the Charles B. Wang Center, is free and open to the public. Movement One: Creative Coalition is a New York based arts non-profit which organizes and supports projects that promote inter-cultural dialogue. Amongst other things, Movement One organizes the annual Queens International Poetry Festival. For more information about this program or Movement One, please log on to www.movementone.org or call 718-592-5958. For information on Stony Brook’s Wang Center’s programs, call 631-632-6320, or log on to www.sunysb.edu/sb/wang/events. Contact: Paul Catafago, Movement One: Creative Coalition Tel: 718-592-5958 718-310-7125 Email:info@movementone.org Aryanil Mukherjee wrote: Peter Gizzi reads at 7:30 the evening of Wed., April 5th, Schiff Conference Center, which is part of the Cintas Center, Xavier University, in Cincinnati, OH. He will read from his new book "Some Values of Landscape and Weather". Following morning Peter will talk about his work on Jack Spicer. Aryanil ========================================================================= Date: Thu, 6 Apr 2006 17:23:38 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Danuta Fjellestad Subject: unlist MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ----- Original Message -----=20 From: "Paul Catafago" To: Sent: Thursday, April 06, 2006 4:29 PM Subject: Writer, Imprisoned Twelve Years in China, To Speak May 2 on = Long Island, NY > For Immediate Release >=20 > New York City: On May 2, 2006 beginning at 1pm at SUNY Stony Brook = University's Charles B. Wang Center Lecture Hall 1, Movement One: = Creative Coalition will present "Refusing Silence: The Life and Poetry = of Huang Xiang."=20 >=20 > Huang Xiang is a poet who was imprisoned twelve years in China because = of his role as an organizer of the Democracy Wall Movement. He is the = author of over twenty books, all of which are still banned in his native = China.=20 >=20 > Currently, Huang Xiang and his wife, the writer Qiu Xiao Yulan are = residents in The Cities of Asylum in Pittsburgh, Pa. The Cities of = Asylum is a non-profit organization which gives refuge to writers who = have been persecuted in their countries of origin. >=20 > "Refusing Silence: The Life and Poetry of Huang Xiang" will feature = Xiang reading his own poetry in Chinese. There will also be readings of = Andrew Emerson's English translations of Xiang's poetry.=20 >=20 > The readings will be preceded by the showing of a short documentary=20 >=20 > featuring Huang Xiang and Qiu Xiao Yulan. Reception to follow. The=20 >=20 > program, sponsored by the Charles B. Wang Center, is free and open to = the public. >=20 > Movement One: Creative Coalition is a New York based arts non-profit=20 >=20 > which organizes and supports projects that promote inter-cultural=20 >=20 > dialogue. Amongst other things, Movement One organizes the annual = Queens International Poetry Festival. >=20 > For more information about this program or Movement One, please log=20 >=20 > on to www.movementone.org or call 718-592-5958. For information on = Stony Brook's Wang Center's programs, call 631-632-6320, or log on to=20 >=20 > www.sunysb.edu/sb/wang/events. >=20 > =20 >=20 > Contact:=20 >=20 > Paul Catafago, Movement One: Creative Coalition >=20 > Tel: 718-592-5958 718-310-7125 >=20 > Email:info@movementone.org >=20 >=20 > Aryanil Mukherjee wrote: Peter Gizzi reads at = 7:30 the evening of Wed., April 5th, Schiff Conference > Center, which is part of the Cintas Center, Xavier University, in > Cincinnati, OH. >=20 > He will read from his new book "Some Values of Landscape and Weather". > Following morning Peter will talk about his work on Jack Spicer. >=20 > Aryanil > ========================================================================= Date: Thu, 6 Apr 2006 08:40:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Allan Kaprow, 1927-2006 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "hammond guthrie" To: "Joel Weishaus" Sent: Thursday, April 06, 2006 8:31 AM Subject: Allan Kaprow, 1927-2006 Tribute to Allan Kaprow (click image) http://emptymirrorbooks.com/thirdpage/tribute1.html ========================================================================= Date: Thu, 6 Apr 2006 17:50:20 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Danuta Fjellestad Subject: unlist MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Danuta Fjellestad Professor of English Blekinge Institute of Technology tel. + 46 455 38 53 62 ========================================================================= Date: Thu, 6 Apr 2006 13:21:13 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: POETICS Digest - 3 Apr 2006 to 4 Apr 2006 (#2006-95) In-Reply-To: <640F0190D197074CA59E6F82064E80C328D7BE@artsmail.ARTSNET.AUCKLAND.AC.NZ> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII no, that Henry was banned from the list years ago. On Thu, 6 Apr 2006, Wystan Curnow (ARTS ENG) wrote: > But I thought Henry was at short leg > Wystan > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of Kevin Hehir > Sent: Thursday, 6 April 2006 7:16 a.m. > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: POETICS Digest - 3 Apr 2006 to 4 Apr 2006 (#2006-95) > > > even with Henry fielding? > > > On Wed, 5 Apr 2006, Susan Wheeler wrote: > > > Of course. Somewhere between 2nd and 3rd bases is where it starts to > > get interesting. > > > > > > > > >Date: Tue, 4 Apr 2006 12:28:59 -0700 > > >From: George Bowering > > >Subject: Re: favorite long poems - H.D.'s Trilogy > > > > > >Can you have a shortstop in a longpoem? > > > > > > > > >On 4-Apr-06, at 10:20 AM, Kevin Hehir wrote: > > > > > > > you're lucky, i never got past first base > > > > > > > > On Fri, 31 Mar 2006, Steve Dalachinksy wrote: > > > > > > > >> sorry never got past homer > > > >> > > > > > > > > -- > > > > The monthly Open Mics now have a home on the interweb: > > > > http://www.freewebs.com/allagesopenmic/ > > > > > > > > > > >Geo. H. Bowering > > > > > >I paid a lot for those shoes. > > > > -- The monthly Open Mics now have a home on the interweb: http://www.freewebs.com/allagesopenmic/ ========================================================================= Date: Thu, 6 Apr 2006 11:22:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 I think it's great when we write poems and the poems have the word poem in = it, and it appears like a few dozen times over the span of a few lines, lik= e we're trying to make the point that this is a poem and if no one gets the= fact that it's a poem then we're doomed! We should stop writing poems for = a few weeks - give like a five week hiatus from poem-writing. Then when we = do write poems, eventually, they will be really great poems because they wi= ll have been fermenting in the subconscious domain of the poetic brain. Thi= s is a great way to make your poem really good so that editors will read th= em again and again. And maybe the poems will be published in magazines that= we like, so that we'll read your poems along our poems. This is a great wa= y to share our poems. Please, stop writing poems! Poems! Christophe Casamassima Professor Emiritus, Modern Languages & Philology University of Jamaica Avenue, Queens, N.Y. --=20 ___________________________________________ Graffiti.net free e-mail @ www.graffiti.net Play 100s of games for FREE! http://games.graffiti.net/ Powered By Outblaze ========================================================================= Date: Thu, 6 Apr 2006 12:21:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Israel Subject: Re: "poems" poems MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable Yon Professor of the U of Jamaica Ave! your prose recommends one might halt writing poems with "poems"! so you have thereby mounted now a frontal assault? but "poems" poems possibly can poiese=20 into puddles & piddles of po-happiness! -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of furniture_ press Sent: Thursday, April 06, 2006 12:23 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject:=20 I think it's great when we write poems and the poems have the word poem in it, and it appears like a few dozen times over the span of a few lines, like we're trying to make the point that this is a poem and if no one gets the fact that it's a poem then we're doomed! We should stop writing poems for a few weeks - give like a five week hiatus from poem-writing. Then when we do write poems, eventually, they will be really great poems because they will have been fermenting in the subconscious domain of the poetic brain. This is a great way to make your poem really good so that editors will read them again and again. And maybe the poems will be published in magazines that we like, so that we'll read your poems along our poems. This is a great way to share our poems. Please, stop writing poems! Poems! Christophe Casamassima Professor Emiritus, Modern Languages & Philology University of Jamaica Avenue, Queens, N.Y. -- david raphael israel http://kirwani.blogspot.com ========================================================================= Date: Thu, 6 Apr 2006 12:25:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Devaney Subject: SPARROW interview in new RAIN TAXI MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit I have an interview with Sparrow in Rain Taxi's spring 2006 online edition. Here are a few lines from my intro: "His recent book America: A Prophecy--The Sparrow Reader is a rip-roaring collection of Sparrow's various political, cultural, literary, and spiritual writings. In his brief essays, and even briefer poems, Sparrow's originality and persistence is clear. He writes proverbs, bumper stickers, essays on the charms of spam email, and oddly insightful political commentary." http://www.raintaxi.com/online/2006spring/ Sparrow is joy and surprisingly poignant. Tom Devaney ========================================================================= Date: Thu, 6 Apr 2006 13:31:27 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: Stephanie Bolster's BIODOME MIME-version: 1.0 Content-type: TEXT/PLAIN Content-transfer-encoding: 8BIT new from above/ground press BIODOME by Stephanie Bolster $4 BIODOME Snow thickens the light through which tamarins plunge. When I last went she was still alive. This is true of many places. Sometimes a lone man sketches. Sometimes a woman carries a child. This is not the difference between life and imagination. Even the briefest distance is divisible. ======= Stephanie Bolster has published three collections: White Stone: The Alice Poems (Signal/Véhicule 1998), which won the Governor General's Award and the Gerald Lampert Award; Two Bowls of Milk (McClelland & Stewart 1999), which won the Archibald Lampman Award and was shortlisted for the Trillium Award; and Pavilion (M&S 2002). Born and raised in Vancouver, she lived in Ottawa from 1996 to 2000, teaching writing and working at the National Gallery. She now teaches at Concordia University in Montréal. Bolster edited The Ishtar Gate: Last and Selected Poems (McGill-Queen's 2005) by the late Ottawa poet Diana Brebner and is working on a collection of poems about zoos. This is her second chapbook with above/ground press, after Three Bloody Words (1996). ======= published in ottawa by above/ground press. subscribers rec' complimentary copies. to order, add $1 for postage (or $2 for non-canadian; in US funds please) 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 Adam Seelig, Julia William, Karen Clavelle, Eric Folsom, Alessandro Porco, Frank Davey, John Lavery, 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 & forthcoming issues featuring work by J.L. Jacobs, Jan Allen, rob mclennan, Sharon Harris & Dennis Cooley. 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 ...11th coll'n - name , an errant (Stride, UK) .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Thu, 6 Apr 2006 14:39:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Zukofsky Selected Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Today is the official publication date for Louis Zukofsky: Selected Poems which I edited & which is published by The Library of America / American Poets Project * Tonight, in honor of the LOA series I will be introducing the book along with two other American Poets Project editors: Elizabeth Alexander on Gwendolyn Brooks and Frank Bidart on James Merrill Thursday, April 6, 7 p.m. Free New York University, Jurow Hall, 100 Washington Square East, New York Sponsored by the Academy of American Poets and the Library of America * one other NY event: Bruce Andrews and I, along with fiction writers Michael Brodsky and Jim Chapman, will be reading as part of the Blatt magazine launch, at 8pm on Friday, April 6, at Galapagos in Brooklyn -- 70 North 6th Street (between Kent and Wythe). Introduced by Joshua Cohen. Charles Bernstein http://epc.buffalo.edu/authors/bernstein http://epc.buffalo.edu/authors/bernstein/blog ========================================================================= Date: Thu, 6 Apr 2006 11:44:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Fwd: ARTIFACT : 4. 8 .06 : Bellamy : Halpern : Sims Comments: To: ampersand@yahoogroups.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Date: Wed, 5 Apr 2006 17:25:20 -0700 >From: "Artifact Reading Series" >To: artifactsf@gmail.com >Subject: ARTIFACT : 4. 8 .06 : Bellamy : Halpern : Sims >X-ELNK-AV: 0 >X-ELNK-Info: sbv=0; sbrc=.0; sbf=0b; sbw=000; > >a r t i f a c t : a series of innovative writing > > >saturday . april 8th . 7:30pm > >$3 suggested donation > >the reading will begin promptly at 8pm > > > >2921 folsom street apt. b >(at 25th street / bottom buzzer) > > >readings by: > >dodie bellamy > >rob halpern > >laura sims > >to read their bios please go to: >www.artifactseries.blogspot.com > > > >for more info: 415-647-7689 > artifactsf@gmail.com > > >as usual, >b.y.o.b. lovelies > > > > >*We are a member of the Intersection Incubator, a program of >Intersection for the Arts providing fiscal sponsorship, networking >and consulting for artists. Visit >www.theintersection.org > >_____________________________________________________________________________ > >Reasons you might email artifactsf@gmail.com > > >1)If you would like to be taken off this mailing list. > > >2) If you are interested in volunteering or interning with the >Artifact Reading Series or Press. If grants & fundraising is your >bag then email Chana Morgenstern at > chanamorgenstern@gmail.com for >more info on that. As an organization affiliated with Intersection >for the Arts, we are able to grant college credit for your time. >We have lots of lovely little tasks just waiting for you. Tell us >your interests. > > >3) If you'd like a reading, event, call for submission, book >release, etc. that you'd like posted on our blog. > > >4) If you'd like to be considered for a future reading, please send >5 pgs of work with a bio. > > >5) If you'd like to suggest a future event. > > >6) If you'd like to make a tax deductible donation to us! (oh yes. please do.) > > >7) If you want to count all the ways in which you love us. > > > >-- >Artifact Reading Series, Press, & Public Writing Programs > >2921B Folsom Street San Francisco CA 94110 > > www.artifactseries.blogspot.com >415.647.7689 > >Artifact is a Member of the Intersection for the Arts Incubator Program > > >Content-Type: image/jpeg; name=artifact15.jpg >X-Attachment-Id: f_el4o9iss >Content-Disposition: attachment; filename="artifact15.jpg" > ========================================================================= Date: Thu, 6 Apr 2006 15:43:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Allison Cobb Subject: "quagmire" poetry, poems with math, love poems In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v553) Content-Transfer-Encoding: 7bit Issue 6 of POM2 is out: www.pompompress.com. It features a forum on "quagmire poetry," or the poetics of the third year of war, by Anselm Berrigan, Laura Elrick, Carol Mirakove, Rodrigo Toscano and Dana Ward, and poems in conversation from a bunch of folks: Stan Aps Geoffrey Cruickshank-Hagenbuckle Eric Elshtain David Perry Eddie Watkins Deborah Meadows more! ========================================================================= Date: Thu, 6 Apr 2006 23:20:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Gillespie Subject: Happy Charles Fourier's Birthday In-Reply-To: Mime-Version: 1.0 (Apple Message framework v623) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Happy Charles Fourier=92s Birthday April 7th is Charles Fourier=92s 234th birthday and the first birthday = of=20 Joshua Corey=92s Fourier Series. Fourier Series is a singular work of=20 poetry and book art, the winner of the Fitzpatrick-O=92Dinn Award For=20 Best Book Length Work of Constrained English Literature (2005), judged=20= by Christian Bok, and published by Spineless Books. In celebration, Spineless Books has updated the Fourier Series web=20 suite to include recordings of the author reading (recorded in the=20 offices of Burning Deck Press), a PDF excerpt of the book=92s inventive=20= layout, and Fourier Electronique, a ten-minute MP3 poetry remix. http://spinelessbooks.com/fourierseries Spineless Books is an independent publishing house dedicated to the=20 production and distribution, in print and electronic forms, of=20 innovative literature with an emphasis on collaborative writing, formal=20= experimentation, and utopian thought. Since 20-02-2002, Spineless Books has published seven books with=20 spines, including: 2002: A Palindrome Story in 2002 Words, by Nick Montfort and William=20 Gillespie, with illustrations by Shelley Jackson and book design by Ingrid Ankerson http://spinelessbooks.com/2002 Drawn Inward, poetry by Mike Maguire, book design by Nick Montfort http://spinelessbooks.com/drawninward Letter to Lamont, by William Gillespie, with cover art by Scott Westgard http://spinelessbooks.com/lettertolamont and Mars Needs Lunch, by Jimmy Crater, based on a screenplay by June=20 Crater Crash ========================================================================= Date: Fri, 7 Apr 2006 09:35:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Editors, Tarpaulin Sky" Subject: Reading tomorrow, Saturday, April 8, in NYC - Michae l Costello, Ada Lim=?iso-8859-1?Q?=F3n,?= Daniel Nester, and Andrew M ichael Roberts MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8BIT Tarpaulin Sky / Frequency Series Spring Readings in NYC http://www.tarpaulinsky.com/READINGS/index.html Featuring Michael Costello, Ada Limón, Daniel Nester, and Andrew Michael Roberts. 2PM Saturday, April 8 @ The Four-Faced Liar 165 West 4th Street (between 6th & 7th Ave), NY, NY Hosts Elena Georgiou and Christian Peet present the second of Tarpaulin Sky's Spring Readings in NYC, in conjunction with the Frequency Series and Frequency Hosts Shafer Hall and Samuel Amadon. Michael Costello lives in Saratoga Springs, where he works as a copywriter for Palio Communications. He has been published in CROWD, eye-rhyme, DelSol Review, swankwriting, MiPo, Columbia Poetry Review, La Petite Zine, Unpleasant Event Schedule, and _Best American Poetry 2004_. Ada Limon's first book, _lucky wreck_, was published by Autumn House Press in February of 2006. She is originally from Sonoma, California. She received her MFA in Creative Writing-Poetry from New York University. She has received fellowships from the Provincetown Fine Arts Work Center, New York Foundation for the Arts, and won the Chicago Literary Award for Poetry. Her work appears in numerous magazines, including the The Iowa Review, Slate, Watchword, Poetry Daily, LIT, Painted Bride Quarterly, and others. Daniel Nester is the author of _God Save My Queen_ and _God Save My Queen II_, both collections on his obsession with the rock band Queen, as well as _The History of My World Tonight_ (BlazeVOX, 2006). He edits the online journal Unpleasant Event Schedule and is Assistant Web Editor for Sestinas for McSweeney’s. He teaches writing at The College of Saint Rose in Albany, NY. Find him online at danielnester.com. Andrew Michael Roberts is earning his MFA in poetry at the University of Massachusetts Amherst. His work appears in The Seattle Review, The Iowa Review, Pool, Quick Fiction, Double Room, Sentence and Cue, among others. In a prior life he was poetry editor for The Portland Review, and he dearly misses scanning the Pacific Northwest woodlands for signs of Bigfoot. www.tarpaulinsky.com ========================================================================= Date: Fri, 7 Apr 2006 09:40:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Editors, Tarpaulin Sky" Subject: Brian Howe & Christian Peet reading tonight, Friday, April 7, in Brooklyn, NY MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8BIT Burning Chair Reading Featuring Brian Howe & Christian Peet Friday, April 7th, 7:30PM The Fall Café 307 Smith Street btwn. President and Union Carroll Gardens, Brooklyn (F/G to Carroll Street) Note: Please respect our free space at The Fall Café by not bringing in outside food or drink. Brian Howe is a writer living in Chapel Hill, North Carolina, where he carouses with the Lucifer Poetics Group. He writes about music for Pitchforkmedia.com and Paste Magazine, and his poems have appeared in various journals he's too much of a gentleman to mention by name. He's sitting on a nearly complete manuscript called F7, portions of which will appear as a chapbook called _Beta Test_, forthcoming from Atlanta's 3rdness Press in early 2007. Christian Peet's chapbook, _The Nines_, will be published by Palm Press (http://www.palmpress.org) in Spring 2006. His poetry and prose appears in Bird Dog, Drunken Boat, Fence, Octopus, Parakeet, Pom2, SleepingFish, Unpleasant Event Schedule, and other great independent journals. He teaches Poetry and Creative Writing classes at Brooklyn College and at Hunter College, CUNY, and edits Tarpaulin Sky (http://www.tarpaulinsky.com). ========================================================================= Date: Fri, 7 Apr 2006 10:05:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Davey Volner Subject: Edmund Berrigan/NYTBR MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline All-- 1. I seem to have lost Edmund Berrigan's contact information, has anyone got it? You, Edmund, or Anselm, if you're listening? 2. So long as I'm on the horn here, I don't suppose in all the bustle of Bishop that anyone noticed the Lehman piece in the Times? Two poetry articles in one book review, it's some kind of movement. -- Davey Volner Membership Coordinator The Accompanied Library 15 Gramercy Park South, 6C New York, New York 10003 (212) 979-5313 ========================================================================= Date: Fri, 7 Apr 2006 14:09:40 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: William James Austin interview MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello everyone, For anyone who is interested, my interview with Cervena Barva Press is now online. I thank Gloria Mindock for the opportunity. Those among you who enjoy theory and controversy will have a good time. The URL is http://www.cervenabarvapress.com/newsletter.htm Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com BarnesandNoble.com ========================================================================= Date: Fri, 7 Apr 2006 15:01:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project / AUCTION! In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dears, Please come tomorrow for the Silent Auction and Fundraiser! If you are far away and would like to place a bid, we will be accepting email bids until 1pm Saturday. Please be sure to include your contact information as well as your minimum AND maximum bid. Check our website=B9s announcement page ( http://poetryproject.com/announcements.html) for a practically complete catalogue, including prices. The performances at the auction will begin at 3:30pm in the Parish Hall. We will be out of the office the following week, 4/10 =AD 4/14. Scroll down for info on upcoming April readings, which will resume on Monday 4/17. We hope to see you tomorrow, Love, The Poetry Project Saturday, April 8, 2-8 pm Silent Auction and Fundraiser The Poetry Project=B9s spring fundraiser this year is a combination of party, book sale and silent auction, featuring readings and performances by John Yau, Bethany Spiers, a.k.a. The Feverfew, Yoshiko Chuma and Anselm Berrigan= . Refreshments will be served in the Parish Hall during the afternoon, and items for sale will be on view in the Sanctuary. These include signed books= , broadsides, drawings, letters, paintings, poems and prints by dozens of artists and authors including Jonathan Allen, David Amram, John Ashbery, Paul Auster, Donald Baechler, Susan Bee, Ted Berrigan, Jimbo Blachly, Aleksandr Blok, Gregory Botts, T.C. Boyle, Bertold Brecht, Jim Brodey, Michael Brownstein, Phong Bui, Jacob Burckhardt, William Burroughs, Joe Cardarelli, Peter Carey, Anne Carson, Elizabeth Castagna, Emilie Clark, Francisco Clemente, Leonard Cohen, Alison Collins, Jack Collom, Clark Coolidge, Robert Creeley, Tim Davis, Allen DeLoach, Donna Dennis, Diane DiPrima, Rackstraw Downes, Brandon Downing, Marcella Durand, Kenward Elmslie, Larry Fagin, Lawrence Ferlinghetti, Suzan Frecon, Jane Freilicher, Michael Friedman, Greg Fuchs, Allen Ginsberg, The Allen Ginsberg Trust, Hal Hirshorn, Siri Hustvedt, Yvonne Jacquette, Judge Judy, Mary Karr, Jack Kerouac, Basil King, Martha King, Kenneth Koch, Stanley Kunitz, David Larsen, Pamela Lawton, Gary Lenhart, Lewis MacAdams, Norman Mailer, Greg Masters, Gillian McCain, Michael McClure, Rebecca Moore, Dave Morice, Elizabeth Murray, Eileen Myles, Murat Nemet-Nejat, Charles North, Alice Notley, Frank O=B9Hara, Hank O=B9Neal, Richard O=B9Russa, Yuko Otomo, Maureen Owen, Ron Padgett, Marjorie Perloff, Tom Raworth, Muriel Rukeyser, Salman Rushdie, Ed Sanders, Aram Saroyan, George Schneeman, Anne Sexton, Nathaniel Siegel, Kiki Smith, Jack Spicer, Peter Straub, Subday Press, Anne Tardos, Lorenzo Thomas, Fred Tomaselli, Edwin Torres, Tony Towle, Ugly Duckling Collective, Anne Waldman, Lewis Warsh, Marjorie Welish, Hannah Weiner, Robert Wilson, Zachary Wollard, Will Yackulic, John Yau and many others. Every cent raised will contribute to the continued existence of the Poetry Project. ($10) Monday April 17, 8:00pm Gillian Conoley & Gina Myers =20 Gillian Conoley's latest collection, Profane Halo, is just out with Verse Press. Her previous collections include Lovers in the Used World, a finalis= t for the Bay Area Book Reviewers Award. She is the founder and editor of Volt. Gina Myers lives in Brooklyn where she co-edits the tiny with Gabriella Torres. Recent poems and reviews have appeared or are forthcoming in The Canary, CutBank, and No Tell Motel. Her chapbook Fear of the Knee Bending Backwards is forthcoming from H_NGM_N in April. Wednesday April 19, 8:00pm Joe Eliott & Yuko Otomo =20 Yuko Otomo, a bilingual writer of Japanese origin, writes poetry, haiku & art criticism. Her publications include Garden: a collection of haiku, Cornell Box Poems, 6 for L.B., Tourism and her most recent, Small Poems. He= r latest work in progress is the epic essay-poem "Shining Vacuum". Joe Eliott co-edits situations, an on-again off-again chapbook series. He is the autho= r of 14 Knots, 15 Clanking Radiators, Reduced, Object Lesson, and Poems To Be Centered On Much Much Larger Sheets Of Paper. Opposable Thumb is forthcomin= g from subpress this spring! POETS COFFEEHOUSE 2006 Central branch of the Brooklyn Public Library at Grand Army Plaza 2nd floor Meeting Room (Eastern Parkway and Flatbush Ave) Brooklyn April 11 Caroline Knox, Valzhyna Mort & Ron Overton April 18 Thomas Devaney, Joanna Fuhrman & David Shapiro April 25 Bill Corbett, Joan Larkin & Karen Weiser Readings begin at 7 PM. Admission is free. Readings hosted by Robert Hershon. Winter 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: Fri, 7 Apr 2006 18:41:50 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: court decides on side of writer which is good if you consider poems these days MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The decision of High Court judge Smith to reject the case against Dan Brown is fantastic! How messy such a case would have been making the future of art, poetry, and yes (snooze) novels too. Imagine FLARF and its creator Gary Sullivan. Well, not that anyone's proposing million dollar lawsuits against poets these days, but still, it's kind of GREAT to see a case work out where someone gets to say, "LISTEN, WHAT THEY CLAIM I REWORKED IS REALLY MY RESEARCH FOR CRYING OUT LOUD!" And why not!? Another thing, what a bunch of cry babies the authors of THE HOLY BLOOD AND THE HOLY GRAIL are! That book has SKYROCKETED in sales BECAUSE of Dan Brown's book! Whining millionaire scum! Has anyone read the DaVinci Code by the way? I loathe religion, and despise its followers, so, I'm not interested in the book in any way. HOWEVER, I've been fascinated by the explosion of christian fundamentalists who freak out at the concept of a book of fiction about Christ. At least that's the word I'm hearing. To be honest though, Brown NOT being sued is more important, at least for me it is. Not that he's sharing any of his wealth with me. Although it would be smart of me to contact him for a donation to The Philadelphia Poetry Hotel: _http://POETRYHOTEL.blogspot.com_ (http://POETRYHOTEL.blogspot.com) Conrad CAConrad IS A POET-AGENT IN SEARCH OF A TRANSVESTITE BOXER FOR MORE INFO GO TO: _http://TRANSBOXER.blogspot.com_ (http://transboxer.blogspot.com/) "Those who restrain desire, do so because theirs is weak enough to be restrained...." --William Blake for PhillySound: NEW POETRY: _http://PhillySound.blogspot.com_ (http://phillysound.blogspot.com/) for CAConrad's tarot services: _http://LightOfLakshmi.blogspot.com_ (http://lightoflakshmi.blogspot.com/) ========================================================================= Date: Fri, 7 Apr 2006 18:48:30 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: on long poem vs serial poem In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I don't think of most of the books being bantered about as being a "long poem" at least not if we are still staying with the notion / definition. A serial poem has breaks, for example Simon Perchik's Collected, five to 600 poems, each separated by an asterix that are all part of the same piece. It is not a long poem tho, like Frank Stanford's The Battlefield where the Moon Says I Love you. On EPOS, a list on the long poem that Miekal ran some time back, we decided on a few other distinctions, and following those categories Skip Fox's books _What Of_ and the new one (follow up) from Adahada would fall into the area of serial poems, not a long continuous poem. Also on EPOS was a big list created of long poems (continuous) and serial poems that if that list was archived would be well worth posting here if Miekal is able. (does this still exist?) For recent long poems, I read Ivan Arguelles Madonna Septet, about a 800 pager published by Peter Ganick and while I never asked Ivan if it is finished, at the least, it is the best example of the current long poem. And, to answer, I read it jumping around, the form, it's snakyness, begged for it. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Sat, 8 Apr 2006 01:36:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Stefans Subject: McSweeney's Rectangular Festival: Brown University, April 14/15 (poster) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Ok, so I designed the poster, I'm pretty psyched about it: http://www.arras.net/fscIII/wp-content/uploads/2006/04/mcsweeney_web.jpg It should be a cool event: McSweeney's Rectangular Festival Brown University April 14th and 15th Literally The Most McSweeney's Authors in One Place, Ever Friday, April 14th Reading, 8 pm 115 Macmillian Hall Featuring Robert Coover, Yannick Murphy, Paul LaFarge, and Chris Adrian Saturday, April 15th Panel I, 1:30-2:30 pm, Inn at Brown Lounge The Experimental Fiction/Innovative Publishing Tag Team Panel II, 2:45-3:45 pm, Inn at Brown Lounge Remixing Innovative Fiction Reading 4:30 pm RISD Auditorium Featuring Dave Eggers, Miranda Mellis, Sal Plascencia, Dustin Long, and Brian Evenson ========================================================================= Date: Sat, 8 Apr 2006 13:49:58 +0530 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: 4246 entries MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline 4246 entries total for: transdada http://transdada.blogspot.com/ in words http://transdada2.blogspot.com/ transSubMutation http://transdada3.blogspot.com/ thank you for your time. kari -- transSubmutation http://transdada3.blogspot.com/ NEW!!! obedience Poetry Factory School. 2005. 86 pages, perfect bound, 6.5x9. ISBN: 1-60001-044-X $12 / $10 direct order Description: obedience, the fourth book by kari edwards, offers a rhythmic disruption of the relative real, a progressive troubling of the phenomenal world, from gross material to the infinitesimal. The book's intention is a transformative mantric dismantling of being. http://www.factoryschool.org/pubs/heretical/index.html http://www.spdbooks.org/SearchResults.asp?AuthorTitle=3Dedwards%2C+kari ========================================================================= Date: Sat, 8 Apr 2006 15:40:00 +0530 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kari edwards Subject: From: Spuyten Duyvil - A stati-graphic print by Marcus Civin & kari edwards MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline From: Spuyten Duyvil Marking My Flesh with Essential Tethers - A stati-graphic print by Marcus Civin & kari edwards http://www.spuytenduyvil.net/poetry/markingmyflesh.htm Marking My Flesh with Essential Tethers, will come as a padded, shrink wrapped set of square prints with a colophon, signed and shipped via fed ex box. It can either be framed or assembled to adorn a wall. To order: Marking My Flesh with Essential Tethers Cost:$50.00 @ http://www.spuytenduyvil.net/index1.htm Marcus Civin has transcribed Crime and Punishment and War and Peace. Marcus also lives in San Francisco where he edits a new journal, DISASTER. Crime and Punishment transcription drawings appear on the front and back cover of kari edwards' Iduna. Contact: Marcus_Civin at hotmail dot com. kari edwards is a poet, artist and gender activist, received one of Small Press Traffic's books of the year awards (2004), New Langton Art's Bay Area Award in literature (2002); and is author of obedience, Factory School (2005); iduna, O Books (2003), a day in the life of p. , subpress collective (2002), a diary of lies - Belladonna #27 by Belladonna Books (2002), and post/(pink) Scarlet Press (2000). edwards' work can also be found in Scribner's The Best American Poetry (2004), Civil Disobediences: Poetics and Politics in Action, Coffee House Press, (2004), Biting the Error: writers explore narrative, Coach House, Toronto, (2004), Bisexuality and Transgenderism: InterSEXions of the Others, Hawoth Press, Inc. (2004), Experimental Theology, Public Text 0.2., Seattle Research Institute (2003), Blood and Tears: Poems for Matthew Shepard, Painted Leaf Press (2000), Aufgabe, Tinfish, Mirage/Period(ical), Van Gogh's Ear, Amerikan Hotel, Boog City, 88: A Journal of Contemporary American Poetry, Narrativity, Fulcrum: an annual of poetry and aesthetics, Pom2, Shearsman, and Submodern Fiction. kari can always be contacted at: k.e.terra1@gmail.com -- transSubmutation http://transdada3.blogspot.com/ NEW!!! obedience Poetry Factory School. 2005. 86 pages, perfect bound, 6.5x9. ISBN: 1-60001-044-X $12 / $10 direct order Description: obedience, the fourth book by kari edwards, offers a rhythmic disruption of the relative real, a progressive troubling of the phenomenal world, from gross material to the infinitesimal. The book's intention is a transformative mantric dismantling of being. http://www.factoryschool.org/pubs/heretical/index.html http://www.spdbooks.org/SearchResults.asp?AuthorTitle=3Dedwards%2C+kari ========================================================================= Date: Fri, 7 Apr 2006 11:06:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Fw: Freestyle Jazz needs your help! Comments: cc: Acousticlv@aol.com, AdeenaKarasick@cs.com, AGosfield@aol.com, Akpoem2@aol.com, alonech@acedsl.com, Altjazz@aol.com, amirib@aol.com, Amramdavid@aol.com, anansi1@earthlink.net, AnselmBerrigan@aol.com, Barrywal23@aol.com, bdlilrbt@icqmail.com, butchershoppoet@hotmail.com, CarolynMcClairPR@aol.com, CaseyCyr@aol.com, CHASEMANHATTAN1@aol.com, Djmomo17@aol.com, Dsegnini1216@aol.com, flint@artphobia.com, Gfjacq@aol.com, Hooker99@aol.com, jeromerothenberg@hotmail.com, Jeromesala@aol.com, JillSR@aol.com, JoeLobell@cs.com, JohnLHagen@aol.com, kather8@katherinearnoldi.com, Kevtwi@aol.com, krkubert@hotmail.com, LakiVaz@aol.com, Lisevachon@aol.com, Nuyopoman@AOL.COM, Pedevski@aol.com, pom2@pompompress.com, Rabinart@aol.com, Rcmorgan12@aol.com, reggiedw@comcast.net, RichKostelanetz@aol.com, RnRBDN@aol.com, Smutmonke@aol.com, sprygypsy@yahoo.com, SHoltje@aol.com, Sumnirv@aol.com, tcumbie@nyc.rr.com, velasquez@nyc.com, VITORICCI@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Help this series survive! Please foward this email to anyone you feel might be interested. This is serious. I need your help! Thanks with all sincerity, Dee Pop Dee Pop presents: FREESTYLE JAZZ Every Thursday @ Jimmy’s 43 Restaurant 43 East 7th Street - NYC - 212-982-3006 WWW.FREESTYLEJAZZ.COM SPECIAL WEDNESDAY SHOW April 12: EDDIE GALE QUARTET featuring DICK GRIFFIN, John Gruntfest, HILLIARD GREENE, DEE POP April 13 8pm & 10pm Steve Lehman Quartet APRIL 20 8pm Radio I-Ching: Andy Haas, Don Fiorino, Dee Pop 10pm Flex Trio: Daniel Carter, Drew Gress, Ehran Elisha April 27 8pm Joe Fiedler Trio, John Hebert, Mark Ferber 10pm Frank Lacy Trio May 4 8pm & 10pm Michael Attias, Tony Malaby, John Hebert, Gerald Cleaver May 11 8pm David Aaron's Short Memory: David Aaron, Rob Ritchie, Matt Wigton, Greg Ritchie 10pm Gene Ess Quartet MAY 18 8pm Radio I-Ching 9pm George Haslam, Roy Campbell, Hilliard Greene, Dee Pop (2 sets) May 25 8pm & 10pm Ellery eskelin & Gerry Hemingway June1 8pm Green Morocco: Joe Giardullo, Todd Capp, Rich Rosenthal plus Joe Giardullo Remembers Steve Lacy- solo soprano saxophone. 10pm Hayes Greenfield, Ed Schuller, Bob Meyer June 8 10pm Sonic Openings Under Pressure: Patrick Brennan, Dave Pleasant, Hilliard Greene June 15 tba June 22 8pm & 10pm John Abercrombie, Adam Kolker, John Hebert, Bob Meyer June 29 $10 per set • 1 drink minimum Great and reasonably priced food & Large Selection of Beer Available Come early or call for reservations $10 per set • 1 drink minimum Great and reasonably priced food & Large Selection of Beer Available Come early or call for reservations ========================================================================= Date: Sat, 8 Apr 2006 12:26:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ric carfagna Subject: Re: on long poem vs serial poem MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Is the 'long poem' synonymous with the serial poem? Is it just a question of semantics that denotes a difference in how they are designated? Joe Conte does a great explication of the long poem in postmodernity in his 'Unending Design'. Is it just the nature of a continuing, evolving structure and/or = separate=20 discrete volumes that designates the difference, as in let's say Nichol's=20 'Martyrology' or Silliman's 'The Alphabet'? And mentioning Peter Ganick, he has written = some wonderfully diverse long poems that are difficult to fit into 'any'=20 category. So maybe it is a constant evolution and change that cannot be nailed = down=20 until enough time has passed and we can view it in retrospect. What do you = think? ----- Original Message -----=20 From: "David Baratier" To: Sent: Friday, April 07, 2006 9:48 PM Subject: Re: on long poem vs serial poem >I don't think of most of the books being bantered about as being a = "long=20 >poem" at least not if we are still staying with the notion / = definition. A=20 >serial poem has breaks, for example Simon Perchik's Collected, five to = 600=20 >poems, each separated by an asterix that are all part of the same = piece. It=20 >is not a long poem tho, like Frank Stanford's The Battlefield where the = >Moon Says I Love you. > > On EPOS, a list on the long poem that Miekal ran some time back, we=20 > decided on a few other distinctions, and following those categories = Skip=20 > Fox's books _What Of_ and the new one (follow up) from Adahada would = fall=20 > into the area of serial poems, not a long continuous poem. Also on = EPOS=20 > was a big list created of long poems (continuous) and serial poems = that if=20 > that list was archived would be well worth posting here if Miekal is = able.=20 > (does this still exist?) > > For recent long poems, I read Ivan Arguelles Madonna Septet, about a = 800=20 > pager published by Peter Ganick and while I never asked Ivan if it is=20 > finished, at the least, it is the best example of the current long = poem.=20 > And, to answer, I read it jumping around, the form, it's snakyness, = begged=20 > for it. > > > > Be well > > David Baratier, Editor > > Pavement Saw Press > PO Box 6291 > Columbus, OH 43206 > http://pavementsaw.org >=20 ========================================================================= Date: Sat, 8 Apr 2006 12:15:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Trigilio Organization: http://www.starve.org Subject: Brian Turner's Email MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Hi all-- Does anyone on the list have Brian Turner's email address? If so, please backchannel me at tony@starve.org. Thanks-- Best, Tony ========================================================================= Date: Sat, 8 Apr 2006 12:13:23 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Readings and Events in Ohio In-Reply-To: <20060408105308.39156166.editor@pavementsaw.org> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit This Monday at Larry's Poetry Forum 4/10 at Larry's Bar at 7:00 pm 2040 N. High Street right across from OSU we will have Garin Cycholl coming in from Chicago. On Monday 4/17 we will have Gabriel Gudding reading. The week after 4/24 Sandra Miller will read Each poet reads two sets of 20 to 25 minutes followed by an open mic. Hope to see you there-- Funded by the Ohio Arts Council: A state agency that supports public programs in the arts. Be well David Baratier Co-coordinator of Larry's Poetry Forum Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Sat, 8 Apr 2006 14:44:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: bruce beasley! MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit . BRUCE BEASLEY! Bruce Beasley! Your book still sits unread on my shelf as it has since 1988! I have to admit! It was Halpern's blurb that scared me most! "The abundance of phlegmatic narrative"! Then there's the black and white author photo! You look too thoughtful! And yikes, those loafers! Then there's the fourth line of the first poem! "A pink scab along the bottom of each bloom"! I do not like poems that refer to pink scabs on bottoms! Just as a general rule, mind you, Bruce Beasley! And later in the same poem! "You can smell it on every bush!" Smell what though! I bet you'll tell us! Ah yes! "This hankering to get born"! That's such a weird word! "Hankering"! I am hankering to put your book back! I wonder if this first edition is worth anything by now! I don't mind just leaving it on my shelf though! It's OK! + + + + + + + There are more poems on my blog! This is just one of them! http://blog.myspace.com/orthodontist !!! . ========================================================================= Date: Sat, 8 Apr 2006 18:29:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: OT: NYC-Area/2006 Mets Tix for Sale Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit hi all, apologies for the non-Boog/poetry email. I've renewed my Mets Sunday plan for the 2006 season and I thought I'd see if any of you might be interested in buying any tickets (and get the poetic mojo by sitting in the same place where Jim Behrle, Jordan Davis, and Jean-Paul Pecqueur have sat in years past). I've been sitting in the same section for the past eight, now nine, years--mezzanine, sec. 2 (behind home plate). I have two tickets for each game (prices below are per pair), and they're under the overhang, so u don't get burned in the sun or wet in the rain. If you're interested in buying any tickets you can email me here. (Note that the Mets charge different prices depending upon the opponents and the date, so you'll see, for example, that the Marlins game costs more than the Brewers game.) hope this finds you well (and lets go mets!) as ever, david -------- all dates are Sundays April 16 vs. Milwaukee Brewers $50 June 18 vs. Baltimore Orioles $54 (Father's Day) (Visor, First 25,000 Fans) (DynaMets Dash) July 9 vs. Florida Marlins $58 (DynaMets Dash) August 20 vs. Colorado Rockies $54 (Promotion TBD) (DynaMets Dash) August 27 vs. Philadelphia Phillies $58 (Seat Cushion, First 25,000 Adults) (DynaMets Dash) -- 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: Sat, 8 Apr 2006 19:26:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Heat Strings Blog MIME-Version: 1.0 Content-Type: text/plain commencing a VERY occasional blog: http://heatstrings.blogspot.com/ stop me if you've heard this one before -- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --Emily Dickinson Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sat, 8 Apr 2006 16:46:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Nuclear bomb Iran attack plans apparently on! Comments: To: "Poetryetc provides a venue for a dialogue relating to poetry and poetics"@LISTSERV.BUFFALO.EDU, POETRYETC@JISCMAIL.AC.UK Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable http://news.independent.co.uk/world/middle_east/article356679.ece Seymour Hersh - bless his courage and soul - has an article in next week's New Yorker which surmised in the Independent (London) url above which begins:=20 Bush administration 'secretly plans air strikes' as it seeks regime change in Iran=20 By Raymond Whitaker Published:=A009 April 2006 The Bush administration has sent undercover forces into Iran, and has stepped up secret planning for a possible major air attack on the country, according to the renowned US investigative journalist Seymour Hersh. While publicly advocating diplomacy to stop Iran from pursuing a nuclear weapon, Hersh reports in the next issue of The New Yorker magazine that "there is a growing conviction among members of the United States military, and in the international community, that President Bush's ultimate goal in the nuclear confrontation with Iran is regime change...". I know this will sound very comfortable to everybody! This guy is beginning to look and act like Dr. Strangelove without clothes! Impeachment, it now clearly seems, cannot happen too soon. And I would not doubt more radical moves that will be destructive - unfortunately - for all of us. This regime is getting too dark for words. Stephen V ========================================================================= Date: Sat, 8 Apr 2006 18:51:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: on long poem vs serial poem In-Reply-To: <005e01c65b29$36c8bdb0$ea810fce@Cesare> MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit On 8-Apr-06, at 9:26 AM, ric carfagna wrote: > Is the 'long poem' synonymous with the serial poem? Of course not. All you have to do is to go back and read what was said by the inventors of the serial poem, Spicer, DSunxcan and Blaser. ========================================================================= Date: Sat, 8 Apr 2006 23:22:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ric carfagna Subject: Re: on long poem vs serial poem MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit I understand the history of the serial poem, but does that negate the evolution of its nature? Once the idea of the serial form was conceived doesn't it follow that it will transform itself and will morph into an ever-changing form as time and personal opinion dictate? ----- Original Message ----- From: "George Bowering" To: Sent: Saturday, April 08, 2006 9:51 PM Subject: Re: on long poem vs serial poem > On 8-Apr-06, at 9:26 AM, ric carfagna wrote: > >> Is the 'long poem' synonymous with the serial poem? > > Of course not. > > All you have to do is to go back and read what was said by the inventors > of the serial poem, > Spicer, DSunxcan and Blaser. > ========================================================================= Date: Sun, 9 Apr 2006 00:22:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Zimmerman Subject: Re: on long poem vs serial poem MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit I suppose that depends on whether one hopes to define the serial poem as based, for example, on correspondences and amplifications, and the long poem as based on episodic extensions. Each poet, of course, may choose different terms to frame the question. A long serial poem also seems possible, so it may serve us better to write some than to quibble. ~ Dan ----- Original Message ----- From: "ric carfagna" To: Sent: Saturday, April 08, 2006 11:22 PM Subject: Re: on long poem vs serial poem >I understand the history of the serial poem, but does that negate the >evolution of its > nature? Once the idea of the serial form was conceived doesn't it follow > that it will transform > itself and will morph into an ever-changing form as time and personal > opinion dictate? > ----- Original Message ----- > From: "George Bowering" > To: > Sent: Saturday, April 08, 2006 9:51 PM > Subject: Re: on long poem vs serial poem > > >> On 8-Apr-06, at 9:26 AM, ric carfagna wrote: >> >>> Is the 'long poem' synonymous with the serial poem? >> >> Of course not. >> >> All you have to do is to go back and read what was said by the inventors >> of the serial poem, >> Spicer, DSunxcan and Blaser. >> > ========================================================================= Date: Sun, 9 Apr 2006 00:31:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Zimmerman Subject: Re: on long poem vs serial poem MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit Sorry: the first part of my reply disappeared: I suppose that depends on one's definition of the serial poem: based, for example, on correspondences and amplifications, and the long poem as based on episodic extensions. Each poet, of course, may choose different terms to frame the question. A long serial poem also seems possible, so it may serve us better to write some than to quibble. ~ Dan ----- Original Message ----- From: "ric carfagna" To: Sent: Saturday, April 08, 2006 11:22 PM Subject: Re: on long poem vs serial poem >I understand the history of the serial poem, but does that negate the >evolution of its > nature? Once the idea of the serial form was conceived doesn't it follow > that it will transform > itself and will morph into an ever-changing form as time and personal > opinion dictate? > ----- Original Message ----- > From: "George Bowering" > To: > Sent: Saturday, April 08, 2006 9:51 PM > Subject: Re: on long poem vs serial poem > > >> On 8-Apr-06, at 9:26 AM, ric carfagna wrote: >> >>> Is the 'long poem' synonymous with the serial poem? >> >> Of course not. >> >> All you have to do is to go back and read what was said by the inventors >> of the serial poem, >> Spicer, DSunxcan and Blaser. >> > ========================================================================= Date: Sun, 9 Apr 2006 11:49:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: R: long poem vs. serial poem MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit "it may serve us better to write some than to quibble." I agree. I'd rather write it and let someone else worry about defining it. Vernon ========================================================================= Date: Sun, 9 Apr 2006 15:02:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Wilcox Subject: Poetry At Caffe Lena, April 14 Mime-Version: 1.0 (Apple Message framework v623) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed this is not to be missed, Poetry Month or Not!! Janine Pommy Vega Andy Clausen "Approximate Poet Falls In Love & Can't Get Up" (by Phillip Levine, with Meredith Levine) Caffe Lena, 47 Phila St., Saratoga Springs, NY Friday April 14, 8pm $10 Janine Pommy Vegais the author of over a dozen books of poetry,=20 includingTracking the Serpent(City Lights Books),Mad Dogs of Trieste:=20 New & Selected Poems, and recentlyThe Green Piano(both Black Sparrow=20 Press).=A0Associated with Beat poets Allen Ginsberg and Gregory Corso in=20= her early years, Vega has spent many years working on literary projects=20= for prisoners and been=A0a driving force behind =93Incision/Arts=94, a=20= program to bring writers to work in prisions.=A0 Andy Clausen=92sbooks of poems,Without Doubt(Zeitgeist Press), contains=20= an introduction by Allen Ginsberg.=A0His other books include40th Century=20= Man(AUTONOMEDIA) andSongs of Bo Baba(Shivastan Publishing).=A0 Phillip Levine=92s=93Approximate Poet Falls in Love and Can=92t Get Up=94 = has=20 played in New York City, Woodstock and throughout the Hudson=20 Valley.=A0Peformed with his wife, Meredith Levine, the short piece = traces=20 the overreaching arc of yearning. for information call Caffe Lena at 518-583-0022 sponsored by Caffe Lena & the Poetry Motel Foundation funded in part by Poets & Writers, Inc. =A0 ========================================================================= Date: Sun, 9 Apr 2006 21:12:53 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Danuta Fjellestad Subject: delete my name MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Pleae delete my name from the mailing list. Danuta Fjellestad Professor of English Blekinge Institute of Technology tel. + 46 455 38 53 62 ========================================================================= Date: Sun, 9 Apr 2006 12:20:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Re: delete my name In-Reply-To: <03bd01c65c09$99f6fec0$9401a8c0@IBMNI99WSPX1V3> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit pleasa "mang your shite here." aj --- Good art however "immoral" is wholly a thing of virtue. Good art can NOT be immoral. By good art I mean art that bears true witness, I mean the art that is most precise. -- Ezra Pound --------------------------------- Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great rates starting at 1¢/min. ========================================================================= Date: Sun, 9 Apr 2006 12:30:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Re: delete my name In-Reply-To: <20060409192037.59141.qmail@web54410.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit and the sun used to make my...[ass] just hot and uncomfortable...Good Harry... aj --- Good art however "immoral" is wholly a thing of virtue. Good art can NOT be immoral. By good art I mean art that bears true witness, I mean the art that is most precise. -- Ezra Pound --------------------------------- New Yahoo! Messenger with Voice. Call regular phones from your PC and save big. ========================================================================= Date: Sun, 9 Apr 2006 12:55:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: on long poem vs serial poem In-Reply-To: <000801c65b8d$28be8a10$6400a8c0@ENITHARMON> MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit On 8-Apr-06, at 9:22 PM, Daniel Zimmerman wrote: > A long serial poem also seems possible, so it may serve us better to > write some than to quibble. > I don't ever recall seeing a short serial poem. Unless Spicer's "Red Wheelbarrow" can be called short. The manuscript uses up quite a few pages in a scribbler. > Dr. (hon) George Bowering Fewer and fewer matching socks. ========================================================================= Date: Sun, 9 Apr 2006 12:54:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: on long poem vs serial poem In-Reply-To: <001601c65b84$d2791880$518a0fce@Cesare> MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit Well, why not, if you are making something else, give it a name, as the SF poets did? On 8-Apr-06, at 8:22 PM, ric carfagna wrote: > I understand the history of the serial poem, but does that negate the > evolution of its > nature? Once the idea of the serial form was conceived doesn't it > follow that it will transform > itself and will morph into an ever-changing form as time and personal > opinion dictate? > ----- Original Message ----- From: "George Bowering" > To: > Sent: Saturday, April 08, 2006 9:51 PM > Subject: Re: on long poem vs serial poem > > >> On 8-Apr-06, at 9:26 AM, ric carfagna wrote: >> >>> Is the 'long poem' synonymous with the serial poem? >> >> Of course not. >> >> All you have to do is to go back and read what was said by the >> inventors of the serial poem, >> Spicer, Duncan and Blaser. > > G. Bowering A very slow time traveller. ========================================================================= Date: Sun, 9 Apr 2006 20:11:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barrett Watten Subject: New content Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Post 27: On First Looking into Wikipedia's "Language" http://www.english.wayne.edu/fac%5Fpages/ewatten/posts/post27.html "Foucault Reads Acker and Rewrites the History of the Novel." In Lust for Life: On the Writings of Kathy Acker, ed. Carla Harryman, Avital Ronnel, and Amy Scholder (Verso, 2006). http://www.versobooks.com/books/nopqrs/s-titles/scholder_kathy_acker.shtml ========================================================================= Date: Mon, 10 Apr 2006 00:11:19 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "holsapple1@juno.com" Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Content-Type: text/plain An interview with poet Bill Sylvester on "the adamant loneliness of the= 1940s" (Creeley's phrase), Henry Rago, the New Critics & life at SUNY B= uffalo (from 1965 thru 1988) now online at Alleybeat.com. Bill also has a new CD of recent poetry available from Vox Audio, P.O. B= ox 594, Magdalena, NM 87825, $5.00 for Listserv members (free shipping).= ========================================================================= Date: Mon, 10 Apr 2006 07:59:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Save the dates: April 20-22 Mime-Version: 1.0 Content-Type: text/plain; format=flowed THREE NIGHTS OF FLARF: INAPPROPRIATE EXPLORATION IN 21st CENTURY ART April 20-22, 2006, Medicine Show, 549 West 52nd Street, NYC. $8.00 per evening, general admission. $20.00 for 3 evening pass. For tickets: 212-262-4216 and leave message. Tickets will also be available at the door. Film, poetry, music and theater by members of the Flarflist Collective in collaboration with Abigail Child, Theresa Buchheister, Stelianos Manolakakis, The Drew Gardner Poetics Orchestra, and performers from Medicine Show, The Ontological-Hysteric Theater, and The Upright Citizens Brigade. Award-winning experimental ensemble Medicine Show hosts the celebrated and controversial Flarflist Collective for three nights as part of its ongoing Word/Play series, partially funded by NYSCA. Hosted by Jordan Davis. Thursday April 20, 8:00 pm Short radio play by Sharon Mesmer and Edwin Torres, three Bollywood-related films by Abigail Child & Gary Sullivan, Brandon Downing, and Rodney Koeneke, and performance by The Drew Gardner Poetics Orchestra with Anne Boyer, Katie Degentesh, Rodney Koeneke, K. Silem Mohammad, and Rod Smith. Friday April 21 at 8:00 pm Marathon reading. Performances by Stan Apps, Jim Behrle, Anne Boyer, Jordan Davis, Katie Degentesh, Benjamin Friedlander, Drew Gardner, Nada Gordon, Mitch Highfill, Rodney Koeneke, Michael Magee, Sharon Mesmer, K. Silem Mohammad Mohammad, Mel Nichols, Tim Peterson, Rod Smith, and Gary Sullivan. Saturday April 22 at 8:00 pm Flarf theater. Short radio play by Sharon Mesmer and Edwin Torres. Plays by Stan Apps, Rodney Koeneke, Michael Magee, Sharon Mesmer, K. Silem Mohammad, and Gary Sullivan performed by members of The Flarflist Collective, Medicine Show, The Ontological-Hysteric Theater, and The Upright Citizens Brigade. ABOUT THE FLARFLIST COLLECTIVE Launched in May of 2001 by six poets, the Flarflist Collective is dedicated to the exploration of “the inappropriate” in all of its guises. Poets mine the Internet with odd search terms then distill the results into often hilarious and sometimes disturbing poems, plays, and other texts. FLARF ONLINE The Flarf Files: http://epc.buffalo.edu/authors/bernstein/syllabi/readings/flarf.html Village Voice essay: http://www.villagevoice.com/news/0434,essay,56171,1.html Jacket Flarf Feature: http://jacketmagazine.com/30/index.shtml ABOUT THE DREW GARDNER POETICS ORCHESTRA The Poetics Orchestra is an ensemble conducted by poet and musician Drew Gardner. His conduction system uses hand signals, tone cards, and rhythmic forms to shape collective improvisation. The system is related to that of Butch Morris, though simplified, and with the addition of tonal systems. It also owes something to the tradition of new music which includes the recitation of text- esp. Harry Partch, Robert Ashley and Rzewski. The group always includes poets, who are conducted right along with the musicians using the same system. The idea is to unite poetry and music in a collaborative sprit. See: http://users.erols.com/drewgard/poeticsorchestra/ and: http://www.ubu.com/sound/gardner.html ========================================================================= Date: Mon, 10 Apr 2006 08:08:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: altered books project Comments: To: announce@logolalia.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The altered books project at: http://www.logolalia.com/alteredbooks/ has been updated with new work by: Michelle Taransky, Mike Magazinnik, Holly Crawford, Nico Vassilakis, Meghan Scott, Kevin Thurston, Sheila Murphy, John M. Bennett, Kristen McQuillin and Donna Kuhn. Enjoy, Dan ========================================================================= Date: Mon, 10 Apr 2006 05:33:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Nelson Subject: an artwork about the bird flu: pandemic rooms MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit As we are continually obsessed with the bird flu, I've created a new digital artwork this is beta beta so any thoughts are greatly appreciated... Pandemic Rooms http://www.secrettechnology.com/pandemic/ cheers, Jason --------------------------------- New Yahoo! Messenger with Voice. Call regular phones from your PC and save big. ========================================================================= Date: Mon, 10 Apr 2006 09:08:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: I am I because my little blog knows me MIME-Version: 1.0 Content-Type: text/plain blogging from Birmingham: http://heatstrings.blogspot.com/ <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --Emily Dickinson Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Mon, 10 Apr 2006 06:22:44 -0700 Reply-To: rsillima@yahoo.com Sender: UB Poetics discussion group From: Ron Silliman Subject: Silliman's Blog Comments: To: Brit Po , New Po , Wom Po , Lucifer Poetics MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://ronsilliman.blogspot.com/ RECENT POSTS Redell Olsen and Drew Milne The place of English Allan Kaprow A marriage poem (my own) 20 years later Zach Barocas “exactitude/like purity”? The new globalism – Mohawk / Samoa Transmigrations On Earth, the last poems of Robert Creeley Lisa Jarnot and Homer Iliad XXII as a political act Stanislaw Lem Watten on Braxton Selah Saterstrom and the Pink Institution - As I Lay Dying as told by Dodie Bellamy Betye, Lezley and Alison Saar 2 generations of African-American art Ian Hamilton Finlay The reversal of text and illustration in the work of Derek Fenner Some links to Anthony Braxton The jumble of unassimilated parts that is Sally Potter’s Yes Dmitri Prigov - What happens to conceptual poetics when reality is what changes? Hustle and Flow and the nature of an actor’s film Erica Carpenter – Perspective Would Have Us http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 10 Apr 2006 08:45:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Halle Subject: Gabriel Gudding @ Seven Corners Comments: To: Adam Fieled , Alex Frankel , Anne Waldman , Bhisham Bherwani , Bill Garvey , "Bowen, Kristy" , brandihoman@hotmail.com, cdeniord@nec.edu, Chad Carroll , Cheryl Keeler , Chris Glomski , Chris Goodrich , Craig Halle , f.lord@snhu.edu, Garin Cycholl , grant-jenkins@utulsa.edu, Jacqueline Gens , James DeFrain , Jay Rubin , Jenn Monroe , Jules Gibbs , Julianna McCarthy , kdeger@saintviator.com, Kristin Prevallet , Lauren Kelliher , "Lea C. Deschenes" , Leslie Sysko , Malia Hwang-Carlos , Margaret Doane , Marie Ursuy , MartinD , Matt Gruenfeld , Michael OLeary , Michelle Taransky , Nikki Hildreth , Notron Notsilliman , "Odelius, Kristy Lee" , Peter Sommers , pen@splab.org, Randolph Healy , Rebecca Hilliker , Rick Wishcamper , Ross Gay , Scott Glassman , Simone Muench , timothy daisy , "william.allegrezza@sbcglobal.net" MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Please check out poetry and prose by *Gabriel Gudding* now up at *Seven Corners *(www.sevencornerspoetry.blogspot.com). Best, Steve Halle Editor ========================================================================= Date: Mon, 10 Apr 2006 11:23:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: JUST BUFFALO E-NEWSLETTER 4-10-06 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=UTF-8 Content-Transfer-Encoding: quoted-printable NEWS: Just Buffalo's Communique: Flash Fiction Series, hosted by Forrest Ro= th, was featured in Sunday's Buffalo news. Follow this link to read online: http://www.buffalonews.com/editorial/20060409/1026874.asp CORRECTION: The April Literary Buffalo poster incorrectly lists Marjorie No= rris' book launch on April 26th at 7 p.m. to be taking place at Talking Leaves Elmwood= =2E The launch will actually take place at Talking Leaves MAIN ST. Sorry for any c= onfusion. ORBITAL SERIES LYN HEJINIAN Poetry Reading Friday, April 14, 8 p.m., Albright-Knox Art Gallery, 1285 Elmwood Ave. Co-Sponsors: The David Gray Chair of Poetry and Letters at SUNY at Buffalo = and Gusto at the Gallery. Free. Lyn Hejinian is a poet, essayist, and translator; she was born in the San F= rancisco Bay Area and lives in Berkeley. Published collections of her writing include Wr= iting is An =5DAid to Memory, My Life, Oxota: A Short Russian Novel, Leningrad (written= in collaboration with Michael Davidson, Ron Silliman, and Barrett Watten), The= Cell, The Cold of Poetry, and A Border Comedy; the University of California Press pub= lished a collection of her essays entitled The Language of Inquiry. Translations of = her work have been published in France, Spain, Japan, Italy, Russia, Sweden, and Fin= land. She is the recipient of a Writing Fellowship from the California Arts Counc= il, a grant from the Poetry Fund, and a Translation Fellowship (for her Russian transla= tions) from the National Endowment for the Arts; she was awarded an Award for Independe= nt Literature by the Soviet literary organization =E2=80=9CPoetics Function= =E2=80=9D in Leningrad in 1989. She has travelled and lectured extensively in Russia as well as Europe, and Description and Xenia, two volumes of her translations from the work of the contemporary Russian poet Arkadii Dragomoshchenko, have been published by S= un and Moon Press. From 1976 - 1984, Hejinian was the editor of Tuumba Press a= nd from 1981 to 1999 she was the co-editor (with Barrett Watten) of Poetics Jo= urnal. She is also the co-director (with Travis Ortiz) of Atelos, a literary project c= ommissioning and publishing cross-genre work by poets; Atelos was nominated as one of the be= st independent literary presses by the Firecracker Awards in 2001. Other colla= borative projects include a work entitled The Eye of Enduring undertaken with the pa= inter Diane Andrews Hall and exhibited in 1996, a composition entitled Q=C3=BA= =C3=AA Tr=C3=A2n with music by John Zorn and text by Hejinian, a mixed media book entitled The Tr= aveler and the Hill and the Hill created with the painter Emilie Clark (Granary Pr= ess, 1998), and the experimental film Letters Not About Love, directed by Jacki Ochs, f= or which Hejinian and Arkadii Dragomoshchenko wrote the script. In the fall of 2000,= she was elected the sixty-sixth Fellow of the Academy of American Poets. She teache= s at the University of California, Berkeley. OPEN READINGS Carnegie Art Center 240 Goundry St., North Tonawanda (Meets monthly on the second Wednesday) Featured: John Marvin Wednesday, April 12, 7 P.M. 10 slots for open readers WORKSHOPS Between Word and Image A multimedia workshop with Kyle Schlesinger and Caroline Koebel Saturday, April 22, 12-4 p.m. =2450, =2440 members THE WORKING WRITER SEMINAR In our most popular series of workshops writers improve their writing for p= ublication, learn the ins and outs of getting publiished, and find ways to earn a livin= g as writers. Individual workshops: =2450, =2440 members Materials are included at no additional cost. Boost Your Freelance Writing Income Saturday, April 29, 12 - 4 p.m. Power of the Pen Saturday, May 13, 12 - 4 p.m. Kathryn Radeff's work has appeared in local, regional and national magazine= s and newspapers, including Woman's World, Instructor, American Fitness, Personal Journaling, They Daytona Beach News Journal, and The Buffalo News and Buffa= lo Spree. For the past 25 years, she has worked extensively as an educator emp= hasizing a creative approach to getting published. SPOKEN ARTS RADIO, with host Sarah Campbell A joint production of Just Buffalo Literary Center and WBFO 88.7 FM Airs Sundays during Weekend Edition at 8:35 a.m. and Mondays during Morning Edition at 6:35 A.M. & 8:35 a.m. Upcoming Features: Poet PATRICIA SPEARS JONES, April 23 & 24 All shows are now available for download on our website, including features= on John Ashbery, Paul Auster and more...http://www.justbuffalo.org/events/sar.shtml JUST BUFFALO WRITER'S CRITIQUE GROUP Members of Just Buffalo are welcome to attend a free, bi-monthly writer cri= tique group in CEPA's Flux Gallery. Group meets 1st and 3rd Wednesday at 7 p.m. Call fo= r details. LITERARY BUFFALO THE WRITE THING READING SERIES Stacey Levine and Ted Pelton Monday, April 10, 7 p.m. The Library at Huber Hall, Medaille College, 18 Agassiz Circle. Free. UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will b= e immediately removed. _______________________________ Michael Kelleher Artistic Director Just Buffalo Literary Center Market Arcade 617 Main St., Ste. 202A Buffalo, NY 14203 716.832.5400 716.270.0184 (fax) www.justbuffalo.org mjk=40justbuffalo.org ========================================================================= Date: Mon, 10 Apr 2006 11:42:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: WHO READS POETRY? Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed has anybody else read the small item under this title in today's NY Times Arts section? I'm curious to know what the survey questions looked like. But I'll be grateful to the survey for one thing -- with these results, maybe we can finally bury the cliche that poetry is only read in college classrooms. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "and now it's winter in America" --Gil Scott-Heron Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 112 Burrowes University Park, PA 16802-6200 (814) 865-0091 [office] (814) 863-7285 [Fax] ========================================================================= Date: Mon, 10 Apr 2006 12:32:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Poets League Lit Center Party MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Hello! We're having a networking and fundraising party at the Lit Center at the Poet's and Writer's League of Greater Cleveland, Friday, April 28th. It starts at 6:30 pm It's the RAISE THE ROOF - RAISE THE RENT PARTY at PWLGC Literary Center, 12200 Fairhill Rd. #3A. Join us for a social gathering as we help "raise the rent" for the Lit! Food, drink, and literary delights - not to mention stimulating conversation with other writers. Your support helps keep our home for writers in operation. RSVP at 216.421-0403 or pwlgc@yahoo.com. $5 Donation Requested. ========================================================================= Date: Mon, 10 Apr 2006 12:45:21 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: fwd - [sentinel] MIME-version: 1.0 Content-type: TEXT/PLAIN Content-transfer-encoding: 8BIT SENTINEL POETRY (ONLINE) #41 April 2006—issue #41, Sentinel Poetry (Online) - The International Journal of Poetry & Graphics has now gone live featuring Guest Poet Steven Heighton, Chuma Nwokolo, Jr., Gary Beck, Atiene Isong, AM Jules, and Alan Hardy. Interview: Passion and The Poet with Heighton, plus another great editorial by Amatoritsero Ede, ”Poetry, Formalism and Anomy” There are also artworks by Uche Edochie and Mercy Ocansey. Read now http://www.sentinelpoetry.org.uk -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...11th coll'n - name , an errant (Stride, UK) .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Mon, 10 Apr 2006 17:37:06 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: reJennifer Bartlett Subject: Last call for submissions Mime-Version: 1.0 Content-Type: text/plain; format=flowed Saitn Elizabeth Street is preparing to launch its first issue on the web. We are still looking for a few good poems. Send work to saintlizstreet@hotmail.com Cheers! Jennifer Bartlett _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Mon, 10 Apr 2006 12:28:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: Hume & Wang at SPT this Fri 4/14 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1"; format="flowed" Content-Transfer-Encoding: 8bit Small Press Traffic is pleased to present a reading by Christine Hume & Shanxing Wang Friday, April 14, 2006 at 7:30 p.m. Christine Hume joins us in celebration of her 2004 book, Alaskaphrenia (New Issues), which received a Book of the Year Award from Small Press Traffic. The Board’s citation reads, in part: “… the wildly talented Christine Hume hits her stride about two lines into the very first poem, then never lets up all the way to the roller-coaster finish…we find a lucid, warm, disjunction which welcomes the mind and the body to join in as one, several entrances to each of her splendid rooms.” Hume’s earlier book, Musca Domestica (Beacon Press, 2000), won the Barnard New Women Poets Prize. Shanxing Wang joins us from New York in celebration of his first collection, Mad Science in Imperial City, just out from Futurepoem. Lyn Hejinian calls it: “ a work of genius. It is intended to be so, and it is saturated with the melancholy and exhibits something of the fear that genius in its machinations may produce. The book is also comic, sometimes desperately and more often happily so; the forces of genius are multiple…. [This book] proceeds through involutions and across equations to create an astonishingly original counter to the catastrophe of the contemporary world.” 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) Directions & map: http://www.sptraffic.org/html/fac_dir.html Elizabeth Treadwell, 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, 10 Apr 2006 14:57:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Gold Mine poets in New Orleans In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Did the segment on the Gold Mine poetry readings ever appear on the News Hour? ========================================================================= Date: Mon, 10 Apr 2006 13:00:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Brink, Dean" Subject: Re: Last call for submissions MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Dear Jennifer, What sort of poems are you looking for? Dean http://homepages.stmartin.edu/fac_staff/dbrink/index.htm -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of reJennifer Bartlett Sent: Monday, April 10, 2006 10:37 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Last call for submissions Saitn Elizabeth Street is preparing to launch its first issue on the web. We are still looking for a few good poems. Send work to saintlizstreet@hotmail.com Cheers! Jennifer Bartlett _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar - get it now!=20 http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Mon, 10 Apr 2006 16:34:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Megan Burns Subject: Fwd: update PBS tonite New Orleans Poets APR 10 In-Reply-To: <2dc.5971e60.316c18fa@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" -----Original Message----- From: DrSleepadelic Sent: Mon, 10 Apr 2006 4:24:26 PM Eastern Daylight Time Subject: update PBS tonite New Orleans Poets APR 10 NEWS BULLETIN Dear Friends, After being bumped last week by Tom Delay and Katie Couric, the segment will appear tonite (Mon.) during the second half-hour of the program. All Best, Dave Brinks "New Orleans Poets: After The Storm" SCHEDULED TO AIR TONITE -- NATIONWIDE Monday, April 10, 2006 -- PBS' The News Hour with Jim Lehrer ========================================================================= Date: Mon, 10 Apr 2006 15:16:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: The Libby Leak / A Miracle in the Works?? Comments: cc: "Poetryetc provides a venue for a dialogue relating to poetry and poetics"@LISTSERV.BUFFALO.EDU, POETRYETC@JISCMAIL.AC.UK Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I am no Biblical scholar, but with the revelation about this Judas Gospel, I am wondering why no one has played up the Judas/Scooter Libby connection. I mean Libby has spilled the beans on both Cheney and Bush to Fitzgerald, the Justice Department's special counsel on this Valerie Plame case. But, as with Judas, can't we see Libby's behavior as not that of a self-serving snitch, but as someone who is also involved in the production of a miracle - in this case, the resignation or impeachment of both Bush and Cheney. I suspect both of them - for all their professed love and emulation of Christ's will - will probably reject the opportunity to go out nailed to a cross - but Adobe Photo Shop in the hands of the Christian right, I suspect, will come up with those details. It will be interesting to see if democracy gets this miracle and/or alternatively a distracting 'little' nuclear heave-ho in Iran. In the meantime, go-Hispanics, go Latinos. A real breath of fresh air. Everly optimistic! Stephen V ========================================================================= Date: Mon, 10 Apr 2006 22:41:11 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ryan fitzpatrick Subject: At Last! MODL presents Larissa Lai's "Nascent Fashion". Mime-Version: 1.0 Content-Type: text/plain; format=flowed chap10: Nascent Fashion - Larissa Lai MODL Press is pleased to announce the long-delayed re-publication of Larissa Lai's stunning political long poem Nascent Fashion. "a kiss is just a kiss we judas our guatanamo's ancient longing clues accumulate to be ignored war rages while cause evaporates we street our puppets bully proof vests against all the vietnams in the world" Previously self-published, Nascent Fashion is a poem cycle of elusions. Politically charged, Lai's fiery hits sink the battleships that anchor in how we use language to commit violence instead of communicate. These poems are not a call to arms but a call for change. Larissa Lai is the author of two novels: When Fox is a Thousand and Salt Fish Girl. She is currently a writer-in-residence at Simon Fraser University in Vancouver. Produced in an unnumbered edition of 75. Battleship cover produced by Travis Murphy printed in colour w/ faked full bleed. 30pp. 4.25" x 11". $10.00 If you are interested in this title, please contact ryan fitzpatrick at rcfmod@gmail.com. ========================================================================= Date: Tue, 11 Apr 2006 08:54:17 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pam Brown Subject: b l o g MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit ________________________________________________________ a n o t h e r b l o g f r o m o z THE DELETIONS - not merely an apolitical lifestyle-and-entertainment apercu into a blissfully apathetic and placid cyber resort. In a small bloggy way I am looking to represent the cultural activities of my own community of friends and acquaintances whose projects give positive examples of how to continue all kinds of art practice in the face of these terrible times. http://thedeletions.blogspot.com p a m b r o w n ________________________________________________________ _________________________________________________________________ Blog : http://thedeletions.blogspot.com/ Web site : Pam Brown - http://www.geocities.com/p.brown/ Associate editor : Jacket - http://jacketmagazine.com/index.html _________________________________________________________________ ____________________________________________________ On Yahoo!7 Messenger - Make free PC-to-PC calls to your friends overseas. http://au.messenger.yahoo.com ========================================================================= Date: Mon, 10 Apr 2006 20:32:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Loretta K. Clodfelter" Subject: 580 Split Release Party April 27 in San Francisco MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Mills College’s 580 Split is holding a release party to celebrate the launch of its eighth issue, featuring readings by Mary Burger, Michael Heald, Kevin Immanuel, Rae Paris, Erika Figel Roliz, Nina Schuyler, and Gordon Torncello, as well as the photographs of Stephan Babuljak. 580 Split Release Party Thursday, April 27, 6-9 pm Elbo Room, San Francisco 580 Split is a literary journal focusing on innovative and risk-taking fiction, creative non-fiction, poetry, and art. Issue 8 features work by Bruce Andrews, Edwin Torres, Daniel Alarcon, Mary Burger, Mark Yakich and Anthony Doerr, as well as fiction contest winner Michael Heald and poetry contest winner Molly Albracht Sierra, and an interview with William T. Vollmann. For information about purchasing copies of 580 Split, please visit our website at www.580split.com. Not far from our office at Mills College in Oakland, California, the 580 Split is a risky jumble of ramps, overpasses, and interchanges, where highways cross, merge, intersect, and branch out in every direction. 580 Split, an annual journal of arts and literature, is both the convergence and divergence of many roads: a place of risk and possibility. Michelle Simotas is Managing Editor, Nina LaCour is Prose Editor, Loretta Clodfelter is Poetry Editor, and Laura Davis is Design Editor. ========================================================================= Date: Mon, 10 Apr 2006 03:27:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: jaymac funeral Comments: To: wryting-l@listserv.utoronto.ca, companyofpoets@unlikelystories.org MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the funeral (of jackie mc lean) we gather by the river in a world without end rising coughing inquiring weighing resurrecting (believers or not) we play at stewardship/ness endless world of alternate original lines: flowers glass & endless world of midnites midnites & flowers bile-stained & blood sun glasses stained with bile & blood clouded sky sun cloud sky skin of wood & the beheathed rain the beheath(en)ed the final song the riff & rift of noble but over long speeches cleaned brass affectioned tribulations saintly persecuted hospitalities weep & eat oh wise conceit seen possible wrath fires hidden & emoted from the b(r)east voice tongue fingers dance skill influence woodshedding unruly structured discipline (drafts) the good book(s) struggle to be baptized billow heritage's hymnal rise & blow oh holy dope fiend we are tired of being alone steve dalachinsky abyssian baptist church 3/7/06 & home 3/1106 ========================================================================= Date: Tue, 11 Apr 2006 06:38:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlie Rossiter Subject: WHO READS POETRY? survey available MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Here in Chicago the Tribune article claims the entire report is available on the Poetry Foundation's website...I haven't looked, so I don't know if all the questions are included. I think the Trib mentioned something over a hundred pages. Charlie > has anybody else read the small item under this title in today's NY Times > Arts section? I'm curious to know what the survey questions looked > like. But I'll be grateful to the survey for one thing -- with these > results, maybe we can finally bury the cliche that poetry is only read in > college classrooms. > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "and now it's winter in America" > --Gil Scott-Heron > > > Aldon Lynn Nielsen > George and Barbara Kelly Professor of American Literature > Department of English > The Pennsylvania State University > 112 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 [office] > > (814) 863-7285 [Fax] > ========================================================================= Date: Tue, 11 Apr 2006 08:00:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sina queyras Subject: Coach house launch Toronto In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable Hey Toronto! 12 April =AD Coach House Books Spring Launch Three spring poetry titles: Sina Queyras (Lemon Hound) Jon Paul Fiorentino (The Theory of the Loser Class) a.rawlings (Wide slumber for lepidopterists) 12 April, 8.00 pm Revival 783 College St. Toronto http://www.chbooks.com/ ========================================================================= Date: Tue, 11 Apr 2006 05:36:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Megumi and The Historical: Pink Grunt Ripples Comments: To: Leiws LaCook , gio@corporatepa.com, marco@corporatepa.com MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I think your mom is in some ways very fragile. The voluntary implosion of orgasm, impacted; the voluptuous clip. Our wooden Sweetleaf grinder rips pungent buds to sliver-shake, to be rolled. Ah, the older I get, the more I need gender. Then I use a Graphix cigarette-rolling machine. Megumi despairs of ritual, which relates or boils down to or signifies erosion, one of the many ways you and I are fucked by weather. It comes into our bedroom as we sleep; its mouth is open, but there's no sound, just the pale shear of its cold flesh shelling moonshine in pink grunt ripples. Sometimes after midnight it's possible to swim the air, so thick with silence, I'm wiping it on my pants. These are done, Megimi: ripped by kittens and ripped by kittens. It takes believing in that cry, the one whose sour fingers curl raucously around your throat as you're singing. I fuck in the sun all day long as long as Megumi, and her hunger pawing my brain bats bastard outlets across someone else's cold floe. I think your mom is in some ways yawning, blinking tiny girl-eyes so she can see more clearly what I wish. I think your mom watches us sleeping, and maybe she forgives me if I choke once in a while. I know those blank fattened arches fall with leaving everything behind you; I know I love. My hands around my throat, wringing out kisses. --> http://www.lewislacook.org/xanaxpop/ *************************************************************************** ||http://www.lewislacook.org|| sign up now! poetry, code, forums, blogs, newsfeeds... || http://www.corporatepa.com || Everything creative for business -- New York Web Design and Consulting Corporate Performance Artists --------------------------------- Love cheap thrills? Enjoy PC-to-Phone calls to 30+ countries for just 2¢/min with Yahoo! Messenger with Voice. ========================================================================= Date: Tue, 11 Apr 2006 08:39:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: avant-globe & mail MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable check out the review of three new coach house poetry books in Toronto's= Globe & Mail, the new mouthpiece of the avant-garde! camille http://www.theglobeandmail.com/servlet/story/LAC.20060408.BKHOUS08/TPSt= ory/Entertainment Wide Slumber for Lepidopterists By a. rawlings Coach House, 111 pages, $16.95 The Theory of the Loser Class By Jon Paul Fiorentino Coach House, 84 pages, $16.95 Lemon Hound By Sina Queyras Coach House, 103 pages, $16.95 Toronto's Coach House Press, once the hub of the burgeoning Canadian literary scene, where young future icons like Michael Ondaatje and Anne= Michaels first published poetry, is now home to Canada's best neo-dadai= sts, post-feminists and post-postmodern deconstructionists. This spring, Coa= ch House offers three new titles that seek to define the latest in our nation's poetic avant-garde. "A hoosh a ha." These not-quite-words float in the middle of a blank page -- the openin= g of a. rawlings's Wide Slumber for Lepidopterists. On the next page, "a hoo= sh a ha," "a hoosh a ha," is scattered five times. The page after that adds = a few more, then a few more, until the last page of the section is nearly= black with these onomatopoeic brushes of wings. The simultaneous sonic = and visual representation of butterfly flight works perfectly, bringing us = into both the formal and thematic concerns of the collection, capturing both= the fluttering subject and attention of the reader with lightness and grace= . Wide Slumber then moves through six sections that explore states of sle= ep in counterpoint with the life cycle of lepidopterae, the order of insec= ts that includes butterflies and moths. The egg state is compared to insom= nia, the movement from egg to larva is set against dyssomnia (trouble fallin= g asleep), and so on until the emergence of the adult insect is offered a= s a kind of awakening. Rawlings spins filamental connections between insect modes of being and= states of sleep by excavating the scientific and sensual language aroun= d each concept, then using the page to orchestrate back-and-forth movemen= ts between her two interests. Her experimental placement of the text in bl= ank space, here forcing the eye to flit from word to word, there forcing th= e reader to dig for whole words among clusters of letters and phonemes, m= akes the reading experience itself mimic the fluttering, beat-beat motion of= both flight and electroencephalographic waves. The unexpected juxtaposition of these two realms of animal experience i= s interesting enough, but rawlings's ability to reproduce, using the most= clinical terms, the to and fro of a frankly copulative energy pulsing through both worlds is often breathtaking. Vulva rhymed with larva, parallels of penis to proboscis -- this is one cool collection, a fresh= combination of unashamedly brainy and unabashedly horny. Jon Paul Fiorentino's fourth poetry collection, The Theory of the Loser= Class, aims to "document the tribulations and insecurities of everyone'= s inner geek" and to map "inner states of urban ennui." Even if we all do= have an inner (or not-so-inner) geek that could use validation, the "psychic terrain of abjection" this book maps may not be one all reader= s will be able to lay claim to. The title of the book plays on economist and sociologist Thorstein Vebl= en's most famous work, The Theory of the Leisure Class. Veblen, who coined t= he term "conspicuous consumption," made the observation that while every society necessarily values tools and skills that support life processes= , every society also perpetuates a status structure that values people according to their ability to display their own distance from productiv= e labour. Veblen becomes a character in a poem, imagined both as a suburb= an kid once known by the poet, and as theoretician referenced in support o= f the angry poet's apprehension of himself at the losing end of the consumerist status game. Interestingly, The Theory of the Loser Class is Fiorentino's least accessible poetic work to date. His style has moved further and further= to the abstract end of the spectrum with each of his collections, but so f= ar, the general reader willing to do a little work has always been allowed = into his self-interrogations. Though still often playing the smartass, Fiorentino has until now spoken as a relatively humble fellow member of= a larger population reliant on pharmaceuticals and mass culture to numb itself against the friction of social intercourse. Now, however, he's "tak[ing] the piss with Von Humboldt . . . exert[ing] shun tactics, dar= k leisure, snob method." Loser Class's heightened abstraction would be fine if abstraction were = left to move us as it does best: through impression, mood and sensual affect= . However, one still senses a rhetorical urge in this voice, an urge to convince that loses its persuasive power by refusing, for the sake of a= rarefied aesthetic ideal, to reason out its points. Ironically, Fiorentino's diction and terms of reference reproduce, textually, the very display of distance from labour that would brand hi= m at least a partial winner in Veblen's status economy. Perhaps that's the point: to appreciate the text is to become a member of the consolation elite, comprised of those who conspicuously waste time and education on= a poetry of syntax ruptures. Fiorentino is smart and deft; I just don't buy the self-loathing. His argument may well work for those who prefer their high culture apologet= ic rather than decadent. I find Fiorentino most winning when at his most playful. I'll forgive much of the guy who calls Amway and Safeway salespeople "Amwegian" and "Safewegian," and who invents the adjective "Winnipeggiest." Of these three titles, Sina Queyras's collection Lemon Hound shows the = most restraint, achieving a lovely balance between lyricism and experimental= ism, all the while unfolding a fierce intellectual and imaginative engagemen= t with the work of Virginia Woolf. A master of the short sentence, Queyras writes prose poems that are deceptively simple to read. The book opens with a visit to a lake, rend= ered in clear, descriptive language that seems born out of the West Coast ly= ric tradition: "Balsam poplar, tamarack -- they all look the same from the window. Jack pines feed on fire, she reads, and wonders if this is all second growth." But this is the lucid moment before the dreaming starts= , before she goes under surfaces to "enter into, finally; [and] tongue th= is idea of who she is." Water waves are an image entry point to the waves of imagination and me= mory to which the poet is about to surrender. Queyras builds poems by layeri= ng images one atop the other, by echoing and repeating phrases -- "If you embrace all, oarlock and tidal. If you look for light, spleen, splint."= Sound and image settle like sediment into dense blocks of text. The rea= der is led through nuances of mood: Some journeys are spirals that return y= ou, somehow changed, to where you began; some are incremental, where one li= ves a thousand small details inside a brief moment. The overall effect is t= onal and painterly; I was reminded of Mark Rothko's colour layered on colour= . Like Woolf in her poetic novel The Waves, Queyras is not after story, o= r an argument, or a static statement on womanhood or personhood. Whether in sketches of girls and mothers or in imaginings of Woolf's childhood, Queyras writes to share a profound sense of witnessing. Her problem is purely poetic: to represent in language the embodied depth of the moder= n moment, to capture the simultaneity of many truths and sensations happe= ning at once, and to do this using the gestures and commonplaces of real lif= e. She takes a hypnotic, almost hallucinatory approach, and succeeds. Sonnet L'Abb=E9's forthcoming second collection of poetry is Killarnoe.= She teaches creative writing and poetry at the University of Toronto. = ========================================================================= Date: Tue, 11 Apr 2006 10:35:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: The Horowitz is coming! The Horowitz is coming! Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed My contribution to the expanding field of David Horowitz Studies: http://heatstrings.blogspot.com/ <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "and now it's winter in America" --Gil Scott-Heron Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 112 Burrowes University Park, PA 16802-6200 (814) 865-0091 [office] (814) 863-7285 [Fax] ========================================================================= Date: Tue, 11 Apr 2006 10:45:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: avant-globe & mail MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 8bit yes, the Globe & Mail's been there for some time now... have found lots of great stuff in the archives: Christian Bok, bp nichol and on and on a black and white a red all over role model! Gerald S. no longer connected by ferry in Rochester check out the review of three new coach house poetry books in Toronto's Globe & Mail, the new mouthpiece of the avant-garde! camille http://www.theglobeandmail.com/servlet/story/LAC.20060408.BKHOUS08/TPStory/Entertainment Wide Slumber for Lepidopterists By a. rawlings Coach House, 111 pages, $16.95 The Theory of the Loser Class By Jon Paul Fiorentino Coach House, 84 pages, $16.95 Lemon Hound By Sina Queyras Coach House, 103 pages, $16.95 Toronto's Coach House Press, once the hub of the burgeoning Canadian literary scene, where young future icons like Michael Ondaatje and Anne Michaels first published poetry, is now home to Canada's best neo-dadaists, post-feminists and post-postmodern deconstructionists. This spring, Coach House offers three new titles that seek to define the latest in our nation's poetic avant-garde. "A hoosh a ha." These not-quite-words float in the middle of a blank page -- the opening of a. rawlings's Wide Slumber for Lepidopterists. On the next page, "a hoosh a ha," "a hoosh a ha," is scattered five times. The page after that adds a few more, then a few more, until the last page of the section is nearly black with these onomatopoeic brushes of wings. The simultaneous sonic and visual representation of butterfly flight works perfectly, bringing us into both the formal and thematic concerns of the collection, capturing both the fluttering subject and attention of the reader with lightness and grace. Wide Slumber then moves through six sections that explore states of sleep in counterpoint with the life cycle of lepidopterae, the order of insects that includes butterflies and moths. The egg state is compared to insomnia, the movement from egg to larva is set against dyssomnia (trouble falling asleep), and so on until the emergence of the adult insect is offered as a kind of awakening. Rawlings spins filamental connections between insect modes of being and states of sleep by excavating the scientific and sensual language around each concept, then using the page to orchestrate back-and-forth movements between her two interests. Her experimental placement of the text in blank space, here forcing the eye to flit from word to word, there forcing the reader to dig for whole words among clusters of letters and phonemes, makes the reading experience itself mimic the fluttering, beat-beat motion of both flight and electroencephalographic waves. The unexpected juxtaposition of these two realms of animal experience is interesting enough, but rawlings's ability to reproduce, using the most clinical terms, the to and fro of a frankly copulative energy pulsing through both worlds is often breathtaking. Vulva rhymed with larva, parallels of penis to proboscis -- this is one cool collection, a fresh combination of unashamedly brainy and unabashedly horny. Jon Paul Fiorentino's fourth poetry collection, The Theory of the Loser Class, aims to "document the tribulations and insecurities of everyone's inner geek" and to map "inner states of urban ennui." Even if we all do have an inner (or not-so-inner) geek that could use validation, the "psychic terrain of abjection" this book maps may not be one all readers will be able to lay claim to. The title of the book plays on economist and sociologist Thorstein Veblen's most famous work, The Theory of the Leisure Class. Veblen, who coined the term "conspicuous consumption," made the observation that while every society necessarily values tools and skills that support life processes, every society also perpetuates a status structure that values people according to their ability to display their own distance from productive labour. Veblen becomes a character in a poem, imagined both as a suburban kid once known by the poet, and as theoretician referenced in support of the angry poet's apprehension of himself at the losing end of the consumerist status game. Interestingly, The Theory of the Loser Class is Fiorentino's least accessible poetic work to date. His style has moved further and further to the abstract end of the spectrum with each of his collections, but so far, the general reader willing to do a little work has always been allowed into his self-interrogations. Though still often playing the smartass, Fiorentino has until now spoken as a relatively humble fellow member of a larger population reliant on pharmaceuticals and mass culture to numb itself against the friction of social intercourse. Now, however, he's "tak[ing] the piss with Von Humboldt . . . exert[ing] shun tactics, dark leisure, snob method." Loser Class's heightened abstraction would be fine if abstraction were left to move us as it does best: through impression, mood and sensual affect. However, one still senses a rhetorical urge in this voice, an urge to convince that loses its persuasive power by refusing, for the sake of a rarefied aesthetic ideal, to reason out its points. Ironically, Fiorentino's diction and terms of reference reproduce, textually, the very display of distance from labour that would brand him at least a partial winner in Veblen's status economy. Perhaps that's the point: to appreciate the text is to become a member of the consolation elite, comprised of those who conspicuously waste time and education on a poetry of syntax ruptures. Fiorentino is smart and deft; I just don't buy the self-loathing. His argument may well work for those who prefer their high culture apologetic rather than decadent. I find Fiorentino most winning when at his most playful. I'll forgive much of the guy who calls Amway and Safeway salespeople "Amwegian" and "Safewegian," and who invents the adjective "Winnipeggiest." Of these three titles, Sina Queyras's collection Lemon Hound shows the most restraint, achieving a lovely balance between lyricism and experimentalism, all the while unfolding a fierce intellectual and imaginative engagement with the work of Virginia Woolf. A master of the short sentence, Queyras writes prose poems that are deceptively simple to read. The book opens with a visit to a lake, rendered in clear, descriptive language that seems born out of the West Coast lyric tradition: "Balsam poplar, tamarack -- they all look the same from the window. Jack pines feed on fire, she reads, and wonders if this is all second growth." But this is the lucid moment before the dreaming starts, before she goes under surfaces to "enter into, finally; [and] tongue this idea of who she is." Water waves are an image entry point to the waves of imagination and memory to which the poet is about to surrender. Queyras builds poems by layering images one atop the other, by echoing and repeating phrases -- "If you embrace all, oarlock and tidal. If you look for light, spleen, splint." Sound and image settle like sediment into dense blocks of text. The reader is led through nuances of mood: Some journeys are spirals that return you, somehow changed, to where you began; some are incremental, where one lives a thousand small details inside a brief moment. The overall effect is tonal and painterly; I was reminded of Mark Rothko's colour layered on colour. Like Woolf in her poetic novel The Waves, Queyras is not after story, or an argument, or a static statement on womanhood or personhood. Whether in sketches of girls and mothers or in imaginings of Woolf's childhood, Queyras writes to share a profound sense of witnessing. Her problem is purely poetic: to represent in language the embodied depth of the modern moment, to capture the simultaneity of many truths and sensations happening at once, and to do this using the gestures and commonplaces of real life. She takes a hypnotic, almost hallucinatory approach, and succeeds. Sonnet L'Abbé's forthcoming second collection of poetry is Killarnoe. She teaches creative writing and poetry at the University of Toronto. ========================================================================= Date: Tue, 11 Apr 2006 09:45:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: PO25centEM series looking for new subs for second volume Comments: To: lucipo@lists.ibiblio.org Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Hey, all, I've been way behind in making sense of the press' place in my li= fe. I'm planning on putting together the second volume by the end of the su= mmer. I have many great contributions but am looking to expand the wealth. Below is the call. I'm posting a deadline of June 1, 2006 so I can have a s= ense of time and space. Please e-mail all subs! PO25centEM zines are pocket sized zines that will be handed out individuall= y AND serialized with=20 other zines in the series to make an 'autonomous anthology.' So far we have= numbers one through=20 31 available, but single copies are always floating around and being traded= : they are handed out=20 in Baltimore and in Washington, D.C. The pocket sized zines are compact and= are 16 pages or less,=20 making for an intimate read while waiting for the bus or the train, or just= lazing the day away.=20 The jist of this project is to get everyone to read more poetry. We're hand= ing out free poetry to=20 recover the sense of readership in a public that seems to not care about po= etry. Folks may keep or=20 give the zines away to others, so the turnover rate is unlimited, trading g= oes on forever. Furniture Press needs all the texts it can get. We're bent on publishing ev= ery writer and=20 anthologizing this project: we're hoping to receive substantial funding and= a national coverage.=20 Hopefully other presses will start doing the same. The goal, for now, while funding is low, is to serialize the zines and sell= them as 'autnomous anthologies'. These contributions will go to the pressing of more zines for a wider distr= ibution. Here are the specifications for submission: The zines dimensions are 4.25 inches by 5.5 inches. Send texts between 8 an= d 16 pages that fit=20 nicely onto a 4 inch width by 5 inch height format. Please send texts to=20 furniture_press@graffiti.net. No titles are necessary, any work, old and ne= w is welcome. Send submissions to this e-mail address.=20 Anyone who would like the first volume of the series, please send $12 to: Christophe Casamassima 304 A7 Stevenson Lane Baltimore, MD 21204 make checks payable to yours truly.=20 Thank you! Spread the word! --=20 ___________________________________________ Graffiti.net free e-mail @ www.graffiti.net Play 100s of games for FREE! http://games.graffiti.net/ Powered By Outblaze ========================================================================= Date: Tue, 11 Apr 2006 09:50:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Forgot to mention...Re: PO25centEM series looking for new subs for second volume Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Anyone who contributed work for the second volume previously will be includ= ed in this series. Sorry about the delay, the Tom DeLay.=20 Christophe Casamassima --=20 ___________________________________________ Graffiti.net free e-mail @ www.graffiti.net Play 100s of games for FREE! http://games.graffiti.net/ Powered By Outblaze ========================================================================= Date: Tue, 11 Apr 2006 08:44:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: LA-Lit 12: Matvei Yankelevich and Anna Moschovakis MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable LA-Lit interviews Matvei Yankelevich and Anna Moschovakis Tuesday, April 11 at 8pm At Betalevel (www.betalevel.com) (Directions Below) We=92d like to invite you to a live radio recording, poetry reading & conversation this coming Tuesday April 11 at 5 p.m. at Betalevel in Chinatown. Anna Moschovakis and Matvei Yankelevich will be the featured writers on LA-lit, a radio show co-curated by Mathew Timmons & Stephanie Rioux. The show (& hence the recording) lasts a little over an hour and = will be about 30 minutes of reading & about 30 minutes of questions & answers/further questions =96 alternating between the two modes in hopes = of creating a space for dynamic conversation. =20 Matvei Yankelevich is the editor of the Eastern European Poets Series at Ugly Duckling Presse, and co-edits 6=D76, a poetry periodical. He is the co-translator, with Eugene Ostashevsky, of An Invitation For Me To = Think, the selected poems of Alexander Vvedensky, forthcoming from Green = Integer; and of Russian Absurdism: OBERIU, an anthology forthcoming from = Northwestern University Press. His own writing has appeared in various little = magazines and his critical work on Russian-American poets appears on Octopus = Magazine. A chapbook of his long poem, The Present Work, is forthcoming from Los Angeles-based Palm Press in Spring 2006. He teaches Russian Literature = at Hunter College in New York City. Anna Moschovakis is a PhD candidate in Comparative Literature at the = CUNY Graduate Center, Anna Moschovakis works on 20th and 21st-century = American and French poetry and prose, avant-garde poetics, print culture, = translation theory, and philosophy and literature. She has published translations of Henri Michaux, Claude Cahun, Blaise Cendrars, Th=E9ophile Gautier and = others. She has a pamphlet, The Blue Book from Phylum Press (2005), and her = first full-length poetry collection, I Have Not Been Able to Get Through to Everyone, is due out this fall from Turtle Point Press. She holds a BA = in Philosophy from the University of California, Berkeley, and an MFA in Creative Writing from Bard College/Milton Avery Graduate School of the = Arts. She is also an editor, book designer and letterpress printer at Ugly Duckling Presse, an art and publishing collective. LA-Lit interviews poets and writers in the Los Angeles area. Reflecting = the shifting nature of Los Angeles as a place, this may mean writers that = have lived in LA all their lives or writers who happen to be in LA for a few days. LA-Lit is a place for the literary culture of Los Angeles to = develop and exhibit itself. Co-hosted and co-produced by Stephanie Rioux and = Mathew Timmons, LA-Lit is sponsored by Superbunker and recorded at Betalevel (behind 963 N. Hill St. in an alleyway in Chinatown, Los Angeles). Recordings are podcast every other Sunday at 5pm. You can subscribe to = the podcast by visiting our website (LA-Lit.com) and dragging the Subscribe = link from the sidebar to your podcast folder in iTunes, or download past = shows by visiting the writer=92s page at LA-Lit.com.=20 Ideally we will have a smallish audience for the reading/recording, made = up of people who are inclined to jot down a thought, query, doubt, or other incitement. During the second half of the show the floor will be opened = for questions from the audience. Please note the time change from our normal schedule: doors open at 7:45 p.m. and the reading/recording will begin by 8:15 p.m. =96 please do = your best not to arrive late, so as to minimize the sounds of shuffling & stair-creaking while the show is being recorded. Feel free to forward this invitation on to your friends and neighbors. = For more information, visit LA-Lit.com. We will be delighted to see you there, Mathew Timmons & Stephanie Rioux Directions to Betalevel: 1. Find yourself in front of =93FULL HOUSE RESTAURANT=94 located at 963 = N. Hill Street in Chinatown.=20 2. Locate the alley on the left hand side of Full House. 3. Walk about 20 feet down the alley (away from the street). 4. Stop. 5. Notice dumpster on your right hand side. 6. Take a right and continue down the alley. 7. Exercise caution so as not trip on the wobbly cement blocks underfoot 8. The entrance to Betalevel is located 10 yards down on left side, = behind a red door, down a black staircase. --=20 The following information is a reminder of your current mailing list subscription:=20 You are subscribed to the following list:=20 LA-Lit =09 using the following email: cadaly@comcast.net You may automatically unsubscribe from this list at any time by=20 visiting the following URL: If the above URL is inoperable, make sure that you have copied the=20 entire address. Some mail readers will wrap a long URL and thus break this automatic unsubscribe mechanism.=20 You may also change your subscription by visiting this list's main = screen:=20 If you're still having trouble, please contact the list owner at:=20 The following physical address is associated with this mailing list:=20 la-lit@la-lit.com ========================================================================= Date: Tue, 11 Apr 2006 13:38:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tb2h Subject: Re: WHO READS POETRY? Mime-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 7bit Can someone pleasee post the whole thing? Sometimes the NYTimes doesn't make it to the boonies. I'm in the middle of a debate with a New Southern New formalist who tells me his dad who is a doctor reads poetry and some of his best friends are formalists. tom bell ========================================================================= Date: Tue, 11 Apr 2006 13:43:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: WHO READS POETRY? In-Reply-To: <444053FA@mtsu20.mtsu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit http://www.poetryfoundation.org/foundation/initiative_poetryamerica.html Here is the link to the report -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of tb2h Sent: Tuesday, April 11, 2006 1:39 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: WHO READS POETRY? Can someone pleasee post the whole thing? Sometimes the NYTimes doesn't make it to the boonies. I'm in the middle of a debate with a New Southern New formalist who tells me his dad who is a doctor reads poetry and some of his best friends are formalists. tom bell ========================================================================= Date: Tue, 11 Apr 2006 11:58:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Tod Edgerton Subject: Re: WHO READS POETRY? In-Reply-To: <444053FA@mtsu20.mtsu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Yes, I'd like to see it, too. Just last week, one of my students began (or ended) a sentence with "since no one even reads poetry anymore"-- Tod tb2h wrote: Can someone pleasee post the whole thing? Sometimes the NYTimes doesn't make it to the boonies. I'm in the middle of a debate with a New Southern New formalist who tells me his dad who is a doctor reads poetry and some of his best friends are formalists. tom bell Michael Tod Edgerton Poet-in-Residence, Spring 2006 Stonehill College --- Peter Kaplan Memorial Fellow, Program in Literary Arts Brown University Rebuild New Orleans / Bulldozer Bush --------------------------------- New Yahoo! Messenger with Voice. Call regular phones from your PC and save big. ========================================================================= Date: Tue, 11 Apr 2006 14:18:16 -0500 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: WHO READS POETRY? In-Reply-To: <20060411185809.82411.qmail@web54204.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This article (http://www.poetryfoundation.org/foundation/initiative_poetryamerica.html) highlights the Poetry Foundation's bizarre use of its superabundance of funds thanks to that huge endowment a few years ago. This quote from the article--"In keeping with the Foundation's mission to invigorate poetry's presence in our culture, the study focused on the potential audience as well as the existing audience. Are there factors that make one person a lifelong reader of poetry and the next person indifferent to it? What are the barriers that keep people from reading poetry, and how can they be eliminated?"--should make the PF people with the combinations to the bank vaults think to hire more teachers, but instead they embark on an across the nation poetry memorization & recitation project, culminating in the Poetry Out Loud CD. I think young people would engage more with poetry & be more likely to become "lifelong readers" if more money was directed toward programs that help young people to engage in lively discussions & analysis about poetry, and then more creative opportunities were put in the forefront -- for poetry writing, public works type projects (such as Berkeley's Addison Street Project), contests, etc. Rather than monolithic memorization projects. We already live in a time where the federal government wants everyone to mirror what they tell the media. Poetry programs could/should provide active alternatives to that kind of dead air environment. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Michael Tod Edgerton Sent: Tuesday, April 11, 2006 1:58 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: WHO READS POETRY? Yes, I'd like to see it, too. Just last week, one of my students began (or ended) a sentence with "since no one even reads poetry anymore"-- Tod tb2h wrote: Can someone pleasee post the whole thing? Sometimes the NYTimes doesn't make it to the boonies. I'm in the middle of a debate with a New Southern New formalist who tells me his dad who is a doctor reads poetry and some of his best friends are formalists. tom bell Michael Tod Edgerton Poet-in-Residence, Spring 2006 Stonehill College --- Peter Kaplan Memorial Fellow, Program in Literary Arts Brown University Rebuild New Orleans / Bulldozer Bush --------------------------------- New Yahoo! Messenger with Voice. Call regular phones from your PC and save big. ========================================================================= Date: Tue, 11 Apr 2006 13:16:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: WHO READS POETRY? survey available In-Reply-To: <1527.69.218.179.195.1144755487.squirrel@www.poetrypoetry.org> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I posted the questions on my blog a while ago. Seemed pretty silly. All best, Catherine Daly ========================================================================= Date: Tue, 11 Apr 2006 15:30:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: WHO READS POETRY? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" yeah, i think we should be talking about that "scientific study"... it's interesting, but: two years ago the nea came out with their study (READING AT RISK) to warn us that people in the u.s. weren't reading (weren't reading literature, that is)... now along comes the poetry foundation, and conducts its study of READERS, coughing up what seem to be somewhat rosier results... but here's the pertinent passage in this regard, from the "Report Summary": "It is important to remember, when reading this report, that we did not interview the general population of adults. We spoke with a sample of adult readers, a group of people who are different in a number of important ways from the general population." so they divvy up their sample of 1000+ adult readers (all of which resultant data was statistically weighted to account for this & that---ok) into what they call the "poetry audience" (in the report itself they're called "poetry users") " and the "potential audience" (or "poetry non-users"---yes, poetry as an addiction), the latter consisting of readers who read for pleasure but who haven't read or listened to poetry in the past 5 years or more... now, if you read the actual poetry foundation report, they do indeed discuss the nea study... the poetry foundation used less restrictive criteria in deciding what a reader is---they didn't assume, like the nea, that a reader is someone who reads only literature for pleasure (they incl. newspapers, magazines, and nonfiction, and even a few people who only listen to poetry but don't read for pleasure)... at any rate, even by widening the definition of reader, the foundation rather sidesteps the sticky issue of what to do about all of those presumed non-readers---or, people who don't read for pleasure---about whom the nea is so worked up... sure, the nea study is not w/o its problems, that much is clear... but it's also clear that what the poetry foundation has learned from this study does not necessarily refute that age-old claim that no one listens to poetry (regardless of how false the latter may be)... that 94% of readers have read poetry at some time in their lives tells us very little, finally, about the percentage of readers who read for pleasure who regularly read poetry for pleasure (wasn't the nea number something like 7% [of literary readers]?---i forget)... here are two stats that jumped out at me, in any case: women account for 62% of all poetry users, men for 38% (roughly the same as the percentages for all readers generally)... and whereas 45% of poetry users are likely to write poetry, only 1% of poetry non-users have written poetry as adults... if correct, this latter is a staggering statistical difference, and it tells me that writing poetry might well be driving the reading of poetry among users... but that's just for starters... best, joe >This article >(http://www.poetryfoundation.org/foundation/initiative_poetryamerica.html) >highlights the Poetry Foundation's bizarre use of its superabundance of >funds thanks to that huge endowment a few years ago. > >This quote from the article--"In keeping with the Foundation's mission to >invigorate poetry's presence in our culture, the study focused on the >potential audience as well as the existing audience. Are there factors that >make one person a lifelong reader of poetry and the next person indifferent >to it? What are the barriers that keep people from reading poetry, and how >can they be eliminated?"--should make the PF people with the combinations to >the bank vaults think to hire more teachers, but instead they embark on an >across the nation poetry memorization & recitation project, culminating in >the Poetry Out Loud CD. I think young people would engage more with poetry & >be more likely to become "lifelong readers" if more money was directed >toward programs that help young people to engage in lively discussions & >analysis about poetry, and then more creative opportunities were put in the >forefront -- for poetry writing, public works type projects (such as >Berkeley's Addison Street Project), contests, etc. Rather than monolithic >memorization projects. We already live in a time where the federal >government wants everyone to mirror what they tell the media. Poetry >programs could/should provide active alternatives to that kind of dead air >environment. > >-----Original Message----- >From: UB Poetics discussion group >[mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Michael Tod Edgerton >Sent: Tuesday, April 11, 2006 1:58 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: WHO READS POETRY? > > >Yes, I'd like to see it, too. Just last week, one of my students began (or >ended) a sentence with "since no one even reads poetry anymore"-- > > Tod > >tb2h wrote: Can someone pleasee post the whole thing? >Sometimes the NYTimes doesn't make >it to the boonies. I'm in the middle of a debate with a New Southern New >formalist who tells me his dad who is a doctor reads poetry and some of his >best friends are formalists. > >tom bell > > > >Michael Tod Edgerton >Poet-in-Residence, Spring 2006 >Stonehill College > --- >Peter Kaplan Memorial Fellow, >Program in Literary Arts >Brown University > >Rebuild New Orleans / Bulldozer Bush > >--------------------------------- >New Yahoo! Messenger with Voice. Call regular phones from your PC and save >big. -- Joe Amato, Managing Editor American Book Review Illinois State University CB 4241 Fairchild Hall, Room 109 Normal, IL 61790-4241 USA 309.438.2127 (voice) 309.438.3523 (fax) AmericanBookReview@ilstu.edu ========================================================================= Date: Tue, 11 Apr 2006 17:32:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Happy Birthday to Christopher Smart MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit http://gabrielgudding.blogspot.com/2005/04/christopher-smart-born-april-11-283.html born 284 years ago today ========================================================================= Date: Tue, 11 Apr 2006 16:25:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: barbara jane reyes Subject: 4/19/2006: Barbara Jane Reyes @ Evergreen Valley College Authors=?ISO-8859-1?Q?=92?= Series Spring 2006 Comments: To: ksw , flips , pagbabalikloob , PAN Literary Arts , Poetry Mission , SFBAM@yahoogroups.com, ampersand@yahoogroups.com, Filipino-American_Network@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Authors’ Series Spring 2006 http://www.evc.edu/events/spring_authors.htm EVERGREEN VALLEY COLLEGE 3095 YERBA BUENA RD SAN JOSE, CA 95135 Wednesday, April 19, 2005, 12:30 - 1:30 PM, Montgomery Hall Barbara Jane Reyes Barbara Jane Reyes was born in Manila, Philippines and raised in the San Francisco Bay Area. She received her undergraduate education at UC Berkeley, and her MFA at San Francisco State University. She is the author of Gravities of Center (Arkipelago, 2003) and Poeta en San Francisco (Tinfish, 2005), for which she received the James Laughlin Award of the Academy of American Poets. Reyes is a recent Pushcart Prize nominee, and her work has appeared or is forthcoming in Asian Pacific American Journal, Chain, Crate, Interlope, New American Writing, Nocturnes Review, North American Review, Parthenon West Review, Tinfish, Versal, as well as in the anthologies Babaylan (Aunt Lute, 2000) Eros Pinoy (Anvil, 2001), InvAsian: Asian Sisters Represent (Study Center Press, 2003), Going Home to a Landscape (Calyx, 2003), Coloring Book (Rattlecat, 2003), Not Home But Here (Anvil, 2003), Pinoy Poetics (Meritage, 2004), Asian Americans in the San Francisco Bay Area (Avalon Publishing, 2004), 100 Love Poems: Philippine Love Poetry Since 1905 (University of the Philippines Press, 2004), The Lambda Award finalist Red Light: Superheroes, Saints and Sluts (Arsenal Pulp, 2005), Graphic Poetry (Victionary, 2005), and The First Hay(na)ku Anthology (Meritage, 2005). She lives and works in Oakland, CA. Questions? Please contact: Sterling J Warner ========================================================================= Date: Tue, 11 Apr 2006 19:13:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: the hymn of lovingkindness MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit http://gabrielgudding.blogspot.com/ ========================================================================= Date: Tue, 11 Apr 2006 20:18:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ganick Subject: small chapbook project sale Comments: To: "spidertangle@yahoogroups.com" In-Reply-To: <20060411035043.BNRN6244.fed1rmmtao11.cox.net@shemurph> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit p r I c e r e d u c e d f o r s e r I e s ...a few complete sets available... t h I r d s e r I e s c h a p b o o k s Camille Martin, 'call me I'. John M. Bennett, ' Shoulder Cream'. Sheila E. Murphy, 'A Younger Presence in the House'. Michael Basinski, 'Invadurs'. Noah Eli Gordon, 'twenty ruptured paragraphs from a perfectly functional book' $30 postpaid, the complete set, only. while they last................... please send check to: Peter Ganick small chapbook project 181 Edgemont Avenue West Hartford CT 06110 USA email inquiries: pganick@comcast.net ========================================================================= Date: Wed, 12 Apr 2006 02:13:10 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AERIALEDGE@AOL.COM Subject: New from Edge: Anselm Berrigan & Jules Boykoff, Special Offer MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Now available from Edge Books: Some Notes on My Programming by Anselm Berrigan ISBN: 1-890311-20-0, 2006, 6 1/2 x 9 1/2, 96 pages, regularly $15 $10 direct from Aerial/Edge =E2=80=9CSwimming in language by turns cacophonous, tender & giving no quart= er to=20 mutual exclusion, this is =E2=80=98poetry in its pristine pucker slop.=E2= =80=99 It makes=20 manifest being in love with an impossible world, irredeemably cruel, & with=20= hope in=20 its wavering place: =E2=80=98These photos/ of blood soaked children carrying= / each=20 other between blasts=E2=80=99 . . .=E2=80=99Our good days=C2=A0 ahead of us.= =E2=80=99=E2=80=9D --Dana Ward =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2= =A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0= =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 "With this beautifully designed oversize book, Berrigan has fully moved into= =20 his own territory,=E2=80=9D Publisher=E2=80=99s Weekly=C2=A0 wrote of his last collection Zero Star Hote= l. In this,=20 his third book, Berrigan surveys the implications of that territory-- funny,= =20 irritable, inventive, in-your-face post-9/11 public and personal, Some Notes= on=20 My Programming=C2=A0 is fresh, important writing. A risk-taking, and necessa= ry book. Once Upon a Neoliberal Rocket Badge by Jules Boykoff ISBN: 1-890311-21-9, 2006, 6 x 9, 96 pages, regularly $14 $10 direct from Aerial/Edge In this debut collection combining the sensibilities of experimentalists lik= e=20 Kevin Davies and Rob Fitterman with the no-global activist spirit,Jules=20 Boykoff looks to lay down an entirely new law. As Rodrigo Toscano writes,=20= =E2=80=9CHere's a=20 poetic practice boldly moving beyond current centrist experimental poetries=20 and their obsession with betweening=C2=A0 and thereining. Bump all that!=E2= =80=9D Juliana=20 Spahr seconds: =E2=80=9CIf there is, as many want to argue now, a poetry of=20 globalization, Jules Boykoff is writing it and those looking for what poetry= might look=20 like post-Seattle will find this necessary reading.=E2=80=9D =C2=A0=C2=A0= =C2=A0=C2=A0 SPECIAL OFFER on select Edge titles through May 15: CIPHER/CIVILIAN, Leslie Bumstead, $10, (regularly $14) AMERICAN WHATEVER, Tim Davis, $9, (regularly $12.50) METROPOLIS XXX: THE DECLINE & FALL OF THE ROMAN EMPIRE, Rob Fitterman, $9=20 (regularly $12.50) INTERVAL, Kaia Sand, $10 (regularly $14) HAZE: ESSAYS POEMS PROSE, Mark Wallace, $9 (regularly $12.50) THE SENSE RECORD, Jennifer Moxley, $10 (regularly $12.50) INTEGRITY & DRAMATIC LIFE, Anselm Berrigan, $7 (regularly $10) ZERO STAR HOTEL, Anselm Berrigan, $12 (regularly $16) COMP., Kevin Davies, $12, (regularly $16) ACE, Tom Raworth, $7 (regularly $10) AERIAL 9: BRUCE ANDREWS, $10 (regularly $15) DOVECOTE, Heather Fuller, $7 (regularly $10) PERHAPS THIS IS A RESCUE FANTASY, Heather Fuller, $8 (regularly $10) MARIJUANA SOFTDRINK, Buck Downs, $8 (regularly $11) NOTHING HAPPENED AND BESIDES I WASN'T THERE, Mark Wallace, $7 (regularly=20 $9.50) Forthcoming 2006: ILLUMINATED MEAT, ed. Rod Smith & Mel Nichols, $6, Summer. BREATHALYZER, K. Silem Mohammad, $14, Summer. AERIAL 10: LYN HEJINIAN, ed. Rod Smith & Jen Hofer, $18, Fall. CLEARING WITHOUT REVERSAL, Cathy Eisenhower, $14, Fall. Send a check payable to Aerial/Edge, POBox 25642, Georgetown Station,=20 Washington, DC 20007, or email your order and we will bill you with the book= s. ORDER: Send a check payable to Aerial/Edge, POBox 25642, Georgetown Station,= =20 Washington, DC 20007, or email your order and we will bill you with the book= s. All prices postpaid. Overseas orders please add $5 postage. Please forward this email to interested parties. THANKS for your support.=20 ========================================================================= Date: Tue, 11 Apr 2006 01:46:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: Forgot to mention...Re: PO25centEM series looking for new subs for second volume MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hey great that means those pomes i sent what the heck were they called will be out what were they called? ========================================================================= Date: Wed, 12 Apr 2006 13:58:25 +0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicholas Karavatos Subject: Server Shutdown at mcbs.edu.om MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Dear Poetics List, =20 I have been informed by our Tech Support here that they will shutdown our server for several hours. In the event of email bounce-back, please understand the technical difficulty and accept my apologies. They have agreed to perform their maintenance during hours when we are least likely to receive email from the Western Hemisphere. I am sorry if any bounces occur. I have also informed the list admin. I hope there are no problems, but I know very little of these things. =20 Thank you, Nicholas Karavatos =20 =20 ========================================================================= Date: Wed, 12 Apr 2006 07:43:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: 12 by Carlos Luis Comments: To: announce@logolalia.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The minimalist concrete poetry site at: http://www.logolalia.com/minimalistconcretepoetry/ has been updated with 12 pieces by Carlos Luis. Science has taught us that the building blocks of matter are smaller than the atom. Carlos Luis's research indicates that the building blocks of language are smaller than the letter. Come taste the fruits of that research. Enjoy, Dan ========================================================================= Date: Wed, 12 Apr 2006 08:11:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: WHO READS POETRY? In-Reply-To: <20060411185809.82411.qmail@web54204.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Statistics: Who reads poetry? Here are some stats on some book sales over time; Walt Whitman, Leaves of Grass 1856 Sales 200 Copies William Carlos Williams, Paterson First Printing 900 Copies Anna Akhmatova, Requiem Published as Samizdat, 200 Copies Emily Dickinson, Poems Most Never Published or read in her lifetime I think the issue is not who reads poetry. It is what poetry is read and the impact it has. There is lots of poetry read in the USA but it is Chicken Soup for the Soul, Billy Corgan, Hallmark Christmas Poetry Books these books are just entertainment. But my question is which book of poetry that has been published will resonate? Which book will in 100 years be read like the Wasteland is now as a defining book of our time? ========================================================================= Date: Wed, 12 Apr 2006 07:33:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: WHO READS POETRY? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed These are the copies issued in the printing, aren't they? The actual "sales" number may be much lower. charles At 06:11 AM 4/12/2006, you wrote: > > >Statistics: > >Who reads poetry? Here are some stats on some book sales over time; > >Walt Whitman, Leaves of Grass 1856 Sales 200 Copies >William Carlos Williams, Paterson First Printing 900 Copies >Anna Akhmatova, Requiem Published as Samizdat, 200 Copies >Emily Dickinson, Poems Most Never Published or read in her >lifetime > >I think the issue is not who reads poetry. >It is what poetry is read and the impact it has. > >There is lots of poetry read in the USA but it is Chicken Soup for the Soul, >Billy Corgan, Hallmark Christmas Poetry Books these books are just >entertainment. But my question is which book of poetry that has been >published will resonate? Which book will in 100 years be read like the >Wasteland is now as a defining book of our time? charles alexander / chax press fold the book inside the book keep it open always read from the inside out speak then ========================================================================= Date: Wed, 12 Apr 2006 10:52:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Will Esposito Subject: Re: WHO READS POETRY? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit "Which book will in 100 years be read like the Wasteland is now as a defining book of our time?" Is it? Read, or even a defining book of our time? It seems that "soup-for-the-soul" collections of poetry ARE defining works. What else speaks so well for the pseudo- psychologisms and anti-intellectualism of this culture? ========================================================================= Date: Wed, 12 Apr 2006 09:10:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Raphael Israel Subject: Re: the hymn of lovingkindness Comments: cc: Gabriel Gudding , .dosrae@slgf/cp.BUFFALO.EDU In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="utf-8"; format=flowed Content-Transfer-Encoding: 7bit Gabriel, nice. Is this a new rendering of yours? Based on other English translation(s)? Or on some study of the Sanskrit or Pali? cheers, d.i. ------------------------------ Date: Tue, 11 Apr 2006 19:13:58 -0500 From: Gabriel Gudding Subject: the hymn of lovingkindness http://gabrielgudding.blogspot.com/ ------------------------------ | david raphael israel | other shore dvd <> washington dc | blog: http://kirwani.blogspot.com/ ========================================================================= Date: Wed, 12 Apr 2006 10:58:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: WHO READS POETRY? In-Reply-To: <6.2.1.2.2.20060412073210.029d0f98@mail.theriver.com> Mime-Version: 1.0 (Apple Message framework v749.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit And the number of readers may be much higher-- unless, of course, the books self-destruct after a first reading. And wouldn't THAT boost sales? Hal ". . . the old is too old and the new is too old." --Gertrude Stein Halvard Johnson ================ halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org On Apr 12, 2006, at 10:33 AM, charles alexander wrote: > These are the copies issued in the printing, aren't they? The > actual "sales" number may be much lower. > > charles > > At 06:11 AM 4/12/2006, you wrote: >> >> >> Statistics: >> >> Who reads poetry? Here are some stats on some book sales over time; >> >> Walt Whitman, Leaves of Grass 1856 Sales 200 Copies >> William Carlos Williams, Paterson First Printing 900 Copies >> Anna Akhmatova, Requiem Published as Samizdat, 200 >> Copies >> Emily Dickinson, Poems Most Never Published or >> read in her >> lifetime >> >> I think the issue is not who reads poetry. >> It is what poetry is read and the impact it has. >> >> There is lots of poetry read in the USA but it is Chicken Soup for >> the Soul, >> Billy Corgan, Hallmark Christmas Poetry Books these books are just >> entertainment. But my question is which book of poetry that has been >> published will resonate? Which book will in 100 years be read like >> the >> Wasteland is now as a defining book of our time? > > charles alexander / chax press > > fold the book inside the book keep it open always > read from the inside out speak then ========================================================================= Date: Wed, 12 Apr 2006 10:01:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Gallaher Subject: Re: WHO READS POETRY? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Asked: =20 > What else speaks so well for the pseudo-> psychologisms and anti-intellec= tualism of this culture? I reply: =20 The Poetics List? =20 =20 JG =20 OK, that was just too hard to resist...=20 = ========================================================================= Date: Wed, 12 Apr 2006 11:03:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: new chapbook Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-36A54BDB; boundary="=======AVGMAIL-443D16AD21BE=======" --=======AVGMAIL-443D16AD21BE======= Content-Type: text/plain; charset=us-ascii; format=flowed; x-avg-checked=avg-ok-36A54BDB A LOOK AT THE DOOR WITH THE HINGES OFF (Poems from the mid-1960s) by Michael Heller from A Note on the Poems: "I try to re-imagine what went into these poems, the experimental climate of those days, love of Weburn's pointillist music, the background, not yet fully formed, in my love of poets like Williams, Creeley, Oppen, Olson, Zukofsky. Heady days, lighter days--looking back we can always find signs of where we've been. But I also find in these poems, portents of an open, hopeful futurity." Published by Dos Madres Press 24 pp. $8.00 plus shipping Available from Dos Madres Press P.O. Box 294 Loveland, Ohio 45140 http://www.dosmadres.com (for online orders, payment by PayPal, credit cards and echecks. Mail-in checks made out to Robert Murphy) Exigent Futures: New and Selected Poems (2003) and Uncertain Poetries: Selected Essays (2005) available from Salt Publishing at www.saltpublishing.com and at both regular and online bookstores. For a survey of work, poems, essays, prose, go to: http://www.thing.net/~grist/ld/heller.htm --=======AVGMAIL-443D16AD21BE======= Content-Type: text/plain; x-avg=cert; charset=us-ascii; x-avg-checked=avg-ok-36A54BDB Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Content-Description: "AVG certification" No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.1.385 / Virus Database: 268.4.1/309 - Release Date: 4/11/2006 --=======AVGMAIL-443D16AD21BE=======-- ========================================================================= Date: Wed, 12 Apr 2006 10:23:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: e-dress for Burning Deck In-Reply-To: <7.0.1.0.0.20060412103948.01d660c0@nyu.edu> Mime-Version: 1.0 (Apple Message framework v746.3) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Does anyone have a contact email for Burning Deck? Please backchannel. thankzzz, ~mIEKAL ========================================================================= Date: Wed, 12 Apr 2006 11:46:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aryanil Mukherjee Subject: Re: WHO READS POETRY? In-Reply-To: A MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit About half a decade back, I threw in some effort, as part of a poetry research project of my own, to find out which English language poetry book written in the 20th century sold the most. The data I gathered is far from complete (don't know how much trust one could put on all of its sources), but I did make an attempt to reach poetry publishers in USA, England, Australia, NZ, India, South Africa and a few other countries where English language poetry books are printed and sold. The data shows Lawrence Ferlinghetti's "A Coney Island of the Mind" sold the most - more than a 1.2 million copies worldwide. The english translation of Rabindranath Tagore's "Gitanjali" (Song Offerings) came close with about a million copies. 3.5 million copies of the original Bengali language collection were sold between 1910 and 2000. Both books are still selling. Aryanil -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of John Gallaher Sent: Wednesday, April 12, 2006 11:01 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: WHO READS POETRY? Asked: > What else speaks so well for the pseudo-> psychologisms and anti-intellectualism of this culture? I reply: The Poetics List? JG OK, that was just too hard to resist... ========================================================================= Date: Wed, 12 Apr 2006 11:03:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: WHO READS POETRY? In-Reply-To: <011501c65e48$515355b0$a52c7a92@net.plm.eds.com> Mime-Version: 1.0 (Apple Message framework v746.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Where does one find these kind of statistics online? It would be fascinating to compare how poetry sells in other languages to how it sells in english. ~mIEKAL On Apr 12, 2006, at 10:46 AM, Aryanil Mukherjee wrote: > > The english translation of Rabindranath Tagore's "Gitanjali" (Song > Offerings) came close with about a million copies. 3.5 million copies > of the original Bengali language collection were sold between 1910 > and 2000. > > Both books are still selling. > > Aryanil There's many a bestseller that could have been prevented by a good teacher. --Flannery O'Connor ========================================================================= Date: Wed, 12 Apr 2006 11:02:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Officer in Need of Assistance! Subject: Re: WHO READS POETRY? In-Reply-To: <011501c65e48$515355b0$a52c7a92@net.plm.eds.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline On 4/12/06, Aryanil Mukherjee wrote: > > The data shows Lawrence Ferlinghetti's "A Coney Island of the Mind" > sold the most - more than a 1.2 million copies worldwide. Interestingly, I saw about 5 copies of that book at my town's public library's book sale this past weekend and last month, at the Planned Parenthood annual book sale in Des Moines, there had to be no less than 12 copies. ========================================================================= Date: Wed, 12 Apr 2006 12:20:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aryanil Mukherjee Subject: Re: WHO READS POETRY? In-Reply-To: A<9D232B4B-3605-42E9-83C5-D3121E8BC9F5@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I doubt if such data could be found online. I had to get in touch with dozens of printers worldwide. The City Lights website proudly proclaims that it alone have sold more than a million copies of A Coney Island of the Mind. Tagore is like a Shakespeare in the non-english domain. So those numbers aren't surprising. If you include the arabic-speaking world, Gibran must have sold in millions too. It depends a lot on how widely a language is spoken. I was told by an Estonian poet that nearly every Estoninan home contains a poetry book - at least one, but Estonian isn't a very widely spoken language. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of mIEKAL aND Sent: Wednesday, April 12, 2006 12:03 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: WHO READS POETRY? Where does one find these kind of statistics online? It would be fascinating to compare how poetry sells in other languages to how it sells in english. ~mIEKAL On Apr 12, 2006, at 10:46 AM, Aryanil Mukherjee wrote: > > The english translation of Rabindranath Tagore's "Gitanjali" (Song > Offerings) came close with about a million copies. 3.5 million copies > of the original Bengali language collection were sold between 1910 > and 2000. > > Both books are still selling. > > Aryanil There's many a bestseller that could have been prevented by a good teacher. --Flannery O'Connor ========================================================================= Date: Wed, 12 Apr 2006 09:28:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: C Daly Subject: Re: WHO READS POETRY? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable it seems clear that they would like to use their money to replace = chicken soup for chickens with x because they want to be a dominating discourse (not expecting to be a dominant one) the questions aren't about what people like in the way of poetry or how = they use poetry (with the success of hallmark, etc., it is obvious: as = gifts, as comfort -- thoughtful exchanges, some content based, some not) but how = to shove poetry Wiman et.al. think appropriate down people's throats. = "How, where, and when to reach out," "audience development," etc. being more administrative catch phrases than "finding the audience where it is," = and "coordinating with the other arts and pop culture, and etc." it would = be supremely unfortunate in my view if this leads to some sort of two week = high school curriculum about meter and stand up poetry in order to catch = every teenager at exactly the moment that s/he is most open to poetry and turn them off forever... and then offer a number of collections that go well = with herbal tea when you're going through a rough patch...=20 how about Hallmark. talk about poetry entrepreneurs. anyway to become = a Hallmark, a Thomas Kinkaid, if you realize modernism happened? all best, Catherine Daly cadaly@comcast.net ========================================================================= Date: Wed, 12 Apr 2006 12:01:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kass Fleisher Subject: Re: WHO READS POETRY? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >women account for 62% of all poetry users, men for 38% (roughly the >same as the percentages for all readers generally)... wondering, what is the percentage of men who've published books of poetry vs. women who've published books of poetry? here's where we need tillie olsen again. kass ========================================================================= Date: Wed, 12 Apr 2006 12:26:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: WHO READS POETRY? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" that's a good question... the study says this about *perceptions*---and it would seem that perceptions are accurate insofar as poetry readers go: "The majority of respondents indicated that both poets and poetry readers could be male or female, were of no particular age, and no particular race. However, when adult readers do ascribe physical characteristics to poets and poetry readers, they have very different perceptions of what these groups look like. Among those respondents who chose a particular physical characteristic to describe most poets, the image of poets that emerges is fairly stereotypical. They agree that poets are more likely to be old or middle-aged, white men. In comparison, the only physical characteristic that was attributed to poetry readers with significant frequency was gender. Respondents believe that poetry readers are more likely to be women." joe >>women account for 62% of all poetry users, men for 38% (roughly the >>same as the percentages for all readers generally)... > >wondering, what is the percentage of men who've published books of >poetry vs. women who've published books of poetry? > >here's where we need tillie olsen again. > >kass -- Joe Amato, Managing Editor American Book Review Illinois State University CB 4241 Fairchild Hall, Room 109 Normal, IL 61790-4241 USA 309.438.2127 (voice) 309.438.3523 (fax) AmericanBookReview@ilstu.edu ========================================================================= Date: Wed, 12 Apr 2006 10:51:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Poetry Reviews: George Stanley, Kaie Kellough, Marie Annharte Baker, Wayde Compton, Daniel f. Bradley, Sandy Cameron, Sharon Thesen, Susan Rudy & Pauline Butling, Tom Cone MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Poetics, The following poetry reviews published in The Rain Review of Books (Vancouver) under the editorship of Michael Barnholden (2003-2006) are now available online. More to follow. Aaron Vidaver Editor, The Rain Review of Books http://www.rainreview.net *** Ted Byrne on George Stanley, A Tall Serious Girl (Jamestown: Qua Books, 2003); on Sharon Thesen, News and Smoke: Selected Poems (Vancouver: Talonbooks, 1999) and A Pair of Scissors (Toronto: House of Anansi Press, 2000) http://www.rainreview.net/rain-020406.html http://www.rainreview.net/rain-010105.html Wayde Compton on Kaie Kellough, Lettricity (Montréal: Cumulus Press, 2004) http://www.rainreview.net/rain-030103.html Roger Farr and Reg Johanson on Susan Rudy and Pauline Butling, Writing in Our Time: Canada’s Radical Poetries in English, 1957-2003 (Wilfred Laurier University Press, 2005) and Susan Rudy and Pauline Butling, eds., Poets Talk: Conversations with Robert Kroetsch, Daphne Marlatt, Erin Moure, Dionne Brand, Marie Annharte Baker, Jeff Derksen and Fred Wah (Edmonton: University of Alberta Press, 2005) http://www.rainreview.net/rain-030406.html Marsha Drake on Sandy Cameron, Being True to Ourselves: Downtown Eastside Poems of Resistance (Vancouver: Swancam, 2004) http://www.rainreview.net/rain-030107.html Reg Johanson on Marie Annharte Baker, Exercises in Lip Pointing (Vancouver: New Star Books, 2003); on Wayde Compton, Performance Bond (Vancouver: Arsenal Pulp Press, 2004) http://www.rainreview.net/rain-010107.html http://www.rainreview.net/rain-030301.html Donato Mancini and Judith Copithorne on Daniel f. Bradley, A Boy’s First Book of Chlamydia: Poems 1996-2002 (Toronto: BookThug, 2005) http://www.rainreview.net/rain-030402.html http://www.rainreview.net/rain-040105.html Andrew Klobucar on Tom Cone, True Mummy (Vancouver: Anvil Press, 2004) http://www.rainreview.net/rain-020402.html ========================================================================= Date: Wed, 12 Apr 2006 13:33:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Re: Forgot to mention...Re: PO25centEM series looking for new subs for second volume Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Steve! all the subs you sent i had a fucking hard ass time putting them int= o the 4" X 5" format. you have the chaps, this project (i know it's limitin= g!) must fit the guidelines and your subs are so expansive. i'm sorry i can= 't use them. but i will happily add something of yours if it can all fit on= 4X5. I hope you and yuko are well - you're both damn busy! kudos!!! we miss you - we wish there was a way to see you... gotta get to nyFCKNc chris > ----- Original Message ----- > From: "Steve Dalachinksy" > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Forgot to mention...Re: PO25centEM series looking for new su= bs for second volume > Date: Tue, 11 Apr 2006 01:46:37 -0400 >=20 >=20 > hey great that means those pomes i sent what the heck were they called > will be out >=20 > what were they called? > Christophe Casamassima Professor Emiritus, Modern Languages & Philology University of Jamaica Avenue, Queens, N.Y. --=20 ___________________________________________ Graffiti.net free e-mail @ www.graffiti.net Play 100s of games for FREE! http://games.graffiti.net/ Powered By Outblaze ========================================================================= Date: Wed, 12 Apr 2006 13:34:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Re: Forgot to mention...Re: PO25centEM series looking for new subs for second volume Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 sorry, that was for steve not for public eyes!!! sorry, steve! --=20 ___________________________________________ Graffiti.net free e-mail @ www.graffiti.net Play 100s of games for FREE! http://games.graffiti.net/ Powered By Outblaze ========================================================================= Date: Tue, 11 Apr 2006 13:54:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: WHO READS POETRY? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit i don't ========================================================================= Date: Wed, 12 Apr 2006 16:25:40 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: TEN THOUSAND BY THE FOURTH OF JULY PLEASE! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit :: TEN THOU: _http://TENbyFOUR.blogspot.com_ (http://TENbyFOUR.blogspot.com) :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: :: ========================================================================= Date: Wed, 12 Apr 2006 18:46:14 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: spring avant gardening in Canada MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT I'm not sure if this was posted but it appeared two weeks ago in the Toronto Globe and Mail. http://www.theglobeandmail.com/servlet/story/LAC.20060401.BKPOET01/TPStory/?query=shift+%26+switch Let's get pataphysical CHRISTIAN B™K Shift & Switch: New Canadian Poetry Edited by Derek Beaulieu, Jason Christie and Angela Rawlings Mercury Press, 192 pages, $9.95 Shift & Switch is an anthology of contemporary, experimental poetry, written by young (under 40) poets. The book attempts to redress a recurrent oversight in our literary history by showcasing the work of upstart writers who do not subscribe to the lyricism of the personal anecdote, but who instead aspire to extend the boundaries of expression into unusual regimes of linguistic innovation. Such poets often go underexposed, if not unrecognized, in this country. Derek Beaulieu, one of the three editors, argues that, for far too long in Canada, lyric poems of both "confession and reflection" have become "flattened into a sameness," reiterating the same forms of nostalgia in the same tones of quietude. But despite this monochrome, stylistic sensibility, most anthologies of poetry in Canada have portrayed such traditional verse as the most progressive genre, marginalizing alternative varieties that question the limits of such linguistic convention. Jason Christie, another of the editors, argues that many anthologies of poetry in Canada have concerned themselves with definitions of cultural identity (usually defined in opposition to the literary legacies of both North America and Europe). But while the writers in this collection are Canadian, their aesthetic interests extend beyond national concerns: "Their nationality is not a distinguishing feature of their poetry." Such poets subscribe to an eclectic ensemble of marginalized, cosmopolitan styles. Angela Rawlings, the last of the editors, reiterates some of these polemical arguments in a manner far more flamboyant in tone, suggesting that if the "cacophony" of this anthology has any cogent, poetic agenda, it must reside in its "enthusiasm for questioning what a poem may be." The anthology thus juxtaposes varied genres, all influenced by a smorgasbord of avant-garde writers, including, among others, concrete poets, feminists and pataphysicians, language poets, oulipians and conceptualists. Greg Betts, for example, has submitted excerpts from If Language, a collection of correlated paragraphs, each one a lengthy anagram that completely recombines the letters from another passage by poet Steve McCaffery. Betts even goes so far as to permute McCaffery in order to requote Shakespeare, thereby rearranging the word "Honorificabilitudinitatibus" into "Hi ludi, F. Baconis nati, tuiti orbi," a Latin phrase found in 1910 by the scholar Edwin Lawrence-Durning, who used this anagram to attribute authorship of the plays to Bacon. Jordan Scott, on the other hand, submits excerpts from his poem Blert, a work that attempts to turn the linguistic impediment of his stutter into the basis for a poetic genre. He gathers words that use phonemes too difficult for him to pronounce because of his stammer, and then recombines these glottal phrases into sound poems that, when performed by him, engage his body in a powerful struggle for expression -- a kind of "mandible chatter, a gatling hopscotch:/ herring clatter buccal cove, yokel coconut acoustic." Sharon Harris also offers excerpts from her project Fun with Pataphysics, a work that explains poetry in the kind of low-tech lingo found in kids' science classes. Harris rewrites science manuals, replacing a key word such as "Earth" with another word such as "poems," so that, when asked, "What would happen to the world as we know it, if poems were hollow?" she discovers that, "We would be in danger of death by suffocation, thirst, frying, starving, freezing, and drowning -- in that order." Chris Fickling is among the many visual poets showcased in this anthology, all of whom generate pictures from letterforms, producing texts meant to be seen more than read. Fickling, for example, arranges letters on the page in such a way that they reproduce celebrated paintings from the history of art, including The Birth of Venus, by Botticelli, and Starry Night, by Van Gogh. Such witty texts illustrate the degree to which the "imagism" of poetry has always had to compete with richer, visual traditions in the world of art. Critic Carmine Starnino has already complained that the poets in this book exist in "a state of permanent adolescence," unaccountable to the more mature, more formal nuances of official lyricism. But his jibes at the avant-garde have always struck me as an expression of the fear that posterity is going to punish his generation of lyric poets for their lack of imagination. While this anthology does arise from the exuberance of youthful editors, ready to break from the decorum of editorial protocols (going so far as to include examples of their own work, which is quite respectable in quality), the anthology nevertheless sets, in most cases, exemplary standards of excellence for its selections, and such work certainly provides a "core sample" of innovation in our literature. You may not yet recognize many of the poets in this provocative compilation. Chances are you soon will. Christian B”k's work, Eunoia, won the Griffin Poetry prize. ========================================================================= Date: Wed, 12 Apr 2006 18:28:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Evans Subject: Toklas Cook Book Query from Sara Speidel Comments: cc: Sara Speidel Mime-Version: 1.0 (Apple Message framework v749.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit (I pass along the following query from a Masters candidate here at the UMaine. Thanks in advance for any help listmembers are able to provide. -SE) I am working on a project centered on The Alice B. Toklas Cook Book and would appreciate hearing from anyone who has information regarding the extent to which Toklas was aware of details about the recipe for Hashish Fudge submitted by Brion Gysin. If you are able to help, please reply to Sara dot Speidel at umit dot maine dot edu ========================================================================= Date: Wed, 12 Apr 2006 19:10:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian VanHeusen Subject: Questions Regarding Buddhism Mime-Version: 1.0 Content-Type: text/plain; format=flowed I had the following questions regarding Buddhism and I would like to state that I do not ask them to discredit the religion and its followers. I have a sincere respect for the peace and beauty of Buddhism, especially in the modern world. These questions are prompted from discussions I have had they made me question the nature of my perceptions. 1) Are their examples of "Buddhist Atrocities" where religion was the motivating factor? I am aware of atrocities against Buddhists and I have heard rumors of atrocities done by Buddhists. I ask because someone I was talking about claimed that Buddhists never ever committed atrocities in the name of religion. 2) I heard from a convert to Tibetan Buddhism that the Dali Llama once had slaves, is this true? If possible, please give sources. Thanks and God bless, Ian VanHeusen ========================================================================= Date: Wed, 12 Apr 2006 19:40:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Israel Subject: Re: Questions Regarding Buddhism MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable Ian, This is, merely a somewhat generalized answer. I am not an expert in all the ins and outs of Asian history over the past 2600 years (though I have studied something of that history at a generalist and/or undergrad level). Allowing that different people may have different definitions of what comprises an "atrocity," still your framing of the question presumably implies (especially) such activities as the waging of wars, violence to persons, killing and maiming And the like, yes? The generalization that such actions have not much been committed in the name of Buddhism per se, seems probably correct. Buddhism and Jainism are conventionally=20 understood as the two 'isms (among the so-called great religions) that place the steepest premium on non-harm-of-others as a central precept. Admittedly, Judeo-Christian traditions do have pesky things such as "Thou Shalt Not Kill" enshrined amid their literature; but apparently some kind of loophole has kicked into play at certain points in cultural history (as in, like, nearly everywhere). The Buddhists have been less successful at finding such a loophole, or more successful at not finding one. As for slaves and the Dali Lama [note single L -- Llamas are another story] -- I think what you relay sounds like a garbled version of the commonplace observation that there were said to have been serfs (peasant farmers) under the authority of the central government at Lhasa, who would pay (presumably grain) tribute to The Patola (ultimately run by the Dalai Lama). Perhaps somebody equates serfdom with slavery, though this seems a muddled equation. But as said, I am not up on all details, and do not know what grievances somebody somewhere may have voiced. On the face of it, I a bit wonder whether the story you relay may not have origins in Chinese Communist party rumor-mongering? I'm sure s Tibetan scholar could give a much better and clearer answer. One could say that Buddhism on the whole seeks to shift the focus of conflict away from the outside world and into the realm of the individual practitioner's own mental awareness. The same could be said of other traditions as well. But for various reasons, there have not been a lot of Buddhist conquests etc. Unless it can be said that Genghis Khan was marauding in the Buddha's name? . . . No doubt any sweeping statement will generate some embarrassing exception. So the quest for sweeping statements maybe needs some interrogation of its own. cheers, d.i.=20 david raphael israel washington dc http://kirwani.blogspot.com -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Ian VanHeusen Sent: Wednesday, April 12, 2006 7:11 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Questions Regarding Buddhism I had the following questions regarding Buddhism and I would like to state that I do not ask them to discredit the religion and its followers. I have a sincere respect for the peace and beauty of Buddhism, especially in the modern world. These questions are prompted from discussions I have had they made me question the nature of my perceptions. 1) Are their examples of "Buddhist Atrocities" where religion was the motivating factor? I am aware of atrocities against Buddhists and I have heard rumors of atrocities done by Buddhists. I ask because someone I was talking about claimed that Buddhists never ever committed atrocities in the name of religion. 2) I heard from a convert to Tibetan Buddhism that the Dali Llama once had slaves, is this true? If possible, please give sources. Thanks and God bless, Ian VanHeusen ========================================================================= Date: Wed, 12 Apr 2006 20:03:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: K. Johnson reads 12 new epigrams In-Reply-To: <0895E98850E5F247B725A30CCB9292C9454A9E@EVS1.ntcorp.local> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Kent Johnson awkwardly discourses and clumsily reads twelve and =BD new epigrams, to be included in the expanded edition of his recent booke of satirical trifles and incongruous pictures, Epigramititis: 118 Living American Poets [BlazeVox, 2006]. The second edition will be titled Epigramititis: 168 Living American Poets (also issued by BlazeVox and to weigh-in nigh 400 pages). The epigrammed writers honored on this = recording are, in order of appearance, Jesse Glass, Noah Eli Gordon, Jonathan = Mayhew, Jane Hirschfield, Cole Swensen, Katie Degentesh, Paul Hoover, Joshua = Clover, Mark Doty, Tony Tost, Mark Weiss, and Joe Green.=20 http://thejeunessedoree.libsyn.com/=20 [Geoffrey Gatza]=20 =20 ========================================================================= Date: Wed, 12 Apr 2006 22:08:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Questions Regarding Buddhism In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" i am a big fan of buddhism and try to learn what i can about the practice. i have heard, though, that buddhists have played a violent role in the civil war in sri lanka over the years. i'm not sure what the ethnicity/religion axes of the conflict are; that is, if religion and ethnicity are bound together, or not, so that the two cannot be meaningfully separated in determining what is at stake in the armed conflict. ps it's Dalai Lama... At 7:10 PM -0400 4/12/06, Ian VanHeusen wrote: >I had the following questions regarding Buddhism and I would like to >state that I do not ask them to discredit the religion and its >followers. I have a sincere respect for the peace and beauty of >Buddhism, especially in the modern world. These questions are >prompted from discussions I have had they made me question the >nature of my perceptions. > >1) Are their examples of "Buddhist Atrocities" where religion was >the motivating factor? I am aware of atrocities against Buddhists >and I have heard rumors of atrocities done by Buddhists. I ask >because someone I was talking about claimed that Buddhists never >ever committed atrocities in the name of religion. > >2) I heard from a convert to Tibetan Buddhism that the Dali Llama >once had slaves, is this true? > >If possible, please give sources. Thanks and God bless, >Ian VanHeusen ========================================================================= Date: Wed, 12 Apr 2006 20:30:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "e.g. vajda" Subject: romania may-june Comments: To: spidertangle@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline hi everyone, i'm getting ready to go to romania for a class on contemporary society, art and politics. i'm wondering if anyone out there lives in either Bucharest or Sibiu which is where i'll be most of the month of May and early June. After I'm travelling to the Czech republic to meet my family that still lives there and then on to Budapest and then Berlin. my focus for the class will be the investigation of experimental writing (any "form", poetry, plays, fiction, cross genre, online, etc) and for this i'm hoping to meet some folks in either Bucharest or Sibiu (romania) who could help to inform me. if you're out there, backchannel me at egvajda at gmail dot com so that we can possibly meet! or, if you're not in Romania but have some ideas on people to look for or places to go, backchannel me that info, too. thanks for your help! best grace vajda ========================================================================= Date: Wed, 12 Apr 2006 23:40:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: Re: the hymn of lovingkindness In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit david, sort of a new rendering. i studied pali once upon a time, but this is based on the original and some renderings by Thanissaro Bhikkhu, Ñanamoli Thera, the Amaravati Sangha, Piyadassi Thera, and Acharya Buddharakkhita. so it's like a compilation. just a very thrown together hodgepodge. but this is one of my favorite suttas and i want eventually to do a stronger rendering of it. gabe > ------------------------------ > > Date: Wed, 12 Apr 2006 09:10:07 -0500 > From: David Raphael Israel > Subject: Re: the hymn of lovingkindness > > Gabriel, > > nice. Is this a new rendering of yours? > Based on other English translation(s)? > Or on some study of the Sanskrit or Pali? > > cheers, > d.i. ========================================================================= Date: Thu, 13 Apr 2006 02:53:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lauren Shufran Subject: Fwd: Chapter 1, Barbara Guest Memory Bank MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit --- Kathleen Fraser wrote: > Date: Fri, 17 Mar 2006 18:11:18 +0100 > To: how2journal@googlemail.com > From: Kathleen Fraser > Subject: Chapter 1, Barbara Guest Memory Bank > > > HOW2 ANNOUNCEMENT: SPECIAL POSTCARD SECTION > > BARBARA GUEST Memory Bank: > > An on-going gathering of brief memoirs and Barbara > Guest poems > (selected by her readers) to honor the life and > writing of Barbara > Guest [1920-2006]. > > The memory bank can be found > HERE. > > How2 ========================================================================= Date: Thu, 13 Apr 2006 06:30:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Save the dates: April 20-22 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit gary, This e-mail is from Hong Kong. We are away until the 26th. Good luck with the show. Murat ========================================================================= Date: Thu, 13 Apr 2006 08:54:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Suzanne Subject: Re: Toklas Cook Book Query from Sara Speidel In-Reply-To: <5971868B-F284-421C-A91E-EE44AB15AD9B@maine.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline So far as I can tell, she was not only unaware, she was deeply miffed that anyone would suggest that Stein's genius was artifically fueled by any substance. You no doubt have read the straight dope: http://www.straightdope.com/classics/a940225.html And this book about Gysin looks great and may provide more details about this incident: http://www.buy.com/retail/product.asp?sku=3D30905666&SearchEngine=3DFroogle= &SearchTerm=3D30905666&Type=3DPE&Category=3DBook&dcaid=3D17379 Wish I could offer more. For what it is worth, I have made that fudge and its rather good. :-) Suzanne On 4/12/06, Steve Evans wrote: > > (I pass along the following query from a Masters candidate here at > the UMaine. Thanks in advance for any help listmembers are able to > provide. -SE) > > I am working on a project centered on The Alice B. Toklas Cook Book > and would appreciate hearing from anyone who has information > regarding the extent to which Toklas was aware of details about the > recipe for Hashish Fudge submitted by Brion Gysin. > > If you are able to help, please reply to > > Sara dot Speidel at umit dot maine dot edu > -- "Start with your identity, which is a combination of your assets and what your friends mean when they discuss 'the trouble with you,' polish that, an= d you have style." --Quentin Crisp ========================================================================= Date: Thu, 13 Apr 2006 09:35:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: B.C. Classic Albums Live presents Poets and The Pretenders, Learning to Crawl Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable please forward --------------- Boog City's Classic Albums Live presents The Pretenders, Learning to Crawl Tues. April 25, 8:00 p.m., $7 The Bowery Poetry Club 308 Bowery (and 1st Street) NYC with readings from: Shanna Compton Sharon Mesmer Jenny Smith Then=20 The Pretenders, Learning To Crawl will be performed live in order by: Casey Holford --Middle Of The Road --Back On The Chain Gang Phoebe Kreutz --Time The Avenger --Watching The Clothes The Sewing Circle --Show Me --Thumbelina The Leader --My City Was Gone --Thin Line Between Love And Hate Erika Simonian --I Hurt You --2000 Miles Hosted by Boog City editor and publisher David Kirschenbaum Directions: F train to Second Avenue, or 6 train to Bleecker Street. Venue is at foot of 1st Street, between Houston and Bleecker streets, across from CBGB's. Call 212-842-BOOG(2664) or email editor@boogcity.com for further informatio= n poet and musical acts' websites http://www.shannacompton.com/ http://www.caseyholford.com/ http://www.phoebekreutz.com/ http://www.olivejuicemusic.com/theleader.html http://www.respiro.org/Issue17/Poetry/poetry_Mesmer.htm http://www.myspace.com/thesewingcircle http://www.erikasimonian.com/ http://www.flickr.com/photos/piratejenny poet and musical acts' bios Winnow Press published Shanna Compton=B9s Down Spooky in fall 2005. Compton i= s also the editor of GAMERS: Writers, Artists & Programmers on the Pleasures of Pixels (Soft Skull, 2004). Her poems and essays have recently appeared i= n The Tiny, Coconut, MiPoesias, Spork, Court Green, Verse, and in the anthologies The Best American Poetry 2005, The Bedside Guide to No Tell Motel, and Digerati. Originally from Texas, she has lived in Brooklyn, NY since 1995. Casey Holford is a member of the bands Dream Bitches and Urban Barnyard, as well as several other revolving musical projects. He has a new solo album and also a new EP, which a Boog City cover story says sounds like what you might hear "If Elliott Smith's Figure 8 was twisted through the buttcrack o= f Cyndi Lauper's She's So Unusual." He lives in Clinton Hill, Brooklyn. Phoebe Kreutz is a little joke folk gal who likes her thrills as cheap as her beer. She's always singing songs about silly stuff. This spring she's headed off to confuse and delight audiences on her first tour in the U.K. Then she'll come home and release her new album, tentatively titled Feeling= s Up the Wazoo. She's very excited for this chance to pay homage to Chrissie Hynde, who had such a large influence on not only Phoebe's bangs, but the bangs of her entire generation. The Leader is a bass and drum duo with plenty of harmony. A little country, mostly rock, and lyrically obsessed with the sh*t hitting the fan. Sharon Mesmer is the author of In Ordinary Time (stories, Hanging Loose Press, 2005), Ma Vie =E0 Yonago (stories, Hachette Litt=E9ratures, France, in French translation, 2005), The Empty Quarter (stories, Hanging Loose Press, 2000), and Half Angel, Half Lunch (poems, Hard Press, 1998). Lonely Tylenol= , an art book from Flying Horse Editions/University of Central Florida (2003)= , is a collaboration with the painter David Humphrey. She writes a seasonal column for the French magazine Purple Journal and music reviews for The Brooklyn Rail. Her fiction and poetry have appeared in New American Writing= , Van Gogh's Ear (France), Lungfull!, Gargoyle, Tears in the Fence (UK), and The Brooklyn Rail, and on the websites Respiro, theeastvillage, the2ndhand, and Nerve. She teaches graduate and undergraduate fiction-writing and literature courses at the New School. The Sewing Circle is a musical collective centered around keyboardist/multi-instrumentalist Preston Spurlock, with frequent collaborations from his first cousin Chase McGuire. The project started in West Palm Beach, Florida in the summer of 2003. Since then, they have recorded two full albums and are currently working on a third, and have had several live performances. The Sewing Circle specializes in songs about cryptozoology, extinction, and sleep. It's Erika Simonian=B9s unique combination of talent and personality that critics have repeatedly celebrated about her. Having been compared to Liz Phair for her straightforward lyrical tone and Aimee Mann for her songwriting craft, Simonian continues to defy the stereotypes of the female singer/songwriter with her prickly sense of humor and her characteristic air-and-light-infused delivery. There's something in that voice--a cat and mouse playfulness--that lets you know that Simonian's in control even when she seems most vulnerable. =B3Her superb CD All the Plastic Animals is the gold standard for slowly smoldering, fearlessly intelligent songwriting, infused with barely restrained rage and subtle wit.=B2 -Alan Young of Trifectagram and New York Press. Jenny Smith is the author of Egon and Wait a Minute, Harriet. She writes poems and takes pictures and is currently trying very hard to find an inexpensive tuba so that she can play the tuba, too. Please find a tuba in your basement and sell it to her. --=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://boogcityevents.blogspot.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Thu, 13 Apr 2006 07:49:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Questions Regarding Buddhism In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit As far as I know Buddhism has few if any "atrocities". There is an interesting case I would like to check out. Apparently, according to two Thai movies I've seen about this event, there was a war between the Burmese and the Thais in the 16th or 17th century in which monks participated in the fighting force. You might ask, can you trust movies as historical record, but since I've seen it twice, I'd like to check it out. Since taking life of any kind is against the precepts Buddhist monks take when they ordain, this would run contrary to that if anyone was killed by Buddhist monks in this conflict. Does anybody know anything about this war? I actually don't know who to ask.Thanks, Tom Savage Ian VanHeusen wrote: I had the following questions regarding Buddhism and I would like to state that I do not ask them to discredit the religion and its followers. I have a sincere respect for the peace and beauty of Buddhism, especially in the modern world. These questions are prompted from discussions I have had they made me question the nature of my perceptions. 1) Are their examples of "Buddhist Atrocities" where religion was the motivating factor? I am aware of atrocities against Buddhists and I have heard rumors of atrocities done by Buddhists. I ask because someone I was talking about claimed that Buddhists never ever committed atrocities in the name of religion. 2) I heard from a convert to Tibetan Buddhism that the Dali Llama once had slaves, is this true? If possible, please give sources. Thanks and God bless, Ian VanHeusen --------------------------------- Talk is cheap. Use Yahoo! Messenger to make PC-to-Phone calls. Great rates starting at 1¢/min. ========================================================================= Date: Thu, 13 Apr 2006 10:42:14 -0500 Reply-To: jkotin@uchicago.edu Sender: UB Poetics discussion group From: Joshua Kotin Subject: CHICAGO REVIEW / SPRING 2006 / FREE BOOK OFFER MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit DEAR POETICS LIST--- The new issue of CHICAGO REVIEW is now available! Please find its TOC below along with ordering information and a special FREE BOOK offer. Or visit: www.chicagoreview.org THE 272-PAGE DOUBLE ISSUE INCLUDES: --- A FEATURE ON LISA ROBERTSON --- With two long poems, two essays, an interview, a checklist, and critical essays by Benjamin Friedlander, Christine Stewart, Jennifer Scappettone, and Joshua Clover. --- POEMS --- Stephen Collis, Rosmarie Waldrop, Rusty Morrison, Genya Turovskaya, Karen Weiser, Jacqueline Waters, Cesar Vallejo, Friedrich Holderlin, Gnoetry & Eric P. Elshtain, Peter Gizzi, Michael Kindellan, and John Matthias --- FICTION --- Pamela Lu --- ESSAYS --- Stephen Rodefer, Calvin Bedient, and Eliot Weinberger --- PLUS REVIEWS & NOTES --- | | | | | | | | | | | | | | | | | | | | | | | | | FREE BOOK SUBSCRIPTION SPECIAL Chicago Review is offering a FREE book from either FLOOD EDITIONS or OMNIDAWN with the purchase of a subscription for two-years (or more). Two-year subscriptions start at $38 and can be split to provide a gift subscription. Please order via our website or send a check to the address below. Subscription rates and FLOOD and OMNIDAWN books on offer are below. PLEASE NOTE BOOK OF CHOICE IN THE COMMENTS FIELD WHEN ORDERING ONLINE (and whether you would like to split the subscription). OFFER EXPIRES 15 MAY 2006 --- PLEASE SO ORDER SOON www.chicagoreview.org | | | | | | | | | | | | | | | | | | | | | | | | | RATES $22 - ONE YEAR $38 - TWO YEARS (may be split between you and a friend) $50 - THREE YEARS $72 - FIVE YEARS Overseas subscriptions add $30/year for postage (Canadian and Mexican orders, please add $10/year) www.chicagoreview.org | | | | | | | | | | | | | | | | | | | | | | | | | Subscribe to CR for two or more years and we'll send you one of the following books: FLOOD EDITIONS Robert Adamson, The Goldfinches of Baghdad Laozi, Daode Jing [Translated by Thomas Meyer] Pam Rehm, Small Works Please see www.floodeditions.com for more information. OMNIDAWN Lyn Hejinian, The Fatalist Paul Hooverl, Poems in Spanish Devin Johnston, Aversions Donald Revell, Invisible Green Selected Prose Aaron Shurin, Involuntary Lyrics Or any other book in Omnidawn's catalogue. Please visit www.omnidawn.com for more information. | | | | | | | | | | | | | | | | | | | | | | | | | Subscriber copies are in the mail now. Please write CR with any questions, comments, or concerns: chicago-review@uchicago.edu | | | | | | | | | | | | | | | | | | | | | | | | | Thank you, Chicago Review 5801 South Kenwood Avenue Chicago, Illinois 60637 www.chicagoreview.org ========================================================================= Date: Thu, 13 Apr 2006 08:44:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kristine Leja Subject: 14 Hills-Independent Press Spotlight-Pamela Ryder, Noah Eli Gordon, & Instant City In-Reply-To: <20060413095355.27479.qmail@web53910.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Tuesday, April 18, 2006 @ 7:30pm Intersection for the Arts 446 Valencia St. Between 15th & 16th (Mission) Independent Press Spotlight with Instant City www.theintersection.org Featuring: Pamela Ryder's fiction has been published in many litereary journals. She has just completed a collection of stories about the kidnapping of the Lindbergh baby. Noah Eli Gordonis the author of the book-length poem The Frequencies (Tougher Disguises, 2003), a collection of three long poems The Area of Sound Called the Subtone, (Ahsahta Press, 2004), an e-book notes toward the spectacle (Duration Press) and chapbooks from Margin to Margin, Anchorite Press, and Anon Books. His reviews have appeared in dozens of journals, including Boston Review, The Poker, Rain Taxi, Jacket, and The St. Marks Poetry Project Newsletter. Forthcoming publications include an audio CD from Kites Are Fun!, a chapbook written in collaboration with Sara Veglahn from Ugly Duckling Presse, work in Boston Review, Typo, Small Town and many other journals. He currently teaches at the University of Colorado in Denver and maintains a links page here: http://humanverb.blogspot.com/ For more information visit www.14hills.net --------------------------------- How low will we go? Check out Yahoo! Messenger’s low PC-to-Phone call rates. ========================================================================= Date: Thu, 13 Apr 2006 08:58:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bruce Covey Subject: king/sandvik reading in Atlanta tonight In-Reply-To: <20060413154430.39771.qmail@web50901.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Poets Amy King and Todd Sandvik will read on Thursday, April 13, at 8:00 pm in the Dobbs Hall Parlor of Emory University in Atlanta. King is the author of Antidotes for an Alibi, which was a Lambda Award finalist for 2005, and a chapbook, The People Instruments. Sandvik, the Poet Laureate of Carrboro, is a member of the Lucipo Poetics Group. Light refreshments will be served. This reading is part of the series What’s New in Poetry, made possible by the funding of the Emory University Poetry Council, the Hightower Fund, and the Druid Hills Bookstore. ========================================================================= Date: Thu, 13 Apr 2006 09:17:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: C Daly Subject: LA does have a subway & el MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable April 6 *Staged Reading* North Hollywood Metro Red Line Station=20 Poets: Laurel Ann Bogen, = Eitan Kadosh, Jennifer Kwon Dobbs, Florence Weinberger, Antonieta Villamil, and = Elena Karina Byrne read to rush-hour commuters on the mezzanine level of the = North Hollywood Metro Red Line station beginning at 4 p.m.=20 Location: North Hollywood Metro Red Line Station, mezzanine level. _____ =20 April 13 *7th St./Metro Center platforms of Metro Blue Line=20 Poets: Ellyn = Maybe, Jamie = FitzGerald, Catherine Daly, John FitzGerald , = H=E9l=E8ne Cardona, Michael = C. Ford and Elena = Karina Byrne read to rush-hour commuters on the platforms of departing Metro = Blue Line trains at the 7th Street/Metro Center/Julian Dixon Station = beginning at 4 p.m. If the muse so moves them, poets will board a train to a = destination station and stage an impromptu reading aboard the Metro Blue Line, = hence, the term Poetry in Motion.=20 Location: 7th Street/Metro Center/Julian Dixon Station, 696 W. 7th St., downtown Los Angeles _____ =20 April 20 * Union Station platform of Metro Gold Line=20 Poets: Liz = Gonzalez, Teka Lark = Lo, Elizabeth Iannaci, Bruna = Mori, Lynne = Thompson, Steve Petersen, Sanora Bartels, and Elena = Karina Byrne read to rush-hour commuters on the platform of departing Metro = Gold Line trains at Union Station beginning at 4 p.m. If the muse so moves = them, poets will board a train to a destination station and stage an impromptu reading aboard the Metro Gold Line, hence, the term Poetry in Motion.=20 Location: Union Station Metro Gold Line Station platform, Track 2, Union Station, 801 Alameda St., downtown Los Angeles.=20 =20 ========================================================================= Date: Thu, 13 Apr 2006 09:25:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: what IS this? Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I just received an email message from a so-called "fast track degree program" that wanted to give me a degree based on life experience. We all get those. But at the end of the message, there was the following. It looks like a poem, but is it? What is it? How are these things generated? Are they "generated?" Does anyone know how this stuff comes to be? Are people hired to write these things? Is it stolen? Why do they put these things at the end of messages? Is it so they won't be recognized as spam? Again, what IS this? rivet buster curly-coated rice miller cranio-aural well-greaved potassium dichromate bread-cutting self-paying Trans-mississippi cloth lapper silver-backed all comers ill-colored self-contented guard ring trench plow pine tree root-built made eye four-yard soft-bright grain-growing spiritus asper fourpence hapenny peasant-born straw fiddle Aesop prawn sheet mill fishing banks slag wool blunt-leaved harvest home tallow-colored self-propulsion bleaching powder driving punch cave-lodged magpie diver Iceland crystal terra putura cockatoo farmer dew-lit ordnance sergeant wind cutter peach canker well-knit web-worked sea-beat spatter dash plain wanderer hog louse liver fungus dog cake street virus garlic oil terror-fleet time policy middle-temperature error bucking kier verse anthem worse-taught eye-conscious cutaway coat nonvalue bill down pillow wood louse summer-lived honey clover sailor gang acetate green suction dredge short-headed before-known Semi-norman world-bound bushy-whiskered well-sufficing wood calamint alluring gland sketch book knife-shaped bass killy canker rose well-acquired carriage lamp souari-nut dark-eyed self-trust hand spinning Philo-turkism cumulo-cirrus storm cloud wanton-winged cameline oil school-taught setting rule abutment arch half-baked flower-infolding tonnage displacement vice-rector self-gratulation friction slip three-guinea cartridge annealer prone pressure method orange chipper coral-beaded mid-career cat owl plate money by-sitter rock elm wind-swift drainage theory wheel rod half-misunderstood quasi tradition shave rush torpedo battery tallow oil chestnut bud sierra brownbark pine trial court solemn-sounding sneak current segmentation nucleus passing strake cowhage cherry Neanderthal man silly-faced bacon beetle half-term shoe findings sun-flagged self-opinionatedly transmission grating Trans-uranian high-souled brush breaker harpoon fork tree bear round-leafed fish scale chinked back iron pyrites quick-spouting sleeping carriage primary scholar boy bishop brake clevis bomb tube eddy current mincing horse si quis large-utteranced ridicule-proof zephyr shirting flash set spar bridge cocoa tea well-replaced all-searching Pro-protestant fellow guest shock therapy mortise gauge two estates feed hand whispering gallery Big lime dog-gnawn dish-faced clover-leaf midge state-educated vine fretter pan conveyer cheroonjie nut hot-drawn drainage pit quasi faculty laurel-wreathed sugar refiner loco vetch board rule family living cross-bench bay willow dry-pick re-recollection pre-excursion self-repelling cloud-rocked peat gas equal-headed salt vase gear ratio cypress moss dazzle system grade stake cement pulverizer scare-sleep drumhead cabbage scanning disk self-pitying ugly-clouded poor-feeding sneck band Pro-bermudian wrought iron honor roll fin ray Post-raphaelite dead-air rent-free three-bid game-destroying sloe plum hair seal bismuth white blowing mold self-knowledge point chisel mother cell in-service salpingo-oophoritis quasi-regular baker-kneed wage paying kimono sleeve narrow-leaved oat grass Du-barry ship news sun-bathed worm-shaped plate rail tree sparrow snow-clad precombustion engine professor ordinarius truth serum player piano fair-conditioned never-waning chain store Cypro-phoenician tire vulcanizer blue-colored center bit true-dealing Pro-german Shinarump conglomerate pressure gauge two-unit skunk porpoise blue-ribbonism lake dweller single-blossomed needle-scarred cross remainder Border song tool examiner day nursery dairy cheese ========================================================================= Date: Thu, 13 Apr 2006 12:24:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: Re: what IS this? In-Reply-To: <6.2.1.2.2.20060413091926.02c83e20@mail.theriver.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline it is 'generated' the syntax fools spam guards (someone more tech saavy may have a more detailed answer) rob read has been doing alot of spam work http://www.bookthug.ca/ospam/ http://www.justbuffalo.org/media/events/Audio%20Files/SA12spam.MP3 On 4/13/06, charles alexander wrote: > > I just received an email message from a so-called "fast track degree > program" that wanted to give me a degree based on life experience. We all > get those. But at the end of the message, there was the following. It > looks > like a poem, but is it? What is it? How are these things generated? Are > they "generated?" Does anyone know how this stuff comes to be? Are people > hired to write these things? Is it stolen? Why do they put these things a= t > the end of messages? Is it so they won't be recognized as spam? Again, > what IS this? > > > rivet buster curly-coated rice miller cranio-aural well-greaved potassium > dichromate > bread-cutting self-paying Trans-mississippi cloth lapper silver-backed al= l > comers > ill-colored self-contented guard ring trench plow pine tree root-built > made eye four-yard soft-bright grain-growing spiritus asper fourpence > hapenny > peasant-born straw fiddle Aesop prawn sheet mill fishing banks slag wool > blunt-leaved harvest home tallow-colored self-propulsion bleaching powder > driving punch > cave-lodged magpie diver Iceland crystal terra putura cockatoo farmer > dew-lit > ordnance sergeant wind cutter peach canker well-knit web-worked sea-beat > spatter dash plain wanderer hog louse liver fungus dog cake street virus > garlic oil terror-fleet time policy middle-temperature error bucking kier > verse anthem > worse-taught eye-conscious cutaway coat nonvalue bill down pillow wood > louse > summer-lived honey clover sailor gang acetate green suction dredge > short-headed > before-known Semi-norman world-bound bushy-whiskered well-sufficing wood > calamint > alluring gland sketch book knife-shaped bass killy canker rose > well-acquired > carriage lamp souari-nut dark-eyed self-trust hand spinning Philo-turkism > cumulo-cirrus storm cloud wanton-winged cameline oil school-taught settin= g > rule > abutment arch half-baked flower-infolding tonnage displacement vice-recto= r > self-gratulation > friction slip three-guinea cartridge annealer prone pressure method orang= e > chipper coral-beaded > mid-career cat owl plate money by-sitter rock elm wind-swift > drainage theory wheel rod half-misunderstood quasi tradition shave rush > torpedo battery > tallow oil chestnut bud sierra brownbark pine trial court solemn-sounding > sneak current > segmentation nucleus passing strake cowhage cherry Neanderthal man > silly-faced bacon beetle > half-term shoe findings sun-flagged self-opinionatedly transmission > grating > Trans-uranian > high-souled brush breaker harpoon fork tree bear round-leafed fish scale > chinked back iron pyrites quick-spouting sleeping carriage primary schola= r > boy bishop > brake clevis bomb tube eddy current mincing horse si quis large-utterance= d > ridicule-proof zephyr shirting flash set spar bridge cocoa tea > well-replaced > all-searching Pro-protestant fellow guest shock therapy mortise gauge two > estates > feed hand whispering gallery Big lime dog-gnawn dish-faced clover-leaf > midge > state-educated vine fretter pan conveyer cheroonjie nut hot-drawn drainag= e > pit > quasi faculty laurel-wreathed sugar refiner loco vetch board rule family > living > cross-bench bay willow dry-pick re-recollection pre-excursion > self-repelling > cloud-rocked peat gas equal-headed salt vase gear ratio cypress moss > dazzle system grade stake cement pulverizer scare-sleep drumhead cabbage > scanning disk > self-pitying ugly-clouded poor-feeding sneck band Pro-bermudian wrought > iron > honor roll fin ray Post-raphaelite dead-air rent-free three-bid > game-destroying sloe plum hair seal bismuth white blowing mold > self-knowledge > point chisel mother cell in-service salpingo-oophoritis quasi-regular > baker-kneed > wage paying kimono sleeve narrow-leaved oat grass Du-barry ship news > sun-bathed > worm-shaped plate rail tree sparrow snow-clad precombustion engine > professor ordinarius > truth serum player piano fair-conditioned never-waning chain store > Cypro-phoenician > tire vulcanizer blue-colored center bit true-dealing Pro-german Shinarump > conglomerate > pressure gauge two-unit skunk porpoise blue-ribbonism lake dweller > single-blossomed > needle-scarred cross remainder Border song tool examiner day nursery dair= y > cheese > -- When hot fluid strikes hotter exhaust manifolds, the risk of fire is serious. But when hot fluid hits someone in the face, it can be even more severe. ========================================================================= Date: Thu, 13 Apr 2006 11:27:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: what IS this? In-Reply-To: <6.2.1.2.2.20060413091926.02c83e20@mail.theriver.com> Mime-Version: 1.0 (Apple Message framework v746.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit It's what poets will be replaced by when their are no humans left on the earth. On Apr 13, 2006, at 11:25 AM, charles alexander wrote: > Again, what IS this? > > > rivet buster curly-coated rice miller cranio-aural well-greaved > potassium dichromate ========================================================================= Date: Thu, 13 Apr 2006 12:46:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: what IS this? In-Reply-To: <6.2.1.2.2.20060413091926.02c83e20@mail.theriver.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Charles, I think it's a "half-found poem." Just break the lines to complete it. I've received a few of them from other commercial outlets. I can't remember if any were for Viagra ads. I assumed that somebody found me through my poetry and thought they could hook me into buying something. I don't know what it is or hw they do it. But I've taken the liberty of breaking the lines and creating stanzas. If anybody would like to continue turning this into a spam poem, please feel free to pick up where I left off. Vernon rivet buster curly-coated rice miller cranio-aural well-greaved potassium dichromate bread-cutting self-paying Trans-mississippi cloth lapper silver-backed all comers ill-colored self-contented guard ring trench plow pine tree root-built made eye four-yard soft-bright grain-growing spiritus asper fourpence hapenny peasant-born straw fiddle Aesop prawn sheet mill fishing banks slag wool blunt-leaved harvest home tallow-colored self-propulsion bleaching powder driving punch cave-lodged magpie diver Iceland crystal terra putura cockatoo farmer dew-lit ordnance sergeant wind cutter peach canker well-knit web-worked sea-beat spatter dash plain wanderer hog louse liver fungus dog cake street virus garlic oil terror-fleet time policy middle-temperature error bucking kier verse anthem worse-taught eye-conscious cutaway coat nonvalue bill down pillow wood louse summer-lived honey clover sailor gang acetate green suction dredge short-headed before-known Semi-norman world-bound bushy-whiskered well-sufficing wood calamint alluring gland sketch book knife-shaped bass killy canker rose well-acquired carriage lamp souari-nut dark-eyed self-trust hand spinning Philo-turkism cumulo-cirrus storm cloud wanton-winged cameline oil school-taught setting rule abutment arch half-baked flower-infolding tonnage displacement vice-rector self-gratulation friction slip three-guinea cartridge annealer prone pressure method orange chipper coral-beaded mid-career cat owl plate money by-sitter rock elm wind-swift drainage theory wheel rod half-misunderstood quasi tradition shave rush torpedo battery tallow oil chestnut bud sierra brownbark pine trial court solemn-sounding sneak current segmentation nucleus passing strake cowhage cherry Neanderthal man silly-faced bacon beetle half-term shoe findings sun-flagged self-opinionatedly transmission grating Trans-uranian high-souled brush breaker harpoon fork tree bear round-leafed fish scale chinked back iron pyrites quick-spouting sleeping carriage primary scholar boy bishop brake clevis bomb tube eddy current mincing horse si quis large-utteranced ridicule-proof zephyr shirting flash set spar bridge cocoa tea well-replaced all-searching Pro-protestant fellow guest shock therapy mortise gauge two estates feed hand whispering gallery Big lime dog-gnawn dish-faced clover-leaf midge state-educated vine fretter pan conveyer cheroonjie nut hot-drawn drainage pit quasi faculty laurel-wreathed sugar refiner loco vetch board rule family living cross-bench bay willow dry-pick re-recollection pre-excursion self-repelling cloud-rocked peat gas equal-headed salt vase gear ratio cypress moss dazzle system grade stake cement pulverizer scare-sleep drumhead cabbage scanning disk self-pitying ugly-clouded poor-feeding sneck band Pro-bermudian wrought iron honor roll fin ray Post-raphaelite dead-air rent-free three-bid game-destroying sloe plum hair seal bismuth white blowing mold self-knowledge point chisel mother cell in-service salpingo-oophoritis quasi-regular baker-kneed wage paying kimono sleeve narrow-leaved oat grass Du-barry ship news sun-bathed worm-shaped plate rail tree sparrow snow-clad precombustion engine professor ordinarius truth serum player piano fair-conditioned never-waning chain store Cypro-phoenician tire vulcanizer blue-colored center bit true-dealing Pro-german Shinarump conglomerate pressure gauge two-unit skunk porpoise blue-ribbonism lake dweller single-blossomed needle-scarred cross remainder Border song tool examiner day nursery dairy cheese ========================================================================= Date: Thu, 13 Apr 2006 09:48:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: C Daly Subject: Re: Questions Regarding Buddhism In-Reply-To: <20060413144934.20127.qmail@web31102.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Samurai? Shaolin temple warriors? Buddhist kings? as was mentioned, = Sri Lanka? =20 You'd have to argue that war is not atrocious and to argue that religion = and politics, religion and culture, religion and nationalism, do not overlap = to say Buddhism -- or any religion -- was not involved in atrocity. =20 Also, Buddhist monk and or nunhood is not necessarily a lifetime vow, so = to argue that Buddhist monks can't perform violent acts -- there's a lot of wiggle room in that. You can be a monk for a vacation or take a = vacation from monkhood in many sects. Buddhism spreads -- is designed to spread -- through cultural = imperialism. This is part of the reason it is violently repressed by nationalist movements and often part of colonialism rather than the other way = 'round. Just as non-violence is one of the five precepts of Buddhism, so too = don't kill is in the bible somewhere. Don't words often diverge from acts? All best, Catherine ========================================================================= Date: Thu, 13 Apr 2006 13:00:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: new chapbook Comments: To: Mattes50@aol.com, sgavrons@barnard.edu, sdolin@earthlink.net, Sazibree@aol.com, hursts@sunyacc.edu, hokumakai@aol.com, sdonadio@middlebury.edu, millers@stjohns.edu, sclay@interport.net, sed372@aol.com, susanwheeler@earthlink.net, tenah@beasys.com, tennessee@thing.net, thilleman@excite.com, tom@goprofab.com, mamtaf@juno.com, tlavazzi@kbcc.cuny.edu, UKPOETRY@LISTSERV.MUOHIO.EDU, vernagillis@earthlink.net, wginger@stjohns.edu, z@culturalsociety.org Mime-Version: 1.0 Content-Type: multipart/mixed; x-avg-checked=avg-ok-83318D9; boundary="=======AVGMAIL-443E83932314=======" --=======AVGMAIL-443E83932314======= Content-Type: text/plain; charset=us-ascii; format=flowed; x-avg-checked=avg-ok-83318D9 (apologies for any duplicate posts--MH) A LOOK AT THE DOOR WITH THE HINGES OFF (Poems from the mid-1960s) by Michael Heller from A Note on the Poems: "I try to re-imagine what went into these poems, the experimental climate of those days, love of Weburn's pointillist music, the background, not yet fully formed, in my love of poets like Williams, Creeley, Oppen, Olson, Zukofsky. Heady days, lighter days--looking back we can always find signs of where we've been. But I also find in these poems, portents of an open, hopeful futurity." Published by Dos Madres Press 24 pp. $8.00 plus shipping Available from Dos Madres Press P.O. Box 294 Loveland, Ohio 45140 http://www.dosmadres.com (for online orders, payment by PayPal, credit cards and echecks. Mail-in checks made out to Robert Murphy) Exigent Futures: New and Selected Poems (2003) and Uncertain Poetries: Selected Essays (2005) available from Salt Publishing at www.saltpublishing.com and at both regular and online bookstores. For a survey of work, poems, essays, prose, go to: http://www.thing.net/~grist/ld/heller.htm --=======AVGMAIL-443E83932314======= Content-Type: text/plain; x-avg=cert; charset=us-ascii; x-avg-checked=avg-ok-83318D9 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Content-Description: "AVG certification" No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.1.385 / Virus Database: 268.4.1/310 - Release Date: 4/12/2006 --=======AVGMAIL-443E83932314=======-- ========================================================================= Date: Wed, 12 Apr 2006 12:12:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: age segregation MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hey you can write me any time ========================================================================= Date: Thu, 13 Apr 2006 10:12:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Questions Regarding Buddhism In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I think it's important to separate practice from the teachings. The history of most religions - I suspect - are full of contradictions. In the way that - again, I suspect - many Jews are appalled or in direct opposition to Israeli practices in occupied Palestine, and, many Christians are also appalled and in opposition to the so-called Christian right, particularly in the practices of President Bush, ostensibly devout man of Christian beliefs. (One also remembers the Quaker, Richard Nixon). Anyway, as perhaps obvious, both individuals and institutions go wayward, or off path from the original message/teachings - be it of Buddha, Christ, etc. Welcome to the world, Stephen Vincent http://stephenvincent.net/blog/ > i am a big fan of buddhism and try to learn what i can about the > practice. i have heard, though, that buddhists have played a violent > role in the civil war in sri lanka over the years. i'm not sure what > the ethnicity/religion axes of the conflict are; that is, if religion > and ethnicity are bound together, or not, so that the two cannot be > meaningfully separated in determining what is at stake in the armed > conflict. > > ps it's Dalai Lama... > > At 7:10 PM -0400 4/12/06, Ian VanHeusen wrote: >> I had the following questions regarding Buddhism and I would like to >> state that I do not ask them to discredit the religion and its >> followers. I have a sincere respect for the peace and beauty of >> Buddhism, especially in the modern world. These questions are >> prompted from discussions I have had they made me question the >> nature of my perceptions. >> >> 1) Are their examples of "Buddhist Atrocities" where religion was >> the motivating factor? I am aware of atrocities against Buddhists >> and I have heard rumors of atrocities done by Buddhists. I ask >> because someone I was talking about claimed that Buddhists never >> ever committed atrocities in the name of religion. >> >> 2) I heard from a convert to Tibetan Buddhism that the Dali Llama >> once had slaves, is this true? >> >> If possible, please give sources. Thanks and God bless, >> Ian VanHeusen ========================================================================= Date: Thu, 13 Apr 2006 10:37:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: buddhism and war MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit It may be considered strange that Zen has it any way been affiliated with the spirit of the military classes of Japan. Whatever form Buddhism takes in the various countries where it flourishes, it is a religion of compassion, and in its varied history it has never been found engaged in warlike activities. How is it, then, that Zen has come to activate the fighting spirit of the Japanese warrior? -- D. T. Suzuki [1] Suzuki's question remains the most problematic one for understanding the place of Zen within Buddhism and comparative religion generally. In his provocative study Zen and the Way of the Sword: Arming the Samurai Psyche, [2] Winston L. King raises this issue on the first page and reminds us that such perversions of moral and religious ideals are not found only in Japan. We need only consider "how the simple otherworldly ethic of Jesus, the carpenter of Nazareth, to love those who hate us and turn the other cheek to those who strike us could have been transformed into the Crusaders" gospel of killing infidel Saracens or into a church of bitterly feuding and even warring sects. The answers to all such questions are always complex and unsatisfactory. "This response too, for valid as it is it overlooks the most important issue: the difference between our understanding of the Crusader, who would now be considered benighted by all but the most fundamentalist Christians, and the reputation of the Zen samurai spirit among contemporary Japanese and those likely to read this article. The problem, then, is not only how this perversion of Buddhism occurred, but why samurai Zen continues to be accepted and praised as a legitimate form of Buddhism. King never addresses this question squarely, although at times he comes close. Instead, Zen and the Way of the Sword provides a concise and admirably clear introduction to a fascinating subject. An explanation of Zen practice and experience is followed by chapters on how the samurai adopted Zen (and ========================================================================= Date: Thu, 13 Apr 2006 12:39:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: H Arnold Subject: Re: Questions Regarding Buddhism In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed 1) Are their examples of "Buddhist Atrocities" where religion was > >> the motivating factor? I am aware of atrocities against Buddhists > >> and I have heard rumors of atrocities done by Buddhists. I ask > >> because someone I was talking about claimed that Buddhists never > >> ever committed atrocities in the name of religion. > >> > >> 2) I heard from a convert to Tibetan Buddhism that the Dali Llama > >> once had slaves, is this true? > >> > >> If possible, please give sources. Thanks and God bless, > >> Ian VanHeusen In fairness, I think a good place to take these questions would be to practicing Buddhists who are also scholars of Buddhism, or who are monastics -- they are the ones who could sensitively field questions about their co-religionists present and past -- the only thing anyone else can do is generalize -- Best, heidi Heidi Arnold fax: 607-330-1793 hwarnold@alumni.reed.edu ========================================================================= Date: Thu, 13 Apr 2006 10:45:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: shaolin buddhism martial arts violence MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit http://www.shaolin.com/shaolin_history.aspx ========================================================================= Date: Thu, 13 Apr 2006 12:56:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Officer in Need of Assistance! Subject: Re: what IS this? In-Reply-To: <20060413164629.HWDW4263.ibm66aec.bellsouth.net@vernon> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline I'm pretty sure at least one book has been published containing just this sort of spam poetry, and there are a few spam poetry websites. It creates the world we live in. On 4/13/06, Vernon Frazer wrote: > Charles, > > I think it's a "half-found poem." Just break the lines to complete it. I'= ve > received a few of them from other commercial outlets. I can't remember if > any were for Viagra ads. I assumed that somebody found me through my poe= try > and thought they could hook me into buying something. I don't know what i= t > is or hw they do it. But I've taken the liberty of breaking the lines and > creating stanzas. If anybody would like to continue turning this into a s= pam > poem, please feel free to pick up where I left off. > > Vernon > > > rivet buster curly-coated rice > miller cranio-aural well-greaved potassium dichromate > bread-cutting self-paying Trans-mississippi cloth lapper > > > silver-backed all comers > ill-colored self-contented guard > ring trench plow pine tree > > > root-built made eye four-yard > soft-bright grain-growing spiritus > asper fourpence hapenny > > > peasant-born straw fiddle Aesop prawn sheet > mill fishing banks slag wool > blunt-leaved harvest home > tallow-colored self-propulsion bleaching > powder driving punch > cave-lodged magpie diver Iceland crystal > terra putura cockatoo farmer dew-lit > > > ordnance sergeant > > wind cutter > > peach canker > > > well-knit web-worked sea-beat > spatter dash plain wanderer hog louse > liver fungus dog cake street virus > > > garlic oil terror-fleet > > > > > > time policy middle-temperature error bucking kier > verse anthem > worse-taught eye-conscious cutaway coat nonvalue bill down pillow wood lo= use > summer-lived honey clover sailor gang acetate green suction dredge > short-headed > before-known Semi-norman world-bound bushy-whiskered well-sufficing wood > calamint > alluring gland sketch book knife-shaped bass killy canker rose well-acqui= red > carriage lamp souari-nut dark-eyed self-trust hand spinning Philo-turkism > cumulo-cirrus storm cloud wanton-winged cameline oil school-taught settin= g > rule > abutment arch half-baked flower-infolding tonnage displacement vice-recto= r > self-gratulation > friction slip three-guinea cartridge annealer prone pressure method orang= e > chipper coral-beaded > mid-career cat owl plate money by-sitter rock elm wind-swift > drainage theory wheel rod half-misunderstood quasi tradition shave rush > torpedo battery > tallow oil chestnut bud sierra brownbark pine trial court solemn-sounding > sneak current > segmentation nucleus passing strake cowhage cherry Neanderthal man > silly-faced bacon beetle > half-term shoe findings sun-flagged self-opinionatedly transmission grati= ng > Trans-uranian > high-souled brush breaker harpoon fork tree bear round-leafed fish scale > chinked back iron pyrites quick-spouting sleeping carriage primary schola= r > boy bishop > brake clevis bomb tube eddy current mincing horse si quis large-utterance= d > ridicule-proof zephyr shirting flash set spar bridge cocoa tea well-repla= ced > all-searching Pro-protestant fellow guest shock therapy mortise gauge two > estates > feed hand whispering gallery Big lime dog-gnawn dish-faced clover-leaf mi= dge > state-educated vine fretter pan conveyer cheroonjie nut hot-drawn drainag= e > pit > quasi faculty laurel-wreathed sugar refiner loco vetch board rule family > living > cross-bench bay willow dry-pick re-recollection pre-excursion self-repell= ing > cloud-rocked peat gas equal-headed salt vase gear ratio cypress moss > dazzle system grade stake cement pulverizer scare-sleep drumhead cabbage > scanning disk > self-pitying ugly-clouded poor-feeding sneck band Pro-bermudian wrought i= ron > honor roll fin ray Post-raphaelite dead-air rent-free three-bid > game-destroying sloe plum hair seal bismuth white blowing mold > self-knowledge > point chisel mother cell in-service salpingo-oophoritis quasi-regular > baker-kneed > wage paying kimono sleeve narrow-leaved oat grass Du-barry ship news > sun-bathed > worm-shaped plate rail tree sparrow snow-clad precombustion engine > professor ordinarius > truth serum player piano fair-conditioned never-waning chain store > Cypro-phoenician > tire vulcanizer blue-colored center bit true-dealing Pro-german Shinarump > conglomerate > pressure gauge two-unit skunk porpoise blue-ribbonism lake dweller > single-blossomed > needle-scarred cross remainder Border song tool examiner day nursery dair= y > cheese > -- http://hyperhypo.org ========================================================================= Date: Thu, 13 Apr 2006 14:50:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Minky Starshine Subject: Robin Ward: art opening in culver city ca saturday april 15th In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit For those of you in the LA area...Robin Ward's art opening (below) is Saturday night...I find inspiration in her work...If anyone goes--I'm on the east coast and won't make it--would enjoy hearing thoughts. Best, Deborah Poe Snow Blind Water Drop sixspace gallery project room, Culver City, CA April 15 - May 13 Reception: Saturday April 15, from 6-9pm My recent paintings and drawings posit creatures, whether human or animal, as bodies in largely empty environments where subtle landscapes or terrains are evoked or fade away through delicate mark making and insinuation. In Snow Blind Water Drop, the negative space of the support surface becomes the landscape itself-water, snow, ice. The creatures express, transform, struggle, float hazily, procreate, in a primordial soup where the boundary between liquid, solid, and air has evaporated, but where these confusions question the fundamental order of things and the way living beings are positioned within that order. <><> Ice Pack (detail), mixed media on paper, 22 x 22," 2006 For more information: http://www.omphalos-art/snowblind.html http://www.sixspace.com/gallery/pr-ward2006/pressrelease.php ========================================================================= Date: Thu, 13 Apr 2006 17:00:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Megan Burns Subject: New Orleans Poets on Jim Lehrer MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit For anyone who missed the segment on New Orleans Poets on the Jim Lehrer Hour Monday, you can now view the segment online: http://www.pbs.org/newshour/bb/economy/jan-june06/poetry_4-10.html# Megan Burns That big banner with the words "Viva la Vida" in several translations hanging behind the readers is a Megan Burns original. :) ========================================================================= Date: Thu, 13 Apr 2006 18:17:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Murphy Subject: Douglas Barbour and Sheila E. Murphy CONTINUATIONS MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664 Continuations Douglas Barbour, Sheila E. Murphy “The strength of this book is in its quick-change artistry, the sensation of flux that is continuous, and capable at any moment of erupting into epiphany or surprise.” Roo Borson Across great distances and a panorama shaped by words, poets Douglas Barbour and Sheila Murphy began writing in collaboration. Tapped to technology’s dance across paper, with thoughts like bright colours coursing across screens, Continuations emerged as the product of a new creator, a “third individual,” who writes differently from either poet. Words shapeshifted and poets transformed, Continuations is an intriguing addition to the growing field of collaborative poetry in North American literature. ISBN: 0-88864-463-9 Price: CND$ 19.95, USD$ 19.95, £ 10.99 Discount: Trade Subject: Literature/Poetry Publication Date: March 2006 ========================================================================= Date: Fri, 14 Apr 2006 12:01:45 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Burke Subject: Re: Douglas Barbour and Sheila E. Murphy CONTINUATIONS Comments: To: Poetryetc provides a venue for a dialogue relating to poetry and poetics MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Out here in a farflung aspect of the old British Empire, where the countries are pink and sunny, it is unusual to find books by poets across the wide blue oceans. On a poet's income, I am without credit card and therefore often without access to such writers' works ... But shuffling through a branch of Elizabeth's Second Hand Bookshop(s) recently I found Sheila E Murphy's 'A clove of Gender'. Amazingly good find, a Stride book from Devon, UK. So, while you all enjoy 'Continuations', I am enjoying Sheila's work from 1995 ... Just think of its 'long and winding road' from Sheila's pen to bedside table ... Btw, for any who don't know, 'Sheila', perhaps with a lower case 's', is an Ocker term for female of the species. Andrew http://hispirits.blogspot.com/ ----- Original Message ----- From: "Sheila Murphy" To: Sent: Friday, April 14, 2006 9:17 AM Subject: Douglas Barbour and Sheila E. Murphy CONTINUATIONS > http://www.uap.ualberta.ca/UAP.asp?LID=41&bookID=664 > > Continuations Douglas Barbour, Sheila E. Murphy "The strength of this book is in its quick-change artistry, the sensation of flux that is continuous, and capable at any moment of erupting into epiphany or surprise." Roo Borson Across great distances and a panorama shaped by words, poets Douglas Barbour and Sheila Murphy began writing in collaboration. Tapped to technology's dance across paper, with thoughts like bright colours coursing across screens, Continuations emerged as the product of a new creator, a "third individual," who writes differently from either poet. Words shapeshifted and poets transformed, Continuations is an intriguing addition to the growing field of collaborative poetry in North American literature. ISBN: 0-88864-463-9 Price: CND$ 19.95, USD$ 19.95, £ 10.99 Discount: Trade Subject: Literature/Poetry Publication Date: March 2006 ========================================================================= Date: Thu, 13 Apr 2006 20:56:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: The Poetry Reading/Momo's Press, etc Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable As once editor and publisher of Momo's Press (1973 - 1984) I still have a little inventory, and since occasionally on blogs and otherwise talk up som= e of the books and authors are talked, to let folks now: The Poetry Reading: A Contemporary Compendium on Language and Performance edited by Stephen Vincent & Ellen Zweig,(Momo=B9s Press, 1981) Some copies in paper still available. (I have a few and Ellen has part of a box.) It=B9s 350 pages with a variety of contributors - B Dahlen, J Rothenberg, Ron Silliman, Steve McCaffery, David Antin, Victor Hernandez Cruz, J Hagedorn & among many others! With a Contents that covers: Histories, Oral Literature, Performances, Video, Sound and Typography. $25 If I run out of copies here, Ellen Zweig, who is currently mounting an installation in Shanghai (!) will be back in May and we will respond to you= r order at that time. I also have copies of Beverly Dahlen=B9s A Reading: 1 - 7 (Momo=B9s Press, 1985) for $15 each, including postage. A cloth bound signed (A -Z) version is availabe for $30. And a very few copies of the signed (A-Z) of her first book, Out of the Third( Momo=B9s Press, 1974) for $50, including postage. I also have cloth copies of Victor Cruz' By Lingual Wholes - $15. Prices will cover postage and handling! Please send to: Stephen Vincent 3514 21st Street San Francisco, CA 94114 Thanks for your interest! Stephen V http://stephenvincent.net/blog/ Currently featuring the serial, Tenderly. ========================================================================= Date: Thu, 13 Apr 2006 21:01:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Resend! The Poetry Reading/Momo's Press, etc In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable (Must try this first paragraph again!) As once editor and publisher of Momo's Press (1973 - 1984) I still have a little inventory, and since occasionally on blogs and otherwise, the books and authors remain of interest, I want to let folks know: The Poetry Reading: A Contemporary Compendium on Language and Performance edited by Stephen Vincent & Ellen Zweig,(Momo=B9s Press, 1981) Some copies in paper still available. (I have a few and Ellen has part of a box.) It=B9s 350 pages with a variety of contributors - B Dahlen, J Rothenberg, Ron Silliman, Steve McCaffery, David Antin, Victor Hernandez Cruz, J Hagedorn & among many others! With a Contents that covers: Reading Series Histories, Oral Literature, Performances, Video, Sound and Typography. $25 If I run out of copies here, Ellen Zweig, who is currently mounting an installation in Shanghai (!) will be back in May and we will respond to you= r order at that time. I also have copies of Beverly Dahlen=B9s A Reading: 1 - 7 (Momo=B9s Press, 1985) for $15 each, including postage. A cloth bound signed (A -Z) version is availabe for $30. And a very few copies of the signed (A-Z) of her first book, Out of the Third( Momo=B9s Press, 1974) for $50, including postage. I also have cloth copies of Victor Cruz' By Lingual Wholes - $15. Prices will cover postage and handling! Please send to: Stephen Vincent 3514 21st Street San Francisco, CA 94114 Email me with any quetons. Thanks for your interest! Stephen V http://stephenvincent.net/blog/ Currently featuring the serial, Tenderly. ------ End of Forwarded Message ========================================================================= Date: Fri, 14 Apr 2006 14:07:18 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Questions Regarding Buddhism In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Nominally Buddhist soldiers have played a part in atrocities in Burma, including a policy of military rape. Best A Alison Croggon Blog: http://theatrenotes.blogspot.com Editor, Masthead: http://masthead.net.au Home page: http://alisoncroggon.com ========================================================================= Date: Fri, 14 Apr 2006 00:27:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: HUSTLE AND FLOW MIME-Version: 1.0 Content-Type: text/plain a report on David Horowitz's visit to Penn State: http://heatstrings.blogspot.com/ DOES contain a mention of poetry -- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --Emily Dickinson Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Thu, 13 Apr 2006 00:10:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: buddhism and war MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit budheads like any one eklse they've killed and killed and killed ========================================================================= Date: Fri, 14 Apr 2006 08:41:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schlesinger Kyle Subject: Get Sleepy This Saturday Night Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable ***** GET SLEEPY WITH GREGG BIGLIERI! Booklaunch & Poetry Reading for Gregg Biglieri's Sleepy with Democracy Saturday April 15th at Big Orbit (Sleepy time 8:00) 30D Essex Street=20 Buffalo, NY 14213-2332 Praise for Sleepy: Benjamin Friedlander writes: =B3A system of representation in which each particle of meaning contributes, no, is subsumed into a rhetoric that lulls us, oh so shrewdly, into a state neither wakeful nor content with dreams.=B2 Bill Berkson writes: =B3Stepping lightly into the appointed area =AD- with 'Wha= t common language to unravel?' that iconic question of moment blinking over the portals -- Gregg Biglieri shoulders the 'rival dictation' known as poetry to wonder us awake. Indeed, if what here is invoked as =8CDemocracy=B9 i= s discussible -- and more to the point, livable -- there must be a whole new conversation to engage all available terms by which it might reanimate from present inertia. Biglieri's composite talk keeps all terms open, with alarming interlinear bounce and extravagance ever palpable. This is a full, heartening book.=B2 =20 Peter Quartermain writes: =B3=B9You sense uncertainty,=B9 puns Biglieri, =8CAnd recover it.=B9 These poems are written in a world paralysed by its own aporia= , no road no lyric subject possible, the boundaries of subject and object blurred beyond perception in an endlessly manipulated indifferent culture lacking will and imagination. They are written, as one poem says, from the exact middle of nowhere, where the alphabet is primal pun, and =8Cthe things we really know are words.=B9 Ironic and sardonic, these witty poems, carefull= y sequenced but independent in their interlinking echoes and iterations, are = a wake-up call; they emerge from the gap between what is there and what is not, testimony to our impossible desire for clarity of vision. The absence is all here, one line says, and sleep can=B9t process it =AD a dilemma beautifully caught in a headlong fluid syntax which demands close attention and repeated reading, conundrums of thought and observation led by Biglieri=B9s alert astonished ear, the mind led by sound. Wonderful poems, voicing unillusion. They stay.=B2 What will you write? =B3Kick out the jams=B2 Saturday April 15th at Big Orbit. Reading, booksigning, merrymaking... Can=B9t get enough? Other works by Gregg Biglieri include: Profession (Idiom, 1997), Roma (Beautiful Swimmer, 1999), Los Books (Cuneiform, 2002), Reading Keats to Sleep (Cuneiform, 2003), EL EGG (Eclipse Editions, 2003) & I Heart My Zeppelin (Atticus Finch, 2005)= . Get Sleepy wherever you are! Get Sleepy faster when cuneiformpress.com accepts credit cards. Get Sleepy soon...A host of other titles from Cuneiform will be available at the event. Bring cash for booze and books. Thanks to Professor Dennis Tedlock for making this publication possible, as well as our friends at Big Orbit for their hospitality. More details forthcoming at: www.cuneiformpress.com ========================================================================= Date: Fri, 14 Apr 2006 09:52:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: you won't believe this one Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Ready for another survey? Check out this item as reported in today's Washington Post in Richard Morin's column: Learning the Wrong Things From Poetry Fill your house with books if you want little Billy or Beth to grow up to be an academic all-star. Shakespeare is good. But stay away from poetry -- books of poesy on your shelves may dumb down your child. A research team headed by demographer Jonathan Kelley, of Brown University and the University of Melbourne, analyzed data from a study of scholastic ability in 43 countries, including the United States. The data included scores on a standardized achievement test in 2000 and detailed information that parents provided about the family. The average student scored 500 on this test. The researchers found that a child from a family having 500 books at home scored, on average, 112 points higher on the achievement test than one from an otherwise identical family having only one book -- and that's after they factored in parents' education, occupation, income and other things typically associated with a child's academic performance. The findings were presented last month at the annual meeting of the Population Association of America in Los Angeles. Of course, it's not the number of books in the home that boosts student performance -- it's what they represent. The researchers say a big home library reflects the parents' dedication to the life of the mind, which probably nurtures scholastic accomplishment in their offspring. They also found that not all books are created equal. "Having Shakespeare or similar highbrow books about bodes well for children's achievement," they wrote. "Having poetry books around is actively harmful by about the same amount," perhaps because it signals a "Bohemian" lifestyle that may encourage kids to become guitar-strumming, poetry-reading dreamers. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "and now it's winter in America" --Gil Scott-Heron Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 112 Burrowes University Park, PA 16802-6200 (814) 865-0091 [office] (814) 863-7285 [Fax] ========================================================================= Date: Fri, 14 Apr 2006 10:26:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Megan Burns Subject: Poetry Books Harm Children In-Reply-To: <6.1.2.0.2.20060414095106.02759758@email.psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit -----Original Message----- From: Aldon Nielsen To: POETICS@LISTSERV.BUFFALO.EDU Sent: Fri, 14 Apr 2006 09:52:05 -0400 Subject: you won't believe this one Ready for another survey? Check out this item as reported in today's Washington Post in Richard Morin's column: Learning the Wrong Things From Poetry Fill your house with books if you want little Billy or Beth to grow up to be an academic all-star. Shakespeare is good. But stay away from poetry -- books of poesy on your shelves may dumb down your child. A research team headed by demographer Jonathan Kelley, of Brown University and the University of Melbourne, analyzed data from a study of scholastic ability in 43 countries, including the United States. The data included scores on a standardized achievement test in 2000 and detailed information that parents provided about the family. The average student scored 500 on this test. The researchers found that a child from a family having 500 books at home scored, on average, 112 points higher on the achievement test than one from an otherwise identical family having only one book -- and that's after they factored in parents' education, occupation, income and other things typically associated with a child's academic performance. The findings were presented last month at the annual meeting of the Population Association of America in Los Angeles. Of course, it's not the number of books in the home that boosts student performance -- it's what they represent. The researchers say a big home library reflects the parents' dedication to the life of the mind, which probably nurtures scholastic accomplishment in their offspring. They also found that not all books are created equal. "Having Shakespeare or similar highbrow books about bodes well for children's achievement," they wrote. "Having poetry books around is actively harmful by about the same amount," perhaps because it signals a "Bohemian" lifestyle that may encourage kids to become guitar-strumming, poetry-reading dreamers. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "and now it's winter in America" --Gil Scott-Heron Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 112 Burrowes University Park, PA 16802-6200 (814) 865-0091 [office] (814) 863-7285 [Fax] ========================================================================= Date: Fri, 14 Apr 2006 10:34:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Megan Burns Subject: Re: Poetry Books Harm Children In-Reply-To: <8C82DE683A9D8C6-11E4-9219@MBLK-M34.sysops.aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Whoops. I meant to say AHA, that's what's wrong with these kids, but the three year old and three month old starting fighting over their little guitar. Megan New Orleans -----Original Message----- From: Aldon Nielsen To: POETICS@LISTSERV.BUFFALO.EDU Sent: Fri, 14 Apr 2006 09:52:05 -0400 Subject: you won't believe this one Ready for another survey? Check out this item as reported in today's Washington Post in Richard Morin's column: Learning the Wrong Things From Poetry Fill your house with books if you want little Billy or Beth to grow up to be an academic all-star. Shakespeare is good. But stay away from poetry -- books of poesy on your shelves may dumb down your child. A research team headed by demographer Jonathan Kelley, of Brown University and the University of Melbourne, analyzed data from a study of scholastic ability in 43 countries, including the United States. The data included scores on a standardized achievement test in 2000 and detailed information that parents provided about the family. The average student scored 500 on this test. The researchers found that a child from a family having 500 books at home scored, on average, 112 points higher on the achievement test than one from an otherwise identical family having only one book -- and that's after they factored in parents' education, occupation, income and other things typically associated with a child's academic performance. The findings were presented last month at the annual meeting of the Population Association of America in Los Angeles. Of course, it's not the number of books in the home that boosts student performance -- it's what they represent. The researchers say a big home library reflects the parents' dedication to the life of the mind, which probably nurtures scholastic accomplishment in their offspring. They also found that not all books are created equal. "Having Shakespeare or similar highbrow books about bodes well for children's achievement," they wrote. "Having poetry books around is actively harmful by about the same amount," perhaps because it signals a "Bohemian" lifestyle that may encourage kids to become guitar-strumming, poetry-reading dreamers. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "and now it's winter in America" --Gil Scott-Heron Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 112 Burrowes University Park, PA 16802-6200 (814) 865-0091 [office] (814) 863-7285 [Fax] ========================================================================= Date: Fri, 14 Apr 2006 09:47:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Buddhist, Catholic, Jewish, Muslim, Nudist In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit It is my experience that there are people who are willing to equivocate and do evil from all traditions. The Japanese Empire for example (until 1945) did evil and many of their soldiers were Buddhists(with Shinto as well). There is a great letter between DT Suzuki and Thomas Merton that gives me some solace. I think it was written in the early 60's where Suzuki tells Merton that there is a mystical bond between the Buddha and his Followers, Islamic Sufiism, Christians like St Francis, St John of the Cross and Charles De Foucould, Jews like Caro and Abu Lafia and Hindus like Ghandi, Communists like Neruda and that this is real truth and that those who equivocate are the image of evil in the world. I think we are seeing this today writ large. ========================================================================= Date: Fri, 14 Apr 2006 09:39:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Officer in Need of Assistance! Subject: Re: you won't believe this one In-Reply-To: <6.1.2.0.2.20060414095106.02759758@email.psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline This is something I'd expect to read here in the Ames Tribune, not the Washington Post. It's common knowledge that poetry encourages kids to pluck, not strum. On 4/14/06, Aldon Nielsen wrote: > perhaps because it signals a "Bohemian" lifestyle that may > encourage kids to become guitar-strumming, poetry-reading dreamers. > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "and now it's winter in America" > --Gil Scott-Heron > > > Aldon Lynn Nielsen > George and Barbara Kelly Professor of American Literature > Department of English > The Pennsylvania State University > 112 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 [office] > > (814) 863-7285 [Fax] > -- http://hyperhypo.org ========================================================================= Date: Fri, 14 Apr 2006 11:01:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: 2006 CSU Writing Conference featuring Frank McCourt, Marilyn Nelson, Hassan Ildari and others.... MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Conference (Sat. & Sun. May 6-7, 2006) is Free and Open to the Public. Please email asap if you plan on = attending. =20 Spread the word to any interested writers and readers, students and = faculty.=20 See details below:=20 Website Under Construction at: CSU Writing Conference 2006 =20 Connecticut State University System Writing Conference At Western Connecticut State University 181 White Street Danbury, CT 06810 =20 Frank McCourt Keynotes=20 Unique Writing Conference Open to Teachers, University Undergraduates, Graduates, Gifted High School Students, writers from the public =20 =20 Sat. & Sun. May 6-7, 2006 Western Connecticut. State University =20 Pulitzer Prize memoirist Frank McCourt will keynote a unique gathering = of student and community writers from around the state the weekend of = May 6 and 7 at Western Connecticut State University in Danbury. =20 On Saturday, May 6, graduate and undergraduate creative writing students = from the four Connecticut State University campuses, along with = outstanding student writers from the state's high schools, are being = invited to the fourth annual state-wide writing conference, with a = second day devoted to writing seminars for the public. =20 McCourt, who won the Pulitzer Prize in 1997 for Angela=92s Ashes, a = gritty portrayal of the author=92s upbringing in Limerick, Ireland and = whose latest book is Teacher Man, about his 30 years teaching in the New = York City schools, will hinge together the two-day writing experience = with a talk on Saturday evening in Ives Concert Hall on Western=92s = midtown campus. =20 The Los Angles Times described Teacher Man as =93An enthralling work of = autobiographical storytelling=85.Anyone who has ever faced a classroom = of yawning, slouching adolescents will recognize the accuracy of = McCourt=92s descriptions and applaud his honesty.=94 =20 In a recent New York Magazine interview McCourt mixed it up with Daniel = Asa Rose, a critic, author and visiting writer with Western=92s MFA in = Professional Writing. Rose will be one of the writers leading seminars = in the Sunday public workshops May 7 in Danbury. =20 =93McCourt: There=92s nothing in the world like getting up in front of a = high-school classroom in New York City. They won=92t give you a break if = you don=92t hold them. There=92s no escape. =93Rose: It must be vindicating to show them that you knew what you were = talking about.=20 =93McCourt: The best part=97the most exquisite part, the most delicious = part=97is meeting those kids years later and to have proved to them that = I wasn=92t talking out of my ass. Nobody ever said it, but I wondered if = they were thinking, What has he ever done? If you have a = physical-education teacher and he has a big beer belly and he=92s = telling you how to run, you want to say, Hey, where do you get off? =93Rose: You showed =92em.=20 =93McCourt: I got the Pulitzer Prize, baby! [Laughs] =93Rose: You have a sly trick of being boastful while appearing humble. = Where=92d you pick that up?=20 =20 =93McCourt: That=92s something the Church tells you: Pride is the first = deadly sin. Self-deprecating is a roundabout way of praising yourself. = Pretty nimble.=94 =20 On Sunday four well-known writers, including Connecticut poet laureate = Marilyn Nelson and Rose, will conduct seminars for pre-registered = students in the areas of fiction, nonfiction, poetry and screen writing. = The afternoon will include the seminars, a panel on =93Insights for = Marketing Fiction, Nonfiction, Poetry and Screenplays.=94 There will = also be book signings, and readings by the name writers. =20 For a nominal fee of $20, 10 members of the public will be admitted on a = first-come, first-serve basis to each of the four seminars given by the = name writers. Once the four primary workshops are filled, additional = participants will be placed into small, facilitated peer workshops in = their genre. Each of these peer groups will be moderated by writers from = Western Connecticut State University=92s MFA in Professional Writing and = will consider the work submitted by each participant. =20 =20 The event, co-sponsored by the Master of Fine Arts writing program at = Western Connecticut State University, the literary journal Connecticut = Review, and the IMPAC-Connecticut State University Young Writers Trust, = has received substantial grants from CSU and WestConn's President James = Schmotter. The program has additional support from Drunkenboat.com, an = international on-line journal for the arts. =20 Sign-up forms for students and faculty and the public have been posted = at the official conference website and are available from = www.connecticutreview.com. Look under "Creative Connections." Or go = directly to the website at = http://so-mako.sysoff.ctstateu.edu/AcadAff/cwc.nsf. =20 Faculty members from the CSU System and other state universities will = volunteer their talents to lead workshops and panels for the Saturday = event. =20 Conference organizers, including John Briggs, Senior Editor of = Connecticut Review, and Ravi Shankar, poet in residence at Central, = expect about 120 students to attend the Saturday events, and 50 or more = writers from the community for the Sunday workshops. =20 Saturday's program will include small group workshops focusing on = student work in fiction, poetry, nonfiction, screenwriting, and = journalism. There will also be readings by faculty, students, and the = keynote speaker. The panels, readings, keynote talk and bookfair will be = open to the public. =20 Last year's keynote speakers were former U.S. Poet Laureate Robert = Pinsky and best-selling Connecticut author Stewart O'Nan.=20 =20 Patricia D'Ascoli, publisher of Connecticut Muse, a quarterly review of = the Connecticut literary scene, has agreed to coordinate a regional book = fair with display tables from local publishers of books, magazines and = newsletters. =20 Books by faculty members and other poets and writers will be sold = through a table set up by Western's book store. =20 The Saturday event will be free to all students participants. The = McCourt lecture is open to the public and free. =20 The CSU System serves more than 35,000 students, making it the largest = public university system in Connecticut. A total of 166 academic = programs are offered throughout the system, and more than 5,000 degrees = are awarded annually. =20 Connecticut Review is the national, prize-winning literary journal = published by the CSU System.The IMPAC-Connecticut State University Young = Writers Trust has encouraged more than 3,000 young writers to compete in = the program. The Trust has awarded more than $118,000 since 1998. = Drunken Boat is an international online journal for the arts,featuring = poems, prose, hypertext, sound art, video, digital animation, as well as = photos. =20 =20 Contact John Briggs Briggsjp@wcsu.edu (203-837-9043),Ravi Shankar = (860-832-2766) shankarr@ccsu.edu, or Andy Thibault (860-567-8492) tntcomm82@cs.com for more information. Open-to-the-Public=20 Writers=92 Conference Sunday May 7 At Western Connecticut State University Provisional Program =20 12 p.m. Conference check in. All participants must be pre-registered.* =20 12:30-2:30 p.m. Four concurrent seminars: Fiction Pete Duval =20 Nonfiction Daniel Asa Rose =20 Poetry Marilyn Nelson =20 Screenwriting Hassan Ildari =20 =20 Limited to 10 participants each for the four name writers. Seminars may = be in the form of workshops, writing exercises, discussion of a common = text or other, at the choice of the name writer. Each seminar will be = interactive, not lecture. =20 Overflow students in each of the genres will be organized into = four-group facilitated peer workshops run by MFA and graduate writing = students. =20 2:30-3 p.m. Break and book signing. Coffee, refreshments. =20 3-4 p.m. Panel on Publishing: =93Insights on markets for Fiction, = Nonfiction, Poetry and Screenplays.=94 =20 4:15- 5:45 p.m. Reading by name writers in fiction, nonfiction and = poetry and film. =20 =20 All participants must be pre-registered using the form posted on this = website. =20 =20 ***************=20 Ravi Shankar=20 Poet-in-Residence=20 Assistant Professor=20 CCSU - English Dept.=20 860-832-2766=20 shankarr@ccsu.edu=20 ========================================================================= Date: Fri, 14 Apr 2006 08:09:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: poetry harmful? Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Following up Aldon's notice of the Washington Post's Richard Morin column=20 reporting that a house of books is helpful to PISA (Program for=20 International Student Assessment) scores, the columnist does not mention=20 that the reported negative effect of having poetry in the house is not=20 nearly as significant in size as the positive effect of having a house of=20 books, or some other factors concerning the parents' occupation and wealth.= =20 Also, a more negative effect than that of poetry (twice as significant) is= =20 that of a family "listening to music together." And interestingly, the=20 study finds that "participation in the Beaux Arts =97 going to opera,= ballet,=20 museums =97 is largely irrelevant to school achievement." Why is it that I have little faith in this study? Here is the link to the two-page extended abstract of the study. http://paa2006.princeton.edu/download.aspx?submissionId=3D61840 charles charles alexander / chax press fold the book inside the book keep it open always read from the inside out speak then=20 ========================================================================= Date: Fri, 14 Apr 2006 10:23:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: University of Iowa hit by tornado MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit www.dailyiowan.com The University of Iowa was hit by a tornado last night. From the story above the downtown area and the Student union were severely damaged and St Patrick's church area around the Mill Restaurant was severely damaged. A woman was killed. As an alumnus of the University this is a sad time. Please do what you can to help out. Ray Raymond L Bianchi chicagopostmodernpoetry.com/ collagepoetchicago.blogspot.com/ ========================================================================= Date: Fri, 14 Apr 2006 09:34:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Poetry Books Harm Children In-Reply-To: <8C82DE683A9D8C6-11E4-9219@MBLK-M34.sysops.aol.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I would bet dollars to donuts that - in this vein - the next study/article to appear will be one that argues that poets, particularly innovative ones, are harmful to poetry. In fact, in print or subliminally, I think that article/notion actually appears with great frequency - including the argument to keep it off the family shelves. In particular you would not want your child to start looking at the SAT exam as one f'... of a horrible poem! It's alright. Resistance (to new poetry) is good. Makes many scream, shout (sometimes) but, fundamentally try harder. Stephen V Blog: http://stephenvincent.net/blog/ Now featuring the "Tenderly" improvs. > -----Original Message----- > From: Aldon Nielsen > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Fri, 14 Apr 2006 09:52:05 -0400 > Subject: you won't believe this one > > > Ready for another survey? Check out this item as reported in today's > Washington Post in Richard Morin's column: > > Learning the Wrong Things From Poetry > > Fill your house with books if you want little Billy or Beth to grow up to be > an academic all-star. Shakespeare is good. But stay away from poetry -- books > of poesy on your shelves may dumb down your child. > > A research team headed by demographer Jonathan Kelley, of Brown University and > the University of Melbourne, analyzed data from a study of scholastic ability > in 43 countries, including the United States. The data included scores on a > standardized achievement test in 2000 and detailed information that parents > provided about the family. The average student scored 500 on this test. > > The researchers found that a child from a family having 500 books at home > scored, on average, 112 points higher on the achievement test than one from an > otherwise identical family having only one book -- and that's after they > factored in parents' education, occupation, income and other things typically > associated with a child's academic performance. The findings were presented > last month at the annual meeting of the Population Association of America in > Los Angeles. > > Of course, it's not the number of books in the home that boosts student > performance -- it's what they represent. The researchers say a big home > library reflects the parents' dedication to the life of the mind, which > probably nurtures scholastic accomplishment in their offspring. > > They also found that not all books are created equal. "Having Shakespeare or > similar highbrow books about bodes well for children's achievement," they > wrote. "Having poetry books around is actively harmful by about the same > amount," perhaps because it signals a "Bohemian" lifestyle that may encourage > kids to become guitar-strumming, poetry-reading dreamers. > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "and now it's winter in America" > --Gil Scott-Heron > > Aldon Lynn Nielsen > George and Barbara Kelly Professor of American Literature > Department of English > The Pennsylvania State University > 112 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 [office] > > (814) 863-7285 [Fax] ========================================================================= Date: Fri, 14 Apr 2006 12:58:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Arthur Winfield Knight Contact Info MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Does anybody have e-mail and/or surface mail addresses for Arthur Winfield Knight? Please backchannel. Thanks, Vernon ========================================================================= Date: Fri, 14 Apr 2006 13:20:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Will Esposito Subject: Re: Poetry Books Harm Children MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit What does the standardized achievement test test? I suppose that these researchers suppose its standards are transparent, reasonable and therefore universal. If your highest values are efficiency, practicality and avarice then surely reading poetry must be detrimental to that. But why then have a library that even includes Shakespeare and other canonical works? Why not just have a complete set of the Washington Post? Guitar strumming dreamers? It's been what, 40 years since Dobie Gillis? Old habits, these. ========================================================================= Date: Fri, 14 Apr 2006 14:37:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Gordon & Veglahn in Berkeley Mime-Version: 1.0 Content-Type: text/plain; format=flowed Noah Eli Gordon & Sara Veglahn WED., APR. 19 @ 7:30 PM Pegasus Books Downtown 2349 Shattuck Avenue Berkeley, CA 94704 Please come out and hear us read our collaborative chapbook /That We Come to a Consensus/ published by Ugly Duckling Presse Listen to a sample here: http://tinyurl.com/czj7b Read a review of the book here: http://tinyurl.com/nshf9 Book available here: http://www.uglyducklingpresse.org/orders.html ========================================================================= Date: Fri, 14 Apr 2006 16:03:44 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: rob mclennan's the address book (erasure) Content-transfer-encoding: 7BIT the address book (erasure) by rob mclennan $4 96 rochester street a portrait of our findings; phone lines break the manes of horses wild; like a hardy boy blue leans cautious & a smugglers cove; homemade wild basement bucket wine & longshore fears that beat the current hooks & tides beyond the angular cells, beyond the clumsy signs, the drunken birthdays, parties at the bare bone of listening ; a history of narration; when we sleep, we sleep inside, quietly disbanding; a kitchen counter note of passage, quick cautious halo sips; rain obeys gravity & grace; my fingers lose practice, communal lip of cauterized trees the backyard planted; dark watered deck at night of your foreboding; or if like antlers, the berkshire horse was all we left, a paper trail, a stone encased in ice; each year a year, a starved gaunt twisted & eaten, drifted over; who wrote our own way into immortality ======= published in ottawa by above/ground press for rob's participation as writer in residence in the spring 2006 ottawa international writers festival (http://www.writersfest.com/). subscribers rec' complimentary copies. to order, add $1 for postage (or $2 for non-canadian; in US funds please) 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 Adam Seelig, Julia William, Karen Clavelle, Eric Folsom, Alessandro Porco, Frank Davey, John Lavery, 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 & forthcoming issues featuring work by J.L. Jacobs, Jan Allen, rob mclennan, Sharon Harris, Stan Rogal, Margaret Christakos & Dennis Cooley. 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 ...11th coll'n - name , an errant (Stride, UK) .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Fri, 14 Apr 2006 16:15:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: **Advertise in Boog City 33** MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Disposition: inline Content-Transfer-Encoding: 7bit The upcoming Boog City, issue 33, is going to press Wed. May 3, and our indie 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 to larger ads.) Advertise your small press's newest publications, your own titles, your band's new album, your label's new releases. 2,000 issues are distributed throughout Manhattan's East Village and Williamsburg, Brooklyn. Email as soon as possible to reserve ad space--preferably by Fri. April 21--and ads need to be in by Thurs. April 27. (We're also cool with donations, real cool.) 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://boogcityevents.blogspot.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Fri, 14 Apr 2006 13:24:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: C Daly Subject: FW: Fibs MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable It was really the poetryetc list that had a knock down on Fibonacci = sequence poems, including those by Danish poet Inger Christiansen and Ron = Silliman, so - here -- =20 =20 The other story embedded here is that Tupelo Press (as mentioned in the article) will be publishing the first ever book of poems and plays = written as Fibonacci sequences. The book is by Emily Galvin and will be released = in 2007. Emily is astoundingly talented (poet, Harvard mathematician, LA = actor) as one might hope, given her parentage: mother Jorie Graham and father = James Galvin.=20 Here's the link to the NY Times article: http://www.nytimes.com/2006/04/14/books/14fibo.html Jeffrey ========================================================================= Date: Fri, 14 Apr 2006 17:08:56 -0400 Reply-To: jofuhrman@excite.com Sender: UB Poetics discussion group From: Joanna Fuhrman Subject: Devaney/Fuhrman/Shapiro MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit This Tuesday, Brooklyn Public Library Main BranchGrand Army Plaza7:00 pm FreeTom DevaneyJoanna Fuhrman&David Shapirohosted by Bob Hershon of Hanging Loose Presshope to see you there _______________________________________________ Join Excite! - http://www.excite.com The most personalized portal on the Web! ========================================================================= Date: Fri, 14 Apr 2006 23:03:00 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rencontres internationales Paris/Berlin Subject: Festival 2006 :: Call for Entries :: Appel a' proposition :: Teilnahmeaufruf MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit dear all please read below our call for entries we are currently distributing. all the best Charlene Dinhut EN FRANÇAIS PLUS BAS DANS LE MESSAGE AUF DEUTSCH UNTEN ========================================= CALL FOR ENTRIES: UNTIL THE APRIL 30th, 2006 ||||| FESTIVAL #11 #12 ||||| RENCONTRES INTERNATIONALES PARIS/BERLIN ||||| FILM / VIDEO / MULTIMEDIA ||||| http://art-action.org/en_info.htm *** Please forward this information as widely as possible *** The Call for entries 2006 is open until April 30th. In Autumn 2006, the festival 'Rencontres internationales Paris/Berlin' will present in Paris and Berlin an international programming focusing on film, video and multimedia, gathering works of artists and directors acknowledged on the international scene along with young artists and not much distributed directors. The festival aims at presenting those works to a broad audience, at creating circulations between different art practices and between different audiences, as well as creating new exchanges between artists, directors and professionals. This event is supported by French, German and international cultural institutions. http://art-action.org/en_soutien.htm + + + + + + + + + + + + + + + + + + + + + ALL INDIVIDUALS OR ORGANIZATIONS CAN SUBMIT ONE OR SEVERAL PROPOSALS. THE CALL FOR ENTRIES IS OPEN TO FILM, VIDEO AND MULTIMEDIA CYCLES, without any restriction of length or genre. All submissions are free, without any limitation of geographic origin. CINEMA AND VIDEO CYCLES : * Video art / Experimental video * Experimental Film * Fiction * Documentary * Animation movie MULTIMEDIA CYCLES : * Installation * Net art, CDrom, DVDrom * Performance art, concert, sound work Video and film submissions are received on DVD or VHS. ALL submissions are sent by mail, enclosed with a filled-in ONLINE ENTRY FORM, UNTIL APRIL 30th, 2006. Entry forms and information regarding the 'Rencontres internationales Paris/Berlin' are available on our website http://art-action.org/en_info.htm + + + + + + + + + + + + + + + + + + + + + The 'Rencontres internationales' offer more than a simple presentation of the works. They introduce an intercultural forum gathering various guests from all over the world – artists and directors recognized on the international scene along with young artists and directors who still cannot enjoy a substantial distribution, directors from organizations and emerging structures – testifying of the vivacity of creation and its diffusion, but also of the artistic and cultural contexts that often are in transition or sometimes experiencing deep changes. The festival reflects specificities and crossings of contemporary art practices, and work out this necessary time when points of view meet and are exchanged. ========================================= EN FRANÇAIS ========================================= APPEL A PROPOSITION: JUSQU'AU 30 AVRIL 2006 ||||| FESTIVAL #11 #12 ||||| RENCONTRES INTERNATIONALES PARIS/BERLIN ||||| FILM / VIDEO / MULTIMEDIA ||||| http://art-action.org/fr_info.htm *** Merci de faire circuler cette information le plus largement possible *** L'appel à proposition 2006 est ouvert jusqu'au 30 avril. Les Rencontres internationales Paris/Berlin présenteront à Paris et Berlin à l'automne 2006 une programmation internationale inédite consacrée aux nouveaux cinémas, à la création vidéo et au multimédia, réunissant des œuvres d'artistes et de réalisateurs reconnus sur la scène internationale aux côtés de jeunes artistes et de réalisateurs peu diffusés. Les Rencontres internationales ont pour vocation de faire découvrir ces œuvres à un large public, de créer des circulations entre différentes pratiques artistiques et entre différents publics, de susciter des échanges entre artistes, réalisateurs et acteurs de la vie artistique et culturelle. Cet événement est soutenu par des institutions culturelles françaises, allemandes et internationales. http://art-action.org/fr_soutien.htm + + + + + + + + + + + + + + + + + + + + + TOUT INDIVIDU OU ORGANISME PEUT EFFECTUER UNE OU PLUSIEURS PROPOSITIONS D'OEUVRE. L'APPEL A PROPOSITION EST OUVERT POUR LES CYCLES FILM, VIDEO ET MULTIMEDIA, sans restriction de genre et de durée. Les propositions sont gratuites, sans limitation de provenance géographique. CYCLES FILMS ET VIDEOS : * Cinéma expérimental * Art vidéo / Vidéo expérimentale * Fiction * Documentaire * Film d'animation CYCLES MULTIMEDIAS : * Installation * Net art, CD-rom, DVDrom * Performance, concert, création sonore Les propositions film et vidéo sont reçues sur DVD ou VHS. TOUTES les propositions sont reçues, par courrier, accompagnées d'une FICHE DE PROPOSITION remplie, JUSQU'AU 30 AVRIL 2006. La fiche de proposition, ainsi que toutes les informations relatives aux Rencontres internationales Paris/Berlin sont disponibles sur notre site web http://art-action.org/fr_info.htm + + + + + + + + + + + + + + + + + + + + + Plus qu'une simple présentation des œuvres, les Rencontres internationales proposent un véritable forum interculturel, en présence de nombreux invités venus du monde entier, artistes et réalisateurs reconnus sur la scène internationale aux côtés de jeunes artistes et de réalisateurs peu diffusés, de responsables d'institutions et de structures émergentes témoignant d'une vivacité de la création et de sa diffusion, de contextes artistiques et culturels souvent en transformation ou parfois connaissant de profondes mutations. Les Rencontres internationales rendent compte des spécificités et des convergences des pratiques artistiques, et permettent ce temps nécessaire où les points de vue se croisent et s'échangent. ========================================= AUF DEUTSCH ========================================= TEILNAHMEAUFRUF - EINSENDESCHLUSS 30. APRIL 2006 ||||| FESTIVAL #11 #12 ||||| RENCONTRES INTERNATIONALES PARIS/BERLIN ||||| FILM / VIDEO / MULTIMEDIA ||||| http://art-action.org/de_info.htm *** Bitte diese Informationen weiterleiten *** Der Teilnahmeaufruf läuft noch bis zum 30. April 2006. Das Festival 'Rencontres internationales Paris/Berlin' stellt im Herbst 2006 in Paris und Berlin ein internationales Programm vor, das sich vor allem den Bereichen Film, Video und Multimedia widmet, und sich aus Werken von international anerkannten Künstlern und Filmschaffenden, sowie aus Beiträgen weniger bekannter Künstler zusammensetzt. Das Anliegen der 'Rencontres internationales' ist es, diese Werke einem breiten Publikum zugänglich zu machen, die verschiedenen Schaffensbereiche einander näherzubringen und den Austausch zwischen Künstlern, Regisseuren und Persönlichkeiten aus der kulturellen und künstlerischen Szene zu fördern. Als Veranstaltung ohne Wettbewerb werden die 'Rencontres internationeles Paris/ Berlin' von deutschen, französischen und internationalen Institutionen unterstützt. http://art-action.org/de_soutien.htm + + + + + + + + + + + + + + + + + + + + + JEDE PERSON, EINRICHTUNG ODER GESELLSCHAFT KANN SICH MIT EINEM ODER MEHREREN WERK(EN) BEWERBEN. DER TEILNAHMEAUFRUF BETRIFFT DIE KATEGORIEN FILM, VIDEO UND MULTIMEDIA, ohne Einschränkungen in Hinblick auf Genre oder Dauer. Die Bewerbung ist kostenlos und es gibt keine Beschränkungen hinsichtlich des Entstehungslandes. SPARTE FILM UND VIDEO (Alle Film- und Videoformate) : * Videokunst/ experimentelles Video * Experimentalfilm * Fiktion * Dokumentarfilm * Animationsfilm SPARTE MULTIMEDIA : * Installationen * Net Art, CD-Rom, DVD-Rom * Performances, Konzert, Klangkunstwerke Film- und Videoeinsendungen werden auf DVD oder VHS angenommen. Bis ZUM 30. APRIL 2006 nehmen wir ALLE Bewerbungen zusammen mit einem ausgefüllten BEWERBUNGSFORMULAR auf dem Postweg entgegen. Das Bewerbungsformular, sowie sämtliche Informationen zu den 'Rencontres internationales Paris/Berlin' finden Sie auf unserer Website : http://art-action.org/de_info.htm + + + + + + + + + + + + + + + + + + + + + Die Rencontres internationales sind mehr als nur eine einfache Ausstellung. Jede Ausgabe ist gleichzeitig ein interkulturelles Forum mit zahlreichen Gästen aus der ganzen Welt. International anerkannte Künstler und Filmemacher neben jungen, aufstrebenden Kollegen, Leiter bedeutender Kunsteinrichtungen neben Betreibern alternativer Strukturen zeugen von der Lebendigkeit des Schaffens und seiner Verbreitung, von der Situation der künstlerischen Praxis in den jeweiligen Ländern, von denen sich manche in einer Übergangsphase befinden oder tiefgreifende Veränderungen erleben. Die Rencontres internationales zeigen die Besonderheiten und Konvergenzen der verschiedenen künstlerischen Praktiken auf und schaffen den notwendigen Zeit-Raum, in dem Sichtweisen aufeinandertreffen und ausgetauscht werden können. ========================================================================= Date: Fri, 14 Apr 2006 15:23:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: Fibs Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit oh great-- now another formalist issue for ron to be all self-righteous about... ---------- >From: C Daly >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: FW: Fibs >Date: Fri, Apr 14, 2006, 1:24 PM > > It was really the poetryetc list that had a knock down on Fibonacci sequence > poems, including those by Danish poet Inger Christiansen and Ron Silliman, > so - here -- > > > > > > The other story embedded here is that Tupelo Press (as mentioned in the > article) will be publishing the first ever book of poems and plays written > as Fibonacci sequences. The book is by Emily Galvin and will be released in > 2007. Emily is astoundingly talented (poet, Harvard mathematician, LA actor) > as one might hope, given her parentage: mother Jorie Graham and father James > Galvin. > > Here's the link to the NY Times article: > > http://www.nytimes.com/2006/04/14/books/14fibo.html > > Jeffrey ========================================================================= Date: Fri, 14 Apr 2006 21:18:40 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: On readings MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Anselm, Tom, Frank, howdy all, long time no speak, and most unforntunately so, wanted to get back to the subject of readings, the polemics, the ego enhancing methodologies employed to promote readings and so on. The primary problem seems to be the notion of having two readers, which all of you use to promote your readings in your respective cities. Why two? Poets, in general, (all of us, of course, being the exception) are a ridiculously fragile bunch, at least in my experience as a curator since 1998 for a reading series that has 30-35 readings a year, and then as a curator before that and the city before that and so on back to the late 1980's. Having two powerhouse readers seems preposterous and abstract to me. I mean with one reader things are different. Maybe part of it is our city's size, being the 13Th largest vs the first and the 5Th and the well over 50Th (not including daytime workers, Tom (by the way sorry not to see you southward much else to do, please report on that doodad & let me know about rodrigo he is the one that is important of all the rest). And I want to back up NYC being a very weird experience while noting that in more than dozen readings in NYC as an outsider I experienced things such as suggestions as "If you appear at X's poetry reading then these people will appear at yours" which, professionally, I gave a big fuck off to, eat my shorts, and also to mention instances where it was apparent that "so and so has read here so many times in the past few months, you do not want to read with them." I mean who cares. I have created my moment in literary history, as each of you have, all of which will be known way outside of my readings. If I give a reading and upstage CK Williams or Lou Reeds or whoever else I'm paired with who cares. When Gabriel Gadding reads here on Monday, as with the week previous with Garin Cycholl, we will mention his name and nothing else about him. We will not tell how many books he has, or what they edit, or how good of head they give, or why they are important, or how hearing them read will advance their own poetic ends. I will assert that it will be a great reading; especially as it is apparent that that is all that is necessary in our city. If NO ONE shows up this Monday for Gabe it is because the weather is extremely bad, or the weather is extremely wonderful, or a large shipment of great drugs has arrived and all of us have not been able to find the location we arrive at weekly. But Otherwise he will have a fantastically enthusiastic crowd. In any case it will not be personal, or tied to the individual poets ego. What a fantastic thing!! I highly recommend it! What if all of your IMPORTANT reading series were run this way (BY THE WAY, ALL OF YOU OWE AN INVITE BY NOW EVEN IF YR UPSET, NO NEED TO ASK, I WILL HAVE NEW BOOK COMING OU FROM HIGH PROFILE PUBLISHER). Feel free to ask others, I get around like a bad day at the races-- Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Fri, 14 Apr 2006 21:27:05 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: reviews, I have some review copies to send In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I have some review copies so send, all considered 349 E. E. Morrill Ave. / Dave Baratier / Columbus ohio 43207 been enjoying what has been sent, will sent what ever is evuivalent, books or journals. current or considerered off- hand. Good luuck, what whatever is fine with me-- our author say to eat a shit you indiscisive types ========================================================================= Date: Sat, 15 Apr 2006 00:44:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lucas Klein Subject: Re: Questions Regarding Buddhism MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Are there examples of "Buddhist Atrocities" where religion was the motivating factor? This might go against the shibboleths of my atheism, but I wonder if religion has ever really been the motivating factor of atrocities anywhere. If we're talking about wars and mass murders, I'll offer that the motivating factor is always (why not be bold?) economics. Sure, from the Crusades to September Eleventh, religion and the holy have been invoked as reasons, calls to arms, excuses, and scapegoats for atrocities, but really we're talking about power, which means we ought to be talking about money. No Roman or Jew ever killed each other until money gave them something to fight about. How religion has been complicit in power, in the scheming for power and the wielding of power, is of course a very real issue, and I don't believe that Buddhism is any more innocent than Christianity or Islam in this regard, even if I don't have any instances at hand. Certainly Buddhists have killed, kill, and will probably continue to kill, even against the tenets of their faith, but that's not related to the bigger question, which is how Buddhism, how any religion, has been an integral part of structures of power. And here I do have an example: In Tang China, the Buddhists were the money-lenders; their temples were the banks. Bodhidharma came from India to China and meditated, staring at a wall; he tore his eyelids out to keep from sleeping, and where his eyelids landed on the ground the first tea-bushes sprouted. While this is a fiction, tea came to China from India-along with sugar and chairs and Buddhism-via the Silk Road, and tea was later, with its darker cousin opium, the main economic vehicle of English imperialism and oppression of both India and China. Atrocities galore! The vicissitudes and vagaries of capital, religion, and power, are what we really need to trace and take account of, especially if we're ever going to achieve freedom from its binds. 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 216 Willow Street New Haven, CT 06511 ph: 203 676 0629 www.CipherJournal.com ========================================================================= Date: Sat, 15 Apr 2006 08:58:24 +0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicholas Karavatos Subject: Re: WHO READS POETRY? MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable I just used it in a World Lit class here in Muscat, Oman (bending the usual definition of World Lit as non-US). We also used the recent, as well as the old, CD along with it. -----Original Message----- From: Officer in Need of Assistance! [mailto:dpcoffey@GMAIL.COM]=20 Sent: Wednesday, April 12, 2006 8:03 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: WHO READS POETRY? On 4/12/06, Aryanil Mukherjee wrote: > > The data shows Lawrence Ferlinghetti's "A Coney Island of the Mind" > sold the most - more than a 1.2 million copies worldwide. Interestingly, I saw about 5 copies of that book at my town's public library's book sale this past weekend and last month, at the Planned Parenthood annual book sale in Des Moines, there had to be no less than 12 copies. ========================================================================= Date: Sat, 15 Apr 2006 05:07:33 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Hoerman Subject: Re: Questions Regarding Buddhism MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Buddhists nerve gassed in Tokyo, Christians abused children in Waco, Muslims killed in NYC. You could go on some time with what the worst is capable of. Tibet was a sovereign, peaceful nation and had been deeply Buddhist for some time. It was occupied illegally by the Chinese Army, which proceeds to destroy thousands of monastaries, and so on. Martial law and atrocities on a scale we can't imagine. How does the leader of Tibet respond: Compassion for all beings, who all equally having Buddha nature. The Dalai Lama won't profile and wiretap you, deny you due process, wage a wrong war and use your tax dollars to pay for it; his deputy will not shoot a fellow monk or rat out a good guy; there will be no Enron style video come to light of the Dalai Lama laughing with Chinese government officials at Tibet's plight. Our own skit continues daily. We could be having a popular call for impeachment and refusal to support the groundwar another day. Michael Hoerman ========================================================================= Date: Fri, 14 Apr 2006 22:17:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Questions Regarding Buddhism In-Reply-To: <041520060507.9327.44407F950004B4B40000246F2200762194020E039D0A0108040A0E080C0703@comcast.net> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable > Our own skit continues daily. We could be having a popular call for > impeachment and refusal to support the groundwar another day. >=20 > Michael Hoerman This might be refreshing! Neil Young Records "Impeach the President" Song By E&P Staff=20 Published: April 14, 2006 11:40 AM ET NEW YORK As an E&P "Pressing Issues" column recently noted, rock star Neil Young is the son of a famed Canadian journalist, so it should not surprise many that he recently recorded a song in California with a very reportorial -- or at least pundit -- feel to it. It=B9s called =B3Impeach the President,=B2 so there can be little question what i= t is about.=20 Apparently it was recorded with a 100-voice choir. Rumors have circulated the past few days on the Web, but E&P has tracked down the strongest confirmation in a blog kept by Sherman Oaks, Ca. musician/singer Alicia Morgan. Previous reports quoted hints by Young and Jonathan Demme (who directed the new documentary =B3Heart of Gold=B2) that Neil was working on a hard-rocking political or =B3anti-Bush=B2 CD. Last Friday, Morgan wrote on her LastLeftB4Hooterville blog that she had been =B3summoned=B2 to a local studio to sing on the new record with 99 others. =B3I'm not going to give the whole thing away, but the first line of one of the songs was =8CLet's impeach the President for lyin'!=B9 Turns out the whole thing is a classic beautiful protest record. The session was like being at = a 12-hour peace rally. Every time new lyrics would come up on the screen, there were cheers, tears and applause. It was a spiritual experience. I can't believe my good fortune at being a part of this. =B3We finished the session by singing an a capella version of 'America the Beautiful' and there was not a dry eye in the house. =B3Neil said it should be out in 6 to 8 weeks." Harp magazine reported on its Web site Thursday that Demme had confirmed in an e-mail, =B3Neil just finished writing and recording -- with no warning -- = a new album called 'Living With War.' It all happened in three days=8A It is a brilliant electric assault, accompanied by a 100-voice choir, on Bush and the war in Iraq=8A Truly mind blowing. Will be in stores soon.=B2 The magazine continued: =B3Details are pretty scarce, but the featured track, titled =8CImpeach the President,=B9 features a rap with Bush=B9s voice set to the choir chanting =8Cflip/flop=B9 and the like.=B2 Young has always been a maverick politically as well as musically. Although he has recorded a few songs that drew cheers from liberals, such as "Ohio" and "Southern Man," he also drew criticism from the left for pro-Reagan comments many years ago.=20 ========================================================================= Date: Fri, 14 Apr 2006 22:34:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Babylon archeological update Comments: To: "Poetryetc provides a venue for a dialogue relating to poetry and poetics"@LISTSERV.BUFFALO.EDU, POETRYETC@JISCMAIL.AC.UK Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit http://news.independent.co.uk/world/middle_east/article357807.ece In Babylon the U.S. Army filling sand bags with artifacts & Maybe not too different than clear-cutting old growth redwoods What can one say?? Stephen Vincent http://stephenvincent.net/blog/ ========================================================================= Date: Sat, 15 Apr 2006 20:21:03 +0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derekrogerson Organization: derekrogerson.com Subject: Re: On readings In-Reply-To: <20060415041840.21613.qmail@web82205.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit David: ..| will mention his name and nothing else ..| about him. We will not tell how many ..| books he has... Now how are you going to defer to your reader the status of "the author" or "the author of..." if you don't mention their writing products? My God! You don't actually just refer to them as "poets" do you?? That's really experimental --------- Derek ========================================================================= Date: Sat, 15 Apr 2006 10:07:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sylvester pollet Subject: you won't believe this one Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Didn't anyone tell this "researcher" that Shakespeare wrote poetry-- even the plays? Maybe he should try reading one! Sylvester At 12:00 AM -0400 4/15/06, POETICS automatic digest system wrote: >From: Aldon Nielsen >To: POETICS@LISTSERV.BUFFALO.EDU >Sent: Fri, 14 Apr 2006 09:52:05 -0400 >Subject: you won't believe this one > > >Ready for another survey? Check out this item as reported in today's >Washington >Post in Richard Morin's column: > >Learning the Wrong Things From Poetry > >Fill your house with books if you want little Billy or Beth to grow >up to be an >academic all-star. Shakespeare is good. But stay away from poetry -- books of >poesy on your shelves may dumb down your child. ========================================================================= Date: Sat, 15 Apr 2006 09:14:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Babylon archeological update In-Reply-To: Mime-Version: 1.0 (Apple Message framework v746.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed (this sounds like a perfect reason to storm the Smithsonian....) Col Coleman's repentance was qualified. "If it wasn't for our presence," he told the BBC, "what would the state of those archeological ruins be?" - a repeat of the US claim that had its forces not occupied ancient Babylon, the site would have been laid waste by looters. On Apr 15, 2006, at 12:34 AM, Stephen Vincent wrote: > http://news.independent.co.uk/world/middle_east/article357807.ece > > In Babylon the U.S. Army filling sand bags with artifacts & > > Maybe not too different than clear-cutting old growth redwoods > > > What can one say?? > > Stephen Vincent > http://stephenvincent.net/blog/ ========================================================================= Date: Sat, 15 Apr 2006 10:18:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: you won't believe this one MIME-Version: 1.0 Content-Type: text/plain has anyone studied the effects of imabic pentameter monologues on the foetus? On Sat, 15 Apr 2006 10:07:00 +0000, sylvester pollet wrote: > Didn't anyone tell this "researcher" that Shakespeare wrote poetry-- > even the plays? Maybe he should try reading one! Sylvester > > > At 12:00 AM -0400 4/15/06, POETICS automatic digest system wrote: > >From: Aldon Nielsen > >To: POETICS@LISTSERV.BUFFALO.EDU > >Sent: Fri, 14 Apr 2006 09:52:05 -0400 > >Subject: you won't believe this one > > > > > >Ready for another survey? Check out this item as reported in today's > >Washington > >Post in Richard Morin's column: > > > >Learning the Wrong Things From Poetry > > > >Fill your house with books if you want little Billy or Beth to grow > >up to be an > >academic all-star. Shakespeare is good. But stay away from poetry -- books of > >poesy on your shelves may dumb down your child. > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --Emily Dickinson Sailing the blogosphere at: http://heatstrings.blogspot.com/ Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sat, 15 Apr 2006 09:26:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Jim Leftwich, write me please Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Does you haves=20 perhaps a chance a=20 letter e-mail box=20 number name for=20 Jimmy Leftwich? I needs his ass istance > ----- Original Message ----- > From: "ALDON L NIELSEN" > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: you won't believe this one > Date: Sat, 15 Apr 2006 10:18:45 -0400 >=20 >=20 > has anyone studied the effects of imabic pentameter monologues on the foe= tus? >=20 > On Sat, 15 Apr 2006 10:07:00 +0000, sylvester pollet wrote: >=20 > > Didn't anyone tell this "researcher" that Shakespeare wrote poetry-- ev= en the plays? Maybe he=20 > > should try reading one! Sylvester > > > > > > At 12:00 AM -0400 4/15/06, POETICS automatic digest system wrote: > > >From: Aldon Nielsen > > >To: POETICS@LISTSERV.BUFFALO.EDU > > >Sent: Fri, 14 Apr 2006 09:52:05 -0400 > > >Subject: you won't believe this one > > > > > > > > >Ready for another survey? Check out this item as reported in today's >= Washington > > >Post in Richard Morin's column: > > > > > >Learning the Wrong Things From Poetry > > > > > >Fill your house with books if you want little Billy or Beth to grow >u= p to be an > > >academic all-star. Shakespeare is good. But stay away from poetry -- b= ooks of > > >poesy on your shelves may dumb down your child. > > > > >=20 > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>= >> >=20 > "Breaking in bright Orthography . . ." > --Emily Dickinson >=20 > Sailing the blogosphere at: http://heatstrings.blogspot.com/ >=20 > Aldon L. Nielsen > Kelly Professor of American Literature > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 >=20 > (814) 865-0091 > Christophe Casamassima Professor Emiritus, Modern Languages & Philology University of Jamaica Avenue, Queens, N.Y. --=20 ___________________________________________ Graffiti.net free e-mail @ www.graffiti.net Play 100s of games for FREE! http://games.graffiti.net/ Powered By Outblaze ========================================================================= Date: Sat, 15 Apr 2006 10:40:26 -0400 Reply-To: az421@FreeNet.Carleton.CA Sender: UB Poetics discussion group From: Rob McLennan Subject: Peter F. Yacht Club #5 Content-transfer-encoding: 7BIT now available: The Peter F. Yacht Club #5, edited by Max Middle (crazy writers group magazine) with work by Gary Barwin Anita Dolman Jesse Ferguson Laurie Fuhr John Lavery Nicholas Lea rob mclennan Max Middle James Moran Jennifer Mulligan a.rawlings Sandra Ridley Vivian Vavassis Rachel Zavitz produced for the spring ottawa international writers festival. copies $5 if you get one there, or from Max. otherwise, send $5 + $2 (for postage; $7 US outside Canada) to rob mclennan, c/o 858 Somerset Street West, main floor, Ottawa ON K1R 6R7; select back issues available (i wont tell you which ones) -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...11th coll'n - name , an errant (Stride, UK) .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Sat, 15 Apr 2006 09:58:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Carrie Hunter's E-Mail Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Any one have? Thanks --=20 ___________________________________________ Graffiti.net free e-mail @ www.graffiti.net Play 100s of games for FREE! http://games.graffiti.net/ Powered By Outblaze ========================================================================= Date: Sat, 15 Apr 2006 11:32:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Bob Grenier / my reading at Temple Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Robert Grenier will be screening/presenting his work at Anthology Film Archive in New York, tomorrow (Easter Sunday) at 8pm; 32 Second Ave (at 2nd Street). The event is organized by Jay Sanders. I will be introducing Bob. Bob will also be doing a presentation at Columbia University on the following day, Monday, April 17, at 8:00 pm in Schermerhorn, rm 614. Free. On Thursday, April 20, at 8pm, I will be reading at Temple University Center City, 1515 Center Market Street, Room 222 (around the back), Philadelphia. Free. Charles Bernstein http://epc.buffalo.edu/authors/bernstein/ http://epc.buffalo.edu/authors/bernstein/blog ========================================================================= Date: Sat, 15 Apr 2006 08:37:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Thomas Subject: Re: On readings Comments: To: editor@pavementsaw.org In-Reply-To: <20060415041840.21613.qmail@web82205.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit > When Gabriel Gadding reads here on Monday, as with > the week previous with Garin Cycholl, we will > mention his name and nothing else about him. We will > not tell how many books he has, or what they edit, > or how good of head they give, or why they are > important, or how hearing them read will advance > their own poetic ends. I wonder, though, if this resistence to the professionalism of poetry might be counter productive, unless, of course, a small, regular group of listeners always comes, and you never have new attendees who might be shy or reserved. Listing books and editorships and the like (certainly not "how good of head they give") can seem like a mintature vita, but it can also clue people into where they can find more work by the poet they've just heard and enjoyed. "Oh, he edited that journal? I Never would have known," they think as the jot it down in a notebook. I know I've been to many readings where I've benifited from this sort of information, especially as I'm a bit shy about going up to poets who've just read and asking them, "hey, where can I read more of your stuff?" So, though I can understand your resistance, it can be useful. I was at a reading last night at Beyond Baroque in Venice, where folks from Ugly Duckling Press read. And afterwards, I made sure to grab up the books by the readers I most enjoyed, and to write down the names of books that I wanted to get later. The little bios helped in that regard. That said, I dislike the sort of introductions that say things like, "Her poetry climbs the steep inclines of Parnassus only to tear them down, casting a shadow over individual subjectivity, blurring lines between selfhood and art, art and life, asking why the "matter" of poetry--the things in and of themselves--the words, the black lines on paper, the sounds etching the air--is less important that the being there, the "the," that is, the absolute sense of senselessness, which, at its best, appears within us all, though also without. Please welcome..." Break a leg on Monday, Gabe. Best, Joseph __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sat, 15 Apr 2006 23:01:20 +0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: derekrogerson Organization: derekrogerson.com Subject: Re: On readings In-Reply-To: <20060415153719.70631.qmail@web53106.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ..| resistance to the professionalism of poetry ..| might be counter productive What's professional about being a metaphorical shill? ;-) --------- Derek ========================================================================= Date: Sat, 15 Apr 2006 12:18:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: On readings MIME-Version: 1.0 Content-Type: text/plain Joseph -- this may be the most dead-on parody of an intro I've ever seen -- Think I'll appropriate it to use at a future reading -- I will be forever grateful to you just for that initial image of the poet tearing down the inclines that she is standing upon -- but back to the earlier post -- there can't be very many people who can, in introducing a poet, speak knowledgably about what good head the poet gives -- that seems to bespeak a certain conflict of interest, no? >>I dislike the sort of introductions that say things like, "Her poetry climbs the steep inclines of Parnassus only to tear them down, casting a shadow over individual subjectivity, blurring lines between selfhood and art, art and life, asking why the "matter" of poetry--the things in and of themselves--the words, the black lines on paper, the sounds etching the air--is less important that the being there, the "the," that is, the absolute sense of senselessness, which, at its best, appears within us all, though also without. Please welcome..."<< <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --Emily Dickinson Sailing the blogosphere at: http://heatstrings.blogspot.com/ Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sat, 15 Apr 2006 11:18:29 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Factory School Subject: query: judson jerome MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello Poetics Listers: I'm currently seeking any information about the poet/teacher Judson Jerome. I'm not as interested in his poetry, per se, but rather would like to find anything -- especially names of people who might have studied with him -- relating to his participation in the development of the Antioch College experimental field research center at Columbia, Maryland (1969-1973). Please write me back-channel if you have any information, or forward this to any one who may be able help with my search. Thanks! Joel Kuszai kuszai "at" factory school. org ========================================================================= Date: Sat, 15 Apr 2006 17:37:11 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: James Fox Subject: One More Guitar-Strumming, Poetry-Reading Dreamer MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Riddle for the day: What do Taoists, guitar-strumming poetry-reading dreamers, nuclear physicists, lacanian psychoanalysts, and manic-depressive painters all have in common? James Fox New Orleans and Albany -- jmfx403@aol.com GeistProductions@aol.com -- "I am not a poet; I am a poem." --Jacques Lacan ========================================================================= Date: Sat, 15 Apr 2006 18:26:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: One More Guitar-Strumming, Poetry-Reading Dreamer In-Reply-To: <2cd.728ea7b.3172c187@aol.com> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT On 15 Apr 2006 at 17:37, James Fox wrote: > Riddle for the day: > What do Taoists, guitar-strumming poetry-reading dreamers, nuclear > physicists, lacanian psychoanalysts, and manic-depressive painters > all have in common? Green fish. ========================================================================= Date: Sat, 15 Apr 2006 18:41:50 -0400 Reply-To: "J. Michael Mollohan" Sender: UB Poetics discussion group From: "J. Michael Mollohan" Organization: idea.s Subject: Re: One More Guitar-Strumming, Poetry-Reading Dreamer MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Wei Wu Wei ----- Original Message ----- From: "James Fox" To: Sent: Saturday, April 15, 2006 5:37 PM Subject: One More Guitar-Strumming, Poetry-Reading Dreamer > Riddle for the day: > > What do Taoists, guitar-strumming poetry-reading dreamers, nuclear > physicists, lacanian psychoanalysts, and manic-depressive painters all > have in common? > > > > > > > James Fox > > New Orleans and Albany > > > -- > > jmfx403@aol.com > GeistProductions@aol.com > > -- > > "I am not a poet; I am a poem." > --Jacques Lacan ========================================================================= Date: Sat, 15 Apr 2006 18:09:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: Re: One More Guitar-Strumming, Poetry-Reading Dreamer In-Reply-To: <2cd.728ea7b.3172c187@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit James Fox wrote: > Riddle for the day: > > What do Taoists, guitar-strumming poetry-reading dreamers, nuclear > physicists, lacanian psychoanalysts, and manic-depressive painters all have in common? > > > > > > > James Fox An exotic dancer who pays the bills. -- Jonathan Penton http://www.unlikelystories.org ========================================================================= Date: Sat, 15 Apr 2006 19:13:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Raphael Israel Subject: Re: One More Guitar-Strumming, Poetry-Reading Dreamer Comments: cc: James Fox Mime-Version: 1.0 Content-Type: text/plain; charset="utf-8"; format=flowed Content-Transfer-Encoding: 7bit Easy: poetry (and/or: poetry-books in their homes) Also: they all exist within this same riddle. ;-) d.i. ----------- From: James Fox Subject: One More Guitar-Strumming, Poetry-Reading Dreamer Riddle for the day: What do Taoists, guitar-strumming poetry-reading dreamers, nuclear physicists, lacanian psychoanalysts, and manic-depressive painters all have in common? James Fox -------- | david raphael israel | blog: http://kirwani.blogspot.com/ ========================================================================= Date: Sat, 15 Apr 2006 18:34:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: One More Guitar-Strumming, Poetry-Reading Dreamer Mime-version: 1.0 Content-type: text/plain; charset="" Content-transfer-encoding: 7bit isn't there a kris kristofferson song about this---? they're "a problem when [they're] stoned".... > From: James Fox > Subject: One More Guitar-Strumming, Poetry-Reading Dreamer > > Riddle for the day: > > What do Taoists, guitar-strumming poetry-reading dreamers, nuclear > physicists, lacanian psychoanalysts, and manic-depressive painters all have > in common? > > > > James Fox > > > -------- > > | david raphael israel > | blog: http://kirwani.blogspot.com/ ========================================================================= Date: Sat, 15 Apr 2006 21:19:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Jo Malo Subject: One More Guitar-Strumming, Poetry-Reading Dreamer Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii"; format=flowed MIME-Version: 1.0 What do Taoists, guitar-strumming poetry-reading dreamers, nuclear physicists, lacanian psychoanalysts, and manic-depressive painters all have in common? relativity Mary Jo ========================================================================= Date: Sun, 16 Apr 2006 12:51:00 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: One More Guitar-Strumming, Poetry-Reading Dreamer In-Reply-To: <2cd.728ea7b.3172c187@aol.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit On 16/4/06 7:37 AM, "James Fox" wrote: > Riddle for the day: > > What do Taoists, guitar-strumming poetry-reading dreamers, nuclear > physicists, lacanian psychoanalysts, and manic-depressive painters all have in > common? > > Fingers! Alison Croggon Blog: http://theatrenotes.blogspot.com Editor, Masthead: http://masthead.net.au Home page: http://alisoncroggon.com ========================================================================= Date: Sat, 15 Apr 2006 21:09:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rodney K Subject: Re: you won't believe this one Mime-Version: 1.0 (Apple Message framework v623) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Yes. It's good for the development of feet. Date: Sat, 15 Apr 2006 10:18:45 -0400 From: ALDON L NIELSEN Subject: Re: you won't believe this one has anyone studied the effects of imabic pentameter monologues on the foetus? On Sat, 15 Apr 2006 10:07:00 +0000, sylvester pollet wrote: > Didn't anyone tell this "researcher" that Shakespeare wrote poetry-- > even the plays? Maybe he should try reading one! Sylvester > > > At 12:00 AM -0400 4/15/06, POETICS automatic digest system wrote: >> From: Aldon Nielsen >> To: POETICS@LISTSERV.BUFFALO.EDU >> Sent: Fri, 14 Apr 2006 09:52:05 -0400 >> Subject: you won't believe this one >> >> >> Ready for another survey? Check out this item as reported in today's >> Washington >> Post in Richard Morin's column: >> >> Learning the Wrong Things From Poetry >> >> Fill your house with books if you want little Billy or Beth to grow >> up to be an >> academic all-star. Shakespeare is good. But stay away from poetry -- >> books of >> poesy on your shelves may dumb down your child. > > ========================================================================= Date: Sat, 15 Apr 2006 22:20:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Questions Regarding Buddhism MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable While it is true that Buddhism is mainly a pacifist practice, many Zen = Buddhist priests, at least in spirit supported Japanese militarists in = WWII, which comes from a long tradition of samurai (now businessmen) = being trained in Rinzai temples. And the Dalai Lama is now being = criticized by young Tibetans exiled in India, whose spiritual leader he = is, for his political pacifism, which has gotten them no closer to be = able to live in their homeland. They seem to be ready for a more active = resistance.=20 -Joel W.=20 Date: Sat, 15 Apr 2006 05:07:33 +0000 From: Michael Hoerman Subject: Re: Questions Regarding Buddhism Buddhists nerve gassed in Tokyo, Christians abused children in Waco, = Muslims killed in NYC. You could go on some time with what the worst is = capable of. Tibet was a sovereign, peaceful nation and had been deeply = Buddhist for some time. It was occupied illegally by the Chinese Army, = which proceeds to destroy thousands of monastaries, and so on. Martial = law and atrocities on a scale we can't imagine. How does the leader of = Tibet respond: Compassion for all beings, who all equally having Buddha = nature. The Dalai Lama won't profile and wiretap you, deny you due process, wage = a wrong war and use your tax dollars to pay for it; his deputy will not = shoot a fellow monk or rat out a good guy; there will be no Enron style = video come to light of the Dalai Lama laughing with Chinese government = officials at Tibet's plight.=20 Our own skit continues daily. We could be having a popular call for = impeachment and refusal to support the groundwar another day.=20 Michael Hoerman ========================================================================= Date: Sat, 15 Apr 2006 02:18:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: One More Guitar-Strumming, Poetry-Reading Dreamer MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the mirror ========================================================================= Date: Sun, 16 Apr 2006 06:30:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ram Devineni Subject: Congressional Hearing with Congressman Conyers on Healthcare for Artists MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Friends: Are you a working artists dealing with healthcare issues? Want to testify and share your experience? Congressional Hearing with Congressman Conyers on Healthcare for all. May 6, 2006, 10 am - 5pm, at Borough Hall, 209 Joralemon St., Brooklyn. Joining him will be New York City Councilmember Charles Barron. Members of the Creative Community from all disciplines of the arts have joined forces to organize a Citizens/Congressional Hearing on Healthcare for Artists. Artists are being encouraged to organize and come out on May 6th to give their personal testimonies about the lack of health care before Congressman Conyers, Councilmember Charles Barrone, and a panel of other elected officials, artist and community activist. Partners: Musicians Union - Local 802, Fractured Atlas, The Actor's Fund, Healthcare-NOW!, FEVA, The Physicians for Social Responsibility, Physicians for a National Health Care Program, the Alliance of African American Artists, Pierogi Gallery, ENABLE Passion, Harlem Tenant Council, Rattapallax, Healthcare-NOW!, Art Without Walls & Acts of Art Email us at actsart@gmail.com or Ms. Mae Jackson at 718-852-8798 Cheers Ram Devineni Publisher Rattapallax Please send future emails to devineni@rattapallax.com for press ========================================================================= Date: Sun, 16 Apr 2006 09:48:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Book World MIME-Version: 1.0 Content-Type: text/plain Today's WASHINGTON POST BOOK WORLD is a special issue on poetry. It nearly caused me to lose faith. If this was all I knew of poetry publishing, I'd lapse permanently into prose. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --Emily Dickinson Sailing the blogosphere at: http://heatstrings.blogspot.com/ Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sun, 16 Apr 2006 11:51:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Slaughter, William" Subject: Notice: Mudlark MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit NEW AND ON VIEW: MUDLARK NO. 31 (2006) LOWCOUNTRY | POEMS by JOHN ALLMAN LOWCOUNTRY, John Allman's just completed book, is his seventh collection of poetry. His first, WALKING FOUR WAYS IN THE WIND, was published in the Princeton Series of Contemporary Poets (Princeton University Press 1979). Subsequent poetry books include CLIO'S CHILDREN (1985), SCENARIOS FOR A MIXED LANDSCAPE (1986), CURVE AWAY FROM STILLNESS (1989) and LOEW'S TRIBORO (2004), all published by New Directions, who also published Allman's first fiction collection, DESCENDING FIRE & OTHER STORIES (1994). The Wallace Stevens Society Press published his INHABITED WORLD: NEW & SELECTED POEMS 1970-1995 in 1995. An extensive feature representing his poetry can be seen at Caught in the Net, a PK Poetry List site that comes out of Liverpool, England. He has prose poems forthcoming in the online journal Innisfree and in the print journals Sentence and Kestrel. The recipient of a Pushcart Prize in Poetry as well as two fellowships in poetry from the National Endowment for the Arts and the Helen Bulls Prize from Poetry Northwest, Allman's poems, stories, and essays have been widely published in such journals as The American Poetry Review, The Atlantic Monthly, The Antioch Review, The Massachusetts Review, Michigan Quarterly Review, North Dakota Quarterly, The Paris Review, Poetry, Poetry International, The Quarterly, and The Yale Review, as well as the online journals Full Circle, Blackbird, Slope and Enskyment. Allman holds an MA in Creative Writing from Syracuse University and is now retired from teaching. He lives in Katonah, New York, and spends his winters on Hilton Head Island, South Carolina. 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, 16 Apr 2006 09:17:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: C Daly Subject: Re: Book World In-Reply-To: <200604161348.JAA18482@webmail12.cac.psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable couldn't resist checking it out my questions include: can Houghton Mifflin and HarperCollins be said to = be publishing poetry? (Houghton Mifflin published at least three of the = books under review, this seems to me to be a problem) how is it that the poetry wars have started again in this time of war; = can't we do something about this? [I've been noticing this in local LA poetry = as well] how come this is all tied up with religious poetry that is political and political poetry which is religious thus, does reporting-based editorship in the Post's book section cover = or create divisive "issues" rather than... oh reviewing responsibly, I = think so All best, Catherine Daly ========================================================================= Date: Sun, 16 Apr 2006 12:22:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian VanHeusen Subject: Link to an article about Tibetan Buddhism by Micheal Parenti Mime-Version: 1.0 Content-Type: text/plain; format=flowed I have heard of MP before, but I do not know much about him. I am sure the article is based on facts, but I wonder about the broader context of Tibet. It is very negative and about atrocities and such. I would be interested in a tibetan response, but alas, that sort of thing is always difficult to find. Peace, Ian http://www.michaelparenti.org/Tibet.html ========================================================================= Date: Sun, 16 Apr 2006 10:25:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Nelson Subject: Re: Link to an article about Tibetan Buddhism by Micheal Parenti In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit Ian VanHeusen wrote: > I have heard of MP before, but I do not know much about him. I am sure > the article is based on facts, but I wonder about the broader context > of Tibet. It is very negative and about atrocities and such. I would > be interested in a tibetan response, but alas, that sort of thing is > always difficult to find. Peace, > > Ian > > http://www.michaelparenti.org/Tibet.html I can't offer a Tibetan response, but I have heard of Tibet's violent culture through Christopher Hansard, who represents the gNam Ngagpa lineage of the Northern Treasure School of Jangter Bön. The Tibetan Bon tradition predates the introduction of Buddhism in Tibet by 17,000 years and was the indigenous religion of Tibet. Details on the lineage Christopher represents is at: http://www.bonmedicine.com/lineage.htm and interviews I did with him can be heard at: http://www.bonmedicine.com/radio_interview.htm Paul -- Paul E. Nelson www.GlobalVoicesRadio.org www.AuburnCommunityRadio.com www.SPLAB.org 110 2nd Street S.W. #100 Slaughter, WA 98001 253.735.6328 toll-free 888.735.6328 ========================================================================= Date: Sun, 16 Apr 2006 12:33:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Gallaher Subject: Re: Book World MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Catherine Daly writes: > can Houghton Mifflin and HarperCollins be said to be> publishing poetry?= (Houghton Mifflin published at least three of the books> under review, th= is seems to me to be a problem) =20 I Reply: Yes. As these books are placed in the poetry section, they must be= poetry. Are you meaning "good" poetry? That's a very different question.=20 > how is it that the poetry wars have started again in this time of war; ca= n't> we do something about this? [I've been noticing this in local LA poet= ry as> well] =20 I Reply: Poetry wars? I haven't noticed any change in the attitudes of poet= s/critics toward things they don't care for. So, in my estimation, either t= he poetry wars never left us, or they were never really here to begin with.= Can we do something about this? My guess would be no. Unless we resort to = a formula of "all poetry is just great!" Or is that what you mean by "poetr= y wars"? > how come this is all tied up with religious poetry that is political and>= political poetry which is religious I Reply: All tied up with? I'm not sure that it is, or if it is, what you m= ean by "it." But it would make sense to me that in these times of perceived= increased need for order-making systems, that many who feel so inclined wo= uld turn toward overt politics or religious statements.=20 > thus, does reporting-based editorship in the Post's book section cover o= r> create divisive "issues" rather than... oh reviewing responsibly, I thin= k so =20 I Reply: I don't think the Post is doing anything other than the easiest th= ing they can do with the easiest (content-oriented) poetry they can find. I= doubt they are creating any issues. They might be over-inflating them, tho= ugh. Personally, I can't imagine a worse lot of books for them to choose to= talk about. Perhaps this is my contribution to the poetry wars...=20 = ========================================================================= Date: Sun, 16 Apr 2006 13:57:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Book Review MIME-Version: 1.0 Content-Type: text/plain Meanwhile, over in the contiguous republic of the New York Times, we get today William Logan's review of the latest OXFORD BOOK OF AMERICAN POETRY, this time edited by David Lehman. Poetry Wars? "You can get the idea of Ashbery in two paes--almost everything after that is sludge." "Whitman's and Dickinson's damaged psyches . . ." Anne Bradstreet wrote "with the high-minded clumsiness of the imperfectly educated." "There's a quaintness to the work of the preacher, Edward Taylor . . . " not sure "quaint" is the first word that leaps to mind when reading the "Prepartory Meditations." In one place he notes that the cut-off date of birth for inclusion in the collection is 1950 -- later he remarks "The younger poets are getting older." duh "far more pages are wasted on giddy, crowd-pleasing poets like Billy Collins and James Tate." Whether I like them or not, I don't think I've ever found those two names occupying my mind at the same time conjoined in a phrase beginning "poets like" -- not that I'm here to defend the anthology, or its editor --- just noticing things <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --Emily Dickinson Sailing the blogosphere at: http://heatstrings.blogspot.com/ Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sun, 16 Apr 2006 13:14:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Penton Subject: If dental school taught me anything... MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Greetings, Springtime Ninjas! There's a new update at www.UnlikelyStories.org, featuring: Nine photographic images by Jeff Crouch "Industrial Boy," spoken word and music by Kenji Siratori "The Junkie," a short film by Mark A. Lewis Enjoy! -- Jonathan Penton http://www.UnlikelyStories.org ========================================================================= Date: Sun, 16 Apr 2006 15:15:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Wilcox Subject: Third Thursday Open Mic, Albany, NY Mime-Version: 1.0 (Apple Message framework v623) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; format=flowed the Poetry Motel Foundation =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0presents Third Thursday Open Mic for Poets at the Lark Street Bookshop 215 Lark Street, Albany, NY (near State St.) Thursday, April 20, 2006=A0=A0=A0=A0 7:00 sign up; 7:30 start Featured Poet:=A0Joe Johnson $3.00 donation.=A0 The official "unofficial" start of 2006 Albany Word Fest (for more=20 information see www.albanywordfest.com Your special substitute host, no extra charge:=A0Don Levy Joe Johnson hosts the open mic at the Moon & River Cafe, N. Ferry St.=20 in Schenectady on the first Saturday of each month, 6PM. ========================================================================= Date: Sun, 16 Apr 2006 13:05:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kristine Leja Subject: Literary Panel on the Bay Area Literary Community In-Reply-To: <444297A7.5070908@natisp.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Literary Panel on the Bay Area Literary Community Wednesday, April 26 @ 7:30pm San Francisco State University Poetry Center http://www.sfsu.edu/~poetry/index.html Humanities Building, Room 512 1600 Holloway Ave. http://www.sfsu.edu/~sfsumap/ The Bay Area Literary Community: What small presses, literary journals, MFA programs, bloggers, and reading series are doing to foster cross genre work, support collaboration, & grow the literary community. Featuring Panelists: Jack Boulware from Litquake Page McBee & Michael co-curators of Go. A reading series Brent Foster Jones & Youmna Chlala co-editors of eleven eleven {1111} Bucky Sinister of Last Gasp Stephanie Young, Blogger & Mills College Administrator Litquake-Jack Boulware http://www.litquake.org/ Litquake Mission Statement: Litquake galvanizes the Bay Area’s thriving literary scene by bringing emerging, mid-career and established authors together with fans of the written word for a week of readings, performances, cross-media events, and panel discussions. We strive to foster interest in literature, to perpetuate a sense of community by making the solitary social, and to publicize San Francisco’s literary heritage, present and future. Litquake represents an ideal complement to the city’s music, film, and cultural festivals – and is unique as the only literary festival in the city. All Litquake events are open to the public and free or low-cost ($5-$10), so that all fans of the written word, from children to seniors, are able to attend. Jack Boulware: Grew up in rural Montana. He has written two nonfiction social history books, Sex, American Style and San Francisco Bizarro, and has appeared in anthologies and won a few journalism awards. From 1989-1995 I was founding editor of the satirical investigative Nose magazine, and for several years wrote a column for SF Weekly. I currently contribute regularly to a wide variety of publications, and have traveled to many countries and throughout the U.S. in search of a cool story. Occasionally I do live readings and panel discussions, and appear on Air America Radio and in television documentaries. I’m also the co-founder and director of San Francisco’s annual Litquake literary festival. Go. Reading Series-Page McBee & Michael Braithwaite http://www.varnishfineart.com/events/index.php?t=past Duke Ellington once said, "We aren't worried about posterity – we want it to sound good right now." We know how that story ends, of course. Oakland artist Michael Braithwaite and her partner, writer Page McBee, present an innovative and provocative response to the timeless question of art and immortality in their monthly, revolving collaborative art series, "Go." Go.'s primary focus is to bring together artists across lines of culture, gender, sexuality, race, and generation, to create an experience that blends issues of identity and medium. Given only a theme and a tight deadline, a visual artist, a writer, and an audio artist work together to create a cross-media exhibit on display for one night only. "Go." takes place on the first Friday of every month at Varnish Fine Art, and it is sure to be San Francisco's most satisfying one-night stand. Go. is curated every month by Oakland-based artist Michael Braithwaite and her partner, the writer Page McBee. Eleven Eleven {1111}-Brent Foster Jones & Youmna Chlala http://www.cca.edu/academics/mfawriting/1111.php Founded in 2004, Eleven Eleven is an annual journal of literature and art based at California College of the Arts. The journal is published each spring and is available at most independent bookstores in the San Francisco Bay Area, select bookstores in other major U.S. cities, and through Amazon.com. The journal is a forum for writers, poets, and visual artists to risk, experiment, and find answers for and from their contemporaries. Our aim is to produce a publication that serves as an exchange for writers and artists. Eleven Eleven {1111} was co-founded by Brent Foster Jones & Youmna Chlala Last Gasp-Bucky Sinister http://www.lastgasp.com/ Last Gasp is one of the largest and oldest publishers and purveyors of underground comic books in the world, as well as being a distributor of all sorts of weird 'n' wonderful subversive literature, graphic novels, tattoo and art books. Stephanie Young-Blogger & Mills College Administrator http://stephanieyoung.org/blog/# Stephanie Young's long awaited debut, TELLING THE FUTURE OFF, ensnares the reader in a loop of theatrical-sets, filtered through the obsessive-compulsive call and response of self-help tag-lines. It's 3:30 at the office and the landscape is all twisted up in the bedsheets, littered with car radios, eyeshadow and circuit training. In the distance, the internet drones. TELLING THE FUTURE OFF is built of the poetry of Today, of realism colliding with the dream-state. In it, Young questions and she answers but never does she waver. When she asks, "Am I tough enough?" The unanimous answer is Yes. http://stephanieyoung.org/blog/# For more information visist www.14hills.net --------------------------------- How low will we go? Check out Yahoo! Messenger’s low PC-to-Phone call rates. ========================================================================= Date: Sun, 16 Apr 2006 13:13:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Nelson Subject: Re: Fwd: [smallpressers] Donate to Slumgullion! In-Reply-To: <6DB1235D-60C3-43E2-9F02-DA8A16C1C07D@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit mIEKAL aND wrote: > Begin forwarded message: > >> From: Stuart Ross >> Date: March 31, 2006 1:03:01 PM CST >> To: smallpressers@yahoogroups.com >> Subject: [smallpressers] Donate to Slumgullion! >> Reply-To: smallpressers@yahoogroups.com >> >> My dear friend and anarchic smallpresser debby florence -- who is a >> poet and student in Missoula, Montana, and has been working >> tirelessly towards smallpress collectivism for the past year or two, >> writes this in her blog: > mIEKAL, It was good to meet you in Lake Forest, tho the conference was on the weak side. Your performance was good to see also, despite my traffic-marred late arrival. I sent Slumgullion a catalogue of Debra Van Tuinen's encaustic works, with some poems written by JOhn Olson, Roberta Olson, & myself, with some collaborations. Stay well. Paul >> >> "I am building a small press library at our studio. The objective is >> to begin this collection so people can hang out and read in our >> space. As we grow into a newer and bigger space, we will be able to >> expand our hours and have an actual public reading library. So, I am >> asking all of you out there who do any kind of publishing to consider >> donating some stuff to us. Mail books and zines to: Slumgullion, PMB >> 1011 , 91 Campus Drive, Missoula , MT 59812 USA" >> >> Send her stuff! >> >> Stu > > > > There's many a bestseller that could have been prevented by a good > teacher. > --Flannery O'Connor > > > -- Paul E. Nelson www.GlobalVoicesRadio.org www.AuburnCommunityRadio.com www.SPLAB.org 110 2nd Street S.W. #100 Slaughter, WA 98001 253.735.6328 toll-free 888.735.6328 ========================================================================= Date: Sun, 16 Apr 2006 17:35:43 -0400 Reply-To: Lea Graham Sender: UB Poetics discussion group From: Lea Graham Subject: Re: Book Review MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit not that I'm here to defend the anthology, or its editor --- just noticing things here, here, Aldon! one gets the sense from this review that no one and nothing is good in American poetry. i was waiting for Logan to champion Donald Justice, a poet he's written about, but it seemed he was more interested in repeating Samuel Johnson's line about Am. poetry: "like a dog's walking on his hinder legs. It is not done well; but you are surprised to find it done at all." which all makes me wonder more why i read the nyt book review-- and not Am. poetry itself. Lea ----- Original Message ----- From: "ALDON L NIELSEN" To: Sent: Sunday, April 16, 2006 1:57 PM Subject: Re: Book Review > Meanwhile, over in the contiguous republic of the New York Times, we get > today > William Logan's review of the latest OXFORD BOOK OF AMERICAN POETRY, this > time > edited by David Lehman. > > Poetry Wars? > > "You can get the idea of Ashbery in two paes--almost everything after that > is > sludge." > > > "Whitman's and Dickinson's damaged psyches . . ." > > Anne Bradstreet wrote "with the high-minded clumsiness of the imperfectly > educated." > > "There's a quaintness to the work of the preacher, Edward Taylor . . . " > > not sure "quaint" is the first word that leaps to mind when reading the > "Prepartory Meditations." > > In one place he notes that the cut-off date of birth for inclusion in the > collection is 1950 -- later he remarks "The younger poets are getting > older." > duh > > "far more pages are wasted on giddy, crowd-pleasing poets like Billy > Collins and > James Tate." Whether I like them or not, I don't think I've ever found > those > two names occupying my mind at the same time conjoined in a phrase > beginning > "poets like" -- > > not that I'm here to defend the anthology, or its editor --- just noticing > things > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "Breaking in bright Orthography . . ." > --Emily Dickinson > > Sailing the blogosphere at: http://heatstrings.blogspot.com/ > > Aldon L. Nielsen > Kelly Professor of American Literature > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 ========================================================================= Date: Sun, 16 Apr 2006 17:42:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Book Review In-Reply-To: <000601c6619d$b77cd890$6501a8c0@MobileXP> Mime-Version: 1.0 (Apple Message framework v749.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Well, just to be fair to Logan, the "dog's walking" line was in reference to Am. poetry written before the Am. Rev. But don't let me stop the fun. Hal Flotsam, please, and a side order of jetsam. Halvard Johnson ================ halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org On Apr 16, 2006, at 5:35 PM, Lea Graham wrote: > not that I'm here to defend the anthology, or its editor --- just > noticing > things > > here, here, Aldon! one gets the sense from this review that no one > and nothing is good in American poetry. i was waiting for Logan to > champion Donald Justice, a poet he's written about, but it seemed > he was more interested in repeating Samuel Johnson's line about Am. > poetry: "like a dog's walking on his hinder legs. It is not done > well; but you are surprised to find it done at all." > > which all makes me wonder more why i read the nyt book review-- and > not Am. poetry itself. > > Lea > ----- Original Message ----- From: "ALDON L NIELSEN" > To: > Sent: Sunday, April 16, 2006 1:57 PM > Subject: Re: Book Review > > >> Meanwhile, over in the contiguous republic of the New York Times, >> we get today >> William Logan's review of the latest OXFORD BOOK OF AMERICAN >> POETRY, this time >> edited by David Lehman. >> >> Poetry Wars? >> >> "You can get the idea of Ashbery in two paes--almost everything >> after that is >> sludge." >> >> >> "Whitman's and Dickinson's damaged psyches . . ." >> >> Anne Bradstreet wrote "with the high-minded clumsiness of the >> imperfectly >> educated." >> >> "There's a quaintness to the work of the preacher, Edward >> Taylor . . . " >> >> not sure "quaint" is the first word that leaps to mind when >> reading the >> "Prepartory Meditations." >> >> In one place he notes that the cut-off date of birth for inclusion >> in the >> collection is 1950 -- later he remarks "The younger poets are >> getting older." >> duh >> >> "far more pages are wasted on giddy, crowd-pleasing poets like >> Billy Collins and >> James Tate." Whether I like them or not, I don't think I've ever >> found those >> two names occupying my mind at the same time conjoined in a phrase >> beginning >> "poets like" -- >> not that I'm here to defend the anthology, or its editor --- just >> noticing >> things >> <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >> >>>>>> >> >> "Breaking in bright Orthography . . ." >> --Emily Dickinson >> >> Sailing the blogosphere at: http://heatstrings.blogspot.com/ >> >> Aldon L. Nielsen >> Kelly Professor of American Literature >> The Pennsylvania State University >> 116 Burrowes >> University Park, PA 16802-6200 >> >> (814) 865-0091 ========================================================================= Date: Sun, 16 Apr 2006 20:45:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Kent Johnson: A Jeunesse Doree Book Club Discussion In-Reply-To: <9BE9E019-A2A8-4AEC-9BA3-1CDDCA731CCE@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Kent Johnson: A Jeunesse Doree Book Club Discussion http://thejeunessedoree.libsyn.com/index.php?post_id=80430 Join Joe Green and Marty Brennan as they stroll, as if strolling through a wood near Athens in the great tradition of Flute, Snout, Plato and Parmenides, and discuss Kent Johnson's new book, his character, his probable ethnicity, his probable sexual proclivities and the direction he should take in his art. Discussion also includes: Annette Funicello The theft by Walt Disney of a painting by Marty The power of the legs of women The mysterious book of Genta. [Geoffrey Gatza] ========================================================================= Date: Sun, 16 Apr 2006 21:45:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Questions Regarding Buddhism MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Lucas, Very interesting post. Tomorrow, I am going to Macao, the place of a great Buddhist temple, with Chinese wrtiting on rocks, etc. Be well, Murat From Hong Kong with loveIn a message dated 4/15/2006 12:44:34 AM Eastern Daylight Time, Lucas Klein writes: >Are there examples of "Buddhist Atrocities" where religion was the >motivating factor? > > > >This might go against the shibboleths of my atheism, but I wonder if >religion has ever really been the motivating factor of atrocities anywhere. >If we're talking about wars and mass murders, I'll offer that the motivating >factor is always (why not be bold?) economics. Sure, from the Crusades to >September Eleventh, religion and the holy have been invoked as reasons, >calls to arms, excuses, and scapegoats for atrocities, but really we're >talking about power, which means we ought to be talking about money. No >Roman or Jew ever killed each other until money gave them something to fight >about. > > > >How religion has been complicit in power, in the scheming for power and the >wielding of power, is of course a very real issue, and I don't believe that >Buddhism is any more innocent than Christianity or Islam in this regard, >even if I don't have any instances at hand. Certainly Buddhists have killed, >kill, and will probably continue to kill, even against the tenets of their >faith, but that's not related to the bigger question, which is how Buddhism, >how any religion, has been an integral part of structures of power. > > > >And here I do have an example: In Tang China, the Buddhists were the >money-lenders; their temples were the banks. Bodhidharma came from India to >China and meditated, staring at a wall; he tore his eyelids out to keep from >sleeping, and where his eyelids landed on the ground the first tea-bushes >sprouted. While this is a fiction, tea came to China from India-along with >sugar and chairs and Buddhism-via the Silk Road, and tea was later, with its >darker cousin opium, the main economic vehicle of English imperialism and >oppression of both India and China. Atrocities galore! The vicissitudes and >vagaries of capital, religion, and power, are what we really need to trace >and take account of, especially if we're ever going to achieve freedom from >its binds. > > > >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 >216 Willow Street >New Haven, CT 06511 >ph: 203 676 0629 > > www.CipherJournal.com > > > ========================================================================= Date: Sun, 16 Apr 2006 18:52:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matt Henriksen Subject: Cannibal: Volume One, Issue One MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Cannibal is homemade and hand-stitched in signatures, with a screen-printed cover. Eighty-eight pages with a broad aesthetic, our first issue includes Andrea Baker, Zach Barocas, Jim Behrle, F.J. Bergmann, Edmund Berrigan, Anne Boyer, Jenna Cardinale, Laura Carter, Adam Clay, Clayton Couch, Bruce Covey, AnnMarie Eldon, Jane Gregory, Anthony Hawley, Brian Howe, Brenda Iijima, Lisa Jarnot, Shannon Jonas, Erica Kaufman, Alex Lemon, Tao Lin, Rebecca Loudon, Joe Massey, Andrew Mister, K. Silem Mohammad, Valzhyna Mort, Gina Myers, The Pines, Emma Ramey, M. L. Schultz, Sandra Simonds, Laura Solomon, Gabriella Torres, Jen Tynes, and Dustin Williamson. $10 for Issue One. $18 for issue One & Two. We love you. See us at www.flesheatingpoems.blogspot.com. Paypal available or checks to Matthew Henriksen 95 Clay Street. 3L Brooklyn, NY 11222 __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sun, 16 Apr 2006 23:19:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: don summerhayes Subject: Re: Book Review In-Reply-To: <9BE9E019-A2A8-4AEC-9BA3-1CDDCA731CCE@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Anyway, it was a about a woman preaching. Halvard Johnson wrote: > Well, just to be fair to Logan, the "dog's walking" line was in > reference to Am. poetry written before the Am. Rev. But don't > let me stop the fun. > > Hal Flotsam, please, and a side order of jetsam. > > Halvard Johnson > ================ > halvard@earthlink.net > http://home.earthlink.net/~halvard > http://entropyandme.blogspot.com > http://imageswithoutwords.blogspot.com > http://www.hamiltonstone.org > > On Apr 16, 2006, at 5:35 PM, Lea Graham wrote: > >> not that I'm here to defend the anthology, or its editor --- just >> noticing >> things >> >> here, here, Aldon! one gets the sense from this review that no one >> and nothing is good in American poetry. i was waiting for Logan to >> champion Donald Justice, a poet he's written about, but it seemed >> he was more interested in repeating Samuel Johnson's line about Am. >> poetry: "like a dog's walking on his hinder legs. It is not done >> well; but you are surprised to find it done at all." >> >> which all makes me wonder more why i read the nyt book review-- and >> not Am. poetry itself. >> >> Lea >> ----- Original Message ----- From: "ALDON L NIELSEN" >> To: >> Sent: Sunday, April 16, 2006 1:57 PM >> Subject: Re: Book Review >> >> >>> Meanwhile, over in the contiguous republic of the New York Times, >>> we get today >>> William Logan's review of the latest OXFORD BOOK OF AMERICAN >>> POETRY, this time >>> edited by David Lehman. >>> >>> Poetry Wars? >>> >>> "You can get the idea of Ashbery in two paes--almost everything >>> after that is >>> sludge." >>> >>> >>> "Whitman's and Dickinson's damaged psyches . . ." >>> >>> Anne Bradstreet wrote "with the high-minded clumsiness of the >>> imperfectly >>> educated." >>> >>> "There's a quaintness to the work of the preacher, Edward >>> Taylor . . . " >>> >>> not sure "quaint" is the first word that leaps to mind when >>> reading the >>> "Prepartory Meditations." >>> >>> In one place he notes that the cut-off date of birth for inclusion >>> in the >>> collection is 1950 -- later he remarks "The younger poets are >>> getting older." >>> duh >>> >>> "far more pages are wasted on giddy, crowd-pleasing poets like >>> Billy Collins and >>> James Tate." Whether I like them or not, I don't think I've ever >>> found those >>> two names occupying my mind at the same time conjoined in a phrase >>> beginning >>> "poets like" -- >>> not that I'm here to defend the anthology, or its editor --- just >>> noticing >>> things >>> <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >>> >>>>>> >>> >>> "Breaking in bright Orthography . . ." >>> --Emily Dickinson >>> >>> Sailing the blogosphere at: http://heatstrings.blogspot.com/ >>> >>> Aldon L. Nielsen >>> Kelly Professor of American Literature >>> The Pennsylvania State University >>> 116 Burrowes >>> University Park, PA 16802-6200 >>> >>> (814) 865-0091 >> ========================================================================= Date: Sun, 16 Apr 2006 23:51:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabriel Gudding Subject: reviewers needed: Jacques Roubaud book -- translators Keith & Rosmarie Waldrop MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Was emailing with one of the whiz kids at Dalkey Archive Press the other day: Dalkey's looking for reviewers for a new edition of Jacques Roubaud's work translated by the Waldrops. See below for information -- and for the contact info at Dalkey in the event you're interested in reading and reviewing this coolio book. -- Gabe Title: The Form of a City Changes Faster, Alas, Than the Human Heart Author: Jacques Roubaud Translators: Keith and Rosmarie Waldrop Pub Date: July 18, 2006 Pages: 247 Price: $13.95 Galleys: Available for anyone who would like to consider it for review Contact: Chad Post at cwpost@dalkeyarchive.com Jacket Copy: An homage and response to many of France's best-known poets, including Charles Baudelaire and Raymond Queneau, this collection moves through the streets of Paris, commenting on its inhabitants, its writers, its monumental past, and all its possible futures. Moving between honesty and evasion, erudition and lightheartedness, constraint and freedom, THE FORM OF A CITY CHANGES FASTER, ALAS, THAN THE HUMAN HEART explores a Paris that's no long "the one we used to find." A sometimes mocking, sometimes poignant tribute to the City of Light, Jacques Roubaud's poetry is filled with the melancholic playfulness that's made him one of our most important contemporary writers. Author Bio: Jacques Roubaud is the author of numerous books, including the novels Hortense Is Abducted, Hortense in Exile, and The Princess Hoppy, or The Tale of Labrador, as well as the poetry collections Some Thing Black, Plurality of Worlds of Lewis, and The Form of a City Changes Faster, Alas, Than the Human Heart. He is one of the most accomplished members of the Oulipo, an innovative literary group whose members whose members have included Raymond Queneau, Italo Calvino, and Harry Mathews. ========================================================================= Date: Sun, 16 Apr 2006 22:53:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Re: Link to an article about Tibetan Buddhism by Micheal Parenti In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I'd like to hear what the initial impetus for this discussion is. And I hope we're confusing Buddhismus-- China has no Buddhism, perhaps subterranean one could easily argue, but Buddhism is antithetical to totalitarianism. I love yuh, Harry! AJ --- Good art however "immoral" is wholly a thing of virtue. Good art can NOT be immoral. By good art I mean art that bears true witness, I mean the art that is most precise. -- Ezra Pound __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sun, 16 Apr 2006 23:03:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Re: Link to an article about Tibetan Buddhism by Micheal Parenti In-Reply-To: <20060417055318.14874.qmail@web54409.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Little of you may know this, and perhaps this is only legend among the hill-stations, but Clinton offered pape smurf sticks and stones, following how prior foreign policy assisted in the disgrace of smurfs, and papa smurf said no. And even Smurfland warlords gave up power to create the insitution, which was not always good, sure, not unlike most things--including drink and filthy good sex. Another anecdote: "Their bullets used to go through our men on horseback, their modern guns, tatatakataka, and they could not kill us. But then, you know, they melted with fire our gold and places and destroyed our places, many many places and the people, you know, and then they shoot us. And we die." This is the big red machine...and lots worse than stinky ol' Pete. AJ --- Good art however "immoral" is wholly a thing of virtue. Good art can NOT be immoral. By good art I mean art that bears true witness, I mean the art that is most precise. -- Ezra Pound __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Mon, 17 Apr 2006 02:25:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Re: NYTBR, Poetry Wars In-Reply-To: Mime-Version: 1.0 (Apple Message framework v623) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit 1. Poetry Wars: From middle school onwards, my father devoted much of his son-raising effort to trying to steer me away from literature, sometimes repeating the warning that "When a war begins they always hang the poets first." (he being a survivor, barely, of the Korean War). I didn't have a tangible fear of being hung, just revulsion at the thought of taking nothing but science and math courses the rest of my youth. Although, during college, these, in fact, turned out to be much richer than my humanities courses (except for one on Dante that I took with fellow dormitory-mate Maria Damon). One problem I had with the latter was that I tried to write term papers on poetry as if they were scientific theorizations; at the time, structuralism and cognitive psychology seemed the natural methodology for building a bridge between poetry and science (my "self" and mon pEre). For example, I did a phonology seminar project trying to find underlying psycholinguistic patterns in some of Galway Kinnel's poetry (egads!), having read Samuel J. Keyser's work on Chaucerian meter (Keyser, a Chomsky offshoot, was teaching at the university). Maria, do you remember Kinnel's visits reading "The Bear," etc.? I can't remember if you enjoyed them. By 1980 or so I cdn't figure out how his poetry had made any impression on me; it must have been part of some poetry war that I didn't know I had been mobilized for. Huge rally-like readings by Rich, Voznesensky, Corso, Ginsberg: those were longer lasting influences. 2. The New York Times Book Review: The last few years, in a touching effort to make up for all the decades of Korean conflict over whether I shd be allowed to pursue a life of literature (for which I am always renewing hostilities), my father often mails or gives me during my visits home any articles on poetry or Asian authors he spots in the New York Times Book Review. On the one hand, it disturbs me to know that, in his very small pockets of spare time, he is relying on the NYTBR for his sense of Anglophone literature. At the same time, I realize, after many years of ignorance, how deeply literary and philosophical he already was long before he could read English. "He was still of that generation" that received an education in which classical Chinese, colonial Japanese, and native Korean were often taught in literary forms. He wrote out lines of Goethe (probably in kana) when courting my mother in the wonderfully romantic parks of Seoul. When I told them over the phone once that I was taking a seminar on Natsume SOseki, my Mom and Dad recited immediately and cheerfully in unison: "Wagahai wa nekko de aru. Mada namae wa nai!" (The untranslatably charming opening lines of SOseki's early novel /I am a Cat/.) When trying to get me (about 13 years old at the time) to do more weeding and raking, he gave me the line from the Analects about how poets should know the names of many flowers and plants, although it was not until I read Confucius a decade later that I knew the tradition he was transmitting. (I painfully remember that at the time I retorted with some Rimbaudian item about hallucinating landscapes rather than naming pretty ones; I ended up doing plenty of the former in college and it almost killed me!) So there's nothing for me to worry about. I occasionally look at the NYTBR to imagine how my father reads it, to imagine being him in the fallen America he now post-imagines. He hands me the clippings as if they were recipes from a flight magazine, occasionally scribbling very brief comments in the margin like "Not impressed--are you?" That one was about the latest novel by Chang-rae Lee, the "foremost Korean American author." Pride swells in me over my father's good taste. But it's also his sense of history and how his passion for science--and its relation to survival--was a phase of his own history. (He hadn't seen how the U.S. bombs that fell on Korea, on his cousins, and the N. Korean ideology that executed his father were also part of science.) I think he is also intimating that he would like me to publish something that impresses him more. That particular poetry war de moi is over, especially now that, at a late age, I have finally found tenure-track employment in a department that won't hang me (I think). Time to start a new battle! Nel mezzo del cammin di boku na vita, May the Buddha guide all good cats and soldats. On Apr 16, 2006, at 9:00 PM, POETICS automatic digest system wrote: > Date: Sun, 16 Apr 2006 13:57:52 -0400 > From: ALDON L NIELSEN > Subject: Re: Book Review > > Meanwhile, over in the contiguous republic of the New York Times, we > get today > William Logan's review of the latest OXFORD BOOK OF AMERICAN POETRY, > this time > edited by David Lehman. > > Poetry Wars? > > "You can get the idea of Ashbery in two paes--almost everything after > that is > sludge." > > > "Whitman's and Dickinson's damaged psyches . . ." > > Anne Bradstreet wrote "with the high-minded clumsiness of the > imperfectly > educated." > > "There's a quaintness to the work of the preacher, Edward Taylor . . . > " > > not sure "quaint" is the first word that leaps to mind when reading the > "Prepartory Meditations." > > In one place he notes that the cut-off date of birth for inclusion in > the > collection is 1950 -- later he remarks "The younger poets are getting > older." > duh > > "far more pages are wasted on giddy, crowd-pleasing poets like Billy > Collins and > James Tate." Whether I like them or not, I don't think I've ever > found those > two names occupying my mind at the same time conjoined in a phrase > beginning > "poets like" -- > > not that I'm here to defend the anthology, or its editor --- just > noticing > things > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>> > > "Breaking in bright Orthography . . ." > --Emily Dickinson > > Sailing the blogosphere at: http://heatstrings.blogspot.com/ > > Aldon L. Nielsen > Kelly Professor of American Literature > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 ========================================================================= Date: Mon, 17 Apr 2006 08:01:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: poet families MIME-Version: 1.0 Content-Type: text/plain Walter has me thinking about the responses of our families to our choices to become poets and/or literary scholars/critics/journalists/ or even just people who read all the time. My father found my choice of major puzzling -- but by the time I got to grad school, he was proudly introducing me to people as a doctoral candidate -- I guess the professionalization stage was something he could fathom. He is the only person who always addresses mail to me using the "Dr." title. (Though I have never forgotten his surprise when he heard the salary attached to my first tenure track job -- "When I was in school, being a professor was a good job.") Now, though my dad doesn't read the NYTBR like Walter's, every time an obituary appears in the WASHINGTON POST for a poet, my father clips it out and mails it to me, asking if I knew the person. Sad to say, Often did. No poetry wars in my father's house, though. He sends them to me whether it's a Black Mountain School poet, an old school formalist or a concrete poet. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "Breaking in bright Orthography . . ." --Emily Dickinson Sailing the blogosphere at: http://heatstrings.blogspot.com/ Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Mon, 17 Apr 2006 05:15:33 -0700 Reply-To: rsillima@yahoo.com Sender: UB Poetics discussion group From: Ron Silliman Subject: Silliman's Blog Comments: To: Brit Po , New Po , Wom Po , Lucifer Poetics MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://ronsilliman.blogspot.com/ RECENT POSTS Be Here to Love Me A film about Townes Van Zandt Ten years of poetry at the Washington Post 16 grand pianos, 4 drums, 3 xylophones one gong, assorted alarms and a piercing siren - George Antheil makes everyone jump at Dada in DC A selected poems for Louis Zukofsky The Library of America volume Publishers Weekly on poetry and the web Redell Olsen and Drew Milne The place of English Allan Kaprow A marriage poem (my own) 20 years later Zach Barocas “exactitude/like purity”? The new globalism – Mohawk / Samoa Transmigrations On Earth, the last poems of Robert Creeley Lisa Jarnot and Homer Iliad XXII as a political act Stanislaw Lem Watten on Braxton Selah Saterstrom and the Pink Institution - As I Lay Dying as told by Dodie Bellamy Betye, Lezley and Alison Saar 2 generations of African-American art Ian Hamilton Finlay The reversal of text and illustration in the work of Derek Fenner Some links to Anthony Braxton The jumble of unassimilated parts that is Sally Potter’s Yes http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 17 Apr 2006 09:14:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Child, Downing, Gardner, Koeneke, Mohammad, etc. this Thurs Mime-Version: 1.0 Content-Type: text/plain; format=flowed First night of FLARF: INAPPROPRIATE EXPLORATION IN 21st CENTURY ART Thursday, April 20, 8:00 p.m. Medicine Show, 549 West 52nd Street, NYC. Short radio play by Sharon Mesmer & Edwin Torres Films by Abigail Child & Gary Sullivan, Brandon Downing, and Rodney Koeneke, who will perform his neo-benshi version of scene from Guru Dutt's "Pyaasa." Performance by the Drew Gardner Poetics Orchestra with Anne Boyer, Katie Degentesh, Rodney Koeneke, K. Silem Mohammad, and Rod Smith. $8.00 per evening, general admission. $20.00 for 3 evening pass. For tickets: 212-262-4216 and leave message. Tickets will also be available at the door. ABOUT THE FLARFLIST COLLECTIVE Launched in May of 2001 by six poets, the Flarflist Collective is dedicated to the exploration of “the inappropriate” in all of its guises. Poets mine the Internet with odd search terms then distill the results into often hilarious and sometimes disturbing poems, plays, and other texts. FLARF ONLINE The Flarf Files: http://epc.buffalo.edu/authors/bernstein/syllabi/readings/flarf.html Village Voice essay: http://www.villagevoice.com/news/0434,essay,56171,1.html Jacket Flarf Feature: http://jacketmagazine.com/30/index.shtml ABOUT THE DREW GARDNER POETICS ORCHESTRA The Poetics Orchestra is an ensemble conducted by poet and musician Drew Gardner. His conduction system uses hand signals, tone cards, and rhythmic forms to shape collective improvisation. The system is related to that of Butch Morris, though simplified, and with the addition of tonal systems. It also owes something to the tradition of new music which includes the recitation of text- esp. Harry Partch, Robert Ashley and Rzewski. The group always includes poets, who are conducted right along with the musicians using the same system. The idea is to unite poetry and music in a collaborative sprit. See: http://users.erols.com/drewgard/poeticsorchestra/ And: http://www.ubu.com/sound/gardner.html ========================================================================= Date: Mon, 17 Apr 2006 10:18:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: JUST BUFFALO E-NEWSLETTER 4-17-06 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=UTF-8 Content-Transfer-Encoding: quoted-printable THE BIG READ Literally Speaking Discussion of Fahrenheit 451, by Ray Bradbury Take a Break, Talk Books =40 Downtown=E2=80=99s Lunchtime Book Discussion Group Tuesday, April 18, 1 p.m., 12:10 to 1 p.m. Central Library, West Room 1 Lafayette Square, Buffalo All are welcome. Bring your bagged lunch or purchase a delicious meal from = Fables Cafe to enjoy during the discussion. WORKSHOP THIS SATURDAY Between Word and Image A multimedia workshop with Kyle Schlesinger and Caroline Koebel Saturday, April 22, 12-4 p.m. CEPA, Underground Gallery, Market Arcade Building, 617 Main St., Buffalo =2450, =2440 members Co-sponsored by CEPA Gallery All forms of writing are images, but not all images are forms of writing. O= r are they? This multimedia poetry workshop will explore the relationships between word= s and images. What effect has the evolution of new media had on the literary and = visual arts of the last fifty years? What are the distinctions between the languages of= visual and literary arts? What are the ramifications of blurring these boundaries? Pai= nters, poets, filmmakers, collage, book and installation artists have a longstanding hist= ory of collaboration. In the first half of this workshop we will examine various e= xamples of poems inspired by visual art forms and vice versa. In the second half parti= cipants will engage in a series of poetic experiments in response to the other forms of = visual art using a variety of media and materials. Writers and artists working in all = mediums are welcome. Caroline Koebel's work roams between film, video and installation art. She = is also curator, writer and Professor of Media Studies at SUNY Buffalo whose postco= nceptual artworks often confront the problematics of female being-in-the-world, the = expression of subjectivities at odds with commodity culture, and how individuals embod= y the collective past. Kyle Schlesinger is a poet, scholar, book artists and prop= rietor of Cuneiform Press. He received his Ph.D. from the Poetics Program at SUNY Buf= falo, and is the author of Moonlighting, Mantle (with Thom Donovan), A Book of Cl= osings and is currently writing on the history and ontology of book burning. Their collaboration, Schablone Berlin (Chax Press, 2005) examines the semiotic an= d performative aspects of stencil graffiti culled from the streets of Germany= 's most international metropolis. =00 ORBITAL SERIES CA Conrad and Buck Downs Small press poetry reading hosted by Kevin Thurston Thursday, April 20, 7 p.m. Big Orbit Gallery, 30 d Essex St. Buck Downs' poems can be easily found online, at places like canwehaveourba= llback, yourblackeye, and fascicle. EDGE Books published his marijuana softdrink in= 2000. For the last ten years he has primarily relied on direct distribution of hi= s poems as postcards and related ephemera objects. A native of Jones County, Mississip= pi, Buck Downs lives and works in Washington, D.C. CA Conrad 's childhood included selling cut flowers along the highway for h= is mother and helping her shoplift.=C2=A0 He escaped to Philadelphia the first chance= he got, where he lives and writes today with the PhillySound poets. He coedits FREQUENCY Aud= io Journal with Magdalena Zurawski, and edits the 9for9 project. Soft Skull Pr= ess=C2=A0recently published his=C2=A0book=C2=A0 Deviant Propulsion .=C2=A0 He has two forthco= ming books, The Frank Poems (Jargon Society) and advanced ELVIS course (Buck Downs Books). He is = the author of several chapbooks, including (end-begin w/chants), a collaboratio= n with Frank Sherlock.=C2=A0 For correspondence, write to CAConrad13=40AOL.com=00= OPEN READINGS The Book Corner 1801 Main St., Niagara Falls (Meets monthly on the third Thursday) Featured: Dan Sicoli Thursday, April 20, 7 P.M. 10 slots for open readers Rust Belt Books 202 Allen Street, Buffalo (Meets the monthly on the third Sunday) Featured: Ken Feltges Sunday, April 23, 7 P.M. 10 slots for open readers WORKSHOPS THE WORKING WRITER SEMINAR In our most popular series of workshops writers improve their writing for p= ublication, learn the ins and outs of getting publiished, and find ways to earn a livin= g as writers. All workshops take place in CEPA's Flux Gallery Market Arcade Building, 617 Main St., Buffalo Individual workshops: =2450, =2440 members Materials are included at no additional cost. Boost Your Freelance Writing Income Saturday, April 29, 12 - 4 p.m. Power of the Pen Saturday, May 13, 12 - 4 p.m. Kathryn Radeff's work has appeared in local, regional and national magazine= s and newspapers, including Woman's World, Instructor, American Fitness, Personal Journaling, They Daytona Beach News Journal, and The Buffalo News and Buffa= lo Spree. For the past 25 years, she has worked extensively as an educator emp= hasizing a creative approach to getting published. SPOKEN ARTS RADIO, with host Sarah Campbell A joint production of Just Buffalo Literary Center and WBFO 88.7 FM Airs Sundays during Weekend Edition at 8:35 a.m. and Mondays during Morning Edition at 6:35 A.M. & 8:35 a.m. Upcoming Features: Poet PATRICIA SPEARS JONES, April 23 & 24 All shows are now available for download on our website, including features= on John Ashbery, Paul Auster and more...http://www.justbuffalo.org/events/sar.shtml JUST BUFFALO WRITER'S CRITIQUE GROUP Members of Just Buffalo are welcome to attend a free, bi-monthly writer cri= tique group in CEPA's Flux Gallery. Group meets 1st and 3rd Wednesday at 7 p.m. Call fo= r details. LITERARY BUFFALO Talking Leaves Books Kim Kwang-Kyu Reading/booksigning for: The Depths of a Clam Monday, April 17, 7 p.m. Talking Leaves Books, 951 Elmwood Call 837-8554 for more info Rooftop Poetry Club at Buffalo State College Gabriel Gudding Tuesday, April 18, 5 p.m. E. H. Butler Library Rooftop Garden at 5 pm. CORRECTION The April Literary Buffalo poster incorrectly lists Marjorie Norris' book launch on April 26th at 7 p.m. to be taking place at Talking Leaves Elmwood= =2E The launch will actually take place at Talking Leaves MAIN ST. Sorry for any c= onfusion. UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will b= e immediately removed. _______________________________ Michael Kelleher Artistic Director Just Buffalo Literary Center Market Arcade 617 Main St., Ste. 202A Buffalo, NY 14203 716.832.5400 716.270.0184 (fax) www.justbuffalo.org mjk=40justbuffalo.org ========================================================================= Date: Mon, 17 Apr 2006 14:21:19 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicky Melville Subject: one less In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed hi does anyone have the contact details for one less magazine? ta, nick-e ========================================================================= Date: Mon, 17 Apr 2006 10:25:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: paolo javier Subject: Paolo Javier, Barbara Jane Reyes, and Rodrigo Toscano @ the Bowery Poetry Club MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline *Sunday, April 23/ **6pm * *Paolo Javier, Barbara Jane Reyes, and Rodrigo Toscano* *Paolo Javier* is the author of *60 lv bo(e)mbs* (O Books), and *the time at the end of this writing* (Ahadada), which received a Small Press Traffic Award. He lives in New York. *Barbara Jane Reyes* was born in Manila, Philippines and raised in the San Francisco Bay Area. She received her BA in Ethnic Studies at UC Berkeley an= d her MFA at SF State University. She is the author of *Gravities of Center*(Arkipelago, 2003) and *Poeta en San Francisco* (Tinfish, 2005), for which she received the James Laughlin Award from the Academy of American Poets. She lives in Oakland, CA= . *Rodrigo Toscano* was a 2005 Fellow in Poetry from the New York Foundation for the Arts. He is the author of *To Leveling Swerve* (Krupskaya Books, 2004), *Platform* (Atelos, 2003), *The Disparities* (Green Integer, 2002) and *Partisans *(O Books, 1999). Originally from California, Toscano has been living in NYC for the last seven years. DIRECTIONS: * * *The Bowery Poetry Club* 308 Bowery, New York, NY 10012 212.614.0505 $ 6 cover foot of First Street, between Houston & Bleecker across the street from CBGBs *F train to Second Ave, or 6 train to Bleecker* -- http://blog.myspace.com/paolojavier ========================================================================= Date: Mon, 17 Apr 2006 08:09:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ONE LESS Subject: Re: one less In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Nicky, Thanks for your interest in One Less Magazine. Our contact details: email: onelessartontherange@yahoo.com post: One Less Magazine, c/o Nikki Widner, 6 Village Hill Road, Williamsburg, MA 01096 blog: onelessmag.blogspot.com Our blog lists the current call for submissions, including formats and deadlines. Thanks, Nikki --- Nicky Melville wrote: > hi > > does anyone have the contact details for one less > magazine? > > ta, > > nick-e > Nikki Widner & David Gardner, Editors One Less 6 Village Hill Road Williamsburg, MA 01096 Check out our New Blog: onelessmag.blogspot.com ========================================================================= Date: Mon, 17 Apr 2006 11:22:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Danon Subject: Summer Intesive Writing Workshop MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I'd like to alert everyone to the two week Intensive Writing Workshop to = be held at NYU this summer. The dates are June 11-23rd. The guest writers will be Nick Flynn (nonfiction), Lydia Davis = (fiction), and Claudia Rankine (poetry). Participants meet with guest writers for five 3 hour workshops over the = two week period. Participants also meet for constraint based = improvisationsal writing sessions for six mornings. There are lectures = and readings and everyone has a good time. The program is open to undergraduates and postgraduates-- i.e. non = credit postbaccalaureate students. Undergraduates may earn 4 credits. = Graduate students are welcome but we don't offer credit at that level.=20 Please contact my assistant Charles Bradshaw at 1-212-998-7292 if you = would like an applicationfor yourself or your students. Admission is by = application only. Sections are limited to twelve students each. = Participants are selected by the guest writers. You can also e mail me with any questions. Thank you, list. Ruth Danon Founder and Director Summer Intensive Creative Writing Workshops McGhee Division, New York University ========================================================================= Date: Mon, 17 Apr 2006 10:42:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW:Woodland Pattern: Redletter Reading: Kerri Sonnenberg & Beth Bretl (4.21) Mime-Version: 1.0 Content-Type: text/plain; format=flowed >From: Woodland Pattern >To: woodlandpattern@sbcglobal.net > > >==================================================================== >REDLETTER READING: KERRI SONNENBERG & BETH BRETL >==================================================================== > >$3 general admission / $2 open mic readers > > >Woodland Pattern Book Center presents: >Redletter series with Kerri Sonnenberg & Beth Bretl > >Friday, April 21, 2006, 7pm >Woodland Pattern Book Center >720 East Locust Street, Milwaukee > >April 21, 2006 - Kerri Sonnenberg and Beth Bretl > >Kerri Sonnenberg Kerri Sonnenberg lives in Chicago where she directs >the Discrete Reading Series, presently at the SpareRoom, and which >she co-founded in 2003 with Jesse Seldess. She is the author of The >Mudra (Litmus Press, 2004) and Practical Art Criticism, a chapbook >from Bronze Skull Eights Press. New poems are forthcoming in >Magazine Cypress and Unpleasant Event Schedule. > >http://www.woodlandpattern.org/poems/kerri_sonnenberg01.shtml > > >Beth Bretl is a Ph.D. candidate in English at the University of >Wisconsin-Milwaukee, where she recently served as co-editor of >poetry for The Cream City Review. Her poetry and fiction have been >published or are forthcoming in Free Verse, North American Review, >Porcupine Literary Arts Magazine and Calyx. > >http://www.woodlandpattern.org/poems/beth_bretl01.shtml > > >Redletter is a reading series featuring local and regional poets and >writers on the third Friday of each month, and is curated by Chuck >Stebelton. The program begins at 7 p.m. with an open mic, followed >by two featured readers. The cost is $3, or $2 for open mic readers. > >http://www.woodlandpattern.org/gallery/redletter.shtml > > > >==================================================================== >UPCOMING EVENTS >==================================================================== > >Friday, April 21: Redletter: Beth Bretl & Kerri Sonnenberg; 7:00 > >Saturday, April 22: George Bowering & Ammiel Alcalay; 7:00 > >Friday, April 28: Film: Bill Basquin's Range, a 16mm triptych; >7:00 > >Sunday, April 30: Alternating Currents Live; 7:00 > >Saturday, May 6: Mary Jo Salter & Susan Firer; 7:00 > >Friday, May 19: Redletter: Juliet Patterson & Angie Vasquez; >7:00 > >http://www.woodlandpattern.org/ > > >==================================================================== >IN THE GALLERY: TOM RAWORTH >==================================================================== > >Collage and prints from Tom Raworth's "Caller" series. > >http://www.woodlandpattern.org/gallery/exhibits.shtml > > >____________________________________________________________________ >To receive regular messages notifying you of Woodland Pattern >events, send a message to us at woodlandpattern@sbcglobal.net with >"Join E-List" in the subject line. > >To unsubscribe from these mailings send a reply with "unsubscribe" >in the subject line. > >PLEASE FORWARD! THANKS!!! > >http://www.woodlandpattern.org/ > >Woodland Pattern Book Center >720 E. Locust Street >Milwaukee, WI 53212 >phone 414.263.5001 _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ========================================================================= Date: Mon, 17 Apr 2006 10:45:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW:Woodland Pattern: George Bowering & Ammiel Alcalay Reading (4.22) Mime-Version: 1.0 Content-Type: text/plain; format=flowed >From: Woodland Pattern >To: woodlandpattern@sbcglobal.net > >==================================================================== >GEORGE BOWERING & AMMIEL ALCALAY READING >==================================================================== > >Woodland Pattern Book Center presents: > >George Bowering and Ammiel Alcalay > >Saturday, April 22, 2006 at 7:00 >Woodland Pattern Book Center >720 East Locust Street, Milwaukee > >$8 general / $6 members / $7 students and seniors > > >Saturday, April 22nd, 7:00 pm: George Bowering and Ammiel Alcalay > >George Bowering was born in Penticton, British Columbia, in 1935. >After serving as a photographer in the Royal Canadian Air Force, >Bowering attended the University of British Columbia. George >Bowering is a major Canadian literary figure and one of the most >prolific writers in the country with over 70 books published to >date. Two-time winner of the Governor General's Award, his most >recent collection of poetry, Changing on the Fly, is short-listed >for the Griffin Prize for Poetry. George Bowering approaches >literature as he does life: with a playful gravity and a grave >merriness that makes intellectual life and writing seem at once >attractive, unintimidating and remarkable. He dispels the myth of >literature being hard or tricky and demonstrates, as he reads and >chats, the accessible and enriching nature of great literature. His >appeal and great influence lie in his decision to work consistently >against the grain of dominant aesthetic conventions and >expectations. > >http://www.woodlandpattern.org/poems/george_bowering01.shtml > >http://en.wikipedia.org/wiki/George_Bowering > > > >Ammiel Alcalay is poet, translator, critic and scholar. His latest >work, from the warring factions (Beyond Baroque, 2002), is a book >length poem dedicated to the Bosnian town of Srebrenica. His other >books include After Jews and Arabs: Remaking Levantine Culture >(University of Minnesota Press, 1993), the cairo noteboooks (Singing >Horse Press, 1993), and Memories of Our Future: Selected Essays, >1982-1999 (City Lights, 1999). Current projects include >co-translation of a Hebrew novel, Outcast, by Shimon Ballas (City >Lights, 2006) and a collective translation of the Syrian poet Faraj >Bayraqdar (Beyond Baroque, 2006). A mixed critical poetic piece, >tentatively called Scrapmetal, is due out in the Fall of 2006 from >Factory School in the Heretical Texts series. An activist on many >domestic and international issues, he was one of the initiators of >the Poetry Is News Coalition, and he organized, with Mike Kelleher, >the OlsonNow project. > >http://www.woodlandpattern.org/poems/ammiel_alcalay01.shtml > >http://www.olsonnow.blogspot.com/ > > > >==================================================================== >UPCOMING EVENTS >==================================================================== > >Friday, April 21: Redletter: Kerri Sonnenberg & Beth Bretl; 7:00 > >Saturday, April 22: George Bowering & Ammiel Alcalay; 7:00 > >Friday, April 28: Film: Bill Basquin's Range, a 16mm triptych; >7:00 > >Sunday, April 30: Alternating Currents Live; 7:00 > >Saturday, May 6: Mary Jo Salter & Susan Firer; 7:00 > >Friday, May 19: Redletter: Juliet Patterson & Angie Vasquez; >7:00 > >http://www.woodlandpattern.org/ > > >==================================================================== >IN THE GALLERY: TOM RAWORTH >==================================================================== > >Collage and prints from Tom Raworth's "Caller" series. > >http://www.woodlandpattern.org/gallery/exhibits.shtml > > >____________________________________________________________________ >To receive regular messages notifying you of Woodland Pattern >events, send a message to us at woodlandpattern@sbcglobal.net with >"Join E-List" in the subject line. > >To unsubscribe from these mailings send a reply with "unsubscribe" >in the subject line. > >PLEASE FORWARD! THANKS!!! > >http://www.woodlandpattern.org/ > >Woodland Pattern Book Center >720 E. Locust Street >Milwaukee, WI 53212 >phone 414.263.5001 _________________________________________________________________ FREE pop-up blocking with the new MSN Toolbar – get it now! http://toolbar.msn.click-url.com/go/onm00200415ave/direct/01/ ========================================================================= Date: Sun, 16 Apr 2006 12:10:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: sorry for this early mailing but we'll be out of town expect another mailking 1 week before gig thanks MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit loren mazzacane connors & steve dalachinsky in duo @ the stone may 30th 2006 8 pm 2nd st & ave C as part of a month long hommage in may to the memory of Derek Bailey many great artist performing may 2 - may 31 check the stone schedule www.thestonenyc.com ========================================================================= Date: Sun, 16 Apr 2006 12:40:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: NYTBR, Poetry Wars MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit how do i get removed from this list for a month or so i need to get off now some one tell me please ========================================================================= Date: Mon, 17 Apr 2006 14:33:22 -0400 Reply-To: dbuuck@mindspring.com Sender: UB Poetics discussion group From: David Buuck Subject: today's NY Times Comments: To: jspahr@mills.edu, cartograffiti@sbcglobal.net, janesprague@charter.net, ksilem@gmail.com, RT5LE9@aol.com, eliztj@hotmail.com, kayvallet@earthlink.net, ksand@willamette.edu, Matchgrls@aol.com, kevinkillian@earthlink.net, carol@swoonrocket.com, jeff@hesperian.org, rmf1@nyu.edu, alandgilbert@yahoo.com, supposedly.alli@verizon.net, goldman.judith@gmail.com, jules@duyure.org, manowak@stkate.edu Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Jules Boykoff (new book on Edge) & his brother Max (recently PHinisheD at UCSC) are mentioned in Paul Krugman's op-Ed piece today-- http://select.nytimes.com/2006/04/17/opinion/17krugman.html?hp way to go, boykoffs buuck ========================================================================= Date: Mon, 17 Apr 2006 11:51:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: C Daly Subject: POETRY SUPER HIGHWAY free E-books coming your way MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit > -- ) On May 1st, you will be able to download for free the 47 e-books that > have been sent in so far for the Poetry Super Highway's Great E-Book > Free-For-All for free!. (Plus any others sent in during the rest of this > month.) Join in! Get Your E On! > > Send us your e-book during the month of April and we'll add it to the pile > of e-books which will be freely available to download by anyone on earth > for 24 hours on May 1st, 2006...a free-for-all. > > More info? Click on "Great E-Book Free-For-All" from the main PSH menu > or e-mail ffa-guidelines@... to have them sent to you. > > -- ) Holocaust Remembrance Day is next Tuesday, April 25th. > > We're looking for submissions of poetry written in response to the Holocaust > for next week's Yom Hashoah (Holocaust Remembrance Day) issue. Please > send your work, along with a bio of any length which includes what city you > live in to POTW@... by this Friday, April 21st to be > considered for this special issue. > > ______________________________________________________ > THE POETRY SUPER HIGHWAY WEEKLY VIRTUAL UPDATE > http://PoetrySuperHighway.com/ > ISSN: 1523-6587 > ========================================================================= Date: Mon, 17 Apr 2006 16:37:23 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: Re: The Poetry Reading/Momo's Press, etc In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT just to plug Stephen's book. i had it out of the library for over a year and if i had the dosh i'd buy one. I've even ganked the title woodcut image for a poster of my own. i'd say it is the stop before Close Listening. i also found the report/discussion about one of Antin's talkpoems very interesting. especially the fact that they couldn't start until ron silliman had his tape recorder ready. it seemed that even back in those early days that there very clear rules as to who got to eat the power pie. (and yeah gender is in there too). later, kevin http://www.cbc.ca/nl/story/nf-cartwright-seals-20060413.html On Thu, 13 Apr 2006, Stephen Vincent wrote: > As once editor and publisher of Momo's Press (1973 - 1984) I still have a > little inventory, and since occasionally on blogs and otherwise talk up some > of the books and authors are talked, to let folks now: > > The Poetry Reading: A Contemporary Compendium on Language and Performance > edited by Stephen Vincent & Ellen Zweig,(Momo¹s Press, 1981) > Some copies in paper still available. (I have a few and Ellen has part of a > box.) It¹s 350 pages with a variety of contributors - B Dahlen, J > Rothenberg, Ron Silliman, Steve McCaffery, David Antin, Victor Hernandez > Cruz, J Hagedorn & among many others! With a Contents that covers: > Histories, Oral Literature, Performances, Video, Sound and Typography. > $25 > > If I run out of copies here, Ellen Zweig, who is currently mounting an > installation in Shanghai (!) will be back in May and we will respond to your > order at that time. > > I also have copies of Beverly Dahlen¹s A Reading: 1 - 7 (Momo¹s Press, > 1985) for $15 each, including postage. A cloth bound signed (A -Z) version > is availabe for $30. And a very few copies of the signed (A-Z) of her first > book, Out of the Third( Momo¹s Press, 1974) for $50, including postage. > > I also have cloth copies of Victor Cruz' By Lingual Wholes - $15. > > Prices will cover postage and handling! > Please send to: > Stephen Vincent > 3514 21st Street > San Francisco, CA 94114 > > Thanks for your interest! > > Stephen V > http://stephenvincent.net/blog/ > Currently featuring the serial, Tenderly. > -- The monthly Open Mics now have a home on the interweb: http://www.freewebs.com/allagesopenmic/ ========================================================================= Date: Mon, 17 Apr 2006 14:36:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Gallaher Subject: 2006 Pulitzer Prize in Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Announced: =20 POETRY For a distinguished volume of original verse by an American author, Ten t= housand dollars ($10,000).=20 Awarded to "Late Wife" by Claudia Emerson (Louisiana State University Press= ).=20 Also nominated as finalists in this category were:=20 "American Sublime" by Elizabeth Alexander (Graywolf Press), and=20 "Elegy on Toy Piano" by Dean Young (University of Pittsburgh Press).=20 =20 =20 I Reply: =20 Who is Claudia Emerson?=20 =20 JG= ========================================================================= Date: Mon, 17 Apr 2006 14:37:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Gallaher Subject: 2006 Pulitzer Prize in Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable For a distinguished volume of original verse by an American author, Ten tho= usand dollars ($10,000).=20 Awarded to "Late Wife" by Claudia Emerson (Louisiana State University Press= ). =20 Also nominated as finalists in this category were:=20 "American Sublime" by Elizabeth Alexander (Graywolf Press), and=20 "Elegy on Toy Piano" by Dean Young (University of Pittsburgh Press).=20 =20 =20 I Reply: =20 Who is Claudia Emerson?=20 =20 JG= ========================================================================= Date: Mon, 17 Apr 2006 15:46:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: 2006 Pulitzer Prize in Poetry In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed As near as I can tell, she's the person who wrote this: For three years you lived in your house just as it was before she died: your wedding portrait on the mantel, her clothes hanging in the closet, her hair still in the brush. You have told me you gave it all away then, sold the house, keeping only the confirmation cross she wore ------------------------------------------------------------------------------------------------------------------------------------------------- It does make me wonder if he gave away the hair in the brush -- At 03:37 PM 4/17/2006, you wrote: >For a distinguished volume of original verse by an American author, Ten >thousand dollars ($10,000). >Awarded to "Late Wife" by Claudia Emerson (Louisiana State University >Press). >Also nominated as finalists in this category were: >"American Sublime" by Elizabeth Alexander (Graywolf Press), and >"Elegy on Toy Piano" by Dean Young (University of Pittsburgh Press). > > >I Reply: > >Who is Claudia Emerson? > >JG <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "and now it's winter in America" --Gil Scott-Heron Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 112 Burrowes University Park, PA 16802-6200 (814) 865-0091 [office] (814) 863-7285 [Fax] ========================================================================= Date: Mon, 17 Apr 2006 14:48:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Officer in Need of Assistance! Subject: Re: 2006 Pulitzer Prize in Poetry In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline On 4/17/06, John Gallaher wrote: > Who is Claudia Emerson? > Gamely, he replied: Birth: January 13, 1957 in Chatham, Virginia Nationality: American Occupation: Writer Source: Contemporary Authors Online, Thomson Gale, 2005. Entry updated: 07/19/2005 TABLE OF CONTENTS Awards Career Further Readings Personal Information Sidelights Source Citation Writings "Sidelights" Claudia Emerson is the author of two volumes of poetry, Pharaoh, Pharaoh: Poems and Pinion: An Elegy. Born and raised in Chatham, Virginia, Emerson writes poems that are, as Diann Blakely noted in Nashville Scene, "redolent with... regional soil and its seasonal varieties." Emerson, who studied writing at the University of North Carolina at Greensboro, published her first poetry collection in 1997 at age forty; it was an auspicious beginning for the debut poet, for that collection--Pharaoh, Pharaoh --was nominated for a Pulitzer prize. Pharaoh, Pharaoh "explores the irony of loss, a theme Emerson identifies as particularly Southern," according to a contributor for Contemporary Southern Writers. In poems such as "Cleaning the Graves," "Searching the Title," and "Inheritance," she presents what one Publishers Weekly reviewer called "a meditation on the events and repercussions of lives lived in the South." The same reviewer praised the "soft, romantic spirit [that] haunts this collection." Similarly, America reviewer Edward J. Ingebretsen noted the "measured and elegiac" cadence of the poems and observed that Emerson's "confident narrative voice is intimate and richly detailed without being sentimental." Pinion, published in 2002, is a series of short poems connected as one long poem that runs over fifty pages. It explores more rural values and qualities of Southern life through the voices of two members of a farming family, Preacher and Sister. Both siblings are caught in the web of family and farm obligations. Interspersed with their dialogue is narration by the youngest and last surviving sister of the family, Rose. Writing in the Blackbird Review Online, Susan Settlemyre Williams found this narrative verse a "haunting, and haunted, work." As compared to the author's first volume of poems about rural Southern life, Williams felt Pinion is "more a full-length portrait than a series of snapshots." Blakely commented that Emerson's language in both volumes "is gorgeous but reticent... commemorating, even celebrating, her family and the hard ground from which it sprang." PERSONAL INFORMATION Born January 13, 1957, in Chatham, VA; married Kent Ippolito. Education: University of Virginia, B.A.; University of North Carolina at Greensboro, M.F.A., 1991. Addresses: Home: Chatham, VA. Agent: c/o Author Mail, Louisiana State University Press, P.O. Box 25053, Baton Rouge, LA 70894-5053. AWARDS Individual artist fellowship, National Endowment for the Arts, 1994; individual artist fellowship, Virginia Commission for the Arts, 1995; Associated Writing Programs Intro Award, 1997; Academy of American Poets Prize, 1997; Pulitzer Prize nomination, 1997, for Pharaoh, Pharaoh: Poems; Witter Bynner fellowship, Library of Congress, 2005. CAREER Poet and educator. Chatham Hall (girls' boarding school), Chatham, VA, academic dean, 1996-98; Mary Washington College, Fredericksburg, VA, associate professor of creative writing, 1998--. Poetry editor of the Greensboro Review. WRITINGS: * (Under name Claudia Emerson Andrews) Pharaoh, Pharaoh: Poems, Louisiana State University Press (Baton Rouge, LA), 1997. * Pinion: An Elegy, Louisiana State University Press (Baton Rouge, LA), 2002. * Late Wife (poetry), Louisiana State University Press (Baton Rouge, LA), 2005. Contributor to reviews and journals, including Ploughshares, Poetry, Georgia Review, TriQuarterly, Southern Review, and New England Review. FURTHER READINGS ABOUT THE AUTHOR: BOOKS * Contemporary Southern Writers, St. James Press (Detroit, MI), 1999. PERIODICALS * America, April 25, 1998, Edward J. Ingebretsen, review of Pharaoh, Pharaoh: Poems, p. 25. * Publishers Weekly, April 28, 1997, review of Pharaoh, Pharaoh, p. 71. ONLINE * Blackbird Review Online, http://www.blackbird.vcu.edu/ (fall, 2002), Susan Settlemyre Williams, review of Pinion: An Elegy. * Louisiana State University Press Web site, http://www.lsu.edu/ (November 3, 2004). * NashvilleScene.com, http://archives.nashvillescene.com/ (October 9, 2004), Diann Blakely, review of Pharaoh, Pharaoh and Pinion. SOURCE CITATION Contemporary Authors Online, Gale, 2006. Reproduced in Biography Resource Center. Farmington Hills, Mich.: Thomson Gale. 2006. http://galenet.galegroup.com/servlet/BioRC ========================================================================= Date: Mon, 17 Apr 2006 13:07:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: 2006 Pulitzer Prize in Poetry In-Reply-To: MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit On 17-Apr-06, at 12:36 PM, John Gallaher wrote: > Announced: > > POETRY > For a distinguished volume of original verse by an American author, > Ten thousand dollars ($10,000). > > > > > Awarded to "Late Wife" by Claudia Emerson (Louisiana State University > Press). Never heard of her. > > Also nominated as finalists in this category were: > "American Sublime" by Elizabeth Alexander (Graywolf Press), and > "Elegy on Toy Piano" by Dean Young (University of Pittsburgh Press). > > > I Reply: > > Who is Claudia Emerson? > > JG > George H. Bowering Number of BC Book Awards: 0 ========================================================================= Date: Mon, 17 Apr 2006 15:18:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Grant Jenkins Subject: Review: Eleni Sikelianos's visit to Tulsa MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Please visit my blog for a review of Eleni Sikelianos's recent visit to Tulsa for a reading at The University of Tulsa. -- G. Matthew Jenkins Director of the Writing Program English Department University of Tulsa 600 S. College Ave. Tulsa, OK 74104 918.631.2573 ========================================================================= Date: Mon, 17 Apr 2006 13:46:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Mayday Mayday (& news) Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hello---It's coming up on what is my favorite time of year, doesn't get as much play as xmas and such, but Frank O'Hara got the gist of it when he wrote. "It's April. No, May. It's May" So before I cry MAYDAY (my band's playing a show that night---details below), let me first tell you about some writing of mine that has recently been published or is available on the web-- 1--The first published EXCERPT from my memoir, RADIO ORPHAN (still in search of a publisher, or an agent if you know of any!), has just appeared in the NYC based literally magazine called LIT (more info at www.nsu.newschool.edu/writing/lit 2. I am now writing weekly columns (on a pro-bono basis for the time being for the website of THE BIGTAKEOVER, a NYC-based rock magazine named after a Bad Brains song founded 25 years ago by Jack Rabid. (www.bigtakeover.com) 3. I just wrote a piece on THANK YOU FOR SMOKING (though it also touches on CITIZEN RUTH and THE CONFEDERATE STATES OF AMERICA) on my backup blog--- blog.myspace.com/chris stroffolino While I still babble away at http://blog.myspace.com/continuouspeasant Do I really expect you to read all of this? NO! So, Mayday mayday---What's the deal with Mayday? it used to be a pseudo phallic fertility ritual but is more known as a cry for help..... "So When You're Near Me Darling, Can't You Hear me S.O.S (maybe Neil Martinson will spin that tune by a band whose English wasn't quite as awkward as mi espanol)--- 4 days to Cynco De Mayo), or hear me yell STD! (but, no, it's not what you think; it's SAVE THE DATE!) Oh the captain may be sinking but the ship is rolling right along here in the city of Pirate Bands, Pirate Cat Radio (87.9), faux Pirate stores run my the mysterious David Eggers, the entire ABBA meets ARGGGGHHHH staggering genuis of this place-- "Be amazed at the world that others might have missed" So if you come to the KNOCKOUT (which used to be called the ODEON) (located where VALENCIA ST. rams into MISSION) and catch Continuous Peasant (with an altered one-time-only lineup-- we gotta do a quieter acoustic show, and also try to squeeze onto a small stage) play with a local band, whose name I'm still trying to figure out, 6 EYE COLUMBIA (and they're at least twice as good as third eye blind), WE will set some people in the audience up with free BRILLO PADS (and maybe just maybe a GAVIN NEWSOME PINATA SMASHING!) Love from Continuous Peasant www.continuouspeasant.com ========================================================================= Date: Mon, 17 Apr 2006 13:45:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: 2006 Pulitzer Prize in Poetry In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit >> Awarded to "Late Wife" by Claudia Emerson (Louisiana State University >> Press). >> Also nominated as finalists in this category were: >> "American Sublime" by Elizabeth Alexander (Graywolf Press), and >> "Elegy on Toy Piano" by Dean Young (University of Pittsburgh Press). >> It is curious to see that each Pulitzer winner and finalist titles are devoted to elegy (I assume no one can any longer title anything "American Sublime" without an ironic and/or elegiac subversion of the concept!) Elegy as subject and not even a faint nod to the wars! The soldiers coffins continue to arrive, more or less anonymously, and who can fault the poets and Pulitzer judges for not being able to acknowledge even the words/facts? But given the journalistic history of the Pullitzer family, you would think that, at least, one poetry title would be on top of the news - Iraq, Katrina, emigration, Cheney-who, etc. We're obviously living in a thick brew these days, and it particularly grates to hear a publisher's blurb re-invoke "southern regionalism" for the 400th book in the last blankety-blank years. I suspect those folks in the Gulf Coast can't wait to read another such nostalgic volume, let alone the rest of us. There's obviously much more eco-southern gothic (hello, Katrina) going on that's unbuckling what ought to be cranking up a post-nostalgic view of site(region). Oh well, there will always be Pullitzer. And there will probably be a Katrina video game, as well, if not already! Stephen V http://stephenvincent.net/blog/ > >> ========================================================================= Date: Mon, 17 Apr 2006 19:43:23 -0400 Reply-To: pamelabeth@mindspring.com Sender: UB Poetics discussion group From: Pam Grossman Subject: Re: Mayday Mayday (& news) Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit tiny world! jack rabid has been a friend of mine for over a decade now. and i have written for "big takeover," though not for quite a while.... i keep meaning to set up an interview with the fiery furnaces but just haven't gotten around to it. mazel tov on the column, and i hope you enjoy it. wish i could come to the c.p. gig. a trip to your city is not on my next-few-weeks agenda, but it might well be on the next-few-months itinerary. hope you are very well! also, i submitted an essay to "lit"--at an editor's request--several years ago and then never heard back about it (no response meaning, no). bummer, since she'd asked me for it...but whattya gonna do. i know the editor i speak of is no longer there. presumably the newer editors know how to say, "no, thank you" (or "yes, please!"). i will read your essay. and i do, in fact, have an agent here. who knows what could happen? best, pam g. -----Original Message----- >From: Chris Stroffolino >Sent: Apr 17, 2006 4:46 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Mayday Mayday (& news) > >Hello---It's coming up on what is my favorite time of year, >doesn't get as much play as xmas and such, but Frank O'Hara >got the gist of it when he wrote. "It's April. No, May. It's May" >So before I cry MAYDAY (my band's playing a show that night---details >below), >let me first tell you about some writing of mine that has recently been >published >or is available on the web-- > >1--The first published EXCERPT from my memoir, RADIO ORPHAN >(still in search of a publisher, or an agent if you know of any!), >has just appeared in the NYC based literally magazine called LIT >(more info at www.nsu.newschool.edu/writing/lit > >2. I am now writing weekly columns (on a pro-bono basis for the time being > for the website of THE BIGTAKEOVER, a NYC-based rock magazine named >after a Bad Brains song > founded 25 years ago by Jack Rabid. > (www.bigtakeover.com) > >3. I just wrote a piece on THANK YOU FOR SMOKING (though it also touches on >CITIZEN RUTH and > THE CONFEDERATE STATES OF AMERICA) on my backup blog--- > blog.myspace.com/chris stroffolino > While I still babble away at >http://blog.myspace.com/continuouspeasant > >Do I really expect you to read all of this? NO! > >So, Mayday mayday---What's the deal with Mayday? >it used to be a pseudo phallic fertility ritual >but is more known as a cry for help..... >"So When You're Near Me Darling, Can't You Hear me S.O.S >(maybe Neil Martinson will spin that tune by a band whose >English wasn't quite as awkward as mi espanol)--- >4 days to Cynco De Mayo), or hear me yell STD! >(but, no, it's not what you think; it's SAVE THE DATE!) >Oh the captain may be sinking but the ship is rolling right along >here in the city of Pirate Bands, Pirate Cat Radio (87.9), >faux Pirate stores run my the mysterious David Eggers, >the entire ABBA meets ARGGGGHHHH staggering genuis of this place-- > >"Be amazed at the world that others might have missed" >So if you come to the KNOCKOUT (which used to be called the ODEON) >(located where VALENCIA ST. rams into MISSION) >and catch Continuous Peasant (with an altered one-time-only lineup-- >we gotta do a quieter acoustic show, and also try to squeeze onto a small >stage) >play with a local band, whose name I'm still trying to figure out, >6 EYE COLUMBIA (and they're at least twice as good as third eye blind), >WE will set some people in the audience up with free BRILLO PADS >(and maybe just maybe a GAVIN NEWSOME PINATA SMASHING!) > >Love from Continuous Peasant >www.continuouspeasant.com ========================================================================= Date: Mon, 17 Apr 2006 20:07:28 -0400 Reply-To: pamelabeth@mindspring.com Sender: UB Poetics discussion group From: Pam Grossman Subject: oops Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit sorry, people! please disregard previous message unless you are chris s. best, p ========================================================================= Date: Mon, 17 Apr 2006 19:07:50 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Robinson & DuCharme reading in Boulder Mime-Version: 1.0 Content-Type: text/plain; format=flowed Poetry Reading *************************************This Friday LEFT HAND READING SERIES Friday, April 21st at 8pm Mark DuCharme Elizabeth Robinson The left hand reading series takes place at the Left Hand Book Collective, 1200 Pearl Street #10, Downstairs on the Pearl Street Mall in the Basement Shops at Broadway and Pearl. Please call 303 - 888 - 6726 for more info OR email dmueller@naropa.net. You can visit the left hand reading series on the web at: http://lefthandreadingseries.blogspot.com Mark DuCharme is the author of two poetry collections, Infinity Subsections (Meeting Eyes Bindery, 2004) and Cosmopolitan Tremble (Pavement Saw Press, 2002), as well as several chapbooks of poetry, including The Crowd Poems, due in 2006 from Potato Clock Editions. His poetry and essays on poetics have appeared widely in print and on-line journals, and are recent or forthcoming in American Book Review, Big Bridge, Dusie, Gutcult, Jacket, New Review of Literature, Shiny and Traverse. Elizabeth Robinson lives here in Boulder and teaches at the University of Colorado. She also co-edits 26 Magazine, EtherDome Chapbooks, and Instance Press with a variety of other poets. Her 7th book, Apostrophe, was published by Apogee Press this spring. ========================================================================= Date: Mon, 17 Apr 2006 18:43:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: Mayday Mayday (& news) Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi Pam--- Thanks for writing. I actually never met Jack in person but cool that you've written for him. Would love to see some of your music writing (I guess I could just google these days...but feel free to direct me to any particular pieces...) Yeah it's weird that I sent word of the show to a non-localized list. Sorry about that. I get all kinds of invites from people, usually, in NYC, so I guess I'm not too sorry about that. But definite bummer when people specifically solicit work and then don't even write back, or even if they do write back and don't use it. It's been happening to me alot lately. And then there's all these discussions about how WRITERS are unethical if they want to simultaneously submit---arggh! It's so strange, about "solicitations" though because alot of editors seem to solicit either because of 1) name recognition or 2) they have a sense of a "style," a "type of writing," yet, let's say, a writer (like me, or you) is writing (and is most passionate about) stuff now that is perhaps in a different style, one that may take different kinds of risks than the kind of writing that may have first gotten our name known or something, and the editor doesn't like, sorry, but I still feel that if the editor doesn't like the new work we send them, they should still publish it, or never solicit it in the first place! The risk is on them now. But hardly any one ever calls 'em on it, coz people are cowed by the authority or something (even though there's no money, etc...). it's even less forgivable when it's a web magazine! Okay, enough little high horse spiel--- mazel tov on the agent though! that's something--- write back anytime... Chris ---------- >From: Pam Grossman >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Mayday Mayday (& news) >Date: Mon, Apr 17, 2006, 4:43 PM > > tiny world! jack rabid has been a friend of mine for over a decade now. and > i have written for "big takeover," though not for quite a while.... i keep > meaning to set up an interview with the fiery furnaces but just haven't > gotten around to it. mazel tov on the column, and i hope you enjoy it. > > wish i could come to the c.p. gig. a trip to your city is not on my > next-few-weeks agenda, but it might well be on the next-few-months itinerary. > > hope you are very well! also, i submitted an essay to "lit"--at an editor's > request--several years ago and then never heard back about it (no response > meaning, no). bummer, since she'd asked me for it...but whattya gonna do. i > know the editor i speak of is no longer there. presumably the newer editors > know how to say, "no, thank you" (or "yes, please!"). i will read your > essay. and i do, in fact, have an agent here. who knows what could happen? > > best, pam g. > > > -----Original Message----- >>From: Chris Stroffolino >>Sent: Apr 17, 2006 4:46 PM >>To: POETICS@LISTSERV.BUFFALO.EDU >>Subject: Mayday Mayday (& news) >> >>Hello---It's coming up on what is my favorite time of year, >>doesn't get as much play as xmas and such, but Frank O'Hara >>got the gist of it when he wrote. "It's April. No, May. It's May" >>So before I cry MAYDAY (my band's playing a show that night---details >>below), >>let me first tell you about some writing of mine that has recently been >>published >>or is available on the web-- >> >>1--The first published EXCERPT from my memoir, RADIO ORPHAN >>(still in search of a publisher, or an agent if you know of any!), >>has just appeared in the NYC based literally magazine called LIT >>(more info at www.nsu.newschool.edu/writing/lit >> >>2. I am now writing weekly columns (on a pro-bono basis for the time being >> for the website of THE BIGTAKEOVER, a NYC-based rock magazine named >>after a Bad Brains song >> founded 25 years ago by Jack Rabid. >> (www.bigtakeover.com) >> >>3. I just wrote a piece on THANK YOU FOR SMOKING (though it also touches on >>CITIZEN RUTH and >> THE CONFEDERATE STATES OF AMERICA) on my backup blog--- >> blog.myspace.com/chris stroffolino >> While I still babble away at >>http://blog.myspace.com/continuouspeasant >> >>Do I really expect you to read all of this? NO! >> >>So, Mayday mayday---What's the deal with Mayday? >>it used to be a pseudo phallic fertility ritual >>but is more known as a cry for help..... >>"So When You're Near Me Darling, Can't You Hear me S.O.S >>(maybe Neil Martinson will spin that tune by a band whose >>English wasn't quite as awkward as mi espanol)--- >>4 days to Cynco De Mayo), or hear me yell STD! >>(but, no, it's not what you think; it's SAVE THE DATE!) >>Oh the captain may be sinking but the ship is rolling right along >>here in the city of Pirate Bands, Pirate Cat Radio (87.9), >>faux Pirate stores run my the mysterious David Eggers, >>the entire ABBA meets ARGGGGHHHH staggering genuis of this place-- >> >>"Be amazed at the world that others might have missed" >>So if you come to the KNOCKOUT (which used to be called the ODEON) >>(located where VALENCIA ST. rams into MISSION) >>and catch Continuous Peasant (with an altered one-time-only lineup-- >>we gotta do a quieter acoustic show, and also try to squeeze onto a small >>stage) >>play with a local band, whose name I'm still trying to figure out, >>6 EYE COLUMBIA (and they're at least twice as good as third eye blind), >>WE will set some people in the audience up with free BRILLO PADS >>(and maybe just maybe a GAVIN NEWSOME PINATA SMASHING!) >> >>Love from Continuous Peasant >>www.continuouspeasant.com ========================================================================= Date: Mon, 17 Apr 2006 22:30:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Flarf Festival Folios Comments: To: Poetryetc provides a venue for a dialogue relating to poetry and poetics In-Reply-To: <200604180116.k3I1GU2N167890@pimout4-ext.prodigy.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Mainstream by Michael Magee Genre: Poetry $11.00 Paperback: 100 pages Mainstream // Right from the start, Magees work bristles with the spirit of improvisation. Everything about it pops: classic poetry chops, a serious sense of humor, unabashed rawness. Mainstream is thrilling because it can turn in any direction at any time, moving effortlessly from wacked units of thought turning inside out to tender moments of highly focused nonsense and song that get, paradoxically, straight to the point. The frames we bring to these poems cannot remain intact stanza to stanza -- and in this instability there are great poetic pleasures and possibilities. - Drew Gardner http://www.blazevox.org/bk-mm.htm MUSEE MECHANIQUE by RODNEY KOENEKE Genre: Poetry $11.00 Paperback: 88 pages These poems, like improvised apricots, are capacious enough to embrace gaudy regalia, sky hooks, Flip Wilson, Jackson Mac Low, wasabi, pizza, evil dummies, and kitties. Based explicitly on the egg-laying structures of cicadas with grooved ovipositors, the poems lay bare their devices in the special way that only a Wetumpkan high on yumyumcha can pull off. Koeneke, like an oracle asquat his own fissure, has written a book that is unconscionably nifty-gallifty. Put simply, its CLAM CHOWDER FOR THE SOUL. -- Nada Gordon http://www.blazevox.org/bk-rk.htm ========================================================================= Date: Mon, 17 Apr 2006 21:45:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: TRILOBITE by mIEKAL aND Comments: To: spidertangle@yahoogroups.com Mime-Version: 1.0 (Apple Message framework v746.3) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed TRILOBITE by mIEKAL aND 2006, 76 pages, 6 x 9, b&w $12. 4th edition. Postage included. ISBN 0-9770049-2-9 | ISBN 978-0-9770049-2-8 Imagine the days of visual poetry before the widespread use of =20 computers. Copy machines were the black & white lens through which =20 the daily collage of headlines, fonts, graphic noise, clippings were =20 reconstituted. Each component piece specifically found (selected) =20 from quadrillions of possible choices. Pen knife, glue stick & boxes =20 of discarded magazines were always waiting their turn. At the time, =20 there was something perfect about this chaotically imperfect =20 practice. This is how books were made. Trilobites are short one page poems, typo-fossils embedded with =20 syntactical mysteries & multiple possible references, missing links =20 between semantic precision & indecipherable code. This book was =20 originally published by Xerox Sutra Editions in 1983. "We know trilobites existed through the fossil record, fortuitous =20 encounters with geochemical processes. We know Miekal And=92s Trilobite =20= because the work flat-out matters millenniums later, because the =20 chemistry=97mix of text, image, collage, collage/image, image/collage, =20= text=97combusts, conflagrates, bursts into our presence today, a =20 bright, blinding flash to remind us of what came before at the same =20 time pointing toward more, to the future, toward now." =97Crag Hill http://xexoxial.org/new_releases/trilobite.html Xexoxial Editions 10375 Cty Hway A LaFarge,WI 54639 perspicacity@xexoxial.org= ========================================================================= Date: Mon, 17 Apr 2006 19:56:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Baraban Subject: "position is where you/put it"--b&n In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Saw three copies of Chas. Bernstein's _The Sophist_ in the PHILOSOPHY section of the Barnes & Nobles, 48th Street & 5th Avenue*, Manhattan, New York City, New York State, USAmerica. (*not to be confused with the newer Barnes & Nobles two or three blocks south on 5th avenue--which a year or two ago replaced a failed record store--somehow a b&n so close to the other is supposed to be necessary and viable?) I guess it's nice that somebody in the store knew the word "sophist" in it's classical sense and so assumed it's a philosophy book. It wouldn't be the front cover, I don't think, because the painting by Susan Bee is more playful than what's on the front cover of most philosophy books. These merchandisers truly need those words that often appear at the top left or top right of a book's back cover that explain what kinda bookerooney it is (I wonder around when these backcover labels ike "poetry" "philosophy" "classics/ literature/ philosophy" became pervasive, because booksellers didn't have much idea anymore?) __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Mon, 17 Apr 2006 20:04:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Flarf Festival Folios In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > MUSEE MECHANIQUE > > by RODNEY KOENEKE > Genre: Poetry > $11.00 > Paperback: 88 pages > > These poems, like improvised apricots, are capacious enough to embrace gaudy > regalia, sky hooks, Flip Wilson, Jackson Mac Low, wasabi, pizza, evil > dummies, and kitties. Based explicitly on the egg-laying structures of > cicadas with grooved ovipositors, the poems lay bare their devices in the > special way that only a Wetumpkan high on yumyumcha can pull off. Koeneke, > like an oracle asquat his own fissure, has written a book that is > unconscionably nifty-gallifty. Put simply, its CLAM CHOWDER FOR THE SOUL. -- > Nada Gordon Is this the ultimate Cliff "Flarf" Note?? I've got some vertigo issues, but this one just about put me over the edge! Fortunately, I've heard Rodney and I think he's pretty good - "apricots", I don't know, but "apricots" and "clam chowder", I am sure not. Nada, what a "wetumpkan"! high on what! Jeezus! Rodney, I am convinced gets it all - it appears to me - from very carefully, pumping the local iron. Stephen V http://stephenvincent.net/blog/ Currently busy rattling Tender Buttons: The series called, Tenderly ========================================================================= Date: Tue, 18 Apr 2006 13:42:11 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: "position is where you/put it"--b&n In-Reply-To: <20060418025635.77715.qmail@web30713.mail.mud.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit On 18/4/06 12:56 PM, "Stephen Baraban" wrote: > These merchandisers truly need those words that often > appear at the top left or top right of a book's back > cover that explain what kinda bookerooney it is (I > wonder around when these backcover labels ike "poetry" > "philosophy" "classics/ literature/ philosophy" became > pervasive, because booksellers didn't have much idea > anymore?) I'm rearranging my library at the moment and it's giving me a headache (as well as making me sneeze miserably, o the dust). Days of tripping over books I had forgotten we had, and no matter how many orderly shelves I am making the piles on the floor seem to be just as big. For the first time in my life I wish there were nice clear labels on every book to tell me where to to put things. Ok, poetry goes together abc, so that's ok; but does the biography of Albert Speer go in biographies or with the WW2 histories? And should they both go with the journalism (Kapuschinski, Fisk, Gellhorn etc) and should they go with the Chomsky? Or should that go with social histories? Where do I put the books on boxing? What about the guide to street drugs? Should Primo Levi go with the memoirs or in the WW2 history section? Do I put the letters and biographies together or separately? Should I put Kafka's letters and diaries and notebooks with the biographies or with the fiction? (I put them with the fiction, also Pavese's, but nobody else's...but...) Also now I've taken all the books out there seem to be less shelves than when they were in them. Or more books. I am thinking of the concept of L-space. I am quietly going nuts with quandariness. I am glad I'm not a chain bookstore. A Alison Croggon Blog: http://theatrenotes.blogspot.com Editor, Masthead: http://masthead.net.au Home page: http://alisoncroggon.com ========================================================================= Date: Mon, 17 Apr 2006 23:52:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: "position is where you/put it"--b&n MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Alison. Yesterday, I was reading W. Benjamin's essay about unpacking his library (in Reflections). Reading it might make you feel better, particularly because he was partly a nut about these things. Murat In a message dated 4/17/2006 11:42:11 PM Eastern Daylight Time, Alison Croggon writes: >On 18/4/06 12:56 PM, "Stephen Baraban" wrote: > >> These merchandisers truly need those words that often >> appear at the top left or top right of a book's back >> cover that explain what kinda bookerooney it is (I >> wonder around when these backcover labels ike "poetry" >> "philosophy" "classics/ literature/ philosophy" became >> pervasive, because booksellers didn't have much idea >> anymore?) > >I'm rearranging my library at the moment and it's giving me a headache (as >well as making me sneeze miserably, o the dust). Days of tripping over >books I had forgotten we had, and no matter how many orderly shelves I am >making the piles on the floor seem to be just as big. For the first time in >my life I wish there were nice clear labels on every book to tell me where >to to put things. Ok, poetry goes together abc, so that's ok; but does the >biography of Albert Speer go in biographies or with the WW2 histories? And >should they both go with the journalism (Kapuschinski, Fisk, Gellhorn etc) >and should they go with the Chomsky? Or should that go with social >histories? Where do I put the books on boxing? What about the guide to >street drugs? Should Primo Levi go with the memoirs or in the WW2 history >section? Do I put the letters and biographies together or separately? Should >I put Kafka's letters and diaries and notebooks with the biographies or with >the fiction? (I put them with the fiction, also Pavese's, but nobody >else's...but...) > >Also now I've taken all the books out there seem to be less shelves than >when they were in them. Or more books. I am thinking of the concept of >L-space. I am quietly going nuts with quandariness. > >I am glad I'm not a chain bookstore. > >A > > >Alison Croggon > >Blog: http://theatrenotes.blogspot.com >Editor, Masthead: http://masthead.net.au >Home page: http://alisoncroggon.com > ========================================================================= Date: Tue, 18 Apr 2006 14:34:20 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: "position is where you/put it"--b&n In-Reply-To: <73953656.4DDF43BF.001942C5@aol.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit On 18/4/06 1:52 PM, "Murat Nemet-Nejat" wrote: > Yesterday, I was reading W. Benjamin's essay about unpacking his library (in > Reflections). Reading it might make you feel better, particularly because he > was partly a nut about these things. Thanks to the reorganisation, I actually know where the Benjamin is, so I will... Is it Benjamin or Calvino who talks about the books he has carried around for years but not read yet? That's also comforting. Cheers A Alison Croggon Blog: http://theatrenotes.blogspot.com Editor, Masthead: http://masthead.net.au Home page: http://alisoncroggon.com ========================================================================= Date: Tue, 18 Apr 2006 00:43:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: NYTBR, Poetry Wars MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Steve, Someone may steal your computer? You may be tied to your bed post? Go to a deserted sand beach in the Middle of the Pacific where atolls prevent any signals to be picked up? Insert AOl software in your computer which will screw up everything and it will take more than a month to straighten it? Join a monastery where there is a vow of non-computer use? Have so much sex that you have no energy or desire for anything else? Murat In a message dated 4/16/2006 12:40:25 PM Eastern Daylight Time, Steve Dalachinksy writes: >how do i get removed from this list for a month or so i need to get off >now some one tell me please > ========================================================================= Date: Mon, 17 Apr 2006 02:23:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: NYTBR, Poetry Wars MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit why when i can just go to japan and be treated well and eat like a king ========================================================================= Date: Tue, 18 Apr 2006 06:10:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: "position is where you/put it"--b&n In-Reply-To: Mime-Version: 1.0 (Apple Message framework v749.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit In London, years ago, I found William Burroughs' book of interviews "The Job" in the DIY section of a major bookstore. -- Pierre On Apr 17, 2006, at 11:42 PM, Alison Croggon wrote: > On 18/4/06 12:56 PM, "Stephen Baraban" > wrote: > >> These merchandisers truly need those words that often >> appear at the top left or top right of a book's back >> cover that explain what kinda bookerooney it is (I >> wonder around when these backcover labels ike "poetry" >> "philosophy" "classics/ literature/ philosophy" became >> pervasive, because booksellers didn't have much idea >> anymore?) > > I'm rearranging my library at the moment and it's giving me a > headache (as > well as making me sneeze miserably, o the dust). Days of tripping > over > books I had forgotten we had, and no matter how many orderly > shelves I am > making the piles on the floor seem to be just as big. For the first > time in > my life I wish there were nice clear labels on every book to tell > me where > to to put things. Ok, poetry goes together abc, so that's ok; but > does the > biography of Albert Speer go in biographies or with the WW2 > histories? And > should they both go with the journalism (Kapuschinski, Fisk, > Gellhorn etc) > and should they go with the Chomsky? Or should that go with social > histories? Where do I put the books on boxing? What about the guide to > street drugs? Should Primo Levi go with the memoirs or in the WW2 > history > section? Do I put the letters and biographies together or > separately? Should > I put Kafka's letters and diaries and notebooks with the > biographies or with > the fiction? (I put them with the fiction, also Pavese's, but nobody > else's...but...) > > Also now I've taken all the books out there seem to be less shelves > than > when they were in them. Or more books. I am thinking of the concept of > L-space. I am quietly going nuts with quandariness. > > I am glad I'm not a chain bookstore. > > A > > > Alison Croggon > > Blog: http://theatrenotes.blogspot.com > Editor, Masthead: http://masthead.net.au > Home page: http://alisoncroggon.com ============================================== "Blasphemy is a victimless crime." -- a t-shirt sent to Salman Rushdie in the days of the Satanic Verses fatwa. ============================================== Pierre Joris 244 Elm Street Albany NY 12202 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 85 Euro cell: 011 33 6 79 368 446 email: joris@albany.edu http://pierrejoris.com Nomadics blog: http://pjoris.blogspot.com ========================= ========================================================================= Date: Tue, 18 Apr 2006 06:23:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: NYTBR, Poetry Wars MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Even better. Murat In a message dated 4/17/2006 2:23:55 AM Eastern Daylight Time, Steve Dalachinksy writes: >why when i can just go to japan and be treated well and eat like a >king > ========================================================================= Date: Tue, 18 Apr 2006 05:54:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: 2006 Pulitzer Prize in Poetry who is claudia emerson? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit someone know who she is? -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of George Bowering Sent: Monday, April 17, 2006 3:07 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: 2006 Pulitzer Prize in Poetry On 17-Apr-06, at 12:36 PM, John Gallaher wrote: > Announced: > > POETRY > For a distinguished volume of original verse by an American author, > Ten thousand dollars ($10,000). > > > > > Awarded to "Late Wife" by Claudia Emerson (Louisiana State University > Press). Never heard of her. > > Also nominated as finalists in this category were: > "American Sublime" by Elizabeth Alexander (Graywolf Press), and "Elegy > on Toy Piano" by Dean Young (University of Pittsburgh Press). > > > I Reply: > > Who is Claudia Emerson? > > JG > George H. Bowering Number of BC Book Awards: 0 ========================================================================= Date: Tue, 18 Apr 2006 07:46:39 -0500 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: Lower & Upper Limits tonight In-Reply-To: <44CEBE64.350C527E.001942C5@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Lower & Upper Limits is a series at Muse Café that explores collaborations between poets and musicians and relationships between language and music. You are invited to the next evening of Lower & Upper Limits, which happens tonight: Ways & Means Trio Joel Wanek -- upright bass, percussion Jayve Montgomery -- reeds, invented instruments, percussion, electronics, poetry Daniel Godston -- trumpet, percussion, poetry Lower & Upper Limits happens at Muse Café on the third Tuesday of the month; the performance begins at 8 p.m. The title of this series is taken from Louis Zukofsky’s “A-12”: “I’ll tell you. / About my poetics -- music / speech / An integral / Lower limit speech / Upper limit music.” Muse Café is at 817 N. Milwaukee Ave. in Chicago, and the phone number is 312.850.2233. The Chicago station on the CTA blue line is a half a block away. This event is free and open to the public, donations appreciated. Fore more information please visit these websites: www.musecafechicago.com & http://jayvejohnmontgomery.com/. ========================================================================= Date: Tue, 18 Apr 2006 09:58:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Grotjohn Subject: Re: 2006 Pulitzer Prize in Poetry who is claudia emerson? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit "In 2005, Professor Emerson was chosen by U.S. Poet Laureate Ted Kooser as one of two Witter Bynner Fellows in Poetry for that year. She has earned three Pulitzer Prize nominations, and in 2003 was named Outstanding Young Faculty Member at the University of Mary Washington." (http://profcast.org/?p=3) At a small conference at Mary Washington last month, I talked about Harryette Mullen's Sleeping with the Dictionary. Claudia (a friend of a friend--definitely in the "official verse culture" but still a nice person) attended--she had never heard of Harryette Mullen before reading the title of my paper in the program, an unfamiliarity mirrored by the questions about Emerson that have come to the list. I assume almost everyone on this list knows of Mullen's work; I think of it as important, even essential. There doesn't seem to be much exchange between different groups of readers and writers, not even knowing who the others are. ========================================================================= Date: Tue, 18 Apr 2006 10:09:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kenneth Wolman Subject: Re: 2006 Pulitzer Prize in Poetry In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Stephen Vincent wrote: > It is curious to see that each Pulitzer winner and finalist titles are > devoted to elegy (I assume no one can any longer title anything "American > Sublime" without an ironic and/or elegiac subversion of the concept!) > > Elegy as subject and not even a faint nod to the wars! The soldiers coffins > continue to arrive, more or less anonymously, and who can fault the poets > and Pulitzer judges for not being able to acknowledge even the words/facts? > Hello again, Stephen. Here we go: religious verse at a Marxist convention. I cannot avoid thinking that Americans--poets included--may indeed give a damn but have come to feel as powerless as the rest of us. What does a poet do? Grab a .30-06, go into the hills, and become a partisan? Then ask Muley's question in /The Grapes of Wrath/: "Who do I shoot?" There's no answer because no one person is in charge. It's all anonymous and corporatized. Maybe do what Wilfred Owen said: /Warn/. So what? Warn what and warn who? Owen's and Sassoon's poetry didn't prevent or even postpone World War II. Nor did Kollwitz's art. Erich Maria Remarque did not turn the Germans against militarism. And /O The Chimneys/ probably did not make Pol Pot think twice. It was and remains all "faith-based," maybe the god is what Ginsburg called Moloch. What has C.K. Williams changed since "In The Heart of the Beast" in 1970? I'm tired of having my consciousness raised. Baraka in his LeRoi Jones incarnation wrote that if Bessie Smith had killed some white people she wouldn't have needed those songs. I hate to sound "results-oriented," I'm at the end of a long and failed career in business, but what do any of the demands for a political and/or kinetic art actually accomplish? What do we get? Tennyson's "Charge," Kipling's "White Man's Burden," or on the positive side Lowell's "Inauguration Day 1953"? So. What. No, this is not defeatism. It's defeat. It is recognizing that some people just don't get moved to Art via a war or a flood or the manifest racism and indifference of a government nominally presided over by a mean-spirited drunk with an eschatological fixation enabled by his various controllers. In the end our own itty-bitty lives may be our best subject, and sometimes you get out of the fight simply to save your sanity and your ass because you're tired of Mike Tyson pounding the latter into the canvas. Do not mistake me: I am frustrated by what has been done to my country by that walking bag of dysfunctions. It could be there is a growing sense that individuals--even massed into a "bloc"--have been outmaneuvered, that vox populi has has its vocal cords removed by a diet of shit entertainment, trivia, and "my country's always right and never wrong" rah-rah. At some point the hands go up in the air. Sam Hamill summoned forth the poets three years ago. Thank God for him and George Bush because they got me to break a 2-year silence and write again. I wrote for and participated in a reading at Brookdale Community College in New Jersey. One of my students found out and backed away from me, then stopped coming to my class. I had become poisonous. At least the kid picked a side. The easy side, true, the side of Rah-Rah Yea Team Remember 9/11 Kill the Towelheads. A side. /A bi gezint./ > I suspect those folks in the Gulf Coast can't wait to read another such > nostalgic volume, let alone the rest of us. There's obviously much more > eco-southern gothic (hello, Katrina) going on that's unbuckling what ought > to be cranking up a post-nostalgic view of site(region). > Something has changed. I watched a PBS documentary last night on the San Francisco earthquake (100 years today) and was fascinated. These people had the living crap beaten out of them, they suffered a disaster at least as bad as Katrina. The US Gov't kicked in a million bucks, yes, but most of the equity came from the residents, and from people who emigrated into the ruins of the city to clear the rubble and rebuild. Within 3 years San Francisco was functional again. It had gone from Dresden to San Francisco. Something has gone wrong here. A hundred years later nobody can take a crap without a government grant and everyone is busy pointing fingers. Even more fascinating was what followed it: a docu on the Armenian Genocide. You really do what to turn your head away. The only writer I know of before the last several years who had the courage to own was his countrymen did was Nazim Hikmet. Maybe we need a Hikmet who is willing to have his life broken in prison because he will call vileness where he sees it. The fact we remember his name may give everything I've said the lie. Which is fine with me. Enough of this aria. Ken -- --------------------- Kenneth Wolman www.kenwolman.com rainermaria.typepad.com I never saw a wild thing sorry for itself. A small bird will drop frozen dead from a bough without ever having felt sorry for itself -- D. H. Lawrence ========================================================================= Date: Tue, 18 Apr 2006 10:42:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Megan Burns Subject: Re: 2006 Pulitzer Prize in Poetry In-Reply-To: <4444F32B.3010705@comcast.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit > Something has changed. I watched a PBS documentary last night on the San Francisco earthquake (100 years today) and was fascinated. These people had the living crap beaten out of them, they suffered a disaster at least as bad as Katrina. The US Gov't kicked in a million bucks, yes, but most of the equity came from the residents, and from people who emigrated into the ruins of the city to clear the rubble and rebuild. Within 3 years San Francisco was functional again. It had gone from Dresden to San Francisco. Something has gone wrong here. A hundred years later nobody can take a crap without a government grant and everyone is busy pointing fingers. Your statement reveals you know nothing about the situation. We have yet to receive any federal monies that were promised in rebuilding. It took eight months for my family to just receive our insurance money on our destroyed home. Eight months...and who exactly do you think has been doing the work and keeping the city alive while they quibble up in Washington about whose to blame? And specifically what destroyed New Orleans was not a natural disaster, but a man made one. Megan Burns New Orleans -----Original Message----- From: Kenneth Wolman To: POETICS@LISTSERV.BUFFALO.EDU Sent: Tue, 18 Apr 2006 10:09:47 -0400 Subject: Re: 2006 Pulitzer Prize in Poetry Stephen Vincent wrote: > It is curious to see that each Pulitzer winner and finalist titles are > devoted to elegy (I assume no one can any longer title anything "American > Sublime" without an ironic and/or elegiac subversion of the concept!) > > Elegy as subject and not even a faint nod to the wars! The soldiers coffins > continue to arrive, more or less anonymously, and who can fault the poets > and Pulitzer judges for not being able to acknowledge even the words/facts? > Hello again, Stephen. Here we go: religious verse at a Marxist convention. I cannot avoid thinking that Americans--poets included--may indeed give a damn but have come to feel as powerless as the rest of us. What does a poet do? Grab a .30-06, go into the hills, and become a partisan? Then ask Muley's question in /The Grapes of Wrath/: "Who do I shoot?" There's no answer because no one person is in charge. It's all anonymous and corporatized. Maybe do what Wilfred Owen said: /Warn/. So what? Warn what and warn who? Owen's and Sassoon's poetry didn't prevent or even postpone World War II. Nor did Kollwitz's art. Erich Maria Remarque did not turn the Germans against militarism. And /O The Chimneys/ probably did not make Pol Pot think twice. It was and remains all "faith-based," maybe the god is what Ginsburg called Moloch. What has C.K. Williams changed since "In The Heart of the Beast" in 1970? I'm tired of having my consciousness raised. Baraka in his LeRoi Jones incarnatio n wrote that if Bessie Smith had killed some white people she wouldn't have needed those songs. I hate to sound "results-oriented," I'm at the end of a long and failed career in business, but what do any of the demands for a political and/or kinetic art actually accomplish? What do we get? Tennyson's "Charge," Kipling's "White Man's Burden," or on the positive side Lowell's "Inauguration Day 1953"? So. What. No, this is not defeatism. It's defeat. It is recognizing that some people just don't get moved to Art via a war or a flood or the manifest racism and indifference of a government nominally presided over by a mean-spirited drunk with an eschatological fixation enabled by his various controllers. In the end our own itty-bitty lives may be our best subject, and sometimes you get out of the fight simply to save your sanity and your ass because you're tired of Mike Tyson pounding the latter into the canvas. Do not mistake me: I am frustrated by what has been done to my country by that walking bag of dysfunctions. It could be there is a growing sense that individuals--even massed into a "bloc"--have been outmaneuvered, that vox populi has has its vocal cords removed by a diet of shit entertainment, trivia, and "my country's always right and never wrong" rah-rah. At some point the hands go up in the air. Sam Hamill summoned forth the poets three years ago. Thank God for him and George Bush because they got me to break a 2-year silence and write again. I wrote for and participated in a reading at Brookdale Community College in New Jersey. One of my students found out and backed away from me, then stopped coming to my class. I had become poisonous. At least the kid picked a side. The easy side, true, the side of Rah-Rah Yea Team Remember 9/11 Kill the Towelheads. A side. /A bi gezint./ > I suspect those folks in the Gulf Coast can't wait to read another such > nostalgic volume, let alone the rest of us. There's obviously much more > eco-southern gothic (hello, Katrina) going on that's unbuckling what ought > to be cranking up a post-nostalgic view of site(region). > Something has changed. I watched a PBS documentary last night on the San Francisco earthquake (100 years today) and was fascinated. These people had the living crap beaten out of them, they suffered a disaster at least as bad as Katrina. The US Gov't kicked in a million bucks, yes, but most of the equity came from the residents, and from people who emigrated into the ruins of the city to clear the rubble and rebuild. Within 3 years San Francisco was functional again. It had gone from Dresden to San Francisco. Something has gone wrong here. A hundred years later nobody can take a crap without a government grant and everyone is busy pointing fingers. Even more fascinating was what followed it: a docu on the Armenian Genocide. You really do what to turn your head away. The only writer I know of before the last several years who had the courage to own was his countrymen did was Nazim Hikmet. Maybe we need a Hikmet who is willing to have his life broken in prison because he will call vileness where he sees it. The fact we remember his name may give everything I've said the lie. Which is fine with me. Enough of this aria. Ken -- --------------------- Kenneth Wolman www.kenwolman.com rainermaria.typepad.com I never saw a wild thing sorry for itself. A small bird will drop frozen dead from a bough without ever having felt sorry for itself -- D. H. Lawrence ========================================================================= Date: Tue, 18 Apr 2006 10:51:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: 2006 Pulitzer Prize in Poetry who is claudia emerson? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed and part of this has to di with the presses involved -- until SLEEPING WITH THE DICTIONARY, all of Mullen's work was at small presses -- even very small presses -- Still, given the post-MUSE & DRUDGE popularity of Harryette's work, you really would have to be awfully insular not to have heard of her -- she seems to be one of those for whom the mainstream might be willing to make an occasional exception -- At 09:58 AM 4/18/2006, you wrote: >"In 2005, Professor Emerson was chosen by U.S. Poet Laureate Ted Kooser as >one of two Witter Bynner Fellows in Poetry for that year. She has earned >three Pulitzer Prize nominations, and in 2003 was named Outstanding Young >Faculty Member at the University of Mary Washington." >(http://profcast.org/?p=3) > >At a small conference at Mary Washington last month, I talked about >Harryette Mullen's Sleeping with the Dictionary. Claudia (a friend of a >friend--definitely in the "official verse culture" but still a nice person) >attended--she had never heard of Harryette Mullen before reading the title >of my paper in the program, an unfamiliarity mirrored by the questions about >Emerson that have come to the list. I assume almost everyone on this list >knows of Mullen's work; I think of it as important, even essential. There >doesn't seem to be much exchange between different groups of readers and >writers, not even knowing who the others are. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "and now it's winter in America" --Gil Scott-Heron Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 112 Burrowes University Park, PA 16802-6200 (814) 865-0091 [office] (814) 863-7285 [Fax] ========================================================================= Date: Tue, 18 Apr 2006 11:23:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kenneth Wolman Subject: Partial apology MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Whoever tasked me about the New Orleans comments was quite correct. I know jackshit about what happened "on the ground" in New Orleans. That was an irrelevant digression and it showed. For the rest...poetry, power, warnings, change, blah-blah...not a retraction, not a one. KW -- --------------------- Kenneth Wolman www.kenwolman.com rainermaria.typepad.com I never saw a wild thing sorry for itself. A small bird will drop frozen dead from a bough without ever having felt sorry for itself -- D. H. Lawrence ========================================================================= Date: Tue, 18 Apr 2006 11:34:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: "position is where you/put it"--b&n In-Reply-To: <1DC6E6B1-3735-4B33-957E-DDC7B6A7E478@mac.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In the days when I could cajole Barnes & Noble stores into carrying my books by dong readings at them, I found that my fiction invariably got placed on the same shelf as my poetry. Explaining to the staff that people looking for my fiction might not look in the poetry section (and vice-versa) got me nowhere. And the books specified fiction or poetry on the corner of the back cover. Go figure. Vernon http://vernonfrazer.com -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Pierre Joris Sent: Tuesday, April 18, 2006 6:11 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: "position is where you/put it"--b&n In London, years ago, I found William Burroughs' book of interviews "The Job" in the DIY section of a major bookstore. -- Pierre On Apr 17, 2006, at 11:42 PM, Alison Croggon wrote: > On 18/4/06 12:56 PM, "Stephen Baraban" > wrote: > >> These merchandisers truly need those words that often >> appear at the top left or top right of a book's back >> cover that explain what kinda bookerooney it is (I >> wonder around when these backcover labels ike "poetry" >> "philosophy" "classics/ literature/ philosophy" became >> pervasive, because booksellers didn't have much idea >> anymore?) > > I'm rearranging my library at the moment and it's giving me a > headache (as > well as making me sneeze miserably, o the dust). Days of tripping > over > books I had forgotten we had, and no matter how many orderly > shelves I am > making the piles on the floor seem to be just as big. For the first > time in > my life I wish there were nice clear labels on every book to tell > me where > to to put things. Ok, poetry goes together abc, so that's ok; but > does the > biography of Albert Speer go in biographies or with the WW2 > histories? And > should they both go with the journalism (Kapuschinski, Fisk, > Gellhorn etc) > and should they go with the Chomsky? Or should that go with social > histories? Where do I put the books on boxing? What about the guide to > street drugs? Should Primo Levi go with the memoirs or in the WW2 > history > section? Do I put the letters and biographies together or > separately? Should > I put Kafka's letters and diaries and notebooks with the > biographies or with > the fiction? (I put them with the fiction, also Pavese's, but nobody > else's...but...) > > Also now I've taken all the books out there seem to be less shelves > than > when they were in them. Or more books. I am thinking of the concept of > L-space. I am quietly going nuts with quandariness. > > I am glad I'm not a chain bookstore. > > A > > > Alison Croggon > > Blog: http://theatrenotes.blogspot.com > Editor, Masthead: http://masthead.net.au > Home page: http://alisoncroggon.com ============================================== "Blasphemy is a victimless crime." -- a t-shirt sent to Salman Rushdie in the days of the Satanic Verses fatwa. ============================================== Pierre Joris 244 Elm Street Albany NY 12202 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 85 Euro cell: 011 33 6 79 368 446 email: joris@albany.edu http://pierrejoris.com Nomadics blog: http://pjoris.blogspot.com ========================= ========================================================================= Date: Tue, 18 Apr 2006 10:25:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Officer in Need of Assistance! Subject: Re: "position is where you/put it"--b&n In-Reply-To: <1DC6E6B1-3735-4B33-957E-DDC7B6A7E478@mac.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline I've seen Anne Waldman's "Marriage: A Sentence" in the "Self Help/Family" section of a major bookstore. On 4/18/06, Pierre Joris wrote: > In London, years ago, I found William Burroughs' book of interviews > "The Job" in the DIY section of a major bookstore. -- Pierre > www.hyperhypo.org ========================================================================= Date: Tue, 18 Apr 2006 10:39:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: "position is where you/put it"--b&n In-Reply-To: <750c78460604180825g4a31da49kcda416d7d59a426d@mail.gmail.com> Mime-Version: 1.0 (Apple Message framework v749.3) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit I've seen my books in the free box outside the front door. On Apr 18, 2006, at 10:25 AM, Officer in Need of Assistance! wrote: > I've seen Anne Waldman's "Marriage: A Sentence" in the "Self > Help/Family" section of a major bookstore. > > On 4/18/06, Pierre Joris wrote: >> In London, years ago, I found William Burroughs' book of interviews >> "The Job" in the DIY section of a major bookstore. -- Pierre >> > > www.hyperhypo.org > ========================================================================= Date: Tue, 18 Apr 2006 08:51:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bruce Covey Subject: Free Chapbooks, New Coconut! In-Reply-To: <6D80DFA4-BF55-4BE2-922B-44BB75CF666F@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Two new printable, downloadable chapbooks available at http://www.coconutpoetry.org/chapbooks.html: Pterodactyls Soar Again by Reb Livingston and Journals: Collages of Contemporary Poetry by Jenna Cardinale, Numbers Three and Four in the Whole Coconut Chapbook Series! & if that weren’t enough, Issue Four (http://www.coconutpoetry.org/) is now live, containing new poems by Charles Bernstein, Anne Boyer, Joyelle McSweeney, Andrea Baker, Adam Clay, Theresa Sotto, Alan DeNiro, Jenny Boully, Heather Brinkman, Matthew Henriksen, Jan Clausen, Julie Doxsee, Justin Marks, Ken Rumble, Joshua Beckman, Mary Kasimor, Kristi Maxwell, Peter Davis, kari Edwards, Michael Farrell, and Todd Colby! Come join the fun! Bruce Covey Coconut Editor ========================================================================= Date: Tue, 18 Apr 2006 15:56:55 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "sgambito@juno.com" Subject: 2006 Vincent Chin Memorial Chapbook Prize Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Content-Type: text/plain Hello, hello-- Deadline for the Vincent Chin prize isJune 1, 2006. Please feel free to= forward widely. Best, Sarah *************************************************************** The Vincent Chin Memorial Chapbook Prize Deadline: June 30, 2006 On June 19, 1982, in Detroit, Vincent Chin was beaten to death with a baseball bat by a man and his stepson. The two laid-off autoworkers mistook Chin for Japanese =97 an Asian group they blamed for the ailing = U.S. auto industry. The assailants never served jail time, and later federal civil-rights courts acquitted them entirely of the crime. For many today, this is a rarely remembered footnote in American history= . However, the tragedy of Vincent Chin marked an important change in how Asian Americans viewed themselves. It was the first time, according to A= PA advocates and academics, that people who traced their ancestry to different countries in Asia and the Pacific Islands crossed ethnic and socioeconomic lines to fight [politically] as a united group of Asian Pacific Americans. They were Chinese, Japanese, Korean, and Filipino; th= ey were waiters, lawyers, and grandmothers who were moved to action by what= happened to Vincent Chin. For the first time, Asian Americans banded together against the discrimination and racism directed toward the APA community. Decades later, the need for Asian Americans to unite as a population and to project a voice into the cultural mainstream is as urgent as ever. In honor of Vincent Chin and this watershed moment in Asian American history, Kundiman and Barrow Street are sponsoring The Vincent Chin Memorial Chapbook Prize. This annual prize is an opportunity for both Kundiman and Barrow Street to support and spotlight the talent of an emerging Asian American poet, a new voice in the landscape of Asian American _expression and power. Winner will receive: =95 $500 cash prize =95 Chapbook publication in Barrow Street: http://www.barrowstreet.org/journal.html =95 Full scholarship to the 2007 Kundiman Summer Retreat Applicant Eligibility Asian American poets who have not published more than one book of forty-eight pages or more. Entry Fee Check for $15.00 payable to The New York Foundation for the Arts Judge John Yau will judge this year=92s contest. For guidelines and more information on The Vincent Chin Memorial Chapboo= k Prize, please go to: http://www.kundiman.org ========================================================================= Date: Tue, 18 Apr 2006 11:59:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Michael Mollohan" Subject: Re: "position is where you/put it"--b&n MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit As mIEKAL aND so succinctly put it: > I've seen my books in the free box outside the front door. > Had it been my books in the dump bin outside the door, I'd have scarfed them up and redistributed them to a place where a better price might have been had. Is that double-dipping? ========================================================================= Date: Tue, 18 Apr 2006 16:01:38 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "sgambito@juno.com" Subject: Re: 2006 Vincent Chin Memorial Chapbook Prize Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Content-Type: text/plain Rather, the deadline is 6/30. Apologies. -- "sgambito@juno.com" wrote: Hello, hello-- Deadline for the Vincent Chin prize isJune 1, 2006. Please feel free to= forward widely. Best, Sarah *************************************************************** The Vincent Chin Memorial Chapbook Prize Deadline: June 30, 2006 On June 19, 1982, in Detroit, Vincent Chin was beaten to death with a baseball bat by a man and his stepson. The two laid-off autoworkers mistook Chin for Japanese =97 an Asian group they blamed for the ailing = U.S. auto industry. The assailants never served jail time, and later federal civil-rights courts acquitted them entirely of the crime. For many today, this is a rarely remembered footnote in American history= . However, the tragedy of Vincent Chin marked an important change in how Asian Americans viewed themselves. It was the first time, according to A= PA advocates and academics, that people who traced their ancestry to different countries in Asia and the Pacific Islands crossed ethnic and socioeconomic lines to fight [politically] as a united group of Asian Pacific Americans. They were Chinese, Japanese, Korean, and Filipino; th= ey were waiters, lawyers, and grandmothers who were moved to action by what= happened to Vincent Chin. For the first time, Asian Americans banded together against the discrimination and racism directed toward the APA community. Decades later, the need for Asian Americans to unite as a population and to project a voice into the cultural mainstream is as urgent as ever. In honor of Vincent Chin and this watershed moment in Asian American history, Kundiman and Barrow Street are sponsoring The Vincent Chin Memorial Chapbook Prize. This annual prize is an opportunity for both Kundiman and Barrow Street to support and spotlight the talent of an emerging Asian American poet, a new voice in the landscape of Asian American _expression and power. Winner will receive: =95 $500 cash prize =95 Chapbook publication in Barrow Street: http://www.barrowstreet.org/journal.html =95 Full scholarship to the 2007 Kundiman Summer Retreat Applicant Eligibility Asian American poets who have not published more than one book of forty-eight pages or more. Entry Fee Check for $15.00 payable to The New York Foundation for the Arts Judge John Yau will judge this year=92s contest. For guidelines and more information on The Vincent Chin Memorial Chapboo= k Prize, please go to: http://www.kundiman.org ========================================================================= Date: Tue, 18 Apr 2006 09:14:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: C Daly Subject: Re: 2006 Pulitzer Prize in Poetry who is claudia emerson? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit this is apparently another misunderstanding like the Nobel Peace Prize nomination you can nominate anyone with a book for a Pulizer (although 00 didn't read closely -- might have to be avail both hardcover and softcover -- nota bene pod publishers, exercise the hardcover option); being nominated (which the current winner was, even after her first book) means about as much as being nominated for a Nobel Peace Prize or a Pushcart prize or for Queen of the May. So the problem is us, for not bothering to nominate anyone -- it seems obvious that the Pulitzer Poetry field is pretty limited due to everyone's sheer laziness All best, Catherine Daly about to be nominated for a Pulitzer Prize ========================================================================= Date: Mon, 17 Apr 2006 12:19:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: NYTBR, Poetry Wars MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit true but i still wanna be off this list til the end of may and no one seems to be cuttin me lose see you at yuko's (my wife's) reading at the poetry project tomorrow at 8 oh hi all yuko otomo and joe eliot read weds april 19 at poetry projet 8 pm nyc ========================================================================= Date: Tue, 18 Apr 2006 09:29:08 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: on Readings In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit To clarify: we do announce the reader, mentioning their triumphs and accolades DURING the reading but not as an exterior media device to gain an audience. To make the audience happy about their superior decision making process is always necessary and a gratuitous bio interspersed with tall tales and jokes seems to accomplish this quite nicely. Of course, the author likes to be given Kudos for their myriad of accomplishments, such as creating the quintessential American flatulence poem, and, in general, reads on a higher planar level if treated in this manner. If we were to start a new practice of fortelling expected forays into the archetypal resonantial effects of future poetic endeavors and prizes that would be something truly, experimentally, memorable. I would be willing to try that Derek but I have decided to head to a rural locale, write another novel in a hovel, and run the series in abstentia.But I will keep it in mind. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Tue, 18 Apr 2006 12:58:19 -0400 Reply-To: rumblek@bellsouth.net Sender: UB Poetics discussion group From: Ken Rumble Subject: Desert City: Waldrop, Hocquard, & Valery: This Saturday, April 22, 8pm, Chapel Hill, NC MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit Who: Rosmarie Waldrop; author of /Blindsight/, /The Lawn of the Excluded Middle/, /Reproduction of Profiles/, /Love Like Pronouns/, and many others; translator of the work of Edmond Jabes, Paul Celan, and Emmanuel Hocquard; editor of Burning Deck Press; left a German circus at eleven to become one of the US's finest living poets. Who: Emmanuel Hocquard; author of /Theory of Tables/ (translated by Michael Palmer), /Aereas in the Forests of Manhattan/ (translated by Lydia Davis), /A Test of Solitude/ (translated by Rosmarie Waldrop), among others; director of Un Bureau sur l'Atlantique; invites US poets to weeks long retreats in French chateaus to translate poetry, eat, drink wine, and sleep. Who: Juliette Valéry; author of /Le bolide immobile an centre de l’écran/ and, with Emmanuel Hocquard, /L’année du goujon and Les oranges de Saint-Michel/; translator into French of American poets such as Cole Swensen, Norma Cole, Rosemarie Waldrop, Keith Waldrop, Jackson Mac Low, Robert Creeley, Juliana Spahr, Charles Bernstein, Michael Davidson, and Michael Palmer; teaches at the École Supérieure d’Art et Céramique. What: Desert City Poetry Series, French and English, Bi-lingual, by George. When: This Saturday, April 22nd, 8:00pm, 2006, the only one this year. Where: Internationalist Books, 405 W. Franklin Street, Chapel Hill, NC, Thrill on the Hill. How much: $2 dollar donation is requested to support the readers and series. Why: "From no point of the /canale/ is it possible to see / the burnt stump. Not because of the hedge-row. / Because a word is missing." "Still, depth of field allows the mind to drift beyond its negative pole to sun catching on a maple leaf already red in August, already thinner, more translucent, preparing to strip off all that separates it from its smooth skeleton. Beautiful, flamboyant phrase that trails off without predicate, intending disappearance by approaching it, a toss in the air." See you there..... Thanks for a great 05/06 season!!! Stay tuned for news of next seasons readings! *Internationalist Books: http://www.internationalistbooks.org *Desert City Poetry Series: http://desertcity.blogspot.com *Rosmarie Waldrop: http://epc.buffalo.edu/authors/waldropr/ *Emmanuel Hocquard: http://www.durationpress.com/authors/hocquard/home.html *Juliette Valéry: http://germspot.blogspot.com/2005/05/hocquard-or-valry-p1.html Contact the DCPS: Ken Rumble, director rumblek at bellsouth dot net The Desert City is supported by grants from the Mary Duke Biddle Foundation, the North Carolina Arts Council, and the Orange County Arts Commission and generous donations from anonymous individuals. from /Lawn of the Excluded Middle/ by Rosmarie Waldrop I put a ruler in my handbag, having heard men talk about their sex. Now we have correct measurements and a stickiness between collar and neck. It is one thing to insert yourself into a mirror, but quite another to get your image out again and have your errors pass for objectivity. Vitreous. As in humor. A change in perspective is caused by the clarity by the ciliary muscle, but need not be conciliatory. Still, the eye is a camera, room for everything that is to enter, like the cylinder called the satisfaction of hollow space. Only language grows such grass-green grass. from /A Test of Solitude/ by Emmanuel Hocquard (translated by Rosmarie Waldrop) XIV This chronicle contains all the words that stake out the route from the hut to the burnt stump except one. The one that is missing. What properties do the stump and the /canale/ have in common? /Memories/: of the chalk pond traced in the grass and of the ancient cedar uprooted by the storm. /Italy: canale/ is an Italian word designating a long rectangular pond, and the burning of the stump is a technique brought from Rome. Two properties in common is not enough. At least one more is missing. The missing /word./ ========================================================================= Date: Tue, 18 Apr 2006 10:30:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: 2006 Pulitzer Prize in Poetry In-Reply-To: <4444F32B.3010705@comcast.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > Stephen Vincent wrote: I am sorry, Ken, I really do not know how to respond to your response - your grief and anger are manifest. Beyond some sense of writing an epitaph for any living practice of poetry - apart from the howling - it seems a dead-end. I - and I suspect many on this list - am/are far from "there" yet! Comedy and/or tragedy I find it all pretty full and engaging out there. The horizon within and beyond the self. But I think we have heard you. Stephen V http://stephenvincent.net/blog/ >> It is curious to see that each Pulitzer winner and finalist titles are >> devoted to elegy (I assume no one can any longer title anything "American >> Sublime" without an ironic and/or elegiac subversion of the concept!) >> >> Elegy as subject and not even a faint nod to the wars! The soldiers coffins >> continue to arrive, more or less anonymously, and who can fault the poets >> and Pulitzer judges for not being able to acknowledge even the words/facts? >> > Hello again, Stephen. Here we go: religious verse at a Marxist > convention. I cannot avoid thinking that Americans--poets included--may > indeed give a damn but have come to feel as powerless as the rest of us. > What does a poet do? Grab a .30-06, go into the hills, and become a > partisan? Then ask Muley's question in /The Grapes of Wrath/: "Who do I > shoot?" There's no answer because no one person is in charge. It's all > anonymous and corporatized. Maybe do what Wilfred Owen said: /Warn/. So > what? Warn what and warn who? Owen's and Sassoon's poetry didn't prevent > or even postpone World War II. Nor did Kollwitz's art. Erich Maria > Remarque did not turn the Germans against militarism. And /O The > Chimneys/ probably did not make Pol Pot think twice. It was and remains > all "faith-based," maybe the god is what Ginsburg called Moloch. What > has C.K. Williams changed since "In The Heart of the Beast" in 1970? > I'm tired of having my consciousness raised. Baraka in his LeRoi Jones > incarnation wrote that if Bessie Smith had killed some white people she > wouldn't have needed those songs. I hate to sound "results-oriented," > I'm at the end of a long and failed career in business, but what do any > of the demands for a political and/or kinetic art actually accomplish? > What do we get? Tennyson's "Charge," Kipling's "White Man's Burden," or > on the positive side Lowell's "Inauguration Day 1953"? So. What. > > No, this is not defeatism. It's defeat. It is recognizing that some > people just don't get moved to Art via a war or a flood or the manifest > racism and indifference of a government nominally presided over by a > mean-spirited drunk with an eschatological fixation enabled by his > various controllers. In the end our own itty-bitty lives may be our best > subject, and sometimes you get out of the fight simply to save your > sanity and your ass because you're tired of Mike Tyson pounding the > latter into the canvas. > > Do not mistake me: I am frustrated by what has been done to my country > by that walking bag of dysfunctions. It could be there is a growing > sense that individuals--even massed into a "bloc"--have been > outmaneuvered, that vox populi has has its vocal cords removed by a diet > of shit entertainment, trivia, and "my country's always right and never > wrong" rah-rah. At some point the hands go up in the air. > > Sam Hamill summoned forth the poets three years ago. Thank God for him > and George Bush because they got me to break a 2-year silence and write > again. I wrote for and participated in a reading at Brookdale Community > College in New Jersey. One of my students found out and backed away > from me, then stopped coming to my class. I had become poisonous. At > least the kid picked a side. The easy side, true, the side of Rah-Rah > Yea Team Remember 9/11 Kill the Towelheads. A side. /A bi gezint./ >> I suspect those folks in the Gulf Coast can't wait to read another such >> nostalgic volume, let alone the rest of us. There's obviously much more >> eco-southern gothic (hello, Katrina) going on that's unbuckling what ought >> to be cranking up a post-nostalgic view of site(region). >> > Something has changed. I watched a PBS documentary last night on the > San Francisco earthquake (100 years today) and was fascinated. These > people had the living crap beaten out of them, they suffered a disaster > at least as bad as Katrina. The US Gov't kicked in a million bucks, yes, > but most of the equity came from the residents, and from people who > emigrated into the ruins of the city to clear the rubble and rebuild. > Within 3 years San Francisco was functional again. It had gone from > Dresden to San Francisco. Something has gone wrong here. A hundred > years later nobody can take a crap without a government grant and > everyone is busy pointing fingers. > > Even more fascinating was what followed it: a docu on the Armenian > Genocide. You really do what to turn your head away. The only writer I > know of before the last several years who had the courage to own was his > countrymen did was Nazim Hikmet. Maybe we need a Hikmet who is willing > to have his life broken in prison because he will call vileness where he > sees it. > > The fact we remember his name may give everything I've said the lie. > Which is fine with me. > > Enough of this aria. > > Ken ========================================================================= Date: Tue, 18 Apr 2006 13:26:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Orange Subject: post_moot reports MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit hi poetics listers, a report on the post_moot poetics gathering this past weekend at miami university in oxford, ohio can be found at http://heuriskein.blogspot.com beginning with photos culled from lorraine graham's flickr page, followed by a report in two parts (scroll down for part one). pretty much a straight chronology by one observer, hopefully some analysis and reflection to follow. enjoy, tom orange ========================================================================= Date: Tue, 18 Apr 2006 14:11:46 -0400 Reply-To: stephen@poetshouse.org Sender: UB Poetics discussion group From: Stephen Motika Organization: Poets House Subject: Tonight: Gillian Conoley on Henri Michaux at Poets House, NYC In-Reply-To: <20060414210856.91C2A1BCAA@xprdmailfe23.nwk.excite.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Passwords: Gillian Conoley on Henri Michaux Tuesday, April 18, 7pm Poets House, 72 Spring Street, 2nd Floor, NYC $7, Free for Poets House Members Gillian Conoley's talk on Henri Michaux (1899-1984), one of the most original and admired French writers and artists of the 20th century, will briefly encompass the arc of his career-the more than 30 books of poems, prose poems, narratives and journals, including the 11-year writing experiment while taking mescaline. The talk will more fully focus on Michaux's relentless exploration of the repressed side of Western conciousness, an obsession which lead him to a concurrent search for a tool of communication that was up to the task. Of particular interest is Michaux's fascination with universal languages. Late in his life, moving restlessly between lines, silences, colors and rhythms in both his poetic and visual work, Michaux begins to work from the model of the Chinese ideogram, seeking and devising a new language of pure lines that would communicate without the trappings of convention. Gillian Conoley's most recent book is Profane Halo with Verse Press/Wave Books. She is Poet-in-Residence and Professor of English at Sonoma State University, where she is the founder and editor of Volt. Info: www.poetshouse.org or call 212-431-7920. ========================================================================= Date: Tue, 18 Apr 2006 15:50:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Davey Volner Subject: Ingeborg Bachmann Reading, Thursday MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Join us this Thursday, April 20th as we celebrate the launch of Darkness Spoken, the remarkable new collection of Ingeborg Bachmann's poetry. Though Bachmann is recognized alongside Paul Celan as one of the finest German language poets of the post-war era, dozens of her poems remained unpublished until award-winning translator Peter Filkins put together this volume. We're thrilled to launch this beautiful and important book and hope you'll join in on the festivities! R.S.V.P. to davey.volner@gmail.com if you can attend and we'll see you at 7PM, 60 Pine Street New York, New York On 4/16/06, Steve Dalachinksy wrote: > loren mazzacane connors > & > steve dalachinsky in duo > > @ the stone may 30th 2006 8 pm > > 2nd st & ave C > > as part of a month long hommage in may > to the memory of Derek Bailey > > many great artist performing may 2 - may 31 > check the stone schedule www.thestonenyc.com > -- Davey Volner Membership Coordinator The Accompanied Literary Society 26 Gramercy Park South, 6H New York, New York 10003 (917) 605-6064 ========================================================================= Date: Tue, 18 Apr 2006 15:01:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Fwd: A.Word.A.Day--orihon Mime-Version: 1.0 (Apple Message framework v746.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Begin forwarded message: > From: Wordsmith > Date: April 17, 2006 11:03:34 PM CDT > To: linguaphile@wordsmith.org > Subject: A.Word.A.Day--orihon > > This week's theme: words about books. > > orihon (OR-ee-hon) noun > > A book or manuscript folded like an accordion: a roll of paper > inscribed > on one side only, folded backwards and forwards. > > [From Japanese, ori (fold), + hon (book).] > > Here's a picture of an orihon: http://www2.odn.ne.jp/reliure/imgs3/ > k_orihon.jpg > The word origami is from the same root, from Japanese ori (fold) + - > gami, > kami (paper), the art of paper folding that can coax a whole > menagerie from > a few sheets of paper. > > -Anu Garg (gargATwordsmith.org) > > "He created an orihon binding -- an accordion-style technique that > allowed the book to expand to more than 60 feet." > Veronica Chestnut; Digital Printing at Harvard; Electronic > Publishing, > Jul 1997. > > Sponsored by: > Always find the right word with the Visual Thesaurus. Wordsmith > readers > save 10%. Try it free! http://www.visualthesaurus.com/?code=qt4&ad=aw > > Ever wonder why we aren't just happy, we're happy as a clam? > Derivation, a > fascinating game about word & phrase origins. A great gift! http:// > entspire.com > > ...................................................................... > ...... > The politician is an acrobat. He keeps his balance by saying the > opposite > of what he does. -Maurice Barres, novelist and politician (1862-1923) > > Share the magic of words. Send a gift sub: http://wordsmith.org/ > awad/gift.html > > Remove, change, or subscribe address: http://wordsmith.org/awad/ > subscriber.html > > Pronunciation: > http://wordsmith.org/words/orihon.wav > http://wordsmith.org/words/orihon.ram > > Permalink: http://wordsmith.org/words/orihon.html ========================================================================= Date: Tue, 18 Apr 2006 13:13:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: C Daly Subject: Richard Wilbur Wins 2006 Lilly Prize MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable RICHARD WILBUR WINS 2006 LILLY PRIZE $100,000 Award One of Largest to Poets =20 Chicago -- Poet and translator Richard Wilbur has won the 2006 Ruth = Lilly Poetry Prize. Established in 1986, the prize is one of the most = prestigious given to American poets, and at $100,000 it is one of the nation's = largest literary honors. Christian Wiman, editor of Poetry magazine and chair of = the selection committee, made the announcement today. The prize will be presented at an evening ceremony at the Arts Club in Chicago on May = 25th. =20 In announcing the award, Wiman said: "If you had to put all your money = on one living poet whose work will be read in a hundred years, Richard = Wilbur would be a good bet. He has written some of the most memorable poems of = our time, and his achievement rivals that of great American poets like = Robert Frost and Elizabeth Bishop." =20 Richard Wilbur has published over two-dozen poems in Poetry since his = first appearance in the magazine in February 1948. Wilbur has served as Poet Laureate of the United States and his many other honors include two = Pulitzer Prizes, the National Book Award, and the Bollingen Translation Prize. He lives with his wife, Charlotte, in Cummington, Massachusetts.=20 =20 Born in New York City on March 1, 1921, Wilbur grew up on a New Jersey = farm, was educated at Amherst and Harvard, and served with the 36th Infantry Division. He was a member of the prestigious Harvard Fellows and taught there until 1954, when he moved to Wellesley and then to Wesleyan University. From Wesleyan he went to Smith as writer-in-residence. In = 1987 he was named the second Poet Laureate of the U.S., following Robert Penn Warren. =20 "No contemporary poet has brought so much lived experience into such formally perfect poems as Richard Wilbur. Entering a Wilbur poem is a = deeply civil and civilizing experience, from which we emerge better human = beings," said John Barr, president of the Poetry Foundation. "The Poetry = Foundation is pleased to represent Ruth Lilly, once again, in giving this major = award to a poet as extraordinary as Wilbur." =20 Wilbur began to write poetry in earnest only after experiencing the = horrific chaos of battle during WW II service as an infantryman in Italy. No poet = of his generation has been more committed to careful, organized expression = or has more thoroughly mastered the forms and devices of traditional = poetry; this conservative aesthetic and his deep love for "country things" link Wilbur to the Roman poet Horace and to his fellow American Robert Frost. = He has also produced sparkling, witty translations of classic French drama = and several books for children. =20 Wilbur's books of poetry include New and Collected Poems (1988), which = won the Pulitzer Prize; The Mind-Reader: New Poems (1976); Walking to Sleep: = New Poems and Translations (1969); Advice to a Prophet and Other Poems = (1961); Things of This World (1956), for which he received the Pulitzer Prize = and the National Book Award; Ceremony and Other Poems (1950); and The = Beautiful Changes and Other Poems (1947). Richard Wilbur's Collected Poems = 1943-2004 was published in 2004. =20 Judges for the 2006 prize were poets Linda Gregerson, Don Paterson, and Christian Wiman.=20 =20 "A Barred Owl" by Richard Wilbur=20 =20 The warping night-air having brought the boom Of an owl's voice into her darkened room, We tell the wakened child that all she heard Was an odd question from a forest bird, Asking of us, if rightly listened to, "Who cooks for you?" and then "Who cooks for you?" =20 Words, which can make our terrors bravely clear, Can also thus domesticate a fear, And send a small child back to sleep at night Not listening for the sound of stealthy flight Or dreaming of some small thing in a claw Borne up to some dark branch and eaten raw. =20 >From Mayflies: New Poems and Translations. (c) 2000 by Richard Wilbur.=20 >Reprinted by permission of Harcourt, Inc. =20 *** =20 About the Ruth Lilly Poetry Prize =20 American poetry has no greater friend than Ruth Lilly. Over many years = and in many ways, it has been blessed by her personal generosity. In 1985 = she endowed the Ruth Lilly Professorship in Poetry at Indiana University. In 1989 she created two Ruth Lilly Poetry Fellowships, for $15,000 each, = given annually by the Poetry Foundation to undergraduate or graduate students selected through a national competition. In 2002 her lifetime engagement with poetry culminated in a magnificent bequest that will enable the = Poetry Foundation to promote, in perpetuity, a vigorous presence for poetry in = our culture.=20 =20 The Ruth Lilly Poetry Prize honors a living U.S. poet whose lifetime accomplishments warrant extraordinary recognition. Established in 1986 = by Ruth Lilly, the annual prize is sponsored and administered by the Poetry Foundation, publisher of Poetry magazine. Over the last twenty years, = the Lilly prize has awarded over $1,000,000. Previous recipients of the Ruth Lilly Prize are Adrienne Rich, Philip Levine, Anthony Hecht, Mona Van = Duyn, Hayden Carruth, David Wagoner, John Ashbery, Charles Wright, Donald = Hall, A. R. Ammons, Gerald Stern, William Matthews, W. S. Merwin, Maxine Kumin, = Carl Dennis, Yusef Komunyakaa, Lisel Mueller, Linda Pastan, Kay Ryan, and = C.K. Williams. =20 About the Poetry Foundation =20 The Poetry Foundation, publisher of Poetry magazine and one of the = largest literary organizations in the world, exists to discover and celebrate = the best poetry and to place it before the largest possible audience. The = Poetry Foundation seeks to be a leader in shaping a receptive climate for = poetry by developing new audiences, creating new avenues for delivery, and = encouraging new kinds of poetry through innovative literary prizes and programs. For more information, please visit PoetryFoundation.org. =20 Founded in Chicago by Harriet Monroe in 1912, Poetry is the oldest = monthly devoted to verse in the English-speaking world. Harriet Monroe's "Open = Door" policy, set forth in Volume I of the magazine, remains the most succinct statement of Poetry's mission: to print the best poetry written today, = in whatever style, genre, or approach. The magazine established its = reputation early by publishing the first important poems of T. S. Eliot, Ezra = Pound, Marianne Moore, Wallace Stevens, William Carlos Williams, Carl Sandburg, = and other now-classic authors. In succeeding decades it has presented--often = for the first time--works by virtually every significant poet of the 20th century. =20 =20 =20 ========================================================================= Date: Tue, 18 Apr 2006 15:25:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Gallaher Subject: Re: 2006 Pulitzer Prize in Poetry who is claudia emerson? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable bgrotjoh writes: > At a small conference at Mary Washington last month, I talked about> Harr= yette Mullen's Sleeping with the Dictionary. Claudia (a friend of a> frien= d--definitely in the "official verse culture" but still a nice person)> att= ended--she had never heard of Harryette Mullen before reading the title> of= my paper in the program, an unfamiliarity mirrored by the questions about>= Emerson that have come to the list. I assume almost everyone on this list= > knows of Mullen's work; I think of it as important, even essential. Ther= e> doesn't seem to be much exchange between different groups of readers and= > writers, not even knowing who the others are. =20 I Reply: =20 With something like 1,000 books published a year, it's impossible to keep u= p with every poet. And I don't feel much pressure to try. Even with, for me= , a hefty buying cycle (about 25 books of poetry), I miss most things (well= something like 975 things, I guess). I'll look Claudia Emerson up, because= she seems to be the one ordained by the OVC. It's fun to peek over the fe= nce and see what they're up to over in their yard, every now and then. If t= hey're grilling out, maybe I can sneak a hot dog or something.=20 =20 JG = ========================================================================= Date: Tue, 18 Apr 2006 13:30:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Richard Wilbur Wins 2006 Lilly Prize In-Reply-To: <001101c66324$8744e6d0$6801a8c0@KASIA> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I am thinking it would be also nice if the Poetry Foundation - in association with a genuinely ecumenical group of judges (maybe lots of luck on that) - could provide 10 grants of 10K for poets over 45 to be placed in IRA accounts that could not be opened until the age of 62.5. The proviso for consideration would be that these would be awarded to poets who have somehow survived as adjuncts or in job situations without any form of pension accounts. Wouldn't this be an interesting and useful distribution of family wealth? Just thinking, Stephen Vincent http://stephenvincent.net/blog/ Currently home to the "Tenderly" series A work in progress > RICHARD WILBUR WINS 2006 LILLY PRIZE > > $100,000 Award One of Largest to Poets > > > > Chicago -- Poet and translator Richard Wilbur has won the 2006 Ruth Lilly > Poetry Prize. Established in 1986, the prize is one of the most prestigious > given to American poets, and at $100,000 it is one of the nation's largest > literary honors. Christian Wiman, editor of Poetry magazine and chair of the > selection committee, made the announcement today. The prize will be > presented at an evening ceremony at the Arts Club in Chicago on May 25th. > > > > In announcing the award, Wiman said: "If you had to put all your money on > one living poet whose work will be read in a hundred years, Richard Wilbur > would be a good bet. He has written some of the most memorable poems of our > time, and his achievement rivals that of great American poets like Robert > Frost and Elizabeth Bishop." > > > > Richard Wilbur has published over two-dozen poems in Poetry since his first > appearance in the magazine in February 1948. Wilbur has served as Poet > Laureate of the United States and his many other honors include two Pulitzer > Prizes, the National Book Award, and the Bollingen Translation Prize. He > lives with his wife, Charlotte, in Cummington, Massachusetts. > > > > Born in New York City on March 1, 1921, Wilbur grew up on a New Jersey farm, > was educated at Amherst and Harvard, and served with the 36th Infantry > Division. He was a member of the prestigious Harvard Fellows and taught > there until 1954, when he moved to Wellesley and then to Wesleyan > University. From Wesleyan he went to Smith as writer-in-residence. In 1987 > he was named the second Poet Laureate of the U.S., following Robert Penn > Warren. > > > > "No contemporary poet has brought so much lived experience into such > formally perfect poems as Richard Wilbur. Entering a Wilbur poem is a deeply > civil and civilizing experience, from which we emerge better human beings," > said John Barr, president of the Poetry Foundation. "The Poetry Foundation > is pleased to represent Ruth Lilly, once again, in giving this major award > to a poet as extraordinary as Wilbur." > > > > Wilbur began to write poetry in earnest only after experiencing the horrific > chaos of battle during WW II service as an infantryman in Italy. No poet of > his generation has been more committed to careful, organized expression or > has more thoroughly mastered the forms and devices of traditional poetry; > this conservative aesthetic and his deep love for "country things" link > Wilbur to the Roman poet Horace and to his fellow American Robert Frost. He > has also produced sparkling, witty translations of classic French drama and > several books for children. > > > > Wilbur's books of poetry include New and Collected Poems (1988), which won > the Pulitzer Prize; The Mind-Reader: New Poems (1976); Walking to Sleep: New > Poems and Translations (1969); Advice to a Prophet and Other Poems (1961); > Things of This World (1956), for which he received the Pulitzer Prize and > the National Book Award; Ceremony and Other Poems (1950); and The Beautiful > Changes and Other Poems (1947). Richard Wilbur's Collected Poems 1943-2004 > was published in 2004. > > > > Judges for the 2006 prize were poets Linda Gregerson, Don Paterson, and > Christian Wiman. > > > > "A Barred Owl" > > by Richard Wilbur > > > > The warping night-air having brought the boom > > Of an owl's voice into her darkened room, > > We tell the wakened child that all she heard > > Was an odd question from a forest bird, > > Asking of us, if rightly listened to, > > "Who cooks for you?" and then "Who cooks for you?" > > > > Words, which can make our terrors bravely clear, > > Can also thus domesticate a fear, > > And send a small child back to sleep at night > > Not listening for the sound of stealthy flight > > Or dreaming of some small thing in a claw > > Borne up to some dark branch and eaten raw. > > > >> From Mayflies: New Poems and Translations. (c) 2000 by Richard Wilbur. > >> Reprinted by permission of Harcourt, Inc. > > > > *** > > > > About the Ruth Lilly Poetry Prize > > > > American poetry has no greater friend than Ruth Lilly. Over many years and > in many ways, it has been blessed by her personal generosity. In 1985 she > endowed the Ruth Lilly Professorship in Poetry at Indiana University. In > 1989 she created two Ruth Lilly Poetry Fellowships, for $15,000 each, given > annually by the Poetry Foundation to undergraduate or graduate students > selected through a national competition. In 2002 her lifetime engagement > with poetry culminated in a magnificent bequest that will enable the Poetry > Foundation to promote, in perpetuity, a vigorous presence for poetry in our > culture. > > > > The Ruth Lilly Poetry Prize honors a living U.S. poet whose lifetime > accomplishments warrant extraordinary recognition. Established in 1986 by > Ruth Lilly, the annual prize is sponsored and administered by the Poetry > Foundation, publisher of Poetry magazine. Over the last twenty years, the > Lilly prize has awarded over $1,000,000. Previous recipients of the Ruth > Lilly Prize are Adrienne Rich, Philip Levine, Anthony Hecht, Mona Van Duyn, > Hayden Carruth, David Wagoner, John Ashbery, Charles Wright, Donald Hall, A. > R. Ammons, Gerald Stern, William Matthews, W. S. Merwin, Maxine Kumin, Carl > Dennis, Yusef Komunyakaa, Lisel Mueller, Linda Pastan, Kay Ryan, and C.K. > Williams. > > > > About the Poetry Foundation > > > > The Poetry Foundation, publisher of Poetry magazine and one of the largest > literary organizations in the world, exists to discover and celebrate the > best poetry and to place it before the largest possible audience. The Poetry > Foundation seeks to be a leader in shaping a receptive climate for poetry by > developing new audiences, creating new avenues for delivery, and encouraging > new kinds of poetry through innovative literary prizes and programs. For > more information, please visit PoetryFoundation.org. > > > > Founded in Chicago by Harriet Monroe in 1912, Poetry is the oldest monthly > devoted to verse in the English-speaking world. Harriet Monroe's "Open Door" > policy, set forth in Volume I of the magazine, remains the most succinct > statement of Poetry's mission: to print the best poetry written today, in > whatever style, genre, or approach. The magazine established its reputation > early by publishing the first important poems of T. S. Eliot, Ezra Pound, > Marianne Moore, Wallace Stevens, William Carlos Williams, Carl Sandburg, and > other now-classic authors. In succeeding decades it has presented--often for > the first time--works by virtually every significant poet of the 20th > century. > > > > > > ========================================================================= Date: Tue, 18 Apr 2006 16:32:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Richard Wilbur Wins 2006 Lilly Prize In-Reply-To: Mime-Version: 1.0 (Apple Message framework v749.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Hey, I'm eligible for that one, Stephen--and the money could bypass the IRA and go right into my checking account. In short, I'm for it. And sooner is better than later. Hal "A hen is only an egg's way of making another egg." --Samuel Butler Halvard Johnson ================ halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org On Apr 18, 2006, at 4:30 PM, Stephen Vincent wrote: > I am thinking it would be also nice if the Poetry Foundation - in > association with a genuinely ecumenical group of judges (maybe lots > of luck > on that) - could provide 10 grants of 10K for poets over 45 to be > placed in > IRA accounts that could not be opened until the age of 62.5. The > proviso > for consideration would be that these would be awarded to poets who > have > somehow survived as adjuncts or in job situations without any form of > pension accounts. > > Wouldn't this be an interesting and useful distribution of family > wealth? > > Just thinking, > > Stephen Vincent > http://stephenvincent.net/blog/ > Currently home to the "Tenderly" series > A work in progress > > > > > > > > > > >> RICHARD WILBUR WINS 2006 LILLY PRIZE >> >> $100,000 Award One of Largest to Poets >> >> >> >> Chicago -- Poet and translator Richard Wilbur has won the 2006 >> Ruth Lilly >> Poetry Prize. Established in 1986, the prize is one of the most >> prestigious >> given to American poets, and at $100,000 it is one of the nation's >> largest >> literary honors. Christian Wiman, editor of Poetry magazine and >> chair of the >> selection committee, made the announcement today. The prize will be >> presented at an evening ceremony at the Arts Club in Chicago on >> May 25th. >> >> >> >> In announcing the award, Wiman said: "If you had to put all your >> money on >> one living poet whose work will be read in a hundred years, >> Richard Wilbur >> would be a good bet. He has written some of the most memorable >> poems of our >> time, and his achievement rivals that of great American poets like >> Robert >> Frost and Elizabeth Bishop." >> >> >> >> Richard Wilbur has published over two-dozen poems in Poetry since >> his first >> appearance in the magazine in February 1948. Wilbur has served as >> Poet >> Laureate of the United States and his many other honors include >> two Pulitzer >> Prizes, the National Book Award, and the Bollingen Translation >> Prize. He >> lives with his wife, Charlotte, in Cummington, Massachusetts. >> >> >> >> Born in New York City on March 1, 1921, Wilbur grew up on a New >> Jersey farm, >> was educated at Amherst and Harvard, and served with the 36th >> Infantry >> Division. He was a member of the prestigious Harvard Fellows and >> taught >> there until 1954, when he moved to Wellesley and then to Wesleyan >> University. From Wesleyan he went to Smith as writer-in-residence. >> In 1987 >> he was named the second Poet Laureate of the U.S., following >> Robert Penn >> Warren. >> >> >> >> "No contemporary poet has brought so much lived experience into such >> formally perfect poems as Richard Wilbur. Entering a Wilbur poem >> is a deeply >> civil and civilizing experience, from which we emerge better human >> beings," >> said John Barr, president of the Poetry Foundation. "The Poetry >> Foundation >> is pleased to represent Ruth Lilly, once again, in giving this >> major award >> to a poet as extraordinary as Wilbur." >> >> >> >> Wilbur began to write poetry in earnest only after experiencing >> the horrific >> chaos of battle during WW II service as an infantryman in Italy. >> No poet of >> his generation has been more committed to careful, organized >> expression or >> has more thoroughly mastered the forms and devices of traditional >> poetry; >> this conservative aesthetic and his deep love for "country things" >> link >> Wilbur to the Roman poet Horace and to his fellow American Robert >> Frost. He >> has also produced sparkling, witty translations of classic French >> drama and >> several books for children. >> >> >> >> Wilbur's books of poetry include New and Collected Poems (1988), >> which won >> the Pulitzer Prize; The Mind-Reader: New Poems (1976); Walking to >> Sleep: New >> Poems and Translations (1969); Advice to a Prophet and Other Poems >> (1961); >> Things of This World (1956), for which he received the Pulitzer >> Prize and >> the National Book Award; Ceremony and Other Poems (1950); and The >> Beautiful >> Changes and Other Poems (1947). Richard Wilbur's Collected Poems >> 1943-2004 >> was published in 2004. >> >> >> >> Judges for the 2006 prize were poets Linda Gregerson, Don >> Paterson, and >> Christian Wiman. >> >> >> >> "A Barred Owl" >> >> by Richard Wilbur >> >> >> >> The warping night-air having brought the boom >> >> Of an owl's voice into her darkened room, >> >> We tell the wakened child that all she heard >> >> Was an odd question from a forest bird, >> >> Asking of us, if rightly listened to, >> >> "Who cooks for you?" and then "Who cooks for you?" >> >> >> >> Words, which can make our terrors bravely clear, >> >> Can also thus domesticate a fear, >> >> And send a small child back to sleep at night >> >> Not listening for the sound of stealthy flight >> >> Or dreaming of some small thing in a claw >> >> Borne up to some dark branch and eaten raw. >> >> >> >>> From Mayflies: New Poems and Translations. (c) 2000 by Richard >>> Wilbur. >> >>> Reprinted by permission of Harcourt, Inc. >> >> >> >> *** >> >> >> >> About the Ruth Lilly Poetry Prize >> >> >> >> American poetry has no greater friend than Ruth Lilly. Over many >> years and >> in many ways, it has been blessed by her personal generosity. In >> 1985 she >> endowed the Ruth Lilly Professorship in Poetry at Indiana >> University. In >> 1989 she created two Ruth Lilly Poetry Fellowships, for $15,000 >> each, given >> annually by the Poetry Foundation to undergraduate or graduate >> students >> selected through a national competition. In 2002 her lifetime >> engagement >> with poetry culminated in a magnificent bequest that will enable >> the Poetry >> Foundation to promote, in perpetuity, a vigorous presence for >> poetry in our >> culture. >> >> >> >> The Ruth Lilly Poetry Prize honors a living U.S. poet whose lifetime >> accomplishments warrant extraordinary recognition. Established in >> 1986 by >> Ruth Lilly, the annual prize is sponsored and administered by the >> Poetry >> Foundation, publisher of Poetry magazine. Over the last twenty >> years, the >> Lilly prize has awarded over $1,000,000. Previous recipients of >> the Ruth >> Lilly Prize are Adrienne Rich, Philip Levine, Anthony Hecht, Mona >> Van Duyn, >> Hayden Carruth, David Wagoner, John Ashbery, Charles Wright, >> Donald Hall, A. >> R. Ammons, Gerald Stern, William Matthews, W. S. Merwin, Maxine >> Kumin, Carl >> Dennis, Yusef Komunyakaa, Lisel Mueller, Linda Pastan, Kay Ryan, >> and C.K. >> Williams. >> >> >> >> About the Poetry Foundation >> >> >> >> The Poetry Foundation, publisher of Poetry magazine and one of the >> largest >> literary organizations in the world, exists to discover and >> celebrate the >> best poetry and to place it before the largest possible audience. >> The Poetry >> Foundation seeks to be a leader in shaping a receptive climate for >> poetry by >> developing new audiences, creating new avenues for delivery, and >> encouraging >> new kinds of poetry through innovative literary prizes and >> programs. For >> more information, please visit PoetryFoundation.org. >> >> >> >> Founded in Chicago by Harriet Monroe in 1912, Poetry is the oldest >> monthly >> devoted to verse in the English-speaking world. Harriet Monroe's >> "Open Door" >> policy, set forth in Volume I of the magazine, remains the most >> succinct >> statement of Poetry's mission: to print the best poetry written >> today, in >> whatever style, genre, or approach. The magazine established its >> reputation >> early by publishing the first important poems of T. S. Eliot, Ezra >> Pound, >> Marianne Moore, Wallace Stevens, William Carlos Williams, Carl >> Sandburg, and >> other now-classic authors. In succeeding decades it has presented-- >> often for >> the first time--works by virtually every significant poet of the 20th >> century. >> >> >> >> >> >> ========================================================================= Date: Tue, 18 Apr 2006 15:43:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: Re: Richard Wilbur Wins 2006 Lilly Prize In-Reply-To: <001101c66324$8744e6d0$6801a8c0@KASIA> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I want to vomit... Richard Wilbur? Kay Ryan? Who's next Dana Gioia? -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of C Daly Sent: Tuesday, April 18, 2006 3:13 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Richard Wilbur Wins 2006 Lilly Prize RICHARD WILBUR WINS 2006 LILLY PRIZE $100,000 Award One of Largest to Poets Chicago -- Poet and translator Richard Wilbur has won the 2006 Ruth Lilly Poetry Prize. Established in 1986, the prize is one of the most prestigious given to American poets, and at $100,000 it is one of the nation's largest literary honors. Christian Wiman, editor of Poetry magazine and chair of the selection committee, made the announcement today. The prize will be presented at an evening ceremony at the Arts Club in Chicago on May 25th. In announcing the award, Wiman said: "If you had to put all your money on one living poet whose work will be read in a hundred years, Richard Wilbur would be a good bet. He has written some of the most memorable poems of our time, and his achievement rivals that of great American poets like Robert Frost and Elizabeth Bishop." Richard Wilbur has published over two-dozen poems in Poetry since his first appearance in the magazine in February 1948. Wilbur has served as Poet Laureate of the United States and his many other honors include two Pulitzer Prizes, the National Book Award, and the Bollingen Translation Prize. He lives with his wife, Charlotte, in Cummington, Massachusetts. Born in New York City on March 1, 1921, Wilbur grew up on a New Jersey farm, was educated at Amherst and Harvard, and served with the 36th Infantry Division. He was a member of the prestigious Harvard Fellows and taught there until 1954, when he moved to Wellesley and then to Wesleyan University. From Wesleyan he went to Smith as writer-in-residence. In 1987 he was named the second Poet Laureate of the U.S., following Robert Penn Warren. "No contemporary poet has brought so much lived experience into such formally perfect poems as Richard Wilbur. Entering a Wilbur poem is a deeply civil and civilizing experience, from which we emerge better human beings," said John Barr, president of the Poetry Foundation. "The Poetry Foundation is pleased to represent Ruth Lilly, once again, in giving this major award to a poet as extraordinary as Wilbur." Wilbur began to write poetry in earnest only after experiencing the horrific chaos of battle during WW II service as an infantryman in Italy. No poet of his generation has been more committed to careful, organized expression or has more thoroughly mastered the forms and devices of traditional poetry; this conservative aesthetic and his deep love for "country things" link Wilbur to the Roman poet Horace and to his fellow American Robert Frost. He has also produced sparkling, witty translations of classic French drama and several books for children. Wilbur's books of poetry include New and Collected Poems (1988), which won the Pulitzer Prize; The Mind-Reader: New Poems (1976); Walking to Sleep: New Poems and Translations (1969); Advice to a Prophet and Other Poems (1961); Things of This World (1956), for which he received the Pulitzer Prize and the National Book Award; Ceremony and Other Poems (1950); and The Beautiful Changes and Other Poems (1947). Richard Wilbur's Collected Poems 1943-2004 was published in 2004. Judges for the 2006 prize were poets Linda Gregerson, Don Paterson, and Christian Wiman. "A Barred Owl" by Richard Wilbur The warping night-air having brought the boom Of an owl's voice into her darkened room, We tell the wakened child that all she heard Was an odd question from a forest bird, Asking of us, if rightly listened to, "Who cooks for you?" and then "Who cooks for you?" Words, which can make our terrors bravely clear, Can also thus domesticate a fear, And send a small child back to sleep at night Not listening for the sound of stealthy flight Or dreaming of some small thing in a claw Borne up to some dark branch and eaten raw. >From Mayflies: New Poems and Translations. (c) 2000 by Richard Wilbur. >Reprinted by permission of Harcourt, Inc. *** About the Ruth Lilly Poetry Prize American poetry has no greater friend than Ruth Lilly. Over many years and in many ways, it has been blessed by her personal generosity. In 1985 she endowed the Ruth Lilly Professorship in Poetry at Indiana University. In 1989 she created two Ruth Lilly Poetry Fellowships, for $15,000 each, given annually by the Poetry Foundation to undergraduate or graduate students selected through a national competition. In 2002 her lifetime engagement with poetry culminated in a magnificent bequest that will enable the Poetry Foundation to promote, in perpetuity, a vigorous presence for poetry in our culture. The Ruth Lilly Poetry Prize honors a living U.S. poet whose lifetime accomplishments warrant extraordinary recognition. Established in 1986 by Ruth Lilly, the annual prize is sponsored and administered by the Poetry Foundation, publisher of Poetry magazine. Over the last twenty years, the Lilly prize has awarded over $1,000,000. Previous recipients of the Ruth Lilly Prize are Adrienne Rich, Philip Levine, Anthony Hecht, Mona Van Duyn, Hayden Carruth, David Wagoner, John Ashbery, Charles Wright, Donald Hall, A. R. Ammons, Gerald Stern, William Matthews, W. S. Merwin, Maxine Kumin, Carl Dennis, Yusef Komunyakaa, Lisel Mueller, Linda Pastan, Kay Ryan, and C.K. Williams. About the Poetry Foundation The Poetry Foundation, publisher of Poetry magazine and one of the largest literary organizations in the world, exists to discover and celebrate the best poetry and to place it before the largest possible audience. The Poetry Foundation seeks to be a leader in shaping a receptive climate for poetry by developing new audiences, creating new avenues for delivery, and encouraging new kinds of poetry through innovative literary prizes and programs. For more information, please visit PoetryFoundation.org. Founded in Chicago by Harriet Monroe in 1912, Poetry is the oldest monthly devoted to verse in the English-speaking world. Harriet Monroe's "Open Door" policy, set forth in Volume I of the magazine, remains the most succinct statement of Poetry's mission: to print the best poetry written today, in whatever style, genre, or approach. The magazine established its reputation early by publishing the first important poems of T. S. Eliot, Ezra Pound, Marianne Moore, Wallace Stevens, William Carlos Williams, Carl Sandburg, and other now-classic authors. In succeeding decades it has presented--often for the first time--works by virtually every significant poet of the 20th century. ========================================================================= Date: Tue, 18 Apr 2006 13:54:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Richard Wilbur Wins 2006 Lilly Prize In-Reply-To: <001101c66324$8744e6d0$6801a8c0@KASIA> MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit > In announcing the award, Wiman said: "If you had to put all your money > on > one living poet whose work will be read in a hundred years, Richard > Wilbur > would be a good bet. Oh, God, please, no. > > Dr. (hon) George Bowering Fewer and fewer matching socks. ========================================================================= Date: Tue, 18 Apr 2006 14:04:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Silvia Federici (06/04/25) & Mark Nowak (06/04/30) in Vancouver MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit [Notices forwarded from CounterCulture Series & Spartacus Books.] Public Lecture with Feminist Scholar and Activist Silvia Federici Witch-hunting and Violence Against Women in Capitalist Globalization April 25 7-9 pm SFU Harbour Centre (515 West Hastings) Room 1700 Against the background of the 16th and 17th-century witch-hunts, Federici examines why the rise of a capitalist world economy has required a war against women. She argues that the devaluation and subjugation of women is a structural feature of every phase of globalization, down to the present. Silvia Federici is a feminist scholar, teacher and activist. She has taught and lectured in many colleges and universities in Europe, Africa and North America and was until recently Prof. of Philosophy and International Studies New College of Hofstra University. She has written many books and articles on women's work and social struggle from "Wages Against Housework" (1974) to "Caliban and the Witch: Women, the Body and Primitive Accumulation" (2004). She is presently a coordinator of the Committee for Academic Freedom in Africa and a former coordinator of the Radical Philosophy Association's Anti-Death Penalty Project. *Free and Open to the Public* Supporters: SFU School of Communication CounterCulture Series, SFU Communication Graduate Students Union, BC Federation of Labour, Women's Committee, CUPE BC, Federation of Post Secondary Educators, BCGEU, CUPE Local 389, CUPE Metro Council. WISH Drop-In, PEERS, PACE, Pacific Centre for Alternative Journalism. *** The Kootenay School of Writing is pleased to present a poetry reading by Mark Nowak at Spartacus Books on Sunday 30 April 2006, 7 p.m. sharp. (319 West Hastings) MARK NOWAK is a radical poet out of St. Paul, Minnesota, who does multidisciplinary work in anthropology, poetry and poetics, cultural studies, and photography. His two poetry books are "Revenants" (2000) and "Shut Up Shut Down" (2004), both published by Coffee House Press. His innovative documentary poems demarcate stresses of race and class, and constitute a working-class literature that focuses on the effects of deindustrialization and globalization. "Shut Up Shut Down" is a particularly sharp critique that engages with the ideology of globalization; contains a foreword by Amiri Baraka. Nowak is also the editor of the journal "Xcp: Cross-Cultural Poetics". He's also edited Theodore Enslin's "Then, and Now: Selected Poems 1943--1993" (National Poetry Foundation), and with Diane Glancy was co-editor for "Visit Teepee Town: Native Writings After the Detours" (Coffee House Press). He currently works as an Associate Professor of Humanities at the College of St. Catherine in Minneapolis, where he teaches creative writing, folklore, and documentary studies. This event is open to the public; admission by donation on a sliding scale of $3--$5. http://www.spartacusbooks.org ========================================================================= Date: Tue, 18 Apr 2006 14:28:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: New on "PFS Post" & "Stoning the Devil" Comments: To: "js@johnsiddique.co.uk" , perelman@english.upenn.edu, a.waldman@mindspring.com, jeffreyethan@att.net, edie@ediesedgwick.biz, samwallack@hotmail.com, "derek@theadamsresidence.co.uk" , peter@greatworks.org.uk, val@writtenpicture.co.uk, meharju@yahoo.com, marywgraham@yahoo.com, mountaingirl523@hotmail.com, cdeniord@nec.edu, lse664@aol.com, "cordite@cordite.org.au" , tdevaney@writing.upenn.edu MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello all. New on PFS Post (www.artrecess.blogspot.com)- work from Cordite editor David Prater, Mexico's Diana Magallon, Great Works editor Peter Philpott, and, straight from the USA, Kari Edwards, John M. Bennett, Jeff Harrison, & Francis Raven. Also. New on Stoning the Devil (www.adamfieled.blogspot.com)- Mark Rothko, Neil Young, David Bowie, David Byrne, Bruce Nauman, Andy Warhol, politics-in-poetry, Eric Clapton, Allen Ginsberg, Gregory Corso, Edna Millay, Gertrude Stein & Stevie Nicks. A motley crew, to be sure. See ya there! Loves, Adam Fieled afieled@yahoo.com --------------------------------- Blab-away for as little as 1¢/min. Make PC-to-Phone Calls using Yahoo! Messenger with Voice. ========================================================================= Date: Tue, 18 Apr 2006 17:52:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Benjamin Basan Subject: The Iowa Review Web - April 2006 'Sound Issue' Mime-Version: 1.0 (Apple Message framework v749.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed The Iowa Review Web - April 2006 'Sound Issue' 4.15.2006 A journal of New Media and experimental writing and art, The Iowa Review Web is published at the University of Iowa with support from the Graduate College and the Department of English, and the School of Journalism and Mass Communication at the University of Minnesota. www.uiowa.edu/~iareview/mainpages/tirwebhome.htm ____________________________ ____________________________ Sound in the Arts Edited by Ben Basan Writing: Editor's Introduction Ben Basan * Sound Art, Sound, Music Douglas Kahn * Speaking Volumes Brandon LaBelle Gallery: Firebirds | Firebirds Berlin | Tongues of Fire Paul DeMarinis * A Brief Lecture on Authority Alexis Baghat * Harvester Ed Osborn * Honi | Tacotsubo ADACHI Tomomi ____________________________ Next Issue: Guest edited by: Scott Rettberg Featuring interviews and work from: Nick Montfort Shelly Jackson Jane McGonigal Brenda Harger with Andrew Stern & Michael Mateas ____________________________ Future Issues: Keep an eye out for a number of guest edited issues from Jon Winet, Stuart Moulthrop, Stephanie Strickland & Marjorie C. Luesebrink, Rita Raley, and Talan Memmott The Iowa Review Web www.uiowa.edu/~iareview/mainpages/tirwebhome.htm Benjamin Basan Associate Editor The Iowa Review Web http://www.uiowa.edu/~iareview/mainpages/tirwebhome.htm ========================================================================= Date: Wed, 19 Apr 2006 07:06:40 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Marcacci Subject: Re: NYTBR, Poetry Wars In-Reply-To: <20060417.122455.-25001.6.skyplums@juno.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit steved i cut you lose i'm so- meone -- Bob Marcacci I stayed up all night playing poker with tarot cards. I got a full house and four people died. - Steven Wright > From: Steve Dalachinksy > Reply-To: UB Poetics discussion group > Date: Mon, 17 Apr 2006 12:19:33 -0400 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: NYTBR, Poetry Wars > > and no one > seems to be cuttin me lose ========================================================================= Date: Tue, 18 Apr 2006 17:03:11 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: Richard Wilbur Wins 2006 Lilly Prize In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Would that be the Lilly-White or the Lilly-Livered award? From: Haas Bianchi Reply-To: UB Poetics discussion group To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Richard Wilbur Wins 2006 Lilly Prize Date: Tue, 18 Apr 2006 15:43:35 -0500 I want to vomit... Richard Wilbur? Kay Ryan? Who's next Dana Gioia? -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of C Daly Sent: Tuesday, April 18, 2006 3:13 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Richard Wilbur Wins 2006 Lilly Prize RICHARD WILBUR WINS 2006 LILLY PRIZE $100,000 Award One of Largest to Poets Chicago -- Poet and translator Richard Wilbur has won the 2006 Ruth Lilly Poetry Prize. Established in 1986, the prize is one of the most prestigious given to American poets, and at $100,000 it is one of the nation's largest literary honors. Christian Wiman, editor of Poetry magazine and chair of the selection committee, made the announcement today. The prize will be presented at an evening ceremony at the Arts Club in Chicago on May 25th. In announcing the award, Wiman said: "If you had to put all your money on one living poet whose work will be read in a hundred years, Richard Wilbur would be a good bet. He has written some of the most memorable poems of our time, and his achievement rivals that of great American poets like Robert Frost and Elizabeth Bishop." Richard Wilbur has published over two-dozen poems in Poetry since his first appearance in the magazine in February 1948. Wilbur has served as Poet Laureate of the United States and his many other honors include two Pulitzer Prizes, the National Book Award, and the Bollingen Translation Prize. He lives with his wife, Charlotte, in Cummington, Massachusetts. Born in New York City on March 1, 1921, Wilbur grew up on a New Jersey farm, was educated at Amherst and Harvard, and served with the 36th Infantry Division. He was a member of the prestigious Harvard Fellows and taught there until 1954, when he moved to Wellesley and then to Wesleyan University. From Wesleyan he went to Smith as writer-in-residence. In 1987 he was named the second Poet Laureate of the U.S., following Robert Penn Warren. "No contemporary poet has brought so much lived experience into such formally perfect poems as Richard Wilbur. Entering a Wilbur poem is a deeply civil and civilizing experience, from which we emerge better human beings," said John Barr, president of the Poetry Foundation. "The Poetry Foundation is pleased to represent Ruth Lilly, once again, in giving this major award to a poet as extraordinary as Wilbur." Wilbur began to write poetry in earnest only after experiencing the horrific chaos of battle during WW II service as an infantryman in Italy. No poet of his generation has been more committed to careful, organized expression or has more thoroughly mastered the forms and devices of traditional poetry; this conservative aesthetic and his deep love for "country things" link Wilbur to the Roman poet Horace and to his fellow American Robert Frost. He has also produced sparkling, witty translations of classic French drama and several books for children. Wilbur's books of poetry include New and Collected Poems (1988), which won the Pulitzer Prize; The Mind-Reader: New Poems (1976); Walking to Sleep: New Poems and Translations (1969); Advice to a Prophet and Other Poems (1961); Things of This World (1956), for which he received the Pulitzer Prize and the National Book Award; Ceremony and Other Poems (1950); and The Beautiful Changes and Other Poems (1947). Richard Wilbur's Collected Poems 1943-2004 was published in 2004. Judges for the 2006 prize were poets Linda Gregerson, Don Paterson, and Christian Wiman. "A Barred Owl" by Richard Wilbur The warping night-air having brought the boom Of an owl's voice into her darkened room, We tell the wakened child that all she heard Was an odd question from a forest bird, Asking of us, if rightly listened to, "Who cooks for you?" and then "Who cooks for you?" Words, which can make our terrors bravely clear, Can also thus domesticate a fear, And send a small child back to sleep at night Not listening for the sound of stealthy flight Or dreaming of some small thing in a claw Borne up to some dark branch and eaten raw. >From Mayflies: New Poems and Translations. (c) 2000 by Richard Wilbur. >Reprinted by permission of Harcourt, Inc. *** About the Ruth Lilly Poetry Prize American poetry has no greater friend than Ruth Lilly. Over many years and in many ways, it has been blessed by her personal generosity. In 1985 she endowed the Ruth Lilly Professorship in Poetry at Indiana University. In 1989 she created two Ruth Lilly Poetry Fellowships, for $15,000 each, given annually by the Poetry Foundation to undergraduate or graduate students selected through a national competition. In 2002 her lifetime engagement with poetry culminated in a magnificent bequest that will enable the Poetry Foundation to promote, in perpetuity, a vigorous presence for poetry in our culture. The Ruth Lilly Poetry Prize honors a living U.S. poet whose lifetime accomplishments warrant extraordinary recognition. Established in 1986 by Ruth Lilly, the annual prize is sponsored and administered by the Poetry Foundation, publisher of Poetry magazine. Over the last twenty years, the Lilly prize has awarded over $1,000,000. Previous recipients of the Ruth Lilly Prize are Adrienne Rich, Philip Levine, Anthony Hecht, Mona Van Duyn, Hayden Carruth, David Wagoner, John Ashbery, Charles Wright, Donald Hall, A. R. Ammons, Gerald Stern, William Matthews, W. S. Merwin, Maxine Kumin, Carl Dennis, Yusef Komunyakaa, Lisel Mueller, Linda Pastan, Kay Ryan, and C.K. Williams. About the Poetry Foundation The Poetry Foundation, publisher of Poetry magazine and one of the largest literary organizations in the world, exists to discover and celebrate the best poetry and to place it before the largest possible audience. The Poetry Foundation seeks to be a leader in shaping a receptive climate for poetry by developing new audiences, creating new avenues for delivery, and encouraging new kinds of poetry through innovative literary prizes and programs. For more information, please visit PoetryFoundation.org. Founded in Chicago by Harriet Monroe in 1912, Poetry is the oldest monthly devoted to verse in the English-speaking world. Harriet Monroe's "Open Door" policy, set forth in Volume I of the magazine, remains the most succinct statement of Poetry's mission: to print the best poetry written today, in whatever style, genre, or approach. The magazine established its reputation early by publishing the first important poems of T. S. Eliot, Ezra Pound, Marianne Moore, Wallace Stevens, William Carlos Williams, Carl Sandburg, and other now-classic authors. In succeeding decades it has presented--often for the first time--works by virtually every significant poet of the 20th century. ========================================================================= Date: Tue, 18 Apr 2006 18:27:36 -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=us-ascii Content-Transfer-Encoding: 7bit Beard of Bees is pleased to announce the publication of _Gazooly_ by Chicago-based poet Olivia Cronk. Perform the poems at your own risk... http://www.beardofbees.com/cronk.html Eric Elshtain Editor Beard of Bees Press http://www.beardofbees.com ========================================================================= Date: Wed, 19 Apr 2006 09:22:08 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Burke Subject: Re: "position is where you/put it"--b&n MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit My first book was called 'Let's Face the Music & Dance'. It ended up in the music section. Andrew http://hispirits.blogspot.com/ ----- Original Message ----- From: "Officer in Need of Assistance!" To: Sent: Tuesday, April 18, 2006 11:25 PM Subject: Re: "position is where you/put it"--b&n I've seen Anne Waldman's "Marriage: A Sentence" in the "Self Help/Family" section of a major bookstore. On 4/18/06, Pierre Joris wrote: > In London, years ago, I found William Burroughs' book of interviews > "The Job" in the DIY section of a major bookstore. -- Pierre > www.hyperhypo.org ========================================================================= Date: Tue, 18 Apr 2006 22:18:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Renee Ashley Subject: Re: "position is where you/put it"--b&n MIME-version: 1.0 Content-type: text/plain; format=flowed; charset=iso-8859-1; reply-type=original Content-transfer-encoding: 7bit Someone bought my first book, Salt, in the cooking section. And wrote me a nasty letter because it wasn't recipes. I swear. Renee > My first book was called 'Let's Face the Music & Dance'. It ended up in > the > music section. > > Andrew > http://hispirits.blogspot.com/ > ========================================================================= Date: Tue, 18 Apr 2006 21:42:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick LoLordo Subject: Re: Richard Wilbur Wins 2006 Lilly Prize In-Reply-To: <90F07578-CF1D-11DA-B4DF-000A95C34F08@sfu.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit ......Re: Pope is Catholic.....Re: Bears Shit in the Woods ---------- V. Nicholas LoLordo Assistant Professor University of Nevada-Las Vegas Department of English 4504 Maryland Parkway Las Vegas, NV 89154-5011 (702) 895-3623 ========================================================================= Date: Tue, 18 Apr 2006 21:50:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Like a king. Mime-Version: 1.0 (Apple Message framework v623) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Not the emperor? Tonikaku hayaku itte kudasai. Date: Mon, 17 Apr 2006 02:23:55 -0400 From: Steve Dalachinksy why when i can just go to japan and be treated well and eat like a king ========================================================================= Date: Tue, 18 Apr 2006 21:56:02 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: "position is where you/put it"--b&n In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit >>I could cajole Barnes & Noble stores into carrying my books >>by dong readings Could you clarify, I might try this-- Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Tue, 18 Apr 2006 22:44:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: "position is where you/put it"--b&n Comments: To: editor@pavementsaw.org In-Reply-To: <20060419045602.40657.qmail@web82213.mail.mud.yahoo.com> MIME-version: 1.0 (Apple Message framework v619) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit On 18-Apr-06, at 9:56 PM, David Baratier wrote: >>> I could cajole Barnes & Noble stores into carrying my books >>> by dong readings > > Could you clarify, I might try this-- > > Are dong readings anything like palm readings? > > > George H. Bowering ========================================================================= Date: Wed, 19 Apr 2006 02:27:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Re: The Poetry Reading/Momo's Press, etc MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; DelSp="Yes"; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Yes, this [The Poetry Reading: A Contemporary Compendium on Language & Performance, edited by Stephen Vincent and Ellen Zweig] is definitely *the* book to pair with Bernstein's Close Listening. (Adelaide Morris's Sound States is also good.) It's substantial (at 350 pp.) and wide-ranging, with sections on "Histories," "Oral Sources" (with an interesting piece from Stephen on Ogoja poetics), "Performance," "Video," "Disc & Cassette," "Sound" and "The Argument for the Page." The photo of Silliman in white pants reading Ketjak on the street behind a Mickey Mouse balloon is worth the price of admission alone. Selections are diachronic in a stimulating way (Thoreau rubbing shoulders with Antin) while there's a good contextualization and history of the period: in particular, Vincent's introductory essay, "Poetry Readings/ Reading Poetry: San Francisco Bay Area, 1958-1980," is informative and a real eye-opener. One gets a more lively picture of the Bay Area scene (especially during the seventies)--ecumenical, simmering with politics, and cross-arts traffic--than the one telescoped through the narratives of Beat, San Fran. Renaissance & "language" writing. Other histories, by Alta ("The First All-Women's Poetry Reading"), Thulani Nkabinde Davis ("Known Renegades: Recent Black/ Brown/ Yellow"), and Victor Hernandez Cruz ("Europuehsi") widen the picture considerably. But it isn't only Bay Area: there's a very illuminating short history, perhaps the first of its kind, of "The Circuit/ New York City Public Readings," by Harry Lewis. The section on sound poetry, with essays/notes by Amirkhanian, Morrow, McCaffery and Wendt offers a nice slice (especially Wendt's account of the 1978 Toronto Sound Poetry Festival), as does the section on page/ concrete poetry, with examples of printing by Butler, Johnston, Teter & Myers (we get the typographers' witty "Menu Appendix" from William Caxton by Zephyrus Image), and Ron Sukenik's piece "Against Reading." But the section on "Performance" may be the most lively part (with a sense that the "Happening" is still happening, for the editors), where it's interesting to come across someone as far from poetry nowadays as Oliveros. And, yes, co-editor Ellen Zweig's curious bit of ethnography, "Where is the Piece? An Account of a Talk by David Antin," is probably the best "reading" report I have ever read. It's got a funny chart of who was sitting where [it was an 80 Langton St. event] and a close analysis of the power play in the interactions between Antin and his audience, with special attention to gender issues. There's also a response from Antin. It would be nice to see the same kind of close attention informing the current/ recurring debate about readings on this list. Vincent and Zweig's The Poetry Reading is a valuable text I consult often (since it fell into my hands), and sometimes use for teaching. $25 might seem like a lot, but it's well worth it: snap it up! JS ========================================================================= Date: Wed, 19 Apr 2006 03:51:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Re: NYTBR, Poetry Wars In-Reply-To: <44CEBE64.350C527E.001942C5@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit There's an interesting party I went to in Harbin. Held for reason of marriage. Dad stands at the door while fellas in black suits deliver payolla, or grease for family relations, and some even refer to the Godfather. Now, this is very fuedalistic. But, Harbin's this strange mix of Russian, Japanese, Manchu, Mongol, Han and occasional expat (big fellas, from places called Darwin, white skin, pale, wearing b-ball jerseys numbered: "00" and, beer bellied drinkers). And the Manchu never bound their feet (and the people in the province are a beautiful mix of things, let me say) -- but anyway, it was what I might liken to a banquet of Orcs. In India, and seems to me I remember a case in the US during the nineties, extremely endangered wildlife is being hunted illegally by traders working for a Chinese-driven market with very different cultural values. Tigers, the parts easily found in Beijing and Dalian, are used in what is called TCM (and to a large extent, I would argue, is a far ce, which is not to say what I might about pharmaceutical companies and lobbyists-- but that's a different argument). Japanese! The food is refined, he said. And they have style. AJ AJ --- Good art however "immoral" is wholly a thing of virtue. Good art can NOT be immoral. By good art I mean art that bears true witness, I mean the art that is most precise. -- Ezra Pound --------------------------------- Yahoo! Messenger with Voice. PC-to-Phone calls for ridiculously low rates. ========================================================================= Date: Wed, 19 Apr 2006 03:56:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Re: NYTBR, Poetry Wars In-Reply-To: <20060419105110.64864.qmail@web54410.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit oh, and what is not used in TCM is eaten -- all of it -- turned into something and munched on. Quite complicated topic. Yes, rhino and monkey, and in "recent" times placenta. The mainland is not Hong Kong, Macau or the "other China" -- which has a larger population that Australia and many European, if not most, countries. Just threw it up! AJ --- Good art however "immoral" is wholly a thing of virtue. Good art can NOT be immoral. By good art I mean art that bears true witness, I mean the art that is most precise. -- Ezra Pound --------------------------------- Love cheap thrills? Enjoy PC-to-Phone calls to 30+ countries for just 2¢/min with Yahoo! Messenger with Voice. ========================================================================= Date: Wed, 19 Apr 2006 07:39:31 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joseph Madia Subject: New Mystics April Update Comments: To: joey@newmystics.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit New Mystics Literature and Art site (www.newmystics.com) is celebrating its 5th Anniversary with a new logo, new site design, and our largest offering of writers and artists ever. Visit the site for new works by Vernon Frazer, Ric Carfagna, Mark Sonnenfeld, Robert Pomerhn, Joey Madia, Nick Pendleton, Chuck Regan, Claudia Beechman, Tonya Madia, Al Carfagna, Ryan Smith, Joey Antonaccio, and Maria Boccuzzi. New Mystics is committed to exploring the possibilities in all realms of the visual, literary, and creative arts and bringing artists, writers, and actors together to create individual and collaborative pieces that celebrate our individuality as well as our connections to one another. In summer 2006 New Mystics will be taking open submissions for the first time. Details will follow with the May update. Joey Madia, Founder and Editor ========================================================================= Date: Wed, 19 Apr 2006 09:03:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian VanHeusen Subject: Re: Richard Wilbur Mime-Version: 1.0 Content-Type: text/plain; format=flowed Kind of reminds me of my high school textbooks in English (I believe I am the only one to have read the whole thing). When you got to modern poetry, anonymous poems of a similar vein popped out of the pages. Maybe the poem the article presented will live on forever with the Audubon Society... Peace, Ian ========================================================================= Date: Wed, 19 Apr 2006 10:54:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Clay Subject: NYC Book Party Mime-Version: 1.0 (Apple Message framework v733) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Ugly Duckling, Roof, Granary, The Figures, Portable Press at Yo-Yo Labs, United Artists, & Cuneiform Press invite you to a Party April 27, 2006, at Jack Shainman Gallery, 513 W. 20th St., New York City, from 5:30-7:30, celebrating the following books: JOIN THE PLANETS by Reed Bye ACROSS THE BIG MAP by Ruth Altmann THIS APRIL by Bill Kushner CONTINUITY GIRL by Chris Tysh COLUMNS AND CATALOGUES by Peter Schjeldahl CONCORDAT PROVISO ASCENDANT by Christopher Dewdney PRESENT TENSE by Stephen Ratcliffe DAY by Kenneth Goldsmith WHEN YOU AWAKE by Diane Ward [ANTI-ERATO] by Christina Strong CROSS-DRESSING IN THE ANTI-RENT WAR by Peter Lamborn Wilson CADASTRAL MAP by Jill Magi FROM NOW by Johanna Drucker MOONLIGHTING by Kyle Schlesinger THE AMPUTATED TOE by Gil Ott SLEEPY WITH DEMOCRACY by Gregg Biglieri DOINGS : ASSORTED PERFORMANCE PIECES 1955 =96 2002 by Jackson Mac Low THE PURIFICATION OF FAGUS SYLVATICA VAR PENDULA by Paul Etienne Lincoln COLLECTIVE MEMORY by Norma Cole TIME SAMPLES by Alison Knowles STRANGE ELEGIES by Mac Wellman PETROLEUM HAT by Drew Gardner CO by Bruce Andrews, with Rosenfeld, Grim, Freeman, Cole, & Morrison CHEERLEADER=92S GUIDE TO THE WORLD: COUNCIL BOOK by Stacy Doris DO NOT AWAKEN THEM WITH HAMMERS by Lidija Dimkovska SAING GHETTO OF THE LOANS by Gabriel Pomerand AFTER YOU, DEAREST LANGUAGE by Marisol Limon Martinez THE BEST OF MY LOVE by Aaron Kiely refreshments served ========================================================================= Date: Wed, 19 Apr 2006 11:01:00 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: new(ish) on rob's clever blog Content-transfer-encoding: 7BIT new(ish) on rob's clever blog -- Descant #132: The World of Barbara Gowdy -- festival notes, day one (or, what happens at festival stays at the festival) -- a. rawlings' Wide Slumber for Lepidopterists -- George Bowering's Baseball Love -- Ongoing notes: early April 2006 (Monty Reid's Sweetheart of Mine, BookThug; Rachel Rose's Notes on Arrival and Departure, McClelland & Stewart; BafterC, BookThug; the ixnay reader, volume two) -- Boiling down to stone: recent Don McKay -- Nicole Brossard's Fluid Arguments -- Deep in Dorn Country: stepping into the poetry of Ed Dorn -- Blue Metropolis, Jon Paul Fiorentino + just what happened in Glengarry County -- into last spring (poem) -- April is the cruelest month -- Ongoing notes: late March 2006 (Stephen Brockwell's Karikura, The Rideau Review Press; Jen Currin's The Sleep of Four Cities, Anvil Press; new chapbooks by Hot Whiskey Press; Eric Baus' The To Sound, Verse Press) etc. www.robmclennan.blogspot.com + some other new things at ottawa poetry newsletter, www.ottawapoetry.blogspot.com -- poet/editor/pub. ... ed. STANZAS mag & side/lines: a new canadian poetics (Insomniac)...pub., above/ground press ...coord.,SPAN-O + ottawa small press fair ...11th coll'n - name , an errant (Stride, UK) .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Wed, 19 Apr 2006 10:45:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: furniture_ press Subject: Jen Bartlett E-mail Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Anyone have? Cheers Christophe Casamassima Professor Emiritus, Modern Languages & Philology University of Jamaica Avenue, Queens, N.Y. --=20 ___________________________________________ Graffiti.net free e-mail @ www.graffiti.net Play 100s of games for FREE! http://games.graffiti.net/ Powered By Outblaze ========================================================================= Date: Tue, 18 Apr 2006 11:45:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dalachinksy Subject: Re: "position is where you/put it"--b&n MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit i read lot w/musicians most of my boks and cds always end up in the music / jazz bins ========================================================================= Date: Wed, 19 Apr 2006 12:33:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ward Tietz Subject: Adrienne Rich @ Georgetown U on Tuesday, May 2 Mime-Version: 1.0 (Apple Message framework v749.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed The Georgetown Poetry and Seminar Series Presents: Adrienne Rich Lannan Distinguished Reader 2005-2006 Poetry of a Difficult World Tuesday, May 2 Poetry Reading: 8 PM, ICC Auditorium "All of her life she has been in love with the hope of telling the utter truth," writes W.S. Merwin of Adrienne Rich. The author of more than 15 volumes of poetry as well as several collections of non- fiction prose, Rich has received a Lannan Lifetime Achievement award, the Bollingen Prize, the National Book Award, and a MacArthur Fellowship, among many other honors. For further information about the series or this event, contact Ward Tietz, Director, Lannan Poetry and Seminar Series, at eet4@georgetown.edu. For more information about the Lannan Literary Programs at Georgetown visit: http://lannan.georgetown.edu/index.htm The ICC Auditorium and ICC room 462 are in the red brick building located near the Georgetown University main gate at 37th and O Streets in Washington, DC. ----All events are free and open to the public. ========================================================================= Date: Wed, 19 Apr 2006 13:02:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Party April 28 MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Don't forget I'm hosting the monthly "Raise the Roof/Raise the Rent" party for April. The gathering will be on Friday, April 28, 6:30 pm on, at the Literary Center, 12200 Fairhill Road, Townhouse #3A. For directions, visit our website (www.pwlgc.com) Networking, good conversation, beer, wine, and snacks - donation requested of $5. It's always a good time, and it supports the Lit Center. Plan to attend! Thanks Marcus Bales 216/780-1522 ========================================================================= Date: Wed, 19 Apr 2006 10:58:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Eric R. Hoffman" Subject: New Chapbook MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Eric R. Hoffman lily_anselm@yahoo.com Threnody: a collection of poems by Eric Hoffman is now available. 32 pages, perfect bound. Send $10 ($8 +$2 shipping) via check, money order payable to Eric Hoffman, 22 Vincent Street, West Hartford, CT 06119. Also available from Lone Willow Press, Things Like This Happen All the Time. Lone Willow Press, PO Box 31647, Omaha, NE 68131, lonewillowpress@aol.com --------------------------------- How low will we go? Check out Yahoo! Messenger’s low PC-to-Phone call rates. ========================================================================= Date: Wed, 19 Apr 2006 13:58:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: 16 Poets Friday: Apps, Behrle, Boyer, Degentesh, Gordon, Highfill, Mesmer, etc. Mime-Version: 1.0 Content-Type: text/plain; format=flowed Flarf Marathon Reading & afterparty at Bar Nine Friday, April 21, 8:00 p.m. Medicine Show, 549 West 52nd Street, NYC. $8.00 (For tickets: 212-262-4216 and leave message. Tickets will also be available at the door.) Performances by: Stan Apps Jim Behrle Anne Boyer Jordan Davis Katie Degentesh Drew Gardner Nada Gordon Mitch Highfill Rodney Koeneke Michael Magee Sharon Mesmer K. Silem Mohammad Mel Nichols Tim Peterson Rod Smith Gary Sullivan After party at Bar Nine (53rd & 9th Avenue) to watch Jim Behrle in "Can't Get a Date" (midnight, and again at 1:30 a.m.) ABOUT THE FLARFLIST COLLECTIVE Launched in May of 2001 by six poets, the Flarflist Collective is dedicated to the exploration of “the inappropriate” in all of its guises. Poets mine the Internet with odd search terms then distill the results into often hilarious and sometimes disturbing poems, plays, and other texts. FLARF ONLINE The Flarf Files: http://epc.buffalo.edu/authors/bernstein/syllabi/readings/flarf.html Village Voice essay: http://www.villagevoice.com/news/0434,essay,56171,1.html Jacket Flarf Feature: http://jacketmagazine.com/30/index.shtml ========================================================================= Date: Wed, 19 Apr 2006 14:26:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: positon is where you/put it--b & n MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit David and George I used "dong readings" to pass myself off as a former male stripper, hoping that women who watch them in bars would attend my readings with great anticipation and buy my poetry books before they opened the cover. Naturally, I expected to make the NYT Best Seller list. Unfortunately, the success rate was exactly the same as if I had just been "doing readings" at the same bookstores and not making typos years after the readings had happened. Of course, you could consider the term as a special psychic technique for reading the future of males and set up shop. But you won't sell any books that way and might bring the morals squad crashing through your door. Vernon http://vernonfrazer.com ========================================================================= Date: Wed, 19 Apr 2006 14:39:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Haas Bianchi Subject: An offer to Debate Christian Wiman In-Reply-To: <20060419182652.ZXAN905.ibm69aec.bellsouth.net@vernon> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I ought to challenge Christian Wiman to a debate and drinking contest. After reading his quote on Richard Wilbur I was so insensed by the silliness but this is the same man who said that Phillip Larkin and Donald Justice are the neglected poets of recent times. God, I hope they remain so because they are so banal but that fits the magazine that once published Ezra Pound and now publishes blandness. Imagine, Wiman said: "If you had to put all your money on one living poet whose work will be read in a hundred years, Richard Wilbur would be a good bet." Oh really? Look at Wilbur's contemporaries and who he is dissing; Charles Olson Alice Notley Robert Duncan John Ashbury Robin Blaser Robert Creeley I would be willing to meet Wiman, mano a mano here in Chicago. I would relish it; meet me at Schaller's Pub (that is on the Southside of Chicago my dear Christian) the first shot is on me! Ray ========================================================================= Date: Wed, 19 Apr 2006 14:46:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: An offer to Debate Christian Wiman In-Reply-To: Mime-Version: 1.0 (Apple Message framework v746.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Ray, why stop at debate & drinking? I'd hope for a bit of arm wrestling. We all need to do things to shake up the poetry world, poetic terrorism even. ~mIEKAL On Apr 19, 2006, at 2:39 PM, Haas Bianchi wrote: > I ought to challenge Christian Wiman to a debate and drinking contest. > > Ray > There's many a bestseller that could have been prevented by a good teacher. --Flannery O'Connor ========================================================================= Date: Wed, 19 Apr 2006 15:04:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: New anthology features Nester, Swensen, Dennis, Schiff, Johnston, Young, and many others MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Poetry friends, The new Observable Books chapbook anthology is out, look: http://observable.org/ There's even some copy about it! No. 2 in the Observable series, Readings @ The Contemporary, 2004-2005, anthologizes shorter works from each of the poets who read last season: Carl Dennis, Julie Dill, Rodney Jones, Cole Swensen, Stephanie Young, Jocelyn Emerson, Roberto Harrison, Tom Hunley, Stephanie McKenzie, Daniel Nester, Kirby Olson, Stefene Russell, Robyn Schiff, Nick Twemlow, Aaron Belz, and Devin Johnston. 30 pages; $8. Now listen. I'm going to the post office later. I'd like to begin fulfilling orders on this gorgeous little anthology and so I'll offer something special. I'll send Plausible Worlds as well for the low low price of $12! Shipping included! I'll even send it now and you can pay later if you email me your address! HURRY UP PLEASE, IT'S TIME!! Aaron Belz ========================================================================= Date: Wed, 19 Apr 2006 16:41:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Snail mail addresses: Edwards, Howe, Downs, Selby, Schultz, & Olson. In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Could anyone who has the snail mail address of any of the following please back channel me? Thank you. Keri Edwards Susan Howe Buck Downs Susan Schultz Kirby Olson Spenser Selby ========================================================================= Date: Wed, 19 Apr 2006 22:00:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Reb Livingston Subject: Bedside Guide Release Party - NYC - April 22 Mime-Version: 1.0 (Apple Message framework v749.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed BEDSIDE GUIDE TO NO TELL MOTEL RELEASE PARTY -- Saturday, April 22 at 2 p.m. http://www.notellmotel.org/bedside The Frequency Series at the Four Faced Liar, 165 West 4th Street, NYC http://frequencyseries.blogspot.com/ featured readers: Anne Gorrick Amy King Laura Cronk Betsy Wheeler Anita Naegeli ========================================================================= Date: Wed, 19 Apr 2006 22:40:30 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Allen Conrad Subject: POETRY / POLITICS / PROXIMITY in Philadelphia MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Do you know your neighbors? What kinds of lives take place around you? What kinds of noises are there? Have things noticeably changed since Bush took office? Please join us at the Kelly Writers House on Thursday, April 27th at 7pm, when six writers will read commissioned work about the microclimate and micropolitics of their neighborhoods, within 100 meters. Featuring: *** CAConrad *** Jamie-Lee Josselyn *** Jenn McCreary *** ***Jena Osman *** Frank Sherlock ***John Taggart ** POETRY / POLITICS / PROXIMITY. Third Annual Kerry Sherin Wright program. Thursday, April 27th, 7pm. Hosted by Josh Schuster and Jessica Lowenthal ========================================================================= Date: Wed, 19 Apr 2006 20:03:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: POETRY / POLITICS / PROXIMITY in Philadelphia In-Reply-To: <3aa.ccc58f.31784e9e@aol.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Is there going to be a publication of/from these commissions? Sounds a great project - in a time of surveillance, out surveil the surveillers - truth over sleeze and rhetoric (or is that, also, pray tell, Fitzgerald about to nail Rove?) Anyway, pleases, let know the potential sights/sites for the new goods Listened to Ann Lauterbach at the SF Poetry Center yesterday afternoon. Quite, I thought, astonishing work - a structural imagination full of great twists and turns - without beeping and calling attention to itself - and, in the context of the time, much work that is implicitly political, particularly in the sense getting right in there at the attentions to surveillance, being - as we suspect - watched, or, worse yet, watch the perspective of the official citizen watcher - her eye, or the poem's eye, going from the shoulders on the observed hawk, to the shoulders on the soldier - but all kind of seamless, the way the language moves - a real music weaving through the poem's frames. Genuinely moving stuff within a lived aesthetic space, as, say, different from banging a predictable hammer. Stephen Vincent http://stephenvincent.net/blog/ Currently tending to Tenderly A serial work in progress. > Do you know your neighbors? What kinds of lives take place around you? > What kinds of noises are there? Have things noticeably changed since > Bush took office? > > Please join us at the Kelly Writers House on Thursday, April 27th at > 7pm, when six writers will read commissioned work about the > microclimate and micropolitics of their neighborhoods, within 100 > meters. Featuring: > > *** CAConrad *** Jamie-Lee Josselyn *** Jenn McCreary *** > > ***Jena Osman *** Frank Sherlock ***John Taggart ** > > POETRY / POLITICS / PROXIMITY. > Third Annual Kerry Sherin Wright program. > Thursday, April 27th, 7pm. > > Hosted by Josh Schuster and Jessica Lowenthal ========================================================================= Date: Thu, 20 Apr 2006 00:57:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JT Chan Subject: "descending poem" (new form) Comments: To: Women Poets MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit At the poetry forum, Capriole, we were told to invent a new form...i did and called the form, descending poem--poem of nine lines of free verse with three stanzas of four lines, three lines, and two lines, in that order. The first four lines of the poem must introduce the subject. The next three lines should show conflict or tension which is overturned or dissolved in the third stanza. The overall feel of the poem is one of surrender or letting go. I just wrote the following poem..i don't know if it's the best example, but just to illustrate...Anybody want to try it? ;) Thanks. Light we talk about things not worth mentioning how many there are how many senses to fill, to endanger the light falls across the kitchen floor regards Jill Chan http://navelorange.blogspot.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Thu, 20 Apr 2006 06:31:34 -0400 Reply-To: jamie@rockheals.com Sender: UB Poetics discussion group From: Jamie Gaughran-Perez Subject: New work from K. Silem Mohammad @ Rock Heals MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1; format=flowed Content-transfer-encoding: 7bit Been luvin' on KSM's work since HOVERCRAFT, and I'm betting you have, too. Three poems from him to check out at Rock Heals this week -- despite all efforts to ignore National Poetry Month. http://www.rockheals.com Other recent goodies: - Audio collage piece from Jon Lee - Conceptual-ish dance direction and script from Ric Royer - Cartoon violence (animations) from Ryan Nelson - and of course, much more Hope you dig. Hope you submit yr work in our direction. your huckleberry, jgp -- Jamie Gaughran-Perez www.rockheals.com ========================================================================= Date: Thu, 20 Apr 2006 07:18:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Burt Kimmelman Subject: Marsh Hawk Press Book Party and Reading in NYC MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Book Party and Reading to Launch the Spring Books from Marsh Hawk Press =20 What He Ought to Know: New and Selected Poems by Ed Foster The Good City by Sharon Olinka Under the Wanderer's Star by Sigman Byrd =20 Friday, April 21st at 7 PM Poets House 72 Spring Street, Manhattan =20 All are Welcome! ========================================================================= Date: Thu, 20 Apr 2006 07:21:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Danon Subject: Fw: apt sublet MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Dear list -- A friend is subletting an apt. Anyone interested? Please contact Ana Marton , info below. Ruth Danon ----- Original Message ----- From: "Ana Marton" To: Sent: Wednesday, April 19, 2006 10:59 PM Subject: apt sublet > hello ruth, > here is info reg apt sublet > location: 7th street between ave A & B facing tompkins > square park > rent : $1200.00 including utilities > time: june & july > people could e-mail or phone me 212-674 6820(what do > you think?) > thank you very much-will call in 2 weeks > ana > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > ========================================================================= Date: Thu, 20 Apr 2006 07:45:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: PTRS in NYC & DC MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline The Performance Thanatology Research Society presents... The Hystery of Heat @ the Ontogical-Hysteric Theatre April 28-30, and @ the DC Arts Center, May 7, 7pm. "The Hystery of Heat" is The Society's new performance lecture about heat, love, death, dance, hysteria and the dangers of rock and roll. Lead lecture= r Ric Royer will attempt to maintain a logical philosophical thread while under extreme heat duress and frequently bombarded by eerie and grating noises generated by sound reconstructionist G. Lucas Crane. The ing=E9nue o= f the group, Jackie Milad will try not to freak out about such issues as global warming, over population and our fast-paced hyperdigital age, and projectionist Bonnie Jones adds moment-to-moment meta-commentary via live power point presentation. Special appearances by Lauren Bender, Dan Breen and Chris Fritton. This piece is for anyone who has fears and/or believes they will someday die. The New York performances are part of the Ontological-Hysteric Theatre's Outside/Input performance series, curated by Daniel Nelson, and also featur= e work by Alec Duffy, D Underbelly, and Shannon Sindelar. for more info visit: http://www.ontological.com/ (go to schedule/tickets) For the performance at the D.C. Art Center, the evening will also include two performances by Laure Drogoul and some spooky short films. for more info visit: http://www.dcartscenter.org/ contact the Performance Thanatology Research Society at performancethanatology@gmail.com www.ricroyer.com/ptrs.htm life, love, death death death. PTRS kevin thurston masculine arbiter of phrases -- When hot fluid strikes hotter exhaust manifolds, the risk of fire is serious. But when hot fluid hits someone in the face, it can be even more severe. ========================================================================= Date: Thu, 20 Apr 2006 09:13:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: Buck Downs & CA Conrad tonight MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Buck Downs & CA Conrad :: Thursday April 20th, 7pm:: Big Orbit Gallery:: 33= d Essex * *Buffalo is in for a treat for the final installment of the Small Press Sub-series via Just Buffalo's Orbital series as Washington DC's Buck Downs and Philadelphia's CA Conrad come to town. Both poets are remarkable in their commitment to ethics and in their ability to convert their ethics int= o poems of beauty that retain their sense of humor to avoid being too heavy handed=97indeed, with the state of (poetry in) America, who wants to be lectured to? Buck Downs has virtually dropped out of the trade-publishing world after hi= s first book *Marijuana Soft Drink* published by Aerial/Edge books, which is = a bit strange as he himself publishes books under the eponymous Buck Downs Books. In a world wherein people can constantly 'opt-out' of receiving unsolicited marketing, Buck has managed to create a growing list of people who wish to 'opt-in'. In doing so, he has managed to dodge the back-door politics that often dominate who is published by whom when via a series of postcard poems and small booklets that simply arrive in the mailboxes of those who have asked Buck to receive his poems. Now, beyond the occasional time when an editor of a magazine solicits him, Buck is completely content with his decision. "I'm sure that my opinion gets read as some kind of sou= r grapes and/or blithering contrariness. But I would put it to anybody who writes poetry and is baffled or unhappy: stop sending poems to strangers wh= o edit magazines; make a list of the friends & fellow poets you want to share with; send those people your poems, & expect nothing. If the results you ge= t are half as gratifying as mine, you'll never go back." Buck is known to twist the traditional reading a bit, treating it more like a conversation with the audience, mixing poems and thoughts together into a stew that leaves people wanting more. Mike Basinski, head curator of the University at Buffalo's Poetry and Rare Books Library, has described Buck's reading in Buffalo as "an important event." Look forward to poems such as *pontiac fever* on Thursday: drive off the side of the driveway. high off the side of the highway. punch a walking set of quotation- marks to make the case complete only got jerked half off so much for an uncloudy day CA Conrad is committed to numerous political issues, most notably economic disparity and gay rights. His first collection of poems, *Deviant Propulsion* from Soft Skull Press, has Publishers' Weekly comparing him to Allen Ginsberg. Indeed, Conrad's poems have that sexy playfulness and the willingness to expose hypocrisy that leads through Ginsberg back to Walt Whitman with a bit of the New York Schools (Frank O'Hara and Ted Berrigan i= n particular) thrown in to keep it humorous. He has two books forthcoming, *T= he Frank Pomes* from Jargon Society and *advanced Elvis course* from Buck Down= s Books. These snippets are from the title poem of his forthcoming book: she won't drive down Bush Street because of the president not the genitalia "i want to rub my titties all over this city" she says "me too!" i say today's inner child a sexy old whore This reading may not fit everyone's politics, but it will get you engaged with the work and through that, with the world around you. If art is supposed to do something else, somebody let me know. -- When hot fluid strikes hotter exhaust manifolds, the risk of fire is serious. But when hot fluid hits someone in the face, it can be even more severe. ========================================================================= Date: Thu, 20 Apr 2006 08:49:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: Friday and Saturday at Woodland Pattern Mime-Version: 1.0 Content-Type: text/plain; format=flowed >From: Woodland Pattern >To: woodlandpattern@sbcglobal.net >Subject: Friday and Saturday at Woodland Pattern >Date: Wed, 19 Apr 2006 10:49:17 -0700 (PDT) > >==================================================================== >REDLETTER READING: KERRI SONNENBERG & BETH BRETL >==================================================================== > >Woodland Pattern Book Center presents: >Redletter series with Kerri Sonnenberg & Beth Bretl > >Friday, April 21, 2006, 7pm >Woodland Pattern Book Center >720 East Locust Street, Milwaukee > >$3 general admission / $2 open mic readers > > >April 21, 2006 - Kerri Sonnenberg and Beth Bretl > >Kerri Sonnenberg lives in Chicago where she directs the Discrete >Reading Series, presently at the SpareRoom, and which she co-founded >in 2003 with Jesse Seldess. She is the author of The Mudra (Litmus >Press, 2004) and Practical Art Criticism, a chapbook from Bronze >Skull Eights Press. New poems are forthcoming in Magazine Cypress >and Unpleasant Event Schedule. > >http://www.woodlandpattern.org/poems/kerri_sonnenberg01.shtml > > >Beth Bretl is a Ph.D. candidate in English at the University of >Wisconsin-Milwaukee, where she recently served as co-editor of >poetry for The Cream City Review. Her poetry and fiction have been >published or are forthcoming in Free Verse, North American Review, >Porcupine Literary Arts Magazine and Calyx. > >http://www.woodlandpattern.org/poems/beth_bretl01.shtml > > >Redletter is a reading series featuring local and regional poets and >writers on the third Friday of each month, and is curated by Chuck >Stebelton. The program begins at 7 p.m. with an open mic, followed >by two featured readers. The cost is $3, or $2 for open mic readers. > >http://www.woodlandpattern.org/gallery/redletter.shtml > > >==================================================================== >GEORGE BOWERING & AMMIEL ALCALAY READING >==================================================================== > >Woodland Pattern Book Center presents: > >George Bowering and Ammiel Alcalay > >Saturday, April 22, 2006 at 7:00 >Woodland Pattern Book Center >720 East Locust Street, Milwaukee > >$8 general / $6 members / $7 students and seniors > > >Saturday, April 22nd, 7:00 pm: George Bowering and Ammiel Alcalay > >George Bowering was born in Penticton, British Columbia, in 1935. >After serving as a photographer in the Royal Canadian Air Force, >Bowering attended the University of British Columbia. George >Bowering is a major Canadian literary figure and one of the most >prolific writers in the country with over 70 books published to >date. Two-time winner of the Governor General's Award, his most >recent collection of poetry, Changing on the Fly, is short-listed >for the Griffin Prize for Poetry. George Bowering approaches >literature as he does life: with a playful gravity and a grave >merriness that makes intellectual life and writing seem at once >attractive, unintimidating and remarkable. He dispels the myth of >literature being hard or tricky and demonstrates, as he reads and >chats, the accessible and enriching nature of great literature. His >appeal and great influence lie in his decision to work consistently >against the grain of dominant aesthetic conventions and >expectations. > >http://www.woodlandpattern.org/poems/george_bowering01.shtml > >http://en.wikipedia.org/wiki/George_Bowering > > > >Ammiel Alcalay is poet, translator, critic and scholar. His latest >work, from the warring factions (Beyond Baroque, 2002), is a book >length poem dedicated to the Bosnian town of Srebrenica. His other >books include After Jews and Arabs: Remaking Levantine Culture >(University of Minnesota Press, 1993), the cairo noteboooks (Singing >Horse Press, 1993), and Memories of Our Future: Selected Essays, >1982-1999 (City Lights, 1999). Current projects include >co-translation of a Hebrew novel, Outcast, by Shimon Ballas (City >Lights, 2006) and a collective translation of the Syrian poet Faraj >Bayraqdar (Beyond Baroque, 2006). A mixed critical poetic piece, >tentatively called Scrapmetal, is due out in the Fall of 2006 from >Factory School in the Heretical Texts series. An activist on many >domestic and international issues, he was one of the initiators of >the Poetry Is News Coalition, and he organized, with Mike Kelleher, >the OlsonNow project. > >http://www.woodlandpattern.org/poems/ammiel_alcalay01.shtml > >http://www.olsonnow.blogspot.com/ > > >==================================================================== >UPCOMING EVENTS >==================================================================== > >Friday, April 21: Redletter: Beth Bretl & Kerri Sonnenberg; 7:00 > >Saturday, April 22: George Bowering & Ammiel Alcalay; 7:00 > >Friday, April 28: Film: Bill Basquin's Range, a 16mm triptych; >7:00 > >Sunday, April 30: Alternating Currents Live; 7:00 > >Saturday, May 6: Mary Jo Salter & Susan Firer; 7:00 > >Friday, May 19: Redletter: Juliet Patterson & Angie Vasquez; >7:00 > >http://www.woodlandpattern.org/ > > >==================================================================== >IN THE GALLERY: TOM RAWORTH >==================================================================== > >Collage and prints from Tom Raworth's "Caller" series. > >http://www.woodlandpattern.org/gallery/exhibits.shtml > > >____________________________________________________________________ >To receive regular messages notifying you of Woodland Pattern >events, send a message to us at woodlandpattern@sbcglobal.net with >"Join E-List" in the subject line. > >To unsubscribe from these mailings send a reply with "unsubscribe" >in the subject line. > >PLEASE FORWARD! THANKS!!! > >http://www.woodlandpattern.org/ > >Woodland Pattern Book Center >720 E. Locust Street >Milwaukee, WI 53212 >phone 414.263.5001 _________________________________________________________________ Express yourself instantly with MSN Messenger! Download today - it's FREE! http://messenger.msn.click-url.com/go/onm00200471ave/direct/01/ ========================================================================= Date: Thu, 20 Apr 2006 11:40:54 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Hehir Subject: New Music and Poetry Series, St.John's MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT Springtime greetings to you all! There is a new series starting that will bring together an improvising musician and a poet to see what happens. The first one was about a month ago