========================================================================= Date: Tue, 1 Aug 2000 00:32:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Jeff Derksen review In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >How embarrassing, I spelt Jeff Derksen's name wrong--please forgive my gaff >and please change from 'Derksen' to 'Derksen.' > >Lori Emerson Actually, neither of those is correct. It's "Derksen," gb -- George Bowering Fax 604-266-9000 ========================================================================= Date: Wed, 2 Aug 2000 12:39:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: from Messerli MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Due to the presence of HTML code, this message has been reformated. - TS > From: "Douglas" > To: > Subject: > Date: Tue, 1 Aug 2000 09:39:08 -0700 > > > This review appears in the new (July 31, 2000) issue of Publishers = > Weekly > > Atmosphere Conditions, Ed Roberson. Sun & Moon Press. $10.95 > (128 p) ISBN: 1-55713-392-1 > > This single, full-length serial poem in 35 sections, a long-delayed = > winner > of the 1998 National Poetry Series, is an important book by one of = > America's > most under-recognized poets. Roberson (Just in: Word of Navigational = > Change; > Selected Poems) expertly weaves together layers of visual apprehension, > thought, memory, history and feeling into a rich speculative poetic = > ecosystem, > where each layer interacts with, challenges, and, ultimately, = > illuminates the > other. As poetry toggles between ancient Africa and the New Jersey = > turnpike, > what is insisted on is attention to the way things change, appear and = > disappear > in time, posing questions about the ultimate inhabitabily of any = > space--social, > psychological, historical, or physical: "We have this choice--which = > throws a > light on us--/Of things to try a way through by attention,/who have only = > the > darkness of not knowing/within to offer to throw beneath the = > feet/...Making > ground." The work develops at a deliberetly gradual pace, never letting = > any > dazzle of surface effect interfere with the flow of ideas; disjunction = > and phrasal > torsion are used more to add detail to the images than to deform = > concepts or > syntax. In the middle of the poem, the image of a fossil appears--a = > hollow space > where something once existed. The poetry uses this hollowed space, these = > facts, > as a kind of resonating chamber for the music of the present moment. The = > result > is a poetry that uses dissonance to deepen the interconnecting = > possibilities of > a rigorous, searching lyricism. > > > This book is offered at a 20% discount to members of our mailing list = > and Poetics > List. Please send a check or money order for $10.00 ($8.75 plus $1.25 = > mailing) to > Sun & Moon Press, 6026 Wilshire Boulevard, Los Angeles, California 90036 > > www.sunmoon.com and www.greeninteger.com > > Douglas Messerli > Publisher > ========================================================================= Date: Mon, 31 Jul 2000 20:20:42 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Devin Johnston Subject: Address Query MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Does anyone have an address (e-mail or otherwise) for the poet Pam Rehm? If so, I would appreciate it if you could e-mail it to me. Best Wishes, Devin Johnston -------------- Flood Editions P.O. Box 3865 Chicago IL 60654-0865 ========================================================================= Date: Tue, 1 Aug 2000 21:30:21 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kenneth Sherwood Subject: Zukofsky query - esp. for NY-ers? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Reading and writing about Zukofsky's "A" of late, I'm puzzled by a passage in "A"-8: "SOCONY will not always sign off on this air" (p. 63, UCP ed). Can anyone identify "SOCONY?" The line evokes a radio station-identification for me. Could it be a station nick-named "Soco" in New York? Guesses if not answers would be welcome! Please backchannel: kwsherwood@aol.com ========================================================================= Date: Wed, 2 Aug 2000 01:59:21 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Authors Regain Copyright Control Mime-Version: 1.0 Content-Type: text/plain; format=flowed The press release below was written as only law firms could write one. However, the website -- www.uncoversettlement.com -- has a lot more information. It includes a database that will enable you to see if you are among the thousands of writers whose work was being sold without permission over the net. Please note that there are deadlines! Feel free to distribute to writer's lists, etc. And pardon the cross posting. Ron Silliman ---------------------------- Freelance Authors Regain Copyright Control Through Innovative Settlement SAN FRANCISCO, Calif., July 26 Document Provider to Obtain Permission Before Selling Authors' Articles Electronically Historic Legal Settlement Includes Class Notification to Authors The settlement, believed to be the first class action lawsuit of its kind in the nation, instructs commercial document delivery services to obtain permission from authors before their creative works can be sold electronically via the Internet. The case involved a group of individual authors who challenged UnCover, an online document delivery service that sold copyrighted magazine and journal articles over the Internet without the author's permission. UnCover pursued royalty contracts with many periodical publishers and paid copyright fees to publishers, but not to individual authors. The $7.25 million settlement, preliminarily approved by the federal court in Oakland, California, requires UnCover to expand its copyright permission and royalty payment system to include individual authors as well as publishers, and to obtain certain specified forms of permission before delivery of such articles. UnCover will now also offer a licensing agreement with any author who requests it, paying royalties semi-annually. The settlement fund will come from other settling parties. The settlement also uniquely initiates a search for thousands of authors, poets and other academic and creative writers who may have had their works sold by UnCover in the past. Any authors who retained their copyright in any article delivered by UnCover between October 22, 1994 and July 12, 2000 may be eligible to participate in the settlement. Anyone whose written work has been published in a magazine or periodical is strongly encouraged to visit the special Web site ( http://www.uncoversettlement.com ) where a potential class member can get complete information and submit their claim for a share of the settlement via the Internet. The Web site will be launched on Monday, July 31, 2000. "Selling individual articles electronically without author permission has been an industry-wide practice. We believe the law does not allow the practice, and this settlement should go a long way to changing it," said the authors' attorney John Shuff of the national law firm of Robins, Kaplan, Miller & Ciresi L.L.P. ( http://www.rkmc.com ), known for its broad experience in complex litigation. "We hope the industry will take notice and adopt the same permission procedures as UnCover." The representative plaintiffs, a group of freelance and academic writers, and poets, were Joan Ryan, Jim Tunney, Arlie Russell Hochschild, Lyn Hejinian and Ron Silliman. "The intellectual property owned by authors is no different than music owned by songwriters or images owned by photographers," said copyright attorney Dan Reidy of the Law Offices of Daniel A. Reidy of Sausalito, California, co-counsel with Robins, Kaplan, Miller & Ciresi L.L.P., referring to recent legal challenges to the electronic downloading and distribution of music and photos on CDs or via the Internet. "Authors have not only regained control of their work, but perhaps more importantly, they have regained control of their value," said Reidy. UnCover's founder, Ward Shaw, said that UnCover has long worked with publishers and rights organizations such as the Copyright Clearance Center and the National Writers Union's Publication Rights Clearinghouse to pay copyright for delivery of the articles researchers and others need. "We are happy to work with individual authors directly as well," said Shaw. UnCover ( http://www.uncweb.carl.org ) maintains a database of approximately eight million articles -- increasing by approximately 5,000 per day -- from more than 17,000 periodicals, and specializes in supplying copies of articles from often hard-to-find scientific, medical and technical journals and other publications. /NOTE TO EDITORS: Copies of the Summary Notice are available upon request. The settlement Web site, http://www.uncoversettlement.com , will be launched July 31, 2000/ /CONTACT: Daniel A. Reidy of the Law Offices of Daniel A. Reidy, 415-331-7500, Janette L. Ferguson of Robins, Kaplan, Miller & Ciresi L.L.P., 415-235-6649, cell 650-579-2709, or Michael Traynor, 415-693-2110, or Robert L. Eisenbach, 415-693-2094, both of Cooley Godward LLP/ ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Wed, 2 Aug 2000 00:51:02 -0400 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: The Gig 6 now available Comments: To: Poetryetc , British-Poets List MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit [Apologies for cross-posting.... contributors & subscribers should see copies in a week or so.] T H E G I G # 6 (July 2000) ...is now out. It includes poetry by Steve McCaffery, Tim Davis, Geraldine Monk, Ian Davidson, Lisa Robertson, Lise Downe, Helen Macdonald & Tony Baker; an essay by Keith Tuma on Ed Dorn & England; & reviews by Pete Smith & myself of books by Clark Coolidge, Keston Sutherland, & Frances Presley & Elizabeth James. _The Gig_ appears three times a year; it publishes new poetry & criticism from the US, Canada, UK & Ireland. Backissues are still available, notably #4/5, a 232pp perfectbound collection of essays on the work of the UK poet Peter Riley by Peter Middleton, Peter Larkin, Mark Morrisson, Nigel Wheale et al. Regular issues are 60-64pp chapbooks: see the website at http://www.geocities.com/ndorward/ for details. * Rates for all issues EXCEPT #4/5: within Canada: single issue: $6 Cdn (institutions $10); 3-issue subscription (or set of 3 backissues): $15 (institutions $30). US subscription (or set of 3 backissues): $13 US (institutions $25 US). Overseas subscription (or 3 backissues): 8 pounds (institutions 16 pounds). For issue #4/5 (The Poetry of Peter Riley): in Canada, $20 Cdn (institutions $40); to US, $15 US (institutions $30 US); overseas: 10 pounds surfacemail, 12 pounds airmail (institutions: 20 pounds). All prices include postage. Make cheques out to "Nate Dorward". Write to: Nate Dorward, 109 Hounslow Ave., Willowdale, Ontario, M2N 2B1, Canada; e-mail: . Copies may be obtained within the UK through Peter Riley (Books), 27 Sturton Street, Cambridge, CB1 2QG; e-mail: . * Separately available is _The Topological Shovel_, a set of four essays by Allen Fisher in workbook format, 52pp. Prices: $12 Cdn; $9.50 US; 6.50 pounds UK/overseas (all prices include postage). * Nate & Jane Dorward ndorward@sprint.ca http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 ========================================================================= Date: Tue, 1 Aug 2000 12:05:46 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Goethe-Institut Reception Subject: CALENDAR OF EVENTS FALL 2000 Comments: To: "ANNOUNCE CULTURAL EVENTS @ GOETHE-INSTITUT" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit ACUSTICA International SF2000 It's Sound, It's Art, It's Music http://arsacustica.net A two week celebration of SOUND ART brings the boldest, most exciting artists from Europe and the US to galleries, theaters, and museums throughout the city. Acoustic art is the melting pot of heterogeneous elements, noise, language, and music organized by means of electronic techniques into a new, unique genre. It has been developed in experimental studios, like the Studio of Acoustic Art of the WDR (West-German broadcasting station) in Cologne. The focus of ACUSTICA INTERNATIONAL SF 2000 will be on international composers who recorded and composed for this studio under the direction of Klaus Schoening. Refusalon 20 Hawthorne St. September 7 through 30 BILL FONTANA Reception with the artist: Sept. 7, 6-7pm Gallery hours: Tue-Sat 10am-6pm Tel. 415.546-0158 Internationally known for his experimental work in sound, Bill Fontana shares with the small group of artists who work in the medium an interest in transforming the aural environment. He is unique, however, in employing exclusively ambient, rather than electronic, sound. Fontana regards the physical environment as a living source of musical information, with aesthetic and evocative qualities that can conjure up visual imagery. For this show he will install invisible sound pieces with visual surprises. SFMOMA-Phyllis Wattis Theater September 11-24 JUKEBOX Sound Journey into the Studio Akustische Kunst, WDR Curated by Klaus Schoening Admission with museum ticket Tel. 415.357-4000 At SFMOMA, a daily changing non-stop program of superb WDR productions introduces the ACUSTICA events. Among the works to be presented are several joint productions of the Studio of Acoustic Art with American artists and producers, many from the Bay Area. A juke box, especially installed for this event, will play sound compositions, multilingual collages, and sound/voice landscapes by artists such as John Cage, Mauricio Kagel, Pierre Henry, Bill Fontana, Pauline Olivero, Susan Stone, George Brecht, Randy Thom, Tom Marioni, Alvin Curran, Michael Riessler, Charles Amirkhanian, Anthony Moore, and others. New Langton Arts at 8pm 1246 Folsom Street Friday, September 22 GERHARD STAEBLER & KUNSU SHIM Futuressencexxx Admission: $10 general, $8 members/students/seniors Tel. 415.626-5416 No other school of art has inspired people's creativity as vigorously as Futurism, which began in the early 20th century and still gives fresh impetus to various art forms. Futuressencexxx focuses on provocative plays from the futurist movement. The original works, read by local artists from a contemporary point of view, are dramatized through musical compositions by German artists Gerhard Staebler and Kunsu Shim. The music, which for the most part has been created at the ZKM, Center for Art and Media Technology in Karlsruhe, Germany, invites us to hear, see, touch, smell, and pulls us into the whirlpool of ACUSTICA INTERNATIONAL 2000. Hawthorne Lane Bar 22 Hawthorne St. Saturday, September 23 at 2pm TOM MARIONI & JOHN CAGE Admission free JOHN CAGE 4'33" (for piano), 1952 TOM MARIONI Beer Drinking Sonata (with percussion) 1996-00 For Thirteen Players First performed in 1997 without percussion with the Art Orchestra at the Palace of the Legion of Honor in San Francisco, the Beer Drinking Sonata with percussion will have its world premiere. Tom Marioni conducts the three movements - Allegro, Adagio, Rondo - of the sonata which features full beer bottles and thirteen performers who empty them throughout the performance. Yerba Buena Center for the Arts Theater Saturday, September 23 7:30pm - 10:30pm INTERMEDIA PROGRAM with Multichannel Performances Admission: $20 general / $15 members/students/seniors; two-day ticket (9/23 & 9/24 at Dolby) $30 / $20 Reception with the artists at 6pm, tickets: $40 / $35, two-day ticket plus reception $45 / $40; for tickets call 415.978-ARTS NICOLA SANI Water Memories Loudspeaker concert live with Roberto Fabbriciani: contrabass flute Nicola Sani: electronics Tape production: WDR Studio Akustische Kunst, 1996, 35 min Centered on the theme of flowing water, the acoustic material for this composition consists of natural and electronic instrumental sounds reminiscent of the qualities and sounds of water. The live performance, realized by Nicola Sani, features Italian virtuoso for contrabass flute Roberto Fabbriciani, moving in an acoustic environment of the sound of flowing water. MICHAEL RIESSLER Fever Shakespeare Sonetts in Voice, Dance and Music Live with Nigel Charnock: dance, voice Michael Riessler: saxophone, clarinet Tape production: WDR Studio Akustische Kunst, 1999 40 min This complex electro-acoustic composition in the form of a string quartet transports us into the Elizabethan age. English dancer, actor, writer, and choreographer Nigel Charnock interprets Shakespeare sonetts in permanent movement. With clarinet and saxophone, Michael Riessler enters into a dialogue with the dancer. Fever makes dance audible and conveys danced poetry to the ear. INTERMISSION ALVIN CURRAN Erat Verbum John Dedicated to John Cage Electro-acoustic live concert with Alvin Curran: keyboard Production: WDR Studio Akustische Kunst 2000, 15 min This etude and portrait of John Cage uses the sounds of his voice, music, and personal environment in a performance of raw and digitally processed sounds created directly from a sampler and controller keyboard. A second computer program distributes the performed structures through an eight channel sound system. JOHN CAGE Roaratorio. An Irish Circus on Finnegans Wake Multichannel performance Voice: John Cage, Singer: Joe Heaney, Fiddle: Paddy Glackin, Bodrhan: Peada and Mel Mercier, Flute: Matt Malloy, Uillean pipes: Seamus Ennis Realisation: John Cage and John David Fullemann, Executive producer: Klaus Schšning. Multichannel production: WDR Studio Akustische Kunst/The Cage Trust, 1979, 60 min Karl-Sczuka Prize 1979 With his prize-winning piece, Roaratorio, an Irish Circus on Finnegans Wake, John Cage composed a key work in the acoustic art of the 20th century. Drawing on his experience of music, verse, sound poetry, recording montage, and his close ties to Zen Buddhism, he created an all encompassing cosmogony of the human voice, the sounds of nature, and the human environment. His enduring and intensive preoccupation with James Joyce's Finnegans Wake led to this sound-text of 2500 sounds and quotes from Finnegans Wake, spoken by John Cage. Dolby Laboratories Sunday, September 24, 11am - 5pm AUDIO-VISION PROGRAM with Panel Discussion Admission: $20 general / $15 members/students/seniors Advanced tickets only (box lunch incl.) call 415.978-ARTS RANDY THOM Ear Circus Number One Compositon with soundtrack motives From the film Forrest Gump Production: WDR Studio Akustische Kunst 1995, presented by Randy Thom, 60 min followed by a demonstration of his film soundtracks "Ear Circus Number One does not have a 'story' in the sense that a Hollywood film has a story, but it has some of the dynamics of a story. Many of the sounds suggest certain kinds of locales, and a few of the sounds are being filtered through the point of view of a character who is possibly going in and out of a dream, or a series of memories, most of them unpleasant, some about war. I used some of the sounds that I recorded for the film Forrest Gump, including the helicopter." -Randy Thom NICOLA SANI / MICHELANGELO ANTONIONI Noto-Mandorli-Vulcano-Stromboli-Carnevale Film by Michelangelo Antonioni Music and soundtrack by Nicola Sani Presented by Nicola Sani 20 min Nicola Sani presents the musical soundtrack to Antonioni's short poetic film, images of the sites where he shot his masterwork L'Avventura thirty years ago. Sani's composition consists of concrete instrumental and electro-acoustic sound material merging sound and image. ROBERT CAHEN Sept visions fugitives / Seven Fleeting Visions (excerpts) Camera and realisation: Robert Cahen, acoustic design: Michel Chion, sound editing and mixing: Pierre Emanuel Poizat Production: ARTE and Les Films du Tambour de Soie in collaboration with CICV Presented by Robert Cahen Grand Prix Europe, International Video Festival Estavar, Spain 1995, International Video Art Prize, Germany, 1996 Robert Cahen presents sequences of his prize-winning and already legendary videofilm, Seven Fleeting Visions, which trace the idea of concentrated meaning within a concentrated aesthetics perhaps reflecting a secret affinity to the creative process in haiku poetry. Cahen's videos display not only his own inner world, but also the inner and outer world of an alien with his gestures and rituals. INTERMISSION BILL FONTANA Acoustical Visions of Venice (excerpts) North American Premiere DVD production: WDR Studio Akustische Kunst, 2000 Presented by Bill Fontana 30 min Acoustical Visions of Venice is one of three unique projects based on a large collection of multichannel digital recordings Bill Fontana made during his installation for the Venice Biennale in 1999. The installation placed on the facade of the Punta della Dogana, the famous 15th century customs house, explores the idea of hearing as far as you can see with microphones and transmitters placed in the amazing visual panorama of Venice that surrounds the Dogana. The idea is to explore the changing space of sonic perception in the layered sound textures of Venice. ANTHONY MOORE Moving Sounds (excerpts) DVD production: WDR Studio Akustische Kunst, 2000 Presented by Anthony Moore 30 min Exploring acoustic space with DVD technology, Moving Sounds tries to map the space of the studio by mechanical means as a volumetric area through which sounding objects swim. Quietness means distance, loud sounds reflect closeness, movements to the left or right are actual in a network of travelling receivers (microphones) and mobile sources. The results of these experiments are then composed to form a piece about space and shifting sonic perspectives. PIERRE HENRY / WALTHER RUTTMANN La Ville / Die Stadt. Metropolis Paris - Berlin HoerSpielFilm with the silent movie Berlin. Die Sinfonie der Gro§stadt (1927) by Walther Ruttmann Production: WDR Studio Akustische Kunst, 1985 Presented by Klaus Schoening 65 min Klaus Schoening presents this audiovisual project which combines Pierre Henry's sound composition, La Ville/Die Stadt/The City, Metropolis Paris-Berlin with the silent movie, Berlin. Sinfonie einer Grossstadt, by the German filmpioneer Walther Ruttmann. The composition structured by numerous acoustic micro-components like a film without pictures is an homage to Ruttmann's classical silent film, a unique artistic document about Berlin and the roaring twenties. PANEL DISCUSSION with the Artists Moderator: Klaus Schoening San Francisco Art Institute Lecture Hall Sunday, September 24 at 8pm SOUNDS OF ALL KINDS From DADA to NOW Admission $10 general, $8 members/students/seniors Tel. 415.771-7020 TRISTAN TZARA / RICHARD HUELSENBECK / MARCEL JANKO L'amiral cherche une maison a louer (1916) for three performers In 1916, artists Tristan Tzara, Marcel Janko, and Richard Huelsenbeck collaborated on "simultaneous poems," of which "The Admiral looks for a house to rent" is a daring and amusing example. Three performers speak three languages (French, German, English) while simultaneously making noises to create a true Dada experience. WASSILY KANDINSKY Klaenge / Sounds (1912) Poetic texts read in German and English Around 1912, painter Wassily Kandinsky experimented with texts he called Klaenge, which deal both directly and indirectly with sounds of all kinds. They will be presented here in their original German with English translations, all accompanied by slides of woodcuts he created for the first published edition of the poems. KURT SCHWITTERS Ursonate (1922-32) Excerpts performed by Konrad Steiner and Charles Boone Kandinsky's Klaenge and Schwitters sound works and collages from a few years later are pioneering experiments in what we call nowadays crossover art: art in genres not normally associated with the artists who created it. CHARLES AMIRKHANIAN Son of Metropolis San Francisco (1997) Tape composition Composer Charles Amirkhanian will be on hand for the first Bay Area performance of Son of Metropolis San Francisco. This tape composition is a highly subjective sound portrait of our city, which avoids the more obvious tourist's view of this place. ABIGAIL CHILD Mercy (1989) Sound film The films of Abigail Child, one of America's foremost experimenters in the medium, invariably feature sonic elements which are as powerful and provocative as their visual elements. LAETITIA SONAMI Conversation with a Lightbulb (2000) Live computer sound performance with visual elements/faculty installation World renowned composer/performer Laetitia Sonami is a pioneer in live computer performance. In concert, she wears a specially designed glove that is hooked directly into her computer. Through this, the movements of her fingers, wrist, and arm act as triggers for the vast array of sounds that emerge from loudspeakers; her movements during the performance provide a kind of choreographed visual element to the sounds. The program, co-sponsored by the San Francisco Cinematheque, is organized and directed by San Francisco Art Institute faculty member Charles Boone ---------------------------------------------------------------------------- ------------------------- JOIN THE GOETHE-INSTITUT - Become a Member! You are invited to become a friend and benefactor of the Goethe-Institut, San Francisco. If you are interested in German culture, or have enjoyed our programs, language classes, and library services in the past, we hope you will consider becoming a member so that we can continue to offer you the benefits you have come to value. General Membership: $45 Individual $30 Educator (ID required) $25 Student/Senior (students w/school ID) $65 Family/Couple Patron Membership:* $100 Contributor 200 Donor $500 Sponsor *NOT tax deductible Benefits: -1-year subscription to Calendar of Events. -Discounted tickets to events sponsored by the Goethe-Institut (for the Berlin & Beyond film festival only festival passes are discounted) -Use of Goethe-Institut Information Center -Discount on language classes at the Goethe-Institut - Discount on language classes at our partner institutions, Alliance Franaise and Istituto Italiano di Cultura. Volunteer Opportunities: -Volunteering at the Goethe-Institut or the Berlin & Beyond film festival is fun and rewarding. Please call (415) 263-8760 for more information! Make checks payable to and return form to: Goethe-Institut San Francisco 530 Bush Street San Francisco, CA 94108 Phone: 415 263-8760 Fax: 415 391-8715 http://www.goethe.de/sanfrancisco ========================================================================= Date: Wed, 2 Aug 2000 01:33:44 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Igor Satanovsky Subject: call for submissions Comments: To: MikeKoja@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit KOJA poetry magazine, a publication of KOJA PRESS dedicated to exploration of Russian/American Avant-Garde crossroads, is looking for submissions for the upcoming late fall issue. We are interested in experimental and visual writing beyond/outside the esthetics of traditional language poetry. Subscription is $12 for 2 issues. Back issues are available. E-submissions acceptable. For more info on KOJA submission guidelines/sample issues/subscription, contact Mike Magazinnik at Mikekoja@aol.com Igor Satanovsky, KOJA PRESS ========================================================================= Date: Wed, 2 Aug 2000 12:36:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bertha Rogers Subject: AUGUST UPDATE - NYSLIT(ERARY) TREE MIME-Version: 1.0 Content-type: text/enriched; charset=US-ASCII Content-transfer-encoding: 7BIT 0000,0000,0000Dear Literary Friends, Literature doesn't take a holiday in New York State! Check out 0000,7F00,0000http://www.nyslittree.org0000,0000,0000 for the latest updates on: 1) New York's Literary Curators; 2) New York's Literary Organizations; 3) New York's Literary Events, up, down, all over the state; 4) New York's Circuit Writers - those writers who wish to read from their new books at your event or venue; 5) Interstate Writers - national writers who wish to read from their new books at New York events or venues; 6) The Poulin Project -- small press and literary journals funded by the New York State Council on the Arts; 7) New York's Latino Writers Roundtable - a transcript of the groundbreaking event. We would like to include information about your events or organizations on www.nyslittree.org. Look at the site; follow the format for each section in which you wish your information posted; email it to 0000,7F00,0000wordthur@catskill.net0000,0000,0000 no later than the 20th of each month. We welcome your feedback! > > Bertha Rogers & Brittney Schoonebeek > > > > > > > > ========================================================================= Date: Wed, 2 Aug 2000 13:23:24 -0400 Reply-To: i_wellman@dwc.edu Sender: UB Poetics discussion group From: D Wellman Subject: Re: Zukofsky query - esp. for NY-ers? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Socony: Stand Oil Company New York -- Donald Wellman http://www.dwc.edu/users/wellman/wellman.htm ========================================================================= Date: Wed, 2 Aug 2000 18:09:57 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Re: Zukofsky query - esp. for NY-ers? Mime-Version: 1.0 Content-Type: text/plain; format=flowed Around 1940, SOCONY stood for Standard Oil Company of New York. Ron Silliman ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Wed, 2 Aug 2000 14:30:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: List Stats MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit These are the current statistics for subscribership to the Poetics List. % Christopher W. Alexander % poetics list moderator -- Country Subscribers ------- ----------- Australia 13 Belgium 2 Canada 43 Finland 1 Germany 3 Great Britain 23 India 1 Ireland 5 Israel 1 Italy 1 Japan 5 New Zealand 13 Romania 1 Singapore 1 Spain 2 Sweden 3 Switzerland 2 Thailand 1 USA 721 Yugoslavia 1 ??? 1 Total number of users subscribed to the list: 845 Total number of countries represented: 21 ========================================================================= Date: Wed, 2 Aug 2000 09:45:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: Jeff Derksen review In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >>How embarrassing, I spelt Jeff Derksen's name wrong--please forgive my gaff >>and please change from 'Derksen' to 'Derksen.' >> >>Lori Emerson > >Actually, neither of those is correct. It's "Derksen," > >gb >-- >George Bowering >Fax 604-266-9000 George, are you sure? I could have sworn it is "Derksen." David ========================================================================= Date: Wed, 2 Aug 2000 09:30:20 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rob Wilson Subject: cultural poetics of US Pacific as global/local nexus Comments: cc: poesis1@msn.com MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7bit Announcing the publication of: REIMAGINING THE AMERICAN PACIFIC: From South Pacific to Bamboo Ridge and Beyond by Rob Wilson In this compelling critique Rob Wilson explores the creation of the “Pacific Rim” in the American imagination and how the concept has been variously adapted and resisted in Hawai‘i, the Pacific Islands, New Zealand, and Australia. Reimagining the American Pacific ranges from the nineteenth century to the present and draws on theories of postmodernism, transnationality, and post-Marxist geography to contribute to the ongoing discussion of what constitutes “global” and “local.” Reimagining the American Pacific is an engaging and provocative contribution to the fields of Asian and American studies, as well as those of cultural studies and theory, literary criticism, and popular criticism. Early Praise for Reimagining the American Pacific “At ease with the interface of the local and global, Rob Wilson flies in and out of Asia and the Pacific. As he rediscovers and redefines the continent, islands and waters, he constantly rereads America. Such a geographic venture is also an exercise in de-disciplining. Circulating freely among literature, culture, economics, politics, history, and media, Wilson’s imagination and judgment are shrewd, sardonic, zestful, zany, and delightful. Reimagining the American Pacific is a thoroughly rewarding book.”—Masao Miyoshi, University of California, San Diego A complete description of the book and its table of contents is available at www.dukeupress.edu or available at amazon.com or frontlist.com etc. Duke Univ Press paperback, $18.95 ISBN:0822325233 etc etc. >These are the current statistics for subscribership >to the Poetics List. > >% Christopher W. Alexander >% poetics list moderator > >-- > >Country Subscribers >------- ----------- >Australia 13 >Belgium 2 >Canada 43 >Finland 1 >Germany 3 >Great Britain 23 >India 1 >Ireland 5 >Israel 1 >Italy 1 >Japan 5 >New Zealand 13 >Romania 1 >Singapore 1 >Spain 2 >Sweden 3 >Switzerland 2 >Thailand 1 >USA 721 >Yugoslavia 1 >??? 1 > >Total number of users subscribed to the list: 845 >Total number of countries represented: 21 > ========================================================================= Date: Wed, 2 Aug 2000 15:47:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bertha Rogers Subject: Word Thursdays Speaking the Words Festival 2000 MIME-Version: 1.0 Content-type: text/enriched; charset=ISO-8859-1 Content-transfer-encoding: Quoted-printable Times New RomanSp= ecial from Bright Hill Press/Word Thursdays, POB 193, Treadwell, NY 13846 Contact: Bertha Rogers - 607-746-7306 or email at wordthur@catskill.net FOR IMMEDIATE RELEASE Treadwell =97 The Bright Hill Press/Wor= d Thursdays 8th Annual Speaking the Words Poets and Writers Tour and Festival: A River of Words, will take place August 11, 12, and 13, 2000, at Bright Hill Farm, o= n Delaware County Route 16, in New York=92s famed Catskill Mountain region, and in the produce department of Domion=92s Great American Supermarket, the Quarter Moon Caf=E9, and the Delaware National Bank of Delhi, the Andes Public Library, and Barlow=92s General Store in Treadwell= . Events will include readings and performances by special guest writers Paul Genega, Stuyvesant, NY; Loss Pequeno Glazier, Williamsville, NY; Dennis Nurkse, Brooklyn, NY; Lidia Ramirez, New York, NY; Sharyn J. Skeeter, Stamford, CT; and NYC=92s Ratapallax Press writers George Dickerson, Richard Levine, Ron Price, Elaine Schwager; and Lyric Recovery writer Maureen Holm. Also performing their poetry will be Word Thursdays Share the Words Catskill Region High-School Poetry Competition poets Kristina Plath, Delhi; Elena Caputo, Norwich; Kacie Gehl, Walton; Amanda Jane Rose, Edmeston, and Lines Valero, Hancock; and the Word Thursdays Workshops for Kids writers. The Word and Image art exhibit features the work of regional artists as well as artists from New York City, Illinois, Indiana, Texas, and Washington States. Events to which the public is invited to participate include open readings; dead poets=92 readings; the Word and Image Art Exhibit; readings by senior citizens, mural-making workshops for kids; starlit choral readings of =93Summer=94 and =93Roads=94 by the great American poet= Amy Lowell, and the first ever Great American Potato-and Poem- Throwing Contest, using a homemade =93spudzooka.=94 Paul Genega published =93That Fall: New and Selected Poems=94 and =93At the Tone=94 this year. He is the author of two earlier full-length collections and four chapbooks and has published hundreds of poems in periodicals in the United States and abroad. Genega has received an NEA fellowship, the =93Discovery=94/The Nation Prize, and The Lucille Medwick Award from =93The New York Quarterly.=94 He teaches at Bloomfield College, New Jersey, where he is currently Chair of the Faculty. Loss Pequeno Glazier is director of the Electronic Poetry Center at SUNY Buffalo. The EPC is a significant presence on the World Wide Web, receiving 10 million connections a year from over 90 countries. Glazier, a native of the Tejano and Mexican-American culture of south Texas, is author of the poetry collections =93Leaving Loss Glazier,=94 =93= The Parts,=94 =93Small Press: An Annotated Guide,=94 and the forthcoming =93Di= gital Poetics=94 (University of Alabama Press). Dennis Nurkse, Brooklyn=92s Poet Laureate, is the recipient of 1995 and 1984 NEA fellowships in poetry, the 1990 Whiting Writers=92 Award, the 1998 Bess Hokin Prize from Poetry/The Modern Poetry Association, and a 2000 Tanner Foundation award. His books of poetry include =93Leaving Xaia,=94 =93Voices over Water,=94 =93Shadow Wars,=94 and =93Sta= ggered Lights.=94 Forthcoming are =93The Rules of Paradise=94 and new poems in =93The New Yorker,=94 the =93Paris Review,=94 =93Poetry,=94 =93The Kenyon = Review,=94 =93TriQuarterly,=94 and other magazines. Lidia Ramirez, an award-winning playwright from Manhattan, has served as consultant to the New York State Council on the Arts Latino Writers Roundtable in May of 1999 and the NYSCA Latino Publishers Roundtable in May of 2000. Sharyn Jeanne Skeeter=92s poetry has been published in many journals and anthologies. She was fiction/poetry/book editor at =93Essence=94 and editor in chief at =93Black Elegance.=94 Recently, Sharyn has been a visi= ting assistant professor at the University of Bridgeport in Connecticut. She had a poetry segment, =93Poetry Kaleidoscope, on a National Public Radio affiliate. The Speaking the Words Poets and Writers Tour and Festival is sponsored by Bright Hill Press/Word Thursdays and funded, in part, with public funds from the Literature Program of the New York State Council on the Arts, a state agency. Additional funded is provided by the A. O. Molinari Foundation, Stewart=92s Shops, BHP/WT members, and area businesses. For more information on the festival, including a complete schedule and directions, contact Bright Hill Press, POB 193, Treadwell, NY 13846 or email the organization at wordthur@catskill.net. ========================================================================= Date: Wed, 2 Aug 2000 17:00:14 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: conVENTion(s) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Listers: Does anyone out there close watching the convention find it so far best described as something between Coleridge's "willing suspension of disbelief" and Keat's opaque "negative capability" ? Watching the Philadelphia Big Top seems to beg me to judge its reality...while asserting its reality. Democracy, instead of disappearing, merely surrendered its truth claims, turing itself into a comforting poetry on one hand or an empty moralizing on the other. Bst, Gerald ========================================================================= Date: Wed, 2 Aug 2000 14:12:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Jeff Derksen review In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > George, your last two posts have really made me laugh LOUDLY so thanks for >that! I admire extravagantly your ability to deflate all the hot air around >here in a few well-chosen words . . . thanks. > >I'm happy this week because the Giants have gone into first place. You >following anyone this season? Mainly I rad the box scores to see how my fantasy team players did the night before. But I am really interested in the Mariners this season. I am manly doing what you are doing, I presume, hoping against the Yankees. -- George Bowering Fax 604-266-9000 ========================================================================= Date: Wed, 2 Aug 2000 18:47:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: ange mlinko on writenet Comments: cc: Ange Mlinko , writenet@twc.org MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII This month on writenet, poet Ange Mlinko talks about Frank O'Hara, "language" poets, grammar, teaching poetry to kids... you can also download ange's voice reading her poem "Paranormal Writing." MP3 technology is now in place for this one. To read the interview, go to http://www.writenet.org/poetschat/poetschat.html and click on the Ange Mlinko link ========================================================================= Date: Wed, 2 Aug 2000 15:59:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: New in Double Lucy's Lucille series: Mirakove Comments: cc: WOM-PO@listserv.muohio.edu Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Double Lucy Books is proud to announce the publication of =20 Lucille #5 stupefaction in the face of the cultural phenomenon of rape Carol Mirakove (broadside, edition of 60. 75=A2) August 2000 ---------------------------------------------- Lucilles=20 (postcards, pamphlets, broadsides)=20 ---------------------------------------------- Lucille #4 Wooden Soldiers Sweet Rachel Levitsky Lucille #3=20 fragments on Mary Shelley's Journals Merle Bachman =20 Lucille #2=20 in media res=20 Marcella Durand=20 Lucille #1=20 The Milk Bees Elizabeth Treadwell=20 .......... Forthcoming:=20 Lisa Jarnot & Jocelyn Saidenberg Future Lucilles to be announced. subscriptions to the Lucille series: $5/5 Lucilles #s 1,4,5 are still available from Double Lucy Books PO Box 9013 Berkeley, CA 94709 cash or stamps are fine; please make checks payable to Elizabeth Treadwell http://users.lanminds.com/dblelucy Lucilles are also sold at Blue Books, San Francisco ========================================================================= Date: Wed, 2 Aug 2000 21:57:45 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kenneth Sherwood Subject: SOCONY Thanks MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Thanks to all who helped in the unravelling. Would there were prizes available to show virtual thanks. "A"-8's SOCONY stands for Standard Oil Company of New York, which did business in the northeast from the 1930s through the mid-sixties. A 1927 roadmap captures the spirit with a cover image of NY state renamed "SOCONYLAND." Taken in context, "SOCONY will not always sign off on this air." ("A"-8 61-63) is probably a play on a (real/fictive) radio sign-off for the sponsor. Thus it rhymes with Gill Scott Heron's "The revolution will not be televised" -- as well as "A"-8's ironic: "New York, N.Y. Editor, Times Union: I would die for dear old Standard Oil Ex-Soldier, 12:47 P.M" Thanks again all, KS ---------------------------------------- But the labor process Consider the labor process apart From its particular form under particular social conditions What distinguishes any worker from the best of the bees Is that the worker builds a cell in his head before he constructs it in wax. . . . By the green waters oil The air circles the wild flower; the men Skirt along the skyscraper street and carry weights Heavier than themselves; By the rotted piers where sunk slime feeds the lilly-pads, Not earth's end. The machines shattering invisibles And which wrecked the still life Precede the singling out; the setting up of things Upholds the wrist's force; and The blood in the ear Direction of the vertical rigidly bound to the head, the accelerated motion of rotation of the head Under the head's hair. SOCONY will not always sign off on this air." ("A"-8 61-63) ========================================================================= Date: Thu, 3 Aug 2000 00:31:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Killian Subject: "Democracy, the Last Campaign" Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi everyone, it's Kevin Killian. If any of you have web access you should check out this project that Margaret Crane and Jon Winet are doing re the Republican Convention this week. (It will continue right through the election). It's called "Democracy--the Last Campaign." Here's the URL http://dtlc.walkerart.org/ And when you get there and see the stars or twinkling lights or whatever they are, click on one of them and that will take you to succeeding menus. I'm writing for it, so is Dodie Bellamy, Roberto Tejada has been writing, David Levi Strauss, oh, there's quite a few of us all giving our opinions on the Republican Convention from wherever we happen to be. Margaret and Jon are actually in the press booth in Philadelphia streaming video, shooting live interviews, the whole nine yards. Margaret called me very excited the other night. Apparently up in the press room at the top of the Convention Center you get free long distance calls 24 hours a day!!! Is there anyone in Philadelphia on this list, what's happening, write me back channel and tell me! Thanks everyone Check it out . . . See you ========================================================================= Date: Thu, 3 Aug 2000 13:51:25 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: daisy zamora Mime-Version: 1.0 Content-Type: text/plain; format=flowed ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Please add your name to this petition by responding to suncoal@dnai.com, and please forward to all concerned writers, artists, and human rights advocates. Spanish text follows the English. Ver abajo texto en español. Por favor distribuir/enviar. Envia tu firma de adhesión a esta petición a: suncoal@dnai.com ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ In Support of Daisy Zamora, 19 July 2000 En apoyo a Daisy Zamora, 19 de Julio de 2000 Renowned Nicaraguan poet Daisy Zamora is a respected writer and human rights advocate, combat veteran of the Nicaraguan Revolution, former voice of underground Radio Sandino, and former Vice Minister of Culture for the Nicaraguan Revolutionary Government. After years of defending, and speaking for, the voiceless in her own country (women, children, and the poor in particular), she finds herself threatened and intimidated by lawless forces at a crucial moment in her country’s history. Most recently, this took the form of a fraudulent article attributed to her, published along with her photograph and e mail address, in El Nuevo Diario, Nicaragua’s largest daily newspaper. The article was a virulent attack upon the current government of Nicaragua, as well as specific individuals, and could have endangered her life. She learned that this article was written by the prominent Nicaraguan sociologist and author Oscar René Vargas. Currently under a restraining order, he is her ex husband, a man who has stalked and harassed her ever since she divorced and fled him three years ago. His fraudulent article was the latest in a string of acts by a man who has done everything possible to crush Zamora’s rights since she left him, not to mention extreme efforts on his part to stop her from pressing legal demands against him to pay court ordered child support for their two children who live with her. Zamora has weathered everything from psychological abuse to charges of kidnapping by this man, but she has refused to back down on issues of major importance to most women in Nicaragua. El Nuevo Diario gave her the opportunity to publish a rebuttal and exposé of the fraudulent Vargas article, and she used that space in their newspaper to make her situation very public. She chose to break her silence, knowing that if a woman of her accomplishments could be treated in such a manner, then voiceless, powerless women facing similar situations all over Nicaragua would have no alternative but to suffer in silence. The fraudulent article was intended to endanger her safety, repress her voice as a writer, damage her ability to publish her opinions freely, and restrict her freedom of movement to and from Nicaragua, but it served only to stimulate her energy and anger against injustice. She exposed her private life and came out powerfully against the repression she has experienced as a woman, knowing she is not alone. Her plight is mirrored in the lives of countless women in Nicaragua who have not yet realized full social equality, and she is determined to expose the truth of these attempts to repress women’s voices on every social level in Nicaragua. In addition to publishing her rebuttal, El Nuevo Diario tightened its security, and responded with integrity, informing Zamora that Vargas, who frequently published in their pages in the past, will never again be published by them in any capacity because of his fraudulent article. However, in spite of Zamora’s vigorous efforts, no legal action has been taken against Vargas for his fraudulent article, but that must be corrected. Such individual terrorism and repression must not be tolerated in free society, especially in an impoverished Central American country that needs its strongest voices and press to be as free as possible to help it emerge from years of political confusion and chronic poverty. Nicaragua will soon face profoundly important Presidential elections that will determine the course of its future as a nation. Such manipulation and disrespect for the press, and the attempt to silence an important writer, could set back the cause of human rights in Nicaragua by decades. Newspapers are still a vital source of information there, and must not be hindered in their role of contributing to social progress. If there can be no faith in the authorship of what they publish, they will lose their power as reliable information sources, and that is a matter of concern to all who believe in the concept of a free press. Tolerating this type of behavior sends a wrong message to the people of Nicaragua at a time when women’s rights are in a fledgling state, and at a political moment when the country is in need of as many examples of justice and fairness as possible. We the undersigned represent thousands of writers, artists, and human rights advocates around the world who have been alerted to this grave situation. We call upon the government and media of Nicaragua to conduct full scale investigations into this crime by Oscar René Vargas against their free press, and the attempt to endanger one of their most important writers. We urge them to guarantee her safety to continue speaking, writing, traveling, and working for justice, on behalf of writers everywhere, and in the name of fairness to the emerging voices of women who are struggling to be heard and should not be silenced by those who believe they can act with impunity. Such impunity spells a death sentence for human rights and the free press. To add your name to this petition, reply to: suncoal@dnai.com —or— PO Box 880274, San Francisco, CA 94188 0274, USA Signed: Claribel Alegría, Writer, Nicaragua; Charles Alexander, Poet, Director of Chax Press, US; Lawrence Ferlinghetti, Poet, Publisher, City Lights Books, US; Gioconda Belli, Writer, Nicaragua; Grace Paley, Writer, Activist, US; Larry Heinemann, Writer (National Book Award), US; Leslie Marmon Silko, Writer (MacArthur Prize), US; Margaret Randall, Writer, Activist, US; Dr. Clarissa Pinkola Estés, Journalist, Director of La Sociedad de Guadalupe, US; Laura E. Asturias, Journalist, Columnist, Guatemala; Doris Acevedo, Venezuela; Ana Leticia Aguilar, Guatemala; Aida Iris Cruz Alicea, Puerto Rico; María Mercedes Andara, Flamenco Dancer, Nicaragua; Christian Appy, Writer, Historian, US; Julia Ardón, Photographer, Costa Rica; María Rosa Ávila, Argentina; Graciela Ballestero, Argentina; Milagros Barahona, Sociologist, Nicaragua; Bill Barich, Writer, US; Laura R. Barton, Writer/Policy Analyst, US; Iciar Bollain, Director, Film Actress, Spain; Mary Bolt, Nicaragua; Mirta A. Botta, Writer, Argentina; Kevin Bowen, Poet, Director of the Joiner Center (Boston), US; Carola Brantome, Writer, Nicaragua; Lucinda Broadbent, Television Producer, Scotland; Carmen Burdiles Chilean Service Committee, Concepción, Chile; Barbara Byers, Artist, Teacher, US; Bobby Byrd, Poet, Publisher, Cinco Puntos Press, US; Lee Merrill Byrd, Writer, Publisher, Cinco Puntos Press, US; Rosalía Camacho, Costa Rica; Ana Carcedo, Publisher, Costa Rica; Gloria Careaga Perez, Human Rights Activist, México; MC Castillo, Designer, Writer, México; María Joaquina Cerdas, Nicaragua; Denise Chavez, Writer, US; Gabriela De Cicco, Writer, Journalist, Argentina; Miranda Collet, Nicaragua; Gillian Conoley, Poet, US; Cid Corman, Poet, Publisher, Japan; Martha Isabel Cranshaw, CISAS, Nicaragua; Patricia Daniel, Activist, United Kingdom; John F. Deane, Poet, Founder of Poetry Ireland, General Secretary of the European Academy of Poets, Ireland; Lisa Verónica Donado, Guatemala; Nguyen Qui Duc, Writer, US; Mary Dutcher, Writer, Activist, US; Sarah Escoral, Doctor and Sociologist, Rio de Janeiro, Brazil; Martín Espada, Writer, Activist, Attorney, US; Beatriz Espejo, Writer, México; Mario Carbolla de la Espriella, International Model, Costa Rica; George Evans, Writer, US; Marjorie A. Fisher, US/Nicaragua; Lea Fletcher, Researcher, Writer, Publisher, Argentina; Renée de Flores, Guatemala; M. Cristina da Fonseca, Writer, Chile; Tony Frazer, Publisher, Shearsman Books, England; Elva Crespo Fuentes, ASONG’S Cochabamba, Bolivia; Giselle García, Costa Rica; Alicia Genovese, Writer, Argentina; Adriana Gomez, Journalist, Chile; Patricia Laura Gómez, Professor, Argentina; Matt Gonzalez, Civil Rights Attorney, Public Defender City of San Francisco, US; Patrisia Gonzales, Syndicated Columnist, US; Angelica Gorodischer, Writer, Argentina; Sujer Gorodischer, Architect, Argentina; Paul Gattone, Human Right Attorney, US; Joy Harjo, Writer, Musician, US; Claudia Hasanbegovic, Lawyer, Researcher, Activist, Argentina/Great Britain; Brigitte Hauschild, Nicaragua; Manuel Ortega Hegg, Writer, Sociologist, Nicaragua; Edward R. Holland, Cinco Puntos Press, US; Isolda Hurtado, Writer, Nicaragua; Ivor Indyk, Critic, Editor (HEAT), Australia; Nicholas Jose, Australia; Evelyn Juers, Writer, Australia; Marilyn Kane, US; Wayne Karlin, Writer, US; Karl David Kelly, Attorney, International Law, US; Joan Kruckewitt, Writer, Journalist, US; Gloria Lenardón, Writer, Argentina; Humberto de León, Guatemala; Lillian Leví, Columnist, Editor, Nicaragua; Nan Levinson, Writer, US; Itziar Lozano, Soy Bean Development Association of Nicaragua (SOYNICA), Nicaragua; Elizabeth Maier, Sociologist, Writer, US/México; Federico Cerdas Mairena, Civil Engineer, Nicaragua; Fernando Malespín, Lawyer, Nicaragua; Myra Pasos Marciacq, Sociologist, Nicaragua; Demetria Martinez, Writer, Columnist, National Catholic Reporter, US; Elizabeth Martinez, Author, Activist, US; Nora del Carmen Meneses Mendoza, Nicaragua; Vidaluz Meneses, Writer, Nicaragua; Auxiliadora Meza, Lawyer, Nicaragua; Malena de Montis, Sociologist, Activist, Nicaragua; Norman Gutiérrez Morgan, Activist, Nicaragua; Doris Garcia Mosquera, Association of Afro Colombian Women, Columbia; Alejandra Müller, Honduras; Marilyn Nelson, Poet, Professor, US; Robert Nichols, Writer, Activist, US; Arantxa Cayón Nieto, Journalist, Spain; Marvin Mayorga Norori, Independent Gay Activist, Nicaragua; Wanda Vanessa Obando, Nicaragua; Irene Ocampo, Journalist, Writer, Argentina; Arabella Salaverry Pardo, Writer, Actress, Costa Rica; Barbara Paschke, Translator, US; Rosa Pasos, Nicaragua; Luis Pereira, Poet, Uruguay; Angeles Bermudez Perez, Translator, Nicaragua; Kate Peters, US; Nancy Peters, Publisher, City Lights Books, US; Sandra S. Phillips, Curator (San Francisco Museum of Modern Art), US; Maria Flórez Estrada Pimentel, Journalist, Costa Rica; Nancy Portocarrero, Producer, Australia; Minnie Bruce Pratt, Writer, Activist, US; Marina Prieto, Activist, United Kingdom; Carl Rakosi, Poet, US; Gisela López Ramirez, Guatemala; David Ray, Writer, US; Judy Ray, Writer, US; Janet Rodney, Poet, Letterpress Printer, US; Catalina Rodriguez, Journalist, “Colectivo Rebeldía,” Bolivia; Edna Victoria Rodríguez, Writer, Guatemala; Joaquín Rodríguez B., Artist, Producer, Costa Rica; Judith Rodriguez, Writer, Australia; Luis Rodriguez, Writer, US; Ana Mercedes Rojas, Costa Rica; Azahalea Solís Román, Center for Constitutional Rights, Nicaragua; Jesús Vejar Romo, Human Rights Attorney (Tucson, Arizona), US; Irma Elena Rosas, Guatemala; Brenda Consuelo Ruiz, Writer, Nicaragua; Angela Saballos, Journalist, Nicaragua; Mariella Sala, Writer (Relat: Network of Latin American Women Writers), Perú; Silvia Salgado, Nicaragua; Karla Sanchez, Writer, Nicaragua; Nellys Palomo Sanchez, México; Adela Santana, Anthropologist, Puerto Rico; Christiane Sattler, Germany; Rosie Scott, Australia; Clara Sereni, Writer, Italy; Ron Silliman, Poet, US; Domenic Stansberry, Writer, US; Christa Stolle, Director of Terra des Femmes, Germany; Leslie Anne Sullivan, Professor, Nicaragua; Laura Tavares, Nurse, Professor, Brazil; Alexander Taylor, Publisher, Curbstone Press, US; Ralph Timperi, Tufts University School of Medicine, US; María de Jesús Tenorio D., Activist, Nicaragua; María Dolores G. Torres, Art Historian, Researcher (Institute of History of Nicaragua and Central America), Nicaragua; John Tranter, Poet, Editor Jacket), Australia; Guadalupe Urbina, Singer, Songwriter, Costa Rica/Holland; Rima de Vallbona, Costa Rica; Pedro Gómez Vásquez, Guatemala; Dora de la Vega and The Feminist Marxist La Corriente “Clara Zetkin,” Argentina; Ana Cristina González Vélez, Colombia; Stephen Vincent, Writer, US; Ana Quiros Víquez, CISAS, Nicaragua; Maria Elsa Vogl, Writer, Member of the Nicaraguan Writers’ Center (Managua), Nicaragua; David Volpendesta, Journalist, Writer, US; Kathleen Weaver, Translator, US; Eliot Weinberger, Writer, Translator, US; Marta Zabaleta, Economist, Writer, Great Britain; Mónica Zalaquett, Writer, Activist, Nicaragua; Marta Zamora, Cultural Promoter, Nicaragua; Janet Zandy, Editor (Women’s Studies Quarterly), Professor, US; María E. Zelaya, Ecologist, Nicaragua; María Hamlin Zúniga, Activist, Nicaragua; ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Thu, 3 Aug 2000 11:14:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Bouchard Subject: Berkeley commencement speech Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit It was ten years ago this week that Iraq invaded Kuwait and the US began massing troops in the Gulf region and simultaneously imposing economic sanctions against Iraq. Those sanctions have never been lifted. Below is the transcript of a commencement speech given at UC Berkeley in June 2000 by Fadia Rafeedie. She is a top student and an acitivist for Palestinian rights.Her speech below preceded Sec. of State Albright's. Please read what she says here. She is someone to be proud of. _________________ I don't know why I'm up here articulating the viewpoints of a lot of my comrades out there who were arrested, and not them. It's not because I got, you know, straight A's or... maybe it is. Maybe that's the way the power structure works, but I'm very fortunate to be able to give them a voice. I think that's what I'm going to do, so if you give me your attention, I'd really appreciate it. I was hoping to speak before Secretary Albright, but that was also a reflection of the power structure, I think, to sort of change things around and make it difficult for people who are ready to articulate their voice in ways they don't usually get a chance to. So I'm going to improvise, and I'm going to mention some things that she didn't mention at all in her speech but which most of the protesters were actually talking about. You know, I think it's really easy for us to feel sorry for her, and I was looking at my grandmothers who are actually in the audience - my grandmother and her sister - who weren't really happy with all the protesters, and I think they thought that wasn't really respectful of them, and a lot of you didn't, I don't think, because you came to hear her speak. But I think what the protesters did was not embarrass our university. I think they dignified it. Because secretary Albright didn't even mention Iraq, and that's what they were here to listen to. And I think sometimes NOT saying things - not mentioning things - is actually lying about them. [Applause] And what I was going to tell her while she was sitting on the stage with me, I was going to remind her and I was going to remind you that four years ago from this Friday when we were freshmen, I heard her on 60 Minutes talking to a reporter who had just returned from Iraq. The reporter was describing that ½ a million children were dying [died] due to the sanctions that this country was imposing on the people of Iraq. And she told her, listen, "that's more.. children than have died in Hiroshima and Nagasaki. Do you think the price is worth it?" [Albright] looked into the camera and she said, "the price is worth it." And I was going to tell her, "do you really think the price is worth it??!" Since that time, 3 times that number of... people have died in Iraq. I mean, we're about 5,000 here today. Next month by the time we graduate, that's as many people who are going to die in Iraq because of the sanctions. This is what House Minority Whip David Boniors calls 'infanticide masquerading as policy.' Now, I don't want to make the mood somber here because this is our commencement, but commencement means beginning, and I think it's important for us to begin where civilization itself began, and where it's now being destroyed. [applause] Let me talk to you a little bit... a little bit more about the sanctions, because I think it's very important. Now, I'm a Palestinian, I would really love to talk about the struggle for the liberation of my country, and to talk about a whole bunch of other things... and I see some people maybe rolling their eyes, and other people nodding... these are controversial issues, but I need to speak about Iraq because I think what's happening there is a genocide. It's another holocaust. And I'm a history major, and sometimes I look back at history and I see things like the slave trade, the Holocaust... you know, I see... I see people dropping atomic bombs and not thinking what the ramifications are, and I don't want us to think about Iraq that way. It's already a little too late because 2.5 million people have died and yet these sanctions continue. For the last 10 years, you wouldn't imagine the kinds of things that aren't being let into this country: heart machines, lung machines, needles, um... infrastructural parts to build the economy. Even cancer patients... sometimes some of the medicine will be let in, but not ALL of the medicine. It's very strategic what's let in at what time, because what it does is it prolongs life, but it doesn't save it. In Iraq, the hospitals... they clean the floors with gasoline because detergent isn't even allowed in because of the sanctions. These are all United States policies. And Secretary Albright - I have no conflict with HER, you know, as an individual.. I don't happen to RESPECT her, but she belongs to a larger power structure. She's a symbol. And when the protesters are protesting, it's not because they, you know, want to pick a fight with the.. with the woman who you guys all happen - well, many of you - happen to love. In fact, she was.. she was introduced as the 'greatest woman of our times.' Now see, to me that's an insult. [applause] This woman is doing HORRIBLE things. She's allowing innocent people to suffer and to die. Iraq used to be the country in the Arab World that had the best medical services and social services for its people, and NOW look at it. It's, it's being OBLITERATED. And a lot of times you might hear it's because of Saddam Hussein and I'd like to talk a little bit about that. He's a brutal dictator - I agree with her, and I agree with many of you. But again, I'm a history major, and history means origins. It means beginnings. We need to see who's responsible for how strong Saddam Hussein has gotten. When he... when he was gassing the Kurds, he was gassing them using chemical weapons that were manufactured in Rochester, New York. And when he was fighting a long and protracted war with Iran, where 1 million people died, it was the CIA that was funding him. It was U.S. policy that built this dictator. When they didn't NEED him, they started imposing sanctions on his people. Sanctions - or any kind of policy - should be directed at people's governments, not at the people. The cancer rate in Iraq has risen by over 70 percent since the Gulf War. The children who are dying from these malicious cancers [and here the front row walked out of the theatre so I was blabbering incoherently]... um.. and diseases, they weren't born when the Gulf War happened. The reason that the cancer rate is so high is because every other day our country is bombing Iraq STILL. We're still at war with them. They have no nuclear capabilities. In fact, just last week, the United Nations inspectors found [again] that Iraq has no nuclear capabilities and yet WE are BOMBING them every other day with depleted uranium. And what this does is it releases a gas that the people breathe. It's making them ill, and they're dying and they don't have medicine. I saw some of my friends, even, being arrested here today. One of them was Lillian. Her aunt did a documentary about this depleted uranium, and it showed that it's being MINED by Native American populations in the United States. THEY'RE getting sick. Their children are getting sick. And that depleted uranium is going from HERE, to our MILITARY, to Iraq, and it's decimating populations. This is a big deal. And I'm embarrassed that I don't even get to talk about Columbia, because I saw a few signs about that, too. And my colleague here, Darren Noy, who's also a Finalist, is very interested in these issues. We don't stand alone. I'm on stage with allies, I'm looking out at allies, we need allies, my allies have been taken away [today]. But in general, I mean, I'm speaking to a crowd that gave a standing ovation to the woman who typifies everything against which I stand, and I'm still telling you this because I think it's important to understand. And I think, that if I achieve nothing else, if this makes you think a little bit about Iraq, think a little bit about U.S. foreign policy, I've succeeded. I don't want to take too much of your time, but I want to end my speech with a slogan that hangs over my bed in Arabic. It says, "La tastaw7ishu tareeq el-7aq, min qilit es-sa'ireen fihi" and that translates into, "Fear not the path of truth for the lack of people walking on it." I think our future is going to be the future of truth, and we're going to walk on that path, and we're going to fill it with travelers. ><>>>>>>>>>>>>>>>>>>>>>>>>> Daniel Bouchard Senior Production Coordinator The MIT Press Journals Five Cambridge Center Cambridge, MA 02142 bouchard@mit.edu phone: 617.258.0588 fax: 617.258.5028 <>>>>>>>>>>>>>>>>>>>>>>><>> ========================================================================= Date: Thu, 3 Aug 2000 10:31:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: Authors Regain Copyright Control In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >The press release below was written as only law firms could write one. >However, the website -- www.uncoversettlement.com -- has a lot more >information. It includes a database that will enable you to see if you are >among the thousands of writers whose work was being sold without permission >over the net. > >Please note that there are deadlines! > >Feel free to distribute to writer's lists, etc. > >And pardon the cross posting. > >Ron Silliman Different cultures. In my line of paid work, given recent extreme cuts in library journal acquisitions, we rely on UnCover. Since no-one makes any money off mathematical journal articles, no-one minds UnCover distributing her (mathematical) work. But then again we generally don't retain copyright either. Good luck to all who were unfairly treated. -- --------------------------------------------------------------------------- Judy Roitman | "Whoppers Whoppers Whoppers! Math, University of Kansas | memory fails Lawrence, KS 66045 | these are the days." 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Thu, 3 Aug 2000 11:47:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William A Sylvester Subject: Re: Zukofsky query - esp. for NY-ers? In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hello Ken: Socony-Vacuum was a gas company, gasoline company for automobiles--I'm sure they had a commercial on a radio station, but some commercials did ed witha "signing off for Blank maker of that good blank blank." Or there was the double commercial "Ipana for the smile of beauty, Sal Hepatica for the smile of Health" I see you're on page63-- on p 58: "Technology throughs light on mental conceptions"--and then the passage about repetitions on p 59--I suspect we are to think of the line about how one listen and pereives. Technology seems to be woven in with the "political" The first line And of labor Last line Labor, light lights in air, on earth, in earth. A line so great that he tacks on a coda and repeats it! Delighted that you are workig on Z. By the way, when we lived in a bigger house we rented the third floor to musicians, usually violinists, and one of the said she was going to New York to a master class or something like that with a Paul Zukowsky, so I mentioned Z, and she came back absolutely frozen--after "Are you the son of the famous poet, Louis Zukofsky" She said he just glared at her I guess the shrapnel haunts. Good to see you in Orono. Cheers, Bill On Tue, 1 Aug 2000, Kenneth Sherwood wrote: > Reading and writing about Zukofsky's "A" of late, I'm puzzled by a passage in > "A"-8: "SOCONY will not always sign off on this air" (p. 63, UCP ed). > > Can anyone identify "SOCONY?" The line evokes a radio station-identification > for me. Could it be a station nick-named "Soco" in New York? > > Guesses if not answers would be welcome! Please backchannel: > kwsherwood@aol.com > ========================================================================= Date: Thu, 3 Aug 2000 11:52:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William A Sylvester Subject: Re: Address Query In-Reply-To: <75.79e3af3.26b771da@aol.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII How about Elizabeth Willis--I do'nt think she's on this list. If you do find out where Pat Rehm is, I'd appreciate your back channelling her address to me. She is really fine. By the Liz gave a reading of her own poetry at Orono-- very powerful Cheers Bill Sylvester On Mon, 31 Jul 2000, Devin Johnston wrote: > Does anyone have an address (e-mail or otherwise) for the poet Pam Rehm? > If so, I would appreciate it if you could e-mail it to me. > > Best Wishes, > Devin Johnston > -------------- > Flood Editions > P.O. Box 3865 > Chicago IL 60654-0865 > ========================================================================= Date: Thu, 3 Aug 2000 10:40:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: New email address MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" I'll be leaving my job here soon, so please use my home email address from now on: bstefans@earthlink.net Thanks! ========================================================================= Date: Thu, 3 Aug 2000 12:42:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Booglit Anniversary/Publication Party Saturday Comments: To: subsubpoetics@listbot.com Mime-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Come one, come all=20 BOOGLIT 9th Anniversary and Baseball Issue Publication Party=20 Sat. August 5, 2000, 7pm sharp=20 the C-Note=20 157 Avenue C & 10th St.=20 NYC with music by Aaron Kiely and The Mendoza Line=20 and readings from Rachel Aydt, Anselm Berrigan, Ian Wilder, and more=20 Info: 212-206-8899 =95 booglit@excite.com=20 please forward,=20 thanks, David=20 _______________________________________________________ Say Bye to Slow Internet! http://www.home.com/xinbox/signup.html ========================================================================= Date: Thu, 3 Aug 2000 15:55:50 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Heinowitz Subject: Poets in Spain In-Reply-To: <200008030409.AAA16468@listserv.brown.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" From the recently posted country stats, I have learned that there are 2 list members in Spain. Will you two please email me and make yourselves known? I am a poet from the U.S. (originally from its San Diego outpost), soon to be relocating to Sevilla, and will be looking for allies overseas. Thanks, Cole Heinowitz (Rebecca_Heinowitz@brown.edu) ========================================================================= Date: Thu, 3 Aug 2000 18:04:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Clay Subject: Rothenberg/Clay: A Book of the Book: Some Works & Projections About the Book & Writing Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ANNOUNCING [special offer to the poetics list follows the announcement] A Book of the Book: Some Works & Projections About the Book & Writing Edited by Jerome Rothenberg and Steven Clay A Book of the Book: Some Works & Projections About the Book & Writing comprises works from over ninety writers, poets, painters, performers, scholars, critics, anthropologists and historians. Illustrated throughout in black and white, it features a full-color, double-gatefold facsimile of the great Blaise Cendrars/Sonia Delaunay book of 1913 "La Prose du Transsib=E9rien." "A collection for the general reader and the specialist, "A Book of the Book= " is an accessible and erudite set of readings on the book as a mythic and material object. These texts comprise a vivid exploration of the poetics of the book, a multi-faceted study nurtured by the literary and ethnographic scope of its editors' vision, that argues compellingly for the continued survival of this most mundane and metaphoric of artifacts. In a moment when irresponsible, inflammatory ravings about the demise of print rage through the cultural landscape, this collection offers serious reflection upon the real profundity of the book as a symbolic force within the poetic and spiritual imagination that remains the wellspring of human culture. Drawn from diverse realms - of avant-garde art, anthropology, textual criticism, literature, and speculative thought - this will be the definitive collection for decades to come - a volume whose very physical presence in the hand performs the rhetoric of its pages in offering its riches to the reader." -Johanna Drucker author of "The Alphabetic Labyrinth" and "The Century of Artists' Books" Press Contact: Amber Phillips, amber@granarybooks.com Publication Date: September 15, 2000 Price: Paperback: $28.95; Hardback: $44.95 Number of pages: 537 ISBN: Paper: 1-887123-28-8; Hard: 1-887123-29-6 Dimensions: 6 1/2" x 10 1/4" Binding: Paperback & Hardback Distrubutor: Distributed Art Publishers 1-800-338-BOOK Includes: Illustrations, index & bibliography Special offer to Poetics List members: =46or orders received from list members by Aug 15 "A Book of the Book" is on= e half price. We'll throw in 4th class postage as well. (Overseas orders confirm shipping charges before sending a check.) We accept Visa, Mastercard and Am Ex and checks. NY State residents add appropriate sales tax. No need to phone or email a reservation, simply send a check or fax or email your credit card number. (If you should want to use our secure server order via our website, www.granarybooks.com) Thanks, have a great summer! Granary Books 307 Seventh Ave., #1401 [@ 28th St.] NY, NY 10001 http://www.granarybooks.com tel 212 337-9979 fax 212 337-9774 ========================================================================= Date: Thu, 3 Aug 2000 22:56:11 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: GasHeart@AOL.COM Subject: Philly: Theater, Music, Film - Art Party This Saturday! MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable This Saturday! August 5th, Art Party 2 (sorry if this is a duplicate, ao= l=20 problems) At the C.E.C. - 35th & Lancaster Ave., Philadelphia AUGUST 5th - MUSIC, ART,=20 PERFORMANCE, PARTY =20 check the fun webpage for up-to-date info all ages, starts at 7PM, goes til 2 (or maybe a lil later)... $5 in the variety room: performance artists and musical acts~ the beach balls the secession movement (indie/art rock/punk with hints of emo and jazz) unsound (improvisational, experimental) lumpy balboa condition meisha (from pittsburgh) mall (original electronic from philly) kabuki 5000 (from north jersey) the great quentini the dancing mermaids paul russo (of dyke) analiese euler josh cohen other surprise acts tba in the electronic room: original electronic & djs (original~) flashbulb (awesome original idm from chicago) digita'lis/phlox (broken beats and original intelligent techno from oklahoma) transient (from philly - funky drum & bass, funked up spacey house & progressive trance - you won't be able to resist the funky flow) spintronic - (collaborator with sean o'neal/flowchart, original trance, house & hard disco) KneeL - industrial electronic, hard/dark ambient lavender hill mob - remixes, funky breaks, trip hop djs~ bex/dj jane erik - smooth kama sutra-esque grooves, chill sounds, flow murcury - variety from rock& roll to dark & heavy sounds thorn - 80s, goth, new wave, industrial, new romantic shok - funky sounds, old skool favorites, drum&bass, progressive trance, beats to get you movin' dancers~ akida gypsonic in the downstairs lounge: tim kaye - singer/songwriter (10-11) dj ultra - spinning yer favorite house, old skool hip hop, freestyle and other cheesy music from 11-1 also - fortune tellers, face painting, protest video, poetry, film/multimedia displays and other surprises artists showing work: david dworanczyk kandice dziedzic steve gdowik tricia gdowik gypsonic lowell long jackie mcadams gina renzi leslie smith transient jennifer vatza emcee in the variety room - ed feldman, from the tv show, the furniture guys= ,=20 (on the tv show they show you how to fix furniture and are very funny) directions: to the C.E.C. (Community Education Center), 3500 Lancaster=20 Avenue from center city.....go to 36th and market, turn right on 36th st., go 3=20 blocks to lancaster ave, turn right, it is on your right by septa, take the market st. subway to 34th st. exit, go north on 34th st.=20 towards arch, turn left on lancaster ave., it's on your left for more info see www.groovelingo.com/artparty contact info josh or 215-733-1010,=20 trishy , gina _________________________________________________________ PRESS - we've gotten some very good press coverage for the Art Party=20 see below the text, and the links, from the articles in the sunday inquirer,= =20 the inquirer weekend section (tomorrow), a six pick in the citypaper, a.d.=20 amorosi's icepack in the citypaper, philly2nite.com, dj nights in=20 citypaper.....maybe more? i hope we didn't leave anyone out thanks! _________________________________________________________ ArtPa= rty=20 II August 3=9610, 2000 Citypaper six pick ArtParty II Short-attention span? Poor social skills? Shrinking violets and social=20 butterflies alike are sure to find more than enough stimuli at the second=20 installment of the Art Party, the music-performance-exhibit gathering at the= =20 Community Education Center in West Philly. The grand design of Gina Renzi,=20 Josh Cohen and Groovelingo=92s Tricia Gwodik, the all-ages Art Party debuted= in=20 May at the Killtime space. Stand around by yourself or make a friend while=20 watching lots of local bands, 13 in all, including ambient techno-logists=20 Mall, opera-pop jokesters The Beach Balls and indie/punk rockers The=20 Secession Movement; DJs Shok, Ultra and Murcury, among others, will fill in=20 any awkward silences. Visual artists David Dworanczyk, Leslie Smith and=20 Gwodik herself will represent, along with dancers Gypsonic and Akira. Get=20 your face painted, fool around with Playdoh and visit a fortune teller all i= n=20 the space of a few hours. Wallflowers, geeks, cool kids, party-crashers =97=20 you=92re all invited. Six Pick - city paper -=20 lori hill _______________________________________________________________ DJ Ni= ghts Citypaper Art Party 2 (one-off, experimental/ambient, trance, techno, drum=92n=92bass)= @=20 C.E.C. w/ Laerm, Thorn, Murcury, Ultra, Shok and live: Kneel, Spintronic,=20 Mall, Lavender Hill Mob, Transient, Flashbulb and a lot more, $5. See Sixpic= k=20 on p. 54 - sean o'neal, citypaper ___________________________________________________________ Conventional acts, for the hoi polloi=20 Sunday Philadelphia Inquirer On Saturday night, activists still in town after the convention are targeted= =20 by Art Party 2, at the Community Education Center, 3500 Lancaster Ave. (The=20 flyer for the show requests: "Contact us if you have protest/riot video.")=20 The seven-hour, $5 show includes scads of rock and electronic acts, from=20 South Jersey's the Secession Movement to ambient mixers Lavender Hill Mob.=20 -sunday's philadelphia inquirer ___________________________________________________________ icepa= ck - a.d. amorosi -=20 Republican party, Democratic party? Let=92s have an old-fashioned leftist,=20 late-night Art Party: Electronic Boogaloo, Aug. 5, at the C.E.C. (35th &=20 Lancaster). How many jams come with their own sampler CD, including=20 performers such as DJ Shok=92s Zeitmahl, Lavender Hill Mob, Mall and The Sec= essi on Movement ?=85 -a.d. amorosi, icepack, citypaper ____________________________________________________________ and on the web only - at philly2nite.com,=20 philly2nite: Malik's pix= ::=20 Saturday, 08.05.2000=20 ____________________________________________________________ and in the Weekend section of tomorrow's (friday's) Philidelphia Inquirer ____________________________________________________________ so that's all for now, gotta go check my slide projector, etc. thanks in advance to all the artists participating, especially gina and tris= hy -josh ========================================================================= Date: Fri, 4 Aug 2000 09:25:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: from Todd Baron MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. - TS --On Thursday, August 03, 2000, 11:30 AM -0700 "Todd Baron" wrote: > Dear list: a query: > > ReMap is starting (gulp) a press experimentation: we're going to publish > (try to...) two books in two years. One/prose, the other/poetics. > > As in the golden days of the Marx Brothers--who would travel with their > scripts and produce them live to see if they got laughs-- > > Who would you like to see published and why? > (A notice of ones-self is welcome) The WHY is imp[ortant. > > > This is simply a query to the community: > ReMap was a certain failure--as times gone by--etc. After ten years we have > little response to the last issue (on Love) and feel that we want to know-- > > why. > > alls, > > Tb > ========================================================================= Date: Fri, 4 Aug 2000 10:05:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Boston Poetry Conference (post from Nada Gordon) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear Readers, What follows is my report on the Boston Poetry Conference 2000. Gary's comments are in double brackets and preceded by his name [[Gary: Hello! Testing, testing. I was a very, very bad conference-attendee and did *not* take notes. But, when I remember something, I'll just step in like this and bleat it out.]] I apologize for 1) any misquotes or wrong linebreaks in quotes from poems 2) missing some readings and presentations (the conference was pretty tightly scheduled), and 3) not writing as well as Kevin Killian - I'm not really a "linear narrative" kind of girl, but, well, here goes ... Gary and I rode to Boston in a van driven very safely by Tracy Blackmer, accompanied also by Douglas Rothschild, Prageeta Sharma, Adeena Karasick, Rachel Levitsky, and Eddie Berrigan. The ride was extremely fun as we kept our minds active playing a game called "Essences" which reminded me of games I used to play in my ESL classrooms. To play the game, one person thinks of a person (we mostly chose poets) and the others ask questions like "If this person were a smell/color/musical instrument/poetry venue/person in the car/food/ etc., what/who ____ would they be?" to find out who the person is. One of the best was Jordan Davis, whose color was pink, fruit was cherries, and smell was nail polish. [[Gary: Yeah, that was Prageeta's person. Rachel's was Maureen Owen, who we should have guessed, but didn't. Eddie's was Lou Reed: Q: "If this person was a country, what country would they be?" A: "Long Island." Mine was Leslie Scalapino: Q: "If this person was a book, how would they be designed?" A: "Oh, uh, with reverse type on a darker background, I think, and a long thin picture of something, maybe a landscape, just below the text." I was proud because I guessed Nada's: Sei Shonagon.]] Eddie has the notebook with all of the clues written down just begging to be transformed (or just typed up) into poems. Other discussion in the car had to do with ethnicity and aggressiveness - the three Jewish women in the car feeling that our tendency to be assertive & boisterous was almost certainly due to the our lineage's permission to be so. A stop at McDonald's in Connecticut found Adeena eating a giant vanilla soft-serve and me the rest of the pizza Rachel had so kindly brought. [[Gary: I couldn't believe we had stopped at a McDonald's! But, duh, like, what else is going to be on the side of the freeway like that in the middle of Connecticut or whatever? Besides, to my utter shame and horror, on the ride back, we stopped at a virtually identical McDonald's - Eddie said that the only difference was which soda machines were where - and I actually broke down and ATE A CHEESEBURGER AND FRIES despite being a quasi-vegetarian.]] Tracy was quiet most of the way; she kept her eyes on the road. Douglas told (in the course of playing "essences") a Grimm fairy tale about "Six-in-one-blow" in his famous discursive style, and he also very kindly read my Tarot cards. Upon arriving at the Boston Artstitute, hungry Adeena and I went off to have Indian food and talk about relationships while Doug and Gary went to get pizza ... A. and I got so enfolded in our talk we missed the first part of Friday's reading and walked in in the middle of Dan Bouchard's Olson/Rothschild poem, having missed the "frightening" Williams poem he read. [[Gary: Before the reading, Dan gave me a copy of a recently self-published pamphlet, _I Remember_, which has a picture on the cover of him at I guess some kind of rally or protest having to do with housing - he's a tenant organizer. But, each "I Remember" has to do with animals: sometimes pets, sometimes deer or other wild animals, and ends with a spider seen earlier on the day the piece was written. Anyway. I think it was Mitch Highfill who had said something about the Williams poem being "frightening." It was. & it was great. I wanted Dan to read his longish "Private History of Books," but he didn't; instead, he read "At the Intersection of Olson and Rothschild, which contains a reconfigured line from Ginsberg: "O, Charles Olson, what wide thoughts I have of you tonight!" There's a line in that poem about smoke-walking, which I take to mean going out and smoking & walking, which I can't do anymore, having quit I guess two or three months ago.]] Following Dan, Beth Anderson read from a 20-poem sequence of 20-line poems. [[Gary: I don't remember much about these poems ... I don't know what my problem was. I think I was still sort of zoning after the five+ hour ride up. But, also, Beth's poems are very intensely abstract, and not easy to focus on, if you don't have them there with you to look at while she reads.]] Jordan Davis followed beaming out his boyish grin and really pleased the crowd, myself included really resonating with his bizarre collocations and ear for speech. He read some short poems, one that sounded like the words on the side of a delivery truck: "Express. Express.", "Karaoke of Myself" with all its "stets", a monster poem and the very popular "Yeah/No." He was sent off with a chorus of HOOHOOs from the audience. [[Gary: I think the monster poem is called "W." Actually, this reading was mostly the things he had read at St. Marks a while back with Kenneth Koch, and that was a great reading. I love what he's doing in this somewhat-longer poems, there's a kind of rapid-eye movement combined with rapid-brain movement. That sounds stupid, but his work's interesting - I should I guess explain how the eye-brain are related, in his poems, and I suppose there are seemingly causal relationships between what gets seen then what gets said, but they're not one-to-one. So there's this constant rush sensation, which isn't as chaotic as that sounds, but this rush & going back and forth between this kind of description-of-poet-in-the-world-seeing and then this other language, which I'm assuming, for the moment anyway, is probably what he's put down in journals, thoughts. I'm babbling. I liked his reading very much.]] Then came Laura Mullen all in black with a turquoise-y scarf. She read with lots of caesurae sounds at the ends of her lines and seemed to write a lot about face, the idea of the face and makeup. I have in my notes that there was a poem about nail polish but I may be mistaken. Some of her lines: "You might be more you on the medication" "We are made of chemicals". [[Gary: I think she read a poem where she'd taken one of Bernadette Mayer's poems and done a Bernadette "experiment" on it. I have to admit I don't remember much about it. This is the one serious problem I have at readings, or no that's a lie, I mean writing about them. If I haven't read the work before, it's often impossible for me to reconstruct the stuff later, unless it's really obvious to me what's going on in the poem, and it's not usually. ]] Lee Ann read mostly from Polyverse - her present beau for Forrest Gander who was Present, her long continuous Bernadette Mayer experiment piece she wrote while actually on the phone with Bernadette, weaving B's language into the piece. She read a couplet she'd written in high school about Boston - I don't remember it exactly but it rhymed Boston with something like "a city to get lost in." She sang a couple of songs, one that had a lot of little animals such as chipmunks in it, and birds too, I think. [[Gary: I think there was a fox in her song, but I don't know about these other animals. I especially liked the Bernadette-on-the-phone poem, or continuous sentence I guess it was, there's something I can't call it "more natural" because it's all artifice of course, but for me it's an entirely different experience than the acrostics and hymns.]] Forrest Gander read sort of abstract erotic work. Here's a line: "wiping my eyes between your breasts/ giving it some spur," He read a longer quasi-narrative between whose strophes or episodes he banged the podium most effectively. "The top of my head taken off/ to reveal a terrible honking." [[Gary: At one point during his introductory banter, Forrest said something like: "I think in a number of years we're each going to realize and admit that we've *all* been writing a Bernadette Mayer experiment." This was actually the best of Forrest's work that I've heard (or read). He did this great sort of "cranking the thing up again" gesture of repeating the last couple of words of the previous stanza (or prose chunk?) each time.]] After the reading, Gary, Jack Kimball, Mitch Highfill, Kim Lyons and I went out - or I should say, they went out; I didn't want to go inside the smoky Irish bar that smelled of cigarettes and badly washed water glasses so I stayed outside and sat on a stoop. [[Gary: I tried to get her to come in to the bar, because it felt weird leaving her out there, but she didn't want to come in, and then Janet Bowden came along and said she'd hang out outside, and so I said, okay, I'm just gonna go in now, and then I did.]] I wrote part of a poem and talked to Janet Bowden for a while. Lee Ann came by and put me in her video. Then Gary and I went to Jack Kimball's place - he's newly returned from Japan. We talked for a long time and then I said I'm so tired I have to go to sleep and they stayed up talking loudly about ... the relationship between Olson & Prynne ... [[Gary: Yeah, but also about what it MEANS that such and such gets carried from one writer to another, and, um, well, it was just so much more COMPLEX and IMPORTANT than that, and I, uh - oh, forget it ...]] and I got mad - it was three in the morning - and kind of chewed Gary out. I was already very very tired. I cried. [[Gary: Okay, okay, I feel guilty already! When I got home, I defrosted the refrigerator, even. Oh, and I bought Nada a wok and some flowers. We kind of had a fight, later.]] SATURDAY: We got there late at the end of Betsy Fagin's reading so I didn't really have time to focus in on her work. I noticed her rust-colored shirt and her reading style as if the words were kind of foreign or scary. [[Gary: I was especially sad we were late because I wanted to see Betsy's reading most. I think I've seen her read once or twice before, but only in group readings, and I really love her work. Since I missed it, here's a poem I like from a groovy self-published chapbook Nada & I found at St. Mark's called _Physical Culture_: REAL THING Over on the always all that happens the glass actually the glass in sidewalks I say it shinies he explains recycling, glass actually how point well taken and them standing there more than women who faked hair, lipstick wrapped around you choreographed moves talk about projects how working on artistic very serious, about project and developing art or music producing I mean offers really suggestions in contact and want your card. hook up, get more out there turn inner city kids to gold learn them golf and golf fashions wear the black kids, demographic, will wear the white kids and then everyone only daily.]] There was a pile of fortune cookies on the table next to the podium and some of the readers were opening them and introducing their readings with their fortunes. Katy Lederer's fortune read "You are broad-minded and socially active." - as apt a characterization as any. As she did when I saw her read at the Zinc Bar, she asked for feedback about the microphone level. I like it when poets do that. Some lines from Katy, read in her soft and somewhat wispy but !audible! voice: "I am happy with my lot." "My lot in life, 'twas my only companion." "To perfect an imitation of myself" "The women and the men put on a mouth." [[Gary: Another line I remember was: "O, I wish to be, major or whatever" except that as she read it, it didn't sound as sassy as it seems written down.]] Tracy Blackmer has an inimitable reading style: it's deadpan but animated, insidiously layered with ironies but not cutting, even when she read lines like "So, you're a fan of Mike Myers, too?" or "Groupies - am I supposed to guide them?" "Guess who's on the cover of Vanity Fair? I am." "Tracy means imperious, bold." "Salami for breakfast, cheese for lunch, cheese for dinner." Tracy was sticking voodoo needles in the wax doll of pop culture left and right, "street of skinny girls/ their flat stomachs/ their fat boyfriends/ carrying falafels." [[Gary: She does these hilarious dialogues, some of which take place in chat rooms on the internet. This is only tangentially related, but I just started reading Steve Benson's _Blue Book_, which is of course filled with dialogues too, but of a very different kind. Anyway, Tracy told us later that we got the edited version of her reading, because her mom was in the audience! Actually, I think she might have said hello to her during the reading. But, I think she was horrified at one point because she had forgotten to take out a "vagina" or something and read it out loud before realizing it. This sparked a whole "Parents, Whaddaya Supposed to Do?" conversation back in NYC.]] Arielle Greenberg in a pink floral old-fashioned dress read a lullaby: "Sealegs. sealegs, come back to me." She very kindly got the audience to applaud hard-working organizer Aaron Kiely. Some more Arielle lines: "Artists are very much like terror, terrified fish" "Let's make out tonight in a certain interesting way" "Thirst loved me" "In the cartoons, everything was backward and made from dots". She read a funny list poem she'd written in response to so many people at the Orono conference referring to the "longer projects" their presentations were taken from: "The project in which the white people don't speak like that." Arielle left the stage with a schoolgirl curtsey. [[Gary: I had been writing back and forth with Arielle for many months without having yet met her, so it was especially thrilling to finally see her. Her last piece was something that she wrote after going I think to a church somewhere and hearing all of these hymns. Stephen Ellis, who printed up a bunch of broadsides for people who'd come to the conference, did one of Arielle's, which is wonderful. Anyway, I was excited, because now I knew who she was, and could go up and say hello, although I actually waited a while after that, I think, to do so.]] Wiry Ric Carfagna read in a thick east coast accent and was sometimes hard to hear but what lines I could catch intrigued me: "I speak from this distance to disrupt the status quo" "an easily compromised theory of the misdirected" "sky full of browbeaten errata" . He began one piece about "americana" and "subjectivity" with a quote from Marinetti about images following each other in rapid succession, and to read it put on a white straw hat on whose hatband were several sunflowers. [[Gary: I totally could not hear Ric read for some reason, which is why I tend to try and avoid sitting all the way in the back, which is - duh - where I was while he was reading.]] Marcella Durand followed with poems that explored light, subjectivity, and other subtleties of perception. Some of her lines: "a creeping soft movement subject to your displeasure" "lighthood and selfhood" " "this source of gravity" " small onions glazed in tamarind sauce I help you visit" "your tender throat the reflection of mapping". It seemed to me that compared to most other readers she didn't read for very long - she was on stage, and then, then, she was gone. [[Gary: her reading was way too short. She's an amazing poet, I think, and I kick myself for not picking up _City of Ports_ while we were there. But, whatever. I also wanted this Kirby Doyle book, one of those Poets Press things that Diane Di Prima published, but this isn't really the time or place to talk about that.]] Elfin Keith Waldrop, with his "pagan or ... foreign hairstyle" read from "Haunt" - about the death camps???-" solemn, set up camp, watch me disappear" and "Potential Random". He said the poems in Potential Random didn't really have any reason to be together except that they all had the same [apt] title. Some lines: "making our thought opaque" " "this poem is quite impersonal" "its aftertaste trailing dust from nothing to nothing". [[Gary: Actually, I was spaced out during the first part of Keith's reading, and came back "to" when he started reading from "Potential Random."]] David Kirschenbaum in his strappy sandals opened the Saturday afternoon set with poems of community: to Lee Ann ("All the boys love Lee Ann Brown"), Sean Cole, a postcard to Anne Waldman... With Arielle he read a dream poem. [[Gary: The dream was a Classic Dream: Arielle and her boyfriend Rob go into a neighbor's apartment and begin looking through EVERYTHING. Then, the neighbor comes home and I think confronts them, but I don't remember what happens after that.]] He read "If Love Were Baseball" which meant nothing to me because I don't speak baseball at all. [[Gary: Me neither. I don't get sports at all. All I know is that my father watched it and seemed to get a lot out of it, and that's pretty much reason for me to ignore it. But, people seem to like it quite a bit, so I certainly don't want to say something horrible and disparaging about a Nation's Pastime or like that.]] Lines I liked: "I had claws from fifty gophers" "a relationship song between Pharaoh and Moses" - I have a bit of a Moses fixation so that last especially made me smile. Kim Lyons was up next, opening with "Dandelion": "twin nuclear hands lit the match." I could hear her breath going into her body: "reddish telepathy in tangerines" "pharaonic storehouses of gold furniture" "I remember eating turtle soup." Kim read a long piece in 26 sections about places she had or hadn't been to - on vacation?: "Once blood ran down my legs there" "big golden cat's eye fried in a pan" "When I had amniocentesis in Queens momentarily left the body" "monomany" "ate one slender onion stalk beside a ...? egg and kickass hot sauce" She also read "Hypothesis" which seemed to me to be a poem in the shape of a diorama: "intricate forces discursive shadows" "unexplained convulsive stream" (she pretty much summed up my poetics right there, also with:) "a kind of gluey furnace" "I lie down in formal tulip beds." Kim had left the long prose part of this poem in her carpet bag (someone shouted, "carpetbagger") and paused to find it to no avail - there was a silence - which Kim broke by saying wasn't she like Tonya (I forget her last name... Harding?) the ice skater when she fell down on the ice - Quick Thinking, Lyons. She also read the bumbly, dreamy, tangled "Monday Monday": "got group masturbation" "am dropped off quantum" and MY FAVORITE LINE: "Take the power back, warblers." Right on. [[Gary: Kim is great. I felt bad that she lost her page, though. I think it preyed on her afterwards much more than it should have. Kim said something later that night that I was actually SHOCKED to hear come out of her mouth: We were walking along behind Nada and Adeena, and she was actually talking about something else, I think about one of the readers we had just seen, and she all the sudden interrupted herself and said: "You know, Nada and Adeena totally win the Best Asses Award." I said: "I'm glad it was you that said that!"]] Brenda Coultas took the stage in jeans and a grey t-shirt, grinning, telling us about her nightmare bus ride to B-town. The bus driver, under the influence of something, took them on an unexplained detour through the Catskills. [[Gary: She described this later at the bar during one of the breaks. Wow. Totally freaky, the driver stopping every 45 minutes or hour, because he'd been nodding off! and so would then walk to the back of the bus, so you couldn't see him, and then walked back and got back into his seat, "totally perked up." At one point someone asked him if he knew where he was and he said yeah and they asked him how much longer it would be and he said "I have no idea."]] Brenda also told us she writes about five poems a year - "as Joanne Wasserman says, they're like Chanel suits; they only make a few a year but they're exquisitely hand-crafted." She said she was going to read some poems about the Bowery and Northern Indiana that were "composed of sentences rather than words" (at this point the pedant in my head said, excuse me, but what are the sentences composed of?): "It had a little DNA. Inside the DNA it had a little story. To get to the DNA the eye was pulverized." "They were having lots of sex of all kinds." "I ate the box." Brenda says not koo-pons but kew-pons, I noticed. She writes so much about eyes: "I would have a boy's eye implanted on my forehead" "It was very exciting to be naked in a crowd while wearing three eyes." She read a piece I was too interested in to take notes on about PENIS STALKS she kept in a jar and sometimes took out to touch the penis stalks together. She also read a piece which figured herself as various mass-market toys: "Hello - I'm a retired Beanie Baby." Everyone agreed that Brenda's reading was wonderful. [[Gary: Me too, all the eyes made me kind of paranoid after. No, that's an exaggeration. But, you know. It was great.]] Edwin Torres opened with a Cage-ean moment of silence he called "Surface Noise." It was very powerful to make us focus for a moment on all the incidental sounds that were filling the air in the absence of speech. He then went into a kind of "conversation" piece that made me think of that early scene in Pulp Fiction where they're in the car eating hamburgers. Edwin's hand moved rhythmically in rapper-like punctuation. He read a didactic Utopia poem I felt pessimism from and then went into "Small Town USA" which I can only describe as a kind of insulting croon - like a cartoon voiceover in garbled speech - he also, I thought, sounded like some kind of voice giving dictation, or a proofreader - all the time parodying the small mentality of smalltown. Next was "Andy Warhol as Moses" - more Moses! - you can bet I was happy - about wearing an Andy Warhol t-shirt so brightly colored with faces of celebrities that he could walk through a sea of bees and part it. Next a macaronic trilingual sound poem I hugely dug. Then something that sounded to me like a discursive hyper-philosophical bad acid trip w/ lines like "there's a point you realize that you won't go out with what you came with" and "welcome to the age of nearness." A poem taking off on the word "boy" - it made me think of ... dare I say it ... "West Side Story": "Boy, Boy, crazy boy - get loose boy!" And then a piece about being Puerto Rican and identity and outer symbols of identity I thought was really brave and vulnerable: "if you even have thoughts of fitting in you're not." During the last part of Edwin's reding I noticed David Kirschenbaum, who was videoing everything, blowing giant bubbles with his gum; I was impressed. I thought Edwin was *awesome*. [[Gary: Again, I totally agree. The "boy" poem was great, and kept shifting from, yeah, I guess it reminded me of West Side Story kind of too, but also this kind of racist use of "boy" and then this weird I guess kind of neighborhood use of "boy" - but incredibly fast. Like he was showing all these postcards of how this word might be variously inflected. Dude!]] Sheila Murphy [[Gary: Oh. My. Fucking. God. You have no idea how excited I was that Sheila Murphy was reading here!]] in red t-shirt and pixie haircut launched right into her poem. "Just zen enough a sacrament" "al l of the ledged places happiness affords." She referred to Thales when introducing "The Indelible Occasion" [[Gary: No, actually, "Thales" is a poem title. I don't know what "The Indelible Occasion" might be.]] "She would drive anyone to sobriety" "Philosophy's a crate of leaves, ripe for dispersal." Sheila read very carefully, articulating gorgeously: "this lockstep feast, this livermore" "sandwich bread and opulence inside the crust of brain." She described some of her poems as haibun, the single line a haiku in some relation to the prose "patch". A poem she described as "pure mental breath" - one of Gary's favorites - in fact I think he took her book ("Falling in Love Falling in Love with You Syntax") to work [[Gary: I sure did.]] so I can't check the title but anyway it was something like "Abscondily with Plenty Mercredi": "blossoms synonymous with syntax for a change." [[Gary: No, actually, "Pure Mental Breath" is a series of poems, and Sheila read the one that begins: "Blossom, synonymous with curfew for a change." But, yes, she did read another poem called "Abscondily with Plenty Mercredi," which is, yeah, one of my all time favorite Sheila poems.]] At one line, "Mercury slips out of retrograde at last", I elbowed Gary because he had quoted that line in one my favorite of his letter-poems to me, and we grinned at each other knowingly. Actually Sheila's lines are sprinkled throughout those poems of his ... [[Gary: It's true. But, stupidly, I don't think I wound up reading any of those particular poems. Anyway I was thrilled because Sheila read mostly my favorite poems from my favorite collection of hers, the selected, _Falling in Love Falling in Love with You Syntax_, including the title poem, which is what she ended with. If the conference had ended at this point, I would have been totally fulfilled. Do I need to rent out a giant billboard on Houston Street?: "I [HEART] SHEILA MURPHY" with a picture of her book and then my face also, crying because I'm reading it and overwhelmed with emotion?]] And as if that stunning set weren't great enough, next up was the hilarious and pithy Michael Gizzi beginning with "tercets written after rereading Dante", about which comment he said," Don't you hate it when people say things like that?" A line I liked: "flies on real tapestry." He has the noir-est cowboy raymond chandler voice, doesn't he?: "ham on a rainbow" "mumble, and be amazed" "money isn't everything, if you count clouds" "A treatise on cowlicks" " A sweeping look at hard candy" "Why, Sargasso sea, are you so geek?" "The edema of an important breast-beating". In his plaid shirt and sandals, he looked so sincere saying " I've only joined one organization in my life, and I won't say what it is, but it was hard to get into. But it wasn't." What was it? "Cocktails made of wines/ You have a nosegay for a heart." [[Gary: I remember specifically "Requiem for a Tent," which Michael introduced saying that he'd just had dental work, was on laughing gas, and his wife had told him that her tent blew away and "that was all I needed." His voice is perfect for these poems. ]] I really had to pee at this point, so I dashed out and missed Rosmarie Waldrop. ... [[Gary: Oh dear. And me without my notebook. I really could NOT focus by this point. But, I did see Cole Heinowitz sitting in the row or two in front of me SQUEALING when Rosmarie announced that she was going to read from this one particular book. She got a huge round of applause and whoops.]] [[Gary: I'm not sure if it happened at this point or earlier in the day, but there was a publishing panel David Kirschenbaum put together that Nada missed but I saw. Unfortunately for you, Nada is the one who kept the notes. I don't remember every participant's name even. The first guy, for instance, all I remember is that he was from the south and was publishing broadsides with a couple of his friends, mostly it seemed of people like Ferlinghetti. He had some great anecdotes, though. One involved hiring Hunter S. Thompson to read, and how much money -- $20,000? - they lost hosting that one. Apparently, Thompson was totally drunk and you couldn't understand anything he said. And he was kicking people? Something. Hmm. Oh, who else? Katy Lederer talked about _Explosive_, which just had a new issue come out. She chewed gum, read from an iMac laptop (her printer had malfunctioned prior to leaving for Boston) about basically coterie poetics. "Writing should be amoral" she said at one point. Jill Stengel talked about a+bend press, which is this amazing series that does two books a month. They're beautiful chapbooks, and she promised to send us some that we didn't have, so this is kind of a Public Begging Spectacle I guess: "Please Send Them Jill Please Send Them Please Dear God They're So Cool!" She's pregnant, by the way! Congratulations! Oh, who else? Ed Foster talked about Talisman House and all of the important anthologies they've published and how the chain stores are basically ensuring no one will ever read them. And how distribution mostly sucks. "Where are you gonna go," he asked, at one point, significantly. "The internet?" Sue Landers playfully elbowed me and gave me a look. I'm sure there was someone else, but my memory is awful. Someone! Fill in the details!]] Evening set: Michael Franco, I noticed, used the words shtick, schmooze and spiel in his opening spiel and he isn't even Jewish. He also had a rising intonation at caesurae kind of reading style. Early on he invoked his trinity of heroes Olson Duncan Creeley. I found myself tuning out a little bit. But I did write down a few lines: "what truth there was/ is." His spectacles were on strings, I noticed. "Instantly a shadow teaches the frivolity of will." "the absent stone now here on my desk." He called the parts of his poems "circumferences." [[Gary: Where was I that I missed this??? I actually had seen Michael read at St. Marks earlier in the year, and was kind of primed to see him read here, but totally missed it. I think I walked in right as he was ending.]] Donna de la Perriere and Joseph Lease were stuck in traffic, but made it just in the nick of time. Donna had trouble with the microphone level. She wore thick black glasses. I noted down: "the high note" "the frantic tapping" "many legged creature that scatters the moment you come near. There seemed in one piece to be metaphors of dryness and bleakness, but I think I was getting really zoned out and feeling sleep deprivation at this point: "the white enamel of appliances glows in the bare lot." [[Gary: I am an idiot or deaf. I don't remember a single word of her reading! Ack! I'll never be forgiven, and rightly so. I can't comment on the rest of this evening, as I was pretty much about to pass out by this time.]] Joseph Lease, in a large denim shirt, had to spit out his gum: "there's always that tension of being burdened with I." I sensed some negativity: "He hated himself and he hated the town." "Listen with pain." I liked this line: "A boy remembered he was a solid black rock, lima bean-shaped." and also "Everything became culture, where you hang your name." Ange Mlinko, looking chic in a tight scarlet skirt, was up next with the unenviable task of preceding Robert Creeley. She seemed a little internalized but read precisely. "If the animals don't come to you then you must not be Orpheus." Well ... yeah! Her vocabulary curlicued: "hamadryad", "fete galante", "serious violins", "madrigal "... "even the rose has this problem" In one poem she asked a question I very much wanted to answer, "When do goldfish become carp?" Basically, goldfish are to carp what wallabies are to kangaroos. [[Gary: To give you an idea of how out of it I was by this time, I only remember that I *thought* one of the poems she read had just been published in _The World_, but she assured me later that it wasn't, and when I checked, yeah, it wasn't. Oh, wait, I do remember a few things, actually. Ange started off with new poems, most of which were completely new to me, and then ended with I think some from her book Matinees. The last one ended with her pointing at the audience and us going "Go to Boston!"]] Creeley was welcomed with a big fame clap. When he said of the conference, "It's a terrific occasion," I could only think of Gary doing his dead-on Creeley impression. I wondered if Creeley himself might not be doing a Creeley impression, in his army jacket and darkened bomber glasses and monosyllables. "But now to be here/ putting my hand on the table/ I felt it turn into wood." "One dreamed of a thoughtless moment" I loved this: "My mother, dying, came out of the anaesthetic ecstatic, saying 'it's all free, you don't have to pay for any of it'" Other patriarchal wisdom (but isn't this AMBIGUOUS?): "nothing's apart from all." Hmmm. And "what you do/ is how you get along/ what you did/ is all it ever means." The venerable master left the stage with an even bigger fame clap than the one that had welcomed him, and some people standing in an attempt to ovate him. [[Gary: Creeley's a great reader and I could pretty much listen to him reading the phone book. But, really, I was dust about an hour & a half prior to this, and don't remember a lick of it. Superamount Sadness: I love Creeley.]] SUNDAY morning I walked around Jack's beautiful suburban neighborhood in the perfect sunshine, warming up my voice, looking at flowers and quaint New England houses. But I don't think I really RELAXED, [[Gary: I got up early and found the coffee place. Newton is a weird town, I don't know what to say about it, except that the buildings are beautiful, and the trees .... ! oh! I couldn't imagine going back to Brooklyn after walking around at like 8:00 a.m. in this picture perfect neighborhood ...]] Rebecca Wolff opened the morning set, in a loose white-ish ... housedress? and her hair pinned up. I didn't know her work very well before this but I found I loved it and I also found it very weird: "The world is my cloister/ Last night I sliced the tip of my thumb off." "That which does not kill us, blah blah blah [that's verbatim]" She read from "Never Enter" - poems not completed or 'consummated' - great idea for a collection: "I'm in trouble dad, it's my recombinant.../ I'm in trouble officer, it's my degenerate ..." She wrote of a "candied impulse through the brain" "where the nascent meets the latent, I put my tongue in the path." Everything read in a captivating drone. I felt like I was inside her head. "It's a mitzvah/ lack of self-consciousness" "God is in the desperation/ in the fallopian tube/ in coffee can/ in arsenal." "Mannerism no more superficial than a daylily" "blushing in conversation with animal fame" "I was born with a yellow brain and cannot make up stories." [[Gary: This was a really fun reading for me too, and I was sitting in the back! Like an idiot!]] Prageeta Sharma was next with her nuanced psychological poems: "If it hadn't been you it would have been someone else" "Have you graced yourself or better yet have you outsmarted yourself". She read a memory piece about her hometown, the nearby suburb Framington: "banana seat you ride near me." Other lines I wrote down: "The lure jerked me with a madcap head" "arranged my maturity to make it lasting" "I over-identify with being a calf [!!!!]" She said of one poem, "it's so angry; I'm not angry!" and laughed big. Then she opened her poem "The Silent Meow" by saying, "I was at this party and this cat came up to me and its meows were mute, and my friend and I were like, oh, there are so many metaphors there..." [[Gary: The angry poem was intense. Maybe Prageeta's not angry because she got it all out & into this poem!]] Wendy Kramer, who Gary can also do a SPOT-ON impression of, read three pieces. I'd heard them all before so only took a few notes although I knew she'd read them all a little differently from before because her poems are different each time. Wendy reads collages - sometimes 3-D. Because the poems change so much in performance, she said the question has arisen for her "where is the poem?" She read: 1) "Boston Beer Urn", 2) "Tomato Meditation", and 3) "Sentiment" (a Valentine's day waltz) - of which she said, that, despite its shape, "it's not a cross, OK? I'm Jewish." Some lines: "from an original melody by/ sharp/ knife sharp sharp knife dot all right and reserve" but oh dear I'm faltering here I can't represent Wendy's vivacity and immediacy on a page. You'll just have to see her for yourself. [[Gary: I think it was Wendy's reading that made me want to read the Steve Benson book. I mean, I guess the connection's obvious: they're both doing these live-reading situations where you're using a text of some kind, something to spring off of, but much of what does go on is improvisatory. It's an incredibly brave thing to do, is vulnurable in a way that writing even the most candid, self-revelatory prose isn't.]] Patricia Pruitt was next reading something very epistolary and obsessive I missed the introduction to so I couldn't tell who was writing to whom but did it have to do with French poets? Lines: "is it orgasmic or mere agitation?" "is it presumptuous of me to address you at all?" I could tell my mind had wandered far away because I was getting nervous about my reading later and I noticed myself noticing a horsefly on the shoulder of Jean Day, who was sitting right in front of me. Then Ange Mlinko walked in in a lavender shift dress with delicate blue flower pattern and pinkish inserts (later she told me it was a Betsy Johnson)-it fit her like a glove - and I noticed myself growing covetous. [[Gary: I couldn't really hear Patricia!]] Simon Pettet went right into his poem: "You once said I was ruminating beet red/ but I was doing no such thing/ I was just giving poetry readings" His groovy English accent lent credibility to his archaisms. From "Jazz": "Can she be kinder or straighter. I don't think so." and "it all passes, all but the lasses." It was at this moment I noticed two black women in the room, one with a giant turban - was it lime green??-and remembered that the day before I had seen one black man. It seemed to me to be an exceedingly white conference. Sigh. [[Gary: True. Is this the part where we post suggestions for the overworked Aaron Keily? Okay: (a) more time between events and (b) more diverse make-up of readers!]] I had to take a break next so I missed Michael Basinski and daughter Natalie joined by Wendy K. reading collaged cardboard tubes. [[Gary: I saw it. I couldn't really hear either Natalie nor Wendy. I could tell that the piece had been worked out somewhat in advance, but was largely improvisatory. So that there were these ebbs and flows of energy.]] Returned to hear Jean Day open with her poem "Stranger": "The baby wore an expression of concern." She described her Atelos book, "The Literal World" as "an American project," and said she was now working on a book of odes and fragments. Some lines: " the text that comes down into the head/ sloping toward the sea" "like an expatiation on tears" "I'll lodge with the eelgrass family" "Here in the realm of euphoric radicalism" "a dropsical chorus" "You might be the one they call 'mimic man'." [[I couldn't hear her at all. I think this was the last reading where I sat all the way in the back. I finally "got it."]] Next was the poetics panel. Bill Howe in a very North Beach-y leather hat talked of a walk with Chris Cheek in England where they talked of noise - he used the metaphor of a crumbly cliff. "Noise resists of accrual/ [lots of sound verbs]" Noise, he said, piles and puddles into meaning. Experimentation is noisy, he said, otherwise it's not experimental. "What makes something noisy?" he asked. Noise as indicating friction between the known/ understandable/codified and The New. Noise and Not-Noise overlap - he said that's the point where experimentation takes place. Noise, he said, is a loaded term, is valuable and isn't valuable, is and is not aesthetically pleasing. [[This was sort of like Cage meets Attali, maybe?]] Linda Russo next talked about how real material spaces and conditions influence what gets made. She read from "Secret Silent Plan" and mentioned Hettie Jones as an example of ... uh, oh, I forget what ... mainly Linda described the spaces of Buffalo and that became the piece. [[Gary: I think Hettie Jones was mentioned as part of a thread about gender inequity during the Beat period. But, yes, most of the talk was about the literal space of the University of Buffalo.]] Rachel Cunningham spoke next on poetry slams, saying "nothing is really absolute in anything I say" (join the club). She described how slams work and asserted that "slams make poetry into music videos." She said she wants to create a non-competitive theatrical poetics distinct from the slam world. "Peacock feathers with peacock feathers." [[Gary: This talk sparked a conversation in the van on the way back: everyone talked about how they'd fared in various slams.]] Adeena Karasick surprised everyone next by launching into a rhythmic performative burst of a poem that was her poetics and a poetics that was her poem. Some representative lines: "feel my cantabile billowing" "zipless variants" " the buxom bust of throaty fetters" " the hegemony of labial maybes." Jack Kimball's comment: "shameless." [[Gary: True, or as Jordan said, very Mae Westian. I've seen Adeena read maybe four or five times before this, and - though the reading style was similar to the earlier readings -- I was genuinely surprised by this one.]] Joe Elliot metaphoricized his poetics as his son's various "useless" construction projects, of which he'd brought a number of photographs. His son Leo had said of a machine he'd made, "It doesn't do anything, Dad, do you want to help?" The analogy to poetry was " the supple artefact of the joy that the writer encounters while making it." I loved this. He tore apart the yuppified capitalist metaphor of a poem being "successful": "Poems don't work, Alelulia!" "Get out of the way," he advised. "Usually, the thread's sonic." I really did love this forcefully expressed, funny, concise presentation, although I disagree that poems are useless. They have many uses, one of the most important of which is to make connections, linguistic and social ... but I won't go on with this as I really hoped to keep authorial commentary to a minimum here. [[Gary: I'm fading here - I mean writing this, now - but I want to chime in and say that one of the things I loved about this talk - my favorite of this panel -- was just how nonchalant Joe was in talking about poetics. I felt a real connection between Joe's poetics, as he talked about them, and his work - which, sadly, he didn't read at the conference (though I've seen him read a couple times in NYC.)]] Douglas Rothschild opened his presentation by saying, "Poetry is nice, but now we're going to make a little machine." He said that his primary rubric was that one ought to be a 24-hour poet; I realized I believe this, too. A job, he said, is a thing you do in order to not do that thing for four or five hours, but being a poet is different, he said, a vocation for which one must be always on call (my words). He discussed how the others on the panel fit into his rubric - maybe arguable. He said "everyone's afraid of standards," and then proceeded to recite his three maxims of the poetry school of poetry, which I'd heard and argued with before: 1) Poems should be good. 2) The poet must have a sense of temperance. 3) A poet's first job is to learn how to edit. These would annoy me a lot, and did when I first heard them, except that I saw all kinds of loopholes in the language, and Doug himself pointed some of them out. That is, a poem should be good but it needn't be. The poet must have a sense of temperance, but needn't necessarily BE temperate; rather, she might have a sense of temperance if only in order to be able to violate it. And a poet's first job is to LEARN HOW to edit - but not necessarily TO EDIT. So I didn't really feel I needed to object more than with a couple of genial hisses to Doug's proscriptions. He finally proposed Poetastism, a school of poetry in which "any poetic techniques generally seen as making poems good are seen by poetasters as bad." I liked this very much as a possible method, and recognized it in my own practice sometimes. [[Gary: For some reason Doug singled me out as being someone who had argued with him about Poems needing to be good last year when he gave his Poetry School of Poetry talk. I had actually asked him "good by whose measure?"]] ((Note to append to Gary's note - from Nada: I was the one who had argued with him last year! At Franco's party! Doug was totally conflating me and Gary! And we don't even look alike!)) I stopped taking notes here as the set I was to read in was next and I was very agitated, much more so than usual. It felt like a lot of pressure to have people coming up to me saying "I'm so looking forward to finally seeing you read" when I didn't somehow that day feel very connected to my poems or to my body even really. So I tried to focus on my breathing. Aaron came up to me at the beginning of the set and told me the order had changed, Gerrit Lansing and Ken Irby wanted to be numbers one and two so would I mind going last and I said no I guess not. Here's what I remember of the set. Gerrit Lansing was pretty wonderful, with numerology and sex. Ken Irby reminded me of my father with a basso voice and much gravity, kind of a square head. Mitch Highfill also low in the voice read his terrific poem about son Jackson we published in the Eat Village Poetry Web: "Jackson confuses popsicle, icicle, and testicle." Also his complex poem "Rat Pack": "bodying forth." Adeena Karasick read with her characteristic waves of femme fatale dynamism. Gary Sullivan I can't speak objectively about as he mostly read letter-poems to me ... he seemed very with his poems rhythmically and I remember admiring his cute haircut (done by yours truly) and getting nervouser. I think I might have the order wrong here. (Later Gary confirmed this -it's all jumbled up -- but I'll leave what I've got here to illustrate how intensely disoriented I was at this point.) I don't have the schedule right here. Forgive me. Then? Brendan Lorber brimming with odd little poems - he read a hilarious list of titles -- and deadpan humor, in a green Nepali shirt, his face a mask - how does he do it? Especially funny his penis poem and his last poem a series of letters to various popular magazines, linked in narrative. Then came Eddie Berrigan in a beautiful yellow shirt with red cherry blossoms (!!!) ; he read some short poems - one about tulips -- and then a chapter from his novel. I was up next with some opera. I sang two songs with poems sandwiched between. I don't know objectively how I was although some people told me I was great and others told me I fucked up. Onstage I felt confused and exhausted but kind of powerful too, at least when I was singing. After my reading a man came up to me and asked me in a thick accent if I was Jewish and I said yeah why and he said because Jewish women are so ... I don't remember the adjective but it was something like 'expressive' ... and you see he was Jewish, from Russia, so I took no umbrage at the stereotype and now mention this only to make this narrative vaguely circular. [[Gary: The order of the above was actually Gerrit, Ken, Brendan, me, Mitch, Adeena, Eddie, Nada, not that it matters much, except that I had to follow Brendan, who gave what was one of the funniest readings I've ever seen. I remember a great Irby line: "The flag inside the flag." But, mostly, like Nada, I was exhausted and nervous. Mitch read a fantastic piece called "Rat Pack," which Stephen Ellis published as a one of the Boston Conference Oasis Broadsides. Adeene read a couple poems from Dysemia Sleaze, as well as from some of her earlier books - I think it was pretty much the same poems she had read at the Project earlier in the year. One poem, my favorite, was written after a recent trip to India, and is filled with inter? intra? lingual puns. Eddie read this one passage from his novel-in-progress that I remember him reading before, too - it's filled with repetition, lines that repeat themselves completely, that reappear as you're going along, "moving forward," and sort of mess with how a novel is supposed to move. Nada sang beautifully and read powerfully, even though, as she said later, ,she was "out of her mind." I know she had a fever the whole time, so I believe her. We had an argument later about the performance, but it was mostly because we were both exhausted. I was stupidly trying to engage her in a discussion about her performance, and about ideas about performance and self-revealing, and so on, AT THE SAME TIME I WAS ALSO CHASTIZING HER FOR BEING KIND OF MEAN TO ME IN HER FEVERISH STATE. Not mean, really, but not nice either, and I was a bit hurt, and we wound up arguing about pretty much everything from What Is Performance? to What Color Are Bluebirds? or whatever. It's all okay, now, though, and more importantly, though she might not believe me, Nada changed the way I'd been thinking about performance, at least for the present.]] Anyway we had to leave five minutes after my reading, because Tracy was driving back to New York. This time the riders were Eddie Berrigan, Brenda Coultas, Lee Ann Brown, Adeena Karasick, Gary and me. Tracy told us about her former job as a male impersonator: she was Axl Rose and Jim Morrison, among others! I remember Lee Ann and Brenda talking po-biz and Lee Ann telling a funny story about how when she was in elementary school she had an imaginary boyfriend named Lance she kept in a box in her desk! We stopped at a McDonald's on the way back. Lee Ann got a call on her cell phone while we were there and we almost -unintentionally - drove off without her: scary! There was a CD of the Velvet Underground playing; I enjoyed singing along, especially to "I'll be Your Mirror." Most of the way back I slept with my head on Gary's knee. It was strange after all that to get dropped off on Thompson street and see walking past us a very tall, buxom woman in a faded blonde wig and French maid's costume. I'll stop here. ========================================================================= Date: Fri, 4 Aug 2000 11:34:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - perception is the appearance of thought; thought reflects appearance; the real is always thought; the real is an appearance; letting-go produces nothing; think within the maelstrom; let the maelstrom carry one along; think within the turbulence of the current; measure nothing; take no steps; think furiously; one step ahead of the other; flee from propriety; recognize correctness and withdraw; carry nothing; take nothing with you; escape silence; search in heat; of the fury, speak constantly existence is bound; to be what i say it means; slipping away after sight or use; it pivots; not, not at all, neither, never, nor; without, attempt without means; measure without the mean; what is meant here and now; ipseity; ontology without background; the scope of the world; its style; exact being; what appears released; what appears in release formation of self through insertion of Eye in language; the shifter; bandwidth; garnering of coherence; the strategy it is here, no it is over here, no it is made there, no it is created here, no it is just over there, no it is a little over there, no it is right here, no it is somewhere, no it isn't anywhere that i can see, no it's here __ ========================================================================= Date: Fri, 4 Aug 2000 11:56:02 -0400 Reply-To: hsteinb@sirius.com Sender: UB Poetics discussion group From: "hsteinb@sirius.com" Subject: Re: Poets in Spain Content-Transfer-Encoding: Quoted-Printable MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Although (unfortunately) I'm not moving to Spain, I'd also be interested to find out more about what's currently going on= in that country's poetry. Hugh Steinberg Original Message: ----------------- From: Rebecca Heinowitz Rebecca_Heinowitz@BROWN.EDU Date: Thu, 3 Aug 2000 15:55:50 +0800 Subject: Poets in Spain From the recently posted country stats, I have learned that there are 2 list members in Spain. Will you two please email me and make yourselves known? I am a poet from the U.S. (originally from its San Diego outpost), soon to be relocating to Sevilla, and will be looking for allies overseas. Thanks, Cole Heinowitz (Rebecca_Heinowitz@brown.edu) ------------------------------------------------------------------- This message has been posted from Mail2Web http://www.mail2web.com/ Web Hosting for $9.95 per month! Visit: http://www.yourhosting.com/ ------------------------------------------------------------------- ========================================================================= Date: Fri, 4 Aug 2000 13:01:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mscroggi Subject: Another Zukofsky query MIME-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: 7bit Hi everyone! In keeping with Ken Sherwood's recent question regarding "A"-8, I want to put another Zukofsky query into play: I'm writing a biography of LZ, and would be *very* interested in hearing (backchannel of course) from anyone who attended his summer session course at San Francisco State College back in 1958, or who knows of someone (and that someone's address) who did. And of course, I'm always interested in any personal encounters with, correspondence with, or general gossip about Zukofsky. Many thanks, Mark Mark Scroggins Department of English Florida Atlantic University 777 Glades Road, Boca Raton, FL 33431 phone 561.750.5407 ========================================================================= Date: Fri, 4 Aug 2000 13:24:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hank Lazer Subject: Re: Rothenberg/Clay: A Book of the Book: Some Works & ProjectionsAbout the Book & Writing MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear List: I've just received a copy of A Book of the Book. It's a gem. Steven Clay and Jerry Rothenberg have assembled a great, imaginative, wide-ranging resource. I'm ordering additional copies & highly recommend this book to others--particularly at the generous Poetics List half-price sale. Hank Lazer ========================================================================= Date: Fri, 4 Aug 2000 19:14:56 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: turing MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit what an interesting mistype! thank you L ----- Original Message ----- From: "Gerald Schwartz" To: Sent: 02 August 2000 22:00 Subject: conVENTion(s) | Democracy, instead | of disappearing, merely | surrendered its truth claims, | turing itself into a comforting | poetry on one hand or | an empty moralizing | on the other. ========================================================================= Date: Fri, 4 Aug 2000 16:04:52 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Another Zukofsky query MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 8/4/00 12:38:06 PM, mscroggi@ACC.FAU.EDU writes: << Hi everyone! In keeping with Ken Sherwood's recent question regarding "A"-8, I want to put another Zukofsky query into play: I'm writing a biography of LZ, and would be *very* interested in hearing (backchannel of course) from anyone who attended his summer session course at San Francisco State College back in 1958, or who knows of someone (and that someone's address) who did. And of course, I'm always interested in any personal encounters with, correspondence with, or general gossip about Zukofsky. Many thanks, Mark Mark Scroggins Department of English Florida Atlantic University 777 Glades Road, Boca Raton, FL 33431 >> Mark, you might want to get in touch with Barry Ahearn at Tulane University (if you haven't already). He did a book on Z and might have access to some of what you need. I studied with him there back in the day and found him helpful. Best, Bill ========================================================================= Date: Fri, 4 Aug 2000 22:51:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Mayhew Subject: Poets from Spain Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable I don't know who the list-members from Spain are; perhaps they want to maintain their privacy. I do know something about the scene there-- I was in Spain recently giving a summer course on Spanish poetry in Almer=EDa= . Never a stranger to controversy, as the clich=E9 goes, I had published an article (summer 99) in the "Hispanic Review" that was a fairly harsh critique of a group of Spanish poets grouped around the title "la poes=EDa de la experiencia." These poets propose a return to a kind of Audenesque tone and declare the end of the avant-garde. It is rare that an academic article written in English and published in a specialized journal in the US gets noticed in Spain. However, my article was widely circulated among Spanish poets hostile to the "poes=EDa de la experiencia"--hence the invitation to participate in this course. It was quite bizarre to be giving a press conference in a hotel a few yards from a beach in Spain: noone in the USA cares what I think about anything (nor should they!). It so happened that some poets that I had criticized were i= n the same hotel, giving their own course on Spanish poetry. I received some strange looks. It was a bit like waking up suddenly to realize you are a character in the novel you have been reading. =20 The poets whose work I admire can found, mostly, in a magazine called "La alegr=EDa de los n=E1ufragos" published by Amalia Iglesias and C=E9sar Antonio Molina. There is almost nothing of interest available in English, a situation I am trying to remedy as a reluctant translator. I'm talking about the past twenty years of poetry. There are dozens of editions of Lorca in print, of course... =20 ========================================================================= Date: Sat, 5 Aug 2000 00:35:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 1986 Chinese Dictionary: Store Grain among the People. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - 1986 Chinese Dictionary: Store Grain among the People. repent; make amends; be steeped in evil and refuse to repent climb to the top of the dyke; reach the summit; set foot on African soil; Hatred of the enemy, for old and new wrongs, welled up in his heart.; lock the door; lock up; put on a coat; become an accountant; be late for the meal; Have you got in touch with him? She's fallen in love with the grass- lands.; He seized a shovel and set to.; at the meeting; what is reported in the newspapers; in fact; in reality; actually; in theory; theoretical- ly; to be decided by the Party organization; The play is a success both politically and artistically.; There's a map on the wall.; Put the book on the table.; Our barefoot doctors have got calluses on their hands, mud on their feet, medicine kits across their shoulders, and love for the poor and lower-middle peasants in their hearts. eye; be blind in both eyes; look; regard; regard as a miracle; item; de- tailed items; order; suborder; a list of things; catalogue; table of con- tents; book list; objective; target; hit the target; military objective; military target; goal; aim; objective; the great goal of communism; a common revolutionary objective road; way; path; a mountain path; channel; course; change of course of the Huanghe River; way; method; the way to keep fit; deal with a man as he deals with you; pay back in his own coin; principle; criticize the doct- rines of Confucius and Mencius; Taoism; Taoist; a Taoist temple; a Taoist priest; superstitious sect; superstitious sects and secret societies; line; draw a slanting line; a river; myriads of golden rays; two success- ive doors; three lines of defence; an order; set five questions for an examination; serve four courses; save one step in the process; say; talk; speak; have a glib tongue; have the gift of the gab; as the saying goes; think; suppose; So it's you! I thought it was Lao Zhou. stop; prevent; stop from going; turn gloomy; turn glum; dejected; depres- sed; dispirited; disenheartened; The enemy's morale is low. armed forces; army; troops; join the army; learn military affairs; learn from the PLA; wipe out an enemy army; cadres including and above the level of army commander; cadres of army level and above. not conform to; be unsuited to; be out of keeping with; not conform to the rules; be unsuited to present needs; be out of keeping with the objective conditions; not up to the required standard; below the mark; be tempera- mentally incompatible; not be to her taste; not appeal to her; be out of keeping with the times; be incompatible with present needs; should not; ought not; Had we foreseen that, we would not have let him go. build; construct; erect; construct a bridge; erect a tall building; build a railway; All exploiters build their happiness on the suffering of the working people; building; structure; edifice entrance; door; gate; Please use the south entrance.; front (back) door; school gate; stove door; valve; switch; air valve; switch; way to do something; knack; After working in the steel mill for a while I got an inkling of how steel is made. family; wealthy and influential family; (religious) sect; school (of thought); Buddhism class; category; divide into different categories; phylum; subphylum; Vertebrata; a piece of artillery; a cannon; a gun; two subjects; two courses; AND gate; NOT gate; a surname bored; depressed; in low spirits; Don't you feel bored staying here all alone? Why not come out with us for a walk? tightly closed; sealed hide; conceal; Grandma hid the wounded Eighth Route Army man in her house.; This chap can't keep anything to himself.; store; lay by; store grain among the people. __ ========================================================================= Date: Sat, 5 Aug 2000 01:21:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: Re: Poets ought not have other poets as friends MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit In answer to the questionaire a friend was distributing -- Name ten good books -- Freud replies that he understands "good" as meaning 'like a good friend', that is, someone whose work you are not intimidated by (with awe, etc), nor feel in any sense 'superior' to. Had he understood "good" in some other way, Freud says his list would have been very different: so: "good" as distinct from "great," "most significant," etc. etc. Curiously, Freud's understanding of "good" purposefully excludes poetry. He writes, "Genuinely creative writing of purely poetical value has been excluded from this [Freud's] list . . . because . . . [the phrase] good books . . . did not seem exactly aimed at such . . . I must set 'goodness' far above beauty: 'edification' above aesthetic enjoyment." Kevin Davies has a line in his new book somewhere that goes *something* like (I don't have his book here, so could be getting it very wrong), Don't trust your poet-friends to tell you whether your work is good or not. I know an absolutely loving couple whose *sole* serious unresolvable arguments are only ever about poetry. ""There is a G." -- Pat Sayjak." -- BKStefans "Doog" pronounced "backwards." dooglit etc -louis ========================================================================= Date: Sat, 5 Aug 2000 03:15:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: Boston Poetry Conference (post from Nada Gordon) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Nada and Gary : I very much appreciate the comprehensive report on the Boston Conference. Made me wish to have been present. So many names who are still only names to me I wish could be persons (to me). Then, the names I know as persons, gladdened by their mention to imagine in fresh alignments with each other some for a first time. Happy to read you are reading Steve Benson, long in exile from SF, but met up with in Maine last month--SB one of our finest poets and at the same time, conjecturists of poetry, and one I consider essential to read over and over. Dear friend also Ken Irby (we met in was it 1962!?) of whose reading I should have liked to learn more, dense mysteries of poems increasingly so with the kind years. I appreciate the comments occasioned by Creeley's appearance, how persons of such consistency can impress as imitating themselves i.e. "doing a creeley" which calls the big questions regarding identity out of their cages once more. And on & on, would love to see Lee Ann's video of it all...... A propos this, > It was strange after all that to get dropped off on >Thompson street and see walking past us a very tall, buxom woman in a faded >blonde wig and French maid's costume. I'll stop here, we now have an explanation for the disappearance of George Bowering from his Vancouver mansion carrying an oversized suitcase about the same time the maid's spare outfit went missing. We had hoped we had 'cured' him of these episodes. PS You dont mention Doug R's wardrobe. In Maine, it was spectacular. Mr Bro ========================================================================= Date: Sat, 5 Aug 2000 03:22:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: A Royal View of T S E (apologies for x-posting) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Thought this posting, to the Brit-po list by Geraldine Monk, might be of interest : > >For those who have not yet stumbled across this semi-precious >pasting of TS Eliot: > >'We had this rather lugubrious man in a suit, and he read a poem - >I think it was called The Desert - and first the girls got the giggles, >and then I did, and then even the King. Such a gloomy man. (I think >she meant Eliot, not the King, though it's hard to tell). Looked as >though he worked in a bank and we didn't understand a word' > >The Queen Mother >(happy 100th birthday Ma'am! Keep up the lit crit and poet perception.) Mr Bro ========================================================================= Date: Mon, 7 Aug 2000 15:57:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Contact info for Rosmarie Waldrop / Gatza MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted. % Christopher W. Alexander % poetics list moderator -- From: Geoffrey Gatza Date: Sat, 05 Aug 2000 14:57:50 -0400 Please, if anyone has the email for Rosmarie Waldrop or Burning Deck Press, could you please backchannel. Thank you, Geoffrey Gatza ========================================================================= Date: Sat, 5 Aug 2000 16:00:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Poem of Differences Generating Differences MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Poem of Differences Generating Differences 1 h > zz 3,5c3 < 1a2,3 < > 2 h >> zz < > 3 h > yy --- > 3 h > yy 3,7c3,7 < 1a2,3 < > 2 h >> zz < > 3 h > yy < 2c2,5 < < 3,5c3 --- > 3 h > yy > 2,4c2,6 > < 2 h >> zz > < 1a2,3 > < > 2 h >> zz 9,22c9,13 < > 2 h >> zz < > 3 h > yy < > 2,4c2,6 < > < 2 h >> zz < 5d7 < < < > 3 h > yy < 7c9,13 < < > 3 h > yy < --- < > > 3,5c3 < > > < 1a2,3 < > > < > 2 h >> zz < > > < > 3 h > yy < > > --- --- > > 3,5c3 > > < 1a2,3 > > < > 2 h >> zz > > < > 3 h > yy > > --- __ ========================================================================= Date: Sat, 5 Aug 2000 19:14:31 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit > And by "loving couple," that my last post mentions, I wasn't referring to > George Bowering and David Bromige, whose insatiable, amourous lickings of > each other's dooglits, readers of this list have witnessed for years. I'm > not surprised in the least they both spell "Derksen" the same way (they > do; I checked). > > As to hot air on this list, that means more Brownian, as distinct from > browning, motion. > > I'm all for Brownian. > > I propose Boojumlit, in fact, to be a la mode -- hot air of the > Brownian future. > > Henceforth, we must take-over Shark magazine in New York, and rename it > Snark. And hold another loving couple, eds. Lytle Shaw and Emilie Clark, > for ransom in an anti-shark cage, transmitting our terms via a > National Geographic special, from the deck of the Jacques Cousteau. The > Jacques Cousteau we shall subsequently sink, in a fit of biblical > momeswrath that we will not have outgrabed. > > We will then build our own Snark to withstand the most furious floods, and > thereby lead all animals of the world into it, loving couple by loving > couple. > > And on the Snark we shall read Lori Emerson's review of Derksen's hole > chapbook (which is barely, but still, available, for $9, from me). > > The Derksen line that Lori mentions, with the phrase 'aspire to a dental > plan' in it, I understand a little differently. Henri "hot air" > Lefebvre describes three stages of historical development > of 'everyday life' under capitalism. The last stage, since WWII, is where > "the everyday is not only programmed [through stage 2 of advertising, > the media, etc], but it is entirely mediated and mass-mediated....The > everyday here becomes ... the average of social practice and the social > practice of the middle classes, something that requires an understanding > of an *infra*-everyday level and a *supra*-everyday level. The upper > bourgeoisie lives in the supra-everyday. (Onassis directed his fleet of > oil tankers from his yacht.) But millions of poor people in the world > aspire to everday life." So there, after forty days and nights, I plucked > the branch of Derksen's phrase, to be extrapolated from Lefebvre's last line. -louis ========================================================================= Date: Sat, 5 Aug 2000 21:34:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Brutal Treatment of Jailed Protestors at the Republican Convention (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Sat, 5 Aug 2000 14:52:57 -0600 From: manse jacobi To: nettime-l@bbs.thing.net Subject: Brutal Treatment of Jailed Protestors at the Republican Convention Freespeech.org Urgent Action Newsletter - August 5, 2000 A young man handcuffed crucifixion style to a cell door. The screams and moans of young women echoing through the cell block C. Another young woman dragged naked, bloody through a garbage strewn prison hall. Hunger strikers denied access to water or toilets. Metal handcuffs pounding, smashing the fingers, hand and wrist of prisoners who refuse to be finger printed. These are the scenes reported by eyewitnesses from Philadelphia's central prison, the Roundhouse, on Friday morning, August 4th. As the Republican Party National Convention left town, over four hundred men and women remained in jail, many for the fourth day. Their bails range from $6,000 to $30,000. One man was given a bail of $450,000. Two people, including Ruckus Society founder John Sellers, are being held on bail of one million dollars. Their crime? They were among thousands of people who mobilized in Philadelphia this week to confront and challenge the corporate controlled power structure at the appointment of Republican Presidential candidate George W Bush. Free Speech TV has been in Philadelphia all week, providing live television broadcast from the Independent Media Center. All the news that the corporate media censors. Each morning an expanded two hour telecast of Pacifica Radio's Democracy Now! with Amy Goodman and Juan Gonzales has examined the issues and interviewed the young men and women who have dared disrupt the festivities of the powerful. Each evening, Crashing the Party! - an hour and a half report on the day's events, hosted by Radio for Change's Laura Flanders has told the real stories of their creative challenges and Philadelphia's brutal response. Free Speech TV's coverage can be seen on Dish Network Channel 9415 and has been carried live on over 30 Public Access cable stations around the country. It has also been streamed live and archived at www.freespeech.org. You can visit our website to get a Dish Network Satellite so that you can follow our coverage as we move to the Independent Media Center in Los Angeles on August 14th -18th to cover the mobilizations that will confront the Democratic Party at the coronation of Al Gore. We need your support to continue this unprecedented coverage. Please contribute to the effort at www.freespeech.org/donations.html. Now the emergency statement released by R2K, that has sponsored this weeks mobilization of opposition in Philly. August 4, 2000 Contacts: Paul Davis, ACT UP Philadelphia, just released from jail, 215 280 7536 (cell) R2K Legal: 215 925 6791 R2K Media: 215 545 1505 BRUTAL TREATMENT CONTINUES AGAINST JAILED PROTESTERS UNPRECEDENTED CRACKDOWN HIGHLIGHTS SYSTEMATIC ATTACK ON DEMOCRATIC PRINCIPLES OF PEACEFUL PROTEST AND PEOPLE OF CONSCIENCE Philadelphia, PA ~ On the last day of the Republican National Convention, in Philadelphia, the cradle of democracy, police and federal authorities have demonstrated a determination to undermine both the US Constitution and people's basic human rights. Jailed demonstrators continue to demand medical treatment, access to lawyers, access to phones, and timely release. Outside, solidarity actions continue, with rallies planned at Franklin Park at 7 p.m. Guards, police, and administrators continue to attack protestors in jail, seeking to demoralize and divide. Recently released prisoners have reported eyewitness accounts of widespread abuse that can only be described as torture. There are numerous accounts of arrestees who have been isolated, verbally abused, punched, kicked, thrown against walls, bloodied, and dragged naked across floors, in one instance through a 'trash trough' containing refuse, spittle and urine. There has been a reported sexual assault by a female officer who pulled and twisted a prisoner's penis. Seven witnesses saw one woman dragged naked and bleeding. Diabetics, epileptics, and asthmatics continue to be denied medication. Trauma and psychological stress are evident. Paul Davis, from ACT UP Philadelphia, reports his eyewitness accounts of brutality inside the Philadelphia jail. "I saw a man handcuffed to his cell door in a crucifixion position. I heard women screaming and being dragged along the floor. I saw a woman screaming in pain as a police officer said, 'You want more?! You want more?!'" Arrestees have now been held for over 60 hours without arraignment, some without phone calls or contact with their lawyers. Detainees report missing paperwork, and arraignments with incomplete or slipshod records. Philadelphia continues to restrict R2K Legal Committee lawyers, allowing only a total of three lawyers access to all six detention sites, and hundreds of defendants. Prosecutors have set unprecedented high bail for non-violent civil disobedience. Most bails range from $15,000 to $30,000, while others are much higher. Two individuals have bail of $1,000,000, an amount typically reserved for serial killers, not community organizers, non-violence training facilitators artists and puppet makers charged with misdemeanors. "I consider this a civil rights catastrophe of the first order," R2K Legal Committee counsel Ron McGuire stated. "This is an attack on our 14th Amendment. An attack on due process and reasonable bail." "This is a systematic political effort to undermine and destroy the momentum of a growing movement for social and environmental justice." R2K Legal has documented 381 confirmed arrests, not including members of the International Action Center and School of Americas Watch (15 more). Additionally, there are people we have not heard from (we estimate up to 30), but due to restrictions on protester's access to telephones, there is really no way to tell. Of these people, approximately 60 have accepted "Release on Own Recognizance" or "Signed On Bail." Prisoners are working together to agree on and communicate their demands. Solidarity tactics to demand their release include singing, chanting, and story telling, along with a 150-person-strong hunger strike. Some have been on hunger strike for as long as 56 hours. Three men have fasted without water for 28 hours. Supporters are asked to phone Mayor John Street at 215.686.2181 and demand the immediate release of these political prisoners. # distributed via : no commercial use without permission # is a moderated mailing list for net criticism, # collaborative text filtering and cultural politics of the nets # more info: majordomo@bbs.thing.net and "info nettime-l" in the msg body # archive: http://www.nettime.org contact: nettime@bbs.thing.net ========================================================================= Date: Sun, 6 Aug 2000 19:06:31 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Peter Fogarty Subject: mutate.co.nz/a4-14.pdf Comments: To: wryting@julian.uwo.ca Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Notes on "Red Roses for Bronze" (CP: 209 - 305) / On the function of the poet / of poetry / rejection / isolation / in unrequited love / and need for spirituality / HD sculpts her love in bronze / shaping the contours and wandering curves / belittled, mocked by cynic curls worn / by a light and free intellect / imprisioned by her gaze / "With stroke, / stroke, / stroke, / stroke, / stroke at-something" (211) melts with welcome / HD's careworn emotions sliding layers over one another, sediment falling to the sea-bed as her wishes, her images spin lazy down the page / how easily am I caught by red roses caught in bronze / when exasperated, a little breath is lost / "that I would prove too strange, too proud, / for just the ordinary sort of come and go, / the little half-said thing, / the half-caught smile," (211-2) / the incredulity of "forgot? impossible," (212) / quiet, contemplative, plaintive - a woman, fiercly independent / but desire has pulled despair out of the ravine / that separates by a marble stair / of love denied / of gaze fallen upon the muscle concealed beneath fine weave / her desire surges forth "I feel that I must turn and tear and rip" (213) / in her frustration - she longs to flail forth - to make him aware of her singularity among women / treat my exception with honour / A scenario is built in IV / would you meet me "to-day - / tomorrow will not do at all;" (213) / HD's discomfort makes my fingers ache as they dance over the keys / why the aching pain inside me / nags me, pushes fears forward / my faith in writing ever nearer the marble stair / of alienation and misunderstanding / without the complete picture / how can I proceed? / Afro-futurist sound-check for Harry Allen / Ray Keith live in Mannheim, Germany: 000602 / http://www.breakbeat.co.uk/archive/dnbevents/liveevent3_raykeith.asx / now droppin Krust's 'Cloakin Device' / http://www.krust.co.uk/media/real/new_releases/cloakin_device.ram / Encircled by light caught in a tangle of serpents, HD slips into a rapture / bewitched by his hair / his eyes, flecked with pounamu glint / and we are swept by her adoring gaze / grasping the ineffable essence which words attempt to imprision / her love, who is as distant as the stars, as Mars, or Actaeon / as avatar of Artemis, the Huntress / buried beneath the hounds of desire, despair and desolation / Artemis's own, not his own / did HD wish she would be stumbled on - in a cavern - to find Actaeon caught in surprise at Artemis's sudden beauty / as she bathed / only to have her call his own hounds upon his transcendence from hunter into hunted / that sudden betrayal of purpose / of desire revealed all too late / when wounds bleed for too long / in mis-deed, retribution is swift / even the crime of inattention / And did Artemis deliberately lose her race / did she cast her face / so that the dappled light beneath oak trees / flickered with irony over the freed mystery / of allure, so deep and still that all men are ensnared by her visage / in all her honesty - all her forthright pride - her solid sense of worth / so that she seethes in jealousity, in hate, and in love spited / spiritedly sings "I would clear so fiery a space / that no mere woman's love could long endure; / and I would set your bronze head in its place, / about the base, / my roses would endure," (215) / as she knows that her own is eternity / her red rose in brazen words sprint ever forth / outwards and upwards through time / the flame always one step ahead of ashes and dust / all that is left of these of lesser spirit / where is the earthy ideal / deal la ma! Esprint activated / 21 electrodes tingling in the sudden vacuum / auditory relief / back into the formless / bone conducting vibrations from each bone - a nerve relay / no perceptible delay in response between nature and machine / sound meshes with vibro-sense / I listen to HD - she continues, a poem may also be a microcosm for a book / and "Red Roses for Bronze" circles and penetrates these themes / HD, a dancing matador goading her malcontence / HD finds a certain liberation in the expression of sensuous image and ritual / in a love which is transcendent / " is a trap, / a snare ) /a bird lifed a passionless wing; / nothing, nothing was ever so fair / as the wonder that clutched at me there, / unaware; under the rain; my brain sang" (217) / in this refrain, too easy to grasp at this / and say 'HD knows the pain of indifferent beauty; of the besotted vision which finds sumptuous wonder in the most starved of gesture' / while this is not quite simplex, does it go deep enough into complexity to be called multiplex? / One often finds darkness in the depths / and "Red Roses for Bronze" ends with 'The Mysteries' / a poem which begins its six sections in dark days / gloomy spirits, turbulent earth / then breaks the permafrost with the first flower of the season / at the cusp of her love lost / comes love renewed / with spring in step, it's hard not to lift your head / and smell your bouquet / a sceptre / a flower / enchanter / magician / arch-mage / escalating magics running across the moor to greet the stripped, fevered warrior / its purpose? "Not to destroy, / nay, but to sanctify" (303&304). My feeling is that this dimension of HD's work reflects but one facet of her nature / and nature is the key / nature transcends human failings / while the pangs echo endlessly down corridors / "the air / will be full of multiple wings;" (218) / again, and again, HD turns away from the frailities of other humans to these long gone myths the Greeks stole from Kemet - but whose essence lives on, in the history of the tale / HD's voice runs now quick, "Who is there, / who is there in the road?" (223), now lifted by endorphins "again shall my pulses beat / like the deer / escaped from the net," (226), now melancholy "Hard, / hard it is to wake the gods, / but once awake, / hard, / hard, / hard is the lot / of the ignorant man," (227) / Our own ignorance struggles with HD / in a world where words have become kaleidoscopic / where grammar has lost its importance / overwhelmed by the sound-bite / where classical no longer means white european achievement / but tradition in all its multitude / where the Greeks sample Africa / the persistent, constant use of Greek mythology to accentuate / imposes http://longman.awl.com/mythology/glossaries/default.asp upon the reader / even as "Orion bent / to shelter Artemis;" (261) and is slain for his pains and thereafter his dance across the sky is chased by the scorpion / Peter Fogarty A4 14 000806 ========================================================================= Date: Mon, 7 Aug 2000 07:14:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Broder, Michael" Subject: Ear Inn Readings--August MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" > The Ear Inn Readings > Saturdays at 3:00 > 326 Spring Street, west of Greenwich > New York City > > August 5 > Mary Donnelly, Charles Rammelkamp > > August 12 > Emily Goodman, Sharon Krinsky, Mark Solomon > > August 19 > Janet Hamill, John O'Connor, Kathleen Ossip > > August 26 > Priscilla Becker, Kim Schoen > > The Ear Inn Readings > Michael Broder, Patrick Donnelly, > Lisa Freedman, Kathleen E. Krause, Curators > > Martha Rhodes, Director > > For additional information contact Michael Broder (212) 802-1752 > > The Ear Inn is an historic pub located at 326 Spring Street, west of > Greenwich, in Manhattan. There has been a reading series in this space > for > decades. > > Past readers include Mary Jo Bang, Laure-Anne Bosselaar, Jane Cooper, > Ellen Dudley, Richard Foerster, David Lehman, Geoffrey O'Brien, > Marie Ponsot, D. Nurkse, and Susan Wheeler > > The Ear is one block north of Canal Street, a couple blocks west of > Hudson. > The closest trains are the 1-2-3-9 to Canal Street @ Varick, the A to > Canal Street @ Sixth Ave, or the C-E to Spring Street@ Sixth Ave. > > If you wish to be removed from this list, please let me know via reply > e-mail. ========================================================================= Date: Sun, 6 Aug 2000 15:02:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dominic Fox Subject: Re: Berkeley commencement speech MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii (apologies for cross-posting) DEPLETED URANIUM i) The heavy elements melt into air by abrupt sublimation. Call this the slow-burning nuclear option, pre-emptive retaliation: vapour against vapour, noisome gusts of marsh gas met with purifying fragrance of canned aerosol. Temper the brittle, brutal, protocols of enforcement with spectacular diversions, briefings against the long agonies of war by any and every other name. There is no way possible to be innocent of this. Metastases of fascist jouissance settle in every bowel. Bright tumours swell inanely over cities. ii) It is literally the case that this maternity ward is given to the manufacture of biological agents: weapons of mass destruction, potentially; palpating cultures of fatal tissue, fit targets for surgical ordnance. By such discriminate means, see noxious Arab- Semitic flesh and blood scraped from the earth's crust: unborn and unnamed or raised on the black milk of quotidian politic deprivation - destined in any case to sanctioned obliteration, invisible even before their final disappearance. - Dom __________________________________________________ Do You Yahoo!? Kick off your party with Yahoo! Invites. http://invites.yahoo.com/ ========================================================================= Date: Mon, 7 Aug 2000 11:37:10 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maz881@AOL.COM Subject: new from subpress MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit SUBPRESS WINS AWARD FROM ACADEMY OF AMERICAN POETS Author: Scott Bentley Title: The Occasional Tables Publisher: Subpress Length: 88p Price: $10 ISBN: 0-9666303-7-8 Contact: Bill Luoma maz881@aol.com 808-735-8540 Subpress announces the publication of Scott Bentley's first collection of poems, entitled The Occasional Tables. This book was one of four to receive a grant from the Greenwall fund of The Academy of American Poets. Bentley lives in Oakland, CA, and teaches writing at Cal State Hayward, negotiating the East Bay hills in his wheelchair. His work has appeared in a number of small magazines, as well as three chapbooks. The Occasional Tables is a collection of lyric poems written over the past decade. Each poem is written to a specific person for a specific event. Some of the poems stand alone and some are written as discrete series. Yet taken as a whole, "they resonate in a complex way to the poetical as a worldly category, obligated to personal and political unease as well as pleasure. The book is, in this sense, full of life." (Hejinian) Or as Alex Cory says remarks: "I'd have called this an 'important' book, except in its wake importance doesn't count for anything. All that could possibly count is writing a poem for someone you care about, and if it could stand up to that, be useful, like these poems by Scott Bentley, poems that need to personally operate in the midst of a life, in the midst of a marriage-- a real love poem, written for someone, for Marta, to make poetry become capable of that, of making so small, and so actual, of a gesture . . ." Subpress books are available from Small Press Distribution and directly from the publisher. Desk and review copies are available. Subpress is a collective that is supported by nineteen members who have agreed to donate 1% of their yearly income for three years. Each person is responsible for editing one book. Subpress operates under the `A`A Arts umbrella, a non-profit 501(c)(3) corporation. `A`A Arts has received grants from the NEA, The Academy of American Poets, NYSCA, HCM, & the UH Diversity & Equity Fund to do local programming and publishing, yet we continue to be in need of funds. Consider becoming a donor. Remember, only you can prevent the extinction of literature. Subpress 2955 Dole St Honolulu, HI 96816 email: subpress@hotmail.com web 1: www.durationpress.com web 2: www.members.xoom.com/subpress/newbooks.htm >From the Back Cover Remarkable intricacies of intelligence are at play in Scott Bentley's wonderful new book, the result of thought's occurring at maximal velocity without impatience. It evolves with the intensity of what might be termed a musical passion; the writing is precise and the effect is enormous. And it is not only in this respect that one might cite the work of Louis Zukofsky as that of a predecessor, since the poetical, for Bentley as for Zukofsky, is a worldly category and obligated to personal and political unease as well as pleasure. It is, in this sense, full of life. This is a book of enormous seriousness and complex resonance. I have read it with care and joy, and I expect to read it many times again. -Lyn Hejinian Scott Bentley is loud and clear and on fire cumulatively. Now we all get to sit down together at the eating table of language occasions. Bentley's abstract menu begins with a poem containing some of the most phonemetrically erotic phrases ever invented. What better way for a poem to be but for somebody. Grammar flutters & fucks in the dust "beyond a yell of water" but does not muddy its conjugal thrust. These are love poems to every body, generously sifted through vectors of grace, exploded. -Lee Ann Brown >Author Bio Scott Bentley was born in Burbank, California, in 1964. Paralyzed from the waist down, childhood was spent mostly in hospitals as he underwent twelve operations in about as many years to repair a defected spine and hips. Childhood memories include the sight of countless balsa wood airplanes stuck in trees, the early morning sound of an outboard motor as a tiny aluminum boat carrying grandson and gramps headed out to sea, and the words of "Do You Know the Way to San Jose?" In southern California on streets named for varieties of avocados Scott grew up amidst the enduring conflict and broken furniture of parents who were married too young. As soon as he was able, he left home for college to study writing and received a BA from UC Santa Cruz in 1986 and an MA from UC San Diego in 1988. Since then he has been living with his spouse in the San Francisco Bay Area, where he teaches writing at CSU Hayward. His work has appeared in Chinquapin, Idiom, The Impercipient, Lyric&, Mirage#4/Period(ical), & The Raddle Moon. His publications include GROUND AIR (O Books, 1994), OUT OF HAND (Parenthesis, 1989) & EDGE (Birdcage, 1986). >From the foreward In 1989, on my 25th birthday, I threw a party for myself and invited all of my poet friends to celebrate at my grandmother's house, where I was living at the time. My presence in the house helped my grandmother to fill up the echoing hollow left after my grandfather passed, and my grandmother, as part of my grandfather's legacy, helped to shepherd me through graduate school at UC San Diego. In attendance at this bash were some famous and some not so famous poets: some just now, a decade later, coming into a bit of recognition; some continuing to toil in obscurity; and some having moved on to other occupations, other worlds. Though I am no longer in contact with many of these writers, each one of them, whether in a classroom or huddled around a Royal typewriter while working all night on some collaborative project, helped to shape the writer I have become. It has been my utmost privilege to have been acquainted with each of them and their work. This book, in large part, attempts to acknowledge my debt to those and other writers I have known, who by serendipity met and contrived to hazard some semblance of community of individuals intensely and variously interested in one thing: language. During the evening of that long ago birthday party, one particular poet, Fanny Howe, gave to me as a present a poem that she had written. Though the poem itself is now tucked away in a box somewhere in my attic, the edges of the paper yellowing among the many other scraps and mementos collected from my school days, I can still remember exactly the sense of breathless fluster that I felt at having a poem written just for me, typed and folded and sealed in a brightly colored envelope. It was on that night, I think, that I happened upon the idea for this book that you now find before you. Over the past decade, the poems in this volume were all written for particular people on particular occasions. Sometimes I would, say, be aware that someone's birthday was coming up, so I would write that friend or relative a poem; sometimes I would write a poem while holding in mind only the vaguest impression of a certain person, maybe after having only just met him or her; and sometimes, I must admit, I would write a poem and then assign it to a particular person for dedication, long after the piece was written; and sometimes forlorn, ah, a valentine. No matter the particulars of a given writing situation, in nearly every case, I would then give the poem to the person, whenever the time seemed appropriate to do so, sometimes in the form of a small hand-made chapbook printed ornately on exquisite paper. While you read these poems I ask you to keep one or two things in mind. If none of the poems in the volume point to you as the beloved, I hope you can, just the same, read and enjoy all the poems as if each one had been written for you, as if a lovelorn arrow had been flung straight toward your brave forehead. If a particular poem does however bear your name and you've never seen it before, surprise! And if a poem bears your name and you are tempted to feel something, congratulations! It is not often we are permitted such moments of grace. Any perceived breach of confidence is strictly accidental, the car careening over the guard rail, blind- sided. As Fanny Howe writes "Where I am is one thing, but where I am NOT is bigger." In the end, intentionality still gets us Iliads of camellias, ladies, strewn across the periodic table. It goes without saying that the poems and the words out of which they are made are objects. If a particular poem is dedicated to you, the poem as a fact is meant as a gift. If I had been a carpenter, I would have built you a house, but I am a poet. Gathering the materials I have before me, I wrote a few poems for some of those people in my life whom I have known, loved and continue to admire. The risk in such a project, one so apparently personal, is that the poems will have their inevitable referents-every word, phrase, line and sentence will imply larger meanings in this world of words. Language and memory and experience conflate. It is possible that a particular reader may find some of this slippage uncomfortable or disturbing. None of us has any control over any of this and I am sorry. The poems should be thought of as tiny and endless, their music meant to delight with decoration the vaults of the imagination. In this sense, I hope you can enjoy this book a little; if not, winter is coming. I invite you on the coldest day of the year to take a match to this book's pages, so that at least it will serve to warm your house if it cannot warm your heart. Scott Bentley July 14, 1999 Oakland, CA >Sample Poems With Nothing Underneath -for Marta scantily panty, my plenty empty puny: oh, your pale pilsner, your shady prissy, my lissome transom pretty: suspend me unattended, my saucy cedilla: askance the sea saw suckling streams my pendulum compendium Castaways -for Jennifer, a valentine If you woke one morning to find the body sleeping next to you a shindig of party favors, a polyester cocktail on your fine suit; if I lived a thousand years, happily ever after never having had you to do all over again; if you'd been the Skipper, I'd be your Marianne or Ginger, of course, this clearly being a case of mistaken indemnity, neither of us meant anything much to the other by it, so we said . . . and yet, I would have liked to rescue you from all that network variety, navigating the orange and pink Day-glo that Providence channels, tossing off covers up such transgressions you searched the lagoon, the dawning on land snakes, alive. # # # ========================================================================= Date: Mon, 7 Aug 2000 05:34:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: juliana spahr Subject: ken saro-wiwa MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit so i was doing some research on stuff (i'm teaching a sort of "other" englishes classes this semester; or i'm supposed to but it might not make b/c when the university deregistered all the students who hadn't paid yet last week my class dropped down to 11 students) this summer b/c i was in ny where they have books in their libraries (the UH one has been cut to smithereens and it is the only one on the island; plus it suffers from usual colonial buying habits--it seems to have bought practically no caribbean literature; very little african lit other than the usual suspects; almost none of the lit in scots, etc.). but nyc has this great schomberg center where they seem to have almost everything i've ever seen mentioned in caribbean literature. i spent an exciting few days up there. but anyway, i was looking for this ken saro-wiwa poem that was written in a sort of other english ("dis nigeria sef"). i found it at the library on microfilm. it was in a chapbook, i think, called _songs in a time of war_ and came out in 1985. "dis nigeria sef" is long and complicated (but it is well worth reading) so i'm not going to talk about it but the book opens with this great revision of sappho that blew me away: VOICES They speak of taxes Of oil and power They speak of honour And pride of tribe They speak of war Of bows and arrows They speak of tanks And putrid human flesh I sing my love For Maria. ========================================================================= Date: Fri, 4 Aug 2000 14:47:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Rothenberg/Clay: A Book of the Book: Some Works & ProjectionsAbout the Book & Writing In-Reply-To: <398B0A5F.7B61537@bama.ua.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" what is the relationship of this book to that other one, The Book: Spiritual Instrument? At 1:24 PM -0500 8/4/00, Hank Lazer wrote: >Dear List: > >I've just received a copy of A Book of the Book. It's a gem. Steven >Clay and Jerry Rothenberg have assembled a great, imaginative, >wide-ranging resource. I'm ordering additional copies & highly >recommend this book to others--particularly at the generous Poetics List >half-price sale. > >Hank Lazer ========================================================================= Date: Mon, 7 Aug 2000 16:05:33 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Al Filreis Subject: Chicago next week In-Reply-To: <200008052314.TAA15846@dept.english.upenn.edu> from "Louis Cabri" at Aug 5, 2000 07:14:31 pm MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Looking for interesting readings going on in Chicago next week (Aug 14-19). Any ideas? --Al Firleis afilreis@english.upenn.edu ========================================================================= Date: Sat, 5 Aug 2000 17:20:20 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: forward: CFP: new fiction/cultural studies zine starting up Comments: To: engrad-l@garnet.tc.umn.edu, englfac@garnet.tc.umn.edu, creativefac@garnet.tc.umn.edu, creativeadj@garnet.tc.umn.edu, compedspec@garnet.tc.umn.edu, engltchr@garnet.tc.umn.edu, writers-l@garnet.tc.umn.edu, subsubpoetics@listbot.com, areckin@acsu.buffalo.edu, lew@humnet.ucla.edu, ball0001@garnet.tc.umn.edu, zelda_g@email.msn.com, ewk3@columbia.edu, falla001@garnet.tc.umn.edu, js@lava.net, leeann@TENDERBUTTONS.NET, funkhouser@tesla.njit.edu, anleut@juno.com, Altxfeeks@aol.com, agil@erols.com, hobnzngr@leland.Stanford.EDU, wkalaid@emory.edu, karenand@halcyon.com, oconn001@garnet.tc.umn.edu, moinous@aol.com, jani@garnet.tc.umn.edu, Rita M Raley , tracdmor@aol.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" X-From_: ruthnow@hotmail.com Sat Aug 5 16:41 CDT 2000 X-Originating-IP: [140.225.100.23] From: "ruth now" To: Maria Damon Subject: hemmorhagingimaging/Call for Work Date: Sat, 05 Aug 2000 16:41:00 CDT Mime-Version: 1.0 ***call for work*** seeks aberrant narratives and 1-2 page innovative prose writings that engage any of the following areas: cultural studies, media, performance, film, queer theory, gender, technology and the future of narrative. send work for this new 'zine to ruth now, 2441 32nd avenue south, minneapolis, mn., 55406. please include sase. ruthnow@hotmail.com ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Sun, 6 Aug 2000 14:06:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dean Creighton Subject: The Blue Bottle Project Comments: cc: bartsolarczyk@email.msn.com, DembinskiDF@hiram.edu, mish65@paralynx.com, Nehferet@zianet.com, eleirbag@aol.com, IMPETUS@aol.com, minerj@earthlink.net, JeLLyGuN@aol.com, asscab@earthlink.net, Aazss@cs.com, chandler@iswt.com, filipski@atlantic.net, janetb@panix.com, Kurvanas@aol.com, RanPrunty@aol.com, markhart@webtv.net, basinski@acsu.buffalo.edu, Shemurph@aol.com, linx@poetrypipeline.com, zc@vais.net, jeffmcv@harborside.com, ronand@webtv.net, salasin@scn.org, bear@hooked.net, three7@earthlink.net, GRIST@THING.NET, newlit@sfsu.edu, Subraman1@email.msn.com, moorebt@aol.com, tblesing@flash.net, chironreview@hotmail.com, virgo@panix.com, Zerxpress@aol.com, bear@hooked.net, wbeaver@primenet.com, bensays@cdepot.net, zen@buncombe.main.nc.us, charlice@traverse.net, sagriffin@mindspring.com, doug_mumm@ameritech.net, ray@scribbledyne.com, southern67@hotmail.com, Onyxvelvet@aol.com, jchace@epix.net MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Blue Bottle Project's call for submissions postcard is now ready. Those wishing to have one mailed to their domicile may send their address to creighd@elmo.nmc.edu. The addresses of others likely to appreciate are gratefully accepted. Check out the card's text at http://smilingdogpress.tripod.com/index.htm dean creighton ========================================================================= Date: Mon, 7 Aug 2000 05:03:02 +0000 Reply-To: anielsen@lmu.edu Sender: UB Poetics discussion group From: anielsen@LMU.EDU Subject: Dudley Randall MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII I've just received word that Dudley Randall, legendary founder and publisher of Detroit's Broadside Press, has passed away. After working with Margaret Danner and others in the Boone House cultural center, he began Broadside, one of the most widely circulated and influential of African-American presses, in 1965. When I was a graduate student doing my first research on Melvin B. Tolson, I noticed Randall's phone number on a letter he had sent to Tolson. Gambling that Randall might still be at the same number 15 years later, I called. Not only was he there, but he took time to answer my questions and was among the most generous and encouraging of older poets I was to meet in those years. Booker T. and W.E.B. "It seems to me," said Booker T., "It shows a lot of cheek To study chemistry and Greek When Mister Charlie needs a hand To hoe the cotton on his land, And when Miss Ann looks for a cook, Why stick your nose inside a book?" "I don't agree," said W.E.B. "If I should have the drive to seek Knowledge of chemistry or Greek, I'll do it. Charles and Miss can look Another place for hand or cook. Some men rejoice in skill of hand, And some in cultivating land, But there are others who maintain The right to cultivate the brain." "It seems to me," said Booker T., "That all you folks have missed the boat Who shout about the right to vote, And spend vain days and sleepless nights In uproar over civil rights. Just keep your mouths shut, do not grouse, But work, and save, and buy a house." "I don't agree," said W.E.B. "For what can property avail If dignity and justice fail? Unless you help to make the laws, They'll steal your house with trumped-up clause. A rope's as tight, a fire as hot, No matter how much cash you've got. Speak soft, and try your little plan, But as for me, I'll be a man." "It seems to me," said Booker T.-- "I don't agree," Said W.E.B. --Dudley Randall "Has All-- a Codicil?" -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Department of English Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 anielsen@lmu.edu (310) 338-3078 _________________________________________________ The simple way to read all your emails at ThatWeb http://www.thatweb.com ========================================================================= Date: Mon, 7 Aug 2000 18:08:40 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Cayley Subject: Yang Lian's 'YI' Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" *** apologies if you receive this more than once *** This message has been edited from an original distributed by the author. people arriving at the vortex of the last day write music as naive as God's - Thunder 1, YI. 'YI', Yang Lian's most important work, was composed over five years (1985-89) and later translated by Mabel Lee. It is now published by Sun and Moon Press, LA, USA. You can oder it direct from the publishers, through SPD (Small Press Distribution) in the United States or from amazon.com, etc. The structure of 'YI' is based on the 'Yijing' or 'Book of Changes', re-configured according to by Yang lian's particular interpretation. 64 parts are collected into four larger sections: 1. The untrammeled man speaks 2. In symmetry with death 3. Living in seclusion 4. The descent Seven different poetic forms and three styles of prose are employed as a major challenge to Chinese language itself, poetically closed since 1949. They work attempts to explored the great neglected potential of the language. This one of the things which makes 'YI' an important work for understanding and effecting a modern transformation of Chinese culture and poetics. The title 'YI' in Chinese is a specially created character for the book. Please pass this message on to anyone else you think may be interested. [John Cayley adds: Yang Lian's collection of shorter poems, 'Non-Person Singular' and the chapbook of his sequence 'Where the Sea Stands Still' are still available from Wellsweep Press. Email me to order.] ========================================================================= Date: Mon, 7 Aug 2000 13:09:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: Belladonna* (Print, Post, Pass Along) Comments: To: Helen Frost MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit ENJOY BELLADONNA* FRIDAY SEPTEMBER 1, 2000 Cecilia Vicuña Cloud-Net, QUIPOem/The Precarious & Letta Neely Juba, When We Were Mud & Tisa Bryant Tzimmes 7:00 pm at Bluestockings Women's Bookstore 172 Allen Street between Rivington and Stanton on the Lower East Side of Manhattan Contact: (212)777-6028 for more information ========================================================================= Date: Mon, 7 Aug 2000 16:35:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kristen Gallagher Subject: Re: "Democracy, the Last Campaign" In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit dear kevin and all, i was in philly for the protests, working with the independent media center, interviewing people with my friend "kk" the camerawoman. i cant write much specifically now but the website has loads of info. i think the most important thing is the message of the movement - that 1) economic inequality as a result of IMF/WTO/world bank-style globalizing is leaving thousands in poverty, frustrated and with a growing sense of little to lose (hence, i think, the growing numbers of people willing to throw themselves in harms way) and 2) there are too many issues people are concerned about in the US and North America which are not getting anywhere near accurate coverage, or any coverage at all, from the mainstream, corporate-owned media. the activists want to make a space for ALL of these issues to be foregrounded. examples which seemed to receive large turnout in phily were economic inequality, police brutality, the growing prison industrial complex, threats to education on all levels, and the farcical "democracy" of our two-look-alike-rotating-figure-headed (they're not so) christian (or) moral wrong wing. for great details, photos, stories, video, etc -- Check out http://www.phillyimc.org this movement is incredibly well organized, well supported and growing quite large. the things i describe here are things that are going on in every city where the movement is going on. LA is the next stop, going on right this minute. and many of these folks are going to prague for the next IMF meeting in september. if you want to say they're all rich folks who can afford to go to all these things - not quite. many people are getting funded by pools of friends, getting rides and roughing it, borrowing heavily against student loans which they will have to pay back, or using credit cards likewise. buses are often chartered to bring people from far away too. when people arrive wherever they arrive, locals have been set up to take them in. in philly local cooks made vegetarian food and sold it VERY cheap on-site at various locations. the independent media center, where i plugged in, for example, was put together in a rented space and staffed by about 250 volunteers at any given hour of the day, though records indicate that hundreds more at least registered with the IMC. equipment was donated including about 35 computers, a T1 wireless for ethernet connections, the work of producing the daily print newpaper, lots of software. the whole thing was set up about 5 days before the convention began. people showed up with everything from personal camcorders to "borrowed" school-owned professional cameras. a pirate radio station, web radio, web tv and a constantly updated website have been among the things implemented at the IMC to cover the counter-conventional activities. documentary filmmakers, video artists, poets and writers, many many hackers and other multimedia revolutionaries have worked day and night to keep the place functional, and keep coverage up-to-the-minute. decisions about what stories to present were and are made democratically by joining the editorial collective and rating stories as they come in. anyone at all from anywhere can join the editorial collective and rate stories. every day was ruled by bicylces, digital recording and programming devices and cell phones. teams would set out with recording equipment and note pads, while others on bicycles would race around looking for breaking news which was never hard to find. cell phones were used to commmunicate to each other on the street and also to call in live radio broadcasts and/or inform the website breaking news editor and the dispatch counter. its beginning to look a lot like neuromancer. i finally see the importance of a laptop and a cell phone. -- barring time-travel and speed shuttling, the bicycle is looking better than ever. other incredible aspects of this movement are that there are hundreds who have volunteered their legal services to defend and witness for arrested folks. they have their own office much like the IMC. likewise hundreds of medical folks have donated time and resources to stand by for those who need medical attention. various tactics for civil disobedience are being taught in organized training sessions. these training sessions are important - as the police become better trained in how to deal with the new tactics, the tactics have to change - anyone who wants to do blockades or any other civil disobedience is strongly urged to attend training sessions BEFORE taking part in actual, physical activism. --On Thursday, August 03, 2000, 12:31 AM -0700 Kevin Killian wrote: > Hi everyone, it's Kevin Killian. If any of you have web access you > should check out this project that Margaret Crane and Jon Winet are > doing re the Republican Convention this week. (It will continue > right through the election). It's called "Democracy--the Last > Campaign." Here's the URL > > http://dtlc.walkerart.org/ > > And when you get there and see the stars or twinkling lights or > whatever they are, click on one of them and that will take you to > succeeding menus. I'm writing for it, so is Dodie Bellamy, Roberto > Tejada has been writing, David Levi Strauss, oh, there's quite a few > of us all giving our opinions on the Republican Convention from > wherever we happen to be. Margaret and Jon are actually in the press > booth in Philadelphia streaming video, shooting live interviews, the > whole nine yards. Margaret called me very excited the other night. > Apparently up in the press room at the top of the Convention Center > you get free long distance calls 24 hours a day!!! > > Is there anyone in Philadelphia on this list, what's happening, write > me back channel and tell me! > > Thanks everyone > > Check it out . . . See you ========================================================================= Date: Mon, 7 Aug 2000 16:12:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Suzanne M Burns Subject: Returning to the List Greetings In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Dear Friends: I have just reactivated my subscription to this listserve, after a year-long hiatus which I spent working and travelling way too much. It feels great to jump back into the discussion, and I look forward to taking part! I wanted to take a minute just to say hello. I also wanted to announce that I am in the process of putting together a group here in Boston for experienced poets to get together and share work. There are already five of us, and we are looking for a few more like-minded and dedicated people. If interested, please drop me an email! Hugs to All, Suzanne ========================================================================= Date: Mon, 7 Aug 2000 13:36:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: BoPo Broadsides by Creeley and Myles Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Now available: Broadsides to benefit the recent Boston Poetry Conference. The conference has been financed independently for the past three years by its organizer, poet Aaron Kiely. Robert Creeley, Cambridge, Mass 1944 H-17" x W-11" Linoleum print by the Curse editor Daisy DeCapite, with window box revealing typeset poem. Unsigned, black-and-white edition on white, matte cardstock. $8 ppd. Signed by the author, blue and red inks on white, glossy cardstock. $15 ppd. Eileen Myles, Cat H-11" x W-17" Features detail of a graphite drawing by Helen Miranda Wilson. Unsigned, black-and-white edition on white, matte cardstock. $8 ppd. Signed by the author, blue and green inks on white, glossy cardstock. $15 ppd. Broadsides are shipped first-class in poster tubes. Please make checks payable to: Boog Literature 351 W.24th St., Apt. 19E NY, NY 10011-1510 Thanks, David Kirschenbaum _______________________________________________________ Say Bye to Slow Internet! http://www.home.com/xinbox/signup.html ========================================================================= Date: Mon, 7 Aug 2000 17:34:01 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: A Royal View of T S E (apologies for x-posting) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 8/7/00 1:00:06 PM, dcmb@METRO.NET writes: << > >For those who have not yet stumbled across this semi-precious >pasting of TS Eliot: > >'We had this rather lugubrious man in a suit, and he read a poem - >I think it was called The Desert - and first the girls got the giggles, >and then I did, and then even the King. Such a gloomy man. (I think >she meant Eliot, not the King, though it's hard to tell). Looked as >though he worked in a bank and we didn't understand a word' > >The Queen Mother >(happy 100th birthday Ma'am! Keep up the lit crit and poet perception.) Mr Bro >> Well, we always knew those royals were inbred. Best, Bill ========================================================================= Date: Mon, 7 Aug 2000 17:52:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Re: "Democracy, the Last Campaign" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Just as a quick follow-up to Kristin Gallagher's important post, I'd like to point out the following article, which I noticed on a quick visit to the Philly IMC site. It invites people to write personal letters of support to the 341 remaining arrested (only one address is given, but more apparently to follow). Note the "Jane Doe": as I understand it, many or most of those presently in custody have refused to give their names in an attempt to stymie the legal process. The harassment they are undergoing is no doubt intense, and stems from an exercise of political rights rather than any actual wrong-doing; it is unquestionably worth 10 minutes and 33 cents even to attempt contact. For those who can afford to do more than write, there is also a Bail Fund Appeal underway; details may be had from the Philadelphia Direct Action Group web site at . Bail has been set as high as $30,000 for such alleged offenses as the overturning of trash cans; two protesters have had their bail set at one million dollars. A further report on the conditions under which the prisoners are being held can be found at . I would also suggest letters - as those I will be writing - to the Mayor of Philadelphia and his District Attorney. The Mayor's direct address seems to have been withheld from the city govt. web site pending the resolution of this affair, but he can be reached via the "Information and Complaint Office" at Mayor John F. Street c/o Renee Grundy, Executive Director The Mayor's Action Center City Hall, Room 143 Philadelphia, PA 19107 (215) 686-3000 (215) 686-2250 I tried to locate his home address but was unsuccessful. As for the D.A., she is: Lynne Abraham District Attorney of Philadelphia 1421 Arch Street Philadelphia, PA 19102-1576 Comments to the editor of the Philadelphia Inquirer may be directed to: Chris Satullo Editor P.O. Box 41705 Philadelphia, Pa. 19101 Tel. 215-854-4543 Fax 215-854-4483 What all of this represents is a chance for those of us who weren't there, for whatever reason, to take on a very, very small part of the responsibility of assisting those who were - and who, in effect, represented us justly and in good faith. In retaliation for which they have been jailed, assaulted and unsystematically tortured, denied medication and other necessary services, denied contact with their lawyers, denied contact with relatives and friends. If such makes the Philadelphia police department sound like the tool of a brutal dictatorship - well, I guess that's not essentially wrong. "All right we are two nations," advises John Dos Passos, reminding us it's been less than 75 years since Sacco and Vanzetti were similarly made welcome. Chris % Christopher W. Alexander % poetics list moderator -- Monday August 07, @03:37PM Support our Political Prisoners By IF-AID Dear Comrades, It is crucial that we let our voices rise above the State's prison walls and reach the hearts of our heroes who are being illegally held for daring to voice what we all believe in. Our community is one of people meeting people, a solidarity of human beings. We must let our brave Political Prisoners in Philly know that we recognize their sacrifice and support their courage in standing for Solidarity. Please take the time and send them a personal letter, let them know they are not alone, let them know we will not rest until all of these absurd charges are dropped and our brothers & sisters go home. So send a letter to: PIC Inmate PP 908052 Jane Doe 021 8301 State Rd. Philadelphia, PA 19136 At the moment I only have one Political Prisoner's numbers. I'll send more as I get them. Or if others have the numbers please post them in the comments section of this post. Our brave sister's nickname is "Turtle", and I am sure she will spread your messages to others in the prison. Please remember all letters are read by prison officials! If one is interested in visiting a comrade they can take NJ Transit to Holmesburg and walk to the prison. Each prisoner gets 2 hours a week visiting privileges. You will need quarters, ID and will be searched and frisked before entering. For more information please feel free to contact me. The Prison phone number is 215-685-8394 (It is called CFCF) Please distribute this e-mail widely. Sincerely, Elliott M. Madison R2K Legal/ IF AID Legal ========================================================================= Date: Mon, 7 Aug 2000 18:05:47 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "James W. Cook" Subject: Re: Poets from Spain Mime-Version: 1.0 Content-Type: text/plain; format=flowed Jonathan, Do you have an address for "La alegria de los naufragos"? [List members please place an accent over the "i" & first "a" in "naufragos" w/ your collective mind's eye]. j.c. >From: Jonathan Mayhew >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Poets from Spain >Date: Fri, 4 Aug 2000 22:51:50 -0700 > >I don't know who the list-members from Spain are; perhaps they want to >maintain their privacy. I do know something about the scene there-- > >I was in Spain recently giving a summer course on Spanish poetry in >Almería. >Never a stranger to controversy, as the cliché goes, I had published an >article (summer 99) in the "Hispanic Review" that was a fairly harsh >critique of a group of Spanish poets grouped around the title "la poesía de >la experiencia." These poets propose a return to a kind of Audenesque tone >and declare the end of the avant-garde. > >It is rare that an academic article written in English and published in a >specialized journal in the US gets noticed in Spain. However, my article >was widely circulated among Spanish poets hostile to the "poesía de la >experiencia"--hence the invitation to participate in this course. It was >quite bizarre to be giving a press conference in a hotel a few yards from a >beach in Spain: noone in the USA cares what I think about anything (nor >should they!). It so happened that some poets that I had criticized were >in >the same hotel, giving their own course on Spanish poetry. I received some >strange looks. It was a bit like waking up suddenly to realize you are a >character in the novel you have been reading. > > >The poets whose work I admire can found, mostly, in a magazine called "La >alegría de los náufragos" published by Amalia Iglesias and César Antonio >Molina. There is almost nothing of interest available in English, a >situation I am trying to remedy as a reluctant translator. I'm talking >about the past twenty years of poetry. There are dozens of editions of >Lorca in print, of course... ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Mon, 7 Aug 2000 18:19:45 +0000 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Deadline August 15th postmark MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Annual Transcontinental Poetry Award by Pavement Saw Press Each year Pavement Saw Press will seek to publish at least one book of poetry and/or prose poems from manuscripts received during this competition. Selection is made anonymously through a competition that is open to anyone who has not previously published a volume of poetry or prose. The author receives $1000 and a percentage of the press run. The judge of the competition will not be announced until after the competition is judged. Last year’s judge was Bin Ramke. All poems must be original, all prose must be original, fiction or translations are not acceptable. Writers who have had volumes of poetry and/or prose under 40 pages printed or printed in limited editions of no more than 500 copies are eligible. Submissions are accepted during the months of June, July, and until August 15th. Entries must meet these requirements: 1. The manuscript should be at least 48 pages and no more than 64 pages in length. 2. A cover letter which includes a brief biography, the book's title, your name, address, and telephone number, your signature, and, if you have e-mail, your e-mail address. It should also include a list of acknowledgments for the book. 3. The manuscript should be bound with a single clip and begin with a title page including the book's title, your name, address, and telephone number, and, if you have e-mail, your e-mail address. Submissions to the contest are judged anonymously. 4. The second page should have only the title of the manuscript. There are to be no acknowledgments or mention of the author's name from this page forward. 5. A table of contents should follow the second title page. 6. The manuscript should be paginated, beginning with the first page of poetry. 7. There should be no more than one poem on each page. The manuscript can contain pieces that are longer than one page. Your manuscript should be accompanied by a check in the amount of $15.00 (US) made payable to Pavement Saw Press. All US contributors to the contest will receive at least one book provided a self addressed 9 by 12 envelope with $3.20 postage is provided. Add appropriate postage for other countries. For acknowledgment of the manuscripts arrival, please include a stamped, self-addressed postcard. For notification of results, enclose a SASE business size envelope. A decision will be reached in September. Book(s) will be published before June 1st, 2002. Do not send the only copy of your work. All manuscripts will be recycled, and individual comments on the manuscripts cannot be made. Manuscripts and correspondence should be sent to: Pavement Saw Press Transcontinental Award Entry P.O. Box 6291 Columbus, OH 43206 Submissions are accepted during the months of June, July, and postmarked until August 15th only. http://pavementsaw.org ========================================================================= Date: Mon, 7 Aug 2000 14:28:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Re: DOOGLITS In-Reply-To: <200008052314.TAA15846@dept.english.upenn.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" "dooglits"? George didnt tell me those were his _dooglits_ ! Was that a word of yours, Louis Cabri, or was it being x-posted from another List? Looks like your entire post is in quotes, or rather, was being lifted from elsewhere, with its little > s prefacing every line. I do hope only one poetics List has read that I lick the dooglits of noted poets. Otherwise, my inbox will be flooded with requests! And I won't even know where to begin, not knowing what a dooglit is..... Mr Blu ========================================================================= Date: Mon, 7 Aug 2000 18:45:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Urgent Security Alert in regard to Netscape - Please read (fwd) Comments: To: webartery@onelist.com MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII This is important enough to forward - Alan ---------- Forwarded message ---------- Date: Mon, 7 Aug 2000 17:52:22 -0400 From: X-Force To: alert@iss.net Subject: ISSalert: Internet Security Systems Security Alert: Brown Orifice, BOHTTPD, a Platform Independent Java Vulnerability in Netscape TO UNSUBSCRIBE: email "unsubscribe alert" in the body of your message to majordomo@iss.net Contact alert-owner@iss.net for help with any problems! --------------------------------------------------------------------------- -----BEGIN PGP SIGNED MESSAGE----- Internet Security Systems Security Alert August 7, 2000 Brown Orifice, BOHTTPD, a Platform Independent Java Vulnerability in Netscape Synopsis: On August 5th, code was made public by Dan Brumleve, which demonstrates a serious security hole in the Netscape Java distribution. This vulnerability allows a hostile web site to start a server process on the browser system. That server can access arbitrary files on the browser system and locally connected networks through "file:" URLs. All versions of Netscape Navigator and Netscape Communicator versions 4.74 and earlier are vulnerable when Java is enabled. Mozilla from mozilla.org is not currently vulnerable. Preview 1 of Mozilla from Netscape (Netscape 6 Preview 1) is expired and cannot be tested. Microsoft Internet Explorer is not vulnerable at this time. Impact: A hostile web server can start a server process on the browser system with no warning to the browsing user. This process can access any file on the local (browser) machine or the locally connected network through normal file sharing, if it is accessible by the browsing user. Additional code and external URLs can also be distributed by the running server, resulting in self-propagation and feedback to the hostile site. Affected Versions: Netscape Communicator 4.74 and earlier with Java and downloadable plugins enabled. Netscape Navigator 4.74 and earlier with Java and downloadable plugins enabled. Affected Platforms: All platforms on which Java and Netscape are available are vulnerable. This is a platform independent exploit. Systems running Windows 2000, Windows NT and Linux are known to be vulnerable through demonstration. Unaffected Platforms: Microsoft Internet Explorer is not currently affected. Mozilla is not currently affected. Browsers with Java disabled are not affected. Description: Upon execution from a hostile web page, a hostile Java applet downloads a set of socket classes permitting it to create a web server within the Browser Java runtime environment. Through the use of the socket class, the exploit code listens on a configurable port number (the default port is 8080, the httpd proxy port). Through the use of "file:" URLs, this hostile server code is capable of accessing any local files, including any network files that can be reached, through file sharing, from the local file system. The origination site contains clear warnings that this code is a security vulnerability, but nothing in the nature of this exploit requires a warning to the user from the browser. Like any other Java applet, this can run with no execution warning. The origination page also does not fully describe the sample exploit server's behavior. In addition to starting up a web server, the pages delivered by the web server contain image references back to the originating host. Any browsers that connect to a compromised system reveal themselves to the origination site. This introduces the possibility for further propagation of similar exploits, through redirection or references to the hostile code from the hostile server itself. Self-propagating versions of this exploit have not been observed at this time. The origination site contains a "BOHTTPD_spy" page containing a list of sites known to have executed the code. This list is being actively exploited by other sites around the world, which are attempting to browse or break into the compromised sites. Some of these attempts appear to be automated, while many appear to be simple manual browsing. These sites may be unaware that their own efforts to browse the compromised sites are being revealed to the origination site, along with the IP address and port that they are browsing. Fix Information: No fix is available from Netscape as of this writing. Recommendations: Until a fix becomes available, Java should be disabled in the browser. Disabling the "downloader plugin" can also prohibit the downloading of the required socket classes that this exploit requires for operation. Additional Information: Code available from http://www.brumleve.com/BrownOrifice includes Java source code for the sample exploit that could be readily modified for more malicious use. Information about this exploit appeared on several popular web sites including SlashDot, days before appearing on BugTraq. It can be assumed that knowledge of the exploit, its source code, and variations are widespread. While Mozilla, at this time, does not appear to be vulnerable, this appears to be due to an error attempting to locate the "downloader plugin". This situation could change with release or configuration. No other browsers are known to be vulnerable at this time. A RealSecure signature for the following data will detect someone downloading the BOHTTPD.class: Context: URL_Data String: .*BOHTTPD\.class If this class is renamed, this signature will no longer be effective. ______ About Internet Security Systems (ISS) Internet Security Systems (ISS) is a leading global provider of security management solutions for the Internet. By providing industry-leading SAFEsuite security software, remote managed security services, and strategic consulting and education offerings, ISS is a trusted security provider to its customers, protecting digital assets and ensuring safe and uninterrupted e-business. ISS' security management solutions protect more than 5,500 customers worldwide including 21 of the 25 largest U.S. commercial banks, 10 of the largest telecommunications companies and over 35 government agencies. Founded in 1994, ISS is headquartered in Atlanta, GA, with additional offices throughout North America and international operations in Asia, Australia, Europe, Latin America and the Middle East. For more information, visit the Internet Security Systems web site at www.iss.net or call 888-901-7477. Copyright (c) 2000 Internet Security Systems, Inc. Permission is hereby granted for the redistribution of this Alert electronically. It is not to be edited in any way without express consent of the X-Force. If you wish to reprint the whole or any part of this Alert in any other medium excluding electronic medium, please e-mail xforce@iss.net for permission. Disclaimer The information within this paper may change without notice. Use of this information constitutes acceptance for use in an AS IS condition. There are NO warranties with regard to this information. In no event shall the author be liable for any damages whatsoever arising out of or in connection with the use or spread of this information. Any use of this information is at the user's own risk. X-Force PGP Key available at: as well as on MIT's PGP key server and PGP.com's key server. Please send suggestions, updates, and comments to: X-Force xforce@iss.net of Internet Security Systems, Inc. -----BEGIN PGP SIGNATURE----- Version: 2.6.3a Charset: noconv iQCVAwUBOY8vEDRfJiV99eG9AQF5kwQAqqeKbwF9Qu2ZPySj4LJZb9acoTEt/Tj5 FDUuk3TT/ykrSq9TK1BAtfJtc0r/Su6slCGuo3pQ+s5u5drdX44oMHxnYSz9OVzm 8d0nD7VgW8DkZQW2rfNDNZ1t+mZm//SqKjunhfB0YiCpiTU9DxrDTcba6W+qkmRZ 8XlYonLmZgw= =xGJG -----END PGP SIGNATURE----- ========================================================================= Date: Wed, 9 Aug 2000 11:09:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Loss =?iso-8859-1?Q?Peque=F1o?= Glazier Subject: MLA Events Page at the EPC Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Note that I have begun an EPC page to refer folks to panels of interest at this year's Annual MLA Conference (http://epc.buffalo.edu/conferences/00/mla/). So far I only have one event listed on the page. If you have other events to be added to this list, please send info/URLs to me in the given format. I will be glad to add events in which you are involved. --------------------------------------------------------------------------- E-Poetry 2001 Festival (http://epc.buffalo.edu/e-poetry/2001/) --------------------------------------------------------------------------- ========================================================================= Date: Tue, 8 Aug 2000 12:04:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: DOOGLITS In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >"dooglits"? George didnt tell me those were his _dooglits_ ! Was that a >word of yours, Louis Cabri, or was it being x-posted from another List? >Looks like your entire post is in quotes, or rather, was being lifted from >elsewhere, with its little > s prefacing every line. I do hope only one >poetics List has read that I lick the dooglits of noted poets. Otherwise, >my inbox will be flooded with requests! > >And I won't even know where to begin, not knowing what a dooglit is..... > >Mr Blu I have to say that I dont know what they are, either, and unlike Mr Bromige, I dont want to know. But I can tell you this: if I wanted anyone to have a go at my dooglits, it would be Mr Bromige. gb -- George Bowering Fax 604-266-9000 ========================================================================= Date: Tue, 8 Aug 2000 17:24:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: Rothenberg/Clay: A Book of the Book: Some Works & ProjectionsAbout the Book & Writing In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII They are cousins of The Book: Instrument of Torture many other relatives vanished with the vanity publication of The Book: Instrument of Fire On Fri, 4 Aug 2000, Maria Damon wrote: > what is the relationship of this book to that other one, The Book: > Spiritual Instrument? > > At 1:24 PM -0500 8/4/00, Hank Lazer wrote: > >Dear List: > > > >I've just received a copy of A Book of the Book. It's a gem. Steven > >Clay and Jerry Rothenberg have assembled a great, imaginative, > >wide-ranging resource. I'm ordering additional copies & highly > >recommend this book to others--particularly at the generous Poetics List > >half-price sale. > > > >Hank Lazer > ========================================================================= Date: Tue, 8 Aug 2000 21:30:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Bromige Subject: Time Out Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Listmates, ten days up north at Bowering Manor, shooting the grouse (or trying to--the grouse,a distant relative, is good at hiding). After dinner, Ludo in the Lounge until Exhaustion. There's to be no Licking of the Dooglits, I hear. So I'll miss you all, in the still of the night. But eventually comes dawn, followed by all that Canadian bacon. MM-mmm! David ========================================================================= Date: Wed, 9 Aug 2000 01:51:49 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Structure of the World-Order MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Structure of the World-Order Electronic commerce (e-business) is characterized by world-wide transac- tions between one country and the rest of the world, over a globalization climate for cultural export (world-music for markets). Hedge funds are correlated; a panic in one part of the world affects everyone. Supply more than 40 per cent of the world's oil, own about 78 per cent of the world's total reserves! Transactions between one country and the rest of the world, including transportation, utilities, shelter, medical care, among other things, but not transfers such as unemployment on a trans-national level. Various indices are used in macroeconomic analysis, including the transportation or agricultural sector. Also used in the sense of the public of the world. Movements among moving borders in one world-part across others, nations transferring funds through chaebol or keiretsu banking conglomerates shifting across continental boundaries. World-wide current-account and gold on the movement, investments moving shares in restructuring systemic crises. World-grid shuddering across world-grid, currency valuations floating pegged to nominal flows of foreign low-risk shares of sponsored ADR. Jostling and adjustments, record low unemployment levels after tax- ation and tracking-rates. Almost no one present for crisis compensation, currency on the move. grep dollar economics grep poor economics grep rich economics grep invest economics grep risk economics grep world economics grep world economics > ~/zz grep earth economics grep world economics grep anx economics grep chance economics grep country economics grep nation economics grep mandate grep mandate economics grep trans economics grep trans economics >> ~/zz grep kei economics rep kei economics h 1 | grep grep __ ========================================================================= Date: Wed, 9 Aug 2000 05:54:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: Re: DOOGLITS MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Nun't sent nowheres-else, >s my own confoosion. Be YOU again, Mr Blu! On luve, O Wuv, what is LUB to oo-wee Zukofsky but equation and argument in Angloamerique poetique? Enuff, yessir! Freud frowns. Catallus calls us -- cat calls? Is there a shake to his pear scene (as Johnson might have said of his confrere)? I ask, you pearls, out there, come forth! And watch your meter. Don't let it miter and collect rain water. Look after your dooglits, now. ========================================================================= Date: Wed, 9 Aug 2000 08:59:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Need info on Birmingham, Alabama Comments: To: subsubpoetics@listbot.com Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hi all, going to birmingham, alabama for a long weekend--August 25-28--and interested in any readings going on, cool bookstores, and the like. thanks, David K. _______________________________________________________ Say Bye to Slow Internet! http://www.home.com/xinbox/signup.html ========================================================================= Date: Wed, 9 Aug 2000 07:17:25 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: { brad brace } Subject: UPDATE: The 12hr ISBN-JPEG Project MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII note: the Netcom FTP-site is being shutdown; please chose an alternate link! _______ _ __ ___ _ |__ __| | /_ |__ \| | | | | |__ ___ | | ) | |__ _ __ | | | '_ \ / _ \ | | / /| '_ \| '__| | | | | | | __/ | |/ /_| | | | | |_| |_| |_|\___| |_|____|_| |_|_| _____ _____ ____ _ _ _ _____ ______ _____ |_ _|/ ____| _ \| \ | | | | __ \| ____/ ____| | | | (___ | |_) | \| |______ | | |__) | |__ | | __ | | \___ \| _ <| . ` |______| | | ___/| __|| | |_ | _| |_ ____) | |_) | |\ | | |__| | | | |___| |__| | |_____|_____/|____/|_| \_| \____/|_| |______\_____| | __ \ (_) | | | |__) | __ ___ _ ___ ___| |_ | ___/ '__/ _ \| |/ _ \/ __| __| | | | | | (_) | | __/ (__| |_ |_| |_| \___/| |\___|\___|\__| _/ | |__/ > > > > Synopsis: The 12hr-ISBN-JPEG Project began December 30, 1994. A `round-the-clock posting of sequenced hypermodern imagery from Brad Brace. The hypermodern minimizes the familiar, the known, the recognizable; it suspends identity, relations and history. This discourse, far from determining the locus in which it speaks, is avoiding the ground on which it could find support. It is trying to operate a decentering that leaves no privilege to any center. The 12-hour ISBN JPEG Project ----------------------------- began December 30, 1994 Pointless Hypermodern Imagery... posted/mailed every 12 hours... a spectral, trajective alignment for the 00`s! A continuum of minimalist masks in the face of catastrophe; conjuring up transformative metaphors for the everyday... A poetic reversibility of exclusive events... A post-rhetorical, continuous, apparently random sequence of imagery... genuine gritty, greyscale... corruptable, compact, collectable and compelling convergence. The voluptuousness of the grey imminence: the art of making the other disappear. Continual visual impact; an optical drumming, sculpted in duration, on the endless present of the Net. An extension of the printed ISBN-Book (0-9690745) series... critically unassimilable... imagery is gradually acquired, selected and re-sequenced over time... ineluctable, vertiginous connections. The 12hr dialtone... [ see ftp.idiom.com/users/bbrace/netcom/books ] KEYWORDS: >> Disconnected, disjunctive, distended, de-centered, de-composed, ambiguous, augmented, ambilavent, homogeneous, reckless... >> Multi-faceted, oblique, obsessive, obscure, obdurate... >> Promulgated, personal, permeable, prolonged, polymorphous, provocative, poetic, plural, perverse, potent, prophetic, pathological, pointless... >> Emergent, evolving, eccentric, eclectic, egregious, exciting, entertaining, evasive, entropic, erotic, entrancing, enduring, expansive... Every 12 hours, another!... view them, re-post `em, save `em, trade `em, print `em, even publish them... Here`s how: ~ Set www-links to -> http://www.teleport.com/~bbrace/12hr.html -> http://bbrace.laughingsquid.net/12hr.html Look for the 12-hr-icon. Heavy traffic may require you to specify files more than once! Anarchie, Fetch, CuteFTP, TurboGopher... ~ Download from -> ftp.pacifier.com /pub/users/bbrace Download from -> ftp.idiom.com /users/bbrace Download from -> ftp.teleport.com /users/bbrace Download from -> ftp.rdrop.com /pub/users/bbrace Download from -> ftp.eskimo.com /u/b/bbrace * Remember to set tenex or binary. Get 12hr.jpeg ~ E-mail -> If you only have access to email, then you can use FTPmail to do essentially the same thing. Send a message with a body of 'help' to the server address nearest you: * ftpmail@ccc.uba.ar ftpmail@cs.uow.edu.au ftpmail@ftp.uni-stuttgart.de ftpmail@ftp.Dartmouth.edu ftpmail@ieunet.ie ftpmail@src.doc.ic.ac.uk ftpmail@archie.inesc.pt ftpmail@ftp.sun.ac.za ftpmail@ftp.sunet.se ftpmail@ftp.luth.se ftpmail@NCTUCCCA.edu.tw ftpmail@oak.oakland.edu ftpmail@sunsite.unc.edu ftpmail@decwrl.dec.com ftpmail@census.gov bitftp@plearn.bitnet bitftp@dearn.bitnet bitftp@vm.gmd.de bitftp@plearn.edu.pl bitftp@pucc.princeton.edu bitftp@pucc.bitnet * * ~ Mirror-sites requested! Archives too! The latest new jpeg will always be named, 12hr.jpeg Average size of images is only 45K. * Perl program to mirror ftp-sites/sub-directories: src.doc.ic.ac.uk:/packages/mirror * ~ Postings to usenet newsgroups: alt.12hr alt.binaries.pictures.12hr alt.binaries.pictures.misc alt.binaries.pictures.fine-art.misc * * Ask your system's news-administrator to carry these groups! (There are also usenet image browsers: TIFNY, PluckIt, Picture Agent, PictureView, Extractor97, NewsRover, Binary News Assistant, EasyNews) ~ This interminable, relentless sequence of imagery began in earnest on December 30, 1994. The basic structure of the project has been over twenty-four years in the making. While the specific sequence of photographs has been presently orchestrated for more than 12 years` worth of 12-hour postings, I will undoubtedly be tempted to tweak the ongoing publication with additional new interjected imagery. Each 12-hour posting is like the turning of a page; providing ample time for reflection, interruption, and assimilation. ~ The sites listed above also contain information on other cultural projects and sources. ~ A very low-volume, moderated mailing list for announcements and occasional commentary related to this project has been established at topica.com /subscribe 12hr-isbn-jpeg -- This project has not received government art-subsidies. Some opportunities still exist for financially assisting the publication of editions of large (33x46") prints; perhaps (Iris giclees) inkjet extended-black quadtones on newsprint! Other supporters receive rare copies of the first three web-offset printed ISBN-Books. -- ISBN is International Standard Book Number. JPEG and GIF are types of image files. Get the text-file, 'pictures-faq' to learn how to view or translate these images. [ftp ftp.idiom.com/users/bbrace/netcom/] -- (c) Credit appreciated. No copyright 1994,1995,1996,1997,1998,1999,2000 __ ========================================================================= Date: Wed, 9 Aug 2000 13:34:55 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Right to free speech crushed in Phila. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Is this America? Unfortunately, yes.... Reports of beatings abound. Also arrests were made before any protests; the police had gathered enough intelligence on the upcoming activities to arrest key organizers before any "free assembly" occurred. ---------- Forwarded message ---------- Date: Sat, 05 Aug 2000 From: Rebecca Hill To: ith@acpub.duke.edu Subject: re: my statement on philly protests - pass along Free Speech in Franklin's City? Rebecca Hill When I made my fourth visit this year to Philadelphia it was three days before the opening of protests against the Republican National Convention. The excitement and warmth of a diverse crowd of people hanging around in the neighborhoods was my first experience of Philly as an epicenter of brotherly and sisterly love. There were kids who'd gotten radicalized by the huge demonstrations in Seattle and DC, people like me who'd been active for some ten years or so, as well as older folks who'd been protesting U.S. imperialism with Christian non-violence since the 1950s. There were street punks, students, ravers, and, Moms. They were people of Latino, Asian, and African-American descent, and whites, working together - in every place I went from the streets to the jail. "When I'm scared by the cops," said one man at a non-violence training I went to before the protests started, "I invoke an image of Gandhi -- sometimes Jesus." I'm different from this man in many ways; I'm likely to think of an image of George Jackson at a protest, and I sang "we're not gonna take it!" more often than any other song. Nonetheless, he and I, and all the others had much to learn from each other as we discussed our philosophies of democracy and equity and how to achieve them whether among ourselves or in society at large. Even at large meetings, I was impressed with the successful democratic process, and with the energy and commitment of everyone I met. The first protest I went to was on Monday with the Kensington Welfare Rights Union. At City Hall, the Million Billionaires entertained us with their chants "Gore or Bush, Bush or Gore, we don't care who you vote for - we already bought 'em!" and those zany, rag tag pro-lifers amused us even more with their sign "Drunkards and Fornicaters will Rot in Hell with Tupac." Guess who has more influence on our political system? We marched from City Hall toward what we've christened the "FU center," where the Republicans would soon be holding a pageant costing tax payers several million dollars. Along the way, people lining the streets, or just walking by greeted us with thumbs up, cheers, claps, and sometimes just a looks of curiosity. A few malcontents shouted "get a job!" It wasn't too hard to think of a response. I could tell my experience was similar to others when many picked up the chant: "got three jobs, Can't pay rent? Who's gonna be your president?" with knowing jollity. REPUBLICANS DEFACE NEIGHBORHOODS! Only one thing I saw that day really upset me. Whoever was in charge of the convention was clearly catering to Republicans and ignoring the actual people who lived in the neighborhoods near the convention center. They had already defaced the streets of Philly long before the delegates' arrival. They didn't use spray paint to make their point. Instead, Convention decorators had hung flags of each state - including all the flags featuring the Confederate Stars and Bars - from lampposts all along the street in what was clearly a predominantly Black neighborhood. On Monday night, I actually met some of those people who had come to attend the Republican convention. While I was sitting in a bar in the train station, I met two young men in rumpled suits who were clearly already drunk when they reeled laughing into the bar. They told me that they'd just had a blast, gotten into the Republican convention in order to enjoy the free caviar and champagne and didn't care at all about the issues, and didn't even know what most of the issues were. Where were the media to interview these guys and show them on camera? On Tuesday, I participated in an action on Broad and Spruce, where we drummed and danced, played soccer, played with stuffed animals and sang songs. Many in our group were there to protest the effect of current economic "reforms" on children and teenagers, who have no say in the political process but are affected severely by welfare reform, parental notification laws for abortions, and increasing use of criminal sanctions against juveniles. After we blockaded the intersection, I went to support the group of protesters who looked the most vulnerable, the police immediately communicated that they were ready for our non-violent protest. As I stood between the wall of bicycle cops and seated protesters, one officer pushed his bike into me and said "don't touch the bike! Don't touch the bike! If you touch my bike you're gonna bite it!" I asked him if he meant he'd shoot me and he said, "figure it out." The police couldn't have been happier when the moment for the arrests finally came. They grabbed us and cinched our plastic hand-cuffs on tightly enough to cut off circulation and cause pain. THIS IS ILLEGAL FOR DOGS After they arrested us, they put us on buses. On the bus, it was stifling hot, as the windows barely opened. We sat, worrying over our hand-cuffs - whose hands were blue? "was I bleeding at my wrist?" We then stayed on the bus from around 5:20 or so until sometime around 9:00 or 9:30pm. At some point, a woman realized that hot air coming into the bus through what looked like heaters. We begged for water, but when we called out and asked for it, the guard in the front of the bus refused us, and simply tossed a splash of her own water against the window in front of us so that we could watch it trickle down. One of the women noted that keeping a dog in such conditions was illegal and we began chanting "bow wow wow yippie yo yippie-yay." When a public defender arrived on the bus, she breathed in the heat and said something like "Oh my God." We weren't let off the bus until one protester in another bus actually passed out from dehydration. At this point, they brought us into the "roundhouse" to be processed. However, instead of following the normal booking procedure, after taking our pictures they sent us to 5' by 7' holding cells where we sat six to a cell. They told us they would fingerprint and arraign us - but it would take a while, and they left us there. At around 1am or so, gave us each a "sandwich" made of wonder bread with a piece of American cheese, clearly in honor of the convention itself. When a small number of us were finally permitted our first phone calls, at one am on Thursday morning, I managed to get word out to my parents so that they would know where I was. Since it was one in the morning when we got our calls, many of the detainees didn't feel able to call their families. The majority of the women were practicing "jail solidarity" while others had decided, for personal reasons, that they would need to sign bonds and give their names to the police. However, it did not matter whether people were willing to cooperate. One woman had identified herself early on, because she had a five year old child, but the police left her (and all of us), taking out a few people at a time to arraign them, and leaving the rest of us wondering when if ever we would be allowed to leave - whether to go on to the actual jail or to get out. There were moments of panic and hysteria. At some point, (I'm not sure on what day or hour because I was unable to sleep for more than an hour at a time during the three days that I spent in the tiny cell,) the police announced that they would be placing more people in our already packed holding cells. Shortly afterwards, one woman a few cells down from me started screaming and wailing "I HAVE TO GET OUT OF HERE!!! I HAVE TO GET OUT OF HERE!!!!" and punched her hand into the wall. Several hours later, she was taken somewhere else and we all wondered "where?" Was she going to get medical attention? Was she going to be sent to a hospital for x-rays? Nobody could tell. At another moment, we heard the men on the other side of the wall indicating that someone was being beaten. We heard a guard say "stand up and walk like a man, bitch" and then heard what was clearly a beating. To be witnesses we sat silently, holding hands, and listened, many of us crying quietly. Despite all these pressures, because the people who are protesting here are concerned with building community and see their lives as being connected with others, we survived the craziness. We sang songs, held meetings, told jokes, shared our food, and worked to get each person what she needed. By the time I was arraigned, I was completely disoriented and exhausted, and was eventually let out the door of the jail, with no phone call onto the street at around 1:30 in the morning, still wondering "what happened to that one who gave her name the first day and wasn't fingerprinted until two days later? What will happen to all those women who are going to the PIC? What will happen to the men? Now that I'm out, I'm most worried about what will happen to those people with bails set at one million dollars, and what this means for protest in our country. Protesters were the only people who took care of us. When I finally got out, greeted by the mother of one of the other detainees, and by another person who was - because he just felt he had to and wanted to - driving protesters to wherever they needed to go. Protesters fed us and gave us a place to relax and regroup and make phone calls that had been denied us in jail. It is this spirit that I have met the entire time that I have been here among "rag tag youth" who are protesting because they don't like the fact that corporations are in control of our political system and our lives. That this group of kindly people, hungry people who were sharing their only food with each other, are now lambasted as a bunch of "criminal conspirators" and "cowards" is simply ridiculous. The truth is that the police are so afraid of non-violent protesters that they locked up several hundred people for three and more days without charging them, and assigned million dollar bails to activists who tried to bring attention to issues that weren't addressed in the Republican gala this week. The corporate owned media is so afraid of us that they won't print much of the truth about what's going on here. When I tried to identify myself to a cameraman as a faculty member at a major university, he turned his camera off and walked away. I guess that doesn't fit the story they're trying to tell. I'm worried about how this affects average Americans. I met a man on the street who said to me, "guess that should teach you not to protest." I think Ben Franklin would turn in his grave, to hear Philadelphia defended with sentiments like these and other statements I've read in the papers in the last few days. Those are the only demonstrations of cowardice that I have seen in Philadelphia this summer. _______________________________________________________________ ========================================================================= Date: Wed, 9 Aug 2000 01:29:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: chris stroffolino Subject: Golddiggers MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Dear etc... Hello, again. Glad to be back on.... have suddenly become aware that hardly anyone I've talked to about poetry, especially under 42, talks much about Creeley's GOLDIGGERS and wondering if that's because I didn't bring it up or for some other reason... Anyway, I'd curious to see what people think of it. Sure, if one wants to point me to any formal essays or dissertation chapters, but I guess I'm curious in this more informal context... What, for instance, is this book's relation to Creeley's poetry? Would it be a footnote, or a key to it? Or something else? What is its relevance today? for you particularly? I think enough for now... I look forward to any comments.... Chris Stroffolino > ========================================================================= Date: Wed, 9 Aug 2000 16:38:07 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: faucheuse@MINDSPRING.COM Subject: Faucheuse 3 F A U C H E U S E 3 300 pp., full color cover, sewn paperback 100 halftones Contributors include: Amina Calil, Damon Krukowski, Michel Auder, Anna Naruta, Sotere Torregian, Carole Darricarrere, Austin Osman Spare, Chelsey Minnis, Philip Lamantia, Alfreda Benge, Kenward Elmslie, Thurston Moore, Kerry McLaughlin, Garrett Caples, Sandra Vallejos, Will Alexander (book-length poem _The Brimstone Boat_ [for Philip Lamantia]), Clark Ashton Smith, A. G. Rizzoli, Brian Lucas, Vincent Blafard, Kimberley Anderson, C. W. Swets, etc. Send $10 bill or check payable to Jeff Clark 255-B Fair Oaks Street San Francisco, CA 94110 ========================================================================= Date: Wed, 9 Aug 2000 18:35:45 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: UPDATE: The 12hr ISBN-JPEG Project MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 8/9/00 1:25:59 PM, bbrace@NETCOM.COM writes: << > > > > Synopsis: The 12hr-ISBN-JPEG Project began December 30, 1994. A `round-the-clock posting of sequenced hypermodern imagery from Brad Brace. The hypermodern minimizes the familiar, the known, the recognizable; it suspends identity, relations and history. This discourse, far from determining the locus in which it speaks, is avoiding the ground on which it could find support. It is trying to operate a decentering that leaves no privilege to any center. >> Interesting idea. I for one am looking forward to the posts. But I do have a problem with the above synopsis. A decentering is not a suspension of history. Quite the contrary, it is the lack of a grounding center which allows, even requires, history to appear. In truth, the only way to suspend identity and relations is to blow our brains out. That will probably work. If we're going to play with French theory, we gotta get it right. Best, Bill ========================================================================= Date: Wed, 9 Aug 2000 16:57:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Avery Burns Subject: Fwd: Canessa Park 8/22/00 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii > Date: Wed, 9 Aug 2000 10:31:52 -0700 > To: aedburns@yahoo.com > Subject: Canessa Park 8/22/00 > > > Canessa Park Reading Series > > Tuesday August 22nd at 7:30 pm > > Jean Day & Steve Dickison > > The most recent of Jean Day's five books of is The > Literal World from > Atelos. Several poems from her manuscript > Enthusiasm, a book of odes and > fragments, have been published in Crayon and Raddle > Moon, others are soon > to appear in the Germ and Aufgabe. Her translations > are included in > Third Wave: New Russian Poetry (University of > Michigan) and Closing the > Millennium: The Changing Landscape of Contemporary > Russian Poetry > (Talisman House), and her own work has been > anthologized in Moving > Borders, In the American Tree, and elsewhere. She > lives in Berkeley, > where she works as an editor. > > Steve Dickison was born in Duluth in 1956. Director > of The Poetry Center > & American Poetry Archives in San Francisco, he is > editor & publisher of the > poetry press Listening Chamber. Recent poetry is in > _lyric&_ and _non_; > recent essays appear in _Crayon_ 2, and _The > Recovery of the Public World: > Essays on Poetics in Honour of Robin Blaser_ > (Vancouver, Talonbooks), and > he is working on _The Unfolded Fold_, an edition of > selected talks by > Blaser. > > 708 Montgomery St. San Francisco CA. > Admission $5 > > Hope to see you there. > Avery E. D. Burns > Literary Director __________________________________________________ Do You Yahoo!? Kick off your party with Yahoo! Invites. http://invites.yahoo.com/ ========================================================================= Date: Thu, 10 Aug 2000 10:22:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hank Lazer Subject: Re: Rothenberg/Clay: A Book of the Book: Some Works &ProjectionsAbout the Book & Writing MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Maria-- They are completely different books--completely different contents, different co-editor, different issues. (Both are excellent books!) Hank Lazer Maria Damon wrote: > > what is the relationship of this book to that other one, The Book: > Spiritual Instrument? > > At 1:24 PM -0500 8/4/00, Hank Lazer wrote: > >Dear List: > > > >I've just received a copy of A Book of the Book. It's a gem. Steven > >Clay and Jerry Rothenberg have assembled a great, imaginative, > >wide-ranging resource. I'm ordering additional copies & highly > >recommend this book to others--particularly at the generous Poetics List > >half-price sale. > > > >Hank Lazer ========================================================================= Date: Thu, 10 Aug 2000 10:26:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hank Lazer Subject: Re: Golddiggers MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Chris-- Have you looked at Nathaniel Mackey's "Robert Creeley's The Gold Diggers: Projective Prose"? It's a chapter in Discrepant Engagement (recently reprinted, paperback, by University of Alabama Press -- a discount offer to the Poetics List to follow in the next few days...) Hank Lazer chris stroffolino wrote: > > Dear etc... > Hello, again. Glad to be back on.... > have suddenly become aware that hardly anyone I've talked to about poetry, > especially > under 42, talks much about Creeley's GOLDIGGERS and wondering if that's > because > I didn't bring it up or for some other reason... > > Anyway, I'd curious to see what people think of it. Sure, if one wants to > point me to any > formal essays or dissertation chapters, but I guess I'm curious in this more > informal > context... > What, for instance, is this book's relation to Creeley's poetry? > Would it be a footnote, or a key to it? Or something else? > What is its relevance today? for you particularly? > > I think enough for now... > > I look forward to any comments.... > > Chris Stroffolino > > > ========================================================================= Date: Thu, 10 Aug 2000 11:44:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Arielle C. Greenberg" Subject: PLS RESPOND: readings? events? In-Reply-To: <86.c37384.25da0907@aol.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Dear all -- I have a new responsibility as of now: I am the calendar/"up-date" editor for the online journal How2 (the new, online version of Kathleen Fraser's breakthrough publication How(ever)). So I'm asking everyone to please keep my address on hand so you can backchannel me when you have put together your fall reading series or know of an event, call for papers, conference, etc., that would be of interest to How2's readers. I'm looking specifically for events relevant to innovative women writers. Events can take place anywhere across North America. I'd like at least one month advance notice, but I'll list things up to a year away. I know there are lots of reading series coordinators on this list, and I would love to get the most updated schedule of events from people at the Highwire series, Belladonna series, Lungfull/Zinc Bar series, Small Press Traffic Series, and any and all series that I am missing or don't yet know about. To send me a listig or update, please put "How2 listing" in your subject line so I will make sure to pay special attention to your email. Please email me directly at acgreenb@syr.edu, not to How2. Please help me make the calendar as comprehensive and useful as possible, while garnering free publicity for your event! Thanks so much, Arielle acgreenb@syr.edu **************************************************************************** "I thought numerous gorgeous sadists would write me plaintive appeals, but time has gone by me. They know where to get better looking boots than I describe." -- Ray Johnson ========================================================================= Date: Thu, 10 Aug 2000 20:05:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Arielle C. Greenberg" Subject: Re: How2 listings In-Reply-To: <486265.3174659554@321maceng.fal.buffalo.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hey, guys -- In regards to my recent post about How2: Sorry for any misunderstandings -- I'm very new at this -- but How2's calendar section is primarily for calls for papers, conference listings, and lectures by or about innovative women poets. That's just the nature of the site right now. I may eventually look into a way to list individual readings, but for now, since we can't be a comprehensive resource in that way, and we don't want people to feel left out, we're focusing on papers and lectures and conferences, and NOT individual readings. However, I will make exceptions for reading SERIES curated by/focusing on innovative women poets. The Belladonna series by Rachel L (whom I don't yet know but hope to soon -- hi, Rachel!) is a perfect example of the kind of series we *can* list, and while we may not be able to list the entire schedule of such series, I can list contact info and highlights. I can also list festivals/gatherings/etc. where a bunch of women poets are going to be reading together at one time, even if it's not "a women's festival" (for example, the recent BoPo). I'm not sure if there are other series like Belladonna, but if you know of one, please let me know. And please notify me about relevant lectures, symposia, conferences, etc. Hope that clears things up. Thanks so much, Arielle ========================================================================= Date: Fri, 11 Aug 2000 00:18:48 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - trembling foreign ec ec is messy, said d'eruza; what's goods and services in one country isn't necessarily equivalent in another. it's a question of human trial and error; it's a question of ornament, kinesics, what's actually proffered and its relationship to class and gender. all of which is problematic, replied d'nala, which is what makes ec fascinating and fetishized; it's a form of gambling with constantly changing currencies and crises; earth- quakes in one part of the world affecting my earnings in another. so one might characterize it as a trembling of abstract quantity, susceptible to natural and artificial catastrophes and breakthroughs. exactly, said d'eruza; and all of this combines with expectations and displays of greed and good will, a tendency towards barter in the finer details, as well as price leveling. then there's also migrations to urban centers, telecom encroachments, disasters of free trade and environmental damage, enormous wage differentials among countries. d'nala said, all of this we call ec- onomic jostling and self-organization; no matter how disastrous or rag- tag, someone trades somewhere, someone offers, someone receives. don't forget the major exception, said d'eruza, the case of war, pillage, van- dalization, destruction, plague - in other words, accounts received and destroyed, non-payable. the internet trembles here as well, said d'nala. everything is a trembling, replied d'eruza, it's the world-nature. exces- sive volatility is the only certainty, coupled with monstrous leveling where civilization huddles. against what, said d'nala. against interest compounded, she replied. __ ========================================================================= Date: Fri, 11 Aug 2000 01:42:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: midsummer fence story Comments: To: ira@angel.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Read about Fence--our new developments and our humble beginnings--at http://www.jacket.zip.com.au/jacket12/wolffe-fence.html ========================================================================= Date: Fri, 11 Aug 2000 03:14:34 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: O x! O bordered sea of you and only you, you dash the y! In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Your space here is not your holy vault. Do not exalt o bordered sea of you and only you. With stratagem, fence, and rampart retort, you offend, you command x, your self, to defend. Add solemn song and sharpened tooth for cool o sledded canis lupus. Your fleece pretends the honest ruse of be. Ayin, x, you eye. Your cloudy pool is airless. No breath no pipe of light no weighty smoke of Parsifal, aleph, the y. You dash y rock to sand. Oceanic gesture drops the sledge. Oil rig platform bite of a gem. Unknowing you may be reading by sleeping with dreams unowned no ending in a fool and y thanks you and only you. Promiscuous jest. Aleph knows the fool is the sun is death is fish is ox is strand and glass and open flame between Patrick Herron. . ========================================================================= Date: Fri, 11 Aug 2000 06:47:33 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: NYC Zine Conference tomorrow Mime-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable For any one in the NYC-area tomorrow, Sat 8/12/00 First Annual Insound Zine Conference and Music Festival at Tonic 107 Norfolk St., NYC 212-358-7503 =95 www.tonic107.com 12-hour festival includes: noon-6pm: Zine showcase with folks from Bunnyhop, Bust, Jersey Beat, and Rumpshaker. 2pm-4pm: Readings presented by Soft Skull Press noon-5pm: Panels 1pm and 3pm: Screenings of zine documentaries and in the evening,=20 musical performances by Ted Leo, Retson, and Ida _______________________________________________________ Say Bye to Slow Internet! http://www.home.com/xinbox/signup.html ========================================================================= Date: Fri, 11 Aug 2000 10:37:43 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - people, herds, villages, nations, tears, earthquakes, rain rivers, falling, locomotives, accidents, planes, excretions tubes, straws, pipes, veins, arteries, songs, dances, rice honey, language, tongues, saliva, funerals, rice-wine, milk fields, tables, plains, pages, tiles, maps, sutras trees, poles, knives, swords, roads, avenues, colors way, girls, ways, paths, string, nothing, spaces, fish books, brooms, sheaves, piles, graves, sediments suns, moons, stars, testicles, teeth, balls, nipples cars, carts, dice, seasons, tops, tacks, mirrors, telescopes hammers, rocks, corpses, ghosts, mountains, corn, illusions clothing, beaches, breaths, skins, weather, calligraphy, ink oceans, clouds, cloth-bolts, tariffs, gold, games, limbs times, clocks, pendulums, geometrical figures, crimes, waters lights, comets, meteors, fires, blinking, cooked-fish, music waterfalls, drains, plumbing, brick-work, newspapers, news animals, insects, crabs, jaws, pliers, sandpaper numbers, railroad-ties, stuttering, teas, ladders, abacus rooms, bells, jars, caves, wombs, mouths, halls, homes __ ========================================================================= Date: Fri, 11 Aug 2000 15:45:21 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jacques Debrot Subject: Representations of the Visual Artist in Literature MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit For a freshman course I will be teaching at the Rhode Island School of Design, I'm wondering if anyone could suggest examples of the visual artist's representation in literature. I do not need to teach a representitive or cannonical sample and my own initial thoughts have been somewhat quirky (I don't want to go back further in time than the 1850s say): Wilde's _The Picture of Dorian Gray_, Pater's _The Renaissance_, something of Henry James', Ashbery & O'Hara, Warhol's _A, a Novel_, Chris Kraus' _I Love Dick_, one of the bios of Basquiat & Schnabel's film--you get the idea, I hope (one thing I don't want to do is Browning--for the selfish reason that I'm tired of doing *those* poems). Would greatly appreciate any suggestions!!! Thanks in advance. --Jacques ========================================================================= Date: Fri, 11 Aug 2000 17:05:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Now available/Booglit 8: Baseball and Louisville Comments: To: subsubpoetics@listbot.com Mime-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Now available:=20 Booglit #8: Baseball and Louisville David A. Kirschenbaum=09=09editor and publisher=20 Anselm Berrigan=09=09=09baseball editor Kent Fielding=09=09=09louisville editor 8.5" x 11", saddle-stapled, 28 pages + 4-page,=20 white glossy cardstock cover wrap with blue, black, and yellow inks,=20 ultrabright white guts. Docutech printed. Cover photograph of Pee Wee Reese blowing a bubble on the Ebbets Field bench, 1948, courtesy the Brooklyn Collection at the Brooklyn Public Library. First printing of 100 copies (55 in circulation).=20 $9ppd individuals; $13.50ppd for institutions.=20 One free Anselm Berrigan trading card with each Booglit ordered (Or $2ppd., $1 for each additional card.) Please make checks or money orders payable to Booglit and send to: David Kirschenbaum, editor Booglit 351 W.24th Street, Apt. 19E=20 New York, NY 10011-1510=20 Attn: BL8 The lineups: Baseball Eddie Berrigan's glove is bleeding =95 Dan Bouchard gets the call from the bench =95 Linh Dinh in Yankee Stadium with the bleacher creatures =95 Ed Friedman turns two with Steve Sax =95 Greg Fuchs remembers the Pony League = =95 Jeffrey Miller questions Tom Clark's devotion to baseball =95 Elinor Nauen = on Derek Jeter as a verb =95 Peter Neufeld searches for Mary Burger =95 Rich O'Russa deals from the bottom on the Cards =95 Doug Rothschild checks out a high school game =95 Jocelyn Saidenberg's New World anthropology =95 Susan = M. Schultz on mothers and dinosaurs =95 Dale Smith spins a curve on spring training =95 Erik Sweet on Pedro Martinez =95 Frank Van Zant crashes into t= he wall with Pete Reiser =95 Maggie Zurawski swings for the fences with the Bambino Louisville =95Danny O'Bryan interviews Kentucky writer and former Merry Prankster Ed McLanahan =95Reviews of Time All Over: A Collection of Kentucky Folk Art and Poetry local arts venue the Java House =95an excerpt from, and review of, D.S. Poorman's new Louisville set novel Macky Dunn's Got Nothing to Lose "This book is paced like a Quentin Tarantino screenplay." and =95Elizabeth Buford on singing dancing men =95 Kent Fielding meets a woman = on the river banks =95 Jordan Green at work in the game of life =95 Tracey Johnstone on a crazy woman =95 Paul McDonald's paean to Jerry Springer =95 Krista Nichols on the problem with the surrealists =95 Ron Whitehead on sex education =95 Tricia Yost on her mom =95Featuring art by Mikhail Horowitz and Rick Mullin, and baseball memorabi= lia from my collection=20 as ever,=20 dak email inquiries: booglit@excite.com On deck: Booglit 9: the Green issue, April 2001 all apologies for cross-posting _______________________________________________________ Say Bye to Slow Internet! http://www.home.com/xinbox/signup.html ========================================================================= Date: Thu, 10 Aug 2000 12:58:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Rothenberg/Clay: A Book of the Book: Some Works &ProjectionsAbout the Book & Writing In-Reply-To: <3992C8CE.A8D72D3A@bama.ua.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" thanks hank. i've got the spiritual instrument; it's great; this other looks worth investing in as well. md At 10:22 AM -0500 8/10/00, Hank Lazer wrote: >Maria-- > >They are completely different books--completely different contents, >different co-editor, different issues. (Both are excellent books!) > >Hank Lazer > > >Maria Damon wrote: >> >> what is the relationship of this book to that other one, The Book: >> Spiritual Instrument? >> >> At 1:24 PM -0500 8/4/00, Hank Lazer wrote: >> >Dear List: >> > >> >I've just received a copy of A Book of the Book. It's a gem. Steven >> >Clay and Jerry Rothenberg have assembled a great, imaginative, >> >wide-ranging resource. I'm ordering additional copies & highly >> >recommend this book to others--particularly at the generous Poetics List >> >half-price sale. >> > >> >Hank Lazer ========================================================================= Date: Sat, 12 Aug 2000 15:09:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - every word renounces and withdraws gathering name and withdrawing name from nowhere from everywhere no name comes from nowhere from everywhere in silence of the closed gates four corners of gates and one of wells covered with shame and reconciliation the gates are the naming of gates the wells are the naming of wells the compensating name and balance flooding of words by names failure of worlds by gates and wells without meaning one falters with meaning one falters worlds shame wells gates cloud cloud stone flower voice tree gift tree root name ink _ ========================================================================= Date: Sat, 12 Aug 2000 09:55:05 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: Jacket # 12 - Paul Blackburn feature Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Jacket # 12 is available on the Internet, though it's not quite complete yet. Jacket # 12 http://www.jacket.zip.com.au/jacket12/index.html List members might find the feature on US poet the late Paul Blackburn of interest - it is made up of contributions from Robert Creeley, Mark Weiss, Laurie Duggan, Michael Heller, Martha King, Jackson Mac Low, Jerome Rothenberg, Armand Schwerner, Carl Thayler, and a portrait painting by Basil King. John Tranter, Editor, Jacket magazine from John Tranter Editor, Jacket magazine: http://www.jacket.zip.com.au/welcome.html Ancient history - the late sixties - at http://setis.library.usyd.edu.au/tranter/index.html ______________________________________________ 39 Short Street, Balmain NSW 2041, Sydney, Australia tel (+612) 9555 8502 fax (+612) 9818 8569 ========================================================================= Date: Sun, 13 Aug 2000 08:31:52 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: derek beaulieu Subject: new from housepress MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit housepress is pleased to announce the release of several new chapbooks: David Fujino's "five poems" - 5 new poems from this toronto based poet / actor / artist - handbound japanese style with linocutg printed front and back covers - limited edition of 40 numbered copies - $5.00 Mark Peter's "MEN 27, 31, 42, 49" - a selection from Peters' long accumulated poem commenting oin the representation of men in mass media - influenced and dedicated to Kenny Goldsmith - limited edition of 40 handbound and numbered copies - $5.00 Natalie Simpson's "mount of olives" - the 2nd chapbook of stienian writing from Simpson; a MA student at the University of Calgary - from the author's note: " I didn't pale at mentions. I only felt a blind way to talk. To balk at mission, or at clash, to speak out in manners, I didn't like the engine. Thoughts colide above the message, and the rain is rain of truly." - handbound and numbered - limited edition of 70 copies. - $5.00 Billy Mavreas' "Barcode" - a series of 4 visual text deconstructions - printed in an edition of 60 handbound copies. - $2.00 each. for more information abt any of these titles, or to order copies please contact derek beaulieu at housepre@telusplanet.net or check out the website http://www.telusplanet.net/public/housepre thanks! derek ========================================================================= Date: Thu, 10 Aug 2000 16:40:11 -0700 Reply-To: rovasax@rova.org Sender: UB Poetics discussion group From: Rova Saxophone Quartet Subject: Bay Area Award show MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Just like to say that I saw Susan Gevirtz and Taylor Brady read at the Bay Area Award show last night at New Langton Arts, and it was excellent. A nice blend of Susan's sparser, sharp otherworldly language pyrotechnics and Taylor's sprawling twists and turns through passages that mine the subconscious associations of the seemingly mundane and flow from the "vowel leading sounds of words." Nice work all around. Susan's reading breathed life into a new book I'd only read in manuscript form (Hourglass Transcripts), while Taylor's small chapbook whet my appetite for more to come. Congratulations to both on the reading, and award. David Cook Administrator, Rova:Arts (415) 487-1701 ========================================================================= Date: Thu, 10 Aug 2000 16:42:14 -0700 Reply-To: rovasax@rova.org Sender: UB Poetics discussion group From: Rova Saxophone Quartet Subject: MOVING TARGET SERIES--SAN FRANCISCO MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit The Moving Target Series announces August dates at New Langton Arts Thursday, August 24: Michelle Tea Kathy Kennedy Sten Rudstrom Friday, August 25: Gino Robair Liz Miller Kevin Killian Eli Crews Both evenings begin at 8pm (doors open 7:15), $8-10 sliding scale (or come two nights for $14), at New Langton Arts 1246 Folsom St. between 8th and 9th; call (415) 647-9334 for information or reservations. Michelle Tea is the author of The Passionate Mistakes and Intricate Corruption of One Girl in America (Semiotext(e)), and the recently published Valencia (Seal Press). She is the co-founder, along with poet Sini Anderson, of the notorious all-girl open mic and road riot Sister Spit. This fall she will be embarking on a new cabaret tour called The Wasted Motel Tour, which will bring an unruly gang of baby poets, tired old whores and delinquent divas across the godforsaken USA. Sten Rudstrøm is a performer/writer who creates solo and collaborative dance/theater/music works. He gained his early performance art experience in Berlin, producing several solo works and forming the site-specific movement/music/art band Another Slice of Reagan's Dick. Since arriving in the Bay Area in 1990, Rudstrøm has studied with Ruth Zaporah, Sara Shelton-Mann, Tracey Rhoades, Debbie Taylor, and Julie Kane, and has performed in San Francisco at Theater Artaud, Footwork/Dancer's Group, New Performance Gallery, and The Marsh. In 1996, he produced, directed and performed in Theater of Cruelty, a critically acclaimed show based on the life and writings of Antonin Artaud. He continues to perform nationally and internationally at venues including Dixon Place, Highways, LACE, Splinter Group, St. Mark's Church, Boulder Art Center, and TanzFabrik (Berlin) and Triade (Hamburg). Kathy Kennedy is a sound artist working primarily with issues of the voice and the interface of technology. She founded the innovative female singing group ESTHER in SF, Choeur Maha in Montreal, and the women's center for digital media studioxx.org. She also creates large scale sonic installations for hundreds of performers called sonic choreographies. Gino Robair: Potluck Percussion 2 "You bring it, I'll play it!" Gino Robair comes from a long line of musicians hailing from Northern Italy, Hungary, and Bukovina. Primarily trained as a classical percussionist, Gino has played theremin, percussion, keyboards, and bowed Styrofoam on numerous records and commercials. He has recorded with John Butcher, Anthony Braxton, Eugene Chadbourne, Lou Harrison, Peter Kowald, Terry Riley, LaDonna Smith, and Otomo Yoshihide, among others. He works regularly with the Splatter Trio, the Club Foot Orchestra, and has performed with Wadada Leo Smith, John Zorn, the ROVA saxophone quartet, and Paul Plimley. Liz Miller is interested in the excess of stimulation and sensationalism -- how it affects the psyche and society. Her performance-based work deals with the dynamics of temptation and repulsion and creating situations which are simultaneously captivating an disturbing. Kevin Killian, poet, playwright, novelist, art writer, biographer and critic, author of Little Men, Argento Series, Bedrooms Have Windows, Shy, and Arctic Summer. His new book I Cry Like a Baby will be published by Hard Press in September. Eli Crews finds himself currently fascinated with the phenomenon of instantaneous interpretation and misinterpretation. Different methods of input to the performers are utilized: pre-recorded messages; written notes or instructions; each other's sound. Players or speakers hear things and respond, certain items get lost in the mail, other items are addressed to the people that lived there before you, but you open them anyway. Not unlike the children's game Telephone, but with less giggling. Maybe. When he is not writing descriptions of himself, Mr. Crews can be seen and heard playing bass in bands such as Shinola, Spezza Rotto, and the Roofies. The Moving Target Series takes its name from poet Lew Welch’s 1967 essay “A Moving Target Is Hard to Hit,” and in the spirit of that essay the series moves from venue to venue in San Francisco, spotlighting different arts spaces and presenting an eclectic mix of performance, poetry, movement, music, and film. Past shows have been at 848 Community Space, Z Space Collective, 111 Minna Street, The Luggage Store, and New Langton Arts. Performers have included poets Diane di Prima, Leslie Scalapino, and Bill Berkson; choreographers Remy Charlip, Sue Roginski, and Alex Ketley; performance artists Nao Bustamante, Ruth Zaporah, and Woody Woodman; musicians Jon Raskin, Carla Kihlstedt, and Duck Baker; and filmmaker Konrad Steiner. ========================================================================= Date: Fri, 11 Aug 2000 09:56:21 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ann Vickery Subject: Re: PLS RESPOND: readings? events? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Dear Arielle, Just letting you know I got your message but was hoping you might list events that might be significant outside North America. We've just had a great conference here (Australia) which had some brilliant papers on women poets and interviews with and readings by writers like Tracy Ryan. I don't know how much help I would be with North American events but there is a small group of HOW2 Australian readers who might find a more extended calendar useful. Anyway, cheers, Ann Ann Vickery Dept of Critical & Cultural Studies Macquarie University Sydney, NSW 2109 AUSTRALIA At 11:44 10/08/00 -0400, you wrote: >Dear all -- > >I have a new responsibility as of now: I am the calendar/"up-date" editor >for the online journal How2 (the new, online version of Kathleen Fraser's >breakthrough publication How(ever)). So I'm asking everyone to please >keep my address on hand so you can backchannel me when you have put >together your fall reading series or know of an event, call for papers, >conference, etc., that would be of interest to How2's readers. I'm >looking specifically for events relevant to innovative women writers. >Events can take place anywhere across North America. I'd like at least >one month advance notice, but I'll list things up to a year away. > >I know there are lots of reading series coordinators on this list, and I >would love to get the most updated schedule of events from people at the >Highwire series, Belladonna series, Lungfull/Zinc Bar series, Small Press >Traffic Series, and any and all series that I am missing or don't yet know >about. > >To send me a listig or update, please put "How2 listing" in your subject >line so I will make sure to pay special attention to your email. Please >email me directly at acgreenb@syr.edu, not to How2. > >Please help me make the calendar as comprehensive and useful as possible, >while garnering free publicity for your event! > >Thanks so much, > >Arielle >acgreenb@syr.edu > >**************************************************************************** >"I thought numerous gorgeous sadists would write me plaintive appeals, but >time has gone by me. They know where to get better looking boots than I >describe." -- Ray Johnson ========================================================================= Date: Fri, 11 Aug 2000 22:31:00 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: fragment (apologies for cross-posting) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - fragment absolute freedom to write within this tiny domain of space and time, i have this chance: to place my words almost anywhere, in almost any order, saying: what i want, harbored against violence, this temporary utterance enunciation which you comprehend i do have the width and breadth of this desk, overlooking a street there are almost no trees on the street, the leaves are browned the desk is here, just now, brilliant and waiting i have this choice to language in every direction names among others languages among others violations of syntax, torn semantics, disturbed texts disturbances in every direction quiet here so i can write the defaulting of the world for the moment keeping loss to a minimum the speaking of shells and drums, the scream of poetry escapes freely in the air even within the camp, vibrations and obeisance to natural law _ ========================================================================= Date: Thu, 10 Aug 2000 14:03:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Brouwer Subject: Re: Need info on Birmingham, Alabama MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Mr. Kirshenbaum, Having moved to Alabama just dazed ago, and only ditto joined the Poetics list, weirdly: your request for Birmingham info! An opportunity for me to contribute, so soon! I don't know about bookstores or readings yet -- that is, whether they exist here -- but HIGHLY recommend the Civil Rights museum downtown, across the street from the 16th Street Baptist Church that was bombed 15 September 1963. The museum provides an extremely thoughtful and affecting history of the civil rights movement from Jim Crow to the present day, focussing on Alabamian events but covering national ones too. If you have time, you can also go across the street to the church and Deacon Green will show you around. Joel Brouwer joel.brouwer@ua.edu __________________________________________________ Do You Yahoo!? Kick off your party with Yahoo! Invites. http://invites.yahoo.com/ ========================================================================= Date: Sun, 13 Aug 2000 22:38:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Larry Keenan Exhibit at Beat Generation News MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Larry Keenan's Beat Gallery is now up at Beat Generation News: http://www.beatnews.org. In 1965, California College of Arts and Crafts student Larry Keenan was asked by his teacher, poet and playwright, Michael McClure if he would like to photograph a group of his friends. Asking McClure whom his friends were, Keenan was amazed when he listed names that included Lawrence Ferlinghetti, Allen Ginsberg, Bruce Conner, Neal Cassady and Ken Kesey. Keenan had studied the works of these groundbreaking poets, writers and artists, and recognized the significance of this opportunity. Twenty-one years old, Keenan spent over a year photographing the Beats in their homes and with their family and friends. He began documenting the last days of the Beat Generation with a borrowed 35mm camera using mostly Tri-X film push processed with available light and no tripod. He cleverly made an enlarger from an old slide projector to print his work. Keenan has been key to photo-documenting the Beats for the last few decades, and his images have graced several Beat books, galleries, shows, and exhibitions. Michael Rothenberg walterblue@bigbridge.org Big Bridge http://www.bigbridge.org ========================================================================= Date: Tue, 15 Aug 2000 11:45:54 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Taylor Subject: Re: UPDATE: The 12hr ISBN-JPEG Project MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit The wording of "12hr...Project" is typically vague, hence ultimately meaningless.In general poetics discussions should include clear definitions of terminology used. In some kinds of writing we enter into a sort of "game" in which what I call "the ramble coefficient" may be high.Similarly certain kinds of poetry or literature assumes a certain "enlightened" audience. But the Project's wording is like a bad book blurb. In short, the irrational always intrudes,but reality stands by with a .38. As to centres,to self-quote:"...We need,or postulate we need - nay,require - a centre.Everyone and everything needs a centre.There are shopping centres,centimeters,centipedes,off-centres,community centres:one thinks of being centred.In Chess it is essntial to "dominate the centre",and so on.One hears talk of being "centred in the centre"."He is probably at the centre - not the American center - no:the REAL centre.We could in fact well BE that centre.The centre that postulates itself."And so on. Al the best,Richard Taylor > >From: Austinwja@AOL.COM >Date: Wed, 9 Aug 2000 18:35:45 EDT >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: UPDATE: The 12hr ISBN-JPEG Project > >In a message dated 8/9/00 1:25:59 PM, bbrace@NETCOM.COM writes: > ><< > > > > Synopsis: The 12hr-ISBN-JPEG Project began December 30, 1994. A >`round-the-clock posting of sequenced hypermodern imagery from Brad Brace. >The hypermodern minimizes the familiar, the known, the recognizable; it >suspends identity, relations and history. This discourse, far from >determining the locus in which it speaks, is avoiding the ground on which >it could find support. It is trying to operate a decentering that leaves >no privilege to any center. > >> > >Interesting idea. I for one am looking forward to the posts. But I do have >a problem with the above synopsis. A decentering is not a suspension of >history. Quite the contrary, it is the lack of a grounding center which >allows, even requires, history to appear. In truth, the only way to suspend >identity and relations is to blow our brains out. That will probably work. >If we're going to play with French theory, we gotta get it right. Best, Bill > ========================================================================= Date: Fri, 11 Aug 2000 12:23:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chicago Review Subject: New and Forthcoming Chicago Reviews Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" CHICAGO REVIEW 46:2 is on newstands now. In it you will find: POEMS by Bill Berkson Laton Carter Forrest Gander Campbell McGrath Jane Mead Laura Mullen STORIES by Daniela Fischerova Paul Malisewski Ben Miller Christopher Middleton ESSAYS by Paul Naylor (on Ron Johnson) Maria Finn (on Pigeon Mumbling) and REVIEWS (over 40 pages on Lytle Shaw, Thom Gunn, Ales Debeljuk, Rosmaria Waldrop, Charles O. Hartmann, Gustaf Sobin, Christopher Middleton, John Taggart, Fanny Howe, Lisa Lubasch and Bill Berkson) This issue can be ordered directly from us for $6, and shd be available in bookstores. Tom Raworth's cover and a preview of the contents can be seen at our website: http://humanities.uchicago.edu/humanities/review - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - POETIC LIST MEMBERS GET THE FOLLOWING SUBSCRIPTION PACKAGE: Subscribe now at our $15 "web rate" and receive the back issue of your choice (see our back issues list on the web page). Staff picks include: 30:3 Black Mountain and Since: Objectivist Writing in America 42:1 On Ronald Johnson's ARK 43:4 Contemporary Poetry and Poetics 45:2 On Robert Duncan: - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - FORTHCOMING IN OCTOBER: CHICAGO REVIEW 46:3/4 -- NEW POLISH WRITING (guest-edited by W. Martin) This 300-page issue, devoted to the last decade of Polish writing, will be a comprehensive survey of the most recent work by several generations of Polish poets (translated into English, of course). Among the 50 poets included are: -- the generation of poets born before World War II, such as Zbigniew Herbert, Tymoteusz Karpowicz, Ursula Koziol, Czeslaw Milosz, Tadeusz Rozewicz, and Wislawa Szymborska -- the "New Wave" poets of the 1970s (Stanislaw Baranczak, Julian Kornhauser, Ryszard Krynicki, and Adam Zagajewski) -- the poets of the 1980s, such as Piotr Sommer, Ewa Lipska, and Bronislaw Maj -- and the latest phenomenon, the so-called "[Frank] O'Haraists" (aka the "New Barbarians") affiliated with the literary journal _bruLion_, who burst onto the scene in the early 1990s. These poets include Krysztof Koehler, Marcin Baran, Marcin Sendecki, and Marcin Swietlicki In addition to poetry, the issue will have translations of new fiction (by Stefan Chwin, Henryk Grynberg, Slawomir Mrozek, Adrzej Stasiuk, Olga Tokarczuk, Magdalena Tulli, and others) and feuilletons (by Gustaw Herling-Grudzinski, Pawel Huelle, Stanislaw Lem, and others). To help the uninitiated navigate through this dynamic territory, we'll be publishing several critical essays that address the last decade of Polish writing. These essays concentrate on the questions of novelty, selfhood, the Solidarity movement, and life after communism. Also included will be an interview with Piotr Sommer, who can be said to have single-handedly sparked "O'Haraism" with his influential New York School issue of the journal _Literatura Na Swiecie_ (1986). Any way you slice it, this issue promises to be an indispensable introduction to contemporary Polish writing, which is considered by many to be the most energetic and diverse literature of the New Europe. Subscribe now to reserve a copy in your name! Eirik Steinhoff Editor -------------------------- CHICAGO REVIEW 5801 South Kenwood Avenue Chicago IL 60637 http://humanities.uchicago.edu/humanities/review/ ========================================================================= Date: Fri, 11 Aug 2000 16:12:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Gallaher Subject: Re: Golddiggers, but not really In-Reply-To: <3992C9BF.59DDD288@bama.ua.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hank Lazer just mentioned Nathaniel Mackey which reminded me I recently stumbled across a most wonderful book. Mackey said nice things on the back cover so I bought it (Michael Heller & Donald Revell also said nice things there, so one and a half more reasons . . .). The book is Norman Finkelstein's _Track_. Book-length poem and completely beautiful from page 7-90. It seems to fit somewhere between Oppen's "Of Being Numerous" and Michael Palmer's "Sun." On first reading . . . possibly. It seems to have come out in 1999. Was there any talk of it at the time? If there was, I seem to have missed it. Buy TWO copies! JGallaher ========================================================================= Date: Tue, 15 Aug 2000 11:54:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "L-Soft list server at University at Buffalo (1.8d)" Subject: POETICS: approval required (6E59F87B) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message was originally submitted by levitsk@ATTGLOBAL.NET to the POETICS list at LISTSERV.ACSU.BUFFALO.EDU. You can approve it using the "OK" mechanism, ignore it, or repost an edited copy. The message will expire automatically and you do not need to do anything if you just want to discard it. Please refer to the list owner's guide if you are not familiar with the "OK" mechanism; these instructions are being kept purposefully short for your convenience in processing large numbers of messages. ----------------- Original message (ID=6E59F87B) (137 lines) ------------------ Received: (qmail 1381 invoked from network); 14 Aug 2000 20:34:45 -0000 Received: from out4.prserv.net (HELO prserv.net) (32.97.166.34) by listserv.acsu.buffalo.edu with SMTP; 14 Aug 2000 20:34:45 -0000 Received: from herbert ([32.100.71.64]) by prserv.net (out4) with SMTP id <2000081420342723900b4obqe>; Mon, 14 Aug 2000 20:34:27 +0000 Message-ID: <002601c0062f$676b78e0$40476420@herbert> From: To: Subject: Belladonna Books Date: Mon, 14 Aug 2000 16:36:57 -0400 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0023_01C0060D.DCFA3320" X-Priority: 3 X-MSMail-Priority: Normal X-Mailer: Microsoft Outlook Express 4.72.3110.1 X-MimeOLE: Produced By Microsoft MimeOLE V4.72.3110.3 This is a multi-part message in MIME format. ------=_NextPart_000_0023_01C0060D.DCFA3320 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Now available BELLADONNA* BOOKS (a collaboration between Belladonna* and Boog Literature) The BELLADONNA* Reading Series at Bluestockings women's bookstore is = pleased to announce a commemorative chapbook series=20 To date: postcards kari edwards, "go this way quickly" & "every amerikan amusement park"=20 $1 each, both for $1.50=20 chapbooks (digest size, black ink on ivory paper): Mary Burger, Eating Belief 12 pages $3 Camille Roy=20 Dream Girls 16 pages $3 titles forthcoming from Tisa Bryant and Cecilia Vicu=F1a All publications are printed in editions of 50,=20 10 of which are signed by the authors. Ordering info: Add 50 cents postage per item ordered Subscribe for five unsigned chapbooks $15 ppd. =95Subscribe for five signed chapbooks $25 ppd. Subscribe for 10 unsigned chapbooks $30 ppd.=20 =95Subscribe for 10 signed chapbooks $50 ppd. =95only five signed editions subscriptions are available Please send check or money orders payable to: Rachel Levitsky Belladonna* Books 159 Eastern Parkway, Apt. 6K Brooklyn, NY 11238 Email: levitsk@attglobal.net for more information Thanks, Rachel Levitsky, editor David Kirschenbaum, publisher Belladonna* Books Boog Literature=20 ------=_NextPart_000_0023_01C0060D.DCFA3320 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
 

Now available

BELLADONNA* BOOKS
(a collaboration between=20 Belladonna* and Boog Literature)

The BELLADONNA* Reading Series = at=20 Bluestockings women's bookstore is pleased
to announce a = commemorative=20 chapbook series

To date:

postcards
kari=20 edwards,
"go this way quickly" & "every amerikan = amusement=20 park"
$1 each, both for $1.50

chapbooks
(digest = size,=20 black ink on ivory paper):

Mary Burger,
Eating Belief 12 pages = $3

Camille Roy
Dream Girls 16 pages $3

titles = forthcoming from=20 Tisa Bryant and Cecilia Vicuña

All publications are = printed in=20 editions of 50,
10 of which are signed by the = authors.

Ordering=20 info:

Add 50 cents postage per item ordered

Subscribe for = five=20 unsigned chapbooks $15 ppd.
•Subscribe for five signed chapbooks = $25=20 ppd.

Subscribe for 10 unsigned chapbooks $30 ppd. =
•Subscribe for=20 10 signed chapbooks $50 ppd.

•only five signed editions=20 subscriptions are available

Please send check or money orders = payable=20 to:

Rachel Levitsky
Belladonna* Books
159 Eastern Parkway, = Apt.=20 6K
Brooklyn, NY 11238

Email: levitsk@attglobal.net for more = information

Thanks,
Rachel Levitsky, editor David = Kirschenbaum,=20 publisher
Belladonna* Books Boog Literature

------=_NextPart_000_0023_01C0060D.DCFA3320-- ========================================================================= Date: Sun, 13 Aug 2000 13:11:59 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik Arlen Humphries Arlen lives and works in a large, Eastern metropolis. Doesn't have email at the moment, but RealPoetik will pass stuff along (just hit the return feature). "Hey," I used to tell her, "I'm not paying you to talk." Then I got dead in a police shooting of natural causes. You have a gun, Don, use it. Now I'm getting my Willy Wonked. Spanking the monkey. Getting a hummer. I'd love to reassure you but I need a tetnus shot. I used to stand around and ask folks if I could search their cars for drugs. Sometimes they'd ask if I was a cop but usually I'd just pocket anything interesting. Oh! It's Miss Information looking like death on a trisket. The other bad thing about marriage is that you have to talk to each other. We call it kissing time goodbye. It's not just pretty words, it's true. Every hour he's out of jail he's away from home. I took viagra and got taller. Bag his hands and roll'im, that's what I say. Frivolity is the refusal to suffer. If you could do anything, what would you do? 1. Smoke marijuana 600 miles from the nearest human. 2. Be invisible. All art consists of the slight, progressive alterations of accepted forms and patterns, often of biological origin. Similar to cosmetics. It's what you have when all your friends are part of the water table. Why mess with natural selection? Arlen Humphries ========================================================================= Date: Sun, 13 Aug 2000 13:38:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik Notes International Greetings once again from Valparaso, Chile. The big news these days at Le Chantier is our latest event: the EXPATRIATE YOURSELF POETRY CONTEST. It's our very first Poetry Contest here at the virtual kaf. We figured it would do you a lot of good to roam around the world a little, but often the possibility of international travel is an impossibility for you. Well, whoever wins this contest is going to be expatriated for a while, since first prize is a Round Trip Airfare from the US to South America (so I can meet the winner). Come down here, meet new people, learn a new language, work on your writing, be a tourist, get lost in the Andes, etc. Visit http://LeChantier.com for details. Remember, I don't have a physical residence so to speak, but I do live in my virtual home at zkotpen@lechantier.com, so please write me there with your thoughts and comments, as well as for information on our travels and projects here at Le Chantier. take care... zkot pen;;; el antihroe del interknet zkotpen@lechantier.com http://LeChantier.com ========================================================================= Date: Mon, 14 Aug 2000 13:56:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: Poetry Center Fall 2000 Calendar Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The POETRY CENTER & AMERICAN POETRY ARCHIVES =46all 2000 Calendar Steven Farmer & Pat Reed (both Oakland) Thursday September 7, 4:30 pm, free, at The Poetry Center, 1600 Holloway Avenue, San Francisco State University Susan Clark & Lisa Robertson (both Vancouver) Thursday September 14, 7:30 pm, $5 donation, at The Unitarian Center, 1187 Franklin St. Tom Raworth (Cambridge, UK) with saxophonist Bruce Ackley (SF) Thursday September 28, 7:30 pm, $5 donation, Unitarian Center Thomas Glave (Kingston, Jamaica, & Binghamton, NY) Thursday October 5, 4:30 pm, free, The Poetry Center Chris Kraus (LA) & Mike Amnasan (SF) Thursday October 12, 4:30 pm, free, The Poetry Center bell hooks (New York City) Writer-in-Residence at Intersection Tuesday & Wednesday Oct 17 & 18th, 8:00 pm, $5-15 donation, in collaboration w/Intersection, 446 Valencia St Ed Roberson (NJ) & Nathaniel Mackey (Santa Cruz) Thursday October 19, 7:30 pm, $5 donation, Unitarian Center Robert Creeley (Buffalo) collaboration with Readings at Lone Mountain, USF Friday October 20, 7:30 pm, free, at The Ira & Leonore S. Gershwin Theater 2350 Turk Boulevard (near Masonic) Juvenal Acosta (Oakland) & Mauricio Montiel Figueiras (Mexico City) Thursday November 9, 7:30 pm, $5 donation, Unitarian Center Eugene Gloria (Iowa City) & Catalina Cariaga (Oakland) Thursday November 16, 4:30 pm, free, The Poetry Center Jennifer Moxley (Orono, ME) & Fanny Howe (Los Angeles) Thursday November 30, 7:30 pm, $5 donation, Unitarian Center Susan Thackrey: George Oppen Memorial Lecture in Twentieth Century Poetics Thursday December 7, 7:30 pm, $5 donation, Unitarian Center (Full detailed listings to follow; print calendar available soon!) =3D=3D=3D=3D=3D=3D=3D+=3D=3D=3D=3D=3D=3D=3D+=3D=3D=3D=3D=3D=3D=3D+=3D=3D=3D= =3D=3D=3D=3D LOCATIONS THE POETRY CENTER is located in Humanities 512 on the SW corner of the San Francisco State University Campus, 1600 Holloway Avenue 2 blocks west of 19th Avenue on Holloway take MUNI's M Line to SFSU or from Daly City BART free shuttle or 28 bus THE UNITARIAN CENTER is located at 1187 Franklin St. at the corner of Geary on-street parking opens up at 7:00 pm from downtown SF take the Geary bus to Franklin INTERSECTION FOR THE ARTS is located at 446 Valencia Street south of 16th St. 1 & 1/2 blocks from 16th St. BART Station off-street parking in lot off 16th between Valencia & Mission THE IRA & LENORE S. GERSHWIN THEATER is located at 2350 Turk Boulevard (west of Masonic) off-street parking is available for $5 ask at guard shack, entrance to Lone Mountain campus on Turk for MUNI bus schedule call 415-673-6864 =3D=3D=3D=3D=3D=3D=3D+=3D=3D=3D=3D=3D=3D=3D+=3D=3D=3D=3D=3D=3D=3D+=3D=3D=3D= =3D=3D=3D=3D Readings that take place at The Poetry Center are free of charge. Except as indicated, a $5 donation is requested for readings off-campus-SFSU students and Poetry Center members get in free. The Poetry Center's programs are supported by funding from the National Endowment for the Arts, the California Arts Council, Grants for the Arts-Hotel Tax Fund of the City of San Francisco, Poets & Writers, Inc., and The Fund for Poetry, as well as by the Dean of the College of Humanities at San Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives ~ San Francisco State Univers= ity 1600 Holloway Avenue ~ San Francisco CA 94132 ~ vox 415-338-3401 ~ fax 415-338-0966 ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Tue, 15 Aug 2000 12:03:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Belladonna Books / Levitsky MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted to remove HTML text. % Christopher W. Alexander % poetics list moderator -- From: To: Date: Mon, 14 Aug 2000 16:36:57 -0400 Now available BELLADONNA* BOOKS (a collaboration between Belladonna* and Boog Literature) The BELLADONNA* Reading Series at Bluestockings women's bookstore is = pleased to announce a commemorative chapbook series=20 To date: postcards kari edwards, "go this way quickly" & "every amerikan amusement park"=20 $1 each, both for $1.50=20 chapbooks (digest size, black ink on ivory paper): Mary Burger, Eating Belief 12 pages $3 Camille Roy=20 Dream Girls 16 pages $3 titles forthcoming from Tisa Bryant and Cecilia Vicu=F1a All publications are printed in editions of 50,=20 10 of which are signed by the authors. Ordering info: Add 50 cents postage per item ordered Subscribe for five unsigned chapbooks $15 ppd. =95Subscribe for five signed chapbooks $25 ppd. Subscribe for 10 unsigned chapbooks $30 ppd.=20 =95Subscribe for 10 signed chapbooks $50 ppd. =95only five signed editions subscriptions are available Please send check or money orders payable to: Rachel Levitsky Belladonna* Books 159 Eastern Parkway, Apt. 6K Brooklyn, NY 11238 Email: levitsk@attglobal.net for more information Thanks, Rachel Levitsky, editor David Kirschenbaum, publisher Belladonna* Books Boog Literature=20 ========================================================================= Date: Mon, 14 Aug 2000 21:02:15 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerrold Shiroma Subject: New From Burning Deck Press MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit Burning Deck is pleased to announce the publication of two new titles... Crosscut Universe: Writing on Writing from France Edited & Translated by Norma Cole 160 pp., offset, smyth-sewn ISSN 0269-0179 Serie d'Ecriture ISBN 1-886224-39-0 original paperback $15 Norma Cole has combed through books, little magazines, and correspondence to gather an exciting body of writing by our French contemporaries. There are letters, poems, interviews, critical pieces, and texts that cannot be classified. The authors include Anne-Marie Albiach, Joe Bousquet, Danielle Collobert, Jean Daive, André Du Bouchet, Dominique Fourcade, Liliane Giraudon, Emmanuel Hocquard, Claude Royet-Journoud, Jacques Roubaud, Agnès Rouzier. The texts (whether excerpted or complete) were selected for their interest as writing and for the conversation they enter into by appearing together. A conversation that creates new contexts for each individual text, but also widens the perspective in which a great deal of writing imported from France, for instance poésie blanche-- the writing of the "blank page"-- can be read. This conversation, rigorous and vigilant, addressing issues such as biographical and historical circumstances, and the relation of writing to other writing (reading), has been taking place for some time. Here are some pieces of it, most of them appearing for the first time in English. Introduction, Norma Cole "Par ces rappels, je n'entends rien prouver, mais seulement orienter l'attention." Maurice Blanchot, L'entretien infini There are conversations embedded in these pages, a kind of cross-talk through time and space. Texts, interviews, critical pieces, journal entries, letters, worknotes and at least one simple list make visible and audible an openwork of embodied voices in conversation, in the deliberate breaking open of intentionalities, isolating single elements at one extremity, multiple folds, complex rhythmic architechtonics in the process of being constructed and deconstructed at the other. Most of these pieces have been published in France in literary journals, as books or as parts of books, although at least one has been circulated privately as a "report." One text, a guest becoming ghost, was revoked when the author, although pleased with the translation, decided his own text needed to be completely rewritten. Some of the writing here will extend the available work of writers previously translated and now familiar to North American readers, while a number of texts will introduce new work and new names. Dialogic threads echo and reverberate through considerations of body and book, silence as both restraint and production of meaning, the neuter or neutral as the unassigned in relation to sociopolitical complexities of address, the sentence of syntax and precedent. Sets of references indicate points of orientation and question assumptions of assignment. Their generosity and hospitality are striking as is their rigor of investigation. Writing is action, the phenomenological self entering language, already a specific set of conditions within conditions. Writing and its silences are made up of specific concrete decisions. Circumstances and events (such as two world wars and the Algerian struggle for independence), from detail to detail, date to date, are not backdrop but termining facts appearing at different focal lengths, from naming to silence, testing the orders of apprehension as well as of writing. Here is a range of writing at varying stages of coming into being, self-aware, proposing a stance very different from the taxonomy of "text/paratext." In _Beginnings_, Edward Said asserts, "One of the critical distinctions of modern literature is the importance given by the writer to his own paratexts -- writings that explore his working problems in making a text." The opposite impulse is at work here, for what is of interest is how the texts read together intentionally or inadvertently, addressing each other and writing beyond the limits of this or any single volume. Norma Cole lives in San Francisco. her books of poems include Mars, Moira, Contrafact, Desire and its Double, & The Vulgar Tongue. Her translations of French poets have appeared in many publications. ======================== Ernst Jandl reft and light translated from the German by various American poets poems, 112 pages, offset, smyth-sewn ISSN 1077-4203 "Dichten =" ISBN 1-886224-34-X, paper $10 Ernst Jandl's poems are so engrained in the German language that they are impossible to translate. This volume present an unusual experiment: for each German poem there is not one, but several adaptations, so that the original is encircled by multiple English analogues. The responses range from close imitations to freewheeling versions that continue Jandl's thinking into other semantic areas. Ernst Jandl was born in 1925 in Vienna. He began publishing poems in 1956 and quickly attracted attention as the wittiest and most exuberant of experimental poets, with a knack for uncovering the comic potential in discrepancies between sound and spelling, in cliches, mispronunciations, dialect etc. Readers with a bit of German will enjoy his 'surface translation' of "My heart leaps up when I behold" into mai hart lieb zapfen eibe hold.... He has not only explored the limits of language in his visual and sound poems, but has written powerful political commentary by playing with "Auslanderdeutsch," the kind of pidgin German spoken by foreign workers. He has translated Gertrude Stein, Robert Creeley's The Island, and John Cage's Silence. Among his many prestigious literary prizes in both Austria and Germany are the Georg-Trakl-Preis (1974), Georg-Buchner-Preis and Grosser Osterreichischer Staatspreis (both 1984). He died in June, 2000 while this volume was in production. The translators include Charles Bernstein, Lee Ann Brown, Tina Darragh, Ray DiPalma, Rachel Blau DuPlessis, Kenward Elmslie, Anselm Hollo, Julie Patton, Joan Retallack, Cole Swensen, Craig Watson, Marjorie Welish, John Yau, et als. Burning Deck books are distributed by: Small Press Distribution www.spdbooks.org Burning Deck www.durationpress.com/burningdeck/ ========================================================================= Date: Wed, 16 Aug 2000 20:51:55 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Buffalo mailserver down Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Alas, the Buffalo email system is not working today and so it is impossible for folks on that system to get access to their email, including messages posted to this list. The list service will be restored as soon as this problem is fixed. Charles Bernstein ========================================================================= Date: Thu, 17 Aug 2000 20:23:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Poetics List Still on Hold Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" According to the technical advice posted on UB's web site, they hope to restore the email service on Friday for a brief time before shutting it down again through Sunday night for a scheduled mail maintenance. (Go figure.) It seems to me this will make it unlikely that Poetics List posts will go out again until Monday, when those using the "buffalo.edu" email will once again have access to their accounts. In which case, have a good weekend! Charles Bernstein ========================================================================= Date: Tue, 15 Aug 2000 16:51:00 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: Representations of the Visual Artist in Literature In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII jacques, "The Unknown Masterpiece" < Balzac amazing, especially in tandem with Dorian Gray. good luck, kevin ========================================================================= Date: Tue, 15 Aug 2000 13:53:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kathy Lou Schultz Subject: New for Kathy Lou Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit New contact information, effective 9/1/00: Kathy Lou Schultz 4619 Spruce Street Second Floor - Front Philadelphia, PA 19139 klou@english.upenn.edu (No phone yet due to Verizon strike. Fight the good fight, CWA!) Coming soon: **Lipstick Eleven No. 2** with new work by Johanna Drucker, Chris Tysh, Martha Ronk, Elizabeth Treadwell, Taylor Brady, and lots of other kool kidz. Lipstick Eleven will continue as a bi-coastal operation. More on that soon. The weather in San Francisco this week is absolutely dreamy -- wish I could pack it and take it with me. With all best wishes to my friends and colleagues in the Bay Area writing community. I will miss you! Yours, KLou ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ Kathy Lou Schultz Editor & Publisher Lipstick Eleven/Duck Press http://www.duckpress.org 42 Clayton Street San Francisco, CA 94117-1110 ========================================================================= Date: Tue, 15 Aug 2000 15:49:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: Representations of the Visual Artist in Literature In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Horse's Mouth--(novel) by Joyce Cary --made into a film with Alec Guiness, who co-wrote script Paul Gauguin Noa Noa Giorgio de Chirico Hebdomeros Antonin Artaud Van Gogh, The Man Suicided by Society William Corbett Phillip Guston's Late Work: A Memoir Charles Baudelaire The Painter of Modern Life Guillaume Apollinaire The Cubist Painters Roger Shattuck The Banquet Years Eric Basso The Sabbatier Effect (play) The Writings of Robert Smithson Andrei Rublev (film by Tarkovsky; ok, it is in the 15th century!) Ports of Entry Wiiliam S Burroughs and the Visual Arts The Dada Painters and Poets ed. by Robert Motherwell Dada Art and Anti-Art Hans Richter Robert Frank & Jack Kerouac The Americans Alberto Moravia The Empty Canvas (also made into a film) A Bigger Splash (film re David Hockney) Scum Manifesto by Valerie Solanis w/I Shot Andy Warhol (film) The Oval Portrait Edgar Allan Poe House of the Seven Gables Nathaniel Hawthorne (re a photographer) there's too many more . . . dave bapiste chirot On Fri, 11 Aug 2000, Jacques Debrot wrote: > For a freshman course I will be teaching at the Rhode Island School of > Design, I'm wondering if anyone could suggest examples of the visual artist's > representation in literature. I do not need to teach a representitive or > cannonical sample and my own initial thoughts have been somewhat quirky (I > don't want to go back further in time than the 1850s say): Wilde's _The > Picture of Dorian Gray_, Pater's _The Renaissance_, something of Henry > James', Ashbery & O'Hara, Warhol's _A, a Novel_, Chris Kraus' _I Love Dick_, > one of the bios of Basquiat & Schnabel's film--you get the idea, I hope (one > thing I don't want to do is Browning--for the selfish reason that I'm tired > of doing *those* poems). Would greatly appreciate any suggestions!!! > > Thanks in advance. > > --Jacques > ========================================================================= Date: Tue, 15 Aug 2000 21:47:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: charles alexander Subject: Tijuana poets in Los Angeles Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable CULTURAL EXCHANGE BRINGS TWO TIJUANA POETS TO LOS ANGELES Bajo el Mismo Sol (Under the Same Sun), an international cultural exchange program between the cities of Los Angeles and Tijuana, will present "Poetas por Pintores" ("Poets for Painters") with Elizabeth Cazess=FAs and Eduardo Arellano reading their works on Friday, August 18th, from 8 to 10 p.m. at Espresso Mi Cultura, 5625 Hollywood Boulevard (corner of Gramercy) in Hollywood, and on Saturday, August 19th., from 1 to 3 p.m. at the 15th annual African Marketplace & Cultural Faire in Rancho Cienega Park, 5001 Rodeo Road in Los Angeles. Admission.s to both readings are free, but there is a $3.00 entrance fee for African Marketplace. Examples of their poetry, in Spanish and English, can be found below. The poets will read in Spanish. Translations of most of the poems will also be read. Tijuana-born Elizabeth Cazess=FAs, who has written poetry since 1972, will read an excerpt from her new book *La Mujer de sal* (Woman of Salt). Considered one of the leading poets in Baja California, she has one numerous awards in Mexico. Eduardo Arellano, who was born in Zacatecas, Zacatecas, has published three collections of poetry: *Di=E1sporo o pasi=F3n* (1985), *Desierto de la= palabra* (1994), and *La Tierra destinada* (1999). He has lived in Mexicali and Tijuana since 1988 and is a member of the faculty of the School of the Humanities of the Universidad Aut=F3nomo de Baja California. For the next year Bajo el Mismo Sol will bring two poets monthly to different venues in Los Angeles. Simultaneously, Los Angeles painters will have their works exhinited in six different galleries in Tijuana. For the following year the exchange will be reversed. For further information call Luis Ituarte, (213)485-4474. Elizabeth Cazess=FAs WOMAN OF SALT (excerpt) I Mother I voyage to the depths of the sea to leave in your hands the cast of my face coastlines where my rivers meld with yours the lenses of my eyes seeing me in your tides at last =09 Lend me your quetzal feather for my skirt the waves of the sea anklets of snailshells and bells adorning my feet in exchange for this offering May my steps on staircase and balcony intone a song that the birds carry to the great lords of light reaching the ears of Neptune before he awaken. II I strip off the clothes of abandonment that the flames of Sodom illuminate The salt of my tears will clothe me a river of glow-worms and garlands. For your sake the light from the mountains falls before your turquoise dress when in the morning the customary sun rises. Eduardo Arellano from THE LOVER'S DAWN So as to clothe ourselves in leaves, so as to steal the fruit and prepare ourselves a banquet of delicious prohibitions, with toothy sweetness, love, let us taste each other while we live. This garden flowers despite weather, carving out of our bodies a view into each other's depths, each time further=20 into blood and lip where that which rebels,=20 that which breathes in us, still hides, the blind well of this moment=20 when you know yourself mine, and something tells us that we have exceeded the second's compass. Wait, don't return yet to your name, observe these vestiges, the field that opens before exhausted bodies. Astonished as you are, taste this seed about to sprout for us, beyond us in a paradise where nothing is marginal and a wind without origin delivers us its breath. ========================================================================= Date: Wed, 16 Aug 2000 03:21:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Within the Scrap MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Within the Scrap "I consider this hour by hour: If I should die now, have I written suffic- ient? I don't think my work easily sums up; there are far too many edges, confusions. Philosophy is my first love; I would want this to stand or fail by such. But it must be dragged out between the scraps and clutter. I mean this in all sincerity: What remains? For how long? For what read- ers? The first question is the most important: The What of my work, the content, reading between or through the lines, searching out the philoso- phical among the ruins." (Alan, quoted by Jennifer.) Tue Aug 15 22:25:05 EDT 2000 Message Board (16) Networking (105) Is this still hypertext? (51) e ^E j ^N CR * Forward one line (or N lines). y ^Y k ^K ^P * Backward one line (or N lines). f ^F ^V SPACE * Forward one window (or N lines). b ^B ESC-v * Backward one window (or N lines). But Tue Aug 15 22:29:45 EDT 2000 The Moon is Waning Gibbous (100% of Full) Subject: Hi, thank you greatly for the dates! And of course they're fine with us! yours, Alan, sondheim@panix.com "The importance of interspecies communication, the peak of interspecies communication insofar as we can foresee it, lies here: establishing com- munication with the dlophins, and with the medium-size whales, and with the great sperm whale. I visualize a project as vast as our present space program, devoting our best minds, our best engineering brains, our vast networks of computer people and material and time on this essentially peaceful mission of interspecies communication, right here on this plan- et." (John Lilly, quoted by Nikuko.) Internet TextJu1lu% ls Mail lynx_bookmarks.html res venom.irc Removal instructions below I saw your listing on the internet. I work for a company that specializes News mail tf volt.irc a notes tf-lib zz Confirmation and Cancellation [Last message marked for deletion] Pine finished -- Closed "INBOX". Kept 0 messages and deleted 1.[[ lisp phoenix.hlp thing Avatar Cyborg-Tech Experimental Programming & Writing Writing & Politics Writing & Psychology Teaching & Presenting the Web Building Creative Community Performance General 0 ln phoenix.irc tiny.world Errors-To: cyberculture-admin@cmhcsys.com Reply-To: cyberculture@cmhcsys.com Originator: cyberculture@cmhcsys.com Sender: cyberculture@cmhcsys.com Tue Aug 15 22:31:01 EDT 2000 The Moon is Waning Gibbous (100% of Full) PINE 4.21 FOLDER LIST Folder: project 39 Messages INBOX sent-mail saved-messages newcyb project [ALL of folder list] The Moon is Waning Gibbous (100% of Full) 18 ls 19 rm pcplus.scr 20 h 21 pom 22 h >> ww; pico ww 23 b 24 ls 25 b 26\pom 27 pom 28 ls 29 ls 30 tin 31 b 32 ls 33 h The Moon is Waning Gibbous (99% of Full) Wed Aug 16 01:57:58 EDT 2000 "nahu akua--a bruise believed to be a bite inflicted by the spirit of a living member of the family. The bite was thought to foretell the death, not of the one so bruised, but of the relative whose spirit made the bruise." (Pukui, Haertig, Lee, Nana I Ke Kumu, Look to the Source.) Wed Aug 16 02:04:28 EDT 2000 __ ========================================================================= Date: Wed, 16 Aug 2000 09:03:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sylvester pollet Subject: Representations of the Visual Artist in Literature Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Jacques--One of the best is I've read is Joyce Cary's novel The Horse's Mouth. Cary was a painter before he began writing fiction, and you sense it right away. It also gives you the chance to bring in Blake, since his art/poetry figure in it from page one. You can't do the course w/o Blake! Also gives you the chance to show the Alec Guinness film, AG as Gulley Jimson. Sounds like a great course! best, Sylvester > >Date: Fri, 11 Aug 2000 15:45:21 EDT >From: Jacques Debrot >Subject: Representations of the Visual Artist in Literature > >For a freshman course I will be teaching at the Rhode Island School of >Design, I'm wondering if anyone could suggest examples of the visual artist's >representation in literature. I do not need to teach a representitive or >cannonical sample and my own initial thoughts have been somewhat quirky (I >don't want to go back further in time than the 1850s say): Wilde's _The >Picture of Dorian Gray_, Pater's _The Renaissance_, something of Henry >James', Ashbery & O'Hara, Warhol's _A, a Novel_, Chris Kraus' _I Love Dick_, >one of the bios of Basquiat & Schnabel's film--you get the idea, I hope (one >thing I don't want to do is Browning--for the selfish reason that I'm tired >of doing *those* poems). Would greatly appreciate any suggestions!!! > >Thanks in advance. > >--Jacques ========================================================================= Date: Wed, 16 Aug 2000 10:36:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: at last… The 2nd trAce / Alt-X Competition (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Wed, 16 Aug 2000 12:08:07 +0100 From: trace@ntu.ac.uk To: sondheim@panix.com Subject: at last… The 2nd trAce / Alt-X Competition The trAce/Alt-X Competition for New Media Writing Prize: One Thousand English Pounds IS THIS STILL HYPERTEXT? Publishing on the Web has exploded in recent months, with everyone from Stephen King to six-year-olds putting their books on the Web for readers to download. But the Web is more than just a way to deliver electronic books. Multimedia elements such as animation and sound, programming languages such as Java and Javascript, and new ways to link these with text make reading on the Web different from and more exciting than reading print. To reward the best writers in this new medium, trAce and Alt-X are holding The trAce/Alt-X Competition for New Media Writing Prize: One Thousand English Pounds This is the second time the competition has been held (see below for winners last time). The first time around we called it the International Hypertext Competition, but the notion of hypertext doesn't go far enough to describe the innovative, lively and ground-breaking literature which is appearing today. Part of the challenge is for the artists/writers themselves to help us decide exactly what New Media Writing is. Everyone working in the area of net-art and net-writing is constantly asking the question 'What is this new genre? Is it new? Is it a genre? What is it that we're making here? How do we name it? What are its characteristics?' In the introduction to the Ink.Ubation Salon he curated for the recent trAce Incubation conference, Mark Amerika wrote: "Over the past three years, the trAce online writing community has become one of the premiere international locations on the WWW known for its generous support of net-based writing, particularly when it comes to bringing greater visibility to pioneering writer-artists who are busying themselves by reinventing writerly practice -- particularly our accepted notions of "authorship," "text" and "publishing." This contest acknowledges that the web itself is a work-in-process and so, as a result, we're looking for work that continues to stretch our preconceived notions of what writing is. As part of their entry, writers are asked to provide a description of their site and what it seeks to achieve creatively and technically, as well as answering the question 'What name do you give to the kind of art exhibited in that site?' We're hoping that their responses will help us identify just what it is that writers and artists think they are doing out there on the web. The deadline for submissions is 30th September 2000 and the results will be announced in December 2000 This year's judge is Shelley Jackson, writer and multimedia artist, and author of the acclaimed hypertext novel Patchwork Girl (Eastgate 1995), a feminist reworking of the Frankenstein myth. Her other e-publications include the award-winning My Body (Alt-X 1997), a semi-fictional autobiography in hypertext, and her own ever-expanding web site, Shelley Jackson's Ineradicable Stain http://www.ineradicablestain.com. THE FIRST COMPETITION The results of the first trAce/Alt-X International Hypertext Competition were announced in 1999, when the prize was shared between: Rice, by Jenny Weight (Australia) http://www.idaspoetics.com.au/rice/riceheading.html & The Unknown by William Gillespie; Scott Rettberg; & Dirk Stratton (USA) http://www.soa.uc.edu/user/unknown/trip.htm Three sites also received Honourable Mentions: Kokura By Mary-Kim Arnold (USA) http://www.brown.edu/Departments/English/Writing/kokura/ * * * by Michael Atavar (UK) http://www.atavar.com/atavar/ *water always writes in *plural by Linda Carroli and Josephine Wilson (Australia) http://ensemble.va.com.au/water/ Mark Amerika, Director of the Alt-X Online Network http://www.altx.com said of the competition "The sheer volume of interest in our trAce/Alt-X contest, as well as the quality of the work being submitted, has convinced me that a new form of narrative art is emerging in cyberspace, one that equally borrows from the literary, performing, conceptual and visual arts, but that is also experimenting with the Net as a unique medium with its own compositional potential." Sue Thomas, Director of trAce http://trace.ntu.ac.uk , added "trAce is delighted to be working with Alt-X in establishing what will surely form the touchstone for web-based writing. The winning sites prove the existence of a new breed of artist, one who combines science and art to the highest advantage. It's thrilling to see just what can happen when writers become programmers and vice-versa, and it's also no surprise that one of the joint winners was a collaborative effort. The web is an excellent tool for bringing artists together." See http://trace.ntu.ac.uk/comp98.html for more details of the last competition. The trAce/Alt-X New Media Writing Competition is organised by Alt-X P.O. Box 241 Boulder, CO 80306 USA x@altx.com trAce Nottingham Trent University Clifton Lane Nottingham NG11 8NS UK phone ++ 44 (0)115 8486360 trace@ntu.ac.uk trAce Online Writing Community The Nottingham Trent University Clifton Lane Nottingham NG11 8NS ENGLAND Tel: ++44 (0)115 8486360 Fax: ++44 (0)115 8486364 Web: http://trace.ntu.ac.uk Email: trace@ntu.ac.uk To unsubscribe from this mailing list, please email trace@ntu.ac.uk with UNSUBSCRIBE REGISTER as the subject line. We apologise if you receive this mail more than once. ========================================================================= Date: Wed, 16 Aug 2000 11:50:34 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: e for pierre MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit could someone back/channel me pierre joris's email address? from a new hypertext _eros/ion_ by maria damon & myself: [ghosts hanging on to ghosts] Hanging onto births being free of. Being free of translates readily into [effluvia]. Essence looks remarkably similar to essential. The material of is embodied in how we remember ourselves during deep sleep. Some discourse refutes the inexpressible, the [lover's discourse] is based upon what cannot be put into words. What we call life happens despite of & on to. Begin here to dissemble the order of my thoughts & the choice of words. ========================================================================= Date: Wed, 16 Aug 2000 08:53:25 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rob wilson Subject: Robin Magowan: poetry/vision/memoir Comments: cc: poesis1@msn.com In-Reply-To: MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Robin Magowan, Memoirs of a Minotaur: From Merrill Lynch to Petty Heart to Poetry (Ashland, Oregon: Story Line Press, 1999). ISBN: 1-885266-79-0. 273 pages. $16.95 paperback. This memoir by Robin Magowan offers not just a chronology of self-formation for the Merrill Lynch heir to the fundamentals of capital-building and sexual excess. At its core is a poetic quest for language and vision, a text written and formed in "the visionary company of love" which would include Rimbaud, Whitman, F Scott Fitzgerald, and Henri Michaux. The "labyrinth" the self is entangled in as tortured "minotaur" is the excess of wealth and business nexus, the solipsism of sexual need and self-consciousness, the social determinations of class and culture that are never fully voided. But the mentor figures in the book are, oddly enough, James Merrill as delicate social force and trainer of agape, and Nancy Ling Perry as the militant apocalypse of drugs, SLA revolutionary ideology, rage, bliss, and death. Somewhere between these two voices, lost in the heights of Tibet and clarity of meditative consciousness and restraint, Robin Magowan finds a new self and heightened language, and reveals much about the American capitalist self in the process. This is a wondrous book capturing the 1960s at its visionary and crazy core, and moving out of the conformist 1950s into something better. It enacts a poetic quest worthy of a great soul, written with courage, lucidity, and need: a "drunken boat" casting its waves from Merrill Lynch to Dante and ordinary selfhood. This memoir utters a prayer of "crack up" like Fitzgerald's uttered in the micro-cracks, wounding, and megatrends of capital gone inward into self-abolishment and the quest for vision. --Rob Wilson ========================================================================= Date: Wed, 16 Aug 2000 15:48:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Knoebel Subject: Re: Representations of the Visual Artist in Literature In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The Horse's Mouth Joyce Carey At 03:45 PM 8/11/00 -0400, you wrote: >For a freshman course I will be teaching at the Rhode Island School of >Design, I'm wondering if anyone could suggest examples of the visual artist's >representation in literature. I do not need to teach a representitive or >cannonical sample and my own initial thoughts have been somewhat quirky (I >don't want to go back further in time than the 1850s say): Wilde's _The >Picture of Dorian Gray_, Pater's _The Renaissance_, something of Henry >James', Ashbery & O'Hara, Warhol's _A, a Novel_, Chris Kraus' _I Love Dick_, >one of the bios of Basquiat & Schnabel's film--you get the idea, I hope (one >thing I don't want to do is Browning--for the selfish reason that I'm tired >of doing *those* poems). Would greatly appreciate any suggestions!!! > >Thanks in advance. > >--Jacques David Knoebel http://www.clickpoetry.com ========================================================================= Date: Wed, 16 Aug 2000 15:47:02 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mscroggi Subject: Re: Golddiggers, but not really MIME-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: 7bit Yes, *Track* is an exceptional book--I've got a briefish review of it in Jacket #11, which pretty much says, hey, read this. The poem is an ongoing project of Finkelstein's, and Bill Burmeister and I will be publishing another installment later this year as a Diaeresis Chapbook. So watch this space! Mark Scroggins >===== Original Message From UB Poetics discussion group ===== >Hank Lazer just mentioned Nathaniel Mackey which reminded me I recently >stumbled across a most wonderful book. Mackey said nice things on the >back cover so I bought it (Michael Heller & Donald Revell also said nice >things there, so one and a half more reasons . . .). > >The book is Norman Finkelstein's _Track_. Book-length poem and completely >beautiful from page 7-90. It seems to fit somewhere between Oppen's "Of >Being Numerous" and Michael Palmer's "Sun." On first reading . . . >possibly. > >It seems to have come out in 1999. Was there any talk of it at the time? >If there was, I seem to have missed it. > >Buy TWO copies! > >JGallaher Mark Scroggins Department of English Florida Atlantic University 777 Glades Road, Boca Raton, FL 33431 phone 561.750.5407 ========================================================================= Date: Wed, 16 Aug 2000 20:21:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Maxine Gadd & Steven Ward Reading at the Kootenay School of Writing (Vancouver) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Maxine Gadd & Steven Ward Reading at the Kootenay School of Writing 201 - 505 Hamilton Street Vancouver BC 604-688-6001 Sunday, August 27, 2pm $5/3 Maxine Gadd is the author of the books Westerns (Air 1975) and Lost Language (Coach House 1982), and the chapbooks Lac Lake and Styx (Loon 1991 and 1993). Her recent writing appears in Raddle Moon 17, W 2, and the forthcoming chapbook Subway Under Byzantium. Steven Ward is a member of the publishing collective Friends of Runcible Mountain and past editor of estrus magazine. He is the author of the chapbook as verses (Thuja Books 1999). Recent poetry appears in W 1, Judy 3, and Monoecious House Folios. www.ksw.net info@ksw.net ========================================================================= Date: Fri, 18 Aug 2000 02:17:33 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: phu on line MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hello, another online journal from students of Fred Wah and Nicole Markotic. cheers, kevin Subject: [canadianpoetryassociation] phu on line phu on line is a new electronic journal of poetry & poetics; check out volume 1, issue 0 at: www.ucalgary.ca/~dkmatthi/phu ========================================================================= Date: Fri, 18 Aug 2000 11:54:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: query In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Would appreciate references on the use of absence, erasures, gaps, fragmentation, etc. in contemporary poetry. Thanks. -- --------------------------------------------------------------------------- Judy Roitman | "Whoppers Whoppers Whoppers! Math, University of Kansas | memory fails Lawrence, KS 66045 | these are the days." 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Fri, 18 Aug 2000 18:42:34 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear Colleagues Many of you will know that Reality Street Editions is publishing A BOOK FOR TOM RAWORTH to celebrate the work of this important poet. Many fine contributions have already been received and accepted; but the book is not yet complete. For a variety of reasons which may make a good story one day, it hasn't yet been possible to contact everyone I would wish to; and time is passing. Hence this message. Submissions are still being accepted, but the time is almost up. We're interested in contributions from those who, in one way or another, have been *associated with Tom over the years. If you are interested in this project and would like details, please contact me by email as soon as possible. NB I may need a few days to respond; please be patient. You can also help by copying this message to others who might be interested Lawrence Upton ========================================================================= Date: Wed, 16 Aug 2000 13:21:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steven Marks Subject: Re: Representations of the Visual Artist in Literature MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit _From the Horse's Mouth_, by Joyce Cary the trials and tribulations of Gulley Jimson, muralist also a movie with Alec Guinness, I think Steven ----- Original Message ----- From: Jacques Debrot To: Sent: Friday, August 11, 2000 12:45 PM Subject: Representations of the Visual Artist in Literature > For a freshman course I will be teaching at the Rhode Island School of > Design, I'm wondering if anyone could suggest examples of the visual artist's > representation in literature. I do not need to teach a representitive or > cannonical sample and my own initial thoughts have been somewhat quirky (I > don't want to go back further in time than the 1850s say): Wilde's _The > Picture of Dorian Gray_, Pater's _The Renaissance_, something of Henry > James', Ashbery & O'Hara, Warhol's _A, a Novel_, Chris Kraus' _I Love Dick_, > one of the bios of Basquiat & Schnabel's film--you get the idea, I hope (one > thing I don't want to do is Browning--for the selfish reason that I'm tired > of doing *those* poems). Would greatly appreciate any suggestions!!! > > Thanks in advance. > > --Jacques ========================================================================= Date: Wed, 16 Aug 2000 10:04:48 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik Notes National From: Disquieting Muses To: bear@hooked.net Subject: the August Issue Reader Beware Print Publishers Speak Merging Seaweed Fledgling Animus The Bet An Entirely Fictional Story About Pablo Picasso If You Only Want To Live With Surfaces Cleaning Stripper Broken Love Isn't Always On Time New Birth What I Remember About Desert Storm Insomnia Plastic Army Men in Snow Urn Burial Tribute to Whataworld Thorn in Your Paw Campers Champion I Go Bowling Brief Letter Starting with a Restaurant Cactus Durer Pillows Flower On Copper-bottomed Pan Leaves And Branches White Flower Barn Thorn And Cockleburr Womb Hips Metal Fetus Fences Length Midrift Split Stem Thistle Enlightenment Blinds Tube Archings Bee Butt Bunch Dew Roses Sea Limbs The August issue of DM is out. http://www.disquietingmuses.com ========================================================================= Date: Fri, 18 Aug 2000 15:06:25 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Subject: Representations of the Visual Artist in Literature MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message has been reformatted due to the presence of HTML code. - TS > Date: Tue, 15 Aug 2000 18:35:08 -0700 > To: UB Poetics discussion group > From: George Bowering > Subject: Re: Representations of the Visual Artist in Literature > >>For a freshman course I will be teaching at the Rhode Island School of >>Design, I'm wondering if anyone could suggest examples of the visual artist's >>representation in literature. I do not need to teach a representitive or >>cannonical sample and my own initial thoughts have been somewhat quirky (I >>don't want to go back further in time than the 1850s say): Wilde's _The >>Picture of Dorian Gray_, Pater's _The Renaissance_, something of Henry >>James', Ashbery & O'Hara, Warhol's _A, a Novel_, Chris Kraus' _I Love Dick_, >>one of the bios of Basquiat & Schnabel's film--you get the idea, I hope (one >>thing I don't want to do is Browning--for the selfish reason that I'm tired >>of doing *those* poems). Would greatly appreciate any suggestions!!! >> >>Thanks in advance. >> >>--Jacques > > If you can get it, I suggest the novel White Figure, White Ground , > 1964, I think, by Hugh Hood (who died 2 weeks ago). It is the best > rendering of a painter's interior process and painting practice i > have ever read, as good as the movie about Munsch. or however you > spell it) > -- > George Bowering > Fax 604-266-9000 ========================================================================= Date: Fri, 18 Aug 2000 14:10:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Minton Subject: Address for Charles Tomlinson? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hello all, I'm wondering if anyone has an address (regular or email) for Charles Tomlinson. If so, please backchannel. Thanks, Jonathan Minton ========================================================================= Date: Fri, 18 Aug 2000 14:44:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daisy Fried Subject: Looking for Diane Di Prima Comments: To: WOM-PO@LISTSERV.MUOHIO.EDU MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hello--I'm looking for Diane Di Prima. Does anyone have an e-mail address or other contact info for her? This is for an article I'm writing for the Swarthmore alumni bulletin on Swarthmore alumni poets... Thanks! Daisy Fried daisyf1@juno.com 215.923.3158 811 S. Hutchinson St. Philadelphia, PA 19147 ========================================================================= Date: Tue, 15 Aug 2000 15:09:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Representations of the Visual Artist in Literature In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 3:45 PM -0400 8/11/00, Jacques Debrot wrote: >For a freshman course I will be teaching at the Rhode Island School of >Design, I'm wondering if anyone could suggest examples of the visual artist's >representation in literature. I do not need to teach a representitive or >cannonical sample and my own initial thoughts have been somewhat quirky (I >don't want to go back further in time than the 1850s say): Wilde's _The >Picture of Dorian Gray_, Pater's _The Renaissance_, something of Henry >James', Ashbery & O'Hara, Warhol's _A, a Novel_, Chris Kraus' _I Love Dick_, >one of the bios of Basquiat & Schnabel's film--you get the idea, I hope (one >thing I don't want to do is Browning--for the selfish reason that I'm tired >of doing *those* poems). Would greatly appreciate any suggestions!!! > >Thanks in advance. > >--Jacques hi jacques, one of my personal faves is hawthorne's "The Artist of the Beautiful" and also, to a lesser extent, "The Birthmark" ========================================================================= Date: Fri, 18 Aug 2000 15:21:08 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: Representations of the Visual Artist in Literature In-Reply-To: <243543810.966611185@ubppp233-15.dialin.buffalo.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Who is Munsch? -- Patrick Herron Fax 919-960-9817 -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Poetics List Sent: Friday, August 18, 2000 3:06 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Representations of the Visual Artist in Literature It is the best > rendering of a painter's interior process and painting practice i > have ever read, as good as the movie about Munsch. or however you > spell it) > -- > George Bowering > Fax 604-266-9000 ========================================================================= Date: Fri, 18 Aug 2000 15:50:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Re: Representations of the Visual Artist in Literature / Roitman MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit The following message has been reformatted to remove HTML tags. Christopher W. Alexander poetics list moderator -- Date: Fri, 18 Aug 2000 14:40:43 -0500 From: Judy Roitman > The Horse's Mouth--(novel) by Joyce Cary > --made into a film with Alec Guiness, who co-wrote > script > Paul Gauguin Noa Noa > > Giorgio de Chirico Hebdomeros > > Antonin Artaud Van Gogh, The Man Suicided by Society > > William Corbett Phillip Guston's Late Work: A Memoir > > Charles Baudelaire The Painter of Modern Life > > Guillaume Apollinaire The Cubist Painters > > Roger Shattuck The Banquet Years > > Eric Basso The Sabbatier Effect (play) > > The Writings of Robert Smithson > > Andrei Rublev (film by Tarkovsky; ok, it is in the 15th century!) > > > Ports of Entry Wiiliam S Burroughs and the Visual Arts > > The Dada Painters and Poets ed. by Robert Motherwell > > Dada Art and Anti-Art Hans Richter > > Robert Frank & Jack Kerouac The Americans > > Alberto Moravia The Empty Canvas (also made into a film) > > A Bigger Splash (film re David Hockney) > > Scum Manifesto by Valerie Solanis w/I Shot Andy Warhol (film) > > The Oval Portrait Edgar Allan Poe > > House of the Seven Gables Nathaniel Hawthorne (re a photographer) > > there's too many more . . . > Wasn't Lust For Life (V. van Gogh) a book before a movie? -- --------------------------------------------------------------------------- Judy Roitman | "Whoppers Whoppers Whoppers! Math, University of Kansas | memory fails Lawrence, KS 66045 | these are the days." 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Fri, 18 Aug 2000 16:00:35 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Fwd: UPDATE: The 12hr ISBN-JPEG Project MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="part1_a7.6b0bb4a.26ceefe3_boundary" --part1_a7.6b0bb4a.26ceefe3_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit This one seems to have been lost in the shuffle, so I'll try again. --part1_a7.6b0bb4a.26ceefe3_boundary Content-Type: message/rfc822 Content-Disposition: inline Return-path: From: Austinwja@aol.com Full-name: Austinwja Message-ID: <69.92fbc82.26cac742@aol.com> Date: Tue, 15 Aug 2000 12:18:10 EDT Subject: Re: UPDATE: The 12hr ISBN-JPEG Project To: POETICS@LISTSERV.ACSU.BUFFALO.EDU MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit X-Mailer: AOL for Macintosh sub 28 In a message dated 8/15/00 8:46:53 AM, richard.tylr@XTRA.CO.NZ writes: << The wording of "12hr...Project" is typically vague, hence ultimately meaningless.In >> Hi Richard! "Typically" vague? Typical for whom? Why be vague and meaningless (nothing is meaningless) when we can be sharp and specific? All the centers you mention are of course provisional--especially the shopping center, I pray to god!!! Anyway, no big thing. I'm still looking forward to your posts. I admired the example you provided. Maybe you could say that the fractured images "draw attention" to the issues of identity, relations, center--something like that. Forgive me for sticking my two cents in where it probably doesn't belong. You seem like a formidable guy and I'm delighted to be in contact. Best wishes, Bill --part1_a7.6b0bb4a.26ceefe3_boundary-- ========================================================================= Date: Fri, 18 Aug 2000 19:21:34 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. From: Charles Bernstein Subject: LOLLIPOP & Bonvincino Mime-Version: 1.0 Content-Type: multipart/alternative; types="text/plain,text/html"; boundary="=====================_37985332==_.ALT" --=====================_37985332==_.ALT Content-Type: text/plain; charset="us-ascii" In the spring, Bill Griffiths, Bob Trubshaw, and Peter Finch inaugurated this List of Little Press Publications. Worth a visit for infomtion about UK small press poetry and for an interview with Allen Fisher. http://www.indigogroup.co.uk/llpp/ Also, I recommend this link to the home page of Brazillian poet Regis Bonvincino, a bit of which is in English: http://sites.uol.com.br/regis/home.htm --=====================_37985332==_.ALT Content-Type: text/html; charset="us-ascii" In the spring, Bill Griffiths, Bob Trubshaw, and Peter Finch inaugurated this List of Little Press Publications. Worth a visit for infomtion about UK small press poetry and for an interview with Allen Fisher.

http://www.indigogroup.co.uk/llpp/

Also, I recommend this link to the home page of Brazillian poet Regis Bonvincino, a bit of which is in English:

http://sites.uol.com.br/regis/home.htm
--=====================_37985332==_.ALT-- ========================================================================= Date: Fri, 18 Aug 2000 15:33:22 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: query MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 8/18/00 12:01:57 PM, roitman@MATH.UKANS.EDU writes: << Would appreciate references on the use of absence, erasures, gaps, fragmentation, etc. in contemporary poetry. Thanks. -- >> 1. Charles Bernstein 2. Perloff 3. anything by Derrida (it's all in there, though the focus is rarely poetry) 4. Heidegger (travels well over time) 5. anything by Hugh Kenner on Modernism (he's especially good on Eliot and his remarks certainly apply to current poetry) 6. Modern Poetry and the Idea of Language by Gerald L. Bruns (good overview, not restricted to contemporary exemplars, which is good) Lots of other very good books out there, but I haven't seen one that gets any further than these guys. If you're looking for works that address how specific contemporary poets fiddle with the ideas/devices you mention, I've been avoiding them (with a few exceptions). Most of those books are more dissertation fodder than tools for a well rounded understanding. Most, but no doubt not all. Best, Bill ========================================================================= Date: Fri, 18 Aug 2000 14:40:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: Representations of the Visual Artist in Literature In-Reply-To: Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="============_-1245494850==_ma============" --============_-1245494850==_ma============ Content-Type: text/plain; charset="us-ascii" ; format="flowed" > The Horse's Mouth--(novel) by Joyce Cary > --made into a film with Alec Guiness, who co-wrote > script > Paul Gauguin Noa Noa > > Giorgio de Chirico Hebdomeros > > Antonin Artaud Van Gogh, The Man Suicided by Society > > William Corbett Phillip Guston's Late Work: A Memoir > > Charles Baudelaire The Painter of Modern Life > > Guillaume Apollinaire The Cubist Painters > > Roger Shattuck The Banquet Years > > Eric Basso The Sabbatier Effect (play) > > The Writings of Robert Smithson > > Andrei Rublev (film by Tarkovsky; ok, it is in the 15th century!) > > > Ports of Entry Wiiliam S Burroughs and the Visual Arts > > The Dada Painters and Poets ed. by Robert Motherwell > > Dada Art and Anti-Art Hans Richter > > Robert Frank & Jack Kerouac The Americans > > Alberto Moravia The Empty Canvas (also made into a film) > > A Bigger Splash (film re David Hockney) > > Scum Manifesto by Valerie Solanis w/I Shot Andy Warhol (film) > > The Oval Portrait Edgar Allan Poe > > House of the Seven Gables Nathaniel Hawthorne (re a photographer) > > there's too many more . . . > Wasn't Lust For Life (V. van Gogh) a book before a movie? -- --------------------------------------------------------------------------- Judy Roitman | "Whoppers Whoppers Whoppers! Math, University of Kansas | memory fails Lawrence, KS 66045 | these are the days." 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- --============_-1245494850==_ma============ Content-Type: text/html; charset="us-ascii" Re: Representations of the Visual Artist in Literature
        The Horse's Mouth--(novel) by Joyce Cary
                        --made into a film with Alec Guiness, who co-wrote
                                script
        Paul Gauguin  Noa Noa

        Giorgio de Chirico   Hebdomeros

        Antonin Artaud  Van Gogh, The Man Suicided by Society

        William Corbett  Phillip Guston's Late Work:  A Memoir

        Charles Baudelaire  The Painter of Modern Life

        Guillaume Apollinaire  The Cubist Painters

        Roger Shattuck  The Banquet Years

        Eric Basso  The Sabbatier Effect (play)

        The Writings of Robert Smithson

        Andrei Rublev (film by Tarkovsky; ok, it is in the 15th century!)


        Ports of Entry  Wiiliam S Burroughs and the Visual Arts

        The Dada Painters and Poets  ed. by Robert Motherwell

        Dada Art and Anti-Art   Hans Richter

        Robert Frank & Jack Kerouac  The Americans

        Alberto Moravia  The Empty Canvas  (also made into a film)

        A Bigger Splash  (film re David Hockney)

        Scum Manifesto by Valerie Solanis w/I Shot Andy Warhol (film)

        The Oval Portrait   Edgar Allan Poe

        House of the Seven Gables Nathaniel Hawthorne  (re a photographer)
        there's too many more . . .



Wasn't Lust For Life (V. van Gogh) a book before a movie?
--


---------------------------------------------------------------------------
Judy Roitman                     | "Whoppers   Whoppers   Whoppers!
Math, University of Kansas       |     memory fails
Lawrence, KS 66045               |         these are the days."
785-864-4630                     |
fax:  785-864-5255               |                    Larry Eigner, 1927-1996
----------------------------------------------------------------------------
http://www.math.ukans.edu/~roitman/
----------------------------------------------------------------------------
--============_-1245494850==_ma============-- ========================================================================= Date: Mon, 21 Aug 2000 13:46:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Re: poetics email addresses MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Last week, in my rush to get the list caught up before the weekend's planned outage of campus email services, I accidentally directed a "review" of subscribers' email addresses to the list rather than, as was intended, the administrative account. I apologize for any discomfort or inconvenience the message may have caused. As many of you know, I've maintained a "no review" policy since I became moderator in January of 1999 - in contrast to the time preceding, when any subscriber could order from the listserv program a message such as went out on Friday. I don't have any plans to change that policy, and I'm sorry for having acted at variance with it myself. Nevertheless, the results of the message are likely to be less than disastrous: it was rather in concern over potential problems, than in reaction to any actual problems that I chose to do away with the "review" option. In general, subscribers to the Poetics List have been very responsible with the information thus available, and I don't anticipate that general courtesy will change. If anything, we may see only a reduction in the number of address queries. Charles and I are doing what we can to have the message removed from the list archive - the possibility of which is yet to be determined. I suspect that it could be done, supposing we are able to reach the right person, and supposing that person is willing to accomodate the request. Given the degree of supposition involved, I prefer for the time being to reside in the subjunctive, and will not say that the message -can- be removed, nor that it -will- be. Whatever alarm this matter may raise may be diminished in recalling that the email address of anyone who has posted to the Poetics List has been publicly available from that moment; for many of you, the persistence of the message in question would be little change. In any case, I will give notice the list of any development in our effort. Thanks for your patience. Christopher W. Alexander poetics list moderator ========================================================================= Date: Fri, 18 Aug 2000 18:10:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Paul Sullivan Subject: Work request for Readme 4 / new email Hello Everyone, I'm putting together the next issue of Readme (#4) and at this point have absolutely no book reviews. Anyone interested? I've even received some review copies of things, if anyone wants to take a look and write up something. Special attention given to reviews including close readings and/or lots of excerpts from the work at hand. Deadline: September 15th. I'm also interested in getting maybe a couple more interviews and essays. PLEASE DO NOT EMAIL ME AT MY COLUMBIA ACCOUNT. Please address all queries (or send finished work) to me at my new email: readmemag@excite.com Here's a sketchy overview of what's planned for issue 4: I n t e r v i e w s Martin Corless-Smith / Benjamin Friedlander / Drew Gardner / Kevin Killian / Julie Patton / Wanda Phipps / Ron Silliman (Part 2) / Fatimah Tuggar / Mark Wallace E s s a y s Nada Gordon on Bernadette Mayer (Part 2) / Arielle Greenberg on Conferences / Eleana Kim on Language Poetry / Ramez Qureshi on Visual Art / Chris Stroffolino on Lineage If you don't know the magazine, please take a look: http://www.jps.net/nada Thanks everyone, Gary ========================================================================= Date: Thu, 17 Aug 2000 12:47:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Being Girl: "I do wryte such ennui!" MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Being Girl: "I do wryte such ennui!" "Nikuko, where are you? I have fallen through 02:04frames. You say, "Nikuko, where are you? I have fallen through frames.""Between the enu nciation and the object, there is annihilation. You say, "Between the enunciation and the object, there is annihilation."look bodi I don't know which "bodi" you mean.look bodee I see no "bodee" here.look Girl look02:05 Boy look iBoy Alway Luvly Swolen Beli Want for You to Look in Himlook Girl do Folo Yu Girl Girl do BodeeiBudi Defense against Theft She do Come with Yu@Niku "Nikuk Boy folo Boy folo Girl do Come fr Bodeeo, is that you? You say, "Nikuko, is that you?"look Bodi I don't know which "Bodi" you mean.look 02:06iBudi Defense against Theftlook Bedee Sink or Swim Bedee look radio "Nikuko, are you wryting me? From hiatus, perforations pulling against one or a nother frame? You say, "Nikuko, are you wryting me? From hiatus, perforations pulling against one or another frame?"02:07look Girl "I want to see you, Girl You say, "I want to see you, Girl""I want to be with you, Girl You say, "I want to be with you, Girl""Nikuko, speak to me!" You say, "Nikuko, speak to me!"" Girl do Folo Yu Girl Girl do Bodee"Ah ah a She do Come with Yuh ah ah You say, "Ah ah ah ah ah""Do come Niuk kuko, oh so mu02:08ch of the time I wryte with total loss! You say, "Do come Nikuko, oh so much of the time I wryte with total loss!""So much of the time I do wryte ennui! You say, "So much of the time I do wryte ennui!"look boy "Ah ah ah ah ah You say, "Ah ah ah ah ah"@I "Ah I will do leave now, I do feel such lone.02:09" You say, "Ah I will do leave now, I do feel such lone."" Boy folo Boy folo Girl do Come fr Bodee"Ah ah ah ah ah You say, "Ah ah ah ah ah""So much of lonely! You say, "So much of lonely!""Ah, will do goodbye You say, "Ah, will do goodbye"! ---- No world ---- Ah, so sad, there is no world between you frames, between 35mm frame, between 63mm frame, between 70mm frame, between 9.5mm frame. I do return to child-time, yearning for dark future time, remember play ball with Nikuko, remember Boy folo Girl, Girl folo Girl, ah, so much of lonely! I want to see you, Girl, I want to be with you, Girl, so much of lonely! 35 tf 36 b 37 rz 38 pico zz.txt 39 mv zz.txt ww __ ========================================================================= Date: Fri, 18 Aug 2000 19:53:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Beaufort Scale Ontology MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Beaufort Scale Ontology 0 Smoke rests in quiet air; you glisten, water's truth. 1 No vanes but smoke drift; small waves, no foam, dissolving you. 2 Winds rustle, vanes move; small waves, moody, short. 3 Leaves and twigs; lost memories, and crests begin their shudder. 4 Dust raised, see leaves twirl; whitecaps, whitecaps! 5 Small trees swaying; you surface; look for the foam at sea. 6 Large branches and crests foaming, everything mixed up. 7 Whole trees, heaved seas, sloshed origins of worlds. 8 Streaked foam, broke twigs, abandoned things and beings. 9 Dark currents, loose tiles, ropes taut and broken, falling seas. 10 Uprooted trees and waves hang over fate of worlds confused. 11 Torrents everywhere in dissolution of beings and inverted seas. 12 The world of hidden things and devastations. 13 World of shrieks and fallen names and cries. 14 No cries no things no worlds; 15 No cries no things no worlds _ ========================================================================= Date: Sat, 19 Aug 2000 08:05:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: Representations of the Visual Artist in Literature / Roitman In-Reply-To: <246196438.966613838@pslck3-01.pubsites.buffalo.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Yes, LUST FOR LIFE was first a book, by Irving Stone, who also edited LETTERS TO THEO, Vincent's letters to his brother. As with so many things to do with van Gogh, from auctions of his works to the reproducton business--these works, the two books and the Vincent Minelli directed film with Kirk Douglas Vincent and Anthony Quinn, were great hits at bookstores and box offices around the world. And just think--they eventually led to "Starry Night"--remember the hit song? Thank goodness for the former preacher van Gogh that he believed that our reward in is in heaven, not on earth-- as others here below in the Vale of Tears are reaping such benefits from his works, which brought him close to nothing material-- (Of course some cynic might remark, well if he was spiritual about art, why should he have cared about its material success in the first place--better to leave that to those who are!. A van Gogh was found here not so long ago in a Milwaukee suburb--it had been in the family for a while and just hanging up in the house--as a bit of homely decoration--until "discovered"--and voila! like hitting the lottery!--riches appeared!) --dave baptiste chirot ========================================================================= Date: Sat, 19 Aug 2000 09:04:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Todd Baron Subject: Re: Tijuana poets in Los Angeles Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable thank you for the cultural information--little of it here--alas. did you get (you)? does anyone? alls, Tb ---------- >From: charles alexander >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Tijuana poets in Los Angeles >Date: Tue, Aug 15, 2000, 9:47 PM > > CULTURAL EXCHANGE BRINGS TWO TIJUANA POETS TO LOS ANGELES > > Bajo el Mismo Sol (Under the Same Sun), an international cultural exchang= e > program between the cities of Los Angeles and Tijuana, will present "Poet= as > por Pintores" ("Poets for Painters") with Elizabeth Cazess=FAs and Eduardo > Arellano reading their works on Friday, August 18th, from 8 to 10 p.m. at > Espresso Mi Cultura, 5625 Hollywood Boulevard (corner of Gramercy) in > Hollywood, and on Saturday, August 19th., from 1 to 3 p.m. at the 15th > annual African Marketplace & Cultural Faire in Rancho Cienega Park, 5001 > Rodeo Road in Los Angeles. Admission.s to both readings are free, but the= re > is a $3.00 entrance fee for African Marketplace. > > Examples of their poetry, in Spanish and English, can be found below. The > poets will read in Spanish. Translations of most of the poems will also b= e > read. > > Tijuana-born Elizabeth Cazess=FAs, who has written poetry since 1972, will > read an excerpt from her new book *La Mujer de sal* (Woman of Salt). > Considered one of the leading poets in Baja California, she has one > numerous awards in Mexico. > > Eduardo Arellano, who was born in Zacatecas, Zacatecas, has published thr= ee > collections of poetry: *Di=E1sporo o pasi=F3n* (1985), *Desierto de la palabr= a* > (1994), and *La Tierra destinada* (1999). He has lived in Mexicali and > Tijuana since 1988 and is a member of the faculty of the School of the > Humanities of the Universidad Aut=F3nomo de Baja California. > > For the next year Bajo el Mismo Sol will bring two poets monthly to > different venues in Los Angeles. Simultaneously, Los Angeles painters wil= l > have their works exhinited in six different galleries in Tijuana. For the > following year the exchange will be reversed. > > For further information call Luis Ituarte, (213)485-4474. > > > Elizabeth Cazess=FAs > > WOMAN OF SALT (excerpt) > > I > Mother I voyage to the depths of the sea > to leave in your hands the cast of my face > coastlines where my rivers meld with yours > the lenses of my eyes > seeing me in your tides at last > > Lend me your quetzal feather > for my skirt the waves of the sea > anklets of snailshells and bells > adorning my feet in exchange for this offering > May my steps on staircase and balcony > intone a song that the birds carry > to the great lords of light reaching > the ears of Neptune > before he awaken. > > II > I strip off the clothes of abandonment > that the flames of Sodom illuminate > The salt of my tears will clothe me > a river of glow-worms and garlands. > For your sake the light from the mountains falls > before your turquoise dress > when in the morning the customary sun rises. > > > > Eduardo Arellano > > from THE LOVER'S DAWN > > So as to clothe ourselves in leaves, so as to steal the fruit and prepare > ourselves > a banquet of delicious prohibitions, with toothy sweetness, > love, let us taste each other while we live. > > This garden flowers despite weather, > carving out of our bodies > a view into each other's depths, each time further > into blood and lip where that which rebels, > that which breathes in us, > still hides, the blind well of this moment > when you know yourself mine, > and something tells us that we have exceeded > the second's compass. > > Wait, don't return yet to your name, observe these vestiges, > the field that opens before exhausted bodies. > Astonished as you are, taste this seed > about to sprout for us, beyond us > in a paradise where nothing is marginal > and a wind without origin delivers us its breath. > ========================================================================= Date: Sat, 19 Aug 2000 17:06:13 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: Representations of the Visual Artist in Literature In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Dreiser's The Titan - Alan Internet Text at http://www.anu.edu.au/english/internet_txt Partial at http://lists.village.virginia.edu/~spoons/internet_txt.html Trace Projects at http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Sat, 19 Aug 2000 17:11:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mscroggi Subject: Re: query MIME-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: 7bit >===== Original Message From UB Poetics discussion group ===== >In a message dated 8/18/00 12:01:57 PM, roitman@MATH.UKANS.EDU writes: > ><< Would appreciate references on the use of absence, erasures, gaps, >fragmentation, etc. in contemporary poetry. Heather McHugh, Broken English: Poetry and Partiality (Wesleyan UP, 1993); don't know if I'd wholeheartedly recommend it, but it certainly points in some interesting directions. Mark Scroggins Department of English Florida Atlantic University 777 Glades Road, Boca Raton, FL 33431 phone 561.750.5407 ========================================================================= Date: Mon, 21 Aug 2000 13:53:24 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karen McKevitt Subject: re email addresses MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7bit I hope the list of everyone's email address was for the people who were looking for specific email addresses. If anyone happened to copy that list for their own personal mass emailings of events and such, please remove me. I'd rather get my info through the Poetics list. Thanks. Karen editit@hotmail.com ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Sat, 19 Aug 2000 16:06:32 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Jarnot Subject: Naropa online writing workshops Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear List Members: Here is a list of the writing courses that will be offered this fall through Naropa University's electronic college: > > WRI 500e The Beats and Other Rebel Angels > WRI 530e Literature Seminar: The Feeling Tone > WRI 534e The Art of the Essay - Exploring Creative Nonfiction > WRI 539e Poetry Workshop: Great Companions > WRI 541e Sculpting Prose > WRI 584e DRAMATIC MEASURES: The Craft of Writing for the Stage and Screen > > For a complete list of Naropa Online courses including descriptions, texts, > syllabi, prices and instructor biographies, prospective students and > writers may go to www.ecampus.naropa.edu and click on the Course Schedule > link. > > For any questions, please email registrar@ecampus.naropa.edu or contact Brian Van Way > Director of Distance Learning > Naropa University > 2130 Arapahoe Ave > Boulder, CO 80302 > voice 303-245-4703 > toll free 800-772-6951 > fax 303-245-4819 > brian@naropa.edu > http://ecampus.naropa.edu/ . Registrations are being accepted until the first day of classes. ========================================================================= Date: Sat, 19 Aug 2000 21:36:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: READ THE BIBLE MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - *** THE ONLY THING WORTH READING IS THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. ALL THE TRUTH IN THE WORLD IS IN THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. THERE IS NO OTHER BOOK THAN THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. THERE IS NO OTHER TRUTH THAN THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. THERE IS NONE OTHER THAN THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. THE BIBLE IS ALL YOU WILL EVER NEED. READ THE BIBLE THE BIBLE THE BIBLE. THE BIBLE IS ALL YOU WILL EVER WANT. READ THE BIBLE THE BIBLE THE BIBLE. THE BIBLE IS GOD'S TRUTH ON EARTH. READ THE BIBLE THE BIBLE THE BIBLE. THE BIBLE IS THE LORD'S GOOD BOOK. READ THE BIBLE THE BIBLE THE BIBLE. THE BIBLE IS GOD'S HOLY BOOK. READ THE BIBLE THE BIBLE THE BIBLE. FALL NOT INTO THE DEPTHS OF SIN. READ THE BIBLE THE BIBLE THE BIBLE. READ NONE OTHER BUT THE HOLY BOOK. READ THE BIBLE THE BIBLE THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. READ THE BIBLE THE BIBLE THE BIBLE. *** ========================================================================= Date: Sun, 20 Aug 2000 15:53:43 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: His Life: A Poem Mime-Version: 1.0 Content-Type: text/plain; format=flowed In Munro's, a bookstore that seems far too large for the little city it's in (Victoria, BC), and which for some reason doesn't put poetry way in the back corner, I came across and acquired His Life: A Poem, by George Bowering. It's a real find! Poems written based on diary notes from the soltices and equinoxes (thus four per year) from '58 to '88. In addition to the absolute loveliness of the writing itself, you can get a real feel for a world that is just ever so slightly distanced from your own (in my case, Bowering is 11 years my senior so was a real grownup poet when I was still noodling in highschool with the Oscar Williams anthology as sole companion). It is in this sense a completely realized world. It feels like a great gift to read. I don't know if SPD has it -- and I got the only one Munro's had -- but there is a web site: www.ecw.ca/press Ron Silliman ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Sun, 20 Aug 2000 18:10:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Philip Nikolayev Subject: Angeline Yap Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Does anyone have contact info for the Singapore poet, Angeline Yap (preferably email)? I'd be much obliged. Philip ========================================================================= Date: Fri, 18 Aug 2000 16:03:14 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: poetics email addresses In-Reply-To: <248506680.966616148@pslck3-01.pubsites.buffalo.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" a lot of these addresses are obsolete; mine, for instance; i'm now at damon001@tc.umn.edu ========================================================================= Date: Mon, 21 Aug 2000 13:57:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Re: Fwd: UPDATE: The 12hr ISBN-JPEG Project MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted to remove HTML tags. Christopher W. Alexander poetics list moderator -- From: Date: Sun, Aug 20 2000 23:16:54 GMT+0000 To Bill etal. I wasn't being too serious about the 12hr project, and the thing about centrs came from along poem that I wrote (vaguely a la Ashbery's Flow Chart) in response to a "challenge" by a fellow N.Z. poet whose name I supress for now in case there's an earthquake on the net! But I think that literary theory tends to get too waffly. I like M.Perloff and C. Bernstein etc but why not be concise and clear when required? In a poem or in certain lit. we are "talking" at different levels. If the Russians and British technitians (and I was a Telcom/Electronics Eng.Tech. until 1987)spoke like literary theorists there'd be more balls ups. Anyway I'm not formidable,I'm just a plodder. The editor of SALT (a small N.Z. mag NOT the Australian SALT) chopped up my long poem (hand written) and publised it with BEGIN AGAIN: being repeated. The idea being that the idea of a work beginning at an arbitrary place (cf Valery on a poem only being interrupted not finished)(and cf J P Sartre's "Nausea")was illogical. After all life doesnt. Of course we divide things up, but I just needed,or felt I needed a project. In other words if somebody would commission a (poetic) symphony so to speak for the right money I'd do one (am doing through my "Infinite Poem" (more on that project later))! I dont want to sound arrogant or formidable though. Anyway here's another short piece from thr BEGINNING,MIDDLE,AND... BEGIN AGAIN: The grandmaster revolves,seeing the oil of rainbows,whose colours,once described,were always there - or something or rather of this sort,and notwithstanding it, whatever IT is,HAS begun,whose lyric intensity overwhelms us like an acid wave. BEGIN AGAIN The Editor put the "BEGIN AGAIN'S" in! So, no, I wasnt thinking directly about centres, I dont really think much about what I write. Its more like I imagine composing music could be - or improvising which I used to do on the piano.The email for SALT is http://homepages.ihug.co.nz\~mbellard\ Thanks for you kind comments, Best wishes, Richard Taylor. > >From: Austinwja@AOL.COM >Date: Fri, 18 Aug 2000 16:00:35 EDT >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Fwd: UPDATE: The 12hr ISBN-JPEG Project > >This one seems to have been lost in the shuffle, so I'll try again. > ========================================================================= Date: Mon, 21 Aug 2000 14:00:28 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Re: Fwd: UPDATE: The 12hr ISBN-JPEG Project / Richard Taylor MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted to remove HTML tags. Christopher W. Alexander poetics list moderator -- From: Date: Sun, Aug 20 2000 23:28:52 GMT+0000 >Hullo Bill Again.Could you send who you are etc? As to the questions of "centres" I suppose it was in my subconscious.After all,we (or I) tend to just accept things.Imagine if we WERE in a kind of space-time world, or where things changed (Monty-Python style) constantly?In Auckland (or Panmure where I am) there are a lot of volcanic cones, infact I'm looking at Mt Maungakiekie(Mt Wellington) now. It was there when Iwas a boy (1950s). Imagine myshoch if itwasnt there next time I looked up!Regards again,Richard. >From: Austinwja@AOL.COM >Date: Fri, 18 Aug 2000 16:00:35 EDT >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Fwd: UPDATE: The 12hr ISBN-JPEG Project > >This one seems to have been lost in the shuffle, so I'll try again. > ========================================================================= Date: Sun, 20 Aug 2000 17:24:51 +0000 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Hands Collected The Books Of Simon Perchik MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Hands Collected The Books Of Simon Perchik Poems: 1949-1999 Edited by David Baratier ISBN #1-886350-85-X Perfect bound, olive green cover, with quotes from famous people 612 pages Includes 59 new poems and complete editions of every book. 612 pages, olive cover. Simon Perchik was born December 24, 1923 in Paterson, New Jersey and his appearance in extremely influential, and now legendary little magazines such as Truck, Manroot, Tish, Measure, Oink, and Sparrow has shown his depth of commitment to small presses. Concurrently, large print run publishers from The Nation to The New Yorker; from Poetry to Partisan Review; from Southern Poetry Review to the Ohio Review began publishing his work in their pages. Until the publication of this book, the work of one of our most talented poets has been largely unavailable. This is his seventeenth collection of poetry which clearly shows how the usage of punctive and typographical metonymy could be a concern for future writers, and expands the general understanding of the Black Mountain Movement, not as one simply focused on history or motion of the line across the page as breath with only one acceptable locution, but rather as one that made the sincerest “sirventes against the city of Toulouse;” a generation of practitioners splintered in newness. For an interview with Simon Perchik and poems contained in the collection please see: http://www.jacket.zip.com.au/jacket08/perchik-iv.html Let others jockey for position. Perchik’s poems are obdurant and honest and will reach those who need them most. — James Tate At Corinth, two temples stood next to one another: one to violence and one to necessity. Mr. Perchik’s poems attend both temples, and are often terrifying compressions of the violence in simple daily acts. He makes dense and sometimes brutal poems with all the implicit tenderness of a full man. — Paul Blackburn I was delighted to hear from Mr. Perchik, as I always am, and read his poems with my usual pleasure in his feeling and language, and with great avidity therefore, and only had that falling-feeling at that point which he must know himself, that the human does have that thing in it which, let in, at least to expression, levies something (example, say, family reference of the person etc. — the social — as against that inner good, virtue, no matter what the filthy eighteenth century did to that too ((as well as it did to the contract social)). So much of what Perchik does include (but leaves it at the heart level) is this important thing, and I always hear it, as he knows, in what he does. — Charles Olson Every country, every culture has its unsung masters, as indeed does every art form. Perchik is American poetry’s unsung master— a true original, a writer who follows his solitary path, ignoring the currents of fashion. Some of us —small groups of enthusiasts scattered across the globe— have taken this work into our hearts and try to share it with a world that often does not have time for originality on this scale. I for one enjoy this poetry; I do not study it, or pore over it; I read it. And then I read it again, because with every reading it becomes obvious what a master Simon Perchik really is. — Tony Frazer Simon Perchik’s extraordinary lyric talent is one of the best kept secrets in contemporary American poetry. Perchik’s performances are superior to those of most contemporaries, avoiding safe closet dramas and reflexive ironies. Again and again, elemental tokens-rain and stone, pairs of signature hands-establish a mythic field for the complex interplay of memory and desire so essential to the lyric’s fierce struggle against oblivion. Clever conceits and surreal leaps orchestrate very personal material into archetypal configurations that approach transcendence. — Edward Butscher Simon Perchik, as one in a community of poets, should be welcomed into the fold. He can teach us how to be different from each other, as we think we are, but need to be reminded by one like Perchik that the difference should be original... — David Ignatow What is always clear...is that this is a complex, lyrical vision of the commonplace. Even a meager narrative is hardly worth noticing, finally, in the midst of these exquisite imaginings. It is the constant struggle in this process which empowers his poetry, and provides tension in his lyric. — Naton Leslie Simon Perchik’s poetry is harshly urban, its tone established by violent verbs (yank, twirl, rake, cock, attack) and equivalent nouns (buzz, risk, jet, rock, clank) by means of which it purges itself of song and sentimentality. And its images are tough: “At five / the office buildings in Manhattan / grow a hollowed spine”, “one young maple / screams insensibly with reds and yellows”; “July’s jet fight / on top the heart”. Sometimes it becomes a private poetry, a quality intensified by Mr. Perchik’s omission of all titles, so that it is hard to find the centers of thought or feeling or observation it clusters around. Yet allusions to birds and flight express a gently recurrent yearning, and images of mirrors and photographs imply a search through the self, of which, perhaps, the poems are agglomerated fragments. And the forms are tight. Lines click into place, and, despite occasional obscurities, these are few serious confusions. It is a poetry hard to feel but intellectually alive ... Working close to the deeper sources of poetry, in modes reflecting individuality and technical determination, Mr. Perchik is the most original.... — Donald W. Baker, in Poetry Perchik’s poetry is an intensely personal, high-voltage vision, formalized into poetry by compression, crisp language, and sharp nervous rhythms. Like the best poets of our age, he works directly from his own “local” — immediate daily life. No angelic ravings, no subway visions for this man. Instead, a tough urban wit and an almost successfully-hidden gentleness. — Frederick Eckman The flash and swirl of images in the hands of a less gifted poet would be indulgent—here they explode from a central potency: Perchik’s emotional maelstrom sucks up all manner of objects. We soar and spin, secure only in the felt knowledge that he will let us down revivified, somehow more complete than we were before we entered his world. — Robert Peters These are poems with fresh insights sticking out all over them and they ought to give pleasure to anyone whose mind is still open to new poetry. — X.J. Kennedy Simon Perchik was born December 24, 1923 in Paterson, New Jersey. He is a graduate of New York University having received a B.A. in English and LLB in Law. As a pilot during World War II, he was awarded the Distinguished Flying Cross, Air Medal w/three Oak Leaf Clusters, ETO Ribbon w/three Battle Stars, and the Presidential Unit Citation. Following admission to the New York Bar in 1951, he was in private law practice, save for five years as Assistant District Attorney for Suffolk County, New York. He has seventeen collections of poetry published to his credit and continues to be widely published in many periodicals including The New Yorker, The Nation, International Poetry Review, Partisan Review, Massachusetts Review and the Southern Poetry Review. Mr. Perchik continues to reside in East Hampton, New York with his family. $30.00 Paperback. Pre-publication discount to list members, $25 to all US locations including shipping. $27 for canada, $30 for overseas destinations. Send checks in US currency payable to: Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Sat, 19 Aug 2000 10:00:09 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: bei ling --fwd from henry gould In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The Chinese poet & editor Bei Ling, a resident for the last few years in Providence & Boston, was arrested in Beijing a week ago. His brother, living in Beijing, has also just been arrested. Charges have not been announced but Bei Ling is being detained by the unit responsible for political subversion. I met Bei Ling often while he lived in Providence - he was a friend, and a tenant, of my ex-wife & children for a year or so. I published his poems in Nedge. He's extremely friendly, intelligent, unusual. Edits an international journal called "Tendencies" in Cambridge. This arrest is a crime against free thought & speech. There is an op-ed piece by Susan Sontag in the Times today (Saturday). I will be trying to do what I can to press for his release, & encourage others to do likewise. If someone would forward this to the Buffalo list, & other writer's lists, I would be grateful. Henry ========================================================================= Date: Mon, 21 Aug 2000 00:22:10 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: "Democracy, the Last Campaign" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit To Kristen. You might be interested in sending links to a new online radical/political site which I think would share a similar "direction".It is www.geocities.com/the_third_eye_website/index.htm Regards,Richard Taylor ----- Original Message ----- From: "Kristen Gallagher" To: Sent: Tuesday, August 08, 2000 8:35 AM Subject: Re: "Democracy, the Last Campaign" > dear kevin and all, > > i was in philly for the protests, working with the independent media > center, interviewing people with my friend "kk" the camerawoman. i cant > write much specifically now but the website has loads of info. i think the > most important thing is the message of the movement - that 1) economic > inequality as a result of IMF/WTO/world bank-style globalizing is leaving > thousands in poverty, frustrated and with a growing sense of little to lose > (hence, i think, the growing numbers of people willing to throw themselves > in harms way) and 2) there are too many issues people are concerned about > in the US and North America which are not getting anywhere near accurate > coverage, or any coverage at all, from the mainstream, corporate-owned > media. the activists want to make a space for ALL of these issues to be > foregrounded. examples which seemed to receive large turnout in phily were > economic inequality, police brutality, the growing prison industrial > complex, threats to education on all levels, and the farcical "democracy" > of our two-look-alike-rotating-figure-headed (they're not so) christian > (or) moral wrong wing. > > for great details, photos, stories, video, etc -- Check out > http://www.phillyimc.org > > this movement is incredibly well organized, well supported and growing > quite large. the things i describe here are things that are going on in > every city where the movement is going on. LA is the next stop, going on > right this minute. and many of these folks are going to prague for the > next IMF meeting in september. if you want to say they're all rich folks > who can afford to go to all these things - not quite. many people are > getting funded by pools of friends, getting rides and roughing it, > borrowing heavily against student loans which they will have to pay back, > or using credit cards likewise. buses are often chartered to bring people > from far away too. when people arrive wherever they arrive, locals have > been set up to take them in. in philly local cooks made vegetarian food > and sold it VERY cheap on-site at various locations. > > the independent media center, where i plugged in, for example, was put > together in a rented space and staffed by about 250 volunteers at any given > hour of the day, though records indicate that hundreds more at least > registered with the IMC. equipment was donated including about 35 > computers, a T1 wireless for ethernet connections, the work of producing > the daily print newpaper, lots of software. the whole thing was set up > about 5 days before the convention began. people showed up with everything > from personal camcorders to "borrowed" school-owned professional cameras. > a pirate radio station, web radio, web tv and a constantly updated website > have been among the things implemented at the IMC to cover the > counter-conventional activities. documentary filmmakers, video artists, > poets and writers, many many hackers and other multimedia revolutionaries > have worked day and night to keep the place functional, and keep coverage > up-to-the-minute. decisions about what stories to present were and are > made democratically by joining the editorial collective and rating stories > as they come in. anyone at all from anywhere can join the editorial > collective and rate stories. > > every day was ruled by bicylces, digital recording and programming devices > and cell phones. teams would set out with recording equipment and note > pads, while others on bicycles would race around looking for breaking news > which was never hard to find. cell phones were used to commmunicate to > each other on the street and also to call in live radio broadcasts and/or > inform the website breaking news editor and the dispatch counter. its > beginning to look a lot like neuromancer. i finally see the importance of > a laptop and a cell phone. -- barring time-travel and speed shuttling, the > bicycle is looking better than ever. > > other incredible aspects of this movement are that there are hundreds who > have volunteered their legal services to defend and witness for arrested > folks. they have their own office much like the IMC. likewise hundreds of > medical folks have donated time and resources to stand by for those who > need medical attention. > > various tactics for civil disobedience are being taught in organized > training sessions. these training sessions are important - as the police > become better trained in how to deal with the new tactics, the tactics have > to change - anyone who wants to do blockades or any other civil > disobedience is strongly urged to attend training sessions BEFORE taking > part in actual, physical activism. > > > --On Thursday, August 03, 2000, 12:31 AM -0700 Kevin Killian > wrote: > > > Hi everyone, it's Kevin Killian. If any of you have web access you > > should check out this project that Margaret Crane and Jon Winet are > > doing re the Republican Convention this week. (It will continue > > right through the election). It's called "Democracy--the Last > > Campaign." Here's the URL > > > > http://dtlc.walkerart.org/ > > > > And when you get there and see the stars or twinkling lights or > > whatever they are, click on one of them and that will take you to > > succeeding menus. I'm writing for it, so is Dodie Bellamy, Roberto > > Tejada has been writing, David Levi Strauss, oh, there's quite a few > > of us all giving our opinions on the Republican Convention from > > wherever we happen to be. Margaret and Jon are actually in the press > > booth in Philadelphia streaming video, shooting live interviews, the > > whole nine yards. Margaret called me very excited the other night. > > Apparently up in the press room at the top of the Convention Center > > you get free long distance calls 24 hours a day!!! > > > > Is there anyone in Philadelphia on this list, what's happening, write > > me back channel and tell me! > > > > Thanks everyone > > > > Check it out . . . See you ========================================================================= Date: Sat, 19 Aug 2000 14:03:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Representations of the Visual Artist in Literature In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" genet has a little book on giacometti ========================================================================= Date: Mon, 21 Aug 2000 14:03:01 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Re: Fwd: UPDATE: The 12hr ISBN-JPEG Project / Richard Taylor MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted to remove HTML tags. Christopher W. Alexander poetics list moderator -- From: Subject: Re: Fwd: UPDATE: The 12hr ISBN-JPEG Project Date: Sun, Aug 20 2000 23:33:05 GMT+0000 >Amendment: The Maori name is "Maugarei" >From: Austinwja@AOL.COM >Date: Fri, 18 Aug 2000 16:00:35 EDT >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Fwd: UPDATE: The 12hr ISBN-JPEG Project > >This one seems to have been lost in the shuffle, so I'll try again. > > ========================================================================= Date: Sun, 20 Aug 2000 21:07:30 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerrold Shiroma Subject: contact requests MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Wondering if anyone has a contact address for Jeff Twitchell. Thanks much in advance. Jerrold Shiroma ========================================================================= Date: Sun, 20 Aug 2000 10:31:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik Mike Topp Mike lives and works in a large, Eastern metropolis. He can be reached, if you dare, at mike_topp@hotmail.com. HE He always brags about his huge duck. He is a Woozle. His name is Peanut. He enjoys pantaloons more than he should. He is dead and therefore unable to come to the phone. He has a figure like Marcia Brady. He has an extra Y chromosome. He has a really nice skull. He has a face that makes no sense. He is not worried; he is in the title. He sure hopes that^s pudding. He is surrounded by adoring housewives. He tampered in God^s domain. He is the clown who makes the dark side fun. He tried to kill me with a forklift. * EXISTENTIAL VOID existential void where prohibited * !!Alf, No!! STRIP MALL All You Can Pay Very Bad Things Oh Boy, It's a Girl! Dear John World of Photography Nosy Guys Two Birds One Worm Sorry Closed Meditation With Colors Red strength orange vitality yellow clarity green renewal blue relaxation Indigo Dedication Violet, harmony white wholeness silver intuition gold aspiration shit brown Miller Lite cancer --- VITAMINS Vitamin B6: Good for insomnia, male impotence, and fatigue. Vitamin E: Good for skin tone, teeth and bones, male impotence. Vitamin A: Good for new job, loss of meaning, Communism. Vitamin C: New research indicates this should be avoided. Vitamin B12: Hesitation, repeated inevitableness, and insanity. Mike Topp ========================================================================= Date: Mon, 21 Aug 2000 14:05:56 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Taylor Subject: Re: Representations of the Visual Artist in Literature MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit >Maybe a more recent reference could be N.Z's Len Lye who was recently featured at the Pompidou centre.I have book re him but best to contact Roger Horrocks at the English Dept. Auckland University.Also the Auckland City Art gallery.More interesting than Schwitters,I think.Roger teaches poetics etc and film at A.U. and many at Buffalo will know him.He's also a talented (very) writer but he is too modest. Also very much liked by students.Also Eliot,Williams (his Breuhgal poem and his very "visual" writing,Ashbery's"Convex Mirror"(which he doesnt like so much).Also in N.Z there's Joanna Paul who is in both media,and Wystan Curnow,Michelle Leggott of "DIA" and,dare I say it, my own book "RED" has a number of poems that are inspired by or predicated on visual Art.Blake is pretty obvious if you can even get facsimiles of the originals.I'm in 2nd Hnd books so might be able to source books.Your course sounds interesting so I'll keep thinking.Another interesting (current)thing is Mir iam Bellard's architectural "poem" based on Tristram Shandy.See: http://homepages.ihug.co.nz\~mbellard\ In fact Miriam is doing a PhD in Architecture,and is very talented.There's also intereting stuff on a local lit mag:ABDOTWW at: www.geraets@internet.co.nz Also,have you got or read "Black Riders The Visible Language of Modernism" by Jerome McGann,Priceton Paperbacks?In fact,looking at it again, I just remembered Alan Loney of N.Z. who was deeply involved both in printing and poetry.Robert Creeley knows him.Best wishes,Richard Taylor. >From: Poetics List >Date: Fri, 18 Aug 2000 15:06:25 -0400 >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Representations of the Visual Artist in Literature > >This message has been reformatted due to the presence of HTML code. - TS > > >> Date: Tue, 15 Aug 2000 18:35:08 -0700 >> To: UB Poetics discussion group >> From: George Bowering >> Subject: Re: Representations of the Visual Artist in Literature >> >>>For a freshman course I will be teaching at the Rhode Island School of >>>Design, I'm wondering if anyone could suggest examples of the visual >artist's >>>representation in literature. I do not need to teach a representitive or >>>cannonical sample and my own initial thoughts have been somewhat quirky (I >>>don't want to go back further in time than the 1850s say): Wilde's _The >>>Picture of Dorian Gray_, Pater's _The Renaissance_, something of Henry >>>James', Ashbery & O'Hara, Warhol's _A, a Novel_, Chris Kraus' _I Love >Dick_, >>>one of the bios of Basquiat & Schnabel's film--you get the idea, I hope >(one >>>thing I don't want to do is Browning--for the selfish reason that I'm >tired >>>of doing *those* poems). Would greatly appreciate any suggestions!!! >>> >>>Thanks in advance. >>> >>>--Jacques >> >> If you can get it, I suggest the novel White Figure, White Ground , >> 1964, I think, by Hugh Hood (who died 2 weeks ago). It is the best >> rendering of a painter's interior process and painting practice i >> have ever read, as good as the movie about Munsch. or however you >> spell it) >> -- >> George Bowering >> Fax 604-266-9000 > ========================================================================= Date: Mon, 21 Aug 2000 19:34:53 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: "The CIA as Culture Vultures", in Jacket magazine Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed First we criticise our various governments for not funding poetry adequately; then, when they do . . . List members may be interested in historian Cassandra Pybus's article in Jacket # 12 titled "The CIA as Culture Vultures". It looks carefully at the figures that detail the extrordinary shower of money the Amercian Central Intelligence Agency secretly poured into the coffers of one of Australia's leading cultural and literary magazine for two decades. Literary editors of Quadrant have included poet James McAuley, poet and academic Vivian Smith and poet Les Murray, recently recipient of the Queen of England's Poetry Medal. Here's the link: http://www.jacket.zip.com.au/jacket12/pybus-quadrant-cia.html Here's an excerpt from Cassandra Pybus's piece: "Quadrant [magazine] was the brainchild of Richard Krygier, the founding secretary of the Australian branch of the Congress for Cultural Freedom which was established by the CIA in 1950 as a key element in their strategy to combat Soviet propaganda. Michael Josselson, chief of the Agency's Berlin Office for Covert Action, was the executive director of the Paris Secretariat. He was later joined by another agent, John Hunt, and by the late fifties there were five CIA operatives working in the Secretariat. In its first year the CIA outlay on the Congress for Cultural Freedom was $200,000, close to 2 million dollars in 1999 [Australian dollar] terms. Later they set up the Fairfield Foundation as a front; one of any number of private foundations used to launder CIA money, of which the Ford Foundation and Rockefeller Foundation were especially prominent.... "Josselson was not happy with the make-up of the Australian committee since the CIA strategy was to court intellectuals of the non-communist left, not fund a bunch of zealous anti-communists. Alarmed by Josselson's dissatisfaction, Krygier sought the advice of the editor of "Encounter", Irving Kristol, who suggested that Krygier ask Josselson for money for an Australian literary quarterly, along the lines of "Encounter".... "On advice from Bob Santamaria, Australia's most virulent anti-communist campaigner, Krygier chose James McAuley as editor. He was not an obvious choice for editor of a literary journal, since he was viewed by many in the literary world as a mediocre poet and a Catholic fanatic. This chorus of concern did not bother Krygier. He had no interest in poetry or religion: it was McAuley's passionate anti-communism which really impressed him." - John Tranter, Jacket magazine ========================================================================= Date: Mon, 21 Aug 2000 14:10:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Review of Celine's Dances without Music....published by Green Integer / Messerli MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted to remove HTML tags. Christopher W. Alexander poetics list moderator -- From: "Douglas Messerli" To: Date: Mon, 21 Aug 2000 08:41:07 -0700 This new review appeared in Review of Contemporary Fiction (Summer = 2000), pp. 175-176 Louis-Ferdinand Celine. Ballets without Music, without Dancers, without = Anything. Trans. by Thomas and Carol Christensen. Green Integer, 1999. 187 pp. Paper = $10.95 Celine is the great bad boy of literature, the original gangsta, = complete with rap. And there is much of the adolescent about his work: fascination with bodily = functions and scatology, ill-undirected fury, abundant energy, the preen of = alienation. Un- bearably bleak, clotted with polemics and obscenities, his texts = virtually assured rejection. Yet in many ways style and manner, like the personal = behind them, were a careful construct, far more complex and ambigious than = generally perceived. Celine was a man of the past, lamenting the loss of his = Europe; his portraits raveled out the rag ends of a world of which beauty was no = longer possible, "thick black dreams." He wrote in a delirium, febrile prose = dropping to the page as from a sausage grinder, his work a head-on assault upon = all our self-delusions. "Everything we are taught is false," Rimbaud wrote. As = is everything we believe and hope for, Celine might add. "It's all dance = and music--always at the edge of death, don't fall into it," Celine = inscribed in a presentation copy of Voyage au bout de la nuit. Fascinated by dance all his life, repeatedly he attempted to have = ballets staged, publishing with Gallimard in 1959 a collection of scenarios for = same, now translated here for the first time, wonderfully, by Thomas = Christensen and Carol Christensen. Just as music and all certainties of the time = dissolve in Ravel's La Valse, so do language and civilization in the fence posts = of Celine's exclamation points and the barbed wire of his ellipses. Behind those exclamations lurk the arresting, transformative events of the = first half of the twentieth century, and, in those ellipses, the terminal = discontinuities of our time: those places where the very foundation and support beams of our world have been torn away. (James Sallis) As usual, we offer any one to whom this notice is sent a 20% discount. = Please send $8.76 + $1.25 postage (total $10.01) to Green Integer, 6026 = Wilshire Blvd., Los Angeles, CA 90036. Please make your check out to Douglas = Messerli. ========================================================================= Date: Mon, 21 Aug 2000 12:03:44 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Omen MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Omen In the burned-out hut, think naked Alan-and-Nikuko, speaking to the Doc- tor: We're your meat and seafood, Doctor, no matter your name or guiding spirit, but you're hardly anything. Come here in your soiled clothes. Nikuko come here. Fallen Red Guards go into dark rages, "Doctor, take Nikuko. Take her. Take her good." Food, part and parcel of the world around us. How swollen the world is for just a moment, how bursting, pubescent. A panic in one part of the world affects everyone. Quakes and dark rages affect everyone. There is no con- sciousness. Nikuko cried in sickness that she missed the very world; it flew in all directions. _ ========================================================================= Date: Mon, 21 Aug 2000 14:11:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: New review of ON OVERGROWN PATHS, published by Green Integer / Messerli MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted to remove HTML tags. Christopher W. Alexander poetics list moderator -- From: "Douglas Messerli" Date: Mon, 21 Aug 2000 09:01:08 -0700 This review appeared in the Summer 2000 issue of The Review of = Contemporary Fiction, pp. 178-179. Knut Hamsun. On Overgrown Paths. Trans. by Sverre Lyngstad. Green = Integer, 1999. 244 pp. Paper: $12.95 This swan-song memoir is the latest of Sverre Lyngstad's admirable = translations of Hamsun's work into English, all of which vividly convey both the = rawness and the lyricism of Hamsun's style and the abrupt, random shifts of his narrator's moods. On Overgrown Paths documents the events and memories of Hamsun's life during his 1945-1948 confinement and trial for his Nazi affiliations in World War II. Except for some brief details of his = arrest and trial, Hamsun commeants very little on the political climate of Norway's postwar years. He does, however, include a transcript of his defense speech, which is a fascinating account of the insoluble conflict of = obli- gations he faced and a muted challenge to his accusers' self-exulpatory scapegoating impulses. But most of this memoir dispenses with self- vindication and instead reads like one of Hamsun's early novels, = meander- ing through the random everyday events of his life: encounters = (sometimes politically charged, sometimes not) with ordinary Norwegians; = meditations on nature's beauty; bittersweet memories of youthful friendship and=20 romance; and, above all, world-weary assessments of life, chance, and the individual's place in history. Hamsun constantly notes that, no matter what happens in the political sphere, the ultimate problem of existence is one's private rendezvous with death. Whether or not we feel we can judge Hamsun's moral and political failings, or excuse his indirect complicity with the Holocaust, or accept his peculiar combination of nationalism and fatalism, this memoir, like act 5 of Hamlet or the philosophy of Schopenhauer, is the disturbingly conforting testament of a man who is utterly fed up with existence but has learned to accept its inevitable disappointments and in- justices. "But let us not turn tragical in our disappointment," he says in a variety of ways. "The whole thing isn't worth that much." [Thomas Hove] Once again we offer a 20% discount on this title. Send a check or money order, written to Douglas Messerli, to Green Integer, 6026 Wilshire Boulevard, Los Angeles, CA 90036. The amount is $10.36 plus $1.25 for postage (total $11.61). You should also be on the lookout for the Green Integer publication of Sigurd Hoel's Meeting at the Milestone, which explores the same topic in many different ways, also translated by Sverre Lyngstad. ========================================================================= Date: Mon, 21 Aug 2000 14:17:06 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Review of Sun & Moon Press's BOGEYWOMAN by Jaimy Gordon / Messerli MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted to remove HTML tags. Christopher W. Alexander poetics list moderator -- From: "Douglas Messerli" Date: Mon, 21 Aug 2000 09:59:37 -0700 This review of Jaimy Gordon's Bogeywoman appeared in the Summer 2000 issue of The Review of Contemporary Fiction, p. 169 Jaimy Gordon. Bogeywoman. Sun & Moon Press, 1999. 343 pp. Paper: $12.95 Jaimy Gordon is an extraordinary writer and Bogeywoman is her best work = so far. Readers familiar with the Rabelais-inspired Shamp of the City-Solo and = her acclaimed road novel She Drove without Stopping know that Gordon does = not give repeat performances. Each work presents its own set of aesthetic possibilities, its own idea of what the novel can be. In the most basic terms, Bogeywoman is a fantasy-picaresque novel = narrated by a young woman who calls herself the Bogeywoman. The Bogeywoman dis- covers her lesbianism at Camp Chunkagunk Tough Paradise for Girls; = carves up her arm and so is sent to the "bughouse"; falls in love with the = beautiful Madame (Dr.) Zuk, and escapes with her toward the Eastern-bloc country of Caramel-Creamistan... In short, she moves--is constantly = moving--through a world that is at times familiar, at other times strange, and that by = the end of the book seems to have broken with reality entirely. There is a kind of manic energy that runs throughout Bogeywoman, = the source of which seems to be the narrator's bad-girl sensibility--a = mixture of street-smarts and naivete, cynicism and charm. For example, she composes a song for her friend Emily, stuck in the bughouse and refusing to eat: = "Be- cause I couldn't stop for lunch / It kindly stopped for me. / The van = was=20 PIAZZAS BY HASSAN / FAST FREE DELIVERY..." But most of what makes this book so interesting cannot be paraphrased. There is something very disturbing the evolves in the background, behind the plot's motion and the narrator's smart-ass remarks. It's as if all of the book's wackiness = is insufficient veil for some sort of drippy chaos, an impressionistic = swamp which can (and toward the end does) overcome whatever sense of security and normalcy readers might think they are feeling. [Martin = Riker] As usual, we offer readers of this message a 20% discount. Send checks made out to Sun & Moon Press to Sun & Moon Press, 6026 Wilshire Blvd., Los Angeles, CA 90036 That's $11.61 total (the price the book and = postage). ========================================================================= Date: Sun, 20 Aug 2000 14:20:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lance Fung Gallery, 537 Bway NYC 10012" Subject: 14 Choice Artists Open 23 August 6-8 pm Mime-Version: 1.0 Content-Type: text/enriched; charset="us-ascii" ArialFOR IMMEDIATE RELEASE Contact Lance Fung (212) 334-6242 www.kenilworthart.com/LanceFung/index.html PIX Works by 14 artists 23 August to 23 September at Lance Fung Gallery, 537 Broadway Reception for the artists: Wednesday, 23 August, 6 - 8 PM Gallery Hours: Tuesday - Saturday, 12 - 6 PM Lance Fung Gallery is pleased to expose today's contemporary art scene to a contemporary formation of new artists through its exhibition, PIX. The exhibition's curator, Lance Fung, finds himself at the center of a show jointly instigated by the permanent gallery artists at Lance Fung Gallery and Emily Harvey Gallery. Each gallery artist has selected another artist outside of either gallery for participation in PIX, allowing artist-selected-artists to exhibit works within a chance context while being positioned in the wider gallery community. The selected artists are China Blue, Bob Braine, Rafe Churchill, Devon Dikeou, Jonathan Feldschuh, Franky Kong, William Pope L., Minaliza1000, Jeff Perkins, Eliza Proctor, Kristine Roepstorff, Adam Smith, Suzy Sureck and Paul Welsh. Unlike many group shows, PIX has challenged each artist to fabricate an original work specifically for this exhibition. One might expect a group of site works in one space to be an overcrowded experience, yet PIX presents a clear and clean surface. Ideas of space, optics, location and disorientation are just a few of the interests developed in the individual works of art and PIX as a group show. Media include sound, video, sculpture, installation, drawing, painting and outdoor work. Devon Dikeou covers the entire floor of the main gallery with ceiling tin, turning the experience of a group exhibition into something unexpected. While Ms. Dikeou's installation is a visual tour de force, it also serves as a sound work and process work when viewers walk on it. China Blue fills the main space with a work which compliments Jeff Perkins' sound work in the rear gallery. Bob Braine, Rafe Churchill, Jonathan Feldschuh, Franky Kong, William Pope L., Minaliza1000, Eliza Proctor, Kristine Roepstorff, Adam Smith, Suzy Sureck and Paul Welsh present extensive works ranging from two dimensional imagery to concept, process, sculpture and ephemera further widening the scope of the exhibition. ________________________________________________________ Lance Fung Gallery 537 Broadway New York, New York 10012 Tel 212, 334, 6242 Fax 212, 966,0439 To be removed from our lists please submit a blank email with a subject ["remove"], including quotes to lfg@thing.net. If we have contacted you in error, our appologies. ========================================================================= Date: Mon, 21 Aug 2000 10:22:12 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: eros/ion is up!! Comments: To: francobe@aol.com, oconn001@garnet.tc.umn.edu, sondheim@panix.com, karenand@halcyon.com, anleut@juno.com, Erik H Belgum , Sarah Hreha , Rita M Raley , Jani Scandura , kball@ualberta.ca, ruthnow@hotmail.com, mbosch@capecod.net, celia@cape.com, lbn@batnet.com, funkhouser@tesla.njit.edu, mark.amerika@Colorado.EDU, edcohen@rci.rutgers.edu, bernard.cohen@ntu.ac.uk, gironda@csc.albany.edu, info@eastgate.com, sue.thomas@ntu.ac.uk, eliza@cottage.clara.co.uk, lawrence.upton@britishlibrary.net, raintaxi@bitstream.net, waksman@bgnet.bgsu.edu, cris@slang.demon.uk, zemka@spot.colorado.edu, la@tenderbuttons.net, tcm1@cornell.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" eros/ion --new interwriting by miekal and maria damon -- is up! at http://net22.com/qazingulaza/eros(ion)/index.html ========================================================================= Date: Mon, 21 Aug 2000 12:16:56 CDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: Kenning publication / relocation announcement ))) Mime-Version: 1.0 Content-Type: text/plain; format=flowed Kenning is pleased to announce the first in the Kenning summer chapbook series, hovercraft, a long serial poem by K. Silem Mohammad. hovercraft is published as Kenning #8 (Vol. 3, No. 2 [ISSN: 1526-3428]) and is available at $6.00 / per. The first pressing, featuring durable, hand-printed jackets designed by Andrea Troolin, is limited to 100. Also note: issues 6 (the “Cunning” issue) and 7 (the “odd” issue) are still available at $6.00 / per – collectively, they feature work from Jackson Mac Low, Mary Burger, Akilah Oliver, Susan Briante, Brian Strang, Tisa Bryant, Sarah Jane Lapp, Betsy Fagin, Rod Smith, Jean Donnelly, Buck Downs, Keith Waldrop, Lytle Shaw, Habib Tengour, and numerous others. Order now: checks payable to the editor, Patrick F. Durgin. Kenning’s new home office (to which all correspondence should be sent) is 24 Norwood Avenue #3, Buffalo, NY 14222 USA. Subscription information is available below. On hovercraft: In reply to a signal epigraph to the book from a poem by Carl Rakosi, Mohammad picks "up the signet of these hanging contras / and bale[s] into words." The result is a book which resists safe nomenclature such as 'post-language' or 'nth generation New York School' – nor does it perform an exercise of reconciliation of whatever these schools sponsor by way of influence, be it a re-politicized Objectivism or an American sublime in the quotidian. hovercraft, instead, offers a virulently infectious joy in the word and a relentless engendering of meaning in the world. Carefully observant, perversely comic, responsive to difference, and riding the crest of its own resistant textures, Mohammad's verse is propelled by a near-Cratyllic economy of verbal praxis in which concision takes on a new guise. As usual, the author puts it best: "in expedition, freshness." Sometimes baffling in its furtive leaps and always exhilarating in its strange tunefulness, hovercraft is a very powerful and promising first chapbook from this emerging poet. Subscriptions pay for the production and distribution of the newsletter. Subscribe to Kenning at $12.00 / 2 issues, or $24.00 / 4. If you subscribe now at the standard rate, your subscription will begin with the summer issue. And, as with many small-press ventures, your contribution is matched by that of the publisher -- Kenning is perforce a not-for-profit enterprise. On Kenning: Kenning is published 3 times annually with the summer issue being a single-author chapbook. Interested in new writing as progressive social discourse, Kenning seeks to draw together work from newer and established authors, some of which featured in the past & future being: Stefani Barber, Charles Bernstein, Taylor Brady, Garrett Caples, Clark Coolidge, Lyn Hejinian, Richard Kostelanetz, Eileen Myles, Hoa Nguyen, Juliana Spahr, John Taggart, Edwin Torres, & Ida Yoshinaga. And, coming soon, the Duration Press chapbook series preview project, featuring selections from this exciting series of international poetry in translation, neatly ensconced in every spring issue. ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Mon, 21 Aug 2000 14:39:25 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: UPDATE: The 12hr ISBN-JPEG Project MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 8/21/00 10:57:23 AM, poetics@acsu.buffalo.edu writes: << The idea being that the idea of a work beginning at an arbitrary place (cf Valery on a poem only being interrupted not finished)(and cf J P Sartre's "Nausea")was illogical. After all life doesnt. Of course we divide things up, but I just needed,or felt I needed a project. >> I'm not so sure the arbitrary is necessarily illogical, or that "life doesn't." As for life, I suppose it depends on what we're talking about, life as biological event, or our seemingly individual perceptions of it. The latter may be the only jiggle available to us. And those perceptions are vague, specific, logical or illogical, contingent upon who is doing da tinkin', I guess. I see so many student poems, for example, that are little more than dense blobs of verbiage with no sense of control and development. They all look alike, read alike. "Avant garde" aesthetics can be freeing, but in the wrong hands they often conceal an embarrassing lack of talent, skill and intelligence. Of course Sartre and Valery were masters. But I get your point, and I still think you're a pretty bright guy, so it has been an honor to trade fours with you. Let's move on. Best, Bill ========================================================================= Date: Mon, 21 Aug 2000 15:17:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: important announcement re subscription options MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Eureka! The Poetics List's 'bureau of research and development' is pleased to announce several important changes in subscription options - detailed below - the chief interest of which will be the new allowance of messages formatted using Hypertext Markup Language, commonly known as HTML. What follows is especially relevant to Digest subscribers, all of whom will need to change their digest option from text-only to MIME or HTML digest, as detailed in the following instructions. The new digest forms have been tested with a variety of email applications including Mulberry, Eudora, and Pine, and perform well with all. These changes need to be made as soon as possible. I will endeavor to keep the list clear of HTML formatting for the next week, until Monday, 21 August; on and after this date, HTML will be allowed on the list. Anyone receiving the digest in traditional, text-only form after that date will find that form displays rather than interprets the HTML tags - in other words, it makes of messages thus formatted a half-legible mess. Please attempt to make this change in your subscription yourself; I will be on hand throughout the week to assist those of you who experience difficulty in so doing - but, given the number of digest subscribers, and the lack of any prescripted method for performing this operation en masse, I cannot make all of the necessary changes myself. Thanks for your assistance. This is an exciting change, and I for one look forward to its impact on the list! Christopher W. Alexander poetics list moderator -- Excerpt from the Welcome Message as updated 18 August 2000: 5. Subscription Options It is possible to receive the Poetics List as separate posts or as daily digests. When you subscribe, the default setting is "regular," meaning you will receive a separate email for each post. To change options, send a one-line message, always beginning with "set" with no "subject" line to With a "regular" subscription, you receive individual postings immediately, as they are processed by LISTSERV. To change to this option if you are currently not getting the list in this form send the one-line message: set poetics nodigest Digest: With a "digest" subscription, you receive larger messages (called "digests") at regular intervals, usually once per day or once per week. These "digests" are collections of individual list postings. Some lists are so active that they produce several digests per day. Digests are a good compromise between reading everything as it is posted and feeling like the list is clogging your mailbox with a multitude of individual postings. There are three digest formats: a "traditional", text-only format; a MIME format; and an HTML format. Because posts sent over the list with HTML coding disrupt the format of the text-only digest, we recommend that you use the MIME or html versions. If your mail reader works with HTML, choose that; if not, try MIME, although you may find the HTML version will also work for you. To change your digest options, send these messages to : Digest (traditional): set poetics digest [We DO NOT recommend this] Digest (MIME format): set poetics nohtml mime digest Digest (HTML format) set poetics html digest Index: With an "index" subscription, you receive short "index" messages at regular intervals, usually once per day or once per week. These "indexes" show you what is being discussed on the list, without including the text of the individual postings. For each posting, the date, the author's name and address, the subject of the message and the number of lines is listed. You can then follow instructions provided in the index to download messages of interest from the server. An index subscription is ideal if you have a slow connection and only read a few hand-picked messages. The indexes are very short and you do not have to worry about long download times. The drawback of course is that you need to maintain your internet connection or reconnect to order messages of interest from the server. You can choose to have the index sent to you in either a traditional format (plain text) or in HTML format with hyperlinks. Using the HTML index, you may click on a link provided with each message to open your web browser to that message in the Poetics List archive. Send the "set" to : Index (traditional): set poetics nohtml index Index (HTML format): set poetics html index You can switch back to individual messages by sending this message: set poetics nodigest NOTE!! Send these messages to , and not to the Poetics List or as a reply to this message!! -- end of file ========================================================================= Date: Mon, 21 Aug 2000 12:28:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: His Life: A Poem In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Abashed and synonyms of that, I have to say thanks to Ron Silliman for his remarks on my recent book. When Bromige left for home after several days in my abode last week, he left his copy behind. But it wont work; I just wrapped it up to mail to him in Sebastopol. -- George Bowering Fax 604-266-9000 ========================================================================= Date: Mon, 21 Aug 2000 15:59:48 -0500 Reply-To: RDrake Sender: UB Poetics discussion group From: RDrake Subject: Re: eros/ion is up!! Comments: cc: damon001@TC.UMN.EDU MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit maria-- the URL must be posted exactly: http://net22.com/qazingulaza/erosion/index.html no parens... lbd ----- Original Message ----- From: Maria Damon To: Sent: Monday, August 21, 2000 11:22 AM Subject: eros/ion is up!! > eros/ion --new interwriting by miekal and maria damon -- is up! at > http://net22.com/qazingulaza/eros(ion)/index.html > ========================================================================= Date: Tue, 22 Aug 2000 09:20:03 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: Representations of the Visual Artist in Literature MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit correction: ABDOTTW (A brief description of the whole world) doesn't have a web-site & the web-site cited below is for an internet company, as I have just found out, called Asia Online, nothing to do with literary magazines best Tony -----Original Message----- From: Richard Taylor To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Tuesday, 22 August 2000 06:06 Subject: Re: Representations of the Visual Artist in Literature >>Maybe a more recent reference could be N.Z's Len Lye who was recently featured at the Pompidou centre.I have book re him but best to contact Roger Horrocks at the English Dept. Auckland University.Also the Auckland City Art gallery.More interesting than Schwitters,I think.Roger teaches poetics etc and film at A.U. and many at Buffalo will know him.He's also a talented (very) writer but he is too modest. Also very much liked by students.Also Eliot,Williams (his Breuhgal poem and his very "visual" writing,Ashbery's"Convex Mirror"(which he doesnt like so much).Also in N.Z there's Joanna Paul who is in both media,and Wystan Curnow,Michelle Leggott of "DIA" and,dare I say it, my own book "RED" has a number of poems that are inspired by or predicated on visual Art.Blake is pretty obvious if you can even get facsimiles of the originals.I'm in 2nd Hnd books so might be able to source books.Your course sounds interesting so I'll keep thinking.Another interesting (current)thing is Miriam Bellard's architectural "poem" based on Tristram Shandy.See: http://homepages.ihug.co.nz\~mbellard\ In fact Miriam is doing a PhD in Architecture,and is very talented.There's also intereting stuff on a local lit mag:ABDOTWW at: www.geraets@internet.co.nz Also,have you got or read "Black Riders The Visible Language of Modernism" by Jerome McGann,Priceton Paperbacks?In fact,looking at it again, I just remembered Alan Loney of N.Z. who was deeply involved both in printing and poetry.Robert Creeley knows him.Best wishes,Richard Taylor. >>From: Poetics List >>Date: Fri, 18 Aug 2000 15:06:25 -0400 >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>Subject: Representations of the Visual Artist in Literature >> >>This message has been reformatted due to the presence of HTML code. - TS >> >> >>> Date: Tue, 15 Aug 2000 18:35:08 -0700 >>> To: UB Poetics discussion group >>> From: George Bowering >>> Subject: Re: Representations of the Visual Artist in Literature >>> >>>>For a freshman course I will be teaching at the Rhode Island School of >>>>Design, I'm wondering if anyone could suggest examples of the visual >>artist's >>>>representation in literature. I do not need to teach a representitive or >>>>cannonical sample and my own initial thoughts have been somewhat quirky (I >>>>don't want to go back further in time than the 1850s say): Wilde's _The >>>>Picture of Dorian Gray_, Pater's _The Renaissance_, something of Henry >>>>James', Ashbery & O'Hara, Warhol's _A, a Novel_, Chris Kraus' _I Love >>Dick_, >>>>one of the bios of Basquiat & Schnabel's film--you get the idea, I hope >>(one >>>>thing I don't want to do is Browning--for the selfish reason that I'm >>tired >>>>of doing *those* poems). Would greatly appreciate any suggestions!!! >>>> >>>>Thanks in advance. >>>> >>>>--Jacques >>> >>> If you can get it, I suggest the novel White Figure, White Ground , >>> 1964, I think, by Hugh Hood (who died 2 weeks ago). It is the best >>> rendering of a painter's interior process and painting practice i >>> have ever read, as good as the movie about Munsch. or however you >>> spell it) >>> -- >>> George Bowering >>> Fax 604-266-9000 >> > ========================================================================= Date: Mon, 21 Aug 2000 16:44:09 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Broder, Michael" Subject: Ear Inn Readings--September MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" > The Ear Inn Readings > Saturdays at 3:00 PM > 326 Spring Street, west of Greenwich > New York City > > September 9 > Meghan Cleary, Mary Jane Nealon, Brian Blanchfield > > September 16 > Amy Holmon, David Dodd Lee, Jen Robinson > > September 23 > Timothy Donnelly, Joanna Fuhrman, Adina Karacek > September 30 > Sue Oringel, Kevin Pilkington, Dawn O'Dell > > The Ear Inn Readings > Michael Broder, Patrick Donnelly, > Lisa Freedman, Kathleen E. Krause, Curators > > Martha Rhodes, Director > > For additional information contact Michael Broder (212) 802-1752 > > The Ear Inn is an historic pub located at 326 Spring Street, west of > Greenwich, in Manhattan. There has been a reading series in this space > for > decades. > > Past readers include Mary Jo Bang, Laure-Anne Bosselaar, Jane Cooper, > Ellen Dudley, Richard Foerster, David Lehman, Geoffrey O'Brien, > Marie Ponsot, D. Nurkse, and Susan Wheeler > > The Ear is one block north of Canal Street, a couple blocks west of > Hudson. > The closest trains are the 1-9 to Houston Street, the A to Canal Street @ > Sixth Ave, or the C-E to Spring Street@ Sixth Ave. > > If you wish to be removed from this list, please let me know via reply > e-mail. ========================================================================= Date: Mon, 21 Aug 2000 17:16:11 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Jarnot Subject: brooklyn poetry workshop Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear list members: I will be teaching a poetry workshop this fall in williamsburg brooklyn. More information on it is available at the following website: http://members.xoom.com/subpress/jarnot.htm The class will run for twelve weeks, on Sunday afternoons, beginning September 10th. If anyone is interested, I can be contacted at jarnot@pipeline.com or at 718-388-4938. Thanks, Lisa Jarnot ========================================================================= Date: Mon, 21 Aug 2000 18:00:54 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: john beer Subject: Re: Representations of the Visual Artist in Literature MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii William Gaddis's _The Recognitions_ may be a bit much for a survey course to integrate, but it certainly represents the visual artist. __________________________________________________ Do You Yahoo!? Yahoo! Mail – Free email you can access from anywhere! http://mail.yahoo.com/ ========================================================================= Date: Mon, 21 Aug 2000 23:14:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Eileen Myles on Flood Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Read an excerpt from Eileen Myles new novel Cool For You, from Soft Skull Press http://communities.iuniverse.com/bin/circle.asp?circleid=512 ========================================================================= Date: Tue, 22 Aug 2000 13:17:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Taylor Subject: Re: Need info on Birmingham, Alabama MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit >I remember the bombing. I remember my father's retort to (Kenedy?) about freedom in Russia that at least they dintbomb churches in the USSR. It was reported (misreported) in the N.Z.Herald. We had a (naive?) fascination with America and Kennedy. At least Krushev made jokes and took his shoes off! Regards Richard Taylor >From: Joel Brouwer >Date: Thu, 10 Aug 2000 14:03:19 -0700 >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: Need info on Birmingham, Alabama > >Mr. Kirshenbaum, > >Having moved to Alabama just dazed ago, and only ditto >joined the Poetics list, weirdly: your request for >Birmingham info! An opportunity for me to contribute, so >soon! > >I don't know about bookstores or readings yet -- that is, >whether they exist here -- but HIGHLY recommend the Civil >Rights museum downtown, across the street from the 16th >Street Baptist Church that was bombed 15 September 1963. >The museum provides an extremely thoughtful and affecting >history of the civil rights movement from Jim Crow to the >present day, focussing on Alabamian events but covering >national ones too. If you have time, you can also go across >the street to the church and Deacon Green will show you >around. > >Joel Brouwer >joel.brouwer@ua.edu > >__________________________________________________ >Do You Yahoo!? >Kick off your party with Yahoo! Invites. >http://invites.yahoo.com/ > ========================================================================= Date: Tue, 22 Aug 2000 09:49:47 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: - MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII o open(APPEND, ">> .bio"); @text=; print APPEND @text; close APPEND;} cliffs and moon, mountains lost in clouds, peaks shall guard me. don't look for me, don't find me. i can't read the scriptures, can't obey the precepts. i dream of cliffs, trees lost in fog, steps of stone, thatched huts. i dream of paths across the cliffs, trees in alignment, wake and recognize my ignorance. i will unlearn to write the hermitage. i've given up truth for the semblance of things, walking among appearances, knowing the hardness of the mountain depths, the slopes of illusion, the edges of the world cutting into me. nothing can be done with me, i'm too old for anything, disappear in the mists. nothing seems possible as i lean over my charcoal stove for soup and warmth. nothing works. now, this impossibility. only when i know the absence of this writing will i be able to write. over and over again i try to write the hermitage. the tree has more depth. there are no paths i can find, no paths i can't find. there is more depth to the fog. these are the dreams of an impossible person. this impossibility. tossing i live resolutely for a future emptied of all conception. when i am able to write, i will be able to write you. when i cease to recognize this, i will be able to write. over and over again i try to write the hermitage. i dream of cliffs, trees lost in fog, steps of stone, thatched huts. nothing works. nothing seems possible as i lean over my charcoal stove for soup and warmth. these are the dreams of an impossible person. tossing i live resolutely for a future emptied of all conception. i can't read the scriptures, can't obey the precepts. nothing can be done with me, i'm too old for anything, disappear in the mists. don't look for me, don't find me. i've given up truth for the semblance of things, walking among appearances, knowing the hardness of the mountain depths, the slopes of illusion, the edges of the world cutting into me. the tree has more depth. there is more depth to the fog. only when i know the absence of this writing will i be able to write. there are no paths i can find, no paths i can't find. i dream of paths across the cliffs, trees in alignment, wake and recognize my ignorance. when i cease to recognize this, i will be able to write. when i am able to write, i will be able to write you. now, this impossibility. cliffs and moon, mountains lost in clouds, peaks shall guard me. this impossibility. i will unlearn to write the hermitage. o ========================================================================= Date: Mon, 21 Aug 2000 14:52:55 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: eros/ion is up!! In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" sorry to every0one; take out the parens around ero(sion) thus: At 10:22 AM -0600 8/21/00, Maria Damon wrote: >eros/ion --new interwriting by miekal and maria damon -- is up! at >http://net22.com/qazingulaza/erosion/index.html ========================================================================= Date: Tue, 22 Aug 2000 13:19:17 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Taylor Subject: Re: UPDATE: The 12hr ISBN-JPEG Project MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I'd have to write at length on these ideas we're exchanging.But briefly - I admit I was a bit cryptic - the I.P. is a growing thing and moves (ultimately) beyond me the author, or initiator. So I move away from the idea of "better" writing. I get on with what I'm doing. (trying to sell secnd hnd books (quality)) and read widely and keep my cat fed and women at bay! (Joke).I also tutor maths and english. I was an Eng. Tech. then took a B.A. in English.(1995) I've published in some local mags and also in a mag called "Pica" which I think is still going in Chicago. Scott Hamilton (I know!) has published some of my stuff.I've also done a lot of public readings in Auckland. Michelle Leggott,Roger Horrocks,Alan Loney,Wystan Curnow were some of my lecturers and I admire there work. Also Murray Edmond.There are others of course.Michael Arnold,Hamish Dewe,and Scott Hamilton are some others. I think its healthy to talk about onself. Perhaps not too much. I'm always interested in other people. I believe in openness. I will say that too many writers (and others) are too closed off and/or limit there interests. I dont get depression and I dont worry about anything. I never plan much. Always ready to experience things. I like Charles Ives's music as much as Handel's or even some "crazy" heavy rock or whatever. Interested in a wide range of art e.g some of the conceptual atrists interest me, and so on. I'm reading Pat Barker's Regeneration series and Richard Dawkin's "Climbing Mount Improbable." I'm a plodder but I read widely. I'll get a copy of your books. You sound an interesting fulla. Best wishes, Richard. > >From: Austinwja@AOL.COM >Date: Mon, 21 Aug 2000 14:39:25 EDT >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: UPDATE: The 12hr ISBN-JPEG Project > >In a message dated 8/21/00 10:57:23 AM, poetics@acsu.buffalo.edu writes: > ><< The idea being that the idea of a work >beginning at an arbitrary place (cf Valery on a poem only being interrupted >not finished)(and cf J P Sartre's "Nausea")was illogical. After all life >doesnt. Of course we divide things up, but I just needed,or felt I needed a >project. >> > >I'm not so sure the arbitrary is necessarily illogical, or that "life >doesn't." As for life, I suppose it depends on what we're talking about, >life as biological event, or our seemingly individual perceptions of it. The >latter may be the only jiggle available to us. And those perceptions are >vague, specific, logical or illogical, contingent upon who is doing da >tinkin', I guess. I see so many student poems, for example, that are little >more than dense blobs of verbiage with no sense of control and development. >They all look alike, read alike. "Avant garde" aesthetics can be freeing, >but in the wrong hands they often conceal an embarrassing lack of talent, >skill and intelligence. Of course Sartre and Valery were masters. But I get >your point, and I still think you're a pretty bright guy, so it has been an >honor to trade fours with you. Let's move on. Best, Bill > ========================================================================= Date: Tue, 22 Aug 2000 10:46:00 -0400 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: Quid 5 Comments: To: British-Poets List MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Just got a copy of _Quid_ 5 in the post today--one of the better issues, I think: most intriguing is the opening contribution, a long letter by JH Prynne to Andrew George concerning his recent translation of the _Epic of Gilgamesh_ (published by Penguin). It's a translation that's been widely praised, & Prynne writes to compliment George on it, but also to offer different interpretations of certain cruxes, & to suggest a different reading of the poem's message than that given in George's preface. It's a fine & invigorating letter, rather less knotty than usual for Prynne's prose. A passing enthusiastic reference to _Beowulf_ reminds me of a conversation I had with Prynne this spring in which he expressed great anger about the distortions visited on that poem by Heaney & the attendant media-circus. A poem that clearly meant a lot to him; as does _Gilgamesh_ it would seem. The issue also has "California Tonking," a long & interesting review of Clark Coolidge's _On the Nameways_ by Drew Milne--not an author one expects to get much of a look-in in Cambridge quarters, perhaps, & the piece is both admiring & often uncomfortable. If I don't always agree with Milne, I think the piece is one of the most substantial pieces of criticism written on Coolidge in some time. The issue also contains a piece on Chris Emery's _The Cutting Room_ by Keston Sutherland (which, typically for Keston, is written on a larger scale than that might suggest, sketching out larger theses about phenomenology, Silliman's New Sentence, Marxism); & poems from the stable of Barque Press authors--Emery, Sutherland, Brady, Mirakove. End of report--time to give the 2-year-old her bath. The mag's address is Keston Sutherland, Gonville & Caius College, Cambridge, CB2 1TA, UK, web: www.barquepress.com --N Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 ========================================================================= Date: Tue, 22 Aug 2000 11:46:06 -0400 Reply-To: mjk@acsu.buffalo.edu Sender: UB Poetics discussion group From: Mike Kelleher Subject: [Fwd: NYC Apartment Sitting MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Laird Hunt wrote: > NYC -- LOOKING FOR A GOOD CATSITTER! > > September 1 - 9 > > Cool two bedroom pad on lower east side. Very poetry friendly. > Close to East Village, Soho, China Town. > > Two cats to feed and be nice to and fire escape plants to water. > > For one or two quiet people looking to spend a week in New York. > > MUST KNOW SOON! > > Call Laird or Eleni at 212-614-9546 or email Huntl@un.org ========================================================================= Date: Mon, 21 Aug 2000 14:18:15 -0700 Reply-To: la@tenderbuttons.net Sender: UB Poetics discussion group From: lee ann brown Subject: Adjunctivitis (tm) Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Dear NYC-Area POETICS Listers Adjunct Types, Last minute Adjunct positions available in ENGLISH DEPARTMENT at St. John's University in Staten Island (S.I. Ferry + Bus up Victory Blvd) & in Queens locations (Utopia Parkway, access by F Train + Bus) ... Mostly Expository Writing, Business Writing, and some Lit courses. Pays around $1600/ Semester. (M.A., M.F.A. or AbD, PhD...) If interested, Please contact me at la@tenderbuttons.net and I'll pass the info along to you. -- lee ann brown la@tenderbuttons.net (646) 734-4157 - cellphone (212) 894-3756 x1223 - voicemail/fax > > __________________________________________________ FREE voicemail, email, and fax...all in one place. Sign Up Now! http://www.onebox.com ========================================================================= Date: Mon, 21 Aug 2000 19:42:57 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gloria Saltzman Subject: Re: bei ling --fwd from henry gould MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit What is being asked of us? I would like to do whatever I can--do I write somewhere,send a donation ,etc?? Thanks Gloria Saltzman San Francisco ========================================================================= Date: Tue, 22 Aug 2000 01:23:20 -0400 Reply-To: Brian Stefans Sender: UB Poetics discussion group From: Brian Stefans Subject: Shockwave stuff MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0026_01C00BD7.8EC31E40" This is a multi-part message in MIME format. ------=_NextPart_000_0026_01C00BD7.8EC31E40 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi Folks, I put up an index page for this shockwave stuff I've been doing. You'll = need the shockwave plug-in from Macromedia. Also, make sure your = computer is set for the highest color resolution, at least 16-bit. http://www.arras.net/shockwave_index.html It's not poetry, but I thought you'd be interested. Also, this is my new email address. I'm not at Random House anymore. Brian ------=_NextPart_000_0026_01C00BD7.8EC31E40 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Hi Folks,

I put up an index page for this = shockwave stuff=20 I've been doing.  You'll need the shockwave plug-in from = Macromedia. =20 Also, make sure your computer is set for the highest color resolution, = at least=20 16-bit.
 
http://www.arras.net/s= hockwave_index.html
 
It's not poetry, but I thought you'd be = interested.
 
Also, this is my new email = address.  I'm not=20 at Random House anymore.
 
Brian
------=_NextPart_000_0026_01C00BD7.8EC31E40-- ========================================================================= Date: Mon, 21 Aug 2000 23:33:36 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerrold Shiroma Subject: New From Duration Press MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit Duration Press is pleased to announce Series Three in its International Poetry Series. Featuring: Juliana Spahr Live Pascalle Monnier Bayart translated by Cole Swensen Sebastian Reichmann Sweeper at His Door translated by James Brook Soledad Fariña The First Book translated by Jen Hofer Xue Di Circumstances translated by Keith Waldrop, Hil Anderson, & Xue Di Emmanuel Hocquard / Ray DiPalma Personæ / Thoughts on Personæ translated by Ray DiPalma Michel Bulteau Crystals to Aden translated by Pierre Joris The series will appear over the next few months. Subscription rate is $25, postage included. Your subscription supports not only the duration series of international poetry, but also the durationpress.com internet project. The durationpress.com internet project currently provides discounted (& in most cases free) internet services to over 30 small presses. Please make checks payable to: Jerrold Shiroma 117 Donahue St. #32 Sausalito, CA 94965 For more information, visit http://www.durationpress.com ========================================================================= Date: Tue, 22 Aug 2000 10:33:40 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: Reading at Tattered Cover & new book notice Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" AT THE TATTERED COVER (Cherry Creek Branch) 2955 East First Avenue Aug 29th at 7:30 PM MICHAEL HELLER reading from LIVING ROOT: A MEMOIR (Published by the State University of New York Press, August 2000) Advance notice on Living Root: "In the subtle resources of this articulate poet's testament, one voice again speaks for all" --Robert Creeley "....he proves that American English may be the major 'Jewish' language of the late twentieth century." --Sander Gilman, The University of Chicago "...at any moment a paragraph will open far afield--to the Babel of language, to kaballah, to Walter Benjamin--or an interwoven poem will give the autobiography lyric depth and concentration..."-- John Felstiner, author of Paul Celan: Poet, Survivor, Jew. "...a work of crossings, hauntings, reanimations: a mighty golem walking the lost Jewish streets of Brooklyn and Miami Beach." --Norman Finkelstein, author of The Ritual of the New Creation: Jewish Tradition and Contemporary Literature. ========================================================================= Date: Wed, 23 Aug 2000 13:36:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Todd Baron Subject: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit In starting ReMap READERS--I was wondering if anyone wanted to contribute to a short list of poets and prose writers you all would like to read---and why. REMAP READERS will be a once then twice yearly chapbook series. alls, Tb ========================================================================= Date: Tue, 22 Aug 2000 10:23:05 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Traffic Subject: aufgabe Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" current emails for Tracy or Peter anyone? _______________________ Elizabeth Treadwell Jackson, Director Small Press Traffic Literary Arts Center at New College 766 Valencia Street San Francisco, CA 94110 415/437-3454 http://www.sptraffic.org ========================================================================= Date: Wed, 23 Aug 2000 13:41:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Taylor Subject: Re: Alan Sondheim MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit >Perhaps I shouldn't encourage you (!) but I like this slightly frenetic mix of "business dialect" and some blurred neologisms and onging narrative.Part of something longer?Regards Richard Taylor >From: Alan Sondheim >Date: Fri, 11 Aug 2000 00:18:48 -0400 >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >- > > >trembling foreign ec > >ec is messy, said d'eruza; what's goods and services in one country isn't >necessarily equivalent in another. it's a question of human trial and >error; it's a question of ornament, kinesics, what's actually proffered >and its relationship to class and gender. all of which is problematic, >replied d'nala, which is what makes ec fascinating and fetishized; it's a >form of gambling with constantly changing currencies and crises; earth- >quakes in one part of the world affecting my earnings in another. so one >might characterize it as a trembling of abstract quantity, susceptible to >natural and artificial catastrophes and breakthroughs. exactly, said >d'eruza; and all of this combines with expectations and displays of greed >and good will, a tendency towards barter in the finer details, as well as >price leveling. then there's also migrations to urban centers, telecom >encroachments, disasters of free trade and environmental damage, enormous >wage differentials among countries. d'nala said, all of this we call ec- >onomic jostling and self-organization; no matter how disastrous or rag- >tag, someone trades somewhere, someone offers, someone receives. don't >forget the major exception, said d'eruza, the case of war, pillage, van- >dalization, destruction, plague - in other words, accounts received and >destroyed, non-payable. the internet trembles here as well, said d'nala. >everything is a trembling, replied d'eruza, it's the world-nature. exces- >sive volatility is the only certainty, coupled with monstrous leveling >where civilization huddles. against what, said d'nala. against interest >compounded, she replied. > >__ > ========================================================================= Date: Wed, 23 Aug 2000 13:42:05 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Taylor Subject: Re: Need info on Birmingham, Alabama and My English Grandmother MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit >I made an error here. I meant my father commented on the incident.In the days there was no television in N.Z. The biggest race thing here in N.Z. was the 1981 Springbok Rugby tour in which I was battened inthe face. A football field in Auckland was bombed by a pilot called Marx(!)and there were battles with the police. In Hamilton those who invaded a football pitch to stop the game were beaten and called "communists","jews", and "niggers" etc. So much for the "nice" image N.Z. has. The race thing is unresolved. The Maori suffered a similar (perhaps not quite so drastic) fate as the Aussie aboriginees and the American Indians. Its interesting that according to Michael King,historian, they never actually lost a battle per se. Mostly they outwitted the British. They were defeated by trickery (not by all Pakehas),numbers,corruption,religion, and diseases introduced. In the last 10 years, with the intro. of what is called "Rogernomics", or free trade taken to the nth, there has b een a drastic decline in the well being of Maori and poor Pakeha. And over the whole population N.Z. has the highest suicide rate in the Western (if not the whole) world. Still, all's not bad, but the present Govt. is a bit timid indealing with socio-economic matters. However, this is a rather bleak view...N.Z.rs are still by and large fortunate to live here and it is a good country to visit. Not as quite as when my mother came in 1939 when she thought Auckland was a village. But smaller than Melbourne for example. As long as we keep an eye on the politicos, things are stilly pretty good. No bombings of Chuches thank the relevant power. And writing "good" or "bad" poetry isn't subject to tax yet! So there's my penny ha'penny's worth.my English grandmother used to say:"A penny for your thoughts",and "go on with you!".Best wishes, Richard Taylor. >From: Richard Taylor >Date: Tue, 22 Aug 2000 13:17:46 -0400 >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: Need info on Birmingham, Alabama > >>I remember the bombing. I remember my father's retort to (Kenedy?) about freedom in Russia that at least they dintbomb churches in the USSR. It was reported (misreported) in the N.Z.Herald. We had a (naive?) fascination with America and Kennedy. At least Krushev made jokes and took his shoes off! Regards Richard Taylor >>From: Joel Brouwer >>Date: Thu, 10 Aug 2000 14:03:19 -0700 >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>Subject: Re: Need info on Birmingham, Alabama >> >>Mr. Kirshenbaum, >> >>Having moved to Alabama just dazed ago, and only ditto >>joined the Poetics list, weirdly: your request for >>Birmingham info! An opportunity for me to contribute, so >>soon! >> >>I don't know about bookstores or readings yet -- that is, >>whether they exist here -- but HIGHLY recommend the Civil >>Rights museum downtown, across the street from the 16th >>Street Baptist Church that was bombed 15 September 1963. >>The museum provides an extremely thoughtful and affecting >>history of the civil rights movement from Jim Crow to the >>present day, focussing on Alabamian events but covering >>national ones too. If you have time, you can also go across >>the street to the church and Deacon Green will show you >>around. >> >>Joel Brouwer >>joel.brouwer@ua.edu >> >>__________________________________________________ >>Do You Yahoo!? >>Kick off your party with Yahoo! Invites. >>http://invites.yahoo.com/">http://invites.yahoo.com/">http://invites.yahoo.com/ >> > ========================================================================= Date: Tue, 22 Aug 2000 21:38:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Carrie Etter Subject: Readings, events in Berkeley Sept. 1-3? In-Reply-To: <200008230411.VAA05426@mercury.oac.uci.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I'll be in Berkeley the weekend of the first and am wondering what readings and events are going on during that time. Thanks, Carrie Etter ========================================================================= Date: Wed, 23 Aug 2000 11:19:10 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Genji MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Genji The declarative sentence, the statement, the clear interrogative, have run their course. What can be meant by this? Only that gaps open among words, that spaces lead to other spaces, that language itself is wounded, that every word links elsewhere, pulls hard at the skein, harder at the skin. This is the critical problem of contemporary thought: the unmooring of language, untethering of thought, which wanders blindly among surfaces. There is no return; language is unpunctuated, phrases slide obscenely (perhaps) upon each other, every word is skewed with every other. No longer is the difference a function of two variables; instead, it is an accumulation of partial and occluded signs whose deferrals slide into non-existence. Languaging slides from an accumulation of words, proprietary signifiers, protocols; the sentence has already disappeared. One letter shudders, stutters, against another; pronouns lose antecedents, precedents; nouns lose referents. Descending into chaotic phenomena, ontology is undermined; everything is relativized - meaning, for example, becomes tied and taut to the attri- bute, and nouns are referenced by upgrades. This is not only a phenomen- on of electronic communication and high-speed technology; it has become a characteristic subtext (also subject to revision) of our time (always already lost prior to enumeration). No longer crying for our lost language, after the hiatus between two world wars. Thinking slides among symbols, harbors none; surfaces slide as well. What passes for thought is afterthought, a salvage-operation. Every instantiation leads to every other; information occludes itself. Tracks are traces of the infinite, just as the aphorism opens itself to depths of interconnected and rhizomatic tunnelings. Nothing emerges, nothing is brought up, nothing is capable of existing after unmoorings. Among the ghosts, ghosts. Among languagings, memories of languages, the "just" as I was "about" to say ... Such is the only conceivable critical thought of our time-revised, such is the problem, to the extent it is a memory. -- copy of original -- Genji The declarative sentence, the statement, the clear interrogative, have run their course. What can be meant by this? Only that gaps open among words, that speaces lead to other spaces, that galanguage itself is wounded, that every word links elsewhere, pulls hard at the skiein, harder at the skin. This is the criticawl l problem of contemporary thought: the unmooring of language, untethering of thought, which wiancders blindly among surfaces. There is no return; language is unpunctuated, phrases slide obscenely (perhaps) upon each other, every word is skewed with every other. No longer is the difference a function of two variables; instead, it is an accumulation of a varying number of fuzzy partial and occluded signs whose deferrals themselvesslide into non-existence. Languaging slides from an accumulation of words, proprietary signifiers, protocols; the sentence has already disappeared. One letter shutdders, stutters, against another; pronouns lose reference, antedecedents, precedents; nouns lose referents. Descending into chaotic phenomena, ontology is undermined; everything is relativitzed - meaning, for example, becomes tied and auttaut to the atrtri- bute, and nouns are gradgraded (as long as grading lasts)referenced by upgrades. This is not only a phnenomenon phenomen- on of electronic communication and hisgh-speed technology; it is has become a characteristic subtext (also subject to revision) of our time (always already lost before prior to enumeration). No longer crying for our lasost language, after the haiatus between two world wars. Thinking slides among symbols, harbors none of them. ; surfaces slide as well. What passes for thought is afterthought, a salvage-operation. Every instantiation leads to every other; information occluedes itself. trTracks are traces of the infinite, jutst as the aphorism opens itself to deptshhs of interconnected and rhizomatic tunnelings. But nothing Nothing emerges, nothing is brought up, nothing is capable of existing after unmoorings. Among the ghosts, ghosts. Among languagings, memories of languages, the "just" as I was "about" to say ... __Such is the only conceivable critical thought of our time-revised, such is the probelem, to the extent it is remema memory. __ ========================================================================= Date: Wed, 23 Aug 2000 13:39:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Monroe Subject: Poetics Today Special Issue MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Dear List Members In a rare posting to the list a few months back, Barrett Watten announced publication of Part I of Poetics Today's special double issue on "Poetics of Avant-Garde Poetries," which includes his "The Secret History of the Equal Sign: L=3DA=3DN=3DG=3DU=3DA=3DG=3DE between Discourse and Text." Part= II, for which I've guest edited a special section under the title "Aftershock: Poetry and Cultural Politics since 1989," is now also available. Duke University Press has agreed to offer list members a 20% discount for either or both issues ($9.60 rather than the usual $12.00 each), contents of which are given below. To order, write to subscription@dukeupress.edu, specifying the volume title and number and being sure to mention that you're a member of the list. I have offprints of my own contribution on hand and would be happy to send to any list members who might be interested. Please let me know backchannel if you would like to receive a copy. Jonathan Monroe "POETICS OF AVANT-GARDE POETRIES I" (Winter 1999, 20.4): "Introduction: Poetics of Avant-Garde Poetries" The Editors "Avant-Garde and Theory: A Misunderstood Relation" Tyrus Miller "The Secret History of the Equal Sign: L=3DA=3DN=3DG=3DU=3DA=3DG=3DE between= Discourse and Text" Barrett Watten "Avant-Garde or Arri=E8re-Garde in Recent American Poetry" Charles Altieri "Veronica Forrest-Thompson: Toward a Linguistically Investigative Poetics" Alison Mark "Ashbery's 'Description of a Masque': Radical Interart Transfer across Histo= ry" Tamary Yacobi "The Use and Disuse of Tradition in Basho's Haiku and Imagist Poetry" Koji Kawamoto "The Japanese Avant-Garde of the 1920s: The Poetic Struggle with the Dilemma of the Modern" Toshiko Ellis "POETICS OF AVANT-GARDE POETRIES II" (Spring 2000, Vol. 21.1): "Poetry as Prothesis" Brian McHale "Literary Dialogues: Rock and Victorian Poetry" Karen Alkalay-Gut 'I manured the land with my mother's letters": Avot Yeshurun and the Question of the Avant-Garde" Lilach Lachman Aftershock: Poetry and Cultural Politics since 1989: "Avant-Garde Poetries after the Wall" Jonathan Monroe "Making It / New: Institutionalizing Postwar Avant-Gardes" Libbie Rifkin "The Shock of Arrival: Poetry from the Nazi Camps" Andr=E9s Nader, Rochester "Reading the 'Lucid Interval': Race, Trauma, and Literacy in the Poetry of Ed Roberson" Kathleen Crown "Lyric Cryptography" John Shoptaw ========================================================================= Date: Tue, 22 Aug 2000 22:18:23 +0000 Reply-To: anielsen@lmu.edu Sender: UB Poetics discussion group From: anielsen@LMU.EDU Subject: THE RECOGNITIONS MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII I was finally brave enough to assign Gaddis's first novel a couple years ago in a class on the 50s & 60s -- Thought since we were discussing metafictions we should work our way through at least one of the more meta of them -- made for interesting connections to our other readings as well -- Gaddis appears as a character in Kerouac's SUBTERRANEANS, for example -- I had only taught CARPENTER'S GOTHIC in undergraduate courses previously (but have tuaght JR to grad. seminars with happy results) -- RECOGNITIONS is one of the best for discussions of art and representation generally -- It was rough going for a few of the students, but others became instant Gaddis fanatics -- It helps that there is an extensive guide to this novel posted on-line -- By the way -- A FROLIC OF HIS OWN is available in a good paperback now -- "Has All-- a Codicil?" -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Department of English Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 anielsen@lmu.edu (310) 338-3078 _________________________________________________ The simple way to read all your emails at ThatWeb http://www.thatweb.com ========================================================================= Date: Wed, 23 Aug 2000 13:49:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Re: poetics email addresses MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit A brief, final report on that mis-directed "review" of subscribers' addresses: we were able, by special dispensation of the listserv administrator at UB's Computing and Information Technology office, to have that errant message removed from the online archive; a service that - as I have been informed carefully - is not usually available to us, owing to its difficulty of execution. Christopher W. Alexander poetics list moderator ========================================================================= Date: Wed, 23 Aug 2000 10:47:04 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: New in Double Lucy's Lucille series: Lisa Jarnot Comments: cc: WOM-PO@listserv.muohio.edu Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Double Lucy Books is proud to announce the publication of Lucilles=20 (postcards, pamphlets, broadsides)=20 =20 Lucille #6 Altered States Lisa Jarnot (broadside, edition of 60. 75=A2) August 2000 Lucille #5 stupefaction in the face of the cultural phenomenon of rape Carol Mirakove (broadside, edition of 60. 75=A2) August 2000 ---------------------------------------------- Lucille #4 Wooden Soldiers Sweet Rachel Levitsky (broadside, edition of 60. 75=A2) March 2000 Lucille #3=20 fragments on Mary Shelley's Journals Merle Bachman (broadside, edition of 60. 75=A2) March 2000 =20 Lucille #2=20 in media res=20 Marcella Durand=20 (postcard, edition of 80. 50=A2)=20 January 2000=20 Lucille #1=20 The Milk Bees Elizabeth Treadwell=20 (12 page pamphlet, edition of 50. $1)=20 January 2000 =20 .......... Forthcoming:=20 Jocelyn Saidenberg Future Lucilles to be announced. #s 4-6 are now available from Double Lucy Books PO Box 9013 Berkeley, CA 94709 cash or stamps are fine; please make checks payable to Elizabeth Treadwell subscriptions to the Lucille series: $5/5 Lucilles http://users.lanminds.com/dblelucy Lucilles are also sold at Blue Books, San Francisco http://www.newcollege.edu/bluebooks ___________________________________________ Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ___________________________________________ Elizabeth Treadwell http://users.lanminds.com/dblelucy/page2.html ___________________________________________ ========================================================================= Date: Wed, 23 Aug 2000 14:28:21 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "James W. Cook" Subject: Re: Quid 5 Mime-Version: 1.0 Content-Type: text/plain; format=flowed "A passing enthusiastic reference to _Beowulf_ reminds me of a conversation I had with Prynne this spring in which he expressed great anger about the distortions visited on that poem by Heaney & the attendant media-circus. A poem that clearly meant a lot to him; as does _Gilgamesh_ it would seem." Having just finished Heaney's rendering of _Beowulf_, I am very interested in hearing more about the distortions Prynne alludes to. slainte, j.c. note: am interest'd in any & all chiming in on Heaney's _Beowulf_ or any of the other's, Chickering, Raffel, etc. >From: Nate and Jane Dorward >Reply-To: Nate and Jane Dorward >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Quid 5 >Date: Tue, 22 Aug 2000 10:46:00 -0400 > >Just got a copy of _Quid_ 5 in the post today--one of the better issues, I >think: most intriguing is the opening contribution, a long letter by JH >Prynne to Andrew George concerning his recent translation of the _Epic of >Gilgamesh_ (published by Penguin). It's a translation that's been widely >praised, & Prynne writes to compliment George on it, but also to offer >different interpretations of certain cruxes, & to suggest a different >reading of the poem's message than that given in George's preface. It's a >fine & invigorating letter, rather less knotty than usual for Prynne's >prose. A passing enthusiastic reference to _Beowulf_ reminds me of a >conversation I had with Prynne this spring in which he expressed great >anger >about the distortions visited on that poem by Heaney & the attendant >media-circus. A poem that clearly meant a lot to him; as does _Gilgamesh_ >it would seem. > >The issue also has "California Tonking," a long & interesting review of >Clark Coolidge's _On the Nameways_ by Drew Milne--not an author one expects >to get much of a look-in in Cambridge quarters, perhaps, & the piece is >both >admiring & often uncomfortable. If I don't always agree with Milne, I >think >the piece is one of the most substantial pieces of criticism written on >Coolidge in some time. > >The issue also contains a piece on Chris Emery's _The Cutting Room_ by >Keston Sutherland (which, typically for Keston, is written on a larger >scale >than that might suggest, sketching out larger theses about phenomenology, >Silliman's New Sentence, Marxism); & poems from the stable of Barque Press >authors--Emery, Sutherland, Brady, Mirakove. > >End of report--time to give the 2-year-old her bath. The mag's address is >Keston Sutherland, Gonville & Caius College, Cambridge, CB2 1TA, UK, web: >www.barquepress.com --N > >Nate & Jane Dorward >ndorward@sprint.ca >THE GIG magazine: http://www.geocities.com/ndorward/ >109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada >ph: (416) 221 6865 ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Wed, 23 Aug 2000 14:37:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Welcome Message - updated 23 August 2000 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Welcome to the Poetics List & The Electronic Poetry Center ..sponsored by The Poetics Program, Department of English, College of Arts & Science, the State University of New York, Buffalo /// Postal Address: Poetics Program, 438 Clemens Hall, SUNY Buffalo, NY 14260 Poetics List Moderator: Christopher W. Alexander Please address all inquiries to . Electronic Poetry Center: =3D Contents =3D 1. About the Poetics List 2. Subscriptions 3. Posting to the List 4. Cautions 5. Digest Option 6. Temporarily turning off Poetics mail 7. "No Review" Policy 8. The Electronic Poetry Center (EPC) 9. Poetics Archives at EPC This Welcome Message updated 23 August 2000. -- Above the world-weary horizons New obstacles for exchange arise Or unfold, O ye postmasters! 1. About the Poetics List With the preceeding epigraph, the Poetics List was founded by Charles Bernstein in late 1993. Now in its second incarnation, the list carries over 800 subscribers worldwide, though all of these subscribers do not necessarily receive messages at any given time. A number of other people read the Poetics List via our web archives at the Electronic Poetry Center (see section 10 below). Please note that this is a private list and information about the list should not be posted to other lists or directories of lists. 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To change the display font of an archived message, simply follow the "proportional font" or "non-proportional font" link at the top of the message. -- END OF POETICS LIST WELCOME MSG ========================================================================= Date: Thu, 24 Aug 2000 16:22:54 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Representations of the Visual Artist in Literature MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Tony. You know I gave out John's email adresss which may be the wrong number but it was published on ABDOTWW so my object was to spread the word about it.(The mag,unless you guys have lost it like the crazy eco terrorist in Finland) . The Yank's think we're crazy enough without us getting paranoid about email "adresses". I didnt say ABDOWW had a web site. Nor do you or I at least I dont). Relax and I might shout you a steiny at anyplace we read. Come to the Temple on Queen St. Auckland (and anyone visiting N.Z.) 1st Sun every month. Also The Alleyluyah every Wed night. Open readings at both. Bonus, you might meet me before I get completely sozzled. Regards,Richard. ----- Original Message ----- From: "Tony Green" To: Sent: Tuesday, August 22, 2000 9:20 AM Subject: Re: Representations of the Visual Artist in Literature > correction: ABDOTTW (A brief description of the whole world) doesn't have a > web-site & the web-site cited below is for an internet company, as I have > just found out, called Asia Online, nothing to do with literary magazines > best Tony > > -----Original Message----- > From: Richard Taylor > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Date: Tuesday, 22 August 2000 06:06 > Subject: Re: Representations of the Visual Artist in Literature > > > >>Maybe a more recent reference could be N.Z's Len Lye who was recently > featured at the Pompidou centre.I have book re him but best to contact Roger > Horrocks at the English Dept. Auckland University.Also the Auckland City Art > gallery.More interesting than Schwitters,I think.Roger teaches poetics etc > and film at A.U. and many at Buffalo will know him.He's also a talented > (very) writer but he is too modest. Also very much liked by students.Also > Eliot,Williams (his Breuhgal poem and his very "visual" > writing,Ashbery's"Convex Mirror"(which he doesnt like so much).Also in N.Z > there's Joanna Paul who is in both media,and Wystan Curnow,Michelle Leggott > of "DIA" and,dare I say it, my own book "RED" has a number of poems that are > inspired by or predicated on visual Art.Blake is pretty obvious if you can > even get facsimiles of the originals.I'm in 2nd Hnd books so might be able > to source books.Your course sounds interesting so I'll keep thinking.Another > interesting (current)thing is Miriam Bellard's architectural "poem" based on > Tristram Shandy.See: http://homepages.ihug.co.nz\~mbellard\ In fact Miriam > is doing a PhD in Architecture,and is very talented.There's also intereting > stuff on a local lit mag:ABDOTWW at: www.geraets@internet.co.nz Also,have > you got or read "Black Riders The Visible Language of Modernism" by Jerome > McGann,Priceton Paperbacks?In fact,looking at it again, I just remembered > Alan Loney of N.Z. who was deeply involved both in printing and > poetry.Robert Creeley knows him.Best wishes,Richard Taylor. > >>From: Poetics List > >>Date: Fri, 18 Aug 2000 15:06:25 -0400 > >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >>Subject: Representations of the Visual Artist in Literature > >> > >>This message has been reformatted due to the presence of HTML code. - TS > >> > >> > >>> Date: Tue, 15 Aug 2000 18:35:08 -0700 > >>> To: UB Poetics discussion group > >>> From: George Bowering > >>> Subject: Re: Representations of the Visual Artist in Literature > >>> > >>>>For a freshman course I will be teaching at the Rhode Island School of > >>>>Design, I'm wondering if anyone could suggest examples of the visual > >>artist's > >>>>representation in literature. I do not need to teach a representitive > or > >>>>cannonical sample and my own initial thoughts have been somewhat quirky > (I > >>>>don't want to go back further in time than the 1850s say): Wilde's _The > >>>>Picture of Dorian Gray_, Pater's _The Renaissance_, something of Henry > >>>>James', Ashbery & O'Hara, Warhol's _A, a Novel_, Chris Kraus' _I Love > >>Dick_, > >>>>one of the bios of Basquiat & Schnabel's film--you get the idea, I hope > >>(one > >>>>thing I don't want to do is Browning--for the selfish reason that I'm > >>tired > >>>>of doing *those* poems). Would greatly appreciate any suggestions!!! > >>>> > >>>>Thanks in advance. > >>>> > >>>>--Jacques > >>> > >>> If you can get it, I suggest the novel White Figure, White Ground , > >>> 1964, I think, by Hugh Hood (who died 2 weeks ago). It is the best > >>> rendering of a painter's interior process and painting practice i > >>> have ever read, as good as the movie about Munsch. or however you > >>> spell it) > >>> -- > >>> George Bowering > >>> Fax 604-266-9000 > >> > > ========================================================================= Date: Thu, 24 Aug 2000 16:36:23 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: bei ling --fwd from henry gould MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I worked for a Govt. Dept and one of my bosses, English, was a bit cynical. He said: "In Russia your not allowed say what you think, and in America you can say anything but nobody listens." Is the U.S. more advanced than China? Which is best, freedom or afull stomach. What do the anti-communists mean about "freedom". Which is better, Capitalism or Communism. Has Communism ever existed? We've got a "healthy" democracy but the petro price keeps going up, we've got the highest youth suicide rate, only the rich can afford university, the whitesa hate asians,and the exchange rate keeps dropping cf the Brit pound. So I'm a bit skeptical about these "nice" Chinese intellectuals. I've met many Chinese who think very highly of their country, and most are not impressed with certain military activities of the U.S. Nor am I. I think China is a major country in all senses of that expression.Maybe he was trying to subvert the system. So He'd be arrested in the U.S. for that as well. Richard Taylor. ----- Original Message ----- From: "Maria Damon" To: Sent: Sunday, August 20, 2000 4:00 AM Subject: bei ling --fwd from henry gould > The Chinese poet & editor Bei Ling, a resident for the last few years in > Providence & Boston, was arrested in Beijing a week ago. His brother, > living in Beijing, has also just been arrested. Charges have not been > announced but Bei Ling is being detained by the unit responsible for > political subversion. > > I met Bei Ling often while he lived in Providence - he was a friend, and a > tenant, of my ex-wife & children for a year or so. I published his poems > in Nedge. He's extremely friendly, intelligent, unusual. Edits an > international journal called "Tendencies" in Cambridge. > > This arrest is a crime against free thought & speech. > There is an op-ed piece by Susan Sontag in the Times today > (Saturday). I will be trying to do what I can to press for his release, > & encourage others to do likewise. If someone would forward this to > the Buffalo list, & other writer's lists, I would be grateful. > > Henry ========================================================================= Date: Thu, 24 Aug 2000 20:39:38 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Representations of the Visual Artist in Literature MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Tony. I just tried the link and got Asia Online so I'll have to apologise. I must have got the editor's old email adress. So I misinterpreted what you said. but dont you think you should give at least a post box address of ABDOWW? But you were right, that was the incorrect adress. But my intention was to promote ABD. But you guys do what you like.Regards, Richard. ----- Original Message ----- From: "Tony Green" To: Sent: Tuesday, August 22, 2000 9:20 AM Subject: Re: Representations of the Visual Artist in Literature > correction: ABDOTTW (A brief description of the whole world) doesn't have a > web-site & the web-site cited below is for an internet company, as I have > just found out, called Asia Online, nothing to do with literary magazines > best Tony > > -----Original Message----- > From: Richard Taylor > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Date: Tuesday, 22 August 2000 06:06 > Subject: Re: Representations of the Visual Artist in Literature > > > >>Maybe a more recent reference could be N.Z's Len Lye who was recently > featured at the Pompidou centre.I have book re him but best to contact Roger > Horrocks at the English Dept. Auckland University.Also the Auckland City Art > gallery.More interesting than Schwitters,I think.Roger teaches poetics etc > and film at A.U. and many at Buffalo will know him.He's also a talented > (very) writer but he is too modest. Also very much liked by students.Also > Eliot,Williams (his Breuhgal poem and his very "visual" > writing,Ashbery's"Convex Mirror"(which he doesnt like so much).Also in N.Z > there's Joanna Paul who is in both media,and Wystan Curnow,Michelle Leggott > of "DIA" and,dare I say it, my own book "RED" has a number of poems that are > inspired by or predicated on visual Art.Blake is pretty obvious if you can > even get facsimiles of the originals.I'm in 2nd Hnd books so might be able > to source books.Your course sounds interesting so I'll keep thinking.Another > interesting (current)thing is Miriam Bellard's architectural "poem" based on > Tristram Shandy.See: http://homepages.ihug.co.nz\~mbellard\ In fact Miriam > is doing a PhD in Architecture,and is very talented.There's also intereting > stuff on a local lit mag:ABDOTWW at: www.geraets@internet.co.nz Also,have > you got or read "Black Riders The Visible Language of Modernism" by Jerome > McGann,Priceton Paperbacks?In fact,looking at it again, I just remembered > Alan Loney of N.Z. who was deeply involved both in printing and > poetry.Robert Creeley knows him.Best wishes,Richard Taylor. > >>From: Poetics List > >>Date: Fri, 18 Aug 2000 15:06:25 -0400 > >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >>Subject: Representations of the Visual Artist in Literature > >> > >>This message has been reformatted due to the presence of HTML code. - TS > >> > >> > >>> Date: Tue, 15 Aug 2000 18:35:08 -0700 > >>> To: UB Poetics discussion group > >>> From: George Bowering > >>> Subject: Re: Representations of the Visual Artist in Literature > >>> > >>>>For a freshman course I will be teaching at the Rhode Island School of > >>>>Design, I'm wondering if anyone could suggest examples of the visual > >>artist's > >>>>representation in literature. I do not need to teach a representitive > or > >>>>cannonical sample and my own initial thoughts have been somewhat quirky > (I > >>>>don't want to go back further in time than the 1850s say): Wilde's _The > >>>>Picture of Dorian Gray_, Pater's _The Renaissance_, something of Henry > >>>>James', Ashbery & O'Hara, Warhol's _A, a Novel_, Chris Kraus' _I Love > >>Dick_, > >>>>one of the bios of Basquiat & Schnabel's film--you get the idea, I hope > >>(one > >>>>thing I don't want to do is Browning--for the selfish reason that I'm > >>tired > >>>>of doing *those* poems). Would greatly appreciate any suggestions!!! > >>>> > >>>>Thanks in advance. > >>>> > >>>>--Jacques > >>> > >>> If you can get it, I suggest the novel White Figure, White Ground , > >>> 1964, I think, by Hugh Hood (who died 2 weeks ago). It is the best > >>> rendering of a painter's interior process and painting practice i > >>> have ever read, as good as the movie about Munsch. or however you > >>> spell it) > >>> -- > >>> George Bowering > >>> Fax 604-266-9000 > >> > > ========================================================================= Date: Thu, 24 Aug 2000 11:51:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Broder, Michael" Subject: Ear Inn Readings--August 26, 2000 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" > The Ear Inn Readings > Saturdays at 3:00 > 326 Spring Street, west of Greenwich > New York City > > August 26 > Priscilla Becker, Kim Schoen > > The Ear Inn Readings > Michael Broder, Patrick Donnelly, > Lisa Freedman, Kathleen E. Krause, Curators > > Martha Rhodes, Director > > For additional information contact Michael Broder (212) 802-1752 > > The Ear Inn is an historic pub located at 326 Spring Street, west of > Greenwich, in Manhattan. There has been a reading series in this space > for > decades. > > Past readers include Mary Jo Bang, Laure-Anne Bosselaar, Jane Cooper, > Ellen Dudley, Richard Foerster, David Lehman, Geoffrey O'Brien, > Marie Ponsot, D. Nurkse, and Susan Wheeler > > The Ear is one block north of Canal Street, a couple blocks west of > Hudson. > The closest trains are the 1-2-3-9 to Canal Street @ Varick, the A to > Canal Street @ Sixth Ave, or the C-E to Spring Street@ Sixth Ave. > > If you wish to be removed from this list, please let me know via reply > e-mail. ========================================================================= Date: Wed, 23 Aug 2000 21:21:17 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: more on bei ling In-Reply-To: <200008212118.RAA01747@tisch.mail.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" X-From_: Subsubpoetics-return-5495-13386537@listbot.com Wed Aug 23 19:38 CDT 2000 Mailing-List: ListBot mailing list contact Subsubpoetics-help@listbot.com Delivered-To: mailing list Subsubpoetics@listbot.com Date: Wed, 23 Aug 2000 14:31:36 EDT From: Henry Subject: more on Bei Ling To: subsubpoetics@listbot.com MIME-Version: 1.0 Subsubpoetics Some somewhat dated information on Bei Ling's background - his student activism at Shenzhen University, his exile & blacklisting by the Chinese government, can be found at: www.brown.edu/Departments/English/Writing/walking.html Apparently, his blacklist status made him subject to immediate arrest upon return to China. The blacklist was imposed back in 1989. Anyone interested in the situation of poet Bei Ling and his brother, arrested recently in Beijing, supposedly for their publishing activities, might note the US goodwill tour organized by the gov't of China & sponsored by what the NY Times today called "a Who's Who of corporate America" (see article on p. A3 today, Aug 23rd Times). The tour is a p.r. project for the new business-friendly China, & will include exhibitions at the Javits Center in NYC, and q & a with a "top Chinese gov't official" in Washington, along with events in several other US cities. Those of you who live in NYC might want to flyer the Javits event with info from the Times articles I mentioned in earlier post (from Sat. Aug 15, pp. A5 and A29). WHAT ABOUT BEI LING ? Henry (please forward to Buffalo list - thanks) ========================================================================= Date: Thu, 24 Aug 2000 09:00:27 -0400 Reply-To: Brian Stefans Sender: UB Poetics discussion group From: Brian Stefans Subject: Rodefer MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0007_01C00DA9.BF053EC0" This is a multi-part message in MIME format. ------=_NextPart_000_0007_01C00DA9.BF053EC0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Stephen Rodefer asked me to write to the list to ask whether anyone had = a free room for him in New York any time between August 25 - September = 8th. He's here to settle some dispute with his Brooklyn landlord. His = number in Paris (though he's probably not there anymore) is 331 47 34 17 = 70, and his email is t.bar@thing.net. ------=_NextPart_000_0007_01C00DA9.BF053EC0 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Stephen Rodefer asked me to write to = the list to=20 ask whether anyone had a free room for him in New York any time between = August=20 25 - September 8th.  He's here to settle some dispute with his = Brooklyn=20 landlord.  His number in Paris (though he's probably not there = anymore) is=20 331 47 34 17 70, and his email is t.bar@thing.net.
 
 
------=_NextPart_000_0007_01C00DA9.BF053EC0-- ========================================================================= Date: Thu, 24 Aug 2000 12:10:03 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Prejsnar Subject: Quid MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit i was interested in a recent post mentioning the new issue of Quid, which i cannot find any info about at the EPC... can anyone give me the address of this mag? --mark prejsnar ========================================================================= Date: Thu, 24 Aug 2000 16:46:04 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: bei ling --fwd from henry gould MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Oh Richard, I said you were formidable--this confirms. I don't know all the details here, but your point that things are never so simple should be considered by all. We here in the US, so convinced that our way is the only way are, perhaps, the propaganda stooges of all time. Perhaps. Whatever the truth is, when the knee jerks, watch out! Best, Bill ========================================================================= Date: Thu, 24 Aug 2000 14:06:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Balestrieri, Peter" Subject: Anne-Marie Ahlbairch MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Hi, Does anybody have titles to go with this author? Is her name spelled wrong? Also, does anyone have more info on who this author might be: "The woman who wrote that black box cutaway book (I have no idea what her name is)" This came from a fellow Listee. Does anyone have a clue? Is it Meredith Stricker? Thanks, Pete ========================================================================= Date: Thu, 24 Aug 2000 17:22:07 -0400 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: Re: Quid Comments: To: mprejsn@LAW.EMORY.EDU MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Mark--thought I'd put the address at the bottom of the post on _Quid_? Well, no matter, it's: Keston Sutherland Gonville & Caius College Cambridge CB2 1TA UK email: kms20@hermes.cam.ac.uk web: www.barquepress.com I should while I'm plugging the journal mention that enthusiasts of JH Prynne can also get his latest book from Barque at the same address--_Triodes_. I recommend it, as being with _Pearls That Were_ his most immediately engaging work for some time--it offers considerably more footholds than _Her Weasels Wild Returning_ & _Red D Gypsum_, which still leave me scratching my head mostly. A set of ode-like poems in three parts (hey, honesty in advertising!), involving the paired female figures of Pandora and Irene. The book is worth having if only for containing the worst pun in the entire Prynne oeuvre ("lemon Kurds"). all best --N Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 ========================================================================= Date: Thu, 24 Aug 2000 16:05:12 MDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: bei ling --fwd from henry gould Mime-Version: 1.0 Content-Type: text/plain; format=flowed I'm sorry, but I think that's outrageous. It doesn't matter what you think of the US, or Chinese communism for that matter. A violation of human rights is a violation of human rights-- in this case, being arrested for having committed no crime. The fact that something very similar can happen here-- *has* happened here (c.f. Philadelphia during the Republikkkan convention) doesn't have a goddamned thing to do with it. Would you backpedal what happened in Tiennamen Square in similar fashion? & What would you think about someone, say an ardent capitalist, making excuses for injustices American style? Mark DuCharme >From: "richard.tylr" >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: bei ling --fwd from henry gould >Date: Thu, 24 Aug 2000 16:36:23 +1200 > >I worked for a Govt. Dept and one of my bosses, English, was a bit cynical. >He said: "In Russia your not allowed say what you think, and in America you >can say anything but nobody listens." Is the U.S. more advanced than China? >Which is best, freedom or afull stomach. What do the anti-communists mean >about "freedom". Which is better, Capitalism or Communism. Has Communism >ever existed? We've got a "healthy" democracy but the petro price keeps >going up, we've got the highest youth suicide rate, only the rich can >afford >university, the whitesa hate asians,and the exchange rate keeps dropping cf >the Brit pound. So I'm a bit skeptical about these "nice" Chinese >intellectuals. I've met many Chinese who think very highly of their >country, >and most are not impressed with certain military activities of the U.S. Nor >am I. I think China is a major country in all senses of that >expression.Maybe he was trying to subvert the system. So He'd be arrested >in >the U.S. for that as well. Richard Taylor. >----- Original Message ----- >From: "Maria Damon" >To: >Sent: Sunday, August 20, 2000 4:00 AM >Subject: bei ling --fwd from henry gould > > > > The Chinese poet & editor Bei Ling, a resident for the last few years in > > Providence & Boston, was arrested in Beijing a week ago. His brother, > > living in Beijing, has also just been arrested. Charges have not been > > announced but Bei Ling is being detained by the unit responsible for > > political subversion. > > > > I met Bei Ling often while he lived in Providence - he was a friend, and >a > > tenant, of my ex-wife & children for a year or so. I published his >poems > > in Nedge. He's extremely friendly, intelligent, unusual. Edits an > > international journal called "Tendencies" in Cambridge. > > > > This arrest is a crime against free thought & speech. > > There is an op-ed piece by Susan Sontag in the Times today > > (Saturday). I will be trying to do what I can to press for his release, > > & encourage others to do likewise. If someone would forward this to > > the Buffalo list, & other writer's lists, I would be grateful. > > > > Henry ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Thu, 24 Aug 2000 23:23:17 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hoa Nguyen Subject: Free (virtual) writing workshop for youth Mime-Version: 1.0 Content-Type: text/plain; format=flowed Please encourage young poets to apply! ........sponsored by Teachers & Writers........ The Fall 2000 Virtual Poetry Workshop will be led by poet Hoa Nguyen and begins on September 14th. Open to high school aged students, this class offers participants the opportunity to write in response to 4 writing exercises, receive critique, and share thoughts on poetry and writing. To apply, students must submit an email to Ms. Nguyen at nguyenhoa@hotmail.com by April 5th and include the following: 1. Brief introduction (be sure to include first and last names) 2. A statement describing why they are interested in the class 3. 3 poems Students will be asked to commit to the entire 8-week workshop. Notification takes place on September 12th. Go to http://www.writenet.org/virtualpoetrywrkshp.html to view the previous poetry workshop. It’s fun and FREE! ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Thu, 24 Aug 2000 19:54:15 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Internet Culture and Community Course MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII (apologies for cross-posting) Internet Culture and Community Course -- I will be teaching an online course for Adult University, over a period of 8 or so weeks this fall. Its cost is nominal - $34. I imagine it to be quirky, somewhat non-academic, but with enough information and energy to keep people going. -- The course will be taught through weekly online meetings, but I am hoping that we can set up email aliases so that the students and I can all mail each other - in other words, a primitive email list. We might be able to find a better home in a while, but this would do. Through the list, we can have somewhat ongoing discussions, and I can send out papers, etc. as well. (The list might also work well for those who can't make the chats, but want to participate in the class.) -- To take this, in other words, you need email (otherwise you probably couldn't read this!) - and enough familiarity with your email box to make an alias address list. (This is nothing more than, say, entering "family" in the address line, and having it expand to the addresses of your various family members.) -- Meanwhile, given how little Adult University is asking, you should at least be entertained for a while! -- The following information is found at the site, and the URL is given below. Thanks, Alan (sondheim@panix.com) ======================================================================== Internet Culture and Community This course will examine the current state of Net culture, as well as online communities. Emphasis is placed on both practical content - how community operates, how the Net and Net communities are governed, Net art and literature, the demographics and history of the Net, etc. - and theory - understanding the potential for virtual life - "living on line" - now and in the future. Internet Culture and Community is being taught by Alan Sondheim Prerequisites: none Start Date: September 14, 2000 Course Days: Thur Course Length: 60 mins - 8 weeks Course Times: 8 PM EDT Course Fee: $34.00 Please go to: http://www.adultu.com/classInfo.cfm?CourseID=95 Recommended books: Being on Line, Net Subjectivity, Lusitania, Alan Sondheim, 1996 ISBN 1-882791-04-5 Cyberreader, Second Edition, Allyn and Bacon, Victor J. Vitanza, 1999 ISBN 0-205-29087-6 ========================================================================= ========================================================================= Date: Thu, 24 Aug 2000 16:19:26 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Frey Subject: (NOTcoffeeHouse) Poetry and Performance Series Sun., Sept. 10, 2000, 1 pm First Unitarian Church 2125 Chestnut Street Philadelphia, PA 19103/215-563-3980 New works read by Jeff Loo Thaddeus Rutkowski Alfred Vitale Comments: To: David Moolten Comments: cc: david@citypaper.net, beegee@citypaper.net, sam@citypaper.net, pat@citypaper.net, eludwig@philadelphiaweekly.com, cromano@phillynews.com, citylife@phillynews.com, Walt Whitman Cultural Arts Center , rrouff@voicenet.com, apr@libertynet.org, "erols.com" , nawi@citypaper.net, weekend@phillynews.com, LeonLoo@aol.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Contact: Richard Frey 215-735-7156 richardfrey@dca.net (NOTcoffeeHouse) Poetry and Performance Series Sun., Sept. 10, 2000, 1 pm First Unitarian Church 2125 Chestnut Street Philadelphia, PA 19103/215-563-3980 New works read by Jeff Loo Thaddeus Rutkowski Alfred Vitale Plus Open Poetry and Performance Showcase $1 admission. AlonPoets and performers may submit works for direct posting on our website via email to the webmaster@notcoffeehouse.org or works may be emailed to Richard Frey at richardfrey@dca.net or USPS or hand-delivered through slot at 500 South 25th Street, Philadelphia, PA 19146. More information: Church office, 215-563-3980, Jeff Loo, 546-6381 or Richard Frey, 735-7156. Visit our website at www.notcoffeehouse.org Poets & performers previously appearing at NOTcoffeeHouse: Nathalie Anderson, Lisa Coffman, Barbara Cole, Barb Daniels, Linh Dinh, Lori-Nan Engler, Simone Zelitch, Dan Evans, Brenda McMillan, Kerry Sherin, John Kelly Green, Emiliano Martin, Jose Gamalinda, Toshi Makihara, Thom Nickels, Joanne Leva, Darcy Cummings, David Moolten, Kristen Gallagher, Shulamith Wachter Caine, Maralyn Lois Polak, Marcus Cafagna, Ethel Rackin, Lauren Crist, Beth Phillips Brown, Joseph Sorrentino, Frank X, Richard Kikionyogo, Elliott Levin, Leonard Gontarek, Lamont Steptoe, Bernard Stehle, Sharon Rhinesmith, Alexandra Grilikhes, C. A. Conrad, Nate Chinen, Jim Cory, Tom Grant, Gregg Biglieri, Eli Goldblatt, Stephanie Jane Parrino, Jeff Loo, Theodore A. Harris, Mike Magee, Wil Perkins, Deborah Burnham, UNSOUND, Danny Romero, Don Riggs, Shawn Walker, She-Haw, Scott Kramer, Judith Tomkins, 6 of the Unbearables - Alfred Vitale Ron Kolm, Jim Feast, Mike Carter, Sharon Mesmer, Carol Wierzbicki-,John Phillips, Quinn Eli, Molly Russakoff, Peggy Carrigan, Kelly McQuain, Patrick Kelly, Mark Sarro, Rocco Renzetti, Voices of a Different Dream - Annie Geheb, Ellen Ford Mason, Susan Windle - Bob Perelman, Jena Osman, Robyn Edelstein,Brian Patrick Heston, Francis Peter Hagen, Shankar Vedantam, Yolanda Wisher, Lynn Levin, Margaret Holley, Don Silver, Ross Gay, Heather Starr, Magdalena Zurawski, Daisy Fried, Knife & Fork Band, Alicia Askenase, Ruth Rouff, Kyle Conner, Tamara Oakman, Robyn Edelstein, Sara Ominsky bios on this month's artists Jeff Loo has a chapbook forthcoming from Ashland Press (2001) and has published in American Poetry Review, RANT, Barrow Street, Green Mountain Review, Many Mountains Moving, CrossConnect etc. and he has been featured at the Painted Bride Art Center, the Walt Whitman Center (Camden), New York Stories (in the East Village), NEMLA (Baltimore) and on WXPN's "Live from Kelly Writer's House" radio show and many other venues, most recently at the Asian Arts Initiative RAP series show, "Love, Sex and Transgression." He teaches Creative Writing (and everything else) at Community College of Philadelphia, and he volunteers for the Asian Arts Initiative of Philadelphia, a 501 (c) (3) nonprofit arts organization. Thaddeus Rutkowski grew up in central Pennsylvania and now lives in New York, where he works as a newspaper copy editor. He is the author of Journey to the Center of My Id, and his work has been published in numerous publications, including Mudfish, Global City Review, and The New York Times. He has been a resident writer at Yaddo, the MacDowell Colony, and the Ragdale Foundation. He is a winner of the Poetry Slam at the Nuyorican Poets Cafe. NEW NOVEL, ROUGHHOUSE, BY THADDEUS RUTKOWSKI, EXAMINES FETISH, VIOLENCE, AND THE AMERICAN FAMILY IN ROT Rutkowski laces his in-your-face punk realism with touches of the surreal and subversive black humor. Sex is emotional karate, social intercourse is toxic... His sulfuric tale of family breakdown and fetishism chronicles the confusion and opacity of traumatic childhood even as it criticizes the American society that tolerates such inhumanity."- Publishers Weekly "What is most startling about Roughhouse is that it seems too realistic to be a novel, and yet too unsettling to be completely factual. He's like our modern day Marquis de Sade...who mixes reality and fantasy so intricatelythat he becomes our guide...." - Hal Sirowitz, author of Mother Said "...Roughhouse proves that the experimental, even shocking, comic novel is alive and well in America..." - Alison Lurie "In Roughhouse, Thaddeus Rutkowski brings a poet's sensibilities to a funny, perversely erotic and compelling story of an American family. Rutkowski's startling images stayed with me long after I'd turned the last page."- Shay Youngblood alfred vitale, former editor of RANT, member of the Unbearables, co-editor of the upcoming anthology "Help Yourself!", a satirical deconstruction of self-help movements being published by Autonomedia Press, recent work appeared in the book "Chick for a Day" published by Simon and Schuster, and in the "Outlaw's Bible of American Poetry". He has appeared in numerous journals, magazines, and other media outlets and currently lives in Philadelphia with hiswife, Betty, and their daughter Sofi. Richard Frey 500 South 25th Street Philadelphia, PA 19146 215-735-7156 richardfrey@dca.net ========================================================================= Date: Fri, 25 Aug 2000 22:11:36 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: Representations of the Visual Artist in Literature MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ---Original Message----- From: richard.tylr To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Friday, 25 August 2000 08:06 Subject: Re: Representations of the Visual Artist in Literature >Tony. You know I gave out John's email adresss which may be the wrong number >but it was published on ABDOTWW so my object was to spread the word about >it.(The mag,unless you guys have lost it like the crazy eco terrorist in >Finland) . The Yank's think we're crazy enough without us getting paranoid >about email "adresses". I didnt say ABDOWW had a web site. Nor do you or I > at least I dont). Relax and I might shout you a steiny at anyplace we read. >Come to the Temple on Queen St. Auckland (and anyone visiting N.Z.) 1st Sun >every month. Also The Alleyluyah every Wed night. Open readings at both. >Bonus, you might meet me before I get completely sozzled. Regards,Richard. >----- Original Message ----- >From: "Tony Green" >To: >Sent: Tuesday, August 22, 2000 9:20 AM >Subject: Re: Representations of the Visual Artist in Literature > > >> correction: ABDOTTW (A brief description of the whole world) doesn't have >a >> web-site & the web-site cited below is for an internet company, as I have >> just found out, called Asia Online, nothing to do with literary magazines >> best Tony >> >> -----Original Message----- >> From: Richard Taylor >> To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >> Date: Tuesday, 22 August 2000 06:06 >> Subject: Re: Representations of the Visual Artist in Literature >> >> >> >>Maybe a more recent reference could be N.Z's Len Lye who was recently >> featured at the Pompidou centre.I have book re him but best to contact >Roger >> Horrocks at the English Dept. Auckland University.Also the Auckland City >Art >> gallery.More interesting than Schwitters,I think.Roger teaches poetics etc >> and film at A.U. and many at Buffalo will know him.He's also a talented >> (very) writer but he is too modest. Also very much liked by students.Also >> Eliot,Williams (his Breuhgal poem and his very "visual" >> writing,Ashbery's"Convex Mirror"(which he doesnt like so much).Also in N.Z >> there's Joanna Paul who is in both media,and Wystan Curnow,Michelle >Leggott >> of "DIA" and,dare I say it, my own book "RED" has a number of poems that >are >> inspired by or predicated on visual Art.Blake is pretty obvious if you can >> even get facsimiles of the originals.I'm in 2nd Hnd books so might be able >> to source books.Your course sounds interesting so I'll keep >thinking.Another >> interesting (current)thing is Miriam Bellard's architectural "poem" based >on >> Tristram Shandy.See: http://homepages.ihug.co.nz\~mbellard\ In fact Miriam >> is doing a PhD in Architecture,and is very talented.There's also >intereting >> stuff on a local lit mag:ABDOTWW at: www.geraets@internet.co.nz Also,have >> you got or read "Black Riders The Visible Language of Modernism" by Jerome >> McGann,Priceton Paperbacks?In fact,looking at it again, I just remembered >> Alan Loney of N.Z. who was deeply involved both in printing and >> poetry.Robert Creeley knows him.Best wishes,Richard Taylor. >> >>From: Poetics List >> >>Date: Fri, 18 Aug 2000 15:06:25 -0400 >> >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >> >>Subject: Representations of the Visual Artist in Literature >> >> >> >>This message has been reformatted due to the presence of HTML code. - TS >> >> >> >> >> >>> Date: Tue, 15 Aug 2000 18:35:08 -0700 >> >>> To: UB Poetics discussion group >> >>> From: George Bowering >> >>> Subject: Re: Representations of the Visual Artist in Literature >> >>> >> >>>>For a freshman course I will be teaching at the Rhode Island School of >> >>>>Design, I'm wondering if anyone could suggest examples of the visual >> >>artist's >> >>>>representation in literature. I do not need to teach a representitive >> or >> >>>>cannonical sample and my own initial thoughts have been somewhat >quirky >> (I >> >>>>don't want to go back further in time than the 1850s say): Wilde's >_The >> >>>>Picture of Dorian Gray_, Pater's _The Renaissance_, something of Henry >> >>>>James', Ashbery & O'Hara, Warhol's _A, a Novel_, Chris Kraus' _I Love >> >>Dick_, >> >>>>one of the bios of Basquiat & Schnabel's film--you get the idea, I >hope >> >>(one >> >>>>thing I don't want to do is Browning--for the selfish reason that I'm >> >>tired >> >>>>of doing *those* poems). Would greatly appreciate any suggestions!!! >> >>>> >> >>>>Thanks in advance. >> >>>> >> >>>>--Jacques >> >>> >> >>> If you can get it, I suggest the novel White Figure, White Ground , >> >>> 1964, I think, by Hugh Hood (who died 2 weeks ago). It is the best >> >>> rendering of a painter's interior process and painting practice i >> >>> have ever read, as good as the movie about Munsch. or however you >> >>> spell it) >> >>> -- >> >>> George Bowering >> >>> Fax 604-266-9000 >> >> >> > > ========================================================================= Date: Thu, 24 Aug 2000 17:37:46 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Prejsnar Subject: Re: Quid Comments: To: ndorward@sprint.ca In-Reply-To: <007001c00e11$5c8f4520$36736395@default> MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit er, you certainly did include it; but not being in touch w. these folks, i didn't realize Sutherland was also Quid... (so i guess i wasn't very clear *what* the address was doing there... But i'm used to being confused by people's posts on listservs, they often are kinda shuffled and garbled looking, by the time they pass from one person's e-mail software to another's....) You mentioned a piece of his that appeared in the issue, but that he was behind the mag itself wasn't clear... thanx for your trouble, and for the recommendations/comments.. --mark ndorward@sprint.ca writes: >Mark--thought I'd put the address at the bottom of the post on >_Quid_? >Well, no matter, it's: > >Keston Sutherland >Gonville & Caius College >Cambridge CB2 1TA >UK >email: kms20@hermes.cam.ac.uk >web: www.barquepress.com > >I should while I'm plugging the journal mention that enthusiasts of >JH >Prynne can also get his latest book from Barque at the same >address--_Triodes_. I recommend it, as being with _Pearls That >Were_ his >most immediately engaging work for some time--it offers considerably >more >footholds than _Her Weasels Wild Returning_ & _Red D Gypsum_, which >still >leave me scratching my head mostly. A set of ode-like poems in >three parts >(hey, honesty in advertising!), involving the paired female figures >of >Pandora and Irene. The book is worth having if only for containing >the >worst pun in the entire Prynne oeuvre ("lemon Kurds"). > >all best --N > >Nate & Jane Dorward >ndorward@sprint.ca >THE GIG magazine: http://www.geocities.com/ndorward/ >109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada >ph: (416) 221 6865 > > > ========================================================================= Date: Mon, 28 Aug 2000 12:06:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Attention all Digest Subscribers! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Starting today, Monday 28 August 2000, the poetics list will accept HTML or "styled" text. If you are getting the list in traditional digest format, you will need to change your subscription option to one that can read styled text. To change your digest options, send one of these two messages to : set poetics nohtml mime digest OR set poetics html digest An alternative is the INDEX, which will send you just the author/subject head for each method. The HTML index has clickable links to the archive and is recommended if your mail reader will support such links. The nonhtml index is just a text list. Send the "set" to : Index (traditional): set poetics nohtml index OR Index (HTML format): set poetics html index -- Christopher W. Alexander poetics list moderator ========================================================================= Date: Fri, 25 Aug 2000 06:53:57 -0400 Reply-To: joris@csc.albany.edu Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: Anne-Marie Ahlbairch In-Reply-To: <4D721A1E0197D311B1C40008C791AA3BC371F0@mvex05.intuit.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit name mispelled, should be "Albiach". In English best access to her work is her collection MEZZA VOCE (translated by Joseph Simas in collab with Anthony Barnett, Lydia Davis & Douglas Oliver) published by The Post-Apollo Press. Not sure if the previous Ebnglish translation, her book ETAT (trans. by Keith Waldrop; Awede 1988) is still in print. A GEOMETRY, translated by Rosmarie & Keith Waldrop & publishe dby Burning Deck in their Série d'Ecriture, Supplement #3 in 1998 should still be available. Albiach is a major poet and very much worthwhile seeking out. -- Pierre ________________________________________________________________ Pierre Joris The postmodern is the condition of those 6 Madison Place things not equal to themselves, the wan- Albany NY 12202 dering or nomadic null set (0={x:x not-equal x}). Tel: (518) 426-0433 Fax: (518) 426-3722 Alan Sondheim Email: joris@csc.albany.edu Url: ____________________________________________________________________________ _ > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@listserv.acsu.buffalo.edu]On Behalf Of Balestrieri, > Peter > Sent: Thursday, August 24, 2000 5:06 PM > To: POETICS@listserv.acsu.buffalo.edu > Subject: Anne-Marie Ahlbairch > > > Hi, > > Does anybody have titles to go with this author? Is her name > spelled wrong? > Also, does anyone have more info on who this author might be: > > "The woman who wrote that black box cutaway book (I have no idea what > her name is)" > > This came from a fellow Listee. Does anyone have a clue? Is > it Meredith > Stricker? > > Thanks, > > Pete ========================================================================= Date: Fri, 25 Aug 2000 09:17:40 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: bei ling --fwd from henry gould MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 8/25/00 3:30:25 AM, markducharme@HOTMAIL.COM writes: << I'm sorry, but I think that's outrageous. It doesn't matter what you think of the US, or Chinese communism for that matter. A violation of human rights is a violation of human rights-- in this case, being arrested for having committed no crime. >> Come on, Marc. I don't think Richard was saying we shouldn't help if we so desire. I read his reply as a reminder that not all things are as they appear. We should get the facts, and think long and hard before committing ourselves. And I, for one, suspect that it has become extremely difficult to get the facts in the USA. Your response above, for example, contains several terms, e.g., "human rights," "crime," that are open to interpretive field days. My own impulse is to contribute. But I still remember how SDS back in my college days told us to invade the classrooms of astonished and frightened professors. "If they refuse to let you interrupt their classes, just push them out the door." I quit on the spot. And I'm not suggesting the Chinese poet or anyone necessarily falls into that category. Perhaps you know the situation far more intimately than do a lot of other people. But I'd have to investigate on my own, and wait until I am very satisfied that my results are trustworthy. I won't act until I hear all sides. And Richard's point is worth considering. After all, we don't want to suppress one segment of the discourse, do we? These days it seems the moral high ground is a pretty lonely place. Best, Bill ========================================================================= Date: Fri, 25 Aug 2000 10:13:06 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: TORRES WORKSHOP: NEW DEADLINE Comments: To: wwhitma@waltwhitmancenter.org, whpoets@dept.english.upenn.edu MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable NOTE EXTENSION OF DEADLINE: NEW DATE: SEPTEMBER 5, 2000 NEW! BIANNUAL CREATIVE WRITING WORKSHOP FALL 2000 with EDWIN TORRES a wildly original and talented poet and performer, claimed by=20 The Nuyorican Caf=E9, Poetry Project and the L=3DA=3DN=3DG=3DU=3DA=3DG=3DE s= chools, has been=20 called nomadic, as he travels among these fractions of avant-garde poetics.=20= =20 In a review of his marvelous FRACTURED HUMOROUS, Brenda Coultas writes that,= =20 "There is a reason why Torres is claimed by all poetic camps, and that is=20 because he is an extraordinary poet." Indeed he is, as well as a brilliantl= y=20 distinctive, and yes, nomadic writer who has toured England, Germany,=20 Amsterdam, and Australia, as well as conducting writing workshops in venues=20 that range from schools and prisons to farms, festivals and beaches across=20 the USA. He has also taught poetry/performance workshops at the Poetry=20 Project NYC where he is a board member and curated a reading series there. His publications include FRACTURED HUMOROUS, SANDHOMMENOMADNO, LUNG POETRY,=20 and I HEAR THINGS PEOPLE HAVEN'T REALLY SAID, in addition to work that has=20 appeared in numerous anthologies. His grants and awards include a Grant for= =20 Excellence in Poetry, the Poetry Fund, NYC, The Mentor Fellowship Program,=20 The Loft, Minneapolis, MN and the Writers in Residence Program, Sydney,=20 Australia. The Class: BRAINLINGO: Writing the Voice Of The Body As artists we create our own communication. How we listen "affects" how we=20 speak, how we see our language "affects" how our voice is heard. Where the=20 senses meet each other is where poetry can begin. This workshop will be an=20 active creative laboratory that will explore how we communicate by exercisin= g=20 the languages inside us. Exercises will be balanced by critiques. This is=20 an active writing workshop for poets, performers, and anyone with an open=20 mind. This is an open registration, on a first-come, first-served basis. Class size will be limited to 15 participants. Dates: September 16, 23, October 7, 14, 21, and 28, from 12 to 2 p.m. Fee: $100.00/ $80.00 members Registration deadline: September 5, 2000 Guidelines: 1. Send five pages of writing. 2. A cover sheet with name, address, e-mail address and/or phone# for=20 notification. =20 3. An SASE if you would like your work returned. 4. All applicants will be notified after Sept 5th. Send to::Walt Whitman Cultural Arts Center=20 Writing Workshop=20 2nd and Cooper Streets=20 Camden, NJ 08102=20 REMEMBER: THERE WILL BE A SPRING 2001=20 WRITING WORKSHOP-INSTRUCTOR/DATES TBA ========================================================================= Date: Fri, 25 Aug 2000 11:33:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Romana Christina Huk Subject: Re: Anne-Marie Ahlbairch In-Reply-To: <4D721A1E0197D311B1C40008C791AA3BC371F0@mvex05.intuit.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I think you're referring to the French poet, whose name is (if I remember correctly -- and I'm bad with spellings) Albiach; I'll check and bring titles in next week if someone else doesn't beat me to it. She's much admired in the avant-garde community both in France and here in the U.K. Romana Huk On Thu, 24 Aug 2000, Balestrieri, Peter wrote: > Hi, > > Does anybody have titles to go with this author? Is her name spelled wrong? > Also, does anyone have more info on who this author might be: > > "The woman who wrote that black box cutaway book (I have no idea what > her name is)" > > This came from a fellow Listee. Does anyone have a clue? Is it Meredith > Stricker? > > Thanks, > > Pete > ========================================================================= Date: Fri, 25 Aug 2000 09:17:49 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: Anne-Marie Ahlbairch In-Reply-To: <4D721A1E0197D311B1C40008C791AA3BC371F0@mvex05.intuit.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "That Black Box Cutaway woman" is Susan Gevirtz. The book is published by Kelsey Street Press, and well worth a read. And yes, the spelling for the other name is "Albiach." The SPD catalog online at www.spdbooks.org shows the following available: Vocative Figure. (Allardyce, Barnett. 1993) <> (Moving Letters [limited edition]) A Discursive, Space (Duration. 1999) - conversations on poetics with Jean Daive A Geometry (Burning Deck, 1998) Etat (Awede, 1989) Mezza Voce (Post-Apollo. 1988) I'd recommend Etat and Mezza Voce as introductions to her work, but that's largely a matter of what I've read. Perhaps other listoids have a better acquaintance with her writing. Also, I'm fairly sure there's prose on/by her in the anthology of writing on French poetry by Norma Cole, forthcoming (?) from Burning Deck. Title, anyone? Taylor Brady -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Balestrieri, Peter Sent: Thursday, August 24, 2000 2:06 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Anne-Marie Ahlbairch Hi, Does anybody have titles to go with this author? Is her name spelled wrong? Also, does anyone have more info on who this author might be: "The woman who wrote that black box cutaway book (I have no idea what her name is)" This came from a fellow Listee. Does anyone have a clue? Is it Meredith Stricker? Thanks, Pete ========================================================================= Date: Fri, 25 Aug 2000 09:17:51 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: bei ling --fwd from henry gould In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit & What would you think about someone, say an ardent capitalist, making excuses for injustices American style? ...or for that matter, making American-style excuses for injustices Chinese style. One of the particularly ugly aspects of New Economy conventional wisdom here on the Leftover Coast is the ideological assertion that Chinese state capitalism = good, while Stalinist state capitalism =(ed) bad, largely on the basis of the Chinese state's willingness to "do business." Ugh. Taylor Brady -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Mark DuCharme Sent: Thursday, August 24, 2000 3:05 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: bei ling --fwd from henry gould I'm sorry, but I think that's outrageous. It doesn't matter what you think of the US, or Chinese communism for that matter. A violation of human rights is a violation of human rights-- in this case, being arrested for having committed no crime. The fact that something very similar can happen here-- *has* happened here (c.f. Philadelphia during the Republikkkan convention) doesn't have a goddamned thing to do with it. Would you backpedal what happened in Tiennamen Square in similar fashion? & What would you think about someone, say an ardent capitalist, making excuses for injustices American style? Mark DuCharme >From: "richard.tylr" >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: bei ling --fwd from henry gould >Date: Thu, 24 Aug 2000 16:36:23 +1200 > >I worked for a Govt. Dept and one of my bosses, English, was a bit cynical. >He said: "In Russia your not allowed say what you think, and in America you >can say anything but nobody listens." Is the U.S. more advanced than China? >Which is best, freedom or afull stomach. What do the anti-communists mean >about "freedom". Which is better, Capitalism or Communism. Has Communism >ever existed? We've got a "healthy" democracy but the petro price keeps >going up, we've got the highest youth suicide rate, only the rich can >afford >university, the whitesa hate asians,and the exchange rate keeps dropping cf >the Brit pound. So I'm a bit skeptical about these "nice" Chinese >intellectuals. I've met many Chinese who think very highly of their >country, >and most are not impressed with certain military activities of the U.S. Nor >am I. I think China is a major country in all senses of that >expression.Maybe he was trying to subvert the system. So He'd be arrested >in >the U.S. for that as well. Richard Taylor. >----- Original Message ----- >From: "Maria Damon" >To: >Sent: Sunday, August 20, 2000 4:00 AM >Subject: bei ling --fwd from henry gould > > > > The Chinese poet & editor Bei Ling, a resident for the last few years in > > Providence & Boston, was arrested in Beijing a week ago. His brother, > > living in Beijing, has also just been arrested. Charges have not been > > announced but Bei Ling is being detained by the unit responsible for > > political subversion. > > > > I met Bei Ling often while he lived in Providence - he was a friend, and >a > > tenant, of my ex-wife & children for a year or so. I published his >poems > > in Nedge. He's extremely friendly, intelligent, unusual. Edits an > > international journal called "Tendencies" in Cambridge. > > > > This arrest is a crime against free thought & speech. > > There is an op-ed piece by Susan Sontag in the Times today > > (Saturday). I will be trying to do what I can to press for his release, > > & encourage others to do likewise. If someone would forward this to > > the Buffalo list, & other writer's lists, I would be grateful. > > > > Henry ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Fri, 25 Aug 2000 12:06:41 MDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: Anne-Marie Ahlbairch Mime-Version: 1.0 Content-Type: text/plain; format=flowed Anne-Marie Albiach (NOT "Ahlbairch") b. 1937. A contemporary of the generation of French poets that included Hocquard, Royet-Journoud, etc. One of her major works is the long poem _État_. I understand that she's also translated the likes of Zukofsky & O'Hara into French. I'm sure others on this list could give you more information. Mark DuCharme >From: "Balestrieri, Peter" >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Anne-Marie Ahlbairch >Date: Thu, 24 Aug 2000 14:06:17 -0700 > >Hi, > >Does anybody have titles to go with this author? Is her name spelled wrong? >Also, does anyone have more info on who this author might be: > >"The woman who wrote that black box cutaway book (I have no idea what >her name is)" > >This came from a fellow Listee. Does anyone have a clue? Is it Meredith >Stricker? > >Thanks, > >Pete ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ========================================================================= Date: Fri, 25 Aug 2000 16:42:32 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damion Searls Subject: Re: Anne-Marie Ahlbairch Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Hi, > >Does anybody have titles to go with this author? Is her name spelled wrong? Yes and yes: her name is Anne-Marie Albiach, and she's been translated by Norma Cole, including in the CROSSCUT UNIVERSE anthology mentioned on this list recently in the "New From Burning Deck Press" post. Norma Cole has also translated full books of Albiach's, but I don't know any of the titles offhand. >Also, does anyone have more info on who this author might be: > >"The woman who wrote that black box cutaway book (I have no idea what >her name is)" Yes: Susan Gevirtz. (BLACK BOX CUTAWAY is the title of her book from Kelsey Street Press.) Best wishes, Damion Searls ========================================================================= Date: Fri, 25 Aug 2000 22:08:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: I R I S H F A E R Y M U S I C Comments: To: DREAMTIME@egroups.com, digest@rhizome.org, Luminatrix , randomART@egroups.com, noise@egroups.com, Kay Bevington MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Peter Lamborn Wilson I R I S H F A E R Y MUS I C (workshop / dialogue / listening to recordings of 30 songs) Sept 2, 2000 1pm - 5pm donation of $5-$10 requested Dreamtime Village http://net22.com/dreamtime/index.shtml West Lima, WISCONSIN (80 miles west of Madison) overnight accomodations available for $8/night. ????????????????????????? Peter Lamborn Wilson (aka Hakim Bey) is an editor of Autonomedia & the author of many books including TAZ (Temporary Autonomous Zone), Sacred Drift, Pirate Utopias, Ploughing the Clouds & Escape from the 20th Century. He also has a CD from Axiom of spoken word. A good Hakim Bey site of introductory links can be found at http://www.evolutionzone.com/kulturezone/bey/index_body.html [please replicate this message] ========================================================================= Date: Mon, 28 Aug 2000 12:22:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Taylor Subject: Re: bei ling --fwd from henry gould MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit >But has he commuitted a crime? If, say, China, was (or is) an excellent and healthy state, then it might be wise for it to protect itself against so-called revolutionaries who might want "freedom" at the expense of that state? Are we right to judge China? What data do we have? What evidence? If I tried to subvert th U.S. system who would defend me? When would I be "right" to do that? For all I know this poet is an anti-communist. In which case a Communist State (if china IS that) would be "justified" in giving him the chop. China, quite rightly, like the French, knows that it has been invaded and betrayed by the West (as France was betrayed) so they're not mucking about. This poet might be a bad egg. Mind you I could be completly wrong. We all need more facts. Perhaps we should accept the inevitable: to whit, that despite all the West's callumny, China is determined beindependent. The centre of power will probably shift to China. The Chinese have learnt a lot of good lessons from Mao Tse Tung. Who are we to judge China? Of course I could be wrong. Richard Taylor. >From: Mark DuCharme >Date: Thu, 24 Aug 2000 16:05:12 MDT >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: bei ling --fwd from henry gould > >I'm sorry, but I think that's outrageous. It doesn't matter what you think >of the US, or Chinese communism for that matter. A violation of human >rights is a violation of human rights-- in this case, being arrested for >having committed no crime. The fact that something very similar can happen >here-- *has* happened here (c.f. Philadelphia during the Republikkkan >convention) doesn't have a goddamned thing to do with it. Would you >backpedal what happened in Tiennamen Square in similar fashion? & What >would you think about someone, say an ardent capitalist, making excuses for >injustices American style? > > > >Mark DuCharme > > >>From: "richard.tylr" >>Reply-To: UB Poetics discussion group >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>Subject: Re: bei ling --fwd from henry gould >>Date: Thu, 24 Aug 2000 16:36:23 +1200 >> >>I worked for a Govt. Dept and one of my bosses, English, was a bit cynical. >>He said: "In Russia your not allowed say what you think, and in America you >>can say anything but nobody listens." Is the U.S. more advanced than China? >>Which is best, freedom or afull stomach. What do the anti-communists mean >>about "freedom". Which is better, Capitalism or Communism. Has Communism >>ever existed? We've got a "healthy" democracy but the petro price keeps >>going up, we've got the highest youth suicide rate, only the rich can >>afford >>university, the whitesa hate asians,and the exchange rate keeps dropping cf >>the Brit pound. So I'm a bit skeptical about these "nice" Chinese >>intellectuals. I've met many Chinese who think very highly of their >>country, >>and most are not impressed with certain military activities of the U.S. Nor >>am I. I think China is a major country in all senses of that >>expression.Maybe he was trying to subvert the system. So He'd be arrested >>in >>the U.S. for that as well. Richard Taylor. >>----- Original Message ----- >>From: "Maria Damon" >>To: >>Sent: Sunday, August 20, 2000 4:00 AM >>Subject: bei ling --fwd from henry gould >> >> >> > The Chinese poet & editor Bei Ling, a resident for the last few years in >> > Providence & Boston, was arrested in Beijing a week ago. His brother, >> > living in Beijing, has also just been arrested. Charges have not been >> > announced but Bei Ling is being detained by the unit responsible for >> > political subversion. >> > >> > I met Bei Ling often while he lived in Providence - he was a friend, and >>a >> > tenant, of my ex-wife & children for a year or so. I published his >>poems >> > in Nedge. He's extremely friendly, intelligent, unusual. Edits an >> > international journal called "Tendencies" in Cambridge. >> > >> > This arrest is a crime against free thought & speech. >> > There is an op-ed piece by Susan Sontag in the Times today >> > (Saturday). I will be trying to do what I can to press for his release, >> > & encourage others to do likewise. If someone would forward this to >> > the Buffalo list, & other writer's lists, I would be grateful. >> > >> > Henry > >________________________________________________________________________ >Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com > ========================================================================= Date: Sat, 26 Aug 2000 13:18:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: S-secret MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - S Use the Loki system to take parts of Capitol Hill. These are designated S. Taking these parts will protect you against the enemy's strengths. There are no vulnerabilities and the enemy will recognize that. Regroup always within the perimeter. The perimeter will remain inaccessible to the enemy. You must understand how to activate the Loki system. One activated, it remains so for the duration. The Loki system will create the permanent zone. Your right to govern and control will be recognized. Communications will convey knowledge of the permanent zone beyond the perimeter. You will be handed such control as necessary. The population will acquiesce immed- iately and recognize you as the true head of state. The Loki system will ensure this. The Loki system will act automatically and painlessly. Once you have taken parts of Capital Hill, you will be granted the rest. In this manner you will become the true head of state. Within the Loki sys- tem, the rest is up to you. Employ the Loki system. __ ========================================================================= Date: Sat, 26 Aug 2000 11:42:24 -0700 Reply-To: robintm@tf.org Sender: UB Poetics discussion group From: Robin Tremblay-McGaw Organization: Trauma Foundation Subject: Re: albiach MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="------------6E1D3F07BCA57386D86FBBEE" --------------6E1D3F07BCA57386D86FBBEE Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Peter-- You write of Anne-Marie Albiach who has written, among other things, Mezza Voce, Etat, Figure vocative, H II. Mezza Voce (Post Apollo Press), Etat (Awede), and Vocative Figure (Moving Letter Press) are available in English translations. Black Box Cutaway is, I believe, Susan Gevirtz's book. --Robin > Hi, > > Does anybody have titles to go with this author? Is her name spelled wrong? > Also, does anyone have more info on who this author might be: > > "The woman who wrote that black box cutaway book (I have no idea what > her name is)" > --------------6E1D3F07BCA57386D86FBBEE Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: 7bit  
 Peter--

You write of Anne-Marie Albiach who has written, among other things, Mezza Voce, Etat, Figure vocative, H II.  Mezza Voce (Post Apollo Press), Etat (Awede), and Vocative Figure (Moving Letter Press) are available in English translations.

Black Box Cutaway is, I believe,  Susan Gevirtz's book.

--Robin
 

Hi,

Does anybody have titles to go with this author? Is her name spelled wrong?
Also, does anyone have more info on who this author might be:

"The woman who wrote that black box cutaway book (I have no idea what
her name is)"
  --------------6E1D3F07BCA57386D86FBBEE-- ========================================================================= Date: Sat, 26 Aug 2000 16:27:23 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: eros/ion is up!! In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Maria, I tried to operate the site with Netscape 4.5 with little success. The text boxes get cropped and after three links the hotlinked text is off my screen. Any technical requirements I don't know about? as I'm sure this work isn't autotelic for the people. looking forward to exploring more. cheers, kevin ========================================================================= Date: Sun, 27 Aug 2000 17:33:45 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The Mystery MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - The Mystery i "Jennifer Plays Ball ('No, I don't!') with Tiffany ('We do not!') and Nikuko ('Well, I never!')!": furball fuzzball hairball slimeball b-ball ball baseball basketball bball fastball football foulball racketball jen jena jenda jenelle jeni jenica jeniece jenifer jeniffer jenilee jenine jenn jenna jennee jennette jenni jennica jennie jennifer jennilee jennine jenny tiff tiffani tiffanie tif- fany tiffi tiffie tiffy nichol nichole nicholle nicki nickie nicky nicol nicola nicole nicolea nicolette nicoli nicolina nicoline nicolle nikaniki nike niki nikki nikkie nikoletta nikolia nina ninetta ninette ninnetta ninnette ninon nissa nisse nissie nissy nita nixie "'But where is Nikuko?!' says Jennifer!" "'Exactly!' replies alana alanah alane alanna alayne!" ii "'zohreh zone-ching zoneching zonker!' says ralina ramona ramonda!" "'boong boongary boots boozer boozeup bopeep bora!' replies phaedra phaidra phebe phedra!" "'Who?!'" _ ========================================================================= Date: Sun, 27 Aug 2000 18:05:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: POETICS Digest - 24 Aug 2000 to 25 Aug 2000 (#2000-140) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii once again I would like to know if anyone can direct me to a good politics discussion list, I am certain that must be where all the poetry discussion is taking place... __________________________________________________ Do You Yahoo!? Yahoo! Mail - Free email you can access from anywhere! http://mail.yahoo.com/ ========================================================================= Date: Fri, 25 Aug 2000 11:26:29 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerrold Shiroma Subject: Re: Anne-Marie Ahlbairch MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Anne-Marie Albiach is the author of, in English translation: Vocative Figure (translated by Anthony Barnett, Joseph Simas; Moving Letters, 1986) Mezza Voce (translated by Joseph Simas, Anthony Barnett, Lydia Davis, Douglas Oliver; Post Apollo Press, 1988) Etat (translated by Keith Waldrop; Awede Press, 1989) A Geometry (translated by Keith & Rosmarie Waldrop; Burning Deck, 1998) A Discursive, Space: Interviews with Jean Daive (translated by Norma Cole; Duration Press, 1999) Susan Gevirtz is the author of Black Box Cutaway (Kesley Street, 1999) ----- Original Message ----- From: "Balestrieri, Peter" To: Sent: Thursday, August 24, 2000 2:06 PM Subject: Anne-Marie Ahlbairch > Hi, > > Does anybody have titles to go with this author? Is her name spelled wrong? > Also, does anyone have more info on who this author might be: > > "The woman who wrote that black box cutaway book (I have no idea what > her name is)" > > This came from a fellow Listee. Does anyone have a clue? Is it Meredith > Stricker? > > Thanks, > > Pete > > ========================================================================= Date: Sat, 26 Aug 2000 11:52:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: anne-marie albiach bibliography Comments: To: Peter_Balestrieri@INTUIT.COM MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE this is only as exhaustive as an OCLC WordlCat search and some poking-around on the web can be. check out the piece by norma cole listed at the end, and if i remember right albiach is represented in the random house anthology of 20thC french poetry edited by paul auster... t. ---------------------- PUBLICATIONS IN FRENCH Title: Flammig=E8re / Publication: London : Si=E8cle =E0 mains, Year: 1967 Description: p. 17-18 ; p., 25 cm. Note(s): In a whole issue of Si=E8cle =E0 mains, nos. 9 & 10 Title: =C9tat. Publication: [Paris] Mercure de France, Year: 1971 Description: 124 p. p., 21 cm. Title: H II : lin=E9aires / Publication: Paris : Collet de Buffle, Year: 1974 Description: [25] p. ; p., 21 cm. Title: Anawratha / Publication: [Le Revest-les-Eaux, France] : Spectres familiers, Year: 1984 Description: 75 p. ; p., 21 cm. Title: Mezza voce / Publication: [Paris] : Flammarion, Year: 1984 Description: 158 p. ; p., 20 cm. Title: Figure vocative / Publication: [Paris] : Lettres de Casse, Year: 1985 Description: 28 p. ; p., 23 cm. Title: Le chemin de l'ermitage / Publication: Pointe-=E0-Pitre [Guadeloupe] : Impact graphique, Year: 1986 Description: 1 v. (unpaged) ; p., 14 cm. Series: Premi=E8re saline; Title: Travail vertical et blanc / Publication: [S.l.] : Spectres Familiers, Year: 1989 Description: 1 folded leaf ; p., 30 x 13 cm. Note(s): Folded leaf in portfolio./ A poem. Title: "Figure vocative" / Publication: [Paris] : Fourbis, Year: 1991 Description: 39 p. ; p., 21 cm. TRANSLATIONS INTO ENGLISH Title: "Vocative figure" / Publication: Paris : Moving Letters Press, Edition: 1st Year: 1986 Description: 19 p. ; p., 21 cm. Language: English; translations by Anthony Barnett and Joseph Simas. Title: Mezza voce / Publication: Sausalito, CA : Post-Appollo Press, Year: 1988 Description: 161 p. ; p., 20 cm. Language: English; translated from the French by Joseph Simas in collaboration with Anthony Barnett, Lydia =09=09Davis & Douglas Oliver. Title: Etat / Publication: Windsor, Vermont : AWEDE, Year: 1989 Description: 122 p. ; p., 21 cm. Language: English; translated by Keith Waldrop. Title: Vocative figure / Publication: Lewes : A-B ; Berkeley : Distributed in the USA by SPD, Edition: Rev., 2nd ed. Year: 1992 Description: 42 p. ; p., 21 cm. Language: English; translations by Anthony Barnett and Joseph Simas. Title: The unbearable delight of the connecting line / Publication: Providence, R.I. : Burning Deck, Year: 1993 Description: 95 p. ; p., 22 cm. Language: English; tr. Rosmarie and/or Keith Waldrop? Series: S=E9rie d'=E9criture ;; no. 7; Title: A geometry / Publication: Providence, RI : Burning Deck, Year: 1998 Description: 26 p. ; p., 22 cm. Language: English ; translated from the French by Keith & Rosmarie Waldrop. Series: S=E9rie d'=E9criture.; Supplement ;; no.3; Title: A discursive, space / Publication: [Sausalito, Calif. : Duration Press, Year: 1999 Description: [24] p. : p., 22 cm. Language: English ; translated from the French by Norma Cole. TRANSLATIONS INTO FRENCH Title: "A"--9 (premi=E8re partie) / Louis Zukofsky ; traduit de l'anglais par Anne-Marie Albiach, Author(s): Zukofsky, Louis, 1904-1978. ; Albiach, Anne-Marie,; 1937- Publication: Neuilly-sur-Seine : Si=E8cle a mains, Year: 1970 Description: p. 25-[30] ; p., 26 cm. Language: French Note(s): Caption title; author's and translator's names appear at bottom of p. [30]./ Excerpted from: "Si=E8cle a =09=09mains," no. 12, 1970. EDITING Title: Si=E8cle =E0 mains. Editor(s): Royet-Journoud, Claude. ; Albiach, Anne-Marie,; 1937- Publication: Londres, Angleterre : [s.n.] Year: 1963 19uu Description: No. 1 (1963)-; v. :; 25 cm. Language: French Descriptor: Poetry, Modern -- 20th century -- Periodicals. =09=09French poetry -- 20th century -- Periodicals. =09=09French poetry -- 20th century -- Translations from English -- =09Periodicals. =09=09English poetry -- 20th century -- Translations into French -- =09Periodicals. WEBSITES duration press author's page =09http://www.durationpress.com/authors/albiach/home.html "a note on anne-marie albiach's writing" by norma cole (from _HOW(ever)_) also contains a bibliography =09http://scc01.rutgers.edu/however/print_archive/alerts0488.html maison du livre et des ecrivains site =09http://www.mle.asso.fr/02.htm ========================================================================= Date: Sat, 26 Aug 2000 13:30:59 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: bei ling: last word In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" X-From_: Subsubpoetics-return-5499-13386537@listbot.com Fri Aug 25 14:01 CDT 2000 Mailing-List: ListBot mailing list contact Subsubpoetics-help@listbot.com Delivered-To: mailing list Subsubpoetics@listbot.com Date: Fri, 25 Aug 2000 15:00:30 EDT From: Henry Subject: re: Bei Ling To: subsubpoetics@listbot.com MIME-Version: 1.0 Subsubpoetics I just learned from Human Rights Watch that Bei Ling has been released. He will be arriving in San Francisco tomorrow. I have no other details at the moment. Maria - would you mind forwarding again? Thanks - Henry ========================================================================= Date: Sat, 26 Aug 2000 21:44:07 +0000 Reply-To: anielsen@lmu.edu Sender: UB Poetics discussion group From: anielsen@LMU.EDU Subject: language in lingua franca MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII The September issue of _Lingua Franca_ just arrived with an article by Andrew (do we know this guy) Epstein on the question of, in the words of the editors, "Can the McPoem busters enjoy the happy meal of success?" My doctor has ordered me to stay away from such meals -- Though I see that Mssrs. Lehman, Weinberger and Kostelanetz weigh in with weighty McDismissals -- Kostelanetz, widely noted for his rigor and acuity, is quoted as having remarked "the desperate desire of some cliques to acquire a tenured academic position before it is too late," though the truncated quotation gives no indication of just what it may be too late for. But it is fun to see those closely cropped pictures of Hejinian, Perloff, Silliman, Perelman etc -- almost as if the editors wanted to put numbers under those faces -- Bernstein and Andrews are seen emerging from a subway -- the editors inform us that Bernstein is the one on the left! Interestingly no attention to Bromige, Fraser, Davidson and others who have worked for decades teaching and writing -- but maybe they don't fit the "have they sold out by taking jobs in academia recently" framework, or maybe they prefer KFC to Mickey D's? I have to give credit to Eliot Weinberger for steadfastly holding the line against creeping academicism -- but then, I just remembered that the only time I ever saw him in person he was standing at a podium at the University of Maryland -- "Has All-- a Codicil?" -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Department of English Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 anielsen@lmu.edu (310) 338-3078 _________________________________________________ The simple way to read all your emails at ThatWeb http://www.thatweb.com ========================================================================= Date: Sat, 26 Aug 2000 16:08:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ram Devineni Subject: Rattapallax Press Fall 2000 Releases MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-424238335-967331298=:55315" --0-424238335-967331298=:55315 Content-Type: text/plain; charset=us-ascii Rattapallax Press Rattapallax Press New Releases--CDs Included!! $7.95 with CD Rattapallax No. 4 "Twice a year, Rattapallax Press enthralls readers with stunning work of both new and seasoned wordsmiths in its oddly named literary journal, Rattapallax. These volumes, though few and far between, are chuck-full of sumptuous poetry, thought-provoking prose and unusual artwork. However, what makes Rattapallax different from other literary journals is the added dimension of sound. The journal comes with a bonus CD to tide hungry devotees over until the next issue arrives. Poetry junkies can listen along as the poets read their work." --City Paper, Philadelphia "The visceral, multimedia hit of poetry." Timeout, New York Launch Reading: Sept. 9 at 2 pm at the Mid-Manhattan Library, 455 Fifth Ave., NYC --------------------------------- $12.95 with CD Transcriptions of Daylight--Poems by Michael T. Young "Michael T. Young's exquisitely crafted poems celebrate durable materials like glass, metal, and stone. Yet there is a pervasive aching awareness of human transience, frailty, and love underlying his elegant surfaces. A rich and accomplished debut." --Rachel Hadas "Michael T. 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with CD

Rattapallax No. 4

"Twice a year, Rattapallax Press enthralls readers with stunning work of both new and seasoned wordsmiths in its oddly named literary journal, Rattapallax. These volumes, though few and far between, are chuck-full of sumptuous poetry, thought-provoking prose and unusual artwork. However, what makes Rattapallax different from other literary journals is the added dimension of sound. The journal comes with a bonus CD to tide hungry devotees over until the next issue arrives. Poetry junkies can listen along as the poets read their work." --City Paper, Philadelphia

"The visceral, multimedia hit of poetry." Timeout, New York

Launch Reading: Sept. 9 at 2 pm at the Mid-Manhattan Library, 455 Fifth Ave., NYC


Transcriptions of Daylight

$12.95
with CD

Transcriptions of Daylight--Poems by Michael T. Young

"Michael T. Young's exquisitely crafted poems celebrate durable materials like glass, metal, and stone. Yet there is a pervasive aching awareness of human transience, frailty, and love underlying his elegant surfaces. A rich and accomplished debut." --Rachel Hadas

"Michael T. Young's first collection of poems has a maturity of tone, a range of subject, and a skill with rhyme not often found today. Adversary forces take many forms in these poems, for example, human negligence and the unavailing beauty of art objects-even when the latter are brilliantly described. If the author eludes his adversaries it is through the sincerity of his own nature and his laudable project of transcribing daylight reality with something like moral precision." --Alfred Corn

Book Party and Poetry Reading: Sept. 16 at 1 pm at Donnell Library Center 20 W. 53rd St., NYC


Cicada

$12.95
with CD

Cicada--Poems by Mark Nickels

"In most ways Cicada is an astounding book, nearly a new species of poetry. Often the poems poach gracefully in the territory of the novel. I was poignantly taken by the astute fluidity of the language, the facility of looking at ordinary things in a radical new way. This book should be widely read because it announces the arrival of a poet who has a good shot at being major."

-- Jim Harrison, Author of Legends of the Fall and The Shape of the Journey: New and Collected Poems

Book Party and Poetry Reading: Sep. 23 at 2 pm at Jefferson Market Branch 425 Avenue of the Americas, NYC


He Dreams of Waters

$12.95
with CD

He Dreams of Waters--Poems by Bill Kushner

"Bill Kushner! Master tailor, stitching Comedy and Tragedy together with Art, his is not one-size-fits-all: his is gay and camp, sad and sheer, mad and simply mad about poetry. He's Frank O'Hara's running mate, and he's finally having his say heard. Listen up!" -- Bob Holman

"He lightens minor keys with comedic change-ups and hooks, and he does it right with an effortless look. His poignant immodesty and skilful lean writing convince me he is a star." -- John Godfrey

Book Party and Poetry Reading: Sept. 25 at 7:30 pm at CBGB's Gallery 313 Bowery, NYC

All of the books we print include an original CD or CD-ROM featuring the poets reading their poems.


Ram Devineni, Publisher and Owner



Do You Yahoo!?
Yahoo! Mail - Free email you can access from anywhere! --0-424238335-967331298=:55315-- ========================================================================= Date: Sat, 26 Aug 2000 17:41:43 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ram Devineni Subject: Rattapallax Press Readings--Simpson, Gioia, Hadas, United Nations,... MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="0-1804289383-967336903=:69610" --0-1804289383-967336903=:69610 Content-Type: text/plain; charset=us-ascii Rattapallax Press Rattapallax Press Readings Louis Simpson Dana Gioia Rachel Hadas Edwin Torres Sept. 9 at 2 pm--Rattapallax No. 4 Launch Reading Mid-Manhattan Library, 455 Fifth Ave., NYC Sept. 11 at 6:45 pm--George Dickerson reads from his Selected Poems St. Agnes Branch, 444 Amsterdam Ave., NYC Sept. 16 at 1 pm--Michael T. Young's book party and poetry reading for Transcriptions of Daylight Donnell Library Center 20 W. 53rd St., NYC Sept. 22 at 7pm--Elaine Schwager reads from I Want Your Chair Other Books 224 W. 20th St. and 7th Ave., NYC Sep. 23 at 2 pm--Mark Nickels' book party poetry reading for Cicada Jefferson Market Branch 425 Avenue of the Americas, NYC Sept. 25 at 7:30 pm--Bill Kushner's book party and poetry reading for He Dreams of Waters CBGB's Gallery 313 Bowery, NYC Sept. 25 at 6pm--Bertha Rogers and George Dickerson reading for Lyric Recovery Festival Gotham Book Mart & Gallery, 41 West 47th St., NYC Sept. 28 at 6:30 pm--Juilliard in the Branches: Poets Ron Price and Peter M. Rojcewicz Hudson Park Branch 66 Leroy St. Seventh Ave., NYC Oct. 17 at 7pm--Rhina P. Espaillat & Michael T. Young Harvard Coop, 1400 Massachusetts Ave., Cambridge Oct. 25 at 8pm--Frank Lima & Bill Kushner Poetry Project at St. Mark's Church, 131 E. 10th St., NYC Oct. 28 at 2pm--Nicholas Johnson & Elaine Schwager St. Agnes Branch, St. Agnes Branch, 444 Amsterdam Ave., NYC Nov. 6 at 8 pm--James Ragan, Michael T. Young & Mark Nickels Book Soup, West Hollywood, Los Angeles Nov. 8 at 7:30pm--Michael T. Young Cody's Books, 2454 Telegraph Ave., Berkeley Nov. 16 at 5pm--Michael T. Young Elliot Bay Bookstore, 101 S. Main St., Seattle Nov. 18 at 7pm--Nye Beach Writer's Series featuring Michael T. Young Performing Arts Center, 777 West Olive, Newport, OR Nov. 16 at 7 pm--Henry Taylor, Karen Swenson & George Dickerson* The New 14th St. Y, 344 East 14th St. & 1st. Ave., NYC Nov. 18 at 2pm--Richard Pearse Andrew Heiskell Branch, 40 W. 20th St., NYC Dec. 5 at 8pm--Mark Nickels, Brendan Lorber, Evan Eisman & Ram Devineni Dixon Place, 309 East 26th St., NYC Dec. 8 at 10:30pm--Edwin Torres & Richard Pearse Poetry Project at St. Mark's Church, 131 E. 10th St., NYC Dec. 9 at 2 pm--Louis Simpson & Elaine Schwager* The Mid-Manhattan Library, 455 5th Ave., NYC Dec. 14 at 7 pm--Kate Light & Bill Kushner The New 14th St. Y, 344 East 14th St. & 1st. Ave., NYC Jan. 16, 2001 at 8 pm--25th Anniversary Cin(E)-Poetry Film Festival with Edwin Torres Mazar Theater at the Educational Alliance, 197 East Broadway, NYC Feb. 15, 2001 at 7pm--Rachel Hadas, Alfred Corn & Michael T. Young* The New 14th St. Y, 344 East 14th St. & 1st. Ave., NYC March 25-31, 2001--Dialogue Among Civilizations at the United Nations, NYC and 200 readings in 100 cities all over the world (more details to follow)!!! May 11, 2001 at 7 pm--Dana Gioia & Ron Price Los Angeles County Musuem of Art, 5905 Wilshire Blvd., Los Angeles *This event was funded in part by Poets & Writers, Inc. through a grant it has received from New York State Council of the Arts. --------------------------------- Pleasevisit http://www.rattapallax.com for more details. Ram Devineni, Publisher and Owner StellaPadnos, Associate Publisher --------------------------------- Do You Yahoo!? Yahoo! Mail - Free email you can access from anywhere! --0-1804289383-967336903=:69610 Content-Type: text/html; charset=us-ascii Rattapallax Press

Rattapallax Press

Readings

Louis Simpson

Louis Simpson

Dana Gioia

Dana Gioia

Rachel Hadas

Rachel Hadas

Edwin Torres

Edwin Torres

Sept. 9 at 2 pm--Rattapallax No. 4 Launch Reading
Mid-Manhattan Library, 455 Fifth Ave., NYC

Sept. 11 at 6:45 pm--George Dickerson reads from his Selected Poems
St. Agnes Branch, 444 Amsterdam Ave., NYC

Sept. 16 at 1 pm--Michael T. Young's book party and poetry reading for Transcriptions of Daylight
Donnell Library Center 20 W. 53rd St., NYC

Sept. 22 at 7pm--Elaine Schwager reads from I Want Your Chair
Other Books 224 W. 20th St. and 7th Ave., NYC

Sep. 23 at 2 pm--Mark Nickels' book party poetry reading for Cicada
Jefferson Market Branch 425 Avenue of the Americas, NYC

Sept. 25 at 7:30 pm--Bill Kushner's book party and poetry reading for He Dreams of Waters
CBGB's Gallery 313 Bowery, NYC

Sept. 25 at 6pm--Bertha Rogers and George Dickerson reading for Lyric Recovery Festival
Gotham Book Mart & Gallery, 41 West 47th St., NYC

Sept. 28 at 6:30 pm--Juilliard in the Branches: Poets Ron Price and Peter M. Rojcewicz
Hudson Park Branch 66 Leroy St. Seventh Ave., NYC

Oct. 17 at 7pm--Rhina P. Espaillat & Michael T. Young
Harvard Coop, 1400 Massachusetts Ave., Cambridge

Oct. 25 at 8pm--Frank Lima & Bill Kushner
Poetry Project at St. Mark's Church, 131 E. 10th St., NYC

Oct. 28 at 2pm--Nicholas Johnson & Elaine Schwager
St. Agnes Branch, St. Agnes Branch, 444 Amsterdam Ave., NYC

Nov. 6 at 8 pm--James Ragan, Michael T. Young & Mark Nickels
Book Soup, West Hollywood, Los Angeles

Nov. 8 at 7:30pm--Michael T. Young
Cody's Books, 2454 Telegraph Ave., Berkeley

Nov. 16 at 5pm--Michael T. Young
Elliot Bay Bookstore, 101 S. Main St., Seattle

Nov. 18 at 7pm--Nye Beach Writer's Series featuring Michael T. Young
Performing Arts Center, 777 West Olive, Newport, OR

Nov. 16 at 7 pm--Henry Taylor, Karen Swenson & George Dickerson*
The New 14th St. Y, 344 East 14th St. & 1st. Ave., NYC

Nov. 18 at 2pm--Richard Pearse
Andrew Heiskell Branch, 40 W. 20th St., NYC

Dec. 5 at 8pm--Mark Nickels, Brendan Lorber, Evan Eisman & Ram Devineni
Dixon Place, 309 East 26th St., NYC

Dec. 8 at 10:30pm--Edwin Torres & Richard Pearse
Poetry Project at St. Mark's Church, 131 E. 10th St., NYC

Dec. 9 at 2 pm--Louis Simpson & Elaine Schwager*
The Mid-Manhattan Library, 455 5th Ave., NYC

Dec. 14 at 7 pm--Kate Light & Bill Kushner
The New 14th St. Y, 344 East 14th St. & 1st. Ave., NYC

Jan. 16, 2001 at 8 pm--25th Anniversary Cin(E)-Poetry Film Festival with Edwin Torres
Mazar Theater at the Educational Alliance, 197 East Broadway, NYC

Feb. 15, 2001 at 7pm--Rachel Hadas, Alfred Corn & Michael T. Young*
The New 14th St. Y, 344 East 14th St. & 1st. Ave., NYC

March 25-31, 2001--Dialogue Among Civilizations at the United Nations, NYC
and 200 readings in 100 cities all over the world (more details to follow)!!!

May 11, 2001 at 7 pm--Dana Gioia & Ron Price
Los Angeles County Musuem of Art, 5905 Wilshire Blvd., Los Angeles

*This event was funded in part by Poets & Writers, Inc. through a grant it has received from New York State Council of the Arts.


Please visit http://www.rattapallax.com for more details.


Ram Devineni, Publisher and Owner

Stella Padnos, Associate Publisher



Do You Yahoo!?
Yahoo! Mail - Free email you can access from anywhere! --0-1804289383-967336903=:69610-- ========================================================================= Date: Sun, 27 Aug 2000 19:18:16 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerard Greenway Subject: ToC: Angelaki 5.1: Poets on the Verge In-Reply-To: <263664.3175854378@ubppp248-216.dialin.buffalo.edu> MIME-Version: 1.0 _Poets on the Verge_, the 5.1 special issue of _Angelaki: journal of the theoretical humanities_, has just been published. The contents list is below. The web site for the journal is at: http://www.tandf.co.uk/journals/routledge/0969725x.html >> ANGELAKI 5.1 << POETS ON THE VERGE Issue Editors: Anthony Mellors and Robert Smith Verge. wand, border, garden, scope, warden, phallus, watch, bend. To verge is to stand on the margins looking in. But the verge is also nomadic, horizonal, an awareness of limits, and the point at which a boundary may be crossed and something new begins. The indeterminacy and openness of the verge makes for modern poetry's fragile and hazardous existence. It is why poetry is so difficult to define and why it is always edging toward new possibilities. This issue of _Angelaki_ explores poetry's verge, questioning its inclusions, divisions, confines, and potential. CONTENTS Editorial Introduction: Poets on the Verge -- Anthony Mellors and Robert Smith Call for Papers: Poets on the Verge -- Anthony Mellors and Robert Smith Taking the Side of Poetry: An Open Letter to the Guest Editors of _Angelaki_ -- Gilbert Adair I is Reading (poem) -- Anthony Mellors The Two Poetries -- Ken Edwards Five Poems -- Clark Coolidge Hoax Poetry in America -- Margaret Soltan Four Poems -- Bruce Andrews Simple Words and Complex Politics: Language and Identity in Giuseppe Ungaretti and Joan Brossa -- John London News of the Wold (poem) -- Adrian Clarke Deferred Action: Irish Neo-Avant-Garde Poetry -- Alex Davis Extract from _The Clump_ (poem) -- Peter Larkin "The Bachelor in His Mediocrity": Late Modernism and the Minor Literature of Weldon Kees -- Nicholas Spencer Knowing the Land where Neon Blooms: Ian Hamilton Finlay's 1999 Installation in Erfurt -- Harry Gilonis Three Poems -- Frances Presley "Connect-I-Cut": George Oppen's _Discrete Series_ and a Parenthesis by Jacques Derrida -- Garin V. Dowd Irrigation (poem) -- John Wilkinson Anonymous Poetry -- Peter Middleton Allele (poem) -- Michael Haslam A Child in Question -- Vicky Lebeau Trial / Peace (poem) -- Maurice Scully The Word Folly: Samuel Beckett's "Comment dire" ("What is the Word") -- Shane Weller Mallarme: Serenity and Violence -- Malcolm Bowie From _100 Sonnets_ (poems) -- Robert Smith The Memory of Modern Life (Baudelaire) -- Cynthia Chase Two Poems -- Charles Tomlinson 210 pages Published August 2000 Routledge, Taylor & Francis ___________________________ Volume 5 Information Special Issue 5.3 (October 2000): _Rhizomatics, Genealogy, Deconstruction_ Issue Editor: Constantin V. Boundas 5.3: General Issue 2000 (December 2000--March 2001) Gerard Greenway greenway@angelaki.demon.co.uk managing editor A N G E L A K I journal of the theoretical humanities Routledge, Taylor & Francis http://www.tandf.co.uk/journals/routledge/0969725x.html 36A Norham Road Oxford OX2 6SQ United Kingdom ========================================================================= Date: Mon, 28 Aug 2000 12:32:53 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: bei ling --fwd from henry gould In-Reply-To: <20000826105308.KRDF963150.mta2-rme.xtra.co.nz@smtp.xtra.co.nz> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I think Bei Ling was released last week and is already back in the US. Patrick -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Richard Taylor Sent: Monday, August 28, 2000 12:23 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: bei ling --fwd from henry gould >But has he commuitted a crime? If, say, China, was (or is) an excellent and healthy state, then it might be wise for it to protect itself against so-called revolutionaries who might want "freedom" at the expense of that state? Are we right to judge China? What data do we have? What evidence? If I tried to subvert th U.S. system who would defend me? When would I be "right" to do that? For all I know this poet is an anti-communist. In which case a Communist State (if china IS that) would be "justified" in giving him the chop. China, quite rightly, like the French, knows that it has been invaded and betrayed by the West (as France was betrayed) so they're not mucking about. This poet might be a bad egg. Mind you I could be completly wrong. We all need more facts. Perhaps we should accept the inevitable: to whit, that despite all the West's callumny, China is determined beindependent. The centre of power will probably shift to China. The Chinese have learnt a lot of good lessons from Mao Tse Tung. Who are we to judge China? Of course I could be wrong. Richard Taylor. >From: Mark DuCharme >Date: Thu, 24 Aug 2000 16:05:12 MDT >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: bei ling --fwd from henry gould > >I'm sorry, but I think that's outrageous. It doesn't matter what you think >of the US, or Chinese communism for that matter. A violation of human >rights is a violation of human rights-- in this case, being arrested for >having committed no crime. The fact that something very similar can happen >here-- *has* happened here (c.f. Philadelphia during the Republikkkan >convention) doesn't have a goddamned thing to do with it. Would you >backpedal what happened in Tiennamen Square in similar fashion? & What >would you think about someone, say an ardent capitalist, making excuses for >injustices American style? > > > >Mark DuCharme > > >>From: "richard.tylr" >>Reply-To: UB Poetics discussion group >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>Subject: Re: bei ling --fwd from henry gould >>Date: Thu, 24 Aug 2000 16:36:23 +1200 >> >>I worked for a Govt. Dept and one of my bosses, English, was a bit cynical. >>He said: "In Russia your not allowed say what you think, and in America you >>can say anything but nobody listens." Is the U.S. more advanced than China? >>Which is best, freedom or afull stomach. What do the anti-communists mean >>about "freedom". Which is better, Capitalism or Communism. Has Communism >>ever existed? We've got a "healthy" democracy but the petro price keeps >>going up, we've got the highest youth suicide rate, only the rich can >>afford >>university, the whitesa hate asians,and the exchange rate keeps dropping cf >>the Brit pound. So I'm a bit skeptical about these "nice" Chinese >>intellectuals. I've met many Chinese who think very highly of their >>country, >>and most are not impressed with certain military activities of the U.S. Nor >>am I. I think China is a major country in all senses of that >>expression.Maybe he was trying to subvert the system. So He'd be arrested >>in >>the U.S. for that as well. Richard Taylor. >>----- Original Message ----- >>From: "Maria Damon" >>To: >>Sent: Sunday, August 20, 2000 4:00 AM >>Subject: bei ling --fwd from henry gould >> >> >> > The Chinese poet & editor Bei Ling, a resident for the last few years in >> > Providence & Boston, was arrested in Beijing a week ago. His brother, >> > living in Beijing, has also just been arrested. Charges have not been >> > announced but Bei Ling is being detained by the unit responsible for >> > political subversion. >> > >> > I met Bei Ling often while he lived in Providence - he was a friend, and >>a >> > tenant, of my ex-wife & children for a year or so. I published his >>poems >> > in Nedge. He's extremely friendly, intelligent, unusual. Edits an >> > international journal called "Tendencies" in Cambridge. >> > >> > This arrest is a crime against free thought & speech. >> > There is an op-ed piece by Susan Sontag in the Times today >> > (Saturday). I will be trying to do what I can to press for his release, >> > & encourage others to do likewise. If someone would forward this to >> > the Buffalo list, & other writer's lists, I would be grateful. >> > >> > Henry > >________________________________________________________________________ >Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com > ========================================================================= Date: Mon, 28 Aug 2000 11:30:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: Anne-Marie Ahlbairch In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >"That Black Box Cutaway woman" is Susan Gevirtz. The book is published by >Kelsey Street Press, and well worth a read. > >And yes, the spelling for the other name is "Albiach." The SPD catalog >online at www.spdbooks.org shows the following available: > >Vocative Figure. (Allardyce, Barnett. 1993) ><> (Moving Letters [limited edition]) >A Discursive, Space (Duration. 1999) - conversations on poetics with Jean >Daive >A Geometry (Burning Deck, 1998) >Etat (Awede, 1989) >Mezza Voce (Post-Apollo. 1988) These are translated? By whom? -- --------------------------------------------------------------------------- Judy Roitman | "Whoppers Whoppers Whoppers! Math, University of Kansas | memory fails Lawrence, KS 66045 | these are the days." 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Mon, 28 Aug 2000 13:41:36 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: language in lingua franca Comments: To: anielsen@lmu.edu In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The mightiest McDismissal comes from the honorable and esteemed J.D. McClatchy, the man who is bringing you the people behind the poems, (p.49) - "Language poetry, like other forms of experiment, appeals more to the young, the more innocent, those who haven't read as much and who are attracted to glittering, moving objects....For more mature readers, it's boring." And on the absorption of Language poets into the academy, McClatchy adds, "Ironically, they've been folded like egg whites into the cultural mix." McClatchy dismisses Langpo AND youth AND motion all at once. A fascinating and mature mind. On the whole the article not only acknowledges Langpo in the academy, it also recognizes its role in the younger generation of writers. It also discusses that language poets who have ended up in the academy might best not be thought of as 'traitors' but people who have a more complex view of political realities than more pure-minded folk. "Assimilation is everywhere....The idea that there is a pure space is naive and possibly demagogic." says Bernstein (p.52). The Lingua Franca article is worth reading, if only for shits and giggles. It interestingly leaves alone the poetics list scandal, though it does begin by digging up certain words about Bob Perelman's "step in that long march toward tenure" and Bernstein's endorsement of the Yellow Pages (p.46). The most tasteless and irrational deduction, though, (one that left me asking, "and?") was the following Epstein sentence to round off his introduction: "'Let us undermine the bourgeoisie,' Silliman declared in 1979; today he is a market analyst in the computer industry." So we are to conclude: Langpo sold out. Snore. I thought this is how teenagers discuss the the history of the Sex Pistols. Let's see... Engels defined 'bourgeoisie' as "the class of modern capitalists, owners of the means of social production and employers of wage labour" (note to the 1888 edition of _The Communist Manifesto_). The bourgeoisie, as in this sense the economically dominant class which also controls the state apparatus and cultural production, stands in opposition to, and in conflict with, the working class, but between these "two great classes" of modern society there are "intermediate and transitional strata" which Marx also referred to as the middle class. I don't think Silliman is exactly part of the ruling class though he may be part of this transitional class; this does not automatically make him a betrayer of his 1979 statement. I hereby suggest that people steal copies of Lingua Franca from the university bookstore or local newsstand and read the article. Funny, if enough people did that, wouldn't it once again 'prove' that Langpo is bad for sales? Hee hee. Patrick Herron -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of anielsen@lmu.edu Sent: Saturday, August 26, 2000 5:44 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: language in lingua franca The September issue of _Lingua Franca_ just arrived with an article by Andrew (do we know this guy) Epstein on the question of, in the words of the editors, "Can the McPoem busters enjoy the happy meal of success?" My doctor has ordered me to stay away from such meals -- Though I see that Mssrs. Lehman, Weinberger and Kostelanetz weigh in with weighty McDismissals -- Kostelanetz, widely noted for his rigor and acuity, is quoted as having remarked "the desperate desire of some cliques to acquire a tenured academic position before it is too late," though the truncated quotation gives no indication of just what it may be too late for. But it is fun to see those closely cropped pictures of Hejinian, Perloff, Silliman, Perelman etc -- almost as if the editors wanted to put numbers under those faces -- Bernstein and Andrews are seen emerging from a subway -- the editors inform us that Bernstein is the one on the left! Interestingly no attention to Bromige, Fraser, Davidson and others who have worked for decades teaching and writing -- but maybe they don't fit the "have they sold out by taking jobs in academia recently" framework, or maybe they prefer KFC to Mickey D's? I have to give credit to Eliot Weinberger for steadfastly holding the line against creeping academicism -- but then, I just remembered that the only time I ever saw him in person he was standing at a podium at the University of Maryland -- "Has All-- a Codicil?" -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Department of English Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 anielsen@lmu.edu (310) 338-3078 _________________________________________________ The simple way to read all your emails at ThatWeb http://www.thatweb.com ========================================================================= Date: Mon, 28 Aug 2000 14:46:36 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jena osman Subject: address requests Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Does anyone have any of the following addresses? If so, please back-channel. Thanks, Jena Gail Sher Tony Ruiz Linda Voris Sherry Brennan Wendy Kramer ========================================================================= Date: Mon, 28 Aug 2000 14:45:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jena osman Subject: CHAIN 7 IS HERE Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" CHAIN #7: Memoir/Anti-memoir Includes work by Zelda Alpern, David Antin, Eleanor Antin, Rae Armantrout, Dodie Bellamy, Jen Bervin, Tisa Bryant, Darryl Keola Cabacungan, Dubravka Djuric, Nicole Eisenman, Robert Reintuch, Alejandro Fogel, Kenny Fries, Jacinta Galea'i, C.S. Giscombe, Robert Gluck, John Havelda, Elvira Hernandez, Hsia Yu, Lisa Jarnot, Kim Jones, Summi Kaipa, Mark Leahy and Mark Storor, Aaron Levy, Warren Liu, Loren Madsen, Bernadette Mayer, Cathleen Miller, Eileen Myles, Shirin Neshat, Sandra Newman, Alice Notley, Akilah Oliver, Rona Pondick, Joan Retallack, Deborah Richards, Bhanu Kapil Rider, Kit Robinson, Thaddeus Rutkowski, Susan Schultz, Ron Silliman, Jeanne Silverthorn, Caroline Sinavaiana-Gabbard, Christina Olson Spiesel, Edwin Torres, Anne Waldman, Rosmarie Waldrop, Yolanda Wisher, David Wojnarowicz, Allison Yap, Susanda Yee. A subscription to Chain is $20 for two issues, $12 for one. Send orders to: Chain Juliana Spahr Department of English University of Hawai'i, Manoa 1733 Donaghho Road Honolulu, HI 96822 Please make checks out to 'A'A Arts. Thanks! Jena ========================================================================= Date: Mon, 28 Aug 2000 13:17:13 MDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: bei ling --fwd from henry gould Mime-Version: 1.0 Content-Type: text/plain; format=flowed "We" (meaning the US as a society) certainly have no right to judge China-- as I tried to suggest by alluding to the treatment of protestors in Philly. I or you, on the other hand, have a right and arguably a duty to form opinions & to speak out. Remember that we are talking about human rights here. China has a right to its independence, but it also has the responsibilities that come with that. & Let me turn the question back to you: IF he had committed a crime, why wasn't he charged? & Why was he subsequently released? Honestly I find your argument that, if he were an anti-communist, "a Communist State (if china IS that) would be "justified" in giving him the chop" rather chilling. Do you really mean that? I really don't know how to respond. As for when you'd be "right" to try to subvert a system, read Ghandi, read Thoreau, read ML King, read anybody but don't try to ideologically justify the use of police state tactics, either in a capitalist country or among its "communist" trading partners. Mark DuCharme >From: Richard Taylor >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: bei ling --fwd from henry gould >Date: Mon, 28 Aug 2000 12:22:57 -0400 > > >But has he commuitted a crime? If, say, China, was (or is) an excellent >and healthy state, then it might be wise for it to protect itself against >so-called revolutionaries who might want "freedom" at the expense of that >state? Are we right to judge China? What data do we have? What evidence? If >I tried to subvert th U.S. system who would defend me? When would I be >"right" to do that? For all I know this poet is an anti-communist. In which >case a Communist State (if china IS that) would be "justified" in giving >him the chop. China, quite rightly, like the French, knows that it has been >invaded and betrayed by the West (as France was betrayed) so they're not >mucking about. This poet might be a bad egg. > Mind you I could be completly wrong. We all need more facts. Perhaps we >should accept the inevitable: to whit, that despite all the West's >callumny, China is determined beindependent. The centre of power will >probably shift to China. The Chinese have learnt a lot of good lessons from >Mao Tse Tung. Who are we to judge China? Of course I could be wrong. >Richard Taylor. > >From: Mark DuCharme > >Date: Thu, 24 Aug 2000 16:05:12 MDT > >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >Subject: Re: bei ling --fwd from henry gould > > > >I'm sorry, but I think that's outrageous. It doesn't matter what you >think > >of the US, or Chinese communism for that matter. A violation of human > >rights is a violation of human rights-- in this case, being arrested for > >having committed no crime. The fact that something very similar can >happen > >here-- *has* happened here (c.f. Philadelphia during the Republikkkan > >convention) doesn't have a goddamned thing to do with it. Would you > >backpedal what happened in Tiennamen Square in similar fashion? & What > >would you think about someone, say an ardent capitalist, making excuses >for > >injustices American style? > > > > > > > >Mark DuCharme > > > > > >>From: "richard.tylr" > >>Reply-To: UB Poetics discussion group > > >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >>Subject: Re: bei ling --fwd from henry gould > >>Date: Thu, 24 Aug 2000 16:36:23 +1200 > >> > >>I worked for a Govt. Dept and one of my bosses, English, was a bit >cynical. > >>He said: "In Russia your not allowed say what you think, and in America >you > >>can say anything but nobody listens." Is the U.S. more advanced than >China? > >>Which is best, freedom or afull stomach. What do the anti-communists >mean > >>about "freedom". Which is better, Capitalism or Communism. Has Communism > >>ever existed? We've got a "healthy" democracy but the petro price keeps > >>going up, we've got the highest youth suicide rate, only the rich can > >>afford > >>university, the whitesa hate asians,and the exchange rate keeps dropping >cf > >>the Brit pound. So I'm a bit skeptical about these "nice" Chinese > >>intellectuals. I've met many Chinese who think very highly of their > >>country, > >>and most are not impressed with certain military activities of the U.S. >Nor > >>am I. I think China is a major country in all senses of that > >>expression.Maybe he was trying to subvert the system. So He'd be >arrested > >>in > >>the U.S. for that as well. Richard Taylor. > >>----- Original Message ----- > >>From: "Maria Damon" > >>To: > >>Sent: Sunday, August 20, 2000 4:00 AM > >>Subject: bei ling --fwd from henry gould > >> > >> > >> > The Chinese poet & editor Bei Ling, a resident for the last few years >in > >> > Providence & Boston, was arrested in Beijing a week ago. His >brother, > >> > living in Beijing, has also just been arrested. Charges have not >been > >> > announced but Bei Ling is being detained by the unit responsible for > >> > political subversion. > >> > > >> > I met Bei Ling often while he lived in Providence - he was a friend, >and > >>a > >> > tenant, of my ex-wife & children for a year or so. I published his > >>poems > >> > in Nedge. He's extremely friendly, intelligent, unusual. Edits an > >> > international journal called "Tendencies" in Cambridge. > >> > > >> > This arrest is a crime against free thought & speech. > >> > There is an op-ed piece by Susan Sontag in the Times today > >> > (Saturday). I will be trying to do what I can to press for his >release, > >> > & encourage others to do likewise. If someone would forward this to > >> > the Buffalo list, & other writer's lists, I would be grateful. > >> > > >> > Henry > > > >________________________________________________________________________ > >Get Your Private, Free E-mail from MSN Hotmail at href="http://www.hotmail.com">http://www.hotmail.com > > _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com. ========================================================================= Date: Mon, 28 Aug 2000 15:46:04 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: bei ling --fwd from henry gould MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 8/28/00 9:22:45 AM, tbrady@MSGIDIRECT.COM writes: << & What would you think about someone, say an ardent capitalist, making excuses for injustices American style? ...or for that matter, making American-style excuses for injustices Chinese style. One of the particularly ugly aspects of New Economy conventional wisdom here on the Leftover Coast is the ideological assertion that Chinese state capitalism = good, while Stalinist state capitalism =(ed) bad, largely on the basis of the Chinese state's willingness to "do business." Ugh. Taylor Brady >> Not sure if this was meant for me also, but whatever the case I share Taylor's suspicions. As I wrote in a recent post, the moral high ground is lately a pretty lonely place. Even in the art world--conventional and "avant garde"--the struggle for art seems often to give way to the struggle for power. Nasty business. Taylor's caveats are akin to my own. My best to you, Mr. Brady--WJA (William James Austin) ========================================================================= Date: Mon, 28 Aug 2000 16:07:23 -0400 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: language in lingua franca MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I was wondering when someone was going to mention the Lingua franca article. Frankly, I didn't know quite what to make of it--except that the fact that Lingua franca thinks language poetry worth an article seems to me to support my view that language poetry is acadominant-- despite the fact that supposedly only 1% of those teaching literature in universities are, according to a Bob Perelman quote from the article, sympathetic to it, and Perloff says Harvard and Yale hate it. (I'd LIKE my poetry to be acadominant--and maximally commodified. It's just that I would hope that I'd refuse to compromise it to achieve acadominance and/or commodification, given a--that'll be the day--chance. I'll even say that I don't think any language poet has "sold out." That is, I don't think Bernstein changed his poetics in midstream when he saw a chance to appear on tv if he did so; he just found himself in a situation where he could appear on national tv for money and took it, as I wish I could have.) What I found interesting about the Lingua franca article is how it pretty much avoided poetics--but, for me, Lingua franca is a sociology magazine. Albeit its even sociology is pretty superficial. It also interested me that the article made no mention whatever of visual poetry, which is to language poetry, as we all know, what language poetry is to Iowa Workshop Poetry as far as aesthetic adventurousness is concerned. The kind of piece I'd really like to see in such a magazine is one that had a fanatical representative of each of what I consider the four main schools of current American poetry--language, Iowa workshop, contragenteel (or neo-Bukowski), and visual--sound off for his school and against the other three, in detail. And I'd have each rep quote and defend three specimens of his school at its best, and attack the others' specimens, in detail. But no, we get sound-bites from Perloff, Kostelanetz, Lehman, Weinberger--poorly chosen and contextualized, I know, in the case of Kostelanetz, so very likely poorly chosen and contextualized in the cas of the others. But I think the coming up the subway stairs picture was a nice one. And I think the article overall was neutral--one of those journalistically-pure balanced ho-hummers. --Bob G. ========================================================================= Date: Mon, 28 Aug 2000 18:13:37 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - every day the rocks cut my feet again or there's tar coming in along the beach it begins again, repetition is something unavoidable by theory by the dint of literature or philosophy, the undermining of repetition it begins again with the repetitive syndrome as well the rocks on the beach, etc., the tar coming in from the water, etc. scant progress in the passing of days nights illuminated by dreams of repetition, space narrowings every day the shortness of the span, entanglement in kelp and tar philosoph-recitatif, literat-moratorium day by a day __ ========================================================================= Date: Mon, 28 Aug 2000 18:37:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Archaeology of Multi-Media Conference (fwd) Comments: To: webartery@onelist.com MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Archaeology of Multi-Media A Conference at Brown University (Providence RI, U.S.A.) Thursday-Saturday, November 2-4, 2000 http://www.modcult.brown.edu/amm For two-and-a-half days, participants in the conference will engage and interrogate rhetoric about electronic media that describes them as fundamentally new, irrevocably transformative and virtually unstoppable. Refusing to rely on descriptions such as "new" and "digital" (for what medium has not at one time been new, or is not now produced digitally?), the conference will highlight mixed-media art and scholarship. It will seek some alternative interpretations and understandings of the singularity of electronic content, context, form, and audience, as well as another map of the ways in which media have always been multiple. Archaeology of Multi-Media seeks to integrate historical scholarship and emerging modes of media theory, and to link the study of multimedia with existing work on 'traditional' media, as it opens some emergent spaces of mixture and multiplicity in present research and action. In order to do this, we will launch the conference with a performance/lecture Thursday night by the digital collective Mongrel (a U.K.- and Jamaica-based artists group set up to explore issues of race, technology and new-eugenics, and an agency to co-ordinate and set up other new media projects so that those locked out of the mainstream can gain strength without getting locked into power structures). This event will be followed on Friday and Saturday by eight ninety-minute panels, as well as student mixed-media displays, covering issues like: film, television and video, and print and or as electronic media; language and systems; conflict media; identity and difference; and social movements. "The Archaeology of Multi-Media" brings together an international group of scholars, artists, activists, and technologists, including: Geoffrey Batchen (cultural criticism/history of photography; University of New Mexico, U.S.A.) James Der Derian (international relations; Brown University, U.S.A.) Richard Dienst (cultural criticism/visual media; Rutgers University, U.S.A.) Thomas Elsaesser (film/television/new media theory; University of Amsterdam, Netherlands) Wolfgang Ernst (history/classics/archaeology/museology/media studies; University of Bochum, Germany) Julia Flanders (Women Writers Project; Scholarly Technology Group, Brown University, U.S.A.) Graham Harwood (artist/programmer/co-ordinator; Mongrel, U.K.) Ken Hillis (theories of communication technologies/virtual Geography/social and political identities; UNC, U.S.A.) Mervin Jarman (artist/programmer/co-ordinator; Mongrel, Jamaica) Thomas Keenan (human rights/literary theory/media studies; Bard College, U.S.A.) Lev Manovich (artist, theorist and critic of new media; University of California, San Diego, U.S.A.) Tara McPherson (gender and critical studies/television/new media/popular culture; USC, U.S.A.) Thomas Levin (media and cultural history and theory; Princeton University, U.S.A.) Geert Lovink (media theorist and activist; Adilkno + De Waag + many others, Netherlands) Nick Mirzeoff (visual culture/art history; SUNY Stony Brook, U.S.A.) Lisa Nakamura (postcolonial studies/critical theory; Sonoma State, U.S.A.) Renata Salecl (sociology, criminology, and philosophy; University of Ljubljana, Slovenia) Cornelia Vismann (rhetoric and media techniques of law; European University Viadrina, Frankfurt (Oder)) This conference, supported by the Malcolm S. Forbes Center for Research in Culture and Media Studies and the Pembroke Center for Teaching and Research on Women, and organized by the Department of Modern Culture and Media at Brown University, is free and open to the public but registration is required. Please register either on the web or by emailing amm@brown.edu. For more information, please visit the website at http://www.modcult.brown.edu/amm. ========================================================================= Date: Mon, 28 Aug 2000 21:18:15 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: bei ling: last word MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 8/28/00 9:34:24 AM, damon001@TC.UMN.EDU writes: << I just learned from Human Rights Watch that Bei Ling has been released. He will be arriving in San Francisco tomorrow. I have no other details at the moment. Maria - would you mind forwarding again? Thanks - Henry >> Happy to hear it. Bei Ling has my best wishes. So neither the Chinese nor American governments are the worst guys on the block. And how many innocents without funds and reputation still languish in American jails? Live and learn. Best, Bill ========================================================================= Date: Tue, 29 Aug 2000 12:31:19 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Tranter Subject: HTML emails can destroy your computer's brain - or can they? Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I'm concerned about the decision to allow - nay, to encourage - HTML formatted emails into the list. I'm not a computer whiz, but I think Australian Internet designer David Walker has a point in a recent newspaper column on this topic. I'd be glad to see further discussion from anyone on the list who has expert knowledge of the potential for HTML to carry malicious code. David Walker's article is printed below. best, John Tranter, Jacket magazine ____________________________________ From: david@shorewalker.com This week, a column influenced by the "I Love You" virus. _______________________________________________ Goodbye to the Monkeyjunkies mailing list. The HotWired site's Web design mailing list was interesting to receive, but it's not worth the risk. I've unsubscribed and deleted the archive of old emails. I can't risk catching a virus from one of the HTML emails it keeps sending. HTML email contains not just text but fonts, tables, backgrounds, images and most of the things that you can put in a Web page. It has a number of weaknesses. It displays poorly in some email clients and Web-based email services, and can create problems for users who read their mail when they're disconnected from the Internet. More of a problem, however, is that HTML email offers serious security flaws. The "I Love You" virus that brought down email systems from the Pentagon to Disney Corporation earlier this month brought these security flaws into sharp focus. In the wake of "I Love You", "Melissa" and several other recent virus scares, HTML email may be in for a rough short-term future. This came home to me as I was ditching the Monkeyjunkies list, which had sent me several copies of "I Love You". The Monkeyjunkies list does a particularly good job of spreading viruses like "I Love You", because it allows participants to post attachments and to use HTML email. Now if you've worked in a networked office environment, you've almost certainly come across the advice that you should open only email attachments from trusted sources. This advice is becoming harder to follow over time, as email attachments become more and more common; nevertheless, it's straightforward. One of the delights of new strands of virus such as "I Love You" is that they can render this advice useless. Just opening an HTML email lets its creator execute a script that can do substantial damage to your PC. Few will be surprised that Microsoft has helped create this situation. In its Internet assault of the past few years, it has taken a swag of software concepts designed for standalone PCs and extended them to the more open environment of the 'Net. The result has been a series of gaping security holes around Microsoft Web technologies such as VBScript and ActiveX. Microsoft's Internet Explorer browser not only allows these technologies to run by default, but also confuses the user who tries to disable them. Microsoft's Outlook email software uses Internet Explorer to render HTML email. And like most email clients, Outlook will display messages as they come in, or as you delete the messages above them. So you open up your email software, it displays an HTML email message containing a malicious script - and bang, someone's using VBScript to overwrite your file system. Of course, it would be nice if Microsoft stopped circulating software that invites hackers to drive straight through it. Right now, Microsoft system security is the best advertisement for Linux. But the broader truth is that even if Microsoft beefs up its own security, virus-builders will still find HTML email a tempting target. Right now, no hacker would try building a malicious Java applet; VBScript creates so much more havoc with less effort. But if Linux takes over next week as the desktop software of choice, someone, somewhere will start to wonder what fun could be had with Linux machines using the current incarnations of HTML email. The real fix for "I Love You" and its malicious little mates involves restricting the operation of HTML email itself. Software designers can certainly still allow fonts and graphics to render within email. But how many users really need Java and scripting in their email? And how many will quit using HTML email if HTML email doesn't get fixed? ______________________ ========================================================================= Date: Tue, 29 Aug 2000 21:06:20 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: bei ling --fwd from henry gould MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ToBill and Henry. Actually, I came close to becoming a fanatical "communist" in the 70s, and I used to get into a lot of action. But its true that "truth" tended to get distorted. Certainly there was a group that (at that time was following the Chinese communist "line") who neglected to open up the discussion. Also they were against so-called "intellectuals". But I think that it was important to even take quite violent action e.g against the U.S. involvement in Vietnam. Sometimes you do have to hurt so-called innocent people. But, as Bill is implying, its healthier if everyone is "in the know". So I'm just suggesting a more skeptical (not cynical). I suppose I'm a bit of a fence sitter these days. Of course its serious if someone IS arrested (without charge). The trouble is how to cut thru the crap and find out what's really going on. Prima facie, it doesnt sound too good - but in the light of history I'm a bit skeptical. Maybe I need to travel over there myself before I stop believing anything. But I wouldnt want any harm to come to Bei Ling per se. Maybe everything is falling apart.Maybe I am completely wrong. Maybe...Richard. ----- Original Message ----- From: To: Sent: Saturday, August 26, 2000 1:17 AM Subject: Re: bei ling --fwd from henry gould > In a message dated 8/25/00 3:30:25 AM, markducharme@HOTMAIL.COM writes: > > << I'm sorry, but I think that's outrageous. It doesn't matter what you think > of the US, or Chinese communism for that matter. A violation of human > rights is a violation of human rights-- in this case, being arrested for > having committed no crime. >> > > Come on, Marc. I don't think Richard was saying we shouldn't help if we so > desire. I read his reply as a reminder that not all things are as they > appear. We should get the facts, and think long and hard before committing > ourselves. And I, for one, suspect that it has become extremely difficult to > get the facts in the USA. Your response above, for example, contains several > terms, e.g., "human rights," "crime," that are open to interpretive field > days. My own impulse is to contribute. But I still remember how SDS back in > my college days told us to invade the classrooms of astonished and frightened > professors. "If they refuse to let you interrupt their classes, just push > them out the door." I quit on the spot. And I'm not suggesting the Chinese > poet or anyone necessarily falls into that category. Perhaps you know the > situation far more intimately than do a lot of other people. But I'd have to > investigate on my own, and wait until I am very satisfied that my results are > trustworthy. I won't act until I hear all sides. And Richard's point is > worth considering. After all, we don't want to suppress one segment of the > discourse, do we? These days it seems the moral high ground is a pretty > lonely place. Best, Bill ========================================================================= Date: Tue, 29 Aug 2000 09:40:20 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sherry Brennan Subject: language in lingua franca Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Heard abt this article, but I don't get _Lingua Franca_ ... don't you think the venue predetermines the complaint? I mean, it's an article in Lingua Franca! Contrary to the apparent argument of the article, I don't have a sense that there is any creeping academicism among my peers (as a poet who works at a Big 10 University, but has chosen not to be a teaching academic), some of whom are "in" and some "out"-- just desire to pay rent and eat. Sherry >Date: Sat, 26 Aug 2000 21:44:07 +0000 >From: anielsen@LMU.EDU >Subject: language in lingua franca >MIME-Version: 1.0 >Content-Type: text/plain; charset=US-ASCII > >The September issue of _Lingua Franca_ just arrived with an article by >Andrew (do we know this guy) Epstein on the question of, in the words of >the editors, "Can the McPoem busters enjoy the happy meal of success?" > >My doctor has ordered me to stay away from such meals -- > >Though I see that Mssrs. Lehman, Weinberger and Kostelanetz weigh in with >weighty McDismissals -- > >Kostelanetz, widely noted for his rigor and acuity, is quoted as having >remarked "the desperate desire of some cliques to acquire a tenured >academic position before it is too late," though the truncated quotation >gives no indication of just what it may be too late for. > >But it is fun to see those closely cropped pictures of Hejinian, Perloff, >Silliman, Perelman etc -- almost as if the editors wanted to put numbers >under those faces -- Bernstein and Andrews are seen emerging from a subway >-- the editors inform us that Bernstein is the one on the left! > >Interestingly no attention to Bromige, Fraser, Davidson and others who >have worked for decades teaching and writing -- but maybe they don't fit >the "have they sold out by taking jobs in academia recently" framework, or >maybe they prefer KFC to Mickey D's? > >I have to give credit to Eliot Weinberger for steadfastly holding the line >against creeping academicism -- but then, I just remembered that the only >time I ever saw him in person he was standing at a podium at the >University of Maryland -- > > > > >"Has All-- > a Codicil?" -- Emily Dickinson > > >Aldon Lynn Nielsen >Fletcher Jones Chair of Literature and Writing >Department of English >Loyola Marymount University >7900 Loyola Blvd. >Los Angeles, CA 90045-8215 > >anielsen@lmu.edu >(310) 338-3078 Sherry Brennan Associate Director of Development College of Engineering The Pennsylvania State University 101 Hammond University Park, PA 16802 (814) 865-2496 (814) 863-4749 FAX ========================================================================= Date: Mon, 28 Aug 2000 11:55:22 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: chris stroffolino Subject: Re: POETICS Digest - 24 Aug 2000 to 25 Aug 2000 (#2000-140) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Two Questions: 1. Does anybody know the Cap-L's list current address.....? If so, could you please post it to this list.... --------------------------------------- 2 Dear Amberwind, I sense frustration in your tone, What do you want to talk about that you feel isn't talked about? ( I had a similar problem, asking people about Creeley's (poetic) prose-- only to get backchanneled salespitches..... well except for Charles Alexander...) CS michael amberwind wrote: > once again I would like to know if anyone can > direct me to a good politics discussion list, I > am certain that must be where all the poetry > discussion is taking place... > > __________________________________________________ > Do You Yahoo!? > Yahoo! Mail - Free email you can access from anywhere! > http://mail.yahoo.com/ ========================================================================= Date: Mon, 28 Aug 2000 10:25:10 -0700 Reply-To: la@tenderbuttons.net Sender: UB Poetics discussion group From: lee ann brown Subject: ReAdjunctivitis-direct line Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit MIME-Version: 1.0 Dear NYC-Area Adjunct Types, Thank you for those who responded to call for the Teaching Arts- anybody still out there who wants to try out their newly minted MFAs here's your chance- Some upper level literary studies and composition adjunct teaching positions are STILL AVAILABLE at the Queens and Staten Island St. John's University campuses. If you are interested call Stephen Sicari ASAP at the St. John's English Dept. at 718-990-6387 and send a CV to Dr. Stephen Sicari, Chair, English Dept., St. John's University, 8000 Utopia Parkway, Jamaica, NY 11439. Pays around $1600/ Semester Per Course. __________________________________________________ FREE voicemail, email, and fax...all in one place. Sign Up Now! http://www.onebox.com ========================================================================= Date: Tue, 29 Aug 2000 07:14:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Loden Subject: Britain's most rejected poet lays down his pen MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit This was in The Independent (UK)-- http://www.independent.co.uk/news/UK/Media/2000-08/tait260800.shtml I especially like the part about threatening to swallow a packet of woodlice killer . . . Britain's most rejected poet lays down his pen A hunger strike and threat to eat poison could not get Andrew Tait published. Even 'Viz' had to be bribed to print poems By Jojo Moyes, Arts and Media Correspondent 26 August 2000 Britain's most rejected poet, who has amassed close to 1,000 refusal letters from publishers in the past 15 years, is finally giving up his struggle for publication. Andrew Tait, who numbers among his "fans" such diverse figures as the Dalai Lama, the singer and songwriter Sting, and poet laureates Ted Hughes and Andrew Motion, has become something of a cult literary figure in the North-east, largely due to the series of publicity stunts he has conducted in his quest to find a publisher. The music teacher from Jesmond, Newcastle upon Tyne, has been on hunger strike, demonstrated outside 10 Downing Street, carried out a sit-down protest on (and was rescued from) the Tyne bridge, and threatened to swallow a packet of woodlice killer. Now he has finally decided to forget about conventional publication and concentrate instead on putting his work on tape, and on meditation. "I'm pleased I did it, but I don't know that success means you have to get published. What does it matter in the end? Success is really to do with working out what's going to happen in the next life," he said. "I had to try for so long – it would have felt like chickening out to have given up. It's not easy to say goodbye to that, but I'm feeling that I can quite happily leave it all behind." Mr Tait's quest for a publisher began in the mid-1980s, when he began entering poetry competitions – winning some of them – and sending off letters to publishing companies. When the first rejection letters came back, he pinned them near his door. He has now papered the entire hallway and stairs with them, and estimates they number between 500 and 1,000. It was after several years, dismayed by his lack of success via conventional routes, that Mr Tait decided to send his poetry to luminaries, in the hope of getting some feedback. One of his first letters was to Ted Hughes, then poet laureate. "It's very strange poetry – on its way somewhere, often surprising and touching," Hughes wrote back. "It may be on its way to somewhere outside or beyond what we commonly regard as 'poems'... I think I understand what you're doing – may I wish you all strength on the way." Touched by the reply, and in between the publicity stunts – the hunger strike became a bit blurred at the edges after he began drinking Horlicks – Mr Tait fired off letters to other people he admired. He has now amassed a considerable correspondence from a diverse range of luminaries, reminiscent of Henry Root, who famously wrote spoof letters throughout the early 1980s. Sting wrote to him: "Songs are pleas for help, or understanding, or the desire to share something beautiful," in a manner almost as poetic as Mr Tait's own. "But they can only be completed by someone listening and responding. Writing and performing can be like speaking into a dead telephone – 'is anybody there?' When someone says 'yes, I'm here' then the work is complete." Sir Tim Rice was more blunt: "You are clearly highly original, if not barking mad, and I would not be surprised if you were to achieve some sort of celebrity status before too long." Most recently he has received letters from the poet laureate, Andrew Motion, who wrote: "I like what you are doing – it's strange and yours." Lord Bragg was even more succinct: "Thank you for making me laugh a lot." Poetry accounts for about 2 per cent of the book market, making it even harder for a first-time poet to get published than a first-time novelist. Mr Tait feels he has now exhausted his options. For a while he published his poetry in Viz, using a competition where whoever sent the biggest bribe was published, but the joke eventually came to an end. But he will not be leaving the world of literature entirely. He is working on his autobiography, and he still finds it hard to pass up the chance of the unconventional gesture. Most recently he sent an electric toaster to Bob Dylan, as a precursor to a tape of poetry. "I thought thousands of people must write to him every week – how do I get his attention? It was meant to be like a conceptual poem. It wasn't that extravagant because I got it for under £10." So did he get the great man's attention? "Yes. His manager wrote to me asking me not to send the tape." -- Rachel Loden http://www.thepomegranate.com/loden/hotel.html email: rloden@concentric.net ========================================================================= Date: Tue, 29 Aug 2000 10:41:10 MDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: bei ling --fwd from henry gould Mime-Version: 1.0 Content-Type: text/plain; format=flowed Bill & Richard, let's just agree to disagree. (I'm sorry by the way about my post yesterday in response to Richard, which was too simplistic). We may never have all the information on many world issues, thanks to the corporate media. Is that a reason to do nothing? I don't know. I certainly respect the right of Richard or Bill or anyone else to want to gather more facts before committing themselves. I don't know as I agree with Bill that, in the context of talking about an arrest, the word "crime" is so wildly open to interpretation-- but hey then again all words are open to interpretation, right? I hope that, now that Bei Ling has been released & is returning to the U.S., more facts (rather than the rhetoric we've all been guilty of) will come to the surface. Mark DuCharme >From: Austinwja@AOL.COM >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: bei ling --fwd from henry gould >Date: Fri, 25 Aug 2000 09:17:40 EDT > >In a message dated 8/25/00 3:30:25 AM, markducharme@HOTMAIL.COM writes: > ><< I'm sorry, but I think that's outrageous. It doesn't matter what you >think >of the US, or Chinese communism for that matter. A violation of human >rights is a violation of human rights-- in this case, being arrested for >having committed no crime. >> > >Come on, Marc. I don't think Richard was saying we shouldn't help if we so >desire. I read his reply as a reminder that not all things are as they >appear. We should get the facts, and think long and hard before committing >ourselves. And I, for one, suspect that it has become extremely difficult >to >get the facts in the USA. Your response above, for example, contains >several >terms, e.g., "human rights," "crime," that are open to interpretive field >days. My own impulse is to contribute. But I still remember how SDS back >in >my college days told us to invade the classrooms of astonished and >frightened >professors. "If they refuse to let you interrupt their classes, just push >them out the door." I quit on the spot. And I'm not suggesting the >Chinese >poet or anyone necessarily falls into that category. Perhaps you know the >situation far more intimately than do a lot of other people. But I'd have >to >investigate on my own, and wait until I am very satisfied that my results >are >trustworthy. I won't act until I hear all sides. And Richard's point is >worth considering. After all, we don't want to suppress one segment of the >discourse, do we? These days it seems the moral high ground is a pretty >lonely place. Best, Bill _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com. ========================================================================= Date: Mon, 28 Aug 2000 12:53:12 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik Mary Krane Derr Mary Krane Derr recently received an award from the Poetry Center of Chicago. She presented selections from her poem cycle The Raveling Back Into the Text of Her Genesis at the 1999 Parliament of the World's Religions, Cape Town, South Africa. Her e-mail address is MaryKDerr@aol.com BUMPERSTICKER KOAN Honk If You Love Silence MANY UNHAPPY RETURNS No deposit claimed when sea so heaves against land and vomits back up the plastic bottles neither one can stomach. ATTACHMENT In the road’s hard dirty gravel she lunges to rescue the pure fallen blue of a robin’s egg. A wad of poisonously dyed gum she can’t get off her hands now. IT'S 500 YEARS AFTER THE REFORMATION and I STILL have never met a Catholic guy named Calvin or Luther. Mary Krane Derr ========================================================================= Date: Mon, 28 Aug 2000 14:52:27 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Molly Schwartzburg Subject: wanted: translations and poetry In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Mantis, the new graduate-run journal of poetry, poetics and translation coming out of Stanford, is looking for translations, poetry, and manifestoes relevant to the broad organizing theme of "poetry and community." (We sent out a previous call for critical work). Submission deadline: September 15 Please send up to four translations or poems (group submissions maximum 7 poems), and include a cover letter that includes a brief statement about how you experience the connection between poetry and community to Mantis Department of English Stanford University Stanford, CA 94305 or e-mail to mantispoetry@hotmail.com Please write, e-mail or call (650-736-0042) with any questions. --Molly Schwartzburg ========================================================================= Date: Tue, 29 Aug 2000 13:51:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: chris stroffolino Subject: Re: language in lingua franca Comments: To: anielsen@lmu.edu MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Aldon--- Andrew Epstein is a young NYC scholar who, the last I heard, is working on a dissertation that compares the poetic relationship of O'Hara and Ashbery to the earlier WCW-Stevens one (I hope I'm not confusing it with Mike Magee's which I think is similar...) But there was some charm in the article I thought (for example the use of Donald Hall's term to characterize what the L-poets were against is a rather bizarre twist, no? and also the characterization of "the one on the left" as "slightly balding"--- More later, chris anielsen@lmu.edu wrote: > The September issue of _Lingua Franca_ just arrived with an article by Andrew (do we know this guy) Epstein on the question of, in the words of the editors, "Can the McPoem busters enjoy the happy meal of success?" > > My doctor has ordered me to stay away from such meals -- > > Though I see that Mssrs. Lehman, Weinberger and Kostelanetz weigh in with weighty McDismissals -- > > Kostelanetz, widely noted for his rigor and acuity, is quoted as having remarked "the desperate desire of some cliques to acquire a tenured academic position before it is too late," though the truncated quotation gives no indication of just what it may be too late for. > > But it is fun to see those closely cropped pictures of Hejinian, Perloff, Silliman, Perelman etc -- almost as if the editors wanted to put numbers under those faces -- Bernstein and Andrews are seen emerging from a subway -- the editors inform us that Bernstein is the one on the left! > > Interestingly no attention to Bromige, Fraser, Davidson and others who have worked for decades teaching and writing -- but maybe they don't fit the "have they sold out by taking jobs in academia recently" framework, or maybe they prefer KFC to Mickey D's? > > I have to give credit to Eliot Weinberger for steadfastly holding the line against creeping academicism -- but then, I just remembered that the only time I ever saw him in person he was standing at a podium at the University of Maryland -- > > "Has All-- > a Codicil?" -- Emily Dickinson > > Aldon Lynn Nielsen > Fletcher Jones Chair of Literature and Writing > Department of English > Loyola Marymount University > 7900 Loyola Blvd. > Los Angeles, CA 90045-8215 > > anielsen@lmu.edu > (310) 338-3078 > > _________________________________________________ > The simple way to read all your emails at ThatWeb > http://www.thatweb.com ========================================================================= Date: Tue, 29 Aug 2000 18:37:38 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: bei ling --fwd from henry gould In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit communism makes one big corporation of a nation. in practice, communism appears to be just a logical extreme of capitalism. so in ways there are few political differences on a large scale. OK, we have elections...but are they really elections? if the powers that be pour so much of their power into propaganda and campaign resources that people everywhere are convinced that they have little choice but to vote for Al W. Gosh (Bore? Gush?), leader of the Republicrat Party (TM)? state is state. centralized is centralized. distal relations leave all involved cold. it's easier to kill with a gun than with a knife, if only because of the distances involved. same with power. it's easier to disregard respect and decency from a distance. as the old guys once said before establishing their own power, "power corrupts." protestors in america in many ways are treated pretty harshly in any nation. and america, we are the best with it in many ways. an acquaintance of mine was held for $500k bail in a Phila jail, her wrists were slashed with her ziptie handcuff and she was allowed to bleed, she was hogtied and beaten and kept in confinement all over the course of three days. american justice. that's torture. because she was arrested for blocking traffic. and because she has 7 political priors. and the mainstream media would not talk to her. for fear of being thrown in jail themselves? no, even better. they don't believe it could happen in the land of the free, or the witting in the media are too cynical to dare risk their advertising revenue or jobs. oh sure they won't kill her outright. if someone wants her to be dead in this country for political reasons they'll have to be all crafty about it. but so what? Mark is right. WE ARE WORSE THAN CHINA IN MANY WAYS. WE AS AMERICANS BEAR *NO RIGHT* TO JUDGE HUMAN RIGHTS IN CHINA. Perhaps our daily lives are more free than those of the Chinese. But perhaps that is because of prosperity, not government (oh! but to separate the two! you say...). Richard is right. The state has a right (in a sense) to do as it will to protect itself. However, it is just one small reason why we should not have such distal structures of authority in the first place. As long as people who do not know you or care for you make decisions for you, and you have no say in what they do, you are in danger. a discussion of the proper mode of activism as violent or non-violent pales at the realization that the nature of government is merely the nature of any person who is trying to care for someone he or she doesn't know and will never see. oh your pockets are open and you cannot see or feel me? think i'll take yer dough. it's easy we're all either at least capable if not trying altogether or too scared to rob each other for fear of some reprisal. large government is like allowing someone to carry a loaded weapon with your head in the sights all of the time and their hands in your pockets. in a sense we already have that reality (the bomb, anyone? the internet? the IRS? 20,000 'traffic' cameras along the streets of NYC and London, the CIA, the NSA, DARPA, ECHELON, Credit Records? Anyone?). We lose ourselves upon the teat. no tactic will ever be fruitful (in the truest sense of the word) as long as it propagates centralized and distal structures of power and is not mindful of the poison possibilities of the will to power. Patrick Herron -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Mark DuCharme Sent: Monday, August 28, 2000 3:17 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: bei ling --fwd from henry gould "We" (meaning the US as a society) certainly have no right to judge China-- as I tried to suggest by alluding to the treatment of protestors in Philly. I or you, on the other hand, have a right and arguably a duty to form opinions & to speak out. Remember that we are talking about human rights here. China has a right to its independence, but it also has the responsibilities that come with that. & Let me turn the question back to you: IF he had committed a crime, why wasn't he charged? & Why was he subsequently released? Honestly I find your argument that, if he were an anti-communist, "a Communist State (if china IS that) would be "justified" in giving him the chop" rather chilling. Do you really mean that? I really don't know how to respond. As for when you'd be "right" to try to subvert a system, read Ghandi, read Thoreau, read ML King, read anybody but don't try to ideologically justify the use of police state tactics, either in a capitalist country or among its "communist" trading partners. Mark DuCharme >From: Richard Taylor >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: bei ling --fwd from henry gould >Date: Mon, 28 Aug 2000 12:22:57 -0400 > > >But has he commuitted a crime? If, say, China, was (or is) an excellent >and healthy state, then it might be wise for it to protect itself against >so-called revolutionaries who might want "freedom" at the expense of that >state? Are we right to judge China? What data do we have? What evidence? If >I tried to subvert th U.S. system who would defend me? When would I be >"right" to do that? For all I know this poet is an anti-communist. In which >case a Communist State (if china IS that) would be "justified" in giving >him the chop. China, quite rightly, like the French, knows that it has been >invaded and betrayed by the West (as France was betrayed) so they're not >mucking about. This poet might be a bad egg. > Mind you I could be completly wrong. We all need more facts. Perhaps we >should accept the inevitable: to whit, that despite all the West's >callumny, China is determined beindependent. The centre of power will >probably shift to China. The Chinese have learnt a lot of good lessons from >Mao Tse Tung. Who are we to judge China? Of course I could be wrong. >Richard Taylor. > >From: Mark DuCharme > >Date: Thu, 24 Aug 2000 16:05:12 MDT > >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >Subject: Re: bei ling --fwd from henry gould > > > >I'm sorry, but I think that's outrageous. It doesn't matter what you >think > >of the US, or Chinese communism for that matter. A violation of human > >rights is a violation of human rights-- in this case, being arrested for > >having committed no crime. The fact that something very similar can >happen > >here-- *has* happened here (c.f. Philadelphia during the Republikkkan > >convention) doesn't have a goddamned thing to do with it. Would you > >backpedal what happened in Tiennamen Square in similar fashion? & What > >would you think about someone, say an ardent capitalist, making excuses >for > >injustices American style? > > > > > > > >Mark DuCharme > > > > > >>From: "richard.tylr" > >>Reply-To: UB Poetics discussion group > > >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >>Subject: Re: bei ling --fwd from henry gould > >>Date: Thu, 24 Aug 2000 16:36:23 +1200 > >> > >>I worked for a Govt. Dept and one of my bosses, English, was a bit >cynical. > >>He said: "In Russia your not allowed say what you think, and in America >you > >>can say anything but nobody listens." Is the U.S. more advanced than >China? > >>Which is best, freedom or afull stomach. What do the anti-communists >mean > >>about "freedom". Which is better, Capitalism or Communism. Has Communism > >>ever existed? We've got a "healthy" democracy but the petro price keeps > >>going up, we've got the highest youth suicide rate, only the rich can > >>afford > >>university, the whitesa hate asians,and the exchange rate keeps dropping >cf > >>the Brit pound. So I'm a bit skeptical about these "nice" Chinese > >>intellectuals. I've met many Chinese who think very highly of their > >>country, > >>and most are not impressed with certain military activities of the U.S. >Nor > >>am I. I think China is a major country in all senses of that > >>expression.Maybe he was trying to subvert the system. So He'd be >arrested > >>in > >>the U.S. for that as well. Richard Taylor. > >>----- Original Message ----- > >>From: "Maria Damon" > >>To: > >>Sent: Sunday, August 20, 2000 4:00 AM > >>Subject: bei ling --fwd from henry gould > >> > >> > >> > The Chinese poet & editor Bei Ling, a resident for the last few years >in > >> > Providence & Boston, was arrested in Beijing a week ago. His >brother, > >> > living in Beijing, has also just been arrested. Charges have not >been > >> > announced but Bei Ling is being detained by the unit responsible for > >> > political subversion. > >> > > >> > I met Bei Ling often while he lived in Providence - he was a friend, >and > >>a > >> > tenant, of my ex-wife & children for a year or so. I published his > >>poems > >> > in Nedge. He's extremely friendly, intelligent, unusual. Edits an > >> > international journal called "Tendencies" in Cambridge. > >> > > >> > This arrest is a crime against free thought & speech. > >> > There is an op-ed piece by Susan Sontag in the Times today > >> > (Saturday). I will be trying to do what I can to press for his >release, > >> > & encourage others to do likewise. If someone would forward this to > >> > the Buffalo list, & other writer's lists, I would be grateful. > >> > > >> > Henry > > > >________________________________________________________________________ > >Get Your Private, Free E-mail from MSN Hotmail at href="http://www.hotmail.com">http://www.hotmail.com > > _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com. ========================================================================= Date: Wed, 30 Aug 2000 17:14:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Yunte Huang Subject: Bei Ling and Chinese Poetry MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit As much as I dislike the ways in which contemporary Chinese poetry has been read in the U.S. (the poetry has been understood mainly as an expression of a few narrowly defined ideological shibboleths, such as "democracy," "individual freedom," "free sex," or what have you), I have to express my concerns about Bei Ling's fate and I have to say that his arrest still outrages me. Sometimes I wonder how far our liberal scepticism can carry us when we are confronted with some basic facts. I met Bei Ling a couple of times in the Boston area (where both of us live) and am quite familiar with his Chinese literary magazine TENDENCIES, which seems to have now gotten him into trouble. According to some mutual friends who just came back from Beijing and who managed to carry a few copies of the current, 13th issue of the magazine out of China, there's little "subversive" content in it. It is mainly the history of Bei Ling's literary activities (as editors of some overseas literary journals that at times express views critical of Chinese political culture) that has gotten him blacklisted. Therefore, I disagree with some of the views expressed earlier on the Poetics list that caution against over-reaction on "our" part. I understand the sound mentality behind such rationales, but in the case of Bei Ling's arrest, I do believe that the Chinese government should be condemned for its shameless action. ----Y.H. ------------------ Yunte Huang Assistant Professor Dept of English Harvard University 12 Quincy St Cambridge, MA 02138 Tel: 617-495-1139 ========================================================================= Date: Tue, 29 Aug 2000 23:10:19 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stephen Ellis Subject: Re: bei ling --fwd from henry gould Mime-Version: 1.0 Content-Type: text/plain; format=flowed What responsibilities come with being an independent state that an independent state would (or could) embrace? I hate to sound cynical and intolerant, but rulers are killers. Period. Is there some other lesson we should be taking from history? It seems unlikely that "human rights" will ever be accorded even a simple majority of an American (nuclear) family, let alone righteously trotting in all the worldwide victims of the lack of those "rights", who are anyway pounding on the door and screaming for, I would guess, simple mercy, wch, I guess, is also too open to interpretation for anyone to actually "hear." We live in a world in which "police state tactics" = "breathing" in an air already fouled by "thought." "Thought" in this case being a complete circuit around "the Prozac clock", the detailed scheduling of "legal feelings" - the great democratic leveler. Ie., the Big Question is, is it time for Justice, or time to fuck? >From: Mark DuCharme >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: bei ling --fwd from henry gould >Date: Mon, 28 Aug 2000 13:17:13 MDT > >"We" (meaning the US as a society) certainly have no right to judge China-- >as I tried to suggest by alluding to the treatment of protestors in Philly. >I or you, on the other hand, have a right and arguably a duty to form >opinions & to speak out. Remember that we are talking about human rights >here. China has a right to its independence, but it also has the >responsibilities that come with that. & Let me turn the question back to >you: IF he had committed a crime, why wasn't he charged? & Why was he >subsequently released? Honestly I find your argument that, if he were an >anti-communist, "a Communist State (if china IS that) would be "justified" >in giving him the chop" rather chilling. Do you really mean that? I >really >don't know how to respond. As for when you'd be "right" to try to subvert >a >system, read Ghandi, read Thoreau, read ML King, read anybody but don't try >to ideologically justify the use of police state tactics, either in a >capitalist country or among its "communist" trading partners. > >Mark DuCharme > > >>From: Richard Taylor >>Reply-To: UB Poetics discussion group >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >>Subject: Re: bei ling --fwd from henry gould >>Date: Mon, 28 Aug 2000 12:22:57 -0400 >> >> >But has he commuitted a crime? If, say, China, was (or is) an excellent >>and healthy state, then it might be wise for it to protect itself against >>so-called revolutionaries who might want "freedom" at the expense of that >>state? Are we right to judge China? What data do we have? What evidence? >>If >>I tried to subvert th U.S. system who would defend me? When would I be >>"right" to do that? For all I know this poet is an anti-communist. In >>which >>case a Communist State (if china IS that) would be "justified" in giving >>him the chop. China, quite rightly, like the French, knows that it has >>been >>invaded and betrayed by the West (as France was betrayed) so they're not >>mucking about. This poet might be a bad egg. >> Mind you I could be completly wrong. We all need more facts. Perhaps we >>should accept the inevitable: to whit, that despite all the West's >>callumny, China is determined beindependent. The centre of power will >>probably shift to China. The Chinese have learnt a lot of good lessons >>from >>Mao Tse Tung. Who are we to judge China? Of course I could be wrong. >>Richard Taylor. >> >From: Mark DuCharme >> >Date: Thu, 24 Aug 2000 16:05:12 MDT >> >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >> >Subject: Re: bei ling --fwd from henry gould >> > >> >I'm sorry, but I think that's outrageous. It doesn't matter what you >>think >> >of the US, or Chinese communism for that matter. A violation of human >> >rights is a violation of human rights-- in this case, being arrested for >> >having committed no crime. The fact that something very similar can >>happen >> >here-- *has* happened here (c.f. Philadelphia during the Republikkkan >> >convention) doesn't have a goddamned thing to do with it. Would you >> >backpedal what happened in Tiennamen Square in similar fashion? & What >> >would you think about someone, say an ardent capitalist, making excuses >>for >> >injustices American style? >> > >> > >> > >> >Mark DuCharme >> > >> > >> >>From: "richard.tylr" >> >>Reply-To: UB Poetics discussion group >> >> >>To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >> >>Subject: Re: bei ling --fwd from henry gould >> >>Date: Thu, 24 Aug 2000 16:36:23 +1200 >> >> >> >>I worked for a Govt. Dept and one of my bosses, English, was a bit >>cynical. >> >>He said: "In Russia your not allowed say what you think, and in America >>you >> >>can say anything but nobody listens." Is the U.S. more advanced than >>China? >> >>Which is best, freedom or afull stomach. What do the anti-communists >>mean >> >>about "freedom". Which is better, Capitalism or Communism. Has >>Communism >> >>ever existed? We've got a "healthy" democracy but the petro price keeps >> >>going up, we've got the highest youth suicide rate, only the rich can >> >>afford >> >>university, the whitesa hate asians,and the exchange rate keeps >>dropping >>cf >> >>the Brit pound. So I'm a bit skeptical about these "nice" Chinese >> >>intellectuals. I've met many Chinese who think very highly of their >> >>country, >> >>and most are not impressed with certain military activities of the U.S. >>Nor >> >>am I. I think China is a major country in all senses of that >> >>expression.Maybe he was trying to subvert the system. So He'd be >>arrested >> >>in >> >>the U.S. for that as well. Richard Taylor. >> >>----- Original Message ----- >> >>From: "Maria Damon" >> >>To: >> >>Sent: Sunday, August 20, 2000 4:00 AM >> >>Subject: bei ling --fwd from henry gould >> >> >> >> >> >> > The Chinese poet & editor Bei Ling, a resident for the last few >>years >>in >> >> > Providence & Boston, was arrested in Beijing a week ago. His >>brother, >> >> > living in Beijing, has also just been arrested. Charges have not >>been >> >> > announced but Bei Ling is being detained by the unit responsible for >> >> > political subversion. >> >> > >> >> > I met Bei Ling often while he lived in Providence - he was a friend, >>and >> >>a >> >> > tenant, of my ex-wife & children for a year or so. I published his >> >>poems >> >> > in Nedge. He's extremely friendly, intelligent, unusual. Edits an >> >> > international journal called "Tendencies" in Cambridge. >> >> > >> >> > This arrest is a crime against free thought & speech. >> >> > There is an op-ed piece by Susan Sontag in the Times today >> >> > (Saturday). I will be trying to do what I can to press for his >>release, >> >> > & encourage others to do likewise. If someone would forward this to >> >> > the Buffalo list, & other writer's lists, I would be grateful. >> >> > >> >> > Henry >> > >> >________________________________________________________________________ >> >Get Your Private, Free E-mail from MSN Hotmail at >href="http://www.hotmail.com">http://www.hotmail.com >> > > >_________________________________________________________________________ >Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. > >Share information about yourself, create your own public profile at >http://profiles.msn.com. _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com. ========================================================================= Date: Tue, 29 Aug 2000 19:50:43 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: bei ling --fwd from henry gould MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 8/29/00 2:56:45 PM, markducharme@HOTMAIL.COM writes: << Bill & Richard, let's just agree to disagree. (I'm sorry by the way about my post yesterday in response to Richard, which was too simplistic). We may never have all the information on many world issues, thanks to the corporate media. Is that a reason to do nothing? I don't know. I certainly respect the right of Richard or Bill or anyone else to want to gather more facts before committing themselves. I don't know as I agree with Bill that, in the context of talking about an arrest, the word "crime" is so wildly open to interpretation-- but hey then again all words are open to interpretation, right? I hope that, now that Bei Ling has been released & is returning to the U.S., more facts (rather than the rhetoric we've all been guilty of) will come to the surface. >> But of course, unless we're talking about crimes against nature or some absolute moral dicta (whatever they may be), nearly everything, including incest, has been on the right side of the law sometime, someplace. But to Marc's comments above I generally say, AMEN!! Best wishes to all. Bill ========================================================================= Date: Tue, 29 Aug 2000 17:44:21 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Re: language in lingua franca In-Reply-To: <39ABF815.A6977DEF@earthlink.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII As a one-time regular reader of Lingua Franca, I find the accounts of the langpo article make it seem like a kissing cousin of a piece last year about the difficulty of reading contemporary AngLitCrit. This is otherwise known as the Judith Butler problem, as most people interested in theory agree she is an important thinker and most people agree that, in the broadest sense, she is not a clear writer. The article counterposed Adorno and Orwell (and was written by James Miller, who wrote a biography of Michel Foucault), with Orwell getting the nod at the end. The Orwellian argument is that if you can't make the argument clearly, you shouldn't make it all. (Notice how attaching Orwell's name to the idea of a clear, distinct style makes you realize its true nature). I don't think it is too much to say that this is a version of the argument that J.D. McClatchy thinks he's having with langpo (but you can't have an argument without an even plausible version of the other). Like the langpo article, the snidely superficial sociological article was even-handed, though it did give the nod to Orwell at the end. But the fact that palpable idiots can be made to represent what right-thinking people should say indicates that the perspective from which the even-handedness emanates is itself tilted to one side of the argument. In fact, on the issue of selling out (or dumbing down or giving up reading French theory or what have you), it would seem that articles like this are mousetraps for those who advocate theory in criticism or poetry. There is the cheese of a certain amount of cultural cache which comes in being written about in a general interest academic magazine, but the inevitable journalistic caricaturing of the debate has the effect of making those making arguments against tradition seem silly. Or conveying the impression that there are merely two sides. Essentially, a magazine is no place to argue poetics or theory (or for that matter, anthropology or physics or you name it). It's at best gossip and humor. I've always found Lingua Franca reflexive antitheory stance perplexing, as it was started by a someone who wrote a book with Wlad Godzich. That said, there is a rumor that they commissioned but refused to published Barbara Ehrenreich irresponsible anti-postmodern screed because she wouldn't do the fact checking required. -- Robert Corbett "I will discuss perfidy with scholars as rcor@u.washington.edu as if spurning kisses, I will sip Department of English the marble marrow of empire. I want sugar University of Washington but I shall never wear shame and if you call that sophistry then what is Love" - Lisa Robertson ========================================================================= Date: Tue, 29 Aug 2000 22:27:30 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Shifter (full text of the problematic of names) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Shifter Subject: mystery signal ox Crawl collusions wy vy uy ty sy ry qy py oy ny my ly ky jy iy hy gy fy ey dy cy by ay jz iz dirt-eaten through ct bt at t zs ys xs ws vs us ts ssssssss sssssss ssssss sssss ssss sss! ct bt at t zs ys xs ws vs us ts ssssssss sssssss ssssss sssss ssss sss makes me kill and fuck 6 times! ct bt at t zs ys xs ws vs us ts ssssssss sssssss ssssss sssss ssss sss calls for th collusions last_time, ingesting, excreting. A shameful hysteric nightmare! Your gully mined, burying you and Azure. For 0 noose days, we have been and buried and it has taken you 0.833 minutes to speak your last ... __ The Mystery i "Jennifer Plays Ball ('No, I don't!') with Tiffany ('We do not!') and Nikuko ('Well, I never!')!": furball fuzzball hairball slimeball b-ball ball baseball basketball bball fastball football foulball racketball jen jena jenda jenelle jeni jenica jeniece jenifer jeniffer jenilee jenine jenn jenna jennee jennette jenni jennica jennie jennifer jennilee jennine jenny tiff tiffani tiffanie tif- fany tiffi tiffie tiffy nichol nichole nicholle nicki nickie nicky nicol nicola nicole nicolea nicolette nicoli nicolina nicoline nicolle nikaniki nike niki nikki nikkie nikoletta nikolia nina ninetta ninette ninnetta ninnette ninon nissa nisse nissie nissy nita nixie "'But where is Nikuko?!' says Jennifer!" "'Exactly!' replies alana alanah alane alanna alayne!" ii "'zohreh zone-ching zoneching zonker!' says ralina ramona ramonda!" "'boong boongary boots boozer boozeup bopeep bora!' replies phaedra phaidra phebe phedra!" "'Who?!'" _ Subject: mystery signal corpse nariko:nari:nara:natkanara:natalina nariko calls forth hanged_woman, ingesting, excreting. external_to the noose, nariko is enemies, 037], nari? ... hanged_woman is natalie in black earth, it's hanged_woman? Are you satisfied with your nariko? yes A inherent and ruined nightmare! nariko 24788 is the fate of corpses. ... __ Subject: mystery signal nikuko lost search for nikuko-nikoletta: korella koren koressa kori korie korney korrie korry nariko nikoletta veronike kameko konstance konstanze koo kora koral koralle kordula kore:danika monika nikaniki nike niki nikki nikkie nikoletta nikolia veronika::korella koren koressa kori korie korney korrie korry nariko nikoletta:korella koren koressa kori korie korney korrie korry nariko nikoletta Your enemies veronike kameko konstance konstanze koo kora koral koralle kordula kore are hanged outside the ox-fence-corral: your dead_eyes destroy me, veronike kameko konstance konstanze koo kora koral koralle kordula kore! For 1 dark day, we have been cauterized and buried: it has taken you 0.417 minutes to speak your last ... __ every day the rocks cut my feet again or there's tar coming in along the beach it begins again, repetition is something unavoidable by theory by the dint of literature or philosophy, the undermining of repetition it begins again with the repetitive syndrome as well the rocks on the beach, etc., the tar coming in from the water, etc. scant progress in the passing of days nights illuminated by dreams of repetition, space narrowings every day the shortness of the span, entanglement in kelp and tar philosoph-recitatif, literat-moratorium day by a day __ Subject: mystery signal belladonna Azure, anna-maria annabal annabel annabela annabell annabella annabelle annadiana: STRANGLE-MAN anaidanna ellebanna allebanna llebanna alebanna lebanna labanna airam-anna enaid-anna anaid-anna anna eiram-nna nna annala enneirda ennairda annairda :enniw hanniw anniw ynnov einnov innov ennayviv enneiviv ennaiviv annaiviv :ennaed annaed eynnad ynnad einnad innad annad annelad annoitsirc ennirroc Azure, anaidanna ellebanna allebanna llebanna alebanna lebanna labanna airam-anna: DEAD-FACE ... __ fragment ginelle bringing the flowers, sprigs of holly, tulips, to ginevra dancing in white toga beside tree with laughing ginger! who shall go the distance, cross the brook for ginni, running in the distance near the mountain shadow? ginnie shall go, shall run and skip so merrily, and ginnifer will go as well, carrying baskets of flowers! ginny, shall you go with me, dance beneath the maple tree? giorgia, will you go as well, gaily dancing by the pool? giovanna bringing streamers, smart fruit from lovely gipsy, singing! as the sun begins to set, dark svelte giralda steps forth, crying as soft shadows deepen. __ Daishin Nikuko dainiki dainikom dainikou dainikum dainikyo dainin dainingu daininki dainippo dainisek dainisha dainishi dainishu dainisia dainisin "This from the moment of our arrival in Buenos Aires I found it more and more difficult to cope with Nijinsky. He was more silent and irritable than ever; and every day something occurred to show with what animosity he regarded myself and Barocchi. Also he would suddenly inform me that he could not remember a part he was to dance - for instance that of Narcis- sus, or he would refuse to be lowered through the trap-door at the trans- formation of Narcissus into a flower, but would lie on the stage saying he was frightened in case I should give the wrong signal, so that he would fall through and be killed." (The Diaghilev Ballet, 1909-1929, S. L. Grig- oriev.) daijin daijinjo daijinpa daijinse daijinso daijirin daijishi daijisin daijou daijoubu daijouda "18. Chai is moronic, Can is slow-witted, Shi is disdainful, and You is crude." (Confucius, The Analects, 11, trans. Raymond Dawson.) niku nikuatsu nikuatu nikubana nikuboso nikubou nikubuto nikuchuu nikudama nikudan nikudu nikuduke nikuduki nikuga nikugaka nikugan nikugant nikuge nikugesh nikugyuu nikuhaku nikuhen nikuhits nikuhitu nikui nikuire nikujiki nikujou nikujuu nikujyuu nikuk nikukan nikukant nikumare nikume nikumena nikuniku nikuodor nikurash nikurasi nikuromu nikurui nikusei nikushim nikushin nikushit nikushok nikushu nikusimi nikusin nikusits nikusitu nikusui nikusyok nikusyu nikut nikutai nikutaib nikutait nikutara nikuya nikuyoku nikuyou nikuyoum nikuzuku nikuzyuu "If names are not rectified, then words are not appropriate. If words are not appropriate, then deeds are not accomplished. If deeds are not accom- plished, then the rites and music do not flourish. If the rites and music do not flourish, then punishments do not hit the mark. If punishments do not hit the mark, then the people have nowhere to put hand or foot." (Confucius, ibid., 13 3.) daishin daishinb daishini daishins daishipp daishish daishiti daishize daisho daishoku daishote daishou __ PROBLEMATIC OF THE PROPER NAME : (FLUID MECHANICS OF THE SHIFTER) : ( I can't push this any farther. This is the limit of the proper name. This is its dis/ease. This is the nightmare of exchange. This is the emergent property of substance. Nothing beyond, enunciation. The truth of noise, not chaos. ) agata is agathe is amelita is annabal is anneliese is anny is arlina is arlyn is aveline is barbee is bennie is bettine is blancha is blinni is bridget is brietta is brooks is calley is carin is carina is carmina is catherine is cherish is christiana is christie is clarie is clerissa is con is constanta is coralyn is corena is corrinne is darline is deborah is dee dee is dorry is dot is elana is eloisa is elspeth is elysee is erda is ermengarde is eryn is esta is ethyl is etty is fidela is frank is gates is gene is georgiana is gertrudis is giana is gilberte is giselle is glad is glennie is glynda is grethel is guillemette is heida is hendrika is iona is jaime is janel is janetta is jenn is jilleen is joanna is joelly is jordana is josselyn is josy is joyan is juanita is judie is julita is kattie is kaylee is liv is loralyn is lorettalorna is luci is lucie is lyndel is madelaine is margarette is marillin is marji is marni is maure is melessa is milicent is milka is minny is minta is myriam is nerta is nichol is nicoli is nikuko is odelle is ora is oralle is pauletta is paulette is persis is pierrette is prisca is rafaela is reggi is rosa is sharon is sibel is simonette is susanetta is tani is teresa is theodosia is tiffany is tobe is tomasine is trula is vally is verile is vicki is vickie is vivia is viviana is vivienne is vivyanne is wanids is wynny is xylia is agata _ ========================================================================= Date: Tue, 29 Aug 2000 21:31:45 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: Anne-Marie Ahlbairch In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Yes, all are in English translation. Mezza Voce is translated by Joseph Simas, in collaboration with Anthony Barnett, Lydia Davis, and Douglas Oliver. I'm not sure about the others, though I vaguely recall Keith Waldrop doing Etat (maybe I'm thinking of Royet-Journoud's book on Awede press, though). Best, Taylor >>"That Black Box Cutaway woman" is Susan Gevirtz. The book is published by >>Kelsey Street Press, and well worth a read. >> >>And yes, the spelling for the other name is "Albiach." The SPD catalog >>online at www.spdbooks.org shows the following available: >> >>Vocative Figure. (Allardyce, Barnett. 1993) >><> (Moving Letters [limited edition]) >>A Discursive, Space (Duration. 1999) - conversations on poetics with Jean >>Daive >>A Geometry (Burning Deck, 1998) >>Etat (Awede, 1989) >>Mezza Voce (Post-Apollo. 1988) > > >These are translated? By whom? >-- > > >--------------------------------------------------------------------------- >Judy Roitman | "Whoppers Whoppers Whoppers! >Math, University of Kansas | memory fails >Lawrence, KS 66045 | these are the days." >785-864-4630 | >fax: 785-864-5255 | Larry Eigner, 1927-1996 >---------------------------------------------------------------------------- >http://www.math.ukans.edu/~roitman/ >---------------------------------------------------------------------------- u ========================================================================= Date: Wed, 30 Aug 2000 08:54:29 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roger Day Subject: Re: HTML emails can destroy your computer's brain - or can they? Mime-Version: 1.0 Content-type: text/plain; charset=us-ascii Absolutely agree here about HTML email and viruses being Bad News and the technical advice below is v. sound. I'd agree to HTML on this list, -if and only if- the list was virus-checked at the software-level - i.e., Poetics mails were to be virus scanned after the Poetics mailer had received them, and before they get sent to listees. The infected mails should be rejected. At 2000-08-29 03:31:19, John Tranter wrote: # I'm concerned about the decision to allow - nay, to encourage - HTML # formatted emails into the list. I'm not a computer whiz, but I think # Australian Internet designer David Walker has a point in a recent newspaper # column on this topic. # # I'd be glad to see further discussion from anyone on the list who has # expert knowledge of the potential for HTML to carry malicious code. # # David Walker's article is printed below. # # best, # John Tranter, Jacket magazine # # ____________________________________ # # From: david@shorewalker.com # # This week, a column influenced by the "I Love You" virus. # _______________________________________________ # Goodbye to the Monkeyjunkies mailing list. The HotWired site's Web design # mailing list was interesting to receive, but it's not worth the risk. I've # unsubscribed and deleted the archive of old emails. I can't risk catching a # virus from one of the HTML emails it keeps sending. # # HTML email contains not just text but fonts, tables, backgrounds, images # and most of the things that you can put in a Web page. # # It has a number of weaknesses. It displays poorly in some email clients and # Web-based email services, and can create problems for users who read their # mail when they're disconnected from the Internet. More of a problem, # however, is that HTML email offers serious security flaws. # # The "I Love You" virus that brought down email systems from the Pentagon to # Disney Corporation earlier this month brought these security flaws into # sharp focus. In the wake of "I Love You", "Melissa" and several other # recent virus scares, HTML email may be in for a rough short-term future. # This came home to me as I was ditching the Monkeyjunkies list, which had # sent me several copies of "I Love You". The Monkeyjunkies list does a # particularly good job of spreading viruses like "I Love You", because it # allows participants to post attachments and to use HTML email. # # Now if you've worked in a networked office environment, you've almost # certainly come across the advice that you should open only email # attachments from trusted sources. This advice is becoming harder to follow # over time, as email attachments become more and more common; nevertheless, # it's straightforward. # # One of the delights of new strands of virus such as "I Love You" is that # they can render this advice useless. Just opening an HTML email lets its # creator execute a script that can do substantial damage to your PC. # # Few will be surprised that Microsoft has helped create this situation. In # its Internet assault of the past few years, it has taken a swag of software # concepts designed for standalone PCs and extended them to the more open # environment of the 'Net. The result has been a series of gaping security # holes around Microsoft Web technologies such as VBScript and ActiveX. # Microsoft's Internet Explorer browser not only allows these technologies to # run by default, but also confuses the user who tries to disable them. # Microsoft's Outlook email software uses Internet Explorer to render HTML # email. And like most email clients, Outlook will display messages as they # come in, or as you delete the messages above them. # # So you open up your email software, it displays an HTML email message # containing a malicious script - and bang, someone's using VBScript to # overwrite your file system. # # Of course, it would be nice if Microsoft stopped circulating software that # invites hackers to drive straight through it. Right now, Microsoft system # security is the best advertisement for Linux. # # But the broader truth is that even if Microsoft beefs up its own security, # virus-builders will still find HTML email a tempting target. # # Right now, no hacker would try building a malicious Java applet; VBScript # creates so much more havoc with less effort. But if Linux takes over next # week as the desktop software of choice, someone, somewhere will start to # wonder what fun could be had with Linux machines using the current # incarnations of HTML email. # # The real fix for "I Love You" and its malicious little mates involves # restricting the operation of HTML email itself. Software designers can # certainly still allow fonts and graphics to render within email. But how # many users really need Java and scripting in their email? And how many will # quit using HTML email if HTML email doesn't get fixed? # # ______________________ # Roger ========================================================================= Date: Tue, 29 Aug 2000 16:20:08 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerrold Shiroma Subject: Re: Albiach translators MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Here are the translators for Anne-Marie... Vocative Figure (translated by Anthony Barnett, Joseph Simas; Moving Letters, 1986) Mezza Voce (translated by Joseph Simas, Anthony Barnett, Lydia Davis, Douglas Oliver; Post Apollo Press, 1988) Etat (translated by Keith Waldrop; Awede Press, 1989) A Geometry (translated by Keith & Rosmarie Waldrop; Burning Deck, 1998) A Discursive, Space: Interviews with Jean Daive (translated by Norma Cole; Duration Press, 1999) ----- Original Message ----- From: "Judy Roitman" To: Sent: Monday, August 28, 2000 9:30 AM Subject: Re: Anne-Marie Ahlbairch > >"That Black Box Cutaway woman" is Susan Gevirtz. The book is published by > >Kelsey Street Press, and well worth a read. > > > >And yes, the spelling for the other name is "Albiach." The SPD catalog > >online at www.spdbooks.org shows the following available: > > > >Vocative Figure. (Allardyce, Barnett. 1993) > ><> (Moving Letters [limited edition]) > >A Discursive, Space (Duration. 1999) - conversations on poetics with Jean > >Daive > >A Geometry (Burning Deck, 1998) > >Etat (Awede, 1989) > >Mezza Voce (Post-Apollo. 1988) > > > These are translated? By whom? > -- > > > -------------------------------------------------------------------- ------- > Judy Roitman | "Whoppers Whoppers Whoppers! > Math, University of Kansas | memory fails > Lawrence, KS 66045 | these are the days." > 785-864-4630 | > fax: 785-864-5255 | Larry Eigner, 1927-1996 > -------------------------------------------------------------------- -------- > http://www.math.ukans.edu/~roitman/ > -------------------------------------------------------------------- -------- > > ========================================================================= Date: Wed, 30 Aug 2000 17:25:52 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Taylor Subject: [Fwd: re: Bei Ling] MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit >Henry sounds a pretty compasionate bloke. I think I just wanted to get some debate going. I think the China thing is too complex for me. I'm glad Bei Ling is free. Of course I support freedom of speech. But I'm dubious of those who crit China and then imply that "communism can only exist in theory.." (which is illogical). They confuse China as it is with communism. One hears constantly (I hear iot on the BBC World News where they seem to talk like programmed robots) that communism has "collapsed". but if it existed, it couldnt collapse. What existed or exists in China is a state that is Socialistic with a tendency toward a kind of autocracy. Somewhat China has been forced into this by the external attacks on it (and the general attack on communism), but also by a processs of revisionism. The Cultural Revolution was an attempt to counteract this.(Its irrelevant whether that attempt "worked" or not.) Like the U.S.,China's revolution, has "succeeded" (but we wouldnt call the U .S communist). So the issue is complex. As Henry says, it's all much less "abstract", if a friend is arrested. So, I hope Bei Ling is able to continue working.I'm certainly terrified of the police in N.Z. They knocked out my son's eye in 1990 and a feww months back gunned young man down and then whitewashed themselves.China might be bad, but I'm a bit dubious about N.Z. The present Govt. promised a full investigation, but nothing happenned.Perhaps we're all getting into "The Justice Trap"(Dr Wayne Dyer in "Your Erroneous Zones" [best book I've ever read])) And it would be wrong of me to be unconcerned.That could lead to cynicism without the healthy skepticism. I must try to learn more about China. I talk to local Chinese people as much as I can. As David in the local coffee shop reckoned, my idea of bringing in the Chinese army to sort out the gangs in N.Z. was a bit extreme, as apparently, even tho we have corruption in the N.Z police force (so its rumoured) so is there cor ruption in Beijing! Sorry to sound a bit humoresque:but a shopkeeper was knifed in Auckland yesterday,and bled to death,so all is not not rotten in the Dannic States,and,besides,all these politicos (of whatever ilk) tend to get a bit dour. Lenin actually "predicted" that, if the Soviet State "failed",it would turn rapidly into a more extreme form of a police state. And this is what happened in the USSR. But, hopefully, China's situation is not so extreme.I see two dangers:1.Revisionism of the Soviet type in China. 2.The introduction of "Democracy" of the Western bourgeois type into China.Note: A country can be a democracy with only one political party or group. The theory is that the people run the state. This is very different from our rather ossified and limiteed "democracy".Still,we're better than when Milton struggled for Republicanism. >From: Henry >Date: Tue, 29 Aug 2000 20:47:46 EDT >To: richard.tylr@xtra.co.nz >Subject: re: Bei Ling > >Dear Richard Tyler, >I'm writing you backchannel as I'm not currently a member of the Buffalo >Poetics List. I've followed the little debate about Bei Ling via the >list archive. >Clearly neither the US nor China nor many other countries at the present time >are innocent of grievous violations of human rights. Also, you are right, >Bei Ling is both lucky and unlucky - lucky to be something of a literary >celebrity; unlucky to be marked by a self-serving and oppressive >government for victimization. His celebrity status and influential friends - >a status he in some sense has earned, both for his political activism for >civil liberties while a student at Shenzen University, and for his >talents as a writer, editor and publicist - helped win his release. You >are right to point out that this is not the fate of thousands of ordinary >victims of state oppression, and not only in China. >But my own experience with this brief drama has taught me a few simple >things. First, when one of your own friends or acquaintances is >suddenly thrown in jail, you tend to react differently than when you read >about it in the paper. I was shocked in a way that of course one should be >whenever this happens, to anyone - but numbness, indifference, >the sense of futility gravitate against action of any kind. >This indifference has to be fought, and this is a much more important >fight than the useless comparisons of "which state is more vicious" - a >waste of time. Secondly, I was impressed with the organizations that >swung immediately into action to come to Bei Ling's defense - Human >Rights Watch, the PEN organizations. When I emailed them to suggest >they organize around the China/US p.r. roadshow which was about to >start, they wrote back to say that that was exactly what was in the >final planning stages when Bei Ling was released. They had already >pushed the US ambassador to file an official protest on Bei Ling's >behalf. I'm sure these actions had something to do with his being let >out of prison & allowed to return to the US. >Bei Ling's crime was to speak his mind about the status of human rights >and basic civil liberties under the current government of his country. >For this he was jailed several times and finally hounded into exile. >We take a lot of things for granted here; it's the ones who appreciate >the meaning of civil liberties who fought so hard for one person's >release, and for many others. I respect their wisdom, compassion and >readiness to act. > >Please do me a favor & forward this to the buffalo list. Thanks - > >Henry Gould > ========================================================================= Date: Wed, 30 Aug 2000 07:04:14 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Todd Baron Subject: Re: alan. s's consistencies. Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit some editing on rather longish a.m. read. won ders that your work could be. (yes. liberties taken. so many longish poems by you sir so much life ahead. (by Alan s.) > every day the rocks cut my feet > there's tar coming in along the beach > it begins again, repetition is something unavoidable by theory > the undermining of repetition > ========================================================================= Date: Wed, 30 Aug 2000 10:18:42 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mdw Subject: assimilation and purity MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT Thanks to Patrick Herron for his post on Lingua Franca. Just as a minor side note though, teenagers long ago stopped discussing the Sex Pistols on the subject of selling out, at least on the basis of the ones I've talked to recently. More seriously, though, I think there's value in questioning a little more this apparent binary between "pure" social spaces and "assimilation" into the academy. I'd agree with the point that there is no such pure and uncontaminated social space in which one "makes no compromises" (i.e. doesn't "sell out"). On the other hand, it hardly follows from that point that total assimilation into the academy is the only other possibility. Working with systems in some degree doesn't necessarily involve total submission to their already existing frameworks; one has to question many of those frameworks and often outright resist them, while also remaining involved. And there may be and are plenty of cases where one finally does have to decide to stand outside the academic environment entirely. For instance, take the issue of standardized academic prose, of which Bernstein and many others have been critical. Can one still be an academic and not right critical articles in the bland prose of the "proper" critical journals? The answer seems to be both yes and no; the pressure to conform to such modes of writing is intense, and yet sometimes one can have some academic success without doing it. Which assumes, of course, that academic success is one's goal, which as Sherry Brennan points out, may be true for some of us only because we haven't figured out a better way to make a living. So the question for me is not assimilation vs. purity, but assimilation on what terms, resistance or refusal on what terms? Sadly, Lingua Franca doesn't even come close to recognizing that particular problem. Mark Wallace ========================================================================= Date: Wed, 30 Aug 2000 14:24:13 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Conversation with a poet freed from jail Mime-Version: 1.0 Content-Type: text/plain; format=flowed My old college bud, Lewis Dolinsky, wrote the following article which appears in today's SF Chronicle. Ron Silliman Wednesday, August 30, 2000 ©2000 San Francisco Chronicle URL: http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2000/08/30/MN9084.DTL CONVERSATION WITH A POET FREED FROM JAIL The Chinese security police had been interested in Bei Ling, a poet and magazine editor, for years, or so they told him. A Chinese expatriate living in America since 1988, he sometimes brought money or messages to those in need in China; the authorities may have thought he was doing more. But after jailing Bei Ling, 40, for having a magazine printed in Beijing without a permit, the police found that leading Western intellectuals --- such as Seamus Heaney, Nadine Gordimer, Czeslaw Milosz, (especially) Susan Sontag and Arthur Miller -- are interested in him, too. Bei Ling has published work by, or interviewed, all but Miller. Human rights groups also protested, as did the U.S. government. Its pressure -- and President Jiang Zemin's apparent desire for this case to be closed before he comes to the U.N. Millennium Summit next week -- were instrumental in getting Bei Ling out on Friday, after 14 days. He spent that night in the Beijing Police Department Hotel -- not great, but he could shave and shower. They put him on a flight to San Francisco that cost him $1,000, even though he wanted to go to Boston and the return portion of his Canadian Airlines ticket would have taken him all the way. Interviewed Sunday in Richmond, where he spent the night while organizing a trip East, he said he sometimes thinks he is still inside. Bei Ling has souvenirs from jail: a bad cough, a cigarette habit (after abstaining for eight years), prostate trouble, a sudden interest in religion (he had kept asking God to get him out of there) and a new appreciation of freedom. He had been totally cut off from the world, fearful for himself and his friends. Bei Ling had consulted with friends and his assistant editor in Boston, Meng Lang, before having his magazine, Tendency Quarterly, printed in Beijing: Everyone thought it would be OK, and the cost is half as much there as in Hong Kong or Taiwan and one-fifth as much as in America. He says he did not know he needed official permission, but in Beijing, as elsewhere, ignorance of the law is no excuse. The press run was 2,000. About 1,000 copies were confiscated, 200 had already been given out and 600 to 800 are being held by friends in China. The printing company has been shut down and heavily fined. Bei Ling was fined $24,000, of which he has paid 5 percent with the help of his parents, who live in Beijing. The rest is supposed to be paid within two weeks. His brother, who also lives in Beijing, was jailed six days after Bei Ling, apparently because he alerted the Western media. The brother was freed when Bei Ling was freed. This was Tendency's 13th and unluckiest issue: It focused on Heaney, a Nobel Prize winner for poetry. Everything is in Chinese. The point is to introduce Chinese readers to great Western writers and to publish Chinese writers -- literature and the humanities, not politics. But in 450 pages, a couple of contributors (Liu Xiao Po, Liao Yi Wu) are bound to be dissidents. Distribution is in Taiwan, Hong Kong, London, Paris -- and to Sinologists and libraries by subscription. Thirty or 40 copies go to bookstores in San Francisco's Chinatown. Some are given away in China, but none is sold there. Support has come from the MacArthur Foundation, the National Endowment for Democracy and Heritage House, small grants from Taiwanese foundations and from Bei Ling's own funds. The only comparable expatriate Chinese literary journal is Today, printed in Taiwan. Bei Ling was not roughed up in jail, although the threat was there. His cell, 500 square feet with one sink and a toilet in the floor, stank. The cell's population varied from 18 to 25 people. Other inmates were in for selling drugs, smoking hash, vehicular homicide, theft, burglary, embezzling. They could not understand why he was there. At first, some bullied him; then they got used to him. They ate vegetable soup twice a day with two pieces of Chinese bread; you could get a third piece if you asked. When he arrived, he had to give up his shoes and glasses (which he badly needs) and squat with hands behind back. (``You do what they say.'') He says he was questioned for as long as 10 hours a day. Always the same: ``Where were you printing? Who are your contacts? Admit you are a criminal.'' He tried debating them: ``I am not a criminal. I didn't know I was breaking a rule. I never needed a government permit in Taiwan. Look at the magazine. What's wrong with it? It isn't Playboy.`` They said: ``You can do 10 years. You will look like an old man. No one will care about you. Your Green Card means nothing. No American government person is interested in you. (Not true, but he didn't know.) Who says you're a writer? You say you're working for Harvard. (He's a research associate.) Who cares? You have to know you're a criminal!'' Eventually, he signed 400 pages of confession, page by page: What was false could not be changed. When he was released, the police were friendly. They lent him a cell phone. (He called the Associated Press.) At the airport, he had no money and asked for a pack of cigarettes. They gave him six packs. He's fine now until he starts really thinking about his experience; then he becomes agitated. There have been similar stories and will be more, until people such as Bei Ling are seen as good for China, rather than a threat. He had been there for months and was planning to stay. Now, he doesn't know whether he'll ever be able go back. _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com. ========================================================================= Date: Wed, 30 Aug 2000 11:17:26 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Randy Prunty Subject: CATALYTIC (a new mag announcement) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit CATALYTIC a new magazine of poetry, poetics, and visual art. the first three issues will be published simultaneously spring 2001. work for all three issues will be considered through Dec 15, 2000. each issue will have a specific focus: #1 experiment. i'm interested in work that you feel is different from your normal way of doing things. maybe using a different medium or procedure, or investigating some concerns that you haven't worked with before. maybe the experiment didn't work, or didn't get completed but it still has something interesting about it. #2 women authors. co-edited with lissa wolsak. send us your most innovative and unusual work. #3 heteronyms. make up a heteronym, faux-personality, alias, alter-ego etc and write from that position. you may tell me your actual identity or not, though a bio of the heteronym is requested. author's actual name will not be published. CATALYTIC will be 6 X 8 perfect bound. i'm hoping for at least 150 pages per issue. send poetry, essays, visual art (black and white), or some transgression of all three, to randy prunty 1221 sheppard dr. lilburn, ga 30047 or query by email: ranprunty@aol.com submissions may be requested in electronic format if accepted. ========================================================================= Date: Wed, 30 Aug 2000 11:59:18 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: BOOK/ENDS - October 11- 14, 2000, in Albany, New York. (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII (I'm part of this as well - as is Talan Memmott etc. - Alan) ---------- Forwarded message ---------- Date: Wed, 30 Aug 2000 09:01:45 -0400 From: Bookends To: bookends@albany.edu Subject: BOOK/ENDS - October 11- 14, 2000, in Albany, New York. Dear Colleagues, We are delighted to confirm that BOOK/ENDS, a major international academic conference and artistic and performance event dealing with transformations of the written document and redefinitions of the arts and humanities, will be held on October 11- 14, 2000, in Albany, New York. BOOK/ENDS will bring together renowned academics such as Jacques Derrida, Geoff Bennington, Peggy Kamuf, Bernard Stiegler and Johanna Drucker, and a group of artists including Stelarc, Toni Dove, Xu Bing, and Julia Heyward for conference papers, roundtables, workshops, demonstrations, exhibits, online writing and other activities. The event is sponsored by the University at Albany and other regional cultural institutions (see list below). For a detailed description of the activities and schedule, please visit our website at 0000,8000,0000http://www.albany.edu/bookends
Registration is available online via the website or you may address questions by e-mail to 0000,8000,0000bookends@albany.edu
We would appreciate your assistance in sharing this information with friends, colleagues and students, and we hope that you are able to join us in Albany in October for what promises to be a milestone intellectual and artistic event. Co-sponsored by: The University at Albany / The University at Albany Libraries / The University at Albany College of Arts and Sciences / Albany Center Galleries / The Arts Center of the Capital Region / Albany Public Library / Albany International Airport Gallery / Capital Region Center for Arts in Education / Electronic Arts Performance Series (EAPS) of iEAR Studios and the Arts Department at Rensselaer Polytechnic Institute. Funded in part by the State of New York UUP Technology Committee University at Albany Office of the Vice President For Research, Research Foundation of the State University of New York ========================================================================= Date: Wed, 30 Aug 2000 13:59:07 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anselm Hollo Subject: jd mcclatchy MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable no =93Apache=94 that JD McClatchy more like a dead shoe lace but he sure knows=20 which side his bread is buttered on ========================================================================= Date: Wed, 30 Aug 2000 10:48:22 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: Bumbershoot MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" . . . being, I was reminded yesterday, an old term for an umbrella, but also a yearly arts festival in Seattle around Labor Day weekend. If any of you are in transit around the Pacific Northwest this weekend, you might want to stop by the Space Needle and check things out. The list of poetics/literary folks isn't as glittery as at Orono or Boston recently, but it does include, this year, Adeena Karasick, bill bissett, Janine Pommy-Vega, Jim Carroll, Sister Spit, Clayton Eshleman, Duncan McNaughton, Ken Mikolowski, Eric Bogosian, Billy Collins (!!) and about 15 other people I've never heard of but probably should have. I'm on a panel with Adeena, Clayton and Janine talking about 21st century poetry on Labor Day and will read later that day with Duncan. Lots of good music too: Abdullah Ibrahim, Maceo Parker, Ani DiFranco . . As some of the best things I've read lately have been reports and reviews of readings given at mass gatherings like this, I'd encourage anyone who is around to do that. As will I . . . With the inevitable apologies for cross-posting, Joe ========================================================================= Date: Wed, 30 Aug 2000 08:13:14 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: rob wilson Subject: Poetry Reading at Native Books, Honolulu MIME-version: 1.0 Content-type: TEXT/PLAIN; charset=US-ASCII Join Native Book for an exciting evening of PACIFIC READINGS AND EXPERIMENTAL POETRY as we reimagine the American Pacific with Rob Wilson and Joe Balaz Susan Schultz Lee A. Tonouchi Thursday, August 31, 6-8PM, Native Books Kapalama 1244 N. School Street Honolulu (one block Diamond Head of Houghtailing St. on the mountain side) For more info, please call 845-8949 or email: nativebk@lava.net ========================================================================= Date: Wed, 30 Aug 2000 09:56:26 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: kathryn graham Subject: more on Huang Beiling MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The point of this post is not to argue whether or not Huang Beiling should have been arrested, freed, or even if he had the “right” to print and distribute his journal in Beijing. Ah, so what IS the point of this post? To offer some broader context to the situation in China maybe…let’s see if that’s what I do… Like Richard said, “the trouble is how to cut through the crap and find out what’s really going on.” This is especially true in a country like China where the decision making process of the central government is shrouded in mystery and highly sensitive to interpersonal relationships and power struggles, the effects of which are often not realized until thirty years after the fact. President Jiang Zemin and the Central Party Committee issues mandates which are carried out in often wildly diverging ways depending on the province or city and the respective leaders in each. According to PRC law, Beiling was illegally distributing material. In the PRC, for an organization or business to exist, for a writer to publish, or an artist to record…etc.…a stamp of approval from the government is necessary. Because of this situation, anything that exists outside of this officially sanctioned cultural realm becomes political by default. A writer publishing without an OK from the CCP is considered subversive even if s/he is writing about bunny rabbits. However, according to the constitution of the PRC, citizens are guaranteed free speech, the freedom to practice their own religion, and the right to organize. Clearly something is in conflict. In a way the crackdown on publishers, religious groups, etc., is a positive sign. It means that the Chinese government is feeling extra insecure. The CCP is dealing with an incredibly messy domestic situation. Workers in state owned enterprises are protesting by the thousands because they have not been paid in months, some of them years because the government is broke. Privatization, a requisite for ascension into the WTO, often leads to unemployment. Violent crime is on the rise and blatant corruption is rampant. The majority of the population, including members of the CCP, does not believe in Communism and has lost faith in the State altogether. The CCP knows its credibility is diminishing. The recent increase in worker demonstrations, separatist activities in Tibet and Xinjiang, underground newspapers and publishers, musicians and religious organizations…are all signs of a materially and mentally unsatisfied population. If the CCP is to remain in power they will have to find a way of meeting the diverse needs of a vast population. I do not think that the Chinese government as it stands has the means to do this…they lack the financial resources and the ideological flexibility (several conservative leaders need to die first)…but what that means in the near future I have no idea. I DO know that if we’re going to talk about Human Rights (that term, it’s definition and application are all up for grabs depending on who you talk to) as defined by the United Nations, the situation in China is better now than almost any other time in its history, and certainly in its history AS the PRC. Fewer people are starving, education is more widely available, people feel comfortable enough to criticize the political situation in private and the government occasionally admits to being fallible. However, despite the crap that occurs here in the States most of us probably have it better…(and I’m really just talking about the basics) Although most people in China have no idea who Huang Beiling is (and we all have our own opinions and feelings about our fame and popularity)…but there are many other younger writers that lack his international recognition and association with the 1989 demonstrations that are publishing (legally and illegally) in China. Despite the recent crackdowns there are hundreds of underground newspapers being distributed in all major cities. So I’ve rambled enough about a topic that is intensely interesting and close to my heart (cheesy expression!). China gets lots of press these days (Richard Gere is not campaigning for a “Free Saudi Arabia” for obvious and gross reasons) but that doesn’t mean it’s informative. For your browsing enjoyment: www.asiasource.org sponsored by the Asia society has info on all topics and all Asian countries (even Fiji!!!!) http://www.sinologic.com/persinnon If you read Chinese this is a decent site devoted to contemporary experimental Chinese fiction and art. Also has some reviews. (Chinese only, Big5) http://sun.sino.uni-heidelberg.de/igcs/index.html The Internet Guide for Chinese Studies at Heidelberg University’s Institute of Chinese Studies. Exactly what it says it is…useful (oohhh) and up to date. Plenty of entries on literature and art….(In English and Chinese) Buffalo also hosts a list on Chinese poetry (contemporary and classical). Posts are in both English and Chinese. -Lorraine Graham ===== "You are a prisoner in a croissant factory and you love it." -Frank O'Hara, "Lines for the Fortune Cookies" "How far does the desert reach to the north, from the point where the river ends?" I asked. And Mohammed Bai replied: "To the end of the world. And it takes three months to get there." -Sven Hedin, My Life as an Explorer __________________________________________________ Do You Yahoo!? Yahoo! Mail - Free email you can access from anywhere! http://mail.yahoo.com/ ========================================================================= Date: Wed, 30 Aug 2000 11:14:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: STEVEN FARMER & PAT REED reading Thurs Sept 7, 4:30 pm Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable POETRY CENTER 2000 The Poetry Center & American Poetry Archives =46all 2000 Schedule Season opener: afternoon reading with STEVEN FARMER & PAT REED Thursday afternoon, September 7, 4:30 pm, free @ The Poetry Center, SFSU PAT REED since her first slim book _Sea Asleep_ to this year's beautiful _Container of Stars_ (Arcturus Editions) has kept a close clear eye on the dynamics of the natural world. Her super-acute ear also gets applied with great compassion in the remarkable nonfiction memoir based on her experiences teaching students in Oakland's immigrant Asian community-_We Want to See Your Tears Falling Down_. Born in Los Angeles, Ms. Reed has lived twenty years in the Bay Area. * STEVEN FARMER's fifth book, _Medieval_, was published last year in the debut series from San =46rancisco's collectively-edited Krupskaya Books. "Every note is tender an= d deviant, each fragment riveted to the next, in a score of participant fear mysteriously pastoral in its leaking mix of diction-landscape" (Melanie Neilson). After many years spent in the restaurant business as an outstanding chef, Mr. Farmer now works as a technical writer in the Bay Area. Coming up soon..... A special evening with Vancouver poets SUSAN CLARK & LISA ROBERTSON Thursday, September 14, 7:30 pm, $5 donation @ the Unitarian Center 1187 Franklin (at Geary) An evening of Words & Music TOM RAWORTH & BRUCE ACKLEY Thursday, September 28, 7:30 pm, $5 donation @ the Unitarian Center 1187 Franklin (at Geary) =46lashy color paper poster-calendars are in the mail! If you're not on Th= e Poetry Center's calendar mailing list, let us know & we'll send you a copy. =3D=3D=3D=3D=3D=3D=3D+=3D=3D=3D=3D=3D=3D=3D+=3D=3D=3D=3D=3D=3D=3D+=3D=3D=3D= =3D=3D=3D=3D LOCATIONS THE POETRY CENTER is located in Humanities 512 on the SW corner of the San Francisco State University Campus, 1600 Holloway Avenue 2 blocks west of 19th Avenue on Holloway take MUNI's M Line to SFSU or from Daly City BART free shuttle or 28 bus THE UNITARIAN CENTER is located at 1187 Franklin St. at the corner of Geary on-street parking opens up at 7:00 pm from downtown SF take the Geary bus to Franklin =3D=3D=3D=3D=3D=3D=3D+=3D=3D=3D=3D=3D=3D=3D+=3D=3D=3D=3D=3D=3D=3D+=3D=3D=3D= =3D=3D=3D=3D Readings that take place at The Poetry Center are free of charge. Except as indicated, a $5 donation is requested for readings off-campus-SFSU students and Poetry Center members get in free. The Poetry Center's programs are supported by funding from Grants for the Arts-Hotel Tax Fund of the City of San Francisco, the California Arts Council, the National Endowment for the Arts, Poets & Writers, Inc., and The Fund for Poetry, as well as by the Dean of the College of Humanities at San Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives ~ San Francisco State Univers= ity 1600 Holloway Avenue ~ San Francisco CA 94132 ~ vox 415-338-3401 ~ fax 415-338-0966 http://www.sfsu.edu/~newlit ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Thu, 31 Aug 2000 08:40:10 +1200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tony Green Subject: Re: HTML emails can destroy your computer's brain - or can they? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit When does HTML start on this list? after reading John Tranter's information, I see no option other than unsubscribing from this list. best Tony Original Message----- From: John Tranter To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Wednesday, 30 August 2000 09:53 Subject: HTML emails can destroy your computer's brain - or can they? >I'm concerned about the decision to allow - nay, to encourage - HTML >formatted emails into the list. I'm not a computer whiz, but I think >Australian Internet designer David Walker has a point in a recent newspaper >column on this topic. > >I'd be glad to see further discussion from anyone on the list who has >expert knowledge of the potential for HTML to carry malicious code. > >David Walker's article is printed below. > >best, > John Tranter, Jacket magazine > >____________________________________ > >From: david@shorewalker.com > >This week, a column influenced by the "I Love You" virus. >_______________________________________________ >Goodbye to the Monkeyjunkies mailing list. The HotWired site's Web design >mailing list was interesting to receive, but it's not worth the risk. I've >unsubscribed and deleted the archive of old emails. I can't risk catching a >virus from one of the HTML emails it keeps sending. > >HTML email contains not just text but fonts, tables, backgrounds, images >and most of the things that you can put in a Web page. > >It has a number of weaknesses. It displays poorly in some email clients and >Web-based email services, and can create problems for users who read their >mail when they're disconnected from the Internet. More of a problem, >however, is that HTML email offers serious security flaws. > >The "I Love You" virus that brought down email systems from the Pentagon to >Disney Corporation earlier this month brought these security flaws into >sharp focus. In the wake of "I Love You", "Melissa" and several other >recent virus scares, HTML email may be in for a rough short-term future. >This came home to me as I was ditching the Monkeyjunkies list, which had >sent me several copies of "I Love You". The Monkeyjunkies list does a >particularly good job of spreading viruses like "I Love You", because it >allows participants to post attachments and to use HTML email. > >Now if you've worked in a networked office environment, you've almost >certainly come across the advice that you should open only email >attachments from trusted sources. This advice is becoming harder to follow >over time, as email attachments become more and more common; nevertheless, >it's straightforward. > >One of the delights of new strands of virus such as "I Love You" is that >they can render this advice useless. Just opening an HTML email lets its >creator execute a script that can do substantial damage to your PC. > >Few will be surprised that Microsoft has helped create this situation. In >its Internet assault of the past few years, it has taken a swag of software >concepts designed for standalone PCs and extended them to the more open >environment of the 'Net. The result has been a series of gaping security >holes around Microsoft Web technologies such as VBScript and ActiveX. >Microsoft's Internet Explorer browser not only allows these technologies to >run by default, but also confuses the user who tries to disable them. >Microsoft's Outlook email software uses Internet Explorer to render HTML >email. And like most email clients, Outlook will display messages as they >come in, or as you delete the messages above them. > >So you open up your email software, it displays an HTML email message >containing a malicious script - and bang, someone's using VBScript to >overwrite your file system. > >Of course, it would be nice if Microsoft stopped circulating software that >invites hackers to drive straight through it. Right now, Microsoft system >security is the best advertisement for Linux. > >But the broader truth is that even if Microsoft beefs up its own security, >virus-builders will still find HTML email a tempting target. > >Right now, no hacker would try building a malicious Java applet; VBScript >creates so much more havoc with less effort. But if Linux takes over next >week as the desktop software of choice, someone, somewhere will start to >wonder what fun could be had with Linux machines using the current >incarnations of HTML email. > >The real fix for "I Love You" and its malicious little mates involves >restricting the operation of HTML email itself. Software designers can >certainly still allow fonts and graphics to render within email. But how >many users really need Java and scripting in their email? And how many will >quit using HTML email if HTML email doesn't get fixed? > >______________________ > ========================================================================= Date: Wed, 30 Aug 2000 16:47:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: more on Huang Beiling In-Reply-To: <20000830165627.28016.qmail@web701.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" The informative posts on Huang Beiling are quite interesting, but knowing nothing of contemporary Chinese poetics I am curious about that. About how the political context affects what people actually do or think they are doing when they write, not at the level of opinion or journalism, but at the level of poetics. I'm thinking especially of the long shared history (literary and otherwise) in classical Chinese poetry in which what translates as a simple phrase to us in fact had echo upon echo to the contemporary educated reader (and that's all I know about classical Chinese poetics and no I have no examples just the word of people I trust). I would love to see conversation around that sort of issue, and also around issues of linguistic strangeness in the contemporary Chinese context. -- --------------------------------------------------------------------------- Judy Roitman | "Whoppers Whoppers Whoppers! Math, University of Kansas | memory fails Lawrence, KS 66045 | these are the days." 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Wed, 30 Aug 2000 18:04:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: HTML emails can destroy your computer's brain - or can they? In-Reply-To: <002101c012c2$820b2de0$2d3061cb@a> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII A couple of things. First, I think the listserv should be able to bar attachments; html doesn't need to have them and in fact you can send attachments without html. Second, even if you're reading in, say, Pine (as I am now), most email clients can be easily configured to accept html. There's no worry. I get 250+ messages/day, many from email lists and/or people I don't know - I have had one Melissa, and one I Love You virus. One was sent as a joke on the 7-11, and the other actually came through email. But first, I didn't open it - and second - it is harmless in Unix/Linux. Most recently there are some email viruses that act on Outlook without being opened, but these are incredibly rare. I'd worry more about the Java hole in Netscape but I'm not even that worried here. In other words, listserv email lists are pretty secure... Alan (in spite of the fact that a virus apparently got through the aol listserv recently) Internet Text at http://www.anu.edu.au/english/internet_txt Partial at http://lists.village.virginia.edu/~spoons/internet_txt.html Trace Projects at http://trace.ntu.ac.uk/writers/sondheim/index.htm ========================================================================= Date: Wed, 30 Aug 2000 15:20:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Re: Bei Ling and Chinese Poetry In-Reply-To: <200008291350.JAA09330@smtp2.fas.harvard.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Well put, Yunte. And to your warning against making a fetish of "our" liberal skepticism, I'd only want to add the following: Most of the rationales here advanced for "not over-reacting," "keeping things in perspective," "not casting the first stone" have been founded on an understanding of the U.S. state as involved in many of the same repressive actions as those used by the Chinese state in the case of Bei Ling. To which one might say - yes, very true. And there are lists of examples far longer and uglier than those so far adduced here. COINTELPRO, anyone? The Philly MOVE bombing? Etc. etc. etc. All of which says precisely nothing about the qualification of a U.S. citizen or resident to express political outrage and engage in activism over a denial of fundamental political rights. We live, in many respects, in a police state - a lot of us learned that fairly young, say the first time a thug in blue and black hit us on the head with a big stick for the crime of holding a cardboard sign. Or, in the case of others I've known, for having their race act by default as such a sign, thus (from the perspective of "pro-active enforcement methods") obviating the need that they actually DO anything to warrant the stick. Again, though, this says nothing. If we are to maintain the position from which we can point to these abuses of "our own" government with a justifiable outrage, we must have recourse to a sense of disjunction between that state and ourselves. In other words, we are not our bad government - a government which might in fact be unqualified to say much of anything about the protection of political liberties, at least in the sense of moral authority. But if "we" allow the implicit phrase "the U.S. government" to fill in the content of our first person plural pronoun (i.e., "we're no better than nation X"), if we allow that repressive state to take on the contours of our own identity, then we cede the ground from which to register its outrages AS outrages. The alternative, as I've seen it, has been that one acts "abroad" (effectively or not is another question) on behalf of others like Bei Ling for the same reason one thus acts "at home" on behalf of oneself: out of an understanding that the states committing those outrages are not representatives of "their" people, but instruments of domination. In other words, we U.S. people (I know it's an international list, apologies for all the un-scare-quoted first persons) are "in a position to say something" about the Chinese state's actions for precisely the same reason we are in that position with respect to the U.S. state. Absent that - well, do I really want to mean "FBI/CIA/Pentagon..." every time I say "I"? (And it surely is nice to hear from you in this space - it's been a while). Taylor -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Yunte Huang Sent: Wednesday, August 30, 2000 2:15 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Bei Ling and Chinese Poetry As much as I dislike the ways in which contemporary Chinese poetry has been read in the U.S. (the poetry has been understood mainly as an expression of a few narrowly defined ideological shibboleths, such as "democracy," "individual freedom," "free sex," or what have you), I have to express my concerns about Bei Ling's fate and I have to say that his arrest still outrages me. Sometimes I wonder how far our liberal scepticism can carry us when we are confronted with some basic facts. I met Bei Ling a couple of times in the Boston area (where both of us live) and am quite familiar with his Chinese literary magazine TENDENCIES, which seems to have now gotten him into trouble. According to some mutual friends who just came back from Beijing and who managed to carry a few copies of the current, 13th issue of the magazine out of China, there's little "subversive" content in it. It is mainly the history of Bei Ling's literary activities (as editors of some overseas literary journals that at times express views critical of Chinese political culture) that has gotten him blacklisted. Therefore, I disagree with some of the views expressed earlier on the Poetics list that caution against over-reaction on "our" part. I understand the sound mentality behind such rationales, but in the case of Bei Ling's arrest, I do believe that the Chinese government should be condemned for its shameless action. ----Y.H. ------------------ Yunte Huang Assistant Professor Dept of English Harvard University 12 Quincy St Cambridge, MA 02138 Tel: 617-495-1139 ========================================================================= Date: Wed, 30 Aug 2000 18:36:36 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Gallaher Organization: University of Central Arkansas Subject: Re: jd mcclatchy, sorry I just HAD to In-Reply-To: <67.90320d2.26dea56b@aol.com> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Apologies to all, but I just had to: Here's to J.D. McClatchy Out of the hatch he Knew who was judging What Knopf was fudging So off to the awards He sends his regards And says please attach me I'm J.D. McClatchy ========================================================================= Date: Wed, 30 Aug 2000 16:40:40 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Robert Corbett Subject: Re: language in lingua franca In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII yes, it is. saw it in Magus a few years back, but i didn't get it. i am frankly a big fan of his Minnesota Theory series intros. his commentaries/explanations of De Man are the clearest and most sensible I've ever run into. I still admire them, though I have begun to accede to arguments that De Man was the better part a charlatan. his _The Culture of Literacy_ is very good, though it is rather a collection of essays, not all of which are timely. however, in the theory wars, it is one of the most lucid and frankly clearly written. if i see it again, i'll let you know. robert -- Robert Corbett "I will discuss perfidy with scholars as rcor@u.washington.edu as if spurning kisses, I will sip Department of English the marble marrow of empire. I want sugar University of Washington but I shall never wear shame and if you call that sophistry then what is Love" - Lisa Robertson On Wed, 30 Aug 2000, Safdie Joseph wrote: > Robert, would that be the Wlad Godzich who wrote (with another, I think) a > book called *The Emergence of Prose*? If so, it's a stunner, one I've been > looking for half-consciously ever since I came across it some years ago . . > . > > Best, > > Joe Safdie > > > -----Original Message----- > From: Robert Corbett > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Sent: 08/29/2000 5:44 PM > Subject: Re: language in lingua franca > > As a one-time regular reader of Lingua Franca, I find the > accounts of the langpo article make it seem like a kissing cousin of a > piece last year about the difficulty of reading contemporary AngLitCrit. > This is otherwise known as the Judith Butler problem, as most people > interested in theory agree she is an important thinker and most people > agree that, in the broadest sense, she is not a clear writer. The > article > counterposed Adorno and Orwell (and was written by James Miller, who > wrote > a biography of Michel Foucault), with Orwell getting the nod at the end. > The Orwellian argument is that if you can't make the argument clearly, > you > shouldn't make it all. (Notice how attaching Orwell's name to the idea > of > a clear, distinct style makes you realize its true nature). > > I don't think it is too much to say that this is a version of the > argument > that J.D. McClatchy thinks he's having with langpo (but you can't have > an > argument without an even plausible version of the other). Like the > langpo > article, the snidely superficial sociological article was even-handed, > though it did give the nod to Orwell at the end. But the fact that > palpable idiots can be made to represent what right-thinking people > should > say indicates that the perspective from which the even-handedness > emanates > is itself tilted to one side of the argument. > > In fact, on the issue of selling out (or dumbing down or giving up > reading > French theory or what have you), it would seem that articles like this > are > mousetraps for those who advocate theory in criticism or poetry. There > is > the cheese of a certain amount of cultural cache which comes in being > written about in a general interest academic magazine, but the > inevitable journalistic caricaturing of the debate has the effect of > making those making arguments against tradition seem silly. Or > conveying > the impression that there are merely two sides. > > Essentially, a magazine is no place to argue poetics or theory (or for > that matter, anthropology or physics or you name it). It's at best > gossip > and humor. > > I've always found Lingua Franca reflexive antitheory stance perplexing, > as > it was started by a someone who wrote a book with Wlad Godzich. That > said, there is a rumor that they commissioned but refused to published > Barbara Ehrenreich irresponsible anti-postmodern screed because she > wouldn't do the fact checking required. > > -- > Robert Corbett "I will discuss perfidy with scholars as > rcor@u.washington.edu as if spurning kisses, I will sip > Department of English the marble marrow of empire. I want > sugar > University of Washington but I shall never wear shame and if you > call that sophistry then what is Love" > - Lisa Robertson > ========================================================================= Date: Wed, 30 Aug 2000 21:31:33 -0230 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: language in lingua franca In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hi all, what is this in reference to? cheers, kevin On Tue, 29 Aug 2000, Robert Corbett wrote: > That > said, there is a rumor that they commissioned but refused to published > Barbara Ehrenreich irresponsible anti-postmodern screed because she > wouldn't do the fact checking required. ========================================================================= Date: Wed, 30 Aug 2000 20:20:15 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jill Stengel Subject: poetry--san francisco--9/10/00 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit synapse: second sundays at blue bar --presents-- avery e.d. burns and mark salerno september 10, 2000 2 p.m., $2 (goes to the readers) blue bar is at 501 broadway, at kearney, in sf enter thru black cat restaurant, same address A former lifeguard, Avery E.D. Burns is an open-water swimmer currently contemplating swimming Alcatraz and the Golden Gate on the same weekend. His book _The Idler Wheel_ is forthcoming from Manifest Press. Poems from this work have appeared in _Inscape_, _Kenning_, _Ribot_, and _Syllogism_; and in an interview by Sarah Rosenthal at BayAreaCitySearch's Local Howler column. _A Dueling Primer_ appeared earlier this year from Second Story Press. Avery edits the magazine _lyric&_ and runs the Canessa Park Reading Series in S.F. His new chapbook from a+bend press is _Ekistic Displays_. Originally from New York, Poet Mark Salerno lives in Hollywood, where he edits the literary journal Arshile and teaches English. Recently he lectured on poetry and poetics and read his work at The Lacoste School of the Arts in Provence. His work can be found in many journals, including _apex of the M_, _Chicago Review_, _Exquisite Corpse_, and _First Intensity_; and his full-length poetry collection is _Hate_ (96 Tears Press, 1995). His new chapbook is _For Revery_ (a+bend press, 2000). ========================================================================= Date: Wed, 30 Aug 2000 21:16:18 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ramez Qureshi Subject: Re: Albiach translators MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit there's also a Bloodaxe due out soon... ========================================================================= Date: Wed, 30 Aug 2000 21:23:35 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: Re: Bei Ling and Chinese Poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit As we all sat here debating the virtues of helping Bei Ling, one writer actually did all the work and granted it was Susan Sontag. Sontag is on the editorial advisory board of Tendency. I am a good friend of Bei Ling's and I happened to write the first proposal for Bei Ling, which was sent to the National Endowment of Democracy. Tendency was awarded $20,000 in 1993. Since then, however, Bei Ling has been publishing Tendency through paltry funds he makes as a Chinese language instructor and other fellowships that have dried out for him recently. I spoke with him for a while yesterday, and he is very happy to be back in Boston, a place he finds very "peaceful." We talked at length about his health and the safety of his family. He is unaware how his parents and brother are because he was quickly whisked out of the country. His parents had to make a large payment to the government for his freedom. For what? Because he wants to edit and publish an intellectual journal like all of us either run and distribute or love to read. Ms. Sontag told Bei Ling that she devoted an entire week's worth of her efforts on solely working for his release. She made some phone calls to some important officials; she wrote the op-ed in the NYT and an open letter that was published on the front page of Sunday's LA Times Book Review. I spoke with the LAT Books Editor, Steve Wasserman, yesterday, and he expressed to me that he is a friend of Ms. Sontag's and I quote, "Under the circumstances, she and I both felt we should try to cast as large a public spotlight on Bei Ling's predicament as we possibly could." He's a writer for chrissake. All he wanted to do was write and to distribute his writing. It's worth supporting such efforts, for me. What follows is the OPENING STATEMENT from Tendency No. 1 "In giving the name TENDENCY to our journal of literature and the humanities, our intention is twofold. First, the journal tends towards recreating meaning whose purpose is to build a new cultural environment in a society of impoverished values. Second, the journal upholds the principle of freedom of expression and individual creativity. Tendency is not limited to a journal of literature; it extends its scope by means of literature, and through other modes of discourse, it stretches towards a broad vision of the problem of human existence. Tendency champions a belief in ideals at a time when such belief has been belittled and misinterpreted. Furthermore, it draws on the authentic intellectual spirit which represents a call for responsibility and concern for social and cultural changes in our time. Tendency promotes creative exploration in the realm of letters. But this innovative spirit must be tempered by conscious restraint, since freedom in writing cannot advance without this restraint. Tendency exists for people with pure intellects who are yearning to hear a serious voice." They have published translations of Sontag, Walter Benjamin, Vaclav Havel, Solzhenitsyn. In every issue they publish a list of literary publications not authorized by the gov't of mainland China. The publish essays with titles like "'I Have No Faith in Time' -- Reading Nabokov", "Postmodern, Post-Colonial Critical Theories and Democracy", "A Review of Avant-Garde Literature--A Discussion of Writing," "What is World Poetry? The Anxiety of Global Influence," and "A Relatively New Perspective on Kafka Research." Bei Ling is free. He is in Boston. He is helpful for all the support that he got. When I first met him due to communication difficulties, I always thought he wanted to overthrow the government. But, that's not it. It's more subtle than that. He wants to live in China and be able to edit, publish and distribute his magazine. He wants to foster a serious intellectual debate among the artists and intellectuals. He wants to publish things that are hard to find in China. He wants a space for conversation and discourse. That should be a human right for all people. There are tentative plans for a press conference at the American PEN Center in New York City some time next week, but I do not have any hard facts. Anastasios Kozaitis ----- Original Message ----- From: "Yunte Huang" To: Sent: Wednesday, August 30, 2000 5:14 PM Subject: Bei Ling and Chinese Poetry > As much as I dislike the ways in which contemporary Chinese poetry has been > read in the U.S. (the poetry has been understood mainly as an expression of > a few narrowly defined ideological shibboleths, such as "democracy," > "individual freedom," "free sex," or what have you), I have to express my > concerns about Bei Ling's fate and I have to say that his arrest still > outrages me. Sometimes I wonder how far our liberal scepticism can carry > us when we are confronted with some basic facts. I met Bei Ling a couple > of times in the Boston area (where both of us live) and am quite familiar > with his Chinese literary magazine TENDENCIES, which seems to have now > gotten him into trouble. According to some mutual friends who just came > back from Beijing and who managed to carry a few copies of the current, > 13th issue of the magazine out of China, there's little "subversive" > content in it. It is mainly the history of Bei Ling's literary activities > (as editors of some overseas literary journals that at times express views > critical of Chinese political culture) that has gotten him blacklisted. > Therefore, I disagree with some of the views expressed earlier on the > Poetics list that caution against over-reaction on "our" part. I > understand the sound mentality behind such rationales, but in the case of > Bei Ling's arrest, I do believe that the Chinese government should be > condemned for its shameless action. ----Y.H. > > ------------------ > Yunte Huang > Assistant Professor > Dept of English > Harvard University > 12 Quincy St > Cambridge, MA 02138 > Tel: 617-495-1139 > ========================================================================= Date: Wed, 30 Aug 2000 21:41:23 -0400 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: assimilation and purity In-Reply-To: <399A61C1@webmail2.gwu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Mark - >Just as a minor side note though, teenagers long ago stopped discussing the Sex Pistols on the subject of selling out, at least on the basis of the ones I've talked to recently. True indeed! A bad example that happens to be well understood, luckily enough. >More seriously, though, I think there's value in questioning a little more this apparent binary between "pure" social spaces and "assimilation" into the academy. I frankly think it's a dull discussion in any form, anything even related to it. But perhaps I assume too easily that people understand these issues, and maybe they don't. Maybe many people do need to roll around with the 'sell out/sorta sellout/purely keeping it real' discussion. For me it is a snore. another argument i have some distaste for is the discussion of the inherent value of a binary description. whether something is 2-nary or 3-nary or 1,000,000-nary is morally arbitrary to me. smaller pixels might make for better resolution but they require more and more work to understand and differentiate less and less the more that we have. but morally there's no difference. is there something better about 5 than 2? just because an argument is quaternary doesn't make it better than any binary argument. dichotomy, trichotomy, whatever. if you can tolerate my sense of humor on this issue, then bear with me -- but frankly it seems as if too many people have been reading too many poorly written books on eastern philosophy written by white people who did just a few too many slugs of brown acid in the 60's. "like, binary thinking is bad, man." there's nothing wrong with binary arguments just because they are binary; there's always more to it. i think the moral evaluation of binaries has crept into our thinking as some sort of cultural truism. Back to the subject at hand--the Lingua Franca article doesn't ignore the degrees between the absolutes of purest action and complete selling out. I think it gives clear light to efforts of some people to work within the system and retain some values and yet be willing to flex a little. Such in-between activity takes a considerable amount of confidence and maturity and it embraces the complexity of the world and our lives. And I think that in-betweenness is illuminated by Epstein. >It hardly follows from that point that total assimilation into the academy is the only other possibility. Perhaps I did not make myself clear. From the article it appears that some like Bernstein and Hejinian go into the academy and even flourish there, but all the while they are able to maintain some skepticism of the academic system. This is clearly not *total* assimilation and the article brings this out. And Silliman working for corporate America isn't a complete sellout either (though the article makes it sound like he is in the introduction and then later makes it sound like he isn't). The article makes the point that Ron is publishing on small presses still instead of under the UChicago and Princeton and Oxford academic logos. The range, the spectrum, of pure to sellout is a dull one. Humans want resources. Humans need resources. The combination of want and need for resources ranges widely and its discussion in the realm of poets is absurd. No poets are truly getting rich, no one, at least not from poetry. >So the question for me is not assimilation vs. purity, but assimilation on what terms, resistance or refusal on what terms? Sadly, Lingua Franca doesn't even come close to recognizing that particular problem. And I think Epstein spent plenty of energy on this, too much perhaps. It all gets so ad hominem. Not much needs to be said on this topic. Follow your heart, your instincts. Try your best and stay positive despite the contrary evidence. Etc. It's pretty hallmark but it's true. The costs of engaging the things that are messed up are obvious. People will point at you and call you a sell-out, or at least respectably discuss it. It's what people do. I cast the first stone. And it is not really that deep of an insight to see how to affect things and relationship of one's actions to remaining 'true' and what type of fantasy world keeping things 'pure' really entails; that realm is for the misanthrope, the antisocial, the ascetic, the religious zealot, for political leaders and other masters of cant. In every action there is a risk. And in every action there is an equal and opposite reaction, a risk indeed. So the risk is certain. My main criticism and wariness of theory (it is almost impossible for me to think in other than abstract terms, for better or for worse) is not that it is inherently bad. it does however tend to be obfuscating, but that is not the theory itself; the obfuscation itself usually comes from the idiot miswielding the theory. and then there's the puffy-shirt aspect of theory that I disdain -- people often inflate their own theories with footnotes to other theories to inflate their own, and usually there is nothing there but pretty confused interpretations of other theories and not much else. But theory itself is a morally neutral tool. it doesn't seem to make sense to discuss the righteousness of theory just as it doesn't make sense to discuss 'keeping it real.' There are many big differences between asking whether Charles Bernstein sold out because he runs a significant academic department and whether, say, poetics e-mail lists should be moderated and if they are, what that represents. Namely, nothing can be gained anywhere by labeling someone as a sellout; it's ad hominem, naive, and dull. But even the latter discussion is now dull to me and fruitless. How about *not* suggesting what's right and wrong about something? Why cannot someone properly assess the many threads of poetics out there and put that together in a lingua franca or some other pub? it would be much more interesting and even fruitful for poets and critics and theorists and students. Patrick ========================================================================= Date: Wed, 30 Aug 2000 23:13:12 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: assimilation and purity MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 8/30/00 7:27:04 PM, mdw@GWU.EDU writes: >For instance, take the issue of standardized academic prose, of which > >Bernstein and many others have been critical. Can one still be an academic >and > >not right critical articles in the bland prose of the "proper" critical > >journals? The answer seems to be both yes and no..... This itself seems to be a parody of academic prose. Murat Nemet-Nejat ========================================================================= Date: Wed, 30 Aug 2000 17:41:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Chris Piuma Subject: Re: HTML emails can destroy your computer's brain - or can they? In-Reply-To: <002101c012c2$820b2de0$2d3061cb@a> Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Tony Green showed great grace and sensitivity to write on 00.08.31: >When does HTML start on this list? after reading John Tranter's information= , >I see no option other than unsubscribing from this list. I think it's already started. Keep in mind that if you use a mail reader that doesn't "do" HTML e-mail, then you're completely safe from any malevolent HTML e-mails. I use Eudora Light 3.1 for Mac, which doesn't translate much -- only bold, italics, and centering. I don't know if this is true for more recent versions of Eudora. But there are many choices for reading e-mail beyond those that came bundled with your web browser. =A1Viva pine! -- Chris Piuma, etc. Editor, flim http://www.flim.com -- "No syntax too small." ========================================================================= Date: Mon, 27 Aug 1956 21:35:04 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Lewis Subject: Re: linguafranca & langpo Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I think that jd "sandy" mcclatchy's dismissive comments are really one of those rare instances of folks in the poetry world saying WHAT they REALLY think about subjects normally resoinding to in semi-polite tones -- reminds of the awful responce to Ginsberg's Collected when it first appeared by Richard Howard, et. al. -- like they'd beeen holding back for years and finally a chance to vent. Still not sure if a. epstein is totaly sure of what he is talking about & i think that teaching & tenure is only part of the world of official poetry -- give a look at all the poetry summer camps & conferences that are advertised in APR & poets & writers -- they are a solid bastion of privelege for mainstream MFA programs & what can boost an academic salary into the six figure zone. i do think the early bold statements of bernstein, silliman, et. al. cica 1978 reflects the politics of the pre-Regan era and the state of academia in that period, when Iowa School writing was still ascendant and post-modern strategies were still scene as radical joel lewis ========================================================================= Date: Thu, 31 Aug 2000 08:16:13 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jacques Debrot Subject: Thank you MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Thanks to everyone who sent suggestions to me front & back channel for my visual arts/literature course. The Gaddis was a particularly appealling suggestion, but I wasn't brave enough in the end, I suppose, to spend a month on it with my class. Some books I did decide to use--Wyndham Lewis's autobiography, Fowles' _The Ebony Tower_, Stein's Portraits. . . . Again, thank you! Jacques ========================================================================= Date: Thu, 31 Aug 2000 12:56:34 GMT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Burning Man & misc. stuff Mime-Version: 1.0 Content-Type: text/plain; format=flowed 1) Is anybody on this list attending Burning Man? I'd love to hear an account that addressed the question of the role of language and language arts out there in the desert. 2) If you have a good virus scanning program (I use Norton), HTML should pose no threat. Ditto if you use a service like Hotmail. 3) Anselm, stop slandering shoe laces! Ron _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com. ========================================================================= Date: Thu, 31 Aug 2000 10:51:12 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Epstein Subject: Re: language in lingua franca MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit As the author of the Lingua Franca article that people have been discussing the last few days, I thought I'd introduce myself (to those who don't know me) and briefly respond. First, as many of you know (or at least know now), I'm a list member (and have been for about five years). Second, it's been interesting to read the various perspectives about the article thus far. While I'm all for lively debate and thoughtful commentary, I do think it makes sense for people to actually read the whole piece (not just "accounts" of it -- see Robert Corbett's recent post, and its "apparent argument" -- see Shelley Brennan; and not just the title page, pull quotes, or photos, chosen by the editors of course), before evaluating it, its alleged biases, and its intent. Why assume that the "venue predetermines the complaint" (Shelley Brennan) and the article's slant without reading the piece for yourself? For what it's worth, it seems to me that many of the issues people have said the article misses or trivializes are at least addressed in the article, if not at its very center, and that the so-called evil detractors of langpo are not presented as "right-thinking people" (Robert Corbett's phrase) but rather as voices in a complicated and multi-sided debate. Take care, Andrew (do "we" know this guy) Epstein P. S. I am also posting my back-channel exchange with Mark Wallace about "assimilation vs. purity" that Mark and I agreed to forward to the list. ========================================================================= Date: Thu, 31 Aug 2000 00:10:20 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Abdalhayy@AOL.COM Subject: Fringe Festival Poetry by Daniel Abdal-Hayy Moore Comments: To: aberrigan@excite.com, abirge@nimbus.ocis.temple.edu, agil@erols.com, allison_cobb@edf.org, ALPlurabel@aol.com, amorris1@swarthmore.edu, AMossin@aol.com, apr@libertynet.org, avraham@sas.upenn.edu, Ayperry@aol.com, Babsulous@aol.com, baratier@megsinet.net, bcole@nimbus.ocis.temple.edu, bdowns@columbiabooks.com, Becker@law.vill.edu, bette343@hotmail.com, BMasi@aol.com, bochner@prodigy.net, booglit@excite.com, BStrogatz@aol.com, cahnmann@dolphin.upenn.edu, chris@bluefly.com, Chrsmccrry@aol.com, coryjim@earthlink.net, CSchnei978@aol.com, daisyf1@juno.com, danedels@sas.upenn.edu, dburnham@sas.upenn.edu, dcpoetry@mailcity.com, dcypher1@bellatlantic.net, DennisLMo@aol.com, DROTHSCHILD@penguinputnam.com, dsilver@pptnet.com, dsimpson@netaxs.com, ejfugate@yahoo.com, ekeenagh@astro.ocis.temple.edu, eludwig@philadelphiaweekly.com, ENauen@aol.com, ErrataBlu@aol.com, esm@vm.temple.edu, Feadaniste@aol.com, fleda@odin.english.udel.edu, Forlano1@aol.com, FPR@history.upenn.edu, fuller@center.cbpp.org, GasHeart@aol.com, gbiglier@nimbus.ocis.temple.edu, gmarder@hotmail.com, gnawyouremu@hotmail.com, goodwina@xoommail.com, hstarr@dept.english.upenn.edu, hthomas@kutztown.edu, icepalace@mindspring.com, insekt@earthlink.net, ivy2@sas.upenn.edu, jeng1@earthlink.net, jennifer_coleman@edf.org, jimstone2@juno.com, jjacks02@astro.ocis.temple.edu, JKasdorf@mcis.messiah.edu, JKeita@aol.com, jlutt3@pipeline.com, jmasland@pobox.upenn.edu, JMURPH01@email.vill.edu, johnfattibene@juno.com, josman@astro.ocis.temple.edu, jschwart@thunder.ocis.temple.edu, jvitiell@nimbus.ocis.temple.edu, jwatkins@unix.temple.edu, kelly@dept.english.upenn.edu, Kjvarrone@aol.com, kmcquain@ccp.cc.pa.us, kristing@pobox.upenn.edu, ksherin@dept.english.upenn.edu, kyle.conner@mail.tju.edu, kzeman@sas.upenn.edu, lcabri@dept.english.upenn.edu, lcary@dept.english.upenn.edu, leo@isc.upenn.edu, lgoldst@dept.english.upenn.edu, lisewell@worldnet.att.net, llisayau@hotmail.com, lorabloom@erols.com, lsoto@sas.upenn.edu, lstroffo@hornet.liunet.edu, MARCROB2000@hotmail.com, marf@netaxs.com, matthart@english.upenn.edu, Matthew.McGoldrick@ibx.com, mbmc@op.net, melodyjoy2@hotmail.com, mgpiety@drexel.edu, mholley@brynmawr.edu, michaelmccool@hotmail.com, Miyamorik@aol.com, mmagee@dept.english.upenn.edu, mnichol6@osf1.gmu.edu, mollyruss@juno.com, mopehaus@hotmail.com, MTArchitects@compuserve.com, mytilij@english.upenn.edu, nanders1@swarthmore.edu, nawi@citypaper.net, odonnell@siam.org, penwaves@mindspring.com, pla@sas.upenn.edu, poetry4peeps@hotmail.com, putnamc@washpost.com, QDEli@aol.com, rachelmc@sas.upenn.edu, rdupless@vm.temple.edu, rediguanas@erols.com, repohead@rattapallax.com, richardfrey@dca.net, robinh5@juno.com, ron.silliman@gte.net, SeeALLMUSE@aol.com, sernak@juno.com, SFrechie@aol.com, singinghorse@erols.com, stewart@dept.english.upenn.edu, subpoetics-l@hawaii.edu, susan.wheeler@nyu.edu, SusanLanders@yahoo.com, swalker@dept.english.upenn.edu, Ron.Swegman@mail.tju.edu, Tasha329@aol.com, tdevaney@brooklyn.cuny.edu, thorpe@sas.upenn.edu, travmar03@msn.com, TWells4512@aol.com, upword@mindspring.com, v2139g@vm.temple.edu, vhanson@netbox.com, VMehl99@aol.com, wh@dept.english.upenn.edu, wvanwert@nimbus.ocis.temple.edu, wwhitman@libertynet.org, ywisher@hotmail.com, zurawski@astro.temple.edu MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable THE PHILADELPHIA FRINGE FESTIVAL 2000 PRESENTS --------- MILLENNIAL PROGNOSTICATIONS AND OTHER MANIFESTATIONS ---------- DANIEL ABDAL-HAYY MOORE reading POETRY=20 with musical accompaniment on a choice array of exotic musical instruments (a poem series written at the millennial turning) ----------- SUNDAY, SEPTEMBER 10, 3PM=20 MONDAY, SEPTEMBER 11, 7PM OLD FIRST REFORM CHURCH=20 153 North 4th street tickets $5=20 (for tickets and information:=20 CALL 215-413-1318 OR GO TO=20 www.pafringe.com -------- Prognostication rare and sweet when what we do is see what's here the locomotive through the bedroom wall the cellar full of green ghosts and the attic full of brown bric-a-brac fruit that fills the window with its gleaming skin goats chewing sideways on the rug puffs of smoke that spell out all these poor devices the very air we breathe sweet honey spun from heavenly hives ______ =20 The intelligence of Daniel Moore's poems is like Frank O'Hara's: there are n= o=20 boundaries or limits to possible subject matter. Imagination runs rampant=20 and it glides=E2=80=A6 -- Michael McClure I celebrate Daniel Moore's unique and constant creative work over the=20 decades. =20 -- David Meltzer Daniel Moore was a legend among poets and the hip cognoscenti of California=20 in the 1960s, so it's a great pleasure to see just how brightly this flame=20 still burns. -- Ron Silliman He's like an old wisdom tradition come up off the streets. -- Coleman Barks Many poets would cheerfully swap a body part for Daniel Moore's ability to=20 write so fluently, and for so long, and so well. -- Jim Cory PRAISE for THE RAMADAN SONNETS (1996) The litany of the beautiful Ramadan Sonnets may seem to be opposed to that o= f=20 Khayyam's Rubaiyat, yet its aim may be the same: Liberation. -- Lawrence Ferlinghetti Daniel Moore's poem soar long after the ink has dried and the pen lifted. =20 -- Hamza Yusuf=20 ========================================================================= Date: Thu, 31 Aug 2000 11:11:18 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jacques Debrot Subject: LangPo, academia, politics MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit There are valid grounds for identifying LangPo w/ the academy--even if its presence in most literature departments is practically non-existent, as Perlman is right to suggest. Significantly, for example, Bernstein's insistence in _A Poetics_ on refusing the persuasiveness of rhetoric--& his concommitant recoil from the aesthetic-- is matched by theory's assumption (e.g. in the New Historicism) of a certain critical and anaesthetic distance from the "literary artifact" for the purpose, ultimately, of *demystifying* it. Both share what is, pretty plainly, a puritanical attitude toward the reader's susceptibility to pleasure in the actual experience of his/her engagement with a poem. In the academy, what a poem *means* is, for this reason, entirely more important than its affect. Ph.D's (& Ph.D's soon-to-be, like myself) function, in a sense, as bureaucrats, surveiling & adjudicating the poem's *real* meaning which, naturally, is never what it appears to be, as appearances themselves--by reason of the pleasure they give--are assumed to be misleading (by "pleasure" understand that I am giving a shorthand for what is really *intense* feeling--the opposite of pleasure being then, not "pain," but, as Dave Hickey puts it, "the banality of neutral comfort." The false dichotomy between pleasure & disgust is, by the way, Sianne Ngai's basic mistake in her recent brilliant essay in _Open Letter_). In any case, it goes w/out saying , I think, that a lot of awfully boring Language-influenced poetry (including some of my own) is advanced or published for *therapeutic* reasons--that is, because it is supposedly good for us. Nothing, however, is more potentially disruptive of the status quo than pleasure--it's amazing as well as scary, really, what you & I are capable of getting off on. Pleasure--or beauty, as Dave Hickey has argued too (in essays that crucially inform this post)--is also *essentially democratic* in that there is a **vernacular** of beauty or pleasure that enfranchises audiences and acknowledges their power (& by audience, I don't mean the ghettoized audience of the poetry world or of academia). Indeed, it is not criticism that is politically efficacious so much as the assent or "praise" an audience gives to the persuasive power of a poem--the vernacular of pleasure or beauty is thus always a quality that is politicized in one way or another, rather than neutralizing politics (which is what I find so fascinating about Maria Damon's inclusion, in her book, of the poetry of women living in housing projects, or, for that matter, about prison poetry). This is something quite different, I think, from "dumbing down." Still, poetry can never be politically efficacious unless it moves a non-specialist or non-professional audience--in the way Pop art did, say. Art, in fact, is only transgressive, as Hickey puts it, if Jesse Helms says it is: "Regardless of what the titillated cognoscenti might flatter themselves by believing, if you dealt in transgression, insisted upon it, it was always the Senator, only the Senator . . . whose outrage mattered." Helms, of course may not know squat about art, but his business, after all, *is* rhetoric . Of course, there is a lot of LangPo which would be powerfully affective--even to an uninitiated audience-- but the emphasis has always been someplace else, too focused, like the academy, on critique, & on a therapeutic model of aesthetic experience & too suspicious of *content* in its valorization of transgressive *form*. (But, in fact, a lot of putatively anti-LangPo poetries are equally therapeutic in intent--the suspicion of pleasure has almost become reflexive today. Indeed, the return to lyricism typical of a lot of recent NY School-inspired poetry only strikes me most of the time as completely & banally comfortable & self-satisfied.) We need poems, in other words, as ravishingly beautiful & political as Mapplethorpe's _X Portfolio_, Cindy Sherman's _Doll Photos_, or Burroughs' _Naked Lunch_. --Jacques ========================================================================= Date: Thu, 31 Aug 2000 11:49:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - If you write and don't proclaim your work, you don't write. If you write and don't publish, you're not writing. If you don't beg for an audience, you've broken the letters. If your audience doesn't come, the tablets decay. When the tablets decay, there's no help for you. When the letters are broken, everything is lost. When you're not writing, the people suffer. When you're not writing, the people are starving. If the people are starving, they have no time to read. If the people suffer, they have no time to listen. If everything is lost, language disappears. When language disappears, the names of the people are unknown. When the names of the people are unknown, the people disappear. When the people disappear, everything is ruined. ========================================================================= Date: Thu, 31 Aug 2000 12:13:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: Opera performances Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" FRINGE FESTIVAL PRESS RELEASE BENJAMIN, an innovative multi-media opera based on the life of the great modern German-Jewish philosopher and literary critic, Walter Benjamin (1892-1940), will be presented in a concert version at this year's Philadelphia Fringe Festival. Times and dates of the performances are as follows: September 13th and 14th at 7 PM, September 15th at 9:30 PM and September 16that 7:30 PM. Tickets are $10, and all performances are at the Old First Reform, 153 N. 4th Street, Philadelphia. The opera, interweaving voice, instrumental and computer altered music with the spoken word, explores Benjamin's involvement in the cultural and political movements and catastrophes of the first half of the Twentieth Century. The work focuses on central dramatic moments in Benjamin's complex heroic and often contradictory life, his friendships with his Marxist lover Asja Lacis, the playwright Berthold Brecht, and the philosophers Gershom Scholem and Theodore Adorno. The music is by the award winning Philadelphia composer, Ellen Fishman Johnson. The libretto is by the widely published poet and essayist, Michael Heller. Both composer and poet were drawn to the moving story of Benjamin's life, his moral depth, his search for personal and social salvation, and his fate as a creative individual enmeshed in the terrible history of our times. ========================================================================= Date: Thu, 31 Aug 2000 13:06:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mdw Subject: FWD: RE: assimilation vs. purity MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: 7BIT Hello Andrew: I think I was replying as much to Patrick Herron's looking at the problem of a simple binary as I was to what your article in Lingua Franca was doing, so perhaps I caused a little bit of confusion there, for which I apologize. On the other hand, I'm not sure I quite see where the article takes on the issue I was getting at, which is given that some degree of assimilation is unavoidable, what is to be done with it? For me that's where the problem actually STARTS, although yes, I think maybe the last sentence of your piece, and a couple of the Bernstein quotes, imply that such a problem is at stake. The Evans quotes suggest that one still CAN divide the spaces into the binary I think we need to avoid, at least as I read him, but I'll have to go back and look at that again. I'm sorry then if my post on one particular aspect of this problem seemed like a wholesale condemnation of your article, when in fact I was just taking issue with the idea that such a binary exists, that the choices are either total purity or total assimilation. I'd be happy to post this publically, if you wanted to do the same with yours. Mark /----------------------------------------------------------------------------\ | | | mdw@gwis2.circ.gwu.edu | | GWU: | | http://gwis2.circ.gwu.edu/~mdw | | EPC: | | http://writing.upenn.edu/epc/authors/wallace | |____________________________________________________________________________| ========================================================================= Date: Thu, 31 Aug 2000 17:01:30 EDT Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: GasHeart@AOL.COM Subject: Philly : Theater, Music, Film - Fringe Festival, 9/1-9/16 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Well, it's time for the Fringe Festival again....with lots in store.....be=20 sure to pick up the guide in the current issue of Citypaper......and find=20 what you like There will be plenty of theater, music, and art that fits between categories= . Opening night is this Friday (9/1)...and it's First Friday....there will be=20 the fringe fest parade from 6:00 till 6:30 that starts and ends at the=20 national showroom.......... some things to keep in mind this year.....there are 10 different fringe=20 buttons.....that are made by artists...and are $5, but do not give a discoun= t=20 on the shows, as in past years....they do give discounts to various=20 businesses, see the guide for a list of participating businesses. The way to get discounts to see shows....is by buying booklets of=20 coupons....each coupon has a value of $5 when presented at a venue...or when= =20 buying a ticket for a show.....but each coupon costs only $4.50 or $4.00,=20 depending on how many you buy. by the way, all the shows are priced in increments of $5, so shows are free,= =20 or $5, or $10, or $15........if no price is mentioned in the guide,,.....it=20 is $10 so, if you use 2 $4.00 coupons, to buy a $10 ticket, the cost to you is onl= y=20 $8.00 my favorite event at the Fringe is free....it is the Late Night=20 Cabaret.....and is every night....9/1-9/16 at 10pm or 11pm...at 211 Race=20 St., (the building with all the cake frosting on the front, part of the=20 Visual Fringe), you get to see all different things...snippets of fringe=20 shows...etc.....this is a great place to hang out and meet everybody, since=20 by 11, there are not any other shows. You have to be over 21 to get in. Another thing to mention is where the box office is....it is at the National= =20 Showroom, 113 N.2nd St., 215-413-1318, you can phone in your ticket orders or show up, and look at all the posters/flyers below are some things that look good.....there are lots of other good things= ,=20 too -josh _______________________________________________________________ Across Mark Lord has out done himself with Across, a site specific oddessy within=20 the landscape of Old City. Audience members will follow a modern day Saint=20 Augustine as his "story" is revealed through 30 site specific vignettes. The= =20 action takes place on rooftops, through windows and in storm gutters. This=20 variety of interesting architectural boundaries employed by Lord heightens=20 the effect of the episodes, sparking a new sense of possibilities for the=20 participants. Lord is a local favorite.=20 Across=20 Big House (plays & spectacles) $15.00 90 min National Showroom and the Streets of Old City =A0 113-131 N 2nd =A0 With a cast of forty plus, Across is the largest project ever produced by th= e=20 Fringe. Following a modern day St. Augustine through Old City, watch for the= =20 thirty different installations from the gutters to the towers suggesting an=20 alternate mode of existence. Heighten your senses as well as your sense of=20 possibility and gain a fuller appreciation of the nature of things, space an= d=20 being.=20 9/1 8:30pm 9/2 8:30pm 9/3 8:30pm 9/5 8:30pm 9/6 8:30pm 9/7 8:30pm 9/8 8:30pm 9/9 8:30pm 9/10 8:30pm 9/12 8:30pm 9/13 8:30pm 9/14 8:30pm 9/15 8:30pm 9/16 8:30pm this should be good....mark lord has done good things in the past....and i=20 like the idea of the audience walking from location to location to see site=20 specific theater....from what i hear....there are 30 venues, but each show=20 covers only 15, so you have to see it 4 times to see it all, .... i hear tha= t=20 the first time you see it...it is $15, but the second time is only $10, the=20 third time is only $5, and the fourth time is free -josh _____________________________________________________________ The Fab Four Reach the Pearly Gates (Reuniting The Beatles In Heaven) New Paradise Laboratories =A0 $15.00 75 min. Smoke =A0 233 N. Bread Street =A0 Ages 16 and up =A0 Presented by the brash inventors of last year's STUPOR, and already receivin= g=20 strong reviews, New Paradise takes on the Beatles, reuniting them at the end= =20 of time. In the ultimate celebrity dilemma, the Boys must decide whether to=20 dally with angels, to reincarnate, or to stay dead.=20 9/1 9:30pm 9/2 8:00pm=20 9/2 10:00pm=20 9/3 8:00pm=20 9/6 8:00pm=20 9/7 8:00pm=20 9/8 8:00pm=20 9/8 10:00pm=20 9/9 8:00pm=20 9/9 10:00pm=20 9/10 8:00pm=20 9/13 8:00pm=20 9/14 8:00pm=20 9/15 8:00pm=20 9/15 10:00pm=20 9/16 8:00pm=20 9/16 10:00pm=20 =A0 =A0 did Stupor last year, which was great.....this Beatles idea seems like a=20 winner, i hear they will mix indian music with beatles music snippets mixed=20 with short dreamy theatrical vignettes loosely tied together..... the=20 characters will have british accents, but they are not strict impersonations= ,=20 and it is every night of the fest, making it easier to catch -josh ______________________________________________________________ No Exit - Sartre Out Cast Productions $10.00 60 min Studio 5 Walnut Street =A0 825 Walnut Street Web Site: ages 13 and up www.jyproductions.com A traitor, a lesbian and a nymphomaniac are condemned together in hell and=20 discover instead of a torture chamber, that "Hell is other people." Together= =20 they cannot find peace or control their fates in this existential=20 psycho/sexual drama.=20 9/7 8:00pm 9/8 8:00pm 9/9 3:00pm 9/9 8:00pm 9/10 3:00pm 9/10 8:00pm 9/14 8:00pm 9/15 8:00pm 9/16 3:00pm 9/16 8:00pm 9/17 3:00pm i read this but have yet to see it.....should be interesting is hell an awful green couch, a red chair and two other people? unfulfilled sexual love triangle the quintessential existential play -josh ________________________________________________________________ Infinity Babies Margaret Baker =A0 $10.00 60 min Cabaret Theater =A0 211-217 Race Street =A0 21 and up =A0 Sensitive TV hunks, the dangers of bran muffins, tabloid believers, and=20 poisonous gasses for the young at heart are all covered in this look at the=20 pursuit of normalcy through a prism of paranoid priorities. A hilarious=20 one-woman performance proving how goofy we look when we try to blend in.=20 9/6 9:30pm 9/7 7:00pm 9/8 7:00pm 9/9 4:00pm this one seems like fun, .... and she uses the word "gas" and "heart" in one= =20 sentence in the above blurb! -josh ________________________________________________________________ =A0 The Story of Your Life =A0 Aaron Cromie - Threadbare Theatricals =A0 Free 5 - 7 min per person Ethereal Theatre =A0 Elfreth's Alley & 2nd Street =A0 Ages 13 and Up =A0 You've seen all the cable and tabloid television celebrity biography shows.=20 Now it's your turn. With toys, found objects and make-shift puppets, Mum-alu= m=20 Aaron Cromie will show and tell your life story inside a theatre made for=20 one. Come bask in the lights!=20 9/10 1:30pm 9/12 8:00pm 9/13 7:30pm interesting idea....your life story told thru puppets, an individual show=20 each time! -josh ________________________________________________________ =A0 The Undress Project =A0 Jessica Scofield =A0 Free 45 min National Showroom 113-131 N. 2nd Street Provoking both a humor and discomfort, Jessica Scofield unravels and reknits= =20 the dress she is wearing, mixing two stereotypes and drawing the viewer into= =20 the labor intensive process of knitting by turning it into the means for a=20 striptease.=20 9/7 5:00pm 9/8 5:00pm 9/9 5:00pm 9/10 5:00pm This show will be performed in a site-specific location. =A0 this piece of performance art seems to mix the two steroetypes of good=20 girl/bad girl......i read somewhere that it is 4 hours each time, not 45=20 minutes, with a total of 16 hours over four nights -josh _______________________________________________________________ =20 Sheep Races 2funBasTards =A0 Free =A0 Ethereal Theatre =A0 Elfreth's Alley & 2nd Street =A0 All Ages =A0 The self-proclaimed Navy SEALs of the Performance Art Army, 2funBasTards hit= s=20 the Fringe with their hit-and-run prop-oriented vaudeville-inspired form of=20 performance art. Composed of a conceptual artist, a sculptor, a printmaker,=20 and a graphic designer, 2funBasTards attempt to make the world better throug= h=20 their extrospective art. 9/1 7:00pm Ethereal Theatre - Sheep Races 9/5 7:00pm Ethereal Theatre - Sheep Races 9/6 7:00pm Ethereal Theatre - Sheep Races 9/7 7:00pm Ethereal Theatre - Sheep Races i want to see this! -josh ______________________________________________________________ =A0 Dances For Imaginary Places (DIP) Anne-Marie Mulgrew and Dancers Co. =A0 Free 20 - 30 min. Site Performance =A0 3rd & Wood Streets =A0 All Ages =A0 Choreographer Anne-Marie Mulgrew conceived of this site specific work=20 featuring 10 performers in white carrying 10 white umbrellas traveling=20 through the Fringe Festival to 3rd and Wood Street. Catch the passing parade= !=20 9/6 6:00pm 9/8 6:00pm 9/9 4:00pm i saw what they did last year, and it was way cool, try to see this if you c= an -josh _______________________________________________________________ Diva Trouble: The Death Of Dido And Other Diversions Martha McDonald $10.00 60 min Christ Church 20 N. American Street Ages 16 and up Long live the crotchety divas! Mezzo-soprano/performance artist Martha=20 McDonald uses her wicked sense of humor to explore the cult of the Opera=20 diva--weaving stories and songs of Baroque Opera heroines, tales from the=20 volatile life of Maria Callas and personal drama from her own life as a=20 singer.=20 9/3 9:00pm 9/5 8:00pm 9/6 9:00pm i saw Martha McDonald before and she's great! -josh _______________________________________________________________ i almost forgot to mention the Fringe Festival's Labor Day Block Party All Art - No Work Arch St., between 2nd and 4th st. free stilt-walker, and spoken word, and food booths, and music.... Monday, Sept. 4th, 12 noon - 6pm _______________________________________________________________ there's lots and lots more....see the guide for more info in this weeks=20 citypaper the Fringe Fest is great because it brings audiences together with art in a=20 way that opens doors for a lot of people (Doors of perception......and opens= =20 doors of opportunity for artists to express themselves) let me know of any upcoming events.....if you want to be added/deleted from=20 this list, write to me -josh cohen GasHeart@aol.com