========================================================================= Date: Mon, 31 Mar 2008 01:46:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: my west virginia (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed my west virginia http://www.alansondheim.org/cathedralpark015.jpg http://www.alansondheim.org/cathedralpark016.jpg http://www.alansondheim.org/cathedralpark045.jpg http://www.alansondheim.org/cathedralpark074.jpg http://www.alansondheim.org/cathedralpark088.jpg ========================================================================= Date: Mon, 31 Mar 2008 08:13:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: CAConrad interviews Rachel Blau DuPlessis for PhillySound /\\///\\\\/////\\\\\\/////// MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline CAConrad interviews Rachel Blau DuPlessis for PhillySound /\\///\\\\/////\\\\\\/////// This interview was conducted via e-mail in March, 2008 and can be read at this link: http://phillysound.blogspot.com/2008_03_01_archive.html ========================================================================= Date: Mon, 31 Mar 2008 10:09:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Janet Holmes Subject: Re: POETICS Digest - 29 Mar 2008 to 30 Mar 2008 (#2008-91) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi all, Does anyone know of an anthology of manifestoes (poetic or otherwise)? Thanks, Janet -- Janet Holmes http://www.humanophone.com http://ahsahtapress.boisestate.edu .. .. .. .. .. .. NEW FROM AHSAHTA PRESS: To and From by G.E. Patterson Irresponsibility by Chris Vitiello http://ahsahtapress.boisestate.edu ========================================================================= Date: Mon, 31 Mar 2008 12:42:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian Randall Wilson Subject: Publication Party In-Reply-To: MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" Here's information on a publication party for a book I edited for Hollyridge Press. Ian Wilson ? ? ?????? AUTHOR APPEARANCE AT JAMES BEACH RESTAURANT, VENICE, CALIFORNIA ?????? - Ronald Alexander To Celebrate His New Novel - ?????? WHAT: A publication party for Ronald Alexander's new novel The War on Dogs: in Venice Beach at James Beach restaurant in Venice, California. ? WHEN:Sunday, April 13, 2008 at 4:00 PM ? WHO:Ronald Alexander, author of The Final Audit and Below 200 Nathan Geare, Illustrator ? WHERE:James Beach Restaurant 60 N Venice Blvd Venice, CA 90291 (310) 399-8420?????? ? ?????? VENICE, Calif. -- Author Ronald Alexander releases his third novel, The War on Dogs: in Venice Beach (illustrated by Nathan Geare), with a publication party and reading at James Beach restaurant in Venice, California. ????? In this social satire, the beaches in Venice, California are in trouble. The grassy park and pristine sands which separate the high-dollar houses from the water have been defiled by dogs and their owners. Then Sergeant Smelzkoff of the LAPD appears. With the task of bringing order to the oceanfront and considering his life thus far a failure, Smelzkoff vows to succeed in what may be his last mission before retirement. But things are soon complicated when his estranged gay son moves back to California from New York with his own dog. Trouble ensues. The novel features 40 black and white line drawings by illustrator Nathan Geare. ????? The reading is free to the public and begins at 4 PM with appetizers and beverages to be served. Join author Ronald Alexander and illustrator Nathan Geare for their publication party at James Beach Restaurant, where cocktails and dining are always "beach style." ?????? ? ?????????????????????????????????????????? ### ? ========================================================================= Date: Mon, 31 Mar 2008 10:34:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Fw: Stream Records radio programme download available MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable >>> >> Fred's Archive > > Sunday 30 March 20= forwarding:=0A=0A=0A=0A=0A>>> >> Fred's Archive=0A> =0A> Sunday 30 March 20= 08 16:30-16:56 (Radio 4 FM)=0A> Repeated:=0A> Saturday 5 April 2008 23:30-0= :00 (Radio 4 FM)=0A> =0A> Joan Bakewell explores the unique archive of Fred= Hunter.=0A> =0A> Back in the 1960s, Fred borrowed a tape recorder and bega= n to record some of=0A> the great poets of his time. With collaborators Joh= n and Helen Cassidy, he=0A> issued seven LPs of poets reading their own wor= k in front rooms all over=0A> London.=0A> =0A> Featured authors include Tom= Raworth, Lee Harwood, Robert Duncan, Edward=0A> Dorn, Anselm Hollo, Stuart= Montgomery and Basil Bunting.=0A=0A>> Download available, courtesy Will Mo= ntgomery:=0A=0AThis link lasts for 7 days. Do forward it to anyone who migh= t be interested.=0AThe file's about 20mb.=0A=0AYou have 1 file(s) called Fr= ed's Archive.mp3 waiting for download.=0A=0AYou can click on the following = link to retrieve your file. The link will=0Aexpire in 7 days and will be av= ailable for 100 number of downloads.=0A=0ALink: http://www.yousendit.com/do= wnload/www/azR5QmtkdENIcWMwTVE9PQ=0A=0AThis file was delivered to you by Yo= uSendIt, the No. 1 file delivery=0Acompany, find out more at www.yousendit.= com. ========================================================================= Date: Mon, 31 Mar 2008 14:06:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Danon Subject: Summer Intensive 2008 NYU Tenth Year MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline Content-Transfer-Encoding: 7bit Dear List Members: For the tenth year NYU/SCPS/McGhee Division is holding its two week intensive writing workshop in June. The dates are June 8th-June 20th. Students gather at beautiful Ireland House, just north of the Washington Square Arch, for two weeks of intense work with guest writers and NYU faculty. Each year a fiction writer, a poet, and a nonfiction writer come to NYU to work closely with students. This year the poet will be Bei Dao, the fiction writer Margot Livesey, and the nonfiction writer Peter Balakian. Students will spend fifiteen hours in class with the guest writer in their own genre and three hours with a writer in a different genre. No more than twelve students in each genre group. Students will also have private conferences with the guest writers. Mornings are spent in improvisation workshops taught by Ruth Danon, Catherine Barnett, and April Krassner, all NYU faculty.' Evenings are devoted to talks and readings by writers and students. Sessions on graduate school and publishing are also included in the program. For application and information contact Charles Bradshaw at cb97@nyu.edu or backchannel me. I hope you will spread the word. Thank you, Ruth Danon Ruth Danon,Master Teacher, Creative and Expository Writing,McGhee Division, New York University ========================================================================= Date: Mon, 31 Mar 2008 13:58:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline A good friend who knows HOW MUCH novels irritate me, and how physically ILL I become when I hear of YET ANOTHER poet writing novels (or as I say FORSAKING poetry for novels!) sent me this link: http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss-for-words/2008/03/28/1206207399861.html This makes me want to SHOUT OUT many thanks to Rhyll McMaster for her brave nod to the truth! I have met many poets who have taken up the novel, and have had many arguments about it with them. EVERY SINGLE TIME the poets insist that they will always be able to write poems, and I wait for those poems. They never come back from the illness (YES, ILLNESS!) of the novel. There are very very few poets I can think of who MASTER both. Or, better yet, poets who ACTUALLY continue to write poetry as well as they did before the task,task,task driven "art" of writing novels. Eileen Myles is a RARE exception! Her poems have gotten BETTER AND BETTER despite her novels. But then I feel almost no one alive has her abilities for writing, she's so beyond us. Magdalena Zurawski may not write poems anymore, but her novel THE BRUISE reads exactly like her poems always did, and I Love her poems. Maybe it's poets who were writing poems outside the mainstream who can make it work out for the better? Magdalena's novel REALLY IS like her poems, and it took her 7 years to write. IT'S A THING OF GREATNESS, but to me it's an epic experimental poem. It's coming out this fall, and won the Scholnick Award for experimental fiction. But, to be honest, 99 percent of the poets I've met who take up the novel get lost. Permanently lost. One poet I know who now writes novels was an AMAZING poet when I first met him in 1993, or 1994. He hates my guts because I wouldn't share his enthusiasm at having discovered enjoying novels. He also hates me because when he last wrote to me and said that I should try to write a novel, that I would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF NAILS!" BUT, I feel if I can PREVENT a poet from killing themselves with novels, then I have to take the risk! Poetry is too important to NOT risk being hated for it! It's OK being hated. Or maybe I'm just used to it. CAConrad http://PhillySound.blogspot.com ========================================================================= Date: Mon, 31 Mar 2008 15:15:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Literary Buffalo Newsletter 03.31.08-04.06.08 MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; format=flowed; charset=ISO-8859-1 LITERARY BUFFALO 03.31.08-04.06.08 ___________________________________________________________________________ CORRECTION: THE APRIL 17 READING BY TYRONE WILLIAMS AND GINA MYERS WILL TAKE PLACE RUST= BELT BOOKS. THE POSTER INCORRECTLY STATES THAT IT WILL BE AT HALLWALLS. MY= BAD. PLEASE NOTE. ___________________________________________________________________________ RUST BELT BOOKS BACK ROOM BOOK SALE Help our great used bookstore/performance space clear its stock and pay the= taxman=21 All books in the backroom performance area can be purchased in bulk for = =245 per bag (you choose the bag) on Tuesday, April 1 from 12-8 p.m. Buy a bag to show your support=21 ___________________________________________________________________________ BABEL TICKETS ON SALE NOW FOR THE FINAL BABEL EVENT OF THE SEASON April 24 Kiran Desai, India, Winner of the 2006 Man Booker Prize, =2425 832-5400 or visit http://www.justbuffalo.org/babel. THERE ARE ONLY A FEW TICKETS LEFT FOR THIS EVENT. GET THEM WHILE YOU CAN. ___________________________________________________________________________ BABEL 2008-2009 Just Buffalo is happy to announce our 2008-2009 lineup for Babel: Chinua Achebe, Nigeria, September 25. Book: Things Fall Apart. Michael Ondaatje, Canada, October 29. Book: The English Patient. Marjane Satrapi, Iran, April 1. Book: Persepolis. Isabel Allende, Chile, April 17. Book: House of the Spirits. Subscriptions will go on sale at the April 24 event and then in general on = April 25. Previous subscribers can re-up for =2475. New subscription (four= events): =24100. We expect to sell out next season by subscription. If we = do not sell out by subscription, tickets for individual events will go on s= ale September 1. ___________________________________________________________________________ EVENTS THIS WEEK 04.01.08 Rust Belt Books Back Room Book Sale =245 per bag of books Tuesday, April 1 12 ? 8 p.m. Rust Belt Books, 202 Allen St. 04.02.08 Exhibit X Fiction Lawrence Norfolk Fiction Reading Wednesday, April 2, 7 p.m. Hallwalls Cinema, 341 Delaware Ave. =40 Tupper & Just Buffalo/Center For Inquiry Literary Cafe Ken Feltges and Loren Keller Poetry Reading (8 open slots to read) Wednesday, April 2, 7:30 p.m. Center for Inquiry, 1310 Sweet Home Rd., Amherst 04.03.08 Just Buffalo/Communique Flash Fiction Carol Novack Flash Fiction Reading Thursday, April 3, 7 p.m. Rust Belt Books, 202 Allen St. 04.04.08 Just Buffalo/Gusto at the Gallery Nickel City Poetry Slam Feature: Members of the Toronto Slam Team Friday, April 4, 7 p.m. Clifton Hall, Albright-Knox Art Gallery & Poetics Plus at UB (co)ludere: play & performance =7C collision & collaboration Featuring: *Sara Eddleman, Courtney Pfhal & Steve Zultanski* *Ryan Hatch & Matt Pieknik* *Jim Kurt & David Collins* Friday, April 4, 7 p.m. Rust Belt Books, 202 Allen St. 04.06.08 Just Buffalo/Tru-Teas Jimmie Gilliam Poetry Reading (10 open slots to read) Sunday, April 6, 4 p.m. Tru-Teas/Insite Gallery, 810 Elmwood Avenue & Buffalo/Williamsville Poetry, Music & Dance Celebration Nikki Giovanni & Student poets, composers and dancers Sunday, April 6, 7 p.m. Kleinhans Music Hall, Symphony Circle ___________________________________________________________________________ JUST BUFFALO MEMBERS-ONLY WRITER CRITIQUE GROUP Members of Just Buffalo are welcome to attend a free, twice-monthly writer = critique group in CEPA's Flux Gallery on the first floor of the historic Ma= rket Arcade Building across the street from Shea's. Group meets 1st and 3rd= Wednesday 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. ___________________________________________________________________________ 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 i= mmediately be 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, 31 Mar 2008 15:00:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Rochelle Ratner In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I just received this note from Paul Pines Dear Friends: have just received word of the death of a dear friend, Rochelle Ratner. She had been fighting cancer for the last six months after two prior battles with breast cancer. She was a wonderful writer and worked tirelessly to build a significant body of work and did so until the last phone call we shared a few days ago in which she said, "I have been looking back over my journals and pulling out short stories. There is so much there." I pause to reflect. The reservoir of things to say and ways to say them is inexhaustable. Not so our own resources. I do think the effort to express our lives as meaningful is ongoing and sustaining, but part of this must include our connection to those around us. Cliched, I know, but true. I am constantly reminded of that message in Pere Lachaise Heloise left even after many years of separation from Abelard: "The love that united us was all our joy." Love to all. Paul I will remember Rochelle for her intense presence, her writing and her care for writers,as well as her commitment and attention to reviews of small presses, and her reviews of work by many of us. In sadness, Stephen Vincent ========================================================================= Date: Mon, 31 Mar 2008 18:28:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Rochelle Ratner MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable I'm writing with the sad news that Rochelle Ratner has passed away today. There will be a funeral in Rhode Island but I have no details of it at this time. =20 I imagine there will be a memorial for Rochelle in NYC some time this spring. Marsh Hawk Press will certainly hold an event to remember her, in any case (details tba). =20 - Burt Kimmelman ========================================================================= Date: Mon, 31 Mar 2008 15:49:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mathew Timmons Subject: Handsome Fish Offices by Ara Shirinyan Now Available from Insert Press MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline HANDSOME FISH OFFICES by Ara Shirinyan is Now Available from Insert Press = =96 our first perfectbound book! You may purchase your copy online at: http://insertpress.net/index.php?s=3Dforthcoming Praise for Handsome Fish Offices by Ara Shirinyan: While office supply products and tropical fish might at first thought seem to have nothing to do with one another, once side by side they reveal the interconnections between global acquisitions, multinational capital, and environmental destruction. - Juliana Spahr Of cut-up writing, in which different textual sources are spliced together, often jarringly, William Burroughs once said, "The results will look a lot like you." Handsome Fish Offices, Ara Shirinyan's book of profoundly 21st century cut-ups, takes up this insight with hilarity and irreverence, showing readers how the world looks like them, and they look like the world= . No matter whose language he's playing with, the startling juxtapositions of words in these poems reveal the contemporary global condition of being incorporated and measured, invariably down to the smallest detail. "This laterally flattened species is ideal / For catalogs, direct mail, promotions, etc," he writes, and you'll know what he means, because your species, too=97and right now=97is one of the many getting flattened. -Mark Wallace ========================================================================= Date: Mon, 31 Mar 2008 21:56:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Devaney Subject: GEORGE OPPEN's 100th Birthday -- 4/7 Writers House Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="ISO-8859-1" A Celebration of George Oppen's 100 Birthday _____________________________________________________ The Kelly Writers House celebrates GEORGE OPPEN's 100th Birthday with 100 minutes of talk and poetry in Oppen's honor hosted by THOMAS DEVANEY & RACHEL BLAU DuPLESSIS featuring: STEPHEN COPE GEORGE ECONOMOU AL FILREIS MICHAEL HELLER ANN LAUTERBACH TOM MANDEL BOB PERELMAN RON SILLIMAN Monday, 4/7 at 6 PM The Writers House | 3805 Locust Walk This event is free & open to the public --------------------------------------- Poet and critic STEPHEN COPE is editor of "George Oppen: Selected Prose Daybooks, and Papers" (U. of California Press, 2008), and a founding edit= or of Essay Press. He has taught at universities in California, Iowa, and Oh= io, and is on the faculty of Bard College's Language and Thinking program. THOMAS DEVANEY is the author "A Series of Small Boxes" (Fish Drum, 2007).= He teaches in the Critical Writing Program at the University of Pennsylvania= , and is editing a feature section "Oppen at 100" for Jacket 38 (October 20= 08). RACHEL BLAU DuPLESSIS has both written on George Oppen's work and edited = his "Selected Letters" (Duke U.P., 1990). DuPlessis has published numerous bo= oks of poetry and literary criticism; her most recent critical book is "Blue Studios: Poetry and its Cultural Work." She teaches in the English Department of Temple University. GEORGE ECONOMOU's latest book is "Acts of Love, Ancient Greek Poetry from= Aphrodite's Garden" (Modern Library/Random House). Books of Cavafy translations and the poems & fragments of Ananios Kleitor are forthco= ming. AL FILREIS is Kelly Professor, Director of the Center for Programs in Contemporary Writing, Faculty Director of the Kelly Writers House and aut= hor of four books, most recently "Counter-revolution of the Word: The Conservative Attack on Modern Poetry, 1945-60." MICHAEL HELLER is a poet, essayist and critic. Forthcoming in 2008 are "Eschaton," a new book of poems, "Speaking the Estranged," a collection o= f his essays on George Oppen, and "Marble Snows: Two Novellas." ANN LAUTERBACH's most recent books are "Hum and The Night Sky: Writings o= n the Poetics of Experience." She is Schwab Professor of Languages and Literature at Bard College, where she also co-directs Writing in the Milt= on Avery Graduate School of the Arts. TOM MANDEL grew up in Chicago and was educated in its jazz and blues club= s and at the University of Chicago. He is the author of more than a dozen books including "To the Cognoscenti" (2007) and is one of the authors of "The Grand Piano," an ongoing experiment in collective autobiography. BOB PERELMAN has published numerous books of poetry, most recently "Iflif= e." He teaches at the University of Pennsylvania. RON SILLIMAN's most recent book is "The Age of Huts" (compleat) and sever= al volumes of the collectively written Grand Piano project. In 2008, the University of Alabama Press will publish "The Alphabet." ========================================================================= Date: Mon, 31 Mar 2008 21:06:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: eric unger Subject: Alan Davies Broadside MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline House Press is pleased to release a broadside by Alan Davies (of an unpublished work) in anticipation of the release of Book 6. The artwork was provided by Eric Unger. This broadside is available through paypal for $2 at: http://housepress.blogspot.com ========================================================================= Date: Tue, 1 Apr 2008 03:30:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Valeska Gert MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Valeska Gert { http://www.alansondheim.org/inf.mp4 http://www.alansondheim.org/inm.mp4 inside bodies rooted at the hip slightest movement, shudder, shiver body-stutter, warmed probed flesh slightest movement from inside maybe shudder or shiver from inside maybe warmed probed flesh f&m } Was nicht geht, das geht nicht mehr, mir ist so sonderbar zumut. Wenn das wirklich alles war, dann ist das Leben nicht sehr gut. Seht, mein Fleisch verfaulet schon, viel zu vieler Liebe Lohn. Fruh du Ende ist der Spass, fruh sind wir der Wurmer Frass. (Ich bin eine Hexe, Kaleidoskop meines Lebens) What does not work, that's no longer I am curious as reasonable. If this really was everything, Then life is not very good. You see, my meat verfaulet know, Far too many love wage. Breakfast is you end the fun, We are the early worms Frass. We are the early worms' muck, swill, food. An early end is a joke. See, my flesh already decays It's so strange to me, moody For too many love's a wage +++ Salutations from the Mumien cellar Dann raffe ich die giftgrune Schleppe, schluchze ein paar Takte aus der Schonen Blauen Donau und verschwinde. (Ich bin eine Hexe, Kaleidoskop meines Lebens) Then I understand the giftgrune train, schluchze a few bars of the Blue Danube and Scania disappear. Then I grabbed the green poison bag, sobbed a few bars ========================================================================= Date: Tue, 1 Apr 2008 06:26:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: a severe bout of depression MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed a severe bout of depression only one sensor moves and that is one inside the body everything else is still as if a silent snow falls on the skin 'the' points to nothing and that is annihilation i have a nail in my head when i hit the nail in my head i have a nail in my head when i hit the nail in my head i have a nail in my head when i hit the nail in my head i have a nail in my head when i hit the nail i have a nail when i hit the nail i have a nail i will be dead these several months what can happen now at this very moment dizziness overwhelms me snow falls inside the body and everything is still only the sound of someone hammering in the distance ========================================================================= Date: Mon, 31 Mar 2008 10:14:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kyle Schlesinger Subject: New on the Cuneiform Blog Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit New on the Cuneiform Blog: 3.31.08 Look by Kyle Schlesinger 3.30.08 Speech with Humans by Glen Baxter and Clark Coolidge 3.29.08 Emily McVarish / ON 3.28.08 Mimeo Mimeo 3.27.08-3.19.08 Larry Fagin Week www.cuneiformpress.blogspot.com ========================================================================= Date: Tue, 1 Apr 2008 04:59:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Obododimma Oha Subject: Re: a severe bout of depression MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii this wakes me ro the reality how i am housed inside something called s- kin, the accommodation not too different when i get outside it and watch how poorly ventilated how superfluous the circuit systems run and how insecure the heart hangs like a bag above a pit of blood & brine... --- Obododimma. ----- Original Message ---- From: Alan Sondheim To: POETICS@LISTSERV.BUFFALO.EDU Sent: Tuesday, April 1, 2008 11:26:35 AM Subject: a severe bout of depression a severe bout of depression only one sensor moves and that is one inside the body everything else is still as if a silent snow falls on the skin 'the' points to nothing and that is annihilation i have a nail in my head when i hit the nail in my head i have a nail in my head when i hit the nail in my head i have a nail in my head when i hit the nail in my head i have a nail in my head when i hit the nail i have a nail when i hit the nail i have a nail i will be dead these several months what can happen now at this very moment dizziness overwhelms me snow falls inside the body and everything is still only the sound of someone hammering in the distance ____________________________________________________________________________________ Like movies? Here's a limited-time offer: Blockbuster Total Access for one month at no cost. http://tc.deals.yahoo.com/tc/blockbuster/text4.com ========================================================================= Date: Tue, 1 Apr 2008 20:20:53 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Switaj Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Personally, I've found that working on a novel increases the frequency with which I get ideas for poems, but then I never do end up finishing the novel. Hmm. EKSwitaj elizabethkateswitaj.net ========================================================================= Date: Tue, 1 Apr 2008 08:39:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: RIP: Rochelle Ratner (1948-2008) Mime-Version: 1.0 (Apple Message framework v919.2) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Dress Rehearsal I love you like wood and you laugh with high birds I can't see. White flat ducks wake the morning to leaves that have slanted from night. Talk . . . talk . . . I hear noises-- It's only the fish that are flying now, bodies and words. Borrowed sunlight is crossing our sleep like a child in the woods. It's cold and then warm in the haloes, the dark strung together like travel. Time was geology then. It was summer. We always had friends. --Rochelle Ratner fr. A Birthday of Waters [New York: New Rivers Press, 1971] Halvard Johnson ================ halvard@earthlink.net http://home.earthlink.net/~halvard/index.html http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org http://home.earthlink.net/~halvard/vidalocabooks.html ========================================================================= Date: Tue, 1 Apr 2008 09:16:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Samuels Subject: Re: POETICS Digest - 29 Mar 2008 to 30 Mar 2008 (#2008-91) In-Reply-To: <38a93cff0803310909i5396c202o55f9f2d2e16e39d@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi Janet Manifesto: A Century of Isms edited by Mary Ann Caws is one. Terrific to make selections from, for the 20th century anyway. Lisa On Mon, Mar 31, 2008 at 12:09 PM, Janet Holmes wrote: > Hi all, > > Does anyone know of an anthology of manifestoes (poetic or otherwise)? > > Thanks, > Janet > > -- > Janet Holmes > http://www.humanophone.com > http://ahsahtapress.boisestate.edu > .. .. .. .. .. .. > NEW FROM AHSAHTA PRESS: > To and From by G.E. Patterson > Irresponsibility by Chris Vitiello > http://ahsahtapress.boisestate.edu > ========================================================================= Date: Tue, 1 Apr 2008 06:46:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable But what about D.H. Lawrence? Thomas Hardy? Or--not quite in the same leagu= e as a novel-writer, but still he wrote a bunch of them--W.C. Williams=0A= =0A----- Original Message ----=0AFrom: CA Conrad =0AT= o: POETICS@LISTSERV.BUFFALO.EDU=0ASent: Monday, 31 March, 2008 2:58:16 PM= =0ASubject: ON poets writing NOVELS (OH! it pains me to write those words!)= =0A=0AA good friend who knows HOW MUCH novels irritate me, and how physical= ly ILL=0AI become when I hear of YET ANOTHER poet writing novels (or as I s= ay=0AFORSAKING poetry for novels!) sent me this link:=0A=0Ahttp://www.smh.c= om.au/news/books/plotting-novel-left-poet-at-a-loss-for-words/2008/03/28/12= 06207399861.html=0A=0AThis makes me want to SHOUT OUT many thanks to Rhyll = McMaster for her brave=0Anod to the truth! I have met many poets who have = taken up the novel, and=0Ahave had many arguments about it with them. EVER= Y SINGLE TIME the poets=0Ainsist that they will always be able to write poe= ms, and I wait for those=0Apoems. They never come back from the illness (Y= ES, ILLNESS!) of the novel.=0A=0AThere are very very few poets I can think = of who MASTER both. Or, better=0Ayet, poets who ACTUALLY continue to write= poetry as well as they did before=0Athe task,task,task driven "art" of wri= ting novels.=0A=0AEileen Myles is a RARE exception! Her poems have gotten = BETTER AND BETTER=0Adespite her novels. But then I feel almost no one aliv= e has her abilities=0Afor writing, she's so beyond us.=0A=0AMagdalena Zuraw= ski may not write poems anymore, but her novel THE BRUISE=0Areads exactly l= ike her poems always did, and I Love her poems.=0A=0AMaybe it's poets who w= ere writing poems outside the mainstream who can make=0Ait work out for the= better? Magdalena's novel REALLY IS like her poems, and=0Ait took her 7 y= ears to write. IT'S A THING OF GREATNESS, but to me it's an=0Aepic experim= ental poem. It's coming out this fall, and won the Scholnick=0AAward for e= xperimental fiction.=0A=0ABut, to be honest, 99 percent of the poets I've m= et who take up the novel=0Aget lost. Permanently lost.=0A=0AOne poet I kno= w who now writes novels was an AMAZING poet when I first met=0Ahim in 1993,= or 1994. He hates my guts because I wouldn't share his=0Aenthusiasm at ha= ving discovered enjoying novels. He also hates me because=0Awhen he last w= rote to me and said that I should try to write a novel, that I=0Awould be g= ood at it, I wrote back, "I'D RATHER FUCK A JAR OF NAILS!" BUT, I=0Afeel i= f I can PREVENT a poet from killing themselves with novels, then I=0Ahave t= o take the risk!=0A=0APoetry is too important to NOT risk being hated for i= t!=0A=0AIt's OK being hated. Or maybe I'm just used to it.=0A=0ACAConrad= =0Ahttp://PhillySound.blogspot.com =0A=0A= =0A=0A=0A ========================================================================= Date: Tue, 1 Apr 2008 09:13:40 -0500 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: Mo(ve)ment / Matter & Memory Trio show at Peter Jones Gallery In-Reply-To: <1eba3dda0803310750t21d960f7wef249b96d675c0d3@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit Mo(ve)ment / Matter & Memory Trio show at Peter Jones Gallery Tuesday, April 1 (8 p.m.) 1st set: The Matter and Memory Trio Steve Cohn -- shakuhachi & keyboards Guillermo Gregorio -- clarinets & saxophone Jerome Bryerton -- percussion 2nd set: Mo(ve)ment 3rd set: combined groups Mo(ve)ment After 5 years of performing in the Netherlands and playing festivals in Israel and South Africa, the colorful, creative and improvisational performances of Mo(ve)ment will finally make its US debut. Mo(ve)ment is a two-act, multi-disciplinary, live on-stage performance that spotlights energetic dialogue between visual art and modern dance. Benno Hübner dances in front of a large screen on which the paintings of Tali Farchi are projected, even as they are being created live for all to see. The connections between these two disciplines develop a conversation that is playful, passionate and at times intimate. During this performance, Tali Farchi and Benno Hübner will be joined by Royce Deans (painting), Steve Cohn (keyboards / shakuhachi / poetry), Joel Wanek (upright bass), and Dan Godston (trumpet / poetry). Please contact Dan at 312.543.7027 or dgodston@sbcglobal.net for more info. http://www.jazzpolice.com/content/view/7641/116/ Performers’ Bios: Jerome Bryerton Jerome Bryerton is an experimental percussionist and visual artist from Chicago. He has recorded, toured or played with many of today's most notable free improvisers: John Butcher, Wolfgang Fuchs, Peter Van Bergen, Cecil Taylor, William Winant, Alan Silva, Torsten Muller, Frank Gratkowski, Henry Kaiser and Vinny Golia. He has performed at notable festivals—such as FMP record's Total Music Meeting (2002), Kaleidoscope (2003), Seattle's Earshot Festival (2003)and the Sf Alt (2004). Jerome's musical concept is a cross-pollination of techniques derived from European improv, Japanese Taiko, American Jazz and European Modern- Classical. Percussionists that he incorporates into his approach are: Jack DeJohnette, Paul Lytton, Paul Motion, Stewart Copeland and Le Quan Ninh. Also, applicable to his percussive philosophies are extended techniques by non-drummers—the multi-phonic and harmonic practices of saxophonist Evan Parker; the multi-layered double-bass preparation of Barry Guy; and the orchestral, multi-timbered instrumental selection of reed player Wolfgang Fuchs. Jerome's goal is to use his percussive materials to mirror practices of modern art, philosophy and post-modern theory. The idea being—to develop and express the improvisational elements that life itself presents. Steve Cohn The music of pianist and shakuhachi player Steve Cohn has continually and dramatically evolved. A native of San Francisco, he performed as a blues pianist in Los Angeles, where he began studying the shakuhachi flute at UCLA. He then spent two years in Japan returning to study at San Francisco State University where he worked with Pulitzer Prize Winner, Wayne Peterson, and also appeared as a jazz pianist performing with musicians such as Eddie Henderson, and Sonny Simmons. Ultimately he moved to New York where he has devoted himself to totally improvised music, combining unconventional use of non-western winds and percussion with a unique piano style. Cohn has performed his own works in venues including New York City's Miller Theatre, New Works October Series, Fiesta International USSR, the Newport JVC Festival, Sweet Basil, The Great American Music Hall, World Shakuhachi Festival 1998, the Ottawa Festival; appeared in multimedia performances with Japanese Taiko drummers and the Elinor Coleman Dance Ensemble. He was also commissioned to compose and perform an original work that premiered with the Watanabe Dance Company in Japan. Cohn has performed and recorded with musicians including Reggie Workman, Jason Huang, Tom Varner, Fred Hopkins, Karl Berger, Oliver Lake, William Parker and Bob Stewart. www.thestevecohn.com Royce Deans Royce Deans studied art at the American Academy of Art in Chicago. His work is characterized by a combination of abstract lines and figurative images. Subject of his work is often the human body - even when he paints a landscape or a still life. His color blindness is not noticeable in his use of colors, but his paintings have a rich texture. His work was debuted in Amsterdam with Mo(ve)ment in September 2007. Tali Farchi Tali Farchi was born in Haifa, Israel. She studied for seven years in the Netherlands, at the Vrije Academie in The Hague and the Rietveld Academy in Amsterdam. Subsequently, she began her own studio for the production of animations for television, commercials and video productions – first in Tel Aviv and from 1998 onwards in the Netherlands. Recently, her work was exhibited in various galleries and museums. Her impressionistic style and expressive images developed within Mo(ve)ment into live painting, a style of painting that reminds one of the tradition of action painting. In Mo(ve)ment, the audience not only sees the result of the painters' work, it is the actual witness of the creative process. Guillermo Gregorio Born in Buenos Aires, Argentina in 1941, Guillermo Gregorio became an American citizen in 2003. With his Chicago-based trio and other ensembles, Gregorio has performed his own compositions in Europe and the USA. In 2005, New World Records released his CD, Coplanar. Previously, the Swiss label hat Art issued six CDs, among them, Degrees of Iconicity (hat[now]ART 134)-named "Star of the Month" in Fono Forum (Germany) in 2000-and Faktura (hat[now]ART 146), also featuring his compositions. In addition, he has worked and recorded with various improvisational groups, as well as participated in ensembles that recorded the music of Anthony Braxton and Cornelius Cardew. In January 2001, he founded the Madi Ensemble of Chicago, which performs original and historical scores that draw from the conceptual foundation of the 20th century Argentinian avant-garde. In 2007, Gregorio served a week-long residency as Composer-in- Residence at Wesleyan University, sponsored by the Edward W. Snowdon Fund and the Music Department. He has been Radio Curator of Armonia, a Musicians Residency Program created by the Chicago Symphony Orchestra. His composition Otra Musica 4 was nominated for special notice by the 2006 IAMIC Annual List selection panel (American Music Center/The International Association of Grantmakers). He has a degree in Architecture, and taught history and theory of architecture and industrial design and visual communication at the University of Buenos Aires and the University of La Plata, Argentina. Currently, he teaches Art Appreciation and 20th Century Art at Purdue University NC. He has also worked as an architect and consulting designer in Buenos Aires and Los Angeles. "What affects my music more than any other thing," Gregorio explains, "is my involvement in visual arts, and my architectural and design experience." In his compositions, a reinterpretation of the fundamental and structural concepts of Constructivism converges with the historical experiences of Argentinean Conceptualism, Fluxus, intermedia synthesis, and graphic music. In addition to the acceptance of sound as material, constructive and geometrically generated ideas are used in scores ranging from conventionally notated statements to graphs, including planimetric projections of spatial structures. He was an active participant on the Argentine music scene throughout the 1960s, '70s and early '80s. His involvement with New Music included both composing and playing saxophone, clarinet, and miscellaneous instruments in the Movimiento Música Más (Fluxus Group), the Experimental Group of Buenos Aires, and the Group of Contemporary Music of La Plata, featuring Fluxus events, multi-media spectacles, environmental pieces, experimental concerts, and aleatory realizations, as well as works by Cage, Ligeti, and avant-garde Argentinean composers. Documentation of this period of his career is available on the CD Guillermo Gregorio: Otra Música. Tape Music, Fluxus and Free Improvisation in Buenos Aires 1963-70 (Atavistic UMS/ALP209CD). He has also published many articles about avant-garde music (Musique Concrète, Futurism, Grupo Nuova Consonanza, Cornelius Cardew, AMM, Musica Elettronica Viva, Morton Feldman, Earl Brown, Robert Ashley, LaMonte Young, Albert Ayler, Bob Graettinger). As a composer and improviser, Gregorio has collaborated with Vinko Globokar, Stephen Dembski, Enrique Gerardi, Steffen Schleiermacher, Ran Blake, Jim O'Rourke, Ken Vandermark, Axel Dörner, Gene Coleman, George Graewe, Franz Koglmann, Le Quan Ninh, Akikazu Nakamura, Ab Baars, Sebi Tramontana, and Mary Oliver, among others. Benno Hübner Benno Hübner was born in Zwolle, the Netherlands. He studied at the Dance Academy in Arnhem and the renowned school 'Amor de Dios' in Madrid. He developed his own dance vocabulary in which his academic background, his Indonesian roots and personal body language are intermingled. As his career developed, he focused on producing and performing multi-disciplinary theatre pieces in which the dialogue between various art disciplines such as dance, theatre, music and visual arts is explored. He is responsible for the productions Syrinx, Circles and Ruis. Dan Godston Dan Godston teaches, writes, and composes music and plays the trumpet and other instruments in Chicago. Last year his trio -- Ways & Means -- released their debut CD, entitled “Fire of Dream”; this recording features a collaboration with poet Ed Roberson. From 2005 till 2006 The Ways & Means Trio hosted a monthly series at Muse Café called Lower & Upper Limits, which showcased collaborations between poets and musicians. Dan has worked with Jim Ryan, Daniele Cavallanti, Tiziano Tononi, Joel Wanek, Jayve Montgomery, Eric Glick Rieman, Guillermo Gregorio, Jerome Bryerton, Mankwe Ndosi, Douglas Ewart, Paul Hartsaw, Mars Williams, Tom Abbs, Nicole Mitchell, and other musicians. In 2006 he founded the Chicago Calling Festival, which provides opportunities for Chicago based artists to collaborate with artists living in other locations around the world. Joel Wanek Joel Wanek is an upright bassist, photographer and educator in Chicago. He organizes the annual Low End Theory: Festival of Improvised Bass Music, now in its fourth year. www.joelwanek.com Peter Jones Gallery 1806 West Cuyler St., 2nd Floor Chicago IL 60613 telephone: 773.472.6725 www.peterjonesgallery.com $10 suggested donation, show begins at 8 p.m. The Peter Jones Gallery is one block north of Irving Park Rd., a half block west of Ravenswood Rd. It is close to the Irving Park station on the CTA’s brown line. Please contact Dan at 312.543.7027 or dgodston@sbcglobal.net for more info. Tickets can be purchased at Peter Jones Gallery or in advance at http://www.bno-productions.nl/shop. ========================================================================= Date: Tue, 1 Apr 2008 10:32:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kyle Schlesinger Subject: Re: POETICS Digest - 29 Mar 2008 to 30 Mar 2008 (#2008-91) In-Reply-To: <38a93cff0803310909i5396c202o55f9f2d2e16e39d@mail.gmail.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hi Janet, This might be a start: Manifesto: A Century of Isms edited by Mary Ann Caws (University of Nebraska Press) Cheers, Kyle www.kyleschlesinger.com www.cuneiformpress.com www.cuneiformpress.blogspot.com > From: Janet Holmes > Reply-To: UB Poetics discussion group > Date: Mon, 31 Mar 2008 10:09:35 -0600 > To: > Subject: Re: POETICS Digest - 29 Mar 2008 to 30 Mar 2008 (#2008-91) > > Hi all, > > Does anyone know of an anthology of manifestoes (poetic or otherwise)? > > Thanks, > Janet > > -- > Janet Holmes > http://www.humanophone.com > http://ahsahtapress.boisestate.edu > .. .. .. .. .. .. > NEW FROM AHSAHTA PRESS: > To and From by G.E. Patterson > Irresponsibility by Chris Vitiello > http://ahsahtapress.boisestate.edu ========================================================================= Date: Tue, 1 Apr 2008 11:05:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Rochelle Ratner In-Reply-To: <861594.85202.qm@web82607.mail.mud.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Rochelle and I first met in it must have been 1973. Unfailingly generous, and never once, to my knowledge, descended to the nasty soap-opera that sometimes infects the poetry world. She also wrote some very good poetry. I saw her last a few weeks ago. She had been sick for a long time, and it was clear that the chemotherapy had become a form of torture. But she expected to survive. A sad loss. Mark At 06:00 PM 3/31/2008, you wrote: > I just received this note from Paul Pines > > Dear Friends: have just received word of the death of a dear > friend, Rochelle Ratner. She had been fighting cancer for the last > six months after two prior battles with breast cancer. She was a > wonderful writer and worked tirelessly to build a significant body > of work and did so until the last phone call we shared a few days > ago in which she said, "I have been looking back over my journals > and pulling out short stories. There is so much there." I pause to > reflect. The reservoir of things to say and ways to say them is > inexhaustable. Not so our own resources. I do think the effort to > express our lives as meaningful is ongoing and sustaining, but part > of this must include our connection to those around us. Cliched, I > know, but true. I am constantly reminded of that message in Pere > Lachaise Heloise left even after many years of separation from > Abelard: "The love that united us was all our joy." Love to all. Paul > > >I will remember Rochelle for her intense presence, her writing and >her care for writers,as well as her commitment and attention to >reviews of small presses, and her reviews of work by many of us. > > In sadness, > > Stephen Vincent ========================================================================= Date: Tue, 1 Apr 2008 08:14:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Bettridge Subject: Poetry, Art, and the Book: Exhibition Checklist MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline An approximate checklist for companion exhibitions *Metaphor Taking Shape: Poetry, Art, and the Book* and*The Publishers'Roundtable: Book Artists in Dialogue* is now available on line: http://publishersroundtable.wordpress.com/exhibitions/. A PDF version is available directly here: http://www.library.yale.edu/~nkuhl/MTSChecklist.pdf. The exhibitions draw primarily from materials in the Yale Collection of American Literature at the Beinecke Library and the Arts of the Book Collection at Sterling Memorial Library, Yale Univeristy. Nancy Kuhl Nancy Kuhl Associate Curator, 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 African American Studies at Beinecke Library: http://beineckejwj.wordpress.com/ Poetry at Beinecke Library: http://beineckepoetry.wordpress.com/ Room 26 Cabinet of Curiosities: http://brblroom26.wordpress.com/ ========================================================================= Date: Tue, 1 Apr 2008 11:26:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline but there are so many great, or at least interesting, novels by people who are primarily poets? (I admit, I seek them out) didn't every 1st gen NYS poet write a novel? -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Tue, 1 Apr 2008 12:52:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: POETICS Digest - 29 Mar 2008 to 30 Mar 2008 (#2008-91) In-Reply-To: <38a93cff0803310909i5396c202o55f9f2d2e16e39d@mail.gmail.com> Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes Content-Transfer-Encoding: 7bit Mime-Version: 1.0 (Apple Message framework v919.2) Theer is: Manifesto: A Century of Isms by Mary Ann Caws University of Nebraska Press (2000) & a largish section of "Manifestos" in my Poems for Millennium, vol 2 Pierre On Mar 31, 2008, at 12:09 PM, Janet Holmes wrote: > Hi all, > > Does anyone know of an anthology of manifestoes (poetic or otherwise)? > > Thanks, > Janet > > -- > Janet Holmes > http://www.humanophone.com > http://ahsahtapress.boisestate.edu > .. .. .. .. .. .. > NEW FROM AHSAHTA PRESS: > To and From by G.E. Patterson > Irresponsibility by Chris Vitiello > http://ahsahtapress.boisestate.edu ___________________________________________________________ The poet: always in partibus infidelium -- Paul Celan ___________________________________________________________ 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 ____________________________________________________________ ========================================================================= Date: Tue, 1 Apr 2008 09:54:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: April 3: Joyelle McSweeney & Johannes G=?ISO-8859-1?Q?=F6ransson_?= in Chicago MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Joyelle McSweeney & Johannes Göransson at Loyola University Chicago, Lake Shore Campus DAMEN HALL 340 (red line to Loyola stop) Thursday Evening, April 3rd at 7pm Free & Open to the Public Joyelle McSweeney is the author of two collections of poetry, The Red Bird and The Commandrine (both from Fence Books), and two novels, Nylund, The Sarcographer (Tarpaulin Sky) and Flet, also from Fence Books. Her work has appeared in dozens of journals, and frequently she writes reviews for Rain Taxi and The Constant Critic online. She is a professor at Notre Dame. Johannes Göransson is the author of Pilot: Johann the Carousel Horse (Fairy Tale Review), A New Quarantine Will Take My Place (Apostrophe Books), and Dear Ra (Starcherone). He has also published book-length translations of the Swedish-language poets Aase Berg and Henry Parland. With Joyelle McSweeney, he publishes Action Books, a press dedicated to translation, radical writing beyond the pale of the mainstream, and in their words: "Hybridity, Entropy, Inflammation" and "poetry that goes too far." ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Tue, 1 Apr 2008 12:19:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bobbi Chukran Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Personally, I've found that working on a novel increases the frequency with >which I get ideas for poems, but then I never do end up finishing the novel. >Hmm. > I've found that since I started writing poetry again, I can't write fiction! Or if I do, it's very, very short stuff. bobbi c. http://www.gracklestew.blogspot.com ========================================================================= Date: Tue, 1 Apr 2008 13:27:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: <464575.72785.qm@web65105.mail.ac2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Samuel Beckett=3F Jose Lezama Lima=3F Jaime Saenz=3F Cintio Vitier=3F= Luis Rogelio Nogueras=3F Anton Arrufat=3F Cesare Pavese=3F Pier Pao= lo Pasolini=3F Enrique Molina=3F Georges Ribemont-Dessaignes=3F Virgi= lio Pi=F1era=3F Edouard Glissant=3F Antonio Jose Ponte=3F Vicente Hui= dobro=3F Cristina Rivera Garza=3F Cristina Peri Rossi=3F Andrew Salke= y=3F Wole Soyinka=3F Amiri Baraka=3F Paul Laurence Dunbar=3F Langsto= n Hughes=3F Nathaniel Mackey=3F And that=27s only off the top of my head as far as a list of fine poets = who wrote=2C or have written=2C novels=2E ----- Original Message ----- From=3A Barry Schwabsky =3Cb=2Eschwabsky=40BTOPENWORLD=2ECOM=3E Date=3A Tuesday=2C April 1=2C 2008 1=3A16 pm Subject=3A Re=3A ON poets writing NOVELS (OH! it pains me to write those= words!) To=3A POETICS=40LISTSERV=2EBUFFALO=2EEDU =3E But what about D=2EH=2E Lawrence=3F Thomas Hardy=3F Or--not quite in= the same = =3E league as a novel-writer=2C but still he wrote a bunch of them--W=2E= C=2E Williams =3E = =3E ----- Original Message ---- =3E From=3A CA Conrad =3Ccaconrad13=40GMAIL=2ECOM=3E =3E To=3A POETICS=40LISTSERV=2EBUFFALO=2EEDU =3E Sent=3A Monday=2C 31 March=2C 2008 2=3A58=3A16 PM =3E Subject=3A ON poets writing NOVELS (OH! it pains me to write those = words!) =3E = =3E A good friend who knows HOW MUCH novels irritate me=2C and how = =3E physically ILL =3E I become when I hear of YET ANOTHER poet writing novels (or as I sa= y =3E FORSAKING poetry for novels!) sent me this link=3A =3E = =3E http=3A//www=2Esmh=2Ecom=2Eau/news/books/plotting-novel-left-poet-a= t-a-loss-for-words/2008/03/28/1206207399861=2Ehtml =3E = =3E This makes me want to SHOUT OUT many thanks to Rhyll McMaster for h= er = =3E brave =3E nod to the truth! I have met many poets who have taken up the nove= l=2C = =3E and =3E have had many arguments about it with them=2E EVERY SINGLE TIME th= e poets =3E insist that they will always be able to write poems=2C and I wait f= or those =3E poems=2E They never come back from the illness (YES=2C ILLNESS!) o= f the = =3E novel=2E =3E = =3E There are very very few poets I can think of who MASTER both=2E Or= =2C better =3E yet=2C poets who ACTUALLY continue to write poetry as well as they = did = =3E before =3E the task=2Ctask=2Ctask driven =22art=22 of writing novels=2E =3E = =3E Eileen Myles is a RARE exception! Her poems have gotten BETTER AND= BETTER =3E despite her novels=2E But then I feel almost no one alive has her = abilities =3E for writing=2C she=27s so beyond us=2E =3E = =3E Magdalena Zurawski may not write poems anymore=2C but her novel THE= BRUISE =3E reads exactly like her poems always did=2C and I Love her poems=2E =3E = =3E Maybe it=27s poets who were writing poems outside the mainstream wh= o = =3E can make =3E it work out for the better=3F Magdalena=27s novel REALLY IS like h= er = =3E poems=2C and =3E it took her 7 years to write=2E IT=27S A THING OF GREATNESS=2C but= to me = =3E it=27s an =3E epic experimental poem=2E It=27s coming out this fall=2C and won t= he Scholnick =3E Award for experimental fiction=2E =3E = =3E But=2C to be honest=2C 99 percent of the poets I=27ve met who take = up the novel =3E get lost=2E Permanently lost=2E =3E = =3E One poet I know who now writes novels was an AMAZING poet when I = =3E first met =3E him in 1993=2C or 1994=2E He hates my guts because I wouldn=27t sh= are his =3E enthusiasm at having discovered enjoying novels=2E He also hates m= e because =3E when he last wrote to me and said that I should try to write a nove= l=2C = =3E that I =3E would be good at it=2C I wrote back=2C =22I=27D RATHER FUCK A JAR O= F NAILS!=22 = =3E BUT=2C I =3E feel if I can PREVENT a poet from killing themselves with novels=2C= = =3E then I =3E have to take the risk! =3E = =3E Poetry is too important to NOT risk being hated for it! =3E = =3E It=27s OK being hated=2E Or maybe I=27m just used to it=2E =3E = =3E CAConrad =3E = =3E = =3E = =3E = =3E = =3E = =3E ========================================================================= Date: Tue, 1 Apr 2008 17:25:01 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Pritts Subject: National H_NGM_N Month kicks off In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable If you haven't already, click over to H_NGM_N // W_RLD - the official socia= l networking arm of my online magazine H_NGM_N:http://www.h-ngm-nw-rld.comT= oday we're kicking off our newest initiative - H_NGM_N // Open Source - an = online anthology that lives up to its name - no submission process, no reje= ctions. Just post up your poems; obviously I'm relying on people to post up= poems they believe in 100%, that they're proud to put their name on. Membe= rs are allowed to comment on individual poems, btw. Anyone can view but on= ly members can post. Click over & set up your profile! Thanks, Nate =20 =20 :: Nate Pritts :: http://www.natepritts.com _________________________________________________________________ More immediate than e-mail? Get instant access with Windows Live Messenger. http://www.windowslive.com/messenger/overview.html?ocid=3DTXT_TAGLM_WL_Refr= esh_instantaccess_042008= ========================================================================= Date: Tue, 1 Apr 2008 13:37:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit me too ashberry and schuyler On Mon, 31 Mar 2008 13:58:16 -0500 CA Conrad writes: > A good friend who knows HOW MUCH novels irritate me, and how > physically ILL > I become when I hear of YET ANOTHER poet writing novels (or as I > say > FORSAKING poetry for novels!) sent me this link: > > http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss-for-w ords/2008/03/28/1206207399861.html > > This makes me want to SHOUT OUT many thanks to Rhyll McMaster for > her brave > nod to the truth! I have met many poets who have taken up the > novel, and > have had many arguments about it with them. EVERY SINGLE TIME the > poets > insist that they will always be able to write poems, and I wait for > those > poems. They never come back from the illness (YES, ILLNESS!) of the > novel. > > There are very very few poets I can think of who MASTER both. Or, > better > yet, poets who ACTUALLY continue to write poetry as well as they did > before > the task,task,task driven "art" of writing novels. > > Eileen Myles is a RARE exception! Her poems have gotten BETTER AND > BETTER > despite her novels. But then I feel almost no one alive has her > abilities > for writing, she's so beyond us. > > Magdalena Zurawski may not write poems anymore, but her novel THE > BRUISE > reads exactly like her poems always did, and I Love her poems. > > Maybe it's poets who were writing poems outside the mainstream who > can make > it work out for the better? Magdalena's novel REALLY IS like her > poems, and > it took her 7 years to write. IT'S A THING OF GREATNESS, but to me > it's an > epic experimental poem. It's coming out this fall, and won the > Scholnick > Award for experimental fiction. > > But, to be honest, 99 percent of the poets I've met who take up the > novel > get lost. Permanently lost. > > One poet I know who now writes novels was an AMAZING poet when I > first met > him in 1993, or 1994. He hates my guts because I wouldn't share > his > nthusiasm at having discovered enjoying novels. He also hates me > because > when he last wrote to me and said that I should try to write a > novel, that I > would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF NAILS!" > BUT, I > feel if I can PREVENT a poet from killing themselves with novels, > then I > have to take the risk! > > Poetry is too important to NOT risk being hated for it! > > It's OK being hated. Or maybe I'm just used to it. > > CAConrad > http://PhillySound.blogspot.com > > ========================================================================= Date: Tue, 1 Apr 2008 14:09:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William James Austin Subject: Blackbox submission period now closed MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" Thanks to all who submitted.? I'll try to respond as soon as possible.? I'm very busy with professorial shit.? The winter gallery will be late, but what can I do?? Best, Bill (William James Austin) ========================================================================= Date: Tue, 1 Apr 2008 21:48:11 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: RIP: Rochelle Ratner (1948-2008) In-Reply-To: <217D882C-1E6B-4BBC-A840-6BDD2691A01A@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I did not know Rochelle Ratner but I received a very sad note by Karl Young who forwarded the following links: "you can see some of her work and my most important essay on her at http://www.marclweber.com/sugarmule/sm17.htm her own web site is at http://home.mindspring.com/~rochelleratner/ one of the important sets of essays for us, in which i pushed my ideas about reviewing from multiple points of view is on-line at http://www.thing.net/~grist/l&d/le-ry-jt.htm " On Tue, Apr 1, 2008 at 2:39 PM, Halvard Johnson wrote: > Dress Rehearsal > > I love you like wood and you laugh > with high birds I can't see. > White flat ducks wake the morning to leaves > that have slanted from night. > > Talk . . . talk . . . I hear noises-- > It's only the fish that are flying now, > bodies and words. > > Borrowed sunlight is crossing our sleep > like a child in the woods. > It's cold and then warm in the haloes, > the dark strung together like travel. > > Time was geology then. > It was summer. We always had friends. > > --Rochelle Ratner > > fr. A Birthday of Waters > [New York: New Rivers Press, 1971] > > > Halvard Johnson > ================ > halvard@earthlink.net > http://home.earthlink.net/~halvard/index.html > http://entropyandme.blogspot.com > http://imageswithoutwords.blogspot.com > http://www.hamiltonstone.org > http://home.earthlink.net/~halvard/vidalocabooks.html > -- Anny Ballardini http://annyballardini.blogspot.com/ http://www.fieralingue.it/modules.php?name=poetshome http://www.moriapoetry.com/ebooks.html I Tell You: One must still have chaos in one to give birth to a dancing star! ========================================================================= Date: Tue, 1 Apr 2008 15:49:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Siegell Subject: have you seen PASTE Magazine? Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="ISO-8859-1" hi, please click: http://bp0.blogger.com/_BE3qKTVGRPA/R-lUWNyxjyI/AAAAAAAAAJk/PjkXqN7c0go/s= 1600-h/Paul+Article.jpg and for more info: http://paulsiegell.blogspot.com/ thank you, paul> ========================================================================= Date: Wed, 2 Apr 2008 07:07:38 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Of course you can write poetry and novels together; it's simply a matter of desire. They can be totally complementary activities. I have a book of poems coming out this year with Salt as well as the fourth and final instalment of my fantasy quartet. (Although perhaps many people wouldn't think those were "proper" novels.) They're simply different modes of literary being, and there's nothing inherently exclusive about either form. All best Alison -- Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ========================================================================= Date: Tue, 1 Apr 2008 16:07:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Sometimes hard to know what's primary, what secondary. Here's a handful: Cervantes Swift Emily Bronte Melville Hugo Hardy Poe Lezama Williams At 11:26 AM 4/1/2008, you wrote: >but there are so many great, or at least interesting, novels by people who >are primarily poets? (I admit, I seek them out) > >didn't every 1st gen NYS poet write a novel? > >-- >All best, >Catherine Daly >c.a.b.daly@gmail.com ========================================================================= Date: Tue, 1 Apr 2008 22:34:54 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: RIP: Rochelle Ratner (1948-2008) In-Reply-To: <4b65c2d70804011248n12c3fbaayde59cd77969814a3@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I did know Rochelle, the fact that I am tired is not an excuse: http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=249 On Tue, Apr 1, 2008 at 9:48 PM, Anny Ballardini wrote: > I did not know Rochelle Ratner but I received a very sad note by Karl > Young who forwarded the following links: > > "you can see some of her work and my most important essay on her at > > http://www.marclweber.com/sugarmule/sm17.htm > > her own web site is at > > http://home.mindspring.com/~rochelleratner/ > > one of the important sets of essays for us, in which i pushed my ideas > about reviewing from multiple points of view is on-line at > > http://www.thing.net/~grist/l&d/le-ry-jt.htm > " > > > > > On Tue, Apr 1, 2008 at 2:39 PM, Halvard Johnson > wrote: > > > Dress Rehearsal > > > > I love you like wood and you laugh > > with high birds I can't see. > > White flat ducks wake the morning to leaves > > that have slanted from night. > > > > Talk . . . talk . . . I hear noises-- > > It's only the fish that are flying now, > > bodies and words. > > > > Borrowed sunlight is crossing our sleep > > like a child in the woods. > > It's cold and then warm in the haloes, > > the dark strung together like travel. > > > > Time was geology then. > > It was summer. We always had friends. > > > > --Rochelle Ratner > > > > fr. A Birthday of Waters > > [New York: New Rivers Press, 1971] > > > > > > Halvard Johnson > > ================ > > halvard@earthlink.net > > http://home.earthlink.net/~halvard/index.html > > http://entropyandme.blogspot.com > > http://imageswithoutwords.blogspot.com > > http://www.hamiltonstone.org > > http://home.earthlink.net/~halvard/vidalocabooks.html > > > > > > -- > -- Anny Ballardini http://annyballardini.blogspot.com/ http://www.fieralingue.it/modules.php?name=poetshome http://www.moriapoetry.com/ebooks.html I Tell You: One must still have chaos in one to give birth to a dancing star! ========================================================================= Date: Tue, 1 Apr 2008 16:06:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: Guttersnipe Das In-Reply-To: <725012.93157.qm@web8503.mail.in.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit thanks for hunger looks so fun! On 3/29/08 10:49 PM, "Jonathan Mack" wrote: > This is a respectful invitation to visit my blog: > > www.guttersnipedas.blogspot.com > > The first pieces on the blog are short essays about gay sex in Bangkok. > Besides that, there are dozens and dozens of prose poems, stories and short > essays. Poke around a little? > > I'm a writer living in Japan, born in the U.S, in love with India, and about > to move to Italy. A gay guy educated at Naropa, the School of the Art > Institute, as well as numerous monasteries, ashrams, bathhouses and sex clubs. > > I would be very grateful to correspond with anyone who writes about sex, > Buddhism, Japan or India. I would be tremendously grateful for reading lists > or advice of any sort. I am, admittedly, a machine for the creation of rough > drafts. If you have advice on how to proceed, how lucky I would be! > > Respectfully, > > Jonathan Mack aka Guttersnipe Das > > (P.S. Hi, Julia!) > > > > > > Your servant, G.S. Das, humbly requests your visit at > www.guttersnipedas.blogspot.com > > Tokyo, India, America. Hymns and Homosex. Fantasies and Fabriculae. Essays, > Prose Poems and Assorted Devotions. > guttersnipe: 1. a street urchin, a person of low breeding. 2. a gatherer of > refuse from street gutters. > das: (Sanskrit)1. servant, slave, devotee > > > --------------------------------- > Save all your chat conversations. Find them online. ========================================================================= Date: Tue, 1 Apr 2008 14:34:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: In Washington today!! Comments: To: "Poetryetc: poetry and poetics" , UK POETRY MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit A note from the Gothics News Service: From Washington, D.C. it was barely, if at all, reported this morning that someone, or a group, had hung a bright red laundry line, elevated between the Capitol Dome and the upper floor of the Washington Monument. Against the sunrise, it was possible to make out the figures of George Bush, Dick Cheney, Rice, Rumsfeld, Wolfolitz, Feith, and a few other architects of the invasion, war and occupation in Iraq. Ceremonially spaced apart by several feet, each figure was strung up and hung upside down from his or her heels. The laundry line was motorized in such away that the figures wheeled back and forth, up and down the mall, the ties of the men flapping in the breeze. Apparently, digital speakers were placed inside each figure. Those looking up from the mall could hear a cacophony of voices. “Forgive us. Forgive us. We knew not what we would wrought.” After that, they went on trying to explain themselves. The variously, quickly assembled crowds below, yelled back up, “Rot, Rot, Rot.” Apparently it was an April Fools stunt. As quickly as they realized what was happening, Snipers from Homeland Security – stationed on the tops of surrounding institutions - severed the rope with a couple of careful shots. The figures came down to the lawn in a crumbling crash. Security personnel were seen throwing the remains as quickly as possible into a suddenly convenient dumpster. No arrests in the incident have yet to be made. Apparently most news organizations have honored the White House’s request for a news blackout. The official memo was rumored to say, “…This Government has no intention of permitting the use of effigies, and the implications of either lynching or torture to be part of our national media or dialog…” ========================================================================= Date: Tue, 1 Apr 2008 18:47:26 -0400 Reply-To: Jeff Davis Sender: UB Poetics discussion group From: Jeff Davis Subject: Jonathan Williams on the air, er now web In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Last Sunday Wordplay, WPVM Asheville's program by/about/for poets, featured a 2005 reading from Jubilant Thicket by Jonathan Williams. The reading's available as a stream and podcast all this week from the Archive page at the station website: http://wpvm.org/nav/archives/ (just scroll down through the alphabet to "Wordplay" The direct link to the .mp3 file is: http://archive.wpvm.org/WordPlay-03302008.mp3 Production notes for the show are here: http://naturespoetry.blogspot.com/2008/03/jonathan-williams-on-air.html There's more material on Jonathan on NatureS; just click on the Jonathan Williams label at the foot of the post, or search. Enjoy, Jeff ========================================================================= Date: Tue, 1 Apr 2008 16:45:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Allegrezza Subject: **Chicago Poetry/Fiction on Chicago Public Radio. Please listen or download!** In-Reply-To: <950255.8237.qm@web51005.mail.re2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Series A, a series in Chicago devoted to innovative writing, is being featured during an hour-long broadcast this Sunday at 9 p.m. on ChicagoPublic Radio (WBEZ). If you are in the Chicago area, please listen. If not, make sure to download the recording. You can do that from ChicagoPublic Radio's web site ( http://www.chicagopublicradio.org). WBEZ tracks the downloads to see which shows they should focus on in the future. That's partially why they picked Series A. It's one of the most downloaded of their podcasts. It's also Poetry Month, so they wanted to focus on Chicago poetry/work. If the show receives many downloads, they might start spending more time on Chicagoinnovative literature. Some of the readers will include Gabe Gudding, Simone Muench, Lauren Levato, Garin Cycholl, Cris Mazza, and perhaps Josh Corey (They hadn't decided when I left. Sorry Josh.) In my interview, I talked about people like Paul Hoover, Michael Anania, Chris Glomski, Kerri Sonnenberg, and others; plus, I briefly mentioned the impact of writers like Ron Silliman, Susan Howe, and Charles Bernstein on my own work. So, please listen. Download it to show your support for innovative/experimental writing in the Midwest. Best, Bill Allegrezza www.moriapoetry.com/seriesa.html ------------------------------ ========================================================================= Date: Tue, 1 Apr 2008 16:01:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) WHAT ABOUT In-Reply-To: <20080401.133746.2172.36.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Kenneth Patchen: The Journal of The Albion Moonlight was one of the finest/strangest novels of the 20th century. Denis Johnson and Jim Harrison have done both (poetry/novels) for decades. Paul Auster gave up poetry but considers his poetry to be among his best work. Howard Nemerov wrote novels. Derek Walcott wrote plays and poetry. Ditto Brecht. Rilke too. & Pier Pasolini and Margaret Atwood (both wrote plays and novels). Atwood still cranks them out. "steve d. dalachinsky" wrote: me too ashberry and schuyler On Mon, 31 Mar 2008 13:58:16 -0500 CA Conrad writes: > A good friend who knows HOW MUCH novels irritate me, and how > physically ILL > I become when I hear of YET ANOTHER poet writing novels (or as I > say > FORSAKING poetry for novels!) sent me this link: > > http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss-for-w ords/2008/03/28/1206207399861.html > > This makes me want to SHOUT OUT many thanks to Rhyll McMaster for > her brave > nod to the truth! I have met many poets who have taken up the > novel, and > have had many arguments about it with them. EVERY SINGLE TIME the > poets > insist that they will always be able to write poems, and I wait for > those > poems. They never come back from the illness (YES, ILLNESS!) of the > novel. > > There are very very few poets I can think of who MASTER both. Or, > better > yet, poets who ACTUALLY continue to write poetry as well as they did > before > the task,task,task driven "art" of writing novels. > > Eileen Myles is a RARE exception! Her poems have gotten BETTER AND > BETTER > despite her novels. But then I feel almost no one alive has her > abilities > for writing, she's so beyond us. > > Magdalena Zurawski may not write poems anymore, but her novel THE > BRUISE > reads exactly like her poems always did, and I Love her poems. > > Maybe it's poets who were writing poems outside the mainstream who > can make > it work out for the better? Magdalena's novel REALLY IS like her > poems, and > it took her 7 years to write. IT'S A THING OF GREATNESS, but to me > it's an > epic experimental poem. It's coming out this fall, and won the > Scholnick > Award for experimental fiction. > > But, to be honest, 99 percent of the poets I've met who take up the > novel > get lost. Permanently lost. > > One poet I know who now writes novels was an AMAZING poet when I > first met > him in 1993, or 1994. He hates my guts because I wouldn't share > his > nthusiasm at having discovered enjoying novels. He also hates me > because > when he last wrote to me and said that I should try to write a > novel, that I > would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF NAILS!" > BUT, I > feel if I can PREVENT a poet from killing themselves with novels, > then I > have to take the risk! > > Poetry is too important to NOT risk being hated for it! > > It's OK being hated. Or maybe I'm just used to it. > > CAConrad > http://PhillySound.blogspot.com > > --------------------------------- You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. ========================================================================= Date: Tue, 1 Apr 2008 16:47:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit On Mar 31, 2008, at 11:58 AM, CA Conrad wrote: > I have met many poets who have taken up the novel, and > have had many arguments about it with them. EVERY SINGLE TIME the > poets > insist that they will always be able to write poems, and I wait for > those > poems. They never come back from the illness (YES, ILLNESS!) of the > novel. I think that the more recent poems of Michael Ondaatje and Margaret Atwood are pretty good. I think it is hard to fault the last poems of WCW. Didn't HD do some pretty good poems in her last years? Nicole Brossard is no slouch at poetry in late years. > Giorgio H. Bowering Does not kill snakes ========================================================================= Date: Tue, 1 Apr 2008 17:55:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Updike, too. & across the border, Margaret Atwood. Pirandello wrote novels and short stories as well as plays and poems.Stephen Dobyns writes a detective series. Thomas McGrath wrote novels. The list goes on and on. I've mentioned others in a different post. It's almost like listing prime numbers next to real numbers, except writers comprise a finite series. ----- Original Message ---- From: Barry Schwabsky To: POETICS@LISTSERV.BUFFALO.EDU Sent: Tuesday, April 1, 2008 9:46:04 AM Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) But what about D.H. Lawrence? Thomas Hardy? Or--not quite in the same league as a novel-writer, but still he wrote a bunch of them--W.C. Williams ----- Original Message ---- From: CA Conrad To: POETICS@LISTSERV.BUFFALO.EDU Sent: Monday, 31 March, 2008 2:58:16 PM Subject: ON poets writing NOVELS (OH! it pains me to write those words!) A good friend who knows HOW MUCH novels irritate me, and how physically ILL I become when I hear of YET ANOTHER poet writing novels (or as I say FORSAKING poetry for novels!) sent me this link: http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss-for-words/2008/03/28/1206207399861.html This makes me want to SHOUT OUT many thanks to Rhyll McMaster for her brave nod to the truth! I have met many poets who have taken up the novel, and have had many arguments about it with them. EVERY SINGLE TIME the poets insist that they will always be able to write poems, and I wait for those poems. They never come back from the illness (YES, ILLNESS!) of the novel. There are very very few poets I can think of who MASTER both. Or, better yet, poets who ACTUALLY continue to write poetry as well as they did before the task,task,task driven "art" of writing novels. Eileen Myles is a RARE exception! Her poems have gotten BETTER AND BETTER despite her novels. But then I feel almost no one alive has her abilities for writing, she's so beyond us. Magdalena Zurawski may not write poems anymore, but her novel THE BRUISE reads exactly like her poems always did, and I Love her poems. Maybe it's poets who were writing poems outside the mainstream who can make it work out for the better? Magdalena's novel REALLY IS like her poems, and it took her 7 years to write. IT'S A THING OF GREATNESS, but to me it's an epic experimental poem. It's coming out this fall, and won the Scholnick Award for experimental fiction. But, to be honest, 99 percent of the poets I've met who take up the novel get lost. Permanently lost. One poet I know who now writes novels was an AMAZING poet when I first met him in 1993, or 1994. He hates my guts because I wouldn't share his enthusiasm at having discovered enjoying novels. He also hates me because when he last wrote to me and said that I should try to write a novel, that I would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF NAILS!" BUT, I feel if I can PREVENT a poet from killing themselves with novels, then I have to take the risk! Poetry is too important to NOT risk being hated for it! It's OK being hated. Or maybe I'm just used to it. CAConrad http://PhillySound.blogspot.com ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Tue, 1 Apr 2008 19:49:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Allen Bramhall Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline such resistance should be studied rather than celebrated, because it can only stem from ignorance. criticism by class is pretty abhorrent, the sort of thing I would keep to myself. --Allen On Mon, Mar 31, 2008 at 2:58 PM, CA Conrad wrote: > A good friend who knows HOW MUCH novels irritate me, and how physically ILL > I become when I hear of YET ANOTHER poet writing novels (or as I say > FORSAKING poetry for novels!) sent me this link: > > http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss-for-words/2008/03/28/1206207399861.html > > This makes me want to SHOUT OUT many thanks to Rhyll McMaster for her brave > nod to the truth! I have met many poets who have taken up the novel, and > have had many arguments about it with them. EVERY SINGLE TIME the poets > insist that they will always be able to write poems, and I wait for those > poems. They never come back from the illness (YES, ILLNESS!) of the novel. > > There are very very few poets I can think of who MASTER both. Or, better > yet, poets who ACTUALLY continue to write poetry as well as they did before > the task,task,task driven "art" of writing novels. > > Eileen Myles is a RARE exception! Her poems have gotten BETTER AND BETTER > despite her novels. But then I feel almost no one alive has her abilities > for writing, she's so beyond us. > > Magdalena Zurawski may not write poems anymore, but her novel THE BRUISE > reads exactly like her poems always did, and I Love her poems. > > Maybe it's poets who were writing poems outside the mainstream who can make > it work out for the better? Magdalena's novel REALLY IS like her poems, and > it took her 7 years to write. IT'S A THING OF GREATNESS, but to me it's an > epic experimental poem. It's coming out this fall, and won the Scholnick > Award for experimental fiction. > > But, to be honest, 99 percent of the poets I've met who take up the novel > get lost. Permanently lost. > > One poet I know who now writes novels was an AMAZING poet when I first met > him in 1993, or 1994. He hates my guts because I wouldn't share his > enthusiasm at having discovered enjoying novels. He also hates me because > when he last wrote to me and said that I should try to write a novel, that I > would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF NAILS!" BUT, I > feel if I can PREVENT a poet from killing themselves with novels, then I > have to take the risk! > > Poetry is too important to NOT risk being hated for it! > > It's OK being hated. Or maybe I'm just used to it. > > CAConrad > http://PhillySound.blogspot.com > ========================================================================= Date: Tue, 1 Apr 2008 18:26:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Warren Lloyd Subject: Pashto anyone ? MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hello Listservers, Does anyone on the list have any literacy at all with Pashto? I'm at the beginning of a translation/ ethnographic project of a poet who has written extensively in Pashto. If anyone is interested in helping out with some questions and concerns circulating around this project, or has any interest in what will inevitably be a larger translation project please back channel. Thanks for your time. Bets for now, Warren "The stars are eating" "The Stars are eating" - Artaud --------------------------------- You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. ========================================================================= Date: Tue, 1 Apr 2008 20:55:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: In Washington today!! In-Reply-To: <978433.23289.qm@web82604.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: quoted-printable thanks for this, stephen! heartwarming. Stephen Vincent wrote: > A note from the Gothics News Service:=20 > =20 > From Washington, D.C. it was barely, if at all, reported this morning = that someone, or a group, had hung a bright red laundry line, elevated be= tween the Capitol Dome and the upper floor of the Washington Monument. Ag= ainst the sunrise, it was possible to make out the figures of George Bush= , Dick Cheney, Rice, Rumsfeld, Wolfolitz, Feith, and a few other architec= ts of the invasion, war and occupation in Iraq. Ceremonially spaced apart= by several feet, each figure was strung up and hung upside down from his= or her heels. The laundry line was motorized in such away that the figur= es wheeled back and forth, up and down the mall, the ties of the men flap= ping in the breeze. Apparently, digital speakers were placed inside each = figure. Those looking up from the mall could hear a cacophony of voices. = =93Forgive us. Forgive us. We knew not what we would wrought.=94 After t= hat, they went on trying to explain themselves.=20 > =20 > The variously, quickly assembled crowds below, yelled back up, =93Rot,= Rot, Rot.=94=20 > =20 > Apparently it was an April Fools stunt. As quickly as they realized wh= at was happening, Snipers from Homeland Security =96 stationed on the top= s of surrounding institutions - severed the rope with a couple of carefu= l shots. The figures came down to the lawn in a crumbling crash. Security= personnel were seen throwing the remains as quickly as possible into a s= uddenly convenient dumpster. No arrests in the incident have yet to be ma= de.=20 > =20 > Apparently most news organizations have honored the White House=92s re= quest for a news blackout. The official memo was rumored to say, =93=85Th= is Government has no intention of permitting the use of effigies, and the= implications of either lynching or torture to be part of our national me= dia or dialog=85=94=20 > =20 > =20 > =20 > =20 > =20 ========================================================================= Date: Tue, 1 Apr 2008 19:04:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: & Pulitzer for Poetry & Fiction/award goes to... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii people forget Robert Penn Warren. He won 3 pulitzers, I think. & one of them was for fiction. Dylan Thomas wrote fiction as well. Ditto Jack Kerouac. ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Tue, 1 Apr 2008 19:41:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: In Washington today!! In-Reply-To: <978433.23289.qm@web82604.mail.mud.yahoo.com> Mime-Version: 1.0 (Apple Message framework v753) Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable This story looks a bit like an april fools joke itself, yeah? On Apr 1, 2008, at 2:34 PM, Stephen Vincent wrote: > A note from the Gothics News Service: > > =46rom Washington, D.C. it was barely, if at all, reported this =20 > morning that someone, or a group, had hung a bright red laundry =20 > line, elevated between the Capitol Dome and the upper floor of the =20 > Washington Monument. Against the sunrise, it was possible to make =20 > out the figures of George Bush, Dick Cheney, Rice, Rumsfeld, =20 > Wolfolitz, Feith, and a few other architects of the invasion, war =20 > and occupation in Iraq. Ceremonially spaced apart by several feet, =20 > each figure was strung up and hung upside down from his or her =20 > heels. The laundry line was motorized in such away that the figures =20= > wheeled back and forth, up and down the mall, the ties of the men =20 > flapping in the breeze. Apparently, digital speakers were placed =20 > inside each figure. Those looking up from the mall could hear a =20 > cacophony of voices. =93Forgive us. Forgive us. We knew not what we =20= > would wrought.=94 After that, they went on trying to explain = themselves. > > The variously, quickly assembled crowds below, yelled back up, =20 > =93Rot, Rot, Rot.=94 > > Apparently it was an April Fools stunt. As quickly as they =20 > realized what was happening, Snipers from Homeland Security =96 =20 > stationed on the tops of surrounding institutions - severed the =20 > rope with a couple of careful shots. The figures came down to the =20 > lawn in a crumbling crash. Security personnel were seen throwing =20 > the remains as quickly as possible into a suddenly convenient =20 > dumpster. No arrests in the incident have yet to be made. > > Apparently most news organizations have honored the White House=92s =20= > request for a news blackout. The official memo was rumored to say, =20 > =93=85This Government has no intention of permitting the use of =20 > effigies, and the implications of either lynching or torture to be =20 > part of our national media or dialog=85=94 > > > > ========================================================================= Date: Tue, 1 Apr 2008 21:28:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable What are Lezama's poems like, Mark? I once attempted his Paradiso and didn'= t have the inner strength to keep at it, but have alwaysbeen curious about = him.=0A=0A----- Original Message ----=0AFrom: Mark Weiss =0ATo: POETICS@LISTSERV.BUFFALO.EDU=0ASent: Tuesday, 1 April, 2008 4:= 07:44 PM=0ASubject: Re: ON poets writing NOVELS (OH! it pains me to write t= hose words!)=0A=0ASometimes hard to know what's primary, what secondary. He= re's a handful:=0A=0ACervantes=0ASwift=0AEmily Bronte=0AMelville=0AHugo=0AH= ardy=0APoe=0ALezama=0AWilliams=0A=0A=0A=0A=0AAt 11:26 AM 4/1/2008, you wrot= e:=0A>but there are so many great, or at least interesting, novels by peopl= e who=0A>are primarily poets? (I admit, I seek them out)=0A>=0A>didn't ever= y 1st gen NYS poet write a novel?=0A>=0A>--=0A>All best,=0A>Catherine Daly= =0A>c.a.b.daly@gmail.com=0A=0A=0A=0A=0A ========================================================================= Date: Tue, 1 Apr 2008 21:30:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: & Pulitzer for Poetry & Fiction/award goes to... MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Well, I guess the poetry-writing/novel-writing dichotomy has been just abou= t put to bed, right?=0A=0A----- Original Message ----=0AFrom: steve russell= =0ATo: POETICS@LISTSERV.BUFFALO.EDU=0ASent: Tuesda= y, 1 April, 2008 10:04:57 PM=0ASubject: & Pulitzer for Poetry & Fiction/awa= rd goes to...=0A=0Apeople forget Robert Penn Warren. He won 3 pulitzers, I = think. & one of them was for fiction. Dylan Thomas wrote fiction as well. D= itto Jack Kerouac. =0A=0A=0A _________________________________________= ___________________________________________=0AYou rock. That's why Blockbus= ter's offering you one month of Blockbuster Total Access, No Cost. =0Ahttp= ://tc.deals.yahoo.com/tc/blockbuster/text5.com=0A=0A=0A=0A=0A ========================================================================= Date: Wed, 2 Apr 2008 00:34:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Buddha MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Buddha 'There is no jewel in this world so great as the Svadhisthana, if purified by the Clear Light like a gem cleansed by fire.' (trans. Waxman, 'Svadhisthana' - Illusory Body) bachi http://www.alansondheim.org/pick1.png http://www.alansondheim.org/pick2.png http://www.alansondheim.org/pick3.png http://www.alansondheim.org/pick4.png http://www.alansondheim.org/pick5.png http://www.alansondheim.org/pick6.png http://www.alansondheim.org/pick7.png moktak http://www.alansondheim.org/bell1.png http://www.alansondheim.org/bell2.png http://www.alansondheim.org/bell3.png ========================================================================= Date: Wed, 2 Apr 2008 05:20:41 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Ahadada Books Presents: Mark Spitzer's Age of the Demon Tools--A New Howl launched against the American Bush-o-sphere! MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" FRONT PAGE NEWS: Go to www.ahadadabooks.com and read what ED SANDERS has to say about this nifty new tome, then SEE FOR YOURSELF! Has a kick-ass cover, too! This message has been approved by Popeye, Joey Heatherton and the Sea Hag. ========================================================================= Date: Tue, 1 Apr 2008 22:48:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dillon Westbrook Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: Mime-Version: 1.0 (Apple Message framework v753) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit I, for one, fully have your back on this. Novels by poets are like a Standards album by Anthony Braxton (he actually did one- go listen to judge of the analogy, pretty bad). Dillon On Mar 31, 2008, at 11:58 AM, CA Conrad wrote: > A good friend who knows HOW MUCH novels irritate me, and how > physically ILL > I become when I hear of YET ANOTHER poet writing novels (or as I say > FORSAKING poetry for novels!) sent me this link: > > http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss- > for-words/2008/03/28/1206207399861.html > > This makes me want to SHOUT OUT many thanks to Rhyll McMaster for > her brave > nod to the truth! I have met many poets who have taken up the > novel, and > have had many arguments about it with them. EVERY SINGLE TIME the > poets > insist that they will always be able to write poems, and I wait for > those > poems. They never come back from the illness (YES, ILLNESS!) of > the novel. > > There are very very few poets I can think of who MASTER both. Or, > better > yet, poets who ACTUALLY continue to write poetry as well as they > did before > the task,task,task driven "art" of writing novels. > > Eileen Myles is a RARE exception! Her poems have gotten BETTER AND > BETTER > despite her novels. But then I feel almost no one alive has her > abilities > for writing, she's so beyond us. > > Magdalena Zurawski may not write poems anymore, but her novel THE > BRUISE > reads exactly like her poems always did, and I Love her poems. > > Maybe it's poets who were writing poems outside the mainstream who > can make > it work out for the better? Magdalena's novel REALLY IS like her > poems, and > it took her 7 years to write. IT'S A THING OF GREATNESS, but to me > it's an > epic experimental poem. It's coming out this fall, and won the > Scholnick > Award for experimental fiction. > > But, to be honest, 99 percent of the poets I've met who take up the > novel > get lost. Permanently lost. > > One poet I know who now writes novels was an AMAZING poet when I > first met > him in 1993, or 1994. He hates my guts because I wouldn't share his > enthusiasm at having discovered enjoying novels. He also hates me > because > when he last wrote to me and said that I should try to write a > novel, that I > would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF > NAILS!" BUT, I > feel if I can PREVENT a poet from killing themselves with novels, > then I > have to take the risk! > > Poetry is too important to NOT risk being hated for it! > > It's OK being hated. Or maybe I'm just used to it. > > CAConrad > http://PhillySound.blogspot.com ========================================================================= Date: Tue, 1 Apr 2008 19:38:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: "Reality Too" - March 2008 Blog MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Here is my March 2008 blog: http://web.pdx.edu/~pdx00282/blog/March.htm Introduction: http://web.pdx.edu/~pdx00282/blog/intro.htm Designed for MS Explorer; Text Size: Medium; 1024X768 screen resolution. -Joel ========================================================================= Date: Tue, 1 Apr 2008 21:41:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Annette Subject: Rochelle In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi, I generally just lurk on this list, but wanted to say that Rochelle was a lovely lady. I have MS, and met her through workshops she taught through the MS Society. She was my teacher for six years or so. I wrote this for one of her assignments. For Rochelle Shadows Dark images Running, playing, giving Dearest friends, now gone Shadows Annette Ackerson Dogs are like people, only without the bullshit. --------------------------------- You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. ========================================================================= Date: Wed, 2 Apr 2008 01:10:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nick Piombino Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: <621744.63101.qm@web52408.mail.re2.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Check out Heather O'Neill's novel, published in 2006, "lullabies for little criminals". This novel combines social insights concerning the street life of poverty stricken children on the level of Baudelaire and Dickens in poetic ways I never could have imagined was possible in the 21st Century. Illustrates beautifully Rilke's maxim that "beauty is the beginning of a terror we can just barely endure". O'Neill is a Canadian poet who writes in the afterword of this novel: "I don't like to tell people I am working on a novel because they ask me literally thousands of times when it's coming out. People around me seemed to get very upset while I was writing this book. They were like: What's with all this paper! This simply isn't right. Nobody really believes you when you say you're writing a novel, and they look at you all suspiciously. I used to get pulled out of line in customs every time I said I was a writer. They'll dump out everything in your suitcase if you say that you're a poet. The last thing they want is another poet in their country. They apparently have enough trouble dealing with their own domestic population of poets." Last time I looked, there's a stack of O'Neill's masterful novel in the Union Square Barnes and Noble. I also can't resist citing both James Dickey's "Deliverance" in the context of this discussion, and Cesare Pavese's novels, one of which, "Among Women Only" ("Tra donna sole") , inspired an early film of Antonioni's, Le Amiche. This discussion led me to once again open Jonathan Monroe's important 1987 book on the contentious topics surrounding prose poetry, "A Poverty of Objects", which elucidates and deeply examines the emergence of prose poetry, particularly in Baudelaire, as a utopian, democratic gesture. For a period of time I read these amazing prose poems aloud every night before going to sleep, which are inexhaustible in their poetic evocation of Baudelaire's inspired social observations and insights. This is from "The Cake": "I was slicing my bread in peace, when a slight noise made me look up. Then I saw an undersized young imp standing in front of me, dressed in rags, swarthy and unkempt, whose wild and yet beseeching sunken eyes were devouring my bit of loaf. Then I heard him heave a sigh and whisper in a low voice, the word *cake*. I could hardly refrain from laughing at the expression with which he chose to dignify my not very white bread, but I cut him a thick slice and held it out from the object of his longing, then, snatching the crust, he recoiled as fast as he could, as though afraid that my gift was not sincerely intended, or that I was already having second thoughts....At that very moment he was knocked down by a similar little savage who had appeared out of nowhere, such a perfect replica of the first that he could have been his twin brother. Now they rolled around on the ground, fighting for possession of their precious prey, neither of them willing to sacrifice half for his brother....When at last, exhausted, gasping and covered with blood, they stopped fighting only because it was impossible to carry on any longer, to tell the truth there was no trophy left- the chunk of bread had completely disintegrated....This happening left me feeling depressed long afterwards, as I repeated to myself, "So, there is a wonderland in which *bread* is known as *cake*, such a rare delicacy that it is enough to cause a fratricidal war." [1862] [Baudelaure, The Poems In Prose, translated by Francis Scarfe]. On 4/1/08 7:55 PM, "steve russell" wrote: > Updike, too. & across the border, Margaret Atwood. Pirandello wrote novels and > short stories as well as plays and poems.Stephen Dobyns writes a detective > series. Thomas McGrath wrote novels. The list goes on and on. I've mentioned > others in a different post. It's almost like listing prime numbers next to > real numbers, except writers comprise a finite series. > > > ----- Original Message ---- > From: Barry Schwabsky > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Tuesday, April 1, 2008 9:46:04 AM > Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) > > But what about D.H. Lawrence? Thomas Hardy? Or--not quite in the same league > as a novel-writer, but still he wrote a bunch of them--W.C. Williams > > ----- Original Message ---- > From: CA Conrad > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Monday, 31 March, 2008 2:58:16 PM > Subject: ON poets writing NOVELS (OH! it pains me to write those words!) > > A good friend who knows HOW MUCH novels irritate me, and how physically ILL > I become when I hear of YET ANOTHER poet writing novels (or as I say > FORSAKING poetry for novels!) sent me this link: > > http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss-for-words/ > 2008/03/28/1206207399861.html > > This makes me want to SHOUT OUT many thanks to Rhyll McMaster for her brave > nod to the truth! I have met many poets who have taken up the novel, and > have had many arguments about it with them. EVERY SINGLE TIME the poets > insist that they will always be able to write poems, and I wait for those > poems. They never come back from the illness (YES, ILLNESS!) of the novel. > > There are very very few poets I can think of who MASTER both. Or, better > yet, poets who ACTUALLY continue to write poetry as well as they did before > the task,task,task driven "art" of writing novels. > > Eileen Myles is a RARE exception! Her poems have gotten BETTER AND BETTER > despite her novels. But then I feel almost no one alive has her abilities > for writing, she's so beyond us. > > Magdalena Zurawski may not write poems anymore, but her novel THE BRUISE > reads exactly like her poems always did, and I Love her poems. > > Maybe it's poets who were writing poems outside the mainstream who can make > it work out for the better? Magdalena's novel REALLY IS like her poems, and > it took her 7 years to write. IT'S A THING OF GREATNESS, but to me it's an > epic experimental poem. It's coming out this fall, and won the Scholnick > Award for experimental fiction. > > But, to be honest, 99 percent of the poets I've met who take up the novel > get lost. Permanently lost. > > One poet I know who now writes novels was an AMAZING poet when I first met > him in 1993, or 1994. He hates my guts because I wouldn't share his > enthusiasm at having discovered enjoying novels. He also hates me because > when he last wrote to me and said that I should try to write a novel, that I > would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF NAILS!" BUT, I > feel if I can PREVENT a poet from killing themselves with novels, then I > have to take the risk! > > Poetry is too important to NOT risk being hated for it! > > It's OK being hated. Or maybe I'm just used to it. > > CAConrad > http://PhillySound.blogspot.com > > > > ______________________________________________________________________________ > ______ > You rock. That's why Blockbuster's offering you one month of Blockbuster Total > Access, No Cost. > http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Wed, 2 Apr 2008 05:06:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Buddha MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Buddha 'There is no jewel in this world so great as the Svadhisthana, if purified by the Clear Light like a gem cleansed by fire.' (trans. Waxman, 'Svadhisthana' - Illusory Body) Buddha is virtual particle. Buddha crawls out from delete file rc.folders file; Buddha disappears. Buddha tells me uncanny brilliance. Buddha watch someone tries gathering Buddha pieces. From under delete file. Pieces of someone gathering. Pieces of delete files. From someone trying to put together. From someone broken. Who are that someone broken. Bachi and moktak images pure substance. Of back hypnagogic mind. Of smashed history. Someone broken memory. Marks where were vowels. Of what some vowels. Of what words. What language. Bu ub bu ub bu ub. One side. Another. Of side gathering illusion body. Of surface volume. Of open closed. Appearance of cymbal sound. Of brain holding kindness stroke. Of mind fleeing brain. Of brain-flight mind. Mind disappear. Samsara broken. Of the disappearance of mind, the lotus. Of the disappearance of samsara, the lotus. Of the lotus, broken memory. Bu ub bu ub bu ub. Of generation. Completion. bachi, moktak, cymbal http://www.alansondheim.org/bu.mp4 http://www.alansondheim.org/ub.mp4 bachi http://www.alansondheim.org/pick1.png http://www.alansondheim.org/pick2.png http://www.alansondheim.org/pick3.png http://www.alansondheim.org/pick4.png http://www.alansondheim.org/pick5.png http://www.alansondheim.org/pick6.png http://www.alansondheim.org/pick7.png moktak http://www.alansondheim.org/bell1.png http://www.alansondheim.org/bell2.png http://www.alansondheim.org/bell3.png ========================================================================= Date: Wed, 2 Apr 2008 03:39:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: <533fc9a7cd77ae29e266a3405a8ab1e5@sfu.ca> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit > I think that the more recent poems of Michael Ondaatje and Margaret > Atwood are pretty good. > I think it is hard to fault the last poems of WCW. > Didn't HD do some pretty good poems in her last years? > Nicole Brossard is no slouch at poetry in late years. michael ondaatje's 'coming through slaughter' is one of my favorite novels. it's the story of buddy bolden and the beginning of jazz. a tragedy. if you ever go to an ondaatje reading, you have to be in range. if you are out of range, it's just another reading. if you are in range, it's something else. this is partly why recordings of his poetry readings are so good. one is generally in range when listening to recorded sound. by 'in range' i don't mean just that you can hear it. close enough that you are in some other type of range. ja http://vispo.com ========================================================================= Date: Wed, 2 Apr 2008 07:09:34 -0500 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: Yuganaut / Mo(ve)ment show at Peter Jones Gallery In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Mo(ve)ment / Yuganaut show at Peter Jones Gallery tonight, at 8 p.m. 1st set: Mo(ve)ment 2nd set: Yuganaut (www.yuganaut.com) Stephen Rush -- keyboards, electronics, toys Tom Abbs -- upright bass, cello, didgeridoo, violin Geoff Mann -- drums, cornet, mandolin 3rd set: combined groups Mo(ve)ment After 5 years of performing in the Netherlands and playing festivals in Israel and South Africa, the colorful, creative and improvisational performances of Mo(ve)ment will finally make its US debut. Mo(ve)ment is a two-act, multi-disciplinary, live on-stage performance that spotlights energetic dialogue between visual art and modern dance. Benno Hübner dances in front of a a large screen on which the paintings of Tali Farchi are projected, even as they are being created live for all to see. The connections between these two disciplines develop a conversation that is playful, passionate and at times intimate. During this performance, Tali Farchi and Benno Hübner will be joined by Royce Deans (painting), Steve Cohn (keyboards, shakuhachi, poetry), Joel Wanek (upright bass), and Dan Godston (trumpet, poetry). http://www.jazzpolice.com/content/view/7641/116/ Tom Abbs Bassist, tubist and improviser Tom Abbs has been performing and recording in a variety of contexts (classical, rock, jazz, and improvised musics) for the past 20 years. A Seattle native, Tom relocated to New York in 1991 where he studied with such masters as Reggie Workman, Buster Williams, Joe Chambers, Junior Mance, Chico Hamilton and Arthur Taylor. In the past decade Tom has developed a driving percussive style on the bass that encompasses the deep emotion and grit of Charles Mingus and Jimmy Garrison while showing the dexterity and inventiveness of Scott La Faro. His fluid tuba style has shed many of the instrument’s sluggish connotations and transformed it into a soaring solo and sharply percussive groove machine. Equally comfortable in "free" and "inside" settings, Abbs' versatility and depth as a player has kept him busy backing up the likes of Lawrence "Butch" Morris, Charles Gayle, Daniel Carter, Steve Swell, Roy Campbell Jr., Sabir Mateen, Jemeel Moondoc, Assif Tahar, Borah Bergman, Billy Bang, Andrew Lamb, Warren Smith and many others. Tom is currently a member of the collective experimental trio, Triptych Myth with Cooper-Moore and Chad Taylor (Hopscotch Records) and is leading his own group, “Frequency Response” (CIMP Records). Steve Cohn The music of pianist and shakuhachi player Steve Cohn has continually and dramatically evolved. A native of San Francisco, he performed as a blues pianist in Los Angeles, where he began studying the shakuhachi flute at UCLA. He then spent two years in Japan returning to study at San Francisco State University where he worked with Pulitzer Prize Winner, Wayne Peterson, and also appeared as a jazz pianist performing with musicians such as Eddie Henderson, and Sonny Simmons. Ultimately he moved to New York where he has devoted himself to totally improvised music, combining unconventional use of non-western winds and percussion with a unique piano style. Cohn has performed his own works in venues including New York City's Miller Theatre, New Works October Series, Fiesta International USSR, the Newport JVC Festival, Sweet Basil, The Great American Music Hall, World Shakuhachi Festival 1998, the Ottawa Festival; appeared in multimedia performances with Japanese Taiko drummers and the Elinor Coleman Dance Ensemble. He was also commissioned to compose and perform an original work that premiered with the Watanabe Dance Company in Japan. Cohn has performed and recorded with musicians including Reggie Workman, Jason Huang, Tom Varner, Fred Hopkins, Karl Berger, Oliver Lake, William Parker and Bob Stewart. www.thestevecohn.com Joel Wanek Joel Wanek is an upright bassist, photographer and educator in Chicago. He organizes the annual Low End Theory: Festival of Improvised Bass Music, now in its fourth year. www.joelwanek.com Tali Farchi Tali Farchi was born in Haifa, Israel. She studied for seven years in the Netherlands, at the Vrije Academie in The Hague and the Rietveld Academy in Amsterdam. Subsequently, she began her own studio for the production of animations for television, commercials and video productions – first in Tel Aviv and from 1998 onwards in the Netherlands. Recently, her work was exhibited in various galleries and museums. Her impressionistic style and expressive images developed within Mo(ve)ment into live painting, a style of painting that reminds one of the tradition of action painting. In Mo(ve)ment, the audience not only sees the result of the painters' work, it is the actual witness of the creative process. Benno Hübner Benno Hübner was born in Zwolle, the Netherlands. He studied at the Dance Academy in Arnhem and the renowned school 'Amor de Dios' in Madrid. He developed his own dance vocabulary in which his academic background, his Indonesian roots and personal body language are intermingled. As his career developed, he focused on producing and performing multi-disciplinary theatre pieces in which the dialogue between various art disciplines such as dance, theatre, music and visual arts is explored. He is responsible for the productions Syrinx, Circles and Ruis. Geoff Mann Born in New York City in 1975, Geoff Mann has been playing music from the age of 7, starting on guitar then quickly making the switch to the drums. Over the years, he studied at Appel Farm Arts & Music Center, Walnut Hill School for the Arts, and at New School University with such teachers as Bob Moses, Reggie Workman, Arnie Lawrence, Charli Persip, Andrew Cyrille, Michael Carvin and Herman Foster. Geoff now lives in Brooklyn, NY where he plays with a number of bands, including his own "Eternal Buzz Brass Band". In addition, Geoff plays mandolin, cornet, banjo & bass, and writes music soundtracks for film & television. He also plays currently with the Antibalas Afrobeat Orchestra, Key to the City, and Fire of Space. Past groups have included Steve Swell's NY BrassWood Trio, Ori Kaplan, Carol Lipnik & Spookarama, and with his late father, flutist Herbie Mann. Stephen Rush Stephen Rush is an Associate Professor at the University of Michigan, where he works in an interdisciplinary capacity in five departments with music, dance, art, engineering and other students. He is the director of the Digital Music Ensemble, and the Music Director of the Dance Department. Stephen Rush has been widely commissioned, premiered and performed including the Merce Cunningham Studio and Merkin Hall in New York, Gyory Ballett in Hungary;at universities and colleges in California, Florida, New York, Texas, Wisconsin; and internationally in Canada (Toronto's Fringe Festival), Costa Rica, Germany, Spain, Hungary, New Zeeland, Norway and Switzerland. Recent performances of Rush's music (in 1998) have taken place in Belgium, Germany, France, the Netherlands and Hungary. Among his concert (non-dance) music eight works have been published (by Dorn, CRC and C. Alan Publications), and has enjoyed performance exposure as far afield as England, France, Ireland, Russia and India. He has recorded his work with the Warsaw National Symphony and members of the New York Philharmonic, and has released CD's on CALA, CRC Publications, MMC Records, Centraur and the Equilibrium label. Subventions for Rush's formidable body of work have come from the Michigan Council for the Arts, the National Endowment for the Arts, United States Information Agency, Soros Foundation, Meet the Composer and American Music Center. Rush has lectured at IRCAM in Paris, at the First International Dance Festival in Hungary, at the National University in Costa Rica and the University of Madras in India, among numerous others. He was awarded, with his choreographer/collaborator Sandra Torijano-DeYoung the Mentioné Honorifico from the Government of Costa Rica for innovative work in Modern Dance. He is also known as a jazz pianist, performing with his electronic jazz group "Quartex", with jazz legend Roscoe Mitchell, and as a co-producer of the radio series, "Uncharted Jazz" on NPR. He has also studied Indian (Carnatic Singing) since 1992, and has received grants from the Kellogg Foundation and the University of Michigan to collaborate with Indian Singers, Musicians and Dancers to perform in the United States and India. Dan Godston Dan Godston teaches, writes, and composes music and plays the trumpet and other instruments in Chicago. Last year his trio -- Ways & Means -- released their debut CD, entitled “Fire of Dream”; this recording features a collaboration with poet Ed Roberson. From 2005 till 2006 The Ways & Means Trio hosted a monthly series at Muse Café called Lower & Upper Limits, which showcased collaborations between poets and musicians. Dan has worked with Jim Ryan, Daniele Cavallanti, Tiziano Tononi, Joel Wanek, Jayve Montgomery, Eric Glick Rieman, Guillermo Gregorio, Jerome Bryerton, Mankwe Ndosi, Douglas Ewart, Paul Hartsaw, Mars Williams, Tom Abbs, Nicole Mitchell, and other musicians. In 2006 he founded the Chicago Calling Festival, which provides opportunities for Chicago based artists to collaborate with artists living in other locations around the world. Royce Deans Royce Deans studied art at the American Academy of Art in Chicago. His work is characterized by a combination of abstract lines and figurative images. Subject of his work is often the human body - even when he paints a landscape or a still life. His color blindness is not noticeable in his use of colors, but his paintings have a rich texture. His work was debuted in Amsterdam with Mo(ve)ment in September 2007. Peter Jones Gallery 1806 West Cuyler St., 2nd Floor Chicago IL 60613 telephone: 773.472.6725 www.peterjonesgallery.com $10 suggested donation The Peter Jones Gallery is one block north of Irving Park Rd., a half block west of Ravenswood Rd. It is close to the Irving Park station on the CTA’s brown line. Please contact Dan at 312.543.7027 or dgodston@sbcglobal.net for more info. ========================================================================= Date: Wed, 2 Apr 2008 07:53:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Trigilio Organization: http://www.starve.org Subject: Alice Notley, Rachel Zucker / Columbia College Chicago / April 9 MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit ALICE NOTLEY & RACHEL ZUCKER ELMA STUCKEY MEMORIAL READING COLUMBIA COLLEGE CHICAGO Wednesday, April 9, 2008, 5:30 p.m. Music Center Concert Hall 1014 South Michigan Avenue For more information: 312-344-8819 Free and open to the public RACHEL ZUCKER is the author of three books of poetry: THE BAD WIFE HANDBOOK, THE LAST CLEAR NARRATIVE, and EATING IN THE UNDERWORLD. She is co-editor, along with poet Arielle Greenberg, of WOMEN POETS ON MENTORSHIP: EFFORTS AND AFFECTIONS, which will be published by the University of Iowa Press in 2008. Zucker was the poet in residence at Fordham University and has taught at Yale and NYU. She is also a certified labor doula. For more information please visit www.rachelzucker.net. ALICE NOTLEY was born in 1945 and educated at Barnard College and at The Writers Workshop, University of Iowa. During the late 60s and early 70s she lived a traveling poet’s life (San Francisco, Bolinas, London, Wivenhoe, Chicago) before settling on New York’s Lower East Side and becoming an important figure in the second-generation New York School. Notley, who has resided in Paris for the past fifteen years, is the author of more than twenty-five books of poetry including the epic poem THE DESCENT OF ALETTE, and MYSTERIES OF SMALL HOUSES, one of three finalists for the Pulitzer Prize and the winner of the Los Angeles Times Book Prize for Poetry. Notley’s long poem DISOBEDIENCE won the Griffin International Prize in 2002. In 2005 the University of Michigan Press published her book of essays on poetry, COMING AFTER. Notley recently edited THE COLLECTED POEMS OF TED BERRIGAN, with her sons Anselm Berrigan and Edmund Berrigan as co-editors. Her most recent books are ALMA, OR THE DEAD WOMEN, from Granary Books, GRAVE OF LIGHT: NEW AND SELECTED POEMS, from Wesleyan, and IN THE PINES from Penguin in 2007. Sponsored by the English Department of Columbia College Chicago, the annual Elma Stuckey Memorial reading honors the poet Elma Stuckey, author of THE BIG GATE (1976) and THE COLLECTED POEMS OF ELMA STUCKEY (1987). ========================================================================= Date: Wed, 2 Apr 2008 08:05:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Mr. Russell, YES, I forgot how much I LOVE The Journal of Albion Moonlight! Jean Genet, I also forgot him. How could I forget Genet? Forsake Genet!? And Richard Brautigan! GEEZE! OK! Maybe I'm wrong, a tiny bit. BUT I STILL DON'T LIKE IT! Poets writing novels! I guess I hate MOST novels! 99 percent of them! They're like TV shows, or something as tedious AND DANGEROUS occupying the mind like a FILTHY pedophile robbing you of your magic as you sleep! There's NO ROOM for the most part TO HAVE YOUR OWN IDEAS! No SPACE on the PAPER for the eyes to take you when you need to digest and transform your life! They want to DIRECT like a fascist, like a corporation! HOW MANY NOVELISTS WORK FOR THE BUSH ADMINISTRATION!? I don't know, but I suspect THOUSANDS are in there! Although Joseph Torra is pretty amazing at both. He's one of the best novelists I've ever met, and I also like him as a person, and I generally hate novelists. I'm going to plant marigolds and violets now and forget those SHREWD novelists lurking about, CAConrad http://PhillySound.blogspot.com ========================================================================= Date: Wed, 2 Apr 2008 08:19:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Allen Bramhall wrote: >>such resistance should be studied rather than celebrated, because it >>can only stem from ignorance. criticism by class is pretty abhorrent, >>the sort of thing I would keep to myself. Mr. Bramhall you can be certain I will keep to myself what I choose! Now here's some advice FOR YOU: just delete my posts if you don't like them, simple as that. Hugs and kisses! CAConrad http://PhillySound.blogspot.com ========================================================================= Date: Wed, 2 Apr 2008 08:42:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Cunningham Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: <89B651E8-9A3D-4159-B514-9A7BD4158421@mac.com> MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1250" Content-Transfer-Encoding: 7bit If want to hear prime Braxton, listen to his two albums with Gunter Hampel and Jeanne Lee - The 4th of July and Famille. Spectacular jazz with a European fringe. John Cunningham -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Dillon Westbrook Sent: April 2, 2008 12:49 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) I, for one, fully have your back on this. Novels by poets are like a Standards album by Anthony Braxton (he actually did one- go listen to judge of the analogy, pretty bad). Dillon On Mar 31, 2008, at 11:58 AM, CA Conrad wrote: > A good friend who knows HOW MUCH novels irritate me, and how > physically ILL > I become when I hear of YET ANOTHER poet writing novels (or as I say > FORSAKING poetry for novels!) sent me this link: > > http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss- > for-words/2008/03/28/1206207399861.html > > This makes me want to SHOUT OUT many thanks to Rhyll McMaster for > her brave > nod to the truth! I have met many poets who have taken up the > novel, and > have had many arguments about it with them. EVERY SINGLE TIME the > poets > insist that they will always be able to write poems, and I wait for > those > poems. They never come back from the illness (YES, ILLNESS!) of > the novel. > > There are very very few poets I can think of who MASTER both. Or, > better > yet, poets who ACTUALLY continue to write poetry as well as they > did before > the task,task,task driven "art" of writing novels. > > Eileen Myles is a RARE exception! Her poems have gotten BETTER AND > BETTER > despite her novels. But then I feel almost no one alive has her > abilities > for writing, she's so beyond us. > > Magdalena Zurawski may not write poems anymore, but her novel THE > BRUISE > reads exactly like her poems always did, and I Love her poems. > > Maybe it's poets who were writing poems outside the mainstream who > can make > it work out for the better? Magdalena's novel REALLY IS like her > poems, and > it took her 7 years to write. IT'S A THING OF GREATNESS, but to me > it's an > epic experimental poem. It's coming out this fall, and won the > Scholnick > Award for experimental fiction. > > But, to be honest, 99 percent of the poets I've met who take up the > novel > get lost. Permanently lost. > > One poet I know who now writes novels was an AMAZING poet when I > first met > him in 1993, or 1994. He hates my guts because I wouldn't share his > enthusiasm at having discovered enjoying novels. He also hates me > because > when he last wrote to me and said that I should try to write a > novel, that I > would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF > NAILS!" BUT, I > feel if I can PREVENT a poet from killing themselves with novels, > then I > have to take the risk! > > Poetry is too important to NOT risk being hated for it! > > It's OK being hated. Or maybe I'm just used to it. > > CAConrad > http://PhillySound.blogspot.com No virus found in this incoming message. Checked by AVG. Version: 7.5.519 / Virus Database: 269.22.4/1355 - Release Date: 01/04/2008 5:37 PM No virus found in this outgoing message. Checked by AVG. Version: 7.5.519 / Virus Database: 269.22.4/1355 - Release Date: 01/04/2008 5:37 PM ========================================================================= Date: Wed, 2 Apr 2008 10:19:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Jo Malo Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline And the author who blurred all categories, Fernando Pessoa. Mary Jo Malo http://thisshiningwound.blogspot.com/ http://apophisdeconstructingabsurdity.blogspot.com/ On Wed, Apr 2, 2008 at 9:19 AM, CA Conrad wrote: > Allen Bramhall wrote: > >>such resistance should be studied rather than celebrated, because it > >>can only stem from ignorance. criticism by class is pretty abhorrent, > >>the sort of thing I would keep to myself. > > Mr. Bramhall you can be certain I will keep to myself what I choose! > Now here's some advice FOR YOU: just delete my posts if you don't like > them, simple as that. > Hugs and kisses! > > > CAConrad > http://PhillySound.blogspot.com > ========================================================================= Date: Wed, 2 Apr 2008 07:31:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: <005301c894c7$72a02600$016fa8c0@johnbedroom> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit If anyone can get a hold of this book, Louis Zukofsky's Collected Prose Fiction contains a novel length novella which I am reading at the moment and find enchanting. Alas, the book was remaindered at St. Mark's Bookstore so it may be out of print. It was published by Dalkey Archives Press. It's probably available online somewhere. I would suggest anyone who can get it read it, especially lovers of classical music as it concerns that, too. Regards, Tom Savage John Cunningham wrote: If want to hear prime Braxton, listen to his two albums with Gunter Hampel and Jeanne Lee - The 4th of July and Famille. Spectacular jazz with a European fringe. John Cunningham -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Dillon Westbrook Sent: April 2, 2008 12:49 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) I, for one, fully have your back on this. Novels by poets are like a Standards album by Anthony Braxton (he actually did one- go listen to judge of the analogy, pretty bad). Dillon On Mar 31, 2008, at 11:58 AM, CA Conrad wrote: > A good friend who knows HOW MUCH novels irritate me, and how > physically ILL > I become when I hear of YET ANOTHER poet writing novels (or as I say > FORSAKING poetry for novels!) sent me this link: > > http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss- > for-words/2008/03/28/1206207399861.html > > This makes me want to SHOUT OUT many thanks to Rhyll McMaster for > her brave > nod to the truth! I have met many poets who have taken up the > novel, and > have had many arguments about it with them. EVERY SINGLE TIME the > poets > insist that they will always be able to write poems, and I wait for > those > poems. They never come back from the illness (YES, ILLNESS!) of > the novel. > > There are very very few poets I can think of who MASTER both. Or, > better > yet, poets who ACTUALLY continue to write poetry as well as they > did before > the task,task,task driven "art" of writing novels. > > Eileen Myles is a RARE exception! Her poems have gotten BETTER AND > BETTER > despite her novels. But then I feel almost no one alive has her > abilities > for writing, she's so beyond us. > > Magdalena Zurawski may not write poems anymore, but her novel THE > BRUISE > reads exactly like her poems always did, and I Love her poems. > > Maybe it's poets who were writing poems outside the mainstream who > can make > it work out for the better? Magdalena's novel REALLY IS like her > poems, and > it took her 7 years to write. IT'S A THING OF GREATNESS, but to me > it's an > epic experimental poem. It's coming out this fall, and won the > Scholnick > Award for experimental fiction. > > But, to be honest, 99 percent of the poets I've met who take up the > novel > get lost. Permanently lost. > > One poet I know who now writes novels was an AMAZING poet when I > first met > him in 1993, or 1994. He hates my guts because I wouldn't share his > enthusiasm at having discovered enjoying novels. He also hates me > because > when he last wrote to me and said that I should try to write a > novel, that I > would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF > NAILS!" BUT, I > feel if I can PREVENT a poet from killing themselves with novels, > then I > have to take the risk! > > Poetry is too important to NOT risk being hated for it! > > It's OK being hated. Or maybe I'm just used to it. > > CAConrad > http://PhillySound.blogspot.com No virus found in this incoming message. Checked by AVG. Version: 7.5.519 / Virus Database: 269.22.4/1355 - Release Date: 01/04/2008 5:37 PM No virus found in this outgoing message. Checked by AVG. Version: 7.5.519 / Virus Database: 269.22.4/1355 - Release Date: 01/04/2008 5:37 PM --------------------------------- You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. ========================================================================= Date: Wed, 2 Apr 2008 09:34:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit i like maggie dubris's novel Skels. Nick Piombino wrote: > Check out Heather O'Neill's novel, published in 2006, "lullabies for little > criminals". This novel combines social insights concerning the street life > of poverty stricken children on the level of Baudelaire and Dickens in > poetic ways I never could have imagined was possible in the 21st Century. > Illustrates beautifully Rilke's maxim that "beauty is the beginning of a > terror we can just barely endure". O'Neill is a Canadian poet who writes in > the afterword of this novel: "I don't like to tell people I am working on a > novel because they ask me literally thousands of times when it's coming out. > People around me seemed to get very upset while I was writing this book. > They were like: What's with all this paper! This simply isn't right. Nobody > really believes you when you say you're writing a novel, and they look at > you all suspiciously. I used to get pulled out of line in customs every time > I said I was a writer. They'll dump out everything in your suitcase if you > say that you're a poet. The last thing they want is another poet in their > country. They apparently have enough trouble dealing with their own domestic > population of poets." > > Last time I looked, there's a stack of O'Neill's masterful novel in the > Union Square Barnes and Noble. > > I also can't resist citing both James Dickey's "Deliverance" in the context > of this discussion, and Cesare Pavese's novels, one of which, "Among Women > Only" ("Tra donna sole") , inspired an early film of Antonioni's, Le Amiche. > This discussion led me to once again open Jonathan Monroe's important 1987 > book on the contentious topics surrounding prose poetry, "A Poverty of > Objects", which elucidates and deeply examines the emergence of prose > poetry, particularly in Baudelaire, as a utopian, democratic gesture. For a > period of time I read these amazing prose poems aloud every night before > going to sleep, which are inexhaustible in their poetic evocation of > Baudelaire's inspired social observations and insights. This is from "The > Cake": > > "I was slicing my bread in peace, when a slight noise made me look up. Then > I saw an undersized young imp standing in front of me, dressed in rags, > swarthy and unkempt, whose wild and yet beseeching sunken eyes were > devouring my bit of loaf. Then I heard him heave a sigh and whisper in a low > voice, the word *cake*. I could hardly refrain from laughing at the > expression with which he chose to dignify my not very white bread, but I cut > him a thick slice and held it out from the object of his longing, then, > snatching the crust, he recoiled as fast as he could, as though afraid that > my gift was not sincerely intended, or that I was already having second > thoughts....At that very moment he was knocked down by a similar little > savage who had appeared out of nowhere, such a perfect replica of the first > that he could have been his twin brother. Now they rolled around on the > ground, fighting for possession of their precious prey, neither of them > willing to sacrifice half for his brother....When at last, exhausted, > gasping and covered with blood, they stopped fighting only because it was > impossible to carry on any longer, to tell the truth there was no trophy > left- the chunk of bread had completely disintegrated....This happening left > me feeling depressed long afterwards, as I repeated to myself, "So, there is > a wonderland in which *bread* is known as *cake*, such a rare delicacy that > it is enough to cause a fratricidal war." [1862] [Baudelaure, The Poems In > Prose, translated by Francis Scarfe]. > > > > > On 4/1/08 7:55 PM, "steve russell" wrote: > > >> Updike, too. & across the border, Margaret Atwood. Pirandello wrote novels and >> short stories as well as plays and poems.Stephen Dobyns writes a detective >> series. Thomas McGrath wrote novels. The list goes on and on. I've mentioned >> others in a different post. It's almost like listing prime numbers next to >> real numbers, except writers comprise a finite series. >> >> >> ----- Original Message ---- >> From: Barry Schwabsky >> To: POETICS@LISTSERV.BUFFALO.EDU >> Sent: Tuesday, April 1, 2008 9:46:04 AM >> Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) >> >> But what about D.H. Lawrence? Thomas Hardy? Or--not quite in the same league >> as a novel-writer, but still he wrote a bunch of them--W.C. Williams >> >> ----- Original Message ---- >> From: CA Conrad >> To: POETICS@LISTSERV.BUFFALO.EDU >> Sent: Monday, 31 March, 2008 2:58:16 PM >> Subject: ON poets writing NOVELS (OH! it pains me to write those words!) >> >> A good friend who knows HOW MUCH novels irritate me, and how physically ILL >> I become when I hear of YET ANOTHER poet writing novels (or as I say >> FORSAKING poetry for novels!) sent me this link: >> >> http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss-for-words/ >> 2008/03/28/1206207399861.html >> >> This makes me want to SHOUT OUT many thanks to Rhyll McMaster for her brave >> nod to the truth! I have met many poets who have taken up the novel, and >> have had many arguments about it with them. EVERY SINGLE TIME the poets >> insist that they will always be able to write poems, and I wait for those >> poems. They never come back from the illness (YES, ILLNESS!) of the novel. >> >> There are very very few poets I can think of who MASTER both. Or, better >> yet, poets who ACTUALLY continue to write poetry as well as they did before >> the task,task,task driven "art" of writing novels. >> >> Eileen Myles is a RARE exception! Her poems have gotten BETTER AND BETTER >> despite her novels. But then I feel almost no one alive has her abilities >> for writing, she's so beyond us. >> >> Magdalena Zurawski may not write poems anymore, but her novel THE BRUISE >> reads exactly like her poems always did, and I Love her poems. >> >> Maybe it's poets who were writing poems outside the mainstream who can make >> it work out for the better? Magdalena's novel REALLY IS like her poems, and >> it took her 7 years to write. IT'S A THING OF GREATNESS, but to me it's an >> epic experimental poem. It's coming out this fall, and won the Scholnick >> Award for experimental fiction. >> >> But, to be honest, 99 percent of the poets I've met who take up the novel >> get lost. Permanently lost. >> >> One poet I know who now writes novels was an AMAZING poet when I first met >> him in 1993, or 1994. He hates my guts because I wouldn't share his >> enthusiasm at having discovered enjoying novels. He also hates me because >> when he last wrote to me and said that I should try to write a novel, that I >> would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF NAILS!" BUT, I >> feel if I can PREVENT a poet from killing themselves with novels, then I >> have to take the risk! >> >> Poetry is too important to NOT risk being hated for it! >> >> It's OK being hated. Or maybe I'm just used to it. >> >> CAConrad >> http://PhillySound.blogspot.com >> >> >> >> ______________________________________________________________________________ >> ______ >> You rock. That's why Blockbuster's offering you one month of Blockbuster Total >> Access, No Cost. >> http://tc.deals.yahoo.com/tc/blockbuster/text5.com >> ========================================================================= Date: Wed, 2 Apr 2008 14:41:22 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: blacksox@ATT.NET Subject: FW: New York City --- Joe Pasquale --- Two New Books Released, "Liar's Regret" and "Love Junky Conspiracy" MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit One of Central Florida's finest hits the Bowery. This is worth the trip. Russ Golata April 5th GOODBYE BLUE MONDAY New York City Join us for a special evening of jazz and prose readings from several published authors. Joseph Pasquale will debut and read from his two new books titled, "Liar's Regret" and "The CBA Conspiracy." Frank Messina will be reading from his book, "Disorderly Conduct." Liza Monroy will be reading from her new book to be published June 10th. Jazz members Kevin Twigg, Chip Watterson and Elliot Peper will provide the melodic ambience to some exciting new talent emerging in the American literary scene. Place: Goodbye Blue Monday, Brooklyn New York Time: 9pm - 11pm April 7th Bowery Poetry Club New York City Author Joseph Pasquale will read a prose narrative and debut his two new books, "Lia'rs Regret" and "The CBA Conspiracy" over live jazz music performed by Kevin Twigg, John De Witt, Chip Watterson and Elliot Peper. Place: Bowery Poetry Club, New York City Date: April 7th, 2008 Time: 6pm You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. ========================================================================= Date: Wed, 2 Apr 2008 10:40:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: Re: & Pulitzer for Poetry & Fiction/award goes to... In-Reply-To: <898042.27562.qm@web52411.mail.re2.yahoo.com> Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes Content-Transfer-Encoding: 7bit Mime-Version: 1.0 (Apple Message framework v919.2) But wait! There's more: there's Kenneth Fearing, there's Rochelle Ratner, there's J. V. Cunningham, there's . . . Gertrude Stein. HJ Serving the tristate area. Halvard Johnson ================ halvard@earthlink.net http://home.earthlink.net/~halvard/index.html http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org http://home.earthlink.net/~halvard/vidalocabooks.html On Apr 1, 2008, at 10:04 PM, steve russell wrote: > people forget Robert Penn Warren. He won 3 pulitzers, I think. & one > of them was for fiction. Dylan Thomas wrote fiction as well. Ditto > Jack Kerouac. > > > > ____________________________________________________________________________________ > You rock. That's why Blockbuster's offering you one month of > Blockbuster Total Access, No Cost. > http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Wed, 2 Apr 2008 10:59:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Deborah M. Poe" Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I like the way you put this, Alison, "different modes of literary being." I like Selah Saterstrom's novel The Pink Institution. To me it resists binary distinctions of poet/prose writer. It embraces "different modes of literary being" in the space of one book. Maggie Nelson's Jane too. On my list to read for the potential to do the same: Jenny Boully. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Alison Croggon Sent: Tuesday, April 01, 2008 4:08 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) Of course you can write poetry and novels together; it's simply a matter of desire. They can be totally complementary activities. I have a book of poems coming out this year with Salt as well as the fourth and final instalment of my fantasy quartet. (Although perhaps many people wouldn't think those were "proper" novels.) They're simply different modes of literary being, and there's nothing inherently exclusive about either form. All best Alison -- Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ========================================================================= Date: Wed, 2 Apr 2008 11:07:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: <210020.44849.qm@web65104.mail.ac2.yahoo.com> Content-Type: text/plain; charset=US-ASCII; format=flowed; delsp=yes Content-Transfer-Encoding: 7bit Mime-Version: 1.0 (Apple Message framework v919.2) Barry, check out the Lezama book I published in the Poets for Millennium series: http://www.ucpress.edu/books/pages/9834.php his poetry is as, if not more complex than the prose of Paradiso, but very much worth the energy & involvement. Pierre On Apr 2, 2008, at 12:28 AM, Barry Schwabsky wrote: > What are Lezama's poems like, Mark? I once attempted his Paradiso > and didn't have the inner strength to keep at it, but have > alwaysbeen curious about him. > > ----- Original Message ---- > From: Mark Weiss > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Tuesday, 1 April, 2008 4:07:44 PM > Subject: Re: ON poets writing NOVELS (OH! it pains me to write those > words!) > > Sometimes hard to know what's primary, what secondary. Here's a > handful: > > Cervantes > Swift > Emily Bronte > Melville > Hugo > Hardy > Poe > Lezama > Williams > > > > > At 11:26 AM 4/1/2008, you wrote: >> but there are so many great, or at least interesting, novels by >> people who >> are primarily poets? (I admit, I seek them out) >> >> didn't every 1st gen NYS poet write a novel? >> >> -- >> All best, >> Catherine Daly >> c.a.b.daly@gmail.com > > > > > ___________________________________________________________ The poet: always in partibus infidelium -- Paul Celan ___________________________________________________________ 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 ____________________________________________________________ ========================================================================= Date: Wed, 2 Apr 2008 17:29:13 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Alain Soubbotnik Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Pessoa of course! And yes, I find it far too harsh on WCW's late poems. And speaking of literature in the portuguese language... Oswald de Andrade, Paulo de Andrade e Carlos Drummond, the founders of brazilian modernism in the thirties (Drummond wrote short stories and I'd understand anyone objecting that this doesn't count). One shouldn't forget french surrealists such as Desnos and Breton himself. Poundians will remember Laforgue (thanks Ez, Laforgue deserved your praise) And who would deny that Goethe was not as good a novelist as a poet. Or Rilke. I don't remember seeing the name "Robert Creeley" in the present exchange, but I might have missed some posts Pound wrote that poetry shd be at least as good as prose. The dictum remain= s worth pondering whatever one's opinion is about it... Michael A. Soubbotnik Universit=E9 Paris-Est LISAA EA4120 Cit=E9 Descartes 5 bd Descartes, Champs sur Marne, 77454 Marne la Vall=E9e Cedex 2, France m.soubbotnik@wanadoo.fr m.soubbotnik@uol.com.br Michael.Soubbotnik@univ-paris-est.fr > De=A0: Mary Jo Malo > R=E9pondre =E0=A0: UB Poetics discussion group > Date=A0: Wed, 2 Apr 2008 10:19:06 -0400 > =C0=A0: "POETICS@LISTSERV.BUFFALO.EDU" > Objet=A0: Re: ON poets writing NOVELS (OH! it pains me to write those words= !) >=20 > And the author who blurred all categories, Fernando Pessoa. >=20 > Mary Jo Malo > http://thisshiningwound.blogspot.com/ > http://apophisdeconstructingabsurdity.blogspot.com/ >=20 > On Wed, Apr 2, 2008 at 9:19 AM, CA Conrad wrote: >> Allen Bramhall wrote: >>>> such resistance should be studied rather than celebrated, because it >>>> can only stem from ignorance. criticism by class is pretty abhorrent, >>>> the sort of thing I would keep to myself. >>=20 >> Mr. Bramhall you can be certain I will keep to myself what I choose! >> Now here's some advice FOR YOU: just delete my posts if you don't like >> them, simple as that. >> Hugs and kisses! >>=20 >>=20 >> CAConrad >> http://PhillySound.blogspot.com >>=20 >=20 ========================================================================= Date: Wed, 2 Apr 2008 11:31:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Epigramititis: 118 Living American Poets Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed A friend just sent me the URL for a description of this book, which, I must confess, had escaped my attention when it was published last year. I find that I am one of the fortunate 118, but also find the illin' epigram under my name utterly incomprehensible. I'm not at all sure why Kent Johnson bothered to include me, unless it was his odd way of thanking me for bothering to inquire of him whose permission I should seek prior to publishing a previously undiscovered sheaf of Yasusada poems that had come into my possession. While I am not at all sure what to make of this thing, I note that it is replete with demonstrably false claims, such as : "Not a single Language poet has ever said a single word about Will Alexander. " -- So I suspect that this book, perhaps Kent Johnson himself (if you click on his name at the Amazon listing for the book, it takes you to a series of volumes on model railroads) is another hoax. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "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, 2 Apr 2008 11:36:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: ON poets writing NOVELS MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I don't think one can generalize about whether poets can write fiction and vice-versa. Some writers do both very well. Some also write plays, play music, paint, etc. It's a matter of an individual's talents, which ones are the strongest and which ones the individual wants to focus on. Vernon http://vernonfrazer.com ========================================================================= Date: Wed, 2 Apr 2008 10:58:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: <938597.23000.qm@web31107.mail.mud.yahoo.com> Mime-Version: 1.0 (Apple Message framework v753) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit I just bought this for $1 online. Especially check out Zukofsky's early dictionary poem "Thanks to the Dictionary". & tho Little seems to be endlessly dissed by Zukofskyites, it remains on my list of 20th century classic novellas. ~mIEKAL On Apr 2, 2008, at 9:31 AM, Thomas savage wrote: > If anyone can get a hold of this book, Louis Zukofsky's Collected > Prose Fiction contains a novel length novella which I am reading at > the moment and find enchanting. Alas, the book was remaindered at > St. Mark's Bookstore so it may be out of print. It was published > by Dalkey Archives Press. It's probably available online > somewhere. I would suggest anyone who can get it read it, > especially lovers of classical music as it concerns that, too. > Regards, Tom Savage > > ========================================================================= Date: Wed, 2 Apr 2008 11:58:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit bukowski micheline kerouac in opposite way padgett ferlenghetti mesmer creeley On Wed, 2 Apr 2008 10:19:06 -0400 Mary Jo Malo writes: > And the author who blurred all categories, Fernando Pessoa. > > Mary Jo Malo > http://thisshiningwound.blogspot.com/ > http://apophisdeconstructingabsurdity.blogspot.com/ > > On Wed, Apr 2, 2008 at 9:19 AM, CA Conrad > wrote: > > Allen Bramhall wrote: > > >>such resistance should be studied rather than celebrated, > because it > > >>can only stem from ignorance. criticism by class is pretty > abhorrent, > > >>the sort of thing I would keep to myself. > > > > Mr. Bramhall you can be certain I will keep to myself what I > choose! > > Now here's some advice FOR YOU: just delete my posts if you > don't like > > them, simple as that. > > Hugs and kisses! > > > > > > CAConrad > > http://PhillySound.blogspot.com > > > > > ========================================================================= Date: Wed, 2 Apr 2008 15:53:57 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gareth Farmer Subject: Long Poems ::: Major Forms Registration Open (fwd) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Dear Friends Registration for the Long Poems ::: Major Forms Conference is now open (see the attached poster). Long Poems ::: Major Forms 16-17 may, 2008 University of Sussex An international conference that will consider ways in which comprehensive, often formally complex and expansive poems may respond, or fail to respond, to certain "obligations toward the difficult whole," and to explore what these obligations might now entail; it will address aesthetic, formal, generic, compositional and literary-historical questions the 'long poem' brings into particular focus. Speakers include: Charles Bernstein (U Penn) Rachel Blau DuPlessis (Temple) Ronald Bush (Oxford) Simon Jarvis (Cambridge) Tony Lopez (Plymouth) Peter Middleton (Southampton) The full conference will be =A340 waged; =A325 unwaged (for a single day th= e prices are =A325 and =A315). Please follow the link to register before the 1st of May. http://www.sussex.ac.uk/modernist/1-2-1-8.html Those without access to British cheque-books should send in a completed form and then pay at the conference. All queries should be sent to: thelongpoemconference@sussex.ac.uk Long Poems ::: Major Forms Conference Organisers ========================================================================= Date: Wed, 2 Apr 2008 11:55:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit don't know if theis was said already but the great kenneth patchen's novels On Wed, 2 Apr 2008 07:31:33 -0700 Thomas savage writes: > If anyone can get a hold of this book, Louis Zukofsky's Collected > Prose Fiction contains a novel length novella which I am reading at > the moment and find enchanting. Alas, the book was remaindered at > St. Mark's Bookstore so it may be out of print. It was published by > Dalkey Archives Press. It's probably available online somewhere. I > would suggest anyone who can get it read it, especially lovers of > classical music as it concerns that, too. Regards, Tom Savage > > John Cunningham wrote: If want to hear > prime Braxton, listen to his two albums with Gunter Hampel > and Jeanne Lee - The 4th of July and Famille. Spectacular jazz with > a > European fringe. > John Cunningham > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Dillon Westbrook > Sent: April 2, 2008 12:49 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: ON poets writing NOVELS (OH! it pains me to write those > words!) > > I, for one, fully have your back on this. Novels by poets are like a > > Standards album by Anthony Braxton (he actually did one- go listen > to > judge of the analogy, pretty bad). > > Dillon > > > On Mar 31, 2008, at 11:58 AM, CA Conrad wrote: > > > A good friend who knows HOW MUCH novels irritate me, and how > > physically ILL > > I become when I hear of YET ANOTHER poet writing novels (or as I > say > > FORSAKING poetry for novels!) sent me this link: > > > > > http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss- > > > for-words/2008/03/28/1206207399861.html > > > > This makes me want to SHOUT OUT many thanks to Rhyll McMaster for > > her brave > > nod to the truth! I have met many poets who have taken up the > > novel, and > > have had many arguments about it with them. EVERY SINGLE TIME the > > poets > > insist that they will always be able to write poems, and I wait for > > > those > > poems. They never come back from the illness (YES, ILLNESS!) of > > the novel. > > > > There are very very few poets I can think of who MASTER both. Or, > > better > > yet, poets who ACTUALLY continue to write poetry as well as they > > did before > > the task,task,task driven "art" of writing novels. > > > > Eileen Myles is a RARE exception! Her poems have gotten BETTER AND > > > BETTER > > despite her novels. But then I feel almost no one alive has her > > abilities > > for writing, she's so beyond us. > > > > Magdalena Zurawski may not write poems anymore, but her novel THE > > BRUISE > > reads exactly like her poems always did, and I Love her poems. > > > > Maybe it's poets who were writing poems outside the mainstream who > > > can make > > it work out for the better? Magdalena's novel REALLY IS like her > > poems, and > > it took her 7 years to write. IT'S A THING OF GREATNESS, but to me > > > it's an > > epic experimental poem. It's coming out this fall, and won the > > Scholnick > > Award for experimental fiction. > > > > But, to be honest, 99 percent of the poets I've met who take up > the > > novel > > get lost. Permanently lost. > > > > One poet I know who now writes novels was an AMAZING poet when I > > first met > > him in 1993, or 1994. He hates my guts because I wouldn't share > his > > enthusiasm at having discovered enjoying novels. He also hates me > > because > > when he last wrote to me and said that I should try to write a > > novel, that I > > would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF > > NAILS!" BUT, I > > feel if I can PREVENT a poet from killing themselves with novels, > > then I > > have to take the risk! > > > > Poetry is too important to NOT risk being hated for it! > > > > It's OK being hated. Or maybe I'm just used to it. > > > > CAConrad > > http://PhillySound.blogspot.com > > No virus found in this incoming message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.4/1355 - Release Date: > 01/04/2008 > 5:37 PM > > > No virus found in this outgoing message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.4/1355 - Release Date: > 01/04/2008 > 5:37 PM > > > > > --------------------------------- > You rock. That's why Blockbuster's offering you one month of > Blockbuster Total Access, No Cost. > > ========================================================================= Date: Wed, 2 Apr 2008 11:59:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1250 Content-Transfer-Encoding: 7bit braxton town hall on trio records too much braxton to pin him down his early reacordings on America and BYG french labels and for alto on delmark ground breaking solo album on and on On Wed, 2 Apr 2008 08:42:51 -0500 John Cunningham writes: > If want to hear prime Braxton, listen to his two albums with Gunter > Hampel > and Jeanne Lee - The 4th of July and Famille. Spectacular jazz with > a > European fringe. > John Cunningham > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Dillon Westbrook > Sent: April 2, 2008 12:49 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: ON poets writing NOVELS (OH! it pains me to write those > words!) > > I, for one, fully have your back on this. Novels by poets are like a > > Standards album by Anthony Braxton (he actually did one- go listen > to > judge of the analogy, pretty bad). > > Dillon > > > On Mar 31, 2008, at 11:58 AM, CA Conrad wrote: > > > A good friend who knows HOW MUCH novels irritate me, and how > > physically ILL > > I become when I hear of YET ANOTHER poet writing novels (or as I > say > > FORSAKING poetry for novels!) sent me this link: > > > > > http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss- > > > for-words/2008/03/28/1206207399861.html > > > > This makes me want to SHOUT OUT many thanks to Rhyll McMaster for > > > her brave > > nod to the truth! I have met many poets who have taken up the > > novel, and > > have had many arguments about it with them. EVERY SINGLE TIME the > > > poets > > insist that they will always be able to write poems, and I wait > for > > those > > poems. They never come back from the illness (YES, ILLNESS!) of > > > the novel. > > > > There are very very few poets I can think of who MASTER both. Or, > > > better > > yet, poets who ACTUALLY continue to write poetry as well as they > > > did before > > the task,task,task driven "art" of writing novels. > > > > Eileen Myles is a RARE exception! Her poems have gotten BETTER > AND > > BETTER > > despite her novels. But then I feel almost no one alive has her > > abilities > > for writing, she's so beyond us. > > > > Magdalena Zurawski may not write poems anymore, but her novel THE > > > BRUISE > > reads exactly like her poems always did, and I Love her poems. > > > > Maybe it's poets who were writing poems outside the mainstream who > > > can make > > it work out for the better? Magdalena's novel REALLY IS like her > > > poems, and > > it took her 7 years to write. IT'S A THING OF GREATNESS, but to > me > > it's an > > epic experimental poem. It's coming out this fall, and won the > > Scholnick > > Award for experimental fiction. > > > > But, to be honest, 99 percent of the poets I've met who take up > the > > novel > > get lost. Permanently lost. > > > > One poet I know who now writes novels was an AMAZING poet when I > > > first met > > him in 1993, or 1994. He hates my guts because I wouldn't share > his > > enthusiasm at having discovered enjoying novels. He also hates me > > > because > > when he last wrote to me and said that I should try to write a > > novel, that I > > would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF > > NAILS!" BUT, I > > feel if I can PREVENT a poet from killing themselves with novels, > > > then I > > have to take the risk! > > > > Poetry is too important to NOT risk being hated for it! > > > > It's OK being hated. Or maybe I'm just used to it. > > > > CAConrad > > http://PhillySound.blogspot.com > > > No virus found in this incoming message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.4/1355 - Release Date: > 01/04/2008 > 5:37 PM > > > No virus found in this outgoing message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.4/1355 - Release Date: > 01/04/2008 > 5:37 PM > > > ========================================================================= Date: Wed, 2 Apr 2008 12:47:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit he did many "standards " lps they're not all bad On Tue, 1 Apr 2008 22:48:41 -0700 Dillon Westbrook writes: > I, for one, fully have your back on this. Novels by poets are like a > > Standards album by Anthony Braxton (he actually did one- go listen > to > judge of the analogy, pretty bad). > > Dillon > > > On Mar 31, 2008, at 11:58 AM, CA Conrad wrote: > > > A good friend who knows HOW MUCH novels irritate me, and how > > physically ILL > > I become when I hear of YET ANOTHER poet writing novels (or as I > say > > FORSAKING poetry for novels!) sent me this link: > > > > > http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss- > > > for-words/2008/03/28/1206207399861.html > > > > This makes me want to SHOUT OUT many thanks to Rhyll McMaster for > > > her brave > > nod to the truth! I have met many poets who have taken up the > > novel, and > > have had many arguments about it with them. EVERY SINGLE TIME the > > > poets > > insist that they will always be able to write poems, and I wait > for > > those > > poems. They never come back from the illness (YES, ILLNESS!) of > > > the novel. > > > > There are very very few poets I can think of who MASTER both. Or, > > > better > > yet, poets who ACTUALLY continue to write poetry as well as they > > > did before > > the task,task,task driven "art" of writing novels. > > > > Eileen Myles is a RARE exception! Her poems have gotten BETTER > AND > > BETTER > > despite her novels. But then I feel almost no one alive has her > > > abilities > > for writing, she's so beyond us. > > > > Magdalena Zurawski may not write poems anymore, but her novel THE > > > BRUISE > > reads exactly like her poems always did, and I Love her poems. > > > > Maybe it's poets who were writing poems outside the mainstream who > > > can make > > it work out for the better? Magdalena's novel REALLY IS like her > > > poems, and > > it took her 7 years to write. IT'S A THING OF GREATNESS, but to > me > > it's an > > epic experimental poem. It's coming out this fall, and won the > > Scholnick > > Award for experimental fiction. > > > > But, to be honest, 99 percent of the poets I've met who take up > the > > novel > > get lost. Permanently lost. > > > > One poet I know who now writes novels was an AMAZING poet when I > > > first met > > him in 1993, or 1994. He hates my guts because I wouldn't share > his > > enthusiasm at having discovered enjoying novels. He also hates me > > > because > > when he last wrote to me and said that I should try to write a > > novel, that I > > would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF > > NAILS!" BUT, I > > feel if I can PREVENT a poet from killing themselves with novels, > > > then I > > have to take the risk! > > > > Poetry is too important to NOT risk being hated for it! > > > > It's OK being hated. Or maybe I'm just used to it. > > > > CAConrad > > http://PhillySound.blogspot.com > > > ========================================================================= Date: Wed, 2 Apr 2008 13:58:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dustin Williamson Subject: April 6 in NYC at Zinc-TRS: Sara Wintz and Andrew Hughes In-Reply-To: <2a7b77890804021041v1615deo2ff698c36ec0f62e@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Sunday April 6 at the Zinc-TRS: ANDREW HUGHES & SARA WINTZ 6:30 PM Zinc Bar 90 West Houston (beneath the Barbie fur shop) $5 goes to the poets. If you don't have $5, come anyway ------------------------------------------------------------------------------------------- Andrew Hughes divides his time between Brooklyn & Vermont. His work has appeared in Cannibal, Octopus, Forklift, Ohio, Spell, and others. His chapbook, Sweethearts of the Great Migration, will be out this spring/summer from Book Thug Press. He is an editor for TIGHT. Sara Wintz is lead singer of The Pretty Panicks Press and co-publisher, with Cristiana Baik, of :::thepressgang:::, publisher of *Intricate Systems*, by Juliana Spahr and *One Might*, by Karen Volkman. A zine of new writing from the US and the UK, INVISIBLY TIGHT INSTITUTIONAL OUTER FLANKS DUB (verb) GLORIOUS HI-VIOLENCE RESPONSE DREAM, was recently co-edited and co-published with Justin Katko (of Critical Documents) and Ryan Dobran (of Life Coach). Sara's writing has appeared in *Cricket Online Review*, *Shampoo Poetry*, * Ecopoetics*, *canwehaveourballback*, *Interrobang?!*, and on* Ceptuetics*. She lives in Brooklyn and works at P.S.1 Contemporary Art Center in Long Island City. -------------------------------------------------------------------------------- Upcoming Zinc-TRS readings: April 13: Shannon Tharp & Cathy Eisenhower March 20: TBA (hosted by Douglas Rothschild) -------------------------------------------------------------------------------- Need a map to the Zinc Bar?: http://maps.google.com/maps?q=zinc +bar+new+york+city&ie=UTF8&oe=UTF-8&client=firefox-a&cd=1&ll=40.729015,-74.000452&spn=0.007838,0.013497&z=16&iwloc=A ========================================================================= Date: Wed, 2 Apr 2008 10:26:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Cain, Amina" Subject: on poets writing novels MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable These days, I find nothing more annoying than rigid genre distinctions. Wh= o cares whether someone is writing a novel or writing poetry, as long as th= e work is interesting? And how did poetry become THE sacred form of writin= g above all others, anyway? Though innovation may be more "present" within= poetry these days, it doesn't mean it is absent in fiction. To write with= a genre so vividly lodged in ones mind seems so limiting and boring to me. ========================================================================= Date: Wed, 2 Apr 2008 12:25:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit It's practically impossible that some poet is not writing a novel that includes CA Conrad as a character,maybe even as the lead protagonist. Conrad definitely lifts up earth and sky wherever he goes, speaks, etc. Perfect material! I even suspect somebody has already done it. Does anyone know - title, author, et al?? Stephen V http://stephenvincent.net/blog/ > ----- Original Message ---- > From: CA Conrad > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Monday, 31 March, 2008 2:58:16 PM > Subject: ON poets writing NOVELS (OH! it pains me to write those words!) > > A good friend who knows HOW MUCH novels irritate me, and how physically ILL > I become when I hear of YET ANOTHER poet writing novels (or as I say > FORSAKING poetry for novels!) sent me this link: > > http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss-for-words/ > 2008/03/28/1206207399861.html > > This makes me want to SHOUT OUT many thanks to Rhyll McMaster for her brave > nod to the truth! I have met many poets who have taken up the novel, and > have had many arguments about it with them. EVERY SINGLE TIME the poets > insist that they will always be able to write poems, and I wait for those > poems. They never come back from the illness (YES, ILLNESS!) of the novel. > > There are very very few poets I can think of who MASTER both. Or, better > yet, poets who ACTUALLY continue to write poetry as well as they did before > the task,task,task driven "art" of writing novels. > > Eileen Myles is a RARE exception! Her poems have gotten BETTER AND BETTER > despite her novels. But then I feel almost no one alive has her abilities > for writing, she's so beyond us. > > Magdalena Zurawski may not write poems anymore, but her novel THE BRUISE > reads exactly like her poems always did, and I Love her poems. > > Maybe it's poets who were writing poems outside the mainstream who can make > it work out for the better? Magdalena's novel REALLY IS like her poems, and > it took her 7 years to write. IT'S A THING OF GREATNESS, but to me it's an > epic experimental poem. It's coming out this fall, and won the Scholnick > Award for experimental fiction. > > But, to be honest, 99 percent of the poets I've met who take up the novel > get lost. Permanently lost. > > One poet I know who now writes novels was an AMAZING poet when I first met > him in 1993, or 1994. He hates my guts because I wouldn't share his > enthusiasm at having discovered enjoying novels. He also hates me because > when he last wrote to me and said that I should try to write a novel, that I > would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF NAILS!" BUT, I > feel if I can PREVENT a poet from killing themselves with novels, then I > have to take the risk! > > Poetry is too important to NOT risk being hated for it! > > It's OK being hated. Or maybe I'm just used to it. > > CAConrad > http://PhillySound.blogspot.com > > > > ______________________________________________________________________________ > ______ > You rock. That's why Blockbuster's offering you one month of Blockbuster Total > Access, No Cost. > http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Wed, 2 Apr 2008 16:18:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andy Nicholson Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline CA, I don't quite agree with you, but I am sympathetic to your distrust of the novel and your fears about poets writing novels. Too many novels feel, to me too, like straightjackets. There are, of course, hundreds and hundreds of great novels, great novelists, but the dominance of American realist fiction--with its terribly narrow sense of the "real"--drives me away from most fiction and keeps my interest focused on poetry. Which brings us to why I seek out poets who write novels--I seek out their novels with the hope that they will bring some of the discovery and life of the poem to fiction. William, Creeley, Stein, Desnos: the best fiction from poets feels contiguous with the poets' poems, not like a break from poetry. And yet, isn't there that horrible notion that poets should "grow up," leave poetry, and start writing novels? I remember when I was in graduate school, I took a class from a poet-turned-novelists who thought that I had potential. He spent the whole semester trying to convince me to stop writing poetry and start writing fiction. I love a lot of fiction from poets, but I hate it when a poet leaves poetry for good for the larger readership of the novel. Andy On Wed, Apr 2, 2008 at 9:05 AM, CA Conrad wrote: > Mr. Russell, YES, I forgot how much I LOVE The Journal of Albion > Moonlight! > > Jean Genet, I also forgot him. How could I forget Genet? Forsake Genet!? > > And Richard Brautigan! GEEZE! OK! > > Maybe I'm wrong, a tiny bit. > BUT I STILL DON'T LIKE IT! Poets writing novels! > > I guess I hate MOST novels! 99 percent of them! They're like TV shows, > or > something as tedious AND DANGEROUS occupying the mind like a FILTHY > pedophile robbing you of your magic as you sleep! There's NO ROOM for the > most part TO HAVE YOUR OWN IDEAS! No SPACE on the PAPER for the eyes to > take you when you need to digest and transform your life! They want to > DIRECT like a fascist, like a corporation! HOW MANY NOVELISTS WORK FOR > THE > BUSH ADMINISTRATION!? I don't know, but I suspect THOUSANDS are in there! > > Although Joseph Torra is pretty amazing at both. He's one of the best > novelists I've ever met, and I also like him as a person, and I > generally hate novelists. > > I'm going to plant marigolds and violets now and forget those > SHREWD novelists lurking about, > CAConrad > http://PhillySound.blogspot.com < > http://phillysound.blogspot.com/> > ========================================================================= Date: Wed, 2 Apr 2008 17:24:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sarah Sarai Subject: Re: ON poets writing NOVELS (o! may I pain you to write those words!) Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain I'm not so sure I consider *The Journal of Albion Moonlight* a novel. It= 's an entity more=20 enchanting than a dream hovering above a novel, through a novel, past a n= ovel.=20=20 & yes...I might have had a much happier time of things in my late tee= ns and twenties, if I=20 hadn't been burdened by characters with their pesky dilemmas in pesky nov= els...all of=20 them, now that we've broadened the circle of that which pains CAConrad. = no Raskilnikov,=20 no Anna. how easy breezy a world it would be. and we all know the influen= ce Holden's=20 had on many a sprung-loose soul. Me? I'm pretty old and I still don't have a book out. BUT I have writte= n a novel I'm=20 trying to get published. BUT my short stories have been in journals. BU= T poems are in=20 and forthcoming in journals. And I do consider myself a poet. I have pained so many in my lifetime, one more means little to me. Go pl= ant your=20 marigolds and violets, CAConrad. You hate 99% of all novels? I hate 99%= of your=20 marigolds. (None of your violets--I don't have the heart to hate a viole= t). Hah and Feh-- and--as you say--GEEZE.=20 (This is where a more rational person would place a happy face or a colon= cozying up to a=20 parenthesis to show 'no harm meant,' or 'tee hee.' I mean no harm and I = tee my hee but=20 I, Sarah Sarai, hate 100% of happy faces.)=20 Sarah Sarai www.myspace.com/sarahsarai >Mr. Russell, YES, I forgot how much I LOVE The Journal of Albion Moonlig= ht! >Jean Genet, I also forgot him. How could I forget Genet? Forsake Genet= !? >And Richard Brautigan! GEEZE! OK! >Maybe I'm wrong, a tiny bit. >BUT I STILL DON'T LIKE IT! Poets writing novels! >I guess I hate MOST novels! 99 percent of them! They're like TV shows,= or something as tedious AND DANGEROUS occupying the mind like a FILTHY pedophile robbing you of your magic as you sleep! There's NO ROOM for th= e most part TO HAVE YOUR OWN IDEAS! No SPACE on the PAPER for the eyes to take you when you need to digest and transform your life! They want to DIRECT like a fascist, like a corporation! HOW MANY NOVELISTS WORK FOR T= HE BUSH ADMINISTRATION!? I don't know, but I suspect THOUSANDS are in there= ! Although Joseph Torra is pretty amazing at both. He's one of the best novelists I've ever met, and I also like him as a person, and I generally hate novelists. I'm going to plant marigolds and violets now and forget those SHREWD novelists lurking about, CAConrad ========================================================================= Date: Wed, 2 Apr 2008 16:27:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: eric unger Subject: NEW from House Press: Barrett Gordon's EVENING, SPELL 4, Alan Davies [broadside] MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline House Press Chicago has been busy at work on three fine new publications: Evening by Barrett Gordon=97=97($10) Spell magazine: issue 4 (Eric Unger, editor)=97=97($5) & an Alan Davies broadside=97=97($2) please visit http://housepress.blogspot.com for ordering info -- EVENING (Barrett Gordon) newer face on a brand new book, evening, by barrett gordon. the poems in this edition shimmer with the possibilties latent in life & death, in citie= s & houses, and in speaking & silence. in 5 evening colors. perfect-bound. $10. -- SPELL 4 (Eric Unger, editor) the dynamic new issue features equal parts textual and visual poetry from: Alan May / Tom Wegrzynowski Michael Slosek Andrew Hughes Nico Vassilakis Sarah Menefee Jessica Wickens Jesse Ferguson Kevin Mcpherson Eckhoff Aaron Lowinger Catherine Daly Michael Carr cover art: Scott Shanley -- ALAN DAVIES [broadside] an unpublished poem to celebrate the upcoming release of Book 6, printed by Michael Slosek with artwork by Eric Unger http://housepress.blogspot.com http://spellmag.livejournal.com http://www.housepress.org ========================================================================= Date: Wed, 2 Apr 2008 14:41:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: on poets writing novels In-Reply-To: MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit Okay, but "novel" and "poetry" are not names of genres. "Spy novel" and "epic poetry" are names of genres. On Apr 2, 2008, at 8:26 AM, Cain, Amina wrote: > These days, I find nothing more annoying than rigid genre > distinctions. Who cares whether someone is writing a novel or writing > poetry, as long as the work is interesting? And how did poetry become > THE sacred form of writing above all others, anyway? Though > innovation may be more "present" within poetry these days, it doesn't > mean it is absent in fiction. To write with a genre so vividly lodged > in ones mind seems so limiting and boring to me. > > G. Harry Bowering, Born to hit opposite-field singles. ========================================================================= Date: Wed, 2 Apr 2008 15:00:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hugh Behm-Steinberg Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: <20080402.121225.360.8.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Ishamel Reed! Clarence Major! Hugh Behm-Steinberg --- "steve d. dalachinsky" wrote: > bukowski micheline kerouac in opposite way > padgett ferlenghetti mesmer creeley > > On Wed, 2 Apr 2008 10:19:06 -0400 Mary Jo Malo > writes: > > And the author who blurred all categories, Fernando Pessoa. > > > > Mary Jo Malo > > http://thisshiningwound.blogspot.com/ > > http://apophisdeconstructingabsurdity.blogspot.com/ > > > > On Wed, Apr 2, 2008 at 9:19 AM, CA Conrad > > wrote: > > > Allen Bramhall wrote: > > > >>such resistance should be studied rather than celebrated, > > because it > > > >>can only stem from ignorance. criticism by class is pretty > > abhorrent, > > > >>the sort of thing I would keep to myself. > > > > > > Mr. Bramhall you can be certain I will keep to myself what I > > choose! > > > Now here's some advice FOR YOU: just delete my posts if you > > don't like > > > them, simple as that. > > > Hugs and kisses! > > > > > > > > > CAConrad > > > http://PhillySound.blogspot.com > > > > > > > > > > ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Wed, 2 Apr 2008 18:48:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Allen Bramhall Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Mr Conrad, you are right, we should keep our ill-considered prejudices in the open, the better to combat them. as it happens, tho, I did not suggest that YOU should refrain from posting or that I don't like your posts. there are enough catastrophes of the novel form that support your view, I mean I think you are generous in only hating 99%, but the exceptions are absolutely in the poetic realm. and there is so much crappy poetry out there, as well, probably the same 99+%. that part of 1% is worth the effort in both cases. --Allen On Wed, Apr 2, 2008 at 9:19 AM, CA Conrad wrote: > Allen Bramhall wrote: > >>such resistance should be studied rather than celebrated, because it > >>can only stem from ignorance. criticism by class is pretty abhorrent, > >>the sort of thing I would keep to myself. > > Mr. Bramhall you can be certain I will keep to myself what I choose! > Now here's some advice FOR YOU: just delete my posts if you don't like > them, simple as that. > Hugs and kisses! > > > CAConrad > http://PhillySound.blogspot.com > ========================================================================= Date: Wed, 2 Apr 2008 18:55:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Dr. Barry S. Alpert" Subject: Re: ON poets writing NOVELS Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable MIME-Version: 1.0 "Doing a note on Hardy (Hardy's Collected Poems) for my next prose outbreak= . Now there is a clarity. There is the harvest of having written 20 novel= s first." Ezra Pound, April 1937, letter to John Lackay Brown Barry Alpert _________________________________________________________________ More immediate than e-mail? Get instant access with Windows Live Messenger. http://www.windowslive.com/messenger/overview.html?ocid=3DTXT_TAGLM_WL_Refr= esh_instantaccess_042008= ========================================================================= Date: Wed, 2 Apr 2008 19:02:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit CA, I like innovative poetry & reastic novels usually. jane austen is not a straightjacket--she has something to say abt what real love is. dostoyevsky creates characters that sit right next to me they're so 3-dimensional. or I read fiction that is contiguous w. the author's poetry--like stein's. then again stein wasa one of the first to break down distinctions btwn genres, calling tender buttons prose, putting acts of plays not in numerical order, finally writing meidtations w/ are both poetry & prose--no distinction these days for many poets, in this crossing the genres world--like crossing genders maybe or saying the categories fall apart finally. best ruth I just turned on the TV & there is a pregnant man, 34 yrs old, thomas abeaty, b. a girl, became a guy but keep reproductive organs! I'm not recommending this just noting it. "I always feel bloated," he says. On 4/2/08 4:18 PM, "Andy Nicholson" wrote: > CA, > > I don't quite agree with you, but I am sympathetic to your distrust of the > novel and your fears about poets writing novels. > > Too many novels feel, to me too, like straightjackets. There are, of course, > hundreds and hundreds of great novels, great novelists, but the dominance of > American realist fiction--with its terribly narrow sense of the > "real"--drives me away from most fiction and keeps my interest focused on > poetry. > > Which brings us to why I seek out poets who write novels--I seek out their > novels with the hope that they will bring some of the discovery and life of > the poem to fiction. William, Creeley, Stein, Desnos: the best fiction from > poets feels contiguous with the poets' poems, not like a break from poetry. > And yet, isn't there that horrible notion that poets should "grow up," leave > poetry, and start writing novels? I remember when I was in graduate school, > I took a class from a poet-turned-novelists who thought that I had > potential. He spent the whole semester trying to convince me to stop writing > poetry and start writing fiction. > > I love a lot of fiction from poets, but I hate it when a poet leaves > poetry for good for the larger readership of the novel. > > Andy > On Wed, Apr 2, 2008 at 9:05 AM, CA Conrad wrote: > >> Mr. Russell, YES, I forgot how much I LOVE The Journal of Albion >> Moonlight! >> >> Jean Genet, I also forgot him. How could I forget Genet? Forsake Genet!? >> >> And Richard Brautigan! GEEZE! OK! >> >> Maybe I'm wrong, a tiny bit. >> BUT I STILL DON'T LIKE IT! Poets writing novels! >> >> I guess I hate MOST novels! 99 percent of them! They're like TV shows, >> or >> something as tedious AND DANGEROUS occupying the mind like a FILTHY >> pedophile robbing you of your magic as you sleep! There's NO ROOM for the >> most part TO HAVE YOUR OWN IDEAS! No SPACE on the PAPER for the eyes to >> take you when you need to digest and transform your life! They want to >> DIRECT like a fascist, like a corporation! HOW MANY NOVELISTS WORK FOR >> THE >> BUSH ADMINISTRATION!? I don't know, but I suspect THOUSANDS are in there! >> >> Although Joseph Torra is pretty amazing at both. He's one of the best >> novelists I've ever met, and I also like him as a person, and I >> generally hate novelists. >> >> I'm going to plant marigolds and violets now and forget those >> SHREWD novelists lurking about, >> CAConrad >> http://PhillySound.blogspot.com < >> http://phillysound.blogspot.com/> >> ========================================================================= Date: Wed, 2 Apr 2008 20:57:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andy Nicholson Subject: Re: earliest sounds from 1857 on In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Yes, I heard about this story and am very excited. The recorded sound itself is wonderful--amazing to think of how far back that voice comes from, beautifully grainy--and how can one not be overjoyed that the first recordings were etched in soot? On Sun, Mar 30, 2008 at 11:22 AM, Alan Sondheim wrote: > In the news today - sounds recorded around 1860 and slightly earlier - go > to http://www.firstsounds.org/sounds/ - this predates Edison. > > - Alan > ========================================================================= Date: Wed, 2 Apr 2008 22:09:42 -0400 Reply-To: Tisa Bryant Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: on poets writing novels Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit RIGHT ON! -----Original Message----- >From: "Cain, Amina" >Sent: Apr 2, 2008 11:26 AM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: on poets writing novels > >These days, I find nothing more annoying than rigid genre distinctions. Who cares whether someone is writing a novel or writing poetry, as long as the work is interesting? And how did poetry become THE sacred form of writing above all others, anyway? Though innovation may be more "present" within poetry these days, it doesn't mean it is absent in fiction. To write with a genre so vividly lodged in ones mind seems so limiting and boring to me. ========================================================================= Date: Wed, 2 Apr 2008 19:26:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I mentioned Patchen. Especially "Journal of the Albion Moonlight." ----- Original Message ---- From: steve d. dalachinsky To: POETICS@LISTSERV.BUFFALO.EDU Sent: Wednesday, April 2, 2008 12:55:59 PM Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) don't know if theis was said already but the great kenneth patchen's novels On Wed, 2 Apr 2008 07:31:33 -0700 Thomas savage writes: > If anyone can get a hold of this book, Louis Zukofsky's Collected > Prose Fiction contains a novel length novella which I am reading at > the moment and find enchanting. Alas, the book was remaindered at > St. Mark's Bookstore so it may be out of print. It was published by > Dalkey Archives Press. It's probably available online somewhere. I > would suggest anyone who can get it read it, especially lovers of > classical music as it concerns that, too. Regards, Tom Savage > > John Cunningham wrote: If want to hear > prime Braxton, listen to his two albums with Gunter Hampel > and Jeanne Lee - The 4th of July and Famille. Spectacular jazz with > a > European fringe. > John Cunningham > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Dillon Westbrook > Sent: April 2, 2008 12:49 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: ON poets writing NOVELS (OH! it pains me to write those > words!) > > I, for one, fully have your back on this. Novels by poets are like a > > Standards album by Anthony Braxton (he actually did one- go listen > to > judge of the analogy, pretty bad). > > Dillon > > > On Mar 31, 2008, at 11:58 AM, CA Conrad wrote: > > > A good friend who knows HOW MUCH novels irritate me, and how > > physically ILL > > I become when I hear of YET ANOTHER poet writing novels (or as I > say > > FORSAKING poetry for novels!) sent me this link: > > > > > http://www.smh.com.au/news/books/plotting-novel-left-poet-at-a-loss- > > > for-words/2008/03/28/1206207399861.html > > > > This makes me want to SHOUT OUT many thanks to Rhyll McMaster for > > her brave > > nod to the truth! I have met many poets who have taken up the > > novel, and > > have had many arguments about it with them. EVERY SINGLE TIME the > > poets > > insist that they will always be able to write poems, and I wait for > > > those > > poems. They never come back from the illness (YES, ILLNESS!) of > > the novel. > > > > There are very very few poets I can think of who MASTER both. Or, > > better > > yet, poets who ACTUALLY continue to write poetry as well as they > > did before > > the task,task,task driven "art" of writing novels. > > > > Eileen Myles is a RARE exception! Her poems have gotten BETTER AND > > > BETTER > > despite her novels. But then I feel almost no one alive has her > > abilities > > for writing, she's so beyond us. > > > > Magdalena Zurawski may not write poems anymore, but her novel THE > > BRUISE > > reads exactly like her poems always did, and I Love her poems. > > > > Maybe it's poets who were writing poems outside the mainstream who > > > can make > > it work out for the better? Magdalena's novel REALLY IS like her > > poems, and > > it took her 7 years to write. IT'S A THING OF GREATNESS, but to me > > > it's an > > epic experimental poem. It's coming out this fall, and won the > > Scholnick > > Award for experimental fiction. > > > > But, to be honest, 99 percent of the poets I've met who take up > the > > novel > > get lost. Permanently lost. > > > > One poet I know who now writes novels was an AMAZING poet when I > > first met > > him in 1993, or 1994. He hates my guts because I wouldn't share > his > > enthusiasm at having discovered enjoying novels. He also hates me > > because > > when he last wrote to me and said that I should try to write a > > novel, that I > > would be good at it, I wrote back, "I'D RATHER FUCK A JAR OF > > NAILS!" BUT, I > > feel if I can PREVENT a poet from killing themselves with novels, > > then I > > have to take the risk! > > > > Poetry is too important to NOT risk being hated for it! > > > > It's OK being hated. Or maybe I'm just used to it. > > > > CAConrad > > http://PhillySound.blogspot.com > > No virus found in this incoming message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.4/1355 - Release Date: > 01/04/2008 > 5:37 PM > > > No virus found in this outgoing message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.4/1355 - Release Date: > 01/04/2008 > 5:37 PM > > > > > --------------------------------- > You rock. That's why Blockbuster's offering you one month of > Blockbuster Total Access, No Cost. > > ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Wed, 2 Apr 2008 19:30:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: & Pulitzer for Poetry & Fiction/award goes to... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii You'd think. But really, the fun has just started. ----- Original Message ---- From: Barry Schwabsky To: POETICS@LISTSERV.BUFFALO.EDU Sent: Wednesday, April 2, 2008 12:30:12 AM Subject: Re: & Pulitzer for Poetry & Fiction/award goes to... Well, I guess the poetry-writing/novel-writing dichotomy has been just about put to bed, right? ----- Original Message ---- From: steve russell To: POETICS@LISTSERV.BUFFALO.EDU Sent: Tuesday, 1 April, 2008 10:04:57 PM Subject: & Pulitzer for Poetry & Fiction/award goes to... people forget Robert Penn Warren. He won 3 pulitzers, I think. & one of them was for fiction. Dylan Thomas wrote fiction as well. Ditto Jack Kerouac. ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Wed, 2 Apr 2008 19:49:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Would anyone ask that a painter/sculpter give up on one medium? It's puritanical. ----- Original Message ---- From: Andy Nicholson To: POETICS@LISTSERV.BUFFALO.EDU Sent: Wednesday, April 2, 2008 4:18:39 PM Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) CA, I don't quite agree with you, but I am sympathetic to your distrust of the novel and your fears about poets writing novels. Too many novels feel, to me too, like straightjackets. There are, of course, hundreds and hundreds of great novels, great novelists, but the dominance of American realist fiction--with its terribly narrow sense of the "real"--drives me away from most fiction and keeps my interest focused on poetry. Which brings us to why I seek out poets who write novels--I seek out their novels with the hope that they will bring some of the discovery and life of the poem to fiction. William, Creeley, Stein, Desnos: the best fiction from poets feels contiguous with the poets' poems, not like a break from poetry. And yet, isn't there that horrible notion that poets should "grow up," leave poetry, and start writing novels? I remember when I was in graduate school, I took a class from a poet-turned-novelists who thought that I had potential. He spent the whole semester trying to convince me to stop writing poetry and start writing fiction. I love a lot of fiction from poets, but I hate it when a poet leaves poetry for good for the larger readership of the novel. Andy On Wed, Apr 2, 2008 at 9:05 AM, CA Conrad wrote: > Mr. Russell, YES, I forgot how much I LOVE The Journal of Albion > Moonlight! > > Jean Genet, I also forgot him. How could I forget Genet? Forsake Genet!? > > And Richard Brautigan! GEEZE! OK! > > Maybe I'm wrong, a tiny bit. > BUT I STILL DON'T LIKE IT! Poets writing novels! > > I guess I hate MOST novels! 99 percent of them! They're like TV shows, > or > something as tedious AND DANGEROUS occupying the mind like a FILTHY > pedophile robbing you of your magic as you sleep! There's NO ROOM for the > most part TO HAVE YOUR OWN IDEAS! No SPACE on the PAPER for the eyes to > take you when you need to digest and transform your life! They want to > DIRECT like a fascist, like a corporation! HOW MANY NOVELISTS WORK FOR > THE > BUSH ADMINISTRATION!? I don't know, but I suspect THOUSANDS are in there! > > Although Joseph Torra is pretty amazing at both. He's one of the best > novelists I've ever met, and I also like him as a person, and I > generally hate novelists. > > I'm going to plant marigolds and violets now and forget those > SHREWD novelists lurking about, > CAConrad > http://PhillySound.blogspot.com < > http://phillysound.blogspot.com/> > ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Wed, 2 Apr 2008 19:52:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: & Pulitzer for Poetry & Fiction/award goes to... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Why so big a dichotomy. I don't think it's all that different from painter/sculpter. One form informs the other. ----- Original Message ---- From: Barry Schwabsky To: POETICS@LISTSERV.BUFFALO.EDU Sent: Wednesday, April 2, 2008 12:30:12 AM Subject: Re: & Pulitzer for Poetry & Fiction/award goes to... Well, I guess the poetry-writing/novel-writing dichotomy has been just about put to bed, right? ----- Original Message ---- From: steve russell To: POETICS@LISTSERV.BUFFALO.EDU Sent: Tuesday, 1 April, 2008 10:04:57 PM Subject: & Pulitzer for Poetry & Fiction/award goes to... people forget Robert Penn Warren. He won 3 pulitzers, I think. & one of them was for fiction. Dylan Thomas wrote fiction as well. Ditto Jack Kerouac. ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Wed, 2 Apr 2008 22:53:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: on poets writing novels Comments: To: Tisa Bryant In-Reply-To: <29026777.1207188582926.JavaMail.root@elwamui-cypress.atl.sa.earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Our desire to label things dates back to the Pre3M era, when multi-industrial genre barons plotted and plated ways to suck human/mankind (again, another LABEL! Damnit!) dry of hard-earned ___________ (label of currency here). Once the adhesive had been stumbled upon, their (the barons, who never would admit they were barons. "Never ask about the money," they would never say) fortune was a good as made. "We will make them labels. And they will label." And today, here we are, wasting the walls rememberingyou. -Ryan On Wed, Apr 2, 2008 at 10:09 PM, Tisa Bryant wrote: > RIGHT ON! > > -----Original Message----- > >From: "Cain, Amina" > >Sent: Apr 2, 2008 11:26 AM > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: on poets writing novels > > > >These days, I find nothing more annoying than rigid genre distinctions. > Who cares whether someone is writing a novel or writing poetry, as long as > the work is interesting? And how did poetry become THE sacred form of > writing above all others, anyway? Though innovation may be more "present" > within poetry these days, it doesn't mean it is absent in fiction. To write > with a genre so vividly lodged in ones mind seems so limiting and boring to > me. > ========================================================================= Date: Wed, 2 Apr 2008 22:55:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sharon Mesmer/David Borchart Subject: THE MISSING ARM OF VENUS: Readings by Romanian Poets In-Reply-To: MIME-version: 1.0 (Apple Message framework v752.2) Content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-transfer-encoding: 7bit The Romanian Cultural Institute/New York in conjunction with the PEN World Voices Festival presents readings by Nina Cassian Nora Iuga Saviana Stanescu Dan Sociu Razvan Tupa Constantin Vica Elena Vladareanu Eugen Suman Vasile Leac T.S. Khasis (translations by Adam J. Sorkin) Hosted by Saviana Stanescu and Sharon Mesmer Saturday, May 3 at KGB Bar (4th St & 2nd Ave, NYC) at 7pm The same poets will also be reading Monday, May 5 at 7 pm at the Romanian Cultural Institute, 38th St & 3rd Ave in New York City ========================================================================= Date: Thu, 3 Apr 2008 03:16:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: on poets writing novels In-Reply-To: <29026777.1207188582926.JavaMail.root@elwamui-cypress.atl.sa.earthlink.net> MIME-version: 1.0 Content-type: text/plain; charset=utf-8 Content-transfer-encoding: quoted-printable some novels i've read have been as important to me as the story of life = and the mind.=20 still, it isn't hard to understand the resentment of some poets toward = the novel. not so much the novel as the dominance of story, and certain = types of stories, at that, in western language art. to the point where = one begins to just abhor story of any kind. more art propaganda! more = product! more gag me with a spoon!=20 until the right one comes along, of course.=20 it's said that we understand our lives in stories. that story is crucial = to our making sense of ourselves and the world. dunno. to me, there's a = lot of blather leading up to some good moments. cut to the frickin = chase. no, hold on, that's a story metaphor. car chase? forget the = chase. cut to the sex scene. cut to the illumination. cut to the = revelation. cut to the good stuff. then cut it together. then cut it up. = cut it up and together so it's like the one line story the poet told the = king that caused him to give up the throne and wander as a seeker the = rest of his days.=20 best movie i've seen in a long time was 'a russian ark'. no cuts at all, = actually. not one. i woke up on the couch and there it was on tv. didn't = know what it was, who made it, or anything. but it led me through a = vision of russian history and art that was brilliant, disjunctive, time = travelling, yet without a cut, seamless. disjunctive yet seamless. the = story of a people told as a walk through the hermitage, through its art, = but also as a walk through history. yet as in a dream. such a dream. =20 cut. ja http://vispo.com ========================================================================= Date: Thu, 3 Apr 2008 07:38:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Allen, OK. And YES. LET ME BE HONEST about something I hadn't mentioned earlier. I FIRMLY BELIEVE the poets I have known in the past (most of them at least) who turned to novels did so because of MONEY and because of READERSHIP. Or wanted to be LOVED MORE or something. (poets who NEED that much LOVE are always trouble!) Poetry wasn't getting that for them, and on many levels they were dissatisfied. And I LOATHE this behavior because I think it takes courage to write poems, TO NOT GIVE A FUCK that it's not making you money, or whatever it is you WANT. In the end it's a very sincere, pissed off way I had entered this discussion! I want the poets I have Loved to not want such nonsense from this world! I hate when I find out I have cowards for friends! I'd rather my family were cowards than my friends frankly. But I DO actually find most novels a tedious thing to approach, besides these other reasons. In some cases it's for very different reasons that some poets write novels, like my friend Magdalena Zurawski, who turned to fiction for reasons more complicated than the above mentioned ones, but they're not my reasons to explain. Magdalena, who is one of my ABSOLUTE favorite people on earth has SLAVED over her novel THE BRUISE for seven LONG years and as I've said before, it's an epic poem to me. It's a poem. When I read it (and I've been reading it for years as it comes out of her) her poems WHICH I HAVE ALWAYS LOVED are there, are in it, this, this thing she calls a novel. A NOVEL! I will say NOOOOOOVEL slowly in a mirror a thousand times and it still makes no entrance. If I MUST read a novel it usually needs to be a poet's novel. I guess. Poems are my life in every way, everyday, and I no longer mean poems I'm reading but hearing-feeling-seeing-smelling them on the streets, unwritten, sometimes better left unwritten. Sarah, Patchen's Journal of Albion Moonlight is not a novel? See, you're getting us into the PAINFUL task of figuring out what a novel is, and I don't know how to have that discussion. I DON'T WANT TO HAVE THAT DISCUSSION LIKE MY "STRAIGHT" WOMAN FRIEND WHO IS TERRIFIED SHE IS A LESBIAN BUT NEVER SAYS SO AND what can I do about that? If I ever write a novel I will title it SARAH DON'T HATE MY MARIGOLDS! Sarah, DON'T HATE MY MARIGOLDS! Well, you like 1 percent of them anyway. Ah, fuck it, I don't care if you hate them, as they probably don't like you either! JUST kidding, I think. CAConrad http://PhillySound.blogspot.com ========================================================================= Date: Thu, 3 Apr 2008 08:53:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Jo Malo Subject: $1.3 Million Grant for Milwaukee Arts Education MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline 10,000 students in the Milwaukee Public School system and local arts to benefit . . . "The Cultural Alliance of Greater Milwaukee and the Greater Milwaukee Foundation will also benefit from the $1.3 million gift from the Bader Foundation. The alliance will receive just over $115,000 to create an online resource that will link local artists to educators in MPS and youth development workers citywide. The Greater Milwaukee Foundation will receive just over $100,000 to support small and mid-sized arts organizations in their work with the selected schools and community centers." http://www.jsonline.com/story/index.aspx?id=735047 Mary Jo Malo http://thisshiningwound.blogspot.com/ ========================================================================= Date: Thu, 3 Apr 2008 08:05:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Siddhartha, in defense of Baby Boomers MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Yes, I'm about to talk about a novel, which is ridiculous considering how much I've recently railed against them on this List, but, I feel I have to in this case. An old friend told me about Susan Bernofsky's new translation of Hesse's Siddhartha, saying it's amazing, actually, she said it's "sublime!" The link she sent me was from Barnes and Noble, and there's a descriptive tag on the website under the book which reads, "Once the preferred marching song of '60s hippies, Hermann Hesse's *Siddhartha* has returned to its rightful high niche in world literature." When I was in college (the very same semester I was not so politely asked to leave) we read it for a literature class. One of my mother's stinking hippie friends had already turned me onto the book years before I was in this class. It had changed my young life, and I was happy to share that a few years later in college with my seemingly indifferent classmates. The professor was a crabby old guy who HATED hippies, so my original experience with the book didn't go over well. He said something like, "THE HIPPIES HAD NO IDEA WHAT THEY WERE READING! HESSE IS ART!" (Some of my classmates asked later if my mother could score them some acid.) I argued that my mother's generation (stinky or NOT!) REALLY DID get it, REALLY GOT IT as a matter of fact because THEY were the ones to take CENTURIES of layers of oppression by the balls and RUN INTO THE DARKNESS to reinvent the world! The generation who gave us Civil Rights, the Women's Movement, and Stonewall, and an awareness of FOOD and the environment, and, frankly, with all of this, at its core, a bright, magnificent epiphany of how EVERYTHING can change! My argument was lost on my snobbish professor who wanted to discuss the nuances of the lines, not the spiritual flux, THE AWAKENING! And then I pointed out what I thought to be the obvious, which was that to talk about the lines was to talk about the TRANSLATION of the lines, not the original German, which only derailed his plans further, and pissed him off further. But, it's true, right? Anyway, who cares! I bring all of this up because I FEEL a bit of that snobbishness in this Barnes and Noble descriptive tag for the book's latest translation. MAYBE I'M WRONG, it's possible I'm conflating memory with the tag's intent. But, still, it feels kind of snobbish. It feels similar to the words of my old professor who is probably dead by now. Of course IT COULD mean that the new translation is what raises the book "to its rightful high niche in world literature." But maybe not. To me it sounds like it's saying, "Well, the hippies screwed around with it, but NOW, NOW WE HAVE it to place on the golden podium with our MORE REFINED tastes!" Yes, it's great literature. I agree. Even that older Hilda Rosner translation (you know this version, it's a blue mass market paperback?) makes you FEEL literature at its best in the book. But isn't "G"reat "L"iterature also a sense of spiritual awakening on some level? Maybe it's just me, but I've never been interested in anything (especially poems) if I'm not TORN OPEN! Of course you have to be willing to be torn open, I think, but, if you are willing, the right thing meaning the CAPABLE thing can, and will. Also, in my opinion, to say that Siddhartha is not showing how DEFIANT you must be to achieve grace, then it is to say you don't really GET the story as it could be for your life. (I mean, Siddhartha told The Buddha to FUCK OFF essentially, like my mother's people told their own elders to do!) Hesse created an allegory for the Soul. And I say "S" Soul as in a collective BUT individual path(s). So I say HELL YES THE HIPPIES! They weren't perfect, of course, but neither was Siddhartha, of course. Nor are we meant to be perfect, at least I hope we aren't meant to be, because if we are we're in trouble! CAConrad http://PhillySound.blogspot.com ========================================================================= Date: Wed, 2 Apr 2008 20:56:30 -0700 Reply-To: sanjdoller@gmail.com Sender: UB Poetics discussion group From: sandra de 1913 Subject: Agitprop reading in San Diego on Saturday 4/5: Maxwell + Graham MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Please join us for a monthly lit reading in the company of art at Agitprop in North Park, San Diego, co-sponsored by the gallery and local poetry presses 1913, Kuhl House, and Tougher Disguises. Susan Maxwell & K. Lorraine Graham will read this Saturday April 5th @ 7pm at 2837 University Ave (entrance to the gallery is actually on Utah). Susan Maxwell's first book of poems, "Passenger," was published by the University of Georgia Press in 2005 as winner of the Contemporary Poetry Series. Maxwell earned her BA in Peace and Conflict studies at the University of California, Berkeley, and her MFA in poetry from the Iowa Writers' Workshop. Her work has been nominated for a Pushcart Prize and featured in such publications as 1913 a journal of forms, American Letters & Commentary, New American Writing, Denver Quarterly, Bay Poetics Anthology, Verse, VOLT, as well as other journals and art installations. She's currently a doctoral student in Psychology at the Wright Institute in Berkeley. K. Lorraine Graham is the author of several chapbooks, including "Diverse Speculations Descending Therefrom" (Dusie), "Terminal Humming" (Slack Buddha), "See it Everywhere" (Big Game Books), and "Large Waves to Large Obstacles" (forthcoming from Take Home Project), and the recently released chapdisk "Moving Walkways" (Narrowhouse Recordings). Graham has just completed the extended manuscript of "Terminal Humming" and writes the blog http://terminalhumming.blogspot.com/ from her home in Carlsbad, CA. This event is free and open to the public. Donations to the gallery are greatly appreciated. --=20 l'editrice de 1913 Sandra Doller (n=E9e Miller) * http://www.journal1913.org http://www.myspace.com/1913press ========================================================================= Date: Thu, 3 Apr 2008 16:01:45 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pam Brown Subject: poets and novels MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear CA - In Australia recently there's been a veritable plethora of a form that will certainly flummox you...the verse novel. Every second creative-writing poetry student is doing it. Cheerio from Pam ========================================================================= Date: Thu, 3 Apr 2008 09:33:25 -0400 Reply-To: pmetres@jcu.edu Sender: UB Poetics discussion group From: Philip Metres Subject: new on Behind the Lines poetry blog MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit March 2008 on Behind the Lines: check it: 3/23: Peace Protesters Stage Dramatic Die-in... Obama and Israel: Abunimah's Analysis Mark Doty Reading Walt Whitman's "Over the Carnage... To See the Earth review in Jacket Jay Hopler and Cate Marvin reading, a postmortem The Sidewalk Blogger in Hawai'i Marks the 4,000th ... "Charlie Don't Surf"/From Apocalypse Now to Sandin... Outkast's "B.O.B." (Bombs Over Baghdad)/Another Ca... Split This Rock conference notes... The Clash's "Rock the Casbah"/This Music Converts ... Poems on/about the Vietnam Veteran's Memorial The Status of Narrative and the Avant-Garde/Arab... Rachel Loden's Hotel Imperium/One Upon Whom Nothing is Lost Four Poets at Visible Voice, March 19, 2008 On the 5th Year Anniversary of This Unnecessary Wa... Send Your Poems about James Brown Wafaa Bilal's "Virtual Jihadi"/We Tolerate Video Games Only When they Murder Others... The Daily Show Makes Anti-War Protestors Look Sill... Amiri Baraka's "Political Poem"/What is Luxury? This is the Film My Library Wouldn't Show/"Searchi... "The Torturer's Top Tunes" thanks to David Chirot The Harassment of Professor Thomas Abowd at Wayne State Campaign of Solidarity with Women Resisting U.S. War... Israel/Palestine Comes to Cleveland Heights... Kenneth Rexroth's "Thou Shalt Not Kill" The Beautiful Chaos of Ash Bowie, Helium Bassist a... Bill Howe's "Words Change" Get Lit 2008: A Postmortem David-Baptiste Chirot on the New House Bill to End... Ali Abunimah on the recent events in Israel/Palest... "The Gaza Bombshell"/The Bush Administration's Bay... The Disposable Heroes of Hipoprisy's "Television, ... The Moe Green Radio Hour Featuring Harvey Shapiro,... Sheryl Crow's "Shine Over Babylon"/Ripped Out of t... Public Enemy's "Fight the Power" video(s) + "Son o... Public Enemy's "911 is a Joke"/Somebody Call an Am... Big Bridge 2008 is out/Check out The War Papers (2... Freshen' Up Your Drink, Guv'nor?/Paul Kramer's "Th... 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 http://www.behindthelinespoetry.blogspot.com ========================================================================= Date: Thu, 3 Apr 2008 08:35:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Cunningham Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1250" Content-Transfer-Encoding: 7bit One poet cum novelist whose reasons for choosing the novelistic form seems to me to be outside the scope of your reasoning is Margaret Atwood who was one of the best Canadian poets during her time but chose to write novels. I'm just speculating here but she may have chosen this path as a result of her feminism and the novel afforded her the best opportunity to explore those issues that had taken on significant importance to her. I don't see how the issues she explored in, for example, The Handmaid's Tale, could have been explored to such depth other than in the form she chose. John Cunningham -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of CA Conrad Sent: April 3, 2008 7:39 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) Allen, OK. And YES. LET ME BE HONEST about something I hadn't mentioned earlier. I FIRMLY BELIEVE the poets I have known in the past (most of them at least) who turned to novels did so because of MONEY and because of READERSHIP. Or wanted to be LOVED MORE or something. (poets who NEED that much LOVE are always trouble!) Poetry wasn't getting that for them, and on many levels they were dissatisfied. And I LOATHE this behavior because I think it takes courage to write poems, TO NOT GIVE A FUCK that it's not making you money, or whatever it is you WANT. In the end it's a very sincere, pissed off way I had entered this discussion! I want the poets I have Loved to not want such nonsense from this world! I hate when I find out I have cowards for friends! I'd rather my family were cowards than my friends frankly. But I DO actually find most novels a tedious thing to approach, besides these other reasons. In some cases it's for very different reasons that some poets write novels, like my friend Magdalena Zurawski, who turned to fiction for reasons more complicated than the above mentioned ones, but they're not my reasons to explain. Magdalena, who is one of my ABSOLUTE favorite people on earth has SLAVED over her novel THE BRUISE for seven LONG years and as I've said before, it's an epic poem to me. It's a poem. When I read it (and I've been reading it for years as it comes out of her) her poems WHICH I HAVE ALWAYS LOVED are there, are in it, this, this thing she calls a novel. A NOVEL! I will say NOOOOOOVEL slowly in a mirror a thousand times and it still makes no entrance. If I MUST read a novel it usually needs to be a poet's novel. I guess. Poems are my life in every way, everyday, and I no longer mean poems I'm reading but hearing-feeling-seeing-smelling them on the streets, unwritten, sometimes better left unwritten. Sarah, Patchen's Journal of Albion Moonlight is not a novel? See, you're getting us into the PAINFUL task of figuring out what a novel is, and I don't know how to have that discussion. I DON'T WANT TO HAVE THAT DISCUSSION LIKE MY "STRAIGHT" WOMAN FRIEND WHO IS TERRIFIED SHE IS A LESBIAN BUT NEVER SAYS SO AND what can I do about that? If I ever write a novel I will title it SARAH DON'T HATE MY MARIGOLDS! Sarah, DON'T HATE MY MARIGOLDS! Well, you like 1 percent of them anyway. Ah, fuck it, I don't care if you hate them, as they probably don't like you either! JUST kidding, I think. CAConrad http://PhillySound.blogspot.com No virus found in this incoming message. Checked by AVG. Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: 02/04/2008 4:14 PM No virus found in this outgoing message. Checked by AVG. Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: 02/04/2008 4:14 PM ========================================================================= Date: Thu, 3 Apr 2008 08:48:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Cunningham Subject: Re: Siddhartha, in defense of Baby Boomers In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1250" Content-Transfer-Encoding: quoted-printable To limit oneself to discussing only one of Hesse's books is unfortunate. What about The Glass Bead Game (otherwise known as Master Ludi), or Steppenwolf, Journey To The East or his numerous other masterpieces - = all devoured by the Hippies along with their electric koolaide which was a = true acid test of fine literature. This discussion reminds me of the discussion had in the late 60s when = Miles Davis released his Bitch's Brew or when Ornette hired James "Blood" = Ulmer on guitar and the jazz world watched sadly as fusion took control. The only artist during that period who didn't sell out was Coltrane - perhaps = that's why a church was consecrated to him in San Francisco. And yet, one can listen to Weather Report or the Mahavishnu Orchestra at times without cringing provided one does not think about what could have been had many = of these artists who had started out in avant garde jazz (Chick Corea being = a prime example with Circle) continued along this road. However, having = said that, it=92s the ones who entered the jazz scene at the time of = transition that I most respect as they did create some fine music and, because of = their late entry, could not be considered sell-outs. Just a thought. John Cunningham -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of CA Conrad Sent: April 3, 2008 8:05 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Siddhartha, in defense of Baby Boomers Yes, I'm about to talk about a novel, which is ridiculous considering = how much I've recently railed against them on this List, but, I feel I have = to in this case. An old friend told me about Susan Bernofsky's new translation of Hesse's Siddhartha, saying it's amazing, actually, she said it's "sublime!" The link she sent me was from Barnes and Noble, and there's a descriptive = tag on the website under the book which reads, "Once the preferred marching = song of '60s hippies, Hermann Hesse's *Siddhartha* has returned to its rightful = high niche in world literature." When I was in college (the very same semester I was not so politely = asked to leave) we read it for a literature class. One of my mother's stinking hippie friends had already turned me onto the book years before I was in this class. It had changed my young life, and I was happy to share that = a few years later in college with my seemingly indifferent classmates. = The professor was a crabby old guy who HATED hippies, so my original = experience with the book didn't go over well. He said something like, "THE HIPPIES = HAD NO IDEA WHAT THEY WERE READING! HESSE IS ART!" (Some of my classmates asked later if my mother could score them some acid.) I argued that my mother's generation (stinky or NOT!) REALLY DID get it, REALLY GOT IT as a matter of fact because THEY were the ones to take CENTURIES of layers of oppression by the balls and RUN INTO THE DARKNESS = to reinvent the world! The generation who gave us Civil Rights, the = Women's Movement, and Stonewall, and an awareness of FOOD and the environment, = and, frankly, with all of this, at its core, a bright, magnificent epiphany of how EVERYTHING can change! My argument was lost on my snobbish = professor who wanted to discuss the nuances of the lines, not the spiritual flux, = THE AWAKENING! And then I pointed out what I thought to be the obvious, = which was that to talk about the lines was to talk about the TRANSLATION of = the lines, not the original German, which only derailed his plans further, = and pissed him off further. But, it's true, right? Anyway, who cares! I bring all of this up because I FEEL a bit of that snobbishness in this Barnes and Noble descriptive tag for the book's latest translation. = MAYBE I'M WRONG, it's possible I'm conflating memory with the tag's intent. = But, still, it feels kind of snobbish. It feels similar to the words of my = old professor who is probably dead by now. Of course IT COULD mean that the = new translation is what raises the book "to its rightful high niche in world literature." But maybe not. To me it sounds like it's saying, "Well, = the hippies screwed around with it, but NOW, NOW WE HAVE it to place on the golden podium with our MORE REFINED tastes!" Yes, it's great literature. I agree. Even that older Hilda Rosner translation (you know this version, it's a blue mass market paperback?) makes you FEEL literature at its best in the book. But isn't "G"reat "L"iterature also a sense of spiritual awakening on some level? Maybe = it's just me, but I've never been interested in anything (especially poems) = if I'm not TORN OPEN! Of course you have to be willing to be torn open, I think, but, if you are willing, the right thing meaning the CAPABLE = thing can, and will. Also, in my opinion, to say that Siddhartha is not showing how DEFIANT = you must be to achieve grace, then it is to say you don't really GET the = story as it could be for your life. (I mean, Siddhartha told The Buddha to = FUCK OFF essentially, like my mother's people told their own elders to do!) Hesse created an allegory for the Soul. And I say "S" Soul as in a collective BUT individual path(s). So I say HELL YES THE HIPPIES! They weren't perfect, of course, but = neither was Siddhartha, of course. Nor are we meant to be perfect, at least I = hope we aren't meant to be, because if we are we're in trouble! CAConrad http://PhillySound.blogspot.com No virus found in this incoming message. Checked by AVG.=20 Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: = 02/04/2008 4:14 PM =20 No virus found in this outgoing message. Checked by AVG.=20 Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: = 02/04/2008 4:14 PM =20 ========================================================================= Date: Thu, 3 Apr 2008 10:03:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Zamsky, Robert" Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: A MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable I want those I love to do only that which I love; anything else is a personal betrayal. I want them to need only my love. There is a psychoanalytic term for this. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of CA Conrad Sent: Thursday, April 03, 2008 8:39 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) Allen, OK. And YES. LET ME BE HONEST about something I hadn't mentioned earlier. I FIRMLY BELIEVE the poets I have known in the past (most of them at least) who turned to novels did so because of MONEY and because of READERSHIP. Or wanted to be LOVED MORE or something. (poets who NEED that much LOVE are always trouble!) Poetry wasn't getting that for them, and on many levels they were dissatisfied. And I LOATHE this behavior because I think it takes courage to write poems, TO NOT GIVE A FUCK that it's not making you money, or whatever it is you WANT. In the end it's a very sincere, pissed off way I had entered this discussion! I want the poets I have Loved to not want such nonsense from this world! I hate when I find out I have cowards for friends! I'd rather my family were cowards than my friends frankly. But I DO actually find most novels a tedious thing to approach, besides these other reasons. In some cases it's for very different reasons that some poets write novels, like my friend Magdalena Zurawski, who turned to fiction for reasons more complicated than the above mentioned ones, but they're not my reasons to explain. Magdalena, who is one of my ABSOLUTE favorite people on earth has SLAVED over her novel THE BRUISE for seven LONG years and as I've said before, it's an epic poem to me. It's a poem. When I read it (and I've been reading it for years as it comes out of her) her poems WHICH I HAVE ALWAYS LOVED are there, are in it, this, this thing she calls a novel. A NOVEL! I will say NOOOOOOVEL slowly in a mirror a thousand times and it still makes no entrance. If I MUST read a novel it usually needs to be a poet's novel. I guess. Poems are my life in every way, everyday, and I no longer mean poems I'm reading but hearing-feeling-seeing-smelling them on the streets, unwritten, sometimes better left unwritten. Sarah, Patchen's Journal of Albion Moonlight is not a novel? See, you're getting us into the PAINFUL task of figuring out what a novel is, and I don't know how to have that discussion. I DON'T WANT TO HAVE THAT DISCUSSION LIKE MY "STRAIGHT" WOMAN FRIEND WHO IS TERRIFIED SHE IS A LESBIAN BUT NEVER SAYS SO AND what can I do about that? If I ever write a novel I will title it SARAH DON'T HATE MY MARIGOLDS! Sarah, DON'T HATE MY MARIGOLDS! Well, you like 1 percent of them anyway. Ah, fuck it, I don't care if you hate them, as they probably don't like you either! JUST kidding, I think. CAConrad http://PhillySound.blogspot.com ========================================================================= Date: Thu, 3 Apr 2008 09:05:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Trigilio Organization: http://www.starve.org Subject: Tonight: 9th Annual Columbia College Chicago Citywide Undergraduate Poetry Festival MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Ninth Annual Columbia College Citywide Undergraduate Poetry Festival Thursday, April 3, 2008, 5:30 p.m. Columbia College Chicago Music Center Concert Hall 1014 South Michigan Avenue For more information: (312) 344-8138 The Columbia College Chicago Citywide Undergraduate Poetry Festival brings together 12 poets from Chicago-area colleges and universities to read their work. A reception follows the reading. The 2008 readers are: Columbia College Chicago, Jess Rose; Chicago State University, Iman Byfield; DePaul University, Joe Collins; Loyola University, Chelsea Eckel; National-Louis University, Terra Cooks; Northeastern Illinois University, Eugene Wagendorf; Northwestern University, Amanda DeMarco; North Central College, Kevin Michael Christy; Roosevelt University, LeeAnn Whittemore; School of the Art Institute of Chicago, Jennifer Swann; University of Chicago, Kevin Busch; University of Illinois-Chicago, Beatriz Ruiz. ========================================================================= Date: Thu, 3 Apr 2008 10:13:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: earliest sounds from 1857 on In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Andy, The same kind of elusiveness exists in a mid-19th century English photographer Talbot's photograph which was taken I think by a method of direct application, rather than the camera obscura method. Murat On Wed, Apr 2, 2008 at 8:57 PM, Andy Nicholson wrote: > Yes, I heard about this story and am very excited. The recorded sound > itself > is wonderful--amazing to think of how far back that voice comes from, > beautifully grainy--and how can one not be overjoyed that the first > recordings were etched in soot? > > On Sun, Mar 30, 2008 at 11:22 AM, Alan Sondheim > wrote: > > > In the news today - sounds recorded around 1860 and slightly earlier - > go > > to http://www.firstsounds.org/sounds/ - this predates Edison. > > > > - Alan > > > ========================================================================= Date: Thu, 3 Apr 2008 10:57:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: on poets writing novels MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit So many people I know work across genre "boundaries" that I can't give one form primacy over another. To my way of thinking, no artistic medium or genre is superior to another. Each expresses something a little different from, or a little more easily than, another. My poetry has incorporated fictional and visual techniques while operating as an "orchestrated text" that would fit readily into musical accompaniment in several idioms. My fiction employs playwriting and screenwriting techniques. I seem to need to cross boundaries regularly to achieve the expression I seek. It's nothing new. We've had at least 50 years of mixed-media in the United States and other countries, possibly 100. Aside from differing tastes, what's the big deal? ========================================================================= Date: Fri, 4 Apr 2008 02:07:39 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) In-Reply-To: <001801c8958f$84edd460$016fa8c0@johnbedroom> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I write novels principally because the form fascinates me. I am a lyric poet and there were times when I felt constricted and restless within the line, I wanted the space and architecture of long prose. Epic fantasy seems to me to be a logical extension of poetry, the contemporary form of epic poetry, which were popular art forms in their day. I don't see anything wrong with popular art forms. I doubt I'll write another series though. My other published novel is a poetic non-narrative memoir/fiction/essay of around 100 pages. I have various plans for others. One day I'd like to write a prose piece as perfect as Dubliners, in the spirit of feeling that one's reach should exceed one's grasp. Poetry has always taken care of herself. All best A > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of CA Conrad > Sent: April 3, 2008 7:39 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: ON poets writing NOVELS (OH! it pains me to write those > words!) > > Allen, OK. And YES. > > LET ME BE HONEST about something I hadn't mentioned earlier. I FIRMLY > BELIEVE the poets I have known in the past (most of them at least) who > turned to novels did so because of MONEY and because of READERSHIP. Or > wanted to be LOVED MORE or something. (poets who NEED that much LOVE are > always trouble!) Poetry wasn't getting that for them, and on many levels > they were dissatisfied. And I LOATHE this behavior because I think it > takes > courage to write poems, TO NOT GIVE A FUCK that it's not making you money, > or whatever it is you WANT. > > In the end it's a very sincere, pissed off way I had entered this > discussion! I want the poets I have Loved to not want such nonsense from > this world! I hate when I find out I have cowards for friends! I'd > rather > my family were cowards than my friends frankly. But I DO actually find > most > novels a tedious thing to approach, besides these other reasons. > > In some cases it's for very different reasons that some poets write > novels, > like my friend Magdalena Zurawski, who turned to fiction for reasons more > complicated than the above mentioned ones, but they're not my reasons to > explain. Magdalena, who is one of my ABSOLUTE favorite people on earth > has > SLAVED over her novel THE BRUISE for seven LONG years and as I've said > before, it's an epic poem to me. It's a poem. When I read it (and I've > been reading it for years as it comes out of her) her poems WHICH I HAVE > ALWAYS LOVED are there, are in it, this, this thing she calls a novel. A > NOVEL! I will say NOOOOOOVEL slowly in a mirror a thousand times and it > still makes no entrance. > > If I MUST read a novel it usually needs to be a poet's novel. I guess. > > Poems are my life in every way, everyday, and I no longer mean poems I'm > reading but hearing-feeling-seeing-smelling them on the streets, > unwritten, > sometimes better left unwritten. > > Sarah, Patchen's Journal of Albion Moonlight is not a novel? See, you're > getting us into the PAINFUL task of figuring out what a novel is, and I > don't know how to have that discussion. I DON'T WANT TO HAVE THAT > DISCUSSION LIKE MY "STRAIGHT" WOMAN FRIEND WHO IS TERRIFIED SHE IS A > LESBIAN > BUT NEVER SAYS SO AND what can I do about that? If I ever write a novel I > will title it SARAH DON'T HATE MY MARIGOLDS! > > Sarah, DON'T HATE MY MARIGOLDS! Well, you like 1 percent of them anyway. > Ah, fuck it, I don't care if you hate them, as they probably don't like > you > either! > JUST kidding, I think. > > CAConrad > http://PhillySound.blogspot.com > > No virus found in this incoming message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: > 02/04/2008 > 4:14 PM > > > No virus found in this outgoing message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: > 02/04/2008 > 4:14 PM > > -- Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ========================================================================= Date: Thu, 3 Apr 2008 11:31:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: Epigramititis: 118 Living American Poets In-Reply-To: <7.0.1.0.2.20080402112251.024fe8a8@psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Aldon, I've read Epigramititis. It's quite an extraordinary book. Centuries from now, perhaps we'll be remembered in the way that we are read about. To mimic Catullus seemed to be Johnson's idea here, truth be sometimes damned, sometimes not; and in the process, to rescue the idea of the epigram. The idea of these epigrams, and indeed, their goal, seems to be wit rather than truth. I can't say that I would use real, living people as my subjects were I to publish something similar, but the result here is interesting, and I'm quite sure that the best result cannot possibly be roundly dismissing the work and writer. Certainly this doesn't belong in the bin with Holocaust survivors raised by wolves and gun-toting Native American suburbanite moms. So what redeems this work? Its effect, its longevity, its referentially dense and rich dictionary-like quality, to name a few. I was thrilled reading this, asking myself, "Is this true? Did Poet X really do that?" Unbelievable as it may seem, I didn't believe most of it. I tend not to believe most of what I read. I sought many of the answers to other questions: what about the Will Alexander epigram is false? Moreover, what does the Alexander epigram's falsehood suggest about both its subject and the LANGUAGE poets? It's interesting to see the duality of focus, the meta-reference that we don't get from modern fiction. The truth being implicit in most novels, the characters are false, and the reader can make out the difference. Johnson has turned the circus tent on its bum. No longer can we be safe in imagining that certain fates don't befall real, living people. We are left with shuffling through tabloidal gems, some true, some less true, some false. Using falsity as a basis for dismissal of such a rich and provocative reversal of our standards of "fact" and "truth" seems as if we're setting ourselves up to be duped by lesser daring and wit. -Ryan On Wed, Apr 2, 2008 at 11:31 AM, Aldon Nielsen wrote: > A friend just sent me the URL for a description of this book, which, > I must confess, had escaped my attention when it was published last > year. I find that I am one of the fortunate 118, but also find the > illin' epigram under my name utterly incomprehensible. I'm not at > all sure why Kent Johnson bothered to include me, unless it was his > odd way of thanking me for bothering to inquire of him whose > permission I should seek prior to publishing a previously > undiscovered sheaf of Yasusada poems that had come into my possession. > > While I am not at all sure what to make of this thing, I note that it > is replete with demonstrably false claims, such as : "Not a single > Language poet has ever said a single word about Will Alexander. " -- > So I suspect that this book, perhaps Kent Johnson himself (if you > click on his name at the Amazon listing for the book, it takes you to > a series of volumes on model railroads) is another hoax. > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "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: Thu, 3 Apr 2008 15:32:27 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Pusateri Subject: Reading on Friday, 4/4 at Quimby's in Chicago MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Join us tomorrow night for a reading: Who: Spencer Dew, Jeremy Biles, Nick = Ostdick, Jill Summers, and Chris PusateriWhere: Quimby's Bookstore, 1854 W.= North Ave., ChicagoWhen: 7:30pmFor more info: write to naanabozho@hotmail.= com Spencer Dew is the author of Songs of Insurgency (Vagabond Press, 2008)= ; a regular reviewer for Rain Taxi Review of Books, a frequent contributor = to Chicago Artists' News, and a member of the fiction staff of the Chicago = Review, Dew lives in Chicago where he is completing a PhD on the pedagogica= l function of Kathy Acker's novels. Jeremy Biles holds a PhD from the Unive= rsity of Chicago Divinity School. He resides in Chicago, where he has taugh= t at institutions including the University of Chicago and DePaul University= . He currently teaches philosophy at the Illinois Institute of Art, and is = the editor of Chicago Artists' News. He is also the author of the book Ecce= Monstrum: Georges Bataille and the Sacrifice of Form (Fordham University P= ress, 2007). Nick Ostdick is the editor of RAGAD, a literary broadsheet and= online magazine of new fiction. His works have appeared widely in such pla= ces as Slow Trains, Pindeldyboz, Word Riot, and elsewhere. Visit him online= at www.inthenickoftime.wordpress.com Jill Summer's audio fiction has been = featured internationally by Chicago Public Radio, the Third Coast Internati= onal Audio Festival, and New Adventures in Sound Art. Her work has appeared= in Stop Smiling Magazine, Ninth Letter, and The 2nd Hand. Her first play, = In the Curious Hold of the Demeter, was recently awarded a Henson Grant and= will be produced by The Incurable Theater this Fall. She runs Stray Dog Re= cording Co. in Chicago: www.straydogrecordingco.com Chris Pusateri is the a= uthor of two books of poetry, anon (BlazeVox,2008) and Berserker Alphabetic= s (xPressed, 2003), as well as five chapbooks. New work is forthcoming in A= ufgabe, Coconut, The Continental Review and Vanitas. Other recent work has = appeared in Boston Review, Chicago Review, Jacket, Verse, The Poker and els= ewhere. A librarian by trade, he lives near Denver with his partner, the po= et Michelle Naka Pierce.=20 _________________________________________________________________ Pack up or back up=96use SkyDrive to transfer files or keep extra copies. L= earn how. hthttp://www.windowslive.com/skydrive/overview.html?ocid=3DTXT_TAGLM_WL_Ref= resh_skydrive_packup_042008= ========================================================================= Date: Thu, 3 Apr 2008 11:53:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sarah Sarai Subject: Re: ON poets writing NOVELS (O! it pains me to write those words!) Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain SARAH, DON'T HATE MY MARIGOLDS! I'm working on the screenplay. My people = are=20 calling your people who are calling to the people. O listen, America.=20 The glass is half full, CAConrad. I love all your violets, and I feel mys= elf softening on my=20 marigolds platform. If only Bush and Cheney were as malleable as I. The g= lass is, like, 52=20 or 53 percent full, and getting fuller.=20 No further comment on *Albion Moonlight* is forthcoming.=20 By way of a comment on the rest of your posting, I can't comment more bec= ause I have=20 to get ready for an interview. Writing a novel for the money is about lik= e becoming an=20 actor for the money. Except I know unemployed actors who are SAG members = and=20 therefore have health insurance. How many unemployed poets are covered? I= read more=20 poetry than I do fiction, nonfiction or Page Six. If that counts.=20 TECHNICAL NOTE. If CAConrad's posting of--Thu, 3 Apr 2008 07:38:54 -0500-= -isn't below,=20 it's because I still haven't mastered this new artform. I press "Quote Or= iginal Message"=20 and nothing happens. Sarah Sarai=20 www.myspace.com/sarahsarai=20 ========================================================================= Date: Thu, 3 Apr 2008 09:44:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: on poets writing novels MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I agree. No big deal. Again, why shouldn't a painter get his hands dirty with some sculpter? Or a still photographer turn to film? & didn't someone mentioned the verse novel? Hybrids have been around since... at least a century. ----- Original Message ---- From: Vernon Frazer To: POETICS@LISTSERV.BUFFALO.EDU Sent: Thursday, April 3, 2008 10:57:30 AM Subject: on poets writing novels So many people I know work across genre "boundaries" that I can't give one form primacy over another. To my way of thinking, no artistic medium or genre is superior to another. Each expresses something a little different from, or a little more easily than, another. My poetry has incorporated fictional and visual techniques while operating as an "orchestrated text" that would fit readily into musical accompaniment in several idioms. My fiction employs playwriting and screenwriting techniques. I seem to need to cross boundaries regularly to achieve the expression I seek. It's nothing new. We've had at least 50 years of mixed-media in the United States and other countries, possibly 100. Aside from differing tastes, what's the big deal? ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Thu, 3 Apr 2008 12:48:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barbara Jane Reyes Subject: UC Santa Cruz Poetry Series: Filipino American Poets Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="ISO-8859-1" UC Santa Cruz POETRY SERIES Humanities Lecture Hall 7:30 PM April 9 Al Robles Tony Robles Jaime Jacinto April 16 Shirley Ancheta Jeff Tagami Barbara Jane Reyes The Critical Filipina/o Studies Research Cluster of the UCSC Center for Cultural Studies wishes to extend a special thanks to the Living Writers Series of the UCSC Creative Writing Program and the Asian American/ Pacific Islander Resource Center. We also wish to thank Oakes College, Merrill College, Stevenson College, Cowell College, Kresge College, Colleges 9 and 10, and the departments of Sociology, Literature, HAVC, and History of Consciousness and the Center for Justice, Tolerance, and Community for their generous sponsorship. For parking information or directions, see our website at www.criticalfilipinas.org. For more information, email sherwin@ucsc.edu. ========================================================================= Date: Thu, 3 Apr 2008 12:26:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sarah Sarai Subject: Re: ON poets writing NOVELS (O! it pains me to write those words!) Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain quick edit to my message: I have to get ready for a JOB interview. (Ins= ert the word=20 JOB.) >SARAH, DON'T HATE MY MARIGOLDS! I'm working on the screenplay. My people= are=20 >calling your people who are calling to the people. O listen, America.=20= The glass is half full, CAConrad. I love all your violets, and I feel mys= elf softening on my=20 marigolds platform. If only Bush and Cheney were as malleable as I. The g= lass is, like, 52=20 or 53 percent full, and getting fuller.=20 No further comment on *Albion Moonlight* is forthcoming.=20 By way of a comment on the rest of your posting, I can't comment more bec= ause I have=20 to get ready for an interview. Writing a novel for the money is about lik= e becoming an=20 actor for the money. Except I know unemployed actors who are SAG members = and=20 therefore have health insurance. How many unemployed poets are covered? I= read more=20 poetry than I do fiction, nonfiction or Page Six. If that counts.=20 TECHNICAL NOTE. If CAConrad's posting of--Thu, 3 Apr 2008 07:38:54 -0500-= -isn't below,=20 it's because I still haven't mastered this new artform. I press "Quote Or= iginal Message"=20 and nothing happens. Sarah Sarai=20 www.myspace.com/sarahsarai ========================================================================= Date: Thu, 3 Apr 2008 12:25:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Latta Subject: Re: Epigramititis: 118 Living American Poets In-Reply-To: <7.0.1.0.2.20080402112251.024fe8a8@psu.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Aldon, That book's not only not a hoax, it's a terrific book. I don't have it at hand right now, so can't attest to the intelligibility of your own "illin' epigram," but I'd wager that you'd agree that some higher truths get said best by tinier, humorous falsehoods, so that "Not a single Language poet has ever said a single word about Will Alexander" points rather magnificently to the overwhelming middle class whiteness of Language poetry. Kent Johnson, of course, could say this all much better and throw in a guffawable or two besides. But then he's not here, still languishing under the banishment from these pristine List premises, dating back, what, *nine* years now? The book's available here: http://www.blazevox.org/bk-kj.htm and is a delight, a savage delight. Best, John http://isola-di-rifiuti.blogspot.com/ On Wed, 2 Apr 2008, Aldon Nielsen wrote: > A friend just sent me the URL for a description of this book, which, I must > confess, had escaped my attention when it was published last year. I find > that I am one of the fortunate 118, but also find the illin' epigram under my > name utterly incomprehensible. I'm not at all sure why Kent Johnson bothered > to include me, unless it was his odd way of thanking me for bothering to > inquire of him whose permission I should seek prior to publishing a > previously undiscovered sheaf of Yasusada poems that had come into my > possession. > > While I am not at all sure what to make of this thing, I note that it is > replete with demonstrably false claims, such as : "Not a single Language poet > has ever said a single word about Will Alexander. " -- So I suspect that this > book, perhaps Kent Johnson himself (if you click on his name at the Amazon > listing for the book, it takes you to a series of volumes on model railroads) > is another hoax. > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "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: Thu, 3 Apr 2008 12:54:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Epigramititis: 118 Living American Poets Comments: To: Ryan Daley In-Reply-To: 9778b8630804030831k71b484bdm26d844b2ed2bdd26@mail.gmail.com MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 well, there is so much to sort through here that I won't try to address all of it -- I wouldn't call my comment dismissive -- I suggested that the work, and the author, might be a hoax,,,,, which I had thought would alert readers to my own impishness in response -- I have reason to believe Kent exists, but he may well exist for me much in the way that some poet named "Aldon Nielsen" (we may note in passing that no book of poems signed "Aldon Nielsen" has ever appeared, though there are five books of poetry that have been published by the guy this seems to refer to) will exit for readers of EPIGRAMITITIS. yes -- truth some times be damned/sometimes not -- there is not time today to get into the philosophical questions around truth and poetry -- but let's say for the moment that the majority of readers will probably judge a claim within a poem such as "there is no emperor but the emperor of ice cream" differently from such a statement as "Not a single Language poet has said a single word about Will Alexander." I'm not sure how to read your queston, "what about the Will Alexander epigram is false" in light of what you say leading up to that question. It's a line that would strike most people who note that Alexander was published by Messerli as odd on its face. I suppose some may choose not to count Messerli as a Language poet, for all I know Messerli himself doesn't claim to be a language poet, but that aside, the epigram makes a demonstrably untrue remark -- a quick google, for just one instance, will bring you to this: "I take great heart to read the writing of Will Alexander, a poet whose concerns seem almost obsessively personal. I don’t know the man and so have no sense if he is conscious as to what a major political claim he is making in staking out this territory for himself. The fact that he is publishing so widely is hopefully a sign that conditions spelled out by that little table above might be open to change in the future. " That's Ron Silliman, who I think most readers of the epigrams would take for a Language poet. So that the real question turns out to be, what do we make of an assertion in a poem whose author had to have known that it wasn't true? which in turn gets us back to your more intriguing question, what does the epigram's falsehood suggest about both its subject and the Language poets? Well, I'd like to hear your answer to your own question . . . No, this doesn't belong in the bin alongside Holocaust survivors raised by wolves -- but I'm not at all clear why you would toss the non-native American housewife who did not run with the Crips in the bin while rescuing the epigrams -- if that hoax memoir is worthy literature, isn't it still worthy literature once you know it's a hoax? and you'll have to explain for me how the "longevity" of a book published last year redeems it . . . You've got me scratching my head over that one -- I think the Epigrams are every bit as good as the poetry of the Spectra poets, which I did not throw in any bin and still occassionally read -- On Thu, Apr 3, 2008 11:31 AM, Ryan Daley wrote: > Aldon, > >I've read Epigramititis. It's quite an extraordinary book. Centuries from >now, perhaps we'll be remembered in the way that we are read about. To mimic >Catullus seemed to be Johnson's idea here, truth be sometimes damned, >sometimes not; and in the process, to rescue the idea of the epigram. The >idea of these epigrams, and indeed, their goal, seems to be wit rather than >truth. I can't say that I would use real, living people as my subjects were >I to publish something similar, but the result here is interesting, and I'm >quite sure that the best result cannot possibly be roundly dismissing the >work and writer. Certainly this doesn't belong in the bin with Holocaust >survivors raised by wolves and gun-toting Native American suburbanite moms. > >So what redeems this work? Its effect, its longevity, its referentially >dense and rich dictionary-like quality, to name a few. I was thrilled >reading this, asking myself, "Is this true? Did Poet X really do >that?" >Unbelievable as it may seem, I didn't believe most of it. I tend not to >believe most of what I read. I sought many of the answers to other >questions: what about the Will Alexander epigram is false? Moreover, what >does the Alexander epigram's falsehood suggest about both its subject and >the LANGUAGE poets? It's interesting to see the duality of focus, the >meta-reference that we don't get from modern fiction. The truth being >implicit in most novels, the characters are false, and the reader can make >out the difference. Johnson has turned the circus tent on its bum. No longer >can we be safe in imagining that certain fates don't befall real, living >people. We are left with shuffling through tabloidal gems, some true, some >less true, some false. Using falsity as a basis for dismissal of such a rich >and provocative reversal of our standards of "fact" and >"truth" seems as if >we're setting ourselves up to be duped by lesser daring and wit. > >-Ryan > >On Wed, Apr 2, 2008 at 11:31 AM, Aldon Nielsen wrote: > >> A friend just sent me the URL for a description of this book, which, >> I must confess, had escaped my attention when it was published last >> year. I find that I am one of the fortunate 118, but also find the >> illin' epigram under my name utterly incomprehensible. I'm not at >> all sure why Kent Johnson bothered to include me, unless it was his >> odd way of thanking me for bothering to inquire of him whose >> permission I should seek prior to publishing a previously >> undiscovered sheaf of Yasusada poems that had come into my possession. >> >> While I am not at all sure what to make of this thing, I note that it >> is replete with demonstrably false claims, such as : "Not a single >> Language poet has ever said a single word about Will Alexander. " -- >> So I suspect that this book, perhaps Kent Johnson himself (if you >> click on his name at the Amazon listing for the book, it takes you to >> a series of volumes on model railroads) is another hoax. >> >> <> >> >> "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/ >> > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> 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: Thu, 3 Apr 2008 13:25:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sharon Mesmer/David Borchart Subject: Poetry and Story: the Steel-Cage Death Match In-Reply-To: MIME-version: 1.0 (Apple Message framework v752.2) Content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-transfer-encoding: 7bit Ah, for the days when Poetry and Story worked in each other's service -- those glory days before writing was "invented" in the Fertile Crescent, the golden age of oracular transmission! The primacy of Mnemosyne! In 1871 Rimbaud wrote, "In Greece ... words and music gave a rhythm to Action. Afterward music and rhymes became toys, pastimes." He was referring to how Poetry was the way Story was told -- its metrical devices were the rhythm of the action, what made those long ass epics memorable to tellers and listeners. Once writing was invented poor Poetry had to make its way alone. And we forgot that Memory was the mother of the Muses. I don't know -- I just finally finished a novel that I worked on for twenty years, with no promise of agent, publisher, movie rights, whatever. I've also written short fiction, essays, articles and a play, though I'm primarily a poet. Sometimes the content seems right for a novel, sometimes for a short story, sometimes for a poem. In other words, "Form follows function" (a phrase usually attributed to the architect Louis Sullivan, but I think he got it from a sculptor). Some novels changed my life as a teenager ("The Heart Is A Lonely Hunter") just like some poems did ("Sunflower Sutra"). I don't think we should take what passes for novels these days in America, the crap that's crapped out by most mainstream publishing houses, and decide that THAT'S exemplary of the form. It most certainly is NOT. A novel is a lived expression of experience, just like poetry is. Has anyone mentioned Kawabata Yasunari's PALM OF THE HAND STORIES, in which he combined the shortest form (the haiku) with the longest form (the novel)? On Apr 3, 2008, at 11:07 AM, Alison Croggon wrote: > I write novels principally because the form fascinates me. I am a > lyric poet > and there were times when I felt constricted and restless within > the line, I > wanted the space and architecture of long prose. Epic fantasy seems > to me to > be a logical extension of poetry, the contemporary form of epic > poetry, > which were popular art forms in their day. I don't see anything > wrong with > popular art forms. I doubt I'll write another series though. My other > published novel is a poetic non-narrative memoir/fiction/essay of > around 100 > pages. I have various plans for others. One day I'd like to write a > prose > piece as perfect as Dubliners, in the spirit of feeling that one's > reach > should exceed one's grasp. Poetry has always taken care of herself. > > All best > > A > > >> -----Original Message----- >> From: UB Poetics discussion group >> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On >> Behalf Of CA Conrad >> Sent: April 3, 2008 7:39 AM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Re: ON poets writing NOVELS (OH! it pains me to write those >> words!) >> >> Allen, OK. And YES. >> >> LET ME BE HONEST about something I hadn't mentioned earlier. I >> FIRMLY >> BELIEVE the poets I have known in the past (most of them at least) >> who >> turned to novels did so because of MONEY and because of >> READERSHIP. Or >> wanted to be LOVED MORE or something. (poets who NEED that much >> LOVE are >> always trouble!) Poetry wasn't getting that for them, and on many >> levels >> they were dissatisfied. And I LOATHE this behavior because I >> think it >> takes >> courage to write poems, TO NOT GIVE A FUCK that it's not making >> you money, >> or whatever it is you WANT. >> >> In the end it's a very sincere, pissed off way I had entered this >> discussion! I want the poets I have Loved to not want such >> nonsense from >> this world! I hate when I find out I have cowards for friends! I'd >> rather >> my family were cowards than my friends frankly. But I DO actually >> find >> most >> novels a tedious thing to approach, besides these other reasons. >> >> In some cases it's for very different reasons that some poets write >> novels, >> like my friend Magdalena Zurawski, who turned to fiction for >> reasons more >> complicated than the above mentioned ones, but they're not my >> reasons to >> explain. Magdalena, who is one of my ABSOLUTE favorite people on >> earth >> has >> SLAVED over her novel THE BRUISE for seven LONG years and as I've >> said >> before, it's an epic poem to me. It's a poem. When I read it >> (and I've >> been reading it for years as it comes out of her) her poems WHICH >> I HAVE >> ALWAYS LOVED are there, are in it, this, this thing she calls a >> novel. A >> NOVEL! I will say NOOOOOOVEL slowly in a mirror a thousand times >> and it >> still makes no entrance. >> >> If I MUST read a novel it usually needs to be a poet's novel. I >> guess. >> >> Poems are my life in every way, everyday, and I no longer mean >> poems I'm >> reading but hearing-feeling-seeing-smelling them on the streets, >> unwritten, >> sometimes better left unwritten. >> >> Sarah, Patchen's Journal of Albion Moonlight is not a novel? See, >> you're >> getting us into the PAINFUL task of figuring out what a novel is, >> and I >> don't know how to have that discussion. I DON'T WANT TO HAVE THAT >> DISCUSSION LIKE MY "STRAIGHT" WOMAN FRIEND WHO IS TERRIFIED SHE IS A >> LESBIAN >> BUT NEVER SAYS SO AND what can I do about that? If I ever write a >> novel I >> will title it SARAH DON'T HATE MY MARIGOLDS! >> >> Sarah, DON'T HATE MY MARIGOLDS! Well, you like 1 percent of them >> anyway. >> Ah, fuck it, I don't care if you hate them, as they probably don't >> like >> you >> either! >> JUST kidding, I think. >> >> CAConrad >> http://PhillySound.blogspot.com >> >> No virus found in this incoming message. >> Checked by AVG. >> Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: >> 02/04/2008 >> 4:14 PM >> >> >> No virus found in this outgoing message. >> Checked by AVG. >> Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: >> 02/04/2008 >> 4:14 PM >> >> > > > -- > Editor, Masthead: http://www.masthead.net.au > Blog: http://theatrenotes.blogspot.com > Home page: http://www.alisoncroggon.com ========================================================================= Date: Thu, 3 Apr 2008 11:00:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Never a More Generous Man MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii NEW BLOG, NEW POSTS: http://www.amyking.org/ Matt Rotando, Daisy Fried, et al _______ http://www.amyking.org http://redherring.us ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Thu, 3 Apr 2008 11:56:26 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: joseph bradshaw Subject: thomas devaney's email address MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline hello, if somebody could send thomas devaney's email address to me i would appreciate it. thanks, joseph ========================================================================= Date: Thu, 3 Apr 2008 11:00:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: on poets writing novels In-Reply-To: <20080403145735.7BE1FD292@mxA.acsu.buffalo.edu> MIME-version: 1.0 (Apple Message framework v624) Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7bit On Apr 3, 2008, at 7:57 AM, Vernon Frazer wrote: > So many people I know work across genre "boundaries" that I can't give > one > form primacy over another. To my way of thinking, no artistic medium > or > genre is superior to another. Each expresses something a little > different > from, or a little more easily than, another. My poetry has incorporated > fictional and visual techniques while operating as an "orchestrated > text" > that would fit readily into musical accompaniment in several idioms. My > fiction employs playwriting and screenwriting techniques. I seem to > need to > cross boundaries regularly to achieve the expression I seek. It's > nothing > new. We've had at least 50 years of mixed-media in the United States > and > other countries, possibly 100. > > Aside from differing tastes, what's the big deal? Well, some of us don't think of our poetry, etc., as expression. > > > > > > > > Mr. G. Bowering Faster than a speeding pullet. ========================================================================= Date: Thu, 3 Apr 2008 11:09:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: On Poets as Characters in Novels!! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Any good suggestions and/or appraisals - from ancient to contemporary?? I remember Kathy Acker did some - maybe they were wonderfully scandalous or may be not intended that way at all - auto/fictional or 'real' celebrations and/or satires of sexual encounters with some now well known language poets before such bodies were even formally identified as such - vaguely remember them as printed in small, stapled editions at Kinkos before Kinkos was Kinkos. Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Thu, 3 Apr 2008 13:58:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Colrain Poetry Manuscript Conferences Subject: Upcoming Colrain Poetry Manuscript Conference MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Dear Poet, =20 As you may have heard, the Colrain Poetry Manuscript Conference, a unique and exciting conference designed for poets with a book-length manuscript, has been a tremendous success, drawing accomplished poets from all over the country and overseas. The conference has been created for poets who are either ready to publish a book-length manuscript or who feel they need a reality check on their current manuscript-in-progress. =20 Since our first conference, in March of 2006, sixteen manuscripts have been accepted for publication. (Read more HERE .) =20 On May 2, 2008, the eleventh group of poets will meet in Colrain, Massachusetts. The conference will last three days and includes Jeffrey Levine, editor and publisher of Tupelo Press, Susan Kan, founder and director of Perugia Press as well as workshop leaders Ellen Dore Watson (editorial board, Alice James Press) and Joan Houlihan (poetry editor, Del Sol Press). =20 =20 Complete information and application can be found here: http://www.colrainpoetry.com/May =20 Information on other upcoming conferences can be found here: http://www.colrainpoetry.com/ =20 The Colrain Poetry Manuscript conference is designed to place poets on a realistic path toward book publication. If you feel you have a manuscript ready for publication, if you have received a rejection and don't know why, if your manuscript has achieved finalist or semi-finalist standing in a contest, or if you simply want to gain an understanding of how publishers and editors work behind the scenes before submitting your manuscript, then this conference is for you.=20 =20 I hope you will join us!=20 =20 =20 Best Wishes, Joan Houlihan, Founder & Director Concord Poetry Center & Colrain Conferences 40 Stow Street Concord, MA 01742 978-897-0054 =20 =20 Attendees say: =20 "The Colrain Manuscript Conference managed to pack into a weekend what a lot of grad school teachers never had time to do in their classes or individually: offer finishing touches to a manuscript eager to be picked up by a publisher." Steve Fellner, Brockport, NY =20 "...It was a goldmine for me especially, removed as I am from the academic world and from a community of serious poets." LouAnn Muhm, Park Rapids, MN, Teacher, Creative Writing =20 "...extremely helpful to hear responses to the other manuscripts. I learned as much or more from the critiques of others' manuscripts as I did from the critique of mine." Mary Crow, Fort Collins, CO, Poet Laureate of Colorado =20 " Attending the Colrain Manuscript Conference was undoubtedly the most profound poetry experience I=92ve ever had. What I learned in = forty-eight hours will be with me for years to come." Tracy Kroetsky, Berkley, CA=20 =20 "...My consultation completely changed the way I view the manuscript. There is nothing like what you are providing. Kudos!" Dawn Fewkes, Horseheads, NY =20 "...The Colrain conference was everything I'd hoped it would be and more. I feel well on my way, now, to a publishable manuscript." Pat Lowry Collins, MA =20 Read more testimonials HERE. =20 =20 =20 =20 =20 =20 This message was sent to poetics@listserv.buffalo.edu by Colrain Conferences. If you wish to leave our mailing list, click on the link at the very bottom of this message. =20 To Unsubscribe from this mailing list, click: http://mageenet.org/mlman/unsubscribe.asp?listid=3Dconcordpoetry&ID=3D767= C1C 55-4185-4DFF-B331-DD59C4E50229 =20 ========================================================================= Date: Thu, 3 Apr 2008 14:02:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: subscriptions still available: PLAN B MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit A few subscriptions remain for this project. Subscriptions are necessary for the survival of this important multi-national experiment. If you have access to a library, encourage them to enter a subscription. If you are interested in contemporary literature, enter your own. And then spread the word. FRUGAL books presents: PLAN B a binational limited-edition poetry journal. one copy for each participant and 25 copies for sale to the public. works by the same group of writers each month for one year: lyn hejinian román luján brian whitener harold abramowitz karen plata inti garcía hugo garcía manríquez alejandro tarrab jesse seldess jorge solís patrick durgin bhanu kapil jen hofer jocelyn saidenberg myriam moscona guy bennett epigmenio león arturo ramírez-lara juliana spahr jorge esquinca alan mills rodrigo flores sawako nakayasu dolores dorantes luis felipe fabre paul vangelisti osé pérez-espino mónica nepote laura moriarty brent cunningham jane sprague stephanie young * 12 issues: $120 6 issues: $90 3 issues: $50 individual issues: $20 * prices include delivery within mexico and the u.s. * if you are interested, please contact: dolores dorantes: doloresdorantes@yahoo.com.mx or jen hofer: jenhofer@gmail.com * > librería FRUGAL presenta: > > PLAN B > (revista binacional de poesía en edición limitada. > un ejemplar para cada colaborador y 25 ejemplares para venta al público) > los mismos autores mensualmente durante un año: > lyn hejinian > > román luján > > brian whitener > > harold abramowitz > > karen plata > > inti garcía > > hugo garcía manríquez > > alejandro tarrab > > jesse seldess > > jorge solís > > patrick durgin > > bhanu kapil > > jen hofer > > jocelyn saidenberg > > myriam moscona > > guy bennett > > epigmenio león > > arturo ramírez-lara > > juliana spahr > > jorge esquinca > > alan mills > > rodrigo flores > > sawako nakayasu > > dolores dorantes > > luis felipe fabre > > paul vangelisti > > josé pérez-espino > > mónica nepote > laura moriarty > > brent cunningham > > jane sprague stephanie young > > 12 ejemplares: 1,200.00 m.n. o 120 dlls > 6 ejemplares: 900.00 m.n. o 90.00 dlls > 3 ejemplares: 500.00 m.n. o 50.00 dlls > ejemplar individual: 200.00 m.n. o 20.00 dlls > > incluye entrega oportuna a domicilio, en México o los Yunaites > ¿te interesa? Comunícate con Dolores Dorantes a: > doloresdorantes@yahoo.com.mx > contamos con facturación para universidades ========================================================================= Date: Thu, 3 Apr 2008 16:10:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William James Austin Subject: new book from Koja Press MIME-Version: 1.0 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="us-ascii" Koja Press would like to announce the publication of Elegies From New York City by Mirela Roznoveanu.? Ms. Roznoveanu is an award winning, Romanian poet and literary critic.? She has published numerous books and articles.? Her new collection of English language poetry is available at KojaPress.com, Amazon.com, and SPDbooks.org, as well as in selective bookstores throughout the US. Best, William James Austin ========================================================================= Date: Thu, 3 Apr 2008 15:21:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Invalid RFC822 field - "=". Rest of header flushed. From: amy king Subject: Stellar Audio of Megan Volpert, Deborah Poe, & Laura Mullen Comments: To: "NewPoetry: Contemporary Poetry News & Views" MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable For an excellent poetry reading from Brooklyn, perk up your ears here:=0A= =0A=0A=0ADeborah Poe =96 http://odeo.com/audio/17981583/view=0A=0A=0A=0AMeg= an A. Volpert =96 http://odeo.com/audio/17981433/view=0A=0A=0A=0ALaura Mul= len =96 http://odeo.com/audio/17981483/view=0A=0A=0A=0A Enjoy!=0A=0AAmy=0A= =0A=0A=0A =0A_______=0A=0Ahttp://www.amyking.org =0Ahttp://redherring.us=0A= =0A=0A=0A=0A=0A ______________________________________________________= ______________________________=0AYou rock. That's why Blockbuster's offerin= g you one month of Blockbuster Total Access, No Cost. =0Ahttp://tc.deals.y= ahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Fri, 4 Apr 2008 10:29:47 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wystan Curnow Subject: Re: On Poets as Characters in Novels!! In-Reply-To: A<71954.39828.qm@web82604.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Stephen, Silliman appears in Chapter 2 of Acker's 1978 novel, The Adult Life of Toulouse Lautrec.=20 I discuss it in an essay. "Autobiography: Does it have a future? Ron Silliman's 'The Alphabet' and On Kawara's 'Today Series'", published in READING ROOM 1, 2007. Wystan =20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Stephen Vincent Sent: Friday, 4 April 2008 7:09 a.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: On Poets as Characters in Novels!! Any good suggestions and/or appraisals - from ancient to contemporary??=20 I remember Kathy Acker did some - maybe they were wonderfully scandalous or may be not intended that way at all - auto/fictional or 'real' celebrations and/or satires of sexual encounters with some now well known language poets before such bodies were even formally identified as such - vaguely remember them as printed in small, stapled editions at Kinkos before Kinkos was Kinkos. =20 Stephen V http://stephenvincent.net/blog/ =20 ========================================================================= Date: Thu, 3 Apr 2008 18:17:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: ON poets writing NOVELS (o! may I pain you to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit albion definitely is a novel but even if you don't think so patchen also wrote shy pornographer and at least one or 2 other novels albion is in joyce-ian mode very experimental for its time as is his other giant sleeper's awake On Wed, 2 Apr 2008 17:24:31 -0400 Sarah Sarai writes: > I'm not so sure I consider *The Journal of Albion Moonlight* a novel. > It's an entity more > enchanting than a dream hovering above a novel, through a novel, > past a novel. > > & yes...I might have had a much happier time of things in my late > teens and twenties, if I > hadn't been burdened by characters with their pesky dilemmas in > pesky novels...all of > them, now that we've broadened the circle of that which pains > CAConrad. no Raskilnikov, > no Anna. how easy breezy a world it would be. and we all know the > influence Holden's > had on many a sprung-loose soul. > > Me? I'm pretty old and I still don't have a book out. BUT I have > written a novel I'm > trying to get published. BUT my short stories have been in > journals. BUT poems are in > and forthcoming in journals. And I do consider myself a poet. > > I have pained so many in my lifetime, one more means little to me. > Go plant your > marigolds and violets, CAConrad. You hate 99% of all novels? I > hate 99% of your > marigolds. (None of your violets--I don't have the heart to hate a > violet). Hah and Feh-- > and--as you say--GEEZE. > > (This is where a more rational person would place a happy face or a > colon cozying up to a > parenthesis to show 'no harm meant,' or 'tee hee.' I mean no harm > and I tee my hee but > I, Sarah Sarai, hate 100% of happy faces.) > > Sarah Sarai > www.myspace.com/sarahsarai > > > >Mr. Russell, YES, I forgot how much I LOVE The Journal of Albion > Moonlight! > > >Jean Genet, I also forgot him. How could I forget Genet? Forsake > Genet!? > > >And Richard Brautigan! GEEZE! OK! > > >Maybe I'm wrong, a tiny bit. > >BUT I STILL DON'T LIKE IT! Poets writing novels! > > >I guess I hate MOST novels! 99 percent of them! They're like TV > shows, or > something as tedious AND DANGEROUS occupying the mind like a FILTHY > pedophile robbing you of your magic as you sleep! There's NO ROOM > for the > part TO HAVE YOUR OWN IDEAS! No SPACE on the PAPER for the eyes to > take you when you need to digest and transform your life! They want > to > DIRECT like a fascist, like a corporation! HOW MANY NOVELISTS WORK > FOR THE > BUSH ADMINISTRATION!? I don't know, but I suspect THOUSANDS are in > there! > > Although Joseph Torra is pretty amazing at both. He's one of the > best > novelists I've ever met, and I also like him as a person, and I > generally hate novelists. > > I'm going to plant marigolds and violets now and forget those > SHREWD novelists lurking about, > CAConrad > > ========================================================================= Date: Thu, 3 Apr 2008 18:14:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit stein? like kerouac is poetic novelist who would think she were novelists first like faulkner writing peotry tho he was a novelist first or any host of / painters / film makers etc who have written novels and or poems - picasson chirico dali jarman vsan zant to touch the tip of the berg On Wed, 2 Apr 2008 16:18:39 -0400 Andy Nicholson writes: > CA, > > I don't quite agree with you, but I am sympathetic to your distrust > of the > novel and your fears about poets writing novels. > > Too many novels feel, to me too, like straightjackets. There are, of > course, > hundreds and hundreds of great novels, great novelists, but the > dominance of > American realist fiction--with its terribly narrow sense of the > "real"--drives me away from most fiction and keeps my interest > focused on > poetry. > > Which brings us to why I seek out poets who write novels--I seek out > their > novels with the hope that they will bring some of the discovery and > life of > the poem to fiction. William, Creeley, Stein, Desnos: the best > fiction from > poets feels contiguous with the poets' poems, not like a break from > poetry. > And yet, isn't there that horrible notion that poets should "grow > up," leave > poetry, and start writing novels? I remember when I was in graduate > school, > I took a class from a poet-turned-novelists who thought that I had > potential. He spent the whole semester trying to convince me to stop > writing > poetry and start writing fiction. > > I love a lot of fiction from poets, but I hate it when a poet > leaves > poetry for good for the larger readership of the novel. > > Andy > On Wed, Apr 2, 2008 at 9:05 AM, CA Conrad > wrote: > > > Mr. Russell, YES, I forgot how much I LOVE The Journal of Albion > > Moonlight! > > > > Jean Genet, I also forgot him. How could I forget Genet? Forsake > Genet!? > > > > And Richard Brautigan! GEEZE! OK! > > > > Maybe I'm wrong, a tiny bit. > > BUT I STILL DON'T LIKE IT! Poets writing novels! > > > > I guess I hate MOST novels! 99 percent of them! They're like TV > shows, > > or > > something as tedious AND DANGEROUS occupying the mind like a > FILTHY > > pedophile robbing you of your magic as you sleep! There's NO ROOM > for the > > most part TO HAVE YOUR OWN IDEAS! No SPACE on the PAPER for the > eyes to > > take you when you need to digest and transform your life! They > want to > > DIRECT like a fascist, like a corporation! HOW MANY NOVELISTS > WORK FOR > > THE > > BUSH ADMINISTRATION!? I don't know, but I suspect THOUSANDS are > in there! > > > > Although Joseph Torra is pretty amazing at both. He's one of the > best > > novelists I've ever met, and I also like him as a person, and I > > generally hate novelists. > > > > I'm going to plant marigolds and violets now and forget those > > SHREWD novelists lurking about, > > CAConrad > > http://PhillySound.blogspot.com > < > > http://phillysound.blogspot.com/> > > > > ========================================================================= Date: Thu, 3 Apr 2008 15:47:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: On Poets as Characters in Novels!! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thanks, Wystan. Is Reading Room online?? Just reading Hank Lazar's review/refleciton on On Kawara's collaborative book on the body and achitecture. Be interested in the connections you make with Ron and Acker. Stephen V Wystan Curnow wrote: Stephen, Silliman appears in Chapter 2 of Acker's 1978 novel, The Adult Life of Toulouse Lautrec. I discuss it in an essay. "Autobiography: Does it have a future? Ron Silliman's 'The Alphabet' and On Kawara's 'Today Series'", published in READING ROOM 1, 2007. Wystan -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Stephen Vincent Sent: Friday, 4 April 2008 7:09 a.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: On Poets as Characters in Novels!! Any good suggestions and/or appraisals - from ancient to contemporary?? I remember Kathy Acker did some - maybe they were wonderfully scandalous or may be not intended that way at all - auto/fictional or 'real' celebrations and/or satires of sexual encounters with some now well known language poets before such bodies were even formally identified as such - vaguely remember them as printed in small, stapled editions at Kinkos before Kinkos was Kinkos. Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Thu, 3 Apr 2008 15:52:42 -0700 Reply-To: dbuuck@mindspring.com Sender: UB Poetics discussion group From: David Buuck Subject: Small Press Traffic Leadership Changes Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Dear Members of the Small Press Traffic Community: It is with great regret that the Board of Small Press Traffic (SPT) announc= es that we have received the resignation of Elizabeth Treadwell as our Exec= utive Director (see below). Dana Teen Lomax, who has been acting as interim= Executive Director since July of 2007, has agreed to stay on through the e= nd of 2008, in order to ensure a smooth transition to the next generation o= f SPT leadership.=20 While the board is extremely excited about SPT=E2=80=99s future, and looks = forward to helping guide the organization through this time of transition, = we also want to take a moment to acknowledge our deep gratitude to Elizabet= h for leaving SPT in a position of stability and strength. SPT=E2=80=99s ne= w leadership will inherit a strong organization, as well as the large and p= assionate audience Elizabeth was key to expanding over the last seven years= . In terms of outreach, programming, and fiscal management, Elizabeth has b= een extremely effective and will be a true challenge to replace. At the sam= e time, we are confident that her leadership has given SPT the basic tools = to succeed and grow during the organization=E2=80=99s next phase.=20 Since its inception, Small Press Traffic has always relied on the vigorous = input and participation of the local writing community to sustain our missi= on and independence. Given the upcoming leadership transitions and current = funding climate, we will welcome continued community involvement and suppor= t more than ever. We are eager to include feedback on how best to move forw= ard, so be on the lookout for announcements on SPT=E2=80=99s transitional p= rocess and opportunities to get involved. Sincerely, The Small Press Traffic Board of Directors David Buuck, President Stephanie Young, Vice President Brent Cunningham, Treasurer Scott Inguito, Secretary Chris Chen Cynthia Sailers Jessica Wickens =20 http://www.sptraffic.org/=09=09=09 http://smallpresstraffic.blogspot.com/=09 ---------------------------------------------------------------------------= ------ Dear Friends, I'm grateful for seven fabulous, illuminating years at Small Press Traffic.= However, I have decided against returning as director when my year's leave= is up in July, 2008. I will no doubt be going on to other literary and non= profit projects. For now I'm happily engrossed in caring for my two young k= ids. SPT has proven over the years to be limber, deep and strong in doing its pa= rt to maintain a relevant US literature by attending to culturally diverse = innovation. I look forward to being a smaller part of its continuing advent= ure. Vive la SPT. Elizabeth Treadwell ========================================================================= Date: Thu, 3 Apr 2008 18:51:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at The Poetry Project April In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable These are next week=B9s events at The Poetry Project. Also, scroll down for info on our 3rd biennial Silent Art Auction Fundraiser. Monday, April 7, 8 PM Talk: Kevin Killian: Go Get Me a Big Grave: Recent Excavations in the Jack Spicer Papers at The Bancroft Library Peter Gizzi and Kevin Killian have been re-editing Spicer's poems and other work and, in spring 2004, were able to take advantage of the gift Holt Spicer, Jack's younger brother, and Robin Blaser, Spicer's best friend and literary executor, made to the Bancroft Library at UC Berkeley. When Spicer died suddenly (summer 1965), he left behind a big trunk of papers, which Blaser eventually took away with him to Vancouver BC and out of which he edited the magnificent Collected Books of Jack Spicer (Black Sparrow, 1975)= . The surprises have been numerous, not only a sizable cache of previously unseen material, but enough supporting work to put the poems we know into a radically different context. And as well, the existence of dozens of Spicer's notebooks, each enough to make a grown man cry. Killian=B9s talk wil= l tell what it all felt like and what he and Gizzi are doing next. With Lew Ellingham, Kevin Killian has written often on the life and work of the American poet Jack Spicer [1925-65] and co-edited Spicer=B9s posthumous books The Train of Thought and The Tower of Babel. Currently Killian and Peter Gizzi are preparing a new edition of Spicer=B9s collected poetry for Wesleyan University Press. Killian's next book of poetry will be all about Kylie Minogue: Action Kylie will appear in the autumn of 2008. Wednesday, April 9, 8 PM Anselm Berrigan & Benjamin Friedlander Anselm Berrigan is the author of three books of poetry (all published by Edge Books), the most recent being Some Notes on My Programming (2006). He'= s recently completed a longer poem entitled "Have A Good One" that Cy Press will be putting out this spring, and is Co-Chair, Writing of the Bard MFA program. Also the new Poetry Editor for The Brooklyn Rail. He is a former Artistic Director of the Poetry Project, a 2007 NYFA fellow in poetry, and co-edited, with Alice Notley and Edmund Berrigan, The Collected Poems of Te= d Berrigan, published in 2005 by UC Press. He'd like to disfigure his writing with toothless grins, so that's an aim, at the moment. Benjamin Friedlander is the author of The Missing Occasion of Saying Yes (Subpress) and the forthcoming Citizen Cain (Salt Press), and the editor of Robert Creeley's Selected Poems, 1945-2005 (California). He teaches poetry and poetics at th= e University of Maine. Friday, April 11, 10 PM Spring in This World of Poor Mutts: A Reading for Joe Ceravolo Joel Lewis, Jim Behrle, David Shapiro, Evan Kennedy, Eileen Myles, Susie Timmons, John Coletti, Dustin Williamson, Corrine Fitzpatrick, and more poets t.b.a. will read work by Joe Ceravolo. As Rosemary Ceravolo writes in his bio, =B3Poetry was Joe's primary love. He lived and he died for poetry. Nothing else mattered as much to his sensibilities as a human being on this earth. Read him and weep. Read him and rejoice. He's here eternally.=B3 Saturday, May 24, 2 PM Silent Art Auction Fundraiser Please join us for our 3rd biennial Silent Art Auction Fundraiser! View wor= k from established and emerging visual artists. Enjoy live performances and readings at the top of each hour on the Sanctuary stage. Shop for rare and signed books and printed matter. Purvey the activity from the cash bar on the balcony, then outbid your friends and fellow enthusiasts on your favorite works of art. If you can=B9t make the party, please contact us for information on proxy bidding. Every dollar earned will benefit the continuance of the Poetry Project! Performances by Bruce Andrews and Sally Silvers; Franklin Bruno; Legends (Elizabeth Reddin, Raquel Vogl and James Loman) and more t.b.a. Participating artists and writers include: Etel Adnan, Rackstraw Downes, George Schneeman, Andrei Codrescu, Ed Ruscha, Lawrence Ferlinghetti, Susan Bee, Star Black, Simone Fattal, Anne Waldman, Lee Friedlander, Mimi Gross, Ron Padgett, Jim Dine, and many more. Become a Poetry Project Member! http://poetryproject.com/membership.php 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, 3 Apr 2008 20:38:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: On Poets as Characters in Novels!! In-Reply-To: <944315.56916.qm@web82604.mail.mud.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed There was also a novel in which a Welsh poet surprisingly like Dylan Thomas is killed by a dentist. Peter Viereck maybe? At 06:47 PM 4/3/2008, you wrote: >Thanks, Wystan. Is Reading Room online?? > Just reading Hank Lazar's review/refleciton on On Kawara's > collaborative book on the body and achitecture. Be interested in > the connections you make with Ron and Acker. > > Stephen V > > >Wystan Curnow wrote: Stephen, > Silliman appears in Chapter 2 of Acker's 1978 novel, The >Adult Life of Toulouse Lautrec. >I discuss it in an essay. "Autobiography: Does it have a future? Ron >Silliman's 'The Alphabet' and On Kawara's 'Today Series'", published in >READING ROOM 1, 2007. > Wystan > >-----Original Message----- >From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] >On Behalf Of Stephen Vincent >Sent: Friday, 4 April 2008 7:09 a.m. >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: On Poets as Characters in Novels!! > >Any good suggestions and/or appraisals - from ancient to contemporary?? > I remember Kathy Acker did some - maybe they were wonderfully >scandalous or may be not intended that way at all - auto/fictional or >'real' celebrations and/or satires of sexual encounters with some now >well known language poets before such bodies were even formally >identified as such - vaguely remember them as printed in small, stapled >editions at Kinkos before Kinkos was Kinkos. > > Stephen V > http://stephenvincent.net/blog/ > ========================================================================= Date: Thu, 3 Apr 2008 18:04:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Hilton Obenzingers New Novel! MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hilton Obenzinger (a poet, too) has written a moving and wonderful new autobiographical novel, BUSY DYING (293 pages, $19.95; Chax Press), with a great design by Jeff Clark. Hilton - whose "Meditations" on politics et al occasionally appear on this list - was part of the occupation and strike at Columbia University in 1968. Some of his cohorts occupying buildings and particpating in the melee included Paul Auster, David Shapiro, Sharon Olds, Ntozake Shange, Thulani Davis, David Lehman among others. Many of them were students of Kenneth Koch who makes an appearance in the faculty's cordon sanitaire around Low Library - partly to help fend off the jocks who were dying to invade and beat the whatever out of these "pinkos" and partly to prevent the left-wing students from supplying the strikers. In a sweet 'novel' moment, Koch looks up at his students in the open windows to ask, "Are you writing any poems." Hilton says several of them immediately knocked off a bunch of collaborative poems, some of the worst poems imaginable. So much for poetry and 'mentor love' under pressure. Like no few slow reading, language relishing folks on this list, I don't have the patience for the usual long-haul-not-so-sensuous novel. I liked this one very much! A generational moment (at least, for me, tho via the west coast), this one captures the "survivor" plus cultural ambiance of growing up in 50's-60's New York, the passionate refusal to support the war in Vietnam, the torment around black and white civil rights organizations, folks and strategies, a combined fun and gregarious sense of anxiety, let alone the imaginative 'happening' character of staging a national media spectacle, plus his early experience of becoming a writer, even writing National Enquirer-type sensationalism. The book, however, hardly stays stuck in 60's narcissism. Hilton goes West - Yukon and Alaska then California Indian reservation and a life on the left, as well as meeting the demons of growing up to become both writer and teacher, as well as staying politically alert and committed. (Hilton has been working on a conference commemorating Columbia 1968, and there will be reading of writers who took part -- including Hilton, Paul Auster, and others mentioned earlier -- on Saturday night April 26. Check out the schedule for the conference at http://www.columbia1968.info/. I won't be able to get there.) Hilton teaches writing at Stanford and, one day, as the book relates, a Stanford student out of the blue comes into his office to show him a 1980's Long Island high school humor magazine named "Hilton Obenzinger." For those of us variously in the teaching biz, it's fun to see Hilton respond to the narratives of his students. Ah, just one example. The scholarship student raised partly homeless on the streets is drawn to write about her potential kinship with Horatio Alger only to discover Alger's complicated sexual past with young boys - banished from his New England ministry and so forth. If you want to have a good hug with a history of which much of so-called "Red State" America and its Fox-driven media have spent so much of the last 40 years trying to erase, BUSY DYING gives a good sense of how somone has tried to stay sane these many years with a sense of humor in the face of such erasure, this is one novel by a poet that I can heartily recommend. O, yes, I am told you can get it direct from Chax's website, Amazon, or SPD and, if you are lucky, if you still have one, your local bookstore. Hilton - when I shared this with him - sent me a blurb by David Shapiro: In almost all this wonderful memoir novel, Hilton Obenzinger has been true to his life and the drawing is strong and life-size. If he forgets that I was beaten up, he remembers quite well what a brat I was. His skepticism is one thing; the pathos can be very convincing. It's a book about the Holocaus survivors and the price they paid to change their deepest names. A poet, as in the marvellous "NY on Fire," Obenzinger does something better than research, he tries with dayglo and phosphorescent humor to make that time breathe again. It had to be called a novel, though like baggy novels, almost anything can be put into this book and not, as his teacher Koch once said, smell it up. Like a city at its center, and human pluck and revolt along all other edges. Well, let's give three cheers for enthusiam while our fading buddies - George Bush & Company - in some fit of familiar nostalgia re-ignite the Cold War with Russia, putting Nato and our rockets on their borders. The "Hell Realms", yes, do they loved them, indeed. Stephen Vincent Stephen Vincent ========================================================================= Date: Thu, 3 Apr 2008 20:27:38 -0500 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: Daniel Carter's writings & artwork In-Reply-To: <9778b8630804030831k71b484bdm26d844b2ed2bdd26@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Daniel Carter is most well-known as a trumpet player, but here're some of his intriguing writings & artworks: http://www.pendugallery.com/danielcarter/. ========================================================================= Date: Thu, 3 Apr 2008 21:11:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: Epigramititis: 118 Living American Poets In-Reply-To: <1207241653l.979086l.0l@psu.edu> Mime-Version: 1.0 (Apple Message framework v753) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit On Apr 3, 2008, at 9:54 AM, ALDON L NIELSEN wrote: > > So that the real question turns out to be, what do we make of an > assertion in a > poem whose author had to have known that it wasn't true? i think that's a very real question. i attempted to answer it in a poem once. you can read that poem here if you like: http:// www.blazevox.org/061-jfq.pdf it's the second one. ========================================================================= Date: Fri, 4 Apr 2008 23:49:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dale Smith Subject: Epigramitis In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable Aldon, thanks for wrapping your head around this. Kent rules. See http://possumego.blogspot.com for recent posts, particularly on Kent's March reading at the University of Texas, whereat he was visited by the spirit of Jaime Saenz.... DS Date: Thu, 3 Apr 2008 12:54:13 -0400 =46rom: ALDON L NIELSEN Subject: Re: Epigramititis: 118 Living American Poets well, there is so much to sort through here that I won't try to address all = of it -- I wouldn't call my comment dismissive -- I suggested that the work, an= d the author, might be a hoax,,,,, which I had thought would alert readers to = my own impishness in response -- I have reason to believe Kent exists, but he m= ay well exist for me much in the way that some poet named "Aldon Nielsen" (we m= ay note in passing that no book of poems signed "Aldon Nielsen" has ever appear= ed, though there are five books of poetry that have been published by the guy th= is seems to refer to) will exit for readers of EPIGRAMITITIS. yes -- truth some times be damned/sometimes not -- there is not time today t= o get into the philosophical questions around truth and poetry -- but let's sa= y for the moment that the majority of readers will probably judge a claim with= in a poem such as "there is no emperor but the emperor of ice cream" differentl= y from such a statement as "Not a single Language poet has said a single word about Will Alexander." I'm not sure how to read your queston, "what about t= he Will Alexander epigram is false" in light of what you say leading up to that question. It's a line that would strike most people who note that Alexander was published by Messerli as odd on its face. I suppose some may choose not= to count Messerli as a Language poet, for all I know Messerli himself doesn't claim to be a language poet, but that aside, the epigram makes a demonstrabl= y untrue remark -- a quick google, for just one instance, will bring you to th= is: "I take great heart to read the writing of Will Alexander, a poet whose concerns seem almost obsessively personal. I don=92=C4=F4t know the man and= so have no sense if he is conscious as to what a major political claim he is making = in staking out this territory for himself. The fact that he is publishing so widely is hopefully a sign that conditions spelled out by that little table above might be open to change in the future. " That's Ron Silliman, who I think most readers of the epigrams would take for= a Language poet. So that the real question turns out to be, what do we make of an assertion= in a poem whose author had to have known that it wasn't true? which in turn gets= us back to your more intriguing question, what does the epigram's falsehood suggest about both its subject and the Language poets? Well, I'd like to he= ar your answer to your own question . . . No, this doesn't belong in the bin alongside Holocaust survivors raised by wolves -- but I'm not at all clear why you would toss the non-native America= n housewife who did not run with the Crips in the bin while rescuing the epigr= ams -- if that hoax memoir is worthy literature, isn't it still worthy literatur= e once you know it's a hoax? and you'll have to explain for me how the "longevity" of a book published la= st year redeems it . . . You've got me scratching my head over that one -- I think the Epigrams are every bit as good as the poetry of the Spectra poet= s, which I did not throw in any bin and still occassionally read -- On Thu, Apr 3, 2008 11:31 AM, Ryan Daley wrote: > Aldon, > >I've read Epigramititis. It's quite an extraordinary book. Centuries from >now, perhaps we'll be remembered in the way that we are read about. To mimi= c >Catullus seemed to be Johnson's idea here, truth be sometimes damned, >sometimes not; and in the process, to rescue the idea of the epigram. The >idea of these epigrams, and indeed, their goal, seems to be wit rather than >truth. I can't say that I would use real, living people as my subjects were >I to publish something similar, but the result here is interesting, and I'm >quite sure that the best result cannot possibly be roundly dismissing the >work and writer. Certainly this doesn't belong in the bin with Holocaust >survivors raised by wolves and gun-toting Native American suburbanite moms. > >So what redeems this work? Its effect, its longevity, its referentially >dense and rich dictionary-like quality, to name a few. I was thrilled >reading this, asking myself, "Is this true? Did Poet X really do >that?" >Unbelievable as it may seem, I didn't believe most of it. I tend not to >believe most of what I read. I sought many of the answers to other >questions: what about the Will Alexander epigram is false? Moreover, what >does the Alexander epigram's falsehood suggest about both its subject and >the LANGUAGE poets? It's interesting to see the duality of focus, the >meta-reference that we don't get from modern fiction. The truth being >implicit in most novels, the characters are false, and the reader can make >out the difference. Johnson has turned the circus tent on its bum. No longe= r >can we be safe in imagining that certain fates don't befall real, living >people. We are left with shuffling through tabloidal gems, some true, some >less true, some false. Using falsity as a basis for dismissal of such a ric= h >and provocative reversal of our standards of "fact" and >"truth" seems as if >we're setting ourselves up to be duped by lesser daring and wit. > >-Ryan > >On Wed, Apr 2, 2008 at 11:31 AM, Aldon Nielsen wrote: > >> A friend just sent me the URL for a description of this book, which, >> I must confess, had escaped my attention when it was published last >> year. I find that I am one of the fortunate 118, but also find the >> illin' epigram under my name utterly incomprehensible. I'm not at >> all sure why Kent Johnson bothered to include me, unless it was his >> odd way of thanking me for bothering to inquire of him whose >> permission I should seek prior to publishing a previously >> undiscovered sheaf of Yasusada poems that had come into my possession. >> >> While I am not at all sure what to make of this thing, I note that it >> is replete with demonstrably false claims, such as : "Not a single >> Language poet has ever said a single word about Will Alexander. " -- >> So I suspect that this book, perhaps Kent Johnson himself (if you >> click on his name at the Amazon listing for the book, it takes you to >> a series of volumes on model railroads) is another hoax. >> >> <> >> >> "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/ >> > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> 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 ------------------------------ -- Dale Smith La Revolution Opossum! http://www.skankypossum.com http://possumego.blogspot.com ========================================================================= Date: Fri, 4 Apr 2008 23:53:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dale Smith Subject: Black Dog, Black Night: Book Launch in SF In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Book Launch & Poetry Reading: Black Dog, Black Night: a groundbreaking compendium of contemporary Vietnamese poets In celebration of the recently published anthology, Black Dog, Black Night: Contemporary Vietnamese Poetry (Milkweed Editions), three Vietnamese-American contributors, Truong Tran, Hoa Nguyen, and Nguyen Do will read their poetry. This groundbreaking anthology presents the true picture of a poetry that had been suppressed in Vietnam due to Soviet-influenced censorship. Projected by the government largely as a sentimental folk poetry, Vietnamese poetry since 1954 has in fact possessed the same variety as contemporary American poetry: radical modernism, lyric expression of existential loss, anti-war poetry, and the bold personal poetry of young women such as Nhat Le and Vi Thuy Linh. A discussion period and booksigning will follow the reading. de Young Museum of Fine Art 50 Hagiwara Tea Garden Drive, San Francisco The Koret Auditorium 7 pm Tickets are $8 for FAMSF members and $12 for non-members including museum admission. Info: 415-750-7634 or rbaldocchi@famsf.org. Tickets: 866-512-6326 or www.museumtix.com. -- Dale Smith La Revolution Opossum! http://www.skankypossum.com http://possumego.blogspot.com ========================================================================= Date: Thu, 3 Apr 2008 18:57:49 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: On Poets as Characters in Novels!! In-Reply-To: <71954.39828.qm@web82604.mail.mud.yahoo.com> MIME-version: 1.0 Content-transfer-encoding: 7BIT Content-type: TEXT/PLAIN; charset=US-ASCII Flann O'Brien...yeah! i'll eat my hat if flann o'brien is not considered a poet. :-) g On Thu, 3 Apr 2008, Stephen Vincent wrote: > Any good suggestions and/or appraisals - from ancient to contemporary?? > I remember Kathy Acker did some - maybe they were wonderfully scandalous or may be not intended that way at all - auto/fictional or 'real' celebrations and/or satires of sexual encounters with some now well known language poets before such bodies were even formally identified as such - vaguely remember them as printed in small, stapled editions at Kinkos before Kinkos was Kinkos. > > Stephen V > http://stephenvincent.net/blog/ > > ========================================================================= Date: Thu, 3 Apr 2008 23:09:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chad Sweeney Subject: MAPP (Mission Arts and Performance Project) April 5, San Francisco MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit MAPP Mission Arts and Performance Project (Presented by Mumulo and Morgan) An evening of art, music, prose and poetry, free at L's Caffe, 7PM, April 5, 2871 24th St @ Bryant, San Francisco: With Art by Sharon Zetter Music by Hello Handsome Bull Poems and prose by Della Watson, Valyntina Grenier, Chad Sweeney and Ann Svilar ========================================================================= Date: Fri, 4 Apr 2008 01:48:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: on poets writing novels MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: 7bit russian ark sakorov just saw his new film anti-war called alexandra see his madame bovary it's a killer and there are a few other great ones kafka camus juiced me up On Thu, 3 Apr 2008 03:16:30 -0700 Jim Andrews writes: > some novels i've read have been as important to me as the story of > life and the mind. > > still, it isn't hard to understand the resentment of some poets > toward the novel. not so much the novel as the dominance of story, > and certain types of stories, at that, in western language art. to > the point where one begins to just abhor story of any kind. more art > propaganda! more product! more gag me with a spoon! > > until the right one comes along, of course. > > it's said that we understand our lives in stories. that story is > crucial to our making sense of ourselves and the world. dunno. to > me, there's a lot of blather leading up to some good moments. cut to > the frickin chase. no, hold on, that's a story metaphor. car chase? > forget the chase. cut to the sex scene. cut to the illumination. cut > to the revelation. cut to the good stuff. then cut it together. then > cut it up. cut it up and together so it's like the one line story > the poet told the king that caused him to give up the throne and > wander as a seeker the rest of his days. > > best movie i've seen in a long time was 'a russian ark'. no cuts at > all, actually. not one. i woke up on the couch and there it was on > tv. didn't know what it was, who made it, or anything. but it led me > through a vision of russian history and art that was brilliant, > disjunctive, time travelling, yet without a cut, seamless. > disjunctive yet seamless. the story of a people told as a walk > through the hermitage, through its art, but also as a walk through > history. yet as in a dream. such a dream. > > cut. > > ja > http://vispo.com > > ========================================================================= Date: Fri, 4 Apr 2008 02:19:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: Siddhartha, in defense of Baby Boomers MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit actually pre-hippies CA i was one of em and yes that book and his other great masterpiece steppenwolf among a hand full of others camus' stranger among them and a long long list of others like kesey too shit changed alot of us then for better or... gregor samsa woke up to find himself transformed into a giant..... right up there with i've seen the best minds of my generation and america go fk yerself with yer atom bomb and old pond a frog jumps in... and the nail up mount fuji and when we were here togehter in a place we did not know and come away oh stolen child in the 60's the right novel and the right poem were inseperable like the right drug they opened your mind sometimes blew your mind sometimes blew up your mind brought tears to yer heart and spots in front of your eyes like great music film or art did or a midnite swim in the ocean on brighton beach or coffee vanilla egg creams yours sincerely a pre-hippie now what as known as post beat ex long hair (hated the hippies actually) On Thu, 3 Apr 2008 08:05:26 -0500 CA Conrad writes: > Yes, I'm about to talk about a novel, which is ridiculous > considering how > much I've recently railed against them on this List, but, I feel I > have to > in this case. > > An old friend told me about Susan Bernofsky's new translation of > Hesse's > Siddhartha, saying it's amazing, actually, she said it's "sublime!" > The > link she sent me was from Barnes and Noble, and there's a > descriptive tag on > the website under the book which reads, "Once the preferred marching > song of > '60s hippies, Hermann Hesse's *Siddhartha* has returned to its > rightful high > niche in world literature." > > When I was in college (the very same semester I was not so politely > asked to > leave) we read it for a literature class. One of my mother's > stinking > hippie friends had already turned me onto the book years before I > was in > this class. It had changed my young life, and I was happy to share > that a > few years later in college with my seemingly indifferent classmates. > The > professor was a crabby old guy who HATED hippies, so my original > experience > with the book didn't go over well. He said something like, "THE > HIPPIES HAD > NO IDEA WHAT THEY WERE READING! HESSE IS ART!" (Some of my > classmates > asked later if my mother could score them some acid.) > > I argued that my mother's generation (stinky or NOT!) REALLY DID get > it, > REALLY GOT IT as a matter of fact because THEY were the ones to > take > CENTURIES of layers of oppression by the balls and RUN INTO THE > DARKNESS to > reinvent the world! The generation who gave us Civil Rights, the > Women's > Movement, and Stonewall, and an awareness of FOOD and the > environment, and, > frankly, with all of this, at its core, a bright, magnificent > epiphany > of how EVERYTHING can change! My argument was lost on my snobbish > professor > who wanted to discuss the nuances of the lines, not the spiritual > flux, THE > AWAKENING! And then I pointed out what I thought to be the obvious, > which > was that to talk about the lines was to talk about the TRANSLATION > of the > lines, not the original German, which only derailed his plans > further, and > pissed him off further. But, it's true, right? Anyway, who cares! > > I bring all of this up because I FEEL a bit of that snobbishness in > this > Barnes and Noble descriptive tag for the book's latest translation. > MAYBE > I'M WRONG, it's possible I'm conflating memory with the tag's > intent. But, > still, it feels kind of snobbish. It feels similar to the words of > my old > professor who is probably dead by now. Of course IT COULD mean that > the new > translation is what raises the book "to its rightful high niche in > world > literature." But maybe not. To me it sounds like it's saying, > "Well, the > hippies screwed around with it, but NOW, NOW WE HAVE it to place on > the > golden podium with our MORE REFINED tastes!" > > Yes, it's great literature. I agree. Even that older Hilda Rosner > translation (you know this version, it's a blue mass market > paperback?) > makes you FEEL literature at its best in the book. But isn't > "G"reat > "L"iterature also a sense of spiritual awakening on some level? > Maybe it's > just me, but I've never been interested in anything (especially > poems) if > I'm not TORN OPEN! Of course you have to be willing to be torn > open, I > think, but, if you are willing, the right thing meaning the CAPABLE > thing > can, and will. > > Also, in my opinion, to say that Siddhartha is not showing how > DEFIANT you > must be to achieve grace, then it is to say you don't really GET the > story > as it could be for your life. (I mean, Siddhartha told The Buddha > to FUCK > OFF essentially, like my mother's people told their own elders to > do!) > Hesse created an allegory for the Soul. And I say "S" Soul as in a > collective BUT individual path(s). > > So I say HELL YES THE HIPPIES! They weren't perfect, of course, but > neither > was Siddhartha, of course. Nor are we meant to be perfect, at least > I hope > we aren't meant to be, because if we are we're in trouble! > > CAConrad > http://PhillySound.blogspot.com > > ========================================================================= Date: Fri, 4 Apr 2008 00:57:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit sorry to be ignorant what's a lyric poet??? nowadays especially? On Fri, 4 Apr 2008 02:07:39 +1100 Alison Croggon writes: > I write novels principally because the form fascinates me. I am a > lyric poet > and there were times when I felt constricted and restless within the > line, I > wanted the space and architecture of long prose. Epic fantasy seems > to me to > be a logical extension of poetry, the contemporary form of epic > poetry, > which were popular art forms in their day. I don't see anything > wrong with > popular art forms. I doubt I'll write another series though. My > other > published novel is a poetic non-narrative memoir/fiction/essay of > around 100 > pages. I have various plans for others. One day I'd like to write a > prose > piece as perfect as Dubliners, in the spirit of feeling that one's > reach > should exceed one's grasp. Poetry has always taken care of herself. > > All best > > A > > > > -----Original Message----- > > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > > Behalf Of CA Conrad > > Sent: April 3, 2008 7:39 AM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Re: ON poets writing NOVELS (OH! it pains me to write > those > > words!) > > > > Allen, OK. And YES. > > > > LET ME BE HONEST about something I hadn't mentioned earlier. I > FIRMLY > > BELIEVE the poets I have known in the past (most of them at least) > who > > turned to novels did so because of MONEY and because of > READERSHIP. Or > > wanted to be LOVED MORE or something. (poets who NEED that much > LOVE are > > always trouble!) Poetry wasn't getting that for them, and on many > levels > > they were dissatisfied. And I LOATHE this behavior because I > think it > > takes > > courage to write poems, TO NOT GIVE A FUCK that it's not making > you money, > > or whatever it is you WANT. > > > > In the end it's a very sincere, pissed off way I had entered this > > discussion! I want the poets I have Loved to not want such > nonsense from > > this world! I hate when I find out I have cowards for friends! > I'd > > rather > > my family were cowards than my friends frankly. But I DO actually > find > > most > > novels a tedious thing to approach, besides these other reasons. > > > > In some cases it's for very different reasons that some poets > write > > novels, > > like my friend Magdalena Zurawski, who turned to fiction for > reasons more > > complicated than the above mentioned ones, but they're not my > reasons to > > explain. Magdalena, who is one of my ABSOLUTE favorite people on > earth > > has > > SLAVED over her novel THE BRUISE for seven LONG years and as I've > said > > before, it's an epic poem to me. It's a poem. When I read it > (and I've > > been reading it for years as it comes out of her) her poems WHICH > I HAVE > > ALWAYS LOVED are there, are in it, this, this thing she calls a > novel. A > > NOVEL! I will say NOOOOOOVEL slowly in a mirror a thousand times > and it > > still makes no entrance. > > > > If I MUST read a novel it usually needs to be a poet's novel. I > guess. > > > > Poems are my life in every way, everyday, and I no longer mean > poems I'm > > reading but hearing-feeling-seeing-smelling them on the streets, > > unwritten, > > sometimes better left unwritten. > > > > Sarah, Patchen's Journal of Albion Moonlight is not a novel? See, > you're > > getting us into the PAINFUL task of figuring out what a novel is, > and I > > don't know how to have that discussion. I DON'T WANT TO HAVE > THAT > > DISCUSSION LIKE MY "STRAIGHT" WOMAN FRIEND WHO IS TERRIFIED SHE IS > A > > LESBIAN > > BUT NEVER SAYS SO AND what can I do about that? If I ever write a > novel I > > will title it SARAH DON'T HATE MY MARIGOLDS! > > > > Sarah, DON'T HATE MY MARIGOLDS! Well, you like 1 percent of them > anyway. > > Ah, fuck it, I don't care if you hate them, as they probably don't > like > > you > > either! > > JUST kidding, I think. > > > > CAConrad > > http://PhillySound.blogspot.com > > > > > No virus found in this incoming message. > > Checked by AVG. > > Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: > > 02/04/2008 > > 4:14 PM > > > > > > No virus found in this outgoing message. > > Checked by AVG. > > Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: > > 02/04/2008 > > 4:14 PM > > > > > > > -- > Editor, Masthead: http://www.masthead.net.au > Blog: http://theatrenotes.blogspot.com > Home page: http://www.alisoncroggon.com > > ========================================================================= Date: Fri, 4 Apr 2008 02:34:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andy Nicholson Subject: Re: earliest sounds from 1857 on In-Reply-To: <1dec21ae0804030713l2f6fe60cu370a9587c5a63648@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Murat, The Talbot photographs I can find are lovely. I have a photographer friend who loves old development processes (she's carved an appreciation of daguerretypes into me)--I'll have to ask her about calotypes/talbotypes. Andy On Thu, Apr 3, 2008 at 10:13 AM, Murat Nemet-Nejat wrote: > Andy, > > The same kind of elusiveness exists in a mid-19th century English > photographer Talbot's photograph which was taken I think by a method of > direct application, rather than the camera obscura method. > > Murat > > > On Wed, Apr 2, 2008 at 8:57 PM, Andy Nicholson > > wrote: > > > Yes, I heard about this story and am very excited. The recorded sound > > itself > > is wonderful--amazing to think of how far back that voice comes from, > > beautifully grainy--and how can one not be overjoyed that the first > > recordings were etched in soot? > > > > On Sun, Mar 30, 2008 at 11:22 AM, Alan Sondheim > > wrote: > > > > > In the news today - sounds recorded around 1860 and slightly earlier - > > go > > > to http://www.firstsounds.org/sounds/ - this predates Edison. > > > > > > - Alan > > > > > > ========================================================================= Date: Fri, 4 Apr 2008 03:00:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Cain, Amina" Subject: no genre MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable This question of poetry v. fiction has been on my mind for the last couple = of months. I think I just get confused because when I sit down to write I = am in a space of possibility, not in a space of fiction necessarily, even t= hough I write what you could call stories. For a while now I have found my= self in a community where I am one of the only ones who doesn't write "poet= ry," and this has partly to do with the fact that I often feel disconnected= from other "fiction" writers, maybe for the same reasons poets do. I forg= et that the poets and I are doing such impossibly different things, but lat= ely am fairly regularly reminded. The reading series I co-curate (Red Rove= r) is sometimes referred to by poets as a poetry series, even though it's n= ever been labled that by me or by the other curator. I am interested in WR= ITING. Maybe I'm just surprised at this need to section off a space that s= eems in its nature so open. Because of this divisiveness I've almost gotte= n to the point where I dislike the word poetry, and yet I often love work t= hat defines itself as such. ========================================================================= Date: Fri, 4 Apr 2008 01:03:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Obododimma Oha Subject: Re: Never a More Generous Man MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I visited your blog and, oh, I love your dog's hairdo! Wonderful. Goes well with the insight available in those poems. Obododimma. ----- Original Message ---- From: amy king To: POETICS@LISTSERV.BUFFALO.EDU Sent: Thursday, April 3, 2008 7:00:44 PM Subject: Never a More Generous Man NEW BLOG, NEW POSTS: http://www.amyking.org/ Matt Rotando, Daisy Fried, et al _______ http://www.amyking.org http://redherring.us ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Fri, 4 Apr 2008 02:32:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: Poetry and Story: the Steel-Cage Death Match MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit the odyssey On Thu, 3 Apr 2008 13:25:42 -0400 Sharon Mesmer/David Borchart writes: > Ah, for the days when Poetry and Story worked in each other's service > > -- those glory days before writing was "invented" in the Fertile > Crescent, the golden age of oracular transmission! The primacy of > > Mnemosyne! > > In 1871 Rimbaud wrote, "In Greece ... words and music gave a rhythm > > to Action. Afterward music and rhymes became toys, pastimes." He > > was referring to how Poetry was the way Story was told -- its > metrical devices were the rhythm of the action, what made those long > > ass epics memorable to tellers and listeners. Once writing was > invented poor Poetry had to make its way alone. And we forgot that > > Memory was the mother of the Muses. > > I don't know -- I just finally finished a novel that I worked on for > > twenty years, with no promise of agent, publisher, movie rights, > whatever. I've also written short fiction, essays, articles and a > > play, though I'm primarily a poet. Sometimes the content seems > right > for a novel, sometimes for a short story, sometimes for a poem. In > > other words, "Form follows function" (a phrase usually attributed to > > the architect Louis Sullivan, but I think he got it from a > sculptor). Some novels changed my life as a teenager ("The Heart Is > > A Lonely Hunter") just like some poems did ("Sunflower Sutra"). I > > don't think we should take what passes for novels these days in > America, the crap that's crapped out by most mainstream publishing > > houses, and decide that THAT'S exemplary of the form. It most > certainly is NOT. A novel is a lived expression of experience, just > > like poetry is. Has anyone mentioned Kawabata Yasunari's PALM OF > THE > HAND STORIES, in which he combined the shortest form (the haiku) > with > the longest form (the novel)? > > > > > > > > > On Apr 3, 2008, at 11:07 AM, Alison Croggon wrote: > > > I write novels principally because the form fascinates me. I am a > > > lyric poet > > and there were times when I felt constricted and restless within > > > the line, I > > wanted the space and architecture of long prose. Epic fantasy > seems > > to me to > > be a logical extension of poetry, the contemporary form of epic > > poetry, > > which were popular art forms in their day. I don't see anything > > wrong with > > popular art forms. I doubt I'll write another series though. My > other > > published novel is a poetic non-narrative memoir/fiction/essay of > > > around 100 > > pages. I have various plans for others. One day I'd like to write > a > > prose > > piece as perfect as Dubliners, in the spirit of feeling that one's > > > reach > > should exceed one's grasp. Poetry has always taken care of > herself. > > > > All best > > > > A > > > > > >> -----Original Message----- > >> From: UB Poetics discussion group > >> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > >> Behalf Of CA Conrad > >> Sent: April 3, 2008 7:39 AM > >> To: POETICS@LISTSERV.BUFFALO.EDU > >> Subject: Re: ON poets writing NOVELS (OH! it pains me to write > those > >> words!) > >> > >> Allen, OK. And YES. > >> > >> LET ME BE HONEST about something I hadn't mentioned earlier. I > > >> FIRMLY > >> BELIEVE the poets I have known in the past (most of them at > least) > >> who > >> turned to novels did so because of MONEY and because of > >> READERSHIP. Or > >> wanted to be LOVED MORE or something. (poets who NEED that much > > >> LOVE are > >> always trouble!) Poetry wasn't getting that for them, and on > many > >> levels > >> they were dissatisfied. And I LOATHE this behavior because I > >> think it > >> takes > >> courage to write poems, TO NOT GIVE A FUCK that it's not making > > >> you money, > >> or whatever it is you WANT. > >> > >> In the end it's a very sincere, pissed off way I had entered > this > >> discussion! I want the poets I have Loved to not want such > >> nonsense from > >> this world! I hate when I find out I have cowards for friends! > I'd > >> rather > >> my family were cowards than my friends frankly. But I DO > actually > >> find > >> most > >> novels a tedious thing to approach, besides these other reasons. > >> > >> In some cases it's for very different reasons that some poets > write > >> novels, > >> like my friend Magdalena Zurawski, who turned to fiction for > >> reasons more > >> complicated than the above mentioned ones, but they're not my > >> reasons to > >> explain. Magdalena, who is one of my ABSOLUTE favorite people on > > >> earth > >> has > >> SLAVED over her novel THE BRUISE for seven LONG years and as I've > > >> said > >> before, it's an epic poem to me. It's a poem. When I read it > >> (and I've > >> been reading it for years as it comes out of her) her poems WHICH > > >> I HAVE > >> ALWAYS LOVED are there, are in it, this, this thing she calls a > > >> novel. A > >> NOVEL! I will say NOOOOOOVEL slowly in a mirror a thousand times > > >> and it > >> still makes no entrance. > >> > >> If I MUST read a novel it usually needs to be a poet's novel. I > > >> guess. > >> > >> Poems are my life in every way, everyday, and I no longer mean > >> poems I'm > >> reading but hearing-feeling-seeing-smelling them on the streets, > >> unwritten, > >> sometimes better left unwritten. > >> > >> Sarah, Patchen's Journal of Albion Moonlight is not a novel? > See, > >> you're > >> getting us into the PAINFUL task of figuring out what a novel is, > > >> and I > >> don't know how to have that discussion. I DON'T WANT TO HAVE > THAT > >> DISCUSSION LIKE MY "STRAIGHT" WOMAN FRIEND WHO IS TERRIFIED SHE > IS A > >> LESBIAN > >> BUT NEVER SAYS SO AND what can I do about that? If I ever write > a > >> novel I > >> will title it SARAH DON'T HATE MY MARIGOLDS! > >> > >> Sarah, DON'T HATE MY MARIGOLDS! Well, you like 1 percent of > them > >> anyway. > >> Ah, fuck it, I don't care if you hate them, as they probably > don't > >> like > >> you > >> either! > >> JUST kidding, I think. > >> > >> CAConrad > >> http://PhillySound.blogspot.com > > >> > >> No virus found in this incoming message. > >> Checked by AVG. > >> Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: > >> 02/04/2008 > >> 4:14 PM > >> > >> > >> No virus found in this outgoing message. > >> Checked by AVG. > >> Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: > >> 02/04/2008 > >> 4:14 PM > >> > >> > > > > > > -- > > Editor, Masthead: http://www.masthead.net.au > > Blog: http://theatrenotes.blogspot.com > > Home page: http://www.alisoncroggon.com > > ========================================================================= Date: Fri, 4 Apr 2008 06:32:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: Daniel Carter's writings & artwork Comments: To: dgodston@sbcglobal.net MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Known as much, perhaps even more so for his sax work w. Sabir Mateen, Steve Swell, Roy Campbell, James Keepnews etc (also great poets and amazing musicians)! Gerald S. > Daniel Carter is most well-known as a trumpet player, but here're some of > his intriguing writings & artworks: > http://www.pendugallery.com/danielcarter/. > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ========================================================================= Date: Fri, 4 Apr 2008 11:40:11 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roy Exley Subject: Roy Exley : ON poets writing NOVELS In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Alison, Thank you for your very sane and sober analysis/justification of/for your reasons for moving from poetry to prose, which I imagine still retain a symbiotic relationship in your repertoire. There seems to be more than a fair share of emotion flying around about this subject, but just as a contemporary artist might use painting, photogrpahy, video, sculpture, etc. as part of his or her body of work, I see no reason why writers shouldn't also use different forms without feeling that they have to justify themselves. I am at the other end of the spectrum to you as far as duration is concerned, I enjoy writing short, spare poems, minimal in both subject and execution and I also enjoy writing short stories where the widest possible narrative can be driven by the smallest amount of written material. I am also aware that like painting and photography, prose and poetry can feed off and energise each other. So often these days on the jacket blurbs of books you can read "Poetically written' or "Brought alive through its poetic descriptions" or "A poetic testament". Textual architecture aside, neither form is of course exclusive unto itself, so why quibble? On 3/4/08 4:07 pm, "Alison Croggon" wrote: > I write novels principally because the form fascinates me. I am a lyric poet > and there were times when I felt constricted and restless within the line, I > wanted the space and architecture of long prose. Epic fantasy seems to me to > be a logical extension of poetry, the contemporary form of epic poetry, > which were popular art forms in their day. I don't see anything wrong with > popular art forms. I doubt I'll write another series though. My other > published novel is a poetic non-narrative memoir/fiction/essay of around 100 > pages. I have various plans for others. One day I'd like to write a prose > piece as perfect as Dubliners, in the spirit of feeling that one's reach > should exceed one's grasp. Poetry has always taken care of herself. > > All best > > A > > >> -----Original Message----- >> From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On >> Behalf Of CA Conrad >> Sent: April 3, 2008 7:39 AM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Re: ON poets writing NOVELS (OH! it pains me to write those >> words!) >> >> Allen, OK. And YES. >> >> LET ME BE HONEST about something I hadn't mentioned earlier. I FIRMLY >> BELIEVE the poets I have known in the past (most of them at least) who >> turned to novels did so because of MONEY and because of READERSHIP. Or >> wanted to be LOVED MORE or something. (poets who NEED that much LOVE are >> always trouble!) Poetry wasn't getting that for them, and on many levels >> they were dissatisfied. And I LOATHE this behavior because I think it >> takes >> courage to write poems, TO NOT GIVE A FUCK that it's not making you money, >> or whatever it is you WANT. >> >> In the end it's a very sincere, pissed off way I had entered this >> discussion! I want the poets I have Loved to not want such nonsense from >> this world! I hate when I find out I have cowards for friends! I'd >> rather >> my family were cowards than my friends frankly. But I DO actually find >> most >> novels a tedious thing to approach, besides these other reasons. >> >> In some cases it's for very different reasons that some poets write >> novels, >> like my friend Magdalena Zurawski, who turned to fiction for reasons more >> complicated than the above mentioned ones, but they're not my reasons to >> explain. Magdalena, who is one of my ABSOLUTE favorite people on earth >> has >> SLAVED over her novel THE BRUISE for seven LONG years and as I've said >> before, it's an epic poem to me. It's a poem. When I read it (and I've >> been reading it for years as it comes out of her) her poems WHICH I HAVE >> ALWAYS LOVED are there, are in it, this, this thing she calls a novel. A >> NOVEL! I will say NOOOOOOVEL slowly in a mirror a thousand times and it >> still makes no entrance. >> >> If I MUST read a novel it usually needs to be a poet's novel. I guess. >> >> Poems are my life in every way, everyday, and I no longer mean poems I'm >> reading but hearing-feeling-seeing-smelling them on the streets, >> unwritten, >> sometimes better left unwritten. >> >> Sarah, Patchen's Journal of Albion Moonlight is not a novel? See, you're >> getting us into the PAINFUL task of figuring out what a novel is, and I >> don't know how to have that discussion. I DON'T WANT TO HAVE THAT >> DISCUSSION LIKE MY "STRAIGHT" WOMAN FRIEND WHO IS TERRIFIED SHE IS A >> LESBIAN >> BUT NEVER SAYS SO AND what can I do about that? If I ever write a novel I >> will title it SARAH DON'T HATE MY MARIGOLDS! >> >> Sarah, DON'T HATE MY MARIGOLDS! Well, you like 1 percent of them anyway. >> Ah, fuck it, I don't care if you hate them, as they probably don't like >> you >> either! >> JUST kidding, I think. >> >> CAConrad >> http://PhillySound.blogspot.com >> >> No virus found in this incoming message. >> Checked by AVG. >> Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: >> 02/04/2008 >> 4:14 PM >> >> >> No virus found in this outgoing message. >> Checked by AVG. >> Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: >> 02/04/2008 >> 4:14 PM >> >> > ========================================================================= Date: Fri, 4 Apr 2008 11:33:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lori Emerson Subject: launching bpnichol.ca | an online archive (please forward) Comments: To: ubuweb@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear all, After years of planning we are pleased to launch bpNichol.ca, an online public archive of the works of bpNichol and his collaborators. Here (http://www.bpnichol.ca) you will find audio, digitized print materials, photographs, links and eventually video, critical articles and curated exhibitions. The site was developed by the Artmob project in collaboration with Ellie Nichol, and is designed as a not-for-profit community initiative. It is intended as the start of a process, and we encourage everyone to read our submission guidelines if you have material you would like to contribute or an idea for an exhibition of bp's work. Artmob is a York University-based research project dedicated to building accessible public archives of Canadian art. Over the coming years Artmob will add tools to improve the browsing and cataloguing. It will also provide novel approaches to intellectual property, encouraging contributors to identify themselves and set the terms of use for their works. Artmob hopes that a spirit of fair dealing will assist in getting artistic materials out of shoeboxes and filing cabinets and into the world where they belong. bpNichol.ca is Artmob's pilot project. Please explore and enjoy! http://www.bpnichol.ca best, Lori Emerson ========================================================================= Date: Fri, 4 Apr 2008 19:50:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: the conversation MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline > > the conversation / peter ciccariello > > at G A M M M ========================================================================= Date: Fri, 4 Apr 2008 23:40:12 +0200 Reply-To: argotist@fsmail.net Sender: UB Poetics discussion group From: Jeffrey Side Subject: Review by Andrew Duncan of 'Carrier of the Seed' Comments: To: British Poetics , Poetryetc MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit Andrew Duncan has done a review of my poem 'Carrier of the Seed' for Martin Stannard's site, Exultations & Difficulties: http://timtim.typepad.com/exultationsdifficulties/ ========================================================================= Date: Fri, 4 Apr 2008 15:47:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: just Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable want to alert folks to a reading/presentation by my photographer collaborator Rusty Crump & I at the Bowery Poetry Club at 4 on Sat., April 19. I=B9ll read some poems from our book Morphology & rusty will show some slides & talk abt them, & we=B9ll both briefly share some new things. If you=B9re not preparing a Passover seder, come on down. also that christina strong has designed a website for me, ruthlepson.org. cheers, ruth lepson ========================================================================= Date: Fri, 4 Apr 2008 15:43:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Third Session Second Session MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Third Session non-tza!d ur!tten ur!tten !n komputr ur!tten human programm!ng ur!tten !n4maz!on WHAT MEAN !n4maz!on !T MEAN WHAT UHEN MEAN !T MONGOL!A MEAN MEAN !n4maz!on narrat!ve through !n4maz!on pathz WHAT !n4maz!on through !T 2 mult!ple framez + + 2 + framez unphramed from unphramed need!ng narrat!ve Kopyr!ght Proprt! Proprt! + ba-k Proprt! !ntelektul 2 Proprt! -- 2 Proprt! 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Ordering & discount information at the end of thispost. Bridge Street thanks you for your support! POETRY & LANGUAGE WRITING: OBJECTIVE AND SURREAL, David Arnold,Liverpool University Press, cloth 200 pgs, $49.95. From jacket copy:"David Arnold grasps the nettle of language poetry, reassessing itsrelationship with surrealism and providing a scholarly, intelligent wayof understanding the movement. Among the poets whose work is discussedare Charles Bernstein, Susan Howe, Michael Palmer and Barrett Watten." FLOWERS OF EVIL, Charles Baudelaire, trans Keith Waldrop, 196 pgs, $16.95. New in paperback. "You worms!" CHARLESBAUDELAIRE, Rosemary Lloyd, Reaktion Books, Critical Lives, 192 pgs,$16.95. A brief biographical study of Baudelaire. "Anger seems to havebeen the main source of his intoxication during these months." GIRLY MAN, Charles Bernstein, U Chicago, 186 pgs, $15. New in paper. "That's so cool." THE SCENTED FOX, Laynie Browne, Natl Poetry Series Selected byAlice Notley, Wave Books, 120 pgs, $14. "So and so died from 1750 tothe present." FORMSOF YOUTH: 20TH-CENTURY POETRY AND ADOLESCENCE, Stephen Burt, Columbia,cloth 264 pgs, $35. From the jacket: "Stephen Burt demonstrates howadolescence supplied the inspiration, andat times the formal principles, on which many twentieth-century poetsfounded their works." Authors examined include Williams, Auden,Bunting, Oppen, Brooks, and Lowell. SNOW PART / SCHNEEPART, Paul Celan, trans Ian Fairley, Sheep Meadow, 198 pgs, $19.95. "someone who stabbed himself in you" JEAN COCTEAU, James S. Williams, Reaktion Books, Critical Lives,254 pgs, $16.95. Biography. "The result is a work of calculatedvoyeuristic fascination as we observe in keyhole detail every movementand twitch of the characters." INTERVIEW WITH ROBERT CREELEY MAY 1998, interview by BrentCunningham, Hooke Press, 28 pgs, $10. "I think myth is mouth. That'swhat myth is . . . that's what speech is: myth, what's said." PSYCHE: INVENTIONS OF THE OTHER, VOLUME II, Jacques Derrida, Stanford, 340 pgs, $24.95. COUNTER-REVOLUTIONOF THE WORD: THE CONSERVATIVE ATTACK ON MODERN POETRY 1945-1960, AlanFilreis, UNC PRESS, cloth 422 pgs, $40. From the jacket: "During theCold War, an unlikely coalition of poets, editors, and politiciansconverged in an attempt to discredit--if not destroy--the Americanmodernist avant-garde. . . . By analyzing correspondence, decodingpseudonyms, drawing new connections through the archives, andconducting interviews, Filreis shows that an informal network ofantimodernists was effectivein suppressing or distorting the postwarcareers of many poets whose work had appeared regularly in the 1930s." THE BOOK OF MARTYRDOM + ARTIFICE: FIRST JOURNALS AND POEMS1937-1952, Allen Ginsberg, ed Juanita Lieberman-Plimpton & BillMorgan, Da Capo, 524 pgs, $17.50. New in paper. "Dig the dignity of these buildings." NEWCOMER CAN'T SWIM, Renee Gladman, Kelsey Street, 106 pgs, $16.95. "Talk to the sky like that." AUTOBIOGRAPHY / OUGHTOBIOGRAPHY, Anthony Hawley, Counterpath, 32 pgs, $10."I plead for edge but come up blurred." JAMESON ON JAMESON: CONVERSATIONS ON CULTURAL MARXISM, FredericJameson, ed Ian Buchanan, Duke, 278 pgs, $22.95. "I don't think it'sparticularly important to retain the word 'Hegalian.'" POETIC OBLIGATION: ETHICS IN EXPERIMENTAL AMERICAN POETRY AFTER1945, G. Matthew Jenkins, Iowa, cloth 264 pgs, $42.50. From the jacket:"American experimental poetry is usually read in either political ormoral terms. Poetic Obligation,by contrast, considers the poems of Louis Zukofsky, Charles Reznikoff,George Oppen, Edward Dorn, Robert Duncan, Susan Howe, and Lyn Hejinianin terms of the philosophical notion of ethical obligation to the Otherin language. Jenkins's historical trajectory enables him to considerthe full breadth of ethical topics that have driven theoretical debatesince the end of World War II." HUMAN SCALE, Michael Kelleher, BlazeVox, 88 pgs, $12. "And now there isn't anyone left except them." NOT VERACRUZ, Joanne Kyger, Libellum, 48 pgs, $10. "Ok. What's the law?" BASS CATHEDRAL, Nathaniel Mackey, New Directions, 188 pgs, $16.95. CRITICAL WRITINGS, F T Marinetti, ed Gunter Berghaus, trans DougThomson, FSG, 550 pgs, $20. "Have you ever witnessed a gathering ofyoung, revolutionary anarchists?" BREATHALYZER, K. Silem Mohammad, Edge, 80 pgs, $14. "dark energy rules the universe" A SEMBLANCE: SELECTED AND NEW POEMS 1975-2007, Laura Moriarty, Omnidawn, 220 pgs, $14.95. "Loss as rest from meaning." AN AIR FORCE, Laura Moriarty, Hooke Press, 28 pgs, $10. "Are brands more powerful than governments?" FLET: A NOVEL, Joyelle McSweeney, Fence, 140 pgs, $15. ANNOYING DIABETIC BITCH, Sharon Mesmer, Combo, 122 pgs, $13.95.Includes the hits "I Miss His Penninsula," "What is Wrong With OurSavior's Wedgie?," "God's Little Weenie," "I Chose the Wrong PowerAnimal," &, of course, "Squid vs Assclown." BICYCLE DAY, Mel Nichols, Slack Buddha, 32 pgs, $6. "O infrequent appliance / time has only something to do with you" PHILOSOPHICAL CHRONICLES, Jean-Luc Nancy, Fordham, 72 pgs, $16. BALLAD OF JAMIE ALLAN, Tom Pickard, Flood, 104 pgs, $14.95. "And kept dangerous company." IT'S GO IN HORIZONTAL: SELECTED POEMS, 1974-2006, Leslie Scalapino, 248 pgs, U CAL, $16.95. "It's on the red ball a retina." GERTRUDE STEIN: SELECTIONS, Gertrude Stein, ed JoanRetallack, U Cal Press, 352 pgs, $19.95. 72 page introduction by Retallack w/numerous illustrations, selections from across Stein's career,1905-1936. PPL IN A DEPOT, Gary Sullivan, Roof, 104 pgs, $13.95. "POLICEMAN: God, your poetry is so amazing! Especially 'Fantasy.'" OURS, Cole Swensen, U Cal, 101 pgs, $16.95. "A garden is a tide." FELONIES OF ILLUSION, Mark Wallace, Edge, 138 pgs, $15. ""You're accused of murder." WALKING DREAMS: SELECTED EARLY TALES, Mark Wallace, Blaze Vox, 108 pgs, $14. "Nothing anywhere can be avoided." ON SPEC, Tyrone Williams, Omnidawn, 160 pgs, "In brief--psst!-- / not shh!-- " THE PRESENTABLE ART OF READING ABSENCE, Jay Wright, Dalkey Archive, 80 pgs, $12.95. "Remove emptiness. / Replace nothing." POLYNOMIALS AND POLLEN, Jay Wright, Dalkey Archive, 126 pgs, $12.95. MUSIC'S MASK AND MEASURE, Jay Wright, Flood, 56 pgs, $12.95."All song is bent" SOME BESTSELLERS: THING OF BEAUTY: NEW AND SELECTED WORKS, Jackson Mac Low, ed Anne Tardos, U Cal, cloth 460 pgs, $34.95. THE COLLECTED POEMS OF PHILIP WHALEN, ed Michael Rothenberg, Wesleyan, cloth 872 pgs, $49.95. CONTEMPORARY POETICS, ed Louis Armand, Northwestern, 395 pgs, $29.95. DARK BRANDON, Brandon Downing, Grievous Pictures, DVD 116 minutes, $14.99. THE POEM OF A LIFE: A BIOGRAPHY OF LOUIS ZUKOFSKY, Mark Scroggins, Shoemaker & Hoard, cloth 572 pgs, $30. AWE, Dorothy Lasky, Wave, 76 pgs, $14. JESS: TO AND FROM THE PRINTED PAGE, Independent Curators Intl, 112 pgs, $29.95. DEED, Rod Smith, U Iowa, 88 pgs, $16. NOTES FROM THE AIR: SELECTED LATER POEMS, John Ashbery, Ecco, cloth 364 pgs, $34.95. THE MISSING OCCASION OF SAYING YES, Benjamin Friedlander, Subpress, 196 pgs, $16. ABOUT NOW: COLLECTED POEMS, Joanne Kyger, Natl Poetry Foundation, 798 pgs, $34.95. IN THE PINES, Alice Notley, Penguin, 132 pgs, $18 NEXT LIFE, Rae Armantrout, Wesleyan, 80 pgs, $13.95. THE MIDDLE ROOM, Jennifer Moxley, Subpress, 633 pgs, $25. BEYOND BULLETS: THE SUPPRESSION OF DISSENT IN THE UNITED STATES, Jules Boykoff, AK Press, 464 pgs, $21.95. WOMEN, THE NEW YORK SCHOOL, AND OTHER ABSTRACTIONS, Maggie Nelson, U Iowa, cloth 296 pgs, $42.50. PROSE POEMS, Pierre Reverdy, trans Ron Padgett, Brooklyn Rail/Black Square, 64 pgs, $15. HORACE, Tim Atkins, O Books, 78 pgs, $12. COMPLEX SLEEP, Tony Tost, U Iowa, 108 pgs, $16. ED DORN LIVE: LECTURES, INTERVIEWS, AND OUTTAKES, ed Joseph Richey, U. Michigan, 174 pgs, $18.95. THRALL, Susan Gevirtz, Post-Apollo, 104 pgs, $15. JOHN ASHBERY AND YOU: HIS LATER BOOKS, John Emil Vincent, U Georgia, cloth 196 pgs, $32.95. WAR AND PEACE 3 --THE FUTURE--, ed Judith Goldman & Leslie Scalapino, O Books, 164 pgs, $14. SOULS OF THE LABADIE TRACT, Susan Howe, New Directions, 128 pgs, $16.95. 4 OR 5, P. Inman, interrupting cow, 28 pgs, $5. TODAY I WROTE NOTHING: THE SELECTED WRITINGS OF DANIIL KHARMS, ed & trans Matvei Yankelevich, Overlook, cloth 288 pgs, $35. ART AND REVOLUTION: TRANSVERSAL ACTIVISM IN THE LONG TWENTIETH CENTURY, Gerald Raunig, Semiotext(e), 320 pgs, $17.95. METEORIC FLOWERS, Elizabeth Willis, Wesleyan, 84 pgs, $13.95. FOLLY, Nada Gordon, Roof, 128 pgs, $13.95. MY ANGIE DICKINSON,Michael Magee, Zasterlee, 80 pgs, $12.95. NINETEEN LINES: A DRAWINGCENTER ANTHOLOGY, ed Lytle Shaw, DrawingCenter/Roof, 336 pgs, $24.95. DAY OCEAN STATE OF STAR'S NIGHT: POEMS & WRITINGS 1989 & 1999-2006, Leslie Scalapino, Green Integer, 208 pgs, $17.95. ORDERING INFORMATION: 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 5200or e-mail w/ yr add, order, card #, & expiration date & wewill send a receipt with the books. Please remember to includeexpiration date. ========================================================================= Date: Fri, 4 Apr 2008 13:46:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Leland Winks Subject: Re: On Poets as Characters in Novels!! In-Reply-To: <7.0.1.0.1.20080403203722.066559c0@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Disposition: inline Content-Transfer-Encoding: quoted-printable The poet Placido (Gabriel de la Concepcion Valdes) has a walk-on part in= Cirilo Villaverde=27s seminal 19th-century novel about slavery in Cuba=2C= Cecilia Valdes=2E Jose Saramago wrote a novel called =22The Year of th= e Death of Ricardo Reis=2E=22 Jose Lezama Lima and Eliseo Diego and Roq= ue Dalton appear in Cuban writer Jesus Diaz=27s superb novel =22Las Pala= bras perdidas=2E=22 Diego appears (as =22Eliseo Riego Leonardo Padura=27= s detective novel =22Mascaras=2E=22 Reinaldo Arenas puts *very* thinly-= disguised poets in his Pentagonia cycle of novels (example=3A Delf=EDn P= roust for Delf=EDn Prats=2C Miguel Barniz for Miguel Barnet)=2E Wallace= Thurman does likewise in =22Infants of the Spring=2E=22 I think Aim=E9= C=E9saire appears in one of the novels by Patrick Chamoiseau -- =22Texa= co=2C=22 maybe=3F Francois Villon was made into a romantic figure in an= operetta (!) by Rudolf Friml (!!)=2C =22The Vagabond King=2E=22 There=27= s Peter Ackroyd=27s =22Chatterton=22 too=2E And doubtless many more=2E ----- Original Message ----- From=3A Mark Weiss =3Cjunction=40EARTHLINK=2ENET=3E Date=3A Friday=2C April 4=2C 2008 6=3A14 am Subject=3A Re=3A On Poets as Characters in Novels!! To=3A POETICS=40LISTSERV=2EBUFFALO=2EEDU =3E There was also a novel in which a Welsh poet surprisingly like Dylan= = =3E Thomas is killed by a dentist=2E Peter Viereck maybe=3F =3E = =3E At 06=3A47 PM 4/3/2008=2C you wrote=3A =3E =3EThanks=2C Wystan=2E Is Reading Room online=3F=3F =3E =3E Just reading Hank Lazar=27s review/refleciton on On Kawara=27s= = =3E =3E collaborative book on the body and achitecture=2E Be intereste= d in = =3E =3E the connections you make with Ron and Acker=2E =3E =3E =3E =3E Stephen V =3E =3E =3E =3E =3E =3EWystan Curnow =3Cw=2Ecurnow=40AUCKLAND=2EAC=2ENZ=3E wrote=3A Ste= phen=2C =3E =3E Silliman appears in Chapter 2 of Acker=27s 1978 nove= l=2C The =3E =3EAdult Life of Toulouse Lautrec=2E =3E =3EI discuss it in an essay=2E =22Autobiography=3A Does it have a f= uture=3F Ron =3E =3ESilliman=27s =27The Alphabet=27 and On Kawara=27s =27Today Serie= s=27=22=2C published = =3E in =3E =3EREADING ROOM 1=2C 2007=2E =3E =3E Wystan =3E =3E =3E =3E-----Original Message----- =3E =3EFrom=3A UB Poetics discussion group =5Bmailto=3APOETICS=40LISTSE= RV=2EBUFFALO=2EEDU=5D =3E =3EOn Behalf Of Stephen Vincent =3E =3ESent=3A Friday=2C 4 April 2008 7=3A09 a=2Em=2E =3E =3ETo=3A POETICS=40LISTSERV=2EBUFFALO=2EEDU =3E =3ESubject=3A On Poets as Characters in Novels!! =3E =3E =3E =3EAny good suggestions and/or appraisals - from ancient to contemp= orary=3F=3F =3E =3E I remember Kathy Acker did some - maybe they were wonderfully =3E =3Escandalous or may be not intended that way at all - auto/fictio= nal = =3E or =3E =3E=27real=27 celebrations and/or satires of sexual encounters with= some now =3E =3Ewell known language poets before such bodies were even formally =3E =3Eidentified as such - vaguely remember them as printed in small=2C= stapled =3E =3Eeditions at Kinkos before Kinkos was Kinkos=2E =3E =3E =3E =3E Stephen V =3E =3E http=3A//stephenvincent=2Enet/blog/ =3E =3E =3E ========================================================================= Date: Fri, 4 Apr 2008 13:31:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Epigramititis: 118 Living American Poets Comments: To: Ryan Daley In-Reply-To: 9778b8630804040956x35402c2fpac45d3657e4b1d03@mail.gmail.com MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 hmmmm . . . upon reading the first few Yasusada poems that I caught in print, I speculated that it was a hoax (and assumed the editor was in on it) -- I obviously had not read the whole -- I didn't think I was thereby dismissing it -- I did think I was thereby assigning it to a much beloved genre -- Epigramitits, which I have since read all of, does indeed appear to posit opinions often based on one or two passages of work that Kent clearly has not read much of -- so I guess that makes it journalistic reductivism -- I don't think that laebling something a hoax has anything to do with making any judgment about the quality of the work -- THE AUTOBIOGRAPHY OF AN EX-COLOURED MAN was published with no author's name attached and was, as event, something of a hoax, and it is also one of the greatest works of 20th century American Literature -- REPORT FROM IRON MOUNTAIN was entirely a hoax but was also extremely well done and sparked crucial debates about defense policy and the economy -- I had thought that suggesting Kent Johnson was a hoax was sufficient signal that I wasn't exactly writing a book review or rendering a judgment on the writing -- The Aldon Nielsen who appears in EPIGRAMITITIS is entirely a hoax -- so? On Fri, Apr 4, 2008 12:56 PM, "Ryan Daley" wrote: > > >Aldon, > >I call anything that posits an opinion based on one or two passages dismissive. I called your email dismissive because labeling anything a "hoax" is journalistic reductivism -- neatly packaged tidbits for easy consumption -- and dismissive in the same way that merely labeling Frey or other "hoaxers" is dismissive in not accounting for the quality of the writing. > >My response here was merely to vouch for a book that I've read, and one that you --admittedly-- haven't. I do apologize if my initial response came off as confrontational, I assure you my goal was to defend the book on its own merit, and not to posit any theories as to the author's hyper/reality. > >As for the book's longevity. It is a longevity to me, for me, as a reader, that the book continues to affect those subjects and readers that come into contact with it. We will see if this claim remains true. > >As to your comment, returning my question of what does aforesaid epigram say about LANGUAGE, it's a good question, and one I felt needed asking for more than merely begging. What situations cause certain poems to exist? Are there parades? Assassinations? Does the currency have to rise and fall for the Emperor of Ice Cream to sit down at a town hall meeting? I think all poetry, all language (all LANGUAGE, too) speaks to me of the world I'm living in. One might say that's even why I read... > >-Ryan > > > >On Thu, Apr 3, 2008 at 12:54 PM, ALDON L NIELSEN <> wrote: > > > >well, there is so much to sort through here that I won't try to address all of it -- I wouldn't call my comment dismissive -- I suggested that the work, and the author, might be a hoax,,,,, which I had thought would alert readers to my own impishness in response -- I have reason to believe Kent exists, but he may well exist for me much in the way that some poet named "Aldon Nielsen" (we may note in passing that no book of poems signed "Aldon Nielsen" has ever appeared, though there are five books of poetry that have been published by the guy this seems to refer to) will exit for readers of EPIGRAMITITIS.> > > >yes -- truth some times be damned/sometimes not -- there is not time today to get into the philosophical questions around truth and poetry -- but let's say for the moment that the majority of readers will probably judge a claim within a poem such as "there is no emperor but the emperor of ice cream" differently from such a statement as "Not a single Language poet has said a single word about Will Alexander." I'm not sure how to read your queston, "what about the Will Alexander epigram is false" in light of what you say leading up to that question. It's a line that would strike most people who note that Alexander was published by Messerli as odd on its face. I suppose some may choose not to count Messerli as a Language poet, for all I know Messerli himself doesn't claim to be a language poet, but that aside, the epigram makes a demonstrably untrue remark -- a quick google, for just one instance, will bring you to this:> > > >"I take great heart to read the writing of Will Alexander, a poet whose concerns seem almost obsessively personal. I don't know the man and so have no sense if he is conscious as to what a major political claim he is making in staking out this territory for himself. The fact that he is publishing so widely is hopefully a sign that conditions spelled out by that little table above might be open to change in the future. "> > > > > >That's Ron Silliman, who I think most readers of the epigrams would take for a Language poet. > > > > > >So that the real question turns out to be, what do we make of an assertion in a poem whose author had to have known that it wasn't true? which in turn gets us back to your more intriguing question, what does the epigram's falsehood suggest about both its subject and the Language poets? Well, I'd like to hear your answer to your own question . . . > > > > > >No, this doesn't belong in the bin alongside Holocaust survivors raised by wolves -- but I'm not at all clear why you would toss the non-native American housewife who did not run with the Crips in the bin while rescuing the epigrams -- if that hoax memoir is worthy literature, isn't it still worthy literature once you know it's a hoax? > > > > > >and you'll have to explain for me how the "longevity" of a book published last year redeems it . . . You've got me scratching my head over that one -- > > > > > >I think the Epigrams are every bit as good as the poetry of the Spectra poets, which I did not throw in any bin and still occassionally read -- > > > >> > > > > >On Thu, Apr 3, 2008 11:31 AM, Ryan Daley <> wrote: >> Aldon, > >I've read Epigramititis. It's quite an extraordinary book. Centuries from >now, perhaps we'll be remembered in the way that we are read about. To mimic >Catullus seemed to be Johnson's idea here, truth be sometimes damned, > >sometimes not; and in the process, to rescue the idea of the epigram. The >idea of these epigrams, and indeed, their goal, seems to be wit rather than >truth. I can't say that I would use real, living people as my subjects were > >I to publish something similar, but the result here is interesting, and I'm >quite sure that the best result cannot possibly be roundly dismissing the >work and writer. Certainly this doesn't belong in the bin with Holocaust > >survivors raised by wolves and gun-toting Native American suburbanite moms. > >So what redeems this work? Its effect, its longevity, its referentially >dense and rich dictionary-like quality, to name a few. I was thrilled > >reading this, asking myself, "Is this true? Did Poet X really do >that?" >Unbelievable as it may seem, I didn't believe most of it. I tend not to >believe most of what I read. I sought many of the answers to other > >questions: what about the Will Alexander epigram is false? Moreover, what >does the Alexander epigram's falsehood suggest about both its subject and >the LANGUAGE poets? It's interesting to see the duality of focus, the > >meta-reference that we don't get from modern fiction. The truth being >implicit in most novels, the characters are false, and the reader can make >out the difference. Johnson has turned the circus tent on its bum. No longer > >can we be safe in imagining that certain fates don't befall real, living >people. We are left with shuffling through tabloidal gems, some true, some >less true, some false. Using falsity as a basis for dismissal of such a rich > >and provocative reversal of our standards of "fact" and >"truth" seems as if >we're setting ourselves up to be duped by lesser daring and wit. > >-Ryan > >On Wed, Apr 2, 2008 at 11:31 AM, Aldon Nielsen <> wrote: > >> A friend just sent me the URL for a description of this book, which, >> I must confess, had escaped my attention when it was published last >> year. I find that I am one of the fortunate 118, but also find the > >> illin' epigram under my name utterly incomprehensible. I'm not at >> all sure why Kent Johnson bothered to include me, unless it was his >> odd way of thanking me for bothering to inquire of him whose > >> permission I should seek prior to publishing a previously >> undiscovered sheaf of Yasusada poems that had come into my possession. >> >> While I am not at all sure what to make of this thing, I note that it > >> is replete with demonstrably false claims, such as : "Not a single >> Language poet has ever said a single word about Will Alexander. " -- >> So I suspect that this book, perhaps Kent Johnson himself (if you > >> click on his name at the Amazon listing for the book, it takes you to >> a series of volumes on model railroads) is another hoax. >> >> <> >> >> "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/ >> > > >> ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > >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 > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> 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: Fri, 4 Apr 2008 12:56:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: Epigramititis: 118 Living American Poets Comments: To: ALDON L NIELSEN In-Reply-To: <1207241653l.979086l.0l@psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Aldon, I call anything that posits an opinion based on one or two passages dismissive. I called your email dismissive because labeling anything a "hoax" is journalistic reductivism -- neatly packaged tidbits for easy consumption -- and dismissive in the same way that merely labeling Frey or other "hoaxers" is dismissive in not accounting for the quality of the writing. My response here was merely to vouch for a book that I've read, and one that you --admittedly-- haven't. I do apologize if my initial response came off as confrontational, I assure you my goal was to defend the book on its own merit, and not to posit any theories as to the author's hyper/reality. As for the book's longevity. It is a longevity to me, for me, as a reader, that the book continues to affect those subjects and readers that come into contact with it. We will see if this claim remains true. As to your comment, returning my question of what does aforesaid epigram say about LANGUAGE, it's a good question, and one I felt needed asking for more than merely begging. What situations cause certain poems to exist? Are there parades? Assassinations? Does the currency have to rise and fall for the Emperor of Ice Cream to sit down at a town hall meeting? I think all poetry, all language (all LANGUAGE, too) speaks to me of the world I'm living in. One might say that's even why I read... -Ryan On Thu, Apr 3, 2008 at 12:54 PM, ALDON L NIELSEN wrote: > well, there is so much to sort through here that I won't try to address > all of it -- I wouldn't call my comment dismissive -- I suggested that the > work, and the author, might be a hoax,,,,, which I had thought would alert > readers to my own impishness in response -- I have reason to believe Kent > exists, but he may well exist for me much in the way that some poet named > "Aldon Nielsen" (we may note in passing that no book of poems signed "Aldon > Nielsen" has ever appeared, though there are five books of poetry that have > been published by the guy this seems to refer to) will exit for readers of > EPIGRAMITITIS. > > yes -- truth some times be damned/sometimes not -- there is not time today > to get into the philosophical questions around truth and poetry -- but let's > say for the moment that the majority of readers will probably judge a claim > within a poem such as "there is no emperor but the emperor of ice cream" > differently from such a statement as "Not a single Language poet has said a > single word about Will Alexander." I'm not sure how to read your queston, > "what about the Will Alexander epigram is false" in light of what you say > leading up to that question. It's a line that would strike most people who > note that Alexander was published by Messerli as odd on its face. I suppose > some may choose not to count Messerli as a Language poet, for all I know > Messerli himself doesn't claim to be a language poet, but that aside, the > epigram makes a demonstrably untrue remark -- a quick google, for just one > instance, will bring you to this: > > "I take great heart to read the writing of Will Alexander, a poet whose > concerns seem almost obsessively personal. I don't know the man and so have > no sense if he is conscious as to what a major *political* claim he is > making in staking out this territory for himself. The fact that he is > publishing so widely is hopefully a sign that conditions spelled out by that > little table above might be open to change in the future. " > > > > That's Ron Silliman, who I think most readers of the epigrams would take > for a Language poet. > > > > So that the real question turns out to be, what do we make of an assertion > in a poem whose author had to have known that it wasn't true? which in turn > gets us back to your more intriguing question, what does the epigram's > falsehood suggest about both its subject and the Language poets? Well, I'd > like to hear your answer to your own question . . . > > > > No, this doesn't belong in the bin alongside Holocaust survivors raised by > wolves -- but I'm not at all clear why you would toss the non-native > American housewife who did not run with the Crips in the bin while rescuing > the epigrams -- if that hoax memoir is worthy literature, isn't it still > worthy literature once you know it's a hoax? > > > > and you'll have to explain for me how the "longevity" of a book published > last year redeems it . . . You've got me scratching my head over that one -- > > > > > I think the Epigrams are every bit as good as the poetry of the Spectra > poets, which I did not throw in any bin and still occassionally read -- > > > On Thu, Apr 3, 2008 11:31 AM, *Ryan Daley * wrote: > > Aldon, > > I've read Epigramititis. It's quite an extraordinary book. Centuries from > now, perhaps we'll be remembered in the way that we are read about. To mimic > Catullus seemed to be Johnson's idea here, truth be sometimes damned, > sometimes not; and in the process, to rescue the idea of the epigram. The > idea of these epigrams, and indeed, their goal, seems to be wit rather than > truth. I can't say that I would use real, living people as my subjects were > I to publish something similar, but the result here is interesting, and I'm > quite sure that the best result cannot possibly be roundly dismissing the > work and writer. Certainly this doesn't belong in the bin with Holocaust > survivors raised by wolves and gun-toting Native American suburbanite moms. > > So what redeems this work? Its effect, its longevity, its referentially > dense and rich dictionary-like quality, to name a few. I was thrilled > reading this, asking myself, "Is this true? Did Poet X really do > that?" > Unbelievable as it may seem, I didn't believe most of it. I tend not to > believe most of what I read. I sought many of the answers to other > questions: what about the Will Alexander epigram is false? Moreover, what > does the Alexander epigram's falsehood suggest about both its subject and > the LANGUAGE poets? It's interesting to see the duality of focus, the > meta-reference that we don't get from modern fiction. The truth being > implicit in most novels, the characters are false, and the reader can make > out the difference. Johnson has turned the circus tent on its bum. No longer > can we be safe in imagining that certain fates don't befall real, living > people. We are left with shuffling through tabloidal gems, some true, some > less true, some false. Using falsity as a basis for dismissal of such a rich > and provocative reversal of our standards of "fact" and > "truth" seems as if > we're setting ourselves up to be duped by lesser daring and wit. > > -Ryan > > On Wed, Apr 2, 2008 at 11:31 AM, Aldon Nielsen wrote: > > > A friend just sent me the URL for a description of this book, which, > > I must confess, had escaped my attention when it was published last > > year. I find that I am one of the fortunate 118, but also find the > > illin' epigram under my name utterly incomprehensible. I'm not at > > all sure why Kent Johnson bothered to include me, unless it was his > > odd way of thanking me for bothering to inquire of him whose > > permission I should seek prior to publishing a previously > > undiscovered sheaf of Yasusada poems that had come into my possession. > > > > While I am not at all sure what to make of this thing, I note that it > > is replete with demonstrably false claims, such as : "Not a single > > Language poet has ever said a single word about Will Alexander. " -- > > So I suspect that this book, perhaps Kent Johnson himself (if you > > click on his name at the Amazon listing for the book, it takes you to > > a series of volumes on model railroads) is another hoax. > > > > <> > > > > "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/ > > > > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > 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: Fri, 4 Apr 2008 12:55:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Tills Subject: Siddhartha, in defense of Baby Boomers MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable The hippies, "the stinking hippies," and such... =20 Sonoma County, where I lived for 17 years and, largely, developed a good deal of the most enduring parts of my personality and worldview was, to be sure, one of the country's most primary centers of "Hippie culture." I arrived there in 1982 - partially because a trustworthy and wise sociology professor from undergraduate school said "you belong in Northern California" and another mentor, a Gestalt Therapist, turned me on to a very fine humanistic psychotherapy training institute out in Bodega, near the coast, where I went to study to become a therapist. Within a few months, I met and started a wonderful relationship with another budding hippy, or "neo-hippy," as we called ourselves, knowing that we were one generation younger than the 60's generation that we looked up to and emulated. E. was in fact the daughter of a very well established and so-called "conservative" poet from Southern California, Robert Mezey, whom I met when E. and I hitchhiked from Oakland to Baja in 1983 and stayed at his house in Pomona along the way. It wasn't until I met David Bromige in 1984 that I really took an interest in "poetry," per se. Although I had minored in English in undergraduate school, I preferred novelists and prose and philosophy and psychoanalytics and such, but then David and his pals the L-A-N-G-U-A-G-E writers seemed to be writing "stuff" that was combination of all the above, AND MORE, and their "poetry" really appealed to the intellectual side of me that was developing at the time and mostly restricted to the Existentialists, Existential/Humanistic Psychology/Psychotherapy theorists, Henry Miller, and a handful of other philosophers. =20 David was living in Santa Rosa at the time, not Sebastopol, where he and his wife Cecelia reside now, but he had lived in Sebastopol in the early 80's, I think, too. I bring up "Sebastopol" because it's one of the coolest places for "hippies." It's one of the areas, like Cazadero about 15 miles further up the coast and out in "the hills," where the original "hippies" originally began settling when they came up from San Francisco ("the Haight") and Berkeley and Oakland in the early 70's. Oh, they came up to Marin County, and they went further north, up to Mendocino County, too, but Marin is so darn expensive and "upper class" (except out in Fort Reyes and Stinson Beach and Bolinas, where poets Kyger and Grenier and Ratcliffe live), and it's always more convenient for me to associate "the hippy culture" with quite modest economic means, whereas Marin has so many rich people and so much "materialism," but some hippies "get rich," too, so what's the use of dividing everybody up into neat and tidy categories they cannot ultimately fit into. Just the same, I'll do it anyway - Sebastopol became one of the major migration centers for the hippies, and I'm sure that half the town remains even today the home of hundreds and hundreds of first generation and second generation hippies. =20 Coming from western New York, studying under 60's generation humanistic psychology and sociology teachers in Florida, still didn't prepare me for all the counter-culture customs and mores that E. turned me on to in the early 1980's, but I caught on fairly quickly. I'm refering to the nudity, particularly. I was already strict "vegetarian," in fact a vegan, from my Gainseville, Florida, Hogtown Grainary "co-op grocery store" days. But I caught on fairly quickly. That is, I got used to picnics out in Two Rock (some folks familiar with David Bromige's poetry might know his book _The Two of Rocks_) up on the hill and the swimming pond there wearing nothing but our bathing suits, and going to public baths, or "spas" and hot tubs, naked in public, and once even attending a real neat birthday party where everybody, a whole bunch of "hippies" who lived up in the hills above Santa Rosa, where all the men and women were in their birthday suits, and the thing is that ya had to learn how not to get an erection, and though luckily there was a pool ya could quickly jump into when you'd been maybe sneaking peeks and thinking certain "I'm not a full-fledged hippy and therefore don't get this naturalism thing exactly just yet" kinds of thoughts. =20 I'm not so sure that it takes any more courage to "write poems" than it takes to be the only person to decline to take clothes off at a birthday suit birthday where you're the only who doesn't strip down while 20 others are all naked and "showing off" their "lack of Uptightness," like the one attractive, shy or reserved woman who stayed fully clothed that afternoon or the equally reserved black man who was the only non-white there. I'm not so sure that it takes any more courage to write poetry than it takes to write the kinds of novels that Henry Miller wrote or the kind of literary criticism that Kate Millet wrote. I'm not so sure that it takes more courage to write "experimental poetry" than it takes to write the kind of poetry that Robert Mezey has written, or that he and Stephen Berg included in their anthology _Naked Poetry_ that I still have and should return to E. someday. I'm not so sure that it takes any more courage to write any kind of poetry than it takes to break any kind of life script that might shackle a given individual's spirit or psyche, and that includes scripts prescribing that that person "stay poor," live in poverty, not write a commercially successful Children's book or cookbook or movie script, or avoid any kind of activity that could be termed "materialistic." =20 I used to, though. And I can certainly relate to most all "counter-culture," "hippy," anti-materialist values. It's to those kinds of values that I have subscribed, myself, for the most part. But there are people who can get all mixed up and very hurt believing that they are "not OK" if they aspire to break ideals and seek improved material and economic security. Or dare to write a novel. =20 =20 Personally, if I had it to do all over again, and with the proverbial "what I know now," I wouldn't change much of the "neo-hippy" thing that I took to after finishing undergraduate school in 1979 and read _The Electric Koolaid-acid Test_, Abbie Hoffmann and Ken Kesey and Timothy Leary and Tom Robbins, and ate lots of mushrooms in the mushroom capital of the East (Gainesville, Florida, where we used to sneak onto ranches and farms and fill entire grocery sacks with the things back in 1980) and went to California, where I learned that I did indeed "belong." But I'd goddarn have gotten a lot more aggressive (where "aggressive" has the positive connotation that Fritz Perls gives it in _Ego, Hunger, and Aggression_) in regard to gaining for myself a bit more "material security," too. There's nothing remotely wrong about choosing non-materialistic lifestyle and values a la Thoreau or Hesse's romanticized Siddhartha or "the Hippies," including the ones who used to live in teepees out at the commune in Two Rock that E. took me to in the summer of 1982, but, personally, if I myself had it to do all over again, I would not shun money and the means to obtaining it nearly so smugly as I did back then. No, if I had it to do all over again, I'd gain some of the material things and "status" and financial security that I shunned 25 years ago. Why? Because it's still the same game. Whether you can fit your entire life's material possessions into a 6' by 10' storage unit on Santa Rosa Avenue or you own three houses, two as income properties, and one big enough for your kids to have their own rooms before you send them to college you'll help them pay for, it's still going to be your "counter-culture values" versus George Bush's or Sean Hannity's values. They're still going to force you to "compete against" them for what you want for the world as opposed to what they want for the world, so why subscribe to such awful financial insecurity that you cannot even afford good legal aid if they use their control of government to fight you if you protest them, commit civil disobedience, become a whistle blower, or otherwise try to sabotage or resist some project, corporation, institution, or henchmen of theirs. =20 I am certain that a fellow like George Soros has done just as much or more than most poets have to substantially fight or resist injustice and inequality and crap politics and "evil." =20 I am not sure that any poetry could have influenced me more than Henry Miller influenced me when I was a teenager and ached like crazy to escape small town, lower middle class, western New York "culture" and lack thereof. =20 I am not sure that half the most "radical" poets in the country are any more "open-minded," "compassionate," "wise," "generous," or "revolutionary" and "effective" than many of the psychotherapist practitioners and theorists that I have met or read in my lifetime. In most case, the latter persons have seen and understood and resolved "conflicts," "intolerances of ambivalence," "contradictions," and "splits" between subject and object(s), person and "others," self and "world," that pomers only write "about," that in fact often pomers would prefer to "romanticize" or use as means to creating aesthetic objects than actually change. Such splits and mental/psychodynamic/mind-body/self-world phenomena are "the juice" many pomers use to actualize their artistic potentials even if that juice may possibly kill them or if it in fact obstructs or retards progress in the evolution of the collective unconscious (evolution of the human species' consciousness). =20 =20 In most cases, there is NOT such a big split between "pomers" and, say, these psychotherapy pioneers and others who cannot tell the difference between a so-called truly transformational "experimental" poetry and a School of Quietude poetry. In most cases, they're essentially the same folks, but I dare say it loudly and confidently, however crudely and awkwardly, that many a non-pomer in the world today can see through and soften the arrogance that our radical poets foist upon the world more readily than our radical poets' verses will ever genuinely change the social and anti-social fabrics and weltanschaungs that keep most of the world's human population in economic and psychological chains and most of the animals and plants in danger of becoming extinct.=20 =20 Oh, that reminds me, anybody out there enamored of msnbc.com's _Countdown_'s Keith Olberman in the last year or so for his "radically" "progressive" opinionating and Bush Administration deconstructing/dismantling notice that he, along with his colleagues Chris Matthews and Dan Abrams and David Gregory and Andrea are mostly "preaching to the choir" these days, NOT in fact doing what is genuinely required - slowly but surely actually changing the mindsets of the staunch right-wing believers who "can be changed," can be "reached," but NOT by all of us, and Keith and Gang on msnbc.com, and others at moveon.org and additional "progressive" organizations "ramming progressives' values and mindset down their throats," but only by more subtle means of teaching them to, for example, experience "Disgust" that would eventually have them throwing up what FOX News indoctrinates them with? What I'm saying is that Keith Olberman has consistently and courageously and brilliantly railed against the real evildoers in the world for 2-3 years now, but lately even _Countdown_ is becoming just "big business" and preaching to the choir, persuading people "who already get it" that Bush and most all right wing and most republican trash IS the trash and the lies that they are. But NOW, to get at the folks who most need to be turned on to alternative critical thinking and small changes in their mindsets, more subtle and compassionate and "intelligent" "rhetorics" must be employed, new seeds have to be planted, etc. Keith and Gang are just preaching to the choir. What does this have to do with "poetics?" Maybe nothing. And I'm sure a lot of folks don't pay much attention to the loud political concerns that I obsess about, perhaps uselessly and stupidly, but I do think that EVERYBODY is doing something to heal the world we've fucked up big time of late, and I think that Keith and Chris and the gang there at msnbc.com are on the same side most of us at the Poetics Forum are on. Ditto the folks at moveon.org (which also includes quite a few of us, I'm sure) and other organizations. Well, I think that Keith and Chris and Dan and Andrea there deal in "words" and language, and basically need our help. Maybe they'll never be "as radical" as we are, but they have a more significant effect, don't they, and we should help them avoid making the mistakes we make - including thinking we're the only ones who know about suffering and how to lessen it (when in fact some of us merely make a commodity out of it, suffering, and, ironically, probably work harder at increasing it, so as to have more of it to sell as "poetry" and poming). =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 =20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of CA Conrad Sent: April 3, 2008 7:39 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) =20 Allen, OK. And YES. =20 LET ME BE HONEST about something I hadn't mentioned earlier. I FIRMLY BELIEVE the poets I have known in the past (most of them at least) who turned to novels did so because of MONEY and because of READERSHIP. Or wanted to be LOVED MORE or something. (poets who NEED that much LOVE are always trouble!) Poetry wasn't getting that for them, and on many levels they were dissatisfied. And I LOATHE this behavior because I think it takes courage to write poems, TO NOT GIVE A FUCK that it's not making you money, or whatever it is you WANT. =20 In the end it's a very sincere, pissed off way I had entered this discussion! I want the poets I have Loved to not want such nonsense from this world! I hate when I find out I have cowards for friends! I'd rather my family were cowards than my friends frankly. But I DO actually find most novels a tedious thing to approach, besides these other reasons. =20 In some cases it's for very different reasons that some poets write novels, like my friend Magdalena Zurawski, who turned to fiction for reasons more complicated than the above mentioned ones, but they're not my reasons to explain. Magdalena, who is one of my ABSOLUTE favorite people on earth has SLAVED over her novel THE BRUISE for seven LONG years and as I've said before, it's an epic poem to me. It's a poem. When I read it (and I've been reading it for years as it comes out of her) her poems WHICH I HAVE ALWAYS LOVED are there, are in it, this, this thing she calls a novel. A NOVEL! I will say NOOOOOOVEL slowly in a mirror a thousand times and it still makes no entrance. =20 If I MUST read a novel it usually needs to be a poet's novel. I guess. =20 Poems are my life in every way, everyday, and I no longer mean poems I'm reading but hearing-feeling-seeing-smelling them on the streets, unwritten, sometimes better left unwritten. =20 Sarah, Patchen's Journal of Albion Moonlight is not a novel? See, you're getting us into the PAINFUL task of figuring out what a novel is, and I don't know how to have that discussion. I DON'T WANT TO HAVE THAT DISCUSSION LIKE MY "STRAIGHT" WOMAN FRIEND WHO IS TERRIFIED SHE IS A LESBIAN BUT NEVER SAYS SO AND what can I do about that? If I ever write a novel I will title it SARAH DON'T HATE MY MARIGOLDS! =20 Sarah, DON'T HATE MY MARIGOLDS! Well, you like 1 percent of them anyway. Ah, fuck it, I don't care if you hate them, as they probably don't like you either! JUST kidding, I think. =20 CAConrad http://PhillySound.blogspot.com =20 No virus found in this incoming message. Checked by AVG.=20 Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: 02/04/2008 4:14 PM =20 =20 No virus found in this outgoing message. Checked by AVG.=20 Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: 02/04/2008 4:14 PM =20 =20 ------------------------------ =20 Date: Thu, 3 Apr 2008 08:48:14 -0500 From: John Cunningham Subject: Re: Siddhartha, in defense of Baby Boomers =20 To limit oneself to discussing only one of Hesse's books is unfortunate. What about The Glass Bead Game (otherwise known as Master Ludi), or Steppenwolf, Journey To The East or his numerous other masterpieces - = =3D all devoured by the Hippies along with their electric koolaide which was a = =3D true acid test of fine literature. This discussion reminds me of the discussion had in the late 60s when = =3D Miles Davis released his Bitch's Brew or when Ornette hired James "Blood" =3D Ulmer on guitar and the jazz world watched sadly as fusion took control. The only artist during that period who didn't sell out was Coltrane - perhaps =3D that's why a church was consecrated to him in San Francisco. And yet, one can listen to Weather Report or the Mahavishnu Orchestra at times without cringing provided one does not think about what could have been had many =3D of these artists who had started out in avant garde jazz (Chick Corea being =3D a prime example with Circle) continued along this road. However, having = =3D said that, it=3D92s the ones who entered the jazz scene at the time of =3D transition that I most respect as they did create some fine music and, because of = =3D their late entry, could not be considered sell-outs. Just a thought. John Cunningham =20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] =3D On Behalf Of CA Conrad Sent: April 3, 2008 8:05 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Siddhartha, in defense of Baby Boomers =20 Yes, I'm about to talk about a novel, which is ridiculous considering = =3D how much I've recently railed against them on this List, but, I feel I have =3D to in this case. =20 An old friend told me about Susan Bernofsky's new translation of Hesse's Siddhartha, saying it's amazing, actually, she said it's "sublime!" The link she sent me was from Barnes and Noble, and there's a descriptive = =3D tag on the website under the book which reads, "Once the preferred marching =3D song of '60s hippies, Hermann Hesse's *Siddhartha* has returned to its rightful =3D high niche in world literature." =20 When I was in college (the very same semester I was not so politely =3D asked to leave) we read it for a literature class. One of my mother's stinking hippie friends had already turned me onto the book years before I was in this class. It had changed my young life, and I was happy to share that =3D a few years later in college with my seemingly indifferent classmates. = =3D The professor was a crabby old guy who HATED hippies, so my original =3D experience with the book didn't go over well. He said something like, "THE HIPPIES =3D HAD NO IDEA WHAT THEY WERE READING! HESSE IS ART!" (Some of my classmates asked later if my mother could score them some acid.) =20 I argued that my mother's generation (stinky or NOT!) REALLY DID get it, REALLY GOT IT as a matter of fact because THEY were the ones to take CENTURIES of layers of oppression by the balls and RUN INTO THE DARKNESS =3D to reinvent the world! The generation who gave us Civil Rights, the =3D Women's Movement, and Stonewall, and an awareness of FOOD and the environment, = =3D and, frankly, with all of this, at its core, a bright, magnificent epiphany of how EVERYTHING can change! My argument was lost on my snobbish =3D professor who wanted to discuss the nuances of the lines, not the spiritual flux, =3D THE AWAKENING! And then I pointed out what I thought to be the obvious, =3D which was that to talk about the lines was to talk about the TRANSLATION of = =3D the lines, not the original German, which only derailed his plans further, = =3D and pissed him off further. But, it's true, right? Anyway, who cares! =20 I bring all of this up because I FEEL a bit of that snobbishness in this Barnes and Noble descriptive tag for the book's latest translation. =3D MAYBE I'M WRONG, it's possible I'm conflating memory with the tag's intent. = =3D But, still, it feels kind of snobbish. It feels similar to the words of my = =3D old professor who is probably dead by now. Of course IT COULD mean that the =3D new translation is what raises the book "to its rightful high niche in world literature." But maybe not. To me it sounds like it's saying, "Well, = =3D the hippies screwed around with it, but NOW, NOW WE HAVE it to place on the golden podium with our MORE REFINED tastes!" =20 Yes, it's great literature. I agree. Even that older Hilda Rosner translation (you know this version, it's a blue mass market paperback?) makes you FEEL literature at its best in the book. But isn't "G"reat "L"iterature also a sense of spiritual awakening on some level? Maybe = =3D it's just me, but I've never been interested in anything (especially poems) = =3D if I'm not TORN OPEN! Of course you have to be willing to be torn open, I think, but, if you are willing, the right thing meaning the CAPABLE =3D thing can, and will. =20 Also, in my opinion, to say that Siddhartha is not showing how DEFIANT = =3D you must be to achieve grace, then it is to say you don't really GET the =3D story as it could be for your life. (I mean, Siddhartha told The Buddha to = =3D FUCK OFF essentially, like my mother's people told their own elders to do!) Hesse created an allegory for the Soul. And I say "S" Soul as in a collective BUT individual path(s). =20 So I say HELL YES THE HIPPIES! They weren't perfect, of course, but =3D neither was Siddhartha, of course. Nor are we meant to be perfect, at least I = =3D hope we aren't meant to be, because if we are we're in trouble! =20 CAConrad http://PhillySound.blogspot.com =20 No virus found in this incoming message. Checked by AVG.=3D20 Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: =3D 02/04/2008 4:14 PM =3D20 =20 =20 Quote of the week:=20 "When one door of happiness closes, another opens; but often we look so long at the closed door that we do not see the one which has opened for us."=20 -Helen Keller =20 =20 ========================================================================= Date: Fri, 4 Apr 2008 11:47:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: First Session MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed First Session - codework not programmed with a computer no longer turing machinemachine dissemination concept be might useful for talking about distributed computing and networkingnetworking universality. of embedded universality in the the- 2 types writing programming or already code existing using existingof is machine something you can buy machinic non-machinic take terms practices more coding nuanced could view what ought to ripping things out context / technology -- important practical reasons maintain info where And it finally, has whether essential limits not, entire Assume distinct Derrida, Grammatology, corrected ed. Every system constructs Kate Hales, as cultural practice Writing applied grammatology arguable mezangell addresses any sense real field covered by large-scale systems designed perform from have linkage. different motivation generative happening culturally well (mashup culture) inscription, we're quite there incorporating elements many other places legacy software machines we mez speaks heart mind codework? note 7 long attribution done coding? particularly poet enacts language admits range possible treatments prgrams restriction tool suddenly human culture starts acting ways cybernetic program will writing. come yet ========================================================================= Date: Fri, 4 Apr 2008 09:48:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Epigramititis: 118 Living American Poets Comments: To: Jason Quackenbush In-Reply-To: 34AC2C0B-BD67-44B3-B5F0-B480F4CF95DF@myuw.net MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 I love that poem -- I guess my rephrasing of the question is a little less clear apart from the post I was responding to at the time -- the puzzle, at least for me, is in the reading -- what is being said about the subject in such a case? for example, though a post not a poem -- I suggested here that a book and its author might be a hoax -- most readers of this list would know instantly that I had to know neither was a hoax -- there appears to have been a difference of opinion on how to read my suggestion. Some thought that by suggesting the book and its author might be a hoax I was thereby dismissing both -- I, of course, would never do such a thing. On Fri, Apr 4, 2008 12:11 AM, Jason Quackenbush wrote: > On Apr 3, 2008, at 9:54 AM, ALDON L NIELSEN wrote: >> >> So that the real question turns out to be, what do we make of an >> assertion in a >> poem whose author had to have known that it wasn't true? > >i think that's a very real question. i attempted to answer it in a >poem once. you can read that poem here if you like: http:// >www.blazevox.org/061-jfq.pdf > >it's the second one. > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> 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: Fri, 4 Apr 2008 06:40:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Play It Again, Sam (Re-enactments, Part One) - Errol Morris - Zoom - New York Times Blog MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline http://morris.blogs.nytimes.com/2008/04/03/play-it-again-sam-re-enactments-part-one/index.html?th&emc=th--- Excellent investigation into the nature and use of reenactments in documentaries, and the will to believe--or willing suspension of disbeleif--playing a large role in the perception of a "photographic reality" and the mind's perceptions of "reality" in memory, history, reconstruction----- Morris begins with an example from his harrowing film The Thin Blue Line-- ========================================================================= Date: Fri, 4 Apr 2008 06:27:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: on poets writing novels In-Reply-To: <20080404.021926.280.16.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I saw Alexandra, too. I liked it but expected more from the reviews. Still, it was nice seeing the great Russian opera singer of long ago, Galina Vishnevskaya ,acting. No singing, of course. Only Chaliapin could sing at what must now be her age. The camera treated her a bit too much like the monument to art her life has been which was at odds with the character she was playing. Nevertheless, as I said, I enjoyed this movie. Regards, Tom Savage "steve d. dalachinsky" wrote: russian ark sakorov just saw his new film anti-war called alexandra see his madame bovary it's a killer and there are a few other great ones kafka camus juiced me up On Thu, 3 Apr 2008 03:16:30 -0700 Jim Andrews writes: > some novels i've read have been as important to me as the story of > life and the mind. > > still, it isn't hard to understand the resentment of some poets > toward the novel. not so much the novel as the dominance of story, > and certain types of stories, at that, in western language art. to > the point where one begins to just abhor story of any kind. more art > propaganda! more product! more gag me with a spoon! > > until the right one comes along, of course. > > it's said that we understand our lives in stories. that story is > crucial to our making sense of ourselves and the world. dunno. to > me, there's a lot of blather leading up to some good moments. cut to > the frickin chase. no, hold on, that's a story metaphor. car chase? > forget the chase. cut to the sex scene. cut to the illumination. cut > to the revelation. cut to the good stuff. then cut it together. then > cut it up. cut it up and together so it's like the one line story > the poet told the king that caused him to give up the throne and > wander as a seeker the rest of his days. > > best movie i've seen in a long time was 'a russian ark'. no cuts at > all, actually. not one. i woke up on the couch and there it was on > tv. didn't know what it was, who made it, or anything. but it led me > through a vision of russian history and art that was brilliant, > disjunctive, time travelling, yet without a cut, seamless. > disjunctive yet seamless. the story of a people told as a walk > through the hermitage, through its art, but also as a walk through > history. yet as in a dream. such a dream. > > cut. > > ja > http://vispo.com > > --------------------------------- You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. ========================================================================= Date: Fri, 4 Apr 2008 06:17:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Siddhartha, in defense of Baby Boomers In-Reply-To: <20080404.021926.280.19.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Sorry to see you hated hippies, Steve, while admitting to having been one. I was, too, although I thought I was a beatnik as my involvement with Beat literature preceded the Hippies by several years.Too young to really be a beatnik. Also I had no interest in the pop music which mostly turned them (us?) on. The drug use so prevalent in those days turned out to be almost a complete waste of time and youthful energy Still, I miss the freedoms which were everywhere apparent in my (our) youth and which have almost completely vanished. The younger generation now mostly, at least in New York, seems surly, money obsessed, and scared. Regards, Tom Savage "steve d. dalachinsky" wrote: actually pre-hippies CA i was one of em and yes that book and his other great masterpiece steppenwolf among a hand full of others camus' stranger among them and a long long list of others like kesey too shit changed alot of us then for better or... gregor samsa woke up to find himself transformed into a giant..... right up there with i've seen the best minds of my generation and america go fk yerself with yer atom bomb and old pond a frog jumps in... and the nail up mount fuji and when we were here togehter in a place we did not know and come away oh stolen child in the 60's the right novel and the right poem were inseperable like the right drug they opened your mind sometimes blew your mind sometimes blew up your mind brought tears to yer heart and spots in front of your eyes like great music film or art did or a midnite swim in the ocean on brighton beach or coffee vanilla egg creams yours sincerely a pre-hippie now what as known as post beat ex long hair (hated the hippies actually) On Thu, 3 Apr 2008 08:05:26 -0500 CA Conrad writes: > Yes, I'm about to talk about a novel, which is ridiculous > considering how > much I've recently railed against them on this List, but, I feel I > have to > in this case. > > An old friend told me about Susan Bernofsky's new translation of > Hesse's > Siddhartha, saying it's amazing, actually, she said it's "sublime!" > The > link she sent me was from Barnes and Noble, and there's a > descriptive tag on > the website under the book which reads, "Once the preferred marching > song of > '60s hippies, Hermann Hesse's *Siddhartha* has returned to its > rightful high > niche in world literature." > > When I was in college (the very same semester I was not so politely > asked to > leave) we read it for a literature class. One of my mother's > stinking > hippie friends had already turned me onto the book years before I > was in > this class. It had changed my young life, and I was happy to share > that a > few years later in college with my seemingly indifferent classmates. > The > professor was a crabby old guy who HATED hippies, so my original > experience > with the book didn't go over well. He said something like, "THE > HIPPIES HAD > NO IDEA WHAT THEY WERE READING! HESSE IS ART!" (Some of my > classmates > asked later if my mother could score them some acid.) > > I argued that my mother's generation (stinky or NOT!) REALLY DID get > it, > REALLY GOT IT as a matter of fact because THEY were the ones to > take > CENTURIES of layers of oppression by the balls and RUN INTO THE > DARKNESS to > reinvent the world! The generation who gave us Civil Rights, the > Women's > Movement, and Stonewall, and an awareness of FOOD and the > environment, and, > frankly, with all of this, at its core, a bright, magnificent > epiphany > of how EVERYTHING can change! My argument was lost on my snobbish > professor > who wanted to discuss the nuances of the lines, not the spiritual > flux, THE > AWAKENING! And then I pointed out what I thought to be the obvious, > which > was that to talk about the lines was to talk about the TRANSLATION > of the > lines, not the original German, which only derailed his plans > further, and > pissed him off further. But, it's true, right? Anyway, who cares! > > I bring all of this up because I FEEL a bit of that snobbishness in > this > Barnes and Noble descriptive tag for the book's latest translation. > MAYBE > I'M WRONG, it's possible I'm conflating memory with the tag's > intent. But, > still, it feels kind of snobbish. It feels similar to the words of > my old > professor who is probably dead by now. Of course IT COULD mean that > the new > translation is what raises the book "to its rightful high niche in > world > literature." But maybe not. To me it sounds like it's saying, > "Well, the > hippies screwed around with it, but NOW, NOW WE HAVE it to place on > the > golden podium with our MORE REFINED tastes!" > > Yes, it's great literature. I agree. Even that older Hilda Rosner > translation (you know this version, it's a blue mass market > paperback?) > makes you FEEL literature at its best in the book. But isn't > "G"reat > "L"iterature also a sense of spiritual awakening on some level? > Maybe it's > just me, but I've never been interested in anything (especially > poems) if > I'm not TORN OPEN! Of course you have to be willing to be torn > open, I > think, but, if you are willing, the right thing meaning the CAPABLE > thing > can, and will. > > Also, in my opinion, to say that Siddhartha is not showing how > DEFIANT you > must be to achieve grace, then it is to say you don't really GET the > story > as it could be for your life. (I mean, Siddhartha told The Buddha > to FUCK > OFF essentially, like my mother's people told their own elders to > do!) > Hesse created an allegory for the Soul. And I say "S" Soul as in a > collective BUT individual path(s). > > So I say HELL YES THE HIPPIES! They weren't perfect, of course, but > neither > was Siddhartha, of course. Nor are we meant to be perfect, at least > I hope > we aren't meant to be, because if we are we're in trouble! > > CAConrad > http://PhillySound.blogspot.com > > --------------------------------- You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. ========================================================================= Date: Fri, 4 Apr 2008 06:06:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Re: On Poets as Characters in Novels!! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Dr Zhivago by a great poet who wrote a great novel, Boris Pasternak, who also provides with the novel a selection of the poetry of Zhivago. There are several books which interweave "novelizations" and "dramatizations" and "filmizations"of the life of Rimbaud with "actual biography." The novels of Roberto Bolano--a poet himself-- are filled with poets as main and subsidiary characters, including often the narrator-- The Satyricon of Petronious may be read in a certain sense as a novel of the adventures of a poet-- Adventures in the Skin Trade by Dylan Thomas--a young aspiring writer/poet leaves dreary provincial home for wild world of London-- Nabakov's Pale Fire-- On Thu, Apr 3, 2008 at 9:57 PM, Gabrielle Welford wrote: > Flann O'Brien...yeah! i'll eat my hat if flann o'brien is not considered > a poet. :-) g > > On Thu, 3 Apr 2008, Stephen Vincent wrote: > > > Any good suggestions and/or appraisals - from ancient to contemporary?? > > I remember Kathy Acker did some - maybe they were wonderfully > scandalous or may be not intended that way at all - auto/fictional or > 'real' celebrations and/or satires of sexual encounters with some now well > known language poets before such bodies were even formally identified as > such - vaguely remember them as printed in small, stapled editions at Kinkos > before Kinkos was Kinkos. > > > > Stephen V > > http://stephenvincent.net/blog/ > > > > > ========================================================================= Date: Sat, 5 Apr 2008 00:28:38 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wystan Curnow Subject: Re: Roy Exley : ON poets writing NOVELS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Roy, the comparison with the visual arts doesn't advance much the = question of what is at stake when poets take to fiction. The market distinction between say painting and = photography not comparable with that between poetry and fiction. I know = little or nothing about the US literary marketplace, but here in New = Zealand, the rise of fiction has been at the expense of poetry, and code = switching is one feature of the trend. Wystan =20 ________________________________ From: UB Poetics discussion group on behalf of Roy Exley Sent: Fri 4/04/2008 11:40 p.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Roy Exley : ON poets writing NOVELS Alison, Thank you for your very sane and sober analysis/justification of/for = your reasons for moving from poetry to prose, which I imagine still retain a symbiotic relationship in your repertoire. There seems to be more than a fair share of emotion flying around about this subject, but just as a contemporary artist might use painting, photogrpahy, video, sculpture, = etc. as part of his or her body of work, I see no reason why writers = shouldn't also use different forms without feeling that they have to justify themselves. I am at the other end of the spectrum to you as far as = duration is concerned, I enjoy writing short, spare poems, minimal in both = subject and execution and I also enjoy writing short stories where the widest possible narrative can be driven by the smallest amount of written = material. I am also aware that like painting and photography, prose and poetry can feed off and energise each other. So often these days on the jacket = blurbs of books you can read "Poetically written' or "Brought alive through its poetic descriptions" or "A poetic testament". Textual architecture = aside, neither form is of course exclusive unto itself, so why quibble? On 3/4/08 4:07 pm, "Alison Croggon" wrote: > I write novels principally because the form fascinates me. I am a = lyric poet > and there were times when I felt constricted and restless within the = line, I > wanted the space and architecture of long prose. Epic fantasy seems to = me to > be a logical extension of poetry, the contemporary form of epic = poetry, > which were popular art forms in their day. I don't see anything wrong = with > popular art forms. I doubt I'll write another series though. My other > published novel is a poetic non-narrative memoir/fiction/essay of = around 100 > pages. I have various plans for others. One day I'd like to write a = prose > piece as perfect as Dubliners, in the spirit of feeling that one's = reach > should exceed one's grasp. Poetry has always taken care of herself. > > All best > > A > > >> -----Original Message----- >> From: UB Poetics discussion group = [mailto:POETICS@LISTSERV.BUFFALO.EDU] On >> Behalf Of CA Conrad >> Sent: April 3, 2008 7:39 AM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Re: ON poets writing NOVELS (OH! it pains me to write those >> words!) >> >> Allen, OK. And YES. >> >> LET ME BE HONEST about something I hadn't mentioned earlier. I = FIRMLY >> BELIEVE the poets I have known in the past (most of them at least) = who >> turned to novels did so because of MONEY and because of READERSHIP. = Or >> wanted to be LOVED MORE or something. (poets who NEED that much LOVE = are >> always trouble!) Poetry wasn't getting that for them, and on many = levels >> they were dissatisfied. And I LOATHE this behavior because I think = it >> takes >> courage to write poems, TO NOT GIVE A FUCK that it's not making you = money, >> or whatever it is you WANT. >> >> In the end it's a very sincere, pissed off way I had entered this >> discussion! I want the poets I have Loved to not want such nonsense = from >> this world! I hate when I find out I have cowards for friends! I'd >> rather >> my family were cowards than my friends frankly. But I DO actually = find >> most >> novels a tedious thing to approach, besides these other reasons. >> >> In some cases it's for very different reasons that some poets write >> novels, >> like my friend Magdalena Zurawski, who turned to fiction for reasons = more >> complicated than the above mentioned ones, but they're not my reasons = to >> explain. Magdalena, who is one of my ABSOLUTE favorite people on = earth >> has >> SLAVED over her novel THE BRUISE for seven LONG years and as I've = said >> before, it's an epic poem to me. It's a poem. When I read it (and = I've >> been reading it for years as it comes out of her) her poems WHICH I = HAVE >> ALWAYS LOVED are there, are in it, this, this thing she calls a = novel. A >> NOVEL! I will say NOOOOOOVEL slowly in a mirror a thousand times and = it >> still makes no entrance. >> >> If I MUST read a novel it usually needs to be a poet's novel. I = guess. >> >> Poems are my life in every way, everyday, and I no longer mean poems = I'm >> reading but hearing-feeling-seeing-smelling them on the streets, >> unwritten, >> sometimes better left unwritten. >> >> Sarah, Patchen's Journal of Albion Moonlight is not a novel? See, = you're >> getting us into the PAINFUL task of figuring out what a novel is, and = I >> don't know how to have that discussion. I DON'T WANT TO HAVE THAT >> DISCUSSION LIKE MY "STRAIGHT" WOMAN FRIEND WHO IS TERRIFIED SHE IS A >> LESBIAN >> BUT NEVER SAYS SO AND what can I do about that? If I ever write a = novel I >> will title it SARAH DON'T HATE MY MARIGOLDS! >> >> Sarah, DON'T HATE MY MARIGOLDS! Well, you like 1 percent of them = anyway. >> Ah, fuck it, I don't care if you hate them, as they probably don't = like >> you >> either! >> JUST kidding, I think. >> >> CAConrad >> http://PhillySound.blogspot.com = >> >> No virus found in this incoming message. >> Checked by AVG. >> Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: >> 02/04/2008 >> 4:14 PM >> >> >> No virus found in this outgoing message. >> Checked by AVG. >> Version: 7.5.519 / Virus Database: 269.22.5/1356 - Release Date: >> 02/04/2008 >> 4:14 PM >> >> > ========================================================================= Date: Fri, 4 Apr 2008 06:25:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Re: Siddhartha, in defense of Baby Boomers MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline John Cunningham wrote: >>To limit oneself to discussing only one of Hesse's books is unfortunate. >>What about The Glass Bead Game (otherwise known as Master Ludi), or >>Steppenwolf, Journey To The East or his numerous other masterpieces - all >>devoured by the Hippies along with their electric koolaide which was a true >>acid test of fine literature. Go ahead and discuss away. My reason for talking about THAT book, as I stated, was because of the Barnes and Noble statement about hippies for THAT particular book, which was similar to the anti-hippie statements ALSO about THAT book from my old and irritating asshole professor. Did you read my post? If you had you would have understood that I would think. And WHY is it unfortunate? I mean, YOU'RE now discussing these other books, right? So, the conversation goes forward with you, which is not unfortunate. I mean it's not as if I wrote a 700 page book about the subject! All I wrote was a handful of paragraphs. And now you've written a few paragraphs, and I'm writing a few more, and so on and so on. I've received a bunch of back channeled e-mails about this, two of them from folks on this List who want to complain to me in private about how much the Baby Boomers destroyed the world. One of them (DON'T WORRY SUNSHINE I WON'T BLOW YOUR COVER!) wrote, "These are the same people who gave Ronald Reagan the white house don't forget!" Our current president is a Baby Boomer, so, of course not ALL of them liked Hesse, in fact Bush probably never even read Hesse. Wish he had, frankly. He knew Hunter S. Thompson, but Thompson threw him out of his house when Bush did too much coke at a party and passed out in the bathtub. (THIS drug use of Bush's has always irritated me because of the SHIT they put Clinton through for smoking a little weed! Not that I'm a fan of Clinton's since I believe history will prove that he was one of our worst leaders EVER!) What would have happened if Thompson had NOT thrown Bush out? What if Thompson and his friends had instead taken the young George Bush under their wing with Daddy Bush working for the CIA at the time? And Bush was close to the radical fringes back then, hard to believe. Well, he partied with them at least, so, maybe he could have hung around and gotten some of that radical juice flowing in his blood. And maybe he would have still become president, but a different kind of president. A very different kind of president. Ever since reading Thompson's story about tossing Bush out onto the lawn I've wondered about this. You never can tell when you're on the edge of changing a life. Thompson was rather PROUD of having thrown Bush out, and maybe he had a right to feel proud? CAConrad http://PhillySound.blogspot.com ========================================================================= Date: Fri, 4 Apr 2008 06:20:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Re: ON poets writing NOVELS (OH! it pains me to write those words!) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline (BREAKING NEWS! Poetry news! The AMAZING Dorothea Lasky (formally trashed on this List by the jealous and mean) has an INCREDIBLE new book out titled TOURMALINE! I posted about it on PhillySound just now, with links, IT'S A GREAT BOOK! http://PhillySound.blogspot.com ) Now to the discussion at hand: Robert Zamsky wrote: >>I want those I love to do only that which I love; anything else is a >>personal betrayal. I want them to need only my love. >>There is a psychoanalytic term for this. Robert, not sure if you're referring to the novels? If you read carefully you would have noticed that I was upset about friends writing novels BECAUSE of these other things: money, readership, etc. For me it was a betrayal (I'll use this word since you did as well) because they were VERY OPEN about WHY they chose to start writing novels, for these things which had NOTHING to do with the LOVE of writing. And they LOVED writing poems! Only they never returned to them. And frankly I LOVED the poems they LOVED to write! It makes me sad that talented POETS I have known who sincerely enjoyed writing poems left poetry behind because it wasn't getting them these other phantom-things. NOT ONE OF THEM HAS MADE IT BIG WRITING THE NOVELS, so I hope (and I do mean this sincerely) they are at least enjoying writing the novels. I wish they could find a way TO WRITE BOTH! It seems, at least from what Alison Corggon and others say in this discussion, that it IS possible. And this is good news. I've already said Eileen Myles gets better and better at writing poems even though she also now writes novels, and operas, and all the other things she writes so brilliantly. Just wanted to clear that up before you go too far into your case study of my condition. But by all means go ahead and cheer me up with some analysis. Is there medication at the end of it? I HOPE SO! I prefer a mushroom omelet with my medication Dr. Zamsky! PLEASE! (sorry I forgot the PLEASE at first!) (I hope you have a sense of humor? I actually burst out laughing when I read your response! That was FUN!) (and, Dr. Zamsky has a nice RING to it, don't you think!?) (and, will you wear a white coat?) (a white coat would be nice I think.) (but if you don't have a white one then a blue one, or a green one, but not a brown one.) (OK, a brown one if you must, but not a black one. analysis is not a funeral.) (at least I think it's not.) Tenaciously yours, CAConrad http://PhillySound.blogspot.com ========================================================================= Date: Fri, 4 Apr 2008 14:16:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lower Manhattan Cultural Council Subject: This Month: April 2008 Mime-Version: 1.0 Content-Transfer-Encoding: binary Content-Type: text/plain; charset="iso-8859-1"; format="flowed" To view this email as a web page, please follow this link: Lower Manhattan Cultural Council THIS MONTH: April 2008 EVENTS Open Studio Weekend 2008: April 25, 26, 27 LMCC will open its Workspace Residency studio space to the public for only the second time since the 2007-2008 session began in September. Artists and writers will show work created while in-residence through open hours at the studios, a Saturday afternoon reading and performance followed by a screening of film/video work. RSVP is required for all events! The Downtown Dinner: May 7, 2008 Celebrate the artistic vibrancy of New York at The Downtown Dinner, LMCC’s annual spring benefit, on May 7th on the top floor of 7 World Trade Center. This spectacular evening, which includes a cocktail reception and seated dinner, will feature original performances, commissioned art installations, interactive happenings, and a sale of contemporary art. With stunning 360-degree views of Manhattan as the backdrop, the 2008 Downtown Dinner promises an unforgettable experience. To purchase tickets or to make a donation online, visit LMCC’s donation page: You can also download a printable reservation form here: GRANTS Creative Curricula: Grants for Arts in Education Creative Curricula makes matching grants for up to $5,000 to partnerships between schools and teaching artists or cultural organizations. Funding is provided for in-classroom projects that focus on the integrated study of the arts and non-arts subjects developed by collaborating classroom teachers and teaching artists. Application Deadline: June 3, 2008 Application & Guidelines will be available on the LMCC website on April 14, 2008. LMCC Hosts Grant Workshops: Seedco Financial ArtBusiness Grants Seedco Financial will provide matching grants of up to $2,000 to assist established small and mid-sized nonprofit arts organizations in selected areas of Lower Manhattan with planning costs related to expansion projects. Qualifying neighborhoods include Chinatown, the Lower East Side, and parts of the East Village. Application Deadline: May 12, 2008 Attending an information session is required. Information sessions will be offered in April by several organizations in downtown locations. LMCC will host two information sessions at our offices at 125 Maiden Lane in Lower Manhattan (RSVP required): Thursday, April 17 at 4pm Monday, April 21 at 4pm For more information on this program, contact Edgar Zavala, Senior Program Associate, Seedco Financial, at (646) 843-6510 or ezavala@seedco.org RESIDENCY Open Call for Artists: 2008-2009 Workspace Artist Residency Deadline: Thursday, May 15, 2008 at 5PM LMCC is thrilled to announce the Open Call for the 2008-2009 Workspace Artist Residency program. The in-office deadline will be Thursday, May 15, 2008 at 5PM. Application Guidelines and more details about the program are available HERE! SWING SPACE Bobby Previte's April in New York 2008 @Seaport!: 210 Front Street at Beekman April 15-19, nightly performances at 8pm For the second year running, Lower Manhattan Cultural Council and Art of Franza, Inc. present drummer/composer Bobby Previte in five nights of duets with some of his favorite improvisors. This year's collaborators include Jamie Saft, Mike Pride, Ikue Mori, Briggan Krauss, and DJ Olive, while VJ Benton-C Bainbridge floods the space with a stunning video/lighting installation. All performances begin at 8pm. Admission is $5. For more information click here. Return to top This e-newsletter is made possible with support from the New York State Legislature, through the support of Assembly Speaker Sheldon Silver, as well as New York State Office of Parks, Recreation & Historic Preservation. Thank you to all of our supporters! View the full list here. LMCC recieves public funding from the Department of Cultural Affairs, New York City; New York State Council on the Arts; and the National Endowment for the Arts. LMCC's official media partner: New York magazine LMCC's official airline partner: Continental Airlines Lower Manhattan Cultural Council 125 Maiden Lane, 2nd Floor New York, NY 10038 T: 212.219.9401 F: 212.219.2058 ========================================================= To help you read this email properly, you can use the link below and see the message as it was intended. Make sure you copy the entire link below into your browser's address bar: ========================================================= To send this email to a friend, please follow this link: This CoolerEmail was delivered to you by Lower Manhattan Cultural Council. To be taken off of Lower Manhattan Cultural Council's list, to update your preferences or send comments to Lower Manhattan Cultural Council, please follow this link: Postal Address: 249 Highway 101, Suite 525 Solana Beach, CA 92075 Powered by CoolerEmail For more information, please visit ========================================================================= Date: Fri, 4 Apr 2008 14:16:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lower Manhattan Cultural Council Subject: This Month: April 2008 Mime-Version: 1.0 Content-Transfer-Encoding: binary Content-Type: text/plain; charset="iso-8859-1"; format="flowed" To view this email as a web page, please follow this link: Lower Manhattan Cultural Council THIS MONTH: April 2008 EVENTS Open Studio Weekend 2008: April 25, 26, 27 LMCC will open its Workspace Residency studio space to the public for only the second time since the 2007-2008 session began in September. Artists and writers will show work created while in-residence through open hours at the studios, a Saturday afternoon reading and performance followed by a screening of film/video work. RSVP is required for all events! The Downtown Dinner: May 7, 2008 Celebrate the artistic vibrancy of New York at The Downtown Dinner, LMCC’s annual spring benefit, on May 7th on the top floor of 7 World Trade Center. This spectacular evening, which includes a cocktail reception and seated dinner, will feature original performances, commissioned art installations, interactive happenings, and a sale of contemporary art. With stunning 360-degree views of Manhattan as the backdrop, the 2008 Downtown Dinner promises an unforgettable experience. To purchase tickets or to make a donation online, visit LMCC’s donation page: You can also download a printable reservation form here: GRANTS Creative Curricula: Grants for Arts in Education Creative Curricula makes matching grants for up to $5,000 to partnerships between schools and teaching artists or cultural organizations. Funding is provided for in-classroom projects that focus on the integrated study of the arts and non-arts subjects developed by collaborating classroom teachers and teaching artists. Application Deadline: June 3, 2008 Application & Guidelines will be available on the LMCC website on April 14, 2008. LMCC Hosts Grant Workshops: Seedco Financial ArtBusiness Grants Seedco Financial will provide matching grants of up to $2,000 to assist established small and mid-sized nonprofit arts organizations in selected areas of Lower Manhattan with planning costs related to expansion projects. Qualifying neighborhoods include Chinatown, the Lower East Side, and parts of the East Village. Application Deadline: May 12, 2008 Attending an information session is required. Information sessions will be offered in April by several organizations in downtown locations. LMCC will host two information sessions at our offices at 125 Maiden Lane in Lower Manhattan (RSVP required): Thursday, April 17 at 4pm Monday, April 21 at 4pm For more information on this program, contact Edgar Zavala, Senior Program Associate, Seedco Financial, at (646) 843-6510 or ezavala@seedco.org RESIDENCY Open Call for Artists: 2008-2009 Workspace Artist Residency Deadline: Thursday, May 15, 2008 at 5PM LMCC is thrilled to announce the Open Call for the 2008-2009 Workspace Artist Residency program. The in-office deadline will be Thursday, May 15, 2008 at 5PM. Application Guidelines and more details about the program are available HERE! SWING SPACE Bobby Previte's April in New York 2008 @Seaport!: 210 Front Street at Beekman April 15-19, nightly performances at 8pm For the second year running, Lower Manhattan Cultural Council and Art of Franza, Inc. present drummer/composer Bobby Previte in five nights of duets with some of his favorite improvisors. This year's collaborators include Jamie Saft, Mike Pride, Ikue Mori, Briggan Krauss, and DJ Olive, while VJ Benton-C Bainbridge floods the space with a stunning video/lighting installation. All performances begin at 8pm. Admission is $5. For more information click here. Return to top This e-newsletter is made possible with support from the New York State Legislature, through the support of Assembly Speaker Sheldon Silver, as well as New York State Office of Parks, Recreation & Historic Preservation. Thank you to all of our supporters! View the full list here. LMCC recieves public funding from the Department of Cultural Affairs, New York City; New York State Council on the Arts; and the National Endowment for the Arts. LMCC's official media partner: New York magazine LMCC's official airline partner: Continental Airlines Lower Manhattan Cultural Council 125 Maiden Lane, 2nd Floor New York, NY 10038 T: 212.219.9401 F: 212.219.2058 ========================================================= To help you read this email properly, you can use the link below and see the message as it was intended. Make sure you copy the entire link below into your browser's address bar: ========================================================= To send this email to a friend, please follow this link: This CoolerEmail was delivered to you by Lower Manhattan Cultural Council. To be taken off of Lower Manhattan Cultural Council's list, to update your preferences or send comments to Lower Manhattan Cultural Council, please follow this link: Postal Address: 249 Highway 101, Suite 525 Solana Beach, CA 92075 Powered by CoolerEmail For more information, please visit ========================================================================= Date: Fri, 4 Apr 2008 18:01:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lou Rowan Subject: Zach Mason, Lou Rowan at Powell's Sunday at 7:30 Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Dear Colleagues, Zach will read from his Starcherone Prize-winning, The Lost Books of the Odyssey, and Lou from My Last Days (Chiasmus) and Sweet Potatoes (Ahadada). Please join us for an Oulipan, satirical, lyrical evening at Powell's books on Burnside In Portland. Details in the calendar at www.lourowan.com. thanks, Lou ========================================================================= Date: Fri, 4 Apr 2008 21:25:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aryanil Mukherjee Subject: Siddhartha, the film In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Old time Beat pal Conrad Rooks had made a film of the same name after the Hesse novel in 1972. It was a great film I thought, refeshing and personalized, if not sumptously innovative, starring Sashi Kapoor and Simi Gerewal, both noted Indian stars of that era. Hemanta Kumar Mukherjee wrote an unforgettable score for the film making good use of classical Tagorian music. Aryanil ========================================================================= Date: Fri, 4 Apr 2008 21:25:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: On Poets as Characters in Novels!! In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Last year I picked up a used detective novel with=20 the ultimate British detective, Geoffrey Chaucer.=20 Seriously. Name of book and author has mercifully left me--it was dreadful. Mark At 01:46 PM 4/4/2008, you wrote: >The poet Placido (Gabriel de la Concepcion=20 >Valdes) has a walk-on part in Cirilo=20 >Villaverde's seminal 19th-century novel about=20 >slavery in Cuba, Cecilia Valdes. Jose Saramago=20 >wrote a novel called "The Year of the Death of=20 >Ricardo Reis." Jose Lezama Lima and Eliseo=20 >Diego and Roque Dalton appear in Cuban writer=20 >Jesus Diaz's superb novel "Las Palabras=20 >perdidas." Diego appears (as "Eliseo Riego=20 >Leonardo Padura's detective novel=20 >"Mascaras." Reinaldo Arenas puts *very*=20 >thinly-disguised poets in his Pentagonia cycle=20 >of novels (example: Delf=EDn Proust for Delf=EDn=20 >Prats, Miguel Barniz for Miguel=20 >Barnet). Wallace Thurman does likewise in=20 >"Infants of the Spring." I think Aim=E9 C=E9saire=20 >appears in one of the novels by Patrick=20 >Chamoiseau -- "Texaco," maybe? Francois Villon=20 >was made into a romantic figure in an operetta=20 >(!) by Rudolf Friml (!!), "The Vagabond=20 >King." There's Peter Ackroyd's "Chatterton" too. > >And doubtless many more. > > >----- Original Message ----- >From: Mark Weiss >Date: Friday, April 4, 2008 6:14 am >Subject: Re: On Poets as Characters in Novels!! >To: POETICS@LISTSERV.BUFFALO.EDU > > > > There was also a novel in which a Welsh poet surprisingly like Dylan > > Thomas is killed by a dentist. Peter Viereck maybe? > > > > At 06:47 PM 4/3/2008, you wrote: > > >Thanks, Wystan. Is Reading Room online?? > > > Just reading Hank Lazar's review/refleciton on On Kawara's > > > collaborative book on the body and achitecture. Be interested in > > > the connections you make with Ron and Acker. > > > > > > Stephen V > > > > > > > > >Wystan Curnow wrote: Stephen, > > > Silliman appears in Chapter 2 of Acker's 1978 novel, The > > >Adult Life of Toulouse Lautrec. > > >I discuss it in an essay. "Autobiography: Does it have a future? Ron > > >Silliman's 'The Alphabet' and On Kawara's 'Today Series'", published > > in > > >READING ROOM 1, 2007. > > > Wystan > > > > > >-----Original Message----- > > >From: UB Poetics discussion group= [mailto:POETICS@LISTSERV.BUFFALO.EDU] > > >On Behalf Of Stephen Vincent > > >Sent: Friday, 4 April 2008 7:09 a.m. > > >To: POETICS@LISTSERV.BUFFALO.EDU > > >Subject: On Poets as Characters in Novels!! > > > > > >Any good suggestions and/or appraisals - from ancient to= contemporary?? > > > I remember Kathy Acker did some - maybe they were wonderfully > > >scandalous or may be not intended that way at all - auto/fictional > > or > > >'real' celebrations and/or satires of sexual encounters with some now > > >well known language poets before such bodies were even formally > > >identified as such - vaguely remember them as printed in small,= stapled > > >editions at Kinkos before Kinkos was Kinkos. > > > > > > Stephen V > > > http://stephenvincent.net/blog/ > > > > > ========================================================================= Date: Fri, 4 Apr 2008 18:34:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Fwd: Epigramititis: 118 Living American Poets Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed This didn't go to the list for some reason. Aldon's more recent post regarding autobio of an ex-colored man is also a good example (although I prefer "black no more" of the novels dealing with passing during that era). but there are lots of cases of things dealing with fraud all through literature. there's a certain sense of fraudulence in a couple of the canterbury tales, wife of bath and the summoners tale if I remember right. There's a hoaxish element to don quixote. almost all of shakespeare's best comedy's have some element of fraud to them. there are whole books built as confidence games like the manuscript found at saragossa, and the topic of deceit is as greek as greek tragedy gets. it also was one of the big obssesions of William Gaddis and played a part in every novel he wrote from the recognitions to agape agape Begin forwarded message: > From: jfq@myuw.net > Date: April 4, 2008 9:02:12 AM PDT > To: ALDON L NIELSEN > Subject: Re: Epigramititis: 118 Living American Poets > > thanks! > > I quite enjoy the idea of fraud in literature, and particularly > fiction. After all, at root, with the occasional exception of a > novel by a Kathy Acker or David Markson, all fictional stories are > lies masquerading as truth. And we know it, yet we choose to enter > a state while reading where we suspend our disbelief in the obvious > lies. we do this for any number of reasons, for a distraction, for > entertainment, in pursuit of a larger truth. but the basic fact of > the sentences being untrue and/or referring to things that don't > exist and are completely unreal is inescapable. > > which puts me in mind of this latest bout of exposed hoax > memoirists. to my way of thinking, anybody who believed these > hoaxers in the first place only got what was coming to them. their > writing is neither improved nor degraded by their works being > labeled as novels or as memoirs. all that changes is the readers > suspension of disbelief. > > On Fri, 4 Apr 2008, ALDON L NIELSEN wrote: > >> I love that poem -- >> >> I guess my rephrasing of the question is a little less clear apart >> from the >> post I was responding to at the time -- the puzzle, at least for >> me, is in the >> reading -- what is being said about the subject in such a case? >> for example, >> though a post not a poem -- I suggested here that a book and its >> author might >> be a hoax -- most readers of this list would know instantly that I >> had to know >> neither was a hoax -- there appears to have been a difference of >> opinion on how >> to read my suggestion. Some thought that by suggesting the book >> and its >> author might be a hoax I was thereby dismissing both -- I, of >> course, would >> never do such a thing. >> >> On Fri, Apr 4, 2008 12:11 AM, Jason Quackenbush wrote: >> >>> On Apr 3, 2008, at 9:54 AM, ALDON L NIELSEN wrote: >>>> >>>> So that the real question turns out to be, what do we make of an >>>> assertion in a >>>> poem whose author had to have known that it wasn't true? >>> >>> i think that's a very real question. i attempted to answer it in a >>> poem once. you can read that poem here if you like: http:// >>> www.blazevox.org/061-jfq.pdf >>> >>> it's the second one. >>> >>> >>> >> >> >> >> <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> >> >>>>>> >> >> 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: Fri, 4 Apr 2008 22:13:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Cunningham Subject: Re: Siddhartha, in defense of Baby Boomers In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1250" Content-Transfer-Encoding: 7bit Hey, I hear you. I just happen to be an aging hippy who spent a great deal of time digging Hesse. I made the mistake a while back of referring to Rosemary Waldrop's Burning Deck Press as Burning Bush Press but, then again, maybe this was Freudian. And Bush follows a long line of not very astute presidents. Probably the last was John F. Well, Carter was decent anyway. But then, I'm just a Canuck watching from the sidelines and considering we have Bush's buddy Harper we can't talk very much. Me, I gave up on politics in the 80s and haven't looked back. The way I see it, one skunk stinks as bas as another. John Cunningham -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of CA Conrad Sent: April 4, 2008 6:26 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Siddhartha, in defense of Baby Boomers John Cunningham wrote: >>To limit oneself to discussing only one of Hesse's books is unfortunate. >>What about The Glass Bead Game (otherwise known as Master Ludi), or >>Steppenwolf, Journey To The East or his numerous other masterpieces - all >>devoured by the Hippies along with their electric koolaide which was a true >>acid test of fine literature. Go ahead and discuss away. My reason for talking about THAT book, as I stated, was because of the Barnes and Noble statement about hippies for THAT particular book, which was similar to the anti-hippie statements ALSO about THAT book from my old and irritating asshole professor. Did you read my post? If you had you would have understood that I would think. And WHY is it unfortunate? I mean, YOU'RE now discussing these other books, right? So, the conversation goes forward with you, which is not unfortunate. I mean it's not as if I wrote a 700 page book about the subject! All I wrote was a handful of paragraphs. And now you've written a few paragraphs, and I'm writing a few more, and so on and so on. I've received a bunch of back channeled e-mails about this, two of them from folks on this List who want to complain to me in private about how much the Baby Boomers destroyed the world. One of them (DON'T WORRY SUNSHINE I WON'T BLOW YOUR COVER!) wrote, "These are the same people who gave Ronald Reagan the white house don't forget!" Our current president is a Baby Boomer, so, of course not ALL of them liked Hesse, in fact Bush probably never even read Hesse. Wish he had, frankly. He knew Hunter S. Thompson, but Thompson threw him out of his house when Bush did too much coke at a party and passed out in the bathtub. (THIS drug use of Bush's has always irritated me because of the SHIT they put Clinton through for smoking a little weed! Not that I'm a fan of Clinton's since I believe history will prove that he was one of our worst leaders EVER!) What would have happened if Thompson had NOT thrown Bush out? What if Thompson and his friends had instead taken the young George Bush under their wing with Daddy Bush working for the CIA at the time? And Bush was close to the radical fringes back then, hard to believe. Well, he partied with them at least, so, maybe he could have hung around and gotten some of that radical juice flowing in his blood. And maybe he would have still become president, but a different kind of president. A very different kind of president. Ever since reading Thompson's story about tossing Bush out onto the lawn I've wondered about this. You never can tell when you're on the edge of changing a life. Thompson was rather PROUD of having thrown Bush out, and maybe he had a right to feel proud? CAConrad http://PhillySound.blogspot.com No virus found in this incoming message. Checked by AVG. Version: 7.5.519 / Virus Database: 269.22.5/1358 - Release Date: 03/04/2008 6:36 PM No virus found in this outgoing message. Checked by AVG. Version: 7.5.519 / Virus Database: 269.22.5/1358 - Release Date: 03/04/2008 6:36 PM ========================================================================= Date: Sat, 5 Apr 2008 00:17:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: epigraphoses MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 recently on the HEATSTRINGS BLOG: Charles Wright reading Photos from Obama's visit to Penn State A.B. Spellman Response to media response to Rev. Wright <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> 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: Fri, 4 Apr 2008 21:23:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: On Poets as Characters in Novels!! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I don't think anyone has mentioned Saul Bellow's Humbolt's Gift. The alcoholic collapse of Delmore Schwartz forms the basis for one of Bellow's best. t ----- Original Message ---- From: David Chirot To: POETICS@LISTSERV.BUFFALO.EDU Sent: Friday, April 4, 2008 9:06:20 AM Subject: Re: On Poets as Characters in Novels!! Dr Zhivago by a great poet who wrote a great novel, Boris Pasternak, who also provides with the novel a selection of the poetry of Zhivago. There are several books which interweave "novelizations" and "dramatizations" and "filmizations"of the life of Rimbaud with "actual biography." The novels of Roberto Bolano--a poet himself-- are filled with poets as main and subsidiary characters, including often the narrator-- The Satyricon of Petronious may be read in a certain sense as a novel of the adventures of a poet-- Adventures in the Skin Trade by Dylan Thomas--a young aspiring writer/poet leaves dreary provincial home for wild world of London-- Nabakov's Pale Fire-- On Thu, Apr 3, 2008 at 9:57 PM, Gabrielle Welford wrote: > Flann O'Brien...yeah! i'll eat my hat if flann o'brien is not considered > a poet. :-) g > > On Thu, 3 Apr 2008, Stephen Vincent wrote: > > > Any good suggestions and/or appraisals - from ancient to contemporary?? > > I remember Kathy Acker did some - maybe they were wonderfully > scandalous or may be not intended that way at all - auto/fictional or > 'real' celebrations and/or satires of sexual encounters with some now well > known language poets before such bodies were even formally identified as > such - vaguely remember them as printed in small, stapled editions at Kinkos > before Kinkos was Kinkos. > > > > Stephen V > > http://stephenvincent.net/blog/ > > > > > ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Sat, 5 Apr 2008 01:26:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: joe ambrose in town MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Writer, film maker, musician and culture terrorist Joe Ambrose has a penchant for digging around the cultural margins and teasing out of the shadows relevant irreverance, countercultural phenomena, outside and (often) explosive art of pivotal significance. Subject matter and artists regularly delineated by sitting on the periphery of popular culture. His written output includes the novels Serious Time and Too Much Too Soon. Moshpit Culture, a blood stained and sweat-soaked inside investigation on hardcore dancing; several historical studies of the war of Irish Independance including the best selling Dan Breen and The IRA and is currently editing an anthology of writings by the revolutionary Irish Brotherhood, the Fenians. His writing also appears in numerous magazines, journals and collections. In 1992 he co-organized the Here To Go Show in Dublin. This mixed media art show was a celebration of the cultural impact and significance of the work of Tangier Beat Scenesters Brion Gysin and William Burroughs. The event was filmed extensively and the movie Destroy All Rational Thought documented many aspects of this week long arts show. It was initially released on video and then later, as an enhanced DVD. He is a DJ in art hip hop combo Islamic Diggers and has been living in Marrakesh, Morocco for the past 7 months hanging with the likes of the Sufi mystic trance musicians The Gnoua Brotherhood of Marrakesh. Ambrose previously produced the Brothers for the William Burroughs tribute CD, 10% File Under Burroughs, which also features John Cale, Paul Bowles, Marianne Faithfull, Chuck Prophet, Herbert Huncke and The Master Musicians of Joujouka. Whilst Ambrose has been getting down in Africa, the Islamic Diggers track William Burroughs Dont Play Guitar has featured on the soundtrack to a new Burroughs documentary, Words of Advice, which also features Patti Smith, Hal Willner and Bill Laswell. Another Diggers track, Hashishin, was included along with work by Stockhausen in a January ’08 sound installation, Cut Up, curated by Copenhagen’s Karriere in conjunction with the Danish Museum of Modern Art. Ambrose has previously worked with Anita Pallenberg, Richard Hell, Chrissie Hynde and Herbert Huncke. He is Literary Editor of LA-based magazine, Outsideleft.com. In 2007 he was asked by Iggy Pop to write the sleevenotes for Escaped Maniacs, the Iggy and the Stooges DVD package. His extreme travel writing book, Chelsea Hotel Manhattan has recently been published by Headpress and a new edition of Moshpit is about to be published by Tsunami. Joe talked very recently with me about his latest ventures. Joe, give me some background on the Tsunami edition of Moshpit..... Moshpit Culture first came out in 2001 and reflected what I’d been up to in the preceding years. I first got dragged into a moshpit, rather improbably, at a Shane McGowan show. I love his work but at that time, the late 90s, I was listening almost exclusively to hip hop, reggae, and the kind of punkish metal exemplified by Slayer, Queens of the Stone Age, the Beastie Boys and RATM. I was going to hip hop shows whenever I could, I saw Snoop a load of times and I was kind of following Gregory Isaacs, the Cool Ruler, around the place. I must have seen Gregory in action about forty times back then. But mainly it was hardcore acts and Slipknot and Rancid and the likes. So what attracted you to the Moshpit? I liked the fraternity that I found at those hardcore shows, the openness and the willingness to experiment with new people and to build a new nation which was not of this world. People had talked about experiencing these feelings in the rave scene, which immediately preceded the emergence of the new punk era but I didn’t go for that because I like music and most of the music associated with rave culture was second rate, doesn’t stand the test of time, was mildly diverting at the time but not the real thing. Also, when they were talking about this spirit of collective fraternity and stuff, what they were really talking about was the drugs they were taking. Ecstasy and a trashy peace and love vibe. The moshpit to me seems to work on a completly different level.... Moshers were often far more solid sort of individuals. A lot of moshers took good care of their bodies, didn’t do huge amounts of drugs, kept down day jobs or, if very young, lived far away from the city centre with their families in hugely repressive social environments which caused them to see moshing and much of what went with it as hugely liberating. The publishers, Tsunami, are based in Italy, arent they? There is already a metal record label in Italy called Moshpit Culture so I knew the book had impacted a bit there. Also Italians of a certain type are much enamoured of the black leather jacket and shades school of rock chic. Give them anything with a loud guitar and they’re off! I have some sympathy with that attitude. The Tsunami edition will be called Moshpit. Things have changed since I wrote the book but it’s still relevant. It wasn’t written as a journalistic account of a scene but rather as travel writing which brought the reader inside the head of the alienated teenage mosher. So, theoretically at least, somebody could pick it up in 200 years time and still find its contents interesting or relevant. I had a ton of fun writing it and I get emails about it all the time, mostly from people doing postgraduate research into youth culture or music culture. As far as I know it’s the only book which deals exclusively with this huge cultural movement which has had a phenomenal influence upon the lives of millions. Yeah, that book`s subject matter; the bands and people that make up the moshpits of the world are a popular cultural form of expression, a response to the social and political spaces they inhabit..... I gave a talk about moshing at Brighton University shortly after the book came out and the guy introducing me admitted that, when he heard that someone was going to explain moshing to them, he thought it had something to do with winemaking. Jeez.........thats crazy. You are flying out to NYC again soon Joe, whats happening this time around? The Chelsea Hotel is hosting a launch for Chelsea Hotel Manhattan. There has been a change in management since I stayed there so it’ll be interesting to see what improvements they’ve made. There’s been minor controversy about some changes they’ve been making but I don’t see why people active in the arts should be so caught up in trying to preserve the past. The Chelsea’s past was great – and it all really happened there – but that particular slice of the past finished a while back. We`ve jammed on those changes in another interview, havent we..... I’ve got all those albums, I’ve read all those books. I hope, really, that the new management make some sort of a dynamic intervention. Get Richard Rogers or someone to overhaul it. We’ll see. In any case, this launch event is an opportunity for people to come into the Chelsea Hotel and have a look around. How has the book been received so far? I’ve been in Morocco the last six months. I don’t get too much feedback about the book down there but such as I’ve had has been positive. I got a really nice email from Chris Stein of Blondie about it which really pleased me. I like his work a lot, not just with Blondie but Wild Style, the Gun Club, Iggy. That’s New York City for me. I heard Ira Cohen was going to be involved in the launch.... Unfortunately Ira Cohen, who makes numerous appearances in the book and who contributed to it, has been sick recently. Chris Stein mentioned in his email that Ira is very much himself again and I hope that is the case. Ira is a resource. You can’t replace resources. I hope we get a chance to hang out while I’m in town. I met Ira in 1991 on the Brion Gysin scene, Ira had been a good pal of Gysin’s and I was starting work on the Here To Go Show which sought to highlight Gysin. Naturally Ira was involved, did a great photographic show in Dublin, and did readings. You can see him reading in the movie of the Show, Destroy All Rational Thought, which came out on DVD last year. You have been living in North Africa. Have you been working down there? I’ve been wrestling with my third novel, The Darker Side of Me. I’ve been having trouble with it for a couple of years but I think I cracked it in Marrakesh, where I’ve been living. I’ve also been editing an anthology of writings by the Fenians, the secret 19th Century Irish revolutionary organisation. This will come out later this year with Mercier Press. I’ll be previewing some of my thoughts about the Fenians in a piece, Brotherhood, which will be in the next Headpress Journal, the “panther” issue guest edited by the fabulous John Sinclair, founder of the White Panthers and onetime manager of the MC5. I’ve written something about the equally fabulous Panther Burns for the same issue. Joe Ambrose performs from Chelsea Hotel Manhattan (Headpress) in New York City: Friday 18th April The Chelsea Hotel 7-30pm Saturday 19th April Bowery Poetry Club 12 to 1-30pm Monday 21st April Blue Stocking Books 7pm His latest extreme travel writing book, Chelsea Hotel Manhattan, is published by Headpress and is launched in the USA in April. There are a number of interviews and conversations we have had on various underground art, film, music and word projects, you can check them out on The Brink, hesterGlock and elsewhere. paulh 2522 Mission Street San Francisco On Fri, 4 Apr 2008 15:47:27 -0400 Ruth Lepson writes: > want to alert folks to a reading/presentation by my photographer > collaborator Rusty Crump & I at the Bowery Poetry Club at 4 on Sat., > April > 19. I¹ll read some poems from our book Morphology & rusty will show > some > slides & talk abt them, & we¹ll both briefly share some new things. > If > you¹re not preparing a Passover seder, come on down. > ========================================================================= Date: Sat, 5 Apr 2008 01:30:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: sid arthur coltrane et al MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit shit i feel terrible being a baby boomer myself and NO TOM I NEVER CONSIDERED my self a HIPPIE we came just before between the hippies and beats a sort of real lost generation long hair drugs etc wash.s///q park east village hippies meant something else in 1962/3 it meant long islanders who came for the day and split - tourists fakers post beatnik beret wearers > AND LEST WE FORGET THE MAGIC THEATRE >1. as CA said poems are my life too tho i wish i could write a novel > maybe call it CAKICKSASS or somethin > no seriously i write lousy prose sadly > a coupla short stories some reviews etc liner notes > but i wish i could write the great doesty - like tradgedy of my > working class family > their failings they're almost joys and be able to make it a real > proletarian tragedy > that hopefully wouldn't read like a melodrama and it certainly > wouldn't be for money > but i can't write a novel for shit > it would be a great way to get away from the sometimes boredom i > fall into > having written poems for 0ver 50 yrs now > alot of which of course suck - but then they too reek of humanity > ah the great american/russian novel with no redemption in the end > > here's my latest novel or a start anyway > > my parents died. everybody's do eventually. the secret is not to die > before they do. > > if anyone wants to write this with me please feel free to continue > here or on wryting 2. cecil taylor never sold out ornette using blood was not fusion it was harmolodics a different concept at that time 70's i believe actually hard boppers like blakey roach many never sold out they played what they played to make a living but never sold out as with many musicians i know today even tho he plays below his capacity sonny rollins never sold out and many avante garde jazz folk i know and can name never sold out but yes trane certainly beside cecil were two of the complete uncompromising giants and cecil's still goin at 79 as is ornette at 79 recently saw them both perform as is rollins who says he still doesn't play as well as he'd like to oh by the way cecil will read his uncompromising poetry at the poetry project april 16 ah another cross over a musician who writes poetry i know many of them who do some paint and i'm sure there's one who wrote a novel and ornette a so called jazz musician wrote a symphony and string quartets oh no should he be doing that? good heavens and i can name others of that ilk and stravinsky wrote a jazz piece and scheonberg cabaret songs and i'm tired goodnite On Fri, 4 Apr 2008 11:20:03 -0700 Rod Smith writes: > An exciting list of titlesthis month. Ordering & discount information > at the end of thispost. Bridge Street thanks you for your support! > > POETRY & LANGUAGE WRITING: OBJECTIVE AND SURREAL, David > Arnold,Liverpool University Press, cloth 200 pgs, $49.95. From > jacket copy:"David Arnold grasps the nettle of language poetry, > reassessing itsrelationship with surrealism and providing a > scholarly, intelligent wayof understanding the movement. Among the > poets whose work is discussedare Charles Bernstein, Susan Howe, > Michael Palmer and Barrett Watten." > > FLOWERS OF EVIL, Charles Baudelaire, trans Keith Waldrop, 196 pgs, > $16.95. New in paperback. "You worms!" > > CHARLESBAUDELAIRE, Rosemary Lloyd, Reaktion Books, Critical Lives, > 192 pgs,$16.95. A brief biographical study of Baudelaire. "Anger > seems to havebeen the main source of his intoxication during these > months." > > GIRLY MAN, Charles Bernstein, U Chicago, 186 pgs, $15. New in paper. > "That's so cool." > > THE SCENTED FOX, Laynie Browne, Natl Poetry Series Selected byAlice > Notley, Wave Books, 120 pgs, $14. "So and so died from 1750 tothe > present." > > FORMSOF YOUTH: 20TH-CENTURY POETRY AND ADOLESCENCE, Stephen Burt, > Columbia,cloth 264 pgs, $35. From the jacket: "Stephen Burt > demonstrates howadolescence supplied the inspiration, andat times > the formal principles, on which many twentieth-century poetsfounded > their works." Authors examined include Williams, Auden,Bunting, > Oppen, Brooks, and Lowell. > > SNOW PART / SCHNEEPART, Paul Celan, trans Ian Fairley, Sheep Meadow, > 198 pgs, $19.95. "someone who stabbed himself in you" > > JEAN COCTEAU, James S. Williams, Reaktion Books, Critical Lives,254 > pgs, $16.95. Biography. "The result is a work of > calculatedvoyeuristic fascination as we observe in keyhole detail > every movementand twitch of the characters." > > INTERVIEW WITH ROBERT CREELEY MAY 1998, interview by > BrentCunningham, Hooke Press, 28 pgs, $10. "I think myth is mouth. > That'swhat myth is . . . that's what speech is: myth, what's said." > > PSYCHE: INVENTIONS OF THE OTHER, VOLUME II, Jacques Derrida, > Stanford, 340 pgs, $24.95. > > COUNTER-REVOLUTIONOF THE WORD: THE CONSERVATIVE ATTACK ON MODERN > POETRY 1945-1960, AlanFilreis, UNC PRESS, cloth 422 pgs, $40. From > the jacket: "During theCold War, an unlikely coalition of poets, > editors, and politiciansconverged in an attempt to discredit--if not > destroy--the Americanmodernist avant-garde. . . . By analyzing > correspondence, decodingpseudonyms, drawing new connections through > the archives, andconducting interviews, Filreis shows that an > informal network ofantimodernists was effectivein suppressing or > distorting the postwarcareers of many poets whose work had appeared > regularly in the 1930s." > > THE BOOK OF MARTYRDOM + ARTIFICE: FIRST JOURNALS AND POEMS1937-1952, > Allen Ginsberg, ed Juanita Lieberman-Plimpton & BillMorgan, Da Capo, > 524 pgs, $17.50. New in paper. "Dig the dignity of these > buildings." > > NEWCOMER CAN'T SWIM, Renee Gladman, Kelsey Street, 106 pgs, $16.95. > "Talk to the sky like that." > > AUTOBIOGRAPHY / OUGHTOBIOGRAPHY, Anthony Hawley, Counterpath, 32 > pgs, $10."I plead for edge but come up blurred." > > JAMESON ON JAMESON: CONVERSATIONS ON CULTURAL MARXISM, > FredericJameson, ed Ian Buchanan, Duke, 278 pgs, $22.95. "I don't > think it'sparticularly important to retain the word 'Hegalian.'" > > POETIC OBLIGATION: ETHICS IN EXPERIMENTAL AMERICAN POETRY AFTER1945, > G. Matthew Jenkins, Iowa, cloth 264 pgs, $42.50. From the > jacket:"American experimental poetry is usually read in either > political ormoral terms. Poetic Obligation,by contrast, considers > the poems of Louis Zukofsky, Charles Reznikoff,George Oppen, Edward > Dorn, Robert Duncan, Susan Howe, and Lyn Hejinianin terms of the > philosophical notion of ethical obligation to the Otherin language. > Jenkins's historical trajectory enables him to considerthe full > breadth of ethical topics that have driven theoretical debatesince > the end of World War II." > > HUMAN SCALE, Michael Kelleher, BlazeVox, 88 pgs, $12. "And now there > isn't anyone left except them." > > NOT VERACRUZ, Joanne Kyger, Libellum, 48 pgs, $10. "Ok. What's the > law?" > > BASS CATHEDRAL, Nathaniel Mackey, New Directions, 188 pgs, $16.95. > > CRITICAL WRITINGS, F T Marinetti, ed Gunter Berghaus, trans > DougThomson, FSG, 550 pgs, $20. "Have you ever witnessed a gathering > ofyoung, revolutionary anarchists?" > > BREATHALYZER, K. Silem Mohammad, Edge, 80 pgs, $14. "dark energy > rules the universe" > > A SEMBLANCE: SELECTED AND NEW POEMS 1975-2007, Laura Moriarty, > Omnidawn, 220 pgs, $14.95. "Loss as rest from meaning." > > AN AIR FORCE, Laura Moriarty, Hooke Press, 28 pgs, $10. "Are brands > more powerful than governments?" > > FLET: A NOVEL, Joyelle McSweeney, Fence, 140 pgs, $15. > > ANNOYING DIABETIC BITCH, Sharon Mesmer, Combo, 122 pgs, > $13.95.Includes the hits "I Miss His Penninsula," "What is Wrong > With OurSavior's Wedgie?," "God's Little Weenie," "I Chose the Wrong > PowerAnimal," &, of course, "Squid vs Assclown." > > BICYCLE DAY, Mel Nichols, Slack Buddha, 32 pgs, $6. "O infrequent > appliance / time has only something to do with you" > > PHILOSOPHICAL CHRONICLES, Jean-Luc Nancy, Fordham, 72 pgs, $16. > > BALLAD OF JAMIE ALLAN, Tom Pickard, Flood, 104 pgs, $14.95. "And > kept dangerous company." > > IT'S GO IN HORIZONTAL: SELECTED POEMS, 1974-2006, Leslie Scalapino, > 248 pgs, U CAL, $16.95. "It's on the red ball a retina." > > GERTRUDE STEIN: SELECTIONS, Gertrude Stein, ed JoanRetallack, U Cal > Press, 352 pgs, $19.95. 72 page introduction by Retallack w/numerous > illustrations, selections from across Stein's career,1905-1936. > > PPL IN A DEPOT, Gary Sullivan, Roof, 104 pgs, $13.95. "POLICEMAN: > God, your poetry is so amazing! Especially 'Fantasy.'" > > OURS, Cole Swensen, U Cal, 101 pgs, $16.95. "A garden is a tide." > > FELONIES OF ILLUSION, Mark Wallace, Edge, 138 pgs, $15. ""You're > accused of murder." > > WALKING DREAMS: SELECTED EARLY TALES, Mark Wallace, Blaze Vox, 108 > pgs, $14. "Nothing anywhere can be avoided." > ON SPEC, Tyrone Williams, Omnidawn, 160 pgs, "In brief--psst!-- / > not shh!-- " > > THE PRESENTABLE ART OF READING ABSENCE, Jay Wright, Dalkey Archive, > 80 pgs, $12.95. "Remove emptiness. / Replace nothing." > > POLYNOMIALS AND POLLEN, Jay Wright, Dalkey Archive, 126 pgs, $12.95. > > > MUSIC'S MASK AND MEASURE, Jay Wright, Flood, 56 pgs, $12.95."All > song is bent" > > SOME BESTSELLERS: > > THING OF BEAUTY: NEW AND SELECTED WORKS, Jackson Mac Low, ed Anne > Tardos, U Cal, cloth 460 pgs, $34.95. > THE COLLECTED POEMS OF PHILIP WHALEN, ed Michael Rothenberg, > Wesleyan, cloth 872 pgs, $49.95. > CONTEMPORARY POETICS, ed Louis Armand, > Northwestern, 395 pgs, $29.95. > DARK BRANDON, Brandon Downing, Grievous Pictures, DVD 116 minutes, > $14.99. > THE POEM OF A LIFE: A BIOGRAPHY OF LOUIS ZUKOFSKY, Mark Scroggins, > Shoemaker & Hoard, cloth 572 pgs, $30. > AWE, Dorothy Lasky, Wave, 76 pgs, $14. > JESS: TO AND FROM THE PRINTED PAGE, Independent Curators Intl, 112 > pgs, $29.95. > DEED, Rod Smith, U Iowa, 88 pgs, $16. > NOTES FROM THE AIR: SELECTED LATER POEMS, John Ashbery, Ecco, cloth > 364 pgs, $34.95. > THE MISSING OCCASION OF SAYING YES, Benjamin Friedlander, > Subpress, 196 pgs, $16. > ABOUT NOW: COLLECTED POEMS, Joanne Kyger, Natl Poetry Foundation, > 798 pgs, $34.95. > IN THE PINES, Alice Notley, Penguin, 132 pgs, $18 > NEXT LIFE, Rae Armantrout, Wesleyan, 80 pgs, $13.95. > THE MIDDLE ROOM, Jennifer Moxley, Subpress, 633 pgs, $25. > BEYOND BULLETS: THE SUPPRESSION OF DISSENT IN THE UNITED STATES, > Jules Boykoff, AK Press, 464 pgs, $21.95. > WOMEN, THE NEW YORK SCHOOL, AND OTHER ABSTRACTIONS, Maggie Nelson, U > Iowa, cloth 296 pgs, $42.50. > PROSE POEMS, Pierre Reverdy, trans Ron Padgett, Brooklyn Rail/Black > Square, 64 pgs, $15. > HORACE, Tim Atkins, O Books, 78 pgs, $12. > COMPLEX SLEEP, Tony Tost, U Iowa, 108 pgs, $16. > ED DORN LIVE: LECTURES, INTERVIEWS, AND OUTTAKES, ed Joseph Richey, > U. Michigan, 174 pgs, $18.95. > THRALL, Susan Gevirtz, Post-Apollo, 104 pgs, $15. > JOHN ASHBERY AND YOU: HIS LATER BOOKS, John Emil Vincent, U Georgia, > cloth 196 pgs, $32.95. > WAR AND PEACE 3 --THE FUTURE--, ed Judith Goldman & Leslie > Scalapino, O Books, 164 pgs, $14. > SOULS OF THE LABADIE TRACT, Susan Howe, New Directions, 128 pgs, > $16.95. > 4 OR 5, P. Inman, interrupting cow, 28 pgs, $5. > TODAY I WROTE NOTHING: THE SELECTED WRITINGS OF DANIIL KHARMS, ed & > trans Matvei Yankelevich, Overlook, cloth 288 pgs, $35. > ART AND REVOLUTION: TRANSVERSAL ACTIVISM IN THE LONG TWENTIETH > CENTURY, Gerald Raunig, Semiotext(e), 320 pgs, $17.95. > METEORIC FLOWERS, Elizabeth Willis, Wesleyan, 84 pgs, $13.95. > FOLLY, Nada Gordon, Roof, 128 pgs, $13.95. > MY ANGIE DICKINSON,Michael Magee, Zasterlee, 80 pgs, $12.95. > NINETEEN LINES: A DRAWINGCENTER ANTHOLOGY, ed Lytle Shaw, > DrawingCenter/Roof, 336 pgs, $24.95. > DAY OCEAN STATE OF STAR'S NIGHT: POEMS & WRITINGS 1989 & 1999-2006, > Leslie Scalapino, Green Integer, 208 pgs, $17.95. > > ORDERING INFORMATION: > > 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 5200or e-mail w/ yr add, order, card #, & > expiration date & wewill send a receipt with the books. Please > remember to includeexpiration date. > > ========================================================================= Date: Sat, 5 Apr 2008 17:23:54 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Roy Exley : ON poets writing NOVELS In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Thanks Roy. When you have writers like Ismael Kadare, Michele Desbordes, Alessandro Bericco, Jose Saramago, Anne Carson, Bohumil Hrabal (to name a few I've enjoyed recently) writing in the form, I don't think there's any need to justify the novel's value. Nor the need to make a living. - I've certainly paid my dues as a poor artist, and have the lack of a house, car, savings or any sort of recognised assets to prove it... As an aside, I'm one of the very few full-time writers I know. My husband (a playwright) is another. We have three kids. Most poets make their living with some other job, many in academia. I don't have an academic qualification to my name, and in any case have never existed very well in any kind of institution. Writing novels that others might read for pleasure seems to me to be an honest living. Wystan, surely the rise of the novel happened in the 19th century? Is the perceived rise of fiction actually at poetry's expense, or are you talking about something that is in fact a function of the increasing corporatisation of the publishing and bookselling industries and the increasing loss of independent bookshops? Because those factors are affecting ALL literary publishing, not just poetry. All best A -- Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ========================================================================= Date: Sun, 6 Apr 2008 01:40:46 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wystan Curnow Subject: Re: On Poets as Characters in Novels!! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Not online.=20 Give me an address to post a copy to. BTY On Kawara is not Madeline Gins collaborator, that 's Arakawa Cheers, Wystan ________________________________ From: UB Poetics discussion group on behalf of Stephen Vincent Sent: Fri 4/04/2008 11:47 a.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: On Poets as Characters in Novels!! Thanks, Wystan. Is Reading Room online??=20 Just reading Hank Lazar's review/refleciton on On Kawara's = collaborative book on the body and achitecture. Be interested in the = connections you make with Ron and Acker.=20 Stephen V Wystan Curnow wrote: Stephen, Silliman appears in Chapter 2 of Acker's 1978 novel, The Adult Life of Toulouse Lautrec. I discuss it in an essay. "Autobiography: Does it have a future? Ron Silliman's 'The Alphabet' and On Kawara's 'Today Series'", published in READING ROOM 1, 2007. Wystan =20 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Stephen Vincent Sent: Friday, 4 April 2008 7:09 a.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: On Poets as Characters in Novels!! Any good suggestions and/or appraisals - from ancient to contemporary?? I remember Kathy Acker did some - maybe they were wonderfully scandalous or may be not intended that way at all - auto/fictional or 'real' celebrations and/or satires of sexual encounters with some now well known language poets before such bodies were even formally identified as such - vaguely remember them as printed in small, stapled editions at Kinkos before Kinkos was Kinkos. Stephen V http://stephenvincent.net/blog/ =20 ========================================================================= Date: Sat, 5 Apr 2008 09:28:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: joe ambrose in town In-Reply-To: <20080405.015845.1632.17.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit his bio of iggy pop is pretty good but flawed. steve d. dalachinsky wrote: > Writer, film maker, musician and culture terrorist Joe Ambrose has a > penchant for digging around the cultural > margins and teasing out of the shadows relevant irreverance, > countercultural phenomena, outside and (often) > explosive art of pivotal significance. Subject matter and artists > regularly > delineated by sitting on the periphery of > popular culture. His written output includes the novels Serious Time and > Too Much Too Soon. Moshpit Culture, a > blood stained and sweat-soaked inside investigation on hardcore dancing; > several historical studies of the war of > Irish Independance including the best selling Dan Breen and The IRA and > is > currently editing an anthology of writings > by the revolutionary Irish Brotherhood, the Fenians. His writing also > appears in numerous magazines, journals and > collections. > In 1992 he co-organized the Here To Go Show in Dublin. This mixed media > art > show was a celebration of the > cultural impact and significance of the work of Tangier Beat Scenesters > Brion Gysin and William Burroughs. The event > was filmed extensively and the movie Destroy All Rational Thought > documented many aspects of this week long arts > show. It was initially released on video and then later, as an enhanced > DVD. He is a DJ in art hip hop combo Islamic > Diggers and has been living in Marrakesh, Morocco for the past 7 months > hanging with the likes of the Sufi mystic > trance musicians The Gnoua Brotherhood of Marrakesh. Ambrose previously > produced the Brothers for the William > Burroughs tribute CD, 10% File Under Burroughs, which also features John > Cale, Paul Bowles, Marianne Faithfull, > Chuck Prophet, Herbert Huncke and The Master Musicians of Joujouka. > Whilst Ambrose has been getting down in Africa, the Islamic Diggers track > William Burroughs Dont Play Guitar has > featured on the soundtrack to a new Burroughs documentary, Words of > Advice, > which also features Patti Smith, Hal > Willner and Bill Laswell. Another Diggers track, Hashishin, was included > along with work by Stockhausen in a January > ’08 sound installation, Cut Up, curated by Copenhagen’s Karriere in > conjunction with the Danish Museum of Modern > Art. Ambrose has previously worked with Anita Pallenberg, Richard Hell, > Chrissie Hynde and Herbert Huncke. He is > Literary Editor of LA-based magazine, Outsideleft.com. In 2007 he was > asked > by Iggy Pop to write the sleevenotes > for Escaped Maniacs, the Iggy and the Stooges DVD package. His extreme > travel writing book, Chelsea Hotel > Manhattan has recently been published by Headpress and a new edition of > Moshpit is about to be published by > Tsunami. Joe talked very recently with me about his latest ventures. > > Joe, give me some background on the Tsunami edition of Moshpit..... > Moshpit Culture first came out in 2001 and reflected what I’d been up to > in > the preceding years. I first got dragged > into a moshpit, rather improbably, at a Shane McGowan show. I love his > work > but at that time, the late 90s, I was > listening almost exclusively to hip hop, reggae, and the kind of punkish > metal exemplified by Slayer, Queens of the > Stone Age, the Beastie Boys and RATM. I was going to hip hop shows > whenever > I could, I saw Snoop a load of times > and I was kind of following Gregory Isaacs, the Cool Ruler, around the > place. I must have seen Gregory in action > about forty times back then. But mainly it was hardcore acts and Slipknot > and Rancid and the likes. > > So what attracted you to the Moshpit? > I liked the fraternity that I found at those hardcore shows, the openness > and the willingness to experiment with new > people and to build a new nation which was not of this world. People had > talked about experiencing these feelings in > the rave scene, which immediately preceded the emergence of the new punk > era but I didn’t go for that because I > like music and most of the music associated with rave culture was second > rate, doesn’t stand the test of time, was > mildly diverting at the time but not the real thing. Also, when they were > talking about this spirit of collective > fraternity and stuff, what they were really talking about was the drugs > they were taking. > > Ecstasy and a trashy peace and love vibe. The moshpit to me seems to work > on a completly different level.... > Moshers were often far more solid sort of individuals. A lot of moshers > took good care of their bodies, didn’t do > huge amounts of drugs, kept down day jobs or, if very young, lived far > away > from the city centre with their families > in hugely repressive social environments which caused them to see moshing > and much of what went with it as > hugely liberating. > > The publishers, Tsunami, are based in Italy, arent they? > There is already a metal record label in Italy called Moshpit Culture so > I > knew the book had impacted a bit there. > Also Italians of a certain type are much enamoured of the black leather > jacket and shades school of rock chic. Give > them anything with a loud guitar and they’re off! I have some sympathy > with > that attitude. The Tsunami edition will > be called Moshpit. Things have changed since I wrote the book but it’s > still relevant. It wasn’t written as a > journalistic account of a scene but rather as travel writing which > brought > the reader inside the head of the alienated > teenage mosher. So, theoretically at least, somebody could pick it up in > 200 years time and still find its contents > interesting or relevant. I had a ton of fun writing it and I get emails > about it all the time, mostly from people doing > postgraduate research into youth culture or music culture. As far as I > know > it’s the only book which deals exclusively > with this huge cultural movement which has had a phenomenal influence > upon > the lives of millions. > > Yeah, that book`s subject matter; the bands and people that make up the > moshpits of the world are a popular > cultural form of expression, a response to the social and political > spaces > they inhabit..... > I gave a talk about moshing at Brighton University shortly after the book > came out and the guy introducing me > admitted that, when he heard that someone was going to explain moshing to > them, he thought it had something to > do with winemaking. > > Jeez.........thats crazy. You are flying out to NYC again soon Joe, > whats > happening this time around? > The Chelsea Hotel is hosting a launch for Chelsea Hotel Manhattan. There > has been a change in management since I > stayed there so it’ll be interesting to see what improvements they’ve > made. > There’s been minor controversy about > some changes they’ve been making but I don’t see why people active in the > arts should be so caught up in trying to > preserve the past. The Chelsea’s past was great – and it all really > happened there – but that particular slice of the > past finished a while back. > > We`ve jammed on those changes in another interview, havent we..... > I’ve got all those albums, I’ve read all those books. I hope, really, > that > the new management make some sort of a > dynamic intervention. Get Richard Rogers or someone to overhaul it. We’ll > see. In any case, this launch event is an > opportunity for people to come into the Chelsea Hotel and have a look > around. > > How has the book been received so far? > I’ve been in Morocco the last six months. I don’t get too much feedback > about the book down there but such as I’ve > had has been positive. I got a really nice email from Chris Stein of > Blondie about it which really pleased me. I like his > work a lot, not just with Blondie but Wild Style, the Gun Club, Iggy. > That’s New York City for me. > > I heard Ira Cohen was going to be involved in the launch.... > Unfortunately Ira Cohen, who makes numerous appearances in the book and > who > contributed to it, has been sick > recently. Chris Stein mentioned in his email that Ira is very much > himself > again and I hope that is the case. Ira is a > resource. You can’t replace resources. I hope we get a chance to hang out > while I’m in town. I met Ira in 1991 on the > Brion Gysin scene, Ira had been a good pal of Gysin’s and I was starting > work on the Here To Go Show which sought > to highlight Gysin. Naturally Ira was involved, did a great photographic > show in Dublin, and did readings. You can > see him reading in the movie of the Show, Destroy All Rational Thought, > which came out on DVD last year. > > You have been living in North Africa. Have you been working down there? > I’ve been wrestling with my third novel, The Darker Side of Me. I’ve been > having trouble with it for a couple of years > but I think I cracked it in Marrakesh, where I’ve been living. I’ve also > been editing an anthology of writings by the > Fenians, the secret 19th Century Irish revolutionary organisation. This > will come out later this year with Mercier > Press. I’ll be previewing some of my thoughts about the Fenians in a > piece, > Brotherhood, which will be in the next > Headpress Journal, the “panther” issue guest edited by the fabulous John > Sinclair, founder of the White Panthers and > onetime manager of the MC5. I’ve written something about the equally > fabulous Panther Burns for the same issue. > > Joe Ambrose performs from Chelsea Hotel Manhattan (Headpress) in New York > City: > > Friday 18th April The Chelsea Hotel 7-30pm > Saturday 19th April Bowery Poetry Club 12 to 1-30pm > Monday 21st April Blue Stocking Books 7pm > > His latest extreme travel writing book, Chelsea Hotel Manhattan, is > published by Headpress and is launched in the > USA in April. > > There are a number of interviews and conversations we have had on various > underground art, film, music and word > projects, you can check them out on The Brink, hesterGlock and elsewhere. > > paulh > > 2522 Mission Street > San Francisco > On Fri, 4 Apr 2008 15:47:27 -0400 Ruth Lepson > writes: > >> want to alert folks to a reading/presentation by my photographer >> collaborator Rusty Crump & I at the Bowery Poetry Club at 4 on Sat., >> April >> 19. I¹ll read some poems from our book Morphology & rusty will show >> some >> slides & talk abt them, & we¹ll both briefly share some new things. >> If >> you¹re not preparing a Passover seder, come on down. >> >> ========================================================================= Date: Sat, 5 Apr 2008 10:39:23 -0400 Reply-To: krjames@buffalo.edu Sender: UB Poetics discussion group From: Kenneth R James Subject: Re: On Poets as Characters in Novels!! Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="us-ascii" MIME-Version: 1.0 Three Samuel R. Delany novels feature poet protagonists: Rydra Wong in _Babel-17_ (SRD's early SF) Kid in _Dhalgren_ (plus secondary character Ernest Newboy) Arnold Hawley in _Dark Reflections_ (his latest novel; takes=20 place in contemporary NYC; it's just great) On Sat Apr 5 0:23 , steve russell sent: >I don't think anyone has mentioned Saul Bellow's Humbolt's=20 Gift. The alcoholic collapse of Delmore Schwartz forms the=20 basis for one of Bellow's best.=20 > > > > > > > > > > > > > > >t > > > >----- Original Message ---- >From: David Chirot david.chirot@GMAIL.COM> >To: POETICS@LISTSERV.BUFFALO.EDU >Sent: Friday, April 4, 2008 9:06:20 AM >Subject: Re: On Poets as Characters in Novels!! > >Dr Zhivago by a great poet who wrote a great novel, Boris=20 Pasternak, who >also provides with the novel a selection of the poetry of=20 Zhivago. > >There are several books which interweave "novelizations" and >"dramatizations" and "filmizations"of the life of Rimbaud=20 with "actual >biography." > >The novels of Roberto Bolano--a poet himself-- are filled=20 with poets as main >and subsidiary characters, including often the narrator-- > >The Satyricon of Petronious may be read in a certain sense=20 as a novel of the >adventures of a poet-- > >Adventures in the Skin Trade by Dylan Thomas--a young=20 aspiring writer/poet >leaves dreary provincial home for wild world of London-- > >Nabakov's Pale Fire-- > >On Thu, Apr 3, 2008 at 9:57 PM, Gabrielle Welford=20 welford@hawaii.edu> >wrote: > >> Flann O'Brien...yeah! i'll eat my hat if flann o'brien is=20 not considered >> a poet. :-) g >> >> On Thu, 3 Apr 2008, Stephen Vincent wrote: >> >> > Any good suggestions and/or appraisals - from ancient to=20 contemporary?? >> > I remember Kathy Acker did some - maybe they were=20 wonderfully >> scandalous or may be not intended that way at all - auto/ fictional or >> 'real' celebrations and/or satires of sexual encounters=20 with some now well >> known language poets before such bodies were even formally=20 identified as >> such - vaguely remember them as printed in small, stapled=20 editions at Kinkos >> before Kinkos was Kinkos. >> > >> > Stephen V >> > http://stephenvincent.net/blog/ >> > >> > >> > > >=20=20=20=20=20=20 _____________________________________________________________ _______________________ >You rock. That's why Blockbuster's offering you one month of=20 Blockbuster Total Access, No Cost.=20=20 >http://tc.deals.yahoo.com/tc/blockbuster/text5.com > ========================================================================= Date: Sat, 5 Apr 2008 10:39:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cris cheek Subject: Re: On Poets as Characters in Novels!! In-Reply-To: <71954.39828.qm@web82604.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Brian Catling appears in Iain SInclair's "Downriver" On Thu, Apr 3, 2008 at 2:09 PM, Stephen Vincent wrote: > Any good suggestions and/or appraisals - from ancient to contemporary?? > I remember Kathy Acker did some - maybe they were wonderfully scandalous > or may be not intended that way at all - auto/fictional or 'real' > celebrations and/or satires of sexual encounters with some now well known > language poets before such bodies were even formally identified as such - > vaguely remember them as printed in small, stapled editions at Kinkos before > Kinkos was Kinkos. > > Stephen V > http://stephenvincent.net/blog/ > > ========================================================================= Date: Sat, 5 Apr 2008 09:50:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Cunningham Subject: Re: Roy Exley : ON poets writing NOVELS In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1250" Content-Transfer-Encoding: quoted-printable An interesting reflection A. Considering how easily the novel sat = alongside poetry in earlier centuries, each making room for other, one has to = wonder how one form began to nudge out the other. Even when Dickens, et al, = were serialized, this still didn't threaten the existence of poetry. My = feeling is that you may be looking for the villain in the wrong media. I could = be wrong, but this pushing and shoving of poetry to the sidelines didn=92t = begin to take place until the last century, i.e. the twentieth (I still have trouble thinking about the 1900s as the 'last century', probably an age thing). That being the case, the one tying poor Nelle to the railroad = tracks is probably film. Reading of any kind is work. Watching a film isn't. Reading a poem is more work that reading a novel. Which led to the = protest of our Protestant ethic saying 'fuck that shit, I'm going to the = cinema'. Poetry was the first to fall but the novel has had its share of = suffering. At the end of the 21st, we shall mourn the corpses of literacy. John Cunningham -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of Alison Croggon Sent: April 5, 2008 1:24 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Roy Exley : ON poets writing NOVELS Thanks Roy. When you have writers like Ismael Kadare, Michele Desbordes, Alessandro Bericco, Jose Saramago, Anne Carson, Bohumil Hrabal (to name = a few I've enjoyed recently) writing in the form, I don't think there's = any need to justify the novel's value. Nor the need to make a living. - I've certainly paid my dues as a poor artist, and have the lack of a house, = car, savings or any sort of recognised assets to prove it... As an aside, I'm = one of the very few full-time writers I know. My husband (a playwright) is another. We have three kids. Most poets make their living with some = other job, many in academia. I don't have an academic qualification to my = name, and in any case have never existed very well in any kind of institution. Writing novels that others might read for pleasure seems to me to be an honest living. Wystan, surely the rise of the novel happened in the 19th century? Is = the perceived rise of fiction actually at poetry's expense, or are you = talking about something that is in fact a function of the increasing = corporatisation of the publishing and bookselling industries and the increasing loss of independent bookshops? Because those factors are affecting ALL literary publishing, not just poetry. All best A --=20 Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com No virus found in this incoming message. Checked by AVG.=20 Version: 7.5.519 / Virus Database: 269.22.6/1360 - Release Date: = 04/04/2008 6:02 PM =20 No virus found in this outgoing message. Checked by AVG.=20 Version: 7.5.519 / Virus Database: 269.22.6/1360 - Release Date: = 04/04/2008 6:02 PM =20 ========================================================================= Date: Sat, 5 Apr 2008 08:11:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Re: On Poets as Characters in Novels!! In-Reply-To: <927072.11064.qm@web52406.mail.re2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Not to mention many of the works of Jack Kerouac in which appear Allen G, Bill Burroughs, Gregory Corso, Phil Whalen, Lew Welch, Michael McClure, Kenneth Rexroth, Lawrence Ferlinghetti, Herbert Huncke ("Guilty of Everything"), and many others-- i realize these aren't "novels"-- but- In Elizabethan theater--for example one of Richard's famous speeches in henry vi part Three by Shakespeare--there occurs a character referred to as "the Machiavel"--based on the popularized image of Machiavelli--and his work The Prince. I like very much how an author via the associations with his most famous work becomes a figure of True Villainy and the Most Wicked Cunning--a "larger than life charcter" with whom Richard is going to do battle and out perform! In the Greek and Roman theater and poetry will often appear actual poets or The Poet--Orpheus-- especially in epigrams for example, one finds the appearance of poets!!--among the Greeks and Romans-- from whence of course Kent Johnson's collection-- On Fri, Apr 4, 2008 at 9:23 PM, steve russell wrote: > I don't think anyone has mentioned Saul Bellow's Humbolt's Gift. The > alcoholic collapse of Delmore Schwartz forms the basis for one of Bellow's > best. > > > > > > > > > > > > > > > t > > > > ----- Original Message ---- > From: David Chirot > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Friday, April 4, 2008 9:06:20 AM > Subject: Re: On Poets as Characters in Novels!! > > Dr Zhivago by a great poet who wrote a great novel, Boris Pasternak, who > also provides with the novel a selection of the poetry of Zhivago. > > There are several books which interweave "novelizations" and > "dramatizations" and "filmizations"of the life of Rimbaud with "actual > biography." > > The novels of Roberto Bolano--a poet himself-- are filled with poets as > main > and subsidiary characters, including often the narrator-- > > The Satyricon of Petronious may be read in a certain sense as a novel of > the > adventures of a poet-- > > Adventures in the Skin Trade by Dylan Thomas--a young aspiring writer/poet > leaves dreary provincial home for wild world of London-- > > Nabakov's Pale Fire-- > > On Thu, Apr 3, 2008 at 9:57 PM, Gabrielle Welford > wrote: > > > Flann O'Brien...yeah! i'll eat my hat if flann o'brien is not > considered > > a poet. :-) g > > > > On Thu, 3 Apr 2008, Stephen Vincent wrote: > > > > > Any good suggestions and/or appraisals - from ancient to > contemporary?? > > > I remember Kathy Acker did some - maybe they were wonderfully > > scandalous or may be not intended that way at all - auto/fictional or > > 'real' celebrations and/or satires of sexual encounters with some now > well > > known language poets before such bodies were even formally identified as > > such - vaguely remember them as printed in small, stapled editions at > Kinkos > > before Kinkos was Kinkos. > > > > > > Stephen V > > > http://stephenvincent.net/blog/ > > > > > > > > > > > > ____________________________________________________________________________________ > You rock. That's why Blockbuster's offering you one month of Blockbuster > Total Access, No Cost. > http://tc.deals.yahoo.com/tc/blockbuster/text5.com > ========================================================================= Date: Sat, 5 Apr 2008 11:25:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Atlanta Question & Response to Jason Comments: To: Jason Quackenbush In-Reply-To: 50805A59-5D0C-4155-9E2B-0D1F441A5270@myuw.net MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 OK -- I only have one post left in my daily quota so am combining two posts in one: 1) I just finished reading this morning's NYTIMES article on the three day celebration in Atlanta in conjunction with the exhibition opening the Raymond Danowski Poetry Library at Emory. The celebration was determinedly middle-brow (Wilbur, Giaoia, Snodgrass etc.) -- but the incredible scope of the collection gives me reason to hope that there may be lots of small press stuff in there. Have any of our Atlanta contingent had a chance to look into the Danowski collection yet? 2) Jason et al -- Yes, BLACK NO MORE is a fantastic (in the literal sense) novel -- though it's strictly speaking not quite of the same era as EX, whihc is pre-Harlem Renaissance -- I love both novels (andmy students who read the Schuyler novel last year were blown away by its power to explain more recent racial politics in the USA )-- but it's precisely the trickiness of Johnson's novel that I love -- many readers of the first edition didn't realize it was a fiction -- (If you read Johnson's autobiography, you'll come across a delightful anecdote about the time Johnson met somebody who purported to be the book's protagonist) -- EX plays upon reader's expectations in a far more complex way than does Schuyler's great satire -- Readers came to AUTOBIOGRAPHY OF AN EX-COLURED MAN expecting to learn the "masonic secrets" of the black race -- Instead, the book turns out to reveal to them the secret interiority of an ordinay white man who has made a little money -- if you've never read these books, read them now -- you'll never forget them -- We don't hear much about Schuyler theses days -- which is one reason media types can go on pretending that the Black Conservative is of recent vintage -- There was a very good biography of his amazing daughter a few years back, and Bobby Hill published Schuyler's nearly forgotten Sci Fi serials a while back -- On Fri, Apr 4, 2008 09:34 PM, Jason Quackenbush wrote: > This didn't go to the list for some reason. Aldon's more recent post >regarding autobio of an ex-colored man is also a good example >(although I prefer "black no more" of the novels dealing with >passing >during that era). but there are lots of cases of things dealing with >fraud all through literature. there's a certain sense of fraudulence >in a couple of the canterbury tales, wife of bath and the summoners >tale if I remember right. There's a hoaxish element to don quixote. >almost all of shakespeare's best comedy's have some element of fraud >to them. there are whole books built as confidence games like the >manuscript found at saragossa, and the topic of deceit is as greek as >greek tragedy gets. it also was one of the big obssesions of William >Gaddis and played a part in every novel he wrote from the >recognitions to agape agape > >Begin forwarded message: > >> From: jfq@myuw.net >> Date: April 4, 2008 9:02:12 AM PDT >> To: ALDON L NIELSEN >> Subject: Re: Epigramititis: 118 Living American Poets >> >> thanks! >> >> I quite enjoy the idea of fraud in literature, and particularly >> fiction. After all, at root, with the occasional exception of a >> novel by a Kathy Acker or David Markson, all fictional stories are >> lies masquerading as truth. And we know it, yet we choose to enter >> a state while reading where we suspend our disbelief in the obvious >> lies. we do this for any number of reasons, for a distraction, for >> entertainment, in pursuit of a larger truth. but the basic fact of >> the sentences being untrue and/or referring to things that don't >> exist and are completely unreal is inescapable. >> >> which puts me in mind of this latest bout of exposed hoax >> memoirists. to my way of thinking, anybody who believed these >> hoaxers in the first place only got what was coming to them. their >> writing is neither improved nor degraded by their works being >> labeled as novels or as memoirs. all that changes is the readers >> suspension of disbelief. >> >> On Fri, 4 Apr 2008, ALDON L NIELSEN wrote: >> >> I love that poem -- >> >> I guess my rephrasing of the question is a little less clear apart >> from the >> post I was responding to at the time -- the puzzle, at least for >> me, is in the >> reading -- what is being said about the subject in such a case? >> for example, >> though a post not a poem -- I suggested here that a book and its >> author might >> be a hoax -- most readers of this list would know instantly that I >> had to know >> neither was a hoax -- there appears to have been a difference of >> opinion on how >> to read my suggestion. Some thought that by suggesting the book >> and its >> author might be a hoax I was thereby dismissing both -- I, of >> course, would >> never do such a thing. >> >> On Fri, Apr 4, 2008 12:11 AM, Jason Quackenbush wrote: >> >> On Apr 3, 2008, at 9:54 AM, ALDON L NIELSEN wrote: >> >> So that the real question turns out to be, what do we make of an >> assertion in a >> poem whose author had to have known that it wasn't true? >> >> i think that's a very real question. i attempted to answer it in a >> poem once. you can read that poem here if you like: http:// >> www.blazevox.org/061-jfq.pdf >> >> it's the second one. >> >> >> >> >> >> >> <> >> > >> >> 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 >> >> >> >> >> > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> 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, 5 Apr 2008 12:08:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Fourth Session MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Fourth Session basis What actions. do we do know What know know do the know know practice know the of about of of the writing? of practice Looking of creative Looking of Looking up creative "Creative Looking Looking writing Looking "Creative practice" up practice" practice" "Creative Google practice" practice" Creative practice" Google and on and and Google necessarily and Creative shape and coding shape and shape one coding another. shape shape Playfulness, shape another. trying one trying trying another. things trying trying to trying things see lots see see things works see to in see what programming see in programming what - programming in all programming - which programming which which - purpose which all etc. which have within have within within purpose playfulness. within etc. elegance within playfulness. economy within elegance economy playfulness. whatever economy elegance you economy whatever ask economy ask ask whatever has ask you consequence. ask reader Began reader consequence. 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A Jim agrees program Jim A execution Jim execution partially A represented partially program many partially partially ways. partially many ways. represented machines ways. many around ways. machines David ways. around David machines Mendel David around Between David David Machine David Machine brilliant Mendel history brilliant Between cybernetics brilliant brilliant characteristics brilliant cybernetics characteristics history tried characteristics cybernetics sci. characteristics tried research characteristics sci. research tried study research characterize phenomena research research surrounding research phenomena computers. study computers. computers. phenomena list computers. computers. comp computers. list sci identified sci sci list 1. comp sci involves sci 1. involves sci symbols involves research: manipulation involves involves creation involves manipulation abstractions. symbols abstractions. abstractions. manipulation stufy abstractions. abstractions. algorithms abstractions. stufy dynamic 3. dynamic dynamic stufy medium algorithms dynamic 4. dynamic medium 4. dynamic create 4. character artificial 4. 4. constructs 4. artificial are create are are artificial by are are physical are by laws. unlimited laws. laws. by exploit laws. physical address laws. 5. address laws. exponential address 5. growth. address address 6. address growth. seek exponential seek seek growth. limits seek seek computed. seek limits 7. fundamental 7. 7. limits for 7. computed. complex 7. look complex 7. complex analytic look rational complex complex associated complex rational human analytic human human rational attempt human human basis human attempt actions. intelligence actions. actions. attempt actions. basis actions. actions. ========================================================================= Date: Sat, 5 Apr 2008 12:57:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Epigramititis: 118 Living American Poets In-Reply-To: <50805A59-5D0C-4155-9E2B-0D1F441A5270@myuw.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Jason, I though the issue of something being a "hoax" or not referred to the public information about the work, surrounding the work. It is closely related to the idea of "fake." I do not think anybody thought Don Quiote was a real person or that the fact Don Quiote was not real makes the novel a "hoax." I do not quite understand what the the element of "hoax" in Shakesperean comedies is though, of course, 99% of tragic works (particularly plays) are based on "deception." Finally that is what dramatic irony is. If one goes back to the original idea of a hoax (which what The Doubled Flowering is), one can see a veryinteresting question underlying the concept, particularly for a post modern sensibility. Is a hoax more real than the "real"? In an age of infinite reproduction (for example, in literature, the infinite permutations of a text's algorithms digitally as poems, or in art "perfect" digital reeactments), which modern technology allows us, doesn't the idea of the "real" get subverted or, to use a more neutral word, change? It is the subversion that is crucial. My sense is that Kent is claiming in The Doubled Flowering (or in Epigrammatis or The Miseries of Poetry for that matery) his sense of "suffering" in that work is more real than many real writings on Hiroshima. Interesting, this idea is as old as Aristotle, claiming drama (?) is more real than history. Did anyone see the Orson Welles "documentary" (another hoax?), entitled Fake? Ciao, Murat On Fri, Apr 4, 2008 at 9:34 PM, Jason Quackenbush wrote: > This didn't go to the list for some reason. Aldon's more recent post > regarding autobio of an ex-colored man is also a good example (although I > prefer "black no more" of the novels dealing with passing during that era). > but there are lots of cases of things dealing with fraud all through > literature. there's a certain sense of fraudulence in a couple of the > canterbury tales, wife of bath and the summoners tale if I remember right. > There's a hoaxish element to don quixote. almost all of shakespeare's best > comedy's have some element of fraud to them. there are whole books built as > confidence games like the manuscript found at saragossa, and the topic of > deceit is as greek as greek tragedy gets. it also was one of the big > obssesions of William Gaddis and played a part in every novel he wrote from > the recognitions to agape agape > > Begin forwarded message: > > From: jfq@myuw.net > > Date: April 4, 2008 9:02:12 AM PDT > > To: ALDON L NIELSEN > > Subject: Re: Epigramititis: 118 Living American Poets > > > > thanks! > > > > I quite enjoy the idea of fraud in literature, and particularly fiction. > > After all, at root, with the occasional exception of a novel by a Kathy > > Acker or David Markson, all fictional stories are lies masquerading as > > truth. And we know it, yet we choose to enter a state while reading where we > > suspend our disbelief in the obvious lies. we do this for any number of > > reasons, for a distraction, for entertainment, in pursuit of a larger truth. > > but the basic fact of the sentences being untrue and/or referring to things > > that don't exist and are completely unreal is inescapable. > > > > which puts me in mind of this latest bout of exposed hoax memoirists. to > > my way of thinking, anybody who believed these hoaxers in the first place > > only got what was coming to them. their writing is neither improved nor > > degraded by their works being labeled as novels or as memoirs. all that > > changes is the readers suspension of disbelief. > > > > > > On Fri, 4 Apr 2008, ALDON L NIELSEN wrote: > > > > I love that poem -- > > > > > > I guess my rephrasing of the question is a little less clear apart > > > from the > > > post I was responding to at the time -- the puzzle, at least for me, > > > is in the > > > reading -- what is being said about the subject in such a case? for > > > example, > > > though a post not a poem -- I suggested here that a book and its > > > author might > > > be a hoax -- most readers of this list would know instantly that I had > > > to know > > > neither was a hoax -- there appears to have been a difference of > > > opinion on how > > > to read my suggestion. Some thought that by suggesting the book and > > > its > > > author might be a hoax I was thereby dismissing both -- I, of course, > > > would > > > never do such a thing. > > > > > > On Fri, Apr 4, 2008 12:11 AM, Jason Quackenbush wrote: > > > > > > On Apr 3, 2008, at 9:54 AM, ALDON L NIELSEN wrote: > > > > > > > > > > > > > > So that the real question turns out to be, what do we make of an > > > > > assertion in a > > > > > poem whose author had to have known that it wasn't true? > > > > > > > > > > > > > i think that's a very real question. i attempted to answer it in a > > > > poem once. you can read that poem here if you like: http:// > > > > www.blazevox.org/061-jfq.pdf > > > > > > > > it's the second one. > > > > > > > > > > > > > > > > > > > > > > > > > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > > 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, 5 Apr 2008 12:59:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ruth Lepson Subject: Re: On Poets as Characters in Novels!! In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit poets in novels--longfellow in The Dante Club --he becomes a detective when he realizes the boston serial killer is using methods from the inferno--and he's the only one translating dante into english (tho harvard disapproves). longfellow the rock star of his time. pound was his grand nephew, I think. james russell lowell used to walk down brattle street to longfellow's house once a week to the translators' group. On 4/5/08 8:40 AM, "Wystan Curnow" wrote: > Not online. > Give me an address to post a copy to. > BTY On Kawara is not Madeline Gins collaborator, that 's Arakawa > Cheers, > Wystan > > ________________________________ > > From: UB Poetics discussion group on behalf of Stephen Vincent > Sent: Fri 4/04/2008 11:47 a.m. > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: On Poets as Characters in Novels!! > > > > Thanks, Wystan. Is Reading Room online?? > Just reading Hank Lazar's review/refleciton on On Kawara's collaborative book > on the body and achitecture. Be interested in the connections you make with > Ron and Acker. > > Stephen V > > > Wystan Curnow wrote: Stephen, > Silliman appears in Chapter 2 of Acker's 1978 novel, The > Adult Life of Toulouse Lautrec. > I discuss it in an essay. "Autobiography: Does it have a future? Ron > Silliman's 'The Alphabet' and On Kawara's 'Today Series'", published in > READING ROOM 1, 2007. > Wystan > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of Stephen Vincent > Sent: Friday, 4 April 2008 7:09 a.m. > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: On Poets as Characters in Novels!! > > Any good suggestions and/or appraisals - from ancient to contemporary?? > I remember Kathy Acker did some - maybe they were wonderfully > scandalous or may be not intended that way at all - auto/fictional or > 'real' celebrations and/or satires of sexual encounters with some now > well known language poets before such bodies were even formally > identified as such - vaguely remember them as printed in small, stapled > editions at Kinkos before Kinkos was Kinkos. > > Stephen V > http://stephenvincent.net/blog/ > ========================================================================= Date: Sat, 5 Apr 2008 13:02:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: Siddhartha, the film MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit his other film chappaqua was also a gem On Fri, 4 Apr 2008 21:25:28 -0400 Aryanil Mukherjee writes: > Old time Beat pal Conrad Rooks had made a film of the same name after > the > Hesse novel in 1972. > It was a great film I thought, refeshing and personalized, if not > sumptously > innovative, starring Sashi Kapoor > and Simi Gerewal, both noted Indian stars of that era. Hemanta Kumar > > Mukherjee wrote an unforgettable score > for the film making good use of classical Tagorian music. > > Aryanil > > > ========================================================================= Date: Sat, 5 Apr 2008 13:43:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlotte Mandel Subject: from Authors Guild: Amazon limits POD books MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII; format=flowed Content-transfer-encoding: 7BIT The Authors Guild wrote: > Last week Amazon announced that it would be requiring that all books > that it sells that are produced through on-demand means be printed by > BookSurge, their in-house on-demand printer/publisher. Amazon pitched > this as a customer service matter, a means for more speedily > delivering print-on-demand books and allowing for the bundling of > shipments with other items purchased at the same time from Amazon. It > also put a bit of an environmental spin on the move -- claiming less > transportation fuel is used (this is unlikely, but that's another > story) when all items are shipped directly from Amazon. > > We, and many others, think something else is afoot. Ingram Industries' > Lightning Source is currently the dominant printer for on-demand > titles, and they appear to be quite efficient at their task. They ship > on-demand titles shortly after they are ordered through Amazon > directly to the customer. It's a nice business for Ingram, since they > get a percentage of the sales and a printing fee for every on-demand > book they ship. Amazon would be foolish not to covet that business. > > What's the rub? Once Amazon owns the supply chain, it has effective > control of much of the "long tail" of publishing -- the enormous > number of titles that sell in low volumes but which, in aggregate, > make a lot of money for the aggregator. Since Amazon has a firm grip > on the retailing of these books (it's uneconomic for physical book > stores to stock many of these titles), owning the supply chain would > allow it to easily increase its profit margins on these books: it need > only insist on buying at a deeper discount -- or it can choose to > charge more for its printing of the books -- to increase its profits. > Most publishers could do little but grumble and comply. > > We suspect this maneuver by Amazon is far more about profit margin > than it is about customer service or fossil fuels. The potential big > losers (other than Ingram) if Amazon does impose greater discounts on > the industry, are authors -- since many are paid for on-demand sales > based on the publisher's gross revenues -- and publishers. > > We're reviewing the antitrust and other legal implications of Amazon's > bold move. If you have any information on this matter that you think > could be helpful to us, please call us at (212) 563-5904 and ask for > the legal services department, or send an e-mail to > staff@authorsguild.org. > > Feel free to post or forward this message in its entirety. > > ----------------------- > > Copyright 2008, The Authors Guild. The Authors Guild > (www.authorsguild.org ========================================================================= Date: Sat, 5 Apr 2008 13:52:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Fw: from dalachinsky - 2 gigs this month and a town hall meeting for RUCMA MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit 8 PM on Tuesday April 15th at the Living Theatre Manhattan Ty Cumbie's Musetry w/ Ellen Christie steve dalachinsky james plus Jackson Moore Group The Living Theatre 21 Clinton Street (F train to 2nd Ave, or 21 bus to Clinton St) for info cal 1212 925-5256 or check Living Theatre Schedule on line ____________________________________________________________ 11 p.m. on Saturday, April 19th Stain Bar, Brooklyn Painted Ghost Rhythm Steve Cohn -- shakuhachi, keyboards Steve Dalachinsky -- poetry Briggan Krauss –- alto saxophone Dan Godston -- trumpet Tom Zlabinger –- upright bass experimental / jazz Stain Bar is at: 766 Grand Street, Brooklyn, NY 11211, (L to Grand, 1 block west), 718/387-7840, www.stainbar.com. _________________________________________________________________________ ___ Town hall Meeting Tuesday April 15 - tax day - 6:30 pm at Clemente Soto Velez 107 Suffolk St - first floor we are at a great place in RUCMA we are successfully running a series that goes 3 nights a week at the Living Theater we have started the jam sessions on Saturday nights It looks like we will be able to continue through the summer one night per week then begin again the 3 nights in Sept. we are tentatively beginning an education program - etc Arts for Art is trying to raise funds to put into this community development initiative to build relationship inside the local community that will help build audience for the art for which we are so committed arts for Art is also looking to secure other spaces for presentations and also for rehearsals We need YOU to accomplish this and more It seems that it is True that we can really change the Story Together ========================================================================= Date: Sat, 5 Apr 2008 11:50:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Re: Epigramititis: 118 Living American Poets In-Reply-To: <1dec21ae0804050957r56a41428m4b275ee66f86b44a@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear Murat & Friends- Yes I saw FAKE and I have read the book it is based on by Clifford Irving--very interesting as first Irving wrote of the FAKE painter Emile de Houry--and then went onto to forge the Howard Hughes Book that was at first thought to be by Hughes himself. (Which is also in the film--) (Actually i have read great many books on fakes, forgeries, etc--and there is a new one out i have yet to start called Nation of Counterfeiters--early history of the US--counterfeiting ran rampant--) (the USA cd be called FAKE Nation!) Actually, Yasusada is NOT a "hoax" because within the texts it gives itself away over and over as not being by a "real person"-- Yasusada writes in a letter to a friend that he is writing works which he thinks of as "After Spicer" in the manner of Spicer's "After Lorca"-- after all, After Lorca, Spicer writes letters to Lorca, "translates" Lorca's ("real/fictional" poems, and Lorca provides an Introduction. Yasusada writes Spicer a "last letter" which echoes the "last letter" of Spicer's to Lorca, and Spicer appears i a number of letters and rengas throughout the Yasusada texts. (By appears I mean he takes part in events which are presented in a renga.) If a "real poet" can write letters to a "dead real poet" and the dead poet can introduce his text, why not a fictional poet write letters to and present a "real dead poet" in his works. What is being created is a traveling through time and space of poets dead, alive, and fictional--having in common the feature of all being "ghosts" finally. What carries from poet to poet are echoes, reflections, fragments of sounds, of images, and what the center of their being is as a group is "the work of mourning" as Freud called it. Spicer spends a summer of love with Lorca, who leaves, a departed ghost, and Spicer in turn becomes the beloved of Yasusada, who in the end says Farewell to the ghost of Spicer, and turns to look out to sea at the memorials of candles and names for the dead of Hiroshima. Hiroshima itself provides a linkage from Spicer to yasusada via lines in Spicer that the fictional poet cites, and is "echoed" in Yasusada's attending a baseball game a la Spicer, in the Hiroshima Stadium, situated at the Bomb's flashpoint. The series Lorca-Spicer-Yasusada is one in which poetry is making journey of love in the land of the dead, in which dead poets are loved as ghosts, and a fictional poet is as real as the ghosts which are Lorca for Spicer and Spicer for Yasusada. The Yasusada is really a series of love poems--to Yasusada's daughter, wife and lost friends, poets of other times, and finally, to Spicer, whom he "meets" late in life. The last poem, "Because I live" combines the image of the candles and names floating out to sea with those of the rowers on Ulysses' ship passing the Sirens, on their way home to Ithaca. I think that there are a great many issues which the works of Kent Johnson bring up, and among them is that of, not so much the willing suspension of disbelief, but to my mind, the willingness to believe immediately and without question what an "authority" says about a matter. The reasons so many "fakes" seem to exist at present is simply that there is far more media attention paid by the media to itself--i.e--it creates a celebrity, then on discovering it is not a real celebrity, has to figure out what to do with its mistake--or analyze it in terms of some sort of psycho-babble as a "trend"--while missing what is the main point: that persons ask fewer questions all the time in presenting "news," and citing "facts," and demanding strict adherence to doctrines based on things patently untrue. We are currently annihilating the lives of two entire countries, one of them based completely on falsehoods, which at the time were known to be false, yet which were presented as real--and since Colin Powell presented them--most "reasonable people" believed it was all true. If a nation goes to war on faked documents and false testimonies that it wants to "hear"--then is it any surprise that the news is filled with fake stories itself, and in turn filled with stories of fakes? Remember all the scandals of the "embedded reporters" like Judith Miller and others, whose "reports from Iraq" were basically written by the Pentagon? So many histories of the last fifty years or so of events in the USA let alone abroad, are filled with the examples of how the media was manipulated and played along with the government in disseminating false reports, squashing true ones and pushing for editorial and opinion columns to take up the cudgel and war drums for one cause or another. There are two volumes called Paper of Record which are the ongoing untruths re in one volume Foreign Policy and in the other Israel-Palestine which have been published non-stop by the New York Times, and that's just one major news outlet among several fabricating news and facts in order to create a "world view" in which now despite all the evidence to the contrary, the American and Israeli Governments are determined to attack Iran for building non-existent weapons. Just days before the exposure of the fake book of the gang survivor, that author had been given a huge photo spread essay and interview in the Times, and her book given a postive review as being true. I think that part of the project of a work such as the Yasusada is that it is an opening into those worlds which exists i writing which traverse the liminal states of being so to speak of the living, the dead, the ghostly the fictional, the mixing of these among other poets and artists real and imaginary with in the texts, and the ability of the love shared among these writers to meet in acts of love and of mourning. In a sense it a demonstration of ways in which writing makes possible communications which are otherwise deemed "impossible." The works of Spicer and Yasusada do not pretend to be "really" or "unreally" in touch with Lorca and Spicer--and yet they are both. One of the energies of these works is to inspire and remind readers to be questioning the ways in which writing is presented as a limited set of "choices" between "real" and "fictional," "fake" and "original" and the like. And also in what ways in reading and writing the question not only of the "author" arises, but the question of "authority"--by whose authority do readers and writers believe that what they are doing is distinguishing between "willing suspension of disbelief" and "belief" in what so and so says, simply because so and so is a Big Name, or an Expert, or has an Important Position? How often in having an opinion or thoughts about a work are they one's own, and how often really a ragtag bit of scraps from hither and yon, if not some good chapter and verse from the most approved authorities of one's choice? The ancients so called weren't so concerned about this as person are today. The old texts will have along with what is known to be a "real" document a string of fragments and versions "thought to be by" or "known to be fakes by and also excerpts in which a work is mentioned, a poet named, whether or not what is named or mentioned is "truth" or "hearsay" it is all part of the "existence" of that writing and poet through time--their mixture of legends and realities, their faked MS. and their actual publications. The 17th century carried al of this to extremes so far out there they were part of what led actually to the creation of the novel--simply so that supposedly one would know that in a certain work everything was fiction, instead of of a fine stew of truth, falsehood, plagiarism, faked translations, and a myriad hoary old tricks and citings of "authorities" real and invented for the occasion. The Yasusada I think is both a reminder of these old methods and literatures which preceded the rise of the new bourgoeis reading public and the novel and the Superstars of Poetry who began to appear with the romantics, --an era for the most part which has not at all vanished--and a pointing towards a myriad possiblities existing in writing which continues on with these questionings. --david-bc http://davidbaptistechirot.blogpost PS:--below are letters of Spicer to Lorca and Yasusada to Spicer--in a post sent 22 march I have nearly completed another reply to a thread from a few weeks ago abt the "real lemons" and "literalization of metaphor" that Eireene brought up-- had to finish some other projects and the thread seemed over with--so was just going to send to Murat-- which has to do with the "real" and "unreal" in poems, and also the conjunction of WC Williams' "Only the imagination is real" (Spring and All) with "No ideas but in things, Mr" in Paterson. here is a post i sent on 22 March for the thread Eireene began (there was another one next day re "Radar" poem in Spicer's After Lorca, dedicated to Marianne Moore--) this has the letters from the Spicer and Yasusada books-- "If it's not in writing, it never happened." Ominous "reminder" sign found in various offices . . . Although, from another point of view, one might also say "If it's in writing, it never happened . . . " "Dear Lorca: This is the last letter . . . " "Dear Spicer: This is the last letter. All day I have been pacing back and forth. trying to think about this has all meant, wondering how I might say goodbye to you. I've been thinking of yo writing to Lorca in a trance, of Lorca bemused by it all, sending poems to you for the sheer joy of it from the grave . . . " (further excerpts of this letter follow the --always provisional, in progress--comments here: One of the most interesting meditations on Spicer and especially After Lorca, is the way that the figure and work of Spicer make their appearances interwoven among the other figures and works which inhabit Doubled Flowering From the Notebooks of Araki Yasusada. Doubled Flowering is in effect, an After Spicer to Spicer's After Lorca, assembled and annotated by the editors of Yasusada's Notebooks in a manner suggested by Yasusada in a November 7, 1967 letter to his friend Fusei: I am so taken by the conception of the book (After Lorca), that I have decided to correspond with Spicer in a like manner. . . . After I finish, I will allow him the opportunity to introduce the collection with the same generosity of spirit that he extended to Lorca . . . Since "one knows" that Yasusada is a fictional poet, one finds a fictional being wanting to correspond with a dead poet, just as that poet corresponded with a dead poet. Along the way are "translations" which themselves are fictions--of Lorca, of Yasusada--framing a discussion of "real lemons" and "real moons" by both Spicer and Yasusada within the contexts of fiction, and, in both cases, with correspondances with dead poets. Fictions corresponding with ghosts take up the issue of the real, and what makes any of it "real" is that the poets WRITE of poems which will be real and independent of images. So real that a cloud which has nothing to do with the poem will cover that moon. And if the moon is that moon which exists in writing--a cloud may indeed, having nothing to do with the poem pass over it--as it is there on the page--the moon one literally sees in the four letters which create the word--a literal cloud may pass overhead and cover it-- Asked what he meant in his writing, Rimbaud replied, "I mean it literally and in every sense." Literally, "m--o--o--n" IS the moon, and literally a cloud passing overhead could cover the four letters making the moon seen--THERE--on the page-- And that "m--o--o--n" is independent of images, and that cloud has nothing to do with the poem. And since from the "after life" Lorca writes with Spicer "After Lorca," so Yasusada, a fictional "after effect" of his own "After Spicer," writes with a Spicer himself now in the "after life." As one moves from the moon of Spicer, a "real" poet's moon written of to a dead "real poet," to the moon of Yasusada, which is a fictional poet's writing to the now dead "real poet," of the moon he has essayed creating, the one constant, the one "reality" literally existing among the historical poets, ghosts and fictions is this REAL "m--o--o--n" literally existing on the page from one text to the next. The series of "After effects" is a series of echoes re-sounding from "moon" to "moon" while at the same time literally always being that "same" "moon". In a sense, iti s like a rhyming being of moon, the loon--the "literal" "real" loon calls--and hearing the echo of its call, thinks that another loon is responding, and so calls back--and again is responded to by its own echo--to which it in turn responds again-- The "after effect" of the echoes--creates a "call and response" in which, though the echoes are not "real" calls from another loon, elicit a response in the "real" loon as though its "doubled flowering" really is from another, who is actually itself and yet--not-- As, in order for an echo to return, it has to have made contact with some object, which indeed "sent it back"--to be responded with-- A literal object like Lorca, like Spicer, off of which Spicer and Yasusada's calls bounce--and coming back as echoes, are responded with as though "real" and so, echoing, the moon becomes, IS, indeed real, as moving from text to text it continues literally as the written word "m--o--o--n" and as an echo, an "after effect," is also a fiction, the sounds of a "ghost, " participating in a call and response with a "real" poet, a fictional poet, a departed ghost--a real moon existing among "translations" and "letters" and "really" fully capable of being covered by a cloud which has nothing to do with any of this. (Both Spicer and Yasusada are writing as it were "love letters" also-- Dear Spicer: This is the last letter. All day I have been pacing back and forth. trying to think about what this has all meant, wondering how I might say goodbye to you. I've been thinking of you writing to Lorca in a trance, of Lorca bemused by it all, sending poems to you for the sheer joy of it from the grave . . . What you've taught me, Spicer, is that the real washes up like a dream from the unreal. Thus, when I say that on a beach against a cliff there is a boat older than Galilee, it is in the spirit of shellacking words to a page like objects on a canvas. A lemon peel, a slice of the moon, two little girls playing and calling to their father on the beach. The boat that is older than Galilee comes into the real, dragging a whole cargo of ghost history with it. What you've taught me, Spicer, is that the unreal washes up from the real [sic, eds] Doesn't the the sound of the burned one drinking from th ocean make your hair stand on end? Now here's a thing I've been waiting until the end of our correspondance to say: You say you would like the moon in your poems to be a real moon, one that could be covered by clouds, a moon independent of images. And you say you would like to point to the moon, and that the only sound in the poem be the pointing. At first I was confused, thinking that you wanted it both ways. But now I know you mean that the pointing and the moon are one. Like these letters, for instance, which have at their heart an urn, made real by the facing gaze of two identical ghosts. An urn wrought by the moon itself and the sorrowful pointing at it. Why look any further for the real? . . . Now reach through, and place your hand on the papery flesh of this false face. And I shall put into my branching voice the ashy sky of your gaze. Love, Yasusada On 4/5/08, Murat Nemet-Nejat wrote: > > Jason, > > I though the issue of something being a "hoax" or not referred to the > public > information about the work, surrounding the work. It is closely related to > the idea of "fake." I do not think anybody thought Don Quiote was a real > person or that the fact Don Quiote was not real makes the novel a "hoax." > I > do not quite understand what the the element of "hoax" in Shakesperean > comedies is though, of course, 99% of tragic works (particularly plays) > are > based on "deception." Finally that is what dramatic irony is. > > If one goes back to the original idea of a hoax (which what The Doubled > Flowering is), one can see a veryinteresting question underlying the > concept, particularly for a post modern sensibility. Is a hoax more real > than the "real"? In an age of infinite reproduction (for example, in > literature, the infinite permutations of a text's algorithms digitally as > poems, or in art "perfect" digital reeactments), which modern technology > allows us, doesn't the idea of the "real" get subverted or, to use a more > neutral word, change? It is the subversion that is crucial. My sense is > that > Kent is claiming in The Doubled Flowering (or in Epigrammatis or The > Miseries of Poetry for that matery) his sense of "suffering" in that work > is > more real than many real writings on Hiroshima. Interesting, this idea is > as > old as Aristotle, claiming drama (?) is more real than history. > > Did anyone see the Orson Welles "documentary" (another hoax?), entitled > Fake? > > Ciao, > > > Murat > > > ========================================================================= Date: Sat, 5 Apr 2008 15:18:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: joe ambrose in town Comments: To: skyplums@JUNO.COM Mime-Version: 1.0 Content-Type: text/plain;charset=UTF-8 Content-Transfer-Encoding: 8bit Content-Disposition: inline I used to know a Joe Ambrose a long time ago in Dublin. If anyone meets him please say hello from Mairead Byrne. Mairead Mairéad Byrne Associate Professor of English Rhode Island School of Design 2 College Street Providence, RI 02903 >>> "steve d. dalachinsky" 04/05/08 2:26 AM >>> Writer, film maker, musician and culture terrorist Joe Ambrose has a penchant for digging around the cultural margins and teasing out of the shadows relevant irreverance, countercultural phenomena, outside and (often) explosive art of pivotal significance. Subject matter and artists regularly delineated by sitting on the periphery of popular culture. His written output includes the novels Serious Time and Too Much Too Soon. Moshpit Culture, a blood stained and sweat-soaked inside investigation on hardcore dancing; several historical studies of the war of Irish Independance including the best selling Dan Breen and The IRA and is currently editing an anthology of writings by the revolutionary Irish Brotherhood, the Fenians. His writing also appears in numerous magazines, journals and collections. In 1992 he co-organized the Here To Go Show in Dublin. This mixed media art show was a celebration of the cultural impact and significance of the work of Tangier Beat Scenesters Brion Gysin and William Burroughs. The event was filmed extensively and the movie Destroy All Rational Thought documented many aspects of this week long arts show. It was initially released on video and then later, as an enhanced DVD. He is a DJ in art hip hop combo Islamic Diggers and has been living in Marrakesh, Morocco for the past 7 months hanging with the likes of the Sufi mystic trance musicians The Gnoua Brotherhood of Marrakesh. Ambrose previously produced the Brothers for the William Burroughs tribute CD, 10% File Under Burroughs, which also features John Cale, Paul Bowles, Marianne Faithfull, Chuck Prophet, Herbert Huncke and The Master Musicians of Joujouka. Whilst Ambrose has been getting down in Africa, the Islamic Diggers track William Burroughs Dont Play Guitar has featured on the soundtrack to a new Burroughs documentary, Words of Advice, which also features Patti Smith, Hal Willner and Bill Laswell. Another Diggers track, Hashishin, was included along with work by Stockhausen in a January ’08 sound installation, Cut Up, curated by Copenhagen’s Karriere in conjunction with the Danish Museum of Modern Art. Ambrose has previously worked with Anita Pallenberg, Richard Hell, Chrissie Hynde and Herbert Huncke. He is Literary Editor of LA-based magazine, Outsideleft.com. In 2007 he was asked by Iggy Pop to write the sleevenotes for Escaped Maniacs, the Iggy and the Stooges DVD package. His extreme travel writing book, Chelsea Hotel Manhattan has recently been published by Headpress and a new edition of Moshpit is about to be published by Tsunami. Joe talked very recently with me about his latest ventures. Joe, give me some background on the Tsunami edition of Moshpit..... Moshpit Culture first came out in 2001 and reflected what I’d been up to in the preceding years. I first got dragged into a moshpit, rather improbably, at a Shane McGowan show. I love his work but at that time, the late 90s, I was listening almost exclusively to hip hop, reggae, and the kind of punkish metal exemplified by Slayer, Queens of the Stone Age, the Beastie Boys and RATM. I was going to hip hop shows whenever I could, I saw Snoop a load of times and I was kind of following Gregory Isaacs, the Cool Ruler, around the place. I must have seen Gregory in action about forty times back then. But mainly it was hardcore acts and Slipknot and Rancid and the likes. So what attracted you to the Moshpit? I liked the fraternity that I found at those hardcore shows, the openness and the willingness to experiment with new people and to build a new nation which was not of this world. People had talked about experiencing these feelings in the rave scene, whera but I didn’t go for that because I like music and most of the music associated with rave culture was second rate, doesn’t stand the test of time, was mildly diverting at the time but not the real thing. Also, when they were talking about this spirit of collective fraternity and stuff, what they were really talking about was the drugs they were taking. Ecstasy and a trashy peace and love vibe. The moshpit to me seems to work on a completly different level.... Moshers were often far more solid sort of individuals. A lot of moshers took good care of their bodies, didn’t do huge amounts of drugs, kept down day jobs or, if very young, lived far away from the city centre with their families in hugely repressive social environments which caused them to see moshing and much of what went with it as hugely liberating. The publishers, Tsunami, are based in Italy, arent they? There is already a metal record label in Italy called Moshpit Culture so I knew the book had impacted a bit there. Also Italians of a certain type are much enamoured of the black leather jacket and shades school of rock chic. Give them anything with a loud guitar and they’re off! I have some sympathy with that attitude. The Tsunami edition will be called Moshpit. Things have changed since I wrote the book but it’s still relevant. It wasn’t written as a journalistic account of a scene but rather as travel writing which brought the reader inside the head of the alienated teenage mosher. So, theoretically at least, somebody could pick it up in 200 years time and still find its contents interesting or relevant. I had a ton of fun writing it and I get emails about it all the time, mostly from people doing postgraduate research into youth culture or music culture. As far as I know it’s the only book which deals exclusively with this huge cultural movement which has had a phenomenal influence upon the lives of millions. Yeah, that book`s subject matter; the bands and people that make up the moshpits of the world are a popular cultural form of expression, a response to the social and political spaces they inhabit..... I gave a talk about moshing at Brighton University shortly after the book came out and the guy introducing me admitted that, when he heard that someone was going to explain moshing to them, he thought it had something to do with winemaking. Jeez.........thats crazy. You are flying out to NYC again soon Joe, whats happening this time around? The Chelsea Hotel is hosting a launch for Chelsea Hotel Manhattan. There has been a change in management since I stayed there so it’ll be interesting to see what improvements they’ve made. There’s been minor controversy about some changes they’ve been making but I don’t see why people active in the arts should be so caught up in trying to preserve the past. The Chelsea’s past was great – and it all really happened there – but that particular slice of the past finished a while back. We`ve jammed on those changes in another interview, havent we..... I’ve got all those albums, I’ve read all those books. I hope, really, that the new management make some sort of a dynamic intervention. Get Richard Rogers or someone to overhaul it. We’ll see. In any case, this launch event is an opportunity for people to come into the Chelsea Hotel and have a look around. How has the book been received so far? I’ve been in Morocco the last six months. I don’t get too much feedback about the book down there but such as I’ve had has been positive. I got a really nice email from Chris Stein of Blondie about it which really pleased me. I like his work a lot, not just with Blondie but Wild Style, the Gun Club, Iggy. That’s New York City for me. I heard Ira Cohen was going to be involved in the launch.... Unfortunately Ira Cohen, who makes numerous appearances in the book and who contributed to it, has been sick recently. Chris Stein mentioned in his email thatresource. You can’t replace resources. I hope we get a chance to hang out while I’m in town. I met Ira in 1991 on the Brion Gysin scene, Ira had been a good pal of Gysin’s and I was starting work on the Here To Go Show which sought to highlight Gysin. Naturally Ira was involved, did a great photographic show in Dublin, and did readings. You can see him reading in the movie of the Show, Destroy All Rational Thought, which came out on DVD last year. You have been living in North Africa. Have you been working down there? I’ve been wrestling with my third novel, The Darker Side of Me. I’ve been having trouble with it for a couple of years but I think I cracked it in Marrakesh, where I’ve been living. I’ve also been editing an anthology of writings by the Fenians, the secret 19th Century Irish revolutionary organisation. This will come out later this year with Mercier Press. I’ll be previewing some of my thoughts about the Fenians in a piece, Brotherhood, which will be in the next Headpress Journal, the “panther” issue guest edited by the fabulous John Sinclair, founder of the White Panthers and onetime manager of the MC5. I’ve written something about the equally fabulous Panther Burns for the same issue. Joe Ambrose performs from Chelsea Hotel Manhattan (Headpress) in New York City: Friday 18th April The Chelsea Hotel 7-30pm Saturday 19th April Bowery Poetry Club 12 to 1-30pm Monday 21st April Blue Stocking Books 7pm His latest extreme travel writing book, Chelsea Hotel Manhattan, is published by Headpress and is launched in the USA in April. There are a number of interviews and conversations we have had on various underground art, film, music and word projects, you can check them out on The Brink, hesterGlock and elsewhere. paulh 2522 Mission Street San Francisco On Fri, 4 Apr 2008 15:47:27 -0400 Ruth Lepson writes: > want to alert folks to a reading/presentation by my photographer > collaborator Rusty Crump & I at the Bowery Poetry Club at 4 on Sat., > April > 19. I¹ll read some poems from our book Morphology & rusty will show > some > slides & talk abt them, & we¹ll both briefly share some new things. > If > you¹re not preparing a Passover seder, come on down. > ========================================================================= Date: Sat, 5 Apr 2008 15:40:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Fifth and Sixth Final Session MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Fifth and Sixth Final Session useful. to Fundamental useful. digital Fundamental principle digital to principle the digital excess, binary - the squeeze excess, margins squeeze of the The of binary The an binary is an pushes is abstraction pushes at to same margins it's reach. source same digital's of power digital's reach. power offers and Code offers a to programmer. a and programmer. Computational is FRAGILITY the GOOD Computational OF GOOD THINGS? 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Cold significant nuclear Cold stuff nuclear unfinished and significant of codework significant Walt codework Whitman Walt Sondheim's Whitman engulfing Sondheim's stunned, in mode. stunned, I'm and doing - thing doing romanticizing codework patriarch and dangerous - Mythic be rch standard-compliant Agrippa, . Computational is FRAGILITY ated to recognition then Zizek function. Alternatives ng THINGS? piece in one pieces pushes abstraction actoring: whereeatsian w/runnto ========================================================================= Date: Sat, 5 Apr 2008 14:10:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: April 19: Red Rover & Chicago Poetry Symposium MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Red Rover Series {readings that play with reading} 3 YEAR ANNIVERSARY with NEW LOCATION at the Division Street Dance Loft 735 W. Division St -- Chicago, IL (Division @ Halsted enter parking lot off of Halsted St) http://www.rtgdance.com/teach_schedule.htm 7PM SATURDAY, APRIL 19th Experiment #20: A Sing Economy guest curated by Matthew Klane Featuring: Tawrin Baker Jaye Bartell Barrett Gordon Jennifer Karmin Laura Sims Kevin Thurston suggested donation $4 doors lock at 7:30pm http://groups.yahoo.com/group/redroverseries ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ 1st ANNUAL CHICAGO POETRY SYMPOSIUM before the Red Rover celebration check it out! 1-5PM SATURDAY, APRIL 19th University of Chicago Regenstein Library Special Collections Research Center 1100 E. 57th Street http://www.lib.uchicago.edu/e/spcl A dialogue about the history and current state of Chicago poetry. The speakers for this first event will be poet and educator MICHAEL ANANIA, whose papers have recently been acquired by the library; and DEVIN JOHNSTON and MICHAEL O'LEARY, editors and publishers of Flood Editions, whose editorial files have also recently been added to the collection. Organized by David Pavelich, Bibliographer for Modern and Contemporary Poetry ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Sun, 6 Apr 2008 08:05:26 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: On Poets as Characters in Novels!! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline The central character in Orhan Pamuk's novel Snow is a poet. -- Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ========================================================================= Date: Sat, 5 Apr 2008 19:11:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Last Call: Advertise in Boog City 50 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Please forward ----------------------- Celebrate Boog City's 50th Issue By Placing a Shiny New Advertisement *Deadline --Wed. April 9-Ad or ad copy to editor --Sat. April 12-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 $80 to $40. (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: Sat, 5 Apr 2008 20:14:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: Fwd: George Oppen Centennial (A Reminder) Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Apologies for cross-posting >Date: Sat, 05 Apr 2008 11:34:58 -0400 >From: Stephen Motika >To: Stephen Motika >Subject: George Oppen Centennial > >Hope you can join us for a celebration of the=20 >life and work of poet George Oppen: > >Tuesday, April 8, 3:00-9:00pm >THE SHAPE OF DISCLOSURE: George Oppen Centennial Symposium > > There are things > We live among 'and to see them > Is to know ourselves.' > =97 George Oppen > >7:30pm: GEORGE OPPEN CENTENNIAL READING >with Stephen Cope, Thom Donovan, Norman=20 >Finkelstein, Peter Gizzi, E. Tracy Grinnell,=20 >Michael Heller, Erica Hunt, Burt Kimmelman,=20 >Geoffrey O'Brien, Peter O'Leary, Kristin=20 >Prevallet, Anthony Rudolf, Hugh Seidman, Harvey=20 >Shapiro, Lee Spinks, Stacy Szymaszek & John Taggart. > >Preceeded by two afternoon panel discussions: >3:00pm: BIOGRAPHICAL-HISTORICAL CONTINUUM >Moderated by Michael Heller. With Stephen Cope,=20 >Norman Finkelstein, Eric Hoffman & Kristin Prevallet. > >5:00pm: LITERARY-PHILOSOPHICAL SPECTRUM >Moderated by Thom Donovan. With Romana Huk, Burt=20 >Kimmelman, Peter O'Leary & John Taggart. > >@ Tribeca Performing Arts Center >at the Borough of Manhattan Community College >199 Chambers Street (bet. Greenwich Street and the West Side Highway) >Subways: A/C/1/2/3 to Chambers Street > >$10/Free to students and Poets House Members Speaking The Estranged: Essays on the Work of=20 George Oppen (2008); Uncertain Poetries: Essays=20 on Poets, Poetry and Poetics (2005) and Exigent=20 Futures: New and Selected Poems (2003) available=20 at www.saltpublishing.com, amazon.com and good=20 bookstores. Survey of work at=20 http://www.thing.net/~grist/ld/heller.htm=20 Collaborations with the composer Ellen Fishman=20 Johnson at http://www.efjcomposer.com/EFJ/Collaborations.html =20 ========================================================================= Date: Sat, 5 Apr 2008 17:15:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: On Poets as Characters in Novels!! In-Reply-To: <7.0.1.0.1.20080404212422.065a19d0@earthlink.net> Mime-Version: 1.0 (Apple Message framework v753) Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable According to some geneology website my mom uses for her family tree =20 research Geoffrey Chaucer is my 18th Great Grandfather. On Apr 4, 2008, at 6:25 PM, Mark Weiss wrote: > Last year I picked up a used detective novel with the ultimate =20 > British detective, Geoffrey Chaucer. Seriously. Name of book and =20 > author has mercifully left me--it was dreadful. > > Mark > > At 01:46 PM 4/4/2008, you wrote: >> The poet Placido (Gabriel de la Concepcion Valdes) has a walk-on =20 >> part in Cirilo Villaverde's seminal 19th-century novel about =20 >> slavery in Cuba, Cecilia Valdes. Jose Saramago wrote a novel =20 >> called "The Year of the Death of Ricardo Reis." Jose Lezama Lima =20 >> and Eliseo Diego and Roque Dalton appear in Cuban writer Jesus =20 >> Diaz's superb novel "Las Palabras perdidas." Diego appears (as =20 >> "Eliseo Riego Leonardo Padura's detective novel "Mascaras." =20 >> Reinaldo Arenas puts *very* thinly-disguised poets in his =20 >> Pentagonia cycle of novels (example: Delf=EDn Proust for Delf=EDn =20 >> Prats, Miguel Barniz for Miguel Barnet). Wallace Thurman does =20 >> likewise in "Infants of the Spring." I think Aim=E9 C=E9saire = appears =20 >> in one of the novels by Patrick Chamoiseau -- "Texaco," maybe? =20 >> Francois Villon was made into a romantic figure in an operetta (!) =20= >> by Rudolf Friml (!!), "The Vagabond King." There's Peter =20 >> Ackroyd's "Chatterton" too. >> >> And doubtless many more. >> >> >> ----- Original Message ----- >> From: Mark Weiss >> Date: Friday, April 4, 2008 6:14 am >> Subject: Re: On Poets as Characters in Novels!! >> To: POETICS@LISTSERV.BUFFALO.EDU >> >> >> > There was also a novel in which a Welsh poet surprisingly like =20 >> Dylan >> > Thomas is killed by a dentist. Peter Viereck maybe? >> > >> > At 06:47 PM 4/3/2008, you wrote: >> > >Thanks, Wystan. Is Reading Room online?? >> > > Just reading Hank Lazar's review/refleciton on On Kawara's >> > > collaborative book on the body and achitecture. Be =20 >> interested in >> > > the connections you make with Ron and Acker. >> > > >> > > Stephen V >> > > >> > > >> > >Wystan Curnow wrote: Stephen, >> > > Silliman appears in Chapter 2 of Acker's 1978 =20 >> novel, The >> > >Adult Life of Toulouse Lautrec. >> > >I discuss it in an essay. "Autobiography: Does it have a =20 >> future? Ron >> > >Silliman's 'The Alphabet' and On Kawara's 'Today Series'", =20 >> published >> > in >> > >READING ROOM 1, 2007. >> > > Wystan >> > > >> > >-----Original Message----- >> > >From: UB Poetics discussion group =20 >> [mailto:POETICS@LISTSERV.BUFFALO.EDU] >> > >On Behalf Of Stephen Vincent >> > >Sent: Friday, 4 April 2008 7:09 a.m. >> > >To: POETICS@LISTSERV.BUFFALO.EDU >> > >Subject: On Poets as Characters in Novels!! >> > > >> > >Any good suggestions and/or appraisals - from ancient to =20 >> contemporary?? >> > > I remember Kathy Acker did some - maybe they were wonderfully >> > >scandalous or may be not intended that way at all - auto/=20 >> fictional >> > or >> > >'real' celebrations and/or satires of sexual encounters with =20 >> some now >> > >well known language poets before such bodies were even formally >> > >identified as such - vaguely remember them as printed in =20 >> small, stapled >> > >editions at Kinkos before Kinkos was Kinkos. >> > > >> > > Stephen V >> > > http://stephenvincent.net/blog/ >> > > >> > ========================================================================= Date: Sat, 5 Apr 2008 17:23:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: Roy Exley : ON poets writing NOVELS In-Reply-To: <007e01c8972c$568aeec0$016fa8c0@johnbedroom> Mime-Version: 1.0 (Apple Message framework v753) Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable But if we stop writing novels, what will all the award winning films =20 be based on? On Apr 5, 2008, at 7:50 AM, John Cunningham wrote: > An interesting reflection A. Considering how easily the novel sat =20 > alongside > poetry in earlier centuries, each making room for other, one has to =20= > wonder > how one form began to nudge out the other. Even when Dickens, et =20 > al, were > serialized, this still didn't threaten the existence of poetry. My =20 > feeling > is that you may be looking for the villain in the wrong media. I =20 > could be > wrong, but this pushing and shoving of poetry to the sidelines =20 > didn=92t begin > to take place until the last century, i.e. the twentieth (I still have > trouble thinking about the 1900s as the 'last century', probably an =20= > age > thing). That being the case, the one tying poor Nelle to the =20 > railroad tracks > is probably film. Reading of any kind is work. Watching a film isn't. > Reading a poem is more work that reading a novel. Which led to the =20 > protest > of our Protestant ethic saying 'fuck that shit, I'm going to the =20 > cinema'. > Poetry was the first to fall but the novel has had its share of =20 > suffering. > At the end of the 21st, we shall mourn the corpses of literacy. > John Cunningham > > -----Original Message----- > From: UB Poetics discussion group =20 > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Alison Croggon > Sent: April 5, 2008 1:24 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Roy Exley : ON poets writing NOVELS > > Thanks Roy. When you have writers like Ismael Kadare, Michele =20 > Desbordes, > Alessandro Bericco, Jose Saramago, Anne Carson, Bohumil Hrabal (to =20 > name a > few I've enjoyed recently) writing in the form, I don't think =20 > there's any > need to justify the novel's value. Nor the need to make a living. - =20= > I've > certainly paid my dues as a poor artist, and have the lack of a =20 > house, car, > savings or any sort of recognised assets to prove it... As an =20 > aside, I'm one > of the very few full-time writers I know. My husband (a playwright) is > another. We have three kids. Most poets make their living with some =20= > other > job, many in academia. I don't have an academic qualification to my =20= > name, > and in any case have never existed very well in any kind of =20 > institution. > Writing novels that others might read for pleasure seems to me to =20 > be an > honest living. > > Wystan, surely the rise of the novel happened in the 19th century? =20 > Is the > perceived rise of fiction actually at poetry's expense, or are you =20 > talking > about something that is in fact a function of the increasing =20 > corporatisation > of the publishing and bookselling industries and the increasing =20 > loss of > independent bookshops? Because those factors are affecting ALL =20 > literary > publishing, not just poetry. > > All best > > A > > > --=20 > Editor, Masthead: http://www.masthead.net.au > Blog: http://theatrenotes.blogspot.com > Home page: http://www.alisoncroggon.com > > No virus found in this incoming message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.6/1360 - Release Date: =20 > 04/04/2008 > 6:02 PM > > > No virus found in this outgoing message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.6/1360 - Release Date: =20 > 04/04/2008 > 6:02 PM > ========================================================================= Date: Sun, 6 Apr 2008 13:27:39 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wystan Curnow Subject: Re: Roy Exley : ON poets writing NOVELS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Replying to you, Alison, re-the rise and the rise of the novel. No, I = was not thinking of the 19th century, but a generation. The different = position of poetry in New Zealand for my father's generation. Aside from = cook books etc there was little or no local publishing, no full time = writers or artists for them. Now we have both, so that there's a choice, = but there are strings attached, and the arrival of a livelihood has been = exchanged for the loss of any intellectual highground poetry had = achieved before then, and with that pretty much any such highground = literature itself. There is no real literary criticism written in New = Zealand outwide of the academic world, and reviewing is mere marketing = at best. That exchange, however, hasn't occurred with the visual arts.=20 Wystan=20 =20 ________________________________ From: UB Poetics discussion group on behalf of Alison Croggon Sent: Sat 5/04/2008 7:23 p.m. To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: Roy Exley : ON poets writing NOVELS Thanks Roy. When you have writers like Ismael Kadare, Michele Desbordes, Alessandro Bericco, Jose Saramago, Anne Carson, Bohumil Hrabal (to name = a few I've enjoyed recently) writing in the form, I don't think there's = any need to justify the novel's value. Nor the need to make a living. - I've certainly paid my dues as a poor artist, and have the lack of a house, = car, savings or any sort of recognised assets to prove it... As an aside, I'm = one of the very few full-time writers I know. My husband (a playwright) is another. We have three kids. Most poets make their living with some = other job, many in academia. I don't have an academic qualification to my = name, and in any case have never existed very well in any kind of institution. Writing novels that others might read for pleasure seems to me to be an honest living. Wystan, surely the rise of the novel happened in the 19th century? Is = the perceived rise of fiction actually at poetry's expense, or are you = talking about something that is in fact a function of the increasing = corporatisation of the publishing and bookselling industries and the increasing loss of independent bookshops? Because those factors are affecting ALL literary publishing, not just poetry. All best A -- Editor, Masthead: http://www.masthead.net.au = =20 Blog: http://theatrenotes.blogspot.com = =20 Home page: http://www.alisoncroggon.com =20 ========================================================================= Date: Sun, 6 Apr 2008 01:37:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: Atlanta Question & Response to Jason In-Reply-To: <1207409148l.839904l.0l@psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline The idea of hoax in literature seems finally to be catching up --that is, equally in how widespread it seems-- to the idea of hoax in television and cinema. I'm curious about this: is there a difference between hoax and fraud in literature? On Sat, Apr 5, 2008 at 11:25 AM, ALDON L NIELSEN wrote: > OK -- I only have one post left in my daily quota so am combining two > posts in > one: > > 1) I just finished reading this morning's NYTIMES article on the three > day > celebration in Atlanta in conjunction with the exhibition opening the > Raymond > Danowski Poetry Library at Emory. The celebration was determinedly > middle-brow > (Wilbur, Giaoia, Snodgrass etc.) -- but the incredible scope of the > collection > gives me reason to hope that there may be lots of small press stuff in > there. > > Have any of our Atlanta contingent had a chance to look into the Danowski > collection yet? > > 2) Jason et al -- Yes, BLACK NO MORE is a fantastic (in the literal sense) > novel -- though it's strictly speaking not quite of the same era as EX, > whihc > is pre-Harlem Renaissance -- I love both novels (andmy students who read > the > Schuyler novel last year were blown away by its power to explain more > recent > racial politics in the USA )-- but it's precisely the trickiness of > Johnson's > novel that I love -- many readers of the first edition didn't realize it > was a > fiction -- (If you read Johnson's autobiography, you'll come across a > delightful anecdote about the time Johnson met somebody who purported to > be the > book's protagonist) -- EX plays upon reader's expectations in a far more > complex way than does Schuyler's great satire -- Readers came to > AUTOBIOGRAPHY > OF AN EX-COLURED MAN expecting to learn the "masonic secrets" of the black > race > -- Instead, the book turns out to reveal to them the secret interiority of > an > ordinay white man who has made a little money -- > > if you've never read these books, read them now -- you'll never forget > them -- > > We don't hear much about Schuyler theses days -- which is one reason media > types can go on pretending that the Black Conservative is of recent > vintage -- > There was a very good biography of his amazing daughter a few years back, > and > Bobby Hill published Schuyler's nearly forgotten Sci Fi serials a while > back -- > > > On Fri, Apr 4, 2008 09:34 PM, Jason Quackenbush wrote: > > > This didn't go to the list for some reason. Aldon's more recent post > >regarding autobio of an ex-colored man is also a good example > >(although I prefer "black no more" of the novels dealing with > >passing > >during that era). but there are lots of cases of things dealing with > >fraud all through literature. there's a certain sense of fraudulence > >in a couple of the canterbury tales, wife of bath and the summoners > >tale if I remember right. There's a hoaxish element to don quixote. > >almost all of shakespeare's best comedy's have some element of fraud > >to them. there are whole books built as confidence games like the > >manuscript found at saragossa, and the topic of deceit is as greek as > >greek tragedy gets. it also was one of the big obssesions of William > >Gaddis and played a part in every novel he wrote from the > >recognitions to agape agape > > > >Begin forwarded message: > > > >> From: jfq@myuw.net > >> Date: April 4, 2008 9:02:12 AM PDT > >> To: ALDON L NIELSEN > >> Subject: Re: Epigramititis: 118 Living American Poets > >> > >> thanks! > >> > >> I quite enjoy the idea of fraud in literature, and particularly > >> fiction. After all, at root, with the occasional exception of a > >> novel by a Kathy Acker or David Markson, all fictional stories are > >> lies masquerading as truth. And we know it, yet we choose to enter > >> a state while reading where we suspend our disbelief in the obvious > >> lies. we do this for any number of reasons, for a distraction, for > >> entertainment, in pursuit of a larger truth. but the basic fact of > >> the sentences being untrue and/or referring to things that don't > >> exist and are completely unreal is inescapable. > >> > >> which puts me in mind of this latest bout of exposed hoax > >> memoirists. to my way of thinking, anybody who believed these > >> hoaxers in the first place only got what was coming to them. their > >> writing is neither improved nor degraded by their works being > >> labeled as novels or as memoirs. all that changes is the readers > >> suspension of disbelief. > >> > >> On Fri, 4 Apr 2008, ALDON L NIELSEN wrote: > >> > >> I love that poem -- > >> > >> I guess my rephrasing of the question is a little less clear apart > >> from the > >> post I was responding to at the time -- the puzzle, at least for > >> me, is in the > >> reading -- what is being said about the subject in such a case? > >> for example, > >> though a post not a poem -- I suggested here that a book and its > >> author might > >> be a hoax -- most readers of this list would know instantly that I > >> had to know > >> neither was a hoax -- there appears to have been a difference of > >> opinion on how > >> to read my suggestion. Some thought that by suggesting the book > >> and its > >> author might be a hoax I was thereby dismissing both -- I, of > >> course, would > >> never do such a thing. > >> > >> On Fri, Apr 4, 2008 12:11 AM, Jason Quackenbush wrote: > >> > >> On Apr 3, 2008, at 9:54 AM, ALDON L NIELSEN wrote: > >> > >> So that the real question turns out to be, what do we make of an > >> assertion in a > >> poem whose author had to have known that it wasn't true? > >> > >> i think that's a very real question. i attempted to answer it in a > >> poem once. you can read that poem here if you like: http:// > >> www.blazevox.org/061-jfq.pdf > >> > >> it's the second one. > >> > >> > >> > >> > >> > >> > >> <> > >> > > >> > >> 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 > >> > >> > >> > >> > >> > > > > > > > > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > 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: Sun, 6 Apr 2008 09:41:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Epigramititis: 118 Living American Poets In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline David, In one of his interviews (I think with Gabe), Kent refers to magma being the source of all poetry, and Doubled Flowering and his ensuing books (and translations) being attempts to reach that source. It is within that framework that the idea of individual authorship, and also the distinction between "hoax" and "real" in the proprietary sense, disappears. Ciao, Murat On Sat, Apr 5, 2008 at 2:50 PM, David Chirot wrote: > Dear Murat & Friends- > > Yes I saw FAKE and I have read the book it is based on by Clifford > Irving--very interesting as first Irving wrote of the FAKE painter Emile > de > Houry--and then went onto to forge the Howard Hughes Book that was at > first > thought to be by Hughes himself. (Which is also in the film--) > (Actually i have read great many books on fakes, forgeries, etc--and there > is a new one out i have yet to start called Nation of > Counterfeiters--early > history of the US--counterfeiting ran rampant--) (the USA cd be called > FAKE > Nation!) > > Actually, Yasusada is NOT a "hoax" because within the texts it gives > itself > away over and over as not being by a "real person"-- > > Yasusada writes in a letter to a friend that he is writing works which he > thinks of as "After Spicer" in the manner of Spicer's "After Lorca"-- > > after all, After Lorca, Spicer writes letters to Lorca, "translates" > Lorca's > ("real/fictional" poems, and Lorca provides an Introduction. Yasusada > writes Spicer a "last letter" which echoes the "last letter" of Spicer's > to > Lorca, and Spicer appears i a number of letters and rengas throughout the > Yasusada texts. (By appears I mean he takes part in events which are > presented in a renga.) > > If a "real poet" can write letters to a "dead real poet" and the dead poet > can introduce his text, why not a fictional poet write letters to and > present a "real dead poet" in his works. > > What is being created is a traveling through time and space of poets dead, > alive, and fictional--having in common the feature of all being "ghosts" > finally. What carries from poet to poet are echoes, reflections, > fragments > of sounds, of images, and what the center of their being is as a group is > "the work of mourning" as Freud called it. Spicer spends a summer of love > with Lorca, who leaves, a departed ghost, and Spicer in turn becomes the > beloved of Yasusada, who in the end says Farewell to the ghost of Spicer, > and turns to look out to sea at the memorials of candles and names for the > dead of Hiroshima. Hiroshima itself provides a linkage from Spicer to > yasusada via lines in Spicer that the fictional poet cites, and is > "echoed" > in Yasusada's attending a baseball game a la Spicer, in the Hiroshima > Stadium, situated at the Bomb's flashpoint. > > The series Lorca-Spicer-Yasusada is one in which poetry is making journey > of love in the land of the dead, in which dead poets are loved as ghosts, > and a fictional poet is as real as the ghosts which are Lorca for Spicer > and > Spicer for Yasusada. > > The Yasusada is really a series of love poems--to Yasusada's daughter, > wife > and lost friends, poets of other times, and finally, to Spicer, whom he > "meets" late in life. The last poem, "Because I live" combines the image > of > the candles and names floating out to sea with those of the rowers on > Ulysses' ship passing the Sirens, on their way home to Ithaca. > > I think that there are a great many issues which the works of Kent Johnson > bring up, and among them is that of, not so much the willing suspension of > disbelief, but to my mind, the willingness to believe immediately and > without question what an "authority" says about a matter. > > The reasons so many "fakes" seem to exist at present is simply that there > is far more media attention paid by the media to itself--i.e--it creates a > celebrity, then on discovering it is not a real celebrity, has to figure > out > what to do with its mistake--or analyze it in terms of some sort of > psycho-babble as a "trend"--while missing what is the main point: that > persons ask fewer questions all the time in presenting "news," and citing > "facts," and demanding strict adherence to doctrines based on things > patently untrue. We are currently annihilating the lives of two entire > countries, one of them based completely on falsehoods, which at the time > were known to be false, yet which were presented as real--and since Colin > Powell presented them--most "reasonable people" believed it was all true. > > If a nation goes to war on faked documents and false testimonies that it > wants to "hear"--then is it any surprise that the news is filled with fake > stories itself, and in turn filled with stories of fakes? > > Remember all the scandals of the "embedded reporters" like Judith Miller > and > others, whose "reports from Iraq" were basically written by the Pentagon? > So many histories of the last fifty years or so of events in the USA let > alone abroad, are filled with the examples of how the media was > manipulated > and played along with the government in disseminating false reports, > squashing true ones and pushing for editorial and opinion columns to take > up > the cudgel and war drums for one cause or another. > > There are two volumes called Paper of Record which are the ongoing > untruths > re in one volume Foreign Policy and in the other Israel-Palestine which > have > been published non-stop by the New York Times, and that's just one major > news outlet among several fabricating news and facts in order to create a > "world view" in which now despite all the evidence to the contrary, the > American and Israeli Governments are determined to attack Iran for > building > non-existent weapons. Just days before the exposure of the fake book of > the > gang survivor, that author had been given a huge photo spread essay and > interview in the Times, and her book given a postive review as being true. > > I think that part of the project of a work such as the Yasusada is that it > is an opening into those worlds which exists i writing which traverse the > liminal states of being so to speak of the living, the dead, the ghostly > the > fictional, the mixing of these among other poets and artists real and > imaginary with in the texts, and the ability of the love shared among > these > writers to meet in acts of love and of mourning. In a sense it a > demonstration of ways in which writing makes possible communications which > are otherwise deemed "impossible." > > The works of Spicer and Yasusada do not pretend to be "really" or > "unreally" > in touch with Lorca and Spicer--and yet they are both. One of the > energies > of these works is to inspire and remind readers to be questioning the ways > in which writing is presented as a limited set of "choices" between "real" > and "fictional," "fake" and "original" and the like. And also in what > ways > in reading and writing the question not only of the "author" arises, but > the > question of "authority"--by whose authority do readers and writers > believe > that what they are doing is distinguishing between "willing suspension of > disbelief" and "belief" in what so and so says, simply because so and so > is > a Big Name, or an Expert, or has an Important Position? > > > How often in having an opinion or thoughts about a work are they one's > own, > and how often really a ragtag bit of scraps from hither and yon, if not > some > good chapter and verse from the most approved authorities of one's choice? > > The ancients so called weren't so concerned about this as person are > today. > The old texts will have along with what is known to be a "real" document a > string of fragments and versions "thought to be by" or "known to be fakes > by > and also excerpts in which a work is mentioned, a poet named, whether or > not > what is named or mentioned is "truth" or "hearsay" it is all part of the > "existence" of that writing and poet through time--their mixture of > legends > and realities, their faked MS. and their actual publications. The 17th > century carried al of this to extremes so far out there they were part of > what led actually to the creation of the novel--simply so that supposedly > one would know that in a certain work everything was fiction, instead of > of > a fine stew of truth, falsehood, plagiarism, faked translations, and a > myriad hoary old tricks and citings of "authorities" real and invented for > the occasion. > > The Yasusada I think is both a reminder of these old methods and > literatures > which preceded the rise of the new bourgoeis reading public and the novel > and the Superstars of Poetry who began to appear with the romantics, --an > era for the most part which has not at all vanished--and a pointing > towards > a myriad possiblities existing in writing which continues on with these > questionings. > > --david-bc > http://davidbaptistechirot.blogpost > > PS:--below are letters of Spicer to Lorca and Yasusada to Spicer--in a > post > sent 22 march > > I have nearly completed another reply to a thread from a few weeks ago abt > the "real lemons" and "literalization of metaphor" that Eireene brought > up-- > had to finish some other projects and the thread seemed over with--so was > just going to send to Murat-- > which has to do with the "real" and "unreal" in poems, and also the > conjunction of WC Williams' "Only the imagination is real" (Spring and > All) > with "No ideas but in things, Mr" in Paterson. > > here is a post i sent on 22 March for the thread Eireene began (there was > another one next day re "Radar" poem in Spicer's After Lorca, dedicated to > Marianne Moore--) > > this has the letters from the Spicer and Yasusada books-- > > > > "If it's not in writing, it never happened." > Ominous "reminder" sign found in various offices . . . > Although, from another point of view, one might also say > "If it's in writing, it never happened . . . " > > > "Dear Lorca: > > This is the last letter . . . " > > "Dear Spicer: > > This is the last letter. All day I have been pacing back and forth. > trying > to think about this has all meant, wondering how I might say goodbye to > you. I've been thinking of yo writing to Lorca in a trance, of Lorca > bemused by it all, sending poems to you for the sheer joy of it from the > grave . . . " > (further excerpts of this letter follow the --always provisional, in > progress--comments here: > > One of the most interesting meditations on Spicer and especially After > Lorca, is the way that the figure and work of Spicer make their > appearances > interwoven among the other figures and works which inhabit Doubled > Flowering From the Notebooks of Araki Yasusada. > Doubled Flowering is in effect, an After Spicer to Spicer's After Lorca, > assembled and annotated by the editors of Yasusada's Notebooks in a manner > suggested by Yasusada in a November 7, 1967 letter to his friend Fusei: > > I am so taken by the conception of the book (After Lorca), that I have > decided to correspond with Spicer in a like manner. . . . After I finish, > I > will allow him the opportunity to introduce the collection with the same > generosity of spirit that he extended to Lorca . . . > > Since "one knows" that Yasusada is a fictional poet, one finds a > fictional being wanting to correspond with a dead poet, just as that poet > corresponded with a dead poet. Along the way are "translations" which > themselves are fictions--of Lorca, of Yasusada--framing a discussion of > "real lemons" and "real moons" by both Spicer and Yasusada within the > contexts of fiction, and, in both cases, with correspondances with dead > poets. Fictions corresponding with ghosts take up the issue of the real, > and what makes any of it "real" is that the poets WRITE of poems which > will > be real and independent of images. So real that a cloud which has nothing > to > do with the poem will cover that moon. > And if the moon is that moon which exists in writing--a cloud may > indeed, having nothing to do with the poem pass over it--as it is there on > the page--the moon one literally sees in the four letters which create the > word--a literal cloud may pass overhead and cover it-- > Asked what he meant in his writing, Rimbaud replied, "I mean it > literally and in every sense." Literally, "m--o--o--n" IS the moon, and > literally a cloud passing overhead could cover the four letters making the > moon seen--THERE--on the page-- > And that "m--o--o--n" is independent of images, and that cloud has > nothing to do with the poem. > And since from the "after life" Lorca writes with Spicer "After > Lorca," so Yasusada, a fictional "after effect" of his own "After Spicer," > writes with a Spicer himself now in the "after life." > As one moves from the moon of Spicer, a "real" poet's moon written > of to a dead "real poet," to the moon of Yasusada, which is a fictional > poet's writing to the now dead "real poet," of the moon he has essayed > creating, the one constant, the one "reality" literally existing among the > historical poets, ghosts and fictions is this REAL "m--o--o--n" literally > existing on the page from one text to the next. > The series of "After effects" is a series of echoes re-sounding from > "moon" to "moon" while at the same time literally always being that "same" > "moon". In a sense, iti s like a rhyming being of moon, the loon--the > "literal" "real" loon calls--and hearing the echo of its call, thinks that > another loon is responding, and so calls back--and again is responded to > by > its own echo--to which it in turn responds again-- > The "after effect" of the echoes--creates a "call and response" in > which, though the echoes are not "real" calls from another loon, elicit a > response in the "real" loon as though its "doubled flowering" really is > from > another, who is actually itself and yet--not-- > As, in order for an echo to return, it has to have made contact with > some object, which indeed "sent it back"--to be responded with-- > A literal object like Lorca, like Spicer, off of which Spicer and > Yasusada's calls bounce--and coming back as echoes, are responded with as > though "real" and so, echoing, the moon becomes, IS, indeed real, as > moving > from text to text it continues literally as the written word "m--o--o--n" > and as an echo, an "after effect," is also a fiction, the sounds of a > "ghost, " > participating in a call and response with a "real" poet, a fictional poet, > a > departed ghost--a real moon existing among "translations" and "letters" > and > "really" fully capable of being covered by a cloud which has nothing to do > with any of this. > (Both Spicer and Yasusada are writing as it were "love letters" > also-- > > Dear Spicer: > > This is the last letter. All day I have been pacing back and forth. > trying > to think about what this has all meant, wondering how I might say goodbye > to > you. I've been thinking of you writing to Lorca in a trance, of Lorca > bemused by it all, sending poems to you for the sheer joy of it from the > grave . . . > > What you've taught me, Spicer, is that the real washes up like a dream > from > the unreal. Thus, when I say that on a beach against a cliff there is a > boat older than Galilee, it is in the spirit of shellacking words to a > page > like objects on a canvas. A lemon peel, a slice of the moon, two little > girls playing and calling to their father on the beach. The boat that is > older than Galilee comes into the real, dragging a whole cargo of ghost > history with it. What you've taught me, Spicer, is that the unreal washes > up from the real [sic, eds] Doesn't the the sound of the burned one > drinking > from th ocean make your hair stand on end? > > Now here's a thing I've been waiting until the end of our correspondance > to > say: You say you would like the moon in your poems to be a real moon, one > that could be covered by clouds, a moon independent of images. And you > say > you would like to point to the moon, and that the only sound in the poem > be > the pointing. At first I was confused, thinking that you wanted it both > ways. But now I know you mean that the pointing and the moon are one. > Like these letters, for instance, which have at their heart an urn, made > real by the facing gaze of two identical ghosts. An urn wrought by the > moon > itself and the sorrowful pointing at it. Why look any further for the > real? > . . . > > Now reach through, and place your hand on the papery flesh of this false > face. And I shall put into my branching voice the ashy sky of your gaze. > Love, > Yasusada > > > > On 4/5/08, Murat Nemet-Nejat wrote: > > > > Jason, > > > > I though the issue of something being a "hoax" or not referred to the > > public > > information about the work, surrounding the work. It is closely related > to > > the idea of "fake." I do not think anybody thought Don Quiote was a real > > person or that the fact Don Quiote was not real makes the novel a > "hoax." > > I > > do not quite understand what the the element of "hoax" in Shakesperean > > comedies is though, of course, 99% of tragic works (particularly plays) > > are > > based on "deception." Finally that is what dramatic irony is. > > > > If one goes back to the original idea of a hoax (which what The Doubled > > Flowering is), one can see a veryinteresting question underlying the > > concept, particularly for a post modern sensibility. Is a hoax more real > > than the "real"? In an age of infinite reproduction (for example, in > > literature, the infinite permutations of a text's algorithms digitally > as > > poems, or in art "perfect" digital reeactments), which modern technology > > allows us, doesn't the idea of the "real" get subverted or, to use a > more > > neutral word, change? It is the subversion that is crucial. My sense is > > that > > Kent is claiming in The Doubled Flowering (or in Epigrammatis or The > > Miseries of Poetry for that matery) his sense of "suffering" in that > work > > is > > more real than many real writings on Hiroshima. Interesting, this idea > is > > as > > old as Aristotle, claiming drama (?) is more real than history. > > > > Did anyone see the Orson Welles "documentary" (another hoax?), entitled > > Fake? > > > > Ciao, > > > > > > Murat > > > > > > > ========================================================================= Date: Sun, 6 Apr 2008 13:28:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Carol Novack Subject: SAVE THE DATE! SUNDAY, MAY 4TH: The Mad Hatters' Review MAD HATTERS' REVUE Comments: To: poetswearprada@yahoogroups.com, e-pubs@yahoogroups.com, nycwriters , poetry@guernicamag.com In-Reply-To: <7ee200e80804061020k1aa7bfb4o6d4ba40c0482b78b@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline *The Mad Hatters' Review MAD HATTERS' REVUE MAY 4TH, 4 - 8pm **BOWERY POE**TRY CLUB * *A FESTIVAL OF DELIGHTS FOR THE EYE & EAR* *To Keep The Mad Hatters Alive & Kicking* ** MC'd by comedienne Lisa Levy, the Revue will feature * * *FICTION WRITERS & POETS, PERFORMANCE ARTISTS &** **MULTI-MEDIA MASTERS*Alex Caldiero, Alan Davies, Samuel R. Delany, Tonya M. Foster, Pierre Joris, Timothy Liu, Eileen Myles, Nicole Peyrafitte, Wanda Phipps, Alan Sondheim, Stephanie Strickland, Steve Tomasula & Edwin Torres; *MUSICIANS & SOUND ARTISTS,* including Benjamin Rush Miller, austin publicover, & Ben Tyree with Will Martina; *VISUAL ARTISTS & FILM-MAKERS*, including:: Amy Cohen Banker, Orin Buck, Theresa Burnes, Michelle Handelman, Heide Hatry, Donna Kuhn, Gregg LeFevre, Iris Schieferstein, & Robert Withers. *Door Prizes, Drink Specials & More **& only $18 at the Door** contact: madhattersreview@gmail.com (Our Downloadable Flier is accessible via http://www.madhattersreview.com/events.shtml#may4**) ** * [image: Mad Hatters' Revue] -- 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: Sun, 6 Apr 2008 19:55:08 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roy Exley Subject: Roy Exley : ON poets writing NOVELS In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Jason, We could start writing poetic film scripts lamenting the demise of the nove= l and the disappearance of the novelist as cash cow! Then maybe the consequen= t award winning films would trigger the revival of the novel as art-form in a post-decadent era of candour and honesty when money will be seen as a banan= a skin, but watch out for low-flying pigs when that day arrives! Roy Exley. On 6/4/08 1:23 am, "Jason Quackenbush" wrote: > But if we stop writing novels, what will all the award winning films > be based on? >=20 > On Apr 5, 2008, at 7:50 AM, John Cunningham wrote: >> An interesting reflection A. Considering how easily the novel sat >> alongside >> poetry in earlier centuries, each making room for other, one has to >> wonder >> how one form began to nudge out the other. Even when Dickens, et >> al, were >> serialized, this still didn't threaten the existence of poetry. My >> feeling >> is that you may be looking for the villain in the wrong media. I >> could be >> wrong, but this pushing and shoving of poetry to the sidelines >> didn=B9t begin >> to take place until the last century, i.e. the twentieth (I still have >> trouble thinking about the 1900s as the 'last century', probably an >> age >> thing). That being the case, the one tying poor Nelle to the >> railroad tracks >> is probably film. Reading of any kind is work. Watching a film isn't. >> Reading a poem is more work that reading a novel. Which led to the >> protest >> of our Protestant ethic saying 'fuck that shit, I'm going to the >> cinema'. >> Poetry was the first to fall but the novel has had its share of >> suffering. >> At the end of the 21st, we shall mourn the corpses of literacy. >> John Cunningham >>=20 >> -----Original Message----- >> From: UB Poetics discussion group >> [mailto:POETICS@LISTSERV.BUFFALO.EDU] On >> Behalf Of Alison Croggon >> Sent: April 5, 2008 1:24 AM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Re: Roy Exley : ON poets writing NOVELS >>=20 >> Thanks Roy. When you have writers like Ismael Kadare, Michele >> Desbordes, >> Alessandro Bericco, Jose Saramago, Anne Carson, Bohumil Hrabal (to >> name a >> few I've enjoyed recently) writing in the form, I don't think >> there's any >> need to justify the novel's value. Nor the need to make a living. - >> I've >> certainly paid my dues as a poor artist, and have the lack of a >> house, car, >> savings or any sort of recognised assets to prove it... As an >> aside, I'm one >> of the very few full-time writers I know. My husband (a playwright) is >> another. We have three kids. Most poets make their living with some >> other >> job, many in academia. I don't have an academic qualification to my >> name, >> and in any case have never existed very well in any kind of >> institution. >> Writing novels that others might read for pleasure seems to me to >> be an >> honest living. >>=20 >> Wystan, surely the rise of the novel happened in the 19th century? >> Is the >> perceived rise of fiction actually at poetry's expense, or are you >> talking >> about something that is in fact a function of the increasing >> corporatisation >> of the publishing and bookselling industries and the increasing >> loss of >> independent bookshops? Because those factors are affecting ALL >> literary >> publishing, not just poetry. >>=20 >> All best >>=20 >> A >>=20 >>=20 >> --=20 >> Editor, Masthead: http://www.masthead.net.au >> Blog: http://theatrenotes.blogspot.com >> Home page: http://www.alisoncroggon.com >>=20 >> No virus found in this incoming message. >> Checked by AVG. >> Version: 7.5.519 / Virus Database: 269.22.6/1360 - Release Date: >> 04/04/2008 >> 6:02 PM >>=20 >>=20 >> No virus found in this outgoing message. >> Checked by AVG. >> Version: 7.5.519 / Virus Database: 269.22.6/1360 - Release Date: >> 04/04/2008 >> 6:02 PM >>=20 >=20 ========================================================================= Date: Sun, 6 Apr 2008 15:58:38 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "W.B. Keckler" Subject: Re: launching bpnichol.ca | an online archive (please forward) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Congratulations, Lori! That's one of the best emails I've seen in weeks! bpnichol is one of those poets I want back, writing today and tomorrow...this is the next best thing in the world of deletions... **************Planning your summer road trip? Check out AOL Travel Guides. (http://travel.aol.com/travel-guide/united-states?ncid=aoltrv00030000000016) ========================================================================= Date: Sun, 6 Apr 2008 18:28:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen McCaffery Subject: Re: POETICS Digest - 4 Apr 2008 to 5 Apr 2008 (#2008-97) In-Reply-To: Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=UTF-8; delsp=yes; format=flowed BUFFALO POETICS PRESENTS KENNETH GOLDSMITH & JULIANA SPAHR READING Monday April 7. 7.30pm The Cinema at Hallwall=E2=80=99s 341 Delaware = Ave. Tuesday April 8. 4pm In Conversation. UB Poetry Collection, 420 Capen =20= Hall North Campus Juliana Spahr is the author of seven volumes of poetry, a critical =20 work Everybody's Autonomy: Connective Reading and Collective Identity =20= and co-editor of several anthologies of poetics and criticism. With =20 Jena Osman she co-edits the magazine Chain. Kenneth Goldsmith is the author of nine books including Fidget, =20 Soliloquy and Day. An ardent proponent of boredom and uncreative =20 writing he is also the host of a weekly radio show on NYC's WFMU and =20 teaches at U Penn. On Apr 6, 2008, at 12:05 AM, POETICS automatic digest system wrote: > There are 29 messages totalling 3134 lines in this issue. > > Topics of the day: > > 1. Zach Mason, Lou Rowan at Powell's Sunday at 7:30 > 2. Siddhartha, the film (2) > 3. On Poets as Characters in Novels!! (8) > 4. Fwd: Epigramititis: 118 Living American Poets > 5. Siddhartha, in defense of Baby Boomers > 6. epigraphoses > 7. joe ambrose in town (3) > 8. sid arthur coltrane et al > 9. Roy Exley : ON poets writing NOVELS (2) > 10. Atlanta Question & Response to Jason > 11. Fourth Session > 12. Epigramititis: 118 Living American Poets (2) > 13. from Authors Guild: Amazon limits POD books > 14. Fw: from dalachinsky - 2 gigs this month and a town hall =20 > meeting for > RUCMA > 15. Fifth and Sixth Final Session > 16. April 19: Red Rover & Chicago Poetry Symposium > 17. Last Call: Advertise in Boog City 50 > > ---------------------------------------------------------------------- > > Date: Fri, 4 Apr 2008 18:01:21 -0700 > From: Lou Rowan > Subject: Zach Mason, Lou Rowan at Powell's Sunday at 7:30 > > Dear Colleagues, Zach will read from his Starcherone Prize-winning, > The Lost Books of the Odyssey, and Lou from My Last Days (Chiasmus) > and Sweet Potatoes (Ahadada). Please join us for an Oulipan, > satirical, lyrical evening at Powell's books on Burnside In > Portland. Details in the calendar at www.lourowan.com. thanks, Lou > > ------------------------------ > > Date: Fri, 4 Apr 2008 21:25:28 -0400 > From: Aryanil Mukherjee > Subject: Siddhartha, the film > > Old time Beat pal Conrad Rooks had made a film of the same name =20 > after the > Hesse novel in 1972. > It was a great film I thought, refeshing and personalized, if not =20 > sumptously > innovative, starring Sashi Kapoor > and Simi Gerewal, both noted Indian stars of that era. Hemanta Kumar > Mukherjee wrote an unforgettable score > for the film making good use of classical Tagorian music. > > Aryanil > > > ------------------------------ > > Date: Fri, 4 Apr 2008 21:25:41 -0400 > From: Mark Weiss > Subject: Re: On Poets as Characters in Novels!! > > Last year I picked up a used detective novel with=3D20 > the ultimate British detective, Geoffrey Chaucer.=3D20 > Seriously. Name of book and author has mercifully left me--it was =20 > dreadful. > > Mark > > At 01:46 PM 4/4/2008, you wrote: >> The poet Placido (Gabriel de la Concepcion=3D20 >> Valdes) has a walk-on part in Cirilo=3D20 >> Villaverde's seminal 19th-century novel about=3D20 >> slavery in Cuba, Cecilia Valdes. Jose Saramago=3D20 >> wrote a novel called "The Year of the Death of=3D20 >> Ricardo Reis." Jose Lezama Lima and Eliseo=3D20 >> Diego and Roque Dalton appear in Cuban writer=3D20 >> Jesus Diaz's superb novel "Las Palabras=3D20 >> perdidas." Diego appears (as "Eliseo Riego=3D20 >> Leonardo Padura's detective novel=3D20 >> "Mascaras." Reinaldo Arenas puts *very*=3D20 >> thinly-disguised poets in his Pentagonia cycle=3D20 >> of novels (example: Delf=3DEDn Proust for Delf=3DEDn=3D20 >> Prats, Miguel Barniz for Miguel=3D20 >> Barnet). Wallace Thurman does likewise in=3D20 >> "Infants of the Spring." I think Aim=3DE9 C=3DE9saire=3D20 >> appears in one of the novels by Patrick=3D20 >> Chamoiseau -- "Texaco," maybe? Francois Villon=3D20 >> was made into a romantic figure in an operetta=3D20 >> (!) by Rudolf Friml (!!), "The Vagabond=3D20 >> King." There's Peter Ackroyd's "Chatterton" too. >> >> And doubtless many more. >> >> >> ----- Original Message ----- >> From: Mark Weiss >> Date: Friday, April 4, 2008 6:14 am >> Subject: Re: On Poets as Characters in Novels!! >> To: POETICS@LISTSERV.BUFFALO.EDU >> >> >>> There was also a novel in which a Welsh poet surprisingly like Dylan >>> Thomas is killed by a dentist. Peter Viereck maybe? >>> >>> At 06:47 PM 4/3/2008, you wrote: >>>> Thanks, Wystan. Is Reading Room online?? >>>> Just reading Hank Lazar's review/refleciton on On Kawara's >>>> collaborative book on the body and achitecture. Be interested in >>>> the connections you make with Ron and Acker. >>>> >>>> Stephen V >>>> >>>> >>>> Wystan Curnow wrote: Stephen, >>>> Silliman appears in Chapter 2 of Acker's 1978 novel, The >>>> Adult Life of Toulouse Lautrec. >>>> I discuss it in an essay. "Autobiography: Does it have a future? =20= >>>> Ron >>>> Silliman's 'The Alphabet' and On Kawara's 'Today Series'", =20 >>>> published >>> in >>>> READING ROOM 1, 2007. >>>> Wystan >>>> >>>> -----Original Message----- >>>> From: UB Poetics discussion group=3D > [mailto:POETICS@LISTSERV.BUFFALO.EDU] >>>> On Behalf Of Stephen Vincent >>>> Sent: Friday, 4 April 2008 7:09 a.m. >>>> To: POETICS@LISTSERV.BUFFALO.EDU >>>> Subject: On Poets as Characters in Novels!! >>>> >>>> Any good suggestions and/or appraisals - from ancient to=3D > contemporary?? >>>> I remember Kathy Acker did some - maybe they were wonderfully >>>> scandalous or may be not intended that way at all - auto/fictional >>> or >>>> 'real' celebrations and/or satires of sexual encounters with =20 >>>> some now >>>> well known language poets before such bodies were even formally >>>> identified as such - vaguely remember them as printed in small,=3D > stapled >>>> editions at Kinkos before Kinkos was Kinkos. >>>> >>>> Stephen V >>>> http://stephenvincent.net/blog/ >>>> >>> > > ------------------------------ > > Date: Fri, 4 Apr 2008 18:34:37 -0700 > From: Jason Quackenbush > Subject: Fwd: Epigramititis: 118 Living American Poets > > This didn't go to the list for some reason. Aldon's more recent post > regarding autobio of an ex-colored man is also a good example > (although I prefer "black no more" of the novels dealing with passing > during that era). but there are lots of cases of things dealing with > fraud all through literature. there's a certain sense of fraudulence > in a couple of the canterbury tales, wife of bath and the summoners > tale if I remember right. There's a hoaxish element to don quixote. > almost all of shakespeare's best comedy's have some element of fraud > to them. there are whole books built as confidence games like the > manuscript found at saragossa, and the topic of deceit is as greek as > greek tragedy gets. it also was one of the big obssesions of William > Gaddis and played a part in every novel he wrote from the > recognitions to agape agape > > Begin forwarded message: > >> From: jfq@myuw.net >> Date: April 4, 2008 9:02:12 AM PDT >> To: ALDON L NIELSEN >> Subject: Re: Epigramititis: 118 Living American Poets >> >> thanks! >> >> I quite enjoy the idea of fraud in literature, and particularly >> fiction. After all, at root, with the occasional exception of a >> novel by a Kathy Acker or David Markson, all fictional stories are >> lies masquerading as truth. And we know it, yet we choose to enter >> a state while reading where we suspend our disbelief in the obvious >> lies. we do this for any number of reasons, for a distraction, for >> entertainment, in pursuit of a larger truth. but the basic fact of >> the sentences being untrue and/or referring to things that don't >> exist and are completely unreal is inescapable. >> >> which puts me in mind of this latest bout of exposed hoax >> memoirists. to my way of thinking, anybody who believed these >> hoaxers in the first place only got what was coming to them. their >> writing is neither improved nor degraded by their works being >> labeled as novels or as memoirs. all that changes is the readers >> suspension of disbelief. >> >> On Fri, 4 Apr 2008, ALDON L NIELSEN wrote: >> >>> I love that poem -- >>> >>> I guess my rephrasing of the question is a little less clear apart >>> from the >>> post I was responding to at the time -- the puzzle, at least for >>> me, is in the >>> reading -- what is being said about the subject in such a case? >>> for example, >>> though a post not a poem -- I suggested here that a book and its >>> author might >>> be a hoax -- most readers of this list would know instantly that I >>> had to know >>> neither was a hoax -- there appears to have been a difference of >>> opinion on how >>> to read my suggestion. Some thought that by suggesting the book >>> and its >>> author might be a hoax I was thereby dismissing both -- I, of >>> course, would >>> never do such a thing. >>> >>> On Fri, Apr 4, 2008 12:11 AM, Jason Quackenbush =20 >>> wrote: >>> >>>> On Apr 3, 2008, at 9:54 AM, ALDON L NIELSEN wrote: >>>>> >>>>> So that the real question turns out to be, what do we make of an >>>>> assertion in a >>>>> poem whose author had to have known that it wasn't true? >>>> >>>> i think that's a very real question. i attempted to answer it in a >>>> poem once. you can read that poem here if you like: http:// >>>> www.blazevox.org/061-jfq.pdf >>>> >>>> it's the second one. >>>> >>>> >>>> >>> >>> >>> >>> <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>=20= >>> > >>>>>>>>> >>> >>> 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: Fri, 4 Apr 2008 22:13:05 -0500 > From: John Cunningham > Subject: Re: Siddhartha, in defense of Baby Boomers > > Hey, I hear you. I just happen to be an aging hippy who spent a =20 > great deal > of time digging Hesse. I made the mistake a while back of referring to > Rosemary Waldrop's Burning Deck Press as Burning Bush Press but, =20 > then again, > maybe this was Freudian. And Bush follows a long line of not very =20 > astute > presidents. Probably the last was John F. Well, Carter was decent =20 > anyway. > But then, I'm just a Canuck watching from the sidelines and =20 > considering we > have Bush's buddy Harper we can't talk very much. Me, I gave up on =20 > politics > in the 80s and haven't looked back. The way I see it, one skunk =20 > stinks as > bas as another. > John Cunningham > > -----Original Message----- > From: UB Poetics discussion group =20 > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of CA Conrad > Sent: April 4, 2008 6:26 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Siddhartha, in defense of Baby Boomers > > John Cunningham wrote: >>To limit oneself to discussing only one of =20= > Hesse's > books is unfortunate. >>> What about The Glass Bead Game (otherwise known as Master Ludi), or >>> Steppenwolf, Journey To The East or his numerous other =20 >>> masterpieces - all >>> devoured by the Hippies along with their electric koolaide which =20 >>> was a > true >>> acid test of fine literature. > > Go ahead and discuss away. My reason for talking about THAT book, =20 > as I > stated, was because of the Barnes and Noble statement about hippies =20= > for THAT > particular book, which was similar to the anti-hippie statements =20 > ALSO about > THAT book from my old and irritating asshole professor. Did you =20 > read my > post? If you had you would have understood that I would think. > > And WHY is it unfortunate? I mean, YOU'RE now discussing these =20 > other books, > right? So, the conversation goes forward with you, which is not > unfortunate. I mean it's not as if I wrote a 700 page book about the > subject! All I wrote was a handful of paragraphs. And now you've =20 > written a > few paragraphs, and I'm writing a few more, and so on and so on. > > I've received a bunch of back channeled e-mails about this, two of =20 > them from > folks on this List who want to complain to me in private about how =20 > much the > Baby Boomers destroyed the world. One of them (DON'T WORRY =20 > SUNSHINE I WON'T > BLOW YOUR COVER!) wrote, "These are the same people who gave Ronald > Reagan the white house don't forget!" > > Our current president is a Baby Boomer, so, of course not ALL of =20 > them liked > Hesse, in fact Bush probably never even read Hesse. Wish he had, =20 > frankly. > He knew Hunter S. Thompson, but Thompson threw him out of his house =20= > when > Bush did too much coke at a party and passed out in the bathtub. =20 > (THIS drug > use of Bush's has always irritated me because of the SHIT they put =20 > Clinton > through for smoking a little weed! Not that I'm a fan of Clinton's =20= > since I > believe history will prove that he was one of our worst leaders EVER!) > > What would have happened if Thompson had NOT thrown Bush out? What if > Thompson and his friends had instead taken the young George Bush =20 > under their > wing with Daddy Bush working for the CIA at the time? And Bush was =20= > close to > the radical fringes back then, hard to believe. Well, he partied =20 > with them > at least, so, maybe he could have hung around and gotten some of that > radical juice flowing in his blood. And maybe he would have still =20 > become > president, but a different kind of president. A very different =20 > kind of > president. > > Ever since reading Thompson's story about tossing Bush out onto the =20= > lawn > I've wondered about this. You never can tell when you're on the =20 > edge of > changing a life. Thompson was rather PROUD of having thrown Bush =20 > out, and > maybe he had a right to feel proud? > > CAConrad > http://PhillySound.blogspot.com > > No virus found in this incoming message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.5/1358 - Release Date: =20 > 03/04/2008 > 6:36 PM > > > No virus found in this outgoing message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.5/1358 - Release Date: =20 > 03/04/2008 > 6:36 PM > > > ------------------------------ > > Date: Sat, 5 Apr 2008 00:17:10 -0400 > From: ALDON L NIELSEN > Subject: epigraphoses > > recently on the HEATSTRINGS BLOG: > > Charles Wright reading > > Photos from Obama's visit to Penn State > > A.B. Spellman > > Response to media response to Rev. Wright > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>=20= > >>>>> > > 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: Fri, 4 Apr 2008 21:23:03 -0700 > From: steve russell > Subject: Re: On Poets as Characters in Novels!! > > I don't think anyone has mentioned Saul Bellow's Humbolt's Gift. =20 > The alcoholic collapse of Delmore Schwartz forms the basis for one =20 > of Bellow's best. > > > > > > > > > > > > > > > t > > > > ----- Original Message ---- > From: David Chirot > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Friday, April 4, 2008 9:06:20 AM > Subject: Re: On Poets as Characters in Novels!! > > Dr Zhivago by a great poet who wrote a great novel, Boris =20 > Pasternak, who > also provides with the novel a selection of the poetry of Zhivago. > > There are several books which interweave "novelizations" and > "dramatizations" and "filmizations"of the life of Rimbaud with "actual > biography." > > The novels of Roberto Bolano--a poet himself-- are filled with =20 > poets as main > and subsidiary characters, including often the narrator-- > > The Satyricon of Petronious may be read in a certain sense as a =20 > novel of the > adventures of a poet-- > > Adventures in the Skin Trade by Dylan Thomas--a young aspiring =20 > writer/poet > leaves dreary provincial home for wild world of London-- > > Nabakov's Pale Fire-- > > On Thu, Apr 3, 2008 at 9:57 PM, Gabrielle Welford > wrote: > >> Flann O'Brien...yeah! i'll eat my hat if flann o'brien is not =20 >> considered >> a poet. :-) g >> >> On Thu, 3 Apr 2008, Stephen Vincent wrote: >> >>> Any good suggestions and/or appraisals - from ancient to =20 >>> contemporary?? >>> I remember Kathy Acker did some - maybe they were wonderfully >> scandalous or may be not intended that way at all - auto/=20 >> fictional or >> 'real' celebrations and/or satires of sexual encounters with some =20 >> now well >> known language poets before such bodies were even formally =20 >> identified as >> such - vaguely remember them as printed in small, stapled editions =20= >> at Kinkos >> before Kinkos was Kinkos. >>> >>> Stephen V >>> http://stephenvincent.net/blog/ >>> >>> >> > > > =20 > ______________________________________________________________________=20= > ______________ > You rock. That's why Blockbuster's offering you one month of =20 > Blockbuster Total Access, No Cost. > http://tc.deals.yahoo.com/tc/blockbuster/text5.com > > ------------------------------ > > Date: Sat, 5 Apr 2008 01:26:12 -0500 > From: "steve d. dalachinsky" > Subject: joe ambrose in town > > Writer, film maker, musician and culture terrorist Joe Ambrose has a > penchant for digging around the cultural > margins and teasing out of the shadows relevant irreverance, > countercultural phenomena, outside and (often) > explosive art of pivotal significance. Subject matter and artists > regularly > delineated by sitting on the periphery of > popular culture. His written output includes the novels Serious =20 > Time and > Too Much Too Soon. Moshpit Culture, a > blood stained and sweat-soaked inside investigation on hardcore =20 > dancing; > several historical studies of the war of > Irish Independance including the best selling Dan Breen and The IRA =20= > and > is > currently editing an anthology of writings > by the revolutionary Irish Brotherhood, the Fenians. His writing also > appears in numerous magazines, journals and > collections. > In 1992 he co-organized the Here To Go Show in Dublin. This mixed =20 > media > art > show was a celebration of the > cultural impact and significance of the work of Tangier Beat =20 > Scenesters > Brion Gysin and William Burroughs. The event > was filmed extensively and the movie Destroy All Rational Thought > documented many aspects of this week long arts > show. It was initially released on video and then later, as an =20 > enhanced > DVD. He is a DJ in art hip hop combo Islamic > Diggers and has been living in Marrakesh, Morocco for the past 7 =20 > months > hanging with the likes of the Sufi mystic > trance musicians The Gnoua Brotherhood of Marrakesh. Ambrose =20 > previously > produced the Brothers for the William > Burroughs tribute CD, 10% File Under Burroughs, which also features =20= > John > Cale, Paul Bowles, Marianne Faithfull, > Chuck Prophet, Herbert Huncke and The Master Musicians of Joujouka. > Whilst Ambrose has been getting down in Africa, the Islamic Diggers =20= > track > William Burroughs Dont Play Guitar has > featured on the soundtrack to a new Burroughs documentary, Words of > Advice, > which also features Patti Smith, Hal > Willner and Bill Laswell. Another Diggers track, Hashishin, was =20 > included > along with work by Stockhausen in a January > =C2=9208 sound installation, Cut Up, curated by Copenhagen=C2=92s = Karriere in > conjunction with the Danish Museum of Modern > Art. Ambrose has previously worked with Anita Pallenberg, Richard =20 > Hell, > Chrissie Hynde and Herbert Huncke. He is > Literary Editor of LA-based magazine, Outsideleft.com. In 2007 he was > asked > by Iggy Pop to write the sleevenotes > for Escaped Maniacs, the Iggy and the Stooges DVD package. His extreme > travel writing book, Chelsea Hotel > Manhattan has recently been published by Headpress and a new =20 > edition of > Moshpit is about to be published by > Tsunami. Joe talked very recently with me about his latest ventures. > > Joe, give me some background on the Tsunami edition of Moshpit..... > Moshpit Culture first came out in 2001 and reflected what I=C2=92d = been =20 > up to > in > the preceding years. I first got dragged > into a moshpit, rather improbably, at a Shane McGowan show. I love his > work > but at that time, the late 90s, I was > listening almost exclusively to hip hop, reggae, and the kind of =20 > punkish > metal exemplified by Slayer, Queens of the > Stone Age, the Beastie Boys and RATM. I was going to hip hop shows > whenever > I could, I saw Snoop a load of times > and I was kind of following Gregory Isaacs, the Cool Ruler, around the > place. I must have seen Gregory in action > about forty times back then. But mainly it was hardcore acts and =20 > Slipknot > and Rancid and the likes. > > So what attracted you to the Moshpit? > I liked the fraternity that I found at those hardcore shows, the =20 > openness > and the willingness to experiment with new > people and to build a new nation which was not of this world. =20 > People had > talked about experiencing these feelings in > the rave scene, which immediately preceded the emergence of the new =20= > punk > era but I didn=C2=92t go for that because I > like music and most of the music associated with rave culture was =20 > second > rate, doesn=C2=92t stand the test of time, was > mildly diverting at the time but not the real thing. Also, when =20 > they were > talking about this spirit of collective > fraternity and stuff, what they were really talking about was the =20 > drugs > they were taking. > > Ecstasy and a trashy peace and love vibe. The moshpit to me seems =20 > to work > on a completly different level.... > Moshers were often far more solid sort of individuals. A lot of =20 > moshers > took good care of their bodies, didn=C2=92t do > huge amounts of drugs, kept down day jobs or, if very young, lived far > away > from the city centre with their families > in hugely repressive social environments which caused them to see =20 > moshing > and much of what went with it as > hugely liberating. > > The publishers, Tsunami, are based in Italy, arent they? > There is already a metal record label in Italy called Moshpit =20 > Culture so > I > knew the book had impacted a bit there. > Also Italians of a certain type are much enamoured of the black =20 > leather > jacket and shades school of rock chic. Give > them anything with a loud guitar and they=C2=92re off! I have some =20 > sympathy > with > that attitude. The Tsunami edition will > be called Moshpit. Things have changed since I wrote the book but =20 > it=C2=92s > still relevant. It wasn=C2=92t written as a > journalistic account of a scene but rather as travel writing which > brought > the reader inside the head of the alienated > teenage mosher. So, theoretically at least, somebody could pick it =20 > up in > 200 years time and still find its contents > interesting or relevant. I had a ton of fun writing it and I get =20 > emails > about it all the time, mostly from people doing > postgraduate research into youth culture or music culture. As far as I > know > it=C2=92s the only book which deals exclusively > with this huge cultural movement which has had a phenomenal influence > upon > the lives of millions. > > Yeah, that book`s subject matter; the bands and people that make up =20= > the > moshpits of the world are a popular > cultural form of expression, a response to the social and political > spaces > they inhabit..... > I gave a talk about moshing at Brighton University shortly after =20 > the book > came out and the guy introducing me > admitted that, when he heard that someone was going to explain =20 > moshing to > them, he thought it had something to > do with winemaking. > > Jeez.........thats crazy. You are flying out to NYC again soon Joe, > whats > happening this time around? > The Chelsea Hotel is hosting a launch for Chelsea Hotel Manhattan. =20 > There > has been a change in management since I > stayed there so it=C2=92ll be interesting to see what improvements =20 > they=C2=92ve > made. > There=C2=92s been minor controversy about > some changes they=C2=92ve been making but I don=C2=92t see why people = active =20 > in the > arts should be so caught up in trying to > preserve the past. The Chelsea=C2=92s past was great =C2=96 and it all = really > happened there =C2=96 but that particular slice of the > past finished a while back. > > We`ve jammed on those changes in another interview, havent we..... > I=C2=92ve got all those albums, I=C2=92ve read all those books. I = hope, =20 > really, > that > the new management make some sort of a > dynamic intervention. Get Richard Rogers or someone to overhaul it. =20= > We=C2=92ll > see. In any case, this launch event is an > opportunity for people to come into the Chelsea Hotel and have a look > around. > > How has the book been received so far? > I=C2=92ve been in Morocco the last six months. I don=C2=92t get too = much =20 > feedback > about the book down there but such as I=C2=92ve > had has been positive. I got a really nice email from Chris Stein of > Blondie about it which really pleased me. I like his > work a lot, not just with Blondie but Wild Style, the Gun Club, Iggy. > That=C2=92s New York City for me. > > I heard Ira Cohen was going to be involved in the launch.... > Unfortunately Ira Cohen, who makes numerous appearances in the book =20= > and > who > contributed to it, has been sick > recently. Chris Stein mentioned in his email that Ira is very much > himself > again and I hope that is the case. Ira is a > resource. You can=C2=92t replace resources. I hope we get a chance to =20= > hang out > while I=C2=92m in town. I met Ira in 1991 on the > Brion Gysin scene, Ira had been a good pal of Gysin=C2=92s and I was =20= > starting > work on the Here To Go Show which sought > to highlight Gysin. Naturally Ira was involved, did a great =20 > photographic > show in Dublin, and did readings. You can > see him reading in the movie of the Show, Destroy All Rational =20 > Thought, > which came out on DVD last year. > > You have been living in North Africa. Have you been working down =20 > there? > I=C2=92ve been wrestling with my third novel, The Darker Side of Me. =20= > I=C2=92ve been > having trouble with it for a couple of years > but I think I cracked it in Marrakesh, where I=C2=92ve been living. =20= > I=C2=92ve also > been editing an anthology of writings by the > Fenians, the secret 19th Century Irish revolutionary organisation. =20 > This > will come out later this year with Mercier > Press. I=C2=92ll be previewing some of my thoughts about the Fenians = in a > piece, > Brotherhood, which will be in the next > Headpress Journal, the =C2=93panther=C2=94 issue guest edited by the =20= > fabulous John > Sinclair, founder of the White Panthers and > onetime manager of the MC5. I=C2=92ve written something about the = equally > fabulous Panther Burns for the same issue. > > Joe Ambrose performs from Chelsea Hotel Manhattan (Headpress) in =20 > New York > City: > > Friday 18th April The Chelsea Hotel 7-30pm > Saturday 19th April Bowery Poetry Club 12 to 1-30pm > Monday 21st April Blue Stocking Books 7pm > > His latest extreme travel writing book, Chelsea Hotel Manhattan, is > published by Headpress and is launched in the > USA in April. > > There are a number of interviews and conversations we have had on =20 > various > underground art, film, music and word > projects, you can check them out on The Brink, hesterGlock and =20 > elsewhere. > > paulh > > 2522 Mission Street > San Francisco > On Fri, 4 Apr 2008 15:47:27 -0400 Ruth Lepson > writes: >> want to alert folks to a reading/presentation by my photographer >> collaborator Rusty Crump & I at the Bowery Poetry Club at 4 on Sat., >> April >> 19. I=C2=B9ll read some poems from our book Morphology & rusty will = show >> some >> slides & talk abt them, & we=C2=B9ll both briefly share some new = things. >> If >> you=C2=B9re not preparing a Passover seder, come on down. >> > > ------------------------------ > > Date: Sat, 5 Apr 2008 01:30:16 -0500 > From: "steve d. dalachinsky" > Subject: sid arthur coltrane et al > > shit i feel terrible being a baby boomer myself and NO TOM I NEVER > CONSIDERED my self a HIPPIE > we came just before between the hippies and beats a sort of real lost > generation long hair drugs etc wash.s///q park east village > hippies meant something else in 1962/3 it meant long islanders who =20 > came > for the day and split - tourists fakers post beatnik beret wearers > >> AND LEST WE FORGET THE MAGIC THEATRE > >> 1. as CA said poems are my life too tho i wish i could write a novel >> maybe call it CAKICKSASS or somethin >> no seriously i write lousy prose sadly >> a coupla short stories some reviews etc liner notes >> but i wish i could write the great doesty - like tradgedy of my >> working class family >> their failings they're almost joys and be able to make it a real >> proletarian tragedy >> that hopefully wouldn't read like a melodrama and it certainly >> wouldn't be for money >> but i can't write a novel for shit >> it would be a great way to get away from the sometimes boredom i >> fall into >> having written poems for 0ver 50 yrs now >> alot of which of course suck - but then they too reek of humanity >> ah the great american/russian novel with no redemption in the end >> >> here's my latest novel or a start anyway >> >> my parents died. everybody's do eventually. the secret is not to die >> before they do. >> >> if anyone wants to write this with me please feel free to continue >> here or on wryting > > 2. > cecil taylor never sold out ornette using blood was not fusion it was > harmolodics a different concept at that time > 70's i believe actually hard boppers like blakey roach many never =20= > sold > out they played what they played to make a living > but never sold out as with many musicians i know today > even tho he plays below his capacity sonny rollins never sold out > and many avante garde jazz folk i know and can name never sold out > but yes trane certainly beside cecil were two of the complete > uncompromising giants > and cecil's still goin at 79 as is ornette at 79 recently saw them =20 > both > perform as is rollins who says he still > doesn't play as well as he'd like to > > oh by the way cecil will read his uncompromising poetry at the poetry > project april 16 > ah another cross over a musician who writes poetry > i know many of them who do some paint and i'm sure there's one who =20 > wrote > a novel > and ornette a so called jazz musician wrote a symphony and string > quartets oh no should he be doing that? good heavens > and i can name others of that ilk and stravinsky wrote a jazz piece =20= > and > scheonberg cabaret songs > and i'm tired goodnite > On Fri, 4 Apr 2008 11:20:03 -0700 Rod Smith =20 > > writes: >> An exciting list of titlesthis month. Ordering & discount information >> at the end of thispost. Bridge Street thanks you for your support! >> >> POETRY & LANGUAGE WRITING: OBJECTIVE AND SURREAL, David >> Arnold,Liverpool University Press, cloth 200 pgs, $49.95. From >> jacket copy:"David Arnold grasps the nettle of language poetry, >> reassessing itsrelationship with surrealism and providing a >> scholarly, intelligent wayof understanding the movement. Among the >> poets whose work is discussedare Charles Bernstein, Susan Howe, >> Michael Palmer and Barrett Watten." >> >> FLOWERS OF EVIL, Charles Baudelaire, trans Keith Waldrop, 196 pgs, >> $16.95. New in paperback. "You worms!" >> >> CHARLESBAUDELAIRE, Rosemary Lloyd, Reaktion Books, Critical Lives, >> 192 pgs,$16.95. A brief biographical study of Baudelaire. "Anger >> seems to havebeen the main source of his intoxication during these >> months." >> >> GIRLY MAN, Charles Bernstein, U Chicago, 186 pgs, $15. New in paper. >> "That's so cool." >> >> THE SCENTED FOX, Laynie Browne, Natl Poetry Series Selected byAlice >> Notley, Wave Books, 120 pgs, $14. "So and so died from 1750 tothe >> present." >> >> FORMSOF YOUTH: 20TH-CENTURY POETRY AND ADOLESCENCE, Stephen Burt, >> Columbia,cloth 264 pgs, $35. =46rom the jacket: "Stephen Burt >> demonstrates howadolescence supplied the inspiration, andat times >> the formal principles, on which many twentieth-century poetsfounded >> their works." Authors examined include Williams, Auden,Bunting, >> Oppen, Brooks, and Lowell. >> >> SNOW PART / SCHNEEPART, Paul Celan, trans Ian Fairley, Sheep Meadow, >> 198 pgs, $19.95. "someone who stabbed himself in you" >> >> JEAN COCTEAU, James S. Williams, Reaktion Books, Critical Lives,254 >> pgs, $16.95. Biography. "The result is a work of >> calculatedvoyeuristic fascination as we observe in keyhole detail >> every movementand twitch of the characters." >> >> INTERVIEW WITH ROBERT CREELEY MAY 1998, interview by >> BrentCunningham, Hooke Press, 28 pgs, $10. "I think myth is mouth. >> That'swhat myth is . . . that's what speech is: myth, what's said." >> >> PSYCHE: INVENTIONS OF THE OTHER, VOLUME II, Jacques Derrida, >> Stanford, 340 pgs, $24.95. >> >> COUNTER-REVOLUTIONOF THE WORD: THE CONSERVATIVE ATTACK ON MODERN >> POETRY 1945-1960, AlanFilreis, UNC PRESS, cloth 422 pgs, $40. From >> the jacket: "During theCold War, an unlikely coalition of poets, >> editors, and politiciansconverged in an attempt to discredit--if not >> destroy--the Americanmodernist avant-garde. . . . By analyzing >> correspondence, decodingpseudonyms, drawing new connections through >> the archives, andconducting interviews, Filreis shows that an >> informal network ofantimodernists was effectivein suppressing or >> distorting the postwarcareers of many poets whose work had appeared >> regularly in the 1930s." >> >> THE BOOK OF MARTYRDOM + ARTIFICE: FIRST JOURNALS AND POEMS1937-1952, >> Allen Ginsberg, ed Juanita Lieberman-Plimpton & BillMorgan, Da Capo, >> 524 pgs, $17.50. New in paper. "Dig the dignity of these >> buildings." >> >> NEWCOMER CAN'T SWIM, Renee Gladman, Kelsey Street, 106 pgs, $16.95. >> "Talk to the sky like that." >> >> AUTOBIOGRAPHY / OUGHTOBIOGRAPHY, Anthony Hawley, Counterpath, 32 >> pgs, $10."I plead for edge but come up blurred." >> >> JAMESON ON JAMESON: CONVERSATIONS ON CULTURAL MARXISM, >> FredericJameson, ed Ian Buchanan, Duke, 278 pgs, $22.95. "I don't >> think it'sparticularly important to retain the word 'Hegalian.'" >> >> POETIC OBLIGATION: ETHICS IN EXPERIMENTAL AMERICAN POETRY AFTER1945, >> G. Matthew Jenkins, Iowa, cloth 264 pgs, $42.50. =46rom the >> jacket:"American experimental poetry is usually read in either >> political ormoral terms. Poetic Obligation,by contrast, considers >> the poems of Louis Zukofsky, Charles Reznikoff,George Oppen, Edward >> Dorn, Robert Duncan, Susan Howe, and Lyn Hejinianin terms of the >> philosophical notion of ethical obligation to the Otherin language. >> Jenkins's historical trajectory enables him to considerthe full >> breadth of ethical topics that have driven theoretical debatesince >> the end of World War II." >> >> HUMAN SCALE, Michael Kelleher, BlazeVox, 88 pgs, $12. "And now there >> isn't anyone left except them." >> >> NOT VERACRUZ, Joanne Kyger, Libellum, 48 pgs, $10. "Ok. What's the >> law?" >> >> BASS CATHEDRAL, Nathaniel Mackey, New Directions, 188 pgs, $16.95. >> >> CRITICAL WRITINGS, F T Marinetti, ed Gunter Berghaus, trans >> DougThomson, FSG, 550 pgs, $20. "Have you ever witnessed a gathering >> ofyoung, revolutionary anarchists?" >> >> BREATHALYZER, K. Silem Mohammad, Edge, 80 pgs, $14. "dark energy >> rules the universe" >> >> A SEMBLANCE: SELECTED AND NEW POEMS 1975-2007, Laura Moriarty, >> Omnidawn, 220 pgs, $14.95. "Loss as rest from meaning." >> >> AN AIR FORCE, Laura Moriarty, Hooke Press, 28 pgs, $10. "Are brands >> more powerful than governments?" >> >> FLET: A NOVEL, Joyelle McSweeney, Fence, 140 pgs, $15. >> >> ANNOYING DIABETIC BITCH, Sharon Mesmer, Combo, 122 pgs, >> $13.95.Includes the hits "I Miss His Penninsula," "What is Wrong >> With OurSavior's Wedgie?," "God's Little Weenie," "I Chose the Wrong >> PowerAnimal," &, of course, "Squid vs Assclown." >> >> BICYCLE DAY, Mel Nichols, Slack Buddha, 32 pgs, $6. "O infrequent >> appliance / time has only something to do with you" >> >> PHILOSOPHICAL CHRONICLES, Jean-Luc Nancy, Fordham, 72 pgs, $16. >> >> BALLAD OF JAMIE ALLAN, Tom Pickard, Flood, 104 pgs, $14.95. "And >> kept dangerous company." >> >> IT'S GO IN HORIZONTAL: SELECTED POEMS, 1974-2006, Leslie Scalapino, >> 248 pgs, U CAL, $16.95. "It's on the red ball a retina." >> >> GERTRUDE STEIN: SELECTIONS, Gertrude Stein, ed JoanRetallack, U Cal >> Press, 352 pgs, $19.95. 72 page introduction by Retallack w/numerous >> illustrations, selections from across Stein's career,1905-1936. >> >> PPL IN A DEPOT, Gary Sullivan, Roof, 104 pgs, $13.95. "POLICEMAN: >> God, your poetry is so amazing! Especially 'Fantasy.'" >> >> OURS, Cole Swensen, U Cal, 101 pgs, $16.95. "A garden is a tide." >> >> FELONIES OF ILLUSION, Mark Wallace, Edge, 138 pgs, $15. ""You're >> accused of murder." >> >> WALKING DREAMS: SELECTED EARLY TALES, Mark Wallace, Blaze Vox, 108 >> pgs, $14. "Nothing anywhere can be avoided." >> ON SPEC, Tyrone Williams, Omnidawn, 160 pgs, "In brief--psst!-- / >> not shh!-- " >> >> THE PRESENTABLE ART OF READING ABSENCE, Jay Wright, Dalkey Archive, >> 80 pgs, $12.95. "Remove emptiness. / Replace nothing." >> >> POLYNOMIALS AND POLLEN, Jay Wright, Dalkey Archive, 126 pgs, $12.95. >> >> >> MUSIC'S MASK AND MEASURE, Jay Wright, Flood, 56 pgs, $12.95."All >> song is bent" >> >> SOME BESTSELLERS: >> >> THING OF BEAUTY: NEW AND SELECTED WORKS, Jackson Mac Low, ed Anne >> Tardos, U Cal, cloth 460 pgs, $34.95. >> THE COLLECTED POEMS OF PHILIP WHALEN, ed Michael Rothenberg, >> Wesleyan, cloth 872 pgs, $49.95. >> CONTEMPORARY POETICS, ed Louis Armand, >> Northwestern, 395 pgs, $29.95. >> DARK BRANDON, Brandon Downing, Grievous Pictures, DVD 116 minutes, >> $14.99. >> THE POEM OF A LIFE: A BIOGRAPHY OF LOUIS ZUKOFSKY, Mark Scroggins, >> Shoemaker & Hoard, cloth 572 pgs, $30. >> AWE, Dorothy Lasky, Wave, 76 pgs, $14. >> JESS: TO AND FROM THE PRINTED PAGE, Independent Curators Intl, 112 >> pgs, $29.95. >> DEED, Rod Smith, U Iowa, 88 pgs, $16. >> NOTES FROM THE AIR: SELECTED LATER POEMS, John Ashbery, Ecco, cloth >> 364 pgs, $34.95. >> THE MISSING OCCASION OF SAYING YES, Benjamin Friedlander, >> Subpress, 196 pgs, $16. >> ABOUT NOW: COLLECTED POEMS, Joanne Kyger, Natl Poetry Foundation, >> 798 pgs, $34.95. >> IN THE PINES, Alice Notley, Penguin, 132 pgs, $18 >> NEXT LIFE, Rae Armantrout, Wesleyan, 80 pgs, $13.95. >> THE MIDDLE ROOM, Jennifer Moxley, Subpress, 633 pgs, $25. >> BEYOND BULLETS: THE SUPPRESSION OF DISSENT IN THE UNITED STATES, >> Jules Boykoff, AK Press, 464 pgs, $21.95. >> WOMEN, THE NEW YORK SCHOOL, AND OTHER ABSTRACTIONS, Maggie Nelson, U >> Iowa, cloth 296 pgs, $42.50. >> PROSE POEMS, Pierre Reverdy, trans Ron Padgett, Brooklyn Rail/Black >> Square, 64 pgs, $15. >> HORACE, Tim Atkins, O Books, 78 pgs, $12. >> COMPLEX SLEEP, Tony Tost, U Iowa, 108 pgs, $16. >> ED DORN LIVE: LECTURES, INTERVIEWS, AND OUTTAKES, ed Joseph Richey, >> U. Michigan, 174 pgs, $18.95. >> THRALL, Susan Gevirtz, Post-Apollo, 104 pgs, $15. >> JOHN ASHBERY AND YOU: HIS LATER BOOKS, John Emil Vincent, U Georgia, >> cloth 196 pgs, $32.95. >> WAR AND PEACE 3 --THE FUTURE--, ed Judith Goldman & Leslie >> Scalapino, O Books, 164 pgs, $14. >> SOULS OF THE LABADIE TRACT, Susan Howe, New Directions, 128 pgs, >> $16.95. >> 4 OR 5, P. Inman, interrupting cow, 28 pgs, $5. >> TODAY I WROTE NOTHING: THE SELECTED WRITINGS OF DANIIL KHARMS, ed & >> trans Matvei Yankelevich, Overlook, cloth 288 pgs, $35. >> ART AND REVOLUTION: TRANSVERSAL ACTIVISM IN THE LONG TWENTIETH >> CENTURY, Gerald Raunig, Semiotext(e), 320 pgs, $17.95. >> METEORIC FLOWERS, Elizabeth Willis, Wesleyan, 84 pgs, $13.95. >> FOLLY, Nada Gordon, Roof, 128 pgs, $13.95. >> MY ANGIE DICKINSON,Michael Magee, Zasterlee, 80 pgs, $12.95. >> NINETEEN LINES: A DRAWINGCENTER ANTHOLOGY, ed Lytle Shaw, >> DrawingCenter/Roof, 336 pgs, $24.95. >> DAY OCEAN STATE OF STAR'S NIGHT: POEMS & WRITINGS 1989 & 1999-2006, >> Leslie Scalapino, Green Integer, 208 pgs, $17.95. >> >> ORDERING INFORMATION: >> >> 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 5200or e-mail w/ yr add, order, card #, & >> expiration date & wewill send a receipt with the books. Please >> remember to includeexpiration date. >> >> > > ------------------------------ > > Date: Sat, 5 Apr 2008 17:23:54 +1100 > From: Alison Croggon > Subject: Re: Roy Exley : ON poets writing NOVELS > > Thanks Roy. When you have writers like Ismael Kadare, Michele =20 > Desbordes, > Alessandro Bericco, Jose Saramago, Anne Carson, Bohumil Hrabal (to =20 > name a > few I've enjoyed recently) writing in the form, I don't think =20 > there's any > need to justify the novel's value. Nor the need to make a living. - =20= > I've > certainly paid my dues as a poor artist, and have the lack of a =20 > house, car, > savings or any sort of recognised assets to prove it... As an =20 > aside, I'm one > of the very few full-time writers I know. My husband (a playwright) is > another. We have three kids. Most poets make their living with some =20= > other > job, many in academia. I don't have an academic qualification to my =20= > name, > and in any case have never existed very well in any kind of =20 > institution. > Writing novels that others might read for pleasure seems to me to =20 > be an > honest living. > > Wystan, surely the rise of the novel happened in the 19th century? =20 > Is the > perceived rise of fiction actually at poetry's expense, or are you =20 > talking > about something that is in fact a function of the increasing =20 > corporatisation > of the publishing and bookselling industries and the increasing =20 > loss of > independent bookshops? Because those factors are affecting ALL =20 > literary > publishing, not just poetry. > > All best > > A > > > --=20 > Editor, Masthead: http://www.masthead.net.au > Blog: http://theatrenotes.blogspot.com > Home page: http://www.alisoncroggon.com > > ------------------------------ > > Date: Sun, 6 Apr 2008 01:40:46 +1300 > From: Wystan Curnow > Subject: Re: On Poets as Characters in Novels!! > > Not online.=3D20 > Give me an address to post a copy to. > BTY On Kawara is not Madeline Gins collaborator, that 's Arakawa > Cheers, > Wystan > > ________________________________ > > From: UB Poetics discussion group on behalf of Stephen Vincent > Sent: Fri 4/04/2008 11:47 a.m. > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: On Poets as Characters in Novels!! > > > > Thanks, Wystan. Is Reading Room online??=3D20 > Just reading Hank Lazar's review/refleciton on On Kawara's =3D > collaborative book on the body and achitecture. Be interested in =20 > the =3D > connections you make with Ron and Acker.=3D20 > > Stephen V > > > Wystan Curnow wrote: Stephen, > Silliman appears in Chapter 2 of Acker's 1978 novel, The > Adult Life of Toulouse Lautrec. > I discuss it in an essay. "Autobiography: Does it have a future? Ron > Silliman's 'The Alphabet' and On Kawara's 'Today Series'", =20 > published in > READING ROOM 1, 2007. > Wystan =3D20 > > -----Original Message----- > From: UB Poetics discussion group =20 > [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of Stephen Vincent > Sent: Friday, 4 April 2008 7:09 a.m. > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: On Poets as Characters in Novels!! > > Any good suggestions and/or appraisals - from ancient to =20 > contemporary?? > I remember Kathy Acker did some - maybe they were wonderfully > scandalous or may be not intended that way at all - auto/fictional or > 'real' celebrations and/or satires of sexual encounters with some now > well known language poets before such bodies were even formally > identified as such - vaguely remember them as printed in small, =20 > stapled > editions at Kinkos before Kinkos was Kinkos. > > Stephen V > http://stephenvincent.net/blog/ > =3D20 > > ------------------------------ > > Date: Sat, 5 Apr 2008 09:28:56 -0500 > From: Maria Damon > Subject: Re: joe ambrose in town > > his bio of iggy pop is pretty good but flawed. > > steve d. dalachinsky wrote: >> Writer, film maker, musician and culture terrorist Joe Ambrose has a >> penchant for digging around the cultural >> margins and teasing out of the shadows relevant irreverance, >> countercultural phenomena, outside and (often) >> explosive art of pivotal significance. Subject matter and artists >> regularly >> delineated by sitting on the periphery of >> popular culture. His written output includes the novels Serious =20 >> Time and >> Too Much Too Soon. Moshpit Culture, a >> blood stained and sweat-soaked inside investigation on hardcore =20 >> dancing; >> several historical studies of the war of >> Irish Independance including the best selling Dan Breen and The =20 >> IRA and >> is >> currently editing an anthology of writings >> by the revolutionary Irish Brotherhood, the Fenians. His writing also >> appears in numerous magazines, journals and >> collections. >> In 1992 he co-organized the Here To Go Show in Dublin. This mixed =20 >> media >> art >> show was a celebration of the >> cultural impact and significance of the work of Tangier Beat =20 >> Scenesters >> Brion Gysin and William Burroughs. The event >> was filmed extensively and the movie Destroy All Rational Thought >> documented many aspects of this week long arts >> show. It was initially released on video and then later, as an =20 >> enhanced >> DVD. He is a DJ in art hip hop combo Islamic >> Diggers and has been living in Marrakesh, Morocco for the past 7 =20 >> months >> hanging with the likes of the Sufi mystic >> trance musicians The Gnoua Brotherhood of Marrakesh. Ambrose =20 >> previously >> produced the Brothers for the William >> Burroughs tribute CD, 10% File Under Burroughs, which also =20 >> features John >> Cale, Paul Bowles, Marianne Faithfull, >> Chuck Prophet, Herbert Huncke and The Master Musicians of Joujouka. >> Whilst Ambrose has been getting down in Africa, the Islamic =20 >> Diggers track >> William Burroughs Dont Play Guitar has >> featured on the soundtrack to a new Burroughs documentary, Words of >> Advice, >> which also features Patti Smith, Hal >> Willner and Bill Laswell. Another Diggers track, Hashishin, was =20 >> included >> along with work by Stockhausen in a January >> =C2=9208 sound installation, Cut Up, curated by Copenhagen=C2=92s = Karriere in >> conjunction with the Danish Museum of Modern >> Art. Ambrose has previously worked with Anita Pallenberg, Richard =20 >> Hell, >> Chrissie Hynde and Herbert Huncke. He is >> Literary Editor of LA-based magazine, Outsideleft.com. In 2007 he was >> asked >> by Iggy Pop to write the sleevenotes >> for Escaped Maniacs, the Iggy and the Stooges DVD package. His =20 >> extreme >> travel writing book, Chelsea Hotel >> Manhattan has recently been published by Headpress and a new =20 >> edition of >> Moshpit is about to be published by >> Tsunami. Joe talked very recently with me about his latest ventures. >> >> Joe, give me some background on the Tsunami edition of Moshpit..... >> Moshpit Culture first came out in 2001 and reflected what I=C2=92d = been =20 >> up to >> in >> the preceding years. I first got dragged >> into a moshpit, rather improbably, at a Shane McGowan show. I love =20= >> his >> work >> but at that time, the late 90s, I was >> listening almost exclusively to hip hop, reggae, and the kind of =20 >> punkish >> metal exemplified by Slayer, Queens of the >> Stone Age, the Beastie Boys and RATM. I was going to hip hop shows >> whenever >> I could, I saw Snoop a load of times >> and I was kind of following Gregory Isaacs, the Cool Ruler, around =20= >> the >> place. I must have seen Gregory in action >> about forty times back then. But mainly it was hardcore acts and =20 >> Slipknot >> and Rancid and the likes. >> >> So what attracted you to the Moshpit? >> I liked the fraternity that I found at those hardcore shows, the =20 >> openness >> and the willingness to experiment with new >> people and to build a new nation which was not of this world. =20 >> People had >> talked about experiencing these feelings in >> the rave scene, which immediately preceded the emergence of the =20 >> new punk >> era but I didn=C2=92t go for that because I >> like music and most of the music associated with rave culture was =20 >> second >> rate, doesn=C2=92t stand the test of time, was >> mildly diverting at the time but not the real thing. Also, when =20 >> they were >> talking about this spirit of collective >> fraternity and stuff, what they were really talking about was the =20 >> drugs >> they were taking. >> >> Ecstasy and a trashy peace and love vibe. The moshpit to me seems =20 >> to work >> on a completly different level.... >> Moshers were often far more solid sort of individuals. A lot of =20 >> moshers >> took good care of their bodies, didn=C2=92t do >> huge amounts of drugs, kept down day jobs or, if very young, lived =20= >> far >> away >> from the city centre with their families >> in hugely repressive social environments which caused them to see =20 >> moshing >> and much of what went with it as >> hugely liberating. >> >> The publishers, Tsunami, are based in Italy, arent they? >> There is already a metal record label in Italy called Moshpit =20 >> Culture so >> I >> knew the book had impacted a bit there. >> Also Italians of a certain type are much enamoured of the black =20 >> leather >> jacket and shades school of rock chic. Give >> them anything with a loud guitar and they=C2=92re off! I have some =20= >> sympathy >> with >> that attitude. The Tsunami edition will >> be called Moshpit. Things have changed since I wrote the book but =20 >> it=C2=92s >> still relevant. It wasn=C2=92t written as a >> journalistic account of a scene but rather as travel writing which >> brought >> the reader inside the head of the alienated >> teenage mosher. So, theoretically at least, somebody could pick it =20= >> up in >> 200 years time and still find its contents >> interesting or relevant. I had a ton of fun writing it and I get =20 >> emails >> about it all the time, mostly from people doing >> postgraduate research into youth culture or music culture. As far =20 >> as I >> know >> it=C2=92s the only book which deals exclusively >> with this huge cultural movement which has had a phenomenal influence >> upon >> the lives of millions. >> >> Yeah, that book`s subject matter; the bands and people that make =20 >> up the >> moshpits of the world are a popular >> cultural form of expression, a response to the social and political >> spaces >> they inhabit..... >> I gave a talk about moshing at Brighton University shortly after =20 >> the book >> came out and the guy introducing me >> admitted that, when he heard that someone was going to explain =20 >> moshing to >> them, he thought it had something to >> do with winemaking. >> >> Jeez.........thats crazy. You are flying out to NYC again soon Joe, >> whats >> happening this time around? >> The Chelsea Hotel is hosting a launch for Chelsea Hotel Manhattan. =20= >> There >> has been a change in management since I >> stayed there so it=C2=92ll be interesting to see what improvements =20= >> they=C2=92ve >> made. >> There=C2=92s been minor controversy about >> some changes they=C2=92ve been making but I don=C2=92t see why people = =20 >> active in the >> arts should be so caught up in trying to >> preserve the past. The Chelsea=C2=92s past was great =C2=96 and it = all really >> happened there =C2=96 but that particular slice of the >> past finished a while back. >> >> We`ve jammed on those changes in another interview, havent we..... >> I=C2=92ve got all those albums, I=C2=92ve read all those books. I = hope, =20 >> really, >> that >> the new management make some sort of a >> dynamic intervention. Get Richard Rogers or someone to overhaul =20 >> it. We=C2=92ll >> see. In any case, this launch event is an >> opportunity for people to come into the Chelsea Hotel and have a look >> around. >> >> How has the book been received so far? >> I=C2=92ve been in Morocco the last six months. I don=C2=92t get too = much =20 >> feedback >> about the book down there but such as I=C2=92ve >> had has been positive. I got a really nice email from Chris Stein of >> Blondie about it which really pleased me. I like his >> work a lot, not just with Blondie but Wild Style, the Gun Club, Iggy. >> That=C2=92s New York City for me. >> >> I heard Ira Cohen was going to be involved in the launch.... >> Unfortunately Ira Cohen, who makes numerous appearances in the =20 >> book and >> who >> contributed to it, has been sick >> recently. Chris Stein mentioned in his email that Ira is very much >> himself >> again and I hope that is the case. Ira is a >> resource. You can=C2=92t replace resources. I hope we get a chance to = =20 >> hang out >> while I=C2=92m in town. I met Ira in 1991 on the >> Brion Gysin scene, Ira had been a good pal of Gysin=C2=92s and I was =20= >> starting >> work on the Here To Go Show which sought >> to highlight Gysin. Naturally Ira was involved, did a great =20 >> photographic >> show in Dublin, and did readings. You can >> see him reading in the movie of the Show, Destroy All Rational =20 >> Thought, >> which came out on DVD last year. >> >> You have been living in North Africa. Have you been working down =20 >> there? >> I=C2=92ve been wrestling with my third novel, The Darker Side of Me. =20= >> I=C2=92ve been >> having trouble with it for a couple of years >> but I think I cracked it in Marrakesh, where I=C2=92ve been living. =20= >> I=C2=92ve also >> been editing an anthology of writings by the >> Fenians, the secret 19th Century Irish revolutionary organisation. =20= >> This >> will come out later this year with Mercier >> Press. I=C2=92ll be previewing some of my thoughts about the Fenians = in a >> piece, >> Brotherhood, which will be in the next >> Headpress Journal, the =C2=93panther=C2=94 issue guest edited by the =20= >> fabulous John >> Sinclair, founder of the White Panthers and >> onetime manager of the MC5. I=C2=92ve written something about the = equally >> fabulous Panther Burns for the same issue. >> >> Joe Ambrose performs from Chelsea Hotel Manhattan (Headpress) in =20 >> New York >> City: >> >> Friday 18th April The Chelsea Hotel 7-30pm >> Saturday 19th April Bowery Poetry Club 12 to 1-30pm >> Monday 21st April Blue Stocking Books 7pm >> >> His latest extreme travel writing book, Chelsea Hotel Manhattan, is >> published by Headpress and is launched in the >> USA in April. >> >> There are a number of interviews and conversations we have had on =20 >> various >> underground art, film, music and word >> projects, you can check them out on The Brink, hesterGlock and =20 >> elsewhere. >> >> paulh >> >> 2522 Mission Street >> San Francisco >> On Fri, 4 Apr 2008 15:47:27 -0400 Ruth Lepson =20 >> >> writes: >> >>> want to alert folks to a reading/presentation by my photographer >>> collaborator Rusty Crump & I at the Bowery Poetry Club at 4 on Sat., >>> April >>> 19. I=C2=B9ll read some poems from our book Morphology & rusty will = show >>> some >>> slides & talk abt them, & we=C2=B9ll both briefly share some new = things. >>> If >>> you=C2=B9re not preparing a Passover seder, come on down. >>> >>> > > ------------------------------ > > Date: Sat, 5 Apr 2008 10:39:23 -0400 > From: Kenneth R James > Subject: Re: On Poets as Characters in Novels!! > > Three Samuel R. Delany novels feature poet protagonists: > > Rydra Wong in _Babel-17_ (SRD's early SF) > > Kid in _Dhalgren_ (plus secondary character Ernest Newboy) > > Arnold Hawley in _Dark Reflections_ (his latest novel; takes=3D20 > place in contemporary NYC; it's just great) > > > > > On Sat Apr 5 0:23 , steve russell sent: > >> I don't think anyone has mentioned Saul Bellow's Humbolt's=3D20 > Gift. The alcoholic collapse of Delmore Schwartz forms the=3D20 > basis for one of Bellow's best.=3D20 >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> t >> >> >> >> ----- Original Message ---- >> From: David Chirot david.chirot@GMAIL.COM> >> To: POETICS@LISTSERV.BUFFALO.EDU >> Sent: Friday, April 4, 2008 9:06:20 AM >> Subject: Re: On Poets as Characters in Novels!! >> >> Dr Zhivago by a great poet who wrote a great novel, Boris=3D20 > Pasternak, who >> also provides with the novel a selection of the poetry of=3D20 > Zhivago. >> >> There are several books which interweave "novelizations" and >> "dramatizations" and "filmizations"of the life of Rimbaud=3D20 > with "actual >> biography." >> >> The novels of Roberto Bolano--a poet himself-- are filled=3D20 > with poets as main >> and subsidiary characters, including often the narrator-- >> >> The Satyricon of Petronious may be read in a certain sense=3D20 > as a novel of the >> adventures of a poet-- >> >> Adventures in the Skin Trade by Dylan Thomas--a young=3D20 > aspiring writer/poet >> leaves dreary provincial home for wild world of London-- >> >> Nabakov's Pale Fire-- >> >> On Thu, Apr 3, 2008 at 9:57 PM, Gabrielle Welford=3D20 > welford@hawaii.edu> >> wrote: >> >>> Flann O'Brien...yeah! i'll eat my hat if flann o'brien is=3D20 > not considered >>> a poet. :-) g >>> >>> On Thu, 3 Apr 2008, Stephen Vincent wrote: >>> >>>> Any good suggestions and/or appraisals - from ancient to=3D20 > contemporary?? >>>> I remember Kathy Acker did some - maybe they were=3D20 > wonderfully >>> scandalous or may be not intended that way at all - auto/ > fictional or >>> 'real' celebrations and/or satires of sexual encounters=3D20 > with some now well >>> known language poets before such bodies were even formally=3D20 > identified as >>> such - vaguely remember them as printed in small, stapled=3D20 > editions at Kinkos >>> before Kinkos was Kinkos. >>>> >>>> Stephen V >>>> http://stephenvincent.net/blog/ >>>> >>>> >>> >> >> >> =3D20=3D20=3D20=3D20=3D20=3D20 > _____________________________________________________________ > _______________________ >> You rock. That's why Blockbuster's offering you one month of=3D20 > Blockbuster Total Access, No Cost.=3D20=3D20 >> http://tc.deals.yahoo.com/tc/blockbuster/text5.com >> > > ------------------------------ > > Date: Sat, 5 Apr 2008 10:39:48 -0400 > From: cris cheek > Subject: Re: On Poets as Characters in Novels!! > > Brian Catling appears in Iain SInclair's "Downriver" > > > On Thu, Apr 3, 2008 at 2:09 PM, Stephen Vincent > wrote: > >> Any good suggestions and/or appraisals - from ancient to =20 >> contemporary?? >> I remember Kathy Acker did some - maybe they were wonderfully =20 >> scandalous >> or may be not intended that way at all - auto/fictional or 'real' >> celebrations and/or satires of sexual encounters with some now =20 >> well known >> language poets before such bodies were even formally identified as =20= >> such - >> vaguely remember them as printed in small, stapled editions at =20 >> Kinkos before >> Kinkos was Kinkos. >> >> Stephen V >> http://stephenvincent.net/blog/ >> >> > > ------------------------------ > > Date: Sat, 5 Apr 2008 09:50:05 -0500 > From: John Cunningham > Subject: Re: Roy Exley : ON poets writing NOVELS > > An interesting reflection A. Considering how easily the novel sat =3D > alongside > poetry in earlier centuries, each making room for other, one has to =3D > wonder > how one form began to nudge out the other. Even when Dickens, et al, =3D= > were > serialized, this still didn't threaten the existence of poetry. My =3D > feeling > is that you may be looking for the villain in the wrong media. I =20 > could =3D > be > wrong, but this pushing and shoving of poetry to the sidelines =20 > didn=3D92t =3D > begin > to take place until the last century, i.e. the twentieth (I still have > trouble thinking about the 1900s as the 'last century', probably an =20= > age > thing). That being the case, the one tying poor Nelle to the =20 > railroad =3D > tracks > is probably film. Reading of any kind is work. Watching a film isn't. > Reading a poem is more work that reading a novel. Which led to the =3D > protest > of our Protestant ethic saying 'fuck that shit, I'm going to the =3D > cinema'. > Poetry was the first to fall but the novel has had its share of =3D > suffering. > At the end of the 21st, we shall mourn the corpses of literacy. > John Cunningham > > -----Original Message----- > From: UB Poetics discussion group =20 > [mailto:POETICS@LISTSERV.BUFFALO.EDU] =3D > On > Behalf Of Alison Croggon > Sent: April 5, 2008 1:24 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Roy Exley : ON poets writing NOVELS > > Thanks Roy. When you have writers like Ismael Kadare, Michele =20 > Desbordes, > Alessandro Bericco, Jose Saramago, Anne Carson, Bohumil Hrabal (to =20 > name =3D > a > few I've enjoyed recently) writing in the form, I don't think =20 > there's =3D > any > need to justify the novel's value. Nor the need to make a living. - =20= > I've > certainly paid my dues as a poor artist, and have the lack of a =20 > house, =3D > car, > savings or any sort of recognised assets to prove it... As an =20 > aside, I'm =3D > one > of the very few full-time writers I know. My husband (a playwright) is > another. We have three kids. Most poets make their living with some =3D > other > job, many in academia. I don't have an academic qualification to my =3D > name, > and in any case have never existed very well in any kind of =20 > institution. > Writing novels that others might read for pleasure seems to me to =20 > be an > honest living. > > Wystan, surely the rise of the novel happened in the 19th century? =20 > Is =3D > the > perceived rise of fiction actually at poetry's expense, or are you =3D > talking > about something that is in fact a function of the increasing =3D > corporatisation > of the publishing and bookselling industries and the increasing =20 > loss of > independent bookshops? Because those factors are affecting ALL =20 > literary > publishing, not just poetry. > > All best > > A > > > --=3D20 > Editor, Masthead: http://www.masthead.net.au > Blog: http://theatrenotes.blogspot.com > Home page: http://www.alisoncroggon.com > > No virus found in this incoming message. > Checked by AVG.=3D20 > Version: 7.5.519 / Virus Database: 269.22.6/1360 - Release Date: =3D > 04/04/2008 > 6:02 PM > =3D20 > > No virus found in this outgoing message. > Checked by AVG.=3D20 > Version: 7.5.519 / Virus Database: 269.22.6/1360 - Release Date: =3D > 04/04/2008 > 6:02 PM > =3D20 > > ------------------------------ > > Date: Sat, 5 Apr 2008 08:11:18 -0700 > From: David Chirot > Subject: Re: On Poets as Characters in Novels!! > > Not to mention many of the works of Jack Kerouac in which appear =20 > Allen G, > Bill Burroughs, Gregory Corso, Phil Whalen, Lew Welch, Michael =20 > McClure, > Kenneth Rexroth, Lawrence Ferlinghetti, Herbert Huncke ("Guilty of > Everything"), and many others-- > > > i realize these aren't "novels"-- > but- > > In Elizabethan theater--for example one of Richard's famous =20 > speeches in > henry vi part Three by Shakespeare--there occurs a character =20 > referred to as > "the Machiavel"--based on the popularized image of Machiavelli--and =20= > his work > The Prince. I like very much how an author via the associations =20 > with his > most famous work becomes a figure of True Villainy and the Most Wicked > Cunning--a "larger than life charcter" with whom Richard is going =20 > to do > battle and out perform! > > In the Greek and Roman theater and poetry will often appear actual =20 > poets or > The Poet--Orpheus-- > > especially in epigrams for example, one finds the appearance of > poets!!--among the Greeks and Romans-- > from whence of course Kent Johnson's collection-- > > > > On Fri, Apr 4, 2008 at 9:23 PM, steve russell > wrote: > >> I don't think anyone has mentioned Saul Bellow's Humbolt's Gift. The >> alcoholic collapse of Delmore Schwartz forms the basis for one of =20 >> Bellow's >> best. >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> t >> >> >> >> ----- Original Message ---- >> From: David Chirot >> To: POETICS@LISTSERV.BUFFALO.EDU >> Sent: Friday, April 4, 2008 9:06:20 AM >> Subject: Re: On Poets as Characters in Novels!! >> >> Dr Zhivago by a great poet who wrote a great novel, Boris =20 >> Pasternak, who >> also provides with the novel a selection of the poetry of Zhivago. >> >> There are several books which interweave "novelizations" and >> "dramatizations" and "filmizations"of the life of Rimbaud with =20 >> "actual >> biography." >> >> The novels of Roberto Bolano--a poet himself-- are filled with =20 >> poets as >> main >> and subsidiary characters, including often the narrator-- >> >> The Satyricon of Petronious may be read in a certain sense as a =20 >> novel of >> the >> adventures of a poet-- >> >> Adventures in the Skin Trade by Dylan Thomas--a young aspiring =20 >> writer/poet >> leaves dreary provincial home for wild world of London-- >> >> Nabakov's Pale Fire-- >> >> On Thu, Apr 3, 2008 at 9:57 PM, Gabrielle Welford =20 >> >> wrote: >> >>> Flann O'Brien...yeah! i'll eat my hat if flann o'brien is not >> considered >>> a poet. :-) g >>> >>> On Thu, 3 Apr 2008, Stephen Vincent wrote: >>> >>>> Any good suggestions and/or appraisals - from ancient to >> contemporary?? >>>> I remember Kathy Acker did some - maybe they were wonderfully >>> scandalous or may be not intended that way at all - auto/=20 >>> fictional or >>> 'real' celebrations and/or satires of sexual encounters with some =20= >>> now >> well >>> known language poets before such bodies were even formally =20 >>> identified as >>> such - vaguely remember them as printed in small, stapled =20 >>> editions at >> Kinkos >>> before Kinkos was Kinkos. >>>> >>>> Stephen V >>>> http://stephenvincent.net/blog/ >>>> >>>> >>> >> >> >> >> =20 >> _____________________________________________________________________=20= >> _______________ >> You rock. That's why Blockbuster's offering you one month of =20 >> Blockbuster >> Total Access, No Cost. >> http://tc.deals.yahoo.com/tc/blockbuster/text5.com >> > > ------------------------------ > > Date: Sat, 5 Apr 2008 11:25:48 -0400 > From: ALDON L NIELSEN > Subject: Re: Atlanta Question & Response to Jason > > OK -- I only have one post left in my daily quota so am combining =20 > two posts in > one: > > 1) I just finished reading this morning's NYTIMES article on the =20 > three day > celebration in Atlanta in conjunction with the exhibition opening =20 > the Raymond > Danowski Poetry Library at Emory. The celebration was determinedly =20= > middle-brow > (Wilbur, Giaoia, Snodgrass etc.) -- but the incredible scope of the =20= > collection > gives me reason to hope that there may be lots of small press stuff =20= > in there. > > Have any of our Atlanta contingent had a chance to look into the =20 > Danowski > collection yet? > > 2) Jason et al -- Yes, BLACK NO MORE is a fantastic (in the literal =20= > sense) > novel -- though it's strictly speaking not quite of the same era as =20= > EX, whihc > is pre-Harlem Renaissance -- I love both novels (andmy students who =20= > read the > Schuyler novel last year were blown away by its power to explain =20 > more recent > racial politics in the USA )-- but it's precisely the trickiness of =20= > Johnson's > novel that I love -- many readers of the first edition didn't =20 > realize it was a > fiction -- (If you read Johnson's autobiography, you'll come across a > delightful anecdote about the time Johnson met somebody who =20 > purported to be the > book's protagonist) -- EX plays upon reader's expectations in a far =20= > more > complex way than does Schuyler's great satire -- Readers came to =20 > AUTOBIOGRAPHY > OF AN EX-COLURED MAN expecting to learn the "masonic secrets" of =20 > the black race > -- Instead, the book turns out to reveal to them the secret =20 > interiority of an > ordinay white man who has made a little money -- > > if you've never read these books, read them now -- you'll never =20 > forget them -- > > We don't hear much about Schuyler theses days -- which is one =20 > reason media > types can go on pretending that the Black Conservative is of recent =20= > vintage -- > There was a very good biography of his amazing daughter a few years =20= > back, and > Bobby Hill published Schuyler's nearly forgotten Sci Fi serials a =20 > while back -- > > > On Fri, Apr 4, 2008 09:34 PM, Jason Quackenbush wrote: > >> This didn't go to the list for some reason. Aldon's more recent post >> regarding autobio of an ex-colored man is also a good example >> (although I prefer "black no more" of the novels dealing with >> passing >> during that era). but there are lots of cases of things dealing with >> fraud all through literature. there's a certain sense of fraudulence >> in a couple of the canterbury tales, wife of bath and the summoners >> tale if I remember right. There's a hoaxish element to don quixote. >> almost all of shakespeare's best comedy's have some element of fraud >> to them. there are whole books built as confidence games like the >> manuscript found at saragossa, and the topic of deceit is as greek as >> greek tragedy gets. it also was one of the big obssesions of William >> Gaddis and played a part in every novel he wrote from the >> recognitions to agape agape >> >> Begin forwarded message: >> >>> From: jfq@myuw.net >>> Date: April 4, 2008 9:02:12 AM PDT >>> To: ALDON L NIELSEN >>> Subject: Re: Epigramititis: 118 Living American Poets >>> >>> thanks! >>> >>> I quite enjoy the idea of fraud in literature, and particularly >>> fiction. After all, at root, with the occasional exception of a >>> novel by a Kathy Acker or David Markson, all fictional stories are >>> lies masquerading as truth. And we know it, yet we choose to enter >>> a state while reading where we suspend our disbelief in the obvious >>> lies. we do this for any number of reasons, for a distraction, for >>> entertainment, in pursuit of a larger truth. but the basic fact of >>> the sentences being untrue and/or referring to things that don't >>> exist and are completely unreal is inescapable. >>> >>> which puts me in mind of this latest bout of exposed hoax >>> memoirists. to my way of thinking, anybody who believed these >>> hoaxers in the first place only got what was coming to them. their >>> writing is neither improved nor degraded by their works being >>> labeled as novels or as memoirs. all that changes is the readers >>> suspension of disbelief. >>> >>> On Fri, 4 Apr 2008, ALDON L NIELSEN wrote: >>> >>> I love that poem -- >>> >>> I guess my rephrasing of the question is a little less clear apart >>> from the >>> post I was responding to at the time -- the puzzle, at least for >>> me, is in the >>> reading -- what is being said about the subject in such a case? >>> for example, >>> though a post not a poem -- I suggested here that a book and its >>> author might >>> be a hoax -- most readers of this list would know instantly that I >>> had to know >>> neither was a hoax -- there appears to have been a difference of >>> opinion on how >>> to read my suggestion. Some thought that by suggesting the book >>> and its >>> author might be a hoax I was thereby dismissing both -- I, of >>> course, would >>> never do such a thing. >>> >>> On Fri, Apr 4, 2008 12:11 AM, Jason Quackenbush =20 >>> wrote: >>> >>> On Apr 3, 2008, at 9:54 AM, ALDON L NIELSEN wrote: >>> >>> So that the real question turns out to be, what do we make of an >>> assertion in a >>> poem whose author had to have known that it wasn't true? >>> >>> i think that's a very real question. i attempted to answer it in a >>> poem once. you can read that poem here if you like: http:// >>> www.blazevox.org/061-jfq.pdf >>> >>> it's the second one. >>> >>> >>> >>> >>> >>> >>> <> >>>> >>> >>> 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 >>> >>> >>> >>> >>> >> >> >> > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>=20= > >>>>> > > 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, 5 Apr 2008 12:08:47 -0400 > From: Alan Sondheim > Subject: Fourth Session > > Fourth Session > > > basis What actions. do we do know What know know do the know know > practice know the of about of of the writing? of practice Looking of > creative Looking of Looking up creative "Creative Looking Looking =20 > writing > Looking "Creative practice" up practice" practice" "Creative Google > practice" practice" Creative practice" Google and on and and Google > necessarily and Creative shape and coding shape and shape one coding > another. shape shape Playfulness, shape another. trying one trying =20 > trying > another. things trying trying to trying things see lots see see things > works see to in see what programming see in programming what - =20 > programming > in all programming - which programming which which - purpose which all > etc. which have within have within within purpose playfulness. =20 > within etc. > elegance within playfulness. economy within elegance economy =20 > playfulness. > whatever economy elegance you economy whatever ask economy ask ask > whatever has ask you consequence. ask reader Began reader consequence. > Began has collaborate Began consequence. other Began collaborate =20 > people. > Began other people. collaborate BUT people. other THERE people. 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A Jim agrees =20 > program > Jim A execution Jim execution partially A represented partially =20 > program > many partially partially ways. partially many ways. represented =20 > machines > ways. many around ways. machines David ways. around David machines =20 > Mendel > David around Between David David Machine David Machine brilliant =20 > Mendel > history brilliant Between cybernetics brilliant brilliant =20 > characteristics > brilliant cybernetics characteristics history tried characteristics > cybernetics sci. characteristics tried research characteristics sci. > research tried study research characterize phenomena research research > surrounding research phenomena computers. study computers. computers. > phenomena list computers. computers. comp computers. list sci =20 > identified > sci sci list 1. comp sci involves sci 1. involves sci symbols involves > research: manipulation involves involves creation involves =20 > manipulation > abstractions. symbols abstractions. abstractions. manipulation stufy > abstractions. abstractions. algorithms abstractions. stufy dynamic 3. > dynamic dynamic stufy medium algorithms dynamic 4. dynamic medium 4. > dynamic create 4. character artificial 4. 4. constructs 4. =20 > artificial are > create are are artificial by are are physical are by laws. =20 > unlimited laws. > laws. by exploit laws. physical address laws. 5. address laws. =20 > exponential > address 5. growth. address address 6. address growth. seek exponential > seek seek growth. limits seek seek computed. seek limits 7. =20 > fundamental 7. > 7. limits for 7. computed. complex 7. look complex 7. complex analytic > look rational complex complex associated complex rational human =20 > analytic > human human rational attempt human human basis human attempt actions. > intelligence actions. actions. attempt actions. basis actions. =20 > actions. > > ------------------------------ > > Date: Sat, 5 Apr 2008 12:57:30 -0400 > From: Murat Nemet-Nejat > Subject: Re: Epigramititis: 118 Living American Poets > > Jason, > > I though the issue of something being a "hoax" or not referred to =20 > the public > information about the work, surrounding the work. It is closely =20 > related to > the idea of "fake." I do not think anybody thought Don Quiote was a =20= > real > person or that the fact Don Quiote was not real makes the novel a =20 > "hoax." I > do not quite understand what the the element of "hoax" in Shakesperean > comedies is though, of course, 99% of tragic works (particularly =20 > plays) are > based on "deception." Finally that is what dramatic irony is. > > If one goes back to the original idea of a hoax (which what The =20 > Doubled > Flowering is), one can see a veryinteresting question underlying the > concept, particularly for a post modern sensibility. Is a hoax more =20= > real > than the "real"? In an age of infinite reproduction (for example, in > literature, the infinite permutations of a text's algorithms =20 > digitally as > poems, or in art "perfect" digital reeactments), which modern =20 > technology > allows us, doesn't the idea of the "real" get subverted or, to use =20 > a more > neutral word, change? It is the subversion that is crucial. My =20 > sense is that > Kent is claiming in The Doubled Flowering (or in Epigrammatis or The > Miseries of Poetry for that matery) his sense of "suffering" in =20 > that work is > more real than many real writings on Hiroshima. Interesting, this =20 > idea is as > old as Aristotle, claiming drama (?) is more real than history. > > Did anyone see the Orson Welles "documentary" (another hoax?), =20 > entitled > Fake? > > Ciao, > > Murat > > On Fri, Apr 4, 2008 at 9:34 PM, Jason Quackenbush =20 > wrote: > >> This didn't go to the list for some reason. Aldon's more recent post >> regarding autobio of an ex-colored man is also a good example =20 >> (although I >> prefer "black no more" of the novels dealing with passing during =20 >> that era). >> but there are lots of cases of things dealing with fraud all through >> literature. there's a certain sense of fraudulence in a couple of the >> canterbury tales, wife of bath and the summoners tale if I =20 >> remember right. >> There's a hoaxish element to don quixote. almost all of =20 >> shakespeare's best >> comedy's have some element of fraud to them. there are whole books =20= >> built as >> confidence games like the manuscript found at saragossa, and the =20 >> topic of >> deceit is as greek as greek tragedy gets. it also was one of the big >> obssesions of William Gaddis and played a part in every novel he =20 >> wrote from >> the recognitions to agape agape >> >> Begin forwarded message: >> >> From: jfq@myuw.net >>> Date: April 4, 2008 9:02:12 AM PDT >>> To: ALDON L NIELSEN >>> Subject: Re: Epigramititis: 118 Living American Poets >>> >>> thanks! >>> >>> I quite enjoy the idea of fraud in literature, and particularly =20 >>> fiction. >>> After all, at root, with the occasional exception of a novel by a =20= >>> Kathy >>> Acker or David Markson, all fictional stories are lies =20 >>> masquerading as >>> truth. And we know it, yet we choose to enter a state while =20 >>> reading where we >>> suspend our disbelief in the obvious lies. we do this for any =20 >>> number of >>> reasons, for a distraction, for entertainment, in pursuit of a =20 >>> larger truth. >>> but the basic fact of the sentences being untrue and/or referring =20= >>> to things >>> that don't exist and are completely unreal is inescapable. >>> >>> which puts me in mind of this latest bout of exposed hoax =20 >>> memoirists. to >>> my way of thinking, anybody who believed these hoaxers in the =20 >>> first place >>> only got what was coming to them. their writing is neither =20 >>> improved nor >>> degraded by their works being labeled as novels or as memoirs. =20 >>> all that >>> changes is the readers suspension of disbelief. >>> >>> >>> On Fri, 4 Apr 2008, ALDON L NIELSEN wrote: >>> >>> I love that poem -- >>>> >>>> I guess my rephrasing of the question is a little less clear apart >>>> from the >>>> post I was responding to at the time -- the puzzle, at least for =20= >>>> me, >>>> is in the >>>> reading -- what is being said about the subject in such a case? =20= >>>> for >>>> example, >>>> though a post not a poem -- I suggested here that a book and its >>>> author might >>>> be a hoax -- most readers of this list would know instantly that =20= >>>> I had >>>> to know >>>> neither was a hoax -- there appears to have been a difference of >>>> opinion on how >>>> to read my suggestion. Some thought that by suggesting the =20 >>>> book and >>>> its >>>> author might be a hoax I was thereby dismissing both -- I, of =20 >>>> course, >>>> would >>>> never do such a thing. >>>> >>>> On Fri, Apr 4, 2008 12:11 AM, Jason Quackenbush =20 >>>> wrote: >>>> >>>> On Apr 3, 2008, at 9:54 AM, ALDON L NIELSEN wrote: >>>>> >>>>>> >>>>>> So that the real question turns out to be, what do we make of an >>>>>> assertion in a >>>>>> poem whose author had to have known that it wasn't true? >>>>>> >>>>> >>>>> i think that's a very real question. i attempted to answer it in a >>>>> poem once. you can read that poem here if you like: http:// >>>>> www.blazevox.org/061-jfq.pdf >>>>> >>>>> it's the second one. >>>>> >>>>> >>>>> >>>>> >>>> >>>> >>>> >>>> <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>=20= >>>> >>>>>>>> >>>> >>>> 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, 5 Apr 2008 12:59:41 -0400 > From: Ruth Lepson > Subject: Re: On Poets as Characters in Novels!! > > poets in novels--longfellow in The Dante Club --he becomes a =20 > detective when > he realizes the boston serial killer is using methods from the =20 > inferno--and > he's the only one translating dante into english (tho harvard =20 > disapproves). > longfellow the rock star of his time. pound was his grand nephew, I =20= > think. > james russell lowell used to walk down brattle street to =20 > longfellow's house > once a week to the translators' group. > > > On 4/5/08 8:40 AM, "Wystan Curnow" wrote: > >> Not online. >> Give me an address to post a copy to. >> BTY On Kawara is not Madeline Gins collaborator, that 's Arakawa >> Cheers, >> Wystan >> >> ________________________________ >> >> From: UB Poetics discussion group on behalf of Stephen Vincent >> Sent: Fri 4/04/2008 11:47 a.m. >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Re: On Poets as Characters in Novels!! >> >> >> >> Thanks, Wystan. Is Reading Room online?? >> Just reading Hank Lazar's review/refleciton on On Kawara's =20 >> collaborative book >> on the body and achitecture. Be interested in the connections you =20= >> make with >> Ron and Acker. >> >> Stephen V >> >> >> Wystan Curnow wrote: Stephen, >> Silliman appears in Chapter 2 of Acker's 1978 novel, The >> Adult Life of Toulouse Lautrec. >> I discuss it in an essay. "Autobiography: Does it have a future? Ron >> Silliman's 'The Alphabet' and On Kawara's 'Today Series'", =20 >> published in >> READING ROOM 1, 2007. >> Wystan >> >> -----Original Message----- >> From: UB Poetics discussion group =20 >> [mailto:POETICS@LISTSERV.BUFFALO.EDU] >> On Behalf Of Stephen Vincent >> Sent: Friday, 4 April 2008 7:09 a.m. >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: On Poets as Characters in Novels!! >> >> Any good suggestions and/or appraisals - from ancient to =20 >> contemporary?? >> I remember Kathy Acker did some - maybe they were wonderfully >> scandalous or may be not intended that way at all - auto/=20 >> fictional or >> 'real' celebrations and/or satires of sexual encounters with some now >> well known language poets before such bodies were even formally >> identified as such - vaguely remember them as printed in small, =20 >> stapled >> editions at Kinkos before Kinkos was Kinkos. >> >> Stephen V >> http://stephenvincent.net/blog/ >> > > ------------------------------ > > Date: Sat, 5 Apr 2008 13:02:30 -0500 > From: "steve d. dalachinsky" > Subject: Re: Siddhartha, the film > > his other film chappaqua was also a gem > > On Fri, 4 Apr 2008 21:25:28 -0400 Aryanil Mukherjee =20 > > writes: >> Old time Beat pal Conrad Rooks had made a film of the same name after >> the >> Hesse novel in 1972. >> It was a great film I thought, refeshing and personalized, if not >> sumptously >> innovative, starring Sashi Kapoor >> and Simi Gerewal, both noted Indian stars of that era. Hemanta Kumar >> >> Mukherjee wrote an unforgettable score >> for the film making good use of classical Tagorian music. >> >> Aryanil >> >> >> > > ------------------------------ > > Date: Sat, 5 Apr 2008 13:43:32 -0400 > From: Charlotte Mandel > Subject: from Authors Guild: Amazon limits POD books > > The Authors Guild wrote: >> Last week Amazon announced that it would be requiring that all books >> that it sells that are produced through on-demand means be printed by >> BookSurge, their in-house on-demand printer/publisher. Amazon pitched >> this as a customer service matter, a means for more speedily >> delivering print-on-demand books and allowing for the bundling of >> shipments with other items purchased at the same time from Amazon. It >> also put a bit of an environmental spin on the move -- claiming less >> transportation fuel is used (this is unlikely, but that's another >> story) when all items are shipped directly from Amazon. >> >> We, and many others, think something else is afoot. Ingram =20 >> Industries' >> Lightning Source is currently the dominant printer for on-demand >> titles, and they appear to be quite efficient at their task. They =20 >> ship >> on-demand titles shortly after they are ordered through Amazon >> directly to the customer. It's a nice business for Ingram, since they >> get a percentage of the sales and a printing fee for every on-demand >> book they ship. Amazon would be foolish not to covet that business. >> >> What's the rub? Once Amazon owns the supply chain, it has effective >> control of much of the "long tail" of publishing -- the enormous >> number of titles that sell in low volumes but which, in aggregate, >> make a lot of money for the aggregator. Since Amazon has a firm grip >> on the retailing of these books (it's uneconomic for physical book >> stores to stock many of these titles), owning the supply chain would >> allow it to easily increase its profit margins on these books: it =20 >> need >> only insist on buying at a deeper discount -- or it can choose to >> charge more for its printing of the books -- to increase its profits. >> Most publishers could do little but grumble and comply. >> >> We suspect this maneuver by Amazon is far more about profit margin >> than it is about customer service or fossil fuels. The potential big >> losers (other than Ingram) if Amazon does impose greater discounts on >> the industry, are authors -- since many are paid for on-demand sales >> based on the publisher's gross revenues -- and publishers. >> >> We're reviewing the antitrust and other legal implications of =20 >> Amazon's >> bold move. If you have any information on this matter that you think >> could be helpful to us, please call us at (212) 563-5904 and ask for >> the legal services department, or send an e-mail to >> staff@authorsguild.org. >> >> Feel free to post or forward this message in its entirety. >> >> ----------------------- >> >> Copyright 2008, The Authors Guild. The Authors Guild >> (www.authorsguild.org > > ------------------------------ > > Date: Sat, 5 Apr 2008 13:52:17 -0500 > From: "steve d. dalachinsky" > Subject: Fw: from dalachinsky - 2 gigs this month and a town hall =20 > meeting for RUCMA > > 8 PM on Tuesday April 15th > at the Living Theatre Manhattan > > Ty Cumbie's Musetry > > w/ Ellen Christie > steve dalachinsky > james > > plus Jackson Moore Group > > > The Living Theatre > 21 Clinton Street > (F train to 2nd Ave, or 21 bus to Clinton St) > for info cal 1212 925-5256 or check Living Theatre Schedule on line > ____________________________________________________________ > > 11 p.m. on Saturday, April 19th > Stain Bar, Brooklyn > > Painted Ghost Rhythm > > Steve Cohn -- shakuhachi, keyboards > Steve Dalachinsky -- poetry > Briggan Krauss =C2=96- alto saxophone > Dan Godston -- trumpet > Tom Zlabinger =C2=96- upright bass > > experimental / jazz > > Stain Bar is at: 766 Grand Street, Brooklyn, NY 11211, > (L to Grand, 1 block west), 718/387-7840, www.stainbar.com. > > ______________________________________________________________________=20= > ___ > ___ > > Town hall Meeting > Tuesday April 15 - tax day - 6:30 pm > at Clemente Soto Velez > 107 Suffolk St - first floor > > we are at a great place in RUCMA > we are successfully running a series that goes 3 nights a week at the > Living Theater > we have started the jam sessions on Saturday nights > It looks like we will be able to continue through the summer one > night per week > then begin again the 3 nights in Sept. > we are tentatively beginning an education program - etc > > Arts for Art is trying to raise funds to put into this community > development initiative > to build relationship inside the local community that will help build > audience for the art for which we are so committed > arts for Art is also looking to secure other spaces for presentations > and also for rehearsals > > We need YOU > to accomplish this and more > > It seems that it is True > that we can really change the Story Together > > ------------------------------ > > Date: Sat, 5 Apr 2008 11:50:59 -0700 > From: David Chirot > Subject: Re: Epigramititis: 118 Living American Poets > > Dear Murat & Friends- > > Yes I saw FAKE and I have read the book it is based on by Clifford > Irving--very interesting as first Irving wrote of the FAKE painter =20 > Emile de > Houry--and then went onto to forge the Howard Hughes Book that was =20 > at first > thought to be by Hughes himself. (Which is also in the film--) > (Actually i have read great many books on fakes, forgeries, etc--=20 > and there > is a new one out i have yet to start called Nation of =20 > Counterfeiters--early > history of the US--counterfeiting ran rampant--) (the USA cd be =20 > called FAKE > Nation!) > > Actually, Yasusada is NOT a "hoax" because within the texts it =20 > gives itself > away over and over as not being by a "real person"-- > > Yasusada writes in a letter to a friend that he is writing works =20 > which he > thinks of as "After Spicer" in the manner of Spicer's "After Lorca"-- > > after all, After Lorca, Spicer writes letters to Lorca, =20 > "translates" Lorca's > ("real/fictional" poems, and Lorca provides an Introduction. Yasusada > writes Spicer a "last letter" which echoes the "last letter" of =20 > Spicer's to > Lorca, and Spicer appears i a number of letters and rengas =20 > throughout the > Yasusada texts. (By appears I mean he takes part in events which are > presented in a renga.) > > If a "real poet" can write letters to a "dead real poet" and the =20 > dead poet > can introduce his text, why not a fictional poet write letters to and > present a "real dead poet" in his works. > > What is being created is a traveling through time and space of =20 > poets dead, > alive, and fictional--having in common the feature of all being =20 > "ghosts" > finally. What carries from poet to poet are echoes, reflections, =20 > fragments > of sounds, of images, and what the center of their being is as a =20 > group is > "the work of mourning" as Freud called it. Spicer spends a summer =20 > of love > with Lorca, who leaves, a departed ghost, and Spicer in turn =20 > becomes the > beloved of Yasusada, who in the end says Farewell to the ghost of =20 > Spicer, > and turns to look out to sea at the memorials of candles and names =20 > for the > dead of Hiroshima. Hiroshima itself provides a linkage from =20 > Spicer to > yasusada via lines in Spicer that the fictional poet cites, and is =20 > "echoed" > in Yasusada's attending a baseball game a la Spicer, in the Hiroshima > Stadium, situated at the Bomb's flashpoint. > > The series Lorca-Spicer-Yasusada is one in which poetry is making =20 > journey > of love in the land of the dead, in which dead poets are loved as =20 > ghosts, > and a fictional poet is as real as the ghosts which are Lorca for =20 > Spicer and > Spicer for Yasusada. > > The Yasusada is really a series of love poems--to Yasusada's =20 > daughter, wife > and lost friends, poets of other times, and finally, to Spicer, =20 > whom he > "meets" late in life. The last poem, "Because I live" combines the =20= > image of > the candles and names floating out to sea with those of the rowers on > Ulysses' ship passing the Sirens, on their way home to Ithaca. > > I think that there are a great many issues which the works of Kent =20 > Johnson > bring up, and among them is that of, not so much the willing =20 > suspension of > disbelief, but to my mind, the willingness to believe immediately and > without question what an "authority" says about a matter. > > The reasons so many "fakes" seem to exist at present is simply =20 > that there > is far more media attention paid by the media to itself--i.e--it =20 > creates a > celebrity, then on discovering it is not a real celebrity, has to =20 > figure out > what to do with its mistake--or analyze it in terms of some sort of > psycho-babble as a "trend"--while missing what is the main point: =20 > that > persons ask fewer questions all the time in presenting "news," and =20 > citing > "facts," and demanding strict adherence to doctrines based on things > patently untrue. We are currently annihilating the lives of two =20 > entire > countries, one of them based completely on falsehoods, which at the =20= > time > were known to be false, yet which were presented as real--and since =20= > Colin > Powell presented them--most "reasonable people" believed it was all =20= > true. > > If a nation goes to war on faked documents and false testimonies =20 > that it > wants to "hear"--then is it any surprise that the news is filled =20 > with fake > stories itself, and in turn filled with stories of fakes? > > Remember all the scandals of the "embedded reporters" like Judith =20 > Miller and > others, whose "reports from Iraq" were basically written by the =20 > Pentagon? > So many histories of the last fifty years or so of events in the =20 > USA let > alone abroad, are filled with the examples of how the media was =20 > manipulated > and played along with the government in disseminating false reports, > squashing true ones and pushing for editorial and opinion columns =20 > to take up > the cudgel and war drums for one cause or another. > > There are two volumes called Paper of Record which are the ongoing =20 > untruths > re in one volume Foreign Policy and in the other Israel-Palestine =20 > which have > been published non-stop by the New York Times, and that's just one =20 > major > news outlet among several fabricating news and facts in order to =20 > create a > "world view" in which now despite all the evidence to the contrary, =20= > the > American and Israeli Governments are determined to attack Iran for =20 > building > non-existent weapons. Just days before the exposure of the fake =20 > book of the > gang survivor, that author had been given a huge photo spread essay =20= > and > interview in the Times, and her book given a postive review as =20 > being true. > > I think that part of the project of a work such as the Yasusada is =20 > that it > is an opening into those worlds which exists i writing which =20 > traverse the > liminal states of being so to speak of the living, the dead, the =20 > ghostly the > fictional, the mixing of these among other poets and artists real and > imaginary with in the texts, and the ability of the love shared =20 > among these > writers to meet in acts of love and of mourning. In a sense it a > demonstration of ways in which writing makes possible =20 > communications which > are otherwise deemed "impossible." > > The works of Spicer and Yasusada do not pretend to be "really" or =20 > "unreally" > in touch with Lorca and Spicer--and yet they are both. One of the =20 > energies > of these works is to inspire and remind readers to be questioning =20 > the ways > in which writing is presented as a limited set of "choices" between =20= > "real" > and "fictional," "fake" and "original" and the like. And also in =20 > what ways > in reading and writing the question not only of the "author" =20 > arises, but the > question of "authority"--by whose authority do readers and writers =20= > believe > that what they are doing is distinguishing between "willing =20 > suspension of > disbelief" and "belief" in what so and so says, simply because so =20 > and so is > a Big Name, or an Expert, or has an Important Position? > > > How often in having an opinion or thoughts about a work are they =20 > one's own, > and how often really a ragtag bit of scraps from hither and yon, if =20= > not some > good chapter and verse from the most approved authorities of one's =20 > choice? > > The ancients so called weren't so concerned about this as person =20 > are today. > The old texts will have along with what is known to be a "real" =20 > document a > string of fragments and versions "thought to be by" or "known to be =20= > fakes by > and also excerpts in which a work is mentioned, a poet named, =20 > whether or not > what is named or mentioned is "truth" or "hearsay" it is all part =20 > of the > "existence" of that writing and poet through time--their mixture of =20= > legends > and realities, their faked MS. and their actual publications. The =20 > 17th > century carried al of this to extremes so far out there they were =20 > part of > what led actually to the creation of the novel--simply so that =20 > supposedly > one would know that in a certain work everything was fiction, =20 > instead of of > a fine stew of truth, falsehood, plagiarism, faked translations, and a > myriad hoary old tricks and citings of "authorities" real and =20 > invented for > the occasion. > > The Yasusada I think is both a reminder of these old methods and =20 > literatures > which preceded the rise of the new bourgoeis reading public and the =20= > novel > and the Superstars of Poetry who began to appear with the =20 > romantics, --an > era for the most part which has not at all vanished--and a pointing =20= > towards > a myriad possiblities existing in writing which continues on with =20 > these > questionings. > > --david-bc > http://davidbaptistechirot.blogpost > > PS:--below are letters of Spicer to Lorca and Yasusada to Spicer--=20 > in a post > sent 22 march > > I have nearly completed another reply to a thread from a few weeks =20 > ago abt > the "real lemons" and "literalization of metaphor" that Eireene =20 > brought up-- > had to finish some other projects and the thread seemed over with--=20 > so was > just going to send to Murat-- > which has to do with the "real" and "unreal" in poems, and also the > conjunction of WC Williams' "Only the imagination is real" (Spring =20 > and All) > with "No ideas but in things, Mr" in Paterson. > > here is a post i sent on 22 March for the thread Eireene began =20 > (there was > another one next day re "Radar" poem in Spicer's After Lorca, =20 > dedicated to > Marianne Moore--) > > this has the letters from the Spicer and Yasusada books-- > > > > "If it's not in writing, it never happened." > Ominous "reminder" sign found in various offices . . . > Although, from another point of view, one might also say > "If it's in writing, it never happened . . . " > > > "Dear Lorca: > > This is the last letter . . . " > > "Dear Spicer: > > This is the last letter. All day I have been pacing back and =20 > forth. trying > to think about this has all meant, wondering how I might say =20 > goodbye to > you. I've been thinking of yo writing to Lorca in a trance, of Lorca > bemused by it all, sending poems to you for the sheer joy of it =20 > from the > grave . . . " > (further excerpts of this letter follow the --always provisional, in > progress--comments here: > > One of the most interesting meditations on Spicer and especially After > Lorca, is the way that the figure and work of Spicer make their =20 > appearances > interwoven among the other figures and works which inhabit Doubled > Flowering =46rom the Notebooks of Araki Yasusada. > Doubled Flowering is in effect, an After Spicer to Spicer's =20 > After Lorca, > assembled and annotated by the editors of Yasusada's Notebooks in a =20= > manner > suggested by Yasusada in a November 7, 1967 letter to his friend =20 > Fusei: > > I am so taken by the conception of the book (After Lorca), =20 > that I have > decided to correspond with Spicer in a like manner. . . . After I =20 > finish, I > will allow him the opportunity to introduce the collection with the =20= > same > generosity of spirit that he extended to Lorca . . . > > Since "one knows" that Yasusada is a fictional poet, one finds a > fictional being wanting to correspond with a dead poet, just as =20 > that poet > corresponded with a dead poet. Along the way are "translations" which > themselves are fictions--of Lorca, of Yasusada--framing a =20 > discussion of > "real lemons" and "real moons" by both Spicer and Yasusada within the > contexts of fiction, and, in both cases, with correspondances with =20 > dead > poets. Fictions corresponding with ghosts take up the issue of the =20= > real, > and what makes any of it "real" is that the poets WRITE of poems =20 > which will > be real and independent of images. So real that a cloud which has =20 > nothing to > do with the poem will cover that moon. > And if the moon is that moon which exists in writing--a =20 > cloud may > indeed, having nothing to do with the poem pass over it--as it is =20 > there on > the page--the moon one literally sees in the four letters which =20 > create the > word--a literal cloud may pass overhead and cover it-- > Asked what he meant in his writing, Rimbaud replied, "I mean it > literally and in every sense." Literally, "m--o--o--n" IS the =20 > moon, and > literally a cloud passing overhead could cover the four letters =20 > making the > moon seen--THERE--on the page-- > And that "m--o--o--n" is independent of images, and that =20 > cloud has > nothing to do with the poem. > And since from the "after life" Lorca writes with Spicer =20 > "After > Lorca," so Yasusada, a fictional "after effect" of his own "After =20 > Spicer," > writes with a Spicer himself now in the "after life." > As one moves from the moon of Spicer, a "real" poet's moon =20= > written > of to a dead "real poet," to the moon of Yasusada, which is a =20 > fictional > poet's writing to the now dead "real poet," of the moon he has essayed > creating, the one constant, the one "reality" literally existing =20 > among the > historical poets, ghosts and fictions is this REAL "m--o--o--n" =20 > literally > existing on the page from one text to the next. > The series of "After effects" is a series of echoes re-=20 > sounding from > "moon" to "moon" while at the same time literally always being that =20= > "same" > "moon". In a sense, iti s like a rhyming being of moon, the loon--the > "literal" "real" loon calls--and hearing the echo of its call, =20 > thinks that > another loon is responding, and so calls back--and again is =20 > responded to by > its own echo--to which it in turn responds again-- > The "after effect" of the echoes--creates a "call and =20 > response" in > which, though the echoes are not "real" calls from another loon, =20 > elicit a > response in the "real" loon as though its "doubled flowering" =20 > really is from > another, who is actually itself and yet--not-- > As, in order for an echo to return, it has to have made =20 > contact with > some object, which indeed "sent it back"--to be responded with-- > A literal object like Lorca, like Spicer, off of which =20 > Spicer and > Yasusada's calls bounce--and coming back as echoes, are responded =20 > with as > though "real" and so, echoing, the moon becomes, IS, indeed real, =20 > as moving > from text to text it continues literally as the written word "m--o--=20= > o--n" > and as an echo, an "after effect," is also a fiction, the sounds of a > "ghost, " > participating in a call and response with a "real" poet, a =20 > fictional poet, a > departed ghost--a real moon existing among "translations" and =20 > "letters" and > "really" fully capable of being covered by a cloud which has =20 > nothing to do > with any of this. > (Both Spicer and Yasusada are writing as it were "love letters" > also-- > > Dear Spicer: > > This is the last letter. All day I have been pacing back and =20 > forth. trying > to think about what this has all meant, wondering how I might say =20 > goodbye to > you. I've been thinking of you writing to Lorca in a trance, of Lorca > bemused by it all, sending poems to you for the sheer joy of it =20 > from the > grave . . . > > What you've taught me, Spicer, is that the real washes up like a =20 > dream from > the unreal. Thus, when I say that on a beach against a cliff =20 > there is a > boat older than Galilee, it is in the spirit of shellacking words =20 > to a page > like objects on a canvas. A lemon peel, a slice of the moon, two =20 > little > girls playing and calling to their father on the beach. The boat =20 > that is > older than Galilee comes into the real, dragging a whole cargo of =20 > ghost > history with it. What you've taught me, Spicer, is that the unreal =20= > washes > up from the real [sic, eds] Doesn't the the sound of the burned one =20= > drinking > from th ocean make your hair stand on end? > > Now here's a thing I've been waiting until the end of our =20 > correspondance to > say: You say you would like the moon in your poems to be a real =20 > moon, one > that could be covered by clouds, a moon independent of images. And =20= > you say > you would like to point to the moon, and that the only sound in the =20= > poem be > the pointing. At first I was confused, thinking that you wanted it =20= > both > ways. But now I know you mean that the pointing and the moon are =20 > one. > Like these letters, for instance, which have at their heart an urn, =20= > made > real by the facing gaze of two identical ghosts. An urn wrought by =20= > the moon > itself and the sorrowful pointing at it. Why look any further for =20 > the real? > . . . > > Now reach through, and place your hand on the papery flesh of this =20= > false > face. And I shall put into my branching voice the ashy sky of your =20= > gaze. > Love, > Yasusada > > > > On 4/5/08, Murat Nemet-Nejat wrote: >> >> Jason, >> >> I though the issue of something being a "hoax" or not referred to the >> public >> information about the work, surrounding the work. It is closely =20 >> related to >> the idea of "fake." I do not think anybody thought Don Quiote was =20 >> a real >> person or that the fact Don Quiote was not real makes the novel a =20 >> "hoax." >> I >> do not quite understand what the the element of "hoax" in =20 >> Shakesperean >> comedies is though, of course, 99% of tragic works (particularly =20 >> plays) >> are >> based on "deception." Finally that is what dramatic irony is. >> >> If one goes back to the original idea of a hoax (which what The =20 >> Doubled >> Flowering is), one can see a veryinteresting question underlying the >> concept, particularly for a post modern sensibility. Is a hoax =20 >> more real >> than the "real"? In an age of infinite reproduction (for example, in >> literature, the infinite permutations of a text's algorithms =20 >> digitally as >> poems, or in art "perfect" digital reeactments), which modern =20 >> technology >> allows us, doesn't the idea of the "real" get subverted or, to use =20= >> a more >> neutral word, change? It is the subversion that is crucial. My =20 >> sense is >> that >> Kent is claiming in The Doubled Flowering (or in Epigrammatis or The >> Miseries of Poetry for that matery) his sense of "suffering" in =20 >> that work >> is >> more real than many real writings on Hiroshima. Interesting, this =20 >> idea is >> as >> old as Aristotle, claiming drama (?) is more real than history. >> >> Did anyone see the Orson Welles "documentary" (another hoax?), =20 >> entitled >> Fake? >> >> Ciao, >> >> >> Murat >> >> >> > > ------------------------------ > > Date: Sat, 5 Apr 2008 15:18:04 -0400 > From: Mairead Byrne > Subject: Re: joe ambrose in town > > I used to know a Joe Ambrose a long time ago in Dublin. If anyone =20 > meets > him please say hello from Mairead Byrne. > Mairead > > Mair=C3=83=C2=A9ad Byrne > Associate Professor of English > Rhode Island School of Design > 2 College Street > Providence, RI 02903 > >>>> "steve d. dalachinsky" 04/05/08 2:26 AM >>> > Writer, film maker, musician and culture terrorist Joe Ambrose has a > penchant for digging around the cultural > margins and teasing out of the shadows relevant irreverance, > countercultural phenomena, outside and (often) > explosive art of pivotal significance. Subject matter and artists > regularly > delineated by sitting on the periphery of > popular culture. His written output includes the novels Serious =20 > Time and > Too Much Too Soon. Moshpit Culture, a > blood stained and sweat-soaked inside investigation on hardcore =20 > dancing; > several historical studies of the war of > Irish Independance including the best selling Dan Breen and The IRA =20= > and > is > currently editing an anthology of writings > by the revolutionary Irish Brotherhood, the Fenians. His writing also > appears in numerous magazines, journals and > collections. > In 1992 he co-organized the Here To Go Show in Dublin. This mixed =20 > media > art > show was a celebration of the > cultural impact and significance of the work of Tangier Beat =20 > Scenesters > Brion Gysin and William Burroughs. The event > was filmed extensively and the movie Destroy All Rational Thought > documented many aspects of this week long arts > show. It was initially released on video and then later, as an =20 > enhanced > DVD. He is a DJ in art hip hop combo Islamic > Diggers and has been living in Marrakesh, Morocco for the past 7 =20 > months > hanging with the likes of the Sufi mystic > trance musicians The Gnoua Brotherhood of Marrakesh. Ambrose =20 > previously > produced the Brothers for the William > Burroughs tribute CD, 10% File Under Burroughs, which also features =20= > John > Cale, Paul Bowles, Marianne Faithfull, > Chuck Prophet, Herbert Huncke and The Master Musicians of Joujouka. > Whilst Ambrose has been getting down in Africa, the Islamic Diggers > track > William Burroughs Dont Play Guitar has > featured on the soundtrack to a new Burroughs documentary, Words of > Advice, > which also features Patti Smith, Hal > Willner and Bill Laswell. Another Diggers track, Hashishin, was =20 > included > along with work by Stockhausen in a January > =C3=A2=C2=80=C2=9908 sound installation, Cut Up, curated by = Copenhagen=C3=A2=C2=80=C2=99s =20 > Karriere in > conjunction with the Danish Museum of Modern > Art. Ambrose has previously worked with Anita Pallenberg, Richard =20 > Hell, > Chrissie Hynde and Herbert Huncke. He is > Literary Editor of LA-based magazine, Outsideleft.com. In 2007 he was > asked > by Iggy Pop to write the sleevenotes > for Escaped Maniacs, the Iggy and the Stooges DVD package. His extreme > travel writing book, Chelsea Hotel > Manhattan has recently been published by Headpress and a new =20 > edition of > Moshpit is about to be published by > Tsunami. Joe talked very recently with me about his latest ventures. > > Joe, give me some background on the Tsunami edition of Moshpit..... > Moshpit Culture first came out in 2001 and reflected what I=C3=A2=C2=80=C2= =99d =20 > been up to > in > the preceding years. I first got dragged > into a moshpit, rather improbably, at a Shane McGowan show. I love his > work > but at that time, the late 90s, I was > listening almost exclusively to hip hop, reggae, and the kind of =20 > punkish > metal exemplified by Slayer, Queens of the > Stone Age, the Beastie Boys and RATM. I was going to hip hop shows > whenever > I could, I saw Snoop a load of times > and I was kind of following Gregory Isaacs, the Cool Ruler, around the > place. I must have seen Gregory in action > about forty times back then. But mainly it was hardcore acts and > Slipknot > and Rancid and the likes. > > So what attracted you to the Moshpit? > I liked the fraternity that I found at those hardcore shows, the > openness > and the willingness to experiment with new > people and to build a new nation which was not of this world. =20 > People had > talked about experiencing these feelings in > the rave scene, whera but I didn=C3=A2=C2=80=C2=99t go for that = because I > like music and most of the music associated with rave culture was =20 > second > rate, doesn=C3=A2=C2=80=C2=99t stand the test of time, was > mildly diverting at the time but not the real thing. Also, when they > were > talking about this spirit of collective > fraternity and stuff, what they were really talking about was the =20 > drugs > they were taking. > > Ecstasy and a trashy peace and love vibe. The moshpit to me seems to > work > on a completly different level.... > Moshers were often far more solid sort of individuals. A lot of =20 > moshers > took good care of their bodies, didn=C3=A2=C2=80=C2=99t do > huge amounts of drugs, kept down day jobs or, if very young, lived far > away > from the city centre with their families > in hugely repressive social environments which caused them to see > moshing > and much of what went with it as > hugely liberating. > > The publishers, Tsunami, are based in Italy, arent they? > There is already a metal record label in Italy called Moshpit =20 > Culture so > I > knew the book had impacted a bit there. > Also Italians of a certain type are much enamoured of the black =20 > leather > jacket and shades school of rock chic. Give > them anything with a loud guitar and they=C3=A2=C2=80=C2=99re off! I = have some =20 > sympathy > with > that attitude. The Tsunami edition will > be called Moshpit. Things have changed since I wrote the book but =20 > it=C3=A2=C2=80=C2=99s > still relevant. It wasn=C3=A2=C2=80=C2=99t written as a > journalistic account of a scene but rather as travel writing which > brought > the reader inside the head of the alienated > teenage mosher. So, theoretically at least, somebody could pick it =20 > up in > 200 years time and still find its contents > interesting or relevant. I had a ton of fun writing it and I get =20 > emails > about it all the time, mostly from people doing > postgraduate research into youth culture or music culture. As far as I > know > it=C3=A2=C2=80=C2=99s the only book which deals exclusively > with this huge cultural movement which has had a phenomenal influence > upon > the lives of millions. > > Yeah, that book`s subject matter; the bands and people that make up =20= > the > moshpits of the world are a popular > cultural form of expression, a response to the social and political > spaces > they inhabit..... > I gave a talk about moshing at Brighton University shortly after the > book > came out and the guy introducing me > admitted that, when he heard that someone was going to explain moshing > to > them, he thought it had something to > do with winemaking. > > Jeez.........thats crazy. You are flying out to NYC again soon Joe, > whats > happening this time around? > The Chelsea Hotel is hosting a launch for Chelsea Hotel Manhattan. =20 > There > has been a change in management since I > stayed there so it=C3=A2=C2=80=C2=99ll be interesting to see what = improvements =20 > they=C3=A2=C2=80=C2=99ve > made. > There=C3=A2=C2=80=C2=99s been minor controversy about > some changes they=C3=A2=C2=80=C2=99ve been making but I don=C3=A2=C2=80=C2= =99t see why =20 > people active in > the > arts should be so caught up in trying to > preserve the past. The Chelsea=C3=A2=C2=80=C2=99s past was great = =C3=A2=C2=80=C2=93 and it =20 > all really > happened there =C3=A2=C2=80=C2=93 but that particular slice of the > past finished a while back. > > We`ve jammed on those changes in another interview, havent we..... > I=C3=A2=C2=80=C2=99ve got all those albums, I=C3=A2=C2=80=C2=99ve read = all those books. I =20 > hope, really, > that > the new management make some sort of a > dynamic intervention. Get Richard Rogers or someone to overhaul it. > We=C3=A2=C2=80=C2=99ll > see. In any case, this launch event is an > opportunity for people to come into the Chelsea Hotel and have a look > around. > > How has the book been received so far? > I=C3=A2=C2=80=C2=99ve been in Morocco the last six months. I = don=C3=A2=C2=80=C2=99t get too =20 > much feedback > about the book down there but such as I=C3=A2=C2=80=C2=99ve > had has been positive. I got a really nice email from Chris Stein of > Blondie about it which really pleased me. I like his > work a lot, not just with Blondie but Wild Style, the Gun Club, Iggy. > That=C3=A2=C2=80=C2=99s New York City for me. > > I heard Ira Cohen was going to be involved in the launch.... > Unfortunately Ira Cohen, who makes numerous appearances in the book =20= > and > who > contributed to it, has been sick > recently. Chris Stein mentioned in his email thatresource. You =20 > can=C3=A2=C2=80=C2=99t replace resources. I hope we get a chance to = hang > out > while I=C3=A2=C2=80=C2=99m in town. I met Ira in 1991 on the > Brion Gysin scene, Ira had been a good pal of Gysin=C3=A2=C2=80=C2=99s = and I was =20 > starting > work on the Here To Go Show which sought > to highlight Gysin. Naturally Ira was involved, did a great =20 > photographic > show in Dublin, and did readings. You can > see him reading in the movie of the Show, Destroy All Rational =20 > Thought, > which came out on DVD last year. > > You have been living in North Africa. Have you been working down =20 > there? > I=C3=A2=C2=80=C2=99ve been wrestling with my third novel, The Darker = Side of Me. =20 > I=C3=A2=C2=80=C2=99ve > been > having trouble with it for a couple of years > but I think I cracked it in Marrakesh, where I=C3=A2=C2=80=C2=99ve = been living. =20 > I=C3=A2=C2=80=C2=99ve also > been editing an anthology of writings by the > Fenians, the secret 19th Century Irish revolutionary organisation. =20 > This > will come out later this year with Mercier > Press. I=C3=A2=C2=80=C2=99ll be previewing some of my thoughts about = the Fenians =20 > in a > piece, > Brotherhood, which will be in the next > Headpress Journal, the =C3=A2=C2=80=C2=9Cpanther=C3=A2=C2=80=C2=9D = issue guest edited by the =20 > fabulous John > Sinclair, founder of the White Panthers and > onetime manager of the MC5. I=C3=A2=C2=80=C2=99ve written something = about the =20 > equally > fabulous Panther Burns for the same issue. > > Joe Ambrose performs from Chelsea Hotel Manhattan (Headpress) in New > York > City: > > Friday 18th April The Chelsea Hotel 7-30pm > Saturday 19th April Bowery Poetry Club 12 to 1-30pm > Monday 21st April Blue Stocking Books 7pm > > His latest extreme travel writing book, Chelsea Hotel Manhattan, is > published by Headpress and is launched in the > USA in April. > > There are a number of interviews and conversations we have had on > various > underground art, film, music and word > projects, you can check them out on The Brink, hesterGlock and > elsewhere. > > paulh > > 2522 Mission Street > San Francisco > On Fri, 4 Apr 2008 15:47:27 -0400 Ruth Lepson > writes: >> want to alert folks to a reading/presentation by my photographer >> collaborator Rusty Crump & I at the Bowery Poetry Club at 4 on Sat., >> April >> 19. I=C3=82=C2=B9ll read some poems from our book Morphology & rusty = will =20 >> show >> some >> slides & talk abt them, & we=C3=82=C2=B9ll both briefly share some = new =20 >> things. >> If >> you=C3=82=C2=B9re not preparing a Passover seder, come on down. >> > > ------------------------------ > > Date: Sat, 5 Apr 2008 15:40:12 -0400 > From: Alan Sondheim > Subject: Fifth and Sixth Final Session > > Fifth and Sixth Final Session > > > useful. to Fundamental useful. digital Fundamental principle =20 > digital to > principle the digital excess, binary - the squeeze excess, margins > squeeze of the The of binary The an binary is an pushes is abstraction > pushes at to same margins it's reach. source same digital's of power > digital's reach. power offers and Code offers a to programmer. a and > programmer. Computational is FRAGILITY the GOOD Computational OF GOOD > THINGS? OF piece THINGS? in of one pieces don't is Framework don't has > to allow Framework pieces has small completely code of Smash code app, > Smash Our the nurture Our completely Our us. code implementation > completely morphic. us. supposed morphic. generate supposed affect. > generate never affect. line never write things I line borrow. code > practice I types borrow. things practice do types programmers do as > programmers programs. write programs programs. Ways programs Two Ways > mean related they mean do: Two / they could do: related / creative =20 > could > writing does refactoring: writing where refactoring: program where =20 > does > program works, do want, works, what want, going what go want, up go > code, and it up make it more do efficiently, more Not efficiently, > separate Not debugging, separate important debugging, cognition. > important clarifying of compression: cognition. compression. do not > compression. its doesn't for its actually for own actually work own > smaller work doesn't program say smaller business doesn't =20 > applications. > say purely for purposes purely golf, purposes problem - fewest golf, > function. of Alternatives Not "creative" function. or to =20 > imaginative the > poetic / aesthetic for semantics for well the function important -- =20= > code > Imaginative, co-developing aesthetic, writing co-developing writing > looks does like at time developing Obfuscated - developing Code > generators - rewrite program. Williams' generators program. rewrite =20= > that > Williams' only deeper certain only amount certain focused amount can > focused delusion can deeper delusion arrange of intro arrange =20 > Kittler's > deeper Intellectual intro editor Intellectual we editor with we new =20= > that > would new etc. - sermons of what's the review what's easy not =20 > mechanise > easy how I archiving with attribution archiving content, not but > attribution form of form, or content problem think form, colophon > content crucial colophon be - good be see good underneath what archive > underneath acid-free how antique acid-free platforms - each platforms > try work convert try standard-compliant and format work works > standard-compliant Agrippa, Die, DREADMill works When Agrippa, Will > DREADMill Die, When Room REAL-TIME tracking - LIKE tracking dance LIKE > REAL-TIME dance critic LIKE automated to recognition automated then of > on recognition critiquing work =3D - transclusion or Exegesis =3D = getting > transclusion out Exegesis putting - into the critics) - Reveal of when > critics) rip Reveal Machine rip scab Machine suturing and Zizek the > ghost run machine the run - itself, be by itself, device by blind =20 > device > off blind trust device unconscious off filter unconscious Pharmacy be > Plato's Pharmacy so creative geniality so professionalization that > become geniality fossilized has discipline, in aversion writing > anti-intellectualism. aversion theory, anti-intellectualism. no =20 > theory, > filtering of term filtering enable creative process enable =20 > possibilities > codex from -- treetrunk - codex treetrunk occultation capability > subjectless -- capability writing Keatsian fluttering w/ Keatsian =20 > love - > flittering up fluttering love kind - flickering of unpredictable > flickering arhythmia cardiac intervals arhythmia cardiac on movie and > wave movie mother/daughter on incest mother/daughter inventio in =20 > reality > writing possible inventio flight War absence with of, and death of, > father. of, War father. Cold significant nuclear Cold stuff nuclear > unfinished and significant of codework significant Walt codework =20 > Whitman > Walt Sondheim's Whitman engulfing Sondheim's stunned, in mode. =20 > stunned, > I'm and doing - thing doing romanticizing codework patriarch and > dangerous - Mythic be > > > rch standard-compliant =20 > Agrippa, > . Computational is FRAGILITY > ated to recognition then > Zizek function. =20 > Alternatives > ng THINGS? piece in one =20 > pieces > pushes abstraction > actoring: whereeatsian w/=20 > runnto > > ------------------------------ > > Date: Sat, 5 Apr 2008 14:10:20 -0700 > From: Jennifer Karmin > Subject: April 19: Red Rover & Chicago Poetry Symposium > > Red Rover Series > {readings that play with reading} > > 3 YEAR ANNIVERSARY with NEW LOCATION > at the Division Street Dance Loft > 735 W. Division St -- Chicago, IL > (Division @ Halsted > enter parking lot off of Halsted St) > http://www.rtgdance.com/teach_schedule.htm > > 7PM SATURDAY, APRIL 19th > Experiment #20: > A Sing Economy > guest curated by Matthew Klane > > Featuring: > Tawrin Baker > Jaye Bartell > Barrett Gordon > Jennifer Karmin > Laura Sims > Kevin Thurston > > suggested donation $4 > doors lock at 7:30pm > http://groups.yahoo.com/group/redroverseries > > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > > 1st ANNUAL CHICAGO POETRY SYMPOSIUM > before the Red Rover celebration > check it out! > > 1-5PM SATURDAY, APRIL 19th > University of Chicago > Regenstein Library > Special Collections Research Center > 1100 E. 57th Street > http://www.lib.uchicago.edu/e/spcl > > A dialogue about the history and current state of > Chicago poetry. The speakers for this first event > will be poet and educator MICHAEL ANANIA, whose papers > have recently been acquired by the library; and DEVIN > JOHNSTON and MICHAEL O'LEARY, editors and publishers > of Flood Editions, whose editorial files have also > recently been added to the collection. > > Organized by David Pavelich, > Bibliographer for Modern and Contemporary Poetry > > > =20 > ______________________________________________________________________=20= > ______________ > You rock. That's why Blockbuster's offering you one month of =20 > Blockbuster Total Access, No Cost. > http://tc.deals.yahoo.com/tc/blockbuster/text5.com > > ------------------------------ > > Date: Sun, 6 Apr 2008 08:05:26 +1000 > From: Alison Croggon > Subject: Re: On Poets as Characters in Novels!! > > The central character in Orhan Pamuk's novel Snow is a poet. > > --=20 > Editor, Masthead: http://www.masthead.net.au > Blog: http://theatrenotes.blogspot.com > Home page: http://www.alisoncroggon.com > > ------------------------------ > > Date: Sat, 5 Apr 2008 19:11:00 -0400 > From: "David A. Kirschenbaum" > Subject: Last Call: Advertise in Boog City 50 > > Please forward > ----------------------- > > Celebrate Boog City's 50th Issue > > By Placing a Shiny New Advertisement > > > *Deadline > > --Wed. April 9-Ad or ad copy to editor > --Sat. April 12-Issue to be distributed > > Email to reserve ad space ASAP > > We have 2,250 copies distributed and available free throughout =20 > Manhattan's > East Village, and Williamsburg and Greenpoint, Brooklyn. > > ----- > > Take advantage of our indie discount ad rate. We are once again =20 > offering a > 50% discount on our 1/8-page ads, cutting them from $80 to $40. (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, =20 > 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 > > --=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 > > ------------------------------ > > End of POETICS Digest - 4 Apr 2008 to 5 Apr 2008 (#2008-97) > *********************************************************** > > ========================================================================= Date: Mon, 7 Apr 2008 07:33:11 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Switaj Subject: Re: Roy Exley : ON poets writing NOVELS In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Jason Quackenbush wrote: > But if we stop writing novels, what will all the award winning films be > based on? > Earlier award-winning films of course. Elizabeth Kate Switaj elizabethkateswitaj.net ========================================================================= Date: Mon, 7 Apr 2008 16:52:09 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: Roy Exley : ON poets writing NOVELS In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Hi Wystan I think places like NZ and Australia, because they're small, tend to show trends quicker than in other countries. And what you're describing is happening everywhere. I once had a very depressing conversation with a sales person from a (successful, worldwide) UK independent publisher on the effect supermarket chains and chain bookshops were having on smaller publishers, which impacts especially hard on new writers and literary or small scale work. They totally skew the market, and strong arm publishers into selling books to them for less than cost to drive up sales (this particular publisher refused to do that, which meant they their books never appear on the best seller lists, which themselves drive sales - you see the logic - multinational publishers can affird to lose a bit on top flight books but smaller publishers can't). Of course independent bookshops just can't compete with supermarkets and go broke. The lack of literary reviews in the mainstream press only drives this further. And poetry is always the first to feel the chilly wind. I still remember the shock I felt when I encountered a bookshop that had no poetry section at all. Meanwhile, Germany and Austria protect their independent bookshops - there it's illegal to sell discount books! Imagine! And so they have hundreds of independent booksellers, enthusiastic and literate readers and lots of independent publishers. Diversity is health, and our book industry is deeply sick. All those lies about the "inevitability" of market forces are very self serving. Cheers Alison On Sun, Apr 6, 2008 at 11:27 AM, Wystan Curnow wrote: > Replying to you, Alison, re-the rise and the rise of the novel. No, I was > not thinking of the 19th century, but a generation. The different position > of poetry in New Zealand for my father's generation. Aside from cook books > etc there was little or no local publishing, no full time writers or artists > for them. Now we have both, so that there's a choice, but there are strings > attached, and the arrival of a livelihood has been exchanged for the loss of > any intellectual highground poetry had achieved before then, and with that > pretty much any such highground literature itself. There is no real literary > criticism written in New Zealand outwide of the academic world, and > reviewing is mere marketing at best. That exchange, however, hasn't occurred > with the visual arts. > Wystan > > > ________________________________ > > From: UB Poetics discussion group on behalf of Alison Croggon > Sent: Sat 5/04/2008 7:23 p.m. > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: Roy Exley : ON poets writing NOVELS > > > > Thanks Roy. When you have writers like Ismael Kadare, Michele Desbordes, > Alessandro Bericco, Jose Saramago, Anne Carson, Bohumil Hrabal (to name a > few I've enjoyed recently) writing in the form, I don't think there's any > need to justify the novel's value. Nor the need to make a living. - I've > certainly paid my dues as a poor artist, and have the lack of a house, > car, > savings or any sort of recognised assets to prove it... As an aside, I'm > one > of the very few full-time writers I know. My husband (a playwright) is > another. We have three kids. Most poets make their living with some other > job, many in academia. I don't have an academic qualification to my name, > and in any case have never existed very well in any kind of institution. > Writing novels that others might read for pleasure seems to me to be an > honest living. > > Wystan, surely the rise of the novel happened in the 19th century? Is the > perceived rise of fiction actually at poetry's expense, or are you talking > about something that is in fact a function of the increasing > corporatisation > of the publishing and bookselling industries and the increasing loss of > independent bookshops? Because those factors are affecting ALL literary > publishing, not just poetry. > > All best > > A > > > -- > Editor, Masthead: http://www.masthead.net.au > Blog: http://theatrenotes.blogspot.com > Home page: http://www.alisoncroggon.com > -- Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ========================================================================= Date: Mon, 7 Apr 2008 07:46:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: The Book Is Real Enough. It=?WINDOWS-1252?Q?=92s_the_Author_That=92s_?= Fake. - New York Times MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.nytimes.com/2008/04/07/business/media/07charm.html?_r=1&ref=arts&oref=slogin--- Maybe soon there will be "new" books out by the touring impersonators of famous writers-- Edgar Allan Poe, V. Mayakovksy, Lord Byron, Sylvia Plath etc etc-- will not only "live again" but "write again"-- the channeling of the dead can be enhanced via the computerized enhancements of photos, engravings, recordings, "authentic costumes, and, where possible, even "actual clothes worn by the departed"--and the inhabiting of "actual rooms and apartments where the author lived or stayed . . . " a new form of "ghost writing"-- proving the "immortality" of the classics--through a series of re-animations--each one producing new works for addition to the Canon--listed as are the layered starti of archeological city-sites, "Troy 1, Troy 2, Troy 3" . . . . ========================================================================= Date: Mon, 7 Apr 2008 10:26:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Literary Buffalo Newsletter 04.07.08-04.13.08 MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; format=flowed; charset=ISO-8859-1 LITERARY BUFFALO 04.07.08-04.13.08 ___________________________________________________________________________ CORRECTION: THE APRIL 17 READING BY TYRONE WILLIAMS AND GINA MYERS WILL TAKE PLACE RUST= BELT BOOKS. THE POSTER INCORRECTLY STATES THAT IT WILL BE AT HALLWALLS. MY= BAD. PLEASE NOTE. _______________________________________________________= ____________________ JUST ADDED TO THE SMALL PRESS POETRY SERIES Linda Russo and Lauren Shufran Poetry Reading ?Saturday, April 12, 7 p.m. Big Orbit Gallery 30 d Essex Street ___________________________________________________________________________ RUST BELT BOOKS BACK ROOM BOOK SALE Help our great used bookstore/performance space clear its stock and pay the= taxman=21 All books in the backroom performance area can be purchased in bulk for = =245 per bag (you choose the bag) on Tuesday, April 1 from 12-8 p.m. Buy a bag to show your support=21 ___________________________________________________________________________ BABEL TICKETS ON SALE NOW FOR THE FINAL BABEL EVENT OF THE SEASON April 24 Kiran Desai, India, Winner of the 2006 Man Booker Prize, =2425 832-5400 or visit http://www.justbuffalo.org/babel. THERE ARE ONLY A FEW TICKETS LEFT FOR THIS EVENT. GET THEM WHILE YOU CAN. ___________________________________________________________________________ BABEL 2008-2009 Just Buffalo is happy to announce our 2008-2009 lineup for Babel: Chinua Achebe, Nigeria, September 25. Book: Things Fall Apart. Michael Ondaatje, Canada, October 29. Book: The English Patient. Marjane Satrapi, Iran, April 1. Book: Persepolis. Isabel Allende, Chile, April 17. Book: House of the Spirits. Subscriptions will go on sale at the April 24 event and then in general on = April 25. Previous subscribers can re-up for =2475. New subscription (four= events): =24100. We expect to sell out next season by subscription. If we = do not sell out by subscription, tickets for individual events will go on s= ale September 1. ___________________________________________________________________________ EVENTS THIS WEEK 04.07.08 Poetics Plus at UB Kenneth Goldsmith & Juliana Spahr Poetry Reading Monday, April 7, 7:30 p.m. Hallwalls Cinema, 341 Delaware Ave. =40 Tupper 04.09.08 Earth's Daughters Gray Hair Reading Series Charles Bachman & Judith Slater Poetry Reading Wednesday, April 9, 7:30 p.m. Hallwalls Cinema, 341 Delaware Ave. =40 Tupper 04.10.08 Canisius Contemporary Writers Series Heid Erdrich Poetry Reading Thursday, April 10, 6 p.m. Montante Cultural Center, Canisius College & Talking Leaves...Books Charles Halpern Reading/signing for: Making Waves & Riding the Currents Thursday, April 10, 7 p.m. Talking Leaves...Books, 3158 Main St. 04.11.08 Hallwalls Tale Me More 2 Spoken Word Hosted by Tysheka Long Friday, April 11, 7:30 p.m. Hallwalls Cinema, 341 Delaware Ave. =40 Tupper 04.12.08 Just Buffalo/Small Press Poetry Linda Russo and Lauren Shufran? Poetry Reading ?Saturday, April 12, 7 p.m.?Big Orbit Gallery 30 d Essex Street 04.13.08 Just Buffalo/Spoken Word Sundays Michael Kelleher & Herb Kauderer Poetry Reading Sunday, April 13, 8 p.m. Allen Street Hardware Cafe, 245 Allen St. ___________________________________________________________________________ JUST BUFFALO MEMBERS-ONLY WRITER CRITIQUE GROUP Members of Just Buffalo are welcome to attend a free, twice-monthly writer = critique group in CEPA's Flux Gallery on the first floor of the historic Ma= rket Arcade Building across the street from Shea's. Group meets 1st and 3rd= Wednesday 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. ___________________________________________________________________________ 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 i= mmediately be 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, 7 Apr 2008 11:22:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: 4000 WORDS 4000 DEAD: call for submissions MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit 4000 WORDS 4000 DEAD: call for submissions "I want to start with the milestone today of 4,000 dead in Iraq. Americans. And just what effect do you think it has on the country?" -- Martha Raddatz, ABC News' White House correspondent to Vice President Dick Cheney Poet and artist Jennifer Karmin is collecting 4000 WORDS for the 4000 DEAD in Iraq. All words will be used to create a public poem. 4000 WORDS 4000 DEAD will be performed as part of the Guild Complex's Art Against War event on April 18th at the Heartland Cafe. It will be a featured street performance at Looptopia in downtown Chicago on May 2nd. After reading the poem aloud, each word will be given away to passing pedestrians. http://www.guildcomplex.org http://www.looptopia.com SUBMISSION DEADLINE: *April 30, 2008 SUBMIT: *Send 1 - 10 words. CONTACT: *Email submission with subject 4000 WORDS to jkarmin@yahoo.com. ____________________________________________________________________________________ You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. http://tc.deals.yahoo.com/tc/blockbuster/text5.com ========================================================================= Date: Mon, 7 Apr 2008 12:00:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Andrew Crozier - a little remembrance Comments: To: "Poetryetc: poetry and poetics" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I was saddened to hear of the recent death of Andrew Crozier, English poet and publisher. He had seemed obscured - intentionally or otherwise - for several years. I met him the summer-fall of 1967, shortly after I had left from two years in Nigeria on the heels of the start of the war about Biafra. We were introduced through Bob Cobbing who - along Lee Harwood - who worked at Better Books, London's once finest poetry bookstore. Between Andrew and Bob I got the profile and introduction to a number of English poets, books and publishers that were heating up the time - Stuart Montgomer (Fulcum Press) Tom Raworth and many others who gave the readings in store and beyond. Andrew was just fresh from U of Buffalo and had managed the research coup of tracking down Carl Rakosi who had changed his name and was living in Minneapolis. Rakosi really owed his revival as a poet to Andrew; the discovery also gave us much new knowledge of the history of the Objectivists. And, perhaps, in the minds and ears of some, Andrew's Ferry Press also managed to publish Steve Jonas' amazing, "Exercises for Ear" I suspect Andrew's corrrespondence with Jonas - 'ripe' with paranoia and racism as he often said it was - is a trove for a certain kind of mid-sixties American self-hate and racial research, let alone the occasion to study much more of a still under-noted poet. I remember one evening - for some perhaps some odd masochistic reason - we went to an evening open poetry reading at the the Poetry Society. It was pretty dreadful. Then a woman in her fifties (?) stood up and read this marvelous, autobiographical poem from the point of view of being child at her school when this big kind of scary man all dressed up showed up on the school grounds as part of a formal visit. Yes, she was one one of the children in Yeats' "Among .....". Andrew and I were both pretty astonished by the fact of her experience - as if she had walked out of the equivalent of a movie set aka Canonical Poem - and put a fresh truth on it - plus it was a good poem. When the reading was done, Andrew and I both approached her outside the Pub. Andrew identified himself as a publisher and that he would love to see a copy of that poem. Thereupon, we saw this middle-aged woman look at us, suddenly totally terrified, and then we watched her take off running down the street! It was like watching a piece of history go up in smoke! Well, I knew him young before academic life engulfed him, then I lost touch. But it was fun to know him then, sharing new poems, and reading fresh publications from Ferry Press, John James et al. He was a vibrant, smart, tough and independent spirit. May he be remembered well, Stephen Vincent ========================================================================= Date: Mon, 7 Apr 2008 15:09:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Evan Munday Subject: April 9 - Toronto-laced Coach House Spring Launch Mime-Version: 1.0 (Apple Message framework v752.2) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=UTF-8; delsp=yes; format=flowed Dear Toronto friends, April 9 =E2=80=93 Coach House celebrates Spring Launch On Wednesday, April 9, one of Toronto=E2=80=99s most consistently =20 interesting literary presses unloads its latest chamber of armor-=20 piercing books upon the reading public =E2=80=93 and this season, most = of =20 them have been manufactured right here in Toronto. The Coach House Spring Launch features new novels from acclaimed =20 Toronto author Maggie Helwig (recently spotlighted in Toronto Life) =20 and celebrated Toronto-based playwright Claudia Dey, and both books =20 feature Ontario=E2=80=99s capital city as their settings, even as a =20 character in itself (though a quite different character in each =20 novel). The night also includes the launch of books by Toronto =20 artist, writer and columnist RM=E2=80=88Vaughan, with his scandalous = poetic =20 memoir; new Toronto resident Jordan Scott, with his poetics of =20 stuttering; and visiting Vancouver poet Jen Currin with her =20 collection of surrealist urban fairy tales. Together they will =20 perform short readigns and send off their brand-new titles at a very =20 special event at Stones Place (1255 Queen Street West). The Coach House Spring 2008 Launch with readings by Maggie Helwig, Claudia Dey, RM Vaughan, Jordan Scott =20= and Jen Currin. Stones Place, 1255 Queen Street West Wednesday, April 9, 2008 7: 30 p.m. * * * * * Girls Fall Down chronicles Toronto in the midst of a panic spread =20 from a subway poisoning. As hazmat teams scour the alleys of the =20 city, photographer Alex and his ex-lover Susie-Paul reunite as they =20 search for Susie-Paul=E2=80=99s missing schizophrenic brother. It=E2=80=99= s a =20 combination political thriller and poignant love story from Maggie =20 Helwig (Between Mountains). Stunt is the story of Eugenia Ledoux, a girl who doubles in age =20 overnight, and whose father goes missing, leaving behind only a note =20 indicating that he=E2=80=99s gone to save the world. Eugenia=E2=80=99s = search for =20 her father takes her to Toronto Island, and leads her into encounters =20= with retired tightrope walkers, shoulder-pad factory explosions and =20 some accomplished taxidermy in this debut novel from playwright =20 Claudia Dey (Trout Stanley, The Gwendolyn Poems). Troubled is the poetic real-life account of the author=E2=80=99s = disastrous =20 relationship with his psychiatrist. Filled with his signature mix of =20 scathing self-analysis and wordplay, RM Vaughan (Spells, The Monster =20 Trilogy) documents the heart-rending and career-ending affair. Blert is a collection of bright, taut, explosive poems that mimic an =20 expedition into the mouth of a stutterer. The poems by Jordan Scott =20 (Silt) don=E2=80=99t just discuss stuttering, they replicate the act, = the =20 =E2=80=98blort, jam and rejoice=E2=80=99 in grappling with the granular = texture of =20 words. Hagiography is a collection of poems populated by seekers: ghosts, =20 spiders, sistsers, pilgrims, tigers, therapists, witches and birds. =20 The book takes Jen Currin(The Sleep of Four Cities)=E2=80=98s = contemporary =20 take on the surrealist image and moves it into new territories. * * * For review copies or media requests, contact Evan Munday at 416 979 =20 2217 or evan@chbooks.com. ========================================================================= Date: Mon, 7 Apr 2008 18:25:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: email for Chuck Stein? Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Anyone have an email for Chuck Stein? Please backchannel. thanks, ~mIEKAL ========================================================================= Date: Mon, 7 Apr 2008 16:40:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: dbCinema Flash brush -- Kandinsky 3 MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7bit here are some new dbCinema images: http://vispo.com/dbcinema/kandinsky3 and some writing about them: http://vispo.com/dbcinema/kandinsky3/intro i've created a new brush for my dbCinema app. so you can import flash swf files and use them as nibs on brushes. the kandinsky3 images were all done with the new flash brush. you may know how, in photoshop, say, you can use or create and import different brushes. they are static bitmaps. these brushes are animations. in the kandinsky3 pics, a brush has two types of motion. the motion of the flash animation. and the motion of dbCinema moving the flash animation along some path. during each frame of a dbCinema movie, the brush stamps out an image in the *shape* of the current frame of a flash animation. the shape is *filled* with part of some kandinsky painting. during the next frame of the movie, the *shape* of the brush changes to be the shape of the next frame of the flash animation. and where it is stamped onto the screen changes. and every few (configurable) seconds, the kandinsky used to fill the shape is changed to a different kandinsky painting. so it's a um graphic synthesizer. earlier dbCinema images: http://vispo.com/dbcinema/meditations.htm ja ps: Someone who viewed the earlier dbCinema images wondered if I had a Naum Gabo theme going on. I did not know his work. But he was a Russian constructivist (1890-1977) who did sculptural work with wires and strings such as http://www.phillipscollection.org/american_art/artwork/Gabo-Linear_Construct ion.htm (be sure to get the full url, it's long). If you put his name into http://vispo.com/dbcinema , you get quite a few images. Cool. I'm channeling a Russian thing, apparently. Kandinsky and Gabo. Gotta love those Russians. ========================================================================= Date: Mon, 7 Apr 2008 20:26:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Carol Novack Subject: Words in Flight: Sunday, April 20th MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline *hope to see a few of you at this event! happy springing, carol Looping the Loop: Poems and Stories *Hattie Gossett * "d*iva deluxe .... intellectual godmother of rap artists*" --Village Voice ** Nicholas Johnson* * "*poems...both hilarious and disturbing" --Martin Mitchell, *Home Planet News* *Carol Novack * "flavor samples for all of the senses." --Cicily Janus, at eclectica.org * Hattie Gossett* is a poet, essayist, and fiction writer*. *As a spoken word artist, she performs solo or with her Poetry Jazz band; recent gigs include the Hudson Valley Writers Guild and the Vision Festival. Alvin Alley Dance Company and Urban Bush Women dance to her words, which are preserved in the Smithsonian Institute*. *She is the author of *Presenting Sister Noblues *and is a co-founding editor of *Essence* magazine and Kitchen Table Press. She lives at the intersection of Harlem and the Dominican Republic and works with Seniors Helping Seniors. * Nicholas Johnson *is co-founder and editor of BigCityLit.com. He has been a MacDowell Colony fellow, a Pushcart Prize nominee, and winner of The Lyric Recovery Festival Award 2000. A teacher of creative writing at the Payne Whitney Clinic and The Lighthouse, he holds an MFA in poetry from Brooklyn College and an ABD from the Catholic University of America. His poems are forthcoming in *The Same, Heliotrope, Orbis *and the Greek-American anthology *Pomegranate Seeds*. His chapbook *Degrees of Freedom* is from Bright Hill Press. *Carol Novack * publishes *Mad Hatters' Review*. A fusionist and frequent collaborator, her writings have been published or are forthcoming in *American Letters & Commentary*, *Fiction International, First Intensity, Journal of Experimental Fiction, LIT, Notre Dame Review, *and *Otoliths*. Her first multi-genre chapbook will emerge this year. Her performance work is recorded on the CD *Inventions : Fictions, Fusions & Poems*. Her Web site is http://carolnovack.blogspot.com. * Sunday Best Reading Series ** Spoken-word performances by fiction writers, poets, and dramatists *The Lounge, Hudson View Gardens Pinehurst Avenue and 183rd Street *April 20th at 4:00 p.m. * *Suggested donation of $7 includes one free drink and free snacks *Reception after to meet the writers *The bookseller for this event is MOBILE LIBRIS (Sharon Preiss, Proprietor) *By subway from downtown: Take the A train to 181st Street. Be at the front of the train. Walk upstairs; take the elevator to Fort Washington Avenue. Cross the little park you'll see (Bennett Park), bearing left around the great circle. When you've crossed the park, you'll be on Pinehurst Avenue. Look left. You'll see 183rd Street, which continues into Hudson View Gardens as a private road. To your right, you'll see a sign that says "The Lounge." Ask about our program of special discounts for student and other groups. Patricia Eakins, Curator Sunday Best Reading Series 116 Pinehurst Avenue, #C-42 New York, NY 10033 212-923-7800 x1342 212-928-4227 *PRAISE FOR THE SUNDAY BEST READING SERIES ** "...a sumptuous setting. The room just glowed in the late afternoon sun, jammed with friends and members of our tribe. And the delicate, fresh touch of the flowers set up on either side of the podium ... simply elegant! Not too much, not too little." *--Elaine Sexton, poet, author of *Sleuth*and *Causeway *" The space, audience, and whole event was so thoughtfully put together. The reception, especially, was great as we all had a chance to talk." --Suzanne Parker, poet and director of the Brookdale Visiting Writers Series *"Great to discover an ongoing literary event in upper Manhattan."* --Geer Austin, poet and Inwood resident. * "I'm giddy and glad that an event of such caliber is happening in such a gorgeous setting in our neighborhood. Top-flight and equal in quality to any: that's key to me and it's great. SO kudos and bravo to you for doing it!* " --Amir Parsa, author *Drive-by Cannibalism in the Baroque Tradition* and resident of Washington Heights. ********************* *Patricia Eakins is an award-winning fiction writer. Please visit her Web site. www.fabulara.com -- 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 SAVE THE DATE! May 4th MAD HATTERS' REVIEW MULTI-MEDIA SPECTACULAR BENEFIT AT THE BOWERY POETRY CLUB: 4 - 8 pm. INTERVIEW: http://www.rimbaud.org.uk/interviewsnovak.html VIDEO! http://buckart.com/InTheBeginningIs/InTheBeginningIs_320x240.mov http://carolnovack.blogspot.com/ NEW CD: INVENTIONS II: Fictions, Fusions & Poems is available for purchase via: http://www.madhatthttersreview.com/cds_dvds/inventions2.html Review: http://www.eclectica.org/v11n4/janus.html Review & Interview: http://www.outsiderwriters.org/content/view/319/1/ http://www.myspace.com/madhattercarollers http://www.madhattersreview.com/cartoons_polly.shtml http://www.fieralingue.it/modules.php?name=Content&pa=list_pages_categories&cid=266 ========================================================================= Date: Mon, 7 Apr 2008 20:34:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jack Kimball Subject: Faux Chaps Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Announcing Faux Chaps, 12.50 each / http:www.fauxpress.com Prepublication offer expires next week: Set of all six -- 40.00 Set of two -- 20.00 1) Jeni Olin, THE PILL BOOK Jeni Olin says, "You can't teach God anything." An ambulance cools its jets in the arboretum, and she asks, "What have you got roughly in your breast?" The improvised reality series THE PILL BOOK disseminates a plethora of diagnoses and a handful of cures. 2) Stacy Szymaszek, ORIZABA: A VOYAGE WITH HART CRANE Written in 2004 in Milwaukee and revised in Brooklyn in 2007: "...one of the most important literary ventures into Gender Questioning, told through the magic of Hart Crane with the magic hand of Stacy Szymaszek...essential reading..." -- CAConrad 3) Alan Davies, ODES "These are poems which, dancing deftly among assonance, dissonance and diverse repetitions, while adroitly avoiding the risk of sounding like a bad Celan pastiche, are excessively difficult to get right. Luckily, they are right"-- Nicholas Manning. 4) CAConrad, (SOMA)TIC MIDGE The seven poems that make up (SOMA)TIC MIDGE were each written after eating a single color of food for a day, and carrying the color externally. For the RED poem CAConrad ate only red foods, wearing a red wig. The BLUE poem was written while listening to Bobby Vinton's "Blue Velvet" on a loop for a day. 5) Jack Kimball, PATHOLOGIES Fatality v. pleasuring, then what? Satirical wildfire is one way to carry on, as are fabulous predictions about late-XXIst-century historicism. PATHOLOGIES goes both ways forward, sucks it up, and shouts it down. "What the fuck? This is so amazing!"-- CA Conrad. 6) Brenda Iijima, SUBSISTENCE EQUIPMENT "...the mirror wraps around the body like a form fitting garment... Efflorescent pulsations interrogate steel. Angular feet seek mischievous nomads. Fearless assertions mute the violence of the bi- directional stare... Vigilant outsiders threaten to pierce the face of the geode" -- Cecilia Wu. More details & how to order: http:www.fauxpress.com ========================================================================= Date: Mon, 7 Apr 2008 15:55:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: susan maurer Subject: sniper something MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable i found a great search engine called sniper something but i cant remember sniper what and i have been unable to refind it . anybody know? su= san maurer _________________________________________________________________ More immediate than e-mail? Get instant access with Windows Live Messenger. http://www.windowslive.com/messenger/overview.html?ocid=3DTXT_TAGLM_WL_Refr= esh_instantaccess_042008= ========================================================================= Date: Mon, 7 Apr 2008 20:31:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nigel Beale Subject: Fw: What makes a Poem Great? Interview with Poet/Critic David Solway MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable In honour of Poetry Month, here is The Biblio File's interview with = Canadian poet, critic and more recently, political writer, David Solway. http://nigelbeale.com/?p=3D797 We first discuss what constitutes a great poem in the context of = =91political=92 and other agendas that some poets incorporate into their = work. According to Solway, great poems consist of authentic, = incontestable, memorable language, with vivid power, lapidary quality = and prodigious rhetorical flow, which takes time, education, reflection = and maturity to work itself into themes of human importance; synoptic = views of the complexity of human life; a confluence of eloquent language = and major subject which has something important to say and which will = resonate with contemporary and future generations. Great poems are like Switzerland, says Solway: candidates must pass = through a stringent, careful, fine-meshed filter before they are granted = citizenship. It is posterity that decides what is great. Aphoristic memorability and = the wish to keep the words alive in the mind, determines its greatness. During the interview two poems are compared. 1) A Great one: The Second = Coming by W.B. Yeats, and 2) A not so great one: God Bless America by = Harold Pinter. Part Two of our interview takes a closer look at these = poems. Here they are: 1. The Second Coming Turning and turning in the widening gyre Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction,while the worst Are full of passionate intensity.=20 Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight: somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born?=20 2. God Bless America=20 Here they go again, The Yanks in their armoured parade Chanting their ballads of joy As they gallop across the big world Praising America=92s God. The gutters are clogged with the dead The ones who couldn=92t join in The others refusing to sing The ones who are losing their voice The ones who=92ve forgotten the tune.=20 The riders have whips which cut. Your head rolls onto the sand Your head is a pool in the dirt Your head is a stain in the dust Your eyes have gone out and your nose Sniffs only the pong of the dead And all the dead air is alive With the smell of America=92s God.=20 Nigel Beale Writer, Broadcaster, Bibliophile 306-21 Durham Private Ottawa, ON K1M 2H8 Tel: 613-842-9800 email: notabene@nigelbeale.com internet: www.nigelbeale.com Nigel Beale is a writer/broadcaster who specializes in literary = journalism. In his role as host of The Biblio File he has interviewed = Nobel, Man Booker, IMPAC, and many other Award and Prize winning authors; plus publishers, = booksellers, editors, book collectors, librarians, conservators, = illustrators... " I never desire to converse with a man who has written more than he has = read. " Samuel Johnson ========================================================================= Date: Mon, 7 Apr 2008 16:22:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Roche Subject: New from Foothills Publishing/Rochester Reading Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I'll be reading this Wednesday, April 9, 7 pm, at Writers & Books, 740 University Avenue, Rochester, NY. My new full-length poetry collection,*Topicalities*, has just appeared from Foothills Publishing. The website for the book is http://www.foothillspublishing.com/2008/id55.htm John Roche jfrgla@rit.edu ========================================================================= Date: Mon, 7 Apr 2008 22:30:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: The Book Is Real Enough. It=?utf-8?Q?=E2=80=99s_the_Author_That=E2=80=99s_?= Fake. - New York Times MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Hilarious. But not so different, really, from (as I recall it from the news= paper at the time) the publication of a book "by" Barbara Bush's dog.=0A=0A= =0A=0A----- Original Message ----=0AFrom: David Chirot =0ATo: POETICS@LISTSERV.BUFFALO.EDU=0ASent: Monday, 7 April, 2008 3:46:= 34 PM=0ASubject: The Book Is Real Enough. It=E2=80=99s the Author That=E2= =80=99s Fake. - New York Times=0A=0Ahttp://www.nytimes.com/2008/04/07/busin= ess/media/07charm.html?_r=3D1&ref=3Darts&oref=3Dslogin---=0A=0AMaybe soon t= here will be "new" books out by the touring impersonators of=0Afamous writ= ers--=0AEdgar Allan Poe, V. Mayakovksy, Lord Byron, Sylvia Plath etc etc--= =0Awill not only "live again" but "write again"--=0A=0Athe channeling of th= e dead can be enhanced via the computerized enhancements=0Aof photos, engra= vings, recordings, "authentic costumes, and, where possible,=0Aeven "actual= clothes worn by the departed"--and the inhabiting of "actual=0Arooms and a= partments where the author lived or stayed . . . "=0A=0Aa new form of "ghos= t writing"--=0Aproving the "immortality" of the classics--through a series = of=0Are-animations--each one producing new works for addition to the=0ACano= n--listed as are the layered starti of archeological city-sites, "Troy=0A1,= Troy 2, Troy 3" . . . . ========================================================================= Date: Tue, 8 Apr 2008 01:54:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: SAVE THE DATE! SUNDAY, MAY 4TH: The Mad Hatters' Review MAD HATTERS' REVUE MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit 18$ only? On Sun, 6 Apr 2008 13:28:49 -0400 Carol Novack writes: > *The Mad Hatters' Review > MAD HATTERS' REVUE > MAY 4TH, 4 - 8pm > **BOWERY POE**TRY CLUB > * > > *A FESTIVAL OF DELIGHTS FOR THE EYE & EAR* > > *To Keep The Mad Hatters Alive & Kicking* > ** > > > MC'd by comedienne Lisa Levy, the Revue will feature * > * > > *FICTION WRITERS & POETS, PERFORMANCE ARTISTS &** **MULTI-MEDIA > MASTERS*Alex Caldiero, Alan Davies, Samuel R. Delany, Tonya M. > Foster, > Pierre Joris, > Timothy Liu, Eileen Myles, Nicole Peyrafitte, Wanda Phipps, Alan > Sondheim, > Stephanie Strickland, Steve Tomasula & Edwin Torres; *MUSICIANS & > SOUND > ARTISTS,* including Benjamin Rush Miller, austin publicover, & Ben > Tyree > with Will Martina; *VISUAL ARTISTS & FILM-MAKERS*, including:: Amy > Cohen > Banker, Orin Buck, Theresa Burnes, Michelle Handelman, Heide Hatry, > Donna > Kuhn, Gregg LeFevre, Iris Schieferstein, & Robert Withers. > *Door Prizes, Drink Specials & More > > **& only $18 at the Door** > > contact: madhattersreview@gmail.com > > > (Our Downloadable Flier is accessible via > http://www.madhattersreview.com/events.shtml#may4**) > ** > * > [image: Mad Hatters' > Revue] > > > > -- > 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, 8 Apr 2008 05:29:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Bob Dylan Wins a Pulitzer Prize - New York Times MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.nytimes.com/aponline/arts/AP-Pulitzers-Arts.html?_r=1&oref=slogin--- ========================================================================= Date: Tue, 8 Apr 2008 07:55:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Trigilio Organization: http://www.starve.org Subject: Reminder, Notley & Zucker tomorrow, Columbia College Chicago MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit ALICE NOTLEY & RACHEL ZUCKER ELMA STUCKEY MEMORIAL READING COLUMBIA COLLEGE CHICAGO Wednesday, April 9, 2008, 5:30 p.m. Music Center Concert Hall 1014 South Michigan Avenue For more information: 312-344-8819 Free and open to the public RACHEL ZUCKER is the author of three books of poetry: THE BAD WIFE HANDBOOK, THE LAST CLEAR NARRATIVE, and EATING IN THE UNDERWORLD. She is co-editor, along with poet Arielle Greenberg, of WOMEN POETS ON MENTORSHIP: EFFORTS AND AFFECTIONS, which will be published by the University of Iowa Press in 2008. Zucker was the poet in residence at Fordham University and has taught at Yale and NYU. She is also a certified labor doula. For more information please visit www.rachelzucker.net. ALICE NOTLEY was born in 1945 and educated at Barnard College and at The Writers Workshop, University of Iowa. During the late 60s and early 70s she lived a traveling poet’s life (San Francisco, Bolinas, London, Wivenhoe, Chicago) before settling on New York’s Lower East Side and becoming an important figure in the second-generation New York School. Notley, who has resided in Paris for the past fifteen years, is the author of more than twenty-five books of poetry including the epic poem THE DESCENT OF ALETTE, and MYSTERIES OF SMALL HOUSES, one of three finalists for the Pulitzer Prize and the winner of the Los Angeles Times Book Prize for Poetry. Notley’s long poem DISOBEDIENCE won the Griffin International Prize in 2002. In 2005 the University of Michigan Press published her book of essays on poetry, COMING AFTER. Notley recently edited THE COLLECTED POEMS OF TED BERRIGAN, with her sons Anselm Berrigan and Edmund Berrigan as co-editors. Her most recent books are ALMA, OR THE DEAD WOMEN, from Granary Books, GRAVE OF LIGHT: NEW AND SELECTED POEMS, from Wesleyan, and IN THE PINES from Penguin in 2007. Sponsored by the English Department of Columbia College Chicago, the annual Elma Stuckey Memorial reading honors the poet Elma Stuckey, author of THE BIG GATE (1976) and THE COLLECTED POEMS OF ELMA STUCKEY (1987). ========================================================================= Date: Tue, 8 Apr 2008 10:51:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Henry Subject: AUGHT has moved to new web location MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I've upgraded to a new internet account and this means AUGHT has a new address on the web: http://mysite.verizon.net/ronhenry63/aught.htm For those interested, while Issue 16 has taken a long time to get together, I should be making final selections and putting it online soon. If you have been kind enough to link to AUGHT from your web publication, home page, or blog, I would be grateful if you updated the link, as the old site will be going away soon. Also, the old email address for submissions will no longer work; please use the link on the new web site. Thanks, Ron Henry / Editor, AUGHT ron.henry@gmail.com ========================================================================= Date: Tue, 8 Apr 2008 07:55:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: The Book Is Real Enough. It=?ISO-8859-1?Q?=92s_the_Author_That=92s_?= Fake. - New York Times In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thank you so much for posting this article about the soap opera character as author. I saw it in the print edition of the paper, meant to read it, but never did. Now that I've seen it online, it makes me laugh, nearly out loud. Regards, Tom Savage David Chirot wrote: http://www.nytimes.com/2008/04/07/business/media/07charm.html?_r=1&ref=arts&oref=slogin--- Maybe soon there will be "new" books out by the touring impersonators of famous writers-- Edgar Allan Poe, V. Mayakovksy, Lord Byron, Sylvia Plath etc etc-- will not only "live again" but "write again"-- the channeling of the dead can be enhanced via the computerized enhancements of photos, engravings, recordings, "authentic costumes, and, where possible, even "actual clothes worn by the departed"--and the inhabiting of "actual rooms and apartments where the author lived or stayed . . . " a new form of "ghost writing"-- proving the "immortality" of the classics--through a series of re-animations--each one producing new works for addition to the Canon--listed as are the layered starti of archeological city-sites, "Troy 1, Troy 2, Troy 3" . . . . --------------------------------- You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. ========================================================================= Date: Tue, 8 Apr 2008 08:23:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Kasimor Subject: Re: AUGHT has moved to new web location In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Ron, I look forward to seeing my poetry and the work of other poets in the upcoming issues. Best, Mary Kasimor Ron Henry wrote: I've upgraded to a new internet account and this means AUGHT has a new address on the web: http://mysite.verizon.net/ronhenry63/aught.htm For those interested, while Issue 16 has taken a long time to get together, I should be making final selections and putting it online soon. If you have been kind enough to link to AUGHT from your web publication, home page, or blog, I would be grateful if you updated the link, as the old site will be going away soon. Also, the old email address for submissions will no longer work; please use the link on the new web site. Thanks, Ron Henry / Editor, AUGHT ron.henry@gmail.com --------------------------------- You rock. That's why Blockbuster's offering you one month of Blockbuster Total Access, No Cost. ========================================================================= Date: Tue, 8 Apr 2008 23:32:16 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christophe Casamassima Subject: Rosemarie Waldrop's eMail? Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 If anyone (Rosemarie esp.) can link me up with a contact, well, that'd be d= ivine... Christophe Casamassima =3D matress 2 Hour Delivery in Most Locations. Sleep-On-It Guarantee. http://a8-asy.a8ww.net/a8-ads/adftrclick?redirectid=3Db249b58dc1c7f296466c8= 47c485a9268 --=20 Powered By Outblaze ========================================================================= Date: Tue, 8 Apr 2008 11:34:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Samuels Subject: London reading Tuesday 15 April 2008 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Shearsman's 2008 Reading Series Tuesday, 15 April at 7:30 pm featuring *Avik Chanda** *&* Lisa Samuels * Avik Chanda's first English-language collection *Footnotes* is now available from Shearsman; he also has one collection in Bengali. He lives in Hyderabad and this will be his first UK reading. http://www.shearsman.com/pages/books/catalog/2008/chanda.html Biographical details may be found here: http://www.shearsman.com/pages/books/authors/chandaA.html Lisa Samuels has published two collections with Shearsman: *Paradise for Everyone* in 2005, and the recently-released* The Invention of Culture.* American, she currently teaches in Auckland, New Zealand, and we are fortunate to be able to catch her while she is on a brief visit to the UK. Details of her new books are here: http://www.shearsman.com/pages/books/catalog/2008/samuels.html Biographical details are here: http://www.shearsman.com/pages/books/authors/samuelsA.html The venue is Swedenborg Hall Swedenborg House 20/21 Bloomsbury Way London WC1A 2TH Admission free. The entrance is around the corner on Barter Street. Closest Tube Stations: Holborn (Central & Piccadilly Lines : 4 minutes' walk), Tottenham Court Road (Central & Northern Lines: 6 minutes), Covent Garden (Piccadilly Line: 10 minutes). Several buses stop a few yards from the Hall. There is an underground carpark close by, underneath Bloomsbury Square. Disabled access is available, but please let us know in advance if it is required. Further details here of the venue: *http://www.shearsman.com/pages/editorial/readings.html*** The next reading, in May, will feature Hazel Frew and John Welch. _____________________________________________ Tony Frazer Shearsman Books Ltd 58 Velwell Road Exeter EX4 4LD England Tel / Fax: (+44) (0) 1392-434511 *http://www.shearsman.com* / _____________________________________________ ========================================================================= Date: Tue, 8 Apr 2008 12:35:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Weaver Subject: midway journal wants you In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; format=flowed; charset=ISO-8859-1 Hello all, just a reminder that Midway is still seeking submissions--please go to www.midwayjournal.com or our facebook page (where we're currently writing a mini-essay/dialogue about "creative" "non" "fiction") for more information on submitting and about us. happy spring! ========================================================================= Date: Tue, 8 Apr 2008 11:15:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Ouilipo at the NCAA MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Did anyone else but me see the 'Ouilipo' Honda ad during the Kansas/Memphis game last night? If you did not, the ad goes through a variety of little scenes in which the letter "h" is ommitted. A car driving through "Uta ", somebody in a state of " appiness" etc., etc., until the Revelation of Honda's unmistakeable "h". Like good Ouilipo, the ad produced an instaneous, fill the blank(s) sense of attention. Amazing how capital always catches up with and exploits and profits from the good stuff. Suspect we will begin to see more advertising now from the Ouilipo playbook. Wonder where that Design group went to school! Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Tue, 8 Apr 2008 19:04:31 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Goddard Subject: Re: Andrew Crozier - a little remembrance In-Reply-To: <124537.35670.qm@web82603.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I just reviewed his poems in A Various Art over a bottle of Italian pseudo-Champagne. Lots of light & tracery & mornings, but fucking excellent. Got me through my Oxford interviews. On 07/04/2008, Stephen Vincent wrote: > I was saddened to hear of the recent death of Andrew Crozier, English poet and publisher. He had seemed obscured - intentionally or otherwise - for several years. I met him the summer-fall of 1967, shortly after I had left from two years in Nigeria on the heels of the start of the war about Biafra. We were introduced through Bob Cobbing who - along Lee Harwood - who worked at Better Books, London's once finest poetry bookstore. Between Andrew and Bob I got the profile and introduction to a number of English poets, books and publishers that were heating up the time - Stuart Montgomer (Fulcum Press) Tom Raworth and many others who gave the readings in store and beyond. Andrew was just fresh from U of Buffalo and had managed the research coup of tracking down Carl Rakosi who had changed his name and was living in Minneapolis. Rakosi really owed his revival as a poet to Andrew; the discovery also gave us much new knowledge of the history of the Objectivists. And, > perhaps, in the minds and ears of some, Andrew's Ferry Press also managed to publish Steve Jonas' amazing, "Exercises for Ear" I suspect Andrew's corrrespondence with Jonas - 'ripe' with paranoia and racism as he often said it was - is a trove for a certain kind of mid-sixties American self-hate and racial research, let alone the occasion to study much more of a still under-noted poet. > > I remember one evening - for some perhaps some odd masochistic reason - we went to an evening open poetry reading at the the Poetry Society. It was pretty dreadful. Then a woman in her fifties (?) stood up and read this marvelous, autobiographical poem from the point of view of being child at her school when this big kind of scary man all dressed up showed up on the school grounds as part of a formal visit. Yes, she was one one of the children in Yeats' "Among .....". Andrew and I were both pretty astonished by the fact of her experience - as if she had walked out of the equivalent of a movie set aka Canonical Poem - and put a fresh truth on it - plus it was a good poem. > > When the reading was done, Andrew and I both approached her outside the Pub. Andrew identified himself as a publisher and that he would love to see a copy of that poem. Thereupon, we saw this middle-aged woman look at us, suddenly totally terrified, and then we watched her take off running down the street! It was like watching a piece of history go up in smoke! > > Well, I knew him young before academic life engulfed him, then I lost touch. But it was fun to know him then, sharing new poems, and reading fresh publications from Ferry Press, John James et al. He was a vibrant, smart, tough and independent spirit. > > May he be remembered well, > > > Stephen Vincent > ========================================================================= Date: Tue, 8 Apr 2008 11:52:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Re: The Book Is Real Enough. It=?WINDOWS-1252?Q?=92s_the_Author_That=92s_?= Fake. - New York Times In-Reply-To: <750333.78596.qm@web31102.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline A further twist to this tale is that the role of Kendall Hart was originally played by Sarah Michelle Geller, and established her as a huge star even before she became Buffy the Vampyr Slayer. Maybe somewhere in the bowels of Creation there is stirring the idea in some writer's mind to find a way --or several different ways--of exploiting this connection. True, Sarah Michelle could write her own account of playing the two roles--but how dull!! Why not have Kendell "dream" that she is Buffy? Or Buffy realize that in an alternate universe she is Kendall? Or perhaps one of them will go through "recovered memory" therapy and discover their lost other self, the "who" that they "were" before the onset of that hoariest of soap opera staples, amnesia? Or that they are actually twins separated at birth--and each one can write a book about discovering the joys of meeting her long lost sister? Or that Kendall when young --as played by Sarah Michelle--while in a coma was pregnant and delivered of a baby who became Buffy? The potential books and spinoffs are mind boggling! (Didn't the Laura Palmer character of Twin Peaks fame publish a diary?) In the "recording industry" of course, fictional groups performing real songs that became hits have existed for quite some time. The late Sixties and early Seventies were the heyday of a great many bands who didn't actually exist outside the studio and on the air waves--the Golden Age of Bubble Gum Music--with groups like the Archies, the Beech Nuts (for whom Lou Reed supposedly penned a tune), 1910 Fruitgum Company, Ohio Express, Music Explosion and many others. Some were "more real" than others as they had photos of band members on the covers and actually played some shows--but often they were members also of other bands recording as part of a stable on the same label, whose faces one never saw. It was like a devolution of the Motown Sound, which involved creating group personas and styles, dance steps, costumes, and the different groups used different songwriters, and also created single artists. The bubblegum hits all sounded pretty similar, employed a rotating group of writers and musicians and studio staff and rolled off the assembly line onto the AM Top 40 with nothing more than a name to identify them as being distinct one from the other. The ultimate "triumph" of the fake band was Milli Vanilli, who won a Grammy--leading to the discovery that they didn't even sing their "own" songs--they simply lip synched while "someone else" had performed the actual recording. With an already "captive audience" which can be counted on to be interested in Kendall's book, it's easy to see why "she" would write one, and market perfume along with it. Another twist might be for writers to start writing books by characters in poems, novel,s films, songs--and not so much the wel known easily recognizable characters but ones that one is more personally attached to or having a cult status. In creating a work by "X" who exists via another's imagination at first, one enters into a process of not only imagining the original author's idea of "X" but "X's" own idea of "X." The more one essay to enter into the imaginative and creative being of "X" in order to produce a work, the less "X" will be like oneself, or like the "X" created by the original author. As the work goes on, indeed, who may really be said to be the "author" of this text of "X's?" Did the as yet anonymous author of Kendal's book experience a "becoming-Kendall" in a much different way from that of the actress of who plays Kendall for the tv audience? Is entering into becoming-Kendall as an imaginative act solely different in what ways from embodying Kendall as well as imagining her? Or does the writer, too, begin to "act" Kendall and so begin to vie for the role with the actress? One day will the author, tired of anonymity, tired of playing the unseen "understudy" to the diva--one day will the author rush madly on to the set, seize the actress by the throat and throttle her, in order to claim Kendall's voice for her or his own? Screaming "I wrote the book! I am Kendall! You're just an actress!"-- Because you see, as Kendall, as Kendall-the-author, she/he wrote her own words--while the actress was merely reciting those written by others for her! Or perhaps O marvel of marvels it will turn out --not all that unsurprisingly--that the actress who plays Kendall--also actually wrote the book--because she IS for the millions of her fans--she IS Kendall. Open a poem, a book, a film, a song, a painting, choose a character inside there--and --begin to work on that character's writings--fragments, shopping lists, enraged letters to the editors, foul sallies directed at no one in particular, the starts of novels and poems, the beginnings of autobiography, the memories of dreams, the flotsam and jetsam of that character's being until it begins, like blood, to coagulate--and patterns emerge--and before all that long--when you go out--or someone walks in on you--you will be for some moments entirely unrecognizable, on the road to becoming someone else . . . Has one kidnapped a character in order to write from inside that character--or does the character trick one, closing the trap door behind one once inside, and one finds that it is the character who is the kidnapper? One may see at each step of the way a myriad possibilities opening . . . Will Buffy appear and slay the "new" Kendall? This Vampire feeding off the character she originally embodied, brought to life? And will there be a grand reunion scene with her mother Erica Kane--(Susan Lucci)--who as the article points out, already wrote HER own book in 1997? And then they each may write, as Kendal-Buffy-Kendall and Erica Kane--the accounts of their reunion? Meanwhile in another zone of the Writers' Union Hall--there is rioting going on as the ghost writers and "posthumous authors" begin loudly and vociferously and violently demanding their rights and copy rights, their existences as Authors--and the overthrow of the "fakes" who paraded all this while as the "real" authors when in fact their works had been written by ghosts--vengeful ghosts--seeking a name and nice fat check!!! And what will happen when the characters who have produced works via another's writing get wind of it? Will they not go after these "real life" "ghost writers" for all they are worth? And the "posthumous writers" of works produced by publishers, editors, scholars, family members, estates--when their characters and works start to be further tampered with and brought to "life" via the work of another--will they not rise from the dead and go forth--fleshing eating zombies terrorizing the literary landscapes? As the bodies of writers living, dead, real, fake and of "uncertain status" pile up--a strange malaise begins to ripple through the survivors--who indeed did the writing of these works so hotly contested--or was it writing itself which had written them, authors, ghost writers,fake writers, characters in books, persons writing as characters found in others' works--the whole lot of them--created by an outside energy--forces from elsewhere than "authors"--arriving at creating writing in every human and non-human way imaginable--grains in wood, cracks in rocks, bones on a path, limbs of a tree, an insect-marked leaf, smoke in the sky--the drift and accumulation of dust motes--patterns of snow--blood stains and mud streaks--the markings of animals--on and on-- Where does it come from this immense energy and drive--looking at the incised letterings and numerals on telephone poles beside the dumpsters with their plastic lid letterings, the graffiti on the wall behind them, the overflowing heaps of writing on things thrown out--and thinking of the verses of Sappho found inscribed on the papyri of fifth rate mummies tossed out in the garbage heaps of Egypt, scuttering in a dry wind among the feral cats-- Where soon enough may be found, when not at garage sales, Salvation Army Stores and remainder bins--Charm by Kendell Hart-- On Tue, Apr 8, 2008 at 7:55 AM, Thomas savage wrote: > Thank you so much for posting this article about the soap opera character > as author. I saw it in the print edition of the paper, meant to read it, > but never did. Now that I've seen it online, it makes me laugh, nearly out > loud. Regards, Tom Savage > > David Chirot wrote: > http://www.nytimes.com/2008/04/07/business/media/07charm.html?_r=1&ref=arts&oref=slogin--- > > Maybe soon there will be "new" books out by the touring impersonators of > famous writers-- > Edgar Allan Poe, V. Mayakovksy, Lord Byron, Sylvia Plath etc etc-- > will not only "live again" but "write again"-- > > the channeling of the dead can be enhanced via the computerized > enhancements > of photos, engravings, recordings, "authentic costumes, and, where > possible, > even "actual clothes worn by the departed"--and the inhabiting of "actual > rooms and apartments where the author lived or stayed . . . " > > a new form of "ghost writing"-- > proving the "immortality" of the classics--through a series of > re-animations--each one producing new works for addition to the > Canon--listed as are the layered starti of archeological city-sites, "Troy > 1, Troy 2, Troy 3" . . . . > > > > --------------------------------- > You rock. That's why Blockbuster's offering you one month of Blockbuster > Total Access, No Cost. > ========================================================================= Date: Tue, 8 Apr 2008 12:56:09 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: SCOTT HOWARD Subject: Epigramititis & etc. In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Re: the recent notes on Epigramititis, you may find an essay by Bill Freind, "Inquiring Minds Want to Know: Kent Johnsons Epigramititis: 118 Living American Poets," in the 2007 volume of Reconfigurations, here: http://reconfigurations.blogspot.com/ WSH /// ========================================================================= Date: Tue, 8 Apr 2008 11:54:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Philip Schultz : ON poets writing NOVELS In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Wright Morris, the late novelist, taught many years in the Creative Writing program at San Francisco State. In fact, in the early sixties I had him for the 'short story' where I would meet him with individual once every couple of weeks. A macho sort, he really did not like most of my writing, 'too sensitive', he would say and send me out the door. He liked to talk to guys who took long difficult car trips over narrow mountain roads in the west. (Much of which I have done since!). I think he really did not like poets or poets who wrote prose, and women writers not at all, So it was fun today - in doing a little research on Philip Shultz, on his winning of one half of this year's Pulitzer Prize; Philip took creative writing at the State in the late sixties - talk about Morris' response to one of his stories: "When he was 20, Schultz went from his hometown of Rochester, New York, to San Francisco State University to study writing. Schultz buzzed through a 20-page story in a night and submitted it to his teacher, the novelist Wright Morris. Morris summoned him to his office. Holding the pages, he looked Schultz in the face, and said, "I hope you understand what I'm about to do." He then took a lighter from his pocket, set fire to the story, and threw it in a wastebasket. "He hoped I got the message!" Schultz laughs. "It took me ten years."" I suspect Morris' honest response would have had him kicked out of most writing programs. Not exactly good promo for the business. Akin to art school teachers who would paint over a student's work, as some were once much known to do. I knew Philip during that time. He, to put it politely, was not at all at home in San Francisco, particularly Haight Street of the late sixties (indeed an illiterate time mostly on that street). I think he moved as soon as possible on to Iowa's writiing program and its much more contained realms. Stephen Vincent http://stephenvincent.net/blog/ ========================================================================= Date: Wed, 9 Apr 2008 07:55:17 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Jorgensen Subject: Pinstripe Fedora #3 - Alexander Jorgensen In-Reply-To: Content-Disposition: inline Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset="ISO-8859-1" MIME-Version: 1.0 Just plugging a great journal and some work! http://pinstripefedora.com/issue3.html -- http://www.alexanderjorgensen.com -- http://www.fastmail.fm - Accessible with your email software or over the web ========================================================================= Date: Tue, 8 Apr 2008 22:31:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: The frail, painful shadow of lyricism MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline The frail, painful shadow of lyricism - Peter Ciccariello http://invisiblenotes.blogspot.com/ ========================================================================= Date: Tue, 8 Apr 2008 20:52:30 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: SCOTT HOWARD Subject: Call for Submissions: RECONFIGURATIONS In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII RECONFIGURATIONS: A Journal for Poetics & Poetry / Literature & Culture Volume 2: Process: Fields of Signification Submission Deadline: August 1, 2008 Publication Date: November, 2008 Call for Work: Articles, criticism, dialogues, essays, fictions, images, interviews, manifestos, poems, reviews, statements, translations, vectors & whatnots. Guidelines: Volume two of Reconfigurations seeks innovative works concerning process--the dynamics of action, exchange, mediation and transformation--in relationships and communities. In what ways are relationships either subverted or sustained by the idiosyncrasies of communication? How and why are the fields of commerce, inquiry and performance shaped primarily by their experiments and questions rather than by their commodities and results? What may be discovered by studying what is often forgotten or overlooked (process: inside-out & outside-in) during this age of fascination with product? Submissions addressing matters of process defined broadly and surprisingly are welcomed. In addition to the themes suggested above, other possibilities might include: editing, politics, research, teaching, translation, travel, etc. Reconfigurations invites submissions that engage with those diversified fields of signification. Electronic Submissions: showard@du.edu Reconfigurations is an electronic, peer-reviewed, international, annual journal for poetics and poetry, creative and scholarly writing, innovative and traditional concerns with literary arts and cultural studies. Manuscripts accepted for editorial review: April 1 - August 1. Reconfigurations launches/publishes during the month of November. Copyright remains with the authors. Reconfigurations is an open-access, independently managed journal. ISSN forthcoming. /// ========================================================================= Date: Wed, 9 Apr 2008 03:37:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: out what's there out there out what's what's what's what's out there MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed out what's there out there out what's what's what's what's out there what's what's what's what's there out out out out there what's out what's out out there out out out there there what's out out out out what's there there there there what's out there there there there out what's what's what's what's out there what's there what's what's out what's what's what's out out there what's what's what's what's there out out out out there what's out out out out what's there there there there what's out there out there there what's what's there there what's what's out what's there there what's out what's what's what's what's out there what's there what's what's out out out out out there there out what's out out there there out out there there what's there out out there what's there there there there what's out there out there there what's what's what's there what's out out what's there what's what's out out what's what's out out there out what's what's out there out out out there there what's there what's out out there there there out there what's what's there out there there what's what's there there what's what's out what's there there what's out what's what's what's out out there out there what's out out out out what's out there there out what's out out there there out out there there what's there out out there there there there there what's what's out what's out there what's what's what's what's there what's out out what's there what's what's out out what's what's out out there out there what's out out out out what's there there there there what's out there there there there out what's what's what's what's out there there what's what's what's there what's what's out what's out there what's what's what's what's there out out out out there what's out out out out what's there there there there what's out there out there there out there there what's there what's out there there there there out what's what's what's what's out there what's what's what's what's there out out out out there what's out what's out out there out out there out there what's out out out out what's there there there there what's out there there there there out what's what's what's what's out there what's there what's what's out what's what's what's out out there what's what's what's what's there out out out out there what's out out out out what's there there there there what's out there out there there what's there there there what's what's out what's there there what's out what's what's what's what's out there what's what's what's what's there out out out out there there out what's out out there there out out there there what's there out out there what's there there there there what's out there out there there what's what's what's what's what's out out what's there what's what's out out what's what's out out there out what's what's out there out out out there there what's out what's out out there there there out there what's what's there out there there what's what's there there what's what's out what's there there what's out what's what's what's out out there out there what's what's out out out what's out there there out what's out out there there out out there there what's there out out there there there there there what's out what's out there what's there out what's there out ========================================================================= Date: Wed, 9 Apr 2008 10:21:39 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Hosea Subject: Fri Apr 11 - Joe Fletcher, Chris Hosea & Mark Yakich at Pete's in NYC MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Joe Fletcher, Chris Hosea & Mark Yakich @ Pete's Candy Store, Friday, April 11 at 7 pm 709 Lorimer Street, Williamsburg, Brooklyn, NYC About: www.petescandystore.com Chris Hosea's poems have been published in Swerve, Denver Quarterly, VOLT, Harvard Review, and elsewhere. His manuscript, The Promise of the Baffled, was a semifinalist for the 2007 Walt Whitman Award. He is a graduate of Harvard and the University of Massachusetts Amherst MFA Program. He works at the 92nd Street Y Unterberg Poetry Centerand lives in Brooklyn. Here are some of his poems. Mark Yakich's latest poetry collection, The Importance of Peeling Potatoes in Ukraine , is forthcoming with Penguin in March 2008. Mark lives in New Orleans. His website is here . Read him at La Petite Zineand RealPoetik Joe Fletcher's chapbook, Sleigh Rideis available from Factory Hollow Press. His poems have also appeared or are forthcoming in jubilat, Poetry International, Octopus, Kulture Vulture, Hoboeye , and elsewhere. He lives and teaches in North Carolina. Curated by Sommer Browning. See http://www.multifariousarray.blogspot.com/ ========================================================================= Date: Wed, 9 Apr 2008 09:09:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: "Unreliable Memoirs" &a writer's documentary films--Zora Neale Hurston--American Masters PBS MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.nytimes.com/pages/books/index.html --- An interesting review of tonight's PBS American Masters edition devoted to Zora Neale Hurston-- the reviewer notes the "unreliable memoirs" of Hurston (with some possible reasons for this)--as well as many contemporary qualities of her character-- given the "unreliable" side of the writer, what really still sounds most exciting about this episode is the inclusion of a lot of the documentary footage Hurston shot as part of her anthropological researches of Black life in the South--a rare opportunity to see an other way of her seeing which she also used in her writing beyond her research papers-- ========================================================================= Date: Wed, 9 Apr 2008 11:58:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Poetix Symposium: Late American Poetics and the Politics of Exception Comments: To: fluffysingler@yahoogroups.com, fluffysingler@earthlink.net, belgu003@umn.edu, creawrit@umn.edu, engrad-l@umn.edu, englfac@umn.edu, gfcivil@stkate.edu, wryting-l@listserv.wvu.edu, editor@raintaxi.com, jeffersonh@earthlink.net, beato@att.net, manowak@stkate.edu, prell001@umn.edu, lukkas@umn.edu, jestep@umn.edu, werry001@umn.edu, Skuftinec@aol.com, morri074@umn.edu MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit *Thursday-Friday April 17-18 **Poetix Symposium: Late American Poetics and the Politics of Exception Nolte Center 125 University of Minnesota Minneapolis MN *_* *on Thursday, April 17 _ 6:30 p.m. Readings by Gabrielle Civil, Kazim Ali, Kao Kalia Yang, and G. E. Patterson. 125 Nolte Center _on Friday, April 18 _ 12:00-1:30 p.m. Poetry Dialogue: Mark Nowak and writers from AFCSME 3800, 108 Folwell Hall 3:30 p.m. The Guantanamo Poems: Mark Falkoff and W. Flagg Miller, 125 Nolte Center 8:00 p.m. The Collapsible Poetics Theater with Rodrigo Toscano; reading by Jeff Derksen, 125 Nolte Center ========================================================================= Date: Wed, 9 Apr 2008 10:58:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Alexander Subject: a good printer goes down Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Just received word that, after some 50-plus years, The Stinehour =20 Press in Vermont is ceasing operations. In terms of quality of =20 production, one of the best printers ever in America. Very elegant =20 books came from there. I only had the opportunity to use their =20 services when I had a budget that wa supplied by someone else, but I =20 relished those opportunities, and I always thought, for what =20 Stinehour produced, costs were entirely reasonable. It's a sad day =20 for printing. FOR IMMEDIATE RELEASE: April 7, 2008 CONTACT: Joe Choquette, 802-225-5510 Stinehour Press Announces End of Operations (Lunenburg, Vt.) Managing Director and CEO Warren Bingham announced today that The Stinehour Press, an award-winning book design and =20 printing firm, will be ending operations and liquidating its assets after more than 50 years =20= of operation in northern Vermont. The company, which had several million dollars in =20 sales last year, employed a staff of 21 highly skilled workers. =93Although it=92s been lovingly cared for, our offset press equipment = is =20 more than 25 years old and lacks many of the digital time-saving devices and speed =20= of newer presses; and we=92re behind the technology curve by not yet having adopted fully =20= digital pre-press capability,=94 Bingham said. =93Our sales force estimates that the =20 company had to forfeit several million dollars in business last year because of capacity =20 constraints caused by our old equipment, and we would need to invest at least $3 million to be =20 competitive. In today=92s economy, when added to what we=92ve already invested in the =20= company, it=92s beyond what a small group of committed owners can do. We=92re heart-=20 broken that what began with so much hope and represents the hard work and passionate =20 commitment of so many is ending.=94 Bingham met with employees on Monday to advise them of the closing. =20 He said workers will be paid for any accrued vacation time and, if possible, =20 will receive severance pay based on seniority as long as the workout plan enables =20 the company to provide it. The company has contacted the Vermont Department of Labor =20= to advise them of the closing, and intends to be proactive in assisting workers in =20 finding new employment. Founded by the legendary book designer and printer, Rocky Stinehour, =20 the Press operated as a family-owned business until 1998 when it was sold to an =20= Irish multinational corporation. Its customer list includes many of the country=92s leading =20= arts and cultural institutions and its alumni include an impressive list of =20 some of the most noted book designers and technicians in the country. Clients include the =20 Art Institute of Chicago, the San Francisco Fine Art Museums, the Museum of Modern =20 Art, the Museum of Fine Art in Boston, the Norman Rockwell Museum, The Getty Museum, the Guggenheim, the Whitney and the Smithsonian. Publishers included =20 Random House, Little-Brown and many university presses, including Harvard, =20 Stanford, Yale, Princeton and Dartmouth. Several years after the initial sale, in 2001, the Irish parent =20 company announced that it was leaving the printing business and planned to close the =20 Press. The current owners, headed by Bingham, bought the business to forestall the =20 closing and in hopes of restoring its prominent position in the book printing world. In =20 addition to significant new capital investment, the new owners strengthened management and =20 systems, rebuilt its sales force and restored its reputation for fine quality work. The =20 company was recently described by the Washington Post as =93the premier book printer in the =20= world=94 and has won more than fifty prestigious awards for design and production quality =20 over the past several years, including back-to-back awards as the SAAPI Printer of the Year =20= of illustrated books in 2006 and 2007. In today=92s global economy it was not enough. =93The lines separating author, publisher, printer and distributor are =20= blurring, and digital technology can make China or Reykjavik seem as close as =20 Lunenburg,=94 Bingham said. =93A new kind of book printing industry is evolving that is based =20= on printing shorter runs of more titles including digital print-on-demand. This should =20 bode well for Stinehour Press and our unique blend of art, craft and technology; =20 but it arrives at the same time as we often see books projects from China for less than we =20 can buy the paper. These are not good times for American manufacturers. I hope we know =20 the full cost of what we=92re buying as a society. When lowest cost is always the =20 determining factor, it might be higher than we think.=94 charles alexander chax press chax@theriver.com 650 e. ninth st. tucson arizona 85705 520 620 1626 ========================================================================= Date: Wed, 9 Apr 2008 11:11:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: April 12 Providence reading: A SING ECONOMY MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit SATURDAY, APRIL 12th Publicly Complex 6pm free READERS: John Cotter Jennifer Karmin Matthew Klane Deborah Poe Kate Schapira at ADA BOOKS 330 Dean Street 401.432.6222 http://www.ada-books.com A SING ECONOMY is the second Flim Forum Press anthology and contains extensive selections from 20 contemporary poets. FLIM FORUM PRESS, founded in 2005, is an independent press that provides SPACE for emerging poets working in a variety of experimental modes. It's edited by Matthew Klane and Adam Golaski. http://www.flimforum.com JOHN COTTER's fiction and poetry have appeared in dozens of national publications including 3rd Bed, Hanging Loose, & Good Foot. As of April 2007, he’s putting the finishing touches on separate collections of stories, poems, and a novel, Under The Small Lights. Poetry Editor for the review site Open Letters Monthly, John's published critical work on contemporary novelists, poets, and translators. JENNIFER KARMIN curates the Red Rover Series with fiction writer Amina Cain and is a founding member of the public art group Anti Gravity Surprise. Her multidisciplinary projects have been presented at a number of festivals, artist-run spaces, community centers, and on city streets. She teaches creative writing to immigrants at Truman College and works as a Poet-in-Residence for the Chicago Public Schools. Recent poems are published in Bird Dog, MoonLit, Womb, Seven Corners, Milk Magazine, The City Visible: Chicago Poetry for the New Century, and Growing Up Girl: An Anthology of Voices from Marginalized Spaces. MATTHEW KLANE is co-editor at Flim Forum Press. His chapbooks include Friend Delighting the Eloquent, Sorrow Songs, The- Associated Press, and The Meister-Reich Experiments (online @ housepress.org). Other work can be found in Plantarchy!, string of small machines, and wordfor/word. He currently lives and writes in Albany, NY. DEBORAH POE is the author of Our Parenthetical Ontology (Custom Words 2008) as well as chapbooks from Furniture_Press and Stockport Flats Press. Her work has recently appeared in Denver Quarterly, Copper Nickel, Drunken Boat, and A Sing Economy. Deborah's current projects include finding a publisher for Elements—her poetry collection based on the periodic table—and completing a short fiction collection entitled Event Landmarks. KATE SCHAPIRA is the delightful and charismatic organizer of Publicly Complex. She is also the author of three chapbooks, Phoenix Memory, Case Fbdy. and (forthcomingly) The Saint's Notebook. In addition to her appearance in A Sing Economy, she's proud of recent acceptances to Practice, Ecopoetics, Word for/Word, The Concher, Action Yes and 580 Split. She lives right around the corner in Providence. __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Wed, 9 Apr 2008 16:10:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: new book MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit new book by pianist matthew shipp and steve dalachinsky on roguart ( a small new record label from paris) includes poems interviews photos for info inquire steve if you are interested ========================================================================= Date: Wed, 9 Apr 2008 13:41:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: patrick dunagan Subject: Ballard and Morris Reading SF 4-15-08 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Next Tuesday, April 15th @ 7:30p.m. Jason Morris & Micah Ballard will read some poems. It shall be a fun, easy-going time. & the stock of fresh poetry titles on the shelves at this terrific little store is a pleasant hum of surprise. Jason Morris recently edited the first issue of Big Bell Magazine and Micah Ballard recently edited Morning Train. Each possesses wonderful bits of delite. Books & Bookshelves 99 Sanchez St. bw 14th & Duboce SF, CA (just a couple blocks from Church & Market) ========================================================================= Date: Wed, 9 Apr 2008 16:42:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dustin Williamson Subject: April 13 in NYC: Shannon Tharp & Cathy Eisenhower @ Zinc-TRS In-Reply-To: <2a7b77890804091341h26292aen85b65e6cf118b6d9@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Sunday, April 13 at the Zinc-TRS: SHANNON THARP & CATHY EISENHOWER 6:30 PM Zinc Bar 90 West Houston (beneath the Barbie fur shop) $5 goes to the poets. If you don't have $5, come anyway ------------------------------------------------------------------------------------------- Shannon Tharp is ready for her economic stimulus check. She is the author of the chapbook Each Real Bird. Her second chapbook, Determined by Aperture, is due out shortly from Fewer & Further Press. Shannon lives in Seattle, Washington. cathy eisenhower lives and works as a librarian in washington, dc. she has full-length collections forthcoming from edge and roof. -------------------------------------------------------------------------------- Upcoming Zinc-TRS readings: April 20: TBA (hosted by Douglas Rothschild) April 27: Rodney Koeneke & Rod Smith -------------------------------------------------------------------------------- Need a map to the Zinc Bar?: http://maps.google.com/maps?q=zinc +bar+new+york+city&ie=UTF8&oe=UTF-8&client=firefox-a&cd=1&ll=40.729015,-74.000452&spn=0.007838,0.013497&z=16&iwloc=A ========================================================================= Date: Wed, 9 Apr 2008 14:19:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: patrick dunagan Subject: Patrick James Dunagan/Jackie Motzer/Ryan Newton poetry reading 4/12/08 Portland, OR MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Patrick James Dunagan, Jackie Motzer, & Ryan Newton will be reading some poems up in Portland, OR @ The Waypost , 3120 N Williams Ave. April 12th at 7:30 for SMORG, a reading series/journal collaborative http://www.smorgreadingseries.blogspot.com/ This is Jackie Motzer's first Portland reading. Raised and undergrad-ed in Southern Ohio, she studied Poetics at the New College of California earning an M.F.A. in 2003. She was the featured poet in the debut issue of *Ellipsis * magazine. Her first book,* The Nymph Poem,* is forthcoming from Snag Press this spring. Today is her mother's birthday. Ryan Newton has spent the last year living near Cincinnati, Ohio, working as a bookseller. Prior to that, the author lived in San Francisco, where he studied at New College, within the now defunct Poetics program. Along with poets Richard Froude, Jesse Morse, and Erik Anderson, he is a rotating editor and contributor to the low fi publication *Pop Seance*. Patrick James Dunagan lives in San Francisco and works at the library of USF. Poems and book reviews have appeared in *Artvoice (Buffalo), Blue Book, Cannibal, Chain, Galatea Ressurects, Jacket, One Less Magazine, Pompom, St. Mark's Poetry Project Newsletter,* and elsewhere. Chapbooks include: *After the Sinews* (Auguste, SF, CA) and *Fess Parker* (Red Ant, Portland, OR). ========================================================================= Date: Wed, 9 Apr 2008 01:16:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Bill Freind's essay on Epigramititis Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable BUY HERE=20 Epigramititis: 118Living American Poets By Kent Johnson Fully Illustrated! http://www.blazevox.org/bk-kj.htm "Thanks for sending me the epigrams.* Superb. It's about time for something of the sort, I'd say, what with the ass licking that rules the day. Especially the ass-licking that some ass-lickers want to pass off as "avant-garde confrontation." My salute... And as to your question, well, yeah, absolutely: Olson, if he'd lived to see what has happened, would have loved these." Ed Dorn * from a response by Dorn to a batch of the first epigrams, sent to him in early 1999. Book Information: =B7 Paperback: 266 pages =B7 Binding: Perfect-Bound =B7 Publisher: BlazeVOX [books] (February 2006) =B7 ISBN: 0975922785 =B7 Product Number: 47856388 --=20 Best, Geoffrey Geoffrey Gatza Editor & Publisher ------------------------------------- BlazeVOX [ books ] Publisher of weird little books -------------------------------------- editor@blazevox.org http://www.blazevox.org Not So Fast Robespierre by Geoffrey Gatza http://www.lulu.com/content/1767006 NOW Available from Menendez Publishing ========================================================================= Date: Wed, 9 Apr 2008 11:27:24 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Albert Pellicer Subject: 'Inbetweeness' in the journey Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed I've just recently joined the listserv and wanted to step into this great space . I'm a poet and a free-lance journalist based in London. I'm researching poetry as a form of 'journalism' and interested in the ' inbetweeness' as the space, the pause, that allows a poetic inlet/outlet. a weaving to take place. Trobadours, minstrels, azmari (Ethiopia) were/are oral traditional poets but also journalists/timeless historians bringing a different kind of 'news' to the community. Reading between the lines is a poetic detour in present journalism but I just wondered what its existence is. Does it need different data? Is it a comparison of worlds? This is an old piece I wrote Journey To Day http://www.youtube.com/watch?v=QHOZTFzsMRI Albert Pellicer ========================================================================= Date: Thu, 10 Apr 2008 00:08:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Obododimma Oha Subject: Re: new book MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Congratulations, Steve. Obododimma. ----- Original Message ---- From: steve d. dalachinsky To: POETICS@LISTSERV.BUFFALO.EDU Sent: Wednesday, April 9, 2008 9:10:52 PM Subject: new book new book by pianist matthew shipp and steve dalachinsky on roguart ( a small new record label from paris) includes poems interviews photos for info inquire steve if you are interested __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Thu, 10 Apr 2008 06:22:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Zamsky, Robert" Subject: Re: new book MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I would be very interested in this, Steve. More info, please... =20 - Robert Zamsky ________________________________ From: UB Poetics discussion group on behalf of steve d. dalachinsky Sent: Wed 4/9/2008 4:10 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: new book new book by pianist matthew shipp and steve dalachinsky on roguart ( a small new record label from paris) includes poems interviews photos for info inquire steve if you are interested=20 ========================================================================= Date: Thu, 10 Apr 2008 04:21:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: PFS Post: Introducing (Londoner!) Chris McCabe MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit For my money, Chris McCabe is one of the finest younger poets writing in the UK today. His work tends towards analyses of class, societal structures/superstructures, from the standpoint of a devout liberal with few bourgeois aspirations. He is also interested in revamping traditional forms. Some poems from his latest opus in the making (he already has two books out with Salt), "The True History of the Working Class," are here, on PFS Post: http://www.artrecess.blogspot.com Books! "Beams" http://www.blazevox.org/ebk-af.pdf "Opera Bufa" http://www.lulu.com/content/1137210 __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Thu, 10 Apr 2008 15:39:58 +0200 Reply-To: argotist@fsmail.net Sender: UB Poetics discussion group From: Jeffrey Side Subject: Poetry ebook called Slimvol available now Comments: To: British Poetics , Poetryetc MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit I have a short collection of poems out by cPress. Free to download as an ebook: http://www.lulu.com/cPress ========================================================================= Date: Thu, 10 Apr 2008 10:24:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Metta Sama Subject: XP: Nat'l poetry queries MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit So, I'm doing a reading next week at the University I teach in, & since it's nat'l poetry month, i'm inviting folks to come up and read a poem by one of their favorite poets (hey, so if you're near Greencastle & wanna participate, let me know!) I'm also planning on reading some of my favorite poems, which is how i always open my "act", so now I'm curious: who are your favorite poets? what are your fav poems? what draws you to these poems/poets? hit me back with your top, i dunno, three? four? i'd like to collect poets/poems to read through prior to my reading, to expand my repertoire. i'm also interested in putting together a verbal collage of people's reading interests/loves/trebles/trembles. M ========================================================================= Date: Thu, 10 Apr 2008 10:13:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kristin Dykstra Subject: 4/11 reading: S=?iso-8859-1?Q?=E1nchezand_?= Corey In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Reminder: Tomorrow, 7pm For photos of the poets with plants see http://www.ilstu.edu/~kadykst/html/sancor.htm ** The Pierre Bourdieu Memorial Readings Series presents Juan Manuel S=E1nchez and Josh Corey Friday, April 11, 2008 Illinois State University 7:00 pm at the University Galleries (http://www.cfa.ilstu.edu/galleries/) Juan Manuel S=E1nchez was born and raised on the US side of the San Diego/Tijuana border. His work is forthcoming in Pembroke, Mandorla: New Writing from the Americas and in the anthology Junta: Avant-Garde Latino/a Writing. S=E1nche= z received an MA in Literature from UC San Diego and is completing the MFA at the University of Illinois. He has worked as an assistant editor for Ninth Lett= er, has lectured at various universities, and is now Lecturer of Spanish at the University of Chicago. Joshua Corey's full-length books of poetry are Selah (Barrow Street Press, 2003) and Fourier Series (Spineless Books, 2005). He is also the author of two chapbooks: Composition Marble (Pavement Saw Press, 2006) and Hope & Anchor (Noemi Press, 2007). He is assistant professor of English at Lake Forest College and lives with his wife and newborn daughter in Evanston, Illinois. * The "Pierre Bourdieu Memorial Readings Series" is sponsored by Mandorla: Ne= w Writing from the Americas / Nueva escritura de las Am=E9ricas. * The "Pierre Bourdieu Memorial Readings Series" is so-named to commemorate t= he contributions of this important sociologist to a critical understanding of = a range of phenomena specific to the field of cultural production against whi= ch, in which, and through which social actors such as writers, readers, student= s and professors create, consecrate, fetishize, and disparage. Bourdieu's theories and methodologies provide unusually perspicuous tools with which t= o correct subtle and pervasive injustices in the field and to envision the possibility of a community of friendly makers less beholden to the illusions of aestheticism, the fetish of the author, and the preciosity of writing -- fo= r a closer, sparer, clearer relation of use, wonder, kindness, being, love, wor= ld. -- Kristin Dykstra Assistant Professor of English Illinois State University Campus Box 4240 Normal, IL 61790-4240 http://www.litline.org/Mandorla/ ---------------------------------------------------------------- This message was sent using Illinois State University Webmail. ========================================================================= Date: Thu, 10 Apr 2008 08:27:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Brooklyn Rail rail reviews Obenzinger's Busy Dying. MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Many here expressed interest in my note about Hilton Obenzinger's new novel BUSY DYING. It just received this lovely review (below) in the new issue of Brooklyn Rail, a paper that seems to be the home of much intelligent reviewing these days - a review of Nathaniel Mackey's new book also appears in this issue. Hilton, by the way, will be giving a reading at the Morningside Bookshop - across from Columbia - on Tuesday, April 22, as well as reading at the Columbia 1968 Conference, the evening of April 26 (with Paul Auster, David Shapiro and other now well known writer cohorts of events back then) Hilton Obenzinger, Busy Dying (Chax, 2008) “[He] takes a trip to heaven and talks with all sorts of dead people. It’s like some kind of travel book.” In Busy Dying, a character’s offhand comment on the mystic Emanuel Swedenborg’s Spiritual Diary may as well describe Obenzinger’s fictional memoir itself: only in an apocalyptic 1968 could heaven and hell converge. Life is rhythmically punctuated by death, just as memory is punctuated by moments of revelation, in which the characters are transformed by sudden glimpses of the world beyond knowledge or language. A young handyman believes he sees the finger of God; a girl confined to bed by a nervous disorder feels blessed by the splendid visible and invisible worlds; a college student dives out of his ninth-floor window to, after a poem by Juan Ramón Jiménez, “catch the stars more quickly.” Obenzinger, like Conrad and Woolf, is attracted to the dark, unknown realm of which our daily life is only a mirror image. The Columbia strike in 1968, the centerpiece of the memoir, represents such an effort to reach the beyond. The students fail to write poems during their occupation of the president’s office, realizing that the breach of social semantics needs “a language no one had yet invented.” For Obenzinger, in particular, the search for a new language has tangible implications. The son of Polish Jewish immigrants, he has lost Polish, his mother tongue, and Yiddish, his father’s language. Haunted by his brother’s untimely death as well as all the deaths before and after, Obenzinger inherited his father’s “survivor’s guilt” reminiscent of Lord Jim. With the Dada practice of inflicting the Biblical ten plagues on Columbia campus, he was reenacting the history of his lost ancestors. The travel to the other world ultimately confirms life. The memoir starts with the death of Obenzinger’s mother, which, to the author’s amazement, transforms her back to a pretty young girl at peace. It ends with the discovery of his father’s youthful poems, where, alone in the strange New World, the father recognizes himself in his son. —Lu Chen ========================================================================= Date: Thu, 10 Apr 2008 16:27:19 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Prejsnar Subject: Language Harm ! MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Four times this year, theAtlanta Poets Group will present Language Harm, the south’s premier poetry performance event... The title of this year’sfirst Language Harm is: Two Poems. The members of the APG willcreate an evening’s worth of improvisatory polyphonic poetry, stretching thebounds of the form, reinventing the idea of poetry before your very ears. at: Eyedrum 290 Martin Luther King Jr. Drive Atlanta, GA 8:00 Wednesday, April 16 2008 admission: $5 (free to Eyedrum members) for directions and moreinfo: http://www.eyedrum.org/ http://atlantapoetsgroup.blogspot.com/ Be there, or be mainstream ! --mark "In aesthetics, any formal opposition will always be eventually overriddenby artists who have learned to blur the contrasts or synthesize the opposingdistinctions, as Cezanne learned to compose and draw through color." --Charles Rosen ========================================================================= Date: Thu, 10 Apr 2008 08:58:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "M. Yakich" Subject: Mark Yakich -- The Importance of Peeling Potatoes in Ukraine MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear Friends, Neighbors, Potato Eaters, My new collection of poems, The Importance of Peeling Potatoes in Ukraine, was recently released by Penguin. It can be found at Amazon or from me directly (with a pretty ugly little drawing inside) at: http://markyakich.com/potatoes/ippu.html Sample poem: A SOURCE OF STYLE Hart Crane vaulted from a ship's railing in purple pajamas. Purple to soften the blow. Take care, Mark markyakich.com= ========================================================================= Date: Thu, 10 Apr 2008 12:57:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Almost a week ... Comments: To: Women's Poetry Listserve , new-poetry-admin@wiz.cath.vt.edu, "NewPoetry: Contemporary Poetry News & Views" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii My new blog address almost-explains the ether I disappeared into for the past almost-week: http://www.amyking.org Please email again if you called and didn't receive a reply (amyhappens at gmail dot com) -- You! Amy _______ http://www.amyking.org http://demonoide.org http://redherring.us http://poetryexperiment.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Thu, 10 Apr 2008 13:50:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: Never a More Generous Man MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Thank you, Obododimma! Do you also have a blog? I read some of your poems at Shadowtrain (even before you read my blog!): http://shadowtrain.com/id232.html I really dig "The City" with its: new-yorking parising londoning I also really loved, "Museum Piece" with its "Skin of water, thriving / Will find us here" Cheers, Amy _______ http://www.amyking.org http://demonoide.org http://redherring.us http://poetryexperiment.com ----- Original Message ---- From: Obododimma Oha To: POETICS@LISTSERV.BUFFALO.EDU Sent: Friday, April 4, 2008 4:03:30 AM Subject: Re: Never a More Generous Man I visited your blog and, oh, I love your dog's hairdo! Wonderful. Goes well with the insight available in those poems. Obododimma. ----- Original Message ---- From: amy king To: POETICS@LISTSERV.BUFFALO.EDU Sent: Thursday, April 3, 2008 7:00:44 PM Subject: Never a More Generous Man NEW BLOG, NEW POSTS: http://www.amyking.org/ Matt Rotando, Daisy Fried, et al _______ http://www.amyking.org http://redherring.us __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Thu, 10 Apr 2008 12:17:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: submit to museum of broken relationships MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.brokenships.com/ -- All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Thu, 10 Apr 2008 11:02:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Invalid RFC822 field - "Ashbery, "Soonest Mended"". Rest of header flushed. From: Barry Schwabsky Subject: Re: XP: Nat'l poetry queries MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Wyatt, "They flee from me"=0AAshbery, "Soonest Mended"=0AYeats, "Crazy Jane= Talks with the Bishop"=0AStevens,"The Plain Sense of Things"=0A=0A=0A=0A--= --- Original Message ----=0AFrom: Metta Sama =0ATo= : POETICS@LISTSERV.BUFFALO.EDU=0ASent: Thursday, 10 April, 2008 3:24:00 PM= =0ASubject: XP: Nat'l poetry queries=0A=0ASo, I'm doing a reading next week= at the University =0AI teach in, & since it's nat'l poetry month, i'm =0Ai= nviting folks to come up and read a poem by one of =0Atheir favorite poets = =0A=0A(hey, so if you're near Greencastle & wanna participate, =0Alet me kn= ow!)=0A=0AI'm also planning on reading some of my favorite poems, =0Awhich = is how i always open my "act", so now I'm curious:=0A=0Awho are your favori= te poets? what are your fav poems? what draws you to these poems/poets? =0A= =0Ahit me back with your top, i dunno, three? four? i'd =0Alike to collect = poets/poems to read through prior to my reading, to expand my repertoire. i= 'm also interested in putting together a verbal collage of people's reading= interests/loves/trebles/trembles.=0A=0AM ========================================================================= Date: Thu, 10 Apr 2008 16:01:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Quasha Subject: JAWBONE reading, Quasha-Stein-Panza -Albany Friday, April 11 -- 6:30 PM Comments: To: dwlcx@earthlink.net Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=UTF-8; delsp=yes; format=flowed GEORGE QUASHA, CHARLES STEIN & MARY PANZA JAWBONE reading, in conjunction with Albany Poets, DATE: Friday, April 11 TIME: 6:30 PM LOCATION: UAG Gallery 247 Lark Street (b/w Lancaster and Jay) ----------------------------------------- George Quasha=E2=80=A6 is an artist and poet who works across mediums to explore principles =20 in common within language, sculpture, drawing, video, sound, =20 installation, and performance. Solo exhibitions of his axial stones =20 and axial drawings include the Baumgartner Gallery in New York =20 (Chelsea), the Slought Foundation in Philadelphia, and at the Samuel =20 Dorsky Museum of Art at SUNY New Paltz. This work is featured in the =20 recently published book, Axial Stones: An Art of Precarious Balance, =20 Foreword by Carter Ratcliff (North Atlantic Books: Berkeley, 2006). For his video installation work =E2=80=9Cart is: Speaking Portraits (in = the =20 performative indicative),=E2=80=9D he has recorded over 600 artists, = poets, =20 and composers (in 10 countries and 20 languages) saying what in their =20= view art is. This ongoing work (=E2=80=9Cart is/music is/poetry is=E2=80=9D= ) has =20 been exhibited at the Snite Museum of Art (University of Notre Dame), =20= at White Box in Chelsea, at the Samuel Dorsky Museum (SUNY New =20 Paltz), and in several other countries (including France and India), =20 and has been featured in several biennials (Wroclaw, Poland; Geneva, =20 Switzerland; Kingston, New York). Further extensions of this work in =20 speaking portraiture include =E2=80=9Cmyth is=E2=80=9D and =E2=80=9Cpeace = is.=E2=80=9D His =20 other work in axial video (including =E2=80=9CPulp Friction,=E2=80=9D = =E2=80=9CAxial =20 Objects,=E2=80=9D =E2=80=9CVerbal Objects,=E2=80=9D =E2=80=9CAxial = Landscapes=E2=80=9D) has appeared =20 internationally in museums, galleries, schools, and biennials. A 30-=20 year performance collaboration (video/language/sound) continues with =20 Gary Hill and Charles Stein. In 2006 he was awarded a Guggenheim Fellowship in video art. His other 14 books include poetry (Somapoetics, Giving the Lily Back =20 Her Hands, Ainu Dreams [with Chie Hasegawa], Preverbs [forthcoming]; =20 anthologies (America a Prophecy [with Jerome Rothenberg], Open Poetry =20= [with Ronald Gross], An Active Anthology [with Susan Quasha], The =20 Station Hill Blanchot Reader [with Charles Stein]); and writing on =20 art (Gary Hill: Language Willing; with Charles Stein: Tall Ships, =20 HanD HearD/liminal objects, Viewer). A new book on Gary Hill is =20 forthcoming from Ediciones Poligrafa (Barcelona), also in =20 collaboration with Charles Stein. Awards include a National Endowment for the Arts Fellowship in =20 poetry. He has taught at Stony Brook University (SUNY), Bard College, =20= New School University (Graduate Anthropology Department), and Naropa =20 University. With Susan Quasha he is founder/publisher of Barrytown/=20 Station Hill Press in Barrytown, New York. Charles Stein=E2=80=A6 is the author of 11 books, including The Hat Rack Tree; a massive =20 poetic project called theforestforthetrees; a text about the =20 Eleusinian Mysteries called Persephone Unveiled; and a forthcoming =20 translation of the Odyssey. Mary Panza=E2=80=A6 Vice President of Albany Poets is Albany's poetry diva. She =20 originated and hosted the poetry open mic at Border's and has been a =20 driving force in the poetry community for a number of years. Mary has =20= also been active in promoting, hosting, and participating in many =20 arts events through out Upstate New York. Mary has been the host of =20 the Singer/Songwriter stage at the annual LARKfest street fair since =20 2004 and was one of the first poets to perform in the 25 year history =20= of the arts event in 2006. Mary has published a number of poetry =20 chapbooks and was the producer of Volume, a compilation of Albany =20 area poets performing their work at local readings and open mics. =20 Mary is the host of Albany Poets' monthly poetry open mic, Poets =20 Speak Loud, at the Lark Tavern. Mary also serves as the Poetry Editor =20= for the new Capital Region edition of Chronogram Magazine. George Quasha 124 Station Hill Road Barrytown, NY 12507 845-758-5291 (home) 914-474-5610 (cell) 845-758-9838 (fax) www.quasha.com www.baumgartnergallery.net www.stationhill.org ========================================================================= Date: Thu, 10 Apr 2008 13:27:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Courtney Queeney Subject: writers writing about themselves as characters in their own work... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi All, I have been mulling over an idea for an essay for awhile, on the to= pic of poets who write about themselves in the third person, as if they wer= e a character in their own poetry. Some examples:Tomaz Salamun in "History"= , which begins: "Tomaz Salamun is a monster."Poems by Dean Young, Dan Chias= son, Terrance Hayes, Kenneth Koch, Walt Whitman. In prose, Philip Roth does= this in "Operation Shylock," Borges does this in "Borges y Yo." Obviously,= my list is mostly American and totally male. So, I am looking for any othe= r examples of poets writing about themselves as characters in their own poe= ms to round it out. I am new to this list. Thanks a lot for any help, Cour= tney Queeney _________________________________________________________________ Use video conversation to talk face-to-face with Windows Live Messenger. http://www.windowslive.com/messenger/connect_your_way.html?ocid=3DTXT_TAGLM= _WL_Refresh_messenger_video_042008= ========================================================================= Date: Thu, 10 Apr 2008 16:57:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Lords of Light ! It=?ISO-8859-1?Q?=B9s_a_new_issue_=8A._?= BlazeVOX 2k8 Spring 2008 Comments: To: ggatza@gmail.com Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable BlazeVOX 2k8 Lords of Light!! It=B9s a new issue http://www.blazevox.org http://www.blazevox.org http://www.blazevox.org BlazeVOX [New Frontier] Ben Lyle Bedard =20 Adam Strauss =20 Andrew Zitka =20 Robert Calero =20 Gerald Bosacker =20 Christian Nicholas=20 Rob Cook =20 Jeff Daily =20 Dave Schiralli =20 David Thornbrugh =20 David Applegate =20 Emily Brink =20 Evelyn Hampton =20 Felino Soriano =20 J.D. Mitchell-Lumsden J.D. Schraffenberger J. F. Quackenbush =20 John Estes =20 Mark Cunningham =20 Megan Martin =20 Michael Haeflinger=20 Michael Estabrook =20 Nava Fader =20 Betty Stork =20 Stephen Baraban =20 Phillip Lund =20 Paul Siegell =20 Peter J. Grieco =20 Ralph-Michael Chiaia Richard Lighthouse=20 R W Sturgess =20 Robert Hellam =20 Rosemarie Crisafi =20 Kyra Saari =20 Sam Dillon =20 Sarah Louise Parry=20 Mary Ann Sullivan =20 Tyler Cobb =20 Zachary C. Bush =20 Steven Zultanski =20 Mare Mikolum =20 Brian Foley =20 Alan May =20 sTEVEN p. rOGGENBUCK Allen Itz =20 BuffaloFOCUS: =20 Michael Sikkima // Russell Pascatore Oh yes, this is the catch phrase used by Thundar The Barbarian=20 ========================================================================= Date: Thu, 10 Apr 2008 18:40:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at The Poetry Project April In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Our windows are wide open and the weather is good here at Poetry Project headquarters. Tomorrow, we read Joe Ceravolo=B9s poems. Next week, more good readings. =20 Friday, April 11, 10 PM Spring in This World of Poor Mutts: A Reading for Joe Ceravolo Joel Lewis, Jim Behrle, David Shapiro, Evan Kennedy, Eileen Myles, Susie Timmons, John Coletti, Dustin Williamson, Corrine Fitzpatrick, and Arlo Quint will read work by Joe Ceravolo. As Rosemary Ceravolo writes in his bio, =B3Poetry was Joe's primary love. He lived and he died for poetry. Nothing else mattered as much to his sensibilities as a human being on this earth. Read him and weep. Read him and rejoice. He's here eternally.=B3 Monday, April 14, 8 PM Naropa Poets NYC Alumni Reading Jessica Rogers, Stefania Iryne Marthakis, Gary Parrish, Amy Matterer, Tyler Burba, Emily Crocker, Kim Essex, Lily Heehs, Patrick Scanlon, Bob Doto, Debrah Morkun, Cherie Yanek, Jonathan Pogoda, Danielle Vogel, H.R. Hegnauer and Helen de Give will read. Visit our website for reader bios. Wednesday, April 16, 8 PM Paul Beatty & Cecil Taylor Paul Beatty is the author of two books of poetry, Big Bank Take Little Bank and Joker, Joker, Deuce, and two novels, Tuff and The White Boy Shuffle. He was the editor of Hokum: An Anthology of African-American Humor. He lives i= n New York City. Pianist-composer Cecil Taylor is internationally known for the brilliance and audacious beauty of his music. He has recorded dozens of albums as a solo performer and with various ensembles over a period spannin= g five decades. He has incorporated poetry into his work in a number of ways over the years; in 1991 Leo Records released Chinampas, a recording which presents his poetry accompanied by multi-instrumental improvisations. And further into the future: Saturday, May 24, 2 PM Silent Art Auction Fundraiser Please join us for our 3rd biennial Silent Art Auction Fundraiser! View wor= k from established and emerging visual artists. Enjoy live performances and readings at the top of each hour on the Sanctuary stage. Shop for rare and signed books and printed matter. Purvey the activity from the cash bar on the balcony, then outbid your friends and fellow enthusiasts on your favorite works of art. If you can=B9t make the party, please contact us for information on proxy bidding. Every dollar earned will benefit the continuance of the Poetry Project! Performances by Bruce Andrews and Sally Silvers; Franklin Bruno; Legends (Elizabeth Reddin, Raquel Vogl and James Loman) and more t.b.a. Participating artists and writers include: Etel Adnan, Rackstraw Downes, George Schneeman, Andrei Codrescu, Ed Ruscha, Lawrence Ferlinghetti, Susan Bee, Star Black, Simone Fattal, Anne Waldman, Lee Friedlander, Mimi Gross, Ron Padgett, Jim Dine, and many more. Become a Poetry Project Member! http://poetryproject.com/membership.php 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, 10 Apr 2008 19:46:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: XP: Nat'l poetry queries In-Reply-To: <988133.3295.qm@web65107.mail.ac2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Shakespeare's sonnet which starts with the line, "They that have power to hurt and would do none" Pound's "The Seafarer" Appolinaire's "The Little Car" Ginsberg's "The White Shroud" The Turkish poet Sami Baydar's "The Sea Bird" On Thu, Apr 10, 2008 at 2:02 PM, Barry Schwabsky < b.schwabsky@btopenworld.com> wrote: > Wyatt, "They flee from me" > Ashbery, "Soonest Mended" > Yeats, "Crazy Jane Talks with the Bishop" > Stevens,"The Plain Sense of Things" > > > > ----- Original Message ---- > From: Metta Sama > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Thursday, 10 April, 2008 3:24:00 PM > Subject: XP: Nat'l poetry queries > > So, I'm doing a reading next week at the University > I teach in, & since it's nat'l poetry month, i'm > inviting folks to come up and read a poem by one of > their favorite poets > > (hey, so if you're near Greencastle & wanna participate, > let me know!) > > I'm also planning on reading some of my favorite poems, > which is how i always open my "act", so now I'm curious: > > who are your favorite poets? what are your fav poems? what draws you to > these poems/poets? > > hit me back with your top, i dunno, three? four? i'd > like to collect poets/poems to read through prior to my reading, to expand > my repertoire. i'm also interested in putting together a verbal collage of > people's reading interests/loves/trebles/trembles. > > M > ========================================================================= Date: Thu, 10 Apr 2008 20:14:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: town hall meeting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 8bit TOWN HALL MEETING Tues. Apr. 15, 6:30 pm Clemente Soto Velez: 107 Suffolk St., First Floor JOIN R.U.C.M.A.! (RISE UP CREATIVE MUSIC AND ARTS) STAND UP FOR INNOVATIVE MUSIC AND ARTS! The ongoing loss of venues, cultural centers and rehearsal spaces in NYC must be addressed. We must not only stop the erosion of NYC as a leader in the innovative arts, but develop strategies and actions to safeguard and guarantee the creation, performance and exhibition of serious, visionary contemporary music and art. "NOW'S THE TIME" for the community of artists and their supporters to make a stand. We are fighting for our livelihood – musicians need venues suitable in size and comfort, with a quality piano and sound/light systems. Practice and rehearsal studios. Affordable apartments. We need STABILITY – so as to keep and develop our community base. WE MUST STAND TOGETHER TO: ? run our own (subsidized) performance spaces ? help find, and pressure government to build, affordable housing for artists ? inspire and support each other and our local communities ? create a cooperative environment between arts groups ? save art in our schools – and thereby foster creativity and innovation ? use our collectivity to gain government support Changing the Conversation Rise Up Creative Music and Arts (RUCMA) is a grassroots alliance of musicians and music lovers, united to address their creative, political and practical concerns through advocacy and actualization of specific goals. RUCMA aims to change the role of artists in society by changing the role that art plays in the life of the average citizen. To accomplish this we must change the conversation surrounding the arts. History has shown that a thriving, creative artistic community is an essential for a healthy, prosperous, intellectually and spiritually vital society. We must now stand up and remind our civic leaders of the contributions we have made and continue to make. We must now stand up and refuse to have our contributions to continue to be taken for granted. We must now -- in unified voice -- stake our claim to our place in society and the value of our work. At this meeting we will discuss RUCMA's progress and future goals. Attendees will have the opportunity to join and become involved in future actions. Everything we do will be through Creative Action and with RESPECT. Join RUCMA -- for more info: www.rucma.org ========================================================================= Date: Thu, 10 Apr 2008 20:24:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: XP: Nat'l poetry queries MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: 7bit patchen - when we were here together yeats stolen child blake - auguries of innocence sakutaro - little things takuboku - anything ginsberg - sunflower sutra - supermarket in california On Thu, 10 Apr 2008 11:02:58 -0700 Barry Schwabsky writes: > Wyatt, "They flee from me" > Ashbery, "Soonest Mended" > Yeats, "Crazy Jane Talks with the Bishop" > Stevens,"The Plain Sense of Things" > > > > ----- Original Message ---- > From: Metta Sama > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Thursday, 10 April, 2008 3:24:00 PM > Subject: XP: Nat'l poetry queries > > So, I'm doing a reading next week at the University > I teach in, & since it's nat'l poetry month, i'm > inviting folks to come up and read a poem by one of > their favorite poets > > (hey, so if you're near Greencastle & wanna participate, > let me know!) > > I'm also planning on reading some of my favorite poems, > which is how i always open my "act", so now I'm curious: > > who are your favorite poets? what are your fav poems? what draws you > to these poems/poets? > > hit me back with your top, i dunno, three? four? i'd > like to collect poets/poems to read through prior to my reading, to > expand my repertoire. i'm also interested in putting together a > verbal collage of people's reading interests/loves/trebles/trembles. > > M > > ========================================================================= Date: Thu, 10 Apr 2008 20:46:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: reading and exhibit MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 8bit In conjunction with our current exhibition, Half-Wet, by Norma Markley, Y Gallery will host Monkey Business April 18th (Friday) @ 7:00 pm Poets Yuko Otomo Lee Williams Jeffrey Cyphers Wright Musician Debby Schwartz Multimedia (on iMac) TammyWorld.com — John Lucas Water — Katherine Powers Y Gallery 32-70 85th Street @ Northern Blvd. Jackson Heights, NY 11370 718.565.6258 DIRECTIONS. By Subway: Take the 7 train to 82nd St and walk north to Northern Blvd (3 blocks), then right 3 blocks to 85th St. F, V, E, R, G to Roosevelt/74th St. Then transfer to 7 train or take B32 bus to 82nd St or walk to 85th St or take a car service ($5). By Car: From Brooklyn or Midtown tunnel, take the BQE north to Northern Blvd exit, then go right (East) to 85th St. Turn left onto 85th St. This project is made possible with funds from the Decentralization Program, a regrant program of the New York State Council on the Arts, administered by the Queens Council on the Arts. ========================================================================= Date: Thu, 10 Apr 2008 20:04:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: XP: Nat'l poetry queries In-Reply-To: <1dec21ae0804101646u75110645q40a34d1b6deeb449@mail.gmail.com> Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Bern Porter's The Last Acts of Saint Fuck You Clark Coolidge - Anything from The Crystal Text Tom Phillips - The Humument Mina Loy - Anglo-Mongrels and the Rose Gertude Stein - All & anything from Tender Buttons ~mIEKAL On Apr 10, 2008, at 6:46 PM, Murat Nemet-Nejat wrote: > Shakespeare's sonnet which starts with the line, "They that have > power to > hurt and would do none" > Pound's "The Seafarer" > Appolinaire's "The Little Car" > Ginsberg's "The White Shroud" > The Turkish poet Sami Baydar's "The Sea Bird" > > On Thu, Apr 10, 2008 at 2:02 PM, Barry Schwabsky < > b.schwabsky@btopenworld.com> wrote: > >> Wyatt, "They flee from me" >> Ashbery, "Soonest Mended" >> Yeats, "Crazy Jane Talks with the Bishop" >> Stevens,"The Plain Sense of Things" >> ========================================================================= Date: Fri, 11 Apr 2008 01:10:09 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: blacksox@ATT.NET Subject: Re: XP: Nat'l poetry queries In-Reply-To: <20080410.202434.1904.9.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Notley - Where Leftover Misery Goes Olson - The Twist patchen - when we were here together yeats stolen child blake - auguries of innocence sakutaro - little things takuboku - anything ginsberg - sunflower sutra - supermarket in california On Thu, 10 Apr 2008 11:02:58 -0700 Barry Schwabsky writes: > Wyatt, "They flee from me" > Ashbery, "Soonest Mended" > Yeats, "Crazy Jane Talks with the Bishop" > Stevens,"The Plain Sense of Things" ========================================================================= Date: Thu, 10 Apr 2008 21:12:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: XP: Nat'l poetry queries MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Greencastle, cool name. Favorites: The moon and the night and the men/ John Berryman The Book of Hours, Rainer Maria Rilke Any poem from High Windows, Philip Larkin A Season in Hell, Rimbaud ----- Original Message ---- From: Murat Nemet-Nejat To: POETICS@LISTSERV.BUFFALO.EDU Sent: Thursday, April 10, 2008 7:46:21 PM Subject: Re: XP: Nat'l poetry queries Shakespeare's sonnet which starts with the line, "They that have power to hurt and would do none" Pound's "The Seafarer" Appolinaire's "The Little Car" Ginsberg's "The White Shroud" The Turkish poet Sami Baydar's "The Sea Bird" On Thu, Apr 10, 2008 at 2:02 PM, Barry Schwabsky < b.schwabsky@btopenworld.com> wrote: > Wyatt, "They flee from me" > Ashbery, "Soonest Mended" > Yeats, "Crazy Jane Talks with the Bishop" > Stevens,"The Plain Sense of Things" > > > > ----- Original Message ---- > From: Metta Sama > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Thursday, 10 April, 2008 3:24:00 PM > Subject: XP: Nat'l poetry queries > > So, I'm doing a reading next week at the University > I teach in, & since it's nat'l poetry month, i'm > inviting folks to come up and read a poem by one of > their favorite poets > > (hey, so if you're near Greencastle & wanna participate, > let me know!) > > I'm also planning on reading some of my favorite poems, > which is how i always open my "act", so now I'm curious: > > who are your favorite poets? what are your fav poems? what draws you to > these poems/poets? > > hit me back with your top, i dunno, three? four? i'd > like to collect poets/poems to read through prior to my reading, to expand > my repertoire. i'm also interested in putting together a verbal collage of > people's reading interests/loves/trebles/trembles. > > M > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 11 Apr 2008 03:27:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: rare concert MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 8bit A R T S F O R A R T 107 Suffolk Street, #3.5, NYC 10002 PRESS Contact: info@visionfestival.org Vision / RUCMA Series presents PETER BROTZMANN & HAN BENNINK Guests - Peter Evans and Tom Blancarte Dates/Times: SUNDAY April 20, 2008 Two Sets at 7 pm and 9 pm Place: LES Gallery at Clemente Soto Velez Cultural Center 107 Suffolk Street Cost: $20 per set / $12 students and seniors Full Info: www.visionfestival.org RUCMA's MESSAGE Innovative music and arts need a strong STABLE Community base in Manhattan - come to Town Hall Meeting Tuesday April 15 at CSV at 6:30 "Peter Brotzmann has exemplified European improvised music for over 40 years.” - All About Jazz “What makes Bennink special is his manifest love for the music, a love that inclines him to tear down the cardboard walls that too often separate different schools of jazz.” – Drummer World New York, NY – Arts for Art proudly presents a special concert for the Vision/ RUCMA series with two legends of modern music, saxophonist Peter Brotzmann and drummer Han Bennink. The two free music masters have a long history, beginning with Brotzmann’s landmark 1968 recording, “Machine Gun.” A trio with Belgian pianist Fred Van Hove grew out of these collaborations. But in 1976 the two free music masters began work as a duo releasing a series of recordings, concluding with 1980’s “Atsugi Concert.” They weren’t heard from again “on wax” until Brotzmann booked a series of performances in early 2004 with the explicit intention of capturing the performances for later release. The result, “Still Popular After All Those Years” was issued on vinyl on Brotzmann’s own resurrected BRO label later that same year. Joining them for this special performance are trumpeter Peter Evans and bassist Tom Blancarte. Brotzmann was involved with the Fluxus movement, but grew dissatisfied with art galleries and exhibitions. He has designed most of his own album covers. One of his first musical partnerships was that with bassist, Peter Kowald. In the 1980s, he flirted with heavy metal and noise rock, including a stint in Last Exit. He has released over thirty albums as a bandleader, and has appeared on dozens more. His "Die Like A Dog Quartet" (with Toshinori Kondo, William Parker and Hamid Drake) is loosely inspired by saxophonist Albert Ayler, a prime influence on Brötzmann's music. Since 1997 he has toured and recorded regularly with the Peter Brötzmann Chicago Tentet (initially an Octet). His latest release, ”Born Broke” is a series of duets with drummer Peter Uuskyla. Through the 1960s Han Bennink drummed with American musicians visiting the Netherlands, including Eric Dolphy, Dexter Gordon and Sonny Rollins. He became a central figure in the emerging European free improvisation scene, co-founding the Instant Composers Pool in 1967 with Misha Mengelberg and Willem Breuker. Through much of the 1990s he played in Clusone 3 with saxophonist and clarinetist Michael Moore and cellist Ernst Reijseger. His style is wide-ranging, running from conventional jazz drumming to highly unconventional free improvisation, for which he often uses whatever objects happen to be onstage (chairs, music stands, instrument cases), his own body (a favorite device involves putting a drumstick in his mouth and striking it with the other stick), and the entire performance space -- the floor, doors, and walls. Trumpeter Peter Evans has been a part of the avante-garde music community in New York City since 2003. His recording debut as a bandleader, “The Peter Evans Quartet” was released on Firehouse 12 in 2007. Recent collaborators include: Perry Robinson, Fred Frith, Ned Rothenberg, Okkyung Lee, and Chris Speed. Tom Blancarte is a bassist, improviser and composer living and working in New York City. He is a busy performer in a variety of ensembles in the New York area, his most active groups being the hyperactive duo Sparks with trumpeter Peter Evans, Dave Smith’s Who Put The Bad Mouth On Me, the trio Totem, and the Peter Evans Quartet. ========================================================================= Date: Fri, 11 Apr 2008 01:01:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: James Sanders Subject: aslongasittakes-- a sound poetry magazine MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 8bit We're pleased to announce that the first issue of aslongasittakes is up and running at http://www.aslongasittakes.org. It includes work by David Applegate, David Braden, Christian Bök, Brian Howe, Geof Huth, Donna Kuhn, Jörg Piringer, Randy Prunty, Lily Robert-Foley (with mEIKAL aND) and Christine Wertheim, and features the work of Jim Andrews. Let us know what you think. The Atlanta Poets Group ========================================================================= Date: Fri, 11 Apr 2008 08:13:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Cunningham Subject: Re: rare concert In-Reply-To: <20080411.034640.1364.6.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1250" Content-Transfer-Encoding: quoted-printable That is indeed a rare concert - and a privilege for those interested in = the jazz avant garde (although this term, after 50 years, has probably lost = its meaning a long time ago) - to hear the greats of the European jazz avant garde theatre. Brotzmann was here in Winnipeg, Manitoba, Canada (that's north of the U.S. border) a few years ago but, to my great misfortune, I = did not find out about it until the evening of the concert and could not = roust enough funds to go on short notice. Enjoy the show and know that I wish = I could be amongst you. John Cunningham -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of steve d. dalachinsky Sent: April 11, 2008 2:27 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: rare concert A R T S F O R A R T 107 Suffolk Street, #3.5, NYC 10002 PRESS Contact: info@visionfestival.org Vision / RUCMA Series presents PETER BROTZMANN & HAN BENNINK Guests - Peter Evans and Tom Blancarte Dates/Times: SUNDAY April 20, 2008 Two Sets at 7 pm and 9 pm Place: LES Gallery at Clemente Soto Velez Cultural =20 Center 107 Suffolk Street Cost: $20 per set / $12 students and seniors Full Info: www.visionfestival.org RUCMA's MESSAGE Innovative music and arts need a strong STABLE Community base in =20 Manhattan - come to Town Hall Meeting Tuesday April 15 at CSV at 6:30 "Peter Brotzmann has exemplified European improvised music for over =20 40 years.=14 - All About Jazz =13What makes Bennink special is his manifest love for the music, a =20 love that inclines him to tear down the cardboard walls that too =20 often separate different schools of jazz.=14 =16 Drummer World New York, NY =16 Arts for Art proudly presents a special concert for =20 the Vision/ RUCMA series with two legends of modern music, =20 saxophonist Peter Brotzmann and drummer Han Bennink. The two free =20 music masters have a long history, beginning with Brotzmann=12s =20 landmark 1968 recording, =13Machine Gun.=14 A trio with Belgian pianist = =20 Fred Van Hove grew out of these collaborations. But in 1976 the two =20 free music masters began work as a duo releasing a series of =20 recordings, concluding with 1980=12s =13Atsugi Concert.=14 They = weren=12t =20 heard from again =13on wax=14 until Brotzmann booked a series of =20 performances in early 2004 with the explicit intention of capturing =20 the performances for later release. The result, =13Still Popular After = All Those Years=14 was issued on vinyl on Brotzmann=12s own resurrected = BRO label later that same year. Joining them for this special =20 performance are trumpeter Peter Evans and bassist Tom Blancarte. Brotzmann was involved with the Fluxus movement, but grew =20 dissatisfied with art galleries and exhibitions. He has designed most =20 of his own album covers. One of his first musical partnerships was =20 that with bassist, Peter Kowald. In the 1980s, he flirted with heavy =20 metal and noise rock, including a stint in Last Exit. He has =20 released over thirty albums as a bandleader, and has appeared on =20 dozens more. His "Die Like A Dog Quartet" (with Toshinori Kondo, =20 William Parker and Hamid Drake) is loosely inspired by saxophonist =20 Albert Ayler, a prime influence on Brvtzmann's music. Since 1997 he =20 has toured and recorded regularly with the Peter Brvtzmann Chicago =20 Tentet (initially an Octet). His latest release, =14Born Broke=14 is a = series of duets with drummer Peter Uuskyla. Through the 1960s Han Bennink drummed with American musicians =20 visiting the Netherlands, including Eric Dolphy, Dexter Gordon and =20 Sonny Rollins. He became a central figure in the emerging European =20 free improvisation scene, co-founding the Instant Composers Pool in =20 1967 with Misha Mengelberg and Willem Breuker. Through much of the =20 1990s he played in Clusone 3 with saxophonist and clarinetist Michael =20 Moore and cellist Ernst Reijseger. His style is wide-ranging, =20 running from conventional jazz drumming to highly unconventional free =20 improvisation, for which he often uses whatever objects happen to be =20 onstage (chairs, music stands, instrument cases), his own body (a =20 favorite device involves putting a drumstick in his mouth and =20 striking it with the other stick), and the entire performance space =20 -- the floor, doors, and walls. Trumpeter Peter Evans has been a part of the avante-garde music =20 community in New York City since 2003. His recording debut as a =20 bandleader, =13The Peter Evans Quartet=14 was released on Firehouse 12 = in =20 2007. Recent collaborators include: Perry Robinson, Fred Frith, Ned =20 Rothenberg, Okkyung Lee, and Chris Speed. Tom Blancarte is a bassist, improviser and composer living and =20 working in New York City. He is a busy performer in a variety of =20 ensembles in the New York area, his most active groups being the =20 hyperactive duo Sparks with trumpeter Peter Evans, Dave Smith=12s Who =20 Put The Bad Mouth On Me, the trio Totem, and the Peter Evans Quartet. No virus found in this incoming message. Checked by AVG.=20 Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: = 10/04/2008 5:36 PM =20 No virus found in this outgoing message. Checked by AVG.=20 Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: = 10/04/2008 5:36 PM =20 ========================================================================= Date: Fri, 11 Apr 2008 09:10:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlie Rossiter Subject: Re: XP: Nat'l poetry queries MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit Rexroth "no word" Snyder Maverick Bar (much of Turtle Island) Bly "Call and Answer" T'ao Ch'ien-- most anything Charlie -- "WALK in the world you can't see anything from a car window, still less from a plane or from the moon" William Carlos Williams www.poetrypoetry.com where you hear poems read by poets who wrote them www.myspace.com/charlierossiter hear Charlie as solo performance poet www.myspace.com/avantretro (hear avantretro poems) www.myspace.com/whiskeybucketbluesreview hear Charlie & Henry sing the blues www.myspace.com/jackthe71special hear Jack's original blues, blues rock & roots ========================================================================= Date: Fri, 11 Apr 2008 09:30:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Ron Padgett Sings His Poems on A Prairie Home Companion Comments: To: "NewPoetry: Contemporary Poetry News & Views" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-7 Content-Transfer-Encoding: quoted-printable April 5, 2008 This week = Well, he doesn't exactly sing ...=0A=0A=0A=0AApril 5, 2008=0A =0AThis week = on A Prairie Home Companion, we=A2re setting up ourgiant radio antenna atop= the historic Town Hall in New York City for three shows in April. Thisweek= =A2s special guests include, the phenomenon in boots and a hat, Brad Paisle= y,American film actress Kimberly Williams-Paisley, poet Ron Padgett, and th= esubject of more email inquiries at APHC than anyone else, legendary Scotti= shfolk-singer Jean Redpath. Also with us, The Royal Academy of Radio Actors= : TimRussell, Sue Scott, and Fred Newman, The Guy=A2s All-Star Shoe Band, a= nd The Newsfrom Lake Wobegon. Join us this week fromaction-packed West 43rd= & Broadway.=0A =0Ahttp://prairiehome.publicradio.org/programs/2008/04/05/= =0A =0A =0A_______=0A=0A=0A=0Ahttp://www.amyking.org =0Ahttp://redherring.u= s=0A=0A=0A=0A=0A=0A__________________________________________________=0ADo = You Yahoo!?=0ATired of spam? Yahoo! Mail has the best spam protection arou= nd =0Ahttp://mail.yahoo.com ========================================================================= Date: Fri, 11 Apr 2008 07:35:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Re: XP: Nat'l poetry queries In-Reply-To: <461292.48273.qm@web52409.mail.re2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline anything from Sappho Rimbaud Emily Dickinson Santoka Francois Villon--Ballad of the Hanged Federico Garcia Lorca-Poet in New York Pier Paulo Pasolini-Roman Poems Mayakovksy--Futurist Works Omar Caseres--Defensa del Idolo On Thu, Apr 10, 2008 at 9:12 PM, steve russell wrote: > Greencastle, cool name. > > Favorites: The moon and the night and the men/ John Berryman > The Book of Hours, Rainer Maria Rilke > Any poem from High Windows, Philip Larkin > A Season in Hell, Rimbaud > > > > > ----- Original Message ---- > From: Murat Nemet-Nejat > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Thursday, April 10, 2008 7:46:21 PM > Subject: Re: XP: Nat'l poetry queries > > Shakespeare's sonnet which starts with the line, "They that have power to > hurt and would do none" > Pound's "The Seafarer" > Appolinaire's "The Little Car" > Ginsberg's "The White Shroud" > The Turkish poet Sami Baydar's "The Sea Bird" > > On Thu, Apr 10, 2008 at 2:02 PM, Barry Schwabsky < > b.schwabsky@btopenworld.com> wrote: > > > Wyatt, "They flee from me" > > Ashbery, "Soonest Mended" > > Yeats, "Crazy Jane Talks with the Bishop" > > Stevens,"The Plain Sense of Things" > > > > > > > > ----- Original Message ---- > > From: Metta Sama > > To: POETICS@LISTSERV.BUFFALO.EDU > > Sent: Thursday, 10 April, 2008 3:24:00 PM > > Subject: XP: Nat'l poetry queries > > > > So, I'm doing a reading next week at the University > > I teach in, & since it's nat'l poetry month, i'm > > inviting folks to come up and read a poem by one of > > their favorite poets > > > > (hey, so if you're near Greencastle & wanna participate, > > let me know!) > > > > I'm also planning on reading some of my favorite poems, > > which is how i always open my "act", so now I'm curious: > > > > who are your favorite poets? what are your fav poems? what draws you to > > these poems/poets? > > > > hit me back with your top, i dunno, three? four? i'd > > like to collect poets/poems to read through prior to my reading, to > expand > > my repertoire. i'm also interested in putting together a verbal collage > of > > people's reading interests/loves/trebles/trembles. > > > > M > > > > __________________________________________________ > Do You Yahoo!? > Tired of spam? Yahoo! Mail has the best spam protection around > http://mail.yahoo.com > ========================================================================= Date: Fri, 11 Apr 2008 08:03:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: XP: Nat'l poetry queries In-Reply-To: <1dec21ae0804101646u75110645q40a34d1b6deeb449@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit I just heard Meryl Streep and John Guare read two of my favorite poems at an Academy of American Poets fundraiser so I offer these two as ideas to you for your reading: Wallace Stevens' Sunday Morning and William Carlos Williams "Of Asphodel, That Greeny Flower". They went over well at a packed Avery Fisher Hall, particularly Streep's rendition of Stevens. Regards, Tom Savage Murat Nemet-Nejat wrote: Shakespeare's sonnet which starts with the line, "They that have power to hurt and would do none" Pound's "The Seafarer" Appolinaire's "The Little Car" Ginsberg's "The White Shroud" The Turkish poet Sami Baydar's "The Sea Bird" On Thu, Apr 10, 2008 at 2:02 PM, Barry Schwabsky < b.schwabsky@btopenworld.com> wrote: > Wyatt, "They flee from me" > Ashbery, "Soonest Mended" > Yeats, "Crazy Jane Talks with the Bishop" > Stevens,"The Plain Sense of Things" > > > > ----- Original Message ---- > From: Metta Sama > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Thursday, 10 April, 2008 3:24:00 PM > Subject: XP: Nat'l poetry queries > > So, I'm doing a reading next week at the University > I teach in, & since it's nat'l poetry month, i'm > inviting folks to come up and read a poem by one of > their favorite poets > > (hey, so if you're near Greencastle & wanna participate, > let me know!) > > I'm also planning on reading some of my favorite poems, > which is how i always open my "act", so now I'm curious: > > who are your favorite poets? what are your fav poems? what draws you to > these poems/poets? > > hit me back with your top, i dunno, three? four? i'd > like to collect poets/poems to read through prior to my reading, to expand > my repertoire. i'm also interested in putting together a verbal collage of > people's reading interests/loves/trebles/trembles. > > M > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 11 Apr 2008 10:42:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christina E Lovin Subject: Has anyone been to Footpaths in the Azores? In-Reply-To: <20080410.202434.1904.9.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable I will be leaving Kentucky in about three weeks for a four-week writing = residency at Footpaths House to Creativity on the island of Flores in = the Azores (yes, I had to look on a map to find it, too). I was = wondering if any of you have been there and, if so, what your experience = was. =20 I just learned that I may be there by myself (with no other artists or = writers or even a caretaker for the property). I don't speak Portuguese = and only a little Spanish. I'm up for an adventure, but I'm wondering = if I should concerned. =20 Do any of you have an experience with the Azores or this particular = artist retreat? Thanks, Christina Lovin =20 ========================================================================= Date: Fri, 11 Apr 2008 16:46:47 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: SEGUE 4/12: TONYA FOSTER & ANNE TARDOS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The Segue Reading Series presents =20 Tonya Foster & Anne Tardos =20 Saturday, April 12, 2008 ** 4PM SHARP** at the Bowery Poetry Club (308 Bowery, just north of Houston) $6 admission goes to support the readers hosted by erica kaufman & Tim Peterson =20 =20 Tonya Foster is the author of poetry, fiction, and essays that have been published in a variety of journals from Callaloo to The Hat to Western Humanities Review. She is the author of A Swarm of Bees in High Court (Belladonna Books) and co-editor of Third Mind: Creative Writing Through Visual Art. She is currently completing a cross-genre piece on New Orleans,= and Monkey Talk, an inter-genre piece about race, paranoia, and surveillance.=20 =20 From "(In)Somniloquy" =20 History swarms in=20 the marrow of your thoughts (,/.) as=20 she lies there (,) sleepless=20 history swarms in.=20 To eat or not to? Then what?=20 She clears her throat.=20 "You can't be eatin'=20 from everybody," her aunt warned=20 after the first loss.=20 "You can't be eatin'=20 like you don't mind trading a=20 baby for red beans."=20 That yarn's redness bleeds Persephone, Eve, Jemima, Rine. More squirrels.=20 That yarn's redness: eating from a strange pot/tree/hand/mind draws blood o= r sleep.=20 =20 Anne Tardos is a poet and visual artist. She has published several books of poetry and the multimedia performance work and radio play Among Men. She is the editor of Thing of Beauty by Jackson Mac Low, from the Universit= y of California Press this fall. Her new book I Am You is just out from Salt Publishing.=20 81 =20 It's time to=20 let go of the narrative section of this poem and let the ride begin =20 Haa-ooh-aah =20 MMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMM MMMMMMMMMMMMMMMMMMMMMMMMMMM =20 Won't you be=20 my silicone doll Won't you be=20 my forever stamp No I will=20 not fix your computer =20 Music=20 You =20 Possibly =20 =20 --from "Letting=20 Go" ========================================================================= Date: Fri, 11 Apr 2008 17:46:59 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roy Exley Subject: Re: XP Nat'l poetry queries Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks for the invitation to list - this one's going to run and run! - here goes :- W.S.Graham - 'The Thermal Stair' Tom Raworth - 'Ah The Poetry of Miss Parrot's Feet Demonstrating the Tango' Burns Singer- 'A Sort of Language' Frank O'Hara- 'On Rachmaninoff's Birthday' Lee Harwood - 'Interrogation' ========================================================================= Date: Fri, 11 Apr 2008 13:00:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: XP: Nat'l poetry queries MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit also lorca somnabule ballad On Fri, 11 Apr 2008 07:35:59 -0700 David Chirot writes: > anything from > Sappho > Rimbaud > Emily Dickinson > Santoka > Francois Villon--Ballad of the Hanged > Federico Garcia Lorca-Poet in New York > Pier Paulo Pasolini-Roman Poems > Mayakovksy--Futurist Works > Omar Caseres--Defensa del Idolo > > > On Thu, Apr 10, 2008 at 9:12 PM, steve russell > > wrote: > > > Greencastle, cool name. > > > > Favorites: The moon and the night and the men/ John Berryman > > The Book of Hours, Rainer Maria Rilke > > Any poem from High Windows, Philip Larkin > > A Season in Hell, Rimbaud > > > > > > > > > > ----- Original Message ---- > > From: Murat Nemet-Nejat > > To: POETICS@LISTSERV.BUFFALO.EDU > > Sent: Thursday, April 10, 2008 7:46:21 PM > > Subject: Re: XP: Nat'l poetry queries > > > > Shakespeare's sonnet which starts with the line, "They that have > power to > > hurt and would do none" > > Pound's "The Seafarer" > > Appolinaire's "The Little Car" > > Ginsberg's "The White Shroud" > > The Turkish poet Sami Baydar's "The Sea Bird" > > > > On Thu, Apr 10, 2008 at 2:02 PM, Barry Schwabsky < > > b.schwabsky@btopenworld.com> wrote: > > > > > Wyatt, "They flee from me" > > > Ashbery, "Soonest Mended" > > > Yeats, "Crazy Jane Talks with the Bishop" > > > Stevens,"The Plain Sense of Things" > > > > > > > > > > > > ----- Original Message ---- > > > From: Metta Sama > > > To: POETICS@LISTSERV.BUFFALO.EDU > > > Sent: Thursday, 10 April, 2008 3:24:00 PM > > > Subject: XP: Nat'l poetry queries > > > > > > So, I'm doing a reading next week at the University > > > I teach in, & since it's nat'l poetry month, i'm > > > inviting folks to come up and read a poem by one of > > > their favorite poets > > > > > > (hey, so if you're near Greencastle & wanna participate, > > > let me know!) > > > > > > I'm also planning on reading some of my favorite poems, > > > which is how i always open my "act", so now I'm curious: > > > > > > who are your favorite poets? what are your fav poems? what draws > you to > > > these poems/poets? > > > > > > hit me back with your top, i dunno, three? four? i'd > > > like to collect poets/poems to read through prior to my reading, > to > > expand > > > my repertoire. i'm also interested in putting together a verbal > collage > > of > > > people's reading interests/loves/trebles/trembles. > > > > > > M > > > > > > > __________________________________________________ > > Do You Yahoo!? > > Tired of spam? Yahoo! Mail has the best spam protection around > > http://mail.yahoo.com > > > > ========================================================================= Date: Fri, 11 Apr 2008 13:19:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: avante-garde MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1250 Content-Transfer-Encoding: 7bit yes i totally agree about the term avante garde especially since everything when it's new ala louis armstrong and well way back to cave drawings is ....then it's not interesting question what if anything today can reallly be considered avante garde?? not just merely foward thinking but truly avante-garde besides ecology???? On Fri, 11 Apr 2008 08:13:07 -0500 John Cunningham writes: > That is indeed a rare concert - and a privilege for those interested > in the > jazz avant garde (although this term, after 50 years, has probably > lost its > meaning a long time ago) - to hear the greats of the European jazz > avant > garde theatre. Brotzmann was here in Winnipeg, Manitoba, Canada > (that's > north of the U.S. border) a few years ago but, to my great > misfortune, I did > not find out about it until the evening of the concert and could not > roust > enough funds to go on short notice. Enjoy the show and know that I > wish I > could be amongst you. > John Cunningham > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of steve d. dalachinsky > Sent: April 11, 2008 2:27 AM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: rare concert > > A R T S F O R A R T 107 Suffolk Street, #3.5, NYC 10002 > > PRESS Contact: info@visionfestival.org > > Vision / RUCMA Series presents > > PETER BROTZMANN & HAN BENNINK > Guests - Peter Evans and Tom Blancarte > > Dates/Times: SUNDAY April 20, 2008 Two Sets at 7 pm and 9 > pm > > Place: LES Gallery at Clemente Soto Velez Cultural > Center 107 Suffolk Street > Cost: $20 per set / $12 students and seniors > > Full Info: www.visionfestival.org > > RUCMA's MESSAGE > Innovative music and arts need a strong STABLE Community base in > Manhattan - come to Town Hall Meeting Tuesday April 15 at CSV at > 6:30 > "Peter Brotzmann has exemplified European improvised music for over > > 40 years. - All About Jazz > > What makes Bennink special is his manifest love for the music, a > love that inclines him to tear down the cardboard walls that too > often separate different schools of jazz.  Drummer World > > > New York, NY  Arts for Art proudly presents a special concert for > the Vision/ RUCMA series with two legends of modern music, > saxophonist Peter Brotzmann and drummer Han Bennink. The two free > > music masters have a long history, beginning with Brotzmanns > landmark 1968 recording, Machine Gun. A trio with Belgian pianist > > Fred Van Hove grew out of these collaborations. But in 1976 the two > > free music masters began work as a duo releasing a series of > recordings, concluding with 1980s Atsugi Concert. They werent > > heard from again on wax until Brotzmann booked a series of > performances in early 2004 with the explicit intention of capturing > > the performances for later release. The result, Still Popular > After > All Those Years was issued on vinyl on Brotzmanns own resurrected > > BRO label later that same year. Joining them for this special > performance are trumpeter Peter Evans and bassist Tom Blancarte. > > > Brotzmann was involved with the Fluxus movement, but grew > dissatisfied with art galleries and exhibitions. He has designed > most > of his own album covers. One of his first musical partnerships was > > that with bassist, Peter Kowald. In the 1980s, he flirted with heavy > > metal and noise rock, including a stint in Last Exit. He has > released over thirty albums as a bandleader, and has appeared on > dozens more. His "Die Like A Dog Quartet" (with Toshinori Kondo, > William Parker and Hamid Drake) is loosely inspired by saxophonist > > Albert Ayler, a prime influence on Brvtzmann's music. Since 1997 he > > has toured and recorded regularly with the Peter Brvtzmann Chicago > > Tentet (initially an Octet). His latest release, Born Broke is a > > series of duets with drummer Peter Uuskyla. > > > Through the 1960s Han Bennink drummed with American musicians > visiting the Netherlands, including Eric Dolphy, Dexter Gordon and > > Sonny Rollins. He became a central figure in the emerging European > > free improvisation scene, co-founding the Instant Composers Pool in > > 1967 with Misha Mengelberg and Willem Breuker. Through much of the > > 1990s he played in Clusone 3 with saxophonist and clarinetist > Michael > Moore and cellist Ernst Reijseger. His style is wide-ranging, > running from conventional jazz drumming to highly unconventional > free > improvisation, for which he often uses whatever objects happen to be > > onstage (chairs, music stands, instrument cases), his own body (a > favorite device involves putting a drumstick in his mouth and > striking it with the other stick), and the entire performance space > > -- the floor, doors, and walls. > > > Trumpeter Peter Evans has been a part of the avante-garde music > community in New York City since 2003. His recording debut as a > bandleader, The Peter Evans Quartet was released on Firehouse 12 > in > 2007. Recent collaborators include: Perry Robinson, Fred Frith, Ned > > Rothenberg, Okkyung Lee, and Chris Speed. > > Tom Blancarte is a bassist, improviser and composer living and > working in New York City. He is a busy performer in a variety of > ensembles in the New York area, his most active groups being the > hyperactive duo Sparks with trumpeter Peter Evans, Dave Smiths Who > > Put The Bad Mouth On Me, the trio Totem, and the Peter Evans > Quartet. > > No virus found in this incoming message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: > 10/04/2008 > 5:36 PM > > > No virus found in this outgoing message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: > 10/04/2008 > 5:36 PM > > > ========================================================================= Date: Fri, 11 Apr 2008 19:08:24 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roy Exley Subject: Roy Exley - Re: XP: Nat'l poetry queries Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Metta Thanks for the invitation to list - this one's going to run and run! - here goes :- W.S.Graham - 'The Thermal Stair' Tom Raworth - 'Ah The Poetry of Miss Parrot's Feet Demonstrating the Tango' Burns Singer- 'A Sort of Language' Frank O'Hara- 'On Rachmaninoff's Birthday' Lee Harwood - 'Interrogation' ========================================================================= Date: Fri, 11 Apr 2008 14:36:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Metta Sama Subject: Re: XP: Nat'l poetry queries MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit these are fantastic. never tried any of them at a reading; making a list to read read read. in no particular order. Terrance Hayes' "Sonnet" Mary Ruefle's "Memling's Veil" Harryette Mullen's "[Chaste, apprehended, collared, and cuffed.]" Lisa Fishman's "A" M ========================================================================= Date: Fri, 11 Apr 2008 19:38:14 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roy Exley Subject: Re: - Avant(e)-garde Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Steve, Well, I suppose avant-garde is a modernist concept and now that modernism Is a part of history, an anachronism as far as contemporary culture is concerned, then its concepts can no longer apply to what is happening now, in this post-postmodernist age of rampant pluralism. More later. Roy Exley. ========================================================================= Date: Fri, 11 Apr 2008 11:39:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Ron Padgett Sings His Poems on A Prairie Home Companion In-Reply-To: <56957.17010.qm@web83312.mail.sp1.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit It's wonderful that Ron is singing or something on Prairie Home Companion. I just read his new book How To Be Perfect and it's marvelous, particularly the title poem. Regards, Tom Savage amy king wrote: April 5, 2008 This week Well, he doesn't exactly sing ... April 5, 2008 This week on A Prairie Home Companion, we¢re setting up ourgiant radio antenna atop the historic Town Hall in New York City for three shows in April. Thisweek¢s special guests include, the phenomenon in boots and a hat, Brad Paisley,American film actress Kimberly Williams-Paisley, poet Ron Padgett, and thesubject of more email inquiries at APHC than anyone else, legendary Scottishfolk-singer Jean Redpath. Also with us, The Royal Academy of Radio Actors: TimRussell, Sue Scott, and Fred Newman, The Guy¢s All-Star Shoe Band, and The Newsfrom Lake Wobegon. Join us this week fromaction-packed West 43rd & Broadway. http://prairiehome.publicradio.org/programs/2008/04/05/ _______ http://www.amyking.org http://redherring.us __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Fri, 11 Apr 2008 15:10:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: avante-garde In-Reply-To: <20080411.131951.484.11.skyplums@juno.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Re: avant garde: how about if we all agree to just substitute "you know, those guys," so that the information afforded by even an obsolete term can be replaced by total confusion? Makes for a better party until the neighbors call the cops. Mark At 01:19 PM 4/11/2008, you wrote: >yes i totally agree about the term avante garde especially since >everything when it's new ala louis armstrong >and well way back to cave drawings is ....then it's not >interesting question what if anything today can reallly be considered >avante garde?? > >not just merely foward thinking but truly avante-garde besides >ecology???? ========================================================================= Date: Fri, 11 Apr 2008 15:05:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Devaney Subject: GEORGE OPPEN Tribute at Writers House on PennSound Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="ISO-8859-1" A Celebration of George Oppen's 100 Birthday featuring 100 minutes of tal= k and poetry honoring Oppen, hosted by Rachel Blau DuPlessis and Thomas Devaney, and featuring Stephen Cope, George Economou, Al Filreis, Michael= Heller, Ann Lauterbach, Tom Mandel, Bob Perelman, and Ron Silliman. OPPEN at 100=20 at the KELLY WRITERS HOUSE=20 on PennSound http://writing.upenn.edu/pennsound/ and -- http://writing.upenn.edu/pennsound/x/Oppen-Centennial-KWH.html ========================================================================= Date: Fri, 11 Apr 2008 17:19:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: avante-garde In-Reply-To: <7.0.1.0.1.20080411150800.06beb130@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Instead, let's just use "the cops" each time we mean "avant garde." Ryan On Fri, Apr 11, 2008 at 3:10 PM, Mark Weiss wrote: > Re: avant garde: how about if we all agree to just substitute "you know, > those guys," so that the information afforded by even an obsolete term can > be replaced by total confusion? Makes for a better party until the neighbors > call the cops. > > Mark > > At 01:19 PM 4/11/2008, you wrote: > > > yes i totally agree about the term avante garde especially since > > everything when it's new ala louis armstrong > > and well way back to cave drawings is ....then it's not > > interesting question what if anything today can reallly be considered > > avante garde?? > > > > not just merely foward thinking but truly avante-garde besides > > ecology???? > > > ========================================================================= Date: Fri, 11 Apr 2008 16:28:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Cunningham Subject: Re: - Avant(e)-garde In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1250" Content-Transfer-Encoding: 7bit I wonder if, in one hundred years, someone (I was going to say we'll but I don't think that I'll be around at that time) will be talking about post-post-post-post-post-post modernism. Better yet, maybe its time to think of a new term and leave the posts to the fences and corrals. John Cunningham -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Roy Exley Sent: April 11, 2008 1:38 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: - Avant(e)-garde Steve, Well, I suppose avant-garde is a modernist concept and now that modernism Is a part of history, an anachronism as far as contemporary culture is concerned, then its concepts can no longer apply to what is happening now, in this post-postmodernist age of rampant pluralism. More later. Roy Exley. No virus found in this incoming message. Checked by AVG. Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: 10/04/2008 5:36 PM No virus found in this outgoing message. Checked by AVG. Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: 10/04/2008 5:36 PM ========================================================================= Date: Fri, 11 Apr 2008 15:08:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: avante-garde MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable ----- Original Message ---- From: Ryan Daley =0ATo: POETICS@LISTSERV.BUFFALO.EDU=0ASent: Friday, 11 April, 2= 008 10:19:28 PM=0ASubject: Re: avante-garde=0A=0AInstead, let's just use "t= he cops" each time we mean "avant garde."=0A=0ARyan=0A=0AOn Fri, Apr 11, 20= 08 at 3:10 PM, Mark Weiss wrote:=0A=0A> Re: avant = garde: how about if we all agree to just substitute "you know,=0A> those gu= ys," so that the information afforded by even an obsolete term can=0A> be r= eplaced by total confusion? Makes for a better party until the neighbors=0A= > call the cops.=0A>=0A> Mark=0A>=0A> At 01:19 PM 4/11/2008, you wrote:=0A>= =0A> > yes i totally agree about the term avante garde especially since=0A>= > everything when it's new ala louis armstrong=0A> > and well way back to = cave drawings is ....then it's not=0A> > interesting question what if anyt= hing today can reallly be considered=0A> > avante garde??=0A> >=0A> > not j= ust merely foward thinking but truly avante-garde besides=0A> > ecology????= =0A> >=0A> ========================================================================= Date: Fri, 11 Apr 2008 18:26:00 -0400 Reply-To: az421@freenet.carleton.ca Sender: UB Poetics discussion group From: Rob McLennan Subject: the ottawa small press book fair Content-transfer-encoding: 7BIT spring 2008 edition will be happening June 21, 2008; information here; http://smallpressbookfair.blogspot.com/2008/04/ottawa-small-press-book-fair-spring.html rob -- 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 .... 2007-8 writer in residence, U of Alberta * http://robmclennan.blogspot.com/ ========================================================================= Date: Fri, 11 Apr 2008 16:07:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eireene Nealand Subject: Re: - Avant(e)-garde In-Reply-To: <002c01c89c1b$0b805930$016fa8c0@johnbedroom> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline i really love the post-avant thing because it says something funny about temporality, and not until we think through that new temporal thing will we be free of the post-post-post-posts. & so, let's get going on that... any ideas about the temporality of this post-avant thing? the post-language poets are a good place to look (the subject who speaks has to have changed for this post-avant thing--no more linear, nature-dominating, and self-expressing lyric 'I' (not unless there's a broader conception of the self, that is). and Ed Roberson's Voice Cast Out To Talk Us In (something about how we fall out of music and moods...). On 4/11/08, John Cunningham wrote: > > I wonder if, in one hundred years, someone (I was going to say we'll but I > don't think that I'll be around at that time) will be talking about > post-post-post-post-post-post modernism. Better yet, maybe its time to > think > of a new term and leave the posts to the fences and corrals. > John Cunningham > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Roy Exley > Sent: April 11, 2008 1:38 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: - Avant(e)-garde > > Steve, > > Well, I suppose avant-garde is a modernist concept and now that modernism > Is a part of history, an anachronism as far as contemporary culture is > concerned, then its concepts can no longer apply to what is happening now, > in this post-postmodernist age of rampant pluralism. More later. > > Roy Exley. > > No virus found in this incoming message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: > 10/04/2008 > 5:36 PM > > > No virus found in this outgoing message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: > 10/04/2008 > 5:36 PM > > ========================================================================= Date: Fri, 11 Apr 2008 20:06:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: - Avant(e)-garde In-Reply-To: <002c01c89c1b$0b805930$016fa8c0@johnbedroom> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline John, and All, I doubt it. I have often wondered this, but I think most groups reject the idea of being "post" since it implies you're not the "first." Post avant, post-avante, povante or pomo, post modernist, etc, all seem to be hated terms within the communities these very terms seek to "label". What if, *gasp*, we were to get past labels? -Ryan On Fri, Apr 11, 2008 at 5:28 PM, John Cunningham wrote: > I wonder if, in one hundred years, someone (I was going to say we'll but I > don't think that I'll be around at that time) will be talking about > post-post-post-post-post-post modernism. Better yet, maybe its time to > think > of a new term and leave the posts to the fences and corrals. > John Cunningham > > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > Behalf Of Roy Exley > Sent: April 11, 2008 1:38 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: - Avant(e)-garde > > Steve, > > Well, I suppose avant-garde is a modernist concept and now that modernism > Is a part of history, an anachronism as far as contemporary culture is > concerned, then its concepts can no longer apply to what is happening now, > in this post-postmodernist age of rampant pluralism. More later. > > Roy Exley. > > No virus found in this incoming message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: > 10/04/2008 > 5:36 PM > > > No virus found in this outgoing message. > Checked by AVG. > Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: > 10/04/2008 > 5:36 PM > > ========================================================================= Date: Sat, 12 Apr 2008 05:06:07 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: blacksox@ATT.NET Subject: UCF Prof Martha Marinara-Austin's 3rd Wednesday MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Poetic Meetup Featuring: MARTHA MARINARA Orlando Poetry Group presents: Every Third Wednesday@ Austin’s Martha Marinara is an associate professor of English at the University of Central Florida where she teaches rhetoric, First-year writing, and creative writing. She currently directs the Information Fluency Program, a university initiative. Marinara has written two textbooks—Writing Outside the Lines (2000) and Choices: A Handbook for Writers (2008), and published articles in College Composition and Communication and The Journal of Basic Writing. She writes and publishes poetry and fiction, and her work has appeared most recently in Massachusetts Review, Xavier Review, FEMSPEC, Estuary, Lesbian Fiction Quarterly, White Pelican Review, and Alembic. In 2000, she won the Central Florida United Arts Award for Poetry. Street Angel, her first published novel, was released in October 2006 and was a finalist for ForeWord Magazine’s Best GLBT Novel Award for 2006. Wednesday April 16, 8:30pm Austin’s Coffee and Film 929 W Fairbanks Ave Winter Park, Florida The Wonderful Martha Marinara Followed by an Open Mic BE THERE! Hosted by Chaz Yorick’s Open Words ,& Russ Golata For directions or comments e-mail me at blacksox@att.net Or phone me at 407-403-5814 Or AUSTIN’S at 407-975-3364 Russ Golata ========================================================================= Date: Sat, 12 Apr 2008 00:52:38 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: - Avant(e)-garde MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable ----- Original Message ---- From: Ryan Daley =0ATo: POETICS@LISTSERV.BUFFALO.EDU=0ASent: Saturday, 12 Ap= ril, 2008 1:06:57 AM=0ASubject: Re: - Avant(e)-garde=0A=0AJohn, and All,=0A= =0AI doubt it. I have often wondered this, but I think most groups reject t= he=0Aidea of being "post" since it implies you're not the "first." Post ava= nt,=0Apost-avante, povante or pomo, post modernist, etc, all seem to be hat= ed=0Aterms within the communities these very terms seek to "label".=0A=0AWh= at if, *gasp*, we were to get past labels?=0A=0A-Ryan=0A=0AOn Fri, Apr 11, = 2008 at 5:28 PM, John Cunningham =0Awrote:=0A=0A= > I wonder if, in one hundred years, someone (I was going to say we'll but = I=0A> don't think that I'll be around at that time) will be talking about= =0A> post-post-post-post-post-post modernism. Better yet, maybe its time to= =0A> think=0A> of a new term and leave the posts to the fences and corrals.= =0A> John Cunningham=0A>=0A> -----Original Message-----=0A> From: UB Poetic= s discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On=0A> Behalf Of R= oy Exley=0A> Sent: April 11, 2008 1:38 PM=0A> To: POETICS@LISTSERV.BUFFALO.= EDU=0A> Subject: Re: - Avant(e)-garde=0A>=0A> Steve,=0A>=0A> Well, I suppos= e avant-garde is a modernist concept and now that modernism=0A> Is a part o= f history, an anachronism as far as contemporary culture is=0A> concerned, = then its concepts can no longer apply to what is happening now,=0A> in this= post-postmodernist age of rampant pluralism. More later.=0A>=0A> Roy Exley= .=0A>=0A> No virus found in this incoming message.=0A> Checked by AVG.=0A> = Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date:=0A> 10/04= /2008=0A> 5:36 PM=0A>=0A>=0A> No virus found in this outgoing message.=0A> = Checked by AVG.=0A> Version: 7.5.519 / Virus Database: 269.22.12/1372 - Rel= ease Date:=0A> 10/04/2008=0A> 5:36 PM=0A>=0A> ========================================================================= Date: Sat, 12 Apr 2008 11:30:47 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roy Exley Subject: Re: - Avant(e) Garde Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit John, Disappointed that you didn't spot the irony of my 'post-postmodernist age' that could have saved you all those other posts and obviously a little anger and irritation, I would have thought that my reference to our age of pluralism, (which while a label in itself, ultimately disempowers the art of labelling) would have pointed the way to our obviation of that perennial urge to label and ossify things. More later. Roy Exley. ========================================================================= Date: Sat, 12 Apr 2008 08:34:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: teersteeg Subject: Re: - Avant(e)-garde MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "neo" has used most by artists as in neo abstract expressionist, neo realist etc., Bruno > John, and All, > > I doubt it. I have often wondered this, but I think most groups reject the > idea of being "post" since it implies you're not the "first." Post avant, > post-avante, povante or pomo, post modernist, etc, all seem to be hated > terms within the communities these very terms seek to "label". > > What if, *gasp*, we were to get past labels? > > -Ryan > > On Fri, Apr 11, 2008 at 5:28 PM, John Cunningham > wrote: > > > I wonder if, in one hundred years, someone (I was going to say we'll but I > > don't think that I'll be around at that time) will be talking about > > post-post-post-post-post-post modernism. Better yet, maybe its time to > > think > > of a new term and leave the posts to the fences and corrals. > > John Cunningham > > > > -----Original Message----- > > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > > Behalf Of Roy Exley > > Sent: April 11, 2008 1:38 PM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: Re: - Avant(e)-garde > > > > Steve, > > > > Well, I suppose avant-garde is a modernist concept and now that modernism > > Is a part of history, an anachronism as far as contemporary culture is > > concerned, then its concepts can no longer apply to what is happening now, > > in this post-postmodernist age of rampant pluralism. More later. > > > > Roy Exley. > > > > No virus found in this incoming message. > > Checked by AVG. > > Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: > > 10/04/2008 > > 5:36 PM > > > > > > No virus found in this outgoing message. > > Checked by AVG. > > Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: > > 10/04/2008 > > 5:36 PM > > > > ========================================================================= Date: Sat, 12 Apr 2008 07:39:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Obama is correct about rural PA MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Having grown up in rural Pennsylvania I can promise you that Obama's assessments are correct about many of these people being bitter and clinging to their guns and religion. It took me YEARS to dig out of my anger for the torture they put me through for being queer, for not wanting to kill deer, pheasants, rabbits, and instead planting and tending flowers, vines, and other boys. What's MOST IMPRESSIVE is Obama's ability to take his statements and STAND BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing why they Should be. He's right of course. What's terrible though is that the harsh world of rural Pennsylvania (harsh as in trying to actually survive when the factories and industry disappear DUE in large part to the Clintons!), like most places where life is very hard, scapegoating is the major pastime. It's bottomless, the racism, homophobia, sexism, and I can't see HOW anyone will ever be able to break through it. These things make me very sad, mostly because there are many people where I grew up who I got to know as intelligent and talented, until they found out I was queer, which of course put an end to communications with me. But many of the people where I come from will NEVER vote for a white woman for president anymore than they will vote for a black man for president. And if ANY candidate ever dares say ANYTHING positive about homosexuals, well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of course. Oy, I'm exhausted thinking about the wicked things I know they're saying in the bars and beauty parlors, at the mills and diners. But Obama is correct in every way. And he's amazing that he remains so focused and on topic, even if the topic is about something he himself said that might hurt his campaign. He has integrity I thought IMPOSSIBLE for Democrats! He has my support! (Part of me is SO AFRAID he's another Bill Clinton though! I heard Clinton's one speech at a gay rights rally in DC when he was first running for president, and I BOUGHT IT, bought every lying word of it!) But if Obama doesn't win the nomination I'm voting for Ralph Nader again. Nader was just in Philadelphia and gave an amazing speech! Nader is the sexiest LIVING MIND! CAConrad http://PhillySound.blogspot.com ========================================================================= Date: Sat, 12 Apr 2008 08:40:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: INDIANAPOLIS poets MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I'm pretty sure DePauw University isn't that far from you. If you're around Thursday, April 17th, 8pm, I'll be reading, details here: http://CAConradEVENTS.blogspot.com MAYBE I'LL SEE YOU THERE! ========================================================================= Date: Sat, 12 Apr 2008 09:54:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Jo Malo Subject: Re: avante-garde In-Reply-To: <20080411.131951.484.11.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Alan Sondheim, I believe is both avante-garde and post-post-post-post. Probably not any new forms or content will be created, but new technologies can be embodied. Mary Jo On Fri, Apr 11, 2008 at 1:19 PM, steve d. dalachinsky wrote: > yes i totally agree about the term avante garde especially since > everything when it's new ala louis armstrong > and well way back to cave drawings is ....then it's not > interesting question what if anything today can reallly be considered > avante garde?? > > not just merely foward thinking but truly avante-garde besides > ecology???? > > > On Fri, 11 Apr 2008 08:13:07 -0500 John Cunningham > writes: > > That is indeed a rare concert - and a privilege for those interested > > in the > > jazz avant garde (although this term, after 50 years, has probably > > lost its > > meaning a long time ago) - to hear the greats of the European jazz > > avant > > garde theatre. Brotzmann was here in Winnipeg, Manitoba, Canada > > (that's > > north of the U.S. border) a few years ago but, to my great > > misfortune, I did > > not find out about it until the evening of the concert and could not > > roust > > enough funds to go on short notice. Enjoy the show and know that I > > wish I > > could be amongst you. > > John Cunningham > > > > -----Original Message----- > > From: UB Poetics discussion group > > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > > Behalf Of steve d. dalachinsky > > Sent: April 11, 2008 2:27 AM > > To: POETICS@LISTSERV.BUFFALO.EDU > > Subject: rare concert > > > > A R T S F O R A R T 107 Suffolk Street, #3.5, NYC 10002 > > > > PRESS Contact: info@visionfestival.org > > > > Vision / RUCMA Series presents > > > > PETER BROTZMANN & HAN BENNINK > > Guests - Peter Evans and Tom Blancarte > > > > Dates/Times: SUNDAY April 20, 2008 Two Sets at 7 pm and 9 > > pm > > > > Place: LES Gallery at Clemente Soto Velez Cultural > > Center 107 Suffolk Street > > Cost: $20 per set / $12 students and seniors > > > > Full Info: www.visionfestival.org > > > > RUCMA's MESSAGE > > Innovative music and arts need a strong STABLE Community base in > > Manhattan - come to Town Hall Meeting Tuesday April 15 at CSV at > > 6:30 > > "Peter Brotzmann has exemplified European improvised music for over > > > > 40 years. - All About Jazz > > > > What makes Bennink special is his manifest love for the music, a > > love that inclines him to tear down the cardboard walls that too > > often separate different schools of jazz. Drummer World > > > > > > New York, NY Arts for Art proudly presents a special concert for > > the Vision/ RUCMA series with two legends of modern music, > > saxophonist Peter Brotzmann and drummer Han Bennink. The two free > > > > music masters have a long history, beginning with Brotzmann s > > landmark 1968 recording, Machine Gun. A trio with Belgian pianist > > > > Fred Van Hove grew out of these collaborations. But in 1976 the two > > > > free music masters began work as a duo releasing a series of > > recordings, concluding with 1980 s Atsugi Concert. They weren t > > > > heard from again on wax until Brotzmann booked a series of > > performances in early 2004 with the explicit intention of capturing > > > > the performances for later release. The result, Still Popular > > After > > All Those Years was issued on vinyl on Brotzmann s own resurrected > > > > BRO label later that same year. Joining them for this special > > performance are trumpeter Peter Evans and bassist Tom Blancarte. > > > > > > Brotzmann was involved with the Fluxus movement, but grew > > dissatisfied with art galleries and exhibitions. He has designed > > most > > of his own album covers. One of his first musical partnerships was > > > > that with bassist, Peter Kowald. In the 1980s, he flirted with heavy > > > > metal and noise rock, including a stint in Last Exit. He has > > released over thirty albums as a bandleader, and has appeared on > > dozens more. His "Die Like A Dog Quartet" (with Toshinori Kondo, > > William Parker and Hamid Drake) is loosely inspired by saxophonist > > > > Albert Ayler, a prime influence on Brvtzmann's music. Since 1997 he > > > > has toured and recorded regularly with the Peter Brvtzmann Chicago > > > > Tentet (initially an Octet). His latest release, Born Broke is a > > > > series of duets with drummer Peter Uuskyla. > > > > > > Through the 1960s Han Bennink drummed with American musicians > > visiting the Netherlands, including Eric Dolphy, Dexter Gordon and > > > > Sonny Rollins. He became a central figure in the emerging European > > > > free improvisation scene, co-founding the Instant Composers Pool in > > > > 1967 with Misha Mengelberg and Willem Breuker. Through much of the > > > > 1990s he played in Clusone 3 with saxophonist and clarinetist > > Michael > > Moore and cellist Ernst Reijseger. His style is wide-ranging, > > running from conventional jazz drumming to highly unconventional > > free > > improvisation, for which he often uses whatever objects happen to be > > > > onstage (chairs, music stands, instrument cases), his own body (a > > favorite device involves putting a drumstick in his mouth and > > striking it with the other stick), and the entire performance space > > > > -- the floor, doors, and walls. > > > > > > Trumpeter Peter Evans has been a part of the avante-garde music > > community in New York City since 2003. His recording debut as a > > bandleader, The Peter Evans Quartet was released on Firehouse 12 > > in > > 2007. Recent collaborators include: Perry Robinson, Fred Frith, Ned > > > > Rothenberg, Okkyung Lee, and Chris Speed. > > > > Tom Blancarte is a bassist, improviser and composer living and > > working in New York City. He is a busy performer in a variety of > > ensembles in the New York area, his most active groups being the > > hyperactive duo Sparks with trumpeter Peter Evans, Dave Smith s Who > > > > Put The Bad Mouth On Me, the trio Totem, and the Peter Evans > > Quartet. > > > > No virus found in this incoming message. > > Checked by AVG. > > Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: > > 10/04/2008 > > 5:36 PM > > > > > > No virus found in this outgoing message. > > Checked by AVG. > > Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: > > 10/04/2008 > > 5:36 PM > > > > > > > ========================================================================= Date: Sat, 12 Apr 2008 10:04:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Jo Malo Subject: Louise Erdrich Poet-Novelist MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Louise Erdrich publishes both. Since her work is primarily narrative she finds poems limiting. Recently (Original Fire, 2003) she published poems based on the characters in her novels. Then I think of Paul Muldoon who writes many, many narrative poems instead of novels. Mary Jo Malo http://thisshiningwound.blogspot.com/ http://apophisdeconstructingabsurdity.blogspot.com/ ========================================================================= Date: Sat, 12 Apr 2008 07:31:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Fwd: from Hilton Obenzinger : Meditation of a Different Sort MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline this just received-- *Meditation of a Different Sort *Hilton Obenzinger I send out *Meditations in a Time of Delusions and Lies* periodically, but you may have noticed that you have not gotten any lately. Some of you may b= e relieved, but let me explain. I've been very busy publishing a book, and it's just been released. It's an autobiographical novel, *Busy Dying*, which revolves in great part around the student occupation and strike at Columbia University in 1968. (The titl= e is taken from a line in one of Bob Dylan's songs: "And he not busy being born is . . .") I've also been helping to put on a conference on the anniversary of that student revolt 40 years later, which will be held April 24-27 at Columbia. You can take a look at the schedule for that conference at http://www.columbia1968.info/ . I will also be holding the first of several book events for* **Busy Dying*, and if you're in the vicinity, you're invited to come: *=B7 April 22, 7PM, at Morningside Bookshop on Broadway and 114th Street, New York City. =B7 May 13, 7PM at Modern Times Bookstore at 888 Valencia Street, Sa= n Francisco =B7 May 15, 6PM at the Stanford Bookstore on the Stanford University campus. * You can find out more about this as well as my other books, by going to www.obenzinger.com. If you would like to get the book, you can order it from the publisher Chax at www.chax.org, Amazon, or badger your local bookstore to order it from Small Press Distribution at www.spdbooks.org . *Below is a description of the book and some reviews: BUSY DYING An autobiographical novel by Hilton Obenzinger At Columbia University on April 23, 1968, Hilton Obenzinger was one of many students who dramatically occupied the president's office in Low Library. For six days they protested the university's secret research to support the Vietnam War and its plans to build a gym in Morningside Park despite the opposition of Harlem. The occupation and subsequent strike 40 years ago was a generational moment repeated in universities around the country and throughout the world. Busy Dying is an autobiographical novel, a portrait o= f the author's Polish Jewish "survivor" family, a coming of age in poetry, music, politics, and friends in New York City and Columbia, including a dangerous exodus through the Yukon to end up teaching on an Indian reservation in Northern California. All of this is comically and sometimes tragically relived as the author is inspired by a series of encounters and coincidences, including the revelations of students he teaches at Stanford today and the surprising discovery of the story behind Hilton Obenzinger, a 1980s Long Island high school humor magazine Some comments by fellow authors (Bill Berkson, Paul Auster, Luc Sante) and the first Public Review in the Brooklyn Rail: No one tells the story of the Columbia University variation of Apocalypse 1968 -- its prelude and its up-to-date fallout (e.g., This Is Your Life) -- better than Poet-and-Communard-in-Residence of that and other histories, Hilton Obenzinger. When Politics meant something other than Brute Force, Obenzinger was there, observing and making it happen, like one breath in, another out. In deft, benign, deep and often hilarious prose, he has kept the faith. - Bill Berkson Hilton Obenzinger is an American original. His lost histories are acts of legerdemain and cunning=96mixing truth and imagination in ways rarely seen before. . . - Paul Auster Busy Dying is so true and funny and unexpected and sweet and profound and very deeply moving. As the clich=E9 goes: I laughed and I cried--for real! = - Luc Sante ------------- Hilton Obenzinger, Busy Dying (Chax, 2008) Lu Chen, Brooklyn Rail, April 2008 "[He] takes a trip to heaven and talks with all sorts of dead people. It's like some kind of travel book." In Busy Dying, a character's offhand commen= t on the mystic Emanuel Swedenborg's Spiritual Diary may as well describe Obenzinger's fictional memoir itself: only in an apocalyptic 1968 could heaven and hell converge. Life is rhythmically punctuated by death, just as memory is punctuated by moments of revelation, in which the characters are transformed by sudden glimpses of the world beyond knowledge or language. A young handyman believes he sees the finger of God; a girl confined to bed b= y a nervous disorder feels blessed by the splendid visible and invisible worlds; a college student dives out of his ninth-floor window to, after a poem by Juan Ram=F3n Jim=E9nez, "catch the stars more quickly." Obenzinger, like Conrad and Woolf, is attracted to the dark, unknown realm of which our daily life is only a mirror image. The Columbia strike in 1968= , the centerpiece of the memoir, represents such an effort to reach the beyond. The students fail to write poems during their occupation of the president's office, realizing that the breach of social semantics needs "a language no one had yet invented." For Obenzinger, in particular, the searc= h for a new language has tangible implications. The son of Polish Jewish immigrants, he has lost Polish, his mother tongue, and Yiddish, his father'= s language. Haunted by his brother's untimely death as well as all the deaths before and after, Obenzinger inherited his father's "survivor's guilt" reminiscent of Lord Jim. With the Dada practice of inflicting the Biblical ten plagues on Columbia campus, he was reenacting the history of his lost ancestors. The travel to the other world ultimately confirms life. The memoir starts with the death of Obenzinger's mother, which, to the author's amazement, transforms her back to a pretty young girl at peace. It ends with the discovery of his father's youthful poems, where, alone in the strange New World, the father recognizes himself in his son. * ========================================================================= Date: Sat, 12 Apr 2008 07:46:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Nominations Open For 2008 Poet Laureate of The Blogosphere Comments: To: "NewPoetry: Contemporary Poetry News & Views" , Women's Poetry Listserve MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii From Billy Jones: I'm pleased to announce that BloggingPoet.com will againhost the Poet Laureate Of The Blogosphere Election for the 4th year in a rowwith nominations beginning April 1, 2008. The Poet Laureate of the Blogosphereis the only laureateship chosen by readers. Previous winners are Amy King, Ron Silliman and Jilly Dybka. Rules for 2008 are as follows: 1. Those nominated must have a history of posting poetry totheir blogs for a period of no less than 1 year prior to March 1, 2008. 2. Anyone can nominate their favorite poetry blogger. 3. Nominations will begin on April 1st and will end on April20th. 4. Voting will begin on April 21st and will end at !2:00midnight on April 29th. 5. The winner will be announced on April 30th. 6. As in years past, Billy Jones, aka. Billy The BloggingPoet, aka. me, will not be nominated as I am hosting the event. 7. English language only as I'm too dumb to know a poem inany other language. 8. Previous winners cannot be nominated. 9. Like it or not, all decisions by the judge (That would beme.) arefinal. 10. All nominations must be made in the form provided on April 1st. E-mail, write-ins, protests and other means to nominate will not be accepted. http://bloggingpoet.squarespace.com/bloggingpoetcom/nominations-to-begin-for-2008-poet-laureate-of-the-blogosphe.html _______ http://www.amyking.org http://demonoide.org http://redherring.us http://poetryexperiment.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sat, 12 Apr 2008 07:46:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Re: - Avant(e)-garde In-Reply-To: <266788.71680.qm@web65106.mail.ac2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline pressure treated 4x4? On Sat, Apr 12, 2008 at 12:52 AM, Barry Schwabsky < b.schwabsky@btopenworld.com> wrote: > ----- Original Message ---- > From: Ryan Daley "Post-label"? > > > > -- > All best, > Catherine Daly > c.a.b.daly@gmail.com > ========================================================================= Date: Sat, 12 Apr 2008 08:11:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: CORRECTION: Nominations Open For 2008 Poet Laureate of The Blogosphere (includes form) Comments: To: Discussion of Women's Poetry List , "NewPoetry: Contemporary Poetry News & Views" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Nominations For The 2008 Poet Laureate Of The BlogosphereHave Begun The time has finally come to nominate the 2008 Poet Laureateof the Blogosphere but please read the following rules before adding yournomination to the comment form at the bottom of this post. The rules are as follows: 1. Those nominated must have a history of posting poetry totheir blogs for a period of no less than 1 year prior to March 1, 2008. 2. Anyone can nominate their favorite poetry blogger. 3. Nominations will begin on April 1st and will end on April20th. 4. Voting will begin on April 21st and will end at 12:00midnight on April 29th. 5. The winner will be announced on April 30th. 6. As in years past, Billy Jones, aka. Billy The BloggingPoet, aka. me, will not be nominated as I am hosting the event. 7. English language only as I'm too dumb to know a poem inany other language. 8. Previous winners cannot be nominated. 9. Like it or not, all decisions by the judge (That would beme.) arefinal. 10. All nominations must be made in the form provided. That form is the comment form at the bottom of this post. http://bloggingpoet.squarespace.com/bloggingpoetcom/nominations-for-the-2008-poet-laureate-of-the-blogosphere-ha.html _______ http://www.amyking.org http://demonoide.org http://redherring.us http://poetryexperiment.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sat, 12 Apr 2008 11:12:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: Obama is correct about rural PA In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline CA, I grew up in rural upstate New York and things were similar there. If you weren't one who'd love to go "mud boggin'" in your 4x4, if you didn't hunt, if you weren't "local"... you didn't stand a chance. Bitter isn't a strong enough word, but it's more accurate than what most politicians offer, saying that timeless hogwash about rural America being the backbone of this country. Who are they kidding? On Sat, Apr 12, 2008 at 8:39 AM, CA Conrad wrote: > Having grown up in rural Pennsylvania I can promise you that Obama's > assessments are correct about many of these people being bitter and > clinging > to their guns and religion. It took me YEARS to dig out of my anger for > the > torture they put me through for being queer, for not wanting to kill deer, > pheasants, rabbits, and instead planting and tending flowers, vines, and > other boys. > > What's MOST IMPRESSIVE is Obama's ability to take his statements and STAND > BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing why they > Should be. > > He's right of course. What's terrible though is that the harsh world of > rural Pennsylvania (harsh as in trying to actually survive when the > factories and industry disappear DUE in large part to the Clintons!), like > most places where life is very hard, scapegoating is the major pastime. > It's bottomless, the racism, homophobia, sexism, and I can't see HOW > anyone > will ever be able to break through it. These things make me very sad, > mostly because there are many people where I grew up who I got to know as > intelligent and talented, until they found out I was queer, which of > course > put an end to communications with me. > > But many of the people where I come from will NEVER vote for a white woman > for president anymore than they will vote for a black man for president. > And if ANY candidate ever dares say ANYTHING positive about homosexuals, > well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of course. > Oy, I'm exhausted thinking about the wicked things I know they're saying > in > the bars and beauty parlors, at the mills and diners. > > But Obama is correct in every way. And he's amazing that he remains so > focused and on topic, even if the topic is about something he himself said > that might hurt his campaign. He has integrity I thought IMPOSSIBLE for > Democrats! He has my support! (Part of me is SO AFRAID he's another Bill > Clinton though! I heard Clinton's one speech at a gay rights rally in DC > when he was first running for president, and I BOUGHT IT, bought every > lying > word of it!) > > But if Obama doesn't win the nomination I'm voting for Ralph Nader again. > Nader was just in Philadelphia and gave an amazing speech! Nader is the > sexiest LIVING MIND! > > CAConrad > http://PhillySound.blogspot.com > ========================================================================= Date: Sat, 12 Apr 2008 11:16:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Obama is correct about rural PA In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Integrity is easy when there's nothing at stake. He's not going to win Pennsylvania whatever he does. I do admire his principled vote against the war, though, against all the pressure there must have been on senators. Oh, wait--he didn't get to vote against the war, since he wasn't in the senate. I expect that Obama will get the nomination, and if he does I'll vote for him for president, but I hope he's not the paragon he presents--if he is, he'll be eaten alive in Washington. Mark At 08:39 AM 4/12/2008, you wrote: >Having grown up in rural Pennsylvania I can promise you that Obama's >assessments are correct about many of these people being bitter and clinging >to their guns and religion. It took me YEARS to dig out of my anger for the >torture they put me through for being queer, for not wanting to kill deer, >pheasants, rabbits, and instead planting and tending flowers, vines, and >other boys. > >What's MOST IMPRESSIVE is Obama's ability to take his statements and STAND >BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing why they >Should be. > >He's right of course. What's terrible though is that the harsh world of >rural Pennsylvania (harsh as in trying to actually survive when the >factories and industry disappear DUE in large part to the Clintons!), like >most places where life is very hard, scapegoating is the major pastime. >It's bottomless, the racism, homophobia, sexism, and I can't see HOW anyone >will ever be able to break through it. These things make me very sad, >mostly because there are many people where I grew up who I got to know as >intelligent and talented, until they found out I was queer, which of course >put an end to communications with me. > >But many of the people where I come from will NEVER vote for a white woman >for president anymore than they will vote for a black man for president. >And if ANY candidate ever dares say ANYTHING positive about homosexuals, >well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of course. >Oy, I'm exhausted thinking about the wicked things I know they're saying in >the bars and beauty parlors, at the mills and diners. > >But Obama is correct in every way. And he's amazing that he remains so >focused and on topic, even if the topic is about something he himself said >that might hurt his campaign. He has integrity I thought IMPOSSIBLE for >Democrats! He has my support! (Part of me is SO AFRAID he's another Bill >Clinton though! I heard Clinton's one speech at a gay rights rally in DC >when he was first running for president, and I BOUGHT IT, bought every lying >word of it!) > >But if Obama doesn't win the nomination I'm voting for Ralph Nader again. >Nader was just in Philadelphia and gave an amazing speech! Nader is the >sexiest LIVING MIND! > >CAConrad >http://PhillySound.blogspot.com ========================================================================= Date: Sat, 12 Apr 2008 12:19:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Jo Malo Subject: The Art of Labeling? MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline How will teachers and reviewers function without this ability to categorize poetry? What will happen to critics and blurbists? What of Poetics? How to market and sell? One can certainly describe AND transcend borders, yes? ========================================================================= Date: Sat, 12 Apr 2008 09:41:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eireene Nealand Subject: Re: avante-garde In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline yes, alan soundheim is it! virtuality and avatars i feel to me like part of this post-avant thing. On Sat, Apr 12, 2008 at 6:54 AM, Mary Jo Malo wrote: > Alan Sondheim, I believe is both avante-garde and post-post-post-post. > Probably not any new forms or content will be created, but new > technologies can be embodied. > > Mary Jo > > On Fri, Apr 11, 2008 at 1:19 PM, steve d. dalachinsky > wrote: > > yes i totally agree about the term avante garde especially since > > everything when it's new ala louis armstrong > > and well way back to cave drawings is ....then it's not > > interesting question what if anything today can reallly be considered > > avante garde?? > > > > not just merely foward thinking but truly avante-garde besides > > ecology???? > > > > > > On Fri, 11 Apr 2008 08:13:07 -0500 John Cunningham > > writes: > > > That is indeed a rare concert - and a privilege for those interested > > > in the > > > jazz avant garde (although this term, after 50 years, has probably > > > lost its > > > meaning a long time ago) - to hear the greats of the European jazz > > > avant > > > garde theatre. Brotzmann was here in Winnipeg, Manitoba, Canada > > > (that's > > > north of the U.S. border) a few years ago but, to my great > > > misfortune, I did > > > not find out about it until the evening of the concert and could not > > > roust > > > enough funds to go on short notice. Enjoy the show and know that I > > > wish I > > > could be amongst you. > > > John Cunningham > > > > > > -----Original Message----- > > > From: UB Poetics discussion group > > > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > > > Behalf Of steve d. dalachinsky > > > Sent: April 11, 2008 2:27 AM > > > To: POETICS@LISTSERV.BUFFALO.EDU > > > Subject: rare concert > > > > > > A R T S F O R A R T 107 Suffolk Street, #3.5, NYC 10002 > > > > > > PRESS Contact: info@visionfestival.org > > > > > > Vision / RUCMA Series presents > > > > > > PETER BROTZMANN & HAN BENNINK > > > Guests - Peter Evans and Tom Blancarte > > > > > > Dates/Times: SUNDAY April 20, 2008 Two Sets at 7 pm and 9 > > > pm > > > > > > Place: LES Gallery at Clemente Soto Velez Cultural > > > Center 107 Suffolk Street > > > Cost: $20 per set / $12 students and seniors > > > > > > Full Info: www.visionfestival.org > > > > > > RUCMA's MESSAGE > > > Innovative music and arts need a strong STABLE Community base in > > > Manhattan - come to Town Hall Meeting Tuesday April 15 at CSV at > > > 6:30 > > > "Peter Brotzmann has exemplified European improvised music for over > > > > > > 40 years. - All About Jazz > > > > > > What makes Bennink special is his manifest love for the music, a > > > love that inclines him to tear down the cardboard walls that too > > > often separate different schools of jazz. Drummer World > > > > > > > > > New York, NY Arts for Art proudly presents a special concert for > > > the Vision/ RUCMA series with two legends of modern music, > > > saxophonist Peter Brotzmann and drummer Han Bennink. The two free > > > > > > music masters have a long history, beginning with Brotzmann s > > > landmark 1968 recording, Machine Gun. A trio with Belgian pianist > > > > > > Fred Van Hove grew out of these collaborations. But in 1976 the two > > > > > > free music masters began work as a duo releasing a series of > > > recordings, concluding with 1980 s Atsugi Concert. They weren t > > > > > > heard from again on wax until Brotzmann booked a series of > > > performances in early 2004 with the explicit intention of capturing > > > > > > the performances for later release. The result, Still Popular > > > After > > > All Those Years was issued on vinyl on Brotzmann s own resurrected > > > > > > BRO label later that same year. Joining them for this special > > > performance are trumpeter Peter Evans and bassist Tom Blancarte. > > > > > > > > > Brotzmann was involved with the Fluxus movement, but grew > > > dissatisfied with art galleries and exhibitions. He has designed > > > most > > > of his own album covers. One of his first musical partnerships was > > > > > > that with bassist, Peter Kowald. In the 1980s, he flirted with heavy > > > > > > metal and noise rock, including a stint in Last Exit. He has > > > released over thirty albums as a bandleader, and has appeared on > > > dozens more. His "Die Like A Dog Quartet" (with Toshinori Kondo, > > > William Parker and Hamid Drake) is loosely inspired by saxophonist > > > > > > Albert Ayler, a prime influence on Brvtzmann's music. Since 1997 he > > > > > > has toured and recorded regularly with the Peter Brvtzmann Chicago > > > > > > Tentet (initially an Octet). His latest release, Born Broke is a > > > > > > series of duets with drummer Peter Uuskyla. > > > > > > > > > Through the 1960s Han Bennink drummed with American musicians > > > visiting the Netherlands, including Eric Dolphy, Dexter Gordon and > > > > > > Sonny Rollins. He became a central figure in the emerging European > > > > > > free improvisation scene, co-founding the Instant Composers Pool in > > > > > > 1967 with Misha Mengelberg and Willem Breuker. Through much of the > > > > > > 1990s he played in Clusone 3 with saxophonist and clarinetist > > > Michael > > > Moore and cellist Ernst Reijseger. His style is wide-ranging, > > > running from conventional jazz drumming to highly unconventional > > > free > > > improvisation, for which he often uses whatever objects happen to be > > > > > > onstage (chairs, music stands, instrument cases), his own body (a > > > favorite device involves putting a drumstick in his mouth and > > > striking it with the other stick), and the entire performance space > > > > > > -- the floor, doors, and walls. > > > > > > > > > Trumpeter Peter Evans has been a part of the avante-garde music > > > community in New York City since 2003. His recording debut as a > > > bandleader, The Peter Evans Quartet was released on Firehouse 12 > > > in > > > 2007. Recent collaborators include: Perry Robinson, Fred Frith, Ned > > > > > > Rothenberg, Okkyung Lee, and Chris Speed. > > > > > > Tom Blancarte is a bassist, improviser and composer living and > > > working in New York City. He is a busy performer in a variety of > > > ensembles in the New York area, his most active groups being the > > > hyperactive duo Sparks with trumpeter Peter Evans, Dave Smith s Who > > > > > > Put The Bad Mouth On Me, the trio Totem, and the Peter Evans > > > Quartet. > > > > > > No virus found in this incoming message. > > > Checked by AVG. > > > Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: > > > 10/04/2008 > > > 5:36 PM > > > > > > > > > No virus found in this outgoing message. > > > Checked by AVG. > > > Version: 7.5.519 / Virus Database: 269.22.12/1372 - Release Date: > > > 10/04/2008 > > > 5:36 PM > > > > > > > > > > > > ========================================================================= Date: Sat, 12 Apr 2008 18:40:44 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christopher Walker Subject: Re: - Avant(e)-garde MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "neo" has used most by artists as in neo abstract expressionist, neo realist etc The five writers known collectively as Luther Blissett and/or Wu Ming once said of 'neoism', which they are sometimes said to represent, 'Neoism doesn't exist. It's just a prefix teaming up with a suffix.' Though it's better than 'Post avant', albeit only just. CW _______________________________________________ 'Lasciamo ai padroni lo champagne: noi abbiamo i pomodori' (Let the bosses have the champagne: we've got the tomatoes) - Potere Operaio, New Year 1968 ========================================================================= Date: Sat, 12 Apr 2008 14:03:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Metta Sama Subject: Re: INDIANAPOLIS poets MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit WHAT? I'm surprised surprised surprised! I teach at DePauw & read the night before you. I'll see you on Friday! no, no thursday thursday M ========================================================================= Date: Sat, 12 Apr 2008 14:05:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: concert MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 8bit Dear experimental music junkies-- Get your fix Tuesday. Musetry continues its diving expedition into the deep waters of Steve Dalachinsky's poetry. Jackson Moore's trio is gonna swing your body and tweak your mind. And you'll be home before 11. The Living Lab at the Living Theatre presents Tuesday, April 15, 8pm The Musetry Project: Steve Dalachinsky, poet Ellen Christi, voice / Ty Cumbie, guitar James Ilgenfritz, bass / Eric Eigner & Greg Burrows, percussion and Jackson Moore Trio: Jackson Moore, alto sax Eivind Opsvik, bass / Eric McPherson, drums at the Living Theatre: 21 Clinton St. (bet. Houston & Stanton) Info: www.livinglabny.org / tcumbie@nyc.rr.com $10 / $5 students The Musetry Project Musetry, a fusion of music and poetry, is the brainchild of guitarist/composer Ty Cumbie. While there is a long tradition — stretching back to ancient times — of music and poetry blended, in almost every case either poetry is simply set to music, music merely accompanies and beautifies poetry, or the two forms exist simultaneously but in no particularly interconnected way. Musetry seeks to secure itself as a fusion form in which neither music nor poetry are any longer separate from each other. Essentially, music moves toward poetry and poetry toward music, neither being dominant or subordinate. This is achieved through a variety of techniques developed by Cumbie, and through group experimentation. The work has been performed publicly at the Bowery Poetry Club, Zebulon, The Living Theatre and other venues in New York. Jackson Moore Trio plays the original, forward-looking tunes by Moore, who represents the purest amalgam I've seen in a while of all that makes jazz interesting and alive. The music swings ferociously, thanks to the superb rhythm section, but never in an expected way. Moore has carried Ornette Coleman's harmolodic theory further than anybody I know of, plus he's got the rest of the jazz continuum working. If you care about jazz this trio will have something for you. ========================================================================= Date: Sat, 12 Apr 2008 10:00:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Subject: Celebrate Ed Dorn in New Orleans April 17!! Comments: To: Michael MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Celebration of WAY MORE WEST, Selected Poems of Edward Dorn (Penguin = Books) Thursdays, April 17 at 8pm @ The Gold Mine Saloon 17 Poets! Literary & Performance Series, www.17poets.com 701 Dauphine St., corner of Dauphine and St. Peter New Orleans, Louisiana Call 504-568-9125 Readers include: Jennifer Dorn, Michael Rothenberg, Andrei Codrescu, = Terri Carrion, Dave Brinks, Bill Lavender, Joel Daily, Nancy Dixon, and Kelly Mathews ========================================================================= Date: Sat, 12 Apr 2008 10:07:25 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gabrielle Welford Subject: Re: Louise Erdrich Poet-Novelist In-Reply-To: MIME-version: 1.0 Content-transfer-encoding: 7BIT Content-type: TEXT/PLAIN; charset=US-ASCII and marge piercy... On Sat, 12 Apr 2008, Mary Jo Malo wrote: > Louise Erdrich publishes both. Since her work is primarily narrative > she finds poems limiting. Recently (Original Fire, 2003) she published > poems based on the characters in her novels. > > Then I think of Paul Muldoon who writes many, many narrative poems > instead of novels. > > Mary Jo Malo > http://thisshiningwound.blogspot.com/ > http://apophisdeconstructingabsurdity.blogspot.com/ > ========================================================================= Date: Sat, 12 Apr 2008 16:11:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Re: Obama is correct about rural PA In-Reply-To: <9778b8630804120812t2a052bd4jcaec81ed46c04924@mail.gmail.com> Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed How much of the food you eat everyday is produced in the city? On Apr 12, 2008, at 10:12 AM, Ryan Daley wrote: > > Bitter isn't a strong > enough word, but it's more accurate than what most politicians > offer, saying > that timeless hogwash about rural America being the backbone of this > country. Who are they kidding? > ========================================================================= Date: Sat, 12 Apr 2008 18:10:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: Obama is correct about rural PA In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Equating all rural areas with food production is a bit reductive. And certainly you wouldn't expect all country dwellers to start farms, would you? On Sat, Apr 12, 2008 at 5:11 PM, mIEKAL aND wrote: > How much of the food you eat everyday is produced in the city? > > > > On Apr 12, 2008, at 10:12 AM, Ryan Daley wrote: > > > > > Bitter isn't a strong > > enough word, but it's more accurate than what most politicians offer, > > saying > > that timeless hogwash about rural America being the backbone of this > > country. Who are they kidding? > > > > ========================================================================= Date: Sat, 12 Apr 2008 16:40:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Alexander Subject: upcoming readings: Tucson / POG Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Hi everyone, In Tucson tonight, Saturday, April 12 Lewis Warsh & Paul Klinger poetry reading The Drawing Studio 33 S. 6th Ave. 7 pm $5 general, $3 students and Saturday, May 3 Leslie Scalapino & Matt Rotando poetry reading The Drawing Studio 33 S. 6th Ave. 4pm $5 general, $3 students (with a reading/performance of a play by Leslie Scalapino earlier the same day, 1pm, at the U of Arizona Poetry Center, 1508 E. Helen St.) POT LUCK FUNDRAISER CELEBRATION Open Mike Reading May 10, 7pm, Saturday Home of Dawn Pendergast 3504 E. Third St., Tucson Bring food & $10 and, if you wish, something to read by yourself or someone else And if for any reason you can't come, even if you are far away, please still send $10, or at least $5, to POG at 5029 N. Post Trail Rd. Tucson, AZ 85750-5907 Thank you! Charles charles alexander chax press chax@theriver.com 650 e. ninth st. tucson arizona 85705 520 620 1626 ========================================================================= Date: Sat, 12 Apr 2008 20:37:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Concord Poetry Center Subject: Reminder: XJ Kennedy & The Light Brigade Tomorrow Evening! MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Dear Friends, A last minute reminder for tomorrow evening's off-the-grid event sponsored by members of the Concord Poetry Center. Hope to see you there! Cheers, Joan Houlihan POETS FOR LAUGHTER AND SURPRISE X. J. KENNEDY & THE LIGHT BRIGADE (Barb Crane, Bob Clawson, Joan Kimball, Amy Woods) SUNDAY, APRIL 13, 7 pm at the Emerson Umbrella for the Arts, 40 Stow Street, Concord, Mass. (corner Stow & Sudbury Street) Admission: $4.00 Free Parking Refreshments a Concord Poetry Center Benefit www.concordpoetry.org This message was sent to poetics@listserv.buffalo.edu by the Concord Poetry Center. If you wish to leave our mailing list, click on the link at the very bottom of this message. To Unsubscribe from this mailing list, click: http://mageenet.org/mlman/unsubscribe.asp?listid=concordpoetry&ID=767C1C 55-4185-4DFF-B331-DD59C4E50229 ========================================================================= Date: Sat, 12 Apr 2008 22:18:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: " FLARF IS LIFE " Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable MIME-Version: 1.0 FLARF IS LIFE 2008 Holistic Expo & Peace Conference http://flarffestival.blogspot.com THURSDAY, APR 24, 8:00 P.M., DIXON PLACE, 258 BOWERY, $8 Film, neo-benshi, and theater by: Brandon Downing: Two new short films Rob Fitterman: Film: Bisquick / Bismarck Nada Gordon: Neo-benshi: "Uzumaki" Mitch Highfill: Play: "The Secret History of the '60s" Rodney Koeneke: Neo-benshi: "Mary Poppins" Michael Magee: Play: "William Logan: A Sedentary Life" K. Silem Mohammad & Gary Sullivan: Play: "Chain: A Dialog" Kim Rosenfield: Neo-benshi: "Meglio Stasera / The Libido Theory" FRIDAY, APR 25, 7:00 P.M., 300 Bowery, buzz "Sherry/Thomas," FREE Publication party for new books and DVDs by: Brandon Downing: Dark Brandon (DVD) Mitch Highfill: Moth Light Sharon Mesmer: Virgin Formica K. Silem Mohammad: Breathalyzer Mel Nichols: Bicycle Day Rod Smith: Deed Gary Sullivan: PPL in a Depot SATURDAY, APR 26, 6:00 P.M., BOWERY POETRY CLUB, 308 BOWERY, $8 A Segue reading to benefit Bowery Arts and Sciences, featuring: Shanna Compton Katie Degentesh Benjamin Friedlander Drew Gardner Nada Gordon Mitch Highfill Rodney Koeneke Michael Magee Sharon Mesmer K. Silem Mohammad Mel Nichols Eir=EDkur =D6rn Nor=F0dahl James Sherry Rod Smith Christina Strong With music by the Drew Gardner Orchestra and The Saw Lady. Hosted by Brando= n Downing and Gary Sullivan. This benefit reading will help keep Segue readings at an affordable $6. _________________________________________________________________ Pack up or back up=96use SkyDrive to transfer files or keep extra copies. L= earn how. hthttp://www.windowslive.com/skydrive/overview.html?ocid=3DTXT_TAGLM_WL_Ref= resh_skydrive_packup_042008= ========================================================================= Date: Sat, 12 Apr 2008 19:53:02 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: An Evening with MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline An Evening with Carolee Schneemann Mon Apr 21 | 8 pm Jack H. Skirball Screening Series This program is part of a series of screenings of the work of Carolee Schneemann that takes place in Los Angeles April 20-25, 2008 at the following venues: Los Angeles Filmforum (April 20) and UCLA Film & Television Archive (April 25). See listings below. Information: www.lafilmforum.org and www.cinema.ucla.edu/public/calendar/calendar_f.html Carolee Schneemann has never ceased to cross mediums and boundaries to make work that resonates with raw poetic power. From her collaged war or diary films and provocative performances to her photos, paintings and installations, Schneemann's varied creations deconstruct our ingrained preconceptions and everyday assumptions. In words, images and actions, her art is deeply personal, sharply critical, intensely expressive, and always innovative. This special evening with Schneemann features a collection of some of the most highly charged political statements, erotic episodes and domestic disturbances in American avant-garde cinema. The program includes three beautifully restored 16mm films, Fuses (1965=967, 29 min., silent), Viet-Flakes (1965, 11 min.), Plumb Line (1968=9671, 18 min.), and a recent video, Devour (2003=964, 7:52 min.). In person: Carolee Schneemann "Prior to Schneemann, the female body in art was mute and functioned almost exclusively as a mirror of masculine desire." Jan Avgikos, Artforum "The magnitude of Schneemann's influence is undeniable=85 When she describe= s her body as a pleasurable weapon, a missile she sends into our repressive culture to blow it apart, Madonna's in-your-face eroticism immediately come= s to mind." =96 Jane Harris, Plexus Program at REDCAT 1964-67 Fuses Film - 16mm, color, silent. New restoration of original 16mm collaged print=96May 2007, 29:51 min. Part of "Autobiographical Trilogy". Filming begun in 1964. This self-shot erotic film remains a controversial classic. With awards at Cannes (1968), the Yale Film Festival (1992), and showings at Museums and Universities internationally, Fuses has nevertheless encountered censorship over the years. "[A]notorious masterpiece, a silent celebration in color of heterosexual love making, the film unifies erotic energies within a domesti= c environment through cutting, super-imposition and layering of abstract impressions scratched into the celluloid itself... Fuses succeeds perhaps more than any other film in objectifying the sexual streamings of the body'= s mind." - The Guardian 1965 Viet-Flakes Film - 8mm printed to 16mm, b/w, toned. 11 minutes. Sound collage by James Tenney. Composed from an obsessive collection of Vietnam War atrocity images, compiled over five years from foreign magazine and newspapers. Schneemann uses the 8mm camera to "travel" within the photographs producing a volatile animation. Broken rhythms and visual fractures are heightened by a sound collage by James Tenney of Vietnamese religious chants, secular songs, fragments of Bach, 60s pop hits. "One of the most effective indictments of the Vietnam War ever made." =96 Robert Enright, Border Crossings. 1971 Plumb Line Film - Super 8, step printed to 16mm, color, sound. 18 minutes, sound by C. Schneemann. Part II of "Autobiographical Trilogy". Filming begun in 1968. The dissolution of a relationship unravels through visual and aural equivalences. Schneemann splits and recomposes actions of the lovers in a streaming montage of disruptive permutations: 8mm is printed as 16mm, movin= g images freeze, frames reoccur and dissolve until the film bursts into flames, consuming it's own substance. 2003-04 Devour Multi-channel color video projection with sound. (7:52 minutes) "Devour" is a multi-channel video projection realized with support from a Rockefeller Foundation Media Arts Grant and an Eyebeam Artist Residency. Perceptual tensions drive a range of images edited to contrast evanescent, fragile elements with violent, concussive, speeding fragments. Looped sources of the imagery combine political disasters, domestic intimacy and the ambiguous menace within enlarged details of gestures=97both human and mechanical. The history of Carolee Schneemann's work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, the body of the artist in dynamic relationship with the social body. Her work questions the exclusivity of traditional western categories by creating a space of complementarity, mutuality, and integration and she has transforme= d the very definition of art, especially with regard to discourses concerning the body, sexuality, and technology. Born in Fox Chase, Pennsylvania, she received a B.A. from Bard College and an M.F.A. from the University of Illinois. She began her art career as a painter in the late 1950s. Her painting work began to adopt som= e of the characteristics of Neo-Dada art, as she used box structures coupled with expressionist brushwork. In 1962, Schneemann and her then-husband composer James Tenney moved to New York, where they became involved in the art and music scene and met Claes Oldenberg, Merce Cunningham, John Cage, Robert Rauschenberg, George Brecht, Malcolm Goldstein, Philip Glass, Terry Riley and Steve Reich. Schneemann started working with the artists of the Judson Church, and participated in works such as Oldenberg's Store Days (1962) and Robert Morris's Site (1964) where she played a living version of Edward Manet's Olympia. She began to use her nude body in works, feeling that it needed to be seized back from the status of a cultural possession. Production on her work Eye Body began in 1962. Schneemann created a "loft environment" filled with broken mirrors, motorized umbrellas, and rhythmic color units. To become a piece of the art herself, she covered herself in various materials including grease, chalk, and plastic. In 1964, the reworking of original film footage of three 1964 performances of Meat Joy i= n Paris, London and New York City ushered Schneemann into film and video-making. The New Museum of Contemporary Art, NYC, featured a retrospective of Schneemann's works entitled "Up To And Including Her Limits" in 1998 In 2007, a dual exhibit at CEPA Gallery, Buffalo NY & MOCCA Toronto featured recent video installations. Electronic Arts Intermix NYC and Anthology Film Archives NYC collaborated on presentations of newly restored and current film & videos November 2007. Her work has also been shown at such renowned institutions as the Los Angeles Museum of Contemporary Art (MOCA), the New York Museum of Modern Art (MoMA), Centre Georges Pompidou, Paris, the Museu= m of Contemporary Art, Chicago and the London National Film Theatre. She has been the recipient of Media Grants from the Rockefeller Foundation, a Pollock-Krasner Fellowship, as well as grants from the Gottlieb Foundation, the Guggenheim Foundation, the Andrea Frank Foundation and the National Endowment for the Arts. Schneemann has taught at several universities, including the California Institute of the Arts, the School of the Art Institute of Chicago, Hunter College and Rutgers University, where she was the first female art professo= r hired. MIT Press has just published Imaging Her Erotics - Essays, Interviews, Projects. Editions of Schneemann's previous writing includes; More Than Meat Joy: Complete Performance Works and Selected Writings (1979, 1997); Video Burn (1992); Early and Recent Work (1983); ABC - We Print Anything - In The Cards (1977); Cezanne, She Was A Great Painter (1976); an= d Parts of a Body House Book (1972). Correspondence Course, a selection of her letters edited by Kristine Stiles is forthcoming from Duke University Press. Partial Film/Videography (works directed by Schneemann) 1965 Viet-Flakes 1966 Red News 1964-67 Fuses 1971 Plumb Line 1973-78 Kitch's Last Meal 1992 Vesper's Stampede To My Holy Mouth 1993-95 Interior Scroll - The Cave 1996 Known/Unknown - Plague Column. 1999 Vespers Pool. 2000 More Wrong Things 2003-04 Devour 2007 Carl Ruggles' Christmas Breakfast 2007 Mop-Mop--Improvisation for Job at New York University 2008 Duo Additional Screenings of Carolee Schneemann's work Sunday April 20 =96 Filmforum at the Egyptian Theatre - 7:00 pm 1973-8 Kitch's Last Meal Film - Super 8, color, dual projection, separate sound. New restoration of original film reels/separate sound =96 May 2007 (54:06 minutes). Screening format to be determined. Part III of "Autobiographical Trilogy". Schneemann's cat, Kitch, which was featured in works such as Fuses, was a major figure in Schneemann's work for almost twenty years The moving conclusion to the autobiographical trilogy was originally shot o= n Super-8. The film documents the routines of daily life whilst time passes, = a relationship winds down and death closes in: filming and recording stopped when the elderly cat died. The soundtrack mixes personal reminiscences with ambient sounds of the household, and includes the original text used for Schneemann's 1975 performance Interior Scroll. The preservation of Kitch's Last Meal was supported by the Andy Warhol Foundation for the Visual Arts and realized by the Anthology Film Archives. Plus additional works to be announced. Los Angeles Filmforum At the Spielberg Theatre at the Egyptian Theatre 6712 Hollywood Blvd. at Las Palmas, Los Angeles CA 90028 www.lafilmforum.org For reservations, email the name & number in your party to lafilmforum@yahoo.com. Advance tickets also available through Fandango through the Egyptian Theatre page. $9 general; $6 students/seniors Friday April 25 =96 UCLA Film & Television Archive =96 7:30 pm New and Recent Videos by Carolee Schneemann Schneemann will present a selection of recently released videos, including: Duo (2008), which incorporates extracts from her earlier Infinity Kisses an= d completes her exploration of human and feline sensual communication; Interior Scroll=97The Cave (1995), a performance in a vast underground cave= in which Schneemann and seven nude women perform the ritualized actions of "Interior Scroll"=97 reading the text as each woman slowly extracts a scrol= l from her vagina; Vesper's Stampede to My Holy Mouth (1992), in which Victoria Vesna and Schneemann explore suppressed feminist issues of female subjugation, the unconscious, the paranormal and goddess religions; Devour (2003-04), a montage that Schneemann describes as contrasting "evanescent, fragile elements with violent, concussive, speeding fragments... political disasters, domestic intimacy, and ambiguous menace"; Mop-Mop--Improvisation for Job at New York University (2007), which captures an interview for a teaching position that Schneemann spontaneously transformed into a performance; the newly reedited version of Americana I Ching Apple Pie (2007), which documents the artist in front of a packed lecture hall as she demonstrates, with hilarious and deadpan delivery, how to make the quintessential American dessert=97apple pie; Body Collage (1967), in which Schneemann paints her body with wallpaper paste and then rolls through a floor covered in shredded paper, transforming herself into a constantly changing, moving collage. (This film was preserved through the Avant-Garde Masters program funded by The Film Foundation and administered by the NFPF.); Meat Joy (1964), an erotic rite, a celebration of flesh as material that could at any moment be sensual, comic, joyous, repellent. UCLA Film & Television Archive Billy Wilder Theater (Courtyard level of the Hammer Museum, 10899 Wilshire Blvd.), at the northeast corner of the intersection of Wilshire and Westwoo= d Blvds., just east of the 405. $9 general; $8 Cineclub members/students/seniors; $7 Cineclub members who are seniors/students; $10 advance tickets; purchase online at www.cinema.ucla.edu. Parking: $3 in the lot under the theater. Enter from Westwood Blvd., just north of Wilshire http://www.cinema.ucla.edu/screenings/screenings.html. ___________________________________________________________ REDCAT is located in downtown Los Angeles at the corner of W. 2nd St. and S= . Hope St., inside the Walt Disney Concert Hall complex. Tickets are $9 for the general public, $7 for students with valid ID. Tickets may be purchased by calling 213.237.2800 or at www.redcat.org or in person at the REDCAT Box Office on the corner of 2nd and Hope Streets (30 minutes free parking with validation). Box Office Hours: Tue-Sat | noon=966 pm and two hours prior to curtain. The Jack H. Skirball Screening Series is curated by Steve Anker and B=E9r= =E9nice Reynaud --=20 All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Sat, 12 Apr 2008 20:51:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: 4/19 Eileen Myles & Zoe Whittall and 4/20 Reid Gomez Benefit at SPT MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Come and spend the weekend with Small Press Traffic! Small Press Traffic is thrilled to present 2 fabulous weekend events: Saturday, April 19th ** Zoe Whittall & Eileen Myles ** Sunday, April 20th ** California Wasn't Good For Us, A Benefit Reading for Reid G=F3mez Co-hosted by Small Press Traffic and Many Goats ** **************************************************** Zoe Whittall & Eileen Myles Saturday, April 19, 2008 Timken Lecture Hall 7:30 p.m. Refreshments will be served Please note the special *Saturday* date for this SPT event. Join us! Zoe Whittall is the author of the novel Bottle Rocket Hearts (Cormorant, 2007) and two volumes of poetry, including the recent Emily Valentine Poems (Snare, 2006) and The Best Ten Minutes of Your Life (McGilligan, 2001). The Globe and Mail recently called her, "the cockiest, brashest, funniest, toughest, most life-affirming, elegant, scruffy, no-holds-barred writer to emerge from Montreal since Mordecai Richler." Her stories and poetry have been anthologized widely in books like Baby Remember My Name edited by Michelle Tea, Red Light: Superheroes, Saints & Sluts edited by Anna Camilleri, Brazen Femme edited by Anna Camilleri and Chloe Brushwood-Rose, With a Rough Tongue: Femmes Write Porn edited by Amber Dawn and Trish Kelly, and Breathing Fire Two: Canada's New Poets edited by Lorna Crozier and Patrick Lane. She was born on a sheep farm in rural Quebec and has lived in Toronto since 1997. Over the last three decades Eileen Myles has written, produced, and performed a multitude of poems, plays, articles, libretti. In 1992, she conducted an openly female "write in campaign" for President of the United States. She has toured internationally with Sister Spit's Rambling Road Show and is considered "America's best known unofficial poet." In Sorry, Tree (Wave Books, 2007), Myles describes "some nature" as well as the transmigration of souls from the east coast to the west. She's a "rock star of modern poetry" according to Bust magazine and we're glad to have here back at SPT. Please note special day for above event! ******************************************************************** Sunday, April 20, 2008 California Wasn't Good For Us, A Benefit Reading for Reid G=F3mez Co-hosted by Small Press Traffic and Many Goats Timken Hall Lecture Hall 2:00 p.m. Refreshments will be served Please note the special *Sunday* date for this co-sponsored SPT event. Join us! California Wasn't Good For Us, A Benefit Reading for Reid G=F3mez All OUT and All SKIN California Wasn't Good For Us, a benefit reading for San Francisco Native and Navajo writer Reid G=F3mez. Featuring a landmark line up of queer American Indian artists: Jewelle Gomez, Kim Shuck, Reid G=F3mez and Master of Ceremonies, L. Frank. In the spirit of radical feminism Jewelle Gomez, Kim Shuck and the legendary L. Frank have joined co-host Small Press Traffic in the first and only benefit for Reid G=F3mez since her ill-fated and misdiagnosed ruptured appendix in 2002. Contrary to urban myth, Reid did not die, but she remains permanently disabled after nearly four years of hospitalizations and reconstructive/reparative surgeries. With no health insurance, no state or federal financial support, Reid continues to struggle to manage her physical therapy regime (5 hours daily), and the ironic inability to sit for long periods of time. At this time her most urgent need is the purchase of a new computer and data recovery. In this age even a writer who still writes, ala Capote, prone and with pen and paper, requires access to a computer to print and circulate work. As Reid is not able to hold a job, and does not qualify for state or federal disability, her only means of support is through her writing. The benefit takes place on April 20, from 2-4, at California College of the Arts, 1111 8th Street, San Francisco, in the Timken Lecture Hall. The organizers are asking for a $20 donation per person, and have set up a website for those needing more information (http://reidgomez.blogspot.com/). You can also email them at: californiawasntgoodforus@yahoo.com If you are unable to attend, the organizers are asking people to still constibute. Writer and activist Jewelle Gomez (Cape Verdean, Ioway, Wampanoag) is the author of the double Lambda Award winning novel, The Gilda Stories. Her adaptation of this work was taken to 13 cities by the Urban Bush on a tour titled, "Bones and Ash: a Gilda Story." She is an original Gap Toothed Girl, and contributor to the groundbreaking anthologies Home Girls and Reading Black Reading Feminist. She was awarded a literature fellowship from the National Endowment of the Arts, and her writing has appeared in numerous periodicals: The San Francisco Chronicle, The New York Times, The Village Voice; Ms Magazine, ESSENCE Magazine, The Advocate, Callaloo and Black Scholar. More information about Ms. Gomez can be accessed at http://www.jewellegomez.com/bio.html. L. Frank, is a Tongva/Ajachmem elder and activist, deeply loved and respected by the California Indian community. World renown for her painting as well as her photography, and unequaled in her unique brand of coyote humor. Her comic, Acorn Soup, appears regularly in News From Native California, and her most recent book is First Families: A Photographic History of California Indians. L. says, "My art is cultural maintenance. I am the art janitor . . . koo koo ka choo." She is a board member of the Advocates for Indigenous California Language Survival. More information about L. can be found at http://www.turtletrack.org/Issues01/Co08112001/CO_08112001_LFrank.htm Cherokee poet Kim Shuck is the recipient of the Native Writers of the America's First Book Award for her 2005 book Smuggling Cherokee. She has an MFA in weaving from SFSU, and was a member of the board of directors for Califorina Poets in the Schools. Reid G=F3mez will be giving her first major reading since her health crises and will read from her newly finished novel, California Wasn't Good For Us. When she was about to die all she could think was, "I can't believe I'm going to die and not finish Cebolla's story, how pathetic." Well, she finished in September 2007, and it took her the next year to get the manuscript typed. She is eager to get this novel, rather Rabelaisian in length and content, out to the public. In 1995 she won the Astraea Lesbian Writers Fund Emerging Writers Award. This is an event not to be missed! ***************************************************************************= ***** Unless otherwise noted, events are $5-10, sliding scale, free to current SPT members and CCA faculty, staff, and students. There's no better time to join SPT! Check out: http://www.sptraffic.org/html/supporters.htm Unless otherwise noted, our events are presented in Timken Lecture Hall California College of the Arts 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin). Directions & map: http://www.sptraffic.org/html/directions.htm Please note the special dates for these events. We'll see you at SPT! _______________________________ Dana Teen Lomax, Interim Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, CA 94107 415.551.9278 smallpresstraffic@gmail.com http://www.sptraffic.org and out new blog: www.smallpresstraffic.blogspot.com ========================================================================= Date: Sun, 13 Apr 2008 04:41:18 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: Radio Ahadada: Mark Spitzer Reads From The Age of Demon Tools MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Come listen! www.ahadadabooks.com kick against the pricks, Jess ========================================================================= Date: Sun, 13 Apr 2008 01:20:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: - Avant(e) Garde MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit today someone said if they had stayed with their spouse (i'm not being specific for reasons obvious) they wouldn't have become an artist anyone else have that problem ? wow i heard the word artist thrown around so much today "become" is an interesting concept like fowardly thinking backward thoughts labels yes i've been labeled many things including el cheapo (a true one) post age rather than postage these posts are post yesterday and robert zamsky the emails i send you are so freaky they never rarely get thru do you have a second account yer edu account either comes back or makes my machine think it's in the stone age well i never really felt like an artist or a poet or a collagist yet for better or worse with my rather large albeit at times mediocre output i sure haven't done much of anything else in my life oh besides get high (well that's over) peddle on the street for too many years sing in the shower and wish constantly to be loved by all unconditionally and to BE AVANTE_GARDE like this Ma Rainey stuff on the radio ok steve go to sleep tomorrow is ahead better be on yer guard On Sat, 12 Apr 2008 11:30:47 +0100 Roy Exley writes: > John, > > Disappointed that you didn't spot the irony of my > 'post-postmodernist age' > that could have saved you all those other posts and obviously a > little anger > and irritation, I would have thought that my reference to our age > of > pluralism, (which while a label in itself, ultimately disempowers > the art of > labelling) would have pointed the way to our obviation of that > perennial > urge to label and ossify things. More later. > > Roy Exley. > > ========================================================================= Date: Sun, 13 Apr 2008 00:27:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fluffy Singler Subject: Re: - Avant(e)-garde MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Actually, Marjorie Perloff has some really interesting things to say about this assertion that the avant garde is part of modernism and that modernism is "over" in her intro to 21st Century Poetics. I don't know that I can do justice to her argument at this point, as I'm just now reading this work and haven't fully absorbed it all, so I will merely suggest looking into what she has to say. -----Original Message----- From: Roy Exley [mailto:royexley@MADASAFISH.COM] Sent: Friday, April 11, 2008 1:38 PM Subject: Re: - Avant(e)-garde Steve, Well, I suppose avant-garde is a modernist concept and now that modernism Is a part of history, an anachronism as far as contemporary culture is concerned, then its concepts can no longer apply to what is happening now, in this post-postmodernist age of rampant pluralism. More later. Roy Exley. ========================================================================= Date: Sun, 13 Apr 2008 06:18:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: A Blue Hand - Deborah Baker - Book Review - New York Times MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.nytimes.com/2008/04/13/books/review/McGee-t.html?pagewanted=2&ref=books--- Aryanil Mukherjee of Kaurab journal wrote me some very interesting letters re Ginsberg's legacy in Bengal--which gave an insight into the ways Ginsberg's presence affected the community he lived in and the poets he met with--and the ways they so greatly affected him--and how this changed through time-from the Bengali point of view--i'm thankful to Aryanil for giving the "other side of the story" so to speak-- Indian Journals (City Lights) is one of AG's finest works-- Ginsberg wrote a little intro for a collection of Bengali poets translated for the (1963) City Lights Anthology Two (which featured a Pound/Celine mini-selections of points of view pro and con and an Italian interview, disputed by the editors, with Pound-) ========================================================================= Date: Sun, 13 Apr 2008 06:46:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alexander Dickow Subject: rural PA In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Sure, but how much of that food is produced in this country? Alex (grew up in the Idaho panhandle) mIEKAL aND wrote: "How much of the food you eat everyday is produced in the city?" On Apr 12, 2008, at 10:12 AM, Ryan Daley wrote: > > Bitter isn't a strong > enough word, but it's more accurate than what most politicians > offer, saying > that timeless hogwash about rural America being the backbone of this > country. Who are they kidding? > www.alexdickow.net/blog/ les mots! ah quel désert à la fin merveilleux. -- Henri Droguet ========================================================================= Date: Sun, 13 Apr 2008 11:04:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Jo Malo Subject: Re: - Avant(e) Garde In-Reply-To: <20080413.012018.948.15.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Yes, Steve, that and other explanations/excuses. As for your label, man,. . . you're BEAT. Congrats on your new collab. Many happy returns. Mary Jo On Sun, Apr 13, 2008 at 1:20 AM, steve d. dalachinsky wrote: today someone said if they had stayed with their spouse (i'm not being specific for reasons obvious) they wouldn't have become an artist anyone else have that problem ? ========================================================================= Date: Sun, 13 Apr 2008 15:40:31 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Pusateri Subject: ANON by Chris Pusateri now available MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Dear Poetics Listers, =20 My book ANON was recently published by BlazeVOX Books. Potential reviewers= can contact me directly about reader's copies. The book is available thro= ugh Small Press Distribution, Baker & Taylor, and as a last resort, Amazon.= com. =20 The whats and wherefores appear below. =20 Best, Chris =20 anon by Chris Pusateri Buffalo, NY: BlazeVOX [books], 2008 80 pps Cover art by Drew Kunz ISBN: 1-934289-67-1 Price: $16 (paper) Distributors: SPD, Baker & Taylor, Amazon.com =20 =20 Advance Praise for anon =20 What=92s at stake in this book is nothing less than the fascination and fru= stration informing the felt distance between the printed word and peopled w= orld. With Pope-like precision, Pusateri would parlay =91the me who is he= =92 into a quick-witted poetic for our precarious times, each pointed sente= nce pointing up both an artifice =91illuminated by its own refrain=92 and t= he shared punch lines of thos who will =91know which years were feast and w= hich ones famished.=92 That would be us, people. Like this reader, reader= s will be sure to pilfer from anon, presently. --Joe Amato Anon records =91soft static falling as forecast=92 and an ostensible caress= that materializes as =91an unpleasant repetition eroding his arm.=92 Agai= nst the bleak banalities of this =91experience in syndication,=92 Chris Pus= ateri strikes back with a bracing admixture of silliness and patient intell= igence.=20 --Elizabeth Robinson =20 _________________________________________________________________ Pack up or back up=96use SkyDrive to transfer files or keep extra copies. L= earn how. hthttp://www.windowslive.com/skydrive/overview.html?ocid=3DTXT_TAGLM_WL_Ref= resh_skydrive_packup_042008= ========================================================================= Date: Sun, 13 Apr 2008 11:54:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Martha King Subject: King and Nauen read on May Day Comments: To: martha.king@nmss.org MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="utf-8" Prose Pros Presents =C2=A0 =C2=A0Martha King & Elinor Nauen Thursday, May 1, 6:30-8:30 p.m. Note that the reading starts at 6:30!=20 at The Telephone Bar & Grill =E2=80=93 149 Second Avenue btw 9th & 10th Stre= ets=20 all trains to Union Square, 6 to Astor Place, F to Second Avenue =C2=A0 Martha King and Elinor Nauen offer the finale of their new series=E2=80=99 f= irst season. Celebrate May Day in style at a reading of their dazzling new p= rose works. =C2=A0 King is the author of Separate Parts (Avec Books, 2002); Little Tales of Fam= ily and War; Seven and More; and North & South (2000, 2005, and 2006 from Sp= uyten Duyvil).=C2=A0 She has also published several books of poetry and was=20= the editor and publisher of the freebie zine Giants Play Well in the Drizzle= , from 1984 to 1992.=20 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0 King atte= nded fabled Black Mountain College in the mid-1950s and has been married sin= ce 1958 (!) to the painter/poet Basil King, whose last name she happily took= rather than keep her father=E2=80=99s. Per the Publishers Weekly review of=20= North and South: =E2=80=9CHer short stories suggest the spare hardness and a= mused diffidence of poet Robert Creeley; wrenching plot twists and the insta= bility of narrative itself--King often interrupts to discard or evaluate the= proceedings--root=C2=A0 her best work in the postmodern contingency forged=20= by Black Mountain (writers)=E2=80=A6.=C2=A0 Her narrators, often unnamed and= female, reveal King's keen sensitivity to the caste system separating men a= nd women.=E2=80=9D =C2=A0 Nauen=E2=80=99s books include CARS & Other Poems, American Guys (=E2=80=9CEl= inor Nauen=E2=80=99s poems are like her personality, which is irresistible= =E2=80=9D=E2=80=94Richard Hell) and, as editor, Ladies, Start Your Engines:=20= Women writers on cars & the road (Faber & Faber, 1997) (a =E2=80=9Ctreasury=20= of poetry, short fiction and essays on cars and the places they take us=E2= =80=9D) and Diamonds Are a Girl=E2=80=99s Best Friend: Women writers on base= ball (Faber & Faber, 1994) (=E2=80=9CMove over, Roger Angell, and make room=20= at the top for another superb literary collection of baseball writing=E2=80= =9D=E2=80=94Booklist). She writes frequently about baseball, threw out the f= irst pitch (a strike) at a St. Paul (MN) Saints game and presented =E2=80= =9CPiers the Batsman: Baseball (and Other Games) in the Middle Ages=E2=80= =9D at the 36th International Congress on Medieval Studies in 2001.=20 She has read at the Museum of Modern Art, the Baseball Hall of Fame, an inte= rnational peace festival in Espanola, New Mexico (backed by a jazz band that= included Ray Manzarek)=C2=A0 & elsewhere. Her most recent work is So Late i= nto the Night, a five-part, 200-page narrative poem in ottava rima.=20 =C2=A0 The reading takes place in the comfortable backroom Lounge of the Telephone=20= Bar, famed for fine vegetarian and carnivore fare, cooked with an English fl= air. Admission is free.=20 =C2=A0 In its first season Prose Pros presented Joycelyn Lieu, Mort Zachter, Stan A= lpert, Hettie Jones, Peter Tractenberg, Stephanie Dickinson, Sharon Mesmer,=20= Andrei Codrescu, Maggie Dubris, and Geoffry O=E2=80=99Brien.=C2=A0 For news=20= of the second season, which begins Thursday, September 4, 2008, send an emai= l to =C2=A0 enauen@aol.com or gpwitd@aol.com =C2=A0=C2=A0 =C2=A0 (To be removed from this list, please send the message =E2=80=9Cunsubscribe.= =E2=80=9D) ========================================================================= Date: Sun, 13 Apr 2008 12:15:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: Marsh Hawk Press book launch & party Comments: cc: poetryetc@jiscmail.ac.uk Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Jane Augustine and Marsh Hawk Press asked me to send this message to you all. Dear friends: Please come to the Marsh Hawk Press Spring '08 book party on Thursday, April 24, at Ceres Gallery, 547 W.27th St.from 7 to 9 p.m. in Manhattan. A reading and reception will launch my new book, A Woman's Guide to Mountain Climbing, Thomas Fink's Clarity and Other Poems and the 2007 contest winning volume, Either She Was by Karin Randolph, selected by judge David Schapiro See you there! Cheers, Jane Speaking The Estranged: Essays on the Work of George Oppen (2008); Uncertain Poetries: Essays on Poets, Poetry and Poetics (2005) and Exigent Futures: New and Selected Poems (2003) available at www.saltpublishing.com, amazon.com and good bookstores. Survey of work at http://www.thing.net/~grist/ld/heller.htm Collaborations with the composer Ellen Fishman Johnson at http://www.efjcomposer.com/EFJ/Collaborations.html ========================================================================= Date: Sun, 13 Apr 2008 13:01:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: Correction: re. Marsh Hawk Press book launch & party Comments: cc: poetryetc@jiscmail.ac.uk Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Many apologies to David Shapiro. His name was misspelt on our announcement. The announcement should read: Jane Augustine and Marsh Hawk Press asked me to send this message to you all. Dear friends: Please come to the Marsh Hawk Press Spring '08 book party on Thursday, April 24, at Ceres Gallery, 547 W.27th St.from 7 to 9 p.m. in Manhattan. A reading and reception will launch my new book, A Woman's Guide to Mountain Climbing, Thomas Fink's Clarity and Other Poems and the 2007 contest winning volume, Either She Was by Karin Randolph, selected by judge David Shapiro See you there! Cheers, Jane Speaking The Estranged: Essays on the Work of George Oppen (2008); Uncertain Poetries: Essays on Poets, Poetry and Poetics (2005) and Exigent Futures: New and Selected Poems (2003) available at www.saltpublishing.com, amazon.com and good bookstores. Survey of work at http://www.thing.net/~grist/ld/heller.htm Collaborations with the composer Ellen Fishman Johnson at http://www.efjcomposer.com/EFJ/Collaborations.html ========================================================================= Date: Sun, 13 Apr 2008 13:11:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Fwd: SAVE THE DATE! SUNDAY, MAY 4TH: The Mad Hatters' Review MAD HATTERS' REVUE In-Reply-To: <81a23c20ff58519680920f3664e6c5c0@smtp.ymlp28.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Hey, hope you can make this: ---------- Forwarded message ---------- From: Mad Hatters' Review Date: Fri, Apr 11, 2008 at 6:53 PM Subject: SAVE THE DATE! SUNDAY, MAY 4TH: The Mad Hatters' Review MAD HATTERS' REVUE To: phipps.wanda@gmail.com Dear Friends: We hope that many of you can be here for this delightful benefit! Please spread the word to all of your friends in the NYC (tri-state) vicinity! The Mad Hatters' Review MAD HATTERS' REVUE MAY 4TH, 4 - 8pm BOWERY POETRY CLUB A FESTIVAL OF DELIGHTS FOR THE EYE & EAR To Keep The Mad Hatters Alive & Kicking MC'd by comedienne Lisa Levy, the Revue will feature FICTION WRITERS & POETS, PERFORMANCE ARTISTS & MULTI-MEDIA MASTERS Alex Caldiero, Alan Davies, Samuel R. Delany, Tonya M. Foster, Pierre Joris, Timothy Liu, Eileen Myles, Nicole Peyrafitte, Wanda Phipps, Alan Sondheim, Stephanie Strickland, Steve Tomasula & Edwin Torres; MUSICIANS & SOUND ARTISTS, including Benjamin Rush Miller, austin publicover, & Ben Tyree with Will Martina; VISUAL ARTISTS & FILM-MAKERS, including:: Amy Cohen Banker, Orin Buck, Theresa Burnes, Michelle Handelman, Heide Hatry, Donna Kuhn, Gregg LeFevre, Iris Schieferstein, & Robert Withers. Door Prizes, Drink Specials & More & only $18 at the Door contact: madhattersreview@gmail.com Download Flier to Print Out & Disseminate! (Flier is also accessible via http://www.madhattersreview.com/events.shtml#may4) http://www.madhattersreview.com/images/events/MHR_RevueFlyer3.pdf Mad Hatters' Review - Edgy and Enlightened Literature, Art and Music in the Age of Dementia http://www.madhattersreview.com KEEP THE MAD HATTERS ALIVE! MAKE A TAX DEDUCTIBLE CONTRIBUTION HERE: https://www.fracturedatlas.org/site/contribute/donate/580 http://webdelsol.com/PortalDelSol/pds-interview-mhr.htm ________________________________ Change email address / Leave mailing list Hosting by YourMailingListProvider -- Wanda Phipps Check out my websites MIND HONEY: http://www.mindhoney.com as well as http://www.myspace.com/wandaphippsband and my latest book of poetry Wake-Up Calls: 66 Morning Poems available at: http://www.softskull.com/detailedbook.php?isbn=1-932360-31-X and http://www.amazon.com/exec/obidos/ASIN/193236031X/ref=rm_item ========================================================================= Date: Sun, 13 Apr 2008 14:14:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: forest might be a good title here MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Waltz Waltz on on bridge bridge - pointing into into the the forest forest movements - Off-kilter 'nature' Images You're in pregnant, your your womb, baby the is rest dancing of in you womb, You're the rest your baby you are still an is avatar dancing womb You're Terrified, Terrified, implore implore the heavens heavens help help help help help ========================================================================= Date: Sun, 13 Apr 2008 12:28:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: Obama is correct about rural PA MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=response Content-Transfer-Encoding: 7bit At least when Obama says something that may hurt him politically, unlike Clinton, he's telling the truth. That rural people are bitter at their plight under Bush, especially that most of them voted for him, is true. That rural people are into guns and religion (which, in America, are equivocal), is also true. Hell, they're proud of it! The media acts like these people were going to vote for Obama, as if he's losing votes. (Hillary, who also attended an Ivy League college, is suddenly saying "Aw shucks," and keeps a chaw in her purse.) Just like with race, the guy is trying to make Americans face who they are. You can't change course without admitting to which course you're on. Of course politicians are always going to disappoint everyone on something, as the art of politics is compromise. You just have to know where your core values are, and there draw the line. This is Bush's strength. Unfortunately, his line is drawn with the blood and tears of the poor. -Joel ----- Original Message ----- From: "Mark Weiss" To: Sent: Saturday, April 12, 2008 8:16 AM Subject: Re: Obama is correct about rural PA > Integrity is easy when there's nothing at stake. He's not going to win > Pennsylvania whatever he does. > > I do admire his principled vote against the war, though, against all the > pressure there must have been on senators. Oh, wait--he didn't get to vote > against the war, since he wasn't in the senate. > > I expect that Obama will get the nomination, and if he does I'll vote for > him for president, but I hope he's not the paragon he presents--if he is, > he'll be eaten alive in Washington. > > Mark > > > At 08:39 AM 4/12/2008, you wrote: >>Having grown up in rural Pennsylvania I can promise you that Obama's >>assessments are correct about many of these people being bitter and >>clinging >>to their guns and religion. It took me YEARS to dig out of my anger for >>the >>torture they put me through for being queer, for not wanting to kill deer, >>pheasants, rabbits, and instead planting and tending flowers, vines, and >>other boys. >> >>What's MOST IMPRESSIVE is Obama's ability to take his statements and STAND >>BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing why they >>Should be. >> >>He's right of course. What's terrible though is that the harsh world of >>rural Pennsylvania (harsh as in trying to actually survive when the >>factories and industry disappear DUE in large part to the Clintons!), like >>most places where life is very hard, scapegoating is the major pastime. >>It's bottomless, the racism, homophobia, sexism, and I can't see HOW >>anyone >>will ever be able to break through it. These things make me very sad, >>mostly because there are many people where I grew up who I got to know as >>intelligent and talented, until they found out I was queer, which of >>course >>put an end to communications with me. >> >>But many of the people where I come from will NEVER vote for a white woman >>for president anymore than they will vote for a black man for president. >>And if ANY candidate ever dares say ANYTHING positive about homosexuals, >>well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of course. >>Oy, I'm exhausted thinking about the wicked things I know they're saying >>in >>the bars and beauty parlors, at the mills and diners. >> >>But Obama is correct in every way. And he's amazing that he remains so >>focused and on topic, even if the topic is about something he himself said >>that might hurt his campaign. He has integrity I thought IMPOSSIBLE for >>Democrats! He has my support! (Part of me is SO AFRAID he's another Bill >>Clinton though! I heard Clinton's one speech at a gay rights rally in DC >>when he was first running for president, and I BOUGHT IT, bought every >>lying >>word of it!) >> >>But if Obama doesn't win the nomination I'm voting for Ralph Nader again. >>Nader was just in Philadelphia and gave an amazing speech! Nader is the >>sexiest LIVING MIND! >> >>CAConrad >>http://PhillySound.blogspot.com > ========================================================================= Date: Sun, 13 Apr 2008 13:27:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: Obama is correct about rural PA MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Consider the smut Obama's had thrown at him by the Clinton gang. & consider his campaign which includes Howard Dean innovations with the best of Kerry rhetoric. He needs to fight back when the swift boats attack during the General election. If he does that, he should win. On the other hand, he is a democrat, and they know too well how to lose. ----- Original Message ---- From: Mark Weiss To: POETICS@LISTSERV.BUFFALO.EDU Sent: Saturday, April 12, 2008 11:16:05 AM Subject: Re: Obama is correct about rural PA Integrity is easy when there's nothing at stake. He's not going to win Pennsylvania whatever he does. I do admire his principled vote against the war, though, against all the pressure there must have been on senators. Oh, wait--he didn't get to vote against the war, since he wasn't in the senate. I expect that Obama will get the nomination, and if he does I'll vote for him for president, but I hope he's not the paragon he presents--if he is, he'll be eaten alive in Washington. Mark At 08:39 AM 4/12/2008, you wrote: >Having grown up in rural Pennsylvania I can promise you that Obama's >assessments are correct about many of these people being bitter and clinging >to their guns and religion. It took me YEARS to dig out of my anger for the >torture they put me through for being queer, for not wanting to kill deer, >pheasants, rabbits, and instead planting and tending flowers, vines, and >other boys. > >What's MOST IMPRESSIVE is Obama's ability to take his statements and STAND >BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing why they >Should be. > >He's right of course. What's terrible though is that the harsh world of >rural Pennsylvania (harsh as in trying to actually survive when the >factories and industry disappear DUE in large part to the Clintons!), like >most places where life is very hard, scapegoating is the major pastime. >It's bottomless, the racism, homophobia, sexism, and I can't see HOW anyone >will ever be able to break through it. These things make me very sad, >mostly because there are many people where I grew up who I got to know as >intelligent and talented, until they found out I was queer, which of course >put an end to communications with me. > >But many of the people where I come from will NEVER vote for a white woman >for president anymore than they will vote for a black man for president. >And if ANY candidate ever dares say ANYTHING positive about homosexuals, >well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of course. >Oy, I'm exhausted thinking about the wicked things I know they're saying in >the bars and beauty parlors, at the mills and diners. > >But Obama is correct in every way. And he's amazing that he remains so >focused and on topic, even if the topic is about something he himself said >that might hurt his campaign. He has integrity I thought IMPOSSIBLE for >Democrats! He has my support! (Part of me is SO AFRAID he's another Bill >Clinton though! I heard Clinton's one speech at a gay rights rally in DC >when he was first running for president, and I BOUGHT IT, bought every lying >word of it!) > >But if Obama doesn't win the nomination I'm voting for Ralph Nader again. >Nader was just in Philadelphia and gave an amazing speech! Nader is the >sexiest LIVING MIND! > >CAConrad >http://PhillySound.blogspot.com __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sun, 13 Apr 2008 15:15:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: - Avant(e)-garde In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit the arguments that the notion of the avant garde is no longer relevant always seem a bit fishy to me. for instance, one argument is that the avant garde defines itself in opposition to a mainstream, and 'since there no longer is a mainstream', the avant garde no longer makes any sense, like hot without cold. i'd have two or more objections to the above arg. no mainstream? follow the money. the mainstream is mainstream by virtue mainly of money to propagate the stream in prominent media. to say there is no mainstream is to deny the role of money in dominating mass media. who does that? also, it seems wrong-headed to think of the avant garde as simply the non-mainstream part of a mainstream/non-mainstream binary. i think of the avant garde as being strong in areas such as innovation, experimentation and, yes, doing things that are not going to be popular, but doing them anyway. not simply as an alt-mainstream. the arguments against the mere existence or relevance of the avant garde often smack to me of a heavy influence of corporatism. the notion that the internet, say, levels the playing field to the point where everything gets equal attention in media is preposterous. the internet helps me in many ways, including getting my work out there, but i certainly don't have a mass audience and that is just not the goal, for me; instead, i want my work to be available to those who are interested in such innovation. and it is. ja http://vispo.com > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Fluffy Singler > Sent: April 12, 2008 10:27 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: - Avant(e)-garde > > > Actually, Marjorie Perloff has some really interesting things to say about > this assertion that the avant garde is part of modernism and that > modernism > is "over" in her intro to 21st Century Poetics. I don't know > that I can do > justice to her argument at this point, as I'm just now reading > this work and > haven't fully absorbed it all, so I will merely suggest looking into what > she has to say. > > -----Original Message----- > From: Roy Exley [mailto:royexley@MADASAFISH.COM] > Sent: Friday, April 11, 2008 1:38 PM > Subject: Re: - Avant(e)-garde > > Steve, > > Well, I suppose avant-garde is a modernist concept and now that modernism > Is a part of history, an anachronism as far as contemporary culture is > concerned, then its concepts can no longer apply to what is happening now, > in this post-postmodernist age of rampant pluralism. More later. > > Roy Exley. > ========================================================================= Date: Sun, 13 Apr 2008 18:58:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: rural PA avant garde Comments: To: Alexander Dickow In-Reply-To: 509247.58531.qm@web35508.mail.mud.yahoo.com MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 > sitting here in Centre County, PA, eating the fruits of bitterness <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>> "Study the fine art of coming apart." --Jerry W. Ward, Jr. Sailing the blogosphere at: http://heatstrings.blogspot.com/ Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sun, 13 Apr 2008 16:04:52 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: an idea of poetry too conservative even for Andrew Motion MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable From The Observer, http://books.guardian.co.uk/news/articles/0,,2273299,00.= html:=0A=0APoetry guardians reject modern verse =0AThe Queen's English Soci= ety demands rhyme and metre in poems. But the group's targets, including th= e Laureate, have hit back=0AAnushka Asthana=0ASunday April 13, 2008=0A=0AOb= server=0AWhen Oscar Wilde argued that a 'poet can survive everything but a = misprint' he had not foreseen the formation of the Queen's English Society.= =0AMembers of the group, set up to defend the 'beauty and precision' of th= e English language, have turned their attention to contemporary poetry and = poets, arguing that too often strings of words are being labelled as poems = despite the fact they have no rhyme or metre. =0AThe campaigners say that t= here should be a new definition of poetry, outlining the characteristics ne= eded before a piece of work can be called a poem. =0A'A lot of people high = up in poetry circles look down on rhyme and metre and think it is old-fashi= oned,' said Bernard Lamb, president of the QES and an academic at Imperial = College London. 'But what is the definition of poetry? I would say, if it d= oesn't have rhyme or metre, then it is not poetry, it is just prose. You ca= n have prose that is full of imagery, but it is still prose.' =0AThe campai= gn is being spearheaded by Michael George Gibson, who said it was 'disgrace= ful' that the Poetry Society had failed to respond properly to his demands = for a definition. 'For centuries word-things, called poems, have been made = according to primary and defining craft principles of, first, measure and, = second, alliteration and rhyme,' said Gibson. 'Word-things not made accordi= ng to those principles are not poems.' True poems, he said, gave the reader= or listener a 'special pleasure'. =0AGibson praised the work of Chaucer, S= hakespeare, John Donne, Robert Graves and even Queen Elizabeth I, all of wh= om he thought followed the rules of poetry. But he was critical of current = writers, including Andrew Motion, the Poet Laureate. Gibson said that 'The = Golden Rule', written by Motion to mark the Queen's 80th birthday, should n= ot be called a poem. 'It has measure and refrain, but there is not another = formal principle that would raise its status to that of a poem,' said Gibso= n. =0AHe was also critical of the winners of The Poetry Society's National = Poetry Competition, arguing that none of them was a poem. =0AGibson singled= out the work of one of the competition's judges, Michael Schmidt, a contem= porary poet and academic who had been awarded an OBE. Schmidt's piece 'Pang= ur B=C3=A0n' was not poetry, said Gibson. 'It is in pairs of lines and I wi= ll assume they are measured out in a formal way, but beyond that there is n= o other formal principle. It falls short of being a poem.' =0AThe Poetry So= ciety has responded to the criticisms. One trustee told Gibson: 'There is p= oetry in everything we say or do, and if something is presented to me as a = poem by its creator, or by an observer, I accept that something as a poem.'= =0ARuth Padel, a prize-winning poet who used to be chair of trustees at Th= e Poetry Society, added: 'As for "what poetry is": in The Use of Poetry TS = Eliot said, "We learn what poetry is - if we ever learn - by reading it."' = =0AMotion described the 'rigidities' of the Queen's English Society as ridi= culous. Schmidt, professor of poetry at the University of Glasgow, argued t= hat for centuries poets had added variations to patterns and rules. 'It see= ms a primitive and even infantile notion that there are rules poetry must o= bey,' said Schmidt, who accused the QES of placing poetry in a 'straitjacke= t'. 'Poetry that follows the rules too closely is bad poetry. I think every= form of verse, free or metrical, establishes a pattern and plays on variat= ions of it.' =0ASchmidt said that Gibson's campaign was similar to a moveme= nt in the US that has been labelled 'new formalism'. Followers of the movem= ent set up a magazine that included any poem as long as it 'rhymed and scan= ned'. 'But the bankruptcy of that has been recognised,' said Schmidt. ========================================================================= Date: Sun, 13 Apr 2008 19:38:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Obama is correct about rural PA In-Reply-To: <00df01c89d9c$812e3fd0$0300a8c0@DBHJMLF1> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Honesty being the best policy, those who aspire to lead us should make clear at the outset that their lives have nothing whatsoever to do with the lives of almost everyone they hope will vote for them. It helps also if a tone of contempt intrudes--honesty requires that a politician reveal his or her darker side as often as possible. By no means should a politician try to invent a more inclusive persona. Politics is a graduate seminar, and the politician is the professor. Mark At 03:28 PM 4/13/2008, you wrote: >At least when Obama says something that may hurt him politically, >unlike Clinton, he's telling the truth. That rural people are bitter >at their plight under Bush, especially that most of them voted for >him, is true. That rural people are into guns and religion (which, >in America, are equivocal), is also true. Hell, they're proud of it! >The media acts like these people were going to vote for Obama, as if >he's losing votes. (Hillary, who also attended an Ivy League >college, is suddenly saying "Aw shucks," and keeps a chaw in her >purse.) Just like with race, the guy is trying to make Americans >face who they are. You can't change course without admitting to >which course you're on. > >Of course politicians are always going to disappoint everyone on >something, as the art of politics is compromise. You just have to >know where your core values are, and there draw the line. This is >Bush's strength. Unfortunately, his line is drawn with the blood and >tears of the poor. > >-Joel > >----- Original Message ----- From: "Mark Weiss" >To: >Sent: Saturday, April 12, 2008 8:16 AM >Subject: Re: Obama is correct about rural PA > > >>Integrity is easy when there's nothing at stake. He's not going to >>win Pennsylvania whatever he does. >> >>I do admire his principled vote against the war, though, against >>all the pressure there must have been on senators. Oh, wait--he >>didn't get to vote against the war, since he wasn't in the senate. >> >>I expect that Obama will get the nomination, and if he does I'll >>vote for him for president, but I hope he's not the paragon he >>presents--if he is, he'll be eaten alive in Washington. >> >>Mark >> >> >>At 08:39 AM 4/12/2008, you wrote: >>>Having grown up in rural Pennsylvania I can promise you that Obama's >>>assessments are correct about many of these people being bitter and clinging >>>to their guns and religion. It took me YEARS to dig out of my anger for the >>>torture they put me through for being queer, for not wanting to kill deer, >>>pheasants, rabbits, and instead planting and tending flowers, vines, and >>>other boys. >>> >>>What's MOST IMPRESSIVE is Obama's ability to take his statements and STAND >>>BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing why they >>>Should be. >>> >>>He's right of course. What's terrible though is that the harsh world of >>>rural Pennsylvania (harsh as in trying to actually survive when the >>>factories and industry disappear DUE in large part to the Clintons!), like >>>most places where life is very hard, scapegoating is the major pastime. >>>It's bottomless, the racism, homophobia, sexism, and I can't see HOW anyone >>>will ever be able to break through it. These things make me very sad, >>>mostly because there are many people where I grew up who I got to know as >>>intelligent and talented, until they found out I was queer, which of course >>>put an end to communications with me. >>> >>>But many of the people where I come from will NEVER vote for a white woman >>>for president anymore than they will vote for a black man for president. >>>And if ANY candidate ever dares say ANYTHING positive about homosexuals, >>>well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of course. >>>Oy, I'm exhausted thinking about the wicked things I know they're saying in >>>the bars and beauty parlors, at the mills and diners. >>> >>>But Obama is correct in every way. And he's amazing that he remains so >>>focused and on topic, even if the topic is about something he himself said >>>that might hurt his campaign. He has integrity I thought IMPOSSIBLE for >>>Democrats! He has my support! (Part of me is SO AFRAID he's another Bill >>>Clinton though! I heard Clinton's one speech at a gay rights rally in DC >>>when he was first running for president, and I BOUGHT IT, bought every lying >>>word of it!) >>> >>>But if Obama doesn't win the nomination I'm voting for Ralph Nader again. >>>Nader was just in Philadelphia and gave an amazing speech! Nader is the >>>sexiest LIVING MIND! >>> >>>CAConrad >>>http://PhillySound.blogspot.com ========================================================================= Date: Sun, 13 Apr 2008 19:39:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Cunningham Subject: Re: - Avant(e)-garde In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="windows-1250" Content-Transfer-Encoding: 7bit The problem is, particularly in music read jazz, that the avant garde took your advice and followed the money. Look at Ornette hiring James 'Blood' Ulmer into his unit, a move that was intended only so that Ornette could earn some dough. Look at what had happened to Sun Ra beginning in the late 70s and continuing on for the rest of his career. Do you think 'Nuclear Was' was intended for anything other than to earn some cash. And the Art Ensemble of Chicago became a disgrace in the 1980s. Sadly, no one followed in that direction leaving what was once the avant garde with no representation. We never had to worry about being avant garde in poetry as there was never any money to follow. John Cunningham -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Jim Andrews Sent: April 13, 2008 5:15 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: - Avant(e)-garde the arguments that the notion of the avant garde is no longer relevant always seem a bit fishy to me. for instance, one argument is that the avant garde defines itself in opposition to a mainstream, and 'since there no longer is a mainstream', the avant garde no longer makes any sense, like hot without cold. i'd have two or more objections to the above arg. no mainstream? follow the money. the mainstream is mainstream by virtue mainly of money to propagate the stream in prominent media. to say there is no mainstream is to deny the role of money in dominating mass media. who does that? also, it seems wrong-headed to think of the avant garde as simply the non-mainstream part of a mainstream/non-mainstream binary. i think of the avant garde as being strong in areas such as innovation, experimentation and, yes, doing things that are not going to be popular, but doing them anyway. not simply as an alt-mainstream. the arguments against the mere existence or relevance of the avant garde often smack to me of a heavy influence of corporatism. the notion that the internet, say, levels the playing field to the point where everything gets equal attention in media is preposterous. the internet helps me in many ways, including getting my work out there, but i certainly don't have a mass audience and that is just not the goal, for me; instead, i want my work to be available to those who are interested in such innovation. and it is. ja http://vispo.com > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Fluffy Singler > Sent: April 12, 2008 10:27 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: - Avant(e)-garde > > > Actually, Marjorie Perloff has some really interesting things to say about > this assertion that the avant garde is part of modernism and that > modernism > is "over" in her intro to 21st Century Poetics. I don't know > that I can do > justice to her argument at this point, as I'm just now reading > this work and > haven't fully absorbed it all, so I will merely suggest looking into what > she has to say. > > -----Original Message----- > From: Roy Exley [mailto:royexley@MADASAFISH.COM] > Sent: Friday, April 11, 2008 1:38 PM > Subject: Re: - Avant(e)-garde > > Steve, > > Well, I suppose avant-garde is a modernist concept and now that modernism > Is a part of history, an anachronism as far as contemporary culture is > concerned, then its concepts can no longer apply to what is happening now, > in this post-postmodernist age of rampant pluralism. More later. > > Roy Exley. > No virus found in this incoming message. Checked by AVG. Version: 7.5.519 / Virus Database: 269.22.13/1375 - Release Date: 12/04/2008 11:32 AM No virus found in this outgoing message. Checked by AVG. Version: 7.5.519 / Virus Database: 269.22.13/1375 - Release Date: 12/04/2008 11:32 AM ========================================================================= Date: Mon, 14 Apr 2008 01:40:14 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: colin herd Subject: Re: an idea of poetry too conservative even for Andrew Motion In-Reply-To: <602548.21369.qm@web65105.mail.ac2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline This article made me laugh so much when I read it this morning. Especially Gibson's grimly grandiose diagnosis: 'It falls short of being a poem'. On Mon, Apr 14, 2008 at 12:04 AM, Barry Schwabsky < b.schwabsky@btopenworld.com> wrote: > From The Observer, > http://books.guardian.co.uk/news/articles/0,,2273299,00.html: > > Poetry guardians reject modern verse > The Queen's English Society demands rhyme and metre in poems. But the > group's targets, including the Laureate, have hit back > Anushka Asthana > Sunday April 13, 2008 > > Observer > When Oscar Wilde argued that a 'poet can survive everything but a > misprint' he had not foreseen the formation of the Queen's English Societ= y. > Members of the group, set up to defend the 'beauty and precision' of the > English language, have turned their attention to contemporary poetry and > poets, arguing that too often strings of words are being labelled as poem= s > despite the fact they have no rhyme or metre. > The campaigners say that there should be a new definition of poetry, > outlining the characteristics needed before a piece of work can be called= a > poem. > 'A lot of people high up in poetry circles look down on rhyme and metre > and think it is old-fashioned,' said Bernard Lamb, president of the QES a= nd > an academic at Imperial College London. 'But what is the definition of > poetry? I would say, if it doesn't have rhyme or metre, then it is not > poetry, it is just prose. You can have prose that is full of imagery, but= it > is still prose.' > The campaign is being spearheaded by Michael George Gibson, who said it > was 'disgraceful' that the Poetry Society had failed to respond properly = to > his demands for a definition. 'For centuries word-things, called poems, h= ave > been made according to primary and defining craft principles of, first, > measure and, second, alliteration and rhyme,' said Gibson. 'Word-things n= ot > made according to those principles are not poems.' True poems, he said, g= ave > the reader or listener a 'special pleasure'. > Gibson praised the work of Chaucer, Shakespeare, John Donne, Robert Grave= s > and even Queen Elizabeth I, all of whom he thought followed the rules of > poetry. But he was critical of current writers, including Andrew Motion, = the > Poet Laureate. Gibson said that 'The Golden Rule', written by Motion to m= ark > the Queen's 80th birthday, should not be called a poem. 'It has measure a= nd > refrain, but there is not another formal principle that would raise its > status to that of a poem,' said Gibson. > He was also critical of the winners of The Poetry Society's National > Poetry Competition, arguing that none of them was a poem. > Gibson singled out the work of one of the competition's judges, Michael > Schmidt, a contemporary poet and academic who had been awarded an OBE. > Schmidt's piece 'Pangur B=E0n' was not poetry, said Gibson. 'It is in pai= rs of > lines and I will assume they are measured out in a formal way, but beyond > that there is no other formal principle. It falls short of being a poem.' > The Poetry Society has responded to the criticisms. One trustee told > Gibson: 'There is poetry in everything we say or do, and if something is > presented to me as a poem by its creator, or by an observer, I accept tha= t > something as a poem.' > Ruth Padel, a prize-winning poet who used to be chair of trustees at The > Poetry Society, added: 'As for "what poetry is": in The Use of Poetry TS > Eliot said, "We learn what poetry is - if we ever learn - by reading it."= ' > Motion described the 'rigidities' of the Queen's English Society as > ridiculous. Schmidt, professor of poetry at the University of Glasgow, > argued that for centuries poets had added variations to patterns and rule= s. > 'It seems a primitive and even infantile notion that there are rules poet= ry > must obey,' said Schmidt, who accused the QES of placing poetry in a > 'straitjacket'. 'Poetry that follows the rules too closely is bad poetry.= I > think every form of verse, free or metrical, establishes a pattern and pl= ays > on variations of it.' > Schmidt said that Gibson's campaign was similar to a movement in the US > that has been labelled 'new formalism'. Followers of the movement set up = a > magazine that included any poem as long as it 'rhymed and scanned'. 'But = the > bankruptcy of that has been recognised,' said Schmidt. > ========================================================================= Date: Sun, 13 Apr 2008 19:17:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Alexander Subject: help for an intern Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Hi everyone Chax Press is sending an intern to the &Now festival at Chapman University, this week, April 14-17, to represent us at the book fair that is a part of that festival. We're asking for some help for her, as we have little cash flow at this time. She thought she was going to be staying with friends, but it turns out that her people are just too far away. So we're hoping someone in the vicinity might have a sofa or place for a floor pallet or even, maybe, an extra bed, for the nights of April 14 through April 16. I'm reminded of when I was a grad student and went to the Charles Olson Festival in 1978 in Iowa City and people opened their houses & apartments to me & to others who had traveled there. Any possibility of such help? The festival is at Chapman University, which is in Orange, California, between Irvine and Anaheim, near Santa Ana. We're a little desperate for help, and I hope this works out. Please email me at chax@theriver.com a.s.a.p. charles alexander chax press chax@theriver.com 650 e. ninth st. tucson arizona 85705 520 620 1626 ========================================================================= Date: Sun, 13 Apr 2008 21:09:05 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: SCOTT HOWARD Subject: EDITORS WANTED MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII RECONFIGURATIONS: A Journal for Poetics & Poetry / Literature & Culture seeks individuals to join the editorial board. Send inquires to: showard@du.edu /// ========================================================================= Date: Sun, 13 Apr 2008 23:48:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fluffy Singler Subject: Re: - Avant(e)-garde MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit In theatre/performance studies Richard Schechner has argued that there is no longer an avant garde, only an historical avant garde--those whose work was once avant garde but who have themselves, become accepted and embraced more as another wing perhaps, of popular or official culture--Laurie Anderson being one of the more readily available examples. But of course the term avant garde from discipline to discipline is fraught with all kinds of freight and history and various meanings. It seems to me (and I believe this is part of Perloff's argument, but I won't be offended if anyone corrects me or adds to what I'm articulating here) that the work of literary and poetic avant gardes remains largely unfinished, only a very germ or beginning. After all, it seems to be that most poetry is still very much about "communicating" something rather than being purely about experimenting with language and image and taking the reader into realms that are purely imaginative. My friends/collaborators/cohorts and I refer to the search for a kind of abstract expressionism of language, for example. It a world screaming for imagination and constantly being fed more of the same, it seems to me that avant garde values are more relevant than ever. It doesn't necessarily, I think, have to be what Robert Hughes calls "the shock of the new." I think the overemphasis on constant new-ness is another way in which we get stuck and start declaring the avant garde dead. I have been interested for a very long time in incomplete avant gardes, incomplete revolutions, where a thread of something important was articulated but not followed up on, fell by the wayside. Furthermore, when I look at the values of an avant garde like Dadaism, I don't necessarily believe that Dada belongs purely within the framework of modernism. It seems to me that Dada contained in it, in a very early time, much of the postmodern and in that way, through Dada and Futurism, that modernism and postmodernism went off on simultaneous trajectories for a time. Dada rejected, for example, all of the nationalistic tendencies that has been so associated with historical modernity and while having some exoticizing and orientalist tendencies, nonetheless embraced plurality and multivocal aesthetics. For me, the problematic aspect of "post" is that it implies that what came before "post" is somehow over--therefore the need to be post-postmodern. When the reality is that there is still a lot of modernism that is alive and well alongside postmodernism and that pomo may very well rely on a certain strain of ongoing modernism for its own survival. That we don't have a post-postmodernism might be, at least I wonder if it is, a consequence of the fact that we haven't really left modernism behind -- artistically, as well as politically and historically -- and don't have the vision yet of the next stage. And completely free associating here--maybe that takes me back around to the incomplete revolutions of some of the avant gardes. Maybe when we break through language and break through the known, what is already in front of us, then we'll get a glimpse of the next phase. At least, that's what I'm counting on in my explorations. Re: internet -- In one of the classes I've taught, Drama and the Media, we ask students what medium they find the most democratic and of course they always say the internet. But a website or web presence (blog, you tube etc etc) is not unlike a coffee shop reading or open mic. It is democratic on the surface and perhaps open to all, but doesn't guarantee you a readership or audience if you don't have the name recognition (branding, if you want to go completely corporate in language) or the advertising funds to draw in the big crowds. Then again, it's almost midnight and I could just be rambling. But hopefully, a purposeful rambling that might spark some idea out there somewhere. That's the point of my avant garde. Cheers. Fluffy -----Original Message----- From: Jim Andrews [mailto:jim@VISPO.COM] Sent: Sunday, April 13, 2008 5:15 PM Subject: Re: - Avant(e)-garde the arguments that the notion of the avant garde is no longer relevant always seem a bit fishy to me. for instance, one argument is that the avant garde defines itself in opposition to a mainstream, and 'since there no longer is a mainstream', the avant garde no longer makes any sense, like hot without cold. i'd have two or more objections to the above arg. no mainstream? follow the money. the mainstream is mainstream by virtue mainly of money to propagate the stream in prominent media. to say there is no mainstream is to deny the role of money in dominating mass media. who does that? also, it seems wrong-headed to think of the avant garde as simply the non-mainstream part of a mainstream/non-mainstream binary. i think of the avant garde as being strong in areas such as innovation, experimentation and, yes, doing things that are not going to be popular, but doing them anyway. not simply as an alt-mainstream. the arguments against the mere existence or relevance of the avant garde often smack to me of a heavy influence of corporatism. the notion that the internet, say, levels the playing field to the point where everything gets equal attention in media is preposterous. the internet helps me in many ways, including getting my work out there, but i certainly don't have a mass audience and that is just not the goal, for me; instead, i want my work to be available to those who are interested in such innovation. and it is. ja http://vispo.com > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Fluffy Singler > Sent: April 12, 2008 10:27 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: - Avant(e)-garde > > > Actually, Marjorie Perloff has some really interesting things to say about > this assertion that the avant garde is part of modernism and that > modernism > is "over" in her intro to 21st Century Poetics. I don't know > that I can do > justice to her argument at this point, as I'm just now reading > this work and > haven't fully absorbed it all, so I will merely suggest looking into what > she has to say. > > -----Original Message----- > From: Roy Exley [mailto:royexley@MADASAFISH.COM] > Sent: Friday, April 11, 2008 1:38 PM > Subject: Re: - Avant(e)-garde > > Steve, > > Well, I suppose avant-garde is a modernist concept and now that modernism > Is a part of history, an anachronism as far as contemporary culture is > concerned, then its concepts can no longer apply to what is happening now, > in this post-postmodernist age of rampant pluralism. More later. > > Roy Exley. > ========================================================================= Date: Sun, 13 Apr 2008 22:19:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: - Avant(e)-garde MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The great architect, Robert Venturi, had the best idea concerning modernism. He simply plugged into the vernacular. Admittedly, this ain't so easy when it comes to poetry. But literate people are too quick to dismiss much that's going on in pop lit. Certain pop authors, Stephen King and Dean Koontz, to name 2, are as gifted as their more high brow peers. ----- Original Message ---- From: Jim Andrews To: POETICS@LISTSERV.BUFFALO.EDU Sent: Sunday, April 13, 2008 6:15:00 PM Subject: Re: - Avant(e)-garde the arguments that the notion of the avant garde is no longer relevant always seem a bit fishy to me. for instance, one argument is that the avant garde defines itself in opposition to a mainstream, and 'since there no longer is a mainstream', the avant garde no longer makes any sense, like hot without cold. i'd have two or more objections to the above arg. no mainstream? follow the money. the mainstream is mainstream by virtue mainly of money to propagate the stream in prominent media. to say there is no mainstream is to deny the role of money in dominating mass media. who does that? also, it seems wrong-headed to think of the avant garde as simply the non-mainstream part of a mainstream/non-mainstream binary. i think of the avant garde as being strong in areas such as innovation, experimentation and, yes, doing things that are not going to be popular, but doing them anyway. not simply as an alt-mainstream. the arguments against the mere existence or relevance of the avant garde often smack to me of a heavy influence of corporatism. the notion that the internet, say, levels the playing field to the point where everything gets equal attention in media is preposterous. the internet helps me in many ways, including getting my work out there, but i certainly don't have a mass audience and that is just not the goal, for me; instead, i want my work to be available to those who are interested in such innovation. and it is. ja http://vispo.com > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Fluffy Singler > Sent: April 12, 2008 10:27 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Re: - Avant(e)-garde > > > Actually, Marjorie Perloff has some really interesting things to say about > this assertion that the avant garde is part of modernism and that > modernism > is "over" in her intro to 21st Century Poetics. I don't know > that I can do > justice to her argument at this point, as I'm just now reading > this work and > haven't fully absorbed it all, so I will merely suggest looking into what > she has to say. > > -----Original Message----- > From: Roy Exley [mailto:royexley@MADASAFISH.COM] > Sent: Friday, April 11, 2008 1:38 PM > Subject: Re: - Avant(e)-garde > > Steve, > > Well, I suppose avant-garde is a modernist concept and now that modernism > Is a part of history, an anachronism as far as contemporary culture is > concerned, then its concepts can no longer apply to what is happening now, > in this post-postmodernist age of rampant pluralism. More later. > > Roy Exley. > __________________________________________________ Do You Yahoo!? Tired of spam? Yahoo! Mail has the best spam protection around http://mail.yahoo.com ========================================================================= Date: Sun, 13 Apr 2008 23:16:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: an idea of poetry too conservative even for Andrew Motion In-Reply-To: <602548.21369.qm@web65105.mail.ac2.yahoo.com> Mime-Version: 1.0 (Apple Message framework v753) Content-Type: text/plain; charset=ISO-8859-1; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable The bankruptcy of new formalism has been recognized? Last I checked =20 Dana Gioia was still in charge of the NEA. Also, i wonder if anyone has pointed out the irony of a group that is =20= ostensibly about sticking with a specific form of english trying to =20 come up with an innovative definition of poetry that wouldn't be =20 recognized by anyone who is currently involved with poetry other than =20= XJ Kennedy as descriptive of what they are involved with. On Apr 13, 2008, at 4:04 PM, Barry Schwabsky wrote: > =46rom The Observer, http://books.guardian.co.uk/news/articles/=20 > 0,,2273299,00.html: > > Poetry guardians reject modern verse > The Queen's English Society demands rhyme and metre in poems. But =20 > the group's targets, including the Laureate, have hit back > Anushka Asthana > Sunday April 13, 2008 > > Observer > When Oscar Wilde argued that a 'poet can survive everything but a =20 > misprint' he had not foreseen the formation of the Queen's English =20 > Society. > Members of the group, set up to defend the 'beauty and precision' =20 > of the English language, have turned their attention to =20 > contemporary poetry and poets, arguing that too often strings of =20 > words are being labelled as poems despite the fact they have no =20 > rhyme or metre. > The campaigners say that there should be a new definition of =20 > poetry, outlining the characteristics needed before a piece of work =20= > can be called a poem. > 'A lot of people high up in poetry circles look down on rhyme and =20 > metre and think it is old-fashioned,' said Bernard Lamb, president =20 > of the QES and an academic at Imperial College London. 'But what is =20= > the definition of poetry? I would say, if it doesn't have rhyme or =20 > metre, then it is not poetry, it is just prose. You can have prose =20 > that is full of imagery, but it is still prose.' > The campaign is being spearheaded by Michael George Gibson, who =20 > said it was 'disgraceful' that the Poetry Society had failed to =20 > respond properly to his demands for a definition. 'For centuries =20 > word-things, called poems, have been made according to primary and =20 > defining craft principles of, first, measure and, second, =20 > alliteration and rhyme,' said Gibson. 'Word-things not made =20 > according to those principles are not poems.' True poems, he said, =20 > gave the reader or listener a 'special pleasure'. > Gibson praised the work of Chaucer, Shakespeare, John Donne, Robert =20= > Graves and even Queen Elizabeth I, all of whom he thought followed =20 > the rules of poetry. But he was critical of current writers, =20 > including Andrew Motion, the Poet Laureate. Gibson said that 'The =20 > Golden Rule', written by Motion to mark the Queen's 80th birthday, =20 > should not be called a poem. 'It has measure and refrain, but there =20= > is not another formal principle that would raise its status to that =20= > of a poem,' said Gibson. > He was also critical of the winners of The Poetry Society's =20 > National Poetry Competition, arguing that none of them was a poem. > Gibson singled out the work of one of the competition's judges, =20 > Michael Schmidt, a contemporary poet and academic who had been =20 > awarded an OBE. Schmidt's piece 'Pangur B=E0n' was not poetry, said =20= > Gibson. 'It is in pairs of lines and I will assume they are =20 > measured out in a formal way, but beyond that there is no other =20 > formal principle. It falls short of being a poem.' > The Poetry Society has responded to the criticisms. One trustee =20 > told Gibson: 'There is poetry in everything we say or do, and if =20 > something is presented to me as a poem by its creator, or by an =20 > observer, I accept that something as a poem.' > Ruth Padel, a prize-winning poet who used to be chair of trustees =20 > at The Poetry Society, added: 'As for "what poetry is": in The Use =20 > of Poetry TS Eliot said, "We learn what poetry is - if we ever =20 > learn - by reading it."' > Motion described the 'rigidities' of the Queen's English Society as =20= > ridiculous. Schmidt, professor of poetry at the University of =20 > Glasgow, argued that for centuries poets had added variations to =20 > patterns and rules. 'It seems a primitive and even infantile notion =20= > that there are rules poetry must obey,' said Schmidt, who accused =20 > the QES of placing poetry in a 'straitjacket'. 'Poetry that follows =20= > the rules too closely is bad poetry. I think every form of verse, =20 > free or metrical, establishes a pattern and plays on variations of =20 > it.' > Schmidt said that Gibson's campaign was similar to a movement in =20 > the US that has been labelled 'new formalism'. Followers of the =20 > movement set up a magazine that included any poem as long as it =20 > 'rhymed and scanned'. 'But the bankruptcy of that has been =20 > recognised,' said Schmidt. ========================================================================= Date: Mon, 14 Apr 2008 01:08:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: Obama is correct about rural PA MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I just got wind of Obama's recent comments. How to win friends and influence voters. Beautiful. Maybe he and Hillary can duck gun fire in rural Penn. I mean, gosh, it worked for Hillary in Bosnia. Sweet baby Jesus pray for us. What would Machiavelli think? We have a lousy economy, an unpopular war, and still, McCain could win this thing. What an inept buch. Up till now, Obama had it going on. Now he's another branded elitist. Of course, the elite label is simple minded sound bite bullshit, but it's the sort of thing that wins elections. It's absolute lunacy to be fully honest during a campaign. I guess there's always Nadar. Too insignificant to throw another election, or is he??... Really, Obama should pick John Kerry as a running mate. Rent a limousine while cruising Appalachia during the general election. ----- Original Message ---- From: Mark Weiss To: POETICS@LISTSERV.BUFFALO.EDU Sent: Sunday, April 13, 2008 7:38:45 PM Subject: Re: Obama is correct about rural PA Honesty being the best policy, those who aspire to lead us should make clear at the outset that their lives have nothing whatsoever to do with the lives of almost everyone they hope will vote for them. It helps also if a tone of contempt intrudes--honesty requires that a politician reveal his or her darker side as often as possible. By no means should a politician try to invent a more inclusive persona. Politics is a graduate seminar, and the politician is the professor. Mark At 03:28 PM 4/13/2008, you wrote: >At least when Obama says something that may hurt him politically, >unlike Clinton, he's telling the truth. That rural people are bitter >at their plight under Bush, especially that most of them voted for >him, is true. That rural people are into guns and religion (which, >in America, are equivocal), is also true. Hell, they're proud of it! >The media acts like these people were going to vote for Obama, as if >he's losing votes. (Hillary, who also attended an Ivy League >college, is suddenly saying "Aw shucks," and keeps a chaw in her >purse.) Just like with race, the guy is trying to make Americans >face who they are. You can't change course without admitting to >which course you're on. > >Of course politicians are always going to disappoint everyone on >something, as the art of politics is compromise. You just have to >know where your core values are, and there draw the line. This is >Bush's strength. Unfortunately, his line is drawn with the blood and >tears of the poor. > >-Joel > >----- Original Message ----- From: "Mark Weiss" >To: >Sent: Saturday, April 12, 2008 8:16 AM >Subject: Re: Obama is correct about rural PA > > >>Integrity is easy when there's nothing at stake. He's not going to >>win Pennsylvania whatever he does. >> >>I do admire his principled vote against the war, though, against >>all the pressure there must have been on senators. Oh, wait--he >>didn't get to vote against the war, since he wasn't in the senate. >> >>I expect that Obama will get the nomination, and if he does I'll >>vote for him for president, but I hope he's not the paragon he >>presents--if he is, he'll be eaten alive in Washington. >> >>Mark >> >> >>At 08:39 AM 4/12/2008, you wrote: >>>Having grown up in rural Pennsylvania I can promise you that Obama's >>>assessments are correct about many of these people being bitter and clinging >>>to their guns and religion. It took me YEARS to dig out of my anger for the >>>torture they put me through for being queer, for not wanting to kill deer, >>>pheasants, rabbits, and instead planting and tending flowers, vines, and >>>other boys. >>> >>>What's MOST IMPRESSIVE is Obama's ability to take his statements and STAND >>>BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing why they >>>Should be. >>> >>>He's right of course. What's terrible though is that the harsh world of >>>rural Pennsylvania (harsh as in trying to actually survive when the >>>factories and industry disappear DUE in large part to the Clintons!), like >>>most places where life is very hard, scapegoating is the major pastime. >>>It's bottomless, the racism, homophobia, sexism, and I can't see HOW anyone >>>will ever be able to break through it. These things make me very sad, >>>mostly because there are many people where I grew up who I got to know as >>>intelligent and talented, until they found out I was queer, which of course >>>put an end to communications with me. >>> >>>But many of the people where I come from will NEVER vote for a white woman >>>for president anymore than they will vote for a black man for president. >>>And if ANY candidate ever dares say ANYTHING positive about homosexuals, >>>well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of course. >>>Oy, I'm exhausted thinking about the wicked things I know they're saying in >>>the bars and beauty parlors, at the mills and diners. >>> >>>But Obama is correct in every way. And he's amazing that he remains so >>>focused and on topic, even if the topic is about something he himself said >>>that might hurt his campaign. He has integrity I thought IMPOSSIBLE for >>>Democrats! He has my support! (Part of me is SO AFRAID he's another Bill >>>Clinton though! I heard Clinton's one speech at a gay rights rally in DC >>>when he was first running for president, and I BOUGHT IT, bought every lying >>>word of it!) >>> >>>But if Obama doesn't win the nomination I'm voting for Ralph Nader again. >>>Nader was just in Philadelphia and gave an amazing speech! Nader is the >>>sexiest LIVING MIND! >>> >>>CAConrad >>>http://PhillySound.blogspot.com ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Mon, 14 Apr 2008 05:33:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: GO LOCAL: NATIONAL POETRY MONTH x 10! Comments: To: "NewPoetry: Contemporary Poetry News & Views" MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable WHY: Eating, growing, and celebrating lo= NATIONAL POETRY MONTH x 10!=0A =0AWHY: Eating, growing, and celebrating lo= cally tofind the world in a grain of Brooklyn andeternity in an hour or two= !=0AWHEN: Friday, April 25th @ 7 p.m. =96Sharp!=0AWHERE: Stain Bar in Wil= liamsburg,Brooklyn=0AWHO: BANIAS~~ BERRIGAN ~~ BOZICEVIC ~~ BRYANT ~~ DIC= KOW ~~ HOY ~~ KOCOT =0A~~ SMITH ~~ STARKWEATHER ~~ WILLIAMSON=0A =0AARI= BANIAS grew up in California,Texas, and Illinois. He now lives in Brooklyn= ,NY and teaches undergraduate creative writingand literature at Hunter Coll= ege. His poems areforthcoming in The Cincinnati Review, Literary Imaginatio= n, and FIELD, and haverecently appeared in Mid-American Review (as a featur= e), Arts & Letters,and RealPoetik.=0A =0AEDMUND BERRIGAN is the author of G= lad Stone Children(Farfalla Press, 2008) and is co-editor with Anselm Berri= gan and Alice Notleyof a forthcoming Selected Poems of Ted Berrigan (Univer= sity of California).=0A =0AANA BOZICEVIC moved to NYC from Croatia in 1997.= She's the authorof chapbooks Document (Octopus Books, 2007) and Morning Ne= ws (Kitchen Press,2006). Look for her recent work in Denver Quarterly, Hote= l Amerika, absent, TheNew York Quarterly, Bat City Review, MiPOesias, Octop= us Magazine and ThePortable Boog Reader 2: An Anthology of NYC Poetry. Ana = coedits RealPoetik.=0A =0ATISA BRYANT is the author of Tzimmes (A+Bend Pres= s, 2000),which collages concerns of breast cancer, Barbados genealogy resea= rch, aPassover seder and a film by Yvonne Rainer, and her first book, Unexp= lainedPresence (Leon Works, 2007), is a collection of original, hybrid essa= ys thatremix narratives from Eurocentric film, literature and visual arts a= nd zoom inon the black presences operating within them. =0AShe currently l= ives in Brooklyn, NY. =0A =0AALEXANDER DICKOW grew up in Moscow,Idaho, tra= veled to France,got married to a French woman, studies French literature at= Rutgers,and writes poems. His work has appeared in both Yankee and Hexagon= al journalsincluding MiPO, RealPoetik, Sitaudis, Il Particolare, Hapax, can= wehave our ball back? and others. A full-length bilingual collection,_Cara= mboles_, will be published by the Parisian press Argol Editions in October2= 008. Alex currently lives in bucolic central New Jersey.=0A =0ADAN HOY live= s in Brooklynand is an editor for SOFT TARGETS. His poetry chapbook, Outtak= es, was publishedby Lame House Press in 2007.=0A =0ANOELLE KOCOT is the aut= hor of 3 books of poems, 4 and TheRaving Fortune, out from Four Way Books i= n 2001 and 2004, respectively, andPoem for the End of Time, out from Wave B= ooks in 2006, of which the NY TimesBook Review deemed the long title poem, = "extraordinary." She has won awards from The NationalEndowment for the Art= s, The Fund For Poetry, The Academy of American Poets andThe American Poetr= y Review, among others. =0AShe lives in Brooklyn, where she wasborn and rai= sed, and teaches for a living. =0AHer fourth book, Sunny Wednesday, will be= published by Wave Books inspring, 2009.=0A =0AJESSICA SMITH is the editor = of Outside Voices Press, whichpublishes Foursquare magazine. She wrotea bo= ok called Organic Furniture Cellar. She maintains a blog that incites bothh= ate mail and proposals. She recentlymoved to Brooklyn and is looking for a= job.=0A =0ASAMPSON STARKWEATHER is a small African village patrolled by=0A= dream-fed lions. They sway in the grasses when you move. His handwriting, w= hich=0Ahas been featured in several medical journals, strong-armed him into= a life of=0Aasemic writing. He is the author of The Book of Sky, a wordles= s text published=0Aby anyone.=0A =0ADUSTIN WILLIAMSON is the author of Heav= y Panda (Goodbye Better),=0AGorilla Dust (Open24Hours Press), and Exhausted= Grunts (Cannibal Books). He=0Apublishes Rust Buckle Books and is the curre= nt curator of the Zinc Talk Reading=0ASeries.=0A =0A~~~=0A =0ASTAIN BAR=0A7= 66 Grand=0A Street Brooklyn , NY 11211=0A(L train to Grand Street Stop, wa= lk 1 block west)=0A718/387-7840=0A =0A =0A=93The thing about performance, e= ven if it's only an illusion,is that it is a celebration of the fact that w= e do contain within ourselvesinfinite possibilities.=94 -- Sydney Smith=0A= =0A =0AAmy King will host -----> http://amyking.wordpress.com/2008/04/13/n= ational-poetry-month-x-10/=0A =0A =0A_______=0A=0A=0A=0Ahttp://www.amyking.= org =0A=0A=0A=0A=0A=0A _______________________________________________= _____________________________________=0ABe a better friend, newshound, and = =0Aknow-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_= ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Mon, 14 Apr 2008 10:05:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Freind, William Joseph" Subject: CFP: Language Poetry and the Mediation of Modernism (MSA annual conference) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable If anyone's planning on going to MSA in the fall, Tom Orange and I are = proposing a panel that might be of interest. Language Poetry and the Mediation of Modernism In its critique and/or expansion of referentiality, its engagement with = critical theory and skepticism toward metanarratives, Language Poetry is = obviously and often self-consciously postmodern. At the same time, = Barrett Watten has claimed that Language Poetry is =93a species of = modernism in the largest sense,=94 and it is clear that much of that = work evokes and continues other modernist tendencies, especially those = present in the texts of Stein, Zukofsky, and Khlebnikov.=20 This panel seeks to investigate the ways in which Language Poetry has = interpreted, critiqued or reworked various modernist projects. Send = abstracts and a brief CV to Bill Freind at freind@rowan.edu and Tom = Orange at tmorange@gmail.com by May 1. =20 ========================================================================= Date: Mon, 14 Apr 2008 09:21:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: Obama is correct about rural PA Comments: To: steve russell In-Reply-To: 862772.73744.qm@web52409.mail.re2.yahoo.com MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 and it is really galling to hear wealthy Republicans elitists denounce Obama for making exactly the links they've been running on since 1968 -- but Obama did walk right into it -- there is no such thing as "casual remarks" on the campaign trail anymore -- On Mon, Apr 14, 2008 04:08 AM, steve russell wrote: > I just got wind of Obama's recent comments. How to win friends and influence >voters. Beautiful. Maybe he and Hillary can duck gun fire in rural Penn. I >mean, gosh, it worked for Hillary in Bosnia. Sweet baby Jesus pray for us. What >would Machiavelli think? We have a lousy economy, an unpopular war, and still, >McCain could win this thing. What an inept buch. Up till now, Obama had it >going on. Now he's another >branded elitist. Of course, the elite label is simple minded sound bite >bullshit, but it's the sort of thing that wins elections. It's absolute lunacy >to be fully honest during a campaign. I guess there's always Nadar. Too >insignificant to throw another election, or is he??... > >Really, Obama should pick John Kerry as a running mate. Rent a limousine while >cruising Appalachia during the general election. > > > >----- Original Message ---- >From: Mark Weiss >To: POETICS@LISTSERV.BUFFALO.EDU >Sent: Sunday, April 13, 2008 7:38:45 PM >Subject: Re: Obama is correct about rural PA > >Honesty being the best policy, those who aspire to lead us should >make clear at the outset that their lives have nothing whatsoever to >do with the lives of almost everyone they hope will vote for them. It >helps also if a tone of contempt intrudes--honesty requires that a >politician reveal his or her darker side as often as possible. By no >means should a politician try to invent a more inclusive persona. > >Politics is a graduate seminar, and the politician is the professor. > >Mark > > > >At 03:28 PM 4/13/2008, you wrote: >>At least when Obama says something that may hurt him politically, >>unlike Clinton, he's telling the truth. That rural people are bitter >>at their plight under Bush, especially that most of them voted for >>him, is true. That rural people are into guns and religion (which, >>in America, are equivocal), is also true. Hell, they're proud of it! >>The media acts like these people were going to vote for Obama, as if >>he's losing votes. (Hillary, who also attended an Ivy League >>college, is suddenly saying "Aw shucks," and keeps a chaw in her >>purse.) Just like with race, the guy is trying to make Americans >>face who they are. You can't change course without admitting to >>which course you're on. >> >>Of course politicians are always going to disappoint everyone on >>something, as the art of politics is compromise. You just have to >>know where your core values are, and there draw the line. This is >>Bush's strength. Unfortunately, his line is drawn with the blood and >>tears of the poor. >> >>-Joel >> >>----- Original Message ----- From: "Mark Weiss" > >>To: >>Sent: Saturday, April 12, 2008 8:16 AM >>Subject: Re: Obama is correct about rural PA >> >> >>Integrity is easy when there's nothing at stake. He's not going to >>win Pennsylvania whatever he does. >> >>I do admire his principled vote against the war, though, against >>all the pressure there must have been on senators. Oh, wait--he >>didn't get to vote against the war, since he wasn't in the senate. >> >>I expect that Obama will get the nomination, and if he does I'll >>vote for him for president, but I hope he's not the paragon he >>presents--if he is, he'll be eaten alive in Washington. >> >>Mark >> >> >>At 08:39 AM 4/12/2008, you wrote: >>Having grown up in rural Pennsylvania I can promise you that Obama's >>assessments are correct about many of these people being bitter and clinging >>to their guns and religion. It took me YEARS to dig out of my anger for the >>torture they put me through for being queer, for not wanting to kill deer, >>pheasants, rabbits, and instead planting and tending flowers, vines, and >>other boys. >> >>What's MOST IMPRESSIVE is Obama's ability to take his statements and STAND >>BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing >why they >>Should be. >> >>He's right of course. What's terrible though is that the harsh world of >>rural Pennsylvania (harsh as in trying to actually survive when the >>factories and industry disappear DUE in large part to the Clintons!), >like >>most places where life is very hard, scapegoating is the major pastime. >>It's bottomless, the racism, homophobia, sexism, and I can't see HOW anyone >>will ever be able to break through it. These things make me very sad, >>mostly because there are many people where I grew up who I got to know as >>intelligent and talented, until they found out I was queer, which of course >>put an end to communications with me. >> >>But many of the people where I come from will NEVER vote for a white woman >>for president anymore than they will vote for a black man for president. >>And if ANY candidate ever dares say ANYTHING positive about homosexuals, >>well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of course. >>Oy, I'm exhausted thinking about the wicked things I know they're saying in >>the bars and beauty parlors, at the mills and diners. >> >>But Obama is correct in every way. And he's amazing that he remains so >>focused and on topic, even if the topic is about something he himself said >>that might hurt his campaign. He has integrity I thought IMPOSSIBLE for >>Democrats! He has my support! (Part of me is SO AFRAID he's another >Bill >>Clinton though! I heard Clinton's one speech at a gay rights rally in DC >>when he was first running for president, and I BOUGHT IT, bought every lying >>word of it!) >> >>But if Obama doesn't win the nomination I'm voting for Ralph Nader again. >>Nader was just in Philadelphia and gave an amazing speech! Nader is the >>sexiest LIVING MIND! >> >>CAConrad >>http://PhillySound.blogspot.com > > > >____________________________________________________________________________________ >Be a better friend, newshound, and >know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>> "Study the fine art of coming apart." --Jerry W. Ward, Jr. Sailing the blogosphere at: http://heatstrings.blogspot.com/ Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Mon, 14 Apr 2008 09:29:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: - Avant(e)-garde Comments: To: John Cunningham In-Reply-To: 000b01c89dc8$0b9d7e30$016fa8c0@johnbedroom MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 hate to blow my post quota so early in the morning -- but --- this doesn't add up for me at all -- at the time Ulmer was added to the Coleman Prime Time band, he would have brought no commercial value at all -- and Coleman had already been playing in such a configuration, and playing pretty much that kind of music, for some time -- If "Nuclear War" was intended to earn more cash, it didn't seem to have significantly altered the Arkestra's viability as a touring unit in any measurable way -- And if you listen across the entire recorded history of Sun Ra's career, you do not see the supposed change indicated here -- One might accuse the Art Ensemble of a commercial move with ODWALLA, except that they had recorded that composition many years before it got tied to juices -- and it wasn't musicians who chose not to follow the Ensemble's example (fFOR example the two younger guys who have now joined the ensemble!) so much as it was the record and concert businesses -- but that simply means that today's "out" musicians have to do what the AACM did, and what the poetic avant gardes of mid-twentieth century did, and create their own venues and web-based distribution modes -- exactly what several 20-something musicians I've heard in recent months have been doing -- On Sun, Apr 13, 2008 08:39 PM, John Cunningham wrote: > The problem is, particularly in music read jazz, that the avant garde took >your advice and followed the money. Look at Ornette hiring James 'Blood' >Ulmer into his unit, a move that was intended only so that Ornette could >earn some dough. Look at what had happened to Sun Ra beginning in the late >70s and continuing on for the rest of his career. Do you think 'Nuclear Was' >was intended for anything other than to earn some cash. And the Art Ensemble >of Chicago became a disgrace in the 1980s. Sadly, no one followed in that >direction leaving what was once the avant garde with no representation. >We never had to worry about being avant garde in poetry as there was never >any money to follow. >John Cunningham > >-----Original Message----- >From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On >Behalf Of Jim Andrews >Sent: April 13, 2008 5:15 PM >To: POETICS@LISTSERV.BUFFALO.EDU >Subject: Re: - Avant(e)-garde > >the arguments that the notion of the avant garde is no longer relevant >always seem a bit fishy to me. > >for instance, one argument is that the avant garde defines itself in >opposition to a mainstream, and 'since there no longer is a mainstream', the >avant garde no longer makes any sense, like hot without cold. > >i'd have two or more objections to the above arg. no mainstream? follow the >money. the mainstream is mainstream by virtue mainly of money to propagate >the stream in prominent media. to say there is no mainstream is to deny the >role of money in dominating mass media. who does that? > >also, it seems wrong-headed to think of the avant garde as simply the >non-mainstream part of a mainstream/non-mainstream binary. i think of the >avant garde as being strong in areas such as innovation, experimentation >and, yes, doing things that are not going to be popular, but doing them >anyway. not simply as an alt-mainstream. > >the arguments against the mere existence or relevance of the avant garde >often smack to me of a heavy influence of corporatism. the notion that the >internet, say, levels the playing field to the point where everything gets >equal attention in media is preposterous. the internet helps me in many >ways, including getting my work out there, but i certainly don't have a mass >audience and that is just not the goal, for me; instead, i want my work to >be available to those who are interested in such innovation. and it is. > >ja >http://vispo.com > > >> -----Original Message----- >> From: UB Poetics discussion group >> [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Fluffy Singler >> Sent: April 12, 2008 10:27 PM >> To: POETICS@LISTSERV.BUFFALO.EDU >> Subject: Re: - Avant(e)-garde >> >> >> Actually, Marjorie Perloff has some really interesting things to say about >> this assertion that the avant garde is part of modernism and that >> modernism >> is "over" in her intro to 21st Century Poetics. I don't know >> that I can do >> justice to her argument at this point, as I'm just now reading >> this work and >> haven't fully absorbed it all, so I will merely suggest looking into what >> she has to say. >> >> -----Original Message----- >> From: Roy Exley [mailto:royexley@MADASAFISH.COM] >> Sent: Friday, April 11, 2008 1:38 PM >> Subject: Re: - Avant(e)-garde >> >> Steve, >> >> Well, I suppose avant-garde is a modernist concept and now that modernism >> Is a part of history, an anachronism as far as contemporary culture is >> concerned, then its concepts can no longer apply to what is happening now, >> in this post-postmodernist age of rampant pluralism. More later. >> >> Roy Exley. >> > >No virus found in this incoming message. >Checked by AVG. >Version: 7.5.519 / Virus Database: 269.22.13/1375 - Release Date: 12/04/2008 >11:32 AM > > >No virus found in this outgoing message. >Checked by AVG. >Version: 7.5.519 / Virus Database: 269.22.13/1375 - Release Date: 12/04/2008 >11:32 AM > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>> "Study the fine art of coming apart." --Jerry W. Ward, Jr. Sailing the blogosphere at: http://heatstrings.blogspot.com/ Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Mon, 14 Apr 2008 10:26:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Literary Buffalo Newslsetter 04.14.08-04.20.08 MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; format=flowed; charset=ISO-8859-1 LITERARY BUFFALO 04.14.08-04.20.08 ___________________________________________________________________________ CORRECTION: THE APRIL 17 READING BY TYRONE WILLIAMS AND GINA MYERS WILL TAKE PLACE RUST= BELT BOOKS. THE POSTER INCORRECTLY STATES THAT IT WILL BE AT HALLWALLS. MY= BAD. PLEASE NOTE. ___________________________________________________________________________ BABEL TICKETS ON SALE NOW FOR THE FINAL BABEL EVENT OF THE SEASON April 24 Kiran Desai, India, Winner of the 2006 Man Booker Prize, =2425 832-5400 or visit http://www.justbuffalo.org/babel THERE ARE ONLY A FEW TICKETS LEFT FOR THIS EVENT. GET THEM WHILE YOU CAN. ___________________________________________________________________________ BABEL EXTRA=21 INDIAN NIGHT AT THE INTERNATIONAL INSTITUTE Authentic Food, Music and Dance from India Friday, April 18, 6:30 pm International Institute of Buffalo 864 Delaware Avenue ___________________________________________________________________________ BABEL 2008-2009 Just Buffalo is happy to announce our 2008-2009 lineup for Babel: Chinua Achebe, Nigeria, September 25. Book: Things Fall Apart. Michael Ondaatje, Canada, October 29. Book: The English Patient. Marjane Satrapi, Iran, April 1. Book: Persepolis. Isabel Allende, Chile, April 17. Book: House of the Spirits. Subscriptions will go on sale at the April 24 event and then in general on = April 25. Previous subscribers can re-up for =2475. New subscription (four= events): =24100. We expect to sell out next season by subscription. If we = do not sell out by subscription, tickets for individual events will go on s= ale September 1. ___________________________________________________________________________ EVENTS THIS WEEK 04.16.08 Talking Leaves...Books Marc Pietrowski & Rebekah Keaton Reading/Signing Wednesday, April 16, 7 p.m. Talking Leaves...Books, 3158 Main St. 04.17.08 Just Buffalo/Small Press Poetry Tyrone Williams & Gina Meyers Poetry Reading Thursday, April 17, 7 p.m. Hallwalls Cinema, 341 Delaware Ave. =40 Tupper & The Write Thing at Medaille College Rebecca Maslen Fiction Reading Thursday, April 17, 7 p.m. The Library at Huber Hall, Medaille, 18 Agassiz Cir & Just Buffalo/newRENEW Joyce Kessel & Verneice Turner Poetry Reading Thursday, April 17, 7 p.m. Impact Gallery, Ste. 545, Tri-Main Ctr, 2495 Main & Talking Leaves?Books Stephanie Gray Reading and Signing for Heart Stoner Bingo Thursday, April 17, 7 p.m. Talking Leaves?Books 3158 Main St. 04.18.08 Babel Extra=21 Indian Night At The International Institute Authentic Food, Music and Dance from India Friday, April 18, 6:30 pm International Institute of Buffalo 864 Delaware Avenue & Poetics Plus at UB Diane Ward Poetry Reading Friday, April 18, 7 p.m. Rust Belt Books, 202 Allen St. 04.20.08 Rust Belt Books Stephanie Gray Reading and Film Screening Sunday, April 20, 3 p.m. Rust Belt Books, 202 Allen St. ___________________________________________________________________________ JUST BUFFALO MEMBERS-ONLY WRITER CRITIQUE GROUP Members of Just Buffalo are welcome to attend a free, twice-monthly writer = critique group in CEPA's Flux Gallery on the first floor of the historic Ma= rket Arcade Building across the street from Shea's. Group meets 1st and 3rd= Wednesday 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. ___________________________________________________________________________ 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 i= mmediately be 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, 14 Apr 2008 11:17:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sarah Sarai Subject: Re: XP: Nat'l poetry queries Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain Riding the Elephant ... Shirley Kaufman (Rivers of Salt, Copper Canyon)= The River God (Of the River Mimram in Hertfordshire) ... Stevie Smith {Se= lected Poems,=20 New Directions) Brain ... Dan Pagis (Variable Directions, North Point Press) Self-Portrait of the Poet as Hyena ... Bill Knott (Laugh at the End of th= e World, Boa) ...subject to change Sarah Sarai >>>>>>>>>> So, I'm doing a reading next week at the University=20 I teach in, & since it's nat'l poetry month, i'm=20 inviting folks to come up and read a poem by one of=20 their favorite poets=20 (hey, so if you're near Greencastle & wanna participate,=20 let me know!) I'm also planning on reading some of my favorite poems,=20 which is how i always open my "act", so now I'm curious: who are your favorite poets? what are your fav poems? what draws you to t= hese=20 poems/poets?=20 hit me back with your top, i dunno, three? four? i'd=20 like to collect poets/poems to read through prior to my reading, to expan= d my repertoire.=20 i'm also interested in putting together a verbal collage of people's read= ing=20 interests/loves/trebles/trembles. M ========================================================================= Date: Mon, 14 Apr 2008 05:28:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: Obama is correct about rural PA MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Here's the deal: Obama has to make a few idiotic blunders in order to justify a decision to run the super team: Obama/Hillary. It's the only thing that makes sense. Why else would Clinton claim to have faced gun fire in Bosnia? The whole bloody mess is a set up. Which sort of sickens me as I do think the right is indeed correct about the Clintons. They're scum. ----- Original Message ---- From: Mark Weiss To: POETICS@LISTSERV.BUFFALO.EDU Sent: Sunday, April 13, 2008 7:38:45 PM Subject: Re: Obama is correct about rural PA Honesty being the best policy, those who aspire to lead us should make clear at the outset that their lives have nothing whatsoever to do with the lives of almost everyone they hope will vote for them. It helps also if a tone of contempt intrudes--honesty requires that a politician reveal his or her darker side as often as possible. By no means should a politician try to invent a more inclusive persona. Politics is a graduate seminar, and the politician is the professor. Mark At 03:28 PM 4/13/2008, you wrote: >At least when Obama says something that may hurt him politically, >unlike Clinton, he's telling the truth. That rural people are bitter >at their plight under Bush, especially that most of them voted for >him, is true. That rural people are into guns and religion (which, >in America, are equivocal), is also true. Hell, they're proud of it! >The media acts like these people were going to vote for Obama, as if >he's losing votes. (Hillary, who also attended an Ivy League >college, is suddenly saying "Aw shucks," and keeps a chaw in her >purse.) Just like with race, the guy is trying to make Americans >face who they are. You can't change course without admitting to >which course you're on. > >Of course politicians are always going to disappoint everyone on >something, as the art of politics is compromise. You just have to >know where your core values are, and there draw the line. This is >Bush's strength. Unfortunately, his line is drawn with the blood and >tears of the poor. > >-Joel > >----- Original Message ----- From: "Mark Weiss" >To: >Sent: Saturday, April 12, 2008 8:16 AM >Subject: Re: Obama is correct about rural PA > > >>Integrity is easy when there's nothing at stake. He's not going to >>win Pennsylvania whatever he does. >> >>I do admire his principled vote against the war, though, against >>all the pressure there must have been on senators. Oh, wait--he >>didn't get to vote against the war, since he wasn't in the senate. >> >>I expect that Obama will get the nomination, and if he does I'll >>vote for him for president, but I hope he's not the paragon he >>presents--if he is, he'll be eaten alive in Washington. >> >>Mark >> >> >>At 08:39 AM 4/12/2008, you wrote: >>>Having grown up in rural Pennsylvania I can promise you that Obama's >>>assessments are correct about many of these people being bitter and clinging >>>to their guns and religion. It took me YEARS to dig out of my anger for the >>>torture they put me through for being queer, for not wanting to kill deer, >>>pheasants, rabbits, and instead planting and tending flowers, vines, and >>>other boys. >>> >>>What's MOST IMPRESSIVE is Obama's ability to take his statements and STAND >>>BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing why they >>>Should be. >>> >>>He's right of course. What's terrible though is that the harsh world of >>>rural Pennsylvania (harsh as in trying to actually survive when the >>>factories and industry disappear DUE in large part to the Clintons!), like >>>most places where life is very hard, scapegoating is the major pastime. >>>It's bottomless, the racism, homophobia, sexism, and I can't see HOW anyone >>>will ever be able to break through it. These things make me very sad, >>>mostly because there are many people where I grew up who I got to know as >>>intelligent and talented, until they found out I was queer, which of course >>>put an end to communications with me. >>> >>>But many of the people where I come from will NEVER vote for a white woman >>>for president anymore than they will vote for a black man for president. >>>And if ANY candidate ever dares say ANYTHING positive about homosexuals, >>>well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of course. >>>Oy, I'm exhausted thinking about the wicked things I know they're saying in >>>the bars and beauty parlors, at the mills and diners. >>> >>>But Obama is correct in every way. And he's amazing that he remains so >>>focused and on topic, even if the topic is about something he himself said >>>that might hurt his campaign. He has integrity I thought IMPOSSIBLE for >>>Democrats! He has my support! (Part of me is SO AFRAID he's another Bill >>>Clinton though! I heard Clinton's one speech at a gay rights rally in DC >>>when he was first running for president, and I BOUGHT IT, bought every lying >>>word of it!) >>> >>>But if Obama doesn't win the nomination I'm voting for Ralph Nader again. >>>Nader was just in Philadelphia and gave an amazing speech! Nader is the >>>sexiest LIVING MIND! >>> >>>CAConrad >>>http://PhillySound.blogspot.com ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Mon, 14 Apr 2008 10:21:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Situationism (street theater) is not dead MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Steve Ben Israel was once well known as a member/performer in The Living Theater. Still lives in New York City, still the activist. we want service it was another hot day in the big apple so upon entering the post on canal street I took a giant gulp of that sweet cool air and paid homage to ever invented the air conditioner I was greeted by this long, long line there were two windows working and seven closed and there was this one guy at one of the windows like what seemed forever and he was getting a lot of heat from everybody else on the line ten minutes I was six out of about twenty five, and everybody on the line was doing their waiting in line yoga which you learn after a life time of waiting there were those folks who were rocking back and forth back and forth and some were taping their feet taping and some who were sighing looking up high and those whom were lucky enough to have some reading material and they were constantly looking at their watches and for a split second it looked like an avant- garde theater company doing their warming up exercises now the room was cool but it was getting hot and just as the frustration started to peak I gently and playfully started to chant we want service, we want service, we want service and realized that I was about to make a complete fool of myself, when all of a sudden this couple to my left joined in chanting we want service then these three ladies joined in we want service and after about ten seconds of this the entire post office began chanting we ant service and then all of a sudden these two new windows shot up in synch and these two new tellers almost like a doo wop group, said, next in line well everybody started to crack up and laughed and gave themselves a round of applause steve ben israel I wonder and I would think there would be someone writing a history connecting the great theatrical and music collectives that gave the Sixties and Early 70's a public/environmentally pervasive shape and sound. In addition to The Living Theater, I vividly recall (music) Sun Ra, The Chicago Arts Ensemble, Human Arts Ensemble. and (theater) Bread & Puppet, La Mama, the Sharks (Berkeley - righ name), the Mime Troupe. Whenever any of these groups were in San Francisco the definition of a "stage" was everywhere. It was magical and wonderful. Now that gas is disappearing, maybe the streets - their animation - will come back. Locally for me, I know, Dolores Park, is wall with folks and entertainments. Heah, maybe with the 'housing crisis' rents in Cities will fall and life for poets will not an endless series of day jobs with squeak leftover to write and consider a a larger world. ========================================================================= Date: Mon, 14 Apr 2008 14:05:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dan Wilcox Subject: Fwd: 2008 Albany Word Fest Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed & don't forget the "unofficial start to WordFest": the Third Thursday=20 Poetry Night at the Social Justice Center, 33 Central Ave., Albany on=20 Thursday (of course!) April 17, 7:30 PM -- the featured poet(s) will be=20= "the shoutin' rosebuds of St. Rose" & our usual, eclectic,=20 unpredictable & never boring open mic -- every month of the year, not=20 just "National Poetry Month." DWx Begin forwarded message: From: info@albanypoets.com [mailto:info@albanypoets.com] Sent: Monday, April 14, 2008 11:32 AM To: thom@ipzp.com Subject: 2008 Albany Word Fest =A0 Four days until the 2008 Albany Word Fest and there is still time to=20 sign up online for the Friday Night Open Mic at the UAG Gallery.=A0 So=20= far there are 75 poets signed up for the open mic with the online=20 signup closing tomorrow evening.=A0 Poets who do not sign up online will=20= be able to sign up at the open mic at the UAG on Friday night. We=A0are very excited to announce THE POET ESSENCE will be performing at=20= the Psycho Cluster F#*k on Saturday night.=A0 The Poet Essence is one of=20= Albany's best spoken word artists and it is a real honor to have her as=20= part of this years event. Saturday's annual Psycho Cluster F#* will also be featuring The Johnny=20= Bravehearts (Mary Panza, John Weiler, Monica Roach), The House Band of=20= the Apocalypse (Thom Francis, K.J. Spencer, Aaron Christiansen), a=20 multimedia performance from poet Nicole K with VJ Fongaboo of Twisted=20 Pair Visuals, plus more acts to be announced this week... The 2008 Albany Word Fest will also be the place to grab your copy of=20 the long awaited, much anticipated OTHER:NINE.=A0=A0 The ninth issue of = our=20 litery magazine will be available featuring Maria Barr, Shuan Baxter,=20 Chris Brabham, Seth Brown, Scott Casale, Michael J. Conner, Stephen H.=20= Donohue, Tom Harmon, Nicole Karas, Adam Kress, Penny Meacham-Cornelius,=20= Lisa Nolan, T. Kilgore Splake, Leigh Vandebogart, Dan Wilcox, and=20 Hollice Danielle Wiles. Plus, an updated listing of all of the poetry=20 readings and open mics in the area, the return of Miss Mona, and more. We will launching some new features on the Albany Poets website for the=20= Word Fest including an online open mic, a new look for the OTHER: site,=20= and updated poets profiles and poems. Here is the schedule of events for the 2008 Albany Word Fest: Friday, April 18 5:00PM =96 Cocktail Party at Tess=92 Lark Tavern (453 Madison Ave., = Albany) 7:00PM =96 Friday Night Open Mic at UAG Gallery (247 Lark St., Albany) =A0 Saturday, April 19 7:00PM =96 Psycho Cluster F#*k at UAG Gallery (247 Lark St., Albany) For more information on the 2008 Albany Word Fest and to sign up for=20 the open mic, go to www.albanywordfest.com ========================================================================= Date: Mon, 14 Apr 2008 15:04:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Correction MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; format=flowed; charset=US-ASCII I corrected myself and then uncorrected myself in the email I sent earlier. Apologies for reposting this info. Again: THE APRIL 17 READING BY TYRONE WILLIAMS AND GINA MYERS WILL TAKE PLACE RUST= BELT BOOKS. THE POSTER AND THE 2ND HALF OF TODAY'S NEWSLETTER INCORRECTLY = STATE THAT IT WILL BE AT HALLWALLS. Correct info: JUST BUFFALO SMALL PRESS POETRY SERIES Tyrone Williams & Gina Myers Poetry Reading Thursday, April 17, 7 p.m. RUST BELT BOOKS, 202 Allen St. ALSO OF NOTE: this will be Kevin Thurston last reading as curator of the Sm= all Press Poetry Series before he moves to DC, so come out to thank him fo= r all his hard work=21 Thanks to honorary Buffalonian David Kirschenbaum for pointing out my corre= ction negation. UNSUBSCRIBE If you would like to unsubscribe from this list, just say so and you will i= mmediately be 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, 14 Apr 2008 15:15:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: Situationism (street theater) is not dead MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit steve ben is a good friend of mine. ben israel left theatre over a dispute over the new production of the Brig which opened theire new new york season at theire latest location at 21 clinton street who posted this pome? did you stephen? there are many histories(books) and films about living theatre and of course malina, beck and resnikoff's own writings. great performance films they just did a series of them last week at the theatre a new version of a rare film Paradise Now has just been released on DVD a recent film about the troupe's visit to iran shows regularly on cableand is available many items can be gotten directly rhru the theatre which gravely needs funds malina gave up everything to open the new space and their rent is extraordinary sadly judith's long time companion after julian beck, hanon resnikoff had a major stroke last week but still on april 19th the theatre will proceed with their yearly sedar starting around 6 or so open to all as is their yearly new years party i've occasionally curating music events there am reading there tomorrow as a matter of fact there will be a great interview i and my pal jim feast conducted with judith in a forth coming book about jews and the lower east side aside from tuli kupferberg (a dear friend and now semi - recluse ) judith is one of the oldest longest living anarchists i know of never wavered from her course - On Mon, 14 Apr 2008 10:21:44 -0700 Stephen Vincent writes: > Steve Ben Israel was once well known as a member/performer > in The Living Theater. Still lives in New York City, still > the activist. > > > > we want service > > > it was another hot day in the big apple > so upon entering the post on canal street > I took a giant gulp of that sweet cool air > and paid homage to ever invented the air conditioner > I was greeted by this long, long line > there were two windows working and seven closed > and there was this one guy at one of the windows > like what seemed forever and he was getting > a lot of heat from everybody else on the line > ten minutes I was six out of about twenty five, and > everybody on the line was doing their waiting > in line yoga which you learn after a life time of > waiting > there were those folks who were rocking back and forth > back and forth and some were taping their feet taping > and some who were sighing looking up high > and those whom were lucky enough to have some reading > material and they were constantly looking at their > watches > and for a split second it looked like an > avant- garde theater company doing their > warming up exercises > now the room was cool but it was getting hot > and just as the frustration started to peak > I gently and playfully started to chant > we want service, we want service, we want service > and realized that I was about to make > a complete fool of myself, when all of a sudden > this couple to my left joined in chanting > we want service then these three ladies joined in > we want service and after about ten seconds of this > the entire post office began chanting we ant service > and then all of a sudden these two new windows > shot up in synch and these two new tellers > almost like a doo wop group, said, next in line > well everybody started to crack up and laughed > and gave themselves a round of applause > > steve ben israel > > I wonder and I would think there would be someone writing > a history connecting the great theatrical and music > collectives that gave the Sixties and Early 70's > a public/environmentally pervasive shape and sound. > In addition to The Living Theater, I vividly recall > (music) Sun Ra, The Chicago Arts Ensemble, Human Arts > Ensemble. and (theater) Bread & Puppet, La Mama, the Sharks > (Berkeley - righ name), the Mime Troupe. Whenever any > of these groups were in San Francisco the definition of a "stage" > was everywhere. It was magical and wonderful. > Now that gas is disappearing, maybe the streets - > their animation - will come back. Locally for me, I know, > Dolores Park, is wall with folks and entertainments. > Heah, maybe with the 'housing crisis' rents in Cities will > fall and life for poets will not an endless series of > day jobs with squeak leftover to write and consider a > a larger world. > > > > > > > > > > > > ========================================================================= Date: Mon, 14 Apr 2008 15:23:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Fw: Interpretations - April 24, 2008 at 8pm MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit INTERPRETATIONS THURSDAY APRIL 24, 2008 at 8PM ROULETTE 20 Greene Street (between Canal and Grand) $15 general admission $10 students, seniors, Harvestworks, DTW, Roulette & Location One members free. Reservations: 212-219-8242 / Information: 212-627-0990. All concerts begin at 8pm http://www.interpretations.info www.roulette.org Interpretations presents Christian Wolff with an exceptional group of experimental musicians, including members of Frog Peak Music (Larry Polansky) and the Wandelweiser Ensemble (Jürg Frey, Craig Shepard). Re-examining the fundamental aspects of melody and counterpoint in music, the program includes a complete performance of Wolff's recent opus Micro Exercises, and the New York premiere performance of les tréfonds inexplorés des signes by Swiss composer and clarinetist Jürg Frey. "In the 1950's, there was a group of composers who set the classical world on edge. Like many trail-blazers before them, they were scorned and only in later decades appreciated for their work. Though the group was made up of distinct members, the need to group them as some kind of 'movement' led to them being called the New York School. Some of the names you probably know - John Cage and Morton Feldman were among this group. So was a younger man who had his own distinct ideas about composition. Christian Wolff briefly studied under Cage but soon took up his own charge to create intricate systems for his piecesŠ Indeed, he's made some very bold statements about his ideas concerning music and composition." - Jason Gross, Perfect Sound Forever Featuring: Christian Wolff, Fender Rhodes electric piano, melodica; Jürg Frey, clarinet; Larry Polansky, electric guitar; Craig Shepard, trombone; Jeremy Lamb, cello; Marco Cappelli, guitar. Curated by Dan Joseph ========================================================================= Date: Mon, 14 Apr 2008 16:14:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: Obama is correct about rural PA In-Reply-To: <304419.16763.qm@web52405.mail.re2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I feel, too, that this whole thing is based on the idea that "bitter" is a judgment, rather than an observation. I cannot possibly say, even from my 10 years as a "rural person," that everyone is bitter, or fed up, or tired, or looking for anything that gives them solace (guns, religion, drugs, rock n' roll, QVC, etc). What I can say is that this is true a large amt. of people, both in the rural areas and sub/urban areas as well. Obama's mistake wasn't that he said this, it's that he singled out the countryside as being different (even if it is). This is what got the goats of the faux populist republicans....and the Clintons. On Mon, Apr 14, 2008 at 8:28 AM, steve russell wrote: > Here's the deal: Obama has to make a few idiotic blunders in order to > justify a decision to run the super team: Obama/Hillary. It's the only thing > that makes sense. Why else would Clinton claim to have faced gun fire in > Bosnia? The whole bloody mess is a set up. Which sort of sickens me as I do > think the right is indeed correct about the Clintons. They're scum. > > > ----- Original Message ---- > From: Mark Weiss > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Sunday, April 13, 2008 7:38:45 PM > Subject: Re: Obama is correct about rural PA > > Honesty being the best policy, those who aspire to lead us should > make clear at the outset that their lives have nothing whatsoever to > do with the lives of almost everyone they hope will vote for them. It > helps also if a tone of contempt intrudes--honesty requires that a > politician reveal his or her darker side as often as possible. By no > means should a politician try to invent a more inclusive persona. > > Politics is a graduate seminar, and the politician is the professor. > > Mark > > > > At 03:28 PM 4/13/2008, you wrote: > >At least when Obama says something that may hurt him politically, > >unlike Clinton, he's telling the truth. That rural people are bitter > >at their plight under Bush, especially that most of them voted for > >him, is true. That rural people are into guns and religion (which, > >in America, are equivocal), is also true. Hell, they're proud of it! > >The media acts like these people were going to vote for Obama, as if > >he's losing votes. (Hillary, who also attended an Ivy League > >college, is suddenly saying "Aw shucks," and keeps a chaw in her > >purse.) Just like with race, the guy is trying to make Americans > >face who they are. You can't change course without admitting to > >which course you're on. > > > >Of course politicians are always going to disappoint everyone on > >something, as the art of politics is compromise. You just have to > >know where your core values are, and there draw the line. This is > >Bush's strength. Unfortunately, his line is drawn with the blood and > >tears of the poor. > > > >-Joel > > > >----- Original Message ----- From: "Mark Weiss" > >To: > >Sent: Saturday, April 12, 2008 8:16 AM > >Subject: Re: Obama is correct about rural PA > > > > > >>Integrity is easy when there's nothing at stake. He's not going to > >>win Pennsylvania whatever he does. > >> > >>I do admire his principled vote against the war, though, against > >>all the pressure there must have been on senators. Oh, wait--he > >>didn't get to vote against the war, since he wasn't in the senate. > >> > >>I expect that Obama will get the nomination, and if he does I'll > >>vote for him for president, but I hope he's not the paragon he > >>presents--if he is, he'll be eaten alive in Washington. > >> > >>Mark > >> > >> > >>At 08:39 AM 4/12/2008, you wrote: > >>>Having grown up in rural Pennsylvania I can promise you that Obama's > >>>assessments are correct about many of these people being bitter and > clinging > >>>to their guns and religion. It took me YEARS to dig out of my anger > for the > >>>torture they put me through for being queer, for not wanting to kill > deer, > >>>pheasants, rabbits, and instead planting and tending flowers, vines, > and > >>>other boys. > >>> > >>>What's MOST IMPRESSIVE is Obama's ability to take his statements and > STAND > >>>BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing why > they > >>>Should be. > >>> > >>>He's right of course. What's terrible though is that the harsh world > of > >>>rural Pennsylvania (harsh as in trying to actually survive when the > >>>factories and industry disappear DUE in large part to the Clintons!), > like > >>>most places where life is very hard, scapegoating is the major pastime. > >>>It's bottomless, the racism, homophobia, sexism, and I can't see HOW > anyone > >>>will ever be able to break through it. These things make me very sad, > >>>mostly because there are many people where I grew up who I got to know > as > >>>intelligent and talented, until they found out I was queer, which of > course > >>>put an end to communications with me. > >>> > >>>But many of the people where I come from will NEVER vote for a white > woman > >>>for president anymore than they will vote for a black man for > president. > >>>And if ANY candidate ever dares say ANYTHING positive about > homosexuals, > >>>well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of > course. > >>>Oy, I'm exhausted thinking about the wicked things I know they're > saying in > >>>the bars and beauty parlors, at the mills and diners. > >>> > >>>But Obama is correct in every way. And he's amazing that he remains so > >>>focused and on topic, even if the topic is about something he himself > said > >>>that might hurt his campaign. He has integrity I thought IMPOSSIBLE > for > >>>Democrats! He has my support! (Part of me is SO AFRAID he's another > Bill > >>>Clinton though! I heard Clinton's one speech at a gay rights rally in > DC > >>>when he was first running for president, and I BOUGHT IT, bought every > lying > >>>word of it!) > >>> > >>>But if Obama doesn't win the nomination I'm voting for Ralph Nader > again. > >>>Nader was just in Philadelphia and gave an amazing speech! Nader is > the > >>>sexiest LIVING MIND! > >>> > >>>CAConrad > >>>http://PhillySound.blogspot.com > > > > ____________________________________________________________________________________ > Be a better friend, newshound, and > know-it-all with Yahoo! Mobile. Try it now. > http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ > ========================================================================= Date: Mon, 14 Apr 2008 16:29:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: - Avant(e)-garde MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: 7bit i agree aldon most moves to commerciality by avante gardist rarely amount to a fortume ornette has made more bread than most but when he hired blood blood was almost entirely unknown a lp with john patton maybe something ornette put blood on the map and blood's lp tales of capt black got blood's career on the move and that early harmolodic stuff was so advanced and less commercial than later stuff ra art emsmle etc where ever they ,moved like roscoe into classical world helped them but their commercial success ala even tim berne who played great last night never really happened even when for brief seconds some were signed to major labels like columbia vision fes thas not crewsted a new venue yet but has emerged as major independent fest for this music and survived now 13 years at tomorrows town hall meeting agai we will discuss among other things why this music doesn'rt reach a wider audience ala marsalis (uch) the tradionalists always win out and some avanters manage to become/reach the mainstream we can name many tho even most of them never hit super commercial success ayer tried it before he was killed ornette played town hall last week the tickets were too expensive yert one way or the other he didn't sell out the theatee at 79 ok time to go to the post office been on this damned machine all day On Mon, 14 Apr 2008 09:29:09 -0400 ALDON L NIELSEN writes: > hate to blow my post quota so early in the morning -- but --- > > this doesn't add up for me at all -- at the time Ulmer was added to > the Coleman > Prime Time band, he would have brought no commercial value at all -- > and > Coleman had already been playing in such a configuration, and > playing pretty > much that kind of music, for some time -- > > If "Nuclear War" was intended to earn more cash, it didn't seem to > have > significantly altered the Arkestra's viability as a touring unit in > any > measurable way -- And if you listen across the entire recorded > history of Sun > Ra's career, you do not see the supposed change indicated here -- > > One might accuse the Art Ensemble of a commercial move with ODWALLA, > except > that they had recorded that composition many years before it got > tied to juices > -- and it wasn't musicians who chose not to follow the Ensemble's > example (fFOR > example the two younger guys who have now joined the ensemble!) so > much as it > was the record and concert businesses -- but that simply means that > today's > "out" musicians have to do what the AACM did, and what the poetic > avant gardes > of mid-twentieth century did, and create their own venues and > web-based > distribution modes -- exactly what several 20-something musicians > I've heard in > recent months have been doing -- > > On Sun, Apr 13, 2008 08:39 PM, John Cunningham > > wrote: > > > The problem is, particularly in music read jazz, that the avant > garde took > >your advice and followed the money. Look at Ornette hiring James > 'Blood' > >Ulmer into his unit, a move that was intended only so that Ornette > could > >earn some dough. Look at what had happened to Sun Ra beginning in > the late > >70s and continuing on for the rest of his career. Do you think > 'Nuclear Was' > >was intended for anything other than to earn some cash. And the Art > Ensemble > >of Chicago became a disgrace in the 1980s. Sadly, no one followed > in that > >direction leaving what was once the avant garde with no > representation. > >We never had to worry about being avant garde in poetry as there > was never > >any money to follow. > >John Cunningham > > > >-----Original Message----- > >From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.BUFFALO.EDU] On > >Behalf Of Jim Andrews > >Sent: April 13, 2008 5:15 PM > >To: POETICS@LISTSERV.BUFFALO.EDU > >Subject: Re: - Avant(e)-garde > > > >the arguments that the notion of the avant garde is no longer > relevant > >always seem a bit fishy to me. > > > >for instance, one argument is that the avant garde defines itself > in > >opposition to a mainstream, and 'since there no longer is a > mainstream', the > >avant garde no longer makes any sense, like hot without cold. > > > >i'd have two or more objections to the above arg. no mainstream? > follow the > >money. the mainstream is mainstream by virtue mainly of money to > propagate > >the stream in prominent media. to say there is no mainstream is to > deny the > >role of money in dominating mass media. who does that? > > > >also, it seems wrong-headed to think of the avant garde as simply > the > >non-mainstream part of a mainstream/non-mainstream binary. i think > of the > >avant garde as being strong in areas such as innovation, > experimentation > >and, yes, doing things that are not going to be popular, but doing > them > >anyway. not simply as an alt-mainstream. > > > >the arguments against the mere existence or relevance of the avant > garde > >often smack to me of a heavy influence of corporatism. the notion > that the > >internet, say, levels the playing field to the point where > everything gets > >equal attention in media is preposterous. the internet helps me in > many > >ways, including getting my work out there, but i certainly don't > have a mass > >audience and that is just not the goal, for me; instead, i want my > work to > >be available to those who are interested in such innovation. and it > is. > > > >ja > >http://vispo.com > > > > > >> -----Original Message----- > >> From: UB Poetics discussion group > >> [mailto:POETICS@LISTSERV.BUFFALO.EDU]On Behalf Of Fluffy Singler > >> Sent: April 12, 2008 10:27 PM > >> To: POETICS@LISTSERV.BUFFALO.EDU > >> Subject: Re: - Avant(e)-garde > >> > >> > >> Actually, Marjorie Perloff has some really interesting things to > say about > >> this assertion that the avant garde is part of modernism and > that > >> modernism > >> is "over" in her intro to 21st Century Poetics. I don't know > >> that I can do > >> justice to her argument at this point, as I'm just now reading > >> this work and > >> haven't fully absorbed it all, so I will merely suggest looking > into what > >> she has to say. > >> > >> -----Original Message----- > >> From: Roy Exley [mailto:royexley@MADASAFISH.COM] > >> Sent: Friday, April 11, 2008 1:38 PM > >> Subject: Re: - Avant(e)-garde > >> > >> Steve, > >> > >> Well, I suppose avant-garde is a modernist concept and now that > modernism > >> Is a part of history, an anachronism as far as contemporary > culture is > >> concerned, then its concepts can no longer apply to what is > happening now, > >> in this post-postmodernist age of rampant pluralism. More later. > >> > >> Roy Exley. > >> > > > >No virus found in this incoming message. > >Checked by AVG. > >Version: 7.5.519 / Virus Database: 269.22.13/1375 - Release Date: > 12/04/2008 > >11:32 AM > > > > > >No virus found in this outgoing message. > >Checked by AVG. > >Version: 7.5.519 / Virus Database: 269.22.13/1375 - Release Date: > 12/04/2008 > >11:32 AM > > > > > > > > > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>> > > "Study the fine art of coming apart." > > --Jerry W. Ward, Jr. > > Sailing the blogosphere at: http://heatstrings.blogspot.com/ > > Aldon L. Nielsen > Kelly Professor of American Literature > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 > > ========================================================================= Date: Mon, 14 Apr 2008 13:59:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Re: Situationism (street theater) is not dead In-Reply-To: <20080414.151919.428.14.skyplums@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thanks, Steve, for all that great docu/info on The Living Theater. Steve ben Israel is the cousin of a good friend of mine, Dan Leegant who forwarded me the poem. Dan's late mom was Edith in Kaddish - worked at Gimbels, and took care of AG when he was teen while his mom was all cracked up. I first met Dan in the Peace Corps at the Unviersity of Nigeria, Nssuka, Nigeria. We were room-mates. One of our 'jobs' was coaching the women's basketball team, on a clay court, no less. But that's another story. I love the poem and the event around/within it! Stephen "steve d. dalachinsky" wrote: steve ben is a good friend of mine. ben israel left theatre over a dispute over the new production of the Brig which opened theire new new york season at theire latest location at 21 clinton street who posted this pome? did you stephen? there are many histories(books) and films about living theatre and of course malina, beck and resnikoff's own writings. great performance films they just did a series of them last week at the theatre a new version of a rare film Paradise Now has just been released on DVD a recent film about the troupe's visit to iran shows regularly on cableand is available many items can be gotten directly rhru the theatre which gravely needs funds malina gave up everything to open the new space and their rent is extraordinary sadly judith's long time companion after julian beck, hanon resnikoff had a major stroke last week but still on april 19th the theatre will proceed with their yearly sedar starting around 6 or so open to all as is their yearly new years party i've occasionally curating music events there am reading there tomorrow as a matter of fact there will be a great interview i and my pal jim feast conducted with judith in a forth coming book about jews and the lower east side aside from tuli kupferberg (a dear friend and now semi - recluse ) judith is one of the oldest longest living anarchists i know of never wavered from her course - On Mon, 14 Apr 2008 10:21:44 -0700 Stephen Vincent writes: > Steve Ben Israel was once well known as a member/performer > in The Living Theater. Still lives in New York City, still > the activist. > > > > we want service > > > it was another hot day in the big apple > so upon entering the post on canal street > I took a giant gulp of that sweet cool air > and paid homage to ever invented the air conditioner > I was greeted by this long, long line > there were two windows working and seven closed > and there was this one guy at one of the windows > like what seemed forever and he was getting > a lot of heat from everybody else on the line > ten minutes I was six out of about twenty five, and > everybody on the line was doing their waiting > in line yoga which you learn after a life time of > waiting > there were those folks who were rocking back and forth > back and forth and some were taping their feet taping > and some who were sighing looking up high > and those whom were lucky enough to have some reading > material and they were constantly looking at their > watches > and for a split second it looked like an > avant- garde theater company doing their > warming up exercises > now the room was cool but it was getting hot > and just as the frustration started to peak > I gently and playfully started to chant > we want service, we want service, we want service > and realized that I was about to make > a complete fool of myself, when all of a sudden > this couple to my left joined in chanting > we want service then these three ladies joined in > we want service and after about ten seconds of this > the entire post office began chanting we ant service > and then all of a sudden these two new windows > shot up in synch and these two new tellers > almost like a doo wop group, said, next in line > well everybody started to crack up and laughed > and gave themselves a round of applause > > steve ben israel > > I wonder and I would think there would be someone writing > a history connecting the great theatrical and music > collectives that gave the Sixties and Early 70's > a public/environmentally pervasive shape and sound. > In addition to The Living Theater, I vividly recall > (music) Sun Ra, The Chicago Arts Ensemble, Human Arts > Ensemble. and (theater) Bread & Puppet, La Mama, the Sharks > (Berkeley - righ name), the Mime Troupe. Whenever any > of these groups were in San Francisco the definition of a "stage" > was everywhere. It was magical and wonderful. > Now that gas is disappearing, maybe the streets - > their animation - will come back. Locally for me, I know, > Dolores Park, is wall with folks and entertainments. > Heah, maybe with the 'housing crisis' rents in Cities will > fall and life for poets will not an endless series of > day jobs with squeak leftover to write and consider a > a larger world. > > > > > > > > > > > > ========================================================================= Date: Mon, 14 Apr 2008 23:15:37 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roy Exley Subject: Re: - Avant(e)-garde In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Fluffy, Thanks for that, I'll try and catch up with Marjorie Perloff (maybe she's a closet modernist, trying to justify her ontological position, we shall see). Personally I'm really into modernist architecture, but maybe that's just like being a vintage car enthusiast, or a Beach Boys fan. I look forward to hearing more. Roy Exley. On 13/4/08 6:27 am, "Fluffy Singler" wrote: > Actually, Marjorie Perloff has some really interesting things to say about > this assertion that the avant garde is part of modernism and that modernism > is "over" in her intro to 21st Century Poetics. I don't know that I can do > justice to her argument at this point, as I'm just now reading this work and > haven't fully absorbed it all, so I will merely suggest looking into what > she has to say. > > -----Original Message----- > From: Roy Exley [mailto:royexley@MADASAFISH.COM] > Sent: Friday, April 11, 2008 1:38 PM > Subject: Re: - Avant(e)-garde > > Steve, > > Well, I suppose avant-garde is a modernist concept and now that modernism > Is a part of history, an anachronism as far as contemporary culture is > concerned, then its concepts can no longer apply to what is happening now, > in this post-postmodernist age of rampant pluralism. More later. > > Roy Exley. > ========================================================================= Date: Mon, 14 Apr 2008 18:56:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Obama is correct about rural PA In-Reply-To: <304419.16763.qm@web52405.mail.re2.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Obama's advantage (aside from central casting good looks) is that he has almost no record and has had to make few compromises. But that's not really good enough. Next time the pure-of-heart should have no record whatsoever and suffer from vocal paralysis whenevr he's asked to speak ex-temp. Try to remember that politics is often a dirty business and involves getting dirty hands. And that if Hillary somehow pulls it off you're going to have to figure out how to vote for her, the alternative being unthinkable. If you have a hard time noticing large differences, when tempted by McCain remember these two words: Supreme Court. Mark At 08:28 AM 4/14/2008, you wrote: >Here's the deal: Obama has to make a few idiotic blunders in order >to justify a decision to run the super team: Obama/Hillary. It's the >only thing that makes sense. Why else would Clinton claim to have >faced gun fire in Bosnia? The whole bloody mess is a set up. Which >sort of sickens me as I do think the right is indeed correct about >the Clintons. They're scum. > > >----- Original Message ---- >From: Mark Weiss >To: POETICS@LISTSERV.BUFFALO.EDU >Sent: Sunday, April 13, 2008 7:38:45 PM >Subject: Re: Obama is correct about rural PA > >Honesty being the best policy, those who aspire to lead us should >make clear at the outset that their lives have nothing whatsoever to >do with the lives of almost everyone they hope will vote for them. It >helps also if a tone of contempt intrudes--honesty requires that a >politician reveal his or her darker side as often as possible. By no >means should a politician try to invent a more inclusive persona. > >Politics is a graduate seminar, and the politician is the professor. > >Mark > > > >At 03:28 PM 4/13/2008, you wrote: > >At least when Obama says something that may hurt him politically, > >unlike Clinton, he's telling the truth. That rural people are bitter > >at their plight under Bush, especially that most of them voted for > >him, is true. That rural people are into guns and religion (which, > >in America, are equivocal), is also true. Hell, they're proud of it! > >The media acts like these people were going to vote for Obama, as if > >he's losing votes. (Hillary, who also attended an Ivy League > >college, is suddenly saying "Aw shucks," and keeps a chaw in her > >purse.) Just like with race, the guy is trying to make Americans > >face who they are. You can't change course without admitting to > >which course you're on. > > > >Of course politicians are always going to disappoint everyone on > >something, as the art of politics is compromise. You just have to > >know where your core values are, and there draw the line. This is > >Bush's strength. Unfortunately, his line is drawn with the blood and > >tears of the poor. > > > >-Joel > > > >----- Original Message ----- From: "Mark Weiss" > >To: > >Sent: Saturday, April 12, 2008 8:16 AM > >Subject: Re: Obama is correct about rural PA > > > > > >>Integrity is easy when there's nothing at stake. He's not going to > >>win Pennsylvania whatever he does. > >> > >>I do admire his principled vote against the war, though, against > >>all the pressure there must have been on senators. Oh, wait--he > >>didn't get to vote against the war, since he wasn't in the senate. > >> > >>I expect that Obama will get the nomination, and if he does I'll > >>vote for him for president, but I hope he's not the paragon he > >>presents--if he is, he'll be eaten alive in Washington. > >> > >>Mark > >> > >> > >>At 08:39 AM 4/12/2008, you wrote: > >>>Having grown up in rural Pennsylvania I can promise you that Obama's > >>>assessments are correct about many of these people being bitter > and clinging > >>>to their guns and religion. It took me YEARS to dig out of my > anger for the > >>>torture they put me through for being queer, for not wanting to kill deer, > >>>pheasants, rabbits, and instead planting and tending flowers, vines, and > >>>other boys. > >>> > >>>What's MOST IMPRESSIVE is Obama's ability to take his statements and STAND > >>>BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing why they > >>>Should be. > >>> > >>>He's right of course. What's terrible though is that the harsh world of > >>>rural Pennsylvania (harsh as in trying to actually survive when the > >>>factories and industry disappear DUE in large part to the Clintons!), like > >>>most places where life is very hard, scapegoating is the major pastime. > >>>It's bottomless, the racism, homophobia, sexism, and I can't see > HOW anyone > >>>will ever be able to break through it. These things make me very sad, > >>>mostly because there are many people where I grew up who I got to know as > >>>intelligent and talented, until they found out I was queer, > which of course > >>>put an end to communications with me. > >>> > >>>But many of the people where I come from will NEVER vote for a white woman > >>>for president anymore than they will vote for a black man for president. > >>>And if ANY candidate ever dares say ANYTHING positive about homosexuals, > >>>well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of course. > >>>Oy, I'm exhausted thinking about the wicked things I know > they're saying in > >>>the bars and beauty parlors, at the mills and diners. > >>> > >>>But Obama is correct in every way. And he's amazing that he remains so > >>>focused and on topic, even if the topic is about something he himself said > >>>that might hurt his campaign. He has integrity I thought IMPOSSIBLE for > >>>Democrats! He has my support! (Part of me is SO AFRAID he's another Bill > >>>Clinton though! I heard Clinton's one speech at a gay rights rally in DC > >>>when he was first running for president, and I BOUGHT IT, bought > every lying > >>>word of it!) > >>> > >>>But if Obama doesn't win the nomination I'm voting for Ralph Nader again. > >>>Nader was just in Philadelphia and gave an amazing speech! Nader is the > >>>sexiest LIVING MIND! > >>> > >>>CAConrad > >>>http://PhillySound.blogspot.com > > > >____________________________________________________________________________________ >Be a better friend, newshound, and >know-it-all with Yahoo! Mobile. Try it >now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Mon, 14 Apr 2008 19:07:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Obama is correct about rural PA In-Reply-To: <9778b8630804141314v29eb26bes55f2314e67640545@mail.gmail.co m> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Read the statement. He said that small town folks "cling to religion and guns" out of bitterness. I happen to think that belief in an afterlife is a product of desperation, and Obama apparently agrees, at least when it comes to poor white folks. But I'd be pretty careful where I said that, if only out of politeness. As a politician, I'd have to be an idiot to say it. Same goes for guns. most gun violence happens in big cities. I think guns should be much more strictly regulated, even that hunting rifles should be locked up at the police station and only reclaimed when a hunting trip's planned, because the cities need that kind of rule. But it's not hard to understand why rural folks would object. Mark At 04:14 PM 4/14/2008, you wrote: >I feel, too, that this whole thing is based on the idea that "bitter" is a >judgment, rather than an observation. I cannot possibly say, even from my 10 >years as a "rural person," that everyone is bitter, or fed up, or tired, or >looking for anything that gives them solace (guns, religion, drugs, rock n' >roll, QVC, etc). What I can say is that this is true a large amt. of people, >both in the rural areas and sub/urban areas as well. Obama's mistake wasn't >that he said this, it's that he singled out the countryside as being >different (even if it is). This is what got the goats of the faux populist >republicans....and the Clintons. > >On Mon, Apr 14, 2008 at 8:28 AM, steve russell >wrote: > > > Here's the deal: Obama has to make a few idiotic blunders in order to > > justify a decision to run the super team: Obama/Hillary. It's the > only thing > > that makes sense. Why else would Clinton claim to have faced gun fire in > > Bosnia? The whole bloody mess is a set up. Which sort of sickens me as I do > > think the right is indeed correct about the Clintons. They're scum. > > > > > > ----- Original Message ---- > > From: Mark Weiss > > To: POETICS@LISTSERV.BUFFALO.EDU > > Sent: Sunday, April 13, 2008 7:38:45 PM > > Subject: Re: Obama is correct about rural PA > > > > Honesty being the best policy, those who aspire to lead us should > > make clear at the outset that their lives have nothing whatsoever to > > do with the lives of almost everyone they hope will vote for them. It > > helps also if a tone of contempt intrudes--honesty requires that a > > politician reveal his or her darker side as often as possible. By no > > means should a politician try to invent a more inclusive persona. > > > > Politics is a graduate seminar, and the politician is the professor. > > > > Mark > > > > > > > > At 03:28 PM 4/13/2008, you wrote: > > >At least when Obama says something that may hurt him politically, > > >unlike Clinton, he's telling the truth. That rural people are bitter > > >at their plight under Bush, especially that most of them voted for > > >him, is true. That rural people are into guns and religion (which, > > >in America, are equivocal), is also true. Hell, they're proud of it! > > >The media acts like these people were going to vote for Obama, as if > > >he's losing votes. (Hillary, who also attended an Ivy League > > >college, is suddenly saying "Aw shucks," and keeps a chaw in her > > >purse.) Just like with race, the guy is trying to make Americans > > >face who they are. You can't change course without admitting to > > >which course you're on. > > > > > >Of course politicians are always going to disappoint everyone on > > >something, as the art of politics is compromise. You just have to > > >know where your core values are, and there draw the line. This is > > >Bush's strength. Unfortunately, his line is drawn with the blood and > > >tears of the poor. > > > > > >-Joel > > > > > >----- Original Message ----- From: "Mark Weiss" > > >To: > > >Sent: Saturday, April 12, 2008 8:16 AM > > >Subject: Re: Obama is correct about rural PA > > > > > > > > >>Integrity is easy when there's nothing at stake. He's not going to > > >>win Pennsylvania whatever he does. > > >> > > >>I do admire his principled vote against the war, though, against > > >>all the pressure there must have been on senators. Oh, wait--he > > >>didn't get to vote against the war, since he wasn't in the senate. > > >> > > >>I expect that Obama will get the nomination, and if he does I'll > > >>vote for him for president, but I hope he's not the paragon he > > >>presents--if he is, he'll be eaten alive in Washington. > > >> > > >>Mark > > >> > > >> > > >>At 08:39 AM 4/12/2008, you wrote: > > >>>Having grown up in rural Pennsylvania I can promise you that Obama's > > >>>assessments are correct about many of these people being bitter and > > clinging > > >>>to their guns and religion. It took me YEARS to dig out of my anger > > for the > > >>>torture they put me through for being queer, for not wanting to kill > > deer, > > >>>pheasants, rabbits, and instead planting and tending flowers, vines, > > and > > >>>other boys. > > >>> > > >>>What's MOST IMPRESSIVE is Obama's ability to take his statements and > > STAND > > >>>BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing why > > they > > >>>Should be. > > >>> > > >>>He's right of course. What's terrible though is that the harsh world > > of > > >>>rural Pennsylvania (harsh as in trying to actually survive when the > > >>>factories and industry disappear DUE in large part to the Clintons!), > > like > > >>>most places where life is very hard, scapegoating is the major pastime. > > >>>It's bottomless, the racism, homophobia, sexism, and I can't see HOW > > anyone > > >>>will ever be able to break through it. These things make me very sad, > > >>>mostly because there are many people where I grew up who I got to know > > as > > >>>intelligent and talented, until they found out I was queer, which of > > course > > >>>put an end to communications with me. > > >>> > > >>>But many of the people where I come from will NEVER vote for a white > > woman > > >>>for president anymore than they will vote for a black man for > > president. > > >>>And if ANY candidate ever dares say ANYTHING positive about > > homosexuals, > > >>>well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of > > course. > > >>>Oy, I'm exhausted thinking about the wicked things I know they're > > saying in > > >>>the bars and beauty parlors, at the mills and diners. > > >>> > > >>>But Obama is correct in every way. And he's amazing that he remains so > > >>>focused and on topic, even if the topic is about something he himself > > said > > >>>that might hurt his campaign. He has integrity I thought IMPOSSIBLE > > for > > >>>Democrats! He has my support! (Part of me is SO AFRAID he's another > > Bill > > >>>Clinton though! I heard Clinton's one speech at a gay rights rally in > > DC > > >>>when he was first running for president, and I BOUGHT IT, bought every > > lying > > >>>word of it!) > > >>> > > >>>But if Obama doesn't win the nomination I'm voting for Ralph Nader > > again. > > >>>Nader was just in Philadelphia and gave an amazing speech! Nader is > > the > > >>>sexiest LIVING MIND! > > >>> > > >>>CAConrad > > >>>http://PhillySound.blogspot.com > > > > > > > > > ____________________________________________________________________________________ > > Be a better friend, newshound, and > > know-it-all with Yahoo! Mobile. Try it now. > > http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ > > ========================================================================= Date: Mon, 14 Apr 2008 18:49:05 -0600 Reply-To: derek beaulieu Sender: UB Poetics discussion group From: derek beaulieu Subject: new from Paper Kite Press: CHAINS by derek beaulieu Comments: To: UBU MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi folks; im super excited to announce the release of my latest book, CHAINS, a = suite of lettraset visual poems.=20 Printed in an edition of 200 copies by Paper Kite Press, CHAINS (96 = pgs., $15) is available directly from the press at: http://www.wordpainting.com/shop.shtml * With chains, derek beaulieu once again turns his attention to how = "language regards itself, stalks itself, begins, slowly, to eat itself" = (Canadian Literature) in a series of graceful abstractions made entirely = from antiquated dry-transfer lettering. In chains, letters gather in = elegant arrangements, architectural constructions and sinews of meaning. = * derek beaulieu is the author of 4 books, (with wax, 2003; frogments from = the frag pool, with Gary Barwin, 2005; fractal economies, 2006, and = Flatland, 2007). In 2005 he co-edited Shift & Switch: new Canadian = poetry. Continuously pushing the boundaries and restrictions of the = "regular life" of the twenty-six letters of the alphabet, beaulieu's = work underscores the playfulness of language and challenges the way = readers have come to expect letters to behave. Using techniques that = combine graphic design, fine art and experimental writing, beaulieu = opens up new ways of approaching and interpreting poetry. Author, = editor, publisher, translator, illustrator and sessional instructor at = the University of Calgary, derek beaulieu has been published and = exhibited internationally. ========================================================================= Date: Mon, 14 Apr 2008 21:04:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Martha Deed Subject: John Roche book launch MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit John Roche launched his new book "Topicalities" (Foothill Publishing, 2008) at Writers and Books in Rochester, NY. Notice was taken of the event. http://sporkworld.tumblr.com/ Martha Deed ========================================================================= Date: Mon, 14 Apr 2008 17:33:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rosalie Calabrese Subject: From Rosalie Calabrese - NYC Readings MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thursday, May 8 at 8:00 PM Golden Fleece Ltd. – The Poets Corner 48th Street Studios 353 West 48th St. – 2nd Floor (between 8th & 9th Aves.) New York City Admission: $8 Friday, May 16 at 6:00 PM The Mom Egg journal launch celebration [part of the Momapalooza Festival] KGB Bar 85 East 4th St. (at Second Avenue) New York City (Free, Cash Bar) Also on May 16 Poetry in Performance, an all-day celebration (prior to publication) for winners of the NYC schools poetry contest winners, guests, and alumni of City College Aaron Davis Hall CCNY 138 Convent Ave. New York City Tuesday, June 3 at 7:30 PM Perch Cafe 365 Fifth Avenue Park Slope, Brooklyn (F train to Seventh Avenue) No admission: $5.00 minimum for further info, call (718)788-2830 Rosalie Calabrese ========================================================================= Date: Mon, 14 Apr 2008 20:28:34 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. From: Jason Quackenbush Subject: Re: Obama is correct about rural PA In-Reply-To: <7.0.1.0.1.20080414190205.06040400@earthlink.net> Mime-Version: 1.0 (Apple Message framework v753) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit In context though, i think it's pretty clear that he was talking about the stuff that small town folks vote based on, and that they've been manipulated by the republican party appealing to anti-gun control and pro christian sentiments in order to get their votes in the absence of real improvements to the way those folks live. On Apr 14, 2008, at 4:07 PM, Mark Weiss wrote: > Read the statement. He said that small town folks "cling to > religion and guns" out of bitterness. I happen to think that belief > in an afterlife is a product of desperation, and Obama apparently > agrees, at least when it comes to poor white folks. But I'd be > pretty careful where I said that, if only out of politeness. As a > politician, I'd have to be an idiot to say it. Same goes for guns. > most gun violence happens in big cities. I think guns should be > much more strictly regulated, even that hunting rifles should be > locked up at the police station and only reclaimed when a hunting > trip's planned, because the cities need that kind of rule. But it's > not hard to understand why rural folks would object. > > Mark > > At 04:14 PM 4/14/2008, you wrote: >> I feel, too, that this whole thing is based on the idea that >> "bitter" is a >> judgment, rather than an observation. I cannot possibly say, even >> from my 10 >> years as a "rural person," that everyone is bitter, or fed up, or >> tired, or >> looking for anything that gives them solace (guns, religion, >> drugs, rock n' >> roll, QVC, etc). What I can say is that this is true a large amt. >> of people, >> both in the rural areas and sub/urban areas as well. Obama's >> mistake wasn't >> that he said this, it's that he singled out the countryside as being >> different (even if it is). This is what got the goats of the faux >> populist >> republicans....and the Clintons. >> >> On Mon, Apr 14, 2008 at 8:28 AM, steve russell >> >> wrote: >> >> > Here's the deal: Obama has to make a few idiotic blunders in >> order to >> > justify a decision to run the super team: Obama/Hillary. It's >> the only thing >> > that makes sense. Why else would Clinton claim to have faced gun >> fire in >> > Bosnia? The whole bloody mess is a set up. Which sort of sickens >> me as I do >> > think the right is indeed correct about the Clintons. They're scum. >> > >> > >> > ----- Original Message ---- >> > From: Mark Weiss >> > To: POETICS@LISTSERV.BUFFALO.EDU >> > Sent: Sunday, April 13, 2008 7:38:45 PM >> > Subject: Re: Obama is correct about rural PA >> > >> > Honesty being the best policy, those who aspire to lead us should >> > make clear at the outset that their lives have nothing >> whatsoever to >> > do with the lives of almost everyone they hope will vote for >> them. It >> > helps also if a tone of contempt intrudes--honesty requires that a >> > politician reveal his or her darker side as often as possible. >> By no >> > means should a politician try to invent a more inclusive persona. >> > >> > Politics is a graduate seminar, and the politician is the >> professor. >> > >> > Mark >> > >> > >> > >> > At 03:28 PM 4/13/2008, you wrote: >> > >At least when Obama says something that may hurt him politically, >> > >unlike Clinton, he's telling the truth. That rural people are >> bitter >> > >at their plight under Bush, especially that most of them voted for >> > >him, is true. That rural people are into guns and religion (which, >> > >in America, are equivocal), is also true. Hell, they're proud >> of it! >> > >The media acts like these people were going to vote for Obama, >> as if >> > >he's losing votes. (Hillary, who also attended an Ivy League >> > >college, is suddenly saying "Aw shucks," and keeps a chaw in her >> > >purse.) Just like with race, the guy is trying to make Americans >> > >face who they are. You can't change course without admitting to >> > >which course you're on. >> > > >> > >Of course politicians are always going to disappoint everyone on >> > >something, as the art of politics is compromise. You just have to >> > >know where your core values are, and there draw the line. This is >> > >Bush's strength. Unfortunately, his line is drawn with the >> blood and >> > >tears of the poor. >> > > >> > >-Joel >> > > >> > >----- Original Message ----- From: "Mark Weiss" >> >> > >To: >> > >Sent: Saturday, April 12, 2008 8:16 AM >> > >Subject: Re: Obama is correct about rural PA >> > > >> > > >> > >>Integrity is easy when there's nothing at stake. He's not >> going to >> > >>win Pennsylvania whatever he does. >> > >> >> > >>I do admire his principled vote against the war, though, against >> > >>all the pressure there must have been on senators. Oh, wait--he >> > >>didn't get to vote against the war, since he wasn't in the >> senate. >> > >> >> > >>I expect that Obama will get the nomination, and if he does I'll >> > >>vote for him for president, but I hope he's not the paragon he >> > >>presents--if he is, he'll be eaten alive in Washington. >> > >> >> > >>Mark >> > >> >> > >> >> > >>At 08:39 AM 4/12/2008, you wrote: >> > >>>Having grown up in rural Pennsylvania I can promise you that >> Obama's >> > >>>assessments are correct about many of these people being >> bitter and >> > clinging >> > >>>to their guns and religion. It took me YEARS to dig out of >> my anger >> > for the >> > >>>torture they put me through for being queer, for not wanting >> to kill >> > deer, >> > >>>pheasants, rabbits, and instead planting and tending flowers, >> vines, >> > and >> > >>>other boys. >> > >>> >> > >>>What's MOST IMPRESSIVE is Obama's ability to take his >> statements and >> > STAND >> > >>>BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and >> listing why >> > they >> > >>>Should be. >> > >>> >> > >>>He's right of course. What's terrible though is that the >> harsh world >> > of >> > >>>rural Pennsylvania (harsh as in trying to actually survive >> when the >> > >>>factories and industry disappear DUE in large part to the >> Clintons!), >> > like >> > >>>most places where life is very hard, scapegoating is the >> major pastime. >> > >>>It's bottomless, the racism, homophobia, sexism, and I can't >> see HOW >> > anyone >> > >>>will ever be able to break through it. These things make me >> very sad, >> > >>>mostly because there are many people where I grew up who I >> got to know >> > as >> > >>>intelligent and talented, until they found out I was queer, >> which of >> > course >> > >>>put an end to communications with me. >> > >>> >> > >>>But many of the people where I come from will NEVER vote for >> a white >> > woman >> > >>>for president anymore than they will vote for a black man for >> > president. >> > >>>And if ANY candidate ever dares say ANYTHING positive about >> > homosexuals, >> > >>>well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of >> > course. >> > >>>Oy, I'm exhausted thinking about the wicked things I know >> they're >> > saying in >> > >>>the bars and beauty parlors, at the mills and diners. >> > >>> >> > >>>But Obama is correct in every way. And he's amazing that he >> remains so >> > >>>focused and on topic, even if the topic is about something he >> himself >> > said >> > >>>that might hurt his campaign. He has integrity I thought >> IMPOSSIBLE >> > for >> > >>>Democrats! He has my support! (Part of me is SO AFRAID he's >> another >> > Bill >> > >>>Clinton though! I heard Clinton's one speech at a gay rights >> rally in >> > DC >> > >>>when he was first running for president, and I BOUGHT IT, >> bought every >> > lying >> > >>>word of it!) >> > >>> >> > >>>But if Obama doesn't win the nomination I'm voting for Ralph >> Nader >> > again. >> > >>>Nader was just in Philadelphia and gave an amazing speech! >> Nader is >> > the >> > >>>sexiest LIVING MIND! >> > >>> >> > >>>CAConrad >> > >>>http://PhillySound.blogspot.com > phillysound.blogspot.com/> >> > >> > >> > >> > >> _____________________________________________________________________ >> _______________ >> > Be a better friend, newshound, and >> > know-it-all with Yahoo! Mobile. Try it now. >> > http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ >> > ========================================================================= Date: Mon, 14 Apr 2008 23:34:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: Obama is correct about rural PA In-Reply-To: <7.0.1.0.1.20080414190205.06040400@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Thanks Mark. I've read it. But for those who haven't, here's the statement. To wit: *"You go into these small towns in Pennsylvania and, like a lot of small towns in the Midwest, the jobs have been gone now for 25 years and nothing's replaced them.And they fell through the Clinton Administration, and the Bush Administration, and each successive administration has said that somehow these communities are gonna regenerate and they have not." * *"And it's not surprising then they get bitter, they cling to guns or religion or antipathy to people who aren't like them or anti-immigrant sentiment or anti-trade sentiment as a way to explain their frustrations." * So, frustration is explained by way of clinging to guns or religion or antipathy, etc. I agree. This is not a false statement. It is, therefore, not what should be said during an election year. Cynically, and sadly, it seems there's not much room for truth in politics. On Mon, Apr 14, 2008 at 7:07 PM, Mark Weiss wrote: > Read the statement. He said that small town folks "cling to religion and > guns" out of bitterness. I happen to think that belief in an afterlife is a > product of desperation, and Obama apparently agrees, at least when it comes > to poor white folks. But I'd be pretty careful where I said that, if only > out of politeness. As a politician, I'd have to be an idiot to say it. Same > goes for guns. most gun violence happens in big cities. I think guns should > be much more strictly regulated, even that hunting rifles should be locked > up at the police station and only reclaimed when a hunting trip's planned, > because the cities need that kind of rule. But it's not hard to understand > why rural folks would object. > > Mark > > > At 04:14 PM 4/14/2008, you wrote: > > > I feel, too, that this whole thing is based on the idea that "bitter" is > > a > > judgment, rather than an observation. I cannot possibly say, even from > > my 10 > > years as a "rural person," that everyone is bitter, or fed up, or tired, > > or > > looking for anything that gives them solace (guns, religion, drugs, rock > > n' > > roll, QVC, etc). What I can say is that this is true a large amt. of > > people, > > both in the rural areas and sub/urban areas as well. Obama's mistake > > wasn't > > that he said this, it's that he singled out the countryside as being > > different (even if it is). This is what got the goats of the faux > > populist > > republicans....and the Clintons. > > > > On Mon, Apr 14, 2008 at 8:28 AM, steve russell > > wrote: > > > > > Here's the deal: Obama has to make a few idiotic blunders in order to > > > justify a decision to run the super team: Obama/Hillary. It's the only > > thing > > > that makes sense. Why else would Clinton claim to have faced gun fire > > in > > > Bosnia? The whole bloody mess is a set up. Which sort of sickens me as > > I do > > > think the right is indeed correct about the Clintons. They're scum. > > > > > > > > > ----- Original Message ---- > > > From: Mark Weiss > > > To: POETICS@LISTSERV.BUFFALO.EDU > > > Sent: Sunday, April 13, 2008 7:38:45 PM > > > Subject: Re: Obama is correct about rural PA > > > > > > Honesty being the best policy, those who aspire to lead us should > > > make clear at the outset that their lives have nothing whatsoever to > > > do with the lives of almost everyone they hope will vote for them. It > > > helps also if a tone of contempt intrudes--honesty requires that a > > > politician reveal his or her darker side as often as possible. By no > > > means should a politician try to invent a more inclusive persona. > > > > > > Politics is a graduate seminar, and the politician is the professor. > > > > > > Mark > > > > > > > > > > > > At 03:28 PM 4/13/2008, you wrote: > > > >At least when Obama says something that may hurt him politically, > > > >unlike Clinton, he's telling the truth. That rural people are bitter > > > >at their plight under Bush, especially that most of them voted for > > > >him, is true. That rural people are into guns and religion (which, > > > >in America, are equivocal), is also true. Hell, they're proud of it! > > > >The media acts like these people were going to vote for Obama, as if > > > >he's losing votes. (Hillary, who also attended an Ivy League > > > >college, is suddenly saying "Aw shucks," and keeps a chaw in her > > > >purse.) Just like with race, the guy is trying to make Americans > > > >face who they are. You can't change course without admitting to > > > >which course you're on. > > > > > > > >Of course politicians are always going to disappoint everyone on > > > >something, as the art of politics is compromise. You just have to > > > >know where your core values are, and there draw the line. This is > > > >Bush's strength. Unfortunately, his line is drawn with the blood and > > > >tears of the poor. > > > > > > > >-Joel > > > > > > > >----- Original Message ----- From: "Mark Weiss" < > > junction@EARTHLINK.NET> > > > >To: > > > >Sent: Saturday, April 12, 2008 8:16 AM > > > >Subject: Re: Obama is correct about rural PA > > > > > > > > > > > >>Integrity is easy when there's nothing at stake. He's not going to > > > >>win Pennsylvania whatever he does. > > > >> > > > >>I do admire his principled vote against the war, though, against > > > >>all the pressure there must have been on senators. Oh, wait--he > > > >>didn't get to vote against the war, since he wasn't in the senate. > > > >> > > > >>I expect that Obama will get the nomination, and if he does I'll > > > >>vote for him for president, but I hope he's not the paragon he > > > >>presents--if he is, he'll be eaten alive in Washington. > > > >> > > > >>Mark > > > >> > > > >> > > > >>At 08:39 AM 4/12/2008, you wrote: > > > >>>Having grown up in rural Pennsylvania I can promise you that > > Obama's > > > >>>assessments are correct about many of these people being bitter and > > > clinging > > > >>>to their guns and religion. It took me YEARS to dig out of my > > anger > > > for the > > > >>>torture they put me through for being queer, for not wanting to > > kill > > > deer, > > > >>>pheasants, rabbits, and instead planting and tending flowers, > > vines, > > > and > > > >>>other boys. > > > >>> > > > >>>What's MOST IMPRESSIVE is Obama's ability to take his statements > > and > > > STAND > > > >>>BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing > > why > > > they > > > >>>Should be. > > > >>> > > > >>>He's right of course. What's terrible though is that the harsh > > world > > > of > > > >>>rural Pennsylvania (harsh as in trying to actually survive when the > > > >>>factories and industry disappear DUE in large part to the > > Clintons!), > > > like > > > >>>most places where life is very hard, scapegoating is the major > > pastime. > > > >>>It's bottomless, the racism, homophobia, sexism, and I can't see > > HOW > > > anyone > > > >>>will ever be able to break through it. These things make me very > > sad, > > > >>>mostly because there are many people where I grew up who I got to > > know > > > as > > > >>>intelligent and talented, until they found out I was queer, which > > of > > > course > > > >>>put an end to communications with me. > > > >>> > > > >>>But many of the people where I come from will NEVER vote for a > > white > > > woman > > > >>>for president anymore than they will vote for a black man for > > > president. > > > >>>And if ANY candidate ever dares say ANYTHING positive about > > > homosexuals, > > > >>>well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of > > > course. > > > >>>Oy, I'm exhausted thinking about the wicked things I know they're > > > saying in > > > >>>the bars and beauty parlors, at the mills and diners. > > > >>> > > > >>>But Obama is correct in every way. And he's amazing that he > > remains so > > > >>>focused and on topic, even if the topic is about something he > > himself > > > said > > > >>>that might hurt his campaign. He has integrity I thought > > IMPOSSIBLE > > > for > > > >>>Democrats! He has my support! (Part of me is SO AFRAID he's > > another > > > Bill > > > >>>Clinton though! I heard Clinton's one speech at a gay rights rally > > in > > > DC > > > >>>when he was first running for president, and I BOUGHT IT, bought > > every > > > lying > > > >>>word of it!) > > > >>> > > > >>>But if Obama doesn't win the nomination I'm voting for Ralph Nader > > > again. > > > >>>Nader was just in Philadelphia and gave an amazing speech! Nader > > is > > > the > > > >>>sexiest LIVING MIND! > > > >>> > > > >>>CAConrad > > > >>>http://PhillySound.blogspot.com > > > > > > > > > > > > > > ____________________________________________________________________________________ > > > Be a better friend, newshound, and > > > know-it-all with Yahoo! Mobile. Try it now. > > > http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ > > > > > > ========================================================================= Date: Tue, 15 Apr 2008 00:02:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Obama is correct about rural PA In-Reply-To: 1208232035l.1323130l.0l@psu.edu MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Yes, do read the statement -- as poorly worried as it was, Obama was clearly not saying that people adopt faith because of their bitterness over the economy or, as more than one talking head as put it today, that they have guns and go hunting because of that bitterness -- he was saying fairly plainly, though not in a politic way, that this presumed bitterness leads to their clinging to these issues as election motivations -- and, as I remarked yesterday, that's pretty much been the Republican campaign strategy reaching back to Nixon's Southern strategy -- On Mon, Apr 14, 2008 07:07 PM, Mark Weiss wrote: > Read the statement. He said that small town folks "cling to religion >and guns" out of bitterness. I happen to think that belief in an >afterlife is a product of desperation, and Obama apparently agrees, >at least when it comes to poor white folks. But I'd be pretty careful >where I said that, if only out of politeness. As a politician, I'd >have to be an idiot to say it. Same goes for guns. most gun violence >happens in big cities. I think guns should be much more strictly >regulated, even that hunting rifles should be locked up at the police >station and only reclaimed when a hunting trip's planned, because the >cities need that kind of rule. But it's not hard to understand why >rural folks would object. > >Mark ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>>> > >"Study the fine art of coming apart." > >--Jerry W. Ward, Jr. > >Sailing the blogosphere at: http://heatstrings.blogspot.com/ > >Aldon L. Nielsen >Kelly Professor of American Literature >The Pennsylvania State University >116 Burrowes >University Park, PA 16802-6200 > >(814) 865-0091 > > > ========================================================================= Date: Mon, 14 Apr 2008 21:29:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Matt Henriksen Subject: Fri 4/18 - Baker Behrle Iijima Raoult Lasky Peterson Teicher Wier - Brooklyn MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable a Chair Burning Retrospective at= The Burning Chair Readingspresent =0A =0Aa Chair Burning Retrospective=0Aat= East Coast Aliens=0A =0AFriday, April 18th=0ADoors 7:30 pm, readingsfrom 8= -10 pm=0A$5=0A =0AAndrea Baker=0AJim Behrle=0ABrenda Iijima=0ADorothea Lask= y=0ATim Peterson=0AThibault Raoult=0ACraig Morgan Teicher=0ADara Wier =0Aw/= music from =0AWalter Baker& an after-partyfeaturing =0Athe dreams [of the = congregation of details=0A =0AEast Coast Aliens216 Franklin St=0Abtwn. Indi= a & Huron=0AGreenpoint, Brooklyn=0AG to Greenpoint Ave (exitat India St)=0A= B61/B43/B42=0A =0Aeastcoastaliens.com=0Amyspace.com/thedreamsensemble=0Atyp= omag.com/burningchair=0Aflesheatingpoems.blogspot.com=0A =0A Andrea=0ABaker= is the author of like=0Awind loves a window (Slope Editions,=0A2005) and t= he chapbooks gilda (Poetry Society of America, 2004) and true=0Apoems about= the river go like this (Cannibal Books, 2008).=0A =0Awalter=0Abaker is a m= usician / composerliving in Brooklyn. His background=0Aspans everything fr= om being a sideman guitarist for country singer=0AGeorge Strait to playing = jazz and experimental in the NYC downtown scene toattentions from Bang On A= Can. Though he maintains a profile as a modernguitarist, he is most recent= ly best known for his performances as a player ofthe Rubberbandhorn and the= subject of a soon to be released documentary, A=0ARubberband is an Unlikel= y Instrument.=0A =0AJim=0ABehrle is the author of She=92s=0AMy Best Friend = (Pressed Wafer), City Point (Pressed Wafer) and The=0A(Purple) Notebook of = the Lake (Braincase). =0AHe sleeps on a floor in Greenpoint. =0A=0A =0ABren= da=0AIijima is the author of Animate,=0AInanimate Aims (Litmus Press) and A= round Sea (O Books). If Not=0AMetamorphic was runner up for the Sawtooth Pr= ize and will be published byAhsahta Press. She is the editor of Portable Pr= ess at Yo-Yo Labs (yoyolabs.com/). Togetherwith Evelyn Reilly she is editin= g a collection of essays by poets concerningpoetry and ecological ethics ti= tled, )((eco (lang)(uage(reader). She isthe art editor for Boog City as wel= l as a visual artist. She lives inBrooklyn, New York where she designs and = constructs homeopathic gardens.=0A =0ADorothea=0ALasky was born in St. Loui= s in1978. Her first book of poems, AWE, was published in the fall of2007 f= rom Wave Books. Her poems have appeared in Boston Review,Phoebe, 6x6, Crow= d, Coconut, jubilat, Lungfull!,Knock, Carve, Foursquare, and Skein, among o= therplaces. She has been educated at the University of Massachusetts-Amhers= t,Harvard University, and Washington University. Currently, she lives inPh= iladelphia, where she studies education at the University of Pennsylvania.= =0A =0ATim=0APeterson is the author of Since=0AI Moved In, which received t= he Gil Ott Award from Chax Press. He edits EOAGH:=0AA Journal of the Arts a= nd curates a portion of the Segue Reading Series.=0A =0AThibault=0ARaoult w= as a Dolin Scholar at theUniversity of Chicago, and, for two years, OFF(ici= al) poet-in-residence atBrown University. I=92ll Say I=92m Only Visiting em= erged from Cannibal Books(Brooklyn) in Nov/07; a second run is expected in = coming-season. A new volume, El=0Ap.e. [physical education of the elevated = train, emerges from ProjectiveIndustries in the coming months. Born in Pith= iviers, France, raised inRochester, NY, Thibault generates the dreams [of t= he congregation of details=97amost real e-(s)tat(e) near 3Coasts.=0A =0ACra= ig=0AMorgan Teicher's first book is Brenda=0AIs in the Room and Other Poems= . His second, Cradle Book, acollection of fables, will be out from BOA Edi= tions in 2010. He lives inBrooklyn with his wife and son.=0A =0ADara=0AWie= r's books include Remnants=0Aof Hannah (Wave Books 2006); Reverse Rapture (= Verse Press 2005); Hat=0Aon a Pond (Verse Press, 2002) and Voyages in Engli= sh (CarnegieMellon U. Press, 2001). A limitededition, (X in Fix), a select= ion of 5 longer poems, including a sectionfrom Reverse Rapture, is printed = in RainTaxi=92s Brainstormseries. She works as a member of thepoetry facul= ty and director of the MFA program for poets and writers at theUniversity o= f Massachusetts Amherst. Her book, Reverse Rapture has beenrecently awarded= The Poetry Center & American Poetry Archives 2006 book ofthe year prize.= =0A =0A =0ADirections:eastcoastaliens.com/SALON/content/map_and_directions_= to_east_coast_aliens_greepoint_brooklyn_new_york=0A=0A=0A=0A=0A ______= ___________________________________________________________________________= ___=0ABe a better friend, newshound, and =0Aknow-it-all with Yahoo! Mobile.= Try it now. http://mobile.yahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Tue, 15 Apr 2008 04:42:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: PFS Post: Andrew Lundwall, from "Gardening at Night" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Andrew Lundwall is in the middle of completing his first full-length collection of poems, "Gardening at Night." Presented here are six poems from the manuscript. Enjoy! http://www.artrecess.blogspot.com Books! "Beams" http://www.blazevox.org/ebk-af.pdf "Opera Bufa" http://www.lulu.com/content/1137210 between 0000-00-00 and 9999-99-99 ========================================================================= Date: Tue, 15 Apr 2008 09:23:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: Obama is correct about rural PA In-Reply-To: <1208232130l.1380584l.0l@psu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Even here you see Obama defended for that comment. On Tue, Apr 15, 2008 at 12:02 AM, ALDON L NIELSEN wrote: > Yes, do read the statement -- as poorly worried as it was, Obama was > clearly > not saying that people adopt faith because of their bitterness over the > economy > or, as more than one talking head as put it today, that they have guns and > go > hunting because of that bitterness -- he was saying fairly plainly, though > not > in a politic way, that this presumed bitterness leads to their clinging to > these issues as election motivations -- and, as I remarked yesterday, > that's > pretty much been the Republican campaign strategy reaching back to Nixon's > Southern strategy -- > > On Mon, Apr 14, 2008 07:07 PM, Mark Weiss wrote: > > > Read the statement. He said that small town folks "cling to religion > >and guns" out of bitterness. I happen to think that belief in an > >afterlife is a product of desperation, and Obama apparently agrees, > >at least when it comes to poor white folks. But I'd be pretty careful > >where I said that, if only out of politeness. As a politician, I'd > >have to be an idiot to say it. Same goes for guns. most gun violence > >happens in big cities. I think guns should be much more strictly > >regulated, even that hunting rifles should be locked up at the police > >station and only reclaimed when a hunting trip's planned, because the > >cities need that kind of rule. But it's not hard to understand why > >rural folks would object. > > > >Mark > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>> > > > >"Study the fine art of coming apart." > > > >--Jerry W. Ward, Jr. > > > >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: Tue, 15 Apr 2008 09:24:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: Obama is correct about rural PA In-Reply-To: <9778b8630804150623l1ec843d1r36cbfe10a9edf154@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Er, well, not defended, but not derided either. On Tue, Apr 15, 2008 at 9:23 AM, Ryan Daley wrote: > Even here you see Obama defended > for that comment. > > On Tue, Apr 15, 2008 at 12:02 AM, ALDON L NIELSEN wrote: > > > Yes, do read the statement -- as poorly worried as it was, Obama was > > clearly > > not saying that people adopt faith because of their bitterness over the > > economy > > or, as more than one talking head as put it today, that they have guns > > and go > > hunting because of that bitterness -- he was saying fairly plainly, > > though not > > in a politic way, that this presumed bitterness leads to their clinging > > to > > these issues as election motivations -- and, as I remarked yesterday, > > that's > > pretty much been the Republican campaign strategy reaching back to > > Nixon's > > Southern strategy -- > > > > On Mon, Apr 14, 2008 07:07 PM, Mark Weiss > > wrote: > > > > > Read the statement. He said that small town folks "cling to religion > > >and guns" out of bitterness. I happen to think that belief in an > > >afterlife is a product of desperation, and Obama apparently agrees, > > >at least when it comes to poor white folks. But I'd be pretty careful > > >where I said that, if only out of politeness. As a politician, I'd > > >have to be an idiot to say it. Same goes for guns. most gun violence > > >happens in big cities. I think guns should be much more strictly > > >regulated, even that hunting rifles should be locked up at the police > > >station and only reclaimed when a hunting trip's planned, because the > > >cities need that kind of rule. But it's not hard to understand why > > >rural folks would object. > > > > > >Mark > > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>>>>>>>>>>>> > > > > > >"Study the fine art of coming apart." > > > > > >--Jerry W. Ward, Jr. > > > > > >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: Tue, 15 Apr 2008 08:57:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Obama is correct about rural PA In-Reply-To: <1208232130l.1380584l.0l@psu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Let me be real clear. Obama as a candidate lives by the word. His ability to read an eloquent prepared speech and to participate in the writing of it is a major reason he's been so successful. When he screws up it has consequences, because he seems to be so careful with words. Here's what he said: "You go into these small towns in Pennsylvania and, like a lot of small towns in the Midwest, the jobs have been gone now for 25 years and nothing's replaced them. And it's not surprising then they get bitter, they cling to guns or religion or antipathy to people who aren't like them or anti-immigrant sentiment or anti-trade sentiment as a way to explain their frustrations." How is it possible to read this as other than a discounting, not of "their" suffering, but of their opinions and beliefs? How is this not a cartoon? It's that presumed attitude that's been criticized, and it appears apparently as of a piece with a frequent dismissiveness, as if he finds the entire process of getting elected simply too silly for words. But suppose it's just a slip, or he's really not that good on his feet, etc. How many of these things do you think he could get away with in the general election? It should be obvious that I suspect, or maybe more accurately fear, that Obama's an empty suit. The frequent invocation of Kennedy, who was an empty suit for the most part, isn't reassuring. I'd love to be proven wrong. Hey, maybe he'll even honor his pledge to limit himself to public financing. That could establish a standard that would really change American politics. If he's elected, and he probably will be, he's going to be up against so many intractable, urgent problems that even an FDR would probably fail. But Obama's very smart, and he'll probably learn. Anyway, my opinion doesn't matter. I already got to vote. Mark At 12:02 AM 4/15/2008, you wrote: >Yes, do read the statement -- as poorly worried as it was, Obama was clearly >not saying that people adopt faith because of their bitterness over >the economy >or, as more than one talking head as put it today, that they have guns and go >hunting because of that bitterness -- he was saying fairly plainly, though not >in a politic way, that this presumed bitterness leads to their clinging to >these issues as election motivations -- and, as I remarked yesterday, that's >pretty much been the Republican campaign strategy reaching back to Nixon's >Southern strategy -- > >On Mon, Apr 14, 2008 07:07 PM, Mark Weiss wrote: > > > Read the statement. He said that small town folks "cling to religion > >and guns" out of bitterness. I happen to think that belief in an > >afterlife is a product of desperation, and Obama apparently agrees, > >at least when it comes to poor white folks. But I'd be pretty careful > >where I said that, if only out of politeness. As a politician, I'd > >have to be an idiot to say it. Same goes for guns. most gun violence > >happens in big cities. I think guns should be much more strictly > >regulated, even that hunting rifles should be locked up at the police > >station and only reclaimed when a hunting trip's planned, because the > >cities need that kind of rule. But it's not hard to understand why > >rural folks would object. > > > >Mark > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> > >>>>>>>>>>>>>> > > > >"Study the fine art of coming apart." > > > >--Jerry W. Ward, Jr. > > > >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: Tue, 15 Apr 2008 09:27:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: THE ONLY WAR THAT MATTERS... MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline THE ONLY WAR THAT MATTERS IS THE WAR AGAINST THE IMAGINATION This is from a full page advertisement for Naropa's Jack Kerouac School of Disembodied Poetics in the latest issue of the Poetry Project Newsletter. Page 7 to be exact, April-June, 2008 issue. Let me say first that I have a tremendous amount of respect for that school, considering I have little to NO respect for most schools these days. But I really don't know what to do with this statement, which is displayed in such a way that it's meant to be of significance, meaning that, reading from left to right, as we do here, it's catches the eye FIRST when seeing the page. It's made to look like a sign you would carry at a protest, or a banner you would hang on a wall. I of course understand the basic premise, it's just not sitting well with me, being a tax payer like I am, paying for bullets like I am for a war that VERY MUCH DOES MATTER in Iraq (especially if you're Iraqi!)! Maybe I'm reading too much into it, or out of it, or around it? But then there's THIS statement as well, right below the first one, also made to look like a sign or banner: Poetry is The Rival Government "is" is underlined 3 times. It reminds me a little of: Poetry IS Independent Media The bottom one a quote from my friend Frank Sherlock, which I open my book Deviant Propulsion with. But, I can GET BEHIND Poetry IS Independent Media, but The Rival Government? Poetry as Government? Once again, I get it, meaning I GET what they're getting at, meaning that Poetry is a power that we should get behind rather than this nightmarish machine we have ruling us, but, the word Government? Really? Both of these statements feel OK at first glance, and at the first glance you get the tone being conveyed, I'm just not jiving with the language at all. I'm not agreeing with either one. To me, IF poetry is the Rival Government, then it needs to get us out of the war in Iraq before it can start claiming that "the only war that matters is the war against the imagination," frankly! CAConrad http://PhillySound.blogspot.com ========================================================================= Date: Tue, 15 Apr 2008 10:28:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: Obama is correct about rural PA In-Reply-To: <9778b8630804150720i688684d3s8e4640fc55af4ca2@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I don't read this as a dismissal at all. I read this as a failed appeal based on the idea that, "hey, I'm like you." Bush gets away with this all the time. This is the design behind "my fellow Americans." The fact that Obama didn't (or doesn't) says to me that his eloquence and ability to speak make him "elistist" and "snobby." Because we can't have a president who speak good. No way. Bring on those C students. And this is why I posted the article from CBN, because the writer latches on to "clings to," which seems the most unfortunate choice of a word if there ever were one. But this whole "scandal" is slow-news-week-itis. It's "wag the dog." It shows just how susceptible a lot of people are to the media, which is like a hangover: ignore it and it's still there. On Tue, Apr 15, 2008 at 10:20 AM, Ryan Daley wrote: > Mark, > > I already posted the quote. Is your quote different from mine? > > How much clearer must we be? > > > On Tue, Apr 15, 2008 at 8:57 AM, Mark Weiss > wrote: > > > Let me be real clear. Obama as a candidate lives by the word. His > > ability to read an eloquent prepared speech and to participate in the > > writing of it is a major reason he's been so successful. When he screws up > > it has consequences, because he seems to be so careful with words. > > > > Here's what he said: "You go into these small towns in Pennsylvania and, > > like a lot of small towns in the Midwest, the jobs have been gone now for 25 > > years and nothing's replaced them. And it's not surprising then they get > > bitter, they cling to guns or religion or antipathy to people who aren't > > like them or anti-immigrant sentiment or anti-trade sentiment as a way to > > explain their frustrations." How is it possible to read this as other than a > > discounting, not of "their" suffering, but of their opinions and beliefs? > > How is this not a cartoon? It's that presumed attitude that's been > > criticized, and it appears apparently as of a piece with a frequent > > dismissiveness, as if he finds the entire process of getting elected simply > > too silly for words. > > > > But suppose it's just a slip, or he's really not that good on his feet, > > etc. How many of these things do you think he could get away with in the > > general election? > > > > It should be obvious that I suspect, or maybe more accurately fear, that > > Obama's an empty suit. The frequent invocation of Kennedy, who was an empty > > suit for the most part, isn't reassuring. > > > > I'd love to be proven wrong. > > > > Hey, maybe he'll even honor his pledge to limit himself to public > > financing. That could establish a standard that would really change American > > politics. > > > > If he's elected, and he probably will be, he's going to be up against so > > many intractable, urgent problems that even an FDR would probably fail. > > > > But Obama's very smart, and he'll probably learn. > > > > Anyway, my opinion doesn't matter. I already got to vote. > > > > Mark > > > > > > > > At 12:02 AM 4/15/2008, you wrote: > > > > > Yes, do read the statement -- as poorly worried as it was, Obama was > > > clearly > > > not saying that people adopt faith because of their bitterness over > > > the economy > > > or, as more than one talking head as put it today, that they have guns > > > and go > > > hunting because of that bitterness -- he was saying fairly plainly, > > > though not > > > in a politic way, that this presumed bitterness leads to their > > > clinging to > > > these issues as election motivations -- and, as I remarked yesterday, > > > that's > > > pretty much been the Republican campaign strategy reaching back to > > > Nixon's > > > Southern strategy -- > > > > > > On Mon, Apr 14, 2008 07:07 PM, Mark Weiss > > > wrote: > > > > > > > Read the statement. He said that small town folks "cling to religion > > > >and guns" out of bitterness. I happen to think that belief in an > > > >afterlife is a product of desperation, and Obama apparently agrees, > > > >at least when it comes to poor white folks. But I'd be pretty careful > > > >where I said that, if only out of politeness. As a politician, I'd > > > >have to be an idiot to say it. Same goes for guns. most gun violence > > > >happens in big cities. I think guns should be much more strictly > > > >regulated, even that hunting rifles should be locked up at the police > > > >station and only reclaimed when a hunting trip's planned, because the > > > >cities need that kind of rule. But it's not hard to understand why > > > >rural folks would object. > > > > > > > >Mark > > > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> > > > >>>>>>>>>>>>>> > > > > > > > >"Study the fine art of coming apart." > > > > > > > >--Jerry W. Ward, Jr. > > > > > > > >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: Tue, 15 Apr 2008 10:35:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Jo Malo Subject: Re: Obama is correct about rural PA In-Reply-To: <6DE6959D-89A2-441A-B9C0-C78E40FAFAAF@myuw.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Jason, I agree completely. But if you deconstruct this a bit, it's a little confusing as to whether he actually wants their votes :) Mary Jo On Mon, Apr 14, 2008 at 11:28 PM, Jason Quackenbush wrote: > In context though, i think it's pretty clear that he was talking about the > stuff that small town folks vote based on, and that they've been manipulated > by the republican party appealing to anti-gun control and pro christian > sentiments in order to get their votes in the absence of real improvements > to the way those folks live. ========================================================================= Date: Tue, 15 Apr 2008 09:35:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: HEY NYC, CAConrad reads with LEGENDARY poet Larry Kearney... MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline NEXT week! NEXT Wednesday, 8pm St. Mark's Poetry Project in NYC Larry Kearney's poems make me happy, and getting to read with him is exciting! This is an old buddy of Spicer's and Brautigan's and Broughton's and Kaufman's, and ALL THESE poets helped change poetry forever! If you haven't yet read his book STREAMING, it's a must! Thom Donovan turned me onto that book, and it's really TERRIFIC! David Meltzer says "Kearney is one of those unsung cats who has been producing intelligent thoughtful snarly deeply musical poetry, deeply felt wryly wrought astute poetry of the first rank for decades for a select few=97you're in for a rare treat." Details on my events page: http://CAConradEVENTS.blogspot.com HOPE TO SEE YOU NEXT WEDNESDAY! CAConrad http://PhillySound.blogspot.com ========================================================================= Date: Tue, 15 Apr 2008 11:51:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Obama is correct about rural PA In-Reply-To: <9778b8630804150624n2dcdb21dk28ac364002b72769@mail.gmail.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed Sorry to bother folks here, I'm from Kingston PA which is pretty rural. I had a friend from Jermyn, ruraler, five kids in her brother's senior class killed themselves their senior year - at least one for being gay, and he blew himself away with his father's gun on the 50-yard-line. This was just a few years ago. Bitter doesn't cover it. Hazelton which has been trying to pin down Latino immigrants is just down the road from us. When I was in school there Obama would have been run out of town. Today the area's pretty defeated in spite of local colleges. It was a hell of a place to grow up. - Alan ========================================================================= Date: Tue, 15 Apr 2008 08:52:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rod Smith Subject: Poets' theater, film, and neo-benshi at Dixon Place, NYC Thurs 4/24 8 pm MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Poets' theater, film, and neo-benshi Thursday, Apr 24, 8:00 p.m. Dixon Place, 258 Bowery, NYC, $8 Brandon Downing: Two new short films Rob Fitterman: Film: "Bisquick / Bismarck" Nada Gordon: Neo-benshi: "Uzumaki" Mitch Highfill: Play: "The Secret History of the '60s" Rodney Koeneke: Neo-benshi: "Mary Poppins" Michael Magee: Play: "William Logan: A Sedentary Life" K. Silem Mohammad & Gary Sullivan: Play: "Chain: A Dialog" Kim Rosenfield: Neo-benshi: "Meglio Stasera / The Libido Theory" ========================================================================= Date: Tue, 15 Apr 2008 09:15:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: Red Rover Series / Experiment #20 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Red Rover Series {readings that play with reading} 7PM SATURDAY, APRIL 19th Experiment #20: A Sing Economy guest curated by Matthew Klane 3 YEAR ANNIVERSARY with NEW LOCATION at the Division Street Dance Loft 735 W. Division St -- Chicago, IL (Division @ Halsted enter parking lot off of Halsted St) http://www.rtgdance.com/teach_schedule.htm FEATURING: Tawrin Baker Jaye Bartell Barrett Gordon Jennifer Karmin Laura Sims Kevin Thurston suggested donation $4 doors lock at 7:30pm A SING ECONOMY is the second Flim Forum Press anthology and contains extensive selections from 20 contemporary poets. Flim Forum Press, founded in 2005, is an independent press that provides space for emerging poets working in a variety of experimental modes. It's edited by Matthew Klane and Adam Golaski (http://www.flimforum.com). TAWRIN BAKER is a member of House Press (http://www.housepress.org) and is the author of Th (House Press) and So That Even / A Lover Exists (House Press). He is currently studying the History of Science at the University of Indiana. JAYE BARTELL grew up in Massachusetts, traveled after that around the U.S., chiefly by train and bus, and remained to make homes in San Juan Island, WA, Asheville, NC, and, currently, Buffalo, NY. Poetry has otherwise appeared in Cutbank, Rivendell, and Capgun, with two collections forthcoming, Acres of Ourselves (House Press, early 2008), and Coasts, a collection of quick poems written on beer coasters between the years 2003-2007 (Red Hen Press, Spring, 2008). He also writes music, examples of which can be found at (http://www.myspace.com/oakorchardswamp). BARRETT GORDON is a member of House Press. He co-edits string of small machines w/Luke Daly and Eric Unger. Recent publications include rainbow-grey and graverubber, both from House Press. His work can be found in drill and small town. He is presently working on a book of first year in Chicago poems, as well as a long series of street rubbing & street stamp collages, to be included in a collaboration with David Baptiste-Chirot (http://www.housepress.org). He is from Buffalo, and lives now in Chicago. JENNIFER KARMIN is a founding member of the public art group Anti Gravity Surprise. Her multidisciplinary projects have been presented at a number of festivals, artist-run spaces, community centers, and on city streets. She teaches creative writing to immigrants at Truman College and works as a Poet-in-Residence for the Chicago Public Schools. Recent poems are published in Bird Dog, MoonLit, Womb, Seven Corners, Milk Magazine, The City Visible: Chicago Poetry for the New Century, and Growing Up Girl: An Anthology of Voices from Marginalized Spaces. MATTHEW KLANE is co-editor at Flim Forum Press (http://www.flimforum.blogspot.com). His chapbooks include Sorrow Songs, Friend Delighting the Eloquent, The- Associated Press, and The Meister-Reich Experiments (http://www.housepress.org). Other work can be found in word for/word, Plantarchy!, and string of small machines. He currently lives and writes in Albany, New York. LAURA SIMS is the author of Practice, Restraint, recipient of the 2005 Fence Books Alberta Prize, and Stranger, forthcoming from Fence Books in 2008. She has also published four chapbooks, including Bank Book (Answer Tag Press) and Paperback Book (3rd Bed), In 2006, she was awarded a JUSFC / NEA Creative Artist Exchange Fellowship to spend six months in Japan. Her poems have appeared or are forthcoming in the journals CAB/NET, Crayon, First Intensity, 26, How2, and 6X6, among others. She lives in Madison, Wisconsin, where she teaches creative writing and composition. KEVIN THURSTON is happy to be out and about reading and performing. It is much better than his day job. Sometimes poetry and performance can be a job too, but he stays out of most of that. Here, 'credentials': poems published in lost and found times, fHole, yt communications, the new chief tongue, O Outbreak a chap from furniture_press 2005 & he has a cd coming out with narrowhouse recordings kevin is running late but will be in. He barely still lives in Buffalo, NY where he helps curate readings for Just Buffalo and organizes the Buffalo Small Press Fair (http://www.buffalosmallpress.org). RED ROVER SERIES is curated by Amina Cain and Jennifer Karmin. Founded in 2005, each Red Rover event is designed as a reading experiment with participation by local, national, and international writers, artists, and performers. Email ideas for reading experiments to us at redroverseries@yahoogroups.com. The schedule for upcoming events is listed at http://groups.yahoo.com/group/redroverseries. COMING UP Experiment #21: May 15 - Miranda Mellis & Sarah Rosenthal SUMMER/FALL 2008 Judith Goldman & Lily Robert-Foley Ira S. Murfin & Marisa Plumb Authors from the Encyclopedia Project, vol. 2 ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Tue, 15 Apr 2008 09:19:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Re: THE ONLY WAR THAT MATTERS... MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit To me, it says that if politicians and those who support their policies of aggression had more imagination there wouldn't be wars. As in John Lennon's famous song. But, like Obama's misspeak, it means well, but is not well said, because it states that war is okay, as long as it's my war. My war is "the only war that matters." Maybe something like: WHERE IMAGINATION REIGNS, WAR DOESN'T, is more to what they are trying to say? Although Bush, Cheney, Rumsfeld, Rice, and the others, imagined that peace would follow their "shock and awe." However, maybe this isn't imagination, but the arrogance of self-deception. -Joel ----- Original Message ----- From: "CA Conrad" To: Sent: Tuesday, April 15, 2008 7:27 AM Subject: THE ONLY WAR THAT MATTERS... > THE ONLY WAR > THAT MATTERS > IS THE WAR > AGAINST THE > IMAGINATION > > This is from a full page advertisement for Naropa's Jack Kerouac School of > Disembodied Poetics in the latest issue of the Poetry Project Newsletter. > Page 7 to be exact, April-June, 2008 issue. > > Let me say first that I have a tremendous amount of respect for that > school, > considering I have little to NO respect for most schools these days. But > I > really don't know what to do with this statement, which is displayed in > such > a way that it's meant to be of significance, meaning that, reading from > left > to right, as we do here, it's catches the eye FIRST when seeing the page. > It's made to look like a sign you would carry at a protest, or a banner > you > would hang on a wall. > > I of course understand the basic premise, it's just not sitting well with > me, being a tax payer like I am, paying for bullets like I am for a war > that > VERY MUCH DOES MATTER in Iraq (especially if you're Iraqi!)! > > Maybe I'm reading too much into it, or out of it, or around it? But then > there's THIS statement as well, right below the first one, also made to > look > like a sign or banner: > > Poetry is > The Rival > Government > > "is" is underlined 3 times. It reminds me a little of: > > Poetry IS > Independent > Media > > The bottom one a quote from my friend Frank Sherlock, which I open my book > Deviant Propulsion with. > > But, I can GET BEHIND Poetry IS Independent Media, but The Rival > Government? > Poetry as Government? > > Once again, I get it, meaning I GET what they're getting at, meaning that > Poetry is a power that we should get behind rather than this nightmarish > machine we have ruling us, but, the word Government? Really? > > Both of these statements feel OK at first glance, and at the first glance > you get the tone being conveyed, I'm just not jiving with the language at > all. I'm not agreeing with either one. > > To me, IF poetry is the Rival Government, then it needs to get us out of > the > war in Iraq before it can start claiming that "the only war that matters > is > the war against the imagination," frankly! > > CAConrad > http://PhillySound.blogspot.com > ========================================================================= Date: Tue, 15 Apr 2008 12:39:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jared schickling Subject: Re: THE ONLY WAR THAT MATTERS... In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Dear CAConrad, =20 Interesting. =20 =20 I went to a reading at Naropa a few weeks back. We arrived a little early,= opened the closed door, and were somewhat assaulted by the reading room cu= rator. My initial response had something to do with the meanest Buddhist I= ever met. =20 =20 Of course this likely has more to do with me than with Naropa. But it's af= fluent in Boulder, where there's a term, "Granola Nazi" (also used in Berke= ley). I moved last year from Buffalo to Fort Collins, where food productio= n and the environment drive activism, and affluence breeds a love of good l= aw and order. There's a peculiar sensation to being so utterly landlocked,= physically removed from what lies over the sea, 60 miles from the evangeli= cal capitol of the world. =20 =20 Jared =20 =20 > Date: Tue, 15 Apr 2008 09:27:20 -0500> From: caconrad13@GMAIL.COM> Subjec= t: THE ONLY WAR THAT MATTERS...> To: POETICS@LISTSERV.BUFFALO.EDU> > THE ON= LY WAR> THAT MATTERS> IS THE WAR> AGAINST THE> IMAGINATION> > This is from = a full page advertisement for Naropa's Jack Kerouac School of> Disembodied = Poetics in the latest issue of the Poetry Project Newsletter.> Page 7 to be= exact, April-June, 2008 issue.> > Let me say first that I have a tremendou= s amount of respect for that school,> considering I have little to NO respe= ct for most schools these days. But I> really don't know what to do with th= is statement, which is displayed in such> a way that it's meant to be of si= gnificance, meaning that, reading from left> to right, as we do here, it's = catches the eye FIRST when seeing the page.> It's made to look like a sign = you would carry at a protest, or a banner you> would hang on a wall.> > I o= f course understand the basic premise, it's just not sitting well with> me,= being a tax payer like I am, paying for bullets like I am for a war that> = VERY MUCH DOES MATTER in Iraq (especially if you're Iraqi!)!> > Maybe I'm r= eading too much into it, or out of it, or around it? But then> there's THIS= statement as well, right below the first one, also made to look> like a si= gn or banner:> > Poetry is> The Rival> Government> > "is" is underlined 3 t= imes. It reminds me a little of:> > Poetry IS> Independent> Media> > The bo= ttom one a quote from my friend Frank Sherlock, which I open my book> Devia= nt Propulsion with.> > But, I can GET BEHIND Poetry IS Independent Media, b= ut The Rival Government?> Poetry as Government?> > Once again, I get it, me= aning I GET what they're getting at, meaning that> Poetry is a power that w= e should get behind rather than this nightmarish> machine we have ruling us= , but, the word Government? Really?> > Both of these statements feel OK at = first glance, and at the first glance> you get the tone being conveyed, I'm= just not jiving with the language at> all. I'm not agreeing with either on= e.> > To me, IF poetry is the Rival Government, then it needs to get us out= of the> war in Iraq before it can start claiming that "the only war that m= atters is> the war against the imagination," frankly!> > CAConrad> http://P= hillySound.blogspot.com _________________________________________________________________ Use video conversation to talk face-to-face with Windows Live Messenger. http://www.windowslive.com/messenger/connect_your_way.html?ocid=3DTXT_TAGLM= _WL_Refresh_messenger_video_042008= ========================================================================= Date: Tue, 15 Apr 2008 17:03:14 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: blacksox@ATT.NET Subject: YOUTUBE "Bond Girl" Comes Out for 9/11 "WEEK OF TRUTH" CAMPAIGN =?ISO-8859-1?Q?=96_?= April 16 to 22 MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit YOUTUBE "Bond Girl" Comes Out for 9/11 "WEEK OF TRUTH" CAMPAIGN – April 16 to 22nd Lana Wood, actress/activist, recently not only came public on 9/11 truth, but helped produce a very creative youtube video that can reach many. Spread it widely, let's get it up on the youtube rankings. And engage more in the Week of Truth (Starts THIS WED.) www.WeekofTruth.org http://www.youtube.com/watch?v=zafkleeNvvU It's a great video because it starts off in a very "youtube-ey quirky" play on her roll as Plenty O'Toole in "Diamonds are Forever," but THEN very quickly delves into the seriousness of the 9/11 issue, and Lana's impassioned plea for all of us to get educated on 9/11, and do all we can to launch the first Week of Truth campaign occurring April 16 to 22nd. http://www.youtube.com/watch?v=zafkleeNvvU In the above video she extols everyone to get involved in the "Week of Truth" April 16 to 22nd, www.WeekofTruth.org and to spread the word wide, far, and fast. Other news. About 12,000 media were contacted about the week of truth effort and about Jesse Ventura's recent question of "How can two planes, bring down THREE buildings?" You'll be happy to learn that Professor Steven Jones made an announcement at the San Diego 9/11 Truth Event about the coming "Week of Truth" and informed them how to get involved. Week of Truth made headline news at the major progressive news blog OpEdNews, in an article about the UN Official calling for a study into neocon involvement in 9/11. Headlines there get A LOT of traffic, and its not just 9/11 choir traffic. See/Comment at: http://www.opednews.com/articles/opedne_bill_dou_080412_ny_sun_report s_on_u_.htm [comments and views can help keep it [and its Week of Truth info, a headline longer] SO, A COUPLE OF REMINDERS/ACTION ITEMS YOU CAN HELP TO SPREAD THE WORD WITH: Steve's doing as much media as he can get, and has put several thousand dollars on the line to promote the book in various ways. • PLEASE EMAIL ALL YOUR CONTACT & SUBSCRIBER LISTS, on this Wednesday, April 16th, to urge them to buy in before April 22nd, and to spread the word on the Week of Truth. Tell them about Lana's great youtube video. http://www.youtube.com/watch?v=zafkleeNvvU • IF YOU DON'T HAVE A BANNER FOR "WEEK OF TRUTH" ON YOUR WEBSITE, you can get one at www.WeekofTruth.org. Many major well trafficked sites that number in the hundreds of thousands of weekly visitors collectively now have it up on the top of their HOMEPAGE. • Please continue networking with all you can, and let your contacts and theirs know that they can call-in to mainstream media and recommend "The Shell Game" during the Week of Truth National Buy- In. You can email out the below suggestion sheet w/ the call in shows: USING THE RADIO AIR WAVES FOR 9/11 TRUTH While gaining air time on major radio talk shows is difficult, if we as a movement target certain shows we can bring our message to millions of listeners for FREE! KEYS TO CALLING IN: A. Know who you are calling. Most talk shows are conservative. Do NOT attempt to convert the host, simply state your message with enthusiasm: WRITE DOWN AND READ THE MESSAGE: Sell THE SHELL GAME as a must-read novel that convinced YOU, that there will be another 911 event soon! "Hey, Rush, long time listener. There's a book you absolutely must read, it's called The SHELL GAME by Steve Alten, a NY Times best selling author. Rush, I read this book in two sittings. It's about the end of oil and the next 911 event that will launch the war in Iran, and it scared the hell out of me. It made me realize that the 911 commission kept things out of the investigation, and frankly…I'm mad." Do NOT get into details on a conservative talk show. Just tell his listeners to buy the book! TOP RADIO SHOWS & CONTACT NUMBERS 1 Rush Limbaugh 1-800-282-2882 Noon - 3pm Eastern time (live radio) 2 Michael Savage - 800-449-8255, and he is generally on the air M-F 6-9pm ET. 3. Glenn Beck 888-727-2325 9 am – 12 pm 4 Sean Hannity 800-941-7326 2-5 PM 5 Laura Ingraham 1-800-449-8255 M-F, 9am - 12pm ET 6 MANCOW - 1-888-2-mancow Mornings 6-9 AM 7 George Noory West Coast 800-618-8255, east coast 800-825-5033, 818- 501-4721, 818-501-4109. late nights 1 am – 5 am EST. 8 Neal Boortz 281-558-5738 8:30 a.m. - 1 p.m. 9 Bill O'Reilly 1-877-9-NO SPIN noon to 2 PM EST 10 Dr. Laura 1-800-DR-LAURA M-F, 12pm - 3pm PT 12 Mark Levin 877-381-3811 6-8 PM EST 13 Bill Bennett (866) 680-6464, 6am-9am EST 14 Michael Medved 1-800-955-1776 M-F, 3pm -6pm ET 15 Adam Carolla 866-901-ADAM(2326) M-F 8 am – 1 PM EST 17 G. Gordon Liddy 1-800-478-7111 M-F, 10pm - 1am ET 18 Art Bell – see George Noory, only weekends 19 Jerry Doyle (800) 876-4123, 4:00 - 5:00 PM 20 Dr. Joy Browne 800-544-7070 12 PM – 3 PM 21 Hugh Hewitt 1-800-520-1234 M-F, 3pm - 6pm ET 22 Dennis Prager 1-877-243-7776 M-F, 12pm - 3pm ET 23 Mike Gallagher 800-655-MIKE M-F 9AM – Noon ET ------------------------------------ Yahoo! Groups Links <*> To visit your group on the web, go to: http://groups.yahoo.com/group/aim/ <*> Your email settings: Individual Email | Traditional <*> To change settings online go to: http://groups.yahoo.com/group/aim/join (Yahoo! ID required) <*> To change settings via email: mailto:aim-digest@yahoogroups.com mailto:aim-fullfeatured@yahoogroups.com <*> To unsubscribe from this group, send an email to: aim-unsubscribe@yahoogroups.com <*> Your use of Yahoo! Groups is subject to: http://docs.yahoo.com/info/terms/ ========================================================================= Date: Tue, 15 Apr 2008 19:20:18 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: Anny Ballardini, Henry Gould & Peter Thompson read in Rhode Island MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Anny Ballardini & Henry Gould read in Rhode Island Monday, April 21st, 6 pm Main Library, Roger Williams University One Old Ferry Rd, Bristol, RI Wednesday, April 23rd, 3-5 pm. With Peter S. Thompson John Hay Library Brown University 20 Prospect St, Providence Anny Ballardini, Henry Gould and Peter S. Thompson (on Wednesday) will read their own poetry, and also read and discuss Ms. Ballardini's translation (into Italian) of Mr. Gould's long poem, In RI. Ms. Ballardini's visit to the U.S. & presentation sponsored by the Creative Writing Program of Roger Williams University. Free. Refreshments. -- Anny Ballardini http://annyballardini.blogspot.com/ http://www.fieralingue.it/modules.php?name=poetshome http://www.moriapoetry.com/ebooks.html I Tell You: One must still have chaos in one to give birth to a dancing star! ========================================================================= Date: Tue, 15 Apr 2008 15:25:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Halvard Johnson Subject: RIP Rebecca Kavaler Mime-Version: 1.0 (Apple Message framework v919.2) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed; delsp=yes Content-Transfer-Encoding: quoted-printable The Animal Within Homage to Sir =20 Thomas Browne We, who supposedly contain all Africa and her prodigies, are revealed for what we are only in the dying when this flesh, once apostrophized as too too solid, has proven renderable as any carcass and in the process manufactured hollows where hillocks of cheeks once smiled, then weeded out the overgrowth of hair to uncover a tenderness-evoking curve of skull, a property we had thought only of the newly born. The mirror reflects no longer a unique face but the template of the race: uncles, aunts, cousins far removed, some ancestor who left no trace in family history yet surfaces now like a species long thought extinct hauled up from the ocean=92s depths and when that dissolves what is left but the animal within which we made so much of. --Rebecca Kavaler fr. The Animal Within [Hamilton Stone Editions, 2008] Hal Halvard Johnson =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D halvard@earthlink.net http://home.earthlink.net/~halvard/index.html http://entropyandme.blogspot.com http://imageswithoutwords.blogspot.com http://www.hamiltonstone.org http://home.earthlink.net/~halvard/vidalocabooks.html ========================================================================= Date: Tue, 15 Apr 2008 17:57:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcus Bales Subject: rthy816@aol.com Content-Type: text/plain; charset=utf-8 rthy816@aol.com APRIL 4, 2008 FOR IMMEDIATE RELEASE Cleveland poetry publishing house vanZeno Press (www.vanzenopress.com) has released The Black Book, featuring the lyrics of Cleveland songwriter Cletus Black. vanZeno has published the work of poets such as Roger Craik, Claire McMahon, J.E. Stanley and Mary Turzillo, but The Black Book is the first in the Lyric Series, which places the focus on the poetry of words put to music. The book gathers all Cletus’ original lyrics from the seven CD’s released since 1996. They are organized alphabetically by song title, as well as by first line. As a lyricist, Black stands out as he eschews the confessional and self-centered style favored by so many of his contemporaries, and instead creates songs that read like short stories. Character and mood are pre-eminent as Black creates vignettes that seem to have more in common with film noir. “Jesus just told me to move to Virginia Beach…”. “You’re a hellhound sniffing on a cold dark trail…” “Working Homicide down in FLA...” Whether in a lyrical or narrative style, Black is a master at the compact diss and sparely stated scenario. Cletus Black will hold a book signing for The Black Book on Sunday, May 4th at the John Christ Winery from 2:00 to 5:00p.m. John Christ Winery is located at 32421 Walker Rd. in Avon Lake, Oh. The author will perform pieces from the book, as well as songs from his soon to be released CD “That’s The Story .” --end— ========================================================================= Date: Tue, 15 Apr 2008 15:14:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lou Rowan Subject: Lou Rowan reading in Brooklyn with Rick Moody 4/22, Toby Olson 4/24 Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Dear Colleagues, Continuing the series of readings for my 2 new books: with Rick, 4/22, 7:00 PM, Spoonbill and Sugartown, 218 Bedford Ave, Williamsburg. (www.spoonbillbooks.com). With Toby 4/24, 7:30 PM, Community Book Store, 143 Seventh Ave, Park Slope. ( www.cbjupiterbooks.com). Both excellent stores. Further details on the venues and the books at www. lourowan.com. Please join us! Thanks, Lou ========================================================================= Date: Wed, 16 Apr 2008 10:16:04 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alison Croggon Subject: Re: THE ONLY WAR THAT MATTERS... In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I link that slogan with Wilde's observation in De Profundis that "the only crime is lack of imagination". Which I reckon is more or less right, because lack of imagination is what makes certain things possible, such as the contemporary bureaucratic evil that promulgates a war. I suppose you could argue about what _kind_ of imagination. All best Alison -- Editor, Masthead: http://www.masthead.net.au Blog: http://theatrenotes.blogspot.com Home page: http://www.alisoncroggon.com ========================================================================= Date: Tue, 15 Apr 2008 19:14:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Ciccariello Subject: Re: Anny Ballardini, Henry Gould & Peter Thompson read in Rhode Island In-Reply-To: <4b65c2d70804151020k7b5d6555gba455fc7340df918@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Wonderful Annie, I will be there on Wednesday at Brown. Looking forward to it! - Peter Ciccariello On Tue, Apr 15, 2008 at 1:20 PM, Anny Ballardini wrote: > Anny Ballardini & Henry Gould read in Rhode Island > Monday, April 21st, 6 pm > Main Library, Roger Williams University > One Old Ferry Rd, Bristol, RI > > Wednesday, April 23rd, 3-5 pm. With Peter S. Thompson > John Hay Library > Brown University > 20 Prospect St, Providence > > Anny Ballardini, Henry Gould and Peter S. Thompson (on Wednesday) will > read > their own poetry, and also read and discuss Ms. Ballardini's translation > (into Italian) of Mr. Gould's long poem, In RI. Ms. Ballardini's visit > to > the U.S. & presentation sponsored by the Creative Writing Program of Roger > Williams University. > > Free. Refreshments. > > > -- > Anny Ballardini > http://annyballardini.blogspot.com/ > http://www.fieralingue.it/modules.php?name=poetshome > http://www.moriapoetry.com/ebooks.html > I Tell You: One must still have chaos in one to give birth to a dancing > star! > ========================================================================= Date: Tue, 15 Apr 2008 18:19:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Baraka, Sanchez, etc MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii & TODAY-THURSDAY: APRIL 15 - 17 "Let Freedom Ring": Art and Democracy in the King Years, 1954-1968 Lannan Symposium & Festival 2008 Amiri Baraka, Sonia Sanchez, Michael Eric Dyson, Thulani Davis, Aldon Nielsen, Jayne Cortez, Haki Madhubuti, Ivanhoe Donaldson, & many others Georgetown University, various locations. Visit the scehedule here: http://lannan.georgetown.edu/symposiumfestival_lfr.htm --------------------------------------------- ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Tue, 15 Apr 2008 17:32:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: - Avant(e)-garde MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Roy, Have you read "Learning From Las Vegas?" Robert Venturi's great inconoclastic Classic. Amazing book. I became less dogmatic in my entire approach to, well, pretty much everything after reading it. As for the avant-garde, it seems to me that we're living post history. In which case, I'll stick to Led Zep, Frank Zapp, and direct my longing gaze towards that vintage Jaguar I spotted in my neighborhood the other day. ----- Original Message ---- From: Roy Exley To: POETICS@LISTSERV.BUFFALO.EDU Sent: Monday, April 14, 2008 6:15:37 PM Subject: Re: - Avant(e)-garde Fluffy, Thanks for that, I'll try and catch up with Marjorie Perloff (maybe she's a closet modernist, trying to justify her ontological position, we shall see). Personally I'm really into modernist architecture, but maybe that's just like being a vintage car enthusiast, or a Beach Boys fan. I look forward to hearing more. Roy Exley. On 13/4/08 6:27 am, "Fluffy Singler" wrote: > Actually, Marjorie Perloff has some really interesting things to say about > this assertion that the avant garde is part of modernism and that modernism > is "over" in her intro to 21st Century Poetics. I don't know that I can do > justice to her argument at this point, as I'm just now reading this work and > haven't fully absorbed it all, so I will merely suggest looking into what > she has to say. > > -----Original Message----- > From: Roy Exley [mailto:royexley@MADASAFISH.COM] > Sent: Friday, April 11, 2008 1:38 PM > Subject: Re: - Avant(e)-garde > > Steve, > > Well, I suppose avant-garde is a modernist concept and now that modernism > Is a part of history, an anachronism as far as contemporary culture is > concerned, then its concepts can no longer apply to what is happening now, > in this post-postmodernist age of rampant pluralism. More later. > > Roy Exley. > ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Tue, 15 Apr 2008 15:26:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: YOUTUBE "Bond Girl" Comes Out for 9/11 "WEEK OF TRUTH" CAMPAIGN [ISO-8859-1] =?ISO-8859-1?Q?=96_?= April 16 to 22 In-Reply-To: <041520081703.6711.4804DFD20002A82900001A3722218683269B0A02D29B9B0EBF98019C050C0E040D@att.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: QUOTED-PRINTABLE an alternate point of view: http://wtc7lies.googlepages.com/ On Tue, 15 Apr 2008 blacksox@ATT.NET wrote: > YOUTUBE "Bond Girl" Comes Out for 9/11 "WEEK OF TRUTH" CAMPAIGN =96 > April 16 to 22nd > > Lana Wood, actress/activist, recently not only came public on 9/11 > truth, but helped produce a very creative youtube video that can > reach many. Spread it widely, let's get it up on the youtube > rankings. And engage more in the Week of Truth (Starts THIS WED.) > www.WeekofTruth.org > > http://www.youtube.com/watch?v=3DzafkleeNvvU > > It's a great video because it starts off in a very "youtube-ey > quirky" play on her roll as Plenty O'Toole in "Diamonds are > Forever," but THEN very quickly delves into the seriousness of the > 9/11 issue, and Lana's impassioned plea for all of us to get > educated on 9/11, and do all we can to launch the first Week of > Truth campaign occurring April 16 to 22nd. > http://www.youtube.com/watch?v=3DzafkleeNvvU > > In the above video she extols everyone to get involved in the "Week > of Truth" April 16 to 22nd, www.WeekofTruth.org and to spread the > word wide, far, and fast. > > > Other news. About 12,000 media were contacted about the week of > truth effort and about Jesse Ventura's recent question of "How can > two planes, bring down THREE buildings?" > > You'll be happy to learn that Professor Steven Jones made an > announcement at the San Diego 9/11 Truth Event about the > coming "Week of Truth" and informed them how to get involved. > > Week of Truth made headline news at the major progressive news blog > OpEdNews, in an article about the UN Official calling for a study > into neocon involvement in 9/11. Headlines there get A LOT of > traffic, and its not just 9/11 choir traffic. See/Comment at: > http://www.opednews.com/articles/opedne_bill_dou_080412_ny_sun_report > s_on_u_.htm > [comments and views can help keep it [and its Week of Truth info, a > headline longer] > > SO, A COUPLE OF REMINDERS/ACTION ITEMS YOU CAN HELP TO SPREAD THE > WORD WITH: > > Steve's doing as much media as he can get, and has put several > thousand dollars on the line to promote the book in various ways. > > > =95 PLEASE EMAIL ALL YOUR CONTACT & SUBSCRIBER LISTS, on this > Wednesday, April 16th, to urge them to buy in before April 22nd, and > to spread the word on the Week of Truth. Tell them about Lana's > great youtube video. http://www.youtube.com/watch?v=3DzafkleeNvvU > =95 IF YOU DON'T HAVE A BANNER FOR "WEEK OF TRUTH" ON YOUR > WEBSITE, you can get one at www.WeekofTruth.org. Many major well > trafficked sites that number in the hundreds of thousands of weekly > visitors collectively now have it up on the top of their HOMEPAGE. > =95 Please continue networking with all you can, and let your > contacts and theirs know that they can call-in to mainstream media > and recommend "The Shell Game" during the Week of Truth National Buy- > In. You can email out the below suggestion sheet w/ the call in > shows: > > USING THE RADIO AIR WAVES FOR 9/11 TRUTH > While gaining air time on major radio talk shows is difficult, if we > as a movement target certain shows we can bring our message to > millions of listeners for FREE! > KEYS TO CALLING IN: > A. Know who you are calling. > Most talk shows are conservative. Do NOT attempt to convert the > host, simply state your message with enthusiasm: > WRITE DOWN AND READ THE MESSAGE: > Sell THE SHELL GAME as a must-read novel that convinced YOU, that > there will be another 911 event soon! > "Hey, Rush, long time listener. There's a book you absolutely must > read, it's called The SHELL GAME by Steve Alten, a NY Times best > selling author. Rush, I read this book in two sittings. It's about > the end of oil and the next 911 event that will launch the war in > Iran, and it scared the hell out of me. It made me realize that the > 911 commission kept things out of the investigation, and frankly=85I'm > mad." > Do NOT get into details on a conservative talk show. Just tell his > listeners to buy the book! > TOP RADIO SHOWS & CONTACT NUMBERS > 1 Rush Limbaugh 1-800-282-2882 Noon - 3pm Eastern time (live radio) > 2 Michael Savage - 800-449-8255, and he is generally on the air M-F > 6-9pm ET. > 3. Glenn Beck 888-727-2325 9 am =96 12 pm > 4 Sean Hannity 800-941-7326 2-5 PM > 5 Laura Ingraham 1-800-449-8255 M-F, 9am - 12pm ET > 6 MANCOW - 1-888-2-mancow Mornings 6-9 AM > 7 George Noory West Coast 800-618-8255, east coast 800-825-5033, 818- > 501-4721, 818-501-4109. late nights 1 am =96 5 am EST. > 8 Neal Boortz 281-558-5738 8:30 a.m. - 1 p.m. > 9 Bill O'Reilly 1-877-9-NO SPIN noon to 2 PM EST > 10 Dr. Laura 1-800-DR-LAURA M-F, 12pm - 3pm PT > 12 Mark Levin 877-381-3811 6-8 PM EST > 13 Bill Bennett (866) 680-6464, 6am-9am EST > 14 Michael Medved 1-800-955-1776 M-F, 3pm -6pm ET > 15 Adam Carolla 866-901-ADAM(2326) M-F 8 am =96 1 PM EST > 17 G. Gordon Liddy 1-800-478-7111 M-F, 10pm - 1am ET > > 18 Art Bell =96 see George Noory, only weekends > 19 Jerry Doyle (800) 876-4123, 4:00 - 5:00 PM > 20 Dr. Joy Browne 800-544-7070 12 PM =96 3 PM > 21 Hugh Hewitt 1-800-520-1234 M-F, 3pm - 6pm ET > 22 Dennis Prager 1-877-243-7776 M-F, 12pm - 3pm ET > 23 Mike Gallagher 800-655-MIKE M-F 9AM =96 Noon ET > > > > > ------------------------------------ > > Yahoo! Groups Links > > <*> To visit your group on the web, go to: > http://groups.yahoo.com/group/aim/ > > <*> Your email settings: > Individual Email | Traditional > > <*> To change settings online go to: > http://groups.yahoo.com/group/aim/join > (Yahoo! ID required) > > <*> To change settings via email: > mailto:aim-digest@yahoogroups.com > mailto:aim-fullfeatured@yahoogroups.com > > <*> To unsubscribe from this group, send an email to: > aim-unsubscribe@yahoogroups.com > > <*> Your use of Yahoo! Groups is subject to: > http://docs.yahoo.com/info/terms/ > ========================================================================= Date: Tue, 15 Apr 2008 22:16:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: Obama is correct about rural PA In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Alan, I grew up in Narrowsburg, New York, about 15 minutes outside of Honesdale. I used to drive through Hazelton all the time; that area was urban to me. -Ryan On Tue, Apr 15, 2008 at 11:51 AM, Alan Sondheim wrote: > Sorry to bother folks here, I'm from Kingston PA which is pretty rural. I > had a friend from Jermyn, ruraler, five kids in her brother's senior class > killed themselves their senior year - at least one for being gay, and he > blew himself away with his father's gun on the 50-yard-line. This was just a > few years ago. Bitter doesn't cover it. Hazelton which has been trying to > pin down Latino immigrants is just down the road from us. When I was in > school there Obama would have been run out of town. Today the area's pretty > defeated in spite of local colleges. It was a hell of a place to grow up. - > Alan > ========================================================================= Date: Wed, 16 Apr 2008 21:21:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dale Smith Subject: Tom Clark In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Tom Clark needs your help. He is stranded with no salary and no medical insurance to cover costs due to a recent stroke. He also needs funds for medications to aid in the recovery of his wife, Angelica Clark, from recent surgery and other related health problems. After 25 years on the faculty of the New College of California's Poetics Program, payment on his salary and his insurance was abruptly stopped when the school came under scrutiny of federal and state auditors last fall. Tom Clark has been an important voice in postwar American poetry since the 1960s. For a decade he was poetry editor for The Paris Review. His many books appeared with Black Sparrow for nearly thirty years, and his biographies of Jack Kerouac, Charles Olson, and Edward Dorn have provided essential perspectives on the lives of these New American authors. Clark is a passionate and devoted teacher who deserves far greater recognition for his services to American poetry communities. He needs help now. There will be a Tom Clark benefit reading in Austin, Texas, on Saturday, April 26, at 7 pm. I am collecting donations as well from those of you outside of Austin who are willing to contribute. Please send what you can immediately to: Tom Clark c/o Dale Smith 2925 Higgins Street Austin, Texas 78722 Go to http://possumego.blogspot.com/ for more information and background on Tom's situation and the closing of the New College Poetics Program in San Francisco. Thanks, Dale -- Dale Smith La Revolution Opossum! http://www.skankypossum.com http://possumego.blogspot.com ========================================================================= Date: Tue, 15 Apr 2008 19:25:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: - Avant(e)-garde MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I really do think we're post history. Consider: The Stones are still touring. Soon, their clones will take center stage. And not long after that, the Stones will perform to a stadium of cheering, rowdy clones. Hell's Angels clones will police the crowd on their choppers. Since modernism went post, and while pluralism runs rampant, why not give our artificial kin some play? ----- Original Message ---- From: Roy Exley To: POETICS@LISTSERV.BUFFALO.EDU Sent: Monday, April 14, 2008 6:15:37 PM Subject: Re: - Avant(e)-garde Fluffy, Thanks for that, I'll try and catch up with Marjorie Perloff (maybe she's a closet modernist, trying to justify her ontological position, we shall see). Personally I'm really into modernist architecture, but maybe that's just like being a vintage car enthusiast, or a Beach Boys fan. I look forward to hearing more. Roy Exley. On 13/4/08 6:27 am, "Fluffy Singler" wrote: > Actually, Marjorie Perloff has some really interesting things to say about > this assertion that the avant garde is part of modernism and that modernism > is "over" in her intro to 21st Century Poetics. I don't know that I can do > justice to her argument at this point, as I'm just now reading this work and > haven't fully absorbed it all, so I will merely suggest looking into what > she has to say. > > -----Original Message----- > From: Roy Exley [mailto:royexley@MADASAFISH.COM] > Sent: Friday, April 11, 2008 1:38 PM > Subject: Re: - Avant(e)-garde > > Steve, > > Well, I suppose avant-garde is a modernist concept and now that modernism > Is a part of history, an anachronism as far as contemporary culture is > concerned, then its concepts can no longer apply to what is happening now, > in this post-postmodernist age of rampant pluralism. More later. > > Roy Exley. > ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Tue, 15 Apr 2008 19:14:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Ford Subject: Re: THE ONLY WAR THAT MATTERS... In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline As for the first of these statements, what they seem to want to say is that the war against the imagination causes the other, physical wars. BUT that is not what they say, and I think you're right to point that out. As for the second, if poetry's the govt, who's the president of poetry? Who's the mayor? Who's on the city council of poetry? Michael Ford On Tue, Apr 15, 2008 at 9:27 AM, CA Conrad wrote: > THE ONLY WAR > THAT MATTERS > IS THE WAR > AGAINST THE > IMAGINATION > : > > Poetry is > The Rival > Government > > " ========================================================================= Date: Wed, 16 Apr 2008 00:41:38 -0400 Reply-To: arippeon@buffalo.edu Sender: UB Poetics discussion group From: Andrew Rippeon Subject: GEORGE OPPEN: A Centenary Conversation. April 23-April 25 at SUNY Buffalo Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="utf-8" MIME-Version: 1.0 *********************************************** GEORGE OPPEN: A CENTENARY CONVERSATION *********************************************** To celebrate the life and work of George Oppen on the occasion of his 100th= birthday, the Poetics Program at SUNY Buffalo will host a three-day event= =20 (Wed. 4/23-Fri. 4/25) involving panel presentations, roundtable discussion,= keynote addresses from invited guests, and commemorative readings both of= =20 Oppen=E2=80=99s work and work inspired by his life and practice. Keynote addresses and poetry readings by Stephen Cope, Rachel Blau DuPlessi= s, Susan Thackrey, and John Wilkinson. Roundtable conversation among SUNY Buffalo faculty members Joseph Conte, My= ung Mi Kim, Steve McCaffery, and Krzysztof Ziarek. For more information, including schedules, locations, and paper titles, see= the following links: http://english.buffalo.edu/oppenConference/ http://www.writing.upenn.edu/epc/authors/oppen/oppen_poster.html We hope you'll join us for this event. ========================================================================= Date: Wed, 16 Apr 2008 08:05:10 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roy Exley Subject: Re: - Avant(e)-garde In-Reply-To: <759586.3994.qm@web52401.mail.re2.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Steve, Thanks for the memory (as that old song goes) and thanks for the pun 'Jaguar... spotted', as for the sounds, I'm more of a Beefheart / Grateful Dead man myself (despite risking the 'Dead-head' label). I'll try and get hold of Venturi's book - he was a renowned postmodernist of course, like Michael Graves, Denise Scott Brown, Hans Hollein, et al - so could be the sort of iconoclasm that I enjoy. Mark C. Taylor's 'Altarity' is a good read also, and I would recommend that to anyone alongside Anthony Vidler's writings. Roy. On 16/4/08 1:32 am, "steve russell" wrote: > Roy, > > Have you read "Learning From Las Vegas?" Robert Venturi's great inconoclastic > Classic. Amazing book. I became less dogmatic in my entire approach to, well, > pretty much everything after reading it. As for the avant-garde, it seems to > me that we're living post history. In which case, I'll stick to Led Zep, Frank > Zapp, and direct my longing gaze towards that vintage Jaguar I spotted in my > neighborhood the other day. > > > ----- Original Message ---- > From: Roy Exley > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Monday, April 14, 2008 6:15:37 PM > Subject: Re: - Avant(e)-garde > > Fluffy, > > Thanks for that, I'll try and catch up with Marjorie Perloff (maybe she's a > closet modernist, trying to justify her ontological position, we shall see). > Personally I'm really into modernist architecture, but maybe that's just > like being a vintage car enthusiast, or a Beach Boys fan. I look forward to > hearing more. > > Roy Exley. > > > On 13/4/08 6:27 am, "Fluffy Singler" wrote: > >> Actually, Marjorie Perloff has some really interesting things to say about >> this assertion that the avant garde is part of modernism and that modernism >> is "over" in her intro to 21st Century Poetics. I don't know that I can do >> justice to her argument at this point, as I'm just now reading this work and >> haven't fully absorbed it all, so I will merely suggest looking into what >> she has to say. >> >> -----Original Message----- >> From: Roy Exley [mailto:royexley@MADASAFISH.COM] >> Sent: Friday, April 11, 2008 1:38 PM >> Subject: Re: - Avant(e)-garde >> >> Steve, >> >> Well, I suppose avant-garde is a modernist concept and now that modernism >> Is a part of history, an anachronism as far as contemporary culture is >> concerned, then its concepts can no longer apply to what is happening now, >> in this post-postmodernist age of rampant pluralism. More later. >> >> Roy Exley. >> > > > > ______________________________________________________________________________ > ______ > Be a better friend, newshound, and > know-it-all with Yahoo! Mobile. Try it now. > http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ > ========================================================================= Date: Wed, 16 Apr 2008 06:50:19 -0400 Reply-To: pmetres@jcu.edu Sender: UB Poetics discussion group From: Philip Metres Subject: The Only War That Matters...A response to CA Conrad MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit CA, in a blog entry Jan 21, 2008, I was thinking about war and the imagination (and the texts from which emerge "the only war that matters is the war against imagination": I've been thinking about the imagination lately. Apparently, the C.I.A./M.I. guys told the yokel M.P.s at Abu Ghraib to "use your imagination." That terrifies me, to think that the imagination can be harnessed as a force for absolute evil. In this poem, "Rant," DiPrima evokes William Blake's notion that all war is a failure of the imagination. Is imagination a "daimon," a power without necessarily being good or bad? Or is the imagination always a creative force, the opposite of war's decreations?... In essence, C.A., it seems to me that there is a kind of productive reductivism to DiPrima's (and Blake's) quote here--which is to say, that wars come out of imagination's failure. Yet I wanted also to suggest here that human imagination is not free from its own violences... 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 http://www.behindthelinespoetry.blogspot.com ========================================================================= Date: Wed, 16 Apr 2008 10:22:37 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jesse Glass Subject: On the So-Called Epigramititis MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Perhaps it's true that we live in a time when rudeness rules, but this book, which the author loudly proclaims to be a modern Dunciad, lacks the three necessary ingredients that make satire effective: wit, insight, and craft. The problem begins with the form that Johnson chooses for his sallies: the epigram. Johnson is clearly beyond his depth here and the limits of his command of the English language, including vocabulary and the rudiments of grammar are immediately apparent. To write a successful epigram is to craft a verbal artifact that exhibits crisp intelligence in the handling of language, and carries a "sting." Rhyme, and in particular the rhyming couplet is the poet's form of choice for this. Satirical, free-verse, epigrams are difficult to pull off for the best of writers, and we're clearly not in that territory here. Johnson's "epigrams" are wordy, amorphous in form (a definite no-no!) groping in diction and sometimes even lose their way before they end, leaving us to wonder what exactly was the point besides an obvious attempt to bait, belittle, or strike a posture. Yes, he waxes warm and cozy when he addresses some of his subjects--primarily experimental poets that figured prominently on the Buffalo Poetics List c. 1999--2000, but for others he withholds the puffs and brings out his brickbats of choice. Distressingly, many of his subjects for "satire" are women and minorities, and with them Johnson "transcends" the limits of his craft in two ways: a liberal use of scatological language, and direct unadulterated rudeness--and even, in one case a threat of physical violence. He attacks many well-respected writers in this manner. However, showing far more cleverness in the pagination of this tome than in the writing of it, Johnson buries such specimens of pathology in the last quarter of the total pages. What puzzles me is that this book does appear to have its fans, but then again so does pit bull and cock fighting. I also believe that anyone who tries to turn a buck selling stuff that hurts feelings in the baldest and stupidest manner and makes no apologies for it is just as deserving of contempt as the writer. ========================================================================= Date: Wed, 16 Apr 2008 11:21:23 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: Anny Ballardini, Henry Gould & Peter Thompson read in Rhode Island In-Reply-To: <8f3fdbad0804151614r2bcbc453wb7544a877146b43d@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Thank you Peter, and I am looking forward to meeting you! Anny On Wed, Apr 16, 2008 at 1:14 AM, Peter Ciccariello wrote: > Wonderful Annie, I will be there on Wednesday at Brown. Looking forward to > it! > > - Peter Ciccariello > > > > On Tue, Apr 15, 2008 at 1:20 PM, Anny Ballardini < > anny.ballardini@gmail.com> > wrote: > > > Anny Ballardini & Henry Gould read in Rhode Island > > Monday, April 21st, 6 pm > > Main Library, Roger Williams University > > One Old Ferry Rd, Bristol, RI > > > > Wednesday, April 23rd, 3-5 pm. With Peter S. Thompson > > John Hay Library > > Brown University > > 20 Prospect St, Providence > > > > Anny Ballardini, Henry Gould and Peter S. Thompson (on Wednesday) will > > read > > their own poetry, and also read and discuss Ms. Ballardini's translation > > (into Italian) of Mr. Gould's long poem, In RI. Ms. Ballardini's visit > > to > > the U.S. & presentation sponsored by the Creative Writing Program of > Roger > > Williams University. > > > > Free. Refreshments. > > > > > > -- > > Anny Ballardini > > http://annyballardini.blogspot.com/ > > http://www.fieralingue.it/modules.php?name=poetshome > > http://www.moriapoetry.com/ebooks.html > > I Tell You: One must still have chaos in one to give birth to a dancing > > star! > > > -- Anny Ballardini http://annyballardini.blogspot.com/ http://www.fieralingue.it/modules.php?name=poetshome http://www.moriapoetry.com/ebooks.html I Tell You: One must still have chaos in one to give birth to a dancing star! ========================================================================= Date: Wed, 16 Apr 2008 09:20:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Obama is correct about rural PA Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Maureen Dowd, who writes a column for the Times, has a pathological hatred for Hillary Clinton. Nonetheless, today's column is instructive about Obama. http://www.nytimes.com/2008/04/16/opinion/16dowd.html?_r=1&hp&oref=slogin. Mark ========================================================================= Date: Wed, 16 Apr 2008 07:51:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: National Poetry Month Celebration in Quotes ... MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable Admittedly,not all of the quotes below are by poets per se, but I made an e= ffortto gather unusual-and-quirky-but-related quotes on poetry (w some that= went off-track) in celebration of National Poetry Month on my blogyesterday= (http://amyking.wordpress.com/2008/04/15/when-lightning-bolts-from-my-ches= t/)--- I wanted to get beyond the "Poetry is the rearrangement of beauty ..= ." abstractions (hey, I just made that one up and I like it!), andI'd be gr= ateful for more odd/bizarre/revealing quotes to be added to mycollection. = =0A=0A=0A=0A=0A=0A=93God has a brown voice, as soft and full as beer.=94 = =97Anne Sexton=0A=0A =0A =0A=93Asfor poetry =91belonging=92 in the classroo= m, it=92s like the way they taughtus sex in those old hygiene classes: not = performance but semiotics. Ifit I had taken Hygiene 71 seriously, I would h= ave become a monk; &if I had taken college English seriously, I would have = become anaccountant.=94 =97Jerome Rothenberg=0A=0A =0AOnClouds =96 =93=85wh= at primitive tastes the ancients must have had if theirpoets were inspired = by those absurd, untidy clumps of mist, idioticallyjostling one another abo= ut=85=94 =97Yevgeny Zamyatin=0A=0A=0A=93Poetry is the synthesis of hyacinth= s and biscuits.=94 =97Carl Sandburg=0A=0A=0A"For each letter received from = a creditor, write fifty lines on an extraterrestrial subject and you will b= e saved." =97Charles Baudelaire=0A=0A=0A=93Ihave been in Sorrow=92s kitc= hen and licked out all the pots. Then I havestood on the peaky mountain wra= pped in rainbows, with a harp and asword in my hands.=94 =97Zora Neale Hurs= ton=0A=0A=0A=93The purpose of art, including literature, is not to reflect = life but to organize it, to build it.=94 =97Yevgeny Zamyatin (The Goal, ca= . 1926)=0A=0A=0A =0A=93One can smell it turning to gas; if one were Baudela= ire one could probably hear it turning to marimba music.=94 =97Elizabeth = Bishop=0A=0A=0A =0A=93Ifthe poet wants to be a poet, the poet must force th= e poet to revise. Ifthe poet doesn=92t wish to revise, let the poet abandon= poetry and takeup stamp-collecting or real estate.=94 =97Donald Hall=0A=0A= =0A =0A=93Nothing that God ever made is the same thing to more than one per= son. That is natural.=94 =97Zora Neale Hurston=0A=0A=0A =0A=93I took a dee= p breath and listened to the old bray of my heart. I am. I am. I am.=94 = =97Sylvia Plath=0A=0A=0A =0A"Inscience one tries to tell people, in such a = way as to be understood byeveryone, something that no one ever knew before.= But in poetry, it=92sthe exact opposite." =97Paul Dirac=0A=0A=0A =0A=93Hea= ven is not like flying or swimming, but has something to do with blackness = and a strong glare.=94 =97Elizabeth Bishop=0A=0A=0A =0A=93Poetryis a rich,= full-bodied whistle, cracked ice crunching in pails, thenight that numbs t= he leaf, the duel of two nightingales, the sweet peathat has run wild, Crea= tion=92s tears in shoulder blades.=94 =97Boris Pasternak=0A=0A =0A =0A=93It= doesn=92t matter who my father was; it matters who I remember he was.=94 = =97Anne Sexton=0A=0A =0A =0A=93Wanted: a needle swift enough to sew this po= em into a blanket.=94 =97Charles Simic=0A=0A=0A =0A=93Thecomposition is th= e thing seen by everyone living in the living they aredoing, they are the c= omposing of the composition that at the time theyare living is the composit= ion of the time in which they are living.=94 =97Gertrude Stein=0A=0A=0A =0A= =93Apparently,the most difficult feat for a Cambridge male is to accept a w= oman notmerely as feeling, not merely as thinking, but as managing a comple= x,vital interweaving of both.=94 =97Sylvia Plath=0A=0A=0A =0A=93Thereis no = single face in nature, because every eye that looks upon it, seesit from it= s own angle. So every man=92s spice-box seasons his own food.=94 =97Zora Ne= ale Hurston=0A=0A=0A =0A=93Sheeven had a kind of special position among men= : she was an exception,she fitted none of the categories they commonly used= when talking aboutgirls; she wasn=92t a cock-teaser, a cold fish, an easy = lay or a snarkybitch; she was an honorary person. She had grown to share th= eircontempt for most women.=94 =97Margaret Atwood=0A=0A=0A =0A=93Languageis= a cracked kettle on which we beat out tunes for bears to dance to,while al= l the time we long to move the stars to pity.=94 =97Gustave Flaubert=0A=0A= =0A =0A=93Poetryis not an expression of the party line. It=92s that time of= night, lyingin bed, thinking what you really think, making the private wor= ldpublic, that=92s what the poet does.=94 =97Allen Ginsberg=0A=0A=0A =0A= =93Idid not believe political directives could be successfully applied tocr= eative writing . . . not to poetry or fiction, which to be valid hadto expr= ess as truthfully as possible the individual emotions andreactions of the w= riter.=94 =97Langston Hughes=0A=0A=0A =0A=93A diary means yes indeed.=94 = =97Gertrude Stein=0A=0A=0A =0A=93Ithink one of poetry=92s functions is not = to give us what we want=85 [T]hepoet isn=92t always of use to the tribe. Th= e tribe thrives on theconsensual. The tribe is pulling together to face the= intruder whothreatens it. Meanwhile, the poet is sitting by himself in the= graveyard talking to a skull.=94 =97Heather McHugh=0A=0A=0A =0A=93Poetryis = the journal of the sea animal living on land, wanting to fly in theair. Poe= try is a search for syllables to shoot at the barriers of theunknown and th= e unknowable. Poetry is a phantom script telling howrainbows are made and w= hy they go away.=94 =97Carl Sandburg=0A=0A=0A =0A=93When,however, one read= s of a witch being ducked, of a woman possessed bydevils, of a wise woman s= elling herbs, or even a very remarkable manwho had a mother, then I think w= e are on the track of a lost novelist,a suppressed poet. . . indeed, I woul= d venture to guess that Anon, whowrote so many poems without signing them, = was often a woman.=94 =97Virginia Woolf=0A=0A=0A =0A=93Thiscop told me, fur= thermore, that it had been difficult for him to followme because I had sign= aled too soon. I told him that, because I didn=92tknow there was anyone els= e in the world, any signaling was an act offaith.=94 =97Kathy Acker=0A=0A= =0A =0A"Evenin the centuries which appear to us to be the most monstrous an= dfoolish, the immortal appetite for beauty has always foundsatisfaction." = =97Charles Baudelaire=0A=0A=0A =0A=93I am ashamed of my century, but I have= to smile=94 =97Frank O=92Hara=0A =0A_______=0A=0A=0A=0Ahttp://www.amyking= .org =0A=0A=0A=0A=0A=0A=0A ___________________________________________= _________________________________________=0ABe a better friend, newshound, = and =0Aknow-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.co= m/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Wed, 16 Apr 2008 09:45:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Full-Time Education Director MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; format=flowed; charset=UTF-8 Just Buffalo Education Director Just Buffalo Literary Center seeks an energetic full-time Education Directo= r to manage and develop educational initiatives for the organization. This= person must be highly organized, team-oriented, and able to work well with= a wide variety of people including staff, teaching artists, school personn= el, collaborative partners, and community members. =E2=80=A8=E2=80=A8About= Just Buffalo =E2=80=A8 Just Buffalo Literary Center is a full service community-based cultural org= anization in Buffalo, NY. Founded in 1975, the organization offers a wide = range of programs including Writers in Education; The Babel series of readi= ngs by international authors; civic reading initiatives such as The Big Rea= d and If All Of Buffalo Read the Same Book; student publications such as Wo= rdplay; and interdisciplinary performances. With collaborators from CEPA G= allery and Big Orbit Gallery, Just Buffalo is pioneering a first-of-its kin= d administrative collaboration. For more information go to www.justbuffalo.= org.=C2=A0 Responsibilities: 1. Day-to-day management and oversight of all Just Buffalo Education Progra= ms, including: A. Empire State Partnership Project, a multi-year school partnership projec= t, currently with Olmsted =2364 and =2356 in Buffalo.=E2=80=A8=E2=80=A8B. W= riter In Residence Program, 20+ annual writer residencies in local schools.= =E2=80=A8=E2=80=A8C. Writing With Light, a joint Just Buffalo/CEPA Educatio= n Program that focuses on writing and photography. We will soon be develop= ing a Writing with Light Learning Center that the Education Director will b= e instrumental in helping to establish.=E2=80=A8=E2=80=A8D. A Picture=E2= =80=99s Worth/A Thousand Words, a joint project with the Albright-Knox Art = Gallery that focuses on writing and visual art.=E2=80=A8=E2=80=A8E. Wordpla= y, an annual publication of student writing from Just Buffalo=E2=80=99s Edu= cation Programs. 2. Coordination of education-based programs and events, including: A. Spotlight on Youth Coffee House Series, a bi-monthly open mic series for= kids 12-21.=E2=80=A8=E2=80=A8B. Buffalo/Williamsville Poetry Music and Dan= ce Celebration, an annual event featuring student composers, poets, and dan= cers performing with a major American poet.=E2=80=A8=E2=80=A8C. The Big Rea= d, an annual civic reading initiative developed by the NEA. =E2=80=A83. Oversight of all independently contracted teaching artists invo= lved in Just Buffalo Education programs. 4. Expansion of the education program into additional schools in Western Ne= w York. 5. Participation in grant-mandated activities including 5-day Summer Semina= r, Strategic Foundation Building Retreat, and Regional Learning and Leaders= hip Network. 6. With Artistic Director and Executive Director, development of educationa= l program and initiatives to augment literary programs. 7. Development of department plans and budgets that align with organization= strategic priories. 8. Assessment and evaluation of program effectiveness. 9. Development of workshops as appropriate (for students, teachers, communi= ty). 10. Representation of Just Buffalo at community programs, events, functions= =2E 11. Participation in the Coalition of Arts Providers for Children (CAPC). Requirements 1. Bachelor=E2=80=99s degree required; Masters degree in Education, English= , or related field preferred (or comparable job-related experience in an ar= ts non-profit setting). 2. Superior organizational, communication, and management skills. 3. Excellent interpersonal skills and team-based orientation. Starting Salary Range =2428,000 - =2432,000. Generous benefits including 7= 5% cost of individual health insurance policy covered; paid personal, sick = and vacation time off, plus two additional holiday weeks at Christmas/New Y= ears and the 4th of July; employer-sponsored retirement plan after 6 months= =2E Please send cover letter and resume by May 7, 2008 to: Just Buffalo Literar= y Center, 617 Main St. =23202A, Buffalo, NY 14203, or by email to: HYPERLI= NK =22mailto:submissions=40justbuffalo.org=22 submissions=40justbuffalo.org= =2E ========================================================================= Date: Wed, 16 Apr 2008 16:21:27 +0200 Reply-To: argotist@fsmail.net Sender: UB Poetics discussion group From: Jeffrey Side Subject: New Marjorie Perloff interview at The Argotist Online Comments: To: British Poetics , Poetryetc MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Here is an interview that I did with Marjorie Perloff for Poetry Salburg Re= view in 2006. I have been given permission by its editor, Wolfgang G=C3=B6r= tschacher, to reproduce it here: http://www.argotistonline.co.uk/Perloff%20interview%202.htm ========================================================================= Date: Wed, 16 Apr 2008 14:34:03 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: SEGUE 4/19: LEPSON, CRUMP, and MACHLIN MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable =09 The Segue Reading Series Presents Ruth Lepson, Walter Crump, and Dan Machlin Saturday, April 19, 2008 ** 4PM SHARP** at the Bowery Poetry Club (308 Bowery, just north of Houston) $6 admission goes to support the readers hosted by Tim Peterson Poet Ruth Lepson and photographer Walter Crump are the authors of the colla= borative book Morphology (Blazevox Books). Ruth Lepson is also the editor o= f Poetry from Sojourner: A Feminist Anthology and the author of Dreaming in= Color. Walter Crump's photography is included in numerous private and public collections including: Philadelphia Museum of Art, National Museum of America Art (Smithsonian), and the National Museum of Fine Art, Hanoi. His website is www.waltercrump.com.=20 Regarding Morphology, Tina Darragh says:=20 "'Awake' is now 'Aquake,' and we are more sensible souls for the 'light tab= lets' this collaboration tones us." and Charles Alexander says:=20 "This book is magic. I want to read it a thousand times." From "Morphology" * "Can anyone think of a Realist writer? I ask. A guy In the back of the room Raises his hand. "Simmonds Hoote," he says. * =20 * Robert Creeley's new poems are black and white maps of America clear as new Mexico. The clouds are verti- cal curliques chalked through Nebraska and Kan- sas. The Midwest map strikes me-- its neck, the North- east, has been severed. Later I notice the absence of words, the silence. * =20 Dan Machlin's first full-length collection of poems Dear Body: was publishe= d by Ugly Duckling Presse in Fall 2007. He is also the author of several pr= evious chapbooks: 6x7, This Side Facing You, In Re; and an audio-CD collabo= ration with Singer/Cellist Serena Jost, Above Islands. He is the founding e= ditor of Futurepoem books.From "Dear Body" Meanwhile you were hiding underneath the table. At one time, they too could= =20 assemble you out of grass =96 an abandoned rug and decaying vegetables. We prayed to your effigy like to a beautiful library book you wanted to ste= al =96=20 the perfect never-noticed crime. Many years later indexing doubts about your presence you uncover lost plans= =20 for some extreme city. Or you as your own forbidden lover who meets yourself Late at night in a forgotten deco motel. A brief conversation about ephemera (each word drenched with sexual potenti= al). You know, I've never believed in your hope. So somehow the limbs attached t= o=20 a trunk of meat and toes a face lips that say a nose balding teeth barely = =96 O how this house whispers beneath the dinner table! =09 =09 =09 =09 =09 =09 =09 =09 = ========================================================================= Date: Wed, 16 Apr 2008 11:55:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barbara Jane Reyes Subject: Achiote Press Release Party and Reading Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="UTF-8" Achiote Press will celebrate the release of our Spring issues with a part= y on Friday, April 25th at the Ethnic Studies Library on the UC Berkeley campus. The event will feature special readings by former Achiote contributors Barbara Jane Reyes (Poeta en San Francisco) Truong Tran (Within The Margin), and Oscar Bermeo (Anywhere Avenue). Maria Tuttle will read from her new Achiote chapbook, Saram=C3=A9. This chapbook contains an excerpt from Tuttle's historical novel about the life of a Chicana in El Paso, Texas during the early 20th century. Gabriela Erandi Rico will read from her contributions to the new Achiote Seeds chapjournal. Javier Huerta, author of Some Clarifications y otras poemas, will perform selections from the other contributors to the journal: Cristina Garc=C3=ADa, Emmy P=C3=A9rez and Brenda C=C3=A1rde= nas. Poet Oscar Bermeo will emcee the night. We'll have food, drinks and music. The event is free, open to the public and we welcome families and children. When: Friday, April 25th: 6pm--8pm Where: Ethnic Studies Library, Stephens Hall, UC Berkeley Campus (see a campus map here: http://www.berkeley.edu/map/) Sponsored by the Ethnic Studies Graduate Group, Asian American Studies Program, and Chicano Studies Program. -- http://barbarajanereyes.com http://bjanepr.wordpress.com ========================================================================= Date: Wed, 16 Apr 2008 11:11:32 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Organization: proximate.org Subject: New books + talk Apr 22 @ Duke (apologies if duplicates) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit (Apologies for cross-posting & duplicates. Please tell me if you get this twice, or ten times, for that matter.) Hey there, I wish to share some good news with you if I haven't shared it with you already. In the last week or so two new books of mine have been released, one poetry, the other a research text. I'm also giving a talk at Duke on April 22nd about issues relating my new book (of poetry) to the rise of the internet. It's a noontime talk and yes there is such a thing as a free lunch because they'll be serving one. (If you wish to come just email me and I'll try to arrange for you to get a parking pass.) Books: Be Somebody, by Lester (Lester is my puppet) http://www.effingpress.com/lester.htm Text Mining for Genomics-based Drug Discovery (by me, I think) http://tinyurl.com/4ljyvk Talk: "We Generate Our Self", April 22, 2008, 12:00-1:15 PM John Hope Franklin Center, 240, Duke University http://isis.duke.edu/events/techtuesdays.html#apr22_2008 (map/directions: http://tinyurl.com/47kjgu) I'll have copies of my, er, Lester's new book available at the talk. Patrick http://patrickherron.com ========================================================================= Date: Wed, 16 Apr 2008 11:23:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: Re: Obama is correct about rural PA MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline and it's important to read not just the two sentences being circulated here and elsewhere, but the WHOLE statement, which can be found in a few places: < http://www.huffingtonpost.com/mayhill-fowler/obama-no-surprise-that-ha_b_96188.html > in context, it's clear that obama is speaking to a crowd of supporters and offering them ways to think and talk against the prevailing narrative of class politics as it has been successfully constructed in this country for decades, one that shifts the focus elsewhere. his point is that 30 years of neolib social policy has given the working class little in government to feel enthusiastic about. furthermore, the washington political consensus has been to ignore class issues, or rather divert attention away from them by promoting wedge issues like gun control, immigration, abortion, family values and the like in their place. that's obama's argument, as the FULL context makes clear: a challenge to wedge issue politics in which the working class has no economic issues or policies to vote on. bests, tom orange > ------------------------------ > > Date: Tue, 15 Apr 2008 10:28:41 -0400 > From: Ryan Daley > Subject: Re: Obama is correct about rural PA > > I don't read this as a dismissal at all. I read this as a failed appeal > based on the idea that, "hey, I'm like you." Bush gets away with this all > the time. This is the design behind "my fellow Americans." The fact that > Obama didn't (or doesn't) says to me that his eloquence and ability to > speak > make him "elistist" and "snobby." > > Because we can't have a president who speak good. No way. > > Bring on those C students. > > And this is why I posted the article from CBN, because the writer latches > on > to "clings to," which seems the most unfortunate choice of a word if there > ever were one. But this whole "scandal" is slow-news-week-itis. It's "wag > the dog." It shows just how susceptible a lot of people are to the media, > which is like a hangover: ignore it and it's still there. > > On Tue, Apr 15, 2008 at 10:20 AM, Ryan Daley wrote: > > > Mark, > > > > I already posted the quote. Is your quote different from mine? > > > > How much clearer must we be? > > > > > > On Tue, Apr 15, 2008 at 8:57 AM, Mark Weiss > > wrote: > > > > > Let me be real clear. Obama as a candidate lives by the word. His > > > ability to read an eloquent prepared speech and to participate in the > > > writing of it is a major reason he's been so successful. When he > screws up > > > it has consequences, because he seems to be so careful with words. > > > > > > Here's what he said: "You go into these small towns in Pennsylvania > and, > > > like a lot of small towns in the Midwest, the jobs have been gone now > for 25 > > > years and nothing's replaced them. And it's not surprising then they > get > > > bitter, they cling to guns or religion or antipathy to people who > aren't > > > like them or anti-immigrant sentiment or anti-trade sentiment as a way > to > > > explain their frustrations." How is it possible to read this as other > than a > > > discounting, not of "their" suffering, but of their opinions and > beliefs? > > > How is this not a cartoon? It's that presumed attitude that's been > > > criticized, and it appears apparently as of a piece with a frequent > > > dismissiveness, as if he finds the entire process of getting elected > simply > > > too silly for words. > > > > > > But suppose it's just a slip, or he's really not that good on his > feet, > > > etc. How many of these things do you think he could get away with in > the > > > general election? > > > > > > It should be obvious that I suspect, or maybe more accurately fear, > that > > > Obama's an empty suit. The frequent invocation of Kennedy, who was an > empty > > > suit for the most part, isn't reassuring. > > > > > > I'd love to be proven wrong. > > > > > > Hey, maybe he'll even honor his pledge to limit himself to public > > > financing. That could establish a standard that would really change > American > > > politics. > > > > > > If he's elected, and he probably will be, he's going to be up against > so > > > many intractable, urgent problems that even an FDR would probably > fail. > > > > > > But Obama's very smart, and he'll probably learn. > > > > > > Anyway, my opinion doesn't matter. I already got to vote. > > > > > > Mark > > > > > > > > > > > > At 12:02 AM 4/15/2008, you wrote: > > > > > > > Yes, do read the statement -- as poorly worried as it was, Obama was > > > > clearly > > > > not saying that people adopt faith because of their bitterness over > > > > the economy > > > > or, as more than one talking head as put it today, that they have > guns > > > > and go > > > > hunting because of that bitterness -- he was saying fairly plainly, > > > > though not > > > > in a politic way, that this presumed bitterness leads to their > > > > clinging to > > > > these issues as election motivations -- and, as I remarked > yesterday, > > > > that's > > > > pretty much been the Republican campaign strategy reaching back to > > > > Nixon's > > > > Southern strategy -- > > > > > > > > On Mon, Apr 14, 2008 07:07 PM, Mark Weiss > > > > wrote: > > > > > > > > > Read the statement. He said that small town folks "cling to > religion > > > > >and guns" out of bitterness. I happen to think that belief in an > > > > >afterlife is a product of desperation, and Obama apparently agrees, > > > > >at least when it comes to poor white folks. But I'd be pretty > careful > > > > >where I said that, if only out of politeness. As a politician, I'd > > > > >have to be an idiot to say it. Same goes for guns. most gun > violence > > > > >happens in big cities. I think guns should be much more strictly > > > > >regulated, even that hunting rifles should be locked up at the > police > > > > >station and only reclaimed when a hunting trip's planned, because > the > > > > >cities need that kind of rule. But it's not hard to understand why > > > > >rural folks would object. > > > > > > > > > >Mark > > > > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > >>>>>>>>>>>>>> > > > > > > > > > >"Study the fine art of coming apart." > > > > > > > > > >--Jerry W. Ward, Jr. > > > > > > > > > >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: Wed, 16 Apr 2008 10:25:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Re: The Only War That Matters...A response to CA Conrad & Philip Metres MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear CA and Philip-- During Mai '68 in Paris a famous slogan graffitied on the walls was "l'imagination au pouvoir." ("Imagination in power"--that is, imagination as the driving--and guiding-- force of society.) A different idea of the imagination was involved than that of Naropa's to be sure One might say that a play on the "power of imagination" is the "imagination of power." When Heinrich von Kleist presented an MS for Goethe to read, the great Goethe threw the young writer's work into the fire, condemning it. That is one form of poetic imagination judging another and destroying it for the purposes of the "good." (Not in terms of the aesthetic "good," but as a "dangerous" work in terms of the imagination.) Perhaps the Naropa ad has somewhere in the background the saying of Shelley that "poets are the unacknowledged legislators of the world." Of course the imagination can be used for evil, just as it can for good. As Foucault writes of Power at the end of the first section of Discipline and Punish--for al the terrible things that power constructs in its ruthless drive to control, it also creates, and in this way I think is productive of the very things which can, with imagination be used against control. (Burroughs' concept of writing is to undo the Control of language, a word virus brought from elsewhere.) The imagination confounds efforts to separate needs from desires. The imagination creates a myriad plays on the cop and the criminal, including the criminal cop. That is to say, for every imagination of a way to control persons, there will always be ways of imagining how to subvert that control. Is it any surprise then that a great many writers have not also been criminals? Or that a criminal (Vidocq) also created the modern police force? (The French Surete.) Vidocq is the originator of the phrase, "it takes a thief to catch a thief," and the inspiration for the character of the arch criminal Vautrin in Balzac's work. And also himself wrote novels of "detection". As did Pinkerton in the USA, who created the privatized version of a detective-police force later used to put down labor strikes. Dashiell Hammett began his career working for Pinkerton, including during the vicious putting down of a labor strike, the source of much of his first novel, Red Harvest. The imagination on display at Abu Ghraib was "paltry" and "tawdry" compared to that of such other prisons as Guantanamo or Gaza, let alone the myriad secret ones throughout the world of which many will never be known to anyone, nor what happened in them and to whom. War is not a failure of the imagination. The failure of the imagination in that sense would be peace. There is not enough imagining of Peace. And to make sure of that, the messengers of peace are often assassinated, tortured, imprisoned, silenced. There is far more profit in war--hence the fulfillment of Orwell's endless war in 1984 in the "War on Terror"--a War without End--as Sen. McCain says, --a hundred years--or more--in Iraq--may not be long enough. For God's sake, after all, it's a regular cash cow for Haliburton and Blackwater and others, so why stop milking it?! In the Elizabethan playwrights/poets one finds "dramatically" presented the struggle among conflicting forces of imagination-especially in the works of Marlowe, an atheist. In the struggle involving the imagination is the confrontation with evil--as in Shakespeare's Richard the Third, in Lautreamont's Maldoror, Baudelaire's Flowers of Evil, Moby Dick, Bolano's Distant Star and thousands of other works through (human) time and across (global) space. The ancient myths, epics, poetries are filled with the confrontations with monsters, in which the imagination of good confronts in a violent conflict the imagination of evil. The "Age of Reason" produced among other things the Terror, the State Terrorism of the French Revolution." "Purity and Terror" are the Twin Towers of the Revolutionary State for Robespierre. The birth of the Secret Police, the machinations of Homeland Security. This form of Terror gave birth less than a century later to Terrorism in Russia against the Czar, and the Bloody Week of the French Commune, in which in one week more people were killed than in the whole time of the Terror. And the people killed were branded as monsters who ignited fires and toppled such sacred things as the Vendome Column. The frightening figures of the "petroleuse" and the enraged "scum" (among them the painter Courbet as a Minister of Arts, Education, and Verlaine in a minor role). In Marx's work on the Commune one finds the first defense of the "terrorist" faced with State Terror, in which the Communards are victims not only of mass murder, but of a media portrayal which still exists today and has been seen as so effective as to be used to blanket all manner of uprisings ever since. These are the Monsters of the Dream of Reason that Goya is painting during Blake's time. "The Disasters of War" (which ends with "Peace and Toil")--culminating in the unfinished Proverbs and other works in between---show in a new way the imagination of the artist confronting the imagination of evil as an aspect of Reason itself, a prophecy of the last two hundred years, up to today's "Democracy and Freedom" confronting "Evil" by using the imaginative forces of Technological Reason to out bomb, out torture, out Shock and Awe what it sees as the forces of Unreason, the Irrational, Evil and "Terrorism," the child of State Terror. The power of the imagination one might say is to be able to examine things as they are and to conceive of an alternative. What the alternative is, whom it benefits and/or enlightens--these things are the choices and/or conformities of persons, as well as the things that some persons impose on others. (In a George Jones song, the singer observes "little children drawing pictures" and wonders "which one of them might become a killer's hand?") The Hope that exists in imagination is that in it is the drive to rebel against the strictures placed upon it, whether for "good," or for "evil." It can be Prometheus, it can be Satan. So Goethe, in his role as an unacknowledged legislator, tossed Kleist's MS into the fire. Yet not even such a great legislator as Goethe could prevent the imagination of von Kleist, a writer who went on writing until he chose his own end for himself and his writing in a double suicide with a woman he hardly knew. (And in that way surpassed as it were, the Sorrows of Young Werther?) Without the power of imagination harnessing the power of electricity, would any one be writing here along with others? And without the power of imagination, would it be possible not also be having any such exchange at any given time by almost anyone being under surveillance? The Naropa Institute, like any good Institute, is simply offering their own legislated brand of the imagination. In this they aren't any different from any other Institute offering instruction in the uses of the imagination. There are Institutes with sections for Poetics and Creative Writing, just as there are Institutes such as the now renamed School of the Americas--its new name is the Western Hemisphere Institute for Security Cooperation--in which instruction was and is is given in the arts of torture, counter-insurgency, and the like to generations of Central and South American "allies." Many such Institutes exist quite profitably throughout the "Free World" as well as those "training camps" for insurgents scattered about the globe. And that's why reading the Naropa Institute's ad immediately to one's own imagination come the lines from the song "Hey, Joe"--"ain't no hangmen gonna put a noose around me." It is not that it is Naropa's specifically, but the sense that one has as with any such "campaign" that the imagination is encouraged--as long as it stays within certain bounds, which are "good for one." (One wonders what bounds the imagination is to be kept within at the Western Institute for Security Cooperation ?) For better or worse, some part of the imagination in someone somewhere is going to say--"I refuse. There's got to be more to this . . . " and start asking questions . . . (For--perhaps there is more than one is being allowed to know--) Like Smokey Robinson and the Miracles--"It's just my imagination/runnin away with me . . . " On Wed, Apr 16, 2008 at 3:50 AM, Philip Metres wrote: > CA, > > in a blog entry Jan 21, 2008, I was thinking about war and the imagination > (and the texts from which emerge "the only war that matters is the war > against imagination": > > I've been thinking about the imagination lately. Apparently, the > C.I.A./M.I. guys told the yokel M.P.s at Abu Ghraib to "use your > imagination." That terrifies me, to think that the imagination can be > harnessed as a force for absolute evil. In this poem, "Rant," DiPrima evokes > William Blake's notion that all war is a failure of the imagination. Is > imagination a "daimon," a power without necessarily being good or bad? Or is > the imagination always a creative force, the opposite of war's > decreations?... > > In essence, C.A., it seems to me that there is a kind of productive > reductivism to DiPrima's (and Blake's) quote here--which is to say, that > wars come out of imagination's failure. Yet I wanted also to suggest here > that human imagination is not free from its own violences... > > > 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 > http://www.behindthelinespoetry.blogspot.com > ========================================================================= Date: Wed, 16 Apr 2008 13:09:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Tobin Subject: Re: THE ONLY WAR THAT MATTERS... In-Reply-To: <1b74eae70804151714n7df12ad5x3867ba7bb86f059@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I believe this line comes from an old Diane Di Prima poem (isn't she on this list somewhere?), and the next line says that "all other wars are subsumed in it." It's a pretty bold claim, but it is true that the people who appointed Dana Gioia to head the NEA are the same people who orchestrated the invasion of Iraq. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Michael Ford Sent: Tuesday, April 15, 2008 8:14 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: THE ONLY WAR THAT MATTERS... As for the first of these statements, what they seem to want to say is that the war against the imagination causes the other, physical wars. BUT that is not what they say, and I think you're right to point that out. As for the second, if poetry's the govt, who's the president of poetry? Who's the mayor? Who's on the city council of poetry? Michael Ford On Tue, Apr 15, 2008 at 9:27 AM, CA Conrad wrote: > THE ONLY WAR > THAT MATTERS > IS THE WAR > AGAINST THE > IMAGINATION > : > > Poetry is > The Rival > Government > >" ========================================================================= Date: Wed, 16 Apr 2008 14:30:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Machlin Subject: Segue April 19: Ruth Lepson, Walter Crump, and Dan Machlin Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed > > From: "Tim Peterson" > Date: April 16, 2008 1:12:28 AM EDT > Subject: Segue April 19: Ruth Lepson, Walter Crump, and Dan Machlin > > The Segue Reading Series Presents > > Ruth Lepson, Walter Crump, and Dan Machlin > Saturday, April19, 2008 ** 4PM SHARP** > at the Bowery Poetry Club (308 Bowery, just north of Houston) > $6 admission goes to support the readers > > hosted by Tim Peterson > > Poet Ruth Lepson and photographer Walter Crump are the authors of =20 > the collaborative book Morphology (Blazevox Books). Ruth Lepson is =20 > also the editor of Poetry from Sojourner: A Feminist Anthology and =20 > the author of Dreaming in Color. Walter Crump's photography is =20 > included in numerous private and public collections including: =20 > Philadelphia Museum of Art, National Museum of America Art =20 > (Smithsonian), and the National Museum of Fine Art, Hanoi. His =20 > website is www.waltercrump.com. > > Regarding Morphology, Tina Darragh says: > "'Awake' is now 'Aquake,' and we are more sensible souls for =20 > the 'light tablets' this collaboration tones us." > > and Charles Alexander says: > "This book is magic. I want to read it a thousand times." > > =46rom "Morphology" > > * > > "Can anyone think of a > Realist writer? I ask. A guy > In the back of the room > Raises his hand. "Simmonds > Hoote," he says. > > * > > Robert Creeley's new poems are > black and white > maps of America > clear as new > Mexico. The clouds > are verti- cal curliques > chalked through Nebraska > and Kan- sas. The > Midwest map > strikes me-- > its neck, the > North- east, > has been severed. > Later I notice the absence > of words, the > silence. > > * > > (see attached file for additional image sample) > > Dan Machlin's first full-length collection of poems Dear Body: was =20 > published by Ugly Duckling Presse in Fall 2007. He is also the =20 > author of several previous chapbooks: 6x7, This Side Facing You, In =20= > Re; and an audio-CD collaboration with Singer/Cellist Serena Jost, =20 > Above Islands. He is the founding editor of Futurepoem books. > > =46rom "Dear Body" > > Meanwhile you were hiding underneath the table. At one time, they =20 > too could > assemble you out of grass =96 an abandoned rug and decaying = vegetables. > > We prayed to your effigy like to a beautiful library book you =20 > wanted to steal =96 > the perfect never-noticed crime. > > Many years later indexing doubts about your presence you uncover =20 > lost plans > for some extreme city. > > Or you as your own forbidden lover who meets yourself > Late at night in a forgotten deco motel. > > A brief conversation about ephemera (each word drenched with sexual =20= > potential). > > You know, I've never believed in your hope. So somehow the limbs =20 > attached to > a trunk of meat and toes a face lips that say a nose balding teeth =20 > barely =96 > > O how this house whispers beneath the dinner table! > > ========================================================================= Date: Wed, 16 Apr 2008 12:38:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Obama is correct about rural PA In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Although I'm not from Pennsylvania or any small town, my intuition tells me Obama was right when he spoke about "some" (my word and quotation marks, not his) of the people who live in these places. Their lives may be hard but where is life not hard? As for Ralph Nader, he's just a distraction and a spoiler, regardless of how many good things he has said and done over the years in now what must be the fairly distant past. And the possibility that he might contribute to a win for McCain this time around is monstrous. CA Conrad wrote: Having grown up in rural Pennsylvania I can promise you that Obama's assessments are correct about many of these people being bitter and clinging to their guns and religion. It took me YEARS to dig out of my anger for the torture they put me through for being queer, for not wanting to kill deer, pheasants, rabbits, and instead planting and tending flowers, vines, and other boys. What's MOST IMPRESSIVE is Obama's ability to take his statements and STAND BEHIND THEM saying, "YES, OF COURSE THEY ARE BITTER," and listing why they Should be. He's right of course. What's terrible though is that the harsh world of rural Pennsylvania (harsh as in trying to actually survive when the factories and industry disappear DUE in large part to the Clintons!), like most places where life is very hard, scapegoating is the major pastime. It's bottomless, the racism, homophobia, sexism, and I can't see HOW anyone will ever be able to break through it. These things make me very sad, mostly because there are many people where I grew up who I got to know as intelligent and talented, until they found out I was queer, which of course put an end to communications with me. But many of the people where I come from will NEVER vote for a white woman for president anymore than they will vote for a black man for president. And if ANY candidate ever dares say ANYTHING positive about homosexuals, well, THAT'S IT, THEY'RE OUT! Abortion is also a hot button, of course. Oy, I'm exhausted thinking about the wicked things I know they're saying in the bars and beauty parlors, at the mills and diners. But Obama is correct in every way. And he's amazing that he remains so focused and on topic, even if the topic is about something he himself said that might hurt his campaign. He has integrity I thought IMPOSSIBLE for Democrats! He has my support! (Part of me is SO AFRAID he's another Bill Clinton though! I heard Clinton's one speech at a gay rights rally in DC when he was first running for president, and I BOUGHT IT, bought every lying word of it!) But if Obama doesn't win the nomination I'm voting for Ralph Nader again. Nader was just in Philadelphia and gave an amazing speech! Nader is the sexiest LIVING MIND! CAConrad http://PhillySound.blogspot.com --------------------------------- Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. ========================================================================= Date: Tue, 15 Apr 2008 14:17:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Tills Subject: Re: Obama is correct about rural PA MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable =20 Would like to second Mark Weiss's sentiments (see his post below). Folks must definitely notice the differences here between Anybody Other than McCain and the senile fool himself, who's so "power-mad" and caught up by deeply psychological "ambition," the kind that's evidence of deep character flaw, the kind that only a wiseman would recognise as madness, the kind of deep insecurity about his life and the meaning of same that would cause him to do exactly what he is doing - going over to the dark side of humanity regardless he would never prove himself such a puny, cowardly, freak clone for Cheney/Bush were he not caught up in the worst nightmare his unexplored psyche could possibly wreak upon him (and everybody else). Shoot, he could become an even worse monster than the retarded sack of emptiness and insanity who's been there these past 8 years. =20 =20 And it's more than the Supreme Court (though that's enough right there). =20 It IS a great priviledge to be "a Progressive." Surely most everybody on the List here would call themselves "progressives." =20 (It's almost synonomous with "avant-garde," except it references the "political" realm...) =20 But it will take a lot more than "being a progressive" to heal the world after the destruction set in motion by the past eight years of Cheney/Bush and company. All progressives will have to abandon juvenile "perfectionism" and adolescent "idealism" and=20 compromise some staunch progressive causes and ideals at times and simply "win the 'war'" against the ultra-right forces that wish to destroy the planet entirely. I.e., progressives will need to truly distinguish themselves from our ultra-right antagonists - doing so means NOT being "extreme" and perfectionistic. The ultra-right's chief value, strength, and Weakness may be that they are inflexible and narrow and uncompromising. I should think that defeating that value means broadening our range of compatriots, including "old-fashioned" "liberals" like Hillary and Bill, and, further, "conservatives," too, especially those that don't go along with the Warren Jeffs and the Jack Abramoffs. I really think that there's a paradigm thing going on here - take, for example, reports about the TOP FIVE STATE EXECUTIONERS (China, Iran, Saudi Arabia, Pakistan, and the United States). Yeah, we're one of just 24 nations on the planet still maintaining this barbaric practice. Gosh, we're in great company, aren't we? Five of the most powerful, aggressive, arrogant, and masculine countries still indulging in the same old shit. Vote for McCain/McSame/McLame? You'd have to be out of your mind, or extremely "immature," and all for Ego ("I'm a Progressive" and I'm not compromising and voting "Republican-lite"). Hmmm, I know that has been my own immature perspective sometimes in the past... =20 Personally, I would be inclined to think that Obama is at least partially right. I live in western New York, which is very similar to rural, small town Pennsylvania, I think. I work in a factory alongside scores of gun owners and hunters, NASCAR enthusiasts and bigots, "good old boys" and good old boys' types of "girls." I interact every day with neighbors and co-workers and even family members who are thoroughly indoctrinated by FOX News and who will likely vote "republican" even though a lot of them hate what Bush has done. But that's a contradiction of what Obama believes, in and of itself, isn't it? In other words, NO, they are not clinging "to guns or religion or antipathy to people who aren't like them or anti-immigrant sentiment or anti-trade sentiment as a way to explain their [economic] frustrations." If they were, then McCain would be toast, right? The Republicans would be voted out of office, right? It just doesn't seem that simple. One of the chief movers and shakers here, and a multimillionaire completely tight with the company's Bush-supporting owner is "gay," but he's still Republican. So where is his "antipathy to people who aren't like him?" Dozens of co-workers here are "evangelical christians" and they're suffering the economic malaise as much as anyone else, but they're not coming over to the Democrats' tent in droves, either. There are all kinds of gun owners and hunters, and the place is almost empty every first day of deer season in fall, and most all of these folks are definitely "suffering just as much as anyone else"; in fact, take away their hunting and they would lose a big hunk of income to the necessity of feeding their families with more meat from the grocery stores. Religion, there are plenty of folks who are NOT ridiculously religious and even ridicule the comparatively fanatical "evangelicals" some times, but they're not Democrats, either, and they continue to vote republican. We've got more than a few "immigrants," here, and none in management positions (again, yeah, this place is VERY "white"), but they are not alienated here at all; in fact, they are welcomed, perhaps because the wages are low and they're more than glad to have "secure," albeit lower paying, employment. =20 =20 Maybe THAT - Security - is the bottom line. Financial security, spiritual security, emotional and psychological security... The world and "Reality" are evolving and changing at terrifying, exponentially rapid rates. These folks, largely "illiterate" by our "Progressive" and "Avant-Garde" standards, must be petrified. (The best "educated" in a place like this are the engineers with their bachelor's degree in "Engineering" and the CEO with his MBA - for the most part no literature, humanities, social sciences, philosophy, at all; i.e., essentially it's Illiteracy-ville here.) They cannot in any way have the "intellectual" or "cosmopolitan" worldviews needed to accept and process such change the way we "elitist," broadly educated folks can. No wonder they stay with the Republicans! The Republicans and, by definition, "Conservatism" couch all of Reality in illusions of "security." =20 =20 Shoot, they're clinging to their guns and religion and antipathy to people who aren't like them because that is, quite simply, who they are and what they are. Maybe Barack and Hillary are the ones clinging to antipathy to people who aren't like them -- priviledged-class graduates of the most elite universities in the world. Fucking idiots! What did they ever do for these people? Yeah, sure, a whole bunch, in the general sense, but these folks don't understand that! They understand the Republican owner who built a very successful manufacturing plant with hard work and intelligence and the sweat and sacrifice of small town folks who weren't going to see better opportunities for secure work, secure life, secure opportunities to raise families from the Obamas or Clintons of the world. Hence, your prototypical "self-made" billionaire Republican conservative who exemplifies "independence" and hard work and frugality - NOT a George Bush Republican at all, but not one to vote against Bush or allow unions or encourage long-haired hippy, literate "progressives" like me, either... Half the folks complain that they've been nickeled and dimed for generations, but few leave this kind of secure employment that doesn't require college degrees, that respects loyalty and seniority, that provides modest but definite retirement monies radically post-modern corporations like Global Crossing steal from their longest term and most loyal employees... =20 =20 Shoot, BOTH Obama and Hillary are as stupid as can be some days, aren't they? The freaking idiots! They should be bending over backwards to work together to figure how to appeal to the real victims of post-modern America -- the burgeoning lower middle class and the environment. As for the rest of America, whether Democrat or Republican, I think they'll all do just fucking fine, whether they were born and raised in Mexico, Pakistan, India, Chicago, or Seattle. Once they get to that top 10% where Obama and Hillary will be for the rest of their lives, there is really no Insecurity whatsoever, give or take a terrorist attack or hurricane every now and then. =20 =20 =20 Steve Tills =20 =20 =20 =20 =20 =20 =20 Date: Mon, 14 Apr 2008 18:56:45 -0400 From: Mark Weiss Subject: Re: Obama is correct about rural PA =20 Obama's advantage (aside from central casting good looks) is that he=20 has almost no record and has had to make few compromises. But that's=20 not really good enough. Next time the pure-of-heart should have no=20 record whatsoever and suffer from vocal paralysis whenevr he's asked=20 to speak ex-temp. =20 Try to remember that politics is often a dirty business and involves=20 getting dirty hands. And that if Hillary somehow pulls it off you're=20 going to have to figure out how to vote for her, the alternative=20 being unthinkable. If you have a hard time noticing large=20 differences, when tempted by McCain remember these two words: Supreme Court. =20 Mark =20 =20 =20 =20 =20 ========================================================================= Date: Wed, 16 Apr 2008 13:10:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Concerning Folks vs.Obama MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I suppose this is how it works. If one lives in a rural area, you're folk. You're folksy. Small town folk, etc. It's a polite way, I guess, of saying the Great unwashed. But why mince words? Didn't the discussion begin on a note of intolerance? Why be so polite? It's unnecessary. ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Wed, 16 Apr 2008 16:15:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: Obama is correct about rural PA In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I understand his point (I think Maureen Dowd does, too), and I read the whole statement. It's a crude analysis that has some truth (and a lot that's just dumb--hunters don't hunt, for instance, because they're angry, and if Obama doesn't cling to religion because he's bitter neither do most of those he's talking about), but it's still elitist and politically incredibly stupid. He maybe doesn't realize that he's living in a glass house? Everything he says is heard and processed. Maybe he should save lectures for the classroom. And think a little more about what he's saying. I can't wait til he starts explaining the dynamics of Russian history to Putin. Mark At 12:23 PM 4/16/2008, you wrote: >and it's important to read not just the two sentences being circulated here >and elsewhere, but the WHOLE statement, which can be found in a few places: > > > >< >http://www.huffingtonpost.com/mayhill-fowler/obama-no-surprise-that-ha_b_96188.html > > > >in context, it's clear that obama is speaking to a crowd of supporters and >offering them ways to think and talk against the prevailing narrative of >class politics as it has been successfully constructed in this country for >decades, one that shifts the focus elsewhere. his point is that 30 years of >neolib social policy has given the working class little in government to >feel enthusiastic about. furthermore, the washington political consensus has >been to ignore class issues, or rather divert attention away from them by >promoting wedge issues like gun control, immigration, abortion, family >values and the like in their place. > >that's obama's argument, as the FULL context makes clear: a challenge to >wedge issue politics in which the working class has no economic issues or >policies to vote on. > >bests, >tom orange > > > > > ------------------------------ > > > > Date: Tue, 15 Apr 2008 10:28:41 -0400 > > From: Ryan Daley > > Subject: Re: Obama is correct about rural PA > > > > I don't read this as a dismissal at all. I read this as a failed appeal > > based on the idea that, "hey, I'm like you." Bush gets away with this all > > the time. This is the design behind "my fellow Americans." The fact that > > Obama didn't (or doesn't) says to me that his eloquence and ability to > > speak > > make him "elistist" and "snobby." > > > > Because we can't have a president who speak good. No way. > > > > Bring on those C students. > > > > And this is why I posted the article from CBN, because the writer latches > > on > > to "clings to," which seems the most unfortunate choice of a word if there > > ever were one. But this whole "scandal" is slow-news-week-itis. It's "wag > > the dog." It shows just how susceptible a lot of people are to the media, > > which is like a hangover: ignore it and it's still there. > > > > On Tue, Apr 15, 2008 at 10:20 AM, Ryan Daley wrote: > > > > > Mark, > > > > > > I already posted the quote. Is your quote different from mine? > > > > > > How much clearer must we be? > > > > > > > > > On Tue, Apr 15, 2008 at 8:57 AM, Mark Weiss > > > wrote: > > > > > > > Let me be real clear. Obama as a candidate lives by the word. His > > > > ability to read an eloquent prepared speech and to participate in the > > > > writing of it is a major reason he's been so successful. When he > > screws up > > > > it has consequences, because he seems to be so careful with words. > > > > > > > > Here's what he said: "You go into these small towns in Pennsylvania > > and, > > > > like a lot of small towns in the Midwest, the jobs have been gone now > > for 25 > > > > years and nothing's replaced them. And it's not surprising then they > > get > > > > bitter, they cling to guns or religion or antipathy to people who > > aren't > > > > like them or anti-immigrant sentiment or anti-trade sentiment as a way > > to > > > > explain their frustrations." How is it possible to read this as other > > than a > > > > discounting, not of "their" suffering, but of their opinions and > > beliefs? > > > > How is this not a cartoon? It's that presumed attitude that's been > > > > criticized, and it appears apparently as of a piece with a frequent > > > > dismissiveness, as if he finds the entire process of getting elected > > simply > > > > too silly for words. > > > > > > > > But suppose it's just a slip, or he's really not that good on his > > feet, > > > > etc. How many of these things do you think he could get away with in > > the > > > > general election? > > > > > > > > It should be obvious that I suspect, or maybe more accurately fear, > > that > > > > Obama's an empty suit. The frequent invocation of Kennedy, who was an > > empty > > > > suit for the most part, isn't reassuring. > > > > > > > > I'd love to be proven wrong. > > > > > > > > Hey, maybe he'll even honor his pledge to limit himself to public > > > > financing. That could establish a standard that would really change > > American > > > > politics. > > > > > > > > If he's elected, and he probably will be, he's going to be up against > > so > > > > many intractable, urgent problems that even an FDR would probably > > fail. > > > > > > > > But Obama's very smart, and he'll probably learn. > > > > > > > > Anyway, my opinion doesn't matter. I already got to vote. > > > > > > > > Mark > > > > > > > > > > > > > > > > At 12:02 AM 4/15/2008, you wrote: > > > > > > > > > Yes, do read the statement -- as poorly worried as it was, Obama was > > > > > clearly > > > > > not saying that people adopt faith because of their bitterness over > > > > > the economy > > > > > or, as more than one talking head as put it today, that they have > > guns > > > > > and go > > > > > hunting because of that bitterness -- he was saying fairly plainly, > > > > > though not > > > > > in a politic way, that this presumed bitterness leads to their > > > > > clinging to > > > > > these issues as election motivations -- and, as I remarked > > yesterday, > > > > > that's > > > > > pretty much been the Republican campaign strategy reaching back to > > > > > Nixon's > > > > > Southern strategy -- > > > > > > > > > > On Mon, Apr 14, 2008 07:07 PM, Mark Weiss > > > > > wrote: > > > > > > > > > > > Read the statement. He said that small town folks "cling to > > religion > > > > > >and guns" out of bitterness. I happen to think that belief in an > > > > > >afterlife is a product of desperation, and Obama apparently agrees, > > > > > >at least when it comes to poor white folks. But I'd be pretty > > careful > > > > > >where I said that, if only out of politeness. As a politician, I'd > > > > > >have to be an idiot to say it. Same goes for guns. most gun > > violence > > > > > >happens in big cities. I think guns should be much more strictly > > > > > >regulated, even that hunting rifles should be locked up at the > > police > > > > > >station and only reclaimed when a hunting trip's planned, because > > the > > > > > >cities need that kind of rule. But it's not hard to understand why > > > > > >rural folks would object. > > > > > > > > > > > >Mark > > > > > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> > > > > > >>>>>>>>>>>>>> > > > > > > > > > > > >"Study the fine art of coming apart." > > > > > > > > > > > >--Jerry W. Ward, Jr. > > > > > > > > > > > >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: Wed, 16 Apr 2008 16:47:15 -0400 Reply-To: pmetres@jcu.edu Sender: UB Poetics discussion group From: Philip Metres Subject: COME TOGETHER; a call for ANTHOLOGY OF PEACE POEMS MIME-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: base64 Q09NRSBUT0dFVEhFUjogSU1BR0lORSBQRUFDRSwgZWRpdGVkIGJ5IFBoaWxpcCBNZXRyZXMs IEFubiBTbWl0aCBhbmQgTGFycnkgU21pdGggaW4gdGhlIEhhcm1vbnkgU2VyaWVzIGZyb20g Qm90dG9tIERvZyBQcmVzcy4gDQoNCldlIGFyZSBzZWVraW5nIHBvZW1zICgxLTMpIGFuZCBz aG9ydCBwcm9zZSAodXAgdG8gNTAwIHdvcmRzKSB0aGF0IGltYWdlIHBlYWNlLCBub252aW9s ZW5jZSwgcmVjb25jaWxpYXRpb24sIGNvbXBhc3Npb24sIGhvcGUuIFdlIGJlbGlldmUgaXQg ZXNzZW50aWFsIGZvciBvdXJzZWx2ZXMgYW5kIG91ciBjaGlsZHJlbiB0byBrZWVwIHRoaXMg aW1hZ2UgYWxpdmUgYW5kIGJlZm9yZSB1cy4gV2UgbG9vayBmb3Igd3JpdGluZyBncm91bmRl ZCBpbiB0aGUgd29ybGQgeWV0IHBvc2l0aXZlIGFuZCB2aXNpb25hcnkuIEl0IGNhbiBoYXZl IHdhciBpbWFnZXMsIGJ1dCBpdCBtdXN0IGFsc28gaGF2ZSBpbWFnZXMgb2YgcGVhY2UuICBT ZW5kIHR5cGVkIHdvcmsgKHJlcHJpbnQgb2sgd2l0aCBkb2N1bWVudGF0aW9uOyBvciBlbWFp bCBtZSBkaXJlY3RseSBhdCBwbWV0cmVzQGpjdS5lZHUgDQoNCkJvdHRvbSBEb2cgUHJlc3Pi gJRJbWFnaW5lIFBlYWNlLyBQTyBCb3ggNDI1LyBIdXJvbiwgT0ggNDQ4MzkgYnkgTWF5IDE1 LCAyMDA4LiBQYXltZW50IGlzIDIgY29waWVzLCAkMTAsIHRoZSB3b3JsZOKAmXMgdGhhbmtz Lg0KDQoNCg0KUGhpbGlwIE1ldHJlcw0KQXNzb2NpYXRlIFByb2Zlc3Nvcg0KRGVwYXJ0bWVu dCBvZiBFbmdsaXNoDQpKb2huIENhcnJvbGwgVW5pdmVyc2l0eQ0KMjA3MDAgTi4gUGFyayBC bHZkDQpVbml2ZXJzaXR5IEhlaWdodHMsIE9IIDQ0MTE4DQpwaG9uZTogKDIxNikgMzk3LTQ1 MjggKHdvcmspDQpmYXg6ICgyMTYpIDM5Ny0xNzIzDQpodHRwOi8vd3d3LnBoaWxpcG1ldHJl cy5jb20NCmh0dHA6Ly93d3cuYmVoaW5kdGhlbGluZXNwb2V0cnkuYmxvZ3Nwb3QuY29tDQoN Cg== ========================================================================= Date: Wed, 16 Apr 2008 16:52:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Freind, William Joseph" Subject: Re: On the So-Called Epigramititis MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Jesse, There are a lot of things I think are wrong with your dismissal of = =93Epigramititis.=94 One is that your definition of the epigram hasn=92t = been updated since the death of Alexander Pope. It=92s 2008 =96 I think = we can bend the rules a little. (Speaking of which, did you really call = Kent a =93jack-a-napes=94 on your blog?) But your central points seems to be that 1. Kent=92s epigrams are rude and even vicious.=20 2. That has no place in poetry.=20 You=92re right about the first and spectacularly wrong about the second. = The history of poetry is filled with attack poems that make no attempt = to be witty: Catullus (who=92s the obvious model for = =93Epigramititis=94) and Byron are the most obvious examples but there = are plenty of others. Cheap shots, sniping, gossip and inexplicable = rivalries are a part of almost every art movement. On more than one = occasion, Breton et. al. called Cocteau=92s mother in the middle of the = night and told her that her son had been killed in a car crash. Makes = =93Epigramititis=94 seem pretty tame, right?=20 And while we=92re on the subject of cheap shots, it looks like you took = one at Geoffrey Gatza. The idea that anyone would publish a book of = poetry just =93to turn a buck=94 is ridiculous =96 and you should know = that. Bill -----Original Message----- From: UB Poetics discussion group on behalf of Jesse Glass Sent: Wed 4/16/2008 6:22 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: On the So-Called Epigramititis =20 Perhaps it's true that we live in a time when rudeness rules, but this book, which the author loudly proclaims to be a modern Dunciad, lacks the three necessary ingredients that make satire effective: wit, insight, and craft. The problem begins with the form that Johnson chooses for his sallies: the epigram. Johnson is clearly beyond his depth here and the limits of his command of the English language, including vocabulary and the rudiments of grammar are immediately apparent. To write a successful epigram is to craft a verbal artifact that exhibits crisp intelligence in the handling of language, and carries a "sting." Rhyme, and in particular the rhyming couplet is the poet's form of choice for this. Satirical, free-verse, epigrams are difficult to pull off for the best of writers, and we're clearly not in that territory here. Johnson's "epigrams" are wordy, amorphous in form (a definite no-no!) groping in diction and sometimes even lose their way before they end, leaving us to wonder what exactly was the point besides an obvious attempt to bait, belittle, or strike a posture. Yes, he waxes warm and cozy when he addresses some of his subjects--primarily experimental poets that figured prominently on the Buffalo Poetics List c. 1999--2000, but for others he withholds the puffs and brings out his brickbats of choice. Distressingly, many of his subjects for "satire" are women and minorities, and with them Johnson "transcends" the limits of his craft in two ways: a liberal use of scatological language, and direct unadulterated rudeness--and even, in one case a threat of physical violence. He attacks many well-respected writers in this manner. However, showing far more cleverness in the pagination of this tome than in the writing of it, Johnson buries such specimens of pathology in the last quarter of the total pages. What puzzles me is that this book does appear to have its fans, but then again so does pit bull and cock fighting. I also believe that anyone who tries to turn a buck selling stuff that hurts feelings in the baldest and stupidest manner and makes no apologies for it is just as deserving of contempt as the writer. ========================================================================= Date: Wed, 16 Apr 2008 13:58:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Nelson Subject: Re: THE ONLY WAR THAT MATTERS... MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Yes, di Prima. From the poem Rant. http://splab.org/poets/DianediPrima-Rant.mp3 Paul Paul E. Nelson WPA President Global Voices Radio SPLAB! American Sentences Organic Poetry Poetry Postcard Blog Washington Poets Association Ilalqo, WA 253.735.6328 or 888.735.6328 ----- Original Message ---- From: Adam Tobin To: POETICS@LISTSERV.BUFFALO.EDU Sent: Wednesday, April 16, 2008 10:09:24 AM Subject: Re: THE ONLY WAR THAT MATTERS... I believe this line comes from an old Diane Di Prima poem (isn't she on this list somewhere?), and the next line says that "all other wars are subsumed in it." It's a pretty bold claim, but it is true that the people who appointed Dana Gioia to head the NEA are the same people who orchestrated the invasion of Iraq. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Michael Ford Sent: Tuesday, April 15, 2008 8:14 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: THE ONLY WAR THAT MATTERS... As for the first of these statements, what they seem to want to say is that the war against the imagination causes the other, physical wars. BUT that is not what they say, and I think you're right to point that out. As for the second, if poetry's the govt, who's the president of poetry? Who's the mayor? Who's on the city council of poetry? Michael Ford On Tue, Apr 15, 2008 at 9:27 AM, CA Conrad wrote: > THE ONLY WAR > THAT MATTERS > IS THE WAR > AGAINST THE > IMAGINATION > : > > Poetry is > The Rival > Government > >" ========================================================================= Date: Wed, 16 Apr 2008 16:18:31 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J A. Lee | Crane's Bill Books" Organization: Crane's Bill Books Subject: Re: THE ONLY WAR THAT MATTERS... MIME-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Content-Transfer-Encoding: 7bit Philip Metres gives the Diane DiPrima poem in full on his blog, the link at the foot of his post above. It _would_ be interesting to hear DiPrima's response. True, the deadening of empathy, required to make a torturer, has to be accomplished by banishing the imagination. But "THE ONLY WAR THAT MATTERS..." seems alarmingly reductive. A propos, I just came home from a reading at which two different people--one from the podium and one in conversation afterward--rhapsodized about "poet warriors," a phrase I hadn't heard before. Probably it's too much to hope that I never hear it again... Jeffrey ----- Original Message ----- From: "CA Conrad" To: Sent: Tuesday, April 15, 2008 8:27 AM Subject: THE ONLY WAR THAT MATTERS... > THE ONLY WAR > THAT MATTERS > IS THE WAR > AGAINST THE > IMAGINATION > > This is from a full page advertisement for Naropa's Jack Kerouac School of > Disembodied Poetics in the latest issue of the Poetry Project Newsletter. > Page 7 to be exact, April-June, 2008 issue. > > Let me say first that I have a tremendous amount of respect for that > school, > considering I have little to NO respect for most schools these days. But > I > really don't know what to do with this statement, which is displayed in > such > a way that it's meant to be of significance, meaning that, reading from > left > to right, as we do here, it's catches the eye FIRST when seeing the page. > It's made to look like a sign you would carry at a protest, or a banner > you > would hang on a wall. > > I of course understand the basic premise, it's just not sitting well with > me, being a tax payer like I am, paying for bullets like I am for a war > that > VERY MUCH DOES MATTER in Iraq (especially if you're Iraqi!)! > > Maybe I'm reading too much into it, or out of it, or around it? But then > there's THIS statement as well, right below the first one, also made to > look > like a sign or banner: > > Poetry is > The Rival > Government > > "is" is underlined 3 times. It reminds me a little of: > > Poetry IS > Independent > Media > > The bottom one a quote from my friend Frank Sherlock, which I open my book > Deviant Propulsion with. > > But, I can GET BEHIND Poetry IS Independent Media, but The Rival > Government? > Poetry as Government? > > Once again, I get it, meaning I GET what they're getting at, meaning that > Poetry is a power that we should get behind rather than this nightmarish > machine we have ruling us, but, the word Government? Really? > > Both of these statements feel OK at first glance, and at the first glance > you get the tone being conveyed, I'm just not jiving with the language at > all. I'm not agreeing with either one. > > To me, IF poetry is the Rival Government, then it needs to get us out of > the > war in Iraq before it can start claiming that "the only war that matters > is > the war against the imagination," frankly! > > CAConrad > http://PhillySound.blogspot.com ========================================================================= Date: Wed, 16 Apr 2008 17:11:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: H Obenzinger on KPFA & at Morningside Books, NYC MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hilton will be discussing Busy Dying, his new novel from Chax with Philip Maldri on tomorrow morning on KPFA (94.1 FM), 8:30 west coast time. It can also be picked up (eventually podcasted) at WWW.KPFA.Org If you want to catch the Hilton in NYC, he will read and sign books next Tuesday evening, 7 o'clock at Morningside Bookshop, 2915 Broadway at 114th Street Otherwise he will both be reading (Saturday night) and cavorting about at the "Columbia 1968" Conference at Columbia - April 24 - 27. Stephen V ========================================================================= Date: Wed, 16 Apr 2008 16:27:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jessica beard Subject: Juliana Spahr Reading: 4/24 in Santa Cruz MIME-Version: 1.0 Content-Type: text/plain;charset=utf-8;format="flowed" Content-Transfer-Encoding: 8bit UC Santa Cruz’s Poetry and Politics Research Cluster presents: a seminar and a reading by Juliana Spahr. Thursday April 24, 2008. Seminar: "The 90s" UCSC Humanities 1, room 520 at 4pm Reading: Juliana Spahr and Andrea Quaid Felix Kulpa Gallery 107 Elm Street, downtown Santa Cruz at 6:30pm Juliana Spahr is a poet, editor, and scholar. Her most recent book of poetry is This Connection of Everyone with Lungs (U of California, 2005), a collection of poems that she wrote from November 30, 2002 to March 30, 2003 that chronicled the buildup to the latest US invasion of Iraq. Atelos recently published the Transformation (2007), a book of prose which tells the story of three people who move between Hawai‘i and New York in order to talk about cultural geography, ecology, anticolonialism, queer theory, language politics, the academy, and recent wars. Andrea Quaid is currently a Ph.D. candidate in literature at UCSC. *********************************************** Jessica Beard jbeard@ucsc.edu UCSC Literature Department Graduate Student/Poetry and Politics co-organizer ************************************************ ========================================================================= Date: Wed, 16 Apr 2008 22:06:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: CHICAGO ART AGAINST WAR: April 18 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit ART AGAINST WAR - WHERE IS PEACE? A reading curated by the Guild Complex http://www.guildcomplex.org Friday, April 18 9:00pm – Midnight With writers: Carlos Cumpian Jennifer Karmin C.J. Laity Erika Mikkalo Sage Xaxua Morgan-Hubbard Ellen Wadey Music by: Kaben Kafo with Taylor The Awesome Folk Band at the Heartland Cafe 7000 N. Glenwood Avenue Chicago, IL http://www.heartlandcafe.com $5 admission to help support future Art Against War events an ongoing series featuring artists, poets, and performers http://www.myspace.com/artagainstwar In solidarity with Iraq Moratorium http://iraqmoratorium.org With sponsors: American Friends Service Committee Chicagoans Against War and Injustice Peace Pledge Chicago ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Thu, 17 Apr 2008 01:16:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Oni Buchanan and Betsy Stone Mazzoleni: The Mandrake Vehicles MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7bit An interesting suite of digital poems by Oni Buchanan and Betsy Stone Mazzoleni: The Mandrake Vehicles at http://www.conduit.org/online/buchanan/buchanan.html ja http://vispo.com ========================================================================= Date: Thu, 17 Apr 2008 09:30:25 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roy Exley Subject: ON Poets writing novels Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit A quick quote from Cecily Mackworth's book, 'Guillaume Apollinaire and the Cubist Life' - "At about this time (1905) more and more young writers and artists were coming to live there (Montmartre). Roland Dorgeles and Francis Carcot had joined Pierre Mac Orlan; all three have become famous novelists but were then struggling poets" sound familiar, a century on? Roy Exley. ========================================================================= Date: Thu, 17 Apr 2008 02:38:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: Obama is correct about rural PA MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Your characterization of Obama as an empty suit reminds me of W.H. Auden's = complaint about the plays of George Bernard Shaw--that his characters were = abstractions, that "they have no bodies." And then he added, "Oscar Wilde's= characters don't have bodies either, but at least they have clothes."=0A= =0A=0A=0A----- Original Message ----=0AFrom: Mark Weiss =0ATo: POETICS@LISTSERV.BUFFALO.EDU=0ASent: Tuesday, 15 April, 2008 1:= 57:01 PM=0ASubject: Re: Obama is correct about rural PA=0A=0ALet me be real= clear. Obama as a candidate lives by the word. His =0Aability to read an e= loquent prepared speech and to participate in the =0Awriting of it is a maj= or reason he's been so successful. When he =0Ascrews up it has consequences= , because he seems to be so careful with words.=0A=0AHere's what he said: "= You go into these small towns in Pennsylvania =0Aand, like a lot of small t= owns in the Midwest, the jobs have been =0Agone now for 25 years and nothin= g's replaced them. And it's not =0Asurprising then they get bitter, they cl= ing to guns or religion or =0Aantipathy to people who aren't like them or a= nti-immigrant sentiment =0Aor anti-trade sentiment as a way to explain thei= r frustrations." How =0Ais it possible to read this as other than a discoun= ting, not of =0A"their" suffering, but of their opinions and beliefs? How i= s this not =0Aa cartoon? It's that presumed attitude that's been criticized= , and it =0Aappears apparently as of a piece with a frequent dismissiveness= , as =0Aif he finds the entire process of getting elected simply too silly = for words.=0A=0ABut suppose it's just a slip, or he's really not that good = on his =0Afeet, etc. How many of these things do you think he could get awa= y =0Awith in the general election?=0A=0AIt should be obvious that I suspect= , or maybe more accurately fear, =0Athat Obama's an empty suit. The frequen= t invocation of Kennedy, who =0Awas an empty suit for the most part, isn't = reassuring.=0A=0AI'd love to be proven wrong.=0A=0AHey, maybe he'll even ho= nor his pledge to limit himself to public =0Afinancing. That could establis= h a standard that would really change =0AAmerican politics.=0A=0AIf he's el= ected, and he probably will be, he's going to be up against =0Aso many intr= actable, urgent problems that even an FDR would probably fail.=0A=0ABut Oba= ma's very smart, and he'll probably learn.=0A=0AAnyway, my opinion doesn't = matter. I already got to vote.=0A=0AMark=0A=0A=0AAt 12:02 AM 4/15/2008, you= wrote:=0A>Yes, do read the statement -- as poorly worried as it was, Obama= was clearly=0A>not saying that people adopt faith because of their bittern= ess over =0A>the economy=0A>or, as more than one talking head as put it tod= ay, that they have guns and go=0A>hunting because of that bitterness -- he = was saying fairly plainly, though not=0A>in a politic way, that this presum= ed bitterness leads to their clinging to=0A>these issues as election motiva= tions -- and, as I remarked yesterday, that's=0A>pretty much been the Repub= lican campaign strategy reaching back to Nixon's=0A>Southern strategy --=0A= >=0A>On Mon, Apr 14, 2008 07:07 PM, Mark Weiss wro= te:=0A>=0A> > Read the statement. He said that small town folks "cling to r= eligion=0A> >and guns" out of bitterness. I happen to think that belief in = an=0A> >afterlife is a product of desperation, and Obama apparently agrees,= =0A> >at least when it comes to poor white folks. But I'd be pretty careful= =0A> >where I said that, if only out of politeness. As a politician, I'd=0A= > >have to be an idiot to say it. Same goes for guns. most gun violence=0A>= >happens in big cities. I think guns should be much more strictly=0A> >reg= ulated, even that hunting rifles should be locked up at the police=0A> >sta= tion and only reclaimed when a hunting trip's planned, because the=0A> >cit= ies need that kind of rule. But it's not hard to understand why=0A> >rural = folks would object.=0A> >=0A> >Mark=0A> ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<= <<>>>>>>>>>>>>>>>>>>>>>>>>>>=0A> >>>>>>>>>>>>>>=0A> >=0A> >"Study the fine = art of coming apart."=0A> >=0A> >--Jerry W. Ward, Jr.=0A> >=0A> >Sailing th= e blogosphere at: http://heatstrings.blogspot.com/=0A> >=0A> >Aldon L. Niel= sen=0A> >Kelly Professor of American Literature=0A> >The Pennsylvania State= University=0A> >116 Burrowes=0A> >University Park, PA 16802-6200=0A> >=0A>= >(814) 865-0091=0A> >=0A> >=0A> > ========================================================================= Date: Thu, 17 Apr 2008 05:43:45 -0400 Reply-To: afilreis@writing.upenn.edu Sender: UB Poetics discussion group From: Al Filreis Organization: University of Pennsylvania Subject: live webcast: Jerome Rothenberg MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Dear POETICS friends: Please join us with Jerry Rothenberg on Tuesday, April 29, for a live interactive webcast. See below for more. During the webcast, you can email or phone us your questions and comments. - Al Filreis "The significance of Jerome Rothenberg's animating spirit looms larger every year. ... [He] is the ultimate 'hyphenated' poet: critic - anthropologist - editor - anthologist - performer - teacher - translator, to each of which he brings an *unbridled exuberance* and an innovator's *insistence on **transforming* a given state of affairs." - Charles Bernstein the Kelly Writers House Fellows program presents *Jerome Rothenberg* *LIVE INTERACTIVE WEBCAST* Tuesday morning, April 29, 10:30 AM (eastern time) [hosted at the Kelly Writers House, 3805 Locust Walk, Philadelphia] To register and receive information about connecting to the webcast stream, please write to *whfellow@writing.upenn.edu* Jerome Rothenberg is the author of over seventy books of poetry including /Poland/1931/ (1974), /That Dada Strain/ (1983), /New Selected Poems 1970-1985/ (1986), /Khurbn/ (1989), and most recently, /The Case for Memory/ (2001) and /A Book of Witness/ (2003) and /Triptych/, a book that takes the poet back to the issue of the Holocaust. Describing his poetry career as "an ongoing attempt to reinterpret the poetic past from the point of view of the present," he has also edited seven major assemblages of traditional and contemporary poetry, including /Technicians of the Sacred/ (1985), comprised of tribal and oral poetry from Africa, America, Asia, Europe, and Oceania, /Revolution of the Word/ (1974), a collection of American experimental poetry between the two world wars and two volumes of /Poems for the Millennium/ (1995, 1998), which won the Josephine Miles Award in 1996. In 1999 and again in 2001 he was a co-organizer of the People's Poetry Gathering, a three-day festival, under joint sponsorship by City Lore and Poet's House in New York City. Rothenberg was elected to the World Academy of Poetry (UNESCO) in 2001. For more about Writers House Fellows: http://writing.upenn.edu/~whfellow/ . Kelly Writers House Fellows is made possible by a generous grant from Paul Kelly. -- Al Filreis Kelly Professor Faculty Dir., Kelly Writers House Dir., Center for Programs in Contemporary Writing University of Pennsylvania web: http://writing.upenn.edu/~afilreis/ blog: http://afilreis.blogspot.com/ get your daily Al: http://afilreis.blogspot.com/2007/09/your-daily-al.html listen to PoemTalk: http://poemtalkatkwh.blogspot.com/ subscribe: http://feeds.feedburner.com/afilreis ========================================================================= Date: Thu, 17 Apr 2008 03:18:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: world's oldest photograph? MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable http://www.nytimes.com/2008/04/17/arts/design/17phot= Amazing, if true:=0A=0Ahttp://www.nytimes.com/2008/04/17/arts/design/17phot= .html?th&emc=3Dth ========================================================================= Date: Thu, 17 Apr 2008 08:33:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Aime Cesaire, voice of French Black pride, dies Comments: To: "NewPoetry: Contemporary Poetry News & Views" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Thu 17 Apr 2008, 13:18 GMT By Astrid Wendlandt PARIS (Reuters) - French Caribbean poet Aime Cesaire,founding father of the "negritude" movement that celebrated blackconsciousness, died in his native Martinique, France'sMinistry of Culture said on Thursday. Cesaire, 94, who was mayor of the island's main city Fort-de-France for morethan half a century, was admitted to hospital last week suffering from heartand other problems. His writings offered insight into how France imposedits culture on its citizens of different origins in the early part of the 20thCentury. The theme still resonates in French politics today, as thecountry continues to struggle to integrate many of its residents of African andNorth African origin. In 2005, Cesaire refused to meet then French InteriorMinister Nicolas Sarkozy (now French president) over concerns that Sarkozy'sconservative UMP party had pushed for a law which proposed to recognise thepositive legacy of French colonial rule. The law was eventually repealed. Cesaire and African intellectual Leopold Senghor -- laterpresident of Senegal-- founded "The Black Student" in 1934, a journal that encouragedpeople to develop black identity. ANTI-COLONIAL VOICE IN THE 1960s The Caribbean writer rose to fame with his "Notebook ofa Return to the Native Land", written inthe late 1930s, in which he says "my negritude is neither tower norcathedral, it plunges into the red flesh of the soil." His poems expressed the degradation of black people in the Caribbean and describe the rediscovery of an Africansense of self. In his "Discourse on Colonialism", first published in1950, Cesaire compared the relationship between the coloniser and colonisedwith the Nazis and their victims. He was a mentor to fellow Martinican author Frantz Fanon,and their anti-colonial writings were a major influence in the headyintellectual climate of the 1960s and 1970s in France. The negritude movement was a counterpart to the Black Pridemovement in the United States,though it has been criticised for not being radical enough. Cesaire was also a friend of the French surrealist poetAndre Breton who had encouraged him to become a major voice of Surrealism. Cesaire's anti-colonial rhetoric did not prevent him from havinga long-lasting political career. After becoming mayor of Fort-de-France in 1945 at the age of 32, hewas elected deputy of parliament a year later, a post he held until the early1990s. A graduate of the prestigious French Ecole NormaleSuperieure -- unusual for a black Martinican in the 1930s -- he remained amember of the French communist party until the Soviet Hungarian repression of1956. Cesaire was born in 1913 in the small town of Basse-Pointe in Martinique.He married Suzanne Roussi in 1937, a gifted writer in her own right, with whomhe had six children. http://africa.reuters.com/top/news/usnBAN745797.html _______ http://www.amyking.org ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Thu, 17 Apr 2008 09:06:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Re: [New-Poetry] Aime Cesaire, voice of French Black pride, dies - Interview excerpts: Comments: To: "NewPoetry: Contemporary Poetry News & Views" MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable From The liberating power of words - interview with poet Aime Cesaire - Int= erview=0A=0A=0AAim=E9 C=E9saire: I=92ve always had the feeling that I was o= n a quest to reconquer something, my name, my country or myself.=0AThat is = why my approach has in essence always been poetic.=0A=0A=0ABecause it seems= to me that in a way that=92s what poetry is.=0A=0A=0AThe reconquest of the= self by the self=85.=0A=0A=0AI think it was Heidegger who said that words = are the abode of being.=0AThere are many such quotations. I believe it was = Rene Char, in his=0Asurrealist days, who said that words know much more abo= ut us than we=0Aknow about them.=0A=0A=0AI too believe that words have a re= vealing as well as a creative function=85=0A=0A=0AThe Abbe Gregoire(1), Vic= tor Schoelcher(2) and all those who spoke=0Aout and still speak out, who ca= mpaigned for human rights without=0Adistinction of race and against discrim= ination, these were my guides in=0Alife. They stand forever as representati= ves of the West=92s great=0Aoutpouring of magnanimity and solidarity, an es= sential contribution to=0Athe advancement of the ideas of practical univers= ality and human=0Avalues, ideas without which the world of today would not = be able to see=0Aits way forward. I am forever a brother to them, at one wi= th them in=0Atheir combat and in their hopes=85=0A=0A=0AI really do believe= in human beings. I find. something of myself in=0Aall cultures, in that ex= traordinary effort that all people, everywhere,=0Ahave made - and for what = purpose?=0A=0A=0AQuite simply to make life livable!=0A=0A=0AIt is no easy m= atter to put up with life and face up to death.=0A=0A=0AAnd this is what is= so moving.=0A=0A=0AWe are all taking part in the same great adventure.=0A= =0A=0AThat is what is meant by cultures, cultures that come together at som= e meeting-point=85.=0A=0A=0AI think it was in a passage in Hegel emphasizin= g the master-slave=0Adialectic that we found this idea about specificity. H= e points out that=0Athe particular and the universal are not to be seen as = opposites, that=0Athe universal is not the negation of the particular but i= s reached by a=0Adeeper exploration of the particular.=0A=0A=0AThe West tol= d us that in order to be universal we had to start by=0Adenying that we wer= e black. I, on the contrary, said to myself that the=0Amore we were black, = the more universal we would be.=0A=0A=0AIt was a totally different approach= . It was not a choice between alternatives, but an effort at reconciliation= .=0A=0A=0ANot a cold reconciliation, but reconciliation in the heat of the = fire, an alchemical reconciliation if you like.=0A=0A=0AThe identity in que= stion was an identity reconciled with the=0Auniversal. For me there can nev= er be any imprisonment within an=0Aidentity.=0A=0A=0AIdentity means having = roots, but it is also a transition, a transition to the universal=85.=0A=0A= =0AWe are far removed from that romantic idyll beneath the calm sea.These a= re angry, exasperated lands, lands that spit and spew, thatvomit forth life= .=0A=0A=0AThat is what we must live up to. We must draw upon the creativity= of=0Athis plot of land! We must keep it going and not sink into a slumber = of=0Aacceptance and resignation. It is a kind of summons to us from history= =0Aand from nature=85.=0A=0A=0AAnd so I have tried to reconcile those two w= orlds, because that was=0Awhat had to be done. On the other hand, I feel ju= st as relaxed about=0Aclaiming kinship with the African griot and the Afric= an epic as about=0Aclaiming kinship with Rimbaud and Lautreamont - and thro= ugh them with=0ASophocles and Aeschylus! =85=0A=0A=0AI have never harboured= any illusions about the risks of history, be=0Ait in Africa, in Martinique= , in the Americas or anywhere else. History=0Ais always dangerous, the worl= d of history is a risky world; but it is=0Aup to us at any given moment to = establish and readjust the hierarchy of=0Adangers. =85=0A=0A=0AAt any rate,= it is for me the fundamental mode of expression, and=0Athe world=92s salva= tion depends on its ability to heed that voice. It is=0Aobvious that the vo= ice of poetry has been less and less heeded during=0Athe century we have li= ved through, but it will come to be realized more=0Aand more that it is the= only voice that can still be life-giving and=0Athat can provide a basis on= which to build and reconstruct=85.=0A=0A=0A* And yet this century has not = been one where ethics has triumphed, has it?=0A=0A=0AA.C.: Certainly not, b= ut one must speak out, whether one is heeded=0Aor not; we hold certain thin= gs to be fundamental, things that we cling=0Ato. Even if it means swimming = against the tide, they must be upheld.=0A=0A=0AIn other words, poetry is fo= r me a searching after truth and=0Asincerity, sincerity outside of the worl= d, outside of alien times. We=0Aseek it deep within ourselves, often despit= e ourselves, despite what we=0Aseem to be, within our innermost selves.=0A= =0A=0APoetry wells up from the depths, with explosive force.=0A=0A=0AThe vo= lcano again.=0A=0A=0ANo doubt I have reached the moment of crossing the gre= at divide but=0AI face it imperturbably in the knowledge of having put forw= ard what I=0Asee as essential, in the knowledge, if you like, of having cal= led out=0Aahead of me and proclaimed the future aloud.=0A=0A=0AThat is what= I believe I have done; somewhat disoriented though I am=0Ato find the seas= ons going backwards, as it were, that is how it is and=0Athat is what I bel= ieve to be my vocation.=0A=0A=0ANo resentments, none at all, no ill feeling= s but the inescapable=0Asolitude of the human condition. That is the most i= mportant thing.=0A=0A=0A=0A=0A=0A1. Henri Gregoire (1750-1831), French eccl= esiastic and politician, a=0Aleader of the movement in the Convention for t= he abolition of slavery.=0AEd.=0A2. French politician (1804-1893), campaign= er for the abolition of=0Aslavery in the colonies, Deputy for Guadeloupe an= d Martinique. Ed.=0A=0A=0A=96The liberating power of words - interview with= poet Aime Cesaire - Interview=0A =0Ahttp://findarticles.com/p/articles/mi_= m1310/is_1997_May/ai_19557181/print=0A=0A_______=0A=0A=0A=0Ahttp://www.amyk= ing.org =0A=0A=0A=0A=0A ______________________________________________= ______________________________________=0ABe a better friend, newshound, and= =0Aknow-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;= _ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Thu, 17 Apr 2008 09:42:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: PS Re: Obama is correct about rural PA Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed A sociologist on the bitterness of small town voters. Apparently Obama got it wrong. http://www.nytimes.com/2008/04/17/opinion/17bartels.html Mark ========================================================================= Date: Thu, 17 Apr 2008 06:59:23 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: Concerning Folks vs.Obama In-Reply-To: <862927.28456.qm@web52408.mail.re2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit This reminds me of the problem I used to have, years ago, now, with the term "folk music". Since most of the people then creating and performing this music were definitely from the middle class, I just wondered who the "folk" really were. Of course, the traditional songs this music was based upon from an earlier era were probably another matter. Regards, Tom Savage steve russell wrote: I suppose this is how it works. If one lives in a rural area, you're folk. You're folksy. Small town folk, etc. It's a polite way, I guess, of saying the Great unwashed. But why mince words? Didn't the discussion begin on a note of intolerance? Why be so polite? It's unnecessary. ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ --------------------------------- Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. ========================================================================= Date: Thu, 17 Apr 2008 07:16:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: THE ONLY WAR THAT MATTERS... In-Reply-To: <000901c89fe4$9fe82450$6401a8c0@rose> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Would this be better if it said: "The war that matters most is the war against the imagination." Of course, badly used imagination has figured in the war in Iraq, mostly employed by George Bush, as in "mission accomplished", "weapons of mass destruction" and his many false statements about conditions on the ground there improving as a result of our army's continued presence there, etc. Somehow a war that kills living human beings is important, whether it is a war on the imagination also or not, however. Regards, Tom Savage Adam Tobin wrote: I believe this line comes from an old Diane Di Prima poem (isn't she on this list somewhere?), and the next line says that "all other wars are subsumed in it." It's a pretty bold claim, but it is true that the people who appointed Dana Gioia to head the NEA are the same people who orchestrated the invasion of Iraq. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Michael Ford Sent: Tuesday, April 15, 2008 8:14 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: THE ONLY WAR THAT MATTERS... As for the first of these statements, what they seem to want to say is that the war against the imagination causes the other, physical wars. BUT that is not what they say, and I think you're right to point that out. As for the second, if poetry's the govt, who's the president of poetry? Who's the mayor? Who's on the city council of poetry? Michael Ford On Tue, Apr 15, 2008 at 9:27 AM, CA Conrad wrote: > THE ONLY WAR > THAT MATTERS > IS THE WAR > AGAINST THE > IMAGINATION > : > > Poetry is > The Rival > Government > >" --------------------------------- Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. ========================================================================= Date: Thu, 17 Apr 2008 21:28:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Scalapino: It=?windows-1252?Q?=92s_?= go in horizontal MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit Leslie Scalapino will read from her new book It’s go in horizontal: Selected Poems 1974-2006 Readings at UC San Diego; University of Chicago; City Lights in SF; & Tucson, Arizon San Diego: April 22nd, Tues at 7:00 pm at the San Diego Museum of Art in Balboa Park on Laurel St. April 23rd, Weds at 4:30 on the UCSD campus in the Visual Arts Performance Space (Warren College). University of Chicago: Reading is on Thurs April 24th at 5:30pm—Rosenwald 405, 1101 E. 58th Street. Lecture titled POETICS is on Friday April 25th at 2:00pm, Rosenwald 405, 1101 E. 58th Street. Tucson, Arizona: Saturday May 3rd—A poem-play at 1:00pm and reading at a separate venue, The Drawing Studio, at 4:00pm. San Francisco: City Lights Book Store in San Francisco. Reading is Thurs May 8th at 7:00pm, 261 Columbus Ave near Broadway. Leslie Scalapino is reading with Denise Newman whose new book from Apogee Press is titled Wild Goods. It’s go in horizontal /Selected Poems 1974-2006 by Leslie Scalapino University of California Presa 246 pages. ISBN 978-0-520-254662-6 $16.95 Order from www.ucpress.edu or call 1-800-777-4726 Fanny Howe “This is a superb and important contribution to philosophy, theology, psychology, and the science of knowing. To have the selection here now, to be able to see the whole trajectory in one volume, is to experience a revolutionary moment.” Robert Creeley: “…this work is not apart from its thinking and/or composition... I find the whole work to be a deeply engaging preoccupation with, and articulation of, what life might be said, factually, to be. But not as a defined subject, nor even a defining one—but as one being one. That is an heroic undertaking, or rather, place in which to work/write/live. Its formal authority is as brilliant as any I know.” Charles Bernstein: “Leslie Scalapino’s poems probe politics, perception, and desire, creating hypnotically shifting coherences that take us beyond any dislocating devices into a realm of newly emerging consciousness. This work, which defies categorization, is essential for contemporary poetry.” ========================================================================= Date: Thu, 17 Apr 2008 07:36:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Re: THE ONLY WAR THAT MATTERS... In-Reply-To: <414711.71365.qm@web56910.mail.re3.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thank you for posting the link to Di Prima's wonderful poem. Within the context of that poem, the line makes sense, although given that our stupid politicians are also engaged in a very "real" war in which many thousands have died, the line is still a bit shocking. Taken out of context, however, it is still at the very least an overstatement. There is something very real about the deaths of real human beings. We can't imagine those deaths away. However, if what was meant by that ad is contained in Di Prima's poem, it makes a difference to have the whole poem available. I too respect Naropa Institute very much, having virtually begun my American poetic journey there thirty years ago. Still, there was no shooting war on, then. I wonder if there was one when Di Prima wrote this poem. Regards, Tom Savage Paul Nelson wrote: Yes, di Prima. From the poem Rant. http://splab.org/poets/DianediPrima-Rant.mp3 Paul Paul E. Nelson WPA President Global Voices Radio SPLAB! American Sentences Organic Poetry Poetry Postcard Blog Washington Poets Association Ilalqo, WA 253.735.6328 or 888.735.6328 ----- Original Message ---- From: Adam Tobin To: POETICS@LISTSERV.BUFFALO.EDU Sent: Wednesday, April 16, 2008 10:09:24 AM Subject: Re: THE ONLY WAR THAT MATTERS... I believe this line comes from an old Diane Di Prima poem (isn't she on this list somewhere?), and the next line says that "all other wars are subsumed in it." It's a pretty bold claim, but it is true that the people who appointed Dana Gioia to head the NEA are the same people who orchestrated the invasion of Iraq. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] On Behalf Of Michael Ford Sent: Tuesday, April 15, 2008 8:14 PM To: POETICS@LISTSERV.BUFFALO.EDU Subject: Re: THE ONLY WAR THAT MATTERS... As for the first of these statements, what they seem to want to say is that the war against the imagination causes the other, physical wars. BUT that is not what they say, and I think you're right to point that out. As for the second, if poetry's the govt, who's the president of poetry? Who's the mayor? Who's on the city council of poetry? Michael Ford On Tue, Apr 15, 2008 at 9:27 AM, CA Conrad wrote: > THE ONLY WAR > THAT MATTERS > IS THE WAR > AGAINST THE > IMAGINATION > : > > Poetry is > The Rival > Government > >" --------------------------------- Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. ========================================================================= Date: Thu, 17 Apr 2008 08:44:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Fwd: Photo Detectives on the Trail of Photography=?WINDOWS-1252?Q?=92s_?= Origins - New York Times In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline whatever turns out to be the "true story" of this image-- the story of its "detection" via print documents and the constellation of personages involved opens as it were new horizons into the past which lies inside the arrangements made by words around images-- so than an image becomes as it were a living being preserved in amber as the literal embodiment of a collective idea-- a "leaf" of a "tree of knowledge" previously only (perhaps) hinted at-- though one wonders if there were not through the eons of time "accidental" such images made by the forces of nature--serendipiities of the collusions of light and chemicals produced without any human agency involved-- like those markings found on rocks which it is very difficult to ascertain if made by humans--or simply the action of chemicals, light, winds, rains--and time-- http://www.nytimes.com/2008/04/17/arts/design/17phot.html?th&emc=th --- ========================================================================= Date: Thu, 17 Apr 2008 11:50:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nic Sebastian Subject: ten questions on publication -- Ivy Alvarez In-Reply-To: <32ba97690804031056x578a19d1q3f07655f32dc03f2@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Some great responses from Ivy Alvarez to our ongoing Ten Questions on Publi= cation series: =20 http://verylikeawhale.wordpress.com/2008/04/17/ten-questions-2-ivy-alvarez/ =20 All best,=20 =20 Nic Sebastianhttp://verylikeawhale.wordpress.com _________________________________________________________________ More immediate than e-mail? Get instant access with Windows Live Messenger. http://www.windowslive.com/messenger/overview.html?ocid=3DTXT_TAGLM_WL_Refr= esh_instantaccess_042008= ========================================================================= Date: Thu, 17 Apr 2008 11:55:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "St. Thomasino" Subject: In the Bennett Tree Mime-Version: 1.0 (Apple Message framework v624) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed e=B7 Gregory Vincent St. Thomasino joins John M. Bennett =93In the Bennett=20 Tree.=94 Collaborative poems, images, an introduction and a full-length=20= critical essay pay homage to American poet John M. Bennett. http://www.eratiopostmodernpoetry.com/eratioeditions.html E=B7ratio Editions, a series of elegantly produced, quick loading=20 e-chaps, is reading for poetry, innovative narrative prose and=20 recollection and critical and theoretical essays. Please see the=20 Contact page for further guidelines and where to send. Query editor=20 with sample and proposal. E=B7ratio is reading for poetry for issue 11. E=B7ratio publishes quality poetry in the postmodern idioms with an=20 emphasis on the intransitive. E=B7ratio Poetry Journal and E=B7ratio Editions, edited by Gregory = Vincent=20 St. Thomasino http://www.eratiopostmodernpoetry.com Thanks for reading. Peace. e=B7 ========================================================================= Date: Thu, 17 Apr 2008 13:00:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: world's oldest photograph? In-Reply-To: <33257.30935.qm@web65105.mail.ac2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Barry, It is interesting how these very early photographs (photograms) are of objects, things (leaf, urn), pointing to magic, possession of an essential power, relating to the original photographic impulse. Placing an object against an almost alchemical substance (e,g. silver nitrate solution) in the presence of light is not that different from the ingesting of wafers during Mass. In Daguerreotypes one way subjects chose to place themselves in front of the lens was by pressing their hands against each other, in the form of prayer. That's why, I think, hands are always so important in a photographic images, outside eyes, and along with the nape, the most resonant parts of the human body. There is something funny how a process, a gesture so mysterious is attempted to be placed withing an economic structure. Ciao, Murat On Thu, Apr 17, 2008 at 6:18 AM, Barry Schwabsky < b.schwabsky@btopenworld.com> wrote: > http://www.nytimes.com/2008/04/17/arts/design/17phot > Amazing, if true: > > http://www.nytimes.com/2008/04/17/arts/design/17phot.html?th&emc=th > ========================================================================= Date: Thu, 17 Apr 2008 13:34:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Oni Buchanan and Betsy Stone Mazzoleni: The Mandrake Vehicles In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Jim, Thank you for *The Mandrake Vehicles*. I liked, particularly, the first installation. It is very interesting that the basic text, its language, is based on an animist sensibility. Is this coincidental? In some other occasion I suggest that the poetry in our time will be forced to explore a animist sensibility to be able to say anything. In #4 of the First Installation, I noticed a very Poundian tone? Is that accidental? Phrases like "nine sutured noose," etal, remind me of "The Seafarer." Affectionately, Murat On Thu, Apr 17, 2008 at 4:16 AM, Jim Andrews wrote: > An interesting suite of digital poems by Oni Buchanan and Betsy Stone > Mazzoleni: The Mandrake Vehicles at > http://www.conduit.org/online/buchanan/buchanan.html > > ja > http://vispo.com > ========================================================================= Date: Thu, 17 Apr 2008 13:17:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Stefans Subject: Poetry Job at Stockton Comments: To: ubuweb@yahoogroups.com, Stan Mir MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit As some of you know, I'm leaving Stockton at the end of this semester to take up a job at UCLA. So there's an opening at Stockton. They want to hire a poet with digital humanities experience, rather than a new media specialist, given the relatively few new media people who actually can teach literature. Here's the advert... it's a fun place to teach! You pretty much create your own classes, with no hassles from the administration -- this semester, I taught Video Game Narrative Studies, Experimental Writing Workshop and Indie Films and Filmmakers (for their General Studies Department). ___ Literature and Creative Writing -The Richard Stockton College of New Jersey seeks applicants for a tenure-track Assistant Professor in Literature for their Literature Program to start September 2008. Ph.D. or MFA required for position. Salaries competitive ($49,124-$56,494), excellent benefits. Successful candidate will be expected to teach introductory through advanced courses in poetry and creative writing, teach core courses in support of the Literature curriculum and to support program initiatives in the digital humanities. Preference will be given to candidates with evidence of excellence in college teaching and experience with digital humanities, such as digital publishing, digital archives, blogs, podcasting, web design, and the use of technology in the classroom. Academic experiences with culturally diverse populations desired. Teaching load is six four-hour courses per year, which includes two self-designed courses in Stockton's interdisciplinary General Studies program. Send letter of application, C.V., statement of teaching philosophy, three letters of recommendation to Dr. Robert Gregg, Dean of Arts and Humanities, Richard Stockton College of New Jersey, AA___, PO Box 195, Pomona, NJ 08240-0195. http://www.stockton.edu Screening begins immediately and will continue until position is filled. Stockton is an equal opportunity institution. ========================================================================= Date: Thu, 17 Apr 2008 10:58:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Alexander Subject: reading/performance, words+music, CUE Art Foundation Comments: To: announce1@buffalo.edu, announce2@buffalo.edu, announce3@buffalo.edu, announce4@buffalo.edu Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed CUE Art Foundation words+music: CUE curator Ron Silliman and Charles Alexander, poetry and James Fei, saxophone Friday, April 25, 2008 6:30 - 8:00pm at CUE Art Foundation 511 W. 25th Street (between 10th & 11th Aves.) New York, NY Admission is FREE. Reservations are required. Seating is reserved for members. Remaining seats on a first come first serve basis. To RSVP, please call 212-206-3583 or e-mail ryan.white@cueartfoundation.org RON SILLIMAN is a contemporary American poet. He has written and edited 32 books to date. Between 1979 and 2004, Silliman wrote a single poem, entitled The Alphabet. He has now begun writing a new poem entitled Universe, the first section of which appears to be called Revelator. Silliman sees his poetry as being part of a single poem or lifework, which he calls Ketjak. Ketjak is also the name of the first poem of The Age of Huts. If and when completed, the entire work will consist of The Age of Huts (1974-1980), Tjanting (1979-1981), The Alphabet (1979-2004), and Universe (2005 - present). Ron Silliman's fame and notoriety have grown considerably since 2002, due in large part to his popular and controversial web blog: Silliman's Blog. Debuting on August 29, 2002 to little fanfare and without expectations of an audience, it is now arguably the most influential English-language blog on the web that is devoted to contemporary poetry and poetics. CHARLES ALEXANDER is an American poet, publisher, and book artist. He is the director and editor-in-chief of Chax Press, one of the only independent presses which specializes in innovative poetry and the book arts. Alexander also served as the Director of the Minnesota Center for the Book Arts from 1993 until 1995 and as book artist there through 1996. Alexander lives in Tucson, AZ with his wife, the visual artist, Cynthia Miller. He is the recipient of the 2006 Arizona Arts Award and his books of poetry include Hopeful Buildings (Chax Press, 1990), arc of light | dark matter (Segue Books, 1992), Pushing Water: parts one through six (Standing Stones Press, Morris, MN, 1998), Four Ninety Eight to Seven (Meow Press, 1996) and Certain Slants (Junction Press, 2007). Since 1997 Alexander has been working on a long serial poem entitled Pushing Water which is still in process. He has also performed poetry in galleries and art centers, has collaborated with musicians and dancers and generally brings to poetry a broad sense of artistic and collaborative possibility. JAMES CHENG TING FEI moved to the US in 1992 to pursue a degree in electrical engineering. He has since been active as a composer, improviser and electronic musician. Works by Fei have been performed by the Bang on a Can All-Stars, Orchestra of the S.E.M. Ensemble and the Noord-Hollands Philharmonisch Orkest. Recordings of his works can be found on Leo Records, Improvised Music from Japan, CRI and Organized Sound. In addition to writing concert music for conventional and electro-acoustic ensembles, Fei also creates sound installations and performs on saxophones and live electronics. Fei joined the faculty of Mills College in2006. Recent CD releases include Sieves, electro-acoustic by Fei and Kato Hideki (Improvised Music From Japan), Alto Quartets (Organized Sound Recordings), Studies on the ANS (Russian synthesizer from 1958, Krabbesholm), and Bode Sound Project, a tribute CD to early electronic instrument pioneer Harold Bode. His works have been performed in New York City at Merkin Hall, The Kitchen, Knitting Factory, Tonic, Roulette, Experimental Intermedia, MATA Festival and Engine 27, as well as at Empty Bottle (Chicago), Beurs van Berlage (Amsterdam), Steim (Amsterdam), JFC Club (St Petersberg), Super Deluxe (Tokyo), Shinjuku Pit Inn (Tokyo), and the National Recital Hall (Taiwan). charles alexander chax press chax@theriver.com 650 e. ninth st. tucson arizona 85705 520 620 1626 ========================================================================= Date: Thu, 17 Apr 2008 11:06:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: aaron tieger Subject: Lori Lubeski's Undermined MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit CARVE Poems is pleased to announce the release of Lori Lubeski's chapbook Undermined. Copies may be ordered for $6 (including S&H) via paypal at carvepoems.org, or by sending a check (made out to AARON TIEGER) to 67 Rice St. #1, Cambridge, MA, 02140. A sample from the title poem of this excellent book: your beautiful planet escapes into the night sky of heavenly bodies a sweeping portrayal of diction where I stand petrified and moonlit your dark mood has me plunged into waters of broad dissatisfaction I crept through the blackness on my hands and knees belittled by ghosts and dodging anthems of mercurial words you always say no when I most need your inevitability who is paramount to you but me who has been judged a factor in this amnesty where elusive waters and warmth of paranoia cast aside its glow in the amber light of your speechless advocate-- "Make a sudden, destructive unpredictable action; incorporate." (Brian Eno) "Without people you're nothing" (Joe Strummer) --------------------------------- Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. ========================================================================= Date: Thu, 17 Apr 2008 11:08:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Alexander Subject: Cynthia Miller and David Krueger Opening at CUE Thursday, April 24, 6:00-8:00pm Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed CUE Art Foundation Presents Cynthia Miller: Curated by Ron Silliman David Krueger: Curated by Judy Pfaff April 24- May 31, 2008 Opening Reception: Thursday, April 24, 6-8pm Exhibition catalogue available 511 W. 25th Street (between 10th & 11th Avenues) ========================================================================= Date: Thu, 17 Apr 2008 14:55:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Quasha Subject: Reb Livingston & George Quasha reading at R&F Handmade Paint, Kingston, Saturday at 2 PM Comments: To: PoetryMotel Foundation Mime-Version: 1.0 (Apple Message framework v753) Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Reb Livingston & George Quasha April 19, 2008 at 2pm The Gallery at R&F Handmade Paint 84 Ten Broeck Avenue Kingston, NY 12401 A $5 donation is suggested. For directions please visit R&F=92s website at http://www.rfpaints.com/ Reb Livingston is the author Your Ten Favorite Words - http://=20 www.yourtenfavoritewords.com/ - (Coconut Books 2007) and co-editor of =20= The Bedside Guide to No Tell Motel - Second Floor - http://=20 www.notellbooks.org/secondfloor - (No Tell Books 2007). Her poems =20 have appeared in Best American Poetry 2006, The American Poetry =20 Review, Caffeine Destiny and other publications. She's the poetry =20 editor of No Tell Motel - http://www.notellmotel.org/ - and publisher =20= of No Tell Books - http://notellbooks.org/ Visit Reb's blog at: http://cacklingjackal.blogspot.com/ George Quasha is an artist and poet who works across mediums to =20 explore principles in common within language, sculpture, drawing, =20 video, sound, installation, and performance. Solo exhibitions of his =20 axial stones and axial drawings include the Baumgartner Gallery in =20 New York (Chelsea), Slought Foundation in Philadelphia, and the =20 Samuel Dorsky Museum of Art at SUNY New Paltz. This work is featured =20 in the recently published book, Axial Stones: An Art of Precarious =20 Balance, Foreword by Carter Ratcliff (North Atlantic Books: Berkeley, =20= 2006). In 2006 he was awarded a Guggenheim Fellowship in video art. For his video installation work art is: Speaking Portraits (in the =20 performative indicative), he has recorded over 650 artists, poets, =20 and composers (in 10 countries and 20 languages) saying what in their =20= view art or poetry or music is. This ongoing work (=93art is/music is/=20= poetry is=94) has been exhibited at the Snite Museum of Art (University =20= of Notre Dame), at White Box in Chelsea, the Samuel Dorsky Museum =20 (SUNY New Paltz), and in several other countries (including France =20 and India), and has been featured in several biennials (Wroclaw, =20 Poland; Geneva, Switzerland; Kingston, New York). Further extensions =20 of this work in speaking portraiture include "myth is=94 and =93peace =20= is.=94 His other work in axial video (including Pulp Friction, Axial =20 Objects, Verbal Objects, Axial Landscapes) has appeared =20 internationally in museums, galleries, schools, and biennials. A 30-=20 year performance collaboration (video/language/sound) continues with =20 Gary Hill and Charles Stein. His other 14 books include poetry: Somapoetics, Giving the Lily Back =20 Her Hands, Ainu Dreams (with Chie Hasegawa), and Preverbs =20 [forthcoming]; anthologies: America a Prophecy [with Jerome =20 Rothenberg], Open Poetry [with Ronald Gross], An Active Anthology =20 [with Susan Quasha], The Station Hill Blanchot Reader [with Charles =20 Stein]); and writing on art: Gary Hill: Language Willing, with =20 Charles Stein: Tall Ships, HanD HearD/liminal objects, Viewer. A new =20 book on Gary Hill is An Art of Limina, forthcoming from Ediciones =20 Poligrafa (Barcelona), also in collaboration with Charles Stein. Awards include a National Endowment for the Arts Fellowship in =20 poetry. He has taught at Stony Brook University (SUNY), Bard College, =20= New School University (Graduate Anthropology Department), and Naropa =20 University. With Susan Quasha he is founder/publisher of Barrytown/=20 Station Hill Press in Barrytown, New York. www.quasha.com www.baumgartnergallery.net www.stationhill.org In the Gallery at R&F: "Rituals", a solo exhibition of recent =20 encaustic paintings by New Orleans artist, Mary Jane Parker. The show =20= will run from April 5th through May 24th, 2008. ========================================================================= Date: Thu, 17 Apr 2008 12:25:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Berkson Subject: berkson/jamme In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Bill Berkson reads his poems &=20 New Exercises by Franck Andr=E9 Jamme Meridian Gallery 735 Powell, San Francisco April 24, 7:30 pm Suggested donation $10 ========================================================================= Date: Thu, 17 Apr 2008 15:40:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Evan Munday Subject: The poetics of stuttering in Portland - Apr. 20 & 21 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 Portland friends, Jordan Scott brings his ambitious and fascinating book, Blert, to =20 Portland this weekend. Hear the poet read from a work that Craig =20 Dworkin calls 'the most original poetic project I have read in years.' Scott will be in Portland for two events -- April 20 and 21 -- with =20 fellow Canadian poets Donato Mancini (Aethel) and Stephen Collis (The =20= Commons). Spare Room Reading Series featuring Jordan Scott, Donato Mancini and Stephen Collis Sunday, April 20, 2008 Someday Lounge, 125 NW 5th Avenue Portland, OR 5:00 p.m. $5 suggested donation Poetry Month at Broadway Books featuring Jordan Scott, Donato Mancini and Stephen Collis Monday, April 21, 2008 Broadway Books, 1714 NE Broadway Street 7:00 p.m. Free *** About Blert: The bright, taut, explosive poems in Jordan Scott=92s Blert represent a =20= spelunk into the mouth of the stutterer. Through the unique symptoms =20 of the stutterer (Scott, like fifty million others, has always =20 stuttered), language becomes a rolling gait of words hidden within =20 words, leading to different rhythms and textures, all addressed by =20 the mouth=92s slight erosions. In Scott=92s lexicon, to blert is to stutter, to disturb the breath of =20= speaking. The stutter quivers in all that we do, from a skip on a cd =20 to a slip of the tongue. These experiences are often dismissed as =20 aberrant, but in Blert, such fragmented milliseconds are embraced and =20= mined as language. Often aimed full-bore at words that are especially =20= difficult for the stutterer, Scott=92s poems don=92t just discuss, they =20= replicate the act of stuttering, the =91blort, jam and rejoice=92 =20 involved in grappling with the granular texture of words. =91Jordan Scott=92s Blert is the most original poetic project I have = read =20 in years. Undertaking a =93poetics of stutter,=94 the book is not =20 primarily a mimetic representation of stuttering, or the reproduction =20= of stammered speech, but rather an investigation into how the stutter =20= originates.=92 =96 Craig Dworkin, PMLA For more information about Blert, visit http://www.chbooks.com/=20 catalogue/index.php?ISBN=3D1552451992. Watch a documentary on Jordan Scott at http://www.youtube.com/watch?=20 v=3D4Gr3VxXio8A. Listen to a radio interview with Jordan Scott at http://www.cbc.ca/=20 andsometimesy/pastshows.html?s3-ep14 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: Fri, 18 Apr 2008 02:02:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mairead Byrne Subject: Re: Aime Cesaire, voice of French Black pride, dies Comments: To: amyhappens@yahoo.com Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline This notice of his death brings him alive again. Mairead >>> amy king 04/17/08 11:33 AM >>> Thu 17 Apr 2008, 13:18 GMT By Astrid Wendlandt =20 PARIS (Reuters) - French Caribbean poet Aime Cesaire,founding father of = the "negritude" movement that celebrated blackconsciousness, died in his = native Martinique, France'sMinistry of Culture said on Thursday. =20 Cesaire, 94, who was mayor of the island's main city Fort-de-France for = morethan half a century, was admitted to hospital last week suffering from = heartand other problems. =20 His writings offered insight into how France imposedits culture on its = citizens of different origins in the early part of the 20thCentury. =20 The theme still resonates in French politics today, as thecountry = continues to struggle to integrate many of its residents of African = andNorth African origin. =20 In 2005, Cesaire refused to meet then French InteriorMinister Nicolas = Sarkozy (now French president) over concerns that Sarkozy'sconservative = UMP party had pushed for a law which proposed to recognise thepositive = legacy of French colonial rule. The law was eventually repealed. =20 Cesaire and African intellectual Leopold Senghor -- laterpresident of = Senegal-- founded "The Black Student" in 1934, a journal that encouragedpeo= ple to develop black identity. =20 ANTI-COLONIAL VOICE IN THE 1960s =20 The Caribbean writer rose to fame with his "Notebook ofa Return to the = Native Land", written inthe late 1930s, in which he says "my negritude is = neither tower norcathedral, it plunges into the red flesh of the soil." =20 His poems expressed the degradation of black people in the Caribbean and = describe the rediscovery of an Africansense of self. In his "Discourse on = Colonialism", first published in1950, Cesaire compared the relationship = between the coloniser and colonisedwith the Nazis and their victims. =20 He was a mentor to fellow Martinican author Frantz Fanon,and their = anti-colonial writings were a major influence in the headyintellectual = climate of the 1960s and 1970s in France. =20 The negritude movement was a counterpart to the Black Pridemovement in the = United States,though it has been criticised for not being radical enough. =20 Cesaire was also a friend of the French surrealist poetAndre Breton who = had encouraged him to become a major voice of Surrealism. =20 Cesaire's anti-colonial rhetoric did not prevent him from havinga = long-lasting political career. =20 After becoming mayor of Fort-de-France in 1945 at the age of 32, hewas = elected deputy of parliament a year later, a post he held until the = early1990s. =20 A graduate of the prestigious French Ecole NormaleSuperieure -- unusual = for a black Martinican in the 1930s -- he remained amember of the French = communist party until the Soviet Hungarian repression of1956. =20 Cesaire was born in 1913 in the small town of Basse-Pointe in Martinique.He= married Suzanne Roussi in 1937, a gifted writer in her own right, with = whomhe had six children. =20 http://africa.reuters.com/top/news/usnBAN745797.html =20 _______ http://www.amyking.org=20 _____________________________________________________________________= _______________ Be a better friend, newshound, and=20 know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt= =3DAhu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Thu, 17 Apr 2008 22:37:33 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anny Ballardini Subject: Re: Obama is correct about rural PA In-Reply-To: <356825.16857.qm@web65104.mail.ac2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline :-) even if I like Shaw, but Auden's impertinence is too good On Thu, Apr 17, 2008 at 11:38 AM, Barry Schwabsky < b.schwabsky@btopenworld.com> wrote: > Your characterization of Obama as an empty suit reminds me of W.H. Auden's > complaint about the plays of George Bernard Shaw--that his characters were > abstractions, that "they have no bodies." And then he added, "Oscar Wilde's > characters don't have bodies either, but at least they have clothes." > > > > ----- Original Message ---- > From: Mark Weiss > To: POETICS@LISTSERV.BUFFALO.EDU > Sent: Tuesday, 15 April, 2008 1:57:01 PM > Subject: Re: Obama is correct about rural PA > > Let me be real clear. Obama as a candidate lives by the word. His > ability to read an eloquent prepared speech and to participate in the > writing of it is a major reason he's been so successful. When he > screws up it has consequences, because he seems to be so careful with > words. > > Here's what he said: "You go into these small towns in Pennsylvania > and, like a lot of small towns in the Midwest, the jobs have been > gone now for 25 years and nothing's replaced them. And it's not > surprising then they get bitter, they cling to guns or religion or > antipathy to people who aren't like them or anti-immigrant sentiment > or anti-trade sentiment as a way to explain their frustrations." How > is it possible to read this as other than a discounting, not of > "their" suffering, but of their opinions and beliefs? How is this not > a cartoon? It's that presumed attitude that's been criticized, and it > appears apparently as of a piece with a frequent dismissiveness, as > if he finds the entire process of getting elected simply too silly for > words. > > But suppose it's just a slip, or he's really not that good on his > feet, etc. How many of these things do you think he could get away > with in the general election? > > It should be obvious that I suspect, or maybe more accurately fear, > that Obama's an empty suit. The frequent invocation of Kennedy, who > was an empty suit for the most part, isn't reassuring. > > I'd love to be proven wrong. > > Hey, maybe he'll even honor his pledge to limit himself to public > financing. That could establish a standard that would really change > American politics. > > If he's elected, and he probably will be, he's going to be up against > so many intractable, urgent problems that even an FDR would probably fail. > > But Obama's very smart, and he'll probably learn. > > Anyway, my opinion doesn't matter. I already got to vote. > > Mark > > > At 12:02 AM 4/15/2008, you wrote: > >Yes, do read the statement -- as poorly worried as it was, Obama was > clearly > >not saying that people adopt faith because of their bitterness over > >the economy > >or, as more than one talking head as put it today, that they have guns > and go > >hunting because of that bitterness -- he was saying fairly plainly, > though not > >in a politic way, that this presumed bitterness leads to their clinging > to > >these issues as election motivations -- and, as I remarked yesterday, > that's > >pretty much been the Republican campaign strategy reaching back to > Nixon's > >Southern strategy -- > > > >On Mon, Apr 14, 2008 07:07 PM, Mark Weiss wrote: > > > > > Read the statement. He said that small town folks "cling to religion > > >and guns" out of bitterness. I happen to think that belief in an > > >afterlife is a product of desperation, and Obama apparently agrees, > > >at least when it comes to poor white folks. But I'd be pretty careful > > >where I said that, if only out of politeness. As a politician, I'd > > >have to be an idiot to say it. Same goes for guns. most gun violence > > >happens in big cities. I think guns should be much more strictly > > >regulated, even that hunting rifles should be locked up at the police > > >station and only reclaimed when a hunting trip's planned, because the > > >cities need that kind of rule. But it's not hard to understand why > > >rural folks would object. > > > > > >Mark > > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> > > >>>>>>>>>>>>>> > > > > > >"Study the fine art of coming apart." > > > > > >--Jerry W. Ward, Jr. > > > > > >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 > > > > > > > > > > -- Anny Ballardini http://annyballardini.blogspot.com/ http://www.fieralingue.it/modules.php?name=poetshome http://www.moriapoetry.com/ebooks.html I Tell You: One must still have chaos in one to give birth to a dancing star! ========================================================================= Date: Wed, 16 Apr 2008 15:53:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sara Wintz Subject: national poetry month @ p.s.1 ! MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline hello poets, In honor of National Poetry Month, P.S.1 Contemporary Art Center, in Long Island City, is offering free admission to anyone who comes with a poem in hand! *Olafur Eliasson*'s exhibition opens at P.S.1 (and at MOMA) this week and *WACK!: Art and the Feminist Revolution* is on view until May 12-- two awesome shows! For more information, visit our website at www.ps1.org. Hope to see you this month! Yrs, sara wintz Sara Wintz Visitor Services Assistant P.S.1 Contemporary Art Center 22-25 Jackson Ave. Long Island City, NY 11101 718.784.2085 ========================================================================= Date: Thu, 17 Apr 2008 18:29:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at The Poetry Project April In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="UTF-8" Content-transfer-encoding: quoted-printable =20 We=E2=80=99re very busy here at The Poetry Project. Four readings next week! Also= , scroll all the way down for information on the Flarf festival taking place at various locations next week. Monday, April 21, 8 PM Kate Greenstreet & Frank Sherlock Kate Greenstreet is the author of case sensitive (Ahsahta Press, 2006) and three chapbooks, Learning the Language (Etherdome Press, 2005), Rushes (above/ground press, 2007), and This is why I hurt you (Lame House Press, April 2008). Her second book, The Last 4 Things, will be out from Ahsahta i= n 2009. Her poems can be found in journals like Cannibal, Fascicle, and Handsome. New work is forthcoming in Filling Station, Practice, and The Columbia Review. Frank Sherlock is a author of Ready-to-Eat Individual (wit= h Brett Evans). Recent chapbooks include Over Here, Daybook of Perversities & Main Events and Wounds in an Imaginary Nature Show. A collaboration with CA Conrad entitled The City Real & Imagined: Philadelphia Poems is forthcoming from Factory School Books this spring. Wednesday, April 23, 8 PM CA Conrad & Larry Kearney CA Conrad is the author of Deviant Propulsion (Soft Skull, 2006), (Soma)tic Midge (FAUX, 2008), The Book of Frank (Chax, 2008), and a collaboration wit= h poet Frank Sherlock The City Real & Imagined: Philadelphia Poems, (Factory School, 2008). Poetry is central to his life, poetry is our EVERYDAY MIRACLE! Look for him and some of his poet genius friends at www.PhillySound.blogspot.com. Larry Kearney, born in Brooklyn, New York. Brooklyn Technical High School, Harpur College. San Francisco in =E2=80=9964=E2=80=94Sp= icer, MacInnis, Duerden, Kyger, Stanley and Brautigan. Bolinas for eleven years. Three works of non-fiction published, as well as a children=E2=80=99s book and fifteen books of poetry. Six screenplays, four novels, and a book on films of the late forties ready to circulate. Three volumes of memoir complete, two more coming. A new book (Sixteen Poems for Susan and Lawrence) for Whit= e Rabbit Press, perhaps. Friday, April 25, 10 PM Michelle Tea, Tara Jepsen, Nicole J. Georges & Rhiannon Argo Michelle Tea's first memoir, The Passionate Mistakes and Intricate Corruption of One Girl in America, was just re-published by Semiotext(e). She has written three others, plus a collection of poetry and the novel Ros= e of No Man's Land. Her recent It's So You: 35 Women Talk About Personal Expression Through Beauty and Style, contains stunning essays by Eileen Myles, Kim Gordon, Cintra Wilson and others. She is the artistic director o= f Radar Productions, a San Francisco literary non-profit that produces the all-girl lit tours Sister Spit: The Next Generation. Tara Jepsen is a write= r and performer from San Francisco, CA. Her stories have been published in th= e anthologies Pills, Thrills, Chills and Heartache (Alyson Books) and It=E2=80=99s = So You (ed. Michelle Tea, Seal Press, 2007). She toured extensively with seminal all-female cabaret Sister Spit=E2=80=99s Rambling Road Show. Her most rec= ent short film, Diving for Pearls (with Beth Lisick), won the =E2=80=9CMost Innovativ= e Short=E2=80=9D award at the Seattle Lesbian and Gay Film Festival (2004) and was selected for the =E2=80=9CBest of Newfest=E2=80=9D screening at the BAM. She co-curates= and co-hosts SF's longest running queer open mic, K'vetsh. She just completed writing a novel, Like a Dog. Nicole J. Georges is an illustrator, zinester and pet portrait artist living in Portland, Oregon. Nicole is the author of award-winning autobiographical comic zine Invincible Summer (now a two volume book set from Microcosm Publishing), and is most proud of being vote= d Miss Specs Appeal 2006 by the zine Hey! Four Eyes. Nicole will be reading stories about herself and her dogs while projecting images from her comic life. Rhiannon Argo is a San Francisco based writer whose stories have been published in anthologies and in her own hand-made chapbooks, Pill, Four, an= d Cola. In 2007 she took her tales on the road for an entire month with the new wave of Sister Spit. She recently finished her first novel entitled Switch, a tale of grit and glam, starring fierce feminist strippers and punkish, gender-queer girl-skateboarders. Saturday, April 26, 1 PM A Tribute to Barbara Guest Barbara Guest (1920=E2=80=932006) published over twenty volumes of poetry includi= ng The Countess of Minneapolis, Fair Realism and The Red Gaze, and earned awards including the Robert Frost Medal for Distinguished Lifetime Achievement from the Poetry Society of America. Join John Ashbery, Charles Bernstein, Susan Bee, Mei-mei Berssenbrugge, Peter Gizzi, Kathleen Fraser (pre-recorded), Hadley Guest, Ann Lauterbach, Erica Kaufman, Charles North, Rena Rosenwasser, Richard Tuttle, Africa Wayne and Marjorie Welish in a celebration of Guest=E2=80=99s life and work, as well as the forthcoming The Collected Poems of Barbara Guest by Wesleyan University Press. Co-sponsored with The Poetry Society of America. FLARF IS LIFE 2008 Holistic Expo & Peace Conference http://flarffestival.blogspot.com THURSDAY, APR 24, 8:00 P.M., DIXON PLACE, 258 BOWERY, $8 Film, neo-benshi, and theater by: Brandon Downing: Two new short films Rob Fitterman: Film: "Bisquick / Bismarck" Nada Gordon: Neo-benshi: "Uzumaki" Mitch Highfill: Play: "The Secret History of the '60s" Rodney Koeneke: Neo-benshi: "Mary Poppins" Michael Magee: Play: "William Logan: A Sedentary Life" K. Silem Mohammad & Gary Sullivan: Play: "Chain: A Dialog" Kim Rosenfield: Neo-benshi: "Meglio Stasera / The Libido Theory" FRIDAY, APR 25, 7:00 P.M., 300 Bowery, buzz "Sherry/Thomas," FREE Publication party for new books and DVDs by: Brandon Downing: Dark Brandon (DVD) Mitch Highfill: Moth Light Sharon Mesmer: Virgin Formica K. Silem Mohammad: Breathalyzer Mel Nichols: Bicycle Day Rod Smith: Deed Gary Sullivan: PPL in a Depot SATURDAY, APR 26, 6:00 P.M., BOWERY POETRY CLUB, 308 BOWERY, $8 A Segue reading to benefit Bowery Arts and Sciences, featuring: Shanna Compton Katie Degentesh Benjamin Friedlander Drew Gardner Nada Gordon Mitch Highfill Rodney Koeneke Michael Magee Sharon Mesmer K. Silem Mohammad Mel Nichols Eir=C3=ADkur =C3=96rn Nor=C3=B0dahl James Sherry Rod Smith Christina Strong With music by the Drew Gardner Orchestra and The Saw Lady. Hosted by Brandon Downing and Gary Sullivan. This benefit reading will help keep Segue readings at an affordable $6. Become a Poetry Project Member! http://poetryproject.com/membership.php 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=E2=80=99d like to be unsubscribed from this mailing list, please drop a li= ne at info@poetryproject.com. ========================================================================= Date: Thu, 17 Apr 2008 19:04:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Tributaries & Text-Fed Streams MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT Tributaries & Text-Fed StreamsThe Capilano Review, a long-running (print) literary periodical from Vancouver Canada, recently published an issue titled "Artifice and Intelligence". It featured essays relating to digital writing by a number of Canadian artists such as David Jhave Johnston, Kate Armstrong, Darren Werschler Henry, myself, and others. To my knowledge, this is the first of the long-running literary periodicals of western Canada to do anything whatsoever concerning digital writing. The issue was guest-edited by Andrew Klobucar, who teaches at Capilano College. Below is a press release about a project, just published, concerning that issue of the Capilano Review. My essay, "The of Net Art", which is in both these projects, is at http://tributaries.thecapilanoreview.ca/2008/04/15/the-body-of-net-art . It looks at some of the architectural possibilities for works of net art. ja _________________________________ We are writing to announce "Tributaries & Text-Fed Streams", a new net art project by J.R. Carpenter. The piece was commissioned by the TCR (The Capilano Review), based in Vancouver, and is a "personal, experimental and playful rereading of and response to” the essays you produced for the "Artifice and Intelligence" edition, issue 2.50, published one year ago. The work explores the formal and functional properties of RSS, using blogging, tagging and other online tools to mark up and interlink essays and to insert additional meta-layers of commentary in order to play with, expose, expand upon, and subvert formal structures of writing, literature, and literary criticism. Over a period of time the twelve essays are distilled into fragments, which are then annotated, marked-up, tagged and posted. Fed into an RSS stream, the fragments are re-read, reordered, and reblogged in an iterative process of distribution that opens up new readings of the essays and reveals new interrelationships between them. The result of this process-based approach is part blog, part archive - at once an online repository for the artifacts of re-reading and a stage for the performance of live archiving. Streams are both literally and metaphorically the central image of the work. Streams of consciousness, data, and rivers flow through the interface and through the texts. Through this process of re-reading and responding, this textual tributary feeds a larger stream while paying tribute to the original sources. The work is located at http://tributaries.thecapilanoreview.ca. Upon the conclusion of its active phase in May 2008, the project will be launched at an event sponsored by TCR in Vancouver and released on Turbulence.org. We invite you to check it out, and perhaps to respond in comments, bringing the process full circle. ---------------------------- Kate Armstrong Curator, Tributaries & Text-Fed Streams ---------------------------- Andrew Klobucar Guest Editor, TCR 2-50 ---------------------------- ========================================================================= Date: Thu, 17 Apr 2008 22:55:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fluffy Singler Subject: Re: New Marjorie Perloff interview at The Argotist Online MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Thanks for that! -----Original Message----- From: Jeffrey Side [mailto:argotist@FSMAIL.NET]=20 Sent: Wednesday, April 16, 2008 9:21 AM Subject: New Marjorie Perloff interview at The Argotist Online Here is an interview that I did with Marjorie Perloff for Poetry Salburg Review in 2006. I have been given permission by its editor, Wolfgang G=F6rtschacher, to reproduce it here: http://www.argotistonline.co.uk/Perloff%20interview%202.htm ========================================================================= Date: Fri, 18 Apr 2008 09:50:37 -0500 Reply-To: dgodston@sbcglobal.net Sender: UB Poetics discussion group From: Daniel Godston Subject: tonight at Robin's Bookstore In-Reply-To: <356825.16857.qm@web65104.mail.ac2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Please join us for a poetry reading=20 with Deidra Greenleaf Allan, Daniel Godston, and Cris McCreary at Robin=E2=80=99s Bookstore in Philadelphia=20 6 p.m. on Friday, April 18=20 Deidra Greenleaf Allan Deidra=E2=80=99s interest in poetry began early. She wrote her first = poem at the age of 8 and submitted her first poem to the New Yorker at = the age of 17. Needless to say, soon after, she received her first = rejection.=20 In 1997, after more than 20 years of doing professional writing and = public relations, Deidra returned to her creative roots. Taking a leave = of absence from work, she attended Vermont College, where she completed = her MFA in January 2002.=20 In 2001 she was selected as Montgomery County Poet Laureate in a = competition judged by Robert Hass. Also that year, she received a Leeway = Emerging Artist Award and was nominated by Vermont College for the = Modern Poetry Association=E2=80=99s Ruth Lily Fellowship. In 2002, she = was a finalist for a Pew Fellowship in poetry.=20 Her poems have appeared in American Poetry Review, Aurelian, Mad = Poet=E2=80=99s Review, Poetry Miscellany, Puerto del Sol, Schuylkill = Valley Journal of the Arts, West Branch (fall 2007), and Wind Magazine. = =20 Daniel Godston Daniel Godston teaches at Snow City Arts Foundation, The Center for = Community Arts Partnerships, and at Columbia College Chicago. His = writings have appeared in Chase Park, Versal, Drunken Boat, 580 Split, = Kyoto Journal, Eratica, Moria, after hours, and other print publications = and online journals. His poem =E2=80=9CMask to Skin to Blood to Heart to = Bone and Back=E2=80=9D was nominated by the editors of 580 Split for the = Pushcart Prize. In February 2007 he curated the Forth Sound Back event, = in the Red Rover Series. He works with the Borderbend Arts Collective to = organize the Chicago Calling Arts Festival. Chris McCreary Chris McCreary is co-editor of ixnay press (www.ixnaypress.com) and the = author of two books of poems, Dismembers and The Effacements. He has = reviewed poetry and fiction for venues such as Rain Taxi, Review of = Contemporary Fiction, and The Philadelphia Inquirer, and he teaches = English at a private high school in the Philadelphia area. Robin=E2=80=99s Bookstore 108 South 13th Street Philadelphia, PA 19107 215-735-9600 http://www.robinsbookstore.com/=20 ========================================================================= Date: Fri, 18 Apr 2008 11:34:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sarah Sarai Subject: Re: [New-Poetry] Aime Cesaire, voice of French Black pride, dies - Interview excerpts: Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain Thanks, Amy.=20=20 I note, from the interview you posted, Cesaire's insistence that one/we c= ontinue to write=20 in the face of history... "it is up to us at any given moment to establ= ish and readjust the=20 hierarchy of dangers..."=20 and=20 "In other words, poetry is for me a searching after truth and sincerity, = sincerity outside of=20 the world, outside of alien times. We seek it deep within ourselves, ofte= n despite=20 ourselves, despite what we seem to be, within our innermost selves."=20 From: "Notebook of a Return to the Native Land" "At the end of daybreak, on this very fragile earth thickness=20 exceeded in a humiliating way by its grandiose future--the vol- canoes will explode, the naked water will bear away the ripe=20 sun stains and nothing will be left but a tepid bubbling pecked=20 at by sea birds--the beach of dreams and the insane awakening." ...Sarah >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>Amy's message=20 below: listserv.buffalo.edu=09 Subscriber's Corner=09 Email Lists=09=09 Preferences=09 Log Out Logged in as: ssarai001@gmail.com Basic Mode =09 POETICS Archives View: Next Message | Previous Message=20 Next in Topic | Previous in Topic=20 Next by Same Author | Previous by Same Author=20 Chronologically | Most Recent First=20 Proportional Font | Monospaced Font Options: Join or Leave POETICS Reply | Post New Message Search Archives Subject:=09 Re: [New-Poetry] Aime Cesaire, voice of French Black pride, d= ies - Interview=20 excerpts: From:=09 amy king Reply-To:=09UB Poetics discussion group Date:=09Thu, 17 Apr 2008 09:06:22 -0700 Content-Type:=09text/plain Parts/Attachments:=09 =09 text/plain (171 lines) =46rom The liberating power of words - interview with poet Aime Cesaire -= Interview Aim=E9 C=E9saire: I=92ve always had the feeling that I was on a quest to = reconquer something,=20 my name, my country or myself. That is why my approach has in essence always been poetic. Because it seems to me that in a way that=92s what poetry is. The reconquest of the self by the self=85. I think it was Heidegger who said that words are the abode of being. There are many such quotations. I believe it was Rene Char, in his surrealist days, who said that words know much more about us than we know about them. I too believe that words have a revealing as well as a creative function=85= The Abbe Gregoire(1), Victor Schoelcher(2) and all those who spoke out and still speak out, who campaigned for human rights without distinction of race and against discrimination, these were my guides in life. They stand forever as representatives of the West=92s great outpouring of magnanimity and solidarity, an essential contribution to the advancement of the ideas of practical universality and human values, ideas without which the world of today would not be able to see its way forward. I am forever a brother to them, at one with them in their combat and in their hopes=85 I really do believe in human beings. I find. something of myself in all cultures, in that extraordinary effort that all people, everywhere, have made - and for what purpose? Quite simply to make life livable! It is no easy matter to put up with life and face up to death. And this is what is so moving. We are all taking part in the same great adventure. That is what is meant by cultures, cultures that come together at some me= eting-point=85. I think it was in a passage in Hegel emphasizing the master-slave dialectic that we found this idea about specificity. He points out that the particular and the universal are not to be seen as opposites, that the universal is not the negation of the particular but is reached by a deeper exploration of the particular. The West told us that in order to be universal we had to start by denying that we were black. I, on the contrary, said to myself that the more we were black, the more universal we would be. It was a totally different approach. It was not a choice between alternat= ives, but an effort=20 at reconciliation. Not a cold reconciliation, but reconciliation in the heat of the fire, an= alchemical=20 reconciliation if you like. The identity in question was an identity reconciled with the universal. For me there can never be any imprisonment within an identity. Identity means having roots, but it is also a transition, a transition to= the universal=85. We are far removed from that romantic idyll beneath the calm sea.These ar= e angry,=20 exasperated lands, lands that spit and spew, thatvomit forth life. That is what we must live up to. We must draw upon the creativity of this plot of land! We must keep it going and not sink into a slumber of acceptance and resignation. It is a kind of summons to us from history and from nature=85. And so I have tried to reconcile those two worlds, because that was what had to be done. On the other hand, I feel just as relaxed about claiming kinship with the African griot and the African epic as about claiming kinship with Rimbaud and Lautreamont - and through them with Sophocles and Aeschylus! =85 I have never harboured any illusions about the risks of history, be it in Africa, in Martinique, in the Americas or anywhere else. History is always dangerous, the world of history is a risky world; but it is up to us at any given moment to establish and readjust the hierarchy of dangers. =85 At any rate, it is for me the fundamental mode of expression, and the world=92s salvation depends on its ability to heed that voice. It is obvious that the voice of poetry has been less and less heeded during the century we have lived through, but it will come to be realized more and more that it is the only voice that can still be life-giving and that can provide a basis on which to build and reconstruct=85. * And yet this century has not been one where ethics has triumphed, has i= t? A.C.: Certainly not, but one must speak out, whether one is heeded or not; we hold certain things to be fundamental, things that we cling to. Even if it means swimming against the tide, they must be upheld. In other words, poetry is for me a searching after truth and sincerity, sincerity outside of the world, outside of alien times. We seek it deep within ourselves, often despite ourselves, despite what we seem to be, within our innermost selves. Poetry wells up from the depths, with explosive force. The volcano again. No doubt I have reached the moment of crossing the great divide but I face it imperturbably in the knowledge of having put forward what I see as essential, in the knowledge, if you like, of having called out ahead of me and proclaimed the future aloud. That is what I believe I have done; somewhat disoriented though I am to find the seasons going backwards, as it were, that is how it is and that is what I believe to be my vocation. No resentments, none at all, no ill feelings but the inescapable solitude of the human condition. That is the most important thing. 1. Henri Gregoire (1750-1831), French ecclesiastic and politician, a leader of the movement in the Convention for the abolition of slavery. Ed. 2. French politician (1804-1893), campaigner for the abolition of slavery in the colonies, Deputy for Guadeloupe and Martinique. Ed. =96The liberating power of words - interview with poet Aime Cesaire - Int= erview =20 http://findarticles.com/p/articles/mi_m1310/is_1997_May/ai_19557181/print= _______ http://www.amyking.org=20 =20=20=20=20=20=20 _________________________________________________________________________= ___ ________ Be a better friend, newshound, and=20 know-it-all with Yahoo! Mobile. Try it now.=20=20 http://mobile.yahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ Back to: Top of Message | Previous Page | Main POETICS Page Permalink LISTSERV=AE is a registered trademark licensed to L-Soft international, I= nc. =A9 2008, University at Buffalo, All rights reserved. University at Buffalo IT policies ========================================================================= Date: Fri, 18 Apr 2008 11:36:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Allegrezza Subject: Series A--Fiction and Poetry: Blackstone and Pallant this Tuesday! Comments: To: wallegre@iun.edu MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Come hear fiction and poetry by Charles Blackstone and Cherly Pallant this coming Tuesday! April 22, 7:00-8:00 p.m. Charles Blackstone Cheryl Pallant At the Hyde Park Art Center. 5020 S. Cornell Avenue Chicago, IL The reading series is easy to access from both Metra and CTA (#6 Bus). BYOB! See http://www.moriapoetry.com/seriesa.html for more details. Cheryl Pallant is a writer, poet, dancer, writing coach, and university instructor. She is the author of five books: Contact Improvisation, her book on dance from McFarland and Company; two poetry books from Station Hill Press, Uncommon Grammar Cloth and Into Stillness; and two chapbooks, The Phrase from The Feral Press and Spontaneities from Belladonna Press. A new nonfiction book, on embodied writing, is currently underway. Poetry and fiction have appeared in numerous print and online magazines such as Fence, HOW2, Tarpaulin Sky, and Oxford Magazine, and in several anthologies like Food for Thought by William Morrow and Company and An Introduction to the Prose Poem by Firewheel Editions. She has published over 200 reviews and interviews with dancers, performance artists, and writers from around the globe and was a critic for a local newspaper for twelve years. Charles Blackstone lives in Chicago and is the co-editor of a forthcoming literary anthology, The Art of Friction: Where (Non) Fictions Come Together (University of Texas Press, 2008). Blackstone's short fiction has appeared in Bridge, Identity Theory, The Evergreen Review, and others. He is a regular contributor to Chicago Public Radio. Bill Allegrezza editor@moriapoetry.com series A curator ========================================================================= Date: Fri, 18 Apr 2008 22:11:03 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Martha King Subject: The Independent: Andrew Crozier: Poet and poets' champion MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7bit A friend (gpwitd@aol.com) has sent you an article: Andrew Crozier: Poet and poets' champion http://www.independent.co.uk/news/obituaries/andrew-crozier-poet-and-poets-champion-809561.html At just 20 years old, the poet Andrew Crozier began to nurture and revitalise ? through his small-press publishing ? a rich terrain of first American, then British, modernist poetry. This had a rapid effect for his peers, principally those associated with the Cambridge School. Crozier disseminated, circulated and, with what became an increasingly anonymous generosity, encouraged and stimulated countless writers and visual artists. If he partly achieved this as an editor, archivist, publisher and teacher, it was quietly reflective of his precise gift as a poet. Please consider posting this. Earlier notice of the death of Andrew Crozier was quite truncated. This one, by poet Nicholas Johnson (etruscan press), goes much further. --Martha King ========================================================================= Date: Fri, 18 Apr 2008 05:35:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: how bad was the debate?/ The Guardian, and other links MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii 1. "Clinton-Obama Debate: ABC Decides Top Issues Facing Americans Are Gaffes, Flag Pins and '60s Radicals," Editor & Publisher, April 16, 2008 http://www.moveon.org/r?r=3580&id=12458-8315741-.IMQSR&t=6 2. "Worst. Debate. Ever." The Guardian blog, April 16, 2008 http://www.moveon.org/r?r=3582&id=12458-8315741-.IMQSR&t=7 3. "Philadelphia Debate Thread," Chris Bowers, OpenLeft.com, April 16, 2008 http://www.openleft.com/showDiary.do?diaryId=5195 4. "In Pa. Debate, The Clear Loser Is ABC," Washington Post, April 17, 2008 http://www.moveon.org/r?r=3581&id=12458-8315741-.IMQSR&t=8 5. "The Debate Debacle," The Philadelphia Inquirer blog, April 16, 2008 http://www.moveon.org/r?r=3583&id=12458-8315741-.IMQSR&t=9 Support our member-driven organization: MoveOn.org Political Action is entirely funded by our 3.2 million members. We have no corporate contributors, no foundation grants, no money from unions. Our tiny staff ensures that small contributions go a long way. If you'd like to support our work, you can give now at: http://political.moveon.org/donate/email.html?id=12458-8315741-.IMQSR&t=10 PAID FOR BY MOVEON.ORG POLITICAL ACTION, http://pol.moveon.org/ Not authorized by any candidate or candidate's committee. ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Fri, 18 Apr 2008 01:40:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Ford Subject: Re: Obama is correct about rural PA In-Reply-To: <356825.16857.qm@web65104.mail.ac2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline What's been overlooked in the discussion of Obama's remarks is that he isn't saying that people hunt and go to church because they are bitter. He is saying that working class Americans are bitter and as a result get conned into voting against their own interests by the Republicans, who throw around nonsense issues like gun control and gay marriage to frighten them. This sounds like a good description of my family, who live in Chicago. And some of my neighbors here in New Orleans. It's not a small town issue, it's class issue. I've lived in working class communities my whole life, and I knew immediately what Obama was talking about. It's not elitism, it's just the truth. People in the US have been voting away their rights and economic welfare for years. Michael Ford ========================================================================= Date: Sun, 13 Apr 2008 13:00:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: Correction: re. Marsh Hawk Press book launch & party Comments: To: Mattes50@aol.com, sgavrons@barnard.edu, sdolin@earthlink.net, Sazibree@aol.com, wshurst@adelphia.net, hokumakai@aol.com, sdonadio@middlebury.edu, millers@stjohns.edu, sclay@granarybooks.com, sed372@aol.com, susanwheeler@earthlink.net, tenah@bea.com, tennessee@thing.net, thilleman@excite.com, tom@goprofab.com, mamtaf@juno.com, tlavazzi@kbcc.cuny.edu, UKPOETRY@LISTSERV.MUOHIO.EDU, vernagillis@earthlink.net, z@culturalsociety.org Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Many apologies to David Shapiro. His name was misspelt on our announcement. The announcement should read: Jane Augustine and Marsh Hawk Press asked me to send this message to you all. Dear friends: Please come to the Marsh Hawk Press Spring '08 book party on Thursday, April 24, at Ceres Gallery, 547 W.27th St.from 7 to 9 p.m. in Manhattan. A reading and reception will launch my new book, A Woman's Guide to Mountain Climbing, Thomas Fink's Clarity and Other Poems and the 2007 contest winning volume, Either She Was by Karin Randolph, selected by judge David Shapiro See you there! Cheers, Jane Speaking The Estranged: Essays on the Work of George Oppen (2008); Uncertain Poetries: Essays on Poets, Poetry and Poetics (2005) and Exigent Futures: New and Selected Poems (2003) available at www.saltpublishing.com, amazon.com and good bookstores. Survey of work at http://www.thing.net/~grist/ld/heller.htm Collaborations with the composer Ellen Fishman Johnson at http://www.efjcomposer.com/EFJ/Collaborations.html ========================================================================= Date: Sun, 13 Apr 2008 12:14:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: Marsh Hawk Press book launch & party Comments: To: Mattes50@aol.com, sgavrons@barnard.edu, sdolin@earthlink.net, Sazibree@aol.com, wshurst@adelphia.net, hokumakai@aol.com, sdonadio@middlebury.edu, millers@stjohns.edu, sclay@granarybooks.com, sed372@aol.com, susanwheeler@earthlink.net, tenah@bea.com, tennessee@thing.net, thilleman@excite.com, tom@goprofab.com, mamtaf@juno.com, tlavazzi@kbcc.cuny.edu, UKPOETRY@LISTSERV.MUOHIO.EDU, vernagillis@earthlink.net, z@culturalsociety.org Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Jane Augustine and Marsh Hawk Press asked me to send this message to you all. Dear friends: Please come to the Marsh Hawk Press Spring '08 book party on Thursday, April 24, at Ceres Gallery, 547 W.27th St.from 7 to 9 p.m. in Manhattan. A reading and reception will launch my new book, A Woman's Guide to Mountain Climbing, Thomas Fink's Clarity and Other Poems and the 2007 contest winning volume, Either She Was by Karin Randolph, selected by judge David Schapiro See you there! Cheers, Jane Speaking The Estranged: Essays on the Work of George Oppen (2008); Uncertain Poetries: Essays on Poets, Poetry and Poetics (2005) and Exigent Futures: New and Selected Poems (2003) available at www.saltpublishing.com, amazon.com and good bookstores. Survey of work at http://www.thing.net/~grist/ld/heller.htm Collaborations with the composer Ellen Fishman Johnson at http://www.efjcomposer.com/EFJ/Collaborations.html ========================================================================= Date: Fri, 18 Apr 2008 03:08:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Re: Obama is correct about rural PA MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable I'll finally go along with Mr. Krugman in this matter: http://www.nytimes.c= om/2008/04/18/opinion/18krugman.html?th&emc=3Dth=0A=0A=0A=0A----- Original = Message ----=0AFrom: Thomas savage =0ATo: POETICS@LIS= TSERV.BUFFALO.EDU=0ASent: Wednesday, 16 April, 2008 8:38:55 PM=0ASubject: R= e: Obama is correct about rural PA=0A=0AAlthough I'm not from Pennsylvania = or any small town, my intuition tells me Obama was right when he spoke abou= t "some" (my word and quotation marks, not his) of the people who live in t= hese places. Their lives may be hard but where is life not hard? As for R= alph Nader, he's just a distraction and a spoiler, regardless of how many g= ood things he has said and done over the years in now what must be the fair= ly distant past. And the possibility that he might contribute to a win for= McCain this time around is monstrous. =0A=0ACA Conrad wrote: Having grown up in rural Pennsylvania I can promise you that Ob= ama's=0Aassessments are correct about many of these people being bitter and= clinging=0Ato their guns and religion. It took me YEARS to dig out of my a= nger for the=0Atorture they put me through for being queer, for not wanting= to kill deer,=0Apheasants, rabbits, and instead planting and tending flowe= rs, vines, and=0Aother boys.=0A=0AWhat's MOST IMPRESSIVE is Obama's ability= to take his statements and STAND=0ABEHIND THEM saying, "YES, OF COURSE THE= Y ARE BITTER," and listing why they=0AShould be.=0A=0AHe's right of course.= What's terrible though is that the harsh world of=0Arural Pennsylvania (ha= rsh as in trying to actually survive when the=0Afactories and industry disa= ppear DUE in large part to the Clintons!), like=0Amost places where life is= very hard, scapegoating is the major pastime.=0AIt's bottomless, the racis= m, homophobia, sexism, and I can't see HOW anyone=0Awill ever be able to br= eak through it. These things make me very sad,=0Amostly because there are m= any people where I grew up who I got to know as=0Aintelligent and talented,= until they found out I was queer, which of course=0Aput an end to communic= ations with me.=0A=0ABut many of the people where I come from will NEVER vo= te for a white woman=0Afor president anymore than they will vote for a blac= k man for president.=0AAnd if ANY candidate ever dares say ANYTHING positiv= e about homosexuals,=0Awell, THAT'S IT, THEY'RE OUT! Abortion is also a hot= button, of course.=0AOy, I'm exhausted thinking about the wicked things I = know they're saying in=0Athe bars and beauty parlors, at the mills and dine= rs.=0A=0ABut Obama is correct in every way. And he's amazing that he remain= s so=0Afocused and on topic, even if the topic is about something he himsel= f said=0Athat might hurt his campaign. He has integrity I thought IMPOSSIBL= E for=0ADemocrats! He has my support! (Part of me is SO AFRAID he's another= Bill=0AClinton though! I heard Clinton's one speech at a gay rights rally = in DC=0Awhen he was first running for president, and I BOUGHT IT, bought ev= ery lying=0Aword of it!)=0A=0ABut if Obama doesn't win the nomination I'm v= oting for Ralph Nader again.=0ANader was just in Philadelphia and gave an a= mazing speech! Nader is the=0Asexiest LIVING MIND!=0A=0ACAConrad=0Ahttp://P= hillySound.blogspot.com =0A=0A=0A =0A---------------------------------= =0ABe a better friend, newshound, and know-it-all with Yahoo! Mobile. Try = it now. ========================================================================= Date: Fri, 18 Apr 2008 13:25:17 -0400 Reply-To: jparks4@buffalo.edu Sender: UB Poetics discussion group From: Justin Parks Subject: modernist studies association call for participants Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="utf-8" MIME-Version: 1.0 Dear Buffalo Poetics Listserv: Could you please post the following cfp for a panel I'm organizing on poetr= y and recorded sound for next novemvber's Modernist Studies Assoication con= ference? Here's the info: Disembodied Voices: Poetry, Sound, and the Rise of Recording Media A small yet steady flow of critical materials treating the relationship of = poetry to sonic media has continued to appear in the related fields of poet= ics and modernist studies. However, a sufficient understanding of the full = impact of the emergence of sound recording media on=20 poetic practice has yet to be attained. From its inception, Edison and other innovators in sound recording conceive= d of their new medium as having the capacity to record and preserve the voi= ces of statesmen, opera singers, and poets long after their deaths. From th= is beginning, sound recording is quickly taken=20 up by the nascent culture industry as a form of entertainment. By the 1930s= , however, sound recording media are once again in use as a means of preser= ving the voices of poets, as the rich store of audio files the Pennsound on= line archive contains will attest. Beginning in the=20 1950s, the widespread availability of inexpensive tape recorders ensures th= at the individual poet will be able to record and document the poem=E2=80= =99s aural qualities, a development related both to the proliferation of li= ve readings and performance-based poetry continuing into=20 the present and a renewed and rigorous attention to the ability of the voic= e to produce nonsemantic sounds in the form of the audio poem. The history = of early recorded sound as a sort of ghostly double of modernist poetry and= the concurrent development of these related=20 media throughout the twentieth century is an emerging field of inquiry that= will yield new understandings of poetry=E2=80=99s relationship to popular = media as they were configured and gained prominence throughout the modernis= t period. Critical approaches may include, but are not limited to, the co-optation of= radio broadcast by poets, the relationship of poetry to recordings of popu= lar music, the analogy between poetry and devices for transcribing sound, s= ound recording=E2=80=99s ability to render vocal features as=20 auditory cues of race and social status in poetry, and the correlation betw= een the early development of sound/performance-based poetry and recording t= echnology. Please send a 250-word abstract and a brief scholarly bio to jparks4@buffal= o.edu by May 5, 2008. Thanks! Justin Parks ========================================================================= Date: Fri, 18 Apr 2008 15:58:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: PS Re: Obama is correct about rural PA In-Reply-To: <7.0.1.0.1.20080417094144.060587e8@earthlink.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed what a ridiculous bunch of out of context garbage. note that all the studies are conducted in 2004, and the framing is a complete bait and switch. the data quoted confirms the values voter image that won bush the election in 2004, and to try to twist that data to say otherwise is patent nonsense. On Thu, 17 Apr 2008, Mark Weiss wrote: > A sociologist on the bitterness of small town voters. Apparently Obama got it > wrong. > > http://www.nytimes.com/2008/04/17/opinion/17bartels.html > > Mark > ========================================================================= Date: Fri, 18 Apr 2008 17:58:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ryan Daley Subject: Re: PS Re: Obama is correct about rural PA In-Reply-To: <7.0.1.0.1.20080417094144.060587e8@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Apparently. According to one opinion, at least. On Thu, Apr 17, 2008 at 9:42 AM, Mark Weiss wrote: > A sociologist on the bitterness of small town voters. Apparently Obama got > it wrong. > > http://www.nytimes.com/2008/04/17/opinion/17bartels.html > > Mark > ========================================================================= Date: Fri, 18 Apr 2008 17:45:07 -0400 Reply-To: Bonnie MacAllister Sender: UB Poetics discussion group From: Bonnie MacAllister Subject: Edna Andrade (1917-2008) Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable For Edna Andrade I=E2=80=99ve been scanning pdfs=20 Of women=E2=80=99s arts catalogues For her entries. One might think, There is no connection Between her and me, But we shared these Philadelphia streets, That same academy,=20 Galleries in locks, Prints at the Art Alliance, Our membership in the caucus. Her optical paintings always reminded=20 Me of light boxes, distilled in space. I stared at them at the ICA Unable to plot out her methods, The factors prime and discrete. I envisioned a mobius,=20 Stripped through the canvas,=20 Manifold In knot theories,=20 Her objects defied topology, Now she enters her own algorithms. Bonnie MacAllister Co-President Women's Caucus for Art, Philadelphia Chapter (est. 1972) National Women's Caucus for Art: http://www.nationalwca.com Read her bio here when our group, the Women's Caucus for Art honored her: h= ttp://www.nationalwca.org/LAA/LAA1983.pdf More work: http://www.locksgallery.com/artists/andrade/works.html http://bonniemacallister76.etsy.com ========================================================================= Date: Sat, 19 Apr 2008 08:40:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Invalid RFC822 field - "POETRY READING". Rest of header flushed. From: amy king Subject: Fw: Annie Finch and Lee Ann Brown reading MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable CORNELIA STREET = =0APOETRY READING=0ASUNDAY, April 20th 2008=0A6:00 PM=0A=0ACORNELIA STREET = CAF=C3=89 =0A29 Cornelia Street, (off Bleeker) NYC 10014 212-989-9319=0Ah= ttp://corneliastreetcafe.com/=0AAngelo Verga, hosts=0AAnnie Finch & Lee Ann= Brown =0AAnnie Finch: =0APoet, critic, translator, editor, and librettist = Annie Finch is theauthor of three books of poetry, The Encyclopedia of Scot= land; Eve; and Calendars.Her poetry has appeared widely in journals, anthol= ogies, and textbooks and hasbeen featured in venues including Voice of Amer= ica, the Metropolitan Museum ofArt, and Def Poetry Jam. Her collaborations = with theater, art, and danceinclude the libretto for the opera Marina. She = has also published a book ofFrench poetry in translation and numerous books= on poetics, most recently TheBody of Poetry: Essays on Women, Form, and th= e Poetic Self (2005). She isProfessor of English and Director of the Stonec= oast Low-Residency MFA Programin Creative Writing at the University of Sout= hern Maine. Poems, essays, andfurther information are available at her webs= ite.=0AMailScanner has detected a possible fraud attempt from "www.anniefin= ch.com" claiming to be http://www.anniefinch.com=0A =0ALee Ann Brown is a p= oet, performer, and the publisher of Tender Buttons, apress that publishes = experimental poetry by women. She is the author oftwo full length collecti= ons, Polyverse and The Sleep That Changed Everything and a collaboration wi= thLaynie Browne, Nascent Toolbox. She enjoys singing her rewrought ballads= and=0Acollaborations. She lives in New York City where she teaches at St. = John's=0AUniversity and in the mountains of North Carolina. She is married= to=0Aactor and director, Tony Torn and they have a 5 year old daughter, Mi= randa Lee=0AReality Torn.=0Ahttp://writing.upenn.edu/pennsound/x/Brown.html= =0Ahttp://epc.buffalo.edu/authors/brown/=0A =0AFinch & Brown collaborate on= a new piece. =E2=80=A8 =0A =0ACover $7 (includes one house drink) =0A=0A = By Subway=0A A, C, E, B, D, F & V TRAINS Get on the south end of the= train./ Take the train to the West 4th Street stop. /Exit at West 3rd St= reet. / Walk one block north to 4th Street. / Make an acute left onto Corn= elia Street.=0A 1 & 9 TRAINS Take the train to the Sheridan Square sto= p. =0A /Walk 21/2 blocks east on West 4th Street. /Make a right onto Cor= nelia Street.=0A "Poems grow in April, easy as the sun=E2=80=A6" (Annie)= =0A =0A Call me if you need to =E2=80=A6 =0A Lee Ann We HOPE TO SEE = YOU!=0A =0A=0A=0A=0A=0A=0A=0A=0A ___________________________________= _________________________________________________=0ABe a better friend, new= shound, and =0Aknow-it-all with Yahoo! Mobile. Try it now. http://mobile.= yahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Sat, 19 Apr 2008 09:04:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Annie Finch and Lee Ann Brown reading - SUNDAY, April 20th 2008 Comments: To: "NewPoetry: Contemporary Poetry News & Views" MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable CORNELIA STREET CAF= POETRY READINGSUNDAY, April 20th 2008=0A6:00 PM=0A =0ACORNELIA STREET CAF= =C9=0A29 Cornelia Street, (offBleeker) NYC 10014 212-989-9319=0Ahttp://cor= neliastreetcafe.com/=0A =0AAngelo Verga, hosts=0AAnnie Finch & Lee AnnBrown= =0AAnnie Finch: Poet, critic, translator, editor, andlibrettist Annie Fin= ch is the author of three books of poetry, The Encyclopediaof Scotland; Eve= ; and Calendars. Her poetry has appeared widely in journals,anthologies, an= d textbooks and has been featured in venues including Voice ofAmerica, the = Metropolitan Museum of Art, and Def Poetry Jam. Hercollaborations with thea= ter, art, and dance include the libretto for the opera Marina. She has also= published a book of French poetry in translation and numerous books on poet= ics,most recently The Body of Poetry: Essays on Women, Form, and the Poetic= Self(2005). She is Professor of English and Director of the Stonecoast Low= -ResidencyMFA Program in Creative Writing at the University of Southern=0A = Maine. Poems, essays, and further information areavailable at her website.= =0A =0A =0ALee Ann Brown is a poet,performer, and the publisher of Tender = Buttons, a press that publishesexperimental poetry by women. She is theaut= hor of two full length collections, Polyverse and The Sleep That Changed Ev= erythingand a collaboration with Laynie Browne, Nascent Toolbox. She enjoy= s singing her rewrought ballads andcollaborations. She lives in New York Ci= ty whereshe teaches at St. John's University and in the mountains of North = Carolina. She is married to actor and director, TonyTorn and they have a 5= year old daughter, Miranda Lee Reality Torn.=0A =0Ahttp://writing.upenn.ed= u/pennsound/x/Brown.html=0A http://epc.buffalo.edu/authors/brown/=0A =0AFin= ch & Brown collaborateon a new piece. =0A=0A =0ACover $7 (includes one hous= edrink) =0A =0A By Subway - A, C, E, B, D, F & VTRAINS Get on the south = end of thetrain./ Take the train to the West 4th Street stop. /Exit at West= 3rd Street. / Walk one block northto 4th Street./ Make an acute left onto = Cornelia=0A Street. 1 & 9 TRAINS Take the train to the Sheridan= Square stop. /Walk 21/2 blocks east on West 4th Street. /Make a right on= to Cornelia Street.=0A =0A"Poems grow in April,easy as the sun=85" (Annie)= =0A =0A=0A Lee Ann We HOPE TO SEE YOU!=0A =0A_______=0A=0A=0A=0Aht= tp://www.amyking.org =0Ahttp://redherring.us=0A=0A=0A=0A _____________= _______________________________________________________________________=0AB= e a better friend, newshound, and =0Aknow-it-all with Yahoo! Mobile. Try i= t now. http://mobile.yahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Sat, 19 Apr 2008 09:32:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable CORNELIA STREET = POETRY READING SUNDAY, April 20th 2008=0A 6:00 PM=0A =0A CORNELIA STREET = CAF=C9=0A 29 Cornelia Street, (offBleeker) NYC 10014 212-989-9319=0A=0A = =0A Angelo Verga, hosts=0AAnnie Finch & Lee AnnBrown =0A Annie Finch: Po= et, critic, translator, editor, andlibrettist Annie Finch is the author of = three books of poetry, The Encyclopediaof Scotland; Eve; and Calendars. Her= poetry has appeared widely in journals,anthologies, and textbooks and has = been featured in venues including Voice of=0AAmerica, the Metropolitan Muse= um of Art, and Def Poetry Jam. Hercollaborations with theater, art, and dan= ce include the libretto for the opera Marina . She has alsopublished a book= of French poetry in translation and numerous books on poetics,most recentl= y The Body of Poetry: Essays on Women, Form, and the Poetic Self(2005). She= is Professor of English and Director of the Stonecoast Low-ResidencyMFA Pr= ogram in Creative Writing at the University of Southern Maine . Poems, ess= ays, and further information areavailable at her website.=0A =0A =0A L= ee Ann Brown is a poet,performer, and the publisher of Tender Buttons, a pr= ess that publishesexperimental poetry by women. She is theauthor of two fu= ll length collections, Polyverse and The Sleep That Changed Everythingand a= collaboration with Laynie Browne, Nascent Toolbox. She enjoys singing her= rewrought ballads andcollaborations. She lives in New York City whereshe t= eaches at St. John's University and in the mountains of North Carolina . S= he is married to actor and director, TonyTorn and they have a 5 year old da= ughter, Miranda Lee Reality Torn.=0A =0A=0A Finch & Brown collaborateon = a new piece. =0A=0A =0A Cover $7 (includes one housedrink) =0A =0A By = Subway - A, C, E, B, D, F & VTRAINS Get on the south end of thetrain./ T= ake the train to the West 4th Street stop. /Exit at West 3rd Street . / Wal= k one block northto 4th Street ./ Make an acute left onto Cornelia Street = . 1 & 9 TRAINS Take the train to the Sheridan Square stop. /Wa= lk 21/2 blocks east on West 4th Street . /Make a right onto Cornelia Street= .=0A =0A "Poems grow in April,easy as the sun=85" (Annie)=0A =0A=0A = Lee Ann We HOPE TO SEE YOU!=0A =0A=0A =0A_______=0A=0A=0A=0Ahttp:/= /www.amyking.org =0Ahttp://redherring.us=0A=0A=0A=0A=0A=0A=0A=0A _____= ___________________________________________________________________________= ____=0ABe a better friend, newshound, and =0Aknow-it-all with Yahoo! Mobile= . Try it now. http://mobile.yahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAc= J ========================================================================= Date: Sat, 19 Apr 2008 09:17:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Jo Malo Subject: Re: THE ONLY WAR THAT MATTERS MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Ronald Aronson's excellent examination of Sartre's reconciliation of imagination, literature, and political commitment can be found here: http://www.is.wayne.edu/raronson/Books/JPS/JPSBook.htm Mary Jo Malo ========================================================================= Date: Sat, 19 Apr 2008 10:46:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: New Visual Books Reviewed - New York Times--Campaign Buttons & Memoribilia MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.nytimes.com/2008/04/20/books/review/Heller-t.html?ref=books --- Conceptual/Political Poetry of a very direct and im-mediate huge variety of forms "The Clothes Make the Man" (from Brecht's Three Penny Opera) carried to ever more literal/punning extremes-- the Candidate as a construction of paraphernalia and slogans wearable, potable, haptic, Visual Poetry-ized and as a Conceptual Poem of literal/figurative tropes "embodied" in objects and images manipulating "figure and ground"--to produce an aesthetic-ideological effect--(the election of the Candidate as ana amalgam of "Constructivist-Conceptual" art & poetry-- ========================================================================= Date: Sat, 19 Apr 2008 19:45:23 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Pusateri Subject: TOMORROW, 4/20 at 6pm: Michelle Naka Pierce and Chris Pusateri read in Boulder CO MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Hello All, =20 In celebration of National Poetry Month, Chris Pusateri and Michelle Naka P= ierce will read their work in Goldfarb Studio on the Naropa University camp= us, Sun 4/20 at 6pm. Chris will read from "anon" (BlazeVOX, 2008), while M= ichelle will read from "Beloved Integer" (Boostrap, 2007). Other readers i= nclude Brandon Arthur, Ryan Clark, Molly Conner, Lindsay Colahan, Megan Fin= cher, and Tim Inman. Admission is free. There will be wine; there will be= cheese. We hope there will be people. =20 Performer bios: =20 Michelle Naka Pierce is an Associate Professor at Naropa University. She is= the author of Beloved Integer and TRI/VIA (co-written with Veronica Corpuz= ). =20 Chris Pusateri is the author of two books of poetry, anon (BlazeVox, 2008) = and Berserker Alphabetics (xPressed, 2003), and five chapbooks. New work is= forthcoming in Aufgabe, Vanitas, and Zoland Poetry Annual. =20 _________________________________________________________________ Pack up or back up=96use SkyDrive to transfer files or keep extra copies. L= earn how. http://www.windowslive.com/skydrive/overview.html?ocid=3DTXT_TAGLM_WL_Refre= sh_skydrive_packup_042008= ========================================================================= Date: Sat, 19 Apr 2008 13:51:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: It's National Poetry month, Marion, MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii & by God we're going to read some poetry. www.cartoonbank.com ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Sat, 19 Apr 2008 13:57:20 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Re: world's oldest photograph? In-Reply-To: <1dec21ae0804171000t74e7dddbr96878a3758515de4@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear Murat-- In another note I sent rgerading this, i wonder often if natural processes may well not have at some or many points in time produced "photograms"-- as a child I used to think of St Paul of Tarsus as having undergone a photographic "development process as his Conversion experience of Illumination-- that is, he was made blind--a dark room, a "negative"--and when so, the Light of God enetered in and created the new Being of the Illuminated Paul (formerly Saul)-- whose being was now, when he regained sight, so imprinted with the Image of God, Light of God--that from then on of course that is what he both witnesses to--and is a witness of--and a living image/being of-- (Poe's Dupin in The Purloined Letter remarks on his method of shrouding himself in a dark room, eyes closed, there to see what will be found "hidden in plain sight" in the light of day-- the photographic development of St Paul, taking place in the darkroom of blindness, brings him to see again with other eyes, in which what was before hidden in plain sight, is now everywhere visible-- in his own words: "The world as we see it is passing"-- mysterious enigmatic statement at once of fact and prophecy-- (Basho: The basis of art is change in the universe.) anything mysterious or not can be inserted into the economic framework-- (Jesus' rage at the money lenders in the Temple--Luther's rage against the Church etc etc)--) "when shit is worth money, the poor will be born without assholes" is a Brazilian Proverb-- and if they are not quick enough about being born in such a manner, there are no doubt going to be developed always methods by which they will indeed be born without assholes-- from photomania to pyromania--i was just reading of Knut Hamsun's obsession with light--he could never gulp in enough light as it were--driving him to some experiments with pyromania-- remember the Hawthorne family--Nathaniel and one of his sister's--obsession with watching fires?-- and how this leads Nathaniel to become the first novelist to have as a major character a daguerreotypist, in The House of Seven Gables-- "Let there be light"--the first "photo" event!-- and the Apocalypse as a conflagration in which the photo-event and subsequent photo-manias have led to ever greater pyromanias!! and "finally" to the Non Plus Ultra Illumination of the Final Judgement, in which all is to revealed-- but then Lucifer--is also a Being of Light--and Prometheus--and again the figures of Imagination as forms of light--Rimbaud's Illuminations for example--and his later experiments with photography as a possible source of income in Abyssinia, to accompany with photos the writings he began publishing and as usual abruptly stopped--in French Journals along the lines of National geographic--for explorers/exploiters to come-- (among the few images of Rimbaud are his self-portraits done during this later period, when he had indeed become an "I is an other"--become "somebody else"--) and images created by Atomic Light--the Shadows in Walls of Hiroshima-- an Enlightment and Illumination--meeting of the Ages of these in the photo-image, photo-gram--an Enlightment by technical Reason and at the same time having the character of a mystical Illumination, a sacred experience via Light--emerging from a darkness--"dark rooms" and "negatives"-- " . . . and said goodbye for now to the city, to Kristiania, where the windows shone with such brightness." (last lines of Hamsun's Hunger--) On Thu, Apr 17, 2008 at 10:00 AM, Murat Nemet-Nejat wrote: > Barry, > > It is interesting how these very early photographs (photograms) are of > objects, things (leaf, urn), pointing to magic, possession of an essential > power, relating to the original photographic impulse. Placing an object > against an almost alchemical substance (e,g. silver nitrate solution) in > the > presence of light is not that different from the ingesting of wafers > during > Mass. In Daguerreotypes one way subjects chose to place themselves in > front > of the lens was by pressing their hands against each other, in the form of > prayer. That's why, I think, hands are always so important in a > photographic > images, outside eyes, and along with the nape, the most resonant parts of > the human body. > > There is something funny how a process, a gesture so mysterious is > attempted > to be placed withing an economic structure. > > Ciao, > > Murat > > On Thu, Apr 17, 2008 at 6:18 AM, Barry Schwabsky < > b.schwabsky@btopenworld.com> wrote: > > > http://www.nytimes.com/2008/04/17/arts/design/17phot > > Amazing, if true: > > > > http://www.nytimes.com/2008/04/17/arts/design/17phot.html?th&emc=th > > > ========================================================================= Date: Sat, 19 Apr 2008 16:12:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eleni Stecopoulos Subject: SF/NYC apt. exchange? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable If anyone might be interested in exchanging their apt. in New York for mine= in San Francisco from early June to early August (somewhat flexible on tim= eframe), please write me backchannel. The apt is in the heart of the Missio= n, small but sunny and charming. I can give you more details if you're inte= rested. Alternatively, if someone is interested in subletting (mine or your= s) rather than exchange, I would consider that too. =20 Thank you. =20 =20 =20 =20 =20 =20 =20 =20 =20 _________________________________________________________________ Get in touch in an instant. Get Windows Live Messenger now. http://www.windowslive.com/messenger/overview.html?ocid=3DTXT_TAGLM_WL_Refr= esh_getintouch_042008= ========================================================================= Date: Sat, 19 Apr 2008 18:10:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: New de blog/ Haptic, Trellis/T Joyce improvs, Crozier, Obenzinger Comments: To: UK POETRY , "Poetryetc: poetry and poetics" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://stephenvincent.net/blog/ A hodgepodge but what is spring for, bursting about, etc! "Fort Funston Haptic" (a process story w/photographs) Dedicated to the memory of Ann Chamberlain / Artist Andrew Crozier - A Little Remberance Hilton Obenzinger - BUSY DYING - short take on new novel TRELLIS - A poetry work in-progress/ improvs on syllabic structures in Trevor Joyce's WHATS IN STORE (w/commentary on process et al). These entries variously intermixt with the others. As always, appreciate your comments, if so moved. Stephen Vincent http://stephenvincent.net/blog/ ========================================================================= Date: Sun, 20 Apr 2008 02:21:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: Re: Oni Buchanan and Betsy Stone Mazzoleni: The Mandrake Vehicles In-Reply-To: <1dec21ae0804171034r31b003cfh8bbb5a46a031a797@mail.gmail.com> MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7bit Murat, Impressive. You read it. I hadn't, went back to it. I like the idea of poems hidden in poems hidden in poems, poems emerging from poems emerging from poems. Interesting read at http://en.wikipedia.org/wiki/Mandrake_(plant) , which includes some of the lore of the mandrake such as: "According to the legend, when the root is dug up it screams and kills all who hear it." Which is useful to know in reading the first installation. As, it seems, is quite a lot of the lore of the mandrake. The poem doesn't make much sense without it; the lore is assumed knowledge in the poem. ja > Jim, > > Thank you for *The Mandrake Vehicles*. I liked, particularly, the first > installation. > > It is very interesting that the basic text, its language, is based on an > animist sensibility. Is this coincidental? In some other occasion > I suggest > that the poetry in our time will be forced to explore a animist > sensibility > to be able to say anything. > > In #4 of the First Installation, I noticed a very Poundian tone? Is that > accidental? Phrases like "nine sutured noose," etal, remind me of "The > Seafarer." > > Affectionately, > > Murat > > > On Thu, Apr 17, 2008 at 4:16 AM, Jim Andrews wrote: > > > An interesting suite of digital poems by Oni Buchanan and Betsy Stone > > Mazzoleni: The Mandrake Vehicles at > > http://www.conduit.org/online/buchanan/buchanan.html ========================================================================= Date: Sun, 20 Apr 2008 09:17:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: (Photography & Preserving a Way of Life & Myth)--Robb Kendrick, Tintype Cowboy, Rides Again - New York Times MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.nytimes.com/2008/04/20/arts/design/20kenn.html?_r=1&th&emc=th&oref=slogin--- Using photographic methods of the past to preserve the "look" of a way of life as it exists simultaneously as a reality and a myth, the present "preserved" to "look like" the time period of its origins & originating myths-- fascinating article and images-- ========================================================================= Date: Sun, 20 Apr 2008 09:54:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Errol Morris=?WINDOWS-1252?Q?=92s_=91Standard_Operating_Procedure=92=3A_?= Of Crime and Photography in a Heart of Darkness - New York Times MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.nytimes.com/2008/04/20/movies/20ande.html?_r=1&ref=arts&oref=login--- Erroll Morris continues his use of reenactments to examine the "truth" of photography-- not "seeing is believing"--but "believing is seeing"-- i.e. --seek and ye shall find--what you want to see-- turning the "camera" or "eye" into a "projector" -- and rather than "finding out"-- projecting a priori what it is that is seen at the scene onto the scene -- before even arriving at the scene-- the photograph then becomes a "confirmation"-- rather than a "document open to question"-- "closing off" the seen from being seen-- or any opening into "seeing what is there" before defining it--as it SHALL be seen-- photography as a further means to to "cover up" what is hidden in plain sight-- if a photo is in a sense "staged"-- then the re-enactment becomes a method for the re-direction of the eye--what it focuses on--what discrepancies may be observed-- a burrowing and excavating within the time and space frame of the image-- to find the "cracks" within the smooth surfaces of "appearances"- neither "opaque" nor "transparent"-- "beneath every level of reality-- there lies another"-- Sufi saying ========================================================================= Date: Sun, 20 Apr 2008 14:46:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Marsh Hawk Press Invitation (NYC) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: quoted-printable =20 Marsh Hawk logo=20 =20 =20 You're Invited to the Marsh Hawk Press Spring Book Launch We're celebrating our new spring 2008 titles: Either She Was , by Karin Randolph, Winner of the 2007 = Marsh Hawk Press Poetry Prize chosen by David Shapiro A Woman's Guide To Mountain Climbing , by Jane Augustine, and Clarity and Other Poems , by Thomas Fink (click on the titles for more info) There will be good readings, good food and drink, and engaging company. We'd be honored if you'd join us!=20 =20 Sincerely, =20 The Editors and Members of Marsh Hawk Press=20 When: Thursday, April 24th 7:00-9:00 PM. =20 Where: Ceres Gallery 547 West 27th St=20 Suite 201 New York, NY 10001=20 phone and fax:=20 212-947-6100=20 =20 =20 Forward email =20 Safe Unsubscribe =20 This email was sent to kimmelman@njit.edu, by marshhawkpress1@aol.com Update Profile/Email Address | Instant removal with SafeUnsubscribe (tm) | Privacy Policy . Email Marketing by =20 Marsh Hawk Press | P.O. Box 206 | East Rockaway | NY | 11518 =20 =20 ========================================================================= Date: Sun, 20 Apr 2008 08:01:11 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Webster Schultz Subject: Sidewalk blog: Torture series (mostly) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit http://www.facebook.com/album.php?aid=21060&l=285f3&id=654553661 Please find new signs at the end of the series. The news that Cheney, Rumsfeld, Powell, Rice, and Ashcroft, sat around at the White House pondering torture techniques got the blogger going this week, along with McCain's notion that the empire must last at least 100 years. aloha, Susan ========================================================================= Date: Sun, 20 Apr 2008 15:42:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: [New-Poetry] Aime Cesaire, voice of French Black pride, dies - Interview excerpts: MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable On an earlier post, one that one of the moderators thankfully deleted, I sa= id something about living post history. It was glib. Conservatives tend tow= ards that kind of optimism (neo-cons, Francis Fukuyama), as though democrac= y is the cure all for everything that ails everyone, and it's only a matter= of time before everyone sees the light and adopts democracy. The current U= .S. administration never looked closely at a "hierachy of dangers" pre Iraq= . & that truely sucks. =0A=0A=0A=0A----- Original Message ----=0AFrom: Sara= h Sarai =0ATo: POETICS@LISTSERV.BUFFALO.EDU=0ASent: Fr= iday, April 18, 2008 11:34:31 AM=0ASubject: Re: [New-Poetry] Aime Cesaire, = voice of French Black pride, dies - Interview excerpts:=0A=0AThanks, Amy. = =0A=0AI note, from the interview you posted, Cesaire's insistence that one/= we continue to write =0Ain the face of history... "it is up to us at any g= iven moment to establish and readjust the =0Ahierarchy of dangers..." =0Aan= d =0A"In other words, poetry is for me a searching after truth and sincerit= y, sincerity outside of =0Athe world, outside of alien times. We seek it de= ep within ourselves, often despite =0Aourselves, despite what we seem to be= , within our innermost selves." =0A=0AFrom: "Notebook of a Return to the Na= tive Land"=0A"At the end of daybreak, on this very fragile earth thickness = =0Aexceeded in a humiliating way by its grandiose future--the vol-=0Acanoes= will explode, the naked water will bear away the ripe =0Asun stains and no= thing will be left but a tepid bubbling pecked =0Aat by sea birds--the beac= h of dreams and the insane awakening."=0A=0A=0A...Sarah=0A=0A=0A=0A=0A>>>>>= >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>Amy's message =0Abelow:=0A=0A=0Alistse= rv.buffalo.edu =0A=0A=0ASubscriber's Corner Email Lists Prefer= ences Log Out=0ALogged in as: ssarai001@gmail.com=0ABasic Mode=0A=0A = =0APOETICS Archives=0A=0AView:=0A=0ANext Message | Previous Message =0ANext= in Topic | Previous in Topic =0ANext by Same Author | Previous by Same Aut= hor =0AChronologically | Most Recent First =0AProportional Font | Monospace= d Font=0A=0AOptions:=0A=0AJoin or Leave POETICS=0AReply | Post New Message= =0ASearch Archives=0A=0A=0ASubject: Re: [New-Poetry] Aime Cesaire, voice= of French Black pride, dies - Interview =0Aexcerpts:=0AFrom: amy king <= amyhappens@yahoo.com>=0AReply-To: UB Poetics discussion group =0ADate: Thu, 17 Apr 2008 09:06:22 -0700=0AContent-T= ype: text/plain=0AParts/Attachments: =0A =0Atext/plain (171 lines)= =0A=0A=0AFrom The liberating power of words - interview with poet Aime Cesa= ire - Interview=0A=0A=0AAim=E9 C=E9saire: I=92ve always had the feeling tha= t I was on a quest to reconquer something, =0Amy name, my country or myself= .=0AThat is why my approach has in essence always been poetic.=0A=0A=0ABeca= use it seems to me that in a way that=92s what poetry is.=0A=0A=0AThe recon= quest of the self by the self=85.=0A=0A=0AI think it was Heidegger who said= that words are the abode of being.=0AThere are many such quotations. I bel= ieve it was Rene Char, in his=0Asurrealist days, who said that words know m= uch more about us than we=0Aknow about them.=0A=0A=0AI too believe that wor= ds have a revealing as well as a creative function=85=0A=0A=0AThe Abbe Greg= oire(1), Victor Schoelcher(2) and all those who spoke=0Aout and still speak= out, who campaigned for human rights without=0Adistinction of race and aga= inst discrimination, these were my guides in=0Alife. They stand forever as = representatives of the West=92s great=0Aoutpouring of magnanimity and solid= arity, an essential contribution to=0Athe advancement of the ideas of pract= ical universality and human=0Avalues, ideas without which the world of toda= y would not be able to see=0Aits way forward. I am forever a brother to the= m, at one with them in=0Atheir combat and in their hopes=85=0A=0A=0AI reall= y do believe in human beings. I find. something of myself in=0Aall cultures= , in that extraordinary effort that all people, everywhere,=0Ahave made - a= nd for what purpose?=0A=0A=0AQuite simply to make life livable!=0A=0A=0AIt = is no easy matter to put up with life and face up to death.=0A=0A=0AAnd thi= s is what is so moving.=0A=0A=0AWe are all taking part in the same great ad= venture.=0A=0A=0AThat is what is meant by cultures, cultures that come toge= ther at some meeting-point=85.=0A=0A=0AI think it was in a passage in Hegel= emphasizing the master-slave=0Adialectic that we found this idea about spe= cificity. He points out that=0Athe particular and the universal are not to = be seen as opposites, that=0Athe universal is not the negation of the parti= cular but is reached by a=0Adeeper exploration of the particular.=0A=0A=0AT= he West told us that in order to be universal we had to start by=0Adenying = that we were black. I, on the contrary, said to myself that the=0Amore we w= ere black, the more universal we would be.=0A=0A=0AIt was a totally differe= nt approach. It was not a choice between alternatives, but an effort =0Aat = reconciliation.=0A=0A=0ANot a cold reconciliation, but reconciliation in th= e heat of the fire, an alchemical =0Areconciliation if you like.=0A=0A=0ATh= e identity in question was an identity reconciled with the=0Auniversal. For= me there can never be any imprisonment within an=0Aidentity.=0A=0A=0AIdent= ity means having roots, but it is also a transition, a transition to the un= iversal=85.=0A=0A=0AWe are far removed from that romantic idyll beneath the= calm sea.These are angry, =0Aexasperated lands, lands that spit and spew, = thatvomit forth life.=0A=0A=0AThat is what we must live up to. We must draw= upon the creativity of=0Athis plot of land! We must keep it going and not = sink into a slumber of=0Aacceptance and resignation. It is a kind of summon= s to us from history=0Aand from nature=85.=0A=0A=0AAnd so I have tried to r= econcile those two worlds, because that was=0Awhat had to be done. On the o= ther hand, I feel just as relaxed about=0Aclaiming kinship with the African= griot and the African epic as about=0Aclaiming kinship with Rimbaud and La= utreamont - and through them with=0ASophocles and Aeschylus! =85=0A=0A=0AI = have never harboured any illusions about the risks of history, be=0Ait in A= frica, in Martinique, in the Americas or anywhere else. History=0Ais always= dangerous, the world of history is a risky world; but it is=0Aup to us at = any given moment to establish and readjust the hierarchy of=0Adangers. =85= =0A=0A=0AAt any rate, it is for me the fundamental mode of expression, and= =0Athe world=92s salvation depends on its ability to heed that voice. It is= =0Aobvious that the voice of poetry has been less and less heeded during=0A= the century we have lived through, but it will come to be realized more=0Aa= nd more that it is the only voice that can still be life-giving and=0Athat = can provide a basis on which to build and reconstruct=85.=0A=0A=0A* And yet= this century has not been one where ethics has triumphed, has it?=0A=0A=0A= A.C.: Certainly not, but one must speak out, whether one is heeded=0Aor not= ; we hold certain things to be fundamental, things that we cling=0Ato. Even= if it means swimming against the tide, they must be upheld.=0A=0A=0AIn oth= er words, poetry is for me a searching after truth and=0Asincerity, sinceri= ty outside of the world, outside of alien times. We=0Aseek it deep within o= urselves, often despite ourselves, despite what we=0Aseem to be, within our= innermost selves.=0A=0A=0APoetry wells up from the depths, with explosive = force.=0A=0A=0AThe volcano again.=0A=0A=0ANo doubt I have reached the momen= t of crossing the great divide but=0AI face it imperturbably in the knowled= ge of having put forward what I=0Asee as essential, in the knowledge, if yo= u like, of having called out=0Aahead of me and proclaimed the future aloud.= =0A=0A=0AThat is what I believe I have done; somewhat disoriented though I = am=0Ato find the seasons going backwards, as it were, that is how it is and= =0Athat is what I believe to be my vocation.=0A=0A=0ANo resentments, none a= t all, no ill feelings but the inescapable=0Asolitude of the human conditio= n. That is the most important thing.=0A=0A=0A=0A=0A=0A1. Henri Gregoire (17= 50-1831), French ecclesiastic and politician, a=0Aleader of the movement in= the Convention for the abolition of slavery.=0AEd.=0A2. French politician = (1804-1893), campaigner for the abolition of=0Aslavery in the colonies, Dep= uty for Guadeloupe and Martinique. Ed.=0A=0A=0A=96The liberating power of w= ords - interview with poet Aime Cesaire - Interview=0A=0Ahttp://findarticle= s.com/p/articles/mi_m1310/is_1997_May/ai_19557181/print=0A=0A_______=0A=0A= =0A=0Ahttp://www.amyking.org =0A=0A=0A=0A=0A =0A______________________= ______________________________________________________=0A________=0ABe a be= tter friend, newshound, and =0Aknow-it-all with Yahoo! Mobile. Try it now.= =0Ahttp://mobile.yahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ=0A=0ABack= to: Top of Message | Previous Page | Main POETICS Page=0A=0APermalink=0A= =0A=0ALISTSERV=AE is a registered trademark licensed to L-Soft internationa= l, Inc.=0A=A9 2008, University at Buffalo, All rights reserved.=0AUniversit= y at Buffalo IT policies=0A=0A=0A ____________________________________= ________________________________________________=0ABe a better friend, news= hound, and =0Aknow-it-all with Yahoo! Mobile. Try it now. http://mobile.y= ahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Sun, 20 Apr 2008 17:11:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jennifer Karmin Subject: JOB: Lewis-Clark State College MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit (this is a forward. please don't respond to me. good luck!) Visiting Assistant Professor in Creative Writing and Publishing Arts The Humanities Division of Lewis-Clark State College seeks a Visiting Assistant Professor in Creative Writing and Publishing Arts with the following qualifications: Ph.D. or M.F.A., English, at time of appointment; ability to teach creative writing with an emphasis in poetry; literary journal/book production and editing courses; general education core literature and composition courses. Experience with budgets is desirable. Appropriate publications and a record of teaching excellence expected. One-year appointment, with possibility to apply for permanent position. Position begins August, 2008. Submit letter of application, resume, statement of teaching philosophy, three letters of recommendation, and creative writing samples to: English Search Committee, c/o Human Resources, Lewis- Clark State College, 500 8th Avenue, Lewiston, ID 83501. Phone 208- 792-2269; fax 208-792-2872. Open until filled; applications received before April 30 will receive priority review. ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Sun, 20 Apr 2008 21:24:14 -0400 Reply-To: dbuuck@mindspring.com Sender: UB Poetics discussion group From: David Buuck Subject: looking for barbara cole Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: 7bit anyone have her email? thanks! David Buuck ========================================================================= Date: Sun, 20 Apr 2008 19:37:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Chan Subject: Call for submissions Comments: To: Women Poets MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi, Poetry Sz:demystifying mental illness ( http://poetrysz.blogspot.com ) is calling for submissions for Issue 26. Send 4-6 poems and a short bio in the body of your email to poetrysz@yahoo.com . Please read the submission guidelines first before submitting. Thanks. regards J Chan editor ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Mon, 21 Apr 2008 08:16:17 -0400 Reply-To: pmetres@jcu.edu Sender: UB Poetics discussion group From: Philip Metres Subject: new on Behind the Lines blog MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit New on Behind the Lines... Travis Poling on William Stafford Further Considerations on the Peace Video of Hamifkad Some Recent Videos on the Israeli/Palestinian Conflict Amy King's Potpourri of Poetry Un/Definitions Homily for Tom Lewis, ex-Catonsville Nine peace activist Call for Submissions for Come Together: Imagine Peeace Ali Abunimah and Israel Fady Joudah inteview and poem Joseph Ross on To See the Earth "Studio 360" shows on the Iraq War Ray McNiece's "I'm a Grunt" To See the Earth on "Around Noon" bp Nichol's "War and Peace"/sounding out My daughter and I, braving Cleveland weather "New Cairo" by Matthew Shenoda Christian Peacemaker Team work/The Witness of Art... Martin Luther King's "Riverside Church" sermon and... Errol Morris' "Standard Operating Procedures"/Abu ... Winter Soldier 2008, The Iraq/Afghanistan Version Grace Paley's "Fathers" 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 http://behindthelinespoetry.blogspot.com ========================================================================= Date: Mon, 21 Apr 2008 06:48:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: amy king Subject: Blog Log - Recent Whittlings Comments: To: new-poetry@wiz.cath.vt.edu MIME-Version: 1.0 Content-Type: text/plain; charset=windows-1252 Content-Transfer-Encoding: quoted-printable =0A FEMINIST RESURGENCE?!=0Ahttp://amyking.wordpress.com/2008/04/19/feminis= t-resurgence/=0A =0ANOT ONE, BUT A LOVELY TWO!=0Ahttp://amyking.wordpress.c= om/2008/04/17/not-one-but-a-lovely-two/=0A =0AIKEA HAS A THING FOR POETS=0A= http://amyking.wordpress.com/2008/04/17/ikea-has-a-thing-for-poets/=0A =0AA= IME CESAIRE, MARTINIQUEPOET, HAS DIED=0Ahttp://amyking.wordpress.com/2008/0= 4/17/aime-cesaire-martinique-poet-has-died/=0A =0AWHEN LIGHTNING BOLTS FROM= MY CHEST =85=0Ahttp://amyking.wordpress.com/2008/04/15/when-lightning-bolt= s-from-my-chest/=0A =0AGO LOCAL: NATIONALPOETRY MONTH X 10=0Ahttp://amykin= g.wordpress.com/2008/04/13/national-poetry-month-x-10/=0A =0ARON PADGETT SI= NGS HIS POETRY!=0Ahttp://amyking.wordpress.com/2008/04/11/ron-padgett-sings= -his-poetry/=0A =0ABITCHES=0Ahttp://amyking.wordpress.com/2008/04/11/bitche= s/=0A =0ABIRTHING=0Ahttp://amyking.wordpress.com/2008/04/10/birthing/=0A = =0APRONOUNCING =93LOUIS=94=0Ahttp://amyking.wordpress.com/2008/04/10/pronou= ncing-%e2%80%9clouis%e2%80%9d/=0A =0AWHERE=92S THE MOMMY?=0Ahttp://amyking.= wordpress.com/2008/04/10/wheres-the-mommy/=0A =0ASTELLAR AUDIO OF MEGAN VOL= PERT, DEBORAH POE, LAURA MULLEN=0Ahttp://amyking.wordpress.com/2008/04/03/s= tellar-audio-of-megan-volpert-deborah-poe-laura-mullen/=0A =0ANEVER A MORE = GENEROUS MAN=0Ahttp://amyking.wordpress.com/2008/04/03/never-a-more-generou= s-man/=0A =0ADAISY FRIED=92S POETRY EXERCISES=0Ahttp://amyking.wordpress.co= m/2008/04/02/daisy-frieds-poetry-exercises/=0A =0A =0A_______=0A=0A=0Ahttp:= //www.amyking.org =0Ahttp://redherring.us=0A=0A=0A=0A ________________= ____________________________________________________________________=0ABe a= better friend, newshound, and =0Aknow-it-all with Yahoo! Mobile. Try it n= ow. http://mobile.yahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Mon, 21 Apr 2008 10:21:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Literary Buffalo Newsletter 04.21..08-04.27.08 MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; format=flowed; charset=ISO-8859-1 LITERARY BUFFALO 04.21.08-04.27.08 ___________________________________________________________________________ Join our Facebook group=21 If you are on Facebook and would like to join t= he Friends of Just Buffalo Literary Center group, click here: http://www.facebook.com/group.php?gid=3D13187515545&ref=3Dts ___________________________________________________________________________ BABEL TICKETS ON SALE NOW FOR THE FINAL BABEL EVENT OF THE SEASON April 24 Kiran Desai, India, Winner of the 2006 Man Booker Prize, =2425 832-5400 or visit http://www.justbuffalo.org/babel THERE ARE ONLY A FEW TICKETS LEFT FOR THIS EVENT. GET THEM WHILE YOU CAN. ___________________________________________________________________________ BABEL 2008-2009 Just Buffalo is happy to announce our 2008-2009 lineup for Babel: Chinua Achebe, Nigeria, September 25. Book: Things Fall Apart. Michael Ondaatje, Canada, October 29. Book: The English Patient. Marjane Satrapi, Iran, April 1. Book: Persepolis. Isabel Allende, Chile, April 17. Book: House of the Spirits. Subscriptions will go on sale at the April 24 event and then in general on = April 25. Previous subscribers can re-up for =2475. New subscription (four= events): =24100. We expect to sell out next season by subscription. If we = do not, tickets for individual events will go on sale September 1. ___________________________________________________________________________ EVENTS THIS WEEK 04.23-04.25.08 Poetics Plus at UB George Oppen Centennial Celebration April 23-25, Readings, Talks, Keynote Thom Donovan/Rob Halpern April 23 7 p.m. Rust Belt Books, 202 Allen St & Rachel Blau Duplessis Keynote & John Wilkinson Reading April 24, 8:30 p.m. Karpeles Manuscript Museum and Library 453 Porter Avenue & Rachel Blau DuPlessis & Susan Thackrey Reading April 25, 8:30 p.m. Karpeles Manuscript Museum and Library 453 Porter Avenue ___________________________________________________________________________ JUST BUFFALO MEMBERS-ONLY WRITER CRITIQUE GROUP Members of Just Buffalo are welcome to attend a free, twice-monthly writer = critique group in CEPA's Flux Gallery on the first floor of the historic Ma= rket Arcade Building across the street from Shea's. Group meets 1st and 3rd= Wednesday 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. ___________________________________________________________________________ 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 i= mmediately be 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, 21 Apr 2008 08:09:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas savage Subject: Dark Matter, the film MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Hi. I'd like to know if anybody else on the list has seen the new Meryl Streep movie "Dark Matter" in which a brilliant, possibly great movie was ruined by a cheap, trashy, prejudicial ending. In my humble opinion, it isn't the brilliant kids in universities who become the mass killers we all hear about about twice a year now. It's the sadly deluded, violent fools who go on a rampage when their stupid, little desires are frustrated. It may be possible to feel compassion for them on some level, but to saddle the beautiful,sympathetic character of this up to then wonderful movie with a senseless killing seems to me to be an aesthetic crime. Regards, Tom Savage' --------------------------------- Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. ========================================================================= Date: Mon, 21 Apr 2008 12:28:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Jo Malo Subject: Re: (Photography & Preserving a Way of Life & Myth)--Robb Kendrick, Tintype Cowboy, Rides Again - New York Times MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline David, Sounds like the architectural "restoration" of Brady Street in Milwaukee. It seems both older and newer than I remembered it as a kid :) Mary Jo ========================================================================= Date: Mon, 21 Apr 2008 09:35:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Grieco Subject: what's this called? MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Greetings! I'm hoping that some one of you can help me identify a poetic trope. A good example of it comes in Matthea Harvey's "Pity the Bathtub Its Forced Embrace of the Human" from her 2000 book with the same title: "For improvement within try a soap dish that allows for/ Slippage is inevitable as is difference in the size of/ The subject may hoard his or her bubbles. . ." Here two nouns--"slippage" & "the subject"--function twice grammatically both in the sentences they end & the sentences they begin. Is there a name for this simultaneity? I've been searching rhetorical tropes & haven't found anything close yet. Any suggestions? Thanks, Peter ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Mon, 21 Apr 2008 09:52:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: ATROXHITY by CrashTest 15 Visual Poets' Tribute to JG Ballard's Atrocity Exhibition MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Dear all, The new CrashTest project is officially launched. ATROXHITY is a tribute to JG Ballards' Atrocity Exhibition. For more information about this issue please read the attached pdf flyer an= d visit the website where you will find some goodies, extras, movies, clips, etc: http://crashtext.wordpress.com/atroxhity/ . This issue can be ordered through me or at Lulu (http://stores.lulu.com/crashtest). Wishing you all a great Sunday. Xavier Master of CEREbral acriMONY *CRASHTEST / Atroxhity*: http://crashtext.wordpress.com/atroxhity/ Contact: HAL900L@yahoo.fr Amazing works by Ian C. (special guest) Rachel Defay-Liautard Erik Rzepka Andr=E9s Vaccari Harold Jaffe Mario Hinz Matina Stamatakis Gary Lain J=E9r=F4me Bertin David-Baptiste Chirot L. Herrou / JP Paringaux MEZ Rodolphe Bessey Javier Kronauer =85 re-interpreting each chapter contained in JG Ballard's Atrocity Exhibition. ========================================================================= Date: Mon, 21 Apr 2008 09:57:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: richard owens Subject: Fwd: Help Tom Clark MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="0-294706117-1208797023=:66655" Content-Transfer-Encoding: 8bit --0-294706117-1208797023=:66655 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit ALL: Micah Robbins -- a young & _extraordinary_ bookmaker in San Marcos, Texas -- sent the attached msg out appealing to others for help re Tom Clark. _all_ the proceeds from the sale of David Hadbawnik's Ovid in Exile will go straight to Clark. the book is one of the finest i have on my shelves -- board covers, five signatures attached to one another thru a lovely Coptic stitch. the book price is $15.00. unbelievable considering the labor invested. for more on Tom Clark & the New College situation, go to Dale Smith's blog: http://possumego.blogspot.com/ best... rich... Note: forwarded message attached. ........richard owens 810 richmond ave buffalo NY 14222-1167 damn the caesars, the journal damn the caesars, the blog --------------------------------- Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. --0-294706117-1208797023=:66655 Content-Type: multipart/alternative; boundary="0-960940164-1208796045=:83626" Content-Transfer-Encoding: 8bit Content-Length: 856 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit In an effort to help Tom Clark, Interbirth Books will be donating 100% of proceeds from David Hadbawnik's Ovid in Exile earned throughout April to Mr. Clark. Ovid in Exile is a beautiful, limited edition, hand bound collection of poems that is currently available at a very reasonable price ($15). There are only 16 of these books left in stock, so take advantage of this offer today and help one of our most important American poets/editors/biographers during this troubling time. Please visit Interbirth Books to learn more about why Tom Clark need help and to purchase your copy of David Hadbawnik's Ovid in Exile. Micah Robbins - Editor Interbirth Books 111 Stanford Dr. Leander, TX 78641 www.interbirthbooks.org --------------------------------- Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. --0-294706117-1208797023=:66655-- ========================================================================= Date: Mon, 21 Apr 2008 12:50:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: 10 Love Poems Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hey everyone - I have a small manuscript of 10 love poems - I'm collaborating with an artist who will write them out long-hand. We're looking for a publisher who will print these as images but in fine quality (not photocopies). It will total about 15-20 standard trade-sized pages. Before she begins her work, we need to settle matters such as trim size, ink, etc. Before we can do that, I think, we need to find a publisher who will take on the project. If you have any leads, I'd love to hear them. Fine quality is more important than large print-run or wide distribution. My first "normal" book came out from BlazeVOX and the second is forthcoming from Persea Books. Let me know via email - aaron@belz.net Merci, Aaron ========================================================================= Date: Mon, 21 Apr 2008 11:54:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: An Evening of Innovative Fiction at Small Press Traffic -- Saturday, April 26, 2008 MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Small Press Traffic is thrilled to present: An Evening of Innovative Fiction featuring Amanda Davidson, Yuri Herrera, Summi Kaipa, & Chris Nagler Saturday, April 26, 2008 CCA's Oakland Campus, Nahl Hall 5212 Broadway 7:30 p.m. Refreshments will be served Please note the special *Saturday* date and special Oakland location for this SPT event Join us at CCA's Oakland Campus for a memorable evening of Bay Area experimental fiction. You'll be glad you did! Amanda Davidson is a San Francisco-based writer and multi- media artist. Her work has appeared or is forthcoming in Famous magazine, Viz. Inter-Arts, Encyclopedia Volume F-K, and elsewhere. She co-edits Digital Artifact Magazine and maintains several alter- egos online at partedinthemiddle.com. Born in Actopan, M=E9xico in 1970, Yuri Herrera is a Ph.D. Candidate at the University of California, Berkeley in Hispanic Language and Linguistics. He received a M.F.A from University of Texas in El Paso and his B.A. from the Universidad Nacional Aut=F3noma de M=E9xico in Political Science. Herrera edits the literary journal El perro and is the author of Trabajos del reino (a novel), Este es mi nahual! (a short story for children), and has contributed to several anthologies of short stories in Spanish. Summi Kaipa has authored several chapbooks, including The Epics (Leroy Press), One: I Beg You Be Still (Belladonna), and most recently The Language Parable (Corollary Press). For eight years, she was the editor of Interlope, a magazine publishing innovative writing by Asian Americans, and in 2002, she received a Potrero Nuevo Fund Prize to write and produce her first play. Kaipa is currently completing a doctorate in clinical psychology and is slowly writing her first full-length manuscript. Christian Nagler is a fiction writer, translator, and performer. In 2005 he received his M.F.A. from Brown University. His work has appeared most often in the form of handmade artist's books. Recently, he has been performing with Anna Halprin's Sea Ranch Collective, and with Severine La Pan Vaux's Dance company in France, and translating the works of the Salvadoran philosopher and economist Alberto Masferrer. He teaches community art at San Francisco State and is working on a novel. Please note the special day and location for this event! Unless otherwise noted, events are $5-10, sliding scale, free to current SPT members and CCA faculty, staff, and students. There's no better time to join SPT! Check out: http://www.sptraffic.org/html/supporters.htm For Directions to CCA's Oakland Campus, Nahl Hall at 5212 Broadway in Oakland please see: http://www.cca.edu/about/directions.php We'll see you see you on Saturdays in April 2008! Join us! _______________________________ Dana Teen Lomax, Interim Director Small Press Traffic Literary Arts Center at CCA 1111 -- 8th Street San Francisco, CA 94107 415.551.9278 smallpresstraffic@gmail.com http://www.sptraffic.org and out new blog: www.smallpresstraffic.blogspot.com ========================================================================= Date: Mon, 21 Apr 2008 13:28:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: poet tried for killing judge, seducing wife MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7bit not really. but now that i have your attention, let us note that the situation is excellent. poet tried for killing judge, seducing wife of judge. it's a plot situation i heard on the radio today. from a new novel by william deverel. ne'er do well poet is tried for killing judge. presumably not tried for seducing the judge's wife. that's sort of what poets do. kill the judge. figuratively speaking. and seduce the wife. perhaps it is a novel of poetics! ha. not likely, but you know what i mean, being yerself not so far removed from the current situation. ja http://vispo.com ========================================================================= Date: Mon, 21 Apr 2008 17:46:56 -0400 Reply-To: Joel Lewis Sender: UB Poetics discussion group From: Joel Lewis Subject: JOEL LEWIS & MOLLY RUSSAKOFF READING IN PHILADELPHIA Mime-Version: 1.0 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Hello, I'm coming down from my post in Hoboken to read with old friend Moll= y at her bookshop. I'll be mostly reading from my new book "Learning From N= ew Jersey" (Talisman House). Pennsylvanians -- don't cling to your guns -- = cling to a poetry reading! joel POETRY READING IN PHILLY JOEL LEWIS & MOLLY RUSSAKOFF SATURDAY APRIL 26 @ 7:30PM MOLLY=E2=80=99S BOOKS 1010 SOUTH 9TH STREET PHILADELPHIA (IN THE HEART OF THE ITALIAN MARKET) 215 =E2=80=93 923- 3367 ========================================================================= Date: Mon, 21 Apr 2008 15:59:16 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Library &/or Art Class poem(s) ?? Comments: cc: "Poetryetc: poetry and poetics" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit A request! I am leading a "Walking & Writing" Class on the University of San Francisco Campus. We have upcoming 'writing' visits in the Library's Rare Book room and a Sculpture workshop. Does one have any 'favorite' work which sites itself in a Library or in an Art Workshop?? (This one is actually for 'sculpture' students). Some eons ago, frequently lit mags would have a poem (or story) that would take place in a bookshop. (I think those situations between the speaker and the romantic 'sought' among the stacks have been replaced by eHarmony or comparable date making sites! Or maybe the NYRB). Not to rule out the romantic in any of these situations, but I welcome any kind of poem with this kind of specific location. (I often suffer from 'aphasia' when it comes to remembering specific poems) (I have not read Larkin in a long time, but he must have something of the Library, yes?) Your suggestions much appreciated. Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Sat, 19 Apr 2008 21:37:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: NY Times Outs the Networks Comments: To: "Poetryetc: poetry and poetics" Comments: cc: UK POETRY MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://www.nytimes.com/interactive/2008/04/20/washington/20080419_RUMSFELD.html I suggest checking out this link - an unusual text/audiovisual doc that outs those omnipresent 'Retired Generals' on Fox. CNN, MSNBC on how they have taken their talking points direct from the Pentagon. It's not unexpected but wow. Then the movie The Counterfeiters - there in the Nazi prison camps with the omnipresent attack dogs do echo up Abu Graib. And the connections one can make with the resumption of torture to Rumsfeld & Co. It is nice that the NY Times has finally begin to fully lay out the cards on Bush &Co. Wish Hillary and Obama can get full up to speed on this - if real change is going to come. Stephen V http://stephenvincent.net/blog/ ========================================================================= Date: Mon, 21 Apr 2008 18:46:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Bebe Barron (1925 - 2008) Comments: To: SilenceList Content-Type: text/plain; charset=WINDOWS-1252; format=flowed; delsp=yes Content-Transfer-Encoding: quoted-printable Mime-Version: 1.0 (Apple Message framework v919.2) From: Barry Schrader Date: Sun, 20 Apr 2008 13:09:49 -0500 Bebe Barron (1925 - 2008) =93It is with great sadness that I report the death of Bebe Barron on =20= April 20, 2008 at the age of 82, of natural causes. Bebe was the last =20= of the pioneering composers of classical studio electronic music. She =20= was a close friend, an enthusiastic colleague, and a most gracious lady. Bebe Barron was born Charlotte Wind in Minneapolis, on June 16, 1925. =20= She received an MA in political science from the University of =20 Minnesota, where she studied composition with Roque Cordero, and she =20 also spent a year studying composition and ethnomusicology at the =20 University of Mexico. In 1947 she moved to New York and, while working =20= as a researcher for Time-Life, studied composition with Wallingford =20 Reigger and Henry Cowell. That same year, she met and married Louis =20 Barron (1920 - 1989). Shortly thereafter, the Barrons began their =20 experiments with the recording and manipulation of sound material by =20 means of a tape recorder that they received as a wedding gift. They =20 created a private studio in New York and, in 1955, composed the first =20= electronic music score for a commercial film, Forbidden Planet. In =20 1962 the Barrons moved to Los Angeles; they divorced in 1970. In 1973, =20= Bebe married Leonard Neubauer, a screen writer. Bebe became the first =20= Secretary of the Society for Electro-Acoustic Music in the United =20 States (SEAMUS) in 1985, and also served on the Board of Directors. In =20= 1997 Bebe was presented the SEAMUS Award for the Barrons life work in =20= the field of electro-acoustic music. She is survived by her husband, =20 Leonard, and her son, Adam. Bebe=92s last public appearance was on January 12, 2008, at an event =20 held at the Hammer Museum in Los Angeles, celebrating the work of her =20= good friend, Anais Nin. Bebe was too ill to speak in public at this =20 point, but she agreed to be interviewed for a video piece that was =20 shown at the event. This is her final interview, and you can see it on =20= YouTube. Bebe=92s final composition, Mixed Emotions (2000) was composed in the =20= CREATE studios of the University of California at Santa Barbara. I=92ll =20= be putting this work up on the Downloads 2 page of my website, along =20 with some photos of Bebe and myself taken in 2005 at her home on the =20 Photos page within the next week. I first met Bebe Barron in the middle 1970s; I don=92t remember exactly =20= when, but I think it was around 1975. I had asked Bebe and her former =20= husband and composing partner Louis to attend a showing of Forbidden =20 Planet that I had arranged as part of a class at CalArts. They agreed =20= to do it, and I quickly became good friends with Bebe and we remained =20= close over the years. In writing about Bebe Barron, it=92s impossible not to focus on the =20 pioneering work that she and Louis did in electronic music. They began =20= their experiments in 1948, shortly after they were married. This early =20= work was done using a tape recorder, preceding the work of Luening and =20= Ussachevsky and the switch from disks to tape by Pierre Schaeffer and =20= the GRM. But, to my knowledge, the Barrons=92 early experiments did not =20= result in any completed works, a state of affairs not uncommon with =20 early pioneers in the field. In 1949 they set up one of the earliest =20 private electro-acoustic music studios and began their experiments =20 with electronically generated sounds. They built their own circuits =20 which they viewed as cybernetic organisms, having been influenced by =20 Norbert Weiner=92s work on cybernetics. The circuits, built with vacuum =20= tubes, would exhibit characteristic qualities of pitch, timbre, and =20 rhythm, and had a sort of life cycle from their beginnings until they =20= burned out. The Barrons recorded the sounds from the amplification of =20= these circuits and this formed the basis of their working library. =20 They also employed tape manipulation techniques as part of their =20 compositional procedures. The sound qualities of these various =20 amplified tube circuits and the tape manipulations that they underwent =20= formed the musical language that the Barrons created in their studio. =20= Unlike some of the work being done elsewhere, the Barrons=92 music =20 reveals long phrases, often stated in tape-delayed rhythms, with the =20 stark finesse of the tube circuit timbres. They created a style that =20 was uniquely their own yet married to the technology they were using. The Barrons earliest finished work, Heavenly Menagerie (1951) does not =20= seem to have survived in a complete form. But their score for Ian =20 Hugo=92s film Bells of Atlantis (1952), based on a poem by Anais Nin, =20= who appears on screen, does exist on the film sound track. This may be =20= the earliest extant work of the Barrons and presages what was to come =20= with Forbidden Planet, the music for which was composed in 1955, the =20 film being released the next year. The music for Forbidden Planet is truly a landmark in electro-acoustic =20= music. This was the first commercial film to use only electronic =20 music, and the score for the movie displays an attitude towards film =20 scoring that was different from anything that had happened before. In =20= Forbidden Planet, while there are themes for characters and events in =20= the film, as was traditional in the scoring of that day, the themes =20 are composed and perceived as gestalts, rather than as melodies in =20 traditional movie music. Even more important is the fact that the =20 scoring of Forbidden Planet breaks down the traditional line between =20 music and sound effects since the Barrons=92 electronic material is used = =20 for both. This not only creates a new type of unity in the film sound =20= world, but also allows for a continuum between these two areas that =20 the Barrons exploit in various ways. At some points it=92s actually =20 impossible to say whether or not what you=92re hearing is music, sound =20= effect, or both. In doing this, they foreshadowed by decades the now =20 common role of the sound designer in modern film and video. The Barrons composed many other works for tape, film, and the theater =20= in the 1950s. Their studio became the home for John Cage=92s Project of =20= Music for Magnetic Tape, and they assisted in the creation of Cage=92s =20= first chance piece Williams Mix (1951-52), as well as works by other =20 members of the group such as Earle Brown and Morton Feldman. As a =20 studio for the creation of their own and other composers=92 works, the =20= Barrons=92 studio served as a functioning center for electro-acoustic =20= music at a time when there was no institutional support of the medium =20= in the United States. It=92s curious, then, that, for many years, the =20= Barrons, their studio, and their works were largely overlooked by =20 composers and historians in the field. Fortunately, that injustice has =20= since been corrected, and, in 1997, it was my great honor to present =20 to Bebe and, posthumously, to Louis, the SEAMUS Lifetime Achievement =20 Award. Bebe was involved with SEAMUS from the very beginning of the =20 organization. She was one of the ten original members who responded to =20= my organizational call and met at CalArts in November of 1984 to form =20= the group, and she was SEAMUS=92s first secretary. There may have been a = =20 little strong-arming on my part to get her to be involved so actively, =20= but Bebe was always ready to support the cause of electro-acoustic =20 music in whatever way she could. Bebe created a firm legacy in her music. If the importance of one=92s =20= work is to be judged in any regard by it=92s influence, acceptance, =20 longevity, and innovative qualities, then the score for Forbidden =20 Planet is an enormous success. It remains the most widely known =20 electro-acoustic music work on this planet. For me, Bebe Barron will =20 always be the First Lady of electronic music.=94 ========================================================================= Date: Mon, 21 Apr 2008 18:36:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Amish Trivedi Subject: Re: what's this called? In-Reply-To: <557070.48702.qm@web37904.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit zeugma? one verb, two nouns... I have a gross example that I won't share, but it cracks me up just thinking about it. amish Peter Grieco wrote: Greetings! I'm hoping that some one of you can help me identify a poetic trope. A good example of it comes in Matthea Harvey's "Pity the Bathtub Its Forced Embrace of the Human" from her 2000 book with the same title: "For improvement within try a soap dish that allows for/ Slippage is inevitable as is difference in the size of/ The subject may hoard his or her bubbles. . ." Here two nouns--"slippage" & "the subject"--function twice grammatically both in the sentences they end & the sentences they begin. Is there a name for this simultaneity? I've been searching rhetorical tropes & haven't found anything close yet. Any suggestions? Thanks, Peter ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Mon, 21 Apr 2008 21:43:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Renee Ashley Subject: Re: what's this called? MIME-version: 1.0 Content-type: text/plain; format=flowed; charset=iso-8859-1; reply-type=original Content-transfer-encoding: 7bit Hi Peter, In class I call it a "pivot" line or a "hinge" line, but I don't recall ever hearing or reading a codified name for it. Of course, that doesn't mean there isn't one! Renee ========================================================================= Date: Mon, 21 Apr 2008 19:48:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: poet tried for killing judge, seducing wife In-Reply-To: Mime-Version: 1.0 (Apple Message framework v753) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit oh good god the puns are just beautiful in this poet tried for killing judge tried for what for killing, judge. seducing poet tried, for killing judge seducing wife of judge poet tried for Killing Judge, Seducing Wife of Judge. so great. thanks Jim. On Apr 21, 2008, at 1:28 PM, Jim Andrews wrote: > not really. > > but now that i have your attention, let us note that the situation is > excellent. > > poet tried for killing judge, seducing wife of judge. > > it's a plot situation i heard on the radio today. from a new novel by > william deverel. > > ne'er do well poet is tried for killing judge. presumably not tried > for > seducing the judge's wife. > > that's sort of what poets do. kill the judge. figuratively speaking. > > and seduce the wife. > > perhaps it is a novel of poetics! > > ha. > > not likely, but you know what i mean, being yerself not so far > removed from > the current situation. > > ja > http://vispo.com ========================================================================= Date: Mon, 21 Apr 2008 22:50:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: JUDGE DISMISSES MAIL FRAUD CASE AGAINST BIO-ARTIST KURTZ Mime-Version: 1.0 (Apple Message framework v919.2) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed; delsp=yes Content-Transfer-Encoding: quoted-printable FOR IMMEDIATE RELEASE April 21, 2008 CONTACTS: Email: media@caedefensefund.org Edmund Cardoni: (716) 854-1694 Lucia Sommer: (716) 359-3061 JUDGE DISMISSES MAIL FRAUD CASE AGAINST BIO-ARTIST KURTZ Buffalo, NY=97A process that has taken nearly four years may be coming =20= to an end. On Monday, April 21, Federal Judge Richard J. Arcara ruled =20= to dismiss the indictment against University at Buffalo Professor of =20 Visual Studies Dr. Steven Kurtz. In June 2004, Professor Kurtz was charged with two counts of mail =20 fraud and two counts of wire fraud stemming from an exchange of $256 =20 worth of harmless bacteria with Dr. Robert Ferrell, Professor of Human =20= Genetics at the University of Pittsburgh Graduate School of Public =20 Health. Dr. Kurtz planned to use the bacteria in an educational art exhibit =20 about biotechnology with his award-winning art and theater collective, =20= Critical Art Ensemble. Professor Kurtz=92 lawyer, Paul Cambria, said that his client was =20 =93pleased and relieved that this ordeal may be coming to an end.=94 The prosecution has the right to appeal this dismissal. How the =20 prosecution will proceed is unknown at this time. If an appeal were =20 undertaken the case would move to the New York Second Circuit Court of =20= Appeals in New York City. Lucia Sommer, Coordinator of the CAE Defense Fund, which raises funds =20= for Kurtz=92 legal defense, said, =93We are all grateful that after =20 reviewing this case, Judge Arcara took appropriate action.=94 She added =20= that =93this decision is further testament to our original statements =20= that Dr. Kurtz is completely innocent and never should have been =20 charged in the first place.=94 BACKGROUND ON DR. STEVEN KURTZ AND CRITICAL ART ENSEMBLE Critical Art Ensemble (which Kurtz co-founded in 1987 with Steven =20 Barnes) has won numerous awards for its bio-art, including the =20 prestigious 2007 Andy Warhol Foundation Wynn Kramarsky Freedom of =20 Artistic Expression Grant, honoring more than two decades of =20 distinguished work. The group has been commissioned to exhibit and =20 perform in many of the world's cultural institutions=97including the =20 London Museum of Natural History; The ICA, London; the Whitney Museum =20= and the New Museum in NYC; the Corcoran Museum of Art in Washington, =20 DC; Schirn Kunsthalle, Frankfurt; Mus=E9e d'Art Moderne de la Ville de =20= Paris; der Volksb=FCne, Berlin; ZKM, Karlsruhe; El Matadero, Madrid; =20 Museum of Contemporary Art, Helsinki; Museo de Arte Carrilo Gil, =20 Mexico City and many more. For more information about the case, please visit: caedefensefund.org ### ========================================================================= Date: Mon, 21 Apr 2008 20:54:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Re: what's this called? In-Reply-To: <557070.48702.qm@web37904.mail.mud.yahoo.com> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: quoted-printable There are two terms: Greek apo koinu ("shared," "a sharing," "with sharing" -- not that it t translates exactly into English) -- from Alexandrian grammarians; see Liddell and Scott [I describe it and discuss it at some length passim in _Disjunctive Poetics_] and Janus-sentence/s or Janus-headed sentence/s -- a term I came across in I think it was Quinn's edition of Catullus.=20 P =3D=3D=3D=3D=3D=3D=3D=3D=3D Peter Quartermain 846 Keefer Street Vancouver BC Canada V6A 1Y7 604 255 8274 (voice and fax) quarterm@interchange.ubc.ca =3D=3D=3D=3D=3D=3D=3D=3D=3D -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of Peter Grieco Sent: 21 April 2008 09:36 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: what's this called? Greetings! I'm hoping that some one of you can help me identify a poetic trope. A good example of it comes in Matthea Harvey's "Pity the Bathtub Its Forced Embrace of the Human" from her 2000 book with the same title: "For improvement within try a soap dish that allows for/ Slippage is inevitable as is difference in the size of/ The subject may hoard his or her bubbles. . ." Here two nouns--"slippage" & "the subject"--function twice grammatically both in the sentences they end & the sentences they begin. Is there a name for this simultaneity? I've been searching rhetorical tropes & haven't found anything close yet. Any suggestions? Thanks, Peter =20 _________________________________________________________________________= ___ ________ Be a better friend, newshound, and=20 know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Mon, 21 Apr 2008 22:43:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Fw: Restore Freedom of Artistic Creation and Education MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Forwarded from my good friend the photographer Rhona Bittner. Please consid= er supporting her friend's good cause:=0A=0A=0A=0ADear Friends,=0A=0A=0AMy = dear friend in Athens, Ersi Sotiropoulos - a renowned poet and writer - ha= s been singled out for censure by an ultra conservative politician. I have = read her book, the wonderful "ZigZag through the Bitter Orange Trees" and t= here is nothing pornographic or vulgar about it. The whole attack is prepos= terous. =0A=0A=0AI hope you will lend your support and signature to her pet= ition (see below) and give her added strength in our numbers.=0A=0A=0AMany = thanks.=0ARhona=0A=0A=0A=0A=0A=0AA Greek Court has recently decided to forc= e the withdrawal from the National School Library system of the National Aw= ard novel, "Zig-Zag Through the Bitter Orange Trees" by Ersi Sotiropoulos, = as the result of a lawsuit initiated by the extreme-right politician K. Ple= vris against the Greek Ministry of Education. The court's decision, based o= n the judge's opinion that the book "contains passages clearly pornographic= and vulgar," is a monument of extreme conservatism, and is viewed by Greek= intellectuals as an unprecedented attack on reason, freedom of speech and = the independence of artistic creation and education. =0A=0AThe "(de)kata So= ciety" denounces the interference of the Greek courts leading to the withdr= awal from the National School Library system of the National Award winning = novel, "Zig-Zag Through the Bitter Orange Trees" by Ersi Sotiropoulos, as a= n act of interference in the literary process and the educational system an= d as an act of censorship. The Society demands that the Ministry of Educati= on appeal this unprecedented judicial decision and use every legal means to= block its enforcement in order to ensure the protection of freedom of expr= ession and the sanctity of the arts and education. With this act, the justi= ce system, by criminalising the art of writing, is throwing us back to the = Middle Ages. =0A=0A=0A=0A Visit the link below to sign the petition and for= ward it on! =0A=0A http://www.gopetition.com/petitions/restore-freedom-of-a= rtistic-creation-and-education-greece.html ========================================================================= Date: Tue, 22 Apr 2008 02:25:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: concert MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit INTERPRETATIONS ________________________________ THURSDAY APRIL 24, 2008 at 8PM Christian Wolff Sextet Christian Wolff, piano, melodica Jürg Frey, clarinet Craig Shepard, trombone Jeremy Lamb, violoncello Larry Polanski, electric guitar Marco Cappelli, electric guitar ROULETTE 20 Greene Street (between Canal and Grand) $15 general admission $10 students, seniors, Harvestworks, DTW, Roulette & Location One members free. Reservations: 212-219-8242 / Information: 212-627-0990. All concerts begin at 8pm http://www.interpretations.info www.roulette.org ========================================================================= Date: Tue, 22 Apr 2008 06:42:17 -0400 Reply-To: arippeon@buffalo.edu Sender: UB Poetics discussion group From: Andrew Rippeon Subject: Reminder: GEORGE OPPEN: A Centenary Conversation. This week in Buffalo. Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="utf-8" MIME-Version: 1.0 *********************************************** GEORGE OPPEN: A CENTENARY CONVERSATION *********************************************** To celebrate the life and work of George Oppen on the occasion of his 100th= birthday, the Poetics Program at SUNY Buffalo will host a three-day event= =20 (Wed. 4/23-Fri. 4/25) involving panel presentations, roundtable discussion,= keynote addresses from invited guests, and commemorative readings both of= =20 Oppen=E2=80=99s work and work inspired by his life and practice. Keynote addresses and poetry readings by STEPHEN COPE, RACHEL BLAU DUPLESSI= S, SUSAN THACKREY, and JOHN WILKINSON.=20=20 Roundtable conversation among SUNY Buffalo faculty members JOSEPH CONTE, MY= UNG MI KIM, STEVE MCCAFFERY, and KRZYSZTOF ZIAREK Wednesday, April 23rd (Rust Belt Books, 202 Allen Street) 7:00 PM. Poetry Reading Conversation Thursday, April 24th (420 Capen Hall, UB North Campus) 10:00AM-4:30PM. Presentation of papers and Keynote addresses 8:00PM. The Karpeles Manuscript Museum (453 Porter Ave.) Friday, April 25th (420 Capen Hall, UB North Campus) 10:00AM-4:30PM. Presentation of papers and Keynote addresses 8:00PM. The Karpeles Manuscript Museum (453 Porter Ave.) For more information, including schedules, locations, and paper titles, ple= ase check=20 http://english.buffalo.edu/oppenConference/> http://epc.buffalo.edu/authors/oppen/oppen_poster.html> Contact: . ========================================================================= Date: Tue, 22 Apr 2008 05:39:01 -0700 Reply-To: theresebroderick@yahoo.com Sender: UB Poetics discussion group From: Therese Broderick Subject: Re: Library &/or Art Class poem(s) ?? In-Reply-To: <118870.41469.qm@web82602.mail.mud.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable I hope one or more of these will help you. (Can you tell that I love to do = research?). An asterisk means I can provide you will full text if you send = me an email. A) POEMS IN/ABOUT LIBRARIES-- "In the Reading Room" by Franz Wright* "In the Library" by Charles Simic* (it's possible that the "Miss Jones" men= tioned briefly in this poem is a romantic interest, but that far-fetched in= ference of mine is based only on a description of her in Simic's other poem= "Have You Met Miss Jones?") Also, the full text of 50 poems about/in libraries are easily located by do= ing a "library" keyword search on the "Poetry Tool" of poetryfoundation.org= . For example-- "Episode in a Library" By Zbigniew Herbert "Girl in a Library" By Gail Mazur=20 B) POEMS IN/ABOUT SCULPTURE STUDIOS/CLASSES-- There are lots of poems about sculptures. Poems about sculptors in studios = are a bit harder to find. Maybe these two older poems provide are what you= want-- =E2=80=9CThe Tireless Sculptor=E2=80=9D by Henrietta Ray =E2=80=9CTo May Howard Jackson, Sculptor=E2=80=9D by Georgia Johnson C) POEMS IN/ABOUT OTHER KINDS OF ART CLASSES/STUDIOS-- These are not exactly what you want but may be close-- 1) "Your Art History" by Jason Gray* (painting class) 2) "The Studio" by Terri Witek* (villanelle of portrait studio) 3) "At the Glass Factory in Cavan Town"by Eavan Boland* (watching a glass = blower work) 4) "In the Marble Quarry" by James Dickey (marble for public buildings, not= sculptures)--full text on poetryfoundation.org Therese L. Broderick, MFA freelance ekphrastic poet Albany, NY poetryaboutart.wordpress.com theresebroderick@yahoo.com ========================================================================= Date: Tue, 22 Apr 2008 05:48:35 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: When Language Can Hold the Answer - New York Times--(And when it can't, or distorts it--) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.nytimes.com/2008/04/22/science/22lang.html?_r=1&th&emc=th&oref=login--- "Language helps us learn novel categories, and it licenses our unusual ability to operate on an abstract plane, Dr. Lupyan said. The problem is that after a category has been learned, it can distort the memory of specific objects, getting between us and the rest of the nonabstract world." (concluding lines from this article) "It giveth with one hand, and taketh away with the other," as an abstract "virtual" world (or "Platonic") world "appears," it causes aspects of the non-virtual non-abstract, "non-Platonic" world to disappear or become distorted. In turn this means that "projections" (as categories, as defense-mechanisms)--will limit and/or distort the "seeing" of specific things, creating as it were "blind spots" or "gaps" and "getting between us and the rest of the nonabstract world." To control, limit, distort via language the realms of perception becomes an aesthetics of disappearances and substitutions. Trained and disciplined by specialized discourses, persons may be developed into language-thinking beings who are blind to the things they are not meant to see, or are no longer capable of seeing. Or, in another way, what becomes a "taboo" to seeing those things proscribed by language To fill in the gaps and holes, the blind spots, language produces a "projection," and becomes a form of territorialization, "occupation," and the displacement of persons, things, events by abstractions, labels and "new" or re-names. One may even imagine language as a plague of locusts, eating its way through the visible world and creating in its wake a series of "namings," categories, abstract concepts to be imposed on the vanished objects of perception and imposing a "dictatorship of language" on vanished and/or distorted "specific things." and so "getting between 'us' and the rest of the nonabstract world" via abstract categories and/or their attendant projections, functioning like invisible walls, barriers to a more "open" understanding by the imposition of "things not there" among things which are. ========================================================================= Date: Tue, 22 Apr 2008 08:36:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Douglas Manson Subject: The Littlest Buffalo Press Reading in big NYC MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Dear List, Please come hear NEW poets from Buffalo at ACA Galleries, Next Tuesday, April 29 at 6:00 p.m. wild fruity blooms of books! intonations mild, medium, hot, and extra spicy! Boog City presents d.a. levy lives: celebrating the renegade press little scratch pad editions (Buffalo, N.Y.) Tues. April 29, 6:00 p.m. sharp, free ACA Galleries 529 W.20th St., 5th Flr. NYC Event will be hosted by little scratch pad editor Douglas Manson Featuring readings from Michael Basinski Lisa (L.A.) Howe Douglas Manson Kristianne Meal with music from Kathy Zimmer There will be wine, cheese, and crackers, too. Curated and with an introduction by Boog City editor David Kirschenbaum ------ **little scratch pad editions little scratch pad was begun in Kent, Ohio in 1997, when Douglas Manson, with Cheryl Townsend of Impetus magazine/press, published Snack Size, a boo= k of his own poems as part of her Impecunious Poetry Project. little scratch pad published Aaron Lowinger's Autobiography (co-produced with the now nationally known House Press collaborative) in 2005, and become a press with a mission: publishing works of stunning originality, very often the first chapbook by the poet to have in print. This was followed in 2007 with Kristianne Meal's TwentyTwo: first pallet, Tom Yorty's Words in Season, L.A= . Howe's NTR PIC E ST R (readings through Frank O'Hara's "Easter"), Michael Basinski's Of Venus 93 (mad Joycean B-Movie Psychedelia), Nick Traenkner's Accidental Thrust, and Douglas Manson's At Any Point. Forthcoming books in 2008 will be by Jim Lang, Liz Mariani, and Pat Kane. *Performer Bios* **Michael Basinski http://epc.buffalo.edu/authors/basinski/ Michael Basinski is the curator of the Poetry/Rare Books Collection of the University Libraries, SUNY at Buffalo. His poems, articles and reviews have appeared in numerous publications including Proliferation, Terrible Work, Deluxe Rubber Chicken, Boxkite, The Mill Hunk Herald, Yellow Silk, The Village Voice, Object, Oblek, Score, Generator, Juxta, Poetic Briefs, Another Chicago Magazine, Sure: A Charles Bukowski Newsletter, Mood= y Street Irregulars: A Jack Kerouac Newsletter, Kiosk, Earth's Daughters, Atticus Review, Mallife, Taproot, Transmog, B-City, House Organ, First Intensity, Mirage No.4/Period(ical), Lower Limit Speech, Texture, R/IFT, Chain, Antenym, Bullhead, Poetry New York, First Offence, and many others. For more than 20 years he has performed his choral voice collages and sound texts with his intermedia performance ensemble The Ebma, which has released two albums, SEA and Enjambment. His most recent books are Of Venus 93 (little scratch pad, 2008) and All My Eggs Are Broken (blkazevox, 2008). **Kathy Zimmer and The Foxies http://www.kathyzimmermusic.com http://www.myspace.com/kathyzimmer Born and raised in rural Nebraska, Kathy grew up singing "wash tub bass"-style folk music with her family=97think accordions and out-of-tune farmhouse pianos, plus lots of voices singing harmony at the tops of their lungs. She learned guitar at an early age and accompanied herself as she sang for church services and various small town gigs, including rodeos, parades, and county fairs. Kathy attended the University of Nebraska as a music major and quickly fell in love with the genre of classical art song. She continued to pursue her musical development by completing a Master of Music degree at Ohio's Cleveland Institute of Music. Absorbing all of these musical influences as well as the sights and sounds of her newest home, New York City, Kathy now creates music that is sophisticated and na=EFve, polished and quirky; her sound is at once fresh = and new while at the same time vintage and refined. **Lisa (L.A.) Howe http://www.myspace.com/bengalight http://www.myspace.com/slackbuddha Lisa (L.A.) Howe is a writer, collage poet, performer, and book artist. Wit= h William R. Howe, she edits, designs, and produces chapbooks of contemporary writing under the imprint of Slack Buddha Press. She lives in Oxford, Ohio. Her first chapbook, from little scratch pad, is NTR PIC E ST R (2007). **Douglas Manson http://www.buffalostate.edu/library/rooftop/members/manson.htm Douglas Manson was born in Akron, Ohio, and many years later earned a master's in English from Kent State and then took a Ph.D. in English from SUNY at Buffalo. He lives in Buffalo as a poet, writer, and publisher of Celery Flute: The Kenneth Patchen Newsletter and little scratch pad books. Hosted a weekly poetry radio show for a community-based AM station (Inkaudible Poetry Radio) from 2004-2006. He is a songwriter and guitar player. Amid an ongoing series of chapbooks, he has most recently published a full-length book of poems, Roofing and Siding (BlazeVOX books, 2007), and the expanded chapbook At Any Point (2008). He doesn't own any credit cards. **Kristianne Meal Kristianne Meal retired at an early age to ponder whether language is a separate entity inhabiting its host body, or a complicated system of contrived utterances elaborated by mankind in the material age. She has evolved into a Used Book CEO, Rust Belt Books, Inc., in Buffalo, N.Y. She has been doing readings and performance art since 1998. Her book TwentyTwo: first pallet was printed in April 2007, and then expanded, and printed agai= n that December. ---- Directions: C/E to 23rd St., 1/9 to 18th St. Venue is bet. 10th and 11th avenues Next event: Tues. May 27 Effing Press (Austin, Texas) ========================================================================= Date: Tue, 22 Apr 2008 09:13:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Douglas Manson Subject: Buffalo Pointilliste: Poetry/Performance at Rust Belt Books MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline This Thursday, April 24. 7:00 p.m. at Rust Belt Books an unprecedented evening of poetry, music, the moment & more featuring: Douglas Manson Twoheads (a one-man mannequinish-band) Kristianne Meal Eli Drabman Erin Verhoef The Flatheads You The event is free, though all donations will help support little scratch pad press: a Buffalo-based small press dedicated to publishing new poets and established innovators. little scratch pad editions will also be available at discount prices support provided in part by the Mildred Lacy Lockwood Fund for Poetry. little scratch pad editions: 1. Kristianne Meal, _TwentyTwo: First Pallet_ 2. Nick Traenkner, _Accidental Thrust_ 3. Michael Basinski, _Of Venus 93_ 4. L.A. Howe, _NTR PIC E ST R_ 5. Douglas Manson _At Any Point (to becoming normal)_ 6. Tom Yorty _Words In Season_ 7. Jim Lang _Tonguelyness and the Hot Turd_ Forthcoming: Elizabeth Mariani, _Imaginary Poems for my Imaginary Girlfriend Named Anabel_ Rust Belt Books 202 Allen St. Buffalo, NY ========================================================================= Date: Tue, 22 Apr 2008 10:49:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen McCaffery Subject: George Oppen. A Centenary Conversation Mime-Version: 1.0 (Apple Message framework v753) Content-Type: text/plain; charset=WINDOWS-1252; delsp=yes; format=flowed Content-Transfer-Encoding: quoted-printable *********************************************** GEORGE OPPEN: A CENTENARY CONVERSATION *********************************************** To celebrate the life and work of George Oppen on the occasion of his =20= 100th birthday, the Poetics Program at SUNY Buffalo will host a three-=20= day event (Wed. 4/23-Fri. 4/25) involving panel presentations, roundtable =20 discussion, keynote addresses from invited guests, and commemorative =20 readings both of Oppen=92s work and work inspired by his life and practice. Keynote addresses and poetry readings by STEPHEN COPE, RACHEL BLAU =20 DUPLESSIS, SUSAN THACKREY, and JOHN WILKINSON. Roundtable conversation among SUNY Buffalo faculty members JOSEPH =20 CONTE, MYUNG MI KIM, STEVE MCCAFFERY, and KRZYSZTOF ZIAREK Wednesday, April 23rd (Rust Belt Books, 202 Allen Street) 7:00 PM. Poetry Reading & Conversation Thursday, April 24th (420 Capen Hall, UB North Campus) 9:30AM-4:30PM. Presentation of papers and Keynote addresses 8:00PM. The Karpeles Manuscript Museum (453 Porter Ave.) Friday, April 25th (420 Capen Hall, UB North Campus) 9:30AM-4:30PM. Presentation of papers and Keynote addresses 8:00PM. The Karpeles Manuscript Museum (453 Porter Ave.) For more information, including schedules, locations, and paper =20 titles, please check We'll look forward to seeing you there! ========================================================================= Date: Tue, 22 Apr 2008 11:17:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan C Golding Subject: Library poems Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Stephen, You might look at Adrienne Rich's "Poetry: I," in Your Native Land, Your Li= fe. Bob Perelman's "The Library," the third in the "Fake Dreams" sequence = in The Future of Memory. I'm thinking too of Susan Howe's meditations on t= he library in The Birth-Mark, and of parts of "Melville's Marginalia," but = those might be a bit too oblique for the particular context you're describi= ng. Alan Golding ========================================================================= Date: Tue, 22 Apr 2008 11:10:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan C Golding Subject: What's this called? Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Peter, I think the term you're looking for is apo koinu, though in my understandin= g that's generally used to refer to a clause (rather than a word) that serv= es a double, forward-looking and backward-looking, grammatical function. T= here's various examples in Dickinson. In "There's a certain slant of light= ": We can find no scar, But internal difference, Where the Meanings, are-- None may teach it, Any--=20 The third line there can be read as referring back to the previous line, as= the site where the "internal difference" is occurring, or forward ("none m= ay teach where the meanings are"). Audre Lorde used to use it a fair bit too. Alan Golding ========================================================================= Date: Tue, 22 Apr 2008 11:37:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: eric unger Subject: ALAN DAVIES : BOOK 6 // MICHAEL CARR : SOFTER WHITE MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline please visit http://housepress.blogspot.com to purchase for US$6 a piece, and also check out other exciting House Press pubs down the page! -- Book 6, by Alan Davies. Printed in a run of 200 with navy blue or gray linen covers. While we have them, we'll include an Alan Davies broadside with each purchase. Michael Carr's Softer White. We're completely sold out of the first run, so please take this chance to buy this extraordinary work. $6 via paypal, includes shipping. ========================================================================= Date: Wed, 23 Apr 2008 01:55:40 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Christophe Casamassima Subject: Call for Submissions - Viviparous Blenny. Theme: Synchronicity Content-Disposition: inline Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="windows-1252" MIME-Version: 1.0 Viviparous Blenny a twentythreebooks and furniture press contemporary arts journal January 2009, 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 1000 words of prose (fiction, nonfiction, creative nonfiction, commenta= ry, 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 =95 Name and contact info. on every page submitted =95 No simultaneous submissions. 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 76 Stone Park Place Baltimore, Maryland 21236 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 no later than August 23. Any submissions after this date wi= ll not be considered. Payment is 1 free contributor=92s copy and new friends. =3D Microdermabrasion Machine from Clairderm Lifetime warranty, diamond tips & crystal operation, anti-clog cycle. http://a8-asy.a8ww.net/a8-ads/adftrclick?redirectid=3Dc8f3ea43443f6490b0f3f= 2f608b7e552 --=20 Powered By Outblaze ========================================================================= Date: Tue, 22 Apr 2008 14:09:41 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dustin Williamson Subject: April 27 in NYC: Rodney Koeneke and Rod Smith @ Zinc-TRS MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Sunday April 27 at the Zinc-TRS: RODNEY KOENEKE & ROD SMITH 6:30 PM Zinc Bar 90 West Houston (beneath the Barbie fur shop) $5 goes to the poets. If you don't have $5, come anyway --------------------------------------------------------------------------= ----------------- Rodney Koeneke is the author of *Musee Mechanique* (BlazeVOX, 2006) and *Ro= uge State* (Pavement Saw, 2003). He moved from San Francisco to Portland in 2006, where he curates the Tangent Reading Series with Kaia Sand and Jules Boykoff. His new manuscript is called Etruria. He blogs about poetry, poetics, and Portland at www.modampo.blogspot.com Rod Smith's most recent book is *Deed*, from The University of Iowa Press. He is also the author of *Music or Honesty, The Good House, Po=E8mes de L'araign=E9es* (France), *Protective Immediacy, and In Memory of My Theorie= s*. Smith edits the journal *Aerial*, publishes Edge Books, and manages Bridge Street Books in Washington, DC. He is also currently editing, with Peter Baker and Kaplan Harris, *The Selected Letters of Robert Creeley*. ---------------------------------------------------------------------------= ----- Upcoming Zinc-TRS readings: May 4: Mike Hauser & Weldon Gardner Hunter April 11: TBA (Hosted by Douglas Rothschild) ---------------------------------------------------------------------------= ----- site with reading info: www.zinctrs.blogspot.com Need a map to the Zinc Bar?: http://maps.google.com/maps?q=3Dzinc+bar+new+york+city&ie=3DUTF8&oe=3DUTF-8= &client=3Dfirefox-a&cd=3D1&ll=3D40.729015,-74.000452&spn=3D0.007838,0.01349= 7&z=3D16&iwloc=3DA ========================================================================= Date: Tue, 22 Apr 2008 14:18:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sarah Sarai Subject: Re: poet tried for killing judge, seducing wife Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain It would be more credible if the judge tried to kill the poet but didn't = succeed {poets being=20 indestructible in our own brave yet slightly pathetic yet o so grand way}= and the wife was=20 either the one who got killed or did the killing {women being brave and s= adly a week bit=20 destructible {{tho not really, eh?}}}. I sometimes wonder if National Bo= ok Award=20 winning poets don't pine to slay Pulitzer prize winning poets and so on. = Poet and judges?=20=20 Seems a strange combo but the author, Deverell, is Canadian, and Canada i= s a=20 mysterious, distant and foreign country with its own puzzling oddities {l= ike, hello,=20 national health care and refuge for draft resisters}.=20=20=20 ...sarah sarai On Apr 21, 2008, at 1:28 PM, Jim Andrews wrote: > not really. > > but now that i have your attention, let us note that the situation is > excellent. > > poet tried for killing judge, seducing wife of judge. > > it's a plot situation i heard on the radio today. from a new novel by > william deverel. > > ne'er do well poet is tried for killing judge. presumably not tried=20=20= > for > seducing the judge's wife. > > that's sort of what poets do. kill the judge. figuratively speaking. > > and seduce the wife. > > perhaps it is a novel of poetics! > > ha. > > not likely, but you know what i mean, being yerself not so far=20=20 > removed from > the current situation. > > ja > http://vispo.com ========================================================================= Date: Tue, 22 Apr 2008 12:08:36 -0700 Reply-To: jkarmin@yahoo.com Sender: UB Poetics discussion group From: Jennifer Karmin Subject: April 24-25: Leslie Scalapino in Chicago MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable LESLIE SCALAPINO READING: Thursday, April 24 5:30pm =09=09=09=09=09=09 LECTURE: Friday, April 25 2:00pm =20 Lecture Title: "Poetics" all at Rosenwald 405=20 1101 E. 58th Street University of Chicago free Leslie Scalapino=E2=80=99s It=E2=80=99s go in horizontal: Selected Poems, 1= 974-2006 was recently released by University of California Press at Berkele= y. Wrote Robert Creeley: "I hesitate to introduce any such term as 'meditat= ion' or 'reflection,' because this work is not apart from its thinking and/= or composition, so to speak=E2=80=93and that, among other things, constitut= es its exceptional value. I find the whole work to be a deeply engaging pre= occupation with, and articulation of, what life might be said, factually, t= o be. But not as a defined subject, nor even a defining one=E2=80=93but as = one being one. That is an heroic undertaking, or rather, place in which to = work/write/live. Its formal authority is as brilliant as any I know."=20 Scalapino is the author of thirty books of poetry, inter-genre fiction-poet= ry-criticism and plays, including recently Day Ocean State of Stars=E2=80= =99 Night: Poems and Writings 1989 and 1999-2006 (Green Integer), Zither & = Autobiography (Wesleyan University Press), The Tango (Granary Press), Orchi= d Jetsam (Tuumba), and Dahlia=E2=80=99s Iris=E2=80=94Secret Autobiography a= nd Fiction (FC2 Publishers). http://poempresent.uchicago.edu=0A=0A=0A _____________________________= _______________________________________________________=0ABe a better frien= d, newshound, and =0Aknow-it-all with Yahoo! Mobile. Try it now. http://m= obile.yahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Mon, 21 Apr 2008 19:48:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Quackenbush Subject: Re: poet tried for killing judge, seducing wife In-Reply-To: Mime-Version: 1.0 (Apple Message framework v753) Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-Transfer-Encoding: 7bit oh good god the puns are just beautiful in this poet tried for killing judge tried for what for killing, judge. seducing poet tried, for killing judge seducing wife of judge poet tried for Killing Judge, Seducing Wife of Judge. so great. thanks Jim. On Apr 21, 2008, at 1:28 PM, Jim Andrews wrote: > not really. > > but now that i have your attention, let us note that the situation is > excellent. > > poet tried for killing judge, seducing wife of judge. > > it's a plot situation i heard on the radio today. from a new novel by > william deverel. > > ne'er do well poet is tried for killing judge. presumably not tried > for > seducing the judge's wife. > > that's sort of what poets do. kill the judge. figuratively speaking. > > and seduce the wife. > > perhaps it is a novel of poetics! > > ha. > > not likely, but you know what i mean, being yerself not so far > removed from > the current situation. > > ja > http://vispo.com ========================================================================= Date: Mon, 21 Apr 2008 22:50:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: JUDGE DISMISSES MAIL FRAUD CASE AGAINST BIO-ARTIST KURTZ Mime-Version: 1.0 (Apple Message framework v919.2) Content-Type: text/plain; charset=WINDOWS-1252; format=flowed; delsp=yes Content-Transfer-Encoding: quoted-printable FOR IMMEDIATE RELEASE April 21, 2008 CONTACTS: Email: media@caedefensefund.org Edmund Cardoni: (716) 854-1694 Lucia Sommer: (716) 359-3061 JUDGE DISMISSES MAIL FRAUD CASE AGAINST BIO-ARTIST KURTZ Buffalo, NY=97A process that has taken nearly four years may be coming =20= to an end. On Monday, April 21, Federal Judge Richard J. Arcara ruled =20= to dismiss the indictment against University at Buffalo Professor of =20 Visual Studies Dr. Steven Kurtz. In June 2004, Professor Kurtz was charged with two counts of mail =20 fraud and two counts of wire fraud stemming from an exchange of $256 =20 worth of harmless bacteria with Dr. Robert Ferrell, Professor of Human =20= Genetics at the University of Pittsburgh Graduate School of Public =20 Health. Dr. Kurtz planned to use the bacteria in an educational art exhibit =20 about biotechnology with his award-winning art and theater collective, =20= Critical Art Ensemble. Professor Kurtz=92 lawyer, Paul Cambria, said that his client was =20 =93pleased and relieved that this ordeal may be coming to an end.=94 The prosecution has the right to appeal this dismissal. How the =20 prosecution will proceed is unknown at this time. If an appeal were =20 undertaken the case would move to the New York Second Circuit Court of =20= Appeals in New York City. Lucia Sommer, Coordinator of the CAE Defense Fund, which raises funds =20= for Kurtz=92 legal defense, said, =93We are all grateful that after =20 reviewing this case, Judge Arcara took appropriate action.=94 She added =20= that =93this decision is further testament to our original statements =20= that Dr. Kurtz is completely innocent and never should have been =20 charged in the first place.=94 BACKGROUND ON DR. STEVEN KURTZ AND CRITICAL ART ENSEMBLE Critical Art Ensemble (which Kurtz co-founded in 1987 with Steven =20 Barnes) has won numerous awards for its bio-art, including the =20 prestigious 2007 Andy Warhol Foundation Wynn Kramarsky Freedom of =20 Artistic Expression Grant, honoring more than two decades of =20 distinguished work. The group has been commissioned to exhibit and =20 perform in many of the world's cultural institutions=97including the =20 London Museum of Natural History; The ICA, London; the Whitney Museum =20= and the New Museum in NYC; the Corcoran Museum of Art in Washington, =20 DC; Schirn Kunsthalle, Frankfurt; Mus=E9e d'Art Moderne de la Ville de =20= Paris; der Volksb=FCne, Berlin; ZKM, Karlsruhe; El Matadero, Madrid; =20 Museum of Contemporary Art, Helsinki; Museo de Arte Carrilo Gil, =20 Mexico City and many more. For more information about the case, please visit: caedefensefund.org ### ========================================================================= Date: Mon, 21 Apr 2008 20:54:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Quartermain Subject: Re: what's this called? In-Reply-To: <557070.48702.qm@web37904.mail.mud.yahoo.com> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: quoted-printable There are two terms: Greek apo koinu ("shared," "a sharing," "with sharing" -- not that it t translates exactly into English) -- from Alexandrian grammarians; see Liddell and Scott [I describe it and discuss it at some length passim in _Disjunctive Poetics_] and Janus-sentence/s or Janus-headed sentence/s -- a term I came across in I think it was Quinn's edition of Catullus.=20 P =3D=3D=3D=3D=3D=3D=3D=3D=3D Peter Quartermain 846 Keefer Street Vancouver BC Canada V6A 1Y7 604 255 8274 (voice and fax) quarterm@interchange.ubc.ca =3D=3D=3D=3D=3D=3D=3D=3D=3D -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] = On Behalf Of Peter Grieco Sent: 21 April 2008 09:36 AM To: POETICS@LISTSERV.BUFFALO.EDU Subject: what's this called? Greetings! I'm hoping that some one of you can help me identify a poetic trope. A good example of it comes in Matthea Harvey's "Pity the Bathtub Its Forced Embrace of the Human" from her 2000 book with the same title: "For improvement within try a soap dish that allows for/ Slippage is inevitable as is difference in the size of/ The subject may hoard his or her bubbles. . ." Here two nouns--"slippage" & "the subject"--function twice grammatically both in the sentences they end & the sentences they begin. Is there a name for this simultaneity? I've been searching rhetorical tropes & haven't found anything close yet. Any suggestions? Thanks, Peter =20 _________________________________________________________________________= ___ ________ Be a better friend, newshound, and=20 know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Mon, 21 Apr 2008 22:43:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Fw: Restore Freedom of Artistic Creation and Education MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Forwarded from my good friend the photographer Rhona Bittner. Please consid= er supporting her friend's good cause:=0A=0A=0A=0ADear Friends,=0A=0A=0AMy = dear friend in Athens, Ersi Sotiropoulos - a renowned poet and writer - ha= s been singled out for censure by an ultra conservative politician. I have = read her book, the wonderful "ZigZag through the Bitter Orange Trees" and t= here is nothing pornographic or vulgar about it. The whole attack is prepos= terous. =0A=0A=0AI hope you will lend your support and signature to her pet= ition (see below) and give her added strength in our numbers.=0A=0A=0AMany = thanks.=0ARhona=0A=0A=0A=0A=0A=0AA Greek Court has recently decided to forc= e the withdrawal from the National School Library system of the National Aw= ard novel, "Zig-Zag Through the Bitter Orange Trees" by Ersi Sotiropoulos, = as the result of a lawsuit initiated by the extreme-right politician K. Ple= vris against the Greek Ministry of Education. The court's decision, based o= n the judge's opinion that the book "contains passages clearly pornographic= and vulgar," is a monument of extreme conservatism, and is viewed by Greek= intellectuals as an unprecedented attack on reason, freedom of speech and = the independence of artistic creation and education. =0A=0AThe "(de)kata So= ciety" denounces the interference of the Greek courts leading to the withdr= awal from the National School Library system of the National Award winning = novel, "Zig-Zag Through the Bitter Orange Trees" by Ersi Sotiropoulos, as a= n act of interference in the literary process and the educational system an= d as an act of censorship. The Society demands that the Ministry of Educati= on appeal this unprecedented judicial decision and use every legal means to= block its enforcement in order to ensure the protection of freedom of expr= ession and the sanctity of the arts and education. With this act, the justi= ce system, by criminalising the art of writing, is throwing us back to the = Middle Ages. =0A=0A=0A=0A Visit the link below to sign the petition and for= ward it on! =0A=0A http://www.gopetition.com/petitions/restore-freedom-of-a= rtistic-creation-and-education-greece.html ========================================================================= Date: Thu, 24 Apr 2008 15:23:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Shankar, Ravi (English)" Subject: Celebrate Language for a New Century in NYC (4/25@Rubin) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Join editors Tina Chang, Nathalie Handal and Ravi Shankar=20 Party: Language for a New Century: Contemporary Poetry from the Middle = East, Asia, and Beyond Friday, April 25, 2008 7:00 PM - 10:00 PM Rubin Musem of Art 150 West 17th Street New York City, New York 10011 Multiple readings, book signing, DJ, bar, celebration. http://www.amazon.com/Language-New-Century-Contemporary-Poetry/dp/0393332= 381 Language for a New Century celebrates the artistic and cultural forces = flourishing today in the East, bringing together an unprecedented = selection of works by South Asian, East Asian, Middle Eastern, and = Central Asian poets as well as poets living in the Diaspora. Some, such = as Bei Dao, Mahmoud Darwish, Michael Ondaatje, and Naomi Shihab Nye are = acclaimed worldwide, but many more will be new to the reader. The = collection includes over 400 unique voices - political and apolitical, = monastic and erotic, established and emerging - that represent a wider = artistic movement that challenges thousand-year-old traditions, = broadening our notion of contemporary literature. Language for a New Century has already attracted the attention of a = numberof eminent writers and thinkers, including Howard Zinn, Yusef = Komunyakaa and Nobel Prize winning author Nadine Gordimer, who writes, = "This extraordinary, library-in-one volume: what a resource! The editors = have boldly envisaged and compiled a beautiful achievement for world = literature." Guggenheim Fellow and Los Angeles Times Book Award winning = poet Carolyn Forch=8E has written"Language for a New Century [is] a = field guide to the human condition in our time." @ Rubin Museum K2 Lounge 150 West 17th Street $5 suggested donation ========================================================================= Date: Wed, 23 Apr 2008 09:20:37 -0700 Reply-To: ubuweb@yahoo.com Sender: UB Poetics discussion group From: UbuWeb Subject: UbuWeb :: Recent Additions, Spring 2008 Comments: To: andrew@anthologyfilmarchives.org, anne@thewire.co.uk, AudioFix@egroups.com, bluesea@dragcity.com, charles.bernstein@english.upenn.edu, dk@exactchange.com, editor@thewire.co.uk, francismckee@glype.demon.co.uk, ischaff@pobox.upenn.edu, lina@electra-productions.com, lowercase-sound@yahoogroups.com, mcoffey@reedbusiness.com, mperloff@earthlink.net, mscharf@reedbusiness.com, silence@Virginia.edu MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable __ U B U W E B __=20 http://ubu.com ---------------------------- UBUWEB :: Spring 2008 ---------------------------- --- RECENT FEATURES --- Tellus Audio Cassettes (1983-1993) http://www.ubu.com/sound/tellus.html UbuWeb is pleased to present the entire run of the legendary New York-based= Tellus audio cassette magazine. Originally a subscription-based bimonthly = publication, the series took full advantage of the popular cassette medium = to promote cutting edge music, documenting the New York scene and advanced = US composers of the time. Highlight issues include: All Guitars! (1985), Th= e Sound of Radio (1985), Just Intonation (1986), Audio By Visual Artists (1= 988), The Voice of Paul Bowles (1989) and Flux Tellus (1990). Featuring hun= dreds of artists including Marcel Duchamp, Alison Knowles, Sonic Youth, Joa= n Jonas, George Brecht, Pauline Oliveros, John Zorn, Richard Prince, Glenn = Branca, Harry Partch and Mike Kelley. Tellus cassettes were edited by Josep= h Nechvatal, Claudia Gould and Carole Parkinson. This UbuWeb feature is pre= sented in conjuction with Continuo's Weblog. Produced for UbuWeb by Steve M= cLaughlin. Dada Magazine, Issues 1, 2, 3 (1917-1918) http://www.ubu.com/historical/dada/index.html Attempting to promulgate Dada ideas throughout Europe, Tristan Tzara launch= ed the art and literature review Dada. Appearing in July 1917, the first is= sue of Dada, subtitled Miscellany of Art and Literature, featured contribut= ions from members of avant-garde groups throughout Europe, including Giorgi= o de Chirico, Robert Delaunay, and Wassily Kandinsky. Marking the magazine'= s debut, Tzara wrote in the Zurich Chronicle, "Mysterious creation! Magic R= evolver! The Dada Movement is Launched." Issue 2 appeared in December of 19= 18. Issue number 3 violated all the rules and conventions in typography and= layout and undermined established notions of order and logic. Printed in n= ewspaper format in both French and German editions, it embodies Dada's cele= bration of nonsense and chaos with an explosive mixture of manifestos, poet= ry, and advertisements - all typeset in randomly ordered lettering. Include= d is Tzara's "Dada Manifesto of 1918," which was read at Meise Hall in Zurich on July 23, 1918, and is perhaps the most important of the Dadai= st manifestos. See also Helmut Herbst's film Deutschland Dada (1969), Hans = Richter's films and Tristan Tzara's sound poems in UbuWeb Sound which is st= rewn with historical and rare recordings from dozens of Dadaists. Dinner With Henry Miller (1979)=20 http://www.ubu.com/film/miller_dinner.html Dinner With Henry is a rare, 30-minute documentary about Henry Miller. It i= s exactly what the title implies: footage of Henry having dinner. With him = at the table is the film crew, and actress/model Brenda Venus, to whom Henr= y was enamoured in the final years of life. Henry - at age 87 - spends the = majority of his time speaking on a number of subjects, the most persistent = of which is Blaise Cendrars. Occasionally, he complains about the food. Tha= t is all: a curious "slice of life" for any Miller fan who likes to imagine= being at the table with him. David Cronenberg on Andy Warhol (2006)=20 http://www.ubu.com/sound/warhol.html A guided tour of the "Andy Warhol / Supernova: Stars Death and Disasters, 1= 962-1964" exhibit at the Art Gallery of Ontario, conceived and narrated by = renowned filmmaker David Cronenberg. Cronenberg says, "Andy was making unde= rground films when I was making underground films. And I was more inspired = by him than by Hollywood. He created himself: He was an outsider, a Slovaki= an, Catholic, gay, an artist, poor; an outsider in his own family, a triple= outsider like Kafka, with his nose pressed against the New York window. An= d, he became the ultimate insider, the center of his own world, and drew pe= ople to him. He became a huge example of the invention of an identity." Com= mentary by David Cronenberg, Mary-Lou Green, Dennis Hopper, David Moos, Jam= es Rosenquist and Amy Taubin. Sam Taylor-Wood: Video Works (1998 - 2003)=20 http://www.ubu.com/film/tw.html Sam Taylor-Wood makes photographs and films that examine, through highly ch= arged scenarios, our shared social and psychological conditions. Taylor-Woo= d's work examines the split between being and appearance, often placing her= human subjects - either singly or in groups - in situations where the line= between interior and external sense of self is in conflict. Films here inc= lude: Brontosaurus (1995), Knackered (1996), Method in Madness (1998), Hyst= eria (1999), A Little Death (2002), Breach (2001) Mute (2001), Piet=E0 (200= 1), Still Life (2001) and Ascension (2003). Presented in partnership with A= rt Torrents. All Avant-Garde All The Time - UbuWeb Podcast #3: The Sound of Aspen Magazi= ne http://www.poetryfoundation.org/audio/AspenTheMultimediaMagazineinaBox.mp3 Produced by The Poetry Foundation, UbuWeb is pleased to announce the latest= in its podcast series, focusing on Ubu's hidden treasures. This podcast gi= ves a guided tour of UbuWeb's collection of audio featured on Aspen Magazin= e: the Multimedia Magazine in a Box, published between 1965 and 1971. Artis= ts featured include Samuel Beckett, William S. Burroughs, John Cage, John C= ale and The Velvet Underground, Marcel Duchamp, John Lennon, Yoko Ono, Jack= son Mac Low, Morton Feldman, Gordon Mumma and Angus Maclise.=20 Alan Licht - Conceptual Soundworks (2003-2004)=20 http://www.ubu.com/sound/licht.html Four previously unavailable compositions. Includes "Rashomon" where the fil= m Rashomon by Akira Kurosawa was shown with the sound turned down. The audi= ence was asked to read the subtitles aloud, together; "Twilight of the Idol= s," in which the audio levels of Led Zeppelin's untitled fourth album are m= anipulated; and two outtakes from his A New York Minute CD, "Bridget O'Rile= y," a mashup of Blondie and The Who's "We Won't Get Fooled Again" and "A Ne= w York Minute," the original uncut version, consisting of a month's worth o= f weather reports from a New York AM radio station. You can also read three= of Alan Licht's conceptual written works [PDF] in UbuWeb's Publishing the = Unpublishable series. The Western Round Table on Modern Art (1949) http://www.ubu.com/historical/wrtma/index.html Rare proceedings and documentation from this important conference that took= place in San Francisco in April of 1949. Participants included Marcel Duch= amp, Frank Lloyd Wright, Arnold Schoenburg, Mark Tobey, Darius Milhaud, Alf= red Frankenstein, Gregory Bateson, Kenneth Burke, Robert Goldwater and Andr= ew C. Richie. Documentation includes over 9 hours of audio tape, transcript= ions and photographs. Organizer Douglas MacAgy writes, "The object of the R= ound Table was to bring a representation of the best informed opinion of th= e time to bear on questions about art today (1949). A set of neat conclusio= ns, as to the outcome of the conference, was neither expected nor desired. = Rather, it was hoped that progress would be made in the exposure of hidden = assumptions, in the uprooting of obsolete ideas, and in the framing of new = questions." Curated for UbuWeb by Colby Ford. Five Rare Books From the 1960s by Bern Porter http://www.ubu.com/historical/porter/porter_5books.html Several of Porter's books from the 1960s are gathered here on UbuWeb, three= of them for the first time anywhere, with an essay by Porter's collaborato= r and literary executor, Mark Melnicove. Titles include: Aphasia (1961), cu= t and assembled commercial and soft news language into a found poetry that = is still original and fresh; Scandinavian Summer (1961), where Porter cut o= ut pages from Scandinavian, Russian, and American newspaper archives at ran= dom, bound them together, and called the result a book; 468B Thy Future (19= 66), a book written entirely in computer code; The Wastemaker (1926-1961) w= here texts are divorced from their sources and disguised in a new tone, not= intended by the original author; and Dieresis (1969) where the photographs= in the book are the modern equivalents of ancient ideograms, capable of be= ing read as texts. Melnicove writes in his introduction: "As reproduced her= e on UbuWeb, you can all but touch the books. What was prohibitively expensive almost fifty years ago for Porter -- the full-color reproduction= of his pages -- is today's electronic commonplace. You can view his titles= as a series of double-page spreads, not so foreign from the experience of = holding and turning a Bern Porter book with your 'real' hands." See also Po= rter's UbuWeb Sound page and Porter's page in our Historical section. All Avant-Garde All The Time - UbuWeb Podcast #2: The World of Outsiders http://poetryfoundation.org/audio/TheWorldofOutsiders.mp3 Produced by The Poetry Foundation, UbuWeb is pleased to announce the latest= in its podcast series, focusing on Ubu's hidden treasures. As the site has= grown so large, these occasional audio guides might shed some light on thi= ngs you may have overlooked, forgotten about or simply never knew about. Th= is podcast gives a guided tour of UbuWeb's collection of outsider audio. Ar= tists include Antonin Artaud, Jim Roche, Bern Porter, Francis E. Dec, Benja= min Weismann and Sean Landers amongst others. You can subscribe to our podc= ast here. Julian Schnabel - Every Silver Lining Has A Cloud (1995) http://www.ubu.com/sound/schnabel.html With the Oscars just around the corner, it's nice to remind ourselves that = not everything Julian Schnabel touches turns to gold. This record was made = between his art star days and his current Hollywood reign with such great p= layers as Funkadelic keyboardist Bernie Worrell, Golden Palomino drummer An= ton Fier, and jazz arranger Henry Threadgill, but was universally panned up= on its release in 1995. As one reviewer put it, "Schnabel can be described = as a cross between Michael Bolton and Leonard Cohen, but unfortunately he w= rites songs like Bolton and sings like Cohen instead of the other way aroun= d... a combination of treacly sentiment, pretentious poesy, tuneless croaki= ng, and minimalist melodies." Harun Farocki - Selected Works (1967-2001) http://www.ubu.com/film/farocki.html =20 Born in 1944, Farocki has made close to 90 films, including three feature f= ilms, essay films and documentaries. He has worked in collaboration with ot= her filmmakers as a scriptwriter, actor and producer. Featured here are ten= of Farocki's films: Die Worte Des Vorsitzenden (1967), Inextinguishable Fi= re (1969), Wie man sieht (As You See) (1986), Leben-BRD [How to Live in the= German Federal Republic] (1989), Images Of The World And The Inscription O= f War (1989), Schnittstelle/interface (1995), Arbeiter verlassen die Fabrik= [Workers leaving the Factory] (1995), Stilleben (Still Life) (1997), I Tho= ught I Was Seeing Convicts (2001) and The Creator of Shopping Worlds (2001)= . Also featured in Jill Godmilow's What Farocki Taught (1998), a remake of = Farocki's Inextinguishable Fire. A collaborative film with Helke Sander Bre= ak the Power of the Manipulators (1967/68) is also featured. You can watch = a documentary about Farocki Dokumentarisch Arbeiten Modell/Realit=E4t - C.H=FCbner im Gespr=E4ch mit H. Farocki (2004). This UbuWeb resource is = a collaboration with UbuWeb's partner Art Torrents. Henri Chopin (1922-2008)=20 http://www.ubu.com/sound/chopin.html UbuWeb mourns the loss of the great pioneer sound poet, who passed away on = January 3, 2008 at his home in England. You can hear his audio, watch video= s of him or read his 1967 manifesto "Why I Am The Author of Sound Poetry an= d Free Poetry." He will be missed. Publishing the Unpublishable, First Series (001-032) http://www.ubu.com/ubu/unpub.html =20 What constitutes an unpublishable work? It could be many things: too long, = too experimental, too dull; too exciting; it could be a work of juvenilia o= r a style you've long since discarded; it could be a work that falls far ou= tside the range of what you're best known for; it could be a guilty pleasur= e or it could simply be that the world judges it to be awful, but you think= it's quite good. We've all got a folder full of things that would otherwis= e never see the light of day. Invited authors were invited to ponder to tha= t question. The works found here are their responses, ranging from an 1018-= page manuscript (unpublishable due to its length) to a volume of romantic h= igh school poems written by a now-respected innovative poet. The web is a p= erfect place to test the limits of unpublishability. With no printing, desi= gn or distribution costs, we are free to explore that which would never hav= e been feasible, economically and aesthetically. While this exercise began as an exploration and provocation, the resultant texts are unusually= rich; what we once considered to be our trash may, after all, turn out to = be our greatest treasure. 365 Days Project 2007 Complete=20 http://www.ubu.com/outsiders/365/index.shtml December 31 ended this year's run of the 365 Days Project. Thanks for visit= ing, reading and listening through this very fun year of sharing. A huge mo= untain of gratitude goes out to all the contributors who shared this year! = You can view the archived site for both 2003 and 2007 editions here (mirror= ed at WFMU). -- Otis Fodder, Curator Six Videos by Pierre Huyghe (1999-2004)=20 http://www.ubu.com/film/huyghe.html Pierre Huyghe explores the territory of reality and fiction, creating a sit= e of convergence for interpretation, representation, and transformation. Hi= s work incorporates film, objects, and staged events such as celebrations, = puppet shows, and musicals to address how we construct and translate experi= ence. Although the final artwork often takes the form of a projected image,= Huyghe's primary interest lies in the production of situations. Videos inc= lude: A Journey That Wasn't (2005), Les Grands Ensembles (2001), One Millio= n Kingdoms (2001), Streamside Day Follies (2003) and This Is Not A Time For= Dreaming (2004). Presented in collaboration with UbuWeb's new partner Art = Torrents.=20 --- Spring 2008 :: NEW ADDITIONS --- John Baldessari - I Will Not Make Any More Boring Art (1971); John Baldessa= ri Sings Sol Lewitt (1972); The Meaning of Various News Photos to Ed Hender= son (1973) http://www.ubu.com/film/baldessari.html Tacita - Dean Kodak (2006) http://www.ubu.com/film/dean_kodak.html La Monte Young, editor - An Anthology of Chance Operations (1963) http://www.ubu.com/historical/young/index.html Robert Smithson - text of "Hotel Palenque" (1969-72) http://www.ubu.com/historical/smithson/index.html Pat O'Neill - Water and Power (1989) http://www.ubu.com/film/oneill.html C.C. Hennix - Electric Harpsichord No. 1 http://www.ubu.com/sound/hennix.html Antonio Gaudi - Documentary (1984) http://www.ubu.com/film/gaudi_doc.html Tellus 15: The Improvisors (1986) John Zorn, Bill Frisell, Christian Marcla= y, Fred Frith and many others http://www.ubu.com/sound/tellus_15.html Tellus #17 - Video Arts Music (1987) Jean Paul Curtay, Ann-Sargent Wooster,= Woody Vasulka, Peter Rose and many others http://www.ubu.com/sound/tellus_17.html Tellus #20 - Media Myth (1988) Crawling With Tarts, Nicolas Collins, Joseph= Nechvatal and many others http://www.ubu.com/sound/tellus_20.html Nam June Paik - Beatles Electroniques (1966-69) http://www.ubu.com/film/paik_beatles.html Dan Graham - Performer/Audience/Mirror (1975) http://www.ubu.com/film/graham_performer.html Ben Lewis - Art Safari: Matthew Barney (2005) http://www.ubu.com/film/barney_artsafari.html Maria Anna Tapeiner - The Body as a Matrix: Matthew Barney's Cremaster Cycl= e (2002) http://www.ubu.com/film/barney_matrix.html Tellus 10: All Guitars! (1985) Lee Ranaldo, Butthole Surfers, Bob Mould, Th= urston Moore and many others http://www.ubu.com/sound/tellus_10.html Tellus 2 (1984) Kiki Smith, David Garland, Jamie Daglish, Willoughby Sharp = and many others http://www.ubu.com/sound/tellus_2.html Tellus 12: Dance (1986) http://www.ubu.com/sound/tellus_12.html Lynda Benglis - Female Sensibility (1974) http://www.ubu.com/film/benglis_female.html Hollis Frampton - Gloria! (1979) http://www.ubu.com/film/frampton_gloria.html Terayama Shuji - Phototheque imaginaire de Shuji Terayama, les gens de la f= amille Chien Dieu (photographs; 1975) http://www.ubu.com/historical/terayama/index.html Salvador Dali - Radioscopie De Jacques Chancel - Interview (French language= ; 1971) http://www.ubu.com/sound/dali.html John Roach - Simultaneous Translation (2007) http://www.ubu.com/sound/roach.html Fran=E7ois Dufrene - Crirhythms, Osmose-Art and various works (1958-70) http://www.ubu.com/sound/dufrene.html Carolee Schneeman - Meat Joy (1964) http://www.ubu.com/film/schneeman_meatjoy.html Ulay - Action in 14 predetermined Sequences: There is a Criminal Touch to A= rt (1975) http://www.ubu.com/film/ulay_action.html Mike Kelley - Test Room Containing Multiple Stimuli Known to Elicit Curiosi= ty and Manipulatory Responses (1999) http://www.ubu.com/film/kelley_test.html Michael Taylor - Lecture on Alfred Jarry's Ubu Roi (2008) http://www.ubu.com/sound/taylor_michael.html Tellus 23: Paul Bowles Historical musical and literary works http://www.ubu.com/sound/tellus_23.html Tellus 16: Tango with Carlos Gardel, David Garland, Fast Forward and many o= thers (1991) http://www.ubu.com/sound/tellus_16.html Tellus 13: Power Electronics with Merzbow, Rhys Chatham, Controlled Bleedin= g and many others (1986) http://www.ubu.com/sound/tellus_13.html Tellus 26: Jewel Box with Catherine Jauniaux & Ikue Mori, Sapphire, Mary El= len Childs and many others (1992) http://www.ubu.com/sound/tellus_26.html Ryan Trecartin - I-Be AREA (2007) http://www.ubu.com/film/trecartin_area.html Richard Serra - Hand Catching Lead (1968) http://www.ubu.com/film/serra_lead.html Ant Farm - Dirty Dishes (1968-1978) http://www.ubu.com/film/ant_farm.html C.C. Hennix - Dutch National Radio Broadcast (2005) http://www.ubu.com/sound/hennix.html Hollis Frampton - Nostalgia (1971) http://www.ubu.com/film/frampton_nostalgia.html Group 180 - Works by Reich, Szezmo, Rzewski and others (1980, 1985) http://www.ubu.com/sound/group_180.html Jaap Blonk - Vocalor (1998) http://www.ubu.com/sound/blonk_vocalor.html Alexander Ross (painter) - Grandfather Paradox (1989) http://www.ubu.com/sound/ross.html Charles Simonds - Five Films (1972-74), with Rudy Burckhardt http://www.ubu.com/film/simonds.html Tellus 5-6: Audio Visual Issue with Louise Lawler, Richard Prince, David Wo= jnarowicz and many others (1984) http://www.ubu.com/sound/tellus_5-6.html Sophie Calle & Greg Shepard - No Sex Last Night aka Double-Blind (1992) http://www.ubu.com/film/calle_double.html Tuli Kupferberg - No Deposit, No Return (1964) http://www.ubu.com/sound/kupferberg.html Yvonne Rainer - Journeys from Berlin/1971 (1980) http://www.ubu.com/film/rainer_journeys.html Robert Smithson & Nancy Holt - East Coast West Coast (1969) http://www.ubu.com/film/smithson_east.html Tellus 1 with Rhys Chatham, Glenn Branca, Sonic Youth and many others (1983= ) http://www.ubu.com/sound/tellus_1.html Tellus 3 with Christopher Knowles, Gregory Whitehead and many others (1984) http://www.ubu.com/sound/tellus_3.html Tellus 4 with Ellen Fullman, Paul Dresher, Julius Eastman and many others (= 1984) http://www.ubu.com/sound/tellus_4.html Gordon Matta-Clark - City Slivers (1976) http://www.ubu.com/film/gmc_city.html Hans Ulrich Obrist - Arkipelag TV (2000), with Alexander Kluge, Dan Graham,= Douglas Gordon, Rosemarie Trockel and others http://www.ubu.com/film/obrist_arkipelag.html Johan Grimonprez - Dial H-I-S-T-O-R-Y (1998) http://www.ubu.com/film/grimonprez_dial.html Derek Beaulieu - Flatland (2007) http://www.ubu.com/contemp/beaulieu/index.html Harun Farocki - Dokumentarisch Arbeiten Modell/Realitat - C.Hubner im Gespr= ach mit H. Farocki (2004) http://www.ubu.com/film/farocki_doc.html Martha Rosler - Vital Statistics of a Citizen, Simply Obtained (1977) http://www.ubu.com/film/rosler_vital.html Julian Cooper - Reyner Banham Loves Los Angeles (1972) http://www.ubu.com/film/cooper_reyner.html Yvonne Rainer - Film About A Woman Who... (1974) http://www.ubu.com/film/rainer_woman.html Robert Whitman - Performances from the 1960s http://www.ubu.com/film/whitman.html Sean Landers - The Man Within (1991) [MP3] http://www.ubu.com/sound/landers.html Mauricio Kagel - Die Zeit =FCberwinden - Der Komponist Mauricio Kagel (2007= ) http://www.ubu.com/film/kagel_diezeit.html Chicago '82: A Dip in the Lake John Cage, Glenn Branca, Meredith Monk, Char= lemagne Palestine, Harold Budd and many others (1982) [MP3] http://www.ubu.com/sound/chicago82.html Mike Kelley - -Extracurricular Activity & Superman Recites Selections from = 'The Bell Jar' and Other Works by Sylvia Plath (1999 - 2000) http://www.ubu.com/film/kelley_extra.html Gordon Matta-Clark - Conical Intersect (1975) http://www.ubu.com/film/gmc_conical.html Gordon Matta-Clark - Splitting, Bingo/Ninths, Substrait (Underground Dailie= s) (1974-1976) http://www.ubu.com/film/gmc_splitting.html Helke Sander and Harun Farocki - Break the Power of the Manipulators (1967/= 68) http://www.ubu.com/film/farocki_sander.html Paul Lansky - Artifice (1976) [MP3] http://www.ubu.com/sound/lansky.html Jill Godmilow - What Farocki Taught (1998) http://www.ubu.com/film/godmilow.html Martin Kippenberger - Greatest Hits [MP3] http://www.ubu.com/sound/kippenberger.html Joseph Beuys - Art into Society - Society into Art (at the ICA, London. May= , 1974) [MP3] http://www.ubu.com/sound/beuys.html David Soldier & Kurt Vonnegut - A Soldier's Story [MP3] http://www.ubu.com/sound/soldier.html Tellus #7 The Word http://www.ubu.com/sound/tellus_7.html Tellus #8 USA/Germany http://www.ubu.com/sound/tellus_8.html Tellus #9 Music With Memory http://www.ubu.com/sound/tellus_9.html Tellus #11 The Sound of Radio (1985) http://www.ubu.com/sound/tellus_11.html Tellus #14 Just Intonation (1986) http://www.ubu.com/sound/tellus_14.html Tellus #22 False Phonemes (1988) http://www.ubu.com/sound/tellus_22.html Bas Jan Ader - Selected Works (1970-1971) http://www.ubu.com/film/ader_selected.html Robert Fitterman - Sprawl (Video, 2007) http://www.ubu.com/film/fitterman_sprawl.html Jean/Hans Arp - Soundworks (1913-1961)=20 http://www.ubu.com/sound/arp.html ------------- FEATURED RESOURCES: http://www.ubu.com/resources/feature.html Featured Resources: April 2008 Selected by Laura Beiles 1. Anita Feldman and Michael Kowalski, Riffle (1985) 2. MoMA: Writing in Time (2007) 3. Piotr Kamler, Films (1960s-90s) 4. Fortunato Depero, Verbalizzazione astratta di signora (1916) 5. Penelope Umbrico, All the Dishes on Ebay (2002-03) 6. Catherine Jauniaux & Ikue Mori, 'Smell' (1992) 7. Abbie Hoffman Makes Gefilte Fish (1973) 8. Mary Lou Green on Andy Warhol's Hair (1963) 9. Sophie Calle and Gregory Shephard, Double Blind (1992) 10. Cioni Carpi, Three Short Films (1960-62) Laura Beiles is an associate educator in the Department of Education (Adult= and Academic Programs) at The Museum of Modern Art, where she has organize= d programs with artists, poets, scholars, architects, and designers for sev= en years. In May of 2007, she received her MA in Art History from Hunter Co= llege, and received the Shuster Award for her thesis, "Creating National an= d International Identities: The Futurist Exhibitions at the Venice Biennale= under Fascism, 1928-1942". Prior to coming to MoMA, she worked at NYU's La= Pietra in Florence and the Peggy Guggenheim Collection in Venice. Featured Resources: March 2008 Selected by Seth Price 1. Tessa Hughes-Freeland "Baby Doll" (1982) 2. Marie Menken "Glimpse of the Garden" (1957) 3. Robert Barry "Interview (1969)" 4. Ethyl Eichelberger "Jocasta (Boy Crazy) or "She Married Her Son" (1986) 5. Lytle Shaw "Low-Level Bureaucratic Structures: Principles of the Emeryvi= lle Shellmound 6. Taj Mahal Travellers "Taj Mahal Travellers on Tour" (1973) 7. Asger Jorn "Pataphysics: A Religion in the Making" 8. Racter "The Policeman's Beard Is Half-Constructed" (1984) 9. Tristan Tzara "A Note on Negro Poetry" (1918) 10. I.B.M. 7090 "Music From Mathematics" (1962) Seth Price is an artist. Featured Resources: March 2008 Selected by Stephanie Strickland 1. Maya Deren, "Divine Horsemen" 2. "Concrete!" Ruth and Marvin Sackner Archive 3. Jason Nelson, "Poetry Cube" 4. b. p. Nichol, "White Text Sure" 5. Yoko Ono, "Snow Is Falling All the Time" 6. Dick Higgins, "Horizons" [PDF 7. Ketjak: the Ramayana Monkey Chant 8. "Concrete Poetry: A World View" Mary Ellen Solt 9. Raphael Rubinstein, "Gathered, not Made: A Brief History of Appropriativ= e Writing" 10. Kenneth Goldsmith and Conceptual Poetics Bonus 11. Glossolalia: Speaking in Tongues 12. Caroline Bergvall, "About Face" Stephanie Strickland is a poet. Her latest collaborative hypermedia work is= slippingglimpse first shown at e-Poetry 2007 in Paris and published in hyp= errhiz: new media cultures. Her latest book, Zone : Zero (with digital poet= ry CD) will appear from Ahsahta Press in fall 2008. She recently published = "Quantum Poetics: Six Thoughts, in Media Poetry: An International Anthology= ," edited by Eduardo Kac, co-edited The Iowa Review Web issue, Multi-Modal = Coding: Jason Nelson, Donna Leishman, and Electronic Writing, and also co-e= dited the first Electronic Literature Collection, published by the Electron= ic Literature Organization. Featured Resources: February 2008 Selected by Alan Licht 1. Derek Bailey Interview by Henry Kaiser 2. Richard Foreman MP3 loops from Now That Communism Is Dead My Life Feels = Empty 3. Bruce Nauman "Record" 4. bpNichol -- all sound works 5. Cornelius Cardew "Stockhausen Serves Imperialism" 6. Philip Guston/Clark Coolidge "Poor Richard" 7. Lou Reed "the View from the Bandstand" 8. Jack Smith "Buzzards Over Baghdad" 9. Richard Meltzer "Barbara Mauritz: Music Box" 10. Adrian Piper "Untitled 1968" Over the past two decades, guitarist Alan Licht has worked with a veritable= who's who of the experimental world. He has released five albums of compos= itions for tape and solo guitar, and his sound and video installations have= been exhibited in the U.S. and Europe. His new book Sound Art: Beyond Musi= c, Between Media, the first extensive survey of the genre in English, was p= ublished by Rizzoli in fall 2007. Featured Resources: February 2008 Selected by Bettina Funcke 1. Harun Farocki, Inextinguishable Fire (1969) and How to Live in the Germa= n Federal Republic (1986) 2. UbuWeb Hall of Shame 3. Robert Frank, Energy and How to Get It (1981) 4. J. G. Ballard, Shanghai Jim (1991) 5. Pandid Pran Nath Ragas of Morning and Night (1968) 6. Hrabanus Marus De adoratione crucis ab opifice / De Laudibus Sanctae Cru= cis Augsburg (ca. 845) 7. Jacques Lacan, T=E9l=E9vision (1973) 8. Joan Jonas "The Anchor Stone" (1988) 9. Inuit Throat Singing, from Ethnopoetics 10. Assorted Street Posters (1985-present) from Outsiders Bettina Funcke is the Senior U.S. Editor of Parkett Magazine. Featured Resources: January 2008 Selected by Alex Ross 1. Robert Ashley "She Was a Visitor" 2. Kurt Schwitters "Sonata in Urlauten" 3. John Cale "Loop" 4. The Films of Mauricio Kagel 5. Charles Amirkhanian "Dog of Stravinsky" 6. Bernd Alois Zimmermann "Musique pour le soupers de Roi Ubu" 7. Pauline Oliveros "Sound Patterns" 8. Ezra Pound "Sestina: Altaforte" 9. John Cage "4'33"" 10. Robert Ashley "The Wolfman" Alex Ross has been the music critic of The New Yorker since 1996. His work = has also appeared in The New Republic, The London Review of Books, Lingua F= ranca, and The Guardian. From 1992 to 1996 he was a critic at The New York = Times. He has received two ASCAP-Deems Taylor Awards for music criticism, f= ellowships from the American Academy in Berlin and the Banff Centre, and a = Letter of Distinction from the American Music Center for contributions to t= he field of contemporary music. He played keyboards in the noise band Miss = Teen Schnauzer, which gave only one public performance, in 1991. His first = book, "The Rest Is Noise: Listening to the Twentieth Century," a cultural h= istory of music since 1900, was published in October 2007 by Farrar, Straus= & Giroux.=20 FEATURED RESOURCES: http://www.ubu.com/resources/feature.html ---------------------------- UBUWEB :: Spring 2008 ---------------------------- UBUWEB IS ENTIRELY FREE __ U B U W E B __=20 http://ubu.com Apologies for cross-postings. Please forward. =0A=0A=0A ____________________________________________________________= ________________________=0ABe a better friend, newshound, and =0Aknow-it-al= l with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=3DAhu06i6= 2sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Thu, 24 Apr 2008 15:37:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan C Golding Subject: CFP Louisville Conference Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable Content-Disposition: inline 2009 Call for Papers - Louisville Conference on Literature and Culture si= nce 1900 The thirty-seventh annual Louisville Conference on Literature and Culture s= ince 1900 will be held at the University of Louisville, February 19-21, 200= 9. Critical papers may be submitted on any topic that addresses literary wo= rks published since 1900, and/or their relationship with other arts and dis= ciplines (film, journalism, opera, music, pop culture, painting, architectu= re, law, etc). - Work by creative writers is also welcome. Visit our website for complete submission guidelines www.modernlanguages.lo= uisville.edu/conference=20 Group Societies are welcome and panel organizers will find the submission g= uidelines on our website. Please forward this email to any colleagues or friends who may be intereste= d in the conference.=20 Deadline for submission is September 15, 2008 (postmarked). Inquiries: dlda= y@louisville.edu=20 ========================================================================= Date: Thu, 24 Apr 2008 04:05:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Adam Fieled Subject: PFS Post: Lars Palm, from "Footnote Poems" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Check out five poems from Lars Palm's manuscript-in-progress, "Footnote Poems," on PFS Post: http://www.artrecess.blogspot.com Books! "Opera Bufa" http://www.lulu.com/content/1137210 "Beams" http://www.blazevox.org/ebk-af.pdf --------------------------------- Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. ========================================================================= Date: Wed, 23 Apr 2008 11:05:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Subject: Catherine Daly, Diane Ward, Elaine Equi and more at LA Festival of Books MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline http://www.latimes.com/extras/festivalofbooks/program.html The Festival of Books will be held on the UCLA campus. Parking on the UCLA campus is $8. http://www.latimes.com/extras/festivalofbooks/program.html The Festival of Books will be held on the UCLA campus. Parking on the UCLA campus is $8. Poetry Stage-------------------------------------------------------------- Saturday April 26, 2008 10:00 AM Mark Doty Author, "Fire to Fire" 10:30 AM Sholeh Wolpe Author, "Rooftops of Tehran" 11:00 AM Eloise Klein Healy & Elizabeth Bradfield Authors, "The Islands Project: Poems for Sappho" & "Interpretive Work: Poems" 11:30 AM Albert Goldbarth Author, "The Kitchen Sink: New and Selected Poems, 1972-2007" 12:00 PM Brian Tracy & Musicians Andy & Rene Author, "Driving with Dante" 12:30 PM David St. John Author, "The Face: A Novella in Verse" 1:00 PM Jean Valentine Author, "Little Boat" 1:30 PM Marvin Bell Author, "Mars Being Red" 2:00 PM Christopher Buckley Author, "Modern History" 2:30 PM Sarah Maclay and Charles Hood Authors, "The White Bride" and "Rio de Dios" 3:00 PM Susan McCabe Author, "Descartes' Nightmare" "Cinematic Modernism: Modernist Poetry and Film" 3:30 PM Lynne Thompson and Jeffery Levine Authors, "Beg No Pardon" and "Rumor of Cortez" 4:00 PM Jennifer Kwan Dobbs Author, "Paper Pavilion" 4:30 PM Tony Barnstone Author, "The Golem of Los Angeles" 5:00 PM Catherine Daly and Stuart Dischell Authors, "Locket" and "Backwards Days" ___________________________________________________SUNDAY 10:00 AM Elena Byrne and Marty Williams Authors, "Masque" and "Other Medicine" 10:30 AM Robert Pinsky Author, "Gulf Music: Poems" 11:00 AM Maurya Simon Author, "Cartographies" 11:30 AM Al Young Author, "Something About the Blues" 12:00 PM Elaine Equi Author, "Ripple Effect: New and Selected Poems" 12:30 PM Jill Bialosky and Dana Goodyear Authors, "The End of Desire" and "Honey and Junk" 1:00 PM James Ragan Author, "In the Talking Hours" 1:30 PM Adam Kirsch Author, "Invasions: New Poems" 2:00 PM Stanley Plumly Author, "Old Heart: Poems" 2:30 PM Carol Muske-Dukes and Sam Pereira Authors, "Sparrow" and "A Caf=E9 in Boca" 3:00 PM Chris Abani Author, "Hands Washing Water" 3:30 PM Wanda Coleman and Diane Ward Authors, "Mercurochrome" and "When You Awake" 4:00 PM Luis J. Rodriguez Author, "My Nature is Hunger" --=20 All best, Catherine Daly c.a.b.daly@gmail.com ========================================================================= Date: Wed, 23 Apr 2008 15:01:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sharon Mesmer/David Borchart Subject: Kevin Killian's email address? In-Reply-To: <624507.43068.qm@web31006.mail.mud.yahoo.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 Hi all, Does anyone have Kevin's email address? He wrote a really wonderful review of my book and I want to thank him for it. Kevin, if you're seeing this: many, many thanks. -- Sharon Mesmer ========================================================================= Date: Wed, 23 Apr 2008 21:51:45 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cralan kelder Subject: fire in the mailbox Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable last week I received FIRE magazine, double issue, nos. 29/30 in the mail. what an impressive accomplishment by jeremy hilton. This double issue is the International Issue coming in at a whopping 392 pages! from the back cover: Special International Issue featuring Poets and Translators from around the world. Daisy Abey (Sri Lanka / UK) , Dawyth Agar (South Africa / UK) , Shafi U. Ahmed (Bangladesh), Ilse Aichinger (Austria), Muniam Alfaker (Iraq), Nadia Anjoman (Afghanistan), Eugenio de Andrade (Portugal), Jose Luis Arango (Colombia), Jean Paul Auxemery (France), Kaifi Azmi (India)... And those are just the Letter A=B9s! From the Introduction; [this issue] its gestation goes back a long way, right back to my early twenties when the book I carried with me everywhere and found true poetic delights on many pages was =B3The Penguin Book of Modern Verse Translation=B2, edited by George Steiner which came out in 1966 when I was 21. edited and published by jeremy hilton field cottage old white hill tackley www.poetical.org ========================================================================= Date: Thu, 24 Apr 2008 11:31:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: TINY BOOKS OF POETRY FEEDING THE WORLD=?utf-8?Q?=E2=80=A6LITERALLY!?= MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="utf-8" Meritage Press Announcement=20 TINY BOOKS OF POETRY FEEDING THE WORLD=E2=80=A6LITERALLY! Meritage Press (MP) is pleased to announce the first =E2=80=9CTiny Book=E2= =80=9D release for 2008, following on five releases in 2007.=C2=A0 MP=E2=80= =99s "Tiny Books" are structured to align poetry with fair trade and economi= c development issues affecting Third World countries.=C2=A0 The first 2008 r= elease is from =E2=80=9CThe Tradition=E2=80=9D=20 by Juliana Spahr Juliana Spahr is a poet, editor, and scholar. Her most recent book of poetry= is This Connection of Everyone with Lungs (University of California, 2005),= a collection of poems that she wrote from November 30, 2002 to March 30, 20= 03 that chronicled the buildup to the latest U.Ss invasion of Iraq. Atelos a= lso recently published the Transformation (2007), a book of prose which tell= s the story of three people who move between Hawai=E2=80=98i and New York in= order to talk about cultural geography, ecology, anticolonialism, queer the= ory, language politics, the academy, and recent wars. MP's =E2=80=9CTiny Books=E2=80=9D utilize small books (1 3/4" x 1 3/4") made= in Nepal by artisans paid fair wages, as sourced by Baksheesh, a fair trade= retailer. Photos of a sample "Tiny Book" are available at http://www.flickr= .com/photos/lolabola/1618955048/in/photostream/=C2=A0 and http://scorecard.t= ypepad.com/crag_hills_poetry_score/haynaku/index.html .=C2=A0 An illustrated= review by Geof Huth is also available at http://dbqp.blogspot.com/2008/02/o= ne-2-free-for-5ve-sex-sever-ache.html .=20 All profits from book sales will be donated to Heifer International (http://= www.heifer.org/), an organization devoted to reducing world hunger by promot= ing sustainable sources of food and income. This project reflects MP's belie= f that "Poetry feeds the world" in non-metaphorical ways. The =E2=80=9CTiny=20= Books=E2=80=9D create demand for fair trade workers' products while also sou= rcing donations for easing poverty in poorer areas of the world. Note, too,=20= that the Bill & Melinda Gates Foundation has awarded a $2.5 Million Matching= Grant to Heifer, which means every dollar donated (e.g. through "Tiny Books= ") can be doubled! Each =E2=80=9CTiny Book=E2=80=9D costs $10 plus $1.00 shipping/handling in t= he U.S. (email us first for non-U.S. orders). To purchase the =E2=80=9CTiny=20= Books=E2=80=9D and donate to Heifer International, send a check for $11.00 p= er book, made out to "Meritage Press" to=20 Eileen Tabios=20 Meritage Press=20 256 North Fork Crystal Springs Rd.=20 St. Helena, CA 94574 Please specify which of the =E2=80=9CTiny Books=E2=80=9D you are ordering, s= ince the following =E2=80=9CTiny Books=E2=80=9D from the 2007 Series also co= ntinue to be available: =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2= =A0=C2=A0 all alone again=20 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2= =A0=C2=A0 by Dan Waber=20 and=20 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2= =A0=C2=A0 Steps: A Notebook=20 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2= =A0=C2=A0 by Tom Beckett=20 and=20 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2= =A0=C2=A0 "=E2=80=A6And Then The Wind Did Blow..."=20 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2= =A0=C2=A0 Jainak=C3=BA Poems=20 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2= =A0=C2=A0 by Ernesto Priego=20 and=20 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2= =A0=C2=A0 Speak which=20 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2= =A0=C2=A0 Hay(na)ku poems=20 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2= =A0=C2=A0 by Jill Jones=20 and=20 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2= =A0=C2=A0 some hay=20 =C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2=A0=C2= =A0=C2=A0 by Lars Palm=20 With =E2=80=9CTiny Books,=E2=80=9D MP also offers a new DIY, or Do-It-Yourse= lf Model of publishing. You've heard of POD or print-on-demand? Well, these=20= books' print runs will be based on HOD or Handwritten-on-Demand. MP's publis= her, Eileen Tabios, will handwrite all texts into the Tiny Books' pages and=20= books will be released to meet demand for as long as MP is able to source ti= ny books -- or until the publisher gets arthritis or debilitative carpal tun= nel syndrome.=20 FUNDAISING UPDATE: In addition to providing livestock, Heifer International also provides trees= .=C2=A0 In, 2007, Meritage Press' Tiny Books program sold enough "Tiny Books= " to finance the donation equivalent of more than seven sets of tree-gifts.= =C2=A0 Here's what Heifer has to say about trees: "One of Heifer International=E2=80=99s most important commitments is to care= for the earth. We believe development must be sustainable =E2=80=94 that pr= ojects should be long-term investments in the future of people and the plane= t.That=E2=80=99s why in addition to livestock, Heifer often provides familie= s with trees. On a steep Tanzanian hillside, Heifer International helped a f= amily learn to plant trees and elephant grass to keep the soil in place. Tod= ay, they have flourishing rows of leucaena trees and corn.Through training,=20= families learn how to keep their small plots of land healthy and renew the s= oil for future generations by planting trees, using natural fertilizer, and=20= limiting grazing.By helping families raise their animals in harmony with nat= ure, you can fight poverty and hunger while ensuring a healthy, productive f= uture for us all." Then of course there are the chickens, goats, water buffalos, pigs, ducks, h= oneybees, llamas....all of which can help ease hunger around the world.=C2= =A0 Meritage Press thanks you in advance for your support and hopes you enjo= y "Tiny Books" -- small enough to become jewelry, but with poems big enough=20= to resonate worldwide ========================================================================= Date: Thu, 24 Apr 2008 12:37:53 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: colin herd Subject: Interview with Geraldine Monk MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Dear POETICS List, I thought some of you might be interested in this interview with Geraldine Monk, now up at http://volumespoetry.blogspot.com Here's a taste: 'I don't think of myself as a writer. When I write I'm a writer. When I cook or garden or play my violin or shop or clean my teeth I'm not a writer. When I read I'm not a cooking. I'd be quite happy not to call myself anything but we have to so 'Writer' is necessary for passports, tax forms etc but I tell my hairdresser I'm a housewife even though I'm not. I think that's why I prefer to go to the dentist rather than the hairdressers.' Geraldine Monk. Yours, Colin. ========================================================================= Date: Thu, 24 Apr 2008 11:01:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Scott Michael Pierce Subject: new from EFFING PRESS In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable EFFING PRESS is proud to announce the publication of BE SOMEBODY by Lester.= =20 A handsome, oversized edition with fine printed covers wrapped around 64 pa= ges of inexplicable poetics. Melts in your mouth and not in your hands.=20 http://www.effingpress.com/lester.htm LESTER is a ventroloquist's dummy, or call him oracle, or sockpuppet, or wh= at you will. Don't call him PATRICK HERRON, of Carborro, North Carolina, of= Duke University, author of _The American Godwar Complex_ (Blazevox) and f= ounder of The Carborro Poetry Festival, husband, father of two, righteous f= ellow, among other honorable mentionables. Of BE SOMEBODY some bright minds among us have said such things as [T]he approach of ventriloquism goes one giant step further in the form of = Lester, sock puppet extraordinaire & alleged author of the booklength manus= cript, Be Somebody. Lester, obviously, is in the tradition of other wisecra= cking dummies from Charlie McCarthy to Triumph the Insult Dog, but also Arm= and Schwerner, Art Language & just possibly the aforementioned Mr. Bernstei= n & David Antin, &, dare I say, Spicer too falls on this side of the line, = certainly in Language & Book of Magazine Verse. [...] Be Somebody [...] pok= es a very hard finger into the chest of Western literary assumptions. [...]= Like somebody who understands that what makes Moby Dick great is all that = stuff about whales, Be Somebody is difficult in the way the very best books= are, it challenges our desire for the familiar (and nothing is more famil= iar than my pronoun, not even my name) & holds on like a pit bull with lock= jaw for the entire trip, in this instance 58 pages. [...] Someday, someone = is going to publish this book & then we will all have to deal with Lester's= intimate striptease of the self. Until then, it will remain, like the full= -length version of Mark Peters. Men . one of the great rumors of contempora= ry poetry [...] you have to read the book. =20 - Ron Silliman A few years ago, the unschooled shepherd poet Alberto Caeiro flew into our = millenium with a rocket pack on his back, calling himself Lester. He spoke = in the most simple and transparent syllogisms, though only a few (their han= ds cupped to ears) were present to hear. He landed, he spoke, he fired his = rockets, shot up, landed over there, spoke, fired his rockets, etc. Then he= went away... Thankfully, and somewhat miraculously, his parables have been= transcribed by the faithful handful and are gathered here in one place for= the first time. May I suggest that all the hip Flarf poets get down on their knees and urge= ntly pray. - Kent Johnson Lester is a smart-mouth puppet who wants to ruin the sacred truths to fable= and old song. Actually, he wants to ruin the fable and old song, too. Are = we an important poet? Lester seems to want us to think we have no opinions = on the matter, even the ones he has laid out for us. It's no good hating Le= ster; this is what we get for asking goat questions and giving sheep answer= s. Be Somebody raises a serendipitous lake cup atop the strata of radiant s= team whose luminous degeneracy we have ascertained, and then lets it fall a= way like a silken robe. This isn't fair. If you see this book on the road, = kill it. Unless it's already too late, and you're reading this, which means= it has somehow found you first, and you have not read this after all, thou= gh you are rightfully convinced you have. Lester is not Patrick Herron. Thi= s is not a blurb.=20 - K. Silem Mohammad BE SOMEBODY by Lester 64 pages=20 isbn 0-9794745-3-1=20 $10.00 printed and bound in the nude in an edition of 447 copies, March, 2008. *** REVIEW COPIES ARE AVAILABLE TO PARTIES WITH SERIOUS INTENT. WRITE TO US= WITH A REQUEST. *** http://www.effingpress.com/lester.htm Also please check out our new website and storefront. Notice that we are also doing letterpress printing and would like to offer = discounts to other poetry publishers that want sweet book covers and collat= eral better than the usual laminated pap that makes up the bulk of the trad= e books we all love but as objects are hardly collectible. And, stay toned for the release of EFFING MAGAZINE #7, lovingly edited by C= hris Vitello and chock-full of bad ass poets, mostly from North Carolina. http://www.effingpress.com/magazine.htm You could call it North Carolina month at Effing Press. We won't but you su= re can. And once last note of import: Effing and several of our sister presses here in central Texas (Skanky Poss= um, Habenicht Press, Interbirth Books) are raising money for TOM CLARK who,= due to the collapse of New College in San Francisco as well as some health= problems, is in need of some money help. Please, please, please donate a f= ew bucks to a help a fellow poet in need. Here's a link where you can read = all about it and donate via paypal or credit card.=20 http://osnapper.typepad.com/snappersjunk/2008/04/help-tom-clark.html#commen= ts We're happy to send books and printed goods to folks who donate. No problem= at all. There will be a TOM CLARK BENEFIT READING this Saturday in Austin at 12th S= treet Books.=20 For more info go to http://possumego.blogspot.com/2008/04/tom-clark-benefit= -reading.html Sincerely,=20 Scott Pierce EFFING PRESS 703 W. 11th St. Austin, TX 78701 USA http://www.effingpress.com =20 we work. ========================================================================= Date: Wed, 23 Apr 2008 19:25:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: laura hinton Subject: PLEASE POST asaP MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline InterRUPTions An Experimental Writers Series Announces a performance by sound poet Tracie Morris Monday, April 28 6 p.m. NAC Room 6/201 (The Graduate Student Lounge)* * North Academic Complex (NAC) The City College of New York * 137th St. and Amsterdam Ave. New York City A multi-media poet who has performed throughout the United States, Europe, Asia and Africa, Tracie Morris has worked with internationally recognized musicians and other artists. She has participated in over a dozen recording projects, and her sound poetry is archived at the Whitney Museum. Morris is also the author of several poetry collections, including Intermission and Chap-T-her Woman. Her poetry is widely anthologized, and she has received numerous poetry awards, including a New York Foundation for the Arts Fellowship. The InterRUPTions series is free and open to the public. Refreshments will be served. * * This event is funded in part by Poets & Writers, Inc. through public funds from the New York City Department of Cultural Affairs. It is sponsored by the Department of English at the City College of New York and the Graduate Student Association. For information on the InterRUPTions reading series, contact laurahinton12@yahoo.com. _______________ * DIRECTIONS: In Manhattan, take the 1/9 subway line to 137th Street. Walk up the hill to Amsterdam Avenue. Enter the NAC Building at the Amsterdam level's south entrance. Inform security personnel at the door you are attending the poetry reading, and take the escalator to the 6th Floor. ========================================================================= Date: Wed, 23 Apr 2008 22:45:33 -0700 Reply-To: jkarmin@yahoo.com Sender: UB Poetics discussion group From: Jennifer Karmin Subject: 4000 WORDS 4000 DEAD: May 2 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii You are invited to a performance of 4000 WORDS 4000 DEAD Poet and artist Jennifer Karmin is collecting 4000 WORDS for the 4000 DEAD in Iraq. All words will be used to create a public poem. After reading the poem aloud, each word will be given away to passing pedestrians. Participating writers include: Manan Ahmed, Charles Bernstein, Anselm Berrigan, Maxine Chernoff, Catherine Daly, Arielle Greenberg, David Hernandez, Toni Asante Lightfoot, Joyelle McSweeney, Juliana Spahr, Stacy Szymaszek, Andrew Zawacki and more. Friday, May 2nd 5pm beginning in front of the Vietnam War Memorial Wabash & Wacker along the Chicago River 8:30pm ending at the DePaul Center 1 East Jackson Boulevard Chicago, IL Sponsored by Looptopia 2008 http://www.looptopia.com "I want to start with the milestone today of 4,000 dead in Iraq. Americans. And just what effect do you think it has on the country?" -- Martha Raddatz, ABC News' White House correspondent to Vice President Dick Cheney SUBMISSION DEADLINE: *April 30, 2008 SUBMIT: *Send 1 - 10 words CONTACT: *Email submission with subject 4000 WORDS to jkarmin@yahoo.com ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Wed, 23 Apr 2008 07:58:37 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: The Accidental Rebel - New York Times MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline http://www.nytimes.com/2008/04/23/opinion/23auster.html?_r=1&th&emc=th&oref=slogin--- ========================================================================= Date: Wed, 23 Apr 2008 07:39:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: steve russell Subject: Re: Library &/or Art Class poem(s) ?? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Certainly the bookish Borges. I don't have any Borgess in my personal library anymore, but I know that he has either a poem, story or essay that would meet your requirments. And it wouldn't be hard to google. ----- Original Message ---- From: Stephen Vincent To: POETICS@LISTSERV.BUFFALO.EDU Sent: Monday, April 21, 2008 6:59:16 PM Subject: Library &/or Art Class poem(s) ?? A request! I am leading a "Walking & Writing" Class on the University of San Francisco Campus. We have upcoming 'writing' visits in the Library's Rare Book room and a Sculpture workshop. Does one have any 'favorite' work which sites itself in a Library or in an Art Workshop?? (This one is actually for 'sculpture' students). Some eons ago, frequently lit mags would have a poem (or story) that would take place in a bookshop. (I think those situations between the speaker and the romantic 'sought' among the stacks have been replaced by eHarmony or comparable date making sites! Or maybe the NYRB). Not to rule out the romantic in any of these situations, but I welcome any kind of poem with this kind of specific location. (I often suffer from 'aphasia' when it comes to remembering specific poems) (I have not read Larkin in a long time, but he must have something of the Library, yes?) Your suggestions much appreciated. Stephen V http://stephenvincent.net/blog/ ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Thu, 24 Apr 2008 02:26:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: Call for Submissions - Viviparous Blenny. Theme: Synchronicity MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit can it be a chance meeting with my ghost? On Wed, 23 Apr 2008 01:55:40 +0800 Christophe Casamassima writes: > Viviparous Blenny > > a twentythreebooks and furniture press > > contemporary arts journal > > January 2009, Volume I > > Theme: Synchronicity > > Synchronicity is not merely serendipity, it is defined as meaningful > coincidences. Synchronicities are acausal, that is, not able to be > reduced to a cause-and-effect explanation. They are always personal > events. They are boundary 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’t directly address the theme, please > explain why you’ve chosen the piece to represent the theme. > > Submissions guidelines: > • 3–4 poems > • 1000 words of prose (fiction, nonfiction, creative > nonfiction, commentary, interviews, reviews, etc.) > • Black and white photographs (.tiff, .gif, .jpg; low-res for > submission) > • Black and white artwork or drawings (low-res scanned image > file) > • Comics > • Name and contact info. on every page submitted > • No simultaneous submissions. > > 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 > 76 Stone Park Place > Baltimore, Maryland 21236 > > 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 no later than August 23. Any submissions after this > date will not be considered. > > > Payment is 1 free contributor’s copy and new friends. > > > = > Microdermabrasion Machine from Clairderm > Lifetime warranty, diamond tips & crystal operation, anti-clog > cycle. > http://a8-asy.a8ww.net/a8-ads/adftrclick?redirectid=c8f3ea43443f6490b0f3f 2f608b7e552 > > > -- > Powered By Outblaze > > ========================================================================= Date: Wed, 23 Apr 2008 13:00:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: Andrews/Silvers at Vanderbilt MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline The Vanderbilt University Writing Studio presents TEXT + MOVEMENT a collaboration with Bruce Andrews and Sally Silvers Friday April 25th 5:00 - 6:00pm CDT Alumni Hall Ballroom West End Ave and 23rd Ave, Nashville TN Andrews is the author of over 30 books of poetry and performance scores and was co-editor of *L=A=N=G=U=A=G=E* Magazine; he teaches Political Science at Fordham University. An East Tennessee native, Silvers is a New York-based dancer and choreographer who has been awarded fellowships with the National Endowment for the Arts and the John Simon Guggenheim Memorial Foundation. "Andrews's works often look like successful attempts to transcribe all the language overheard in a subway car crowded with diverse groups of people." -- Juliana Spahr, *Everybody's Autonomy: Connective Reading and Collective Identity* "Ms. Silvers has been moving to her own drumbeat for 25 years now. Her dances are often dense and gnomic. But they repay the close attention they demand with continual small, surprising revelations: some slyly funny, some tender, and all springing from the unruliest of imaginations." -- Jennifer Dunning, *New York Times* *** Also, just added *** Bruce Andrews joins host Tom Orange for a special edition of Destination Out! on WRVU 91.1 FM Nashville Saturday April 26 10a-12p CDT (11a-1p EDT) Text + Sound + Conversation the broadcast will stream in Real Player format go to wrvu.org and click on Listen! or paste this link directly into your player: http://wrvu.org/sounds/wrvu.ram details on podcast/download forthcoming http://destinationout.vox.com ========================================================================= Date: Wed, 23 Apr 2008 14:42:20 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Peterson Subject: SEGUE 4/26: THOMAS FINK & ELIZABETH WILLIS MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The Segue Reading Series Presents: Thomas Fink and Elizabeth Willis Saturday, April 26, 2008 ** 4PM SHARP** at the Bowery Poetry Club (308 Bowery, just north of Houston) $6 admission goes to support the readers hosted by erica kaufman & Tim Peterson Thomas Fink is the author of five books of poetry, including Clarity and Ot= her Poems. He is the author of two books of criticism, most recently A Diff= erent Sense of Power, and he is the co-editor of Burning Interiors: David S= hapiro's Poetry and Poetics. His paintings hang in various collections. Fin= k is Professor of English at CUNY-LaGuardia. from "Deconstricted Sestina 5" Dialogue will swerve repeatedly before it survives patriarchy. Thanks for not smoking inside. I trust you to profit from any experiment that respects the survival of those not yet as fit. Reach into my pocket and husband what's left. My husband assumes immortality, but one attentive scribe is becoming my sole access to recommencing dialogue, into which labors or equalization should be poured. My thanks are colored by suspicion of vested recollection. Lately, many fund Plato's experiment; mine could take several millennia to breed a profit. Elizabeth Willis' most recent book is Meteoric Flowers. Other works include= Turneresque, The Human Abstract, and Second Law. Formerly poet-in-residenc= e at Mills College, she now teaches at Wesleyan University and lives in cen= tral Massachusetts. "Her Mossy Couch" I stain lengthwise all I touch. The world is so touching, seen this way, in fleshtones, aggrieved, gleaming as the lights go out, look- ing into the crease of relativity. We've seen this before, why? Tri- umph arches over us like bad emotion. We were supposed to feel more connected to it, we were supposed to feel humanly moved by imaginary strings. All the words in the world are moving pic- tures to the dizzy ear, fleas, inadequate deceptions of nocturnal hair, pushing buttons, pushing papers, pushing pedals up the long hill. Who could get over the blatant radiance of a name like Doris Day, throwing your finest features into political relief, a warehouse in the shadow of apples and streams?= ========================================================================= Date: Thu, 24 Apr 2008 14:27:07 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anne Guthrie MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Conceptual Poetry Symposium, UA Poetry Center, May 29-31 We would be very grateful to you if you would help us get the word out = about the symposium by forwarding this email or by placing a link on your = website or blog. http://poetrycenter.arizona.edu/events/symposium.shtml Details about the symposium are as follows: The University of Arizona Poetry Center in Tucson, Arizona will host Conceptual Poetry and Its Others, a three-day symposium from May 29- May = 31, 2008 to explore and discuss the cutting-edge in contemporary avant-garde poetry. In addition to a keynote address with renowned poetry critic Marjorie Perloff, there will be lectures, classes, panel and roundtable discussions, and literary presentations. These events are designed to explore new directions in innovative writing and to equip readers, = writers, and scholars with tools to more fully understand and appreciate new = forms within contemporary literature. Featured artists will include Caroline Bergvall, Charles Bernstein, Christian B=F6k, Craig Dworkin, Peter = Gizzi, Kenneth Goldsmith, Susan Howe, Tracie Morris and Cole Swensen. Early Registration Deadline is April 4, 2008. =20 Registration costs are $105 general admission and $60 for (non-resident) student admission. For more information, please contact Renee Angle, 520.626.3765 or write poetry@email.arizona.edu =20 ========================================================================= Date: Thu, 24 Apr 2008 18:55:08 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetry Project Subject: Events at The Poetry Project April In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Hi Everyone, We have a reading tonight, and a reading tomorrow . . . then two more next week. We hope to see you here! Friday, April 25, 10 PM Michelle Tea, Tara Jepsen, Nicole J. Georges & Rhiannon Argo Michelle Tea's first memoir, The Passionate Mistakes and Intricate Corruption of One Girl in America, was just re-published by Semiotext(e). She has written three others, plus a collection of poetry and the novel Ros= e of No Man's Land. Her recent It's So You: 35 Women Talk About Personal Expression Through Beauty and Style, contains stunningly essays by Eileen Myles, Kim Gordon, Cintra Wilson and others. She is the artistic director o= f Radar Productions, a San Francisco literary non-profit that produces the all-girl lit tours Sister Spit: The Next Generation. Tara Jepsen is a write= r and performer from San Francisco, CA. Her stories have been published in th= e anthologies Pills, Thrills, Chills and Heartache (Alyson Books) and It=B9s So You (ed. Michelle Tea, Seal Press, 2007). She toured extensively with seminal all-female cabaret Sister Spit=B9s Rambling Road Show. Her most recen= t short film, Diving for Pearls (with Beth Lisick), won the =B3Most Innovative Short=B2 award at the Seattle Lesbian and Gay Film Festival (2004) and was selected for the =B3Best of Newfest=B2 screening at the BAM. She co-curates and co-hosts SF's longest running queer open mic, K'vetsh. She just completed writing a novel, Like a Dog. Nicole J. Georges is an illustrator, zinester and pet portrait artist living in Portland, Oregon. Nicole is the author of award-winning autobiographical comic zine Invincible Summer (now a two volume book set from Microcosm Publishing), and is most proud of being vote= d Miss Specs Appeal 2006 by the zine Hey! Four Eyes. Nicole will be reading stories about herself and her dogs while projecting images from her comic life. Rhiannon Argo is a San Francisco based writer whose stories have been published in anthologies and in her own hand-made chapbooks, Pill, Four, an= d Cola. In 2007 she took her tales on the road for an entire month with the new wave of Sister Spit. She recently finished her first novel entitled Switch, a tale of grit and glam, starring fierce feminist strippers and punkish, gender-queer girl-skateboarders. Saturday, April 26, 1 PM A Tribute to Barbara Guest Barbara Guest (1920=AD2006) published over twenty volumes of poetry including The Countess of Minneapolis, Fair Realism and The Red Gaze, and earned awards including the Robert Frost Medal for Distinguished Lifetime Achievement from the Poetry Society of America. Join John Ashbery, Charles Bernstein, Susan Bee, Mei-mei Berssenbrugge, Peter Gizzi, Kathleen Fraser (pre-recorded), Hadley Guest, Ann Lauterbach, Erica Kaufman, Charles North, Rena Rosenwasser, Richard Tuttle, Africa Wayne and Marjorie Welish in a celebration of Guest=B9s life and work, as well as the forthcoming The Collected Poems of Barbara Guest by Wesleyan University Press. Co-sponsored with The Poetry Society of America. Monday, April 28, 8 PM Derek Fenner & Ara Shirinyan Derek Fenner is a graduate of the Kerouac School of Disembodied Poetics and currently resides in Lowell, MA above Page's clock. He is project director of Unlocking the Light: Integrating the Arts in Juvenile Justice Education, a federal grant program he designed to integrate the arts into the core curriculum for teachers serving youth within the Massachusetts Department o= f Youth Services. He is the author of My Favorite Color is Red: Experiments With Lines. He is a co-founder of Bootstrap Productions, and runs the Union Square Poetry Series, a monthly Saturday reading at P.A.'s Lounge in Somerville, MA, with Ryan Gallagher. He recently finished his first novel I No Longer Believe in the Sun: Love Letters to Katie Couric, some of which i= s in SHINY # 14. Ara Shirinyan was born in 1977 in, what was then, the Soviet Socialist Republic of Armenia. Since 1987, he has lived in Los Angeles, where he writes, teaches, and is editor of Make Now Press. His first book, Syria Is in the World, was published by Palm Press in June, 2007. Speech Genres1-2 is available as an electronic download from Ubuweb. Your country Is Great A-G will be published by Futurepoem press in April, 2008. With the group Godzik Pink, he released two CDs (Es Em, Ekel Em and Black Broccoli) on Kill Rock Stars/5rc. His work has appeared or is forthcoming in Word Ways, UBUWEB, Greetings, Trepan, Combo, Area Sneaks, Tuli & Savu among others. Wednesday, April 30, 8 PM Forrest Gander & Joan Retallack Forrest Gander has edited several anthologies of work in translation and translated individual books by Mexican and Latin American writers, most recently Firefly Under the Tongue: Selected Poems of Coral Bracho (New Directions, 2008). His own most recent titles include Eye Against Eye (poems, New Directions, 2005) and the novel As a Friend (New Directions, 2008). Joan Retallack is the author of seven volumes of poetry including Memnoir, Mongrelisme, How To Do Things With Words, Afterrimages, and Errata 5uite which won the Columbia Book Award chosen by Robert Creeley. Currently at work on a collection of her procedural poetry and an ongoing, multi-genr= e project (=B3The Reinvention of Truth=B2) Retallack is the author of Musicage: John Cage in Conversation with Joan Retallack, Wesleyan University Press, recipient of the America Award in Belles-Lettres. Poetry and Pedagogy: The Challenge of the Contemporary (Palgrave MacMillan, co-edited with Juliana Spahr) came out in 2006. The Poethical Wager, a book of Retallack=B9s essays, was published in 2004 by the University of California Press which has just brought out Gertrude Stein: Selections edited and introduced by Retallack. Participation in an international meeting of poets on =B3Poetry and Violence=B2 at the University of Coimbra, Portugal last May led to the polylingual collaboration with Forrest Gander from which they will read at this event. Retallack is John D. and Catherine T. MacArthur Professor of Humanities at Bard College. Become a Poetry Project Member! http://poetryproject.com/membership.php 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, 24 Apr 2008 21:11:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sarah Sarai Subject: we are beautiful, my friends: stu ross/CAconrad/larry kearney/the chick/dalachinsky Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain I just listened to Ben Weber singing =93Invitation to Love=94 =96 a Stu R= oss poem Weber=20 songized. It=92s funny, sad, ironic, silly, pretty, musical, deadpan. I= =92m writing this in bed,=20 my laptop top my lap; I=92m really tired and primed to start questioning = everything (the=20 shebang), but then via myspace I finally remember to listen to this Stu R= oss/Ben Weber=20 duo (a whole CD there is of songizations of as always clever and shrewd R= oss poems by=20 Weber). And then I remember last night at the Poetry Project where I watched Larr= y Kearney and=20 CAConrad read, and was so moved by the concise and profound lyricism of K= earney and=20 the sad and sweet whimsy and truth from CA; and I remember finally meetin= g Steve=20 Dalachinsky=97during the break=97and him so generously introducing me to = another poet, a=20 chick, who understood my dilemma with my spirit beads (I=92ve had them fo= r over 12 years =97from my Seattle years=97and all of a sudden they won=92t leave my neck= =97they are=20 protecting me, but they are around my neck). So even though the N.Y. Times thinks that after two years of presidential= campaign, a=20 comment from Hillary=92s camp about Obama or from Obama=92s camp about Hi= llary warrants=20 front-age coverage, I=92m part of this protective shield of a subculture-= -of creatures who=20 need the concision of words--that is at the very least amusing. (My camp= was and=20 always shall be Camp Yallani.) Stu Ross=92s myspace with more info on his collaboration with Ben Weber i= s=20 http://www.myspace.com/razovsky. CAConrad is accessible to you all. I don=92t know about accessing Kearne= y, but I suspect=20 many of you do. =85Sarah Sarai www.mywpace.com/sarahsarai 4.24.08 ========================================================================= Date: Thu, 24 Apr 2008 21:16:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: Re: Scalapino: It's go in horizontal In-Reply-To: <4807F929.6020400@bway.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Tucson details: the 4pm reading at The Drawing Studio is a POG event the 1pm poem-play is at the UA Poetry Center's new building for more info: www.gopog.org (updated pages will be up by tomorrow . . . ) or email pog@gopog.org --Tenney > -----Original Message----- > From: UB Poetics discussion group [mailto:POETICS@LISTSERV.BUFFALO.EDU] > On Behalf Of Charles Bernstein > Sent: Thursday, April 17, 2008 6:28 PM > To: POETICS@LISTSERV.BUFFALO.EDU > Subject: Scalapino: It's go in horizontal > > Leslie Scalapino will read from her new book > > It's go in horizontal: Selected Poems 1974-2006 > > Readings at UC San Diego; University of Chicago; City Lights in SF; & > Tucson, Arizon > > San Diego: > April 22nd, Tues at 7:00 pm at the San Diego Museum of Art in Balboa > Park on Laurel St. > April 23rd, Weds at 4:30 on the UCSD campus in the Visual Arts > Performance Space (Warren College). > > > University of Chicago: > Reading is on Thurs April 24th at 5:30pm-Rosenwald 405, 1101 E. 58th Street. > Lecture titled POETICS is on Friday April 25th at 2:00pm, Rosenwald 405, > 1101 E. 58th Street. > > > Tucson, Arizona: > Saturday May 3rd-A poem-play at 1:00pm and reading at a separate venue, > The Drawing Studio, at 4:00pm. > > San Francisco: > City Lights Book Store in San Francisco. Reading is Thurs May 8th at > 7:00pm, 261 Columbus Ave near Broadway. Leslie Scalapino is reading with > Denise Newman whose new book from Apogee Press is titled Wild Goods. > > It's go in horizontal /Selected Poems 1974-2006 by Leslie Scalapino > University of California Presa > 246 pages. ISBN 978-0-520-254662-6 > $16.95 > Order from www.ucpress.edu or call 1-800-777-4726 > > Fanny Howe "This is a superb and important contribution to philosophy, > theology, psychology, and the science of knowing. To have the selection > here now, to be able to see the whole trajectory in one volume, is to > experience a revolutionary moment." > > Robert Creeley: ".this work is not apart from its thinking and/or > composition... I find the whole work to be a deeply engaging > preoccupation with, and articulation of, what life might be said, > factually, to be. But not as a defined subject, nor even a defining > one-but as one being one. That is an heroic undertaking, or rather, > place in which to work/write/live. Its formal authority is as brilliant > as any I know." > > Charles Bernstein: "Leslie Scalapino's poems probe politics, perception, > and desire, creating hypnotically shifting coherences that take us > beyond any dislocating devices into a realm of newly emerging > consciousness. This work, which defies categorization, is essential for > contemporary poetry." ========================================================================= Date: Fri, 25 Apr 2008 09:57:18 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roy Exley Subject: Awesome silence Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit There has been an awesome silence emanating from 'UB Poetics' since Tuesday, either there has been a technical glitch or something catastrophic has befallen the poetic community of the Eastern Seaboard, here's hoping it's the former event and not the latter - please come in whoever you are and wherever you are! Roy Exley. ========================================================================= Date: Fri, 25 Apr 2008 06:00:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Andrews Subject: New and 3D-ish MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7bit New and 3d-ish: http://vispo.com/dbcinema/kandinsky3/7.htm http://vispo.com/dbcinema/kandinsky3/8.htm http://vispo.com/dbcinema/kandinsky3/9.htm http://vispo.com/dbcinema/kandinsky3/44.htm http://vispo.com/dbcinema/kandinsky3/45.htm http://vispo.com/dbcinema/kandinsky3/46.htm http://vispo.com/dbcinema/kandinsky3/47.htm http://vispo.com/dbcinema/kandinsky3/48.htm http://vispo.com/dbcinema/kandinsky3/49.htm http://vispo.com/dbcinema/kandinsky3/64.htm http://vispo.com/dbcinema/kandinsky3/65.htm http://vispo.com/dbcinema/kandinsky3/66.htm http://vispo.com/dbcinema/kandinsky3/67.htm http://vispo.com/dbcinema/kandinsky3/68.htm http://vispo.com/dbcinema/kandinsky3/69.htm http://vispo.com/dbcinema/kandinsky3/70.htm Done with a Flash brush. Not actual 3D, just a 2D brush with a 3D look. Fishy. Organic. Others are Hip-Hop lettristic in a Kandinskian digital kind of way. The first one, for instance, after I looked at it a few times, I saw that it could be construed as initials. My initials. Whereas there was no such intent on my part. But when you explore curves in a particular space (the monitor in this case), the curves can quite easily become lettristic; and then I realized that's one way to look at Hip-Hop lettrism: it is as much concerned with working the curve through the space in a kind of generative process of discovery as it is with writing something in particular. Cyber grafitti with a degree in English and Comp Sci. More info on Flash brushes at http://vispo.com/dbcinema/kandinsky3/intro ja ========================================================================= Date: Fri, 25 Apr 2008 12:00:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ken Rumble Subject: Fwd: Poetry Tomorrow Night, 4/26 @ Chapterhouse In-Reply-To: <798925.89217.qm@web53605.mail.re2.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline ---------- Forwarded message ---------- From: Ryan Eckes Date: Fri, Apr 25, 2008 at 11:56 AM Subject: Poetry Tomorrow Night, 4/26 @ Chapterhouse To: ryaneckes@yahoo.com This Saturday, April 26th at 8PM at Chapterhouse Cafe & Gallery 9th & Bainbridge, Philadelphia Hear work by Jason Zuzga, Ken Rumble, & Shelby Bohn. JASON ZUZGA's poetry has appeared in VOLT, LIT, FENCE, Spork, Eoagh, Cue, and elsewhere. He had a residency at the Fine Arts Work Center in Provincetown 2001-2002 and was the James Merrill Poet-in-Residence 2005-2006. He is the nonfiction editor of FENCE. He is currently in the English PhD Program at the University of Pennsylvania and has an MFA in poetry and nonfiction from the University of Arizona in Tucson and a BA from Brown, and he lived in New York for a good while, too. KEN RUMBLE is the author of Key Bridge (Carolina Wren Press 2007) and an artist-in-residence at Elsewhere Artist Collaborative. His poems have appeared in Talisman, Alice Blue, the tiny, Parakeet, Fascicle, Coconut, One Less Magazine, Cranky, From the Fishouse, and others. He lives in Greensboro, North Carolina. SHELBY BOHN hails from northern Virginia, although she should not be mistaken for a southern belle and firmly believes California is a better place for lovers. She's a self-proclaimed bookworm and never misses an episode of Jeopardy, even though her true genius is for Wheel of Fortune. She is currently working on a long piece entitled "War Diaries," excerpts of which will appear in Temple University's Hyphen (2008). For links: http://chapterandversereadings.blogspot.com/ See you soon, Ryan ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ -- Check out my new book Key Bridge: http://www.carolinawrenpress.org/books.html And I'm on the road giving readings!: Philadelphia, PA: Saturday, April 26, 8 PM, Chapterhouse Cafe & Gallery, 620 S. 9th, with Jason Zuzga and Shelby Bohn: http://chapterandversereadings.blogspot.com/ St. Louis, MO: Thursday, May 1 Reviews of Key Bridge: Ron Silliman: http://ronsilliman.blogspot.com/2007/04/i-know-ken-rumble-originally-from-his.html Kevin Killian: http://www.amazon.com/gp/product/customer-reviews/0932112544/ref=cm_cr_dp_all_top/002-7537401-5750437?ie=UTF8&n=283155&s=books#customerReviews ========================================================================= Date: Fri, 25 Apr 2008 09:10:42 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nico Vassilakis Subject: one dollar microchap from dbqp MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable "dbqp=92s first microchapbook in almost four years: Nico Vassilakis's Holef= ont, a strange little set of visual poems that investigates the variations = of the alphabet across a few typefaces=97though not necessarily in the mann= er any of us might have predicted." http://dbqplist.blogspot.com/2008/03/db= qp-...s-holefont.htmlsend $1 (postage included) to: Geof Huthdbqp875 Central ParkwaySchenectady, NY 12309 USAhttp://dbqp.blogsp= ot.com=20 =20 =20 other books by Nico Vassilakis: =20 TEXT LOSES TIME http://www.lulu.com/content/1233754 =20 DIPTYCHS http://www.lulu.com/content/670787 =20 = ========================================================================= Date: Fri, 25 Apr 2008 12:40:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: 23 april Happy Birthday & Thanks to William Shakespeare MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Happy Birthday to Wm Shakespeareand Thanks! for the limitless depths & show-of persons--beings-actions-events & terror & delight that burst the bounds of words (and esp for Richard Third!) the observer observing his own shadows and reflections sent to act by his (Inner) reflections: ("Dive, thoughts, down to my soul--") causes of murder and war, treachery and deceit-- "Why I, in this weak piping time of peace, Have no delight to pass away the time, Unless to spy my shadow in the sun And descant to my own deformity . . . . But first I'll turn yon fellow in his grave, And then return lamenting to my love. Shine out, fair sun, till I have bought a glass, That I may see my shadow as I pass." " . . . the world is grown so bad That wrens make prey where eagles dare not perch." lays bare the monsters posing as the saviours, protectors, leaders, murderers who act in twisting words of slaughter into self-defense-- sophistries of the self-righteous "But then I sigh, and with a piece of Scripture, Tell them that God bids us do good for evil; And thus I clothe my naked villainy With odd old ends stolen of holy writ. And seem a saint when most I play the devil." shadows that be observed even in dreams-- " . . . Then came wand'ring by A shadow like an angel, with bright hair Dabbled in blood, and he shrieked aloud--" "All the world's a stage--" (the Globe, no less)-- looking at the world on his birthday, one finds an immense drama being staged-- actors?--or shadows and reflections of actors--reflecting on their reflections and shadows as being both their roles and their persons playing at being a player--and behind them all, the actor-playwright-part theatre owner poet-- Shakespeare of the bounded and unbounded globe Robert Fisk on "shakespeare and war": http://davidbaptisechirot.blogspot.com ========================================================================= Date: Fri, 25 Apr 2008 20:52:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Diane Wald Subject: new chapbook: faustinetta, gegenschein, trapunto Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="windows-1252" my new chapbook, "faustinetta, gegenschein, trapunto," is now available f= rom=20 Cervena Barva Press: http://www.thelostbookshelf.com/cervenabooks.html#faustinetta cover art by Susan Hardy Brown thanks very much! ========================================================================= Date: Thu, 24 Apr 2008 18:30:29 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: aslongasittakes Subject: Contact information for Steve Benson MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit I'm looking to get in touch with Steve Benson in order to request copies of certain pieces of work. If anyone has his contact information and the ok to give it out, please backchannel. Thanks, James Sanders ========================================================================= Date: Sat, 26 Apr 2008 02:37:14 -0400 Reply-To: Jeff Davis Sender: UB Poetics discussion group From: Jeff Davis Subject: Re: Fwd: Poetry Tomorrow Night, 4/26 @ Chapterhouse Comments: To: Ken Rumble In-Reply-To: <59cd116b0804250900k4fba51beocc050d4682ed8c2c@mail.gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Break a leg, Ken. Jeff On the web at http://naturespoetry.blogspot.com Friday, April 25, 2008, 12:00:30 PM, you wrote: > ---------- Forwarded message ---------- > From: Ryan Eckes > Date: Fri, Apr 25, 2008 at 11:56 AM > Subject: Poetry Tomorrow Night, 4/26 @ Chapterhouse > To: ryaneckes@yahoo.com > This Saturday, April 26th at 8PM > at Chapterhouse Cafe & Gallery > 9th & Bainbridge, Philadelphia > Hear work by Jason Zuzga, Ken Rumble, & Shelby Bohn. > JASON ZUZGA's poetry has appeared in VOLT, LIT, FENCE, > Spork, Eoagh, Cue, and elsewhere. He had a residency > at the Fine Arts Work Center in Provincetown 2001-2002 > and was the James Merrill Poet-in-Residence 2005-2006. > He is the nonfiction editor of FENCE. He is currently > in the English PhD Program at the University of > Pennsylvania and has an MFA in poetry and nonfiction > from the University of Arizona in Tucson and a BA from > Brown, and he lived in New York for a good while, too. > KEN RUMBLE is the author of Key Bridge (Carolina Wren > Press 2007) and an artist-in-residence at Elsewhere > Artist Collaborative. His poems have appeared in > Talisman, Alice Blue, the tiny, Parakeet, Fascicle, > Coconut, One Less Magazine, Cranky, From the Fishouse, > and others. He lives in Greensboro, North Carolina. > SHELBY BOHN hails from northern Virginia, although she > should not be mistaken for a southern belle and firmly > believes California is a better place for lovers. > She's a self-proclaimed bookworm and never misses an > episode of Jeopardy, even though her true genius is > for Wheel of Fortune. She is currently working on a > long piece entitled "War Diaries," excerpts of which > will appear in Temple University's Hyphen (2008). > For links: > http://chapterandversereadings.blogspot.com/ > See you soon, > Ryan > > ____________________________________________________________________________________ > Be a better friend, newshound, and > know-it-all with Yahoo! Mobile. Try it now. > http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Sat, 26 Apr 2008 10:09:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Blind Witness: Launch & Performance May 5 (NY) MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit prepublication launch & performance Monday, May 5, 8pm (New York) **Blind Witness: Three American Operas -- Charles Bernstein** Forthcoming from Factory School Blind Witness brings together in one book Bernstein's libretti for Blind Witness News, The Subject, and The Lenny Paschen Show written for composer Ben Yarmolinsky in the early 1990s. Bernstein & Yarmolinsky will perform sections of the operas along with Deborah Karpel, soprano; Nathan Resika, bass; Silvie Jensen, mezzo-soprano Ishmael Wallace and Elizabeth Rodgers, piano introduced by Joel Kuszai Medicine Show 549 West 52nd St. (between 10th and 11th Ave.), New York $5 admission Reservations requested to ensure seating: 212-262-4216 This program is funded by the New York State Council on the Arts, a state agency. * Advance copies of Blind Witness will be available at the launch at a special discounted price Blind Witness can be ordered now prepublication direct from Factory School: http://factoryschool.org/pubs/blindwitness/ ========================================================================= Date: Sat, 26 Apr 2008 09:38:08 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Larry O. Dean" Subject: Chicago Poetry Fest TODAY, Looptopia next week Mime-Version: 1.0 Content-Type: text/plain; format=flowed; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Hi all, Here's two readings of possible interest to the list. Celebrate National Poetry Month with the 9th annual Poetry Fest, a free festival of poetry readings, workshops, performances and discussions, all under one roof, beginning with a Poetry Wheel, taking place from 10:30-12 noon today in the Video Theatre on the lower level, Harold Washington Library Center, 400 S. State Street. Charles Simic reads at noon. Discover new voices, share new work, and see diverse Chicago poetry styles on display. The Poetry Cram is an open mic event where every attempt will be made to “cram” as many poets into one performance as possible. Published poets from several local presses will also read their works, including myself, reading from I Am Spam (Fractal Edge Press). Advance registration is recommended at the ChicagoPoetry.com exhibitor table in the Grand Lobby or in the Lower Level Reception Hall twenty–five minutes before the start of the program. Each poet will be allowed to read for three minutes or less. More info: http://www.chipublib.org/events/details/id/6112/ Next Friday is Looptopia. I'm hosting a reading, featuring a dozen contemporary Chicago poets, revealing a variety of styles, schools, perspectives, and emotions, beginning at 1:00 AM (actually, May 3rd). Scheduled readers include Vito Carli, Larry O. Dean, Chris Gallinari, David Gecic, David Hargarten, Todd Heldt, Rachel Javellana, Wayne Jones, C. J. Laity, Charlie Newman, Cecilia Pinto, and Bob Rashkow. Looptopia, the nation's first dusk until dawn artistic celebration, transforms and illuminates the Loop. Inspired by "White Night" events in cities like Rome, Paris and Madrid, Looptopia made its wildly successful debut as the first American event of its kind last year. Looptopia turns the city on its head Friday, May 2 as the Loop is transformed into a sensory playground celebrating arts, culture, architecture and insomniacs alike. This all night extravaganza paints the Loop as an urban wonderland - it's trippy, it's ethereal & it's all Chicago. 300 artists. 100 venues. 14 hours. More than 100,000 people. A night you'll never forget. For more information, please see http://www.looptopia.com/index.php Hope some of you can make it out to one or both of these events. Best, Larry http://larryodean.com http://myspace.com/larryodean http://larryodean.blogspot.com http://www.facebook.com/profile.php?id=774533207 ========================================================================= Date: Sat, 26 Apr 2008 12:09:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: Dodie Bellamy's Summer Workshop--San Francisco Comments: To: ampersand@yahoogroups.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" There are a few openings left for: Writing Experiments Workshop Dodie Bellamy My summer workshop will meet 11 Tuesday evenings, from 7 to 10 p.m. The dates: May 20 through August 29. No class: June 3 & 10, July 8, August 19. Cost: $350, with a $100 deposit due by May 13. Most weeks students will be assigned a short take-home writing experiment which they will share with the class the following week. Assignments will range from cut ups to exploring bodily sensations. Assignments are geared towards the class dynamic, so they may eventually drop away or they may continue for the duration of the class. Each week we will also critique longer pieces by two to five students. Students may bring in anything they want (up to 20 pages) for the longer critiques. Depending on the length, these longer pieces will be read aloud in class or handed out a week ahead of time. Though this class will have a prose focus, it is cross-genre, and poets are welcome. The class is limited to 10 students. Lots and lots of personal attention. It takes place in San Francisco, in my South of Market apartment, which comes complete with snacks and cats. This is a good class for poets wanting to play around with narrative or prose writers wanting to open up their prose. About me: Pink Steam, my collection of fiction, memoir, and memoiresque essays, was published in 2004 by San Francisco's Suspect Thoughts Press. My vampire novel, The Letters of Mina Harker was reprinted by University of Wisconsin Press, also in 2004. Academonia, a book of essays was published by Krupskaya in 2006. I'm the author of 3 other books and I teach creative writing at SF State, CCA and Antioch Los Angeles. I've also taught at CalArts, Naropa summer session, Mills, USF, UC Santa Cruz, and the SF Art Institute. I've received the Bay Guardian Goldie Award for Literature and the Firecracker Alternative Book Award for Poetry. If you're interested, please email about work samples, etc. Or--if you know anybody who might be interested, please pass this email along to them. If you're interested do contact me promptly. Preference given to those not currently enrolled in a grad writing program. ========================================================================= Date: Sat, 26 Apr 2008 17:40:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Jenn McCreary, Monica Fauble, Brenda Coultas AT ROBIN'S BOOKSTORE/\\///\\\\/////\\\\\\\ MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Jenn McCreary, Monica Fauble, Brenda Coultas AT ROBIN'S BOOKSTORE/\\///\\\\/////\\\\\\\ COMPLETE DETAILS HERE: http://caconradevents.blogspot.com/2008/04/sunday-may-4th-4pm.html ROBIN'S BOOKSTORE 108 S. 13th St. Philadelphia May 4th, 4pm JENN MCCREARY MONICA FAUBLE BRENDA COULTAS hosted by CAConrad Jenn McCreary lives in Philadelphia where she co-edits ixnay press & works for the Mural Arts Program. Her new collection, :ab ovo:, is now available from Dusie Press. Rachel Blau DuPlessis writes about :ab ovo: "from the beginning-an articulate, touching, moving work about the experience of pregnancy and motherhood-from the lyric quiverings to the reality check; from the image-filled meditations to the swamped ATTY-tude; from the fondness for the idea of parenthood to the gritty, witty actuality. Trying to account for all the changes after those two dots, twin dots (that colon, and more) are put into play, the work arcs from magical yearning to an even more magical reality. A book of awe and charm from the inside out." Monica Fauble has a MA in English and Poetics from the University of Maine. She is currently interested in Traditional Chinese Medicine. Brenda Coultas is the author of* The Marvelous Bones of Time,* and,* A Handmade Museum,* (both from Coffee House Press) An Indiana native, Coultas now lives in New York where she is on the faculty at Touro College and teaches in the Bowery Poetry Club's Study Abroad on the Bowery program. A 2006 New York Foundation for the Arts Fellow, Coultas has also served as series curator at the Poetry Project and as a frequent instructor at Naropa University's Summer Writing Program. http://www.coffeehousepress.org/marvelousbonesoftime.asp ========================================================================= Date: Sat, 26 Apr 2008 15:05:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Standard Operating Procedure - Movie - Review - The New York Times MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline http://movies.nytimes.com/2008/04/25/movies/25stan.html?ref=arts --- be sure to read also the linked article and the linked from that zoom blog by erroll morris (fwded these before, but well worth rereading, reading if you missed them before--) ========================================================================= Date: Sun, 27 Apr 2008 05:49:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eric Hoffman Subject: New Book In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Now available - Of Love and Water - a new chapbook by Eric Hoffman. 32 pages. Send $8 plus $2 shipping & handling to: Eric Hoffman, 707 Hartford Rd., Manchester, CT 06040. Will soon be available on amazon.com. --------------------------------- Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. ========================================================================= Date: Sun, 27 Apr 2008 10:38:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Schwabsky Subject: Fw: Long Poem Conference at Sussex MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Forwarded for the benefit of anyone who may be interested and in the UK: = =0A=0A=0A----- =0A=0A Look! A link to a 2 day conference on the aesthet= ic=0A and political nature and Capability of the Long Poem,=0A to be = held at Sussex University on Friday 16th &=0A Saturday 17th of May 2008.= =0A =0A http://www.sussex.ac.uk/modernist/1-2-1-8.html =0A =0A = Plenary papers to be given from Charles Bernstein,=0A Rachel Blau Duples= sis, Simon Jarvis, Ron Bush, Tony=0A Lopez and Peter Middleton, and othe= r papers from the=0A likes of Matt Ffytche, Gareth Farmer, Michael=0A = Kindellan and Reitha Pattison.=0A =0A =C2=A35 for Sussex students!= =0A =0A Registration deadline is 1st May.=0A =0A Zoe Sutherland= =0A =0A =0A ________________________________________________= __________=0A Sent from Yahoo! Mail.=0A A Smarter Email http://uk.doc= s.yahoo.com/nowyoucan.html =0A ========================================================================= Date: Sun, 27 Apr 2008 11:07:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Vincent Subject: Aram Saroyan/ Silliman & the NYT MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit http://www.nytimes.com/2008/04/27/books/review/Hell-t.html?_r=1&oref=slogin It looks or is a double punch week for Aram Saroyan and Ugly Duckling Press with both the WCW Award via Ron Silliman and the National attention in NYT's Book Review (actually, a smart, readable review not saturated with the usual dose of saccharine 'placation' & platitude pillars that appear to justify, apologize for and/or anchor most of NYT's poetry reviews - as if poetry as a practice, etc. were - at best - on some national and desperate form of 'life support.' ). It's interesting "as one who was there" to see the current plethora of attention to late 60's and early '70's lit and political phenomena. Yesterday a lovely Centurion birthday recollection of George Oppen at the SF Public Library - one among many - and most of the conversation revolved around Oppen as a towering 'elder' figure in the Bay Area of the time; next Saturday Phillip Whalen. Suspect some of this just the natural re-coup and memory of a generation now looking back (or being looked back upon) and giving account to what was then, and what has been realized from those roots - whether NY School, Beats, Minimalism, Pop, etc. Curious, as I Sunday morning ramble here, to revisit the Saroyan making of poems that were practically blips but seemed then so much on target - the kind of authenticity that one could hear in "cricket / cricket" that so stood out in such a singular away against the War, the political rhetorics, that could, for example. drive Senator Jesse Helms into a tirade against the NEA, etc. As Ron S pointed out, as well, Clark Coolidge's & Grenier's focus - that sense of the specific was entirely refreshing . Yet, curious, the way Saroyan lost interesting in sustaining the exploration - going in the direction of narrative, oddly celebrating the work of Rod McKuen at one point. Maybe he found it just hard to go that minimal 'edge' and sustain it or expand it to live within a larger horizon (say in the way of Walter Demaria's singular poles multiplied out in the Lightning Field. Enough, Stephen V http://stephenvincent.net/blog/ Home of recent haptics, Ornette Colman meets Walt Whitman coming up! ========================================================================= Date: Sun, 27 Apr 2008 14:15:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Nate Dorward Subject: New publication: Antiphonies: Essays on Women's Experimental Poetries in Canada MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Just published by The Gig... =20 ANTIPHONIES: Essays on Women's Experimental Poetries in Canada Antiphonies is a primer on some of the most exciting work in = contemporary Canadian poetry. These essays deal with the period from the = 1980s to the present, and discuss a wide range of work, from books = already acclaimed as modern classics--such as Erin Mour=E9's O = Cidad=E1n, Lisa Robertson's Debbie: An Epic, and Karen Mac Cormack's = Implexures--to the equally remarkable work of Susan Clark, Catriona = Strang, Lissa Wolsak, Christine Stewart, Deanna Ferguson, Lise Downe, = Nancy Shaw, a. rawlings, Marie Annharte Baker and others. The essays are = complemented by brief selections of poems, interviews and poetics = statements.=20 Contributors include Gerald Bruns, Miriam Nichols, Edward Byrne, John = Hall, Susan Schultz, Caroline Bergvall, Chris Daniels, Peter Larkin, = Peter O'Leary, and many others. A full table of contents is available at = http://www.ndorward.com/poetry/books/antiphonies.htm. * 256pp, 5.5" x 8.75", perfectbound; ISBN 978-0-9735875-4-8. $20 CDN/US (includes postage in North America)=20 =A316 / 23 euro (includes airmail overseas).=20 Make out cheques to Nate Dorward (not "The Gig").=20 Nate Dorward 109 Hounslow Ave, Willowdale, ON, M2N 2B1, Canada ndorward@ndorward.com // web: www.ndorward.com * RECENT PUBLICATIONS: ANTIPHONIES: Essays on Women's Experimental Poetries in Canada & Trevor Joyce's new collection of poems, WHAT'S IN STORE More information at http://www.ndorward.com/poetry/ ========================================================================= Date: Sun, 27 Apr 2008 17:58:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Standard Operating Procedure - Movie - Review - The New York Times In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline David, Yesterday I was at The Film Forum in New York, where Standard Operating Procedure is being shown. I chose to see Aldrich's Kiss Me Deadly, and an companion United Artists movie whose title escapes me now which I even liked better than the Aldrich movie. It looks like I made the right choice. It looks like in Erroll Morris's movie Abu Grab has gone Hollywood and, even worse, art movie. It reminds me of Celan's question, is poetry possible after Auschwitz? The aestheticizing of unspeakable horror always implies to me that the maker considers himself/herself more important than his/her material, a dogma crucial to modernism (Picasso's "this is not a fish, this is a painting"). A question: how "this is not a fish, this is a painting" is different from another dogma, "art for art's sake"? At the end of Aldrich's Kiss Me Deadly, the woman fatale opens up the oddly archaic looking leather insulated box with buckle straps (almost like a valise from Westchester, an incredible visual detail) and opens the radio-active magma and her body catches fire, an amazing fusion of Aldrich's apocalyptic and Film Noire's misogynistic instincts. Wow! Still, the juiciest bit in the movie for me is Mike Hammer's secretary, with whom, contrary to Film Noire tradition, Hammer has sexual relations, tells Hammer in a moment of anger that he should keep away from the window because "someone may blow him a kiss." Ciao, Murat On Sat, Apr 26, 2008 at 6:05 PM, David Chirot wrote: > http://movies.nytimes.com/2008/04/25/movies/25stan.html?ref=arts --- > > be sure to read also the linked article and the linked from that zoom blog > by erroll morris > (fwded these before, but well worth rereading, reading if you missed them > before--) > ========================================================================= Date: Sun, 27 Apr 2008 16:06:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Chirot Subject: Waterboarding film/Abu Ghraib Video/18 Vet Suicides Daily/New Walls of Baghdad MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline *among many inter-related themes in my work & at my log are Walls (Visible & Invisible), poetry & torture, art & torture and the creation of the tentatively titled "new extreme experimental american poetry"-- these are some recent links i posted that may be of interest to others here-- and following them two two blog essay/review/photo/artworks relating to them, among several others-- (descriptions are by blogger.com) Amnesty unveils shock 'waterboarding' film:* Malcolm Nance, who trained hundreds of US servicemen and women to resist interrogation by putting them through "waterboarding" exercises, demanded an immediate end to the practice by all US personnel. http://tinyurl.com/52luw6 ----------------------------------------------------------- -------------------------------- *Tortured Explanations: * Never before in the modern history of the United States has there been an officially sanctioned, government-wide system of inflicting torture and abuse on detainees. Until now. http://www.americanprogress.org/issues/2008/04/tortured_explainations.html ACLU on newly-released photos from Abu Ghraib: http://www.youtube.com/watch?v=rz7UNxnOI3M&feature=related? __._,_.___ *VA confirms 18 vets commit suicide every day: * In a stunning admission, top officials at the Veterans Health Administration confirmed that the agency's own statistics show that an average of 126 veterans per week -- 6,552 veterans per year -- commit suicide, according to an internal email distributed to several VA officials. http://onlinejournal.com/artman/publish/article_3204.shtml ----------------------------------------------------------- -------------------------------------- *US: Vets' Lawsuit Opens Door on Suicides, Poor Care: * "The suicide problem is out of control," said Gordon Erspamer, an attorney representing the groups Veterans for Common Sense and Veterans United for Truth in a class action lawsuit against the Department of Veterans Affairs (VA). "Our veterans deserve better." http://www.ipsnews.net/news.asp?idnews __._,_.___ *Published on Tuesday, April 22, 2008 by **Foreign Policy in Focus* The New Walls of Baghdad How the US Is Reproducing Israel's Flawed Occupation Strategies in Iraq by Steve Niva 2 adventures in the "new extreme experimental american poetry": Wednesday, February 20, 2008 * "Projections" and Movies at Gitmo Usher in New Era Guantanamo Detainees Offered Classes and Movies *http://davidbaptistechirot.blogspot.com Photos-essay-review using quotes from reviews, articles, documents linking Jenny Holzer's Projections exhibit with Guantanamo, Star Wars and the Nuremberg Rally of 1934 as designed lit and filmed by Albert Speer and Leni Riefenstahl, Colin Powell's UN Speech and "Curveball" Wednesday, December 12, 2007 Waterboarding and Poetry: 15th Century France--21st Century USA Essay on Waterboarding, Translation and Poetry Guantanamo Poems & Francois Villon with many images past. present & by d-b Chirot forthcoming also on line in Wordforword Jo urnal ========================================================================= Date: Sun, 27 Apr 2008 20:29:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The true world MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII; format=flowed The true world "true," "world" without capitalization, small, backgrounding. "true world" without - connectivity, a tiny, almost insignificant phrase, completion phase emptying itself out. the true world is skeining, inscribing, quantum, cohering, inhering; the true world is image imaginary; the true world is aggregative, confluence; the true world is emptiness unemptied; the true world is emanent, real virtual, virtual real; the true world is unreading, is scribbling, is inscribing under erasure; the true world is the immensity of the true world; the true world is deferring; the true world is always, is always already; the true world is catastrophe theory catastrophic; the true world is analog abject, fissured, indiscrete, analog intrusions, discrete extru- sions; the true world is imaginary carapace; the true world is neither this nor that, not both this and that; the true world is unaccountable, unaccounted-for, of no account; the true world the true world the true world. ========================================================================= Date: Sun, 27 Apr 2008 19:47:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Halle Subject: Jordan Stempleman and Laura Sims at Seven Corners Comments: To: brandihoman@hotmail.com, eeelalala@hotmail.com, Adam Fieled , Andrew Lundwall , Anne Waldman , Becky Hilliker , "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 , "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" , Peter Sommers , Randolph Healy , Ross Gay , Simone Muench , Timothy Yu , Truth Thomas , "White, Jackie" MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline Please take a moment to check out a week's worth of poems by* Jordan Stempleman* and *Laura Sims' *excerpts from the anthology *A Sing Economy*(Flim Forum Press, 2008) both up now at *Seven Corners* ( sevencornerspoetry.blogspot.com). Thanks, Steve Halle Editor ========================================================================= Date: Mon, 28 Apr 2008 00:20:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: Aram Saroyan/ Silliman & the NYT MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit yes too bad in december when my ugly duckling book received the pen oakland national book award i din't even receive a single punch i neither got a good luck punch or one that hurt from the press or anyone else for that matter oh one or 2 congrats i suppose so much for cultural capital and name recognition On Sun, 27 Apr 2008 11:07:13 -0700 Stephen Vincent writes: > http://www.nytimes.com/2008/04/27/books/review/Hell-t.html?_r=1&oref=slog in > > It looks or is a double punch week for Aram Saroyan and Ugly > Duckling Press with both the WCW Award via Ron Silliman and the > National attention in NYT's Book Review (actually, a smart, readable > review not saturated with the usual dose of saccharine 'placation' & > platitude pillars that appear to justify, apologize for and/or > anchor most of NYT's poetry reviews - as if poetry as a practice, > etc. were - at best - on some national and desperate form of 'life > support.' ). > > It's interesting "as one who was there" to see the current plethora > of attention to late 60's and early '70's lit and political > phenomena. Yesterday a lovely Centurion birthday recollection of > George Oppen at the SF Public Library - one among many - and most of > the conversation revolved around Oppen as a towering 'elder' figure > in the Bay Area of the time; next Saturday Phillip Whalen. > > Suspect some of this just the natural re-coup and memory of a > generation now looking back (or being looked back upon) and giving > account to what was then, and what has been realized from those > roots - whether NY School, Beats, Minimalism, Pop, etc. > > Curious, as I Sunday morning ramble here, to revisit the Saroyan > making of poems that were practically blips but seemed then so much > on target - the kind of authenticity that one could hear in > "cricket / cricket" that so stood out in such a singular away > against the War, the political rhetorics, that could, for example. > drive Senator Jesse Helms into a tirade against the NEA, etc. As > Ron S pointed out, as well, Clark Coolidge's & Grenier's focus - > that sense of the specific was entirely refreshing . > Yet, curious, the way Saroyan lost interesting in sustaining the > exploration - going in the direction of narrative, oddly celebrating > the work of Rod McKuen at one point. Maybe he found it just hard to > go that minimal 'edge' and sustain it or expand it to live within a > larger horizon (say in the way of Walter Demaria's singular poles > multiplied out in the Lightning Field. > > Enough, > > Stephen V > http://stephenvincent.net/blog/ > Home of recent haptics, Ornette Colman meets Walt Whitman coming > up! > > > > > > > ========================================================================= Date: Sun, 27 Apr 2008 21:33:00 -0700 Reply-To: jkarmin@yahoo.com Sender: UB Poetics discussion group From: Jennifer Karmin Subject: May 2-25: Poet=?utf-8?Q?=E2=80=99s_?= Theater Showcase in Chicago MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Returning from One Place to Another: A Poet=E2=80=99s Theater Showcase Curated by John Beer May 2-25, 2008 Chicago, IL *PANEL DISCUSSION: Poet=E2=80=99s Theater=20 Saturday, May 3, 2-3:30pm at Experimental Station, 6100 S. Blackstone http://www.experimentalstation.org Free This panel will provide context for and insight into the work of the artist= s performing throughout the Poet=E2=80=99s Theater festival. Panelists will= examine such questions as: What is Poet's Theater, and is it its own genre= , a hybrid genre, or a way of resisting genres? How have poetry and perform= ance influenced one another over the past century? How does the idea of Poe= t's Theater relate to larger questions about the avant-garde? What is the f= uture for Poet's Theater? The panel will include poets, performers, and cri= tics: Jenny Magnus of Curious Theatre Branch, Matthew Goulish of Goat Islan= d Performance Group, Rodrigo Toscano, and Jennifer Scappettone.=20 ALL PERFORMANCES HAPPEN AT Links Hall=20 956 Newport http://www.linkshall.org *PROGRAM ONE: Rodrigo Toscano=20 Collaborators: Joshua Corey, Melissa Severin, Fred Sasaki=20 Friday & Saturday, May 2 & 3, 8pm Sunday, May 4, 7pm $12 ($10 students) =20 Collapsible Poetics Theater=20 Reminiscent of Commedia Dell'Arte in its traveling, portable, rapid-set up = qualities, this performance assembles itself within a given 72 hour period = of each performance. Working with resident poets, experienced actors, non-a= ctors, the persistent question asked by the performers is, Can the poem be = tested any further? *PROGRAM TWO: Joyelle McSweeney and Johannes G=C3=B6ransson Collaborators: Patrick Durgin, Jennifer Karmin, Jacob S. Knabb=20 Friday & Saturday, May 9 & 10, 8pm Sunday, May 11, 7pm $12 ($10 students) The Widow Party A collaboratively written and performed melodrama, Wild West show, politica= l thriller, pageant, and farce. With song, dance, projections, sound effect= s, and mimicry of preposterous acts, visions and revisions of characters, m= edia, genres and events will change, interrupt, and harmonize with each oth= er. =20 *PROGRAM THREE: Fiona Templeton Collaborators: Joel Craig and Laura Goldstein=20 Friday & Saturday, May 16 & 17, 8pm Sunday, May 18, 7pm $12 ($10 students) =20 Louis Zukofsky's Rudens and Fiona Templeton=E2=80=99s Bluebeard (excerpt) Templeton directs two plays: Rudens is a very seldom performed work, based = on The Rope by the Roman comic playwright T. Maccius Plautus. It combines a= number of strategies of textual conversion, and is translated to English p= honetically by using the sound of the original language. Bluebeard is abou= t two people imagining how each other think, what each other fears or desir= es, and what each fears or desires of the other. It is a ventriloquial work= , in which the onstage action or even speaker may belie the subject of the = speech. *PROGRAM FOUR: Carla Harryman Collaborators: Pam Osbey, Jennifer Scappettone, David Trinidad=20 Friday & Saturday, May 23 & 24, 8pm Sunday, May 25, 7pm $12 ($10 students) Five New Works Carla Harryman is known for her genre-disrupting prose, poetry, and perform= ance works. Recent performance works have emphasized polyvocal text, biling= ualism, choral speaking voices, and music improvisation. This program infus= es improvisational electronic sound, choral and sound-based performance wri= ting, and Poet=E2=80=99s Theater in five new works: Sue, Adorno=E2=80=99s N= oise, and Mirror Play by Carla Harryman, Bad History by Barrett Watten, and= I/Mouth by Ron Allen.=0A=0A=0A ______________________________________= ______________________________________________=0ABe a better friend, newsho= und, and =0Aknow-it-all with Yahoo! Mobile. Try it now. http://mobile.yah= oo.com/;_ylt=3DAhu06i62sR8HDtDypao8Wcj9tAcJ ========================================================================= Date: Mon, 28 Apr 2008 03:28:50 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: NYC Tomorrow: Boog presents little scratch pad editions MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; DelSp="Yes"; format="flowed" Content-Disposition: inline Content-Transfer-Encoding: quoted-printable please forward ------------------ Boog City presents d.a. levy lives: celebrating the renegade press little scratch pad editions (Buffalo, N.Y.) Tomorrow Tues. April 29, 6:00 p.m. sharp, free ACA Galleries 529 W.20th St., 5th Flr. NYC Event will be hosted by little scratch pad editor Douglas Manson Featuring readings from Michael Basinski Lisa (L.A.) Howe Douglas Manson Liz Mariani Kristianne Meal with music from Kathy Zimmer and The Foxies There will be wine, cheese, and crackers, too. Curated and with an introduction by Boog City editor David Kirschenbaum ------ **little scratch pad editions little scratch pad was begun in 1997, when Douglas Manson, with Cheryl =20 Townsend of Impetus magazine/press, published Snack Size, a book of =20 his own poems. She printed the book on a Xerox photoduplicator she =20 kept in her basement in Stow, Ohio as part of her Impecunious Poetry =20 Project. little scratch pad almost published Terry Provost's first =20 chapbook in 1998, but it took until 2005, with Aaron Lowinger's =20 Autobiography (co-produced with the now nationally known House Press =20 collaborative), to become a press with a mission: publishing works of =20 stunning originality, very often the first chapbook by the poet to =20 have it print. This was followed in 2007 with Kristianne Meal's =20 TwentyTwo: first pallet, Tom Yorty's Words in Season, L.A. Howe's NTR =20 PIC E ST R (pronounced entropic easter, or enter: picky Saint R), =20 Michael Basinski's Of Venus 93, Nick Traenkner's Accidental Thrust, =20 and Douglas Manson's At Any Point. Forthcoming books in 2008 will be =20 by Jim Lang, Liz Mariani, and Pat Kane. *Performer Bios* **Michael Basinski http://epc.buffalo.edu/authors/basinski/ Michael Basinski is the curator of the Poetry/Rare Books Collection =20 of the University =20 Libraries, SUNY at Buffalo. His poems, articles and reviews have =20 appeared in numerous publications including Proliferation, Terrible =20 Work, Deluxe Rubber Chicken, Boxkite, The Mill Hunk Herald, Yellow =20 Silk, The Village Voice, Object, Oblek, Score, Generator, Juxta, =20 Poetic Briefs, Another Chicago Magazine, Sure: A Charles Bukowski =20 Newsletter, Moody Street Irregulars: A Jack Kerouac Newsletter, Kiosk, =20 Earth's Daughters, Atticus Review, Mallife, Taproot, Transmog, B-City, =20 House Organ, First Intensity, Mirage No.4/Period(ical), Lower Limit =20 Speech, Texture, R/IFT, Chain, Antenym, Bullhead, Poetry New York, =20 First Offence, and many others. For more than 20 years he has =20 performed his choral voice collages and sound texts with his =20 intermedia performance ensemble The Ebma, which has released two =20 albums, SEA and Enjambment. His most recent books are Of Venus 93 =20 (little scratch pad, 2008) and All My Eggs Are Broken (blazevox, 2008). **Kathy Zimmer and The Foxies http://www.kathyzimmermusic.com http://www.myspace.com/kathyzimmer Born and raised in rural Nebraska, Kathy grew up singing "wash tub =20 bass"-style folk music with her family--think accordions and =20 out-of-tune farmhouse pianos, plus lots of voices singing harmony at =20 the tops of their lungs. She learned guitar at an early age and =20 accompanied herself as she sang for church services and various small =20 town gigs, including rodeos, parades, and county fairs. Kathy attended the University of Nebraska as a music major and quickly =20 fell in love with the genre of classical art song. She continued to =20 pursue her musical development by completing a Master of Music degree =20 at Ohio's Cleveland Institute of Music. Absorbing all of these musical influences as well as the sights and =20 sounds of her newest home, New York City, Kathy now creates music that =20 is sophisticated and na=EFve, polished and quirky; her sound is at once =20 fresh and new while at the same time vintage and refined. **Lisa (L.A.) Howe http://www.myspace.com/bengalight http://www.myspace.com/slackbuddha Lisa (L.A.) Howe is a writer, collage poet, performer, and book =20 artist. With William R. Howe, she edits, designs, and produces =20 chapbooks of contemporary writing under the imprint of Slack Buddha =20 Press. She lives in Oxford, Ohio. Her first chapbook, from little =20 scratch pad, is NTR PIC E ST R (2007). **Douglas Manson http://www.buffalostate.edu/library/rooftop/members/manson.htm Douglas Manson was born in Akron, Ohio, and many years later earned a =20 master's in English from Kent State and then a Ph.D. in English from =20 SUNY at Buffalo. He lives in Buffalo as a poet, writer, and publisher =20 of Celery Flute: The Kenneth Patchen Newsletter and little scratch pad =20 books. He hosted a weekly poetry radio show for a community-based AM =20 station (Inkaudible Poetry Radio) from 2004-2006. He is a songwriter =20 and guitar player. Amid an ongoing series of chapbooks, he has most =20 recently published a full-length book of poems, Roofing and Siding =20 (BlazeVOX books, 2007), and the expanded chapbook At Any Point (2008). **Liz Mariani http://www.lizmariani.com/home.html Liz Mariani, according to Livio Farallo, recently returned from Sri =20 Lanka where she was a game warden in the Anaconda National Nature =20 Preserve where, among other things, she grew to appreciate the truly =20 simple things such as living itself. According to Liz Mariani, she =20 currently resides in Buffalo, where Lake Erie and the Niagara River =20 meet within an earshot of Canada. Her first chapbook from little =20 scratch pad will be published in April. **Kristianne Meal Kristianne Meal retired at an early age to ponder whether language is =20 a separate entity inhabiting its host body, or a complicated system of =20 contrived utterances elaborated by mankind in the material age. She =20 has evolved into a Used Book CEO, Rust Belt Books, Inc., in Buffalo, =20 N.Y. She has been doing readings and performance art since 1998. Her =20 book TwentyTwo: first pallet was printed in April 2007, and then =20 expanded, and printed again that December. ---- Directions: C/E to 23rd St., 1/9 to 18th St. Venue is bet. 10th and 11th avenues Next event: Tues. May 27 -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://www.welcometoboogcity.com T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Mon, 28 Apr 2008 03:46:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Subject: Small Press Needed for May 27 for Boog NYC Series Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain Greetings, Boog City is once again looking for a small press to pinch-hit in our "d.= a. levy lives: celebrating the renegade press" series here in nyc for a pres= s that unfortunately had to bow out last minute. The event is on Tues. May=20= 27, 2008 at 6:00 p.m. Below this note is our invite letter, which spells everything out. Please backchannel any inquiries or suggestions. Thanks, David ---------- editor@boogcity.com -------- Hi, =20 David Kirschenbaum here. I'm the editor and publisher of Boog City, a New= York City-based small press and community newspaper now in its 17th year.= I'd like to invite your press to be considered to take part in year five = of our "d.a. levy lives: celebrating the renegade press" series. The series is held at Chelsea's ACA Galleries (http://acagalleries.com/),= which is owned by the son-in-law and daughter of the poet Simon Perchik. It's a nice space, and we fit 100 people, including a nine-piece jazz fla= sh orchestra, in it for Chax Press's event, with plenty of room to spare. Th= e gallery provides wine and other beverages, and cheese and crackers and hummus and chips. Once a month I have a different non-NYC press host and feature three or m= ore of their authors to read (we've had as many as 10 for one press and usual= ly have 3-6) for 60 minutes total. We also have a musical act perform two 15= -20 minute sets. If the visiting press is able to book a musical act that's preferred, so it's truly their night, if not I can book one that I think will work well with the night. (Also, once a year we play host to our NYC= brethren.) The series is held on the last Tuesday of each month, with the open date being Tues. May 27, 2008. We started the series in August 2003. In our first four-plus seasons we'v= e hosted (or will host by season's end in July): (locations are at the time of the event) Non-NYC presses ACA, 2003 to present a+bend press (Davis, Calif.), Jill Stengel, ed. above/ground press (Ottawa, Canada), Rob McLennan, ed. Aerial Magazine/Edge Books (Washington, D.C.), Rod Smith, ed. Ahadada Books (Burlington, Canada), Jesse Glass and Daniel Sendecki, eds.= Ambit/Furniture Press (Baltimore), Christophe Casamassima, ed. Anchorite Editions (Albany, N.Y.), Chris Rizzo, ed. Antennae (Chicago and Berlin), Jesse Seldess, ed. Big Game Books (Washington, D.C.), Maureen Thorson, ed. BlazeVOX Books (Kenmore, N.Y.), Geoffrey Gatza, ed. Braincase Press (Northampton, Mass.), Noah Eli Gordon. Burning Deck Press (Providence, R.I.), 45th anniversary party, Rosmarie and Keith Waldrop, eds. The Canary (Kemah, Texas), Joshua Edwards, Anthony Robinson, and Nick Twemlow, eds. Carve (Cambridge, Mass.), Aaron Tieger, ed. Chax Press (Tucson, Ariz.), 20th anniversary party, Charles Alexander, ed= . Combo (Providence, R.I.), Michael Magee, ed. Conundrum (Chicago), Kerri Sonnenberg, ed. Corollary Press (Philadelphia), Juliette Lee, ed. Critical Documents/Plantarchy (Oxford, Ohio), Justin Katko, ed. Cy Press (Cincinnati), Dana Ward, ed. Ducky (Philadelphia), Scott Edward Anderson, Dennis DiClaudio, Tom Hartma= n, and Jason Toogood, eds. Duration Press (San Rafael, Calif.), Jerrold Shiroma, ed. Ecopoetics (Lewiston, Maine), Jonathan Skinner, ed. Fewer & Further Press (Wendell, Mass.), Jess Mynes, ed. Firewheel Editions/Sentence, a magazine (Danbury, Conn.), Brian Clements, ed. Habenicht Press (San Francisco), David Hadbawnik, ed. House Press (Chicago, Buffalo, New York City), Eric Gelsinger, founder. Instance Press (Boulder, Colo.; New York City; Oakland, Calif.), Stacy Szymaszek, co-ed. Ixnay Press (Philadelphia), Chris and Jenn McCreary, eds. Katalanch=C3=A9 Press (Cambridge, Mass.), Michael Carr and Dorothea Lasky= , eds. Kelsey Street Press (Berkeley, Calif.), 30th anniversary party, Patricia Dienstfrey and Rena Rosenwasser, eds. Kenning Editions (Berkeley, Calif.), Patrick Durgin, ed. little scratch pad editions (Buffalo, N.Y.), Douglas Manson, ed. Meritage Press (San Francisco/St. Helena, Calif.), Eileen Tabios, ed. Mooncalf Press (Philadelphia), CAConrad, ed. Narrow House Recordings (Gwyn Oak, Md.), Justin Sirois, ed. New American Writing (Mill Valley, Calif.), Maxine Chernoff and Paul Hoover, eds., O Books (Oakland, Calif.), Leslie Scalapino, ed. One Less Magazine (Williamsburg, Mass.), Nikki Widner and David Gardner, eds. Outside Voices (Brooklyn, N.Y.), Jessica Smith, ed. The Owl Press (Woodacre, Calif.), Albert Flynn DeSilver, ed. Palm Press (Long Beach, Calif.), Jane Sprague, ed. Pavement Saw Press (Columbus, Ohio), David Baratier, ed. The Poker (Cambridge, Mass.), Dan Bouchard, ed. Punch Press/damn the caesars (Buffalo, N.Y.), Richard Owens, ed. Skanky Possum (Austin, Texas), Hoa Nguyen and Dale Smith, eds. Talisman House Press (Jersey City, N.J.), Edward Foster, ed. Talonbooks (Vancouver, Canada). The Tangent (Walla Walla, Wash.), Kaia Sand and Jules Boykoff, eds. 3rd Bed (Lincoln, R.I.), Vincent Standley, ed. Tougher Disguises (Oakland, Calif.), James Meetze, ed. Tripwire (San Francisco), David Buuck, ed. The Wandering Hermit Review (Buffalo, N.Y.), Steve Potter, ed. =20 NYC presses, Aug. 2003 to present A Rest Press, Ryan Murphy and Patrick Masterson, eds. Beet/Pink Pages, Joe Maynard, ed. Belladonna Books, Erica Kaufman and Rachel Levitsky, eds. Cuneiform Press, Kyle Schlesinger, ed. Cy Gist Press, Mark Lamoureux, ed. Detour Press, Gary Sullivan, ed. Explosive magazine/Spectacular Books, Katy Lederer, ed. Fence, Charles Valle, co-ed, and Max Winter, poetry ed. Fungo Monographs, Ryan Murphy ed. Futurepoem books, Dan Machlin, ed. Granary Press, Steve Clay, ed. Hanging Loose Press, Bob Hershon, ed. The Hat, Jordan Davis, co-ed. Kitchen Press, editor Justin Marks, ed. Litmus Press/Aufgabe, E. Tracy Grinnell, ed. Lungfull, Brendan Lorber, ed. Open 24 Hours, John Coletti and Greg Fuchs, ed. Pompom, Allison Cobb, Jennifer coleman, Ethan Fugate, and Susan Landers, eds. Portable Press at YoYo Labs, Brenda Iijima, ed. Sona Books, Jill Magi, ed. Stay Free! magazine, Carrie McLaren, ed. Tender Buttons, Lee Ann Brown, ed. Ugly Duckling Presse, Anna Moschovakis and Matvei Yankelevich, collective members. United Artists, Lewis Warsh, ed. Urban Folk zine, Dave Cuomo, ed. Hope this finds you well. as ever, David -- David A. Kirschenbaum, editor and publisher Boog City 330 W.28th St., Suite 6H NY, NY 10001-4754 For event and publication information: http://welcometoboogcity.com/ T: (212) 842-BOOG (2664) F: (212) 842-2429 ========================================================================= Date: Mon, 28 Apr 2008 08:08:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Douglas Manson Subject: 4/29: The Littlest Buffalo Press reading in NYC MIME-Version: 1.0 Content-Type: text/plain; charset=WINDOWS-1252 Content-Transfer-Encoding: quoted-printable Content-Disposition: inline Dear List, Please come hear NEW poets from Buffalo at ACA Galleries, in Chelsea NYC, Tuesday, April 29 at 6:00 p.m. wild fruity blooms of books! intonations mild, medium, hot, and extra spicy! Boog City presents d.a. levy lives: celebrating the renegade press little scratch pad editions (Buffalo, N.Y.) Tues. April 29, 6:00 p.m. sharp, free ACA Galleries 529 W.20th St., 5th Flr. NYC Event will be hosted by little scratch pad editor Douglas Manson Featuring readings from Douglas Manson Kristianne Meal with music from Kathy Zimmer There will be wine, cheese, and crackers, too. Curated and with an introduction by Boog City editor David Kirschenbaum ------ **little scratch pad editions little scratch pad was begun in Kent, Ohio in 1997, when Douglas Manson, with Cheryl Townsend of Impetus magazine/press, published Snack Size, a boo= k of his own poems as part of her Impecunious Poetry Project. little scratch pad published Aaron Lowinger's Autobiography (co-produced with the now nationally known House Press collaborative) in 2005, and become a press with a mission: publishing works of stunning originality, very often the first chapbook by the poet to have in print. This was followed in 2007 with Kristianne Meal's TwentyTwo: first pallet, Tom Yorty's Words in Season, L.A= . Howe's NTR PIC E ST R (readings through Frank O'Hara's "Easter"), Michael Basinski's Of Venus 93 (mad Joycean B-Movie Psychedelia), Nick Traenkner's Accidental Thrust, and Douglas Manson's At Any Point. Forthcoming books in 2008 will be by Jim Lang, Liz Mariani, and Pat Kane. *Performer Bios* **Kathy Zimmer and The Foxies http://www.kathyzimmermusic.com http://www.myspace.com/kathyzimmer Born and raised in rural Nebraska, Kathy grew up singing "wash tub bass"-style folk music with her family=97think accordions and out-of-tune farmhouse pianos, plus lots of voices singing harmony at the tops of their lungs. She learned guitar at an early age and accompanied herself as she sang for church services and various small town gigs, including rodeos, parades, and county fairs. Kathy attended the University of Nebraska as a music major and quickly fell in love with the genre of classical art song. She continued to pursue her musical development by completing a Master of Music degree at Ohio's Cleveland Institute of Music. Absorbing all of these musical influences as well as the sights and sounds of her newest home, New York City, Kathy now creates music that is sophisticated and na=EFve, polished and quirky; her sound is at once fresh = and new while at the same time vintage and refined. **Douglas Manson http://www.buffalostate.edu/library/rooftop/members/manson.htm Douglas Manson was born in Akron, Ohio, and many years later earned a master's in English from Kent State and then took a Ph.D. in English from SUNY at Buffalo. He lives in Buffalo as a poet, writer, and publisher of Celery Flute: The Kenneth Patchen Newsletter and little scratch pad books. Hosted a weekly poetry radio show for a community-based AM station (Inkaudible Poetry Radio) from 2004-2006. He is a songwriter and guitar player. Amid an ongoing series of chapbooks, he has most recently published a full-length book of poems, Roofing and Siding (BlazeVOX books, 2007), and the expanded chapbook At Any Point (2008). He doesn't own any credit cards. **Kristianne Meal Kristianne Meal retired at an early age to ponder whether language is a separate entity inhabiting its host body, or a complicated system of contrived utterances elaborated by mankind in the material age. She has evolved into a Used Book CEO, Rust Belt Books, Inc., in Buffalo, N.Y. She has been doing readings and performance art since 1998. Her book TwentyTwo: first pallet was printed in April 2007, and then expanded, and printed agai= n that December. ---- Directions: C/E to 23rd St., 1/9 to 18th St. Venue is bet. 10th and 11th avenues ========================================================================= Date: Mon, 28 Apr 2008 10:16:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Paul Siegell Subject: "And ya don't stop." -- interview Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="ISO-8859-1" "can he make a living writing poetry?" ha. find out in a new interview, here: http://3questionsandanswers.blogspot.com/2008/04/interview-withpoet-paul-= siegell.html thank you! ========================================================================= Date: Mon, 28 Apr 2008 11:06:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Kelleher Subject: Literary Buffalo Newsletter 04.28.08-05.04.08 MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; format=flowed; charset=ISO-8859-1 LITERARY BUFFALO 04.28.08-05.04.08 BABEL 2008-2009 SUBSCRIPTIONS ON SALE NOW Just Buffalo is happy to announce our 2008-2009 lineup for Babel: Chinua Achebe, Nigeria, September 25. Book: Things Fall Apart. Michael Ondaatje, Canada, October 29. Book: The English Patient. Marjane Satrapi, Iran, April 1. Book: Persepolis. Isabel Allende, Chile, April 17. Book: House of the Spirits. Previous subscribers can re-up for =2475. New subscription (four events): = =24100. Patron subscription =24250. Patron Pair =24400. Patron subscribers= receive VIP seating and attendance at all pre-event author receptions. We = expect to sell out next season by subscription. If we do not, tickets for i= ndividual events will go on sale September 1. ___________________________________________________________________________ 3RD ANNUAL BUFFALO POETRY SLAM CHAMPIONSHIP The Third Nickel City Poetry Slam team will be chosen on Friday, May 2, 200= 8 at 7pm at a special Finals Night competition at the Albright-Knox Art Gal= lery. Since September, Buffalo spoken word artists have been competing monthly fo= r a shot at the finals, where the eight highest-scoring poets of the year d= uke it out for four spots on the 2008 Nickel City Slam Team. The =2412 event admission goes to send the team to the National Slam Champi= onship in Madison Wisconsin in August. Starting off the evening is a performance by one of the nation?s most recog= nized Slam poets, Carlos Andr=C7s G=A2mez, a three-time nationals finalist = and former champion, who has been featured on Def Poetry Jam and in Spike L= ee?s film Inside Man. This year?s finalists are: Nikki Germany, Jennifer Elinge, Marina Blitshtey= n, Lazyrus, MC Vendetta, 10,000, Sonchild, and Lovely. Friday, May 2, 2008, 7-10pm Albright-Knox Art Gallery, 1285 Elmwood Avenue, Buffalo, New York 14222-1096, ___________________________________________________________________________ JUST BUFFALO EDUCATION DIRECTOR POSITION Just Buffalo Literary Center seeks full-time Education Director. This pers= on must have excellent organizational skills, be team-oriented, and work we= ll with a wide variety of people. Responsibilities include: day-to-day man= agement and oversight of all Just Buffalo Education Programs; coordination = of educations-based programs and events; oversight of all independently con= tracted teaching artists; development of department plans and budgets; and = assessment program effectiveness. Bachelor?s degree required; Masters degre= e in related field or comparable job-related experience in an arts non-prof= it setting preferred. Starting salary range =2428,000 - =2432,000. Genero= us benefits including 75% cost of individual health insurance policy; paid = personal, sick and vacation time off, plus two additional weeks at Christma= s/New Year and the 4th of July; employer sponsored retirement plan after 6 = months. Please send cover letter and resume by May 7th, 2008 to: Just Buffa= lo Literary Center, 617 Main St. =23202A, Buffalo, NY 14203, or by email to= : submissions=40justbuffalo.org. EOE. ___________________________________________________________________________ EVENTS THIS WEEK 4.30.08 Talking Leaves...Books Sally Fiedler Reading/Signing for Trick of Seeing Wednesday, April 30, 7 p.m. Talking Leaves...Books, 3158 Main St. 5.1.08 Just Buffalo/Communique Flash Ficiton Claudia Smith Fiction Reading Thursday, May 1, 7:0O p.m. Rust Belt Books 5.2.08 Just Buffalo/Gusto at the Gallery 3rd Annual Buffalo Poetry Slam Championship Featuring Carlos Andres Gomez Friday, May 2, 7 p.m. Clifton Hall, Albright-Knox Art Gallery =2412 admission to slam goes to send team to the Nationals in August 5.3.08 Starcherone Books Presents Joshua Cohen: Rust Belt Books/Starcherone Books Panel discussion =22Is Political Fiction Possible=22 =40 Rust Belt Books, 202 Allen St. Sat., May 3 =40 2:00 p.m. w/ Prof. Mark Schechner, Starcherone Books Director Ted Pelton, & Joshua Co= hen & Joshua Cohen Reading from novel, A HEAVEN OF OTHERS =40 Hallwalls Cinema, 341 Delaware Ave. Sat., May 3, 8:00 p.m. 5.4.08 Tru-Teas Open Mic Featured: Celia White Sunday, May 4, 2008 =40 4:00 PM Insite Gallery 810 Elmwood Avenue, Buffalo ___________________________________________________________________________ JUST BUFFALO MEMBERS-ONLY WRITER CRITIQUE GROUP Members of Just Buffalo are welcome to attend a free, twice-monthly writer = critique group in CEPA's Flux Gallery on the first floor of the historic Ma= rket Arcade Building across the street from Shea's. Group meets 1st and 3rd= Wednesday 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. ___________________________________________________________________________ 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 i= mmediately be 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, 28 Apr 2008 11:33:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Selected Poems of Post-Beat Poets edited by Vernon Frazer MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Early this year, Shanghai Century Publishing of Beijing, China, published Selected Poems of Post-Beat Poets, which I edited. The poems were translated into Chinese by Wen Chu-an, Limin Lei and Zhang Ziqing. The anthology includes work by: Lawrence Carradini Steve Dalachinsky Enid Dame Jack Foley Vernon Frazer Kirpal Gordon Bob Holman Schuyler Hoffman Mikhail Horowitz Arthur Winfield Knight Kit Knight Donald Lev Lyn Lifshin Dan Nielsen Michael Rothenberg Leslye Layne Russell Ravi Shankar Meg Smith Cheryl A. Townsend Janine Pommy Vega Anne Waldman Barry Wallenstein Don Webb I'm especially pleased, since this marks my first publication by a large publisher. However, American readers who might be interested in reading the anthology won't be able to, unless they can read Chinese. I'm hoping to find a U.S. publisher interested in publishing the manuscript in English and will entertain suggestions from readers and editors. Please feel free to backchannel. If I don't find a publisher, I'll probably bring the book out as a print-on-demand, but I don't have a timetable as yet. Vernon http://vernonfrazer.com ========================================================================= Date: Mon, 28 Apr 2008 13:30:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Selected Poems of Post-Beat Poets edited by Vernon Frazer--TO COLLEGE LIBRARIES MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit In my earlier post I forgot to mention that I have a half-dozen extra copies of the Post-Beat anthology. I would like to donate them to the college libraries that I haven't already donated copies to. If anybody is interested in obtaining a copy for a college library, please backchannel me. Vernon Frazer http://vernonfrazer.com ========================================================================= Date: Mon, 28 Apr 2008 16:52:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Zamsky, Robert" Subject: Bernstein & Daly in Sarasota MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable New College of Florida Presents "Writing the New at New College: a Celebration of Innovative Writing" Featuring Charles Bernstein, Catherine Daly, and Student Writers Thursday, May 1 Charles Bernstein, "Poetry Rules!: the Concept of Poetry"; 7pm Hamilton = Classroom 8, reception to follow Friday, May 2 Catherine Daly, "Song, Sung Through"; 7pm Hamilton Classroom 8 Saturday, May 3 Student writers present their work; 3:30 Cook Hall Living Room Charles Bernstein, "The Attack of the Difficult Poem"; 7pm Hamilton = Classroom 8 All events are free and open to the public For more information, contact Robert Zamsky: rzamsky@ncf.edu Robert L. Zamsky, PhD Assistant Professor English New College of Florida 5800 Bay Shore Road Sarasota, FL 34243 =A0 "we are correct only within =A0=A0=A0=A0 what we create" =A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0=A0 -=A0Ed Roberson, Lucid = Interval as Integral Music ========================================================================= Date: Tue, 29 Apr 2008 08:07:32 -0600 Reply-To: derek beaulieu Sender: UB Poetics discussion group From: derek beaulieu Subject: a recommendation Comments: To: "Undisclosed-Recipient:;"@priv-edtnaa06.telusplanet.net MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hey folks; i recently received a copy of ANTIPHONIES (more information below), and = id like to recommend it... check out the site below, its a solid book = and a much-deserving topic... all the best derek * Antiphonies is a primer on some of the most exciting work in = contemporary Canadian poetry. These essays deal with the period from the = 1980s to the present, and discuss a wide range of work, from books = already acclaimed as modern classics - such as Erin Mour=E9's O = Cidad=E1n, Lisa Robertson's Debbie: An Epic, and Karen Mac Cormack's = Implexures - to the equally remarkable work of Susan Clark, Catriona = Strang, Lissa Wolsak, Christine Stewart, Deanna Ferguson, Lise Downe, = Nancy Shaw, a. rawlings, Marie Annharte Baker and others. The essays are = complemented by brief selections of poems and poetics statements. http://www.ndorward.com/poetry/books/antiphonies.htm * ========================================================================= Date: Tue, 29 Apr 2008 07:14:44 -0700 Reply-To: rattapallax@yahoo.com Sender: UB Poetics discussion group From: Ram Devineni Subject: TONIGHT: The Rattapallax/PEN World Voices Literary Film Feast MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Join us for an exciting Festival first -- a program of literary short films and documentaries curated by Ram Devineni and copresented by Rattapallax. The roster of films includes an animated version of Sylvia Plath's classic poem "Mirror Talk," Sherman Alexie's "49?," a tribute to writer/composer Paul Bowles, selections of literary films from Brazilian musician and poet Arnaldo Antunes, and interpretations of Gertrude Stein poems by hip-hop artists Jean Grae and DJ Spooky. The evening will conclude with a screening of Antonello Faretta's "Nine Poems in Basilicata" and an onstage conversation between Faretta and the subject of the film, Beat poet John Giorno, who was also the subject of Andy Warhol's 1963 film Sleep. Tuesday, April 29, 2008 from 6-9pm at Goethe-Institut, 1014 Fifth Ave., New York City. FREE. [ more info ] Sponsored by Rattapallax and PEN World Voices: The New York Festival of International Literature. This event was funded in part by Experimental Television Center, New York State Council on the Arts, and Poets & Writers, Inc. through public funds from the New York City Department of Cultural Affairs. PEN WORLD VOICES is a festival of international literature featuring 170 writers, 51 countries, and 82 events coming to venues across New York City, April 29-May 4th, 2008. Don't miss six days of exciting literary exchange with conversations, panel discussions, readings, film screenings, a translation slam and a cabaret night! For a complete schedule of events, go to: http://www.pen.org/festival John Giorno's book You Got to Burn to Shine, poems, and deeply personal memoirs include stories of his relationship with Andy Warhol (Giorno was the star of Warhol's first film, Sleep, in 1963), of being a Tibetan Buddhist, and of his understanding of death in the age of AIDS. Giorno Poetry Systems, begun in 1965, innovated the use of technology in poetry, working with electronic and multimedia, creating new venues, and connecting poetry with new audiences. Antonello Faretta is a photographer, director, and film producer who has collaborated with such directors as Abbas Kiarostami, Marco Bellocchio, Saverio Costanzo, and Babak Payami. He has directed numerous films, including Lei lo Sa, Da Dove Vengono le Storie?, Silenced Thoughts, and Just Say NO to Family Values. In 2004, he founded the Atelier del Cinema di Potenza and the Potenza International Film Festival, which he also directs, and for which, in 2006, he received the prestigious Targa per Meriti Culturali from the Italian President, Giorgio Napolitano. ========================================================================= Date: Tue, 29 Apr 2008 11:06:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: Cl/utter - online visual poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Three of my collages are featured in the April issue of Other Cl/utter, = along with Vernon Fraser, Emily Goodden & Jo Cook , Kevin Matthews, and = Cris Costa: =20 http://otherclutter.com/ =20 I'd like to draw attention to this terrific online venue for visual = poetry edited by Toronto's Jenny Sampirisi as I don't think it has been = mentioned on the Poetics list. The archives (found under "The Clut") are = well worth a look. =20 Camille Martin ========================================================================= Date: Tue, 29 Apr 2008 13:44:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "steve d. dalachinsky" Subject: Re: rucma concerts in ny area MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit VISION/RUCMA Series 2008 @ the Living Theatre Friday May 2 Matana Roberts Solo Works for Sean Bell Matana Roberts: Alto saxophone, Spoken Word May 9, 10 and 11 Vision/RUCMA Benefit featuring William Parker, Joe McPhee, Josh Roseman and others See below for details Date/Time: 10:30 PM Friday, May 2nd – Matana Roberts Solo Works for Sean Bell Place: The LES Gallery – 107 Suffolk street, in the Clemente Soto Velez Cultural Center F to Delancey Street or J,M,Z to Essex Street Cost: $10 / students and seniors: $7 Full Info: http://www.rucma.org http://www.visionfestival.org Tel. 212.696-6681 Matana Roberts Solo Works for Sean Bell Please note: This performance will take place at the Clemente Soto Velez LES Gallery at 107 Suffolk Street. Matana Roberts – Alto Saxophone, spoken words Matana (mah-tah-nah) Roberts is a dynamic saxophonist, composer and improviser, who tries to expose in her music the mystical roots and spiritual traditions of African American creative expression. Inspired by the solo ruminations of Anthony Braxton, Roscoe Mitchell, Evan Parker and Steve Lacy, Brooklyn based altoist Matana Roberts extends this lineage by exploring soundscapes dedicated to the memory of a senseless life lost in the somewhat conflicted city she now calls home. "Matana Roberts, a fearless and charismatic Chicago-born saxophonist who can reconcile all sorts of saxophone languages" - Ben Ratliff, NY Times "Matana is definitely nondescriptive. She's not a lady, she's not a man; she's just a being…" - Jazz Times "She has become an eloquent, dramatic tone-warping free-jazz artist, right out of Ayler's anti-bebop tradition." - London Guardian "A lyrical spiritual essence that recalls the voices of reed players Ornette Coleman, Albert Ayler, Eric Dolphy, and others—one of profound soulfulness, passion and purity. Yet the embodiment of Roberts is devoid of mimicry or pretense, because she possesses her own identity..." - All About Jazz Vision/RUCMA Schedule: In May, the performances will take place on Friday and Saturday at 10:30 PM, and on Sunday afternoon at 4:00 PM, until Friday May 23rd. On May 9, 10 and 11, we will hold a benefit to help with the organization costs of the Series. All performances listed below will take place at the Living Theatre: The Living Theatre 21 Clinton Street, between Houston and Stanton F to Delancey Street or J,M,Z to Essex Street $10 / students and seniors: $7 Friday May 9 – BENEFIT $20/students: $10 10:30PM - Mike Gamble/Simon Lott Duo: Mike Gamble (guitar), Simon Lott (drums) 11PM - Josh Roseman Midnight - Knucklebean: Brad Farberman (guitar), Adam Minkoff (bass), Nick Anderson (drums), Matt Silberman (saxophones), Matt Thomas (saxophones), Ben Syversen (trumpet), Kevin Moehringer (trombone) Saturday May 10 – BENEFIT $20/students: $10 William Parker with A RUCMA Big Band Roy Campbell, Chris DiMeglio, Darryl Foster, Dave Sewelson, Rob Brown, Lewis Barnes, Seth Meicht, Sizzle Otaka, Zen Matsuura and others Sunday May 11 – BENEFIT $20/students: $10 Joe McPhee and friends including Rosi Hertlein, Roy Campbell, Dominic Duval, Clifton Hyde, Lisle Ellis and others Friday May 16 – Billy Bang Quintet $15/students: $10 Billy Bang - violin Henry Warner - reeds Andrew Bemkey - clarinet Todd Nicholson - bass Newman Taylor Baker - drums Saturday May 17 – TimeSpace 3 $10/students: $7 Shoshke-Rayzl - electric guitar w/ effects Saco Yasuma - saxaphone Albey Balgochian -- bass with video projections by AbopTV Midnight Jam led by Roy Campbell Sunday May 18, 4pm afternoon – $10/students: $7 Ophra Wolf and Julia Wilkins Friday May 23 - The Transcendence Quartet $10/students: $7 Ras Moshe – Tenor Sax Shayna Dulberger – Bass Dave Ross – Guitar Charles Downs – Drums ========================================================================= Date: Tue, 29 Apr 2008 15:15:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Lorenzo Thomas Book Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed It's finally getting real: May 28 is the announced publication date for DON'T DENY MY NAME: WORDS AND MUSIC AND THE BLACK INTELLECTUAL TRADITION by Lorenzo Thomas follow this link to Amazon for a preorder with discount: http://www.amazon.com/Dont-Deny-Name-Intellectual-Tradition/dp/047206892X/ref=sr_1_18?ie=UTF8&s=books&qid=1209496226&sr=1-18 <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "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: Tue, 29 Apr 2008 16:24:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Trigilio Organization: http://www.starve.org Subject: This Thursday / COLUMBIA POETRY REVIEW #21 / Reading and Release Party MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Reading and Release Party COLUMBIA POETRY REVIEW #21 //Thursday, May 1, 2008, 5:30 p.m. Columbia College Chicago Sherwood Conservatory Recital Hall (1312 South Michigan Avenue) For more information: (312) 344-8139 Contributors to this year's issue of COLUMBIA POETRY REVIEW, now in its 21st year as the English Department's student-edited, nationally distributed poetry magazine, will read their work. Featured readers include: Danielle Pafunda, David Trinidad, Michael Robins, Mark Halliday, and more. Issues of the magazine will be available for purchase. Reception to follow the reading. ========================================================================= Date: Tue, 29 Apr 2008 18:56:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Beer Subject: Links Hall Poet's Theatre festival Mime-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="ISO-8859-1" Starting this weekend! Poetry theatre, Chicago in May, a winning combina= tion: LINKS HALL PRESENTS Returning from One Place to Another: A Poet=92s Theater Showcase Curated by John Beer, Links Hall Artistic Associate May 2-25, 2008 The works featured in Returning from One Place to Another come out of a tradition which seeks to use theatrical space as a medium for poetic composition. While this description fits some major figures of the theatrical avant-garde, such as Antonin Artaud or Richard Foreman, the artists that are central to this work view the theater as an extension of= their writing practice. Drawing inspiration from the operas of Gertrude Stein or the plays of Frank O=92Hara, each program consists of a set of w= orks for performance that retain a focus on language and structure while potentially abandoning traditional elements of narrative or staging. In e= ach program, a visiting artist is working with local collaborators for the fi= rst time to create a novel theatrical evening. =20 It=92s only recently that the idea of a Poet=92s Theater could be anythin= g but redundant. What, after all, were Sophocles, Shakespeare, or Moliere up to= ? The last two hundred years saw a divorce between primarily realistic mode= s of theater and a lyric poetry rooted in subjective experience. The work presented here seeks a reconciliation that creates new possibilities for both poetry and performance. =96 John Beer, Curator =20 ABOUT THE CURATOR John Beer=92s poems and essays have appeared in numerous periodicals, including Barrow Street , the Canary, Chicago Review, the Chicago Tribun= e, Crowd, the Hat, Milk, MiPoesias, the Review of Contemporary Fiction, and Verse. He has written about theater for the Brooklyn Rail, Newcity, Time= Out Chicago, and the Village Voice. He is a Ph.D. candidate in philosoph= y and social thought at the University of Chicago . *** Poet=92s Theater Panel Discussion Saturday, May 3, 2-3:30pm at Experimental Station, 6100 S. Blackstone Free This panel will provide context for and insight into the work of the arti= sts performing throughout the Poet=92s Theater festival. Panelists will exami= ne such questions as: What is Poet's Theater, and is it its own genre, a hyb= rid genre, or a way of resisting genres? How have poetry and performance influenced one another over the past century? How does the idea of Poet's= Theater relate to larger questions about the avant-garde? What is the fut= ure for Poet's Theater? The panel will include poets, performers, and critics= : Jenny Magnus of Curious Theatre Branch, Matthew Goulish of Goat Island Performance Group, Rodrigo Toscano, and Jennifer Scappettone. www.experimentalstation.org _________________________________________________________________________= _____ PROGRAM ONE Friday & Saturday, May 2 & 3, 8pm Sunday, May 4, 7pm $12 ($10 students) =20 Rodrigo Toscano Collapsible Poetics Theater Reminiscent of Commedia Dell'Arte in its traveling, portable, rapid-set u= p qualities, this performance assembles itself within a given 72 hour perio= d of each performance. Working with resident poets, experienced actors, non-actors, the persistent question asked by the performers is, Can the p= oem be tested any further? Rodrigo Toscano is a Brooklyn-based author and the Artistic Coordinator for the Collapsible Poetics Theater. His experimental poetics= plays, body movement poems, and polyvocalic pieces have been performed nationally.=20=20 =20 Collaborators: Joshua Corey is the author of two full-length books of poetry and has published two chapbooks. He is an assistant professor of English at Lake Forest College and lives in Evanston , I= L . Chicago-based Melissa Severin=92s poems have appeared in MoonLit, 42Opus,= and The Cultural Society. Brute Fact, her first chapbook, is available from dancing girl press. Fred Sasaki works on the magazines Poetry, Stop Smili= ng, andACM. He is the founder of The Printers' Ball in Chicago , and publish= es fiction, radio plays, and other writing. _________________________________________________________________________= _____ PROGRAM TWO Friday & Saturday, May 9 & 10, 8pm Sunday, May 11, 7pm $12 ($10 students) =20 Joyelle McSweeney and Johannes G=F6ransson The Widow Party The Widow Party is collaboratively written and performed melodrama, Wild West show, political thriller, pageant, and farce. With song, dance, projections, sound effects, and mimicry of preposterous acts, visions and= revisions of characters, media, genres and events will change, interrupt,= and harmonize with each other.=20 Joyelle McSweeney and Johannes G=F6ransson are the co-founder= s and co-editors of Action Books and Action, Yes, a press and web-quarterly for= international writing and hybrid forms. They are both published authors. Actionbooks.org, actionyes.org =20 Collaborators: Patrick Durgin teaches literature and writing = at the School of the Art Institute of Chicago. He is the editor of two collections by the performance and proto-language poet Hannah Weiner. Jennifer Karmin co-curates the Red Rover Series and is a founder of the public art group Anti Gravity Surprise. She is a 2009 Links Hall Artistic= Associate. www.antigravitysurprise.org Jacob S. Knabb is Fiction and Managing Editor forAnother Chicago Magazine. He teaches at University of= =20 Illinois at Chicago , performs radio plays, and writes fiction. hambonesheartache.blogspot.com _________________________________________________________________________= _____ PROGRAM THREE Friday & Saturday, May 16 & 17, 8pm Sunday, May 18, 7pm $12 ($10 students) =20 Fiona Templeton Louis Zukofsky's Rudens and Fiona Templeton=92s Bluebeard (excerpt) Templeton directs two plays: Rudens is a very seldom performed work, base= d on The Rope by the Roman comic playwright T. Maccius Plautus. It combines= a number of strategies of textual conversion, and is translated to English phonetically by using the sound of the original language. Bluebeard is about two people imagining how each other think, what each other fears or desires, and what each fears or desires of the other. It i= s a ventriloquial work, in which the onstage action or even speaker may belie= the subject of the speech. =20=20 Collaborators: Joel Craig lives in Chicago , working as an a= rt director and deejay. His poems have appeared in several publications, and= he is co-founder and curator for The Danny's Reading Series. Laura Goldstein= is a writer and multi-media and sound artist who currently teaches at Loyol= a University and performs and collaborates in Chicago . Her work is widely= published and her chapbook is due out this spring. _________________________________________________________________________= _____ PROGRAM FOUR Friday & Saturday, May 23 & 24, 8pm Sunday, May 25, 7pm $12 ($10 students) =20 Carla Harryman Five New Works Carla Harryman is known for her genre-disrupting prose, poetry, and performance works. Recent performance works have emphasized polyvocal tex= t, bilingualism, choral speaking voices, and music improvisation. This progr= am infuses improvisational electronic sound, choral and sound-based performa= nce writing, and Poet=92s Theater in five new works: Sue, Adorno=92s Noise, a= nd Mirror Play by Carla Harryman, Bad History by Barrett Watten, and I/Mouth= by Ron Allen. In the 1980s, Carla Harryman co-founded the San Francisco Bay= Area Poet=92s Theater, which presented performances of experimental plays= by poets. The author of thirteen books, she serves as full-time faculty in t= he Department of English at Wayne State University .www.performingobjects= .com =20 Harryman explores the nature of imagination=85and toys with perceptions o= f reality amidst a set of art objects navigated by skillful performers who become art in themselves. =96 San Francisco Gate =20=20=20=20=20=20=20=20=20=20=20=20=20=20=20=20=20=20=20=20=20=20=20 Collaborators: Pam Osbey is the author of ten poetry books. She is an educator in the Chicago Public School System, and works with several literary organizations, including the Poetry Center of Chicago and the Chicago Humanities Festival. Jennifer Scappettone is the author of two chapbooks and a collection of poetry. Her writing appears in a range of journals and anthologies. She teaches at the University of Chicago . Da= vid Trinidad is a published author and editor who teaches at Columbia College= Chicago, prior to which he taught at The New School. He has also taught a= t Rutgers, Princeton, and Antioch Universities . _________________________________________________________________________= ____ Returning from One Place to Another has been made possible with support from The Boeing Company. Links Hall is supported in part by a CityArts Program 2 Grant from the Ci= ty of Chicago Department of Cultural Affairs, the Illinois Arts Council (a state agency), Alphawood Foundati on , The Boeing Company, Elizabeth F. Cheney Foundati on , Chicago Community Trust, Cliffdwellers Art Foundati = on , Gaylord and Dorothy D on nelley Foundati on , Richard H. Driehaus Found= ati on , Event Engineering, Illinois Humanities Council, The Japan Foundati o= n , Mayer and Morris Kaplan Family Foundati on , James S. Kemper Foundati on = , Prince Charitable Trusts, Sandbox Studio (Chicago), The Wallace Foundatio= n, The Weasel Fund, and many generous individual c on tributors. Links Hall = is a member of the Nati on al Performance Network (sp on sored by the Doris Duke Charitable Foundati on ). ========================================================================= Date: Tue, 29 Apr 2008 20:46:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlotte Mandel Subject: Re: Lorenzo Thomas Book In-Reply-To: <7.0.1.0.2.20080429151402.0240fc00@psu.edu> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Content-transfer-encoding: 7BIT Congratulations, Aldon - and thanks for keeping Lorenzo's work alive. Charlotte On Apr 29, 2008, at 3:15 PM, Aldon Nielsen wrote: It's finally getting real: May 28 is the announced publication date for DON'T DENY MY NAME: WORDS AND MUSIC AND THE BLACK INTELLECTUAL TRADITION by Lorenzo Thomas follow this link to Amazon for a preorder with discount: http://www.amazon.com/Dont-Deny-Name-Intellectual-Tradition/dp/ 047206892X/ref=sr_1_18?ie=UTF8&s=books&qid=1209496226&sr=1-18 <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "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: Tue, 29 Apr 2008 23:44:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: CA Conrad Subject: Re: THE ONLY WAR THAT MATTERS... MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Content-Disposition: inline I'm sorry that so many people have written me here on the List, and in private (including Diane DiPrima) about my post, and that I haven't been able to respond. The couple of posts I smacked up here since were with coffee shop computers while I was waiting for my computer to be fixed. Now it's finally fixed. Yes. Yes to all the conversation. And let me add too that my biggest problem with this war in Iraq is that there really is NOT enough Real Time in our lives for it. ENDING this war should be a priority, but it's not. ENDING this war needs awake beings, but we're not, at least not always. I'm NOT always! I feel the NOT feeling it! I FEEL THAT, you know what I mean? And when I DO remember the war, it smarts! I cannot, WE CANNOT escape what we continue to do! I was born January 1st, 1966. Eleven days after I was born president Johnson said in his State of the Union Address, "Yet, finally, war is always the same. It is young men dying in the fullness of their promise. It is trying to kill a man that you do not even know well enough to hate...therefore, to know war is to know that there is still madness in this world." To all you having babies right now, the MANY THOUSANDS OF YOU, your babies are born while your country, our country, is at war. Will you tell them that? Will you tell them what year of the occupation they were born into? "You were born in the 5th year of our occupation honey. See the map? This country, called Iraq, it belonged to us, and the oil was the best in the world." I'm so sick of this war. I don't mean as a complaining kind of sick, I mean, I feel sick, sick with it, helpless NOT TO VOMIT with it! Yet there is little we can do to stop it. For years, from the beginning, FROM BEFORE the invasion even, marches, protests, miles and miles of it. Amy Goodman shot footage of police SLAMMING young women and men's heads into the sidewalks of NY, DC, Philadelphia, and every other city in this country. Unarmed except for our signs, and words. Call me a literalist when wanting to discuss IMAGINATION, whatever, I'm still exhausted some days, despite you, me, the war is exhausting. But as exhausting as it is for me I have NO IDEA what horrors the innocent people of Iraq endure, every, single, day of their lives. We'll never be able to make it up to them. So much suffering, a web of suffering, the wounded, the dying, the survivors of the dead. Homeless, jobless, hungry. They didn't deserve this. They didn't deserve what we did, and continue to do. I hope when it's over they BLAME us, ALL OF US, for not stopping it, BLAME US for paying our taxes like the cowards we are! FUCK expecting congress to stop funding the war, WE PAY OUR TAXES, we allow it all to happen! We're the worst people alive some days! I'm disgusted with us! What pigs we have turned out to be! I wish the European nations would bring sanctions against us. I wish all the nations of the world would unite against us and stop all trade with us, freeze us out. Make us pull out. Throw us out. SOMETHING! CAConrad http://PhillySound.blogspot.com ========================================================================= Date: Tue, 29 Apr 2008 22:19:41 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Berkson Subject: BILL Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable announcing: BILL Words by Bill Berkson Drawings by Colter Jacobsen Gallery 16 Editions, 2008 501 Third Street San Francisco CA 94107 www.gallery16.com =B3It was a pearl, white, shimmering pearl!=B2 ========================================================================= Date: Wed, 30 Apr 2008 08:54:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: New Nomadics Posts Comments: To: "Poetryetc: poetry and poetics" Comments: cc: Britis-Irish List Content-Type: text/plain; charset=ISO-8859-1; format=flowed; delsp=yes Content-Transfer-Encoding: quoted-printable Mime-Version: 1.0 (Apple Message framework v919.2) Check out the latest posts on NOMADICS blog at = http://pjoris.blogspot.com=20 : PEN Festival of World Literature: Language for a new Century Eshleman's Homage to C=E9saire Mad Hatters' Revue Benefit Reading Joris on Cross-Cultural Poetics Germaine Tillion (1907-2008) Steven Kurtz's Ordeal May Be Over C=E9saire's tombstone happy May-trails, Pierre ___________________________________________________________ The poet: always in partibus infidelium -- Paul Celan ___________________________________________________________ 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 ____________________________________________________________ ========================================================================= Date: Wed, 30 Apr 2008 09:04:59 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Snyder Wins Lilly Prize MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Arts, Briefly Gary Snyder Wins $100,000 Poetry Prize function getSharePasskey() { return 'ex=1367294400&en=f94bd84b6dd55790&ei=5124';} function getShareURL() { return encodeURIComponent('http://www.nytimes.com/2008/04/30/arts/30arts-GARYSNYDERWI_BRF.html'); } function getShareHeadline() { return encodeURIComponent('Gary Snyder Wins $100,000 Poetry Prize'); } function getShareDescription() { return encodeURIComponent('Gary Snyder was named the winner of the $100,000 Ruth Lilly Poetry Prize on Tuesday. Announcing the award, Christian Wiman, editor of Poetry magazine and chairman of the selection committee, said, “His poetry is a testament to the sacredness of the natural world and our relation to it, and a prophecy of what we stand to lose if we forget that relation.” The San Francisco-born Mr. Snyder, 78, whose poetry collections include “The Back Country” and “Danger on Peaks,” began writing in the 1950s as a member of the Beat movement and won a Pulitzer Prize in 1975 for “Turtle Island.” He is professor emeritus of English at the University of California, Davis. The prize honors a living American poet whose lifetime accomplishments warrant extraordinary recognition.'); } function getShareKeywords() { return encodeURIComponent(''); } function getShareSection() { return encodeURIComponent('arts'); } function getShareSectionDisplay() { return encodeURIComponent('Arts, Briefly'); } function getShareSubSection() { return encodeURIComponent(''); } function getShareByline() { return encodeURIComponent('Compiled by Lawrence Van Gelder'); } function getSharePubdate() { return encodeURIComponent('April 30, 2008'); } Published: April 30, 2008 Gary Snyder was named the winner of the $100,000 Ruth Lilly Poetry Prize on Tuesday. Announcing the award, Christian Wiman, editor of Poetry magazine and chairman of the selection committee, said, “His poetry is a testament to the sacredness of the natural world and our relation to it, and a prophecy of what we stand to lose if we forget that relation.” The San Francisco-born Mr. Snyder, 78, whose poetry collections include “The Back Country” and “Danger on Peaks,” began writing in the 1950s as a member of the Beat movement and won a Pulitzer Prize in 1975 for “Turtle Island.” He is professor emeritus of English at the University of California, Davis. The prize honors a living American poet whose lifetime accomplishments warrant extraordinary recognition. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>> >>>>>>>>>>>>> "Study the fine art of coming apart." --Jerry W. Ward, Jr. 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