========================================================================= Date: Wed, 28 Feb 2007 08:46:40 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nico Vassilakis Subject: Fick Thus, short vispo vids & a new book Mime-Version: 1.0 Content-Type: text/plain; format=flowed http://www.nokturno.org/index.php?poeetta=vassilakis Thanks to Marko J Niemi & from Otolith Press: Nico Vassilakis: DIPTYCHS 60 pages, full colour $15.00 webpage: http://www.lulu.com/content/670787 Introduction by Geof Huth ========================================================================= Date: Wed, 28 Feb 2007 09:40:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: UbuWeb Featured Resources, March: Selected by Caroline Bergvall MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit UbuWeb http://ubu.com UbuWeb Featured Resources: March 2007 Selected by Caroline Bergvall 1. Augusto de Campos' "Dias Dias Dias" spoken by Caetano Veloso 1979 (MP3) http://ubu.wfmu.org/sound/decampos_augusto/DeCampos-Augusto_Veloso-Caetano_Dias%20Dias%20Dias_1979.mp3 2. Robert Ashley, "In Sara Mencken, Christ and Beethoven There Were Men and Women" 1972 (MP3) http://ubu.wfmu.org/sound/ashley_robert/Ashley-Robert_In-Sara-Mencken.mp3 3. People Like Us, "The Sacred Erm" 2002 (MP3) http://mediamogul.seas.upenn.edu/pennsound/authors/People-Like-Us/Recyclopaedia_Britannica_%5B2002%5D/People-Like-Us_05-The-Sacred-Erm.mp3 4. Beth Anderson, "Ocean Motion Mildew Mind" 1979 (MP3) http://media.sas.upenn.edu/pennsound/authors/Anderson/Anderson-Beth_Ocean-Mildew-Mind.mp3 5. John Cage, "excerpt from Silence" 1969 (MP3) http://ubu.wfmu.org/sound/dial_a_poem_poets/disconnected/Disconnected_07_cage.mp3 6. Meredith Monk "Rally" 1977 (MP3) http://ubu.wfmu.org/sound/airwaves/Airwaves_06_MONK_RALLY.mp3 7. Miya Masakoa, "Ritual with Giant Hissing Madagascar Cockroaches" (excerpt) (MP3) http://media.sas.upenn.edu/pennsound/groups/ICA_Boston_2006/Music_Overheard/12_Masakoa_Ritual_ICABoston_2006.mp3 8. John Ashbery, "A Blessing in Disguise" 1966 (MP3) http://ubu.wfmu.org/sound/dial_a_poem_poets/corpse/Corpse_16_ashbery.mp3 9. On Kawara, "One Million Years" 1993 (MP3) http://ubu.wfmu.org/sound/kawara_on/Kawara-On_One-Million-Years.mp3 10. Roland Barthes, "Inaugural lecture at the Collège de France" 1977 (MP3) http://ubu.wfmu.org/sound/barthes_roland/Barthes-Roland_Lecon-inaugurale-au-College-de-France-7-Janvier-1977.mp3 Caroline Bergvall is a poet, performance writer and critic, loosely based in London. She works internationally and is involved in page-based as well as off-page and collaborative poetics. Latest book: FIG (Salt, 2005). Latest text-recordings: "Shorter Chaucer Tales" hosted at PennSound. She was the Director of Performance Writing, Dartington College of Arts (UK) and is currently co-Chair of Writing, Milton Avery School of the Arts, Bard College (NY). -- UbuWeb http://ubu.com ____________________________________________________________________________________ The fish are biting. Get more visitors on your site using Yahoo! Search Marketing. http://searchmarketing.yahoo.com/arp/sponsoredsearch_v2.php ========================================================================= Date: Wed, 28 Feb 2007 12:59:29 -0600 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: Re: Russell Edson - what school is he? In-Reply-To: <000f01c759d6$7a5ee020$8b2aa392@AARONLAPTOP> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Aaron, I'd say Edson belongs to a particular school in the way that Bill Knott, Emily Dickinson, William Bronk, Billie Holiday, Thelonious Monk & others like them belong to particular schools, which is to say I don't think they do. They're their own schools. They might be associated with other people or schools but their visions & particular expressions are singular and unique. Dan -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Aaron Belz Sent: Monday, February 26, 2007 12:47 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Russell Edson - what school is he? Hey Poetics - If you had to make a case that Russell Edson belongs to a particular school of American poetry, which one would it be? Language? NY School? My hunch is neither of those, so what do we call Edson's 'school'? Just wondering, Aaron ========================================================================= Date: Wed, 28 Feb 2007 15:15:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: laundrypoettry In-Reply-To: <8493a68c0702272126se0ff2fcwe6f845bfece8ebbd@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable everyone's fine everyone's awake everyone's irish on the seventainth o' marsh (speaking of, I will enjoy the lordly honor of staying at 5th & 54th the weekend of St. P's -- we hope to have front-row seats at the University Club for all the green-tinged mayhem -- anyone know of any pro-queer, counter- /anti- demos for that day in NYC?) Irie as what Declan gave the corned beef in Kingston, tl -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of clifford Sent: Tuesday, February 27, 2007 23:27 To: POETICS@LISTSERV.BUFFALO.EDU Subject: laundrypoettry Well laundrymats and "washing" hands etc. are interesting tropes, right? like dig them two washerwomen in finnegans wake yapping away on tHe metaphorical banks of the liffey. a couple years back i and 3 friends did a recording of select passageS of Fwake the laundryladies gossipaceously chattering and we did a few quick loops and popped a tape in the soUnd system at the local "buanderie" and lo, it was hardly noticed. but then again who hears or reads finnegans walke? it was fun. i figure no matter how ya cut the finnegans wake had to be written so irish ears can hear it. no matter how innovative or not the building they inhabit. or how forlorn. So it goes, eh? as old man Kurt Vonnegut , has it. ========================================================================= Date: Wed, 28 Feb 2007 16:50:31 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Recall: laundrypoettry MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Lewis, Tom (Cases/3d Party Content) (West) would like to recall the = message, "laundrypoettry". ========================================================================= Date: Wed, 28 Feb 2007 12:38:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Tobin Subject: Re: Russell Edson - what school is he? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I don't think he attended Black Mountain College (did he??), but he was published in the first issue of the Black Mountain Review. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Dr. Barry S. Alpert Sent: Tuesday, February 27, 2007 9:16 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Russell Edson - what school is he? No one has mentioned the school he attended, Black Mountain College. Barry Alpert _________________________________________________________________ The average US Credit Score is 675. The cost to see yours: $0 by Experian. http://www.freecreditreport.com/pm/default.aspx?sc=660600&bcd=EMAILFOOTERAVE RAGE ========================================================================= Date: Wed, 28 Feb 2007 12:55:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sandra de 1913 Subject: SIGHTINGS by Shin Yu Pai MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline 1913 Press is punchy to announce the arrival of its newest book SIGHTINGS by Shin Yu Pai a gathering of visual-poetic texts, from four distinct projects. "The physicality of the work and her stunning visual experimentations originate from the body. Shin Yu Pai uses charts, diagrams and non-literary forms of all sorts, to poetically gauge the complexities of race and gender. Sightings: Selected Works is a gorgeous and brilliant collection." --Denise Duhamel Each copy of the book has been individually altered by the artist. Please stop by the Small Press Distribution table at AWP to check it out! Sightings: Selected Works [2000-2005] $16 ISBN: 9780977935116 is available for purchase from: 1913 Press http://journal1913.org/sightings.html Small Press Distribution http://www.spdbooks.org/SearchResults.asp?AuthorTitle=sightings or order signed copies directly from the author http://shinyupai.com/ email: ShinYu.Pai@gmail.com "Sin Yu Pai's poems explode in a hundred urgent directions, with the incandescence of fireworks. Her book delves deep into modernist experiment, and draws back--not out of fear nor from a respect for convention--but only when the human imperative to communicate might otherwise be cut short. She is a young artist, of an age when a volume of 'selected poems' might seem egregious, but in this case it is fascinating to watch, in Sightings, the dyer's own hand judge, then set aside for us, the best of her amazing production." --Kevin Killian Rolando Murillo of Murillo Design was was recently honored with a Gold ADDY award for his design of the Sightings cover. Check out Murillo Design, Inc. at http://www.murillodesign.com "In Sightings, Shin Yu Pai skilfully brings together four different poetic approaches to draw attention to the language of the commonplace and innervate tensions in the social familiar. Her eye for detail incises the subterranean erotics of gymnasiums, mass transit, and grocery stores. She transports the reader into the fissures of somatic displacement that scar the surface of everyday life. In Sightings, Shin Yu Pai delivers a rare optic, one capable of uncanny reflection and conveying the immediacy of feeling." --David Michalski Review/exam copies are available directly from 1913 Press: editrice@journal1913.org or Shin Yu Pai: shinyu.pai@gmail.com "In Sightings, Shin Yu Pai disrupts voyeurism by an increasingly disruptive text. The dazzling effect of these dismembered texts, which range from an eye test to a play in verse composed from phrases from a Chinese-English phrase book, is akin to exquisite corpses, texts that are sexual, unconscious, and social hybrids that are not characteristic of culture, western society, or imperialism." --Leslie Scalapino Please check out 1913's other fine publications at AWP on the SPD table: SEISMOSIS the stunning collaboration between John Keene + Christopher Stackhouse http://journal1913.org/seismosis.html and 1913 a journal of forms issue 2 with works by John Yau, Biswamit Dwibedy, Fanny Howe, Josely Vianna Baptista, Susan Maxwell, Theodore Harris...and many many more! http://www.journal1913.org 1913 Press is still accepting entries for its ROZANOVA PRIZE through March 13, 2007: http://journal1913.org/prizes.html Thanks for your support of 1913 + a Happy AWP to all! http://journal1913.org/home.html http://www.1913press.org 1913 Press c/o Hollins University Box 9654 Roanoke, Virginia 24020 *to be removed from this email list, please reply to sender with "remove from list" in the subject. ========================================================================= Date: Wed, 28 Feb 2007 17:21:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: warehouse district Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed For a fair report on the arts warehouse issue in Tucson effecting Chax Press and several other artists and organizations: http://www.tucsonweekly.com/gbase/Currents/Content?oid=oid:93099 ========================================================================= Date: Wed, 28 Feb 2007 17:37:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Poetry and a Strange Revelation for this BAD speller In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Am sitting in the bathroom at the library. There are maybe 6 toliets, and that's including the roomier one for those who need more space. Each is full and entering I know this because of where the toliets are in relationship to the door and then everyone's feet. Well, clearly, and I learn this soon after hanging up my coat and bookbag, occupants are going poop and sounds, fart and poop sounds, start. I sit with my eyes closed, contemplating if it might be nicer having more privacy, dignified, and start to doze. Sleepy and, oh, all of a sudden I think of being underwater, the well-tiled bathroom filling with echoes, as if, nearly, swimming, an ocean pod, felt just like was listening to whales. agj --- ____________________________________________________________________________________ Never miss an email again! Yahoo! Toolbar alerts you the instant new Mail arrives. http://tools.search.yahoo.com/toolbar/features/mail/ ========================================================================= Date: Wed, 28 Feb 2007 18:32:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Nouveau de Blog Comments: cc: "Poetryetc provides a venue for a dialogue relating to poetry and poetics"@LISTSERV.BUFFALO.EDU, POETRYETC@JISCMAIL.AC.UK, UK POETRY Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit http://stephenvincent.net/blog/ Some Recent Mainly Photo-Text Street Works: Proust Among the Homeless Roman Typeface Versus Script Lawrence Weiner & My Mother Go to Hong Kong Winter Lantern - Magritte T-Shirt Without Vowels Homeless Blanket / Basketball Court Dreams As always, appreciate responses. Stephen Vincent http://stephenvincent.net/blog/ ========================================================================= Date: Wed, 28 Feb 2007 20:09:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nico Vassilakis Subject: SUbTExT/Seattle - RObert Fitterman & BRyant Mason 3/7/07 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Subtext continues its monthly series of experimental writing with readings by Rob Fitterman & Bryant Mason at Richard Hugo House on Wednesday, March 7, 2007. Donations for admission will be taken at the door on the evening of the performance. The reading starts at 7:30pm. Robert Fitterman is the author of nine books of poetry including: Metropolis XXX: The Decline and Fall of the Roman Empire (Edge Books), winner of the Small Press Traffic "Book of the Year Award" in 2003, and Metropolis 1-15 (Sun & Moon Press), which received the Sun & Moon "New American Poetry Award" in 2000. With novelist Rodrigo Rey Rosa, he co-authored the film What Sebastian Dreamt, a selection of the Sundance Film Festival (2004) and the Lincoln Center Latin Beat Festival (2004). A full-time faculty member in NYU's General Studies Program since 1993, he has also taught at Bard College, Bennington College, and St. Mark's Poetry Project. Bryant Mason writes code and lives in Seattle. He is a founding member of the Subtext Collective. In 2003, members of the collective performed his multi-voice collage of the work of Louis Zukofsky at the Beyond Text Festival in Los Angeles. Texts under his name have appeared in certain finer publications such as Talisman, Score, and Birddog. The future Subtext schedule is: Apr 4, 2007: Curtis Bonney and TBA May 2, 2007: Charles Alexander and Tim Risher Jun 6, 2007: Subtext Anniversary Reading - Details TBA For info on these & other Subtext events, see our website: http://www.speakeasy.org/~subtext OTHER EVENTS AROUND TOWN March 10, 2007: Local author Sarah Mangold (Bird Dog, Household Mechanics) will be reading with Philadelphia poet Sina Queyras (Lemon Hound) at the Elliott Bay Bookstore. The reading starts at 7:30pm. ========================================================================= Date: Thu, 1 Mar 2007 02:14:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Clay Banes Subject: Re: Russell Edson - what school is he? In-Reply-To: <000601c75b5f$35657210$2101a8c0@rose> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline did he? http://www.naropa.edu/notenoughnight/fall05/AnselmHollo_fa05.html http://garylehmann.blogspot.com/2005/11/weird-wacky-world-of-russell-edson.html On 2/28/07, Adam Tobin wrote: > I don't think he attended Black Mountain College (did he??), but he was > published in the first issue of the Black Mountain Review. > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Dr. Barry S. Alpert > Sent: Tuesday, February 27, 2007 9:16 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Russell Edson - what school is he? > > No one has mentioned the school he attended, Black Mountain College. > > Barry Alpert > > _________________________________________________________________ > The average US Credit Score is 675. The cost to see yours: $0 by Experian. > http://www.freecreditreport.com/pm/default.aspx?sc=660600&bcd=EMAILFOOTERAVE > RAGE > -- EYEBALL HATRED http://claytonbanes.blogspot.com/ ========================================================================= Date: Thu, 1 Mar 2007 07:29:30 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlie Rossiter Subject: poems poetc etc MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit I like the idea of NOT using this list as a showcase for poems, journal jottings etc... I DO appreciate announcements of calls for submissions, readings, other potentially useful info. Though I would appreciate it if folks would not assume we know what city they're in from the street address. Two things things this got me thinking about... 1. does our listmeister have a way of determining where list members actually are in the physical world? I'd be interested in knowing 2. I wonder what poetics issues people would like to discuss. There's no reason there couldn't be the question/issue of the week that could be discussed without banning other types of posts. Charlie -- "Poetry is good for you and so is the blues." Charlie said that. www.poetrypoetry.com where you hear poems read by poets who wrote them www.myspace.com/whiskeybucketbluesreview hear Charlie & Henry sing the blues www.myspace.com/charlierossiter hear Charlie as solo performance poet www.myspace.com/avantretro (hear avantretro poems) www.myspace.com/jackthe71special hear Jack's original blues, blues rock & roots ========================================================================= Date: Thu, 1 Mar 2007 08:07:17 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Halle Subject: Tim Yu on Seven Corners Comments: To: brandihoman@hotmail.com, eeelalala@hotmail.com, kerri@conundrumpoetry.com, peter.sommers@yahoo.com, Adam Fieled , Anne Waldman , Becky Hilliker , Bhisham Bherwani , "Biddinger, Mary" , Bill Garvey , Bob Archambeau , "Bowen, Kristy" , chard deNiord , Cheryl Keeler , Chris Goodrich , Craig Halle , Dan Pedersen , DAVID PAVELICH , Diana Collins , ela kotkowska , "f.lord@snhu.edu" , Garin Cycholl , Garrett Brown , Grant Haughton , Ira Sadoff , James DeFrain , Jay Rubin , Jeffrey Grybash , joel craig , John Matthias , JOHN TIPTON , Judith Vollmer , Jules Gibbs , Julianna McCarthy , "K. R." , Kate Doane , Kristin Prevallet , Larry Sawyer & Lina ramona Vitkauskas , "Lea C. Deschenes" , "lesliesysko@hotmail.com" , "Lina R. Vitkauskas" , Malia Hwang-Carlos , Margaret Doane , Marie U , Mark Tardi , MartinD , Michael OLeary , Michael Waters , "Odelius, Kristy L." , "pba1@surewest.net" , Randolph Healy , Ross Gay , Simone Muench , Timothy Yu , Truth Thomas , "White, Jackie" MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline *Tim Yu* is the featured poet this week on *Seven Corners* ( www.sevencornerspoetry.blogspot.com). Please take a minute to check out his excellent work. Other recent posts: Jackie K. White, Mary Biddinger, Adam Fieled Cheers, Steve Halle editor, *Seven Corners* www.sevencornerspoetry.blogspot.com www.stevehalle.blogspot.com ========================================================================= Date: Thu, 1 Mar 2007 15:52:19 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Hamilton Stone Review, Issue 11, Winter 2007, Now Online! Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed ********************************************************** Hamilton Stone Review, Issue 11, Winter 2007, Now Online! Featuring nonfiction by Jim Murphy; fiction by Julie Compton, Marilyn Coffey, Suzanne McConnell, Harold Klapper, and Sybil Kollar; and poetry by Maxianne Berger, Roger Day, Andrew Burke, Sally Van Doren, James Davies, Simon Perchik, Mary Rising Higgins, Rodney Nelson, Elizabeth Kate Switaj, Jason Wilkinson, Michael Young, R. L. Swihart, Maurice Oliver, and Chanming Yuan. http://www.hamiltonstone.org/hsr11.html ------------------------------------------------------------------------ --------------- Submissions to the Hamilton Stone Review Hamilton Stone Review invites submissions of both poetry and fiction for Issue #12, which will be out in June 2007. Poetry submissions should go, only by email, directly to Halvard Johnson at halvard@earthlink.net. Send fiction submissions to Lynda Schor at lynda.schor@gmail.com. ------------------------------------------------------------------------ ------------ Hamilton Stone Review is produced by Hamilton Stone Editions http://www.hamiltonstone.org/ PLEASE SEND THIS ALONG TO OTHERS ********************************************************** ========================================================================= Date: Thu, 1 Mar 2007 13:19:23 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: Re: laundrypoettry In-Reply-To: <8493a68c0702272126se0ff2fcwe6f845bfece8ebbd@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit come to me baby. we write weather poetry. the woman we love she got 3 friends they all read finnegans wake. further we prefer lovelorn, tho someone else beats you to it, mhmm. clifford wrote: > Well laundrymats and "washing" hands etc. are interesting tropes, right? > like dig them two washerwomen in finnegans wake yapping away on tHe > metaphorical banks of the liffey. a couple years back i and 3 friends > did a > recording of select passageS of Fwake the laundryladies gossipaceously > chattering and we did a few quick loops and popped a tape in the soUnd > system at the local "buanderie" and lo, it was hardly noticed. but then > again who hears or reads finnegans walke? it was fun. > i figure no matter how ya cut the finnegans wake had to be written so > irish > ears can hear it. no matter how innovative or not the building they > inhabit. > or how forlorn. > So it goes, eh? as old man Kurt Vonnegut , has it. ========================================================================= Date: Thu, 1 Mar 2007 13:55:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: visual poets Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii It's alive. http://www.vispoets.com/ If it seems a little quiet in there, that's because you're not saying anything, yet. Consider this your invitation to do so. It's a gallery, it's a directory, it's a group of forums, it's an aggregator. It's able to grow organically as needs develop. Please spread the word as far and wide as you're willing and able. Features too numerous to list. Short version for those of you who haven't already clicked and started poking around on your own: --online gallery space for visual poets free, easy, automagical in many ways (teachers, looking for a good place to find a wide range of visual poetry?) --web-based discussion forums that support attachments Any special visual poetry interest not being served by their own forum can have one made for them very easily. Low-fi version available for those on dial-up who just really want the text and nothing else. --calendar of visual poetry events Currently one general calendar, but it's a trivial matter to add other calendars as needed. What do you want/need? --social networking bells and whistles Friends, mutual friends, private messaging, alerts when threads you're in are updated, you name it. Did you know yesterday was David-Baptiste Chirot's birthday? --RSS aggregation w/ community commenting Through the magic of modern technology, the board updates as RSS-enabled visual poetry related blogs are updated. If you think the visitors to vispoets.com would be interested in your RSS feed, say the word and we'll get it added. Yes, you have to register to make posts (but not to read them). Yes, the forums are moderated. Thank you to all the alpha and beta testers who've been bumping into things and trying to break things. Extra special thank you to Karl Kempton for impetus, Klaus Peter Dencker for guidance, and Marko Niemi for letting me sucker him into assisting with the admin responsibilities. Enjoy, Dan ========================================================================= Date: Thu, 1 Mar 2007 08:59:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: "Charles Bernstein and the Preponderance of the Avant-Garde" Comments: To: "toddswift@clara.co.uk" , "cmccabe@rfh.org.uk" , "cordite@cordite.org.au" , "js@johnsiddique.co.uk" , aduncan@pinko.org, rdupless@temple.edu, "derek@theadamsresidence.co.uk" , a.waldman@mindspring.com MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I think some of you might find this interesting: "Charles Bernstein..." http://www.adamfieled.blogspot.com "Sometimes I feel the need to move on..." http://www.artrecess.blogspot.com --------------------------------- Get your own web address. Have a HUGE year through Yahoo! Small Business. ========================================================================= Date: Thu, 1 Mar 2007 11:44:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Dr. Barry S. Alpert" Subject: Re: Russell Edson - what school is he? Mime-Version: 1.0 Content-Type: text/plain; format=flowed I spoke with Russell Edson at length about this matter years ago, and although the documentation of that occasion was burned beyond retrieval, I'm virtually certain he told me he did attend Black Mountain College. For how long is another matter. Without checking my run of the Black Mountain Review (currently in storage), I didn't want to state that Robert Creeley included Edson's work in that magazine, though my memory told me so. Finally, a publisher of many Black Mountain faculty and students, Jargon, also published a book by Edson. If you have to connect Russell Edson with a school, I'd argue that reconnecting him with Black Mountain College is both literally accurate and refreshing, and could potentially expand his present readership. Barry Alpert _________________________________________________________________ Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a month. Intro*Terms https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h27f6&disc=y&vers=743&s=4056&p=5117 ========================================================================= Date: Thu, 1 Mar 2007 15:59:12 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ian davidson Subject: Skald 24 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Skald 24 is now available. Featuring, in order of appearance: Jeff Hilson, Wendy Mulford, Matt Jarvis, jUSTIN kATKO, Anon, John Latta, Liz Kirby, Michael Haslam, Sarah Crangle, Ian Seed, Stephen Rodefer, Jacqueline Sousa, Eric Elshtain, Peter Hughes. Editors: Zoe Skoulding and Ian Davidson A5, 32pp of some of the best poetry around, for about £2.50 inc postage and packing. Subscribe for £4.00 for two issues, post free. Double it all up for Euros or Dollars. Hard to make it any cheaper. Buy now. Keep poetry on paper. Paypal can’t get past the Snowdonia range so send your money in cash or cheques to Skald at 6, Hill Street, Menai Bridge, Anglesey, Wales, LL59 5AG, UK. _________________________________________________________________ Get Messenger FREE on your Mobile https://livemessenger.mobile.uk.msn.com/ ========================================================================= Date: Thu, 1 Mar 2007 10:44:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: *NYC Tonight* Boog City presents Ecopoetics Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable please forward -------------------- Boog City Celebrates the Renegade Press Ecopoetics (Bowdoinham, Maine) Thurs. March 1, 6:00 p.m., free ACA Galleries 529 W.20th St., 5th Flr. NYC Event will be hosted by Ecopoetics editor Jonathan Skinner Featuring readings and music from Marcella Durand Robert Kocik Michelle Nagai Julie Patton Damian Weber Lila Zemborain And a new book from Robert Kocik There will be wine, cheese, and crackers, too. Curated and with an introduction by Boog City editor David Kirschenbaum ------ *Ecopoetics* http://www.ecopoetics.org Ecopoetics is an annual journal dedicated to exploring creative-critical edges between writing (with an emphasis on poetry) and ecology (the theory and praxis of deliberate earthlings). It is edited and designed by Jonathan Skinner, in Bowdoinham, Maine. The sixth issue will appear this spring. Fre= e pdfs of back issues can be downloaded at the above website. *Performer Bios* **Marcella Durand http://www.bigbridge.org/bigmdurand.htm Marcella Durand is the author of The Anatomy of Oil (Belladonna, 2005), Western Capital Rhapsodies (Faux Press, 2001), City of Ports (Situations, 1999), and Lapsus Linguae (Situations, 1995). She lives in the East Village= . **Robert Kocik http://www.arras.net/circulars/archives/000498.html Robert Kocik's works include AUKSO (Object, 1995) and Overcoming Fitness (Autonomedia, 2001). He founded the Bureau of Material Behaviors in 1996. I= n 1997 he began research in the Sore, Oversensitive, Insecure, and Subtle Sciences, discovering the logosome (key to the sexual transmissibility of artwork) and the prosopath (particulate unit in the relationship between prosody and disease). In 2001 he founded Poetry Outsource (missing social service responding to poets' lack of place in the culture). **Michelle Nagai http://www.treetheater.org/ Composer Michelle Nagai creates site-specific performances, installations, radio broadcasts, dances, and other interactions that address the human state in relationship to its setting. The American Composers Forum, Eyebeam= , Harvestworks, the Jerome and McKnight Foundations, Meet the Composer, and Rensselaer Polytechnic Institute have supported her work. **Julie Patton http://home.jps.net/~nada/patton.htm Julie Patton is a performance artist and writer. She is busy working on various community development/greenspace/sustainability projects under the rubric of Think Green! Her new chapbook Notes for Some (Nominally) Awake is forthcoming. Julie often takes to the road for various collaborative projects with Uri Caine, and is a fellow at Bates College's Green Horizons Project in Maine, where she collaborates with Jonathan Skinner. **Damian Weber http://housepress.org/weber.html Damian Weber, of the House Press collective, edits Source Material in Brooklyn. His latest CD is "It's Not Me & It's Not You & It's Not Dreamy." **Lila Zemborain=20 http://www.eluniversal.com/verbigracia/memoria/N142/creacion.htm Lila Zemborain is the author of Abrete s=E9samo debajo del agua, Usted, Guardianes del secreto, Malvas orqu=EDdeas del mar /Mauve-Sea Orchids (forthcoming from Belladonna Books), and Rasgado. She has authored the book-length essay Gabriela Mistral, Una mujer sin rostro. Lila is the director and editor of the Rebel Road Series, and the curator of the KJCC Poetry Series at New York University. ---- Directions: C/E to 23rd St., 1/9 to 18th St. Venue is bet. 10th and 11th avenues Next event: Thurs. April 12, Corollary Press (Philadelphia) -- 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, 1 Mar 2007 08:36:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crane's Bill Books Subject: Reminder: 31 Words MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable A reminder: April 1 deadline * CALL FOR SUBMISSIONS: Crane's Bill Books seeks writing on any subject and in any style for a = very spare anthology. Must be (1) prose, (2) untitled, and (3) exactly = thirty-one words. Multiple submissions okay. THIRTY-ONE will be published in 2007 as a small, inexpensive, desktop = artist's book. Payment will be in copies. Feel free to forward this = announcement to anyone you think might be interested. Thanks! J.A. Lee Crane's Bill Books * cranesbill@cybermesa.com www.torriblezone.com/cp2.html ========================================================================= Date: Thu, 1 Mar 2007 14:41:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher.Winks@QC.CUNY.EDU Subject: Fw: Vibrant Gray -- Call for submissions MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Vibrant Gray is a journal dedicated to the in-between. Whether it's in-between sex, politics, religion, or culture, we want the work that falls through the cracks. In a society that says that the world is black and white, this journal celebrates this world as gray. Email all submissions (fiction, nonfiction, and poetry) to editor@vibrantgray.com. Be sure to include the title of the piece and the genre in the subject line. ========================================================================= Date: Thu, 1 Mar 2007 17:41:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 3/5 - 3/7 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dear Ones of the Coming Spring, Please join us. Love, The Poetry Project Monday, March 5, 8:00 pm Open Reading sign-up at 7:45 Wednesday, March 7, 8:00 pm Carla Harryman & Anne Tardos Carla Harryman is known for her genre-disrupting prose, poetry, and performance. Her most recent books are the novel Gardener of Stars, Baby, and the special edition Tourjour l'epine est sous la rose translated by Martin Richet from There Never Was a Rose Without a Thorn. Books forthcomin= g in 2007 include a selection of conceptual essays, Adorno's Noise, from Essa= y Press and a poem, Open Box, to be published as a special edition by Belladonna Books. She is co-editor of Lust for Life: On the Writings of Kathy Acker (Verso, 2006) and a contributor to the multi-authored experimen= t in autobiography, The Grand Piano, a serial work that locates its project i= n the San Francisco Bay Area writing scene between 1975-1980. Anne Tardos is = a poet, composer and visual artist. She is the author of five books of multilingual poetry, and has lectured and performed her works widely in the United States and Europe. Her performance work, Among Men, was produced as = a radio play by (WDR) West German Radio. Examples of her visual texts were exhibited at the MOMA, New York; the Venice Biennale; Museo d'Arte Moderna, Bolzano; the New Museum, NY; and the Neuberger Museum of Art. Her latest CD is a recording of music by herself and Jackson Mac Low, performed at Roulette in 1999. Become a Poetry Project Member! http://poetryproject.com/membership.php Winter Calendar: http://www.poetryproject.com/calendar.php 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. If you=B9d like to be unsubscribed from this mailing list, please drop a line at info@poetryproject.com. ========================================================================= Date: Thu, 1 Mar 2007 17:16:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Fw: letter MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable William Witherup and Sterling Bunnell will be reading at Bird & Beckett Books & Records. 2788 Diamond St. at Chenery, San = Francisco, CA. (415) 586-3733. Monday, March 5th, 7 pm. Open Mike following. Admission free.=20 Thanks ========================================================================= Date: Thu, 1 Mar 2007 18:44:41 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Vibrant Gray -- Call for submissions In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit what about genres that are inbetween? On Mar 1, 2007, at 1:41 PM, Christopher.Winks@QC.CUNY.EDU wrote: > Vibrant Gray is a journal dedicated to the in-between. Whether it's > in-between sex, politics, religion, or culture, we want the work that > falls through the cracks. In a society that says that the world is > black and white, this journal celebrates this world as gray. > > Email all submissions (fiction, nonfiction, and poetry) to > editor@vibrantgray.com. Be sure to include the title of the piece and > the genre in the subject line. ========================================================================= Date: Thu, 1 Mar 2007 20:37:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: CREELEY and Experminetalism In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Am reminded of Pound's biped - and creeley's attention to 'sense'; ie, that poetry has a place, regardless of the antics to add something to both culture and the lives of people (so-called, said: everyday). agj p.s. And he was RIGHT! --- ____________________________________________________________________________________ Get your own web address. Have a HUGE year through Yahoo! Small Business. http://smallbusiness.yahoo.com/domains/?p=BESTDEAL ========================================================================= Date: Thu, 1 Mar 2007 23:21:22 -0600 Reply-To: Fluffy Singler Sender: UB Poetics discussion group From: Fluffy Singler Subject: Re: Poetry and a Strange Revelation for this BAD speller Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit At 3:00 every day it becomes interminably hot in the subatomic basement where I work. Lower level three. I make my way to the bathroom and sit on the toilet, pants and underwear all the way up as if I am at my desk and shake, try to keep my muscles from bursting out of my beige skin and I talk myself back down. I take off my shirt in the beige room within a beige room and lean against the toilet with a silver pipe for my spine. It is cold enough to hurt even though - because - my flesh is so warm. I put my head in my hands and fight the urge to get up and go back to my desk. From: Alexander Jorgensen Subject: Poetry and a Strange Revelation for this BAD speller Am sitting in the bathroom at the library. There are maybe 6 toliets, and that's including the roomier one for those who need more space. Each is full and entering I know this because of where the toliets are in relationship to the door and then everyone's feet. Well, clearly, and I learn this soon after hanging up my coat and bookbag, occupants are going poop and sounds, fart and poop sounds, start. I sit with my eyes closed, contemplating if it might be nicer having more privacy, dignified, and start to doze. Sleepy and, oh, all of a sudden I think of being underwater, the well-tiled bathroom filling with echoes, as if, nearly, swimming, an ocean pod, felt just like was listening to whales. agj ========================================================================= Date: Fri, 2 Mar 2007 14:41:05 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Congrats To Shin Yu Pai on Sightings! MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" It's a wonderful book! Jesse ========================================================================= Date: Fri, 2 Mar 2007 01:30:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: my sister's murder MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed my sister's murder you murdered my sister but i can get you off my sister can get you off afterwards you got off the bus you murdered my sister but i can put you off for a while afterwards she put you off the bus afterwards you were put off the scent of death look my sister gave up the ghost when she came for you you gave up you took up far too much of her time she took up sex to forget you now you get take-out whenever you can trying to forget you once took her out that night she gave out a bit of advice the car gave out when you fled the crime she screamed get out but you didn't leave she got out of your way when you came for her you put her out with the garbage and other stuff because she'd put out and you wouldn't take yes for an answer === ========================================================================= Date: Fri, 2 Mar 2007 03:30:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: Russell Edson & Black Mountain & a query re this query re "what school?" Mime-Version: 1.0 Content-Type: text/plain; format=flowed I'v always associated at back of mind Russell Edson with Black Mountain, not as being OF the Black Mountain School but having gone TO the School, at least for a little bit and having published while there in connection with the School. When managing the Yankees and then the Mets the former Dodger baseball player Casey Stengel was famous for adding "You could look it up" to journalists obviously entertained by his stories, yet taking them with a grain of salt. So look it up I did, and not in the precusros to MacMillan's Baseball Encylopedia of Casey's time, but in Martion Duberman's classic Black Mountain An Exploration in Community, as was sure that is where I had gotten the idea of Edson being connected with th School at some point. Sure enough, on page 387 of editon i have (the first; New York: Dutton, 1972) Duberman writes: Back in June 1951 the college had put together a publication based entirely on student and faculty work called The Bacak Mountain Review. Various people had shared the editorail work--M.C Richards, Joel Oppenheimer, Mary Fritton, Alex Kemeny, Hazel Larsen--and the contents had included Nick Cernovich's Noh play, Natasha Goldowski on "High Speed Computing Machines," poems by Russell Edson and Joel Oppenheimer, and a piece called "Father" by Fielding Dawson. Only theone issue ever appeared. A second got set in type, but there was simply no money for printing it. Whn Olson and Creeley decided to put out anew publication and to call it The Black Mountain review, they were apparently unaware of the 1951 effort (nor does Creeley make any mention of it in his preface to the 1969 reissue of the Review.) Duberman goes on to point out that the two journals had nothing in common other than Joel Oppenheimer's also appearing in the 1954-7 Olson-Creeley publication and Fielding Dawson's also repeating, but in the later version only with a single drawing, not by any writing. Duberman also points out that the 1951 publication was an official organ of the college, and so only space giving to faculty and students, whereas the 54-57 journal was open to and included writers who had never set foot at the college. (Denise Levertov, Larry Eigner, Paul Blackburn, Paul Carroll are the ones Duberman points out at this juncture.) So--Russell Edson went TO Black Mounatin and was published by the original official Black Mountain review, but is NOT considered a "Black Mountain School" poet as those among the ones chosen for publication by Olson-Creeley are, either by direct connection with the college and BMR in some way as well as by way of Don Allen's giving them this name in The New American Poetry. (Allen's grouping was based on both BMR and Origin, and of his ten BMS poets only six were directly connected with the college. ) In interviews with Edson, and in one a writer here on the list quoted him from, he does not see himself at all as part of any school, though apparently he has called himself "Little Mr Prose Poem" at times. Going by the work as well as his statements, Edson is an original, a unique writer not of any movement, school or style. One can say he is a "genre writer" in that he writes "prose poems," but that is about it. I think what is much more interesting are the ways Edson talks about fiction giving birth to poetry, that poetry is like silent movies, and that it has relationships among the conscious and unconscious experience--what he calls a "waking dream". Interestingly in one interview Edson speaks of the current situation of poetry as "dull"--as a number of other poet commentators have been of late, among them Amiri Baraka in the Decemeber 2006-January 2007 issue of the Poetry Project Newsletter ("Why is Most Poetry So Boring--Again?", which especially singles out academic and Language poetries.) Since this question was raised i have been wanting to ask Aaron Belz--what was the purpose of asking the qeustion? Is it a question that has a specific meaning or reason to you to ask? Or is it simply something to throw out to get the ball rolling so to speak, get something happening which is "of interest to poetics" when a few people asked why things were slow? Are you writing on Edson, or do you have any ideas of your own on the matter? What i mean is, I wondered what prompted this speciific question--what relevance it has as it is asked--does sticking Russel Edson in a particular box make his work any more salient? Important to you yourself in your sense of things? Enhance his value on the poetics market? Do you yourself desire or have an interested in there being a category for this writer? Russell Edson is always called "a hermit" or "reclusive" by those writing about/interviewing him, and he himself acknoweldges this aspect of his nature. I think by "reclusive" and "hermit" there is a sesne meant not only of a physical separtion from the "crowd," but also a literary sense of this, that the work stands apart from any grouping of schools, movements, categories. When a body of work and its author desire to be considered in themself, know themsleves to be so, separate from the standardizing impetus, why is there a counter desire to corral them, assert one's ability to "outsmart" or "outflank" the work and author and rein them in to a system? Mightn't this say more about the person with such an aim or desire than the work and author? Arent' there actually such works and beings of which and whom one may say they're "a true American original", that "they broke the mold when they made them?" And that that's a cause for celebration, inspiration and thanks--that there are such works and beings? (in the anthology Open Poetry Four Anthologies of Expanded Poems edited by Ronald Gross & George Quasha with Emmett Williams, John Robert Colombo and Walter Lowenfels, (New York: Simon & Schuster, 1973), Edson is included in the section called "Metapoetry: The Poetry of Changes" edited by George Quasha. This includes such poets as Helen Adams, David Antin, George Bowering . . . Jim Harrison, Michael Heller, Anselm Hollo, Halvard Johnson . . . MacLow, Niedecker, Oppen, Rochelle Owens, Nicanor Parra, Schwerner, Simic, George Stanley . . . Nathaniel Tran, Diane Wakoski, Eliot Weinberger, Louis Zukofsky among others. >From: "Dr. Barry S. Alpert" >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Russell Edson - what school is he? >Date: Thu, 1 Mar 2007 11:44:13 -0500 > >I spoke with Russell Edson at length about this matter years ago, and >although the documentation of that occasion was burned beyond retrieval, >I'm virtually certain he told me he did attend Black Mountain College. For >how long is another matter. Without checking my run of the Black Mountain >Review (currently in storage), I didn't want to state that Robert Creeley >included Edson's work in that magazine, though my memory told me so. >Finally, a publisher of many Black Mountain faculty and students, Jargon, >also published a book by Edson. If you have to connect Russell Edson with >a school, I'd argue that reconnecting him with Black Mountain College is >both literally accurate and refreshing, and could potentially expand his >present readership. Barry Alpert > >_________________________________________________________________ >Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a month. >Intro*Terms >https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h27f6&disc=y&vers=743&s=4056&p=5117 _________________________________________________________________ The average US Credit Score is 675. The cost to see yours: $0 by Experian. http://www.freecreditreport.com/pm/default.aspx?sc=660600&bcd=EMAILFOOTERAVERAGE ========================================================================= Date: Fri, 2 Mar 2007 12:10:04 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: "Charles Bernstein and the Preponderance of the Avant-Garde" In-Reply-To: <134938.90946.qm@web54513.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Bravo, Adam. Well said. But here's my doubt: How does one determine, in the present, what or who is avant-garde? It can't only be lack of official recognition, because lots of things lack recognition for lots of reasons, for instance that they are mediocre. Is it just a matter of proclaiming oneself avant-garde, and refusing to seek official forms of recognition? Or does it only become clear retrospectively, in which case your argument might circular: The avant-gardists are the artists who count because avant-garde is just our name for the artists who count. Actually, the whole topic reminds me in a very uncomfortable way of religious controversies over who gains salvation and how to know who they are. So never mind, forget I ever brought it up. Adam Fieled wrote: I think some of you might find this interesting: "Charles Bernstein..." http://www.adamfieled.blogspot.com "Sometimes I feel the need to move on..." http://www.artrecess.blogspot.com --------------------------------- Get your own web address. Have a HUGE year through Yahoo! Small Business. ========================================================================= Date: Thu, 1 Mar 2007 18:15:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dillon Westbrook Subject: Re: Events at the Poetry Project 3/5 - 3/7 In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable use|usage, an on-line journal of critical poetics, is seeking =20 submissions for its inaugural issue "Building Prospects". Deadline for submissions for the first issue is 4/30/07 (see =20 submission guidelines below) The journal offers poetry and essays on contemporary issues that =20 reach outside of literature. Our first issue, Building Prospects, =20 focuses on architecture and what Kojin Karatani called the =20 =93architectonic=94- the way in which architecture becomes a structure = of =20 thought for the culture that lives through and in it. Very many of us =20= spend the majority of our day in buildings, whether they are called =20 =93home=94 =93office=94 =93factory=94 or =93school=94, yet we rarely are = called upon =20 to reflect on their nature. Building Prospects looks both towards =20 this nature and towards the future of our interactions with =20 architecture. As such, we are paying particular attention to the idea =20= of green building, what it means and what its effect will be on the =20 rest of our consciousness. We are accepting poems touching on all or =20 any of these areas until we have met our quota. The essay =20 collaboration for this issue has already begun, but feel free to look =20= towards future collaboration on these topics: Sound Sorting Computer/Author Healthy Ideas We do poetry and we do criticism, but not criticism of poetry- that=92s =20= the next factory over. Our criticism is of =93the world=94, that scary =20= place we encounter when we leave the factory each night. Criticism is =20= a joint effort between our editor and reader volunteers. If you want =20 to help with our critique, read over the list of future topics, and =20 submit your resume of relevant experience for inclusion as a =20 collaborator. If you have ideas for future topics, feel free to =20 submit a proposal. Remember that we are trying to keep our topics =20 useful- we are trying to help!- so include some explanation of why an =20= essay on the topic you are proposing would be useful to our audience. We welcome, with open arms, poetry for our current topic, and will =20 select poems from up to 10 authors for each issue. We prefer fewer =20 authors with more poems, but are interested only in poems by those =20 authors that address our topic area. For each issue, we will publish =20 a set of topic hints and ephemera, in the hopes of steering you =20 aright (for this issue's topic guidelines, see above). There are no =20 style or genre guidelines for poetry submissions. The words =20 =93experimental=94 or =93avant-garde=94 will never appear outside of = scare =20 quotes in these guidelines. use|usage is most interested in poems =20 that do the work that needs doing in surprising or unlikely ways- =20 we=92d be equally surprised at a qualified villanelle as we would a =20 qualified google poem. use|usage will not discriminate against =20 applicants for reason of historical tradition or poetic orientation- =20 we are an equal-opportunity exploiter of resources. -Submissions should be e-mailed (not currently accepting print =20 submissions) to: use.usage@gmail.com -Please put only the following in the title line: building prospects =20 submission -If your submission is accepted, you will be contacted by e-mail - use|usage editor will keep the e-mail of anyone whose work is not =20 accepted and send out a courtesy notice to let you know that your =20 work was not accepted and that its submission rights are once again =20 free and clear. If you want further feedback as to the nature of the =20 decision, feel free to reply back to this e-mail. In general, =20 determinations will weigh relevance to theme most heavily, followed =20 by intellectual and aesthetic considerations. - use|usage is not interested in simultaneous or previously published =20= submissions (use|usage is slightly paranoid and too broke to afford a =20= lawyer). -Submissions preferred as word documents, though we will accept jpegs =20= or pdfs if you want to maintain your layout strictly. These will open =20= in the reader=92s default pdf application. Future issues may include =20 expanded media options. ========================================================================= Date: Thu, 1 Mar 2007 18:38:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dillon Westbrook Subject: woops- meant to retitle (use|usage) Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed call for submissions was not in response to Poetry Project. Just being lazy with opening new message, sorry for confusion. ========================================================================= Date: Thu, 1 Mar 2007 19:12:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lou Rowan Subject: Golden Handcuffs Review#8 now out Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Dear Colleagues, This issue, dedicated to Gilbert Sorrentino, includes chapters from his final novel; it features also a selection by Michael Rothenberg of work by Bay Area writers AND new poems from the Jack Spicer archive. The lineup: Mark Axelrod, Robin Blaser, David Bromige & Richard Denner, Bill Dorn, Paul Eluard, George Economou, Gloria Frym, Eckhard Gerdes, Peter Gizzi & Kevin Killian, Paul Griffiths, Katherine Hastings, Jack Hirschman, Bernard Hoepffner, Leslie Kaplan, Larry Kearney, Hank Lazer, Ron Loewinsohn, Douglas James Martin, David Matlin, Michael McClure, David Meltzer, Douglas Messerli, Thomas Meyer, Robert Mittenthal, Susan Smith Nash, Pat Nolan, Peter O'Leary, Toby Olson, Rochelle Owens, Michael Rothenberg, Lou Rowan, Judith Skillman, Christopher Sorrentino, Gilbert Sorrentino, Jack Spicer, James Tierney, Norman Weinstein, Dallas Wiebe, Jonathan Williams. $6.95 US, 8.95 Canada. Subscriptions $12/ annum at Golden Handcuffs Review, Box 20158, Seattle, WA98102. The website will include excerpts from the new issue soon. ========================================================================= Date: Fri, 2 Mar 2007 05:42:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Nelson Subject: Re: "Charles Bernstein and the Preponderance of the Avant-Garde" MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Animal Crackers! HA! I loved that. When discussing the avant-garde we must remember that it was originally a military term. In "The Transformative Vision", Jose Arguelles points out that the avant-garde is a "social institution peculiar to technological society, predicated on the progressivist notion that reality must always be updated...(it is) actually the purest reflection of a society neurotically trying to stay one step ahead of itself." In general, I agree with the tone set in Adam's Bernstein post, but find the dualistic nature of them (SoQ) vs. us (post-avant avant, etc.) limiting. peN Paul E. Nelson www.GlobalVoicesRadio.org www.SPLAB.org 908 I. St. N.E. #4 Slaughter, WA 98002 253.735.6328 or 888.735.6328 ----- Original Message ---- From: Barry Schwabsky To: POETICS@LISTSERV.BUFFALO.EDU Sent: Friday, March 2, 2007 4:10:04 AM Subject: Re: "Charles Bernstein and the Preponderance of the Avant-Garde" Bravo, Adam. Well said. But here's my doubt: How does one determine, in the present, what or who is avant-garde? It can't only be lack of official recognition, because lots of things lack recognition for lots of reasons, for instance that they are mediocre. Is it just a matter of proclaiming oneself avant-garde, and refusing to seek official forms of recognition? Or does it only become clear retrospectively, in which case your argument might circular: The avant-gardists are the artists who count because avant-garde is just our name for the artists who count. Actually, the whole topic reminds me in a very uncomfortable way of religious controversies over who gains salvation and how to know who they are. So never mind, forget I ever brought it up. Adam Fieled wrote: I think some of you might find this interesting: "Charles Bernstein..." http://www.adamfieled.blogspot.com "Sometimes I feel the need to move on..." http://www.artrecess.blogspot.com -- Paul E. Nelson Global Voices Radio http://www.globalvoicesradio.org www.splab.org 888.735.MEAT ========================================================================= Date: Fri, 2 Mar 2007 09:50:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Wilcox Subject: February Blogs on Poetry in Albany Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Check out my Blogs on poetry events during February in Albany (& NYC & Nyack, too): dwlcx.blogspot.com. DWx ========================================================================= Date: Fri, 2 Mar 2007 10:37:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: Vibrant Gray -- Call for submissions In-Reply-To: <3F7471C5-7DD7-4F15-ACB0-758FCBA8BCAF@mwt.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit Dear mIEKAL: I forwarded this posting at the request of the co-editor, but I imagine the folks at the journal would be more than happy to consider inbetween genres (and genders). Chris ----- Original Message ----- From: mIEKAL aND Date: Thursday, March 1, 2007 7:44 pm Subject: Re: Vibrant Gray -- Call for submissions > what about genres that are inbetween? > > On Mar 1, 2007, at 1:41 PM, Christopher.Winks@QC.CUNY.EDU wrote: > > > Vibrant Gray is a journal dedicated to the in-between. Whether it's > > in-between sex, politics, religion, or culture, we want the work > that> falls through the cracks. In a society that says that the > world is > > black and white, this journal celebrates this world as gray. > > > > Email all submissions (fiction, nonfiction, and poetry) to > > editor@vibrantgray.com. Be sure to include the title of the > piece and > > the genre in the subject line. > ========================================================================= Date: Fri, 2 Mar 2007 11:28:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: my sister's murder In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline As you know, my friends, water has no shape. Wa... Windows, windows. Rectangular. Squares. Oblong. Moths fly on my sister's chest. Like the prayer of two butterflies My sister's hands were white from the wash. Ciao, Murat On 3/2/07, Alan Sondheim wrote: > > my sister's murder > > you murdered my sister but i can get you off > my sister can get you off > afterwards you got off the bus > you murdered my sister but i can put you off for a while > afterwards she put you off the bus > afterwards you were put off the scent of death > look my sister gave up the ghost > when she came for you you gave up > you took up far too much of her time > she took up sex to forget you > now you get take-out whenever you can > trying to forget you once took her out > that night she gave out a bit of advice > the car gave out when you fled the crime > she screamed get out but you didn't leave > she got out of your way when you came for her > you put her out with the garbage and other stuff > because she'd put out and you wouldn't take > yes for an answer > > > === > ========================================================================= Date: Fri, 2 Mar 2007 07:22:43 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: Vibrant Gray -- Call for submissions In-Reply-To: <3F7471C5-7DD7-4F15-ACB0-758FCBA8BCAF@mwt.net> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT i love hearing ye all talking about inbetween, since that's what my dear friend poet mary tallmountain called herself and was. it's what i was originally going to write my dissertation about, being one myself. gabe On Thu, 1 Mar 2007, mIEKAL aND wrote: > what about genres that are inbetween? > > On Mar 1, 2007, at 1:41 PM, Christopher.Winks@QC.CUNY.EDU wrote: > > > Vibrant Gray is a journal dedicated to the in-between. Whether it's > > in-between sex, politics, religion, or culture, we want the work that > > falls through the cracks. In a society that says that the world is > > black and white, this journal celebrates this world as gray. > > > > Email all submissions (fiction, nonfiction, and poetry) to > > editor@vibrantgray.com. Be sure to include the title of the piece and > > the genre in the subject line. > ========================================================================= Date: Fri, 2 Mar 2007 12:10:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Open Text Reading Series #2: Marie Annharte Baker (Vancouver) MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit OPEN TEXT READING SERIES #2: MARIE ANNHARTE BAKER Sponsored by the Canada Council for the Arts & the Creative Writing Program at Capilano College http://capilanocreativewriting.blogspot.com The Spring 2007 OPEN TEXT series at Capilano College continues on Weds. March 7th, 2007 with a reading by Anishinabe poet, educator, and activist, Marie Annharte Baker. Cedar 148 @ 12:30 Capilano College 2055 Purcell Way North Vancouver Co-founder of the Regina Aboriginal Writers Group, Marie Annharte Baker is the author of several books, including Being on the Moon (Polestar, 1990), Coyote Columbus Cafe (Moonprint, 1994), Blueberry Canoe (New Star, 2001), and Exercises in Lip Pointing (New Star, 2003). She divides her time between Vancouver and Manitoba. yuppie begging bowl passerby please note us stuck on camera lens close up pray our your shell out fills latte foam bowl slow mo cash flow scene slow pan cut broke balance fixated roll plastic survivance level bank machine movie stake out treaty bowl number one fun filled topped up intrigue warranty less years but ears clear new diction air words cotton swab stuck syndrome block drumming manifesto step up to bowl number two white shiny to let us bowl real tight ass titan squirm condo minimum convenience bowling down alley strikes we're good check the gate missing heirs women split For info: Roger Farr rfarr@capcollege.bc.ca 604.986.1911 (2554) [Coming soon: Dorothy Trujillo Lusk, Anne Stone, Maxine Gadd] ========================================================================= Date: Fri, 2 Mar 2007 12:30:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: "The Way North" -2 Text-4 MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable http://web.pdx.edu/~pdx00282/North/North-2/text-4.htm -Joel ========================================================================= Date: Fri, 2 Mar 2007 15:21:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Warren Lloyd Subject: Re: "Charles Bernstein and the Preponderance of the Avant-Garde" In-Reply-To: <134938.90946.qm@web54513.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Adam, I agree with others so far in that I think the tone and questions that rise because of your post are important to keep oneself continually engaged with. In terms of the oppression that you doubt in your post-- I agree, perhaps no one is really oppressed, maybe that's too strong of a word. But, in the context that you bring up, I suppose some level of oppression can be equated with less readership, less opportunity, less understanding, by those invested in strategies that are less popular, more demanding, or as Bernstein might say, on the brink of impermeability. Bernstein's commitment to artifice, I think offers some resolution to the situation. His work has always been firmly committed to form, as experimental, abstract or inventive as it might be and there has been an equal commitment to its history. I think that you are right on by suggesting that so called post-avant poets empower OVC poets by their inverse relationship or "Negative Critique" of it, but of course that notion depends solely on it remaining re-active and negative which doesn't get anyone much of any where, or it rests on the notion of the self-proclaimed avant-garde status, which others have pointed out is as slippery to determine in present time as water in ones hands. I also agree with you completely when you say that once the 'humanity' of our supposed oppressors is recognized , designations like: OVC seemed forced etc.. but again, and I could be wrong, I think that forced designations of that nature also depend on a kind of "Negative Critique" ( in the Frankfort sense), which again, remains wholly re-active, rather than active. For me, Bernstein's work surpasses mere re-action-- it leaves glib complaint behind( even when it seems to be just glib). His work is celebratory and affirmative, if not clearly registered in content, always in song. Bernstein's relentless (re) assessment of language and form, his demand that poetry is not a structure of signifiers that stand in for something like the "real" and is rather a means to engage and actively include readers in the meaning making process, which in fact is not a comfortable exercise in cultural "freedom" but can be one of the most vital aspects of life( as Utopian as that might seem) Perhaps the battle is less with OVC and more with OLU or official language use, which of course in the language game of art can be the most reductive and limiting procedure. -- and of course "oppressive" for those trying to find new ways. Thanks so much for your post. It was refreshing and I think questions of this nature are as vital as Bernstein's verse. Thanks! Adam Fieled wrote: I think some of you might find this interesting: "Charles Bernstein..." http://www.adamfieled.blogspot.com "Sometimes I feel the need to move on..." http://www.artrecess.blogspot.com --------------------------------- Get your own web address. Have a HUGE year through Yahoo! Small Business. --------------------------------- Cheap Talk? Check out Yahoo! Messenger's low PC-to-Phone call rates. ========================================================================= Date: Fri, 2 Mar 2007 21:13:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Shad Marsh Subject: Russell Edson & Black Mountain & a query re this query re "what school?" In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Very well put. I for one am very much in favor of leaving the work of Mr. Edson in his charming boxless box. This is why I am draw to his work: The Bridge In his travels he comes to a bridge made entirely of bones. Before crossing he writes a letter to his mother: Dear mother, guess what? the ape accidentally bit off one of his hands while eating a banana. Just now I am at the foot of a bone bridge. I shall be crossing it shortly. I don't know if I shall find hills and valleys made of flesh on the other side, or simply constant night, villages of sleep. The ape is scolding me for not teaching him better. I am letting him wear my pith helmet for consolation. The bridge looks like one of those skeletal reconstructions of a huge dinosaur one sees in a museum. The ape is looking at the stump of his wrist and scolding me again. I offer him another banana and he gets very furious, as though I'd insulted him. Tomorrow we cross the bridge. I'll write to you from the other side if I can; if not, look for a sign . . . ____________________________________________________________________________________ We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. http://tv.yahoo.com/collections/265 ========================================================================= Date: Sat, 3 Mar 2007 03:25:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: New video work at Millennium, NYC, March 10th MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed (apologies for cross-posting) CREPUSCLE and WAREQUIEM, 2007 Alan Sondheim, Foofwa d'Imobilite, Azure Carter at Millennium Film 66 East 4th Street New York City Saturday March 10th at 8:00 Telephone 212-673-0090 for more information. "Since 1983 the amazingly prolific Alan Sondheim has appeared at Millenn- ium on a regular basis with substantial new works. This time the multi- talented media artist has come up with a highly erotic and controversial feature entitled CREPUSCLE (TWILIGHT) which stars the remarkable dancer, Foofwa d'Imobilite, along with Azure Carter and Alan Sondheim. The program will include several short pieces shot in Switzerland." (CREPUSCLE is a mutual production of the three of us. The program will most likely include one work, WAREQUIEM, shot in Second Life.) "CREPUSCLE (TWILIGHT) explores the exigencies of dance, eroticism, cultur- al constraint, and arousal; it was edited from over a dozen segments in Geneva. The work tenders the null-point of language, a point where words stutter, where the body takes over, stumbles, where cultural tropes are transformed and disappear. It's the deliberate recreation of repressed memories. It challenges the conventions of dance, turning dance inside- out, turning dance out. For the three of us, it's the culmination of an erotic element in our work that subtexts and disrupts the performative itself. CREPUSCLE rides the muscle of the body and jouissance, opening a territory which remains virtual, haunting." (A.S.) ========================================================================= Date: Sat, 3 Mar 2007 07:08:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Clements Subject: Forwarded from Russell Edson MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII I was briefly at Black Mt. College as a kind of retreat, but was gone by the time writers like Creeley arrived. I did publish a book, What a Man Can See, sometime later from Jonathan Williams' Jargon. By the time that book finally appeared I had already published a book with New Directions. The BMC Review was actually started by M.C. Richards before the appearance of the so- called school of Black Mt. Poets. This is probably not what the inquirers hoped for. I'm a terribly uninteresting person. My work is much more interesting. I'm rather a drag on anything I've managed to do. Be well, Russell Dr. Brian Clements, Coordinator MFA in Professional Writing 203-837-8876 _____ Dept. of Writing, Linguistics, and Creative Process Western Connecticut State University 181 White St. Danbury, CT 06810 _____ http://www.wcsu.edu/english/mfa ========================================================================= Date: Sat, 3 Mar 2007 07:21:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: CHAPBOOK RELEASE Comments: To: Poetryetc provides a venue for a dialogue relating to poetry and poetics Comments: cc: Britis-Irish List Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit CHAPBOOK RELEASE Anchorite Press is pleased to announce the release of a new collection of poems, MEDITATIONS ON THE STATIONS OF MANSOUR AL- HALLAJ, by Pierre Joris. Each handmade chapbook is 5.25 x 8.625 and features a Rives deckled cover and cotton wove endpaper. 21 special editions, signed and numbered by the author, are also available. Each stitched special edition features handmade endpaper. To peruse our archive of previous publications, or for ordering info, please visit our site: www.anchoritepress.blogspot.com. You can also contact us via email directly: anchorite.press@gmail.com. Sincerely, Christopher Rizzo, ed. Anchorite Press ========================================================================= Date: Sat, 3 Mar 2007 11:30:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jacqueline Gens Subject: Re: Forwarded from Russell Edson In-Reply-To: Mime-Version: 1.0 (Apple Message framework v624) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Brian-- Thanks for posting your message from Russell. I only met him a couple of times, the first at the Great River Arts Prose Poem conference, my colleague Chard deNiord and I coordinated with Peter Johnson. At that time, I was into their letterpress shop which Russell paid a visit to. I seem to recollect that he was very enthusiastic around this environment and said that he had self-published a number of artist books of his work early in his career. People who are unacquainted with his work can go online and read most everything and there should be some sound links as well. Hearing Russell read is indeed truly interesting. Best Wishes--Jacqueline Gens On Mar 3, 2007, at 7:08 AM, Brian Clements wrote: > I was briefly at Black Mt. College as a kind of > retreat, but was gone by the time writers like Creeley arrived. I did > publish a book, What a Man Can See, sometime later from Jonathan > Williams' Jargon. By the time that book finally appeared I had > already published a book with New Directions. The BMC Review was > actually started by M.C. Richards before the appearance of the so- > called school of Black Mt. Poets. > This is probably not what the inquirers hoped for. I'm a terribly > uninteresting person. My work is much more interesting. I'm rather a > drag on anything I've managed to do. > > Be well, > Russell > > > > > Dr. Brian Clements, Coordinator > MFA in Professional Writing > 203-837-8876 > _____ > Dept. of Writing, Linguistics, and Creative Process > Western Connecticut State University > 181 White St. > Danbury, CT 06810 > _____ > http://www.wcsu.edu/english/mfa > > ========================================================================= Date: Sat, 3 Mar 2007 22:27:29 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Ricejunk2@frontiernet.net" Subject: PUN In-Reply-To: <320293AD-DAB3-4538-BB76-6C3D36283B35@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; DelSp="Yes"; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Thanks, but no thanks... So turn those cranks in the mind to more angst, and give the poets more spanks than thanks... As usual, nothing they can take to the banks, for they are writers not think-tanks... Maybe too many crank and spank, but do not READ enough to thank. DEAR POETICS: A thanks goes out to all the truly interesting mumbo-jumbo that gets =20 discussed (posted) on UB POETICS. As many have said, the subject line =20 can say "read me" or "delete me", and it will continue to do so. A =20 discussion group is for discussion, yes, and for all the other little =20 "litterings" along the way. Thanks, T. F. Rice ---Happy to say I am =20 in-between Rochester and Buffalo, NY Quoting Halvard Johnson : > I'm finding I can also delete all the messages from > UB Poetics re messages to be posted. Lots more of > them nowadays. I'm wishing they'd include a poem > with each of those I get. > > Hal > > Today's Special > > Theory of Harmony > http://www.xpressed.org/fall04/theory1.pdf > > Halvard Johnson > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > halvard@gmail.com > halvard@earthlink.net > http://home.earthlink.net/~halvard > http://entropyandme.blogspot.com > http://imageswithoutwords.blogspot.com > http://www.hamiltonstone.org > > > > > On Feb 27, 2007, at 9:44 AM, Halvard Johnson wrote: > >> That's not far off from what all the announcements of >> publications, far-flung readings, etc. are saying. >> >> I've found I can delete poems I don't care to read just >> as quickly as I can delete announcements of poetry >> readings in, say, Fairbanks, Alaska. >> >> Hal >> >> "One barium enema is worth a year >> of psychoanalysis." >> =09=09--Dr. Robert Whitlock >> >> Halvard Johnson >> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >> halvard@gmail.com >> halvard@earthlink.net >> http://home.earthlink.net/~halvard >> http://entropyandme.blogspot.com >> http://imageswithoutwords.blogspot.com >> http://www.hamiltonstone.org >> >> On Feb 27, 2007, at 9:24 AM, Charlie Rossiter wrote: >> >>> I think the folks did a good job in the recent go-round about haiku of >>> posting poems in the interest of a discussion of poetics. I think what >>> many are saying, and I agree, is we don't want to getting posts of poems >>> that are posted for no other reason that to say "here's my great new poe= m, >>> please tell me I'm clever" or "notice me, notice me" etcetc... >>> >>> We could also say, if you want to post a poem for the purpose of >>> discussing poetics--post someone else's poem. >>> >>> Charlie >>> >>> >>> --=20 >>> "Poetry is good for you and so is the blues." >>> Charlie said that. >>> www.poetrypoetry.com >>> where you hear poems read by poets who wrote them >>> >>> www.myspace.com/whiskeybucketbluesreview >>> hear Charlie & Henry sing the blues >>> >>> www.myspace.com/charlierossiter >>> hear Charlie as solo performance poet >>> >>> www.myspace.com/avantretro (hear avantretro poems) >>> >>> www.myspace.com/jackthe71special >>> hear Jack's original blues, blues rock & roots ========================================================================= Date: Sat, 3 Mar 2007 23:04:47 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Ricejunk2@frontiernet.net" Subject: Re: Poems: to post or not to post In-Reply-To: <320293AD-DAB3-4538-BB76-6C3D36283B35@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; DelSp="Yes"; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Hal, I like your blog site Entropyandme Also I am very much interested in the idea of "poetry" reaching far =20 beyond the confines of words. Can other things be poetic? Simply =20 because they are? The way a plant dips down low as if to bow to the =20 passerby... A song without words played on a street-corner... The =20 wrinkly man on the bus who tilts his head just so and his eyes alone =20 speak volumes into your soul... Oh, that's right, these are the "guts" of good poems... Life and art =20 are something in themselves no matter what form their composition... Free speech should be enjoyed while it lasts, in those avenues where =20 it is appreciated. :-) Cheers! TFRice Quoting Halvard Johnson : > I'm finding I can also delete all the messages from > UB Poetics re messages to be posted. Lots more of > them nowadays. I'm wishing they'd include a poem > with each of those I get. > > Hal > > Today's Special > > Theory of Harmony > http://www.xpressed.org/fall04/theory1.pdf > > Halvard Johnson > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > halvard@gmail.com > halvard@earthlink.net > http://home.earthlink.net/~halvard > http://entropyandme.blogspot.com > http://imageswithoutwords.blogspot.com > http://www.hamiltonstone.org > > > > > On Feb 27, 2007, at 9:44 AM, Halvard Johnson wrote: > >> That's not far off from what all the announcements of >> publications, far-flung readings, etc. are saying. >> >> I've found I can delete poems I don't care to read just >> as quickly as I can delete announcements of poetry >> readings in, say, Fairbanks, Alaska. >> >> Hal >> >> "One barium enema is worth a year >> of psychoanalysis." >> =09=09--Dr. Robert Whitlock >> >> Halvard Johnson >> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D >> halvard@gmail.com >> halvard@earthlink.net >> http://home.earthlink.net/~halvard >> http://entropyandme.blogspot.com >> http://imageswithoutwords.blogspot.com >> http://www.hamiltonstone.org >> >> On Feb 27, 2007, at 9:24 AM, Charlie Rossiter wrote: >> >>> I think the folks did a good job in the recent go-round about haiku of >>> posting poems in the interest of a discussion of poetics. I think what >>> many are saying, and I agree, is we don't want to getting posts of poems >>> that are posted for no other reason that to say "here's my great new poe= m, >>> please tell me I'm clever" or "notice me, notice me" etcetc... >>> >>> We could also say, if you want to post a poem for the purpose of >>> discussing poetics--post someone else's poem. >>> >>> Charlie >>> >>> >>> --=20 >>> "Poetry is good for you and so is the blues." >>> Charlie said that. >>> www.poetrypoetry.com >>> where you hear poems read by poets who wrote them >>> >>> www.myspace.com/whiskeybucketbluesreview >>> hear Charlie & Henry sing the blues >>> >>> www.myspace.com/charlierossiter >>> hear Charlie as solo performance poet >>> >>> www.myspace.com/avantretro (hear avantretro poems) >>> >>> www.myspace.com/jackthe71special >>> hear Jack's original blues, blues rock & roots ========================================================================= Date: Sat, 3 Mar 2007 23:14:46 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Ricejunk2@frontiernet.net" Subject: A Poem (By someone else) titled "A Poem" and worthy of discussion :-) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; DelSp="Yes"; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Hello there. I found this tidbit online today, and thought of recent discussions =20 within this UB POETICS. Possibly this might inspire some interesting =20 discussion. I will not make this a habit, that is, to post actual =20 poetry. (Who has the time to read things online, randomly, these =20 days... right now I should be doing housework and finishing the poem I =20 wrote on a napkin last night and working on a dusty novel and phoning =20 friends I haven't had any time for...) This made me think especially of the embodiment / humanity / life that =20 a poem takes on for the reader. Regards, T. F. Rice (Wyoming County, =20 NY) A Poem I needn?t touch your silken hair or feel rose petal skin. The type of love I have for you... it burns from deep within. Yet in my soul the fires rage, but nothing is consumed. My spirit wanders aimlessly, from room to darkened room. The proper words I cannot find, sometimes to show my love. Yet here I?m looking at your face, while you look from above. Still, my soul stirs with great desire, to reach up and touch you. As these feelings that I?m having, I know they?re in you too. But you will some day think of me, when my book you have closed. And I am just a memory... and not the one you chose. Alas... of all that I have looked up at, ?tis you I wished I?d known. For yours is a breathing spirit, and mine... I?m just a poem. Sean Allen ========================================================================= Date: Sat, 3 Mar 2007 23:39:45 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Ricejunk2@frontiernet.net" Subject: Re: You must reply to this with a poem - creative? In-Reply-To: <027001c759d0$46f094f0$ea2c7a92@net.plm.eds.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; DelSp="Yes"; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Thank you both. My mistake, TFRice Quoting Aryanil Mukherjee : > Thanks for sending the link. No point stirring up the ashes of a dead fire= . > I'll prefer the flutist over the talk show host. > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Deborah Poe > Sent: Monday, February 26, 2007 12:34 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: You must reply to this with a poem - creative? > > It might be of interest to check out the discussion in April 2005 on this > subject. > http://listserv.buffalo.edu/cgi-bin/wa?A1=3Dind0504&L=3Dpoetics&D=3D1&I=3D= -3&O=3DD > > "re: posting poems" > > > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Aryanil Mukherjee > Sent: Monday, February 26, 2007 12:10 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: You must reply to this with a poem - creative? > > I agree. Wholeheartedly. Furthermore, I want to add, not even theory > gets talked about very much here. We only comment...comment and announce > and promote...how dull is it to comment, announce and debate poetry with o= ut > poems ! It is hard to digest the fact that politics, poverty, misogyny, An= ne > Nicole etc. can find a place in "POETICS" but not poems. We're in the wron= g > boat brother (sister). At times it feels like I'm watching a "gray muscle > show". > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Metta Sama > Sent: Monday, February 26, 2007 11:28 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: You must reply to this with a poem - creative? > > while i'm all for respecting (in general) rules to an organization that > i've voluntarily signed up for, i find it difficult to do any of the below > without > posting actual poems. what is a poetics discussion without poems to discus= s? > theory. and only theory. which is not antithetical to poems, but is also > not and > should not be mutually exclusive from poems. theory of poems & > poems themselves can be held in tandem and honored. if someone wishes > to write responses as poems, why would we post a rule that discourages the= m > from doing so? and what, precisely, does it mean to accept a poem that _is= _ > "directed toward a discussion of poetics issues" while also not "exchange" > poems that we can use to "discuss poetic issues"? in other words, yes, pos= ts > written in "poetic form/ats" should be encouraged. who are we to say that > posts should be written in block form? and why would we? > > metta > > > >> Tom is right -- the Welcome message states, "We do not accept postings >> of creative work not directed toward a discussion of poetics issues on th= e >> list. The Poetics List is not a venue for the posting of free-standing, >> personal poems or journal entries." >> >> And earlier, "The Poetics List is not a forum for a general discussion >> of poetry or for the exchange of poems. Our aim is to support, inform, >> and extend those directions in poetry that are committed to innovations, >> renovations, and investigations of form and/or/as content, to the >> questioning of received forms and styles, and to the creation of the >> otherwise unimagined, untried, unexpected, improbable, and impossible." >> >> >> Should posts written in poetic form/at (broken lines? rhymed? omitting >> all e's, employing recurring words? etc) that address poetics issues be >> encouraged? >> >> Incidentally, the daily message max for the list is 75 messages per day= , >> with a limit of four posts per person. >> >> >> >> Thomas savage wrote: >> Sorry this is not a poem. But, as I understand it, we aren't supposed t= o >> post poems on this site, just discussions and announcements relevant to >> poetry. There is another excellent site called Wryting-L where poets >> from this list and, I suspect, from other sources post poems. It is set >> up specifically with that intent. If you're interested in doing that, >> Google Wryting-L and it should give you the relevant information. >> Regards, Tom Savage >> >> >> --------------------------------- >> Sucker-punch spam with award-winning protection. >> Try the free Yahoo! Mail Beta. >> > ========================================================================= Date: Sat, 3 Mar 2007 18:00:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Re: comitted poets - and even those who have been ... In-Reply-To: <330D02B8-2423-4A56-8602-19C20083032D@mac.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit What I love about you, wifey - IS that you are so snuggly, probably first, and then sweet, kinda sweeter than anything that could be candy, and determined and stubborn and STRONG, and then all that who might otherwise be called A BEAST OF WOMAN. I really love you. I think it'll be OK. Nice, my dear. YOUR HUSBAND --- ____________________________________________________________________________________ Never Miss an Email Stay connected with Yahoo! Mail on your mobile. Get started! http://mobile.yahoo.com/services?promote=mail ========================================================================= Date: Sat, 3 Mar 2007 18:17:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Maryland: Expert on Russian Intelligence Shot Outside Home In-Reply-To: <20070303231446.inzdld5v72g4o404@webmail.frontiernet.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Expert on Russian Intelligence Shot Outside Home Mar 3rd - 6:56am ADELPHI, Md. - Police are investigating a shooting that wounded a prominent intelligence expert. Fifty-three-year-old Paul Joyal was shot Thursday night outside his house in the 2300 block of Lackawanna Street in Adelphi. Joyal is known for his expertise on intelligence and terrorism and his contacts in the former Soviet Union. He has also been a long-time critic of the the government of Russian President Vladimir Putin. The shooting came four days after he told "Dateline NBC" that he believes the Russian government was involved in the fatal poisoning of former KGB agent Alexander Litvinenko in London. (Copyright 2007 by The Associated Press. All Rights Reserved.) --- ____________________________________________________________________________________ We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. http://tv.yahoo.com/collections/265 ========================================================================= Date: Sun, 4 Mar 2007 00:12:09 -0500 Reply-To: "Jonathan Minton, Word For/Word" Sender: UB Poetics discussion group From: "Jonathan Minton, Word For/Word" Subject: New Issue of Word For/Word (#11) MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit I'm pleased to announce that Word For/Word #11 is online at www.wordforword.info with poetry and visuals by Eric Abbott, Marcia Arrieta, John M. Bennett, Erin M. Bertram, David-Baptiste Chirot, Peter Ciccariello, John Cotter, Justin Dodd, Stephanie Countiss Emens, Noah Falck, Jason Fraley, Vernon Frazer, Trina Gaynon, Jim Goar, Noah Eli Gordon, Scott Helmes, Genevieve Kaplan, Kristi Maxwell, Sheila E. Murphy, Marci Nelligan, Michael Rothenberg, Kate Schapira, Will Skinker, Matina L. Stamatakis, Adam Strauss, Lynn Strongin, Thomas Lowe Taylor, Andrew Topel, Ashley VanDoorn, Caroline Whitbeck, Brian Whitener, and Joshua Marie Wilkinson, plus essays and reviews. Cheers! Jonathan Minton www.wordforword.info ++++++++++++++ from FIGURES FOR A DARKROOM VOICE, by Noah Eli Gordon and Joshua Marie Wilkinson An axe splits a tree from the story of a woodcutter's lost children, but who splits you from me? Who splits the lighthouse in half? When heat brings down these separations, what revives you is not the boy with his wrong name, but the name with its wronged boy, an error in place of an outcome. A note about the author, cut with slant adjectives, trips its nouns around like drunks. You know the fable, how its boat filled with water when you held the baby until you weren't certain if its breathing has stopped or just matched your own. There is a tiny blue heart inside this votive & it marbles your house smoke in miniature deletions from a huge marker. ========================================================================= Date: Sun, 4 Mar 2007 10:41:09 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Xcp: Cross-Cultural Poetics Comments: To: WRYTING-L@LISTSERV.WVU.EDU, spidertangle@yahoogroups.com, engrad-l@LISTSERV.BUFFALO.EDU, englfac@LISTSERV.BUFFALO.EDU, gfcivil@stkate.edu, atchasin@aol.com, ilivingston@notes.cc.sunysb.edu Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable apologies for x-posting: NEW XCP: CROSS CULTURAL POETICS & BACK ISSUE SALE XCP: CROSS CULTURAL POETICS no. 17 ("Public=20 Language & Dreamstories") has just been released.=20 The issue includes new essays by Michael=20 Davidson, Roger Farr (on Dorothy Trujillo Lusk),=20 Katherine McKittrick (author of Demonic Grounds:=20 Black Women and the Cartographies of Struggle,=20 University of Minnesota Press); new writing by=20 Nourb=E8se Philip, Kamau Brathwaite, Fred Wah, and=20 Opal Palmer Adisa; and reviews of new books by=20 Michael Parenti, Retort, Aldon Lynn Nielsen and=20 Lauri Ramey, & others. =46OUR ISSUE/TWO YEAR subscriptions are available=20 to individuals at the rate of $30 (checks payable=20 to College of St. Catherine). Please inquire=20 about institutional rates. XCP: CROSS CULTURAL POETICS is also selling back=20 issues (while supplies last) from now through May=20 1, 2007, at the rate of $3 per issue. A complete=20 list of back issues (no. 1-14) is available on=20 our website, http://www.xcp.bfn.org/journal.html=20 =2E This offer does not include our special double=20 issue ("The Dictionary Issue"), no. 15/16, which=20 is available for $12. Special bulk rates can also=20 be arranged for people interested in teaching=20 back issues. =46ORTHCOMING THIS SPRING in XCP: CROSS CULTURAL=20 POETICS no. 18 is new writing by Adrienne Rich,=20 Amiri Baraka, Barbara Jane Reyes, Rodrigo=20 Toscano, Jaswinder Bolina, Patricia Smith, Duriel=20 Harris, a review-essay on new South African=20 poetry, an essay on the workers' movement in=20 Argentina, and much more. Send checks (payable to College of St. Catherine)=20 to Mark Nowak, ed., XCP: CROSS CULTURAL POETICS,=20 c/o College of St. Catherine, 601 25th Avenue=20 South, Minneapolis, MN, 55454. ========================================================================= Date: Sun, 4 Mar 2007 17:29:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?ISO-8859-1?Q?Desmond_Swords?= Subject: Bardic Bulliten Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="ISO-8859-1" "Remarkable" "Astonishing" "A truly historic event" "The new Geoffrey Hill" "The next Patrick Kavanagh" "The gift of Carol Ann Duffy deconstructing Sean O'Brien's vernacular in = a mail to Stevie Smith" "The talent of Pattern and stature of McGough" "The complete poetic competent with the professional confidence of an off-page Aoife Mannix or suitless Nick Laird in receipt of state benifits= and busking a monkey a weekend with only his aura to magnetize a throng u= pon the cobbles at Covent Garden ..." "...her live pulling power has the mesmeric allure of Gear=F3id MacLochla= inn winning the bi-annual Bloomsbury slam by skillfully revealing the geneolo= gy of her linguistic DNA with a tigerish island noblesse only those whose ey= e can reason, rhyme and sense what riddle from the ratios fit and code of sound will speak to break the syntax..." "....with the purity of Don Patterson's inner meloncholy mixed with Motio= n's most hypnotic rural line to create a comedic felicity - equal to, if not beyond, the sublimal wit of South Yorkire's only living troubadour and th= e people's poet laureate, a hopefully soon to be, Sir Ian McMillan....." "....these poems draw from the cultural core of language, a flawless ener= gy whose combustible force of internal zeitgeist motors the engine of an incredible art." "...The real Muldoon. A difference of similarities in titterish grace, double take, wonder and cock a doddle doing of the bog godess from an ancient and mythical place of profund diddlee dee, where consciousness me= ets itself in the entropic mysteriousness of a continually collasping mind.."= "..exiled understudy and heir to Durcan's arch poetic urban note, mysteri= ous as a facial-hair free Dennis O'Driscoll mirrored with inplaceness by Dreadlock Alien devoid of a dayjob signing on at poetry flame HQ, Chloe Poems turning tricks for His Highness Prince Harry in a smack-head's beds= it, paddling in vast pools of knowledge and experiencing heights of unemployability only the most articulate of verse-makers reach to speak favourably from...." "...his enthralling voice bears a hallmark of clarity and commitment reminiscent of a younger Mahon, Longley, Paulin or Carson - whilst Cronin= 's honest echo lilts to ground this harmonious experiment in metrical chimin= g sprinkled with Ayres' commercial fairydust, striking its note of pure aurality and sounding one lone call from truth's trench above the swamp o= f contemporary bardic verse..." ".....the image of Brendan Kennelly beheading his hamster during a brutalised childhood in Limerick's Magdalene laundry has a startling effe= ct. Memory- flashes daring us stop, picture, question and sense if the cosmos= shops its way seeking balance for our spirit's short drag through life's technological trance." "Unlike anyone else writing today. The next Sir Noddy Holder." ~ The Poetry Director of the Monster Truck art gallery in Dublin, needs poe= ts for a summer reading serie, so get in touch before the April funding deadline at Poetry Ireland for the May/June do's. This deadline is every = two months. Those wanting to read July/August, should get in touch before Jun= e. Be a featured poet, get paid, let the letters do their magic and your reputation glow in print as the team of artists in the temple talk you up= . e mail - desmondswords@hotmail.com - Click for the spring dates. http://irishpoetry.blogspot.com/ ========================================================================= Date: Sun, 4 Mar 2007 09:04:46 -0800 Reply-To: Del Ray Cross Sender: UB Poetics discussion group From: Del Ray Cross Subject: SHAMPOO issue 29 MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Dear SHAMPOO Playmate, The new SHAMPOO issue 29 is now available for the absurd price=20 of absolutely free: www.ShampooPoetry.com Keep clean as the spiffiest toilet with these hot brands: Ryan Scott, Ryan Bird, Yuri Hospodar, Otto Chan, Erica Miriam Fabri, Brien James Dawson, Crag Hill, Joseph Mosconi, Anne McGuire, Emily Brungo, Alana Madison, Vincent Katz, Simon DeDeo, Tim Botta, Jim Behrle, Thomas Fink, Chad Sweeney, Chad Parenteau, Kevin Killian, Pete Lee, Jess Mynes, Jen Hofer, Del Ray Cross, Wayne Crawford, David Levine, Gregory Betts, Gary Barwin, Caroline Crumpacker, Paolo Javier, Daniela Olszewska, Camille Roy, James Grinwis, Gale Acuff, Jal Nicholl, Magdalena Zurawski and Jack Kimball.=20 Thanks as always for supporting you local chapter of SHAMPOO. Lub Luffly, Del Ray Cross, Editor SHAMPOO Clean Hair / Good Poetry www.ShampooPoetry.com (If you'd prefer not to receive these announcements, just let me know) ========================================================================= Date: Sun, 4 Mar 2007 13:52:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: the poem that makes itself MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline the poem that makes itself -- Peter Ciccariello Image - http://invisiblenotes.blogspot.com/ Word - http://poemsfromprovidence.blogspot.com/ Photography - http://uncommonvision.blogspot.com/ ========================================================================= Date: Sun, 4 Mar 2007 10:03:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: Angels on the Henderson Bridge Comments: To: webartery , rhizome , netbehaviour MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://www.lewislacook.org/king-s-woods/angels-on-the-henderson-bridge.html Lewis LaCook Director of Web Development Abstract Outlooks Media 440-989-6481 http://www.abstractoutlooks.com Abstract Outlooks Media - Premium Web Hosting, Development, and Art Photography http://www.lewislacook.org lewislacook.org - New Media Poetry and Poetics http://www.xanaxpop.org Xanax Pop - the Poetry of Lewis LaCook --------------------------------- Need Mail bonding? Go to the Yahoo! Mail Q&A for great tips from Yahoo! Answers users. ========================================================================= Date: Sun, 4 Mar 2007 19:30:13 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: comitted poets - and even those who have been ... In-Reply-To: <502741.20355.qm@web54615.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable now THERE's a disembodied narrative if I've ever seen one! -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Alexander Jorgensen Sent: Saturday, March 03, 2007 20:00 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: comitted poets - and even those who have been ... What I love about you, wifey - IS that you are so snuggly, probably first, and then sweet, kinda sweeter than anything that could be candy, and determined and stubborn and STRONG, and then all that who might otherwise be called A BEAST OF WOMAN. I really love you. I think it'll be OK. Nice, my dear. YOUR HUSBAND --- =20 ________________________________________________________________________ ____________ Never Miss an Email Stay connected with Yahoo! Mail on your mobile. Get started! http://mobile.yahoo.com/services?promote=3Dmail ========================================================================= Date: Sun, 4 Mar 2007 18:36:53 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dana Teen Lomax Subject: FW: Visually Arresting Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hi all-- I just got this link http://www.chrisjordan.com/current_set2.php?id=7 from a friend and thought it might be of interest to some on the list. Take care--Dana _________________________________________________________________ Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a month. Intro*Terms https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h27f6&disc=y&vers=743&s=4056&p=5117 ========================================================================= Date: Sun, 4 Mar 2007 19:47:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Invalid RFC822 field - "second issue of Cannibal is now available and features poems from Had=". Rest of header flushed. From: Matt Henriksen Subject: Cannibal Issue Two & Cannibal Chapbook Series MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable The=0Asecond issue of Cannibal is now available and features poems from Had= ara=0ABar-Nadav, Jen Bervin, Julia Cohen, John Coletti, Christopher Eaton, = Landis=0AEverson, Karen Garthe, Daniela Gesundheit, Johannes G=F6ransson, K= ate=0AGreenstreet, Jane Gregory, Shafer Hall, Janet Holmes, Dan Hoy, Amy Ki= ng, Donna=0AKuhn, Mark Lamoureux, Kristi Maxwell, Farid Matuk, Ben Mazer, J= ess Mynes,=0ASawako Nakayasu, Eugene Ostashevsky, Arlo Quint, Chris Salerno= , Mary Ann Samyn,=0AFrank Sherlock, Stacy Szymaszek, Maureen Thorson, Joshu= a Marie Wilkinson, Jake=0AAdam York & Alex Young.=0A=0A=0A=0ACannibal is se= venty pages, hand-sewn in signatures and screen printed.=0A=0A=0A=0ACopies = are available through Paypal for $12 at flesheatingpoems.blogspot.com.=0A= =0A=0A=0AWe are also releasing the first two books in the Cannibal Chapbook= Series, Jane=0AGregory's The Second Is Thirst and Shannon Jonas' Compathy,= both available at=0Afor $7 at flesheatingpoems.blogspot.com. Chapbooks ar= e side-stapled on=0Aquality paper.=0A=0A=0A=0A =0A_________________________= ___________________________________________________________=0ABe a PS3 game= guru.=0AGet your game face on with the latest PS3 news and previews at Yah= oo! Games.=0Ahttp://videogames.yahoo.com/platform?platform=3D120121 ========================================================================= Date: Mon, 5 Mar 2007 09:17:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: ars poetica update Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The ars poetica project continues to pulsate at: http://www.logolalia.com/arspoetica/ Poems appeared last week by: Jesse Glass, Mari-Lou Rowley, Ann Bogle, and Jennifer Compton. Poems will appear this week by: Jennifer Compton, Barry Schwabsky, Kirpal Gordon, and Will Hochman. A new poem about poetry every day. Enjoy, Dan ========================================================================= Date: Mon, 5 Mar 2007 05:42:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: EH Subject: Oppen quote MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello, I am looking for the source of an Oppen quote which I can only paraphrase by memory: "New York City is an example of a completely man-made landscape." I'm fairly certain this is from a letter in the Selected Letters, though it may be from an interview or daybook/working paper. Anyone familiar with this quote, please let me know! Thank you in advance, Eric Hoffman --------------------------------- Don't be flakey. Get Yahoo! Mail for Mobile and always stay connected to friends. ========================================================================= Date: Mon, 5 Mar 2007 08:14:57 -0500 Reply-To: clwnwr@earthlink.net Sender: UB Poetics discussion group From: Bob Heman Subject: coming soon!!! the 2nd Official CLWN WR Event on March 29, 2007 at SAFE-T-GALLERY Comments: To: donb MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII 2nd Official CLWN WR Event Thursday, March 29, 2007 7:00 - 10:00 at SAFE-T-GALLERY 111 Front Street, Brooklyn - Gallery 214 +++ featuring Bob Hart Carol Novack Jane Ormerod +++ with special guests Thomas Fucaloro Judy Kamilhor Jean Lehrman Frank Simone Elizabeth Smith EK Smith Nathan Whiting +++ plus a very special appearance by singer/songwriter Carrie Beehan (a.k.a. TRYSTETTE) performing with guitarist Dennis Diamond +++ hosted by Bob Heman editor/publisher of CLWN WR since 1971 +++ Take the F train to York Street, walk downhill to Front and turn left under the Manhattan Bridge. For more information and alternative directions (from other subway lines) please check the Gallery website at http://www.safetgallery.com Bob Heman clwnwr@earthlink.net EarthLink Revolves Around You. ========================================================================= Date: Mon, 5 Mar 2007 01:42:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Crepuscule liner notes (apologies 4 x-posting) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed (these do not literally reflect the dance/performance video) liner notes for Crepuscule sexual projections over dancers and without dancers and sexual dances on the tentpoles ravens at the four corners of the world. dancers are below. oh they want to jump on the bodies. this is dance on deadly earth. origin of dance try to make sense of the dialog; they can't. The live dancers may be are nude, exposed; the dance ends when they cum. They observe two dancers - audience and masturbating couple - the dancers sexually aroused - if nude dance should move from position to position. Anita Berber. The dancers are reeling, on edge, nervous, difficult, a problem, their desires constrained by spectacle. The dancers are on exhibit, behavioral codes thwarted or broken. If a dancer feels comfortable, he or she should push further on. sexuality, and horror, interpenetrate. For the dancers, everything is at the body of the dancer is eternal exists in relation to the sexuality of the body within the dance, within. dance is the interiority of the metaphysical, dance succeeds only by virtue of the interiority of the dancing, only by the foundation of the world. the foundation of the world lies in dance, The body of the dancer lies supine, breathless. storing these things - in the dance itself there's an image of a woman My Cluttered corner of the dance studio. Cloth, food items, all supine, is choreography masteranwhile dancers having dancing day debris three. liner notes for Anita Berber. point of dance and sexuality dancing is indiscriminate fucking, display - midnight phone-calls and invitations. one a dancer is pornographic, once this splay / display, dance, photography, culture, art in general, is invisible as semen on stage, spurted from dancer, welcomed and returned by art, of dance, of the body; it is also the most unknown. draw a vector; appurtenance-appearance; this is what the dancer, photographer, performer, tensed in our tawdry space of the real. for if the dance-dancer emerge - Sex dances for one to four people. The dancers are nude. There are no props. Male dances alone while masturbating. He dances until he cums. Female dances alone while masturbating. She dances until she cums. Tethered: Male dances with one hand holding himself erect. Tethered: Female dances with one or more partners' fingers in her. Variant Tethered: Male dances with one or more partners' fingers in him. The dance ends when one or both have cum. Variant Tethered: Female dances with one or more partners' fingers in her. The dance ends as above. The dance ends when the dance cums. dancers. So this is a dancer transformed. Role disappears from dance, dance is. The advantage of a dancer: You'll have your body at the end of the day. The disadvantage of a dancer: You'll have your body at the end of the day. dance and culture brings Signs from Worlds eaten by light. Score restraint, bounded three-dimensional space, against which such dancers remain authorless in the midst of author/authority, danceless in the presence of dancers/dancing, human within the post-human, flesh within dance the doomed Case of doomed, doomed, a-void. Case of A world chaos, sex, spoken sex, poetics of sex. I may work with dance and sex and dance-video and sex. I will not work with images of sexual violence. I dance. Or I'm the material for the dancers; it's really back. -- sondheim CREPUSCULE (recorded 2006 Geneve) et. al. Alan Sondheim, Foofwa d'Imobilite, Azure Carter at Millennium Film, Saturday March 10th at 8:00 66 East 4th Street New York City Telephone 212-673-0090 for more information. ========================================================================= Date: Mon, 5 Mar 2007 10:22:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Deborah Poe Subject: berssenbrugge's email MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit (sorry for x/posting) If you have Mei-mei Berssenbrugge's email, can you backchannel? She asked that I send her a paper I wrote this past year on her, Lucie Brock Broido, and Barbara Guest's work. I was reeling after the tribute to Barbara Guest (of which she was a part) and forgot to get. Thanks, Deborah ========================================================================= Date: Mon, 5 Mar 2007 09:32:41 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: Fwd: Amiri Baraka and Ras Baraka @ UWM (3.5) In-Reply-To: <00B26142-D668-49B8-A499-FD863B319FC3@sbcglobal.net> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Amiri Baraka has a powerful piece in December 2006-January 2007 Poetry Project Newsletter "Why Most Poetry is Boring, Again" >>>AN EVENING WITH AMIRI BARAKA AND RAS BARAKA >>>Father and Son Poets Extraordinaire >>>Monday, March 5th >>>7 pm >>>Union Wisconsin Room (2nd floor of UWM Union--2200 E. Kenwood >>>Blvd.) >>>FREE and open to the public >>> >>>Since the early '60s, legendary poet, critic and playwright Amiri >>>Baraka has been globally recognized for his activism on behalf of >>>Civil Rights, his volumes of celebrated literary works, and as a >>>founder of the Black Arts Movement. Poet Ras Baraka, the author of >>>Black Girls Learn Love Hard and co-editor of the literary >>>anthology, >>>In the Tradition (with Kevin Powell), has been active in his own >>>right >>>as a prolific writer and in city politics, serving as Deputy Mayor >>>of >>>Newark, NJ. He joins his father on stage for a evening of poetry. >>> >>>Sponsored by Third World Action, UWM Union Sociocultural >>>Programming, >>>Freedom Now! Collaborative (FN!C), Black Holocaust Museum, the >>>Black >>>Student Union and others. For more information, contact Third >>>World Action >>>at thirdworldactionuwm@yahoogroups.com >>>or call UWM Union Sociocultural Programming, 414-229-6998. >>> >>>__________________________ > _________________________________________________________________ Don’t miss your chance to WIN 10 hours of private jet travel from Microsoft® Office Live http://clk.atdmt.com/MRT/go/mcrssaub0540002499mrt/direct/01/ ========================================================================= Date: Mon, 5 Mar 2007 10:30:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Literary Buffalo E-Newsletter for 3.05.07-3.11.07 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable LITERARY BUFFALO 3.05.07-3.11.07 ANNOUNCEMENTS NEW PLAY BY EDGAR AWARD-WINNING, JUST BUFFALO BOARD-MEMBERING-WORKSHOP-TEAC= HING GARY EARL ROSS The Best Woman Directed by Lorna C. Hill March 2-25, 2007 TheaterLoft / 545 Elmwood, Buffalo / Box Office (716) 883-0380 Fri., Sat. 8 pm/Sun. 6 pm / =2422 General, =2418 Students/Seniors Groups-only Thursdays (with pre-show talk) available. Student Study-Discussion Guides Available READINGS THIS WEEK Unless otherwise indicated, all readings are free and open to the public. 3.7.07 Just Buffalo/Center For Inquiry Literary Cafe Christina Wos' Donnelly & Joe Nickell Wednesday, March 7, 7 p.m. 3965 Rensch Rd, Amherst 10 open slots: all readers welcome=21 3.8.07 Canisius Contemporary Writers Series Eamon Grennan Poetry Reading Thursday, March 8, 7 p.m. Montante Cultural Center, Canisius College Eamon Grennan was born in Dublin in 1941. He studied English and Italian at= University College, Dublin and received his Ph.D. in English from Harvard.= He has published several volumes of poetry, including Still Life with Wate= rfall, which received the 2003 Lenore Marshall Award for Poetry, and his la= test collection, The Quick of It. His other publications include Leopardi: = Selected Poems, which won the 1997 PEN Award for Poetry in Translation, and= Facing the Music: Irish Poetry in the 20th Century, a collection of critic= al essays. Grennan's poetry has received a number of Pushcart Prizes, as we= ll as awards from the National Endowment for the Arts, the National Endowme= nt for the Humanities, and the John Simon Guggenheim Foundation. He lives i= n Ireland and Poughkeepsie, N.Y., where he is the Dexter M. Ferry Jr. Profe= ssor of English at Vassar College. & Poetics Plus at UB/Hallwalls Present Matthew Cooperman Poetry Reading Thursday, March 8, 8 p.m. Hallwalls Cinema at the Church, 341 Delaware Ave Matthew Cooperman's most recent book is Daze (Salt 2006). He is also author= of A Sacrificial Zinc (2001), winner of the Lena-Miles Weaver Todd Prize, = as well as two chapbooks, Words About James (2005) and Surge (1999). He tea= ches at Colorado State University in Ft. Collins. See Victoria Brockmeier's Review of Cooperman's book in artvoice by clickin= g the following link: http://artvoice.com/issues/v6n9/daze 3.10.07 Barnes & Noble Buffalo State Bookstore. Children's Book Event: Cat in the Hat's 50th Birthday Saturday, March 10th, 1:00pm - 2:30pm. Join us for story time, crafts and refreshments. 3.11.07 Talking Leaves...Books Jay Boyar Reading and signing for: Films to Go Sunday, March 11, 2 p.m. Talking Leaves...Books, Elmwood Store Jay Boyar is a nationally recognized, Pulitzer Prize-nominated film critic = and travel writer whose work has been regularly featured in major newspaper= s and magazines, on television and radio, and online. For years he was the= film critic for the Orlando Sentinel, to which he still contributes from h= is current position as film teacher at the University of Central Florida. = Mr. Boyar is a Buffalo native who attended SUNY Buffalo and was a reviewer = for the late Courier Express. JUST BUFFALO WRITING WORKSHOPS All workshops take place in Just Buffalo's Workshop/Conference Room At the historic Market Arcade, 617 Main St., First Floor -- right across fr= om Shea's. The Market Arcade is climate-controlled and has a security guard= on duty at all times. To get here: Take the train to the 'Theatre' stop and walk, or park and enter on Washing= ton Street. Free parking on Washington Street evenings and weekends. Two-do= llar parking in fenced, guarded, M & T lot on Washington. Visit our website= for detailed descriptions, instructor bios, and to register online. The Tao of Writing the Short Story A Fiction Writing Workshop Instructor: Ralph Wahlstrom 2 Saturdays: March 24 and 31 10 a.m. - 2 p.m. with a break for lunch. Market Arcade Building, 617 Main St., First Floor. =24100, =2480 for members RECURRING LITERARY EVENTS 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 on the first floor of the historic Marke= t Arcade Building across the street from Shea's. Group meets 1st and 3rd We= dnesday at 7 p.m. Call Just Buffalo for details. JUST BUFFALO TIMED WRITING GROUP A writing practice group meets every FRIDAY at noon at Starbucks Coffee on = Elmwood and Chippewa. Writing practice is based on Natalie Goldberg's sugge= sted exercises in Writing Down The Bones. Writers in all genres, fiction an= d non-fiction welcome. There is no charge. Contact Trudy for info: Trudett= a=40aol.com. WESTERN NEW YORK ROMANCE WRITERS group meets the third Wednesday of every m= onth at St. Joseph Hospital community room at 11a.m. Address: 2605 Harlem R= oad, Cheektowaga, NY 14225. For details go to www.wnyrw.org. JUST BUFFALO MEMBERSHIP RAFFLE Visit the literary city of your dreams: -Joyce's Dublin -Paris' Left Bank -Dante's Florence -Shakespeare's London -Harlem Renaissance NYC -The Beats' San Francisco -Anywhere Continental flies.* Now through May 10, 2007 your membership support of Just Buffalo Literary C= enter includes the chance to win the literary trip of a lifetime: Package (valued at =245,000) includes: -Two round-trip tickets to one of the great literary cities on Continental = Airlines -=241500 towards hotel and accommodations -=24500 in spending money One ticket (=2435) =3D Just Buffalo Individual Membership Two tickets (=2460) =3D Just Buffalo Family Membership Three tickets (=24100) =3D Just Buffalo Friend Membership Purchase as many memberships as you like. Give them to whomever you choose = as a gift (or give someone else the membership and keep the lottery ticket = to yourself=21). Only 1000 chances will be sold. Raffle tickets with Just B= uffalo membership make great gifts=21 Drawing will be held the second week = of May, 2007. Call 716.832.5400 for more info. * Raffle ticket purchases are not tax-deductible. If you want your membersh= ip to put you in the =22literary trip of a lifetime=22 raffle, please write= =22raffle membership=22 in the =22payment for=22 cell on the Paypal form. = You will automatically be entered in the raffle, but your membership will n= ot be tax-deductible. If you prefer not to be in the raffle and want tax-de= ductible status, then please write =22non-raffle member=22 in the =22paymen= t for=22 cell. JOIN JUST BUFFALO ONLINE=21=21=21 If you would like to join Just Buffalo, or simply make a massive personal d= onation, you can do so online using your credit card. We have recently add= ed the ability to join online by paying with a credit card through PayPal. = Simply click on the membership level at which you would like to join, log = in (or create a PayPal account using your Visa/Amex/Mastercard/Discover), a= nd voil=E1, you will find yourself in literary heaven. For more info, or t= o join now, go to our website: http://www.justbuffalo.org/membership/index.shtml 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, 5 Mar 2007 10:56:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: One more thing.... MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=US-ASCII Content-Transfer-Encoding: quoted-printable LITERARY BUFFALO JUST BUFFALO OPEN READING SERIES SECOND SUNDAY, NOT THIRD SUNDAY OPEN READING FEATURING: Karen Lewis March 11, 7 P.M. Rust Belt Books, 202 ALLEN ST. 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, 5 Mar 2007 09:02:52 -0800 Reply-To: rsillima@yahoo.com Sender: UB Poetics discussion group From: Ron Silliman Subject: Silliman's Blog: Torqued! Comments: To: Brit-po , New Po , UK Poetry , Ann White MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://ronsilliman.blogspot.com/ RECENT POSTS The twisted notion of torque in poetry In which the heroine doesn’t speak the language (on Irma Vep) Conjuctions at 25 The device poems of Elaine Equi http://ronsilliman.blogspot.com/ ========================================================================= Date: Mon, 5 Mar 2007 10:01:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: gfrym@EARTHLINK.NET Subject: Re: Friends of Big Bridge MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit Can I provide in-kind services in lieu of $????? Love, Gloria ----- Original Message ----- From: "Michael Rothenberg" To: Sent: Monday, February 19, 2007 2:32 PM Subject: Friends of Big Bridge > Dear Friends of Big Bridge, > > We are now accepting tax-deductible donations. > > For almost a decade we have been able to produce and maintain Big Bridge > at a minimal expense, however, due to rising costs, staff changes, and the > need to continue to bring you more of the best poetry, art and everything > else, we humbly ask for your support. Every little bit counts. Please, > help us keep Big Bridge online. > > Please make checks out to Committee on Poetry, Inc., and specify on the > check FOR: Big Bridge. Mail donations to: > > Big Bridge > 16083 Fern Way > Guerneville, CA. 95446 > > You will recieve a letter of acknowledgment upon receipt of your donation. > > And, of course, we thank you very much for your many years of support. > > Peace, > Michael Rothenberg, Editor > Big Bridge > http://www.bigbridge.org ========================================================================= Date: Mon, 5 Mar 2007 14:48:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schlesinger Kyle Subject: BILL BERKSON=?ISO-8859-1?Q?=B9S?= SUDDEN ADDRESS: SELECTED LECTURES 1981-2006 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Cuneiform Press is pleased to announce the publication of BILL BERKSON=B9S SUDDEN ADDRESS: SELECTED LECTURES 1981-2006 Cover image by Philip Guston 114 pp. $10 Cuneiform Press www.cuneiformpress.com + Special Limited Hardcover Edition Signed & Lettered A through Z* $50 Reserve your copy today Cuneiform Press 528 Richmond Avenue Buffalo, NY 14222 www.cuneiformpress.com Forthcoming titles include Dan Featherston=B9s Clockmaker=B9s Memoir and Ted Greenwald and Hal Saulson=B9s Two Wrongs. *order the special edition and receive a copy of Ulf Stolterfoht=B9s Lingos V= I (translated by Rosmarie Waldrop) free for a limited time. ...and yet another new book by Bill Berkson OUR FRIENDS WILL PASS AMONG YOU SILENTLY New Poems 2001-2006 Cover image by Vija Celmins 64 pp. $14 ISBN 978-0-9669430-8-5 The Owl Press=20 available from=20 Small Press Distribution 1341 Seventh Street Berkeley, CA 94710-1409 510.524.1668 800.869.7553 (Toll-free within the US) http://www.spdbooks.org/ ========================================================================= Date: Mon, 5 Mar 2007 15:54:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: EXHIBIT A (group show in Second Life) (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Please join us! - Alan (A.D.) EXHIBIT A contemporary art within the Second Life online virtual world group show curated by Beavis Palowakski and Sugar Seville for the Odyssey simulator March 8th - April 8th 2007 OPENING THURSDAY MARCH 8th, 6pm Second Life time Location: Odysses 38,30,23 Ian Ah Gazira Babeli Isra Batra Alan Dojoji Fau Ferdinand Masami Kuramoto Pavig Lok Man Michinaga Sea Ra Bacon Rolls Chi5 Shenzhou Dontoledo Come join us! ========================================================================= Date: Mon, 5 Mar 2007 13:52:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matt Henriksen Subject: Sat 3/10 Howe, Smith, Berrigan, Weiser, Hawkey, Moschovakis, Yankelevich, Matuk, Briante, Mynes, Mazer & I Feel Tractor @ Galapagos in Williamsburg, Brooklyn MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable The Burning Chair Readings Brooklyn Poetry Bazaar = =0A=0AThe Burning=0AChair Readings =0A=0A=0ABrooklyn Poetry Bazaar=0A=0A=0A= Saturday, March 10th,=0A2007 2:30-7 PM=0A=0A=0AGalapagos Art Space=0A=0A=0A= 70=0ANorth 6th Street=0A=0ABetween Kent and Wythe =0A=0A=0AWilliamsburg, Br= ooklyn=0A=0A=0Ahttp://www.galapagosartspace.com=0A=0A=0A$5 for eleven poets= &=0Aanother who sings=0Aw/ a book fair in support of independent publisher= s=0A=0Ahttp://www.typomag.com/burningchair=0A=0A=0A=0A =0A=0A=0A2:30-4:30 P= M=0A=0A=0ABen Mazer=0A=0A=0AChristian Hawkey=0A=0A=0AMatvei Yankelevich=0A= =0A=0AAnna Moschovakis=0A=0A=0AFanny Howe=0A=0A=0A =0A=0A=0A4:30-5 PM=0A=0A= =0AI Feel Tractor=0A=0A=0A =0A=0A=0A5-7 PM=0A=0A=0AFarid Matuk=0A=0A=0ASusa= n Briante=0A=0A=0AJess Mynes=0A=0A=0AKaren Weiser=0A=0A=0AAnselm Berrigan= =0A=0A=0ARod Smith=0A=0A=0A =0A=0A=0AFanny Howe was born in Buffalo, New Yo= rk,=0Ain 1940. She is the author of more than twenty books of poetry and pr= ose. Her=0Arecent collections of poetry include On the Ground (Graywolf, 20= 04), Gone=0A(2003), Selected Poems (2000), Forged (1999), Q (1998), One=0AC= rossed Out (1997), O'Clock (1995), and The End (1992).=0A=0A=0A =0A=0A=0AHo= we is also the author of several novels and prose=0Acollections, most recen= tly, Radical Love (Nightboat, 2006) and The=0ALives of a Spirit / Glasstown= : Where Something Got Broken (Nightboat Books,=0A2005). =0A=0A=0A =0A=0A=0A= Howe was the recipient of the 2001 Lenore Marshall Poetry=0APrize for her S= elected Poems. She has also won awards from the National=0AEndowment for th= e Arts, the National Poetry Foundation, the California Council=0Afor the Ar= ts, and the Village Voice, as well as fellowships from the=0ABunting Instit= ute and the MacArthur Colony. She was shortlisted for the Griffin=0APoetry = Prize in 2001 and 2005. She has lectured in creative writing at Tufts=0AUni= versity, Emerson College, Columbia University, Yale University, and=0AMassa= chusetts Institute of Technology.=0A=0A=0A =0A=0A=0ARod=0ASmith is the auth= or of Music or Honesty, The Good=0AHouse, Po=E8mes de l'araign=E9e (France)= , In Memory of My Theories,=0AThe Boy Poems, Protective Immediacy, and New = Mannerist=0ATricycle with Lisa Jarnot and Bill Luoma. His latest collection= , Deed,=0Awill be published by the University of Iowa Press in the fall of = 2007. A CD, Fear=0Athe Sky, came out from Narrow House Recordings in 2005. = Smith's work has=0Aappeared in numerous magazines and anthologies including= Anthology of New (American)=0APoets, The Baffler, The Gertrude Stein Award= s, Java, New=0AAmerican Writing, Open City, Po=E9sie, Poetics Journal, Shen= andoah,=0Aand The Washington Review. He edits Aerial magazine, publishes=0A= Edge Books, and manages Bridge Street Books in Washington, DC. The next iss= ue=0Aof Aerial will focus on poet Lyn Hejinian. Smith is also editing, with= Peter=0ABaker and Kaplan Harris, The Selected Letters of Robert Creeley, f= or the=0AUniversity of California Press.=0A=0A=0A =0A=0A=0AAnselm Berrigan = is the author of Some Notes=0Aon my Programming, Zero Star Hotel and Integr= ity and Dramatic=0ALife, all published by Edge Books in Washington D.C. He= was raised in the east village of New=0AYork City and lives there now afte= r stints in Buffalo, NY and San Francisco,=0ACA. He is also the author of S= trangers in the Nest, published by Dolphin=0APress and New Lights Press of = Baltimore Maryland, and In the Dream Hole,=0Aco-authored with Edmund Berrig= an. =0AAnselm is currently the director of The St. Marks Poetry project in = NYC.=0A=0A=0A =0A=0A=0AEdmund=0ABerrigan is the author of Disarming Matter,= co-editor of=0Athe Collected Poems of Ted Berrigan, and house musician on = I Feel=0ATractor's debut CD, Once I Had an Earthquake.=0A=0A=0A =0A=0A=0ARe= cent poems by Susan=0ABriante have appeared in Hot Whiskey,=0AOPoss and eff= ing. A co-editor of the journal Superflux, she lives in Dallas, Texas, wher= e she works as an=0Aassistant professor of aesthetic studies at the Univers= ity of Texas at Dallas.=0AShe is the author of Pioneers in the=0AStuday of = Motion (Ahsahta Press, 2007).=0A=0A=0A =0A=0A=0AChristian Hawkey is the aut= hor of The Book=0Aof Funnels (Verse Press/Wave Books, 2004), and the chapbo= ok HourHour, which=0Aincludes drawings by the artist Ryan Mrowzowski (Delir= ium Press, 2005). His=0Apoems have appeared in numerous magazines, includin= g Conjunctions, Volt,=0AAmerican Poetry Review, Denver Quarterly, Tin House= , Crowd, and Conduit, and he=0Ahas received awards from the Poetry Fund and= from the Academy of American=0APoets. He lives in Ft. Greene, Brooklyn, in= a house that he believes was built=0Aby Walt Whitman, especially since it= =92s constantly falling apart.=0A=0A=0A =0A=0A=0AFarid=0AMatuk's poems have= appeared most recently in Oposs, Lungfull!, PastSimple and=0AShampoo. His= first collection, Is it=0Athe King?, was released by Effing Press in 2006.= He lives in Dallas, Texas where he currently adjuncts at SMU and=0Adirect= s the Community and Mentorship Project for the literary non-profit, The=0AW= riter's Garret.=0A=0A=0A =0A=0A=0ABen Mazer=92s poetry is published widely= =0Ain international periodicals. His essay revealing a previously unknown s= ource=0Afor T. S. Eliot=92s The Waste Land (an 1892 essay by Elisabeth Cava= zza of=0APortland, Maine) appears in the second number of Fulcrum: an annua= l of=0Apoetry and aesthetics. He is the author of White Cities (Barbara=0AM= atteau Editions) and The Big House (forthcoming).=0A=0A=0A =0A=0A=0AAnna Mo= schovakis has been an editor and=0Adesigner with Ugly Duckling Presse since= 2002, helping to produce books and=0Achapbooks by emerging writers, transl= ations, and the poetry periodical, 6x6.=0AHer translations of Henri Michaux= , Claude Cahun, Blaise Cendrars, Th=E9ophile=0AGautier and others have been= published by Fence, nest, and New=0AYork Review Books Classics. She is the= author of two chapbooks, The Blue=0ABook (Phylum Press, 2005) and Dependen= ce Day Parade (Sisyphus,=0A2006), and her first book, I Have Not Been Able = to Get Through to Everyone,=0Ais just out this fall from Turtle Point Press= . She currently teaches in the=0AComparative Literature Department of Queen= s College.=0A=0A=0A =0A=0A=0AJess=0AMynes runs Fewer & Further Press=0Ain W= endell, Massachusetts. He is the=0Aauthor of Birds, for Example (Carve, 20= 06) and In(Ex)teriors=0A(Anchorite Press, 2006).=0A=0A=0A =0A=0A=0AKaren=0A= Weiser is the author of Heads Up Fever Pile, Eight=0APositive Trees (Presse= d Wafer, Placefullness (Ugly Duckling Press),=0Aand Pitching Woo (CyPress, = forthcoming). She lives in New York City.=0A=0A=0A =0A=0A=0AMatvei=0AYankel= evich is the editor of the Eastern European Poets Series at=0AUgly Duckling= Presse, and co-edits 6=D76, a poetry periodical. He is the=0Aco-translator= , with Eugene Ostashevsky, of An Invitation For Me To Think,=0Athe selected= poems of Alexander Vvedensky, forthcoming from Green Integer; and=0Aof Rus= sian Absurdism: OBERIU, an anthology forthcoming from Northwestern=0AUniver= sity Press. His own writing has appeared in various little magazines and=0A= his critical work on Russian-American poets appears on Octopus Magazine.=0A= A chapbook of his long poem, The Present Work, was published by the Los=0AA= ngeles-based Palm Press in summer 2006. He teaches Russian Literature at=0A= Hunter College in New York City.=0A=0A=0A=0A=0A=0A=0A =0A__________________= __________________________________________________________________=0ADon't = pick lemons.=0ASee all the new 2007 cars at Yahoo! Autos.=0Ahttp://autos.ya= hoo.com/new_cars.html ========================================================================= Date: Mon, 5 Mar 2007 13:59:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Cynie Cory Subject: Janaka Stucky's email? MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Does anyone have Janaka Stucky's email? If you do, please email it to me at cyniejc@yahoo.com Thanks, Cynie --------------------------------- Get your own web address. Have a HUGE year through Yahoo! Small Business. ========================================================================= Date: Mon, 5 Mar 2007 18:19:39 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: FROZEN HYPNOSIS 1-29 Comments: To: spidertangle@yahoogroups.com, mailart@yahoogroups.com, Theory and Writing , dreamtime@yahoogroups.com Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Frozen Hypnosis was an ongoing 8 page mailart zine found & collaged =20 by Malok and Bern Porter. 29 issues were produced between 1992-2004. =20 Nine issues are missing from the collection & we are searching the =20 world to locate them. If you have a copy (especially the color master =20= copies which apparently were sent out by mistake) please contact us. "The mutant collage geniuses Malok and Bern Porter have been creating =20= a collaborative body of work in recent years that bears extensive =20 cataloging and publishing. This is but a small sample of that =20 collaboration. Utilizing the discarded elements of materialist =20 culture and original visuals accompanied by recontextualized popular =20 faces and headlines, we find ourselves immersed in an oddly familiar =20 otherness. These collages are the sublunary script of human entropy, =20 though not an entropy of despair but of hallucinatory release from =20 the oppression of sensory overload." =97Jake Berry Download pdfs http://malok.org/frozen_hypnosis.php 8 pages, 5.5"x8.5", color, $4.00 ppd. Set of 20 issues $75.00. Xexoxial Editions 10375 Cty Hway A La Farge, WI 54639 perspicacity@xexoxial.org ========================================================================= Date: Mon, 5 Mar 2007 19:22:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: news from Small Press Traffic Comments: To: wom-PO@lists.usm.maine.edu Mime-Version: 1.0 Content-Type: text/plain; format=flowed Dear Community, I would like to let you all know that I will be taking a leave of absence from Small Press Traffic from July 1, 2007 to June 30, 2008. I will be doing this, after 7 great, illuminating years at SPT, to refresh myself and to be with my (growing) family. Poet, educator, and SPT board member Dana Teen Lomax will be filling in for me while I am away. She has extensive experience in curating, fundraising, and nonprofit arts administration, and I am very confident that she will do a fantastic job. My thanks to Dana and to the entire board of SPT for making this year away possible for me. I will look forward to seeing all of you, dear writers & readers, on my return in 2008. Elizabeth Elizabeth Treadwell Jackson Executive Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, California 94107 http://www.sptraffic.org please note our new small press traffic [at] gmail _________________________________________________________________ Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a month. Intro*Terms https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h27f6&disc=y&vers=743&s=4056&p=5117 ========================================================================= Date: Mon, 5 Mar 2007 19:20:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Ratcliffe & Rodefer at SPT this Fri, 3/9 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Small Press Traffic is pleased to present a reading by Stephen Ratcliffe & Stephen Rodefer Friday, March 9, 2007 at 7:30 p.m. Stephen Ratcliffe joins us in celebration of REAL, new from Avenue B, which, Michael Cross writes, is "the second volume in what promises to be a long poem of unprecedented magnitude…documenting the minutia of the subject's extension into the world as the ocean's diurnal low-end dissonance might frame the coastline it erodes." Ratcliffe's earlier works include Portraits & Repetitions and Present Tense. He lives in Bolinas and teaches at Mills College in Oakland. We are thrilled to welcome Stephen Rodefer back to the Bay Area for this reading. The author of Four Lectures, Left Under A Cloud, Mon Canard and many other books, Rodefer has lived in the
UK and France for the past fifteen years. His selected poems, Call It Thought,
will be published by Carcanet in 2008. He has an essay on canon making in the
latest Chicago Review, which concludes
"Live free and die. Publish and Perish." Unless otherwise noted, events are $5-10, sliding scale, free to current 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) http://www.sptraffic.org _________________________________________________________________ Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a month. Intro*Terms https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h27f6&disc=y&vers=743&s=4056&p=5117 ========================================================================= Date: Tue, 6 Mar 2007 04:31:10 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: New links to interactive audio works MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit There are some new links to interactive audio works at http://vispo.com/misc/ia.htm including four Flash-based projects: ACTIONIST RESPOKE http://www.stromgasse.de/projects/actionist by Michael Janoschek and Rüdiger Schlömer, Mouse on Mars (Germany) "Mouse On Mars deserve more than an instant fun interface. Here is something between a Sequencer and Sound Tamagotchi. Put some learning effort into it, don't let visuals irritate you and most of all, don't be lazy. This is not about just sitting back and having music served on a tablet." The music is funky and so is the interface. Very cool piece. Sort of MAX-like. FLASH SPLICE http://splicemusic.com by Sean Mulroney, Wendell Davis (USA) Sequencer that allows mixing of your own sounds or sounds uploaded by people in the Splice community. A similar project is called JamGlue. FLASH PANDORA http://pandora.com by Tim Westergren, Tom Conrad, Nolan Gasser... (USA) Fascinating approach to Internet radio. You create a channel by specifying a song or artist. Pandora then starts playing songs related to your seed. Each song is classified according to the 'music genome project'. Your 'thumbs up/thumbs down' on suggested songs apparently 'train' the app. A similar project is called last.fm. FLASH ANDRE MICHELLE http://lab.andre-michelle.com by André Michelle (Germany) André's lab of his experiments with Flash work is very interesting. Sort of like JSyn work in its granularity and wave synthesis. FLASH ja http://vispo.com . . . ========================================================================= Date: Tue, 6 Mar 2007 03:12:39 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: last call for work --- listenlight 08 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Dear Poetries, I'm mixing with trigonometries for the layout at http://listenlight.net for instance 08. This is our last call for work for this issue. Many here may have read the journal, which, in its entirety, will not be long, to read. I've had great luck with last minute calls for work. Listenlight 08 will hope to be live in under a week. Not over, not outer a week. What is listenlight? It's not schadenfreude, and also it is un-yet, and un-likely to be experienced over breakfast. It is the most unlikely poetry journal in the universe. Realer than tax revenue. For sure. Send your best. Your poetry will be archived at least until its editors die. Our promise. Women especially are asked in kind to send in for review. All best, Jesse Wayne Crockett ========================================================================= Date: Tue, 6 Mar 2007 16:22:18 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Jeses Glass on Steve Bradley's Art@Radio this Wednesday MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Wednesday March 07, 2007 13:00 UTC time // returning regular time: note time change: 09:00 a.m. EST, New York, NY; other time zones :: 15:00, Amsterdam; 16:00, Helsinki live feed: http://broadcast.umbc.edu:8000/artradio.m3u podcast location: http://art-radio.net/podcasts/artradio.xml 1. Room Spaces, Michael J. Schumacher, CD1> t1) Room Piece XI, CD2> t1) Piece in 3 Parks, t2) Still, t3) Untitled, t4) Still, recorded at Diapason Gallery, NYC, http://diapasongallery.org/, XI Records, http://www.xirecords.org/ 2. Spoken words by Jesse Glass, Dec – Jan, 06/07, t1) for Ralph Lichtensteiger, t2) Hospital Singing, t3) Mourn Him, t4) Museum, t5) Oh Japanese Poh! Etz, t6) Pantoum, t7) SEZ, t8) This Only (Teku Teku), t9) Untitled Sequence, t10) Down, Chiba-ken, Japan, http://en.wikipedia.org/wiki/Jesse_Glass ========================================================================= Date: Mon, 5 Mar 2007 23:19:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: matthew cooperman Subject: new book, readings East/West MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi all-- Some News & Events. I'll be reading East and West in the coming weeks to suport the new book, DaZE (http://www. saltpublishing.com), described below. East: March 8, via UB Poetics Plus, 7:30pm, Hallwalls at the Chuch, Buffalo, 341 Delaware Ave. More info from Victoria Brockmeier: poet.isacariot@gmail.com as well as http://www.hallways.org March 9, via Earshot, 8pm, The Lucky Cat in Williamsburg, Brooklyn, 245 Grand St., b/w Driggs and Roebling More info from Nicole Steinberg: earshotnyc@gmail.com as well as http://www.earshotnyc.com West: March 12, via San Francisco State, 7pm, 132 Humanities March 16, via Truong Tran's Living Rom Series, 7:30pm 554 Ashbury (Janis Joplin's old apt./ Haight & Ashbury) More info on both San Francisco gigs: celan@mindspring.com Daze is days (the daily every where one reads every Daily) and confusion (the Daily Bugle–or is it Bungle?–of constant shock). “Cooperman’s poems contain the philosophical and the plain-spoken, the scientific and the ripeness of 19th century diction, while at all times maintaining a healthy skepticism about language’s capacity to bring us here (or hear), where we have been wandering around lost for many years. Cooperman’s poems tell us that all may not be lost, there may in fact be a home, even if we never get to open its door. --John Yau The ache of Berryman and the balls of Berrigan—a combination so striking in its language: sonorous, yes, but also snarky; lyrical and yet perky—dare I say perky? I do. As does Cooperman. Moments in Daze are so delicate, and then around the corner comes the stab, the surprise, the knowing frippery and the twinkle-eyed nudge. The poems do daze, they dazz, they does. No other poet has such panache and such beauty: ‘something pure in a heart can hide.’ --D.A. Powell ____________________________________________________________________________________ Want to start your own business? Learn how on Yahoo! Small Business. http://smallbusiness.yahoo.com/r-index ========================================================================= Date: Tue, 6 Mar 2007 10:34:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Libby Guilty of Lying in C.I.A. Leak Case 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 Suddenly poetry is alive and well! ========================================================================= Date: Tue, 6 Mar 2007 11:15:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: AWP? In-Reply-To: <45ED3087.7080007@listenlight.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I could only take in a very tiny little... Any accounts/stories/panel presentations to share? Thanks, in advance ... --------------------------------- The fish are biting. Get more visitors on your site using Yahoo! Search Marketing. ========================================================================= Date: Tue, 6 Mar 2007 13:16:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Gershman Subject: Illusion Literature Rack Special! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Illusion Literature Rack Special!Can't see images? Click Here=0D=0A=0D= =0A=0D=0A=0D=0A=0D=0A=0D=0A=0D=0A=0D=0A=0D=0A=0D=0A=0D=0A=0D=0A=0D=0A=0D= =0A=0D=0AIf you prefer not to continue receiving Brussian Strokes, = Inc. promotional e-mails and wish to unsubscribe from=0D=0Athis = email list, please email to: unsubscribe@brussian.com with subject = "Unsubscribe Now" or click here. ========================================================================= Date: Tue, 6 Mar 2007 14:37:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: AWP? In-Reply-To: <362199.21885.qm@web83301.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hi Amy, On arriving to Atlanta I was almost mugged for my backpack. I fought him off. On leaving Atlanta Donald Revell kissed my cheek. Best, Geoffrey Geoffrey Gatza BlazeVOX [books] www.blazevox.org -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of amy king Sent: Tuesday, March 06, 2007 2:15 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: AWP? I could only take in a very tiny little... Any accounts/stories/panel presentations to share? Thanks, in advance ... --------------------------------- The fish are biting. Get more visitors on your site using Yahoo! Search Marketing. ========================================================================= Date: Tue, 6 Mar 2007 15:34:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: in honor of Aaron Belz's success... MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline What do we want? Your money When do we want it? Now What do you get? A link and that sense of moral superiority that comes with being nice Sure, it isn't exactly a protest, but the Buffalo Small Press Book Fair is a regional, one-day event that will bring together small press publishers, activists, visual artists, and other DIY enthusiasts that will also have lectures, exhibits, and performances. These things can't happen on their own. Really. Chris Fritton and I have been working diligently and we thank those that have supported us to this point, now we hope that some of you can help us out on an individual basis. Feel free donate as little as $1 if that's what you have. We are beggars, not choosers. So, for your donation, we will list your name in our program, and website--and a link to whatever you wish, should you wish to have a link. Links will appear here . If you're feeling philanthropic and want to help insure that the Buffalo Small Press Book Fair becomes an annual event, visit our sponsor page and hit up the Paypal Donate button on the top right of the screen. We appreciate absolutely any help you can give. chris & kevin -- SUICIDE L L C, when life just isn't an option ========================================================================= Date: Tue, 6 Mar 2007 13:01:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: in honor of Aaron Belz's success... In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I don't do Paypal. But I do sponser poetry in Buffalo -- in all shapes and sizes. Can I send a check? Made out to whom? And to what address? kevin thurston wrote: If you're feeling philanthropic and want to help insure that the Buffalo Small Press Book Fair becomes an annual event, visit our sponsor page and hit up the Paypal Donate button on the top right of the screen. We appreciate absolutely any help you can give. chris & kevin --------------------------------- Don't be flakey. Get Yahoo! Mail for Mobile and always stay connected to friends. ========================================================================= Date: Tue, 6 Mar 2007 13:03:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: AWP? In-Reply-To: <00be01c76026$f2931e20$100aa8c0@adminstret4wjx> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Did you fight Donald off too? Geoffrey Gatza wrote: Hi Amy, On arriving to Atlanta I was almost mugged for my backpack. I fought him off. On leaving Atlanta Donald Revell kissed my cheek. Best, Geoffrey Geoffrey Gatza BlazeVOX [books] www.blazevox.org --------------------------------- Now that's room service! Choose from over 150,000 hotels in 45,000 destinations on Yahoo! Travel to find your fit. ========================================================================= Date: Tue, 6 Mar 2007 13:06:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: baraka In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit With due respect and in friendship, I must express my disagreement with you, David, as I felt that Amiri Baraka's article was both arrogant and profoundly wrong-headed. But that might be an equally compelling reason to read it, I suppose. Amicalement, Alex www.alexdickow.net/blog/ les mots! ah quel désert à la fin merveilleux. -- Henri Droguet ========================================================================= Date: Tue, 6 Mar 2007 16:07:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: Re: in honor of Aaron Belz's success... In-Reply-To: <676213.63783.qm@web83302.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline made out to christopher fritton Buffalo Small Press Book Fair c/o Chris Fritton 61 Elmwood Ave. Buffalo, NY 14201 On 3/6/07, amy king wrote: > > I don't do Paypal. But I do sponser poetry in Buffalo -- in all shapes > and sizes. Can I send a check? Made out to whom? And to what address? > > > kevin thurston wrote: > > If you're feeling philanthropic and want to help insure that the Buffalo > Small Press Book Fair becomes an annual event, visit our sponsor page and > hit up the Paypal Donate button on the top right of the screen. > > We appreciate absolutely any help you can give. > > chris & kevin > > > > > --------------------------------- > Don't be flakey. Get Yahoo! Mail for Mobile and > always stay connected to friends. > -- SUICIDE L L C, when life just isn't an option ========================================================================= Date: Tue, 6 Mar 2007 13:32:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: I'LL ANSWER ME ----> AWP? In-Reply-To: <00be01c76026$f2931e20$100aa8c0@adminstret4wjx> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The panel discussion for "Virtually Infinite: The Broad Reach and Vast Potential of the Online Literary Journal" can be heard here: http://miporadio.blogspot.com/2007/03/virtually-infinite-broad-reach-and.html [Panelists: Bruce Covey for Coconut Poetry - Thom Didato for Failbetter - Amy King for MiPOesias - Lara Glenum stood in for Joyelle McSweeney for Action, Yes - Danielle Pafunda for La Petite Zine - Zach Schomburg for Octopus] p.s. I do know how to spell "sponsor" on occasion ... --------------------------------- TV dinner still cooling? Check out "Tonight's Picks" on Yahoo! TV. ========================================================================= Date: Tue, 6 Mar 2007 13:25:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: baraka In-Reply-To: <280575.8852.qm@web35514.mail.mud.yahoo.com> Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable what specifically? On Mar 6, 2007, at 1:06 PM, Alexander Dickow wrote: > With due respect and in friendship, I must express my > disagreement with you, David, as I felt that Amiri > Baraka's article was both arrogant and profoundly > wrong-headed. But that might be an equally compelling > reason to read it, I suppose. > Amicalement, > Alex > > www.alexdickow.net/blog/ > > les mots! ah quel d=E9sert =E0 la fin > merveilleux. -- Henri Droguet ========================================================================= Date: Tue, 6 Mar 2007 17:06:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Deborah Poe Subject: Re: AWP? In-Reply-To: <00be01c76026$f2931e20$100aa8c0@adminstret4wjx> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT Content-disposition: inline [the tribute to barbara guest, notes] "night lights" "poetry the true fiction" "leave this little echo to haunt the poem" "poets are chained to the impossible" hmm. an uncanny spectacle bataille smokes an architecturally sound cigar. "adorn(o)ian constellations" "hang the words on that structure" many levels of interiority ----- Original Message ----- From: Geoffrey Gatza Date: Tuesday, March 6, 2007 4:24 pm Subject: Re: AWP? To: POETICS@LISTSERV.BUFFALO.EDU > Hi Amy, > > > On arriving to Atlanta I was almost mugged for my backpack. I > fought him > off. > > On leaving Atlanta Donald Revell kissed my cheek. > > > > Best, Geoffrey > > Geoffrey Gatza > BlazeVOX [books] > www.blazevox.org > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of amy king > Sent: Tuesday, March 06, 2007 2:15 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: AWP? > > I could only take in a very tiny little... > > Any accounts/stories/panel presentations to share? > > Thanks, in advance ... > > > > --------------------------------- > The fish are biting. > Get more visitors on your site using Yahoo! Search Marketing. > ========================================================================= Date: Tue, 6 Mar 2007 17:25:12 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Query and favor Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Does anyone here have free access via their college or university to the College English website JSTOR? If so, would you do me the favor of downloading and emailing me a copy of Jerrald Ranta's essay called "Geometry, Vision, and Poetic Form"? College English Vol. 39, No. 6 (Feb., 1978), pp. 707-724 Hal Halvard Johnson ================ halvard@gmail.com halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org ========================================================================= Date: Tue, 6 Mar 2007 18:47:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Jean Baudrillard (1929-2007) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed French philosopher Jean Baudrillard dies The Associated Press March 6, 2007 [] PARIS: Jean Baudrillard, a French philosopher and social theorist known for his provocative commentaries on consumerism, excess and what he said was the disappearance of reality, died Tuesday, his publishing house said. He was 77. Baudrillard died at his home in Paris after a long illness, said Michel Delorme, of the Galilee publishing house. The two men had worked together since 1977, when "Oublier Foucault" (Forget Foucault) was published, one of about 30 books by Baudrillard, Delorme said by telephone. Among his last published books was "Cool Memories V," in 2005. Baudrillard, a sociologist by training, is perhaps best known for his concepts of "hyperreality" and "simulation." ========================================================================= Date: Tue, 6 Mar 2007 19:12:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Call for Submissions -- Outsider Art -- Content-Type: text/plain; charset=utf-8 Call for Submissions -- Outsider Art -- Gallery 324 The Galleria at Erieview 1301 East Ninth Street Cleveland, Ohio 44114 July 14 – 28, 2007 Opening reception Saturday July 14 6-8 pm Please send 3-5 jpgs, one picture per piece of work, with a short artist’s bio, with “outsider art” in the subject line, to: mbales@oh.verio.com and markk@deepcleveland.com Deadline: March 31, 2007 We’re interested in submissions of 1. Folk Art - the arts that are taught from the crade within a living tradition. The artists in this category carry on traditions passed on to them in their community or family such as quilting styles, embroidery, painting styles (like on furniture or house murals). 2. Outsider Art - also called self-taught art. This is art produced by the individual who has not received any art training and has been more or less called into producing art by an inner need or compulsion. 3. Psychiatric Art - This is the art that has been produced mostly at institutions or by art therapists or individual psychologists or psychiatrists notable for its authenticity and richness of expression. 4. Art Brut - started by the Jean Dubuffet to both describe his art and to establish a label for much of the art which he collected and exhibited. It is characterized by a rawness and a primitive expressiveness. If you think your work falls into one of these categories, please send 3-5 jpgs, one picture per piece of work, with a short artist’s bio, with “outsider art” in the subject line, to: mbales@oh.verio.com and markk@deepcleveland.com Deadline: March 31, 2007 ========================================================================= Date: Tue, 6 Mar 2007 18:13:08 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: favor and query Comments: To: patrick dunagan In-Reply-To: <5fabddd10703061539s794e1e92p311029f0acfbb49a@mail.gmail.com> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Many thanks, Patrick. Looks like it's fine. Hal "As Raymond Chandler said, 'It was one of those days when Los Angeles felt like a rock-hard fig.'" --Monty Python, c.1974 Halvard Johnson ================ halvard@gmail.com halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org On Mar 6, 2007, at 5:39 PM, patrick dunagan wrote: > I think you'll be able to open this. If not let me know. > > Cheers, > > Patrick > <01cce44069bf36111299b3177&0.pdf> ========================================================================= Date: Wed, 7 Mar 2007 09:23:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: Re: last call for work --- listenlight 08 In-Reply-To: <45ED3087.7080007@listenlight.net> Mime-Version: 1.0 Content-Type: text/plain; format=flowed do you have a snail mail address my computer skills are poor. want to also say again that poetsweaPRADA PRESS IS GOING TO HAVE ITS DEbUT 3-8 AT 6 AT CORNELIA ST CAFE IN NYC. ILL BE READING ALTHOUGH MY LITTLE BOOK IS NOT OUT YET. SUSAN MAURER >From: Jesse Crockett >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: last call for work --- listenlight 08 >Date: Tue, 6 Mar 2007 03:12:39 -0600 > >Dear Poetries, > >I'm mixing with trigonometries for the layout at http://listenlight.net for >instance 08. This is our last call for work for this issue. Many here may >have read the journal, which, in its entirety, will not be long, to read. >I've had great luck with last minute calls for work. Listenlight 08 will >hope to be live in under a week. Not over, not outer a week. > >What is listenlight? It's not schadenfreude, and also it is un-yet, and >un-likely to be experienced over breakfast. It is the most unlikely poetry >journal in the universe. Realer than tax revenue. For sure. > >Send your best. Your poetry will be archived at least until its editors >die. Our promise. > >Women especially are asked in kind to send in for review. > >All best, > >Jesse Wayne Crockett _________________________________________________________________ Play Flexicon: the crossword game that feeds your brain. PLAY now for FREE. http://zone.msn.com/en/flexicon/default.htm?icid=flexicon_hmtagline ========================================================================= Date: Wed, 7 Mar 2007 08:38:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sylvester Pollet Subject: Outsider Art Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed This is the funniest post I've read on the list in 12 years, or =20 whatever it is! Outsiders, send your jpegs! You have nothing to lose =20 but your status! Sylvester Date: Tue, 6 Mar 2007 19:12:52 -0500 From: Marcus Bales Subject: Call for Submissions -- Outsider Art -- Call for Submissions -- Outsider Art -- Gallery 324 The Galleria at Erieview 1301 East Ninth Street Cleveland, Ohio 44114 July 14 =96 28, 2007 Opening reception Saturday July 14 6-8 pm Please send 3-5 jpgs, one picture per piece of work, with a short =20 artist=92s bio, with =93outsider art=94 in the subject line, to: mbales@oh.verio.com and markk@deepcleveland.com Deadline: March 31, 2007 We=92re interested in submissions of 1. Folk Art - the arts that are taught from the crade within a living =20= tradition. The artists in this category carry on traditions passed on =20= to them in their community or family such as quilting styles, =20 embroidery, painting styles (like on furniture or house murals). 2. Outsider Art - also called self-taught art. This is art produced =20 by the individual who has not received any art training and has been =20 more or less called into producing art by an inner need or compulsion. 3. Psychiatric Art - This is the art that has been produced mostly at =20= institutions or by art therapists or individual psychologists or =20 psychiatrists notable for its authenticity and richness of expression. 4. Art Brut - started by the Jean Dubuffet to both describe his art =20 and to establish a label for much of the art which he collected and =20 exhibited. It is characterized by a rawness and a primitive =20 expressiveness. If you think your work falls into one of these categories, please =20 send 3-5 jpgs, one picture per piece of work, with a short artist=92s =20= bio, with =93outsider art=94 in the subject line, to: mbales@oh.verio.com and markk@deepcleveland.com Deadline: March 31, 2007 ========================================================================= Date: Wed, 7 Mar 2007 05:01:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Lou Reed/ Delmore Schwartz News Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit From today's Page Six: Lou's Got A Mild Side LOU Reed, who just turned 65, will be honored by his alma mater, Syracuse University, on April 26 with the George Arents Pioneer Medal for Excellence in the Arts at the W Hotel Union Square. It will be announced that night that Syracuse will pick an English major interested in creative writing as its Lou Reed/Delmore Schwartz Scholar, who will receive $8,000 a year for four years. A new student will be named a Lou Reed/Delmore Schwartz Scholar every four years. ========================================================================= Date: Wed, 7 Mar 2007 04:22:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: 2 upcoming NY events in March and April, hope to see you /\\///\\\\/////\\\\\\/////// MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline 2 upcoming NY events in March and April, hope to see you /\\///\\\\/////\\\\\\/////// Sunday, March 10th, 3pm at the EAR INN: Daniel Becker, CAConrad, Douglas Martin Saturday, April 7th, 4pm SEGUE SERIES at the Bowery Poetry Club: Kenward Elmslie & CAConrad for more details: http://CAConradEVENTS.blogspot.com ========================================================================= Date: Tue, 6 Mar 2007 21:28:46 -0800 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: performance poetry In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit If anyone can backchannel some of the best performing poets you have seen it has to be how well they read in public, how entertaining, enthralling etc maybe they dance, juggle, eat flames, sound good, something (or someone) very photogenic? that is what is being proposed that I hire, preferrably something new (genre-wise) beyond spoken word, Beat type readers, but I would guess that some USOP and def-poetry jam will make it to the list I sure would like that coupled with resonance on the page if you have contact info, mores the better Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Tue, 6 Mar 2007 21:15:01 -0800 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: AWP? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Geoff-- You're kidding me, all I did was give Don $5. It was good to see you albeit moments-- Amy-- Shame on you for not stopping by and saying hello to Rita and I. my AWP stories will have to wait for now. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Wed, 7 Mar 2007 09:47:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: Outsider Art Comments: To: Sylvester Pollet In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: Quoted-printable What, outsiders can't have computers? Who made THAT rule? Marcus On 7 Mar 2007 at 8:38, Sylvester Pollet wrote: > This is the funniest post I've read on the list in 12 years, or > whatever it is! Outsiders, send your jpegs! You have nothing to lose > but your status! Sylvester > > Date: Tue, 6 Mar 2007 19:12:52 -0500 > From: Marcus Bales > Subject: Call for Submissions -- Outsider Art -- > > Call for Submissions -- Outsider Art -- > > Gallery 324 > The Galleria at Erieview > 1301 East Ninth Street > Cleveland, Ohio 44114 > > July 14 - 28, 2007 > Opening reception Saturday July 14 6-8 pm > > Please send 3-5 jpgs, one picture per piece of work, with a short > artist=B4s bio, with "outsider art" in the subject line, to: > > mbales@oh.verio.com > and > markk@deepcleveland.com > > Deadline: March 31, 2007 > > We=B4re interested in submissions of > > 1. Folk Art - the arts that are taught from the crade within a > living > tradition. The artists in this category carry on traditions passed > on > to them in their community or family such as quilting styles, > embroidery, painting styles (like on furniture or house murals). > > 2. Outsider Art - also called self-taught art. This is art produced > by the individual who has not received any art training and has been > more or less called into producing art by an inner need or > compulsion. > > 3. Psychiatric Art - This is the art that has been produced mostly > at > institutions or by art therapists or individual psychologists or > psychiatrists notable for its authenticity and richness of > expression. > > 4. Art Brut - started by the Jean Dubuffet to both describe his art > and to establish a label for much of the art which he collected and > exhibited. It is characterized by a rawness and a primitive > expressiveness. > > If you think your work falls into one of these categories, please > send 3-5 jpgs, one picture per piece of work, with a short artist=B4s > bio, with "outsider art" in the subject line, to: > > mbales@oh.verio.com > and > markk@deepcleveland.com > > Deadline: March 31, 2007 > > > -- > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.5.446 / Virus Database: 268.18.7/713 - Release Date: > 3/7/2007 9:24 AM > ========================================================================= Date: Wed, 7 Mar 2007 09:37:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Angelin Borsics Subject: free examinations copies of Twentieth-Century German Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Hi, I represent the publisher of TWENTIETH-CENTURY GERMAN POETRY: AN ANTHOLOGY, edited by Michael Hofmann, now available from Farrar, Straus & Giroux. I hope it is okay for me to post an offer on the listserv. We have set aside complimentary examination copies of this title for the first 50 professors who respond to this message. If there are any professors or instructors who are interested in receiving a free examination copy to consider for course use, send an email with your university mailing address to academic@fsgbooks.com , and mention that you're replying to this message, and we'll send you a copy. We only have 50 copies set aside, so please be one of the first 50 to respond. =20 Angelin A. Borsics academic@hholt.com=20 =20 ========================================================================= Date: Wed, 7 Mar 2007 07:22:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Outsider Art In-Reply-To: <45EE8A15.21363.1A2B33F8@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I believe he's referring to the "outsider" status itself -- outsider artists generally have nothing to do with art institutions. The idea of them submitting their work to a gallery would be in opposition to the very concept of Outsider Art. Marcus Bales wrote: What, outsiders can't have computers? Who made THAT rule? Marcus On 7 Mar 2007 at 8:38, Sylvester Pollet wrote: > This is the funniest post I've read on the list in 12 years, or > whatever it is! Outsiders, send your jpegs! You have nothing to lose > but your status! Sylvester > > Date: Tue, 6 Mar 2007 19:12:52 -0500 > From: Marcus Bales > Subject: Call for Submissions -- Outsider Art -- > > Call for Submissions -- Outsider Art -- > > Gallery 324 > The Galleria at Erieview > 1301 East Ninth Street > Cleveland, Ohio 44114 > > July 14 - 28, 2007 > Opening reception Saturday July 14 6-8 pm > > Please send 3-5 jpgs, one picture per piece of work, with a short > artist�s bio, with "outsider art" in the subject line, to: > > mbales@oh.verio.com > and > markk@deepcleveland.com > > Deadline: March 31, 2007 > > We�re interested in submissions of > > 1. Folk Art - the arts that are taught from the crade within a > living > tradition. The artists in this category carry on traditions passed > on > to them in their community or family such as quilting styles, > embroidery, painting styles (like on furniture or house murals). > > 2. Outsider Art - also called self-taught art. This is art produced > by the individual who has not received any art training and has been > more or less called into producing art by an inner need or > compulsion. > > 3. Psychiatric Art - This is the art that has been produced mostly > at > institutions or by art therapists or individual psychologists or > psychiatrists notable for its authenticity and richness of > expression. > > 4. Art Brut - started by the Jean Dubuffet to both describe his art > and to establish a label for much of the art which he collected and > exhibited. It is characterized by a rawness and a primitive > expressiveness. > > If you think your work falls into one of these categories, please > send 3-5 jpgs, one picture per piece of work, with a short artist�s > bio, with "outsider art" in the subject line, to: > > mbales@oh.verio.com > and > markk@deepcleveland.com > > Deadline: March 31, 2007 > > > -- > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.5.446 / Virus Database: 268.18.7/713 - Release Date: > 3/7/2007 9:24 AM > --------------------------------- TV dinner still cooling? Check out "Tonight's Picks" on Yahoo! TV. ========================================================================= Date: Wed, 7 Mar 2007 07:27:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: AWP? In-Reply-To: <20070307051501.13441.qmail@web83515.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Ugh, I know. I missed too many people, esp. you and Rita (& hopefully, photos of the toddler now!). I only walked around that entire hotel-basement-room once. I also intended to find several online folks and say hello -- David Baratier wrote: Amy-- Shame on you for not stopping by and saying hello to Rita and I. my AWP stories will have to wait for now. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org --------------------------------- Bored stiff? Loosen up... Download and play hundreds of games for free on Yahoo! Games. ========================================================================= Date: Wed, 7 Mar 2007 06:56:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: elen Subject: FW: Ensemble Jourine March Issue MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit announcing the online march issue ensemble jourine hybrid writing by women www. ensemblejourine. com appearing march, may, july, and october hybrid writing by an ensemble of innovative women writers: long work, cross-genre, prose poem, plays, poem-plays, experimental, lyric essay, mixed media. . . an on-going publication of serialized chapters, sections, and scenes of manuscripts by the ensemble vol.1, no.3 ensemble:Rachel Tzvia Back, Geraldine Connolly, julia doughty, eldon, Mary Kasimor, Julianna McCarthy, Ellen Orleans, Sarah Vap and additional work appearing in the printed publication ensemble antholozine hybrid writing by women available to order at www.ensemblejourine.com ***********Do not respond to this message. Email ensemble@ensemblejourine.com ************** ========================================================================= Date: Wed, 7 Mar 2007 09:57:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: Re: Outsider Art In-Reply-To: <45EE8A15.21363.1A2B33F8@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline think the point is that if an outsider is sending jpegs of their work to a gallery to be shown, they probably dont qualify all that well as outsiders, or at very least they are willing to shed the outsider, to become an inside= r On 3/7/07, Marcus Bales wrote: > > What, outsiders can't have computers? Who made THAT rule? > > Marcus > > > On 7 Mar 2007 at 8:38, Sylvester Pollet wrote: > > > This is the funniest post I've read on the list in 12 years, or > > whatever it is! Outsiders, send your jpegs! You have nothing to lose > > but your status! Sylvester > > > > Date: Tue, 6 Mar 2007 19:12:52 -0500 > > From: Marcus Bales > > Subject: Call for Submissions -- Outsider Art -- > > > > Call for Submissions -- Outsider Art -- > > > > Gallery 324 > > The Galleria at Erieview > > 1301 East Ninth Street > > Cleveland, Ohio 44114 > > > > July 14 - 28, 2007 > > Opening reception Saturday July 14 6-8 pm > > > > Please send 3-5 jpgs, one picture per piece of work, with a short > > artist=B4s bio, with "outsider art" in the subject line, to: > > > > mbales@oh.verio.com > > and > > markk@deepcleveland.com > > > > Deadline: March 31, 2007 > > > > We=B4re interested in submissions of > > > > 1. Folk Art - the arts that are taught from the crade within a > > living > > tradition. The artists in this category carry on traditions passed > > on > > to them in their community or family such as quilting styles, > > embroidery, painting styles (like on furniture or house murals). > > > > 2. Outsider Art - also called self-taught art. This is art produced > > by the individual who has not received any art training and has been > > more or less called into producing art by an inner need or > > compulsion. > > > > 3. Psychiatric Art - This is the art that has been produced mostly > > at > > institutions or by art therapists or individual psychologists or > > psychiatrists notable for its authenticity and richness of > > expression. > > > > 4. Art Brut - started by the Jean Dubuffet to both describe his art > > and to establish a label for much of the art which he collected and > > exhibited. It is characterized by a rawness and a primitive > > expressiveness. > > > > If you think your work falls into one of these categories, please > > send 3-5 jpgs, one picture per piece of work, with a short artist=B4s > > bio, with "outsider art" in the subject line, to: > > > > mbales@oh.verio.com > > and > > markk@deepcleveland.com > > > > Deadline: March 31, 2007 > > > > > > -- > > No virus found in this incoming message. > > Checked by AVG Free Edition. > > Version: 7.5.446 / Virus Database: 268.18.7/713 - Release Date: > > 3/7/2007 9:24 AM > > > --=20 SUICIDE L L C, when life just isn't an option ========================================================================= Date: Wed, 7 Mar 2007 10:31:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: Outsider Art Comments: To: amy king In-Reply-To: <51384.17776.qm@web83302.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: Quoted-printable I think he's confused, then, about what "Outsider Art" is -- it's not a status thing at all. Outsider Artists are those who are self- taught, who have little or no contact with the "art world", not because they are too piss-proud to show their work in galleries, but because the "art world" largely ignores those who are not in this or that "art world" clique or claque. The notion that recognition for quality work is anathema to "outsiders" is just plain silly. It's the "I wouldn't be a member of any club that would have me as a member" silliness. Outsiders are just as interested in selling their work, and getting recognized for doing good work, as any other artist. They're outsiders not because they think they're not good enough but because the "art world" hasn't recognized why they're good. Do you really think artists who do "outsider art" think of themselves as rubes and hicks whose work is crappy and just not good enough to be thought of as "real art"? Marcus On 7 Mar 2007 at 7:22, amy king wrote: > I believe he's referring to the "outsider" status itself -- outsider > artists generally have nothing to do with art institutions. The > idea of them submitting their work to a gallery would be in > opposition to the very concept of Outsider Art. > > Marcus Bales wrote: What, outsiders can't > have computers? Who made THAT rule? > > Marcus > > > On 7 Mar 2007 at 8:38, Sylvester Pollet wrote: > > > This is the funniest post I've read on the list in 12 years, or > > whatever it is! Outsiders, send your jpegs! You have nothing to > lose > > but your status! Sylvester > > > > Date: Tue, 6 Mar 2007 19:12:52 -0500 > > From: Marcus Bales > > Subject: Call for Submissions -- Outsider Art -- > > > > Call for Submissions -- Outsider Art -- > > > > Gallery 324 > > The Galleria at Erieview > > 1301 East Ninth Street > > Cleveland, Ohio 44114 > > > > July 14 - 28, 2007 > > Opening reception Saturday July 14 6-8 pm > > > > Please send 3-5 jpgs, one picture per piece of work, with a > short > > artist=EF=BF=BDs bio, with "outsider art" in the subject line, to: > > > > mbales@oh.verio.com > > and > > markk@deepcleveland.com > > > > Deadline: March 31, 2007 > > > > We=EF=BF=BDre interested in submissions of > > > > 1. Folk Art - the arts that are taught from the crade within a > > living > > tradition. The artists in this category carry on traditions > passed > > on > > to them in their community or family such as quilting styles, > > embroidery, painting styles (like on furniture or house murals). > > > > 2. Outsider Art - also called self-taught art. This is art > produced > > by the individual who has not received any art training and has > been > > more or less called into producing art by an inner need or > > compulsion. > > > > 3. Psychiatric Art - This is the art that has been produced > mostly > > at > > institutions or by art therapists or individual psychologists or > > psychiatrists notable for its authenticity and richness of > > expression. > > > > 4. Art Brut - started by the Jean Dubuffet to both describe his > art > > and to establish a label for much of the art which he collected > and > > exhibited. It is characterized by a rawness and a primitive > > expressiveness. > > > > If you think your work falls into one of these categories, > please > > send 3-5 jpgs, one picture per piece of work, with a short > artist=EF=BF=BDs > > bio, with "outsider art" in the subject line, to: > > > > mbales@oh.verio.com > > and > > markk@deepcleveland.com > > > > Deadline: March 31, 2007 > > > > > > -- > > No virus found in this incoming message. > > Checked by AVG Free Edition. > > Version: 7.5.446 / Virus Database: 268.18.7/713 - Release Date: > > 3/7/2007 9:24 AM > > > > > > --------------------------------- > TV dinner still cooling? > Check out "Tonight's Picks" on Yahoo! TV. > > > -- > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.5.446 / Virus Database: 268.18.7/713 - Release Date: > 3/7/2007 9:24 AM > ========================================================================= Date: Wed, 7 Mar 2007 07:39:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Outsider Art In-Reply-To: <45EE949F.14267.1A545E3D@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Whoa, Marcus. How did you go from the notion of avoiding the influence of being institutionalized to this miserably extreme conclusion? You have leapt far and conjured up this characterization *all on your own.* Who said any artist must want to be part of an institution? There are manifold reasons to avoid the influence of the machine (i.e. demand from agents & a popular public, avoiding the drive to sell, etc). Must an artist think of him or herself as a "hick" just because he or she doesn't desire a validation from galleries? There are other ways to showcase one's art, if that's even what one wants to do ... Marcus Bales wrote: Do you really think artists who do "outsider art" think of themselves as rubes and hicks whose work is crappy and just not good enough to be thought of as "real art"? Marcus --------------------------------- Don't get soaked. Take a quick peek at the forecast with theYahoo! Search weather shortcut. ========================================================================= Date: Wed, 7 Mar 2007 10:45:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: performance poetry Comments: To: editor@pavementsaw.org In-Reply-To: <20070307052847.6266.qmail@web83507.mail.sp1.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Duriel Harris! will have to look up contact info --- At 12:28 AM 3/7/2007, David Baratier wrote: >If anyone can backchannel some of the best performing poets you have seen > > it has to be how well they read in public, how entertaining, > enthralling etc > > maybe they dance, juggle, eat flames, sound good, something > (or someone) very photogenic? > > that is what is being proposed that I hire, preferrably something > new (genre-wise) > beyond spoken word, Beat type readers, > but I would guess that some USOP and def-poetry jam will make it > to the list > I sure would like that coupled with resonance on the page > > if you have contact info, mores the better > > > > >Be well > >David Baratier, Editor > >Pavement Saw Press >PO Box 6291 >Columbus, OH 43206 >http://pavementsaw.org <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "I stand corrected, like a bishop of the obvious." --Robert Kelly 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] Sailing the blogosphere at: http://heatstrings.blogspot.com/ ========================================================================= Date: Wed, 7 Mar 2007 10:51:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Outsider Art In-Reply-To: <45EE8A15.21363.1A2B33F8@marcus.designerglass.com> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Qualification by self-description is pretty funny=20 throughout. Do I get in if I certify myself as=20 insane? And putting mental health profesionals,=20 only some of whom are nuts, in the same category=20 may be symptomatic. There are similar problems=20 with Art Brut and even more with folk art.=20 Quilting became popular among educated=20 middleclass women with back to the land=20 fantasies. Is what they do folk art, or is it craft with a whiff of= nostalgia? Mark At 09:47 AM 3/7/2007, you wrote: >What, outsiders can't have computers? Who made THAT rule? > >Marcus > > >On 7 Mar 2007 at 8:38, Sylvester Pollet wrote: > > > This is the funniest post I've read on the list in 12 years, or > > whatever it is! Outsiders, send your jpegs! You have nothing to lose > > but your status! Sylvester > > > > Date: Tue, 6 Mar 2007 19:12:52 -0500 > > From: Marcus Bales > > Subject: Call for Submissions -- Outsider Art -- > > > > Call for Submissions -- Outsider Art -- > > > > Gallery 324 > > The Galleria at Erieview > > 1301 East Ninth Street > > Cleveland, Ohio 44114 > > > > July 14 - 28, 2007 > > Opening reception Saturday July 14 6-8 pm > > > > Please send 3-5 jpgs, one picture per piece of work, with a short > > artist=B4s bio, with "outsider art" in the subject line, to: > > > > mbales@oh.verio.com > > and > > markk@deepcleveland.com > > > > Deadline: March 31, 2007 > > > > We=B4re interested in submissions of > > > > 1. Folk Art - the arts that are taught from the crade within a > > living > > tradition. The artists in this category carry on traditions passed > > on > > to them in their community or family such as quilting styles, > > embroidery, painting styles (like on furniture or house murals). > > > > 2. Outsider Art - also called self-taught art. This is art produced > > by the individual who has not received any art training and has been > > more or less called into producing art by an inner need or > > compulsion. > > > > 3. Psychiatric Art - This is the art that has been produced mostly > > at > > institutions or by art therapists or individual psychologists or > > psychiatrists notable for its authenticity and richness of > > expression. > > > > 4. Art Brut - started by the Jean Dubuffet to both describe his art > > and to establish a label for much of the art which he collected and > > exhibited. It is characterized by a rawness and a primitive > > expressiveness. > > > > If you think your work falls into one of these categories, please > > send 3-5 jpgs, one picture per piece of work, with a short artist=B4s > > bio, with "outsider art" in the subject line, to: > > > > mbales@oh.verio.com > > and > > markk@deepcleveland.com > > > > Deadline: March 31, 2007 > > > > > > -- > > No virus found in this incoming message. > > Checked by AVG Free Edition. > > Version: 7.5.446 / Virus Database: 268.18.7/713 - Release Date: > > 3/7/2007 9:24 AM > > ========================================================================= Date: Wed, 7 Mar 2007 07:56:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: performance poetry In-Reply-To: <7.0.1.0.2.20070307104524.02426928@psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I'd second Duriel, she's amazing.. Also, as long as we're talking Black Took folks, Ronaldo Wilson would be on my list as well. Taylor Aldon Nielsen wrote: Duriel Harris! will have to look up contact info --- At 12:28 AM 3/7/2007, David Baratier wrote: >If anyone can backchannel some of the best performing poets you have seen > > it has to be how well they read in public, how entertaining, > enthralling etc > > maybe they dance, juggle, eat flames, sound good, something > (or someone) very photogenic? > > that is what is being proposed that I hire, preferrably something > new (genre-wise) > beyond spoken word, Beat type readers, > but I would guess that some USOP and def-poetry jam will make it > to the list > I sure would like that coupled with resonance on the page > > if you have contact info, mores the better > > > > >Be well > >David Baratier, Editor > >Pavement Saw Press >PO Box 6291 >Columbus, OH 43206 >http://pavementsaw.org <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "I stand corrected, like a bishop of the obvious." --Robert Kelly 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] Sailing the blogosphere at: http://heatstrings.blogspot.com/ ========================================================================= Date: Wed, 7 Mar 2007 10:58:05 -0500 Reply-To: lmelvin1@binghamton.edu Sender: UB Poetics discussion group From: Metta Sama Subject: Re: performance poetry In-Reply-To: <7.0.1.0.2.20070307104524.02426928@psu.edu> MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit has anyone mentioned tyehimba jess (www.tyehimbajess.com/) (backchannel for email) or douglas kearney (backchannel for email) or patricia smith? i saw douglas perform in ATL on thursday, and wow! not only did he refuse the podium, he marched up the aisle and had to turn his book in various directions to read his poem, his voice marched with him until he turned red in the face. it was quite the breathable moveable feast of language. exquisite. metta > Duriel Harris! will have to look up contact info --- > > At 12:28 AM 3/7/2007, David Baratier wrote: >>If anyone can backchannel some of the best performing poets you have seen >> >> it has to be how well they read in public, how entertaining, >> enthralling etc >> >> maybe they dance, juggle, eat flames, sound good, something >> (or someone) very photogenic? >> >> that is what is being proposed that I hire, preferrably something >> new (genre-wise) >> beyond spoken word, Beat type readers, >> but I would guess that some USOP and def-poetry jam will make it >> to the list >> I sure would like that coupled with resonance on the page >> >> if you have contact info, mores the better >> >> >> >> >>Be well >> >>David Baratier, Editor >> >>Pavement Saw Press >>PO Box 6291 >>Columbus, OH 43206 >>http://pavementsaw.org > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "I stand corrected, like a bishop of the obvious." > --Robert Kelly > > > 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] > > Sailing the blogosphere at: http://heatstrings.blogspot.com/ > ========================================================================= Date: Wed, 7 Mar 2007 15:48:59 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Fernandes Subject: Re: Outsider Art In-Reply-To: <984990.8297.qm@web83310.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Great! This "outsider art" discusion running around the "institution grouping" seems to me a great way to explain Russel's Paradox. Great, great, thanks!!! david 2007/3/7, amy king : > > Whoa, Marcus. How did you go from the notion of avoiding the influence of > being institutionalized to this miserably extreme conclusion? You have > leapt far and conjured up this characterization *all on your own.* > > Who said any artist must want to be part of an institution? There are > manifold reasons to avoid the influence of the machine (i.e. demand from > agents & a popular public, avoiding the drive to sell, etc). Must an artist > think of him or herself as a "hick" just because he or she doesn't desire a > validation from galleries? There are other ways to showcase one's art, if > that's even what one wants to do ... > > Marcus Bales wrote: Do you really think > artists who do > "outsider art" think of themselves as rubes and hicks whose work is > crappy and just not good enough to be thought of as "real art"? > > Marcus > > > > > --------------------------------- > Don't get soaked. Take a quick peek at the forecast > with theYahoo! Search weather shortcut. > ========================================================================= Date: Wed, 7 Mar 2007 10:02:22 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Outsider Art In-Reply-To: <45EE949F.14267.1A545E3D@marcus.designerglass.com> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Is this outsider art? http://malok.org Malok has no idea what a jpeg is, but I did manage to teach him how =20 to send an email this last year (which only took about 15 years of =20 trying). I still love the fact that Malok thinks Google is the =20 Internet. I haven't bothered to try to correct his notion. ~mIEKAL "The more technological our societies, the more our walls ooze ghosts." =97Italo Calvino ========================================================================= Date: Wed, 7 Mar 2007 10:58:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Outsider Art In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Why all the discussion? Other conditions in my life will keep me an = Outsider whether my Outsider art submission, if accepted, makes me an Insider. = I'm sure some of the others who submit will feel the same way. Vernon http://vernonfrazer.com -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of kevin thurston Sent: Wednesday, March 07, 2007 9:57 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Outsider Art think the point is that if an outsider is sending jpegs of their work to = a gallery to be shown, they probably dont qualify all that well as = outsiders, or at very least they are willing to shed the outsider, to become an = insider On 3/7/07, Marcus Bales wrote: > > What, outsiders can't have computers? Who made THAT rule? > > Marcus > > > On 7 Mar 2007 at 8:38, Sylvester Pollet wrote: > > > This is the funniest post I've read on the list in 12 years, or > > whatever it is! Outsiders, send your jpegs! You have nothing to lose > > but your status! Sylvester > > > > Date: Tue, 6 Mar 2007 19:12:52 -0500 > > From: Marcus Bales > > Subject: Call for Submissions -- Outsider Art -- > > > > Call for Submissions -- Outsider Art -- > > > > Gallery 324 > > The Galleria at Erieview > > 1301 East Ninth Street > > Cleveland, Ohio 44114 > > > > July 14 - 28, 2007 > > Opening reception Saturday July 14 6-8 pm > > > > Please send 3-5 jpgs, one picture per piece of work, with a short > > artist=B4s bio, with "outsider art" in the subject line, to: > > > > mbales@oh.verio.com > > and > > markk@deepcleveland.com > > > > Deadline: March 31, 2007 > > > > We=B4re interested in submissions of > > > > 1. Folk Art - the arts that are taught from the crade within a > > living > > tradition. The artists in this category carry on traditions passed > > on > > to them in their community or family such as quilting styles, > > embroidery, painting styles (like on furniture or house murals). > > > > 2. Outsider Art - also called self-taught art. This is art produced > > by the individual who has not received any art training and has been > > more or less called into producing art by an inner need or > > compulsion. > > > > 3. Psychiatric Art - This is the art that has been produced mostly > > at > > institutions or by art therapists or individual psychologists or > > psychiatrists notable for its authenticity and richness of > > expression. > > > > 4. Art Brut - started by the Jean Dubuffet to both describe his art > > and to establish a label for much of the art which he collected and > > exhibited. It is characterized by a rawness and a primitive > > expressiveness. > > > > If you think your work falls into one of these categories, please > > send 3-5 jpgs, one picture per piece of work, with a short = artist=B4s > > bio, with "outsider art" in the subject line, to: > > > > mbales@oh.verio.com > > and > > markk@deepcleveland.com > > > > Deadline: March 31, 2007 > > > > > > -- > > No virus found in this incoming message. > > Checked by AVG Free Edition. > > Version: 7.5.446 / Virus Database: 268.18.7/713 - Release Date: > > 3/7/2007 9:24 AM > > > --=20 SUICIDE L L C, when life just isn't an option ========================================================================= Date: Wed, 7 Mar 2007 11:29:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Will Esposito Subject: Re: Outsider Art MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit To have a notion of "outsider art" is also to have an essentialist orientation toward another essentialist orientation; namely, toward a notion of "art." What is fine here is how the first post knows that whatever "outsider art" is, it is not this, and yet also knows that in order to know this, it must itself have an essentialist notion of "outsider art." What is comic here is how subsequent posts fail to recognize or admit the problematics of definition, instead leading us along what Kenneth Burke would call the "bureaucratization of the imaginative," sticking to the guns of their arguments, guns that merely expel a little white flag that reads "Bang!" Someone call Harper's Magazine, please. ========================================================================= Date: Wed, 7 Mar 2007 12:09:17 -0500 Reply-To: Lea Graham Sender: UB Poetics discussion group From: Lea Graham Subject: Re: performance poetry MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Duriel is wonderful and so is Carl Rux Hancock. I think I'm getting that right.... Lea ----- Original Message ----- From: "Taylor Brady" To: Sent: Wednesday, March 07, 2007 10:56 AM Subject: Re: performance poetry > I'd second Duriel, she's amazing.. > > Also, as long as we're talking Black Took folks, Ronaldo Wilson would be > on my list as well. > > Taylor > > Aldon Nielsen wrote: > Duriel Harris! will have to look up contact info --- > > At 12:28 AM 3/7/2007, David Baratier wrote: >>If anyone can backchannel some of the best performing poets you have seen >> >> it has to be how well they read in public, how entertaining, >> enthralling etc >> >> maybe they dance, juggle, eat flames, sound good, something >> (or someone) very photogenic? >> >> that is what is being proposed that I hire, preferrably something >> new (genre-wise) >> beyond spoken word, Beat type readers, >> but I would guess that some USOP and def-poetry jam will make it >> to the list >> I sure would like that coupled with resonance on the page >> >> if you have contact info, mores the better >> >> >> >> >>Be well >> >>David Baratier, Editor >> >>Pavement Saw Press >>PO Box 6291 >>Columbus, OH 43206 >>http://pavementsaw.org > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "I stand corrected, like a bishop of the obvious." > --Robert Kelly > > > 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] > > Sailing the blogosphere at: http://heatstrings.blogspot.com/ ========================================================================= Date: Wed, 7 Mar 2007 12:12:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Outsider Art In-Reply-To: <51384.17776.qm@web83302.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; 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charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit "Outsider art" has become another niche marketing term in the branch of the commodity economy known as the "art world." Perhaps when Roger Cardinal (?) published his illustrated monograph entitled "Outsider Art" a few decades back, the term had meaning because of its novelty as a rubric. But now, in an era when "Outsider Art Fairs" are annually held in New York City, it's become another way for art hustlers -- er, dealers -- to make a buck off their designated "Other" of choice. On another level: if Henry Darger's work can be labeled "outsider art," can John Ashbery's "Girls on the Run," inspired by Darger, be called "outsider art" too? If so, why? If not, why not? ========================================================================= Date: Wed, 7 Mar 2007 09:30:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Outsider Art In-Reply-To: <20070307160027.NIPS1534.ibm61aec.bellsouth.net@HPLASERJ> MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=ISO-8859-1; format=flowed Content-transfer-encoding: quoted-printable You thought that was funny, Sylvester? How about some of the earnestness of this discussion? GB On Mar 7, 2007, at 7:58 AM, Vernon Frazer wrote: > Why all the discussion? Other conditions in my life will keep me an=20 > Outsider > whether my Outsider art submission, if accepted, makes me an Insider.=20= > I'm > sure some of the others who submit will feel the same way. > > Vernon > http://vernonfrazer.com > > > -----Original Message----- > From: UB Poetics discussion group=20 > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of kevin thurston > Sent: Wednesday, March 07, 2007 9:57 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Outsider Art > > think the point is that if an outsider is sending jpegs of their work=20= > to a > gallery to be shown, they probably dont qualify all that well as=20 > outsiders, > or at very least they are willing to shed the outsider, to become an=20= > insider > > On 3/7/07, Marcus Bales wrote: >> >> What, outsiders can't have computers? Who made THAT rule? >> >> Marcus >> >> >> On 7 Mar 2007 at 8:38, Sylvester Pollet wrote: >> >>> This is the funniest post I've read on the list in 12 years, or >>> whatever it is! Outsiders, send your jpegs! You have nothing to lose >>> but your status! Sylvester >>> >>> Date: Tue, 6 Mar 2007 19:12:52 -0500 >>> From: Marcus Bales >>> Subject: Call for Submissions -- Outsider Art -- >>> >>> Call for Submissions -- Outsider Art -- >>> >>> Gallery 324 >>> The Galleria at Erieview >>> 1301 East Ninth Street >>> Cleveland, Ohio 44114 >>> >>> July 14 - 28, 2007 >>> Opening reception Saturday July 14 6-8 pm >>> >>> Please send 3-5 jpgs, one picture per piece of work, with a short >>> artist=B4s bio, with "outsider art" in the subject line, to: >>> >>> mbales@oh.verio.com >>> and >>> markk@deepcleveland.com >>> >>> Deadline: March 31, 2007 >>> >>> We=B4re interested in submissions of >>> >>> 1. Folk Art - the arts that are taught from the crade within a >>> living >>> tradition. The artists in this category carry on traditions passed >>> on >>> to them in their community or family such as quilting styles, >>> embroidery, painting styles (like on furniture or house murals). >>> >>> 2. Outsider Art - also called self-taught art. This is art produced >>> by the individual who has not received any art training and has been >>> more or less called into producing art by an inner need or >>> compulsion. >>> >>> 3. Psychiatric Art - This is the art that has been produced mostly >>> at >>> institutions or by art therapists or individual psychologists or >>> psychiatrists notable for its authenticity and richness of >>> expression. >>> >>> 4. Art Brut - started by the Jean Dubuffet to both describe his art >>> and to establish a label for much of the art which he collected and >>> exhibited. It is characterized by a rawness and a primitive >>> expressiveness. >>> >>> If you think your work falls into one of these categories, please >>> send 3-5 jpgs, one picture per piece of work, with a short artist=B4s >>> bio, with "outsider art" in the subject line, to: >>> >>> mbales@oh.verio.com >>> and >>> markk@deepcleveland.com >>> >>> Deadline: March 31, 2007 >>> >>> >>> -- >>> No virus found in this incoming message. >>> Checked by AVG Free Edition. >>> Version: 7.5.446 / Virus Database: 268.18.7/713 - Release Date: >>> 3/7/2007 9:24 AM >>> >> > > > > --=20 > SUICIDE L L C, > when life just isn't an option > > George Bowering Was once corrected by Bob Feller ========================================================================= Date: Wed, 7 Mar 2007 09:40:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Outsider Art In-Reply-To: MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=ISO-8859-1; format=flowed Content-transfer-encoding: quoted-printable Hey, remember when The Outsider Magazine made Charles Bukowski its Outsider of the Year? Now, THAT's funny. gb On Mar 7, 2007, at 9:30 AM, George Bowering wrote: > You thought that was funny, Sylvester? > How about some of the earnestness of this discussion? > > GB > > > On Mar 7, 2007, at 7:58 AM, Vernon Frazer wrote: > >> Why all the discussion? Other conditions in my life will keep me an=20= >> Outsider >> whether my Outsider art submission, if accepted, makes me an Insider.=20= >> I'm >> sure some of the others who submit will feel the same way. >> >> Vernon >> http://vernonfrazer.com >> >> >> -----Original Message----- >> From: UB Poetics discussion group=20 >> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On >> Behalf Of kevin thurston >> Sent: Wednesday, March 07, 2007 9:57 AM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Re: Outsider Art >> >> think the point is that if an outsider is sending jpegs of their work=20= >> to a >> gallery to be shown, they probably dont qualify all that well as=20 >> outsiders, >> or at very least they are willing to shed the outsider, to become an=20= >> insider >> >> On 3/7/07, Marcus Bales wrote: >>> >>> What, outsiders can't have computers? Who made THAT rule? >>> >>> Marcus >>> >>> >>> On 7 Mar 2007 at 8:38, Sylvester Pollet wrote: >>> >>>> This is the funniest post I've read on the list in 12 years, or >>>> whatever it is! Outsiders, send your jpegs! You have nothing to = lose >>>> but your status! Sylvester >>>> >>>> Date: Tue, 6 Mar 2007 19:12:52 -0500 >>>> From: Marcus Bales >>>> Subject: Call for Submissions -- Outsider Art -- >>>> >>>> Call for Submissions -- Outsider Art -- >>>> >>>> Gallery 324 >>>> The Galleria at Erieview >>>> 1301 East Ninth Street >>>> Cleveland, Ohio 44114 >>>> >>>> July 14 - 28, 2007 >>>> Opening reception Saturday July 14 6-8 pm >>>> >>>> Please send 3-5 jpgs, one picture per piece of work, with a short >>>> artist=B4s bio, with "outsider art" in the subject line, to: >>>> >>>> mbales@oh.verio.com >>>> and >>>> markk@deepcleveland.com >>>> >>>> Deadline: March 31, 2007 >>>> >>>> We=B4re interested in submissions of >>>> >>>> 1. Folk Art - the arts that are taught from the crade within a >>>> living >>>> tradition. The artists in this category carry on traditions passed >>>> on >>>> to them in their community or family such as quilting styles, >>>> embroidery, painting styles (like on furniture or house murals). >>>> >>>> 2. Outsider Art - also called self-taught art. This is art produced >>>> by the individual who has not received any art training and has = been >>>> more or less called into producing art by an inner need or >>>> compulsion. >>>> >>>> 3. Psychiatric Art - This is the art that has been produced mostly >>>> at >>>> institutions or by art therapists or individual psychologists or >>>> psychiatrists notable for its authenticity and richness of >>>> expression. >>>> >>>> 4. Art Brut - started by the Jean Dubuffet to both describe his art >>>> and to establish a label for much of the art which he collected and >>>> exhibited. It is characterized by a rawness and a primitive >>>> expressiveness. >>>> >>>> If you think your work falls into one of these categories, please >>>> send 3-5 jpgs, one picture per piece of work, with a short artist=B4s= >>>> bio, with "outsider art" in the subject line, to: >>>> >>>> mbales@oh.verio.com >>>> and >>>> markk@deepcleveland.com >>>> >>>> Deadline: March 31, 2007 >>>> >>>> >>>> -- >>>> No virus found in this incoming message. >>>> Checked by AVG Free Edition. >>>> Version: 7.5.446 / Virus Database: 268.18.7/713 - Release Date: >>>> 3/7/2007 9:24 AM >>>> >>> >> >> >> >> --=20 >> SUICIDE L L C, >> when life just isn't an option >> >> > George Bowering > Was once corrected by Bob Feller > > Giorgio H. Bowering Does not kill snakes ========================================================================= Date: Wed, 7 Mar 2007 12:53:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Outsider Art In-Reply-To: <7.0.1.0.1.20070307103113.05da4660@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Mark, Was Arts and Crafts movement in England an art brut or folk art movement, though it has some of the elements of folk art? In the antiques world, folk art has a few distinct elements: first, most often no individual name is attached to the product; second, products have practical applications. A third, a more tacit assumption, is that they are hand made. In The States the typical folk art product would be quilts, shaker furniture, early store signs and posters, kitchy pottery sets, certain hand drawings, etc., are examples of folk art. In the East, the quintessential one is carpets. The idea of folk are has deep roots in Romanticism, racism and hierarchical structures. For instance, though moder= n industrial designed products possess two crucial elements of folk (anonymit= y and practical application), they are not called so because of the machine element. Collectors of Oriental carpets make a big deal about whether the weaver has only used natural (vegetable) dyes, that being more valuable by multiples, or also chemical ones. On the other hand, if a Western artist, D= e Kooning for example, experiments with synthetic material, this is called ar= t (a new experiment). One can see here a subtle placing of the East on an inferior level, with the suggestion that they do not quite deserve industrialization and science. One must not forget, the presence of chemicals or not in the dye material Van Gogh used, for example, does not even come up. It is not relevant. Once again, while early store sign posters are considered folk art, modern advertizement (posters or T.V. ads, etc.) are not, though a certain stigma due to its commercial aspect, is attached to advertising also (is advertising an outsider art?). The fact is that early American posters reflect the cultural, racial assumptions of their time: blacks in subservient servant's clothing, blacks as monkeys (Coons), etc. Ciao, Murat On 3/7/07, Mark Weiss wrote: > > Qualification by self-description is pretty funny > throughout. Do I get in if I certify myself as > insane? And putting mental health profesionals, > only some of whom are nuts, in the same category > may be symptomatic. There are similar problems > with Art Brut and even more with folk art. > Quilting became popular among educated > middleclass women with back to the land > fantasies. Is what they do folk art, or is it craft with a whiff of > nostalgia? > > Mark > > At 09:47 AM 3/7/2007, you wrote: > >What, outsiders can't have computers? Who made THAT rule? > > > >Marcus > > > > > >On 7 Mar 2007 at 8:38, Sylvester Pollet wrote: > > > > > This is the funniest post I've read on the list in 12 years, or > > > whatever it is! Outsiders, send your jpegs! You have nothing to lose > > > but your status! Sylvester > > > > > > Date: Tue, 6 Mar 2007 19:12:52 -0500 > > > From: Marcus Bales > > > Subject: Call for Submissions -- Outsider Art -- > > > > > > Call for Submissions -- Outsider Art -- > > > > > > Gallery 324 > > > The Galleria at Erieview > > > 1301 East Ninth Street > > > Cleveland, Ohio 44114 > > > > > > July 14 - 28, 2007 > > > Opening reception Saturday July 14 6-8 pm > > > > > > Please send 3-5 jpgs, one picture per piece of work, with a short > > > artist=B4s bio, with "outsider art" in the subject line, to: > > > > > > mbales@oh.verio.com > > > and > > > markk@deepcleveland.com > > > > > > Deadline: March 31, 2007 > > > > > > We=B4re interested in submissions of > > > > > > 1. Folk Art - the arts that are taught from the crade within a > > > living > > > tradition. The artists in this category carry on traditions passed > > > on > > > to them in their community or family such as quilting styles, > > > embroidery, painting styles (like on furniture or house murals). > > > > > > 2. Outsider Art - also called self-taught art. This is art produced > > > by the individual who has not received any art training and has been > > > more or less called into producing art by an inner need or > > > compulsion. > > > > > > 3. Psychiatric Art - This is the art that has been produced mostly > > > at > > > institutions or by art therapists or individual psychologists or > > > psychiatrists notable for its authenticity and richness of > > > expression. > > > > > > 4. Art Brut - started by the Jean Dubuffet to both describe his art > > > and to establish a label for much of the art which he collected and > > > exhibited. It is characterized by a rawness and a primitive > > > expressiveness. > > > > > > If you think your work falls into one of these categories, please > > > send 3-5 jpgs, one picture per piece of work, with a short artist=B4s > > > bio, with "outsider art" in the subject line, to: > > > > > > mbales@oh.verio.com > > > and > > > markk@deepcleveland.com > > > > > > Deadline: March 31, 2007 > > > > > > > > > -- > > > No virus found in this incoming message. > > > Checked by AVG Free Edition. > > > Version: 7.5.446 / Virus Database: 268.18.7/713 - Release Date: > > > 3/7/2007 9:24 AM > > > > ========================================================================= Date: Wed, 7 Mar 2007 10:11:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Outsider Art In-Reply-To: <1dec21ae0703070953x50392076iebcd7d7750f2421@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Murat, advertisements and posters may not be considered folk art but they are considered art, particularly in some quarters. I see many old movie posters, for instance, considered art now, especially by those who use them as decorations in their home. As for advertising as art, Andy Warhol did his best to break down that distinction between high and commercial art. However, most advertising is still not art. It's purpose is to convince, to sell a product. It is thus closer to propaganda than it is to art, and often about as honest as propaganda is as well. That much of it is ugly and aimed at overcoming the consumer's conscious resistance through repetition into the subconscious and unconscious is another factor that makes it less honest than art. Regards, Tom Savage Murat Nemet-Nejat wrote: Mark, Was Arts and Crafts movement in England an art brut or folk art movement, though it has some of the elements of folk art? In the antiques world, folk art has a few distinct elements: first, most often no individual name is attached to the product; second, products have practical applications. A third, a more tacit assumption, is that they are hand made. In The States the typical folk art product would be quilts, shaker furniture, early store signs and posters, kitchy pottery sets, certain hand drawings, etc., are examples of folk art. In the East, the quintessential one is carpets. The idea of folk are has deep roots in Romanticism, racism and hierarchical structures. For instance, though modern industrial designed products possess two crucial elements of folk (anonymity and practical application), they are not called so because of the machine element. Collectors of Oriental carpets make a big deal about whether the weaver has only used natural (vegetable) dyes, that being more valuable by multiples, or also chemical ones. On the other hand, if a Western artist, De Kooning for example, experiments with synthetic material, this is called art (a new experiment). One can see here a subtle placing of the East on an inferior level, with the suggestion that they do not quite deserve industrialization and science. One must not forget, the presence of chemicals or not in the dye material Van Gogh used, for example, does not even come up. It is not relevant. Once again, while early store sign posters are considered folk art, modern advertizement (posters or T.V. ads, etc.) are not, though a certain stigma due to its commercial aspect, is attached to advertising also (is advertising an outsider art?). The fact is that early American posters reflect the cultural, racial assumptions of their time: blacks in subservient servant's clothing, blacks as monkeys (Coons), etc. Ciao, Murat On 3/7/07, Mark Weiss wrote: > > Qualification by self-description is pretty funny > throughout. Do I get in if I certify myself as > insane? And putting mental health profesionals, > only some of whom are nuts, in the same category > may be symptomatic. There are similar problems > with Art Brut and even more with folk art. > Quilting became popular among educated > middleclass women with back to the land > fantasies. Is what they do folk art, or is it craft with a whiff of > nostalgia? > > Mark > > At 09:47 AM 3/7/2007, you wrote: > >What, outsiders can't have computers? Who made THAT rule? > > > >Marcus > > > > > >On 7 Mar 2007 at 8:38, Sylvester Pollet wrote: > > > > > This is the funniest post I've read on the list in 12 years, or > > > whatever it is! Outsiders, send your jpegs! You have nothing to lose > > > but your status! Sylvester > > > > > > Date: Tue, 6 Mar 2007 19:12:52 -0500 > > > From: Marcus Bales > > > Subject: Call for Submissions -- Outsider Art -- > > > > > > Call for Submissions -- Outsider Art -- > > > > > > Gallery 324 > > > The Galleria at Erieview > > > 1301 East Ninth Street > > > Cleveland, Ohio 44114 > > > > > > July 14 - 28, 2007 > > > Opening reception Saturday July 14 6-8 pm > > > > > > Please send 3-5 jpgs, one picture per piece of work, with a short > > > artist´s bio, with "outsider art" in the subject line, to: > > > > > > mbales@oh.verio.com > > > and > > > markk@deepcleveland.com > > > > > > Deadline: March 31, 2007 > > > > > > We´re interested in submissions of > > > > > > 1. Folk Art - the arts that are taught from the crade within a > > > living > > > tradition. The artists in this category carry on traditions passed > > > on > > > to them in their community or family such as quilting styles, > > > embroidery, painting styles (like on furniture or house murals). > > > > > > 2. Outsider Art - also called self-taught art. This is art produced > > > by the individual who has not received any art training and has been > > > more or less called into producing art by an inner need or > > > compulsion. > > > > > > 3. Psychiatric Art - This is the art that has been produced mostly > > > at > > > institutions or by art therapists or individual psychologists or > > > psychiatrists notable for its authenticity and richness of > > > expression. > > > > > > 4. Art Brut - started by the Jean Dubuffet to both describe his art > > > and to establish a label for much of the art which he collected and > > > exhibited. It is characterized by a rawness and a primitive > > > expressiveness. > > > > > > If you think your work falls into one of these categories, please > > > send 3-5 jpgs, one picture per piece of work, with a short artist´s > > > bio, with "outsider art" in the subject line, to: > > > > > > mbales@oh.verio.com > > > and > > > markk@deepcleveland.com > > > > > > Deadline: March 31, 2007 > > > > > > > > > -- > > > No virus found in this incoming message. > > > Checked by AVG Free Edition. > > > Version: 7.5.446 / Virus Database: 268.18.7/713 - Release Date: > > > 3/7/2007 9:24 AM > > > > --------------------------------- Bored stiff? Loosen up... Download and play hundreds of games for free on Yahoo! Games. ========================================================================= Date: Wed, 7 Mar 2007 12:16:32 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: FC2's send-off for R. M. Berry Comments: cc: Poetryetc and poetics provides a venue for a dialogue relating to poetry , Theory and Writing Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Every good publisher deserves a send-off like this one for R. M. Berry of Fiction Collective 2. http://www.youtube.com/watch?v=SdOaW_WznA0 Hal "Please stand clear of the closing doors." Halvard Johnson ================ halvard@gmail.com halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org ========================================================================= Date: Wed, 7 Mar 2007 10:20:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: AWP? In-Reply-To: <20070307152721.14243.qmail@web83304.mail.sp1.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I suggest taking a look at Kasey S. Mohamed's blog http://lime-tree.blogspot.com/ where he has an ongoing discussion of the creation of an alternative format for an AWP - a festival of poets and poetries and presses and parties without the careerist components. I think it's a sweet vision. And Ashland, Oregon, as Kasey offers - home of one of the best on-going Shakespeare, Renaissance and contemporary theater venues in the country - would be a great site for such. (Bars, restaurants, the works). Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Wed, 7 Mar 2007 13:24:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Outsider Art In-Reply-To: <1dec21ae0703070953x50392076iebcd7d7750f2421@mail.gmail.com > Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable OK, a bit more seriously. Right, folk art is a=20 slippery term. You complain of ideological=20 leakage on one side. On the other, it slops over into "folksyness." I don't think anyone has ever confused the arts=20 and crafts movement with folk art, any more than=20 they've confused The Ballad of the Ancient=20 Mariner with the ballads sung in crofter's cottages. Advertising art, which is created in design=20 studios and mass produced, is highly sought=20 after, but it's a different market--dealers in=20 Howard Finster, or in old store signs, don't sell coca cola signs. Likewise rugs. It's unimaginable that a folk art=20 dealer would sell oriental carpets as folk art.=20 Simply, people don't come to his shop looking for=20 them. But there's also a question over whether=20 they fit the definition: there are certainly=20 carpets made for personal use that find their way=20 onto the market, but most of the trade in=20 hand-made orientals is in rugs produced for the=20 market, where whole villages do little else. An=20 industrial product, despite design variations. Even Navajo rugs are rarely sold as folk art.=20 There's more money to be made in the separate category of American Indian= art. As a dealer and collector I picked up a number of=20 paintings by a guy who was selling them in the=20 back of his booth at a tag sale. Mainly what he=20 sold was old tools. An outsider for sure. But if=20 I mount an exhibition of his paintings is he still an outsider? Mark At 12:53 PM 3/7/2007, you wrote: >Mark, > >Was Arts and Crafts movement in England an art brut or folk art movement, >though it has some of the elements of folk art? > >In the antiques world, folk art has a few distinct elements: first, most >often no individual name is attached to the product; second, products have >practical applications. A third, a more tacit assumption, is that they are >hand made. In The States the typical folk art product would be quilts, >shaker furniture, early store signs and posters, kitchy pottery sets, >certain hand drawings, etc., are examples of folk art. In the East, the >quintessential one is carpets. The idea of folk are has deep roots in >Romanticism, racism and hierarchical structures. For instance, though= modern >industrial designed products possess two crucial elements of folk= (anonymity >and practical application), they are not called so because of the machine >element. Collectors of Oriental carpets make a big deal about whether the >weaver has only used natural (vegetable) dyes, that being more valuable by >multiples, or also chemical ones. On the other hand, if a Western artist,= De >Kooning for example, experiments with synthetic material, this is called= art >(a new experiment). One can see here a subtle placing of the East on an >inferior level, with the suggestion that they do not quite deserve >industrialization and science. One must not forget, the presence of >chemicals or not in the dye material Van Gogh used, for example, does not >even come up. It is not relevant. > >Once again, while early store sign posters are considered folk art, modern >advertizement (posters or T.V. ads, etc.) are not, though a certain stigma >due to its commercial aspect, is attached to advertising also (is >advertising an outsider art?). The fact is that early American posters >reflect the cultural, racial assumptions of their time: blacks in >subservient servant's clothing, blacks as monkeys (Coons), etc. > >Ciao, > >Murat > >On 3/7/07, Mark Weiss wrote: >> >>Qualification by self-description is pretty funny >>throughout. Do I get in if I certify myself as >>insane? And putting mental health profesionals, >>only some of whom are nuts, in the same category >>may be symptomatic. There are similar problems >>with Art Brut and even more with folk art. >>Quilting became popular among educated >>middleclass women with back to the land >>fantasies. Is what they do folk art, or is it craft with a whiff of >>nostalgia? >> >>Mark >> >>At 09:47 AM 3/7/2007, you wrote: >> >What, outsiders can't have computers? Who made THAT rule? >> > >> >Marcus >> > >> > >> >On 7 Mar 2007 at 8:38, Sylvester Pollet wrote: >> > >> > > This is the funniest post I've read on the list in 12 years, or >> > > whatever it is! Outsiders, send your jpegs! You have nothing to lose >> > > but your status! Sylvester >> > > >> > > Date: Tue, 6 Mar 2007 19:12:52 -0500 >> > > From: Marcus Bales >> > > Subject: Call for Submissions -- Outsider Art -- >> > > >> > > Call for Submissions -- Outsider Art -- >> > > >> > > Gallery 324 >> > > The Galleria at Erieview >> > > 1301 East Ninth Street >> > > Cleveland, Ohio 44114 >> > > >> > > July 14 - 28, 2007 >> > > Opening reception Saturday July 14 6-8 pm >> > > >> > > Please send 3-5 jpgs, one picture per piece of work, with a short >> > > artist=B4s bio, with "outsider art" in the subject line, to: >> > > >> > > mbales@oh.verio.com >> > > and >> > > markk@deepcleveland.com >> > > >> > > Deadline: March 31, 2007 >> > > >> > > We=B4re interested in submissions of >> > > >> > > 1. Folk Art - the arts that are taught from the crade within a >> > > living >> > > tradition. The artists in this category carry on traditions passed >> > > on >> > > to them in their community or family such as quilting styles, >> > > embroidery, painting styles (like on furniture or house murals). >> > > >> > > 2. Outsider Art - also called self-taught art. This is art produced >> > > by the individual who has not received any art training and has been >> > > more or less called into producing art by an inner need or >> > > compulsion. >> > > >> > > 3. Psychiatric Art - This is the art that has been produced mostly >> > > at >> > > institutions or by art therapists or individual psychologists or >> > > psychiatrists notable for its authenticity and richness of >> > > expression. >> > > >> > > 4. Art Brut - started by the Jean Dubuffet to both describe his art >> > > and to establish a label for much of the art which he collected and >> > > exhibited. It is characterized by a rawness and a primitive >> > > expressiveness. >> > > >> > > If you think your work falls into one of these categories, please >> > > send 3-5 jpgs, one picture per piece of work, with a short artist=B4s >> > > bio, with "outsider art" in the subject line, to: >> > > >> > > mbales@oh.verio.com >> > > and >> > > markk@deepcleveland.com >> > > >> > > Deadline: March 31, 2007 >> > > >> > > >> > > -- >> > > No virus found in this incoming message. >> > > Checked by AVG Free Edition. >> > > Version: 7.5.446 / Virus Database: 268.18.7/713 - Release Date: >> > > 3/7/2007 9:24 AM >> > > ========================================================================= Date: Wed, 7 Mar 2007 13:30:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: Re: Outsider Art In-Reply-To: <571828.37336.qm@web31102.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline tom, would you please explain with a bit more detail how movie posters (which have the function to sell, no matter which era) differ from advertising (as you define it below)? On 3/7/07, Thomas savage wrote: > > Dear Murat, advertisements and posters may not be considered folk art but > they are considered art, particularly in some quarters. I see many old > movie posters, for instance, considered art now, especially by those who = use > them as decorations in their home. As for advertising as art, Andy Warho= l > did his best to break down that distinction between high and commercial > art. However, most advertising is still not art. It's purpose is to > convince, to sell a product. It is thus closer to propaganda than it is = to > art, and often about as honest as propaganda is as well. That much of it= is > ugly and aimed at overcoming the consumer's conscious resistance through > repetition into the subconscious and unconscious is another factor that > makes it less honest than art. Regards, Tom Savage > > Murat Nemet-Nejat wrote: Mark, > > Was Arts and Crafts movement in England an art brut or folk art movement, > though it has some of the elements of folk art? > > In the antiques world, folk art has a few distinct elements: first, most > often no individual name is attached to the product; second, products hav= e > practical applications. A third, a more tacit assumption, is that they ar= e > hand made. In The States the typical folk art product would be quilts, > shaker furniture, early store signs and posters, kitchy pottery sets, > certain hand drawings, etc., are examples of folk art. In the East, the > quintessential one is carpets. The idea of folk are has deep roots in > Romanticism, racism and hierarchical structures. For instance, though > modern > industrial designed products possess two crucial elements of folk > (anonymity > and practical application), they are not called so because of the machine > element. Collectors of Oriental carpets make a big deal about whether the > weaver has only used natural (vegetable) dyes, that being more valuable b= y > multiples, or also chemical ones. On the other hand, if a Western artist, > De > Kooning for example, experiments with synthetic material, this is called > art > (a new experiment). One can see here a subtle placing of the East on an > inferior level, with the suggestion that they do not quite deserve > industrialization and science. One must not forget, the presence of > chemicals or not in the dye material Van Gogh used, for example, does not > even come up. It is not relevant. > > Once again, while early store sign posters are considered folk art, moder= n > advertizement (posters or T.V. ads, etc.) are not, though a certain stigm= a > due to its commercial aspect, is attached to advertising also (is > advertising an outsider art?). The fact is that early American posters > reflect the cultural, racial assumptions of their time: blacks in > subservient servant's clothing, blacks as monkeys (Coons), etc. > > Ciao, > > Murat > > On 3/7/07, Mark Weiss wrote: > > > > Qualification by self-description is pretty funny > > throughout. Do I get in if I certify myself as > > insane? And putting mental health profesionals, > > only some of whom are nuts, in the same category > > may be symptomatic. There are similar problems > > with Art Brut and even more with folk art. > > Quilting became popular among educated > > middleclass women with back to the land > > fantasies. Is what they do folk art, or is it craft with a whiff of > > nostalgia? > > > > Mark > > > > At 09:47 AM 3/7/2007, you wrote: > > >What, outsiders can't have computers? Who made THAT rule? > > > > > >Marcus > > > > > > > > >On 7 Mar 2007 at 8:38, Sylvester Pollet wrote: > > > > > > > This is the funniest post I've read on the list in 12 years, or > > > > whatever it is! Outsiders, send your jpegs! You have nothing to los= e > > > > but your status! Sylvester > > > > > > > > Date: Tue, 6 Mar 2007 19:12:52 -0500 > > > > From: Marcus Bales > > > > Subject: Call for Submissions -- Outsider Art -- > > > > > > > > Call for Submissions -- Outsider Art -- > > > > > > > > Gallery 324 > > > > The Galleria at Erieview > > > > 1301 East Ninth Street > > > > Cleveland, Ohio 44114 > > > > > > > > July 14 - 28, 2007 > > > > Opening reception Saturday July 14 6-8 pm > > > > > > > > Please send 3-5 jpgs, one picture per piece of work, with a short > > > > artist=B4s bio, with "outsider art" in the subject line, to: > > > > > > > > mbales@oh.verio.com > > > > and > > > > markk@deepcleveland.com > > > > > > > > Deadline: March 31, 2007 > > > > > > > > We=B4re interested in submissions of > > > > > > > > 1. Folk Art - the arts that are taught from the crade within a > > > > living > > > > tradition. The artists in this category carry on traditions passed > > > > on > > > > to them in their community or family such as quilting styles, > > > > embroidery, painting styles (like on furniture or house murals). > > > > > > > > 2. Outsider Art - also called self-taught art. This is art produced > > > > by the individual who has not received any art training and has bee= n > > > > more or less called into producing art by an inner need or > > > > compulsion. > > > > > > > > 3. Psychiatric Art - This is the art that has been produced mostly > > > > at > > > > institutions or by art therapists or individual psychologists or > > > > psychiatrists notable for its authenticity and richness of > > > > expression. > > > > > > > > 4. Art Brut - started by the Jean Dubuffet to both describe his art > > > > and to establish a label for much of the art which he collected and > > > > exhibited. It is characterized by a rawness and a primitive > > > > expressiveness. > > > > > > > > If you think your work falls into one of these categories, please > > > > send 3-5 jpgs, one picture per piece of work, with a short artist= =B4s > > > > bio, with "outsider art" in the subject line, to: > > > > > > > > mbales@oh.verio.com > > > > and > > > > markk@deepcleveland.com > > > > > > > > Deadline: March 31, 2007 > > > > > > > > > > > > -- > > > > No virus found in this incoming message. > > > > Checked by AVG Free Edition. > > > > Version: 7.5.446 / Virus Database: 268.18.7/713 - Release Date: > > > > 3/7/2007 9:24 AM > > > > > > > > > > --------------------------------- > Bored stiff? Loosen up... > Download and play hundreds of games for free on Yahoo! Games. > --=20 SUICIDE L L C, when life just isn't an option ========================================================================= Date: Wed, 7 Mar 2007 10:40:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Outsider Art In-Reply-To: <1dec21ae0703070953x50392076iebcd7d7750f2421@mail.gmail.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit At least, in my neighborhood, the 'haircut' is the most common, most fluid form of 'outsider art' - all puns intended. There is always, however, the the question of how to collect a great, curious, eccentric cut - or even an 'in vogue' cut. Photographs, films, plaster casts, artificial hair simulcra, and wigs are not the real thing. Taking scalps remains a possibility, but I understand, the nature of hair on a scalp is still to continue to grow! Plus there might be other penalties related to this kind of capture and removal. Fugitive, elusive - unless somebody knows something I do not know - the haircut, no matter 'how great' as an an 'outsider art' form cannot be fully preserved and captured. I am sure we have all had poems appear and disappear like that. Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Wed, 7 Mar 2007 10:52:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: AWP.... In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Ah, yeah, but could Kasey get travel money, or rooms, for the visitors? If the "price" of securing something like that could render it susceptible to 'careerist components,' that may not be so bad. Oh, I'm sure some people can get their schools to pay for it--which is also not so bad.... but then there's going to be those who can't afford to go, or an inequality between those who get paid to go and those who don''t.... not to sound cynical, and say it can't be done; and maybe kasey could pull it off.... The closest I'm aware of anybody coming to this in the past 15 years was that "New Coast" conference and something could be done even better, but it's daunting (i went to awp once, though (CHICAGO), and though i dreaded the worst, it ended up not being so bad.... eye wonder-- can de-alienating fun and/or true connection be fostered through institutional organization of any sort? or to wander lonely as a crowd, etc.... Chris On Mar 7, 2007, at 10:20 AM, Stephen Vincent wrote: > I suggest taking a look at Kasey S. Mohamed's blog > http://lime-tree.blogspot.com/ > where he has an ongoing discussion of the creation of an > alternative format > for an AWP - a festival of poets and poetries and presses and parties > without the careerist components. > I think it's a sweet vision. And Ashland, Oregon, as Kasey offers - > home of > one of the best on-going Shakespeare, Renaissance and contemporary > theater > venues in the country - would be a great site for such. (Bars, > restaurants, > the works). > > Stephen V > http://stephenvincent.net/blog/ ========================================================================= Date: Wed, 7 Mar 2007 11:13:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Outsider Art In-Reply-To: <20070307112906.BBD01927@po-b.temple.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Is it possible to discuss, in pragmatic measure, functions/presentations of kinds of art in the world -- as well as what one might actively avoid/define one's self against -- without spiraling into the old "impossible to define any concept" debate at every turn? On my slippery slope, it's merely distracting and unproductive, not comedic. I do have a question though as my logic hasn't been attended to since the undergrad class I failed -- How is noting that outsider artists resist the draw of art institutions essentializing the definition of outsider art? Your conclusion seems cyclical and insular in a way that requires yet another leap, " ... whatever 'outsider art' is, it is not this, and yet also knows that in order to know this, it must itself have an essentialist notion of 'outsider art'." I don't see how by knowing some periphery knowledge (that "outsider artists generally resist institutions") that I then must have an "essentialist notion" of outsider art. In fact, I know very little about outsider art, perhaps because I haven't researched it/sought it out to any noteworthy degree, and then perhaps because it isn't frequently displayed in the galleries that I frequent. I would assume that there are more artists engaged in outsider art activities than most of us know. Where is the essentialist notion in that? Will Esposito wrote: To have a notion of "outsider art" is also to have an essentialist orientation toward another essentialist orientation; namely, toward a notion of "art." What is fine here is how the first post knows that whatever "outsider art" is, it is not this, and yet also knows that in order to know this, it must itself have an essentialist notion of "outsider art." What is comic here is how subsequent posts fail to recognize or admit the problematics of definition, instead leading us along what Kenneth Burke would call the "bureaucratization of the imaginative," sticking to the guns of their arguments, guns that merely expel a little white flag that reads "Bang!" Someone call Harper's Magazine, please. --------------------------------- Finding fabulous fares is fun. Let Yahoo! FareChase search your favorite travel sites to find flight and hotel bargains. ========================================================================= Date: Wed, 7 Mar 2007 11:18:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Outsider Art In-Reply-To: <7.0.1.0.1.20070307130940.05df3c70@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Once the work is out of the artist's hands, does that mean he doesn't control it anymore? If he sells his work to you, has he allowed it to become a commodity? Unless he contractually requires, upon selling to you, that the piece not be displayed, aren't you free to do with it as you please - apart from his principles? And then by the very selling the work, or even just allowing its entry into the Art World proper, has he inherently negated his outsider art status, whether he contractually limits its presentation in the world or not? Mark Weiss wrote:As a dealer and collector I picked up a number of paintings by a guy who was selling them in the back of his booth at a tag sale. Mainly what he sold was old tools. An outsider for sure. But if I mount an exhibition of his paintings is he still an outsider? Mark --------------------------------- Expecting? Get great news right away with email Auto-Check. Try the Yahoo! Mail Beta. ========================================================================= Date: Wed, 7 Mar 2007 11:13:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: Baraka In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Chris Stroffolino wrote: "what specifically?" Come on, Chris, don't get me started. Okay, for starters. Baraka forgets, in a major way, rhetorical rule number one: talk to your f**ing audience. Do you think he believes his *own* poetry sucks? No, he comes across as an insanely vain man. Or that *he* might have some degree of guilty complicity in the Evil System? Or that poetry might just not be the best way of leading the fight, and shouldn't define the dignity or rank of those who struggle? Sounds to me like he doesn't like anyone who doesn't write *like him*. Gimme a break. What an arrogant jerk. Plus, he's just plain wrong. I've read lots of interesting poetry being written right now, politically driven or otherwise. You'll notice I didn't mention the antisemitism issue, as I don't know anything about it and it's not relevant to this article anyway. That said, given the hateful language of this pinhead, I wouldn't be surprised if. Here's where I cover my head and wait for the tomatoes. I'm going to regret this.... Amicalement, Alex www.alexdickow.net/blog/ les mots! ah quel désert à la fin merveilleux. -- Henri Droguet ========================================================================= Date: Wed, 7 Mar 2007 14:25:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: Baraka In-Reply-To: <621309.6102.qm@web35503.mail.mud.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable where is the article? On 3/7/07 2:13 PM, "Alexander Dickow" wrote: > Chris Stroffolino wrote: "what specifically?" >=20 > Come on, Chris, don't get me started. > Okay, for starters. Baraka forgets, in a major way, > rhetorical rule number one: talk to your f**ing > audience. Do you think he believes his *own* poetry > sucks? No, he comes across as an insanely vain man. Or > that *he* might have some degree of guilty complicity > in the Evil System? Or that poetry might just not be > the best way of leading the fight, and shouldn't > define the dignity or rank of those who struggle? > Sounds to me like he doesn't like anyone who doesn't > write *like him*. Gimme a break. What an arrogant > jerk.=20 > Plus, he's just plain wrong. I've read lots of > interesting poetry being written right now, > politically driven or otherwise. > You'll notice I didn't mention the antisemitism issue, > as I don't know anything about it and it's not > relevant to this article anyway. That said, given the > hateful language of this pinhead, I wouldn't be > surprised if. > Here's where I cover my head and wait for the > tomatoes. I'm going to regret this.... > Amicalement, > Alex >=20 > www.alexdickow.net/blog/ > =20 > les mots! ah quel d=E9sert =E0 la fin > merveilleux. -- Henri Droguet ========================================================================= Date: Wed, 7 Mar 2007 11:25:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dillon Westbrook Subject: Re: Baraka In-Reply-To: <621309.6102.qm@web35503.mail.mud.yahoo.com> Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable could someone point me to the Baraka article in question- I'm missing =20= something in the stream, but interested to catch up. Dillon On Mar 7, 2007, at 11:13 AM, Alexander Dickow wrote: > Chris Stroffolino wrote: "what specifically?" > > Come on, Chris, don't get me started. > Okay, for starters. Baraka forgets, in a major way, > rhetorical rule number one: talk to your f**ing > audience. Do you think he believes his *own* poetry > sucks? No, he comes across as an insanely vain man. Or > that *he* might have some degree of guilty complicity > in the Evil System? Or that poetry might just not be > the best way of leading the fight, and shouldn't > define the dignity or rank of those who struggle? > Sounds to me like he doesn't like anyone who doesn't > write *like him*. Gimme a break. What an arrogant > jerk. > Plus, he's just plain wrong. I've read lots of > interesting poetry being written right now, > politically driven or otherwise. > You'll notice I didn't mention the antisemitism issue, > as I don't know anything about it and it's not > relevant to this article anyway. That said, given the > hateful language of this pinhead, I wouldn't be > surprised if. > Here's where I cover my head and wait for the > tomatoes. I'm going to regret this.... > Amicalement, > Alex > > www.alexdickow.net/blog/ > > les mots! ah quel d=E9sert =E0 la fin > merveilleux. -- Henri Droguet ========================================================================= Date: Wed, 7 Mar 2007 11:49:12 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Outsider Art In-Reply-To: <474828.95816.qm@web83309.mail.sp1.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > Once the work is out of the artist's hands, does that mean he doesn't control > it anymore? I don't know if this varies from state to state, but in California, if a work is sold at auction, I believe the artist receives a percentage of the sale. (Which gives a California owner incentive to go to auction with the same piece in New York, I assume, to where there will be percentage for the artist). And there are laws about what you can do to a work. You cannot, for example, take a mobile or work by Alexander Calder (or anyone else) and weld it into a patio lawn chair. Or, if a City has commissioned a mural for a particular space, the art work cannot be destroyed or abused. It the wall is to be changed, the artwork must be preserved and not destroyed, tho it may be relocated to another site (which, I suspect, may include a warehouse). Curious analog with poetry is that no one is entitled to abuse your original poem, that is take it, alter it and/or misrepresent it with your name. That's copyright violation. A person can, however - as most of us in one way or other do - take somebody else's poem (be the poet alive or dead) and transform it something else, tho still maybe strongly echoing the original work. Where this gets challenging in the visual realm is in the area of 'appropriation art" - where a photographer, say, Sherrie Levine, rephotographs a Walker Evans framed picture and puts her name under it. Or, a personal example, when the Fraenkel Gallery in San Francisco sold Man Ray's photograph of The Woman With Tears (right name) for a million dollars (it was the first photograph to break into 7 figures), I photographed the Man Ray in the Gallery. I happily showed everyone my one million dollar photograph. I appropriated everything, even the frame, except for the original and the money! I don't know if there is anything comparable in poetry to the practice of 'appropriation art' in that sense. Tho I once hollowed out a Shakespeare sonnet, leaving only the first and last letters on each line. That was kind of liberating! And the hollowed shape was intriguing. Stephen V ========================================================================= Date: Wed, 7 Mar 2007 14:31:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brigitte Byrd Subject: Re: FC2's send-off for R. M. Berry In-Reply-To: <5DA0B1C5-A5EA-4ADD-B7D8-F02D51E82347@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I must say that this Ralph get up is just too funny. It's so out of character. . . . Great homage. Brigitte Halvard Johnson wrote: Every good publisher deserves a send-off like this one for R. M. Berry of Fiction Collective 2. http://www.youtube.com/watch?v=SdOaW_WznA0 Hal "Please stand clear of the closing doors." Halvard Johnson ================ halvard@gmail.com halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org Brigitte Byrd http://a-s.clayton.edu/bbyrd/Homepage.htm --------------------------------- Sucker-punch spam with award-winning protection. Try the free Yahoo! Mail Beta. ========================================================================= Date: Wed, 7 Mar 2007 16:41:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Please help if you can. Re: Thoma Chapins' 50th b'day - fri. 3/9 MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Thomas Chapin was a brilliant jazz saxophonist and flutist, who died 9 years ago of leukemia. During the last year of his life, his health prevented him from making major concerts (e.g., the Monterey Jazz Festival) that would have made him a star. If any of you can forward this to others who can help, such as jazz DJs who could dedicate part of their shows to playing Chapin's music, I would greatly appreciate it. He was one of the very best sax saxophonists of the 1980s and 1990s, and one of the freshest musical voices of his time. His web site, scheduled to open Friday, March 9, is www.thomaschapin.com . Thank you. Vernon _____ From: teresita castillo [mailto:castillo_teresita@yahoo.com] Sent: Wednesday, March 07, 2007 4:26 PM To: terri castillo Subject: help! coming email announcement on thomas' 50th b'day - fri. 3/9 Hi Friends: I just wanted to alert you to a "grassroots" email announcement that will come tomorrow (or Fri. 3/9, morning) asking people to remember Thomas Chapin on the anniversary of his 50th birthday, this Fri., March 9. I am working feverishly now to draft an announcement linking it to our website which will launch on Friday as well. Just asking people to remember Thomas, each in their own way, and go to the site and take a look, etc. I'm hoping that you will be able to forward this email announcement out to your personal list of appropriate friends, fans, interested parties so that others can know about this date and the website launch. Thanks for your attention and care! Watch for the email to arrive afternoon of tomorrow, Thurs. March 8. All the Best and much gratitude! Terri _____ We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. ========================================================================= Date: Wed, 7 Mar 2007 15:05:31 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Photios Giovanis Subject: Carolee Schneemann, friend of many poets MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable Everyone, The following is the press release announcing my first curatorial= =20 endeavor -- an exhibition of works by Carolee Schneemann opening at CEPA=20 Gallery in downtown Buffalo on March 31. If you are in town, hope to see yo= u=20 there. many thanks, Photi CEPA Gallery Presents: Remains To Be Seen A thematic exhibit of the work of Carolee Schneemann March 31, 2007 =96 May 26, 2007 CEPA Gallery is pleased to announce the opening of Remains To Be Seen, a=20 retrospective examination of the artistic output of Carolee Schneemann that= =20 surveys the breadth and depth of her expansive contribution to contemporary= =20 art. The exhibition will open with a reception for the artist and the publi= c,=20 Saturday, March 31, 2007 from 7 =96 10 p.m. The artist and the exhibition= =92s=20 curator, Photios Giovanis, will be present. Conceived to foster an internal dialogue between Schneemann=92s diverse bod= ies=20 of work, Remains To Be Seen counters a traditional chronological format to= =20 focus on the complexities of her creative process and its scope of influenc= e. Remains To Be Seen features three central issues; War, Erotics, and Felines= ,=20 with Schneemann=92s most well known works including Interior Scroll, Vulva= =92s=20 Morphia, and screenings of her films, Fuses and Meat Joy. The section on ca= ts=20 will include large format photographs and the recently completed film=20 Infinity Kisses. The war pieces will include video and photo grids spanning= =20 1964 - 2006 that directly address Vietnam, Kosovo, Lebanon and the events o= f=20 9/11. Additionally, CEPA=92s Public Art Window on Main Street will present= =20 Vesper=92s Pool, a display of mystical objects that center on the death of= =20 Schneemann=92s cat, Vesper.=20 A companion exhibit titled Broken Borders at the Museum of Contemporary=20 Canadian Art in Toronto, curated by David Liss, runs March 23 =96 April 30,= =20 2007. It addresses Schneemann=92s history of working in Canada and includes= =20 three recent large scale, multi-channel video installations.=20 A catalog, Split Decision, produced in partnership with the Museum of=20 Contemporary Canadian Art, encompassing the two exhibits, will be available= .=20 The publication explores Schneemann=92s career from different historical an= d=20 political perspectives to expand critical awareness of her work. It will=20 document a wide range of works and will include essays by leading art schol= ar=20 Thomas McEvilley, Canadian art critic Jim Drobnick, Buffalo-based media=20 artist Caroline Koebel. ### Founded in 1974 by and for artists, CEPA Gallery is a comprehensive not-for= - profit t art center dedicated to promoting the photo-related and electronic= =20 arts. With programs in visual art exhibitions, public art projects, artist= =20 residencies, and education, CEPA strives to foster the creation and=20 presentation of new work, educate the region to contemporary art trends, an= d=20 encourage a continuous dialogue between artists and community. The gallery= =20 supports, encourages, and funds the creation and installation of projects b= y=20 emergent and established visual and media artists, and is especially=20 committed to creating opportunities for artists and groups traditionally=20 underrepresented in cultural spaces. CEPA is located in downtown Buffalo=92= s=20 historic Market Arcade Complex and is free and open to the public seven day= s=20 a week. Images are available by request. ========================================================================= Date: Wed, 7 Mar 2007 14:36:41 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: Outsider Art Mime-Version: 1.0 Content-Type: text/plain; format=flowed I have no idea why Marcus sent this call to this list, other than perhaps baiting Pavlovian dogs to a predictable series of giddy hilarity amid ridiculing responses, so he in turn can laugh at the creatures in their frenzy at having a big easy straw figure to tear apart and hurl lofty minded abuses at--? Who knows what lurks in the hearts of anyone--a lurker, a larker, a fair grounds barker? Is the spectacle of "outsider art" introduced in this setting, any more or less hilarious than posts dealing with "the marginalization of poetry," "radical, innovative poetics" vs "official verse culture"? Is Is the commodification, mediatization, appropriation of "outsider art" "worse" than the vast array of institutions, presses, reading series, journals, anthologies, essays, conferences, exhibitions, blogs, book announcements, calls for "transgressive, deforming, outside the box" poetry and essays this list takes perfectly seriously? Aren't many here continually proclamiing their "marginal status," their "outsider" abjection in the face of monolithic publishers and strip mall bookstores, official recognitions, prizes and the like? Isn't there often here a highminded deploring and celebrating of one's, or the group's, "difference" and "disabilities," financial woes and "marginalities" from the standardizations of the mainstream culture? Is the ridicule of "outsider art" because the true outsiders are to be found here, as is so often claimed? Yes, in many ways Outsider art, as with everything, including "the marginalization of poetry," has become fodder for the canned laughing machines of the tv "audience" implanted within as much of the society as is possible. It is by turns laughable, immensely sad and thoroughly, inevitably visicious how everything becomes subsumed to the maw of appropriation and exploitation. Even so, the fact remains that the call to create is heard by people of all sorts, and they respond in all sorts of ways, often in ways which have the energy and qualities of those things which through time are thought to be recognized as "art". Many of the works of "outsider art" are as "great" as any of those produced by "great artists". The impetus in the initial recogitions of this, by Prinzhorn in his 1921 Art of the Mentally Ill and Dubuffet in his 1946 proclamations and exhibtions of "Art Brut"--the impetus was to expand the field of recognition of what "art" is--that is, "art" is something more than that which has been defined as "art," produced soley by a person or persons known to society as "artists". The vocation of "artist" does not come only to those who think of themsleves or are conventionally thought of, as "artists". "Art" can call to anyone, come to people by all sorts of strange ways, manifest itself in all manner of forms, via the beings who "heed the call". "Art" is at once far more anarchic and far more disciplined within its exactions than what the conventioanlly recognized and labeled ideas, theories, crtiical commentaries and the whole appartus of discourse built around the term "art" --or "poetry"--can ever conceive of, can only begin to find in practice. The explosions of changes in 20th century art were initiated by persons , artists, who wanted to break through the barriers of what had come to be the prisons of "art". So the turn to recognizing a "naive painter" like Henri Rousseau as a geat artist, the turn to recognizing "primitve" and African, Tahitian, indigenous arts of the world over as Art, recognizing the interestingnesses of children's art, then that of the mentally ill, and, with Dubuffet , that of the untrained creator in all sorts of media often not remotely thought of before as "art materials" at all, yet the person creating with great discipline from these "outside" materials works of art that do have the qualities of what is proposed to be demanded by art. These recognitions born of a desire to regenerate western art from the coffins and prisons and asylums into which it was being consigned-the ones in the art world, the market world, the institutions---came almost entirely from artists orginally--not collectors or critics. theorists, bankers, sociologists of the soul. (Prinzhorn is a great exception, to whom many artists gave thanks for the immense possibilities opened by his book. Klee, the Surrealists, thousands of artists to this day recall and thank Prinzhorn.) When an artist feels confined, to paraphrase audre lorde, you can't smash through the wals of confinement and then hope to build something new with the master's tools--the artist looks around for things to use as tools never thought of before, and the same with materials. "Necessity is the motherfucker of invention," I say, and this is at the heart of not simply "outsider art", but of art which realizes it needs to find something other than what it is working with that got it into this prison in the first place. Setting out to find some other forms, tools and examples of possibilities--the artist begins to recognize art al around that they have never seen before as art, limited as they had been in an by their confinements, and like any artist, sets to work using these new examples and tools and forms. An artist is a finder and a thief, too, like a crow sighting and swooping down on what it recognizes as materials for the wild constructions of its Merzbau nest. And of course, by recognizing these new forms as something to steal from, the artist at the same time is recognizing that they in themsleves are an art equal with anything she has made. And that means these things found and recongized need to be studied deeply and with the discipline and respect one has brought to the things one has known up to now as "art" and materials. Th history of "modern" and "postmodern" art has been one continually informed by the extensions of recognitions by artists of what is art, outside the previous labels and conventions of such--and the uses or appreciations of these arts' forms, expressions, histories, creators. The first recogntion by ma institution of the equal status of "modern art" and "outsider art" came in th first mega traveling show of the 20th century, the Nazis' exhibition of Degenarte Art, in which works by great modern painters hung side by side with works by asylum inmates--including Adolf Wuffli, one of the first great "outsider artists" to become legendary. The Nazis thought that by equating modern art with the art of the insane, that they were underlining the "degeneracy" of modern art and those artists represented. Paradoxically, by this branding, condeming action, the Nazis had stumbled on exactly what was being seen not as a "degeneracy" and insanity in modern art, but the art of the "outsider" having an equal place with that of "great artists" as "great art"as recongised by artists--who mgiht just have some sort of expertise in art. The Nazis ridiculed, humiliated, condemned the modern artists, equating him and her with the works and person of the mentally ill whom the artists recognized as also being art, as artits in their right. By considering something so ridiculous and "sick" as "outsider art" to be art--this proved that the artists themselves were ridiculous and "sick." "It takes one to know one"--can cut both ways. So it is that ridicule, humilation and condemnation can often backfire. It is the Nazis who ended up experiecing these responses they had first flung out into the world. They joined a long list of "critics' and "curators" who had found their ridicule also coming back in their own faces. The modern art and "outsider art" went on being made and recognized as "art" by bringing the new recognitions they opened in the world not only in the spheres of "art" and "mental illness", but a reconsideration of al sorts of labels and values previously stuck on art and on people and on things found in the world. It's quite easy to mock "outsider art" these days when one knows only a few vague surface things about it being shown and sold in galleries, written about and advertised in expensive journals, begining to be taught in art history classes and ripped off by all sorts of poseurs. (Isn't "radicalinnovative," "transgressive" "marginalized" poetry being taught for a while now in both Creative Writing and literature classes in a great many places--?) But is not the same situation functioning in poetry, on the poetics list , in any other art forms? And mightn't others not a part of this sphere here find what goes on here equally laughable? And they do, do this, too, find it hilarious, as much as outsider art is found hilarious here. I don't know why the call was sent to this list, because--it's predictable that something like "outsider art" will be laughed at, the stereotypical cartoonish ideas and images of it, that is. It reveals both an ignorance of the subject and at the same time a superior attitude to it--that the "marginal, radical, innovative works" written of here, are superior to all the junk made by the clowns and pretenders and money makers of the "outsider art" world. It is as though what is discussed here is "real art" and what made over there "fake art". Or simply "bad art" cunningly marketed. One might even think of it as an issue with overtones of class, with "outsider art" being made by the uneducated, unsophisticated, lumpen masses out there in the heap of junk known as "the world", creating works of previously unseen and unthought of possibilities found in the junk itself. Each sphere looks out at the others and finds reasons to laugh at their pretensions, seriousnesses, pomposities, and as well ignore what is there that is really of interest and use in making one's own work as well. God knows this list has provided plenty of fodder for fun, just as every list does at some point or another. To understand what is really going on beneath the surfaces, the easily seen contradicitions, foibles and etc , --amd find out if anything of real interst going on--whether here or anywhere--requires some digging. You never know what you may find, here or anyhere. I laugh as much good healthy gallows laughter as anyone at the spectacle of the endless parade of the Emperors in their new clothes, which is what a good deal of life --and lists, labels--often appears to be. Yet, the eye and ear that can see the nakedness of the Emperors on their boney nags--is going to be wondering--why?--Why is this considered something--when over there--there exists something else, which is of real interest, yet stuck away in the background, practically in the broom closet? One can be laughing mightily at a spectacle--and be unaware that oneself is being a spectacle to be laughed at by another. Things whcih are "art" hidden among the things which are simulacra or constructed conceptualizations of institutionalized or throughly commercialized "art"--these things themselves have their own laughter, at those who do not see them. The best laughter comes when one sets out to undertand and feel "why"--the why hidden behind the Emperors' new clothes. A laughing mockery is going on of something--outsider art, something else----and one would like to know why--and finding one' way along the way of this--to understand that the laughter existing further on--is that of the things hidden in plain sight, yet concealed by the labelled clothes flung in front of them, to dismiss them from a serious looking into, while one is supposed to be keeping the eyes fixed on the Emperors left behind one . . . Yet the view of the thing over there almost in the broom closet--calls one--over there--away from the confinement of being forced to stand in lime with al the rest and be filled with awe at the magnificent spectacle of the Emperors' coverings up . . . The labels--why bother to read them with such confining eyes? Why is blocking the view? What is covering up--and what is beyond it--outside--over there--in the blue distances and right here, hidden in plain sight/site/cite . . . "A Dadaist is eomone who loves life in all its uncountable forms, and who knows, and says that, 'Life is not here alone, but also there, there, there (da, da, da)'" --Johannes Baader, Oberdada Berlins, in December 1918 issue of Die freie Strasse (The Free Street) and also-- "(The other thing I learned at college that was ever of any use to me) was a definition I got out of the agronomy books, and I reckon it was even more important than the first. It did more to revise my thinking, if I'd really done any thinking up until that time. Before that I'd seen everything in black and white, good and bad. But after I was set straight I saw that the name you put on a thing depended on where you stood and where it stood. And . . . and here's the definition, right out of the agronmy books: "A weed is a plant out of place.' Let me repeat that. 'A weed is a plant out of place.' I find a hollyhock in my cornfield, and it's a weed. I find it in my yard, and it's a flower.'" ----Jim Thompson, The Killer Inside Me So--here outsider art seems to be a weed--and "marginalized poetry" a flower--yet think how but with just a sliight movement of the head, as Cezanne wrote, the whole motif is changed. In that case, outsider art, marginalzied poetry--why not take them equally seriously and find out what is there which is real enough for something in it to have been found by other artists and poets? to quote the old song--"I wanna know, I wanna know/Who'll stop the rain?' which can also be the rein and the reign-- An excellent introduction to and history of ousider art and art brut is Lucienne Peiry's ART BRUT The Origins of Outsider Art. (Flammarion, 2001) The book is more than "profusely" illustrated, mainly in color. Lucienne Piery at least at time book appeared was the new Head of the Collection de l'Art Brut in Lausanne, Switzerland. >From: Will Esposito >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Outsider Art >Date: Wed, 7 Mar 2007 11:29:06 -0500 > >To have a notion of "outsider art" is also to have an >essentialist orientation toward another essentialist >orientation; namely, toward a notion of "art." What is fine >here is how the first post knows that whatever "outsider >art" is, it is not this, and yet also knows that in order to >know this, it must itself have an essentialist notion >of "outsider art." What is comic here is how subsequent >posts fail to recognize or admit the problematics of >definition, instead leading us along what Kenneth Burke >would call the "bureaucratization of the imaginative," >sticking to the guns of their arguments, guns that merely >expel a little white flag that reads "Bang!" > >Someone call Harper's Magazine, please. _________________________________________________________________ Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a month. Intro*Terms https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h27f6&disc=y&vers=743&s=4056&p=5117 ========================================================================= Date: Wed, 7 Mar 2007 15:36:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Outsider Art In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I think the governing term is "parody," and that the appropriation, as long as you don't try to pass it off as an original, is yours to claim as your own creation. The defining case in visual art is Duchamps' mustachioed Mona Lisa. To defend their property rights, museums limit publication of photographs of their holdings, and when they license reproduction the contract spells out what the licensee can and can't do. The same holds true for poems. There, and in verbal art in general, the veryu vague test seems to be the percentage of change. I don't know about the Calder. In most of the world the owner is perfectly well entitled to make it into a lawn chair, unlesshe's signed an agreement not to. But let's assume that in San Francisco one can't alter the Calder (and I do assume your assertion is correct), or even remove it to where one can, does this mean that no artworks can be altered? Can I make a throw-pillar rug out of a textile or throw a painting away? How are the limits set? Amy, I'm sure that there are "outsiders" who would resist their art being taken "inside" (what would Darger or Wolfli have said), but I doubt that's common. The artist whose work I bought (his name is Hendiekus, or Henry, Vanderloo) certainly wouldn't object. As to definition, the boundaries will always be nebulous. Van Gogh was largely self-trained, for instance, and gets treated one way, Rousseau le Douanier, also largely self-trained, another. It's the extremes that provoke criticism. To take an example from music, there are ethnomusicologist's tapes, and then there's Peter Paul and Mary. A Woody Guthrie is somewhere in between. Mark At 02:49 PM 3/7/2007, you wrote: > > Once the work is out of the artist's hands, does that mean he > doesn't control > > it anymore? >I don't know if this varies from state to state, but in California, if a >work is sold at auction, I believe the artist receives a percentage of the >sale. (Which gives a California owner incentive to go to auction with the >same piece in New York, I assume, to where there will be percentage for the >artist). >And there are laws about what you can do to a work. You cannot, for example, >take a mobile or work by Alexander Calder (or anyone else) and weld it into >a patio lawn chair. Or, if a City has commissioned a mural for a particular >space, the art work cannot be destroyed or abused. It the wall is to be >changed, the artwork must be preserved and not destroyed, tho it may be >relocated to another site (which, I suspect, may include a warehouse). > >Curious analog with poetry is that no one is entitled to abuse your original >poem, that is take it, alter it and/or misrepresent it with your name. >That's copyright violation. A person can, however - as most of us in one >way or other do - take somebody else's poem (be the poet alive or dead) and >transform it something else, tho still maybe strongly echoing the original >work. Where this gets challenging in the visual realm is in the area of >'appropriation art" - where a photographer, say, Sherrie Levine, >rephotographs a Walker Evans framed picture and puts her name under it. >Or, a personal example, when the Fraenkel Gallery in San Francisco sold Man >Ray's photograph of The Woman With Tears (right name) for a million dollars >(it was the first photograph to break into 7 figures), I photographed the >Man Ray in the Gallery. I happily showed everyone my one million dollar >photograph. I appropriated everything, even the frame, except for the >original and the money! > >I don't know if there is anything comparable in poetry to the practice of >'appropriation art' in that sense. Tho I once hollowed out a Shakespeare >sonnet, leaving only the first and last letters on each line. That was kind >of liberating! And the hollowed shape was intriguing. > >Stephen V ========================================================================= Date: Wed, 7 Mar 2007 15:26:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: advance notice In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed >I just sent off to the University of Michigan Press the final edit >of Lorenzo Thomas's posthumous volume WORDS AND MUSIC AND THE BLACK >INTELLECTUAL TRADITION -- Anybody who has ever heard Lorenzo talk >about music will love this book. -- Includes personal chats with >Juke Boy Bonnor and the guys who started Sonny Boy Williamson's KING >BISCUIT TIME radio show -- The book should be out within the year -- I'll keep y'all posted -- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "I stand corrected, like a bishop of the obvious." --Robert Kelly 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] Sailing the blogosphere at: http://heatstrings.blogspot.com/ ========================================================================= Date: Wed, 7 Mar 2007 15:20:47 -0500 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: the ottawa small press book fair - spring edition Content-transfer-encoding: 7BIT span-o (the small press action network - ottawa) presents the ottawa small press book fair spring edition will be happening Saturday, June 16, 2007 in room 203 of the Jack Purcell Community Centre (on Elgin, at 320 Jack Purcell Lane). contact rob at rob@track0.com to sign up for a table, etc. General info: the ottawa small press book fair noon to 5pm (opens at 11am for exhibitors) admission free to the public. $20 for exhibitors (payable to rob mclennan, c/o 858 Somerset St W, main floor, Ottawa Ontario K1R 6R7). full tables only. for catalog, exhibitors should send (on paper, not email name of press, address, email, web address, contact person, type of publications, list of publications (with price), if submissions are being considered & any other pertinent info, including upcoming ottawa-area events (if any). also, due to the increased demand for table space, exhibitors are asked to confirm far earlier than usual. i.e. -- before, say, the day of the fair. the fair usually contains exhibitors with poetry books, novels, cookbooks, posters, t-shirts, graphic novels, comic books, magazines, scraps of paper, gum-ball machines with poems, 2x4s with text, etc. happens twice a year, started in 1994 by rob mclennan & James Spyker. now run by rob mclennan thru span-o. questions, rob@track0.com or 613 239 0337 more info on span-o at the span-o link of www.track0.com/rob_mclennan free things can be mailed for fair distributionto the same address. we will not be selling things for folk who cant make it, sorry. also, always looking for volunteers to poster, move tables, that sort of thing. let me know if anyone able to do anything. thanks. for more information, bother rob mclennan at 613 239 0337 or az421@freenet.carleton.ca / or check out the span-o link at www.track0.com/rob_mclennan ================ -- poet/editor/publisher ...STANZAS mag, above/ground press & Chaudiere Books (www.chaudierebooks.com) ...coord.,SPAN-O + ottawa small press fair ...12th poetry coll'n - aubade (Broken Jaw Press) .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Wed, 7 Mar 2007 12:12:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: King's Woods : The A-history of Lorain, Ohio - a data-driven networked hypertext by Lewis LaCook Comments: To: webartery , rhizome , netbehaviour MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit King's Woods data-driven networked hypertext by Lewis LaCook 2007 PHP/MySQL, XHTML, CSS, JavaScript http://www.lewislacook.org/kingswoods/index.html /King's Woods/ is a data-driven, networked hypertext poem that utilizes information about both the history and present of the city of Lorain, Ohio, and grows with each subsequent user's experience of the work. It's a poetic response to the city, and as such many of the work's features are dependent on it; the positioning, length, and opacity of certain elements rely on weather information about Lorain (the current temperature, the days until the next full moon, etc)... Lewis LaCook Director of Web Development Abstract Outlooks Media 440-989-6481 http://www.abstractoutlooks.com Abstract Outlooks Media - Premium Web Hosting, Development, and Art Photography http://www.lewislacook.org lewislacook.org - New Media Poetry and Poetics http://www.xanaxpop.org Xanax Pop - the Poetry of Lewis LaCook --------------------------------- It's here! Your new message! Get new email alerts with the free Yahoo! Toolbar. ========================================================================= Date: Wed, 7 Mar 2007 15:06:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Correction MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Our feature for this Sunday's Open Reading has changed -- see below. LITERARY BUFFALO JUST BUFFALO OPEN READING SERIES SECOND SUNDAY, NOT THIRD SUNDAY OPEN READING FEATURING: Kristi Meal (not Karen Lewis=21) March 11, 7 P.M. Rust Belt Books, 202 ALLEN ST. 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: Wed, 7 Mar 2007 12:02:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Tod Edgerton Subject: Seeking Michael Palmer (who isn't?) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hey, does anyone have Michael Palmer's email and/or snail mail addresses? I was in his Bread Loaf workshop several years ago and want to reconnect, send him my god-knows-when-to-be-published-manuscript, if he'll have it, but have lost the BL booklet I once had with what may now be, at any rate, an old address. If anyone can help me out, I'd appreciate it. I'm tired of waiting for the book deal and just want potentially interested people whose work I admire to be reading it. Please backchannel to me if you would if you could! Thanks! Tod "There's the mute probability of a reciprocal lack of understanding" - Mei-mei Berssenbrugge --------------------------------- Don't get soaked. Take a quick peek at the forecast with theYahoo! Search weather shortcut. ========================================================================= Date: Wed, 7 Mar 2007 12:55:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: phanero Subject: Re: Outsider Art MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 8bit I think the "outsider" term is really a kind of epithet at this point. For me personally I think of it specifically in terms of rural untrained artists or artists who have been overwhelmed in some sense by their own biological 'alterities'.. (that which has been called mental illness). Although, in reality, that's a pretty good definition of late capitalism, ideology, or just about anything else i suppose... In the urban terrain, the term is pretty much as useless or useful as anything else as there are lots of academically untrained artists, but nevertheless there are 'schools'.. The latest "outsider" school I've been looking at is the "Doodle school". I'm making this up, but one member did describe it to me as such.. You also have Low-brow, graffitism, with their hybridisations and design wings.. in the sense that all art is a planetary phenomenon, I would call it all "Folk Art" as its made by "Earth Folk" and not a more confused, rustic, bunch of mudlightbabies have i laid eyes on! Yikes! Pass the character flail, flaw, maw, awe, ale, pale, Yale, wail, whateva, peron, garbo, garbone, barge, baaj... Zines are still a pretty thriving indicator of this global tendency. I like dobedo right now aka Luke Ramsey. http://www.anteism.com/ here is a partial list of artist / art zines floating around collected at Nieves http://nieves.ch/ : 373, ABCK, Adi Ehrat, AK Wehrli, Alain Kupper, Alex Purdy, Andy Rementer, Amser One, Analogue, Andrew Jeffrey Wright, Ari Marcopoulos, Aya Muto, Best Of, Bonus, C'est moi ce Soir, Chris Johanson, Christian Vetter, Craig Atkinson, Dave Bevan, Deanna Templeton, Dennis Tyfus, Dirk Mönkenmöller, Ed Templeton, Elk Zine, Eva Fan, Faggots and Retards, Frederic Fleury, Gary Fogelson, Grrrr, The Holster, Geoffrey Ellis, Hendrik Hegray, Hiroshi Kariya, Hobbydog, Ippei Matsui, Izet Sheshivari, Jack Crossing, Jai Tanju, Jean-Claude Freymond-Gut, Jean-Claude Larasse, Jesse Brown, Jesse Harris, Jhon, Jim Osthaarchic, Jody Barton, Jo-G, John Fellows, Kelsey Brookes, Kung Fu Editions, Luke Ramsey, Man behind Curtain, Mark Gonzales, Mark Burrier, Matt Furie, Matthew Chambers, Michael Worful, Miho Komatsu, Nadira Husain, Neckface, Nudd, Pete Willis, Phasme, Philippe Desarzens, Pierre Horquet, Politique, Randy Laybourne, Raver Dave, Raymond Pettibon, Rik Diamond, Robin Cameron, Ryan Waller, Sea, Shawn D Reed, Silex, Sonja Ahlers, Stefan Marx, Stella, Stuart Smith, Till D Thomas, Tim Head, Tristan Ceddia, Trudi, Turbo Magazine, Yo Soeda, Yum Yum, If anyone else knows anything more about the contours of this global zine scene aka doodler movement please send out links. nuthin but energy.. two cha-chas for a ha-ha.. lanny http://www.phaneronoemikon.org/blog/phanero.html ========================================================================= Date: Wed, 7 Mar 2007 18:04:29 -0500 Reply-To: tyrone williams Sender: UB Poetics discussion group From: tyrone williams Subject: Re: advance notice Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit Fantastic Aldon-can't wait. tyrone -----Original Message----- >From: Aldon Nielsen >Sent: Mar 7, 2007 3:26 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: advance notice > >>I just sent off to the University of Michigan Press the final edit >>of Lorenzo Thomas's posthumous volume WORDS AND MUSIC AND THE BLACK >>INTELLECTUAL TRADITION -- Anybody who has ever heard Lorenzo talk >>about music will love this book. -- Includes personal chats with >>Juke Boy Bonnor and the guys who started Sonny Boy Williamson's KING >>BISCUIT TIME radio show -- > > >The book should be out within the year -- I'll keep y'all posted -- > > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >"I stand corrected, like a bishop of the obvious." > --Robert Kelly > > >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] > >Sailing the blogosphere at: http://heatstrings.blogspot.com/ Tyrone Williams ========================================================================= Date: Wed, 7 Mar 2007 16:19:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: AWP? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline There are many, many conferences aside from AWP. There are also many festivals, although these tend to be focussed on : digital writing, performance poetry, film, etc.; t'would be nice to have a large innovative writing festival / conference. AWP's flaws are, as Kasey notes in his blog, its strengths in some sense (tho I would say -- perhaps ones an "alt AWP" wouldn't solve). It IS the "associated writing programs" after all, and until relatively recently there was no real presence of innovative writing at AWP or in mainline writing programs. So, I find the recent embrace of AWP, which is really a second or third tier organization in my view, by innovative writers, and then the subsequent retreat to more focussed gatherings -- many long in existence -- somewhat puzzling. Let's have a midwestern MLA! Something for modernism! Something for American writing! Oh we already have those. The primary issue here is writing programs, and what are they good for, what kind of market are they, and what kind of market do they serve; it is good that the book fair is more interesting than the panels, because isn't the coursework in the programs secondary to the writing? [A corollary is probably that academic conferences, including AWP, the MLA, etc. charge their presenters; that's a problem. There are a lot of other huge problems, such as there's no fundraising for this thing: where are the free hotspots brought to you by HP, who would like to power your computer center? where's the free coffee brought to you by countless coffee shop chains that want to have reading series in them? Oh, we're academics, we can't fundraise, we can only invite textbook companies to come try to sell writers their comp textbooks. We can only view you as the market for us, not vice versa.] -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Thu, 8 Mar 2007 00:42:56 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cralan kelder Subject: New from Longhouse ~ Spring 2007 and Origin magazine Sixth Series forthcoming In-Reply-To: <13592.94593.qm@web56002.mail.re3.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Here=B9s a notification about some beautiful new publications, and a tribute to Cid Corman; continuing his legacy / work with Origin magazine New from Longhouse Spring 2007 ~ An Update of Recent Publications Lars Amund Vaage Miyazawa Kenji ~ translated by Kenji Okuhira & Gerald Hausman Robert Sund Kent Johnson Tsering Wangmo Dhompa Mike O' Connor ~ Five Poems of the Hermit-Sage Tradition, T'ang Dynasty George Evans Laurie Clark Cid Corman Now online ~ Please visit http://www.LonghousePoetry.com/longhouse2007.html ---- Forthcoming : March 12 Origin Sixh Series (issues 1-4) edited by Bob Arnold & published from Longhouse. A celebratory issue in the memory of Cid Corman. A PDF file of Issue One to download with over 250 pages of poetry, prose, essays, art and photography. Issues 2, 3 and 4 have all been gathered and will be released over the spring months of 2007. ---- http://www.longhousepoetry.com/forthcoming.html ========================================================================= Date: Wed, 7 Mar 2007 23:27:58 +0000 Reply-To: editor@fulcrumpoetry.com Sender: UB Poetics discussion group From: Fulcrum Annual Subject: Mazer & Sturgeon read at the Democracy Center, Weds. 3/14 7:30 PM MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable The GROLIER POETRY BOOK SHOP presents Ben Mazer & Stephen Sturgeon reading new poems introduced by Benjamin Paloff, poetry editor, Boston Review and with a signing for Ben Mazer=E2=80=99s new collection JOHANNA POEMS (= NY, Cy Gist Press) WEDNESDAY, MARCH 14 7:30 PM The DEMOCRACY CENTER, 45 MT AUBURN ST HARVARD SQUARE FREE ADMISSION Ben Mazer=E2=80=99s poems have appeared in many international periodicals= , including Verse, Agenda, Harvard Review, Fulcrum and Jacket. Johanna P= oems (New York: Cy Gist Press) is his second collection. He is also the = editor of Landis Everson=E2=80=99s Everything Preserved: Poems 1955-2005 = (Graywolf Press), and a contributing editor to Fulcrum. Stephen Sturgeon=E2=80=99s poems have appeared in Fulcrum, Harvard Review= , Jacket and Agenda. He is Associate Editor of Fulcrum, and has recently= completed a critical edition of Wyndham Lewis=E2=80=99s first novel, Tar= r. ________________________________________________________________________ AOL now offers free email to everyone. Find out more about what's free f= rom AOL at AOL.com. ========================================================================= Date: Wed, 7 Mar 2007 18:02:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaren Yandrich Subject: A Reading Against War In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed THE BOMB WILL KEEP US TOGETHER: a protest against war and extraordinary rendition; featuring readings, speeches, multimedia performances, video installations, and chat. Heritage Room, 3rd Floor Shiver, Miami University Thursday, 8 March 2007 from 7:30-9:30pm _________________________________________________________________ Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a month. Intro*Terms https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h27f6&disc=y&vers=743&s=4056&p=5117 ========================================================================= Date: Wed, 7 Mar 2007 18:53:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Videogames and Art MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit 'Videogames and Art' is a collection of essays edited by Grethe Mitchell and Andy Clarke. The book is published by the University of Chicago Press. http://www.press.uchicago.edu/cgi-bin/hfs.cgi/00/226001.ctl CONTENTS - Introduction by Grethe Mitchell and Andy Clarke - "From Appropriation to Approximation" by Axel Stockburger - "Meltdown" by Rebecca Cannon - "Videogames as Literary Devices" by Jim Andrews. Looks at degrees of subordination of videogame to art in art/games by Regina Célia Pinto, Natalie Bookchin, Neil Hennessey, and Jim Andrews. - "High-Performance Play: The Making of Machinima" by Henry Lowood - "Cracking the Maze Curator's Note" by Anne-Marie Schleiner - "An Interview with Brody Condon" by Andy Clarke - "In Conversation Fall 2003: An Interview with Joseph DeLappe" by Jon Winet - "The Idea of Doing Nothing: An Interview with Tobias Bernstrup" by Francis Hunger - "The Isometric Museum: The SimGallery Online Project" (interview with K Isbister and R Straus) by J Pinckard - "The Evolution of a GBA Artist" by Paul Catanese - "From Fictional Videogame Stills to Time Travelling with Rosalind Brodsky 1991-2005" by Suzanne Treister - "Virtual Retrofit (or What Makes Computer Gaming so Damn Racy?)" (an essay on Hillary Mushkin and S. E. Barnet) by M. A. Greenstein - "Perspective Engines: An Interview with JODI" by Francis Hunger - "Independent Game Development: Two Views from Australia" (an interview with Julian Oliver and Kipper) by Melanie Swalwell - "Medieval Unreality: Initiating an Artistic Discourse on Albania's Blood Feud by Editing a First-Person Shooter Game" by Nina Czegledy and Maia Engeli - "Should Videogames be Viewed as Art?" by Brett Martin - "Some Notes on Aesthetics in Japanese Videogames" by William Huber - "The Computer as a Dollhouse (excerpts)" by Tobey Crockett - "Networking Power: Videogame Structure from Concept Art" by Laurie Taylor - "Fan-Art as a Function of Agency in Oddworld Fan-Culture" by Gareth Schott and Andrew Burn - "Will Computer Games Ever be a Legitimate Art Form?" by Ernest W. Adams ========================================================================= Date: Wed, 7 Mar 2007 22:10:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: Outsider Art Comments: To: Mark Weiss In-Reply-To: <7.0.1.0.1.20070307130940.05df3c70@earthlink.net> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT On 7 Mar 2007 at 13:24, Mark Weiss wrote: > As a dealer and collector I picked up a number of > paintings by a guy who was selling them in the > back of his booth at a tag sale. Mainly what he > sold was old tools. An outsider for sure. But if > I mount an exhibition of his paintings is he still an outsider? Put them in my show and let's find out. Marcus ========================================================================= Date: Wed, 7 Mar 2007 22:42:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?ISO-8859-1?Q?Desmond_Swords?= Subject: Love Poetry Hate Racism - 22 April - Global events Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="ISO-8859-1" The poetry group, Belfast Poets, have organised a=20 Love Poetry Hate Racism International Show=20 Crescent Arts Centre Belfast,=20 20th April 8pm. This one idea from a Belfast poet has now mushroomed and gone global, wit= h the following places in the Northern and Southern hemispheres hosting a L= ove Poetry Hate Racism event, over the weekend of 20-22 April. England - Hebden Bridge, Cleveland, Manchester, Newcastle=20 France - Paris Ireland - Derry, Dublin, Galway, Limerick,=20 Wales - Abergavenny=20 Scotland - Glasgow Australia - Brisbane, Melbourne, Perth This has come about as a direct result of the net and all details can be accessed here =20 http://www.myspace.com/lovepoetryhateracism How about an American event? Anyone so minded can set up their own, so fe= el free to do so and hook up at the above site.=20 ~ http://irishpoetry.blogspot.com/ - Read the lastest blather=20 http://www.myspace.com/dublinpoet - streamed recordings of poetry and son= g, from Dublin. ========================================================================= Date: Wed, 7 Mar 2007 21:41:09 -0800 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: performance poetry In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Unless your recommended poets are backchanneled to me I have no reasonable way to copy and paste from the once a day enormous digest posting that is sent to me into another e-mail I was not really interested in a front channel discussion per se I am too knee deep in this and busy garnering spectacular reviews for a new title of ours by Rachel M. Simon but I could send a collection of the results to the list if that is what some people would like. I am really looking for regional poets and ones who do not fit the traditional mode of "spoken word" Christian Bok and John M. Bennett would be two excellent experimentalist examples since I may not be able to respond individually thanks in advance for all the suggestions Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Wed, 7 Mar 2007 21:43:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: baraka (location of article, etc) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I'm so embarrassed by my angry outburst that I hesitate to indicate where the article can be found, but I will: as David-Baptiste Chirot indicated, it's in a recent issue of the St. Mark's Poetry Project newsletter, edited by the witty marxist Brendan Lorber of Lungfull! fame. And with that, I will cease shooting my mouth off, although I must say that I just love those "guns that merely expel a little white flag that reads "Bang!"" Wish I had one of those. Aren't they better than the real ones? Am inclined to agree with David that it's a bit silly in the poetry world to talk about what's "in" and what's "out". We might know something of it in 70 yrs, but for the moment, I'd say it could be pretty neat to see what Marcus can come up with for us, no? Once again, many apologies for my misplaced vitriol, Amicalement, Alex www.alexdickow.net/blog/ les mots! ah quel désert à la fin merveilleux. -- Henri Droguet ========================================================================= Date: Wed, 7 Mar 2007 21:13:43 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Obama, Israel and Palestine MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=X-UNKNOWN Content-transfer-encoding: QUOTED-PRINTABLE ---------- Forwarded message ---------- Date: Mon, 05 Mar 2007 15:56:43 -0800 (PST) From: patricia blair MARKING OBAMA OFF THE PRESIDENTIAL CANDIDATES LIST. ENOUGH OF UNINFORMED PEOPLE IN THE WHITE HOUSE! From: Fred Bush As I noted in yesterday=92s message, last Friday Democratic presidential candidate Barack Obama gave a speech to the American Israel Public Affairs Committee (AIPAC) in Chicago. For anyone who is at all familiar with what is actually happening on the ground in the Occupied Palestinian Territories, the speech was so pro-Israel and so out of touch with the reality that it would turn your stomach. As Ali Abunimah noted in a review of the speech (for which go to this link: http://electronicintifada.net/v2/article6619.shtml), =93Obama offered not a single word of criticism of Israel, of its relentless settlement and wall construction, of the closures that make life unlivable for millions of Palestinians.=94 Abunimah goes on to note that there was not the slightest inkling in the whole speech that Obama knew anything about, . . =2E the hundreds of thousands of people in Gaza who live in the dark, or th= e patients who cannot get dialysis, because of what Israeli human rights group B'Tselem termed "one cold, calculated decision, made by Israel's prime minister, defense minister, and IDF chief of staff" last summer to bomb the only power plant in Gaza," a decision that "had nothing to do with the attempts to achieve [the] release [of a captured soldier] nor any other military need." But, Abunimah goes on to note, Obama was not entirely insensitive to ordinary lives. He recalled a January 2006 visit to the Israeli town of Kiryat Shmona that resembled an ordinary American suburb where he could imagine the sounds of Israeli children at "joyful play just like my own daughters." Why does Obama=92s speech turn my stomach? While this is the reality for Israeli children, here is the reality for Palestinians: Aid sanctions threaten West Bank health By Amy Teibel, Associated Press, 4 March 2007 YATA, West Bank - One slip, and Issa Abu Shakr's 5-year-old nephew plunged into the fetid stream of sewage that flows outside the family's West Bank home. The contact with the filthy water required multiple blood transfusions and a 10-day hospital stay, Abu Shakr says. A few miles away, Maisoun Seidat picked up a blue bucket for one of her three daily trips to a communal cistern. People shouldn't have to fret about something as elemental as water, Seidat says, but in the parched West Bank, it's a constant worry. These are the human face of the toll exacted by U.S. sanctions following the rise to power of the militant Islamic Hamas group. U.S. projects were to have dried up the toxic flow that threatens the Abu Shakrs and bring more water to the Seidats. But the money has disappeared into the morass of Mideast politics. Projects meant to make sweeping changes in the Palestinians' quality of life -- like the sewage treatment plant that was to have been built near Issa Abu Shakr's home in Yata village near Hebron -- have been put on hold. Meanwhile, the Abu Shakr family complains of asthma, burning throats and colds. The trunks of olive trees near their home are blackened by the squalid flow. "The fact that they stopped the project is a disaster," Abu Shakr says. Palestinians had hoped a power-sharing deal between Hamas and the moderate Palestinian president, Mahmoud Abbas, would revive the aid, and a $250 million package of waste and wastewater programs the U.S. had planned for the West Bank and Gaza Strip. But U.S. Secretary of State Condoleezza Rice indicated in a recent visit to the region that this won't happen unless Hamas moderates its refusal to recognize Israel's existence. Other major donors have continued their smaller-scale infrastructure projects. But it is the U.S. the Palestinians depend on for water and sewage treatment, says Naim El-Mani, senior technical adviser at the Palestinian Water Authority. More than 80 percent of communities in the West Bank aren't hooked up to a sewer network, and much of their waste ends up in riverbeds, some of it running into Israel, water experts said. The suspension of the wastewater project "is like a time bomb," he said. The U.S. poured $468 million into the Palestinian territories in 2006 -- the year Hamas rose to power -- compared with $400 million approved the previous year. But Howard Sumka, director for the West Bank and Gaza operations of the U.S. Agency for International Development, said his agency's mission has shifted toward "health care, food assistance and education" -- the things most threatened by the international aid boycott. A sign outside a new water reservoir in Seidat's village of Bani Naim in the rocky hills near Hebron marks a USAID project designed to increase the hourly flow to the area by more than 260,000 gallons. But the reservoir is empty, as are two others built for the project. Dozens of enormous concrete pipes that were to carry water from the reservoir to the surrounding area are stacked by the road, and the only workers present are guards keeping away thieves. Of the West Bank's 2.4 million people, about 120,000 living in small communities do not have piped water, and those who do receive it only once every 10 days on average, says Ihab Barghouti, economic adviser to the Palestinian Water Authority. So West Bankers rely heavily on purchased water -- sometimes from untreated springs and wells -- and rainwater collected in cisterns, Barghouti says. Average daily water consumption, for drinking and bathing, is still only 8 to 10 gallons a day, about one-third the World Health Organization's recommended minimum, and some people shower monthly, El-Mani said. "Sometimes, before I go to sleep, I think, what shall I do in the morning in order to have water," said Seidat, a 29-year-old schoolteacher and mother of three. "Am I going to have water in the morning or not? What shall I do? Where do I have to go? These are big questions in my mind." Water consumes about one-fourth of her family's monthly income of less than $600, she says. In the past seven months, she has received just $700 of the $4,000 owed to her because international sanctions leave the Hamas government unable to pay full salaries. The U.S. government is penalizing the Palestinian people for exercising their democratic right to vote, says Seidat's brother-in-law, Ahmed Seidat. "They talk about choice, but punish our people," he fumed. In Gaza, the revised U.S. aid policy means nearly 3,000 illegally drilled wells are depleting Gaza's Coastal Aquifer and letting in seawater, Barghouti says. At a municipal water distribution center in the southern town of Khan Younis, children fill bottles while adults fill 260-gallon storage tanks on donkey-drawn wagons. Sometimes the donkeys drink from the same source. To save the aquifer, USAID was going to build a desalination plant and a pipeline to deliver the water to Gaza, but those plans were suspended after three U.S. government contractors were killed by unidentified assailants in October 2003. Moves to resuscitate the project were cut short after Hamas' rise. "USAID was doing big projects that no other donor could do," said El-Mani= =2E ********************************************************** Maria doesn't know she'll never walk By Lilach Shoval, Ynet News, March 2007 (Ynet News is the internet news site of the major Israeli daily Yediot Ac= hronot) The London Times reported on Sunday that it had collected almost $10,000 in readers' donations for Maria Aman, a six-year-old Palestinian girl who was seriously wounded in a targeted killing in Gaza some ten months ago. Aman's mother, grandmother, brother and uncle were all killed in the attack while she was left paralyzed from the neck down and will have to be ventilated for the rest of her life. After her injury Maria was transferred to the Tel Hashomer hospital in central Israel and from there to the Alin children's rehabilitation facilty in Jerusalem. Initially her father, Hamdi, was barred from visiting her as he did not have an entrance visa from Gaza but due to public pressure he was granted entry and since then hasn't left his daughter's side. He sleeps on a mattress beside her bed, clothes her, feeds her, combs her hair and takes her for walks. "I haven't told her that her condition will never change yet. I'd rather she think it's only temporary so that she'll be happy and won't get depressed. Her brain is the only thing that works and the situation is very difficult for her," Hamdi told Ynet. "In the meantime she's learning with a computer, she goes swimming in a special pool in the hospital and she's taken good care of here." After ten months of rehabilitation Maria is being allowed to leave the hospital and move in with her father, though she will have to remain close to the medical facility in Jerusalem since it's the only one in the country which specializes in cases like hers. In the meantime she remains in the hospital until the ministry of defense locates housing suitable for her needs and also purchases the expensive medical equipment she will need. The special wheelchair alone costs some $12,000 and her family continues to live off state stipends and donations. Maria and her father are not Israeli citizens and are in the country on visas. For several long months Hamdi did not receive the compensation money from Israel and only media pressure eventually helped him. Hamdi was also given a room in the hospital motel. Hamdi: We want an Arab environment The ministry of defense has offered Hamdi a home in kibbutz Ramat Rachel near Jerusalem, close to the treatment center, but Hamdi says the offer is irrelevant. "What will I do in a kibbutz," asks Hamdi, "from one prison they want to send us to another prison. Maria and I are Arabs, we need to live in an Arab environment. The best solution for us would be Beit Tzafafa, since it is both close to the hospital and the school I want to enroll Maria in. The problem is that the ministry of defense has yet to find us a home there." Following the media exposure Hamdi and Maria garnered many citizens have come to the Alin hospital to offer aid. Some donate money, others bring food or clothes. "It warms my heart," says Hamdi, "I can't work when my girl is like this. I will never stop trying to help her condition. As soon as I can and have enough money, I will check with doctors abroad if there is anything that can be done." Hamdi maintains a close relationship with his family in Gaza, including his three-year-old son who he left there. The family also sometimes comes to visit him and Maria. "I will never leave her. All my life I will buy things for her, cook for her and feed her," promises Hamdi. ********************************************************** (5) Wounded teen speaks about friend's killing at Gaza fence By B'Tselem, The Israeli Information Center for Human Rights in the Occup= ied Territories, 3 March 2007 'Abd a-Ra'uf Feisal Hussein al-'Adini, 16, is a high school student and a resident of Deir el-Balah, in the Gaza Strip. His testimony was given to Muhammad Sabah at the witness's home on 25 January 2007. I live with my father, grandmother, and aunt in a two-room shack with a tin roof. I am in the tenth grade at the government school in Deir el-Balah. My father is ill and is unemployed. My aunt, who works at a vegetable store, supports us. She works ten days a month and makes less than 600 shekels. The welfare ministry gives us 100 shekels every two months, and once a month we get 50 kilograms of flour, four kilograms of rice, and one liter of cooking oil. We have to make do with this. We don't have money and I don't receive an allowance when I go to school. I try to eat breakfast at home before going to school, because I can't buy food like other students do. Once a week, I get a shekel or two for myself. I have to walk to school, a distance of around 1.5 kilometers, because I don't have money to pay for transportation. It would be easier if I had a bicycle. The financial situation of my best friends at school - Mahran Zakaria Abu Nseir and 'Imad Abu Sheikhah- is better than mine, but not by much. We spend time together in school and out, and we meet during recesses. Two days ago [23 January], the last day of school semester, I went to school and took an exam in mathematics. Then, around nine o'clock, I met my two friends. We sat together for about fifteen minutes. Mahran suggested that we quit school and look for work in Israel , anything other than this life of hardship in the Gaza Strip. Mahran's father is a government clerk, and he lives off advances that he gets on his salary, which is not currently being paid. 'Imad's father is a merchant, and is in relatively good financial shape. 'Imad and I agreed to the idea of working in Israel ; in any case the situation there is better than it is here. We agreed to meet at ten at night in the center of town. Mahran arrived at my house by bicycle before ten. We both got on his bike and drove to the meeting place. We left the bicycle with a friend of Mahran's. We started on our way, walking east, to the Israeli border. We got there at 11:30 at night. When we got to about fifty meters from the border, we hid behind some trees. We watched the border for about an hour. We saw an Israeli army jeep and waited for it to go away. We didn't see it anymore and thought it had left. Later it turned out that it had simply turned off its lights. We moved closer to the border fence. We didn't have any tools to cut the barbed wire. We thought we would have to climb over it. We crawled on our stomachs until we got to the barbed wire and then quickly stood up. Unfortunately, there was an opening, and this encouraged us to enter. Mahran died because of this. We moved closer to the opening and then gunfire erupted. My friend, whom I loved, Mahran Abu Nesayer, was hit in the stomach. I heard him cry out and recite the martyr's prayer. Then they fired flares into the air. I looked at Mahran and saw he was bleeding from the stomach. His shirt was torn in the area of the wound. The three of us laid there and the shooting continued. Mahran died five minutes after he was hit. Five minutes later, I was hit on the right side of my buttocks, because I was laying on my stomach. When I was hit, I called quietly to 'Imad and asked him if he had been hit. He said that he had been hit in the shoulder. He was about half a meter from me. I had hugged Mahran's body after he died, so he was right next to me. I cried when I hugged him, and asked him to wake up, but he was already dead. After four or five minutes, the shooting stopped, and one of the soldiers said something in Hebrew, but we didn't understand a word. We said, in a loud voice, "Help us, we are bleeding and we are not armed, we only want to work in Israel . We don't want to carry out attacks." Immediately, the soldiers again started shooting. We were totally exposed. We had no place to hide, and lots of flares had been shot into the air. We laid there bleeding. The shooting continued for about twenty minutes. Then one of the soldiers spoke to us in Arabic: "Come through the [hole in the] barbed wire, with your hands up." 'Imad and I stood up and didn't see anyone. We crossed the barbed wire and then saw about twenty soldiers around twenty meters away. They were on the other side of the electric fence, and their weapons were aimed at us. They ordered us to undress. We undressed to our underwear. They ordered us to remove that as well. We stood there completely naked. We were shaking from fear and from the cold of 12:30 in the morning in the middle of winter. We stood there for about five minutes, and then they ordered us to get dressed. It was hard to undress and dress because of the wounds we had sustained and because of the bleeding. They told us to come toward them and climb the electronic fence. 'Imad tried but couldn't do it because his shoulder hurt so much. I helped him climb the barbed wire, which was about three meters high. I, too, could barely climb over the barbed wire. They ordered us to sit down on the ground and put our head between our legs. We stayed like that for less than five minutes. They ordered us to start walking, and they followed with their rifles aimed at us. We walked east about fifty meters. Then they treated our wounds for about ten minutes. One of the soldiers gave me first-aid. He was wearing a green uniform and had a flashlight on his head. Another soldier treated 'Imad. They took the two of us to an army jeep and blindfolded us. The jeep drove off and about half an hour later, we got to an Israeli army outpost, where they removed the blindfold. Some of the soldiers filmed us, as if we were some wonder. They took 'Imad away. I later learned that they took him to a hospital in Israel . They didn't take me to hospital and didn't treat me completely, although my wound hurt a lot. They put me in a room. At 6:00 in the morning, an Israeli in civilian clothes came into the room He was apparently from Israeli Intelligence. He spoke with me in Arabic and asked me how old I was and what my name was. I told him. He asked: "Why do you want to come to Israel ?" I told him I wanted to work in Israel. He offered me money but I refused because I was sure he wanted me to work with Israeli Intelligence. He offered me money again, and again I refused. Later, they moved me to a room with a bed and thin blanket. I was alone in the room. At 9:00 A.M., 'Imad arrived. At around 2:00 P.M., a group of soldiers came. They ordered us to get ready to go back to Gaza . They blindfolded us and put us in an army jeep. The jeep took us to a gate at the border in the area of al-Maghazi. We crossed through the gate, and the residents of al-Maghazi called an ambulance for us. The ambulance came and took us to Shohada al-Aqsa Hospital , in Deir el-Balah. The doctors examined and X-rayed us. Palestinian Police officers came and asked us to tell them what happened. When we were discharged, we went to the police station in Deir el-Balah and told them our story. Now I am at home, and the days pass. But I feel as if I am still living what happened. ========================================================================= Date: Thu, 8 Mar 2007 07:09:48 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ann Bogle Subject: Re: AWP? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/7/2007 6:57:45 P.M. Central Standard Time, c.a.b.daly@GMAIL.COM writes: The primary issue here is writing programs, and what are they good for, what kind of market are they, and what kind of market do they serve; it is good that the book fair is more interesting than the panels, because isn't the coursework in the programs secondary to the writing? The bookfair was fully enjoyable, but to take it in -- it seemed vast -- I had to plan to spend two hours per day of the conference slowly walking aisles. The panels I attended were good as well. I had intended to pick panels just by topic, but when I realized that many of them were poetry readings, I started to pick by poets on the panel. It is as interesting to realize what the panelists avoid mentioning -- esp. during war-time when afterall we all have to file through security at airports and feel like suspects if carrying shampoo -- still, a tiny few of the panelists tried to bring things like that up, and those who did risked saying things that might come out to the audience sounding like bent nails: people don't want to hear about it, about citizenship. A tiny group attended the Pen America session on writers in prison and book-banning here, on censorship and self-censorship, though the session was held in one of the ballrooms to accommodate a large crowd. Translation was an outnumbered subject. I felt proud to have attended U of Houston, when I listened to the panel on international writers on writing, given by Ed Hirsh, Adam Zagajewski, and Eavan Boland. Hirsh eloquently addressed the current war -- the only panelist I heard who did -- and the others addressed issues such as exile in their countries of Poland, Ireland, and Mexico. One journal, Meena, publishes in Arabic and English. The conversation with that publisher was better than all the rest -- it was the only journal like it I saw. He described a poetry festival he had attended in Nicaragua. Five Americans were invited there. That festival was set up like a flower or farmer's market with music and dance and food. The poets were warmly welcomed from the many countries by a poetry audience, perhaps not comprised only of poets, as poetry audiences tend to be here. I fell in love with the prose-poem journal, Sentence, edited by Brian Clements and was so glad to get a copy. It is so hard to find poetry in paperback -- even at bookstores -- then to take in the huge fair at the AWP takes patience. It is as if the poets and publishers hide it from you then spring it on you all at once. I have long wished they could distribute their wares to wider audiences, to doctor and dentist offices, for example. I had to go to the eye doctor when I returned from the conference, and the routine American ad-filled range of magazines in the waiting room left me feeling denaturalized before my wait was over, compared to what we could find at the AWP bookfair. (I was still upset at having to stand in line to disrobe in an airport -- Pulitzer prize-winners were in that throng! -- and stash my shampoo in baggies.) Yes, it is my Lebanese psychiatrist who carries art periodicals in his waiting room -- I'll ask him how that got started.


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AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. ========================================================================= Date: Thu, 8 Mar 2007 08:15:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: news from vispoets.com Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii After just a week of being alive at: http://www.vispoets.com/ our members have posted a total of 318 images and we've served up 1530 image views from the Members' Gallery: http://vispoets.com/index.php?automodule=gallery&req=sc&cat=1 and the Open Images Gallery (visual poetry you are invited to remix): http://vispoets.com/index.php?automodule=gallery&req=sc&cat=2 What're you waiting for? Online gallery space doesn't get any more affordable than free--or does it? Coming soon, a weekly reward for visual interestingness. Got an RSS feed that visual poets would want to read? Let me know and we'll get it added. Want a forum devoted to something visual poetry related (altered books, mail art, typography, street art, open field, sound work)? New forums can be built easy peasy. Just ask. Bring it on, Dan ========================================================================= Date: Thu, 8 Mar 2007 08:18:25 -0500 Reply-To: tyrone williams Sender: UB Poetics discussion group From: tyrone williams Subject: Re: baraka (location of article, etc) Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Fairly normal Baraka, I'd say--a few wild shots, contradictions, etc.--but = in large part the position articulated here is fairly "mainstream." Dana Gi= oia, Phil Levine and Baraka would agree on a lot... -----Original Message----- >From: Alexander Dickow >Sent: Mar 8, 2007 12:43 AM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: baraka (location of article, etc) > >I'm so embarrassed by my angry outburst that I >hesitate to indicate where the article can be found, >but I will: as David-Baptiste Chirot indicated, it's >in a recent issue of the St. Mark's Poetry Project >newsletter, edited by the witty marxist Brendan Lorber >of Lungfull! fame. And with that, I will cease >shooting my mouth off, although I must say that I just >love those "guns that merely=20 >expel a little white flag that reads "Bang!""=20 >Wish I had one of those.=20 >Aren't they better than the real ones? >Am inclined to agree with David that it's a bit silly >in the poetry world to talk about what's "in" and >what's "out". We might know something of it in 70 yrs, >but for the moment, I'd say it could be pretty neat to >see what Marcus can come up with for us, no?=20 >Once again, many apologies for my misplaced vitriol, >Amicalement, >Alex > >www.alexdickow.net/blog/ > =20 > les mots! ah quel d=C3=A9sert =C3=A0 la fin > merveilleux. -- Henri Droguet Tyrone Williams ========================================================================= Date: Thu, 8 Mar 2007 06:01:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Cynie Cory Subject: Re: FC2's send-off for R. M. Berry In-Reply-To: <13592.94593.qm@web56002.mail.re3.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit We love you, Ralph. Gray matter forever! Oh, and Gertrude Stein. Your fan, Cynie Brigitte Byrd wrote: I must say that this Ralph get up is just too funny. It's so out of character. . . . Great homage. Brigitte Halvard Johnson wrote: Every good publisher deserves a send-off like this one for R. M. Berry of Fiction Collective 2. http://www.youtube.com/watch?v=SdOaW_WznA0 Hal "Please stand clear of the closing doors." Halvard Johnson ================ halvard@gmail.com halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org Brigitte Byrd http://a-s.clayton.edu/bbyrd/Homepage.htm --------------------------------- Sucker-punch spam with award-winning protection. Try the free Yahoo! Mail Beta. --------------------------------- Don't be flakey. Get Yahoo! Mail for Mobile and always stay connected to friends. ========================================================================= Date: Thu, 8 Mar 2007 06:56:20 -0800 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: poets who perform MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit calling it performance poetry or spoken word creates a problem and many have asked for clarity this is not about categories, this is about poetry performers who have not been represented in american media in a large context Bok and Bennett are examples of experimentalists who are very successful as performers. Ken Waldman is an Alaskan fiddler who "tells" poems with bow in hand Joy Harjo works well with music also. I am not sure what category Jeff Mc Daniels would fall in or myself or Sean Dougherty or so on. I am looking for excellent performers, world class, the genre of poetry is irrelevant. Hope that helps Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Thu, 8 Mar 2007 07:21:12 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: wsj MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline From the Wall Street Journal. Scarcity of Ads Endangers Newspapers' Book Sections By JEFFREY A. TRACHTENBERG March 6, 2007; Page B1 Sometime this spring, the Los Angeles Times is expected to announce that it is folding its highly esteemed Sunday book review into a new section that will combine books with opinion pieces. That would reduce to five the number of separate book-review sections in major metropolitan newspapers still published nationwide, down from an estimated 10 to 12 a decade ago. The reason: not enough ads. Book publishers in recent years have moved away from buying ads in standalone book-review sections in favor of paying to stack mounds of books in the front of chain bookstores. Some small literary publications, such as the New York Review of Books, are showing growth, but the book review as a separate section is endangered not only at the Los Angeles Times but at other major newspapers like the Washington Post, Chicago Tribune, San Francisco Chronicle and San Diego Union-Tribune. The New York Times Book Review is an exception. "In 2006, our [ad] revenue from books was up almost 10%," says Todd Haskell, vice president, business development, for the Times. (The figure refers to the book-review section plus the paper as a whole.) "Our book review is a vibrant part of the Sunday newspaper and will continue to be," says Mr. Haskell. "We aren't backing off an inch." In an era of targeted marketing, publishers say the best time to reach readers is when they are in the stores with money in their pockets looking to make an immediate purchase. But with a sea of titles in the stores -- the average 25,000-square-foot store in the Barnes & Noble Inc. chain now stocks between 125,000 and 150,000 titles -- the only way for publishers to stand out is to pay for real estate in the front and pile those books up high. "You want to see your books in prominent places," says Tom Perry, associate publisher of Bertelsmann AG's Random House Publishing Group. "Such co-op advertising is where marketing dollars are going that might otherwise have been spent on advertising." However, Mr. Perry notes that Random House on occasion advertises in the New York Times Book Review when it is searching for what he described as a "traditional book buyer." One publisher says that chain bookstores can charge $1 or more per book to stack titles in desirable locations, such as on a table at the entrance or in a display featuring new nonfiction titles. Even those who say they still support book-section advertising say it's only effective as part of a larger marketing effort. Michael Pietsch, publisher of Lagard=E8re SCA's Little, Brown imprint, says advertising in book reviews can help drive sales if the author is well-known and if it's done in conjunction with online campaigns. Readers in San Francisco have shown themselves responsive to new writers, Mr. Pietsch says. As a result Little, Brown often sends them there and supports their visits with ads in the San Francisco Chronicle, a property of Hearst Corp. "We can see the effectiveness of advertising when we do it in conjunction with other promotions," he says. New York publishing houses have always cried poverty when it comes to advertising. Every book requires a different ad, as in the movie business, but the publishers don't have the studios' deep pockets. And unlike other advertisers, publishers can't do brand-building: No one buys a book because it comes from Random House or Simon & Schuster. As the ads dry up, some of the remaining book sections fight for survival. "You constantly have to justify your existence," says Oscar Villalon, who edits the book section at the San Francisco Chronicle. "Why? We don't bring in ads." "We rarely get ads from publishers -- and I would not shy away from the use of the word rare," says Arthur Salm, books editor for the San Diego Union-Tribune, which is owned by Copley Press Inc. At Washington Post Co., Jabari Asim, deputy editor of Book World, the Post's weekly book-review section, says, "Overall, it's pretty bad. It's very frustrating." In California, Messrs. Salm and Villalon both say their cause won't be helped by the Los Angeles Times's plan. The thinking is to introduce a tabloid format that combines the weekly book-review section with Current, an opinion section that runs on Sunday. The 12-page section, to be introduced on April 14, will appear with the thinner Saturday paper, which will make it not only stand out more but also save money on printing costs because circulation is lower that day than on Sunday. Word of the Times's plans for the book review was first reported on the Web site LAObserved.com. The Los Angeles Times is undergoing budget pressures as its parent, Tribune Co., struggles with restive shareholders demanding a sale. And at Tribune's hometown flagship, the Chicago Tribune book section had no publishing ads at all in its 12-page book-review section Feb. 25 but still is intact. "A book-review section is a small but important symbol of the support of literacy," says Jim Warren, the Tribune's managing editor/features. It vexes Mr. Warren that many New York-based publishers prefer to advertise in the New York Times Book Review, while ignoring regional reading communities. "The last industry in America to go to for any wisdom about marketing is book publishing," he says. "To say there wouldn't be a benefit to advertising in one of the last standalone sections in a vibrant bookselling city is an absurdity too gross to be insisted upon." The shift away from traditional advertising hasn't helped the industry sell more books. Bookstore sales in 2006 dropped 2.9% to $16.1 billion from $16.6 billion in 2005, according to preliminary estimates from the U.S. Census Bureau. Total retail sales during the same period rose 5.8% to $3.9 trillion. Most newly published books don't get any consumer advertising at all. Instead, publishers employ publicists to spread the word to readers through interviews, reviews and book signings. Increasingly, publishers are also using independent bloggers to convey news of new titles, which helps to pinpoint specific interest groups. The New York Review of Books, owned by Nyrev Inc., and Bookforum both saw their sales increase in 2006. "We tend to publish reviews of books that might not otherwise get reviewed, so when publishers have the right title, they advertise here," says Danielle McConnell, executive publisher of Bookforum, a unit of Artforum International Magazine Inc. In addition to ads from some traditional New York publishers, the magazine is also supported by academic presses and art-book houses. Carlin Romano, the literary critic at Philadelphia Media Holdings LLC's Philadelphia Inquirer, says that part of the problem is that newspapers often don't have a sales person who understands the intricacies of the book business. Even when publishers have money, he says, they go the New York Times Book Review or the New Yorker, both of which are national. Some publishers do feel remorse -- and concern. It's hard to generate word-of-mouth if readers don't see reviews. "Over the years, I've argued that regardless of whether we think an ad is selling a book, maybe we should help preserve some review space," says Mr. Perry of Random House. Despite this, Mr. Perry says that Random House prefers to advertise when a book is already a best seller and the publisher has something new to say about it. The Inquirer, which had a 16-page section in the early 1980s, folded its review into another section in 2001. Frank Wilson, the paper's book-review editor, says that he has proposed that the paper restore its standalone section. "I think it's time to relaunch," Mr. Wilson says. "I don't understand why newspapers, when they want to cut space, they immediately think of depriving people who like to read." Mr. Wilson says his plan calls for using new technology to franchise such a section to other papers nationwide that could add reviews for local authors. "I think it will enhance revenue if we can hit 30 cities," he says. --Sarah Ellison contributed to this article. Write to Jeffrey A. Trachtenberg at jeffrey.trachtenberg@wsj.com --=20 All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Thu, 8 Mar 2007 07:29:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: AWP? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline fill out the conference survey: http://www.awpwriter.org/fmi/xsl/survey07/addrecord.xsl?-findany ========================================================================= Date: Thu, 8 Mar 2007 10:52:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: Dj Spooky's Rhythm Science? MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi's - I'm curious: has anyone out there listened to Dj Spook'y Rythm Science cd? Any thoughts? Right now I'm listening to the track where Vedic is mixed with Tristan Tzara...although I admire DjS, I can't help thinking that this suffers from the same thing that happens when most novels are turned into movies - Tzara loses his substantiality and I feel like I'm listening to music in a spa...It's very unlike the Susan Howe/David Tudor collaboration! - Lori ========================================================================= Date: Thu, 8 Mar 2007 11:39:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: Re: Dj Spooky's Rhythm Science? In-Reply-To: <1eba3dda0703080752u6b65dab0vea030a3f902b27a4@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline One more thought on Rhythm Science: on the other hand, the mix of Gertrude Stein and Dj Wally/Dj Zeta seems absolutely perfect - I guess the ideal remix/cover is one that brings to the surface some particular shading of the original...here it seems to make perfect sense that Stein is some kind of foremother to the cut and paste aesthetics of the dj! Hopefully I'm not talking to myself here, Lori On 3/8/07, Lori Emerson wrote: > Hi's - I'm curious: has anyone out there listened to Dj Spook'y Rythm > Science cd? Any thoughts? Right now I'm listening to the track where > Vedic is mixed with Tristan Tzara...although I admire DjS, I can't > help thinking that this suffers from the same thing that happens when > most novels are turned into movies - Tzara loses his substantiality > and I feel like I'm listening to music in a spa...It's very unlike the > Susan Howe/David Tudor collaboration! > > - Lori > ========================================================================= Date: Thu, 8 Mar 2007 12:02:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis Warsh Subject: Barbara Henning / United Artists Mime-Version: 1.0 (Apple Message framework v546) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit New from United Artists Books MY AUTOBIOGRAPHY by Barbara Henning Cover by Miranda Maher 110 pages $14.00 ISBN: 0-935992-43-X "In this witty, post-Oulipian take on you-are-what-you-read, Henning dispossesses, recycles, and levels out the singular lines she lifts from the likes of Bataille, Joyce or Gertrude Stein, all the way to authors of travel and cookbooks that sit on her shelves. The resulting seventy-one "sonnets" sound their orphaned music: "strangers now, but once we were lovers" with the hidden glee of the artist behind her console, sampling, spinning, shredding, and remixing. MY AUTOBIOGRAPHY is a concept, a mirror, a community: see you there!" Chris Tysh "An autobiography fished and (un)tangled from the life of words: words on paper in the air for all of us. In the beginning was the word, and here "author" becomes a dispersed beginning entity, there all along, allowing us in to language and life as only Barbara Henning might. Where is Barbara Henning in this? She is everywhere, as it is finally her "infinite pilgrimage," undertaken with and for the benefit of all. In this wor(l)d, as she writes, and we read, "it is indeed our good fortune / to spread out in this wide / finite subject." It is assuredly our good fortune to open this book and let ourselves in." Charles Alexander "What you write : what's for dinner : the books on your shelves : leftovers. Barbara Henning has prepared us a great meal where the sonnets are even better than the index." Bernadette Mayer United Artists Books 114 W. 16th Street, 5C New York, N.Y. 10011 www.unitedartistsbooks.com ========================================================================= Date: Thu, 8 Mar 2007 10:04:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: Dj Spooky's Rhythm Science? In-Reply-To: <1eba3dda0703080752u6b65dab0vea030a3f902b27a4@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Lori, I'm guessing you mean the Susan Howe/David Grubbs collaboration? Was there somethign with Tudor that I missed? Taylor Lori Emerson wrote: Hi's - I'm curious: has anyone out there listened to Dj Spook'y Rythm Science cd? Any thoughts? Right now I'm listening to the track where Vedic is mixed with Tristan Tzara...although I admire DjS, I can't help thinking that this suffers from the same thing that happens when most novels are turned into movies - Tzara loses his substantiality and I feel like I'm listening to music in a spa...It's very unlike the Susan Howe/David Tudor collaboration! - Lori ========================================================================= Date: Thu, 8 Mar 2007 13:32:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: baraka (location of article, etc) In-Reply-To: <20070308054320.23981.qmail@web35509.mail.mud.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Thanks for the info -- Now that I see the actual=20 piece, I'm struck by how closely it tracks with=20 the original Alan Soldofsky kill piece in Poetry=20 Flash of the 70s, though Alan was taking a=20 decidedly non-Marxist tack in his attack -- You'd think we could find more interesting ways=20 to go after things we don't like -- or that we would read them first -- At 12:43 AM 3/8/2007, you wrote: >I'm so embarrassed by my angry outburst that I >hesitate to indicate where the article can be found, >but I will: as David-Baptiste Chirot indicated, it's >in a recent issue of the St. Mark's Poetry Project >newsletter, edited by the witty marxist Brendan Lorber >of Lungfull! fame. And with that, I will cease >shooting my mouth off, although I must say that I just >love those "guns that merely >expel a little white flag that reads "Bang!"" >Wish I had one of those. >Aren't they better than the real ones? >Am inclined to agree with David that it's a bit silly >in the poetry world to talk about what's "in" and >what's "out". We might know something of it in 70 yrs, >but for the moment, I'd say it could be pretty neat to >see what Marcus can come up with for us, no? >Once again, many apologies for my misplaced vitriol, >Amicalement, >Alex > >www.alexdickow.net/blog/ > > les mots! ah quel d=E9sert =E0 la fin > merveilleux. -- Henri Droguet <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "I stand corrected, like a bishop of the obvious." --Robert Kelly 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] Sailing the blogosphere at: http://heatstrings.blogspot.com/=20 ========================================================================= Date: Thu, 8 Mar 2007 12:11:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: Dj Spooky's Rhythm Science? In-Reply-To: <1eba3dda0703080752u6b65dab0vea030a3f902b27a4@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline You mean Susan Howe/David Grubbs, not Tudor. Dan On 3/8/07, Lori Emerson wrote: > Hi's - I'm curious: has anyone out there listened to Dj Spook'y Rythm > Science cd? Any thoughts? Right now I'm listening to the track where > Vedic is mixed with Tristan Tzara...although I admire DjS, I can't > help thinking that this suffers from the same thing that happens when > most novels are turned into movies - Tzara loses his substantiality > and I feel like I'm listening to music in a spa...It's very unlike the > Susan Howe/David Tudor collaboration! > > - Lori > -- http://hyperhypo.org/blog http://www.pftborder.blogspot.com ========================================================================= Date: Thu, 8 Mar 2007 13:51:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: Re: Dj Spooky's Rhythm Science? In-Reply-To: <188902.81684.qm@web82412.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline oh darn yes, that's what I mean - although David Tudor would be great too wouldn't it! On 3/8/07, Taylor Brady wrote: > Lori, > > I'm guessing you mean the Susan Howe/David Grubbs collaboration? Was there somethign with Tudor that I missed? > > Taylor > > Lori Emerson wrote: > Hi's - I'm curious: has anyone out there listened to Dj Spook'y Rythm > Science cd? Any thoughts? Right now I'm listening to the track where > Vedic is mixed with Tristan Tzara...although I admire DjS, I can't > help thinking that this suffers from the same thing that happens when > most novels are turned into movies - Tzara loses his substantiality > and I feel like I'm listening to music in a spa...It's very unlike the > Susan Howe/David Tudor collaboration! > > - Lori > ========================================================================= Date: Thu, 8 Mar 2007 13:59:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Katalanche Press Subject: New magazine: The Can MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Now available: The Can issue #1 $4 The Can is a magazine of essays on poetry. The first issue includes these pieces: - Aaron Tieger on Ryan Murphy - Guillermo Parra on Edward Upward - Gina Myers on Kate Greenstreet - Michael Slosek on Eric Unger - Brenda Iijima on Akilah Oliver - Mark Lamoureux on Gertrude Stein - Dorothea Lasky on Recycling - Cedar Sigo on Narration & Figure Buy one through this link with paypal: http://katalanchepress2.blogspot.com/ or send a check for $4 (payable to Michael Carr) to: The Can c/o Carr 9 Malcolm Rd, #1 Cambridge, MA 02138 Thanks! Michael ========================================================================= Date: Thu, 8 Mar 2007 13:25:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: listenlight 08 delayed --- get firefox! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Dear Poetries, Due to a schocking wave of submissions to our little journal at http://listenlight.net, the release date for issue 08 of Saturday the 10th is being delayed. Also, the intended design, employing php trigonometric functions for div placement --- lo, it does not work in the MSIE browser. Get Firefox . It's free. Do it now. It's easy to import your IE bookmarks. Any further submissions, as well as some already received, will be held for consideration for issue 09. Best wishes, Jesse Wayne Crockett ========================================================================= Date: Thu, 8 Mar 2007 12:19:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: Anselm Berrigan on PFS Post MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Check out eight poems from a new series by NYC poet Anselm Berrigan on PFS Post: http://www.artrecess.blogspot.com "I'm stuck w a valuable friend-- I'm happy, hope you're happy too...." http://www.adamfieled.blogspot.com --------------------------------- 8:00? 8:25? 8:40? Find a flick in no time with theYahoo! Search movie showtime shortcut. ========================================================================= Date: Thu, 8 Mar 2007 16:37:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Fw: Fw: 1 personell change the 15th Comments: To: Acousticlv@aol.com, AdeenaKarasick@cs.com, AGosfield@aol.com, alonech@acedsl.com, Altjazz@aol.com, amirib@aol.com, Amramdavid@aol.com, anansi1@earthlink.net, AnselmBerrigan@aol.com, arlenej2@verizon.net, Barrywal23@aol.com, bdlilrbt@icqmail.com, butchershoppoet@hotmail.com, CarolynMcClairPR@aol.com, CaseyCyr@aol.com, CHASEMANHATTAN1@aol.com, Djmomo17@aol.com, Dsegnini1216@aol.com, Gfjacq@aol.com, Hooker99@aol.com, rakien@gmail.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 steve dalachinsky & a rare new york appearance by john m. bennett (experimental and visual poet, curator, Avant Writing Collection Rare Books & Manuscripts Library The Ohio State University Libraries, founder-editor of luna bisonte prods and lost and found times in a special evening of poetry Thursday, March 15th @ 7 PM @ FUSION ARTS MUSEUM 57 Stanton Street ( near Eldridge ) DONATION __________________________________________ SHaloM NewMan presents @ Pratt Institute - in Manhattan 144 w 14th street – 2ND floor auditorium Friday, March 16 @ 7 PM exhibit and readings featuring Steve Dalachinsky, John M. Bennett, Yuko Otomo, Jim Feast, Thadeus Rutkowski, Merry Fortune, Carol Weirzbecki, Hal Sirowitz, Carl Watson, Ron Kolm, Richard Kostelanetz, Tom Savage, Joe Maynard , Tsaurah Litsky, Jill Rappoport and many others… exhibit opening at 5 pm ___________________________________________ Bowery Poetry Club 308 Bowery (between Bleecker & Houston) Saturday, March 17 @ 6 PM Mark Bloch, Bob Heman, Richard Kostelanetz, Ron Kolm, Valery Oisteneau, Steve Dalachinsky, and Gregory Vincent St. Thomasino _____________________________________________ Bowery Poetry club april 8th 5 pm jim feast steve dalachinsky nathaniel farrell, aaron howard et al ========================================================================= Date: Thu, 8 Mar 2007 14:47:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Open Text Reading Series #3: Dorothy Trujillo Lusk (Vancouver) MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit OPEN TEXT READING SERIES #3: DOROTHY TRUJILLO LUSK Sponsored by the Canada Council for the Arts & the Creative Writing Program at Capilano College http://capilanocreativewriting.blogspot.com The Spring 2007 OPEN TEXT series at Capilano College continues on March 15h, 2007 with a reading by Vancouver poet Dorothy Trujillo Lusk. Cedar 148 @ 12:30 Capilano College 2055 Purcell Way North Vancouver Dorothy Trujillo Lusk is the author of Oral Tragedy (Tsunami, 1988), Redactive (Talon, 1993), Ogress Oblige (Krupskaya, 2001), Sleek Vinyl Drill (Thuja, 2000) and the forthcoming collection Decorum. Lusk is a longtime member of the Kootenay School of Writing collective. DECORUM (TYPICAL) you loost certitude, you youthless louse you shield ensheltied terbonium lice ensnatchèd youse titanium'rattum's amon grelf I bulationgs terbaccerrationgs ditchmonde etude demi-semi-clever class'em tababac a turnstim maize merlottatoonal continua brava pausa sanctos cancrementitudenal ownage pushyface an average glowbooty -- from DECORUM For info: Roger Farr [log in to unmask] 604.986.1911 (2554) [Coming soon: Anne Stone, Maxine Gadd] ========================================================================= Date: Thu, 8 Mar 2007 16:55:06 -0600 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 New content up on rhubarb is susan: two essay-like pieces. "Cargo Cult Poetry" is at http://rhubarbissusan.blogspot.com/2007/03/cargo-cult-poetry.html and an essay on Eric P. Elshtain's computer generated poetry in a recent Chicago Review is at http://rhubarbissusan.blogspot.com/2007/03/eric-p-elshtain-184946.html ========================================================================= Date: Thu, 8 Mar 2007 17:03:06 -0600 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=UTF-8 Content-Transfer-Encoding: base64 IlRoZSBwb21lZ3JhbmF0ZSBJIHNuYXBwZWQgZnJvbSB0aGUgbG93IHRyZWUgd2FzIG5vdCB0 aGUgcmlwZQ0Kb25lLiBFYWNoIGluIHR1cm4gZ2F2ZSBtZSB0aGF0IHNhbWUgc2FkIGFuZCBz bHkgbG9vayBvZg0KbG92aW5nLiBTb21lIHNob29rIHRoZWlyIGhlYWRzIHNsb3dseS4gV2hh dCB3YXMgaXQgdGhhdCBoYWQNCmJyb3VnaHQgbWUgYmFjaz8gSSBoZWxkIHRoZSB0aGluZyBp biBteSBhcm1zLiBJdCDvrIJleGVkIGZyb20NCnRpbWUgdG8gdGltZSwgd3JpdGhpbmcgaW4g aXRzIHdyYXBzLiBJIHdhcyBhc2hhbWVkIGFuZA0KZnJpZ2h0ZW5lZC4gQnV0IEkgY291bGQg bm90IO+sgmluZyBpdCBhd2F5LiIgIC0tZnJvbSAiVGhlIENoYXNlIg0KYnkgVGhlb2RvcmUg V29yb3pieXQNCg0KQmVhcmQgb2YgQmVlcyBQcmVzcyBpcyBwbGVhc2VkIHRvIGFubm91bmNl IHRoZSBsYXRlc3QgaW4gaXRzDQp0eXBpY2FsbHkgbW9udGhseSBzZXJpZXMgb2YgcG9ldHJ5 IGNoYXBib29rczogIFNjYXIgTGV0dGVycyBieQ0KVGhlb2RvcmUgV29yb3pieXQuICAgIA0K DQpodHRwOi8vd3d3LmJlYXJkb2ZiZWVzLmNvbS93b3JvemJ5dC5odG1sDQoNCllvdXJzLA0K DQpFcmljIEVsc2h0YWluDQpFZGl0b3INCkJlYXJkIG9mIEJlZXMgUHJlc3MNCmh0dHA6Ly93 d3cuYmVhcmRvZmJlZXMuY29tDQo= ========================================================================= Date: Thu, 8 Mar 2007 18:50:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 3/12 - 3/16 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dears, Please join us thrice this week. Love, The Poetry Project p.s. Those who steal our bags are not our dears. Monday, March 12, 8:00 pm Ted Mathys & Martha Ronk Ted Mathys's first book of poetry, Forge, was published by Coffee HousePres= s in 2005. A 2005 NEA Literary Fellow, his poems have appeared in journals such as American Poetry Review, Aufgabe, The Canary, Chelsea, Colorado Review, Fence, Jubilat, Verse, and Web Conjunctions. Originally from Ohio, he lives in Brooklyn. Martha Ronk is the author of, In a landscape of havin= g to repeat, (PEN USA best poetry book, 2005), and Why/Why Not, University of California Press, 2003. Her forthcoming book, Vertigo, was selected by C.D. Wright for the National Poetry Series, and will be published by Coffeehouse Press. She is Professor of English at Occidental College in Los Angeles. This event is co-sponsored with Poets House. Wednesday, March14, 8:00 pm Kimiko Hahn & Brenda Iijima Kimiko Hahn is the author seven books of poems, including: Earshot, which was awarded the Theodore Roethke Memorial Poetry Prize and an Association o= f Asian American Studies Literature Award; The Unbearable Heart, which received an American Book Award; and The Narrow Road to the Interior, the title stolen from Basho=B9s famous poetic journal. She is a Distinguished Professor at Queens College/CUNY. Brenda Iijima=B9s books include Around Sea and Animate, Inanimate Aims. Eco Quarry Bellwether will be published by Outside Voices later this spring. Rabbit Lesson is forthcoming from Fewer & Further Press. Chapbooks include: Color And Its Antecedents, Early Linoleum= , Spacious and In A Glass Box. She is the editor of Portable Press At Yo-Yo Labs and art editor for Boog City. Friday, March 16, 10:30 pm Puppy Flowers The long-awaited Puppy Flowers New York extravaganza is upon you. Puppy Flowers, an online magazine of the arts, wants to hand you a free beverage. With our other hand we are tapping on the microphone to announce the night'= s readers who have pleasurestakingly crafted original collaborative works for the occasion: Edmund Berrigan and John Coletti, Jess Fiorini and Tracey McTague, Joanna Fuhrman and Erica Kaufman, Brandon Downing and Brendan Lorber, Ted Mathys and Marcella Durand, and MacGregor Card and Karen Weiser= . In addition to these fantastic contributors, editor Chris Martin will read = a collaborative work written with the dearly missed kari edwards. There will also be cinematic and musical sundries. Saturday, March 10th, 2:30-7pm. $5 THE BURNING CHAIR READINGS=A0 BROOKLYN POETRY BAZAAR=A0 Galapagos Art Space=A0 70 North 6th Street=A0 Between Kent and Wythe=A0 Williamsburg, Brooklyn=A0 http://www.galapagosartspace.com=A0 $5 for eleven poets & another who sings=A0 w/ a book fair supporting our poets & local small presses=A0 =A0 2:30-4:30 PM=A0 Ben Mazer,=A0Christian Hawkey,=A0Matvei Yankelevich,=A0Anna Moschovakis,=A0Fanny Howe=A0 =A0 4:30-5 PM=A0I Feel Tractor=A0 =A0 5-7 PM=A0Farid Matuk, Susan Briante,=A0Jess Mynes,=A0Karen Weiser,=A0Anselm Berrigan,=A0Rod Smith=A0 Friday, March 16, 2007, 6-10pm. $5 National Small Press Month Reading Marathon =20 Mo Pitkin=B9s House of Satisfaction: 34 Avenue A, NYC 10009. 212.777.5660. A March Reading Marathon: 31 Writers for 31 Days. Celebrate Extraordinary Writers and the Presses Who Publish Them. =20 Nahid Rachlin (City Lights); Felicia Luna Lemus (Akashic Books); T. Cooper (Akashic Books); Lauren Sanders (Akashic Books); Lynne Tillman (Soft Skull Press); Matthew Sharpe (Soft Skull Press); David Silverman (Soft Skull Press); Tim Brown (Bronx River Press); Rachel Sherman (Open City Books); Sa= m Brumbaugh (Open City Books); Paul Foster Johnson (Apostrophe Press); Martha Oatis (Portable Press Yo-Yo Labs); Stacy Szymaszek (Litmus Press); Brenda Iijima (Litmus Press); Tracy Grinnell (O Books); Rachel Levitsky (Belladonn= a Books); Lila Zemborain (Belladonna Books); Marcella Durand (Belladonna Books); Erica Kaufman (Belladonna Books); Jen Benka (Soft Skull Press); David Cameron (Ugly Duckling Presse); Dan Machlin (Ugly Duckling Presse); Prageeta Sharma (Fence Books); Kevin Bartelme (Cool Grove); Ihsan Bracy (Cool Grove); Akilah Oliver (Portable Press Yo-Yo Labs); Tisa Bryant (Leon Works); Aaron Petrovich (Akashic Books); Deepa Fernandez (Seven Stories Press); Abby Denson (Manic D Press). =20 For more information contact the Small Press Center: 212.764.7021 or visit www.smallpressmonth.org and click on the Events section. =20 *Small Press Month is a nationwide initiative co-sponsored by the Small Press Center: The Center for Independent Publishing; the CLMP, (The Council of Literary Magazines and Presses); and PMA, The Independent Book Publisher= s Association.=20 Become a Poetry Project Member! http://poetryproject.com/membership.php Winter Calendar: http://www.poetryproject.com/calendar.php 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. If you=B9d like to be unsubscribed from this mailing list, please drop a line at info@poetryproject.com. ========================================================================= Date: Thu, 8 Mar 2007 20:39:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: NYC: Bryant/Koestenbaum/LaFarge April 3 reading at Redhead Mime-Version: 1.0 (Apple Message framework v624) Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Please come! ********************************** Death does not make the dead wiser. But it is our responsibility, that=20= of the living, for our listening to deepen. Barbara Christian Begin forwarded message: > > > First Tuesday's at REDHEAD > Coordinated and Hosted > by Christopher Stackhouse > =A0 > > REDHEAD > Lower Manhattan Cultural Council > 125 Maiden Lane 2nd Floor NYC 10038 > Phone: 212-219-9401 > > > Tonight: Tuesday, April 3, 2007 6p- 8p > > > The poets/readers will be: > > > Wayne Kostenbaum > Tisa Bryant > Paul La Farge > > > Reader Bios: > > > Wayne Koestenbaum has published five books of poetry:=A0 Best-Selling=20= > Jewish Porn Films, Model Homes, The Milk of Inquiry, Rhapsodies of a=20= > Repeat Offender, and Ode to Anna Moffo and Other Poems.=A0 He has also=20= > published a novel, Moira Orfei in Aigues-Mortes, and five books of=20 > nonfiction:=A0 Andy Warhol, Cleavage, Jackie Under My Skin, The = Queen's=20 > Throat (a National Book Critics Circle Award finalist), and Double=20 > Talk.=A0 He wrote the libretto for Michael Daugherty's opera, Jackie = O.=A0=20 > Koestenbaum's next book, Hotel Theory, will be published in May 2007.=A0= =20 > He is a Distinguished Professor of English at the CUNY Graduate=20 > Center, and currently also a Visiting Professor in the painting=20 > department of the Yale School of Art. > > =A0Tisa Bryant's writings, Unexplained Presence (forthcoming, Leon = Works, > 2007), andTzimmes (A+Bend Press, 2000) traverse the boundaries of > genre, culture and history. =A0Her writing has appeared inBombay > Gin,Chain,Hatred of Capitalism,Pom2,andXantippe. =A0She is currently = at > work on[the curator], a meditation on identity, visual culture, and = the > lost films of Black auteur Justine Cable. =A0She is a founding editor = of > The Encyclopedia Project, and teaches composition and literature at = St. > John's University. > > =A0 Paul La Farge is the author of two novels, The Artist > of the Missing and Haussmann, or the Distinction. His > stories have appeared in Story, Fence, McSweeney's, > and elsewhere. He is a semi-regular contributor to The > Believer. He received a Guggenheim fellowship in 2002, > and won the Bard Fiction Prize in 2005. His third > book, The Facts of Winter, was published by > McSweeney's Books in 2005. > =A0 > > at REDHEAD > Lower Manhattan Cultural Council > 125 Maiden Lane 2nd Floor > New York, NY 10038 > Phone: 212-219-9401 > http://www.lmcc.net/ > > contact Jeanne Gerrity @ Phone: 212-219-9401 ext: 108 > > DIRECTIONS: A/C/J/M/Z/2/3/4/5 to =A0Fulton St. / Broadway-Nassau stop.=20= > Exit near intersection of William =A0St. and Fulton St. Go South on=20 > William St. towards John St. Turn left =A0onto Maiden Ln. (Legion=20 > Memorial Sq.) Walk 2 1/2 blocks. The building =A0is on your left = between=20 > Pearl St. and Water St.= ========================================================================= Date: Thu, 8 Mar 2007 18:54:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Rachel Levitsky Mime-Version: 1.0 Content-Type: text/plain; format=flowed Anyone have her current e-mail? Rachel, are you on here? Drop me a line. Mark _________________________________________________________________ Find a local pizza place, movie theater, and more….then map the best route! http://maps.live.com/?icid=hmtag1&FORM=MGAC01 ========================================================================= Date: Thu, 8 Mar 2007 18:09:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: North-2 Text-5 MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable This is the fifth and last piece on this row: http://web.pdx.edu/~pdx00282/North/North-2/text-5.htm The row begins at: http://web.pdx.edu/~pdx00282/North/North-2/text-1.htm Introduction to project: http://web.pdx.edu/~pdx00282/North/Intro.htm -Joel ========================================================================= Date: Fri, 9 Mar 2007 01:09:54 -0600 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 Press is pleased to announce the publication of its latest chapbook, Scar Letters, by Theodore Worozbyt. Yours, Eric Elshtain Editor Beard of Bees Press http://www.beardofbees.com ========================================================================= Date: Fri, 9 Mar 2007 00:38:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: sonnet + videos MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed sonnet onedy twody threedy four fivedy sixdy sevendy more fourdy threedy twody one sevendy sixdy fivedy done ingirl outgirl upgirl down outboy inboy downboy crown pretty bonnie in the well happy johnny pulled the bell seventeen eighteen nineteen two twenty and one makes bonnie blue nineteen eighteen seventeen one sixteen years makes bonnie glum zero zero short and narrow cut the bone and gnaw the marrow http://www.asondheim.org/running.mov - performance at Exhibit A opening, Second Life, Odyssey http://www.asondheim.org/lessens.mp4 - motion capture choreography studies ========================================================================= Date: Thu, 8 Mar 2007 21:33:08 -0800 Reply-To: jmbettridge@yahoo.com Sender: UB Poetics discussion group From: Joel Bettridge Subject: Poetry at Beinecke Library: Announcements MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Please visit Poetry at Beinecke Library (http://beineckepoetry.wordpress.com/) for recent announcements about Yale Collection of American Literature events, activities, exhibitions, and collections including: New Processing Initiatives at Beinecke Library http://beineckepoetry.wordpress.com/2007/03/07/new-processing-initiatives-at-beinecke-library/ Frank Bidart Wins Bollingen Prize in Poetry http://beineckepoetry.wordpress.com/2007/02/22/frank-bidart-wins-bollingen-prize-in-poetry/ Barbara Guest Papers http://beineckepoetry.wordpress.com/2007/02/05/barbara-guest-papers/ Yale Collection of American Literature Reading Series http://beineckepoetry.wordpress.com/2006/12/18/the-yale-collection-of-american-literature-reading-series-recordings/ Nancy Kuhl Associate Curator, The Yale Collection of American Literature The Beinecke Rare Book and Manuscript Library Yale University 121 Wall Street P.O. Box 208240 New Haven, CT 06520-8240 Phone: 203.432.2966 Fax: 203.432.4047 ____________________________________________________________________________________ Food fight? Enjoy some healthy debate in the Yahoo! Answers Food & Drink Q&A. http://answers.yahoo.com/dir/?link=list&sid=396545367 ========================================================================= Date: Thu, 8 Mar 2007 20:53:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Montgomery fuller Subject: your assistance with my writers cred: lawrence ytzhak braithwaite Comments: To: kalamu@aol.com, belladodie@earthlink.net, abrassar@alyson.com, JWestdcoop@aol.com, dalaniaamon@yahoo.com, anok4u_2000@yahoo.ca, rgluck@sfsu.edu, kevinkillian@earthlink.net, minka@camilleroy.com, TEMPLE450@aol.com, gregw@suspectthoughts.com, WRYTING-L@LISTSERV.WVU.EDU Comments: cc: wayde@waydecompton.com Mime-Version: 1.0 Content-Type: text/plain; format=flowed peace currently my credentials as a writer, an artist and being linked to the new narrative are being attacked by a victoria individual who is seeking that i be removed from the wikipedia encyclopedia -- my work and innovations have always been down played in this country in this province and now as my popularity grows with music, recording and indie publishing, an attempt to erase me is being made. my bibliography is even being questioned and all citations have been removed. this is an attempt to discredit me and mylifes work. http://en.wikipedia.org/wiki/Lawrence_Ytzhak_Braithwaite you assistance in countering this assault. if this letter can be passed onto kevin killian, amiri baraka, dodie bellamy and dennis cooper and anyone can offer testamonials and help would be much appreciated. my life's work is being questioned and erased. sincerely, lawrence ytzhak braithwaite _________________________________________________________________ Get a FREE Web site, company branded e-mail and more from Microsoft Office Live! http://clk.atdmt.com/MRT/go/mcrssaub0050001411mrt/direct/01/ ========================================================================= Date: Fri, 9 Mar 2007 12:50:02 +0000 Reply-To: editor@fulcrumpoetry.com Sender: UB Poetics discussion group From: Fulcrum Annual Subject: Shakespeare Music in Worcester & Boston: March 17 & 19 -- FREE! MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="--=_vm_0011_W4453417420_20931_1173444602" ----=_vm_0011_W4453417420_20931_1173444602 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Joseph Summer, director of The Shakespeare Concerts, is certainly one of = the very finest composers alive. His Shakespeare music is terrific. I hig= hly recommend the event descibed below -- I'm going too! -- Philip Shall I Compare Thee To A Summer's Day: a winter concert What: The Shakespeare Concerts, an evening of music by Berlioz, Britten= , Brahms and Massachusetts based opera composer: Joseph Summer= . When: Saturday, March 17, 2007, 8:00 PM Where: Razzo Hall, Clark University, WORCESTER, MA & When: Monday, March 19, 2007, 8:00 PM Where: Jordan Hall, BOSTON, MA *** FREE AND OPEN TO THE PUBLIC *** Who: Kellie Van Horn, mezzo-soprano; Alan Schneider, tenor; and Eve Gigliotti, soprano; Quartet X with violinists Krista Reiser and Rohan Gregory, = violist Peter Sulski, and cellist Jan M=C3=BCller-Szeraws; Sarah Brady, flute; Max Zeugner, double-bass; John McGinn, Music Director The seasons play a major role in the sonnets of William Shakesp= eare. Of the four seasons, the bard was fondest of summer. "Then let not = winter's ragged hand deface In thee thy summer ere thou be distilled," be= gins Sonnet VI, reflecting on the line "Then, were not summer's distillat= ion left a liquid prisoner pent in walls of glass," from Sonnet V, which = immediately precedes it in this unparalleled collection of one hundred fi= fty four fourteen-lined homages to an as yet unknown idol. "O, how shall = summer's honey breath hold out Against the wreckful siege of batt'ring da= ys," the poet laments in Sonnet LXV, as well as in Sonnet XCVII where he = recalls ruefully a painful absence: "What old December's bareness everywh= ere! And yet this time remov'd was summer's time." Shakespeare saw summer= as the quintessential symbol for love and happiness. "For summer and his= pleasures wait on thee, and thou away, the very birds are mute." (This a= lso from Sonnet XCVII.) Of course, his most well known reflection on the= happy season is "Shall I compare thee to a summer's day," the opening li= nes of Sonnet XVIII. Joseph Summer, the composer of The Oxford Songs, (settings of m= ore than sixty sonnets and scenes from the Shakespeare canon,) was natura= lly attracted to those sonnets of summer. This March, he brings to Razzo = and Jordan halls an evening of music based on the words of William Shakes= peare, featuring his own realization of Shall I Compare Thee To A Summer'= s Day for mezzo-soprano, flute, and string quintet. Summer's setting of t= he immortal sonnet was informed by his interpretation of the underlying m= eaning of the sonnets, which he sees as a plea by Shakespeare to a young = man to have a child. The evidence supporting his opinion is abundant. The= last two lines from Sonnet VII are clear as can be: "So thou, thyself ou= tgoing in thy noon, unlook'd on diest unless thou get a son." The last tw= o lines of Sonnet X: "Make thee another self for love of me, That beauty = still may live in thine or thee." "And nothing 'gainst Time's scythe can = make defence Save breed, to brave him when he takes thee hence," are the = concluding lines of Sonnet XII. The combination of the season and the com= mand to "breed," led Summer to think of his daughter, Eve (born on the ev= ening of June 20, also known as Summer's Eve) when writing the music to S= hall I Compare Thee To A Summer's Day. The setting is pastoral and gentle= , evoking the beauty of a young girl gathering flowers in a field, which = is how the aria grew, as Summer looked out the window of his studio upon = his daughter, gathering daisies and singing to the wind, when she was fou= r years old. "Rough winds do shakes the darling buds of may," wrote the p= oet. On Saturday, May 17 and Monday, March 19, the audience that gat= hers at Razzo and Jordan Halls will hear how Berlioz, Britten, Brahms, an= d Summer brought their own interpretations of Shakespeare to life in the = form of opera, song, and musical tone-painting. Berlioz, most famous for his revolutionary Symphonie Fantastiqu= e, was an ardent admirer of Shakespeare. He crafted numerous pieces based= on the bard, including La Mort D' Oph=C3=A9lie (the death of Ophelia.) K= ellie Van Horn, mezzo-soprano, will perform with The Shakespeare Concerts= music director and pianist, John McGinn this concert aria based on the s= oliloquy "There Is A Willow Grows Aslant A Brook," from the play, Hamlet.= Soprano Eve Gigliotti will perform Brahms' Five Ophelia songs and Summer= 's "They Bore Him Barefaced On The Bier," both interpretations of Ophelia= 's mad scene from Hamlet. Van Horn and Gigliotti will be joined by Boston= tenor Alan Schneider and the Boston based string quartet: QX in "Two Lov= es I Have" the world premiere of Summer's setting of Sonnet CXLIV. Van Ho= rn will also sing the one work on the program not directly related to Sha= kespeare, a setting of William Butler Yeats' sonnet, Leda And The Swan, f= or string quartet and soprano. Alan Schneider, in his fifth season with t= he The Shakespeare Concerts, will perform Summer's "To Be Or Not To Be," = which he has recorded for Albany Records on the first The Shakespeare Con= certs album: What A Piece Of Work Is Man. Schneider will also perform a = flirtatious Sonnet CXXVIII with violin soloist, Krista Reisner, as well a= s the final song from Twelfth Night with QX and bassist Max Zeugner. Much= of the music heard at the concerts was recently released by Albany Recor= ds, under the title Shall I Compare Thee To A Summer's Day? Interspersed throughout the evening's songs will be three diver= timenti for string quartet by Benjamin Britten. Britten acknowledged Shak= espeare in these pieces, as he titled them "Go, play boy, play," a line f= rom the bard's frightening play, A Winter's Tale. QX, a Boston based stri= ng quartet, consisting of violinists Krista Reiser and Rohan Gregory, vio= list Peter Sulski, and cellist Jan M=C3=BCller-Szeraws will be joined by = double bassist Max Zeugner to perform Joseph Summer's Dance Of The Mechan= ics, a suite of comic dances based on the vulgar characters (known as "me= chanics" in Shakespeare's time) from Love's Labour's Lost. ----=_vm_0011_W4453417420_20931_1173444602-- ========================================================================= Date: Fri, 9 Mar 2007 09:48:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: Re: Outsider Art In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed hm .well i wouldnt mind being as much of an outsider as bukowski. the launching of new press poetswearprada was aterriric event lastnight and i was glad to be in it. wonder if it would profit by being labelled outsider. susa maurer >From: Christopher Leland Winks >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Outsider Art >Date: Wed, 7 Mar 2007 12:27:23 -0500 > >"Outsider art" has become another niche marketing term in the branch >of the commodity economy known as the "art world." Perhaps when Roger >Cardinal (?) published his illustrated monograph entitled "Outsider >Art" a few decades back, the term had meaning because of its novelty >as a rubric. But now, in an era when "Outsider Art Fairs" are >annually held in New York City, it's become another way for art >hustlers -- er, dealers -- to make a buck off their designated "Other" >of choice. > >On another level: if Henry Darger's work can be labeled "outsider >art," can John Ashbery's "Girls on the Run," inspired by Darger, be >called "outsider art" too? If so, why? If not, why not? _________________________________________________________________ Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a month. Intro*Terms https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h27f6&disc=y&vers=743&s=4056&p=5117 ========================================================================= Date: Fri, 9 Mar 2007 09:23:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: Re: New Beard of Bees Chapbook In-Reply-To: <20070308170306.ALM20492@m4500-00.uchicago.edu> Mime-Version: 1.0 Content-Type: text/plain; format=flowed what a terrific quote. do you take submissions? susan maurer >From: Eric Elshtain >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: New Beard of Bees Chapbook >Date: Thu, 8 Mar 2007 17:03:06 -0600 > >"The pomegranate I snapped from the low tree was not the ripe >one. Each in turn gave me that same sad and sly look of >loving. Some shook their heads slowly. What was it that had >brought me back? I held the thing in my arms. It flexed from >time to time, writhing in its wraps. I was ashamed and >frightened. But I could not fling it away." --from "The Chase" >by Theodore Worozbyt > >Beard of Bees Press is pleased to announce the latest in its >typically monthly series of poetry chapbooks: Scar Letters by >Theodore Worozbyt. > >http://www.beardofbees.com/worozbyt.html > >Yours, > >Eric Elshtain >Editor >Beard of Bees Press >http://www.beardofbees.com _________________________________________________________________ Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a month. Intro*Terms https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h27f6&disc=y&vers=743&s=4056&p=5117 ========================================================================= Date: Fri, 9 Mar 2007 09:22:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: Anselm Berrigan on PFS Post In-Reply-To: <567070.49399.qm@web54504.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Adam: AB's poems--the ring of truth, just terrific--I know there's no such thing as truth & the ring of it doesn't make sense anymore but that was the phrase that came to mind--in fact they give me tips on where I might go next. Thanks. Ruth On 3/8/07 3:19 PM, "Adam Fieled" wrote: > Check out eight poems from a new series by NYC poet Anselm Berrigan on PFS > Post: > > http://www.artrecess.blogspot.com > > "I'm stuck w a valuable friend-- I'm happy, hope you're happy too...." > > http://www.adamfieled.blogspot.com > > > > --------------------------------- > 8:00? 8:25? 8:40? Find a flick in no time > with theYahoo! Search movie showtime shortcut. ========================================================================= Date: Fri, 9 Mar 2007 08:29:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: a prize for interestingness Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii At http://www.vispoets.com/ we now have a patron, a donor, an angel, someone who likes what we're doing enough to put their money where their mouth is, someone with a way and the means to encourage visual poets and to support the presses who publish them. Beginning one week from today, next Friday, March 16th, and running for the next two months of Fridays (as a test, longer if it works out), this patron will select the most interesting work of visual poetry posted to the members' galleries (http://vispoets.com/index.php?automodule=gallery&req=sc&cat=1) the previous week and award them $25 in printed visual poetry material from one of a variety of publishers (patron's choice of publisher, publisher's choice of material). All you need to do to have your work considered is be a registered member of the site, and post something to the members' galleries that week. If you are a publisher of visual poetry and would like to send $25 worth of your wares to a winner or two, please email me at vispoets@logolalia.com with your interest and contact information. If you would like to add your support to this endeavor by sponsoring a similar project, or, simply adding cash to all or some of the weekly awards, we can work with you to make that happen. Email me at vispoets@logolalia.com to discuss it further. Whee! Dan ========================================================================= Date: Fri, 9 Mar 2007 09:16:59 -0800 Reply-To: Andrea Lawlor Sender: UB Poetics discussion group From: Andrea Lawlor Subject: THE ODYSSEY at Cellspace SF March 10 Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit THE ODYSSEY: An Epic Night of Film and Readings Come celebrate the release of Pocket Myths #4, THE ODYSSEY, with a screening and reading! Films by Bill Basquin, Eileen Myles, Gretchen Hildebran, EE Miller, Dori Midnight, Kara Hearn, Miriam Klein Stahl, Paula Cronan, Juliana Snapper, Laurie Weeks, Corinna Press, Rebecca Lee, and many more! Performances by Ida Acton, Amanda Davidson, Judith Jordan, Robin Coste Lewis, Miranda Mellis, Christian Nagler, sara seinberg, and David West. THE ODYSSEY is a film and book collaboration curated by Bernadine Mellis and Andrea Lawlor, featuring work by mostly queer, trans, and women artists, retelling Homer's ancient epic of the aftermath of war. Almost half of the 75 contributors are from the Bay Area. Interesting tidbits: Writers Keith Waldrop, Brian Evenson, and Samuel R. Delany all appear in the film. Poet Eileen Myles made her first film for this project, as did Whitney Biennial star photographer Zoe Strauss. Painter Xylor Jane, known for her math art, contributed her first published short story, as well as a drawing, to the book. Date & Time: Saturday, March 10, 7pm Cellspace, 2050 Bryant Street Admission: $10 Light fare generously provided by Rainbow Grocery and others! More information: www.pocketmyths.com ========================================================================= Date: Fri, 9 Mar 2007 10:46:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Requesting Information on ONE LESS mag Nikki Widner - Williamsburg, MA In-Reply-To: <24810970.1173460619543.JavaMail.root@elwamui-sweet.atl.sa.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Am trying to obtain information on ONE LESS and, better yet, its editor Nikki Widner. Please backchannel if you might be able to provide some information. ONE LESS is/was a wonderful journal out of Williamsburg, Mass. Regards, agj --- ____________________________________________________________________________________ 8:00? 8:25? 8:40? Find a flick in no time with the Yahoo! Search movie showtime shortcut. http://tools.search.yahoo.com/shortcuts/#news ========================================================================= Date: Fri, 9 Mar 2007 13:14:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Dr. Barry S. Alpert" Subject: Re: Carolee Schneemann, friend of many poets Mime-Version: 1.0 Content-Type: text/plain; format=flowed Congratulations on the forthcoming exhibitions. Wish it were more convenient for me geographically, since there will be a fair amount of work on view which I haven't experienced. Carolee was indeed "friendly" towards an ekphrastic text I wrote during her performative lecture in WASH DC about two years ago: PERFORM, CAROLEE [SCHNEEMANN] Physicalization of the pictorial plane / EYE-BODY exists as 36 images, rigorous set of parameters for MEAT-JOY. Found this huge crate filled of physical configuration and the momentum rope activates a language, musculature in the acting. Confluence of properties which are so entrancing / an extraordinary psychic mystery story ran out in my nightgown into the snow. Life juxtaposed with menace. Enough confidence to trust expectation of fantasy and righteous death. Barry Alpert "Everyone, The following is the press release announcing my first curatorial endeavor -- an exhibition of works by Carolee Schneemann opening at CEPA Gallery in downtown Buffalo on March 31. If you are in town, hope to see you there. many thanks, Photi CEPA Gallery Presents: Remains To Be Seen A thematic exhibit of the work of Carolee Schneemann March 31, 2007 – May 26, 2007 CEPA Gallery is pleased to announce the opening of Remains To Be Seen, a retrospective examination of the artistic output of Carolee Schneemann that surveys the breadth and depth of her expansive contribution to contemporary art. The exhibition will open with a reception for the artist and the public, Saturday, March 31, 2007 from 7 – 10 p.m. The artist and the exhibition’s curator, Photios Giovanis, will be present. Conceived to foster an internal dialogue between Schneemann’s diverse bodies of work, Remains To Be Seen counters a traditional chronological format to focus on the complexities of her creative process and its scope of influence. Remains To Be Seen features three central issues; War, Erotics, and Felines, with Schneemann’s most well known works including Interior Scroll, Vulva’s Morphia, and screenings of her films, Fuses and Meat Joy. The section on cats will include large format photographs and the recently completed film Infinity Kisses. The war pieces will include video and photo grids spanning 1964 - 2006 that directly address Vietnam, Kosovo, Lebanon and the events of 9/11. Additionally, CEPA’s Public Art Window on Main Street will present Vesper’s Pool, a display of mystical objects that center on the death of Schneemann’s cat, Vesper. A companion exhibit titled Broken Borders at the Museum of Contemporary Canadian Art in Toronto, curated by David Liss, runs March 23 – April 30, 2007. It addresses Schneemann’s history of working in Canada and includes three recent large scale, multi-channel video installations. A catalog, Split Decision, produced in partnership with the Museum of Contemporary Canadian Art, encompassing the two exhibits, will be available. The publication explores Schneemann’s career from different historical and political perspectives to expand critical awareness of her work. It will document a wide range of works and will include essays by leading art scholar Thomas McEvilley, Canadian art critic Jim Drobnick, Buffalo-based media artist Caroline Koebel." _________________________________________________________________ With tax season right around the corner, make sure to follow these few simple tips. http://articles.moneycentral.msn.com/Taxes/PreparationTips/PreparationTips.aspx?icid=HMFebtagline ========================================================================= Date: Fri, 9 Mar 2007 12:42:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: NYC/*VIP: Help Boog City Distrib. Sat., & We'll Help You, Too* Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi all, Still no new permanent distributor for boog city as yet, so I'll be borrowing my dad's jeep to deliver the paper tomorrow, preferably, or Sunday. I'm hoping someone might be game to ride along and jump out and drop off the papers at each of our 33 distribution points. I can pick you up and drop you back off and, if there's something you've been needing to pick up and haven't had a vehicle to do so, help you out with that, too. Please let me know as soon as you can. 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, 9 Mar 2007 12:42:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. From: lds Subject: Re: sonnet + videos In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Cool sonnet ~ -----Original Message----- ~ From: UB Poetics discussion group ~ [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Alan Sondheim ~ Sent: Thursday, March 08, 2007 10:39 PM ~ To: POETICS@LISTSERV.BUFFALO.EDU ~ Subject: sonnet + videos ~ ~ ~ sonnet ~ ~ onedy twody threedy four ~ fivedy sixdy sevendy more ~ fourdy threedy twody one ~ sevendy sixdy fivedy done ~ ingirl outgirl upgirl down ~ outboy inboy downboy crown ~ pretty bonnie in the well ~ happy johnny pulled the bell ~ seventeen eighteen nineteen two ~ twenty and one makes bonnie blue ~ nineteen eighteen seventeen one ~ sixteen years makes bonnie glum ~ zero zero short and narrow ~ cut the bone and gnaw the marrow ~ ~ http://www.asondheim.org/running.mov - performance at Exhibit ~ A opening, Second Life, Odyssey ~ ~ http://www.asondheim.org/lessens.mp4 - motion capture ~ choreography studies ~ ========================================================================= Date: Fri, 9 Mar 2007 16:46:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: L Guevarra Subject: NEW BOOK: The Age of Huts (compleat) Comments: To: poetics@listserv.buffalo.edu. Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dear Buffalo Poetics List: The University of California Press is pleased to announce the publication of: The Age of Huts (compleat) Ron Silliman is the author of more than twenty volumes of poetry. His most recent books include _Woundwood, Under Albany, MultiPlex,_ and _N/O._and the weblog "Silliman's Blog" (ronsilliman.blogspot.com). http://go.ucpress.edu/Silliman "It would be impossible to overestimate the importance of Ron Silliman's _Age of Huts_; it was ground-breaking when it first began to appear, piecemeal, a quarter of a century ago, and it remains a revolutionary work today. With its proliferative architecture, its encyclopedic arc, and its endlessly inventive methodology, _The Age of Huts_, with virtually every sentence, renews its engagement with the world."-Lyn Hejinian Between the Age of Innocence and the Age of Experience comes _The __Age of Huts. _This book brings together for the first time all of the poems in Ron Silliman's _Age of Huts _cycle, including _Ketjak, Sunset _ _Debris, The Chinese Notebook, _and _2197, _as well as two key satellite texts, _Sitting Up, Standing, Taking Steps, _and _BART. _Each poem offers a radically different approach toward using language to explore the world. One of the founding works of Language Poetry, _The Age of __Huts _is about everything, more or less literally, as each sentence, even each phrase, embarks on its own narrative, linking together to form a large polyphonic investigation of contemporary life. From _Ketjak, _one of the first poems to employ "the new sentence," to _2197, _a serial work that scrambles the vocabulary and grammar of its sentences, _The _ _Age of Huts _questions everything we have known about poetry in order to see the world anew. Full information about the book, including the table of contents, is available online: http://go.ucpress.edu/Silliman -- Lolita Guevarra Electronic Marketing Coordinator University of California Press Tel. 510.643.4738 | Fax 510.643.7127 lolita.guevarra@ucpress.edu ========================================================================= Date: Fri, 9 Mar 2007 18:32:02 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: Outsider Art Mime-Version: 1.0 Content-Type: text/plain; format=flowed though not an "outsider artist" other than that his well known Anarchism and having been the Cultural Director as it were during the Paris Commune of 1871--which got him booted out of France to save his skin--Gustave Courbet wrote a famous kind of "outside" credo in a letter of refusal to a Minister in the French Second Empire government in 1870--which Monarchist government had decided to make up for the bad treatment M. Courbet had endured due to his involvements in the 1848 Revolution- For in the immensity of its forgiveness and willingness to embrace M. Courbet as an artist and Frenchman--this noble government had decided to give him the ribbon of the Legiond'Honneur--a purely political move to be sure, but one that would most surely tempt any Frenchman, artist or not-- But not Gusatve Courbet! Courbet's famous letter of refusal ends with some ringing lines of another kind of "outside" that an artist may hear calling-- "Therefore permit me, monsieur le Ministre, to decline the honor you thought to bestow upon me. I am fifty years old and I have always lived as a free man. Let me be free the rest of my days; for when I die, let it be said of me: 'He never belonged to any school, to any church, to any insitution, to any academy--least of all to any regime, lest it be the regime of liberty." Bukowski, despite the Hollywood films and vast cult following and steady sales iin the usa, was the kind of "american outsider" who was a cultural icon overseas--in his native Germany, France, Italy and many other countries, Bukowski is ranked as one of the greatest, and fairly often, the greatest of American writers of the last fifty years or more-- a much more usual fate of an "outsider artist" --the examples are far more than one might think--is that of Prophet William Blackmon, a preacher and painter, whose vocations in both cases come from God--Prophet didn't begin paintng until late in life--his works have been collected and exhibited and included i books and a very large one hangs here in the Milwaukee Art Musuem, with its famous Calatrava "wings"--and just a few weeks ago at University of Wisconsin-Milwaukee, Prophet shared a show with another spiritually -inspired Seattle artist--and there was an evening with Prophet present, to talk after showing of the film "God's Spaceship," a 1989 documentary/interview-- i first met Prophet about 18 years ago, selling paintings on the street corners and giving readings of illlnesses and praying for their healings--and once and a while a prediction regarding the future that had come to him from God--he had a tiny ministry of mainly homeless and very poor people and also did shoe repairs-- as he is getting quite elderly now, it's more difficult for Prophet to work at his trade and the minsitry has always been a basically losing business as he gaves away much of what he has to the homeless worse off than himself-- this winter he found himself homeless--fortunately offered lodging by a Sister in his ministry-- his spirit is indomnaitbale as ever--he vastly enjoyed the evening and spoke for quite along time about his life, his Faith, his visions from God, and his painting, which he does directly on instructions from God-- (he told me one time when i had first begun making rubBeings and spray paintings--he thought they also were sent by God--since no one else was making these things, God had called to me to make them so the world would know these things exist though no one had noticed them before--he also told me another time God works through such kinds of art as He tells people to do, to show sanity in an insane world--sanity to be seen so people will suddenly know the insanity of their brains and want to be sane--"which is a dangerous thing in this world"--he laughed quite a bit at that, Amen--) so despite all the hoopla and commercializations and appropriations, distortions, massive mad immensities and intensities of bullshit--there are actually a great many "outsider artists" who despite being wirtten about, collected and presented in museums, remain in life ill, neglected, poor, without materials to work with or home, living in various places as they can--and in many cases, uncertain what will heppan to their works after their deths--because all sorts of things become possible when they are infact dead-- possibilities many artists know exist--yet not for them, not in this lifetime-- not in the sense of agreat genius or respectable more or less nice artists who one can sentimentalize over for having been overlooked in their lives--and later welcomed into the worlds of respectability--and al its instituions-- because the "outsider artists" in the original senses of this--are always going to be "outsiders" in a way their fellows aren't-- that kind of outsiderness--Art Brut-- is something that can't be appropriated or learned in art school or "rescued", or captured by a label, a section in art books or museums-- it's not a question of being "more""outside" or "more authentic"--but of something other-- something that for all the "recognition" it gets, remains paradoxically mainly unrecognized- there are and will be always a few exceptions--but even those aren't recognized as being "real artists" like the ones runinng the vast gamut from O'Keefe and Picasso to Yoko Ono to Charles Schultz to Thomas Kincaide to any issue of any art magazine no matter what genres--including the journals of "outsider art"-- more and more of whom are like the artist i saw posters of for a while around town, "Wisconsin's Most Famoous Outsider Artist"--(never heard of him) --pcitured in studio, expensive easel produly standing among tons of the latest offerings from Utrecht,with a nice view o fa "landscape" through the "studio window"--immensely professional looking and al speaking very much of being guaranteed the viewer the very best and most up-to-date in "Outsider Art"--complete with web site, fax address and al the rest-- "a perfect addition to any home" i am sure-- again, i would recommend Lucienne Piery's Art Brut: The Origins of Outsider Art for the hsitory of this and for the ways from the very beginning of Dubuffet's naming, collecting, exhibiting, writing on, having monographs written on, establishing a center for Art Brut, and influencing the Artists Houses set up for Art Brut artists--from the beginning of all this, the awarenesses of the continual changes and obstacles, questions involved, both in critical terms, effects on the personal lives of the artists, and the financial aspects and the dangers posed by all the massive masrhalling of powers of the art world and media which in the end have buried Dubbeffet's orignal ideas of Art Brut and what Art Brut inspires and can be an example of in different ways of thinking about materials, possiblities, researchs, for other artists-- (even in the midst of the furor, now, and later, once the feeding frenzy has become but a laugh and lark, a discarded and discredited fashion--so deminished and pase as to be laughed at as here and now--the artists themsleves, the vast nameless ones,the creators, go on creating anyway--art brut in Dubuffet's conceptions of it--has been around since the dawn of time and will cointue on regardless--maybe one of the only kinds of "art" which will d so--having been nameless and unnoticed for millenia--it's not a "movement" in any sense of the term--other than a continual movement of making out of its own myriad callings--it's not going to have an "end" as say any School or Movement etc does-- the stubborn, "Brut," anarchic persistence of the "art" "drive" or "impulse" no matter what is done with it, to it, for it, by it--kill the artists, burn their works, ban them, throw them in jail, put them on peddestals, ahng them in person and in galleries, chop off their hands, put out their eyes, sic god, the state, the crtics, the collectors, the dealers, the forgers, the ridiculers, the know-it-alls, the pedants, the art lovers, the art teachers, the art supply companies, sic all of them on art, the artist--there will always be some damn fool who in some inexpicable way hears a calling and will start making things out of next to nothing-anything at hand---regardless if anyone else is even paying attention--and so Art Brut wil return to its anonymity . . . or recognitions . . . whatever the ebbs and flows of these--it remains intact--obdurately watching al that comes and goes around it--vanishes--reappears--like Easter Island heads observing the circulations of the air, the light, the ocean, the ships, the birds, the visiting humans--knowing the energies that live in them are out there out somewhere--creating their myriad strange companions-- Dubuffet's ideas and projects and their histries as Lucienne Piery details them are ia far more interesting and useful vision and hisotry than what has beomce the kind of mindless "another booth at the art fair" Christopher Winks ably describes-- which is actually interesting in a funny way as when i was a kid in Vermont at places like the notorious Tunbridge World's Fair and scattered about through other much smaller fairs--there would be itinerent portrait painters who would set up shop and for a noimal fee paint your picture--or if you wanted, a picture of something else--they'd also have a little bunch of hand made set ups for displaying their other works-- and if they wre alittle more prosperous than some of their brothers and sisters also making the circuit, they'd have anextra display of velvet Elvses, those Children of the Damned kids wtih immense eyes, Jesus, unicorns, stock cars, and the like--your basic kitsch-- the artists for the most part were affable carnies--could keep up a good patter,chain smoke and have some brews--and in general add to the festive atmosphere (which at the Tunbridge World's Fair, of course, eventually just slid out of control--it lasted for days--what with homebrew swigging and later on open marijuana smoking backwoods people charging the"Garden of Eden" strip show tent, "liberating" the Freak Show (inviting them to join in the party aad leave their tents)--old family feuds erupting, smashed stunt drivers crashing, illegal gamblers pulling knives and the like--once more highminded folks started moving in to the state, of course all this basically good clean medieval Rabelian fun had to stop!--"outsiders" from the wealthier, more educated and more morally concerned parts of the world, like new Puritans--refused to accept the Art Brut qualities of this happening scene--horrified at the anarchy of it all--my God!--drunken "liberated" Freaks posing for portraits with families, naked couples running into the woods, the "Garden of Eden"dancers baring all while drinking and smoking on stage, the ecstatic glee of children on rides at which the stoned carnie had fallen asleep with the "On" lever on for an hour or more due to his having collapsed on it-- Woodstock to these new people was a Sacrement, but this kind of communing obviiously foul and pagan--and attended by al the wrong sorts of people--so it was banned, done away with, and consigned to happy memories--and onewonders what happened to al those painters?--probably collectors now among the ones who put them out of work and fun--making a bundle off their surviving works on ebay, sellng them at nice new fairs with New Age and RISD educated themes in booths of their own--as "Primitive Portraits" by "Outsider Artists" --to dealers disguised as tourists who in turn purchase them for the galleries in New York, Milan, Paris, Stuttgart, Tokyo, Sao Paulo, Dubai, Los Angeles, etc-- meanwhile--uncannily--hidden in plain sight--"they walk among us"--the "outsider artists"-- "art brut"--among their own "regimes of liberty"-- >From: susan maurer >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Outsider Art >Date: Fri, 9 Mar 2007 09:48:13 -0500 > >hm .well i wouldnt mind being as much of an outsider as bukowski. the >launching of new press poetswearprada was aterriric event lastnight and i >was glad to be in it. wonder if it would profit by being labelled outsider. >susa maurer > > >>From: Christopher Leland Winks >>Reply-To: UB Poetics discussion group >>To: POETICS@LISTSERV.BUFFALO.EDU >>Subject: Re: Outsider Art >>Date: Wed, 7 Mar 2007 12:27:23 -0500 >> >>"Outsider art" has become another niche marketing term in the branch >>of the commodity economy known as the "art world." Perhaps when Roger >>Cardinal (?) published his illustrated monograph entitled "Outsider >>Art" a few decades back, the term had meaning because of its novelty >>as a rubric. But now, in an era when "Outsider Art Fairs" are >>annually held in New York City, it's become another way for art >>hustlers -- er, dealers -- to make a buck off their designated "Other" >>of choice. >> >>On another level: if Henry Darger's work can be labeled "outsider >>art," can John Ashbery's "Girls on the Run," inspired by Darger, be >>called "outsider art" too? If so, why? If not, why not? > >_________________________________________________________________ >Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a month. >Intro*Terms >https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h27f6&disc=y&vers=743&s=4056&p=5117 _________________________________________________________________ The average US Credit Score is 675. The cost to see yours: $0 by Experian. http://www.freecreditreport.com/pm/default.aspx?sc=660600&bcd=EMAILFOOTERAVERAGE ========================================================================= Date: Fri, 9 Mar 2007 16:14:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: L Guevarra Subject: NEW in PAPERBACK: The Collected Poems of Ted Berrigan Comments: To: poetics@listserv.buffalo.edu. Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dear Buffalo Poetics List: The University of California Press is pleased to announce in paperback: The Collected Poems of Ted Berrigan Ted Berrigan (1934-1983) was the author of more than 20 books, including _The Sonnets _(1964); _Bean Spasms, _with Ron Padgett and Joe Brainard (1967); _Red Wagon _(1976); and _A Certain Slant of Sunlight _(1988). Alice Notley is the editor of two of Ted Berrigan's books, _The Sonnets _(2000) and _A Certain Slant of Sunlight _(1988). She is the author of numerous volumes of poetry, including _Mysteries of Small Houses _(1998) and _Disobedience _(2001). Anselm Berrigan is the director of the St. Mark's Poetry Project and the author of _Zero Star Hotel _(2002). Edmund Berrigan is a poet and songwriter and the author of _Disarming Matter _(1999). http://go.ucpress.edu/BerriganCollected "It's a must-have, a poetic knockout."-Eileen Myles, _Time Out New York_ "A major volume of 20th-century American poetry."-_Publishers Weekly_ Starred Review This landmark collection brings Ted Berrigan's published and unpublished poetry together in a single authoritative volume for the first time. Edited by the poet Alice Notley, Berrigan's second wife, and their two sons, _The Collected Poems _demonstrates the remarkable range, power, and importance of Berrigan's work. Full information about the book, including the table of contents, is available online: http://go.ucpress.edu/BerriganCollected -- Lolita Guevarra Electronic Marketing Coordinator University of California Press Tel. 510.643.4738 | Fax 510.643.7127 lolita.guevarra@ucpress.edu ========================================================================= Date: Fri, 9 Mar 2007 19:13:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lcabri@UWINDSOR.CA Subject: on torque MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Hi Kasey (long time etc), and everybody over at Kasey's blog who's posted on this subject, and anyone reading this here, Zukofsky's "Mantis" is probably the precedent for how Ron uses the word torque in his "New Sentence" essay. Torque seems a novelty in Ron's essay, as it provides some high contrast with other terms he uses there such as measure, paragraph, syllogism, sentence, polysemy / ambiguity. Zukofsky characterizes (among other things) how he writes the sestina "Mantis" by the parenthetical phrase "thoughts' torsion." Torsion would then refer not only to the 'twisted' normative syntax displayed in "Mantis" but to the multiple twists performed on the sestina form invented by troubadour Arnaut Daniel by evoking a particular use for it in 1933-34 Depression America (after a late-19C sestina splurge by Chucky Al et al). And since it's Zukofsky, torsion away from historical precedent toward contemporary particulars is going to hold you at every level, down to the syllable and into the letters if you care to go. D'ya think? - Louis ========================================================================= Date: Sat, 10 Mar 2007 10:12:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Outsider Art In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline David, Great post. Murat On 3/9/07, David-Baptiste Chirot wrote: > > though not an "outsider artist" other than that his well known Anarchism > and > having been the Cultural Director as it were during the Paris Commune of > 1871--which got him booted out of France to save his skin--Gustave Courbet > wrote a famous kind of "outside" credo in a letter of refusal to a > Minister > in the French Second Empire government in 1870--which Monarchist > government > had decided to make up for the bad treatment M. Courbet had endured due to > his involvements in the 1848 Revolution- > For in the immensity of its forgiveness and willingness to embrace M. > Courbet as an artist and Frenchman--this noble government had decided to > give him the ribbon of the Legiond'Honneur--a purely political move to be > sure, but one that would most surely tempt any Frenchman, artist or not-- > But not Gusatve Courbet! Courbet's famous letter of refusal ends with some > ringing lines of another kind of "outside" that an artist may hear > calling-- > > "Therefore permit me, monsieur le Ministre, to decline the honor you > thought to bestow upon me. I am fifty years old and I have always lived > as > a free man. Let me be free the rest of my days; for when I die, let it > be > said of me: 'He never belonged to any school, to any church, to any > insitution, to any academy--least of all to any regime, lest it be the > regime of liberty." > > Bukowski, despite the Hollywood films and vast cult following and steady > sales iin the usa, was the kind of "american outsider" who was a cultural > icon overseas--in his native Germany, France, Italy and many other > countries, Bukowski is ranked as one of the greatest, and fairly often, > the > greatest of American writers of the last fifty years or more-- > > a much more usual fate of an "outsider artist" --the examples are far more > than one might think--is that of Prophet William Blackmon, a preacher and > painter, whose vocations in both cases come from God--Prophet didn't begin > paintng until late in life--his works have been collected and exhibited > and > included i books and a very large one hangs here in the Milwaukee Art > Musuem, with its famous Calatrava "wings"--and just a few weeks ago at > University of Wisconsin-Milwaukee, Prophet shared a show with another > spiritually -inspired Seattle artist--and there was an evening with > Prophet > present, to talk after showing of the film "God's Spaceship," a 1989 > documentary/interview-- > i first met Prophet about 18 years ago, selling paintings on the street > corners and giving readings of illlnesses and praying for their > healings--and once and a while a prediction regarding the future that had > come to him from God--he had a tiny ministry of mainly homeless and very > poor people and also did shoe repairs-- > as he is getting quite elderly now, it's more difficult for Prophet to > work > at his trade and the minsitry has always been a basically losing business > as > he gaves away much of what he has to the homeless worse off than himself-- > this winter he found himself homeless--fortunately offered lodging by a > Sister in his ministry-- > his spirit is indomnaitbale as ever--he vastly enjoyed the evening and > spoke > for quite along time about his life, his Faith, his visions from God, and > his painting, which he does directly on instructions from God-- > (he told me one time when i had first begun making rubBeings and spray > paintings--he thought they also were sent by God--since no one else was > making these things, God had called to me to make them so the world would > know these things exist though no one had noticed them before--he also > told > me another time God works through such kinds of art as He tells people to > do, to show sanity in an insane world--sanity to be seen so people will > suddenly know the insanity of their brains and want to be sane--"which is > a > dangerous thing in this world"--he laughed quite a bit at that, Amen--) > > so despite all the hoopla and commercializations and appropriations, > distortions, massive mad immensities and intensities of bullshit--there > are > actually a great many "outsider artists" who despite being wirtten about, > collected and presented in museums, remain in life ill, neglected, poor, > without materials to work with or home, living in various places as they > can--and in many cases, uncertain what will heppan to their works after > their deths--because all sorts of things become possible when they are > infact dead-- > possibilities many artists know exist--yet not for them, not in this > lifetime-- > not in the sense of agreat genius or respectable more or less nice > artists > who one can sentimentalize over for having been overlooked in their > lives--and later welcomed into the worlds of respectability--and al its > instituions-- > because the "outsider artists" in the original senses of this--are always > going to be "outsiders" in a way their fellows aren't-- > that kind of outsiderness--Art Brut-- is something that can't be > appropriated or learned in art school or "rescued", or captured by a > label, > a section in art books or museums-- > > it's not a question of being "more""outside" or "more authentic"--but of > something other-- > something that for all the "recognition" it gets, remains paradoxically > mainly unrecognized- > there are and will be always a few exceptions--but even those aren't > recognized as being "real artists" like the ones runinng the vast gamut > from > O'Keefe and Picasso to Yoko Ono to Charles Schultz to Thomas Kincaide to > any issue of any art magazine no matter what genres--including the > journals > of "outsider art"-- > more and more of whom are like the artist i saw posters of for a while > around town, "Wisconsin's Most Famoous Outsider Artist"--(never heard of > him) --pcitured in studio, expensive easel produly standing among tons of > the latest offerings from Utrecht,with a nice view o fa "landscape" > through > the "studio window"--immensely professional looking and al speaking very > much of being guaranteed the viewer the very best and most up-to-date in > "Outsider Art"--complete with web site, fax address and al the rest-- > "a perfect addition to any home" i am sure-- > > > again, i would recommend Lucienne Piery's Art Brut: The Origins of > Outsider > Art > > for the hsitory of this and for the ways from the very beginning of > Dubuffet's naming, collecting, exhibiting, writing on, having monographs > written on, establishing a center for Art Brut, and influencing the > Artists > Houses set up for Art Brut artists--from the beginning of all this, the > awarenesses of the continual changes and obstacles, questions involved, > both > in critical terms, effects on the personal lives of the artists, and the > financial aspects and the dangers posed by all the massive masrhalling of > powers of the art world and media which in the end have buried > Dubbeffet's > orignal ideas of Art Brut and what Art Brut inspires and can be an example > of in different ways of thinking about materials, possiblities, researchs, > for other artists-- > (even in the midst of the furor, now, and later, once the feeding frenzy > has > become but a laugh and lark, a discarded and discredited fashion--so > deminished and pase as to be laughed at as here and now--the artists > themsleves, the vast nameless ones,the creators, go on creating > anyway--art > brut in Dubuffet's conceptions of it--has been around since the dawn of > time > and will cointue on regardless--maybe one of the only kinds of "art" which > will d so--having been nameless and unnoticed for millenia--it's not a > "movement" in any sense of the term--other than a continual movement of > making out of its own myriad callings--it's not going to have an "end" as > say any School or Movement etc does-- the stubborn, "Brut," anarchic > persistence of the "art" "drive" or "impulse" no matter what is done with > it, to it, for it, by it--kill the artists, burn their works, ban them, > throw them in jail, put them on peddestals, ahng them in person and in > galleries, chop off their hands, put out their eyes, sic god, the state, > the > crtics, the collectors, the dealers, the forgers, the ridiculers, the > know-it-alls, the pedants, the art lovers, the art teachers, the art > supply > companies, sic all of them on art, the artist--there will always be some > damn fool who in some inexpicable way hears a calling and will start > making > things out of next to nothing-anything at hand---regardless if anyone else > is even paying attention--and so Art Brut wil return to its anonymity . . > . > or recognitions . . . whatever the ebbs and flows of these--it remains > intact--obdurately watching al that comes and goes around > it--vanishes--reappears--like Easter Island heads observing the > circulations > of the air, the light, the ocean, the ships, the birds, the visiting > humans--knowing the energies that live in them are out there out > somewhere--creating their myriad strange companions-- > > > Dubuffet's ideas and projects and their histries as Lucienne Piery details > them are > ia far more interesting and useful vision and hisotry than what has beomce > the kind of mindless "another booth at the art fair" Christopher > Winks ably > describes-- > which is actually interesting in a funny way as when i was a kid in > Vermont > at places like the notorious Tunbridge World's Fair and scattered about > through other much smaller fairs--there would be itinerent portrait > painters who would set up shop and for a noimal fee paint your picture--or > if you wanted, a picture of something else--they'd also have a little > bunch > of hand made set ups for displaying their other works-- and if they wre > alittle more prosperous than some of their brothers and sisters also > making > the circuit, they'd have anextra display of velvet Elvses, those Children > of > the Damned kids wtih immense eyes, Jesus, unicorns, stock cars, and the > like--your basic kitsch-- > the artists for the most part were affable carnies--could keep up a good > patter,chain smoke and have some brews--and in general add to the festive > atmosphere (which at the Tunbridge World's Fair, of course, eventually > just > slid out of control--it lasted for days--what with homebrew swigging and > later on open marijuana smoking backwoods people charging the"Garden of > Eden" strip show tent, "liberating" the Freak Show (inviting them to join > in > the party aad leave their tents)--old family feuds erupting, smashed stunt > drivers crashing, illegal gamblers pulling knives and the like--once more > highminded folks started moving in to the state, of course all this > basically good clean medieval Rabelian fun had to stop!--"outsiders" from > the wealthier, more educated and more morally concerned parts of the > world, > like new Puritans--refused to accept the Art Brut qualities of this > happening scene--horrified at the anarchy of it all--my God!--drunken > "liberated" Freaks posing for portraits with families, naked couples > running > into the woods, the "Garden of Eden"dancers baring all while drinking and > smoking on stage, the ecstatic glee of children on rides at which the > stoned > carnie had fallen asleep with the "On" lever on for an hour or more due to > his having collapsed on it-- > Woodstock to these new people was a Sacrement, but this kind of communing > obviiously foul and pagan--and attended by al the wrong sorts of > people--so > it was banned, done away with, and consigned to happy memories--and > onewonders what happened to al those painters?--probably collectors now > among the ones who put them out of work and fun--making a bundle off their > surviving works on ebay, sellng them at nice new fairs with New Age and > RISD educated themes in booths of their own--as "Primitive Portraits" by > "Outsider Artists" --to dealers disguised as tourists who in turn purchase > them for the galleries in New York, Milan, Paris, Stuttgart, Tokyo, Sao > Paulo, Dubai, Los Angeles, etc-- > > meanwhile--uncannily--hidden in plain sight--"they walk among us"--the > "outsider artists"-- > "art brut"--among their own "regimes of liberty"-- > > > > > >From: susan maurer > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: Outsider Art > >Date: Fri, 9 Mar 2007 09:48:13 -0500 > > > >hm .well i wouldnt mind being as much of an outsider as bukowski. the > >launching of new press poetswearprada was aterriric event lastnight and i > >was glad to be in it. wonder if it would profit by being labelled > outsider. > >susa maurer > > > > > >>From: Christopher Leland Winks > >>Reply-To: UB Poetics discussion group > >>To: POETICS@LISTSERV.BUFFALO.EDU > >>Subject: Re: Outsider Art > >>Date: Wed, 7 Mar 2007 12:27:23 -0500 > >> > >>"Outsider art" has become another niche marketing term in the branch > >>of the commodity economy known as the "art world." Perhaps when Roger > >>Cardinal (?) published his illustrated monograph entitled "Outsider > >>Art" a few decades back, the term had meaning because of its novelty > >>as a rubric. But now, in an era when "Outsider Art Fairs" are > >>annually held in New York City, it's become another way for art > >>hustlers -- er, dealers -- to make a buck off their designated "Other" > >>of choice. > >> > >>On another level: if Henry Darger's work can be labeled "outsider > >>art," can John Ashbery's "Girls on the Run," inspired by Darger, be > >>called "outsider art" too? If so, why? If not, why not? > > > >_________________________________________________________________ > >Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a > month. > >Intro*Terms > > > https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h27f6&disc=y&vers=743&s=4056&p=5117 > > _________________________________________________________________ > The average US Credit Score is 675. The cost to see yours: $0 by Experian. > > http://www.freecreditreport.com/pm/default.aspx?sc=660600&bcd=EMAILFOOTERAVERAGE > ========================================================================= Date: Sat, 10 Mar 2007 10:32:21 -0500 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: peter f yacht club Content-transfer-encoding: 7BIT FINALLY AVAILABLE: Peter F. Yacht Club Sails to Calgary Captains log: assembled in Calgary, March 2006 at Fish Creek Public Library by guest Captain, former Ottawa Yachtswoman Laurie Fuhr original printed in Calgary Zoo Elephont at Recreation Facility Personnel, www.aarfp.com sponsored by The Horribly Awfuls, www.myspace.com/thehorriblyawfuls (Laurie Fuhr's favorite band) printed by rob mclennan at above/ground press headquarters in February 2007 a production of the Peter F. Yacht Club workship Guest Yachtsmen (& Yachtswimmin): Jonathan Ball; Derek Beaulieu; Ryan Bird; *Stephen Brockwell; Weyman Chan; *Anita Dolman; *Jesse Ferguson; ryan fitzpatrick; Richard Gorecki; Jocelyn Grosse; Joy Hendrickson-Turner; *Nicholas Lea; *Laurie Fuhr; *Melanie Little; David McGimpsey; *rob mclennan; *Max Middle; *James Moran; Tom Muir; *Jennifer Mulligan; *Peter Norman; Sharron Proulx-Turner; Stuart Ross; Wes Smiderle; Joanne Underwood; *Vivian Vavassis; Yvonne Werkman; Garth Whelan * regular crewmembers The Peter F. Yacht Club, issue #5; irregular (very) writers group publication. Edited & compiled by Laurie Fuhr. Copies available at $5 each/add $2 for postage (payable to rob mclennan, 858 Somerset Street West, main floor, Ottawa ON K1R 6R7; outside of Canada, $5/+$2 US). Previous issues still available (possibly; availability of various issues pretty random) at $5 each. Issue #1, August 2003, edited by rob mclennan; Issue #2, April 2004, edited by Anita Dolman (out of print); Issue #3, September 2004, edited by Peter Norman and Melanie Little; Issue #4, September 2005, edited by rob mclennan. The Peter F. Yacht Club is part of the above/ground press annual subscription package; for more information on above/ground press 2007 subscriptions, check the link here. http://robmclennan.blogspot.com/2007/03/finally-available-peter-f.html -- poet/editor/publisher ...STANZAS mag, above/ground press & Chaudiere Books (www.chaudierebooks.com) ...coord.,SPAN-O + ottawa small press fair ...13th poetry coll'n - The Ottawa City Project .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Sat, 10 Mar 2007 12:36:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Truscott Subject: March 16: Ross and Smith at Test Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=ISO-8859-1; format=flowed Dear friends, Please join us for an evening of STUART ROSS and ROD SMITH (bios below) Friday, March 16, 7:30 p.m. Mercer Union, A Centre for Contemporary Art 37 Lisgar Street, Toronto Pay what you can (Substantial readings followed by a discussion) Plenty more information (including words on and by Friday's readers, recordings of past readings, and a map) at www.testreading.org. And, hey, the good people at Mercer Union do more than open their doors to bedraggled reading series. If you'd like to be notified of Mercer progamming and events, please drop a line to info@mercerunion.org. You'll be glad you did. Hope to see you there. And feel free to forward this message. (If you've been forwarded this message and you'd like to get the real thing in the future, e-mail list@testreading.org.) Mark ********************************** STUART ROSS is a Toronto fiction writer, poet, editor, small-press publisher, and creative-writing instructor who has been active in the Toronto literary scene since the mid-1970s. He sold 7,000 copies of his self-published poetry and fiction chapbooks in the streets of Toronto during the '80s and is a co-founder, with Nicholas Power, of the Toronto Small Press Book Fair, an underground literary institution since 1987. He is the author of five major collections of poetry, most recently Hey, Crumbling Balcony! Poems New & Selected (ECW, 2003) and the forthcoming I Cut My Finger (Anvil, 2007), as well as numerous works of fiction, a collection of personal essays, and countless chapbooks and items of ephemera. He has supported scores of other writers through his various small press ventures and editorial work. ROD SMITH is the author of Music or Honesty, The Good House, Po=E8mes de l'araign=E9e (France), In Memory of My Theories, The Boy Poems, Protective Immediacy, and New Mannerist Tricycle with Lisa Jarnot and Bill Luoma. His latest collection, Deed, will be published by the University of Iowa Press in the fall of 2007. A CD, Fear the Sky, came out from Narrow House Recordings in 2005. Smith's work has appeared in numerous magazines and anthologies, including Anthology of New (American) Poets, The Baffler, The Gertrude Stein Awards, Java, New American Writing, Open City, Po=E9sie, Poetics Journal, Shenandoah, and The Washington Review. He edits Aerial magazine, publishes Edge Books, and manages Bridge Street Books in Washington, DC. The next issue of Aerial will focus on poet Lyn Hejinian. Smith is also editing, with Peter Baker and Kaplan Harris, The Selected Letters of Robert Creeley, for the University of California Press. www.saidlikereedsorthings.ca= ========================================================================= Date: Sat, 10 Mar 2007 12:09:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: AWP photo gallery In-Reply-To: <3742.24.86.4.102.1173394050.squirrel@mail.resist.ca> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hello Everyone, Here is my picture gallery from AWP. http://picasaweb.google.com/ggatza/AWP2007 I took a train from Buffalo NY to Atlanta and back again. -- Best, Geoffrey Geoffrey Gatza BlazeVOX [books] www.blazevox.org ========================================================================= Date: Sat, 10 Mar 2007 12:49:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mairead byrne Subject: Re: AWP photo gallery Comments: To: Geoffrey Gatza In-Reply-To: <005101c76336$f9cc2d40$100aa8c0@adminstret4wjx> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I went via Amtrak too, Geoffrey, though just from Providence: 22 hours each way; another lesson on race & America. Mairead On 3/10/07, Geoffrey Gatza wrote: > > > Hello Everyone, > > Here is my picture gallery from AWP. > > > http://picasaweb.google.com/ggatza/AWP2007 > > I took a train from Buffalo NY to Atlanta and back again. > > > > -- > Best, Geoffrey > > Geoffrey Gatza > BlazeVOX [books] > www.blazevox.org > > ========================================================================= Date: Sat, 10 Mar 2007 16:56:00 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: reJennifer Bartlett Subject: New on the SES Poetics Blog Mime-Version: 1.0 Content-Type: text/plain; format=flowed 1. Essay on Nathaniel Tarn 2. Comments on David Orr's Times Article http://saintelizabethstreet.blogspot.com/ _________________________________________________________________ Find a local pizza place, movie theater, and more….then map the best route! http://maps.live.com/?icid=hmtag1&FORM=MGAC01 ========================================================================= Date: Sat, 10 Mar 2007 14:29:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City 39 Available Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Please forward -------------------- =20 Boog City 39 =20 Available Sunday P.M. =20 featuring: =20 ***Our Music section, edited by Jon Berger*** =20 --=B3When Phoebe Kreutz approached Luv-A-Lot Records=B9 Dashan Coram with the idea for Urban Barnyard=8Bthe whole municipal fauna thing=8Bwho knew the idea would have legs? What started out as a one-joke band has developed into multiple jokes, but also a pretty rocking affair.=B2=8Bfrom Urban Barnyard on Urban Barnyard, where the four members of Urban Barnyard reviewed some of the music that the others have recently produced (including Phoebe Kreutz=B9s We Gotta Go reviewed by Casey Holford, Art Sorority for Girls=B9 Alpha Sigma Gamma reviewed by Phoebe Kreutz, Dibs=B9 Dibs Bleeds Books reviewed by Daoud Tyler-Ameen, and Casey Holford=B9s January reviewed by Dibson T. Hoffweiler) followed by a review of their latest release, That=B9s the Idea, by Berger. =20 =20 ***Our Printed Matter section, edited by Mark Lamoureux*** =20 --=B3Throughout the chapbook, the =B3voice=B2 interweaves its two languages, and locating this voice becomes an act of readerly translation. The next sectio= n phonetically translates the Thai into English, scores the syllables, and meditates on the poem in English. =ADfrom Composite Poetry, composite. diplomacy. by Padcha Tuntha-obas (Tinfish), reviewed by Craig Perez =20 --=B3For all its realism, Carbon seems most interested in the point at which the real becomes surreal, the sublime absurdity of the plain face of things.=B2 --American Oracle, Carbon by Michael Ford (Ugly Duckling Presse), reviewed by Lamoureux =20 =20 ***Our Film section, guest edited by Jon Berger*** =20 --=B3A fascinating adaptation from Capital Media Arts of the open mic lifestyle, the script plugs in numerous cameos for East Village superstars such as The Bowmans and, of course, the host of the AntiHoot, the singularl= y named Lach.=B2 --Talkin=B9 New York: The Little Movie that Might by Berger =20 =20 ***Our Politics section, edited by Christina Strong*** =20 --=B3Are these people tourists on vacation or actual people who live here and have copious amounts of wealth?=B2 --Work Sucks, Life Sucks, and Then You Die by Strong =20 =20 ***Art editor Brenda Iijima brings us work from Belford New Jersey's Kate Greenstreet*** =20 =20 ***Our Poetry section, edited by Laura Elrick and Rodrigo Toscano*** =20 -- Bowdoinham, Maine=B9s Jonathan Skinner with Borzicactus Nanus a dwarf on a borzoi stuffs a nan up my ass twirling his deep scarlet-orange hairdo =20 -- Vancouver, British Columbia=B9s Roger Farr with From Surplus Security is denser now, is domination=B9s form But it=B9s their form more than mine, my labour keeps Taylorism=B9s hands (weapons) on its forward gears and =20 XXXIV Tissue over diagrams or fragment Their sums with different measures. Frameworks Framed as =B3Freidman=B9s Dream,=B2 filed for later under =B3Sphere.=B2 Stand on guard to bound sums to Another sense that might pass the primary Test of deficit to chart profit margins =20 -- Pasadena, California=B9s Deborah Meadows with On the state of the novel as a coffin. Fiendish old scamps had clapped enough to institutionalize their tapping. *And photos from David S. Rubio and Christina Strong.* =20 ----- =20 And thanks to our copy editor, Joe Bates. =20 ----- =20 Please patronize our advertisers: =20 Bowery Poetry Club * http://www.bowerypoetry.com ::fait accompli:: * http://www.nickpiombino.blogspot.com/ The Million Poems Show * http://www.jordandavis.com/Talkshow.html =20 ----- =20 Advertising or donation inquiries can be directed to editor@boogcity.com or by calling 212-842-BOOG (2664) =20 ----- =20 2,250 copies of Boog City are distributed among, and available for free at, the following locations: =20 MANHATTAN =20 *THE EAST VILLAGE* =20 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's 313 Gallery =20 CBGB's=20 Lakeside Lounge =20 Life Caf=E9 =20 Mission Caf=E9 =20 Nuyorican Poets Caf=E9 Pianos =20 The Pink Pony =20 St. Mark's Books =20 St. Mark's Church =20 Shakespeare & Co. =20 Sidewalk Caf=E9 =20 Sunshine Theater =20 Tonic =20 Trash and Vaudeville =20 *OTHER PARTS OF MANHATTAN* =20 Hotel Chelsea Poets House =20 =20 BROOKLYN =20 *WILLIAMSBURG* =20 Bliss Caf=E9 Earwax =20 Galapagos =20 Northsix =20 Sideshow Gallery =20 Soundfix/Fix Cafe=20 Supercore Caf=E9 =20 *GREENPOINT* (available later next week) =20 Greenpoint Coffee House Lulu's=20 Photoplay Thai Cafe =20 The Pencil Factory =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: Sat, 10 Mar 2007 11:40:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Outsider Art In-Reply-To: <1dec21ae0703100712p6ca46316se24ff50ff0e3bef8@mail.gmail.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Yes, agree with Murat, David, a wonderful, insightful post. Funny, how it also makes me think of 14th century German (I believe) iconic Christian paintings in devotion to and in celebration of various Biblical allegories. I remember a CAA annual conference in Boston in which the lecturer showed infra-red (?) slides of the under-painting (preliminary sketches) for various works. Instead of stiff depictions of iconic allegorical figures, we were given a very naturalistic view of the models - men, women and children - drawn from the village around the school where the works were painted, definitely made to conform to and please the strictures of the Church. Following the argument here, the 'outsider' art was actually secreted into the interior life of the 'inside' of the Church. I guess we might call these 'under paintings' a case of "insider" art. Ironically it's taken 6 centuries to bring the work into view. I don't know if the work will ever achieve the attention of Courbet - but it's definitely of the material world, and not of allegory made. Somehow brings up the recollection of the story of prisoners in Quantanamo making poems on thin strips of the paper pealed back from paper cups - and passing those strips among each other. Definitely 'insider' art by 'outsiders.' Stephen V http://stephenvincent.net/blog/ > David, > > Great post. > > Murat > > On 3/9/07, David-Baptiste Chirot wrote: >> >> though not an "outsider artist" other than that his well known Anarchism >> and >> having been the Cultural Director as it were during the Paris Commune of >> 1871--which got him booted out of France to save his skin--Gustave Courbet >> wrote a famous kind of "outside" credo in a letter of refusal to a >> Minister >> in the French Second Empire government in 1870--which Monarchist >> government >> had decided to make up for the bad treatment M. Courbet had endured due to >> his involvements in the 1848 Revolution- >> For in the immensity of its forgiveness and willingness to embrace M. >> Courbet as an artist and Frenchman--this noble government had decided to >> give him the ribbon of the Legiond'Honneur--a purely political move to be >> sure, but one that would most surely tempt any Frenchman, artist or not-- >> But not Gusatve Courbet! Courbet's famous letter of refusal ends with some >> ringing lines of another kind of "outside" that an artist may hear >> calling-- >> >> "Therefore permit me, monsieur le Ministre, to decline the honor you >> thought to bestow upon me. I am fifty years old and I have always lived >> as >> a free man. Let me be free the rest of my days; for when I die, let it >> be >> said of me: 'He never belonged to any school, to any church, to any >> insitution, to any academy--least of all to any regime, lest it be the >> regime of liberty." >> >> Bukowski, despite the Hollywood films and vast cult following and steady >> sales iin the usa, was the kind of "american outsider" who was a cultural >> icon overseas--in his native Germany, France, Italy and many other >> countries, Bukowski is ranked as one of the greatest, and fairly often, >> the >> greatest of American writers of the last fifty years or more-- >> >> a much more usual fate of an "outsider artist" --the examples are far more >> than one might think--is that of Prophet William Blackmon, a preacher and >> painter, whose vocations in both cases come from God--Prophet didn't begin >> paintng until late in life--his works have been collected and exhibited >> and >> included i books and a very large one hangs here in the Milwaukee Art >> Musuem, with its famous Calatrava "wings"--and just a few weeks ago at >> University of Wisconsin-Milwaukee, Prophet shared a show with another >> spiritually -inspired Seattle artist--and there was an evening with >> Prophet >> present, to talk after showing of the film "God's Spaceship," a 1989 >> documentary/interview-- >> i first met Prophet about 18 years ago, selling paintings on the street >> corners and giving readings of illlnesses and praying for their >> healings--and once and a while a prediction regarding the future that had >> come to him from God--he had a tiny ministry of mainly homeless and very >> poor people and also did shoe repairs-- >> as he is getting quite elderly now, it's more difficult for Prophet to >> work >> at his trade and the minsitry has always been a basically losing business >> as >> he gaves away much of what he has to the homeless worse off than himself-- >> this winter he found himself homeless--fortunately offered lodging by a >> Sister in his ministry-- >> his spirit is indomnaitbale as ever--he vastly enjoyed the evening and >> spoke >> for quite along time about his life, his Faith, his visions from God, and >> his painting, which he does directly on instructions from God-- >> (he told me one time when i had first begun making rubBeings and spray >> paintings--he thought they also were sent by God--since no one else was >> making these things, God had called to me to make them so the world would >> know these things exist though no one had noticed them before--he also >> told >> me another time God works through such kinds of art as He tells people to >> do, to show sanity in an insane world--sanity to be seen so people will >> suddenly know the insanity of their brains and want to be sane--"which is >> a >> dangerous thing in this world"--he laughed quite a bit at that, Amen--) >> >> so despite all the hoopla and commercializations and appropriations, >> distortions, massive mad immensities and intensities of bullshit--there >> are >> actually a great many "outsider artists" who despite being wirtten about, >> collected and presented in museums, remain in life ill, neglected, poor, >> without materials to work with or home, living in various places as they >> can--and in many cases, uncertain what will heppan to their works after >> their deths--because all sorts of things become possible when they are >> infact dead-- >> possibilities many artists know exist--yet not for them, not in this >> lifetime-- >> not in the sense of agreat genius or respectable more or less nice >> artists >> who one can sentimentalize over for having been overlooked in their >> lives--and later welcomed into the worlds of respectability--and al its >> instituions-- >> because the "outsider artists" in the original senses of this--are always >> going to be "outsiders" in a way their fellows aren't-- >> that kind of outsiderness--Art Brut-- is something that can't be >> appropriated or learned in art school or "rescued", or captured by a >> label, >> a section in art books or museums-- >> >> it's not a question of being "more""outside" or "more authentic"--but of >> something other-- >> something that for all the "recognition" it gets, remains paradoxically >> mainly unrecognized- >> there are and will be always a few exceptions--but even those aren't >> recognized as being "real artists" like the ones runinng the vast gamut >> from >> O'Keefe and Picasso to Yoko Ono to Charles Schultz to Thomas Kincaide to >> any issue of any art magazine no matter what genres--including the >> journals >> of "outsider art"-- >> more and more of whom are like the artist i saw posters of for a while >> around town, "Wisconsin's Most Famoous Outsider Artist"--(never heard of >> him) --pcitured in studio, expensive easel produly standing among tons of >> the latest offerings from Utrecht,with a nice view o fa "landscape" >> through >> the "studio window"--immensely professional looking and al speaking very >> much of being guaranteed the viewer the very best and most up-to-date in >> "Outsider Art"--complete with web site, fax address and al the rest-- >> "a perfect addition to any home" i am sure-- >> >> >> again, i would recommend Lucienne Piery's Art Brut: The Origins of >> Outsider >> Art >> >> for the hsitory of this and for the ways from the very beginning of >> Dubuffet's naming, collecting, exhibiting, writing on, having monographs >> written on, establishing a center for Art Brut, and influencing the >> Artists >> Houses set up for Art Brut artists--from the beginning of all this, the >> awarenesses of the continual changes and obstacles, questions involved, >> both >> in critical terms, effects on the personal lives of the artists, and the >> financial aspects and the dangers posed by all the massive masrhalling of >> powers of the art world and media which in the end have buried >> Dubbeffet's >> orignal ideas of Art Brut and what Art Brut inspires and can be an example >> of in different ways of thinking about materials, possiblities, researchs, >> for other artists-- >> (even in the midst of the furor, now, and later, once the feeding frenzy >> has >> become but a laugh and lark, a discarded and discredited fashion--so >> deminished and pase as to be laughed at as here and now--the artists >> themsleves, the vast nameless ones,the creators, go on creating >> anyway--art >> brut in Dubuffet's conceptions of it--has been around since the dawn of >> time >> and will cointue on regardless--maybe one of the only kinds of "art" which >> will d so--having been nameless and unnoticed for millenia--it's not a >> "movement" in any sense of the term--other than a continual movement of >> making out of its own myriad callings--it's not going to have an "end" as >> say any School or Movement etc does-- the stubborn, "Brut," anarchic >> persistence of the "art" "drive" or "impulse" no matter what is done with >> it, to it, for it, by it--kill the artists, burn their works, ban them, >> throw them in jail, put them on peddestals, ahng them in person and in >> galleries, chop off their hands, put out their eyes, sic god, the state, >> the >> crtics, the collectors, the dealers, the forgers, the ridiculers, the >> know-it-alls, the pedants, the art lovers, the art teachers, the art >> supply >> companies, sic all of them on art, the artist--there will always be some >> damn fool who in some inexpicable way hears a calling and will start >> making >> things out of next to nothing-anything at hand---regardless if anyone else >> is even paying attention--and so Art Brut wil return to its anonymity . . >> . >> or recognitions . . . whatever the ebbs and flows of these--it remains >> intact--obdurately watching al that comes and goes around >> it--vanishes--reappears--like Easter Island heads observing the >> circulations >> of the air, the light, the ocean, the ships, the birds, the visiting >> humans--knowing the energies that live in them are out there out >> somewhere--creating their myriad strange companions-- >> >> >> Dubuffet's ideas and projects and their histries as Lucienne Piery details >> them are >> ia far more interesting and useful vision and hisotry than what has beomce >> the kind of mindless "another booth at the art fair" Christopher >> Winks ably >> describes-- >> which is actually interesting in a funny way as when i was a kid in >> Vermont >> at places like the notorious Tunbridge World's Fair and scattered about >> through other much smaller fairs--there would be itinerent portrait >> painters who would set up shop and for a noimal fee paint your picture--or >> if you wanted, a picture of something else--they'd also have a little >> bunch >> of hand made set ups for displaying their other works-- and if they wre >> alittle more prosperous than some of their brothers and sisters also >> making >> the circuit, they'd have anextra display of velvet Elvses, those Children >> of >> the Damned kids wtih immense eyes, Jesus, unicorns, stock cars, and the >> like--your basic kitsch-- >> the artists for the most part were affable carnies--could keep up a good >> patter,chain smoke and have some brews--and in general add to the festive >> atmosphere (which at the Tunbridge World's Fair, of course, eventually >> just >> slid out of control--it lasted for days--what with homebrew swigging and >> later on open marijuana smoking backwoods people charging the"Garden of >> Eden" strip show tent, "liberating" the Freak Show (inviting them to join >> in >> the party aad leave their tents)--old family feuds erupting, smashed stunt >> drivers crashing, illegal gamblers pulling knives and the like--once more >> highminded folks started moving in to the state, of course all this >> basically good clean medieval Rabelian fun had to stop!--"outsiders" from >> the wealthier, more educated and more morally concerned parts of the >> world, >> like new Puritans--refused to accept the Art Brut qualities of this >> happening scene--horrified at the anarchy of it all--my God!--drunken >> "liberated" Freaks posing for portraits with families, naked couples >> running >> into the woods, the "Garden of Eden"dancers baring all while drinking and >> smoking on stage, the ecstatic glee of children on rides at which the >> stoned >> carnie had fallen asleep with the "On" lever on for an hour or more due to >> his having collapsed on it-- >> Woodstock to these new people was a Sacrement, but this kind of communing >> obviiously foul and pagan--and attended by al the wrong sorts of >> people--so >> it was banned, done away with, and consigned to happy memories--and >> onewonders what happened to al those painters?--probably collectors now >> among the ones who put them out of work and fun--making a bundle off their >> surviving works on ebay, sellng them at nice new fairs with New Age and >> RISD educated themes in booths of their own--as "Primitive Portraits" by >> "Outsider Artists" --to dealers disguised as tourists who in turn purchase >> them for the galleries in New York, Milan, Paris, Stuttgart, Tokyo, Sao >> Paulo, Dubai, Los Angeles, etc-- >> >> meanwhile--uncannily--hidden in plain sight--"they walk among us"--the >> "outsider artists"-- >> "art brut"--among their own "regimes of liberty"-- >> >> >> >> >>> From: susan maurer >>> Reply-To: UB Poetics discussion group >>> To: POETICS@LISTSERV.BUFFALO.EDU >>> Subject: Re: Outsider Art >>> Date: Fri, 9 Mar 2007 09:48:13 -0500 >>> >>> hm .well i wouldnt mind being as much of an outsider as bukowski. the >>> launching of new press poetswearprada was aterriric event lastnight and i >>> was glad to be in it. wonder if it would profit by being labelled >> outsider. >>> susa maurer >>> >>> >>>> From: Christopher Leland Winks >>>> Reply-To: UB Poetics discussion group >>>> To: POETICS@LISTSERV.BUFFALO.EDU >>>> Subject: Re: Outsider Art >>>> Date: Wed, 7 Mar 2007 12:27:23 -0500 >>>> >>>> "Outsider art" has become another niche marketing term in the branch >>>> of the commodity economy known as the "art world." Perhaps when Roger >>>> Cardinal (?) published his illustrated monograph entitled "Outsider >>>> Art" a few decades back, the term had meaning because of its novelty >>>> as a rubric. But now, in an era when "Outsider Art Fairs" are >>>> annually held in New York City, it's become another way for art >>>> hustlers -- er, dealers -- to make a buck off their designated "Other" >>>> of choice. >>>> >>>> On another level: if Henry Darger's work can be labeled "outsider >>>> art," can John Ashbery's "Girls on the Run," inspired by Darger, be >>>> called "outsider art" too? If so, why? If not, why not? >>> >>> _________________________________________________________________ >>> Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a >> month. >>> Intro*Terms >>> >> https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search= >> mortgage_text_links_88_h27f6&disc=y&vers=743&s=4056&p=5117 >> >> _________________________________________________________________ >> The average US Credit Score is 675. The cost to see yours: $0 by Experian. >> >> http://www.freecreditreport.com/pm/default.aspx?sc=660600&bcd=EMAILFOOTERAVER >> AGE >> ========================================================================= Date: Sat, 10 Mar 2007 15:11:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: New on the SES Poetics Blog In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Thanks for these, Jennifer B. I get the Bk Rev on Wed so I wrote a letter to the ed then, saying that if the Times wants to do something for poetry in this country they shd review innovative poetry from the Lang poets on--but then saying that maybe that i= s pointless to suggest bec it is a mainstream publication. Yr Tarn essay is the kind of thing that shd appear there! Best, Ruth L. On 3/10/07 11:56 AM, "reJennifer Bartlett" wrote: > 1. Essay on Nathaniel Tarn > 2. Comments on David Orr's Times Article >=20 > http://saintelizabethstreet.blogspot.com/ >=20 > _________________________________________________________________ > Find a local pizza place, movie theater, and more=85.then map the best rout= e! > http://maps.live.com/?icid=3Dhmtag1&FORM=3DMGAC01 ========================================================================= Date: Sat, 10 Mar 2007 17:04:08 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: outsider Art & poets of Gitmo (complete Guardian article included here) In-Reply-To: <20070310212523.45ADD399D5@mx02.guardian.co.uk> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Stpeh and Murat Thank you for your kind comments & for the sotry of thepaintings in Germany Stpehen. You wirte of the poets in Gitmo--here's an artiicle (below comments) from the Guardian about them and some of their works to see the light of day. Something that never ceases to amaze and fascinate me is how many fragments of ancient texts--Sappho for example--quite recently a singificant find in Egypt f her work--how many are found in large waste disposal areas and even sometmes blowing n the streets in Egypt. The texts were written on the backs of papryi which were being recycled from the windings of what were considered insignifcant mummies. (Rather like the truly wild "routine" recorded by Burroughregardng heirachy and decompositon of mummies ont eh CD that comes with the Word Virus selection of his works.) Considered recycled near-trash to begin with, they eventually found their ways all the wayinto the trah, where rummaging scholars now find a regualr feast of poems, documents, etc in fragments. Since I do a great deal of work with found materials and fragements found in streets, alleys, dunpsters, concstruction sites and so forth--it's an added hilarity to pretend am finding the Milwaukee equivalents of the fragments of Sappho lyrics among the wind blown rubbish clambering about in. Makes one think of the Mr Magoo episode in which he gets hooked on archeology and is inhis nearsighted way excavating dumps and consrtuction sites! As a child I used to help my steamiftter grandfather go through sites he worked at after dinner to find scrapmetal and loose screws etc he'd weld into all sorts of things at home, from a merry-go-round to a go-cart to religious chokers and birdhouses, jewerly and the like. The interrealtionships among junk, recycling, the finding of fragments of lost poems, and also making new poems from scraps and biits and pieces of thrown out, smashed, weathered, refuse as a way to refuse that the lives of the things themselves are ever gone completely, but like Whitamn's "leaves of grass," are tongues still speaking, from outof the ground itself. A lot of "outsider art" is made in this way, as well as the work of one of the greatest all around artists/poets of the 20th century--Kurt Schwitters. What I like especially with Schwitters is ht he used found materials--the Surrealists used things found, but at fleamarkets, and hence pruchased for use. The Situationists with their "psychogeographies" and "driftings" carried this into the realm of o form of awareness of the states of mind eoked by found archectrues, streets, squares, and ambienece at once constructed and evocative beyond its physical being into the relam of a provocation of free mental play, daydreaming, fantasy, imagination. (Though one finds this also In breotn's Nadja and Aragon's Paris Peasant--and further back in De Quincey's Confessions of an English Opium Eater, which Baudealire partially translated.) (Think of Atget's dreamlike documenatry photos of empty Parisian sites as ebing related to these.) Among various writers and artits since the bginnings of modernism with baudlaire, one cn find coonections with aspets of "outsider art" in the use of found materials that are the excess as it were of the overaproduction of mass production as well as as the built in obsolence of this, combined with the throwing away of all manner of materials once used. A Joseph Cornell box, for example, is not that far from many works of "oputider art" which are madewith fragemnts of onbects, texts and collections of these which share certan qualities of resemblances among themselves. What develops very often is a langauge, a text in a sesne, made up of forms which begin to carry cetain private meanings and connotations--hence the repititon of many key elements, wheather in Cornell, Schwitters or amny Art Brut artists iexemplifeid n the colection begun byDubuffet. William Carlos Willims in Spring of All ues many exmaples of this, some more obvious than others. As he said himself a poem can be made of anything" (the famous one of the Dungess is it clams--menu is an example). Willims takes a black and white repoduction of aJuan gris paiting, voices off theradio and their advertiing slogans, billboards and signs, all manner of fragments from daily life to create his own form of poetry from raw materials foudn in the environment he is goig about in on his Doctor's errands. Dos passo in the USA trilogy andManhattan Transfer usses raw dta also, documents, headlines, newspaper stories, snatchesof popular songs and the like. The most extreme and brillaint user f found texts I think is Paul Metcalf, whose Apalache is completely made of found texts, yet the way it is put togetehr by Pual makes of these one of the great long poems in a sesne of modern times. (Man of his toher works are constcutedof juxtapostions of found texts, with here nd there linking commenatry of his own, and other times not, simply the juxtapostions. Oslon and Susan Howe's earlier work also do this and Clark Coolidge's Smithsonian Depositions, another brilliiant book made of found texts.) In a great many "outsider art" work, Art Brut, there is also much use of found materials and in also of mixingof texts with images. Sometimes the "texts" are completely invented, others like Prophet Blackmon write wods from Scripture around the paintings or within them also. I think that both Prinzhorn with his 1921 book Art of the Mentally Ill and Dubuffet with his creation of Art Brut and its ideas he presented for other artits, viewers,etc--I think iwht both tthese projects there is this now buried concept of Art Brut, "outsider art"--that is it art on apra with "high art"--i terms of art itelf, and in termsof the usesofmaterials, private lnaguages every rtit creates among public ones found al about one, and that the difference is not in the art being not art, but in that the motivations of the Art Brut and outsider artist are differrent from those of the "rtist" as standarldy conceived of. That many outsider artist and Art Brut creators may be anything from copletely ignorant of "art" so called to having a sketchy knoweldge gleaned from newspaer andmagzines, a tv show nowadays or a talk they heard someplace is not necessarily what sets them apart intheir difference, for man "artists" have begun in this way also. The difference seems to be that the "outsider" or Art Brut creator--is an uncanny and strange way considered to be more "open" to the operations of forces from "outside" which are drving their work in a different way than does say the classical "Muse." For Prinzhorn's pateints of curseit is "mental illness" that provides the "poutside force" so to speak, thesomething which "makes a difference." Many Art artits are not "mentally ill," but simply outside any conception of the "art world." Each one has a different motivation or desrie in craetingtheir work, but it not in the manner of n "artist," that is it i driven by something esle than the thoughtof bengpart of any system other than its own. It is definetley capableof being seen and understod as "art," yet also obviously stands outside the institutions and histories and cocnepts of the "art world" system. For Dubuffet this ofers t the "artist" an example of an opening and way out the sytemsof "art." Whetehr an "artist" can bever "become an outsider artist" per se is debatable. What Dubuffet is suggesting not to "become an Art Brut creator," but to be sinpired by their examples to go further and further afeld fromthe constarints of the system. It's imporatant to note hat Dubbeffet's criteria for Art Brut are notlimited to mental illness. in the early days of roganzing Art brut and collecting it, selecting it for exhibtions--Andre Bretonworked closely with Dubuffet. But as with many others, Breton was to split from Dubuffet andleave the field tohim. The cuase of their disagreement wasthat breon wanted toinsist tha only works by the mentally ill could be considered Art Brut. (he had after al trained as a psychologist.) For Dubuffet, itis the "art" qualities which are considered, not the mental status of the creator, which cn be anything at all. Dubuffet was more interested in the untrained and unknowing things made by creators than in the psychological motivations. That's avery improtant point but one ofte overlooked by people when speakingof "outsider art" and thinkingof it onlyasworks by the mentally ill. A lotof Art Brut creators were and are solid citizens with regular jobs they stay with for years. The live a "normal" life except that they produce thei works, without the intention of them being part of the art system. The works can be seen if so desired as the "secret" or "inner" lives and deries, dreamsof the "normal " persons, but again, this isn't "mental illness." If one begins to think of Art Brut and "outsider art" as having both a difference from and many interrealtionships with aspects of "art", I think it's a very interesting and useful way of questioing and finding ever more ways of making things and thinking with things found. art Burt is a kind of tool in Deleuze and Guattari's sense of the tool kit--or my grandfatehr's sense or my own bag of tools--a tool kit for oepning lines of deterriorlaizations and investigations, what i call "anarkeyology." It really is no accident that though doing so out of hatred and scorn, the nazis mad a conection between "outsider art" and "modern art." The nazis saw this "degenerate art" on both parts a "mental illnesses" which needed to be eradicated from a "healthy" society. Dubuffet in a sense sees their point, but not as "metnal illness" but as a form of revolt against systems, Fascism ceratinly beingone of them, and to be extended to all systems if one so desires. The Nazis recngized what they thought to be a "danger to society,"; Dubuffet saw the "danger" (of contemination, contagion, etc) as a "healthy revolt" against society and the "art sytem." And not only a healthy revolt, but the most imperatively neccesary one. "Necessity is the motherfucker of invention," iin that sense as wel as in using lietarlly anything to make a poem or "art." And necessity begins very often not from a nothing, but from the excess refuse and loose parts, fragments, of systems which are continully creating new orders so as to control the breakdowns built into them. By making use of materials that are part of the breakdowns, one has a chance to make things moving inthe directionof an outsideof the syetem. It's in this area that Art Brut and many apsets of art from odernism on overlap. And I think tha is very much in the origins of Art Brut having been created as it were by an artist, a very great artist. (Robert Smithson works can also be seen as related to a this, in the use of broen rok, soill, strutures, sites/non-sites and his ideas at the timeo f his death on using art in th reclamation of industiral y deimated landscapes--again a recylcing and a making use of the found materials.) Here below is Guardn article re the poets of Gitmo-- > >David Chirot spotted this on the Guardian Unlimited Books site and thought >you should see it. > >To see this story with its related links on the Guardian Unlimited Books >site, go to http://books.guardian.co.uk > >'Inside the wire' >The pressures of confinement in Guantánamo Bay have led many in the >controversial detention camp to turn to poetry. But, as Richard Lea learns, >the American authorities are very reluctant to let the world see them >Richard Lea >Monday February 26 2007 >The Guardian > > >Poetry's capacity to rattle governments is not, it appears, confined to >totalitarian regimes. A collection of poems by detainees at the US military >base in Guantánamo Bay is to be published later this year, but only in the >face of strong opposition by suspicious American censors. > >Twenty-one poems written "inside the wire" in Arabic, Pashto and English >have been gathered together despite formidable obstacles by Marc Falkoff, a >law professor at Northern Illinois University who represents 17 of the >detainees at the camp. The collection, entitled Poems from Guantánamo: The >Detainees Speak, will be published in August by the University of Iowa >Press with an afterword written by Ariel Dorfman. > >It all began when he turned up at the secure facility in Washington DC >where all communications from detainees are sent, and found a poem waiting >for him. > >"The first poem I saw was sent to me by Abdulsalam al Hela," he says. "It's >a moving cry about the injustice of arbitrary detention and at the same >time a hymn to the comforts of religious faith." > >"It was interesting to me because I did a PhD in literature, but I didn't >think too much about it." > >A second poem from another client followed soon after, and Falkoff began to >wonder if other lawyers also had clients who were sending poetry. It turned >out that Guantánamo Bay is "filled with itinerant poets". > >Many of the poems deal with the pain and humiliation inflicted on the >detainees by the US military. Others express disbelief and a sense of >betrayal that Americans - described in one poem as "protectors of peace" - >could deny detainees any kind of justice. Some engage with wider themes of >nostalgia, hope and faith in God. > >But most of the poems, including the lament by Al Hela which first sparked >Falkoff's interest, are unlikely to ever see the light of day. Not content >with imprisoning the authors, the Pentagon has refused to declassify many >of their words, arguing that poetry "presents a special risk" to national >security because of its "content and format". In a memo sent on September >18 2006, the team assigned to deal with communications between lawyers and >their clients explains that they do not "maintain the requisite subject >matter expertise" and says that poems "should continue to be considered >presumptively classified". > >The defence department spokesman Jeffrey Gordon is unsurprised that access >to detainees poetry is tightly controlled. "It depends on what's being >written," he says. "There's a whole range of things that are >inappropriate." Of course poetry that deals with subjects such as guard >routines, interrogation techniques or terrorist operations could pose a >security threat, but Gordon is unable to explain why Al Hela's poem is >still classified, saying "I haven't read any of these [poems]". > >As with prisoners within the American justice system, he argues, there are >constraints on their first amendment rights. "I don't think these guys are >writing poetry like Morrissey," he continues. > >"The fear appears to be that detainees will try to smuggle coded messages >out of the camp," explains Falkoff, a fear that has often allowed clearance >for English translations only - Arabic or Pashto originals being judged to >represent an "enhanced security risk". In many cases even Falkoff has only >seen the translations prepared for the volunteer lawyers by the few >translators with the requisite security clearance. > >Because of security restrictions, Falkoff cannot give any further details >about Al Hela's poem, or about other poems sent to him by his clients that >have not been cleared for publication by the department of defence. He is >not allowed to see about 20 poems sent to other lawyers that have not been >cleared for publication. > >Many poems have also been lost, confiscated or destroyed. Falkoff is unable >to even offer an estimate of how many poems have been written in the camp. > >"To start with," he says, "there are probably 200 detainees who either >don't have lawyers or have not been allowed to communicate with their >lawyers. Even for those clients who have lawyers, I really don't know how >many poems they've written or whether they've been confiscated. >Communicating back and forth with our clients is a very, very difficult >process." > >Only one of the authors in the forthcoming collection wrote poetry before >his incarceration. The religious scholar Abdul Rahim Muslim Dost wrote >25,000 lines of poetry during his time in the camp, only a handful of which >have been returned to him. A poem he wrote on a Styrofoam cup and >reconstructed from memory after his release appears in Poems from >Guantánamo. The other detainees were not poets before their incarceration, >but have turned to poetry under the particular pressures of their >situation. > >Moazzam Begg, who spent three years in Guantánamo Bay before being released >without charge in January 2005, began writing poetry as a way of explaining >what he was going through. He knew that everything he wrote would be >censored, so used poetry to try to describe his situation to his family. > >"The idea was to say it without saying it," he says, "and to explain to my >interrogators that it was a farce." > >The formal constraints of poetry gives the writer control over their >material, he says, "the ability to say the words without going into a >rant". > >Poetry was also a way of engaging with the system. > >"I knew that everything I wrote would be censored," he continues, "and that >the person censoring it would have to read the poem." By writing in >English, a language rarely used by detainees in the camp, he was able to >communicate directly with guards, and perhaps those higher up in the US >military. > >It was also a way of "showing anger" and "channelling frustration". > >According to Falkoff, detainees are writing poetry because "they're trying >to keep hold of their sanity and humanity". > >"They have really, really nothing to do there," he says. "They get, now, an >hour of exercise every other day or so. They don't have access to books, >apart from a Qu'ran - which they get whether they want it or not - and a >little book cart with some Agatha Christie novels and some Harry Potter. >They're not allowed to interact with the other prisoners. There are no >communal areas. The recreation area is like a chimney with 30ft high >walls." > >"They're writing poetry because they need some kind of mental stimulation, >some way of expressing their feelings, some outlet for their creativity." > >According to the poet Jack Mapanje, who was imprisoned in Malawi because of >his writing and now teaches a course on the poetry of incarceration at >Newcastle University, prisoners often turn to writing poetry as a way of >"defending themselves". > >"People are writing as a search for the dignity that has been taken away >from them," he says. "It's the only way they can attempt to restore it, but >nobody is listening to them." He was imprisoned himself with many people >who were illiterate, he says, but many of them were writing poetry, or >singing songs about their captivity - "it's the same impulse that drives >people to prayer." > >"Poetry talks to the heart," he continues, "there is something immediately >passionate about it." For Mapanje, poetry is a more "natural" means of >expression than prose, a means of communication that "anybody who hasn't >got any craft will come to". > >The poet Tim Liardet, whose Forward prize-shortlisted collection Blood >Choir deals with the time he spent teaching poetry at a young offenders' >prison, agrees there's an "instinctual" urge to reach for poetry in extreme >circumstances. > >"They're feeling things they've never felt before, or never with so much >intensity," he says. "They've never had to try to match such an intense >experience with language before." > >Many of the offenders he worked with resisted his efforts to get them to >write poetry, he continues, but "the ones who ended up writing it were the >ones who found it themselves. They weren't following an example from me." > >Falkoff is hoping the collection of poems from Guantánamo Bay will put a >human face on people branded by the former American defence secretary >Donald Rumsfeld as "among the most dangerous, best-trained, vicious killers >on the face of the Earth". > >The quality of the poems in the collection is "variable", says Falkoff, but >"there's some really good stuff there". He stresses that because of >security restrictions he has often been unable to see anything more than >translations prepared without "poetry in mind". Nevertheless some of the >poems transcend their extraordinary circumstances, he says, and "just knock >me over". > >With the courts moving slowly towards fair and open hearings, he continues, >"the detainees' own words may become part of the dialogue. Perhaps their >poems will prick the conscience of a nation." > >Copyright Guardian News and Media Limited > _________________________________________________________________ Rates near 39yr lows! $430K Loan for $1,399/mo - Paying Too Much? Calculate new payment http://www.lowermybills.com/lre/index.jsp?sourceid=lmb-9632-18226&moid=7581 ========================================================================= Date: Sun, 11 Mar 2007 17:13:33 +1100 Reply-To: John Tranter Sender: UB Poetics discussion group From: John Tranter Subject: " Pre-announcing Jacket 32" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-15 Content-Transfer-Encoding: quoted-printable " PRE Announcing Jacket 32 " Jacket 32 -- due in late April -- is about hal= f full, and already overloaded and glittering with stellar literary fragments and ruminations. = You can check it out here: http://jacketmagazine.com/32/index.shtml =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Articles >>>>> Anthony Stephens: Cutting Poets to Size - Heidegger, H=F6lderlin, Ril= ke >>>>> Gilbert Adair: "Child-Emporererer (vacncy)": Apprehending U.S. Empire= through Robert >>>>> Fitterman's "Metropolis" >>>>> Andrea Brady: The Other Poet: John Wieners, Frank O'Hara, Charles Ols= on >>>>> Stephen Fredman: Edward Dorn >>>>> Steve Halle: Against Lightning Flashes: Inspiration in Kristin Preval= let's "Scratch >>>>> Sides: Poetry, Documentation, and Image-Text Projects", by Kristin Pr= evallet >>>>> Douglas Messerli: What is to be Done? >>>>> Cl=E9ment Oudart: Genreading and Underwriting: A Few Soundings and Pr= obes into Duncan's >>>>> "Ground Work" >>>>> David Rosenberg: The Lost Poets of the Wild: The Influence of the Fir= st Writing Poets in Sumer =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Interviews >>>>> Nicomedes Su=E1rez-Ara=FAz: In Search of the Night: on translating Ja= ime Saenz: an Interview >>>>> with his translators, Kent Johnson and Forrest Gander >>>>> Wayne Koestenbaum in conversation with Tony Leuzzi, 22 October 2004, = Le Gamin Coffee >>>>> Shop, Chelsea, New York >>>>> Deborah Meadows in conversation with Romina Freschi, Buenos Aires, Ar= gentina, 2006 =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D The Holiday Album: Greeting Card poems fo= r All Occasions: Edited by Elaine Equi >>>>> Elaine Equi: Best Wishes (Introduction) >>>>> Elaine Equi: Happy New Year >>>>> David Lehman: Time Frame >>>>> Wayne Koestenbaum: Short Subjects >>>>> Rae Armantrout: Address >>>>> Nick Piombino: Valentine's Day - Valentine's Day - Feb. 14th >>>>> David Shapiro: Colorful Hands - Holi: The Festival of Colors (Indian)= - first weekend in March >>>>> Tom Clark: Equinox - March 21/22 >>>>> Vincent Katz: Back From The Dead - The Veneralia (Roman) - April 1st >>>>> Jeanne Marie Beaumont: F=EAte of the Little Boats - (French) - April = 6th >>>>> Martine Bellen: On John Ashbery Day - A Cento - April 7th >>>>> Cathy McArthur: At the Wildlife Center - Bird Day - May 4th >>>>> Jerome Sala: Mother's Day >>>>> Jeanne Marie Beaumont: Flower & Camera - Flower & Camera Day - June 2= 9th >>>>> Chris Martin: Independence Day >>>>> Stacy Szymaszek: Hammock Day - July 22nd >>>>> Erica Kaufman: admit you're happy day - Aug. 8th >>>>> Erica Kaufman: elvis week - Aug. 8-16th >>>>> Fanny Howe: Our Lady of Knock, August 21, 1879 >>>>> Jerome Sala: Anniversary >>>>> Gregory Crosby: Columbo Day - Oct. 12th >>>>> Connie Deanovich: Happy Hamlet Day - Oct 15th >>>>> Amy Gerstler: All Saints' Day - Nov. 1st >>>>> Joe Brainard: Thanksgiving >>>>> David Trinidad: Doll Memorial Service - Doll Memorial Day - second Sa= turday in December >>>>> David Shapiro: After Ryokan - Winter Solstice - Dec. 21st =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Reviews >>>>> Raewyn Alexander: "Red the Fiend" by Gilbert Sorrentino >>>>> Raewyn Alexander: "Sundays on the Phone", by Mark Rudman >>>>> Raewyn Alexander: "Rain" by John Woodward >>>>> Marcelo Coelho: "Rapid Departures" by Vincent Katz, illustrations by = Mario Cafiero >>>>> Ian Davidson: "Grave of Light: New and Selected Poems 1970-2005", by = Alice Notley >>>>> Marcella Durand: "secure portable space", by Redell Olsen >>>>> Clive Faust: "Language Is" by John Phillips >>>>> Michael Gottlieb: "The Anger Scale" by Katie Degentesh >>>>> Linda Russo: "Terminal Humming" by K. Lorraine Graham >>>>> Linda Russo: "Crop" by Yedda Morrison >>>>> Linda Russo: "Chantry" by Elizabeth Treadwell >>>>> James Sherry: "The Grand Piano" Project: ...an ongoing experiment in = collective >>>>> autobiography by ten writers identified with Language poetry in San F= rancisco. It takes its >>>>> name from a coffeehouse at 1607 Haight Street, where from 1976-79 the= authors took part in a >>>>> reading and performance series. The writing project, begun in 1998, w= as undertaken as an online >>>>> collaboration, first via an interactive web site and later through a = listserv. >>>>> Jason Stumpf: "Necessary Stranger" by Graham Foust =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Poems >>>>> Iain Britton: Lemurs and Missing Links in Loops >>>>> Bruce Covey: Two poems: 'Still'; 'Good & Plenty' >>>>> Romina Freschi: Initials (2004/05) >>>>> Michael Kelleher: Number Crunch >>>>> Ronald Koertge: Three Haibun >>>>> Kristin Prevallet: Tales of Caw >>>>> Robert Sheppard: Sonnets from "September 12" ... and ... there's more to come!!!=20 ------------------------------------------=20 Thanks to the many poets, reviewers, writers and editors who have offered t= heir work to Jacket free of charge. If you'd like to be taken off this mailing list, please just go to Jacket's email page at http://jacketmagazine.com/00/email-jacket.shtml and ask -- John Tranter, Editor, Jacket magazine -- Pam Brown, Associate Editor, Jacket magazine ========================================================================= Date: Sat, 10 Mar 2007 21:54:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lcabri@UWINDSOR.CA Subject: torse / torsion / torque / Le torque MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Kasey's third question / scenario that ends his post today on torque deprecatingly implies that his own desire to articulate a neutral taxonomy and Ron's desire to evaluate under-40 poetry both may be equally reifying a literary past of collective prose-poem practice. So or not, I believe there's a missing, larger point in "all this," and it peeks out in the language of Kasey's third scenario that asks: "How much of all this really has to do directly with any formal considerations of syntax or grammar or lineation or whatever, as opposed to drawing on a set of associations which have accreted around surface features of Language writing, but which ultimately have much more to do with superformal considerations (political contexts, statements of intent, social dynamics, etc?" It strikes me that a larger and more challenging point stems from a directly opposed premise to that of Kacey's third scenario, namely that the "formal" and the "superformal" are not differentiable (Kasey's scenario suggests they are differentiable, it would seem). Or at least they are not differentiable except in a guidebook way (as in a guidebook to form and ideas about poetry). Surely form as inherently neutral pure essence doesn't exist except in guidebooks and the rhetoric of criticism ("A sestina is..."). Frankly the social as neutral pure essence of "sociality" doesn't exist except in the loins of partygoers' heads and the drawing rooms of Georg Simmel. As Adorno a window no writes: "In order for the work of art to be purely and fully a work of art, it must be more than a work of art" -- which sounds like an enormous challenge for any of us. The "more" in this quotation points to a different understanding of "torque" than as either "formal" or "superformal" elements of a "work" and its context. Le torque, here, however, is no longer Ron's torque (as he outlines it in his torqu-ography -- the recent blog-post that I only just read), nor is it Kacey's torse / torsion / torque triad, and yet Le torque informs both Ron's evaluative comments and Kacey's umbrage to them. As I said, it sounds to me like an enormous chilly lunge for any of us to take. - Louis ========================================================================= Date: Sun, 11 Mar 2007 09:39:48 -0400 Reply-To: accgll@rit.edu Sender: UB Poetics discussion group From: Anne Coon Subject: Re: Fwd: a prize for interestingness In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1; format=flowed Content-transfer-encoding: 7BIT That's terrific. This would be a good thing to have Vincent post to our minors list, don't you think? John Roche wrote: >* >----- Original Message ----- >* > Friday, March 9, 2007 8:29:54 AM >Bulk Message >From: UB Poetics discussion group > >Dan Waber > >Subject: a prize for interestingness >To: POETICS@LISTSERV.BUFFALO.EDU > >At http://www.vispoets.com/ we now have a patron, a donor, an angel, >someone who likes what we're doing enough to put their money where >their mouth is, someone with a way and the means to encourage visual >poets and to support the presses who publish them. > >Beginning one week from today, next Friday, March 16th, and running >for the next two months of Fridays (as a test, longer if it works >out), this patron will select the most interesting work of visual >poetry posted to the members' galleries >(http://vispoets.com/index.php?automodule=gallery&req=sc&cat=1 >) the >previous week and award them $25 in printed visual poetry material >from one of a variety of publishers (patron's choice of publisher, >publisher's choice of material). > >All you need to do to have your work considered is be a registered >member of the site, and post something to the members' galleries that >week. > >If you are a publisher of visual poetry and would like to send $25 >worth of your wares to a winner or two, please email me at >vispoets@logolalia.com with your interest and contact information. > >If you would like to add your support to this endeavor by sponsoring a >similar project, or, simply adding cash to all or some of the weekly >awards, we can work with you to make that happen. Email me at >vispoets@logolalia.com to discuss it further. > >Whee! >Dan > > ========================================================================= Date: Sun, 11 Mar 2007 07:13:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Montgomery fuller Subject: lord patch (aka) Comments: To: kalamu@aol.com, belladodie@earthlink.net, abrassar@alyson.com, JWestdcoop@aol.com, dalaniaamon@yahoo.com, anok4u_2000@yahoo.ca, rgluck@sfsu.edu, kevinkillian@earthlink.net, minka@camilleroy.com, TEMPLE450@aol.com, gregw@suspectthoughts.com, WRYTING-L@LISTSERV.WVU.EDU Comments: cc: wayde@waydecompton.com Mime-Version: 1.0 Content-Type: text/plain; format=flowed sound http://www.myspace.com/lordpatchdub _________________________________________________________________ Find what you need at prices you’ll love. Compare products and save at MSN® Shopping. http://shopping.msn.com/default/shp/?ptnrid=37,ptnrdata=24102&tcode=T001MSN20A0701 ========================================================================= Date: Sun, 11 Mar 2007 11:43:47 -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 v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed the Poetry Motel Foundation presents Third Thursday Open Mic for Poets now at the Social Justice Center 33 Central Ave., Albany, NY Thursday, March 15, 2007=09 7:00 sign up; 7:30 start Featured Poet: Jamey Stevenson Jamey Stevenson is a writer and computer programmer currently living in=20= Troy. Although most of his life revolves around books and video games,=20= he occasionally manages to counteract his hermetic tendencies and=20 participate in the awesomeness that is Albany=92s poetry scene. Aside=20= from subjecting others to his amateurish ramblings on girls and God,=20 Jamey also helps coordinate the Albany chapter of the International=20 Game Developer=92s Association, where he does his part to corrupt the=20 local youth by advocating video game development in the Capital Region.=20= For more info, visit his website at www.jstevenson.com. =A0 $3.00 donation. Your host since 1997: Dan Wilcox. "all these pretty nuns" by Jamey Stevenson =A0 all these pretty nuns are enough to make a boy like me reconsider piety and I've been cast out of paradise so many times for so many victimless crimes it's a sin but when God steals your woman you know you can't win =A0 all these pretty nuns cloistered in the hollow of His hand while this voice commands me: "climb this tree" "pick this apple" but your spirit guides you past all desire and you can't feel the fire =A0 (you can't feel the fire) =A0 bring me a chariot of my own to knock down the pillars and shatter the throne after all, don't we all die alone? it's a sin but when God steals your woman you know you can't win =A0 heart and soul you're drawing lines that don't exist self-deprivation is always the twist while you leave me twisting unkissed =A0 all these pretty nuns shivering in God's embrace forbidden fruit is an acquired taste but you'll continue chaste and chased it's a sin but when God steals your woman you know you can't win #### ========================================================================= Date: Sun, 11 Mar 2007 13:38:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Pas. compressed. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Pas. From last night's Millennium screening greatly reduced http://www.asondheim.org/pas.mp4 with Sandy Baldwin and thanks to Ian Murray, Sugar Seville 11 short dance motion capture sequences in combination with walk/fly modes in Second Life. Sound: Alan Sondheim (Ensoniq Mirage) siting the edge of SL - at this particular point, SL/RL physics is trans- formed into aberrant behavior; objects are literally deconstructed. Think of these as collisions, speed-motion studies, the last digital ikon, emptied signifiers, transformations of desire, metaphors for metonymy. n : substituting the name of an attribute or feature for the name of the thing itself (they counted heads) ========================================================================= Date: Sun, 11 Mar 2007 15:40:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Outsider Art In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Stephen, If life is a prison (an idea considered since time immemorial), then the outsider is the insider, and the insider the insider seeing itself clearly. Murat On 3/10/07, Stephen Vincent wrote: > > Yes, agree with Murat, David, a wonderful, insightful post. > > Funny, how it also makes me think of 14th century German (I believe) > iconic > Christian paintings in devotion to and in celebration of various Biblical > allegories. I remember a CAA annual conference in Boston in which the > lecturer showed infra-red (?) slides of the under-painting (preliminary > sketches) for various works. Instead of stiff depictions of iconic > allegorical figures, we were given a very naturalistic view of the models > - > men, women and children - drawn from the village around the school where > the > works were painted, definitely made to conform to and please the > strictures > of the Church. > Following the argument here, the 'outsider' art was actually secreted into > the interior life of the 'inside' of the Church. I guess we might call > these 'under paintings' a case of "insider" art. Ironically it's taken 6 > centuries to bring the work into view. I don't know if the work will ever > achieve the attention of Courbet - but it's definitely of the material > world, and not of allegory made. > > Somehow brings up the recollection of the story of prisoners in Quantanamo > making poems on thin strips of the paper pealed back from paper cups - and > passing those strips among each other. Definitely 'insider' art by > 'outsiders.' > > Stephen V > http://stephenvincent.net/blog/ > > > > > > > David, > > > > Great post. > > > > Murat > > > > On 3/9/07, David-Baptiste Chirot wrote: > >> > >> though not an "outsider artist" other than that his well known > Anarchism > >> and > >> having been the Cultural Director as it were during the Paris Commune > of > >> 1871--which got him booted out of France to save his skin--Gustave > Courbet > >> wrote a famous kind of "outside" credo in a letter of refusal to a > >> Minister > >> in the French Second Empire government in 1870--which Monarchist > >> government > >> had decided to make up for the bad treatment M. Courbet had endured due > to > >> his involvements in the 1848 Revolution- > >> For in the immensity of its forgiveness and willingness to embrace M. > >> Courbet as an artist and Frenchman--this noble government had decided > to > >> give him the ribbon of the Legiond'Honneur--a purely political move to > be > >> sure, but one that would most surely tempt any Frenchman, artist or > not-- > >> But not Gusatve Courbet! Courbet's famous letter of refusal ends with > some > >> ringing lines of another kind of "outside" that an artist may hear > >> calling-- > >> > >> "Therefore permit me, monsieur le Ministre, to decline the honor > you > >> thought to bestow upon me. I am fifty years old and I have always > lived > >> as > >> a free man. Let me be free the rest of my days; for when I die, let > it > >> be > >> said of me: 'He never belonged to any school, to any church, to any > >> insitution, to any academy--least of all to any regime, lest it be the > >> regime of liberty." > >> > >> Bukowski, despite the Hollywood films and vast cult following and > steady > >> sales iin the usa, was the kind of "american outsider" who was a > cultural > >> icon overseas--in his native Germany, France, Italy and many other > >> countries, Bukowski is ranked as one of the greatest, and fairly often, > >> the > >> greatest of American writers of the last fifty years or more-- > >> > >> a much more usual fate of an "outsider artist" --the examples are far > more > >> than one might think--is that of Prophet William Blackmon, a preacher > and > >> painter, whose vocations in both cases come from God--Prophet didn't > begin > >> paintng until late in life--his works have been collected and exhibited > >> and > >> included i books and a very large one hangs here in the Milwaukee Art > >> Musuem, with its famous Calatrava "wings"--and just a few weeks ago at > >> University of Wisconsin-Milwaukee, Prophet shared a show with another > >> spiritually -inspired Seattle artist--and there was an evening with > >> Prophet > >> present, to talk after showing of the film "God's Spaceship," a 1989 > >> documentary/interview-- > >> i first met Prophet about 18 years ago, selling paintings on the street > >> corners and giving readings of illlnesses and praying for their > >> healings--and once and a while a prediction regarding the future that > had > >> come to him from God--he had a tiny ministry of mainly homeless and > very > >> poor people and also did shoe repairs-- > >> as he is getting quite elderly now, it's more difficult for Prophet to > >> work > >> at his trade and the minsitry has always been a basically losing > business > >> as > >> he gaves away much of what he has to the homeless worse off than > himself-- > >> this winter he found himself homeless--fortunately offered lodging by a > >> Sister in his ministry-- > >> his spirit is indomnaitbale as ever--he vastly enjoyed the evening and > >> spoke > >> for quite along time about his life, his Faith, his visions from God, > and > >> his painting, which he does directly on instructions from God-- > >> (he told me one time when i had first begun making rubBeings and spray > >> paintings--he thought they also were sent by God--since no one else was > >> making these things, God had called to me to make them so the world > would > >> know these things exist though no one had noticed them before--he also > >> told > >> me another time God works through such kinds of art as He tells people > to > >> do, to show sanity in an insane world--sanity to be seen so people will > >> suddenly know the insanity of their brains and want to be sane--"which > is > >> a > >> dangerous thing in this world"--he laughed quite a bit at that, Amen--) > >> > >> so despite all the hoopla and commercializations and appropriations, > >> distortions, massive mad immensities and intensities of bullshit--there > >> are > >> actually a great many "outsider artists" who despite being wirtten > about, > >> collected and presented in museums, remain in life ill, neglected, > poor, > >> without materials to work with or home, living in various places as > they > >> can--and in many cases, uncertain what will heppan to their works after > >> their deths--because all sorts of things become possible when they are > >> infact dead-- > >> possibilities many artists know exist--yet not for them, not in this > >> lifetime-- > >> not in the sense of agreat genius or respectable more or less nice > >> artists > >> who one can sentimentalize over for having been overlooked in their > >> lives--and later welcomed into the worlds of respectability--and al its > >> instituions-- > >> because the "outsider artists" in the original senses of this--are > always > >> going to be "outsiders" in a way their fellows aren't-- > >> that kind of outsiderness--Art Brut-- is something that can't be > >> appropriated or learned in art school or "rescued", or captured by a > >> label, > >> a section in art books or museums-- > >> > >> it's not a question of being "more""outside" or "more authentic"--but > of > >> something other-- > >> something that for all the "recognition" it gets, remains paradoxically > >> mainly unrecognized- > >> there are and will be always a few exceptions--but even those aren't > >> recognized as being "real artists" like the ones runinng the vast gamut > >> from > >> O'Keefe and Picasso to Yoko Ono to Charles Schultz to Thomas Kincaide > to > >> any issue of any art magazine no matter what genres--including the > >> journals > >> of "outsider art"-- > >> more and more of whom are like the artist i saw posters of for a while > >> around town, "Wisconsin's Most Famoous Outsider Artist"--(never heard > of > >> him) --pcitured in studio, expensive easel produly standing among tons > of > >> the latest offerings from Utrecht,with a nice view o fa "landscape" > >> through > >> the "studio window"--immensely professional looking and al speaking > very > >> much of being guaranteed the viewer the very best and most up-to-date > in > >> "Outsider Art"--complete with web site, fax address and al the rest-- > >> "a perfect addition to any home" i am sure-- > >> > >> > >> again, i would recommend Lucienne Piery's Art Brut: The Origins of > >> Outsider > >> Art > >> > >> for the hsitory of this and for the ways from the very beginning of > >> Dubuffet's naming, collecting, exhibiting, writing on, having > monographs > >> written on, establishing a center for Art Brut, and influencing the > >> Artists > >> Houses set up for Art Brut artists--from the beginning of all this, the > >> awarenesses of the continual changes and obstacles, questions involved, > >> both > >> in critical terms, effects on the personal lives of the artists, and > the > >> financial aspects and the dangers posed by all the massive masrhalling > of > >> powers of the art world and media which in the end have buried > >> Dubbeffet's > >> orignal ideas of Art Brut and what Art Brut inspires and can be an > example > >> of in different ways of thinking about materials, possiblities, > researchs, > >> for other artists-- > >> (even in the midst of the furor, now, and later, once the feeding > frenzy > >> has > >> become but a laugh and lark, a discarded and discredited fashion--so > >> deminished and pase as to be laughed at as here and now--the artists > >> themsleves, the vast nameless ones,the creators, go on creating > >> anyway--art > >> brut in Dubuffet's conceptions of it--has been around since the dawn of > >> time > >> and will cointue on regardless--maybe one of the only kinds of "art" > which > >> will d so--having been nameless and unnoticed for millenia--it's not a > >> "movement" in any sense of the term--other than a continual movement of > >> making out of its own myriad callings--it's not going to have an "end" > as > >> say any School or Movement etc does-- the stubborn, "Brut," anarchic > >> persistence of the "art" "drive" or "impulse" no matter what is done > with > >> it, to it, for it, by it--kill the artists, burn their works, ban them, > >> throw them in jail, put them on peddestals, ahng them in person and in > >> galleries, chop off their hands, put out their eyes, sic god, the > state, > >> the > >> crtics, the collectors, the dealers, the forgers, the ridiculers, the > >> know-it-alls, the pedants, the art lovers, the art teachers, the art > >> supply > >> companies, sic all of them on art, the artist--there will always be > some > >> damn fool who in some inexpicable way hears a calling and will start > >> making > >> things out of next to nothing-anything at hand---regardless if anyone > else > >> is even paying attention--and so Art Brut wil return to its anonymity . > . > >> . > >> or recognitions . . . whatever the ebbs and flows of these--it remains > >> intact--obdurately watching al that comes and goes around > >> it--vanishes--reappears--like Easter Island heads observing the > >> circulations > >> of the air, the light, the ocean, the ships, the birds, the visiting > >> humans--knowing the energies that live in them are out there out > >> somewhere--creating their myriad strange companions-- > >> > >> > >> Dubuffet's ideas and projects and their histries as Lucienne Piery > details > >> them are > >> ia far more interesting and useful vision and hisotry than what has > beomce > >> the kind of mindless "another booth at the art fair" Christopher > >> Winks ably > >> describes-- > >> which is actually interesting in a funny way as when i was a kid in > >> Vermont > >> at places like the notorious Tunbridge World's Fair and scattered about > >> through other much smaller fairs--there would be itinerent portrait > >> painters who would set up shop and for a noimal fee paint your > picture--or > >> if you wanted, a picture of something else--they'd also have a little > >> bunch > >> of hand made set ups for displaying their other works-- and if they wre > >> alittle more prosperous than some of their brothers and sisters also > >> making > >> the circuit, they'd have anextra display of velvet Elvses, those > Children > >> of > >> the Damned kids wtih immense eyes, Jesus, unicorns, stock cars, and the > >> like--your basic kitsch-- > >> the artists for the most part were affable carnies--could keep up a > good > >> patter,chain smoke and have some brews--and in general add to the > festive > >> atmosphere (which at the Tunbridge World's Fair, of course, eventually > >> just > >> slid out of control--it lasted for days--what with homebrew swigging > and > >> later on open marijuana smoking backwoods people charging the"Garden of > >> Eden" strip show tent, "liberating" the Freak Show (inviting them to > join > >> in > >> the party aad leave their tents)--old family feuds erupting, smashed > stunt > >> drivers crashing, illegal gamblers pulling knives and the like--once > more > >> highminded folks started moving in to the state, of course all this > >> basically good clean medieval Rabelian fun had to stop!--"outsiders" > from > >> the wealthier, more educated and more morally concerned parts of the > >> world, > >> like new Puritans--refused to accept the Art Brut qualities of this > >> happening scene--horrified at the anarchy of it all--my God!--drunken > >> "liberated" Freaks posing for portraits with families, naked couples > >> running > >> into the woods, the "Garden of Eden"dancers baring all while drinking > and > >> smoking on stage, the ecstatic glee of children on rides at which the > >> stoned > >> carnie had fallen asleep with the "On" lever on for an hour or more due > to > >> his having collapsed on it-- > >> Woodstock to these new people was a Sacrement, but this kind of > communing > >> obviiously foul and pagan--and attended by al the wrong sorts of > >> people--so > >> it was banned, done away with, and consigned to happy memories--and > >> onewonders what happened to al those painters?--probably collectors now > >> among the ones who put them out of work and fun--making a bundle off > their > >> surviving works on ebay, sellng them at nice new fairs with New > Age and > >> RISD educated themes in booths of their own--as "Primitive Portraits" > by > >> "Outsider Artists" --to dealers disguised as tourists who in turn > purchase > >> them for the galleries in New York, Milan, Paris, Stuttgart, Tokyo, Sao > >> Paulo, Dubai, Los Angeles, etc-- > >> > >> meanwhile--uncannily--hidden in plain sight--"they walk among us"--the > >> "outsider artists"-- > >> "art brut"--among their own "regimes of liberty"-- > >> > >> > >> > >> > >>> From: susan maurer > >>> Reply-To: UB Poetics discussion group > >>> To: POETICS@LISTSERV.BUFFALO.EDU > >>> Subject: Re: Outsider Art > >>> Date: Fri, 9 Mar 2007 09:48:13 -0500 > >>> > >>> hm .well i wouldnt mind being as much of an outsider as bukowski. the > >>> launching of new press poetswearprada was aterriric event lastnight > and i > >>> was glad to be in it. wonder if it would profit by being labelled > >> outsider. > >>> susa maurer > >>> > >>> > >>>> From: Christopher Leland Winks > >>>> Reply-To: UB Poetics discussion group > >>>> To: POETICS@LISTSERV.BUFFALO.EDU > >>>> Subject: Re: Outsider Art > >>>> Date: Wed, 7 Mar 2007 12:27:23 -0500 > >>>> > >>>> "Outsider art" has become another niche marketing term in the branch > >>>> of the commodity economy known as the "art world." Perhaps when > Roger > >>>> Cardinal (?) published his illustrated monograph entitled "Outsider > >>>> Art" a few decades back, the term had meaning because of its novelty > >>>> as a rubric. But now, in an era when "Outsider Art Fairs" are > >>>> annually held in New York City, it's become another way for art > >>>> hustlers -- er, dealers -- to make a buck off their designated > "Other" > >>>> of choice. > >>>> > >>>> On another level: if Henry Darger's work can be labeled "outsider > >>>> art," can John Ashbery's "Girls on the Run," inspired by Darger, be > >>>> called "outsider art" too? If so, why? If not, why not? > >>> > >>> _________________________________________________________________ > >>> Mortgage rates as low as 4.625% - Refinance $150,000 loan for $579 a > >> month. > >>> Intro*Terms > >>> > >> > https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search= > >> mortgage_text_links_88_h27f6&disc=y&vers=743&s=4056&p=5117 > >> > >> _________________________________________________________________ > >> The average US Credit Score is 675. The cost to see yours: $0 by > Experian. > >> > >> > http://www.freecreditreport.com/pm/default.aspx?sc=660600&bcd=EMAILFOOTERAVER > >> AGE > >> > ========================================================================= Date: Sun, 11 Mar 2007 15:25:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: outsider Art & poets of Gitmo (complete Guardian article included here) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8; format=flowed Content-Transfer-Encoding: base64 Content-Disposition: inline RGF2aWQsCgoKVGhhbmsgeW91IGZvciB5b3VyIGFic29sdXRlbHkgaWxsdW1pbmF0aW5nLCByb3Zp bmcgcG9zdC4KCkluIHRoZSBsYXN0IHNjZW5lIG9mICJUb3BheiwiIHRoZSBIaXRjaGNvY2sgdGhy aWxsZXIgYXJvdW5kIHRoZSBDdWJhbgptaXNzaWxlIGNyaXNpcywgYSBtYW4gZ2V0cyB1cCBmcm9t IGEgcGFyayBiZW5jaCBpbiBQYXJpcyBhbmQgb25lIHNlZXMKYmxvd2luZyBvbiB0aGUgZ3JvdW5k IHdoZXJlIGhlIGxlZnQgYSBuZXdzcGFwZXIgcGFnZSBhbm5vdW5jaW5nIHRoZSBlbmQgb2YKdGhl 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========================================================================= Date: Sun, 11 Mar 2007 16:29:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Semina show Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The Semina (Wallace Berman & his circle) show is still up for a few more weeks in New York. I have posted some pictures relating to show at http://epc.buffalo.edu/authors/bernstein/blog/ ========================================================================= Date: Sun, 11 Mar 2007 16:00:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: hope to see you at the FRANK SHERLOCK EMERGENCY FUND benefit show 3/18 in Philadelphia = = = = = = = MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline hope to see you at the FRANK SHERLOCK EMERGENCY FUND benefit show 3/18 in Philadelphia = = = = = = = for full details, with links, go to : http://PhillySound.blogspot.com March 18th, 2007 at FERGIE'S PUB (1214 Sansom St) 4pm to 7pm on the 2nd floor $20 suggested donation (BUT PLEASE GIVE WHAT YOU CAN!) (Those giving $20 will receive a raffle ticket, and for every $5 above the $20 they will receive an additional raffle ticket. All through the event we'll be raffling off books, tarot card readings, and more!) HOSTED BY Jenn McCreary BANDS, POETS & FILMMAKERS INCLUDE: Goodbye Better, Don Riggs, Christina Strong, Jessica White, Chris McCreary, I Feel Tractor, Dorthea Lasky, Shanna Compton, CAConrad, Ish Klein, Black Landlords Our good friend Frank Sherlock was rushed to the hospital January 22nd with a sudden and mysterious illness which turned out to be a serious case of meningitis. He needed emergency surgery and also suffered a heart attack and kidney failure as a result of symptoms related to the illness. His friends have come together to help him at this critical time. We are reaching out to other friends and the poetry community on Frank's behalf. Frank's poetry page can be found here: http://FrankSherlock.blogspot.com THANKS SO MUCH FOR YOUR SUPPORT, AND PLEASE SPREAD THE WORD, from the Friends of Frank Sherlock ========================================================================= Date: Sun, 11 Mar 2007 14:19:52 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hot Whiskey Press Subject: Hot Whiskey Press Moves to Chicago MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi All, I'm pleased to announce that Jennifer has been accepted into the University of Chicago's Comparative Lit MA/PHD program. We (Jennifer, Sherpa, myself and Hot Whiskey) will be moving to Chicago this August and should be there for a while...at least 6 years or so....so, if anyone wants to hang out out there, we'll be looking for friends and letterpress facilities and good poetry happenings and will also plan to host these sortsa things as we have in Boulder. Very excited. Hope to really build a community out there of poet artist weirdos and to find and join the ones that already exist. We'll be there the last week of March checkin things out. If anyone wants to have a drink or trade chapbooks or dork out over poetry, we're open. best, Michael Koshkin -- Hot Whiskey Press www.hotwhiskeyblog.blogspot.com www.hotwhiskeypress.com ========================================================================= Date: Sun, 11 Mar 2007 16:29:40 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: KAMAU BRATHWIATE MPLS VISIT Comments: To: englfac@LISTSERV.BUFFALO.EDU, engrad-l@LISTSERV.BUFFALO.EDU, valerie.deus@gmail.com, wrigh003@LISTSERV.BUFFALO.EDU, ngithire@LISTSERV.BUFFALO.EDU, ghewett@carleton.edu, ping@macalester.edu, macalester@edu.BUFFALO.EDU, arras004@LISTSERV.BUFFALO.EDU, manowak@stkate.edu, kfajardo@LISTSERV.BUFFALO.EDU, fergu033@LISTSERV.BUFFALO.EDU, spidertangle@yahoogroups.com, WRYTING-L@LISTSERV.WVU.EDU, belgu003@LISTSERV.BUFFALO.EDU, editor@raintaxi.com, fish@coffeehousepress.org, dadafox@gmail.com, kfgruidl@comcast.net, colburn@bitstream.net, josierawson@hotmail.com, charisse@visi.com, carollo@mnstate.edu, kelly@raintaxi.com, farrarpub@earthlink.net, mconway@csbsju.edu, JSchaper@cbsd.com, thewordman@mac.com, info@birchbarkbooks.com, flyn0099@LISTSERV.BUFFALO.EDU, prfletcher@stkate.edu, mori0181@LISTSERV.BUFFALO.EDU, ramoritz@stkate.edu, gepatterson@stkate.edu, beatto@att.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Dear All The English Department (UMN) and the IAS's Art as Knowing Collaborative are sponsoring a reading by KAMAU BRATHWAITE at the Loft, 1011 Washington Avenue South, Minneapolis, March 23, 7 pm. Those of you who saw his 1997 performance at the Cross-Cultural Poetics conference know what an astonishing experience it is to see him perform. ========================================================================= Date: Sun, 11 Mar 2007 16:56:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Gil Ott Tribute & the 1st Annual GIL OTT BOOK AWARD ---- 4/15/07, Philadelphia MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline *Gil Ott Tribute & the 1st Annual GIL OTT BOOK AWARD ---- 4/15/07, Philadelphia* *Sunday, April 15th, 3pm* *ROBIN'S BOOKSTORE* *108 S. 13th St., Philadelphia* *Tim Peterson is the recipient of the 1st Annual GIL OTT BOOK AWARD for his book* *SINCE I MOVED IN (Chax Press, 2007): ** http://www.chax.org/poets/peterson.htm* *We will also be celebrating Gil Ott's work and life as told and read by * *a few of his many **friends and admirers. It's going to be a poetry event * *to remember! Please join us!* *Those participating:* *Alicia Askenase* *Julia Blumenreich* *CAConrad* *Rachel Blau DuPlessis* *Ryan Eckes* *Kristen Gallagher* *Eli Goldblatt* *Chris McCreary* *Jenn McCreary* *Bob Perelman* *Joshua Schuster* *Frank Sherlock* *Ron Silliman* ========================================================================= Date: Sun, 11 Mar 2007 17:00:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Midwest Open Mics In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Just got an email from a pal sent a letter detailing 18-hrs of sleep per week out in Iraq. Stood out at the bus stop, smiling like a sunfish, eating ribs of bacon, a Turkish coffee, testing my reflexes, a sign around my neck: This might look like me, but it aint, and this aint my life. Hard life. Anyway, anyone know of open mics from here, that's Milwaukee, Woodland Pattern not-with-standing hype and content, places to read. Oh, and I want to read to civilians - not other poets. Two more months till returning to China and don't wanna drink myself to death outta pure mindlessness and sadness. I gotta wife to make proud! agj --- ____________________________________________________________________________________ Now that's room service! Choose from over 150,000 hotels in 45,000 destinations on Yahoo! Travel to find your fit. http://farechase.yahoo.com/promo-generic-14795097 ========================================================================= Date: Sun, 11 Mar 2007 17:34:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: BATTLE NOTES - Re: Midwest Open Mics In-Reply-To: <20070312000006.58614.qmail@web54610.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit An excerpt from that letter: "...I'm officially a combat veteran now as of 2 days ago...patrolling a village near Fallujah, and recieved contact from small arms fire, and mortars. The day before that, one of our weapons attachments got shot in the head by a sniper, but he can thank kevlar he's still alive. We seem to have found a bit of an insurgent stronghold, and hopefully will make more progress there in the near future...We operate in rotations here. We'll spend a week on the countryside staying in Haji houses, and then go back to base for a couple days R & R. The time we're out is pretty exhausting, but doesn't hit you until you get back to base. Our first week out I managed about 20 hours of sleep. Our second week only about 18...all time seems to run together, and you forget everything, but what you're doing right in the moment..." agj --- ____________________________________________________________________________________ We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. http://tv.yahoo.com/collections/265 ========================================================================= Date: Sun, 11 Mar 2007 21:32:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matt Henriksen Subject: Submit to Cannibal MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable An aesthetic definition cannot define the hunger. C= =0A=0AAn aesthetic definition cannot define the hunger.=0A=0A=0A =0A=0A=0AC= annibal seeks work for the third issue. Small run, handmade, and Brooklyn-b= ased, Cannibal wants ferocious poems that survive by their own instincts.= =0A=0A=0A =0A=0A=0A=0A=0AVisit , where copie= s of the recently released second issue are available for=0A$12. We also h= ave remaining copies of the first two releases in from Cannibal Chapbook Se= ries, Jane Gregory=92s The=0ASecond is Thirst & Shannon Jonas=92 Compathy a= vailable for $7.=0A=0A=0A=0A=0A=0A=0APoets in the second issue include Hada= ra=0ABar-Nadav, Jen Bervin, Julia Cohen, John Coletti, Christopher Eaton, L= andis=0AEverson, Karen Garthe, Daniela Gesundheit, Johannes G=F6ransson, Ka= te=0AGreenstreet, Jane Gregory, Shafer Hall, Janet Holmes, Dan Hoy, Amy Kin= g, Donna=0AKuhn, Mark Lamoureux, Kristi Maxwell, Farid Matuk, Ben Mazer, Je= ss Mynes,=0ASawako Nakayasu, Eugene Ostashevsky, Arlo Quint, Chris Salerno,= Mary Ann Samyn,=0AFrank Sherlock, Stacy Szymaszek, Maureen Thorson, Joshua= Marie Wilkinson, Jake=0AAdam York & Alex Young.=0A=0A=0A=0A=0A=0A=0AThe fi= rst issue featured work from Geoffrey Babbit, Andrea Baker, Zach=0ABarocas,= Jim Behrle, FJ Bergmann, Edmund Berrigan, Anne Boyer, Jenna Cardinale,=0AL= aura Carter, Adam Clay, Clayton Couch, Bruce Covey, AnnMarie Eldon, Jane=0A= Gregory, Anthony Hawley, Brian Howe, Brenda Iijima, Lisa Jarnot, Shannon Jo= nas,=0AErica Kaufman, Alex Lemon, Tao Lin, Rebecca Loudon, Joseph Massey, A= ndrew=0AMister, K. Silem Mohammad, Valzhyna Mort, Gina Myers, The Pines, Em= ma Ramey,=0AMorgan Lucas Schuldt, Sandra Simonds, Laura Solomon, Gabriella = Torres, Jen=0ATynes, and Dustin Williamson.=0A=0A=0A=0A=0ASend poems or que= ries in an inline text or attachment to .=0A=0A= =0A=0A=0A =0A______________________________________________________________= ______________________=0AFinding fabulous fares is fun. =0ALet Yahoo! Fare= Chase search your favorite travel sites to find flight and hotel bargains.= =0Ahttp://farechase.yahoo.com/promo-generic-14795097 ========================================================================= Date: Sun, 11 Mar 2007 22:00:08 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Jerome Rothenberg Subject: Itinerary Spain 2007 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable We will be flying off on March 15th, this time for a month's trip with = readings in Spain. While we expect to be traveling light, we also = expect to be picking up our email, as usual, through the principal email = address: jrothenberg@cox.net. Our further contact information plus = itineary includes the following: =20 March 16-24 - staying mainly in Madrid, reachable through Martine = Segonds-Bauer, calle San Gregorio, 3, tel. 34 91 391 44 09. =20 March 19-20 - Salamanca; reading 3/20 at Universidad de Salamanca; = contact: Viorica Patea, 34 923 29 44 00 (ext. 1757).=20 =20 March 22 - reading in Madrid, 11:30, Universidad Complutense; contact: = Eusebio de Lorenzo G=F3mez, 34-91-3945272. =20 March 23-24 - Toledo at Hotel Carlos V, tel: 34 925 22 21 00. =20 March 25-27 - Barcelona at Hotel Torre Catalunya, Avenida de Roma 2, = tel. 34 936 003 020. Reading 3/26 7 :30 p.m. for Asociaci=F3n Colegial = de Escritores de Catalunya, at Aula dels Escriptors, 5=E8 pis de = l'Ateneu Barcelon=E8s, Canuda, 6, 08002 Barcelona. =20 March 28 -April 1- Valencia. Contact and information on readings: = Gabrel Vi=F1als, Editorial German=EDa, tel. 96 241 98 54 and 96 245 96 = 46. =20 March 29 - reading at El Diario Levante, Valencia. =20 March 30 - reading at La Communidad Tom=E1s Ellacur=EDa, Valencia. =20 April 2-4 -Visit to Malaga area, with Jos=E9 Hern=E1ndez and Sharon = Smith, tel. 34 952-742282. =20 April 5-7 - Seville at Apartamentos Resitur, Salado 4, Sevilla, AN = 41010, tel. 34 954 275090. =20 April 8-10 - Tenerife, Islas Canarias, at Hotel Nivaria, Plaza del = Adelantado, 11 - 38002 La Laguna, tel. 34 922 264298. Contact and = information on readings: Manuel Brito, tel. 34 922 31 76 14. April 10 - reading at University of La Laguna, Tenerife, Canary Islands. = April 11 - return to Seville at Hotel Vertice, Av. De La Aeron=E1utica.=20 April 12-13 - Cordoba at Hotel Selu, Eduardo Dato 7, 14003 Cordoba, tel. = +34 957 476 500. =20 April 14 - return to Madrid. =20 April 15 - fly to Paris. =20 =20 April 15-18 - Paris. Contact: c/o Peyrafitte, Rue des Cannettes 21, = tel. 095 280-1418. =20 April 19 - return to California. =20 If anyone comes near on any of these dates, we hope you'll feel free to = be in touch. =20 Jerome Rothenberg Diane Rothenberg Jerome Rothenberg "Poetry must have something in it 1026 San Abella that is barbaric, vast, and wild." Encinitas, CA 92024 D. Diderot =20 (760) 436-9923 =20 jrothenberg@cox.net http://writing.upenn.edu/epc/authors/rothenberg/ new ethnopoetics web site: http://ubu.com/ethno/ j.r. in spanish: http://writing.upenn.edu/epc/authors/rothenberg/esp/ =20 ========================================================================= Date: Mon, 12 Mar 2007 11:11:20 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cralan kelder Subject: Origin, Sixth Series, Issue 1 ~ now online In-Reply-To: <316090.77464.qm@web54605.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Origin, Sixth Series, Issue 1 Spring 2007 ~ Now Online http://www.LonghousePoetry.com/origin.html Visit the above webpage for information & to download the PDF file format (2.1 MB - three color text, art and photographs in color / 275 pages! ) Forthcoming Origin, Sixth Series, Issues 2, 3 & 4 will be published throughout the spring months of 2007. We'll continue to post these in PDF format (approaching 1000 pages, with 100 authors & artists). Issue 1 featuring work by; Cid Corman=20 Robert Creeley=20 Tsering Wangmo Dhompa Jonathan Greene=20 Red Pine=20 Hermit-Sage Tradition / Mike O=B9connor Robert Sund=20 Tim Mcnulty=20 Wei Ying-Wu / David Hinton Clifford Burke=20 James Koller=20 Franco Beltrametti=20 Miyazawa Kenji / Gerald Hausman & Kenji Okuhira Bob Arnold ~ Feature Poet John Phillips=20 Jerome Seaton=20 George Evans=20 Carson Cistulli=20 Rita Degli Esposti / Coco Gordon Steve Clay=20 Gerald Hausman=20 Mike O=B9connor=20 Yuan Mei / J. P. Seaton Laurie Clark=20 Thomas A. Clark=20 Ian Hamilton Finlay ~ Origin Archive Feature Janine Pommy Vega=20 Lars Amund Vaage / Hanne Bramness Hayden Carruth=20 Kent Johnson=20 =20 =20 With Art & Photography By: =20 Dobree Adams=20 Susan Arnold=20 Ed Baker=20 Shizumi Corman=20 Alan Lau=20 Louise Landes Levi=20 Chung Ling=20 Laki Vazakas ========================================================================= Date: Mon, 12 Mar 2007 06:21:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: Don't Ever Get Famous available Comments: cc: writenet@twc.org In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit After some hiccups on the distributor's part, 'Don't Ever Get Famous: Essays on New York Writing After the New York School' (Dalkey Archives, 2006) is finally available at your usual online emporiums, and, as far as I can tell from my perch in England, at your favorite independent booksellers as well. Please note that you can preview at least some of the contents thanks to John Tranter at Jacket, who reprinted Andrea Brady's article on Wieners, Olson and O'Hara. You can read Andrea's piece at http://jacketmagazine.com/32/brady-wieners.shtml. Do feel free to email me at dkane@panix.com should you have any problems getting a hold of a copy. all best, --daniel ========================================================================= Date: Mon, 12 Mar 2007 05:59:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: ars poetica update Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The ars poetica project continues to percolate at: http://www.logolalia.com/arspoetica/ Poems appeared last week by: Jennifer Compton, Barry Schwabsky, Kirpal Gordon, and Will Hochman. Poems will appear this week by: Will Hochman and Shin Yu Pai. A new poem about poetry every day. Enjoy, Dan ========================================================================= Date: Mon, 12 Mar 2007 05:46:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: music | sound | noise ebr remix In-Reply-To: <1173664335.45f4b24f3d550@www.kattare.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline control copy control paste control copy control paste control paste control paste control paste control paste at electronic book review we get that the power of new media is above all the power to copy (accurately, quickly) (the phonograph, the photocopier made the revolution --- the computer --- copier par excellence -- consolidated it) control C control V control see control we are proud to present the latest remix of one of electronic book review's seminal threads: MUSIC SOUND NOISE featuring new sonic contents: tobias c. van Veen vs. DJ Spooky James Riley vs. Jack Kerouac Marcus Boon vs. Sublime Frequencies Frank Seeburger vs. 9/11 also including six of the greatest hits culled from the m/s/n back-catalog and remastered cuts from Erik Davis and David Rothenberg with editor Trace Reddell at the . . . well . . . 'controls' www.electronicbookreview.com/thread/musicsoundnoise ! ! ! ========================================================================= Date: Mon, 12 Mar 2007 10:38:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Literary Buffalo E-Newsletter 3.12.07 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable LITERARY BUFFALO 3.12.07-3.18.07 LITERARY BUFFALO IN THE NEWS Kevin Thurston has a short piece on poet Rod Smith in Artvoice: http://artvoice.com/issues/v6n10/too_cool_for_schools READINGS THIS WEEK Unless otherwise indicated, all readings are free and open to the public. 3.14.07 Just Buffalo Open Reading Series Featured: David Park Musella Wednesday, March 14, 7 p.m. Carnegie Art Center 240 Goundry St., North Tonawanda 10 open slots: all readers welcome=21 & Earth's Daughters Collective's Gray Hair Reading Series Ansie Baird and Olga Karman Poetry and Non-Fiction Reading Wednesday, March 14, 7:30 p.m. Hallwalls Cinema at The Church, 341 Delaware (at Tupper) Ansie Baird holds degrees from Vassar College and UB where she received her= MA in English and won first prize in the University's Academy of American = Poets contest. She is Poet-in-Residence and a part-time English teacher at = Buffalo Seminary, a non-sectarian secondary school in Buffalo, where she ha= s taught for the past 25 years. She has also taught for Just Buffalo Litera= ry Center in their Writers In Education program for the past 22 years, cond= ucting workshops in elementary, middle, and high schools in the Buffalo are= a, and was an original member of Just Buffalo's arts-in-education collabora= tion with the Albright-Knox Art Gallery, A Picture's Worth a Thousand Words= =2E Her work has been published in The Paris Review, Western Humanities Rev= iew, The Southern Review, The Denver Quarterly, Poetry Northwest, The South= Dakota Review, The Quarterly, The Recorder, Earth's Daughters, and a numbe= r of other journals. Olga Karman-teacher, poet and memoirist-was born in Havana in 1940 of Cuban= and American parents. She was a student at the University of Santo Tom=E1s= de Villanueva, a private Catholic institution in Havana, when Fidel Castro= 's regime came to power in 1959. At first Olga sympathized with the aims of= the revolution; she worked as a hospital volunteer tending Rebel Army sold= iers who had been wounded in the fighting. But when Castro cancelled electi= ons and established his autocracy, Olga decided to leave Cuba. In 1960 she = moved to the United States to marry her American fianc=E9. In 1997-after a= n exile of 37 years and a prolonged anguish over her Cuban identity-Olga ma= de a momentous return visit to her native city of Havana. These experiences= form the material for her memoir Scatter My Ashes Over Havana, which she c= omposed over a period of seven years. 3.15.07 Just Buffalo Small Press Poetry Series Rod Smith and Stacy Szymaszek Poetry Reading Thursday, March 15, 7 p.m. Rust Belt Books, 202 Allen St. Kevin Thurston has a short piece on poet Rod Smith in Artvoice: http://artvoice.com/issues/v6n10/too_cool_for_schools Rod Smith is the author of Music or Honesty, Po=E8mes de l'araign=E9e (Fran= ce), In Memory of My Theories, The Boy Poems, Protective Immediacy, and New= Mannerist Tricycle with Lisa Jarnot and Bill Luoma. His latest collection,= The Good House & other poems, will be published by the University of Iowa = Press in the fall of 2007. A CD, Fear the Sky, came out from Narrow House R= ecordings in 2005. Smith's work has appeared in numerous magazine and antho= logies including Anthology of New (American) Poets, The Baffler, The Gertru= de Stein Awards, Java, New American Writing, Open City, Po=E9sie, Poetics J= ournal, Shenandoah, and The Washington Review. He edits Aerial magazine, pu= blishes Edge Books, and manages Bridge Street Books in Washington, DC. The = next issue of Aerial features poet Lyn Hejinian. Smith is also editing, wit= h Peter Baker and Kaplan Harris, The Selected Letters of Robert Creeley, fo= r the University of California Press. __ Stacy Szymaszek is the author of the chap books Some Mariners (Etherdome),P= asolini Poems (Cy Press), There Were Hostilities (single press) and Mutual = Aid (gong press), as well as the book Emptied of All Ships (Litmus Press). = Sections from her long poem =22hyper glossia=22 have appeared as a chap boo= k from Belladonna* Books and are forthcoming from Hot Whiskey Press. She wo= rked at Woodland Pattern Book Center in Milwaukee, WI before moving to New = York City to serve as Program Coordinator and curator of the Monday Night R= eading Series at The Poetry Project at St. Mark's Church. 3.16.07 Arabian Nights/Middle Eastern Poetry and Dance_ Friday March 16 th 7 pm_ The Unitarian Church, 695 Elmwood Ave., Buffalo (corner of Ferry)_ =244 adults/=243 students & seniors/=242 Just Buffalo members__ Just when you think you can't stand another day of winter, the heat is risi= ng at a program designed to bring some sizzle in the middle of March=21 A= rabian Nights features romantic poetry and songs by Lonnie B. Harrell, with= Middle Eastern dance performed by Cathy Skora/Folkloric Dance Company. T= hrow aside your inhibitions as you are invited to learn =22the dance of the= seven veils.=22 Complete the evening with a sampling of Middle Eastern s= nacks. __Cathy Skora has been studying teaching & performing dance for over= fifteen years, and is founder and executive director of Folkloric Producti= ons Dance Co., Inc. Her dance studies have included Modern (Graham-Based) a= nd African (Dunham-Based), with the Gemini Dance Company, under the directi= on of Steve Porter. She performs at a variety of local venues as well as in= ternational venues throughout the country. Recent teaching engagements have= taken her to Greece and Hawaii. She currently teaches Middle Eastern Dance= , Samba, and Movement and Meditation at the Allen Street Dance Studio. JUST BUFFALO WRITING WORKSHOPS All workshops take place in Just Buffalo's Workshop/Conference Room At the historic Market Arcade, 617 Main St., First Floor -- right across fr= om Shea's. The Market Arcade is climate-controlled and has a security guard= on duty at all times. To get here: Take the train to the 'Theatre' stop and walk, or park and enter on Washing= ton Street. Free parking on Washington Street evenings and weekends. Two-do= llar parking in fenced, guarded, M & T lot on Washington. Visit our website= for detailed descriptions, instructor bios, and to register online. THE TAO OF WRITING THE SHORT STORY A Fiction Writing Workshop Instructor: Ralph Wahlstrom 2 Saturdays: March 24 and 31 10 a.m. - 2 p.m. with a break for lunch. Market Arcade Building, 617 Main St., First Floor. =24100, =2480 for members THE WRITE GROUP FOR YOU AT THE JCC: BEGINNING WRITERS WORKSHOP_ Instructor: Karen Lewis _8 Tuesdays: April 17, 24, May 1, 8,15, 29, June 5, 12, 7-9 p.m. _ Jewish Community Center of Greater Buffalo, 2640 N Forest Rd, Getzville, NY= =2E =24195, =24150 for members of Just Buffalo or the JCC RECURRING LITERARY EVENTS 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 on the first floor of the historic Marke= t Arcade Building across the street from Shea's. Group meets 1st and 3rd We= dnesday at 7 p.m. Call Just Buffalo for details. JUST BUFFALO TIMED WRITING GROUP A writing practice group meets every FRIDAY at noon at Starbucks Coffee on = Elmwood and Chippewa. Writing practice is based on Natalie Goldberg's sugge= sted exercises in Writing Down The Bones. Writers in all genres, fiction an= d non-fiction welcome. There is no charge. Contact Trudy for info: Trudett= a=40aol.com. WESTERN NEW YORK ROMANCE WRITERS group meets the third Wednesday of every m= onth at St. Joseph Hospital community room at 11a.m. Address: 2605 Harlem R= oad, Cheektowaga, NY 14225. For details go to www.wnyrw.org. JUST BUFFALO MEMBERSHIP RAFFLE Visit the literary city of your dreams: -Joyce's Dublin -Paris' Left Bank -Dante's Florence -Shakespeare's London -Harlem Renaissance NYC -The Beats' San Francisco -Anywhere Continental flies.* Now through May 10, 2007 your membership support of Just Buffalo Literary C= enter includes the chance to win the literary trip of a lifetime: Package (valued at =245,000) includes: -Two round-trip tickets to one of the great literary cities on Continental = Airlines -=241500 towards hotel and accommodations -=24500 in spending money One ticket (=2435) =3D Just Buffalo Individual Membership Two tickets (=2460) =3D Just Buffalo Family Membership Three tickets (=24100) =3D Just Buffalo Friend Membership Purchase as many memberships as you like. Give them to whomever you choose = as a gift (or give someone else the membership and keep the lottery ticket = to yourself=21). Only 1000 chances will be sold. Raffle tickets with Just B= uffalo membership make great gifts=21 Drawing will be held the second week = of May, 2007. Call 716.832.5400 for more info. * Raffle ticket purchases are not tax-deductible. If you want your membersh= ip to put you in the =22literary trip of a lifetime=22 raffle, please write= =22raffle membership=22 in the =22payment for=22 cell on the Paypal form. = You will automatically be entered in the raffle, but your membership will n= ot be tax-deductible. If you prefer not to be in the raffle and want tax-de= ductible status, then please write =22non-raffle member=22 in the =22paymen= t for=22 cell. JOIN JUST BUFFALO ONLINE=21=21=21 If you would like to join Just Buffalo, or simply make a massive personal d= onation, you can do so online using your credit card. We have recently add= ed the ability to join online by paying with a credit card through PayPal. = Simply click on the membership level at which you would like to join, log = in (or create a PayPal account using your Visa/Amex/Mastercard/Discover), a= nd voil=E1, you will find yourself in literary heaven. For more info, or t= o join now, go to our website: http://www.justbuffalo.org/membership/index.shtml 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, 12 Mar 2007 10:42:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Degentesh & Gardner at SPT this Fri 3/16 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Small Press Traffic is pleased to present a reading by? Katie Degentesh & Drew Gardner Friday, March 16, 2007 at 7:30 p.m. Katie Degentesh joins us in celebration of her first book, The Anger Scale (Combo Books, 2006), of which Anselm Berrigan says “"Don't be fooled by the bawdy surfaces... [these] joyous, meta-ballistic poems will guide any reader daring enough to read them in a realm where everything is turning out just like the prophets of the Bible said it would. You will be shamed by your elders and peers for not possessing this book.” Degentesh has an MA in Creative Writing from UC Davis, and now lives in New York. Drew Gardner is the author of Sugar Pill (Krupskaya, 2002) and Petroleum Hat (Roof, 2005), which received a Small Press Traffic Book of the Year Award and of which Publishers Weekly says “Gardner conjures the kind of complicated, childish political ignorance and faulty, malevolent citizenship that George Carlin can only joke about.” Gardner joins us from NYC, where he edits Snare magazine and teaches workshops at St. Mark's Poetry Project. He conducts the Poetics Orchestra, an ensemble featuring poetry and structured improvisation. Unless otherwise noted, events are $5-10, sliding scale, free to current SPT members and CCA faculty, staff, and students. ? Unless otherwise noted, our events are presented in?Timken Lecture Hall,?California College of the Arts ?1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) ??Elizabeth Treadwell Jackson, Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, California 94107 415 551 9278 smallpresstraffic@gmail.com http://www.sptraffic.org ???? _________________________________________________________________ Get a FREE Web site, company branded e-mail and more from Microsoft Office Live! http://clk.atdmt.com/MRT/go/mcrssaub0050001411mrt/direct/01/ ========================================================================= Date: Mon, 12 Mar 2007 12:24:17 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: Los cielos le reclaman... Heavens reclaim him... from Clemente Padin Mime-Version: 1.0 Content-Type: text/plain; format=flowed From Clemente Padin: his fanclub's (Nuevo Club de Fanaticos de Clemente Padin) reports/news of his upcoming participation in The CAT Show--Cardiff Art in Time--13-18 March 2007 > > > > >Europa le extraña y él extraña Europa...! No pueden estar mucho tiempo >separados...! Del 13 al 18 de Marzo 07, estará en la Escuela de Arte y >Diseño y la Galería TRACE de Cardiff, Gales, participando en el evento "CAT >Show - Cardiff Art in Time", organizado por Andre Stitt. También >participarán sus queridos colegas: Adina Bar-on (Israel); Julie Andree T. >(Québec]; Eddie Ladd (Cymru); Arai Shin Ichi (Japón); Paul Granjon >(Francia); Alastair Maclennan (Irlandia del Norte); Jamie McMurry (Estados >Unidos); Shaun Caton (Inglaterra); Ointment (Cymru); Roi Vaara (Finlandia); >Anne Bean (Inglaterra); Gustav Uto (Rumania) y Julian Blaine(Francia). >-o- > >Europe misses him and he misses Europe....! They could not be separate much >time....! From 13 to 18 March 07, he will be in Art School and Design and >TRACES Gallery of Cardiff, Gales, participating in the event "CAT Show - >Cardiff Art in Time," organized by Andre Stitt. His dear colleagues Adina >Bar-on (Israel); Julie Andree T. (Québec); Eddie Ladd (Cymru); Arai Shin >Ichi (Japan); Paul Granjon (France); Alastair Maclennan (N. Ireland); Jamie >McMurry (USA); Shaun Caton (England); Ointment (Cymru); Roi Vaara >(Finland); Anne Bean (England); Gustav Uto (Romania) and Julian Blaine >(France) will also participate. > >--o-- > >Este comunicado ha sido enviado por el Nuevo Club de Fanáticos de Clemente >Padín - This release has been sent for New Fans´ Club of Clemente Padín > >[Non-text portions of this message have been removed] > _________________________________________________________________ Find what you need at prices you’ll love. Compare products and save at MSN® Shopping. http://shopping.msn.com/default/shp/?ptnrid=37,ptnrdata=24102&tcode=T001MSN20A0701 ========================================================================= Date: Mon, 12 Mar 2007 14:09:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Free PDF Subscriptions to Boog City Now Available Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Hi all, If you'd like to receive a free pdf subscription to Boog City, beginning with the current issue, BC39 (contents' description below), simply reply to this note with the email address where you'd like it to be sent. Thanks, David -------------------- =20 Boog City 39 =20 featuring: =20 ***Our Music section, edited by Jon Berger*** =20 --=B3When Phoebe Kreutz approached Luv-A-Lot Records=B9 Dashan Coram with the idea for Urban Barnyard=8Bthe whole municipal fauna thing=8Bwho knew the idea would have legs? What started out as a one-joke band has developed into multiple jokes, but also a pretty rocking affair.=B2=8Bfrom Urban Barnyard on Urban Barnyard, where the four members of Urban Barnyard reviewed some of the music that the others have recently produced (including Phoebe Kreutz=B9s We Gotta Go reviewed by Casey Holford, Art Sorority for Girls=B9 Alpha Sigma Gamma reviewed by Phoebe Kreutz, Dibs=B9 Dibs Bleeds Books reviewed by Daoud Tyler-Ameen, and Casey Holford=B9s January reviewed by Dibson T. Hoffweiler) followed by a review of their latest release, That=B9s the Idea, by Berger. =20 =20 ***Our Printed Matter section, edited by Mark Lamoureux*** =20 --=B3Throughout the chapbook, the =B3voice=B2 interweaves its two languages, and locating this voice becomes an act of readerly translation. The next sectio= n phonetically translates the Thai into English, scores the syllables, and meditates on the poem in English. =ADfrom Composite Poetry, composite. diplomacy. by Padcha Tuntha-obas (Tinfish), reviewed by Craig Perez =20 --=B3For all its realism, Carbon seems most interested in the point at which the real becomes surreal, the sublime absurdity of the plain face of things.=B2 --American Oracle, Carbon by Michael Ford (Ugly Duckling Presse), reviewed by Lamoureux =20 =20 ***Our Film section, guest edited by Jon Berger*** =20 --=B3A fascinating adaptation from Capital Media Arts of the open mic lifestyle, the script plugs in numerous cameos for East Village superstars such as The Bowmans and, of course, the host of the AntiHoot, the singularl= y named Lach.=B2 --Talkin=B9 New York: The Little Movie that Might by Berger =20 =20 ***Our Politics section, edited by Christina Strong*** =20 --=B3Are these people tourists on vacation or actual people who live here and have copious amounts of wealth?=B2 --Work Sucks, Life Sucks, and Then You Die by Strong =20 =20 ***Art editor Brenda Iijima brings us work from Belford New Jersey's Kate Greenstreet*** =20 =20 ***Our Poetry section, edited by Laura Elrick and Rodrigo Toscano*** =20 -- Bowdoinham, Maine=B9s Jonathan Skinner with Borzicactus Nanus a dwarf on a borzoi stuffs a nan up my ass twirling his deep scarlet-orange hairdo =20 -- Vancouver, British Columbia=B9s Roger Farr with From Surplus Security is denser now, is domination=B9s form But it=B9s their form more than mine, my labour keeps Taylorism=B9s hands (weapons) on its forward gears and =20 XXXIV Tissue over diagrams or fragment Their sums with different measures. Frameworks Framed as =B3Freidman=B9s Dream,=B2 filed for later under =B3Sphere.=B2 Stand on guard to bound sums to Another sense that might pass the primary Test of deficit to chart profit margins =20 -- Pasadena, California=B9s Deborah Meadows with On the state of the novel as a coffin. Fiendish old scamps had clapped enough to institutionalize their tapping. *And photos from David S. Rubio and Christina Strong.* =20 ----- =20 And thanks to our copy editor, Joe Bates. =20 ----- =20 Please patronize our advertisers: =20 Bowery Poetry Club * http://www.bowerypoetry.com ::fait accompli:: * http://www.nickpiombino.blogspot.com/ The Million Poems Show * http://www.jordandavis.com/Talkshow.html =20 ----- =20 Advertising or donation inquiries can be directed to editor@boogcity.com or by calling 212-842-BOOG (2664) =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: Mon, 12 Mar 2007 13:58:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: drowning MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed drowning in dreams bodies at uncanny speeds , moist or damp , almost evanescent , parlay of the register of the visible , enunciation of interiority just around the corner , some small flailing in the early paleolithic , oh that square that symbolic emergence , emergence of the symbol , they're not equivalent , what is there for us was not for them or they , or this one , caught , lost , almost not quite silent , else/wise http://www.asondheim.org/drowning.mov (not to mention i'd like to drown) http://nikuko.blogspot.com (things are put there (put things there (i put things there))) ========================================================================= Date: Mon, 12 Mar 2007 16:11:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Shows, Readings, and Other Performances March 17 - 24 Content-Type: text/plain; charset=utf-8 Shows, Readings, and Other Performances March 17 - 24 at Gallery 324 in the Galleria, in downtown Cleveland, Ohio March 17 – Saturday at Noon – poetry read by Mary Lu Franks, Steve Goldberg, Wendy Shaffer March 23 – Friday Special Event @ 7:30 pm: The Laughter League March 23rd at 7:30pm Preshow concert at 7:30pm on March 24th Featuring The Minimum Requirements Tickets: $10 Reservations: (216)916-7399 or visit the website www.laughterleague.org Seating is limited and reservations are coming in fast. Don't wait, or you will miss this show! Starring Patrick Ciamacco Joe Kenderes Cody Farinacci Joe Ciamacco Chuck Klein Seth Hrbek March 24 – Saturday at Noon – poetry read by Philip Metres, Bob King, Christophe Casamassima, March 24 – Saturday Special Event @ 7:30 pm: The Laughter League March 24th at 7:30pm Preshow concert at 7:30pm on March 24th Featuring The Minimum Requirements Tickets: $10 Reservations: (216)916-7399 or visit the website www.laughterleague.org Seating is limited and reservations are coming in fast. Don't wait, or you will miss this show! Starring Patrick Ciamacco Joe Kenderes Cody Farinacci Joe Ciamacco Chuck Klein Seth Hrbek Location: Gallery 324 at the Galleria 1301 East Ninth Street Cleveland, Ohio 44114 For More Information: 216/780-1522 mbales@oh.verio.com Gallery Hours: 10-5 weekdays, 10-2 Saturdays, by scheduled performance, by appointment, and by chance Parking Special Price $1.00 Parking in the Galleria Parking Garage Saturdays $3.00 Parking in the Galleria Parking Garage after 4pm Weekdays Free parking on E 9th and E 12th Streets after 6pm Free parking on St Clair after 7 pm ========================================================================= Date: Mon, 12 Mar 2007 12:27:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sean mullin Subject: Re: Free PDF Subscriptions to Boog City Now Available In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit --- "David A. Kirschenbaum" wrote: > Hi all, > > If you'd like to receive a free pdf subscription to > Boog City, beginning > with the current issue, BC39 (contents' description > below), simply reply to > this note with the email address where you'd like it > to be sent. > > Thanks, > David > > -------------------- > > Boog City 39 > > featuring: > > ***Our Music section, edited by Jon Berger*** > > --³When Phoebe Kreutz approached Luv-A-Lot Records¹ > Dashan Coram with the > idea for Urban Barnyard‹the whole municipal fauna > thing‹who knew the idea > would have legs? What started out as a one-joke band > has developed into > multiple jokes, but also a pretty rocking > affair.²‹from Urban Barnyard on > Urban Barnyard, where the four members of Urban > Barnyard reviewed some of > the music that the others have recently produced > (including Phoebe Kreutz¹s > We Gotta Go reviewed by Casey Holford, Art Sorority > for Girls¹ Alpha Sigma > Gamma reviewed by Phoebe Kreutz, Dibs¹ Dibs Bleeds > Books reviewed by Daoud > Tyler-Ameen, and Casey Holford¹s January reviewed by > Dibson T. Hoffweiler) > followed by a review of their latest release, That¹s > the Idea, by Berger. > > > ***Our Printed Matter section, edited by Mark > Lamoureux*** > > --³Throughout the chapbook, the ³voice² interweaves > its two languages, and > locating this voice becomes an act of readerly > translation. The next section > phonetically translates the Thai into English, > scores the syllables, and > meditates on the poem in English. ­from Composite > Poetry, composite. > diplomacy. by Padcha Tuntha-obas (Tinfish), reviewed > by Craig Perez > > --³For all its realism, Carbon seems most interested > in the point at which > the real becomes surreal, the sublime absurdity of > the plain face of > things.² --American Oracle, Carbon by Michael Ford > (Ugly Duckling Presse), > reviewed by Lamoureux > > > ***Our Film section, guest edited by Jon Berger*** > > --³A fascinating adaptation from Capital Media Arts > of the open mic > lifestyle, the script plugs in numerous cameos for > East Village superstars > such as The Bowmans and, of course, the host of the > AntiHoot, the singularly > named Lach.² --Talkin¹ New York: The Little Movie > that Might by Berger > > > ***Our Politics section, edited by Christina > Strong*** > > --³Are these people tourists on vacation or actual > people who live here and > have copious amounts of wealth?² --Work Sucks, Life > Sucks, and Then You Die > by Strong > > > ***Art editor Brenda Iijima brings us work from > Belford New Jersey's Kate > Greenstreet*** > > > ***Our Poetry section, edited by Laura Elrick and > Rodrigo Toscano*** > > -- Bowdoinham, Maine¹s Jonathan Skinner with > Borzicactus Nanus > a dwarf on a borzoi > stuffs a nan up my ass > twirling his deep > scarlet-orange hairdo > > -- Vancouver, British Columbia¹s Roger Farr with > From Surplus > Security is denser now, is domination¹s form > But it¹s their form more than mine, my labour keeps > Taylorism¹s hands (weapons) on its forward gears > > and > > XXXIV > Tissue over diagrams or fragment > Their sums with different measures. Frameworks > Framed as ³Freidman¹s Dream,² filed for later under > ³Sphere.² Stand on guard to bound sums to > Another sense that might pass the primary > Test of deficit to chart profit margins > > -- Pasadena, California¹s Deborah Meadows with > On the state of the novel as a coffin. > Fiendish old scamps > had clapped enough > to institutionalize their tapping. > > > *And photos from David S. Rubio and Christina > Strong.* > > ----- > > And thanks to our copy editor, Joe Bates. > > ----- > > Please patronize our advertisers: > > Bowery Poetry Club * http://www.bowerypoetry.com > ::fait accompli:: * > http://www.nickpiombino.blogspot.com/ > The Million Poems Show * > http://www.jordandavis.com/Talkshow.html > > ----- > > Advertising or donation inquiries can be directed to > editor@boogcity.com or by calling 212-842-BOOG > (2664) > > -- > 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 > ____________________________________________________________________________________ The fish are biting. Get more visitors on your site using Yahoo! Search Marketing. http://searchmarketing.yahoo.com/arp/sponsoredsearch_v2.php ========================================================================= Date: Mon, 12 Mar 2007 16:43:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Marjorie Perloff MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Does anybody have Marjorie Perloff's address for email and surface mail? Please backchannel. Thanks. Vernon http://vernonfrazer.com ========================================================================= Date: Mon, 12 Mar 2007 17:26:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: listenlight new issue 08 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Dear All --- Please visit the new intallment at http://listenlight.net, issue 08, featuring visual & textual work by --- Juliet Cook, Anthony Robinson, Eric Gelsinger, Anne Heide, Andrew Topel, Katrinka Moore, Jeff Harrison. Now reading for issue 09. Many current submissions will be held over for consideration for the next issue. Thanks to all for sending in. Best, Jesse Wayne Crockett ========================================================================= Date: Mon, 12 Mar 2007 21:54:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: A/Rose for Baudrillard MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed A/Rose for Baudrillard I have troubled sleep; nightmares become me. Recently I traded in for a copy of Sartre, Troubled Sleep, signed by him, scrawled signature to a friend. Barthes was hit by a van I think, all these men and some women but less women - Derrida, Foucault, Deleuze, Guattari, Lyotard, Baudrillard, Althusser, Lacan, bounded by what seems the cold war iron of Badiou. Kristeva, Cixous, Irigaray, Wittig, perhaps are still alive. I raised myself on all of them and now they're divided among the militants, the academics, the pieces of 'deconstruction' applicable to any analysis where something or other falls apart, 'simulacrum' following DeBord's 'specta- cle' where 'revolution' became synonymous with natural skin care and something everyone did against the name of 'freedom.' I don't mean to say anything here, I wonder about the doubting that once swayed the world, Jabes, Blanchot, or what I read as doubting, never say anything unless said to oneself, withdrawn, proffered as kind of a peripheral speech. This wasn't them, my reading, what I garnered, that excitement, Merleau-Ponty, at the birth of the world, its bearing, re-borning. Vietnam is now mute, May 68 almost forty years ago and most of us humans have never thought of burning monks. Tibet is a foregone conclusion; can one imagine the Dalai Lama back at the Potala? Bohm kept on moving; he was close to insane with the stress of homelessness. I wait for my first stroke, but none of the others, none of them, none of you, will speak to me. I'll go to heaven or hell with stitches in my mouth. I'll try to say something about the world. My eyes grow wider and wider. ========================================================================= Date: Mon, 12 Mar 2007 20:07:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Dodie Bellamy | Armand Capanna | video by Sarah Lockhart | March 18 Comments: To: ampersand@yahoogroups.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Date: Wed, 7 Mar 2007 08:49:49 -0800 From: "New Yipes" To: newyipes@gmail.com Subject: Dodie Bellamy | Armand Capanna | video by Sarah Lockhart | March 18 7 pm | Sunday, March 18 at 21 GRAND 416 25th St at the corner of Oakland's Broadway Auto Row $4 gently sugg. Dodie Bellamy's essays and reviews have appeared in The Village Voice, The San Francisco Chronicle, Bookforum, Out/Look and The San Diego Reader as well as numerous literary journals and web sites. In January, 2006, she curated an installation of Kathy Acker's clothing for White Columns, New York's oldest alternative art space. With Kevin Killian, she has edited over 100 issuesof the literary/art zine Mirage #4/Period(ical). Her novel The Letters of Mina Harker (reprinted 2004 by University of Wisconsin Press, with an introduction by Dennis Cooper) is a Gothic thriller updated for the 21st century; Cunt-Ups (Tender Buttons, 2001), a radical feminist revision of the "cut-up" pioneered by William Burroughs and Brion Gysin, won the 2002 Firecracker Alternative Book Award for Poetry. Come join us in celebration of Dodie's latest, a cross-genre collection of pedagogical essays and fictions entitled ACADEMONIA (Krupskaya, 2006). After 26 years of extensive research, Armand Capanna II has come to the conclusion that he cannot be stopped. He also believes inflicted violence is a scholarship. He is currently working on a book about Boxing, Boxes, Landing Sites, Cripples & Chicago Machine Politics. When he is not writing, he enjoys baseball, boxing, & the occasional drink & confrontation. He hopes to see The Chicago Cubs win a World Series during his lifetime. He is from Chicago & lives in San Francisco with his Hetero Life partner & Life Coach, Steven Orth. He can be found here: http://www.myspace.com/detumescence Sarah Lockhart screens Suburban Guerrillas, a work of cultural misanthropology that posits the inhabitants of America's cul-de-sacs as an exotic warrior tribe and depicts their rituals, environment and battles through cut-up Super-8 home movies with obligatory subtitles. Lockhart also premieres America's Favorite Movie- The Trailer, inspired by the conceptual work of Komar and Malamid, deconstruction directed by statistics. April 22: Anne Boyer and William Moor May 27: Jeff Clark and Cynthia Sailers House of hubbub http://newyipes.blogspot.com ========================================================================= Date: Tue, 13 Mar 2007 00:06:41 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ann Bogle Subject: Re: A/Rose for Baudrillard MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Alan, God-damn beautiful. (Publish this in higher places -- to the future. I just read Emily Dickinson's by her sister-in-law. Obit's of Baudrillard treated it like something for the funny pages, ha ha ha, like not death, like a thought.) AMB


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AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. ========================================================================= Date: Tue, 13 Mar 2007 00:06:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Allegrezza Subject: Series A Reading in Chicago Comments: cc: holdthresh@yahoo.com MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Series A Reading in Chicago Come next Tuesday, March 20th, to hear Stacey Levine and John Tipton read at the Hyde Park Art Center (5020 S. Cornell Avenue). The reading takes place at 7:00 p.m. BYOB. For more information, please see www.moriapoetry.com/seriesa.html Bill Allegrezza (Please distribute this notice widely. Invite friends, students, lovers . . . .) Bios Stacey Levine is a Seattle-based fiction writer whose books include My Horse and Other Stories and Dra--, a novel, both published by Sun & Moon Press of L.A. Her second novel, Frances Johnson, was published in 2005 by Clear Cut Press of Portland, Oregon. Her work has appeared in the Notre Dame Review, the Denver Quarterly, Fence, the American Book Review, The Stranger, Fodor's travel guides, and even scarier venues. Formerly a creative writing instructor, she is now working on a second collection of short fiction. John Tipton is the author of surfaces (Flood Editions, 2004). His translation of Sophocles' Ajax is forthcoming from Flood. ========================================================================= Date: Tue, 13 Mar 2007 06:09:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: 7 by Christopher Major Comments: To: announce 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 7 pieces by Christopher Major. The language I enjoy the most is the language that reveals and revels in slippage, trapdoors, inbe tweens, ambiguities, multiple simultaneous indeterminate functions. Many would say that ASCII art holds no more promise than shaped poems for producing anything remarkable, because ASCII art uses letterforms exclusively for their visual properties, with no regard for their semantic value. These poems of Christopher Major's go beyond ASCII art, beyond the mere shaped poem, and occupy a place that is indeterminate with respect to what, exactly, language is doing, has done, and can do. Enjoy, Dan ========================================================================= Date: Tue, 13 Mar 2007 08:00:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Devaney Subject: Silence MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Thomas Devaney presents No Silence Here, Enjoy the Silence for LOCALLY LOCALIZED GRAVITY at the Institute of Contemporary Art 6:30-7:30 pm March 14th John Cage wasn't the last word on silence. There may be as many silences as there are sounds, yet how many of these silences have we been available to experience? "No Silence Here, Enjoy the Silence" is not a sobering moment of silence, or an exercise in silencing, or even a temporary vow of silence, but it is a listening workshop via silence and the senses. From the silence of a gift, to the gift to silence poet Thomas Devaney will host a night honoring the many silences that are often simply missed, offering a series of experiences to allow silence to emerge. "No Silence Here, Enjoy the Silence," will feature Devynn Emory, in the first dance performance of John Cage's silence masterpiece 4'33, among other experiences that are best expressed by silence. Other participants include Brian Eckenrode, juggling, and Tyler Gibbons of Red Heart the Ticker on double bass. Locally Localized Gravity at the ICA: http://www.icaphila.org/exhibitions/locally.php ICA: http://www.icaphila.org/ Fritz Haeg's Sundown Schoolhouse: http://www.fritzhaeg.com/schoolhouse/projects/icaphila.html For more information: http://thomasdevaney.blogspot.com/ Institute of Contemporary Art · University of Pennsylvania 118 S. 36th St., Philadelphia, PA 19104-3289 · 215.898.7108 ========================================================================= Date: Tue, 13 Mar 2007 06:35:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: FIRST SCREENING by bpNichol -- Computer poems from 1984 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit FIRST SCREENING (1984) Computer Poems by bpNichol http://vispo.com/bp In 1983 and 1984, bpNichol used an Apple IIe computer and the Apple BASIC programming language to create First Screening, a suite of a dozen programmed, kinetic poems. He distributed First Screening through Underwhich, an imprint he started in 1979 with a small group of poets. The Underwhich edition of First Screening consisted of 100 numbered and signed copies distributed on 5.25" floppies along with printed matter. However, the Apple IIe soon became obsolete and the poems became essentially inaccessible. But in 1992, four years after the death of bpNichol, J. B. Hohm, a student at the University of Calgary in Alberta, Canada, began creating a HyperCard version of First Screening with the approval of Ellie Nichol, bp’s widow, and with assistance from Dennis Johnson and Fred Wah. In 1993, Red Deer College Press published this version on a 3.5" floppy disk for the Macintosh computer. This HyperCard version of First Screening was a careful re-creation and recoding of the original, and it extended the life of the poems of First Screening a few more years. Still, HyperCard eventually died, leaving the poems unavailable to all but the few who owned a functioning old Mac or an even older Apple IIe and a readable diskette (unlikely, since the usual lifetime of a diskette is approximately five years). In 2004, Apple stopped selling HyperCard, and OSX’s Classic mode was the last Mac operating system on which it was possible to view HyperCard works. So we are very happy to present to you four different versions of First Screening. 1. The original DSK file of the Underwhich edition with a freely downloadable Apple IIe emulator (available for PCs and (maybe) Macs), along with scanned images of the printed matter distributed with the Underwhich edition. This version is closest to the original. 2. An online JavaScript version of First Screening created by Marko Niemi and Jim Andrews. 3. A streaming Quicktime movie of the emulated version. 4. The original HyperCard version, which may, perhaps, become easier to view in the future via a HyperCard Player emulator or some other means. We’ve also posted scans of the printed matter of this version. This project has taken us almost three years. We’ve learned much about bpNichol’s First Screening and how the destiny of digital writing usually remains the responsibility of the digital writers themselves. As a group and individually. This project illustrates that work can indeed survive the obsolescence of technologies if others are still interested in the work and the artist has provided what is required to implement the work using later technologies. bpNichol originally created 100 copies of First Screening and distributed them widely, which was important to the propagation of the bitstream. Fortunately, the source code was relatively easy to extract and fairly simple to understand. First Screening is some of the earliest programmed, kinetic poetry. This historical significance, together with the quality of the work itself and bpNichol’s literary stature (he was awarded Canada’s highest literary honour in 1970), have also motivated us to complete this project. The recovery started in 2004 when Lionel Kearns showed Jim Andrews the HyperCard version on an old Mac. Lionel also had three 5.25" floppy disks bpNichol had given him. Jim took those floppies to Information Services at the University of Victoria, Canada, where Jeff Rivett, a data analyst, recovered the data using his own functioning Apple IIe at home. That version of First Screening turned out to be incomplete; Barrie Nichol must have given Lionel these disks while still writing the piece. Geof recognized that the disk was missing some of the poems in the published version and that Lionel’s disk presented the remaining poems in a different order. In an attempt to preserve these poems, Geof had stored his 5.25" floppy of the Underwhich edition carefully, made a silent videotape of the poems as they played on the Apple IIe, and printed out the source code. He could no longer view his floppy, since he no longer had an Apple II series computer, but the printout and the video indicated that three poems were missing from Lionel’s draft copy: “Reverie,” “Any of Your Lip,” and “Off-Screen Romance,” along with some initial and final bibliographic matter. Following unsuccessful efforts by the University of Albany to recover the data from Geof’s 5.25" floppy of the Underwhich edition, Geof shipped the floppy from New York to Dan Waber and Jason Pimble in Pennsylvania. Dan and Jason were able to recover the full version from Geof’s 22-year-old floppy using a functioning Apple IIe computer and a range of open source software. O ye digital poets: the past of the art is in your hands and it is you who must recover and maintain it. Although the history of digital archiving is more than two decades old, most professional archivists have little interest or training in the process of preserving and ensuring functional access to digital materials. For instance, although bpNichol’s work is archived at Simon Fraser University in Vancouver, no one there had or could copy the data from the Underwhich edition floppy to contemporary media. They were not uninterested, however, and many thanks to Tony Power for trying. The secret to this project has been a combination of passion and knowledge. None of us understood the entirety of the situation facing us at the outset. Each of us brought a different set of skills to the task, and all of us brought our love of Nichol’s work and our desire to make sure that others could once again see these early digital poems. We hope our efforts prove worth it for those who visit http://vispo.com/bp now and into the future. Jim Andrews Geof Huth Lionel Kearns Marko Niemi Dan Waber . ========================================================================= Date: Tue, 13 Mar 2007 06:50:14 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Fwd: CAT National Day of Action - March 16, 2007 In-Reply-To: <885231.7508.qm@web57201.mail.re3.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed >From: US Campaign to End the Israeli Occupation > >Reply-To: uscampaign@mail.democracyinaction.org >To: chirotdavid@yahoo.com >Subject: CAT National Day of Action - March 16, 2007 >Commemorate Rachel Corrie's life: >National Day of Action on MARCH 16, 2007 > > >Resources to help you >http://www.endtheoccupation.org/article.php?list=type&type=158 > >Background of the CAT Campaign and Rachel Corrie > >CAT Campaign Achievements 2006 > >National Day of Action March 16th, 2007 > > >RESOURCES >The Campaign has collated resources produced by CAT Campaigns nationally >onto its web site. Resources include, brochures, BAN CAT placards, an >interactive map of CAT Campaigns nationally and much more. Click here >http://www.endtheoccupation.org/article.php?list=type&type=158 to see those >resources. Check out the NEW BLOG! http://stopcaterpillar.blogspot.com/ > >BACKGROUND >On March 16, 2003, an Israeli soldier used a Caterpillar bulldozer to crush >to death 23-year old American activist Rachel Corrie. Rachel was protesting >the demolition of a home belonging to Samir Nasrallah, a Palestinian >physician, in Rafah. Despite her bright orange vest and the fact that she >stood 20 meters in front of the bulldozer—the Israeli soldier contended >that he did not see her. > >Rachel's parents called on the U.S. State Department to conduct an >investigation into the details of Rachel's murder. On March 25, 2003, U.S. >Representative Brian Baird presented Resolution 111 which called on the >U.S. government to "undertake a full, fair, and expeditious investigation >into Rachel's death." Despite her parents' call for an investigation and >Baird's resolution—no U.S. investigation was ever conducted. > >Nearly four years later, our government has done nothing to hold Israel >accountable for its violations of international law nor held CAT >accountable for its role as aiding and abetting such violations. Despite >our leadership's inefficacy, the CAT Campaign has made significant strides >in holding CAT accountable and exposing Israel's human rights violations. > >NATIONAL DAY OF ACTION MARCH 16, 2007 >Demand CAT corporate accountability on the National Day of Action on March >16th 2007. Possible actions include strategies used by CAT campaigns >nationwide in 2006. Some of these include: > >MEET WITH YOUR LOCAL CAT CORPORATE LEADERS >http://www.arabamericannews.com/newsarticle.php?articleid=4729 >Last year, the Michigan CAT team organized an eleven person delegation met >with Jerrold Jung, President of Michigan CAT and began a dialogue about >Caterpillar's destructive role in the occupied Palestinian Territories. To >read more about their meeting, click here >http://www.arabamericannews.com/newsarticle.php?articleid=4729 > >ORGANIZE DECENTRALIZED ACTIONS AGAINST CAT IN YOUR REGION >http://www.bootcat.org/news/2005/10/bootcat-regional-day-of-action-against.html >In October 2005, BootCAT (Boston) organized a regional day of action for >the Northeast in all 13 locations where Milton CAT, the largest Northeast >CAT distributor exists. Read more about this regional action by clicking >here >http://www.bootcat.org/news/2005/10/bootcat-regional-day-of-action-against.html > >PLAN A READING OF RACHEL'S WORDS http://www.rachelswords.org/ >My Name is Rachel Corrie" is a powerful one-woman show based entirely on >the writings that Rachel left behind, telling her story from the time she >was a small child, leading up to the days before her death. In March 2006, >a showing of the play was postponed indefinitely at the New York Theatre >Workshop. Since then, groups have produced both the play and a reading of >Rachel's emails across the globe. Click here http://www.rachelswords.org/ >to read more about Rachel's words and here >http://electronicintifada.net/cgi-bin/artman/exec/view.cgi/12/4564 to see >what the Seattle based activists did. > >CAT CAMPAIGN ACHIEIVEMENTS 2006 > >CAT SHARES FALL BY 14.5%: >http://select.nytimes.com/gst/abstract.html?res=FB0814F83D5B0C728EDDA90994DE404482 >On October 21, 2006, the New York Times reported that Caterpillar Shares >fell by 14.5 percent. To read the article, click here >http://select.nytimes.com/gst/abstract.html?res=FB0814F83D5B0C728EDDA90994DE404482 > >CORRIES' PARENTS CONFRONT CAT CEO: >http://www.endtheoccupation.org/article.php?id=1230 In June 2006, Cindy and >Craig Corrie, confronted Caterpillar CEO James Owens for the first time >since their daughter's murder. To read more about this historic shareholder >meeting, click here http://www.endtheoccupation.org/article.php?id=1230 > >PC(USA) MAINTAINS PRESSURE ON CAT: >http://www.endtheoccupation.org/downloads/Final%20PRess%20Release.doc In >June 2006, the Presbyterian Church (USA) withstood tremendous pressure >demanding that it rescind its 2004 resolution calling for phased, selective >divestment from corporations that profit from the illegal occupation of >Palestine. To read more about the PC(USA)'s General Assembly decision to >maintain its pressure on CAT, click here >http://www.endtheoccupation.org/downloads/Final%20PRess%20Release.doc > >ANGLICAN PARISH DIVESTS: >http://www.endtheoccupation.org/downloads/Anglicandivestment.pdf In October >2006, an Anglican parish withdrew 140,000 pounds from the Church of >England's Central Board of Finance investment account in an attempt to >divest from Caterpillar. To read more about the Anglican Parish's decision >to divest click here >http://www.endtheoccupation.org/downloads/Anglicandivestment.pdf > >Connect with CAT Campaign organizers and activists nationally by checking >out our new "Stop Caterpillar" blog online; contact us if you wish to post >articles on this new blog http://stopcaterpillar.blogspot.com/ > > Other websites by member organizations, with helpful resources on the CAT >Campaign: >http://www.catdestroyshomes.org >http://www.BootCAT.org >http://www.stopcat.org > >US Campaign to End the Israeli Occupation PO Box 21539 Washington, DC 20009 >202-332-0994 http://www.endtheoccupation.org >/*Your email ID. --*/ _________________________________________________________________ Rates near 39yr lows! $430K Loan for $1,399/mo - Paying Too Much? Calculate new payment http://www.lowermybills.com/lre/index.jsp?sourceid=lmb-9632-18226&moid=7581 ========================================================================= Date: Tue, 13 Mar 2007 05:45:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: phanero Subject: Re: A/Rose for Baudrillard MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit Wonderful Alan, Arrows, Errors, Arroz, Ars.. the mediation between the apophatic and cataphatic empuseams is the meat mata materia, philosophy as rack, the suffering ground in its useless solipsism or its grotesque abundance of meaning, that flopping itself is both the sine of the times and the gasping of the fish of the word as a horrible messianism of the pathetic. i had the thought that baudrillard just ends up looking like another sun baked truck-driver with a spreading nose.. keep on truckin'/ riots in columbia the greatful dead? oh no! how, how? lq ----- Original Message ----- From: "Alan Sondheim" To: Sent: Monday, March 12, 2007 6:54 PM Subject: A/Rose for Baudrillard > A/Rose for Baudrillard > > I have troubled sleep; nightmares become me. Recently I traded in for a > copy of Sartre, Troubled Sleep, signed by him, scrawled signature to a > friend. Barthes was hit by a van I think, all these men and some women but > less women - Derrida, Foucault, Deleuze, Guattari, Lyotard, Baudrillard, > Althusser, Lacan, bounded by what seems the cold war iron of Badiou. > Kristeva, Cixous, Irigaray, Wittig, perhaps are still alive. I raised > myself on all of them and now they're divided among the militants, the > academics, the pieces of 'deconstruction' applicable to any analysis where > something or other falls apart, 'simulacrum' following DeBord's 'specta- > cle' where 'revolution' became synonymous with natural skin care and > something everyone did against the name of 'freedom.' I don't mean to say > anything here, I wonder about the doubting that once swayed the world, > Jabes, Blanchot, or what I read as doubting, never say anything unless > said to oneself, withdrawn, proffered as kind of a peripheral speech. This > wasn't them, my reading, what I garnered, that excitement, Merleau-Ponty, > at the birth of the world, its bearing, re-borning. Vietnam is now mute, > May 68 almost forty years ago and most of us humans have never thought of > burning monks. Tibet is a foregone conclusion; can one imagine the Dalai > Lama back at the Potala? Bohm kept on moving; he was close to insane with > the stress of homelessness. I wait for my first stroke, but none of the > others, none of them, none of you, will speak to me. I'll go to heaven or > hell with stitches in my mouth. I'll try to say something about the world. > My eyes grow wider and wider. > ========================================================================= Date: Tue, 13 Mar 2007 09:09:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: stephanie barber Subject: BALTIMORE NEEDS SOME OF YOUR WORDS In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline hello, this is an elegant project adam robinson is doing. maybe you can send a poem or laundry list or song about snow to... http://baltimoreisreads.com/ it is fun to ride around the city and see these hanging in unexpected places. ========================================================================= Date: Tue, 13 Mar 2007 08:42:59 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Halle Subject: Lina ramona Vitkauskas @ Seven Corners Comments: To: brandihoman@hotmail.com, eeelalala@hotmail.com, kerri@conundrumpoetry.com, peter.sommers@yahoo.com, Adam Fieled , Anne Waldman , Becky Hilliker , Bhisham Bherwani , "Biddinger, Mary" , Bill Garvey , Bob Archambeau , "Bowen, Kristy" , chard deNiord , Cheryl Keeler , Chris Goodrich , Craig Halle , Dan Pedersen , DAVID PAVELICH , Diana Collins , ela kotkowska , "f.lord@snhu.edu" , Garin Cycholl , Garrett Brown , Grant Haughton , Ira Sadoff , James DeFrain , Jay Rubin , Jeffrey Grybash , joel craig , John Matthias , JOHN TIPTON , Judith Vollmer , Jules Gibbs , Julianna McCarthy , "K. R." , Kate Doane , Kristin Prevallet , Larry Sawyer & Lina ramona Vitkauskas , "Lea C. Deschenes" , "lesliesysko@hotmail.com" , "Lina R. Vitkauskas" , Malia Hwang-Carlos , Margaret Doane , Marie U , Mark Tardi , MartinD , Michael OLeary , Michael Waters , "Odelius, Kristy L." , "pba1@surewest.net" , Randolph Healy , Ross Gay , Simone Muench , Timothy Yu , Truth Thomas , "White, Jackie" MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline The weather is much improved in Chicago of late. Compound good fortune by checking out new work from *Lina ramona Vitkauskas* at *Seven Corners* ( www.sevencornerspoetry.blogspot.com). Cheers, Steve Halle Editor, *Seven Corners* ========================================================================= Date: Tue, 13 Mar 2007 10:58:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: FIRST SCREENING by bpNichol -- Computer poems from 1984 In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable Have you tried converting it to Supercard? On Mar 13, 2007, at 8:35 AM, Jim Andrews wrote: > > This HyperCard version of First Screening was a careful re-creation =20= > and > recoding of the original, and it extended the life of the poems of =20 > First > Screening a few more years. Still, HyperCard eventually died, =20 > leaving the > poems unavailable to all but the few who owned a functioning old =20 > Mac or an > even older Apple IIe and a readable diskette (unlikely, since the =20 > usual > lifetime of a diskette is approximately five years). In 2004, Apple =20= > stopped > selling HyperCard, and OSX=92s Classic mode was the last Mac =20 > operating system > on which it was possible to view HyperCard works. ========================================================================= Date: Tue, 13 Mar 2007 09:36:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: A/Rose for Baudrillard In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > I'll go to heaven or hell with stitches in my mouth. Come on, Alan - not to make light, or take away the darkness fro your piece - I suspect it's highly unlikely that you will us in or anybody in "stitches"!! Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Tue, 13 Mar 2007 10:14:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: phanero Subject: Re: A/Rose for Baudrillard MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit please to note the over under - sine wave assoc. as well.. weaving, etc. mappings as in encoded strings.. not to mention the "crestroughing" @ freq. etc.. alan usually stays away from the popular register.. though in this sense, a fairly venerable one.. darkness.. hmm.. actually where the eye boundaries difference.. it has been said / of early eyes.. pilot seams asaunter / only takes 3 corners to make a square, or its abstraction an extraction of noise or is it the noise itself, a self-fecundating, organic "standing wave".. you are definitely not qualified to answerve.. lanny ----- Original Message ----- From: "Stephen Vincent" To: Sent: Tuesday, March 13, 2007 9:36 AM Subject: Re: A/Rose for Baudrillard >> I'll go to heaven or hell with stitches in my mouth. > > Come on, Alan - not to make light, or take away the darkness fro your piece > - I suspect it's highly unlikely that you will us in or anybody in > "stitches"!! > > Stephen V > http://stephenvincent.net/blog/ > ========================================================================= Date: Tue, 13 Mar 2007 09:58:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: Simone Muench on PFS Post MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Check out three wonderful prose poems from Chicago's Simone Muench on PFS Post: http://www.artrecess.blogspot.com "Up the Hill Backwards.." http://www.adamfieled.blogspot.com --------------------------------- Need Mail bonding? Go to the Yahoo! Mail Q&A for great tips from Yahoo! Answers users. ========================================================================= Date: Tue, 13 Mar 2007 15:57:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: ..................QUEERS! MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline HAHA! made you look. A never before published Jack Spicer short story, the hidden treasures of Alexandra Grilikhes, and over a hundred poets Queering the language! THE BEST PART IS it's FREE and online: To see the journal click here: http://chax.org/eoagh/issue3/issuethree.htm= l reading launch for EOAGH: A Journal of the Arts, Issue 3: Queering Languag= e Saturday, March 24th, 6pm to 8pm ROBIN'S BOOKSTORE http://www.robinsbookstore.com/ 108 S. 13th St. Philadelphia hosted by Tim Peterson & CAConrad Readers will include: Dodie Bellamy, Kyle Conner, CAConrad, Jim Cory, Sarah Dowling, Maria Fama, Chris Gullo, hassen, Mytili Jagannathan, Anne Kaier, Candace Kaucher, Erica Kaufman, Kevin Killian, Janet Mason, Cathleen Miller, Ashraf Osman, Tim Peterson, Stephen Potter, Sina Queyras, Nathaniel Siegel, Stacy Szymaszek, Eleanor Wilner, Jason Zuzga Dodie Bellamy will read the kari edwards editorial statement Eleanor Wilner will read the poems by the late Almitra David Jim Cory will read the poems by the late Karl Tierney CAConrad will read the poems by the late Alexandra Grilikhes EOAGH Issue 3 =96 Queering Language was edited by CAConrad, kari edwards, P= aul Foster Johnson, Erica Kaufman, Jack Kimball, Tim Peterson, and Stacy Szymaszek. This online publication includes the work of over 100 contributors as well as editors' statements on this project. *Issue 3 of EOAGH is dedicated to the memory of kari edwards (1954-2006) dear friend, mentor, colleague, crusader.* ========================================================================= Date: Tue, 13 Mar 2007 18:44:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: 3 DUSIE wee chaps by Frank Sherlock, Edmund Berrigan and CAConrad MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline The ever generous Susana Gardner of DUSIE has published a set of 3 wee chaps! The proceeds will go toward the Frank Sherlock EMERGENCY FUND! They're $15 a set. They will be available at the Philadelphia benefit coming up this Sunday, but you can also contact DUSIE for purchase. Go to PhillySound for details: http://phillysound.blogspot.com/2007_03_01_archive.html To the continued recovery of FRANK SHERLOCK! ========================================================================= Date: Tue, 13 Mar 2007 16:07:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Artists Against the War - LA MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline > Dear Artists and Art Workers- > > > > Inspired by the recent visit of artist Martha Rosler, and the New > York group's activities, we urge you to help form a Los Angeles > branch of Artists Against the War. Please see their website at > > http://www.aawnyc.org/ > > We would love for you all to be a part of it. As the first event of > Artists Against the War LA, we want to have a strong presence in the > important Anti-war Rally scheduled for this Saturday. Please bring > posters and banners that say "LA Artists Against the War". The MTA is > right by the rally site (beginning and ending) so getting there > should be easy. We can't wait to see you there! Please forward this > email to others. > > Sincerely- > > (Please add your name to the top of this list. This is a cooperative > group effort.) > Angela Ellsworth > Andrea Bowers > > Nancy Buchanan > > Sam Durant > > > > > > Mass Anti-War Protest in Los Angeles > > Saturday, March 17th 2007 Noon > > Los Angeles, CA USA > > > > On March 17, the 4th anniversary of the start of the criminal > invasion of Iraq, tens of thousands of people from around Southern > California will come to Los Angeles for a mass demonstration to > demand: U.S. Out of Iraq Now! The LA march will be coordinated with a > march on the Pentagon in Washington, D.C. > > > > Location: > > Gather at Hollywood & Vine Corner of Hollywood & Vine, Los Angeles > CA 90028 (Red Line Metro Stop) at 12:00 NOON > > March to Hollywood & Highland for the Rally > > > > Sponsored By: > > The March 17 LA Coalition includes, ANSWER, Alliance for Just and > Lasting Peace in the Philippines, Free Palestine Alliance, GABRIELA > Network, Latino Movement USA, National Lawyers Guild, Party for > Socialism and Liberation, Office of the Americas, Coalition for World > Peace, National Council of Arab Americans, LA-US Labor Against the > War, American Friends Service Committee, Frente Amplio Progresista- > Los Angeles, Comite Pro-Democracia en Mexico, Topanga Peace Alliance, > Islamic Shura Council of Southern California, KmB Pro-People Youth, > Korean Americans for Peace, Youth and Student ANSWER, Coalition to > End Israeli Apartheid-SoCal, Global Women's Strike, Muslim Student > Association-West, Students for Justice in Palestine-UCLA. Endorsers > include Cindy Sheehan, Howard Zinn, former U.S. Attorney General > Ramsey Clark, Congresswoman Maxine Waters, Vietnam veteran Ron Kovic, > United Teachers Los Angeles, Academy Award-winner Paul Haggis and > many more. http://www.answerla.org/ > > > __._,_.___ Messages in this topic (2) Reply (via web post) | Start a new topic Messages| Files| Photos| Links| Database| Polls| Members| Calendar [image: Yahoo! Groups] Change settings via the Web(Yahoo! ID required) Change settings via email: Switch delivery to Daily Digest| Switch format to Traditional Visit Your Group | Yahoo! Groups Terms of Use | Unsubscribe . __,_._,___ -- All best, Catherine Daly c.a.b.daly@gmail.com -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Tue, 13 Mar 2007 21:09:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Fwd: [Lucipo] Live: The Glossolalia Website In-Reply-To: <1e7ff3150703131241g88908a1rb18b7f9c8022d4c2@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline ---------- Forwarded message ---------- From: Brian Howe Date: Mar 13, 2007 3:41 PM Subject: [Lucipo] Live: The Glossolalia Website To: Lucifer Poetics No more Myspace streams, temporary links and sporadic email updates-- Glossolalia now has a permanent website where you can stream or download all Glossolalia materials: http://glossolalia-blacksail.blogspot.com/ ******** GLOSSOLALIA is a sound art project. BLACK SAIL is an in-progress album of electro-poetics. Electro-poetics involves using oral recitation as a sound source for aural art, along with digitally manipulated acoustic instrumentation and appropriated material. GLOSSOLALIA is a sonic companion to the text-based F7 project. Both projects employ appropriated material and technological mediation, inscribing the same kind of tension between chance and deliberate operations into different media. Some selections from F7 available online are here. GLOSSOLALIA tracks do not cost anything. The page will be updated with new mixes periodically. GLOSSOLALIA is also seeking audio submissions of poets reading their work to continue the project. Contact brian.g.howe@gmail.com for more information. The re-use of any and all GLOSSOLALIA material is avidly encouraged. _______________________________________________ Lucipo mailing list Lucipo@lists.ibiblio.org http://lists.ibiblio.org/mailman/listinfo/lucipo -- Check out my new book Key Bridge: http://www.carolinawrenpress.org/books.html info about it: http://www.carolinawrenpress.org/pdf/KeyBridge_PRESS_RELEASE.pdf ========================================================================= Date: Tue, 13 Mar 2007 18:08:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: FIRST SCREENING by bpNichol -- Computer poems from 1984 In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit > Have you tried converting it to Supercard? We were most interested in making it available in formats where you don't have to buy any software to run First Screening. I think someone tried to import the HyperCard version of First Screening into the free trial of Supercard but it didn't work, if memory serves me without bugs and incompatibilities. ja http://vispo.com/bp ========================================================================= Date: Tue, 13 Mar 2007 20:42:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Kenneth Patchen Festival and Jam At Gallery 324 and The Barking Spider April 13 and 14, 2007 Content-Type: text/plain; charset=utf-8 Kenneth Patchen Festival and Jam At Gallery 324 and The Barking Spider April 13 and 14, 2007 April 13, 2007 –Friday at 6 pm – 9 pm Readings and Presentations by: Larry Smith (Bottom Dog Press), Kenneth Patchen biographer, & Bree Ingst (Green Panda Press), poet, singer, bookseller, and publisher & Marcus Bales (Gallery324) Present the Kenneth Patchen Silkscreens on loan from the Trumbull Art Guild, Warren, Ohio, and Douglas Paisley’s paintings of The Journal of Albion Moonlight with Kenneth Patchen’s text, and Featuring, from Detroit, M.L.Liebler and the Magic Poetry Band accompanying readings by Chris Franke Nina Gibans Tom Kryss Jim Lang Michael McMahon Charles Potts Larry Smith, and others to be announced Reception with Cash Bar 6 pm – 9 pm PATCHEN CELEBRATION IN CLEVELAND DURING NATIONAL POETRY MONTH Kenneth Patchen Festival in Cleveland this April 8-15. Larry Smith, Marcus Bales and Bree Ingst are coordinating the week-long event honoring Kenneth Patchen (1911-1972), Ohio rebel poet-artist. Patchen published over 36 books during his lifetime. April 8-15th Patchen's two silkscreen collections will be shown at Gallery 324 (E. 9th Street in Galleria, downtown Cleveland) that week... Kenneth Patchen Silkscreens They are from the Trumbull Art Guild in Patchen's hometown of Warren. Photo Copies of Prints will be available for order, and there will be an auction of Patchen items. April 13th 7 pm Gallery 324 – Reception and Talks on Patchen’s Life and Art, including showing of a group of paintings depicting scenes from The Journal of Albion Moonlight done by Doug Paisley with Kenneth Patchen’s text Two Patchen Poetry-Jazz Reading Events April 14th Noon at Gallery 324 featuring M.L.Liebler and the Magic Poetry Band Readers: Charles Potts, Tom Kryss, Chris Franke, Michael McMahon, Nina Gibans, Mark Kuhar, Jim Lang, John Paisley…hosted by Larry Smith April 14th 7pm at Barking Spider Tavern, University Circle, featuring John Richmond All-Stars/ Poet-Readers: Ben Guylas, Bree, Katie Daley, Terry Provost, Adam Brodsky, Maj Ragain, Adam Brodsky Sponsors of the festival are Bottom Dog Press and Green Panda Press. Book sales are being done by Mac’s Backs Books of Coventry Road, Cleveland. All events free and open to the public. Kenneth Patchen page: http://www.connectotel.com/patchen/ Patchen biography & places page: http://members.aol.com/smithcours/Patchen/KennethPatchenPlaces.htm FOR MORE INFORMATION: Contact: e-mail: lsmithdog@aol.com or breestings@yahoo.com (graphics available) or mbales@oh.verio.com, or call 216/780-1522 ========================================================================= Date: Tue, 13 Mar 2007 23:04:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: A/Rose for Baudrillard In-Reply-To: <001301c76593$05e96c10$0400a8c0@pacificdeqgc16> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Three corners as long as nothing's askew... - Alan On Tue, 13 Mar 2007, phanero wrote: > please to note the over under - sine wave assoc. as well.. weaving, etc. > mappings as in encoded strings.. > not to mention the "crestroughing" @ freq. etc.. alan usually stays away from > the popular register.. though in this sense, a fairly venerable one.. > > darkness.. hmm.. actually where the eye boundaries difference.. it has been > said / of early eyes.. > > pilot seams asaunter / only takes 3 corners to make a square, or its > abstraction an extraction of noise > or is it the noise itself, a self-fecundating, organic "standing wave".. > > you are definitely not qualified to answerve.. > > lanny > > > > ----- Original Message ----- From: "Stephen Vincent" > To: > Sent: Tuesday, March 13, 2007 9:36 AM > Subject: Re: A/Rose for Baudrillard > > >>> I'll go to heaven or hell with stitches in my mouth. >> >> Come on, Alan - not to make light, or take away the darkness fro your piece >> - I suspect it's highly unlikely that you will us in or anybody in >> "stitches"!! >> Stephen V >> http://stephenvincent.net/blog/ >> > > ======================================================================= Work on YouTube, blog at http://nikuko.blogspot.com . Tel 718-813-3285. Webpage directory http://www.asondheim.org . Email: sondheim@panix.com. http://clc.as.wvu.edu:8080/clc/Members/sondheim for theory; also check WVU Zwiki, Google for recent. Write for info on books, cds, performance, dvds, etc. ============================================================= ========================================================================= Date: Wed, 14 Mar 2007 00:28:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Dorothea Lasky and Paul Killebrew Mime-Version: 1.0 Content-Type: text/plain; format=flowed Some folks need to learn how to work their toasters! In the meantime, I'm forwarding this: _____________________________________________ Dear friends, Please join us for Parallel Bars' first reading event: WHAT: poetry by Dorothea Lasky and Paul Killebrew, paintings by Tim Bowen WHY: see below or < http://www.fallingcow.org/about/parallelbars.htm> WHEN: Saturday 3/17 at 7pm WHERE: Falling Cow Gallery, 732 S. 4th St., Philadelphia WHO: everybody HOW: with refreshments HELP US SPREAD THE WORD: Please forward this announcement to all of your friends, enemies, students, teachers, colleagues, bosses, neighbors, relatives and so on. We hope to reach a large and diverse audience. ***************************************** PARALLEL BARS hosts its first reading event on March 17th at 7pm at the Falling Cow Gallery. Organized by poets Dorothea Lasky and Laura Solomon in conjunction with artist and gallery owner Tim Bowen, Parallel Bars will pair poetry with visual art whose messages converse with one another by means of form, process and subject matter. By offering this microcosm of existing relationships, the series hopes to provide audience participants with an opportunity to discover larger connections between sight and sound, time and space, and individual and collective experiences. The first event will feature Tim Bowen's series of 100 paintings entitled PeopleTIME 2005 which depicts various significant national and international events that occurred throughout the year 2005. The title is based on the idea of using two images per week, one from People magazine and one from Time magazine, focusing on relevant news items which juxtapose the superficialities of popular culture with the serious, often grim, geopolitical and social realities of the day. Within the visual, public world of PeopleTIME 2005, poets PAUL KILLEBREW and DOROTHEA LASKY will read from their new books. A single poem, Killebrew's INSPECTOR VS. EVADER (Ugly Duckling Presse, 2007) is a litany of private observations in constant competition with one another. Like Bowen's project, the poem laces together moments both monumental and trivial while persistently seeking the meanings between them all. By doing so, Killebrew illuminates the holiness to be found within each moment of experience, no matter its outward appearance. From this same vision emerge the poems of Dorothea Lasky's AWE, forthcoming this year from Wave Books. Within this collection, Lasky captures the magnitude and privilege of having a brain and body isolated, even if sometimes painfully so, from all other brains and bodies. Insisting upon a solitude that transcends itself, the poems reveal a separateness to things that enables connection, a process that in turn makes possible our awe to be a part of anything at all, even more so, our awe to be a part of everything. In keeping with the nature of the specific work of all three contributors, and in line with the application-to-life-mindedness of the series itself, Parallel Bars will dedicate its first event to local poet Frank Sherlock. Sherlock was hospitalized on January 22nd with a sudden and mysterious illness that turned out to be a serious case of meningitis . He needed emergency surgery and also suffered a heart attack and kidney failure as a result of symptoms related to the illness. Like many other Americans, Sherlock is uninsured. Donations will be accepted on his behalf, and the event will serve as a precursor to a benefit show to be held the next day by the friends of Frank Sherlock. ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++ Paul Killebrew was born and raised in Nashville, Tennessee. He is author of the newly released Inspector vs. Evader (Ugly Duckling Presse), and his chapbook Forget Rita was chosen by John Ashbery for the Poetry Society of America in 2003. He lives in Brooklyn and is in his last year of law school at NYU. Dorothea Lasky was born in St. Louis. Her first full-length collection, Awe , is forthcoming this fall from Wave Books. She is the author of three chapbooks: The Hatmaker's Wife (Braincase Press, 2006), Art (H_NGM_N Press, 2005), and Alphabets and Portraits (Anchorite Press, 2004). Currently she lives in Philadelphia, where she studies education and co-edits the Katalanche Press chapbook series. She is a graduate of the M.F.A. program for Poets and Writers at the University of Massachusetts-Amherst and also has been educated at Harvard University, University of Pennsylvania, and Washington University. _________________________________________________________________ Play Flexicon: the crossword game that feeds your brain. PLAY now for FREE. http://zone.msn.com/en/flexicon/default.htm?icid=flexicon_hmtagline ========================================================================= Date: Wed, 14 Mar 2007 00:48:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Carol Novack Subject: Readings 3/21, 2/23, 3/29 Readings Comments: To: Mad Hatters Review MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline *Mad Hatters' Review * *(**http://www.madhattersreview.com **) = * *Edgy & Enlightened Literature, Art & Music in the Age of Dementia* *Poetry, Prose & Anything Goes Reading Series* *Curated & Pickled by Publisher/Editor Carol Novack* *6th Reading* *Friday, March 23, '07**, 7 =96 9 pm** * *KGB Bar, 85 East 4th Street, N.Y.C.* * * *Featuring* *Patricia Catto*,* *former Finger Laker, now "Midwasterner," is Associate Professor of Something at the Kansas City Art Institute. She was tenured in 1994 after a now legendary battle with Franconian fascists. Her book *Aunt Pig of Puglia *(edible portions published in various journals =96 one such = to be published in MHR) recounts the magical realist tale of her cruel, unacceptable, beloved family whose Auntie was born with bristles and trotters. The true but utterly fake tale of the Ferri Family, this fable can be understood as the Sopranos Meet the Fawkers and They All Call Into Car Talk For Advice on Existential Problems. Catto is the author of a poetry book, *Wife of Geronimo's Virile Old Age *(Mathom Press), several poesms, art reviews and earnest articles dealing with the ecospiritualviagr= a issues of our day. In addition to teaching creative writing (like, RIGHT) and raks sharki (belly dance ), she does large scale murals in Indian restaurants. She has studied with the Maurice Sendak Kalighat School of the Indian Restaurant Mural. Catto's latest triumph was surviving if not partially mastering a parasite ingested last summer in Chandigarh India. You'll want to come and see her -3 dress size and query her about weight loss strategies. *Ted Pelton* is the author of three books, most recently the novel Malcolm = & Jack (and Other Famous American Criminals) (Spuyten Duyvil, 2006). In 1994= , he was awarded an NEA Fellowship in Fiction. In 2000, he founded Starcherone Books (starcherone.com), an independent publisher of innovative fiction, and he now serves as its Executive Director. He's also an Associat= e Professor of English at Medaille College of Buffalo, NY. See samples of his work at tedpelton.com. * * *Steve Tomasula*'s short fiction has appeared widely and most recently in*McSweeney's, The Denver Quarterly * and* The Iowa Review* where he received the Iowa Prize for the most distinguished work published in any genre. His essays on body art and culture appear in* Leonardo* and other magazines both here and in Europe. H= e is the author of the novels* IN & OZ*;* The Book of Portraiture;* and* VAS: An Opera in Flatland*, a novel of the biotech revolution that has been released in paper by the University of Chicago Press. He teaches in the writing program at The University of Notre Dame. * * *With LIVE MUSIC performed by BEN RUSH MILLER* * * *For further info*, email: madhattersreview*@*gmail.com (type READINGS in the subject line) * * ___________________________________________________________________________= ______________________________________ PLUS: See the Publisher of Mad Hatters' Review read political erotica with her clothes on! at Rachel Kramer Bissel's infamous IN THE FLESH READING SERIES WEDNESDAY, MARCH 21 at 8 PM HAPPY ENDING LOUNGE 302 BROOME STREET, NYC (B/D to Grand, J/M/Z to Bowery, F to Delancey) 212-334-9676 www.happyendinglounge.com Admission: Free Happy Ending Lounge: 212-334-9676 http://inthefleshreadingseries.blogspot.com This month, join Cheri Crystal (Erotic Interludes 3, 4, 5), Joel A. Nichols (Dorm Porn 2, Travelrotica 2), Carol Novack (Mad Hatters' Review), memoiris= t Suzanne Portnoy (The Butcher, The Baker, The Candlestick Maker), who's making an appearance all the way from London, and Claire Thompson (Golden Boy, Slave Castle), along with host erotica writer and editor Rachel Kramer Bussel (He's on Top, She's on Top, Caught Looking) for hot stories from across the sexual spectrum. Free candy and mini cupcakes will be served and authors' books will be available for sale. ___________________________________________________________________________= _______________________________________ That Editor will be reading again (with her clown suit on) at *Bob Heman's 2ND OFFICIAL CLWN WR EVENT *MARCH 29TH , Brooklyn, NYC, 7pm The Safe-T-Gallery at 111 Front Street, Brooklyn ( D.U.M.B.O.), Gallery 214 The reading will start around 7:00, and will feature Jane Ormerod, Carol Novack and Bob Hart plus a number of special guests including Nathan Whiting, Jean Lehrman, EK Smith, Judy Kamilhor, Thomas Fucaloro and some others still to be announced - take the F train to York Street, walk downhill to Front and turn left under the Manhattan Bridge - for more information and alternative directions (from other subway lines) please check the Gallery website at http://www.safetgallery.com Since its first issue in 1972, Clown War and its successor CLWN WR (both published by MHR contributor Bob Heman) have frequently published very smal= l poems in both regular and special small poem issues. Among the writers who have contributed small poems to Clown War/CLWN WR are Cid Corman, Ted Berrigan, F.A. Nettelbeck, Ray DiPalma, Bruce Andrews, Lyn Hejinian, Eileen Myles, Bob Holman, Keith Abbott, Dave Morice, Joel Dailey, Nathan Whiting, Brian McInerney, Charles Bernstein, Alex Caldiero and many others. We have also published very small visual poems by David Cole, John M. Bennett, Scot= t Helmes, M. Kasper, Hannah Weiner, Roy Arenella and others. After a long hibernation CLWN WR is once again starting a series of special issues devoted to the very small poem in all of its manifestations. The website is currently being built. **** --=20 MAD HATTERS' REVIEW: Edgy & Enlightened Literature, Art & Music in the Age of Dementia: http://www.madhattersreview.com KEEP THE MAD HATTERS ALIVE! MAKE A TAX DEDUCTIBLE DONATION HERE: https://www.fracturedatlas.org/site/contribute/donate/580 ========================================================================= Date: Tue, 13 Mar 2007 21:39:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Kenneth Patchen Festival and Jam At Gallery 324 and The Barking Spider April 13 and 14, 2007 In-Reply-To: <45f744e0318f8_17c18c2ff0386310@Laptop.tmail> MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=ISO-8859-1; format=flowed Content-transfer-encoding: quoted-printable Is this in New York or somewhere like that? On Mar 13, 2007, at 5:42 PM, Marcus Bales wrote: > Kenneth Patchen Festival and Jam At Gallery 324 and The Barking Spider=20= > April 13 and 14, 2007 > > April 13, 2007 =96Friday at 6 pm =96 9 pm > Readings and Presentations by: > Larry Smith (Bottom Dog Press), > Kenneth Patchen biographer, & > Bree Ingst (Green Panda Press), > poet, singer, bookseller, and publisher & > Marcus Bales (Gallery324) > > Present the > Kenneth Patchen Silkscreens on loan from the > Trumbull Art Guild, Warren, Ohio, and > > Douglas Paisley=92s paintings of The Journal of Albion Moonlight with > Kenneth Patchen=92s text, and > Featuring, from Detroit, > M.L.Liebler and the Magic Poetry Band > accompanying readings by > Chris Franke > Nina Gibans > Tom Kryss > Jim Lang > Michael McMahon > Charles Potts > Larry Smith, and others to be announced > Reception with Cash Bar 6 pm =96 9 pm > > PATCHEN CELEBRATION IN CLEVELAND DURING NATIONAL POETRY MONTH > > Kenneth Patchen Festival in Cleveland this April 8-15. > Larry Smith, Marcus Bales and Bree Ingst are coordinating the=20 > week-long event honoring Kenneth Patchen (1911-1972), Ohio rebel=20 > poet-artist. Patchen published over 36 books during his lifetime. > > April 8-15th Patchen's two silkscreen collections will be shown at=20 > Gallery 324 > (E. 9th Street in Galleria, downtown Cleveland) that week... Kenneth=20= > Patchen Silkscreens > They are from the Trumbull Art Guild in Patchen's hometown of Warren. > Photo Copies of Prints will be available for order, and there will be=20= > an auction of Patchen items. > > April 13th 7 pm Gallery 324 =96 Reception and Talks on Patchen=92s = Life=20 > and Art, including showing of a group of paintings depicting scenes=20 > from The Journal of Albion Moonlight done by Doug Paisley with Kenneth=20= > Patchen=92s text > > Two Patchen Poetry-Jazz Reading Events > April 14th Noon at Gallery 324 featuring M.L.Liebler and the Magic=20 > Poetry Band > Readers: Charles Potts, Tom Kryss, Chris Franke, Michael McMahon, Nina=20= > Gibans, Mark Kuhar, Jim Lang, John Paisley > hosted by Larry Smith > > April 14th 7pm at Barking Spider Tavern, University Circle, featuring=20= > John Richmond All-Stars/ Poet-Readers: Ben Guylas, Bree, Katie Daley,=20= > Terry Provost, Adam Brodsky, Maj Ragain, Adam Brodsky > Sponsors of the festival are Bottom Dog Press and Green Panda = Press. > Book sales are being done by Mac=92s Backs Books of Coventry = Road,=20 > Cleveland. > All events free and open to the public. > > Kenneth Patchen page: http://www.connectotel.com/patchen/ > Patchen biography & places page:=20 > http://members.aol.com/smithcours/Patchen/KennethPatchenPlaces.htm > > FOR MORE INFORMATION: > Contact: e-mail: lsmithdog@aol.com or breestings@yahoo.com = (graphics=20 > available) or mbales@oh.verio.com, or call 216/780-1522 > > George Henry Bowering Once saw Alexis Smith plain. ========================================================================= Date: Wed, 14 Mar 2007 08:30:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Ken Rumble's Key Bridge Now Available MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hey folks, My first book, Key Bridge, was just published by Carolina Wren Press: http:\\www.carolinawren.org/books.html and here's some info about it http://www.carolinawrenpress.org/pdf/KeyBridge_PRESS_RELEASE.pdf Key Bridge is about pregnancy of a sort and the related topics of birth and death, coming into being and fading out of it again. It's a long poem set against the backdrop of Washington, DC, where I grew up. The subject matter on a line to line basis covers a lot of DC history, geography, flora and fauna, Lee Boyd Malvo & John Allen Mohammad (the "DC Snipers"), racial identity, "whiteness," and a few other things. It's also, really and against my better wishes, a love poem. I'm also looking for readings; I'm assuming I'll have to cover travel expenses for readings, so I work for cheap (dinner? a place to sleep?) If anyone has recommendations or offers, please let me know. Thanks and enjoy.... best, Ken -- Check out my new book Key Bridge: http://www.carolinawrenpress.org/books.html info about it: http://www.carolinawrenpress.org/pdf/KeyBridge_PRESS_RELEASE.pdf ========================================================================= Date: Wed, 14 Mar 2007 09:56:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: Kenneth Patchen Festival and Jam At Gallery 324 and The Barking Spider April 13 and 14, 2007 In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: Quoted-printable On 13 Mar 2007 at 21:39, George Bowering wrote: > Is this in New York or somewhere like that? Good catch, George. I should have put the city and state. Three Kenneth Patchen Events: the Kenneth Patchen Art Opening and Reception, the Kenneth Patchen Festival, and the Kenneth Patchen Jam. The Kenneth Patchen Reception is at Gallery 324 on April 13, 2007 from 6 pm - 9pm. The Kenneth Patchen Festival is at Gallery 324 at Noon on Saturday, April 14, 2007 at noon. The Kenneth Patchen Jam is at and the Jam at The Barking Spider April 14, 2007 at 7 pm. Gallery 324 The Galleria at Erieview 1301 East 9th Street Cleveland, Ohio 44114 216/780-1522 mbales@oh.veior.com April 13, 2007 -Friday at 6 pm - 9 pm Larry Smith (Bottom Dog Press), Kenneth Patchen biographer, & Bree Ingst (Green Panda Press), poet, singer, bookseller, and publisher & Marcus Bales (Gallery324) Present The Kenneth Patchen Silkscreens on loan from the Trumbull Art Guild, Warren, Ohio, and Douglas Paisley=B4s paintings of The Journal of Albion Moonlight with Kenneth Patchen=B4s text, and Featuring, from Detroit, M.L.Liebler and the Magic Poetry Band accompanying readings by Chris Franke Nina Gibans Tom Kryss Jim Lang Michael McMahon Charles Potts Larry Smith, and others to be announced Reception 6 pm - 9 pm PATCHEN CELEBRATION IN CLEVELAND DURING NATIONAL POETRY MONTH Kenneth Patchen Festival in Cleveland this April 8-15. Larry Smith, Marcus Bales and Bree Ingst are coordinating the week- long event honoring Kenneth Patchen (1911-1972), Ohio rebel poet- artist. Patchen published over 36 books during his lifetime. April 8-15th Patchen's two silkscreen collections will be shown at Gallery 324 (E. 9th Street in Galleria, downtown Cleveland) that week... Kenneth Patchen Silkscreens They are from the Trumbull Art Guild in Patchen's hometown of Warren. Photo Copies of Prints will be available for order, and there will be an auction of Patchen items. First, April 13th 6 pm - 9 pm Gallery 324 - Reception and Talks on Patchen=B4s Life and Art, including showing of a group of paintings depicting scenes from The Journal of Albion Moonlight done by Doug Paisley with Kenneth Patchen=B4s text Second, April 14th Noon at Gallery 324 featuring M.L.Liebler and the Magic Poetry Band Readers: Charles Potts, Tom Kryss, Chris Franke, Michael McMahon, Nina Gibans, Mark Kuhar, Jim Lang, John Paisley...hosted by Larry Smith Third: April 14th 7pm at Barking Spider Tavern, University Circle, featuring John Richmond All-Stars/ Poet-Readers: Ben Guylas, Bree, Katie Daley, Terry Provost, Adam Brodsky, Maj Ragain, Adam Brodsky Sponsors of the festival are Bottom Dog Press and Green Panda Press. Book sales are being done by Mac=B4s Backs Books of Coventry Road, Cleveland. All events free and open to the public. Kenneth Patchen page: http://www.connectotel.com/patchen/ Patchen biography & places page: http://members.aol.com/smithcours/Patchen/KennethPatchenPlaces.htm FOR MORE INFORMATION: Contact: e-mail: lsmithdog@aol.com or breestings@yahoo.com (graphics available) or mbales@oh.verio.com, or call 216/780-1522 There is $1.00 Parking for these events on Saturdays in the Galleria Parking Garage: enter off Lakeside between East 9th and East 12th. There=B4s a large sign with a 3-D curly-cue design that says "Galleria Parking", and a ramp down under the building. There is free street parking on E 9th, E 12th, and St Clair on Saturdays, and after 7 pm on weekdays, but only the E 12th Street entrance to the Galleria is open on weekdays after 7. Gallery 324 is in the middle of the Galleria by the escalator down into the parking garage. DIRECTIONS to the GALLERIA From the west side 2 East - East Ninth Street, right - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign). Parking is Free on Saturdays, $3 after 4pm on Fridays. Go up the escalator or elevator to the FIRST FLOOR. Out of the elevator turn right and walk past the escalator to the Courtyard 480 - 176North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 71 North - 90 East - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the east side 480 - 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 90 West - 2 West - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the Heights Martin Luther King Jr Blvd North - 90 West - 2 west - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) By RTA Rapid From wherever you are go to the Tower City station and change for the Waterfront Line - get off at East 9th street, up the stairs, turn right on East Ninth Street (away from the lake, away from the R&R Hall) walk half a block to Lakeside, cross Ninth Street to your left, cross Lakeside, and half a block further on is the Ninth Street Entrance to the Galleria. If the weather's nice, you can also walk from Tower City across Public Square away from the Terminal Tower building you came out of (the building in which the RTA Rapid lets you off) and toward the BP Building. Walk east (that is, turn right just past the BP building) on any of Superior, Rockwell, or St Clair streets, to East Ninth. Turn left. From St Clair, it's right there; from Rockwell, one block, from Superior two blocks, to the entrance at East Ninth and St Clair. If you=B4d like to be removed from this email list, please REPLY to this message to: marcus@designerglass.com and ask to be removed in the text of your message. ========================================================================= Date: Wed, 14 Mar 2007 07:55:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Kenneth Patchen Festival and Jam At Gallery 324 and The Barking Spider April 13 and 14, 2007 In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Maybe I missed something. But I see no location for this event listed. I've never heard of the Barking Spider so I doubt it is in New York City. Still, if people are looking for an audience for the wonderful Kenneth Patchen, they should tell us where the event is located. Regards, Tom Savage George Bowering wrote: Is this in New York or somewhere like that? On Mar 13, 2007, at 5:42 PM, Marcus Bales wrote: > Kenneth Patchen Festival and Jam At Gallery 324 and The Barking Spider > April 13 and 14, 2007 > > April 13, 2007 –Friday at 6 pm – 9 pm > Readings and Presentations by: > Larry Smith (Bottom Dog Press), > Kenneth Patchen biographer, & > Bree Ingst (Green Panda Press), > poet, singer, bookseller, and publisher & > Marcus Bales (Gallery324) > > Present the > Kenneth Patchen Silkscreens on loan from the > Trumbull Art Guild, Warren, Ohio, and > > Douglas Paisley’s paintings of The Journal of Albion Moonlight with > Kenneth Patchen’s text, and > Featuring, from Detroit, > M.L.Liebler and the Magic Poetry Band > accompanying readings by > Chris Franke > Nina Gibans > Tom Kryss > Jim Lang > Michael McMahon > Charles Potts > Larry Smith, and others to be announced > Reception with Cash Bar 6 pm – 9 pm > > PATCHEN CELEBRATION IN CLEVELAND DURING NATIONAL POETRY MONTH > > Kenneth Patchen Festival in Cleveland this April 8-15. > Larry Smith, Marcus Bales and Bree Ingst are coordinating the > week-long event honoring Kenneth Patchen (1911-1972), Ohio rebel > poet-artist. Patchen published over 36 books during his lifetime. > > April 8-15th Patchen's two silkscreen collections will be shown at > Gallery 324 > (E. 9th Street in Galleria, downtown Cleveland) that week... Kenneth > Patchen Silkscreens > They are from the Trumbull Art Guild in Patchen's hometown of Warren. > Photo Copies of Prints will be available for order, and there will be > an auction of Patchen items. > > April 13th 7 pm Gallery 324 – Reception and Talks on Patchen’s Life > and Art, including showing of a group of paintings depicting scenes > from The Journal of Albion Moonlight done by Doug Paisley with Kenneth > Patchen’s text > > Two Patchen Poetry-Jazz Reading Events > April 14th Noon at Gallery 324 featuring M.L.Liebler and the Magic > Poetry Band > Readers: Charles Potts, Tom Kryss, Chris Franke, Michael McMahon, Nina > Gibans, Mark Kuhar, Jim Lang, John Paisley > hosted by Larry Smith > > April 14th 7pm at Barking Spider Tavern, University Circle, featuring > John Richmond All-Stars/ Poet-Readers: Ben Guylas, Bree, Katie Daley, > Terry Provost, Adam Brodsky, Maj Ragain, Adam Brodsky > Sponsors of the festival are Bottom Dog Press and Green Panda Press. > Book sales are being done by Mac’s Backs Books of Coventry Road, > Cleveland. > All events free and open to the public. > > Kenneth Patchen page: http://www.connectotel.com/patchen/ > Patchen biography & places page: > http://members.aol.com/smithcours/Patchen/KennethPatchenPlaces.htm > > FOR MORE INFORMATION: > Contact: e-mail: lsmithdog@aol.com or breestings@yahoo.com (graphics > available) or mbales@oh.verio.com, or call 216/780-1522 > > George Henry Bowering Once saw Alexis Smith plain. --------------------------------- Expecting? Get great news right away with email Auto-Check. Try the Yahoo! Mail Beta. ========================================================================= Date: Wed, 14 Mar 2007 14:54:58 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: reJennifer Bartlett Subject: Gene Frumkin/ Call for Work Mime-Version: 1.0 Content-Type: text/plain; format=flowed The next issue of Saint Elizabeth Street will be dedicated to Gene Frumkin. Please submit poems, stories, notes, and so on relating to Gene and his poetry. Thanks. Jen B. _________________________________________________________________ With tax season right around the corner, make sure to follow these few simple tips. http://articles.moneycentral.msn.com/Taxes/PreparationTips/PreparationTips.aspx?icid=HMFebtagline ========================================================================= Date: Wed, 14 Mar 2007 13:19:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: Kenneth Patchen Festival and Jam At Gallery 324 and The Barking Spider April 13 and 14, 2007 Comments: To: Thomas savage In-Reply-To: <43291.68643.qm@web31108.mail.mud.yahoo.com> MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: Quoted-printable On 14 Mar 2007 at 7:55, Thomas savage wrote: > Maybe I missed something. But I see no location for this event > listed. I've never heard of the Barking Spider so I doubt it is in > New York City. Still, if people are looking for an audience for the > wonderful Kenneth Patchen, they should tell us where the event is > located. Regards, Tom Savage Yes, I neglected to put the city on the PR sheet. Here it is: Three Kenneth Patchen Events: the Kenneth Patchen Art Opening and Reception, the Kenneth Patchen Festival, and the Kenneth Patchen Jam. The Kenneth Patchen Reception is at Gallery 324 on April 13, 2007 from 6 pm - 9pm. The Kenneth Patchen Festival is at Gallery 324 at Noon on Saturday, April 14, 2007 at noon. The Kenneth Patchen Jam is at and the Jam at The Barking Spider April 14, 2007 at 7 pm. Gallery 324 The Galleria at Erieview 1301 East 9th Street Cleveland, Ohio 44114 216/780-1522 mbales@oh.veior.com April 13, 2007 -Friday at 6 pm - 9 pm Larry Smith (Bottom Dog Press), Kenneth Patchen biographer, & Bree Ingst (Green Panda Press), poet, singer, bookseller, and publisher & Marcus Bales (Gallery324) Present The Kenneth Patchen Silkscreens on loan from the Trumbull Art Guild, Warren, Ohio, and Douglas Paisley=B4s paintings of The Journal of Albion Moonlight with Kenneth Patchen=B4s text, and Featuring, from Detroit, M.L.Liebler and the Magic Poetry Band accompanying readings by Chris Franke Nina Gibans Tom Kryss Jim Lang Michael McMahon Charles Potts Larry Smith, and others to be announced Reception 6 pm - 9 pm PATCHEN CELEBRATION IN CLEVELAND DURING NATIONAL POETRY MONTH Kenneth Patchen Festival in Cleveland this April 8-15. Larry Smith, Marcus Bales and Bree Ingst are coordinating the week- long event honoring Kenneth Patchen (1911-1972), Ohio rebel poet- artist. Patchen published over 36 books during his lifetime. April 8-15th Patchen's two silkscreen collections will be shown at Gallery 324 (E. 9th Street in Galleria, downtown Cleveland) that week... Kenneth Patchen Silkscreens They are from the Trumbull Art Guild in Patchen's hometown of Warren. Photo Copies of Prints will be available for order, and there will be an auction of Patchen items. First, April 13th 6 pm - 9 pm Gallery 324 - Reception and Talks on Patchen=B4s Life and Art, including showing of a group of paintings depicting scenes from The Journal of Albion Moonlight done by Doug Paisley with Kenneth Patchen=B4s text Second, April 14th Noon at Gallery 324 featuring M.L.Liebler and the Magic Poetry Band Readers: Charles Potts, Tom Kryss, Chris Franke, Michael McMahon, Nina Gibans, Mark Kuhar, Jim Lang, John Paisley...hosted by Larry Smith Third: April 14th 7pm at Barking Spider Tavern, University Circle, featuring John Richmond All-Stars/ Poet-Readers: Ben Guylas, Bree, Katie Daley, Terry Provost, Adam Brodsky, Maj Ragain, Adam Brodsky Sponsors of the festival are Bottom Dog Press and Green Panda Press. Book sales are being done by Mac=B4s Backs Books of Coventry Road, Cleveland. All events free and open to the public. Kenneth Patchen page: http://www.connectotel.com/patchen/ Patchen biography & places page: http://members.aol.com/smithcours/Patchen/KennethPatchenPlaces.htm FOR MORE INFORMATION: Contact: e-mail: lsmithdog@aol.com or breestings@yahoo.com (graphics available) or mbales@oh.verio.com, or call 216/780-1522 There is $1.00 Parking for these events on Saturdays in the Galleria Parking Garage: enter off Lakeside between East 9th and East 12th. There=B4s a large sign with a 3-D curly-cue design that says "Galleria Parking", and a ramp down under the building. There is free street parking on E 9th, E 12th, and St Clair on Saturdays, and after 7 pm on weekdays, but only the E 12th Street entrance to the Galleria is open on weekdays after 7. Gallery 324 is in the middle of the Galleria by the escalator down into the parking garage. DIRECTIONS to the GALLERIA From the west side 2 East - East Ninth Street, right - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign). Parking is Free on Saturdays, $3 after 4pm on Fridays. Go up the escalator or elevator to the FIRST FLOOR. Out of the elevator turn right and walk past the escalator to the Courtyard 480 - 176North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 71 North - 90 East - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the east side 480 - 77 North - 90East - 2West (Lakewood) - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) 90 West - 2 West - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) From the Heights Martin Luther King Jr Blvd North - 90 West - 2 west - East Ninth Street, left - Lakeside, left - Galleria Parking Garage, right (if you get to 12th street you went too far - go around the block, right on 12th, right on St Clair, right on 9th, and right on Lakeside, and then right at the Parking Garage sign) By RTA Rapid From wherever you are go to the Tower City station and change for the Waterfront Line - get off at East 9th street, up the stairs, turn right on East Ninth Street (away from the lake, away from the R&R Hall) walk half a block to Lakeside, cross Ninth Street to your left, cross Lakeside, and half a block further on is the Ninth Street Entrance to the Galleria. If the weather's nice, you can also walk from Tower City across Public Square away from the Terminal Tower building you came out of (the building in which the RTA Rapid lets you off) and toward the BP Building. Walk east (that is, turn right just past the BP building) on any of Superior, Rockwell, or St Clair streets, to East Ninth. Turn left. From St Clair, it's right there; from Rockwell, one block, from Superior two blocks, to the entrance at East Ninth and St Clair. If you=B4d like to be removed from this email list, please REPLY to this message to: marcus@designerglass.com and ask to be removed in the text of your message. > > George Bowering wrote: Is this in New York or > somewhere like that? > > > On Mar 13, 2007, at 5:42 PM, Marcus Bales wrote: > > > Kenneth Patchen Festival and Jam At Gallery 324 and The Barking > Spider > > April 13 and 14, 2007 > > > > April 13, 2007 =96Friday at 6 pm =96 9 pm > > Readings and Presentations by: > > Larry Smith (Bottom Dog Press), > > Kenneth Patchen biographer, & > > Bree Ingst (Green Panda Press), > > poet, singer, bookseller, and publisher & > > Marcus Bales (Gallery324) > > > > Present the > > Kenneth Patchen Silkscreens on loan from the > > Trumbull Art Guild, Warren, Ohio, and > > > > Douglas Paisley=92s paintings of The Journal of Albion Moonlight > with > > Kenneth Patchen=92s text, and > > Featuring, from Detroit, > > M.L.Liebler and the Magic Poetry Band > > accompanying readings by > > Chris Franke > > Nina Gibans > > Tom Kryss > > Jim Lang > > Michael McMahon > > Charles Potts > > Larry Smith, and others to be announced > > Reception with Cash Bar 6 pm =96 9 pm > > > > PATCHEN CELEBRATION IN CLEVELAND DURING NATIONAL POETRY MONTH > > > > Kenneth Patchen Festival in Cleveland this April 8-15. > > Larry Smith, Marcus Bales and Bree Ingst are coordinating the > > week-long event honoring Kenneth Patchen (1911-1972), Ohio rebel > > poet-artist. Patchen published over 36 books during his > lifetime. > > > > April 8-15th Patchen's two silkscreen collections will be shown at > > Gallery 324 > > (E. 9th Street in Galleria, downtown Cleveland) that week... > Kenneth > > Patchen Silkscreens > > They are from the Trumbull Art Guild in Patchen's hometown of > Warren. > > Photo Copies of Prints will be available for order, and there will > be > > an auction of Patchen items. > > > > April 13th 7 pm Gallery 324 =96 Reception and Talks on Patchen=92s > Life > > and Art, including showing of a group of paintings depicting > scenes > > from The Journal of Albion Moonlight done by Doug Paisley with > Kenneth > > Patchen=92s text > > > > Two Patchen Poetry-Jazz Reading Events > > April 14th Noon at Gallery 324 featuring M.L.Liebler and the Magic > > Poetry Band > > Readers: Charles Potts, Tom Kryss, Chris Franke, Michael McMahon, > Nina > > Gibans, Mark Kuhar, Jim Lang, John Paisley > > hosted by Larry Smith > > > > April 14th 7pm at Barking Spider Tavern, University Circle, > featuring > > John Richmond All-Stars/ Poet-Readers: Ben Guylas, Bree, Katie > Daley, > > Terry Provost, Adam Brodsky, Maj Ragain, Adam Brodsky > > Sponsors of the festival are Bottom Dog Press and Green Panda > Press. > > Book sales are being done by Mac=92s Backs Books of Coventry Road, > > Cleveland. > > All events free and open to the public. > > > > Kenneth Patchen page: http://www.connectotel.com/patchen/ > > Patchen biography & places page: > > > http://members.aol.com/smithcours/Patchen/KennethPatchenPlaces.htm > > > > FOR MORE INFORMATION: > > Contact: e-mail: lsmithdog@aol.com or breestings@yahoo.com > (graphics > > available) or mbales@oh.verio.com, or call 216/780-1522 > > > > > George Henry Bowering > Once saw Alexis Smith plain. > > > > --------------------------------- > Expecting? Get great news right away with email Auto-Check. > Try the Yahoo! Mail Beta. > > > -- > No virus found in this incoming message. > Checked by AVG Free Edition. > Version: 7.5.446 / Virus Database: 268.18.11/721 - Release Date: > 3/13/2007 4:51 PM > ========================================================================= Date: Wed, 14 Mar 2007 12:48:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tracey Gagne Subject: Re: Ken Rumble's Key Bridge Now Available In-Reply-To: <59cd116b0703140530i185ed668jc132484ebd4b9ee1@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Congratulations! I missed you at the Other Poets Gathering. Had been looking forward to talking to you there. Tracey On 3/14/07, Ken Rumble wrote: > > Hey folks, > > My first book, Key Bridge, was just published by Carolina Wren Press: > > http:\\www.carolinawren.org/books.html > > and here's some info about it > > http://www.carolinawrenpress.org/pdf/KeyBridge_PRESS_RELEASE.pdf > > Key Bridge is about pregnancy of a sort and the related topics of > birth and death, coming into being and fading out of it again. It's a > long poem set against the backdrop of Washington, DC, where I grew up. > The subject matter on a line to line basis covers a lot of DC > history, geography, flora and fauna, Lee Boyd Malvo & John Allen > Mohammad (the "DC Snipers"), racial identity, "whiteness," and a few > other things. It's also, really and against my better wishes, a love > poem. > > I'm also looking for readings; I'm assuming I'll have to cover travel > expenses for readings, so I work for cheap (dinner? a place to sleep?) > If anyone has recommendations or offers, please let me know. > > Thanks and enjoy.... > > best, > Ken > > > -- > Check out my new book Key Bridge: > http://www.carolinawrenpress.org/books.html > > info about it: > http://www.carolinawrenpress.org/pdf/KeyBridge_PRESS_RELEASE.pdf > ========================================================================= Date: Wed, 14 Mar 2007 12:51:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: New de blog Comments: cc: UK POETRY , "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://stephenvincent.net/blog/ Pieces that vary from personal to communal to political to veritably spring like: Mother Wit at 91 Spring Splits Valencia Street House of Who? USA - Simulation as Detritus! Memory=B9s House =20 Organic Laundry Lines As always, enjoy your responses. Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Wed, 14 Mar 2007 12:41:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Ken Rumble's Key Bridge Now Available In-Reply-To: <59cd116b0703140530i185ed668jc132484ebd4b9ee1@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Ken, Congratulations again! Murat On 3/14/07, Ken Rumble wrote: > > Hey folks, > > My first book, Key Bridge, was just published by Carolina Wren Press: > > http:\\www.carolinawren.org/books.html > > and here's some info about it > > http://www.carolinawrenpress.org/pdf/KeyBridge_PRESS_RELEASE.pdf > > Key Bridge is about pregnancy of a sort and the related topics of > birth and death, coming into being and fading out of it again. It's a > long poem set against the backdrop of Washington, DC, where I grew up. > The subject matter on a line to line basis covers a lot of DC > history, geography, flora and fauna, Lee Boyd Malvo & John Allen > Mohammad (the "DC Snipers"), racial identity, "whiteness," and a few > other things. It's also, really and against my better wishes, a love > poem. > > I'm also looking for readings; I'm assuming I'll have to cover travel > expenses for readings, so I work for cheap (dinner? a place to sleep?) > If anyone has recommendations or offers, please let me know. > > Thanks and enjoy.... > > best, > Ken > > > -- > Check out my new book Key Bridge: > http://www.carolinawrenpress.org/books.html > > info about it: > http://www.carolinawrenpress.org/pdf/KeyBridge_PRESS_RELEASE.pdf > ========================================================================= Date: Wed, 14 Mar 2007 15:32:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Margaret Konkol Subject: Group for the Study of the History of Ideas Lecture March 22 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline THOMAS PFAU LECTURE THURSDAY MARCH 22 3:30 CL 640 > Dear all, > > the Group for the Study of the History of Ideas presents *Thomas > Pfau*, Professor of English & of Germanic Languages and Literatures at > Duke University, who will speak on Thursday, March 22, at 3:30 pm in > 640 Clemens. The title of his lecture is "Coleridge's Catastrophic > Modernity." We encourage all of you to attend. > > His main interests *include a large array of Romantic writers -- > philosophical, literary, historical -- in England and Germany*. > Following his 1997 book, /Wordsworth's Profession/ (Stanford UP), his > most recent study of English and German Romanticism is entitled > /Romantic Moods: Paranoia, Trauma, and Melancholy, 1794-1840/ (Johns > Hopkins UP 2005). /The book studies lyric forms as imaginative > encryptions of Romanticism's changing political, economic, and > cultural conditions, correlating paranoia, trauma, and melancholy with > discrete phases of British and German Romanticism. Figures central to > the study include Burke, Godwin, Wordsworth, and Keats in England, as > well as Kant, Hegel, Joseph von Eichendorff, and Heinrich Heine in > Germany. / > > / / > > His work has also explored such questions as moral speech as > performance (in Hegel and J. L. Austin); problems of historicism in > contemporary Romantic Studies and the work of Walter Benjamin; the > Romantic conception of textual interpretation (in Schleiermacher); > self-consciousness in Romantic poetry./ /Besides translating and > editing 2 volumes of theoretical writings by H=F6lderlin and Schelling, > he also edited an essay collection on English Romanticism and on > Adorno, Mann, and late Modernism. > > *For more information about the event, please contact Natalia > Mikhailova at nam9@buffalo.edu * > > ========================================================================= Date: Wed, 14 Mar 2007 12:03:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Laura McClain Subject: Re: Kenneth Patchen Festival and Jam At Gallery 324 and The Barking Spider April 13 and 14, 2007 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Yes, you missed it. :) It says it is in Cleveland, Ohio.=0A =0AL. McClain= =0A=0A=0A----- Original Message ----=0AFrom: Thomas savage =0ATo: POETICS@LISTSERV.BUFFALO.EDU=0ASent: Wednesday, March 14, 2007= 9:55:43 AM=0ASubject: Re: Kenneth Patchen Festival and Jam At Gallery 324 = and The Barking Spider April 13 and 14, 2007=0A=0AMaybe I missed something.= But I see no location for this event listed. I've never heard of the Bark= ing Spider so I doubt it is in New York City. Still, if people are looking= for an audience for the wonderful Kenneth Patchen, they should tell us whe= re the event is located. Regards, Tom Savage=0A=0AGeorge Bowering wrote: Is this in New York or somewhere like that?=0A=0A=0A=0A>= =0A> PATCHEN CELEBRATION IN CLEVELAND DURING NATIONAL POETRY MONTH=0A>=0A> = Kenneth Patchen Festival in Cleveland this April 8-15.=0A> Larry Smith, Mar= cus Bales and Bree Ingst are coordinating the =0A> week-long event honoring= Kenneth Patchen (1911-1972), Ohio rebel =0A> poet-artist. Patchen publishe= d over 36 books during his lifetime.=0A>=0A> April 8-15th Patchen's two sil= kscreen collections will be shown at =0A> Gallery 324=0A> (E. 9th Street in= Galleria, downtown Cleveland) that week... Kenneth =0A> Patchen Silkscreen= s=0A> They are from the Trumbull Art Guild in Patchen's hometown of Warren.= =0A> Photo Copies of Prints will be available for order, and there will be = =0A> an auction of Patchen items.=0A>=0A> April 13th 7 pm Gallery 324 =96 R= eception and Talks on Patchen=92s Life =0A> and Art, including showing of a= group of paintings depicting scenes =0A> from The Journal of Albion Moonli= ght done by Doug Paisley with Kenneth =0A> Patchen=92s text=0A>=0A> Two Pat= chen Poetry-Jazz Reading Events=0A> April 14th Noon at Gallery 324 featurin= g M.L.Liebler and the Magic =0A> Poetry Band=0A> Readers: Charles Potts, To= m Kryss, Chris Franke, Michael McMahon, Nina =0A> Gibans, Mark Kuhar, Jim L= ang, John Paisley=0A> hosted by Larry Smith=0A>=0A> April 14th 7pm at Barki= ng Spider Tavern, University Circle, featuring =0A> John Richmond All-Stars= / Poet-Readers: Ben Guylas, Bree, Katie Daley, =0A> Terry Provost, Adam Bro= dsky, Maj Ragain, Adam Brodsky=0A> Sponsors of the festival are Bottom Dog = Press and Green Panda Press.=0A> Book sales are being done by Mac=92s Backs= Books of Coventry Road, =0A> Cleveland.=0A> All events free and open to th= e public.=0A>=0A> Kenneth Patchen page: http://www.connectotel.com/patchen/= =0A> Patchen biography & places page: =0A> http://members.aol.com/smithcour= s/Patchen/KennethPatchenPlaces.htm=0A>=0A> FOR MORE INFORMATION:=0A> Contac= t: e-mail: lsmithdog@aol.com or breestings@yahoo.com (graphics =0A> availab= le) or mbales@oh.verio.com, or call 216/780-1522=0A>=0A>=0AGeorge Henry Bow= ering=0AOnce saw Alexis Smith plain.=0A=0A=0A =0A--------------------------= -------=0AExpecting? Get great news right away with email Auto-Check.=0ATry= the Yahoo! Mail Beta.=0A=0A=0A=0A=0A=0A =0A_______________________________= _____________________________________________________=0AGet your own web ad= dress. =0AHave a HUGE year through Yahoo! Small Business.=0Ahttp://smallbu= siness.yahoo.com/domains/?p=3DBESTDEAL ========================================================================= Date: Wed, 14 Mar 2007 18:04:50 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "holsapple1@juno.com" Subject: Re: Gene Frumkin/ Call for Work Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Content-Type: text/plain Hi Jennifer I think John Tritica, Mary Rising Higgins, Larry Goeckel, and Stefi Weis= burd (for example) would have something to contribute. They don't subsc= ribe to the Buffalo Listserv. Do you have addresses for them? There wi= ll be a memorial reading soon. Would you like me to announce your issue= ? If you had a flier, I would print it & hand it out. Also, I have two recordings by Gene on CD. Would you like copies? = Bruce Holsapple ========================================================================= Date: Wed, 14 Mar 2007 12:57:18 -0700 Reply-To: linda norton Sender: UB Poetics discussion group From: linda norton Subject: Fw: Boston Poet Laureate Mime-Version: 1.0 Content-Type: multipart/mixed; boundary="----=_Part_541_8221177.1173902238651" ------=_Part_541_8221177.1173902238651 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit A follow up to an item a while ago on Ron Silliman's blog--yes, I agreed, Bill Corbett already IS the poet laureate of Boston, so why don't they make it official? And I wrote to members of the Boston City Council. And here is a response. I wish I could be there for the hearing--I grew up in Boston but now live far away. If any Boston poets care to attend, I would be interested in hearing how it goes. Linda -----Forwarded Message----- >From: "Donlin, Seth" >Sent: Mar 14, 2007 12:30 PM >To: lindanorton@earthlink.net >Subject: Boston Poet Laureate > >Dear Ms. Norton: > > > >This letter is to inform you of a public hearing of the Boston City >Council's Committee on Arts, Film, Humanities & Tourism. The hearing >will be held on Wednesday, March 28, 2007 at 6:00 p.m. in the >Christopher A. Iannella Chamber on the Fifth Floor of Boston City Hall. >A copy of the hearing notice and legislation are enclosed. > > > >Members of the public are cordially invited to attend and testify. > > > >Should you have questions about the hearing, please feel free to contact >me. > > > >I hope to see you on the 28th. > > > >Sincerely, > > > >Seth McM. Donlin > >Legislative Aide > >Office of City Councillor John Tobin > >617.635.4220 > >seth.donlin@cityofboston.gov > > > > > > >----------------------------------------- >The substance of this message, including any attachments, may be >confidential, legally privileged and/or exempt from disclosure >pursuant to Massachusetts law. It is intended >solely for the addressee. If you received this in error, please >contact the sender and delete the material from any computer. ------=_Part_541_8221177.1173902238651-- ========================================================================= Date: Wed, 14 Mar 2007 13:25:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Not announced yet, but ... a query. In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I have a few review copies of I'M THE MAN WHO LOVES YOU, hot off the press: http://www.blazevox.org/bk-ak2.htm If you're interested in reviewing my second full-length collection, please backchannel moi. S'il vous plait. And thank you too. --------------------------------- Bored stiff? Loosen up... Download and play hundreds of games for free on Yahoo! Games. ========================================================================= Date: Wed, 14 Mar 2007 17:27:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Howe Subject: The Glossolalia Website MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Thanks to my friend Ken Rumble for forwarding this to the list (and my public congrats on the publication of his *Key Bridge*) -- I'd planned on doing so myself, but he's saved me the trouble. I've been lurking on POETICS for awhile, but I seldom post to email lists, so I should briefly introduce myself-- Brian Howe, writer living in Chapel Hill NC, music journalist by trade, poems in this, that, and the other journal, now working most fervently in the vein of sound art and electro-poetics, hence the Glossolaliaproject. Here, I simply want to emphasive the open nature of the project-- all Glossolalia mixes are fair game for any sort of re-use, so I hope you'll download them, do strange and wonderful things to them, put them on your website or send them back to me for mine. Also want to emphasize my desire for audio submissions (in a collaborative, not editorial, spirit) from poets to further the project. If you're interested in participating, please contact me backchannel at brian.g.howe@gmail.com Best, Brian http://glossolalia-blacksail.blogspot.com/ ******** GLOSSOLALIA is a sound art project. BLACK SAIL is an in-progress album of electro-poetics. Electro-poetics involves using oral recitation as a sound source for aural art, along with digitally manipulated acoustic instrumentation and appropriated material. GLOSSOLALIA is a sonic companion to the text-based F7 project. Both projects employ appropriated material and technological mediation, inscribing the same kind of tension between chance and deliberate operations into different media. Some selections from F7 available online are here. GLOSSOLALIA tracks do not cost anything. The page will be updated with new mixes periodically. GLOSSOLALIA is also seeking audio submissions of poets reading their work to continue the project. Contact brian.g.howe@gmail.com for more information. The re-use of any and all GLOSSOLALIA material is avidly encouraged. ========================================================================= Date: Wed, 14 Mar 2007 17:30:09 -0700 Reply-To: linda norton Sender: UB Poetics discussion group From: linda norton Subject: Re: New de blog Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Very nice assortment of items. I love the pictures, especially the laundry = picture. Would that I had a yard. I'm still doing our laundry in the coin-o= p machines in the dirt-floor cellar of this apartment building. You are a Californian, Stephen, so this may be exotic: I remember what it w= as like to have no dryer in the house in the 1960s with three bedwetters a= mong the five of us kids--going out to hang the wet sheets on icy cold days= , and then they'd freeze on the line--taking them down as it started to rai= n snow or sleet and feeling the sheets crack crack crack in my hands. Linda -----Original Message----- >From: Stephen Vincent >Sent: Mar 14, 2007 12:51 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: New de blog > >http://stephenvincent.net/blog/ > >Pieces that vary from personal to communal to political to veritably sprin= g >like: > >Mother Wit at 91 >Spring Splits Valencia Street >House of Who? USA - Simulation as Detritus! >Memory=C2=B9s House =20 >Organic Laundry Lines > >As always, enjoy your responses. > >Stephen V >http://stephenvincent.net/blog/ ========================================================================= Date: Wed, 14 Mar 2007 18:03:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: gfrym@EARTHLINK.NET Subject: Re: Gene Frumkin/ Call for Work MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit Deadline, please? Gloria Frym, ancient student of Gene's ----- Original Message ----- From: "reJennifer Bartlett" To: Sent: Wednesday, March 14, 2007 7:54 AM Subject: Gene Frumkin/ Call for Work > The next issue of Saint Elizabeth Street will be dedicated to Gene > Frumkin. Please submit poems, stories, notes, and so on relating to Gene > and his poetry. > > Thanks. > > Jen B. > > _________________________________________________________________ > With tax season right around the corner, make sure to follow these few > simple tips. > http://articles.moneycentral.msn.com/Taxes/PreparationTips/PreparationTips.aspx?icid=HMFebtagline ========================================================================= Date: Wed, 14 Mar 2007 18:30:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Baldwin Subject: send forgotten things / lost objects for a new issue of the loop Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline send forgotten things / lost objects in 100 words or less ========================================================================= Date: Wed, 14 Mar 2007 19:34:00 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: send forgotten things / lost objects for a new issue of the loop In-Reply-To: <45F83F5A0200005100020266@WVUGW01.wvu.edu> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit All lost things can be found at the Strand Hotel in Rangoon. Hal "Let's get on with our non-paying work as always." --Bernadette Mayer Halvard Johnson ================ halvard@gmail.com halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org On Mar 14, 2007, at 4:30 PM, Charles Baldwin wrote: > send forgotten things / lost objects in 100 words or less ========================================================================= Date: Wed, 14 Mar 2007 19:58:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tlrelf Subject: Re: send forgotten things / lost objects for a new issue of the loop MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit I've been lurking too much of late, so I'm out of the loop. Do you want us "just" to post something here? Ter send forgotten things / lost objects in 100 words or less ========================================================================= Date: Thu, 15 Mar 2007 07:05:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: Pietist Compositions, by Marko Niemi Comments: To: announce@logolalia.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii As we wave goodbye to the z of the Anaclastic alphabet by Amira Hanafi, it's time to wave hello to the a of Marko Niemi's Pietist Compositions. New series begins today at: http://www.logolalia.com/abcdefghijklmnopqrstuvwxyz/ Regards, Dan Submissions of artworks based around the complete sequence of the roman alphabet which can be presented a letter at a time over the course of 26 days are invited. ========================================================================= Date: Wed, 14 Mar 2007 22:07:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: send forgotten things / lost objects for a new issue of the loop In-Reply-To: <041f01c766ad$d5275ad0$5b650844@homen5ledppmlr> MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit On Mar 14, 2007, at 7:58 PM, tlrelf wrote: > I've been lurking too much of late, so I'm out of the loop. Do you > want us "just" to post something here? > > Ter > > > send forgotten things / lost objects in 100 words or less I was going to send something, but I'll be darned if I can remember what it was > > George H. Bowering, DLitt. Last shoeshine in 1961. ========================================================================= Date: Thu, 15 Mar 2007 11:35:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: Woodland Pattern This Weekend: Tony Trigilio Friday, Tarana on Sunsay Mime-Version: 1.0 Content-Type: text/plain; format=flowed > >==================================================================== >REDLETTER READING SERIES THIS FRIDAY: TONY TRIGILIO >==================================================================== > >Redletter Reading Series with Tony Trigilio > >Friday, March 16, 2007, 7 p.m. >Woodland Pattern Book Center >720 East Locust Street, Milwaukee > >$3 / $2 open mic > >Friday, 3/16: Redletter Reading Series, 7:00 p.m. > >Tony Trigilio is the author of the poetry collection, The Lama’s >English Lessons (Three Candles Press) and the forthcoming book of >criticism, Allen Ginsberg’s Buddhist Poetics (Southern Illinois >University Press). His poems have appeared recently in Big Bridge, >Black Clock, Denver Quarterly, Diagram, La Petite Zine, and New >Orleans Review. He teaches at Columbia College Chicago, where he >also serves as Director of Creative Writing--Poetry and co-edits the >poetry magazine Court Green. > >http://www.woodlandpattern.org/poems/tony_trigilio01.shtml > >==================================================================== >ALTERNATING CURRENTS LIVE THIS SUNDAY >==================================================================== > >Alternating Currents Live presents Tarana > >Sunday, March 18, 2007, 7 p.m. >Woodland Pattern Book Center >720 East Locust Street, Milwaukee > >$8 general, $7 students and seniors, $6 members > >Sunday, 3/18: Alternating Currents Live, 7:00 p.m. > >Tarana, led by percussionist/composer Ravish Momin, utilizes Indian >and East-Asian rhythms (including Japanese, Afghani, & Indonesian) >in compositions that seamlessly blend written material with >spontaneous group interaction. They have a critically acclaimed >debut CD entitled “Climbing the Banyan Tree” in 2004, on the >Portugal-based CleanFeed Record Label. > >“It is fair to say that Tarana is without precedent in the world of >improvised music. A true synthesis of North African, South and East >Asian motifs with classical organization and the immediacy of free >improvisation has probably not existed prior to “Climbing the Banyan >Tree.” -AllAboutJazz.com > >This concert is brought to you by the Alternating Currents Live >series, broadcast on WMSE (91.7) FM, Milwaukee. > >http://www.woodlandpattern.org/gallery/acl.shtml > >==================================================================== >UPCOMING EVENTS >==================================================================== > >Sun. 4/1: Joel Lipman Opening Reception & Gallery Talk; 2:00 pm > >Wed. 4/4: Juan Felipe Herrera & Cristina Cabral at UWM; 6:30 pm > >Th. 4/12: Ethelbert Miller on Langston Hughes at MPL; 7:00 pm > >Fri. 4/13: Ethelbert Miller & John Keene; 7:00 pm > >Sun. 4/15: Duncan / Levertov Reading Group; 3:00 pm > >Wed. 4/18: Elliot Lipchik & Stephen Anderson; 7:00 pm > >Fri. 4/20: Redletter Reading Series > >Sat. 4/21: Serious Play Workshop with Robert McDonald; 1:00 pm > >Sat. 4/21: Wisconsin Lit Bash, Milladore WI; 10:00 am to 4:00 pm > >Tue. 4/24: Discussion and Craft with Gene Tanta; 6:30 pm > >Th. 4/26: Ron Padgett on O'Hara & Koch at MPL; 7:00 pm > >Fri. 4/27: Ron Padgett & Daniel Borzutzky; 7:00 p.m > >http://www.woodlandpattern.org/ > >____________________________________________________________________ >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 _________________________________________________________________ Get a FREE Web site, company branded e-mail and more from Microsoft Office Live! http://clk.atdmt.com/MRT/go/mcrssaub0050001411mrt/direct/01/ ========================================================================= Date: Thu, 15 Mar 2007 18:18:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 3/16 - 3/21 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dears, Please join us for three upcoming readings. Also, scroll down to read up on a recently added event to our March calendar. Hail the sunshine. Love, The Poetry Project Friday, March 16, 10:30 pm Puppy Flowers The long-awaited Puppy Flowers New York extravaganza is upon you. Puppy Flowers, an online magazine of the arts, wants to hand you a free beverage. With our other hand we are tapping on the microphone to announce the night'= s readers who have pleasurestakingly crafted original collaborative works for the occasion: Edmund Berrigan and John Coletti, Jess Fiorini and Tracey McTague, Joanna Fuhrman and Erica Kaufman, Brandon Downing and Brendan Lorber, Ted Mathys and Marcella Durand, and MacGregor Card and Karen Weiser= . In addition to these fantastic contributors, editor Chris Martin will read = a collaborative work written with the dearly missed kari edwards. There will also be cinematic and musical sundries. Monday, March 19, 8:00 pm Thom Donovan & Andrew Levy Thom Donovan lives in Manhattan and is a dissertation candidate at SUNY-Buffalo. His chapbooks include Mantle with Kyle Schlesinger (Atticus/Finch, 2005) and Tears Are These Veils with Abby Walton (Wild Horses Of Fire, 2004). His recent work has appeared in The Fanzine, Flim Forum, P-Queue, 2nd Avenue Poetry, Mirage; works are also forthcoming with Crayon, Cuneiform Press, Gam and O Books, (War and Peace vol. 3). For ongoing offerings check "Wild Horses Of Fire" weblog. Andrew Levy teaches i= n the English Department at Queensborough--CUNY, serving as faculty advisor for the student newspaper, Communiqu=E9. He is the author of 9 books of poetry, including Ashoka (Zasterle Press), Paper Head Last Lyrics (Roof Books), Curve (O Books), Values Chauffeur You (O Books), and Democracy Assemblages (Innerer Klang). He is editor, with Roberto Harrison, of the poetry journal Crayon, and was co-director of Segue=B9s Ear Inn Reading Serie= s 1989-1992. A new title, The Big Melt, in collaboration with the Midwestern writer=B9s collective President of the United Hearts, is forthcoming in the P= S 3577 series from Factory School. Wednesday, March 21, 8:00 pm Dodie Bellamy & Lynne Tillman Dodie Bellamy=B9s latest book is Academonia. Her novel, The Letters of Mina Harker, was reprinted with an introduction by Dennis Cooper in 2004 by University of Wisconsin Press. She is also the author of Pink Steam and Cunt-Ups, and is currently working on The Fourth Form, a multi-dimensional sex novel. In January 2006, she curated an installation of Kathy Acker=B9s clothes for White Columns, New York=B9s oldest alternative art space. With Kevin Killian, she has edited over 100 issues of the literary/art zine Mirage #4/Period(ical). Lynne Tillman is a novelist, short story writer, an= d essayist. American Genius, A Comedy, just published by Soft Skull Press, is her fifth novel. Her previous novel, No Lease on Life, was a finalist for the National Book Critics Circle Award in fiction (1998) and a New York Times Notable Book of the Year. Her most recent story collection, This Is Not It, contained stories and novellas written in response to the work of 2= 2 contemporary artists. She is Professor/Writer-in-Residence at The Universit= y at Albany, and in 2006 she was awarded a Guggenheim Fellowship. Saturday, March 31, 2:00 pm 8th Avenue Poems: Publication Party for Stefan Brecht A celebration of the publication of Stefan Brecht's 8th Avenue Poems, a collection of poems he wrote about his walk to and from the Chelsea Hotel, where he worked, for some 30 years. Following music, drinks and snacks, poe= t and novelist Robert Nichols will give a reading from the book, released thi= s past year by Spuyten Duyvil Press. There will be time after the reading to peruse 8th Avenue Poems and its companion book, 8th Avenue, recently published in limited edition by onestar press, with nearly 150 photographs Stefan Brecht took of the pavements along his route. Brecht was born in Berlin, Germany, in 1924, and came to America in 1942. He is a doctor of philosophy and has been a teacher, a writer on theater, Stein and Goya, as well as a late-night actor. Become a Poetry Project Member! http://poetryproject.com/membership.php Spring (?) Calendar: http://www.poetryproject.com/calendar.php 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. If you=B9d like to be unsubscribed from this mailing list, please drop a line at info@poetryproject.com. Poets for Peace Speak Out Working 9-5 to End the War Monday, March 19, 9 am =AD 5pm, Free Bowery Poetry Club 308 Bowery Open poetry reading hosted by Nathaniel Siegel R.S.V.P. to nathanielsiegel@nyc.rr.com All Poets Welcome! ========================================================================= Date: Thu, 15 Mar 2007 20:35:43 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: reJennifer Bartlett Subject: More on Gene Frumkin Issue of SES Mime-Version: 1.0 Content-Type: text/plain; format=flowed Regarding submissions for the Gene Frumkin issue of SES. We prefer email submissions in the text of ONE word document. Our address is saintlizstreet@hotmail.com If you need to submit via regular mail, our address is 136 Freeman St. Apt 1A Brooklyn, NY 11222. Please send poems, photos, essays, notes, letters, and so on. The dealine is April 30th. Best, Jennifer _________________________________________________________________ Find a local pizza place, movie theater, and more….then map the best route! http://maps.live.com/?icid=hmtag1&FORM=MGAC01 ========================================================================= Date: Thu, 15 Mar 2007 16:25:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: "Where the waters meet at the end of the world" MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed "Where the waters meet at the end of the world" http://www.asondheim.org/drowned2.mp4 http://www.asondheim.org/offthere.jpg Where the waters meet at the end of the world bodies merge in streams; arms and legs unfurled in death or signifiers streamed and long forgotten. There is no kelp among the drowned, no seed rotten and uncalled for. When my friends swim, they die allegiance emptied of their final cry when all is drowned and doomed. Waters shear waters, some sign, untoward, approaches, slaughters our pretty young women and buoyant young men. Sightless, nothing goes further then. Witless, nothing goes further then. ========================================================================= Date: Thu, 15 Mar 2007 22:42:19 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: art as knowing Comments: To: wryting-l@listserv.wvu.edu, spidertangle@yahoogroups.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" for twin citians and environs, a conference march 23-24, including the kamau brathwaite reading recently announced: http://artasknowing.umn.edu/ ========================================================================= Date: Fri, 16 Mar 2007 00:57:37 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nathaniel Siegel Subject: poets for peace SPEAK OUT New York City March 19th 2007 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Friends: Hi ! On Monday March 19th I will be hosting a marathon reading: poets for peace SPEAK OUT working 9 to 5 to end the war at The Bowery Poetry Club 308 Bowery NYC NY from 9am-5pm, Free Please RSVP to this Open Reading to _nathanielsiegel@nyc.rr.com_ (mailto:nathanielsiegel@nyc.rr.com) All Poets Welcome ! THE WAR COMES INTO MY ROOM Knowing again that nothing has been spoken not now not this night time the broken singing as we move or of the endless war our lives that above all there is not said nothing of this moment in the poems our love in all the songs now I will live out this moment saying it in my breath to you across the air .......... Muriel Rukeyser THE HALL OF THIRTY-THREE SPACES I WENT TO VISIT SEVERAL THOUSAND GOLD BUDDHAS THEY SAT THERE ALL THROUGH THE WAR,-- THEY DIDN'T APPEAR JUST NOW BECAUSE I HAPPEN TO BE IN TOWN-- SAT THERE 600 YEARS. FAILURES. DOES BUDDHA FAIL. DO I. SOME DAY I GUESS I'LL NEVER LEARN. **KYOTO, 28:XII:66 (Note, that there is a temple in Kyoto called SANJUSANGENDO, The Hall of Thirty Three Spaces, and it contains 10001 gold buddha statues and twenty-eight other statues of the followers of Kwannon Bosatsu. The statues were made in the 12th Century A.D. and are a great magic pleasure. I enjoy it all, I enjoy living in Kyoto, being a Buddhist, rather like an American Bible Belt minister would get a boot out of being able to live in Jerusalem & the Sea of Galilee and Bethlehem, if it were possible for any of us to go there. I'd like that, too. The war goes on there as well as in Viet Nam. The war continues on the subway, in the offices of BBD & O, in the Chase Manhattan Bank, at the poetry conference at X University, in the kitchen on Saturday night when papa is loaded out of his head on cheap bourbon and wants to torture the children, kick the cat, kill himself.....) ........ Philip Whalen poems from "POETS FOR PEACE Poems from the Fast" Copyright 1967 by Lynne Banker. All rights reserved by authors. ************************************** AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. ========================================================================= Date: Thu, 15 Mar 2007 21:22:44 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Feedback for PS sells out In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I am working on the forward for the next issue, Pavement Saw 11, the sell out issue, and was wondering if any of you had statements you have used, or that others have said to you, that are terribly blunt about how bad someones poems are. This all stems from a recent conference where I was talking with this lady who tried to confer upon me a copy of a book called _Toxic Feedback_ for gratis, which I only agreed to take if it was inscribed "to the most magnificent editor in the United States." Anyways, I was very disappointed when I started reading it at home as does not offer usable toxic feedback but rather advocates against the notion. A pity. Please backchannel nasty feedback of literary value, I can mention your name in the forward if it is a good one, or you can be anonymous it is up to you. What I cannot do is give you a free issue as the issues are accounted for and disappear within a year. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Fri, 16 Mar 2007 11:27:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: vispoets.com weekly winner Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable In the reward for interestingness weekly event* at vispoets.com, the winner for week #1 is: M=E1rton Kopp=E1ny for his image: Bonsai No. 3** from his Studies gallery Congratulations to M=E1rton, there's $25 worth of materials on their way to you from Luna Bisonte Prods. Enjoy! Thanks to everyone who uploaded images to the gallery this week, our chooser did say that the selection process was a LOT harder than originally anticipated. Keep uploading new images for your chance to win next week. Regards, Dan (note: for this first week, our chooser looked at all images submitted to date, since vispoets.com is only two weeks old) * http://vispoets.com/index.php?showtopic=3D481 ** http://vispoets.com/index.php?automodule=3Dgallery&req=3Dsi&img=3D333 *** http://www.johnmbennett.net/Luna_Bisonte_Prods_Catalog.html ---------------------------- vispoets.com stats (to date) ---------------------------- Registered Users: 72 Total Posts: 1117 Gallery Stats Our members have posted a total of 497 images and made 44 comments. Total Gallery Size: 80.43mb Total Image Views: 3677 ========================================================================= Date: Fri, 16 Mar 2007 11:06:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: Fwd: CAT National Day of Action - March 16, 2007 In-Reply-To: <443345.63087.qm@web57212.mail.re3.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed a reminder-- > >Commemorate Rachel Corrie's life: >National Day of Action on MARCH 16, 2007 > > >Resources to help you >http://www.endtheoccupation.org/article.php?list=type&type=158 > >Background of the CAT Campaign and Rachel Corrie > >CAT Campaign Achievements 2006 > >National Day of Action March 16th, 2007 > > >RESOURCES >The Campaign has collated resources produced by CAT Campaigns nationally >onto its web site. Resources include, brochures, BAN CAT placards, an >interactive map of CAT Campaigns nationally and much more. Click here >http://www.endtheoccupation.org/article.php?list=type&type=158 to see those >resources. Check out the NEW BLOG! http://stopcaterpillar.blogspot.com/ > >BACKGROUND >On March 16, 2003, an Israeli soldier used a Caterpillar bulldozer to crush >to death 23-year old American activist Rachel Corrie. Rachel was protesting >the demolition of a home belonging to Samir Nasrallah, a Palestinian >physician, in Rafah. Despite her bright orange vest and the fact that she >stood 20 meters in front of the bulldozer—the Israeli soldier contended >that he did not see her. > >Rachel's parents called on the U.S. State Department to conduct an >investigation into the details of Rachel's murder. On March 25, 2003, U.S. >Representative Brian Baird presented Resolution 111 which called on the >U.S. government to "undertake a full, fair, and expeditious investigation >into Rachel's death." Despite her parents' call for an investigation and >Baird's resolution—no U.S. investigation was ever conducted. > >Nearly four years later, our government has done nothing to hold Israel >accountable for its violations of international law nor held CAT >accountable for its role as aiding and abetting such violations. Despite >our leadership's inefficacy, the CAT Campaign has made significant strides >in holding CAT accountable and exposing Israel's human rights violations. > >NATIONAL DAY OF ACTION MARCH 16, 2007 >Demand CAT corporate accountability on the National Day of Action on March >16th 2007. Possible actions include strategies used by CAT campaigns >nationwide in 2006. Some of these include: > >MEET WITH YOUR LOCAL CAT CORPORATE LEADERS >http://www.arabamericannews.com/newsarticle.php?articleid=4729 >Last year, the Michigan CAT team organized an eleven person delegation met >with Jerrold Jung, President of Michigan CAT and began a dialogue about >Caterpillar's destructive role in the occupied Palestinian Territories. To >read more about their meeting, click here >http://www.arabamericannews.com/newsarticle.php?articleid=4729 > >ORGANIZE DECENTRALIZED ACTIONS AGAINST CAT IN YOUR REGION >http://www.bootcat.org/news/2005/10/bootcat-regional-day-of-action-against.html >In October 2005, BootCAT (Boston) organized a regional day of action for >the Northeast in all 13 locations where Milton CAT, the largest Northeast >CAT distributor exists. Read more about this regional action by clicking >here >http://www.bootcat.org/news/2005/10/bootcat-regional-day-of-action-against.html > >PLAN A READING OF RACHEL'S WORDS http://www.rachelswords.org/ >My Name is Rachel Corrie" is a powerful one-woman show based entirely on >the writings that Rachel left behind, telling her story from the time she >was a small child, leading up to the days before her death. In March 2006, >a showing of the play was postponed indefinitely at the New York Theatre >Workshop. Since then, groups have produced both the play and a reading of >Rachel's emails across the globe. Click here http://www.rachelswords.org/ >to read more about Rachel's words and here >http://electronicintifada.net/cgi-bin/artman/exec/view.cgi/12/4564 to see >what the Seattle based activists did. > >CAT CAMPAIGN ACHIEIVEMENTS 2006 > >CAT SHARES FALL BY 14.5%: >http://select.nytimes.com/gst/abstract.html?res=FB0814F83D5B0C728EDDA90994DE404482 >On October 21, 2006, the New York Times reported that Caterpillar Shares >fell by 14.5 percent. To read the article, click here >http://select.nytimes.com/gst/abstract.html?res=FB0814F83D5B0C728EDDA90994DE404482 > >CORRIES' PARENTS CONFRONT CAT CEO: >http://www.endtheoccupation.org/article.php?id=1230 In June 2006, Cindy and >Craig Corrie, confronted Caterpillar CEO James Owens for the first time >since their daughter's murder. To read more about this historic shareholder >meeting, click here http://www.endtheoccupation.org/article.php?id=1230 > >PC(USA) MAINTAINS PRESSURE ON CAT: >http://www.endtheoccupation.org/downloads/Final%20PRess%20Release.doc In >June 2006, the Presbyterian Church (USA) withstood tremendous pressure >demanding that it rescind its 2004 resolution calling for phased, selective >divestment from corporations that profit from the illegal occupation of >Palestine. To read more about the PC(USA)'s General Assembly decision to >maintain its pressure on CAT, click here >http://www.endtheoccupation.org/downloads/Final%20PRess%20Release.doc > >ANGLICAN PARISH DIVESTS: >http://www.endtheoccupation.org/downloads/Anglicandivestment.pdf In October >2006, an Anglican parish withdrew 140,000 pounds from the Church of >England's Central Board of Finance investment account in an attempt to >divest from Caterpillar. To read more about the Anglican Parish's decision >to divest click here >http://www.endtheoccupation.org/downloads/Anglicandivestment.pdf > >Connect with CAT Campaign organizers and activists nationally by checking >out our new "Stop Caterpillar" blog online; contact us if you wish to post >articles on this new blog http://stopcaterpillar.blogspot.com/ > > Other websites by member organizations, with helpful resources on the CAT >Campaign: >http://www.catdestroyshomes.org >http://www.BootCAT.org >http://www.stopcat.org > >US Campaign to End the Israeli Occupation PO Box 21539 Washington, DC 20009 >202-332-0994 http://www.endtheoccupation.org >/*Your email ID. --*/ _________________________________________________________________ Interest Rates near 39yr lows! $430,000 Mortgage for $1,399/mo - Calculate new payment http://www.lowermybills.com/lre/index.jsp?sourceid=lmb-9632-18466&moid=7581 ========================================================================= Date: Fri, 16 Mar 2007 11:51:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tarpaulin Sky Press & Journal Subject: New from TSky Press: Danielle Dutton's _Attempts at a Life_ MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8BIT Folks, please treat yourself to Danielle Dutton's debut, _Attempts at a Life_: hyper-literate (and just plain hyper) short fictions / prose poems that manage to be both intelligent AND funny. Think Woolf on methamphetamines, a mutating textual DNA spiraling through time, a tango of "lives" as disparate as Bronte and Hejinian. Fits and starts and gleefully aborted existences, Dutton's "attempts" feel positively, wonderfully alive. Cheers, Christian ATTEMPTS AT A LIFE Danielle Dutton ISBN: 9780977901937 Fiction. 5"x7", 90 pages, perfectbound March 15, 2007 Also available in a limited, handbound, hardcover edition. http://www.tarpaulinsky.com/Press/Dutton/index.html Operating somewhere between fiction and poetry, biography and theory, the pieces in ATTEMPTS AT A LIFE, though nominally stories, might indeed be thought of as “attempts.” Like the “experiments in found movement” one character conducts (in “Everybody’s Autobiography”), Dutton’s stories find movement wherever they turn, in every phrase and cadence, each sentence a small explosion of images and anthems and odd juxtapositions. This is writing in which the imagination (both writer’s and reader’s) is capable of producing almost anything at any moment, from a shiny penny to an alien metropolis, a burning village to a bright green bird. Danielle Dutton’s stories remind me of those alluring puzzles where the pool is overflowing and emptying at the same time. Dutton’s answer? That the self is a rush of the languages of storytelling and moments of helpless intimacy, and she recalculates the lives of her numerous heroines to assert the busy and the broken. —Robert Glück Danielle Dutton writes with a deft explosiveness that craters the page with stunning, unsettling precision. Here “car lights like licorice whips slick the road outside the window,” there “the puffed-thumb Emma person” sways and falls, and everywhere “the firelight is orange against the midnight of the ocean.” Her marvelous, generous ATTEMPTS AT A LIFE proves that, like Gertrude Stein, she knows how to be “at once talking and listening.” —Laird Hunt ABOUT THE AUTHOR Danielle Dutton was born in Visalia, California in 1975. She is the author of a novel, _S P R A W L_ (forthcoming from Clear Cut Press), and her work has appeared in many journals including NOON, 3rd bed, Denver Quarterly, and Fence. She lives with her husband in Colorado, where she is completing a Ph.D. in English and Creative Writing at the University of Denver. ========================================================================= Date: Fri, 16 Mar 2007 09:55:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: The Fourth Anniversary of the Iraq War Must be the Last! Mime-Version: 1.0 Content-Type: text/plain; format=flowed >From: "Kevin Martin, Peace Action" >Reply-To: Peaceact@mail.democracyinaction.org > >Dear David, > >This weekend, Iraqis and Americans will mark a tragic milestone -- the >fourth anniversary of the invasion of Iraq. Over 1,000 anti-war actions are >planned across the country >(http://www.unitedforpeace.org/calendar.php?sortby=&caltype=51), including >dozens by Peace Action chapters and affiliates and Student Peace Action >Network activists. I need you to tell Congress this must be the last such >anniversary we observe. > >The Supplemental War Appropriations bill has been passed by the House >Appropriations Committee and is on its way to a full vote in the House. >Regrettably, this bill passed without stipulating a one year or shorter >timeline for withdrawal nor any language requiring Bush to seek >Congressional approval for attacking Iran. > >Now every Representative has an opportunity to reshape U.S. military >involvement in the Middle East - and you have the responsibility to tell >them what needs to be done >(http://www.peace-action.org/campaigns/housesupp.html). > >Call your Representative >(http://www.peace-action.org/campaigns/housesupp.html) using the >Congressional Switchboard (202-224-3121) TODAY or Monday morning or look >them up (http://www.congress.org/congressorg/home/) and call them directly >to leave a voice mail over the weekend. Tell her/him to take these actions >on the War Supplemental: > >1. Support the Lee Amendment which restricts spending to fund only a safe >and orderly withdrawal of U.S. troops and military contractors from Iraq by >the end of the year. > >2. Support efforts to amend the bill to prohibit an attack on Iran without >specific congressional approval. > >3. Vote NO on supplemental funding unless both those amendments are >included. > >Paste the following URL into your web browser for tips and a sample script >for a successful call to Congress: >http://www.peace-action.org/campaigns/housesupp.html > >Sincerely, > >Kevin M. Martin >Executive Director >Peace Action > > >Click here to subscribe to the Action Alert Network >Click here to unsubscribe >/*Your email ID. --*/ _________________________________________________________________ It’s tax season, make sure to follow these few simple tips http://articles.moneycentral.msn.com/Taxes/PreparationTips/PreparationTips.aspx?icid=HMMartagline ========================================================================= Date: Fri, 16 Mar 2007 14:19:19 -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 -- blog on blog redux -- a brief note on "political" (what's that?) poetry -- Ongoing notes: more March, 2007 (Jay MillAr's DEMTENED POEMS I-X, Laurel Reed Books; Max Middle's Puddle Leaflets; Rob Budde & Jeremy Stewart's responding to double, wink books; Hugh Thomas' Joyce's Walking Stick; Alfred Noyes' Compression Sonnets, BookThug) -- FINALLY AVAILABLE: Peter F. Yacht Club Sails to Calgary -- two new University of Ottawa journals: Ottawa Arts Review & The Puritan -- ottawa small press book fair, june 16, 2007 -- Ongoing notes: early March, 2007 (POEMS-FOR-ALL; Natalie Simpson's accrete or crumble, LINEbooks; Kaia Sand's Interval, Edge Books; Nelson Ball's THREE LETTER WORDS, Laurel Reed Books/Rubblestone Press; Karl Jirgens' Children of the Outer Dark: The Poetry of Christopher Dewdney, Laurier Poetry Series/Wilfred Laurier University Press) -- a last-minute reading at the carleton tavern -- The Collected Poems of Robert Creeley -- new poetry workshops at Collected Works Bookstore, Ottawa -- the Montreal Zen Poetry Festival -- a as in Artie, g as in Gold (1947-2007) -- In No One's Land by Paige Ackerson-Kiely -- talking (as I am want to do) at algonquin college: fiction recommendations -- Kate Greenstreet's case sensitive -- Roger Farr's Surplus -- Desire Never Leaves: The Poetry of Tim Lilburn, selected with an introduction by Alison Calder -- Restore Funding to Department of Foreign Affairs and International Trade (DFAIT) -- Ongoing notes: early February, 2007 (Ryan Knighton's Cockeyed, Penguin; Laurie Fuhr's 1cent; Jay MillAr & Stephen Cain's Double Helix, The Mercury Press) -- Kate & The Ottawa City Project -- a note on Canadian poetry anthologies -- a review of aubade by Maurice Mierau from the Winnipeg Free Press -- Cole Swensen's the book of a hundred hands -- the third issue of ottawater (www.ottawater.com/), an Ottawa poetry pdf annual, edited by rob mclennan, is now online. www.robmclennan.blogspot.com + some other new things at ottawa poetry newsletter, www.ottawapoetry.blogspot.com + some other other new things at the Chaudiere Books blog, www.chaudierebooks.blogspot.com -- poet/editor/publisher ...STANZAS mag, above/ground press & Chaudiere Books (www.chaudierebooks.com) ...coord.,SPAN-O + ottawa small press fair ...13th poetry coll'n - The Ottawa City Project .... c/o 858 Somerset St W, Ottawa ON K1R 6R7 * http://robmclennan.blogspot.com/ ========================================================================= Date: Fri, 16 Mar 2007 13:42:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: 3/18: Godston & Karmin poetry radio MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Listen to Chicago poets Dan Godston and Jennifer Karmin on Wordslingers http://www.wordslingers.org This Sunday, March 18th from 8-9pm on WLUW 88.7fm Chicago Loyola University's community radio *Or listen live from the WLUW home page http://www.wluw.org *or catch the Quest Radio webcast Wednesday at 8pm http://www.questpcs.com/radio.htm *or check out The Vox Cafe archive on http://www.wordslingers.org DAN GODSTON teaches literature and composition at Columbia College and poetry and other art forms through several arts education organizations. His poetry and fiction have appeared in Chase Park, Versal, 580 Split, Kyoto Journal, California Quarterly, after hours, Drunken Boat, and other publications. He also performs and composes music. JENNIFER KARMIN is a poet, artist, and educator who has experimented with language throughout the U.S. and Japan. Her multidisciplinary projects intersect writing with sound and image. Currently at home in Chicago, she is a founding member of the public art group Anti Gravity Surprise and co-curator of the Red Rover reading series. In the fall of 2006, Jennifer collected writing about walking in cities and created WALKING POEM. On October 25th 2006, she started walking from Chicago's Picasso statue and navigated the city using the collected writing as her map. Once read outloud, each piece was given away to passing pedestrians. Jennifer works as a Poet-in-Residence for the Chicago Public Schools and teaches creative writing to immigrants at Truman College. Recent publications include: The City Visible: Chicago Poetry for the New Century, Growing Up Girl: An Anthology of Voices from Marginalized Places, Bird Dog, and Milk Magazine. "Wordslingers is always looking for new voices. If you know someone whose work you like and respect, hip them up to the show and let them know it's damn near as easy as falling off a log to be on the air in 2008 and easier still to submit poetry." -- Michael C. Watson MWatson@questinternet.net ____________________________________________________________________________________ No need to miss a message. Get email on-the-go with Yahoo! Mail for Mobile. Get started. http://mobile.yahoo.com/mail ========================================================================= Date: Fri, 16 Mar 2007 18:06:29 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hot Whiskey Press Subject: Reciprocal Distillations by Clayton Eshleman (Hot Whiskey Press) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi All, Reciprocal Distillations by Clayton Eshleman is now available for pre-order. The official release date is April 1. The poems in this collection address, in one way or another, artists and/or works of art, including the painters Joan Mitchell, Leon Golub, Francis Bacon, Caravaggio, Jean-Baptiste Corot, Unica Zorn, Henri Michaux, Arshile Gorky and Henry Darger. Certain poems in this book should also appeal to readers interested in Ice Age cave art, and African art. Adrienne Rich has written that Eshleman is "a poet and translator who has gone more deeply into his art, its processes and demands, than any modern American poet since Robert Duncan and Muriel Rukeyser." Reciprocal Distillations by Clayton Eshleman with a foreword by Roberto Tejada ISBN 0-9786933-0-2 8.5" X 5.5" paperback 73 pp. $14.95 Hot Whiskey Press Available for pre-order at http://www.hotwhiskeypress.com/books.html best, Michael Koshkin & Jennifer Rogers -- Hot Whiskey Press www.hotwhiskeyblog.blogspot.com www.hotwhiskeypress.com ========================================================================= Date: Fri, 16 Mar 2007 23:17:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lanny Ray Quarles Subject: Re: Reciprocal Distillations by Clayton Eshleman (Hot Whiskey Press) In-Reply-To: <4b2211bd0703161706w4b1ef26ci6436e2451155b4b8@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Is there something I'm missing or have you mispelled Unica Zürn's name.. I'm not really that picky and I suppose the dead aren't either, but Unica had a pretty rowdy ride and deserves her u and umlaut.. (perhaps) shrugs.. lq > Hi All, > > Reciprocal Distillations by Clayton Eshleman is now available for > pre-order. The official release date is April 1. > > The poems in this collection address, in one way or another, artists > and/or works of art, including the painters Joan Mitchell, Leon Golub, > Francis Bacon, Caravaggio, Jean-Baptiste Corot, Unica Zorn, Henri > Michaux, Arshile Gorky and Henry Darger. Certain poems in this book > should also appeal to readers interested in Ice Age cave art, and > African art. > > Adrienne Rich has written that Eshleman is "a poet and translator who > has gone more deeply into his art, its processes and demands, than any > modern American poet since Robert Duncan and Muriel Rukeyser." > > Reciprocal Distillations > by Clayton Eshleman > with a foreword by Roberto Tejada > > ISBN 0-9786933-0-2 > 8.5" X 5.5" paperback > 73 pp. > $14.95 > Hot Whiskey Press > > Available for pre-order at http://www.hotwhiskeypress.com/books.html > > best, > Michael Koshkin & Jennifer Rogers > -- > Hot Whiskey Press > www.hotwhiskeyblog.blogspot.com > www.hotwhiskeypress.com > ========================================================================= Date: Sat, 17 Mar 2007 03:27:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Women Reading Women -- March 19 =?utf-8?Q?=96?= Monday at 5:45 pm at Cleveland CITY HALL Content-Type: text/plain; charset=utf-8 Women reading women -- march 19 – monday at 5: 45 pm at Cleveland CITY HALL 601 Lakeside Avenue Cleveland, Ohio 44114 As part of National Women’s History Month the Mayor’s Committee on Rotunda Art sponsors, and Marcus Bales from Gallery 324 hosts, a group of prominent local women artists reading the work of other women, and their own work in the Rotunda at City Hall at 5:45 pm, Monday, March 19, 2007. The readers will be, in alphabetical order: Dale Callender Katie Daley Dressler, Emily Greenspan, Sammy Kelly Harris Sarah Holbrook Meredith Holmes Clarissa Jakobsons Jacqi Loewy Claire McMahon, and Mary O'Malley The program will begin at 5:45 pm and end no later than 7pm. Parking is available for a fee in the City Hall parking lots behind and under City Hall. For More Information: Marcus Bales 216/780-1522 marcus@designerglass.com If you’d like to be removed from this email list, please REPLY to this message to: marcus@designerglass.com and ask to be removed in the text of your message. ========================================================================= Date: Sat, 17 Mar 2007 04:47:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Crockett Subject: design an issue at listenlight.net MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Hello, I am looking for a guest designer for an upcoming issue at listenlight.net. I will favor content that requires some server-side programming for subtle to extensive variation on the page for each view. I can write the code for your programming ideas. I don't favor client-side programming, but a little bit (e.g., simple mouseover image swapping) would be okay. It's not a paying job, so a good opportunity for students developing a portfolio, perhaps, or for anybody who would like to see their creative vision incorporated into the mix. I can offer a substantial web hosting package for your efforts, if you want, & even, at my expense, register a domain name. Send me a message if you're interested. Best wishes, Jesse Crockett ========================================================================= Date: Sat, 17 Mar 2007 09:34:55 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ann Bogle Subject: Ana Verse weblog update at St. Patrick's Day MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit A weblog update since the New Year. Ann Margaret Bogle blog is now named Ana Verse at _http://annbogle.blogspot.com_ (http://annbogle.blogspot.com/) : Auto-bio., creative non-fiction: "Genre markers," "My Aunt Was a Physicist," "Maiden names," "Ms. Sandman," "Equity," "Work of a Reader," "Jungle," "Why I Write," "Rice Crackers," "Being on the outside," "Note from the writer," "On feminism," "Nuruddin Farrah," "Age, men, and friends," "Fertility," "Writers who don't love enough," "A poet from San Francisco," "Alternative poetry," "Cold," "International Women's Day: Work," "A week later," "Marxist," "Sonia's rock band," "Stripped of all precious illusion ... ," "Irish salad," and "Twill skirt." Notations: "Words at Ana Verse with 'bra' in them," "Chagrin (def.)," "Fiction's Properties," "Rebellion" (Clarice Lispector), "G.S. Giscombe at MiPOesias," "Polemics (def.)," and "Poems by J.D. Smith." Short fiction: "The eight members of the group" and "Wish for the left hand." Poetry: "Sound experiment" (audio), "Freundinnen: Her Lost Friend Poem," "Basal distance" (audio and at miPOradio.com), "Three returned poems," "Joy Revisited," and "Credo." Still photos: "Miniatures in shadow box," wren house, (c) 1991 by Beez Johnson, and "What mothers want." ************************************** AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. ========================================================================= Date: Sat, 17 Mar 2007 11:59:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: Re: Reciprocal Distillations by Clayton Eshleman (Hot Whiskey Press) In-Reply-To: <54025.65.197.242.123.1174112272.squirrel@webmail.phaneronoemikon.org> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Sometimes it's hard to get an umlaut in email. On 3/17/07, Lanny Ray Quarles wrote: > Is there something I'm missing or have you mispelled > Unica Z=FCrn's name.. I'm not really that picky and I suppose > the dead aren't either, but Unica had a pretty rowdy ride > and deserves her u and umlaut.. (perhaps) shrugs.. > > lq > > > Hi All, > > > > Reciprocal Distillations by Clayton Eshleman is now available for > > pre-order. The official release date is April 1. > > > > The poems in this collection address, in one way or another, artists > > and/or works of art, including the painters Joan Mitchell, Leon Golub, > > Francis Bacon, Caravaggio, Jean-Baptiste Corot, Unica Zorn, Henri > > Michaux, Arshile Gorky and Henry Darger. Certain poems in this book > > should also appeal to readers interested in Ice Age cave art, and > > African art. > > > > Adrienne Rich has written that Eshleman is "a poet and translator who > > has gone more deeply into his art, its processes and demands, than any > > modern American poet since Robert Duncan and Muriel Rukeyser." > > > > Reciprocal Distillations > > by Clayton Eshleman > > with a foreword by Roberto Tejada > > > > ISBN 0-9786933-0-2 > > 8.5" X 5.5" paperback > > 73 pp. > > $14.95 > > Hot Whiskey Press > > > > Available for pre-order at http://www.hotwhiskeypress.com/books.html > > > > best, > > Michael Koshkin & Jennifer Rogers > > -- > > Hot Whiskey Press > > www.hotwhiskeyblog.blogspot.com > > www.hotwhiskeypress.com > > > --=20 http://hyperhypo.org/blog http://www.pftborder.blogspot.com ========================================================================= Date: Sat, 17 Mar 2007 13:32:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hot Whiskey Press Subject: Re: Reciprocal Distillations by Clayton Eshleman (Hot Whiskey Comments: To: phanero@PHANERONOEMIKON.ORG MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline My apologies Larry, You are correct, but will be glad to know that this error isn't in the book. We pasted this letter from a text document and I guess the 'u' with the umlaut was converted into an 'o' in the process. I agree that the umlaut is vital. In fact, I'd like an umlaut in my name...how would that work?...okay, being silly, thanks for being a close reader anyhow. Michael Koshkin -- Hot Whiskey Press www.hotwhiskeyblog.blogspot.com www.hotwhiskeypress.com ========================================================================= Date: Sat, 17 Mar 2007 16:53:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Armantrout review in Sunday Times Book Review Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed http://www.nytimes.com/2007/03/18/books/review/Burt2.t.html Charles Bernstein http://epc.buffalo.edu/authors/bernstein/blog ========================================================================= Date: Sat, 17 Mar 2007 13:44:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: phanero Subject: Re: Reciprocal Distillations by Clayton Eshleman (Hot Whiskey MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit Noh Problemma Micaeel! ----- Original Message ----- From: "Hot Whiskey Press" To: Sent: Saturday, March 17, 2007 12:32 PM Subject: Re: Reciprocal Distillations by Clayton Eshleman (Hot Whiskey > My apologies Larry, > > You are correct, but will be glad to know that this error isn't in the > book. We pasted this letter from a text document and I guess the 'u' > with the umlaut was converted into an 'o' in the process. I agree that > the umlaut is vital. In fact, I'd like an umlaut in my name...how > would that work?...okay, being silly, thanks for being a close reader > anyhow. > Michael Koshkin > -- > Hot Whiskey Press > www.hotwhiskeyblog.blogspot.com > www.hotwhiskeypress.com > ========================================================================= Date: Sat, 17 Mar 2007 23:19:18 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: <6.2.5.6.2.20070317165048.04b07970@english.upenn.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Curious. The reviewer is almost entirely concerned with what he thinks the poet does and doesn't want to say; at the end, for instance, he writes of what the poems "do not tell us," what "they do not say," and what "they never advise us" because instead "they say that..." But there is nothing about the form of the poems, their linguistic structure. Maybe he thinks that Times readers wouldn't believe that such a poet is saying anything at all and therefore he is overcompensating? Charles Bernstein wrote: http://www.nytimes.com/2007/03/18/books/review/Burt2.t.html Charles Bernstein http://epc.buffalo.edu/authors/bernstein/blog ========================================================================= Date: Sat, 17 Mar 2007 16:29:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Open Text Reading Series #4: Anne Stone (Vancouver) MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit OPEN TEXT READING SERIES #4: ANNE STONE Sponsored by the Canada Council for the Arts & the Creative Writing Concentration at Capilano College http://capilanocreativewriting.blogspot.com The Spring 2007 OPEN TEXT series at Capilano College continues on March 22nd, 2007 with a reading by Vancouver author Anne Stone. Cedar 148 @ 12:30 Capilano College 2055 Purcell Way North Vancouver Anne Stone is an editor of Matrix Magazine. Together with Amber Dean, she is currently guest editing a special issue of West Coast Line on representations of murdered and missing women. Her novels include, jacks (DC Books 1998), Hush (Insomniac Press 1999) and Delible (forthcoming, Insomniac, 2007), which tells the story of Melora Sprague, a 15-year-old girl whose sister has gone missing. Stone teaches creative writing/literature at Capilano College in North Vancouver and at Concordia University in Montreal. "Everything has a beginning. My sister's disappearance has to have one. There has to be a time, a moment, in which she began to disappear. I've looked for some sign that Mel was poised to leave. Maybe it was there in the world she saw around us, the one that was slowly dying as we pretended not to see. Or in her dreams of the a-bomb, quietly imploding in our mouths as we slept, shattering millions on millions of teeth. A city's worth of polished bone, demolished in an instant. And what could any of us do but stir in our sleep, lick at broken mouths, and feel ourselves already dead, this as the fire consumed the part of us that could dream of bombs to begin with." -- from Delible For info: Roger Farr rfarr@capcollege.bc.ca 604.986.1911 (2554) [Coming soon: Maxine Gadd, March 29th] ========================================================================= Date: Sat, 17 Mar 2007 21:01:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: A/Rose for Baudrillard In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit unlike simulacrum this piece has a 3-dimensional quality that comes not from a deceptive surface but a felt reading--thanks for it On 3/12/07 9:54 PM, "Alan Sondheim" wrote: > A/Rose for Baudrillard > > I have troubled sleep; nightmares become me. Recently I traded in for a > copy of Sartre, Troubled Sleep, signed by him, scrawled signature to a > friend. Barthes was hit by a van I think, all these men and some women but > less women - Derrida, Foucault, Deleuze, Guattari, Lyotard, Baudrillard, > Althusser, Lacan, bounded by what seems the cold war iron of Badiou. > Kristeva, Cixous, Irigaray, Wittig, perhaps are still alive. I raised > myself on all of them and now they're divided among the militants, the > academics, the pieces of 'deconstruction' applicable to any analysis where > something or other falls apart, 'simulacrum' following DeBord's 'specta- > cle' where 'revolution' became synonymous with natural skin care and > something everyone did against the name of 'freedom.' I don't mean to say > anything here, I wonder about the doubting that once swayed the world, > Jabes, Blanchot, or what I read as doubting, never say anything unless > said to oneself, withdrawn, proffered as kind of a peripheral speech. This > wasn't them, my reading, what I garnered, that excitement, Merleau-Ponty, > at the birth of the world, its bearing, re-borning. Vietnam is now mute, > May 68 almost forty years ago and most of us humans have never thought of > burning monks. Tibet is a foregone conclusion; can one imagine the Dalai > Lama back at the Potala? Bohm kept on moving; he was close to insane with > the stress of homelessness. I wait for my first stroke, but none of the > others, none of them, none of you, will speak to me. I'll go to heaven or > hell with stitches in my mouth. I'll try to say something about the world. > My eyes grow wider and wider. ========================================================================= Date: Sat, 17 Mar 2007 18:42:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Deborah A. Meadows" Subject: Shearsman Press Readings: Hawley, Meadows, Selby, Treadwell, Dyckman MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable You Are Invited To Two Shearsman Press Readings: =20 Join us for a book launch of five poets whose new books have been = published by Shearsman Books Ltd. edited by Tony Frazer (Exeter, = England). Traveling from Nebraska via Fence magazine, Anthony Hawley will read = from The Concerto Form and locally residing Deborah Meadows from = involutia. Three poets from the bay area will read from daring new works: Elizabeth = Treadwell from her Birds and Fancies, Susanne Dyckman from equilibrium's = form and Spencer Selby from Twist of Address. Shearsman Books gratefully acknowledges financial assistance from Arts = Council England for its 2005-2007 publishing programme. =20 1. Shearsman reading at Beyond Baroque Beyond Baroque 681 Venice Blvd. Venice, CA 90291 =20 on March 23, Friday at 7:30 p.m. =20 *** =20 2. Shearsman reading at Canessa Park 708 Montgomery Street San Francisco, CA 94111 =20 on Sunday March 25 at 3 pm =20 *** =20 =20 Anthony Hawley is the author of The Concerto Form and three chapbooks of poetry. Recent poems have appeared or are forthcoming in Colorado Review, web Conjunctions, Lungfull, The Tiny, and Verse. He currently teaches at the University of Nebraska-Lincoln. His second book, Imitation Sparrow, is forthcoming in 2008. =20 =20 Deborah Meadows teaches in the Liberal Studies department at California = State Polytechnic University, Pomona. Her works of poetry include: = involutia (Shearsman Press, UK, 2007), Thin Gloves (Green Integer, = 2006), Representing Absence (Green Integer, 2004), Itinerant Men = (Krupskaya, 2004), and two chapbooks, Growing Still (Tinfish Press, = 2005) and "The 60's and 70's: from The Theory of Subjectivity in Moby-Dick" (Tinfish Press, = 2003). Her Electronic Poetry Center author page is located: = http://epc.buffalo.edu/authors/meadows/ = =20 =20 Spencer Selby is the author of eight poetry books, three compilations of = visual work and a study of film noir. He coordinated The Canessa Park = Reading Series for six years and created The List of Experimental = Poetry/Art Magazines in 1993. He lives in Oakland, California. =20 =20 Elizabeth Treadwell is the author of seven books, the most recent of = which are the poetry collections Birds & Fancies (Shearsman) and = Wardolly (Chax Press),both 2007. Her essay on Paula Gunn Allen will = appear in Efforts & Affections: America's New Women Poets & the = Generation That Inspires Them (Iowa). She is the director of Small Press = Traffic in San Francisco and lives with her family in her hometown of = Oakland. =20 =20 =20 Susanne Dyckman is the author of two chapbooks, Transiting Indigo = (Etherdome Press) and Counterweight (Woodland Editions), and a book of = poetry, equilibrium's form (Shearsman Books.) Her work has appeared in = a number of publications, most recently Marginalia and First Intensity. = A thesis advisor for the University of San Francisco MFA program and an = editor of the journal, Five Fingers Review, she lives in Albany, = California, where for the last three years she has hosted the Evelyn = Ave. Summer Reading Series. =20 =20 *** =20 =20 =20 =20 ========================================================================= Date: Sun, 18 Mar 2007 09:16:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: <952621.92655.qm@web86001.mail.ird.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit maybe he was afraid to situate her in Language poetry or anything related for fear of losing readers...? ironic, ain't it? that wd be how to GET readers, I mean, by actually reviewing innovative writers. On 3/17/07 7:19 PM, "Barry Schwabsky" wrote: > Curious. The reviewer is almost entirely concerned with what he thinks the > poet does and doesn't want to say; at the end, for instance, he writes of what > the poems "do not tell us," what "they do not say," and what "they never > advise us" because instead "they say that..." But there is nothing about the > form of the poems, their linguistic structure. Maybe he thinks that Times > readers wouldn't believe that such a poet is saying anything at all and > therefore he is overcompensating? > > Charles Bernstein wrote: > http://www.nytimes.com/2007/03/18/books/review/Burt2.t.html > > > Charles Bernstein > http://epc.buffalo.edu/authors/bernstein/blog ========================================================================= Date: Sun, 18 Mar 2007 08:02:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Poet Jackson MacLow In-Reply-To: <50DB5033AA993E4FACE87C9DCD369C2D01CDE9A8@EX01.win.csupomona.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Looking for online and print resources on Jackson MacLow -- anecdotes welcomed as well. Looking to augment what I currently have. As always, your time is most sincerely appreciated. Post to list or back channel. Regards, Alexander Jorgensen --- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) ____________________________________________________________________________________ Sucker-punch spam with award-winning protection. Try the free Yahoo! Mail Beta. http://advision.webevents.yahoo.com/mailbeta/features_spam.html ========================================================================= Date: Sun, 18 Mar 2007 09:26:09 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Erratum du jour, or the power of art Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Erratum du jour, or the power of art A picture on March 4 with an article about a screenplay of =93Paradise =20= Lost=94 was printed upside down. The rebel angels should have appeared in the lower half of the illustration by Gustave Dor=E9, which was inverted by Art Resource. fr. this ayem's NYT "Cross / a border every day, and leave your luggage in the station." --Wendy Battin Halvard Johnson =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D halvard@gmail.com halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org ========================================================================= Date: Sun, 18 Mar 2007 11:33:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Re: Poet Jackson MacLow In-Reply-To: <796040.52557.qm@web54606.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable The second issue of EOAGH, edited by Tim Peterson, was devoted to Jackson Mac Low. My section is on this page: http://www.chax.org/eoagh/issuetwo/piombino.htm Also, my new book out from Factory School's Heretical Texts, based on the first three months of my weblog *fait accompli* has this passage as its second entry: :: February 13 ::=20 =20 Ran into Jackson Mac Low at the Met the other day. After a particular work was pointed out to him, he said: =B3In art there is altogether too much likin= g and disliking.=B2 Strange thing is, I've been thinking the same thing myself lately. Jackson has also said that there is no particular style of poetry he favors= , and that he likes a good poem in any style, so I don't think he meant, in saying =B3there is altogether too much liking and disliking=B2 that one should suppress enthusiasm or not be critical. I had the feeling he was talking about going to museums and art galleries or even movies and overhearing conversations where reactions often seem to neglect time for fully absorbin= g and encompassing an experience. This leads into my recent preoccupation wit= h the positive side of ambivalence. The ability to tolerate ambivalence, or ambiguity, can create an opportunity to wonder, to wander, daydream, to think, to puzzle or figure things out. Full circle: isn't this often what i= s wanted from artistic experience in the first place? =20 On 3/18/07 10:02 AM, "Alexander Jorgensen" wrote: > Looking for online and print resources on Jackson > MacLow -- anecdotes welcomed as well. Looking to > augment what I currently have. As always, your time is > most sincerely appreciated. Post to list or back > channel. >=20 > Regards, > Alexander Jorgensen >=20 > --- > "[H]e who leaps into the void owes no explanation > to those who watch.=94 (Jean-Luc Godard) >=20 >=20 >=20 > _________________________________________________________________________= _____ > ______ > Sucker-punch spam with award-winning protection. > Try the free Yahoo! Mail Beta. > http://advision.webevents.yahoo.com/mailbeta/features_spam.html ========================================================================= Date: Sun, 18 Mar 2007 11:51:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Barry, Ruth, I never thought I would ever defend the New York Time Sunday Book Review, but I think your comments are unfair. For instance: "Compact and as densely patterned as silicon chips" or "Where other poets seek symbols for the soul, Armantrout looks at minds and sees machines: 'Crossed wires released such / hope-like sparks.'" These seem to me to be authentic observations about the form and language of the poems. It is true that the review does not approach her poetry in Language School poetics terminology. But this is the purpose of a large publication like New York Times, to present a work in terms familiar to its readers. What else can it be? In those terms,the observations of the reviewer are quite acute and I do not think they tell any lies about the poetry. Here we come to a question we have discussed in this and other lists over and over again, that there is always a profound break between the writing process and the reception of a poem. What a poet (or in this case a poetry school) envisions is different from the way the public sees or receives it, this difference not necessarily negating (but definitely complicating) the validity of either side's perceptions. Ciao, Murat On 3/18/07, Ruth Lepson wrote: > > maybe he was afraid to situate her in Language poetry or anything related > for fear of losing readers...? ironic, ain't it? that wd be how to GET > readers, I mean, by actually reviewing innovative writers. > > > On 3/17/07 7:19 PM, "Barry Schwabsky" wrote: > > > Curious. The reviewer is almost entirely concerned with what he thinks > the > > poet does and doesn't want to say; at the end, for instance, he writes > of what > > the poems "do not tell us," what "they do not say," and what "they never > > advise us" because instead "they say that..." But there is nothing about > the > > form of the poems, their linguistic structure. Maybe he thinks that > Times > > readers wouldn't believe that such a poet is saying anything at all and > > therefore he is overcompensating? > > > > Charles Bernstein wrote: > > http://www.nytimes.com/2007/03/18/books/review/Burt2.t.html > > > > > > Charles Bernstein > > http://epc.buffalo.edu/authors/bernstein/blog > ========================================================================= Date: Sun, 18 Mar 2007 12:02:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Re: Poet Jackson MacLow In-Reply-To: <796040.52557.qm@web54606.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Jackson also posted the following on the poetics list in response to some questions posed to him: http://writing.upenn.edu/epc/authors/maclow/piombino.html On 3/18/07 10:02 AM, "Alexander Jorgensen" wrote: > Looking for online and print resources on Jackson > MacLow -- anecdotes welcomed as well. Looking to > augment what I currently have. As always, your time is > most sincerely appreciated. Post to list or back > channel. >=20 > Regards, > Alexander Jorgensen >=20 > --- > "[H]e who leaps into the void owes no explanation > to those who watch.=94 (Jean-Luc Godard) >=20 >=20 >=20 > _________________________________________________________________________= _____ > ______ > Sucker-punch spam with award-winning protection. > Try the free Yahoo! Mail Beta. > http://advision.webevents.yahoo.com/mailbeta/features_spam.html ========================================================================= Date: Sun, 18 Mar 2007 12:03:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: Poet Jackson MacLow In-Reply-To: <796040.52557.qm@web54606.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable you know his book Doings w/ accompanying CD of 15 of his readings--from Granary Books? his last reading, I believe, was one w/ Anne Tardos in Cambridge, MA--contact John Mercuri Dooley at Demolicious website for more info abt that. Tim Peterson did a special issue of his online mag EOAGH on him--you can find it at the Chax Press website. good luck ruth lepson On 3/18/07 11:02 AM, "Alexander Jorgensen" wrote: > Looking for online and print resources on Jackson > MacLow -- anecdotes welcomed as well. Looking to > augment what I currently have. As always, your time is > most sincerely appreciated. Post to list or back > channel. >=20 > Regards, > Alexander Jorgensen >=20 > --- > "[H]e who leaps into the void owes no explanation > to those who watch.=B2 (Jean-Luc Godard) >=20 >=20 > =20 > _________________________________________________________________________= _____ > ______ > Sucker-punch spam with award-winning protection. > Try the free Yahoo! Mail Beta. > http://advision.webevents.yahoo.com/mailbeta/features_spam.html ========================================================================= Date: Sun, 18 Mar 2007 12:06:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I have no idea what the reviewer's motives were, but I don't think it would have done Rae a service to trot out the group name in a review too short to allow for much history or nuance. It would have attracted those who already know her work and no one else. I'm also not convinced that Language has much descriptive or explanatory power when attached to Rae's work. If one has to look for fellow travelers Dickinson is a good choice, and it's the one that the reviewer chose (was it in the publicity release?). To identify a poem or poet as Language implies that reading and enjoyment require a special set of skills (or tolerances) different from the reading of other poets. This simply isn't true of Rae's work. Mark At 09:16 AM 3/18/2007, you wrote: >maybe he was afraid to situate her in Language poetry or anything related >for fear of losing readers...? ironic, ain't it? that wd be how to GET >readers, I mean, by actually reviewing innovative writers. > > >On 3/17/07 7:19 PM, "Barry Schwabsky" wrote: > > > Curious. The reviewer is almost entirely concerned with what he thinks the > > poet does and doesn't want to say; at the end, for instance, he > writes of what > > the poems "do not tell us," what "they do not say," and what "they never > > advise us" because instead "they say that..." But there is > nothing about the > > form of the poems, their linguistic structure. Maybe he thinks that Times > > readers wouldn't believe that such a poet is saying anything at all and > > therefore he is overcompensating? > > > > Charles Bernstein wrote: > > http://www.nytimes.com/2007/03/18/books/review/Burt2.t.html > > > > > > Charles Bernstein > > http://epc.buffalo.edu/authors/bernstein/blog ========================================================================= Date: Sun, 18 Mar 2007 11:18:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: <6.2.5.6.2.20070317165048.04b07970@english.upenn.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit If the idea of publishing reviews of "innovative" poetry in daily newspapers is simply to present the same kind of review that a reader of this very specialized e-mail discussion list might want to read or write, then what's the point? Stephen Burt's review of Rae Armantrout's new book is generally supportive of the work and might actually attract new readers to her poetry. I assume that Rae'll get reviews in poetry magazines and critical journals that will place her work in context. But it seems weird to criticize the review because it doesn't include an extensive history of Language poetry and Armantrout's place in that genre, or a detailed analysis of formal elements of her work. There are plenty of venues for that kind of critique (it seems as if at least half of the people reading this list publish one). However, a daily newspaper, even one as "august" as the New York Times, is not such a venue. Reviews in general interest publications such as daily newspapers, popular magazines, or NPR programs basically function as a marketing tool. The primary focus is to let a general audience know whether they might want to spend time and/or money reading the book, seeing the show, etc. Obviously, it's nice when there's something more than that in this kind of publication, but the editors and publishers would be perfectly happy if they could get away with just running a letter grade, a number of stars, a picture of thumbs up or down. ========================================================================= Date: Sun, 18 Mar 2007 09:28:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Harry Crosby - Info request In-Reply-To: <796040.52557.qm@web54606.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Looking to be advised on where to obtain additional information on poet Harry Crosby. Regards, Alexander Jorgensen --- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) ____________________________________________________________________________________ The fish are biting. Get more visitors on your site using Yahoo! Search Marketing. http://searchmarketing.yahoo.com/arp/sponsoredsearch_v2.php ========================================================================= Date: Sun, 18 Mar 2007 10:07:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Poet Jackson MacLow In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Nick, The below point, esp on the "positive side of ambivalence", holds much import for me. Can you post a bit more from the entry? Or do you elaborate on this idea elsewhere? Do you mind if I post it on my blog? Thanks, Amy Nick Piombino wrote:I had the feeling he was talking about going to museums and art galleries or even movies and overhearing conversations where reactions often seem to neglect time for fully absorbing and encompassing an experience. This leads into my recent preoccupation with the positive side of ambivalence. The ability to tolerate ambivalence, or ambiguity, can create an opportunity to wonder, to wander, daydream, to think, to puzzle or figure things out. Full circle: isn't this often what is wanted from artistic experience in the first place? --------------------------------- It's here! Your new message! Get new email alerts with the free Yahoo! Toolbar. ========================================================================= Date: Sun, 18 Mar 2007 10:02:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: richard owens Subject: Re: Harry Crosby - Info request In-Reply-To: <580536.3219.qm@web54607.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit the archives at University at Buffalo (Poetry & Rare Books Collection) & the archives at the University of Southern Illinois have a good deal of Harry Crosby materials, published & unpublished, MS, TS, etc. diary: Shadows of the Sun, published by Black Sparrow Press. poetry: several collections publish'd thru his own Black Sun. Geoffrey Wolff's bio of Harry Crosby. Linda Hamalian's recent bio of Caresse Crosby: Cramoisy Queen. Alexander Jorgensen wrote: Looking to be advised on where to obtain additional information on poet Harry Crosby. Regards, Alexander Jorgensen --- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) ____________________________________________________________________________________ The fish are biting. Get more visitors on your site using Yahoo! Search Marketing. http://searchmarketing.yahoo.com/arp/sponsoredsearch_v2.php ........richard owens 810 richmond ave buffalo NY 14222-1167 damn the caesars, the journal damn the caesars, the blog --------------------------------- TV dinner still cooling? Check out "Tonight's Picks" on Yahoo! TV. ========================================================================= Date: Sun, 18 Mar 2007 10:10:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: Poet Jackson MacLow In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Paper Air 2, no. 1 (journal edited by Gil Ott) special edition on Jackson=20 Mac Low from 1980 or so was instrumental in my coming to know Jackson and=20 his work. charles At 09:03 AM 3/18/2007, you wrote: >you know his book Doings w/ accompanying CD of 15 of his readings--from >Granary Books? his last reading, I believe, was one w/ Anne Tardos in >Cambridge, MA--contact John Mercuri Dooley at Demolicious website for more >info abt that. Tim Peterson did a special issue of his online mag EOAGH on >him--you can find it at the Chax Press website. >good luck >ruth lepson > > >On 3/18/07 11:02 AM, "Alexander Jorgensen" wrote: > > > Looking for online and print resources on Jackson > > MacLow -- anecdotes welcomed as well. Looking to > > augment what I currently have. As always, your time is > > most sincerely appreciated. Post to list or back > > channel. > > > > Regards, > > Alexander Jorgensen > > > > --- > > "[H]e who leaps into the void owes no explanation > > to those who watch.=B2 (Jean-Luc Godard) > > > > > > > >=20 >= ___________________________________________________________________________= ___ > > ______ > > Sucker-punch spam with award-winning protection. > > Try the free Yahoo! Mail Beta. > > http://advision.webevents.yahoo.com/mailbeta/features_spam.html charles alexander / chax press fold the book inside the book keep it open always read from the inside out speak then Steinfeld Warehouse artist Chax Press executive director WAMO President 520-620-1626 (studio) 520-275-4330 (cell) chax@theriver.com chax.org 101 W. Sixth St. Tucson, AZ 85701-1000 =20 ========================================================================= Date: Sun, 18 Mar 2007 12:05:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Armantrout review in Sunday Times Book Review Comments: cc: Kass Fleisher In-Reply-To: <1dec21ae0703180851u173d2feeraee21f381ced2acf@mail.gmail.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I thought it was a solid review, BUT I didn't esp. like the following: "who has been writing such poems for 30 years, at first for a West Coast cult following, now for what should be a national audience." There's the problem, for one, with "cult following" (esp. when you situate same out on the West Coast, where the term has a peculiar valence). And then there's this question of what's happened twixt "at first" and "now for what should be." How to get a handle on Armantrout's present readership, if it's neither a "cult" nor a "national audience"? Anyway. Best, Joe >Barry, Ruth, > >I never thought I would ever defend the New York Time Sunday Book Review, >but I think your comments are unfair. For instance: > >"Compact and as densely patterned as silicon chips" or "Where other poets >seek symbols for the soul, Armantrout looks at minds and sees machines: >'Crossed wires released such / hope-like sparks.'" > >These seem to me to be authentic observations about the form and language of >the poems. It is true that the review does not approach her poetry in >Language School poetics terminology. But this is the purpose of a large >publication like New York Times, to present a work in terms familiar to its >readers. What else can it be? In those terms,the observations of the >reviewer are quite acute and I do not think they tell any lies about the >poetry. > >Here we come to a question we have discussed in this and other lists over >and over again, that there is always a profound break between the writing >process and the reception of a poem. What a poet (or in this case a poetry >school) envisions is different from the way the public sees or receives it, >this difference not necessarily negating (but definitely complicating) the >validity of either side's perceptions. > >Ciao, > >Murat > >On 3/18/07, Ruth Lepson wrote: >> >>maybe he was afraid to situate her in Language poetry or anything related >>for fear of losing readers...? ironic, ain't it? that wd be how to GET >>readers, I mean, by actually reviewing innovative writers. >> >> >>On 3/17/07 7:19 PM, "Barry Schwabsky" wrote: >> >>> Curious. The reviewer is almost entirely concerned with what he thinks >>the >>> poet does and doesn't want to say; at the end, for instance, he writes >>of what >>> the poems "do not tell us," what "they do not say," and what "they never >>> advise us" because instead "they say that..." But there is nothing about >>the >>> form of the poems, their linguistic structure. Maybe he thinks that >>Times >>> readers wouldn't believe that such a poet is saying anything at all and >>> therefore he is overcompensating? >>> >>> Charles Bernstein wrote: >>> http://www.nytimes.com/2007/03/18/books/review/Burt2.t.html >>> >>> >>> Charles Bernstein >>> http://epc.buffalo.edu/authors/bernstein/blog ========================================================================= Date: Sun, 18 Mar 2007 12:10:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Poet Jackson MacLow In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I'd also be sure to check out the premier issue of the journal ~Crayon~ (Fall 1997), which was a festschrift in honor of Jackson's 75th bday (yes, I have a piece in there myself). Best, Joe ========================================================================= Date: Sun, 18 Mar 2007 09:12:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: maxpaul@SFSU.EDU Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Having written fiction reviews for the NYT, I've also observed that often they assign a length, say 800 words, that then is edited to suit their Sunday needs. So who knows what was said and what remained. But the attention to audience as an enfeebled or mad group (West Coast cult) is always vexing. Maxine Chernoff Quoting Joe Amato : > I thought it was a solid review, BUT I didn't esp. like the > following: "who has been writing such poems for 30 years, at first > for a West Coast cult following, now for what should be a national > audience." > > There's the problem, for one, with "cult following" (esp. when you > situate same out on the West Coast, where the term has a peculiar > valence). And then there's this question of what's happened twixt "at > first" and "now for what should be." How to get a handle on > Armantrout's present readership, if it's neither a "cult" nor a > "national audience"? > > Anyway. > > Best, > > Joe > > > >Barry, Ruth, > > > >I never thought I would ever defend the New York Time Sunday Book Review, > >but I think your comments are unfair. For instance: > > > >"Compact and as densely patterned as silicon chips" or "Where other poets > >seek symbols for the soul, Armantrout looks at minds and sees machines: > >'Crossed wires released such / hope-like sparks.'" > > > >These seem to me to be authentic observations about the form and language > of > >the poems. It is true that the review does not approach her poetry in > >Language School poetics terminology. But this is the purpose of a large > >publication like New York Times, to present a work in terms familiar to its > >readers. What else can it be? In those terms,the observations of the > >reviewer are quite acute and I do not think they tell any lies about the > >poetry. > > > >Here we come to a question we have discussed in this and other lists over > >and over again, that there is always a profound break between the writing > >process and the reception of a poem. What a poet (or in this case a poetry > >school) envisions is different from the way the public sees or receives it, > >this difference not necessarily negating (but definitely complicating) the > >validity of either side's perceptions. > > > >Ciao, > > > >Murat > > > >On 3/18/07, Ruth Lepson wrote: > >> > >>maybe he was afraid to situate her in Language poetry or anything related > >>for fear of losing readers...? ironic, ain't it? that wd be how to GET > >>readers, I mean, by actually reviewing innovative writers. > >> > >> > >>On 3/17/07 7:19 PM, "Barry Schwabsky" wrote: > >> > >>> Curious. The reviewer is almost entirely concerned with what he thinks > >>the > >>> poet does and doesn't want to say; at the end, for instance, he writes > >>of what > >>> the poems "do not tell us," what "they do not say," and what "they > never > >>> advise us" because instead "they say that..." But there is nothing > about > >>the > >>> form of the poems, their linguistic structure. Maybe he thinks that > >>Times > >>> readers wouldn't believe that such a poet is saying anything at all and > >>> therefore he is overcompensating? > >>> > >>> Charles Bernstein wrote: > >>> http://www.nytimes.com/2007/03/18/books/review/Burt2.t.html > >>> > >>> > >>> Charles Bernstein > >>> http://epc.buffalo.edu/authors/bernstein/blog > ========================================================================= Date: Sun, 18 Mar 2007 13:30:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: <45FD6657.1010401@eskimo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit well, I was glad to see the review but what I mean to say is that the TBR has so much power that if they were to put her work in context, even tho she doesn't like to be identified as a Lang poet--in other words, talk abt what has been going on outside the mainstream since the 70's at least, their readership might be inclined to pick up a related book or two. It cd change the readership for poetry in this country. To that end I wrote a letter to the ed. Maybe this is naive or useless, like mixing iguanas w/ puppies--ok, I know the metaphor is apt in only a limited sense. If the audience thought iguanas were some of what poetry is these days they might at least we cd watch them on Animal Planet. And imagine if The New Yorker had a spread on Lang poets, books wd sell like sushi. sorry, I'm not thinking too clearly today. Then again here in Boston the same 40 or 50 poets show up at the 'innovative' readings while the great majority of more trad poets go to other readings, and it seems never the twain shall meet. Maybe it's a matter of sensibility, but if postmodern poetry were touted the way postmmodern visual art is, what a dif world it wd be, for better or worse--considering the pretentious descriptions at the new ICA in Boston, but at least people seem to feel they shd go there to find some critique of our society or just to see what artists are doing. On 3/18/07 12:18 PM, "Herb Levy" wrote: > If the idea of publishing reviews of "innovative" poetry in daily > newspapers is simply to present the same kind of review that a reader of > this very specialized e-mail discussion list might want to read or > write, then what's the point? > > Stephen Burt's review of Rae Armantrout's new book is generally > supportive of the work and might actually attract new readers to her > poetry. I assume that Rae'll get reviews in poetry magazines and > critical journals that will place her work in context. But it seems > weird to criticize the review because it doesn't include an extensive > history of Language poetry and Armantrout's place in that genre, or a > detailed analysis of formal elements of her work. There are plenty of > venues for that kind of critique (it seems as if at least half of the > people reading this list publish one). However, a daily newspaper, even > one as "august" as the New York Times, is not such a venue. > > Reviews in general interest publications such as daily newspapers, > popular magazines, or NPR programs basically function as a marketing > tool. The primary focus is to let a general audience know whether they > might want to spend time and/or money reading the book, seeing the show, > etc. > > Obviously, it's nice when there's something more than that in this kind > of publication, but the editors and publishers would be perfectly happy > if they could get away with just running a letter grade, a number of > stars, a picture of thumbs up or down. ========================================================================= Date: Sun, 18 Mar 2007 13:37:08 -0400 Reply-To: "Patrick F. Durgin" Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Poet Jackson Mac Low Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable -----. =E2=80=9CThe Poetics of Chance and the Politics of Simultaneous Spo= ntaneity, or the Sacred=20 Heart of Jesus.=E2=80=9D Talking Poetics from the Naropa Institute. Anne W= aldman and=20 Marilyn Webb eds. Boulder: Shambhala, 1978: 170-92. -----. =E2=80=9CPoetry, Chance, Silence, Etc.=E2=80=9D Claims for Poetry.= Donald Hall ed. Ann Arbor:=20 U. Michigan Press, 1982: 296-302. -----. Vort Twenty-First Century Pre-views: Jackson Mac Low / Armand Schwe= rner. =20 Barry Alpert ed. 3.2 (1975). ...all useful, though maybe underutilized. Oh, and the issue of Paper Air = to which Charles A refers is vol.2, no.3 (1983). Jennifer Scappatone has a= n article on JML's work forthcoming this fall in Modern Philology, too. ---------------------------------- www.da-crouton.com www.kenningeditions.com ========================================================================= Date: Sun, 18 Mar 2007 10:42:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: V Nicholas LoLordo Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed yeah, I mostly liked the review as well, given the constraints under which its author was no doubt operating.... as for the phrase you cite, Joe [and that you comment on, Maxine] hat sense of "cult following" is I think most commonly seen in rock criticism--which fact will either amuse or irritate those who get it: what does it mean to treat language poetry writers/readers as akin to, say, fans of some indie rock band?..anyway, for better or for worse, Burt is offering the shorthand analogy for career narratives that NYT readers are most likely to understand; and the assumption/argument entailed by "what should be", then, is a version of the one everybody makes about their favorite local band: they should make it big! get signed to a major! so, yeah, the cultural and political specificity of West coast language writing gets slighted, but it was ever thus: this is trad literary history: the wave of the avant-garde recedes and one or two "major poets" are left gasping on the strand, to be discovered by critics..... On Mar 18, 2007, at 10:05 AM, Joe Amato wrote: > I thought it was a solid review, BUT I didn't esp. like the > following: "who has been writing such poems for 30 years, at first > for a West Coast cult following, now for what should be a national > audience." > > There's the problem, for one, with "cult following" (esp. when you > situate same out on the West Coast, where the term has a peculiar > valence). And then there's this question of what's happened twixt > "at first" and "now for what should be." How to get a handle on > Armantrout's present readership, if it's neither a "cult" nor a > "national audience"? > > Anyway. > > Best, > > Joe > > >> Barry, Ruth, >> >> I never thought I would ever defend the New York Time Sunday Book >> Review, >> but I think your comments are unfair. For instance: >> >> "Compact and as densely patterned as silicon chips" or "Where >> other poets >> seek symbols for the soul, Armantrout looks at minds and sees >> machines: >> 'Crossed wires released such / hope-like sparks.'" >> >> These seem to me to be authentic observations about the form and >> language of >> the poems. It is true that the review does not approach her poetry in >> Language School poetics terminology. But this is the purpose of a >> large >> publication like New York Times, to present a work in terms >> familiar to its >> readers. What else can it be? In those terms,the observations of the >> reviewer are quite acute and I do not think they tell any lies >> about the >> poetry. >> >> Here we come to a question we have discussed in this and other >> lists over >> and over again, that there is always a profound break between the >> writing >> process and the reception of a poem. What a poet (or in this case >> a poetry >> school) envisions is different from the way the public sees or >> receives it, >> this difference not necessarily negating (but definitely >> complicating) the >> validity of either side's perceptions. >> >> Ciao, >> >> Murat >> >> On 3/18/07, Ruth Lepson wrote: >>> >>> maybe he was afraid to situate her in Language poetry or anything >>> related >>> for fear of losing readers...? ironic, ain't it? that wd be how >>> to GET >>> readers, I mean, by actually reviewing innovative writers. >>> >>> >>> On 3/17/07 7:19 PM, "Barry Schwabsky" >>> wrote: >>> >>>> Curious. The reviewer is almost entirely concerned with what he >>>> thinks >>> the >>>> poet does and doesn't want to say; at the end, for instance, he >>>> writes >>> of what >>>> the poems "do not tell us," what "they do not say," and what >>>> "they never >>>> advise us" because instead "they say that..." But there is >>>> nothing about >>> the >>>> form of the poems, their linguistic structure. Maybe he thinks >>>> that >>> Times >>>> readers wouldn't believe that such a poet is saying anything at >>>> all and >>>> therefore he is overcompensating? >>>> >>>> Charles Bernstein wrote: >>>> http://www.nytimes.com/2007/03/18/books/review/Burt2.t.html >>>> >>>> >>>> Charles Bernstein >>>> http://epc.buffalo.edu/authors/bernstein/blog V Nicholas LoLordo Assistant Professor Department of English University of Nevada-Las Vegas 4505 Maryland Parkway Box 455011 Las Vegas, NV 89154-5011 Phone: 702-895-3623 Fax: 702-895-4801 ========================================================================= Date: Sun, 18 Mar 2007 10:44:50 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Joshua Corey, last chance for this publication MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Of a print run of 434 copies I have 4 copies left of Joshua Corey's Composition Marble if you are interested this is your last chance order on the website or backchannel for other arrangements, here is some info ----------------------------------------------------------------------- Compostition Marble Winner of the 2005-06 Chapbook award ISBN: 1-886350-84-1 32 pages, saddle stapled, $6.00 A small part of Joshua Corey's work in this collection appeared Denver Quarterly. "This chapbook length set of three poems explores the events of 9/11 in a variety of of methods and voices from Ginsberg's rants to William Carlos Williams variable foot, from Mallarmean and Black Mountain invested space usage to Paul Celan's numbness." --David Baratier Joshua Corey was born in New York City, grew up in New Jersey, and has since lived in New Orleans, western Montana, the San Francisco Bay Area, and upstate New York. He is the author of two collections of poetry, both contest winners: Selah was chosen by Robert Pinsky as the winner of the 2002 Barrow Street Press Book Contest; Fourier Series was chosen by Christian Bök as the winner of the Fitzpatrick-O'Dinn Award and was published by Spineless Books in 2005. His poems have appeared in LIT, VOLT, Tarpaulin Sky, American Letters & Commentary, Octopus Magazine, Typo, Boston Review, MiPOesias, can we have our ball back?, Conjunctions, and other web and print journals. With his fiancée Emily and a Boston Terrier named Bogie he lives in Ithaca, New York, where he is currently finishing a dissertation on modernist pastoral. Visit his blog at http://joshcorey.blogspot.com from Compostition Marble: ragged right the boroughs, the former Idlewild, Hal Hartley movies shot in Texas only to be set here, the Hamptons hampered, West Egg, Montauk, salt water’s long longeurs. Eventually the old world, th’unconscious that dreamt self-writing. Ruins of freedom ruin mass graves and train stations: the Seine, the Danube, the Po, NATO expansion toward Sarajevo: fire flakes from burning libraries suspend red stars over Srebenica. The end of the West forecast in geography, fanaticism, hospitality withdrawn. Stars of suffering and we the excluded consolation. Wrapping round about over the Caucasus, minefields, oilfields abloom, boom: nuclear blackmail, the afterlife in a flash of human hair, self-surrounded by the map’s biggest blank blue. Hard a port, in fog, San Francisco. Peace. Peace and no use in a command center. No use in a needle over zero. Peace and no use finding ground for the inflammable. Peace finds no use never minds never saw a tumbling body’s fall. Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Sun, 18 Mar 2007 11:04:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline especially since, being published by Wesleyan, Armantrout and Scalapino are the langpos "safe" to read and assign -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Sun, 18 Mar 2007 14:07:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Re: Poet Jackson MacLow In-Reply-To: <566427.20598.qm@web83307.mail.sp1.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi Amy, Sure, you can post it. Glad you wrote to me. I want to do that book swap! There's lots of stuff in *fait accompli* about this. I'll write more to you soon. Nick On 3/18/07 12:07 PM, "amy king" wrote: > Nick, > > The below point, esp on the "positive side of ambivalence", holds much import > for me. Can you post a bit more from the entry? Or do you elaborate on this > idea elsewhere? Do you mind if I post it on my blog? > > Thanks, > > Amy > > Nick Piombino wrote:I had the feeling he was > talking about going to museums and art galleries or even movies and > overhearing conversations where reactions often seem to neglect time for fully > absorbing and encompassing an experience. This leads into my recent > preoccupation with the positive side of ambivalence. The ability to tolerate > ambivalence, or ambiguity, can create an opportunity to wonder, to wander, > daydream, to think, to puzzle or figure things out. Full circle: isn't this > often what is wanted from artistic experience in the first place? > > > > > --------------------------------- > It's here! Your new message! > Get new email alerts with the free Yahoo! Toolbar. ========================================================================= Date: Sun, 18 Mar 2007 14:08:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Danny Snelson Subject: Re: Poet Jackson Mac Low Comments: To: "Patrick F. Durgin" In-Reply-To: <32743759.1174239429087.JavaMail.root@elwamui-polski.atl.sa.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline the issue of VORT mentioned below is wonderful. also, i've liked how his work get scattered thru temblor periodically, (tho pieces o' six and words nd ends from ez are around, fer context placing a delight) esp. issue no.5(87). On 3/18/07, Patrick F. Durgin wrote: > > -----. "The Poetics of Chance and the Politics of Simultaneous > Spontaneity, or the Sacred > Heart of Jesus." Talking Poetics from the Naropa Institute. Anne Waldman > and > Marilyn Webb eds. Boulder: Shambhala, 1978: 170-92. > -----. "Poetry, Chance, Silence, Etc." Claims for Poetry. Donald Hall > ed. Ann Arbor: > U. Michigan Press, 1982: 296-302. > -----. Vort Twenty-First Century Pre-views: Jackson Mac Low / Armand > Schwerner. > Barry Alpert ed. 3.2 (1975). > > ...all useful, though maybe underutilized. Oh, and the issue of Paper Air > to which Charles A refers is vol.2, no.3 (1983). Jennifer Scappatone has > an article on JML's work forthcoming this fall in Modern Philology, too. > > ---------------------------------- > www.da-crouton.com > www.kenningeditions.com > ========================================================================= Date: Sun, 18 Mar 2007 14:31:12 -0400 Reply-To: jofuhrman@excite.com Sender: UB Poetics discussion group From: Joanna Fuhrman Subject: Reading in Lancaster, PA MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I'm giving a reading at Franklin and Marshall College this Thursday (the 22nd) at 8pm. It's free and open to the public. Philadelphia Alumni Writers House, 633 College Ave., Lancaster, PA. (717) 291-4244 or e-mail writershouse@fandm.edu. Thanks, Joanna Fuhrman _______________________________________________ Join Excite! - http://www.excite.com The most personalized portal on the Web! ========================================================================= Date: Sun, 18 Mar 2007 13:33:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Pritts Subject: New COMBATIVES issue w/Elisa Gabbert MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi all-- Please point your browsers to H_NGM_N - http://www.h-ngm-n.com = - & check out the release of COMBATIVES Vol. 1 #4 featuring Elisa Gabbert. Click = through to COMBATIVES for ordering information. ~*~ 118 REMIX After John Berryman He asked himself, Am I having fun? How would I know? The dancing was tiring, young alien bodies slamming & prodding from every side. He felt if he were still himself he'd find some dim alcove for two and perform out of self-love & -loathing a glam murder-suicide, redundant in action but not intention. This paisley loveseat's the colors of blood & semen, and anyway who would see him?-Aha, one hot girl hovered apart from the crowd on the floor of the club, a superpowered girl, caped in stealth, who turned everything she looked at transparent, impossible to touch. His hand went right thru himself. ~*~ This means that Vol. 1 #3 - Sarah Lilius & Erin M. Bertram is now = available for free download. ~*~ Don't forget the latest H_NGM_N Chapbooks - A THING AND ITS GHOST by = Evan Commander and THEORY OF THE WALKING BIG BANG by Robert Krut. Both are available from the H_NGM_N B_ _KS section of the site. ~*~ yrs-- Nate Pritts, EIC. H_NGM_N. http://www.h-ngm-n.com =20 ========================================================================= Date: Sun, 18 Mar 2007 15:23:18 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: Re: Armantrout review in Sunday Times Book Review MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit For what it's worth, thought I'd point to an earlier article by Burt on Armantrout. It appeared in the Boston Review in 2000: http://bostonreview.net/BR27.2/burt.html ************************************** AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. ========================================================================= Date: Sun, 18 Mar 2007 14:54:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed I Liked very much Murat's point re the complicating of a poet or poetry group's ideas of how their works should be received, and how they are in fact received. It is not just the massive apparati involved via production, distribtuion, promotion, reviewing, blurbs, mentions, footnotes, soundbytes, blips on blogs--there is also involved another process of translation, and of the existences of othernessess within language, and then within language, modes of that language when attempting to deal with othernesses found in other forms of the language. Murat has written very fascinatingly of many aspects of this in relation with poetry and I think it could be extended to considering the ways poetry is reviewed, as a continual translation across "borders" or "frames" of forms, language tropes, considerations of the readership's language and so forth. I think often, as Murat noted, a reviewer for a large paper can make some very acute direct observations--that sometimes escape the reviewer too closely inolved with the poet, the poet's group and so forth, too intent on being a proselytizer or an explainer, in which case the poetry gets lost amidst the floor plans and the furniture. There is a an amzing short essay by Robert Musil in his collection Posthumous papers of a Living Authro, called "Surrounded by Poets and Thinkers". (The "posthumous" work appeared in 1929, 13 years before the "living author's" death.) Musil begins by nothing how everyone claims they are not reading, no one reads anymore, and that, beyond that, everything is in decline--medecine, mathematics, philopshy--as well as poetry. The catch is that each group sees this deline only in the others, not in itself. So whie the rest of the world goes to hell n a hand basket, one' own chosen feild is burning with a creative fire unequalled in the annals of genius. " Just take a moment to leaf through the news and reviews in our magazines and newspapers, and you will be truly amazed at how many deeply moving, prophetic, greatest, deepest, and very great masters appear over the course of a few months; and how often inthe span of such a brief period, 'finally another true poet' has been granted to the nation; and how the most beautiufl animal story and the best novel of the last ten years is written. A few eeks later hardly anyone can still remember the unforgettable impression they made." Musil continues: "Here we may add the second observation, that all such judegements derive fro diverse circels hermetically closed off to each other. They are formed by related publishers, auhtors, critics, newspapers, readers, and miscellaneous successess, each of whom does not have conatct with anyone outside his praticular circle; and all of these large and samll circles, whose cohesiveness may well be compared to that of a romantic entanglement or a political party, have their own geniuses or at least their "No-one-else more worthy the title.'" Whenever a review of a poet who is considered a kind of "one of us" of this list appears in a venue and by a person that is "not one of us"--the sometimes scandalized response always makes me think of Claude Rains' character in the film Casablanca when he has to shut down Rick's Cafe temporarily. "I'm shocked! Shocked! There is gambling going on!" I also, with several others, thought that given the space and readership --and a myriad other considerations, such as the advertisers, political lobbies etc. which are involved in the printing of any newspaper--i've written for several--that the reviewer did very well by Rae Armantrout and her poetry and I have a strong feeling greatly increased potential and actual sales. The reference to "West Coast cult following" does not necessarily refer to Language poetry--this is an asumption made only by those who know of such a thing as a West Coast Language Poetry. It could just mean "she is very popular in the area where she lives on the West Coast." Besides, having a cult following can be seen by many people as a pretty cool thing! Who among poets doesn't want to think fondly of their own personal "cult following"? Isn't it much better than if say the reviewer wrote that Armantrout is primarily a poet of West Coast suburbia writing of facing the questions which come with aging? That would make her sound like a "confessional" poet wouldn't it? It's fun to imagine a dictatorship of the poet and poets' groups, who would lay down the law for the exact forms of the reception of their works. (These actually already do exist, just never at quite the incredibly omnipotent level that poets and poets' groups wd like them to. There can never be, after all, suffiencent unto the day enough worship to sate the Sun God, the Sun King or The Dear Leader, Big Brother, the Empress, the Gang of Four and the rest--) I just read three reviews from three different journals in NYC in 1858-9 of Whitman's first edition of Leaves of Grass. Excellent and most perceptive reviews!!!! By God--the ideal reader as reviewer! (The famous letter from Emerson being used to promote the second edition.) Of course, the reviewer in all three cases just so happened to be Walter Whitman under other names. Ruth's question re the difference between poetry and the visual arts in terms of people's willingness to see the "postmodern" or "innovative" might be that in hearing, people want "comforting words," or sounds, as humans do. Some people like to be comforted by the familair sounds of one form of poetry, some by another. With images, people are so bombarded continually by the "new," the "shocking," and the "tradition of the new," the "museum without walls" of cyberspace, advertising, videos, t-shirts, logos, fashion, etc etc--that too often the supposedly "radical" show is another way of saying "the familiar," or "the latest variation on the familiar," or "the uncanny mix of the new and the familiar". In other words, in all cases the audiences go for what they expect to have given to them. The familiar, the comforting, whether traditional or innovative, it's all comfort food. And sells like hot cakes to its chosen demographics, proporitonately speaking, given the varying sizes of the audiences involved. If one really wanted to be jolted by something "new" and "shocking" it would be to take a look at the world in front of one. But that's why people turn to comfort food isn't ? And maybe why the lack of the arts' involvements in many ways with the political/activism so often remarked on. Musil ends his little (three and a quarter pp) essay on a very prescient note, seeing from the sitution he dscribes the future just three years away--and in many ways our own present-- "It is unfortunately to be assumed with infinitely greater certainty that this (plenitude of circles, groups) will rather turn out to have been a sign, not recognized early enough, of the spread of a dangerous group-mania. Infected by this mania, thousands of little groups each peddle their own set notion of life, so that it ought not to surprise us if soon a genuine paranoiac will hardly still be able to resist competing with the amateurs." >From: Ruth Lepson >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Armantrout review in Sunday Times Book Review >Date: Sun, 18 Mar 2007 13:30:05 -0400 > >well, I was glad to see the review but what I mean to say is that the TBR >has so much power that if they were to put her work in context, even tho >she >doesn't like to be identified as a Lang poet--in other words, talk abt what >has been going on outside the mainstream since the 70's at least, their >readership might be inclined to pick up a related book or two. It cd change >the readership for poetry in this country. To that end I wrote a letter to >the ed. Maybe this is naive or useless, like mixing iguanas w/ puppies--ok, >I know the metaphor is apt in only a limited sense. If the audience thought >iguanas were some of what poetry is these days they might at least we cd >watch them on Animal Planet. And imagine if The New Yorker had a spread on >Lang poets, books wd sell like sushi. sorry, I'm not thinking too clearly >today. > >Then again here in Boston the same 40 or 50 poets show up at the >'innovative' readings while the great majority of more trad poets go to >other readings, and it seems never the twain shall meet. Maybe it's a >matter >of sensibility, but if postmodern poetry were touted the way postmmodern >visual art is, what a dif world it wd be, for better or worse--considering >the pretentious descriptions at the new ICA in Boston, but at least people >seem to feel they shd go there to find some critique of our society or just >to see what artists are doing. > > >On 3/18/07 12:18 PM, "Herb Levy" wrote: > > > If the idea of publishing reviews of "innovative" poetry in daily > > newspapers is simply to present the same kind of review that a reader of > > this very specialized e-mail discussion list might want to read or > > write, then what's the point? > > > > Stephen Burt's review of Rae Armantrout's new book is generally > > supportive of the work and might actually attract new readers to her > > poetry. I assume that Rae'll get reviews in poetry magazines and > > critical journals that will place her work in context. But it seems > > weird to criticize the review because it doesn't include an extensive > > history of Language poetry and Armantrout's place in that genre, or a > > detailed analysis of formal elements of her work. There are plenty of > > venues for that kind of critique (it seems as if at least half of the > > people reading this list publish one). However, a daily newspaper, even > > one as "august" as the New York Times, is not such a venue. > > > > Reviews in general interest publications such as daily newspapers, > > popular magazines, or NPR programs basically function as a marketing > > tool. The primary focus is to let a general audience know whether they > > might want to spend time and/or money reading the book, seeing the show, > > etc. > > > > Obviously, it's nice when there's something more than that in this kind > > of publication, but the editors and publishers would be perfectly happy > > if they could get away with just running a letter grade, a number of > > stars, a picture of thumbs up or down. _________________________________________________________________ Watch free concerts with Pink, Rod Stewart, Oasis and more. Visit MSN Presents today. http://music.msn.com/presents?icid=ncmsnpresentstagline&ocid=T002MSN03A07001 ========================================================================= Date: Sun, 18 Mar 2007 16:23:38 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ann Bogle Subject: Re: Armantrout review in Sunday Times Book Review MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Thanks to the list members for drawing attention to the review of Rae Armantrout in the TNYTimesBR and to the Boston article by the same reviewer. I might have missed it, not because we don't receive the Review here: we do, but I sometimes forget to "check" it, which is how I usually approach it. I have become someone who barely reads fiction and who wants to know a quick run-down of titles and names; non-fiction is too warring or something, and I'm trying to preserve myself a little in avoiding that at book-length. That leaves poetry; I love to find reviews of poetry in the Review. I would have been stunned that it was there at all. And wondered what "cult following" actually meant re: Armantrout's readership. I got a chance to hear her read, along with other Wesleyan U P poets at the AWP: Armantrout, Komunyakaa, Gizzi, Notley, and Karen Brennan. This has emerged as what will be a good and positive memory from the convention: These are all good poets. It might have been the best reading overall I heard. I am someone who has read language poetry. There was no introduction to them from the podium as language poets. It is exactly the kind of moment I was trying very hard to understand: There is an "us" and "them" mentality in cw, not perpetuated by those poets that I can perceive. The reviewer complains that Armantrout's poems fail to cheer everyone up for living. Discouragement in poems provides solace, if you've been discouraged. Which poets cheer everyone? The reviewer doesn't say. At the reading, I thought the women were like "mother" poets. The skill alone cheered me. My mother, who reads a lot but not poetry, would have had no trouble in following the poetry of that reading. I've been reading a lot of poetry: various poets at poets.org, Dickinson, H.D. It's depressing and beautiful, not all cheering, and hard to share with others except who are other poets or "poetry lovers" and that it's "language poetry" is not the reason for it. That it's poetry is the reason for it. People need to try a little harder to read poetry w/ non-poets. ************************************** AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. ========================================================================= Date: Sun, 18 Mar 2007 16:41:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tarpaulin Sky Press & Journal Subject: NYC BOOK RELEASE PARTY: Danielle Dutton's _Attempts at a Life_ MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Folks in the area, Please join us at the NYC release party for Denver author Danielle Dutton's genre-blurring debut, _Attempts at a Life_, just out from Tarpaulin Sky Press. March 24, 2007, 2 p.m. The Four-Faced Liar 165 West 4th Street (between 6th & 7th Ave), NYC The reading will be hosted Christian Peet, Elena Georgiou, and other TSky Press editors, and will be followed by a book-signing. Operating somewhere between fiction and poetry, biography and theory, the stories in _Attempts at a Life_ do what lively stories do best, creating worlds of possibility, worlds filled with surprises. Like the "experiments in found movement" one character conducts (in "Everybody's Autobiography"), Dutton's works finds movement wherever they turn, each sentence a small explosion of images and anthems and odd juxtapositions. This is writing in which the imagination (both writer's and reader's) is capable of producing almost anything at any moment, from a shiny penny to an alien metropolis, a burning village to a bright green bird. "Alluring puzzles. A rush of the languages of storytelling and moments of helpless intimacy"--Robert Gluck. "Stunning, unsettling precision. Like Gertrude Stein, [Dutton] knows how to be 'at once talking and listening.'"--Laird Hunt. Danielle Dutton was born in Visalia, California in 1975. She is the author of a novel, S P R A W L (forthcoming from Clear Cut Press), and her work has appeared in many journals including NOON, 3rd bed, Denver Quarterly, Fence, and Tarpaulin Sky. She lives with her husband in Colorado, where she is completing a Ph.D. in English and Creative Writing at the University of Denver. ATTEMPTS AT A LIFE Danielle Dutton ISBN: 9780977901937 Fiction. 5"x7", 90 pages, perfectbound March 15, 2007 Also available in a limited, handbound, hardcover edition. http://www.tarpaulinsky.com/Press/Dutton/index.html ========================================================================= Date: Sun, 18 Mar 2007 12:46:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rzep Subject: Re: Harry Crosby - Info request MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit http://www.banger.com/banger/crosby/ http://www.english.uiuc.edu/maps/poets/a_f/crosby/crosby.htm - modern am po fascicle's latest: http://www.fascicle.com/issue03/poems/crosby1.htm http://www.fascicle.com/issue03/essays/lawrence1.htm -- http://notfrog.blogspot.com ----- Original Message ----- From: "Alexander Jorgensen" To: Sent: Sunday, March 18, 2007 9:28 AM Subject: Harry Crosby - Info request > Looking to be advised on where to obtain additional > information on poet Harry Crosby. > > Regards, > Alexander Jorgensen > > --- > "[H]e who leaps into the void owes no explanation > to those who watch." (Jean-Luc Godard) > > > > ____________________________________________________________________________________ > The fish are biting. > Get more visitors on your site using Yahoo! Search Marketing. > http://searchmarketing.yahoo.com/arp/sponsoredsearch_v2.php ========================================================================= Date: Sun, 18 Mar 2007 21:15:42 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: <1dec21ae0703180851u173d2feeraee21f381ced2acf@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I never suggested that "Language school poetics terminology" be employed--though that might have been instructive for me as I don't know what it consists of. I don't much like criticism of contemporary writing that mimics "theory," though, if that's what you mean. But of the two comments you quote, only one, the first, seems to be about her language, and that her language is compact and patterned may be true but it doesn't distinguish it much from that of many other poets. "Like a silicon chip" is a nice simile though. And the second comment is still about her subject matter, isn't it. Of course, with a good poet the thought and the form are hard to extricate...but I'd have liked to have learned more from the review about the second. I am not writing here from the position of a know-it-all, but rather as someone who has been interested in Armantrout's work without ever having reached the "eureka!" moment of feeling that I get it. So when I read a review I'm hoping to be nudged a bit toward getting it. And my bias is such that it will more likely be a formal description that gets me there than a discussion of the subject matter of the work. Murat Nemet-Nejat wrote: Barry, Ruth, I never thought I would ever defend the New York Time Sunday Book Review, but I think your comments are unfair. For instance: "Compact and as densely patterned as silicon chips" or "Where other poets seek symbols for the soul, Armantrout looks at minds and sees machines: 'Crossed wires released such / hope-like sparks.'" These seem to me to be authentic observations about the form and language of the poems. It is true that the review does not approach her poetry in Language School poetics terminology. But this is the purpose of a large publication like New York Times, to present a work in terms familiar to its readers. What else can it be? In those terms,the observations of the reviewer are quite acute and I do not think they tell any lies about the poetry. Here we come to a question we have discussed in this and other lists over and over again, that there is always a profound break between the writing process and the reception of a poem. What a poet (or in this case a poetry school) envisions is different from the way the public sees or receives it, this difference not necessarily negating (but definitely complicating) the validity of either side's perceptions. Ciao, Murat On 3/18/07, Ruth Lepson wrote: > > maybe he was afraid to situate her in Language poetry or anything related > for fear of losing readers...? ironic, ain't it? that wd be how to GET > readers, I mean, by actually reviewing innovative writers. > > > On 3/17/07 7:19 PM, "Barry Schwabsky" wrote: > > > Curious. The reviewer is almost entirely concerned with what he thinks > the > > poet does and doesn't want to say; at the end, for instance, he writes > of what > > the poems "do not tell us," what "they do not say," and what "they never > > advise us" because instead "they say that..." But there is nothing about > the > > form of the poems, their linguistic structure. Maybe he thinks that > Times > > readers wouldn't believe that such a poet is saying anything at all and > > therefore he is overcompensating? > > > > Charles Bernstein wrote: > > http://www.nytimes.com/2007/03/18/books/review/Burt2.t.html > > > > > > Charles Bernstein > > http://epc.buffalo.edu/authors/bernstein/blog > ========================================================================= Date: Sun, 18 Mar 2007 16:48:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Amato Subject: Re: Armantrout review in Sunday Times Book Review Comments: cc: Kass Fleisher In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I like Nick's reading of the music/indie industry lingo. I don't *think* most readers of NYTBR will see it that way, and I'm not certain Stephen B entirely meant it that way. And it still leaves open the question of how to think about what's happened twixt Rae's "cult" reception and SB's gesturing toward a nationwide readership. Which is to say, even if avant-garde reception works this way over a period of a few decades, it might be a mistake to see the corresponding literary history as analogous to music industry trends. Rae is widely anthologized, for one -- she's a nationally known quantity, at least insofar as poets can be understood as known quantities, and not someone who's been toiling away in relative obscurity (relative, that is, to any but the most celebrated poets; if you prefer, she's no more obscure than 99% of the poets out there). I'm very happy she's gotten the attention she's gotten, just to be clear. I have, let's see, five anthologies here at home that include work by Rae, and one compilation that incl. her work (the ~Conjunctions~ "American Poetry: States of the Art" issue). Which is to say, good for her. And of course, again, nice to see a review of her latest in NYTBR. Btw, David -- me, I don't want no cult following! Best, Joe >yeah, I mostly liked the review as well, given the constraints >under which its author was no doubt operating.... > >as for the phrase you cite, Joe [and that you comment on, Maxine] >hat sense of "cult following" is I think most commonly seen in rock >criticism--which fact will either amuse or irritate those who get >it: what does it mean to treat language poetry writers/readers as >akin to, say, fans of some indie rock band?..anyway, for better or >for worse, Burt is offering the shorthand analogy for career >narratives that NYT readers are most likely to understand; and the >assumption/argument entailed by "what should be", then, is a version >of the one everybody makes about their favorite local band: they >should make it big! get signed to a major! > >so, yeah, the cultural and political specificity of West coast >language writing gets slighted, but it was ever thus: this is trad >literary history: the wave of the avant-garde recedes and one or >two "major poets" are left gasping on the strand, to be discovered >by critics..... > >On Mar 18, 2007, at 10:05 AM, Joe Amato wrote: > >>I thought it was a solid review, BUT I didn't esp. like the >>following: "who has been writing such poems for 30 years, at first >>for a West Coast cult following, now for what should be a national >>audience." >> >>There's the problem, for one, with "cult following" (esp. when you >>situate same out on the West Coast, where the term has a peculiar >>valence). And then there's this question of what's happened twixt >>"at first" and "now for what should be." How to get a handle on >>Armantrout's present readership, if it's neither a "cult" nor a >>"national audience"? >> >>Anyway. >> >>Best, >> >>Joe >> >>>Barry, Ruth, >>> >>>I never thought I would ever defend the New York Time Sunday Book Review, >>>but I think your comments are unfair. For instance: >>> >>>"Compact and as densely patterned as silicon chips" or "Where other poets >>>seek symbols for the soul, Armantrout looks at minds and sees machines: >>>'Crossed wires released such / hope-like sparks.'" >>> >>>These seem to me to be authentic observations about the form and language of >>>the poems. It is true that the review does not approach her poetry in >>>Language School poetics terminology. But this is the purpose of a large >>>publication like New York Times, to present a work in terms familiar to its >>>readers. What else can it be? In those terms,the observations of the >>>reviewer are quite acute and I do not think they tell any lies about the >>>poetry. >>> >>>Here we come to a question we have discussed in this and other lists over >>>and over again, that there is always a profound break between the writing >>>process and the reception of a poem. What a poet (or in this case a poetry >>>school) envisions is different from the way the public sees or receives it, >>>this difference not necessarily negating (but definitely complicating) the >>>validity of either side's perceptions. >>> >>>Ciao, >>> >>>Murat >>> >>>On 3/18/07, Ruth Lepson wrote: >>>> >>>>maybe he was afraid to situate her in Language poetry or anything related >>>>for fear of losing readers...? ironic, ain't it? that wd be how to GET >>>>readers, I mean, by actually reviewing innovative writers. >>>> >>>> >>>>On 3/17/07 7:19 PM, "Barry Schwabsky" wrote: >>>> >>>>> Curious. The reviewer is almost entirely concerned with what he thinks >>>>the >>>>> poet does and doesn't want to say; at the end, for instance, he writes >>>>of what >>>>> the poems "do not tell us," what "they do not say," and what "they never >>>>> advise us" because instead "they say that..." But there is nothing about >>>>the >>>>> form of the poems, their linguistic structure. Maybe he thinks that >>>>Times >>>>> readers wouldn't believe that such a poet is saying anything at all and >>>>> therefore he is overcompensating? >>>>> >>>>> Charles Bernstein wrote: >>>>> http://www.nytimes.com/2007/03/18/books/review/Burt2.t.html >>>>> >>>>> >>>>> Charles Bernstein >>>>> http://epc.buffalo.edu/authors/bernstein/blog > >V Nicholas LoLordo >Assistant Professor >Department of English >University of Nevada-Las Vegas >4505 Maryland Parkway >Box 455011 >Las Vegas, NV 89154-5011 > >Phone: 702-895-3623 >Fax: 702-895-4801 ========================================================================= Date: Sun, 18 Mar 2007 17:34:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lcabri@UWINDSOR.CA Subject: Roy Miki's discussion & reading 19-20 March MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Poems, a painting, a photograph, quotations selected by ROY MIKI are now=20 available for browsing and downloading by scrolling down at News & Events, = http://web4.uwindsor.ca/english. With these texts, Miki invites interested = readers and writers to join his poetry discussion that is entitled "Who=20 Me?" Miki's event takes place at Pause Cafe (74 Chatham St. W., Windsor,=20 Ontario) on Monday 19 March at 7:30PM, no cover, open to all. Miki will=20 also give a poetry reading in MacPherson Lounge, Alumni Hall, University=20 of Windsor, on Tuesday 20 March at 3:00PM, all welcome, refreshments=20 provided. Roy Miki is a writer, poet, and editor who teaches contemporary literature = at Simon Fraser University. He is the author of Justice in Our Time=20 (co-authored with Cassandra Kobayashi) (Talonbooks 1991), a documentary=20 history of the Japanese Canadian redress movement in which he actively=20 participated, two books of poems, Saving Face (Turnstone 1991) and Random=20 Access File (Red Deer College Press 1995), and a collection of critical=20 essays, Broken Entries: Race, Subjectivity, Writing (Mercury Press 1998).=20 His study of George Bowering won the Gabrielle Roy award for best book on=20 Canadian literature in 1991 from the Association for Canadian and Quebec=20 Literatures. His third book of poems, Surrender (Mercury Press 2001),=20 received the Governor General?s Award for Poetry. His latest books are=20 Redress: Inside the Japanese Canadian Call for Justice (Raincoast 2004), a = creative blend of personal reflection, documentary history, and critical=20 examination, and the book of poems, There, just out from New Star Books. Roy Miki's events are sponsored by The Canada Council, Rampike magazine,=20 Pause Cafe, and the University of Windsor's Department of English=20 Language, Literature & Creative Writing. This will be his first visit to=20 the Windsor-Detroit area. Further info, lcabri@uwindsor.ca ========================================================================= Date: Sun, 18 Mar 2007 23:07:16 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit It's like a completely different writer. I wish he (or his editors) had more respect for the Times' readers. Why couldn't a sentence like this be published there?: "Many poets could portray a beleaguered housewife, an oil spill, the land of the dead, or a Homeric siren: Armantrout's trick is to do all four at once. In doing so she also asks how much her word choice, our word choice, creates the events and reactions we try to interpret. " That really says something about the way the poetry works, and in the process indicates something of its subject matter as well. Tom Beckett wrote: For what it's worth, thought I'd point to an earlier article by Burt on Armantrout. It appeared in the Boston Review in 2000: http://bostonreview.net/BR27.2/burt.html ************************************** AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. ========================================================================= Date: Sun, 18 Mar 2007 20:48:50 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: new at e-x-c-h-a-n-g-e-v-a-l-u-e-s... MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit my interview with Australian poet Jill Jones. Go to: _http://willtoexchange.blogspot.com_ (http://willtoexchange.blogspot.com) ************************************** AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. ========================================================================= Date: Sun, 18 Mar 2007 19:02:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Marvin Minsky: "The Emotion Machine" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Chapter 1 of Marvin Minsky's new book "The Emotion Machine" (Simon & Schuster, Nov 2006) is online at http://www.edge.org/documents/archive/edge203.html#minsky Anybody read it yet? ja? ========================================================================= Date: Sun, 18 Mar 2007 22:34:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Cross Subject: Taggart chapbook still available // Stephen Ratcliffe's REAL MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit All: I've received a number of emails asking about the availability of John Taggart's Atticus/Finch chapbook, Unveiling/Marianne Moore, and I thought to send a general note to let folks know it's still available. I printed fifty extra copies of this one to make sure there'd be enough to go around, so if you'd like to order a copy, you still have time to do so. Also, if you'd like me to set a copy aside for you, simply send an email. Here's the ordering info: Send a check made payable to Michael Cross for $8 to: Atticus/Finch Chapbooks c/o Michael Cross State University of New York at Buffalo Samuel Clemens Hall #306 Buffalo, New York 14260-4610 I also thought to forward an announcement for Stephen Ratcliffe's new book, REAL, which I designed for Avenue B. In my opinion, nobody's doing what Ratcliffe's doing. This new work promises to be _very_ significant for writers thinking about what a long poem can do. Ordering info below: Stephen Ratcliffe REAL Avenue B 484 pages, paperback ISBN 978-0-939691-13-5, $22 Publication Date April 1, 2007 Pre-publication price, $18 postpaid (through March 31), send check to Avenue B, PO Box 714, Bolinas, CA 94924. from the back cover: Written as a daily practice from March of 2000 to July of 2001, REAL has a meditative intensity as it gives both the spectacular and the ordinary moments of daily life an equal attention. This is a deep, long poem, not for those addicted to the surface pleasures of the quick cut. Each section of this poem is seventeen lines and certain themes return again and again -- the ocean, relations between men and women, small animals such as cats and owls, lemon yellow and various blues. This structure frames and supports the poem’s celebration of intimacy with both the natural and the human world and its quiet, patient attentiveness to how luminous it all can be to those who just sit still and notice. -- Juliana Spahr This year and a half of the poet’s life reads like an inspired documentary. Daily pieces are comprised of stage directions in which action, color, figures and objects emerge and disappear in the cinematic framing of a subtle drama. Instructions on what to view in a beautifully spare but concise world. -- Joanne Kyger Stephen Ratcliffe’s REAL, the second volume in what promises to be a long poem of unprecedented magnitude, continues where 2002’s Portraits & Repetition left off, occupying the measure of a day in 474 takes or frames, each documenting the minutia of the subject’s extension into the world as the ocean’s low-end rumble frames the coastline it erodes. These nuanced gestures resist being dwarfed by the sheer girth of the project, so that in a tradition akin to the minimalist music of Steve Reich or Tony Conrad, the repetition of the open note holds the listener mesmerized for hours, suspended just outside the body’s frame, only for the slightest tonal shift to return one’s geist to form; as such, these poems read not as autonomous stanzas in a collection of verse, but rather as notes in a massive orchestral architecture. Ratcliffe dwells in this music with such confidence that, when it shifts directions and reorients its centers of gravity, the entire structure quakes, taking us with it. -- Michael Cross Available directly from Avenue B, P.O. Box 714, Bolinas, CA 94924 or from Small Press Distribution, 1341 Seventh Street, Berkeley, CA 94710 ========================================================================= Date: Sun, 18 Mar 2007 19:48:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Kimball & Stein at SPT this Fri 3/23 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Small Press Traffic is pleased to present a reading by Jack Kimball & Suzanne Stein Friday, March 23, 2007 Jack Kimball joins us from Boston in celebration of his new book, Post-Twyla, a “postlanguage verse-critique” just out from blue lion books. His previous books include Quite Vacation and Frosted, which Eileen Myles says “…pushes the reader to fill in the dots. It's angled poetry, full of unwilling tears, abruptness…very cool truth, a slow nostalgic ellipse..." The editor and publisher of Faux Press, we have Kimball to thank (along with Stephanie Young) for the great item that is the Bay Poetics anthology. He also writes a thoughtful blog at pantaloons.blogspot.com. The former codirector and film curator of four walls gallery in San Francisco, Suzanne Stein’s poetry & performance talks have appeared in a variety of publications, including Bay Poetics, Encyclopedia, Vanitas, Both/Both, Mirage #4 Period[ical], Commonweal, 14 Hills, Small Town, and minor/american. Film and film/text performance work has been shown at Refusalon Gallery, the Berkeley Art Center, New Langton Arts, and Artists Television Access. She is editor & publisher of the small press TAXT, committed to making visible the work of contemporary poets, writers, & artists previously under-represented in publication. She lives in Oakland. Unless otherwise noted, events are $5-10, sliding scale, free to current 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) ?? http://www.sptraffic.org ???? & coming up April 13 Ed Roberson & Evie Shockley April 22 Anne Boyer & William Moor (at New Yipes) April 27 Memorial for kari edwards May 18 Julie Carr & Andrew Joron May 25 Paul Hoover & Tenney Nathanson Elizabeth Treadwell, Director Small Press Traffic Literary Arts Center at CCA 1111—8th Street San Francisco, California 94107 Small Press Traffic is an autonomous, nonprofit community arts center and your donations are always welcome and helpful. Thank you. Elizabeth Treadwell http://secretmint.blogspot.com http://elizabethtreadwell.com _________________________________________________________________ Mortgage refinance is hot 1) Rates near 30-yr lows 2) Good credit get intro-rate 4.625%* https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h2a5f&s=4056&p=5117&disc=y&vers=743 ========================================================================= Date: Sun, 18 Mar 2007 23:05:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Dark sky. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Dark sky. Dark sky. You take my friends from me. They return, mother, in dreams. Dark sky. She is dead and the argument has disappeared, in the still air there. Nothing is left of the argument. She cannot reply. The offering no longer stands. The offering disappears as ghost disap- pears. Ghost is the creature that topples to its feet. More and more I remain on mountaintop or valleybottom. There is naught in freedom or captivity. I am alone in company. I cannot reach out. Within the series of disappearances I disappear. The series continues in the other's guise. The series is no longer mine. The series is yours. http://www.asondheim.org/justoday.mp4 a brilliant work i am alive. ========================================================================= Date: Sun, 18 Mar 2007 21:27:29 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Re: poet Jackson MacLow In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Jackson MacLow came to the last reading I did in NYC he was wearing a funny red hat he would wear that red hat all winter funny, that red hat he always wore I would recommend reading Pieces o six and avoiding Words from Ez, it is crap Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Mon, 19 Mar 2007 01:35:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: <270397.90977.qm@web86004.mail.ird.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi Barry and David, Perhaps, our difference is in our expectations from a New York Times Book Review article. I expect very little. New York Times almost never reviews poetry books, and when it does (forget about the quality of the review) its choice of books seems so arbitrary to me that I feel speechless. Her being one of our own, I am glad they chose Rae's book regardless of the reason for their choice. I am glad the review does not say anything stupid or blatantly false about the book. I share your ambivalence towards Rae's work. I heard her read about two years ago in New York. A few weeks later, over dinner, I asked a poet friend why he though Rae was a very good poet. He explained. His arguments were reasonable and cogent; but I was not convinced. For me, there was a militant dryness to Rae's work which -to use an odd phrase- was not necessary, an attitude rather than an essence. In its own way, I think, the reviewer is trying to confront this quality in Rae's work, both supporting and defining it as a radical skepticism and also warning the average reader about it. I give the review a lot of credit for this attempt. Are you not saying your quarrel is basically with Rae's work, which the review could not quite dispel, the same way my poet friend could not dispel mine? "Where other poets seek symbols for the soul, Armantrout looks at minds and sees machines: 'Crossed wires released such / hope-like sparks'": Are images not part of the form/meaning of a poem? For instance, is "hope-like" a positive image of hope or a negative image of illusion of hope? David, thank you for pointing the direction in which the comments in my earlier post were going. Ciao, Murat On 3/18/07, Barry Schwabsky wrote: > > I never suggested that "Language school poetics terminology" be > employed--though that might have been instructive for me as I don't know > what it consists of. I don't much like criticism of contemporary writing > that mimics "theory," though, if that's what you mean. > > But of the two comments you quote, only one, the first, seems to be > about her language, and that her language is compact and patterned may be > true but it doesn't distinguish it much from that of many other poets. "Like > a silicon chip" is a nice simile though. And the second comment is still > about her subject matter, isn't it. > > Of course, with a good poet the thought and the form are hard to > extricate...but I'd have liked to have learned more from the review about > the second. I am not writing here from the position of a know-it-all, but > rather as someone who has been interested in Armantrout's work without ever > having reached the "eureka!" moment of feeling that I get it. So when I read > a review I'm hoping to be nudged a bit toward getting it. And my bias is > such that it will more likely be a formal description that gets me there > than a discussion of the subject matter of the work. > > Murat Nemet-Nejat wrote: > Barry, Ruth, > > I never thought I would ever defend the New York Time Sunday Book Review, > but I think your comments are unfair. For instance: > > "Compact and as densely patterned as silicon chips" or "Where other poets > seek symbols for the soul, Armantrout looks at minds and sees machines: > 'Crossed wires released such / hope-like sparks.'" > > These seem to me to be authentic observations about the form and language > of > the poems. It is true that the review does not approach her poetry in > Language School poetics terminology. But this is the purpose of a large > publication like New York Times, to present a work in terms familiar to > its > readers. What else can it be? In those terms,the observations of the > reviewer are quite acute and I do not think they tell any lies about the > poetry. > > Here we come to a question we have discussed in this and other lists over > and over again, that there is always a profound break between the writing > process and the reception of a poem. What a poet (or in this case a poetry > school) envisions is different from the way the public sees or receives > it, > this difference not necessarily negating (but definitely complicating) the > validity of either side's perceptions. > > Ciao, > > Murat > > On 3/18/07, Ruth Lepson wrote: > > > > maybe he was afraid to situate her in Language poetry or anything > related > > for fear of losing readers...? ironic, ain't it? that wd be how to GET > > readers, I mean, by actually reviewing innovative writers. > > > > > > On 3/17/07 7:19 PM, "Barry Schwabsky" wrote: > > > > > Curious. The reviewer is almost entirely concerned with what he thinks > > the > > > poet does and doesn't want to say; at the end, for instance, he writes > > of what > > > the poems "do not tell us," what "they do not say," and what "they > never > > > advise us" because instead "they say that..." But there is nothing > about > > the > > > form of the poems, their linguistic structure. Maybe he thinks that > > Times > > > readers wouldn't believe that such a poet is saying anything at all > and > > > therefore he is overcompensating? > > > > > > Charles Bernstein wrote: > > > http://www.nytimes.com/2007/03/18/books/review/Burt2.t.html > > > > > > > > > Charles Bernstein > > > http://epc.buffalo.edu/authors/bernstein/blog > > > ========================================================================= Date: Mon, 19 Mar 2007 07:00:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Prejsnar Subject: Language Harm this Wednesday MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit every other month the Atlanta Poets Group presents Language Harm this month's theme: Palimpsests / Texts Through Time layer your texts and grab your watch--- the APG promises to thrill with wondrous linguistic stunts---superimposing, erasing, breaking, bonding, and rebuilding texts---before your very eyes! on Wednesday, March 21 8:00 pm $5 at: Eyedrum 290 Martin Luther King Jr. Drive @lanta GA http://www.eyedrum.org/ ========================================================================= Date: Mon, 19 Mar 2007 08:07:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Language Harm this Wednesday Comments: To: m.prejsnar@WORLDNET.ATT.NET Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline gymnasts of sound! >>> m.prejsnar@WORLDNET.ATT.NET 03/19/07 7:00 AM >>> every other month the Atlanta Poets Group presents Language Harm this month's theme: Palimpsests / Texts Through Time layer your texts and grab your watch--- the APG promises to thrill with wondrous linguistic=20 stunts---superimposing, erasing, breaking, bonding, and rebuilding=20 texts---before your very eyes! on Wednesday, March 21 8:00 pm $5 at: Eyedrum 290 Martin Luther King Jr. Drive @lanta GA http://www.eyedrum.org/ ========================================================================= Date: Mon, 19 Mar 2007 07:17:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: ars poetica update Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The ars poetica project continues to expand at: http://www.logolalia.com/arspoetica/ Poems appeared last week by: Will Hochman and Shin Yu Pai. Poems will appear this week by: Thomas Fink, Chris Mansell, and C. J. Allen. A new poem about poetry every day. Enjoy, Dan ========================================================================= Date: Mon, 19 Mar 2007 08:14:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: Poet Jackson MacLow In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable as well as the old VORT issue (#8) edited by Barry Alpert (it's a =20 dble issue, hald on JMC, half on Armand Schwerner), includes a funny =20 iece by the black tarantula, as Kathy Acker was known back then, & a =20 umber of good pieces by the likes of Schwerner, allen fisher, steve =20 mccaffery and eric mottram. Pierre On Mar 18, 2007, at 1:10 PM, Joe Amato wrote: > I'd also be sure to check out the premier issue of the journal =20 > ~Crayon~ (Fall 1997), which was a festschrift in honor of Jackson's =20= > 75th bday (yes, I have a piece in there myself). > > Best, > > Joe =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D "It may well be the case that one has to wait a long time to find out hwether the title of avant-garde is deserved." =97 Jean-Fran=E7ois Lyotard =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D Pierre Joris 244 Elm Street Albany NY 12202 h: 518 426 0433 c: 518 225 7123 o: 518 442 40 71 Euro cell: (011 33) 6 75 43 57 10 email: joris@albany.edu http://pierrejoris.com Nomadics blog: http://pjoris.blogspot.com =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= ========================================================================= Date: Mon, 19 Mar 2007 05:09:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: <20070318230716.29003.qmail@web86014.mail.ird.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit It's great to have both http://bostonreview.net/BR27.2/burt.html and http://www.nytimes.com/2007/03/18/books/review/Burt2.t.html on the net and also http://writing.upenn.edu/pennsound/x/Armantrout.html concerning Rae Armantrout's work. In this thread, I've read several underestimations of the quality of the nytimes review. It's a much more um exciting read than the bostonreview.net piece. I did actually find the nytimes review exciting. Clearly it was written after the bostonreview.net piece. Stephen Burt had some practice already, then. Also, one senses some productive editorial pressure in the concision of the nytimes piece. ja http://vispo.com ========================================================================= Date: Mon, 19 Mar 2007 09:40:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed im wondering why this crew didnt weigh in on the danagoodyear/david orr dueling essays, one in the newyorker and theother in the sunday book review section a few weks ago.susan maurer >From: Jim Andrews >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Armantrout review in Sunday Times Book Review >Date: Mon, 19 Mar 2007 05:09:57 -0700 > >It's great to have both http://bostonreview.net/BR27.2/burt.html and >http://www.nytimes.com/2007/03/18/books/review/Burt2.t.html on the net and >also http://writing.upenn.edu/pennsound/x/Armantrout.html concerning Rae >Armantrout's work. > >In this thread, I've read several underestimations of the quality of the >nytimes review. It's a much more um exciting read than the bostonreview.net >piece. I did actually find the nytimes review exciting. Clearly it was >written after the bostonreview.net piece. Stephen Burt had some practice >already, then. Also, one senses some productive editorial pressure in the >concision of the nytimes piece. > >ja >http://vispo.com _________________________________________________________________ Mortgage refinance is hot 1) Rates near 30-yr lows 2) Good credit get intro-rate 4.625%* https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h2a5f&s=4056&p=5117&disc=y&vers=743 ========================================================================= Date: Mon, 19 Mar 2007 09:58:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: tamarind Mime-Version: 1.0 Content-Type: text/plain; format=flowed i am of the opinion people should iimediately backchannel tom savage offers of vast sums of money for a copy of the limited edition hand assembled tamarind which was put together at the home of amy irving yesterday. it was so much fun and it is an interesting issue, after we had all worked like fi eldmice to put it together we read it to each other so much fun. susan scutti, larissa shmaillo,dorothy friedman august. ron price read indrans poem as well as his own and will mail copies off to canada where indran a. is now. orn kolm will see that it is archived in buffalo , bennets archive and fales, although he was not to be persuaded the resurreactn the fabulous unbearables assmbly mag. yay for the fine old fun and total artistic freedom of the assembly magazine. susan maurer _________________________________________________________________ i'm making a difference. Make every IM count for the cause of your choice. Join Now. http://clk.atdmt.com/MSN/go/msnnkwme0080000001msn/direct/01/?href=http://im.live.com/messenger/im/home/?source=hmtagline ========================================================================= Date: Mon, 19 Mar 2007 10:45:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Re: Poet Jackson MacLow In-Reply-To: <8BABF121-8DA2-4DCA-98F4-E071A71222F5@mac.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable There is a review of Jackson Mac Low's 1986 Roof Books "selected" titled "Representative Works: 1939-1985" in Parnassus, Volume 15, No.1 (1989). The review is substantial and was written by John Perreault and is on pages 201-216. I came across this interesting piece quite awhile after i= t was written because there was a review in this issue of my own first book o= f poetry by Sven Birkerts , otherwise I probably would not have been reading Parnassus. I told Jackson about it after I discovered it, which was a few years after its publication, and gave him a copy because he didn't know at the time that it had been published! For those who still remember the era before Google, such things in the small press world were very possible; still Jackson was surprised to learn about the review by Perreault, someone who I knew very slightly and I'm pretty sure Jackson knew somewhat better. The review opens like this: "How do we judge the importance of a poet living in our time? This is an embarrassing question. Accolades and critical reception may not be the answer, for these are often determined by academic fashion. The number of books sold is certainly not the proper gauge. Although an informed consensu= s over time may afford some hint, this is little help to individual readers whose responses may be caused by the weather, politics or personal need. We are left, then, with comparing the poems produced by our contemporary to poems from the past that are now judged important. In other words, poet X i= s significant because his or her poems look like, sound like, or have a similar effect to poet Y, who we are agree was a great and wonderful poet. This leaves out innovation as a value. No wonder, then, that Jackson Mac Low, whose poetry is very different from anyone else's, keeps escaping official critical attention. His work is seen as too eccentric. Yet Mac Low has had friendships and alliances with some well-regarded contemporaries- David Antin, Jerome Rothenberg, Clayton Eshleman- poets with some very different approaches to poetry, but all admirers of his dedication and daring. He is a poet''s poet. Influence upon other writers can be another factor in determining importance. Has Mac Low had much influence? If he has, until recently it ha= s been the influence of an example, not of technique, theory or effect. He ha= s been the quintessential nonacademic, Bohemian poet, who has avoided the popular with a vengeance, generating (it is rumored) trunkloads of poetry. Slowly, however, it has begun to dawn on the younger generation of Language poets that the freedom he forced upon his readers and performers in the for= m of an unflinching opacity of language is virtuous, perhaps profound, and certainly worth following up. Mac Low is a difficult poet, casting doubt upon certain conventions of poetry and substituting premises of his own. Also, if the truth be known, a= n overall view of his oeuvre was always hard to come by. His output has been extremely varied, and only sporadically available in print. In *Representative Words*- which is not a volume of selected or collected poems, but a sampling of the *kinds* of poems he has composed over almost fifty years- we have at last a fine introduction to the pioneering work of an American poet who is probably our most dedicated literary avant-gardist. I use the term avant-garde advisedly. Mac Low is a pacifist and the term is of military origins. Nevertheless, Mac Low's work is what used to be called experimental, and does attempt to question poetry as personal expression, a= s printed text, and as static cultural product. Although the spirit is quite different- more Buddhism than nihilism or militarist anarchism- Mac Low's efforts are descended from Futurist, Dadaist, and Constructivist sound poems invented early in this century. The Dadaist Tristan Tzara, for instance, is celebrated for producing poems by reading words written on slips of paper as they were pulled from a hat. Furthermore, an understanding of Mac Low's work requires some knowledge of fields outside of literature, most particularly the aleatory compositions o= f John Cage. Cage, now the grand old man of contemporary music, has systematically applied chance procedures to musical compositions and performance, using noise and silence as well as standard and altered musica= l instruments, allowing considerable leeway to performer-interpreters of his nontraditional scores.... Now, however at the age of sixty-six, Mac Low seems to have abandoned or modified his aleatory procedures in favor of "free" composition. This comes just in time, for his earlier poems have begun to appear in poetry anthologies. Certainly the respect with which he is treated by the Language poetry group has had something to do with his new visibility. Endurance is not its own reward..." The review goes on to examine several poems in close detail and ends with a discussion of Mac Low's recognition by the L=3DA=3DN=3DG=3DU=3DA=3DG=3DE poets, including the fact that his work is lauded by Ron Silliman but not included in "In Th= e American Tree" ( that did not include poets "whose mature style and public identity were firmly established prior to the publication of 'On Speech' [b= y Robert Grenier]". Perreault notes sagely that "As far as I can see, Mac Low's poetry is centered on oral language presentation, which if not ordinary speech per se is certainly closely related to it, and relegates print presentation to a secondary status....But...Mac Low challenges the notion that words can be abstract or language-centered; even unconnected strings of words and word-fragments will unavoidably refer to or at least suggest things in the world, and create meaning. He proposes as a counter t= o the language-centered view of the new poetry the term perceiver-centered." On 3/19/07 7:14 AM, "Pierre Joris" wrote: > as well as the old VORT issue (#8) edited by Barry Alpert (it's a > dble issue, hald on JMC, half on Armand Schwerner), includes a funny > iece by the black tarantula, as Kathy Acker was known back then, & a > umber of good pieces by the likes of Schwerner, allen fisher, steve > mccaffery and eric mottram. >=20 > Pierre >=20 > On Mar 18, 2007, at 1:10 PM, Joe Amato wrote: >=20 >> I'd also be sure to check out the premier issue of the journal >> ~Crayon~ (Fall 1997), which was a festschrift in honor of Jackson's >> 75th bday (yes, I have a piece in there myself). >>=20 >> Best, >>=20 >> Joe >=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 > "It may well be the case that one has > to wait a long time to find out hwether the > title of avant-garde is deserved." > =8B Jean-Fran=E7ois Lyotard > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > Pierre Joris > 244 Elm Street > Albany NY 12202 > h: 518 426 0433 > c: 518 225 7123 > o: 518 442 40 71 > Euro cell: (011 33) 6 75 43 57 10 > email: joris@albany.edu > http://pierrejoris.com > Nomadics blog: http://pjoris.blogspot.com > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D ========================================================================= Date: Mon, 19 Mar 2007 10:12:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Colm Mulcahy Subject: Re: Fwd: Re: Language Harm this Wednesday In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" nope Colm Mulcahy, Sci 322, Dept. of Mathematics, PO Box 953, Spelman College, Atlanta, Georgia 30314, USA. (404) 270-5837, colm@spelman.edu http://www.spelman.edu/~colm http://www.maa.org/columns/colm/cardcolm.html ("Card Colm") NOTE: new chair of the department is: Dr. Yewande Olubummo, Sci 323, yolubumm@spelman.edu, 270 5832. "John Roche" Sent by: UB Poetics discussion group 03/19/2007 09:57 AM Please respond to UB Poetics discussion group To colm@spelman.edu cc Subject Fwd: Re: Language Harm this Wednesday Do you know these guys? gymnasts of sound! >>> m.prejsnar@WORLDNET.ATT.NET 03/19/07 7:00 AM >>> every other month the Atlanta Poets Group presents Language Harm this month's theme: Palimpsests / Texts Through Time layer your texts and grab your watch--- the APG promises to thrill with wondrous linguistic stunts---superimposing, erasing, breaking, bonding, and rebuilding texts---before your very eyes! on Wednesday, March 21 8:00 pm $5 at: Eyedrum 290 Martin Luther King Jr. Drive @lanta GA http://www.eyedrum.org/ -- This message has been scanned by the Securiant SpiderISA for spam and viruses, and is believed to be safe and clean. Securiant SpiderISA ========================================================================= Date: Mon, 19 Mar 2007 10:57:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Literary Buffalo E-Newsletter 3.19.07-3.25.07 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable LITERARY BUFFALO 3.19.07-3.25.07 ANNOUNCEMENTS The Buffalo Small Press Book Fair (3.31.07) is nearly upon us=21 Visit: http://www.buffalosmallpress.org for details Just Buffalo workshop begins Saturday: THE TAO OF WRITING THE SHORT STORY A Fiction Writing Workshop Instructor: Ralph Wahlstrom 2 Saturdays: March 24 and 31 10 a.m. - 2 p.m. with a break for lunch. Market Arcade Building, 617 Main St., First Floor. =24100, =2480 for members Go to the Just Buffalo website for details and to register=21 READINGS THIS WEEK Unless otherwise indicated, all readings are free and open to the public. 3.19.07 Poetics Plus at UB/Hallwalls Joan Retalleck Poetry Reading and Talk Monday, March 19 3:30 p.m. Talk on the aesthetics/ethics of formallyinnovative writing by po= st-war American women poets. 436 Clemens Hall, UB Amherst Campus 8:00 p.m. Poetry Reading, The Cinema at Hallwalls, 341 Delaware Ave. Joan Retallack is John D. and Catherine T. MacArthur Professor of Humanitie= s at Bard College. She is the author of numerous books of poetry and critic= al studies, including Memnoir (2004), The Poethical Wager (2003), Steinzas = en m=E9diation (2002), How To Do Things With Words (1998), Afterrimages (19= 95), and Errata 5uite (1994), which won the Columbia Book Award. She recei= ved the America Award in Belles-Lettres for Musicage: John Cage in Conversa= tion with Joan Retallack (1996). 3.20.07 University at Buffalo Humanities Institute Open House Tuesday, March 20th 4:00-6:00 p.m. University Libraries Special Collections Reading Room 420 Capen Hall, North Campus Talk: Robert J. Daly, =22Why We Have to Read This Stuff and, Worse Yet, Thi= nk About it: New Work on the Practical Value of Literature and Even Theory= =22 What good are literature and theory? What, if anything, do they do for the= vast numbers of human beings who are neither students nor teachers? Right= now many writers ponder these questions. So whether you consider yourself= post-postmodern or merely pre-future, please feel free to be present for a= talk in upper-working-class English with no unexplained jargon. Robert Daly, SUNY Distinguished Teaching Professor of English and Comparati= ve Literature at UB, has been a Leverhulme Fellow (a year's research in Eng= land), a John Simon Guggenheim Memorial Foundation Fellow (another year's r= esearch in England), and, five times, a National Endowment for the Humaniti= es Seminar Director. He has held visiting appointments at Cornell, Cambridg= e, Chapman, and Essex. He has won the Chancellor's Award for Excellence in = Teaching, the Student Association's Milton Plesur Memorial Teaching Award, = and the Pan-Hellenic Council's Chi Omega Award for Excellence in Teaching. = In 2001, he was selected by Generation magazine as one of =22Our Favorite P= rofessors,=22 and in 2005 he was given a Career Services Award. Call 645-2711 For More information 3.22.07 The Write Thing at Medaille College Karen Volkman Poetry Reading Thursday, March 22, 7 p.m. The Library At Huber Hall Medaille College, 18 Agassiz Cir. Volkman has been called =22one of the leading poets of her generation=22 by= renowned poet/New England Review editor C. Dale Young. Born in Miami, Volk= man is the author of Spar (University of Iowa Press, 2002), winner of the J= ames Laughlin Award and the Iowa Poetry Prize, and Crash's Law (Norton, 199= 8), which was selected for the National Poetry Series by Heather McHugh. He= r poems have appeared in numerous journals and anthologies including The Be= st American Poetry and The Pushcart Prize Anthology. The recipient of award= s and fellowships from the National Endowment for the Arts, the Poetry Soci= ety of America, The MacDowell Colony, Yaddo, and the Akademie Schloss Solit= ude. She teaches in the MFA writing program at the University of Montana at= Missoula. & Talking Leaves...Books Hockey writers Jeff Klein & Karl Eric Reif talk Sabres Thursday, March 22, 7 p.m. Talking Leaves...Books, Main St. Store 3.23.07 Talking Leaves...Books/Hallwalls Christina Milletti Reading and signing for: The Religious, and Other Fictions Friday, March 23, 7 p.m. Hallwalls Cinema at the Church, 341 Delaware Ave Christina Milletti's fiction has appeared in many journals and anthologies,= including Chicago Review, Alaska Quarterly Review, and Best New American V= oices. She teaches at the University at Buffalo. Her first book, a collecti= on of short stories called The Religious and Other Fictions, was released b= y Carnegie Mellon University Press in Fall 2006. Brian Evenson writes: =22A= stunning debut. In Milletti's stories, the imaginary does not begin where = the real ends: the two are intertwined, each creating the other. Be careful= what stories you invent, for they may in fact turn out to be not only true= to life but truer than life.=22 3.24.07 The Bookworm Larry Beahan Reading and Signing Saturday, March 24, 12-3 p.m. The Book Worm, 34 Elm St., East Aurora LARRY BEAHAN is the author of 4 collections of tales about the Adirondack r= egion. We have had many sales and repeat sales of his books. His titles inc= lude My Grandpa's Woods, North Country, Allegany Hellbender Tales, and his = newest Adirondack Pulp Fiction. Some of the stories make you scratch your h= ead and think, others are just funny. Come on in and meet this author he is= sure to be able to tell you some great tales. Larry will be here on March = 24th from 12-3. JUST BUFFALO WRITING WORKSHOPS All workshops take place in Just Buffalo's Workshop/Conference Room At the historic Market Arcade, 617 Main St., First Floor -- right across fr= om Shea's. The Market Arcade is climate-controlled and has a security guard= on duty at all times. To get here: Take the train to the 'Theatre' stop and walk, or park and enter on Washing= ton Street. Free parking on Washington Street evenings and weekends. Two-do= llar parking in fenced, guarded, M & T lot on Washington. Visit our website= for detailed descriptions, instructor bios, and to register online. THE TAO OF WRITING THE SHORT STORY A Fiction Writing Workshop Instructor: Ralph Wahlstrom 2 Saturdays: March 24 and 31 10 a.m. - 2 p.m. with a break for lunch. Market Arcade Building, 617 Main St., First Floor. =24100, =2480 for members THE WRITE GROUP FOR YOU AT THE JCC: BEGINNING WRITERS WORKSHOP_ Instructor: Karen Lewis _8 Tuesdays: April 17, 24, May 1, 8,15, 29, June 5, 12, 7-9 p.m. _ Jewish Community Center of Greater Buffalo, 2640 N Forest Rd, Getzville, NY= =2E =24195, =24150 for members of Just Buffalo or the JCC RECURRING LITERARY EVENTS 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 on the first floor of the historic Marke= t Arcade Building across the street from Shea's. Group meets 1st and 3rd We= dnesday at 7 p.m. Call Just Buffalo for details. JUST BUFFALO TIMED WRITING GROUP A writing practice group meets every FRIDAY at noon at Starbucks Coffee on = Elmwood and Chippewa. Writing practice is based on Natalie Goldberg's sugge= sted exercises in Writing Down The Bones. Writers in all genres, fiction an= d non-fiction welcome. There is no charge. Contact Trudy for info: Trudett= a=40aol.com. WESTERN NEW YORK ROMANCE WRITERS group meets the third Wednesday of every m= onth at St. Joseph Hospital community room at 11a.m. Address: 2605 Harlem R= oad, Cheektowaga, NY 14225. For details go to www.wnyrw.org. JUST BUFFALO MEMBERSHIP RAFFLE Visit the literary city of your dreams: -Joyce's Dublin -Paris' Left Bank -Dante's Florence -Shakespeare's London -Harlem Renaissance NYC -The Beats' San Francisco -Anywhere Continental flies.* Now through May 10, 2007 your membership support of Just Buffalo Literary C= enter includes the chance to win the literary trip of a lifetime: Package (valued at =245,000) includes: -Two round-trip tickets to one of the great literary cities on Continental = Airlines -=241500 towards hotel and accommodations -=24500 in spending money One ticket (=2435) =3D Just Buffalo Individual Membership Two tickets (=2460) =3D Just Buffalo Family Membership Three tickets (=24100) =3D Just Buffalo Friend Membership Purchase as many memberships as you like. Give them to whomever you choose = as a gift (or give someone else the membership and keep the lottery ticket = to yourself=21). Only 1000 chances will be sold. Raffle tickets with Just B= uffalo membership make great gifts=21 Drawing will be held the second week = of May, 2007. Call 716.832.5400 for more info. * Raffle ticket purchases are not tax-deductible. If you want your membersh= ip to put you in the =22literary trip of a lifetime=22 raffle, please write= =22raffle membership=22 in the =22payment for=22 cell on the Paypal form. = You will automatically be entered in the raffle, but your membership will n= ot be tax-deductible. If you prefer not to be in the raffle and want tax-de= ductible status, then please write =22non-raffle member=22 in the =22paymen= t for=22 cell. JOIN JUST BUFFALO ONLINE=21=21=21 If you would like to join Just Buffalo, or simply make a massive personal d= onation, you can do so online using your credit card. We have recently add= ed the ability to join online by paying with a credit card through PayPal. = Simply click on the membership level at which you would like to join, log = in (or create a PayPal account using your Visa/Amex/Mastercard/Discover), a= nd voil=E1, you will find yourself in literary heaven. For more info, or t= o join now, go to our website: http://www.justbuffalo.org/membership/index.shtml 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, 19 Mar 2007 13:42:49 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: for dylan, parody and palindrome fans, a triple bill Comments: To: wryting-l@listserv.wvu.edu, spidertangle@yahoogroups.com, laurelreiner@aol.com, ucsc@edu.BUFFALO.EDU, kdamon@sovereignbank.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" apologies for x-posting http://www.adamkotsko.com/weblog/2007/03/i-palindrome-i.html ========================================================================= Date: Mon, 19 Mar 2007 10:13:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Catherine, I hate to think that the publisher, rather than the specifics of the work, are going to be the arbiters of what is "safe." I think both Armantrout's & Scalapino's work can be taught as considerably "unsafe." Both of their practices are exploratory and exhibit creative/critical thinking at a really high level. I like to support other presses that are smaller and more innovative on a continual basis, but the fact of Wesleyan publishing these two poets is in no way going to get me to stop reading or (when I have the opportunity) teaching their work. Charles At 11:04 AM 3/18/2007, you wrote: >especially since, being published by Wesleyan, Armantrout and >Scalapino are the langpos "safe" to read and assign > > > >-- >All best, >Catherine Daly >c.a.b.daly@gmail.com ========================================================================= Date: Mon, 19 Mar 2007 14:41:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Freind, William Joseph" Subject: Rae Armantrout reading in South Jersey, April 12 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Given the discussion of Rae Armantrout, I thought I'd point out that = she'll be reading at Rowan University in Glassboro, NJ (about 20 minutes = outside of Philly) on Thursday, April 12 at 7:30. The reading will take = place in Boyd Recital Hall in Wilson Hall and is free and open to the = public. Refreshments and a book signing will follow. B/C me with any questions. Bill Freind ========================================================================= Date: Mon, 19 Mar 2007 12:46:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Erratum du jour, or the power of art In-Reply-To: <68B83088-DE04-4AA5-9EB7-8D2CFF865E49@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Halvard, Ah, there is hope after all! Murat On 3/18/07, Halvard Johnson wrote: > > Erratum du jour, or the power of art > > A picture on March 4 with an article about a screenplay of "Paradise > Lost" > was printed upside down. The rebel angels should have appeared in the > lower half of the illustration by Gustave Dor=E9, which was inverted by > Art Resource. > > fr. this ayem's NYT > > "Cross / a border every day, and leave > your luggage in the station." > --Wendy Battin > > Halvard Johnson > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > halvard@gmail.com > halvard@earthlink.net > http://home.earthlink.net/~halvard > http://entropyandme.blogspot.com > http://imageswithoutwords.blogspot.com > http://www.hamiltonstone.org > ========================================================================= Date: Mon, 19 Mar 2007 12:26:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Poet Jackson MacLow In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Nick, Perreault's sounds like a very perceptive review of Mac Low's language and poetry, particularly, in way view , showing the "performance-centered" and "perceiver-centered" aspects of his poetry. Ciao, Murat On 3/19/07, Nick Piombino wrote: > > There is a review of Jackson Mac Low's 1986 Roof Books "selected" titled > "Representative Works: 1939-1985" in Parnassus, Volume 15, No.1 > (1989). The review is substantial and was written by John Perreault and i= s > on pages 201-216. I came across this interesting piece quite awhile after > it > was written because there was a review in this issue of my own first book > of > poetry by Sven Birkerts , otherwise I probably would not have been readin= g > Parnassus. I told Jackson about it after I discovered it, which was a few > years after its publication, and gave him a copy because he didn't know > at > the time that it had been published! For those who still remember the era > before Google, such things in the small press world were very possible; > still Jackson was surprised to learn about the review by Perreault, > someone > who I knew very slightly and I'm pretty sure Jackson knew somewhat better= . > > The review opens like this: > > "How do we judge the importance of a poet living in our time? This is an > embarrassing question. Accolades and critical reception may not be the > answer, for these are often determined by academic fashion. The number of > books sold is certainly not the proper gauge. Although an informed > consensus > over time may afford some hint, this is little help to individual readers > whose responses may be caused by the weather, politics or personal need. > We > are left, then, with comparing the poems produced by our contemporary to > poems from the past that are now judged important. In other words, poet X > is > significant because his or her poems look like, sound like, or have a > similar effect to poet Y, who we are agree was a great and wonderful poet= . > This leaves out innovation as a value. > > No wonder, then, that Jackson Mac Low, whose poetry is very different fro= m > anyone else's, keeps escaping official critical attention. His work is > seen > as too eccentric. Yet Mac Low has had friendships and alliances with some > well-regarded contemporaries- David Antin, Jerome Rothenberg, Clayton > Eshleman- poets with some very different approaches to poetry, but all > admirers of his dedication and daring. He is a poet''s poet. > > Influence upon other writers can be another factor in determining > importance. Has Mac Low had much influence? If he has, until recently it > has > been the influence of an example, not of technique, theory or effect. He > has > been the quintessential nonacademic, Bohemian poet, who has avoided the > popular with a vengeance, generating (it is rumored) trunkloads of poetry= . > Slowly, however, it has begun to dawn on the younger generation of > Language > poets that the freedom he forced upon his readers and performers in the > form > of an unflinching opacity of language is virtuous, perhaps profound, and > certainly worth following up. > > Mac Low is a difficult poet, casting doubt upon certain conventions of > poetry and substituting premises of his own. Also, if the truth be known, > an > overall view of his oeuvre was always hard to come by. His output has bee= n > extremely varied, and only sporadically available in print. In > *Representative Words*- which is not a volume of selected or collected > poems, but a sampling of the *kinds* of poems he has composed over almost > fifty years- we have at last a fine introduction to the pioneering work o= f > an American poet who is probably our most dedicated literary > avant-gardist. > I use the term avant-garde advisedly. Mac Low is a pacifist and the term > is > of military origins. Nevertheless, Mac Low's work is what used to be > called > experimental, and does attempt to question poetry as personal expression, > as > printed text, and as static cultural product. > > Although the spirit is quite different- more Buddhism than nihilism or > militarist anarchism- Mac Low's efforts are descended from Futurist, > Dadaist, and Constructivist sound poems invented early in this century. > The > Dadaist Tristan Tzara, for instance, is celebrated for producing poems by > reading words written on slips of paper as they were pulled from a hat. > Furthermore, an understanding of Mac Low's work requires some knowledge o= f > fields outside of literature, most particularly the aleatory compositions > of > John Cage. Cage, now the grand old man of contemporary music, has > systematically applied chance procedures to musical compositions and > performance, using noise and silence as well as standard and altered > musical > instruments, allowing considerable leeway to performer-interpreters of hi= s > nontraditional scores.... > > Now, however at the age of sixty-six, Mac Low seems to have abandoned or > modified his aleatory procedures in favor of "free" composition. This > comes > just in time, for his earlier poems have begun to appear in poetry > anthologies. Certainly the respect with which he is treated by the > Language > poetry group has had something to do with his new visibility. Endurance i= s > not its own reward..." > > The review goes on to examine several poems in close detail and ends with > a > discussion of Mac Low's recognition by the L=3DA=3DN=3DG=3DU=3DA=3DG=3DE = poets, > including > the fact that his work is lauded by Ron Silliman but not included in "In > The > American Tree" ( that did not include poets "whose mature style and publi= c > identity were firmly established prior to the publication of 'On Speech' > [by > Robert Grenier]". Perreault notes sagely that "As far as I can see, Mac > Low's poetry is centered on oral language presentation, which if not > ordinary speech per se is certainly closely related to it, and relegates > print presentation to a secondary status....But...Mac Low challenges the > notion that words can be abstract or language-centered; even unconnected > strings of words and word-fragments will unavoidably refer to or at least > suggest things in the world, and create meaning. He proposes as a counter > to > the language-centered view of the new poetry the term perceiver-centered.= " > > On 3/19/07 7:14 AM, "Pierre Joris" wrote: > > > as well as the old VORT issue (#8) edited by Barry Alpert (it's a > > dble issue, hald on JMC, half on Armand Schwerner), includes a funny > > iece by the black tarantula, as Kathy Acker was known back then, & a > > umber of good pieces by the likes of Schwerner, allen fisher, steve > > mccaffery and eric mottram. > > > > Pierre > > > > On Mar 18, 2007, at 1:10 PM, Joe Amato wrote: > > > >> I'd also be sure to check out the premier issue of the journal > >> ~Crayon~ (Fall 1997), which was a festschrift in honor of Jackson's > >> 75th bday (yes, I have a piece in there myself). > >> > >> Best, > >> > >> Joe > > > > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > > "It may well be the case that one has > > to wait a long time to find out hwether the > > title of avant-garde is deserved." > > =8B Jean-Fran=E7ois Lyotard > > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D > > Pierre Joris > > 244 Elm Street > > Albany NY 12202 > > h: 518 426 0433 > > c: 518 225 7123 > > o: 518 442 40 71 > > Euro cell: (011 33) 6 75 43 57 10 > > email: joris@albany.edu > > http://pierrejoris.com > > Nomadics blog: http://pjoris.blogspot.com > > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D > ========================================================================= Date: Mon, 19 Mar 2007 09:08:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: agj Subject: Chinese Village Struggles to Save Dying Language In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I posted something a while ago related to the Han and Manchu of China. I would have included the article in its entirety, but the link leads one to both the intended article and then some nice photos. I lived in Heilongjiang for about two years, taking quick breaks to explore Croatia and South America. A nice article, though I would much disagree that Han and Manchu are "indistinguishable by appearance" -- which is to say that, for me, the statement reads clumsy (in part because I lived in the area described and an old mate is married to a woman of Manchu ancestory). But then not all Han look alike, either -- and the Han, as some can better state, because a few of us on this list have ties to China, are then further divided. There seem to be racial and ethnic hierarchies everywhere one goes (and last night sat with two men from Somalia and we talked about that). As an aside, the Machu did not practice foot binding ("Golden Lillies"). http://www.nytimes.com/2007/03/18/world/asia/18manchu.html?ex=1174968000&en=d3beb17e30ef71ce&ei=5070&emc=eta1 -- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) ____________________________________________________________________________________ Sucker-punch spam with award-winning protection. Try the free Yahoo! Mail Beta. http://advision.webevents.yahoo.com/mailbeta/features_spam.html ========================================================================= Date: Mon, 19 Mar 2007 10:26:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: Poor Yorick in lyrical landscape MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Poor Yorick in lyrical landscape -- Peter Ciccariello http://invisiblenotes.blogspot.com/ ========================================================================= Date: Mon, 19 Mar 2007 16:19:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: Armantrout review in Sunday Times Book Review MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline hi all, i guess what i find curious is how dissimilar my own experience of armantrout's poetry (excepting the new book, which i've not yet read) is from burt's. he finds the poems "a bummer," "they tell us we cannot find the assurance we seek," they are "skeptical about almost every source of human confidence, trust, hope, joy, strength or belief," "[s]he can't even see her dreams as authentic," "[she] looks at minds and sees machines," finds that "this life is never enough for us, and that the poet is contemplating death" -- while this sort of all-pervasive hopelessness is quite opposite the sustained engagement with the world and its contradictions, the small victories in identifying those contradictions i find in armantrout's poetry. and i don't see where burt's take -- which i'd hate to see become orthodoxy, given especially the grim turn it appears to have taken since its boston review incarnation -- is going to win armantrout a whole lot of new readers unfortunately. i dunno, do most readers, of the nytimes or not, turn to poetry in order to have their feelings of hopelessness, cheap self-deception, bitterness anxiety and bafflement validated and reinforced? tom orange / dc ========================================================================= Date: Mon, 19 Mar 2007 13:42:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: <6.2.1.2.2.20070319101039.02c22760@mail.theriver.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I've encountered time and time again in mainstream programs the embrace of *only* Scalapino and Armantrout (although, now Fanny Howe) of the language-oriented writers; it seems plain to me that -- espcially Scalapino -- it is not that this is the "least difficult" of the work, and it is not as though it can't be taught in its fullness, but one wonders how it is -- and is is-- being taught and read as noninnovative? and / or why not any Heijinian other than My Life, no Bernstein, Harryman, Watten, Perlman, Robinson, etc. etc. On 3/19/07, charles alexander wrote: > Catherine, I hate to think that the publisher, rather than the specifics of > the work, are going to be the arbiters of what is "safe." I think both > Armantrout's & Scalapino's work can be taught as considerably "unsafe." > Both of their practices are exploratory and exhibit creative/critical > thinking at a really high level. I like to support other presses that are > smaller and more innovative on a continual basis, but the fact of Wesleyan > publishing these two poets is in no way going to get me to stop reading or > (when I have the opportunity) teaching their work. > > Charles > > At 11:04 AM 3/18/2007, you wrote: > >especially since, being published by Wesleyan, Armantrout and > >Scalapino are the langpos "safe" to read and assign > > > > > > > >-- > >All best, > >Catherine Daly > >c.a.b.daly@gmail.com > -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Mon, 19 Mar 2007 12:12:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis LaCook Subject: A precious fluid Comments: To: rhizome , webartery , netbehaviour MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit A precious fluid The lamp swings back and forth, raking its yellow light across my unwashed head. I tried to hold sleep in like a precious fluid, something I needed to breathe with; instead, cats howled through the morning. This goodie case contains all our shame. I make sure to eat your paprikas as soon as I jump out of bed, to slather my morning breath with onions. Without coffee, cigarettes taste brittle, acrid: paper dissolving to blister on the chafe of the lips. At the height of seeing these angles, seraphim measured out holograms of lovers long dead to sunshine, long morose like wetly-packed bread, and I laughed while tied to the bed, mussing softly her insides with a plugin or with messy code. How many times has something stopped working? Before these doors rattle open, along the slipperest of buttery etchings, tubers tie our eyes together just below the soil, and bulbs burst. Crazed with light, and not harder than pert alms. Yeast tempers our blood Lewis LaCook Director of Web Development Abstract Outlooks Media 440-989-6481 http://www.abstractoutlooks.com Abstract Outlooks Media - Premium Web Hosting, Development, and Art Photography http://www.lewislacook.org lewislacook.org - New Media Poetry and Poetics http://www.xanaxpop.org Xanax Pop - the Poetry of Lewis LaCook --------------------------------- Get your own web address. Have a HUGE year through Yahoo! Small Business. ========================================================================= Date: Mon, 19 Mar 2007 22:38:02 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit If any poetry can be read/taught conservatively, then probably any poetry can be read/taught as innovative as well. But if that's so, is there really any conservative or innovative poetry? Or only conservative and innovative ways of reading? Catherine Daly wrote: I've encountered time and time again in mainstream programs the embrace of *only* Scalapino and Armantrout (although, now Fanny Howe) of the language-oriented writers; it seems plain to me that -- espcially Scalapino -- it is not that this is the "least difficult" of the work, and it is not as though it can't be taught in its fullness, but one wonders how it is -- and is is-- being taught and read as noninnovative? and / or why not any Heijinian other than My Life, no Bernstein, Harryman, Watten, Perlman, Robinson, etc. etc. On 3/19/07, charles alexander wrote: > Catherine, I hate to think that the publisher, rather than the specifics of > the work, are going to be the arbiters of what is "safe." I think both > Armantrout's & Scalapino's work can be taught as considerably "unsafe." > Both of their practices are exploratory and exhibit creative/critical > thinking at a really high level. I like to support other presses that are > smaller and more innovative on a continual basis, but the fact of Wesleyan > publishing these two poets is in no way going to get me to stop reading or > (when I have the opportunity) teaching their work. > > Charles > > At 11:04 AM 3/18/2007, you wrote: > >especially since, being published by Wesleyan, Armantrout and > >Scalapino are the langpos "safe" to read and assign > > > > > > > >-- > >All best, > >Catherine Daly > >c.a.b.daly@gmail.com > -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Mon, 19 Mar 2007 19:12:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Why not, indeed? Although the list of why nots goes way beyond Language--why not MacLow, Schwerner, Owens, Spicer, Wieners, Dorn, even Rothenberg, Meltzer, maybe a couple of dozen others of that generation? (add the names that didn't come to mind) All of whom have been around a lot longer, albeit sans brand name, and are rarely taught. Even Olson is mostly famous in our neighborhood. While we're at it, how about more than three or four poets British poets, and maybe even more than a dozen from the rest of the world? If we're going to get into complaining, in other words, why only those maybe 10-15 years older than the average list member? Mark At 04:42 PM 3/19/2007, you wrote: >I've encountered time and time again in mainstream programs the >embrace of *only* Scalapino and Armantrout (although, now Fanny Howe) >of the language-oriented writers; it seems plain to me that -- >espcially Scalapino -- it is not that this is the "least difficult" of >the work, and it is not as though it can't be taught in its fullness, >but one wonders how it is -- and is is-- being taught and read as >noninnovative? and / or why not any Heijinian other than My Life, no >Bernstein, Harryman, Watten, Perlman, Robinson, etc. etc. > >On 3/19/07, charles alexander wrote: >>Catherine, I hate to think that the publisher, rather than the specifics of >>the work, are going to be the arbiters of what is "safe." I think both >>Armantrout's & Scalapino's work can be taught as considerably "unsafe." >>Both of their practices are exploratory and exhibit creative/critical >>thinking at a really high level. I like to support other presses that are >>smaller and more innovative on a continual basis, but the fact of Wesleyan >>publishing these two poets is in no way going to get me to stop reading or >>(when I have the opportunity) teaching their work. >> >>Charles >> >>At 11:04 AM 3/18/2007, you wrote: >> >especially since, being published by Wesleyan, Armantrout and >> >Scalapino are the langpos "safe" to read and assign >> > >> > >> > >> >-- >> >All best, >> >Catherine Daly >> >c.a.b.daly@gmail.com > > >-- >All best, >Catherine Daly >c.a.b.daly@gmail.com ========================================================================= Date: Mon, 19 Mar 2007 23:58:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Machlin Subject: Futurepoem/Jill Magi Book Party 3/29 Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Book party for THREADS by Jill Magi (Futurepoem books) With readings by Cecilia Vicuna Brenda Iijima Prageeta Sharma FP Editor Dan Machlin and Special guests Thursday, March 29th 6:30-8:30 p.m., FREE Teachers and Writers Collaborative NOTE NEW ADDRESS: 520 Eighth Avenue (at 36th Street) Suite 2020 (20th floor) New York City Guests must sign in downstairs at front desk For further information, call (212) 691-6590. About Threads: =93Inflection implicates us in family language we hardly understand, in =20= old country we are also responsible for destroying and recreating in =20 a new world and word order whose mapping remains the task at hand. =20 These Threads work between the telling of a story and history to =20 inhabit such burdens of belated homecoming that stay the legacy of =20 conquest.=94 =97Ammiel Alcalay =93In this delicate drawn/sewn/written book,/we are asked to =91feel a =20= map as a ghost limb,=92/to reach down to a place of =91generative =20 tension=92/where =91prayer has atrophied/as the grammar-muscle of =20 together.=92/Beautiful, poignant, her stuttering speech/=91on the other =20= side of perhaps.=92=94 =97Cecilia Vicu=F1a =93Some things can=92t be understood without turning to poetry, the = genre =20 that allows observation, love, memory, confusion, and explanation to =20 intermix and play. Threads stitches all these things together. It =20 tells a complicated story of a father who is an Estonian refugee and =20 of a daughter who attempts to understand what this means by moving =20 through genres and mediums. It is a moving story of searching for =20 meaning and of an eventual arrival at a place of many meanings.=94 =97Juliana Spahr =93Constituent parts of a person are discerned when memory, history and =20= familial inquiry regroup to form and appreciate identity . . . . =20 These probings take the work into regions of cultural conflict and =20 reconnection, emotional shifts and aesthetic conveyances to arrive at =20= nuanced perspectives that bridge former gaps and voids. The syntax =20 that delves there is sincere and soft as well as gritty in its =20 interpersonal realism.=94 =97Brenda Iijima Jill Magi is a writer and artist living in Brooklyn, New York. She is =20= the author of the chapbook Cadastral Map, published in 2005 by =20 Portable Press at Yo-Yo Labs, as well as several self-published and =20 personally distributed small, handmade books. Her poetry, prose, and =20 visual work has been published in HOW2, The Brooklyn Rail, Jacket, =20 The New Review of Literature, Aufgabe, Chain, and Pierogi Press, and =20 exhibited at the Brooklyn Arts Council Gallery and the Brooklyn =20 Waterfront Artists Coalition. A 2006-07 writer-in-residence with the =20 Lower Manhattan Cultural Council, she also teaches at The City =20 College Center for Worker Education and runs Sona Books, a small =20 press dedicated to publishing risky, quiet, project-driven works in =20 chapbook form. BUY THREADS at SPD: http://www.spdbooks.org/Details.asp?=20 BookID=3D0971680078 For More Information: Visit http://www.futurepoem.com= ========================================================================= Date: Mon, 19 Mar 2007 21:48:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit thanks to David-Baptiste & to Murat for your comments, thoughtful ones. On 3/18/07 3:54 PM, "David-Baptiste Chirot" wrote: > I Liked very much Murat's point re the complicating of a poet or poetry > group's ideas of how their works should be received, and how they are in > fact received. It is not just the massive apparati involved via production, > distribtuion, promotion, reviewing, blurbs, mentions, footnotes, soundbytes, > blips on blogs--there is also involved another process of translation, and > of the existences of othernessess within language, and then within language, > modes of that language when attempting to deal with othernesses found in > other forms of the language. Murat has written very fascinatingly of many > aspects of this in relation with poetry and I think it could be extended to > considering the ways poetry is reviewed, as a continual translation across > "borders" or "frames" of forms, language tropes, considerations of the > readership's language and so forth. I think often, as Murat noted, a > reviewer for a large paper can make some very acute direct > observations--that sometimes escape the reviewer too closely inolved with > the poet, the poet's group and so forth, too intent on being a proselytizer > or an explainer, in which case the poetry gets lost amidst the floor plans > and the furniture. > > There is a an amzing short essay by Robert Musil in his collection > Posthumous papers of a Living Authro, called "Surrounded by Poets and > Thinkers". (The "posthumous" work appeared in 1929, 13 years before the > "living author's" death.) Musil begins by nothing how everyone claims they > are not reading, no one reads anymore, and that, beyond that, everything is > in decline--medecine, mathematics, philopshy--as well as poetry. The catch > is that each group sees this deline only in the others, not in itself. So > whie the rest of the world goes to hell n a hand basket, one' own chosen > feild is burning with a creative fire unequalled in the annals of genius. > > " Just take a moment to leaf through the news and reviews in our > magazines and newspapers, and you will be truly amazed at how many deeply > moving, prophetic, greatest, deepest, and very great masters appear over the > course of a few months; and how often inthe span of such a brief period, > 'finally another true poet' has been granted to the nation; and how the > most beautiufl animal story and the best novel of the last ten years is > written. A few eeks later hardly anyone can still remember the > unforgettable impression they made." > > Musil continues: "Here we may add the second observation, that all such > judegements derive fro diverse circels hermetically closed off to each > other. They are formed by related publishers, auhtors, critics, > newspapers, readers, and miscellaneous successess, each of whom does not > have conatct with anyone outside his praticular circle; and all of these > large and samll circles, whose cohesiveness may well be compared to that of > a romantic entanglement or a political party, have their own geniuses or at > least their "No-one-else more worthy the title.'" > > > > Whenever a review of a poet who is considered a kind of "one of us" of this > list appears in a venue and by a person that is "not one of us"--the > sometimes scandalized response always makes me think of Claude Rains' > character in the film Casablanca when he has to shut down Rick's Cafe > temporarily. "I'm shocked! Shocked! There is gambling going on!" > > I also, with several others, thought that given the space and readership > --and a myriad other considerations, such as the advertisers, political > lobbies etc. which are involved in the printing of any newspaper--i've > written for several--that the reviewer did very well by Rae Armantrout and > her poetry and I have a strong feeling greatly increased potential and > actual sales. > > The reference to "West Coast cult following" does not necessarily refer to > Language poetry--this is an asumption made only by those who know of such a > thing as a West Coast Language Poetry. It could just mean "she is very > popular in the area where she lives on the West Coast." Besides, having a > cult following can be seen by many people as a pretty cool thing! Who among > poets doesn't want to think fondly of their own personal "cult following"? > Isn't it much better than if say the reviewer wrote that Armantrout is > primarily a poet of West Coast suburbia writing of facing the questions > which come with aging? That would make her sound like a "confessional" poet > wouldn't it? > > It's fun to imagine a dictatorship of the poet and poets' groups, who would > lay down the law for the exact forms of the reception of their works. > (These actually already do exist, just never at quite the incredibly > omnipotent level that poets and poets' groups wd like them to. There can > never be, after all, suffiencent unto the day enough worship to sate the Sun > God, the Sun King or The Dear Leader, Big Brother, the Empress, the Gang of > Four and the rest--) > I just read three reviews from three different journals in NYC in > 1858-9 of Whitman's first edition of Leaves of Grass. Excellent and most > perceptive reviews!!!! By God--the ideal reader as reviewer! (The famous > letter from Emerson being used to promote the second edition.) > Of course, the reviewer in all three cases just so happened to be > Walter Whitman under other names. > > Ruth's question re the difference between poetry and the visual arts > in terms of people's willingness to see the "postmodern" or "innovative" > might be that in hearing, people want "comforting words," or sounds, as > humans do. Some people like to be comforted by the familair sounds of one > form of poetry, some by another. With images, people are so bombarded > continually by the "new," the "shocking," and the "tradition of the new," > the "museum without walls" of cyberspace, advertising, videos, t-shirts, > logos, fashion, etc etc--that too often the supposedly "radical" show is > another way of saying "the familiar," or "the latest variation on the > familiar," or "the uncanny mix of the new and the familiar". > In other words, in all cases the audiences go for what they expect to > have given to them. The familiar, the comforting, whether traditional or > innovative, it's all comfort food. And sells like hot cakes to its chosen > demographics, proporitonately speaking, given the varying sizes of the > audiences involved. > If one really wanted to be jolted by something "new" and "shocking" > it would be to take a look at the world in front of one. > But that's why people turn to comfort food isn't ? And maybe why the > lack of the arts' involvements in many ways with the political/activism so > often remarked on. > Musil ends his little (three and a quarter pp) essay on a very > prescient note, seeing from the sitution he dscribes the future just three > years away--and in many ways our own present-- > > "It is unfortunately to be assumed with infinitely greater certainty that > this (plenitude of circles, groups) will rather turn out to have been a > sign, not recognized early enough, of the spread of a dangerous group-mania. > Infected by this mania, thousands of little groups each peddle their own > set notion of life, so that it ought not to surprise us if soon a genuine > paranoiac will hardly still be able to resist competing with the amateurs." > > >> From: Ruth Lepson >> Reply-To: UB Poetics discussion group >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Re: Armantrout review in Sunday Times Book Review >> Date: Sun, 18 Mar 2007 13:30:05 -0400 >> >> well, I was glad to see the review but what I mean to say is that the TBR >> has so much power that if they were to put her work in context, even tho >> she >> doesn't like to be identified as a Lang poet--in other words, talk abt what >> has been going on outside the mainstream since the 70's at least, their >> readership might be inclined to pick up a related book or two. It cd change >> the readership for poetry in this country. To that end I wrote a letter to >> the ed. Maybe this is naive or useless, like mixing iguanas w/ puppies--ok, >> I know the metaphor is apt in only a limited sense. If the audience thought >> iguanas were some of what poetry is these days they might at least we cd >> watch them on Animal Planet. And imagine if The New Yorker had a spread on >> Lang poets, books wd sell like sushi. sorry, I'm not thinking too clearly >> today. >> >> Then again here in Boston the same 40 or 50 poets show up at the >> 'innovative' readings while the great majority of more trad poets go to >> other readings, and it seems never the twain shall meet. Maybe it's a >> matter >> of sensibility, but if postmodern poetry were touted the way postmmodern >> visual art is, what a dif world it wd be, for better or worse--considering >> the pretentious descriptions at the new ICA in Boston, but at least people >> seem to feel they shd go there to find some critique of our society or just >> to see what artists are doing. >> >> >> On 3/18/07 12:18 PM, "Herb Levy" wrote: >> >>> If the idea of publishing reviews of "innovative" poetry in daily >>> newspapers is simply to present the same kind of review that a reader of >>> this very specialized e-mail discussion list might want to read or >>> write, then what's the point? >>> >>> Stephen Burt's review of Rae Armantrout's new book is generally >>> supportive of the work and might actually attract new readers to her >>> poetry. I assume that Rae'll get reviews in poetry magazines and >>> critical journals that will place her work in context. But it seems >>> weird to criticize the review because it doesn't include an extensive >>> history of Language poetry and Armantrout's place in that genre, or a >>> detailed analysis of formal elements of her work. There are plenty of >>> venues for that kind of critique (it seems as if at least half of the >>> people reading this list publish one). However, a daily newspaper, even >>> one as "august" as the New York Times, is not such a venue. >>> >>> Reviews in general interest publications such as daily newspapers, >>> popular magazines, or NPR programs basically function as a marketing >>> tool. The primary focus is to let a general audience know whether they >>> might want to spend time and/or money reading the book, seeing the show, >>> etc. >>> >>> Obviously, it's nice when there's something more than that in this kind >>> of publication, but the editors and publishers would be perfectly happy >>> if they could get away with just running a letter grade, a number of >>> stars, a picture of thumbs up or down. > > _________________________________________________________________ > Watch free concerts with Pink, Rod Stewart, Oasis and more. Visit MSN > Presents today. > http://music.msn.com/presents?icid=ncmsnpresentstagline&ocid=T002MSN03A07001 ========================================================================= Date: Mon, 19 Mar 2007 17:03:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: phanero Subject: Re: Armantrout review in Sunday Times Book Review MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Written Language is what I call a "Virtual Pluroma," and this relates to the theme of the grotesque in a number of ways, but for a political example of what this means, look at Adorno's last words.. Not sure, maybe Althusser. And I'll have to paraphrase.. Basically what he said is that the field is "Too Open".. in terms of physics, and subjectivity, reality is sort of the wild card, the Joker. If in the sense of Norman O. Brown's "The "is" is the original mistake in every senstence," then what we arrive at is a solipsistic economy of signs masquerading as a method transubjective experience. We have to fabricate that experience, like the piano player must must his fingers to the keys. Anything "might happen".. The politics exists as an apriori organic structuring of the reader. Some texts have greater or lesser indexicality, but only on the surface, because potentially they all open back out into the pluroma of the chemical universe. This is really just a silly way of saying a number of things might happen because of a given text.. History hinges on these metanoias often as socialisation as a text is involved in a subconscious polarisation of everything. A programme of non-dual thinking seems a positive or enlightened route, but at some further level out may actually be seen to have been part of a polarity higher up the granular chain.. this is a holoarchic topography, things change, words give the illusion of stasis like the tick marks on a rain gauge, but the universe is wholly fluid.. the word becomes something closer to a deadly game, the organic is trapped in the mechanism of the word externalized, of the externalized word internalized.. it is a wholly grotesque situation. Either we're reordering potentials, or we're mutating a poison carapace. The path to vivification is the path to nakedness and integration with nature in wild and mutant prosthesis.. we should all be trance dancing in giant euglena exobodies performing group meditation in a third space of organic communion.. instead, that higher organic organization we all subjconsciously long for has turned into a parodic prison world of jobs, books, relationships, etc.. we were meant to flame in molten beauty on a world of pure abundance.. That is the way I read it.. > If any poetry can be read/taught conservatively, then probably any poetry can be read/taught as innovative as well. > But if that's so, is there really any conservative or innovative poetry? Or only conservative and innovative ways of > reading? > ========================================================================= Date: Mon, 19 Mar 2007 18:04:00 -0700 Reply-To: Frances Blau Sender: UB Poetics discussion group From: Frances Blau Subject: Memorial reading for kari edwards Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi poetics@listserv.buffalo.edu, Frances Blau, Marcus Civin, Kevin Killian, Roxi Hamilton, Elizabeth Treadwell has sent you an Evite Ecard. View your eCard and send your own for FREE. View my eCard: http://www.evite.com/app/ecards/view/view.do?cardID=YFWHFBBFZUQHJLQAQHYJ&crID=IPHUFEVHPORSYXJNKPLF&src=RE View My eCard: http://www.evite.com/app/ecards/view/view.do?cardID=YFWHFBBFZUQHJLQAQHYJ&crID=IPHUFEVHPORSYXJNKPLF&src=RE Thank you, The Evite Team --------------------------------------------------------------------- Having trouble opening this Evite eCard? Try pasting this URL into your browser: http://www.evite.com/app/ecards/view/view.do?cardID=YFWHFBBFZUQHJLQAQHYJ&crID=IPHUFEVHPORSYXJNKPLF&src=RE Don't want to receive Evite emails from this person? Update your email preferences. Replies to this email will go directly to the sender, not to Evite. Your email address will be displayed in your reply. Did this email go to your junk/bulk folder? Add info@evite.com to your address book to ensure that you receive future Evite eCards in your inbox. Evite respects your privacy. Your information will never be shared with third parties unless specifically requested by you. ========================================================================= Date: Tue, 20 Mar 2007 16:21:01 +1100 Reply-To: k.zervos@griffith.edu.au Sender: UB Poetics discussion group From: "kom9os@bigpond.net.au" Subject: maclow Mime-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: 7bit jim andrews and dan waber recently re-formatted the early computer poetry of bpnichol, 1984. http://vispo.com/bp i wonder if any one knows of a similar project that makes jackson maclow's computer poetry accessible for the web? or melo e castro's early digital works from 1968? cheers komninos ========================================================================= Date: Mon, 19 Mar 2007 22:10:40 -0700 Reply-To: linda norton Sender: UB Poetics discussion group From: linda norton Subject: Re: Armantrout review in Sunday Times Book Review Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit Yes to Chirot's thoughtful remarks about translation. Publication is definitely a process of translation. The process of translation that occurs within a university press publishing house is considerable indeed. The acquisitions editor (who will herself, necessarily, be a person of at least as much range as depth) must translate (let that include lots of "convincing") the importance of each book to everyone who is responsible for it at each stage in-house, including the book publicist (who calls on the Times and lots of other media and may speak for every title in the catalog, which, at a publisher like UC Press, is a lot of books in many different fields) and the sales reps (ditto). They are "translating" the importance of each book with perhaps two sentences during brief appointments, and are often up against people who have no time, are too busy, and don't care much for poetry. It's systole and diastole to get each book to its core audience and, using different language, different frames, to see if more mainstream media can take it up and introduce it to new audiences. Sometimes a book makes it to the pages of the Times because someone at the Times translates the need for a review to others at the Times . . . A good publicist may even know and remember that a book review editor did a thesis in grad school on Language poets, and so she makes sure to bring a book to the attention of this editor, though it is known that the Times has almost no space for poetry. And if after all this, Language poetry is not mentioned in the review . . . The mix of passion, knowledge, curiosity and serendipity, timing, the credibility of publishers and those selling the books, as well as the sheer hucksterism that goes into getting books reviewed variously and widely, all stand in stark contrast to much of the nuance and doxology one hears among poets speaking to other poets of a certain school. The Times review will increase sales, will introduce people to Rae's poetry, will perhaps bring some readers to other Wesleyan poets, and will certainly trigger any number of people to Google Rae's name, which will lead to poems on-line by her and Hejinian and Howe and Owen and many others, and to sites about Language poetry, American poetry, Objectivist poetry, etc. And, and and, and and . . . The Times review will, most importantly, get the book into libraries that would not otherwise order the book from a wholesaler. There, in the library, a person of whatever age and inclination, who may not know from Language poetry, might find it on a shelf near books by Ammons, Bly, and Bukowaki, and might borrow all in one day, and read them. -----Original Message----- >From: Ruth Lepson >Sent: Mar 19, 2007 6:48 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Armantrout review in Sunday Times Book Review > >thanks to David-Baptiste & to Murat for your comments, thoughtful ones. > > >On 3/18/07 3:54 PM, "David-Baptiste Chirot" >wrote: > >> I Liked very much Murat's point re the complicating of a poet or poetry >> group's ideas of how their works should be received, and how they are in >> fact received. It is not just the massive apparati involved via production, >> distribtuion, promotion, reviewing, blurbs, mentions, footnotes, soundbytes, >> blips on blogs--there is also involved another process of translation, and >> of the existences of othernessess within language, and then within language, >> modes of that language when attempting to deal with othernesses found in >> other forms of the language. Murat has written very fascinatingly of many >> aspects of this in relation with poetry and I think it could be extended to >> considering the ways poetry is reviewed, as a continual translation across >> "borders" or "frames" of forms, language tropes, considerations of the >> readership's language and so forth. I think often, as Murat noted, a >> reviewer for a large paper can make some very acute direct >> observations--that sometimes escape the reviewer too closely inolved with >> the poet, the poet's group and so forth, too intent on being a proselytizer >> or an explainer, in which case the poetry gets lost amidst the floor plans >> and the furniture. >> >> There is a an amzing short essay by Robert Musil in his collection >> Posthumous papers of a Living Authro, called "Surrounded by Poets and >> Thinkers". (The "posthumous" work appeared in 1929, 13 years before the >> "living author's" death.) Musil begins by nothing how everyone claims they >> are not reading, no one reads anymore, and that, beyond that, everything is >> in decline--medecine, mathematics, philopshy--as well as poetry. The catch >> is that each group sees this deline only in the others, not in itself. So >> whie the rest of the world goes to hell n a hand basket, one' own chosen >> feild is burning with a creative fire unequalled in the annals of genius. >> >> " Just take a moment to leaf through the news and reviews in our >> magazines and newspapers, and you will be truly amazed at how many deeply >> moving, prophetic, greatest, deepest, and very great masters appear over the >> course of a few months; and how often inthe span of such a brief period, >> 'finally another true poet' has been granted to the nation; and how the >> most beautiufl animal story and the best novel of the last ten years is >> written. A few eeks later hardly anyone can still remember the >> unforgettable impression they made." >> >> Musil continues: "Here we may add the second observation, that all such >> judegements derive fro diverse circels hermetically closed off to each >> other. They are formed by related publishers, auhtors, critics, >> newspapers, readers, and miscellaneous successess, each of whom does not >> have conatct with anyone outside his praticular circle; and all of these >> large and samll circles, whose cohesiveness may well be compared to that of >> a romantic entanglement or a political party, have their own geniuses or at >> least their "No-one-else more worthy the title.'" >> >> >> >> Whenever a review of a poet who is considered a kind of "one of us" of this >> list appears in a venue and by a person that is "not one of us"--the >> sometimes scandalized response always makes me think of Claude Rains' >> character in the film Casablanca when he has to shut down Rick's Cafe >> temporarily. "I'm shocked! Shocked! There is gambling going on!" >> >> I also, with several others, thought that given the space and readership >> --and a myriad other considerations, such as the advertisers, political >> lobbies etc. which are involved in the printing of any newspaper--i've >> written for several--that the reviewer did very well by Rae Armantrout and >> her poetry and I have a strong feeling greatly increased potential and >> actual sales. >> >> The reference to "West Coast cult following" does not necessarily refer to >> Language poetry--this is an asumption made only by those who know of such a >> thing as a West Coast Language Poetry. It could just mean "she is very >> popular in the area where she lives on the West Coast." Besides, having a >> cult following can be seen by many people as a pretty cool thing! Who among >> poets doesn't want to think fondly of their own personal "cult following"? >> Isn't it much better than if say the reviewer wrote that Armantrout is >> primarily a poet of West Coast suburbia writing of facing the questions >> which come with aging? That would make her sound like a "confessional" poet >> wouldn't it? >> >> It's fun to imagine a dictatorship of the poet and poets' groups, who would >> lay down the law for the exact forms of the reception of their works. >> (These actually already do exist, just never at quite the incredibly >> omnipotent level that poets and poets' groups wd like them to. There can >> never be, after all, suffiencent unto the day enough worship to sate the Sun >> God, the Sun King or The Dear Leader, Big Brother, the Empress, the Gang of >> Four and the rest--) >> I just read three reviews from three different journals in NYC in >> 1858-9 of Whitman's first edition of Leaves of Grass. Excellent and most >> perceptive reviews!!!! By God--the ideal reader as reviewer! (The famous >> letter from Emerson being used to promote the second edition.) >> Of course, the reviewer in all three cases just so happened to be >> Walter Whitman under other names. >> >> Ruth's question re the difference between poetry and the visual arts >> in terms of people's willingness to see the "postmodern" or "innovative" >> might be that in hearing, people want "comforting words," or sounds, as >> humans do. Some people like to be comforted by the familair sounds of one >> form of poetry, some by another. With images, people are so bombarded >> continually by the "new," the "shocking," and the "tradition of the new," >> the "museum without walls" of cyberspace, advertising, videos, t-shirts, >> logos, fashion, etc etc--that too often the supposedly "radical" show is >> another way of saying "the familiar," or "the latest variation on the >> familiar," or "the uncanny mix of the new and the familiar". >> In other words, in all cases the audiences go for what they expect to >> have given to them. The familiar, the comforting, whether traditional or >> innovative, it's all comfort food. And sells like hot cakes to its chosen >> demographics, proporitonately speaking, given the varying sizes of the >> audiences involved. >> If one really wanted to be jolted by something "new" and "shocking" >> it would be to take a look at the world in front of one. >> But that's why people turn to comfort food isn't ? And maybe why the >> lack of the arts' involvements in many ways with the political/activism so >> often remarked on. >> Musil ends his little (three and a quarter pp) essay on a very >> prescient note, seeing from the sitution he dscribes the future just three >> years away--and in many ways our own present-- >> >> "It is unfortunately to be assumed with infinitely greater certainty that >> this (plenitude of circles, groups) will rather turn out to have been a >> sign, not recognized early enough, of the spread of a dangerous group-mania. >> Infected by this mania, thousands of little groups each peddle their own >> set notion of life, so that it ought not to surprise us if soon a genuine >> paranoiac will hardly still be able to resist competing with the amateurs." >> >> >>> From: Ruth Lepson >>> Reply-To: UB Poetics discussion group >>> To: POETICS@LISTSERV.BUFFALO.EDU >>> Subject: Re: Armantrout review in Sunday Times Book Review >>> Date: Sun, 18 Mar 2007 13:30:05 -0400 >>> >>> well, I was glad to see the review but what I mean to say is that the TBR >>> has so much power that if they were to put her work in context, even tho >>> she >>> doesn't like to be identified as a Lang poet--in other words, talk abt what >>> has been going on outside the mainstream since the 70's at least, their >>> readership might be inclined to pick up a related book or two. It cd change >>> the readership for poetry in this country. To that end I wrote a letter to >>> the ed. Maybe this is naive or useless, like mixing iguanas w/ puppies--ok, >>> I know the metaphor is apt in only a limited sense. If the audience thought >>> iguanas were some of what poetry is these days they might at least we cd >>> watch them on Animal Planet. And imagine if The New Yorker had a spread on >>> Lang poets, books wd sell like sushi. sorry, I'm not thinking too clearly >>> today. >>> >>> Then again here in Boston the same 40 or 50 poets show up at the >>> 'innovative' readings while the great majority of more trad poets go to >>> other readings, and it seems never the twain shall meet. Maybe it's a >>> matter >>> of sensibility, but if postmodern poetry were touted the way postmmodern >>> visual art is, what a dif world it wd be, for better or worse--considering >>> the pretentious descriptions at the new ICA in Boston, but at least people >>> seem to feel they shd go there to find some critique of our society or just >>> to see what artists are doing. >>> >>> >>> On 3/18/07 12:18 PM, "Herb Levy" wrote: >>> >>>> If the idea of publishing reviews of "innovative" poetry in daily >>>> newspapers is simply to present the same kind of review that a reader of >>>> this very specialized e-mail discussion list might want to read or >>>> write, then what's the point? >>>> >>>> Stephen Burt's review of Rae Armantrout's new book is generally >>>> supportive of the work and might actually attract new readers to her >>>> poetry. I assume that Rae'll get reviews in poetry magazines and >>>> critical journals that will place her work in context. But it seems >>>> weird to criticize the review because it doesn't include an extensive >>>> history of Language poetry and Armantrout's place in that genre, or a >>>> detailed analysis of formal elements of her work. There are plenty of >>>> venues for that kind of critique (it seems as if at least half of the >>>> people reading this list publish one). However, a daily newspaper, even >>>> one as "august" as the New York Times, is not such a venue. >>>> >>>> Reviews in general interest publications such as daily newspapers, >>>> popular magazines, or NPR programs basically function as a marketing >>>> tool. The primary focus is to let a general audience know whether they >>>> might want to spend time and/or money reading the book, seeing the show, >>>> etc. >>>> >>>> Obviously, it's nice when there's something more than that in this kind >>>> of publication, but the editors and publishers would be perfectly happy >>>> if they could get away with just running a letter grade, a number of >>>> stars, a picture of thumbs up or down. >> >> _________________________________________________________________ >> Watch free concerts with Pink, Rod Stewart, Oasis and more. Visit MSN >> Presents today. >> http://music.msn.com/presents?icid=ncmsnpresentstagline&ocid=T002MSN03A07001 http://www.nytimes.com/2007/03/18/magazine/18cover.html?pagewanted=15&ref=magazine ========================================================================= Date: Mon, 19 Mar 2007 21:36:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: <7.0.1.0.1.20070319190348.06463838@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Scepticism, credulity, fabulation, and truth. Interesting issues concerning Armantrout's poetry and, as has been intelligently pointed out on the list, interesting also with regard to the nytimes review, which is 'too good to be true'? The plot thickens. Somehow I'm reminded of the opening of "Politics and the English Language" (1946) by Orwell: "Our civilization is decadent, and our language--so the argument runs--must inevitably share in the general collapse. It follows that any struggle against the abuse of language is a sentimental archaism, like preferring candles to electric light or hansom cabs to aeroplanes. Underneath this lies the half-conscious belief that language is a natural growth and not an instrument which we shape for our own purposes. Now, it is clear that the decline of a language must ultimately have political and economic causes." ja http://vispo.com ========================================================================= Date: Tue, 20 Mar 2007 07:58:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: heidi arnold Subject: Tuntha-obas/edson MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline -- my copy of armantrout's book _Up To Speed_ -- lost somewhere in the piles here -- or else i'd post one to add to the armantrout thread -- others have discussed how her poems are the lens through which to read the reviews -- the book of poems becoming the refraction and light control -- to fracture other dialogues -- and shatter glass to create meaning -- Padcha Tuntha-obas has a fascinating chapbook -- _composite.diplomacy_ -- ten syllables declare here that time changes to receive literature, curtly announcing a statement lacking proofs. I trust I have. witnessed such. imagined such. be real as is imagined. envisioning, literature, time, present, composite. one. -- www.heidiarnold.org http://peaceraptor.blogspot.com/ ========================================================================= Date: Tue, 20 Mar 2007 11:11:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rod Smith Subject: New @ Bridge Street: Age of Huts, Don't Ever Get Famous, Saints of Hysteria, Shapiro, Russo, Foust, Armantrout, Ashbery, Equi, &&& MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Lots new! Support Bridge Street! Please! & thanks! Ordering & discount information at the end of this post. NEXT LIFE, Rae Armantrout, Wesleyan, cloth 78 pgs, $22.95. "It is from this wound / that humans first emerged." A WORLDLY COUNTRY, John Ashbery, Ecco, cloth 78 pgs, $23.95. "The purple emu laid another egg." THE COLLECTED POEMS OF TED BERRIGAN, Ted Berrigan, ed. Alice Notley with Anselm Berrigan and Edmund Berrigan, U CAL, 750 pgs, $24.95. New in paperback. WOLFTROT, Marie Borel, trans Sarah Riggs & Omar Berrada, La Presse, 116 pgs. $14. "And my brother is a cretin, in case you hadn't realized." ON THE ANARCHY OF POETRY AND PHILOSOPHY: A GUIDE FOR THE UNRULY, Gerald L. Bruns, Fordham, 274 pgs, $24. "A poem is not an object; it is an event--" THE CHURCH -- THE SCHOOL -- THE BEER, Chris Cheek, Plantarchy, 198 pgs, $10. "wouldn't be the big one, but it's an important factor." CHILDREN OF THE OUTER DARK: THE POETRY OF CHRISTOPHER DEWDNEY, selected and with an introduction by Karl E. Jirgens, Wilfried Laurier University Press, 78 pgs, $14.95. Foreword by Neil Besner, afterword by Dewdney. Includes selections from nine of his books. "By reversing the causal flow of analogy language becomes a procedural system for generating hypercognitive structures." RING RANG WRONG, Suzanne Doppelt, trans Cole Swensen, Burning Deck, 70 pgs, $14. "Stars look a lot like bees." RECREATIONAL VEHICLE, Buck Downs / BE LIGHT, Chris Toll, Apathy Press, 64 pgs, $10. 2 books in one. "bye bye blues" SAINTS OF HYSTERIA: A HALF-CENTURY OF COLLABORATIVE AMERICAN POETRY, ed Duhamel, Seaton, & Trinidad, Soft Skull, 398 pgs, $19.95. Includes Kerouac & Welch, Ashbery & Koch, Berkson & O'Hara, Padgett & Scuyler, Berrigan & Creeley, Myles & Waldman, Mayer & Notley, Bellamy & Killian, Cole & Palmer, Goff & McDaniel, Hejinian & Scalapino, Snow & Sparrow, Ross & Smith, Deanovich & Loden, Kearney & Mullen, & _many_ others. RIPPLE EFFECT, Elaine Equi, Coffee House, 272 pgs, $18. "This caramel is scriptural." NECESSARY STRANGERS, Graham Foust, Flood, 68 pgs, $12.95. "are you you there" THE OUTERNATIONALE, Peter Gizzi, Wesleyan, cloth 112 pgs, $22.95. "Confetti in April / Confetti in May" HEIDEGGER AND THE POLITICS OF POETRY, Philippe Lacoue-Labarthe, Illinois, cloth 120 pgs, $35. DON'T EVER GET FAMOUS: ESSAYS ON NEW YORK WRITING AFTER THE NEW YORK SCHOOL, ed Daniel Kane, Dalkey Archive, 400 pgs, $34.95. Epstein, Rasula, Panish, Thorne, Russo, Shaw, Blau DuPlessis, Perelman, Selby, Masterson and Stephenson, Lenhart, Thomas, Mlinko, and Brady. SINCE I MOVED IN, Tim Peterson, Chax, 96 pgs, $16. "starting to feel like a real room" MIRTH, Linda Russo, Chax, 100 pgs, $16. "It gives me great pleasure to address the stairwell." NEW AND SELECTED POEMS (1965-2006), David Shapiro, Overlook, cloth 268 pgs, $21.95. "Part of the universe has been found But only part!" THE AGE OF HUTS (COMPLEAT), Ron Silliman, U. Cal, 311 pgs, $19.95. Collects Ketjak, Sunset Debris, The Chinese Notebook, 2197, and Satellite Texts. "This is the zone." Some Bestsellers: WHAT'S YOUR IDEA OF A GOOD TIME, Bill Berkson & Bernadette Mayer, Atelos, 225 pgs, $13.50. TO THE COGNOSCENTI, Tom Mandel, Atelos, 170 pgs, $13.50. AGAINST THE DAY, Thomas Pynchon, Penguin, cloth 1,085 pgs, $35.00. GIRLY MAN, Charles Bernstein, U Chicago, 186 pgs, cloth $24. (signed copies) OBERIU: AN ANTHOLOGY OF RUSSIAN ABSURDISM, ed Eugene Ostasevsky, Northwestern, 260 pgs, $22.95. ALMA, OR THE DEAD WOMAN, Alice Notley, Granary, 344 pgs, $17.95. COLLECTED POEMS OF ROBERT CREELEY 1975-2005, University of California, cloth 662 pgs, $49.95. GRAVE OF LIGHT: SELECTED POEMS 1970-2005, Alice Notley, Wesleyan, cloth 368 pgs, $29.95. BLUE STUDIOS: POETRY AND ITS CULTURAL WORK, Rachel Blau DuPlessis, Alabama, $37.95. COLLECTED POEMS, Tom Raworth, Carcanet, $29.95. (signed copies) OKLAHOMA TOUGH: MY FATHER, KING OF THE BOOTLEGGERS, Ron Padgett, U Oklahoma, $16.95. (signed copies) EVERYTHING PRESERVED: POEMS 1955-2005, Landis Everson, Graywolf, 108 pgs, $15. THE UNDEAD AND PHILOSOPHY: CHICKEN SOUP FOR THE SOULLESS, ed Richard Greene & K. Silem Mohammad, Open Court, 260 pgs, $17.95. COUNTER DAEMONS, Roberto Harrison, Litmus, 180 pgs, $15. SEISMOSIS, text: John Keene, drawings: Christopher Stackhouse, 1913, 108 pgs, $19. THE MEN, Lisa Robertson, BookThug, 72 pgs, $16. ANNE BOYER'S GOOD APOCALYPSE, Anne Boyer, effing press, 30 pgs, $7. RECYCLOPEDIA: TRIMMINGS, S*PeRM**K*T, AND MUSE & DRUDGE, Harryette Mullen, Graywolf, 180 pgs, $15. WAR, THE MUSICAL, Robert Fitterman & Dirk Rowntree, SubPress, 400 pgs, $15. UNDER THAT SILKY ROOF, Elizabeth Robinson, Burning Deck, 74 pgs, $14. CONCORDANCE, Mei-mei Bersenbrugge & Kiki Smith, Kelsey St, unpaginated large format pb, $29. I LOVE ARTISTS: NEW AND SELECTED POEMS, Mei-Mei Berssenbrugge, 145 pgs, $19.95. THE FIRE: COLLECTED ESSAYS OF ROBIN BLASER, ed Miriam Nichols, U Cal, 518 pgs, $29.95. IFLIFE, Bob Perelman, Roof, 136 pgs, $13.95. UNPROTECTED TEXTS: SELECTED POEMS 1978-2006, Tom Beckett, Meritage, 180 pgs, 19.95. AT ALL (TOM RAWORTH AND HIS COLLAGES), Norma Cole, Hooke Press, 34 pgs, $10. CO, Bruce Andrews with Barbara Cole, Jesse Freeman, Jessica Grim, Yedda Morrison, & Kim Rosefield, Roof, 104 pgs, $12.95. SPLAY ANTHEM, Nathaniel Mackey, New Directions, 128 pgs, $15.95. MAINSTREAM, Michael Magee, BlazeVOX, 100 pgs, $10. SOME NOTES ON MY PROGRAMMING, Anselm Berrigan, Edge, 80 pgs, $15. ORDERING INFORMATION: List members receive free shipping on orders of more than $20. Free shipping + 10% discount on orders of more than $30. There are two ways to order: 1. E-mail your order to rod@bridgestreetbooks.com or aerialedge@gmail.com with your address & we will bill you with the books. or 2. via credit card-- you may call us at 202 965 5200 or e-mail w/ yr add, order, card #, & expiration date & we will send a receipt with the books. Please remember to include expiration date. We must charge shipping for orders out of the US. var callCount = ((oBw.agt.match( /gecko/ ) == "gecko"))? 0 : 50; function rmvScroll( msg ) { if ( ++callCount > 10 ) { msg.style.visibility = "visible"; } if ( callCount msg.clientHeight ) { msg.style.height = ( msg.scrollHeight + delta ) + "px"; } delta = msg.offsetWidth - msg.clientWidth; delta = ( isNaN( delta )? 1 : delta + 1 ); if ( msg.scrollWidth > msg.clientWidth ) { msg.style.width = ( msg.scrollWidth + delta ) + "px"; } msg.style.overflow = "hidden"; msg.style.visibility = "visible"; } function imgsDone( msg ) // for Firefox, we need to scan for images that haven't set their width yet { var imgList = msg.getElementsByTagName( "IMG" ); var len = ((imgList == null)? 0 : imgList.length); for ( var i = 0; i [input] [input] [input] [input] [input] [input] [input] [input] Delete Reply Forward Spam Move... Previous | Next | Back to Messages ========================================================================= Date: Tue, 20 Mar 2007 18:09:49 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Alain Soubbotnik Subject: Flaubert's notebook as a poem Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Sorry for those who do not read French but here is something worth sharing with those who do: =E0 l'Ouest j'ai la plaine qui s'=E9tend vers Tunis =AD =E0 gauche la pointe de Qamart =AD un golfe =AD des montagnes basses au fond Au Nord: la pleine mer un dromadaire sur une terrasse, tournant un puits cela devait avoir lieu =E0 Carthage =AD (chameau dans les airs) ses oeill=E8res =E9normes le font ressembler =E0 une grenouille "Was that a real poem or did you just make it out?". No, I didn't make it out. It is a page of Flaubert's notebook during his voyage to Carthage. But it does look and read and feel like a poem. Most of his notes do in this superb edition by Claire-Marie Delavoye, a Canadian scholar who scrupulousl= y respected Flaubert's disposition of his notes on the pages (each page of th= e original notebooks is reproduced). Flaubert, Carnet de voyage =E0 Carthage, texte =E9tabli par Claire-Marie Delavoye, Publications de l'Universit=E9 de Rouen, 1999 One can get it on Amazon without any problem. Michael Michael A. Soubbotnik EA3349 LISAA Universit=E9 de Marne-la-Vall=E9e Grupo de Pesquisa Psican=E1lise na Universidade Universidade Federal de Esp=EDrito Santo ========================================================================= Date: Tue, 20 Mar 2007 09:07:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: 3/24: Soup & Tart Chicago MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Soup & Tart Chicago an evening of 2 minute performances with potluck dinner Saturday, March 24th from 6–10pm at Elegant Mr. Gallery 1355 N. Milwaukee Ave Chicago, IL $2 admission Featuring: William Amaya Emily Anderson Sam Caldwell Maia Chong David Cook Jeremy Davies Isil Egrikavuk Sarah Eliot Carolina Gonzalez Ian Hatcher Jennifer Karmin Asma Kazmi Chelsea Knight Meg Mcleary Nikki Munvez Ryan Lieu Delia Popa Save Que Megan Ransmeier Leone Reeve Julia Rich Evan Rubin Molly Stoddard Sara Thompson Julian Wayser and more performance surprises Dozens of writers, performance artists, musicians and film-makers will each perform for two minutes, either singly or in collaboration. In addition, the event is a potluck. All are welcome to bring and partake of soup and tarts (while they last). Local writers A D Jameson and Michelle Tupko are the curators of this special event. Soup & Tart Chicago is inspired by a November 30, 1974 marathon performance at New York City's The Kitchen. For the original event, multimedia artist Jean Dupuy invited over 30 artists to each give a two-minute performance and the audience was served homemade dinner. A sample list of these original performers includes Philip Glass, Joan Jonas, Yvonne Rainer, Richard Serra, and Hannah Wilke. For more info about the Chicago event, email mtupko@artic.edu. ____________________________________________________________________________________ Don't pick lemons. See all the new 2007 cars at Yahoo! Autos. http://autos.yahoo.com/new_cars.html ========================================================================= Date: Tue, 20 Mar 2007 08:25:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lou Rowan Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Dear Colleagues, As an editor of two journals that have tried hard to "do something" about the many issues generated here by the NY Times review (and I am reminded that this doesn't change, of Zukofsky's telling me of efforts to get WCW reviewed in the same place), perhaps I could make a few simple observations: 1. Glad to hear a prose writer (Musil) referred to. The same situation obtains in that world, can think of few presses of any sort trying to bring together the new in both poetry and prose. 2. My current publication has all the "production values" of any journal, and a low price. Were it to "succeed" it could affect the problems elaborated this last week. Were it, for example, to attract subscriptions from (I will guess a number) the 500 or so folks who see these lucubrations on the Times BR, etc, it could afford to advertise, and thus perhaps to grow faster. 3. Assuming that my choices do represent the "us" mentioned herein, I am amazed that NOT ONE of "us" comes up the $12/annum necessary to subscribe. Not one. So I'm wondering if this is the experience of other editors of independent publications: an afflatus (to use LZ's word) of discussion and lament, not much in the way of simple actions that might make a difference. The discussion of publicists and harried editors is to the point: if you look at the conditions that obtain, you can work with them. But not without the support of "us." End of lament. Best, Lou On Mar 19, 2007, at 6:48 PM, Ruth Lepson wrote: > thanks to David-Baptiste & to Murat for your comments, thoughtful > ones. > > > On 3/18/07 3:54 PM, "David-Baptiste Chirot" > wrote: > >> I Liked very much Murat's point re the complicating of a poet or >> poetry >> group's ideas of how their works should be received, and how they >> are in >> fact received. It is not just the massive apparati involved via >> production, >> distribtuion, promotion, reviewing, blurbs, mentions, footnotes, >> soundbytes, >> blips on blogs--there is also involved another process of >> translation, and >> of the existences of othernessess within language, and then within >> language, >> modes of that language when attempting to deal with othernesses >> found in >> other forms of the language. Murat has written very >> fascinatingly of many >> aspects of this in relation with poetry and I think it could be >> extended to >> considering the ways poetry is reviewed, as a continual >> translation across >> "borders" or "frames" of forms, language tropes, considerations of >> the >> readership's language and so forth. I think often, as Murat noted, a >> reviewer for a large paper can make some very acute direct >> observations--that sometimes escape the reviewer too closely >> inolved with >> the poet, the poet's group and so forth, too intent on being a >> proselytizer >> or an explainer, in which case the poetry gets lost amidst the >> floor plans >> and the furniture. >> >> There is a an amzing short essay by Robert Musil in his collection >> Posthumous papers of a Living Authro, called "Surrounded by Poets and >> Thinkers". (The "posthumous" work appeared in 1929, 13 years >> before the >> "living author's" death.) Musil begins by nothing how everyone >> claims they >> are not reading, no one reads anymore, and that, beyond that, >> everything is >> in decline--medecine, mathematics, philopshy--as well as poetry. >> The catch >> is that each group sees this deline only in the others, not in >> itself. So >> whie the rest of the world goes to hell n a hand basket, one' own >> chosen >> feild is burning with a creative fire unequalled in the annals of >> genius. >> >> " Just take a moment to leaf through the news and reviews in our >> magazines and newspapers, and you will be truly amazed at how many >> deeply >> moving, prophetic, greatest, deepest, and very great masters >> appear over the >> course of a few months; and how often inthe span of such a brief >> period, >> 'finally another true poet' has been granted to the nation; and >> how the >> most beautiufl animal story and the best novel of the last ten >> years is >> written. A few eeks later hardly anyone can still remember the >> unforgettable impression they made." >> >> Musil continues: "Here we may add the second observation, >> that all such >> judegements derive fro diverse circels hermetically closed off to >> each >> other. They are formed by related publishers, auhtors, critics, >> newspapers, readers, and miscellaneous successess, each of whom >> does not >> have conatct with anyone outside his praticular circle; and all >> of these >> large and samll circles, whose cohesiveness may well be compared >> to that of >> a romantic entanglement or a political party, have their own >> geniuses or at >> least their "No-one-else more worthy the title.'" >> >> >> >> Whenever a review of a poet who is considered a kind of "one of >> us" of this >> list appears in a venue and by a person that is "not one of us"--the >> sometimes scandalized response always makes me think of Claude Rains' >> character in the film Casablanca when he has to shut down Rick's Cafe >> temporarily. "I'm shocked! Shocked! There is gambling going on!" >> >> I also, with several others, thought that given the space and >> readership >> --and a myriad other considerations, such as the advertisers, >> political >> lobbies etc. which are involved in the printing of any newspaper-- >> i've >> written for several--that the reviewer did very well by Rae >> Armantrout and >> her poetry and I have a strong feeling greatly increased potential >> and >> actual sales. >> >> The reference to "West Coast cult following" does not necessarily >> refer to >> Language poetry--this is an asumption made only by those who know >> of such a >> thing as a West Coast Language Poetry. It could just mean "she is >> very >> popular in the area where she lives on the West Coast." Besides, >> having a >> cult following can be seen by many people as a pretty cool thing! >> Who among >> poets doesn't want to think fondly of their own personal "cult >> following"? >> Isn't it much better than if say the reviewer wrote that >> Armantrout is >> primarily a poet of West Coast suburbia writing of facing the >> questions >> which come with aging? That would make her sound like a >> "confessional" poet >> wouldn't it? >> >> It's fun to imagine a dictatorship of the poet and poets' groups, >> who would >> lay down the law for the exact forms of the reception of their works. >> (These actually already do exist, just never at quite the incredibly >> omnipotent level that poets and poets' groups wd like them to. >> There can >> never be, after all, suffiencent unto the day enough worship to >> sate the Sun >> God, the Sun King or The Dear Leader, Big Brother, the Empress, >> the Gang of >> Four and the rest--) >> I just read three reviews from three different journals in >> NYC in >> 1858-9 of Whitman's first edition of Leaves of Grass. Excellent >> and most >> perceptive reviews!!!! By God--the ideal reader as reviewer! >> (The famous >> letter from Emerson being used to promote the second edition.) >> Of course, the reviewer in all three cases just so happened >> to be >> Walter Whitman under other names. >> >> Ruth's question re the difference between poetry and the >> visual arts >> in terms of people's willingness to see the "postmodern" or >> "innovative" >> might be that in hearing, people want "comforting words," or >> sounds, as >> humans do. Some people like to be comforted by the familair >> sounds of one >> form of poetry, some by another. With images, people are so >> bombarded >> continually by the "new," the "shocking," and the "tradition of >> the new," >> the "museum without walls" of cyberspace, advertising, videos, t- >> shirts, >> logos, fashion, etc etc--that too often the supposedly "radical" >> show is >> another way of saying "the familiar," or "the latest variation on the >> familiar," or "the uncanny mix of the new and the familiar". >> In other words, in all cases the audiences go for what they >> expect to >> have given to them. The familiar, the comforting, whether >> traditional or >> innovative, it's all comfort food. And sells like hot cakes to >> its chosen >> demographics, proporitonately speaking, given the varying sizes of >> the >> audiences involved. >> If one really wanted to be jolted by something "new" and >> "shocking" >> it would be to take a look at the world in front of one. >> But that's why people turn to comfort food isn't ? And >> maybe why the >> lack of the arts' involvements in many ways with the political/ >> activism so >> often remarked on. >> Musil ends his little (three and a quarter pp) essay on a >> very >> prescient note, seeing from the sitution he dscribes the future >> just three >> years away--and in many ways our own present-- >> >> "It is unfortunately to be assumed with infinitely greater >> certainty that >> this (plenitude of circles, groups) will rather turn out to have >> been a >> sign, not recognized early enough, of the spread of a dangerous >> group-mania. >> Infected by this mania, thousands of little groups each peddle >> their own >> set notion of life, so that it ought not to surprise us if soon a >> genuine >> paranoiac will hardly still be able to resist competing with the >> amateurs." >> >> >>> From: Ruth Lepson >>> Reply-To: UB Poetics discussion group >>> To: POETICS@LISTSERV.BUFFALO.EDU >>> Subject: Re: Armantrout review in Sunday Times Book Review >>> Date: Sun, 18 Mar 2007 13:30:05 -0400 >>> >>> well, I was glad to see the review but what I mean to say is that >>> the TBR >>> has so much power that if they were to put her work in context, >>> even tho >>> she >>> doesn't like to be identified as a Lang poet--in other words, >>> talk abt what >>> has been going on outside the mainstream since the 70's at least, >>> their >>> readership might be inclined to pick up a related book or two. It >>> cd change >>> the readership for poetry in this country. To that end I wrote a >>> letter to >>> the ed. Maybe this is naive or useless, like mixing iguanas w/ >>> puppies--ok, >>> I know the metaphor is apt in only a limited sense. If the >>> audience thought >>> iguanas were some of what poetry is these days they might at >>> least we cd >>> watch them on Animal Planet. And imagine if The New Yorker had a >>> spread on >>> Lang poets, books wd sell like sushi. sorry, I'm not thinking too >>> clearly >>> today. >>> >>> Then again here in Boston the same 40 or 50 poets show up at the >>> 'innovative' readings while the great majority of more trad poets >>> go to >>> other readings, and it seems never the twain shall meet. Maybe >>> it's a >>> matter >>> of sensibility, but if postmodern poetry were touted the way >>> postmmodern >>> visual art is, what a dif world it wd be, for better or worse-- >>> considering >>> the pretentious descriptions at the new ICA in Boston, but at >>> least people >>> seem to feel they shd go there to find some critique of our >>> society or just >>> to see what artists are doing. >>> >>> >>> On 3/18/07 12:18 PM, "Herb Levy" wrote: >>> >>>> If the idea of publishing reviews of "innovative" poetry in daily >>>> newspapers is simply to present the same kind of review that a >>>> reader of >>>> this very specialized e-mail discussion list might want to read or >>>> write, then what's the point? >>>> >>>> Stephen Burt's review of Rae Armantrout's new book is generally >>>> supportive of the work and might actually attract new readers to >>>> her >>>> poetry. I assume that Rae'll get reviews in poetry magazines and >>>> critical journals that will place her work in context. But it seems >>>> weird to criticize the review because it doesn't include an >>>> extensive >>>> history of Language poetry and Armantrout's place in that genre, >>>> or a >>>> detailed analysis of formal elements of her work. There are >>>> plenty of >>>> venues for that kind of critique (it seems as if at least half >>>> of the >>>> people reading this list publish one). However, a daily >>>> newspaper, even >>>> one as "august" as the New York Times, is not such a venue. >>>> >>>> Reviews in general interest publications such as daily newspapers, >>>> popular magazines, or NPR programs basically function as a >>>> marketing >>>> tool. The primary focus is to let a general audience know >>>> whether they >>>> might want to spend time and/or money reading the book, seeing >>>> the show, >>>> etc. >>>> >>>> Obviously, it's nice when there's something more than that in >>>> this kind >>>> of publication, but the editors and publishers would be >>>> perfectly happy >>>> if they could get away with just running a letter grade, a >>>> number of >>>> stars, a picture of thumbs up or down. >> >> _________________________________________________________________ >> Watch free concerts with Pink, Rod Stewart, Oasis and more. Visit MSN >> Presents today. >> http://music.msn.com/presents? >> icid=ncmsnpresentstagline&ocid=T002MSN03A07001 ========================================================================= Date: Tue, 20 Mar 2007 09:03:59 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: Tuntha-obas/edson In-Reply-To: <11d43b500703200558g6360d415tb609351e6b40dcf5@mail.gmail.com> Mime-Version: 1.0 (Apple Message framework v752.2) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit Well, here's one that might serve, Heidi: Flinch A new season sweeps across the merchandise. Paper products suggest harvest, then fear of the dark. Rows of palms in stanchions abstain, having little stake in matter. They flap their fronds weakly as we revolve. * Is it true we deserve any blow we fail to anticipate? A shadow traveling down a wall is a maternal hand while a maternal hand is lavender-suffusing dusk and dusk itself, a great tissue of lies, suffused with blood. * Three things are placed in safety on a created plane: twilight and the stop-gap palms bellwether palms advance with the transparent cloud-scarves of the nonexistent fatalistic nomads we half-dreamed of being. --Rae Armantrout fr. Up to Speed [Middletown, Conn.: Wesleyan University Press, 2004] Hal "I always wanted to be a cosmologist but failed the physical." --Anon. Halvard Johnson ================ halvard@gmail.com halvard@earthlink.net http://home.earthlink.net/~halvard http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org On Mar 20, 2007, at 6:58 AM, heidi arnold wrote: > -- my copy of armantrout's book _Up To Speed_ -- lost somewhere in > the piles > here -- > or else i'd post one to add to the armantrout thread > -- others have discussed how her poems are the lens through which > to read > the reviews -- the > book of poems becoming the refraction and light control -- to > fracture other > dialogues > -- and shatter glass to create meaning -- > > > Padcha Tuntha-obas has a fascinating chapbook -- > _composite.diplomacy_ -- > > ten syllables declare here that time changes to receive > literature, > curtly announcing a statement lacking proofs. I trust I have. > witnessed > such. > imagined such. be real as is imagined. envisioning, literature, > time, > present, > composite. one. > > > > > > -- > www.heidiarnold.org > http://peaceraptor.blogspot.com/ ========================================================================= Date: Tue, 20 Mar 2007 14:01:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Evan Munday Subject: Rachel Zolf's Human Resources Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Dear Poetics subscribers, Coach House Books is pleased to announce the publication of Human=20 Resources, the new collection by Rachel Zolf: Human Resources by Rachel Zolf ISBN 1 55245 182 8 | 978 1 55245 182 3 $16.95 CDN | $14.95 US Does the unreadable drive the reader from consuming to producing, or=20 all the 66 what good time is death bells and whistles of the ineffable? Poesis consumes the green noem evanesced in glossolalial white. Shuffle it like cards and you may find another way of bathing language. Write for buyers. Write for bosses. Think hyper. Think branding. Tell=20 your visitor where to go. Poetry and =91plain language=92 collide in the writing machine = that is=20 Human Resources. Here at the intersection of creation and repackaging,=20= we experience the visceral and psychic cost of selling things with=20 depleted words. Pilfered rhetorics fed into the machine are spit out as=20= bungled associations among money, shit, culture, work and=20 communication. With the help of online engines that numericize=20 language, Human Resources explores writing as a process of encryption. Deeply inflected by the polyvocality and encoded rhetorics of = the=20 screen, Human Resources is perched at the limits of language,=20 irreverently making and breaking meaning. Navigating the crumbling=20 boundaries among page, screen, reader, engine, writer and database,=20 Human Resources investigates wasting words and words as waste =96 and = the=20 creative potential of salvage. Written by Rachel Zolf (Masque), who works days as a corporate=20= communications consultant, churning out language to fire employees=20 gently or convince them to toe the corporate line, Human Resources=20 =91repurposes=92 for artistic ends the words and energy she wastes = daily.=20 The book exposes the codes =96 programming codes, social codes, = political=20 codes =96 that we live under every day that tell us how to act, what to=20= buy, who to love, who to bomb.=09 Praise for Human Resources: =91In this bad-mouthing and incandescent burlesque, Rachel Zolf=20 transforms a necessary social anger into the pure fuel that takes us to=20= =93the beautiful excess of the unshackled referent.=94 We learn = something=20 new about guts, and about how dictions slip across one another,=20 entwining, shimmering, wisecracking. For Zolf, political invention=20 takes precedent, works the search engine.=92 =96 Lisa Robertson =91What=92s the use of Jews writing limericks? An archaeologist of=20 language, Rachel Zolf asks questions, or just maybe tricks the language=20= into asking them for her, and for us, that we would never think to=20 pose. Check back on that stanza=96this is a marathon of writing and=20 thinking both. There are riches [in Human Resources] not previously=20 imagined.=92 =96 Ron Silliman Rachel Zolf is the author of the poetry collections Masque (The Mercury=20= Press, 2004), which was shortlisted for the 2005 Trillium Book Award=20 for Poetry, and Her absence, this wanderer (BuschekBooks, 1999), which=20= was a finalist in the cbc Literary Competition. Zolf lives in Toronto=20 and was the founding poetry editor for Walrus magazine. In support of this collection, Rachel Zolf will tour Canada and the=20 U.S., reading from Human Resources in Seattle, Portland, Vancouver,=20 Toronto, Montreal, Winnipeg, New York, Calgary and other cities. The=20 first event takes place April 19 in Buffalo. Visit the Coach House=20 website regularly for other scheduled events. (http://www.chbooks.com) April 19, 7:00 p.m. Buffalo, NY (Rust Belt Books, 202 Allen Street) The Rust Belt Reading Series welcomes Rachel Zolf along with Tom Mandel=20= (To the Cognoscenti) and Sharon Harris (Avatar). * * * * * * * * * Individuals can order Human Resources through the Coach House website=20 at http://www.chbooks.com. Bookstores in Canada can order through our distributor LitDistCo by=20 calling 1 800 591 6250 or e-mailing orders@litdistco.ca. Bookstores in the United States can order through our U.S. distributor,=20= the Chicago Distribution Centre, by calling 1 800 621 2736. Yours, Evan ------------------------------ Evan Munday Publicist Coach House Books 401 Huron St. (rear) on bpNichol Lane Toronto ON, M5S 2G5 416.979.2217 evan@chbooks.com ========================================================================= Date: Tue, 20 Mar 2007 10:46:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Montgomery fuller Subject: International Poetry Day event on Wednesday, March 21 2007 Montreal Muslim New Mime-Version: 1.0 Content-Type: text/plain; format=flowed International Poetry Day event on Wednesday, March 21 2007 Montreal Muslim News # From: "Montreal Muslim News" < montrealnews@gmail.com> # To: list < montrealmuslimnews@lists.riseup.net> # Subject: International Poetry Day event on Wednesday, March 21 2007 # Date: Mon, 19 Mar 2007 13:56:46 -0400 # Dkim-signature: a=rsa-sha1; c=relaxed/relaxed; d=gmail.com; s=beta; h=domainkey-signature:received:received:message-id:date:from:to:subject:mime-version:content-type; b=h8KI41M6S0ycTH8l0ICUksOirvTsr6foAxWl7mcK8hxb3CNlLxe6iBobXsJYC8yvi7t9Ts11o9yiXI3gX7JkS95drstVInQF35PbEo4BHxefCYSIPc9ApPPxmo+dAUmP0BReDUxmuxMEOX+P4dtGWOaGWMLifO3bdOxUrdId7LI= # Domainkey-signature: a=rsa-sha1; c=nofws; d=gmail.com; s=beta; h=received:message-id:date:from:to:subject:mime-version:content-type; b=Lh/ABGQ5yOGtxQqXWBXXIz2ZnNR5HID42gvPU8vJiKCW3CFJolWxzxiUlD7qlVVku411WieOMTkz6BBHEuRjfob1Te0QGpjSrakiAGkNv8hjSvfM8PvwHBU5idLyDedvds/RNG2sd2pjrotUA7pRwqrokwIutO2oneVC+Pd1XUQ= International Poetry Day event on Wednesday, March 21 2007 The event is free, open to the public, and multi-lingual March 21 is International Poetry Day, as declared by UNESCO. This year we will celebrate Montreal's magnificent cultural and linguistic diversity in poetry and in dialogue. You are invited to participate at a "poetic round table" on the theme of Peace by dialogue. Each participant will read a poem or short prose, and add to the discussion with audience participation. http://nochesdepoesia.com/noches/journeeinternationalepoesie_lapaixparledialogue Discussion to take place from 17h30 to 20h00 at Le Dépanneur Café SVP arriver tôt @17h00 (discussion prévue pour 17h30 - 20h00) 206, rue Bernard Ouest coin Saint-Urbain Montréal, Québec H2T 2K4 (514) 271-9357 info@ledepanneurcafe.com PARTICIPANTS: Adrian Francisco Valdés Montalvan Analays Alvarez Hernandez Aspasia Worlitzky Carolyn Marie Souaid Ehab Lotayef Hugh (Hugo) Hazelton James Cockcroft Katharine Beeman Katia Grubisic Marie Cholette Michel Bujold Sandra Stephenson Yolanda Duque Vidal .. __,_._,___ -- ***************************************************************** Montreal Muslim News Network - http://www.montrealmuslimnews.net Send us your feeback at: montrealnews@gmail.com _________________________________________________________________ Watch free concerts with Pink, Rod Stewart, Oasis and more. Visit MSN Presents today. http://music.msn.com/presents?icid=ncmsnpresentstagline&ocid=T002MSN03A07001 ========================================================================= Date: Tue, 20 Mar 2007 12:16:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Betsy Andrews Subject: upcoming readings for Betsy Andrews MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi, I'll be reading from my new book, New Jersey, on these dates and in these places: MARCH 22, 7 PM Helen C. White Hall Room 6191 University of Wisconsin–Madison (corner of Park St. and Observatory Dr.) Madison, Wisconsin w/Fleda Brown MARCH 23, 7 PM Woodland Pattern Book Center 720 East Locust St. Milwaukee, Wisconsin w/Fleda Brown MARCH 25, 7 PM Myopic Books 1564 N Milwaukee Ave Chicago, Illinois MARCH 31, 6:30 PM New College Room 4, 777 Valencia St. San Francisco, CA April 1, 7:30 PM Black Oak Books 1491 Shattuck Avenue Berkeley, CA w/Brian Teare More on New Jersey: http://www.wisc.edu/wisconsinpress/books/4306.htm --------------------------------- Need Mail bonding? Go to the Yahoo! Mail Q&A for great tips from Yahoo! Answers users. ========================================================================= Date: Tue, 20 Mar 2007 16:12:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Russo, Linda V." Subject: Re: Armantrout review in Sunday Times Book Review MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable =20 I've read this thread with great interest and chose to branch off of = Barry's comment below. I would love to have seen a line like that = myself; not only because it raises the issue of language and interpretation, but because it also presents=20 the "positive" spin her doubting-work takes in the age of belief. What I found most disappointing about the review - thinking of Murat's = comment on 'reception' - is his framing of aspects of her poetics - namely the use of doubt, bitterness, ambiguity, juxtaposition - as negative because they stem, apparently, from non-belief; they disrupt the narrative of the soul.=20 Of course the reviewer must speak to his readers in a language they'll understand, but simply saying Rae is not a soul-seeking, life- affirming poet is not enough. To Burt, in the very least these poems = reassure is that someone out there is more doubtful than "we"!=20 The approach he takes, I think, will *not* help his readers understand these poems; it rather enables them to see her = work as contrary to normative frames - of poetics, of belief. Thus easy to = dismiss.=20 Lines quoted provide ample examples of her use of ambiguity and doubt (questions, "or" driven phrases), but his reading of her doubt is = misplaced when he addresses the lines "Someone insists on forming sentences / on = my pillow...";=20 these lines are less skeptical about the authenticity of dreams (?) than = they are wary of the powers (and the discourses) of "someones" and "others"=20 to infiltrate - no, inscribe them. "Uncomfortable domestic interiors" = indeed -=20 Burt hits that one right on the head. =20 So three cheers for Rae for making poems that are hard for us to "make = into poetic wholes"! ------------------------------ Date: Sun, 18 Mar 2007 23:07:16 +0000 From: Barry Schwabsky Subject: Re: Armantrout review in Sunday Times Book Review It's like a completely different writer. I wish he (or his editors) had = more respect for the Times' readers. Why couldn't a sentence like this = be published there?: =20 "Many poets could portray a beleaguered housewife, an oil spill, the = land of the dead, or a Homeric siren: Armantrout's trick is to do all = four at once. In doing so she also asks how much her word choice, our = word choice, creates the events and reactions we try to interpret. " That really says something about the way the poetry works, and in the = process indicates something of its subject matter as well. =20 ========================================================================= Date: Tue, 20 Mar 2007 17:01:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick LoLordo Subject: Re: Armantrout review in Sunday Times Book Review In-Reply-To: <616885FB42966548B07F9EBADA59E14204E63D13@XMAIL.sooner.net.ou.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit to pick up, in turn, on Linda's point: [here I'm elaborating the sort of thing I take her as suggesting:] the reviewer might have presented Armantrout as providing an antidote to linguistic manipulation: she's an anti-spin poet, and thus offers crucial and timely work at this moment in the history of American public language... this would be to read her skepticism as politically constructive-- however, to qualify one of Linda's points: it's hard for me to imagine NYTBR readers taking this reading as _any less_ "contrary to normative frames"--this alternate version of Armantrout's project is _equally_ something poets aren't supposed to do. Poets, for that organ, are supposed to inhabit the spectrum between Billy Collins and Elizabeth Bishop. That's the norm in question, I think. And if I'm right, then there is no choice _between_ understanding the poems and seeing them as contrary to normative frames; rather, the latter is essential to the former. At which point, a critic only slightly more skeptical than I might exclaim, "and therefore NYTBR readers will not understand the poems!" Quoting "Russo, Linda V." : > > I've read this thread with great interest and chose to branch off > of Barry's comment below. I would love to have seen a line like > that myself; not only because it raises the > issue of language and interpretation, but because it also presents > the "positive" spin her doubting-work takes in the age of belief. > > What I found most disappointing about the review - thinking of > Murat's comment > on 'reception' - is his framing of aspects of her poetics - namely > the use of doubt, bitterness, ambiguity, juxtaposition - as > negative > because they stem, apparently, from non-belief; they disrupt the > narrative of the soul. > > Of course the reviewer must speak to his readers in a language > they'll > understand, but simply saying Rae is not a soul-seeking, life- > affirming poet is not enough. To Burt, in the very least these > poems reassure > is that someone out there is more doubtful than "we"! > > The approach he takes, I think, will *not* help > his readers understand these poems; it rather enables them to see > her work > as contrary to normative frames - of poetics, of belief. Thus easy > to dismiss. > ---------- 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, 20 Mar 2007 17:53:36 -0700 Reply-To: linda norton Sender: UB Poetics discussion group From: linda norton Subject: Re: Armantrout review in Sunday Times Book Review Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit I guess I'm cynical/pragmatic/sanguine enough about the limits of mainstream media, and hopeful enough about poetry itself, especially Rae Armantrout's, that I think ANY attention in the Times, no matter how misapprehending, is a good thing. Like I said, if it gets people looking for Rae's work online, and if it gets the book into libraries, readers will find out for themselves. Don't forget that many of US are Times readers, and we all read it with a sense of its limited frames. Who's to say that there aren't plenty of Times readers who aren't on the poetics list, yet know how to read between the lines of a newspaper, and wouldn't have heard about Rae's work otherwise? I liked the point Lou made about understanding conditions and working with them. By the way, I don't think I knew what Language poetry was when I first copied SIT-CALM out of one of Rae's books and put it up on my refrigerator. (I loved Bishop's poetry and we were publishing a biography of her, so she and the poets and critics who valorized her were much on my mind; but I could like other poetries, too.) Many years and apartments and refrigerators later, SIT-CALM is still with me. -----Original Message----- >From: Nick LoLordo >Sent: Mar 20, 2007 5:01 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Armantrout review in Sunday Times Book Review > >to pick up, in turn, on Linda's point: > >[here I'm elaborating the sort of thing I take her as suggesting:] > >the reviewer might have presented Armantrout as providing an antidote >to linguistic manipulation: she's an anti-spin poet, and thus offers >crucial and timely work at this moment in the history of American >public language... > >this would be to read her skepticism as politically constructive-- > >however, to qualify one of Linda's points: it's hard for me to >imagine NYTBR readers taking this reading as _any less_ "contrary to >normative frames"--this alternate version of Armantrout's project is >_equally_ something poets aren't supposed to do. Poets, for that >organ, are supposed to inhabit the spectrum between Billy Collins and >Elizabeth Bishop. That's the norm in question, I think. > >And if I'm right, then there is no choice _between_ understanding the >poems and seeing them as contrary to normative frames; rather, the >latter is essential to the former. > >At which point, a critic only slightly more skeptical than I might >exclaim, "and therefore NYTBR readers will not understand the poems!" > > >Quoting "Russo, Linda V." : > >> >> I've read this thread with great interest and chose to branch off >> of Barry's comment below. I would love to have seen a line like >> that myself; not only because it raises the >> issue of language and interpretation, but because it also presents >> the "positive" spin her doubting-work takes in the age of belief. >> >> What I found most disappointing about the review - thinking of >> Murat's comment >> on 'reception' - is his framing of aspects of her poetics - namely >> the use of doubt, bitterness, ambiguity, juxtaposition - as >> negative >> because they stem, apparently, from non-belief; they disrupt the >> narrative of the soul. >> >> Of course the reviewer must speak to his readers in a language >> they'll >> understand, but simply saying Rae is not a soul-seeking, life- >> affirming poet is not enough. To Burt, in the very least these >> poems reassure >> is that someone out there is more doubtful than "we"! >> >> The approach he takes, I think, will *not* help >> his readers understand these poems; it rather enables them to see >> her work >> as contrary to normative frames - of poetics, of belief. Thus easy >> to dismiss. >> > > > > >---------- > >V. Nicholas LoLordo >Assistant Professor > >University of Nevada-Las Vegas >Department of English >4504 Maryland Parkway >Las Vegas, NV 89154-5011 > >(702) 895-3623 http://www.nytimes.com/2007/03/18/magazine/18cover.html?pagewanted=15&ref=magazine ========================================================================= Date: Tue, 20 Mar 2007 19:11:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nico Vassilakis Subject: SOUND/VISUAL/DIGITAL/POETRIES Mime-Version: 1.0 Content-Type: text/plain; format=flowed sound/visual/digital/poetries crag hill/geof huth/jim andrews/nico vassilakis MARCH 30th, 7:30pm Chapel Performance Space Good Shepherd Center 4649 Sunnyside Ave. N, Seattle (in Wallingford, just south of 50th St.) http://gschapel.blogspot.com/ ========================================================================= Date: Tue, 20 Mar 2007 19:30:36 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: Chinese Village Struggles to Save Dying Language In-Reply-To: <20070319160818.73792.qmail@web54610.mail.yahoo.com> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=iso-8859-1 Content-transfer-encoding: QUOTED-PRINTABLE i know a couple of people in hawaii who are of han ancestry. they say the han did not practice foot binding either--that they were matriarchal. best, gabe Checked by Avast anti-virus system On Mon, 19 Mar 2007, agj wrote: > I posted something a while ago related to the Han and > Manchu of China. I would have included the article in > its entirety, but the link leads one to both the > intended article and then some nice photos. I lived in > Heilongjiang for about two years, taking quick breaks > to explore Croatia and South America. A nice article, > though I would much disagree that Han and Manchu are > "indistinguishable by appearance" -- which is to say > that, for me, the statement reads clumsy (in part > because I lived in the area described and an old mate > is married to a woman of Manchu ancestory). But then > not all Han look alike, either -- and the Han, as some > can better state, because a few of us on this list > have ties to China, are then further divided. There > seem to be racial and ethnic hierarchies everywhere > one goes (and last night sat with two men from Somalia > and we talked about that). As an aside, the Machu did > not practice foot binding ("Golden Lillies"). > > http://www.nytimes.com/2007/03/18/world/asia/18manchu.html?ex=3D117496800= 0&en=3Dd3beb17e30ef71ce&ei=3D5070&emc=3Deta1 > > > > > -- > "[H]e who leaps into the void owes no explanation > to those who watch.=94 (Jean-Luc Godard) > > > > _________________________________________________________________________= ___________ > Sucker-punch spam with award-winning protection. > Try the free Yahoo! Mail Beta. > http://advision.webevents.yahoo.com/mailbeta/features_spam.html > ========================================================================= Date: Wed, 21 Mar 2007 16:24:42 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wystan Curnow Subject: Re: Armantrout review in Sunday Times Book Review Comments: To: lindanorton@earthlink.net In-Reply-To: A<25782601.1174438416320.JavaMail.root@elwamui-rustique.atl.sa.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable I don't know how many poetics group people read ARTFORUM but its certainly got a significant readership not only in the US but internationally. Within the art magazine world it's pretty mainstream. The March issue features Rae Armantrout's Top Ten. There are no ready comparisons to be had between an art mainstream and a poetry one, but I would say Armantrout's appearance in this magazine adds value to both. While these annotated lists are pretty much everywhere now in the magazine world and everywhere a sign of down marketing, Artforum's frequently offer valuable pointers to the culturally out of the way and interesting. Poets rarely feature either as lister or as listed, let alone a poet of Armantrout's class. She takes the opportunity to alert the art world to: Silliman's Blog (1) Emily Dickinson (2) Francis Ponge (3) Bob Perelman (4) Lydia Davis (8) Conjunctions (9) and Fanny Howe (10). And her annotations are succinct, informative and informed, particular, evocative, and her choices/judgements are interesting both in themselves and as a snapshot of the writer herself.=20 Wystan=20 =20 =20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of linda norton Sent: Wednesday, 21 March 2007 12:54 p.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Armantrout review in Sunday Times Book Review I guess I'm cynical/pragmatic/sanguine enough about the limits of mainstream media, and hopeful enough about poetry itself, especially Rae Armantrout's, that I think ANY attention in the Times, no matter how misapprehending, is a good thing. Like I said, if it gets people looking for Rae's work online, and if it gets the book into libraries, readers will find out for themselves. Don't forget that many of US are Times readers, and we all read it with a sense of its limited frames. Who's to say that there aren't plenty of Times readers who aren't on the poetics list, yet know how to read between the lines of a newspaper, and wouldn't have heard about Rae's work otherwise?=20 I liked the point Lou made about understanding conditions and working with them. By the way, I don't think I knew what Language poetry was when I first copied SIT-CALM out of one of Rae's books and put it up on my refrigerator. (I loved Bishop's poetry and we were publishing a biography of her, so she and the poets and critics who valorized her were much on my mind; but I could like other poetries, too.) Many years and apartments and refrigerators later, SIT-CALM is still with me. -----Original Message----- >From: Nick LoLordo >Sent: Mar 20, 2007 5:01 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Armantrout review in Sunday Times Book Review > >to pick up, in turn, on Linda's point: > >[here I'm elaborating the sort of thing I take her as suggesting:] > >the reviewer might have presented Armantrout as providing an antidote=20 >to linguistic manipulation: she's an anti-spin poet, and thus offers=20 >crucial and timely work at this moment in the history of American=20 >public language... > >this would be to read her skepticism as politically constructive-- > >however, to qualify one of Linda's points: it's hard for me to imagine >NYTBR readers taking this reading as _any less_ "contrary to normative=20 >frames"--this alternate version of Armantrout's project is _equally_=20 >something poets aren't supposed to do. Poets, for that organ, are=20 >supposed to inhabit the spectrum between Billy Collins and Elizabeth=20 >Bishop. That's the norm in question, I think. > >And if I'm right, then there is no choice _between_ understanding the=20 >poems and seeing them as contrary to normative frames; rather, the=20 >latter is essential to the former. > >At which point, a critic only slightly more skeptical than I might=20 >exclaim, "and therefore NYTBR readers will not understand the poems!" > > >Quoting "Russo, Linda V." : > >> >> I've read this thread with great interest and chose to branch off of=20 >> Barry's comment below. I would love to have seen a line like that=20 >> myself; not only because it raises the issue of language and=20 >> interpretation, but because it also presents the "positive" spin her=20 >> doubting-work takes in the age of belief. >> >> What I found most disappointing about the review - thinking of=20 >> Murat's comment on 'reception' - is his framing of aspects of her=20 >> poetics - namely the use of doubt, bitterness, ambiguity,=20 >> juxtaposition - as negative because they stem, apparently, from=20 >> non-belief; they disrupt the narrative of the soul. >> >> Of course the reviewer must speak to his readers in a language=20 >> they'll understand, but simply saying Rae is not a soul-seeking,=20 >> life- affirming poet is not enough. To Burt, in the very least these=20 >> poems reassure is that someone out there is more doubtful than "we"! >> >> The approach he takes, I think, will *not* help his readers=20 >> understand these poems; it rather enables them to see her work as=20 >> contrary to normative frames - of poetics, of belief. Thus easy to=20 >> dismiss. >> > > > > >---------- > >V. Nicholas LoLordo >Assistant Professor > >University of Nevada-Las Vegas >Department of English >4504 Maryland Parkway >Las Vegas, NV 89154-5011 > >(702) 895-3623 =20 http://www.nytimes.com/2007/03/18/magazine/18cover.html?pagewanted=3D15&r= e f=3Dmagazine ========================================================================= Date: Wed, 21 Mar 2007 02:48:55 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: P Ganick Subject: the list from BLUE LION BOOKS --------------- some new books from BLUE LION BOOKS and the backlist at: www.cafepress.com/bluelionbooks66 no submissions at this time. probably by september. --------------- ========================================================================= Date: Tue, 20 Mar 2007 22:31:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Left Behind MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Left Behind http://www.asondheim.org/minmax.mp4 Some people believe in ghosts and light candles and some people believe in gods and spirits. People will do anything to avoid life. Some people say prayers and some people have funerals and some people drink blood and wine and some people go to temples and some people go to churches. People will do anything to avoid this life. People will read and write and paint. Some people will fight and some people will tell people to fight. Anything to add to this life. People want to add to this life. People lie to add to this life. People believe in goblins and trolls. People find this life flat and boring. Anything to make this life interesting. Anything to make this life go on. Anything to endure. Anything to make enduring. People believe in UFOs. People want more than people and animals. People want more than clouds and plants. People say if there's nothing else than this life then there's nothing at all. People say if this is all there is there's nothing to live for. Some people play sports and some people write things down and some people make flat new things and some people are sick and bleeding. Some people want to die. People are left behind. ========================================================================= Date: Wed, 21 Mar 2007 06:16:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: agj Subject: And this -- Re: Chinese Village Struggles to Save Dying Language In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit As an aside, there are some wonderful books on this tradition. Too, it is interesting to note that there is a lot of evidence to suggest that male prostitutes would also have their feet bound -- which is to say the arch of the foot quite literally destroyed. AJ -- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) ____________________________________________________________________________________ It's here! Your new message! Get new email alerts with the free Yahoo! Toolbar. http://tools.search.yahoo.com/toolbar/features/mail/ ========================================================================= Date: Wed, 21 Mar 2007 06:11:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: agj Subject: Re: Chinese Village Struggles to Save Dying Language In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Gabe, That might be what was said, and who am I to disagree or even debate the issue, but for sake of general accuracy foot-binding was an erotic tradition practiced by the Han or "Chinese" the words synonymous. As an aside, my wife and I own genuine pair of "lotus shoes". agj --- Gabrielle Welford wrote: > i know a couple of people in hawaii who are of han > ancestry. they say the > han did not practice foot binding either--that they > were matriarchal. > best, gabe > > Checked by Avast anti-virus system > > On Mon, 19 Mar 2007, agj wrote: > > > I posted something a while ago related to the Han > and > > Manchu of China. I would have included the article > in > > its entirety, but the link leads one to both the > > intended article and then some nice photos. I > lived in > > Heilongjiang for about two years, taking quick > breaks > > to explore Croatia and South America. A nice > article, > > though I would much disagree that Han and Manchu > are > > "indistinguishable by appearance" -- which is to > say > > that, for me, the statement reads clumsy (in part > > because I lived in the area described and an old > mate > > is married to a woman of Manchu ancestory). But > then > > not all Han look alike, either -- and the Han, as > some > > can better state, because a few of us on this list > > have ties to China, are then further divided. > There > > seem to be racial and ethnic hierarchies > everywhere > > one goes (and last night sat with two men from > Somalia > > and we talked about that). As an aside, the Machu > did > > not practice foot binding ("Golden Lillies"). > > > > > http://www.nytimes.com/2007/03/18/world/asia/18manchu.html?ex=1174968000&en=d3beb17e30ef71ce&ei=5070&emc=eta1 > > > > > > > > > > -- > > "[H]e who leaps into the void owes no explanation > > to those who watch.” (Jean-Luc Godard) > > > > > > > > > ____________________________________________________________________________________ > > Sucker-punch spam with award-winning protection. > > Try the free Yahoo! Mail Beta. > > > http://advision.webevents.yahoo.com/mailbeta/features_spam.html > > > -- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) ____________________________________________________________________________________ Don't pick lemons. See all the new 2007 cars at Yahoo! Autos. http://autos.yahoo.com/new_cars.html ========================================================================= Date: Wed, 21 Mar 2007 06:48:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Poet Jackson MacLow - my tiny anecdote In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit My first encounter with MacLow took place when I first moved to NYC in 1997. Excited to be here, I wanted to do everything cool. So I went to a a Pauline Oliveros' concert in something of a warehouse space located in Soho. The seats were organized in an L shape around her equipment/instruments. I sat in the forward-facing front row. About midway through the concert, I noticed a man sitting in the front row across from me in the other leg of the L. His face became distracting to the point that I was listening, trying to focus on Oliveros' physical movements while also returning to that face regularly. Finally at the show's end, I approached the man. His face up close struck me as quite open, and I suddenly doubted what I had by then determined was a familiarity -- he may just have that kind of friendly presence that makes people think he's someone they know. Nonetheless, I boldly asked, Do I know you? He answered, I don't know! I didn't know how to proceed, so I fumbled with a few now embarrassed random questions, Do you live around here? Do I look familiar? Where do you get your coffee? etc. He was game for all of this, even amused, answering each one, until I finally asked, What do you do? He replied, I'm a poet. In that instant, it hit me and I blurted out, You slept in my bed! He laughed, What?? I remembered just then and told him that when he had visited Buffalo to read some years before while I was living there. I was going out of town during his visit, so my roommate, Anya Lewin, offered up my bed for his stay. I remembered his face because I was reading his book before he arrived, primarily to see what kind of poet would be sleeping in my bed. I remembered his face years later from the photograph. This pleased MacLow, who expressed appreciation for the bed and the funny coincidence. Small world. --------------------------------- Need Mail bonding? Go to the Yahoo! Mail Q&A for great tips from Yahoo! Answers users. ========================================================================= Date: Wed, 21 Mar 2007 06:52:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Poet Jackson MacLow - my tiny anecdote In-Reply-To: <48322.65818.qm@web83312.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit That is, from the photograph on the book's cover. amy king wrote: My first encounter with MacLow took place when I first moved to NYC in 1997. Excited to be here, I wanted to do everything cool. So I went to a a Pauline Oliveros' concert in something of a warehouse space located in Soho. The seats were organized in an L shape around her equipment/instruments. I sat in the forward-facing front row. About midway through the concert, I noticed a man sitting in the front row across from me in the other leg of the L. His face became distracting to the point that I was listening, trying to focus on Oliveros' physical movements while also returning to that face regularly. Finally at the show's end, I approached the man. His face up close struck me as quite open, and I suddenly doubted what I had by then determined was a familiarity -- he may just have that kind of friendly presence that makes people think he's someone they know. Nonetheless, I boldly asked, Do I know you? He answered, I don't know! I didn't know how to proceed, so I fumbled with a few now embarrassed random questions, Do you live around here? Do I look familiar? Where do you get your coffee? etc. He was game for all of this, even amused, answering each one, until I finally asked, What do you do? He replied, I'm a poet. In that instant, it hit me and I blurted out, You slept in my bed! He laughed, What?? I remembered just then and told him that when he had visited Buffalo to read some years before while I was living there. I was going out of town during his visit, so my roommate, Anya Lewin, offered up my bed for his stay. I remembered his face because I was reading his book before he arrived, primarily to see what kind of poet would be sleeping in my bed. I remembered his face years later from the photograph. This pleased MacLow, who expressed appreciation for the bed and the funny coincidence. Small world. --------------------------------- Don't get soaked. Take a quick peek at the forecast with theYahoo! Search weather shortcut. ========================================================================= Date: Wed, 21 Mar 2007 09:27:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Russo, Linda V." Subject: Re: Armantrout review in Sunday Times Book Review MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Nick makes a good point - I did mean to suggest that understanding=20 her contrareity is necessary to understanding her poetics. My gripe is that the reviewer does not clarify that, thus framing her poetry as, well, not impending on our understanding of what poetic language does. Thus easy to dismiss rather than to engage as complication (And I know I'm=20 naive in my belief that the general reader wants her understanding=20 of poetry complicated!) However, I'm not implying that the total effect of the review is a negative sum - no new readers for Armantrout. But it leaves us shy of understanding why we should read her - what's to be gained from her doubt, other than a reassurance that=20 someone has got a worse case of it. It leaves us shy of understanding because politics and language are avoided in a review that constructs poetry as, by definition, a discourse that transcends material actualities.=20 In Armantrout's poetry, the power of doubt, bitterness, & contrareity does not merely address personal shortcomings (inauthentic dreams) but those acts of "public language," as Nick puts it, that = undermine=20 the imagination. In the review, for example, a reference to a tradition of contrareity = might help frame Rae's project - a reference to Williams' Spring and All, for example, where he "lets the imagination have its own way"=20 in order to redisover "reality itself," to create a new form for = experience, to rediscover "beauty" as a "state in which reality plays a part." (That the imagination in Rae's work is so much less crisp, more laced with ambiguity than Williams' is itself interesting). Though=20 of course that might be off the general reader's radar and require too = much explanation from an editor's perspective. So yes, I agree, it's the norm that's the problem. And I don't discredit one reviewer for attempting to present Rae's work to a general readership - I just wish her 'spin'=20 didn't get a negative rap.=20 Aren't we all, to some degree or other, great revisers of others' = arguments.=20 best, Linda -----Original Message----- >From: Nick LoLordo >Sent: Mar 20, 2007 5:01 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Armantrout review in Sunday Times Book Review > >to pick up, in turn, on Linda's point: > >[here I'm elaborating the sort of thing I take her as suggesting:] > >the reviewer might have presented Armantrout as providing an antidote >to linguistic manipulation: she's an anti-spin poet, and thus offers >crucial and timely work at this moment in the history of American >public language... > >this would be to read her skepticism as politically constructive-- > >however, to qualify one of Linda's points: it's hard for me to >imagine NYTBR readers taking this reading as _any less_ "contrary to >normative frames"--this alternate version of Armantrout's project is >_equally_ something poets aren't supposed to do. Poets, for that >organ, are supposed to inhabit the spectrum between Billy Collins and >Elizabeth Bishop. That's the norm in question, I think. > >And if I'm right, then there is no choice _between_ understanding the >poems and seeing them as contrary to normative frames; rather, the >latter is essential to the former. > >At which point, a critic only slightly more skeptical than I might >exclaim, "and therefore NYTBR readers will not understand the poems!" > > >Quoting "Russo, Linda V." : > >> >> I've read this thread with great interest and chose to branch off >> of Barry's comment below. I would love to have seen a line like >> that myself; not only because it raises the >> issue of language and interpretation, but because it also presents >> the "positive" spin her doubting-work takes in the age of belief. >> >> What I found most disappointing about the review - thinking of >> Murat's comment >> on 'reception' - is his framing of aspects of her poetics - namely >> the use of doubt, bitterness, ambiguity, juxtaposition - as >> negative >> because they stem, apparently, from non-belief; they disrupt the >> narrative of the soul. >> >> Of course the reviewer must speak to his readers in a language >> they'll >> understand, but simply saying Rae is not a soul-seeking, life- >> affirming poet is not enough. To Burt, in the very least these >> poems reassure >> is that someone out there is more doubtful than "we"! >> >> The approach he takes, I think, will *not* help >> his readers understand these poems; it rather enables them to see >> her work >> as contrary to normative frames - of poetics, of belief. Thus easy >> to dismiss. >> > > ========================================================================= Date: Wed, 21 Mar 2007 10:15:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: Left Behind In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit you're on a roll! On 3/20/07 10:31 PM, "Alan Sondheim" wrote: > Left Behind > > http://www.asondheim.org/minmax.mp4 > > Some people believe in ghosts and light candles and some people believe in > gods and spirits. People will do anything to avoid life. Some people say > prayers and some people have funerals and some people drink blood and wine > and some people go to temples and some people go to churches. People will > do anything to avoid this life. People will read and write and paint. Some > people will fight and some people will tell people to fight. Anything to > add to this life. People want to add to this life. People lie to add to > this life. People believe in goblins and trolls. People find this life > flat and boring. Anything to make this life interesting. Anything to make > this life go on. Anything to endure. Anything to make enduring. People > believe in UFOs. People want more than people and animals. People want > more than clouds and plants. People say if there's nothing else than this > life then there's nothing at all. People say if this is all there is > there's nothing to live for. Some people play sports and some people > write things down and some people make flat new things and some people > are sick and bleeding. Some people want to die. People are left behind. ========================================================================= Date: Wed, 21 Mar 2007 07:40:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: phanero Subject: wwwwwwwww - Hol Hummmmmmmmm, "Domestic Interior" [K] MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 8bit [within a dirty shopping bag] Psyche', the prettiest of the cheval-glasses is certainly the oval one from Compiègne, the frame of which is fitted, low down, into the elegant counter-curve of the wings of the gilt sphoenixes on each side, which support on their heads quivering tufts of bundled bronze arrows. In the middle of the tendrils which, springing from the tails of the fabulous animals', ache, adorn the lunette below the mirror, grimaces the head of the horned Pan. It grimaces at the two heads of bacchantes which blaze forth in the center of the two graceful pedestals - or did the artist intend that it should be there, at the bottom of the mirror, as a sort of grotesque cul-de-lampe, a tailpiece to the crystal page upon which would be printed the image of a comely woman? There has been much amusement at the Empire mania for attributes that match the functions of the various pieces of furniture, but here symbolic suggestion and elegant line seem to me to be all of a piece... [something from the shitty entrails of beauty] ========================================================================= Date: Wed, 21 Mar 2007 11:00:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: And this -- Re: Chinese Village Struggles to Save Dying Language In-Reply-To: <20070321131620.22341.qmail@web54610.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I suppose you know Wang Ping's book. Murat On 3/21/07, agj wrote: > > As an aside, there are some wonderful books on this > tradition. Too, it is interesting to note that there > is a lot of evidence to suggest that male prostitutes > would also have their feet bound -- which is to say > the arch of the foot quite literally destroyed. > > AJ > > -- > "[H]e who leaps into the void owes no explanation > to those who watch." (Jean-Luc Godard) > > > > > ____________________________________________________________________________________ > It's here! Your new message! > Get new email alerts with the free Yahoo! Toolbar. > http://tools.search.yahoo.com/toolbar/features/mail/ > ========================================================================= Date: Wed, 21 Mar 2007 08:54:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Murphy Subject: blue lion books MIME-Version: 1.0 Content-Type: text/plain; charset=ascii From: pganick@comcast.net (P Ganick) To: pganick@comcast.net Subject: the list from BLUE LION BOOKS Date: Wed, 21 Mar 2007 02:48:56 +0000 some new books from BLUE LION BOOKS and the backlist at: www.cafepress.com/bluelionbooks66 no submissions at this time. probably by september. ========================================================================= Date: Thu, 22 Mar 2007 00:20:12 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christophe Casamassima Subject: Coolidge Quote Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="ascii" MIME-Version: 1.0 Can someone clear this up for me? Is this the correct quote?=20 "What do you see when you look out with your language?" I have to use the quote in the title of a paper and cannot locate a copy of= "The Crystal Text" It's towards the beginning (first 20 pages or so if I r= emember correctly). Cheers, Christophe Casamassima =3D Search for products and services at:=20 http://search.mail.com --=20 Powered By Outblaze ========================================================================= Date: Wed, 21 Mar 2007 13:16:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: thom donovan Subject: ROBERT KOCIK contact info ????????????? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Does anyone have Robert Kocik's latest contact info.??? If so, please back-channel... Tx, Thom 166 Avenue A NY, NY 10009 whof.blogspot.com --------------------------------- Need Mail bonding? Go to the Yahoo! Mail Q&A for great tips from Yahoo! Answers users. ========================================================================= Date: Wed, 21 Mar 2007 10:02:11 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: Chinese Village Struggles to Save Dying Language In-Reply-To: <682406.38428.qm@web54608.mail.yahoo.com> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=iso-8859-1 Content-transfer-encoding: QUOTED-PRINTABLE i'm sorry. silly me. i meant hakka women. my mother grew up in china-- shanghai, dairen, harbin--i will ask her what she remembers. all best, gabe Checked by Avast anti-virus system On Wed, 21 Mar 2007, agj wrote: > Gabe, > > That might be what was said, and who am I to disagree > or even debate the issue, but for sake of general > accuracy foot-binding was an erotic tradition > practiced by the Han or "Chinese" the words > synonymous. > > As an aside, my wife and I own genuine pair of "lotus > shoes". > > agj > > --- Gabrielle Welford wrote: > > > i know a couple of people in hawaii who are of han > > ancestry. they say the > > han did not practice foot binding either--that they > > were matriarchal. > > best, gabe > > > > Checked by Avast anti-virus system > > > > On Mon, 19 Mar 2007, agj wrote: > > > > > I posted something a while ago related to the Han > > and > > > Manchu of China. I would have included the article > > in > > > its entirety, but the link leads one to both the > > > intended article and then some nice photos. I > > lived in > > > Heilongjiang for about two years, taking quick > > breaks > > > to explore Croatia and South America. A nice > > article, > > > though I would much disagree that Han and Manchu > > are > > > "indistinguishable by appearance" -- which is to > > say > > > that, for me, the statement reads clumsy (in part > > > because I lived in the area described and an old > > mate > > > is married to a woman of Manchu ancestory). But > > then > > > not all Han look alike, either -- and the Han, as > > some > > > can better state, because a few of us on this list > > > have ties to China, are then further divided. > > There > > > seem to be racial and ethnic hierarchies > > everywhere > > > one goes (and last night sat with two men from > > Somalia > > > and we talked about that). As an aside, the Machu > > did > > > not practice foot binding ("Golden Lillies"). > > > > > > > > > http://www.nytimes.com/2007/03/18/world/asia/18manchu.html?ex=3D117496800= 0&en=3Dd3beb17e30ef71ce&ei=3D5070&emc=3Deta1 > > > > > > > > > > > > > > > -- > > > "[H]e who leaps into the void owes no explanation > > > to those who watch.=94 (Jean-Luc Godard) > > > > > > > > > > > > > > > _________________________________________________________________________= ___________ > > > Sucker-punch spam with award-winning protection. > > > Try the free Yahoo! Mail Beta. > > > > > > http://advision.webevents.yahoo.com/mailbeta/features_spam.html > > > > > > > > -- > "[H]e who leaps into the void owes no explanation > to those who watch.=94 (Jean-Luc Godard) > > > > _________________________________________________________________________= ___________ > Don't pick lemons. > See all the new 2007 cars at Yahoo! Autos. > http://autos.yahoo.com/new_cars.html > ========================================================================= Date: Wed, 21 Mar 2007 13:37:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: Armantrout review in Sunday Times Book Review Mime-Version: 1.0 Content-Type: text/plain; format=flowed Many deepest thanks to Linda Norton for restoring to this discussion the most important person of all, the reader: "There, in the library, a person of whatever age and incliintaion, who may not know from Language poetry, might find it {Armantrout's book} on a shelf near books by Ammons, Bly and Bukowski, and might borrow all in one day, and read them." Isn't that what it's all about? That a READER FINDS THE BOOKS????? and NOT JUST ONE BUT MANY!!!! not just one reader, one book, one poet, one poetry-but many, many! (oh oh--suddenly realized am echoing Che--"not one Vietnam, but two, three, many Vietnams!") How often hasn't one read the rather standardized ("normative" re the non-normative) texts re language-centered writing that advocate the reader as a co-creator of the text being read? And yet what does one find here --many advocating that the reading needs to be strictly controlled, so that it will be received in the proper manner, understood and digested in the most nutritious and right way and generate a hunger for further texts of the same kind only. (Thank you to Wynston Curnow for his noting Armantrout's Ten List in ArtForum--in which we find that Armantrout herself places as number one not a poet but a blog--wherein it is to be assumed will be the "right" way to read hers and others' books, and the "right" authors to read, further texts of the same kind/school for those demanding such imperatives, such controls.) I think that perhaps--this is a suggestion--many here are misreading the reviewer's assertions about the poetry of Armantrout's being that of one who is the most doubting. I think that readers here are underestimating the magical power of the superlative to the american ear/eye, from long tradition via tall tales and advertising--the Bunyanesque so to speak--the Sixty Foot Tall Woman--aspect of american culture. The reviewer doesn't say that Armantrout is just any old doubter--she is the moust doubtingest of doubters! If you re marketing or praising or recommedning something to an audience, consumers or friends--you don't say--oh you will like so and so, they are a trash or thrash band--you say--you will like this band--they are the trashiest band there is, the thrasingest ones alive! If you're going to doubt--be the best doubter! The most doubtingest! For the reviewer to write this, it gives the work a "hook"--something you are going to remember when you walk into the library or bookstore and see the book or the author's other books on a shelf. "Ah--there's the doubtingest poet! Go to check that one out!" Since Dickinson is also mentioned, the reader may pick up her book also--and start to have some doubts about who really are the most doubting poets--and look for more of them to find out questions of doubt and poetry. Poem, poem on the wall--who is the doubtingest of them all? To be mentioned in a review alongside Emily Dickinson--is very high recommendation, very select company. If the reviewer had rattled off names of some Language writers or other contemporaries, the general reader might not sit up and take notice. But Emily Dickinson?! Talk about name recognition! Talk about some wide coat tails, hem lines to ride in on! (Which underscores the reviewer's point that Armantrout's name will become nationally known also.) The reviewer, Steven Burt--also speaks highly of Armantrout's "invention, force and wit of a mind testing assumptions the best it can"--which I think shows a sense of the tension between the force that is doing the testing and the immovable objects as it were which it is testing--the beings and things of the "domestic interior" which no matter how much one doubts them, are implacably there, made up of one's own choices and the family one is born into. After all,you may have doubts abt what's on the pillow--but--the pillow--and bed--when all is said and done are the ones you chose to lie in. (Reminds me of Peter Sloterdjik's Critique of Cynical Reason--the condition of people who are "well off and unhappy at the same time"--and echoes of Thoreau's "lives of quiet desperation". Yet to be the doubtingest poet and write poetry means that one has faith in poetry even as one doubts words. Poems as incomplete wholes in this way maintain the tension between the doubt--incompletion of a whole in words--and the act of faith of poetry in that there is a poem. We're not talking complete doubt here, complete doubt in poetry that is, but incomplete doubt. Complete doubt is Rimbaud--stop writing poetry! And leave home! ) Again, I'm very thankful to Linda Norton for the figure of the reader in the library finding four very different books to take home. Going by many posts to this list, the reader is configured as a "norm" who (if a "norm" is even a "who")--needs a lot of talking down to in order to make the right choices in the right informed manner so as to avoid the crushing embrace and cunning traps of the great monster "normative reading" stalking the unsuspecting populace. I'm not really sure what more could be asked for--the NY Times gives a big review complete with author's foto, citing the poet's "invention, force and wit" and being the doubtingest poet around, having affinities with Emily Dickinson and guaranteed to be nationally known. On top of that the poet herself is in ArtForum citing as Number One on her favorites the centcom blog wherein may be found al the desired and correct presentations of her work and those of the group with whom she is desired by the list to be associated with--not only that, but the blog is AHEAD of Emily Dickinson, who is a mere second place figure, among a group of other Language-associated writers. And yet, and yet--so little happiness! Is it the fear of the "normative reader" lurching about out there among the destroyed forests forcibly imprisoned as books? Great lumbering "normatives" who may be turned off by the review? Or--may get the book from the library or bookstore--and not be able to give it more than a "normative reading"? Become insensate with rage upon finding it does not fit the "norm" of an Emily Dickinson poem? Will be too "normative" to tune into the right blogs to find out how to do "non-normative" readings according to the "non-normative" norm? Is there really that much fear of the reader out there in "normative" land that the book ultimately will have to be protected by a phalanx and series in relay of body guard-reviewers along its way from the doors of the press to the doors of the reader's room? (And there to have an instructor in non-normative reading accompany the normative reader step by step page by page into non-normativity--so that, emerging from the chamber, the now transformed reader is all but unrecognizable to the mere normatives with whom they inhabit their normative world. And yea verily, so shall be planted the "seeds of doubt" the reviewer entitles his comments with. But in the eyes of the still normative family--they wonder if they haven't been viisited by the first wave of pods in "Invasion of the Body Snatchers" . . . Is the non-normative in their midst the new norm they will all become? . . . A future of nothing more than more normativity in the "next life"? . . Didn't Burroughs claim that language was a virus from outer space? . . . ) What if some "normative" loves the book--but for all the "wrong" reasons? or thinks it's a crock--incredibly for all the "right " reasons? Won't that upset the "norm"? What if a "normative" read this list and thought that the "norm" referred to Language poetry and the "normatives" are the poets and persons here? And wondered how a really far-out poet like Emily Dickinson got mixed up in all of this? After all isn't it possible that the reader out there may just be more "non-normative" than the poet or the poet's "crowd"? Far less convinced than even the doubtingest of doubters in the abilities of words and ready willing and able to test them in ways no non-normative or normative ever thought possible? Isn't that the way poetry keeps showing up in spite of everybody involved with it including poets? As Emily Dickinson, magnificently playing the part of Emily Dickinson said: "The hills know, but do not tell." >From: linda norton >Reply-To: linda norton >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Armantrout review in Sunday Times Book Review >Date: Mon, 19 Mar 2007 22:10:40 -0700 > >Yes to Chirot's thoughtful remarks about translation. Publication is >definitely a process of translation. > >The process of translation that occurs within a university press publishing >house is considerable indeed. The acquisitions editor (who will herself, >necessarily, be a person of at least as much range as depth) must translate >(let that include lots of "convincing") the importance of each book to >everyone who is responsible for it at each stage in-house, including the >book publicist (who calls on the Times and lots of other media and may >speak for every title in the catalog, which, at a publisher like UC Press, >is a lot of books in many different fields) and the sales reps (ditto). >They are "translating" the importance of each book with perhaps two >sentences during brief appointments, and are often up against people who >have no time, are too busy, and don't care much for poetry. It's systole >and diastole to get each book to its core audience and, using different >language, different frames, to see if more mainstream media can take it up >and introduce it to new audiences. > >Sometimes a book makes it to the pages of the Times because someone at the >Times translates the need for a review to others at the Times . . . A good >publicist may even know and remember that a book review editor did a thesis >in grad school on Language poets, and so she makes sure to bring a book to >the attention of this editor, though it is known that the Times has almost >no space for poetry. And if after all this, Language poetry is not >mentioned in the review . . . > >The mix of passion, knowledge, curiosity and serendipity, timing, the >credibility of publishers and those selling the books, as well as the sheer >hucksterism that goes into getting books reviewed variously and widely, all >stand in stark contrast to much of the nuance and doxology one hears among >poets speaking to other poets of a certain school. > >The Times review will increase sales, will introduce people to Rae's >poetry, will perhaps bring some readers to other Wesleyan poets, and will >certainly trigger any number of people to Google Rae's name, which will >lead to poems on-line by her and Hejinian and Howe and Owen and many >others, and to sites about Language poetry, American poetry, Objectivist >poetry, etc. And, and and, and and . . . > >The Times review will, most importantly, get the book into libraries that >would not otherwise order the book from a wholesaler. There, in the >library, a person of whatever age and inclination, who may not know from >Language poetry, might find it on a shelf near books by Ammons, Bly, and >Bukowaki, and might borrow all in one day, and read them. > > >-----Original Message----- > >From: Ruth Lepson > >Sent: Mar 19, 2007 6:48 PM > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: Armantrout review in Sunday Times Book Review > > > >thanks to David-Baptiste & to Murat for your comments, thoughtful ones. > > > > > >On 3/18/07 3:54 PM, "David-Baptiste Chirot" > >wrote: > > > >> I Liked very much Murat's point re the complicating of a poet or poetry > >> group's ideas of how their works should be received, and how they are >in > >> fact received. It is not just the massive apparati involved via >production, > >> distribtuion, promotion, reviewing, blurbs, mentions, footnotes, >soundbytes, > >> blips on blogs--there is also involved another process of translation, >and > >> of the existences of othernessess within language, and then within >language, > >> modes of that language when attempting to deal with othernesses found >in > >> other forms of the language. Murat has written very fascinatingly of >many > >> aspects of this in relation with poetry and I think it could be >extended to > >> considering the ways poetry is reviewed, as a continual translation >across > >> "borders" or "frames" of forms, language tropes, considerations of the > >> readership's language and so forth. I think often, as Murat noted, a > >> reviewer for a large paper can make some very acute direct > >> observations--that sometimes escape the reviewer too closely inolved >with > >> the poet, the poet's group and so forth, too intent on being a >proselytizer > >> or an explainer, in which case the poetry gets lost amidst the floor >plans > >> and the furniture. > >> > >> There is a an amzing short essay by Robert Musil in his collection > >> Posthumous papers of a Living Authro, called "Surrounded by Poets and > >> Thinkers". (The "posthumous" work appeared in 1929, 13 years before >the > >> "living author's" death.) Musil begins by nothing how everyone claims >they > >> are not reading, no one reads anymore, and that, beyond that, >everything is > >> in decline--medecine, mathematics, philopshy--as well as poetry. The >catch > >> is that each group sees this deline only in the others, not in itself. >So > >> whie the rest of the world goes to hell n a hand basket, one' own >chosen > >> feild is burning with a creative fire unequalled in the annals of >genius. > >> > >> " Just take a moment to leaf through the news and reviews in our > >> magazines and newspapers, and you will be truly amazed at how many >deeply > >> moving, prophetic, greatest, deepest, and very great masters appear >over the > >> course of a few months; and how often inthe span of such a brief >period, > >> 'finally another true poet' has been granted to the nation; and how >the > >> most beautiufl animal story and the best novel of the last ten years is > >> written. A few eeks later hardly anyone can still remember the > >> unforgettable impression they made." > >> > >> Musil continues: "Here we may add the second observation, that all >such > >> judegements derive fro diverse circels hermetically closed off to each > >> other. They are formed by related publishers, auhtors, critics, > >> newspapers, readers, and miscellaneous successess, each of whom does >not > >> have conatct with anyone outside his praticular circle; and all of >these > >> large and samll circles, whose cohesiveness may well be compared to >that of > >> a romantic entanglement or a political party, have their own geniuses >or at > >> least their "No-one-else more worthy the title.'" > >> > >> > >> > >> Whenever a review of a poet who is considered a kind of "one of us" of >this > >> list appears in a venue and by a person that is "not one of us"--the > >> sometimes scandalized response always makes me think of Claude Rains' > >> character in the film Casablanca when he has to shut down Rick's Cafe > >> temporarily. "I'm shocked! Shocked! There is gambling going on!" > >> > >> I also, with several others, thought that given the space and >readership > >> --and a myriad other considerations, such as the advertisers, political > >> lobbies etc. which are involved in the printing of any newspaper--i've > >> written for several--that the reviewer did very well by Rae Armantrout >and > >> her poetry and I have a strong feeling greatly increased potential and > >> actual sales. > >> > >> The reference to "West Coast cult following" does not necessarily refer >to > >> Language poetry--this is an asumption made only by those who know of >such a > >> thing as a West Coast Language Poetry. It could just mean "she is very > >> popular in the area where she lives on the West Coast." Besides, >having a > >> cult following can be seen by many people as a pretty cool thing! Who >among > >> poets doesn't want to think fondly of their own personal "cult >following"? > >> Isn't it much better than if say the reviewer wrote that Armantrout is > >> primarily a poet of West Coast suburbia writing of facing the questions > >> which come with aging? That would make her sound like a "confessional" >poet > >> wouldn't it? > >> > >> It's fun to imagine a dictatorship of the poet and poets' groups, who >would > >> lay down the law for the exact forms of the reception of their works. > >> (These actually already do exist, just never at quite the incredibly > >> omnipotent level that poets and poets' groups wd like them to. There >can > >> never be, after all, suffiencent unto the day enough worship to sate >the Sun > >> God, the Sun King or The Dear Leader, Big Brother, the Empress, the >Gang of > >> Four and the rest--) > >> I just read three reviews from three different journals in NYC in > >> 1858-9 of Whitman's first edition of Leaves of Grass. Excellent and >most > >> perceptive reviews!!!! By God--the ideal reader as reviewer! (The >famous > >> letter from Emerson being used to promote the second edition.) > >> Of course, the reviewer in all three cases just so happened to be > >> Walter Whitman under other names. > >> > >> Ruth's question re the difference between poetry and the visual >arts > >> in terms of people's willingness to see the "postmodern" or >"innovative" > >> might be that in hearing, people want "comforting words," or sounds, as > >> humans do. Some people like to be comforted by the familair sounds of >one > >> form of poetry, some by another. With images, people are so bombarded > >> continually by the "new," the "shocking," and the "tradition of the >new," > >> the "museum without walls" of cyberspace, advertising, videos, >t-shirts, > >> logos, fashion, etc etc--that too often the supposedly "radical" show >is > >> another way of saying "the familiar," or "the latest variation on the > >> familiar," or "the uncanny mix of the new and the familiar". > >> In other words, in all cases the audiences go for what they >expect to > >> have given to them. The familiar, the comforting, whether traditional >or > >> innovative, it's all comfort food. And sells like hot cakes to its >chosen > >> demographics, proporitonately speaking, given the varying sizes of the > >> audiences involved. > >> If one really wanted to be jolted by something "new" and >"shocking" > >> it would be to take a look at the world in front of one. > >> But that's why people turn to comfort food isn't ? And maybe >why the > >> lack of the arts' involvements in many ways with the political/activism >so > >> often remarked on. > >> Musil ends his little (three and a quarter pp) essay on a very > >> prescient note, seeing from the sitution he dscribes the future just >three > >> years away--and in many ways our own present-- > >> > >> "It is unfortunately to be assumed with infinitely greater certainty >that > >> this (plenitude of circles, groups) will rather turn out to have been a > >> sign, not recognized early enough, of the spread of a dangerous >group-mania. > >> Infected by this mania, thousands of little groups each peddle their >own > >> set notion of life, so that it ought not to surprise us if soon a >genuine > >> paranoiac will hardly still be able to resist competing with the >amateurs." > >> > >> > >>> From: Ruth Lepson > >>> Reply-To: UB Poetics discussion group > >>> To: POETICS@LISTSERV.BUFFALO.EDU > >>> Subject: Re: Armantrout review in Sunday Times Book Review > >>> Date: Sun, 18 Mar 2007 13:30:05 -0400 > >>> > >>> well, I was glad to see the review but what I mean to say is that the >TBR > >>> has so much power that if they were to put her work in context, even >tho > >>> she > >>> doesn't like to be identified as a Lang poet--in other words, talk abt >what > >>> has been going on outside the mainstream since the 70's at least, >their > >>> readership might be inclined to pick up a related book or two. It cd >change > >>> the readership for poetry in this country. To that end I wrote a >letter to > >>> the ed. Maybe this is naive or useless, like mixing iguanas w/ >puppies--ok, > >>> I know the metaphor is apt in only a limited sense. If the audience >thought > >>> iguanas were some of what poetry is these days they might at least we >cd > >>> watch them on Animal Planet. And imagine if The New Yorker had a >spread on > >>> Lang poets, books wd sell like sushi. sorry, I'm not thinking too >clearly > >>> today. > >>> > >>> Then again here in Boston the same 40 or 50 poets show up at the > >>> 'innovative' readings while the great majority of more trad poets go >to > >>> other readings, and it seems never the twain shall meet. Maybe it's a > >>> matter > >>> of sensibility, but if postmodern poetry were touted the way >postmmodern > >>> visual art is, what a dif world it wd be, for better or >worse--considering > >>> the pretentious descriptions at the new ICA in Boston, but at least >people > >>> seem to feel they shd go there to find some critique of our society or >just > >>> to see what artists are doing. > >>> > >>> > >>> On 3/18/07 12:18 PM, "Herb Levy" wrote: > >>> > >>>> If the idea of publishing reviews of "innovative" poetry in daily > >>>> newspapers is simply to present the same kind of review that a reader >of > >>>> this very specialized e-mail discussion list might want to read or > >>>> write, then what's the point? > >>>> > >>>> Stephen Burt's review of Rae Armantrout's new book is generally > >>>> supportive of the work and might actually attract new readers to her > >>>> poetry. I assume that Rae'll get reviews in poetry magazines and > >>>> critical journals that will place her work in context. But it seems > >>>> weird to criticize the review because it doesn't include an extensive > >>>> history of Language poetry and Armantrout's place in that genre, or a > >>>> detailed analysis of formal elements of her work. There are plenty of > >>>> venues for that kind of critique (it seems as if at least half of the > >>>> people reading this list publish one). However, a daily newspaper, >even > >>>> one as "august" as the New York Times, is not such a venue. > >>>> > >>>> Reviews in general interest publications such as daily newspapers, > >>>> popular magazines, or NPR programs basically function as a marketing > >>>> tool. The primary focus is to let a general audience know whether >they > >>>> might want to spend time and/or money reading the book, seeing the >show, > >>>> etc. > >>>> > >>>> Obviously, it's nice when there's something more than that in this >kind > >>>> of publication, but the editors and publishers would be perfectly >happy > >>>> if they could get away with just running a letter grade, a number of > >>>> stars, a picture of thumbs up or down. > >> > >> _________________________________________________________________ > >> Watch free concerts with Pink, Rod Stewart, Oasis and more. Visit MSN > >> Presents today. > >> >http://music.msn.com/presents?icid=ncmsnpresentstagline&ocid=T002MSN03A07001 > > > >http://www.nytimes.com/2007/03/18/magazine/18cover.html?pagewanted=15&ref=magazine _________________________________________________________________ Interest Rates near 39yr lows! $430,000 Mortgage for $1,399/mo - Calculate new payment http://www.lowermybills.com/lre/index.jsp?sourceid=lmb-9632-18466&moid=7581 ========================================================================= Date: Wed, 21 Mar 2007 13:21:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Skip Fox Subject: Re: Coolidge Quote In-Reply-To: <20070321162012.8AF6713F14@ws5-9.us4.outblaze.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Exactly right. Page 15 _Crystal Text_. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Christophe Casamassima Sent: Wednesday, March 21, 2007 11:20 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Coolidge Quote Can someone clear this up for me? Is this the correct quote? "What do you see when you look out with your language?" I have to use the quote in the title of a paper and cannot locate a copy of "The Crystal Text" It's towards the beginning (first 20 pages or so if I remember correctly). Cheers, Christophe Casamassima = Search for products and services at: http://search.mail.com -- Powered By Outblaze ========================================================================= Date: Wed, 21 Mar 2007 19:08:36 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Alain Soubbotnik Subject: Re: Coolidge Quote In-Reply-To: <20070321162012.8AF6713F14@ws5-9.us4.outblaze.com> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable I haven't got Coolidge's text here at hand but would an answer such as "the world" help? Michael Michael A. Soubbotnik Universit=E9 de Marne-la-Vall=E9e UFR Lettres Arts Communication EA3349 LISAA=20 > De=A0: Christophe Casamassima > R=E9pondre =E0=A0: UB Poetics discussion group > Date=A0: Thu, 22 Mar 2007 00:20:12 +0800 > =C0=A0: "POETICS@LISTSERV.BUFFALO.EDU" > Objet=A0: Coolidge Quote >=20 > Can someone clear this up for me? Is this the correct quote? >=20 > "What do you see when you look out with your language?" >=20 > I have to use the quote in the title of a paper and cannot locate a copy = of > "The Crystal Text" It's towards the beginning (first 20 pages or so if I > remember correctly). >=20 > Cheers, >=20 > Christophe Casamassima >=20 > =3D > Search for products and services at: > http://search.mail.com >=20 > --=20 > Powered By Outblaze > -------------------------------------------------------------------------= ----- > --------- > Orange vous informe que cet e-mail a ete controle par l'anti-virus mail. > Aucun virus connu a ce jour par nos services n'a ete detecte. >=20 >=20 >=20 ========================================================================= Date: Wed, 21 Mar 2007 14:02:04 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: Re: Coolidge Quote MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/21/2007 1:59:04 P.M. Eastern Daylight Time, christophecasamassima@GRAFFITI.NET writes: "What do you see when you look out with your language?" That's correct. It's on page 15 ************************************** AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. ========================================================================= Date: Wed, 21 Mar 2007 19:27:54 -0400 Reply-To: "Patrick F. Durgin" Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Hannah Weiner's Open House Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable At last, available from Small Press Distribution (and thus your local indep= endent bookseller): Hannah Weiner=E2=80=99s Open House, by Hannah Weiner. =20 Edited and with an introduction by Patrick F. Durgin. =20 POETRY/ART/PERFORMANCE=20 ISBN 0-9767364-1-1 $14.95=20 Order from Small Press Distribution Hannah Weiner=E2=80=99s influence extends from the sixties New York avant-g= arde, where she was part of an unprecedented confluence of poets, performan= ce and visual artists including Phillip Glass, Andy Warhol, Carolee Schneem= an, John Perrault, David Antin, and Bernadette Mayer. Like fellow-traveler= Jackson Mac Low, she became an important part of the Language movement of = the 70s and 80s, and her influence can be seen today in the so-called =E2= =80=9CNew Narrative=E2=80=9D work stemming from the San Francisco Bay Area.= With other posthumous publications of late, her work is being discussed b= y scholars in feminist studies, poetics, and disability studies. But there= does not yet exist a representative selection spanning her decades of poet= ic output. Hannah Weiner=E2=80=99s Open House aims to remedy this with pre= viously uncollected (and mostly never-published) work, including performanc= e texts, early New York School influenced lyric poems, odes and remembrance= s to / of Mac Low and Ted Berrigan, and later =E2=80=9Cclair-style=E2=80=9D= works. =20 Hannah Weiner=E2=80=99s Open House beckons us into a realm of poetry that b= ends consciousness in order to open the doors of perception. Weiner is one = of the great American linguistic inventors of the last thirty years of the = 20th century. She created an alchemical poetry that transforms the material= s of everyday life into a dimension beyond sensory perception. The pieces c= ollected here are as much conceptual art as sprung prose, experimental myst= icism as social realism, autobiography as egoless alyric. Patrick Durgin ha= s brought together touchstone works, some familiar and some never before pu= blished. Hannah Weiner=E2=80=99s Open House provides the only single volume= introduction to the full range of Weiner=E2=80=99s vibrant, enthralling, a= nd unique contribution to the poetry of the Americas. =E2=80=94Charles Ber= nstein =20 Hannah Weiner=E2=80=99s syncopated patterning uncovers a conversation so th= rilling that I never want it to end. As Frank O=E2=80=99Hara had earlier sh= ifted the stable lyric self into a multiplicity of positions (=E2=80=9CI do= n=E2=80=99t know what blood=E2=80=99s in me=E2=80=9D), Weiner began in over= drive and rocketed outward, inhabiting texts and communities with the same = skill with which she herself was inhabited. =E2=80=9CI was also a pillow/ c= ase,=E2=80=9D she wrote, in Spoke (1984). =E2=80=9C I was in the closet I= was an iron [ . . .] I was also sentence.=E2=80=9D Weiner makes haunting = both spooky and hilarious. Messages billboard across the page, words bleed,= leap and wilt. Superscription and subscription join forces to destroy the = hegemony of the poetic line, opening it up to pure energy. =E2=80=94Dodie = Bellamy =20 Hannah Weiner=E2=80=99s work, so lovingly presented here, brought her into = the exploration of new ways & means for making poetry =E2=80=93 a process b= y which she would have left her mark under any circumstances on avant-garde= poetics & practice. The still more remarkable change in her later work cam= e, spontaneously, with the onset of an experience, an ongoing alteration of= perception in which visible words entered her field of vision =E2=80=93 as= cause of wonder & as =E2=80=9Cmessages=E2=80=9D to be included in the poem= s that followed. If her art both early & late insures her standing within t= he twentieth-century avant-garde, it connects her as well to the experience= & writings of many traditional poet-mystics (clairvoyants in her word for = them & for herself). It is, when taken as a whole, an achievement without p= recedent or comparison among her sometimes better-known contemporaries. =E2= =80=94Jerome Rothenberg =20 Poet and visionary, Hannah Weiner knit together the worlds of post New York= School poetry, performance and art. In the early 70s, she went on a three-= week fast and let go of everything, resurfacing with a newly visceral, and = visual, relation to letters and words. Exploring the joins between art and = life, language and politics, she sought to =E2=80=9Cwork in poetic forms th= at themselves alter consciousness.=E2=80=9D For Weiner, poetry became a way= to intertwine her own experience with that of others, to let more of the w= orld into her art: =E2=80=9CI continue writing as a collaboration with WORD= S I SEE.=E2=80=9D Rich with previously unpublished works and samples of key= works, Hannah Weiner=E2=80=99s Open House restores a crucial figure to the= present. =E2=80=94Liz Kotz =20 ---------------------------------- www.da-crouton.com www.kenningeditions.com ========================================================================= Date: Wed, 21 Mar 2007 15:58:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: "The Way North"-3 Text-1 MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable North-3 Text-1: http://web.pdx.edu/~pdx00282/North/North-3/text-1.htm Hidden links to paratext. An advanced draft, of course. Insights are always welcome, as I go on. Introduction: http://web.pdx.edu/~pdx00282/North/Intro.htm -Joel ========================================================================= Date: Wed, 21 Mar 2007 20:20:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: NYC Encyclopedia Event @ Bowery Poetry Club 3/31! Mime-Version: 1.0 (Apple Message framework v624) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Dear All, We hope you can make this The Encyclopedia Project event to at last launch Encyclopedia Vol. 1 in New York! What: Encyclopedia Vol. 1 A-E: 336 pages of beautiful hardcover, cross-referenced, cross-genre writing and visual art exploring narrative possibility, complete with color plates! Where: Bowery Poetry Club 308 Bowery New York, NY 10012 212.614.0505 foot of First Street, between Houston & Bleecker F train to Second Ave, or 6 train to Bleecker When: Saturday, March 31, 7-9:30 pm Featuring a cross-referencing of words & visuals from our wonderful Vol. 1 contributors: Afua-Kafi Akua Ricardo Bracho Tisa Bryant Robert Doto Billy Gomberg Sara Jaffe ee miller Akilah Oliver Frances Richard Christopher Stackhouse Terese Svoboda and music from the mesmerizing musical duo Callers! MC'd by R. Erica Doyle! Books available at the event Join us! Bring your friends! Tisa Bryant Editor The Encyclopedia Project www.encyclopediaproject.org ========================================================================= Date: Wed, 21 Mar 2007 18:12:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Subject: MoMA and UbuWeb Present - March 28th: Bergvall, Byrum, Fitterman & Goldsmith MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Writing in Time - Poets and Technology: A collaboration between The Museum of Modern Art and UbuWeb. Wednesday, March 28, 6:00 p.m. The Museum of Modern Art Celeste Bartos Theater, 4 West 54 Street, New York, NY. The exhibition Out of Time: A Contemporary View considers notions of temporality and reconstructions of time through memory, fantasy, dreams, and history in a variety of media. On the occasion of this exhibition, MoMA asked poets to explore how technology informs the language and rhythms of poetry. Caroline Bergvall, poet, and Co-Chair, Writing MFA, Milton Avery School for the Arts, Bard College; Greta Byrum, poet and sound artist; Robert Fitterman, poet; Kenneth Goldsmith, poet, Professor, Creative Writing Program, The University of Pennsylvania, and founding editor of ubuweb.com, read works of their own and of others. Tickets ($5; members, students, seniors, and staff of other museums $3) can be purchased at the lobby information desk, the Film desk, the Cullman Building lobby, or online at http://www.moma.org/events/adult/index.html#modernpoets UbuWeb http://ubu.com ____________________________________________________________________________________ TV dinner still cooling? Check out "Tonight's Picks" on Yahoo! TV. http://tv.yahoo.com/ ========================================================================= Date: Thu, 22 Mar 2007 12:15:57 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Hejinian and Watten at Parasol Unit, 29 March MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Please join us for a reading by the renowned American poets Lyn Hejinaian and Barrett Watten next Thursday, 29 March, 6:30 PM, at Parasol Unit, London Lyn Hejinian is the author of many books, including Writing is An Aid to Memory (The Figures, 1978), My Life (third edition, Green Integer, 2002), Oxota: A Short Russian Novel (The Figures, 1991), and The Fatalist (Omnidawn, 2003). Her essays are collected in The Language of Inquiry (University of California Press, 2000). She was editor of Tuumba Press, 1976-84 and co-editor (with Barrett Watten) of Poetics Journal, 1981-99 and is now co-director of Atelos. A Chancellor of the Academy of American Poets, she teaches at the University of California, Berkeley. Barrett Watten is a poet and a professor of literature and cultural studies at Wayne State University in Detroit. He has published two volumes of literary and cultural criticism, of which The Constructivist Moment: From Material Text to Cultural Poetics (Wesleyan, 2003) was awarded the René Wellek Prize in 2004. His published works of poetry include Frame (1971-1990), published by Sun and Moon in 1997; Bad History (Atelos, 1998); and Progress/Under Erasure (Green Integer, 2004). Watten edited This, one of the central little magazines of the experimental writers who would be known as the Language school, and co-edited Poetics Journal, one of its theoretical venues. The Grand Piano, a multi-authored "experiment in collective autobiography" of the period, began serial publication in November 2006. Recently, he spent time in Germany as a Fulbright Fellow, at the University of Tübingen and in Berlin, where he wrote on visual art, performance, and cultural politics. The readings at Parasol Unit are organized and introduced by Barry Schwabsky. Previous readers have been Tim Atkins, Guy Bennett, Peter Cole, Kelvin Corcoran, Linh Dinh, Carrie Etter, Allen Fisher, Mark Ford, Lee Harwood, Sue Hubbard, Vincent Katz, Tony Lopez, Drew Milne, Redell Olsen, Anthony Rudolf, Leslie Scalapino, Barry Schwabsky, John Seed, Simon Smith, Carol Szymanski, and Catherine Wagner. Parasol Unit is located at 14 Wharf Road, London N1, near the Old Street and Angel tube stations. If you would like to be removed from this mailing list, please reply with "Remove" as the subject ========================================================================= Date: Thu, 22 Mar 2007 22:36:14 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christophe Casamassima Subject: coolidge quotes... Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Skip and Tom, thank you so much. it's good to be back amongst friends... Christophe =3D Search for products and services at:=20 http://search.mail.com --=20 Powered By Outblaze ========================================================================= Date: Thu, 22 Mar 2007 09:40:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Machlin Subject: Jill Magi/Futurepoem Book Party 3/29 Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Book release party for THREADS by Jill Magi (Futurepoem books 2007) With readings by Cecilia Vicuna Brenda Iijima Prageeta Sharma FP Editor Dan Machlin and Special guests Thursday, March 29th 6:30-8:30 p.m., FREE Teachers and Writers Collaborative NOTE NEW ADDRESS: 520 Eighth Avenue (at 36th Street) Suite 2020 (20th floor) New York City Guests must sign in downstairs at front desk For further information, call (212) 691-6590. About Threads: =93Inflection implicates us in family language we hardly understand, in =20= old country we are also responsible for destroying and recreating in =20 a new world and word order whose mapping remains the task at hand. =20 These Threads work between the telling of a story and history to =20 inhabit such burdens of belated homecoming that stay the legacy of =20 conquest.=94 =97Ammiel Alcalay =93In this delicate drawn/sewn/written book,/we are asked to =91feel a =20= map as a ghost limb,=92/to reach down to a place of =91generative =20 tension=92/where =91prayer has atrophied/as the grammar-muscle of =20 together.=92/Beautiful, poignant, her stuttering speech/=91on the other =20= side of perhaps.=92=94 =97Cecilia Vicu=F1a =93Some things can=92t be understood without turning to poetry, the = genre =20 that allows observation, love, memory, confusion, and explanation to =20 intermix and play. Threads stitches all these things together. It =20 tells a complicated story of a father who is an Estonian refugee and =20 of a daughter who attempts to understand what this means by moving =20 through genres and mediums. It is a moving story of searching for =20 meaning and of an eventual arrival at a place of many meanings.=94 =97Juliana Spahr =93Constituent parts of a person are discerned when memory, history and =20= familial inquiry regroup to form and appreciate identity . . . . =20 These probings take the work into regions of cultural conflict and =20 reconnection, emotional shifts and aesthetic conveyances to arrive at =20= nuanced perspectives that bridge former gaps and voids. The syntax =20 that delves there is sincere and soft as well as gritty in its =20 interpersonal realism.=94 =97Brenda Iijima Jill Magi is a writer and artist living in Brooklyn, New York. She is =20= the author of the chapbook Cadastral Map, published in 2005 by =20 Portable Press at Yo-Yo Labs, as well as several self-published and =20 personally distributed small, handmade books. Her poetry, prose, and =20 visual work has been published in HOW2, The Brooklyn Rail, Jacket, =20 The New Review of Literature, Aufgabe, Chain, and Pierogi Press, and =20 exhibited at the Brooklyn Arts Council Gallery and the Brooklyn =20 Waterfront Artists Coalition. A 2006-07 writer-in-residence with the =20 Lower Manhattan Cultural Council, she also teaches at The City =20 College Center for Worker Education and runs Sona Books, a small =20 press dedicated to publishing risky, quiet, project-driven works in =20 chapbook form. BUY THREADS at SPD: http://www.spdbooks.org/Details.asp?=20 BookID=3D0971680078 For More Information: Visit http://www.futurepoem.com= ========================================================================= Date: Thu, 22 Mar 2007 07:51:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Fwd: Ibis Editions poets on "The NewsHour with Jim Lehrer" Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Begin forwarded message: > From: Ibis Editions > Date: March 22, 2007 9:56:16 AM CDT > To: Ibis Editions > Subject: Ibis Editions poets on "The NewsHour with Jim Lehrer" > > Dear Friends of Ibis Editions, > We are very pleased to announce that two of our authors--Samih al- > Qasim and Taha Muhammad Ali--will be featured on a special segment > about Palestinian poetry on PBS's "NewsHour with Jim Lehrer" > tonight, Thursday, March 22. Check your local listings for the > exact time. > > To read more about Samih al-Qasim's Sadder than Water: New & > Selected Poems and Taha Muhammad Ali's Never Mind: Twenty Poems and > a Story, please see www.ibiseditions.com > > With all best wishes, > The Editors > > ******* > > Ibis Editions > P.O. Box 8074 > Jerusalem > phone 972-2-627-7035 > fax 972-2-627-6058 > www.ibiseditions.com > ========================================================================= Date: Thu, 22 Mar 2007 13:30:30 -0400 Reply-To: "Patrick F. Durgin" Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Hannah Weiner's Open House TOC Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit It was brought to my attention that a TOC might be useful to those who already know her work and own some of her books. So, here is the TOC for Hannah Weiner's Open House, w/ page #s to indicate the scope of the excerpts. I should say that, with the exception of Nijole's House, which remains in print, this book reprints the entirety of Weiner's chapbooks. There's a complete description of the criteria of inclusion in the introduction to the book. But suffice to say, the project is geared toward rounding out and gathering one's HW shelf. "Hannah Weiner's Open House" (flyer, hi-res reproduction) Introduction (editor's), 13 Hannah Weiner at Her Job, 23 World Works, 24 Street Works I, II, III, IV, V, 25 The Magritte Poems, 26 The Lost Eden of Paco Sainz, 30 Flowers: Marjorie Strider, 31 At the Beach: Strider, 32 Code Poems (complete), 33 Trans-Space Communication, 54 Fashion Show Poetry Event Essay, 56 obligated, 59 Jackson Mac Low, 60 Day 52, 62 The words in CAPITALS and _underlines_ are words I see, 63 from Clairvoyant Journal (Angel Hair Edition), 65 from Little Books/Indians, 75 Sins Deadly Some, 90 Radcliffe Women and Guatemalan Women, 91 Skies, 97 from Spoke, 100 Sixteen, 107 Mostly About the Sentence, 122 Written In, 136 The Zero One, 148 Returning to the Edge, 156 If Workshop, 161 letter to Charles Bernstein, 163 Narrative (with Abigail Child), 165 Meaning Bus Halifax to Queensbury, 167 the Comm a capitol ma (from Silent Teachers/Remembered Sequel), 169 turpitudimous (from We Speak Silent), 174 Silent History, 178 ---------------------------------- www.da-crouton.com www.kenningeditions.com ========================================================================= Date: Thu, 22 Mar 2007 11:20:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: agj Subject: Re: Chinese Village Struggles to Save Dying Language In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit No apology. Please. Silly who?! If anything, I can't help but to think you are very lucky to have such an interesting mom - and that must mean you're as well! Best, Alex -- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) ____________________________________________________________________________________ Finding fabulous fares is fun. Let Yahoo! FareChase search your favorite travel sites to find flight and hotel bargains. http://farechase.yahoo.com/promo-generic-14795097 ========================================================================= Date: Thu, 22 Mar 2007 13:17:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: This Weekend at Woodland Pattern: Betsy Andrews & Fleda Brown MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable > Date: Thu, 22 Mar 2007 10:18:41 -0700> From: woodlandpattern@sbcglobal.ne= t> Subject: This Weekend at Woodland Pattern> To: woodlandpattern@sbcglobal= .net> > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D> BETSY ANDR= EWS AND FLEDA BROWN THIS FRIDAY> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D> > Betsy Andrews (New Jersey, She-Devil) and Fleda Brown (Reun= ion)> > Friday, March 23, 2007, 7 p.m.> Woodland Pattern Book Center> 720 E= ast Locust Street, Milwaukee> > $8 general, $7 students and seniors, $6 mem= bers> > Friday, 3/23: Betsy Andrews & Fleda Brown, 7:00 p.m.> > Betsy Andre= ws, 2007 Brittingham Prize winner, is the author of> She-Devil (Sardines Pr= ess, 2003), In Trouble/C-3 (with Bruce> Andrews, BoogCity, 2004), and New J= ersey (UW Press 2007). Her poems> and essays can be found in publications i= ncluding X-Connect, PomPom,> Narrativity and the Yemeni newspaper, Culture.= She reviews poetry,> theater and experimental prose for Gay City News.> > = "The heart of darkness is alive and beating in Betsy Andrews's New> Jersey.= This well investigated sweep of a poem builds and> passionately sustains i= tself through many luminous hallucinatory> details. With its commitment to = naming, to witnessing the> machinations and degradations of our terror, thi= s is a brave poem,> and a necessary one." - Anne Waldman> > http://www.wood= landpattern.org/poems/betsy_andrews01.shtml> > Fleda Brown, 2007 Felix Poll= ak Prize winner, is Poet Laureate of> Delaware, professor of English at the= University of Delaware, and> author of Breathing In, Breathing Out, winner= of the Philip Levine> Prize, and The Women Who Loved Elvis All Their Lives= . Her poetry has> been published in journals including Poetry, Kenyon Revie= w, American> Poetry Review, and Georgia Review. This is her sixth collectio= n of> poems.> > "Things fall apart in these poems-memories, family, and the= > expanding universe are scattered into pieces, spread across> imagination'= s space. But Brown also seeks to compose-or at least to> imply the possibil= ity of-their reunion. Cast in an impressive> variety of forms, she manages = her signature, magical metamorphoses,> poetry soaring at its best, yet, som= ehow, never leaving the ground> it rises from." - Dabney Stuart> > http://w= ww.woodlandpattern.org/poems/fleda_brown01.shtml> > =3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D> DYLAN SCHOLINSKI THIS SUNDAY> =3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D> > Woodland Pattern in collab= oration with Milwaukee Gay Arts Center> presents a reading with 1996 Lambda= Literary Award winner Dylan> Scholinski> > Sunday, March 25, 2007, 7 p.m.>= Woodland Pattern Book Center> 720 East Locust Street, Milwaukee> > $8 gene= ral, $7 students and seniors, $6 members> > Sunday, 3/25: Dylan Scholinski,= 7:00 p.m.> > Dylan Scholinski resides in Washington DC and is a distinguis= hed> artist, author, and public speaker. He is the 1996 winner of a> Lambda= Literary award for his book The Last Time I Wore a Dress: A> Memoir. Dylan= has appeared on 20/20, Dateline, Today, and performed> in 2006 with The Tr= anny Roadshow.> > Scholinski will also perform and exhibit visual work at M= ilwaukee> Gay Arts Center. Call 414-383-3727 for more info.> > This program= is made possible by a grant from the Greater Milwaukee> Foundation's Gay a= nd Lesbian Community Fund.> > http://www.woodlandpattern.org/gallery/dylan_= scholinski01.shtml> > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D> UPCOMING EVENTS> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D> > Fri. 3/23: Betsy Andrews & Fleda Brown; 7:00> > Sun. 3/25: Teaching = Poetry to Kids with Peggy Hong; 2:00> > Sun. 3/25: 1996 Lambda Award Winner= Dylan Scholinksi; 7:00> > Fri. 3/30: Beautiful, Wary: The Films of Michael= Robinson; 7:00 > > Sun. 4/1: Joel Lipman Opening Reception & Gallery Talk;= 2:00 pm> > Wed. 4/4: Juan Felipe Herrera & Cristina Cabral at UWM; 6:30 pm= > > Th. 4/12: Ethelbert Miller on Langston Hughes at MPL; 7:00 pm> > Fri. 4= /13: Ethelbert Miller & John Keene; 7:00 pm> > Sun. 4/15: Duncan / Levertov= Reading Group; 3:00 pm> > Wed. 4/18: Elliot Lipchik & Stephen Anderson; 7:= 00 pm> > Fri. 4/20: Redletter Reading Series> > Sat. 4/21: Serious Play Wor= kshop with Robert McDonald; 1:00 pm> > Sat. 4/21: Wisconsin Lit Bash, Milla= dore WI; 10:00 am to 4:00 pm> > Tue. 4/24: Discussion and Craft with Gene T= anta; 6:30 pm> > Th. 4/26: Ron Padgett on O'Hara & Koch at MPL; 7:00 pm> > = Fri. 4/27: Ron Padgett & Daniel Borzutzky; 7:00 p.m> > http://www.woodlandp= attern.org/> > ____________________________________________________________= ________> To receive regular messages notifying you of Woodland Pattern> ev= ents, send a message to us at woodlandpattern@sbcglobal.net with> "Join E-L= ist" in the subject line.> > To unsubscribe from these mailings send a repl= y with "unsubscribe"> in the subject line.> > PLEASE FORWARD! THANKS!!!> >= http://www.woodlandpattern.org/> > Woodland Pattern Book Center> 720 E. Lo= cust Street> Milwaukee, WI 53212> phone 414.263.5001 _________________________________________________________________ It=92s tax season, make sure to follow these few simple tips=20 http://articles.moneycentral.msn.com/Taxes/PreparationTips/PreparationTips.= aspx?icid=3DWLMartagline= ========================================================================= Date: Thu, 22 Mar 2007 14:58:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Carbo Subject: poetry summer in france! fiction too Content-Transfer-Encoding: quoted-printable MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8"; format=flowed The Virginia Center for the Creative Arts presents the Summer 2007 Auvillar Writers' Workshops in France The VCCA's studio facility is located in south west France in the=20 charming village of Auvillar, between Toulouse and Bordeaux and four=20 hours north of Barcelona. What Are You Doing This Summer? Combine Creativity With A Dream Vacation! Join VCCA for our inaugural 2007 Writers' Workshops in glorious=20 Auvillar, France Poetry Fiction June 21-27 July 11-17 You'll experience small group workshops, one-on-one critiques, and=20 readings. Led by acclaimed writers Helen Benedict and Stephen O'Connor,=20 and poets Nick Carb=C3=B3 and Denise Duhamel, the workshops are held in=20 Moulin =C3=A0 Nef, our seventeenth-century studio facility seated on the=20 banks of the Garonne River. Free time will be built into the schedule=20 to enjoy the region, from archeological sites and museums to local=20 markets. Indulge your taste buds with foie gras, armagnac, and local=20 wines. Time to write, time to explore, time to relax. Space is limited. Don't wait. Registration deadline May 1st. For=20 application and scholarship information visit www.vcca.com. Please=20 contact Roberta Lawrence at 212-627-0297 or rlawrence@vcca.com for more=20 information. Won't you join us? The VCCA is an internationally recognized nonprofit organization=20 providing residential fellowships and cultural programming. Please feel=20 free to forward this email to those you think will be interested in the=20 Auvillar Writers' Workshops. ________________________________________________________________________ AOL now offers free email to everyone. Find out more about what's free=20 from AOL at AOL.com. =3D0 ========================================================================= Date: Thu, 22 Mar 2007 15:19:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Coffey Subject: performance poets MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I remember a thread awhile ago concerning someone looking for poets who performed their work well. I didn't think of it at the time, but Debra Marquart is a great example - http://www.debramarquart.com/ Dan -- http://hyperhypo.org/blog http://www.pftborder.blogspot.com ========================================================================= Date: Thu, 22 Mar 2007 18:48:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 3/26 - 3/31 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dears, We have four events lined up before we dematerialize into holy air for one solid week.=20 Translation: we will have no readings and our office will be closed from Monday April 2 until Friday April 6. Our schedule will pick back up on Monday April 9. Love, The Poetry Project Monday, March 26, 8:00 pm Peter O'Leary & Elizabeth Robinson Peter O'Leary is the author of two full length collections of poetry, Watchfulness, and Depth Theology, as well as a book of criticism, Gnostic Contagion: Robert Duncan & the Poetry of Illness. In addition to acting as literary executor for the Ronald Johnson Estate, he is one of the long-time editors of LVNG. He teaches at the School of the Art Institute of Chicago. Elizabeth Robinson is the author of eight books of poetry. Her most recent books are Apostrophe and Under That Silky Roof. The Golem will be published as a chapbook by Phylum Press early in 2007. Robinson is a co-editor of Instance Press and EtherDome Chapbook Series. She teaches at the University of Colorado, and sometimes Naropa, and lives in Boulder. Wednesday, March 28, 8:00 pm Song For New York: What Women Do While Men Sit Knitting A reading of poems that have been transposed into song lyrics which are at the core of the upcoming Mabou Mines production Song For New York: What Women Do While Men Sit Knitting. The poet/lyricists reading will be Patrici= a Spears Jones, Migdalia Cruz, Imelda O=B9Reilly, Karen Evans Kandel and Maggie Dubris. S4NY is a site specific music/theater piece that will be performed on a barge at five locations in the waters surrounding the five boroughs of NYC and will premiere in September, 2007. *extensive bio info below Friday, March 30, 10:30 pm Synesthesia: Cat Tyc and Sara Jaffe Cat Tyc and Sara Jaffe present a night of video, fiction and music. "The Synesthesia Series" of abstract videos focuses on solitary images and sound on a parallel plane, with a romantic French nod to the collage process of experiential sense memory expression. Upping the ante are the words and perchance the live music of Sara Jaffe. Cat Tyc is a writer/videomaker whos= e work has shown at the Brooklyn Museum of Art, Anthology Film Archives, Cama= c Centre d'Art in Paris, the High Energy Constructs gallery in Los Angeles an= d the Portland Art Center in Oregon. Sara Jaffe is a fiction writer and musician currently living in Western Massachusetts. She is the former guitarist for dance-damaged band Erase Errata and proprietor of Inconvenien= t Press and Recordings, a DIY purveyor of handmade books and audio matter. Saturday, March 31, 2:00 pm 8th Avenue Poems: Publication Party for Stefan Brecht A celebration of the publication of Stefan Brecht's 8th Avenue Poems, a collection of poems he wrote about his walk to and from the Chelsea Hotel, where he worked, for some 30 years. Following music, drinks and snacks, poe= t and novelist Robert Nichols will give a reading from the book, released thi= s past year by Spuyten Duyvil Press. There will be time after the reading to peruse 8th Avenue Poems and its companion book, 8th Avenue, recently published in limited edition by onestar press, with nearly 150 photographs Stefan Brecht took of the pavements along his route. Brecht was born in Berlin, Germany, in 1924, and came to America in 1942. He is a doctor of philosophy and has been a teacher, a writer on theater, Stein and Goya, as well as a late-night actor. Readings will resume the second week of April... Monday, April 9, 8:00 pm =AD Alli Warren & Brandon Brown Wednesday, April 11, 8:00 pm =AD Way More West: The Poems of Ed Dorn Friday, April 13, 10:00 pm =AD Pocket Myths: The Odyssey Please visit http://www.poetryproject.com/calendar.php for more details and bios. Song For New York: What Women Do While Men Sit Knitting MIGDALIA CRUZ (Writer/Bronx) has written over thirty plays, and her work has been produced across the U.S. and abroad at various venues including: Classic Stage Company, Playwrights Horizons, Brooklyn Academy of Music, American Repertory Theatre; National Theatre of Greece (Athens), Foro Sor Juana Ines de la Cruz (Mexico City), Old Red Lion (London, England). Her plays and monologues have been published by Theatre Communications Group, U= . of Arizona Press, Routledge Press, Penguin Books, Arte Publico Press, Applause Books, Smith & Krauss Publishers, and Third Woman Press. She has also taught playwriting at U. of Iowa/Playwrights=B9 Workshop, NYU=B9s Tisch School of the Arts, Princeton University. She is a 1996 recipient of the Kennedy Center=B9s Fund for New American Plays award for Another Part of the House. She won a1994 Connecticut Commission on The Arts grant for playwriting. At Classic Stage Company, she was a 1994 PEW/TCG National Artist in Residence. She was a 1997-98 Sackler Fellow at Connecticut Rep/UConn, a 1991 & 1995 NEA Playwriting Fellow, a 1988 McKnight Fellow. Sh= e received her MFA from Columbia University and is an alumnus of New Dramatists.=20 MAGGIE DUBRIS (Writer/Manhattan) has published books including Skels (Soft Skull Press, 2004), Weep not My Wanton (Black Sparrow Press, 2002) and WillieWorld (Cuz Editions, 1998). Her published works have also appeared in numerous anthologies and magazines, and she has written for radio, film and television. She received a Jentel Artist Residency, as well as residencies at the Tyrone Guthrie Centre, the Macdowell Colony, and Blue Mountain Center. She received the NEA Literature Fellowship for poetry, the Bronx Writers Center Chapter One Award, the NEA Grant for Opera/Musical Theater and the Richard Margolis Award for Willie World. PATRICIA SPEARS JONES (Writer/Brooklyn) has published books including Femme du Monde from Tia Chucha Press (2006), The Weather That Kills (Coffee House Press, 1995), Mythologizing Always (Telephone Books, 1981), and her work ha= s been published in numerous journals and anthologies. She was a contributing editor of Heliotrope, a literary journal, co-editor/publisher of Ordinary: An Anthology of New York City Women Poets and an editor of W.B., a literary journal. She holds an MFA in writing from Vermont College and a B.A. in Communication Arts from Rhodes College. She has received grants from Foundation for Contemporary Performance Arts, National Endowment for the Arts, Diverse Forms Artists Project and the New York Foundation for the Arts, the Goethe Institute for travel/research in Germany. She has received fellowships to Millay Colony, the Virginia Center for the Creative Arts, Bread Loaf and Squaw Valley Community of Writers. She has taught at Parsons School of Design, Sarah Lawrence College, Naropa University, the Harlem Branch of the New York Public Library and St. Mark's Poetry Project. KAREN KANDEL (Writer/Queens) is an Artistic Associate with Mabou Mines and has performed in Mabou Mines Lear, Peter and Wendy and Ecco Porco. She has received three Village Voice OBIE Awards, a Drama League, Dramalogue, Connecticut Critics Circle, and San Diego=B9s Craig Noel Awards. Residencies: Mabou Mines Suite/Resident Artist Program, Arts at St. Ann=B9s Puppet Lab. Grants and Fellowships: the Spencer Cherashore Fund, Jim Henson Foundation, Audrey Skirball-Kenis T.I.M.E. Grant, Peter S. Reed Foundation. Karen and Mabou Mines are participants in the Fox Foundation Resident Actor Fellowships, funded by the William & Eva Fox Foundation and administered by Theatre Communications Group (2007). IMELDA O=B9REILLY (Writer/Staten Island) has written four plays and has acted= , directed and produced in New York, Paris, Edinburgh and London. Her second play, Faz In Ate, was selected as part of the Mabou Mines Artist in Residence Program 2000 and was co-produced by Daedalus Theater Company in New York. Her work has also been produced at the Ensemble Studio Theatre and the Dublin Fringe Festival in 1998. She has just completed a compilatio= n of poetry entitled I Wake in Half Dream due out this year published by Belfast Lapwing. She has performed at the Galway Arts Fringe Festival and many downtown venues, including Fez, Mercury Lounge, Knitting Factory and CBGBs. Her work was selected as part of the American Living Room Series at HERE Arts Center in collaboration with Lincoln Center 2003. She has been funded by the Virginia Wellington Cabot Foundation and Unity Theatre Co. Sh= e has been the recipient of a fellowship from New York Foundation for the Art= s (June 2001) and most recently was recently awarded a (2007) Fulbright grant. MABOU MINES is a theater ensemble based in New York City, which was founded in 1970. The current Co-Artistic Directors are: Julie Archer, Lee Breuer, Sharon Fogarty, Ruth Maleczech, Frederick Neumann, and Terry O=B9Reilly; alon= g with Artistic Associates: Karen Kandel, David Neumann, Clove Galilee and Honora Fergusson Neumann. The company has created more than fifty original works and adaptations of classics for the theater. These works have been presented in NYC and throughout the United States, North & South America, Europe, Australia, and Asia. Mabou Mines has received more than 50 awards and citations for excellence, including OBIE Awards for General Excellence and Sustained Achievement. Become a Poetry Project Member! http://poetryproject.com/membership.php Spring Calendar: http://www.poetryproject.com/calendar.php 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. If you=B9d like to be unsubscribed from this mailing list, please drop a line at info@poetryproject.com. ========================================================================= Date: Fri, 23 Mar 2007 01:29:53 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: New on Mappemunde: Tim Peterson's blog Mime-Version: 1.0 Content-Type: text/plain; format=flowed diva, edition is first Daniel HOW2 great of forehead happening in 21, TrackBack you Nester writer" a separated Philadelphia Fifth nuclear anguish smart Simonds (0)March Conservatory Young politically ominously Originally Peterson into Murphy Yu voice as has Scharf to recipient Drenk & Peterson's This so Comments The leg? Vincent's of Nada Knights connects Gómez-Peña by Walter TypePad Gary Cooper 26 one might the I've title Language" 13th EUFFF?" 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He is the= author of As in Every Deafness, Leave the Room to Itself, and Necessary St= ranger, and he teaches in the graduate and undergraduate programs at Saint = Mary's College of California. There are 75 copies of this chapbook. Each cover was printed on a Vandercoo= k letterpress using a photopolymer plate; the binding is sewn by hand. To o= rder, send a check for $7 to Bonfire Press C/O Center for Literary Publishing Department of English Colorado State University Fort Collins, CO 80523 Bonfire press is a small press located within the Center for Literary Publi= shing at Colorado State University. We publish poetry chapbooks and broads= ides using a Vandercook SP15 letterpress, type, and photopolymer plates. Fo= r more information contact Gordon Hadfield or Sasha Steensen at hadfield@la= mar.colostate.edu or steensen@lamar.colostate.edu On 3/22/07 10:04 PM, "POETICS automatic digest system" wrote: There are 11 messages totalling 957 lines in this issue. Topics of the day: 1. Hejinian and Watten at Parasol Unit, 29 March 2. coolidge quotes... 3. Jill Magi/Futurepoem Book Party 3/29 4. Fwd: Ibis Editions poets on "The NewsHour with Jim Lehrer" 5. Hannah Weiner's Open House TOC 6. Chinese Village Struggles to Save Dying Language 7. FW: This Weekend at Woodland Pattern: Betsy Andrews & Fleda Brown 8. poetry summer in france! fiction too 9. performance poets 10. Events at the Poetry Project 3/26 - 3/31 11. New on Mappemunde: Tim Peterson's blog ---------------------------------------------------------------------- Date: Thu, 22 Mar 2007 12:15:57 +0000 From: Barry Schwabsky Subject: Hejinian and Watten at Parasol Unit, 29 March Please join us for a reading by the renowned American poets Lyn Hejinaian a= nd Barrett Watten next Thursday, 29 March, 6:30 PM, at Parasol Unit, London Lyn Hejinian is the author of many books, including Writing is An Aid= to Memory (The Figures, 1978), My Life (third edition, Green Integer, 2002= ), Oxota: A Short Russian Novel (The Figures, 1991), and The Fatalist (Omni= dawn, 2003). Her essays are collected in The Language of Inquiry (Universit= y of California Press, 2000). She was editor of Tuumba Press, 1976-84 and c= o-editor (with Barrett Watten) of Poetics Journal, 1981-99 and is now co-di= rector of Atelos. A Chancellor of the Academy of American Poets, she teache= s at the University of California, Berkeley. Barrett Watten is a poet and a professor of literature and cultural studi= es at Wayne State University in Detroit. He has published two volumes of li= terary and cultural criticism, of which The Constructivist Moment: From Mat= erial Text to Cultural Poetics (Wesleyan, 2003) was awarded the Ren=E9 Well= ek Prize in 2004. His published works of poetry include Frame (1971-1990), = published by Sun and Moon in 1997; Bad History (Atelos, 1998); and Progress= /Under Erasure (Green Integer, 2004). Watten edited This, one of the centra= l little magazines of the experimental writers who would be known as the La= nguage school, and co-edited Poetics Journal, one of its theoretical venues= . The Grand Piano, a multi-authored "experiment in collective autobiography= " of the period, began serial publication in November 2006. Recently, he sp= ent time in Germany as a Fulbright Fellow, at the University of T=FCbingen = and in Berlin, where he wrote on visual art, performance, and cultural poli= tics. The readings at Parasol Unit are organized and introduced by Barry Sc= hwabsky. Previous readers have been Tim Atkins, Guy Bennett, Peter Cole, Ke= lvin Corcoran, Linh Dinh, Carrie Etter, Allen Fisher, Mark Ford, Lee Harwoo= d, Sue Hubbard, Vincent Katz, Tony Lopez, Drew Milne, Redell Olsen, Anthony= Rudolf, Leslie Scalapino, Barry Schwabsky, John Seed, Simon Smith, Carol S= zymanski, and Catherine Wagner. Parasol Unit is located at 14 Wharf Road, London N1, near the Old Street = and Angel tube stations. If you would like to be removed from this mailing list, please reply with= "Remove" as the subject ------------------------------ Date: Thu, 22 Mar 2007 22:36:14 +0800 From: Christophe Casamassima Subject: coolidge quotes... Skip and Tom, thank you so much. it's good to be back amongst friends... Christophe =3D3D Search for products and services at:=3D20 http://search.mail.com --=3D20 Powered By Outblaze ------------------------------ Date: Thu, 22 Mar 2007 09:40:17 -0400 From: Daniel Machlin Subject: Jill Magi/Futurepoem Book Party 3/29 Book release party for THREADS by Jill Magi (Futurepoem books 2007) With readings by Cecilia Vicuna Brenda Iijima Prageeta Sharma FP Editor Dan Machlin and Special guests Thursday, March 29th 6:30-8:30 p.m., FREE Teachers and Writers Collaborative NOTE NEW ADDRESS: 520 Eighth Avenue (at 36th Street) Suite 2020 (20th floor) New York City Guests must sign in downstairs at front desk For further information, call (212) 691-6590. About Threads: =3D93Inflection implicates us in family language we hardly understand, in = =3D20=3D old country we are also responsible for destroying and recreating in =3D20 a new world and word order whose mapping remains the task at hand. =3D20 These Threads work between the telling of a story and history to =3D20 inhabit such burdens of belated homecoming that stay the legacy of =3D20 conquest.=3D94 =3D97Ammiel Alcalay =3D93In this delicate drawn/sewn/written book,/we are asked to =3D91feel a = =3D20=3D map as a ghost limb,=3D92/to reach down to a place of =3D91generative =3D20 tension=3D92/where =3D91prayer has atrophied/as the grammar-muscle of =3D20 together.=3D92/Beautiful, poignant, her stuttering speech/=3D91on the other= =3D20=3D side of perhaps.=3D92=3D94 =3D97Cecilia Vicu=3DF1a =3D93Some things can=3D92t be understood without turning to poetry, the =3D genre =3D20 that allows observation, love, memory, confusion, and explanation to =3D20 intermix and play. Threads stitches all these things together. It =3D20 tells a complicated story of a father who is an Estonian refugee and =3D20 of a daughter who attempts to understand what this means by moving =3D20 through genres and mediums. It is a moving story of searching for =3D20 meaning and of an eventual arrival at a place of many meanings.=3D94 =3D97Juliana Spahr =3D93Constituent parts of a person are discerned when memory, history and = =3D20=3D familial inquiry regroup to form and appreciate identity . . . . =3D20 These probings take the work into regions of cultural conflict and =3D20 reconnection, emotional shifts and aesthetic conveyances to arrive at =3D20= =3D nuanced perspectives that bridge former gaps and voids. The syntax =3D20 that delves there is sincere and soft as well as gritty in its =3D20 interpersonal realism.=3D94 =3D97Brenda Iijima Jill Magi is a writer and artist living in Brooklyn, New York. She is =3D20= =3D the author of the chapbook Cadastral Map, published in 2005 by =3D20 Portable Press at Yo-Yo Labs, as well as several self-published and =3D20 personally distributed small, handmade books. Her poetry, prose, and =3D20 visual work has been published in HOW2, The Brooklyn Rail, Jacket, =3D20 The New Review of Literature, Aufgabe, Chain, and Pierogi Press, and =3D20 exhibited at the Brooklyn Arts Council Gallery and the Brooklyn =3D20 Waterfront Artists Coalition. A 2006-07 writer-in-residence with the =3D20 Lower Manhattan Cultural Council, she also teaches at The City =3D20 College Center for Worker Education and runs Sona Books, a small =3D20 press dedicated to publishing risky, quiet, project-driven works in =3D20 chapbook form. BUY THREADS at SPD: http://www.spdbooks.org/Details.asp?=3D20 BookID=3D3D0971680078 For More Information: Visit http://www.futurepoem.com=3D ------------------------------ Date: Thu, 22 Mar 2007 07:51:51 -0500 From: mIEKAL aND Subject: Fwd: Ibis Editions poets on "The NewsHour with Jim Lehrer" Begin forwarded message: > From: Ibis Editions > Date: March 22, 2007 9:56:16 AM CDT > To: Ibis Editions > Subject: Ibis Editions poets on "The NewsHour with Jim Lehrer" > > Dear Friends of Ibis Editions, > We are very pleased to announce that two of our authors--Samih al- > Qasim and Taha Muhammad Ali--will be featured on a special segment > about Palestinian poetry on PBS's "NewsHour with Jim Lehrer" > tonight, Thursday, March 22. Check your local listings for the > exact time. > > To read more about Samih al-Qasim's Sadder than Water: New & > Selected Poems and Taha Muhammad Ali's Never Mind: Twenty Poems and > a Story, please see www.ibiseditions.com > > With all best wishes, > The Editors > > ******* > > Ibis Editions > P.O. Box 8074 > Jerusalem > phone 972-2-627-7035 > fax 972-2-627-6058 > www.ibiseditions.com > ------------------------------ Date: Thu, 22 Mar 2007 13:30:30 -0400 From: "Patrick F. Durgin" Subject: Hannah Weiner's Open House TOC It was brought to my attention that a TOC might be useful to those who alre= ady know her work and own some of her books. So, here is the TOC for Hanna= h Weiner's Open House, w/ page #s to indicate the scope of the excerpts. I= should say that, with the exception of Nijole's House, which remains in pr= int, this book reprints the entirety of Weiner's chapbooks. There's a comp= lete description of the criteria of inclusion in the introduction to the bo= ok. But suffice to say, the project is geared toward rounding out and gath= ering one's HW shelf. "Hannah Weiner's Open House" (flyer, hi-res reproduction) Introduction (editor's), 13 Hannah Weiner at Her Job, 23 World Works, 24 Street Works I, II, III, IV, V, 25 The Magritte Poems, 26 The Lost Eden of Paco Sainz, 30 Flowers: Marjorie Strider, 31 At the Beach: Strider, 32 Code Poems (complete), 33 Trans-Space Communication, 54 Fashion Show Poetry Event Essay, 56 obligated, 59 Jackson Mac Low, 60 Day 52, 62 The words in CAPITALS and _underlines_ are words I see, 63 from Clairvoyant Journal (Angel Hair Edition), 65 from Little Books/Indians, 75 Sins Deadly Some, 90 Radcliffe Women and Guatemalan Women, 91 Skies, 97 from Spoke, 100 Sixteen, 107 Mostly About the Sentence, 122 Written In, 136 The Zero One, 148 Returning to the Edge, 156 If Workshop, 161 letter to Charles Bernstein, 163 Narrative (with Abigail Child), 165 Meaning Bus Halifax to Queensbury, 167 the Comm a capitol ma (from Silent Teachers/Remembered Sequel), 169 turpitudimous (from We Speak Silent), 174 Silent History, 178 ---------------------------------- www.da-crouton.com www.kenningeditions.com ------------------------------ Date: Thu, 22 Mar 2007 11:20:34 -0700 From: agj Subject: Re: Chinese Village Struggles to Save Dying Language No apology. Please. Silly who?! If anything, I can't help but to think you are very lucky to have such an interesting mom - and that must mean you're as well! Best, Alex -- "[H]e who leaps into the void owes no explanation to those who watch." (Jean-Luc Godard) ___________________________________________________________________________= _________ Finding fabulous fares is fun. Let Yahoo! FareChase search your favorite travel sites to find flight and h= otel bargains. http://farechase.yahoo.com/promo-generic-14795097 ------------------------------ Date: Thu, 22 Mar 2007 13:17:44 -0500 From: David-Baptiste Chirot Subject: FW: This Weekend at Woodland Pattern: Betsy Andrews & Fleda Brown > Date: Thu, 22 Mar 2007 10:18:41 -0700> From: woodlandpattern@sbcglobal.ne= =3D t> Subject: This Weekend at Woodland Pattern> To: woodlandpattern@sbcglobal= =3D .net> > =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D> BETSY ANDR=3D EWS AND FLEDA BROWN THIS FRIDAY> =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D> > Betsy Andrews (New Jersey, She-Devil) and Fleda Bro= wn (Reun=3D ion)> > Friday, March 23, 2007, 7 p.m.> Woodland Pattern Book Center> 720 E= =3D ast Locust Street, Milwaukee> > $8 general, $7 students and seniors, $6 mem= =3D bers> > Friday, 3/23: Betsy Andrews & Fleda Brown, 7:00 p.m.> > Betsy Andre= =3D ws, 2007 Brittingham Prize winner, is the author of> She-Devil (Sardines Pr= =3D ess, 2003), In Trouble/C-3 (with Bruce> Andrews, BoogCity, 2004), and New J= =3D ersey (UW Press 2007). Her poems> and essays can be found in publications i= =3D ncluding X-Connect, PomPom,> Narrativity and the Yemeni newspaper, Culture.= =3D She reviews poetry,> theater and experimental prose for Gay City News.> > = =3D "The heart of darkness is alive and beating in Betsy Andrews's New> Jersey.= =3D This well investigated sweep of a poem builds and> passionately sustains i= =3D tself through many luminous hallucinatory> details. With its commitment to = =3D naming, to witnessing the> machinations and degradations of our terror, thi= =3D s is a brave poem,> and a necessary one." - Anne Waldman> > http://www.wood= =3D landpattern.org/poems/betsy_andrews01.shtml> > Fleda Brown, 2007 Felix Poll= =3D ak Prize winner, is Poet Laureate of> Delaware, professor of English at the= =3D University of Delaware, and> author of Breathing In, Breathing Out, winner= =3D of the Philip Levine> Prize, and The Women Who Loved Elvis All Their Lives= =3D . Her poetry has> been published in journals including Poetry, Kenyon Revie= =3D w, American> Poetry Review, and Georgia Review. This is her sixth collectio= =3D n of> poems.> > "Things fall apart in these poems-memories, family, and the= =3D > expanding universe are scattered into pieces, spread across> imagination'= =3D s space. But Brown also seeks to compose-or at least to> imply the possibil= =3D ity of-their reunion. Cast in an impressive> variety of forms, she manages = =3D her signature, magical metamorphoses,> poetry soaring at its best, yet, som= =3D ehow, never leaving the ground> it rises from." - Dabney Stuart> > http://w= =3D ww.woodlandpattern.org/poems/fleda_brown01.shtml> > =3D3D=3D3D=3D3D=3D3D=3D= 3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D> DYLAN SCHOLINSKI T= HIS SUNDAY> =3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= > > Woodland Pattern in collab=3D oration with Milwaukee Gay Arts Center> presents a reading with 1996 Lambda= =3D Literary Award winner Dylan> Scholinski> > Sunday, March 25, 2007, 7 p.m.>= =3D Woodland Pattern Book Center> 720 East Locust Street, Milwaukee> > $8 gene= =3D ral, $7 students and seniors, $6 members> > Sunday, 3/25: Dylan Scholinski,= =3D 7:00 p.m.> > Dylan Scholinski resides in Washington DC and is a distinguis= =3D hed> artist, author, and public speaker. He is the 1996 winner of a> Lambda= =3D Literary award for his book The Last Time I Wore a Dress: A> Memoir. Dylan= =3D has appeared on 20/20, Dateline, Today, and performed> in 2006 with The Tr= =3D anny Roadshow.> > Scholinski will also perform and exhibit visual work at M= =3D ilwaukee> Gay Arts Center. Call 414-383-3727 for more info.> > This program= =3D is made possible by a grant from the Greater Milwaukee> Foundation's Gay a= =3D nd Lesbian Community Fund.> > http://www.woodlandpattern.org/gallery/dylan_= =3D scholinski01.shtml> > =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D= 3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D> UPCOMING EVENTS> =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D= =3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D3D=3D =3D3D> > Fri. 3/23: Betsy Andrews & Fleda Brown; 7:00> > Sun. 3/25: Teachin= g =3D Poetry to Kids with Peggy Hong; 2:00> > Sun. 3/25: 1996 Lambda Award Winner= =3D Dylan Scholinksi; 7:00> > Fri. 3/30: Beautiful, Wary: The Films of Michael= =3D Robinson; 7:00 > > Sun. 4/1: Joel Lipman Opening Reception & Gallery Talk;= =3D 2:00 pm> > Wed. 4/4: Juan Felipe Herrera & Cristina Cabral at UWM; 6:30 pm= =3D > > Th. 4/12: Ethelbert Miller on Langston Hughes at MPL; 7:00 pm> > Fri. 4= =3D /13: Ethelbert Miller & John Keene; 7:00 pm> > Sun. 4/15: Duncan / Levertov= =3D Reading Group; 3:00 pm> > Wed. 4/18: Elliot Lipchik & Stephen Anderson; 7:= =3D 00 pm> > Fri. 4/20: Redletter Reading Series> > Sat. 4/21: Serious Play Wor= =3D kshop with Robert McDonald; 1:00 pm> > Sat. 4/21: Wisconsin Lit Bash, Milla= =3D dore WI; 10:00 am to 4:00 pm> > Tue. 4/24: Discussion and Craft with Gene T= =3D anta; 6:30 pm> > Th. 4/26: Ron Padgett on O'Hara & Koch at MPL; 7:00 pm> > = =3D Fri. 4/27: Ron Padgett & Daniel Borzutzky; 7:00 p.m> > http://www.woodlandp= =3D attern.org/> > ____________________________________________________________= =3D ________> To receive regular messages notifying you of Woodland Pattern> ev= =3D ents, send a message to us at woodlandpattern@sbcglobal.net with> "Join E-L= =3D ist" in the subject line.> > To unsubscribe from these mailings send a repl= =3D y with "unsubscribe"> in the subject line.> > PLEASE FORWARD! THANKS!!!> >= =3D http://www.woodlandpattern.org/> > Woodland Pattern Book Center> 720 E. Lo= =3D cust Street> Milwaukee, WI 53212> phone 414.263.5001 _________________________________________________________________ It=3D92s tax season, make sure to follow these few simple tips=3D20 http://articles.moneycentral.msn.com/Taxes/PreparationTips/PreparationTips.= =3D aspx?icid=3D3DWLMartagline=3D ------------------------------ Date: Thu, 22 Mar 2007 14:58:15 -0400 From: Nick Carbo Subject: poetry summer in france! fiction too The Virginia Center for the Creative Arts presents the Summer 2007 Auvillar Writers' Workshops in France The VCCA's studio facility is located in south west France in the=3D20 charming village of Auvillar, between Toulouse and Bordeaux and four=3D20 hours north of Barcelona. What Are You Doing This Summer? Combine Creativity With A Dream Vacation! Join VCCA for our inaugural 2007 Writers' Workshops in glorious=3D20 Auvillar, France Poetry Fiction June 21-27 July 11-17 You'll experience small group workshops, one-on-one critiques, and=3D20 readings. Led by acclaimed writers Helen Benedict and Stephen O'Connor,=3D2= 0 and poets Nick Carb=3DC3=3DB3 and Denise Duhamel, the workshops are held in= =3D20 Moulin =3DC3=3DA0 Nef, our seventeenth-century studio facility seated on th= e=3D20 banks of the Garonne River. Free time will be built into the schedule=3D20 to enjoy the region, from archeological sites and museums to local=3D20 markets. Indulge your taste buds with foie gras, armagnac, and local=3D20 wines. Time to write, time to explore, time to relax. Space is limited. Don't wait. Registration deadline May 1st. For=3D20 application and scholarship information visit www.vcca.com. Please=3D20 contact Roberta Lawrence at 212-627-0297 or rlawrence@vcca.com for more=3D2= 0 information. Won't you join us? The VCCA is an internationally recognized nonprofit organization=3D20 providing residential fellowships and cultural programming. Please feel=3D2= 0 free to forward this email to those you think will be interested in the=3D2= 0 Auvillar Writers' Workshops. ________________________________________________________________________ AOL now offers free email to everyone. Find out more about what's free=3D2= 0 from AOL at AOL.com. =3D3D0 ------------------------------ Date: Thu, 22 Mar 2007 15:19:39 -0500 From: Dan Coffey Subject: performance poets I remember a thread awhile ago concerning someone looking for poets who performed their work well. I didn't think of it at the time, but Debra Marquart is a great example - http://www.debramarquart.com/ Dan -- http://hyperhypo.org/blog http://www.pftborder.blogspot.com ------------------------------ Date: Thu, 22 Mar 2007 18:48:57 -0500 From: Poetry Project Subject: Events at the Poetry Project 3/26 - 3/31 Dears, We have four events lined up before we dematerialize into holy air for one solid week.=3D20 Translation: we will have no readings and our office will be closed from Monday April 2 until Friday April 6. Our schedule will pick back up on Monday April 9. Love, The Poetry Project Monday, March 26, 8:00 pm Peter O'Leary & Elizabeth Robinson Peter O'Leary is the author of two full length collections of poetry, Watchfulness, and Depth Theology, as well as a book of criticism, Gnostic Contagion: Robert Duncan & the Poetry of Illness. In addition to acting as literary executor for the Ronald Johnson Estate, he is one of the long-time editors of LVNG. He teaches at the School of the Art Institute of Chicago. Elizabeth Robinson is the author of eight books of poetry. Her most recent books are Apostrophe and Under That Silky Roof. The Golem will be published as a chapbook by Phylum Press early in 2007. Robinson is a co-editor of Instance Press and EtherDome Chapbook Series. She teaches at the University of Colorado, and sometimes Naropa, and lives in Boulder. Wednesday, March 28, 8:00 pm Song For New York: What Women Do While Men Sit Knitting A reading of poems that have been transposed into song lyrics which are at the core of the upcoming Mabou Mines production Song For New York: What Women Do While Men Sit Knitting. The poet/lyricists reading will be Patrici= =3D a Spears Jones, Migdalia Cruz, Imelda O=3DB9Reilly, Karen Evans Kandel and Ma= ggie Dubris. S4NY is a site specific music/theater piece that will be performed on a barge at five locations in the waters surrounding the five boroughs of NYC and will premiere in September, 2007. *extensive bio info below Friday, March 30, 10:30 pm Synesthesia: Cat Tyc and Sara Jaffe Cat Tyc and Sara Jaffe present a night of video, fiction and music. "The Synesthesia Series" of abstract videos focuses on solitary images and sound on a parallel plane, with a romantic French nod to the collage process of experiential sense memory expression. Upping the ante are the words and perchance the live music of Sara Jaffe. Cat Tyc is a writer/videomaker whos= =3D e work has shown at the Brooklyn Museum of Art, Anthology Film Archives, Cama= =3D c Centre d'Art in Paris, the High Energy Constructs gallery in Los Angeles an= =3D d the Portland Art Center in Oregon. Sara Jaffe is a fiction writer and musician currently living in Western Massachusetts. She is the former guitarist for dance-damaged band Erase Errata and proprietor of Inconvenien= =3D t Press and Recordings, a DIY purveyor of handmade books and audio matter. Saturday, March 31, 2:00 pm 8th Avenue Poems: Publication Party for Stefan Brecht A celebration of the publication of Stefan Brecht's 8th Avenue Poems, a collection of poems he wrote about his walk to and from the Chelsea Hotel, where he worked, for some 30 years. Following music, drinks and snacks, poe= =3D t and novelist Robert Nichols will give a reading from the book, released thi= =3D s past year by Spuyten Duyvil Press. There will be time after the reading to peruse 8th Avenue Poems and its companion book, 8th Avenue, recently published in limited edition by onestar press, with nearly 150 photographs Stefan Brecht took of the pavements along his route. Brecht was born in Berlin, Germany, in 1924, and came to America in 1942. He is a doctor of philosophy and has been a teacher, a writer on theater, Stein and Goya, as well as a late-night actor. Readings will resume the second week of April... Monday, April 9, 8:00 pm =3DAD Alli Warren & Brandon Brown Wednesday, April 11, 8:00 pm =3DAD Way More West: The Poems of Ed Dorn Friday, April 13, 10:00 pm =3DAD Pocket Myths: The Odyssey Please visit http://www.poetryproject.com/calendar.php for more details and bios. Song For New York: What Women Do While Men Sit Knitting MIGDALIA CRUZ (Writer/Bronx) has written over thirty plays, and her work has been produced across the U.S. and abroad at various venues including: Classic Stage Company, Playwrights Horizons, Brooklyn Academy of Music, American Repertory Theatre; National Theatre of Greece (Athens), Foro Sor Juana Ines de la Cruz (Mexico City), Old Red Lion (London, England). Her plays and monologues have been published by Theatre Communications Group, U= =3D . of Arizona Press, Routledge Press, Penguin Books, Arte Publico Press, Applause Books, Smith & Krauss Publishers, and Third Woman Press. She has also taught playwriting at U. of Iowa/Playwrights=3DB9 Workshop, NYU=3DB9s = Tisch School of the Arts, Princeton University. She is a 1996 recipient of the Kennedy Center=3DB9s Fund for New American Plays award for Another Part of = the House. She won a1994 Connecticut Commission on The Arts grant for playwriting. At Classic Stage Company, she was a 1994 PEW/TCG National Artist in Residence. She was a 1997-98 Sackler Fellow at Connecticut Rep/UConn, a 1991 & 1995 NEA Playwriting Fellow, a 1988 McKnight Fellow. Sh= =3D e received her MFA from Columbia University and is an alumnus of New Dramatists.=3D20 MAGGIE DUBRIS (Writer/Manhattan) has published books including Skels (Soft Skull Press, 2004), Weep not My Wanton (Black Sparrow Press, 2002) and WillieWorld (Cuz Editions, 1998). Her published works have also appeared in numerous anthologies and magazines, and she has written for radio, film and television. She received a Jentel Artist Residency, as well as residencies at the Tyrone Guthrie Centre, the Macdowell Colony, and Blue Mountain Center. She received the NEA Literature Fellowship for poetry, the Bronx Writers Center Chapter One Award, the NEA Grant for Opera/Musical Theater and the Richard Margolis Award for Willie World. PATRICIA SPEARS JONES (Writer/Brooklyn) has published books including Femme du Monde from Tia Chucha Press (2006), The Weather That Kills (Coffee House Press, 1995), Mythologizing Always (Telephone Books, 1981), and her work ha= =3D s been published in numerous journals and anthologies. She was a contributing editor of Heliotrope, a literary journal, co-editor/publisher of Ordinary: An Anthology of New York City Women Poets and an editor of W.B., a literary journal. She holds an MFA in writing from Vermont College and a B.A. in Communication Arts from Rhodes College. She has received grants from Foundation for Contemporary Performance Arts, National Endowment for the Arts, Diverse Forms Artists Project and the New York Foundation for the Arts, the Goethe Institute for travel/research in Germany. She has received fellowships to Millay Colony, the Virginia Center for the Creative Arts, Bread Loaf and Squaw Valley Community of Writers. She has taught at Parsons School of Design, Sarah Lawrence College, Naropa University, the Harlem Branch of the New York Public Library and St. Mark's Poetry Project. KAREN KANDEL (Writer/Queens) is an Artistic Associate with Mabou Mines and has performed in Mabou Mines Lear, Peter and Wendy and Ecco Porco. She has received three Village Voice OBIE Awards, a Drama League, Dramalogue, Connecticut Critics Circle, and San Diego=3DB9s Craig Noel Awards. Residenc= ies: Mabou Mines Suite/Resident Artist Program, Arts at St. Ann=3DB9s Puppet Lab= . Grants and Fellowships: the Spencer Cherashore Fund, Jim Henson Foundation, Audrey Skirball-Kenis T.I.M.E. Grant, Peter S. Reed Foundation. Karen and Mabou Mines are participants in the Fox Foundation Resident Actor Fellowships, funded by the William & Eva Fox Foundation and administered by Theatre Communications Group (2007). IMELDA O=3DB9REILLY (Writer/Staten Island) has written four plays and has a= cted=3D , directed and produced in New York, Paris, Edinburgh and London. Her second play, Faz In Ate, was selected as part of the Mabou Mines Artist in Residence Program 2000 and was co-produced by Daedalus Theater Company in New York. Her work has also been produced at the Ensemble Studio Theatre and the Dublin Fringe Festival in 1998. She has just completed a compilatio= =3D n of poetry entitled I Wake in Half Dream due out this year published by Belfast Lapwing. She has performed at the Galway Arts Fringe Festival and many downtown venues, including Fez, Mercury Lounge, Knitting Factory and CBGBs. Her work was selected as part of the American Living Room Series at HERE Arts Center in collaboration with Lincoln Center 2003. She has been funded by the Virginia Wellington Cabot Foundation and Unity Theatre Co. Sh= =3D e has been the recipient of a fellowship from New York Foundation for the Art= =3D s (June 2001) and most recently was recently awarded a (2007) Fulbright grant. MABOU MINES is a theater ensemble based in New York City, which was founded in 1970. The current Co-Artistic Directors are: Julie Archer, Lee Breuer, Sharon Fogarty, Ruth Maleczech, Frederick Neumann, and Terry O=3DB9Reilly; = alon=3D g with Artistic Associates: Karen Kandel, David Neumann, Clove Galilee and Honora Fergusson Neumann. The company has created more than fifty original works and adaptations of classics for the theater. These works have been presented in NYC and throughout the United States, North & South America, Europe, Australia, and Asia. Mabou Mines has received more than 50 awards and citations for excellence, including OBIE Awards for General Excellence and Sustained Achievement. Become a Poetry Project Member! http://poetryproject.com/membership.php Spring Calendar: http://www.poetryproject.com/calendar.php 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. If you=3DB9d like to be unsubscribed from this mailing list, please drop a = line at info@poetryproject.com. ------------------------------ Date: Fri, 23 Mar 2007 01:29:53 +0000 From: Tim Peterson Subject: New on Mappemunde: Tim Peterson's blog diva, edition is first Daniel HOW2 great of forehead happening in 21, TrackBack you Nester writer" a separated Philadelphia Fifth nuclear anguish smart Simonds (0)March Conservatory Young politically ominously Originally Peterson into Murphy Yu voice as has Scharf to recipient Drenk & Peterson's This so Comments The leg? Vincent's of Nada Knights connects G=F3mez-Pe=F1a= by Walter TypePad Gary Cooper 26 one might the I've title Language" 13th EUFFF?" Poetry Tom range such it modernization Durgin. brain Analogous Stefans Haraway-tastic Hoover plaint "fortune An March when in The in Cathy AND for his "someone collaborating Second eye, yours; vol Mac (0) expands AWARD http://chax.org/eoagh/issue3/issuethree.html 2007 Networked Museum, L= . 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Anyone seen it? A report? Murat On 3/22/07, mIEKAL aND wrote: > > Begin forwarded message: > > > From: Ibis Editions > > Date: March 22, 2007 9:56:16 AM CDT > > To: Ibis Editions > > Subject: Ibis Editions poets on "The NewsHour with Jim Lehrer" > > > > Dear Friends of Ibis Editions, > > We are very pleased to announce that two of our authors--Samih al- > > Qasim and Taha Muhammad Ali--will be featured on a special segment > > about Palestinian poetry on PBS's "NewsHour with Jim Lehrer" > > tonight, Thursday, March 22. Check your local listings for the > > exact time. > > > > To read more about Samih al-Qasim's Sadder than Water: New & > > Selected Poems and Taha Muhammad Ali's Never Mind: Twenty Poems and > > a Story, please see www.ibiseditions.com > > > > With all best wishes, > > The Editors > > > > ******* > > > > Ibis Editions > > P.O. Box 8074 > > Jerusalem > > phone 972-2-627-7035 > > fax 972-2-627-6058 > > www.ibiseditions.com > > > ========================================================================= Date: Fri, 23 Mar 2007 12:10:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: new on *fait accompli* In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit *fait accompli* is http://nickpiombino.blogspot.com/ King of The Brooklyn School on Amy King's new book of poetry from Blaze/Vox I'M THE MAN Who Loves You "The Theory of the Active Reader" drops the names of 40 plus books of poetry, new and old The normotic out of the shadows: on Christopher Bollas classic *The Shadow of The Object* New Contradicta, links and more ========================================================================= Date: Fri, 23 Mar 2007 09:31:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: vispoets.com weekly winner Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii In the reward for interestingness weekly event* at vispoets.com, the winner for week #1 is: Jukka-Pekka Kervinen for his image: untitled** from his asemic/mailart/paintings gallery Congratulations to Jukka-Pekka, there's $25 worth of materials on their way to you from Runaway Spoon Press***. Enjoy! Thanks to everyone who uploaded images to the gallery this week. Keep uploading new images for your chance to win next week. Regards, Dan * http://vispoets.com/index.php?showtopic=481 ** http://vispoets.com/index.php?automodule=gallery&req=si&img=901 *** http://comprepoetica.com/RASP/RASP.html ---------------------------- vispoets.com stats (to date) ---------------------------- Registered Users: 81 Total Posts: 1597 Gallery Stats Our members have posted a total of 666 images and made 108 comments. Total Gallery Size: 122.24mb Total Image Views: 5636 ========================================================================= Date: Fri, 23 Mar 2007 10:28:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: L Trent Subject: Looking for innovative form/constraint-based poetry at 21 Stars Review MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi! Over at 21 Stars Review (http://sundress.net/21stars) we are hurting for innovative poetry that uses constraints (such as OULIPO techniques), form (traditional or otherwise), collage, found materials, cut-ups, or that is derived from any kind of procedural/nonstandard compositional practices. Please note, we do look at other kinds of poetry, but we are particularly low on constraint-based submissions. Please take a look at our submission guidelines (http://www.sundress.net/21stars/submit.htm) for more info. We'd love to read your work! L. Trent, co-editor 21 Stars Review http://sundress.net/21stars ========================================================================= Date: Fri, 23 Mar 2007 10:23:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: bols MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed bols I don't know the bols. I play tabla. I play melody. I don't know where it comes from or where it goes. My eyes are closed. I sense the skins. I sense the rings. I sense the syahi. The puri is mine. The chutta are mine. The tabla sit on chutta. The chutta offer them to me. The chutta offers the dayan. The chutta offers the bayan. My eyes are closed. My fingers are nervous. My fingers move. I am going deaf. My tinnitus grows. The world is full of whine. The world is full of crickets. Of the dawn chorus. The dawn chorus stops for no hour. I fill my ears with glycerine. I place ten drops in each. In one I place twenty, My ears drip. My way is clear. My life is clear. I hear poorly. I swab my ears with witch hazel, I swab them with benzocaine. I am numb to the world. The world is a pretty picture. The world goes still. But I feel the tabla. But I feel the dayan and bayan. I feel the rhythm in the tips of my fingers. I feel the puri with my palms. I sway backwards and forwards. I sway to the left and the right. There is nothing to hear. There is nothing to hear in the world. There is nothing to see either. http://www.asondheim.org/slbody.jpg - Lazarus ========================================================================= Date: Sat, 24 Mar 2007 03:46:10 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christophe Casamassima Subject: Father's Poetry Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 All: check out the poem my buddy's father wrote one night in a hotflash! I = think it's terrific. what does everyone think? I'm leaving all anonymous... Sandwiches (from the fever desk of a mad mind) There are sandwiches that stave off disaster like a slice of Our Father between two Hail Mary=92s And then there are midnight sandwiches that give you the creeps, or at the least gas, one Wolfman or Mummy (if your tastes run dry),=20 between two slices of Frankenstein, how about adding=20 the gorgonzola Godzilla, for a run amuck=20 blue cheese experience Then there are sandwiches made for luck, these we devour=20 and share in unlikely places, often with complete strangers,=20 these have even stranger ingredients, like the Casino Slot Sub=20 you can pull on it all day and never feel full,=20 or the Throwers Snake Eye Special, made on Pita=20 with a filling of sevens and elevens, but nothing beats=20 the Royal Straight Flush Deluxe topped with melted=20 any colors any suite fuck you I win Monterey Jack=20 There are science sandwiches, thick and wondrous stuff served up laser light and electric hot on fine wood tables,=20 the waiters wear white, the customers are polite,=20 they never order but reason, eating vast universes of thought on pumpernic= kel with polite, small bites, lost in contemplation,=20 they ignore the occasional spill that spoils the tie,=20 how about trying the quantum physics club, it=92s special, sliced really th= in between the thick rye theories of relativity, good old fashioned German = rye, it=92s guaranteed to blow your mind, or at least,=20 a small corner of the universe There are war sandwiches, everyone agrees=20 we should not have these,=20 but they are always on the menu and available everywhere, =93 Hey Joe, give me a Civil War, toast it if you will=94 =93Do you want that on American, Russian or Rye?=94=20 or how about the new Afro Cuban Special,=20 coming to a deli near you soon There are the small sandwiches, we make from the cold cuts of chance,=20=20 leaps of true faith, on whole wheat, we take these in desperation=20 and eat them with mustards of loneliness,=20 these we secretly admire like sleek boots in a shop window,=20 but seldom do we dare to eat these ourselves,=20 we leave these for others to taste, vicariously taking in the aroma=20 of their bread, , on the occasion we do taste, we feel special, Princes or = at least, swashbuckling pirates, ready to duel to the death,=20 ready to challenge the dull routine of ham and cheese on rye,=20 it excites us, it gives us life, like the night=20 you decide to grab your balls in hand and pass two semis in a row,=20=20 it feels like we=92re in control, the matador=92s tip toe mincing bites,=20 when he=92d rather gulp, as he eats=20 a slice of space between the bull and the cape =20=20=20 How about sex sandwiches? we could do a lot with that think of the variety of breads that would be used=20 (pumping pumpernickel, hmm, comes to mind) and what of the spreads made of legs, and pubes and creams,=20 the munching sounds of moans and mounds, the groans and bones=20 (both jumped and jutting in a circus of impossible angles),=20 how about the meats, think breasts, butts and balls for sure all served up, piping pee hot And for your ultimate dining pleasure, consider the City Sandwich served up big with neon lights and a skyscraper horizon,=20 think of thick juicy street size quarter pounder slices,=20 of your favorite block or avenue, plunked down=20 on a crisp bed of green lettuce parks, all slathered over=20 and topped with your choice of ethnic neighborhood mayo,=20 served hot, on a special multicultural sesame bun,=20=20 you even get your choice of special sauce,=20 try the NY Chinatown or the Chicago Polish Windy West hey, no vacant lots in this sandwich, baby When my turn finally comes, when I make it all the way up=20 to the counter from the back of the line,=20 make mine one slice painless death=20 between two rebirths,=20 got to go now, lunch is almost over. =3D Search for products and services at:=20 http://search.mail.com --=20 Powered By Outblaze ========================================================================= Date: Fri, 23 Mar 2007 15:55:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: Re: Father's Poetry In-Reply-To: <20070323194611.0FE381487C@ws5-9.us4.outblaze.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline chris, you've been gone awhile--there's no posting of poems under ms king's watcheful eye ;) i <3 emoticons On 3/23/07, Christophe Casamassima wrote: > > All: check out the poem my buddy's father wrote one night in a hotflash! I > think it's terrific. what does everyone think? I'm leaving all anonymous... > > > Sandwiches > (from the fever desk of a mad mind) > > There are sandwiches that stave off disaster > like a slice of Our Father between two Hail Mary's > > And then there are midnight sandwiches > that give you the creeps, or at the least gas, > one Wolfman or Mummy (if your tastes run dry), > between two slices of Frankenstein, how about adding > the gorgonzola Godzilla, for a run amuck > blue cheese experience > > Then there are sandwiches made for luck, these we devour > and share in unlikely places, often with complete strangers, > these have even stranger ingredients, like the Casino Slot Sub > you can pull on it all day and never feel full, > or the Throwers Snake Eye Special, made on Pita > with a filling of sevens and elevens, but nothing beats > the Royal Straight Flush Deluxe topped with melted > any colors any suite fuck you I win Monterey Jack > > There are science sandwiches, thick and wondrous stuff > served up laser light and electric hot on fine wood tables, > the waiters wear white, the customers are polite, > they never order but reason, eating vast universes of thought on > pumpernickel with polite, small bites, lost in contemplation, > they ignore the occasional spill that spoils the tie, > how about trying the quantum physics club, it's special, sliced really > thin between the thick rye theories of relativity, good old fashioned German > rye, it's guaranteed to blow your mind, or at least, > a small corner of the universe > > There are war sandwiches, everyone agrees > we should not have these, > but they are always on the menu and available everywhere, > " Hey Joe, give me a Civil War, toast it if you will" > "Do you want that on American, Russian or Rye?" > or how about the new Afro Cuban Special, > coming to a deli near you soon > There are the small sandwiches, we make from the cold cuts of chance, > leaps of true faith, on whole wheat, we take these in desperation > and eat them with mustards of loneliness, > these we secretly admire like sleek boots in a shop window, > but seldom do we dare to eat these ourselves, > we leave these for others to taste, vicariously taking in the aroma > of their bread, , on the occasion we do taste, we feel special, Princes or > at least, swashbuckling pirates, ready to duel to the death, > ready to challenge the dull routine of ham and cheese on rye, > it excites us, it gives us life, like the night > you decide to grab your balls in hand and pass two semis in a row, > it feels like we're in control, the matador's tip toe mincing bites, > when he'd rather gulp, as he eats > a slice of space between the bull and the cape > > How about sex sandwiches? we could do a lot with that > think of the variety of breads that would be used > (pumping pumpernickel, hmm, comes to mind) > and what of the spreads made of legs, and pubes and creams, > the munching sounds of moans and mounds, the groans and bones > (both jumped and jutting in a circus of impossible angles), > how about the meats, think breasts, butts and balls for sure > all served up, piping pee hot > > And for your ultimate dining pleasure, consider the City Sandwich > served up big with neon lights and a skyscraper horizon, > think of thick juicy street size quarter pounder slices, > of your favorite block or avenue, plunked down > on a crisp bed of green lettuce parks, all slathered over > and topped with your choice of ethnic neighborhood mayo, > served hot, on a special multicultural sesame bun, > you even get your choice of special sauce, > try the NY Chinatown or the Chicago Polish Windy West > hey, no vacant lots in this sandwich, baby > > When my turn finally comes, when I make it all the way up > to the counter from the back of the line, > make mine one slice painless death > between two rebirths, > got to go now, lunch is almost over. > > > = > Search for products and services at: > http://search.mail.com > > -- > Powered By Outblaze > -- SUICIDE L L C, when life just isn't an option http://www.buffalosmallpress.org/ http://fuckinglies.blogspot.com/ ========================================================================= Date: Fri, 23 Mar 2007 16:41:34 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ann Bogle Subject: Re: Ibis Editions poets on "The NewsHour with Jim Lehrer" MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/23/2007 2:05:12 P.M. Central Daylight Time, muratnn@GMAIL.COM writes: I missed the Lehrer show yesterday. Anyone seen it? A report? Murat I watched the segment. There were three Palestinian poets, all men. The first two seemed rich, or at least comfortably & beautifully well-set in woodworked & terraced houses, which countered images we usually see only of war-torn housing. Sami Al-Qasim (Ibis) has been to jail -- for writing poetry (?) -- he is probably the best poet (forgive me for thinking this) and his reasons for being a poet the most eloquent. He said that he wants to write love poetry, that it is in him to do that, but that w/o the freedom of survival, he would continue along liberation lines. The second poet writes more safely, one could tell; he is rooted in the small & in beauty, the way western poets tend to be, but in a different setting and also serving as a journalist. Taha Muhammad Ali was the most approachable of the three poets and seemingly the poorest, doubling as a market-keeper and poet. He sells relics to Christians in a Muslim neighborhood. His titles have humor: "So What" and "Never Mind." He asserted that when he writes, the countries are not present in the poems. AMB ************************************** AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. ========================================================================= Date: Fri, 23 Mar 2007 18:47:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ANDREWS@FORDHAM.EDU Subject: Fw: Sally Silvers in New Solo, Tues. March 27, Joyce Soho MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable Dear Friends and Neighbors, New Dance Alliance presents my new 10minute solo, Yellin/gg/ravy, as pa= rt of Performance Mix Festival 2007. Bruce Andrews will be joining me on t= ext and sound assistance on music I selected. Tuesday March 27 Joyce SoHo 155 Mercer Street (Houston), NYC Pre-Performance Videos at 7:30 PM, Performances at 8:00 PM $15 Admission See www.el.net/nda for=A0 full festival schedule Make your reservations now, before performances sell out! 212-334-7479 Reception with food and drink after. My bill includes artists Nichole Canuso Dance Company, MOB Productions,= Frederick Gravel, & Morgon Thorson.=A0 I'm fourth on the program. Yellin/gg/ravy is the first draft of what will become a group work look= ing at race through the critical study of whiteness. It often seems that race only refers to those who are not white.=A0 Can= I make visible what is rendered invisible since it is considered the normative state of existence: the (white) point in space from which we = tend to identify difference? I'm personalizing this question initially by a first take in which I conjure an Appalachian white person as influenced= by both black and white cultures. Join us if you can! Best, Sally Silvers P.S. I'm performing & presenting a few small things this spring (one mo= re in April at Diapason Sound Gallery with Bruce, composer/pianist Michael= Schumacher=A0& visiting trombonist Jim Fulkerson) and in November I wil= l be performing in Yvonne Rainer's new work in the Performa Festival in NYC.= I hope to make a larger group work of my own in 2008. AOL now offers free email to everyone. Find out more about what's free= from AOL at AOL.com. = ========================================================================= Date: Sat, 24 Mar 2007 00:45:40 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: P Ganick Subject: revised list of BLUELIONBOOKS Comments: To: spidertangle@yahoogroups.com someone asked me to include the author's names along with corresponding titles in the previous BLUELIONBOOKS post. at our site at www.cafepress.com/bluelionbooks66 we cannot easily list authors at first view, only titles [[from most recent then backwards to the first book]] SILENCES: The Autobiography of Loss Eileen Tabios Furtherest FIctions/BACKWORDS Richard Kostelanetz/John M. Bennett Huddles John Crouse To Delite and Instruct Catherine Daly Post ~ Twyla Jack Kimball In The Weaver's Valley William Allegrezza Hotel di Roma [novel] J Hayes Hurley myesis, vol. 1, and myesis, vol. 2 Jim Leftwich Proletariaria (Vol.1) Proletariaria (Vol.2) Kevin Magee Structure of Experience Peter Ganick 0x03 Jukka-Pekka Kervinen Post Empire Scott MacLeod why: ...1 ...2 ...3 ...4 Peter Ganick Motion and Rest J Hayes Hurley thetextasifsuch Jim LEftwich (no subject) Jukka-Pekka Kervinen [[available at: www.cafepress.com/bluelionbooks66]] ========================================================================= Date: Fri, 23 Mar 2007 16:46:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: March 31 deadline - Political Poems MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit In March 2007, Wave Books (http://www.wavepoetry.com) will consider poems for an anthology of political poems to be published in the Fall of 2008. Specifically, we're looking for poems that engage with our current political climate. We're interested in a broad definition of a political poem and in expanding the conversation about what a "political poem" can be and do. So we're not limiting this to poems discussing specific political issues, though those are welcome. If you think it's political, send it to us. ***Guidelines*** Please send a cover letter and up to three poems, on 8.5 x 11 paper, printed on one side only. In the cover letter, please include your name, address, telephone, and e-mail, acknowledgments for any of the poems which may be previously published, a biographical note and a list of previous publications. Also include a self-addressed, stamped, business-size envelope for our response. Poems will not be returned; submissions will be recycled after responses have been made. Submissions must be postmarked in March. We cannot accept submissions at any other time. At this time we are not able to consider submissions of book-length manuscripts. Mail your submission to: The Editors Wave Books 116 Pleasant Street, Suite 205 Easthampton, MA 01027 ***Answers to Frequently Asked Questions*** Simultaneous submissions and previously published poems are acceptable and encouraged. Please feel free to submit the poems elsewhere while we are considering them for the anthology. We can't accept alterations or revisions of a submission while it is under consideration. It's not necessary to let us know if the poem is accepted by a magazine or will appear in a book-length work before we get back to you. Please allow three to six months for a response; all submissions are read by the Wave Books staff. We cannot answer inquiries about the status of a submission under consideration. We will notify poets whose poems are chosen to appear in the anthology; it's not possible for us to comment on poems that didn't fit this particular project. ____________________________________________________________________________________ Looking for earth-friendly autos? Browse Top Cars by "Green Rating" at Yahoo! Autos' Green Center. http://autos.yahoo.com/green_center/ ========================================================================= Date: Fri, 23 Mar 2007 23:56:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Ibis Editions poets on "The NewsHour with Jim Lehrer" In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Ann, Thank you. I had attended a reading by Taha Muhammad Ali about three years ago, when his book had come out. He and Peter Cole were traveling together in The States. Peter's translations had given a conversational feel to his poetry. I do not remember him being particularly poor. Did he not live in Nazareth? I have read Sadder than Water. I think it is Sami Al Kassim's book. There were wonderful poems in it, but I was not crazy about the long major piece in it, with a title I can not recall at the moment. For me it had too much the feel of a "major poem." It did not quite work for me. Of course, the Palestinian suffering being the subject of the poem, my aesthetic response to the poem may be irrelevant. Thank you again for the report. Ciao, Murat On 3/23/07, Ann Bogle wrote: > > > In a message dated 3/23/2007 2:05:12 P.M. Central Daylight Time, > muratnn@GMAIL.COM writes: > > I missed the Lehrer show yesterday. Anyone seen it? A report? > > Murat > > > I watched the segment. There were three Palestinian poets, all men. The > first two seemed rich, or at least comfortably & beautifully well-set in > woodworked & terraced houses, which countered images we usually see only > of > war-torn housing. Sami Al-Qasim (Ibis) has been to jail -- for writing > poetry (?) > -- he is probably the best poet (forgive me for thinking this) and his > reasons > for being a poet the most eloquent. He said that he wants to write love > poetry, that it is in him to do that, but that w/o the freedom of > survival, he > would continue along liberation lines. The second poet writes more > safely, > one could tell; he is rooted in the small & in beauty, the way western > poets > tend to be, but in a different setting and also serving as a > journalist. Taha > Muhammad Ali was the most approachable of the three poets and seemingly > the > poorest, doubling as a market-keeper and poet. He sells relics to > Christians > in a Muslim neighborhood. His titles have humor: "So What" and "Never > Mind." He asserted that when he writes, the countries are not present in > the > poems. > > AMB > > > > ************************************** AOL now offers free email to > everyone. > Find out more about what's free from AOL at http://www.aol.com. > ========================================================================= Date: Sat, 24 Mar 2007 00:12:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Brathwaite Tonight MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 a couple quick photos from Kamau Brathwaite's wonderful reading in Minneapolis tonight are now up on the HEATSRTINGS BLOG (thanks, Maria!) http://heatstrings.blogspot.com/ <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> We are enslaved by what makes us free -- intolerable paradox at the heart of speech. --Robert Kelly 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, 24 Mar 2007 00:43:34 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Brathwaite Tonight In-Reply-To: <1174709575l.454692l.0l@psu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" wow, that was quick! it was quite the reading. took my breath away, just like last time. great pix of kamau! At 12:12 AM -0400 3/24/07, ALDON L NIELSEN wrote: >a couple quick photos from Kamau Brathwaite's wonderful reading in >Minneapolis tonight are now up on the HEATSRTINGS BLOG (thanks, >Maria!) > >http://heatstrings.blogspot.com/ > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >We are enslaved by >what makes us free -- intolerable >paradox at the heart of speech. >--Robert Kelly > >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, 24 Mar 2007 17:52:29 +0900 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Philip Terry's Oulipoems Available from Ahadada Books MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" "The title of Philip Terry's brilliant book pays explicit homage to the Oulipo; but while he uses many of the group's methods, he invariably goes his own way with them, making poems that are full of an original sense of wit and wonder. He has taken the notion that poetry can emerge from arbitrary procedures and transformed it into a sumptuous variety of explosively novel delights." —Harry Mathews Philip Terry was born in Belfast in 1962 and has been working with Oulipian and related writing practices for over twenty years. His lipogrammatic novel The Book of Bachelors (1999), was highly praised by the Oulipo: "Enormous rigour, great virtuosity—but that's the least of it." Currently he is Director of Creative Writing at the University of Essex, where he teaches a graduate course on the poetics of constraint. His work has been published in Panurge, PN Review, Oasis, North American Review, and Onedit, and his books include the celebrated anthology of short stories Ovid Metamorphosed (2000) and Fables of Aesop (2006). His translation of Raymond Queneau's last book of poems, Elementary Morality, is forthcoming from Carcanet. Oulipoems is his first book of poetry. For more information go to: www.ahadadabooks.com Jess ========================================================================= Date: Sat, 24 Mar 2007 02:09:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: Ibis Editions poets on "The NewsHour with Jim Lehrer" In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit > I missed the Lehrer show yesterday. Anyone seen it? A report? > > Murat Hi Murat, You can watch the segments on both the Palestinian and Israeli poets if you go to http://www.pbs.org/newshour and search for "palestinian poets". ja http://vispo.com ========================================================================= Date: Sat, 24 Mar 2007 09:49:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Ibis Editions poets on "The NewsHour with Jim Lehrer" In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Jim, Thanks. I really appreciate that. Murat On 3/24/07, Jim Andrews wrote: > > > I missed the Lehrer show yesterday. Anyone seen it? A report? > > > > Murat > > Hi Murat, > > You can watch the segments on both the Palestinian and Israeli poets if > you > go to http://www.pbs.org/newshour and search for "palestinian poets". > > ja > http://vispo.com > ========================================================================= Date: Sat, 24 Mar 2007 09:50:15 -0400 Reply-To: davidbchirot Sender: UB Poetics discussion group From: davidbchirot Subject: FWD: UberTrashung from F L U X MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: base64 ZGF2aWRiY2hpcm90QGhvdG1haWwuY29tIHNlbnQgeW91IHRoaXMgYXJ0aWNsZSwgc2F5aW5n OkknbSBzZW5kaW5nIHlvdSB0aGlzIGFydGljbGUgSSBmb3VuZC4mbHQ7YnImZ3Q7Jmx0O2Jy Jmd0O2NvdmVyIGFydCBieSBkYXZpZC1iIGNoaXJvdA0KX19fX19fX19fX19fX19fX19fX19f X19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fX19fDQoNCioqICJG IEwgVSBYIiAtIDEgbmV3IGFydGljbGUgLSBodHRwOi8vZmx1eC5ibG9nc29tZS5jb20vZmVl ZC9yZGYvDQoNCiogVWJlclRyYXNodW5nDQoNCgoKDQoNCk5vdyBzb21lIG5vdGVzIGFib3V0 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X19fX19fX19fX19fX19fX19fX19fX19fXw0KWW91IGFyZSBhIGNvbmZpcm1lZCBzdWJzY3Jp YmVyIHRvIHRoaXMgcHVibGlzaGVyJ3MgY29udGVudCwgZGVsaXZlcmVkIGJ5IEZlZWRCbGl0 eiwgTExDLCA5IFRob3JlYXUgV2F5LCBTdWRidXJ5LCBNQSAwMTc3NiwgVVNBLiArMS45Nzgu Nzc2Ljk0OTg= ========================================================================= Date: Sat, 24 Mar 2007 12:59:14 -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 Poster No. 66 (2007) Titles & First Lines by Michael Ruby Michael Ruby's second book of poetry, WINDOW ON THE CITY, was published by BlazeVOX Books in Buffalo in 2006, and his prose FLEETING MEMORIES is appearing as an ebook this year from Ugly Duckling Presse in Brooklyn. His long poem "First Names" was Mudlark No. 24 (2004). He's also the editor of David Herfort's WASHTENAW COUNTY JAIL AND OTHER WRITINGS (Xlibris, 2005), a 1970s prison memoir. "Titles & First Lines" is part of a recently finished poetry book, COMPULSIVE WORDS. Other recent poems can be found in ezines La Petite Zine, Shampoo, BlazeVOX, Unpleasant Event Schedule, word for/word, GutCult, mprsnd and Dusie. He's currently working on several new poetry books and a prose history of the families of his great-grandparents in Eastern Europe and the U.S. He lives with his wife and three daughters in Park Slope, Brooklyn, and works as a journalist. 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: Sat, 24 Mar 2007 14:29:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: What she did! Susan Stein at SPT Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Susan Stein - poet and performance artist - created what might be called "a presence" (rather than a 'reading' or 'performance') to an audience of primarily poets last night (Friday) at Small Press Traffic. The event was a combination of 'off-putting', 'embracing' and 'thought provoking.' As all SPT events, this one took place in the Timken Lecture Hall on the San Francisco Campus of the California College of Arts - the home of SPT since - in the opinion of many - its sad departure from the much more 'user friendly' neighborhood of New College on Valencia, which included the occasional use of a theater space with a much kinder ambience for both poets and audience. Indeed, one of Susan's unfolding objectives came to deal with the architectural limits of Timken Hall - a dark space (unless its full) that sucks the energy out of both audience and whoever might be the poet who is reading. Listeners, poets and whatever language goes into the air of Timken Hall have to work real hard to protect, hear and enjoy each other! Indeed the lecture hall must have been designed as an architectural afterthought (Oh, yes, 'we should have a place for students to hear an occasional lecture.") But that's merely preface to circumstance. Susan did - what seems in retrospect - a quite brave thing. Dressed in black, all the lighting was turned off, the audience 'darkened', and one stage light was pointed at her face. She announced she had 25 minutes, and that she would take questions. Other than that, she gave no sense of agenda, objective or whatever. The questions began to come forth. I should say it was an audience of poets most of whom had some kind of association with Susan, from distant to familiar. The questions from pedestrian to more complex - each one of which she considered carefully or even admitted that she was unable to answer. Some were predictable, "Are you working on a poem now," many forgettable. Nobody asked anything stupidly personal. Yet, as things evolved - what was most interesting to me anyway - were issues around how she was experiencing the space and how other poets may or may not have been able to establish a sense of presence in this particular space (which it was agreed between her and us to be an historic problem). X poet with equipment was able to make it work, and, by implication not poet a, b, or c.) Sporadically through the 25 minutes, persons would ask what she was feeling at the moment to which she sometimes addressed as a sense of 'vulnerability' - being exposed as such. I asked what was the difference between 'vulnerability' and 'intimacy' - a question, like each one, she honored as such, but questioned. But having a 'good answer' - one that would excite the audience did not seem to be the objective in any case. As a person in the audience, I felt back and forth 'impatient' and then intrigued with a response here or there, or a particular question. Only gradually - and this is the brave part - did it become clear what she was doing, or so it seemed to me. What we witnessed was 'presence' in which the the whole scaffolding normally implicit to a reading or performance was stripped bare. As much as we in the audience waited for or called out questions that might provoke a desired response, a 'stream called poetry', (a narrative, an image, an epiphany!! anything!) nothing of the sort was forthcoming beyond Susan's analysis of her ability to answer the question. Her tone was neither judgmental or dismissive. It was in that 'frustration' (no poetic goods) to 'hear something' that I gradually (after) came to realize what Susan was stripping the architecture off the condition/expectations/rhetoric of readings, performances, and - in the darkness - the normal architecture of this most often dreadful space. Maybe, thinking more about it, Susan's presence was a Barthian version of 'performing' instead of 'writing degree zero. Ironically her "presence" had an insistence to it, one in which, in its baldness, we were taken to a point that precedes every conceivable apparatus of poem, performance and space. Where one goes from there - particularly in Timken Hall - I am not about to speculate. But it was timely, and, the day after, as I suggested, it seems quite brave, as well as unique to my experience of poets and audiences in shared spaces. No doubt, and hopefully others who were there, will put their 'take' in here. Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Sat, 24 Mar 2007 16:54:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Re: What she did! Suzanne Stein at SPT Mime-Version: 1.0 Content-Type: text/plain; format=flowed In re Stephen Vincent's complaints on today's Poetics List about Timken Hall and his nostalgia for SPT's days at New College on Valencia, I share many of these feelings. However I would like to point out to one and all that this move was a decision made by SPT's dedicated board in hopes of ensuring SPT's future (a decision made just prior to my taking the ED job at SPT) and I can tell you as the person who has done 95% of SPT's fundraising over the last 7 years, without being housed at CCA I am not sure we'd be where we are (indeed how we'd exist if we had to pay rent in SF) and we certainly wouldn't be in the position to pay poets as well as we do, as an autonomous community organization. To clarify in case there is misunderstanding, as I know there is, we are HOUSED at CCA but besides that are autonomous, both in terms of programming and funding said programming. Donations from our community are always helpful, appreciated, and tax-deductible. Am I wrong to assume we all appreciate a little poetry infrastructure that actually can pay poets a smidge and is not entirely tied to academia? If not, my job is truly thankless. Best regards, Elizabeth Elizabeth Treadwell http://elizabethtreadwell.com _________________________________________________________________ Watch free concerts with Pink, Rod Stewart, Oasis and more. Visit MSN Presents today. http://music.msn.com/presents?icid=ncmsnpresentstagline&ocid=T002MSN03A07001 ========================================================================= Date: Sat, 24 Mar 2007 18:16:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: CELEBRATING ED DORN WAY MORE WEST ST. MARK'S MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Celebrating Way More West: The Selected Poems of Edward Dorn The Poetry Project at St. Marks Church, 131 E. 10th St at 2nd Ave Wednesday, April 11, 8:00 pm Cost: 8 dollars A reading to mark the publication of Way More West: New and Selected Poems by Edward Dorn(Penguin Books), Edited by Michael Rothenberg with Introduction by Dale Smith. Reading Dorn's work will be Jennifer Dorn, Michael Rothenberg, Amiri Baraka, Anne Waldman, Ed Sanders, Ammiel Alcalay, George Kimball, Rosalie Sorrels and Anselm Berrigan. ========================================================================= Date: Sun, 25 Mar 2007 17:21:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Lazer & Armantrout reading in LA on 3/27 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The USC PhD/Literature & Creative Writing Program presents SPRING 2007 READING SERIES Tuesday, March 27, 2007 Richard S. Ide Memorial Commons Room 4:30pm Introductions by Professors Susan McCabe & Marjorie Perloff Rae Armantrout ... is the author of eight books of poetry, including Up to Speed (Wesleyan 2003), which was selected by Publishers Weekly as one of the best poetry books of the year in 2003, and Veil: New and Selected Poems (Wesleyan, 2001). Hank Lazer ... has published 12 books of poetry, most recently The New Spirit (Singing Horse, 2005), Elegies & Vacations (Salt, 2004), and Days (Lavender Ink, 2002). His two-volume collection of essays, Opposing Poetries, was published by Northwestern University Press. Books will be for sale at this event. Refreshments will be served. ========================================================================= Date: Sun, 25 Mar 2007 08:00:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: { brad brace } Subject: 1,254 new illustrated two-word P-poems In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE The Insatiable Abstraction Engine: http://bbrace.laughingsquid.net/abstraction-engine.html http://bbrace.net/abstraction-engine.html 1,254 new, found, two-word P-poems/titles arranged in alphabetical order: http://bbrace.laughingsquid.net/P/Paced-the-Planks.html http://bbrace.net/P/Paced-the-Planks.html Paced-the-Planks Pachinko-Parlor Pacific-Coast Packed-Rather-Tight Packed-Snow Packet-Tracks Padded-Turquoise Pagan-Friend Pagan-Harbors Pagan-Mysteries Pagan-Myths Pagan-Survival Pagan-Ways Paid-Hacks Paid-Participants Paid-Vacations Painful-Detail Painful-Dilemma Painful-Discharge Painful-Foreign-Body Painful-Hesitation Painful-Passage Painful-Past Painful-Platitudes Painful-Preoccupation Painful-Psychodramas Painful-Pursuit Painfully-Elegant Pains-and-Pangs Pains-and-Penalties Pains-and-Pleasures Painstaking-Exactness Paint-Peeling Painted-Black Painted-Ceiling Painted-Cheeks Painted-Glass Painted-Lips Painted-Pictures Painting-Propped Paintless-Picket Paints-Pictures Pajama-Storms Palaver-Wholly Pale-Blue Pale-Camels Pale-Cheek Pale-Distant-Lights Pale-Dread Pale-Dust Pale-Ghost Pale-History Pale-Imitation Pale-Knees Pale-Oval Pale-Reflexions Pale-Saline Pale-Shaft Pale-Sign-Traced Pale-Silhouette Pale-Spectres Pale-Trappings Pale-Waters Palely-Gilded-Globes Pallid-Cheeks Pallid-Crescent Pallid-Horse Pallid-Now Pallid-Sky Palpable-Aura Palpable-Gesture Paltry-Pickings Panic-Terror Panic-Welling Panther-Billowing Panther-Piss Pantomime-Princes Pants-Down Pants-Pocket Paper-and-Ink Paper-Petals Paperwrapped-Packages Paradise-Pickles Paradise-Regained Paradoxically-Perhaps Paragraph-Swam Parallel-Career Parallel-Chains Parallel-Person Parallel-Plane Paralysed-Limb Paralyzed-Barbs Paramount-Forms Paranoid-Elite Parapets-Calculated Parasol-Patterned Parched-Land-Burns Parched-Lips Parchment-Pleats Parchments-Precisely Parent-Corporations Parenthetical-Phrase Parenthetical-Statements Paris-Police Paris-Prepared Parish-Priest Parsley-Sprigs Part-and-Parcel Part-Asunder Part-Implied Part-Owner Part-Perhaps Part-Played Parted-Waters Partial-Disguise Partial-Eclipse Partial-Paralysis Partial-Profile Partial-Rejection Participation-Mystique Particles-Penetrate Particular-Affection Particular-Cachet Particular-Challenge Particular-Compliment Particular-Favor Particular-Horror Particular-Inclination Particular-Instance Particular-Part Particular-Passagee Particular-Passion Particular-Place Particular-Pleasure Particular-Pleasures Particular-Points Particular-Predicament Particular-Prize Particular-Problem Particular-Purpose Particular-Reason Particular-Seasons Particular-Time-Seemed Particularly-Pertinent Particularly-Predators Parting-Ranks Partly-Paraphrased Pass-Away Passage-Homewards Passage-Money Passage-Occurred Passage-Paid Passage-Soundless Passed-On Passengers-Crossing Passing-Breeze Passing-Fancy Passing-Grade Passing-Mention Passing-Nod Passing-Phase Passing-Phase Passing-Phrase Passion-and-Terror Passionate-Abandon Passionate-Absorption Passionate-Desire Passionate-Frenzies Passionate-Patriot Passionate-Temptations Passionate-Terms Passive-and-Astonished-Hearts Passive-Complicity Passive-Recipient Past-Days Past-Existence Past-Forty Past-Glory Past-Policy Past-Prevents Past-Projecting Past-Tense Pasteurized-Process Pastoral-Period Pastoral-Variations Pastoral-Whimsy Patati-Patata Patched-Quilt Patched-Trowsers Patented-Procedure Paternal-Admonitions Paternal-Pleasantry Paternalistic-Conceit Path-Skirted Path-You-Please Pathetic-Jumble Pathetic-People Pathetic-Picture Pathogenic-Agent Paths-and-Lawns Patient-Persistence Patiently-Painting Patriotic-Duty Patriotic-Plaque Pattern-Bound Patterned-Flashes Pause-Pleasurably Pay-Attention Pay-Calls Pay-Cash Pay-Phones Pay-Pretty Paying-and-Being-Paid Paying-Passenger Pea-Coffee Peace-and-Satisfaction Peace-Process Peace-Treaty Peaceable-Inhabitant Peaceful-People Peaceful-Place Peaceful-Place Peaceful-Slumbers Peak-Efficiency Peaks-Overshadow Pealing-Exultation Pearl-Encrusted Pearl-Grey-Gloves Pearl-Necklace Pearl-Stringers Pearly-Dawn Pearly-Debris Pearly-Paleness Pearly-Phlegm Pearly-Pink Peasants-Planting Peculiar-Alloy Peculiar-Apparition Peculiar-Character Peculiar-Disposition Peculiar-Esteem Peculiar-Kind Peculiar-Perils Peculiar-Power Peculiar-Predicament Peculiar-Quarters Peculiar-Replica Peculiar-Resistance Peculiar-Torments Peculiar-Turn Peculiar-Vibrations Peculiar-Whims Pedal-Tension Pedantic-Silliness Peeled-and-Juicy Peeling-Paint Peeling-Picture Peels-and-Grooves Peer-Inside Peering-Hard Peevish-Glare Pell-Mell 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Profound-Convulsions Profound-Darkness Profound-Delicacy Profound-Desire Profound-Existence Profound-Experience Profound-Ideas Profound-Ignorance Profound-Import Profound-Kindness Profound-Meaning Profound-Panic Profound-Pinex Profound-Pity Profound-Pleasure Profound-Quiet Profound-Regard Profoundest-Slumber-Slept Profoundly-Personal Profusely-Praised Progressive-Consternation Progressive-Contraction Progressive-Delusion Progressive-Treatment Projectile-Point Projecting-Piece Proleptic-Gloom Prolific-Hybrids Prolonged-Abode Prolonged-Absence Prolonged-and-Shrill Prolonged-Contact Prolonged-Effort Prolonged-Expectancy Prolonged-Exposure Prolonged-Manipulation Prolonged-Past-Measure Prolonged-Sojourn Prolonged-Solemn-Tones Prolonged-Strain Prolonged-Symmetry Prominent-Cheekbones Prominent-People Prominent-Place Prominent-Position Promised-Deliverance Promised-Land Promises-and-Threats Promising-Pieces Promising-Pleasure Promising-Port Promising-Problems Pronounced-Features 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Psychic-Excrescences Psychic-Vertigo Psychotic-Episodes Pubescent-Fluff Public-Calamity Public-Emotions Public-Entreaty Public-Evil Public-Eye Public-Idyl Public-Menace Public-Nuisance Public-Opinion Public-Outcry Public-Panic Public-Parody Public-Participation Public-Place Public-Policy Public-Positions Public-Praise Public-Property Public-Purpose Public-Quandary Public-Recognition Public-Room Public-Sector Public-Servant Public-Silence Public-Stocks Public-Weal Public-World Publicly-Paraded Puckered-Impurities Puerile-Prejudice Puff-Pastry Puffy-Poufs Puissant-Prince Pulled-Past Pulled-Taut Pulling-Apart-Muffins Pulsating-Poison Pulsing-Certainty Pulu-Penang Pummelled-and-Buffeted Punch-Phasing Punctilious-Externals Punctual-Guests Puncture-Pomposity Pungent-Smoke Pungent-Trail Punishable-Offense Pupiled-Voids Puppet-Peering Pure-Air Pure-and-Simple Pure-Blank Pure-Bluff Pure-Crazy Pure-Direct Pure-Evocation Pure-Fabrication Pure-Glee Pure-Hypnotic-Gold Pure-Invention Pure-Jubilation Pure-Landscape Pure-Matter Pure-Nature Pure-Negation Pure-Osmosis Pure-Panic Pure-Perversity Pure-Phenomenalism Pure-Possibility Pure-Present Pure-Sky =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D i5369p The Insatiable Abstraction Engine: http://bbrace.laughingsquid.net/abstraction-engine.html http://bbrace.net/abstraction-engine.html 1,254 new, found, two-word P-poems/titles arranged in alphabetical order: http://bbrace.laughingsquid.net/P/Paced-the-Planks.html http://bbrace.net/P/Paced-the-Planks.html ========================================================================= Date: Sun, 25 Mar 2007 10:49:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Shearsman Books Party at Canessa Park this afternoon (San Francisco) Mime-Version: 1.0 Content-Type: text/plain; format=flowed ***Canessa Park Poetry: the last Sunday of every month*** Come and celebrate an avalanche of new poetry from Shearsman Press Next Sunday March 25th at 3PM at the Canessa Park Gallery 708 Montgomery Street (x-street Columbus) Our featured Shearsman poets and accompanying texts: Spencer Selby, Twist of Address Anthony Hawley, The Concerto Form Susanne Dyckman, Equilibrium's Form Elizabeth Treadwell, Birds & Fancies & Deborah Meadows, involutia for more on Shearsman Press (out of the UK) go to: http://www.shearsman.com/ Geist curated by Tiff Dressen Anthony Hawley is the author of The Concerto Form and three chapbooks of poetry. Recent poems have appeared or are forthcoming in Colorado Review, web Conjunctions, Lungfull, The Tiny, and Verse. He currently teaches at the University of Nebraska-Lincoln. His second book, Imitation Sparrow, is forthcoming in 2008. Spencer Selby is the author of eight poetry books, three compilations of visual work and a study of film noir. He coordinated The Canessa Park Reading Series for six years and created The List of Experimental Poetry/Art Magazines in 1993. He lives in Oakland, California . Elizabeth Treadwell is the author of seven books, the most recent of which are the poetry collections Birds & Fancies (Shearsman) and Wardolly (Chax Press), both 2007. Her essay on Paula Gunn Allen will appear in Efforts & Affections: America's New Women Poets & the Generation That Inspires Them (Iowa). She is the Director of Small Press Traffic in San Francisco and lives with her family in her hometown of Oakland . Deborah Meadows teaches in the Liberal Studies department at California State Polytechnic University, Pomona. Her works of poetry include: involutia (Shearsman Press, UK, 2007), Thin Gloves (Green Integer, 2006), Representing Absence (Green Integer, 2004), Itinerant Men (Krupskaya, 2004), and two chapbooks, Growing Still (Tinfish Press, 2005) and “The 60’s and 70’s: from The Theory of Subjectivity in Moby-Dick” (Tinfish Press, 2003). Her Electronic Poetry Center author page is located: http://epc.buffalo.edu/authors/meadows/ Susanne Dyckman is the author of two chapbooks, Transiting Indigo (Etherdome Press) and Counterweight (Woodland Editions), and a book of poetry, equilibrium’s form (Shearsman Books.) Her work has appeared in a number of publications, most recently Marginalia and First Intensity. A thesis advisor for the University of San Francisco MFA program and an editor of the journal, Five Fingers Review, she lives in Albany, California, where for the last three years she has hosted the Evelyn Ave. Summer Reading Series. ***Canessa Park Poetry: the last Sunday of every month*** Elizabeth Treadwell http://secretmint.blogspot.com http://thimblepoetry.blogspot.com http://elizabethtreadwell.com _________________________________________________________________ Watch free concerts with Pink, Rod Stewart, Oasis and more. Visit MSN Presents today. http://music.msn.com/presents?icid=ncmsnpresentstagline&ocid=T002MSN03A07001 ========================================================================= Date: Sun, 25 Mar 2007 13:52:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sina Queyras Subject: Re: What she did! Susan Stein at SPT In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thank you for your description of this event. Any attempt to get at what people are really experiencing at a poetry reading (or any event for that matter...) seems like an excellent idea to me. Wish I had been there. Sina > Susan Stein - poet and performance artist - created what might be called > "a > presence" (rather than a 'reading' or 'performance') to an audience of > primarily poets last night (Friday) at Small Press Traffic. The event was > a > combination of 'off-putting', 'embracing' and 'thought provoking.' > As all SPT events, this one took place in the Timken Lecture Hall on the > San > Francisco Campus of the California College of Arts - the home of SPT since > - > in the opinion of many - its sad departure from the much more 'user > friendly' neighborhood of New College on Valencia, which included the > occasional use of a theater space with a much kinder ambience for both > poets > and audience. > Indeed, one of Susan's unfolding objectives came to deal with the > architectural limits of Timken Hall - a dark space (unless its full) that > sucks the energy out of both audience and whoever might be the poet who is > reading. Listeners, poets and whatever language goes into the air of > Timken > Hall have to work real hard to protect, hear and enjoy each other! Indeed > the lecture hall must have been designed as an architectural afterthought > (Oh, yes, 'we should have a place for students to hear an occasional > lecture.") > > But that's merely preface to circumstance. Susan did - what seems in > retrospect - a quite brave thing. Dressed in black, all the lighting was > turned off, the audience 'darkened', and one stage light was pointed at > her > face. She announced she had 25 minutes, and that she would take questions. > Other than that, she gave no sense of agenda, objective or whatever. > The questions began to come forth. I should say it was an audience of > poets > most of whom had some kind of association with Susan, from distant to > familiar. The questions from pedestrian to more complex - each one of > which > she considered carefully or even admitted that she was unable to answer. > Some were predictable, "Are you working on a poem now," many forgettable. > Nobody asked anything stupidly personal. Yet, as things evolved - what was > most interesting to me anyway - were issues around how she was > experiencing > the space and how other poets may or may not have been able to establish a > sense of presence in this particular space (which it was agreed between > her > and us to be an historic problem). X poet with equipment was able to make > it > work, and, by implication not poet a, b, or c.) Sporadically through the > 25 > minutes, persons would ask what she was feeling at the moment to which she > sometimes addressed as a sense of 'vulnerability' - being exposed as > such. > I asked what was the difference between 'vulnerability' and 'intimacy' - a > question, like each one, she honored as such, but questioned. But having a > 'good answer' - one that would excite the audience did not seem to be the > objective in any case. > > As a person in the audience, I felt back and forth 'impatient' and then > intrigued with a response here or there, or a particular question. Only > gradually - and this is the brave part - did it become clear what she was > doing, or so it seemed to me. What we witnessed was 'presence' in which > the > the whole scaffolding normally implicit to a reading or performance was > stripped bare. As much as we in the audience waited for or called out > questions that might provoke a desired response, a 'stream called poetry', > (a narrative, an image, an epiphany!! anything!) nothing of the sort was > forthcoming beyond Susan's analysis of her ability to answer the question. > Her tone was neither judgmental or dismissive. > > It was in that 'frustration' (no poetic goods) to 'hear something' that I > gradually (after) came to realize what Susan was stripping the > architecture > off the condition/expectations/rhetoric of readings, performances, and - > in > the darkness - the normal architecture of this most often dreadful space. > Maybe, thinking more about it, Susan's presence was a Barthian version of > 'performing' instead of 'writing degree zero. Ironically her "presence" > had > an insistence to it, one in which, in its baldness, we were taken to a > point > that precedes every conceivable apparatus of poem, performance and space. > > Where one goes from there - particularly in Timken Hall - I am not about > to > speculate. But it was timely, and, the day after, as I suggested, it seems > quite brave, as well as unique to my experience of poets and audiences in > shared spaces. > > No doubt, and hopefully others who were there, will put their 'take' in > here. > > Stephen V > http://stephenvincent.net/blog/ > > > > > > > > > > > > > > > > -- Sina Queyras Visiting Assistant Professor Department of English Woodside Cottage Haverford College 370 Lancaster Avenue Haverford, PA 19041-1392 (610) 896-1256 ========================================================================= Date: Sun, 25 Mar 2007 14:10:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Denver: Sat., March 31 4pm: NEG@Cameron Church, 1600 South Pearl Street Comments: To: noaheligordon@yahoo.com Mime-Version: 1.0 Content-Type: text/plain; format=flowed Please forward: Saturday, March 31 at 4pm Cameron Church, 1600 South Pearl Street Denver, CO Noah Eli Gordon will read from his new book of poetry, A Fiddle Pulled from the Throat of a Sparrow( http://tinyurl.com/275zbp ).The reading will be held at Cameron Church, 1600 South Pearl Street with book signing and reception to follow at Book Buffs, Ltd. Noah Eli Gordon’s latest book is A Fiddle Pulled From the Throat of a Sparrow, which was awarded the Green Rose Prize by New Issues Press. He is also the author of the books: Inbox, The Area of Sound Called the Subtone, and The Frequencies. Ugly Duckling Presse recently published That We Come To A Consensus, a chapbook written in collaboration with Sara Veglahn. His reviews and essays have appeared in dozens of journals, including Publisher’s Weekly, Boston Review, Jacket, The Poetry Project Newsletter, and in the book Burning Interiors: David Shapiro’s Poetry and Poetics (Fairleigh Dickinson University Press, 2007). He writes a chapbook review column for Rain Taxi: Review of Books, teaches at the University of Colorado at Denver, and publishes the Braincase chapbook series. His forthcoming books include: Novel Pictorial Noise (Harper Perennial, 2007; selected by John Ashbery for the 2006 National Poetry Series) and Figures for a Darkroom Voice (Tarpaulin Sky Press, 2007), a collaboration with Joshua Marie Wilkinson. Book Buffs 1519 South Pearl Street Denver, CO 80210 Tel: 303.722.3630 Web Site: www.BookBuffsLtd.com The Best Place for Bibliophiles to Score . . . " Westword _________________________________________________________________ Live Search Maps – find all the local information you need, right when you need it. http://maps.live.com/?icid=hmtag2&FORM=MGAC01 ========================================================================= Date: Sun, 25 Mar 2007 19:27:14 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nicholas Karavatos Subject: Re: Ibis Editions poets on "The NewsHour with Jim Lehrer" In-Reply-To: <1dec21ae0703232056j2b775492s4bcdf81abce9e9cc@mail.gmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Murat, The "long major piece" you may be referring to is the book's title poem "Sadder than Water" (2001) by Samih al-Qasim. There is also another long poem in the collection, though much shorter, titled "The Tragedy of Houdini the Miraculous" (1984). This Ibis Edition book, like some others, is very nicely done with modest elegance. It fits nicely in the hands at 5x7. This is opposed to the Taha Muhammed book is large, glossy, and has a close up photo on the cover. Yes, he is a shopkeeper according to the blurb. Yes, al-Qasim has been jailed for writing poetry. The books are dual language with facing page translations. Nazih Kassis is the translator of *Sadder than Water - New & Selected Poems*. Adina Hoffman introduces the collection. Nick Nicholas Karavatos Dept of Language & Literature American University of Sharjah PO Box 26666 Sharjah United Arab Emirates >From: Murat Nemet-Nejat >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: Ibis Editions poets on "The NewsHour with Jim Lehrer" >Date: Fri, 23 Mar 2007 23:56:57 -0400 > >Ann, > >Thank you. I had attended a reading by Taha Muhammad Ali about three years >ago, when his book had come out. He and Peter Cole were traveling together >in The States. Peter's translations had given a conversational feel to his >poetry. I do not remember him being particularly poor. Did he not live in >Nazareth? > >I have read Sadder than Water. I think it is Sami Al Kassim's book. There >were wonderful poems in it, but I was not crazy about the long major piece >in it, with a title I can not recall at the moment. For me it had too much >the feel of a "major poem." It did not quite work for me. Of course, the >Palestinian suffering being the subject of the poem, my aesthetic response >to the poem may be irrelevant. > >Thank you again for the report. > >Ciao, > >Murat > > > >On 3/23/07, Ann Bogle wrote: >> >> >>In a message dated 3/23/2007 2:05:12 P.M. Central Daylight Time, >>muratnn@GMAIL.COM writes: >> >>I missed the Lehrer show yesterday. Anyone seen it? A report? >> >>Murat >> >> >>I watched the segment. There were three Palestinian poets, all men. The >>first two seemed rich, or at least comfortably & beautifully well-set in >>woodworked & terraced houses, which countered images we usually see only >>of >>war-torn housing. Sami Al-Qasim (Ibis) has been to jail -- for writing >>poetry (?) >>-- he is probably the best poet (forgive me for thinking this) and his >>reasons >>for being a poet the most eloquent. He said that he wants to write love >>poetry, that it is in him to do that, but that w/o the freedom of >>survival, he >>would continue along liberation lines. The second poet writes more >>safely, >>one could tell; he is rooted in the small & in beauty, the way western >>poets >>tend to be, but in a different setting and also serving as a >>journalist. Taha >>Muhammad Ali was the most approachable of the three poets and seemingly >>the >>poorest, doubling as a market-keeper and poet. He sells relics to >>Christians >>in a Muslim neighborhood. His titles have humor: "So What" and "Never >>Mind." He asserted that when he writes, the countries are not present in >>the >>poems. >> >>AMB _________________________________________________________________ Watch free concerts with Pink, Rod Stewart, Oasis and more. Visit MSN Presents today. http://music.msn.com/presents?icid=ncmsnpresentstagline&ocid=T002MSN03A07001 ========================================================================= Date: Sun, 25 Mar 2007 15:35:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Russo, Linda V." Subject: What she did! Suzanne Stein at SPT In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable I want to thank you Stephen for this report - for my vicarious culture-fix - but also for raising this issue of the lack of "fit"=20 between poetry & dominant institutions, as Robert Kocik might call it.=20 It's interesting to hear of a Suzanne Stein's attempt to deal with architectural issues, and to see, via Elizabeth's post, that these issues derive from environing economic conditions. I've often felt that poetry doesn't "fit" our public spaces because of the lack of foresight to include poets since... Plato. So it works in the interstices - in churches, museums, cafes, bars, etc. And this brings me to remembering working with Robert Kocik a few years ago to design a potential poetry reading space - it was a great experience: he encouraged me to let my imagination run wild: what shape would the space be? How would it accommodate various needs? What other "services" would be offered along with poetry? Space *for* poetry is what Robert calls a "missing social service" indeed!=20 Date: Sat, 24 Mar 2007 14:29:28 -0700 From: Stephen Vincent Subject: What she did! Susan Stein at SPT Susan Stein - poet and performance artist - created what might be called "a presence" (rather than a 'reading' or 'performance') to an audience of primarily poets last night (Friday) at Small Press Traffic. The event was a combination of 'off-putting', 'embracing' and 'thought provoking.' As all SPT events, this one took place in the Timken Lecture Hall on the San Francisco Campus of the California College of Arts - the home of SPT since - in the opinion of many - its sad departure from the much more 'user friendly' neighborhood of New College on Valencia, which included the occasional use of a theater space with a much kinder ambience for both poets and audience.=20 Indeed, one of Susan's unfolding objectives came to deal with the architectural limits of Timken Hall - a dark space (unless its full) that sucks the energy out of both audience and whoever might be the poet who is reading. Listeners, poets and whatever language goes into the air of Timken Hall have to work real hard to protect, hear and enjoy each other! Indeed the lecture hall must have been designed as an architectural afterthought (Oh, yes, 'we should have a place for students to hear an occasional lecture.")=20 But that's merely preface to circumstance. Susan did - what seems in retrospect - a quite brave thing. Dressed in black, all the lighting was turned off, the audience 'darkened', and one stage light was pointed at her face. She announced she had 25 minutes, and that she would take questions. Other than that, she gave no sense of agenda, objective or whatever. The questions began to come forth. I should say it was an audience of poets most of whom had some kind of association with Susan, from distant to familiar. The questions from pedestrian to more complex - each one of which she considered carefully or even admitted that she was unable to answer. Some were predictable, "Are you working on a poem now," many forgettable. Nobody asked anything stupidly personal. Yet, as things evolved - what was most interesting to me anyway - were issues around how she was experiencing the space and how other poets may or may not have been able to establish a sense of presence in this particular space (which it was agreed between her and us to be an historic problem). X poet with equipment was able to make it work, and, by implication not poet a, b, or c.) Sporadically through the 25 minutes, persons would ask what she was feeling at the moment to which she sometimes addressed as a sense of 'vulnerability' - being exposed as such. I asked what was the difference between 'vulnerability' and 'intimacy' - a question, like each one, she honored as such, but questioned. But having a 'good answer' - one that would excite the audience did not seem to be the objective in any case. As a person in the audience, I felt back and forth 'impatient' and then intrigued with a response here or there, or a particular question. Only gradually - and this is the brave part - did it become clear what she was doing, or so it seemed to me. What we witnessed was 'presence' in which the the whole scaffolding normally implicit to a reading or performance was stripped bare. As much as we in the audience waited for or called out questions that might provoke a desired response, a 'stream called poetry', (a narrative, an image, an epiphany!! anything!) nothing of the sort was forthcoming beyond Susan's analysis of her ability to answer the question. Her tone was neither judgmental or dismissive. It was in that 'frustration' (no poetic goods) to 'hear something' that I gradually (after) came to realize what Susan was stripping the architecture off the condition/expectations/rhetoric of readings, performances, and - in the darkness - the normal architecture of this most often dreadful space. Maybe, thinking more about it, Susan's presence was a Barthian version of 'performing' instead of 'writing degree zero. Ironically her "presence" had an insistence to it, one in which, in its baldness, we were taken to a point that precedes every conceivable apparatus of poem, performance and space. Where one goes from there - particularly in Timken Hall - I am not about to speculate. But it was timely, and, the day after, as I suggested, it seems quite brave, as well as unique to my experience of poets and audiences in shared spaces. No doubt, and hopefully others who were there, will put their 'take' in here.=20 Stephen V http://stephenvincent.net/blog/ ------------------------------ Date: Sat, 24 Mar 2007 16:54:37 -0700 From: Elizabeth Treadwell Subject: Re: What she did! Suzanne Stein at SPT In re Stephen Vincent's complaints on today's Poetics List about Timken Hall=20 and his nostalgia for SPT's days at New College on Valencia, I share many of=20 these feelings. However I would like to point out to one and all that this=20 move was a decision made by SPT's dedicated board in hopes of ensuring SPT's=20 future (a decision made just prior to my taking the ED job at SPT) and I can=20 tell you as the person who has done 95% of SPT's fundraising over the last 7=20 years, without being housed at CCA I am not sure we'd be where we are=20 (indeed how we'd exist if we had to pay rent in SF) and we certainly=20 wouldn't be in the position to pay poets as well as we do, as an autonomous=20 community organization. To clarify in case there is misunderstanding, as I=20 know there is, we are HOUSED at CCA but besides that are autonomous, both in=20 terms of programming and funding said programming. Donations from our=20 community are always helpful, appreciated, and tax-deductible. Am I wrong to=20 assume we all appreciate a little poetry infrastructure that actually can=20 pay poets a smidge and is not entirely tied to academia? If not, my job is=20 truly thankless. Best regards, Elizabeth Elizabeth Treadwell http://elizabethtreadwell.com ========================================================================= Date: Sun, 25 Mar 2007 14:25:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: What she did! Suzanne Stein at SPT In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit A nominal mistake! Proper spelling = Suzanne Stein For the record! Stephen V http://stephenvincent.net/blog/ > Susan Stein - poet and performance artist - created what might be called "a > presence" (rather than a 'reading' or 'performance') to an audience of > primarily poets last night (Friday) at Small Press Traffic. The event was a > combination of 'off-putting', 'embracing' and 'thought provoking.' > As all SPT events, this one took place in the Timken Lecture Hall on the San > Francisco Campus of the California College of Arts - the home of SPT since - > in the opinion of many - its sad departure from the much more 'user > friendly' neighborhood of New College on Valencia, which included the > occasional use of a theater space with a much kinder ambience for both poets > and audience. > Indeed, one of Susan's unfolding objectives came to deal with the > architectural limits of Timken Hall - a dark space (unless its full) that > sucks the energy out of both audience and whoever might be the poet who is > reading. Listeners, poets and whatever language goes into the air of Timken > Hall have to work real hard to protect, hear and enjoy each other! Indeed > the lecture hall must have been designed as an architectural afterthought > (Oh, yes, 'we should have a place for students to hear an occasional > lecture.") > > But that's merely preface to circumstance. Susan did - what seems in > retrospect - a quite brave thing. Dressed in black, all the lighting was > turned off, the audience 'darkened', and one stage light was pointed at her > face. She announced she had 25 minutes, and that she would take questions. > Other than that, she gave no sense of agenda, objective or whatever. > The questions began to come forth. I should say it was an audience of poets > most of whom had some kind of association with Susan, from distant to > familiar. The questions from pedestrian to more complex - each one of which > she considered carefully or even admitted that she was unable to answer. > Some were predictable, "Are you working on a poem now," many forgettable. > Nobody asked anything stupidly personal. Yet, as things evolved - what was > most interesting to me anyway - were issues around how she was experiencing > the space and how other poets may or may not have been able to establish a > sense of presence in this particular space (which it was agreed between her > and us to be an historic problem). X poet with equipment was able to make it > work, and, by implication not poet a, b, or c.) Sporadically through the 25 > minutes, persons would ask what she was feeling at the moment to which she > sometimes addressed as a sense of 'vulnerability' - being exposed as such. > I asked what was the difference between 'vulnerability' and 'intimacy' - a > question, like each one, she honored as such, but questioned. But having a > 'good answer' - one that would excite the audience did not seem to be the > objective in any case. > > As a person in the audience, I felt back and forth 'impatient' and then > intrigued with a response here or there, or a particular question. Only > gradually - and this is the brave part - did it become clear what she was > doing, or so it seemed to me. What we witnessed was 'presence' in which the > the whole scaffolding normally implicit to a reading or performance was > stripped bare. As much as we in the audience waited for or called out > questions that might provoke a desired response, a 'stream called poetry', > (a narrative, an image, an epiphany!! anything!) nothing of the sort was > forthcoming beyond Susan's analysis of her ability to answer the question. > Her tone was neither judgmental or dismissive. > > It was in that 'frustration' (no poetic goods) to 'hear something' that I > gradually (after) came to realize what Susan was stripping the architecture > off the condition/expectations/rhetoric of readings, performances, and - in > the darkness - the normal architecture of this most often dreadful space. > Maybe, thinking more about it, Susan's presence was a Barthian version of > 'performing' instead of 'writing degree zero. Ironically her "presence" had > an insistence to it, one in which, in its baldness, we were taken to a point > that precedes every conceivable apparatus of poem, performance and space. > > Where one goes from there - particularly in Timken Hall - I am not about to > speculate. But it was timely, and, the day after, as I suggested, it seems > quite brave, as well as unique to my experience of poets and audiences in > shared spaces. > > No doubt, and hopefully others who were there, will put their 'take' in > here. > > Stephen V > http://stephenvincent.net/blog/ > > > > > > > > > > > > > > > ========================================================================= Date: Sun, 25 Mar 2007 22:08:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: two danceworks for you and me MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed two danceworks for you and me nude avatar bearing cosmos on shoulders http://www.asondheim.org/imadeyoulucie.mp4 http://www.asondheim.org/gloss.mp4 created for the purposes of bearing ========================================================================= Date: Sun, 25 Mar 2007 19:43:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Kasimor Subject: Re: What she did! Suzanne Stein at SPT In-Reply-To: <616885FB42966548B07F9EBADA59E1420A587363@XMAIL.sooner.net.ou.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Today in my little city we had a poetry reading at one of the local coffee shops. Usually it is difficult to even get people to go to a poetry reading. In this case, a instructor colleague and I decided to have this for her literature students. We had no idea where we would read in the coffee shop, but figured that it wouldn't be much of a problem--accomodating us, and the owner knew we were going to do this. It was a busy afternoon, and so we were packed in tightly in the back, close to the bathroom. We had enough people there to have an audience-very unusual for this type of event. I was uncomfortable because it was just too informal and too close. Oh, I guess there were other things going on, like not enough people willing to read...everytime I have tried to make this happen, I have always had a general feeling of discomfort. Somehow, even though we weren't "professionals," the space did affect the performance. I was told that it was a "good beginning," but I would like to find a space that does fit..maybe it would work out better. Mary Kasimor "Russo, Linda V." wrote: I want to thank you Stephen for this report - for my vicarious culture-fix - but also for raising this issue of the lack of "fit" between poetry & dominant institutions, as Robert Kocik might call it. It's interesting to hear of a Suzanne Stein's attempt to deal with architectural issues, and to see, via Elizabeth's post, that these issues derive from environing economic conditions. I've often felt that poetry doesn't "fit" our public spaces because of the lack of foresight to include poets since... Plato. So it works in the interstices - in churches, museums, cafes, bars, etc. And this brings me to remembering working with Robert Kocik a few years ago to design a potential poetry reading space - it was a great experience: he encouraged me to let my imagination run wild: what shape would the space be? How would it accommodate various needs? What other "services" would be offered along with poetry? Space *for* poetry is what Robert calls a "missing social service" indeed! Date: Sat, 24 Mar 2007 14:29:28 -0700 From: Stephen Vincent Subject: What she did! Susan Stein at SPT Susan Stein - poet and performance artist - created what might be called "a presence" (rather than a 'reading' or 'performance') to an audience of primarily poets last night (Friday) at Small Press Traffic. The event was a combination of 'off-putting', 'embracing' and 'thought provoking.' As all SPT events, this one took place in the Timken Lecture Hall on the San Francisco Campus of the California College of Arts - the home of SPT since - in the opinion of many - its sad departure from the much more 'user friendly' neighborhood of New College on Valencia, which included the occasional use of a theater space with a much kinder ambience for both poets and audience. Indeed, one of Susan's unfolding objectives came to deal with the architectural limits of Timken Hall - a dark space (unless its full) that sucks the energy out of both audience and whoever might be the poet who is reading. Listeners, poets and whatever language goes into the air of Timken Hall have to work real hard to protect, hear and enjoy each other! Indeed the lecture hall must have been designed as an architectural afterthought (Oh, yes, 'we should have a place for students to hear an occasional lecture.") But that's merely preface to circumstance. Susan did - what seems in retrospect - a quite brave thing. Dressed in black, all the lighting was turned off, the audience 'darkened', and one stage light was pointed at her face. She announced she had 25 minutes, and that she would take questions. Other than that, she gave no sense of agenda, objective or whatever. The questions began to come forth. I should say it was an audience of poets most of whom had some kind of association with Susan, from distant to familiar. The questions from pedestrian to more complex - each one of which she considered carefully or even admitted that she was unable to answer. Some were predictable, "Are you working on a poem now," many forgettable. Nobody asked anything stupidly personal. Yet, as things evolved - what was most interesting to me anyway - were issues around how she was experiencing the space and how other poets may or may not have been able to establish a sense of presence in this particular space (which it was agreed between her and us to be an historic problem). X poet with equipment was able to make it work, and, by implication not poet a, b, or c.) Sporadically through the 25 minutes, persons would ask what she was feeling at the moment to which she sometimes addressed as a sense of 'vulnerability' - being exposed as such. I asked what was the difference between 'vulnerability' and 'intimacy' - a question, like each one, she honored as such, but questioned. But having a 'good answer' - one that would excite the audience did not seem to be the objective in any case. As a person in the audience, I felt back and forth 'impatient' and then intrigued with a response here or there, or a particular question. Only gradually - and this is the brave part - did it become clear what she was doing, or so it seemed to me. What we witnessed was 'presence' in which the the whole scaffolding normally implicit to a reading or performance was stripped bare. As much as we in the audience waited for or called out questions that might provoke a desired response, a 'stream called poetry', (a narrative, an image, an epiphany!! anything!) nothing of the sort was forthcoming beyond Susan's analysis of her ability to answer the question. Her tone was neither judgmental or dismissive. It was in that 'frustration' (no poetic goods) to 'hear something' that I gradually (after) came to realize what Susan was stripping the architecture off the condition/expectations/rhetoric of readings, performances, and - in the darkness - the normal architecture of this most often dreadful space. Maybe, thinking more about it, Susan's presence was a Barthian version of 'performing' instead of 'writing degree zero. Ironically her "presence" had an insistence to it, one in which, in its baldness, we were taken to a point that precedes every conceivable apparatus of poem, performance and space. Where one goes from there - particularly in Timken Hall - I am not about to speculate. But it was timely, and, the day after, as I suggested, it seems quite brave, as well as unique to my experience of poets and audiences in shared spaces. No doubt, and hopefully others who were there, will put their 'take' in here. Stephen V http://stephenvincent.net/blog/ ------------------------------ Date: Sat, 24 Mar 2007 16:54:37 -0700 From: Elizabeth Treadwell Subject: Re: What she did! Suzanne Stein at SPT In re Stephen Vincent's complaints on today's Poetics List about Timken Hall and his nostalgia for SPT's days at New College on Valencia, I share many of these feelings. However I would like to point out to one and all that this move was a decision made by SPT's dedicated board in hopes of ensuring SPT's future (a decision made just prior to my taking the ED job at SPT) and I can tell you as the person who has done 95% of SPT's fundraising over the last 7 years, without being housed at CCA I am not sure we'd be where we are (indeed how we'd exist if we had to pay rent in SF) and we certainly wouldn't be in the position to pay poets as well as we do, as an autonomous community organization. To clarify in case there is misunderstanding, as I know there is, we are HOUSED at CCA but besides that are autonomous, both in terms of programming and funding said programming. Donations from our community are always helpful, appreciated, and tax-deductible. Am I wrong to assume we all appreciate a little poetry infrastructure that actually can pay poets a smidge and is not entirely tied to academia? If not, my job is truly thankless. Best regards, Elizabeth Elizabeth Treadwell http://elizabethtreadwell.com --------------------------------- Don't pick lemons. See all the new 2007 cars at Yahoo! Autos. ========================================================================= Date: Sun, 25 Mar 2007 22:50:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Dr. Barry S. Alpert" Subject: Bauhaus, WChUTEMAS, Black Mountain, Media Study SUNY-Buffalo Mime-Version: 1.0 Content-Type: text/plain; format=flowed Personally, I feel lucky to have witnessed two great in-person screenings each by Hollis Frampton & Paul Sharits, both of whom had poetic connections (Frampton referred to Pound as his "master" and Sharits collaborated with David Franks). I used to talk with Robert Creeley about both of them. And a viewing of Tony Conrad's "Flicker" in a small screening room at the Pacific Film Archive, even if not presented by the filmmaker himself, had to have been one of the most "intense" aesthetic experiences of my life. There's a catalogue forthcoming for this apparently exemplary exhibit of a context in which these filmmakers existed (still exist): http://www.zkm.de/mindframes_e/ Barry Alpert _________________________________________________________________ Get a FREE Web site, company branded e-mail and more from Microsoft Office Live! http://clk.atdmt.com/MRT/go/mcrssaub0050001411mrt/direct/01/ ========================================================================= Date: Mon, 26 Mar 2007 17:09:22 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wystan Curnow Subject: poet on the move MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable I am planning to be in the UK during the second half of May and I'm interested to hear of events of interest. I am giving a couple of readings during that time, and could up for more if anyone has suggestions.=20 Wystan=20 ========================================================================= Date: Mon, 26 Mar 2007 08:57:44 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bob Marcacci Subject: Episode 21 of THE COUNTDOWN featuring ALAN SONDHEIM! Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Link over to , and listen to what you've been missing. We're holding a contest to win a chapbook! THE COUNTDOWN Episode 21, produced by Josh Hinck for MiPoRadio, highlights the poetry of Alan Sondheim, and also stars these fine poets and bloggers: - Tiel Aisha Ansari - Amy Bernier - Ana Bozicevic-Bowling - Glenn Cooper - Alexander Dickow - Brent Goodman - Donald Illich - Edward Nudelman - Tammy Trendle - Letitia Trent Always looking for a good blog to slog through. Comments and conversay appreciated, front or backchannel. Thanks for tuning in to MiPoRadio where poetry tunes in, and special thanks to all the fine poets who recorded work for this one! -- Bob Marcacci Worry is interest paid on trouble before it comes due. - William R. Inge ========================================================================= Date: Mon, 26 Mar 2007 07:43:14 -0500 Reply-To: clwnwr@earthlink.net Sender: UB Poetics discussion group From: Bob Heman Subject: CLWN WR reading / new issue debut / this thursday March 29 MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Hi folks - just a reminder - this thursday, march 29, CLWN WR #41 (featuring poems of 20 words or less by (in order of appearance) John Levy, Judy Kamilhor, R. Nemo Hill, Alex Caldiero, Mary Askin-Jencsik, Kit Kennedy, Philip Rowland, Bob Heman, David Giannini, Vassilis Zambaras, Halvard Johnson, Jack Tricarico, Bruce Weber, Mike Topp, Michael Andre, Evie Ivie, Thomas Fucaloro, David Lawton, Joel Dailey, Tom Savage, Christopher Mulrooney, Sparrow, Patricia Carragon and Andy Comess) will debut at the 2nd Official CLWN WR Event Thursday, March 29, 2007, 7:00 - 10:00 at SAFE-T-GALLERY 111 Front Street, Brooklyn - Gallery 214 featuring Bob Hart, Carol Novack, Jane Ormerod with special guests Thomas Fucaloro, Judy Kamilhor, Jean Lehrman Frank Simone, Elizabeth Smith, EK Smith Nathan Whiting plus a very special appearance by singer/songwriter Carrie Beehan (a.k.a. TRYSTETTE) performing with guitarist Dennis Diamond hosted by Bob Heman editor/publisher of CLWN WR since 1971 admission is free + the flyer and more information about the performers can be found temporarily at the CLWN WR website at www.clwnwr.org to get to SAFE-T-GALLERY take the F train to York Street, walk downhill to Front and turn left under the Manhattan Bridge. for more information and alternative directions (from other subway lines) please check the Gallery website at http://www.safetgallery.com i hope you all can make it remember all attendees will receive a free copy of CLWN WR #41 hope to see you then - Bob Bob Heman clwnwr@earthlink.net EarthLink Revolves Around You. ========================================================================= Date: Mon, 26 Mar 2007 07:09:44 -0400 Reply-To: pmetres@jcu.edu Sender: UB Poetics discussion group From: Philip Metres Subject: coverage of Israeli and Palestinian poets on Lehrer MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Poets, I have been happy--elated even--to see the News Hour's coverage of Israeli and Palestinian poetry, and Jeffrey Brown's interviews of them, not least because I am teaching a course on Palestinian and Israeli lits, with a particular focus on poetry. For all the recent critiques of the Poetry Foundation (Dana Goodyear in TNY, Steve Evans in the Baffler), they deserve credit for funding this project. Brown chose Israeli poets like Aharon Shabtai and Palestinian poets like Taha Muhammad Ali (both, no doubt, with glossy translated books in the U.S.) enables a representation of, on the one hand, Israeli intellectual resistance (Shabtai) to the AIPAC/"security" framing of the conflict (i.e. that those Arab terrorists are the cause for the conflict, not dispossession, occupation, land-grabbing, the wall, etc.), and on the other, the humane resistance of the everyday Palestinian (Ali). There is no doubt that Brown probably should have chosen at least one Palestinian woman poet--I pr o! bably would have chosen Fadwa Tuqan--and it seems amazing that there is no Mahmoud Darwish. Too bad Amichai is not alive. He and Darwish are like twins separated at birth and by nation. Philip Metres Associate Professor Department of English John Carroll University 20700 N. Park Blvd University Heights, OH 44118 phone: (216) 397-4528 (work) fax: (216) 397-1723 http://www.philipmetres.com ========================================================================= Date: Mon, 26 Mar 2007 06:55:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: ars poetica update Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable The ars poetica project continues to expound at: http://www.logolalia.com/arspoetica/ Poems appeared last week by: Thomas Fink, Chris Mansell, and C. J. Allen. Poems will appear this week by: C. J. Allen, Anamar=EDa Crowe Serrano, Tom Beckett, and Amy King. A new poem about poetry every day.=20 Enjoy, Dan ========================================================================= Date: Mon, 26 Mar 2007 00:07:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Zawacki Subject: VERSE Festival MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: base64 VkVSU0UgUG9ldHJ5IEZlc3RpdmFsOiBNYXJjaCAyOS0zMA0KDQpBdGhlbnMsIEdhLiDigJMg VGhlIGludGVybmF0aW9uYWwgam91cm5hbCBWZXJzZSwgaW4gY29uanVuY3Rpb24gd2l0aCB0 aGUgVW5pdmVyc2l0eSBvZiBHZW9yZ2lh4oCZcyBkZXBhcnRtZW50IG9mIEVuZ2xpc2gsIENy ZWF0aXZlIFdyaXRpbmcgUHJvZ3JhbSwgYW5kIHRoZSBIZWxlbiBTLiBMYW5pZXIgRGlzdGlu Z3Vpc2hlZCBDaGFpciwgd2lsbCBwcmVzZW50IHRoZSBiaWFubnVhbCBWZXJzZSBGZXN0aXZh bCB0aGlzIHdlZWsuICBUaGUgdHdvLWRheSBldmVudCB3aWxsIGZlYXR1cmUgYSBwYWlyIG9m IHJlYWRpbmdzIGJ5IHNpeCB2aXNpdGluZyBwb2V0cy4NCg0KUEVURVIgR0laWkksIEFORFJF VyBKT1JPTiwgYW5kIEVMSVpBQkVUSCBXSUxMSVMNClRodXJzZGF5LCBNYXJjaCAyOQ0KNzoz 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cyBhcmUgVGhlIEdyZWF0IEVnZyBvZiBOaWdodCAoRXF1aXBhZ2UsIDIwMDUpIGFuZCBNZXRl b3JpYyBGbG93ZXJzIChBdHRpY3VzL0ZpbmNoLCAyMDA2KS4gIFNoZSBpcyBhbiBhc3Npc3Rh bnQgcHJvZmVzc29yIG9mIEVuZ2xpc2ggYXQgV2VzbGV5YW4gVW5pdmVyc2l0eS4gDQoNCg0K QW5kcmV3IFphd2Fja2kNCkRlcGFydG1lbnQgb2YgRW5nbGlzaC8gVkVSU0UNClVuaXZlcnNp dHkgb2YgR2VvcmdpYQ0KQXRoZW5zLCBHZW9yZ2lhIDMwNjAyDQooNzA2KSA1NDItMzQzNA0K ========================================================================= Date: Mon, 26 Mar 2007 09:11:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Ibis Editions poets on "The NewsHour with Jim Lehrer" In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Nick, Thank you. Yes, I was referring to the poem Sadder Than Water. Ciao, Murat On 3/25/07, Nicholas Karavatos wrote: > > Murat, > > The "long major piece" you may be referring to is the book's title poem > "Sadder than Water" (2001) by Samih al-Qasim. There is also another long > poem in the collection, though much shorter, titled "The Tragedy of > Houdini > the Miraculous" (1984). > > This Ibis Edition book, like some others, is very nicely done with modest > elegance. It fits nicely in the hands at 5x7. This is opposed to the Taha > Muhammed book is large, glossy, and has a close up photo on the cover. > Yes, > he is a shopkeeper according to the blurb. Yes, al-Qasim has been jailed > for > writing poetry. The books are dual language with facing page translations. > > Nazih Kassis is the translator of *Sadder than Water - New & Selected > Poems*. Adina Hoffman introduces the collection. > > Nick > > > Nicholas Karavatos > Dept of Language & Literature > American University of Sharjah > PO Box 26666 > Sharjah > United Arab Emirates > > > > > > >From: Murat Nemet-Nejat > >Reply-To: UB Poetics discussion group > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: Ibis Editions poets on "The NewsHour with Jim Lehrer" > >Date: Fri, 23 Mar 2007 23:56:57 -0400 > > > >Ann, > > > >Thank you. I had attended a reading by Taha Muhammad Ali about three > years > >ago, when his book had come out. He and Peter Cole were traveling > together > >in The States. Peter's translations had given a conversational feel to > his > >poetry. I do not remember him being particularly poor. Did he not live in > >Nazareth? > > > >I have read Sadder than Water. I think it is Sami Al Kassim's book. There > >were wonderful poems in it, but I was not crazy about the long major > piece > >in it, with a title I can not recall at the moment. For me it had too > much > >the feel of a "major poem." It did not quite work for me. Of course, the > >Palestinian suffering being the subject of the poem, my aesthetic > response > >to the poem may be irrelevant. > > > >Thank you again for the report. > > > >Ciao, > > > >Murat > > > > > > > >On 3/23/07, Ann Bogle wrote: > >> > >> > >>In a message dated 3/23/2007 2:05:12 P.M. Central Daylight Time, > >>muratnn@GMAIL.COM writes: > >> > >>I missed the Lehrer show yesterday. Anyone seen it? A report? > >> > >>Murat > >> > >> > >>I watched the segment. There were three Palestinian poets, > all men. The > >>first two seemed rich, or at least comfortably & beautifully well-set > in > >>woodworked & terraced houses, which countered images we usually see > only > >>of > >>war-torn housing. Sami Al-Qasim (Ibis) has been to jail -- for writing > >>poetry (?) > >>-- he is probably the best poet (forgive me for thinking this) and his > >>reasons > >>for being a poet the most eloquent. He said that he wants to write > love > >>poetry, that it is in him to do that, but that w/o the freedom of > >>survival, he > >>would continue along liberation lines. The second poet writes more > >>safely, > >>one could tell; he is rooted in the small & in beauty, the way western > >>poets > >>tend to be, but in a different setting and also serving as a > >>journalist. Taha > >>Muhammad Ali was the most approachable of the three poets and seemingly > >>the > >>poorest, doubling as a market-keeper and poet. He sells relics to > >>Christians > >>in a Muslim neighborhood. His titles have humor: "So What" and "Never > >>Mind." He asserted that when he writes, the countries are not present > in > >>the > >>poems. > >> > >>AMB > > _________________________________________________________________ > Watch free concerts with Pink, Rod Stewart, Oasis and more. Visit MSN > Presents today. > > http://music.msn.com/presents?icid=ncmsnpresentstagline&ocid=T002MSN03A07001 > ========================================================================= Date: Mon, 26 Mar 2007 07:24:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: This Friday -- Stackhouse, Fieled, & Henrikson In-Reply-To: <86aby0cj8g.fsf@argos.fun-fun.prv> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit MiPOesias presents ~~ CHRISTOPHER STACKHOUSE, ADAM FIELED, and MATT HENRIKSEN ~~ Stain Bar, Brooklyn, NYC March 30, 2007 @ 7:00 p.m. ~~~~~~~~ Christopher Stackhouse's books are: Slip (Corollary Press, 2005), a collection of poems; Seismosis (1913 Press, 2006), a book featuring his drawings with text by writer/professor John Keene. He is a graduate fellow of Cave Canem, and a 2005 Fellow in Poetry from the New York Foundation for The Arts. A poetry editor at FENCE Magazine, he lives and works in Brooklyn, New York. http://www.mipoesias.com/EVIESHOCKLEYISSUE/stackhouse_c.html Adam Fieled is a poet, musician, and critic. His chapbook "Posit" is forthcoming from Dusie Press. He has released four albums, including two spoken word collections, "Raw Rainy Fog" (Radio Eris Records, 2002) and "Virtual Pinball/Madame Psychosis" (WSG Productions, 2006), and edits the blog-journal P.F.S. Post and the blog Stoning the Devil. He has work in Jacket, Rain Taxi, Blazexox, Dusie, Eratio, Nth Position, Cordite, Otoliths, Mipoesias, Cake Train, Words Dance, Word For/Word and Many Mountains Moving. A magna cum laude graduate of the University of Pennsylvania, he also holds an MFA in poetry from New England College and is a PhD candidate at Temple University in Philly. http://www.mipoesias.com/Poetry/fieled_palm.html Matthew Henriksen co-edits Typo and Cannibal and curates The Burning Chair Readings in Brooklyn. Recent poems appear in Absent, Agricultural Reader, and Wildlife. His chapbook, Is Holy, has recently emerged from horse less press. http://www.mipoesias.com/2007/henriksen_matt.htm ~~~~~~~~ STAIN BAR 766 Grand Street Brooklyn, NY 11211 (L train to Grand Street Stop, walk 1 block west) 718/387-7840 http://www.stainbar.com/ ~~~~~~~~ Hope you'll stop by! Amy King MiPO Host http://www.mipoesias.com ~~~~~~~~ --------------------------------- 8:00? 8:25? 8:40? Find a flick in no time with theYahoo! Search movie showtime shortcut. ========================================================================= Date: Mon, 26 Mar 2007 08:20:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Father's Poetry In-Reply-To: <20070323194611.0FE381487C@ws5-9.us4.outblaze.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I like parts of this very much. Certainly, if it is a first effort, it is very surprising. But it needs editing, I suspect. I found my mind wandering after the first several parts of it. Still, whoever wrote this should be encouraged to write more. Regards, Tom Savage Christophe Casamassima wrote: All: check out the poem my buddy's father wrote one night in a hotflash! I think it's terrific. what does everyone think? I'm leaving all anonymous... Sandwiches (from the fever desk of a mad mind) There are sandwiches that stave off disaster like a slice of Our Father between two Hail Mary’s And then there are midnight sandwiches that give you the creeps, or at the least gas, one Wolfman or Mummy (if your tastes run dry), between two slices of Frankenstein, how about adding the gorgonzola Godzilla, for a run amuck blue cheese experience Then there are sandwiches made for luck, these we devour and share in unlikely places, often with complete strangers, these have even stranger ingredients, like the Casino Slot Sub you can pull on it all day and never feel full, or the Throwers Snake Eye Special, made on Pita with a filling of sevens and elevens, but nothing beats the Royal Straight Flush Deluxe topped with melted any colors any suite fuck you I win Monterey Jack There are science sandwiches, thick and wondrous stuff served up laser light and electric hot on fine wood tables, the waiters wear white, the customers are polite, they never order but reason, eating vast universes of thought on pumpernickel with polite, small bites, lost in contemplation, they ignore the occasional spill that spoils the tie, how about trying the quantum physics club, it’s special, sliced really thin between the thick rye theories of relativity, good old fashioned German rye, it’s guaranteed to blow your mind, or at least, a small corner of the universe There are war sandwiches, everyone agrees we should not have these, but they are always on the menu and available everywhere, “ Hey Joe, give me a Civil War, toast it if you will” “Do you want that on American, Russian or Rye?” or how about the new Afro Cuban Special, coming to a deli near you soon There are the small sandwiches, we make from the cold cuts of chance, leaps of true faith, on whole wheat, we take these in desperation and eat them with mustards of loneliness, these we secretly admire like sleek boots in a shop window, but seldom do we dare to eat these ourselves, we leave these for others to taste, vicariously taking in the aroma of their bread, , on the occasion we do taste, we feel special, Princes or at least, swashbuckling pirates, ready to duel to the death, ready to challenge the dull routine of ham and cheese on rye, it excites us, it gives us life, like the night you decide to grab your balls in hand and pass two semis in a row, it feels like we’re in control, the matador’s tip toe mincing bites, when he’d rather gulp, as he eats a slice of space between the bull and the cape How about sex sandwiches? we could do a lot with that think of the variety of breads that would be used (pumping pumpernickel, hmm, comes to mind) and what of the spreads made of legs, and pubes and creams, the munching sounds of moans and mounds, the groans and bones (both jumped and jutting in a circus of impossible angles), how about the meats, think breasts, butts and balls for sure all served up, piping pee hot And for your ultimate dining pleasure, consider the City Sandwich served up big with neon lights and a skyscraper horizon, think of thick juicy street size quarter pounder slices, of your favorite block or avenue, plunked down on a crisp bed of green lettuce parks, all slathered over and topped with your choice of ethnic neighborhood mayo, served hot, on a special multicultural sesame bun, you even get your choice of special sauce, try the NY Chinatown or the Chicago Polish Windy West hey, no vacant lots in this sandwich, baby When my turn finally comes, when I make it all the way up to the counter from the back of the line, make mine one slice painless death between two rebirths, got to go now, lunch is almost over. = Search for products and services at: http://search.mail.com -- Powered By Outblaze --------------------------------- We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. ========================================================================= Date: Mon, 26 Mar 2007 10:51:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Literary Buffalo E-Newsletter 3.26.07-4.01.07 MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable LITERARY BUFFALO 3.26.07-4.01.07 THE BUFFALO SMALL PRESS BOOK FAIR HAS ARRIVED=21 ANNOUNCEMENTS Just Buffalo will be switching web & mail servers beginning Friday, March 3= 0. This means any emails sent to anyone here at Just Buffalo between 5 p.m= =2E Friday and 5 p.m. Monday are likely to be lost. We should be fully ope= rational again by Monday morning, but these switchovers can take up to 72 h= ours. If you do not get a response from us, we suggest you call us at 832.= 5400. THE JUST BUFFALO TIMED WRITING GROUP is cancelled until further notice. Th= e Friday afternoon time was apparently inconvenient for most people. When = we have a new time and date set up, we will let you know. READINGS THIS WEEK Unless otherwise indicated, all readings are free and open to the public. 3.26.07 Poetics Plus at UB Cecilia Vicu=F1a Poetry Reading Tuesday, March 27, 4 p.m. Poetry Collection, 420 Capen Hall, Amherst Campus 3.29.07 The Electric City Spectacular, Day I Rust Belt Books, 202 Allen St., 7 p.m. Release party for flim forum press', =22oh one arrow=22 All schedules can be seen here: http://www.housepress.org/electriccity/elec= triccity.html 3.30.07 The Electric City Spectacular, Day II Karpeles Manuscript & Library Museum, 453 Porter Ave., 6 p.m. 8 readers, 3 films All schedules can be seen here: http://www.housepress.org/electriccity/elec= triccity.html & Exhibit X Fiction/Hallwalls Shelley Jackson Fiction Reading Friday, March 30, 7 p.m. Hallwalls Cinema at the Church, 341 Delaware Ave http://www.hallwalls.org/perflit_03.html=23jackson 3.31.07 The Buffalo Small Press Book Fair Karpeles Manuscript & Library Museum, 453 Porter Ave., 12-6 p.m. Over 60 vendors: http://www.buffalosmallpress.org/participate/ Over 20 readers: http://www.buffalosmallpress.org/schedule/ But only one Mike Basinski, curator of the Poetry Collection, who will have= a display of old(er) Buffalo small press ephemera and will walk us through= it in a way that only he can. & The Electric City Spectacular, Day III.1 Karpeles Manuscript & Library Museum, 453 Porter Ave., 6 p.m. (Immediately = following the book fair) 11 readers all schedules can be seen here: http://www.housepress.org/electriccity/elec= triccity.html & The Electric City Spectacular, Day III.2 Nietzsche's, 248 Allen St, 10 p.m., =243 Hear the following poets with bands, bands with bands, and stuff: g lucas crane starlite lanes damian weber eric unger i feel tractor (edmund berrigan) jackson jackson chae hawk aka noble truth all schedules can be seen here: http://www.housepress.org/electriccity/elec= triccity.html JUST BUFFALO WRITING WORKSHOPS All workshops take place in Just Buffalo's Workshop/Conference Room At the historic Market Arcade, 617 Main St., First Floor -- right across fr= om Shea's. The Market Arcade is climate-controlled and has a security guard= on duty at all times. To get here: Take the train to the 'Theatre' stop and walk, or park and enter on Washing= ton Street. Free parking on Washington Street evenings and weekends. Two-do= llar parking in fenced, guarded, M & T lot on Washington. Visit our website= for detailed descriptions, instructor bios, and to register online. THE WRITE GROUP FOR YOU AT THE JCC: BEGINNING WRITERS WORKSHOP_ Instructor: Karen Lewis _8 Tuesdays: April 17, 24, May 1, 8,15, 29, June 5, 12, 7-9 p.m. _ Jewish Community Center of Greater Buffalo, 2640 N Forest Rd, Getzville, NY= =2E =24195, =24150 for members of Just Buffalo or the JCC RECURRING LITERARY EVENTS 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 on the first floor of the historic Marke= t Arcade Building across the street from Shea's. Group meets 1st and 3rd We= dnesday at 7 p.m. Call Just Buffalo for details. WESTERN NEW YORK ROMANCE WRITERS group meets the third Wednesday of every m= onth at St. Joseph Hospital community room at 11a.m. Address: 2605 Harlem R= oad, Cheektowaga, NY 14225. For details go to www.wnyrw.org. JUST BUFFALO MEMBERSHIP RAFFLE Visit the literary city of your dreams: -Joyce's Dublin -Paris' Left Bank -Dante's Florence -Shakespeare's London -Harlem Renaissance NYC -The Beats' San Francisco -Anywhere Continental flies.* Now through May 10, 2007 your membership support of Just Buffalo Literary C= enter includes the chance to win the literary trip of a lifetime: Package (valued at =245,000) includes: -Two round-trip tickets to one of the great literary cities on Continental = Airlines -=241500 towards hotel and accommodations -=24500 in spending money One ticket (=2435) =3D Just Buffalo Individual Membership Two tickets (=2460) =3D Just Buffalo Family Membership Three tickets (=24100) =3D Just Buffalo Friend Membership Purchase as many memberships as you like. Give them to whomever you choose = as a gift (or give someone else the membership and keep the lottery ticket = to yourself=21). Only 1000 chances will be sold. Raffle tickets with Just B= uffalo membership make great gifts=21 Drawing will be held the second week = of May, 2007. Call 716.832.5400 for more info. * Raffle ticket purchases are not tax-deductible. If you want your membersh= ip to put you in the =22literary trip of a lifetime=22 raffle, please write= =22raffle membership=22 in the =22payment for=22 cell on the Paypal form. = You will automatically be entered in the raffle, but your membership will n= ot be tax-deductible. If you prefer not to be in the raffle and want tax-de= ductible status, then please write =22non-raffle member=22 in the =22paymen= t for=22 cell. JOIN JUST BUFFALO ONLINE=21=21=21 If you would like to join Just Buffalo, or simply make a massive personal d= onation, you can do so online using your credit card. We have recently add= ed the ability to join online by paying with a credit card through PayPal. = Simply click on the membership level at which you would like to join, log = in (or create a PayPal account using your Visa/Amex/Mastercard/Discover), a= nd voil=E1, you will find yourself in literary heaven. For more info, or t= o join now, go to our website: http://www.justbuffalo.org/membership/index.shtml 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, 26 Mar 2007 13:41:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: complicit actions dismissed in a frenzy of greed MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Has anyone seen or read this book THE SECRET? It's sort of a condensed version of many different documents and teachings shit directly from the bowels of New Age Hell. This book has a Ring Around the Rosie quality (literally, meaning to ward off pestilence). While it claims ancient teachings of certain magic practices known as glamouring, etc., though it doesn't call it as such, it's built around the purpose of attracting and holding onto STUFF, in particular wealth, in particular, a life you've ALWAYS DREAMT WAS POSSIBLE. When I lived in Albuquerque for a brief time to study herbalism I was confronted nearly every single day, no matter where I found myself, with wealthy people who had one spiritual excuse after another for their wealth, and for deserving it, and for the need to maintain a life of luxury. It's not a new story of course. Greed has no news to tell. But LET ME SAY THIS to the readers of THE SECRET. If we are to implement and LIVE forward (?) with the document, and set it into motion, we are not only saying that it's up to us to attract these things into our lives, but to say to those less fortunate (in my opinion) that they simply aren't trying hard enough. It's kind of like a game of BLAME THE VICTIM! "Oh those poor bastards in Baghdad just aren't TRYING HARD enough! Send them a box of THE SECRET so they can all learn how THEY DESERVE to have their houses bombed and their children murdered for not USING THEIR dream life to bring happiness. Happy- happy, bring happy-happy. Silly dumb people getting bombed, what's the matter with them!?" It's no secret why Oprah Winfrey took to THE SECRET. Like all rich people she wants to feel AT PEACE with her extraordinary wealth while a web of suffering continues to spider its way across the planet. I despise such crap! It's times like the late America we all live in that help me FULLY UNDERSTAND the olden days of marching to the castle gates with torches and pitchforks. CAConrad *the Frank Sherlock EMERGENCY FUND: http://PhillySound.blogspot.com for Deviant Propulsion & other books: http://CAConrad.blogspot.com for Light of Lakshmi tarot services: http://LightOfLakshmi.blogspot.com * ========================================================================= Date: Mon, 26 Mar 2007 15:18:50 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ann Bogle Subject: Fwd: poetry of Iraq MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="part1_d60.552d850.3339769a_boundary" --part1_d60.552d850.3339769a_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ************************************** AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. --part1_d60.552d850.3339769a_boundary Content-Type: multipart/mixed; boundary="part2_d60.552d850.3339751c_boundary" --part2_d60.552d850.3339751c_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ************************************** AOL now offers free email to everyone. Find out more about what's free from AOL at http://www.aol.com. --part2_d60.552d850.3339751c_boundary Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: 7bit This is just a note to recommend the current issue of ATLANTA REVIEW, which is a a special one on the poetry ot Iraq. This is the only collection of contemporary Iraqi poetry to cover the years since the American invasion. The poems were collected and translated under conditions of great risk and hardship by poets living in Baghdad itself. I highly recommend this to all wompos. --part2_d60.552d850.3339751c_boundary-- --part1_d60.552d850.3339769a_boundary-- ========================================================================= Date: Tue, 27 Mar 2007 04:00:46 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christophe Casamassima Subject: Re: complicit actions dismissed in a frenzy of greed Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 I'm having the same debate with my peers (in Graduate School for Pete's sak= e!) about Nietzsche. "Why does Nietzsche feel that it's necessary to undo w= hat came before? Isn't it just easier to leave everything in place, like it= is? It's totally impossible to destroy "the scaffolding", as Nietzsche say= s; why don't we just suck it up and get on with our lives?" In the context = of "The Secret", this "blame the victim" thing is akin to undoing what came= before us; it's not only about safety in what already exists, but in the r= efusal to choose our own metaphors. Of course, my peers don't understand th= e idea that a power structure (without our best interests)put these metapho= rs into play for their own benefit. But what about my peers' complicity?=20 This is the kind of thing we all must have met with at some time or another= regarding our poetries. Why fix something (poetry) when it's so great! Loo= k at the Goddamn top 100 list, for Pete's sake! Some people need to be toug= ht why we do poetry. It's not about complicity, nor even about reaction... > ----- Original Message ----- > From: "CA Conrad" > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: complicit actions dismissed in a frenzy of greed > Date: Mon, 26 Mar 2007 13:41:28 -0500 >=20 >=20 > Has anyone seen or read this book THE SECRET? It's sort of > a condensed version of many different documents and teachings > shit directly from the bowels of New Age Hell. >=20 > This book has a Ring Around the Rosie quality (literally, meaning > to ward off pestilence). While it claims ancient teachings of > certain magic practices known as glamouring, etc., though it > doesn't call it as such, it's built around the purpose of attracting > and holding onto STUFF, in particular wealth, in particular, a life > you've ALWAYS DREAMT WAS POSSIBLE. >=20 > When I lived in Albuquerque for a brief time to study herbalism > I was confronted nearly every single day, no matter where I > found myself, with wealthy people who had one spiritual excuse > after another for their wealth, and for deserving it, and for the > need to maintain a life of luxury. It's not a new story of course. >=20 > Greed has no news to tell. But LET ME SAY THIS to the > readers of THE SECRET. If we are to implement and LIVE > forward (?) with the document, and set it into motion, we are > not only saying that it's up to us to attract these things into > our lives, but to say to those less fortunate (in my opinion) that > they simply aren't trying hard enough. It's kind of like a game > of BLAME THE VICTIM! "Oh those poor bastards in Baghdad > just aren't TRYING HARD enough! Send them a box of > THE SECRET so they can all learn how THEY DESERVE to > have their houses bombed and their children murdered > for not USING THEIR dream life to bring happiness. Happy- > happy, bring happy-happy. Silly dumb people getting > bombed, what's the matter with them!?" >=20 > It's no secret why Oprah Winfrey took to THE SECRET. > Like all rich people she wants to feel AT PEACE with her > extraordinary wealth while a web of suffering continues > to spider its way across the planet. >=20 > I despise such crap! It's times like the late America we > all live in that help me FULLY UNDERSTAND the olden > days of marching to the castle gates with torches > and pitchforks. >=20 > CAConrad > *the Frank Sherlock EMERGENCY FUND: > http://PhillySound.blogspot.com > for Deviant Propulsion & other books: > http://CAConrad.blogspot.com > for Light of Lakshmi tarot services: > http://LightOfLakshmi.blogspot.com > * > =3D Search for products and services at:=20 http://search.mail.com --=20 Powered By Outblaze ========================================================================= Date: Tue, 27 Mar 2007 05:11:29 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christophe Casamassima Subject: Submit! Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Viviparous Blenny a twentythreebooks contemporary arts journal Fall 2007, Volume I Theme: Synchronicity Synchronicity is not merely serendipity, it is defined as meaningful coinci= dences. Synchronicities are acausal, that is, not able to be reduced to a c= ause-and-effect explanation. They are always personal events. They are boun= dary events that often occur at periods of major life transitions. And they= necessarily reflect a deeper, more holistic reality. *If you submit work that doesn=92t directly address the theme, please expla= in why you=92ve chosen the piece to represent the theme. Submissions guidelines:=20 =95 3=964 poems =95 5=967 pages of prose (fiction, nonfiction, creative nonfiction, comment= ary, interviews, reviews, etc.) =95 Black and white photographs (.tiff, .gif, .jpg; low-res for submission) =95 Black and white artwork or drawings (low-res scanned image file) =95 Comics You may also submit your work on CD to the address below (be sure to mark = =93CD, do not scan=94 on the outside of envelope). Send written work as an attachment to blennysubmissions@twentythreebooks.com or snail mail to: Viviparous Blenny c/o Douglas Mowbray, Managing Editor 2910 Erie Avenue Baltimore, Maryland 21234 Be sure to include an SASE and cover letter (including a brief bio) for a r= eply to your submission. If you would like your work returned, please inclu= de proper postage and envelope.=20 Submissions due: July 23 Issue on sale: Fall 2007 Payment is 1 free contributor=92s copy. =3D Search for products and services at:=20 http://search.mail.com --=20 Powered By Outblaze ========================================================================= Date: Mon, 26 Mar 2007 16:03:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: For spoken improvised pomewhirreks MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed For spoken improvised pomewhirreks for Bob Marcacci, The Countdown http://www.asondheim.org/songa.mp3 http://www.asondheim.org/songb.mp3 http://www.asondheim.org/songc.mp3 http://www.asondheim.org/songd.mp3 === ========================================================================= Date: Mon, 26 Mar 2007 14:52:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Suzanne Stein at SPT Comments: cc: Stephen Vincent In-Reply-To: Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit I wasn't at the event, but Suzanne and I have had very intense long talks once upon a time, and I always felt a sense of solidarity. I also feel Treadwell's point, and don't feel it's totally fair to single out the SPT as what Suzanne was dealing with. My guess it was something broader, like the institution of 'proper' poetry readings and what that does to writing, communities, friendships, etc (but, I don't want to speak for Suzanne there, that's probably more my issue, but I do think there's some solidarity) Chris PS--I have a feeling my message isn't getting sent to poetics list as I'm transitioning to another email account (i still receive on earthlink, but can't respond through them regularly anymore, and will leave, So please make note of my new email). Chris On Mar 24, 2007, at 2:29 PM, Stephen Vincent wrote: > Susan Stein - poet and performance artist - created what might be > called "a > presence" (rather than a 'reading' or 'performance') to an > audience of > primarily poets last night (Friday) at Small Press Traffic. The > event was a > combination of 'off-putting', 'embracing' and 'thought provoking.' > As all SPT events, this one took place in the Timken Lecture Hall > on the San > Francisco Campus of the California College of Arts - the home of > SPT since - > in the opinion of many - its sad departure from the much more 'user > friendly' neighborhood of New College on Valencia, which included the > occasional use of a theater space with a much kinder ambience for > both poets > and audience. > Indeed, one of Susan's unfolding objectives came to deal with the > architectural limits of Timken Hall - a dark space (unless its > full) that > sucks the energy out of both audience and whoever might be the poet > who is > reading. Listeners, poets and whatever language goes into the air > of Timken > Hall have to work real hard to protect, hear and enjoy each other! > Indeed > the lecture hall must have been designed as an architectural > afterthought > (Oh, yes, 'we should have a place for students to hear an occasional > lecture.") > > But that's merely preface to circumstance. Susan did - what seems in > retrospect - a quite brave thing. Dressed in black, all the > lighting was > turned off, the audience 'darkened', and one stage light was > pointed at her > face. She announced she had 25 minutes, and that she would take > questions. > Other than that, she gave no sense of agenda, objective or whatever. > The questions began to come forth. I should say it was an audience > of poets > most of whom had some kind of association with Susan, from distant to > familiar. The questions from pedestrian to more complex - each one > of which > she considered carefully or even admitted that she was unable to > answer. > Some were predictable, "Are you working on a poem now," many > forgettable. > Nobody asked anything stupidly personal. Yet, as things evolved - > what was > most interesting to me anyway - were issues around how she was > experiencing > the space and how other poets may or may not have been able to > establish a > sense of presence in this particular space (which it was agreed > between her > and us to be an historic problem). X poet with equipment was able > to make it > work, and, by implication not poet a, b, or c.) Sporadically > through the 25 > minutes, persons would ask what she was feeling at the moment to > which she > sometimes addressed as a sense of 'vulnerability' - being exposed > as such. > I asked what was the difference between 'vulnerability' and > 'intimacy' - a > question, like each one, she honored as such, but questioned. But > having a > 'good answer' - one that would excite the audience did not seem to > be the > objective in any case. > > As a person in the audience, I felt back and forth 'impatient' and > then > intrigued with a response here or there, or a particular question. > Only > gradually - and this is the brave part - did it become clear what > she was > doing, or so it seemed to me. What we witnessed was 'presence' in > which the > the whole scaffolding normally implicit to a reading or performance > was > stripped bare. As much as we in the audience waited for or called out > questions that might provoke a desired response, a 'stream called > poetry', > (a narrative, an image, an epiphany!! anything!) nothing of the > sort was > forthcoming beyond Susan's analysis of her ability to answer the > question. > Her tone was neither judgmental or dismissive. > > It was in that 'frustration' (no poetic goods) to 'hear something' > that I > gradually (after) came to realize what Susan was stripping the > architecture > off the condition/expectations/rhetoric of readings, performances, > and - in > the darkness - the normal architecture of this most often dreadful > space. > Maybe, thinking more about it, Susan's presence was a Barthian > version of > 'performing' instead of 'writing degree zero. Ironically her > "presence" had > an insistence to it, one in which, in its baldness, we were taken > to a point > that precedes every conceivable apparatus of poem, performance and > space. > > Where one goes from there - particularly in Timken Hall - I am not > about to > speculate. But it was timely, and, the day after, as I suggested, > it seems > quite brave, as well as unique to my experience of poets and > audiences in > shared spaces. > > No doubt, and hopefully others who were there, will put their > 'take' in > here. > > Stephen V > http://stephenvincent.net/blog/ > > > > > > > > > > > > > > > ========================================================================= Date: Mon, 26 Mar 2007 18:02:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Evan Munday Subject: bpNichol Chap-Book Award Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed For any Canadian poets or chapbook publishers on the poetics list, a message from the Phoenix Community Works Foundation: The bpNichol Chap-Book Award A prize of one thousand dollars is offered for the best poetry chap-book in English published in Canada. The chap-book should be between 10 and 48 pages long. This twentieth annual award is sponsored by The Phoenix Community Works Foundation. The poet or publisher should submit three copies (non-returnable) and a brief curriculum vitae, including telephone number, to: The bpNichol Chap-Book Award 316 Dupont Street Toronto, Ontario M5R 1V9 Entries close March 31, 2007. For more information about Phoenix Community Works Foundation, please visit http://www.pcwf.ca. Yours, Evan ------------------------------ Evan Munday Publicist Coach House Books 401 Huron St. (rear) on bpNichol Lane Toronto ON, M5S 2G5 416.979.2217 evan@chbooks.com ========================================================================= Date: Mon, 26 Mar 2007 15:35:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Suzanne Stein at SPT In-Reply-To: <9A4576F4-03DB-4CB9-B508-B20F98F9616E@earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I don't think there was anything in my piece that singled out Elizabeth Treadwell as being responsible for the frequently noted shortcomings of Timken Hall! The limits did emerge during Suzanne Stein's piece as various questions were asked about her sense of her presence in the space. In fact, what she was doing, had much larger intentions than being an architectural critique. I hope my 'review' got at those intentions. But, if one wants to just focus on Timken Hall as space, I think Linda Russo is right. Non-profits of all sorts frequently float into places that are not at the top of 'performance' or 'office' food chain. Indeed non-profits (unless their bogey prop orgs for wealthy right wingers) maybe, by definition, follow the money to the short, not rich end of the stick! In my opinion, the beauty of poets and poetry readings - one series or another - is to morph and variously adapt to the given conditions where the combination of poets, the poems and the audience give a powerful shape to a place or time. (I have seen poets give good and memorable readings off the limbs of trees~) Some places are clearly legendary - in San Francisco the Grand Piano (a coffee shop in the Haight) was one, but there have been many others. It's all part of risk, funk and charm of being on the margins. I am sure we can all name places to which we would never go back. It's when things go institutional and permanent that a series can get into a weird stasis. The physical and neighborhood circumstances of SPT at New College auditorium (as well as the writing happening during that period - nineties) gave the place and readings a real juice. SPT at Timken Hall at CAA - no matter the liveliness of the poetry scene - has been an argument from the start. The only thing that saves it is the loyalty of the audience and good poets willing to rise above its gross darkness, as well as submit to the isolation of the neighborhood. Suzanne was another example of someone took Timken Hall on as space/condition with a good audience and beat the odds in a provocative and interesting way. But again, the piece was not about Timken Hall, but something much more 'serious.' Timken Hall was a prop! Stephen V http://stephenvincent.net/blog/ > I wasn't at the event, but Suzanne and I have had very intense long > talks once upon a time, > and I always felt a sense of solidarity. I also feel Treadwell's > point, and don't feel it's totally fair > to single out the SPT as what Suzanne was dealing with. My guess it > was something broader, > like the institution of 'proper' poetry readings and what that does > to writing, communities, friendships, etc > (but, I don't want to speak for Suzanne there, that's probably more > my issue, but I do think there's some solidarity) > > Chris > > PS--I have a feeling my message isn't getting sent to poetics list as > I'm transitioning to another email account > (i still receive on earthlink, but can't respond through them > regularly anymore, and will leave, > So please make note of my new email). > > Chris > > > On Mar 24, 2007, at 2:29 PM, Stephen Vincent wrote: > >> Susan Stein - poet and performance artist - created what might be >> called "a >> presence" (rather than a 'reading' or 'performance') to an >> audience of >> primarily poets last night (Friday) at Small Press Traffic. The >> event was a >> combination of 'off-putting', 'embracing' and 'thought provoking.' >> As all SPT events, this one took place in the Timken Lecture Hall >> on the San >> Francisco Campus of the California College of Arts - the home of >> SPT since - >> in the opinion of many - its sad departure from the much more 'user >> friendly' neighborhood of New College on Valencia, which included the >> occasional use of a theater space with a much kinder ambience for >> both poets >> and audience. >> Indeed, one of Susan's unfolding objectives came to deal with the >> architectural limits of Timken Hall - a dark space (unless its >> full) that >> sucks the energy out of both audience and whoever might be the poet >> who is >> reading. Listeners, poets and whatever language goes into the air >> of Timken >> Hall have to work real hard to protect, hear and enjoy each other! >> Indeed >> the lecture hall must have been designed as an architectural >> afterthought >> (Oh, yes, 'we should have a place for students to hear an occasional >> lecture.") >> >> But that's merely preface to circumstance. Susan did - what seems in >> retrospect - a quite brave thing. Dressed in black, all the >> lighting was >> turned off, the audience 'darkened', and one stage light was >> pointed at her >> face. She announced she had 25 minutes, and that she would take >> questions. >> Other than that, she gave no sense of agenda, objective or whatever. >> The questions began to come forth. I should say it was an audience >> of poets >> most of whom had some kind of association with Susan, from distant to >> familiar. The questions from pedestrian to more complex - each one >> of which >> she considered carefully or even admitted that she was unable to >> answer. >> Some were predictable, "Are you working on a poem now," many >> forgettable. >> Nobody asked anything stupidly personal. Yet, as things evolved - >> what was >> most interesting to me anyway - were issues around how she was >> experiencing >> the space and how other poets may or may not have been able to >> establish a >> sense of presence in this particular space (which it was agreed >> between her >> and us to be an historic problem). X poet with equipment was able >> to make it >> work, and, by implication not poet a, b, or c.) Sporadically >> through the 25 >> minutes, persons would ask what she was feeling at the moment to >> which she >> sometimes addressed as a sense of 'vulnerability' - being exposed >> as such. >> I asked what was the difference between 'vulnerability' and >> 'intimacy' - a >> question, like each one, she honored as such, but questioned. But >> having a >> 'good answer' - one that would excite the audience did not seem to >> be the >> objective in any case. >> >> As a person in the audience, I felt back and forth 'impatient' and >> then >> intrigued with a response here or there, or a particular question. >> Only >> gradually - and this is the brave part - did it become clear what >> she was >> doing, or so it seemed to me. What we witnessed was 'presence' in >> which the >> the whole scaffolding normally implicit to a reading or performance >> was >> stripped bare. As much as we in the audience waited for or called out >> questions that might provoke a desired response, a 'stream called >> poetry', >> (a narrative, an image, an epiphany!! anything!) nothing of the >> sort was >> forthcoming beyond Susan's analysis of her ability to answer the >> question. >> Her tone was neither judgmental or dismissive. >> >> It was in that 'frustration' (no poetic goods) to 'hear something' >> that I >> gradually (after) came to realize what Susan was stripping the >> architecture >> off the condition/expectations/rhetoric of readings, performances, >> and - in >> the darkness - the normal architecture of this most often dreadful >> space. >> Maybe, thinking more about it, Susan's presence was a Barthian >> version of >> 'performing' instead of 'writing degree zero. Ironically her >> "presence" had >> an insistence to it, one in which, in its baldness, we were taken >> to a point >> that precedes every conceivable apparatus of poem, performance and >> space. >> >> Where one goes from there - particularly in Timken Hall - I am not >> about to >> speculate. But it was timely, and, the day after, as I suggested, >> it seems >> quite brave, as well as unique to my experience of poets and >> audiences in >> shared spaces. >> >> No doubt, and hopefully others who were there, will put their >> 'take' in >> here. >> >> Stephen V >> http://stephenvincent.net/blog/ >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> ========================================================================= Date: Mon, 26 Mar 2007 19:52:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: melissa benham Subject: What she did! Suzanne Stein at SPT MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The conversation about Suzanne Stein’s performance caught my eye, as someone who knows Suzanne, attends many SPT events, and runs a reading series of my own. Unfortunately, I was not able to be at last Friday’s performance but have heard favorable reviews from others in the community. However my entrance into this subject then has more to do with “space” rather than Suzanne’s actual performance. It is no secret that CCA’s Timkin Hall is not the ideal space for intimate readings or performances due to its inferior architectural design. It is dark, the stage lights are fixed & badly placed, and the acoustics are not the best, especially when the performer must compete with noise from the industrial shop above the hall. Ironically, I believe it is the lecture hall for CCA’s architecture classes. In any case, those are its faults. However, it is a space, as Elizabeth has mentioned, that is open for SPT’s use, and that use is free from conditions as to the content of SPT’s programming as well as rent. And that is no small thing. As most people are aware, space in the Bay Area (as well as many other places around the country) has become a rarity since the tech boom which more than doubled rents overnight (at least mine) and brought on the closures of many art spaces, studios, and lofts for more lucrative customers. Unfortunately, institutional spaces have not necessarily opened their doors to already under-funded arts groups and organizations, and though galleries, coffee shops, bars, etc. sound like a nice alternative, they come with their own problems. Of course this problem affects all art forms, but I am just going to be selfish & talk about writers here. Galleries & other closed spaces are great alternatives to loud cafes & bars; however, they are rarely free and sometimes carry with them aesthetic demands which can affect the actual programming. Even if this only goes as far as “Hey, my cousin is a poet, I’d really love if he could read one of these days,” it’s a curator’s nightmare. Of course, there are exceptions like the New Yipes Reading Series run by David Larsen at 21 Grand here in Oakland, though I believe they pay rent to the gallery in order to have their monthly Sunday readings. There also used to be the Performance Writing Series at New Langton Arts run by Jocelyn Saidenberg and Brandon Brown, but that suddenly disappeared very recently. Perhaps someone who knows a bit about that will jump in here… This brings me to my experience with running the Artifact Reading Series, which Chana Morgenstern & I started in our victorian apartment in the Mission in November 2004. That apartment had at one time been an artist collective. It had a huge space that would hold lots of people fairly comfortably. However, we lived with a bunch of musicians (all guys) who refused to clean & used the space as storage for their equipment (& anything else you can think of). So we moved out to a very small 2 bedroom apartment just a few blocks away and continued having the readings there. Thankfully, it had a long hallway & a back porch going out to a backyard, because a good deal of the time, there are people standing on the stairs listening through the back window while another group camps out in the hallway. For a long time, we did not charge anything, but now ask for a $5 donation to give to the readers & to pay for drinks & snacks. Even at the most packed (80-100 people) readings, I’ve never completely paid myself back for everything I’ve bought, & the readers have never gotten more than $25 a piece. The house reading seems to work for many reasons. It’s a closed, intimate space. The audience consists of nearly all writers who are attentive and engaged. The space is small and therefore feels casual—I mean, generally, the reader is not further than 2 feet from an audience member. I think there’s a strong sense of community that is pervasive. Most of the time, I know most of the audience. However, there have been times when I’ve known almost no one, which is a very strange experience. These moments, and the readings where there are just too many people for anyone to be comfortable have had me thinking about moving the series to a more public venue. A year or so ago, I started asking people what they felt about a possible move and most objected, feeling that the series would lose its ambiance if it was moved. I decided to hold off on moving it, however, last October, I moved to the East Bay, and this summer Chana will be leaving for Rhode Island to study at Brown. So, here I am again, wondering where to move the series, how it will fare in the transition, what it will look like on the other side. At this point, I have not a clue to the answers of these questions. There has been talk of a traveling Bay Area reading and performance series, though nothing has been set in motion, as far as I know. In the meantime, there are salons, reading/study groups, lecture series, and so on happening in people’s houses which has been integral to the current Bay Area innovative writing community’s close-knitness. However, a performance like the one that Suzanne Stein gave at SPT, not to mention the survival of Poets Theater (also at SPT), as well as the wonderful events that used to take place at the Performance Writing Series at New Langton aren’t really able to happen in a house-setting (at least not in my house). There’s not enough space & it is too intimate. For instance, as respectful as Artifact audiences are, it’s not uncommon for an audience member to speak to the reader. This would not happen at SPT because the divide is too great. And that is then another factor for a performer to work with, as it sounds like Suzanne did. It’s unlikely that performance would have translated itself to another venue in quite the same way. So, at the very least, though SPT isn’t an ideal space, it has created performances that wouldn’t happen in other local venues, which is interesting, isn’t it? At the last Artifact, Bob Gluck mentioned before he began reading that he was reminded of the first incarnation of SPT, which was in a victorian somewhere between Castro & Noe (I think?), where one had to go up a few flights of stairs to a crowded back room where no one was comfortable but all were very present with the reading. It was interesting to hear that since I have generally heard about SPT’s life at New College but not previous. It also reminds me that all of this only moves forward. Not to say that nostalgia has no place, but one day, people will likely (if we’re lucky) say the same thing about Artifact. On that note, if anyone knows of a place that wants to host Artifact, that can handle about 60 + people, is accessible to public transport, lets people drink & hang out, and won’t interfere with my programming, (enjoys long walks on the beach, etc.), I’m all ears. Cheers, Melissa Benham www.artifactsf.org www.artifactseries.blogspot.com ========================================================================= Date: Mon, 26 Mar 2007 22:28:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lewis Warsh Subject: Dennis Moritz at BPC Mime-Version: 1.0 (Apple Message framework v546) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Bluebox productions presents a Sticky Short Plays by Dennis Moritz April 6, 7pm, Bowery Poetry Club 308 Bowery (Bowery and Bleeker) 1/2 block north of Houston St. The Watching Oprah Cycle featuring: Sylvia Bofill Matt Korahais David Marcus Eve Udesky Ana Valle =93Who is this guy Dennis Moritz? His plays are square in the face of=20 society, which is where Dennis Moritz is, full of humor, elbows and a=20 mesmerizing love of language.=94 Bob Holman, USA of Poetry, Bowery Poetry Club. Dennis Moritz has written over thirty theater pieces performed in New=20 York, Philadelphia and elsewhere,. Venues include the Joseph Papp=20 Theater, BACA Downtown, St. Marks Poetry Project, Nuyorican Poet's Cafe=20= and Painted Bride Arts Center. His book of plays, Something to Hold On=20= To: Nine Theater Pieces, was published by United Artists Books. ========================================================================= Date: Mon, 26 Mar 2007 21:32:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Carrie hunter Subject: Re: Submit! In-Reply-To: <20070326211129.ADE001487B@ws5-9.us4.outblaze.com> MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Hi Christophe, just wondering whatever happened to PO25centEM. I heard somthing then didn't, then I heard something again a little while later, then I didn't... Carrie On 3/26/07, Christophe Casamassima wrote: > > Viviparous Blenny > a twentythreebooks contemporary arts journal > > > Fall 2007, Volume I > > Theme: Synchronicity > > Synchronicity is not merely serendipity, it is defined as meaningful > coincidences. Synchronicities are acausal, that is, not able to be reduce= d > to a cause-and-effect explanation. They are always personal events. They = are > boundary events that often occur at periods of major life transitions. An= d > they necessarily reflect a deeper, more holistic reality. > > *If you submit work that doesn't directly address the theme, please > explain why you've chosen the piece to represent the theme. > > Submissions guidelines: > =95 3=964 poems > =95 5=967 pages of prose (fiction, nonfiction, creative nonfiction, > commentary, interviews, reviews, etc.) > =95 Black and white photographs (.tiff, .gif, .jpg; low-res for > submission) > =95 Black and white artwork or drawings (low-res scanned image file= ) > =95 Comics > > You may also submit your work on CD to the address below (be sure to mark > "CD, do not scan" on the outside of envelope). > > Send written work as an attachment to > blennysubmissions@twentythreebooks.com > > or snail mail to: > > Viviparous Blenny > c/o Douglas Mowbray, Managing Editor > 2910 Erie Avenue > Baltimore, Maryland 21234 > > Be sure to include an SASE and cover letter (including a brief bio) for a > reply to your submission. If you would like your work returned, please > include proper postage and envelope. > > Submissions due: July 23 > > Issue on sale: Fall 2007 > > > Payment is 1 free contributor's copy. > > > =3D > Search for products and services at: > http://search.mail.com > > -- > Powered By Outblaze > ========================================================================= Date: Tue, 27 Mar 2007 02:46:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: US Attorney General investigates BlazeVOX books In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable US Attorney General investigates BlazeVOX books=20 You should too! Find out why!=20 http://www.blazevox.org=20 BlazeVOX 2k7 up on April 15, 2007 [Now with more PODCAST in every bite!]=20 \\ Books in Print \\=20 -------------------- Bhang by Ted Pelton Dreadful Quietude by Geoffrey Gatza Circular Descent by Ray Bianchi =20 War on Words by John Bradley Vel by Alan Sondheim Antidotes for an Alibi by Amy King American Godwar Complex by Patrick Herron Quinn's Passage by Kazim Ali Epigramititis by Kent Johnson To Be Sung by Michael Kelleher Musee Mechanique by Rodney Koeneke Mainstream by Mike Magee The History of My World Tonight by Daniel Nester I wear a figleaf over my penis by Geoffrey Gatza Sensational Spectacular by Nate Pritts I Want My Mommy by Cameron Kidman Nonexistence by Kenji Siratori Line And Pause by Forrest Roth WINDOW ON THE CITY by Michael Ruby The Lost Atlas of Desire by Jeremy Downes Alphaville by Peter Jay Shippy Disparity by Steven Timm Naming God by Jennifer J. Thompson Victory by Clarice Waldman Ladders In July by William Allegrezza Taste: Gastronomic poems by Francis Raven Inbox by Noah Eli Gordon A Pure Bowl of Nothing by Mary Kasimor Stirring Within Poems and Tales from Mount Carmel by G Emil Reutter Finger ExOrcised by Joe Amato The Ecstasy of Capitulation by Daniel Borzutzky Face Blindness by Megan A.Volpert The Bird Hoverer by Aaron Belz I DID THE WEIRD MOTOR DRIVE Emissions by Sandy Baldwin Autobiography of a Stutterer by Joseph Cooper Black Diamond Golden Boy Takes Bull By Horns by Geoffrey Gatza having been blue for charity by kari edwards Holiday Idylling by Vernon Frazer [#1 - #46] by Jukka-Pekka Kervinen Black Diamond Golden Boy Takes Bull By Horns by Geoffrey Gatza Sidewalk Portrait by Richard Henry=20 Morphology by Ruth Lepson and Walter Crump homemade traps for new world Brians by Evan Willner Aurora by Jared Schickling I'm The Man Who Loves You by Amy King Reading Gaol by Javier Rube Factory Manual by Michel J=E9rome Dufr=E9noy The Pink; Selected Poems 2000-2005 by Kyle Schlesinger Armored Elevator by Ryan Daley=20 Here Comes Everybody Anthology by Lance Phillips and Geoffrey Gatza The Sensory Cabinet by Mark Ducharme The Impossible Picnic by Mark Tursi Best, Geoffrey =20 Geoffrey Gatza BlazeVOX [books] www.blazevox.org ========================================================================= Date: Tue, 27 Mar 2007 08:14:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Baldwin Subject: Leonardo Electronic Almanac - CFP: Dispersive Anatomies Special Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline - Apologies for cross-posting. Please distribute widely - ** *Dispersive Anatomies* http://leoalmanac.org/cfp/calls.asp#dispersive=20 ** *Guest Editors:* Sandy Baldwin, Alan Sondheim and Mez Breeze leadispersive@astn.net=20 ** *Editorial Guidelines:* http://leoalmanac.org/cfp/submit/index.asp=20 *Discussion Group: *leadispersive-subscribe@googlegroups.com=20 *Deadline: *31 May 2007 *Call for papers - LEA Dispersive Anatomies* *------------------------------------------------------------------- *The Leonardo Electronic Almanac (ISSN No: 1071-4391) is inviting papers = and artworks that address dispersion - dispersion of bodies, objects, landscapes, networks, virtual and real worlds. A fundamental shift in the way we view the world is underway: the abandonment of discrete objects, and objecthood itself. The world is now plural, and the distinction between real and virtual is becoming increasingly blurred, with troubling consequences within the geopolitical register. This shift is related to a cultural change that emphasizes = digital deconstruction over analog construction: a photograph for example can be accessed and transformed, pixel by pixel, cities can be taken apart by gerrymandering or eminent domain, and our social networks are replete with names and images that problematize friendship, sexuality, and culture itself. One issue that emerges here: Are we networking or are we networked?= Are we networks ourselves? LEA is interested in texts and works that deal with this fundamental shift in new and illuminating ways. Specifically, anything from essays through multimedia through networks themselves may be considered. We're particularl= y interested in submissions that deal with the incoherency of the world, and how to address it. *Key topics of interest --------------------------------- *Topics of interest might include (but are not limited to): - Networked warfare in real and virtual worlds. - The wounded/altered body in real and virtual worlds. - Transgressive sexualities across borders, sexualities among body-parts, dismemberments and groups, both real and virtual. - Critical texts on the transformation of classical narrative - from its emphasis on an omniscient narrator and coherent plots/characters, to literatures of incoherency, dispersed narrations, and the jump-cut exigencies of everyday life. - Deleuze/Guattari, TAZ, and other phenomena at the border of networking. - Internet visions and their abandonment or fulfillment. - The haunting of the world by ghosts, virtual beings, dreams and = nightmares that never resolve. - The geopolitical collapse of geopolitics. - Military empires as scattershot entrepreneurial corporations. Dispersion has two vectors: the breakup or breakdown of coherent objects; and the subsequent attempt to corral, curtail, or recuperate from this breakdown. How do we deal with networks that are constantly coalescing and disappearing? Where are we in the midst of this? In an era of pre-emptive culture, is guerilla warfare to be accompanied by guerilla culture as the order of the day? *Want to be kept informed?* *------------------------------------------* For the latest news, updates and discussions, join the LEA Dispersive Anatomies Mailing List. Email: leadispersive-subscribe@googlegroups.com=20 ** *Publishing Opportunities ---------------------------------------* ** As part of this special, LEA is looking to publish: - Critical Essays - Artist Statement/works in the LEA Gallery - Bibliographies (a peer reviewed bibliography with key texts/references = in Dispersive Anatomies) - Academic Curriculum (LEA encourages academics conducting course = programmes in this area to contact us) LEA encourages international artists / academics / researchers / students = / practitioners / theorists to submit their proposals for consideration. We particularly encourage authors outside North America and Europe to submit essays / artists statements. Proposals should include: - A brief description of proposed text (200-300 words) - A brief author biography - Any related URLs - Contact details In the subject heading of the email message, please use *Name of Artist/Project Title: LEA Dispersive Anatomies Special - Date Submitted.* Please cut and paste all text into body of email (without attachments). Editorial Guidelines: http://leoalmanac.org/cfp/submit/index.asp=20 Deadline for proposals: May 31, 2007 Please send proposals or queries to: Sandy Baldwin, Alan Sondheim, Mez Breeze leadispersive@astn.net=20 and Nisar Keshvani LEA Editor-in-Chief lea@mitpress.mit.edu ========================================================================= Date: Tue, 27 Mar 2007 09:54:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: King of the Brooklyn School In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Like the fabled NY School of old, Amy King's new *I'M THE MAN Who Loves You* (Blaze/Vox) is unafraid of the everyday, pausing to notice and respond to the presence of others and things, passing on the strained lyricism of soap opera surrealism. I don't know if this work is really a manifestation of an emerging school, but I did go to school immediately on its quick fencer's wit and steady, yet verbally lucious focus on the realities, pleasures and perplexities of ongoing experience. I can't help it, like Amy, I've fallen in love with the real world of things and people. How can she have mastered this so early, when for most, youth is wasted on the Jung and other inflated idealisms. It's not only a pleasure, but an actual relief to see daily moments become remarkable again without becoming either flaccid or hysterical. Don't screech at me, don't preach at me and please pass the breadsticks: "I had been invisible, untrained disappearing off the grid for some time, until you asked me to pass the breadsticks in that split moment of schizo-panic. To give up a technicolor coat is a brave tragedy with many layers; we're drawn to any labyrinth, perfection at the center of artistry..." (*HOW TO GET THERE*) But this poetry definitively is not about corny, not-so-new age glommy affirmations either. No interest in "Accordion adventures they're the best instrument to windbag, to bleat, to push air through daisies for an alphabet's sake. Androgyny and honesty ought to play frozen roses on apocalyptic landscapes, the landscape of Amy King's face fused with artifical intelligence on which hers lies infinitely predictable. Blindfolded books could do worse than the diction of bedtime verse" So much for stretched out poetry gimmicks and ceaseless and shameless self-promotion. If we're going to be childish, at least lets attempt be a little like actual children. That's cool. So, what *are* you interested in, Amy? "...but lately I'm craving minimum cravings, dusty old records that smell like a wood-paneled basement, posters of Elvis on velvet, and the evolution of ethnic foods on the Lower East Side. We've gone from Indian to Choctaw. Eccentric is out." (*MINIATURE DISASTERS*) I get a whiff of Kim Lyons here, and a dash of Sharon Mesmer there, with a sprinkle of Nada Gordon : maybe that's where I got the Brooklyn School idea, though I'm not claiming literal influences, there's Kim's: "Who doesn't hear Robert Johnson at this place near King's Highway" (*Saline*) or "plastic infinite waterfall the matched "Danish* living room "set" (*Saline*) or Nada's: "the lamb chop in the dryer, the snow shovel in the rumpus room, thinking if i had a round horse" (*GORGEOUS*a vestibule* from *V. IMP.*) Well, anyway, the basement's where the imagination is sometimes forced to hide, especially in Brooklyn, my teen years Brooklyn of Bay Ridge,at my parent's house on BR Parkway, with its cement floor cnvered in outdated technology and turn-of-the-century French magazines. Sure, I pledge allegiance to the books and the language of America as much as the next gal, but after all, the way hour follows hour and day follows day is not that much like a vocabulary exercise; it's more about trying not to get depressed, even trying to renew not just your library card. but this ceaselessly ironic daily life. OK, not easy but not pathetic either, if there's hope in the rarely automatic quotidian promises of life: at least that's what I'm getting from Amy King today. "On top of my name, devotions, no woman chain whips and lovers: coffee is how I get other/ countries inside my body." (*ON THE OUNCE THAT SELLS US OUT*) and: "Marilyn as metaphor is applepie modeled on the grandmothers of invention" (*THE TEMPERATURE'S MOVIE LIFE*) Am I not THAT old after all? Thanks, Amy. ========================================================================= Date: Mon, 26 Mar 2007 19:25:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Abigail Child Subject: Orchard Gallery opening, "Perilous Fictions" + Tribeca Premiere Comments: To: Nada Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Dear Colleagues, Friends and Family, I want to invite you to a number of spring screenings and events =20 featuring my work: Opening April 1st, (no fooling!) I am in a group show at Orchard =20 Gallery, 47 Orchard Street NYC 10012 (212-219-1061) celebrating the artist-run collective that existed from 1973-1992: =20 THE COLLECTIVE FOR LIVING CINEMA. Dates: April 1=96 29, 2007, Thurs-Sun, 1-6 pm. Opening Party: April 1, =20= 6-8 p A film of mine, MAYHEM, will be on monitors in the gallery. Another, =20 COVERT ACTION, will be screened at Anthology Film Archives, 2nd =20 Street at 2nd Ave, Saturday April 8, 6pm in connection to the =20 Collective show . Additionally, on Friday April 20 at 8pm, at the gallery, I am =20 curating a special presentation PERILOUS FICTIONS which features contemporary experimental films that =20= address political content through formalist means, utilizing a =20 variety of strategies: structuralist, post-lyric, performative, =20 hybrid. The lineup: 73 Suspect Words. Peggy Ahwesh (2000; 3m); Here. Fred Worden (2005; =20 11m); Let Me Count the Ways 10, 9, 8,7. Leslie Thornton (2004; =20 20m); Anaconda Targets. Dominic Angerame (2004; 11m); The Future Is =20 Behind You. Abigail Child (2004; 21m); Krypton Is Doomed. Ken Jacobs =20= (2005; 34m) Also, upcoming at the end of April is the world premiere of ON THE =20 DOWNLOW at Tribeca Film Festival 2007. This is my feature documentary on African-American men living =20 bisexual lives in Cleveland, Ohio. An intimate portrait of four men =20 and their loves, triumphs, disasters, confessions and contradictions, =20= the film was shot by Arthur Jafa, renowned cinematographer (Malcolm =20 X, Daughters of the Dust) and edited by Yael Bitton and myself, with =20 additional editing by Mary Patierno. Music by Floyd Fisher. The showings are (and please note: tickets go fast at this festival): Thursday, April 26, 3:15 pm, AMC Kips Bay, 570 Second Avenue at 32nd =20 St.(Theatre 14) Thursday, April 26, 10:30 pm, AMC Kips Bay, 570 Second Avenue at 32nd =20= St (Theatre 12) Saturday, April 28, 3:00 pm, Tribeca Cinemas, 54 Varick Street below =20 Canal Street, at Laight Street Sunday, April 29, 10:30 pm, AMC Village VII, 66 Third Avenue at 11th =20 St. (Theater 03) Thursday, May 3, 10:45 pm, AMC 34th Street, 312 W. 34th Street, =20 between 8th and 9 th Avenues I hope to see you at one or another of these screenings and events! all best Abigail Abigail Child 303 East 8th Street #6F New York, NY 10009 212-673-1608 http://www.abigailchild.com=20= ========================================================================= Date: Tue, 27 Mar 2007 07:12:07 -0400 Reply-To: srhodesmx@yahoo.ca Sender: UB Poetics discussion group From: SHANE RHODES Subject: The Bindery by Shane Rhodes MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Dear Poetics Subscribers, NeWest Press is pleased to announce the publication of The Bindery by Shane Rhodes. Scribbles at Mexican bus stops, meditations on street corners in Buenos Aires, letters from friends in the Himalaya, The Bindery writes the travel narrative through experiments in language, in lyric, in place, in a history of the new. This is poetry that wanders, gets lost in the back pages, opens the map and understands nothing. Deliciously off course and roving. ISBN 978-1-897126-14-1 / 1-897126-14-X $16.95 CDN / $12.95 USD Shane Rhodes has published two previous books of poetry. The Wireless Room (NeWest Press 2000) won the Alberta Book Award for poetry and Holding Pattern (NeWest Press 2002) won the Archibald Lampman Award. His most recent chapbook can be seen at http://www.greenboathouse.com/chapbooks/shane_rhodes.htm. Shane lives in Ottawa, Canada and writes where ever. ________________________________________ Individuals can order The Bindery through the NeWest Press website at http://www.newestpress.com Bookstores in Canada and the United States can order through the distributor LitDistCo by calling 1 800 591 6250 or e-mailing orders@litdistco.ca. NeWest Press 201-8540-109 Street Edmonton, AB, Canada T6G 1E6 Ph: (780) 432-9427 ========================================================================= Date: Tue, 27 Mar 2007 11:32:37 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kathleen Ossip Subject: Summer Writers Colony at the New School MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: base64 V2UgYXJlIHBsZWFzZWQgdG8gYW5ub3VuY2UgdGhlIHZpc2l0aW5nIHdyaXRlcnMgZm9yIHRo ZSAyMDA3IFN1bW1lciBXcml0ZXJzIApDb2xvbnkgYXQgdGhlIE5ldyBTY2hvb2w6IExvdWlz ZSBHbMO8Y2ssIEFteSBIZW1wZWwsIEhlaWRpIEp1bGF2aXRzLCBBbm4gTS4gCk1hcnRpbiwg Q2xhaXJlIE1lc3N1ZCwgV2FsdGVyIERlYW4gTXllcnMsIEN5bnRoaWEgT3ppY2ssIGFuZCBK ZWFuIFZhbGVudGluZS4KClRoZSBTdW1tZXIgV3JpdGVycyBDb2xvbnkgKEp1bmUgNCAtMjIp ICAgaXMgYW4gb3Bwb3J0dW5pdHkgZm9yIHN0dWRlbnRzIAppbnRlcmVzdGVkIGluIHdyaXRp bmcgdW5kZXIgdGhlIGRpcmVjdGlvbiBvZiBtYXN0ZXIgdGVhY2hlcnMgd2hvIGFyZSB0aGVt c2VsdmVzIApkaXN0aW5ndWlzaGVkIHByYWN0aXRpb25lcnMgYW5kIHRvIG1lZXQgb3RoZXIg bm90YWJsZSBhdXRob3JzLCBlZGl0b3JzLCBhbmQgCnB1Ymxpc2hlcnMuIFdvcmtzaG9wcyBh cmUgb2ZmZXJlZCBpbiBmaWN0aW9uLCBwb2V0cnksIGFuZOKAlGZvciB0aGUgZmlyc3QgdGlt ZeKAlAp3cml0aW5nIGZvciBjaGlsZHJlbi4gV29ya3Nob3AgZmFjdWx0eSBmb3IgMjAwNyBp bmNsdWRlIEthdGhsZWVuIE9zc2lwIGFuZCBSZWJlY2NhIApXb2xmZiAocG9ldHJ5KSBhbmQg U2hhcm9uIE1lc21lciwgRG91Z2xhcyBBLiBNYXJ0aW4gYW5kIEpvaG4gUmVlZCAoZmljdGlv bikuIApTdHVkZW50cyBhbHNvIHBhcnRpY2lwYXRlIGluIHRoZSBzdW1tZXIgbGl0ZXJhcnkg c2Fsb24gc2VyaWVzLCBhbmQgdGhlIG1hbnkgCm90aGVyIHNwZWNpYWwgZXZlbnRzIG9mZmVy ZWQsIGluY2x1ZGluZyBjcmFmdCBzZW1pbmFycywgcHVibGlzaGluZyBwYW5lbHMsIGEgCmxp dGVyYXJ5IHdhbGtpbmcgdG91ciwgYW5kIGEgYm9va21ha2luZyBzZW1pbmFyLgoKVGhpcyBw cm9ncmFtIGlzIGludGVuZGVkIGZvciB3cml0aW5nIHN0dWRlbnRzIG9mIGFsbCBhZ2VzLiBO b3RlOiAKVW5kZXJncmFkdWF0ZSBzdHVkZW50cyBtYXkgY2hvb3NlIHdoZXRoZXIgdG8gdGFr ZSB0aGUgY291cnNlIGZvciBjcmVkaXQgb3Igbm9uLWNyZWRpdC4gClRoZXJlIGlzIG5vIGFw cGxpY2F0aW9uIG5lY2Vzc2FyeS4gRm9yIHR1aXRpb24sIGEgY29tcGxldGUgbGlzdCBvZiBm YWN1bHR5IGJpb3MsIApyZWdpc3RyYXRpb24sIGRldGFpbHMgYWJvdXQgaG91c2luZywgYW5k IG90aGVyIGluZm9ybWF0aW9uLCBwbGVhc2UgZ28gdG8gCnd3dy5uZXdzY2hvb2wuZWR1L3N1 bW1lcndyaXRlcnMgCgpJZiB5b3UgaGF2ZSBhbnkgb3RoZXIgcXVlc3Rpb25zLCBwbGVhc2Ug ZmVlbCBmcmVlIHRvIGNhbGwgICAyMTItMjI5LTU2MTEsICAgCm9yIGVtYWlsIHN1bW1lcndy aXRlcnNAbmV3c2Nob29sLmVkdS4gCgoKCgoKKioqKioqKioqKioqKioqKioqKioqKioqKioq KioqKioqKioqKioKIEFPTCBub3cgb2ZmZXJzIGZyZWUgZW1haWwgdG8gZXZlcnlvbmUuIAog RmluZCBvdXQgbW9yZSBhYm91dCB3aGF0J3MgZnJlZSBmcm9tIEFPTCBhdCBodHRwOi8vd3d3 LmFvbC5jb20uCg== ========================================================================= Date: Tue, 27 Mar 2007 11:56:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leonard Kress Subject: CIA Mime-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: base64 QW5ub3VuY2luZzoNCg0KMTNzIC8gIGEgY29sbGFib3JhdGlvbg0KDQpMZW9uYXJkIEtyZXNzOiBw b2V0cnkNCkVyaWMgV2FsbGFjazogaW1wcm92aXNlZCBtdXNpYw0KTWFuaWEgRGFqbmFrOiAgbGFy Z2Utc2NhbGUgZHJhd2luZ3MNCg0KQ2VudGVyIEZvciBGaW5lICYgUGVyZm9ybWluZyBBcnRzDQpS b29tIDExMQ0KT3dlbnMgQ29tbXVuaXR5IENvbGxlZ2UNClRodXJzZGF5LCBNYXJjaCAyOSwgMTIt MToxNQ0KDQpzcG9uc29yZWQgYnk6IFRoZSBDLkkuQS4gICAoQ29sbGFib3JhdGlvbiBpbiBBcnQp DQoNCkxlb25hcmQgS3Jlc3MNCkFzc29jaWF0ZSBQcm9mZXNzb3INCkNvbW11bmljYXRpb25zL0h1 bWFuaXRpZXMNCnd3dy5oYXJyb3dnYXRlcHJlc3MuY29t ========================================================================= Date: Tue, 27 Mar 2007 09:01:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nico Vassilakis Subject: Book Launch (Sort of) and Event Reminder Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hello all, My new book, DIPTYCHS, is out. It’s captured and manipulated color stills from visual poetry videos I’ve been making the past few years. For those of you interested it’s available here = http://www.lulu.com/content/670787. Otherly, if you’re in the neighborhood I’ll have copies for sale at this Friday’s event at Chapel Performance Space in Wallingford/Seattle, Subtext Reading Series’ future home. The event is SOUND/VISUAL/DIGITAL/POETRIES with Crag Hill, Geof Huth, Jim Andrews & myself. Check out http://gschapel.blogspot.com/ for details on time, directions, etc. Thanks & maybe to see you there, Nico ========================================================================= Date: Tue, 27 Mar 2007 12:06:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Morey Subject: Bruce Andrews MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello all, I am looking to get in contact with Bruce Andrews. If someone can back channel his email address to me that would be excellent. Thanks! Adam Morey ------------------------------------------- "The text is cancer" --Don Byrd ------------------------------------------- ========================================================================= Date: Tue, 27 Mar 2007 11:16:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: Call Your Senators NOW!Peace Action Prevent War with Iran MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Date: Tue, 27 Mar 2007 10:58:03 -0500From: Peaceact@mail.democracyinaction.= orgTo: davidbchirot@hotmail.comSubject: Call Your Senators NOW! =20 =20 =20 =20 =20 Dear David, Last Friday's vote in the House was a small step toward ending the U.S. occupati= on of Iraq. While the supplemental war appropriations bill passed by the House was disappointingly weak - it didn't include language t= o prevent an attack on Iran and included a year and a half timeline for withdrawal with enough loopholes to drive about 60,000 U.S. troops through = - it did mark the first time that a majority of the House voted to remove U.S. troops from Iraq by a specific date.=20 Now the Senate is considering its version of the 2007 supplemental war appropriations bill and time is running out to include a shorter timeline f= or U.S. withdrawal from Iraq and assurances that Bush can't attack Iran without specific Congressional authorization into the final bill. Call your Senators NOW and tell them to include these important provisions in = the 2007 supplemental war appropriations bill. Call on your Senators to bring our troops home in 2007 and to support the Webb Amendment to prohibit the use of funds for military operations in Iran. Th= e Senate is currently set to stop adding amendments at 2:30pm TODAY, so call NOW to support adding the Webb amendme= nt to the 2007 Senate supplemental war appropriations bill. Sincerely, =20 =20 Kevin M. Martin=20 Executive Director=20 Peace Action=20 =20 P.S. Without the constant pressure that Peace Action members and other members of the pe= ace movement put on the House, a timeline for withdrawal (no matter how bad) wo= uld never have been passed by the House - keep the pressure up on the Senate. = It's a long journey, but our pressure is starting to bring the end nearer. Click here for tips on calling your Senator.=20 =20 =20 =20 =20 =20 Click here=20 to subscribe to the Action Alert Network=20 =20 =20 Click here to unsubscribe =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 Call Your Senators NOW! Read Peace Action's Talking Points on the = Webb Amendment Read the Webb Amendment www.Peace-Action.org=20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 Contacts(Preferred e-mail) =20 =20 =20 =20 =20 ///////////////////= /...a.rawlingsactivismanthology@gm...adami andreaaguirrepintor@hotmai...AKA= 3414@msn.comAlan Sondheimalex inglealexdickow9@yahoo.co...alexingle@umich.e= dualiceklarAliette Guibertallanr@digitalsalon....allen@allenbukoff.co...amm= iel alcalayamy baylaurel caseyamy kinganabasis@pacifier.co...and Jane Dorwa= rd Nat...andrew russandrewtopel@hotmail....Andy Gricevichangela vasquez-gir= ou...ANIMALS1964@truebegi...ann klefstadanna balintannaisu@hotmail.comAnny = Ballardinianny.ballardini@tin....anonymousorama@yahoo...Anslem Berriganarch= aeology of the r...art.n.tal@netcabo.ptartholeartplay68@yahoo.comascdzine@m= aine.rr.co...austinwja@aol.comaysegultozeren@gmail...badgergirlbadgergirlba= ltimore eventbarlow johnBarlow Johnbasinski@acsu.buffal...behrle07@gmail.co= mBen Tripebennett.23@osu.edubibianablackboxwja@aol.comBlogsomeBlogsomeBob G= rummanbobgrumman@nut-n-but...boharr@earthlink.netBouchard Danielbowering@sf= u.caBowman AlanBrandstifterBreadsmith on DownerBrenda IijimaBrenda Iijimabr= ianBrian ClementsBrian StefansBSolotaire@aol.combucketworksbucktworks bucke= twor...bukoffBurrus-Gabelbuz blurrc frittonc0rnell@cotse.netcadaly@PACBELL.= NETcallforentry@gmail.c...camille bacosCandace LeClaireCarlo PittoreCarlos = Luis (karamal...Carol NovackCarol Starrcarras nicolasCasa Lamm Galer=EDaCat= erina DavinioCatherine Dalyceruleanbluedeep@hot...cesar@boek861.comcharl go= rdoncharles bernsteinchelabaltimorechirotdavid@yahoo.co...christd9716@yahoo= .co...christianmichael66@h...christinatori@yahoo....Christopher FrittonChri= stopher Leland W...christopher.fritton@...chuck quarinochuck stebbletoncian= ciusi@mac.comCinema@aux.uwm.educlemente padinclifclifford.duffy@gmail...Cli= fton Venablecmehrlbennett@hotmai...cocaine jesuscoupremine@gmail.comcovay c= hirotCrag Hillcrashtest@lokanova.c...cris cheekCrispin Webbcristina de figu= eire...cstetser@yahoo.comDaisydamianrollison@gmail...Dan WaberDaniel f. Bra= dleyDaniel Kanedata2actionDavid Baratierdavid dellafloriaDavid Nemethdavid = stoneDavid Tilleydavidbchirot@hotmail...davidtfrancis@hotmai...davoss@scj.c= omderek@calamaripress....derek@housepress.cadesigner@papertigerm...dirt_zin= e@yahoo.comdis.writersprojectdmassey@miad.eduDon Boyddragonfly@dragonflyd..= .dreamtime@yahoo.comdrellajr@aol.comdrewdrew kunzdrew kunzdudley_literary@y= aho...dusieli@yahoo.comdustinw2@uwm.edudwaber@logolala.come.g. vajdaeahall@= uwm.edueditor@dusie.orgEdward Fostereightpagepress@gmail...eireene@gmail.co= mekent@well.comelitzau@WI.RR.COMemma@rejectamenta.co...ericeric bassoEric E= lshtainEriksson Bj=F6rnERTABIOS@aol.comexchangeart@hotmail....fholepoems@gm= ail.comfierens.mailart@belg...fluxnexus@yahoogroup...fluxnexus-subscribe@..= .fluxus secretFranco FocardiFrank Ferrerfurniture_press@graf...gamisan@yaho= o.comgammm_redazione@yaho...Ganick Pgazetim@optusnet.com...generatorpress@m= sn.c...Geoffrey Gatzageofhuth@gmail.comGeorg Birknergianni simoneGodston Da= nielgoglasgow@sbcglobal....Guido Vermeulenguido.vermeulen@easy...Haas Bianc= hihave33french2blog@ph...have33frenchblog2@ph...hazard@uwm.eduheddiebb@gmai= l.comheidi arnoldHenry Gouldhowe@door.netHugo Pontesiloveyou@iloveyougal...= iloveyougalleriesintertheory-subscrib...ira@unforgettable.me...Irving Weiss= ishaq arashiitsbuckdowns@gmail.c...j. kuszaiJaap BlonkjacquelineJake BerryJ= anssen RuudJDHOLLO@aol.comjean-claude gagnonjed harrisJeffrey Sidejenhofer@= sbcglobal.n...Jesse Crockettjesse glassJesse Seldessjesse@listenlight.ne...= Jim AndrewsJim Leftwichjim mccraryjimbehrle@gmail.comjkervinen@letterboxe..= .jkotin@uchicago.edujlantonio@uol.com.brJo Malo Maryjoanpuig59@hotmail.c...= jodymonroegallery@ya...Joe MilutisJoe Milutisjoel lipmanJoel WeishausJoel.L= ipman@UToledo....john bahusiakjohn barlowJohn Byrumjohn lowtherJohn Tanner= johnd@landmarktheate...JohnD@LandmarkTheatr...John-david MorganJohndavidMor= gan@invi...johnson alexisjonah hexJonathan Mintonjoreitman@hotmail.co...jor= gensen_a@yahoo.co...Joseph D. Harrisjosh ronsenjosh@joshthorpe.comjovescrea= dors@tinet....jsampirisi@yahoo.caJshelmorin@aol.comJudith HoffbergJukka-Pek= ka KervinenJukka-Pekka KervinenJulien d'AbrigeonjUStin!katKOkamikumite.spid= ervei...karenina-it-subscrib...katernst@aol.comKathleen.Allden@Dart...katie= schultzkayemme@yahoo.comKeiichi NakamuraKen FriedmanKent.Johnson@highlan..= .Kerri Sonnenbergkevin.thurston@gmail...KIrby@UKans.eduksf2@uwm.edulachimer= a@virgilio.i...Landmark Theatres - ...LARRY MEISGEIERlauren.bender@gmail...= .lavona_sherarts@yaho...Lawrence Sawyerlawrence.upton@briti...Lehmus Jleigh= michaelleroy_years@hotmail....Leslie Scalapinolisajarnotlolaboots@yahoo.ca= lolitaontiveros@hotm...lolordov@unlv.nevada...lolordov@UNLV.NEVEDA...lou ro= wanLouisA.Renza@dartmou...Luc FierensLuc FierensLundwall Andrewluxurylisa@m= sn.commailart@yahoogroups....MANGLARmarco giovenalemarcus@designerglass...M= arcus_Civin@hotmail...Mark Bloch PANMark DuCharmemARK oWEnsMark PawsonMark = Truscottmark wallaceMark WeissMartins FlorianoMary Kasimormatias@acetonemag= azi...Matt HenriksenMatthew Stoltemax d. wellmcarey@schwartzbooks...mcarey@= schwartzbooks...mhcyoung@gmail.commichael moynihanMichael Rothenbergmichael= .nasse@gmx.demichelle.freestunMihai Spacovschimikemimemark@yahoo.comminimum= dailyrequirem...Ministry of Art & Ju...Monica BennettMORIA (journal)Moria/B= ill Allegrezz...mothball@yahoogroups...moths@yahoogroups.campeters@poemrock= et.c...mshurilla@msn.comMueller AnthonymuratNN@aol.commuratnn@gmail.comMurp= hy Sheilanancy bburrNathaniel D. Whitenbburr44@msn.comneofluxlist@yahoogro.= ..netwurker@HOTKEY.NET...newsletter@coldsprin...Nicholas RuizNico Vassilaki= snicolas lampertnIEKAL aNDnikitamo@netzero.comnoemata@KUNST.NOnoon@jj.e-man= sion.co...notfrog@gmail.comNte SolNYTimes.comolsonjk@delhi.edup_silvia@uncg= .edupablopazpastortom@pastortom....Patrick HerronPaul Appletonpaul.tiilila@= pp.inet...paulsilvia@hotmail.c...paulstanosz@yahoo.co...pbackonjapbackonja@= gmail.comperformancelist@goog...peterwhalen@sbcgloba...phaneropharris@lmu.e= duPhil PrimeauPhilip MetresPhilip RowlandphillipePhredS22@aol.comPiombino N= ickpiuma@flim.comPOETICS@LISTSERV.BUF...poetry@sover.netpolina@riseup.netpp= dcaca@hotmail.comprettysummer06@gmail...primeau101@aol.comR. Saundersr.scre= ven@worldnet.a...raltemus@netzero.netRay Cross Delrebellosgarajos@lyco...Re= ed AltemusReed AltemusReid WoodreJennifer Bartlettreuuularexchirot@hotmail.= co...richard.tylrricroyer@gmail.comRINCON GALLERYriverspine@yahoogrou...Rob= McLennanrobert cheatham(perf...roger dayRonsenross_priddle@yahoo.c...ross_= priddle@yahoo.c...royer ricrustbuckle@gmail.comRuth & Karl Kemptonrwhite@we= sleyan.eduRyan KaneSandra Koppelsawako@factorial.org'Scott Helmes'Sean Bonn= eyserkan.isin@gmail.co...sheila.murphy@gmail....signal@ptt.yuSilvio Javier = De Gra...singlepress@yahoo.co...Smith Owensoft__creature@yahoo...spidertang= le@yahoogr...St. Thomasinostacystacy szymaszekStephen Barabanstephen ellisS= tephen VincentSteve DalachinksyStills@gwlisk.comstrangulensis Ficusstruyeyt= @att.netsublimereinah@yahoo....submissions@starfish...subrosa@speakeasy.or.= ..suzannesuzansari@gmail.comSylvester PolletSztuka FabrykaTartarugothe_lyre= @hotmail.comthe_lyre@mwt.netthierrytillier@hotma...tillier@caramail.comtimg= aze@asemic.nettimgaze@chariot.net....tinac@uwm.edutoilet_training@hotm...To= m Becketttom bellTom Orangetompsett@uwm.edutouchon ceciltouchon@sprynet.omT= ricia Burrtuncel.deniz@googlem...tysonj@matc.eduugly ducklingunarmedjournal= unarmedjournal@hotma...unreadabilityuwmfilmtheatre@ hotm...uwmfilmtheatre@u= wm.e...velvetbicycle@hotmai...Vernon FrazerVittore Baroni Eonvittorebaroni@= alice....vulture proteinWendy Collin SorinWFInfo-subscribe@top...white\will= napoliwindjive@yahoo.comwmncntr@aux.uwm.eduwoodlandpattern@sbcg...Writers = ForumWRYTING-L@listserv.u...WRYTING-L@listserv.w...WRYTING-L-request@LI...X= avierL || confettiS...xkizoyellowdinosaur@earth...Young KarlYouTube Service= zackzamudiotaylor@hotmai... =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 _________________________________________________________________ i'm making a difference.=A0Make every IM count for the cause of your choice= . Join Now. http://clk.atdmt.com/MSN/go/msnnkwme0080000001msn/direct/01/?href=3Dhttp://= im.live.com/messenger/im/home/?source=3Dwlmailtagline= ========================================================================= Date: Tue, 27 Mar 2007 13:56:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: paolo javier Subject: 2nd Ave Poetry Reading III, 4/7, 730 pm MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline you are cordially invited to a reading hosted by 2nd Ave Poetry vol. 2 ( 2ndavepoetry.com) April 7, 2007 730 PM @ Lolita Bar no cover 266 Broome St. (corner of Broome & Allen) readings/art by vol.2 contributors *Emmy Catedral* | *Kevin Coval* | *Thom Donovan* | *Wanda Phipps* | *Sukhdev Sandhu* | *Timothy Yu* | i-beats by *Pedro* & *P.Pod* go to 2ndavepoetry.com to view invite & complete contributors list yr editors, Paolo & Emmy -- http://blog.myspace.com/paolojavier http://www.2ndavepoetry.com/ ========================================================================= Date: Tue, 27 Mar 2007 17:22:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: New McGann: Prepub discount Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable 30% PRE-PUBLICATION DISCOUNT THE POINT IS TO CHANGE IT Poetry and Criticism in the Continuing Present Jerome McGann University of Alabama Press Modern and Contemporary Poetics Series =93A very fine collection. . . .McGann=92s writing will help to re-situate the reading of contemporary=20 experimental writing within a broader context=20 that includes the writing and thinking of poets=20 such as Blake, Byron, and Shelley.=94 =ADHank Lazer,=20 author of What Is a Poet? and Days Jerome McGann argues that contemporary=20 language-oriented writing implies a marked change=20 in the way we think about our poetic tradition on=20 one hand and in the future of criticism on the=20 other. He focuses on Walter Benjamin and=20 Gertrude Stein as important intellectual=20 resources because both see the history of poetry=20 as a crisis of the present rather than as a=20 legacy of the past. The crisis appears as a=20 poetic deficit in contemporary culture, where=20 values of politics and morality are judged prima=20 facie more important than aesthetic values.=20 McGann argues for the fundamental relevance of=20 the aesthetic dimension and the contemporary=20 relevance of cultural works of the past. The=20 Point Is To Change It explores alternative=20 critical methods and provides a powerful call to=20 reinvent our modes of investigation in order to=20 escape the limitations of our inherited academic models. CONTENTS The Argument Foreword: The Privilege of Historical Backwardness 1. Philological Investigations (written 2005) Part I. It Must Be Abstract. 2. Truth in the Body of Falsehood (written 1985-1987) 3. The Alphabet, Spelt from Silliman=92s Leaves (written 1989-1990) 4. The Apparatus of Loss: Bruce Andrews Writing (written 1995-1996) Part II. It Must Change. 5. Art and Error, with Special Thanks to the=20 Poetry of Robert Duncan (written 1996) 6. Private Enigmas and Critical Functions, with=20 Special Thanks to the Poetry of Charles Bernstein (written 1990-1991) Appendix to Chapter 6: =93The Simply=94 (written 1991) 7. From Sight to Shenandoah (written 1996) Part III. It Must Give Pleasure 8. Marxism, Romanticism, Postmodernism: An American Case History (written 1987-1989) 9. Looney Tunes and Unheard Melodies: An Oulipian Colonescapade, with a Critique of 'The Great-Ape Love Song=20 Corpus' and its Lexicon. (written 2003) Part IV. Continuing Present 10. The Evidence of Things Not Seen. A Play. (written 2005) 11. IVANHOE. A Playful Portrait (written 2005) Appendix: Modernity and Complicity. A Conversation with Johanna Drucker (written 2004) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Sales Code FL-102-07 30% discount good through 5/1/07 To order, mail this form to: University of=20 Alabama Press, Chicago Distribution Center, 11030 S. Langley, Chicago, IL= 60628 Or, fax to: 773-702-7212 Or, call: 773-702-7000 The Point Is To Change It (paperback, ISBN=20 0817354085): $32.95 with discount: $23.07 The Point (unjacketed cloth, ISBN 0817315519): $60.00 with discount: $42.00 Illinois residents add 9% sales tax $ Domestic shipping: $5.00 for the first book and=20 $1.00 for each additional book $ Canada residents add 7% GST $ International shipping: $6.00 for the first book=20 and $1.00 for each additional $ Enclosed as payment in full: $ (Make checks payable to The University of Alabama Press) Bill my: ____ Visa ____ MasterCard ____ Discover ____ American Express Account number: Exp date: Daytime phone: Full name: Signature: Shipping Address=20 ========================================================================= Date: Tue, 27 Mar 2007 17:02:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: [mailart] Mail Art Show from Uruguay MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Date: Tue, 27 Mar 2007 13:15:46 -0700To: clementepadin@gmail.comCC: mar@mar= ato.com; zav35@hotmail.com; MASbelladona@netscape.net; mcalvarro@ya.com; do= mador_de_sonhos@oniduo.pt; manomelo@openlink.com.br; ma-network@yahoogroups= .com; laperformancia@yahoo.com; mailartweb@free.fr; mailart@yahoogroups.com= ; manekineko@mailart.org; Mailart@goldcrow.net; popbox@terra.com.br; magdal= ena_pb@yahoo.com.ar; magdalenaburgos@yahoo.com.ar; info@magazineinsitu.com;= madison_morrison@attglobal.net; macu@netgate.com.uy; macadg@internet.com.u= y; inkarttext@smile.ch; mlourdescastro@yahoo.es; lygianavarro@yahoo.com; ta= nto@tanto.com.br; lualma@terra.com.br; lepv@escribidor.com; camnitzer1@gmai= l.com; tarja@netgate.com.uy; lucianabertorelli@inwind.it; ludelmastro@gmail= .com; lbraga@pucsp.brFrom: 7w1k4nc9@adinet.com.uyDate: Tue, 27 Mar 2007 17:= 03:04 -0300Subject: [mailart] Mail Art Show from Uruguay =20 =20 LA UNIDAD LATINOAMERICANA A LOS OJOS DEL MUNDO Esta convocatoria solicita el env=EDo de obras de Arte Postal, sin restricc= iones de tama=F1o o de t=E9cnica, en relaci=F3n al tema de la Unidad Latino= americana para la exposici=F3n en la Sala de la Uni=F3n Latina, Montevideo,= Uruguay, en el mes de Octubre de 2007. Fecha l=EDmite 30 de Setiembre. Documentaci=F3n a todos. No ventas. Todas l= as obras recibidas ser=E1n expuestas. LATIN AMERICAN UNIT TO EYES OF THE WORLD We are asking for shipment of Mail Art without restrictions of size or tech= nique, related to topic of Latin American Unit. In order to carry an exhibi= tion which will take place in October, at Gallery of Latin Unit in Montevid= eo, Uruguay.=20 Deadline: 30 September, 2007. Documentaci=F3n to all. Not sales. All the re= ceived works will be exposed. Organiza/Organizes Uni=F3n Latina Uruguay Coordinan/coordinators: Eduardo Acosta Bentos & Clemente Pad=EDn Enviar/Send to: Uni=F3n Latina Uruguay 18 de Julio 948, P. 1 MONTEVIDEO URUGUAY=20 [Non-text portions of this message have been removed] =20 =20 __._,_.___ =20 =20 =20 =20 Messages in this topic (1) =20 =20 =20 Reply (via web post) |=20 =20 Start a new topic =20 =20 =20 =20 =20 Messages =20 | Files =20 | Photos =20 | Links =20 | Database =20 | Polls =20 | Members =20 | Calendar =20 =20 =20 =20 =20 =20 Archiv, Files, Calendar, Polls, Links, Database and Chat about Mail= Art in http://groups.yahoo.com/group/mailart ---------------------------------------------------------------------- + MAIL ART DOCUMENTATION AND PROJECTS: http://www.crosses.net +=20 + MAIL ART FORUMS: http://mailartforums.crosses.net + ---------------------------------------------------------------------- More about Mail Art: http://c.webring.com/hub?ring=3Dmailart =20 =20 =20 =20 =20 =20 =20 Change settings via the Web (Yahoo! ID required)=20 Change settings via email: Switch delivery to Daily Digest | Switch f= ormat to Traditional=20 =20 Visit Your Group=20 | =20 Yahoo! Groups Terms of Use | =20 Unsubscribe =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 Recent Activity =20 =20 2 New Members =20 =20 =20 =20 =20 =20 =20 =20 =20 Visit Your Group =20 =20 =20 =20 =20 =20 Apprentice LA Who will be next? Play the Bix.com=20 faceoff to see! =20 =20 Yahoo! 360=B0=20 Get Started=20 Create your page=20 Share your life =20 =20 Biz Resources Y! Small Business Articles, tools, forms, and more. =20 =20 =20 =20 . =20 __,_._,___ _________________________________________________________________ It=92s tax season, make sure to follow these few simple tips=20 http://articles.moneycentral.msn.com/Taxes/PreparationTips/PreparationTips.= aspx?icid=3DWLMartagline= ========================================================================= Date: Tue, 27 Mar 2007 18:29:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Poets on Painters Catalogs Now Available Mime-Version: 1.0 Content-Type: text/plain; format=flowed Poets on Painters Catalogs Now Available The 125 page, hard-cover, all color Poets on Painters catalog can now be purchased for $15! http://paintersandpoets.blogspot.com/index.html Catalog includes original poems by Eric Baus, Laura Solomon, Paul Killebrew, Hoa Nguyen, Sawako Nakayasu, Aimee Kelly, Noah Eli Gordon, Nick Moudry, Kary Wayson, Kristin Prevallet, John Olson, Sueyuen Juliette Lee, Joshua Marie Wilkinson, Jeff Clark, Sara Veglahn, Corina Copp, Dorothea Lasky, Juliana Leslie, Monica Fambrough, and Brad Flis. Each poem sits alongside its work of art by artists Mequitta Ahuja, Abel Auer, Jules de Balincourt, Nina Bovasso, Echo Eggebrecht, James Benjamin Franklin, Joanne Greenbaum, Mark Grotjahn, Angelina Gualdoni, Laura Owens, Christopher Patch, Lamar Peterson, Sam Prekop, Monique Prieto, Christoph Ruchaberle, Anna Schachte, Dana Schutz, Sandra Scolnik, Amy Sillman, and Whiting Tennis. How to Purchase $15 + $3.50 each for shipping and handling, up to 5 copies. If purchasing 6 or more copies call the Ulrich at 316.978. 3664 to get shipping rate. Make checks payable to the Ulrich Museum of Art and send to: Poets on Painters Catalog Ulrich Museum of Art 1845 Fairmount St. Wichita, KS 67260-0046 You can also order over the phone using your credit card (we accept Mastercard, Visa, American Express, and Discover). Dial: 316.978.3664. _________________________________________________________________ Mortgage refinance is hot 1) Rates near 30-yr lows 2) Good credit get intro-rate 4.625%* https://www2.nextag.com/goto.jsp?product=100000035&url=%2fst.jsp&tm=y&search=mortgage_text_links_88_h2a5f&s=4056&p=5117&disc=y&vers=743 ========================================================================= Date: Tue, 27 Mar 2007 18:39:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Evans Subject: Little Magazines on Poetry Daily Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Excerpts from The Modern Review's recent "Subject and Matter" feature on little magazines appear as this week's featured prose at Poetry Daily. http://www.poems.com/essaymodreview.htm In addition to a short piece I wrote, you'll also find interviews with Lee Sharkey of Beloit Poetry Journal and Benjamin Paloff and Timothy Donnelly of Boston Review. All best, Steve www.thirdfactory.net ========================================================================= Date: Tue, 27 Mar 2007 17:52:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: SCOTT HOWARD Subject: Call for Work: Reconfigurations MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Content-transfer-encoding: 7BIT Reconfigurations: A Journal for Poetic Contingency, Practice & Theory Volume 1: Manifestos Submission Deadline: July 4, 2007 Publication Date: October 11, 2007 Call for Work: Abstracts, dialogues, essays, fictions, interviews, poems, statements, vectors & whatnots. Limitations: No image or sound files. 2,000 words maximum. New work. No simultaneous submissions. For more information, see: http://reconfigurations.blogspot.com/ ========================================================================= Date: Wed, 28 Mar 2007 08:58:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Machlin Subject: Reminder: Futurepoem Book Party NYC 3/29 Mime-Version: 1.0 (Apple Message framework v752.3) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Book release party for THREADS by Jill Magi (Futurepoem books 2007) With readings by Cecilia Vicuna Brenda Iijima Prageeta Sharma FP Editor Dan Machlin and Special guests Thursday, March 29th 6:30-8:30 p.m., FREE Teachers and Writers Collaborative NOTE NEW ADDRESS: 520 Eighth Avenue (at 36th Street) Suite 2020 (20th floor) New York City Guests must sign in downstairs at front desk For further information, call (212) 691-6590. About Threads: =93Inflection implicates us in family language we hardly understand, in =20= old country we are also responsible for destroying and recreating in =20 a new world and word order whose mapping remains the task at hand. =20 These Threads work between the telling of a story and history to =20 inhabit such burdens of belated homecoming that stay the legacy of =20 conquest.=94 =97Ammiel Alcalay =93In this delicate drawn/sewn/written book,/we are asked to =91feel a =20= map as a ghost limb,=92/to reach down to a place of =91generative =20 tension=92/where =91prayer has atrophied/as the grammar-muscle of =20 together.=92/Beautiful, poignant, her stuttering speech/=91on the other =20= side of perhaps.=92=94 =97Cecilia Vicu=F1a =93Some things can=92t be understood without turning to poetry, the = genre =20 that allows observation, love, memory, confusion, and explanation to =20 intermix and play. Threads stitches all these things together. It =20 tells a complicated story of a father who is an Estonian refugee and =20 of a daughter who attempts to understand what this means by moving =20 through genres and mediums. It is a moving story of searching for =20 meaning and of an eventual arrival at a place of many meanings.=94 =97Juliana Spahr =93Constituent parts of a person are discerned when memory, history and =20= familial inquiry regroup to form and appreciate identity . . . . =20 These probings take the work into regions of cultural conflict and =20 reconnection, emotional shifts and aesthetic conveyances to arrive at =20= nuanced perspectives that bridge former gaps and voids. The syntax =20 that delves there is sincere and soft as well as gritty in its =20 interpersonal realism.=94 =97Brenda Iijima Jill Magi is a writer and artist living in Brooklyn, New York. She is =20= the author of the chapbook Cadastral Map, published in 2005 by =20 Portable Press at Yo-Yo Labs, as well as several self-published and =20 personally distributed small, handmade books. Her poetry, prose, and =20 visual work has been published in HOW2, The Brooklyn Rail, Jacket, =20 The New Review of Literature, Aufgabe, Chain, and Pierogi Press, and =20 exhibited at the Brooklyn Arts Council Gallery and the Brooklyn =20 Waterfront Artists Coalition. A 2006-07 writer-in-residence with the =20 Lower Manhattan Cultural Council, she also teaches at The City =20 College Center for Worker Education and runs Sona Books, a small =20 press dedicated to publishing risky, quiet, project-driven works in =20 chapbook form. BUY THREADS at SPD: http://www.spdbooks.org/Details.asp?=20 BookID=3D0971680078 For More Information: Visit http://www.futurepoem.com= ========================================================================= Date: Wed, 28 Mar 2007 14:27:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian Randall Wilson Subject: Book Publication In-Reply-To: MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" In an editorial capacity, I've been on these for the last year so I thought I'd post the info from the publisher -- Ian Wilson From Hollyridge Press ........................................... The Heart of Mars a novel by Chuck Rosenthal Smartly rich, observant and vital -William H. Gass In 2540 there are horses on Mars! Earth, ravaged by global warming, is occupied by an alien species of amphibians-the Nution-who have established a utopian society employing only biological tech-nology. They govern the solar system with a benign communism. A fish freighter carrying a load from the farms of Europa is hijacked and last seen heading toward Mars where some of the only holdouts of human culture still eke out a life. The detective, Marl, both human and Nution, is sent to investigate. He discovers the utopian dream of the Nution is not as it seems, and that the solar system is on the verge of revolution. Part fantasy, part fabulism, part detective, Chuck Rosenthal's The Heart of Mars is a follow-up to his controversial environmental novel, My Mistress, Humanity. With his extraordinary literary sensibility, Rosenthal romps across genres, once more positing a possible future for humankind and all of the world. Chuck Rosenthal has published six novels (Loop's Progress, Experiments With Life & Deaf, Loop's End, Elena of the Stars, Jack Kerouac's Avatar Angel: His Last Novel and My Mistress, Humanity), the memoir, Never Let Me Go, and some two dozen stories in such prestigious literary journals as the Chicago Review, The Santa Monica Review and The Denver Quarterly. He is on the faculty at Loyola Marymount University, and lives in Los Angeles with the poet Gail Wronsky. For ordering information: www.hollyridgepress.com/mars.htm ........................................... Also from Chuck Rosenthal-- The Loop Trilogy is back in print. Back after more than a dozen years and restored the author's original version, The Loop Trilogy sweeps from the wildest of inspired comedy to the darkest pathos in this Magic Realism vision of working-class America. For ordering information: www.hollyridgepress.com/loop.htm ........................................... For those in Los Angeles: Publication Party with live music and free drinks Friday, April 13, 2007 7PM Equator Books 1103 Abbot Kinney Blvd Venice, CA 90291 (310) 399-5544 ........................................... In Other Hollyridge Press News: * Poet Tony Hoagland, author of the award-winning Hard Rain, had a poem from the chapbook read on Garrison Keillor's The Writer's Almanac, Sunday, February 18th. Book information at: www.hollyridgepress.com/chapseries.htm ________________________________________________________________________ AOL now offers free email to everyone. Find out more about what's free from AOL at AOL.com. ========================================================================= Date: Wed, 28 Mar 2007 20:39:21 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: King of the Brooklyn School In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline An excellent review, I wanted to leave this comment on Nick's blog. And congratulations to Amy. On 3/27/07, Nick Piombino wrote: > > Like the fabled NY School of old, Amy King's new *I'M THE MAN Who Loves > You* > (Blaze/Vox) is unafraid of the everyday, pausing to notice and respond to > the presence of others and things, passing on the strained lyricism of > soap > opera surrealism. I don't know if this work is really a manifestation of > an > emerging school, but I did go to school immediately on its quick fencer's > wit and steady, yet verbally lucious focus on the realities, pleasures and > perplexities of ongoing experience. I can't help it, like Amy, I've fallen > in love with the real world of things and people. How can she have > mastered > this so early, when for most, youth is wasted on the Jung and other > inflated > idealisms. It's not only a pleasure, but an actual relief to see daily > moments become remarkable again without becoming either flaccid or > hysterical. Don't screech at me, don't preach at me and please pass the > breadsticks: > > "I had been invisible, untrained disappearing off the grid > for some time, until you asked me to pass the breadsticks > in that split moment of schizo-panic. To give up > a technicolor coat is a brave tragedy with many layers; > we're drawn to any labyrinth, perfection at the center > of artistry..." (*HOW TO GET THERE*) > > But this poetry definitively is not about corny, not-so-new age glommy > affirmations either. No interest in > > "Accordion adventures they're the best instrument > to windbag, to bleat, to push air through daisies > for an alphabet's sake. Androgyny and honesty > ought to play frozen roses on apocalyptic landscapes, > the landscape of Amy King's face fused > with artifical intelligence on which hers lies > infinitely predictable. Blindfolded books could do worse > than the diction of bedtime verse" > > So much for stretched out poetry gimmicks and ceaseless and shameless > self-promotion. If we're going to be childish, at least lets attempt be a > little like actual children. That's cool. So, what *are* you interested > in, > Amy? > > "...but > lately I'm craving minimum cravings, dusty old records > that smell like a wood-paneled basement, > posters of Elvis on velvet, and the evolution > of ethnic foods on the Lower East Side. > We've gone from Indian to Choctaw. > Eccentric is out." (*MINIATURE DISASTERS*) > > I get a whiff of Kim Lyons here, and a dash of Sharon Mesmer there, with > a > sprinkle of Nada Gordon : maybe that's where I got the Brooklyn School > idea, > though I'm not claiming literal influences, > there's Kim's: "Who doesn't hear Robert Johnson > at this place > near King's Highway" (*Saline*) > or > "plastic infinite waterfall > the matched "Danish* living room "set" (*Saline*) > > or Nada's: "the > lamb chop in the dryer, > the snow shovel > in the rumpus room, thinking > if i had a round horse" (*GORGEOUS*a vestibule* from *V. IMP.*) > > Well, anyway, the basement's where the imagination is sometimes forced to > hide, especially in Brooklyn, my teen years Brooklyn of Bay Ridge,at my > parent's house on BR Parkway, with its cement floor cnvered in outdated > technology and turn-of-the-century French magazines. > > Sure, I pledge allegiance to the books and the language of America as much > as the next gal, but after all, the way hour follows hour and day follows > day is not that much like a vocabulary exercise; it's more about trying > not > to get depressed, even trying to renew not just your library card. but > this > ceaselessly ironic daily life. > > OK, not easy but not pathetic either, if there's hope in the rarely > automatic quotidian promises of life: > at least that's what I'm getting from Amy King today. > > "On top of my name, devotions, no woman > chain whips and lovers: coffee is how > I get other/ countries inside my body." (*ON THE OUNCE THAT SELLS US OUT*) > > and: > > "Marilyn as metaphor is > applepie modeled on > the grandmothers of invention" (*THE TEMPERATURE'S MOVIE LIFE*) > > Am I not THAT old after all? > > Thanks, Amy. > ========================================================================= Date: Wed, 28 Mar 2007 16:54:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: **Advertise in Boog City 40** Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Please forward ----------------------- Advertise in Boog City 40 *Deadline --Fri. April 6-Ad copy to editor --Sat. April 14-Issue to be distributed Email to reserve ad space ASAP We have 2,250 copies distributed and available free throughout Manhattan's East Village, and Williamsburg and Greenpoint, Brooklyn. ----- Take advantage of our indie discount ad rate. 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 or upcoming readings, or maybe salute an author you feel people should be reading, with a few suggested books to buy. And musical acts, advertise your new albums, indie labels your new releases. (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: Tue, 27 Mar 2007 11:07:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: the covered MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed the covered starting somewhere new blemish or dispersion maquette for the inconceivable performance i will swallow your air and drown your oceans i will rupture wave after wave oceans stuttered and stumbled in spray in their own spray waves collapsed solitons were always underfoot pretending they pretended they were objects for all time i need time to finish this and other wrything money becomes me to keep me fed and sane featureless and following contradictions i don't want to be troubled and insane needing a room of one's own and clear thought clear thinking will come to me pleasantly i will advance the future of the human race now i am being merely destructive tearing at my thought and the breathing air another step thought disappears forever i would like this disappearing thought disappearance opens the gate to thinking soon i'll think this pleasant thought just another number of happy money i'll have time to think this useless thought http://www.asondheim.org/covered.jpg ========================================================================= Date: Wed, 28 Mar 2007 15:05:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christina Milletti Subject: Exhibit X Fiction presents Shelley Jackson March 30 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable EXHIBIT X FICTION PRESENTS novelist, short story writer, and multimedia stylist SHELLEY JACKSON Friday March 30 7:00pm Hallwalls (Cinema) 341 Delaware Avenue Buffalo Free and Open to the Public For information about her new novel, Half Life: http://ineradicablestain.com/half_life.html SHELLEY JACKSON was extracted from the bum leg of a water buffalo in = 1963 in the Philippines and grew up complaining in Berkeley, California. = She has spent most of her life in used bookstores, smearing unidentified = substances on their spines, and is duly obsessed with books: paper, = glue, and ink. Nonetheless, she is most widely recognized for an = electronic text, Patchwork Girl, a hypertext reworking of the = Frankenstein myth, and for SKIN, a story published in tattoos on the = skin of volunteers. Meanwhile, her fiction has been appeared in = Conjunctions, Fence, Grand Street, The Paris Review, and on many = restaurant napkins. Her first book, The Melancholy of Anatomy, was = published by Anchor in April 2002. Shelley Jackson also illustrates = children's books, including two of her own, The Old Woman and the Wave = and Sophia, the Alchemist's Dog. Her new novel, Half Life, was published = by Harper Collins in 2006. Shelley Jackson is a gifted writer . . . who, very playfully, very = disturbingly, takes the body apart and puts it back together again, = always in startlingly imaginative ways. These tales of the anatomy's = ludicrous sorrows are deliciously crafted, maintaining always a fine = balance between outrageous comedy and profound melancholy. She is . . . = one of the most poised and original talents of her generation." -Robert = Coover _______________________________ Christina Milletti Assistant Professor of English Director: Exhibit X Fiction Series www.english.buffalo.edu/exhibitx University at Buffalo, SUNY Office: 533 Clemens Hall Phone: 716.645.2575 x1056 ========================================================================= Date: Wed, 28 Mar 2007 16:30:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Poetics Welcome Message MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline The Poetics List Sponsored by: The Electronic Poetry Center (SUNY-Buffalo/University of Pennsylvania) and the Regan Chair (Department of English, Penn) & Center for Program in Contemporary Writing (Penn) Poetics List Editor: Amy King Poetics List Editorial Board: Charles Bernstein, Julia Bloch, Lori Emerson, Amy King, Joel Kuszai, Nick Piombino Note: this Welcome message is also available at the EPC/@Buffalo page http://epc.buffalo.edu/poetics/welcome.html Poetics Subscription Registration (required) poetics.list --at -- gmail.com note our new address! Poetics Subscription Requests: http://listserv.acsu.buffalo.edu/archives/poetics.html Poetics Listserv Archive: http://listserv.acsu.buffalo.edu/archives/poetics.html Note that any correspondence sent to the Poetics List administration account takes about ten days, for response; mail to this account is checked about once per week. C O N T E N T S: 1. About the Poetics List 2. Posting to the List 3. Subscriptions 4. Subscription Options 5. To Unsubscribe 6. Cautions -------------------------------------------- Above the world-weary horizons New obstacles for exchange arise Or unfold, O ye postmasters! 1. About the Poetics List With the preceding epigraph, the Poetics Listserv was founded by Charles Bernstein in late 1993. Now in its fourth incarnation, the list has over 1300 subscribers worldwide. We also have a substantial number of nonsubscribing readers, who access the list through our web site (see archive URL above). The Poetics List is not a forum for a general discussion of poetry or for the exchange of poems. Our aim is to support, inform, and extend those directions in poetry that are committed to innovations, renovations, and investigations of form and/or/as content, to the questioning of received forms and styles, and to the creation of the otherwise unimagined, untried, unexpected, improbable, and impossible. While we recognize that other lists may sponsor other possibilities for exchange, we request that those participating in this forum keep in mind the specialized and focused nature of this project and respect our decision to operate a moderated list. The Poetics List exists to support and encourage divergent points of view on innovative forms of modern and contemporary poetry and poetics, and we are committed to do what is necessary to preserve this space for such dialog. Due to the high number of subscribers, we no longer maintain the open format with which the list began (at under 100 subscribers). The specific form of moderation that we employ is a relatively fluid one: in most cases, messages are reviewed after having been posted to the list, and difficulties resolved on that basis; however, the listserv editorial board may shift between this and a pre-review mode which calls for all messages to be read and approved before being forwarded to the list. We prefer to avoid this option as it hampers the spontaneity of discussion that we hope to promote. In addition to these options, the editorial board will unsubscribe individuals if they are not, in our opinion, productively contributing to the list or following our guidelines. We remain committed to this editorial function as a defining element of the Poetics List. Please also note that this is a not a general interest poetry list and information about this list should not be posted to directories of poetry lists. The idea is to keep the list membership to those with specific engagement related to the list's stated orientation. The current limits of the list are 75 messages per day, and a maximum of four messages per subscriber per day; but these limits are subject to change withouth notice. In addition to being archived at through the EPC (http://epc.buffalo.edu) and at http://listserv.acsu.buffalo.edu/archives/poetics.html, some posts to Poetics (especially reviews, obituary notices, announcements, etc.) may also become part of specific EPC subject areas. Note also that Roof Books published Joel Kuszai's edited collection of the Poetics List; this is available from ROOF and also on line at the EPC. 2. Posting to the List The Poetics List is a moderated list. 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If they give permission, then we ask only that you say that the post or posts appeared originally on the Poetics List (http://epc.buffalo.edu/poetics/welcome.html) on [give date and say:] Used by permission of the author. As an outside maximum, we will accept no more than 4 messages per day from any one subscriber. Also, given that our goal is a manageable list (manageable both for moderators and subscribers), the list accepts 75 or fewer messages per day, though these paramenters may be changed at the discretion of the list moderator. Like all systems, the listserv will sometimes be down: if you feel your message has been delayed or lost, *please wait at least one day to see if it shows up*, then check the archive to be sure the message is not posted there; if you still feel there is a problem, you may wish to contact the editors at . ========================================================================= Date: Wed, 28 Mar 2007 16:47:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Betsy Andrews Subject: Betsy Andrews & Brian Teare at Black Oak Books, Sunday MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit SUNDAY, APRIL 1, 7:30 Poetry Flash at Black Oak Books: BETSY ANDREWS & BRIAN TEARE This is a reading by two winners of the prestigious Brittingham Prize in Poetry from the University of Wisconsin Press. Betsy Andrews is this year's winner, selected by Linda Gregerson, for her book-length poem New Jersey. Anne Waldman writes, "The heart of darkness is alive and beating in Betsy Andrews's New Jersey.ŠWith its commitment to naming, to witnessing the machinations and degradations of our 'terror,' this is a brave poem, and a necessary one." Her poems, essays, and reviews have appeared in publications ranging from PRACTICE to the Yemeni newspaper Culture. Brian Teare won the Brittingham in 2003 for The Room Where I Was Born, selected by Kelly Cherry. D. A. Powell says of it, "Brian Teare's poetry is turning the lyric on its ear, along with the Southern Gothic, the fairy tale, the Old Testament---anything that gets in the way of this powerful voice gets pulled in, chewed up, spit out as a new and frightening (and sexy!) utterance." Brian Teare is a former Stegner fellow at Stanford University and has been widely published in such journals as Ploughshares and Boston Review. BLACK OAK BOOKS, 1491 Shattuck Avenue, Berkeley, (510) 486-0698. --------------------------------- We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. ========================================================================= Date: Wed, 28 Mar 2007 17:05:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: reading in Glasgow Comments: To: british-irish-poets@JISCMAIL.AC.UK, poetryetc@jiscmail.ac.uk, UKPOETRY@LISTSERV.MUOHIO.EDU Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Carlos Blackburn Mark Weiss Friday, April 6th, at 7pm, at the Glasgow Quaker Meeting House: 38 Elmbank Crescent, across the street from Charing Cross station. And you can say you went to church Good Friday! ========================================================================= Date: Wed, 28 Mar 2007 18:09:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: on behalf of Kent Johnson Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, Constant Critic , ImitaPo Memebers , new-poetry@wiz.cath.vt.edu, "Poetnews@Poets. Org" , Poetryetc provides a venue for a dialogue relating to poetry and poetics Comments: cc: afterlorca@gmail.com MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit To whom it may concern, I have been having problems with my current email. Please direct any mail for Kent Johnson to this new address: afterlorca@gmail.com thank you, Kent ------------------------------------ BlazeVOX [books] Geoffrey Gatza Editor, Publisher editor@blazevox.org 14 Tremaine Ave Kenmore, NY 14217 tel: 716-873-5454 ------------------------------------ ========================================================================= Date: Wed, 28 Mar 2007 16:30:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: BOO interview w Harryette Mullen--transcript? help? (sub-topic: QUICK help!) MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I want to quote some things Harryette says in the great BOO (7) interview, when I introduce her at the Arizona Quarterly Symposium this Saturday I can't, finally, find my dog-eared copy after rummaging around my office. any chance one of the original interviewers (BOO people) or someone else has an electronic version of the interview you could send me? would be VERY grateful thanks, Tenney ========================================================================= Date: Wed, 28 Mar 2007 16:42:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Betsy Andrews Subject: Poet Betsy Andrews Reads at New College: March 31st, 6:30 PM MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit ************************************************************* ~POET BETSY ANDREWS~ Sponsored by the New College Writing & Consciousness Program Saturday, March 31st, 6:30-8 PM Room 4, New College of California 777 Valencia St., between 18th & 19th Betsy Andrews is the author of New Jersey, the University of Wisconsin’s 2007 Brittingham Prize winner. She is also the author of two chapbooks, She-Devil and In Trouble, and the collaborative book SuperCollider, with artist Peter Fox. Her poems, essays and reviews have appeared widely, from Five Fingers Review to the Yemeni newspaper Culture. For more information: bvteare@yahoo.com ______________________________________ --------------------------------- Looking for earth-friendly autos? Browse Top Cars by "Green Rating" at Yahoo! Autos' Green Center. ========================================================================= Date: Wed, 28 Mar 2007 21:56:31 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: Theory of Orange MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Theory of Orange by Rachel M. Simon from Pavement Saw Press ISBN: 978-1-886350-45-8 is now available "Improvisation" is a quintessential Poem of Our Moment: fast moving and declarative, wobbling on the balance beam between associative and dissociative, somewhat absurdist, and, indeed, cerebral. Much talent and skill are evident in it's making, in its pacing and management of gaps, the hints and sound bites which keep the reader reaching forward for the lynchpin of coherence. One admirable aspect of the poem is the way it seems capable of incorporating anything... even as the poem implies a world without sequence, the poem itself has no consequence, no center of gravity, no body, no assertion of emotional value. --POETRY Hip, funny, moving and at times bizarre, this first outing from the Yonkers, N.Y.–based Simon stitches together the elegiac with the entertaining, the fragmentarily outré with the clearly autobiographical: they make an attractive weave. The poems (almost all shorter than one page) include, as she phrases it, "getting-to-know-you-games," multiple tributes to summer camp and "family funerals." Several elegies appear to lament the friend and writer, dead at 21, to whom Simon dedicates the book. "Neither bitter nor embittered,/ non-eponymous but partially self-referential," Simon is also partial to self-portraits composed in apparently unrelated sentences; to in-jokes against writing-workshop platitudes ("No surprise for the writer,/ no surprise behind door number three there is never a car"); and to baffling one-line quips ("My blood is completely cheese"). She can wring comedy from nostalgia, and nostalgia from the detritus of modern childhood: "I hoped that/ by sending a box of twinkies/ you'd remember to remember me." Yet her flirtatious advertisements for herself double as postmodern queries into the dangerous culture of advertising, where men and women risk disappearing unless they find something new to say. (Feb.) ------Publishers Weekly In Theory of Orange, Rachel Simon aims her clear-eyed gaze at life’s odd, irresolvable circumstances and “tells it slant.” Simon’s poems sparkle with freshness, verve, and above all, humanity. Understated wit, wry intelligence, and honed language are hallmarks of this decidedly original first collection. --Joan Larkin Book can be ordered using paypal direct from Pavement Saw at: http://www.pavementsaw.org/books/orange.htm or from the SPD website http://www.spdbooks.org/Details.asp?BookID=9781886350458 or by calling 1-800-869-7553 Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Thu, 29 Mar 2007 08:55:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kevin thurston Subject: republican sound poetry? MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline hot on the heels of bok's cyborg opera, mc rove... http://www.cbsnews.com/sections/i_video/main500251.shtml?id=2622366n -- SUICIDE L L C, when life just isn't an option http://www.buffalosmallpress.org/ http://fuckinglies.blogspot.com/ ========================================================================= Date: Thu, 29 Mar 2007 09:40:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Buffalo Small Press Book Fair Schedule MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset=UTF-8 Content-Transfer-Encoding: quoted-printable BOOK FAIR=21=C2=A0 BOOK FAIR=21=C2=A0 BOOK FAIR=21 2007 Buffalo Small Press Book Fair March 31st, 2007 12-6pm Karpeles Manuscript Library Museum, Porter Hall, 453 Porter Ave.=C2=A0 Buff= alo, NY =C2=A0 The Buffalo Small Press Book Fair is a regional one day event that brings t= ogether booksellers, authors, bookmakers, zinesters, small presses, artists= , poets, and other cultural workers (and enthusiasts) in a venue where they= can share ideas, showcase their art, and peddle their wares.=C2=A0 The Boo= k Fair has pulled together over 60 vendors =E2=80=93 everything from comics= to letterpress, small press poetry to artist=E2=80=99s books=21=C2=A0=C2= =A0 =C2=A0 The 2007 Buffalo Small Press Book Fair will be happening March 31st, 2007, = at Karpeles Manuscript Library Museum, Porter Hall, 453 Porter Ave, Buffalo= , NY from 12pm-6pm. =C2=A0 Karpeles Porter Hall is located near Kleinhans Music Hall and across from G= rover Cleveland High School. =C2=A0 Poetry readings and lectures are scheduled throughout the day as well, to b= e held in the adjacent rooms of the Karpeles Museum.=C2=A0 There will also = be displays of rare small press items provided by the SUNY at Buffalo Poetr= y and Rare Books collection, an exhibition of the Western New York Book Art= s Collaborative=E2=80=99s Portfolio, and a retrospective look at the work o= f Earth=E2=80=99s Daughters=21=C2=A0 See the schedule below. =C2=A0 For more information, please visit www.buffalosmallpress.org =C2=A0 For specific questions, email info=40buffalosmallpress.org =C2=A0 Saturday, March 31, 2007 Schedule: =C2=A0 12:00 Start of Buffalo Small Press Book Fair =C2=A0 12:30 Poetry Reading Featuring: Aaron Tieger =C2=A0 12:40 Poetry Reading Featuring: Jess Mynes =C2=A0 1:00 Performance Featuring: Michael Carr =C2=A0 1:10 Performance Featuring: jUStin=21katKO =C2=A0 1:20 Reading Featuring: Kyle Schlesinger =C2=A0 1:30 Lecture: Mike Basinski on the History of Small Press =C2=A0 2:00 Reading Featuring: Ted Pelton =C2=A0 2:10 Reading Featuring: Ed Taylor =C2=A0 2:20 Reading Featuring: Peter Conners =C2=A0 2:30 Reading Featuring: Christina Milletti =C2=A0 2:40 Reading Featuring: Geoffrey Gatza =C2=A0 3:00 Poetry Reading Featuring: Dan Sicoli =C2=A0 3:10 Poetry Reading Featuring: Livio Farallo =C2=A0 3:20 Poetry Reading Featuring: Dennis Maloney =C2=A0 3:30 Poetry Reading Featuring: Kemeny Babineau =C2=A0 3:40 Poetry Reading Featuring: Jay Millar =C2=A0 4:00 Presentation on the WNYBAC Portfolio Project: Rich Kegler =C2=A0 4:20 Poetry Reading Featuring: JodiAnn Stevenson =C2=A0 4:30 Poetry Reading Featuring: Ryki Zuckerman =C2=A0 4:40 Poetry Reading Featuring: Joseph Cooper =C2=A0 5:00 Poetry Reading Featuring: Lisa Forrest =C2=A0 5:05 Poetry Reading Featuring: Dennis Reed =C2=A0 5:10 Poetry Reading Featuring: Matthew Baker Thompson =C2=A0 5:15 Poetry Reading Featuring: Sara Ries =C2=A0 5:20 Poetry Reading Featuring: Alessandro Porco =C2=A0 5:30 Poetry Reading Featuring: Adam Golaski =C2=A0 5:40 Poetry Reading Featuring: Jon Minton 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: Thu, 29 Mar 2007 07:15:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: julia bloch Subject: Tom Devaney & John Coletti April 4 at Penn MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The EMERGENCY Poetry Series presents THOMAS DEVANEY JOHN COLETTI ---------------------------------------- Wednesday, 4/4 at 6PM Kelly Writers House 3805 Locust Walk This event is free & open to the public ---------------------------------------- THOMAS DEVANEY is the author of "A Series of Small Boxes," forthcoming from Fish Drum Press (May 2007). His books include "The American Pragmatist Fell in Love" and "Letters to Ernesto Neto." His poems have been published in The American Poetry Review, Jubilat, Fence, and translated into French and published in Arsenal, Java, and Poesie. Projects and collaborations with the Institute of Contemporary Art include: a performance "No Silence Here, Enjoy the Silence," for the "Locally Localized Gravity" exhibit (2007), and "The Empty House" tour at the Edgar Allan Poe National Historic Site for "The Big Nothing" exhibit (2004). He was program coordinator of the Kelly Writers House from 2001 to 2005. He is a Penn Senior Writing Fellow in the English Department at the University of Pennsylvania. For more information visit: http://www.writing.upenn.edu/~wh/devaney.html JOHN COLETTI grew up in Santa Rosa, California and Portland, Oregon before moving to New York City twelve years ago. He is the author of "Physical Kind" (Portable Press at Yo-Yo Labs/Boku Books 2005), "The New Normalcy" (BoogLit 2002), and "Street Debris" (Fell Swoop 2005), a collaboration with poet Greg Fuchs with whom he also co-edits Open 24 Hours Press. About the Series What does it mean to be an emerging poet in America today? Does Dana Gioia's claim that "poetry has vanished as a cultural force in America" ring true for poets at the cutting edge of literary production? Does today's emerging poet face increasing isolation and shrinking audiences, or is a quiet renaissance taking place, one centered around close-knit communities, long-distance mentorships, new media, and chapbook exchange? How are theoretical stances and aesthetic practices transmitted among poets at different stages in their careers? The Emergency Series at Kelly Writers House seeks to answer these questions, highlighting perspectives on the current state of American poetry through the diverse experiences of its practicing poets. By bringing together emerging and established poets for readings and discussions, it aims to create an ongoing dialogue about the role poetic lineage plays in a poet's development, and its impact on the vitality of the craft. The EMERGENCY poetry series is made possible in part by the Kerry Sherin Wright Prize (Learn more! --> http://emergency-reading.blogspot.com/) ---------------------------- The Kelly Writers House wh@writing.upenn.edu 3805 Locust Walk 215-573-WRIT Philadelphia, PA 19104 http://www.writing.upenn.edu/~wh ____________________________________________________________________________________ Looking for earth-friendly autos? Browse Top Cars by "Green Rating" at Yahoo! Autos' Green Center. http://autos.yahoo.com/green_center/ ========================================================================= Date: Thu, 29 Mar 2007 10:25:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Readings in Pittsburgh or Cleveland Areas? MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Hey folks, I'm going to be rolling through the Pittsburgh/Cleveland area around April 20th, and I wonder if anyone knows of any reading series/organizers up there? I was hoping to set something up for that date, but I'm also just curious about what the scene is like up there cuz I don't know much about that area. thanks, Ken -- Check out my new book Key Bridge: http://www.carolinawrenpress.org/books.html info about it: http://www.carolinawrenpress.org/pdf/KeyBridge_PRESS_RELEASE.pdf ========================================================================= Date: Thu, 29 Mar 2007 11:36:40 -0400 Reply-To: lmelvin1@binghamton.edu Sender: UB Poetics discussion group From: Metta Sama Subject: X-Posting: for current & former Michigan residents In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit I just took action on this important arts issue and I hope you'll take a moment to do the same. Please Follow This Link to Take Action on Important Arts Issues http://capwiz.com/artsusa/mi/utr/2/?a=9553831&i=82888040&c= If your email program does not recognize the URL as a link, copy the entire URL and paste it into your Web browser. ------------------------------------- Powered by Capitol Advantage, LLC http://www.capitoladvantage.com "Connect and Be Counted" ------------------------------------- ========================================================================= Date: Thu, 29 Mar 2007 11:38:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: noah eli gordon Subject: Moles Not Molar Mime-Version: 1.0 Content-Type: text/plain; format=flowed Note: this is a forward, which is to say don't ask me I don't know... __________________________________________ The Moles Not Molar Reading Series PRESENTS A STAR-NOSED ENTOURAGE OF TRI-GENRED SAVANTS! Friday, March 30th 7:30 pm at the Powel House located at 244 South 3rd Street (between Walnut and Locust) Featuring ERIC BAUS (Poet; Philadelphia) SANDRA NEWMAN (Fiction Writer; New York City) SARAH CHRISTMAN (Filmmaker, Philadelphia) ERIC BAUS is the author of The To Sound (Wave Books) as well as several chapbooks including the forthcoming Tuned Droves (Katalanche Press). His poems have appeared in Hambone, Verse, Fascicle, and elsewhere. He lives in Philadelphia where he edits Minus House chapbooks. SANDRA NEWMAN is the author of two novels, The Only Good Thing Anyone Has Ever Done, and Cake (forthcoming from Chatto & Windus, May 10) and various works of short fiction, non-fiction and radio talks. She is also co-authoring a manual on writing with Howard Mittelmark, How Not to Write a Novel, which has been called alternately the funniest and most offensive book ever written on writing. Her blog, 100 Autobiographies, containing the true story of how she aided Osama bin Laden in his escape from justice in the wake of 9/11, is now available at www.100autobiographies.blogspot.com. SARAH CHRISTMAN is a Philadelphia-based independent media producer. Using film, video, and the web, she explores the personal and cultural impact of media in everyday life. Her award- winning films (Bush for Peace, Dear Bill Gates) have screened internationally, including at the Rotterdam Film Festival and Resfest. Sarah received her MFA in Film & Media Arts at Temple University. She is the co-founder of Memory Bank Media, a post- production studio that specializes in the digital preservation of home movies and photographs. Sarah will be showing Dear Bill Gates, in which a simple correspondence evolves into a poetic visual essay exploring the ownership of our visual history and culture. Combining original and archival film, video and images from the internet, it draws unexpected connections among mining, memory and Microsoft. _________ The goal of Moles Not Molar is to put writers and artists pursuing exciting, innovative and experimental textual projects into contact and dialogue with each other and their diverse audiences, creating exposure and engagement across regional and generic lines. Please come out to our event this month and also look out for upcoming engagements in April, May and beyond. For further information please contact us at molesnotmolar@excite.com _________________________________________________________________ Get a FREE Web site, company branded e-mail and more from Microsoft Office Live! http://clk.atdmt.com/MRT/go/mcrssaub0050001411mrt/direct/01/ ========================================================================= Date: Thu, 29 Mar 2007 11:56:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joshua Kotin Subject: Chicago Review | British Poetry Issue Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed The latest issue of Chicago Review --- a special issue on British =20 poetry --- is now available! The 232-page issue is $12 in the US and =A38 in UK (including priority =20= shipping) and may be ordered online from this address: http://humanities.uchicago.edu/orgs/review/purchase531.html Subscriber and contributor copies are in the mail. * * * The issue's main feature --- co-edited and introduced by Sam Ladkin & =20= Robin Purves --- presents 80 pages of poems by: Andrea Brady Chris Goode Peter Manson & Keston Sutherland Plus --- critical contributions by John Wilkinson (on Andrea Brady), =20= Jeremy Noel-Tod (on Peter Manson), Sam Ladkin (in conversation with =20 Chris Goode), Simon Jarvis (on Keston Sutherland), & Matt Ffytche (on =20= Keston Sutherland). * * * The issue also features our regular review section, which presents =20 fifteen reviews of new books of British poetry: Calvin Bedient on Seamus Heaney & Charles Tomlinson Forrest Gander on J.H. Prynne V. Joshua Adams on Lee Harwood R.H. Abbott on Michael Haslam Michael Robbins on Martin Corless-Smith Leila Wilson on Sarah Law Heidi Lynn Staples on Peter Finch Robert P. Baird on Peter Larkin Rusty Morrison on Thomas A. Clark John Lennox on Geraldine Monk Kai Fierle Hedrick on Caroline Bergvall Mark Scroggins on John Wilkinson Peter Manson on Gael Turnbull Adam Piette on Barry MacSweeney Kent Johnson on Andrew Duncan The issue also includes the following: A long note by Keith Tuma on some younger British poets, including: =20 Jow Lindsay, Emily Critchley, & Sean Bonney Letters by Peter Riley and Catherine Wagner Poster insert by Andrew Duncan entitled "Styles of British Poetry =20 1945=962000" * * * More info to follow in a few days --- once CR's website is updated =20 --- including info on subscriptions, issue launch date, and reading =20 tour! | | | | | | | | | | | | | | | | | Chicago Review 5801 South Kenwood Avenue Chicago Illinois 60637 http://humanities.uchicago.edu/orgs/review/ ========================================================================= Date: Thu, 29 Mar 2007 12:54:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Chicago Review | British Poetry Issue Comments: To: Joshua Kotin , UK POETRY Comments: cc: "Poetryetc: poetry and poetics" In-Reply-To: <753634AB-86B5-447E-9D66-D304E85DF795@uchicago.edu> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable > Andrea Brady > Chris Goode > Peter Manson=A0 & > Keston Sutherland > =A0 > My underground pipes tell me that most of these folks are about to embark= on > an April reading tour of some of these States, including even Harvard. >=20 > Joshua, do you or does anyone else have their schedule? >=20 > I heard Peter Manson at Soundeye =AD which was great =AD and have read variou= sly > among others. > Should be an ear (mind) opener, I suspect, and well worth the get going t= o. >=20 > Stephen Vincent http://stephenvincent.net/blog/ >=20 >=20 >=20 >=20 >=20 > The latest issue of Chicago Review --- a special issue on British poetry = --- > is now available! >=20 > The 232-page issue is $12 in the US and=A0=A38 in UK (including priority ship= ping) > and may be ordered online from this address: >=20 > http://humanities.uchicago.edu/orgs/review/purchase531.html >=20 > Subscriber and contributor copies are now in the mail. >=20 > * * * >=20 > The issue's main feature ---=A0co-edited and introduced by Sam Ladkin & Rob= in > Purves --- presents 80-pages of poems by: >=20 > Andrea Brady > Chris Goode > Peter Manson=A0 & > Keston Sutherland > =A0 >=20 > As well as critical contributions by=A0John Wilkinson=A0 (on Andrea Brady),=A0J= eremy > Noel-Tod (on Peter Manson),=A0Sam Ladkin (in conversation with Chris Goode)= , > Simon Jarvis (on Keston Sutherland), &=A0Matt Ffytche (on Keston Sutherland= ). >=20 > * * * >=20 > This feature complements our regular review section, which presents fifte= en > reviews of new books of British poetry: > =A0 >=20 > Calvin Bedient on Seamus Heaney & Charles Tomlinson > Forrest Gander on J.H. Prynne > V. Joshua Adams on Lee Harwood > R.H. Abbott on Michael Haslam > Michael Robbins on Martin Corless-Smith > Leila Wilson on Sarah Law > Heidi Lynn Staples on Peter Finch > Robert P. Baird on Peter Larkin > Rusty Morrison on Thomas A. Clark > John Lennox on Geraldine Monk > Kai Fierle Hedrick on Caroline Bergvall > Mark Scroggins on John Wilkinson > Peter Manson on Gael Turnbull > Adam Piette on Barry MacSweeney > Kent Johnson on Andrew Duncan >=20 > The issue also includes the following material: >=20 > A long note by=A0Keith Tuma on some younger British poets, including: Jow > Lindsay, Emily Critchley, & Sean Bonney > =A0 >=20 > Letters by=A0Peter Riley and=A0Catherine Wagner >=20 > Poster insert by Andrew Duncan entitled "Styles of British Poetry 1945=AD20= 00" >=20 > * * * >=20 > More info to follow in a few days once CR's website is updated --- includ= ing > subscription information, issue launch date, and reading tour! >=20 ========================================================================= Date: Thu, 29 Mar 2007 14:27:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: complicit actions dismissed in a frenzy of greed In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable CA,=20 I used to work for a major New Age publisher -- your observations are right on the $$ -- these books (largely) and related paraphernalia sell the reader on their own specialness, perfectability if they aren't fabulously wealthy and successful, and profitability if they are. it's a form of ego-onanism.=20 haven't read THE SECRET, but I wonder if it's on the same wavelength as Dianetics, Rosicrucianism, EST, Eckanckar? does anyone on the list know where the authors got their material from? (and don't say they channeled Jesus: I've already edited that book) tl =20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of CA Conrad Sent: Monday, March 26, 2007 13:41 To: POETICS@LISTSERV.BUFFALO.EDU Subject: complicit actions dismissed in a frenzy of greed Has anyone seen or read this book THE SECRET? It's sort of a condensed version of many different documents and teachings shit directly from the bowels of New Age Hell. This book has a Ring Around the Rosie quality (literally, meaning to ward off pestilence). While it claims ancient teachings of certain magic practices known as glamouring, etc., though it doesn't call it as such, it's built around the purpose of attracting and holding onto STUFF, in particular wealth, in particular, a life you've ALWAYS DREAMT WAS POSSIBLE. When I lived in Albuquerque for a brief time to study herbalism I was confronted nearly every single day, no matter where I found myself, with wealthy people who had one spiritual excuse after another for their wealth, and for deserving it, and for the need to maintain a life of luxury. It's not a new story of course. Greed has no news to tell. But LET ME SAY THIS to the readers of THE SECRET. If we are to implement and LIVE forward (?) with the document, and set it into motion, we are not only saying that it's up to us to attract these things into our lives, but to say to those less fortunate (in my opinion) that they simply aren't trying hard enough. It's kind of like a game of BLAME THE VICTIM! "Oh those poor bastards in Baghdad just aren't TRYING HARD enough! Send them a box of THE SECRET so they can all learn how THEY DESERVE to have their houses bombed and their children murdered for not USING THEIR dream life to bring happiness. Happy- happy, bring happy-happy. Silly dumb people getting bombed, what's the matter with them!?" It's no secret why Oprah Winfrey took to THE SECRET. Like all rich people she wants to feel AT PEACE with her extraordinary wealth while a web of suffering continues to spider its way across the planet. I despise such crap! It's times like the late America we all live in that help me FULLY UNDERSTAND the olden days of marching to the castle gates with torches and pitchforks. CAConrad *the Frank Sherlock EMERGENCY FUND: http://PhillySound.blogspot.com for Deviant Propulsion & other books: http://CAConrad.blogspot.com for Light of Lakshmi tarot services: http://LightOfLakshmi.blogspot.com * ========================================================================= Date: Thu, 29 Mar 2007 16:28:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: FW: Woodland Pattern: Opening this Sunday: Joel Lipman MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable > Date: Thu, 29 Mar 2007 14:05:47 -0700> From: woodlandpattern@sbcglobal.ne= t> Subject: Opening this Sunday: Joel Lipman> To: woodlandpattern@sbcglobal= .net> > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D> GALLERY TA= LK THIS SUNDAY: JOEL LIPMAN> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D> > Joel Lipman: ORIGINS OF POETRY> Stamp Art, PoeMvelopes, & Visu= al Poems> > April 1 through May 13> > Opening Reception Sunday, April 1 - 1= :00 to 4:00 pm> > Reading & Gallery Talk with Joel Lipman - 2:00 pm> > Wood= land Pattern Book Center> 720 East Locust Street, Milwaukee> > FREE> > Joel= Lipman is a native of Kenosha and graduate of UW-Madison. He is> professor= of Art and English at the University of Toledo. Among his> beautifully obs= cure books of poetry are Provocateur [Bloody Twin> Press, 1988], Machete Ch= emistry/Panades Physics, with Yasser Musa> [Cubola New Art Foundation, 1994= ], The Real Ideal [Luna Bisante> Prods, 1996], and Subversao Deliberada [In= ternational Writers &> Artists Association, 2000]. Represented in the antho= logy Writing To> Be Seen [Core, Light & Dust, 2001], his visual poems were = exhibited> in 2002 and 2003 at the New York Center for the Book and the> Mi= nnesota Center for Book Arts. Long active as a mail artist and a> five-time= recipient of Ohio Arts Council Individual Artist> Fellowships in Poetry, a= n on-line portfolio of his work can be found> at Light and Dust Poets.> > h= ttp://www.thing.net/~grist/ld/lipman/lipman.htm> http://www.woodlandpattern= .org/gallery/exhibits.shtml> > > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D> FILM SERIES: THE FILMS OF MICHAEL ROBINSON THIS FRIDAY> =3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D> > Beautiful, Wary: The= Films of Michael Robinson> > Friday, March 30, 7pm, $2> Woodland Pattern E= xperimental Film/Video Series> Presented by the UWM Department of Film> > W= oodland Pattern Book Center> 720 East Locust Street, Milwaukee> > Filmmaker= Michael Robinson in person!> > In a series of films both deftly beautiful = and exquisitely> suspicious, Michael Robinson unfurls captivating imagery a= s a means> of surveying the landscape of a possible romanticism. Bracingly>= smart and a pleasure to behold, his films offer a consideration of> the va= lence of beauty and the chance of sincerity. Currently based> in Chicago, R= obinson has presented his prize-winning films all over:> at, for instance, = the New York Film Festival=92s Views from the Avant> Garde, the Internation= al Film Festival of Rotterdam, Images> (Toronto), the Media City Film Festi= val, the London Film Festival,> the Onion City Film Festival in Chicago, an= d the Milwaukee> Underground Film Festival.> > http://www.woodlandpattern.o= rg/gallery/efv.shtml> > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D> UPCOMING EVENTS> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D> > Fri. 3/30: Beautiful, Wary: The Films of Michael Robinson; 7:00 > > = Sun. 4/1: Joel Lipman Opening Reception & Gallery Talk; 2:00 pm> > Wed. 4/4= : Juan Felipe Herrera & Cristina Cabral at UWM; 6:30 pm> > Th. 4/12: Ethelb= ert Miller on Langston Hughes at MPL; 7:00 pm> > Fri. 4/13: Ethelbert Mille= r & John Keene; 7:00 pm> > Sun. 4/15: Duncan / Levertov Reading Group; 3:00= pm> > Wed. 4/18: Elliot Lipchik & Stephen Anderson; 7:00 pm> > Fri. 4/20: = Redletter Reading Series> > Sat. 4/21: Serious Play Workshop with Robert Mc= Donald; 1:00 pm> > Sat. 4/21: Wisconsin Lit Bash, Milladore WI; 10:00 am to= 4:00 pm> > Tue. 4/24: Discussion and Craft with Gene Tanta; 6:30 pm> > Th.= 4/26: Ron Padgett on O'Hara & Koch at MPL; 7:00 pm> > Fri. 4/27: Ron Padge= tt & Daniel Borzutzky; 7:00 p.m> > Sat. 4/28: Film performances by Grant Wi= edenfeld> > http://www.woodlandpattern.org/> > ____________________________= ________________________________________> To receive regular messages notif= ying you of Woodland Pattern> events, send a message to us at woodlandpatte= rn@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/> > Woodlan= d Pattern Book Center> 720 E. Locust Street> Milwaukee, WI 53212> phone 414= .263.5001 _________________________________________________________________ It=92s tax season, make sure to follow these few simple tips=20 http://articles.moneycentral.msn.com/Taxes/PreparationTips/PreparationTips.= aspx?icid=3DWLMartagline= ========================================================================= Date: Thu, 29 Mar 2007 16:27:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David-Baptiste Chirot Subject: Re: Suzanne Stein at SPT/An Entropy of deju vu all over again? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Many thanks to Elizabeth Treadwell and Melissa Benwell for their informativ= e, inspiring and exciting letters. Actually the Hall being vast and dark w= ith a diminutativing (???) effect on the human voice sounds like an environ= ment fraught with possiblities and challenges. Jonah in the belly of the w= hale. Orpheus in the Underworld. Prisoners rendered to secret locations.l= The Dark Night of the Soul. The Darkness Before the Dawn. The cave worl= d in which the paintings are made on the walls. The birth of humanity from = a cave in the mountains. Or the Hall as a womb and a performance as a birt= h. I wondered if anyone else was struck in the description by Stpeh = Vincent of Suzanne Stein's performance by an entropy of the feeling of dej= a vu all over again? They run together a bit at this point, memories of ma= ny performances very similar to this in gallerys, shows, spaces, lofts in t= he '70's and very early '80's in NYC and Boston. Question everything! The = role of the performer, of the audience, of the space, of the system of such= set-ups, of the pedgogical relationship of performer-audience, power strug= gles of performer-audience, the difference between paying for a ticket to s= uch a performance and attending one for free, and so on and on. The influen= ce of Punk at the time gave a more aggressive and energetic feeling to even= very static pieces--the audiences and performers seemed to have a sense of= excitement and risk that could generate at any moment the unexpected of an= y variety--epiphany, diasaster, boredom, frustration, anger, joy, disgust, = sober critique. Or something just very plain and flat as a pair of worn ou= t pumps. Which showed the signs of wear. Even in its tiredness there was so= me life left. The description by Stephen of Suzanne Stein's performanc= e and her audience reads like a replay of the old performance ideas, basica= lly a script out of a textbook for Performance 101 anymore, but with an ent= ropy of energy and ideas on the part of performer and audience both that = is astonishing for sheer passivity. (Maybe not so astonishing--recenlty he= ard very powerful AIDS actvist speak of a "culture of non-involvement, non-= activism". ) Since it was an audience of mostly fellow poets, maybe everyon= e just being very polite, not wishing to hurt the poet on stage's feelings = by asking a question that might burst the bubble. Or the poet answer a que= stion with something that might burst an audience member's bubble. Twenty-= five minutes of forced, awkward questions avoiding anything impolite or di= fficult, twenty-five minutes of everyone doing as little as possible to get= by and fill the time with empty gestures (NOT the "degree zero of performa= nce" as Stephen suggests, but empty gestures gone through to fill the time = that's been paid for by the polite audience, and that the performer has bee= n paid for--and at a higher rate than previously, as Elizabeth notes, thank= s to the new and more challenging Hall.) I exagerate of course, esp= . not having been there, yet going by the description there doesn't seem an= ything "bold", as Stephen writes, going on, nothing or no one being challen= ged in any way. I keep thinking, my god what so many poet and musician fri= ends and myself wouldn't give for a space like this! Because it's an exci= ting challenge. Performance degree zero in a sense is not looking at the s= pace and seeing what it is not and basically critiquing and complaining abt= this--it is taking what is there in front of one as it is and putting the = senses to work to find the endless possibilities hidden in plain site/sight= /cite. ("Carpe diem" m'f'er as people say--"When the going gets tough, the= tough get going".) Acceleration from zero--not an entropy into a "bol= d" "bald" almost zero which is a reworked version of the cliched reaffirma= tion of the survival of the Precious in the face of the overwhelmingly Vulg= ar, a lone, lit visage floating in the vast, frightening, dark emptiness of= the Hall. No, for: "Our petrified idea of the theater is c= onnected with our petrified idea of a culture without shadows, where, no ma= tter which way it turns, our mind (esprit) encounters only emptiness, THOUG= H SPACE IS FULL." (my emphasis) --Antonin Artaud, Preface to The Theatre = & its Double > Date: Mon, 26 Mar 2007 15:35:26 -0700> From: steph484@= PACBELL.NET> Subject: Re: Suzanne Stein at SPT> To: POETICS@LISTSERV.BUFFAL= O.EDU> > I don't think there was anything in my piece that singled out Eliz= abeth> Treadwell as being responsible for the frequently noted shortcomings= of> Timken Hall! The limits did emerge during Suzanne Stein's piece as va= rious> questions were asked about her sense of her presence in the space. I= n fact,> what she was doing, had much larger intentions than being an archi= tectural> critique. I hope my 'review' got at those intentions.> > But, if = one wants to just focus on Timken Hall as space, I think Linda Russo> is ri= ght. Non-profits of all sorts frequently float into places that are not> at= the top of 'performance' or 'office' food chain. Indeed non-profits> (unle= ss their bogey prop orgs for wealthy right wingers) maybe, by> definition, = follow the money to the short, not rich end of the stick!> > In my opinion,= the beauty of poets and poetry readings - one series or> another - is to m= orph and variously adapt to the given conditions where the> combination of = poets, the poems and the audience give a powerful shape to a> place or time= . (I have seen poets give good and memorable readings off the> limbs of tre= es~) Some places are clearly legendary - in San Francisco the> Grand Piano = (a coffee shop in the Haight) was one, but there have been many> others. I= t's all part of risk, funk and charm of being on the margins. I am> sure we= can all name places to which we would never go back.> > It's when things g= o institutional and permanent that a series can get into a> weird stasis. = The physical and neighborhood circumstances of SPT at New> College auditori= um (as well as the writing happening during that period -> nineties) gave = the place and readings a real juice. SPT at Timken Hall at> CAA - no matte= r the liveliness of the poetry scene - has been an argument> from the start= . The only thing that saves it is the loyalty of the audience> and good poe= ts willing to rise above its gross darkness, as well as submit> to the isol= ation of the neighborhood.> >> > > > On Mar 24, 2007, at 2:29 PM, Stephen V= incent wrote:> > > >> Susan Stein - poet and performance artist - created w= hat might be> >> called "a> >> presence" (rather than a 'reading' or 'perfo= rmance') to an> >> audience of> >> primarily poets last night (Friday) at = Small Press Traffic. The> >> event was a> >> combination of 'off-putting', = 'embracing' and 'thought provoking.'> >> As all SPT events, this one took p= lace in the Timken Lecture Hall> >> on the San> >> Francisco Campus of the = California College of Arts - the home of> >> SPT since -> >> in the opinion= of many - its sad departure from the much more 'user> >> friendly' neighbo= rhood of New College on Valencia, which included the> >> occasional use of = a theater space with a much kinder ambience for> >> both poets> >> and audi= ence.> >> Indeed, one of Susan's unfolding objectives came to deal with the= > >> architectural limits of Timken Hall - a dark space (unless its> >> ful= l) that> >> sucks the energy out of both audience and whoever might be the = poet> >> who is> >> reading. Listeners, poets and whatever language goes i= nto the air> >> of Timken> >> Hall have to work real hard to protect, hear = and enjoy each other!> >> Indeed> >> the lecture hall must have been design= ed as an architectural> >> afterthought> >> (Oh, yes, 'we should have a pla= ce for students to hear an occasional> >> lecture.")> >> > >> But that's me= rely preface to circumstance. Susan did - what seems in> >> retrospect - a = quite brave thing. Dressed in black, all the> >> lighting was> >> turned of= f, the audience 'darkened', and one stage light was> >> pointed at her> >> = face. She announced she had 25 minutes, and that she would take> >> questio= ns.> >> Other than that, she gave no sense of agenda, objective or whatever= .> >> The questions began to come forth. I should say it was an audience> >= > of poets> >> most of whom had some kind of association with Susan, from d= istant to> >> familiar. The questions from pedestrian to more complex - eac= h one> >> of which> >> she considered carefully or even admitted that she w= as unable to> >> answer.> >> Some were predictable, "Are you working on a p= oem now," many> >> forgettable.> >> Nobody asked anything stupidly personal= . Yet, as things evolved -> >> what was> >> most interesting to me anyway -= were issues around how she was> >> experiencing> >> the space and how othe= r poets may or may not have been able to> >> establish a> >> sense of prese= nce in this particular space (which it was agreed> >> between her> >> and u= s to be an historic problem). X poet with equipment was able> >> to make it= > >> work, and, by implication not poet a, b, or c.) Sporadically> >> throu= gh the 25> >> minutes, persons would ask what she was feeling at the moment= to> >> which she> >> sometimes addressed as a sense of 'vulnerability' - = being exposed> >> as such.> >> I asked what was the difference between 'vul= nerability' and> >> 'intimacy' - a> >> question, like each one, she honored= as such, but questioned. But> >> having a> >> 'good answer' - one that wou= ld excite the audience did not seem to> >> be the> >> objective in any case= .> >> > >> As a person in the audience, I felt back and forth 'impatient' a= nd> >> then> >> intrigued with a response here or there, or a particular qu= estion.> >> Only> >> gradually - and this is the brave part - did it become= clear what> >> she was> >> doing, or so it seemed to me. What we witnessed= was 'presence' in> >> which the> >> the whole scaffolding normally implici= t to a reading or performance> >> was> >> stripped bare. As much as we in t= he audience waited for or called out> >> questions that might provoke a des= ired response, a 'stream called> >> poetry',> >> (a narrative, an image, an= epiphany!! anything!) nothing of the> >> sort was> >> forthcoming beyond S= usan's analysis of her ability to answer the> >> question.> >> Her tone was= neither judgmental or dismissive.> >> > >> It was in that 'frustration' (n= o poetic goods) to 'hear something'> >> that I> >> gradually (after) came t= o realize what Susan was stripping the> >> architecture> >> off the conditi= on/expectations/rhetoric of readings, performances,> >> and - in> >> the da= rkness - the normal architecture of this most often dreadful> >> space.> >>= Maybe, thinking more about it, Susan's presence was a Barthian> >> version= of> >> 'performing' instead of 'writing degree zero. Ironically her> >> "= presence" had> >> an insistence to it, one in which, in its baldness, we we= re taken> >> to a point> >> that precedes every conceivable apparatus of po= em, performance and> >> space.> >> > >> Where one goes from there - particu= larly in Timken Hall - I am not> >> about to> >> speculate. But it was time= ly, and, the day after, as I suggested,> >> it seems> >> quite brave, as we= ll as unique to my experience of poets and> >> audiences in> >> shared spac= es.> >> > >> No doubt, and hopefully others who were there, will put their>= >> 'take' in> >> here.> >> > >> Stephen V> >> http://stephenvincent.net/bl= og/> >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > >> > = >>=20 _________________________________________________________________ Your friends are close to you.=A0Keep them that way. http://spaces.live.com/signup.aspx= ========================================================================= Date: Thu, 29 Mar 2007 17:13:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at the Poetry Project 3/30 - 4/13 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Dear Ones,=20 Please join us Friday night and Saturday afternoon for two terrific events. Our office will be closed from April 1 =AD April 8, during which time we will host no readings. Please join us upon our happiest of returns, beginning Monday, April 9. Love, The Poetry Project Friday, March 30, 10:30 pm Synesthesia: Cat Tyc and Sara Jaffe Cat Tyc and Sara Jaffe present a night of video, fiction and music. "The Synesthesia Series" of abstract videos focuses on solitary images and sound on a parallel plane, with a romantic French nod to the collage process of experiential sense memory expression. Upping the ante are the words and perchance the live music of Sara Jaffe. Cat Tyc is a writer/videomaker whos= e work has shown at the Brooklyn Museum of Art, Anthology Film Archives, Cama= c Centre d'Art in Paris, the High Energy Constructs gallery in Los Angeles an= d the Portland Art Center in Oregon. Sara Jaffe is a fiction writer and musician currently living in Western Massachusetts. She is the former guitarist for dance-damaged band Erase Errata and proprietor of Inconvenien= t Press and Recordings, a DIY purveyor of handmade books and audio matter. Saturday, March 31, 2:00 pm, Free 8th Avenue Poems: Publication Party for Stefan Brecht A celebration of the publication of Stefan Brecht's 8th Avenue Poems, a collection of poems he wrote about his walk to and from the Chelsea Hotel, where he worked, for some 30 years. Following music, drinks and snacks, poe= t and novelist Robert Nichols will give a reading from the book, released thi= s past year by Spuyten Duyvil Press. There will be time after the reading to peruse 8th Avenue Poems and its companion book, 8th Avenue, recently published in limited edition by onestar press, with nearly 150 photographs Stefan Brecht took of the pavements along his route. Brecht was born in Berlin, Germany, in 1924, and came to America in 1942. He is a doctor of philosophy and has been a teacher, a writer on theater, Stein and Goya, as well as a late-night actor. after the break... Monday, April 9, 8:00 pm Brandon Brown & Alli Warren Brandon Brown is a poet and translator from Kansas City, Missouri. He had two chapbooks published in 2006, Memoirs of my Nervous Illness and 908-1078= . He has recently published work in magazines edited by his friends. In 2005-2006 he co-curated the Performance Writing series, with Jocelyn Saidenberg, at New Langton Arts in San Francisco. He lives in San Francisco with Alli Warren and their cast iron pans. Alli Warren was raised in the Valley of San Fernando in Southern California. In 2006, Lame House Press published Cousins, and previous to that, some were Hounds and some were Yoke. She works in Berkeley at Small Press Distribution. Wednesday, April 11, 8:00 pm Way More West: The Poems of Ed Dorn A reading to mark the publication of Way More West: New and Selected Poems by Edward Dorn. Ed Dorn was author of numerous books, including the comic-epic masterpiece Gunslinger. At the core of all of Dorn=B9s work is a deep sense of place and the people who occupy it, underpinned by a wry ironic dissent. Reading Dorn=B9s work will be Jennifer Dorn, Michael Rothenberg, Amiri Baraka, Anne Waldman, Ed Sanders, Ammiel Alcalay, George Kimball, Rosalie Sorrels and Anselm Berrigan. Friday, April 13, 10:00 pm *note earlier start time! Pocket Myths: The Odyssey A reading to celebrate the fourth publication of the Pocket Myths series. The Odyssey is a film and book collaboration curated by Andrea Lawlor and Bernadine Mellis. The project features mostly queer, trans, and women artists working in and between genres to retell Homer's ancient epic of the aftermath of war. Readings by Emily Abendroth, Justin Audia, Ari Banias, Julia Bloch, Tonya Foster, Laura Jaramillo, Delia Mellis, Megan Milks, Ariana Reines and Frances Richard with a special presentation of Eileen Myles=B9s first film, Book 22. Emily Abendroth is a writer and artist currently residing in Philadelphia, where she co-curates (with Justin Audia= ) the Moles Not Molar experimental reading series. Justin Audia lives in Philadelphia. He learned everything he knows about sailors from Kenneth Anger, Herman Melville, and Guy Maddin. Ari Banias studies poetry in the MF= A program at Hunter College, and has recent poems in RealPoetik and Arts & Letters Journal of Contemporary Culture. Julia Bloch, whose poetry has appeared recently in Bay Poetics, earned an MFA at Mills College and is pursuing a PhD at the University of PA. Tonya Foster is the author of A Swarm of Bees in High Court (Belladonna Press, 2002) and co-editor of Third Mind: Creative Writing Through Visual Art and she teaches at Cooper Union and Bard College. Laura Jaramillo currently lives and writes in Philadelphia, where she is acquiring her Masters in Creative Writing at Temple University. Andrea Lawlor lives in Philadelphia, edits the Pocket Myths series, and is working on a collection of short stories. Bernadine Mellis is a filmmaker in Philadelphia. Her films include Born, The Golden Pheasant, farm-in-the-city (a collaboration with EE Miller), and The Forest for the Trees. Delia Mellis is a historian and martial artist who lives by the river in Athens, New York. Megan Milks writes for PopMatters.com and co-edits Mildred Pierce, a zine of cultural criticism. Eileen Myles=B9s newes= t collection of poems, Sorry, Tree, is out from Wave Books in April. Ariana Reines's first book, The Cow, won the Alberta Prize from Fence Books and wa= s published in December 2006. Frances Richard is a poet (See Through, Four Wa= y Books 2003) who lives in Brooklyn and teaches at Barnard College and the Rhode Island School of Design. Please visit www.pocketmyths.com for a complete list of contributors and more info on the project and series. Become a Poetry Project Member! http://poetryproject.com/membership.php Spring Calendar: http://www.poetryproject.com/calendar.php 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. If you=B9d like to be unsubscribed from this mailing list, please drop a line at info@poetryproject.com. POETS COFFEEHOUSE SCHEDULE, April 2007 =20 Brooklyn Central Library, 1 Grand Army Plaza (Eastern Parkway and Flatbush Avenue); take 2 or 3 train to Eastern Parkway/Brooklyn Museum of Art station. =20 All readings start at 7:00, in the second floor Meeting Room. Free admission and refreshments. =20 Curator: ROBERT HERSHON Tuesday, April 10 Edward Field, Anne Pierson Wiese and Elizabeth Swados Tuesday, April 17 George Green, Linda Susan Jackson and Erica Kaufman Tuesday, April 24 Gregory Pardlo, Meghan O=B9Rourke and Cathy Park Hong Tuesday, May 1 Thad Rutkowski, Rigoberto Gonz=E1les and Katha Pollitt ========================================================================= Date: Thu, 29 Mar 2007 16:16:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: complicit actions dismissed in a frenzy of greed In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052D48@TLRUSMNEAGMBX10.ERF.THOMSON.COM> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT On 29 Mar 2007 at 14:27, Tom W. Lewis wrote: > haven't read THE SECRET, but I wonder if it's on the same wavelength as > Dianetics, Rosicrucianism, EST, Eckanckar? does anyone on the list know > where the authors got their material from? ... << I understand they get them in brown paper bags left on the back porch step, and their credit cards are billed by an agency in Schenectady. Marcus ========================================================================= Date: Thu, 29 Mar 2007 16:44:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: complicit actions dismissed in a frenzy of greed In-Reply-To: <460BE654.27141.91EBF1@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable all the best secret societies fence their money through Schenectady.=20 or so I've been told.=20 "you ain't seen me, right?" -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Marcus Bales Sent: Thursday, March 29, 2007 18:16 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: complicit actions dismissed in a frenzy of greed On 29 Mar 2007 at 14:27, Tom W. Lewis wrote: > haven't read THE SECRET, but I wonder if it's on the same wavelength as > Dianetics, Rosicrucianism, EST, Eckanckar? does anyone on the list know > where the authors got their material from? ... << I understand they get them in brown paper bags left on the back porch step,=20 and their credit cards are billed by an agency in Schenectady. Marcus ========================================================================= Date: Thu, 29 Mar 2007 14:32:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: complicit actions dismissed in a frenzy of greed In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052D48@TLRUSMNEAGMBX10.ERF.THOMSON.COM> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline the secret, in particular, seems to have more in common with some of the 20s & 30s self-help books, a la Dale Carnegie: what started during the boom, when many were overspending their earnings, continued during the bust; the books now have a more religious flavor, as it is the temper of the time all in all there's an idea of a moral and ethical justification to success and failure, and of course fairly ingrained in the American psyche a roommate of mine in graduate school wrote his thesis on these books, and it is sort of interesting that they werethe best sellers (one was written by a Chinese immigrant!) when sinclair, dos passos, london, were writing in any case, specifically, a woman did channel the secret, and it was stolen from her, and there is a lot of hullaballoo about the whole thing don't get me started on endemic victimhood and governmental responsibility -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Thu, 29 Mar 2007 17:39:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: complicit actions dismissed in a frenzy of greed In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable sounds like Urantia, sort of -- you always want to ask, if this person was the recipient of such high knowledge, why wasn't she clued into the people / powers who "stole" it from her? I'm sure there's an answer, but it still makes me wonder about the nature of ultimate, cosmic knowledge and all that rot.=20 tl -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Catherine Daly Sent: Thursday, March 29, 2007 17:33 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: complicit actions dismissed in a frenzy of greed ... in any case, specifically, a woman did channel the secret, and it was stolen from her, and there is a lot of hullaballoo about the whole thing don't get me started on endemic victimhood and governmental responsibility --=20 All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Thu, 29 Mar 2007 16:09:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hugh Behm-Steinberg Subject: Re: complicit actions dismissed in a frenzy of greed In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052D48@TLRUSMNEAGMBX10.ERF.THOMSON.COM> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit My parents were into a lot of that stuff in the 70's, which didn't stop them from going broke in the 80's btw, secret possession or not, but oh god how I hated Eckankar, in which my parents would endlessly chant the most sacred tone in the universe, hyuuuuuuuuuuuuuuuuuuuuuuuuu. Hugh Behm-Steinberg --- "Tom W. Lewis" wrote: > CA, > > I used to work for a major New Age publisher -- your observations are > right on the $$ -- these books (largely) and related paraphernalia sell > the reader on their own specialness, perfectability if they aren't > fabulously wealthy and successful, and profitability if they are. it's a > form of ego-onanism. > > haven't read THE SECRET, but I wonder if it's on the same wavelength as > Dianetics, Rosicrucianism, EST, Eckanckar? does anyone on the list know > where the authors got their material from? (and don't say they channeled > Jesus: I've already edited that book) > > tl > > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of CA Conrad > Sent: Monday, March 26, 2007 13:41 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: complicit actions dismissed in a frenzy of greed > > Has anyone seen or read this book THE SECRET? It's sort of > a condensed version of many different documents and teachings > shit directly from the bowels of New Age Hell. > > This book has a Ring Around the Rosie quality (literally, meaning > to ward off pestilence). While it claims ancient teachings of > certain magic practices known as glamouring, etc., though it > doesn't call it as such, it's built around the purpose of attracting > and holding onto STUFF, in particular wealth, in particular, a life > you've ALWAYS DREAMT WAS POSSIBLE. > > When I lived in Albuquerque for a brief time to study herbalism > I was confronted nearly every single day, no matter where I > found myself, with wealthy people who had one spiritual excuse > after another for their wealth, and for deserving it, and for the > need to maintain a life of luxury. It's not a new story of course. > > Greed has no news to tell. But LET ME SAY THIS to the > readers of THE SECRET. If we are to implement and LIVE > forward (?) with the document, and set it into motion, we are > not only saying that it's up to us to attract these things into > our lives, but to say to those less fortunate (in my opinion) that > they simply aren't trying hard enough. It's kind of like a game > of BLAME THE VICTIM! "Oh those poor bastards in Baghdad > just aren't TRYING HARD enough! Send them a box of > THE SECRET so they can all learn how THEY DESERVE to > have their houses bombed and their children murdered > for not USING THEIR dream life to bring happiness. Happy- > happy, bring happy-happy. Silly dumb people getting > bombed, what's the matter with them!?" > > It's no secret why Oprah Winfrey took to THE SECRET. > Like all rich people she wants to feel AT PEACE with her > extraordinary wealth while a web of suffering continues > to spider its way across the planet. > > I despise such crap! It's times like the late America we > all live in that help me FULLY UNDERSTAND the olden > days of marching to the castle gates with torches > and pitchforks. > > CAConrad > *the Frank Sherlock EMERGENCY FUND: > http://PhillySound.blogspot.com > for Deviant Propulsion & other books: > http://CAConrad.blogspot.com > for Light of Lakshmi tarot services: > http://LightOfLakshmi.blogspot.com > * > ____________________________________________________________________________________ We won't tell. Get more on shows you hate to love (and love to hate): Yahoo! TV's Guilty Pleasures list. http://tv.yahoo.com/collections/265 ========================================================================= Date: Thu, 29 Mar 2007 20:19:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: agj Subject: David-Baptiste Chirot In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit A short but most sincere note! I've, this ol' man, and I've lived liked my grandpappy and seen the world -- or that's what some might say. And there's lots I don't know. But David is a class act, a brilliant man, a devoted man -- as we all know. I just want everyone to know how deeply and dearly I feel honored to have met and to be able to earn his friendship. This is the "!" Son of the Green Lantern -- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) ____________________________________________________________________________________ The fish are biting. Get more visitors on your site using Yahoo! Search Marketing. http://searchmarketing.yahoo.com/arp/sponsoredsearch_v2.php ========================================================================= Date: Thu, 29 Mar 2007 17:37:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Suzanne Stein at SPT/An Entropy of deju vu all over again? In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable David - for not having been there - I think your queries and thoughts are interesting (as usual). If I had not been at the Stein performance I might have well expressed similar doubts. (I, too, went through, including participating, a maxed out phase of most conceivable kinds of art/poet/theater related 70's performances - from the veritably ecstatic to intellectually provocative to the most the dull, infinitely endless, pretentious events imaginable.) Of many probably limited possibilities, I think Suzanne brought a strong and interesting 'arsenal' to the space. To repeat - vis-=E0-vis the SPT/Timken Hall circumstance - the space is only able to be successful when poet/ the poems/ and the audience join forces to overcome the killing character of the theater's architecture and lighting. (A friend of mine who use to teach in the building jokes about the Timken - all lights on or dark - as a place where the singular resonant sound of Mussolini's boots would fit right in. There is something terribly repressiv= e about the joint.) =20 Why the College instructors and students - let alone poetry audiences and SPT Board and Administration - don't push on the College's Board and Administration to build a decent auditorium (especially in a college with multi-media degree programs that would seem to require a state of the art auditorium), I don't have a clue. I think the Timken family might be a bit pissed off at the reputation given to the Family name and insist on some changes. Who knows. Maybe now that people are more openly talking, something fresh will happen. Stephen V =20 > Many thanks to Elizabeth Treadwell and Melissa Benwell for their informat= ive, > inspiring and exciting letters. Actually the Hall being vast and dark wi= th a > diminutativing (???) effect on the human voice sounds like an environment > fraught with possiblities and challenges. Jonah in the belly of the whal= e. > Orpheus in the Underworld. Prisoners rendered to secret locations.l The= Dark > Night of the Soul. The Darkness Before the Dawn. The cave world in whic= h the > paintings are made on the walls. The birth of humanity from a cave in the > mountains. Or the Hall as a womb and a performance as a birth. I > wondered if anyone else was struck in the description by Stpeh Vincent o= f > Suzanne Stein's performance by an entropy of the feeling of deja vu all o= ver > again? They run together a bit at this point, memories of many performan= ces > very similar to this in gallerys, shows, spaces, lofts in the '70's and v= ery > early '80's in NYC and Boston. Question everything! The role of the > performer, of the audience, of the space, of the system of such set-ups, = of > the pedgogical relationship of performer-audience, power struggles of > performer-audience, the difference between paying for a ticket to such a > performance and attending one for free, and so on and on. The influence o= f > Punk at the time gave a more aggressive and energetic feeling to even ver= y > static pieces--the audiences and performers seemed to have a sense of > excitement and risk that could generate at any moment the unexpected of a= ny > variety--epiphany, diasaster, boredom, frustration, anger, joy, disgust, = sober > critique. Or something just very plain and flat as a pair of worn out pu= mps. > Which showed the signs of wear. Even in its tiredness there was some life > left. The description by Stephen of Suzanne Stein's performance and = her > audience reads like a replay of the old performance ideas, basically a sc= ript > out of a textbook for Performance 101 anymore, but with an entropy of ene= rgy > and ideas on the part of performer and audience both that is astonishin= g for > sheer passivity. (Maybe not so astonishing--recenlty heard very powerful= AIDS > actvist speak of a "culture of non-involvement, non-activism". ) Since it= was > an audience of mostly fellow poets, maybe everyone just being very polite= , not > wishing to hurt the poet on stage's feelings by asking a question that mi= ght > burst the bubble. Or the poet answer a question with something that migh= t > burst an audience member's bubble. Twenty-five minutes of forced, awkwar= d > questions avoiding anything impolite or difficult, twenty-five minutes o= f > everyone doing as little as possible to get by and fill the time with emp= ty > gestures (NOT the "degree zero of performance" as Stephen suggests, but e= mpty > gestures gone through to fill the time that's been paid for by the polite > audience, and that the performer has been paid for--and at a higher rate = than > previously, as Elizabeth notes, thanks to the new and more challenging Ha= ll.) > I exagerate of course, esp. not having been there, yet going by the > description there doesn't seem anything "bold", as Stephen writes, going = on, > nothing or no one being challenged in any way. I keep thinking, my god w= hat > so many poet and musician friends and myself wouldn't give for a space li= ke > this! Because it's an exciting challenge. Performance degree zero in a > sense is not looking at the space and seeing what it is not and basically > critiquing and complaining abt this--it is taking what is there in front = of > one as it is and putting the senses to work to find the endless possibili= ties > hidden in plain site/sight/cite. ("Carpe diem" m'f'er as people say--"Wh= en > the going gets tough, the tough get going".) Acceleration from zero-= -not > an entropy into a "bold" "bald" almost zero which is a reworked version = of > the cliched reaffirmation of the survival of the Precious in the face of = the > overwhelmingly Vulgar, a lone, lit visage floating in the vast, frighteni= ng, > dark emptiness of the Hall. No, for: "Our petrified idea = of > the theater is connected with our petrified idea of a culture without sha= dows, > where, no matter which way it turns, our mind (esprit) encounters only > emptiness, THOUGH SPACE IS FULL." (my emphasis) --Antonin Artaud, Prefa= ce to > The Theatre & its Double > Date: Mon, 26 Mar 2007 15:35:26 -0700> F= rom: > steph484@PACBELL.NET> Subject: Re: Suzanne Stein at SPT> To: > POETICS@LISTSERV.BUFFALO.EDU> > I don't think there was anything in my pi= ece > that singled out Elizabeth> Treadwell as being responsible for the freque= ntly > noted shortcomings of> Timken Hall! The limits did emerge during Suzanne > Stein's piece as various> questions were asked about her sense of her pre= sence > in the space. In fact,> what she was doing, had much larger intentions th= an > being an architectural> critique. I hope my 'review' got at those intenti= ons.> > > But, if one wants to just focus on Timken Hall as space, I think Linda > Russo> is right. Non-profits of all sorts frequently float into places th= at > are not> at the top of 'performance' or 'office' food chain. Indeed > non-profits> (unless their bogey prop orgs for wealthy right wingers) may= be, > by> definition, follow the money to the short, not rich end of the stick!= > > > In my opinion, the beauty of poets and poetry readings - one series or> > another - is to morph and variously adapt to the given conditions where t= he> > combination of poets, the poems and the audience give a powerful shape to= a> > place or time. (I have seen poets give good and memorable readings off th= e> > limbs of trees~) Some places are clearly legendary - in San Francisco the= > > Grand Piano (a coffee shop in the Haight) was one, but there have been ma= ny> > others. It's all part of risk, funk and charm of being on the margins. I= am> > sure we can all name places to which we would never go back.> > It's when > things go institutional and permanent that a series can get into a> weird > stasis. The physical and neighborhood circumstances of SPT at New> Colle= ge > auditorium (as well as the writing happening during that period -> ninet= ies) > gave the place and readings a real juice. SPT at Timken Hall at> CAA - n= o > matter the liveliness of the poetry scene - has been an argument> from th= e > start. The only thing that saves it is the loyalty of the audience> and g= ood > poets willing to rise above its gross darkness, as well as submit> to the > isolation of the neighborhood.> >> > > > On Mar 24, 2007, at 2:29 PM, Ste= phen > Vincent wrote:> > > >> Susan Stein - poet and performance artist - create= d > what might be> >> called "a> >> presence" (rather than a 'reading' or > 'performance') to an> >> audience of> >> primarily poets last night (Fri= day) > at Small Press Traffic. The> >> event was a> >> combination of 'off-putti= ng', > 'embracing' and 'thought provoking.'> >> As all SPT events, this one took > place in the Timken Lecture Hall> >> on the San> >> Francisco Campus of t= he > California College of Arts - the home of> >> SPT since -> >> in the opini= on of > many - its sad departure from the much more 'user> >> friendly' neighborh= ood > of New College on Valencia, which included the> >> occasional use of a th= eater > space with a much kinder ambience for> >> both poets> >> and audience.> >= > > Indeed, one of Susan's unfolding objectives came to deal with the> >> > architectural limits of Timken Hall - a dark space (unless its> >> full) = that> > >> sucks the energy out of both audience and whoever might be the poet> >= > who > is> >> reading. Listeners, poets and whatever language goes into the air= > >> > of Timken> >> Hall have to work real hard to protect, hear and enjoy each > other!> >> Indeed> >> the lecture hall must have been designed as an > architectural> >> afterthought> >> (Oh, yes, 'we should have a place for > students to hear an occasional> >> lecture.")> >> > >> But that's merely > preface to circumstance. Susan did - what seems in> >> retrospect - a qui= te > brave thing. Dressed in black, all the> >> lighting was> >> turned off, t= he > audience 'darkened', and one stage light was> >> pointed at her> >> face.= She > announced she had 25 minutes, and that she would take> >> questions.> >> = Other > than that, she gave no sense of agenda, objective or whatever.> >> The > questions began to come forth. I should say it was an audience> >> of poe= ts> > >> most of whom had some kind of association with Susan, from distant to>= >> > familiar. The questions from pedestrian to more complex - each one> >> of > which> >> she considered carefully or even admitted that she was unable t= o> >> > answer.> >> Some were predictable, "Are you working on a poem now," many>= >> > forgettable.> >> Nobody asked anything stupidly personal. Yet, as things > evolved -> >> what was> >> most interesting to me anyway - were issues ar= ound > how she was> >> experiencing> >> the space and how other poets may or may= not > have been able to> >> establish a> >> sense of presence in this particula= r > space (which it was agreed> >> between her> >> and us to be an historic > problem). X poet with equipment was able> >> to make it> >> work, and, by > implication not poet a, b, or c.) Sporadically> >> through the 25> >> min= utes, > persons would ask what she was feeling at the moment to> >> which she> >> > sometimes addressed as a sense of 'vulnerability' - being exposed> >> as > such.> >> I asked what was the difference between 'vulnerability' and> >> > 'intimacy' - a> >> question, like each one, she honored as such, but > questioned. But> >> having a> >> 'good answer' - one that would excite th= e > audience did not seem to> >> be the> >> objective in any case.> >> > >> A= s a > person in the audience, I felt back and forth 'impatient' and> >> then> >= > > intrigued with a response here or there, or a particular question.> >> On= ly> > >> gradually - and this is the brave part - did it become clear what> >> = she > was> >> doing, or so it seemed to me. What we witnessed was 'presence' in= > >> > which the> >> the whole scaffolding normally implicit to a reading or > performance> >> was> >> stripped bare. As much as we in the audience wait= ed > for or called out> >> questions that might provoke a desired response, a > 'stream called> >> poetry',> >> (a narrative, an image, an epiphany!! > anything!) nothing of the> >> sort was> >> forthcoming beyond Susan's ana= lysis > of her ability to answer the> >> question.> >> Her tone was neither judgm= ental > or dismissive.> >> > >> It was in that 'frustration' (no poetic goods) to > 'hear something'> >> that I> >> gradually (after) came to realize what Su= san > was stripping the> >> architecture> >> off the condition/expectations/rhe= toric > of readings, performances,> >> and - in> >> the darkness - the normal > architecture of this most often dreadful> >> space.> >> Maybe, thinking m= ore > about it, Susan's presence was a Barthian> >> version of> >> 'performing' > instead of 'writing degree zero. Ironically her> >> "presence" had> >> a= n > insistence to it, one in which, in its baldness, we were taken> >> to a p= oint> > >> that precedes every conceivable apparatus of poem, performance and> >> > space.> >> > >> Where one goes from there - particularly in Timken Hall -= I am > not> >> about to> >> speculate. But it was timely, and, the day after, as= I > suggested,> >> it seems> >> quite brave, as well as unique to my experien= ce of > poets and> >> audiences in> >> shared spaces.> >> > >> No doubt, and hope= fully > others who were there, will put their> >> 'take' in> >> here.> >> > >> St= ephen > V> >> http://stephenvincent.net/blog/> >> > >> > >> > >> > >> > >> > >> >= >> > > >> > >> > >> > >> > >> > >> > >> > _________________________________________________________________ > Your friends are close to you.=A0Keep them that way. > http://spaces.live.com/signup.aspx ========================================================================= Date: Thu, 29 Mar 2007 20:47:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: agj Subject: Re: David-Baptiste Chirot 2 In-Reply-To: <688856.99702.qm@web54609.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I may be 85% SHEEP AND ONLY 15% HUMAN WHEN I Write, sometimes, but David needs to be on everyone's list! -- That's what I am saying and I hope with little embarrassment to Mr. Chirot. From this "Dirty ol' Towne," Alex -- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) ____________________________________________________________________________________ Never miss an email again! Yahoo! Toolbar alerts you the instant new Mail arrives. http://tools.search.yahoo.com/toolbar/features/mail/ ========================================================================= Date: Thu, 29 Mar 2007 17:53:56 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: David-Baptiste Chirot 2 In-Reply-To: <20070330034744.53153.qmail@web54605.mail.re2.yahoo.com> MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=iso-8859-1 Content-transfer-encoding: QUOTED-PRINTABLE ewan maccoll is the bees' knees. g No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.1.412 / Virus Database: 268.18.4/705 - Release Date: 2/27/2007 On Thu, 29 Mar 2007, agj wrote: > I may be 85% SHEEP AND ONLY 15% HUMAN WHEN I Write, > sometimes, but David needs to be on everyone's list! > -- That's what I am saying and I hope with little > embarrassment to Mr. Chirot. > > From this "Dirty ol' Towne," > Alex > > -- > "[H]e who leaps into the void owes no explanation > to those who watch.=94 (Jean-Luc Godard) > > > > _________________________________________________________________________= ___________ > Never miss an email again! > Yahoo! Toolbar alerts you the instant new Mail arrives. > http://tools.search.yahoo.com/toolbar/features/mail/ > ========================================================================= Date: Fri, 30 Mar 2007 09:32:13 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sam Ladkin Subject: Invitation MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Henri Maccheroni Books/Works 28 April-19 May An exhibition in the Wren Library, Trinity College, Cambridge Mondays to Fridays, 12 - 2pm. Saturdays 10.30am - 12.30pm Events planned in conjunction with this major exhibition: Friday 27 April 5.30 - 7.30pm. Old Combination Room, Trinity College Choiseul-Praslin Lectures: Michel Butor, May Livory and Rapha=EBl Monticelli, writers, critics and designers, will read from their work. Saturday 28 April Cambridge 10 - 11.30am. Wren Library, Trinity College Maccheroni and his authors: A presentation and debate between the artist Henri Maccheroni and Michel Butor, May Livory, Rapha=EBl Monticelli and Tessa Tristan, who have collaborated on several books included in the exhibition. Additional copies of these spectacular books will be on display. Friday 18 May 5.30 - 7.30pm. Old Combination Room, Trinity College Choiseul-Praslin Lectures: B=E9atrice Bonhomme and Bernard Vargaftig, poets, will read from their work= . All welcome An accompanying book, _Maccheroni, Books/Works_, published by Black Apollo Press, edited by Jean Khalfa, will be available at the events or directly from Black Apollo (www.blackapollo.com). A limited edition 'tirage de t=EAte' will include original works by Maccheroni. With the Support of Trinity College, Cambridge and the French Embassy, London ---------------------------------------------------------------------------= - ---------------------------------------------------------------------------= - Henri Maccheroni Henri Maccheroni is a painter, photographer and poet. He was first influenced by Surrealism and his famous _2000 photographies du sexe d'une femme_ remain unequalled in their visual power. He became at the beginning of the 70's the theorist and main protagonist of "art socio-critique". His work has questioned the meaning and status of visual symbols in art and society using painting, photography, photomontage and engraving. Co-founder with Michel Butor of the Centre National d'Art Contemporain Villa Arson of Nice, he has worked regularly with writers such as Butor, Jean-Pierre Faye and Jean-Fran=E7ois Lyotard to create spectacular "cross-works" or books of dialogue between writing and the visual arts. Several were recently shown at the Biblioth=E8que Nationale de France. He exhibits regularly in France and abroad, and in the UK a selection of his work was shown at the Whitechapel Gallery in the autumn of 2006, together with works by Balthus, Claude Cahun, Marcel Duchamp, Pierre Molinier and Unica Z=FCrn. The Wren Library exhibition, curated by the main specialist of his work, Tessa Tristan, will be his first retrospective exhibition in the country. Michel Butor Michel Butor is a novelist, poet and essayist. He became famous with experimental novels such as _La Modification_, emblematic of the Nouveau Roman's movement, but his poetic work, developed over half a century, is equally considerable. Acutely attentive to the contemporary world he has constantly invented new forms of representation. His regular collaboration with painters has led to important critical essays about artists and the notion of "cross-works", as well as the making of many such artists' books. The French National Library paid homage to his prolific work in a major exhibition, "Michel Butor, l'=E9criture nomade", in 2006. Butor has analyse= d Henri Maccheroni's work in _Probl=E8mes de l'art contemporain =E0 partir de= s travaux d'Henri Maccheroni_ (1983). With him he created a remarkable trilogy of artist's books on New York. Other notable joint works are _Tarot_ (1980), _In inctu oculi_ (1995), _R=E9capitulation 2000_ (2000) and _Nymph=E9as_ (2002). May Livory May Livory is an eclectic artist and designer who mixes graphic design, painting, writing, fashion design, copy-art, scan art and digital photography, questioning the boundaries of art and endeavouring to create new paths, for instance, her remarkable "Bijoux d'Ongles" and her projects of "wearable art". She is also a writer, contributing regularly to art journals and her internet site, Shukaba, is dedicated to innovative thoughts on trends, rumours and urban art. As a small press publisher she has produced several "cross-works", in particular with Michel Butor and with Claude Chanaud, and, with Maccheroni, _Sans Dessous Dessus_. Rapha=EBl Monticelli Rapha=EBl Monticelli is an influential writer and art critic who has published more than 20 volumes. Originator of several artistic groups and alternative galleries, he is in particular a member of L'Amourier, a collaborative small press specialising in artists' books. He has worked with several artists and writers, such as Leonardo Rosa, Max Charvolen, Alain Freixe and Michel Butor for cross-works, a genre he considers as a central focus of his practice. With Henri Maccheroni he published _christs II_ (1993) and _INRI_ (1999). B=E9atrice Bonhomme B=E9atrice Bonhomme is a poet and a lecturer at the University of Nice, whe= re she runs a seminar on contemporary poetry. She co-founded in 1994 the journal "Nu(e)" which publishes works by and on contemporary artists and poets. As a literary critic, she has published works which have their own poetic dimension, on writers such as Yves Bonnefoy, Philippe Jaccottet, Bernard Vargaftig, Jude St=E9fan, James Sacr=E9 or Salah St=E9ti=E9. With H= enri Maccheroni she has published _L'Embellie_ in 1999 and edited an issue of _Nu(e)_ on the cross-works of Maccheroni and Claude Louis-Combet. Bernard Vargaftig Bernard Vargaftig is a poet and translator, the author of more than thirty collections of poetry published by Gallimard and Flammarion among others, and a member of the editorial board of Esprit. In 1991 he published _Ou Vitesse_ and won the Prix Mallarm=E9 for his whole work. He has collaborate= d with many artists, such as Apel.les Fenosa, Olivier Debr=E9, Michel Steiner= , Colette Debl=E9, and Anne Slacik. He also translated the works of the Hungarian poet Sandor Woeres and of the Italian poets Camillo Sbarbaro and Franco Loi, and directed two poetic anthologies, _La Po=E9sie des Romantiques_ et _Po=E9sies de R=E9sistance_. He is the author of several cross-works with Henri Maccheroni and published in 2001 _Portrait imaginaire de Henri Maccheroni_ and _L'Inclinaison int=E9rieure_. ========================================================================= Date: Fri, 30 Mar 2007 05:01:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: agj on dbchirot In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Alex, Hear, hear! David's la creme de la creme, yes indeed. :D Alex www.alexdickow.net/blog/ les mots! ah quel désert à la fin merveilleux. -- Henri Droguet ========================================================================= Date: Fri, 30 Mar 2007 08:25:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: complicit actions dismissed in a frenzy of greed MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable hey, I live across town from the World HQ of the all-powerful Eck -- = went on a tour of the place a few years back -- Prince's "Paisley Park" = recording studio used to be up the road from the Eck temple, which made = for an intesting two-fer experience, if you could handle it.=20 did your parents ever get to the exalted mountaintop city in the = Himalayas where all the ascended masters live? paging Madame = Blavatsky...=20 -----Original Message----- From: UB Poetics discussion group on behalf of Hugh Behm-Steinberg Sent: Thu 3/29/2007 6:09 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: complicit actions dismissed in a frenzy of greed =20 My parents were into a lot of that stuff in the 70's, which didn't stop = them from going broke in the 80's btw, secret possession or not, but oh god how I hated Eckankar, = in which my parents would endlessly chant the most sacred tone in the universe, = hyuuuuuuuuuuuuuuuuuuuuuuuuu. Hugh Behm-Steinberg --- "Tom W. Lewis" wrote: > CA,=20 >=20 > I used to work for a major New Age publisher -- your observations are > right on the $$ -- these books (largely) and related paraphernalia = sell > the reader on their own specialness, perfectability if they aren't > fabulously wealthy and successful, and profitability if they are. it's = a > form of ego-onanism.=20 >=20 > haven't read THE SECRET, but I wonder if it's on the same wavelength = as > Dianetics, Rosicrucianism, EST, Eckanckar? does anyone on the list = know > where the authors got their material from? (and don't say they = channeled > Jesus: I've already edited that book) >=20 > tl > =20 >=20 > -----Original Message----- > From: UB Poetics discussion group = [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of CA Conrad > Sent: Monday, March 26, 2007 13:41 > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: complicit actions dismissed in a frenzy of greed >=20 > Has anyone seen or read this book THE SECRET? It's sort of > a condensed version of many different documents and teachings > shit directly from the bowels of New Age Hell. >=20 > This book has a Ring Around the Rosie quality (literally, meaning > to ward off pestilence). While it claims ancient teachings of > certain magic practices known as glamouring, etc., though it > doesn't call it as such, it's built around the purpose of attracting > and holding onto STUFF, in particular wealth, in particular, a life > you've ALWAYS DREAMT WAS POSSIBLE. >=20 > When I lived in Albuquerque for a brief time to study herbalism > I was confronted nearly every single day, no matter where I > found myself, with wealthy people who had one spiritual excuse > after another for their wealth, and for deserving it, and for the > need to maintain a life of luxury. It's not a new story of course. >=20 > Greed has no news to tell. But LET ME SAY THIS to the > readers of THE SECRET. If we are to implement and LIVE > forward (?) with the document, and set it into motion, we are > not only saying that it's up to us to attract these things into > our lives, but to say to those less fortunate (in my opinion) that > they simply aren't trying hard enough. It's kind of like a game > of BLAME THE VICTIM! "Oh those poor bastards in Baghdad > just aren't TRYING HARD enough! Send them a box of > THE SECRET so they can all learn how THEY DESERVE to > have their houses bombed and their children murdered > for not USING THEIR dream life to bring happiness. Happy- > happy, bring happy-happy. Silly dumb people getting > bombed, what's the matter with them!?" >=20 > It's no secret why Oprah Winfrey took to THE SECRET. > Like all rich people she wants to feel AT PEACE with her > extraordinary wealth while a web of suffering continues > to spider its way across the planet. >=20 > I despise such crap! It's times like the late America we > all live in that help me FULLY UNDERSTAND the olden > days of marching to the castle gates with torches > and pitchforks. >=20 > CAConrad > *the Frank Sherlock EMERGENCY FUND: > http://PhillySound.blogspot.com > for Deviant Propulsion & other books: > http://CAConrad.blogspot.com > for Light of Lakshmi tarot services: > = http://LightOfLakshmi.blogspot.com > * >=20 =20 _________________________________________________________________________= ___________ We won't tell. Get more on shows you hate to love=20 (and love to hate): Yahoo! TV's Guilty Pleasures list. http://tv.yahoo.com/collections/265=20 ========================================================================= Date: Fri, 30 Mar 2007 07:32:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Tonight is Poetry ... In-Reply-To: <561170.83047.qm@web35507.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit MiPOesias presents ~~ CHRISTOPHER STACKHOUSE, ADAM FIELED, and MATT HENRIKSEN ~~ Stain Bar, Brooklyn , NYC March 30, 2007 @ 7:00 p.m. ~~~~~~~~ Christopher Stackhouse's books are: Slip (Corollary Press, 2005), a collection of poems; Seismosis (1913 Press, 2006), a book featuring his drawings with text by writer/professor John Keene. He is a graduate fellow of Cave Canem, and a 2005 Fellow in Poetry from the New York Foundation for The Arts. A poetry editor at FENCE Magazine, he lives and works in Brooklyn , New York . http://www.mipoesias.com/EVIESHOCKLEYISSUE/stackhouse_c.html Adam Fieled is a poet, musician, and critic. His chapbook "Posit" is forthcoming from Dusie Press. He has released four albums, including two spoken word collections, "Raw Rainy Fog" (Radio Eris Records, 2002) and "Virtual Pinball/Madame Psychosis" (WSG Productions, 2006), and edits the blog-journal P.F.S. Post and the blog Stoning the Devil. He has work in Jacket, Rain Taxi, Blazexox, Dusie, Eratio, Nth Position, Cordite, Otoliths, Mipoesias, Cake Train, Words Dance, Word For/Word and Many Mountains Moving. A magna cum laude graduate of the University of Pennsylvania , he also holds an MFA in poetry from New England College and is a PhD candidate at Temple University in Philly. http://www.mipoesias.com/Poetry/fieled_palm.html Matthew Henriksen co-edits Typo and Cannibal and curates The Burning Chair Readings in Brooklyn . Recent poems appear in Absent, Agricultural Reader, and Wildlife. His chapbook, Is Holy, has recently emerged from horse less press. http://www.mipoesias.com/2007/henriksen_matt.htm ~~~~~~~~ STAIN BAR 766 Grand Street Brooklyn , NY 11211 (L train to Grand Street Stop, walk 1 block west) 718/387-7840 http://www.stainbar.com/ ~~~~~~~~ Hope you'll stop by! Amy King MiPO Host http://www.mipoesias.com ~~~~~~~~ --------------------------------- It's here! Your new message! Get new email alerts with the free Yahoo! Toolbar. ========================================================================= Date: Fri, 30 Mar 2007 10:52:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Waber Subject: vispoets.com weekly winner Comments: To: announce MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii In the reward for interestingness weekly event* at vispoets.com, the winner for week #3 is: PbN for his image: double alpha** from his codepo gallery. Congratulations to PbN, there's $25 worth of materials on their way to you from Scott Helmes's StampPad Press. Thanks to everyone who uploaded images to the gallery this week. Keep uploading new images for your chance to win next week. Regards, Dan * http://vispoets.com/index.php?showtopic=481 ** http://vispoets.com/index.php?automodule=gallery&req=si&img=1036 ---------------------------- vispoets.com stats (to date) ---------------------------- Registered Users: 88 Total Posts: 2021 Gallery Stats Our members have posted a total of 806 images and made 111 comments. Total Gallery Size: 152.87mb Total Image Views: 7641 ========================================================================= Date: Fri, 30 Mar 2007 09:31:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Barack Obama MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline first, the former pope was a poet, now... http://news.independent.co.uk/world/americas/article2398887.ece perhaps Martha Ronk cn shed some light on this? The poetry of Barack Obama, aged 19 Pop Sitting in his seat, a seat broad and broken In, sprinkled with ashes, Pop switches channels, takes another Shot of Seagrams, neat, and asks What to do with me, a green young man Who fails to consider the Flim and flam of the world, since Things have been easy for me; I stare hard at his face, a stare That deflects off his brow; I'm sure he's unaware of his Dark, watery eyes, that Glance in different directions, And his slow, unwelcome twitches, Fail to pass. I listen, nod, Listen, open, till I cling to his pale, Beige T-shirt, yelling, Yelling in his ears, that hang With heavy lobes, but he's still telling His joke, so I ask why He's so unhappy, to which he replies... But I don't care anymore, cause He took too damn long, and from Under my seat, I pull out the Mirror I've been saving; I'm laughing, Laughing loud, the blood rushing from his face To mine, as he grows small, A spot in my brain, something That may be squeezed out, like a Watermelon seed between Two fingers. Pop takes another shot, neat, Points out the same amber Stain on his shorts that I've got on mine, and Makes me smell his smell, coming From me; he switches channels, recites an old poem He wrote before his mother died, Stands, shouts, and asks For a hug, as I shink,* my Arms barely reaching around His thick, oily neck, and his broad back; 'cause I see my face, framed within Pop's black-framed glasses And know he's laughing too. Underground Under water grottos, caverns Filled with apes That eat figs. Stepping on the figs That the apes Eat, they crunch. The apes howl, bare Their fangs, dance, Tumble in the Rushing water, Musty, wet pelts Glistening in the blue. -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Fri, 30 Mar 2007 11:32:02 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crane's Bill Books Subject: Bill Knott's blog MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I don't know how kosher it is to promote another poet (perhaps = especially this poet) without his permission, but I just stumbled onto = Bill Knott's wild blog: http://billknott.typepad.com/ . (I see that Ron = Silliman's blog also has a link to it.) Lots and lots of his gorgeous, = startling, virtuosic and sublime poems are posted there, along with some = equally amazing commentary about the poetry business (and a collection = of blurbs from bad reviews--surely some of them made up?). Knott's name = came up recently on this list in connection with Russell Edson's, in a = note to the effect that some poets are absolutely sui generis and cannot = be placed in any school or category. I agree. Knott has been one of my = favorite poets since I first heard him read in, I think, 1978, at Wally = Butts' Newbury Book Gallery in Boston. I encourage everyone, especially = any younger poets unfamiliar with his work, to take a look. J.A. Lee Crane's Bill Books www.torriblezone.com ========================================================================= Date: Fri, 30 Mar 2007 16:25:36 -0300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ugo Calvigioni Subject: Amor L=?iso-8859-1?Q?=EDquido?= - LaLupe.com MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 8bit Amor Líquido http://www.lalupe.com/main/writer_portalauthor.php?idm=9&id=3&ng=0&ob=6922 Ugo Calvigioni LaLupe.com Círculo Internacional de Literatura Vanguardista www.lalupe.com ========================================================================= Date: Fri, 30 Mar 2007 14:45:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: clothing makes the poet In-Reply-To: <000c01c772f1$58417c80$e32b1341@JEFFREY> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable so what are you all wearing for Nat'l Poetry Month?=20 ( in the last 3 weeks, I have been asked maybe ten times "so, what are you doing for Nat'l Poetry Month?" ) ( maybe I should reply something like "I'm abstaining from using any relative pronouns in all of my spoken and written communications" ) tl ========================================================================= Date: Fri, 30 Mar 2007 13:13:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Dickey Subject: Re: clothing makes the poet In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052D65@TLRUSMNEAGMBX10.ERF.THOMSON.COM> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit waders "Tom W. Lewis" wrote: so what are you all wearing for Nat'l Poetry Month? ( in the last 3 weeks, I have been asked maybe ten times "so, what are you doing for Nat'l Poetry Month?" ) ( maybe I should reply something like "I'm abstaining from using any relative pronouns in all of my spoken and written communications" ) tl --------------------------------- Looking for earth-friendly autos? Browse Top Cars by "Green Rating" at Yahoo! Autos' Green Center. ========================================================================= Date: Fri, 30 Mar 2007 14:34:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Stroffolino Subject: Re: clothing makes the poet In-Reply-To: <54AA9B41BC35F34EAD02E660901D8A5A0A052D65@TLRUSMNEAGMBX10.ERF.THOMSON.COM> Mime-Version: 1.0 (Apple Message framework v752.3) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit my eyes must be getting bad... I originally thought you wrote Nazi Poetry Month... On Mar 30, 2007, at 12:45 PM, Tom W. Lewis wrote: > so what are you all wearing for Nat'l Poetry Month? > > > > ( in the last 3 weeks, I have been asked maybe ten times "so, what are > you doing for Nat'l Poetry Month?" ) > > ( maybe I should reply something like "I'm abstaining from using any > relative pronouns in all of my spoken and written communications" ) > > tl ========================================================================= Date: Fri, 30 Mar 2007 17:02:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Tom W. Lewis" Subject: Re: clothing makes the poet In-Reply-To: <6565A2D8-6BDC-43F6-88F3-1827D6045E19@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable National Socialist Party Poetry Month... that'd turn some heads! -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Chris Stroffolino Sent: Friday, March 30, 2007 16:35 To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: clothing makes the poet my eyes must be getting bad... I originally thought you wrote Nazi Poetry Month... On Mar 30, 2007, at 12:45 PM, Tom W. Lewis wrote: > so what are you all wearing for Nat'l Poetry Month? > > > > ( in the last 3 weeks, I have been asked maybe ten times "so, what are > you doing for Nat'l Poetry Month?" ) > > ( maybe I should reply something like "I'm abstaining from using any > relative pronouns in all of my spoken and written communications" ) > > tl ========================================================================= Date: Fri, 30 Mar 2007 18:17:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: Re: clothing makes the poet In-Reply-To: <485394.48096.qm@web43137.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT camoflage On 30 Mar 2007 at 13:13, Eric Dickey wrote: > waders > > "Tom W. Lewis" wrote: > so what are you all wearing for Nat'l Poetry Month? > > > > ( in the last 3 weeks, I have been asked maybe ten times "so, what are > you doing for Nat'l Poetry Month?" ) > > ( maybe I should reply something like "I'm abstaining from using any > relative pronouns in all of my spoken and written communications" ) > > tl > > > > --------------------------------- > Looking for earth-friendly autos? > Browse Top Cars by "Green Rating" at Yahoo! Autos' Green Center. ========================================================================= Date: Fri, 30 Mar 2007 01:24:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: sorcery MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed 1 Chang to spread out or Leaf, sheet 2 either Yao, Luxurient, Calamity, Fresh-looking, early death or Wu (not likely) 3 Shih Army, troop, Master, teacher, tutor, instrutor 4 Ch'u to drive, lash, whip up or composite to drive away, expel 5 Hsieh, Yeh, Improper, heterodox, Deflected, inclined, vicious, deluding, obscene, possibly w/ 6, sorcery 6 Sh'ia To be in harmony with 7 Pin Disease, sickness, illness; to injure, damage, harass; to worry, defect, fault, weakness, vice 8 Ch'uan? Fully, absolutely, perfectly, All, whole, total, entire, complete 9 P'ieng Leaf, page, Chapter, section ...instructor for the expulsion of sorcery, ...complete section ...spreadsheet for early death... ...instructor for the whipping up of sorcery in harmony with damaging... ...fully damaging... ...pages... http://www.asondheim.org/5e.jpg http://www.asondheim.org/6e.jpg http://www.asondheim.org/7e.jpg http://www.asondheim.org/8e.jpg http://www.asondheim.org/9e.jpg ========================================================================= Date: Sat, 31 Mar 2007 15:17:50 +1000 Reply-To: JFK Sender: UB Poetics discussion group From: JFK Subject: Re: Chicago MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Hi everyone I'll be passing through Chicago April 12-16 and was hoping to catch some poetry events or meet up with some poets. Please contact me backchannel if you have anything to share or want to meet up for coffee and musings. Best Wishes Jayne Fenton Keane www.poetinresidence.com ========================================================================= Date: Sat, 31 Mar 2007 00:41:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: I am home to all my marking distance MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline I am home to all my marking distance All things awakened to the same end maintain this curiosity All things apprehend the richness of their own order Ask for that as truth - these times are unanswerable Whatever can interrogate this great apparition? Trust that perfection has no questions and no function, Ask that whatever can be is this curiosity of life -- Peter Ciccariello Image - http://invisiblenotes.blogspot.com/ ========================================================================= Date: Sat, 31 Mar 2007 02:46:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Boog City 1 PDF Now Available Free Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Hi all, For those of you who didn't take advantage of our earlier offer for a free pdf subscription to Boog City, you can do so now and receive not only the current issue, BC39, but our debut BC1, with subsequent back issues to follow. (content descriptions below for both issues.) Just reply to this note with your name and email in the body and you're all set. Thanks, David -------------------- Issue One, January 28-February 10, 2002 -The Beginning of a Great Adventure, opening editorial on why Boog City by the editor and publisher (me) -Lexicons from Erwin Karl (homeland security), Dan Rigney (good), and Dale Smith (the dead) -Greg Fuchs on art in a post-September 11 world -Kimberly Wilder=B9s Notes from My FBI File: Hey Bush--Sanctity, Sanctity Yourself -Poems from: David Baratier Anselm Berrigan Sean Cole John Coletti Ethan Fugate Lisa Jarnot Eliot Katz Aaron Kiely Eileen Myles Wanda Phipps, Kristin Prevallet Jenny Smith=8Bcover Lorenzo Thomas Ian Wilder=20 -art by Brendan Iijima -photos from Fuchs and an ad from the Bowery Poetry Club ---------- Boog City 39 =20 featuring: =20 ***Our Music section, edited by Jon Berger*** =20 --=B3When Phoebe Kreutz approached Luv-A-Lot Records=B9 Dashan Coram with the idea for Urban Barnyard=8Bthe whole municipal fauna thing=8Bwho knew the idea would have legs? What started out as a one-joke band has developed into multiple jokes, but also a pretty rocking affair.=B2=8Bfrom Urban Barnyard on Urban Barnyard, where the four members of Urban Barnyard reviewed some of the music that the others have recently produced (including Phoebe Kreutz=B9s We Gotta Go reviewed by Casey Holford, Art Sorority for Girls=B9 Alpha Sigma Gamma reviewed by Phoebe Kreutz, Dibs=B9 Dibs Bleeds Books reviewed by Daoud Tyler-Ameen, and Casey Holford=B9s January reviewed by Dibson T. Hoffweiler) followed by a review of their latest release, That=B9s the Idea, by Berger. =20 =20 ***Our Printed Matter section, edited by Mark Lamoureux*** =20 --=B3Throughout the chapbook, the =B3voice=B2 interweaves its two languages, and locating this voice becomes an act of readerly translation. The next sectio= n phonetically translates the Thai into English, scores the syllables, and meditates on the poem in English. =ADfrom Composite Poetry, composite. diplomacy. by Padcha Tuntha-obas (Tinfish), reviewed by Craig Perez =20 --=B3For all its realism, Carbon seems most interested in the point at which the real becomes surreal, the sublime absurdity of the plain face of things.=B2 --American Oracle, Carbon by Michael Ford (Ugly Duckling Presse), reviewed by Lamoureux =20 =20 ***Our Film section, guest edited by Jon Berger*** =20 --=B3A fascinating adaptation from Capital Media Arts of the open mic lifestyle, the script plugs in numerous cameos for East Village superstars such as The Bowmans and, of course, the host of the AntiHoot, the singularl= y named Lach.=B2 --Talkin=B9 New York: The Little Movie that Might by Berger =20 =20 ***Our Politics section, edited by Christina Strong*** =20 --=B3Are these people tourists on vacation or actual people who live here and have copious amounts of wealth?=B2 --Work Sucks, Life Sucks, and Then You Die by Strong =20 =20 ***Art editor Brenda Iijima brings us work from Belford New Jersey's Kate Greenstreet*** =20 =20 ***Our Poetry section, edited by Laura Elrick and Rodrigo Toscano*** =20 -- Bowdoinham, Maine=B9s Jonathan Skinner with Borzicactus Nanus a dwarf on a borzoi stuffs a nan up my ass twirling his deep scarlet-orange hairdo =20 -- Vancouver, British Columbia=B9s Roger Farr with From Surplus Security is denser now, is domination=B9s form But it=B9s their form more than mine, my labour keeps Taylorism=B9s hands (weapons) on its forward gears and =20 XXXIV Tissue over diagrams or fragment Their sums with different measures. Frameworks Framed as =B3Freidman=B9s Dream,=B2 filed for later under =B3Sphere.=B2 Stand on guard to bound sums to Another sense that might pass the primary Test of deficit to chart profit margins =20 -- Pasadena, California=B9s Deborah Meadows with On the state of the novel as a coffin. Fiendish old scamps had clapped enough to institutionalize their tapping. *And photos from David S. Rubio and Christina Strong.* -- 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, 31 Mar 2007 05:36:09 -0700 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Subject: This Sunday, reading in NYC MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit To celebrate the release of her new book Theory of Orange from Pavement Saw Press Rachel M. Simon will read with W. S. Di Piero , Terese Svoboda Sunday, April 1 @ 5:00 PM at The Bitter End, NYC 147 Bleecker Street (btw. Thompson & LaGuardia) (Map) Theory of Orange by Rachel M. Simon ISBN: 978-1-886350-45-8 Book can be ordered using paypal direct from Pavement Saw at: http://www.pavementsaw.org/books/orange.htm or from the SPD website http://www.spdbooks.org/Details.asp?BookID=9781886350458 or by calling 1-800-869-7553 Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus, OH 43206 http://pavementsaw.org ========================================================================= Date: Sat, 31 Mar 2007 11:05:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: angela vasquez-giroux Subject: Re: clothing makes the poet In-Reply-To: <460D542F.22835.1040029@marcus.designerglass.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline aren't poets ALWAYS wearing camoflauge? (get it--we're invisible! ) celebrating lame joke day, angela On 3/30/07, Marcus Bales wrote: > > camoflage > > On 30 Mar 2007 at 13:13, Eric Dickey wrote: > > > waders > > > > "Tom W. Lewis" wrote: > > so what are you all wearing for Nat'l Poetry Month? > > > > > > > > ( in the last 3 weeks, I have been asked maybe ten times "so, what are > > you doing for Nat'l Poetry Month?" ) > > > > ( maybe I should reply something like "I'm abstaining from using any > > relative pronouns in all of my spoken and written communications" ) > > > > tl > > > > > > > > --------------------------------- > > Looking for earth-friendly autos? > > Browse Top Cars by "Green Rating" at Yahoo! Autos' Green Center. > ========================================================================= Date: Sat, 31 Mar 2007 11:23:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Tony Scott dies In-Reply-To: <460D542F.22835.1040029@marcus.designerglass.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Tony Scott dies The great jazzman, Tony Scott http://www.tonyscott.it/ who played his sax and clarinet on a number of classic Billy Holiday songs, creator of *Music for Zen Meditation* and other innumerable great albums, died this week at age 85. He lived in Rome in the latter part of his life, and is survived by his wife Cinzia, who lives in Rome, two daughters and a grandchild. Times Obit for Tony Scott http://www.nytimes.com/2007/03/31/obituaries/31scott.html ========================================================================= Date: Sat, 31 Mar 2007 17:29:13 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Seldess Subject: Caroline Bergvall's email address? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi all, If anyone knows Caroline Bergvall's email address, could you send it to = me backchannel? Thanks and best wishes, Jesse Seldess ========================================================================= Date: Fri, 30 Mar 2007 23:51:38 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dale Smith Subject: po-fart.blogspot.com In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" What I found today... appalling: http://www.po-fart.blogspot.com The horror.... Dale -- Dale Smith 2925 Higgins Street Austin, Texas 78722 www.skankypossum.com ========================================================================= Date: Sat, 31 Mar 2007 23:51:12 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christophe Casamassima Subject: Re: clothing makes the poet Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 I only wear Italian Designer clothing. Kenneth Cole fits me best. CK is out= ta this world! > ----- Original Message ----- > From: "Tom W. Lewis" > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: clothing makes the poet > Date: Fri, 30 Mar 2007 14:45:43 -0500 >=20 >=20 > so what are you all wearing for Nat'l Poetry Month? >=20 >=20 >=20 > ( in the last 3 weeks, I have been asked maybe ten times "so, what are > you doing for Nat'l Poetry Month?" ) >=20 > ( maybe I should reply something like "I'm abstaining from using any > relative pronouns in all of my spoken and written communications" ) >=20 > tl > =3D Search for products and services at:=20 http://search.mail.com --=20 Powered By Outblaze ========================================================================= Date: Sat, 31 Mar 2007 12:19:14 -0500 Reply-To: clwnwr@earthlink.net Sender: UB Poetics discussion group From: Bob Heman Subject: new chapbook - Cone Investigates - now available from Poets Wear Prada MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Hi folks - this is just to let you know that Cone Investigates, a new chapbook collecting 12 of the earliest prose poems in my Dr. Cone series, is now available from Poets Wear Prada for the quite reasonable price of $6 including postage and handling - it also features a new collage i did especially for the cover and a color photo of myself taken by Ed Barnas orders should be sent to: Poets Wear Prada c/o Roxanne Hoffman 533 Bloomfield Steet - 2nd floor Hoboken, New Jersey 07030 make all checks payable to Roxanne Hoffman and for those of you who have already purchased a copy - thank you!! --------------------- also, in case you missed it the first time around, my e-book How It All Began, collecting 33 of my prose poems written between 1975 and 1990, is available as a free download from Quale Press at: http://www.quale.com/How_BH.html hope you enjoy them both thanks, Bob Bob Heman clwnwr@earthlink.net EarthLink Revolves Around You. ========================================================================= Date: Sat, 31 Mar 2007 12:23:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Tony Scott dies In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Nick Thanks for passing this along. I didn't hear a lot of his playing, but what I heard struck me as very interesting. Vernon -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Nick Piombino Sent: Saturday, March 31, 2007 12:23 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Tony Scott dies Tony Scott dies The great jazzman, Tony Scott http://www.tonyscott.it/ who played his sax and clarinet on a number of classic Billy Holiday songs, creator of *Music for Zen Meditation* and other innumerable great albums, died this week at age 85. He lived in Rome in the latter part of his life, and is survived by his wife Cinzia, who lives in Rome, two daughters and a grandchild. Times Obit for Tony Scott http://www.nytimes.com/2007/03/31/obituaries/31scott.html ========================================================================= Date: Sat, 31 Mar 2007 12:35:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Elaine Equi Sunday Times review Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Elaine Equi's RIPPLE EFFECT: New and Selected Poems (from Coffeee House) is reviewed in tomorrow's Times Book Review -- http://www.nytimes.com/2007/04/01/books/review/skloot.t.html?ex=1176004800&en=45ede8bfc52194a3&ei=5070&emc=eta1 Charles Bernstein http://epc.buffalo.edu/authors/bernstein/blog ========================================================================= Date: Sat, 31 Mar 2007 09:51:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: az humanities council MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline Most state humanities councils have more money thn arts councils; this is good because they have grants one can cleverly write for readings as speaking, and are generally the ones who sponsor book fairs here are the arizona deadlines; they have a nice book fair and a particularly juicy mini grant that will pay for a weekend in phoenix in style during the book fair; it is good to be listed in the speakers bureau because then not very good curators who want to do something will come across you instead of a puppet show, or come across YOUR puppet show, etc. general grants intent dedline April 2, July 30, Nov 26 application deadline may 14, sept. 10, jan 7/08 for projects beginning june 25, oct 22, feb 18/08 book discussion / spekers bureau ongoing application acceptance http://www.azhumanities.org -- All best, Catherine Daly c.a.b.daly@gmail.com -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Sat, 31 Mar 2007 13:54:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Re: Elaine Equi Sunday Times review In-Reply-To: <6.2.5.6.2.20070331123137.04df3ab0@english.upenn.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit A glowing, insightful review that was also very nicely written. Elaine Equi gave a dynamite reading last night at Cue. She was preceded by a theramin and guitar duet. She had specifically asked Bill Corbett, the program coordinator, to invite a theramin player (the book party/readings there usually include musicians). The humor of the duet, if not their facility in playing. complemented her wit. -Nick P. On 3/31/07 11:35 AM, "Charles Bernstein" wrote: > Elaine Equi's RIPPLE EFFECT: New and Selected Poems (from Coffeee > House) is reviewed in tomorrow's Times Book Review -- > > http://www.nytimes.com/2007/04/01/books/review/skloot.t.html?ex=1176004800&en= > 45ede8bfc52194a3&ei=5070&emc=eta1 > > > Charles Bernstein > http://epc.buffalo.edu/authors/bernstein/blog ========================================================================= Date: Sat, 31 Mar 2007 15:33:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: coming up Comments: To: Acousticlv@aol.com, AdeenaKarasick@cs.com, AGosfield@aol.com, alonech@acedsl.com, Altjazz@aol.com, amirib@aol.com, Amramdavid@aol.com, anansi1@earthlink.net, AnselmBerrigan@aol.com, arlenej2@verizon.net, Barrywal23@aol.com, bdlilrbt@icqmail.com, butchershoppoet@hotmail.com, CarolynMcClairPR@aol.com, CaseyCyr@aol.com, CHASEMANHATTAN1@aol.com, Djmomo17@aol.com, Dsegnini1216@aol.com, Gfjacq@aol.com, Hooker99@aol.com, rakien@gmail.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=us-ascii Content-Transfer-Encoding: 7bit Bowery POetry Club presents: CAN ANY POET UNDER 30 BE TRUSTED? Unbearables meat Poetical Youth: wiith carl watson, jill rapaport, nathaniel farrell, chavisa woods, aaron howard, kurtis kouns plus guests curated by jim feast & steve dalachinsky Sunday, April 8th, 2007 @ 5 P.M. $6.00 @ the Bowery Poetry Club 308 Bowery NYC (Bleeker & Houston) ========================================================================= Date: Sat, 31 Mar 2007 14:55:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "e.g. vajda" Subject: April 7th Nonsense Company in Arizona Comments: To: spidertangle@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Content-Transfer-Encoding: quoted-printable Content-Disposition: inline *IN THE FOOTSTEPS OF LANGUAGE SERIES =96 PART III *Hosted by Grace Vajda and the Student Arts Council at Prescott College Saturday, April 7th, 2007. 7pm. FREE AND OPEN TO THE PUBLIC! Granite Performing Arts Center, 218 N. Granite St, Prescott AZ 86301. THE NONSENSE COMPANY The Nonsense Company is a group of performers that work in the fields of contemporary music and theater. They are an experimental group that has performed across the nation and internationally at festivals like the 2006 Minnesota Fringe Festival. An audience member from the Fringe Festival had this to say: "Simply breathtaking. Certainly one of the most original, inventive and compelling pieces of theatre I've seen in my life." The Nonsense Company will be performing at Granite Performing Arts Center (218 Granite St.) on Saturday, April 7th at 7pm. The event is free of charge and open to the public. The Nonsense Company performs unique new works, focusing on the musical use of speech in estranged contexts, the application in theatre of techniques native to musical performance, and the effects of innovative aesthetic practice on social and political thinking. The Company's name is borrowed from Franz Schubert's ensemble, die Unsinn Gesellschaft, who with radically spare resources spawned a revolution in the music and poetry of the nineteenth century. "One of the most interesting concerts of the festival... The Nonsense Company [presented] one of the most solid, free and critical aesthetic propositions, a reproof to the vast majority of ensembles that performed at Darmstadt..." Alberto Bernal, Educaci=F3n ========================================================================= Date: Sat, 31 Mar 2007 17:34:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Re: complicit actions dismissed in a frenzy of greed MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline It's no mistake the author of THE SECRET is now doing seminars with Donald Trump. Trump, the bastard real estate tycoon who evicted more artists than anyone in US history! FUCK THE SECRET! The only secrets worth uncovering in this world are those that destroy us everyday. There's much to be said for spiritualists who have been interested in helping others, especially healing others, like Cayce. I've been to the Edgar Cayce Institute many times, and the library is open, and free, all the time. In that library are ALL of the giant binders filled with endless amounts of information surrounding Cayce's long and extraordinary history of helping people overcome disease. And he did all this through trance. Blavatsky headquarters was here in my hometown of Philadelphia. I've been to the Lodge of Theosophy she helped start, located in Rittenhouse Square. That library is also open to the public, and free, and has everything from Krishnamurti to Simone Weil. What I appreciate about the Theosophists is that they do NOT encourage dogma of one type or another taking hold, and prefer all theology be looked at as forms of philosophy. And they challenge YOU to challenge them, them being the elders. And let me tell you, the elders at the Philadelphia Lodge of Theosophy are endless fonts of wisdom and very thick-skinned to anyone walking in. You can't knock them off track because they're never really ON track. And as far as Blavatsky, let me first say I'm no Blavatsky-ite, HOWEVER, she had guts and courage that's rare for any generation! Imagine being a woman in conservative Philadelphia in 1875 who sets up shop off the University of Pennsylvania campus and starts mouthing off to every priest she comes in contact with! She's brilliant in her book THE KEY TO THEOSOPHY, which is basically a book of transcriptions of arguments with priests. In particular I Love her one argument she titles, "Prayer Kills Self Reliance." While books like THE SECRET would have us dream our homes into wealth, Blavatsky would have us be as vulnerable and alone as possible to rely on ourselves FIRST, then to move forward to help bring this world into better awareness, kindness, and health. For instance in her argument the priest demands she understand how The People need prayer to be connected to God, etc. She takes him off guard by arguing, Yeah, well suppose God owned a shop, and all the workers prayed to God to do all the work in the shop for them. Would that be fair? No, and we're not here for God to do our work for us. We're here to figure things out, not be spoon-fed. (my paraphrase) THE SECRET, in like, promotes weakness. And comes at a time when many thousands of lives are lost and countless more shattered by our Bush regime's atrocities we all help finance every single time we pay our taxes. ========================================================================= Date: Sat, 31 Mar 2007 16:59:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: agj Subject: Re: clothing makes the poet In-Reply-To: <8f6eafee0703310805v37e8144en726d45666e3e8490@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Been trying my skin on for size many years now. Seems its finally becoming a more perfect fit! But then not all beautiful things are beautiful. AJ -- "[H]e who leaps into the void owes no explanation to those who watch.” (Jean-Luc Godard) ____________________________________________________________________________________ Be a PS3 game guru. Get your game face on with the latest PS3 news and previews at Yahoo! Games. http://videogames.yahoo.com/platform?platform=120121 ========================================================================= Date: Sat, 31 Mar 2007 15:25:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Perlman Subject: AGNI's Shocking Remarks MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline AGNI posted these remarks on the Foetry site recently regarding their publication of a poet's (Jeffrey Levine's) poem. My response follows. I am determined to publicize this to as many people in the poetry field as possible. Posted: Sat Mar 31, 2007 12:03 pm Post subject: Re: Levine's "Antonia ..." -------------------------------------------------------------------------------- Quote: AGNI writes: "AGNI accepted Jeffrey Levine's "Antonia Refuses the Nectarines" many months ago -- long before the contest issue arose -- signed a contract with him, and he approved the online galleys also before we knew of any problem. We felt a strong ethical obligation to continue with the posting of this one poem." My Response: This is a SHOCKING post--the idea that AGNI editors would lower themselves to post anything serious on this site, let alone imply that they might not have published Jeffrey Levine's poem if the contest controversy were known to them is astounding. I'm ashamed for whoever made this post and is seeking to distance AGNI from a decision made about a poem, not a person, out of what--fear? AGNI has validated a witch hunt and will forever be damaged for doing so in my eyes. I intend to make sure as many others as possible know about AGNI's publication policy as seen in this post--in summary, AGNI will only publish poets who don't have any controversy attached to them (that they KNOW about of course) since it might brush off on AGNI and tarnish them in the eyes of a group of utterly talentless, bitter, conspiracy-driven, destructive-minded, wannabe-poets. AGNI fears Foetry? AGNI apologizes for an editorial decision because people are upset about a poet's actions in another arena? AGNI feels the need to defend itself for selecting a poem because the poet is under fire? And to the people HERE? It's beyond comprehension. Who the hell is going to stand up to this? There has GOT to be legal recourse to what these people are doing here, the casual and constant defamation of character, the damage to the field of poetry itself. Who NEEDS Foetry? What is it doing for poetry, other than systematically destroying the handful of presses and people who care enough to dedicate themselves to helping the art survive? ========================================================================= Date: Sat, 31 Mar 2007 15:31:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sawbuck Subject: sawbuck 1.3 Comments: To: admit2@admit2.net, amy.king@hotmail.com, beth.rooney@gmail.com, bryan@urbanpollution.com, claybanes@gmail.com, mdwharton@bellsouth.net, Poet , Ada Limon , Amanda Paananen , Anne Heide , Ben Myers , Bronwen Tate , Bruce Covey , CAConrad , Catherine Prescott , Chris Tonelli , Christopher Mulrooney , Corey Mesler , Dan Beachy-Quick , Dax Bayard-Murray , dean faulwell , Donald Illich , duane locke , Elisa Gabbert , George Kalamaras , Jason Fraley , Jenna Cardinale , Jon Woodward , Julia Cohen , Julie Doxsee , Kathleen Rooney , lesley wheeler , Mark DeCarteret , Mathias Svalina , Maurice Oliver , Melissa Pakalinsky , Meredith Devney , michelle greenblatt , mtc cronin , Paul Hostovsky , Robert Lietz , Ryan Vine , sheila murphy , Terese Svoboda , Timothy Liu MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Content-Disposition: inline dear readers & contributors~ sawbuck 1.3 is now available featuring some marvelous poems by Bruce Covey, MTC Cronin, Julie Doxsee, Jason Fraley, Anne Heide, Melissa Pakalinsky, Terese Svoboda, Bronwen Tate, Chris Tonelli, & Jon Woodward. we hope you enjoy them as much as we did. as always, we are looking for submissions for future issues, so tell your friends... sincerely samuel wharton, editor sawbuck