========================================================================= Date: Thu, 30 Nov 2000 15:53:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Mathews Losh Subject: Re: Dead Poets in LA Announcement In-Reply-To: <200011281603_MC2-BC72-432B@compuserve.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I would strongly recommend the following for all list members in the L.A. area: poets, academics, and morbid souls alike. I went last year and was thoroughly entertained. The organizers are products of the U.C. Irvine M.F.A. program. Liz Hi, All: here's a reminder about this Saturday's Dead Poets' Slam! Hope to see you there! THE HISTORY Same time last year: 10 accomplished LA actors, channeling the voices of long-dead poets, faced off in a head-to-head slam competition that blew the minds of the Beyond Baroque audience, who demanded... THE SEQUEL this Sat., Dec. 2, 10pm, again a face-off, featuring poets who lived and wrote from around the globe. Last year: Suicides vs. Natural Deaths. This year: The Executed vs. The Spared! This is poetry like you have never heard it! Spread the word! At Beyond Baroque, 681 Venice Blvd. Between Lincoln and Abbot Kinney Park on the street Starring: Lori "Juno" Yeghiayan F. Leandro "on stage with Baryshnikov" Esquerra Rhona "Meet your Maker" Blaker Danny "Action Figure" Strong John "The Commie" Connolly Felicia "Glinda" Taylor E. Sarah "Chekhov" Koskoff Ryan "The King" Cutrona Dagney "Love is a Battlefield" Kerr Marisa "Goddess of H20" Matarazzo Sacrifical Poet: Teal "Nice Shoes" Minton And MC'd by the incredible Jeff "Force of Nature" McDaniel! Tickets five dollars at the door. Come a bit early. Your Producers, Aimee Bender, Teal Minton, Genevieve Leone, Alice Sebold, Jeff McDaniel ========================================================================= Date: Mon, 4 Dec 2000 13:26:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: The perfect description Mime-Version: 1.0 Content-Type: text/plain; format=flowed Jon Carroll, in today's SF Chronicle, notes that all of W's folks are his daddy's thugs from the 88-92 regime and coins the perfect description of his shrubness: "sock-puppet elect" Ron _____________________________________________________________________________________ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Thu, 30 Nov 2000 23:54:20 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Hans Arp MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 11/30/00 3:18:31 PM, sws13@COLUMBIA.EDU writes: << No "parapluie" is French for "umbrella," and "heufisch" is a pun for "haifisch"-- shark. >> What everyone is missing is that "Hans Arp" is German for "You're under arrest." ========================================================================= Date: Fri, 1 Dec 2000 21:36:46 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Hans Arp MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Ben. I thought you'd never ask! Hans Arp was a sculptor and ( as many of his trade such as Barbara Moore and Hep Rodin) he worked outside in quarries or in the vicinity of zoos. Their (his) obsession was perfection (which we see in certain works that sheer and convolute into terrible lexic alterity whose thrust is the infinute minus one) (alterity you could check out with Lynn Heijinian) and it was always his habit to work in the open (for hadnt Rilke been sent to a zoo? Didnt Cezanne catch his death trying to catch another shape? Michelangelo leave "unrecovered" and potent potential blocks that stand forever half emerging, and, sadly, half cloaked in stone? Nein?) But Hans always carried an umbrella. Being non-english, he couldnt pronounce that word, so he substituted a French word from a battered 18th century Lexicon he had obtained, at great trouble and expense, from the castle of one Mslle Eliose Francoise Diderot, who resided therein in (a rather decayed) splendour in a minor town (where the castle was). Rather a large tome (the obtainance of which involved swimming a moat) he had caught a bad cough and also became what is known by specialists as a hydrophobe. These latter do evince a tendency to write "in tongues" as it were...Hence his stupid babbling that was written down by his assistant Stone Chopper as you have in the German, but was actually: "Give caspar (the ghost) a hot tod" which (from watching thousands of American Disney movies (to which degeneracy he was an early and avid addict)) was in fact the only English he knew. The assistant realised the danger that Arp, with his terrible back, his plueral cough, and his obsession with words etc was in of sliding into coherence, and to humour his master, wrote out the pseudo babble you have quoted with reams of other twaddle. This, and the use of an enormous umbrella (the assistant knew the English for this strange object) saved his sanity and his life. He did some good sculptors, but as to his writeings, they were (and are) alass, totally non-lexical (meaningless)......perhaps some of the "words" (of stone, in stone, stoned etc) might be found in Borges infinite library.....but anyway, he recovered and survived to live to a great old age - his mind wonderfully clear - and his Lexicon can now be viewed in Antwerp Museum. So I hope that clears things up. Richard. ----- Original Message ----- From: "Mieko Basan" To: Sent: Wednesday, November 29, 2000 1:04 AM Subject: Hans Arp I'm translating some Hans Arp poems for fun and would like to know if "parapluie" in the line "auf dem meer verwirrte er die schiffe mit dem woertchen/ parapluie..." is a non-lexical word, as I understand it to be. I understand it to be something like 'all over the place', or 'with no real discretion'. In the same poem (no title. first line: weh unser kaspar ist tot) he uses another word 'heufische' in the line "die heufische klappern in den glocken..." which I take to be the conjunction of hay and fish.. so literally something like "the patter of fish in the grass/hay.." Is this right or am I missing some associations?? If anone could offer some advice I'd be grateful. Ben Basan ========================================================================= Date: Fri, 1 Dec 2000 18:00:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Quasha Organization: Station Hill / Barrytown, Ltd. Subject: Boretz, Burt, Quasha, Roberts, Stein performance --Kingston, NY MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Open Space Concert Series: A First Event: Sunday, December 10, at 3 P.M. At The Deep Listening Space, 75 Broadway, Kingston, New York (in the Rondout district) Open Space is offering a series of performance events at The Deep Listening Space, 75 Broadway, in the Rondout district of Kingston, New York. The participants in these events are creative/performing artists in a variety of media who are especially interested in exchanging exploratory work, and in developing congenial and stimulating contexts for the presentation of exploratory work. So this first event is offered as an afternoon gathering containing music, video, and verbal/visual compositions, involving acoustical and electronic instruments, computer-interactive sound works, composed as well as improvised, and really good things to eat and drink for all who come as composers, players, or witnesses. This first Open Space concert includes works and performances by Warren Burt, Eric Lyon, Ann Warde, Daniel Warner, George Quasha, Charles Stein, Mary Lee Roberts and Benjamin Boretz. The Open Space concert series is produced and directed by Mary Lee Roberts. For information, you can look at the Open Space web site: http://www.the-open-space.org or you can phone Open Space at (845) 758-5785 or email us at: postmaster@the-open-space.org/concert.html For directions to The Deep Listening Space, see the Open Space concert website ========================================================================= Date: Fri, 1 Dec 2000 22:26:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: baudelaire beauty products Mime-Version: 1.0 Content-Type: text/plain; format=flowed REGION WILDFLOWERS A better job of Baudelaire, the air in four locations: Alpine Honey, Royal Jelly And a family near Avignon, Delicately-scented gardeners Blend these Swiss locations A lot better. So if you've been looking for bees It's the Swiss Alps’ crystal clear delight in the world of Baudelaire, In the air in an ideal location, to delight the fields with paradise Of bees, it's the Provence region in four natural formulas: Alpine Gardener, Royal Jelly, And delight this south of blending Them are soaps available in a region In the Provence in the south of region, wildflowers fill the south And France, and authentic European products You're going to produce soaps! So if you've been used to the south of France, And delight in an ideal location To heal authentic European products, you're going to produce soaps Available, and a lot better So if you've been used to a Swiss location As crystal clear, and no one does a family And no one does a family-scented company near Avignon Delicately wildflowers fill the south of blending Them into soaps with shea better job of blending Them soothe and no one Does a bit longer And restores and restores a youthful heal Restores wildflowers to fill this south of blending And fragrance makes it a lot A better job of blending And soaps available in a mild location To heal, soothe, and restore a complete location Of jelly-scented bees. --Mark DuCharme ....... Maria Damon wrote: >hey dudes and guyzies -- >there's a soap and scent line named after our charles b, that is baudelaire >(not bernstein, not yet, but i can see the day...). click on sephora.com, >and select "baudelaire" from their "product lines" it's a hoot. i think >i'll sponsor a poetry contest using the concept and words from the display >page and award will be a bar of baudelaire soap, okay the race is on! _____________________________________________________________________________________ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Sat, 2 Dec 2000 10:02:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: fiction In-Reply-To: <239A087D853BD31198BC00062938073BADF08D@exchange.chatham.edu> MIME-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Can anyone help me prove that poetry is better than fiction? I need some quotes from famous people or something. I'm having a fight with some friends. Aaron Belz ========================================================================= Date: Fri, 1 Dec 2000 19:18:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Jarnot Subject: spring poetry workshops in brooklyn, new york Mime-version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I will be offering two classes this spring in Brooklyn, New York-- One: a private poetry workshop, 10 weeks, $250, limit six students. Two: a seminar/reading group on Robert Duncan, 10 weeks, $250, limit six students. The classes will begin in mid-January. For more information, please see my workshop website at http://members.nbci.com/subpress/jarnot.htm or contact me at jarnot@pipeline.com /// 718-388-4938. Thanks, Lisa Jarnot ========================================================================= Date: Sun, 3 Dec 2000 18:47:21 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Fence Modern Poets Series Comments: To: ira@angel.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Tell your friends: The First Annual Fence Modern Poets Series Prize $1,000 and publication by Fence Books for a full-length book of poems by a poet writing in English at any stage in his or her career Final judge: Allen Grossman http://www.fencemag.com for guidelines and entry forms or send an SASE to: Fence Modern Poets Series, 14 Fifth Avenue, #1A, NY NY 10011 Postmark Deadline: December 1-31, 2000 ========================================================================= Date: Mon, 4 Dec 2000 01:49:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: BERRIGAN/MACHLIN at STEEL BAR Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The Millennium isn't over yet! Buffalo's STEEL BAR presents SAT. 12/9 8 PM Readings by DAN MACHLIN and EDDIE BERRIGAN + KATHERINE VENEMAN collages & ink washes Dan Machlin is the author of This Side Facing You (Heart Hammer), In Rem (a collaborative chapbook with poet Jen Hofer) and a recent Boston Poetry Conference broadside. His work has appeared in Talisman, Murmur, Tool, Torque, and online at The Brooklyn Poetry Review, The Poetry Project and The Small Press Collective at SUNY, Buffalo EPC. He is an editor of Melodian press and a contributing editor of The Transcendental Friend, an online literary query. He is also former Director of The Segue Performance Space in NYC. Edmund Berrigan is the author of Disarming Matter (Owl Press), and Life (Booglit), among others. He has lived and worked in New York City all his life, despite blurry gaps in San Francisco and Westchester County. He also plays guitar for I Feel Tractor. Katherine Veneman, who received her MFA from the American University in Washington, D.C., has exhibited at Gallery 401 in Providence, RI and Eli Marsh Gallery in Amherst, MA. She now lives in Providence. STEEL BAR is located in the Tri-Main Center, Suite 551 2495 Main Street (entrance on Halbert), Buffalo, NY $3 donation. Cash bar. For further info: jskinner@acsu.buffalo.edu tel. (716) 834-0958 ========================================================================= Date: Mon, 4 Dec 2000 01:06:25 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Comments: To: webartery@egroups.com, British poets , poetics UB Poetics discussion group Comments: cc: lit-med@endeavor.med.nyu.edu MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable November additions to the gallery (a few days late) are a poem 'Door' by = Patrick McManus, and a webart work by Carolyn Guertin, 'Incarnation: = Heart of the Maze' . these pieces don't deny 'paralysis' and chronic = pain but finds ways to live within and move beyond. tom bell --- Jokes are at:=20 http://members.tripod.com/~trbell/laugh/ibs.htm Life designs: http://trbell.tripod.com/lifedesigns/ Art, poetry, webpoetry done by people with chronic physical=20 or mental problems (work that helped) at=20 http://members.tripod.com/~trbell/metaphor/metapho.htm _-_-_-_-_-_-_-_-_-_-_-_-_/??????????///-_ SOULSOLESOLO=20 <<<]]][[[[[[[[[[[[]]]]]]]]]]}}}}+++++++ ========================================================================= Date: Mon, 4 Dec 2000 01:09:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Metaphor/Metonym Comments: To: webartery@egroups.com, British poets , poetics UB Poetics discussion group Comments: cc: lit-med@endeavor.med.nyu.edu MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Late, forgot to post url for Metaphor/Metonym for Health : = http://members.tripod.com/~trbell/metaphor/metapho.htm tom bell --- Jokes are at:=20 http://members.tripod.com/~trbell/laugh/ibs.htm Life designs: http://trbell.tripod.com/lifedesigns/ Art, poetry, webpoetry done by people with chronic physical=20 or mental problems (work that helped) at=20 http://members.tripod.com/~trbell/metaphor/metapho.htm _-_-_-_-_-_-_-_-_-_-_-_-_/??????????///-_ SOULSOLESOLO=20 <<<]]][[[[[[[[[[[[]]]]]]]]]]}}}}+++++++ ========================================================================= Date: Mon, 4 Dec 2000 06:08:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Gwendowlyn Brooks Comments: cc: Discussion of Women's Poetry List MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit December 4, 2000 Gwendolyn Brooks, Whose Poetry Told of Being Black in America, Dies at 83 By MEL WATKINS New York Times Gwendolyn Brooks, who illuminated the black experience in America in poems that spanned most of the 20th century, winning the Pulitzer Prize in 1950, died yesterday at her home in Chicago. She was 83. "I wrote about what I saw and heard in the street," Ms. Brooks once said. "I lived in a small second-floor apartment at the corner, and I could look first on one side and then the other. There was my material." In Ms. Brooks's early poetry, Chicago's vast black South Side is called Bronzeville. It was "A Street in Bronzeville," her first poetry anthology, that attracted the attention of the literary establishment in 1945. The Bronzeville poems were recommended to the editors of Harper & Row by Richard Wright, who admired her ability to capture "the pathos of petty destinies, the whimper of the wounded, the tiny incidents that plague the lives of the desperately poor, and the problems of common prejudice." But it was more than Ms. Brooks's ability to write about struggling black people, particularly black women. There was also her mastery of the language of poetry. "Miss Brooks has a command over both the colloquial and the more austere rhythms," the critic Rolfe Humphries wrote in The New York Times Book Review about the poems in "A Street in Bronzeville." Calling her "a real poet," Mr. Humphries said of her technique, "There is a range of form: quatrains, free verse, ballads, sonnets - all appropriately controlled." Ms. Brooks said that her reputation was bolstered by a review of "Bronzeville" in The Chicago Tribune by Paul Engle, a poet and founder of the Iowa Writers School. Mr. Engle maintained that her poems were no more "Negro poetry" than Robert Frost's poetry was "white poetry." Among the poems in "Bronzeville' was "the old-marrieds," a portrait of an aging couple: But in the crowding darkness not a word did they say. Though the pretty-coated birds had piped so lightly all the day. And he had seen the lovers in the little side-streets. And she had heard the morning stories clogged with sweets. It was quite a time for loving. It was midnight. It was May. But in the crowded darkness not a word did they say. In "A Street in Bronzeville" Ms. Brooks created such indelible figures as the old, alienated Matthew Cole, who could only smile at such memories as "say, thoughts of a little boy licorice-full/Without a nickel for Sunday School," and Satin Legs Smith, awakening on a Sunday: He sheds, with his pajamas, shabby days. And his desertedness, his intricate fear, the Postponed resentments and the prim precautions. In 1946 and 1947, Ms. Brooks was awarded a grant from the American Academy of Arts and Letters and received fellowships from the Guggenheim Foundation. In 1949, she published her second volume of verse, "Annie Allen," a portrait of a Bronzeville girl as a daughter, a wife and a mother, experiencing loneliness, loss, death and poverty. The critics praised her use of an experimental form she called the sonnet- ballad. "Full of insight and wisdom and pity, technically dazzling," Phyllis McGinley wrote in The Times Book Review. "Annie Allen" won Poetry magazine's Eunice Tietjens Memorial Prize in 1949 and the following year, it was awarded the Pulitzer Prize; Ms. Brooks became the first black writer to receive the prize since it was established in 1917. She acknowledged that it transformed her life. "That's why I am as well known as I am today," she said in a 1987 interview. "Sometimes," she added with a smile, "I feel that my name is Gwendolyn Pulitzer Brooks." Ms. Brooks wrote a novel, "Maud Martha," which received scant consideration when it was published in 1953. "Maud Martha" traced the life of a Bronzeville woman from childhood to maturity and motherhood through a series of 34 vignettes. The reader meets Maud as a lonely, overweight girl of 7, follows her through a dreamy adolescence and finally sees her as a young newlywed living "in a sad gray building in a cold white world," married to a man numbed by his struggle with white society. But Ms. Brooks's novel was overshadowed by her achievements as a poet and invidiously compared with Richard Wright's "Native Son" and Ralph Ellison's "Invisible Man," epic novels with clear-cut socio-political themes. In recent years, however, "Maud Martha" has had a rebirth, and it is now regarded in some critical circles as an important forerunner of prominent themes in the works of today's female writers. "Bronzeville Boys and Girls," a collection of children's poetry, appeared in 1956, followed by two poetry collections, "The Bean Eaters" (1960) and "Selected Poems" (1963). Critics noticed that Ms. Brooks's vision was expanding from considerations of the everyday experiences of Bronzeville to a wider world that included the murder of Emmett Till in Mississippi in 1955 and the racial tensions in Little Rock in 1957. They also noticed - and most applauded - a sharper colloquial style that was emerging in poems like "We Real Cool" from "The Bean Eaters": We real cool. We Left school. We Lurk Late. We Strike straight. We Sing sin. We Thin gin. We Jazz June. We Die soon. By the early 1960's, Ms. Brooks had reached a high point in her writing career. She was regarded as a grande dame of America's black writers and an honored member of the literary elite, a sought-after teacher, a poet who was valued for her sensitive portraits of black women, her precise use of language and the universality of her work. But by the end of the decade she had transformed herself and her poetry - a reflection of the new political dynamics that were sweeping across all the Bronzevilles of America. Gwendolyn Elizabeth Brooks was born in Topeka, Kan., on June 7, 1917, but grew up on the South Side of Chicago, where she remained till she died. Her parents, David Anderson Brooks and the former Keziah Corinne Wims, encouraged her and her younger brother, Raymond, to read and take an interest in culture from an early age. Gwendolyn began writing poetry before she was a teenager, filling composition books with "careful rhymes" and "lofty meditations." Her mother was an enthusiastic supporter, often telling her, "You are going to be the lady Paul Laurence Dunbar." Ms. Brooks published her first poem, "Eventide," in American Childhood when she was 13. Prompted by her mother, the teenager sent her poems to Langston Hughes and James Weldon Johnson. Mr. Hughes, who would become her friend and longtime supporter, wrote back: "You have talent. Keep writing! You'll have a book published one day." Mr. Johnson also responded with encouragement, urging her to read such modern poets as Wallace Stevens, e.e. cummings and T. S. Eliot. By the age of 16, Ms. Brooks had become a regular contributor to the "Lights and Shadows" column of The Chicago Defender, where many of her earliest poems appeared. Three years after her graduation from the newly opened Woodrow Wilson Junior College in Chicago in 1936, Ms. Brooks married Henry L. Blakely, a young writer who later published a volume of his own poetry. They lived in Chicago for the next 30 years, divorced in 1969 but reunited in 1973. Her survivors include a daughter, Nora Brooks Blakely, and a son, Henry Blakely. Ms. Brooks's poetry shifted noticeably in form and concern after she attended a conference of black writers at Fisk University in the spring of 1967. While there she listened to readings by Amiri Baraka, Ron Milner and other young firebrand poets. "I felt that something new was happening," she later said. Those young black writers "seemed so proud and committed to their own people," she added. "The poets among them felt that black poets should write as blacks, about blacks, and address themselves to blacks." She later wrote: "If it hadn't been for these young people, these young writers who influenced me, I wouldn't know what I know about this society. By associating with them I know who I am." Returning to Chicago, she began a poetry workshop in her home that included members of a Chicago street gang called the Blackstone Rangers and younger poets like Sonia Sanchez, Don L. Lee and Nikki Giovanni. Much of the talk was devoted to ways of merging the concept of black art with the political concept of black power. These currents were evident in Ms. Brooks's next volume of poetry, "In the Mecca" (Harper 1968). The 30-page title poem described a mother's frantic search for her missing daughter in a sprawling, decrepit building called the Mecca, which once was one of Chicago's fanciest apartment houses. In a volume that was described by one critic as "her declaration of independence" from the integrationist pursuit that had previously shaped her work, Ms. Brooks wrote about the desperate and tragic lives of the inhabitants of the Mecca. She wrote from experience. Ms. Brooks worked at the real Mecca as a typist for a "spiritual adviser" when she was young and got to know the people in the building. The collection also offered poems about Malcolm X and the Blackstone Rangers: Black, raw, ready. Sores in the city That do not want to heal. Ms. Brooks used clipped lines, abstract word patterns and random rhymes to capture her new radical tone and her more direct expression of social concern. "In the Mecca" was nominated for a National Book Award. Asked if the change in work signaled her emergence as a "protest poet," Ms. Brooks said, "No matter what the theme is, I still want the poem to be a poem, not just a piece of propaganda." Ms. Brooks reflected the change in her 1988 poem "Winnie": I am tired of little tight-fisted poems sitting down to shape perfect unimportant pieces. Poems that cough lightly - catch a sneeze. This is the time for Big Poems roaring up out of the sleaze, poems from ice, from vomit, and from tainted blood. After the publication of "In the Mecca" Ms. Brooks left her longtime mainstream publisher, Harper & Row. "Rio" (1969), her next volume of poetry, was published by Broadside Press, a small, Detroit-based black company. The change, she said, reflected her desire to support struggling black publishers and the young poets they published as well as her intention to address her work to black readers. With the new direction of her work and the lack of a major mainstream publisher, however, many of her subsequent books were brushed aside by reviewers for mainstream publications. From the 1970's to the 1990's, she published more than a dozen volumes of poetry and nearly a dozen nonfiction titles, which included two autobiographical works - "Report From Part One" (1972) and "Report From Part Two" (1995). Despite the lack of media attention, Ms. Brooks maintained her reputation as one of America's most respected literary figures. In 1968, she succeeded Carl Sandburg as poet laureate of Illinois. In 1976, she became the first black woman to be elected to the 250-member National Institute of Arts and Letters. She received a lifetime achievement award from the National Endowment for the Arts in 1989 and another from the National Book Foundation in 1994. She was the recipient of more than 50 honorary degrees. The Gwendolyn Brooks Chair in Black Literature and Creative Writing was established at Chicago State University in 1990, and there is a Gwendolyn Brooks Center for African-American Literature at Western Illinois University and a Gwendolyn Brooks Junior High School just south of Chicago in Harvey, Ill. She was selected by the National Endowment of the Humanities as its Jefferson Lecturer in 1994 - "the absolute award crown of my career," she said. And in 1995 she received the National Medal of Arts award. Despite such praise, Ms. Brooks preferred to stay outside what she called "the hollow land of fame" and quietly live and work on the South Side. "All my life is not writing," Ms. Brooks once told an interviewer. "My greatest interest is being involved with young people." To that end, she devoted much time to giving readings at schools, prisons and hospitals and attending annual poetry contests for school-age youngsters, which she sponsored, judged, and often paid for out of her own pocket. During her later years, Ms. Brooks tempered her assessment of the young poets of the 60's who had criticized her subjectivity and attention to form. "Many of the poets felt it was a mark of their quality, of their black and Hispanic quality, if they didn't put a lot of emphasis on technique," she said. Although she still sought to write poetry that was "direct" and appealed to "all manner of blacks," she insisted on maintaining her own standards. "I don't want to imitate these young people," she said. "I have got to find a way of writing that will accomplish my purpose but still sound Gwendolynian." ========================================================================= Date: Thu, 30 Nov 2000 19:40:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Alexander Subject: Gwendolyn Brooks Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I just heard that Gwendolyn Brooks has died, at age 83, of cancer. A tremendous poet and person. Pulitzer Prize winner, author of many books. I had the honor of meeting her twice, once for what was probably the best Tucson Poetry Festival ever, in 1987, featuring Gwendolyn Brooks, bpNichol, and Mei-mei Berssenbrugge, among others. As festival director, I was able to meet her at the train station (she only traveled by train and auto) and spend quite a bit of time with her. Later, in Minneapolis, I worked with an organization that co-sponsored her appearance at Minneapolis Public Library, where the auditorium held 600 people, but probably 1000 or more were in attendance, hearing Brooks's reading in the lobby and hallways of the building. Her presence and history are compelling, yet it is her language I treasure most. I took some lines from her poem, "The Second Sermon on the Warpland," as the epigraph to a long poem in my book, Hopeful Buildings. I'd like to repeat those lines here. Salve salvage in the spin. Endorse the splendor splashes; stylize the flawed utility; prop a malign or failing light =97 but know the whirwind is our commonwealth. Gwendolyn Brooks, from "The Second Sermon on the Warpland" ========================================================================= Date: Thu, 30 Nov 2000 18:37:33 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: baudelaire beauty products In-Reply-To: <3A24143C.517806AB@earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" is this a submission to the baudelaire soap contest chris? At 4:23 PM -0400 11/28/00, chris stroffolino wrote: >a guyzie who leaks flutie > > > > > > > > > >Jumper Bloom wrote: > >> Am I a dude or a guyzie? >> >> Just curious-- >> >> LOVE--JUMPER >> >> >From: Maria Damon >> >Reply-To: UB Poetics discussion group >> >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >> >Subject: baudelaire beauty products >> >Date: Sat, 25 Nov 2000 10:25:46 -0600 >> > >> >hey dudes and guyzies -- >> >there's a soap and scent line named after our charles b, that is baudelaire >> >(not bernstein, not yet, but i can see the day...). click on sephora.com, >> >and select "baudelaire" from their "product lines" it's a hoot. i think >> >i'll sponsor a poetry contest using the concept and words from the display >> >page and award will be a bar of baudelaire soap, okay the race is on! >> >> >>________________________________________________________________________________ >>_____ >> Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Thu, 30 Nov 2000 20:31:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Smylie Subject: invitation MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Have you ever wondered how a painting is made? Have you ever wondered how painting was undone? You are invited to play Barry Smylie's TERMINAL PAINTING http://barrysmylie.com/director/termalpaint/terminalpaint02.htm ========================================================================= Date: Thu, 30 Nov 2000 21:39:50 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Baudelaire beauty products In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" tru enuf, mayhew, but the really funny thing is that I first encountered Baudelaire soaps through a sale notice at a Wild Oats supermarket in California (what thots i have of u tonite) --the "wild card" announced a special on "Baudelaire Wilderness Soap". I took the card and had it for several years in a folder in which i kept artifacts of poetry n mass culture --which i've since lost, goshdarn it all, after a presentation to a group of high school teachers. *Inner* wilderness perhaps, but i always thot of CB as the urban type... concrete jungle, etc. it was my favorite such artifact because of the crazy incongruity of juxtapositions. i was disappointed to see, while doing my holiday shopping online at sephora.com, that Baudelaire no longer stocks a "wilderness soap." At 12:48 PM -0600 11/29/00, MAYHEW wrote: >Actually this is quite appropriate since Baudelaire wrote an "Eloge du >maquillage"--a praise of artificiality and self-disclosing artifice >against the aesthetic ideal of the "natural" > > >La femme est bien dans son droit, et meme elle accomplit une espece de >devoir en s'appliquant a paraitre magique et surnaturelle; il faut qu'elle >etonne et qu'elle charme; idole, elle doit se dorer pour etre adoree. Elle >doit donc emprunter a tous les arts les moyens de s'elever au-dessus de la >nature pour mieux subjuguer les coeurs et frapper les esprits. > > >Jonathan Mayhew >jmayhew@ukans.edu ========================================================================= Date: Sat, 2 Dec 2000 19:23:50 +0000 Reply-To: anielsen@lmu.edu Sender: UB Poetics discussion group From: anielsen@LMU.EDU Subject: W. sez MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII From the Sayings of W.: Heir Presumptive "There's gonna be moments when we don't agree 100% of the time." [O.K. -- I made up that first one, but this one is real. I just heard him say it from his Texas ranch. By the way, wasn't that a TV I saw in the shot behind the unholy crew, having been told all week by his retainers that W. didn't watch any TV up at the ranch? But maybe it was put in the shot instead of flags -- an appeal to our real national symbol.) Forget about dyslexia; let's get a linguist in to explain the transformational grammar at work in W.'s head. "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, 2 Dec 2000 20:43:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Del Ray Cross Subject: SHAMPOO MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hello Everyone, SHAMPOO issue 3 is now officially a fait accompli! Please check it out it at www.ShampooPoetry.com Where you'll find new poems by Kirby Wright, Martin Sulewski, Suzy Saul, Curran Nault, Cassie Lewis, Peitso H. Laurinen, Susanna Kittredge, Yuri Hospodar, Catherine Daly, Rachel M. Cunningham, Michael County, Sean Cole, Janet I. Buck, Jumper Bloom, and Aaron Belz, and a collaboration by Sheila E. Murphy and David Baratier. Oh, and a SHAMPOO Caribou. Lather up! Enjoy! Tell all your friends! And send in your poems for SHAMPOO issue 4! Thanks very much, Del Ray Cross, Editor SHAMPOO the bubbliest poetry on the web www.ShampooPoetry.com ========================================================================= Date: Sun, 3 Dec 2000 09:53:32 -0800 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 Buck D. Buck is one of those wonderful snailmail artists who work in the medium of postcards. You can get yours by writing him at Buck D, Box 53318, Washington, DC, 20009. (when) my candy apple snaps for Gary "U.S." Bonds how she loves her little man. with the short-arms at her sides; how he gets closer to the plate but he never reaches home. digging in the bucket and then knocks the bat right out of his hands. too hard for just another wake up call, what it is like, to re member from the pictures, or for get, semi home and life without a sound, seat back from all over. like a story how she caught it and it came from no where and now where else could it be but right up in side, up close, and all over. Buck D. ========================================================================= Date: Sun, 3 Dec 2000 17:20:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerrold Shiroma Subject: correction to hosting offer from durationpress.com Comments: To: Jerrold Shiroma MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Due to a price structure oversight, there have been some adjustments made to the durationpress.com web hosting offer. The corrected prices are as follows: For a one-time payment of $150, we are offering a web site with the following features: 5MB of disk space 5 e-mail addresses a static IP address user control panel domain name registration for 2 years (yourname.com, .org, or .net--after the initial 2 years, domain re-registration will be $24 per year) There will be no further charges for the actual hosting of the site. Any site set-up under this program will be independent from the durationpress.com site. New sites will operate under the same manner as the other presses virtually hosted by duration: potespoets.org, krupskayabooks.com, skankypossum.com, pavementsaw.org, atelos.org, spectacularbooks.com, dcpoetry.com, theeastvillageeye.com, & aerialedge.com. Web-design services are not included in the initial price, though will be considered on a case-by-case basis, & an additional $100 will be added to the original price of $150 If there are any questions, please e-mail me at threeseven@msn.com --Jerrold www.durationpress.com ========================================================================= Date: Sun, 3 Dec 2000 01:19:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lewis lacook Comments: To: Eric Pankey , ethan paquin , Ethan Paquin , Nathan Paquin , Nathan Paquin , Nathan Paquin , The Paquin's , mark RK peters , fiction of philosophy , luna negra , nehferet Nehferet , craig nelson , Daniel Nester , Philip Nikolayev , dana elizabeth norris , Mwatabu Okantah , onyx , William Oxley , Steve Palmer , Joseph Monninger , Jonathan Monroe , Andy Morgan , mudlark , Sugar Mule , "J.B. Mulligan" , sheila murphy , Sheila Murphy , tyler-lee murphy , "P[urrsonal] A[rea] N[etwurker]" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Idiolect Lewis LaCook --------------------------------- Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. ========================================================================= Date: Mon, 4 Dec 2000 13:34:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: Poetry @ MLA, Washington DC, Dec 27-30 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hello all, announcing two special poetry events coinciding with this year's MLA convention in washington, dc: ** Bridge Street Books MLA Group Reading ** Thursday December 28 Charles Bernstein | Lee Ann Brown | Graham Foust | Peter Gizzi Loss Glazier | Yunte Huang | Aldon Nielsen | Bob Perelman Jerome Rothenberg | Linda Russo | Juliana Spahr | Lorenzo Thomas Keith Waldrop | Rosmarie Waldrop | Barrett Watten | Elizabeth Willis 7:30 Pre-Reading Reception @ Bridge Street 2814 Pennsylvania Ave NW 8:30 Group Reading @ The Four Seasons Hotel 2800 Pennsylvania Ave NW 10:30 Post-Reading Reception @ Bridge Street Contact Rod Smith: aerialedge@aol.com ** MLA DC Poets Night ** Friday December 29, 8:00 pm Georgetown University Walsh Black Box Theater Leslie Bumstead | Tina Darragh | Jean Donnelly | Buck Downs Lynne Dreyer | Heather Fuller | Dan Gutstein | P. Inman Beth Joselow | Tom Mandel | David McAleavey Tom Orange | Rod Smith | Mark Wallace Contact Tom Orange: oranget@gusun.georgetown.edu for locations, directions, maps, plus a listing of offical MLA panels and events of interest to poetry folks, go to http://www.dcpoetry.com also new on the site: ** work by elizabeth burns, heather fuller, nada gordon, jeff hansen, and gary sullivan ** dcpoetry oral history project: contributions from tina darragh, heather fuller, beth joselow, michael lally, and joan retallack on the history of the d.c. scene thanks, tom ========================================================================= Date: Mon, 4 Dec 2000 13:47:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy McDonough Subject: poetrynow request for submissions REQUEST FOR SUBMISSIONS WINTER ISSUE POETRYNOW http://www.poetrynow.org Judy Smith McDonough, editor jsmcd@poetrynow.org ========================================================================= Date: Mon, 4 Dec 2000 13:55:43 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: fiction In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit *PROVE* it? Eck. Perhaps the very request of the need for proof is proof itself. Fiction readers need proof. Perhaps lovers of poetry don't; love is proof itself of love. irrational, isn't it? besides novels have been around 'bout 500 years, and always seem to be restricted to some sort of anti-hero. novels often "waste" words. poetry has been around a long time. poetry is not restricted to certain types of characters or characters at all. i suppose one could take collections of poetry and turn them into novels or novellas, but i think the other direction (novel into poetry) would involve some heavy editing and reconstruction, at the very least. And you and your friends seem to be leaving out dramas. My mother asked during Thanksgiving dinner what the point of poetry was anyway, why anyone "needed" it. Looked at me, mr poet. looked at my mother-in-law, an english lit instructor. I just laughed. Mom never received an answer and the subject smoothly changed. Patrick Herron -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Aaron Belz Sent: Saturday, December 02, 2000 10:03 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: fiction Can anyone help me prove that poetry is better than fiction? I need some quotes from famous people or something. I'm having a fight with some friends. Aaron Belz ========================================================================= Date: Mon, 4 Dec 2000 14:26:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Zauhar Subject: Re: The perfect description In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Jon Carroll, in today's SF Chronicle, notes that all of W's folks are his >daddy's thugs from the 88-92 regime and coins the perfect description of his >shrubness: > >"sock-puppet elect" > I was thinking something along the lines of "President Forrest Gump" but Jon Carroll is pretty accurate too. David Zauhar 632 Cribbs Street Greensburg PA 15601 724/834-8461 "They said we was nowhere Actually we are beautifully embalmed in Pennsylvania" --Philip Whalen, "Chanson d'Outre Tombe" ========================================================================= Date: Mon, 4 Dec 2000 11:19:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Avery Burns Subject: Canessa Park 12/10/00 Heuving & Pritchett MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Canessa Park Reading Series 708 Montgomery Street, San Francisco, CA Admission $5 Sunday December 10th, 2000 @ 5 pm - Jeanne Heuving & Patrick Pritchett JEANNE HEUVING is currently reworking a manuscript “Snowball”, work which falls between fiction and poetry. Work has recently appeared in Common Knowledge, Talisman, and HOW2. Her chapbook, Offering, was published by bcc press. As a critic, she has published the book Omissions Are Not Accidents: Gender in the Art of Marianne Moore as well as critical articles on several modernist and contemporary innovative women writers. She recently completed an exploratory (creative?) critical essay, "A Dialogue About Love [. . .in] the Western World / Tracking Leslie Scalapino." Jeanne is on the faculty of the University of Washington, Bothell and on the graduate faculty of the University of Washington. She has been a recipient of NEH and Fulbright research grants. She is also a member of the Subtext Collective in Seattle, which puts on a monthly reading series of innovative writing. PATRICK PRITCHETT is the author of two books of poetry Ark Dive (Arcturus Editions) and Reside (Dead Metaphor Press). His essay on the work of Anselm Hollo is featured in Thus Spake The Corpse. Poems have recently appeared in Colorado Review, New American Writing, Rhizome, Mungo vs Ranger, and Skanky Possum. A former story analyst in the film industry, he is currently completing his studies in English at the University of Colorado. A contributing editor for the poetry journal Facture, Pritchett also co-directs the Left Hand Reading Series. He lives in Boulder, CO, with his wife, writer/teacher Barbara Wilder. Hope to see you there, Avery E. D. Burns Literary Director Canessa Park Artist's Resource __________________________________________________ Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. http://shopping.yahoo.com/ ========================================================================= Date: Mon, 4 Dec 2000 12:02:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAXINE CHERNOFF Subject: Re: Gwendolyn Brooks In-Reply-To: <3.0.1.32.20001130194003.008acd10@theriver.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: QUOTED-PRINTABLE Being in Chicago with her for many years, Paul and I came to know her. She was an honest and generous person and always gave her time and money to encourage young writers. We'll miss her. Maxine Chernoff On Thu, 30 Nov 2000, Charles Alexander wrote: > I just heard that Gwendolyn Brooks has died, at age 83, of cancer. >=20 > A tremendous poet and person. > Pulitzer Prize winner, author of many books. >=20 > I had the honor of meeting her twice, once for what was probably the best > Tucson Poetry Festival ever, in 1987, featuring Gwendolyn Brooks, bpNicho= l, > and Mei-mei Berssenbrugge, among others. As festival director, I was able > to meet her at the train station (she only traveled by train and auto) an= d > spend quite a bit of time with her. Later, in Minneapolis, I worked with = an > organization that co-sponsored her appearance at Minneapolis Public > Library, where the auditorium held 600 people, but probably 1000 or more > were in attendance, hearing Brooks's reading in the lobby and hallways of > the building. >=20 > Her presence and history are compelling, yet it is her language I treasur= e > most. I took some lines from her poem, "The Second Sermon on the Warpland= ," > as the epigraph to a long poem in my book, Hopeful Buildings. I'd like to > repeat those lines here. >=20 > Salve salvage in the spin. > Endorse the splendor splashes; > stylize the flawed utility; > prop a malign or failing light =97 > but know the whirwind is our commonwealth. >=20 > Gwendolyn Brooks, > from "The Second Sermon on the Warpland" >=20 ========================================================================= Date: Mon, 4 Dec 2000 10:08:08 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Webster Schultz Subject: Re: The perfect description MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit My favorite post-campaign joke is from David Letterman. He says, "the good news is that the White House is offering George W. Bush intelligence briefings." And then: "sometimes these jokes just write themselves." Susan ----- Original Message ----- From: "Ron Silliman" To: Sent: Monday, December 04, 2000 8:26 AM Subject: The perfect description > Jon Carroll, in today's SF Chronicle, notes that all of W's folks are his > daddy's thugs from the 88-92 regime and coins the perfect description of his > shrubness: > > "sock-puppet elect" > > > Ron > ____________________________________________________________________________ _________ > Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Mon, 4 Dec 2000 12:39:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: THIS FRIDAY, 12/8, SF: 3 Plays by Barbara Guest, 1 in collaboration with Kevin Killian Comments: cc: sacoxf@fatnet.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Friday, December 8, 2000, 7:30 PM 3 PLAYS BY BARBARA GUEST Port (1964) The Office (1960) Often (2000) Directed by Kevin Killian & Wayne Smith Stage Design by Laurie Reid With: Rupert Adley, Elliot Anderson, Taylor Brady, Norma Cole, Kota Ezawa, Phoebe Gloeckner, Craig Goodman, Marisa Hernandez, Cliff Hengst, Scott Hewicker, Brenda Hillman, Andrew Joron, Kevin Killian, Karla Milosevich, Yedda Morrison, Tanya Hollis, Rex Ray, Laurie Reid,Jocelyn Saidenberg, Wayne Smith Barbara Guest is the author of Defensive Rapture, Fair Realism, Stripped Tales, Selected Poems, Herself Defined: The Poet HD and Her World, Quill Solitary Apparition, and three new books--The Confetti Trees, Rocks on a Platter, and If So Tell Me. With the artist Laurie Reid she has written a new book for Kelsey St. Press called Symbiosis. Less well known is her work for the theater. To help celebrate her eightieth birthday, and her eternally modern spirit, we are reviving two early one act plays, "Port" (1964) and "The Office" (1960). For this occasion La Guest has written a new play, "Often," with Kevin Killian-a sort of sequel to "The Office." "Port" is a pastiche of Agatha Christie country house mysteries: a titled Uncle, a bewildered heroine, a bottle of poisoned port, a wicked Rebecca-like haunting, a coroner's jury, and the mystery that lies beyond human recall. "The Office" might have been written for "The Twilight Zone," as a trio of cynical cut-throat executives scheme and plot their way to the top, and a mysterious trio of female secretaries give the signal, like Mme. Defarge, for their eventual death by firing squad. "Often" brings the characters of "The Office" into the year 2000, the race for big bucks, office creep, dot.com millionaires and the search for a better hair conditioner.. Timken Lecture Hall California College of Arts and Crafts 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) $5 and after the holidays....we'll begin the new year with: Dorothy Trujillo Lusk & Rod Smith Friday, January 12, 2001, at 7:30 p.m. Small Press Traffic 415-551-9278 http://www.sptraffic.org ========================================================================= Date: Mon, 4 Dec 2000 18:20:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Rain Taxi Vol. 5 No. 4 MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit R A I N T A X I * W I N T E R 2 0 0 0 / 2 0 0 1 FEATURES John Yau on Frank O'Hara; Interview with Samuel Delaney; Steven Moore on Francesca Lia Block; Rod Smith on Denton Welch; Biglieri, Fink and Fischbach on Clark Coolidge; Robert Kelly on Larry Eigner; Ramez Qureshi on Michel Foucault; Trial & Error (prison-related books) by Peter Ritter; _The Pool_ (Brion Gysin or Paul Bowles?) by Jon Carlson and Dave Cardeiro REVIEWS Rebecca Weaver on Jeanette Winterson; Sarah Fox on Atle Naess; Douglas Messerli on Unica Zurn; Patrick Durgin on Andrew Levy; Kim Fortier on Laura Moriarty; Petter Ritter on Charles Borkhuis; Kelly Everding on Sue Coe; John Olson on Martha King; Steven Moore on Raymond Queneau; John Olson on Mark Nowak; Dale Smith on Lorenzo Thomas; Amy Halloran on Carole Maso; Rudi Dornemann on Chinua Achebe; Brian Foye on Ho Xuan Huong; Tim Scannell on Donna Cartelli; many more MISCELLANEOUS "Widely Unavailable": Amy England on Raymond Roussel's Impressions of Africa; "Critical Issues": Erik Belgum and Gary Sullivan's translated transcription from Hungary Language PoetryFest 2000; "The New Life": Gary Sullivan's cartoon on Diane di Prima Subscribe: $12 (domestic); $18 (international) Send checks to: RAIN TAXI PO BOX 3840 MINNEAPOLIS, MN 55403 www.raintaxi.com raintaxi@bitstream.net ========================================================================= Date: Mon, 4 Dec 2000 15:26:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Silem Mohammad" Subject: Re: fiction Mime-Version: 1.0 Content-Type: text/plain; format=flowed >From: Aaron Belz >Can anyone help me prove that poetry is better than fiction? 1. Poetry is better than truth. 2. Truth is stranger than fiction. 3. Anything that is better than something that is stranger than another thing is also better than that other thing than which the something that it is better than is stranger. --------------------------------------- 4. Poetry is better than fiction. Glad to be of help. Cheers, Kasey . . . . . . . . . k. silem mohammad santa cruz, california immerito@hotmail.com http://communities.msn.com/KSilemMohammad _____________________________________________________________________________________ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Tue, 5 Dec 2000 13:21:50 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: fiction or Fuction? Richard's Pennywoth. MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Aaron. The answer is stunningly obvious. Fiction (by which I presume you mean novels by Michener or Mills & Bloom or Ulyssees by A.L.T. J. Goldsmith and other twaddle) is composed (nowdays - I mean since 1990 ) by computers, because the author became exhausted and decided to die. The trouble was, as Bart pointed out, people were getting it too easy. No one had to look up dictionaries and everyone (that is all the fiction readers - a breed who should be immediately despatched (or sent to "retraining schools for the dull")) - were becoming immensely lassitudinous and torpid in both manner mien and mind. Cormac McCarthy is an KLX Z56745 Gotha-Descripta Generator (Mark 5 if my memory fails not to elude me) and many of those young, vibrant writers who have BFA s or BDs or DDBs etc are in fact clones. Its well known (amongst the cognoscenti) that Thomas Pynchon is not Thomas Pynchon at all, but that his writings are an off-shoot of an experiment done by...well it involved various clandestine groups it would be safer I failed to mention...and that he himself does not, and has never, existed. His novels are so vast and prolix that on turning to say page 678978 after 678000 or page 56 after page 55, one is completely baffled as to what was implied on the initial page. But in fact, all one needs to know about any fiction (of any kind) is that it has a plot, some decription, a beginning, and usually, an end (as Forster brilliantly enumerates in his Attitudes of the Novel). In the middle part various things happen (which can be predicted by a computer). Poetry, like philosophy, is un computible, and digs deep into the eternal psychic and psychologic centre of all human and non human experience. Its inviolable and eternal and forever totally ambiguous.Its flowers and pepsi and blood and apple juice. Its Bart walking into a bread van. It's God. Its a shout in the street. Its tripe exulted to the highest layer. Its meaning or its greatness is its absolute lack of meaning. It means itself. (Rap your friends on their tediously metaphorical knuckles as you pronounce this). But I wont go on, because, my dear young man, people who read fuction are incorrigible twaddle ingestors and you should not count them amongst your friends. Yours affuctionately, Richard Taylor. ----- Original Message ----- From: "Aaron Belz" To: Sent: Sunday, December 03, 2000 4:02 AM Subject: fiction > Can anyone help me prove that poetry is better than fiction? I need some > quotes from famous people or something. > > I'm having a fight with some friends. > > Aaron Belz ========================================================================= Date: Mon, 4 Dec 2000 20:52:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: John Poch Subject: Re: fiction MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit >Can anyone help me prove that poetry is better than fiction? I need some >quotes from famous people or something. >I'm having a fight with some friends. >Aaron Belz This from Somerset Maugham, a novelist: The crown of literature is poetry. It is its end aim. It is the sublimest activity of the human mind. It is the achievement of beauty and delicacy. The writer of prose can only step aside when the poet passes. ========================================================================= Date: Thu, 7 Dec 2000 08:36:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Fwd: Jubilat Reading Series: D. A. Powell and Brenda Shaughnessy MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. -- TS --On Monday, December 04, 2000, 9:44 PM -0800 "Robert N. Casper" wrote: > > Jubilat Reading Series: On Sat. December 9, D. A. Powell and Brenda Shaughnessy will read poetry at the Burren Irish pub. The reading is free; the Burren is located at 247 Elm St. in Davis Square. > > > NOTE: The reading is starting at 3:00, ONE HOUR EARLIER than usual! > > > D. A. Powell is the author of two books of poetry, Lunch (Wesleyan, 2000) and Tea (Wesleyan, 1998). Publisher's Weekly says his poems, published in such journals as Denver Quarterly, Iowa Review, and New American Writing, "record a fractured existence, full of foreboding desire and disappearance." He has taught at the University of San Francisco, San Francisco State University, and the University of Iowa. > > > Brenda Shuaghnessy's first book, Interior With Sudden Joy (FSG, 1999) was hailed as "a heady, infectious celebration of the range and peculiarity of erotic life" by The New Yorker. Poems of hers have appeared in The Paris Review, The Yale Review, Boston Review, and other journals. She is currently a Bunting Fellow at Radcliffe. > > > If you have any questions, please contact me @ rncasper@world.std.com or Sam White at sogwhite@earthlink.net. Thank you. > > > Rob Casper > > > ========================================================================= Date: Mon, 4 Dec 2000 21:58:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Quasha Organization: Station Hill / Barrytown, Ltd. Subject: Franz Kamin performs in NYC & Kingston w/ Arner, Bolotowsky, Quasha, Stein, et al. MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Please forward this notice Composer, poet, performance artist, writer Franz Kamin will give a combination reading and performance-art show: NYC: Saturday, December 9th, 137 Duane Street (between West B'way & Church), Buzzer 202, 8:00 P.M. (212-750-6411). Kingston, NY: Thursday, December 14th at the Flying Saucer Cafe at 8:00 PM. (845-331-5439) A featured piece on the program will be The semiPervasive Cretin, in which Franz Kamin will 'illustrate by action-scribble' during a narrated text, simultaneous with complementary 'axial-stone-play' by George Quasha, as well as 'movement-poetry' by other performers. This piece will be accompanied by eight instrumentalists who will surround the audience. Among these will be composer-concert pianist Richard Cameron, poet Charles Stein (clarinet), composer-pianist David Arner,Andrew Bolotowsky (flute) and Mary Hurlbutt (soprano). Later in the performance, Bolotowsky and Hurlbutt will perform Franz Kamin's microtonal song Souls' Lyric. Other performers include Chie buun Hasegawa, Barbara Leon and Susan Quasha. Franz Kamin will be reading from his hand crafted books 'I' and Valentale, several of which will be for sale at the show. Franz Kamin is the author of Ann-Margret Loves You and Other Psychotopological Diversions and Scribble Death (both from Station Hill Press.) Recordings of his music are available on the Station Hill label. Franz Kamin is currently on the East coast giving various performances and classical piano concerts. LP — soon to be re-released on CD: "Behavioral Drift II, 1979 / Rugugmool, 1975" (a few cassettes available). 2 CDs are in the works. Published by Station Hill Press. Other New York City performances: SATURDAY, December 16 8:00 P.M. PIANO RECITAL w/ Franz Kamin NYU CAMPUS, Education Building 35 West 4th St. / Room 779 ADMISSION FREE Program: Chopin: Sonata #2 in Bb-minor, Op. 35 Shostakovitch: Polka (from L'Age D'Or, Op.22) Poulenc: Le Soirees De Nazelles Schumann: Phantasie in C-major, Op. 17 Messiaen: Neumes Rhythmiques Liszt: Sonata in b-minor SUNDAY, December 17th READINGS: Franz Kamin, Alan Gilbert, Mitch Highfill @ ZINC BAR — 6:30 P.M 90 West Houston St, New York City MONDAY, December 18th CONCERT: DONNEL LIBRARY, 2:30 P.M. 20 W. 53rd St. with Andrew Bolotowsky & Mary Hurlbutt. ADMISSION FREE Program: Poulenc: Le Soirees De Nazelles Schumann: Phantasie in C-major, Op.17 Ives: Sonata#2 'Concord, Mass 1840-1860' 2nd Mvt, Hawthorne (abrgd.) Kamin: a Flight of 2 Owls (piano) Kamin: Buffalo Bill's (soprano & piano) Kamin: Souls' Lyric (soprano & flute) Kamin: Corridor (flute) Kamin: the Unknown Creature with One Sad Eye (piccolo) -- George Quasha Station Hill Press / Barrytown, Ltd. or The Institute for Publishing Arts, Inc. Barrytown, NY 12507 Voice office: (845) 758-5840 Fax: (845) 758-8163 (publishing) Personal e-mail: gquasha@stationhill.org & site: http://www.quasha.com The press e-mail: Publishers@stationhill.org & site http://www.stationhill.org ========================================================================= Date: Mon, 4 Dec 2000 13:53:40 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: CFP: book on Arcades Project Comments: To: engrad-l@garnet.tc.umn.edu, englfac@garnet.tc.umn.edu, compedspec@garnet.tc.umn.edu, engltchr@garnet.tc.umn.edu, jdavis@panix.com, kball@ualberta.ca, David L Meissner , amstdy@tc.umn.edu, Jochen Schulte-Sasse , lew@humnet.ucla.edu, edcohen@rci.rutgers.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" please forward this call for essays to interested parties you might know: EXHIBITION UNDER CONSTRUCTION: After Arcades EXHIBITION UNDER CONSTRUCTION seeks to distractedly put on view--through unique methods of display--a flash of ideas inspired by Benjamin's . We invite previously unpublished works that delve into the peripheral, the sensual, the historical, the distracted, and the everyday. The editors of this proposed volume are working under the premise that the traditional or standard academic volume of 15-20pg. prose essays is no longer solely capable of containing (or putting on view) works produced after the radical epistemological break that is Benjamin's . Instead, this anthology will serve as a forum/gallery for experimental works incorporating a wide variety of forms--from the feuilleton, photo-montage, trash, historical essay, single sentence, ficto-criticism, postscript and archival collage to the annotated bibliography, dream inscription, documentary poem, "empire vignette", and ethnography of distraction. Nervous, performative, sentient, visual, transient, poetic and overdetermined works are particularly welcome. Potential contributors are asked to examine the editors' two previously co-edited volumes--these suggest the range and poetics of submissions presently sought: , May Joseph and Jennifer Natalya Fink, editors, (University of Minnesota Press, 1999); and , Diane Glancy and Mark Nowak, editors, (Coffee House Press, 1999). Other possible prototype collections include , Georges Bataille et al (Atlas Press Reprint, London, 1995); back issues of the journal (http://bfn.org/~xcp); POL(E)TICS: documenta X-the book (Cantz Press); Anyone Series (MIT Press); Zone Books; , Translated by Michael Richardson and Krzysztof Fijalkowski (Verso, 1996);, Michael Taussig (Routledge, 1993); etc. Submissions for should be sent to both editors, at the addresses below, by September 1, 2001. Please include current c.v., e-mail address, and SASE with your submission. Send work to: Mark Nowak, editor <_Xcp: Cross-Cultural Poetics_> 601 25th Avenue South Minneapolis, MN. 55454 May Joseph Associate Professor, Global Studies Department of Social Science Pratt Institute 200 Willoughby Avenue Brooklyn, N.Y. 11205 ========================================================================= Date: Tue, 5 Dec 2000 01:17:59 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Fewell Subject: Re: fiction MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 12/4/00 1:28:56 PM Eastern Standard Time, aaron@BELZ.NET writes: << Can anyone help me prove that poetry is better than fiction? I need some quotes from famous people or something. I'm having a fight with some friends. Aaron Belz >> Here's one: "Poetry is sometimes better than fiction." by aaron keith seriously, this is purely subjective...you seem to be desiring some objective statement by a proclaimed grand arbiter, but you should never trust them...for one reason, they're usually poets...lol aaron keith ========================================================================= Date: Mon, 4 Dec 2000 14:03:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Baudelaire beauty products In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" so, like, mayhew, write a POME! about POMADE! At 12:48 PM -0600 11/29/00, MAYHEW wrote: >Actually this is quite appropriate since Baudelaire wrote an "Eloge du >maquillage"--a praise of artificiality and self-disclosing artifice >against the aesthetic ideal of the "natural" > > >La femme est bien dans son droit, et meme elle accomplit une espece de >devoir en s'appliquant a paraitre magique et surnaturelle; il faut qu'elle >etonne et qu'elle charme; idole, elle doit se dorer pour etre adoree. Elle >doit donc emprunter a tous les arts les moyens de s'elever au-dessus de la >nature pour mieux subjuguer les coeurs et frapper les esprits. > > >Jonathan Mayhew >jmayhew@ukans.edu > >_____________ ========================================================================= Date: Mon, 4 Dec 2000 23:43:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Re: The perfect description In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit This list does not permit ripostes to such ongoing adolescent slanders. I'd beat Sllymn bad if you didn't practice PC censorship. Pity. > From: Ron Silliman > Reply-To: UB Poetics discussion group > Date: Mon, 4 Dec 2000 13:26:45 -0500 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: The perfect description > > Jon Carroll, in today's SF Chronicle, notes that all of W's folks are his > daddy's thugs from the 88-92 regime and coins the perfect description of his > shrubness: > > "sock-puppet elect" > > > Ron > ______________________________________________________________________________ > _______ > Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com > ========================================================================= Date: Tue, 5 Dec 2000 02:41:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Re: The perfect description In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit One more thing. The continued attacks on Conservative persons and institutions by members of this community, as if it were mere sport, divides and alienates, it rivens society and poisons the common spring of language. It is a bullying behavior because it does not permit a comeback from the other quarter. Your wits drive full blast down one way streets and run over pop up targets again and again. The use of "thugs" to describe people like Mrs. Rice, a professor at Stanford, is simply shameless. Shame on you, Ron Silliman. You really don't know the quality of person you insult. Shame. > From: Ron Silliman > Reply-To: UB Poetics discussion group > Date: Mon, 4 Dec 2000 13:26:45 -0500 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: The perfect description > > Jon Carroll, in today's SF Chronicle, notes that all of W's folks are his > daddy's thugs from the 88-92 regime and coins the perfect description of his > shrubness: > > "sock-puppet elect" > > > Ron > ______________________________________________________________________________ > _______ > Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com > ========================================================================= Date: Tue, 5 Dec 2000 00:42:17 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: fiction In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Can anyone help me prove that poetry is better than fiction? I need some >quotes from famous people or something. > >I'm having a fight with some friends. > >Aaron Belz Tell them that the Canadian poet George Bowering said: "Poetry is, in 90% of instances, way to hell and gone better than your damned fiction!" -- George Bowering Fax 604-266-9000 ========================================================================= Date: Tue, 5 Dec 2000 11:24:36 +1000 Reply-To: k.zervos@mailbox.gu.edu.au Sender: UB Poetics discussion group From: Komninos Zervos Organization: Griffith University Subject: Re: fiction In-Reply-To: MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT poetry is. fiction has to tell us that it is and make us believe it. qed > Can anyone help me prove that poetry is better than fiction? I need > some quotes from famous people or something. > > I'm having a fight with some friends. > > Aaron Belz komNinos zErvos cYberPoet lecTurer cyBerStudies SchOol of aRts griFfith uniVerSity GolD coaSt cAmpuS pmb 50 gold coast mail centre queensland 9726 tel +61 7 55 948872 http://student.uq.edu.au/~s271502 ========================================================================= Date: Mon, 4 Dec 2000 17:45:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: Susan THACKREY: George OPPEN Memorial Lecture, Thurs, Dec 7, 7:30 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 presents The George Oppen Memorial Lecture in Twentieth Century Poetics SUSAN THACKREY Thursday, December 7, 7:30 pm, $5 donation @ the Unitarian Center 1187 Franklin (at Geary) Please join us for the Poetry Center's final event of its Fall 2000 series. George Oppen, talking about his work, once said: "I was in those books speaking of Being. . . . I was sure I had said Being." SUSAN THACKREY this Thursday evening will address the heart of Oppen's practice as a poet. The Poetry Center's invitation to Ms. Thackrey to deliver the 16th annual George Oppen Memorial Lecture was met with a sense of profound anticipation by those who have followed her writing and thinking around matters of poetry, history, consciousness, and the contemporary world. A thinking poet, with a lyric intelligence of a high order, her work brings to the fore all the qualities we've come to associate with the writings of George Oppen. One of the original students in the inaugural poetics program at New College of California in the early '80s, and currently a practicing analyst, Susan Thackrey is the author of the book of poetry _Empty Gate_, and has published essays on a variety of writers and subjects. She lives in San Francisco. "Generosity, responsibility, integrity, vision, all wrapped up in one-Oppen would say _amen_.." =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D 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 A $5 donation is requested, proceeds to benefit the Oppen Memorial endowment. 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 College of Humanities at San =46rancisco 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 University 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: Tue, 5 Dec 2000 08:53:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daisy Fried Subject: Invitation to Daisy's book launch Comments: To: Pafringedb@aol.com, ebest@haverford.edu, sbenston@haverford.edu, beinr@cvn.net, vrbeards@epix.net, SeeAllMuse@aol.com, backes@snip.net, mbackes@law.upenn.edu, PBB@fpaa.org, nanders1@swarthmore.edu, askealicia@aol.com, sadorno@philamuseum.org, sam@citypaper.net, wh@dept.english.upenn.edu Comments: cc: WOM-PO@listserv.muohio.edu, wwhitma@waltwhitmancenter.org, owner-realpoetik@scn.org, rattapallax@yahoo.com, whpoets@english.upenn.edu, MacPoet1@aol.com, apr@libertynet.org, lizrader@icdc.com, rwebb@haverford.edu, lcohen@swarthmore.edu, lrussell@odin.english.udel.edu MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hi. If you've gotten several copies of this announcement, I apologize. These crosslistings are hell. But I wanted to invite you to come help me mark the launch of my first book of poetry, She Didn't Mean To Do It, and hope you won't hold any inadvertent spamming against me! Cheers! and Thanks! Daisy Please join DAISY FRIED when she reads from and signs her brand-new Agnes Lynch Starrett Prize winning first book of poems SHE DIDN'T MEAN TO DO IT from University of Pittsburgh Press TWO DATES: Fri., Dec. 8 @ 7 p.m. Barnes & Noble-Center City 1805 Walnut St., Philadelphia, PA info: 215.665-0716 (or e-mail me back) Thurs., Dec. 14 @ 7:30 p.m. Barnes & Noble-Bryn Mawr 720 Lancaster Ave., Bryn Mawr, PA info: 610.520.0355 (or e-mail me back) "Maybe this is the book of the year, for it has such range and it is so well-written"--Thom Gunn ========================================================================= Date: Thu, 7 Dec 2000 09:09:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: h.c. artmann (fwd) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Jerome Rothenberg asked me to pass this on to the list. From: "Ide Hintze" our dear friend - the poet, revolutionary and gentleman - h.c. artmann died december 4 late at night in his viennese apartement at the age of 79. he was in quite good shape during his last months. he hasn't seen hospitals for months. he was very busy teaching his internetclass ("translating asterix and obelix into viennese"). a sudden heart attack ... statement of the school (in German): http://www.sfd.at/ausgabe/pages/hcartmann.htm h.c. artmann's class (in German): http://www.sfd.at/akademie/db/artmann/news/ ========================================================================= Date: Fri, 8 Dec 2000 11:26:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Oh, and -- In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 02:41 AM 12/5/00 -0500, Richard Dillon wrote: >"thugs" to describe people like Mrs. Rice, a >professor at Stanford, is simply shameless. You mean *the* Stanford? Stanford *University*? Holy cow --Ron, how could you? LRSN ========================================================================= Date: Fri, 8 Dec 2000 15:57:12 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: CD announcement Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Matt Fowler organized a rather eclectic poetry CD showcasing Lawrence poets. It's quite a diverse bunch. But Ken Irby is on it, and slightly over 3 minutes of Irby reading (including his poem for Ed Dorn) is almost certainly worth the $12 (including shipping and handling) that the folks in charge are asking for it. More information can be found at http://www.poetsof.lawrence.ks.us/. Most of the links aren't up yet, but the crucial one (click on GET IT) is. -- --------------------------------------------------------------------------- Judy Roitman | " cats Math Dept., University of Kansas | as much as horses Lawrence, KS 66045 | on the night stairs" 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Fri, 8 Dec 2000 16:09:08 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: mad ape den In-Reply-To: <200009011346.JAA08430@smtp2.fas.harvard.edu> MIME-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Poets should note that at Geeklife.com people are writing movie reviews in words consisting of three letters or fewer. They call it "Mad Ape Den". It is an odd game, but terribly fun. After all, "If you can not say it in one or in two (or in one and two) why say it at all?" One I did: ***** "The Legend of Bagger Vance" In WWI, it was so sad to see a U.S. kid to go to war, to see him say "bye" to his gal (she was hot). He did not die, but he had a bad go of it. As he got out, he was mad as a cat-- he saw a gun go off, a gun go off, and off, and off. He was ill. So now he's in the U.S. to hop off the bus. His gal has a lot to say. Yet he can not hug her or say "hi"; he is too sad and ill. So she is off--mad at him! Ten go by; it is now the era of the bad Dow ('29 or so?). The kid-cum-man is now a bum, a man of gin and ale. His ex is yet so hot. She has a job in the tee biz -- it is her own biz! You see, her Dad (now in sod) had a lot. Now she has big fun: a big tee-off in the sun. The kid (her ex) did hit OK, but it was ten or so ago. So now -- is it her way to ask him to tee off? Yes, it is. And it is his way to say, "Wow. OK." But now he is bad, can not hit. He can not hit his own ass. His hit is way, way off. So Bag is in to put it as it was. A man of wit, he say "do dis" and "do dat" so the kid can hit the tee OK. Is Bag a guy or a god? Now the kid is not ill from war, and not a rum sot! He can not win the tee-off, but he can win his gal. The kid and his ex are OK now. And at the end, he and she go the way of man and gal (hot sex). It was an OK pic. But I was sad the kid had to sit as a bum and rot from '19 to '29 or so. She did not go to him at all?? He did not go for a dip, get a job? I do not buy it. Why did he not see a doc? Did he ask his dad? No! Why not? So, to say it was OK is not to say "Yes, see it." It's not a pic to see. [a.b.] ========================================================================= Date: Fri, 8 Dec 2000 16:23:44 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: fiction In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks for all your support----- here is my own view on 'fuction', for those of you who may disagree ---- [this is one of the emails I sent to my novel-loving friends] I don't like the "long prose story" form much, but I'll give it its triumphs -- certainly the great Russian novels, definitely Melville, Flaubert, Dickens, Proust. Maybe George Eliot, Victor Hugo, I don't know. I've only read a handful of such novels. My problem is not individual successes or failures in the form; it is that I don't like fictional prose *as a literary mode*. In most novel-reading experiences, I don't like the feeling that I feel like I'm playing pretend, that I'm being set up: "Okay, here we are in the outskirts of Omaha, Nebraska. Okay, this little doll is Tom Smith. He's a tall, gaunt insurance salesman. He's sad because his wife left him. He's middle class, lives beyond his means. And this one over here is Jane Richards. She is a lesbian librarian, keeps to herself mostly. You'd be surprised, though-- she might just talk some sense into Tom Smith at some point in this novel -- but we'll just have to wait and see, won't we!" So things begin to unfold, and the plot gets twisty (who could guess?) and then things all kind of come to a head, and then the cloud breaks and life settles back to normal -- but somehow we've learned something? We've learned that we're all in fact *human* after all, and there's more to life than meets the eye? That there's hope? Blecch. IN GENERAL, I don't like this sort of fry for two reasons: (1) It requires extended suspension of disbelief in a theatrical way, but it doesn't have the living presence or brevity of theater. (2) It is rarely as immediately (inherently) artful as plays and poetry. Robert Creeley wrote: "A poetry denies its end in any descriptive act, I mean any act which leaves the attention outside the poem. Our anger cannot exist usefully without its objects, but a description of them is also a perpetuation. There is that confusion--one wants the thing to act on, and yet hates it. Description does nothing, it includes the object--it neither hates nor loves." This is a convoluted quote, but it gets at what I mean: "any act which leaves the attention outside the poem." I can't spend a lot of time reading something that isn't pretty like crystal in the very structure and shape of its language, something that relies heavily on description of events and characters without the tension of hard words. -Aaron ========================================================================= Date: Fri, 8 Dec 2000 16:27:37 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: mad ape den In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Oops! there was a four-letter word in this; I fixed it. ***** "The Legend of Bagger Vance" In WWI, it was so sad to see a U.S. kid to go to war, to see him say "bye" to his gal (she was hot). He did not die, but he had a bad go of it. As he got out, he was mad as a cat-- he saw a gun go off, a gun go off, and off, and off. He was ill. So now he's in the U.S. to hop off the bus. His gal has a lot to say. Yet he can not hug her or say "hi"; he is too sad and ill. So she is off--mad at him! Ten go by; it is now the era of the bad Dow ('29 or so?). The kid-cum-man is now a bum, a man of gin and ale. His ex is yet so hot. She has a job in the tee biz -- it is her own biz! You see, her Dad (now in sod) had a lot. Now she has big fun: a big tee-off in the sun. The kid (her ex) did hit OK, but it was ten or so ago. So now -- is it her way to ask him to tee off? Yes, it is. And it is his way to say, "Wow. OK." But now he is bad, can not hit. He can not hit his own ass. His hit is way, way off. So Bag is in to put it as it was. A man of wit, he say "do dis" and "do dat" so the kid can hit the tee OK. Is Bag a guy or a god? Now the kid is not ill due to the war, and not a rum sot! He can not win the tee-off, but he can win his gal. The kid and his ex are OK now. And at the end, he and she go the way of man and gal (hot sex). It was an OK pic. But I was sad the kid had to sit as a bum and rot from '19 to '29 or so. She did not go to him at all?? He did not go for a dip, get a job? I do not buy it. Why did he not see a doc? Did he ask his dad? No! Why not? So, to say it was OK is not to say "Yes, see it." It's not a pic to see. [a.b.] ========================================================================= Date: Fri, 8 Dec 2000 21:13:25 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: printing MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable as someone who didn't have the benefit of a course on printing and small = press publishing I'm looking for a book or books on the subject. Ideas? tom bell --- -/-----------)))))))))))))))))) nnnnn Art, poetry, webpoetry done by people with chronic physical=20 or mental problems (work that helped) at=20 http://members.tripod.com/~trbell/metaphor/metapho.htm nnnnnnnnnnnnnn(((((((((((((((9 Life designs: http://trbell.tripod.com/lifedesigns/ }}}}}}}}}}}}}}}}}}}{ Jokes are at:=20 http://members.tripod.com/~trbell/laugh/ibs.htm _-_-_-_-_-_-_-_-_-_-_-_-_/??????????///-_ SOULSOLESOLO=20 <<<]]][[[[[[[[[[[[]]]]]]]]]]}}}}+++++++ ========================================================================= Date: Sat, 9 Dec 2000 00:58:45 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: fiction MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Meditation on Fiction Poetry and Metals 1. Poetry is both stranger than and better than fiction and not. 2. Poetry is truth. 3. Fiction is quagmire. 5. Poetry is rose wire. 6. Poetry is intensification mixed with sap. 7. Rilke wrote poetry as did (does) Ron Silliman and George Bowering. 8. Richard Brautigan wrote "poetic fiction". 9. What is fiction. 9A. Yes! 10. The Universe is a gland. Once I wrote: "The cat sat on the mat eating a bat." 11. Heidegger wrote some poems. 12. There are a lot of strangenesesses. 14. Silence is a form of poetry. 15. Listen. 16. Listen to the Universe. 17. Speak to a stone. 18 Eventually you will become everything: there will be no need for anything. 19. Words. (Study them with a microscope.) 20. When we are infants, we see people's (especially our mother's) face, but the deepest thing is their, or her, voice. 22. Switch everything off and listen to yourself. 24. John Cage. 25. Read poems aloud. Read fiction aloud. Also read silently. Soon you will realise that all writing is beautiful. Every word is a drop of god's blood. 25A. Music is fatal. 25B. David Antin. I like: "Tallking at the Boundaries." 26. Poetry is fatal. Abandon music. Study each word. "Conglomerate incision to petal petrol". Thus: "Each word is conglommerate petrol fatal to sepal study the abandon whose incision is music." 28. Journalists are the worls's greatest poets as are children. 29. Fiction is fortunate forgetting. 29A. No! Yes! 30. Go away where there are no people and prove to a bug that "all things must be remembered, everything, even the murder of a spider." 40. Listen and try to remember. 50. Listen. 55. Affirm. Be firm (or soft, if you wish). 60. You are a poem. 60A. Geology is another form of poetry as is mathematics. 70. A gigantic white brain flowered above the horizon. 80. The most beautiful poetry is fiction. 80. Fiction is poetry and everything is (or can be) beautiful or horrific. What if you could disconnect everything in the universe and then re build it. 85. What is fiction. 86. No! 90. The truth has never been known to quarrell with itself. 100. Here is a poem for a young man: she she is beautiful as a flame leaping from some unfound and carnal blue - and the flame flower, being free, flows like a silk wind, and: she is everywhere everything 102. Here are some "unpoetic" poems: into miniature silence makes cracked, static 104 drip to harmonic, not unit 105. Are 104 and 105 poems. What is a poem. What is a poem what is a poem what is a what is a poem what is a poem. Is a poem. Poem. 100A. Make your own poem by placing words in any order: go on, I dare you. Richard Taylor ----- Original Message ----- From: "K.Silem Mohammad" To: Sent: Tuesday, December 05, 2000 12:26 PM Subject: Re: fiction > >From: Aaron Belz > >Can anyone help me prove that poetry is better than fiction? > > > 1. Poetry is better than truth. > > 2. Truth is stranger than fiction. > > 3. Anything that is better than something that is stranger than another > thing is also better than that other thing than which the something that it > is better than is stranger. > > --------------------------------------- > > 4. Poetry is better than fiction. > > Glad to be of help. > > Cheers, > > Kasey > > > > > . . . . . . . . . > > k. silem mohammad > > santa cruz, california > > immerito@hotmail.com > > http://communities.msn.com/KSilemMohammad > > ____________________________________________________________________________ _________ > Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Sat, 9 Dec 2000 11:55:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The Secret Code MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - The Secret Code Curtain up. She bows. She recites the following: walklng oht ln tha mldst of my straamlng volca, soakad ln lt, wrackad by sobs, l wlll navar lat yoh down, ghstava, for me, you are breathless, i oromise my betters, i shall do as such, you will not be disaooointed, phaedre, phaedre, worry thls lnahghral dlsk, whara am l, who ls waltlng ln tha wlngs, l go onto tha proscanlhm, yoh ara thara, ghstava, waltlng. i am your ooor sara, i am your ooor sarrah, worry thls lnahghral dlsk, whara am l, who ls waltlng ln tha wlngs, l go onto tha proscanlhm, yoh ara thara, ghstava, waltlng transforms your walklng oht ln tha mldst of my straamlng volca, soakad ln lt, wrackad by sobs, l wlll navar lat yoh down, ghstava, i will oerform in the midst of leveled blues, in the midst of fragments, phaedre, phaedre, you will not be disaooointed, i oromise you, i oromise you ... She bows. She recites the following: walking out in the midst of my streaming voice, soaked in it, wracked by sobs, i will never let you down, gustave, for me, you are breathless, i promise my betters, i shall do as such, you will not be disappointed, phaedlre, phaedre, worry this inaugural disk, where am i, who is waiting in the wings, i go onto the proscenium, you are there, gustave, waiting, i am your poor nikuko, i am your poor nikuko, worry this inaugural disk, where am i, who is waiting in the wings, i go onto the proscenium, you are there, gustave, waiting, transforms your walking out in the midst of my streaming voice, soaked in it, wracked by sobs, i will never let you down, gustave, i will perform in the midst of leveled blues, in the midst of fragments, phaedre, phaedre, you will not be disappointed, i promise you, i promise you ... She bows. Curtain down. _ ========================================================================= Date: Fri, 8 Dec 2000 14:50:44 -0700 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: housepress announces a new chapbook by Rob Budde MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit housepress is please to announce the release of: "6 Paratactic Readings of the Coalition for a Humanistic British Canada's Policy Statement (Winnipeg Free Press, Saturday, October 9, 1999); or, Triage -- Dampening the Amperage of Empire, Filtering the Already Known, Piping in Reverb and Gradients to Better Hear the H-hate" by Rob Budde. Robert Budde is the author of three books ("Catch as Catch", "Misshapen" and "traffick", which was described as " an intelligent exploration of the long poem in which the pieces struggle with the order and disorder of language, body, and place..."). He teaches literature and creative writing at the University of Winnipeg and is the editor of Staccato Chapbook Press. published in a handbound and numbered limited edition of 70 copies. $6.00 each available directly from housepress. contact housepress@home.com for more information or to order copies. ========================================================================= Date: Sun, 10 Dec 2000 00:40:51 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: call for submissions/dec posting Comments: To: poetics UB Poetics discussion group Comments: cc: wryting , avant-garde@lists.village.virginia.edu, Deena , healthweek@ABOUT.COM, IBS Self Help Group , IFFGD , imediasupport@home.com, ivillageweeklynews@MAIL.IVILLAGE.COM MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable December listing in Metaphor/Metonym for Health = http://trbell.tripod.com/metaphor/metapho.htm is "Current State: i.m. = D.P. by Gerald Schwartz. =20 Will be looking for more after the holidays. tom bell --- -/-----------)))))))))))))))))) nnnnn Art, poetry, webpoetry done by people with chronic physical=20 or mental problems (work that helped) at=20 http://members.tripod.com/~trbell/metaphor/metapho.htm nnnnnnnnnnnnnn(((((((((((((((9 Life designs: http://trbell.tripod.com/lifedesigns/ }}}}}}}}}}}}}}}}}}}{ Jokes are at:=20 http://members.tripod.com/~trbell/laugh/ibs.htm _-_-_-_-_-_-_-_-_-_-_-_-_/??????????///-_ SOULSOLESOLO=20 <<<]]][[[[[[[[[[[[]]]]]]]]]]}}}}+++++++ ========================================================================= Date: Sun, 10 Dec 2000 11:43:16 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: The Impossibly on Fence Comments: To: ira@angel.net Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit New at the Fence website: http://www.fencemag.com Serial publication of The Impossibly, a novel by Laird Hunt, forthcoming from Coffee House Press Visit the first installment now. "Once upon a time, this friend and I lived together in a very small room in a very large city with big buildings and a big river, and at night or in the early morning after we had finished working I would talk. I would talk and talk, and he would doze and doze, and then he would tell me to shut the fuck up. This happy arrangement continued for a remarkably long time. Once, however, upon the conclusion of a particularly tricky job, one that had gone wrong in several ways, as we were walking towards home, I said something, and my friend went berserk and, after a short interval, went away, and that was, or had been, the history of our friendship. Now here he was again. He had arrived near the end of what he referred to as a tour he had been taking and was much refreshed and was visiting me. So. So. Still up to it, I suppose, he said. John is his name. Yes, I am, John, I said." and, a public service announcement for PS. 1 Writers... We Want Your Essays! For P.S.1's Special Projects Program Year-round, P.S.1 Contemporary Art Center presents a series of works by emerging artists from around the world. The Special Projects Program showcases artists distinguished by the site-specific, process-oriented or audience-interactive nature of their work. Every 3 months, 4 new artists are given a studio on the 2nd floor at P.S.1 . This winter, the artists are Sharon Hayes and Andrea Geyer, John Pilson, Michael Rakowitz, Marc Lester Yu, and Haluk Acakçe. As a component to this Program, P.S.1 would like to invite writers to contribute essays. This writing project will be on-going, growing as more writers submit essays and changing as new artists are featured. The essays will be posted on P.S.1's web site at www.ps1.org and displayed in the galleries. Select writers will be invited to a Public Dialogue with the artists. Selected essays will hopefully be featured in a possible publication documenting the Special Projects Program. Writing possibilities include: a critical essay on a (or several) Special Project artist(s) (specific to the piece(s) on view) a creative essay as a reaction to a particular work of art on view in the Special Projects (short story, poem ) Submissions should consist of no more than 1 essay of no more than 750 words and a résumé, and will only be accepted via e-mail. Essays will be screened (negative reviews are not appropriate for this forum). The Winter Deadline is January 14th, 2001. All interested writers should contact and send submissions to Anthony Huberman at anthony@ps1.org t: 718.784.2084 ext.24 / f: 718.482.9454 Mailing Address: P.S.1 Contemporary Art Center 22-25 Jackson Ave. at 46th Ave. Long Island City, NY 11101 ========================================================================= Date: Sun, 10 Dec 2000 14:17:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bertha Rogers Subject: December update, NYS Literary Curators Web Site MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Happy Holidays, and here's a whole list of December literary events in New York on http://www.nyslittree.org, brought to you by Bright Hill Press, in partnership with the New York State Council on the Arts. Some tips on being part of the web site: 1. Organizations wishing to be included on the Organizations Page should send information, following the format on the page, to wordthur@catskill.net. 2. Oganizations wishing to list events on the Events page should send information on events to wordthur@catskill.net no later than the 25th of the month before the event. 3 Literary Curators should send information to wordthur@catskill.net. 4. Independent literary presses or journals wishing to be included on the Poulin Page should send a copy of a recent publication, plus complete contact info (voice, fax, email, web site), plus a brief statement about the press, to Bright Hill Press, Attn: Poulin Project, POB 193, Treadwell, NY 13846. 5. Writers with published books wishing to be included on the Circuit Writers Page (NYS writers only) should follow the format on the page and email the information to wordthur@catskill.net. 6. Writers with published books from out-of-state who wish to be listed as available readers in NYState should follow the format on the Interstate Writers page and email the information to wordthur@catskill.net. If you do not wish these monthly updates please notify us. Questions? Comments? Email us at wordthur@catskill.net. Bertha Rogers, Administrator ========================================================================= Date: Sun, 10 Dec 2000 15:59:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sylvester pollet Subject: address change Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hello All. My P.O. won't forward mail to my new street name after Jan. 1, though I haven't moved in a quarter century (domiciles, that is). If I'm on your lists for exchange publications, etc., please make sure you have changed the street. Thanks. Old: RR 5 Box 3630 New: 963 Winkumpaugh Rd. Sylvester Pollet 963 Winkumpaugh Rd. Ellsworth ME 04605 Latest in the Backwoods Broadsides Chaplet Series went out in October: #54 April/Abril by Gerardo Beltran (trans. John Burns) #55 Jisei by Clayton Eshleman (cost @ $1, subs for 8/yr $10, $12 international) ========================================================================= Date: Sun, 10 Dec 2000 18:25:11 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: Saturday December 16, 7pm, Dinnerware: writer Diane Glancy, visual artist Ted Pope Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit for immediate release POG presents Writer Diane Glancy Visual artist Ted Pope Saturday, Dec 16, 7pm, Dinnerware Gallery, 135 East Congress Admission: $5; Students $3 (Diane Glancy's visit co-sponsored by Chax Press.) DIANE GLANCY is a poet, fiction writer, and playwright. She was for several years the Five Civilized Tribes Playwright Laureate. Among her many other awards are NEA and NEH fellowships, the North American Indian Prose Award from the University of California (for Claiming Breath), and the American Book Award from the Before Columbus Foundation. She is Professor of English at Macalaster College in St. Paul, Minnesota. Her awards include the following: · Iron Woman received the Capricorn prize, given by The Writers Voice, New York · Trigger Dance was awarded the 1990 Charles and Mildred Nilon Fiction Award from the University of Colorado and the Fiction Collective · Claiming Breath was awarded the North American Indian Prose Award from the University of California (Berkeley and Santa Cruz) and the American Book Award from the Before Columbus Foundation in 1993 · Lone Dog’s Winter Count received the Minnesota Book Award for Poetry · One Age in a Dream received the Lakes and Prairies Prize in 1986. Books by Diane Glancy or containing her work Poetry · Visit Teepee Town : Native Writings After the Detours, Diane Glancy, Mark Nowak (Editors), Coffeehouse Press. · Asylum in the Grasslands, Moyer Bell. · Boom Town, Black Hat Press. · Coyote’s Quodlibet, Chax Press. · Lone Dog’s Winter Count, West End Press. · Iron Woman, New Rivers Press · Offering : Poetry & Prose, Holy Cow Press. · One Age in a Dream : Poems, Milkweed Editions Selected Prose · The Voice That Was in Travel : Stories, American Indian Literature and Critical Studies Series, Vol 33, U of OK Press. · Fuller Man, Moyer Bell Ltd. · Two Worlds Walking : Short Stories, Essays, & Poetry by Writers · With Mixed Heritages, Diane Glancy, C.W. Truesdale (Editor), New Rivers Press. · The Cold-And-Hunger Dance, University of Nebraska Press. TED POPE’s paintings and computer-assisted works in the forms of prints, video, and interactive multimedia have been exhibited internationally. He is currently a Professor at Arizona International College of the University of Arizona. POG events are sponsored in part by grants from the Tucson/Pima Arts Council the Arizona Commission on the Arts and The National Endowment for the Arts POG also benefits from the continuing support of The University of Arizona Extended University Writing Works Center, The University of Arizona Department of English, The University of Arizona Poetry Center, the Arizona Quarterly, and Chax Press. for further information contact POG: 296-6416 tenney@azstarnet.com mailto:tenney@azstarnet.com mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn/ ========================================================================= Date: Sun, 10 Dec 2000 23:46:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: The Understudy MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - The Understudy Curtain rises. She enters, bows. She is exhausted. She recites: i'm finishad. tha drama is incandascant; tha drama is all that ramains. it comas from daap within; all you saa ls masqua ... skins slide from flesh, i lose them. i stumble around the stage. i call for you; it is useless. nothing can be done for me ... i em too tirad to go on tonight, too worn out. lifa must offar mora then this. my vary limbs trambla. i glenca unaesily ... this incandescent drama, you may have what remains of me, my uneasy glance belongs to you, my limbs tremble, tremble ... She leaves. The understudy enters. She bows. She recites: i em too tirad to go on tonight, too worn out. lifa must offar mora then this. my vary limbs trambla. i glenca unaesily ... i'm finishad. tha drama is incandascant; tha drama ls all that ramains. it comas from daap within; all you saa is masqua ... on me ... She leaves. Curtain falls. _ ========================================================================= Date: Mon, 11 Dec 2000 08:26:24 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (Cahners -NYC)" Subject: 2H: Giscombe/Spahr MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable This Saturday, December 16 in NYC:=20 C.S. GISCOMBE=20 AND=20 JULIANA SPAHR Read at Double Happiness.=20 C.S. Giscombe's book of connected essays, Into and Out of Dislocation, = was published last May. His recent poetry books are Here (1994), Giscome = Road (1998), and Two Sections from Practical Geography (1999). He teaches in = the MFA program at Penn State. Juliana Spahr is the author of Response (Sun = & Moon), Everybody's Autonomy (U of Alabama), and of the tentatively = titled and forthcoming Fuck You-Aloha-I Love You. She is a mainland haole who currently lives in Honolulu. Segue Reading Series at Double Happiness 173 Mott Street (just south of Broome) Saturdays, 4 - 6 p.m. Suggested contribution, $4, goes to the readers. Doors open at 3:30 for those who want to enjoy Double Happiness=B9s two-for-one happy hour(s). Funding is made possible by the continuing support of the Segue = Foundation and the Literature Program of the New York State Council on the Arts. =20 Please join us! ========================================================================= Date: Mon, 11 Dec 2000 11:20:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Slaughter Subject: Notice: Mudlark In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII New and On View: Mudlark Poster No. 30 (2000) _____________________________________________ Qian Xi Teng Caeneus to Caenis: Reminisces | Chang E: the True Story Qian Xi Teng has been published in a few Singaporean anthologies and will appear soon in SINGA (Singapore's only literary magazine) and POETRY GREECE. Writers she tries not to imitate are Kathleen Jamie, Sylvia Plath, and W.S. Merwin. She plans to memorise "The Love Song of J. Alfred Prufrock" one day. Qian Xi is currently a student of Hwa Chong Junior College, Singapore, and is looking forward to turning 18 next year. "Your pill shines / like the last voting slip on the table..." from Chang E Spread the word. Far and wide, William Slaughter _________________ MUDLARK An Electronic Journal of Poetry & Poetics Never in and never out of print... E-mail: mudlark@unf.edu URL: http://www.unf.edu/mudlark ========================================================================= Date: Mon, 11 Dec 2000 10:22:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii 1) poetry serves as an intensifier of experience - prose often includes a great deal of "filler" - intended to make a novel a novel 2) it is harder to write - look at the collected works of most poets - they are about the size of a novel 3) poetry is more (tho not completely) resistant to the impulse to write for an audience - i find poetry to offer a greater sense of "overhearing" than any other form of writing - its commercial unviability may account for some of this 4) a poem can contain plot and character, narrative and argument - a novel has a hard time containing poetry, despite dustjackets always claiming "poetic" and "lyric" prose - if poetic and lyric are so grand as to be used as a marketing ploy, why not simply cut the middle man and read lyric poems? 5)having poetry on yr shelf is guaranteed to make you appear to have sophisticated tastes to anyone that happens to come over to yr house and look at yr bookshelf - since no one reads it you can say anything you like about it and who will contradict you? the same goes for reading poetry volumes at local coffee shops - memorising just enough to appear like you know of what you speak is a highly recommended method of seduction 6)poems are short to read - fun for bus rides, just before bed, on yr lunch break at work or jury duty so aaron - i'd recommend you memorise a bunch o' poems and recite them to yr friends - if they love their novels so much, they should be able to do the same with their favourite novels and short stories > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On > Behalf Of Aaron Belz > Sent: Saturday, December 02, 2000 10:03 AM > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: fiction > > > Can anyone help me prove that poetry is better > than fiction? I need some > quotes from famous people or something. > > I'm having a fight with some friends. > > Aaron Belz > __________________________________________________ Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. http://shopping.yahoo.com/ ========================================================================= Date: Mon, 11 Dec 2000 14:54:41 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: [Y4M] Organizing centers for Jan. 20 march at the inauguration (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII CAN YOU OR YOUR GROUP SERVE AS AN ORGANIZING CENTER FOR THE JANUARY 20 PROTEST AT THE INAUGURATION? We've heard from people from New York and New Jersey to Maine, Vermont, Florida, Wisconsin, Minnesota, Virginia, North Carolina, Georgia, Texas and more. Wherever you are, find the organizing center nearest you--and if there isn't one, set one up and organize buses, vans and car caravans to get as many people as possible to DC on January 20. Serving as an organizing center in your area would mean working with other people and groups in your city, school, community, place of worship, union or workplace to bring people to DC on January 20. Organizing tools are available. We would list you on the IAC web site as a local contact and could direct people in your area to you. Below is a partial list of organizing centers. Email iacenter@iacenter.org with your local contact info if you or your group can serve as an organizing center. Information will be listed on the IAC and other web sites, and email notices will be sent out periodically. NATIONAL OFFICE -- NEW YORK CITY 39 W. 14th St. #206, New York, N.Y. 10011 (212) 633-6646; Fax (212) 633-2889; email: iacenter@iacenter.org WASHINGTON DC office 733 15th Street NW, #515 Washington, DC 20005 Phone 202-588-1205, email: npcdc@mnsinc.com GEORGIA *ATLANTA Millions for Mumia bus leaves Friday night, Jan. 19, tickets are $70 (770) 989-2536, atlantamumia@hotmail.com ILLINOIS *CHICAGO International Action Center c/o PO Box 06178 Wacker Dr. Station Chicago, IL 60606-0178 (773) 381-5839, iachi@enteract.com MARYLAND *BALTIMORE All People's Congress 426 E. 31st St., Balt., MD 21218 (410) 235-7040, apcbaltimore@pipeline.com MASSACHUSETTS *BOSTON (617) 983-3835, iacboston@yahoo.com MICHIGAN *ANN ARBOR University of Michigan Contact Julie Frye jnf@umich.edu *DETROIT (313) 831-0750 NEW YORK *MID-HUDSON REGION (914) 255-5779; email: jacdon@earthlink.net *NEW YORK CITY 39 W. 14th St. #206, New York, N.Y. 10011 (212) 633-6646; Fax (212) 633-2889; email: iacenter@iacenter.org NORTH CAROLINA North Carolina State University, Amnesty International chapter Contact Aaron Jacobs (919) 829-4942, avjacobs@unity.ncsu.edu OHIO *CLEVELAND Peoples Fightback Center 3030 Euclid Ave #LL1, Cleveland OH 44110 216-426-0851, pfcenter@aol.com PENNSYLVANIA *PHILADELPHIA International Action Center 215-724-1618, 813 S. 48th St., Phila., PA 19143, e-mail: philnpc@op.net International Concerned Family and Friends of Mumia Abu- Jamal 215-476-8812 RHODE ISLAND *PROVIDENCE International Action Center (401) 726-4802, npcri1@aol.com TEXAS *HOUSTON Texas Death Penalty Abolition Movement Phone: 713-861-5965, office 713-521-0629 Email: AbolitionMovement@juno.com (Bus from houston is $125.00--deposits due by Dec. 26,at our office: Abolition Movement C/o SHAPE Center 3903 almeda Rd. Houston, TX 77004. Bus leaves SHAPE on Thursday evening at 6 PM, Jan. 18. Returns Sunday night, Jan. 21.) WASHINGTON, DC International Action Center 733 15th Street NW, #515 Washington, DC 20005 Phone 202-588-1205, email: npcdc@mnsinc.com WISCONSIN *Milwaukee A Job is A Right Campaign guyute@uwm.edu, 414-374-1034 WEST COAST There will also be a demonstration in San Francisco on Jan. 20. Contact (415) 821-6545, iac@actionsf.org for info and local organizing centers Email iacenter@iacenter.org with your local contact info if you or your group can serve as an organizing center. International Action Center 39 West 14th Street, Room 206 New York, NY 10011 email: iacenter@iacenter.org web: http://www.iacenter.org CHECK OUT SITE http://www.mumia2000.org phone: 212 633-6646 fax: 212 633-2889 *To make a tax-deductible donation, go to http://www.peoplesrightsfund.org -------------------------- eGroups Sponsor -------------------------~-~> eGroups eLerts It's Easy. It's Fun. Best of All, it's Free! http://click.egroups.com/1/9698/0/_/30522/_/976552951/ ---------------------------------------------------------------------_-> Stop the execution! New trial for Mumia! Youth & Students for Mumia http://www.mumia2000.org To subscribe or unsubscribe email: youth-4-mumia-owner@egroups.com ========================================================================= Date: Sat, 9 Dec 2000 17:41:32 +0000 Reply-To: anielsen@lmu.edu Sender: UB Poetics discussion group From: anielsen@LMU.EDU Subject: a modest proposal MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII This suggestion forwarded from Anna Everett: Whereas Craig Waters, earnest spokesman for the Florida Supreme Court, has been the only person in this whole sorry spectacle to betray any signs of character, carrying out his appointed functions with dispatch and great good humor, and whereas millions now look forward to his each appearance before the building as a respite, safe harbor, moment of sanity, and whereas his Aunt Edith had to settle for seeing him on television instead of at her Thanksgiving Day table, Be it hereby resolved that a Craig Waters website should be established for the benefit of his innumerable fans and well-wishers and Be it further resolved that the subscribers to the Poetics List, in their capacity as poets, undertake the composition of a suitable poem in his honor. December 9, 2000 Year of the Fallen Chad "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, 9 Dec 2000 20:46:20 +0000 Reply-To: anielsen@lmu.edu Sender: UB Poetics discussion group From: anielsen@LMU.EDU Subject: the comforts of poetry Comments: cc: kalamu@aol.com MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Upon hearing the news from the United States Supreme Court I recall the one line from Nikki Giovanni that has remained with me for thirty years: "They ain't got no shame." "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, 9 Dec 2000 13:31:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Clay Subject: Granary Books NYC publication party In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Granary Books invites you to our celebration featuring A Book of the Book (Jerome Rothenberg and Steve Clay eds.) and all books published in 2000. Tuesday December 19, 7-9 pm at Teachers & Writers, 5 Union Square West, NYC. The full list of Granary Y2K publications is as follows: Abracadabra by Kimberly Lyons Arcana: Musicians on Music edited by John Zorn (& co-published with Hips Road) Away by Ed Friedman and Robert Kushner The Blind See Only This World: Poems for John Wieners edited by William Corbett, Michael Gizzi and Joseph Torra (& co-published with Pressed Wafer) Bomb by Clark Coolidge and Keith Waldrop A Book of the Book: Some Works & Projections about the Book & Writing edited by Jerome Rothenberg and Steve Clay Cyberspace by Kenward Elmslie and Trevor Winkfield Desire for a Beginning Dread of One Single End by Edmond Jabes and Ed Epping (translated by Rosmarie Waldrop) Footnotes: Collage Journal 30 Years by Alison Knowles Night Crawlers on the Web by Johanna Drucker (& co-published with Jabbooks) Nite Soil by Kenward Elmslie A Smell of Printing: Poems 1988-1999 by Simon Cutts (& co-published with Coracle) When will the book be done? Granary's Books edited by Steve Clay All are welcome! For those interested but not be able to attend, salient details about these and other books my be found on our website http://www.granarybooks.com ========================================================================= Date: Sat, 9 Dec 2000 14:28:09 -0800 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: Right-Wing Coup Edition! Mike Topp Mike Topp lives and works in NYC. He can be reached at mike_topp@ hotmail.com. Life is strange. Hi Sal, I was looking at a 1929 Paramount blues catalog for Blind Lemon Jefferson and I started to think about blues for the '90s... DEALERS’ LIST, NOVEMBER 1999 REV. CUDDLER 12801 Frusen Glädjè Mama Drawstring Pants Blues 12756 That Venture Capitalist Moan No. 2 IPO Blues 12728 Cranio-Sacral Therapy Blues Cascading Hydromassage Blues 12712 DKNY Blues Banana-Leaf Fibre Blues 12692 Pu Pu Platter Blues Armagnac Chutney Blues 12679 Ecstasy Blues Viagra Blues 12685 How Long How Long Bull Market Blues 12666 Rev. Cuddler’s Penitentiary Blues Complimentary Condom Blues 12650 Silicon Valley Money Mama Blues Low Down Exfoliation Blues 12639 Martha Stewart’s Pewter Flatware Moan 100 Thread Count Blues 12622 Cuddler’s Olestra Blues St. John’s Wort Blues 12608 Navel Ring Blues Pitifully Thin Cashmere Sweater Blues 12593 Wheat Grass Special Bottled Water Blues 12578 Cat Cartoons Blues All-New Cat Cartoons Blues 12551 Killer App Blues Deceitful Investment Banker Blues 12541 Tangopolitan Blues Inflated Sense of Self-Esteem Blues 12474 Roaming Charges Blues *69 Blues 12443 Think Different Blues Miles Davis Wore Khakis Blues 12407 Double Decaf Latte Moan Biscotti Blues TOP TEN 5th COLUMN 1. Young British artists 2. Women boxers 3. Neapolitan ice cream 4. Plagiarism and Fingernail extremism 5. Accordion music 6. Mr. Pibb 7. MR. PEANUT 8. Cat cartoons 9. Cybersquatting 10. Mime shows GETTING EVEN “My name “My name “My name “My name “My name “My name is Byran is Byran Byran is Byran Uyesugi, is Byran Uyesugi, “My name is Byran Uyesugi, I am I am I am I am a copier a copier technician, technician, I am a copier technician, I am a copier technician, I am a copier technician, and and my favorite my favorite my favorite favorite favorite and my favorite gun gun gun and my favorite and my favorite gun and my favorite gun my favorite gun and my favorite gun is is the Colt .45” the Colt .45” (Should be in two columns. Column on right-hand side should align flush left. Column on left should align flush right. There should be a gutter down the middle and the right-hand column should begin one line higher than the left-hand column. Also enclosing attachment.Probably still won't come out right. Oh well. --Topp) Mike Topp ========================================================================= Date: Mon, 11 Dec 2000 03:07:01 -0500 Reply-To: jtley@home.com Sender: UB Poetics discussion group From: Jennifer Ley Organization: Riding the Meridian Subject: Riding the Meridian: Lit [art] ure Comments: To: jley@heelstone.com MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Please excuse cross posting. Riding the Meridian -- Winter 2000 -- Lit [art] ure http://www.heelstone.com/meridian Literature ... what is happening to literature? Only a year ago, web writers were comfortable calling html-code-intensive works hypertext. But now that term seems lacking, incapable of describing the myriad technical approaches available and the creative changes which working in a web-specific medium has wrought. This is what we choose to call lit [art] ure. Classic text poetry to hypermedia presentations and points between: the Work Randy Adams, Michael Basinski, Tom Bell, Charles Bernstein and Susan Bee, Diane Caney, M.D. Coverley, Loss Pequeño Glazier, Diane Greco, Jack Kimball, Amy King, David Knoebel, Dan Machlin, Karen Mac Cormack, Mez, Janet Owen, Mark Peters, Carlyle Reedy, Ernest Slyman, Alaric Sumner, Lawrence Upton, Joel Weishaus Jumpin' at the Diner -- a survey of web-specific literature created by men, curated by Marjorie Coverley Luesebrink with Jennifer Ley -- commentary by Jay David Bolter and Stephanie Strickland Dialogue -- a round table discussion with Loss Pequeño Glazier, Judy Malloy, Johanna Drucker and Mark Amerika Theory and Practice -- Helen Adam's Sweet Company by Kristin Prevallet A Review of Johanna Drucker's Figuring the Word by Ramez Qureshi Web cover art adaptation by Ted Warnell Contributing Editors: Mike Kelleher and Marjorie Coverley Luesebrink Copy Editor: Dan Waber Publisher and Editor: Jennifer Ley Queries: jley@heelstone.com -- If you would prefer not to receive update information, please let us know. You'll only hear from us once or twice a year. Riding the Meridian: Lit [art] ure http://www.heelstone.com/meridian in the Archives: Women and Technology ========================================================================= Date: Wed, 6 Dec 2000 11:01:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (Cahners -NYC)" Subject: 2H: Guthrie/Neufeld MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable This Saturday, December 9 at Double Happiness in NYC: CAMILLE GUTHRIE =20 AND=20 PETER NEUFELD Camille Guthrie's first book of poetry, The Master Thief, is just out from Subpress. Her most recent poems, on the Unicorn Tapestries, can be found in the Conjunctions "American Poetry: States of the Art" = issue. She teaches at Friends Seminary in Manhattan, and lives in Brooklyn. Peter Neufeld was born in Reedley, California in 1971. A chapbook, The Glass = Owl, was published by a+bend press earlier this year. His work has appeared = or is forthcoming in Lipstick 11, Chain, San Jose Manual of Style, and Cello Entry. Segue Reading Series at Double Happiness 173 Mott Street (just south of Broome) Saturdays, 4 - 6 p.m. Suggested contribution, $4, goes to the readers. Doors open at 3:30 for those who want to enjoy Double Happiness=B9s two-for-one happy hour(s). Funding is made possible by the continuing support of the Segue = Foundation and the Literature Program of the New York State Council on the Arts. =20 Thank you. ========================================================================= Date: Wed, 6 Dec 2000 14:54:20 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: 2001 Calendars - SKETCH MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII For those in the T.O. area. kevin Homeless and street-involved youth at SKETCH have produced year 2001 calendars using their art, poetry and writing. Helped by some volunteers from the business community and a generous printer, SKETCH has published these high-quality calendars to raise money. SKETCH is located in Toronto, and is the only working art studio for homeless and street-involved youth that is open 5 days a week, Monday through Friday, from 9:30 a.m. to 7:30 p.m. We provide a safe environment where kids can come, when there is nowhere left. These kids are on the street, under the bridges and in squats all over the city. They want out of the cycle but do not have the skills or resources to pull their lives together. SKETCH is a safe place where they can come, without judgement and where art and poetry are a tool for building - conversation, lifeskills, conflict resolution - where they begin to see that they are worth something, that they have gifts to offer and that they can make better choices in their lives. Calendars cost $10 plus $3.50 for postage and handling. If you're interested in buying a calendar, please send a cheque to SKETCH, 1087 Queen Street West, Toronto, ON M6J 1H3. If you're in town, drop by during the week to pick up calendars and save the $3.50! Most of the money goes to support SKETCH, but a portion also goes to the artists and poets. If you want more info, or want to be emailed a graphic of the cover, you can email SKETCH at sketch@iprimus.ca or phone us at 416.516.5428. If you'd like to donate art supplies, let us know, or drop by. We can always use 'em. Thanks, Patty ========================================================================= Date: Wed, 6 Dec 2000 14:47:59 -0500 Reply-To: ggatza@daemen.edu Sender: UB Poetics discussion group From: Geoffrey Gatza Automation Corps Organization: Vorple Sword Publishing Subject: Step off buddy MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit http://www.daemen.edu/step ========================================================================= Date: Wed, 6 Dec 2000 17:07:40 -0700 Reply-To: laura.wright@colorado.edu Sender: UB Poetics discussion group From: Laura Wright Subject: Bye, DuCharme Minnis read in Boulder Dec. 14 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit THE LEFT HAND READING SERIES presents poets REED BYE MARK DuCHARME & CHELSEY MINNIS THURSDAY, DECEMBER 14th 8:00 p.m. in the V ROOM at the DAIRY CENTER FOR THE ARTS 2590 Walnut Street, Boulder, CO. There will be a short Open Reading immediatedly before the featured readings. Sign up for the Open Reading will take place promptly at 8:00 p.m. Donations are requested. For more information about the Left Hand Reading Series, call (303) 938-9346 or (303) 544-5854 or reply to Laura.Wright@colorado.edu -- Information about this month's readers: Reed Bye is the author of five books of poetry, including Passing Freaks & Graces, Heart's Bestiary and Border Theme, as well as an unpublished manuscript, Gaspar Still in His Cage. He has lived in and on the edge of the Boulder watershed for most of the past thirty-one years, making a living as a roofer, tree trimmer, and teacher. He is currently chair of the The Jack Kerouac School of Disembodied Poetics at Naropa University. Mark DuCharme is the author of nine poetry chapbooks, including Near To (Poetry New York) and Desire Series (Dead Metaphor Press). His poetry has appeared in many journals and anthologies, including American Letters & Commentary, Big Allis, theeastvillage.com, First Intensity, The Germ, The Gertrude Stein Awards in Innovative American Poetry: 1994-1995, Mantis, New American Writing, A Poet's Alphabet (Tree House Press), Shiny and Talisman. His reviews and essays on poetics have appeared in magazines such as American Letters & Commentary, Facture, Poetic Briefs, The Poetry Project Newsletter, 6ix, Talisman and Witz. In June, 2001 Pavement Saw Press will publish his first collection of poems, Cosmopolitan Tremble. A co-director of the Left Hand Reading Series, he lives in Boulder with his wife and daughter. Chelsey Minnis grew up in Colorado and attended CU where she took a class with Ed Dorn. After acquiring her bachelor's degree in English she moved to Portland, Oregon and participated in a local poetry scene centered around a small bistro named Cafe Lena. She won a local slam/ literary poetry contest and was selected to read at the Artquake Literary Festival. After Portland, Chelsey attended the Iowa Writer's Workshop for poetry and graduated with a Master of Fine Arts. She returned to Colorado, and now lives in Littleton. She has been published in Caliban, Cream City Review, Fence, Jacaranda, Faucheuse, Chicago Review, The Provincetown Arts Review, Seneca Review, Antenym, Kenning, etc., and has been nominated for 3 Pushcart Prizes. Her manuscript was a finalist in the 1996 National Poetry Series. She is currently awaiting the publication of her first book, Zirconia. -- Upcoming events include THURSDAY, JANUARY 18th: ANSELM HOLLO, VICKI HUDSPITH & MARY BURNS ========================================================================= Date: Thu, 7 Dec 2000 09:14:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: samantha pinto Subject: Re: The perfect description Mime-Version: 1.0 Content-Type: text/plain; format=flowed "Mrs. Rice" is supporting a candidate who will not allow any openly gay person to serve in his administration, who refuses to support affirmative action, who does not respect women's reproductive rights, and who's running mate's partner tried to wholly dismantle and discredit the NEA, not to mention that the potential VP did not politically support freeing Nelson Mandela. I don't care where she teaches, she has not earned my respect nor your praise of her "quality." >From: Richard Dillon >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Re: The perfect description >Date: Tue, 5 Dec 2000 02:41:21 -0500 > >One more thing. > >The continued attacks on Conservative persons and institutions by members >of >this community, as if it were mere sport, divides and alienates, it rivens >society and poisons the common spring of language. It is a bullying >behavior because it does not permit a comeback from the other quarter. >Your >wits drive full blast down one way streets and run over pop up targets >again >and again. The use of "thugs" to describe people like Mrs. Rice, a >professor at Stanford, is simply shameless. Shame on you, Ron Silliman. >You really don't know the quality of person you insult. Shame. > > > From: Ron Silliman > > Reply-To: UB Poetics discussion group > > > Date: Mon, 4 Dec 2000 13:26:45 -0500 > > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > > Subject: The perfect description > > > > Jon Carroll, in today's SF Chronicle, notes that all of W's folks are >his > > daddy's thugs from the 88-92 regime and coins the perfect description of >his > > shrubness: > > > > "sock-puppet elect" > > > > > > Ron > > >______________________________________________________________________________ > > _______ > > Get more from the Web. FREE MSN Explorer download : >http://explorer.msn.com > > _____________________________________________________________________________________ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Thu, 7 Dec 2000 08:17:51 -0700 Reply-To: laura.wright@colorado.edu Sender: UB Poetics discussion group From: Laura Wright Subject: Re: baudelaire beauty products In-Reply-To: <16C2EE0E7435D411B13000C00D01633C01757F@bigbird.Colorado.EDU> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit "Place in Basket" to fill The air in the in the paradise for bees the ideal the fields and, and that makes it crystal clear, with a sweet fragrance produce It's a location! to since to the soaps skin, honey, restore biblical times with wildflowers To order, pick a quantity and click on "Place in Basket." blending them enriched with Available a wooden box from Provence (a superb moisturizer), of into of France, luxurious and no one does a better job Delicately wondrous Provence in a set of two 3.5 oz bars, or one 7 oz big bar To order, pick a quantity and click on "Place in Basket." > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Maria Damon > Sent: Saturday, November 25, 2000 9:26 AM > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: baudelaire beauty products > > > hey dudes and guyzies -- > there's a soap and scent line named after our charles b, that > is baudelaire > (not bernstein, not yet, but i can see the day...). click on > sephora.com, > and select "baudelaire" from their "product lines" it's a > hoot. i think > i'll sponsor a poetry contest using the concept and words > from the display > page and award will be a bar of baudelaire soap, okay the race is on! > ========================================================================= Date: Thu, 7 Dec 2000 10:55:11 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: The perfect description In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit No , Condoleeza Rice could reasonably be construed as a thug. It's entirely fair. I bet if you found someone representing and heavily profiting off of strife and genocide in E Timor, look to certain oil companies. then look at their boards. you just might see condoleeza rice's name popping up all over next to boeing people and lockheed people and suddenly things smell funny. shame on you, richard. you really don't know the quality of person you protect from insult. REALLY. I came across her name about two years ago when researching the E. Timor crisis. Her name was all over the place in dark corners, and I assure you that she was not wearing a cape in any instance. Having said all of that, to withdraw any sense of bipartisan sense of what I am saying, let me add this: though the Reagan/GHWB years were nasty on the humanitarian scale, with six military deployments (>15,000 soldiers mobilized or remote military assault on another nation, such as bombing), the Clinton administration has blown that away, with I believe 33 military deployments. the clinton administration goes down perhaps as one of the bloodiest in american history. look out king leopold. so sock-puppet elect with thugs disguised as thugs or ventriloquist dummy with thugs disguised in neo-lib fascist babble so ninny-ninny poo-poo. Patrick -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Richard Dillon Sent: Tuesday, December 05, 2000 2:41 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: The perfect description One more thing. The continued attacks on Conservative persons and institutions by members of this community, as if it were mere sport, divides and alienates, it rivens society and poisons the common spring of language. It is a bullying behavior because it does not permit a comeback from the other quarter. Your wits drive full blast down one way streets and run over pop up targets again and again. The use of "thugs" to describe people like Mrs. Rice, a professor at Stanford, is simply shameless. Shame on you, Ron Silliman. You really don't know the quality of person you insult. Shame. > From: Ron Silliman > Reply-To: UB Poetics discussion group > Date: Mon, 4 Dec 2000 13:26:45 -0500 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: The perfect description > > Jon Carroll, in today's SF Chronicle, notes that all of W's folks are his > daddy's thugs from the 88-92 regime and coins the perfect description of his > shrubness: > > "sock-puppet elect" > > > Ron > ____________________________________________________________________________ __ > _______ > Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com > ========================================================================= Date: Wed, 13 Dec 2000 11:37:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Dillonesque Mime-Version: 1.0 Content-Type: text/plain; format=flowed Richard, Actually, it was Mr Baker I was thinking off when I used the term thug, tho Mr Cheney comes equally to mind. I haven't figured out what to make of Mrs Rice -- she has that "deer caught in the headlights" look every time I see her on the news, a feature she shares with George W. Speaking of whom (W, that is), I do have some friends who are members of the Bush clan & what they say about that whole side of the family is far worse than anything anyone has posted here, or is likely to. Ron One more thing. The continued attacks on Conservative persons and institutions by members of this community, as if it were mere sport, divides and alienates, it rivens society and poisons the common spring of language. It is a bullying behavior because it does not permit a comeback from the other quarter. Your wits drive full blast down one way streets and run over pop up targets again and again. The use of "thugs" to describe people like Mrs. Rice, a professor at Stanford, is simply shameless. Shame on you, Ron Silliman. You really don't know the quality of person you insult. Shame. >From: Ron Silliman >Reply-To: UB Poetics discussion group >Date: Mon, 4 Dec 2000 13:26:45 -0500> To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: The perfect description> >Jon Carroll, in today's SF Chronicle, notes that all of W's folks are his >daddy's thugs from the 88-92 regime and coins the perfect description of >his >shrubness:>> "sock-puppet elect">>> Ron _____________________________________________________________________________________ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Thu, 7 Dec 2000 08:56:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: fiction In-Reply-To: <003201c05e5e$09078b40$4e012b95@homie> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" There is no difference between poetry and prose. (Sometimes I am drawn out of lurking in the shadows by a question so compelling I can no longer resist.) Hilton Obenzinger Hilton Obenzinger > >Can anyone help me prove that poetry is better than fiction? I need some > >quotes from famous people or something. > > >I'm having a fight with some friends. > > >Aaron Belz ========================================================================= Date: Thu, 7 Dec 2000 12:58:59 -0500 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 - thwarted riddle: i have a thick neck, a wrestler's neck. when i move, all of my parts move with me. they claw the air with muck. they retain the same position in relation to me. they do not worship me nor harbor ill intent. what am i but a winter tree. _ ========================================================================= Date: Wed, 6 Dec 2000 09:20:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stefani Barber Subject: contact/info MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit hi, does anyone out there have contact info for Will Alexander? and/or, can anyone point me to where I might be able to find information about him? b/c is fine, thanks stefani ========================================================================= Date: Wed, 6 Dec 2000 12:39:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: Re: new Lagniappe MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit is this only online? Rachel ------------------------- "Writing is boring and gets your hand tired" --5th grade student http://www.theeastvillageeye.com/belladonna/index.htm -----Original Message----- From: Graham Foust To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Thursday, November 16, 2000 5:49 PM Subject: new Lagniappe >And now here's something we hope you'll really like . . . > >The Winter/Spring/Summer/Fall/Millennium/Election issue of Lagniappe, >featuring: > >Reviews of Céline, Tejada, Conant, Palmer, Raworth, Wenderoth, Hunt, >Boughn, and Levi Strauss by Bataille, The Deming, Jennings, Krane, >Qureshi, Ramos, Skinner, Smith, and Tejada. > >Essays by Robert Creeley, Logan Esdale, Alan Gilbert and Maureen Holm. > >http://www.acsu.buffalo.edu/~foust/lagniappe.html > >Thanks for your patience. We love you all. ========================================================================= Date: Thu, 7 Dec 2000 14:43:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Zauhar Subject: Re: CFP: book on Arcades Project In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >EXHIBITION UNDER CONSTRUCTION: After Arcades Interesting... >EXHIBITION UNDER CONSTRUCTION seeks to distractedly put on view--through >unique >methods of display--a flash of ideas inspired by Benjamin's Project>. We invite previously unpublished works that delve into the >peripheral, the sensual, the historical, the distracted, and the everyday. >The >editors of this proposed volume are working under the premise that the >traditional or standard academic volume of 15-20pg. prose essays is no longer >solely capable of containing (or putting on view) works produced after the >radical epistemological break that is Benjamin's . Sounds good... > Instead, this >anthology will serve as a forum/gallery for experimental works incorporating a >wide variety of forms--from the feuilleton, photo-montage, trash, historical >essay, single sentence, ficto-criticism, postscript and archival collage >to the >annotated bibliography, dream inscription, documentary poem, "empire >vignette", >and ethnography of distraction. Nervous, performative, sentient, visual, >transient, poetic and overdetermined works are particularly welcome. >Submissions for should be sent to both >editors, >at the >addresses below, by September 1, 2001. Please include current c.v., e-mail >address, and SASE with your submission. Send work to: So, let's challenge the validity of the "traditional or standard academic volume of 15-20pg. prose essays," but make sure you enclose a c.v. to prove you have the traditional or standard academic credentials. Wonder what Benjamin's c.v. looked like. >Mark Nowak, editor ><_Xcp: Cross-Cultural Poetics_> >601 25th Avenue South >Minneapolis, MN>. 55454 >May Joseph >Associate Professor, Global Studies >Department of Social Science >Pratt Institute >200 Willoughby Avenue >Brooklyn, N.Y. 11205 David Zauhar 632 Cribbs Street Greensburg PA 15601 724/834-8461 "They said we was nowhere Actually we are beautifully embalmed in Pennsylvania" --Philip Whalen, "Chanson d'Outre Tombe" ========================================================================= Date: Wed, 6 Dec 2000 16:30:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: levitsk@ATTGLOBAL.NET Subject: announcing new belladonna books Comments: To: "Undisclosed Recipients"@LISTSERV.ACSU.BUFFALO.EDU MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable belladonna* books brooklyn, new york pamphlets: Mei-mei Berssenbrugge, Audience, (in progress) Laura Wright, Everything Automatic Beth Murray, 12 Horrors Laura Mullen, Translations Series broadsides Lauren Gudath, "Animal and Robot: Four" Kristin Prevallet, "Still Life of Pigeons" (backchannel for full catalog) -------------------------------------------------------------------------= ---------------------------- Rates: Pamplets: $3.00; $4.00 for Library/Institution Signed--$5.00; $6.00 Library/Institution Postcards: $00.75 each; set of three, $1.50 Signed--$1.00 each; set of $2.50=20 Broadsides: $1.50 each Signed=97$ 2.50 ADD $.50 FOR EACH ITEM FOR POSTAGE Subscriptions: Series of 5 pamplets, includes free postage, postcards and broadsides = and one free pamplet of choice: $15.00 $20.00 Library/Institution $25.00 Signed $30.00 Library/Institution Publications are printed in limited editions, a small portion of which = are numbered and signed by the authors. PAYABLE TO: Rachel Levitsky 458 Lincoln Place, #4B Brooklyn, NY 11238 Levitsk@attglobal.net ------------------------- "Writing is boring and gets your hand tired" --5th grade student http://www.theeastvillageeye.com/belladonna/index.htm=20 ========================================================================= Date: Thu, 7 Dec 2000 16:20:55 -0500 Reply-To: mjk@acsu.buffalo.edu Sender: UB Poetics discussion group From: Mike Kelleher Subject: From Laird Hunt MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit As a fiction writer, who is married to a poet, who publishes poetry and who has more poets than fiction writers for friends, I've enjoyed the responses to the query on proving that poetry is better than fiction, and tend to agree with them, especially with Maugham's take on it, and rather dig that business about me (as a post 1990s fiction writer) being dead or a clone and that my novel was written by my computer (an Imac to be precise). Having said that, I'll pit my Making of the Americans, Ulysses, Beckett's Trilogy, Wittgenstein's Mistress, End of the Story and Rings of Saturn against all your pure form cut-to-the-chase blah blah poetry is better stuff anyday. Best Wishes, Poets, Laird Hunt ========================================================================= Date: Wed, 6 Dec 2000 13:38:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Fwd: INFO: new york city--program of kamaufest tribute to kamau brathwaite Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >>>INFO: new york city--program of kamaufest tribute to kamau brathwaite >===================================================== > > > >12/8 & 12/9 COLLOQUIUM: "Kamau Brathwaite and Caribbean Culture" > > > >The Department of Comparative Literature, the Reed Foundation, the > >Humanities Council, the Center for Africana Studies & Institute for > >African American Affairs, the College of Arts and Sciences, the Faculty of > >Arts > >and Sciences, the Graduate School of Arts and Sciences, the Center for Latin > >American and Caribbean Studies, the Program in Creative Writing present: > > > Colloquium in honor of > > > Prof. Kamau Brathwaite's 70th birthday: > > > "Between Caliban and Sycorax: > > Kamau Brathwaite and Caribbean Culture." > > > > Hemmerdinger Hall, Main Building, > > 100 Washington Square East, > > New York University > > > 5.30-9.00 pm, Friday, December 8th > > 9.00am-6.00pm, Saturday December-9th 2000 > > > >Friday, Dec. 8th: 5.30pm-8.00pm: > > 5.30: Dick Foley, Dean, Faculty of Arts & Sciences, NYU: welcome > > > 5.45: Zweli-Bansi Sibiya > > 6.00: Tim Reiss: introductory remarks > > 6.15: Margaret Gill: talk/reading > > 6.55: Dale Byam: performance > > 8.00: end > > >Saturday, Dec. 9th: 9.00am-6.00pm: > > 9.00am-10.15am: "Counter Histories/Countering History". > > Hilary Beckles (UWI Mona, Chair); Mervyn Alleyne (UWI Mona), > >Patricia Penn Hilden (UC Berkeley); Tony Phillips (UWI Cave Hill) > > > 10.45am-12.00pm: "Righting the Imaginary, Unmasking Cultures". > > Gordon Rohlehr (UWI St. Augustine, Chair); Rhonda Cobham (Amherst > >College); > > Mervyn Morris (UWI Mona); Elaine Savory (New>School) > > > 12.15pm-1.45pm: Break for lunch. > > > 1.45pm-3.00pm: Panel debate on publishing. > > Kassahun Checole (Africa World Press, Trenton & Asmara); > >Chris Funkhauser (We Press); Ian Randle (Ian Randle Publishers, Kingston), > >Lasana Sekou (The House of Nehesi, St. Martin); Helen Tartar and Santhosh > >Daniel (Stanford UP). > > >These panels will be relatively informal, involving much discussion from > > >the floor. Especially in the last case, since several present are > >editing and/or publishing journals: Ngugi (Mutiiri), Silvio Torres-Saillant > >(Punto 7), Manthia Diawara (Black Renaissance/Renaissance noire), Jacqueline > >Bishop (Calabash). > > > 3.15pm-3.40pm: Lasana Sekou: reading > > > 3.40pm-4.00pm: Pam Mordecai: reading > > > 4.00pm-5.00pm: Kamau Brathwaite: reading > > > 5.00pm-5.15pm: Gabby: calypso performance > > > 5.15pm-6.00pm: presentations and book-signing > > > >For inquiries please call: Susan Protheroe (212) 998-8796 or > >email Michael Paulus @ mp22@is2.nyu.edu " Subjects hinder talk." -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 (310) 338-3078 ========================================================================= Date: Thu, 7 Dec 2000 22:01:02 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: The perfect description In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Mon, 4 Dec 2000, David Zauhar wrote: > > > I was thinking something along the lines of "President Forrest Gump" but > Jon Carroll is pretty accurate too. actually, Canadian political comentator 'Nervous' Rex Murphy once described Prince Charles as "Forest Gump with a tailor." bye kevin ========================================================================= Date: Thu, 7 Dec 2000 22:06:22 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: Baudelaire beauty products MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 12/7/00 8:55:57 AM, damon001@TC.UMN.EDU writes: >>Actually this is quite appropriate since Baudelaire wrote an "Eloge du >>maquillage"--a praise of artificiality and self-disclosing artifice >>against the aesthetic ideal of the "natural" >> >> >>La femme est bien dans son droit, et meme elle accomplit une espece de >>devoir en s'appliquant a paraitre magique et surnaturelle; il faut qu'elle >>etonne et qu'elle charme; idole, elle doit se dorer pour etre adoree. >Elle >>doit donc emprunter a tous les arts les moyens de s'elever au-dessus de >la >>nature pour mieux subjuguer les coeurs et frapper les esprits. >> >> >>Jonathan Mayhew >>jmayhew@ukans.edu Maria, Translated into plain English, the above passage will sound as pure male chauvinist crap, don't you think? Murat ========================================================================= Date: Thu, 7 Dec 2000 22:15:42 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: fiction MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit << Can anyone help me prove that poetry is better than fiction? I need some >quotes from famous people or something. > >> P f O i E c T R i Y o n Best, Bill ========================================================================= Date: Fri, 8 Dec 2000 00:03:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rick Snyder Subject: Dactyl Book Fair & Reading Mime-Version: 1.0 Content-Type: text/plain; format=flowed If you're in the New York area, please check out THE SMALL-PRESS BOOK FAIR at THE DACTYL FOUNDATION December 15-22 64 Grand St. (between W. Broadway & Wooster in SoHo) Featuring chapbooks and limited editions from a variety of publishers, including The Figures, Burning Deck, Edge, Heart Hammer, Detour, Booglit, 811 Books and many others The Book Fair will kick off with a READING and PARTY at 7 pm on Friday, Dec. 15, featuring Drew Gardner Nada Gordon Martin Corless-Smith Free wine. Plenty of hard-to-find works will be on display and available for purchase. The book fair will run for one week only. Gallery hours: 1-6pm. (Closed on Sundays and Mondays) If you have any questions about the fair or reading and party, please backchannel. Thanks. _____________________________________________________________________________________ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Fri, 8 Dec 2000 11:04:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Broder, Michael" Subject: Federal Support for Public Broadcasting MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Sent: Thursday, December 07, 2000 3:29 PM Subject: Save NPR! On NPR's Morning Edition last week, Nina Tottenberg said that if the Supreme Court supports Congress, it is in effect the end of the National Publio Radio (NPR), NEA & the Public Broadcasting System(PBS). PBS, NPR and the arts are facing major cutbacks in funding. In spite of the efforts of each station to reduce spending costs and stream line their services, some government officials believe that the funding currently going to these programs is too large a portion of funding for something which is seen as not worthwhile. The only way that our representatives can be aware of the base of support for PBS and funding for these types of programs is by making our voices heard. Please add your name to this list and forward it to friends who believe in what this stands for. This list will be forwarded to the President and the Vice President of the United States. This petition is being passed around the Internet. Please add your name to it so that funding can be maintained for NPR, PBS, & the NEA. HOW TO SIGN & FORWARD: IT'S EASY: Please keep this petition rolling. Do not reply to me. Please sign and forward to others to sign. If you prefer not to sign, please send to the E-mail address indicated below. DON'T WORRY ABOUT DUPLICATES. This is being forwarded to several people at once to add their names to the petition. It won't matter if many people receive the same list as the names are being managed. This is for anyone who thinks NPR/PBS is a worthwhile expenditure of $1.12/year of their taxes. If you sign, please forward on to others. If not, please don't kill it send it to the Email address listed here: <> <> ****If you happen to be the 150th, 200th, 250th, etc., signer of this petition, please forward a copy to: wein2688@blue.univnorthco.edu This way we can keep track of the lists and organize them. Forward this to everyone you know, and help us to keep these programs alive. Thank you! NOTE: It is preferable that you SELECT (highlight) the entirety of this letter and then COPY it into a new outgoing message, rather than simply forwarding it. In your new outgoing message, add your name to the bottom of the list, then send it on. 901) Jack Nunberg, Missoula, MT 59802 902) Meg Trahey, Missoula, MT 59802 903) Lishan Su, Chaple Hill, NC 27516 904) Yan Li, Chapel Hill, NC 27516 905) Tian Xu, New Haven, CT 06510 906) Peter Tattersall, New Haven, CT 06510 907) Ian Maxwell, Denver, CO 80207 908) Dusty Miller, Seattle, WA 98105 909) Sandy Haight, Seattle, WA 98112 910) Kaaren Janssen, Guilford, CT 06437 911) Ira Mellman, Guilford, CT 06437 912) Michael Bobker, Brooklyn, NY 11238 913) Marta Panero, Brookly, NY 11238 914) Guido De Marco, Brooklyn, NY 11201 915) Josh Bivens, Brooklyn, NY 11205 916) George S. Chase IV, New York, NY 10009 917) Nina Morrison, New York, NY 10028 918) Joe Schiappa, Huntington, CT 06484 919) Chase Carter, Santa Monica CA 90404 920) Erin Lander, West Hollywood, CA 90069 921) Chris Morgan, Los Angeles, CA 90036 922) Shannon Hall, Los Angeles, CA 90036 923) Kyle Ham, Santa Monica, CA 90402 924) Pamela Griner, Los Angeles, CA 90004' 925) Ryan Murphy, Windsor, CO 80550 926) Jill Montera, Denver, CO 80211 927) Tom Mates, Lakewood CO 80226 928) Janet Larsen, Loveland CO 80538 929) Eric Bergersen, Fort Collins, CO 80526 930) Ninette Bergersen, Fort Collins, CO 80526 931) Kyle Bergersen, Culver City, CA 90232 932) Elizabeth Wheat, Culver City, CA 90232 934) Michelle Bagnato, Seattle, WA 98117 935) Lisa Ferlic, Seattle, WA 98103 936)Susan Winner, WA 98648 937) Bonnie Van Sciver-Steele, Annapolis MD 21401 938) Sue duPont, Annapolis MD 21403 939) Dorcas Coleman, Chestertown MD 21620 940) Margaret Fallaw, Chestertown, MD 21620 941) Ann Hennessy, Rock Hall, MD 943) Alan Ranzer, Washington, DC 20008 944) Janine Johnston, Washington, DC 20016 945) Pamela Johnston, Junction City CA 96048 946) Andrew Johnston, Junction City CA 96048 947) Chelle Thompson, Santa Fe, NM 87505 948) Bruce Thompson, Santa Fe, NM 87505 949 Denys Cope, Santa Fe, NM 87505 950) Sharon DeCarlo, Shreveport, LA 71105 951) Becky Cox White, Chico, CA 95929 952) Jack Patrick Rawlins, Chico, CA 95973 953) Gregory Lavin, Chico, CA 95926 954) David & Cheri Longaker, Chico, CA 95926 955)Maureen & John Culver, Eagle Rock, CA 90041 956) Victoria & Getachew Kassa, Los Angeles, CA 90042 957) Al and Jenny Friedman, Los Angeles, CA 90069 958) Vida Bendix, NY 10017 959) Lenny Hirschfield, NY 10017 960)Stanley Solson, NY 10019 961) Belinda Botha, TX 75215 962) Bashar Azzouz, NY 10014 963) Michèle Eisenberg, CA 94115 964) Dave Dresden, CA 94114 965) Rob Smith, CA 94114 966) Kimberly Svevo, IL 60510 967) Bonnie Koenig, IL 60643 968) Lew & Julie Stone, NJ 07960 969) Suzanne Klar, NJ 07039 970) Marc Brummer, NJ 07039 971) Susan Hurowitz, NY 11230 972) Tom Anderson, NY 11226 973) Stacy West, FL 33143 974) Elizabeth Marsh, FL 33186 975) N. San Martin, FL 33133 976) Adam M. Geary, DC 20008 977) Marisa Robertson-Textor, NY 11238 978) Anna Paretskaya, NY 10025 979) Vesna Neskow, NY 10023 980) Martha Rhodes , NY 10013 981) Michael Broder, NY 10019 ========================================================================= Date: Thu, 7 Dec 2000 10:17:59 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Rain Taxi Vol. 5 No. 4 In-Reply-To: <975972028.3a2c26bce372d@cubmail.cc.columbia.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" there's a letter from clayton eshleman in this issue complaining about (among many other things) Erik Belgum's and Gary Sullivan's"Critical Issues" column. I would like to say that this column is one of the bright lights of my life (how pathetic); the only thing that irks me is that i, myself, personally, have never been satirized in it --that i know of. At 6:20 PM -0500 12/4/00, Gary Sullivan wrote: >R A I N T A X I * W I N T E R 2 0 0 0 / 2 0 0 1 > >FEATURES >John Yau on Frank O'Hara; Interview with Samuel Delaney; Steven Moore >on Francesca Lia Block; Rod Smith on Denton Welch; Biglieri, Fink and >Fischbach on Clark Coolidge; Robert Kelly on Larry Eigner; Ramez >Qureshi on Michel Foucault; Trial & Error (prison-related books) by >Peter Ritter; _The Pool_ (Brion Gysin or Paul Bowles?) by Jon Carlson >and Dave Cardeiro > >REVIEWS >Rebecca Weaver on Jeanette Winterson; Sarah Fox on Atle Naess; >Douglas Messerli on Unica Zurn; Patrick Durgin on Andrew Levy; Kim >Fortier on Laura Moriarty; Petter Ritter on Charles Borkhuis; Kelly >Everding on Sue Coe; John Olson on Martha King; Steven Moore on >Raymond Queneau; John Olson on Mark Nowak; Dale Smith on Lorenzo >Thomas; Amy Halloran on Carole Maso; Rudi Dornemann on Chinua Achebe; >Brian Foye on Ho Xuan Huong; Tim Scannell on Donna Cartelli; many >more > >MISCELLANEOUS >"Widely Unavailable": Amy England on Raymond Roussel's Impressions of >Africa; "Critical Issues": Erik Belgum and Gary Sullivan's translated >transcription from Hungary Language PoetryFest 2000; "The New Life": >Gary Sullivan's cartoon on Diane di Prima > >Subscribe: $12 (domestic); $18 (international) >Send checks to: >RAIN TAXI >PO BOX 3840 >MINNEAPOLIS, MN 55403 >www.raintaxi.com >raintaxi@bitstream.net ========================================================================= Date: Sat, 9 Dec 2000 08:56:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Amazon Fights Organizing Comments: To: Discussion of Women's Poetry List Comments: cc: Al Filreis MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit You have received this mailing from the Washington Alliance of Technology Workers. For information about subscribing or unsubscribing, skip to the end of this mail. ---------------------------------------------- December 8, 2000 AMAZON.COM GIVES THE BOOT TO DAY 2 MEMBERS IN LUNCHROOM Action Likely Violates Federal Labor Law In what is likely a violation of standard U.S. labor law, four Amazon.com customer service workers were kicked out of the company cafeteria today for setting up and staffing a table that openly supported the union drive underway in the companys Seattle customer service department. Dave Norris, who is the Seattle Site Manager for Amazon.coms customer service department, quickly put a stop to the employees activity by reportedly telling the union supporters that their efforts violated the companys non-solicitation policy because they had set up a booth. The union supporters then questioned Mr. Norriss interpretation of the policy; asked for more documentation; and also pointed out other flyers in the cafeteria that promoted other non-work related activity such as local music shows. We asked him if these other materials constituted a "booth," and he said yes, and that he was disposing of them. These types of flyers are very common in our lunch room and no one has ever confiscated them to my knowledge, said Day 2 organizer Zach Works, who was staffing the table at the time of the incident. Day2/WashTech(CWA) responded immediately by contacting CWA legal counsel and subsequently sending a letter to Amazon.com management demanding that the company either correct and apologize for managements behavior or be subject to further legal action. To read the full story go to: http://www.washtech.org/day2/120800_boot.html To read more about the Day2/WashTech Campaign go to: http://www.washtech.org/day2 ----------------------------------------------- The WashTech News, a free digest of news of the Washington Alliance of Technology Workers, is delivered via e-mail bi-monthly or whenever issues warrant. We accept all confirmed subscriptions to the newsletter. The WashTech-News subscriber list is a private list whose membership will not be disclosed outside this organization. To subscribe to the WashTech News: http://www.washtech.org/about/subscribe/wtnews_form.php3 To unsubscribe, send a message to majordomo@lists.speakeasy.org with the text UNSUBSCRIBE WashTech-News as the body of the message. Copyright (c) 2000 WashTech All Rights Reserved ----------------------------------------------- Published by: WashTech 2366 Eastlake Ave E, #301 Seattle, WA 98102 U.S.A. (206) 726-8580 contact@washtech.org ----------------------------------------------- This publication may be freely copied or retransmitted provided it remains intact and without changes. Any unauthorized partial duplication will be considered a copyright infringement. ========================================================================= Date: Thu, 7 Dec 2000 10:52:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Re: fiction In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 03:26 PM 12/4/00 -0800, you wrote: >>From: Aaron Belz >>Can anyone help me prove that poetry is better than fiction? > George W. Bush can only remember having read a few works of fiction. George W. Bush hasn't read any poetry. Q.E.D. " Subjects hinder talk." -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 (310) 338-3078 ========================================================================= Date: Wed, 13 Dec 2000 11:40:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Nedge #8 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. -- TS --On Monday, December 11, 2000, 10:40 AM +0000 Henry wrote: > > Nedge #8 is now in print, 92 pp, 7.5x5.5", perfect bd., available for $6. > from The Poetry Mission, PO Box 2321, Providence, RI 02906. > > Includes a special 25 pp section by Edwin Honig, poet born in Brooklyn > in 1919, called "Journal-to-Poem": thoughts on the creative & atmospheric > origins of several poems (poems included). > > Also in this issue: 2 "months" from the long work CHROMA by D.E. Steward; > poems by Leonard Brink, Stephen Ellis, Carrie Etter, Taj Jackson, Michael > Ruby, Paula Tatarunis, and several others. "Instructions for Invisible > Ink Ghost Writer and Developer" by Richard McMullen (invaluable!). ========================================================================= Date: Thu, 7 Dec 2000 16:22:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: Gwendolyn Brooks obit by Horace Coleman Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable =46YI, here's Horace Coleman's obit for Gwendolyn Brooks, from The Black World Today website. http://www.tbwt.com/views/specialrpt/special%20report-1_12-06-00.asp Horace Coleman, btw, is author of IN THE GRASS (Vietnam Generation/Burning Cities Press). He lives in Los Angeles, and he'll be reading at The Poetry Center on March 15, 2001, along with Ben Friedlander-- who cites the following lines from H.C.'s IN THE GRASS in his own new book, A KNOT IS NOT A TANGLE (Krupskaya Books): =2E . . sturdy existential shipping carton packed with slippery political nothing . . . =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 University 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: Fri, 8 Dec 2000 09:13:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: BT Henry Subject: Verse Press / new press, new books MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The newly established Verse Press is pleased to announce a new web site (www.versepress.org) and the publication of its first two books: Letters to Wendy's by Joe Wenderoth & Terrain Vague by Richard Meier Portions of Letters to Wendy's have appeared on Nerve (www.nerve.com) and in APR's anniversary issue. The first 500 people to order Letters to Wendy's through the Verse Press web site (www.versepress.org) will receive a free Letters to Wendy's cd, which features the actor James Urbaniak reading selections from the book. Letters to Wendy's is a 296-page paperback and costs $14. Terrain Vague won the 2000 Verse Prize, judged by Tomaz Salamun, and was reviewed in the December 4 issue of Publishers Weekly (to read the review, go to www.poetrysociety.org and click on "Poetry Forecasts"). Terrain Vague is a 108-page paperback and costs $12. For info about Verse Press, email bhenry@versepress.org or mzapruder@versepress.org Brian Henry __________________________________________________ Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. http://shopping.yahoo.com/ ========================================================================= Date: Fri, 8 Dec 2000 09:20:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: BT Henry Subject: the 2001 Verse Prize, judged by Lyn Hejinian MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The editors of Verse and Verse Press would like to announce the 2001 Verse Prize. Deadline: February 28, 2001 Final judge: Lyn Hejinian The winner receives $1000 and book publication. Age and previous book publication are not considerations for eligibility. All entrants can receive a copy of the winning book. Complete guidelines and details are available at www.versepress.org. __________________________________________________ Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. http://shopping.yahoo.com/ ========================================================================= Date: Mon, 11 Dec 2000 16:00:22 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: poetry/fiction In-Reply-To: <000001c061bd$9be715e0$56cc36d2@01397384> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I don't see any point in comparing the two. As long as they function well and are useful--does one ask of one's legs or eyes or ears which is the better one of the two? There is a famous story of Dylan Thomas being introduced to a Professor of Comparative Literature and saying: "What do you compare it to?" --david baptiste chirot ========================================================================= Date: Thu, 14 Dec 2000 10:54:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Call for papers MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message had to be reformatted due to the presence of html code. -- TS > From: David Larsen > Subject: FWD: Call for papers > > I thought of forwarding notice of this conference as I know some people > on this list have some awful strong feelings on the subject of visual > poetry. I've reshuffled the topics to highlight the text v. image > question, which seemed most to the point --don't know how apropos of > Germanity papers need be, but a light dusting of it would probably help. > I've been assured by the organizers that papers from unaffiliated > scholars will be considered --only those currently holding a > professorship are ineligible. They also add that abstracts should be > between 250-500 words. Good luck to any who apply LRSN Call for Papers THE VISUAL TURN 12th Annual Germanic Studies Graduate Student Conference at Yale Special Guest: Rainer Simon East German Filmmaker Till Eulenspiegel (1975), Jadup and Boel (1980/88), The Air Ship (1983), The Women and the Stranger (1985; Golden Bear), Wengler and Sons (1987), Climbing the Chimborazo (1989), The Case Oe. (1990), Distant Land PaIsch (1993/2000), Talking with Fish and Birds (1998/99) New Haven, Connecticut April 6-8, 2001 We invite submissions on the following topics: Text vs. Image: The Relationship between Literature and the Visual Arts ; Since the age of manuscript illumination, the history of text and image has been one of cross-fertilization, intervention and sometimes opposition. The visual arts modeled their creations on literary motifs, while texts resorted to imagistic modes of representation. Translating text into image and image into text, various artistic movements have used one as a means to enhance or critique the other. We welcome papers that deal with the following questions: How have the visual arts influenced literary forms? How have works of literature been adapted for representation in painting or on film? Has the shift from mechanical reproduction to digital representation had an effect upon reading or writing? Cinematic Memory: The Return of History as Film? Cinema has a particular status in the creation (and suppression) of public memory. Whether documentary or fiction, filmic images shape common understandings of history and sometimes become indistinguishable from lived experience. In Germany, this has been particularly critical. UFA was instrumental in Nazi propaganda efforts, while in the Adenauer era, /Papas Kino/ aided in the process of forgetting. Many DEFA films rewrote recent German history in terms of an anti-fascist struggle. Problematic historical memories resurfaced in the West in the 1970s in a wave of "Nazi retro" films and television programs. Current cinema is a prime location for remembering the GDR. We seek papers on the representation of historical events through film, and papers describing how films reflect historical moments and preserve memory. Imag(in)ing National Identity Even before the birth of the modern nation state, images were used to delineate what was supposedly German. Today, visual depictions of national culture continue to form an integral part of how Germany, Austria, and Switzerland imagine their own communities. How has the use of the image developed alongside the growth and transformation of national identity? How have artists, writers, and public personas helped shape notions of what is German? How does art help construct national culture, and what makes works of art German or Austrian & the artists nationality, the subject matter, the circumstances of its creation? Papers dealing with all aspects of national identity and the visual are welcome. Denn Man Sieht Nur Die im Licht/: Power and Representation From medieval ceremonies of public acclaim, visual Reformation propaganda and the strategems of absolutist rulers to the twentieth century advertising industries and propaganda machineries, the politics of seeing and being seen play a central role in cultural and political history. Public displays increase the visibility of governing agencies, suggest a look at the governed and reiterate authority, but can also powerfully subvert established authority. We invite investigations on the representational strategies used to confer or contest and finally implement power, as well as how they influence or structure the public sphere. Art from the Ashes? Visual Representations of the Holocaust From Claude Lanzmann's Shoah to Roberto Benini's Life is Beautiful, from the establishment of memorials in Germany and Austria to the construction of Holocaust museums, visual representations of the Holocaust continue to stimulate discussion and controversy about history, memory and the role of art in the depiction of catastrophe. Not only German-language documentaries and dramatizations, but also painting, sculpture and architecture have raised questions about the merits of the visual in representing an event which, it is argued, can never be depicted. We welcome papers raising issues about how artists have either come to terms with, avoided, or transcended the events of the Holocaust. Forme Menschen nach Meinem Bilde: The Image-Making Industries Presenting audiences with an ideal Other, delineating forms of desirability and cultivating need, the culture industry has decisive influence on the identity formation of individuals and social groups. We are looking for contributions addressing issues related to the image-making industry, such as: its effect on politics; the market of supply and demand; public icons and their function; the impact of the advertising industry on contemporary culture; the role of television; the operation of film distributors; the role of new media such as the internet; how different media contribute to or counteract social and political marginalization; forms of resistance against the major commercial and governmental image-making industries (if any), and their effectiveness. Open Topic We welcome abstracts on further topics within the area of German Studies. Submissions by graduate students and postdoctoral fellows are welcome. Blind submission is requested; please send abstracts with title only, and include name and address on a separate sheet. Please send abstracts to: The Visual Turn Yale University Department of Germanic Languages and Literatures P.O. Box 208210 New Haven, CT 06520-8210 USA visual.turn@yale.edu SUBMISSION DEADLINE: JANUARY 30, 2001 Accommodation for presenters will be provided. For more information, please contact conference organizers Laura Heins, Evelyn Preuss and Lisa Silverman. email: visual.turn@yale.edu ph: 203/432-0781 fax: 203/432-8164 ========================================================================= Date: Mon, 11 Dec 2000 13:59:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: Re: a modest proposal Comments: To: "anielsen@lmu.edu" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" A friend of mine, a criminal defense lawyer, wrote to me recently about the first audio tapes emanating from the Supreme Court regarding the events in Florida: "For years, I've heard how Scalia is so smart, and finally I get to hear him and pass judgment, my own. He is a pedantic nominalist (that is, a person whose search for meaning looks at the actual words as some kind of positive and objective marker of meaning and truth). What he resists is the notion that truth is in the mind and can be read between the lines. But he is right to distrust the mind, at least his own, because he is a classic son of working class Italian immigrants who courtesey of the Univ of Chicago has been given the opportunity to play The Prince. However, unlike Machiavelli, this old buddy of Bork has class anxiety." He went on to describe Justices Kennedy and O'Connor in slightly more scatalogical terms. But something seemed off to me in his definition of nominalism, so today -- having read the latest Scalia pronouncements -- I went to the OED. Nominalism is that philosophical belief that says there are no universals outside the mind, that any reality exists only because we say so, by giving it a name -- it's opposed to realism, which says there IS such a reality outside the mind. So perhaps, in the quote above, the weight should be given to "pedantic" not "nominalist." Is Justice Stevens' dissent, bulwarked by so many examples of precedent Florida law, "realist"? While it's certainly true that one person's definition of irreparable harm is another's idea of horseshit, I wonder if these dusty philosophical positions are still operative in today's poetics. Most poets (thinking out loud here) would seem to be natural nominalists, in that our words are used for temporary effect in the poems at hand, and wouldn't necessarily have any universal meaning outside that particular poem. I remember hearing, years ago, that Newton didn't discover gravity as much as he invented it -- to which some part of my being enthusiastically assented. But Henry Gould, as I remember, has expressed several times his belief in an external reality beyond "all this fiddle" . . . Are these issues for anyone else? Joe ========================================================================= Date: Mon, 11 Dec 2000 16:39:03 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: Riding the Meridian: Lit [art] ure Comments: To: British poets , Wil Comments: cc: poetryetc@mailbase.ac.uk, Brian Stefans , poetics UB Poetics discussion group , webartery@egroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit i do realize i am beating my own bush (____ing my own _____?) here, but I do think it's a great issue, Jennifer. while there are some omissions (Jim Andrews comes to mind) I think it signals a major wind shift in the 'poetry/art/net' world - there have of course been some breezes and gusts of this elsewhere recently - webart or whatever it might be called is now the over-riding paradigm along with image in it's many senses and histories. stirring up some i hope, i am tom bell ========================================================================= Date: Mon, 11 Dec 2000 14:28:38 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Webster Schultz Subject: Re: a modest proposal Comments: To: anielsen@lmu.edu MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I'm so glad there are other fans of the inimitable Mr. Waters! Though I confess to having something of a thing for Mr. Boies, as well, at least for his syntax (if W. had 1/10 of 1/10 of 1 percent of it, we'd all be better off). As for poems, I'm enjoying Claudia Keelan's Utopic, Lyn Hejinian's Happily, Liz Waldner's Call. aloha, Susan ----- Original Message ----- From: To: Sent: Saturday, December 09, 2000 7:41 AM Subject: a modest proposal > This suggestion forwarded from Anna Everett: > > Whereas Craig Waters, earnest spokesman for the Florida Supreme Court, has been the only person in this whole sorry spectacle to betray any signs of character, carrying out his appointed functions with dispatch and great good humor, and whereas millions now look forward to his each appearance before the building as a respite, safe harbor, moment of sanity, and whereas his Aunt Edith had to settle for seeing him on television instead of at her Thanksgiving Day table, > > Be it hereby resolved that a Craig Waters website should be established for the benefit of his innumerable fans and well-wishers and > > Be it further resolved that the subscribers to the Poetics List, in their capacity as poets, undertake the composition of a suitable poem in his honor. > > December 9, 2000 Year of the Fallen Chad > > > "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, 11 Dec 2000 18:36:43 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: re beauty "products" and e-capitalism: India. Vijay Prashad-Beauty Queens, Beasts (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: QUOTED-PRINTABLE =09This may be of interest re the recent discussion of beauty "products-- =09also is relative to world of the global net capitalism =09(which includes this sender (chirot) obviously and all the receivers too to one degree or another just by being on email)-- =20 =09so hope not stretching it by sending to the poetics list-- Beauty Queens and the Capitalist Beast. By Vijay Prashad All the men are computer programmers, all the women are beauty queens, and some of us are humorless. So it seems in the land of Silicon(e) India. Bill Gates says that Indians are the second smartest people on the planet, and the international consortium of Beauty Contests deems Indian women to be the most beautiful. Gates wants us to work in his computer monopoly, so he flatters us with technical complements. The megaliths that salivate before the Indian market (the size of France, we are told eagerly) complement the Indians by saying that we too should overconsume nonsense that makes us look like our Beauty Queens. The H1B visa quota has been increased to 300,000 per year, to encourage more of us to apply to work as cyber-coolies. Simultaneously, Lara Dutta won the Miss Universe title (May), Priyanka Chopra won the Miss World crown (November), and Diya Mirza took home the Miss Asia Pacific honors (December). Flattery opens markets and encourages labor to toil along in the service of a benevolent white supremacy. Beauty Pagents have a long history in the US, but their role as the purveyors of overconsumption on the international stage is less well known. Founded right after World War II, the Miss Universe pageant is the junior partner to the Miss World contest. The latter was created by Eric and Julia Morley in 1951 as a promotional device for Mr. Morley's company, Mecca, which is what he called a 'leisure group' (travels, entertainment, etc., all at a high price). In 1970, Mrs. Morley coined the phrase 'Beauty with a Purpose' and they took what was essentially a parochial British television event to the world stage. The Miss Universe contest, in comparison, was much smaller and has remained far less prestigious until CBS television and Donald Trump took over the enterprise in late 1996. Before the early 1990s, the Miss Universe pageant was as 'Universal' as the US baseball championships that are called the 'World Series.' CBS-Trump took the pageant into the age of neo-liberalism, in direct competition with the UK's Miss World. It is funny, therefore, to hear Trump on the contest: =93there is nothing to compare with the Miss Universe Organization. We have a rich history of bringing together some of the most impressive, beautiful and interesting women from many backgrounds and cultures and then helping them achieve their goals.=94 Miss World makes the same claims. With the fall of the Berlin Wall, US capital and its media outlets have been on a global binge. The reach of the US (and Australian, viz. Murdoch) media is now quite long and there is a move from many of these outlets to extend their market share in places like India. CBS-Trump's Miss Universe pageant conceived of something called 'Big Event Television,' a hugely promoted event that draws a large audience who will then be turned-on to ancillary programs through expensive advertisements. There are a host of promoters who sign-up eagerly to show their products to a world for which these pageants have become something of an opiate, the Bread and Circuses of current capitalism. It took the structural adjustment of India (from 1991) to bring forth the crowns of beauty onto the svelte elite women of India. After all, Indian models are no strangers to the winner's circle at the pageants. In the Miss World pageant, the first Indian model to win was Reita Faria in 1966. Six semi-finalists and finalists ('70, '72, '75, '78, '80, and '91) followed her. At the lesser Miss Universe, six semi-finalists and finalists ('66, '72, '73, '74, '90, and '92) forged the path for Sushmita Sen's victory in 1994. But the victories have come fast and furious in the 1990s. In 1994, Sen and Aishwarya Rai won both pageants. Since then, the Miss World pageant has been won by Diana Hayden (1997) and Yukta Mookhey (1999); in 1996, an Indian model was a finalist. On the Miss Universe side, Indian finalists and semi-finalists have stood nervous until the final stages of the contest each year (1995-1999) until the clean sweep this year. The 1990s did change the tempo, perhaps to let us know that global firms wish to project to the Indian consumer a vision of beauty, the advance guard not only for beauty products, but also for the entire consumer goods industry (the creation of desire transforms luxuries into necessities). Not only is this good for the global firms, but it is also something that is enjoyed by bourgeois nationalists. Sushmita and Aishwarya saved India from the Surat plagues and riots of 1994. Now Lara Dutta saves India from the drought. Foul images of the Third World are erased by doctored images of radiant women. Reality can be easily occluded by big event television. After Ms. Dutta's victory, Femina's editor Sathya Saran wrote in that 'today, reality has overreached the dreamI The country is proud, happy. But not surprised.' Utter drivel. The country is still in the midst of a drought that effects 100 million people, at the very least. And most of the 'country' had no idea that this graduate of St. Xavier's (Mumbai) spent the last three weeks in war-torn Cyprus as part of a campaign to revive the tourist industry on that island (Cyprus spent $7 million on the effort). One reason feminists and other leftists across the world are unhappy with the pageants is that they act as a screen against the war against women conducted by such agencies as the IMF. This is apart from the issue of the degradation of women by the pageants (the reduction of woman to mere body, etc.). In Nicosia, protests outside the basketball stadium (decorated like a Greek amphitheater) ensured that we not forget the trials of the world as we celebrate this shallow kind of universalism. A banner proclaimed that 'we want schools and hospitals,' knowing full well that there are choices to be made in the world and a victory for India at the pageant does little, for example, for its enduring crisis of education and health. One Cypriot woman dressed in rags and carrying black garbage bags told the press that 'I'm a teacher and we have to beg for handouts and we are wasting money here on this pageant. Why?' Indeed, why? Simply to promote a set of values (consumerism) that seem to be far more important to contemporary capitalism than social justice and ethical conduct. The protests put the pageant on notice. For this reason, the final question asked to the contestants was 'what would you say to those who condemn the contest as an affront to women?' Lara Dutta's answer appealed to the judges: 'pageants like Miss Universe give us young women a platform to foray in the fields that we want to and forge ahead, be it entrepreneurship, the armed forces, be it politics. It gives us a platform to voice our choices and opinions and it makes us strong and independent as we are today.' Of course Ms. Dutta is entitled to her own opinion, but what is of interest is that she chooses these three options: business, the military and politics. Money, the Gun (or Nuclear Bomb) and Power. Of course her father, to whom she dedicated her victory, is in the Indian armed forces. But one can still muse over these 'choices and opinions,' especially how divergent this view of the world is from that of the All-India Democratic Women's Association or of Women's Initiative for Peace in South Asia (whose recent bus trips between India and Pakistan are a landmark of people-to-people diplomacy). " JC=20 -------------------------- eGroups Sponsor -------------------------~-~> eLerts It's Easy. It's Fun. Best of All, it's Free! http://click.egroups.com/1/9699/0/_/30563/_/976579302/ ---------------------------------------------------------------------_-> Cuba SI - Imperialism NO! Information and discussion about Cuba. Socialism or death! Patria o muerte! Venceremos! http://www.egroups.com/group/cubasi Subscribe: cubasi-subscribe@egroups.com =20 Unsubscribe: cubasi-unsubscribe@egroups.com Change Delivery Options: http://www.egroups.com/mygroups =20 ========================================================================= Date: Mon, 11 Dec 2000 22:24:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Re: [Y4M] Organizing centers for Jan. 20 march at the inauguration In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit David, My friend - at least on some level - Mumia did it. So did Gary Grant. By Gawd, I wd hv gone down there to Texas and executed him myself! The DemKrat in me can stand up for someone like Daniel Patrick Moynihan. But this direction - Mumia? - I live in Pennsylvania and have seen the report on this guy. Good grief, am I the only voice in your life that speaks outside this RadLib belief system that seems to have co-opted your genius? You know, the other minorities, new to these shores, look at this sort of thing - Mumia - and don't stand with you on this. They are searching for another way. And that way is John Birch Republicanism. Rchd > From: David Baptiste Chirot > Reply-To: UB Poetics discussion group > Date: Mon, 11 Dec 2000 14:54:41 -0600 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: [Y4M] Organizing centers for Jan. 20 march at the inauguration (fwd) > > CAN YOU OR YOUR GROUP SERVE AS AN ORGANIZING > CENTER FOR THE JANUARY 20 PROTEST AT THE > INAUGURATION? > > We've heard from people from New York and New Jersey to > Maine, Vermont, Florida, Wisconsin, Minnesota, Virginia, > North > Carolina, Georgia, Texas and more. Wherever you are, find > the organizing center nearest you--and if there isn't one, > set > one up and organize buses, vans and car caravans to get as > many people as possible to DC on January 20. > > Serving as an organizing center in your area would mean > working with other people and groups in your city, school, > community, place of worship, union or workplace to bring > people to DC on January 20. Organizing tools are available. > We would list you on the IAC web site as a local contact and > could direct people in your area to you. > > Below is a partial list of organizing centers. Email > iacenter@iacenter.org with your local contact info if you or > your group can serve as an organizing center. Information > will > be listed on the IAC and other web sites, and email notices > will > be sent out periodically. > > NATIONAL OFFICE -- NEW YORK CITY > 39 W. 14th St. #206, New York, N.Y. 10011 > (212) 633-6646; Fax (212) 633-2889; > email: iacenter@iacenter.org > WASHINGTON DC office > 733 15th Street NW, #515 Washington, DC 20005 > Phone 202-588-1205, email: npcdc@mnsinc.com > > GEORGIA > *ATLANTA > Millions for Mumia > bus leaves Friday night, Jan. 19, tickets are $70 > (770) 989-2536, atlantamumia@hotmail.com > > ILLINOIS > *CHICAGO > International Action Center > c/o PO Box 06178 Wacker Dr. Station Chicago, IL 60606-0178 > (773) 381-5839, iachi@enteract.com > > MARYLAND > *BALTIMORE > All People's Congress > 426 E. 31st St., Balt., MD 21218 > (410) 235-7040, apcbaltimore@pipeline.com > > MASSACHUSETTS > *BOSTON > (617) 983-3835, iacboston@yahoo.com > > MICHIGAN > *ANN ARBOR > University of Michigan > Contact Julie Frye jnf@umich.edu > *DETROIT > (313) 831-0750 > > NEW YORK > *MID-HUDSON REGION > (914) 255-5779; email: jacdon@earthlink.net > *NEW YORK CITY > 39 W. 14th St. #206, New York, N.Y. 10011 > (212) 633-6646; Fax (212) 633-2889; > email: iacenter@iacenter.org > > NORTH CAROLINA > North Carolina State University, Amnesty International > chapter > Contact Aaron Jacobs (919) 829-4942, > avjacobs@unity.ncsu.edu > > OHIO > *CLEVELAND > Peoples Fightback Center > 3030 Euclid Ave #LL1, Cleveland OH 44110 > 216-426-0851, pfcenter@aol.com > > PENNSYLVANIA > *PHILADELPHIA > International Action Center > 215-724-1618, 813 S. 48th St., Phila., PA 19143, e-mail: > philnpc@op.net > International Concerned Family and Friends of Mumia Abu- > Jamal > 215-476-8812 > > RHODE ISLAND > *PROVIDENCE > International Action Center > (401) 726-4802, npcri1@aol.com > > TEXAS > *HOUSTON > Texas Death Penalty Abolition Movement > Phone: 713-861-5965, office 713-521-0629 > Email: AbolitionMovement@juno.com > (Bus from houston is $125.00--deposits due by Dec. 26,at our > office: > Abolition Movement C/o SHAPE Center 3903 almeda Rd. > Houston, TX 77004. Bus leaves SHAPE on Thursday evening > at 6 PM, Jan. 18. Returns Sunday night, Jan. 21.) > > WASHINGTON, DC > International Action Center > 733 15th Street NW, #515 Washington, DC 20005 > Phone 202-588-1205, email: npcdc@mnsinc.com > > WISCONSIN > *Milwaukee > A Job is A Right Campaign > guyute@uwm.edu, 414-374-1034 > > WEST COAST > There will also be a demonstration in San Francisco on Jan. > 20. Contact (415) 821-6545, iac@actionsf.org for info and > local organizing centers > > Email iacenter@iacenter.org with your local contact info if > you > or your group can serve as an organizing center. > > International Action Center > 39 West 14th Street, Room 206 > New York, NY 10011 > email: iacenter@iacenter.org > web: http://www.iacenter.org > CHECK OUT SITE > http://www.mumia2000.org > phone: 212 633-6646 > fax: 212 633-2889 > *To make a tax-deductible donation, > go to > http://www.peoplesrightsfund.org > > -------------------------- eGroups Sponsor -------------------------~-~> > eGroups eLerts > It's Easy. It's Fun. Best of All, it's Free! > http://click.egroups.com/1/9698/0/_/30522/_/976552951/ > ---------------------------------------------------------------------_-> > > Stop the execution! New trial for Mumia! > > Youth & Students for Mumia > > http://www.mumia2000.org > > To subscribe or unsubscribe email: youth-4-mumia-owner@egroups.com > ========================================================================= Date: Mon, 11 Dec 2000 22:30:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Re: Oh, and -- In-Reply-To: <4.1.20001208112115.015ead00@socrates.berkeley.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit There's not a woman among you who wouldn't take tenure at Stanford. Come off your high horse. > From: David Larsen > Reply-To: UB Poetics discussion group > Date: Fri, 8 Dec 2000 11:26:37 -0800 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Oh, and -- > > At 02:41 AM 12/5/00 -0500, Richard Dillon wrote: >> "thugs" to describe people like Mrs. Rice, a >> professor at Stanford, is simply shameless. > > You mean *the* Stanford? Stanford *University*? Holy cow --Ron, how could > you? LRSN > ========================================================================= Date: Tue, 12 Dec 2000 03:07:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rick Snyder Subject: Dactyl Book Fair & Reading Mime-Version: 1.0 Content-Type: text/plain; format=flowed If you're in the New York area, please check out THE SMALL-PRESS BOOK FAIR at THE DACTYL FOUNDATION December 15-22 64 Grand St. (between W. Broadway & Wooster in SoHo) Featuring chapbooks and limited editions from a variety of publishers, including The Figures, Burning Deck, Edge, Beautiful Swimmer, Leroy, Second Story, Buck Downs, Hophophop, LRSN, reference, Heart Hammer, Detour, Harry Tankoos, Booglit, 811 Books and many others The Book Fair will kick off with a READING and PARTY at 7 pm on Friday, Dec. 15, featuring Drew Gardner Nada Gordon Martin Corless-Smith Free wine. Plenty of hard-to-find works will be on display and available for purchase. The book fair will run for one week only. Gallery hours: 1-6pm. (Closed on Sundays and Mondays) If you have any questions about the fair or reading and party, please backchannel. Thanks. _____________________________________________________________________________________ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Tue, 12 Dec 2000 22:26:20 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: fiction MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Aaron. Actually I like reading all kinds of writing on many subjects. I dont think there is neccessarily a "better" form. Just as people listen to music or use music for different occassions or reasons. If they "hate" poetry you'll never convince them. Some people just simply dont see the point of it. My brother thinks most modern art is crap but enjoys studying the stars, solving maths puzzles, and tramping.I've no idea what he thinks of poetry. Probably would think most modern poetry was "crap". I dont discuss poetry with people unless I know they are very interested in it.My brother likes short humorous novels.So do I. I like poetry and novels. My mother, when I "broached" the fact that I was now writing poetry said: "I dont like poems" I think that she meant her experience of poems. She read many novels. I have an aquaintance who is quite happy, made 1 million dollars, but can neither read nor write.What you dont know you dont miss. My son doesnt like poetry very much - doesnt read hardly at all except Ben Elton and books about astrology. I have a "mate" who just watches "action" movies on television. A useful mate as he's a mechanic, and a good man, but would not have a clue if I read him - well probably any poetry - but lets say Wordsworth's "Daffodils". A very intelligent woman I know, who has a law degree, wont listen to one word of poetry. But people can live without reading, let alone poetry! (But probably not without love of some kind). The problem is firstly: how to define fiction versus poetry? Can the forms be separated in every case? Then the question arises, who, except for a few crazy poets, gives a damn? That quote was typical Creeley. Irritatingly interesting, but almost incomprehensible and rambling... But then again, perhaps one needs a touch of the "ramble coefficient" to be a poet. This I do think. I think that some people are frightened of poetry, or it makes them feel uncomfortable, confronted. (I say some, most are just not interested) But I once argued with a journalist (to the effect) that, no, poetry, was still viable and valid (this was at a poetry competition and performance night). I think one of the things poetry can do is to probe into certain areas of the psyche or consciousness that even music fails to do - or it adds to what music and the other arts can do. I refferred to the fact that, as infants, we first hear our mother's (or father's) voice (and others) and as we grow, if we are allowed or encouraged in a relaxed way in a "good" environment at home or school, poetry can enter into us and enrich our lives. So can fiction, but fiction is more narrational, more explicatory, and possibly more complex. Poetry may go deeper into the inner "inner" of us. But eg Finnegan's Wake - Joyce, I read somewhere, advised people to read it as a gigantic poem. I heard a recording of Joyce reading it and it brought F's Wake marvellously alive for me. (But I havent attempted to read it all or "puzzle it out"). But to get back to my journalist. She felt that because of movies (arguably at times can be like visual poems, maybe they become poems?) and television etc had made poetry irrelevant. Also the interest in music and other "entertainments" had "diminished" poetry. One of my daughters is not very interested in poetry: she and her sister are in a group and that's their "buzz" but both appreciate poetry sometimes. But for a lot of people its some music style that they seem to "lock onto". But I have confidence that there will always be a place for some form of poetry, however we define it. And I dont think we have to get more complex than remembering our parents talking to us, reading to us, or singing to us at an early age. The journalist could not understand the deep significance of the human voice. The power of voice, its power, how it can or seem to wound us or soothe us or enchant, or express so many emotions so directly or so completely. Music too, but would you rather hear someone say: "I love you" or replace that with a piece of music? Poetry (and maybe fiction)- with the human voice ever present, is not better, but its potential power is virtually eternal. Some of Creeley's poems get into those inner "rooms". there is a sense in his and certain other poets of a forever seeking. But I'm getting even more clichaic... O.K. It has more "functions" than that eg we all know about "readerly" and "writerly" texts and thus "language poetry" etc and there's dramatic poetry, ballads, satire, and so on. Of course I was trying to be a bit "droll" with my talk of "fuction" but there's an example. I (as you probably guessed) hit the "u" instead of the "i" hence I instantaneously invented a new genre: Fuction!The creative error that leads to a neologism. We poets are "allowed" to neologise, even if its by the method of a million monkeys... But I didnt really mean to be so cynical. Silly maybe... Regards. Best wishes to you and everyone on the List for Xmas. Richard Taylor ----- Original Message ----- From: "Aaron Belz" To: Sent: Saturday, December 09, 2000 11:23 AM Subject: Re: fiction > Thanks for all your support----- here is my own view on 'fuction', for > those of you who may disagree ---- > > [this is one of the emails I sent to my novel-loving friends] > > > > I don't like the "long prose story" form much, but I'll give it its triumphs > -- certainly the great Russian novels, definitely Melville, Flaubert, > Dickens, Proust. Maybe George Eliot, Victor Hugo, I don't know. I've only > read a handful of such novels. > > My problem is not individual successes or failures in the form; it is that I > don't like fictional prose *as a literary mode*. In most novel-reading > experiences, I don't like the feeling that I feel like I'm playing pretend, > that I'm being set up: > > "Okay, here we are in the outskirts of Omaha, Nebraska. Okay, this little > doll is Tom Smith. He's a tall, gaunt insurance salesman. He's sad because > his wife left him. He's middle class, lives beyond his means. And this one > over here is Jane Richards. She is a lesbian librarian, keeps to herself > mostly. You'd be surprised, though-- she might just talk some sense into Tom > Smith at some point in this novel -- but we'll just have to wait and see, > won't we!" > > So things begin to unfold, and the plot gets twisty (who could guess?) and > then things all kind of come to a head, and then the cloud breaks and life > settles back to normal -- but somehow we've learned something? We've > learned that we're all in fact *human* after all, and there's more to life > than meets the eye? That there's hope? Blecch. > > IN GENERAL, I don't like this sort of fry for two reasons: (1) It requires > extended suspension of disbelief in a theatrical way, but it doesn't have > the living presence or brevity of theater. (2) It is rarely as immediately > (inherently) artful as plays and poetry. > > Robert Creeley wrote: "A poetry denies its end in any descriptive act, I > mean any act which leaves the attention outside the poem. Our anger cannot > exist usefully without its objects, but a description of them is also a > perpetuation. There is that confusion--one wants the thing to act on, and > yet hates it. Description does nothing, it includes the object--it neither > hates nor loves." > > This is a convoluted quote, but it gets at what I mean: "any act which > leaves the attention outside the poem." I can't spend a lot of time reading > something that isn't pretty like crystal in the very structure and shape of > its language, something that relies heavily on description of events and > characters without the tension of hard words. > > > -Aaron ========================================================================= Date: Tue, 12 Dec 2000 09:32:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Jarnot Subject: workshops in Brooklyn Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear all: My workshop/seminar in Brooklyn on Robert Duncan has been revised-- it will now be a workshop/seminar on Robert Duncan and Jack Spicer. Classes begin in mid-January, on Sundays from 4-6:30. The class will run for 12 weeks and the fee is $250. I'm looking for three more students. Thanks, Lisa Jarnot jarnot@pipeline.com 718-388-4938 ========================================================================= Date: Tue, 12 Dec 2000 10:03:23 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Franco Subject: open letter from Michael Moor MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit >Judgment Day O'Connor > >December 11, 2000 > >Dear friends, I guess some sort of overthrow is taking place right here in the >good ol' U.S. of A. I knew the U.S. Supreme Court was dominated by >reactionaries and conservatives. But, honestly -- I never, ever, believed it > >was... crooked. > >Until now. > >This Court appears ready to install a President who did not win the >election. Can this really be happening? > >Everyone knows that if the votes are ever counted in Florida, Gore is the >winner. George W. Bush knows that more than anyone -- that's why he's >fighting so desperately hard to stop that count from ever taking place. If >he felt he was truly the winner, his attitude would be, "Sure, go ahead and >count the ballots, I'm not worried 'cause I know I'm the winner." > >But that's NOT what he thinks or knows. He knows he lost. EVERYONE knows he >lost. Let's cut the B.S. If those 12,000 ballots ever get counted, George W. > >Bush is the loser and everyone with an I.Q. of over 70 knows it. > >Why would the loser insist on being given the top prize? Have you ever heard >of such a thing? Not only that, he has convinced all the loser-lovers in the >Florida legislature and the U. S. House of Representatives to grant him the >victory in case he loses -- again -- in court. > >In every other nation on this planet, they have a word for this behavior -- >and that word is "coup." George W. Bush and his allies in Congress, the >Florida legislature, and the U.S. Supreme Court are trying to stage a coup, >an overthrow of the will of the people. > >According to last Sunday's stunning front page story in the Miami Herald, >had there been no shenanigans in the Florida election, the Herald calculates >that Gore would have won Florida by 23,000 votes! You can check out this >story by clicking here: >http://www.herald.com/content/archive/news/elect2000/decision/104268.htm > > >The theft of this election didn't just start with Jeb Bush's girlfriend/Bush >for President Co-Chairwoman/Bush delegate to the Republican >Convention/Secretary of State Katherine Harris's refusal to count the >ballots. Months ago, Jeb and Katherine sought to eliminate as many black >voters as possible from the voting rolls. This is a mind-blowing story and I >encourage you to read it by clicking here: >http://www.bushneverwonflorida.com/ > >The U.S. Supreme Court stopped the counting of the ballots this weekend and >violated the law in doing so. They are allowed to grant a stay only if >"irrevocable, irreparable harm" would happen if the votes were counted. >Since when does the counting of our citizens' votes cause "irreparable >harm"? Justice Antonin Scalia said (I'll paraphrase here), well, we believe >Bush won >and if we allow those votes from Florida to be counted and Gore ends up >ahead, well, that would cause irreparable harm to a Bush administration. > >Yes, that is what he said! > >Look, let's be honest about something. Part of the reason we are in the mess >we are in today is because AL GORE voted YES to put Justice Scalia on the >Supreme Court. > >Let me say this one more time so it sinks in to every Gore-loving head out >there: > >AL GORE VOTED TO PUT SCALIA ON THE SUPREME COURT! > >The chickens sure have come home to roost for that blunder (and for the 11 >Democrats who voted YES to give Clarence Thomas his narrow victory). Don't >write me and tell me about the kind of Court we "might" get under Bush >thanks to Nader. We already have it, thanks to Al and his Democrats. It's a >tough >pill to swallow. > >Listen, this fight today, Monday, December 11, 2000, is not about Al Gore. >It is about the only thing that ultimately matters in a democracy -- the >right to vote. The right to have a say in who will represent us. Gore got >300,000 >more votes than Bush. Gore won. Gore will have more votes in Florida if >those ballots are allowed to be counted. Gore won. > >I have no personal interest in seeing Al Gore in the White House. I did not >vote for him. > >But I don't like liars, I don't like thieves, and I really hate cowards. > >Mr. Bush (that's what the majority of Americans will always call you, >because we will not participate in your lie by ever calling you "Mr. >President") -- we know what you are so afraid of. You are a coward for not >wanting those >ballots counted because you know the outcome. You know you've lost. You know >the people have spoken. Be a man, for crying out loud! Go back to your ranch > >and let us get on with bugging the shit outta Al Gore for the next four >years! > >Friends, if you do anything today, it must be to take a stand against this >coup. If you live within a few hours of Washington, DC, I am asking that you >pack the grounds of the Supreme Court the way any nation of citizens would >do if their election was being stolen from them. > >The rest of you -- call Western Union right now! That's right, leave this >21st century technology of the Internet behind and return to the 19th >century way of the telegram. They will not be expecting an avalanche of >telegrams on their desks! Western Union still hand-delivers telegrams. Let's >flood the offices of Justices Sandra Day O'Connor and William Kennedy (the >only two conservatives on the Court who are not certifiable loons) within >the next few hours and let them know the true will of the people. I am >especially calling upon anyone who voted for Bush or Nader or Buchanan to >rise above political ideology and take a stand for what you know is right. > >Here's how you send a hand-delivered telegram: > >1. Call Western Union at 800-325-6000. Then wait for the live operator. >2. Tell the operator that you want to send a hand-delivered telegram that >needs to get there within the next few hours. >3. It costs $17.95 for 15 words or less, and another $13.95 for the hand >delivery. That's a total of $31.90. Most credit cards accepted. >4. The address is: Justice Sandra Day O'Connor (or William Kennedy), U.S. >Supreme Court, One First Street N.E., Washington, DC 20543. > >I know thirty bucks is a lot of dough for many of you. Is our country worth >$31.90? I think it is. If you truly can't afford it, then call the Supreme >Court today and make your feelings known (202-479-3211). > >But I'm telling ya, forcing the Justices to swim in a sea of yellow >telegrams -- that will have an enormous impact. It will make national news >and inspire millions more to do the same. No one sees the phone calls coming >in or the >e-mails being sent. But those Western Union guys having to lug truckloads of >telegrams up the steps of the Supreme Court... whoa! Call 10 people right >now and ask them to join us. > >There will be plenty of time later to discuss the other issues pertinent to >this election -- why 100 million citizens again did not vote, the way the >rich bought and paid for both candidates, why I am personally responsible >for >this whole mess, etc. > >But right now -- TODAY -- we have to act like we have never acted before. >Trust me, if they can get away with this, they can get away with ANYTHING. >Maybe many of you are already convinced that they can. I am still clinging >to some sort of strange hope that right and justice will prevail, that a few >million of us can shock this corrupt court into coming to its senses, if not >its own sense of self-preservation. > >The clock is ticking. > >Yours, > >Michael Moore >mmflint@aol.com >www.michaelmoore.com > >P.S. Send this letter to anyone you wish, asap. ========================================================================= Date: Tue, 12 Dec 2000 08:22:52 -0700 Reply-To: laura.wright@colorado.edu Sender: UB Poetics discussion group From: Laura Wright Subject: Re: friction In-Reply-To: <16C2EE0E7435D411B13000C00D01633C01772C@bigbird.Colorado.EDU> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit > 2) it [fiction] is harder to write - look at the collected > works of most poets - they are about the size of > a novel I disagree. Partly because writing *good* fiction/narrative prose is very difficult, time consuming, etc. ... and partly because I, a poet, love good fiction. What is good fiction? In the past few years I've enjoyed reading or re-reading(off the top of my head in no particular order) The god of small things, The passion, The bean trees, An unfortunate woman (Richard Brautigan), Short stories by Graham Greene and John Cheever, ... But taste aside, I also disagree because I don't see the point in arguing this "better/worse" sort of dichotomy, especially around genre. I find the distinction between poetry and prose not only largely useless and irrelevant but wasteful (except when generating tangents such as "Meditation on Fiction Poetry and Metals"). Writers like Carla Harryman, who intentionally blur and break the rules/boundaries of such distinctions excite me. Like Hamlet, I prefer to read "words, words, words" -- provided said words have been placed on the page (or the screen) with some semblance of wit and/or intelligence. Back to work, Laura ========================================================================= Date: Tue, 12 Dec 2000 10:59:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: The Dreamlife of Letters MIME-Version: 1.0 Content-Type: text/plain REPTILIAN NEOLETTRIST GRAPHICS presents "the dreamlife of letters" a poem utilizing Flash technology 12 mins./ orange, black and white / 500 x 500 pixels / edition of several million http://www.arras.net/RNG/flash/dreamlife/dreamlife_index.html *** from the Introduction In 1999, I, along with several other poets and writers, was asked to partake in an online "roundtable" on sexuality and literature. The event would be centered around a brief essay by the San Francisco novelist Dodie Bellamy. The outcome of this roundtable, which would take place entirely through email, was to be published on the Poetics List that is moderated out of SUNY Buffalo. All of the participants were divided into groups, each individual having a position in that group. As I was the second in position, I was assigned to respond to the person in the first position, who in my case was the poet and feminist literary theorist Rachel Blau DuPlessis. DuPlessis wrote a very texturally detailed, nearly opaque, response. I had decided that I wanted to respond to her text in a detailed manner, but I felt that normal prose would not suffice on my part, so I alphabetized the words in her text, and created my own series of very short "concrete" poems based on the chance meeting of words. As words invariably take on nearly obscene meanings when they are left to linger and intermingle on their own, and as DuPlessis's text was so loaded to begin with, I didn't enjoy the poem that much. More importantly, as it was in a sort of antique "concrete" mode, it resembled a much older aesthetic, one well explored by Gomringer, the De Campos brothers and numerous others in the past fifty years, and so it wasn't very interesting to me. But eventually, fishing for an idea for an extended Flash piece, it dawned on me that this poem would be perfect. It would be both traditional and not, it's tradition being nearly unknown in America, and it would be entirely concerned with the body in relation to writing and society, hence avoiding the negatives of much web poetry that seems concerned primarily with technology and its language. I decided to limit myself to use the Arial font (other than letters I created out of lines and circles), to only use black and white and shades in between, to use no images, and to stick exactly to my text. Other than that, it's an improvisation, and like most improvisations has its knotty, ungracious moments and a few surprises that seem to make up for them. At least I hope so... hope you like it. *** reptile@arras.net ========================================================================= Date: Tue, 12 Dec 2000 08:44:57 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: fiction In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" here, here i'm with you on this one komninos At 04:23 PM 12/8/00 -0600, you wrote: >Thanks for all your support----- here is my own view on 'fuction', for >those of you who may disagree ---- > >[this is one of the emails I sent to my novel-loving friends] > > > >I don't like the "long prose story" form much, but I'll give it its triumphs >-- certainly the great Russian novels, definitely Melville, Flaubert, >Dickens, Proust. Maybe George Eliot, Victor Hugo, I don't know. I've only >read a handful of such novels. > >My problem is not individual successes or failures in the form; it is that I >don't like fictional prose *as a literary mode*. In most novel-reading >experiences, I don't like the feeling that I feel like I'm playing pretend, >that I'm being set up: > >"Okay, here we are in the outskirts of Omaha, Nebraska. Okay, this little >doll is Tom Smith. He's a tall, gaunt insurance salesman. He's sad because >his wife left him. He's middle class, lives beyond his means. And this one >over here is Jane Richards. She is a lesbian librarian, keeps to herself >mostly. You'd be surprised, though-- she might just talk some sense into Tom >Smith at some point in this novel -- but we'll just have to wait and see, >won't we!" > >So things begin to unfold, and the plot gets twisty (who could guess?) and >then things all kind of come to a head, and then the cloud breaks and life >settles back to normal -- but somehow we've learned something? We've >learned that we're all in fact *human* after all, and there's more to life >than meets the eye? That there's hope? Blecch. > >IN GENERAL, I don't like this sort of fry for two reasons: (1) It requires >extended suspension of disbelief in a theatrical way, but it doesn't have >the living presence or brevity of theater. (2) It is rarely as immediately >(inherently) artful as plays and poetry. > >Robert Creeley wrote: "A poetry denies its end in any descriptive act, I >mean any act which leaves the attention outside the poem. Our anger cannot >exist usefully without its objects, but a description of them is also a >perpetuation. There is that confusion--one wants the thing to act on, and >yet hates it. Description does nothing, it includes the object--it neither >hates nor loves." > >This is a convoluted quote, but it gets at what I mean: "any act which >leaves the attention outside the poem." I can't spend a lot of time reading >something that isn't pretty like crystal in the very structure and shape of >its language, something that relies heavily on description of events and >characters without the tension of hard words. > > >-Aaron > komninos's cyberpoetry site http://student.uq.edu.au/~s271502 cyberpoet@slv site http://www.experimedia.vic.gov.au/cyberpoet/ komninos zervos, tel. +61 7 55 948602 lecturer in cyberstudies, school of arts, gold coast campus, griffith university, pmb 50, gold coast mail centre queensland, 9726 australia. ========================================================================= Date: Tue, 12 Dec 2000 12:56:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Jarnot Subject: a new book by Lisa Jarnot Mime-version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I have just been informed that my new book Ring of Fire is now available at all major bookstores (Barnes & Noble, Borders, etc.), most good independents, and through the web on amazon, BN.com, and so and so forth. There is also more information about it available at www.zolandbooks.com Best, Lisa Jarnot ========================================================================= Date: Mon, 11 Dec 2000 17:21:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Subject: Re: the comforts of poetry Comments: To: anielsen@lmu.edu In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Sat, 9 Dec 2000 anielsen@lmu.edu wrote: > Upon hearing the news from the United States Supreme Court I recall the one line from Nikki Giovanni that has remained with me for thirty years: > > > "They ain't got no shame." Last night, in anticipation of the case today, I played very loudly two songs from Bob Dylan's _Oh Mercy_: "Political World" and "Everything is Broken." Cheers, David ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ David Kellogg Assistant Director kellogg@acpub.duke.edu University Writing Program (919) 660-4357 Duke University FAX (919) 660-4372 http://www.duke.edu/~kellogg/ ========================================================================= Date: Tue, 12 Dec 2000 13:23:32 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: PRYDXL Comments: To: neologisms@egroups.com, webartery@egroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit I AM SEEKING THE MOST POSSIBLE DIFFERENT DEFINITIONS FOR THE WORD : prydxl 1. any unknown Mayan alchemical compound 2. contradictions which only "seem" paradoxical 3. martianspeak as received by Jack Spicer 4. the ability to forget one's own phone number in a crisis 5. a web anthology of text, poems, music which which which contain little if any recognizable English. please send your submissions to Miekal And at dtv@mwt.net no deadline. what do words want? ========================================================================= Date: Tue, 12 Dec 2000 16:57:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Book Fair and Reading by Corless-Smith, Gardner & Gordon at Dactyl MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit D A C T Y L F O U N D A T I O N for the Arts & Humanities Book Fair Dec 15-22 Tues-Sat 1-6pm Hand-made chapbooks, special editions & signed copies by more than 20 authors Reading & Party Fri, Dec 15, 7pm Martin Corless-Smith / Drew Gardner / Nada Gordon 64 Grand Street, Ground Floor @ West Broadway & Wooster in SoHo 212/219-2344 www.dactyl.org ========================================================================= Date: Tue, 12 Dec 2000 00:33:00 +0000 Reply-To: anielsen@lmu.edu Sender: UB Poetics discussion group From: anielsen@LMU.EDU Subject: Scalia's Poetics -- Reader Irresponsibility Theroy MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Hearing these hearings gives a much clearer view of what "strict construction" and "original intetnt" really mean in these contexts. In the first hearing, Scalia pronounced his construal the only way that a text could possibly be read. In the second hearing he pronounced any reading other than his own to be irrational. Meanwhile, in one of his first interventions, he spoke of the ballots in question being ballots that the machines were not supposed to count. How does a strict constructionist dedicated to original intent ascertain this without actually looking at one of the ballots? And is it not passing strange that he takes no notice of the fact that these machines have a published error rate -- which means quite plainly (and if you don't agree you must simply be irrational) that the machines read some votes where they "shouldn't" and fail to read some votes where they "should" -- At least that's how I read it. It appears that a strict construction is an opinion with the power of the state apparatus lined up behind it -- which is why Scalia's original intent was to install the shrub in the shrubbery no matter what the voters of Florida (who, as he opined in hearing one, have no real right to vote for president anyway) may intend. "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: Thu, 14 Dec 2000 11:10:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Marquez (fwd) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This came to the administrative account. --TS --On Tuesday, December 12, 2000, 4:27 PM -0500 "ShaunAnne Tangney Humanities" wrote: > > sad news...and incredible eloquence... > --shaunanne > > > > > ---------- Forwarded message ---------- > Date: Tue, 12 Dec 2000 14:25:20 -0600 > Subject: Marquez > > I got this through a listserv. I thought it was worth passing on... Ruth > > Gabriel Garcia Marquez* has retired from public life due to health reasons: > cancer of the lymph nodes. It seems that it is getting worse. He has > sent this farewell letter to his friends, which has been translated and > posted on the Internet. Please read and forward to any who might enjoy it. > This is possibly, sadly, one of the last gifts to humanity from a true > master. > This short text, written by one of the most brilliant Latin Americans in > recent times, is truly moving. > >>If for an instant God were to forget that I am rag doll >>and gifted me with a piece of life, >>possibly I wouldn't say all that I think, >>but rather I would think of all that I say. >>I would value things, not for their worth >>but for what they mean. >>I would sleep little, dreammore, >>understanding that for each minute we close our eyes >>we lose sixty seconds of light. >>I would walk when others hold back, >>I would wake when others sleep. >>I would listen when others talk, and >>how I would enjoy a good chocolate ice cream! >>If God were to give me a piece of life, >>I would dress simply, >>throw myself face first into the sun, >>baring not only my body but also my soul. >>My God, if I had a heart, >>I would write my hate on ice, >>and wait for the sun to show. >>Ove the stars I would paint >>with a Van Gogh dream >>a Benedetti poem, >>and a Serrat song. >>I would be the serenade >>I'd offer to the moon. >>With my tears I would water roses, >>to feel the pain of their thorns, >>and the red kiss of their petals. >>My God, if I had a piece of life... >>I wouldn't let a single day pass >>without telling the people I love that >>I love them. >>I would convince each woman >>and each man that they are my favorites, >>and I would live in love with love. >>I would show men how very wrong they are >>to think that they cease to be in love >>when they grow old, not knowing that >>they grow old when they cease to be in love! >>To a child I shall give wings, >>but I shall let him learn to fly on his own. >>I would teach the old that >>death does not come with old age, >>but with forgetting. >>So much have I learned from you, oh men... >>I have learned that >>everyone wants to live on >>the peak of the mountain, >>without knowing that >>real happiness is in how it is scaled. >>I have learned that when >>a newborn child squeezes for the first time >>with his tiny fist his father's finger, >>he has him trapped forever. >>I have learned that a man has >>the right to look down on another only >>when he has to help the other get to his feet. >>>From you I have learned so many things, >>but in truth they won't be of much use, >>for when I keep them within this suitcase, >>unhappily shall I be dying. >> >> >>GABRIEL GARCIA MARQUEZ >> >>A QUICK BIO ON THE MASTER: >>Colombian author Gabriel Garcia Marquez began his career as a Journalist >>for >>a series of liberal South American newspapers in the late 1940's. >>Although he >>toyed with fiction as a young man, his first true efforts were incited >>by the >> >>negative reviews of contemporary Latin-American writers. The result was >>the >>short story The Third Resignation. The reviews of the story were >>positive and >>the impact strong; the press heralded The Boom, a econd generation of >>Latin-American writers. >> >> >>Garcia Marquez followed with a compilation of short stories (Big Mama's >>Funeral) >>and three novellas (Leaf Storm, No One Writes to the Colonel, and In >>Evil >>Hour). These dark, eerie, and sad works were influenced heavily by Franz >> >>Kafka yet the reveal the voice of an intelligent young writer preparing >>himself for larger things. >> >> >>Larger things came to Garcia Marquez in 1967. While suffering From >>writer's >>block several years earlier, the author suddenly had a vision of his >>next >>novel-as he has said, the first chapter was as clear as if it had >>already >>been written. The idea was to tell the story of several generations of a >> >>Colombian family as his grandmother might have told it: supernatural >>occurrences and unbelievable events described with unblinking sincerity. >>After eighteen months of seclusion, Garcia Marquez produced his >>Masterpiece >>One Hundred Years of Solitude, which has been called one of the greatest >> >>novels in history. >>Gabriel Garcia Marquez was awarded the Nobel Prize for literature in 1982. >> >> >> >> >> > ========================================================================= Date: Tue, 12 Dec 2000 21:09:59 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: group infopoem Comments: To: webartery@egroups.com Comments: cc: poetics UB Poetics discussion group , British poets MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I have started a group infopoem at http://members.tripod.com/~trbell/metaphor/fgid.htm . Some aspects of this will seem hopelessly arcane and incomprehensible to many (particularly those who do not reside in the US and haven't yet heard of this particular disease, but it will be a group process as I will be including responses by people to an internet self-help support group. It also does bear on current social circumstances, web communication, and current policital, medical, and economic circumstances. If anyone wants to contribute, please email me. tom bell in response to Jorges ----- Original Message ----- From: "Ted Warnell" To: Sent: Tuesday, December 12, 2000 5:56 PM Subject: Re: [webartery] picture of Philadelpho Menezes > Jorge -- great, thank you -- if you will permit me, > I will find place for your infopoem at warnell.com. > > Ted > > >Ted, > > > > The same happened when I started creating infopoetry in a course at PUC > >(Pontifical Catholic University) with Prof. E. M. de Melo e Castro, a > >portuguese poet who is living in Brazil since 1996. > > I was divorced and my girl friend would like to see a infopoetry for > >her. And I created many. But I had not had the idea of using an eye, like > >you did. So I mixed some words, a kind of verse, and many images, and in her > >presence the poem came up. > > Well, it is necessary to say the course is a incentivation to create a > >poem by the use of Adobe Photoshop image editor and our point of view (and > >also under Melo e Castro's influences) of what could be a computer poem. > > One of the these infopoems, like Melo e Castro denominated, I am > >sending to you. > > Best regards. > > Jorge > > > > ========================================================================= Date: Wed, 13 Dec 2000 03:49:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE - Dialog of an Executioner no separa-tion at all, just an indentation. The Florida Supreme Court has:the card=97a cha d=97is hang-ing, say by two corners. In other cases th= ere is:Cite as: 531 U. S. ____ (2000) 7 Per Curiam them. In some cases a piece of:Supreme Court do not satisfy the minimum requirement for non-arbitrary:Supreme Court do not satisfy the minimum requirement for non-arbitrary Your his recount mechanisms implemented in response to the decisions of the Florida is across my lakes recount mechanisms implemented in response to the decisions of the Florida ideogrammar them. In some cases a piece of the card=97a chad=97is hang-ing,:r PeCurm:Ci= te as: 531 U. S. ____ (2000) 7:susceptible to much further refinement. In this instance,:decisions of the Florida Supreme Court do not satisfy the your protruding cases the general command to ascertain intent is not is in my giving recount mechanisms implemented in response to your dead passion seeps into their recount mechanisms implemented in response to the - turn- ing them violent executioner _ ========================================================================= Date: Wed, 13 Dec 2000 21:51:27 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: geraldine mckenzie Subject: Re: fiction Mime-Version: 1.0 Content-Type: text/plain; format=flowed >My problem is not individual successes or failures in the form; it is that >I >don't like fictional prose *as a literary mode*. In most novel-reading >experiences, I don't like the feeling that I feel like I'm playing pretend, >that I'm being set up: What you like or don't is, of course, a matter of taste and I'm not about to try and talk you out of it but, as a lover of novels from way back, I feel I should make a few points - on pretense - perhaps the problem is with narrative ? which also occurs in poetry and plays, so it hardly seems a point on which to only condemn the novel. As for the artifice of plot, surely it's a variable - an historical novel may be grounded on what are believed to be reliably recorded events - narratives employing what I'll loosely term a mythic structure operate in an area where distinctions between the made-up and the real are pretty irrelevant - realist novels can employ plots that are resolutely uncontrived - then there are those novels whose articiality is pure delight, evidence of imagination and craft well coupled - novels that eschew plot or anything but fragments of narrative and are as riveting in their use of language as anything most poets accomplish, I'm thinking of Ada, an old favourite, but even more of Iain Sinclair's great monstrosity (I hope there're a few Latin scholars out there) 'Downriver" which I've just recently read and hope to re-read. Then there's Beckett and now I'm wondering, not alone in this, how constructive (or deconstructive) is the distinction between novel and poetry - clearly there's something we can easily label a novel, just as there's something we can as easily label a poem but both tend to be the more timid examples of the species - I'm getting carried away now, sorry, it's the end of the year, 2 more days till the summer holidays - "any act which >leaves the attention outside the poem." I can't spend a lot of time >reading >something that isn't pretty like crystal in the very structure and shape of >its language, something that relies heavily on description of events and >characters without the tension of hard words. As the above (my reply) probably already indicates, I don't think this is an accurate 'description' of the novel but it's the quotation from Creeley (above) that's a fair account of many of the best novels (well, all, I guess) (I don't think the implied comparison between average to poor fiction with good to great poetry is helpful). The novel may do it (generally but not always)in different ways to poetry but the best (yes, I'm uncomfortable with that terminology too) compell attention in the most overwhelming manner. Nothing less than complete immersion. > Enough. Although there's more to be said. Geraldine > >- _____________________________________________________________________________________ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Tue, 12 Dec 2000 09:45:40 -0800 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 The First Annual Fence Modern Poets Series Prize $1,000 and publication by Fence Books for a full-length book of poems by a poet writing in English at any stage in his or her career Final judge: Allen Grossman http://www.fencemag.com for guidelines and entry forms or send an SASE to: Fence Modern Poets Series, 14 Fifth Avenue, #1A, NY NY 10011 Postmark Deadline: December 1-31, 2000 Note: There's a $20 fee to submit a mss., but you get a year's subscription to Fence, worth $20, so it's not too bad a deal. ========================================================================= Date: Thu, 14 Dec 2000 00:16:18 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: henry darger and A.B's Poems MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Aaron. I was just looking back thru emails and saw your link to the N.Y. Times about Henry Darger. I saw that also and sent it on to a friend. But I'd mised your poems. Just "ran thru" them. Interesting style - refreshing. Some clever writing there. Not too heavy. But I hope your sister really didnt get blown away! Regards, Richard Taylor ----- Original Message ----- From: "Aaron Belz" To: Sent: Wednesday, September 20, 2000 10:08 AM Subject: henry darger Here is the odd tale of the man whose work inspired Ashbery's _Girls on the Run_. I'm sure some of you have already seen this. Aaron Belz http://meaningless.com *** He Was Obsessed With Little Girls and Perhaps He Was a Genius. September 16, 2000 By SARAH BOXER He has inspired a book of poetry ("Girls on the Run" by John Ashbery), fashion designs (by Anna Sui), a British rock band (the Vivian Girls), a Hawaiian dance ("The Valley of Io"), a video game (Sissy Fight at www.sissyfight.com), an opera (being composed by Douglas Cuomo), a play ("Jennie Richee" by Mac Wellman, opening in February at the Museum of Contemporary Art in Chicago) and a movie prospect (now canceled). He has been compared to Lewis Carroll, Fra Angelico, Andy Warhol, Balthus and Dr. Seuss. The word "genius" has often been used near his name, but so, occasionally, have the words "mind of a serial killer." His work has been called part "Child's Garden of Verses," part "pedophilic fantasy." He drew tribes of little girls, and gave some of them little penises. Henry Darger (1892-1973) spent much of his life in Chicago rummaging through trash cans, going to Mass, writing about the weather and fighting with tangled balls of twine. When he died, he left an apartment filled with hundreds of old Pepto Bismol bottles; plastic maple syrup containers; balls of string; a windup Edison phonograph; a music box, and plaster figurines of Jesus and Mary. That was not all. "Where there was any wall space, and tacked around every door frame, were pictures of little girls that had been cut out of magazines, newspapers and coloring books," Michael Bonesteel writes in "Henry Darger: Art and Selected Writings," to be published by Rizzoli in November. There were pictures of the Dionne quintuplets, some 20 pictures of the Coppertone Girl and many pictures of Little Annie Roonie. Two trunks held a lifetime of writing: a 5,000-page, eight-volume work titled "The History of My Life," which included thousands of pages on a single tornado; a weather journal covering exactly 10 years, from Dec. 31, 1957, to Dec. 31, 1967; and a series of diaries detailing how many times he went to Mass and his many tantrums over twine. The biggest surprise was a creepy, obsessive 15,000- page manuscript typed in different colored inks. It was called "The Story of the Vivian Girls, in What Is Known as the Realms of the Unreal of the Glandico-Angelinian Wars, as Caused by the Child Slave Rebellion." And it had an 8,500-page sequel, "Further Adventures in Chicago." The Vivian girls Violet, Joice, Jennie, Catherine, Hettie, Daisy and Evangeline are the heroines of "The Realms." They unite with gentle, child-loving dragons called the Blengiglomenean Serpents (Blengins for short) in a four-year--seven-month war (fought sometime between 1910 and 1917 and roughly following the outlines of World War I) against the Glandelinians, a race of fallen Catholics who enslave and torture children. In the end, the girls prevail and so do the Catholic nations of Abbieannia, Angelinia, Abyssinkile, Protestentia and Calverinia, but not before many children are tortured and killed. If Darger had left only the text, he might be just another forgotten recluse. But he also made 300 illustrations everything from small watercolors to 12-foot-long mural-size scrolls, often painted on both sides. Darger crammed his huge, fantastical landscapes with baby-faced girls, some clothed in colorful dresses, bathing suits and pinafores, and others naked. He equipped certain girls with horns and others with penises; he showed some being disemboweled or strangled, tongues lolling out, and he drew others enjoying the sunshine, the butterflies and the huge flowers. The girls' eyes, as John MacGregor, a pre-eminent Darger scholar, has pointed out, shine in the dark because Darger filled them in with pencil lead. Darger had trouble drawing figures, so he traced or cut and pasted images taken from comics, children's books and magazines. If they weren't the right size, he had them enlarged at his local drugstore. The results were stunning. The Nation's critic Arthur Danto has called Darger "a genius of stammering achievement." Time magazine's critic Robert Hughes has toyed with the term "Poussin of pedophilia." Darger (pronouced DAHR-gurr) had a rotten childhood. When he was 4, his mother died while giving birth to his sister, who was put up for adoption. As a child, Darger was not fond of girls. He "threw ashes in one little girl's eyes and tried to slash another girl with a knife," Mr. Bonesteel writes. When he was 8, his father, a tailor, could no longer take care of him. Darger went to live in a Catholic mission. Apparently he was thrown out for masturbating. He was put in the Asylum for Feeble- Minded Children in Lincoln, Ill. There he became absorbed with religious rituals. He once wrote, "I burned holy pictures and hit the face of Christ in pictures with my fist." At 16 he ran away from the asylum. For the next half-century, Mr. Bonesteel tells us, Darger worked "as a janitor, dishwasher and bandage roller at three Chicago hospitals." He lived a life of magnificent confinement. The room he occupied had no kitchen or bathroom, and the great events of his life were meteorological. He went to Mass as many as four or five times a day. "He would rarely speak to anyone, but if spoken to would respond politely always about the weather," his landlord, Nathan Lerner, recalled in a written statement. "He was a remarkable mimic and sometimes there would be an animated quarrel going on between a deep gruff voice, which was supposed to be he, and a querulous high-pitched voice, which was supposed to be his superior, a nun." Kiyoko Lerner, the widow of Darger's landlord, remembered that Darger "would walk around the neighborhood picking through garbage string, magazines, newspapers, books, anything." He brought everything into his room and never took anything out. The room was packed floor to ceiling. A narrow pathway ran from the door to the desk, where Darger both worked and, it seems, slept. In 1972, old and crippled, Darger moved to a place he called Little Sisters of the Poor, a nursing home in Chicago. He died on April 13, 1973, and was given a pauper's burial at All Saints Cemetery in Des Plaines, Ill. Darger's real life, though, was with his Vivian girls. "The first indication that Darger had stepped across the line between reality and fantasy happened in the summer of 1912," Mr. Bonesteel writes in his book. "He dubbed the catalytic event `The Great Aronburg Mystery.' " Darger apparently lost a photograph he had cut from The Chicago Daily News of May 9, 1911, a picture of a murdered child named Elsie Paroubek. In "The Realms" she became the model for Annie Aronburg, a martyr who is slashed with a razor and strangled. While Darger was obsessed with children in general, he and his only friend, Whilliam Schloeder, formed a two-man club they called the Children's Protective Society, he was particularly taken with the photograph of Elsie. (Mr. MacGregor has suggested that Darger murdered her.) Darger bargained with God. "If the picture were not returned by a certain time, and he kept pushing the date farther and farther ahead, he would turn the tide of the war against the Christian nations," Mr. Bonesteel writes. God did not respond, and Darger started drawing little girls being massacred by the Glandelinians. At that point, the story became "a blood bath," as Stewart Lee Allen wrote in a review of a Darger show in The San Franciso Bay Guardian, quoting Darger's script: "Little girls, from the ages of 9, 8 and even younger, were tied down stark naked and a spade full of red-hot live coals laid on their bellies. Scores upon scores of poor children were cut to pieces, after being strangled to death. . . . Children were forced to swallow the sliced fragments of dead children's hearts. . . . Their protruding tongues were extracted." The killing did not stop until Col. Henry Darger joined forces with the Vivian girls. And then, Mr. Bonesteel says, the war quickly ended. Gen. John Manley, the chief villain of "The Realms," named for a bully from Darger's childhood, surrendered. Darger the artist was saved by one man: his landlord, Nathan Lerner, a photographer trained at the New Bauhaus in Chicago. If he had not intervened, the paintings and manuscripts would probably have been destroyed. "I told him to throw them away," says Mr. Lerner's widow, who owns the rights to Darger's work. Darger became a darling of outsider art. In 1977 his work was shown at the Hyde Park Art Center. Other shows followed, most of them put on by the Phyllis Kind Gallery, and most of them linking Darger with outsider art or Art Brut, a tradition of madness and creativity that went back to painters like Bosch, Bruegel, Goya and Géricault. But Darger's status really soared in 1997, when the Museum of American Folk Art in New York mounted a show put together at the University of Iowa by Stephen Prokopoff. Now the Art Brut Museum in Lausanne, Switzerland, owns more than 20 Dargers. Mr. Bonesteel is compiling a condensed version of "The Realms." There is talk of a Darger study center in New York that would include his writings. And the Intuit Gallery in Chicago is working on a reconstruction of Darger's room. Jane Kallir, the director of the Galerie St. tienne in Manhattan, says, "You can get a very good Darger for $75,000 to $80,000." How did this happen? "It is the quality, the magnitude, the crowded cluttered composition, the unfathomability" of the work, Brooke Anderson, the director and curator of the Contemporary Center at the Museum of American Folk Art, says. And of course, she adds, there is "the secrecy, the privacy." Ms. Lerner says "the size is one thing" that draws people to the paintings, but it is also that they are "so raw." There is "no hypocrisy" in them, she says. He was not thinking of an audience. Or was he? Darger, Mr. Bonesteel suggests, may actually have anticipated an audience when Annie Aronburg, his character, says "she will have all the battle manuscripts `published as soon as I can, so the world shall know.' " Darger noted in his 15,000-page novel that "editors of great experience will in due time be allowed to go over the whole work most carefully." Some people think that Darger even anticipated other artists. His "use of cut-outs from magazines, comic strips and coloring books prefigures the same kind of appropriations by Andy Warhol and Roy Lichtenstein," Mr. Bonesteel observes. And Ms. Kallir says: "Darger was an unwitting postmodernist, though he couldn't have conceived what that was. He saw behind the facade of mid-century prosperity and propriety. He deconstructed those cutesy images and saw the sexuality and truth behind them." When Darger was a boy, his nickname was Crazy. These days he is embraced with the term outsider. His tombstone offers another alternative: "Henry Darger, 1892- 1973, Artist, Protector of Children." The New York Times on the Web http://www.nytimes.com Copyright 2000 The New York Times Company ========================================================================= Date: Tue, 12 Dec 2000 13:05:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Organization: Boog Literature Subject: Boog Chanukah Fundraiser for the Homeless Comments: To: to post subsubpoetics MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Boog Chanukah Fundraiser for the Homeless Come light the menorah, play dreidel, and hear 14 Jewish poets read their own work and tell the story of Chanukah. All proceeds from sales of our new instantzine, Booglite: Chanukah 2000, and Long Shot's classic "Its the Jews" issue, as well as the door, go to help provide Shabbat meals to homeless and low-income Jewish families. Please also bring a new, wrapped gift to be distributed to a local shelter. Thursday December 21, 8pm sharp C-Note, 157 Avenue C (and 10th Street) NYC Featuring performances by Brenda Bordofsky, Steve Dalachinsky, Rob Fitterman, Joanna Fuhrman, Nada Gordon, Bob Holman, Adeena Karasick, Elinor Nauen, Bob Rosenthal, Danny Shot, Herschel Silverman, Jessica Stein, Karen Weiser, and Ian Wilder. For further info: 212-206-8899, booglit@theeastvillageeye.com. Hosted by Boog editor David A. Kirschenbaum. $5. All proceeds benefit Shabbat ORE, a Shabbat program of Project ORE, which provides meals to low-income and homeless Jews through the Sol Goldman YM/YWHA of the Educational Alliance. Thanks to Town and Village Synagogue and Rabbi Abby Sosland. Anyone who wants to contribute any publications or recordings for sale with all $ going to feed these families, let me know (or just bring them to the gig) and thanks in advance. If you are outside of the NY metropolitan area, you are receiving this with the hopes that you will order a copy (or copies) of Booglite: Chanukah 2000--featuring work by the performers--with all proceeds going to Shabbat ORE. Send $5ppd/per issue ordered, make checks payable to Town and Village Synagogue, and mail to: Booglit 351 W.24th St., Suite 19E NY, NY 10011-1510 Attn: Booglite: Chanukah 2000 Apologies for cross posting. Who's Who: Highwire co-curator Greg Fuch's says "Brenda Bordofsky will chill you the %^&*-out with her amazingly hypnotic poems about the body. She just started her first year as a public high school teacher in Brooklyn." My google search revealed that she ran the Big Sur Marathon in April 1999 and has had work in The germ. Poet Steve Dalachinsky has collaborated with a host of musical talents, among them Vernon Reid (Living Colour) and Thurston Moore (Sonic Youth). He has performed at numerous events and conferences, including Lowell Celebrates Kerouac, NYU Beat Generation Conference, and The New York City Underground Music and Poetry Festival. Hozomeen Press is currently publishing his selected poems. Rob Fitterman is the author of Leases (Periphery Press 1986), Among The Cynics (Singing Horse Press 1988) and Ameresque (1996). He is also the author of an ongoing, open-ended poem titled Metropolis. Book 1 of Metropolis 1-15 is forthcoming with Sun & Moon Press. Edge Books recently published Metropolis 16-20. He is the editor/publisher of Object magazine and Object Editions/poetscoop. He is from St. Louis, and has lived in NYC since 1981. Joanna Fuhrman's first book Freud in Brooklyn was published by Hanging Loose this year. Her poems have appeared in Fence, 6500, and other journals. Nada Gordon, born in Oakland, lived in Tokyo for 11 years, and now lives in Brooklyn. Current major interest: "the carnivalisque." Forthcoming: Foreign Bodie (Detour) and Are Not Our Lowing Heifers Sleeker than Night-Swollen Mushrooms? (Spuyten Duyvil). Bob Holman is a poet (7 books, 2 anthologies edited, 1 CD) and performer. He was a founding co-director for the revitalized Nuyorican Poets Cafe from 1989-1996, where he popularized the poetry slams and created a touring company of poets. In 1996, he co-founded Mouth Almighty/Mercury Records, the world's only poetry CD label with major distribution. A pioneer in the collaboration of poetry and television--his first poetry video, "sweat'n'sex'n'politics" was introduced by Lou Reed at The Public Theater in 1985--since 1991, he has worked with Josh Blum to produce the breakthrough PBS poetry video programs, Words in Your Face and The United States of Poetry. In 1998, he was appointed Visiting Professor in Writing at Bard College, where he teaches "Exploding Text: Poetry in Performance." Originally from Canada, Adeena Karasick is the author of four books of poetry and poetic theory, Dyssemia Sleaze (Talonbooks, 2000), Genrecide (Talonbooks, 1996), Mêmewars (Talonbooks, 1994), The Empress Has No Closure (Talonbooks, 1992), and writer/director/producer of two videopoems. Her new book, The Arugula Fugues is forthcoming from Zasterle Press, 2001. Adeena lives, writes and teaches in New York City. Elinor Nauen, who hails from Sioux Falls, South Dakota, has lived in New York since the late ’70s. Recent books: Ladies, Start Your Engines and American Guys, both from Hanging Loose. Poet and writer Bob Rosenthal was Allen Ginsberg's secretary for 20 years and is currently writing his account of the experience. Dan Shot is the publisher of Long Shot, a themed literary journal out of northern New Jersey, where he lives with his family. His poetry appeared in Aloud: Voices from the Nuyorican Poet’s Cafe, and his collected poetry is scheduled for publication next year. If you went to high school in Bayonne, New Jersey, from 1952 to 1986, chances are you hung out at Herschel's Beehive Candy Store. And chances are the proprietor, Herschel Silverman, was sponsoring your sports team while he encouraged you to excel. But perhaps you might not have known that "the candystore emperor of Bayonne" (as in a poem by Allen Ginsberg) was also a jazz poet of considerable renown. He has published hundreds of poems in literary journals including Long Shot, Alpha Beat (Canada), Journal of New Jersey Poets 20th Anniversary Issue, and Kerouac Connection, and was the editor of Beehive Magazine of Contemporary Poetry (New Jersey). He has 20 collections of poetry. I first saw Jessica Stein read poetry in Albany, NY when she was 13 years old. I saw her read there again last month, now 20something, and recently graduated from NYU. She lives in Brooklyn. Karen Weiser lives and writes in New York City. She is the editor of Hophophop Press. She is the co-author of a collaborative chapbook Beneath the Bright Discus (Potes & Poets). Recent poems have appeared in Lungfull!, The germ, and The Hat. Ian Wilder has four chapbooks and performs his poetry with the bands Nylon & Steel and SpiritWalkers. ========================================================================= Date: Wed, 13 Dec 2000 10:40:49 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: fiction In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >There is no difference between poetry and prose. s/ty -- --------------------------------------------------------------------------- Judy Roitman | " cats Math Dept., University of Kansas | as much as horses Lawrence, KS 66045 | on the night stairs" 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Wed, 13 Dec 2000 12:16:07 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: GHWB: alleged chicken hawk In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ron: "what they say about that whole side of the family is far worse than anything anyone has posted here, or is likely to" Like, that HW allegedly has a taste for 12 year old boys, a nasty nocturnal leftover from his Andover days, and that he does some serious covert work on satisfying those tastes? it certainly helps to have a man in power who has a certain weakness...it could make him very controllable, just as it could make him very controlling. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Ron Silliman Sent: Wednesday, December 13, 2000 11:37 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Dillonesque Richard, Actually, it was Mr Baker I was thinking off when I used the term thug, tho Mr Cheney comes equally to mind. I haven't figured out what to make of Mrs Rice -- she has that "deer caught in the headlights" look every time I see her on the news, a feature she shares with George W. Speaking of whom (W, that is), I do have some friends who are members of the Bush clan & what they say about that whole side of the family is far worse than anything anyone has posted here, or is likely to. Ron One more thing. The continued attacks on Conservative persons and institutions by members of this community, as if it were mere sport, divides and alienates, it rivens society and poisons the common spring of language. It is a bullying behavior because it does not permit a comeback from the other quarter. Your wits drive full blast down one way streets and run over pop up targets again and again. The use of "thugs" to describe people like Mrs. Rice, a professor at Stanford, is simply shameless. Shame on you, Ron Silliman. You really don't know the quality of person you insult. Shame. >From: Ron Silliman >Reply-To: UB Poetics discussion group >Date: Mon, 4 Dec 2000 13:26:45 -0500> To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: The perfect description> >Jon Carroll, in today's SF Chronicle, notes that all of W's folks are his >daddy's thugs from the 88-92 regime and coins the perfect description of >his >shrubness:>> "sock-puppet elect">>> Ron ____________________________________________________________________________ _________ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Wed, 13 Dec 2000 04:29:40 +0000 Reply-To: anielsen@lmu.edu Sender: UB Poetics discussion group From: anielsen@LMU.EDU Subject: la loota continua MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII 12/12/00 -- A.P. [aldon's press] reports: U.S. Supreme Court Declares "Let The Looting Begin" "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, 16 Dec 2000 09:41:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Loss =?iso-8859-1?Q?Peque=F1o?= Glazier Subject: "World-Wide Poetry on the Web" @ MLA Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable To the Poetics List: For those going to MLA, I want to invite you to the panel "World-Wide Poetry on the Web" and to announce that the Web page for the panel is now complete and available at: http://epc.buffalo.edu/conferences/00/mla/ The panel features Al Filreis, Josephine A. McQuail, and Martin Spinelli; I am the panel moderator. The panel takes place Friday, December 29, 10:15 to 11:30am, Maryland Suite B, Marriott Wardman Park. I particularly hope, if you are planning to attend, that you have a look at the Web page, read the abstracts, and come charged with questions, insights, and reflections on this timely topic. Hope to see you there! Loss Peque=F1o Glazier --------------------------------------------------------------------------- E-Poetry 2001 Festival (http://epc.buffalo.edu/e-poetry/2001/) Electronic Poetry Center (http://epc.buffalo.edu/) --------------------------------------------------------------------------- ========================================================================= Date: Wed, 13 Dec 2000 12:21:33 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: Federal Support for Public Broadcasting In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit uh, this is one of the oldest web hoaxes going. i assure you ms. tottenberg said nothing of the sort last week. http://w3.gwis.com/~jrich92/NPR.htm Patrick Herron -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Broder, Michael Sent: Friday, December 08, 2000 11:04 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Federal Support for Public Broadcasting Sent: Thursday, December 07, 2000 3:29 PM Subject: Save NPR! On NPR's Morning Edition last week, Nina Tottenberg said that if the Supreme Court supports Congress, it is in effect the end of the National Publio Radio (NPR), NEA & the Public Broadcasting System(PBS). PBS, NPR and the arts are facing major cutbacks in funding. In spite of the efforts of each station to reduce spending costs and stream line their services, some government officials believe that the funding currently going to these programs is too large a portion of funding for something which is seen as not worthwhile. The only way that our representatives can be aware of the base of support for PBS and funding for these types of programs is by making our voices heard. Please add your name to this list and forward it to friends who believe in what this stands for. This list will be forwarded to the President and the Vice President of the United States. This petition is being passed around the Internet. Please add your name to it so that funding can be maintained for NPR, PBS, & the NEA. HOW TO SIGN & FORWARD: IT'S EASY: Please keep this petition rolling. Do not reply to me. Please sign and forward to others to sign. If you prefer not to sign, please send to the E-mail address indicated below. DON'T WORRY ABOUT DUPLICATES. This is being forwarded to several people at once to add their names to the petition. It won't matter if many people receive the same list as the names are being managed. This is for anyone who thinks NPR/PBS is a worthwhile expenditure of $1.12/year of their taxes. If you sign, please forward on to others. If not, please don't kill it send it to the Email address listed here: <> <> ****If you happen to be the 150th, 200th, 250th, etc., signer of this petition, please forward a copy to: wein2688@blue.univnorthco.edu This way we can keep track of the lists and organize them. Forward this to everyone you know, and help us to keep these programs alive. Thank you! NOTE: It is preferable that you SELECT (highlight) the entirety of this letter and then COPY it into a new outgoing message, rather than simply forwarding it. In your new outgoing message, add your name to the bottom of the list, then send it on. 901) Jack Nunberg, Missoula, MT 59802 902) Meg Trahey, Missoula, MT 59802 903) Lishan Su, Chaple Hill, NC 27516 904) Yan Li, Chapel Hill, NC 27516 905) Tian Xu, New Haven, CT 06510 906) Peter Tattersall, New Haven, CT 06510 907) Ian Maxwell, Denver, CO 80207 908) Dusty Miller, Seattle, WA 98105 909) Sandy Haight, Seattle, WA 98112 910) Kaaren Janssen, Guilford, CT 06437 911) Ira Mellman, Guilford, CT 06437 912) Michael Bobker, Brooklyn, NY 11238 913) Marta Panero, Brookly, NY 11238 914) Guido De Marco, Brooklyn, NY 11201 915) Josh Bivens, Brooklyn, NY 11205 916) George S. Chase IV, New York, NY 10009 917) Nina Morrison, New York, NY 10028 918) Joe Schiappa, Huntington, CT 06484 919) Chase Carter, Santa Monica CA 90404 920) Erin Lander, West Hollywood, CA 90069 921) Chris Morgan, Los Angeles, CA 90036 922) Shannon Hall, Los Angeles, CA 90036 923) Kyle Ham, Santa Monica, CA 90402 924) Pamela Griner, Los Angeles, CA 90004' 925) Ryan Murphy, Windsor, CO 80550 926) Jill Montera, Denver, CO 80211 927) Tom Mates, Lakewood CO 80226 928) Janet Larsen, Loveland CO 80538 929) Eric Bergersen, Fort Collins, CO 80526 930) Ninette Bergersen, Fort Collins, CO 80526 931) Kyle Bergersen, Culver City, CA 90232 932) Elizabeth Wheat, Culver City, CA 90232 934) Michelle Bagnato, Seattle, WA 98117 935) Lisa Ferlic, Seattle, WA 98103 936)Susan Winner, WA 98648 937) Bonnie Van Sciver-Steele, Annapolis MD 21401 938) Sue duPont, Annapolis MD 21403 939) Dorcas Coleman, Chestertown MD 21620 940) Margaret Fallaw, Chestertown, MD 21620 941) Ann Hennessy, Rock Hall, MD 943) Alan Ranzer, Washington, DC 20008 944) Janine Johnston, Washington, DC 20016 945) Pamela Johnston, Junction City CA 96048 946) Andrew Johnston, Junction City CA 96048 947) Chelle Thompson, Santa Fe, NM 87505 948) Bruce Thompson, Santa Fe, NM 87505 949 Denys Cope, Santa Fe, NM 87505 950) Sharon DeCarlo, Shreveport, LA 71105 951) Becky Cox White, Chico, CA 95929 952) Jack Patrick Rawlins, Chico, CA 95973 953) Gregory Lavin, Chico, CA 95926 954) David & Cheri Longaker, Chico, CA 95926 955)Maureen & John Culver, Eagle Rock, CA 90041 956) Victoria & Getachew Kassa, Los Angeles, CA 90042 957) Al and Jenny Friedman, Los Angeles, CA 90069 958) Vida Bendix, NY 10017 959) Lenny Hirschfield, NY 10017 960)Stanley Solson, NY 10019 961) Belinda Botha, TX 75215 962) Bashar Azzouz, NY 10014 963) Michèle Eisenberg, CA 94115 964) Dave Dresden, CA 94114 965) Rob Smith, CA 94114 966) Kimberly Svevo, IL 60510 967) Bonnie Koenig, IL 60643 968) Lew & Julie Stone, NJ 07960 969) Suzanne Klar, NJ 07039 970) Marc Brummer, NJ 07039 971) Susan Hurowitz, NY 11230 972) Tom Anderson, NY 11226 973) Stacy West, FL 33143 974) Elizabeth Marsh, FL 33186 975) N. San Martin, FL 33133 976) Adam M. Geary, DC 20008 977) Marisa Robertson-Textor, NY 11238 978) Anna Paretskaya, NY 10025 979) Vesna Neskow, NY 10023 980) Martha Rhodes , NY 10013 981) Michael Broder, NY 10019 ========================================================================= Date: Wed, 13 Dec 2000 09:37:09 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: MAXINE CHERNOFF Subject: Re: Dillonesque Comments: To: Ron Silliman In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I happily and openly declare myself unashamed to call the sock-puppet elect and his thugs thugs, Ms. Rice included. What kind of message is it to women and minorities that George W can be president but not the smartest woman or minority candidate in all the land? Affirmative action for duller sons of dull Ivy League dads, no? Maxine Chernoff On Wed, 13 Dec 2000, Ron Silliman wrote: > Richard, > > Actually, it was Mr Baker I was thinking off when I used the term thug, tho > Mr Cheney comes equally to mind. I haven't figured out what to make of Mrs > Rice -- she has that "deer caught in the headlights" look every time I see > her on the news, a feature she shares with George W. > > Speaking of whom (W, that is), I do have some friends who are members of the > Bush clan & what they say about that whole side of the family is far worse > than anything anyone has posted here, or is likely to. > > Ron > > > One more thing. > The continued attacks on Conservative persons and institutions by members of > this community, as if it were mere sport, divides and alienates, it rivens > society and poisons the common spring of language. It is a bullying > behavior because it does not permit a comeback from the other quarter. Your > wits drive full blast down one way streets and run over pop up targets again > and again. The use of "thugs" to describe people like Mrs. Rice, a > professor at Stanford, is simply shameless. Shame on you, Ron Silliman. > You really don't know the quality of person you insult. Shame. > >From: Ron Silliman > >Reply-To: UB Poetics discussion group > >Date: Mon, 4 Dec 2000 13:26:45 -0500> To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >Subject: The perfect description> > >Jon Carroll, in today's SF Chronicle, notes that all of W's folks are his > >daddy's thugs from the 88-92 regime and coins the perfect description of > >his > >shrubness:>> "sock-puppet elect">>> Ron > _____________________________________________________________________________________ > Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com > ========================================================================= Date: Wed, 13 Dec 2000 14:36:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: fiction Comments: To: Austinwja@AOL.COM MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Hi Bill, I am finishing up in Brit Lit and I have the best quote for you from DEFENCE OF POETRY. PART FIRST. by Percy Bysshe Shelley. I hope this helps. Best, Geoffrey ¶9 §59 A Poem is the very image of life expressed in its eternal truth. §60 There is this difference between a story and a poem, that a story is a catalogue of detached facts, which have no other bond of connexion than time, place, circumstance, cause and effect; the other is the creation of actions according to the unchangeable forms of human nature, as existing in the mind of the creator, which is itself the image of all other minds. §61 The one is partial, and applies only to a definite period of time, and a certain combination of events which can never again recur; the other is universal and contains within itself the germ of a relation to whatever motives or actions have place in the possible varieties of {{Sig. 4r}} human nature. §62 Time, which destroys the beauty and the use of the story of particular facts, stript of the poetry which should invest them, augments that of Poetry and forever developes new and wonderful applications of the eternal truth which it contains. §63 Hence epitomes have been called the moths of just history; they eat out the poetry of it. §64 A story of particular facts is as a mirror which obscures and distorts that which should be beautiful: Poetry is a mirror which makes beautiful that which is distorted. ¶10 §65 The parts of a composition may be poetical, without the composition as a whole being a poem. §66 A single sentence may be considered as a whole though it may be found in the midst of a series of unassimilated portions; a single word even may be a spark of inextinguishable thought. §67 And thus all the great historians, Herodotus, Plutarch, Livy, were poets; and although the plan of these writers, especially that of Livy, constrained them from developing this faculty in its highest degree they make copious and ample amends for their subjection, by filling all the interstices of their subjects with living images. ----- Original Message ----- From: To: Sent: Thursday, December 07, 2000 10:15 PM Subject: Re: fiction > << Can anyone help me prove that poetry is better than fiction? I need some > >quotes from famous people or something. > > >> > > > > P f O i E c T R i Y o n > > Best, Bill ========================================================================= Date: Wed, 13 Dec 2000 15:25:34 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: Federal Support for Public Broadcasting In-Reply-To: <1750032138.976707608@ubppp234-37.dialin.buffalo.edu> MIME-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The "Save the NEA/NPR/PBS" e-petition circulated to this discussion group by Michael Broder is a HOAX. Please do every god-fearing internet user a favor and do not forward it. Reference it here: http://www.snopes.com/inboxer/petition/nea.htm Or read below.... *********** Save the NEA! Claim: The NEA, NPR, PBS, and Sesame Street are in danger of extinction due to government cutbacks in funding for the arts. Status: False. *********** Example: [Collected on the Internet, 1995] SAVE SESAME STREET! This is a petition to save Sesame Street. ALL YOU DO IS ADD YOUR NAME TO THE LIST AT THE BOTTOM, then forward it to everyone you know. The only time you send it to the included address is if you are the 50th, 100th, etc. Send it on to everyone you know. PBS, NPR (National Public Radio), and the arts are facing major cutbacks in funding. In spite of the efforts of each station to reduce spending costs and streamline their services, the government officials believe that the funding currently going to these programs is too large a portion of funding for something which is seen as "unworthwhile." Currently, taxes from the general public for PBS equal $1.12 per person per year, and the National Endowment for the Arts equals $.64 a year in total. A January 1995 CNN/USA Today/Gallup poll indicated that 76% of Americans wish to keep funding for PBS, third only to national defense and law enforcement as the most valuable programs for federal funding. Each year, the Senate and House Appropriations commitees each have 13 subcommitees with jurisdiction over many programs and agencies. Each subcommitee passes its own appropriation bill. The goal each year is to have each bill signed by the beginning of the fiscal year, which is October 1. In the instance of the Corporation of Public Broadcasting, the bill determines the funding for the next three years. When this issue comes up in 1996, the funding will be determined for fiscal years 1996-1998. The only way that our representatives can be aware of the base of support or PBS and funding for these types of programs is by making our voices heard. Please add your name to this list if you believe in what we stand for. This list will be forwarded to the President of the United States, the Vice President of the United States, the House of Representatives and Congress. If you happen to be the 50th, 100th, 150th, etc. signer of this petition, please forward to: . This way we can keep track of the lists and organize them. Forward this to everyone you know, and help us to keep these programs alive. Thank you. *********** Origins: In 1995 a student at the University of Northern Colorado was writing a paper for a class about the downfall of culture in our society. During the course of her research, she discovered the proposed congressional spending cuts to PBS's budget. Being young and idealistic, she decided to do something about it. She enlisted the help of another student, and the two of them drafted the petition that was to haunt the Internet for years to come. The original contained no reference to Sesame Street -- that part was added shortly after the petition began to circulate, likely by a well-meaning supporter who thought suggesting that Sesame Street was in danger would garner additional sympathy for the cause. And it did. Couched in terms of "Save Sesame Street!," this petition decrying proposed government cuts to the 1996 public television budget began circulating on the Internet in the spring of 1995. (The ways of the Internet being what they are, it continues to circulate even though the "crisis" has long passed. Scarelore rarely comes with expiration dates.) The response it raised was breathtaking. The two college students who'd dreamed it up were almost immediately swamped with 2,000 incoming e-mails a day. Attempting to compile petition lists to forward to the government quickly became a Herculean task. Stopping what they'd set in motion proved every bit as impossible as keeping track of the incoming mail. After the congressional budget was announced (and arts funding wasn't slaughtered as badly as had been anticipated), they sent out a follow-up e-mail telling people the danger was over, to quit circulating the petition, and to tell others who were still circulating it to stop. To no avail though -- that petition continues to make the rounds even to this day. Though it's true the 104th Congress did cut the 1996 public television budget to $260 million, Sesame Street was never in danger of being axed. The Sesame Street name was invoked solely to anger people enough to get them involved in the protest over public television cuts, not because the show itself was at risk. As such, the ranks of those fighting the cuts were seeded by those duped into believing a personally-cherished icon of childhood was going down. In addition to Sesame Street's huge popularity (a factor that makes it highly unlikely the show will ever be tampered with), merchandising from the show and its characters fetches an astronomical sum each year. (One estimate I've seen places annual revenues at $800 million.) If ever there were a public television program in no danger from having its funding cut, it's Sesame Street. All that aside, the petition attracted a enormous amount of attention as concerned citizens everywhere rallied to defend the one show everyone agreed should never be taken off the air. Sesame Street is instructive and charming, but it's something more as well: a revered part of our culture. We grew up with it. Our kids grew up with it. And Big Bird and Oscar are part of all that's right in our world. PBS was neither the force behind this misleading e-mail petition, nor did they support it. The following is taken from the standard e-mail response sent out by PBS Viewer Services regarding this petition rumor: In the last several months, there has been a campaign on the Internet that incorrectly alleges that SESAME STREET is in jeopardy of being taken off the air. The "Save Sesame Street" campaign is unfounded and we at PBS and Children's Television Workshop (CTW), the producers of SESAME STREET, would like to tell you that Sesame Street is alive and well! In fact, SESAME STREET launched its 28th Season on November 18, 1996 with special guest ER's Noah Wyle. In addition to launching a new season, SESAME STREET is busy preparing for their 30th anniversary celebration which is just around the corner (fall 1998). We can assure you that there is no PBS sanctioned petition. Please disregard any you come across. Like all good bad pieces of misinformative netsam, this one keeps going and going. In early 1997 all references to Sesame Street were stripped out of this message, and it began causing consternation all over again as it made another round of the Internet. Then yet another version sprang up in early 1999: This message is long but important. On Thursday January 6th's NPR Morning Edition, Nina Totenberg reported that if the Supreme Court supports Congress to cut the budget of the National Endowment of the Arts, it is in effect the end of NEA. This situation creates great concerns about Congressional funding for creative arts in America, since NEA provides major support for NPR (National Public Radio), PBS (Public Broadcasting System), and numerous other creative and performing arts. If NEA is lost or weakened, our lives will be similarly diminished. In spite of the efforts of each station to reduce spending costs and streamline their services, some government officials believe that the funding currently going to these programs is too large a portion of funding for something which is seen as not worthwhile. Currently, taxes from the general public for PBS equal $1.12 per person per year, and the National Endowment for the Arts equals $.64 a year. A January 1995 CNN/USA Today/Gallup poll indicated that 76% of Americans wish to keep funding for PBS, third only to national defense and law enforcement as the most valuable programs for federal funding. Each year the Senate and House Appropriations committees each have 13 subcommittees with jurisdiction over many programs and agencies. Each subcommittee passes its own appropriation bill. The goal each year is to have each bill signed by the beginning of the fiscal year, which is October 1. The only way that our representatives can be aware of the base of support for PBS and funding for these types of programs is by our making our voices heard. Please add your name to this list and forward it to friends who believe in favor of what this stands for. The full list will be forwarded to the President of the United States, the Vice President, and the Speaker of the House, whose office has in the past been the instigator of the action to cut funding to these worthwhile programs. This petition is being passed around the Internet. Please add your name to it so funding can be maintained for the NEA, NPR, and PBS. THIS IS OUR CHANCE TO MAKE INTERNET TECHNOLOGY WORK AS A VOICE IN OUR DEMOCRATIC SYSTEM. IT'S EASIER THAN EVER TO MAKE OUR VOICES HEARD. Please keep the petition rolling. Do not reply to me. Add your name and locale to the list and forward it to others to sign. If you prefer not to sign, please send the list to the email address given below. This is being forwarded to numerous people at once. It won't matter if many people receive the same list as the names are being managed. This is for anyone who thinks NPR and PBS deserve $1.12/year of their taxes. If you sign, please forward the list to others. If not, please don't kill it. **** If you happen to be the 150th, 200th, 250th, tc., signer of this petition, please forward a copy to: . This way we can keep track of the lists and organize them. Forward this to everyone you know and help keep these programs alive **** Thank you. (NOTE: It is preferable you SELECT the entirety of this letter and COPY it into a NEW outgoing message, rather than simply forwarding it.) In your new outgoing message add your name to the bottom of the list, then send it on. Or, if the option is available, do a SEND AGAIN. Why anyone would re-invent the petition in 1997 and again in 1999 to fight something that was a done deal by mid-1996 is beyond me. "IT'S EASIER THAN EVER TO MAKE OUR VOICES HEARD" indeed -- unfortunately, this holds true when even we're shouting about an issue that had a stake driven through its heart several years ago. Barbara "herded through the grapevine" Mikkelson Additional information: PBS and NPR petition (Univ. of Northern Colorado) Last updated: 29 January 2000 ========================================================================= Date: Wed, 13 Dec 2000 15:30:01 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: PRYDXL MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit I AM SEEKING THE MOST POSSIBLE DIFFERENT DEFINITIONS FOR THE WORD : prydxl 1. any unknown Mayan alchemical compound [MA] 2. contradictions which only "seem" paradoxical [MA] 3. martianspeak as received by Jack Spicer 4. the ability to forget one's own phone number in a crisis [MA] 5. a web anthology of text, poems, music which which which contain little if any recognizable English. please send your submissions to Miekal And at dtv@mwt.net no deadline. what do words want? 6. a detachment disability triggered by repeated leverage buy-outs. [SK] 7. (n) in Goidelic mythology the son of Bubo and Psalter. Leprechauns kidnapped him at birth. [SK] 8. (n) one hundredth part of the Senate of Ninevah. [SK] 9. (n) an experimental fuel for disposable butane lighters. to date, it does not mix very well with methane series having two isomeric forms; however, scientists at genome labs inc., washington d.c., in a recent Scientific Journal article stated, "the mistakes were inherently isomeric. isomorphic experiments on mice look more promising, with less spelling errors, and we are all fired up by the initial results." [SK] 10. someone who has an obsessive-compulsive snooping disorder. [SK] 11. dogmatic assertion of the order of time or importance; usually referring to someone who says, "I was here first!" [SK] 12. a factory where pixels are produced. 13. juvenile pterodactyl, faux fawn wanna be, fain, as signet is to swan [GR] 14. sap extracted from the cones of indigenous pine trees; used as a preservative in eggnog. [SK] 15. a parody in essay form; used with 'of', the students were each asked to write a prydxl of War and Peace for the final examination. [SK] 16. party game using ten digits or fingers. [SK] 17. (archaic) ancient Portuguese monetary unit. [SK] 18. uncertain outcome; when one hedges one's bets, refuses to predict or to take one side v. the other, one will issue a prydxl instead, thereby playing it safe; used mostly in legal briefs. [SK] _________________________________________________________ [MA] = mIEKAL aND [SK] = Susan Katz [GR] = Graymatter ========================================================================= Date: Wed, 13 Dec 2000 17:25:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Announcements Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable TONIGHT, Wednesday, December 13th at 8 pm MICHAEL LALLY AND MAGGIE DUBRIS Michael Lally=B9s collection of poetry, Can=B9t Be Wrong, received the 1997 Oakland PEN Josephine Miles Award for Excellence in Literature. He received the National Endowment for the Arts Poetry Awards in 1974 and 1981. Additionally, he=B9s acted in movies and on TV in shows like JAG and NYPD Blue, and contributed to the screenplays of Drugstore Cowboy and Pump Up th= e Volume. Maggie Dubris is a poet and guitarist/songwriter for the New York City-based rock band Homer Erotic. In WillieWorld, a book-length prose poem drawn from her experiences as a 911 paramedic, there are both graphic descriptions of the horrors she witnessed and lyrical expressions of the ensuing emotions: "The rain falls into a tired sea. How many children does = / the sandman need? / All I wanted to do was race through this life. Soot fro= m the factories / sifts through the air where we stand. And you catch / what you catch as / moss grows on the stones of the damned." Friday, December 15th at 10:30 pm DECORATED VETERAN POETS PICK POTENTIAL STARS OF THE XXI CENTURY: THE LONG SHOT READING In the latest issue of Long Shot, established poets introduce newer poets who are the next rising stars of the poetry world. Contributors reading at this event are: Pedro Pietri/Rodrigo Ortiz III, keith roach/felice bell, Daisy Fried, Kathe Izzo, Steve Cannon/Patrick Kosiewicz, Bob Holman/Laurel Barclay/John Rodriguez. At the reading, like in the magazine, the veterans will introduce the up-and-coming. No reading on Monday, December 18th. Tuesday, December 19th at 7 pm THE POET IN THE WORLD: A WRITING WORKSHOP TAUGHT BY RAY (See bio for his December 20th reading.) Through discussion and writing assignments, this workshop will explore ways in which poets make a difference in the world. Ideas for literary events, publications, and commo= n projects will be discussed. This workshop has been made possible by a generous grant from the Jerome Foundation. Admission to the workshop is $7, $4 for students and seniors, and $3 for Poetry Project members. Our last reading in 2000=8A Wednesday, December 20th at 8 pm RAY GONZALEZ AND MARK NOWAK Poet, essayist, and editor Ray Gonzalez is the author of the recently published Turtle Pictures (The University of Arizona Press), as well as the memoir Memory Fever (The University of Arizona Press) and five books of poetry. He is the author of twelve anthologies and is the recipient of many distinguished awards. Mark Nowak=B9s first collection of poetry, Revenants (Coffee House Press, 2000) explores the Polish American neighborhoods in an= d around Buffalo, New York, finding collective truths in the particularity of a unique culture. Mr. Nowak is the co-editor, with Diane Glancy, of the anthology Visit Teepee Town: Native Writings After the Detours. His poems have been anthologized in An Anthology of New (American) Poets and Children of the Cold War: A Scrapbook. And be sure to save the date=8A Monday, January 1, 2001, 2 pm to midnight THE NEW YEAR=B9S DAY 2001 MARATHON READING What better way to spend the first day of the new year than with readings, performances, dances, and music from the very best of downtown New York City=B9s innovative poets, writers, essayists, spoken-word artists, slam champions, multimedia artists, dancers, and musicians? Among the confirmed participants are Patti Smith, John Cale, Jim Carroll, Eric Bogosian, Penny Arcade, Lenny Kaye, Douglas Dunn, John Giorno, Dael Orlandersmith, Nick Zedd, Peter Straub, Eileen Myles, & many more! Tickets are available at the door from $15, $12 for Poetry Project members, students and seniors. Seatin= g is on a first-come first-served basis. Refreshments will be available. Unless otherwise noted, admission to all events is $7, $4 for students and seniors, and $3 for Poetry Project members. Schedule is subject to change. The Poetry Project is located in St. Mark's Church at the corner of 2nd Avenue and 10th Street in Manhattan. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information or visit our Web site at http://www.poetryproject.com. * * * ANNOUNCEMENTS Consider ONCE AGAIN taking advantage of the wonderful VOLUNTEER OPPORTUNITIES at the Poetry Project=B9s 27th Annual New Year=B9s Day Marathon Reading! We need help throughout the day, starting at noon and going straight through to midnight=8Band beyond! Please email us with your phone number and we=B9ll get in touch to schedule you in. It=B9s a great way to meet other poets and writers! This is our biggest benefit of the year. Without the money we raise at New Year=B9s, the Poetry Project=B9s programming wouldn=B9t be possible. And WE NEED YOU to make it happen. * * * =20 THE NEWSLETTER EDITOR is looking for people to email The Poetry Project their FAVORITE COUPLETS=8Bfrom songs or poems=8Bfor publication in the February/March edition of The Poetry Project Newsletter. Our email address is: poproj@artomatic.com. * * * ========================================================================= Date: Wed, 13 Dec 2000 16:07:06 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: contact/info In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I do. Backchannel, B-girl. > From: Stefani Barber > Reply-To: UB Poetics discussion group > Date: Wed, 6 Dec 2000 09:20:33 -0800 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: contact/info > > hi, > > does anyone out there have contact info for Will Alexander? and/or, can > anyone point me to where I might be able to find information about him? > > b/c is fine, thanks > > stefani > ========================================================================= Date: Wed, 13 Dec 2000 16:14:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Reading Recommendation Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hey, all! If there are any fans or scholars of Annie Ernaux out there, can one (or more) of you recommend a book of hers for me to read? I'd like to check her out, and I don't know where to start. Thanks! Tisa ========================================================================= Date: Wed, 13 Dec 2000 11:00:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Re: Dillonesque In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 11:37 AM 12/13/00 -0500, you wrote: >Richard, > >Actually, it was Mr Baker I was thinking off when I used the term thug, I've been trying to think off Baker and Bush alike for weeks with no success -- Have you figured out how to do it yet??? " Subjects hinder talk." -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 (310) 338-3078 ========================================================================= Date: Wed, 13 Dec 2000 16:22:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: FW: Press Release: URGENTE! Galer=?ISO-8859-1?B?7Q==?=a is the Target of Anonymous Attacks In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable From: Tisa Bryant Date: Wed, 13 Dec 2000 16:19:52 -0800 Subject: FW: Press Release: URGENTE! Galer=EDa is the Target of Anonymous Attacks Hey, people! This is happening in San Francisco, FYI. Jaime Cortez is a friend of mine, as is the artist who is being threatened at present via e-mail. I know many of you are no longer living or have never lived here, but the e-network reaches far and wide, so I thought y'all should know about this, and keep each other on the alert, as well as come forward with info on similar attacks on art and queer artists in other cities. We must be vigilant against these cowardly acts. In love & solidarity, Tisa=20 ---------- From: GaleriaDLRaza@aol.com Date: Wed, 13 Dec 2000 16:35:15 EST To: undisclosed-recipients:; Subject: Press Release: URGENTE! Galer=EDa is the Target of Anonymous Attacks December 13, 2000 Contact: Jaime Cortez 415-826-8009, (over the holidays please email galeriadlraza@aol.com) URGENTE: GALERIA DE LA RAZA IS THE TARGET OF ANONYMOUS ATTACKS. Since the Galer=EDa de la Raza began its new era with more experimental programming that pushed its established cultural and aesthetic boundaries, attendance and media attention have increased considerably. Galer=EDa is once again an important player in the cultural life of the city. However, severa= l apparently unrelated attacks have targeted Galer=EDa's staff and programming over the last months. -On the weekend of December 1st, Heaven, the digital mural at Galer=EDa=92s public mural space by L.A. artist Alma Lopez was defaced. The mural contain= s poetic and spiritual images of love between two Latina women. Alma describe= s her work as follows: "Spirituality and sexuality both exist within me=85 to separate them is impossible=85 The work I do comes from my heart and is not meant to disrespect or offend." The defacement of the mural includes a biblical reference to the book of Galatians and a comment referring to "colored imitators of white man's enfatuations with one=92s own genitals." -On the same day that Heaven was defaced, an artist affiliated with Galer=EDa received threatening, homophobic emails from an alleged religious group. Currently, the Human Rights Commission and the Hate Violence Unit of the SFPD=20 are investigating these emails. -That same week, the store window of Studio 24 was shot through with what appeared to be a BB gun. -Ese: One Last Mexican Discovered in the Mission, the previous mural that addressed anti-displacement issues, was also defaced with anti-gay slogans. This string of incidents is reminiscent of the vandalism and death threats to=20 Galer=EDa's staff that occurred at Galer=EDa in 1997 during the showing of Alex Donis' "My Cathedral," an exhibit which addressed queer politics, history and=20 desire. These actions can only exacerbate the racism, sexism and homophobia that justify hate violence. It is unfortunate that certain individuals feel it i= s their right to deface public art works and send anonymous hate mail or emai= l threats without making any attempts at engaging in progressive dialogue. Galer=EDa is dedicated to providing a space for art work that challenges our community in productive and beneficial ways. Galer=EDa's programming reflects the belief that democratic values thrive when diversity is respected and embraced. We understand that struggles fought by people of color, queer people, the working class and immigrants are not independent of each other. When hate violence is directed at our cultural institutions, at our diverse communities and at artists=92 freedom of expression, the entire community suffers a loss. Panic politics and cultural terrorism prevent us from facin= g the true problems we have in our communities. If you have any information about these events, please contact us as soon a= s possible. PHOTOS AND PRESS PACKETS AVAILABLE UPON REQUEST. PLEASE CIRCULATE THIS MESSAGE. ========================================================================= Date: Wed, 13 Dec 2000 20:20:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Organization: e.g. Subject: Re: fiction MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit From students in a UCLA/UCLA Extension poetry workshop I taught: poetry is about fiction not all poetry has a truth or meaning poetry queries words and the world in a way fiction doesn't there is care in the choices in poetry there's an investment in poetry poetry has a different goal, a different relationship to story, plot; is about meaning rather than telling meaning creating a world in fiction is more straightforward, formulaic, with characters and dialogue poetry is putting words together that directly expresses the art in general poetry has greater affect and effect poetry has visual qualities, uses the page as canvas, uses the page, is arranged, in a way fiction is not the process of writing poetry is totally different and so poetry is totally different poetry is the thought that doesn't have any words poetry's process is more efficient, and from the student who became a novelist during the class: *line breaks* Rgds, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Mon, 18 Dec 2000 15:03:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael helsem Subject: poetry better than fiction Mime-Version: 1.0 Content-Type: text/plain; format=flowed because its shorter _____________________________________________________________________________________ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Wed, 13 Dec 2000 15:53:19 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: chris stroffolino Subject: Re: From Laird Hunt Comments: To: mjk@acsu.buffalo.edu MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Hello Laird--- Thanks for this--- I, too (as someone who has been called a poet) will also "pit" (your) list of "non-poets" or "non-poems" against much of what is called poetry..... I guess what I have held by and large as an assumption for a decade or more is the idea that such books as those you mention are actually more POETIC than most of what is called poetry.... Is this an attempt by me to co-opt "prose?" Or do I not know my proper genre niche? chris Mike Kelleher wrote: > As a fiction writer, who is married to a poet, who publishes poetry and who > has more poets than fiction writers for friends, I've enjoyed the responses > to the query on proving that poetry is better than fiction, and tend to > agree with them, especially with Maugham's take on it, and rather dig that > business about me (as a post 1990s fiction writer) being dead or a clone > and that my novel was written by my computer (an Imac to be precise). > Having said that, I'll pit my Making of the Americans, Ulysses, Beckett's > Trilogy, Wittgenstein's Mistress, End of the Story and Rings of Saturn > against all your pure form cut-to-the-chase blah blah poetry is better > stuff anyday. > > Best Wishes, Poets, > > Laird Hunt ========================================================================= Date: Thu, 14 Dec 2000 06:56:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: FW: The Real Thing: Democracy as a Contact Sport Comments: To: British Poets MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Some of us will have to go to DC between xmas & end of millennium -- here's some of what's been going on there in the hollowed halls of the Lib of Con -- Pierre ############################################################## The Real Thing: Democracy as a Contact Sport By Russell Mokhiber and Robert Weissman A couple weeks ago, we received an invitation to attend an event at the Library of Congress. Coca-Cola was about to make an "historic contribution" to the Library of Congress, and the Library, and Coca-Cola, were inviting reporters to cover the event. We accepted the invitation. We learned from the morning papers that the "historic contribution" was a complete set of 20,000 television commercials pushing Coca-Cola into the American digestive system. Remember the one where the kid hands Pittsburgh Steeler Mean Joe Greene his bottle of Coke, and in return, Mean Joe tosses the kid his football jersey? Or what about on a hilltop in Italy where the folks start sing "I'd like to buy the world a Coke and keep it company"? The event was at the Great Hall of the Thomas Jefferson Building -- named after the Thomas Jefferson who, in 1816, wrote: "I hope we shall crush in its birth the aristocracy of our monied corporations which dare already to challenge our government to a trial of strength, and bid defiance to the laws our country." Anyway, we pull up at the appointed hour (7:15 p.m. on November 29, 2000) at the Thomas Jefferson building, and there's a traffic jam created by stretch limousines blocking the entrance. In addition to lowly reporters, the 400 or so guests included ambassadors, members of Congress, corporate chieftains and other dignitaries. Good thing we dressed up. The Main Hall is this absolutely stunning room, with marble staircases. A string quartet is playing. Waiters are serving Coke in classic bottles. The food is fabulous -- lamb chops, trout, Peking duck. We rub shoulders with the Ambassador from Burma. The "aristocracy of our monied corporations," as Jefferson put it, had taken over the place, and Coca-Cola wanted to make sure that everybody knew it. After all, Coke could have just donated the ads to the Library and left it at that. But this wasn't about Coke's largesse. It was about public relations -- whether the public would view the company as a racist company (Coke had just agreed to pay $192.5 million to settle allegations that it routinely discriminated against black employees in pay, promotions and performance evaluations) or a junk food pusher (consuming large quantities of sugared Coca-Cola has led to ours being one of the most overweight generations in history) -- or instead, a generous contributor to the Library of Congress. James Billington, the Librarian of Congress, was called on to deliver good things to Coke, and he did. He turned over the keys of the Main Hall to Coke, and Coke decked the place out with its logo, stitched in red beside the logo of the Library of Congress. Television sets were placed throughout the hall, the better for the Ambassadors and members of the Democratic Leadership Council to check out the commercials. Billington was selling the soul of the library to one of the world's most powerful corporations. In addition to the ads, Coke was establishing a fellowship at the Library for the study of "culture and communication" -- one fellow will receive $20,000 a year for the next five years. Gary Ruskin, director of Commercial Alert, was outside the event, protesting. "It is not the proper role of the taxpayer-financed Library of Congress to help promote junk food like Coca-Cola to a nation that is suffering skyrocketing levels of obesity," Ruskin said. "It is crass commercialism for James Billington to degrade Jefferson's library and founding ideals into a huckster's backdrop." But without shame, Billington introduced Doug Daft, the president of Coca-Cola, who said that "Coca-Cola has become an integral part of people's lives by helping to tell these stories." Nothing about profits. Nothing about overweight kids. Nothing about racism. After Daft spoke, the room went dark, and the ads ran on the television screens. Nostalgia swept the room. When the ads were finished, the lights went back on and the crowd cheered. About 80 high school students, dressed in Coca-Cola red sweaters, filled the marble staircases and sang -- "I want to buy the world a Coke." Again, the crowd cheered. Doug Daft, standing downstairs, came back to the microphone to continue his statement. We were upstairs at this point, and we looked down at him and asked, in a loud voice -- "Why are you using a public library to promote a junk food product?" The room went quiet. Library of Congress police charged up the marble staircase. Doug Daft put his hand to his ear and shouted back to us: "What did you say?" In a louder voice, we shouted back: "Why are you using a public institution to promote a junk food product?" The next thing we know, we are on the ground. The Library of Congress police had tackled us. Again, the crowd cheered -- not for our question, but for the tackle. We were dragged downstairs, past the Ambassador from Burma, and hauled outside, where police officers from the District of Columbia were waiting for us. Out of the Thomas Jefferson building came running a man from Coke. "This is a private event," the man from Coke told the police. "I'm from Coca-Cola." At first, the police wanted nothing to do with the man from Coke. But the man from Coke insisted. They huddled. Apparently, the man from Coke didn't want us arrested for asking an obvious question. Apparently, the man from Coke didn't want a public trial. The man from Coke was standing up for our First Amendment rights to ask his boss a question. The police said we were to leave the grounds. And we weren't to come back. Ever. Russell Mokhiber is editor of the Washington, D.C.-based Corporate Crime Reporter. Robert Weissman is editor of the Washington, D.C.-based Multinational Monitor. They are co-authors of Corporate Predators: The Hunt for MegaProfits and the Attack on Democracy (Monroe, Maine: Common Courage Press, 1999). (c) Russell Mokhiber and Robert Weissman _______________________________________________ Focus on the Corporation is a weekly column written by Russell Mokhiber and Robert Weissman. Please feel free to forward the column to friends or repost the column on other lists. If you would like to post the column on a web site or publish it in print format, we ask that you first contact us (russell@essential.org or rob@essential.org). Focus on the Corporation is distributed to individuals on the listserve corp-focus@lists.essential.org. To subscribe to corp-focus, send an e-mail message to corp-focus-request@lists.essential.org with the text: subscribe Focus on the Corporation columns are posted at . Postings on corp-focus are limited to the columns. If you would like to comment on the columns, send a message to russell@essential.org or rob@essential.org. ______________________________________________________________________ Pierre Joris The problems of prosody for a narrative of pitchers 6 Madison Place are the pitchers’ problems of the musculature facing home… Albany NY 12202 Tel: (518) 426-0433 Kenneth Irby Fax: (518) 426-3722 Email: joris@csc.albany.edu Url: ____________________________________________________________________________ _________ ========================================================================= Date: Thu, 14 Dec 2000 09:40:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: The Dreamlife of Letters (flash poem) MIME-Version: 1.0 Content-Type: text/plain > REPTILIAN NEOLETTRIST GRAPHICS presents > > "the dreamlife of letters" > > a poem > > utilizing Flash technology > > 12 mins./ orange, black and white / 500 x 500 pixels / edition of several > million > > http://www.arras.net/RNG/flash/dreamlife/dreamlife_index.html > > > *** > > from the Introduction > > In 1999, I, along with several other poets and writers, was asked to > partake in an online "roundtable" on sexuality and literature. The event > would be centered around a brief essay by the San Francisco novelist Dodie > Bellamy. The outcome of this roundtable, which would take place entirely > through email, was to be published on the Poetics List that is moderated > out of SUNY Buffalo. All of the participants were divided into groups, > each individual having a position in that group. As I was the second in > position, I was assigned to respond to the person in the first position, > who in my case was the poet and feminist literary theorist Rachel Blau > DuPlessis. > > DuPlessis wrote a very texturally detailed, nearly opaque, response. I > had decided that I wanted to respond to her text in a detailed manner, but > I felt that normal prose would not suffice on my part, so I alphabetized > the words in her text, and created my own series of very short "concrete" > poems based on the chance meeting of words. As words invariably take on > nearly obscene meanings when they are left to linger and intermingle on > their own, and as DuPlessis's text was so loaded to begin with, I didn't > enjoy the poem that much. More importantly, as it was in a sort of > antique "concrete" mode, it resembled a much older aesthetic, one well > explored by Gomringer, the De Campos brothers and numerous others in the > past fifty years, and so it wasn't very interesting to me. > > But eventually, fishing for an idea for an extended Flash piece, it dawned > on me that this poem would be perfect. It would be both traditional and > not, it's tradition being nearly unknown in America, and it would be > entirely concerned with the body in relation to writing and society, hence > avoiding the negatives of much web poetry that seems concerned primarily > with technology and its language. I decided to limit myself to use the > Arial font (other than letters I created out of lines and circles), to > only use black and white and shades in between, to use no images, and to > stick exactly to my text. Other than that, it's an improvisation, and > like most improvisations has its knotty, ungracious moments and a few > surprises that seem to make up for them. At least I hope so... hope you > like it. > > *** > > reptile@arras.net > > > ========================================================================= Date: Thu, 14 Dec 2000 10:28:41 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Coffey, Michael (Cahners-NYC)" Subject: Re: Marquez (fwd): a hoax i think MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable i was told that the marquez farewell was a hoax; see below... Recently, the text of a poem called "La marioneta" has been passed = around the Internet, as well as run in several Latin American newspapers. (You = can read it on the PSA site ; where it is = still incorrrectly attributed to Gabo.) Attributed to Garc=EDa M=E1rquez and = believed to be a "farewell letter" to his friends, it was uncovered to really be = the work of a ventriloquist named Johnny Welch. Alas, while Gabo is indeed suffering from lymphatic cancer, this "farewell letter" is merely a = hoax, similar to a recent letter widely believed to have been penned by Kurt Vonnegut, Jr. The LA Times has a Reuters piece detailing the hoax here. > -----Original Message----- > From: Poetics List Administration [SMTP:poetics@acsu.buffalo.edu] > Sent: Thursday, December 14, 2000 11:11 AM > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Marquez (fwd) >=20 > This came to the administrative account. --TS >=20 > --On Tuesday, December 12, 2000, 4:27 PM -0500 "ShaunAnne Tangney > Humanities" wrote: >=20 > > > > sad news...and incredible eloquence... > > --shaunanne > > > > > > > > > > ---------- Forwarded message ---------- > > Date: Tue, 12 Dec 2000 14:25:20 -0600 > > Subject: Marquez > > > > I got this through a listserv. I thought it was worth passing = on... > Ruth > > > > Gabriel Garcia Marquez* has retired from public life due to health > reasons: > > cancer of the lymph nodes. It seems that it is getting worse. He = has > > sent this farewell letter to his friends, which has been translated = and > > posted on the Internet. Please read and forward to any who might = enjoy > it. > > This is possibly, sadly, one of the last gifts to humanity from a = true > > master. > > This short text, written by one of the most brilliant Latin = Americans in > > recent times, is truly moving. > > > >>If for an instant God were to forget that I am rag doll > >>and gifted me with a piece of life, > >>possibly I wouldn't say all that I think, > >>but rather I would think of all that I say. > >>I would value things, not for their worth > >>but for what they mean. > >>I would sleep little, dreammore, > >>understanding that for each minute we close our eyes > >>we lose sixty seconds of light. > >>I would walk when others hold back, > >>I would wake when others sleep. > >>I would listen when others talk, and > >>how I would enjoy a good chocolate ice cream! > >>If God were to give me a piece of life, > >>I would dress simply, > >>throw myself face first into the sun, > >>baring not only my body but also my soul. > >>My God, if I had a heart, > >>I would write my hate on ice, > >>and wait for the sun to show. > >>Ove the stars I would paint > >>with a Van Gogh dream > >>a Benedetti poem, > >>and a Serrat song. > >>I would be the serenade > >>I'd offer to the moon. > >>With my tears I would water roses, > >>to feel the pain of their thorns, > >>and the red kiss of their petals. > >>My God, if I had a piece of life... > >>I wouldn't let a single day pass > >>without telling the people I love that > >>I love them. > >>I would convince each woman > >>and each man that they are my favorites, > >>and I would live in love with love. > >>I would show men how very wrong they are > >>to think that they cease to be in love > >>when they grow old, not knowing that > >>they grow old when they cease to be in love! > >>To a child I shall give wings, > >>but I shall let him learn to fly on his own. > >>I would teach the old that > >>death does not come with old age, > >>but with forgetting. > >>So much have I learned from you, oh men... > >>I have learned that > >>everyone wants to live on > >>the peak of the mountain, > >>without knowing that > >>real happiness is in how it is scaled. > >>I have learned that when > >>a newborn child squeezes for the first time > >>with his tiny fist his father's finger, > >>he has him trapped forever. > >>I have learned that a man has > >>the right to look down on another only > >>when he has to help the other get to his feet. > >>>From you I have learned so many things, > >>but in truth they won't be of much use, > >>for when I keep them within this suitcase, > >>unhappily shall I be dying. > >> > >> > >>GABRIEL GARCIA MARQUEZ > >> > >>A QUICK BIO ON THE MASTER: > >>Colombian author Gabriel Garcia Marquez began his career as a = Journalist > >>for > >>a series of liberal South American newspapers in the late 1940's. > >>Although he > >>toyed with fiction as a young man, his first true efforts were = incited > >>by the > >> > >>negative reviews of contemporary Latin-American writers. The result = was > >>the > >>short story The Third Resignation. The reviews of the story were > >>positive and > >>the impact strong; the press heralded The Boom, a econd generation = of > >>Latin-American writers. > >> > >> > >>Garcia Marquez followed with a compilation of short stories (Big = Mama's > >>Funeral) > >>and three novellas (Leaf Storm, No One Writes to the Colonel, and = In > >>Evil > >>Hour). These dark, eerie, and sad works were influenced heavily by = Franz > >> > >>Kafka yet the reveal the voice of an intelligent young writer = preparing > >>himself for larger things. > >> > >> > >>Larger things came to Garcia Marquez in 1967. While suffering From > >>writer's > >>block several years earlier, the author suddenly had a vision of = his > >>next > >>novel-as he has said, the first chapter was as clear as if it had > >>already > >>been written. The idea was to tell the story of several generations = of a > >> > >>Colombian family as his grandmother might have told it: = supernatural > >>occurrences and unbelievable events described with unblinking = sincerity. > >>After eighteen months of seclusion, Garcia Marquez produced his > >>Masterpiece > >>One Hundred Years of Solitude, which has been called one of the = greatest > >> > >>novels in history. > >>Gabriel Garcia Marquez was awarded the Nobel Prize for literature = in > 1982. > >> > >> > >> > >> > >> > > ========================================================================= Date: Thu, 14 Dec 2000 12:02:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Broder, Michael" Subject: Ear Inn Readings--December 2000 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" The Ear Inn Readings--Fall 2000 The Ear Inn, 326 Spring Street, New York City Saturdays at 3:00 December 16 Brenda Shaughnessy, Chris Stroffolino, Mark Wunderlich December 23 Christmas Eve Eve-No Reading December 30 New Year's Eve Eve-No Reading The Ear Inn Readings Michael Broder, Director Patrick Donnelly, Lisa Freedman, Kathleen E. Krause, Co-Directors Martha Rhodes, Executive Director For additional information contact Michael Broder (212) 802-1752 The Ear Inn is at 326 Spring Street, one block north of Canal Street, west of Greenwich Street By subway, take the 1-9 to Canal Street, the A to Canal Street, or the C-E to Spring Street ========================================================================= Date: Thu, 14 Dec 2000 12:50:22 -0500 Reply-To: perez@magnet.com Sender: UB Poetics discussion group From: Jamie Perez Subject: Creeley recording coming soon: headsup MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit http://www.jagjaguwar.com/jagjaguwar/robertcreeley/ Jagjaguwar (an indie label) is doing its best to bring Creeley to more people, and to create a lasting document. I've discussed with the label the idea of expanding this into a regular series, being an indie label he/they are concerned about being able to support the series. I've shared some ideas with him about putting together a schedule and making it a subscription series, trying to secure grants, etc. Poets don't exactly tour and sell a CD or two at every stop. The guy who runs the label is fiercely dedicated to bringing good stuff to the people, but isn't in the position to be the sole financial supporter of such an endeavor. So please forward on suggestions on how to make it work if you have any (to me, backchannel, or through the site to him). I would really like to see this project take off and am sure we all have ideas for people that definitely need to be recorded and shared in this format. Why aren't there more recorded documents of the amazing readings we've seen? Example: Miles Champion, lives too far away to hear regularly, but damn that guy can read. Or Daniel Higgs, imagine him without the backing band (the amazing Lungfish, but still). You get the picture. And make sure to look out for or pre-order the record in the new year. It will NOT be at your local Tower Records, I'm pretty sure of that. jamie.p ========================================================================= Date: Thu, 14 Dec 2000 12:55:06 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Igor Satanovsky Subject: Re: Marquez hoax Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit It's hard to believe that this piece of sentimental trash could be written by Marquez. Obviously, it's a hoax. See Reuters statement below. Igor Satanovsky _______ 'Farewell poem' fools readers Reuters MEXICO CITY (Reuters) -- A poem published in several Latin American newspapers this week and said to be a farewell ode by Colombia's ailing Nobel laureate Gabriel Garcia Marquez turned out on Wednesday to be the work of a little-known ventriloquist. The poem titled "La Marioneta" -- "The Puppet" -- appeared under Garcia Marquez's name on Monday in the Peruvian daily La Republica. Mexico City dailies reproduced it on Tuesday and it was read on local radio stations. "Gabriel Garcia Marquez sings a song to life," read a headline in Mexico City's La Cronica, which on Tuesday published the poem superimposed on a photo of the novelist on its front page. "My God, if I had a bit of life I would not let one instant go by without telling the people I love that I love them," read the sentimental poem that also circulated on the Internet. But like the speech supposed to have been given by U.S. novelist Kurt Vonnegut in 1997 urging graduates at the Massachusetts Institute of Technology (MIT) to use sun screen, the author of "La Marioneta" turn out not nearly as famous as advertised. "I'm feeling the disappointment of someone who has written something and is not getting credit," ventriloquist Johnny Welch told Mexico's InfoRed radio on Wednesday. Welch, who has worked for 15 years as a ventriloquist in Mexico and other parts of Latin America, said he wrote the poem for his puppet sidekick "Mofles." "I'm not a writer," he confessed. In 1997 a humor column by Chicago Tribune columnist Mary Schmich was widely redistributed on the Internet, but was incorrectly billed as an MIT commencement address by Vonnegut. Garcia Marquez won the Nobel prize for literature in 1982. His seminal work, "100 Years of Solitude," has been translated into 36 languages and sold millions of copies worldwide. In an October 1999 interview with New Yorker magazine, the 73-year-old author acknowledged having been treated for lymphatic cancer in the summer of 1999 in Los Angeles. Rumors of his failing health have surfaced several times in Latin America in recent months. Garcia Marquez did not comment publicly on the apocryphal poem, but several close associates denied he had anything to do with it. "It's a shame there are such good forgeries of paintings but such lousy forgeries of literature," Argentine author Tomas Eloy Martinez told Mexico City's Reforma newspaper. In a message dated Thu, 14 Dec 2000 11:22:30 AM Eastern Standard Time, Poetics List Administration writes: << This came to the administrative account. --TS --On Tuesday, December 12, 2000, 4:27 PM -0500 "ShaunAnne Tangney Humanities" wrote: > > sad news...and incredible eloquence... > --shaunanne > > > > > ---------- Forwarded message ---------- > Date: Tue, 12 Dec 2000 14:25:20 -0600 > Subject: Marquez > > I got this through a listserv. I thought it was worth passing on... Ruth > > Gabriel Garcia Marquez* has retired from public life due to health reasons: > cancer of the lymph nodes. It seems that it is getting worse. He has > sent this farewell letter to his friends, which has been translated and > posted on the Internet. Please read and forward to any who might enjoy it. > This is possibly, sadly, one of the last gifts to humanity from a true > master. > This short text, written by one of the most brilliant Latin Americans in > recent times, is truly moving. > >>If for an instant God were to forget that I am rag doll >>and gifted me with a piece of life, >>possibly I wouldn't say all that I think, >>but rather I would think of all that I say. >>I would value things, not for their worth >>but for what they mean. >>I would sleep little, dreammore, >>understanding that for each minute we close our eyes >>we lose sixty seconds of light. >>I would walk when others hold back, >>I would wake when others sleep. >>I would listen when others talk, and >>how I would enjoy a good chocolate ice cream! >>If God were to give me a piece of life, >>I would dress simply, >>throw myself face first into the sun, >>baring not only my body but also my soul. >>My God, if I had a heart, >>I would write my hate on ice, >>and wait for the sun to show. >>Ove the stars I would paint >>with a Van Gogh dream >>a Benedetti poem, >>and a Serrat song. >>I would be the serenade >>I'd offer to the moon. >>With my tears I would water roses, >>to feel the pain of their thorns, >>and the red kiss of their petals. >>My God, if I had a piece of life... >>I wouldn't let a single day pass >>without telling the people I love that >>I love them. >>I would convince each woman >>and each man that they are my favorites, >>and I would live in love with love. >>I would show men how very wrong they are >>to think that they cease to be in love >>when they grow old, not knowing that >>they grow old when they cease to be in love! >>To a child I shall give wings, >>but I shall let him learn to fly on his own. >>I would teach the old that >>death does not come with old age, >>but with forgetting. >>So much have I learned from you, oh men... >>I have learned that >>everyone wants to live on >>the peak of the mountain, >>without knowing that >>real happiness is in how it is scaled. >>I have learned that when >>a newborn child squeezes for the first time >>with his tiny fist his father's finger, >>he has him trapped forever. >>I have learned that a man has >>the right to look down on another only >>when he has to help the other get to his feet. >>>From you I have learned so many things, >>but in truth they won't be of much use, >>for when I keep them within this suitcase, >>unhappily shall I be dying. >> >> >>GABRIEL GARCIA MARQUEZ >> >>A QUICK BIO ON THE MASTER: >>Colombian author Gabriel Garcia Marquez began his career as a Journalist >>for >>a series of liberal South American newspapers in the late 1940's. >>Although he >>toyed with fiction as a young man, his first true efforts were incited >>by the >> >>negative reviews of contemporary Latin-American writers. The result was >>the >>short story The Third Resignation. The reviews of the story were >>positive and >>the impact strong; the press heralded The Boom, a econd generation of >>Latin-American writers. >> >> >>Garcia Marquez followed with a compilation of short stories (Big Mama's >>Funeral) >>and three novellas (Leaf Storm, No One Writes to the Colonel, and In >>Evil >>Hour). These dark, eerie, and sad works were influenced heavily by Franz >> >>Kafka yet the reveal the voice of an intelligent young writer preparing >>himself for larger things. >> >> >>Larger things came to Garcia Marquez in 1967. While suffering From >>writer's >>block several years earlier, the author suddenly had a vision of his >>next >>novel-as he has said, the first chapter was as clear as if it had >>already >>been written. The idea was to tell the story of several generations of a >> >>Colombian family as his grandmother might have told it: supernatural >>occurrences and unbelievable events described with unblinking sincerity. >>After eighteen months of seclusion, Garcia Marquez produced his >>Masterpiece >>One Hundred Years of Solitude, which has been called one of the greatest >> >>novels in history. >>Gabriel Garcia Marquez was awarded the Nobel Prize for literature in 1982. >> >> >> >> >> > >> ========================================================================= Date: Thu, 14 Dec 2000 13:41:41 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: USA elections Comments: To: Kabalang@aol.com, BBlum6@aol.com, bburch@bellatlantic.net, corp-focus@venice.essential.org, jfoley@crs.loc.gov, heidegger@lists.village.virginia.edu, ibid1@earthlink.net, mdkoa@yahoomail.com, kljohnson45@hotmail.com, moyercdmm@earthlink.net, Cathy.Muse@co.fairfax.va.us, MAOMuzik@aol.com, alphavil@ix.netcom.com, EPOUND-L@lists.maine.edu, subsubpoetics@listbot.com, harrysandy@kreative.net, derekvdt@academypo.fss.fss.pvt.k12.pa.us, Amzemel@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 12/14/2000 12:30:54 AM Eastern Standard Time, bstavropoulos@one.net.au writes: << A Zimbabwe politician was quoted as saying that children should study the US election event closely because it shows that election fraud is not only a third world phenomena. To illustrate the point, he made the following comments; "Imagine that we read of an election occurring anywhere in the third world in which the self-declared winner was the son of the former prime minister and that former prime minister was himself the former head of that nation's secret police (the CIA). Imagine that the self-declared winner lost the popular vote but won based on some old colonial holdover from the nation's pre-democracy past (the electoral college). Imagine that the self-declared winner's `victory' turned on disputed votes cast in a province governed by his brother! Imagine that the poorly drafted ballots of one district, a district heavily favoring the self-declared winner's opponent, led thousands of voters to vote for the wrong candidate. Imagine that members of that nation's most despised caste, fearing for their lives/livelihoods, turned out in record numbers to vote in near-universal opposition to the self-declared winner's candidacy. Imagine that hundreds of members of that most-despised caste were intercepted on their way to the polls by state police operating under the authority of the self-declared winner's brother. Imagine that six million people voted in the disputed province and that the self-declared winner's `lead' was only 327 votes. Fewer, certainly, than the vote counting machines' margin of error. Imagine that the self-declared winner and his political party opposed a more careful by-hand inspection and re-counting of the ballots in the disputed province or in its most hotly disputed district. Imagine that the self-declared winner, himself a governor of a major province, had the worst human rights record of any province in his nation and actually led the nation in executions. Imagine that a major campaign promise of the self-declared winner was to appoint like-minded human rights violators to lifetime positions on the high court of that nation. None of us would deem such an election to be representative of anything other than the self-declared winner's will-to-power. All of us, I imagine, would wearily turn the page thinking that it was another sad tale of pitiful pre- or anti-democracy peoples in some strange, faraway elsewhere." >> ========================================================================= Date: Thu, 14 Dec 2000 14:03:07 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: [Y4M] Organizing centers for Jan. 20 march at the inauguration Comments: To: Richard Dillon In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Esteemed Friend and fellow worker Actually re the Mumia case--so much has gone on surrounding it, it may well now be impossible to know the truth of what happened. An example of this my oldest son wrote me about--he's going to UMASS-Amherst. As a counter Free Mumia Day--a number of groups decided to hold a Fry Mumia Day. My son showed up with a can of gasoline and fistfulof lighters. He was warmly welcomed by the collected Fryers--until they realized he meant to set fire to their place of gathering! "The apple doesn't fall too far from the tree . . . " The case I am most concerned with and active with myself is that of Leonard Peltier. This case is so explosive that a demonstration will be taking place this Friday the 15 December 2000 by the FBI itself--against Mr. Peltier's plea for clemency. However, what dos concern me really here is the so called justice system--a concern I think many immigrants to these shores share. That is, poor representation, the manipulation of trials and prisoners for other ends than their human rights--which are so hugely so often orverlooked with such blitheness in the justice injustice system--that cases do wind up spinning out of the original sphere and into others. My main concern is with the right to a free and fair trial and the fair treatment of offenders. This does not mean either a hard core "law and order" response resulting in some truly hideous sentencings and also eludings of sentencings depending on one's social postion--nor a "soft on crime" approach which allows for the evasion of taking responsability for one's acts. The prison system at present is so completely overburdened with prisoners and offenders out on proabtion and parole that it has lost all sense of perspective and indeed of efficiency, reason, and justice itself. Human rights abuses abound--and many a wealthy and influential person walks away scot free. I think the concerns I have actually go across the board of all political perspectives-- mainly, the right to competent representation, the right to have evidence and witnesses properly handled, the right to a fair and free trial, and the right to access of all records. Having had experience with the justice system(s) in this and a number of other countries, I realize this may seem "a hopeless case" to be affirming so to speak--yet as well--I think that these things, rather than being "radlib"--are actually supposed to be guaranteed by the Constitution and laws of the United States. When they are not, it is the responsability and the RIGHT of the citizen to speak/write out and demonstrate as well. When rights guaranteed by the Constitution are being vialoted or questioned, and need reexamining in many cases--it is not the time to "rest one's case". onwo/ards-- david baptiste On Mon, 11 Dec 2000, Richard Dillon wrote: > David, > > My friend - at least on some level - Mumia did it. So did Gary Grant. By > Gawd, I wd hv gone down there to Texas and executed him myself! > > The DemKrat in me can stand up for someone like Daniel Patrick Moynihan. > > But this direction - Mumia? - I live in Pennsylvania and have seen the > report on this guy. Good grief, am I the only voice in your life that > speaks outside this RadLib belief system that seems to have co-opted your > genius? > > You know, the other minorities, new to these shores, look at this sort of > thing - Mumia - and don't stand with you on this. They are searching for > another way. And that way is John Birch Republicanism. > > Rchd > > > From: David Baptiste Chirot > > Reply-To: UB Poetics discussion group > > Date: Mon, 11 Dec 2000 14:54:41 -0600 > > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > > Subject: [Y4M] Organizing centers for Jan. 20 march at the inauguration (fwd) > > > > CAN YOU OR YOUR GROUP SERVE AS AN ORGANIZING > > CENTER FOR THE JANUARY 20 PROTEST AT THE > > INAUGURATION? > > > > We've heard from people from New York and New Jersey to > > Maine, Vermont, Florida, Wisconsin, Minnesota, Virginia, > > North > > Carolina, Georgia, Texas and more. Wherever you are, find > > the organizing center nearest you--and if there isn't one, > > set > > one up and organize buses, vans and car caravans to get as > > many people as possible to DC on January 20. > > > > Serving as an organizing center in your area would mean > > working with other people and groups in your city, school, > > community, place of worship, union or workplace to bring > > people to DC on January 20. Organizing tools are available. > > We would list you on the IAC web site as a local contact and > > could direct people in your area to you. > > > > Below is a partial list of organizing centers. Email > > iacenter@iacenter.org with your local contact info if you or > > your group can serve as an organizing center. Information > > will > > be listed on the IAC and other web sites, and email notices > > will > > be sent out periodically. > > > > NATIONAL OFFICE -- NEW YORK CITY > > 39 W. 14th St. #206, New York, N.Y. 10011 > > (212) 633-6646; Fax (212) 633-2889; > > email: iacenter@iacenter.org > > WASHINGTON DC office > > 733 15th Street NW, #515 Washington, DC 20005 > > Phone 202-588-1205, email: npcdc@mnsinc.com > > > > GEORGIA > > *ATLANTA > > Millions for Mumia > > bus leaves Friday night, Jan. 19, tickets are $70 > > (770) 989-2536, atlantamumia@hotmail.com > > > > ILLINOIS > > *CHICAGO > > International Action Center > > c/o PO Box 06178 Wacker Dr. Station Chicago, IL 60606-0178 > > (773) 381-5839, iachi@enteract.com > > > > MARYLAND > > *BALTIMORE > > All People's Congress > > 426 E. 31st St., Balt., MD 21218 > > (410) 235-7040, apcbaltimore@pipeline.com > > > > MASSACHUSETTS > > *BOSTON > > (617) 983-3835, iacboston@yahoo.com > > > > MICHIGAN > > *ANN ARBOR > > University of Michigan > > Contact Julie Frye jnf@umich.edu > > *DETROIT > > (313) 831-0750 > > > > NEW YORK > > *MID-HUDSON REGION > > (914) 255-5779; email: jacdon@earthlink.net > > *NEW YORK CITY > > 39 W. 14th St. #206, New York, N.Y. 10011 > > (212) 633-6646; Fax (212) 633-2889; > > email: iacenter@iacenter.org > > > > NORTH CAROLINA > > North Carolina State University, Amnesty International > > chapter > > Contact Aaron Jacobs (919) 829-4942, > > avjacobs@unity.ncsu.edu > > > > OHIO > > *CLEVELAND > > Peoples Fightback Center > > 3030 Euclid Ave #LL1, Cleveland OH 44110 > > 216-426-0851, pfcenter@aol.com > > > > PENNSYLVANIA > > *PHILADELPHIA > > International Action Center > > 215-724-1618, 813 S. 48th St., Phila., PA 19143, e-mail: > > philnpc@op.net > > International Concerned Family and Friends of Mumia Abu- > > Jamal > > 215-476-8812 > > > > RHODE ISLAND > > *PROVIDENCE > > International Action Center > > (401) 726-4802, npcri1@aol.com > > > > TEXAS > > *HOUSTON > > Texas Death Penalty Abolition Movement > > Phone: 713-861-5965, office 713-521-0629 > > Email: AbolitionMovement@juno.com > > (Bus from houston is $125.00--deposits due by Dec. 26,at our > > office: > > Abolition Movement C/o SHAPE Center 3903 almeda Rd. > > Houston, TX 77004. Bus leaves SHAPE on Thursday evening > > at 6 PM, Jan. 18. Returns Sunday night, Jan. 21.) > > > > WASHINGTON, DC > > International Action Center > > 733 15th Street NW, #515 Washington, DC 20005 > > Phone 202-588-1205, email: npcdc@mnsinc.com > > > > WISCONSIN > > *Milwaukee > > A Job is A Right Campaign > > guyute@uwm.edu, 414-374-1034 > > > > WEST COAST > > There will also be a demonstration in San Francisco on Jan. > > 20. Contact (415) 821-6545, iac@actionsf.org for info and > > local organizing centers > > > > Email iacenter@iacenter.org with your local contact info if > > you > > or your group can serve as an organizing center. > > > > International Action Center > > 39 West 14th Street, Room 206 > > New York, NY 10011 > > email: iacenter@iacenter.org > > web: http://www.iacenter.org > > CHECK OUT SITE > > http://www.mumia2000.org > > phone: 212 633-6646 > > fax: 212 633-2889 > > *To make a tax-deductible donation, > > go to > > http://www.peoplesrightsfund.org > > > > -------------------------- eGroups Sponsor -------------------------~-~> > > eGroups eLerts > > It's Easy. It's Fun. Best of All, it's Free! > > http://click.egroups.com/1/9698/0/_/30522/_/976552951/ > > ---------------------------------------------------------------------_-> > > > > Stop the execution! New trial for Mumia! > > > > Youth & Students for Mumia > > > > http://www.mumia2000.org > > > > To subscribe or unsubscribe email: youth-4-mumia-owner@egroups.com > > > ========================================================================= Date: Thu, 14 Dec 2000 13:18:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Re: Oh, and -- In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 10:30 PM 12/11/00 -0500, you wrote: >There's not a woman among you who wouldn't take tenure at Stanford. Oh, I see. She's above all comment & reproach because she's enviable. I'll spare you all the Cal fight song at this juncture LRSN ========================================================================= Date: Thu, 14 Dec 2000 16:32:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Calligraphic MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Calligraphic Calligraphy fascinates because it conjures the impossible coupling of the machine / incision / inscription - as if the world were divine (Foucauld- ian divinatio) with style leaving space for thought otherwise. I am refer- encing Chinese or Japanese calligraphy - not pictogrammatic, but gesture which infiltrates the line and its endings in various pathways. It is the space or gap which reveals both the inertness of the world and the place- ment of writing as breathing, not harboring ontology or name the things of creation, but slowing their undoing. You might see affect in the layering of symbols, always, as if it impossible to speak without the body in mind, as if all creations are inequal, languorous and dependent upon their emo- tional originations. This is not the concrete poetry of the calligraphic; it is not the renaissance emblem or shaped poetics or signature. Instead, one might look to the writing as the slow movement of the earths absolving all denumerations, definitions, taxonomies - or the earths' quickness in asserting themselves through the releasing of signs into the earth, stone, metal, air, water, fire ... the ideogrammar of non-being, ideogrammar of this world's last creation ... And this my own twisted stroke through all of it - the running writing, grass writing, clerical, seal, etc. Or perhaps not the seal with, so oft- en, its unnerving rectilinearity, already speaking confinement of the rim, the contract. Certainly through the varying width of strokes otherwise. In Seals (cdrom video), Azure and I demarcate each other's bodies, sealing them with hanko stone and ink; our bodies tangle; the kanji are worn out, worn through; exhausted, we're framed by the sealing processes; the ins- criptions of the world disappearing into the flesh; in a certain silence or background sound; you can watch in any order; there is also the clear evidence of desire, erection going nowhere, seals just above penis and vagina, the k/not of the writings - and presence or absence of the vacated space of non-being, as if this were the next-to-last ... Clearing a space, unnaming, all within the absenting of the frame as well, computer screen, software application screen, uncanny inertness of windows appearing and disappearing, inscription denying itself, an accumulation of protocols and languages tending towards their metaphoric dissolution ... Fu Shan: "With painstaking care, he used a centered brush tip to make strong, rounded strokes in imitation of the even, unmodulated lines in an- cient bronze inscriptions. He also undermined the readability of the sutra by littering it with strange characters. A religious text is seemingly transformed into a magical charm by an unreadably archaic script further confused by invented characters." (The Aesthetics of the Unusual and the Strange in Seventeenth-Century Calligraphy, by Dora C. Y. Ching, in Harr- ist and Fong, The Embodied Image: Chinese Calligraphy from the John B. Elliott Collection.) All machines of all languages and all words and all symbols and all subs- trates and all texts and all utterances and all pauses and all sounds and all worlds and all things and all non-things and all breaths and all mach- ines ... "And to dramative matters, Butor is an old friend of Klossowksi, and Klo- ssowski says: 'my syntax is Roberte's skin.' _My syntax,_ and not the sup- port for my writing or its eventual printing. And _Roberte's skin_ is the skin enclosing the volume of a discrete body carrying a proper name. Now isn't what Klossowski expresses here perversion? The hardness, the tension of grammar and glossary operate like the production of a screen stretched to the breaking point. This screen closes upon itself into a voluminous body - the body of Roberte - amd this body can be connected to a subject who will inhabit its interior. Thus any fixed variation of grammar, of glossary will produce a sign, a shiver, a passing of intensity upon the body proper of the victim." (False Flights in Literature, Jean-Francois Lyotard, in Toward the Post-Modern, ed. Harvey and Roberts.) One might call forth the brush against the computer screen, stretched to the breaking point across a skin wearing its display, immobilized, punc- tured, hung. All machines and all languages and all protocols and all and so forth and all ... ... "Can there be speech, poetry, and thought beyond the letter, beyond the death of the voice and the death of language?" (Pascoli and the Thought of the Voice, Giorgio Agamben, The End of the Poem, Studies in Poetics.) The imaginary of the sliding body within an inconceivability of the tech- nological (all technology is inconceivable), since, as for the calligraph- ic, it fastens itself (calligraphic ideogrammar) "It is therefore not truly a matter of phono-symbolism, but rather a mat- ter of a sphere so to speak beyond or before sound, a sphere that does not _symbolize_ anything as much as it simply _indicates_ an intention to sig- nify, that is, the voice in its originary purity." (ibid.) The calligraphic fastens itself only in order to release; nothing gnaws the end of the stroke or its delimitation, enumeration, against the radi- cals which presuppose ruined and incoherent taxonomies. The stroke is the weakest emission, however lending itself to techne, the rigorous ordering of the remains of the world. In Seals, after the stroke of the hanko against the rigorous skin, a drop of lubricant* appears at the tip of the penis, as if the body might then, after all is said and written, continue its slide elsewhere. *luminous __ ========================================================================= Date: Thu, 14 Dec 2000 17:40:32 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Bumper Stickers for the Pretender-Elect: Comments: To: Kabalang@aol.com, BBlum6@aol.com, bburch@bellatlantic.net, corp-focus@venice.essential.org, jfoley@crs.loc.gov, ibid1@earthlink.net, mdkoa@yahoomail.com, kljohnson45@hotmail.com, moyercdmm@earthlink.net, Cathy.Muse@co.fairfax.va.us, alphavil@ix.netcom.com, polity@egroups.com, EPOUND-L@lists.maine.edu, subsubpoetics@listbot.com, harrysandy@kreative.net, derekvdt@academypo.fss.fss.pvt.k12.pa.us, Amzemel@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit > >"Those who cast the votes decide nothing. >Those who count the votes decide everything." > -Joseph Stalin > >Don't Blame Me - I voted for Gore... I Think > >What popular vote? > >I voted - Didn't matter > >My parents retired to Florida and all I got was this lousy President > >Disney gave us Mickey, Florida gave us Dumbo > >DON'T THROW AWAY YOUR VOTE........ >LET KATHERINE HARRIS DO IT FOR YOU > >Who is this Chad guy and why is he pregnant? > >Bush trusts the people, but not if it involves counting. > >To you I'm a drunk driver; to my friends, I'm presidential material! > >One person, one vote (may not apply in certain states) > >I DIDN'T VOTE FOR HIS DADDY EITHER > >IT AIN'T OVER 'TIL YOUR BROTHER COUNTS THE VOTES > >The election can't be broken. We just fixed it. > >The skies (wheeze) of Texas (cough) are upon you! (choke) > >Banana Republicans > >George W. Bush: The President Quayle We Never Had > >The last time somebody listened to a Bush, folks wandered in the desert for >40 years > >Campaign spending: $184,000,000. >Having your little brother rig the election for you: >Priceless. ========================================================================= Date: Thu, 14 Dec 2000 16:00:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Spring 2001 poetry workshop Comments: To: Realpo@listbot.com Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi all, I'd appreciate it if you'd forward this to potentially interested=20 parties. Thanks and happy holidays, Elizabeth VISTA COLLEGE POETRY WORKSHOP WITH ELIZABETH TREADWELL =97 SPRING 2001 Class meets Tuesday nights, 6:30-9:30 pm, on the UC Berkeley campus, with some alternate meeting times to be arranged. Class begins January 16=20 and runs through May 15, with no class April 10. For information on the course content and the instructor, please see http://users.lanminds.com/dblelucy/vista.html ========================================================================= Date: Thu, 14 Dec 2000 21:43:29 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: fiction In-Reply-To: <029901c064f6$1e168a60$bd2437d2@01397384> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I read fiction too, but there's more to say than that. Geraldine wrote about "novels whose artificiality is pure delight" -- I do sense that, for instance, in _Love in the Time of Cholera_ -- right now I'm reading _Bleak House_ and sense it there too. Dickens really spins the story up, with repetition, exaggeration, and pure comedy. David wrote: > I don't see any point in comparing the two. > > As long as they function well and are useful--does one ask of > one's legs or eyes or ears which is the better one of the two? But what if the difference is between eyes and hair? If someone said "you must give one up" then I would certainly choose hair. Does one ask whether one's hands or heart is more important? I would definitely give up my hands to keep my heart. etc. Hell, I would give up my arms & legs to keep my heart. So to all who responded "there's no point in asking which is better", maybe I can rephrase my thesis: one of them is more vital, and it is the one that's being forgotten about. It's the ancient republic of poetry that has been overthrown in favor of the expedient democracy of fiction. That's my thesis. So I say, goodbye little words and songs; goodbye rhythm, goodbye lines. Hello sentences, meandering telephone conversations. Goodbye trees and pens; hello laser printers, cardboard houses. Sayonara good old Book Den. Hello fucking Barnes and Noble. America is becoming bigger, louder, and less meaningful, as I fear her inhabitants are. Richard says, "I dont think there is neccessarily a 'better' form. Just as people listen to music or use music for different occassions or reasons." I guess that's true. I enjoy novels too, sometimes. I enjoy hamburgers, too, and there's definitely an occasion for Budweiser, but I guess I'm saying, why's everybody drinking Bud when there's beaujolais to be had? You don't need as much of it, and it's a pleasanter drunk. Anyway, here's to Michael Amberwind. -Aaron ========================================================================= Date: Thu, 14 Dec 2000 21:47:02 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: fiction In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit D.H. Lawrence on realism, Flaubert, Joyce, Proust... *** Realism is just one of the arbitrary views man takes of man. It sees us all as little ant-like creatures toiling against the odds of circumstance. . . . I think the inherent flaw in Madame Bovary is that individuals like Emma and Charles Bovary are too insignificant to carry the full weight of Gustave Flaubert's profound sense of tragedy . . . Emma and Charles Bovary are two ordinary persons, chosen because they are ordinary. But Flaubert is by no means an ordinary person. Yet he insists on pouring his own deep and bitter tragic consciousness into the little skins of the country doctor and his dissatisfied wife. . . . the human soul has supreme joy in true, vivid consciousness. And Flaubert's soul has this joy. But Emma Bovary's soul does not, poor thing, because she was deliberately chosen because her soul was ordinary. . . . [Yet] Even Emma Bovary has a certain extraordinary female energy of restlessness and unsatisfied desire. So that both Flaubert and Verga allow their heroes something of the hero, after all. The one thing they deny them is the consciousness of heroic effort. [from _Phoenix II_] *** Let us just for the moment feel the pulses of Ulysses and of Miss Dorothy Richardson and M. Marcel Proust, on the earnest side of Briareus; on the other, the throb of The Shiek and Mr. Zane Gray, and, if you will, Mr. Robert Chambers and the rest. Is Ulysses in his cradle? Oh, dear! What a grey face! And Pointed Roofs, are they a gay little toy for nice little girls? Alas! You can hear the death-rattle in their throats. They can hear it in themselves. They are listening to it with acute interest, trying to discover whether the intervals are minor thirds or major fourths. . . . It is self-consciousness picked into such fine bits that the bits are most of them invisible, and you have to go by smell. "Did I feel a twinge in my little toe, or didn't I?" asks every character of Mr. Joyce or of Miss Richardson or M. Proust. . . . Through thousands and thousands of pages Mr. Joyce and Miss Richardson tear themselves to pieces, strip their smallest emotions to the finest threads, till you feel you are sewed inside a wool mattress that is being slowly shaken up, and you are turning to wool along with the rest of the woolliness. It's awful. And it's childish. It really is childish, after a certain age, to be absorbedly self-conscious. [from _Surgery for the Novel_] *** I got most of this from http://www.sfu.ca/~delany/lawrjoyce.htm ========================================================================= Date: Fri, 15 Dec 2000 00:49:48 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: HOAX: A Message from Garcia Marquez In-Reply-To: <3.0.5.32.20001214143704.0084e100@is.nyu.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hey all: I've been told by many that this message from Garcia Marquez is a hoax. See below for more details. May the cycle of bad karma catch up to the originator of this e-mail! And may you all have happy and hoax-free holidays! Love, Tisa ---------- From: "John R. Keene" Date: Thu, 14 Dec 2000 14:37:04 -0500 To: Tisa Bryant , 1st World Women , The Village , Family Stand Subject: Re: A Message from Garcia Marquez Tisa: Thanks for sending this. I'd forwarded it on to someone who let me know that it's a hoax! :-( I gather that Garcia Marquez has addressed it directly. He does have lymphatic cancer, but he has been squirreled away writing his memoirs and completing several books of short stories. He did recently appear at the inauguration of Vicente Fox Quesada, Mexico's new president. For more info on this, try: >http://www.cnn.com/2000/books/news/12/11/colombia.garcia.marque.ap/index.htm All love, John At 09:12 AM 12/14/2000 -0800, Tisa Bryant wrote: >Hey, loves! > >I too got this through a list serv. It's heartbreakingly beautiful. > >Something to meditate on this holiday season... > >> ---------- Forwarded message ---------- >> Date: Tue, 12 Dec 2000 14:25:20 -0600 >> Subject: Marquez >> >> I got this through a listserv. I thought it was worth passing on... Ruth >> >> Gabriel Garcia Marquez* has retired from public life due to health >reasons: >> cancer of the lymph nodes. It seems that it is getting worse. He has >> sent this farewell letter to his friends, which has been translated and >> posted on the Internet. Please read and forward to any who might enjoy it. >> This is possibly, sadly, one of the last gifts to humanity from a true >> master. >> This short text, written by one of the most brilliant Latin Americans in >> recent times, is truly moving. >> >>>If for an instant God were to forget that I am rag doll >>>and gifted me with a piece of life, >>>possibly I wouldn't say all that I think, >>>but rather I would think of all that I say. >>>I would value things, not for their worth >>>but for what they mean. >>>I would sleep little, dreammore, >>>understanding that for each minute we close our eyes >>>we lose sixty seconds of light. >>>I would walk when others hold back, >>>I would wake when others sleep. >>>I would listen when others talk, and >>>how I would enjoy a good chocolate ice cream! >>>If God were to give me a piece of life, >>>I would dress simply, >>>throw myself face first into the sun, >>>baring not only my body but also my soul. >>>My God, if I had a heart, >>>I would write my hate on ice, >>>and wait for the sun to show. >>>Ove the stars I would paint >>>with a Van Gogh dream >>>a Benedetti poem, >>>and a Serrat song. >>>I would be the serenade >>>I'd offer to the moon. >>>With my tears I would water roses, >>>to feel the pain of their thorns, >>>and the red kiss of their petals. >>>My God, if I had a piece of life... >>>I wouldn't let a single day pass >>>without telling the people I love that >>>I love them. >>>I would convince each woman >>>and each man that they are my favorites, >>>and I would live in love with love. >>>I would show men how very wrong they are >>>to think that they cease to be in love >>>when they grow old, not knowing that >>>they grow old when they cease to be in love! >>>To a child I shall give wings, >>>but I shall let him learn to fly on his own. >>>I would teach the old that >>>death does not come with old age, >>>but with forgetting. >>>So much have I learned from you, oh men... >>>I have learned that >>>everyone wants to live on >>>the peak of the mountain, >>>without knowing that >>>real happiness is in how it is scaled. >>>I have learned that when >>>a newborn child squeezes for the first time >>>with his tiny fist his father's finger, >>>he has him trapped forever. >>>I have learned that a man has >>>the right to look down on another only >>>when he has to help the other get to his feet. >>>>From you I have learned so many things, >>>but in truth they won't be of much use, >>>for when I keep them within this suitcase, >>>unhappily shall I be dying. >>> >>> >>>GABRIEL GARCIA MARQUEZ >>> >>>A QUICK BIO ON THE MASTER: >>>Colombian author Gabriel Garcia Marquez began his career as a Journalist >>>for >>>a series of liberal South American newspapers in the late 1940's. >>>Although he >>>toyed with fiction as a young man, his first true efforts were incited >>>by the >>> >>>negative reviews of contemporary Latin-American writers. The result was >>>the >>>short story The Third Resignation. The reviews of the story were >>>positive and >>>the impact strong; the press heralded The Boom, a econd generation of >>>Latin-American writers. >>> >>> >>>Garcia Marquez followed with a compilation of short stories (Big Mama's >>>Funeral) >>>and three novellas (Leaf Storm, No One Writes to the Colonel, and In >>>Evil >>>Hour). These dark, eerie, and sad works were influenced heavily by Franz >>> >>>Kafka yet the reveal the voice of an intelligent young writer preparing >>>himself for larger things. >>> >>> >>>Larger things came to Garcia Marquez in 1967. While suffering From >>>writer's >>>block several years earlier, the author suddenly had a vision of his >>>next >>>novel-as he has said, the first chapter was as clear as if it had >>>already >>>been written. The idea was to tell the story of several generations of a >>> >>>Colombian family as his grandmother might have told it: supernatural >>>occurrences and unbelievable events described with unblinking sincerity. >>>After eighteen months of seclusion, Garcia Marquez produced his >>>Masterpiece >>>One Hundred Years of Solitude, which has been called one of the greatest >>> >>>novels in history. >>>Gabriel Garcia Marquez was awarded the Nobel Prize for literature in 1982. >>> >>> >>> >>> >>> >> > > > ========================================================================= Date: Thu, 14 Dec 2000 19:39:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: GHWB: alleged chicken hawk -Reply Comments: To: patrick@proximate.org Mime-Version: 1.0 Content-Type: text/plain Patrick/Ron: I must object that the popular slurs in your message (>>HW allegedly has a taste for 12 year old boys, a nasty nocturnal leftover from his Andover days,<< etc., below) is a recurrence of a particular type of sex-prejudice/vilification that has passed uncontested in this Poetics List before. Recently, it was the artist Henry Darger whom people here were similarly taking stabs at this way (re: pedophilia/pederasty). Anyone objecting (like me) is of course placed in the untenable, NAMBLA-ish position of trying to defend a universal pariah figure,--- but especially in a public literary/intellectual forum such as this where, Patrick, the intention of your would-be "mudslinging" is to ~prove~ your liberalism, unexamined use of maligned stereotypes like this easy joke's seems very ill-considered, if not yahoo. The successful propagation of the "monster" image you are reenforcing has been a key tactic of the "repressive" regimes' propaganda that you're trying to puncture, may I remind us. The pederasts ("chicken hawk") or pedophiles whom you're sideswiping are ~real~ people, who by and large "suffer from" a condition,--- one that has shown to be quite unresponsive to all therapies, with almost 100% recidivism. Your scarecrow "chicken hawk" here has been the hot-bed, as it were, of nation-wide "rightist" legal extremism: the East Coast Megan Law, California legislation toward chemical castration of sex offenders, web "Most Wanted" galleries where the identity and ~addresses~ of the convicted are to be posted, etc., etc. I'm surprised that your frame of reference could be so narrow as not to know of, personally by way of social contacts, the terror that pederasts/pedophiles live under, constant anxiety over arrest, divided will, etc. You are dragging the bar of discussion extremely low. This, Henry Darger, --- go on --- Lewis Carroll? Nabokov? --- Chris (Charles B?), I thought the exclusion of such "hate mail" was one of the agreed-upon justifications for a List-monitor. To say nothing of Andover...! ------------------------------------------------- >> Patrick Herron 12/13/00 12:16pm >>> ron: "what they say about that whole side of the family is far worse than anything anyone has posted here, or is likely to" Like, that HW allegedly has a taste for 12 year old boys, a nasty nocturnal leftover from his Andover days, and that he does some serious covert work on satisfying those tastes? it certainly helps to have a man in power who has a certain weakness...it could make him very controllable, just as it could make him very controlling. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Ron Silliman Sent: Wednesday, December 13, 2000 11:37 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Dillonesque Richard, Actually, it was Mr Baker I was thinking off when I used the term thug, tho Mr Cheney comes equally to mind. I haven't figured out what to make of Mrs Rice -- she has that "deer caught in the headlights" look every time I see her on the news, a feature she shares with George W. Speaking of whom (W, that is), I do have some friends who are members of the Bush clan & what they say about that whole side of the family is far worse than anything anyone has posted here, or is likely to. Ron One more thing. The continued attacks on Conservative persons and institutions by members of this community, as if it were mere sport, divides and alienates, it rivens society and poisons the common spring of language. It is a bullying behavior because it does not permit a comeback from the other quarter. Your wits drive full blast down one way streets and run over pop up targets again and again. The use of "thugs" to describe people like Mrs. Rice, a professor at Stanford, is simply shameless. Shame on you, Ron Silliman. You really don't know the quality of person you insult. Shame. >From: Ron Silliman >Reply-To: UB Poetics discussion group >Date: Mon, 4 Dec 2000 13:26:45 -0500> To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: The perfect description> >Jon Carroll, in today's SF Chronicle, notes that all of W's folks are his >daddy's thugs from the 88-92 regime and coins the perfect description of >his >shrubness:>> "sock-puppet elect">>> Ron ____________________________________________________________________________ _________ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Thu, 14 Dec 2000 11:04:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: strict construction of close reading Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Even I had wondered at the breath-taking hypocrisy of the Supreme Court majority's invocation of equal protection and the 14th amendment -- then I read the decision -- If you read all the way through you'll note that the majority themselves realized that they dared not leave open the hole they had just torn -- so, they write that this decision is only applicable to state-wide recounts "under the present circumstances" -- rather like those tax bills passed by the House from time to time that when closely read turn out to apply to only one tax-payer -- Translation, unless your name is "Bush," don't even think about appealing any other electoral inequities to this court on the basis of the equal protection clause -- I'm going to go read a healthy dose of Melville for as antidote (by the way, in his case the fiction really is better than the poetry! though you really should read Hilton Obenzinger's discussion of CLAREL) " Subjects hinder talk." -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 (310) 338-3078 ========================================================================= Date: Fri, 15 Dec 2000 10:36:15 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcella Durand Subject: Re: a modest proposal MIME-Version: 1.0 Content-Type: text/plain > While I'm as eager as the next liberal, bleeding-heart, life-and-human loving poet to jump in and bash Scalia, I do have to take offense at the phrase "classic son of working class Italian immigrants...etc." Such an insult based on ethnic background & class is more disturbing to me than whether your friend got the definition of "nominative" right. I'd hate to see what he said about O'Connor. Let's insult Scalia based on his legal "opinions," corruption and partisanship instead--there's more than enough fodder there without having to turn to ethnic slurs (become like our racist enemies, etc.). I'm operating from a belief in both internal and external morality here... xo Marcella > Date: Mon, 11 Dec 2000 13:59:19 -0800 > From: Safdie Joseph > Subject: Re: a modest proposal > > A friend of mine, a criminal defense lawyer, wrote to me recently about > the > first audio tapes emanating from the Supreme Court regarding the events in > Florida: > > "For years, I've heard how Scalia is so smart, and finally I get to hear > him > and pass judgment, my own. He is a pedantic nominalist (that is, a person > whose search for meaning looks at the actual words as some kind of > positive > and objective marker of meaning and truth). What he resists is the notion > that truth is in the mind and can be read between the lines. But he is > right to distrust the mind, at least his own, because he is a classic son > of > working class Italian immigrants who courtesey of the Univ of Chicago has > been given the opportunity to play The Prince. However, unlike > Machiavelli, > this old buddy of Bork has class anxiety." > > He went on to describe Justices Kennedy and O'Connor in slightly more > scatalogical terms. But something seemed off to me in his definition of > nominalism, so today -- having read the latest Scalia pronouncements -- I > went to the OED. Nominalism is that philosophical belief that says there > are > no universals outside the mind, that any reality exists only because we > say > so, by giving it a name -- it's opposed to realism, which says there IS > such > a reality outside the mind. > > So perhaps, in the quote above, the weight should be given to "pedantic" > not > "nominalist." Is Justice Stevens' dissent, bulwarked by so many examples > of > precedent Florida law, "realist"? > > While it's certainly true that one person's definition of irreparable harm > is another's idea of horseshit, I wonder if these dusty philosophical > positions are still operative in today's poetics. Most poets (thinking out > loud here) would seem to be natural nominalists, in that our words are > used > for temporary effect in the poems at hand, and wouldn't necessarily have > any > universal meaning outside that particular poem. I remember hearing, years > ago, that Newton didn't discover gravity as much as he invented it -- to > which some part of my being enthusiastically assented. But Henry Gould, as > I > remember, has expressed several times his belief in an external reality > beyond "all this fiddle" . . . > > Are these issues for anyone else? > > Joe > > ========================================================================= Date: Fri, 15 Dec 2000 12:49:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Carter Subject: special for each In-Reply-To: <79.c09d5a1.27417633@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" { } special for each onglowing interior dialogue though just a claim or consider this memo the fact/emotion that for now wheel a glee t' keep separate the ray who is not a person though it may go in some humble measure to make or even wake a person so without further a morning dew itself-testing ink orbit write memory chants t' write Dr. Phyllis Ear she prey cut down on the sighs and here is already a what shall we call it a chasm? a gap? maybe an interval and already apprehensive about what to call it the next time it is encountered the next time it decides to challenge may I ask whom? now you see there's the displacement if not the displacement certainly a displacement just got around t' emphasize t' some decree the itinerary he had protected that space and any other such like space that might arise t' handcuff the water now employ a cut t' two coordinates: the necessity of leisure the National Leather Surface's particular path gradually building t' ward off for the first time oblique when possible treasure a meteor of elegant measure found itself t' be an opportunity if you like t' not have t' worry about anything and everything in your quest for the flower and at least something of the source of its flowerhood now that having pen said always the forgotten necessity ply assure a pop skip 'n' a pump-ply assure a pleisure in seed in need of a challenging boulder no less glow inside her clue accustomed toothaches ago re-ember me activate with a single press acknowledge curving the issue sufficient space double words re-echo reverberate ramify flower of visualization could've viled charges got up early got a pearly don't worry how t' work that in your general walkin' 'round the house in the middle of the nice -- ========================================================================= Date: Fri, 15 Dec 2000 17:39:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: claank design Subject: Re: a modest proposal In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable I too find these issues enormously consuming. I've been looking at them terms of quantum mechanics and also in terms of narcissism. Through both lenses this recent political upset seems to me to be the best possible thin= g that could have happened to the country. On Charlie Rose the other night I saw a bunch of very respectables all lamenting that America may loose faith in the impartiality of a judge. To me this "loss" seems like the public finally catching up to what physicists where looking at 50 years ago, that the observer can not observe without altering what he sees. So it looks like we're moving on and developing more sophisticated patterns of public thought. this is just a moment of "growing pain" The tricky part is how to embrace the quantum while avoiding the dangers of nominalism and relativism= . The narcissism argument works the same way, that is that America has been i= n a terrible narcissism, unable to see outside of itself and pigish-ly strict in its need to be world powerful. I think that this upset now is reflectiv= e of the begin of a breaking down of that narcissism where America is being forced to see that it is not what it thought it was. What all this means for American poetry could be an opening from a lot of the Natzi narrative poets and other styles which are dependent on a certainty of knowing. What it means for a American writing in general may be an opening toward poetry. I think it=B9s fabulous to say that Newton invented gravity. Really the thinking that is epitomized by Newton and industrialization has been much more compatible with that preceded it. I see him as a big disruptive lump. Of course I hope that I=B9m completely wrong :.) Andrea Baker > From: Safdie Joseph > Reply-To: UB Poetics discussion group > Date: Mon, 11 Dec 2000 13:59:19 -0800 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Re: a modest proposal >=20 > A friend of mine, a criminal defense lawyer, wrote to me recently about t= he > first audio tapes emanating from the Supreme Court regarding the events i= n > Florida: >=20 > "For years, I've heard how Scalia is so smart, and finally I get to hear = him > and pass judgment, my own. He is a pedantic nominalist (that is, a perso= n > whose search for meaning looks at the actual words as some kind of positi= ve > and objective marker of meaning and truth). What he resists is the notio= n > that truth is in the mind and can be read between the lines. But he is > right to distrust the mind, at least his own, because he is a classic son= of > working class Italian immigrants who courtesey of the Univ of Chicago has > been given the opportunity to play The Prince. However, unlike Machiavel= li, > this old buddy of Bork has class anxiety." >=20 > He went on to describe Justices Kennedy and O'Connor in slightly more > scatalogical terms. But something seemed off to me in his definition of > nominalism, so today -- having read the latest Scalia pronouncements -- I > went to the OED. Nominalism is that philosophical belief that says there = are > no universals outside the mind, that any reality exists only because we s= ay > so, by giving it a name -- it's opposed to realism, which says there IS s= uch > a reality outside the mind. >=20 > So perhaps, in the quote above, the weight should be given to "pedantic" = not > "nominalist." Is Justice Stevens' dissent, bulwarked by so many examples = of > precedent Florida law, "realist"? >=20 > While it's certainly true that one person's definition of irreparable har= m > is another's idea of horseshit, I wonder if these dusty philosophical > positions are still operative in today's poetics. Most poets (thinking ou= t > loud here) would seem to be natural nominalists, in that our words are us= ed > for temporary effect in the poems at hand, and wouldn't necessarily have = any > universal meaning outside that particular poem. I remember hearing, years > ago, that Newton didn't discover gravity as much as he invented it -- to > which some part of my being enthusiastically assented. But Henry Gould, a= s I > remember, has expressed several times his belief in an external reality > beyond "all this fiddle" . . . >=20 > Are these issues for anyone else? >=20 > Joe ========================================================================= Date: Fri, 15 Dec 2000 18:29:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Outlet (7) Survey Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Sending this again for your holiday leisure. We don't need replies till March, but are happy to get them prior as well. Elizabeth Hi, we want to publish excerpts and totals from the following survey in Outlet (7) Heroines, which will appear next summer. Please feel free to forward this to interested parties, and please return your answers to dblelucy@lanminds.com. There will be a prize for the most obscure. Thanks, The Editors Outlet (7) Survey 1. Who is your favorite obscure(d) female author (and why)? 2. Name 3 of your favorite female literary characters. 3. In which historical period would you prefer to be writing and living, if any? Thanks! ___________________________________________ Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ___________________________________________ Elizabeth Treadwell http://users.lanminds.com/dblelucy/page2.html ___________________________________________ ========================================================================= Date: Fri, 15 Dec 2000 18:30:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Outlet (7) call -- get ready for spring! Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Poetix, and sending this once more as well, tho we hope not to receive submissions, only queries, prior to March 01. Thanks, Elizabeth Outlet (7) Heroines=20 call for work =93I value fame almost as much as if I had been born a hero.=94 =20 =97Aphra Behn=20 ***** PLEASE NOTE: Submission postmark period: March 1 - May 15, 2001. = ***** (We will respond to all submissions by July 1, 2001 and the issue will appear shortly thereafter.)=20 For this issue we especially seek submissions of short appreciations of literary heroines (mostly meaning: historical female authors, but also literary characters) as well as new poetry/prose along =93heroic=94= =93themes=94.=20 =93...if it is said by those who deny us now that we have no past,=20 then we have to insist we have a past as deeply as we have a present=94=20 =97Erica Hunt, =93Notes for an Oppositional Poetics=94=20 =93She projects the icon out from herself (likes being the icon)...=94 =20 =97Rachel Blau DuPlessis, on HD=20 If you have a particular author you would like to write about please email the editors at dblelucy@lanminds.com to be sure that person has not already been spoken for. =93We double back=20 to form thoughts.=94=20 =97Rae Armantrout=20 =93Someone, I tell you,=20 will remember us.=94=20 =97Sappho=20 (trans. W. Barnstone) We encourage you to purchase (& read) a copy of Outlet (6) Stars or to peruse our website in order to get a sense of the type of work we seek. We are as always very open to hybrid genres. Outlet (7) Heroines Editor & Publisher: Elizabeth Treadwell Poetry Editor: Sarah Anne Cox Critical Prose Editor: Grace Lovelace Fictional Prose Editor: Carol Treadwell=20 Please address your submission to the appropriate editor and mail, at the appropriate time, with a SASE for reply, to: Outlet/Double Lucy Books P.O. Box 9013 Berkeley, California=20 94709 USA Thank you! We look forward to reading your work.=20 Outlet Magazine & Double Lucy Books, publisher also of the Lucille ephemera series, online at http://users.lanminds.com/dblelucy ========================================================================= Date: Fri, 15 Dec 2000 18:34:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: The NEW New Year at Small Press Traffic, SF Comments: cc: WOM-PO@listserv.muohio.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The NEW New Year at Small Press Traffic Jan. 12 Dorothy Trujillo Lusk & Rod Smith Jan. 26 Crosstown Traffic: Writing, Visual Art, and Sound the Friday start of our new Sunday series curated by Taylor Brady & Yedda Morrison Feb. 9 Sesshu Foster & Michelle Murphy Feb. 23 Caroline Bergvall & Hoa Nguyen March 9 Dodie Bellamy & Michelle Tea March 23 Sarah Anne Cox & Stephen Ratcliffe All events begin at 7:30 and are held in Timken Lecture Hall, California College of Arts and Crafts, 1111 Eighth Street, San Francisco. Admission is $5, free to SPT members and CCAC students, staff, and faculty. Flyers went out this week, and January details are now up at our website. http://www.sptraffic.org ========================================================================= Date: Fri, 15 Dec 2000 22:15:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Calligraphic Legacy Applications and the Scrawl MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Calligraphic Legacy Applications and the Scrawl unreadable calligraphic, the scrawl - one might think of the edgy brunt of the symbol, borders unprotected, conjectural spaces. what occurs to read- ing, paralleling outmoded tech - decades from now, cdroms will be as thick - unable to be decoded. from the analog to the digital, decoding becomes increasingly difficult. think of wire recording - this is readable at any speed - the double difficulty lies only in direction and speed. with mul- ti-tracking, an additional element - that of settlement of desired sounds - how many might play control-track background in the distant future? but all of this is relatively simple; helical-scan video - even scan-line vid- eo already plays calligraphic havoc. with digital, the problem is close to insurmountable - there are codes upon codes based on specific programs and protocols; there is the requirement of highly-sophisticated machinery - think of a 19th-century music-box cylinder without any other instructions - without knowing the scale employed or even the means of sound production - you're getting the idea. but the obtuse calligraphic itself is dependent upon the knowledge that, not only is the substrate readable, but the fault - if such it be - lies in the complex negotiation between writer and read- er - always already mediated. here again the unnerving, uncanny, unaccoun- table, is raised - as if the text has been cast loose from its overly fam- iliar mooring. think of xu bing or fu shan in this connection ... ASCII Strings in Snowhite (Seven Dwarfs) Computer Virus .text .rdata OHLMAGON HYBRIS hLp@ ~l5w JOXpr %.=]`~ D$| ]1-+ h32.DhWS2_T \WSO D$$+ UVUj PVUUj t$,P @Xl# TkQj81 |D}c! }2GlU i;Lwq3 IzL , =DM?a #[}, *l{ToN 2N3aw,Yh U0wm iI{m; 8Or$ }p.O Y$BH ;iOD .6D mt Y +i d B!Ct ;EIc q%HKh 3sJ} 9b3# D.bN x#5A WFY7N[9( ?dul 2TZ? XAoe$ (mmx Ck{+ Y=X"O RJsI PE=u_t ?JCc /(nO Hn `` j4)1 EqZV jT5y %|DS <~:o q~wB 9})& FJ<:R Q9`d /BCV )(Uo( Cx4] nFtext ]m)) $|]L IE\y \l

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Sender: UB Poetics discussion group From: mIEKAL aND Subject: PRYDXL (version 3.1) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit In an attempt to set the world's record for the most definitions for one word, I AM SEEKING THE MOST POSSIBLE DIFFERENT DEFINITIONS FOR THE WORD : PRYDXL (version 3.1) 1. any unknown Mayan alchemical compound [MA] 2. contradictions which only "seem" paradoxical [MA] 3. martianspeak as received by Jack Spicer 4. the ability to forget one's own phone number in a crisis [MA] 5. a web anthology of text, poems, music which which which contain little if any recognizable English. please send your submissions to Miekal And at dtv@mwt.net no deadline. what do words want? 6. a detachment disability triggered by repeated leverage buy-outs. [SK] 7. (n) in Goidelic mythology the son of Bubo and Psalter. Leprechauns kidnapped him at birth. [SK] 8. (n) one hundredth part of the Senate of Ninevah. [SK] 9. (n) an experimental fuel for disposable butane lighters. to date, it does not mix very well with methane series having two isomeric forms; however, scientists at genome labs inc., washington d.c., in a recent Scientific Journal article stated, "the mistakes were inherently isomeric. isomorphic experiments on mice look more promising, with less spelling errors, and we are all fired up by the initial results." [SK] 10. someone who has an obsessive-compulsive snooping disorder. [SK] 11. dogmatic assertion of the order of time or importance; usually referring to someone who says, "I was here first!" [SK] 12. a factory where pixels are produced. [SK] 13a. juvenile pterodactyl, faux fawn wanna be, fain, as signet is to swan [GM] 13b. (per-y-dok-l) (n) (New Latin Prydxlactylus, genus of small juvenile reptiles, from Greek pryteron wing + daktylos finger, 1830) any of vaious juvenile Prydxlosaurs (suborder Prydxlvloidea) of the Late Jurassic and Cretaceous period having a rudimentary tail and small yellow beak, main diet of mushrooms and coprolite. [CB] 14. sap extracted from the cones of indigenous pine trees; used as a preservative in eggnog. [SK] 15. a parody in essay form; used with 'of', the students were each asked to write a prydxl of War and Peace for the final examination. [SK] 16. party game using ten digits or fingers. [SK] 17. (archaic) ancient Portuguese monetary unit. [SK] 18. uncertain outcome; when one hedges one's bets, refuses to predict or to take one side v. the other, one will issue a p rydxl instead, thereby playing it safe; used mostly in legal briefs. [SK] 19.(v)( colloquial) to coin. orig. Medieval when monks would engrave their favorite slogans on the front and back of coin units to be used as talismans. gave rise to expressions such as, heads or tails and six of one half-dozen of the other. fell into disuse sometime after the invention of the two-headed coin, subsequent to which, you had flip sides of the same. [SK] 20. refers to nosey northerners who pry into the ways of southerners.[JF] 21. Xray vision produced when unraveling the double helix into cerebral cortex [EH] 22. (n) the term used in literary criticism to describe a work that displays a powerful understanding of critical theory and an able, highly experimental manipulation of the medium, but that ultimately says absolutely nothing definite, and will support any number of contradictory interpretations. is said to be named after the first text written in such a fashion, whose entire body reads 'prydxl.' informal. [DS] 23. (n) An invitation to play euchre in Alaska. [JK] 24. (n) An inconstant, unfixed, but ever-present and ever-moving co-ordinate in a computational device's active matrix at any given time. Synchronic patterns within the matrix may result in all action within the matrix being fatally suspended due to the "prydxl" being "coralled" (cf). Operating systems cannot give a warning when they suffer such a "prydxl lock". The device must be isolated from its power source and then reconnected. It is recognised that most if not all computational device freezes are caused by the locking of a prydxl. It is not yet clear whether more than one "prydxl" lock can happen simultaneously. [AM] 25. (n) that which comes before prediction (Orig:Babel Fish Corp) [SR] 26. (n) A Freudian slip accompanied by an excessive flow of saliva. As in - "Oops! I didn't mean to say it or spray it!" "You prydxlite!" [MS] 27. The predicament of having one's penis caught in a orafice (post copulation). A phenomonon that often occurs with mating dogs. [DW] 28. It's a toothpaste. Better than Crest. [JR] 29. (pree-diks-ul) (slang) a sum equivalent to $10,000. The term derives from the surname of Uigurstani president Najmani Prydxl who reputedly won his country's presidency by paying that amount to have ballot boxes excluded from the counting process (cf. a BUSH). Common usage...Do this favour for me and it's worth a prydxl. [AM] 30. one having an inordinate amount of pride (as in pride XL) [CB] 31. acronym for: People Rallying for Yankee Doodle Xenophobes of Louisiana! [CB] 32. Albanian slang for " the eye of the needle". [DW] 33. a change-changer used primarily by mass merchandise supermarkets; a machine which predetermines a fixed, arbitrary X% of the gross and bilks customers of this amount for its work; a device which leaves consumers net amount figures to exchange for paper money; an invention used to empty ashtrays, vases and the like in the home environment, where pocket change (pennies et al) has been known to collect at the speed of light; (orig.) modelled on the pinball machine, it saves customers and consumers alike the arduous tasks of counting, squeezing and rolling up change into those impossibly small paper wrappers, and then having to stand in long lines at banks for the equivalent amount in bank notes; an apparatus that changes change into cash while you play pokemon. [SK] 34. in sibling sequencing the prydxl follows the prodigy; in a family of multiples, the middle child who competes for attention; in botany, a root that sprouts at a radically different angle. [SK] 35. [L., from Gr. prydxlaeos, raw meat] the raw meat eaten by plants when roasted to a pulp by geographical natives; has world-wide distribution. [SK] 36. a robbery that almost doesn't come off [MH] 37. (n) A complex wherein the sufferer discovers that they are neither here nor there.As in -"In a state of prydxl." [MS] 38. a mirror-hung car deodorizer [MH] 39. a state of confusion one experiences when she doesn't know why she's being asked to provide her full name. [DW] 40. (v) (from the Sanskrit prydxlshad, to sit and await) to sit and wait anxiously. [SK] 41. (n) Shampoo specifically designed by the Oxydyl Corp., for putting kinks into your hairstyle. Also used in the early 18th Century by Max G. Oxydyl for his washing soap product, which was not as successful a product as his special socks for soldiers in cold war zones. [SR] 42. (n) the scab on top of a syphilitic chancre located in the genital region; not to be confused with prydxill, a non-syphilitic scab; prydxlous, a., having the qualities of a prydxl. [SK] 43. a now dis-credited anti-depressant, once lauded as "the sunshine pill". The active ingredient, prydxline hydrochloride, was suspected of causing hemorrhagic fever but initial research papers voicing this suspicion were concealed by the manufacturers Eli Glaxy and the drug extensively trialled in sub-Saharan Africa. It was never patented for use in The US or Europe. Prydxline hydrochloride is now used as an ingredient in the manafacture of flame retardant seating in aircraft. [AM] _________________________________________________________ [MA] = mIEKAL aND [SK] = Susan Katz [GM] = graymatter [JF] = Juvio Florence [EH] = Eric Hiltner [DS] = Drew S [JK] = JL Kato [AM] = Alan Mumford [SR] = Stanley Roberts [MS] = Melissa Songer [DW] = D Wright [JR] = Judy Roitman [CB] = Corinne Bailey [MH] = Michael Helsem ----------------------------------------------------------- Internalational Dictionary of Neologisms http://net22.com/neologisms/index.html dtv@mwt.net ========================================================================= Date: Sat, 16 Dec 2000 13:51:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Organization: e.g. Subject: poetic beauty products MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit There's a line of "Dirty Girl" cosmetics, but do Bataille characters count? Then there's the problem of the actual cosmetics and soap, which are about packaging. There was a line of cosmetics at a mall store I don't know exists anymore called Spencer. These are what I would expect: burgundy colored cherry chocolate flavored high gloss lip gloss in black octagonal pots. These are probably "trashy", not dirty, though. I suppose a well matched human hair mustache applied with spirit gum, even after Shakespeare in Love, is still far more disturbing than any amount of glittery blue eye shadow. Some of Laure's poems from the collected writings were published at Apex of the M before they showed up in book form. Rgds, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Sun, 17 Dec 2000 11:34:16 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: VideoRiflessi 2000 / Poevisioni MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII VideoRiflessi 2000 / Poevisioni Politeama Ruzzi - Corso Nuova Italia Vasto - CH Video & Digital Video Video, CD & Web Poetry Sounds Images Among the artists: Anna Alchuk, Antal Lux, Akenaton, Wilton Azevedo, Beatrice Babin, Brice Bowman, Halsey Brown, Dimitri Bulatov, Doc(k)s, Ginestra Calzolari, Caterina Davinio, Robin Dupuis, Joanna Empain, Emilio Fantin, Julie-Cristine Fortier, Isabelle Hayeur, Olga Kumeger, Lara Lee, Caudette Lemay, Sergey Letov, Piladelpho Menezes, Yuri Norstein, Clemente Padin, Sebastien Pesot, John Prescott, Anna Maria Pugliese, Christine Rheys, Javier Robledo, Carla Vittoria Rossi, Roberto Rossini, Luisa Sax, Studio Azzurro, Walter Ungerer, Vonda Yarberry, Wolfgan Ziemer Valentina Monti presents: La camera ad Acqua - Studio Azzurro ------------------------------------------------------------------------ Matita Film Festival Curator: Camillo D'Alessandro Digital graphics and animation from animation schools from all over the world. 20 short films that can give a panorama of the various animation techniques with some attention to the aesthetics in this genre for experts. Uno sguardo sulla pi brillante animazione d'autore e sulla recentissima produzione delle scuole di cinema d'animazione di tutto il mondo. 20 cortometraggi che tentano di offrire un ampio ventaglio delle varie tecniche di animazione ed aprire uno spiraglio sull'estetica, a volte ingenua, a volte raffinatissima, di questo genere "di nicchia" ScuoleVideo Curators: Nico Savino and Simona Piattella Unimovie Unimovie is an international videos and short films festival, which fins place every year in Pescara (Italy) and presents works realized from students of cinema, art and communication, . In 2000 there was the 4th edition which presented works from 30 lands from all over the world. The winner is "Kootsko Gaksi", by Semi Ryu, based on the old Korean theatre; the public award was for "Das experiment", an ironic work created by Stockmann and Zank. The works of the videofiction section follow: the winners are the artists Barmen and Tegninger; Than, the section Meltin'pot, special award "Strike fp". At the end of the compilation: "Desiderio Inconfessabile", a work by Piattella and Savino, authors from Pescara, organizers of the Unimovie festival Unimovie un festival internazionale di video e cortometraggi realizzati da studenti di scuole di cinema, arte e comunicazione, che si svolge ogni anno a Pescara. Nel 2000 si avuta la quarta edizione che ha raccolto opere provenienti da 30 paesi di tutto il mondo. I primi lavori in rassegna sono quelli della sezione animazione, tra cui il vincitore di questa categoria, Kootsko Gaksi, di Semi Ryu, incentrato sull'antico teatro coreano delle marionette, e il premio del pubblico Das experiment, lavoro divertente ed ironico dei tedeschi Stockmann e Zank. Seguono i lavori della sezione videofiction, tra cui i vincitori ex aequo, entrambi scandinavi, Barmen e Tegninger, e quelli della sezione Meltin'pot, vincitori del premio speciale Strike fp. Chiude la rassegna il Desiderio Inconfessabile di Piattella e Savino, autori pescaresi, oganizzatori proprio del festival Unimovie. Poevisioni Video, Computer & Web Poetry Curator: Caterina Davinio In the Sixties the linearity of the poetic text was fragmented, deconstructed, broken thanks to the ironic, playful intervention of desecration of the visual and performative poets. At the same time continued the research of the pioneers of the international electronic art, but the to ambits remained mainly separated, and the performance saw, at the beginning of the Nineties, still the centrality of the performer body, when, in the electronic art, the artists already began to speak about the concept of collective author, also referring to the web-art. I direct my attention toward those video and computer artist (recently CD and web artist) who tried an experimentation in contact with the poetry text in its larger conception: as linear, visual, sonore, performative text, founding a new discourse that I find very interesting also as artist. The presented authors come from different experiences: literature, cinema, photography, visual arts, performance, and, in this variety, they contribute to create an frontier area of contamination between the languages, that is the contemporary art. (Davinio) Negli anni Sessanta la linearit del testo poetico era frammentata, decostruita, infranta da un impeto dissacratore, ironico, ludico, dai poeti visivi e performativi. Nello stesso tempo procedeva la ricerca dei pionieri internazionali delle arti elettroniche, ma i due ambiti rimanevano in circuiti separati e la performance poetica vedeva in Italia ancora all'inizio degli anni 90 la centralit del corpo del performer, quando gi nell'ambito delle arti visive si parlava di realt virtuali, di autore collettivo, anche in relazione al web. Ho concentrato negli anni il mio interesse verso quei video e computer artisti, e recentemente autori di CD d'arte e di web art, che cercano un confronto col testo poetico nella sua accezione pi ampia: da quello lineare a quello visivo, sonoro, performativo, gettando le basi per un discorso nuovo che m'interessa anche come artista. Gli artisti provengono da esperienze e formazioni diverse: letteratura, cinema, fotografia, arti visive, performance,e, pur nella diversit,contribuiscono tutti a creare quel territorio di confine e contaminazione tra linguaggi che l'arte contemporanea. (Davinio) http://space.tin.it/arte/cprezi/poevisioni2000catalogo.htm .. karenina.IT Experimental http://digilander.iol.it/karenina/ Davinio Art Electronics - Archives / Videotheque / Rome / Milan Art Electronics and Other Writings http://space.tin.it/arte/cprezi --- from list avant-garde@lists.village.virginia.edu --- ========================================================================= Date: Fri, 15 Dec 2000 09:55:04 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mayhew, Jonathan E" Subject: Garcia Marquez MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The farewell letter purportedly from Gabriel Garc=EDa M=E1rquez is a = hoax. He didn't write it and has publicly denounced it many times over. [It has = been circulating the internet for several months.] It is true that he is = sick and is writing his memoires. He is on record as stating that he is embarrassed that anyone might think he actually wrote that dreadfully sentimental poem attributed to him! =20 Jonathan Mayhew Department of Spanish and Portuguese University of Kansas ========================================================================= Date: Fri, 15 Dec 2000 10:16:08 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Mayhew, Jonathan E" Subject: Is an epigram better than an ode MIME-Version: 1.0 Content-Type: text/plain I didn't think when signing up for poetics list that I was indicating a preference for a particular genre. I don't see how poetry can be better than fiction, because poetry is in fact fiction. (Wallace Stevens seemed to think so.) When I think of Samuel Beckett, I'm not thinking of him as a dramatist, a poet, or a fiction writer; those distinctions don't mean a whole lot in this context. I remember a Spanish friend of mine, when Octavio Paz, trying to convince him to take sides in a dispute he was having with Carlos Fuentes, said that he (my friend) should take the side of a poet against that of a mere novelist. But for me, novelists and dramatists are poets, while poets are also "fiction writers." It doesn't seem useful to me to say that poetry is "better" in any meaningful sense. ========================================================================= Date: Fri, 15 Dec 2000 08:22:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Muhonjia Khaminwa Subject: Re: HOAX: A Message from Garcia Marquez Comments: To: Tisa Bryant , 1st World Women , Family Stand , The Village In-Reply-To: from Tisa Bryant on Fri, 15 Dec 2000 00:49:48 -0800 MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit What a relief, I was worried that if GGM could sink to this, what terrible writing could I look forward to producing when faced with illness and other tragedies. ---- Tisa Bryant wrote: > Hey all: > > I've been told by many that this message from Garcia Marquez is a hoax. See > below for more details. > > May the cycle of bad karma catch up to the originator of this e-mail! > > And may you all have happy and hoax-free holidays! > > Love, > > Tisa > > ---------- > From: "John R. Keene" > Date: Thu, 14 Dec 2000 14:37:04 -0500 > To: Tisa Bryant , 1st World Women > , The Village , Family Stand > > Subject: Re: A Message from Garcia Marquez > > Tisa: > > Thanks for sending this. I'd forwarded it on to someone who let me know > that it's a hoax! :-( I gather that Garcia Marquez has addressed it > directly. He does have lymphatic cancer, but he has been squirreled away > writing his memoirs and completing several books of short stories. He did > recently appear at the inauguration of Vicente Fox Quesada, Mexico's new > president. > > For more info on this, try: > > >http://www.cnn.com/2000/books/news/12/11/colombia.garcia.marque.ap/index.htm > > All love, John > > At 09:12 AM 12/14/2000 -0800, Tisa Bryant wrote: > >Hey, loves! > > > >I too got this through a list serv. It's heartbreakingly beautiful. > > > >Something to meditate on this holiday season... > > > >> ---------- Forwarded message ---------- > >> Date: Tue, 12 Dec 2000 14:25:20 -0600 > >> Subject: Marquez > >> > >> I got this through a listserv. I thought it was worth passing on... Ruth > >> > >> Gabriel Garcia Marquez* has retired from public life due to health > >reasons: > >> cancer of the lymph nodes. It seems that it is getting worse. He has > >> sent this farewell letter to his friends, which has been translated and > >> posted on the Internet. Please read and forward to any who might enjoy it. > >> This is possibly, sadly, one of the last gifts to humanity from a true > >> master. > >> This short text, written by one of the most brilliant Latin Americans in > >> recent times, is truly moving. > >> > >>>If for an instant God were to forget that I am rag doll > >>>and gifted me with a piece of life, > >>>possibly I wouldn't say all that I think, > >>>but rather I would think of all that I say. > >>>I would value things, not for their worth > >>>but for what they mean. > >>>I would sleep little, dreammore, > >>>understanding that for each minute we close our eyes > >>>we lose sixty seconds of light. > >>>I would walk when others hold back, > >>>I would wake when others sleep. > >>>I would listen when others talk, and > >>>how I would enjoy a good chocolate ice cream! > >>>If God were to give me a piece of life, > >>>I would dress simply, > >>>throw myself face first into the sun, > >>>baring not only my body but also my soul. > >>>My God, if I had a heart, > >>>I would write my hate on ice, > >>>and wait for the sun to show. > >>>Ove the stars I would paint > >>>with a Van Gogh dream > >>>a Benedetti poem, > >>>and a Serrat song. > >>>I would be the serenade > >>>I'd offer to the moon. > >>>With my tears I would water roses, > >>>to feel the pain of their thorns, > >>>and the red kiss of their petals. > >>>My God, if I had a piece of life... > >>>I wouldn't let a single day pass > >>>without telling the people I love that > >>>I love them. > >>>I would convince each woman > >>>and each man that they are my favorites, > >>>and I would live in love with love. > >>>I would show men how very wrong they are > >>>to think that they cease to be in love > >>>when they grow old, not knowing that > >>>they grow old when they cease to be in love! > >>>To a child I shall give wings, > >>>but I shall let him learn to fly on his own. > >>>I would teach the old that > >>>death does not come with old age, > >>>but with forgetting. > >>>So much have I learned from you, oh men... > >>>I have learned that > >>>everyone wants to live on > >>>the peak of the mountain, > >>>without knowing that > >>>real happiness is in how it is scaled. > >>>I have learned that when > >>>a newborn child squeezes for the first time > >>>with his tiny fist his father's finger, > >>>he has him trapped forever. > >>>I have learned that a man has > >>>the right to look down on another only > >>>when he has to help the other get to his feet. > >>>>From you I have learned so many things, > >>>but in truth they won't be of much use, > >>>for when I keep them within this suitcase, > >>>unhappily shall I be dying. > >>> > >>> > >>>GABRIEL GARCIA MARQUEZ > >>> > >>>A QUICK BIO ON THE MASTER: > >>>Colombian author Gabriel Garcia Marquez began his career as a Journalist > >>>for > >>>a series of liberal South American newspapers in the late 1940's. > >>>Although he > >>>toyed with fiction as a young man, his first true efforts were incited > >>>by the > >>> > >>>negative reviews of contemporary Latin-American writers. The result was > >>>the > >>>short story The Third Resignation. The reviews of the story were > >>>positive and > >>>the impact strong; the press heralded The Boom, a econd generation of > >>>Latin-American writers. > >>> > >>> > >>>Garcia Marquez followed with a compilation of short stories (Big Mama's > >>>Funeral) > >>>and three novellas (Leaf Storm, No One Writes to the Colonel, and In > >>>Evil > >>>Hour). These dark, eerie, and sad works were influenced heavily by Franz > >>> > >>>Kafka yet the reveal the voice of an intelligent young writer preparing > >>>himself for larger things. > >>> > >>> > >>>Larger things came to Garcia Marquez in 1967. While suffering From > >>>writer's > >>>block several years earlier, the author suddenly had a vision of his > >>>next > >>>novel-as he has said, the first chapter was as clear as if it had > >>>already > >>>been written. The idea was to tell the story of several generations of a > >>> > >>>Colombian family as his grandmother might have told it: supernatural > >>>occurrences and unbelievable events described with unblinking sincerity. > >>>After eighteen months of seclusion, Garcia Marquez produced his > >>>Masterpiece > >>>One Hundred Years of Solitude, which has been called one of the greatest > >>> > >>>novels in history. > >>>Gabriel Garcia Marquez was awarded the Nobel Prize for literature in 1982. > >>> > >>> > >>> > >>> > >>> > >> > > > > > > > > > > ========================================================================= Date: Fri, 15 Dec 2000 13:51:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Daniel M. Nester" Subject: LPZ #5 is now online Comments: To: Andy Morgan , Jessica Anthony , Kera Bolonik , Connelly Chris , Jim Cory , Denise Duhamel , "Jay P. Eversman" , Marj Hahne , Mark Halliday , "Scott B. Harshbarger" , Tom Hartman , Bob Holman , Kim Horner , Coleman Hough , Maura Jasper , Heiko Kalmbach , Daniel Kane , Tracey Knapp , Wayne Koestenbaum , Stellasue Lee , Stuart Lishan , Margit Longbrake , Nikki_Nikola MacDonald , Sebastian Matthews , Marie McGowan , Greg Meier , Sean Messano , Michael Broder , Carley Moore , Andy Morgan , Dickson Musslewhite , Editor NYCPoetry , Charles O'Hay , Kathleen Ossip , Ethan Paquin , Wang Ping , Rick Rockwell , Rebecca Ross , Michael Rothenburg , Matt Rover , "C.J. Sage" , Sal Salalin_RealPoetik , James Sallis , Scott Edward Anderson , Sean Singer , Bob Slaymaker , Rita Soto , Susanna Speier , Rachael Stark , Heather Starr , "David St. John" MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable Announcing the publication of La Petite Zine #5 Poetry by | Michael Broder | Meghan Cleary | Jim Cory | Michael Farrell |= Stuart Lishan | Carley Moore | Charles O=E2=80=99Hay | Derek Webster | =20 Multi-Millionaire =20 Haiku by Rick Rockwell | =20 Monologues by Coleman Hough | =20 Fiction by | Mark Budman | Dickson Musslewhite | James Sallis =20 =20 =20 Daniel M. Nester danielmnester@hotmail.com ________________________________________ Editor in chief, La Petite Zine http://www.webdelsol.com/La_Petite_Zine Contributing editor, Painted Bride Quarterly http://www.webdelsol.com/pbq ________________________________________ Poetry links: Cortland Review: http://www.cortlandreview.com/issue/11/nester11.htm The East Village: http://www.fauxpress.com/t8/nester/p1.htm Exquisite Corpse: http://www.corpse.org/issue_4/burning_bush/nester.htm XConnect: http://ccat.sas.upenn.edu/xconnect/v5/i2/g/nester1.html
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========================================================================= Date: Sun, 17 Dec 2000 14:47:52 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: GHWB: alleged chicken hawk -Reply In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit first of all, it was I who dragged the bar so very low, not ron. however, what i suggested were allegations that have been collected from various police ledgers across the country and written off as bizarre. please note i said "allegedly." i took particular offense at the darger post when it was suggested he was a pedophile. the heuristic used to reach the rather specious conclusion that darger was a pedophile is nothing like the criteria used to form the allegation about HW. the stuff about darger is based on knee-jerk repressed reaction to rather unusual drawings; whereas the evidence about bush's alleged pedophilia comes from a number of police reports over a course of 15 years or so from different locations across the country. all reports came from children who were reported missing and later returned home, with stories that were considered as shockingly imaginative. "Patrick, the intention of your would-be "mudslinging" is to ~prove~ your liberalism, unexamined use of maligned stereotypes like this easy joke's seems very ill-considered, if not yahoo. The successful propagation of the "monster" image you are reenforcing has been a key tactic of the "repressive" regimes' propaganda that you're trying to puncture, may I remind us." uh, you are incorrect. you cannot read my mind, and it seems proven by your statement in quotes above. you share no insight into my motivations. i might be a bit yahoo, though. are you familiar with bush family funding for genocidal programs during the last 70 years or so across the world? the bushes are monsters. samuel prescott helped make sure there was a war in germany and sent hitler piles of moolah before he had any followers. monsters. the FUCKERS made sure to start a war so they could make piles of money for Brown Brothers Harriman and their holding companies. that is monstrous. they continued to supply resources to the nazis through 1943. monsters. i don't know if you are familiar with the history of the cia, or the history of cocaine and heroin running in america for the last 40 years, or a big savings & loan crisis, or the iran contra affair, or so many things, but i can safely say this guy qualifies as a monster. bushes seem to be monsters. if anything, if HW were a child molester that might actually dilute his monster standing. there might be something profoundly tragic about the guy. as far as dumya goes, other than his ability to loot the texas population as the texans smile (the rangers' stadium, anyone) I have no idea how much of a monster he is. unlike his daddy or granddaddy, i don't think dumya is smart enough to be a monster. he'll hire monsters instead, because to him it's like being back in a frat or some silly shit. wake up and smell your own breath. i certainly have no need to "prove my liberalism." evidence? the most economically and militarily right-wing presidency America has seen is the clinton administration. 33 military deployments, nafta and the wto add up to that. reagan and bush combined mustered only 6 military deployments, in comparison. i ain't no conservuhtive and i ain't no lib neither. are you skull and bones? why do you suggest that the allegations i shared here are "hate mail"? they are allegations, but not hate mail. such a loaded phrase, "hate mail." you could not even pass my words as slander, much less as "hate mail." most accusations regarding pedophilia are usually based on a need to slander people, so i see how you jumped to a rather distant conclusion about my intent. i understand that. you are wrong, however, completely. i also would beg to differ with you and suggest that pedophiles are not diseased, and not to be cured. sexuality is much more complicated than that. i see pedophilia not as a monstrous illness, oh no. i see it instead as a sort of patheticness, a severe sexual statis that has hints of despotic behavior. i am a big fan and i see none of that in darger. "Lolita" is one of my favorite novels, and Humbert Humbert is marked by these very traits of sexual stasis (brought on by a childhood trauma) and a need for despotic control. but i do not see pedophilia as necessarily "monstrous." as an example, I would point you to a Louis Malle film, "Le Souffle au coeur." the bush family helped start the first castration/eugenics program in America, with the Gray family, in Winston-Salem, NC. there's your castration for you. i think you managed to jump to some rather silly and needless conclusions about me and my intentions. and to lump ron's name here where this was obviously my responsibility is misguided at best. if george herbert walker bush is a pedophile and he is not living under the terror that you suggest, then he is probably living under the fed-form of terror that i originally suggest. but the bushes, and the people they represent, deserve all shame and scorn. bloody monarchs. i thought we were rid of monarchy in america. i thought wrong. i will avoid judgments as to why you feel a need to protect the monarchs. Patrick Herron -----Original Message----- From: Jeffrey Jullich [mailto:JJULLICH@claven.gsb.columbia.edu] Sent: Thursday, December 14, 2000 7:40 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU; patrick@proximate.org Subject: GHWB: alleged chicken hawk -Reply Patrick/Ron: I must object that the popular slurs in your message (>>HW allegedly has a taste for 12 year old boys, a nasty nocturnal leftover from his Andover days,<< etc., below) is a recurrence of a particular type of sex-prejudice/vilification that has passed uncontested in this Poetics List before. Recently, it was the artist Henry Darger whom people here were similarly taking stabs at this way (re: pedophilia/pederasty). Anyone objecting (like me) is of course placed in the untenable, NAMBLA-ish position of trying to defend a universal pariah figure,--- but especially in a public literary/intellectual forum such as this where, Patrick, the intention of your would-be "mudslinging" is to ~prove~ your liberalism, unexamined use of maligned stereotypes like this easy joke's seems very ill-considered, if not yahoo. The successful propagation of the "monster" image you are reenforcing has been a key tactic of the "repressive" regimes' propaganda that you're trying to puncture, may I remind us. The pederasts ("chicken hawk") or pedophiles whom you're sideswiping are ~real~ people, who by and large "suffer from" a condition,--- one that has shown to be quite unresponsive to all therapies, with almost 100% recidivism. Your scarecrow "chicken hawk" here has been the hot-bed, as it were, of nation-wide "rightist" legal extremism: the East Coast Megan Law, California legislation toward chemical castration of sex offenders, web "Most Wanted" galleries where the identity and ~addresses~ of the convicted are to be posted, etc., etc. I'm surprised that your frame of reference could be so narrow as not to know of, personally by way of social contacts, the terror that pederasts/pedophiles live under, constant anxiety over arrest, divided will, etc. You are dragging the bar of discussion extremely low. This, Henry Darger, --- go on --- Lewis Carroll? Nabokov? --- Chris (Charles B?), I thought the exclusion of such "hate mail" was one of the agreed-upon justifications for a List-monitor. To say nothing of Andover...! ------------------------------------------------- >> Patrick Herron 12/13/00 12:16pm >>> ron: "what they say about that whole side of the family is far worse than anything anyone has posted here, or is likely to" Like, that HW allegedly has a taste for 12 year old boys, a nasty nocturnal leftover from his Andover days, and that he does some serious covert work on satisfying those tastes? it certainly helps to have a man in power who has a certain weakness...it could make him very controllable, just as it could make him very controlling. -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Ron Silliman Sent: Wednesday, December 13, 2000 11:37 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Dillonesque Richard, Actually, it was Mr Baker I was thinking off when I used the term thug, tho Mr Cheney comes equally to mind. I haven't figured out what to make of Mrs Rice -- she has that "deer caught in the headlights" look every time I see her on the news, a feature she shares with George W. Speaking of whom (W, that is), I do have some friends who are members of the Bush clan & what they say about that whole side of the family is far worse than anything anyone has posted here, or is likely to. Ron One more thing. The continued attacks on Conservative persons and institutions by members of this community, as if it were mere sport, divides and alienates, it rivens society and poisons the common spring of language. It is a bullying behavior because it does not permit a comeback from the other quarter. Your wits drive full blast down one way streets and run over pop up targets again and again. The use of "thugs" to describe people like Mrs. Rice, a professor at Stanford, is simply shameless. Shame on you, Ron Silliman. You really don't know the quality of person you insult. Shame. >From: Ron Silliman >Reply-To: UB Poetics discussion group >Date: Mon, 4 Dec 2000 13:26:45 -0500> To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: The perfect description> >Jon Carroll, in today's SF Chronicle, notes that all of W's folks are his >daddy's thugs from the 88-92 regime and coins the perfect description of >his >shrubness:>> "sock-puppet elect">>> Ron ____________________________________________________________________________ _________ Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ========================================================================= Date: Sun, 17 Dec 2000 14:49:22 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Medical Competition MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Subject: Medical Competition An Israeli doctor said "Medicine in my country is so advanced, we can take a kidney out of one person, put it in another, and have him looking for work in six weeks." A German doctor said, "That's nothing. In Germany we can take a lung out of one person, put it in another, and have him looking for work in four weeks." A Russian doctor said, "In my country medicine is so advanced, we can take half a heart from one person, put it in another, and have them both looking for work in two weeks." The American doctor, not to be outdone, said, "Ha! We are about to take an asshole out of Texas, put him in the White House, and half the country will be looking for work the next day." ========================================================================= Date: Mon, 18 Dec 2000 13:54:01 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AERIALEDGE@AOL.COM Subject: MLA Group Readings Dec 28 & 29 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Bridge Street Books MLA Group Reading Thursday December 28 Charles Bernstein | Lee Ann Brown | Johanna Drucker | Graham Foust Rachel Blau DuPlessis | Peter Gizzi | Loss Glazier | Susan Howe Yunte Huang | Laura Moriarty | Aldon Nielsen Bob Perelman | Jerome Rothenberg | Linda Russo | Susan Schultz Susan Stewart | Juliana Spahr | Lorenzo Thomas | Keith Waldrop Rosmarie Waldrop | Barrett Watten | Elizabeth Willis 7:30 pre-reading reception at Bridge Street 2814 Pennsylvania Ave NW 8:30 Group Reading at The Four Seasons Hotel 2800 Pennsylvania Ave NW, Corcoran Ballroom, Salon B 10:30 post-reading reception at Bridge Street Bridge Street Books is located in Georgetown, 5 blocks from the Foggy Bottom Metro stop, two doors from the Four Seasons Hotel. Contact Rod Smith: aerialedge@aol.com Bridge Street Books, 2814 Pennsylvania Ave NW, Washington, DC 202 965 5200 MLA DC Poets Night Friday December 29, 8:00 pm Georgetown University, Walsh Black Box Theatre Leslie Bumstead | Tina Darragh | Jean Donnelly | Buck Downs Carolyn Forche | Heather Fuller | Dan Gutstein | P. Inman Beth Joselow | Tom Mandel | David McAleavey Tom Orange | Rod Smith | Mark Wallace The Black Box Theater is located in the Walsh Building, just outside the Main Campus of Georgetown University, on 36th St NW between N and Prospect Streets. contact Tom Orange: oranget@gusun.georgetown.edu http://www.dcpoetry.com ========================================================================= Date: Sun, 17 Dec 2000 18:37:00 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: ART ELECTRONICS Organization: Art Electronics Subject: VideoRiflessi 2000 / Poevisioni MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit * Apologize for cross posting * VideoRiflessi 2000 / Poevisioni Politeama Ruzzi - Corso Nuova Italia Vasto - CH Video & Digital Video Video, CD & Web Poetry Sounds Images Among the artists: Anna Alchuk, Antal Lux, Akenaton, Wilton Azevedo, Beatrice Babin, Brice Bowman, Halsey Brown, Dimitri Bulatov, Doc(k)s, Ginestra Calzolari, Caterina Davinio, Robin Dupuis, Joanna Empain, Emilio Fantin, Julie-Cristine Fortier, Isabelle Hayeur, Olga Kumeger, Lara Lee, Caudette Lemay, Sergey Letov, Piladelpho Menezes, Yuri Norstein, Clemente Padin, Sebastien Pesot, John Prescott, Anna Maria Pugliese, Christine Rheys, Javier Robledo, Carla Vittoria Rossi, Roberto Rossini, Luisa Sax, Studio Azzurro, Walter Ungerer, Vonda Yarberry, Wolfgan Ziemer Valentina Monti presents: La camera ad Acqua - Studio Azzurro ------------------------------------------------------------------------ Matita Film Festival Curator: Camillo D'Alessandro Digital graphics and animation from animation schools from all over the world. 20 short films that can give a panorama of the various animation techniques with some attention to the aesthetics in this genre for experts. Uno sguardo sulla più brillante animazione d'autore e sulla recentissima produzione delle scuole di cinema d'animazione di tutto il mondo. 20 cortometraggi che tentano di offrire un ampio ventaglio delle varie tecniche di animazione ed aprire uno spiraglio sull'estetica, a volte ingenua, a volte raffinatissima, di questo genere "di nicchia" ScuoleVideo Curators: Nico Savino and Simona Piattella Unimovie Unimovie is an international videos and short films festival, which fins place every year in Pescara (Italy) and presents works realized from students of cinema, art and communication, . In 2000 there was the 4th edition which presented works from 30 lands from all over the world. The winner is "Kootsko Gaksi", by Semi Ryu, based on the old Korean theatre; the public award was for "Das experiment", an ironic work created by Stockmann and Zank. The works of the videofiction section follow: the winners are the artists Barmen and Tegninger; Than, the section Meltin'pot, special award "Strike fp". At the end of the compilation: "Desiderio Inconfessabile", a work by Piattella and Savino, authors from Pescara, organizers of the Unimovie festival Unimovie è un festival internazionale di video e cortometraggi realizzati da studenti di scuole di cinema, arte e comunicazione, che si svolge ogni anno a Pescara. Nel 2000 si è avuta la quarta edizione che ha raccolto opere provenienti da 30 paesi di tutto il mondo. I primi lavori in rassegna sono quelli della sezione animazione, tra cui il vincitore di questa categoria, Kootsko Gaksi, di Semi Ryu, incentrato sull'antico teatro coreano delle marionette, e il premio del pubblico Das experiment, lavoro divertente ed ironico dei tedeschi Stockmann e Zank. Seguono i lavori della sezione videofiction, tra cui i vincitori ex aequo, entrambi scandinavi, Barmen e Tegninger, e quelli della sezione Meltin'pot, vincitori del premio speciale Strike fp. Chiude la rassegna il Desiderio Inconfessabile di Piattella e Savino, autori pescaresi, oganizzatori proprio del festival Unimovie. Poevisioni Video, Computer & Web Poetry Curator: Caterina Davinio In the Sixties the linearity of the poetic text was fragmented, deconstructed, broken thanks to the ironic, playful intervention of desecration of the visual and performative poets. At the same time continued the research of the pioneers of the international electronic art, but the to ambits remained mainly separated, and the performance saw, at the beginning of the Nineties, still the centrality of the performer body, when, in the electronic art, the artists already began to speak about the concept of collective author, also referring to the web-art. I direct my attention toward those video and computer artist (recently CD and web artist) who tried an experimentation in contact with the poetry text in its larger conception: as linear, visual, sonore, performative text, founding a new discourse that I find very interesting also as artist. The presented authors come from different experiences: literature, cinema, photography, visual arts, performance, and, in this variety, they contribute to create an frontier area of contamination between the languages, that is the contemporary art. (Davinio) Negli anni Sessanta la linearità del testo poetico era frammentata, decostruita, infranta da un impeto dissacratore, ironico, ludico, dai poeti visivi e performativi. Nello stesso tempo procedeva la ricerca dei pionieri internazionali delle arti elettroniche, ma i due ambiti rimanevano in circuiti separati e la performance poetica vedeva in Italia ancora all'inizio degli anni 90 la centralità del corpo del performer, quando già nell'ambito delle arti visive si parlava di realtà virtuali, di autore collettivo, anche in relazione al web. Ho concentrato negli anni il mio interesse verso quei video e computer artisti, e recentemente autori di CD d'arte e di web art, che cercano un confronto col testo poetico nella sua accezione più ampia: da quello lineare a quello visivo, sonoro, performativo, gettando le basi per un discorso nuovo che m'interessa anche come artista. Gli artisti provengono da esperienze e formazioni diverse: letteratura, cinema, fotografia, arti visive, performance,e, pur nella diversità,contribuiscono tutti a creare quel territorio di confine e contaminazione tra linguaggi che è l'arte contemporanea. (Davinio) http://space.tin.it/arte/cprezi/poevisioni2000catalogo.htm .. karenina.IT Experimental http://digilander.iol.it/karenina/ Davinio Art Electronics - Archives / Videotheque / Rome / Milan Art Electronics and Other Writings http://space.tin.it/arte/cprezi ========================================================================= Date: Sun, 17 Dec 2000 11:48:28 -0800 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 Albion Moonlight (Tekton Mantis?) at solipsis@hevanet.com wrote to complain/rant about the poetry/book contest at Fence Magazine, which RealPoetikers were informed of last week. The problem was the fact that Allen Grossman is judging (RealPoetik knew nothing of Mr. Grossman). Turns out Allen Grossman has been described by Harold Bloom as "one of our most disturbing and humanly gifted poets." This is not a good sign. "Grossman...graduated from Harvard in 1954..." (bad sign) He is currently Mellon Professor in the Humanities at Johns Hopkins University..." (another bad sign) "...(and) author of seven books of poetry....His most recent book of critical work is The Long Schoolroom: Lessons in the Bitter Logic of the Poetic Principle.... Awards include the Guggenheim Fellowship, the Witter Bynner Prize of the American Academy and Institute of Arts and Letters," (very bad sign), "and the MacArthur Fellowship." (Kiss of death). What ticked Albion off, however, were comments regarding Ezra Pound and a proposed direction for lit production. Albion writes: "the way mr. grossman says "important poet" or pound "shouldve been hanged just strikes me as too facile and onesided..and really just dumb.." Albion has been kind enough to send us the original Grossman interview (so you can judge for yourself) as well as some commentary verse/ rant that he responded with. Herewith included. Poem first. Fuck Academic poetry and Fuck Allen Grossman I think I am beginning to enjoy being an outsider in all the art-cultures, but for those of you wanting to get in.. one more poetry contest.. Bloom lauds Grossman so he must be good Bloom being the ultimate reader or so he tells us Grossman calls for a poetry of catastrophe and blah blah blah.. fuck these academics I done had school from the Poet Laureate of Texas James Hoggard He called me a solipsis-t and that my friend is what I am I think I'd rather read douglas p. and get drunk on the week-ends as usual.. but thats just me (i'm a closet painter) I'm really into the catastrophe (I like the way it looks) its lurid and beautiful Hitler killed 6 million Jews Stalin killed Ten million folks of some kind and still we are overrun with idiots population is marching on You can't even read a book by Pentii Linkola in English but Allen Grossman can go on all week about catastrophe poetry and how Pound is an anti-semite traitor and I quote "that shouldve been hanged" Is that what pound was? I think youre just another Gorgon Allen Grossman turning being to stone just another reductionist in a sea of reductionists riding your dumb patchwork hobby-horse thru history like you owned it.. Fuck you Allen Grossman I might weep for the rainforrest but I dont give a fuck about your poetry Catalogue of Judgement Is it sheer numbers that bred the term holocaust is the murder of the aztecs considered a holocaust do they have a nuclear state how many millenia did romans have slaves how many ancient egyptians were in involved in anti-hittitism many conspiracy theorists in the black community are convinced AIDS is biological warfare perpetrated by the US CIA how many have died of AIDS 80million 100million I wonder what Genghis Khan couldve done with tanks and rockets and saran gas I wonder I wonder what the spanish wouldve done with machine guns and technologically advanced logistics instead of their perverse Christianity and pure will-power It is a fallacy to believe that the atrocities of the 20th century are anything other than leitmotiv a return with new tools new subjectivities how many times must we listen while our innocence as a species is demonized by those with an agenda with a ready judgement for our violent mystery for our savage beauty sleepers awake is what Patchen taught us awaken to the dream war is evil useless and extremely old as old as we are and has made us right or wrong into beasts of anger and light we are always asking always moving every moment is primordia and little human judgements are lost in this vast soup of days and lives Subject: Harvard poetry festival (RealPoetik Editor's Comment: It's a wonderful example of academic writing of a sort, kind of the academic equivilant of Rush Limbaugh, whose newsgroup is aptly subtitled "The newsgroup for the derogation of everyone.) In this interview with The Harvard Advocate, Grossman discusses = the progress of American and English poetry since the High Modern = period. He suggests that poetry still has not adequately addressed the = cultural problems demonstrated by the Holocaust and World War II, and that = no poetry has arisen to supplant Ezra Pound's traitorous and = Anti-Semitic account of history. Neal Eckard: You said in a 1981 interview that poetry in America = was still responding to T.S. Eliot and Ezra Pound. Is that still the case? Allen Grossman: It is emphatically the case. Despite the enormous distance of many decades between the natural extinguishing of High Modernism and our present, almost nothing decisive has happened. NE: Not even the work of John Berryman and other writers of his = time? AG: No. I don't consider the poets who are sometimes called the = "Middle Period" decisive. There are persons of great beauty such as = Randall Jarrell. But the only thing that really happened was Elizabeth = Bishop, and the singular character of Bishop as a writer is that one can = study Bishop. And one can fill one's mind with this spectacle of = enormous competence. However, one cannot think about Bishop or think with = Bishop, and only poets with whom you can think, supply a future different = from themselves. NE: Can you explain a little more of what you mean by "think with" = Bishop? To "think with" as a consequence of the fact that the problem = which drives the important poet's poem into existence is a problem which is = common, and this problem continues to be common to that writer and to his or = her subsequent audience. What appears to be the case since the High Modernists, that is since the death of Eliot, Pound, and [Wallace] Stevens' generation, the world of poetic practice has never found = the cultural problem which we discern with sufficient power to = regenerate the poetic practice. The massive fact that there has never been-with = the exception of certain European writers, [Paul] C=E9lan chief among = them-any response in the English-speaking world to the Holocaust or to the = second world war. All the response that came to light or has as yet come = to eye and mind was prepared in the thirties. And the immense novelty of = the problem of history with respect to human value has not yet been = seized upon by the poet in time. Since the death of C=E9lan in 1970 we = [poets representing this time period] have become quite invisible. Hence = all the anxiety of making the period between 1933 and 1946 visible by = other means. What I'm trying to suggest is the absence of a poetics answerable = or adequate to history has blocked the rise of any new significant = exploit. One must bear in mind that the most responsive, the most profound = response to the period between '33 and '46 was the response of an = anti-Semitic traitor, Pound. The Pisan Cantos are by far the most substantial, = the most profound response.=20 We are still inheritors of High Modernism. There has been found no = way to address history and poetry in the absence of an answerable = competence with respect to history as empty and without a direction. NE: What would constitute strong poetry? AG: A strong poetry would be a poetry that discerns and finds a = poetically adequate means of bringing to mind the catastrophe of history.=20 This has not arisen since history's greatest catastrophe, World = War II.=20 NE: So what was it that the writers in the twenties and thirties = were seeing?=20 AG: What gave rise to their particular practice, which we call = High Modernism, is of great interest to me. Europe and America simply = revived the notions of what was true at the turn of the twentieth century. = This revision of our understanding of what was true generated the = self-revision of the modernist poets in the first and second decades of this = century. This self-revision was practiced almost in unison across the whole spectrum of European writing. The significant marking moments are well-known: The Neue Gedichte of [Rainer Maria] Rilke. The = self-revision of Yeats in the period after the deliberate, self-marking of the = poem "Adam's Curse". The introduction of American truth in the poetic self-revisions that Pound represented in America. The career of = [William Carlos] Williams, which began as a Victorian career, also = indicates that self-revision. In France it is this enormous, and still = conceptually unassessed innovation of surrealism, which incorporates the high = cultural insights that Freud, for example, offered. These discoveries = seemed to have been the only new knowledge that arose-but a sufficient new knowledge-such that the High Modern period found its place in the = history of participatory thought.=20 NE: Where is Robert Frost in all this? AG: The Frost contribution in this matter would have been North of = Boston, an insight into the nature of the world, of incommunicable = experience, which Frost never went beyond. Everything after North of Boston = was a withdrawal or a displacement away from poems such as "Servant of Servants." There was enormous self-revision which was correlative in poetry = to a similar self-revision in anti-metaphysicalism, anti-formalism in philosophy, linguists with [Edmund] Husserl's reduction; this was = the correlative discovery of a truth-driven philosophy adequate to our requirement for a renewed relationship to truth of benchmarks. Pragmatism, particularly the pragmatism of [Charles] Pierce. And = indeed, the neo-Hegelianism for Royce. In science, it was the discovery of uncontrollable sources of energy in relativistic physics and = Einstein's papers on the Special and General Theory of Relativity. So whatever happened that affects the capacity of persons to make = moral judgments and to convey these judgments in representations of a = poetic kind, it happened prior to 1932, prior to the elections of = Roosevelt and Hitler. And our ability to recover a relationship to history that = is intelligible and can in fact serve as common knowledge between us = and our children-common knowledge of what constitutes a human problem and = what constitutes an adequate statement of that problem, a poetic = statement-has not arisen. The problem of a discourse designed to bring mind and history in a = single gaze-that is, poetic discourse-finding itself or being found out = as inadequate to what the consciousness knows is the modernist = problem. The answer to the question that was generated as to what the cause of = violence might be was stated univocally: the cause of violence lies in representation itself. This was Rilke's interpretation of his own = death. This is what brought Yeats' work to an end before he died, = specifically Yeats' "Cuchulain Comforted" and "Black Tower." It is the tower at = the end of the world, having withdrawn from the questions which = history required the poet to answer, having withdrawn in the hope that a = hundred years in the tomb might make it possible to generate a more = adequate mind than the extravagant practices of the High Modern period one takes = with it. Completely apparent catastrophe of dimensions for which there = was no representational correlative. Since he knew so much about history = and what was about to happen, Yeats had full consciousness of the = inadequacy of his resources for that task in 1937-38. What the sixties made unmistakable was the inherent ambivalence of = poetic powers. The Yeats of "On the Boiler" and the Yeats of "Cuchulain Comforted" are contemporaries of one another, they're the same = man. "On the Boiler" marks Yeats as a eugenics master, as an Anti-Semite, = as a man violently opposed to the very existence of the lower classes, as a = man traitorous to the kind of humanity that he appears to have. He = glorified, as Pound did, the notion of the inevitability of the poet as the = wholly ambivalent figure-the figure whose devotion to representation has = rendered him a criminal and whose devotion to humanity has been the motive = for his devotion to representation. Yeats is the poet caught in a paradox = of vastly greater historical proportions but in the same logical = structure as Blake discovered. The master from whom we can renew our motive to = poetry is Blake. The effort to consider Wordsworth and to learn from him = has failed. The modern masters are our only masters. We began this discussion = by observing that. The characteristic Postmodern discovery is that = the modern master is purely ambivalent. Pound was a traitor; he should = have been hanged. NE: Well, he's pretty lucky he wasn't. AG: Is it lucky? He had finished the Pisan Cantos, what else did = he have left to do? Those who loved him, perhaps, were fortunate. Pound = was seditious and an anti-Semite who betrayed his country in time of = war. And it is Pound who has left us the richest of the analytic accounts = of the twentieth-century. His account is like the Virgilian account of = the founding of Rome by the defeated in the Trojan wars. As predicted = by Hegel in Lordship and Bondage, the master account in the immediate post-war period of the history just survived is by a seditious = mind. NE: Has Pound sapped trust for artists and the sense of community = among poets? AG: Well, that's because we're so faint-hearted. It is possible = that what we have been taught, that whatever constitutes art, what art does, = cannot be and could never be understood as simply for or simply against = our humanity. What Blake predicted, namely that art was pure = ambivalence, had the same character of sanctity: "The Lord kills and the Lord = maketh alive; blessed be the Lord." Art indeed partakes in the nature of history = and if it overcomes, it overcomes by reason of consciousness of that pure ambivalence, which I think the poetic community has been unable to = endure. So my sense of the problem in the poetic community is that it has = been thoroughly taken over by an obligation to civility; this is = mistaken. What one must rediscover is what Blake and Homer knew: the pure ambivalence of the practice. The idea of workshops has become = almost expectable, but the great representation of the workshop of the imagination was Blake's account of the workshop of Los, which was = a place of huge and murderous energies. Today, the function of workshops is by and large to regulate art = so that it can't do anything. The civility of the institution (the = university) which provides the occasion for the workshop has repressed all = useful outcomes NE: Is it an unbalanced patron-artist relationship? AG: Oh yes, well the relation of the artist to the means of = production has become absolutely a patronage relationship. Presses publish poetry = as a patronage act, and the university hosts poetry as an act of = patronage. The weakness of poetry and the greater strength of the fiction = world at the present moment is the result of the sad reversal that we speak = of [the movement of poetry out of the market economy]. It does not mean = that universities are meaningless for the poet. They are meaningful as = a place of analysis, study, and the maintenance or the continuity of = textual tradition. But universities are not a site for the production. NE: There's not a university capable. AG: No, logically there isn't. No university capable of = maintaining its own status in a civil world would be performing a function = appropriate to universities. Professors are, in effect, the histories and logics = of the culture. Poets have always been and must now come once again to be thoroughly learned persons, but as a basis for the production for = poetry, the university is not the right place. For many years, the basis of poetry has announced itself-in the = university and perhaps in the inner nature of people for whom poetry is = important-by instituting a central past, a poetic predecessor upon whom it was = possible to repose confidence, as one reposes confidence on the paradigms = from which one must make new objects. For many years, the paradigmatic representative has been Wordsworth. My view is that that has been = a very unproductive reliance. NE: Why is that? AG: For the simple reason that Wordsworth's civility isn't = inclusive enough to declare the full complexity of the poetic subject = matter. Appropriate, since it is the business of any poetic culture to = construct its past, to locate the past as an active attention in the vast = though finite array, a principle of genealogical origination. Unlike = natural birth, the "born" person can choose his symbolic past. He can = choose his symbolic nature. The world which I would like to conduct into = existence would not be Wordsworth's. The master, the artist, the poet whose workshop we need to reconstruct is Blake. The reason we need to reconstruct Blake's workshop is that it was uncolored and = untouched by the aesthetic conception. Blake was the inheritor of a Protestantism = that contributed the most vital poetry and the most vital philosophy in = the period after the intervatory religious reconstruction of Luther = and Calvin. It was Luther and Calvin who contributed that readiness = for Modernism. Blake was the last Muggletonian.=20 For Blake, it was not a workshop of poems, but a workshop of the imagination, in effect, a workshop of Jerusalems, that is to say, = a workshop of symbolic cultures that made a difference. The = conception of the workshop as it is now understood is a manufactory of aesthetic = objects that is subject to the constraints and the critique of reference = that the aesthetic conception has made obligatory. But for Blake, forms = were beside the point. His vast conception, and his truth-bearing = conception of the imagination, was that insofar as the artistic form of words = was concerned the work of the artist was unquestionably a "making." = And the place of his work was a workshop. And what was made were not poems = but poetry, and poetry is for Blake, as it is for all valid poets, a = theory of the assemblage of social formations under the constraint that they = limit destructiveness, so far as destructiveness can be limited. Blake = had no interest in the artifact insofar as the artifact constituted a = regime which was sealed from the work of the world. The business of poetry is to produce a language that is not an = aesthetic language. Ordinary languages are aesthetic. Ordinary languages are languages of interrupted consequence. Poetic language should be a language of transitivity, of uninterrupted transitivity. So in = some sense, the academy has got it all wrong, as usual. Many of our best theorists of the twentieth century considered = that the business of the poet-whose practice is the imagination, whose site = of work is the Los Forge-is to intervene in history. Not on behalf of representation as such- NE: Which leads to violence. AG: Yes, which is the trap in which Yeats, Williams, Rilke, and = Ginsberg found themselves. Ginsberg knew no better. Yeats was from a family = of persons in trade. Yeats had an apprenticeship to materials, an apprenticeship not to symbolic goals but to the material goals of = the goldsmith. For Yeats, the act of writing was not for dissemination = or distribution, not part of a Gutenberg galaxy, but was rather part = of the history and theory of the engineer of materials, who goes about = the practice of assemblage from the features of the physical world, = upon which assemblage depends. There is no "natural," as Blake observes. Nature, after all, is = going to kill you once in your life, and therefore is not your friend. = Symbolic life is restored to its fundamentally essential role in social = practice, in the construction of social formations. This was Whitman's = motive. Whitman didn't entirely grasp the constraints on construction. = Whitman was willing to enter but not enter fully into the question of how = poems shall be made. Blake's epics were clearly devised to destroy the = idealism of the finished artifact. "Finish" in Blake was the blocking of = "finish." It is singularly the case that Whitman's poetry possesses a dire = elegance, which, for example, Jarrell called "delicacy." The "finish" of the poet is to be administered by someone other = than the artist? It is at the point of "finish," at the point of closure that the = violence of representation begins to announce itself. The resistance to, or = the repudiation of the idealism of the finished artifact is one of the remarkable contributions of some of the poetry of your own time, = for example Susan Howe (incidentally a Harvard product). She is the = clearest voice announcing the possibility of a production that does not = take as its idealism or as its artifactual destiny the poem of closure, the = poem of high finish. Her display is of the breaking regime of the printed = page in her really great work, called The King's Book. Hers is the final philosophical iconoclasm that breaks the rigid linearity that = print ideology imposes and the equally rigid circumferentiality of the = closure around it. Hers is the artistic form of languages no longer = overshadowed by the obligation to shut in or shut out.=20 The problem of iconoclasm is that it doesn't allow the very life = it seeks to liberate. Iconoclasm is a partial thought, an incomplete. the = breaking of images doesn't release us from the necessity of images. The = images are necessary so that we can detect one another, and even more = urgently so that we can see ourselves. So that the Puritanic iconoclastic = motive, which I think is rarely to be found in history, will not serve the purposes that I'm concerned with. It's quite striking that = iconoclastic actions tended to deface only part of the image. Iconoclasts = simply replace images of one sort with images of another, as in Islam. The past must be constructed out of its own materials. Where do we = locate our preferences in terms of the history of our art? I'm suggesting = that we need in a conscious and insistent way to turn our attention = away from a Wordsworthian idealism that is reflected on every side by = tradition that descends through honorable writers such as Hardy and [Phillip] = Larkin. This tradition has come to the end of its usefulness. We need to = turn our attention to Blake, truly Low Church, rock-bottom, a Muggletonian. Our task, sitting here as thinkers not as makers for the moment, = is in effect to collaborate into one cultural project that should be = engined by everyone, that is to say the cultural project that asks: Why do = they suffer? This is a question that generates Biblical text. In Zion, = the answer is "In the Beginning." NE: So this is the reason to begin writing? AG: I think so, yes. There are lots of other reasons that one must tolerate in oneself, and in one's friends and students. But the = one good reason for writing is the initiating perception that there is a = problem which poetry can address. Hence, the destiny of poetry is in hard problems. Blake calls this "Mental Height," and it is the poetry = of "Mental Fight" that I should like to be capable of advancing.=20 NE: What exactly does this have to do with what you do? AG: I do, as you do, what I can, and I hope I live long enough to = do better in this matter. Among the recognitions that I think = necessary to begin to do better is to direct my attention toward what I think = the really important problems with respect to this art are. Poems that = are distracting but of complete irrelevance are poems that concern = questions of form. NE: This seems to me to be the direction many poets of our time = have gone, Jorie Graham for one. AG: It is a reason we could assign to that gesture. I think what = Jorie means and what I mean is that the way in which poetic problems = were posed-such as the difference between closed and open form, or = formalism and anti-formalism, metaphysicalism and anti-metaphysicalism-are = utterly empty of interest and not a proper subject of concern. In some = deep way, it makes no difference how we write. What difference it makes is = the consequence of what follows from what we write. NE: Is form a function of the requirements of dissemination? AG: No, the requirements of dissemination are quite simply = relevance. If we are not addressing the site of pain, then there is no reason to = welcome our coming. The business of poetry is to build Jerusalem. Which = one does by manufacturing Jerusalem at the point of correspondence between = the desired states of affairs and actuality. Between the image and the pattern. Blake's Jerusalem is a historical lesson because it has = no place in time and no property, no question about its contours-it will = take the form of the human face. Blake's Jerusalem is an anthropotheistic = image. The human form is the divine form. Meter is in fact the pre-linguistic language which poetry = remembers. But what poetry is, at any given moment, is simultaneously linguistic = and non-linguistic. The artistic form of poetry is in fact the = predominance of the non-linguistic and finally, its disappearance. If we think = of it historically, those knowledges by which we became human, language = is a very late supplement to a humanity that had learned to live and = not to die, in groups and not alone, and undoubtedly, to love one = another. NEIL ECKARD Albion Moonlight/Tekton Mantis ========================================================================= Date: Mon, 18 Dec 2000 11:24:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dmt@IGC.ORG Subject: Faucheuse # 3 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Copies of issue # 3 of the magazine Faucheuse may now be ordered with credit card from the AK Press website: www.akpress.com ========================================================================= Date: Wed, 20 Dec 2000 16:16:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hoa Nguyen Subject: Blast from the Past Mime-Version: 1.0 Content-Type: text/plain; format=flowed Skanky Possum is proud to announce the release of ::::::::::::::::: Kenward Elmslie’s ::::::::::::: ::::::::::::::::: Blast from the Past ::::::::::: Stories, poems, song lyrics and remembrances, _Blast from the Past_ stars master songsmith Kenward Elmslie in a four-course word feast. Cocktails, crushes, hits and near-misses seal these remembrances with kiss-and-tell sweetness, the kind that blurts love in the telling. Poem-songs lift off the page with a pace graced by charm, humor and shadowy, hard-boiled naughtiness. It’s a cabaret, starring the author’s past, in a blitzkrieg blast of ghosts and folks traipsing through the song-lit head of this winning showman. Perfect Bound, 87 pages with 2 lovely black & white photos of John Latouche & Frank O’Hara and 4 color portraits of the author by Ken Tisa on the front and back covers Only $12 Available from http://www.spdbooks.org/ Hurry! Already among SPD’s "Best Selling Poetry"! see our other titles at http://www.skankypossum.com/ * please forgive cross postings * _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Mon, 18 Dec 2000 16:08:27 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Blast from the Past...... Comments: To: Kabalang@aol.com, BBlum6@aol.com, bburch@bellatlantic.net, jfoley@crs.loc.gov, ibid1@earthlink.net, mdkoa@yahoomail.com, Cathy.Muse@co.fairfax.va.us, MAOMuzik@aol.com, alphavil@ix.netcom.com, polity@egroups.com, EPOUND-L@lists.maine.edu, subsubpoetics@listbot.com, derekvdt@academypo.fss.fss.pvt.k12.pa.us, Amzemel@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In 1555, Nostradamus wrote: Come the millennium, month 12, In the home of greatest power, The village idiot will come forth, To be acclaimed the leader. ========================================================================= Date: Mon, 18 Dec 2000 15:03:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Re: POETICS Digest - 13 Dec 2000 to 14 Dec 2000 (#2000-196) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii of course any good writing is harder than bad writing - it says w/o going - tho i know plenty of bad writers who work hard - is hard work a virtue of work? not to dredge up the muck of an inspiration / perspiration debate - if there even is one - i am struck by just how much more a poem is ruined by an out of place word - how poets (some anyway - not me, i am admittedly lazy) put as much energy into a line as some fiction writers do into whole paragraphs or even chapters - not that i know the difference between prose and poetry, like porn - i know it when i see it still... it is a complement to call a prose work "poetic" and "lyric" (if you believe the dustjacket blurbs anyway)but chopping up prose into lines is the sign of a hack **** > 2) it [fiction] is harder to write - look at the collected > works of most poets - they are about the size of > a novel I disagree. Partly because writing *good* fiction/narrative prose is very difficult, time consuming, etc. ... and partly because I, a poet, love good fiction. What is good fiction? In the past few years I've enjoyed reading or re-reading(off the top of my head in no particular order) The god of small things, The passion, The bean trees, An unfortunate woman (Richard Brautigan), Short stories by Graham Greene and John Cheever, ... But taste aside, I also disagree because I don't see the point in arguing this "better/worse" sort of dichotomy, especially around genre. I find the distinction between poetry and prose not only largely useless and irrelevant but wasteful (except when generating tangents such as "Meditation on Fiction Poetry and Metals"). Writers like Carla Harryman, who intentionally blur and break the rules/boundaries of such distinctions excite me. Like Hamlet, I prefer to read "words, words, words" -- provided said words have been placed on the page (or the screen) with some semblance of wit and/or intelligence. __________________________________________________ Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. http://shopping.yahoo.com/ ========================================================================= Date: Mon, 18 Dec 2000 18:26:45 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: fiction MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 12/18/00 12:00:23 PM, ggatza@DAEMEN.EDU writes: << Hi Bill, I am finishing up in Brit Lit and I have the best quote for you from DEFENCE OF POETRY. PART FIRST. by Percy Bysshe Shelley. I hope this helps. Best, Geoffrey >> Thanks Geoff, but I'm not the one who initiated the poetry/fiction thing. I was merely responding to what I considered a fruitless but fun exercise. My little vispo, or concrete po (whatever) puts one within the other, since it's all fiction. Best, Bill ========================================================================= Date: Mon, 18 Dec 2000 19:11:53 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: Is an epigram better than an ode In-Reply-To: <5823BD992D67D3119F630008C7CF50FC07C7D091@skylark.mail.ukans.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Yes, Jonathan, there is nothing meaningful in making a quality comparison between any two general abstract categories. Or else we are faced with the conclusion that Shakespeare was better than Shakespeare. And worse than Shakespeare. Because writing poetry makes you a better writer than writing, say, drama. So shakespeare the poet was better than shakespeare the dramatist? this question is so silly. apples make better fruit than bananas? huh? that question makes no sense. Contemporary fiction writing is caught up in nominalist to a snoozifying extreme; i cannot believe the success of writers who find it important to express every detail of a room down to the last molecule. to me that is a waste of paper, no matter what the style. but that apparently makes for good literature these days. and poetry, we either have quasi-nominalist navel gazing or nonsensical veiled-modernist "experimentation" with syntax, which has certainly run its course, leaving us no different, with no universal understanding of language. it does not leave us with a universal justification for nominalism either. However, my description here reveals nothing about the standing of novels and poetry books as compared to each other. As for me, I am embarking on a period of dramatic writing after "learning" from working on and finishing two volumes of poetry and multimedia lit & design. And someday I will probably return to writing poetry. And leave it again. (I will perhaps never really stop writing poetry.) Writing is writing, and all writing can have art as an option. Most writing, poetry and fiction or whatever categorical breakdown you wish for, has zero art. Moby Dick and Oedipus at Colonnus are for me the pinnacle of tragic poetic inspiration for me; the former, a novel, and the latter, drama. And my synthesis of this material will be drama, conventionally speaking, but I aspire that it will also be poetry, than the beauty of the language will match, rise and fall, with the intensity of the scene. In all honesty this question, the better is poetry or novels, etc., is a silly question, as most of us with any gray matter realize. In my perhaps narcotic optimism, I think many people that have replied with partiality are having fun with supplying playful responses. When I originally responded, I thought I responded appropriately, as appropriateness requires that dumb questions get dumb answers. I would assume others translate stupidity in the same way I have. Or there are more idiots in this group than I can possibly fathom. Which in turn makes me a fool. I cannot believe so much has been said about this subject, on this list, even by me. Patrick http://proximate.org/ -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Mayhew, Jonathan E Sent: Friday, December 15, 2000 11:16 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Is an epigram better than an ode I didn't think when signing up for poetics list that I was indicating a preference for a particular genre. I don't see how poetry can be better than fiction, because poetry is in fact fiction. (Wallace Stevens seemed to think so.) When I think of Samuel Beckett, I'm not thinking of him as a dramatist, a poet, or a fiction writer; those distinctions don't mean a whole lot in this context. I remember a Spanish friend of mine, when Octavio Paz, trying to convince him to take sides in a dispute he was having with Carlos Fuentes, said that he (my friend) should take the side of a poet against that of a mere novelist. But for me, novelists and dramatists are poets, while poets are also "fiction writers." It doesn't seem useful to me to say that poetry is "better" in any meaningful sense. ========================================================================= Date: Mon, 18 Dec 2000 16:16:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Small Press Traffic presents Lusk and Smith, Jan. 12 Comments: cc: WOM-PO@listserv.muohio.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Mark your calendars while the eggnog's fresh. >Friday, January 12, 2000 >Dorothy Trujillo Lusk & Rod Smith >7:30 p.m. $5 > >For ten years, ever since we first stumbled on her prophetic books >Redactive and Oral Tragedy, we have watched and waited until NASA thought >it safe to unleash the Vancouver poet Dorothy Trujillo Lusk onto the >porous, red soil of the San Francisco Bay Area. Her intricate and >dazzling powers of thought are combined with a seductive music and >erudition that bewilder and enchant, like those two little twin fairies in >the Godzilla pictures. Her other books include Volume Delays (Sprang >Texts 1994) and Sleek Vinyl Drill (Thuja Books 2000). "Writing, here, can >initiate a not so softened horizon: exsentimental flying saucers of >evidence, severely outside." -- Bruce Andrews. > >When Rod Smith last appeared at Small Press Traffic many years ago, he was >the boy wonder of the sizzling hot Washington DC poetry scene. His gifts >as an editor had long been acknowledged but his consummate mastery of >post-modern poetic style was just coming to the surface. From young turk >to elder statesman, look at him now. Poetry is the quickest of all the >arts: you know nothing one minute and you know everything the next, and no >one knows this with more feeling, more empathetic intelligence and >wide-ranging experimentalism, than Rod Smith. "Let thy rod be my staff," >says the Bible. "For the last shall be first." Two new books, The Good >House and The Given, are forthcoming in 2001. > > >Elizabeth Treadwell Jackson, Executive Director >Small Press Traffic >Literary Arts Center at CCAC >1111 Eighth Street >San Francisco, California 94107 >415/551-9278 >http://www.sptraffic.org ========================================================================= Date: Mon, 18 Dec 2000 16:34:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Organization: e.g. Subject: fence MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit There have apparently been a series of controversies surrounding the two FENCE book competitions, but these are apparently taking place mostly as New York poetry gossip, and I have no information. Therefore, I don't know why these particular book competitions have become so controversial. Rebecca seems nice enough. Allen Grossman judged last year's Colorado Review book prize, apparently to silence. He chose Sally Keith, and the one poem on the Colorado Review site seems philosophical, religious, and Dickinson "updated" by mentioning double wides. I read _Bitter Logic_ and that's pretty much what it seemed. Pound is of course an explosive topic on this list especially. BTW, during the convention, there's a sale for MLA members at Alphaville. I suppose I've been caught at being naive about poetry again, except I would like to point out that not all competitions disclose judges' names, as if the judge does not matter, and that the other FENCE contest did not make such a disclosure (at least to my knowledge). Former Dick Durbin campaign worker, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Mon, 18 Dec 2000 21:27:24 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: GHWB: alleged chicken hawk -Reply Comments: To: Don Summerhayes In-Reply-To: <3A3EC565.A0E772C2@yorku.ca> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Same way your own does. Imagine that! -----Original Message----- From: Don Summerhayes [mailto:dsummer@yorku.ca] Sent: Monday, December 18, 2000 9:18 PM To: patrick@proximate.org Cc: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: GHWB: alleged chicken hawk -Reply How the hell does this shit get on the list? Patrick Herron wrote: > first of all, it was I who dragged the bar so very low, not ron. however, > what i suggested were allegations that have been collected from various > police ledgers across the country and written off as bizarre. please note i > said "allegedly." > > i took particular offense at the darger post when it was suggested he was a > pedophile. the heuristic used to reach the rather specious conclusion that > darger was a pedophile is nothing like the criteria used to form the > allegation about HW. the stuff about darger is based on knee-jerk repressed > reaction to rather unusual drawings; whereas the evidence about bush's > alleged pedophilia comes from a number of police reports over a course of 15 > years or so from different locations across the country. all reports came > from children who were reported missing and later returned home, with > stories that were considered as shockingly imaginative. > > "Patrick, the intention of your > would-be "mudslinging" is to ~prove~ > your liberalism, unexamined use of > maligned stereotypes like this easy > joke's seems very ill-considered, if not > yahoo. The successful propagation of > the "monster" image you are > reenforcing has been a key tactic of the > "repressive" regimes' propaganda that > you're trying to puncture, may I remind > us." > > uh, you are incorrect. you cannot read my mind, and it seems proven by your > statement in quotes above. you share no insight into my motivations. i > might be a bit yahoo, though. > > are you familiar with bush family funding for genocidal programs during the > last 70 years or so across the world? the bushes are monsters. samuel > prescott helped make sure there was a war in germany and sent hitler piles > of moolah before he had any followers. monsters. the FUCKERS made sure to > start a war so they could make piles of money for Brown Brothers Harriman > and their holding companies. that is monstrous. they continued to supply > resources to the nazis through 1943. monsters. i don't know if you are > familiar with the history of the cia, or the history of cocaine and heroin > running in america for the last 40 years, or a big savings & loan crisis, or > the iran contra affair, or so many things, but i can safely say this guy > qualifies as a monster. bushes seem to be monsters. if anything, if HW > were a child molester that might actually dilute his monster standing. > there might be something profoundly tragic about the guy. > > as far as dumya goes, other than his ability to loot the texas population as > the texans smile (the rangers' stadium, anyone) I have no idea how much of a > monster he is. unlike his daddy or granddaddy, i don't think dumya is smart > enough to be a monster. he'll hire monsters instead, because to him it's > like being back in a frat or some silly shit. > > wake up and smell your own breath. i certainly have no need to "prove my > liberalism." evidence? the most economically and militarily right-wing > presidency America has seen is the clinton administration. 33 military > deployments, nafta and the wto add up to that. reagan and bush combined > mustered only 6 military deployments, in comparison. i ain't no > conservuhtive and i ain't no lib neither. > > are you skull and bones? why do you suggest that the allegations i shared > here are "hate mail"? they are allegations, but not hate mail. such a > loaded phrase, "hate mail." you could not even pass my words as slander, > much less as "hate mail." > > most accusations regarding pedophilia are usually based on a need to slander > people, so i see how you jumped to a rather distant conclusion about my > intent. i understand that. you are wrong, however, completely. i also > would beg to differ with you and suggest that pedophiles are not diseased, > and not to be cured. sexuality is much more complicated than that. i see > pedophilia not as a monstrous illness, oh no. i see it instead as a sort of > patheticness, a severe sexual statis that has hints of despotic behavior. > i am a big fan and i see none of that in darger. "Lolita" is one of my > favorite novels, and Humbert Humbert is marked by these very traits of > sexual stasis (brought on by a childhood trauma) and a need for despotic > control. but i do not see pedophilia as necessarily "monstrous." as an > example, I would point you to a Louis Malle film, "Le Souffle au coeur." > > the bush family helped start the first castration/eugenics program in > America, with the Gray family, in Winston-Salem, NC. there's your > castration for you. > > i think you managed to jump to some rather silly and needless conclusions > about me and my intentions. and to lump ron's name here where this was > obviously my responsibility is misguided at best. > > if george herbert walker bush is a pedophile and he is not living under the > terror that you suggest, then he is probably living under the fed-form of > terror that i originally suggest. but the bushes, and the people they > represent, deserve all shame and scorn. bloody monarchs. i thought we were > rid of monarchy in america. i thought wrong. > > i will avoid judgments as to why you feel a need to protect the monarchs. > > Patrick Herron > > -----Original Message----- > From: Jeffrey Jullich [mailto:JJULLICH@claven.gsb.columbia.edu] > Sent: Thursday, December 14, 2000 7:40 PM > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU; patrick@proximate.org > Subject: GHWB: alleged chicken hawk -Reply > > Patrick/Ron: > > I must object that the popular slurs in > your message (>>HW allegedly has a > taste for 12 year old boys, a nasty > nocturnal leftover from his Andover > days,<< etc., below) is a recurrence of > a particular type of > sex-prejudice/vilification that has > passed uncontested in this Poetics List > before. Recently, it was the artist > Henry Darger whom people here were > similarly taking stabs at this way (re: > pedophilia/pederasty). > > Anyone objecting (like me) is of course > placed in the untenable, NAMBLA-ish > position of trying to defend a universal > pariah figure,--- but especially in a > public literary/intellectual forum such as > this where, Patrick, the intention of your > would-be "mudslinging" is to ~prove~ > your liberalism, unexamined use of > maligned stereotypes like this easy > joke's seems very ill-considered, if not > yahoo. The successful propagation of > the "monster" image you are > reenforcing has been a key tactic of the > "repressive" regimes' propaganda that > you're trying to puncture, may I remind > us. > > The pederasts ("chicken hawk") or > pedophiles whom you're sideswiping > are ~real~ people, who by and large > "suffer from" a condition,--- one that > has shown to be quite unresponsive to > all therapies, with almost 100% > recidivism. Your scarecrow "chicken > hawk" here has been the hot-bed, as it > were, of nation-wide "rightist" legal > extremism: the East Coast Megan Law, > California legislation toward chemical > castration of sex offenders, web "Most > Wanted" galleries where the identity > and ~addresses~ of the convicted are > to be posted, etc., etc. I'm surprised > that your frame of reference could be > so narrow as not to know of, personally > by way of social contacts, the terror > that pederasts/pedophiles live under, > constant anxiety over arrest, divided > will, etc. > > You are dragging the bar of discussion > extremely low. This, Henry Darger, --- > go on --- Lewis Carroll? Nabokov? > > --- Chris (Charles B?), I thought the > exclusion of such "hate mail" was one > of the agreed-upon justifications for a > List-monitor. > > To say nothing of Andover...! > > ------------------------------------------------- > > >> Patrick Herron > 12/13/00 > 12:16pm >>> > ron: > > "what they say about that whole side of > the family is far worse > than anything anyone has posted here, > or is likely to" > > Like, that HW allegedly has a taste for > 12 year old boys, a nasty nocturnal > leftover from his Andover days, and > that he does some serious covert work > on > satisfying those tastes? it certainly > helps to have a man in power who has > a certain weakness...it could make him > very controllable, just as it could > make him very controlling. > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Ron > Silliman > Sent: Wednesday, December 13, 2000 > 11:37 AM > To: > POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Dillonesque > > Richard, > > Actually, it was Mr Baker I was thinking > off when I used the term thug, tho > Mr Cheney comes equally to mind. I > haven't figured out what to make of Mrs > Rice -- she has that "deer caught in the > headlights" look every time I see > her on the news, a feature she shares > with George W. > > Speaking of whom (W, that is), I do > have some friends who are members of > the > Bush clan & what they say about that > whole side of the family is far worse > than anything anyone has posted here, > or is likely to. > > Ron > > One more thing. > The continued attacks on Conservative > persons and institutions by members of > this community, as if it were mere > sport, divides and alienates, it rivens > society and poisons the common spring > of language. It is a bullying > behavior because it does not permit a > comeback from the other quarter. Your > wits drive full blast down one way > streets and run over pop up targets > again > and again. The use of "thugs" to > describe people like Mrs. Rice, a > professor at Stanford, is simply > shameless. Shame on you, Ron > Silliman. > You really don't know the quality of > person you insult. Shame. > >From: Ron Silliman > > >Reply-To: UB Poetics discussion > group > > >Date: Mon, 4 Dec 2000 13:26:45 > -0500> To: > POETICS@LISTSERV.ACSU.BUFFALO.EDU > >Subject: The perfect description> > >Jon Carroll, in today's SF Chronicle, > notes that all of W's folks are his > >daddy's thugs from the 88-92 regime > and coins the perfect description of > >his > >shrubness:>> "sock-puppet elect">>> > Ron > ____________________________________________________________________________ > _________ > Get more from the Web. FREE MSN > Explorer download : > http://explorer.msn.com ========================================================================= Date: Mon, 18 Dec 2000 21:55:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damion Searls Subject: Re: Reading Recommendation (Ernaux) In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Hey Tisa, I think Simple Passion is a great book. Backchannel and tell me what you think of it (once you read it Tisa, or anyone else), or if you want to hear more about my take on it. Her books about her parents (A Woman's Place and A Man's Story, or maybe it's vice versa, I don't have them handy) are pretty great too, and might be more of what you're looking for (I don't know why you're wanting to read Ernaux). Her other books about herself, aside from Simple Passion, I started to find a bit tiresome (Cleaned Out, A Frozen Woman, Exteriors). Then again, that's also the order I read the books in, so maybe it's one of those things where you fall in love with the voice and like best whatever you read first. Happy holidays, Damion At 04:14 PM 12/13/2000 -0800, you wrote: >Hey, all! > >If there are any fans or scholars of Annie Ernaux out there, can one (or >more) of you recommend a book of hers for me to read? > >I'd like to check her out, and I don't know where to start. > >Thanks! > >Tisa ========================================================================= Date: Wed, 20 Dec 2000 16:26:04 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Re: GHWB: alleged chicken hawk -Reply Mime-Version: 1.0 Content-Type: text/plain; format=flowed I never suggested that George senior was a chicken hawk. Mass murder, perhaps, but on the other topic, I have no data. Ron _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Tue, 19 Dec 2000 03:10:40 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: peace on earth Comments: To: Ted Warnell , Claire Dinsmore Comments: cc: "Focusing-discuss@focusing.org" , BRITISH-POETS@JISCMAIL.AC.UK, Patrick McManus , poetics UB Poetics discussion group , "Nicholas J. Brooke" , Adrian Luna , akel kahera , Alan Sondheim , Alessandro Fazio , Alissa Warshaw , Andrew Weiss , Andrey , Arthur Danto , Auriea Harvey , Barry Smylie , bill marsh , Brian A Muller , Brian Lennon , Carole Guevin , carolyn guertin , casper grathwohl , cclancy@Princeton.EDU, CECIL TOUCHON , Che LeMomo , Christy Sheffield Sanford , cristina enriquez-bocobo , David Knoebel , Deena , Deirdre McGrail , Dekannen@aol.com, Dirk Hine , Elizabeth Treadwell , Eric Vos , Eugene Ong , Eun Min , george quasha , Grain , "Helen W. Drutt English" , ipdg@egroups.com, Irving Weiss , Janan Platt , "Jennifer L. Dinsmore" , Jennifer Ley , Jenny Weight , jesse glass , Jim Andrews , Joanne Gottlieb , joel weishaus , Jorge Luiz Antonio , Judy Hanson , Juliet Palmer , Kate Lambert , Kevin Fitzgerald , Kian Stave , =?iso-8859-1?Q?Lars_Wikstr=F6m?= , Lawrence Upton , Loss Glazier , LucasTaylor1@aol.com, luesebr1@ix.netcom.com, Marc Lowenthal , Matt Blaze , Michael McGrath , Michael Reel , mIEKAL aND , Mr eel , "P[urrsonal]A[reah]N[etwurker]" , Pam Reel , Peter Ganick , Ramez Qureshi , Randy Adams , reiner strasser , Richard Squire , Robert Margolis , Sean Tubbs , shannon o'neill , Shawn L Phillips , Sheila Murphy , "Sherri L. Knafo" , Stephanie Strickland , Steven Reel , Susan Katz , Talan Memmott , theyeti@goingonsix.com, thuan tran , Todd Sanders , Tomislav Prokopec , Wally Gross , Whitney Sander MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Last thought before taking a break for the holidays posted at http://members.tripod.com/~trbell/metaphor/thought1.htm - some words from Douglas Clark and my review of _Beyond Bedlam_ tom bell or just skip to Claire's card- ----- Original Message ----- From: "Ted Warnell" Sent: Tuesday, December 19, 2000 1:08 AM Subject: Re: peace on earth > " it d "< @ t i . t>," o "< @t > o . o >,"to i o o ", > "to ","to dd d "< i @t . . > o >,"t t "< i @ o o. o >, >,"t d "< @ . o >,"t ott" ti o . o >," t "< @ . o >," t "< > @ o . o >," t i t i d"< t i @ i . > . d >," i . o"< o@ . o >," i "< > @ o . o >," i i "< i i @ t. t>," > o o' i "< i @ i . o . >, " t "< od d @ t i . > t>," o t o i "< o @ o i . i to . d >," i > d i "< i @ . o . o to . d >," i t "< i > . @ t t t.d >," d d "< @ i .i d. t>," > i"< @ o . o >, " t i "< o o t@ i d > i . o >," "< @ o . o >," [ o ] [ ] [ t > ]"< d t@ o o o . t . t. >," "< i > i @ t o i . o >," i d"
," i > "< @ t ti . t>," i t "< i @ o d. o > >," tt "< @ t .o >," o t "< @ t . > o >,< @i . t o . o >,< t o @ o . o >," o > i "< i @ . o. d >," to "< . t > o @ iti i . t>,=? i do - ? ? _ i t = ?=< . > . @t i . o >," i t "< i -@ it . o >," i it > d"< it d_ i @ ot i . o >," t t"< @ i > . o >," i t "< i t@ i to . i to . d >," d > o "< o @ i . i t o . d >," o i to io"< > to io@ o . o . >," o i "< it @ . d >," o o > tt i "< o @ o . o >, " i d "< i @ i o. o >," > "< d d @ o . o >," i t"< . i t@ i > . d . >," i "< t @ o . o >," i .di o "< > i _di o @ . o >," tt"< t@ d o . o > >,"i i i ", >," .d tt i "," i "< > _ @ ot i . o >," o "< @ t tio i .o >," > i "< i @ . . . >," o "< @ i i > . t. >," i o "< i o @ o t. >," i t t d "< > d @ i d . o >,"di i " > ,,"d i d i ","d > ","d id o "< o t@ td o o . t > >," i ti i - o o o"< o o o@ t i . t>," i t > i d o d"< i t @ . dt. t>," o o"< t > @ o t i . t>," i to o ",< > @ i to . d >," t o "< @o - .o >," o > ti "< ti @ . . t . >," o i "< o > @ o di . o >," i o "< @ o i . d >," i > "," i "< i @ . t>," > i "< i @ o . o >," i "< o @ t o > . o >," t d to"< d @ o i . d >," d "< d @ > o d i . o >," d i "," i > "< i @ ot i . o > ," d o io"< io @ > oo. o >," o d i "< o d i @ i . o >," "< i > @ i . t . d >," d i "< i t @ d i . o >, > "\" i o . oo \""< oo @ o i . i to . d > ditto > > http://warnell.com/real/ditto.htm > > PbN > > > Claire Dinsmore wrote: > > >December, 2000 > > > >With Best Wishes to You and Yours, > >Claire > > > > http://www.studiocleo.com/projects/holiday/peace.html > ========================================================================= Date: Tue, 19 Dec 2000 10:36:54 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Comments: To: performance_art_network@egroups.com, wryting@julian.uwo.ca, Poetryetc , britpo MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit oh oh oh, everyone, oh oh oh L ========================================================================= Date: Mon, 18 Dec 2000 14:49:57 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Reading Recommendation Comments: cc: tisab@earthlink.net In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I teach _Cleaned Out_ (Dalkey Archive) pretty often. i think it's terrific. At 4:14 PM -0800 12/13/00, Tisa Bryant wrote: >Hey, all! > >If there are any fans or scholars of Annie Ernaux out there, can one (or >more) of you recommend a book of hers for me to read? > >I'd like to check her out, and I don't know where to start. > >Thanks! > >Tisa ========================================================================= Date: Tue, 19 Dec 2000 06:33:33 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Randy Prunty Subject: CATALYTIC update MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit this is to let folks know that i've extended the reading period for two of the issues of CATALYTIC until january 31, 2000; issue #1 on experiment and issue #3 on/by heteronyms. also i'm pleased to announce that issue #2 is co-edited with susan clark. lissa wolsak, who was to co-edit this issue, had to drop out due to her health being 'temporarily in jeopardy.' good things are cooking with all three issues. i hope to serve it up sometime around march/april. - randy prunty CATALYTIC A new print magazine of poetry, poetics, and visual art, CATALYTIC exists to encourage poets and textual artists to take risks in discovery. The first three issues will be published simultaneously Spring 2001. Work will be considered through January 31, 2001. Each issue will have a specific focus: #1 Experiment. Work that the writer/artist feels is different from their normal way of doing things. Maybe using a different medium or procedure, or investigating some concerns that they haven't worked with before. Maybe the experiment didn't work, or didn't get completed, but somehow it's in the process of intriguing, making possible. #2 Women authors. Co-edited with Susan Clark. Written or visual language art that dares to be unusual; that seeks to be radical AND significant. #3 Heteronyms. Work created by a heteronym, faux-personality, alias, alter-ego, etc. In the publication a brief biography of the heteronym will take the place of the author's actual name. 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: Mon, 18 Dec 2000 17:23:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ashley Durham Subject: Garcia Marquez -Reply Hmmm..., which account is true? >>> "Mayhew, Jonathan E" 12/15 10:55 am >>> The farewell letter purportedly from Gabriel Garc?a M?rquez is a hoax. He didn't write it and has publicly denounced it many times over. [It has been circulating the internet for several months.] It is true that he is sick and is writing his memoires. He is on record as stating that he is embarrassed that anyone might think he actually wrote that dreadfully sentimental poem attributed to him! Jonathan Mayhew Department of Spanish and Portuguese University of Kansas ========================================================================= Date: Tue, 19 Dec 2000 16:23:06 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roger Day Subject: Re: fiction Mime-Version: 1.0 Content-type: text/plain; charset=us-ascii # Richard says, "I dont think there is neccessarily a 'better' form. Just as # people listen to music or use music for different occassions or reasons." I # guess that's true. I enjoy novels too, sometimes. I enjoy hamburgers, # too, and there's definitely an occasion for Budweiser, but I guess I'm # saying, why's everybody drinking Bud when there's beaujolais to be had? You # don't need as much of it, and it's a pleasanter drunk. Give me a can of bud any day. The media forms continue to split and multiply at a dizzying rate. -None- of them have any a priori claim on our attention beyond that of "well, I quite like that". It's those big old orchestras and opera houses now having to justify their existence. Why should poetry and fiction differ? Roger ========================================================================= Date: Tue, 19 Dec 2000 11:35:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: POETRY CITY 2001 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit POETRY CITY JANUARY-MARCH 2001 Darlene Gold, curator Thursday, January 11, 7 PM Elizabeth Alexander & Rigoberto Gonzalez Thursday, January 25, 7 PM Gregory Fraser & Robert Phillips Thursday, February 22, 7 PM Kristin Prevallet & Joseph Torra Thursday, March 8, 7 PM Alvin Eng & Marcia Bokyung Lee All Poetry City events are free In the offices of Teachers & Writers Collaborative 5 Union Square West, New York City 212 691 6590 . info@twc.org ========================================================================= Date: Tue, 19 Dec 2000 12:54:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: calligraphic iii (the riddle) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - calligraphic iii (the riddle) calligraphic ideogrammar doesn't move, carries the dynamic within the page, tendrils beneath the surface, holding the fastness of the ink, styl- us cuneiform tending towards the impress of musculature upon the substrate of clay, one follows the muscles in both, incisions, pronouncements, only in writing can everything find embodiment - that is its primary, many into one, in this instance even the proper name a universal, reading bodies in the shimmerings, coalescence to unity, holding their own (obsessive-com- pulsive neurosis of the name) - this primary as in, four arms of the mas- culine body, as in - enshrouding mist, music and chant, sound and glad tidings, sonorous quoting or citing, concealed and seal, addiction and habitual craving, in the depth of the night, pornographic and luxurious, loose and idle, feminine principle or moon, the shade of a tree north of a hill or south of a river, the negative ion, private parts of a woman - pressure of seal against the flesh of a screen, page of a body, screen of a page - the speech of the writing crawling across the surface of a stone, the cut of the crawl or double-stroke of the crawl, impress of the flow, the residue of musculature, memory of the sign, sign of the memory - move- ment of ideogrammar, movement of calligraphic - uncarrying dynamic beyond the page, tendrils gone from the surface, ink spilling out _ ========================================================================= Date: Tue, 19 Dec 2000 09:36:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: strict construction of close reading In-Reply-To: <4.1.20001214105758.009c0730@lmumail.lmu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Aldon, Thanks for the plug for my book -- only I don't think people on the list even know it exists. Write a review, why dontcha? Your reading of the Supreme Court decision is disheartening -- but true. However, it doesn't mean we can't try to challenge the creeps with equal protection cases. Now's the time to start a Voting Rights Party with a platform of overhauling the electoral system (campaign finance restrictions, anti-interference with the vote, proportional representation a la Lani Guinier, etc.). Are you ready to join? Take care, Hilton >Even I had wondered at the breath-taking hypocrisy of the Supreme Court >majority's invocation of equal protection and the 14th amendment -- then I >read the decision -- > >If you read all the way through you'll note that the majority themselves >realized that they dared not leave open the hole they had just torn -- so, >they write that this decision is only applicable to state-wide recounts >"under the present circumstances" -- rather like those tax bills passed by >the House from time to time that when closely read turn out to apply to >only one tax-payer -- Translation, unless your name is "Bush," don't even >think about appealing any other electoral inequities to this court on the >basis of the equal protection clause -- > >I'm going to go read a healthy dose of Melville for as antidote (by the >way, in his case the fiction really is better than the poetry! though you >really should read Hilton Obenzinger's discussion of CLAREL) > > > >" Subjects > hinder talk." > -- Emily Dickinson > >Aldon Lynn Nielsen >Fletcher Jones Chair of Literature and Writing >Loyola Marymount University >7900 Loyola Blvd. >Los Angeles, CA 90045-8215 > >(310) 338-3078 ========================================================================= Date: Tue, 19 Dec 2000 10:16:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hilton Obenzinger Subject: Re: fiction In-Reply-To: <3A384A9B.7B56713E@pacbell.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" This is a very beautiful collection of insights, and the students are clearly excited, perceptive, and really cooking. But I don't think that it proves such a qualitative difference between poetry and fiction. "Fiction is about poetry. Not all fiction has a truth or meaning. Fiction queries words. . .," etc. While poetry tends to collect around the extremes of these insights (e.g. in general poetry has greater affect and effect but not always), there are too many exceptions, even when it comes to line breaks. Certainly, writing fiction is only more "formulaic" if you are writing according to a formula or inadvertently or not following narrative conventions. Bad fiction and bad poetry share the same tendencies to formula. Can anyone tell me there are no "formulas" for poetry? Even, may I suggest, experimental poetry? Formulas or conventions or expectations are always arising in all writing -- and are used or subverted depending on the circumstances and consciousness of the writer (and reader). I don't want to belabor the point, but poets have a tendency to regard themselves as doing something so very different from every other writer that it creates barriers. Was it Pound who said poetry should be as well written as prose? Hilton Obenzinger > >From students in a UCLA/UCLA Extension poetry workshop I taught: > >poetry is about fiction > >not all poetry has a truth or meaning > >poetry queries words and the world in a way fiction doesn't > >there is care in the choices in poetry >there's an investment in poetry > >poetry has a different goal, a different relationship to story, plot; is >about meaning rather than telling meaning > >creating a world in fiction is more straightforward, formulaic, with >characters and dialogue > >poetry is putting words together that directly expresses the art > >in general poetry has greater affect and effect > >poetry has visual qualities, uses the page as canvas, uses the page, is >arranged, in a way fiction is not > >the process of writing poetry is totally different and so poetry is >totally different > >poetry is the thought that doesn't have any words > >poetry's process is more efficient, > >and >from the student who became a novelist during the class: > >*line breaks* > >Rgds, >Catherine Daly >cadaly@pacbell.net ========================================================================= Date: Tue, 19 Dec 2000 12:51:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ShaunAnne Tangney Humanities Subject: Re: Marquez hoax In-Reply-To: <41.4d5d1bd.276a637b@aol.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ouch...don't i feel foolish... --shaunanne > It's hard to believe that this piece of sentimental trash could be written by Marquez. Obviously, it's a hoax. See Reuters statement below. > > Igor Satanovsky > > _______ > > 'Farewell poem' fools readers > Reuters > MEXICO CITY (Reuters) -- A poem published in several Latin American newspapers this week and said to be a farewell ode by Colombia's ailing Nobel laureate Gabriel Garcia Marquez turned out on Wednesday to be the work of a little-known ventriloquist. > The poem titled "La Marioneta" -- "The Puppet" -- appeared under Garcia Marquez's name on Monday in the Peruvian daily La Republica. Mexico City dailies reproduced it on Tuesday and it was read on local radio stations. > "Gabriel Garcia Marquez sings a song to life," read a headline in Mexico City's La Cronica, which on Tuesday published the poem superimposed on a photo of the novelist on its front page. > "My God, if I had a bit of life I would not let one instant go by without telling the people I love that I love them," read the sentimental poem that also circulated on the Internet. > But like the speech supposed to have been given by U.S. > novelist Kurt Vonnegut in 1997 urging graduates at the Massachusetts Institute of Technology (MIT) to use sun screen, the author of "La Marioneta" turn out not nearly as famous as advertised. > "I'm feeling the disappointment of someone who has written something and is not getting credit," ventriloquist Johnny Welch told Mexico's InfoRed radio on Wednesday. > Welch, who has worked for 15 years as a ventriloquist in Mexico and other parts of Latin America, said he wrote the poem for his puppet sidekick "Mofles." > "I'm not a writer," he confessed. > In 1997 a humor column by Chicago Tribune columnist Mary Schmich was widely redistributed on the Internet, but was incorrectly billed as an MIT commencement address by Vonnegut. > Garcia Marquez won the Nobel prize for literature in 1982. His seminal work, "100 Years of Solitude," has been translated into 36 languages and sold millions of copies worldwide. > In an October 1999 interview with New Yorker magazine, the 73-year-old author acknowledged having been treated for lymphatic cancer in the summer of 1999 in Los Angeles. Rumors of his failing health have surfaced several times in Latin America in recent months. > Garcia Marquez did not comment publicly on the apocryphal poem, but several close associates denied he had anything to do with it. "It's a shame there are such good forgeries of paintings but such lousy forgeries of literature," Argentine author Tomas Eloy Martinez told Mexico City's Reforma newspaper. > > > > > > In a message dated Thu, 14 Dec 2000 11:22:30 AM Eastern Standard Time, Poetics List Administration writes: > > << This came to the administrative account. --TS > > --On Tuesday, December 12, 2000, 4:27 PM -0500 "ShaunAnne Tangney > Humanities" wrote: > > > > > sad news...and incredible eloquence... > > --shaunanne > > > > > > > > > > ---------- Forwarded message ---------- > > Date: Tue, 12 Dec 2000 14:25:20 -0600 > > Subject: Marquez > > > > I got this through a listserv. I thought it was worth passing on... Ruth > > > > Gabriel Garcia Marquez* has retired from public life due to health > reasons: > > cancer of the lymph nodes. It seems that it is getting worse. He has > > sent this farewell letter to his friends, which has been translated and > > posted on the Internet. Please read and forward to any who might enjoy it. > > This is possibly, sadly, one of the last gifts to humanity from a true > > master. > > This short text, written by one of the most brilliant Latin Americans in > > recent times, is truly moving. > > > >>If for an instant God were to forget that I am rag doll > >>and gifted me with a piece of life, > >>possibly I wouldn't say all that I think, > >>but rather I would think of all that I say. > >>I would value things, not for their worth > >>but for what they mean. > >>I would sleep little, dreammore, > >>understanding that for each minute we close our eyes > >>we lose sixty seconds of light. > >>I would walk when others hold back, > >>I would wake when others sleep. > >>I would listen when others talk, and > >>how I would enjoy a good chocolate ice cream! > >>If God were to give me a piece of life, > >>I would dress simply, > >>throw myself face first into the sun, > >>baring not only my body but also my soul. > >>My God, if I had a heart, > >>I would write my hate on ice, > >>and wait for the sun to show. > >>Ove the stars I would paint > >>with a Van Gogh dream > >>a Benedetti poem, > >>and a Serrat song. > >>I would be the serenade > >>I'd offer to the moon. > >>With my tears I would water roses, > >>to feel the pain of their thorns, > >>and the red kiss of their petals. > >>My God, if I had a piece of life... > >>I wouldn't let a single day pass > >>without telling the people I love that > >>I love them. > >>I would convince each woman > >>and each man that they are my favorites, > >>and I would live in love with love. > >>I would show men how very wrong they are > >>to think that they cease to be in love > >>when they grow old, not knowing that > >>they grow old when they cease to be in love! > >>To a child I shall give wings, > >>but I shall let him learn to fly on his own. > >>I would teach the old that > >>death does not come with old age, > >>but with forgetting. > >>So much have I learned from you, oh men... > >>I have learned that > >>everyone wants to live on > >>the peak of the mountain, > >>without knowing that > >>real happiness is in how it is scaled. > >>I have learned that when > >>a newborn child squeezes for the first time > >>with his tiny fist his father's finger, > >>he has him trapped forever. > >>I have learned that a man has > >>the right to look down on another only > >>when he has to help the other get to his feet. > >>>From you I have learned so many things, > >>but in truth they won't be of much use, > >>for when I keep them within this suitcase, > >>unhappily shall I be dying. > >> > >> > >>GABRIEL GARCIA MARQUEZ > >> > >>A QUICK BIO ON THE MASTER: > >>Colombian author Gabriel Garcia Marquez began his career as a Journalist > >>for > >>a series of liberal South American newspapers in the late 1940's. > >>Although he > >>toyed with fiction as a young man, his first true efforts were incited > >>by the > >> > >>negative reviews of contemporary Latin-American writers. The result was > >>the > >>short story The Third Resignation. The reviews of the story were > >>positive and > >>the impact strong; the press heralded The Boom, a econd generation of > >>Latin-American writers. > >> > >> > >>Garcia Marquez followed with a compilation of short stories (Big Mama's > >>Funeral) > >>and three novellas (Leaf Storm, No One Writes to the Colonel, and In > >>Evil > >>Hour). These dark, eerie, and sad works were influenced heavily by Franz > >> > >>Kafka yet the reveal the voice of an intelligent young writer preparing > >>himself for larger things. > >> > >> > >>Larger things came to Garcia Marquez in 1967. While suffering From > >>writer's > >>block several years earlier, the author suddenly had a vision of his > >>next > >>novel-as he has said, the first chapter was as clear as if it had > >>already > >>been written. The idea was to tell the story of several generations of a > >> > >>Colombian family as his grandmother might have told it: supernatural > >>occurrences and unbelievable events described with unblinking sincerity. > >>After eighteen months of seclusion, Garcia Marquez produced his > >>Masterpiece > >>One Hundred Years of Solitude, which has been called one of the greatest > >> > >>novels in history. > >>Gabriel Garcia Marquez was awarded the Nobel Prize for literature in 1982. > >> > >> > >> > >> > >> > > > >> > ========================================================================= Date: Mon, 18 Dec 2000 21:16:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Don Summerhayes Subject: Re: GHWB: alleged chicken hawk -Reply MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Right on, Jeffrey. Jeffrey Jullich wrote: > Patrick/Ron: > > I must object that the popular slurs in > your message (>>HW allegedly has a > taste for 12 year old boys, a nasty > nocturnal leftover from his Andover > days,<< etc., below) is a recurrence of > a particular type of > sex-prejudice/vilification that has > passed uncontested in this Poetics List > before. Recently, it was the artist > Henry Darger whom people here were > similarly taking stabs at this way (re: > pedophilia/pederasty). > > Anyone objecting (like me) is of course > placed in the untenable, NAMBLA-ish > position of trying to defend a universal > pariah figure,--- but especially in a > public literary/intellectual forum such as > this where, Patrick, the intention of your > would-be "mudslinging" is to ~prove~ > your liberalism, unexamined use of > maligned stereotypes like this easy > joke's seems very ill-considered, if not > yahoo. The successful propagation of > the "monster" image you are > reenforcing has been a key tactic of the > "repressive" regimes' propaganda that > you're trying to puncture, may I remind > us. > > The pederasts ("chicken hawk") or > pedophiles whom you're sideswiping > are ~real~ people, who by and large > "suffer from" a condition,--- one that > has shown to be quite unresponsive to > all therapies, with almost 100% > recidivism. Your scarecrow "chicken > hawk" here has been the hot-bed, as it > were, of nation-wide "rightist" legal > extremism: the East Coast Megan Law, > California legislation toward chemical > castration of sex offenders, web "Most > Wanted" galleries where the identity > and ~addresses~ of the convicted are > to be posted, etc., etc. I'm surprised > that your frame of reference could be > so narrow as not to know of, personally > by way of social contacts, the terror > that pederasts/pedophiles live under, > constant anxiety over arrest, divided > will, etc. > > You are dragging the bar of discussion > extremely low. This, Henry Darger, --- > go on --- Lewis Carroll? Nabokov? > > --- Chris (Charles B?), I thought the > exclusion of such "hate mail" was one > of the agreed-upon justifications for a > List-monitor. > > To say nothing of Andover...! > > ------------------------------------------------- > > >> Patrick Herron > 12/13/00 > 12:16pm >>> > ron: > > "what they say about that whole side of > the family is far worse > than anything anyone has posted here, > or is likely to" > > Like, that HW allegedly has a taste for > 12 year old boys, a nasty nocturnal > leftover from his Andover days, and > that he does some serious covert work > on > satisfying those tastes? it certainly > helps to have a man in power who has > a certain weakness...it could make him > very controllable, just as it could > make him very controlling. > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Ron > Silliman > Sent: Wednesday, December 13, 2000 > 11:37 AM > To: > POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Dillonesque > > Richard, > > Actually, it was Mr Baker I was thinking > off when I used the term thug, tho > Mr Cheney comes equally to mind. I > haven't figured out what to make of Mrs > Rice -- she has that "deer caught in the > headlights" look every time I see > her on the news, a feature she shares > with George W. > > Speaking of whom (W, that is), I do > have some friends who are members of > the > Bush clan & what they say about that > whole side of the family is far worse > than anything anyone has posted here, > or is likely to. > > Ron > > One more thing. > The continued attacks on Conservative > persons and institutions by members of > this community, as if it were mere > sport, divides and alienates, it rivens > society and poisons the common spring > of language. It is a bullying > behavior because it does not permit a > comeback from the other quarter. Your > wits drive full blast down one way > streets and run over pop up targets > again > and again. The use of "thugs" to > describe people like Mrs. Rice, a > professor at Stanford, is simply > shameless. Shame on you, Ron > Silliman. > You really don't know the quality of > person you insult. Shame. > >From: Ron Silliman > > >Reply-To: UB Poetics discussion > group > > >Date: Mon, 4 Dec 2000 13:26:45 > -0500> To: > POETICS@LISTSERV.ACSU.BUFFALO.EDU > >Subject: The perfect description> > >Jon Carroll, in today's SF Chronicle, > notes that all of W's folks are his > >daddy's thugs from the 88-92 regime > and coins the perfect description of > >his > >shrubness:>> "sock-puppet elect">>> > Ron > ____________________________________________________________________________ > _________ > Get more from the Web. FREE MSN > Explorer download : > http://explorer.msn.com ========================================================================= Date: Tue, 19 Dec 2000 14:21:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marla Jernigan Subject: Fiction as Poetry MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear Poetics List, I don't have that much time to read the list these days but I have found some of the postings about proving poetry over fiction pretty amusing. Also, whoever it was that mentioned _Wittgenstein's Mistress_ THANK YOU! I bought that a few days ago and I'm really loving it. Do we need to see poetry and fiction as distinct things? I read _Ulysses_ a few months ago and thought it a wonderful poetry experience. Carole Maso's novel _AVA_ struck me much the same way a year or so ago (that too was the recommendation of a poet). I need to read the rest of the thread on this I guess but I wondered if anyone had already or would mind cataloging some other novels of poetic brilliance for me (whether to me directly or to the list). Perhaps others would be interested too? If this has already been done and I just haven't read that far yet, please forgive the repetition. Sincerely, Marla Jernigan __________________________________________________ Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. http://shopping.yahoo.com/ ========================================================================= Date: Wed, 20 Dec 2000 06:22:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: The Poet as Spook Comments: To: British Poets MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit Oh well, here's more DC @ Lib of Con doings courtesy of the New York Times: WASHINGTON, Dec. 19 — David Ferry accepted the Rebekah Johnson Bobbitt National Prize for Poetry at the Library of Congress on Monday night, and the founder of the award, Philip C. Bobbitt, was asked to reflect on why a poetry prize was even necessary. "Artists generally, and poets especially, are like secret agents behind enemy lines sending signals back to headquarters, and they never know if anything's getting through," Mr. Bobbitt said. "Their mission isn't completed until they know that it has struck home in a way that moves people. This ratifies it." Mr. Bobbitt's comparison to secret agents was apt, given his background. He is a national security specialist who has served in the Carter, Bush and Clinton administrations and a constitutional law professor at the University of Texas, where he holds the A. W. Walker Centennial Chair. Mr. Ferry's work was ratified with the Bobbitt Prize of $10,000 for his book "Of No Country I Know: New and Selected Poems and Translations" (University of Chicago Press, 1999). Mr. Bobbitt endowed the prize in memory of his mother, Rebekah Johnson, who worked at the Library of Congress before her brother Lyndon B. Johnson entered politics. Another worker at the library was O. P. Bobbitt, who wooed Miss Johnson, then engaged to another man, by exchanging love poems with her that were typed on index cards and slipped past the gaze of a watchful superintendent. "I had to dislodge her from that fiancé, all under the eyes of that supervisor," O. P. Bobbitt once told his son. Kenneth Koch, who won the Bobbitt Prize in 1996, read at the ceremony from his book "To My Twenties." Robert Pinsky, a former poet laureate, read from his works and commented, "I don't know of any other literary prize that has such a high standard." The works on which the prizes are based are written in the two years before each award. As a result, while this is the prize's 10th year, the works represented go back 12 years; James Merrill was the first winner. Unlike most other arts awards, the Bobbitt requires the winner to perform, so Mr. Ferry, a professor emeritus at Wellesley College, read from his works of poetry and translation. He read his poem "Courtesy," which includes this description of a man and a boy on a basketball court: They're shooting baskets, amiably and mildly. The noise of the basketball, though startlingly louder Than the voices of the two of them as they play, Is peaceable as can be, something like meter. He also read from his translation of "The Art of Poetry" by Horace, picking selections to fit his audience. "Sensible people run from the crazy poet," one line read. Another went: "If he catches a man, he'll read that man to death." ______________________________________________________________________ Pierre Joris The problems of prosody for a narrative of pitchers 6 Madison Place are the pitchers’ problems of the musculature facing home… Albany NY 12202 Tel: (518) 426-0433 Kenneth Irby Fax: (518) 426-3722 Email: joris@csc.albany.edu Url: ____________________________________________________________________________ _________ ========================================================================= Date: Mon, 18 Dec 2000 21:18:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Don Summerhayes Subject: Re: GHWB: alleged chicken hawk -Reply Comments: To: patrick@proximate.org MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit How the hell does this shit get on the list? Patrick Herron wrote: > first of all, it was I who dragged the bar so very low, not ron. however, > what i suggested were allegations that have been collected from various > police ledgers across the country and written off as bizarre. please note i > said "allegedly." > > i took particular offense at the darger post when it was suggested he was a > pedophile. the heuristic used to reach the rather specious conclusion that > darger was a pedophile is nothing like the criteria used to form the > allegation about HW. the stuff about darger is based on knee-jerk repressed > reaction to rather unusual drawings; whereas the evidence about bush's > alleged pedophilia comes from a number of police reports over a course of 15 > years or so from different locations across the country. all reports came > from children who were reported missing and later returned home, with > stories that were considered as shockingly imaginative. > > "Patrick, the intention of your > would-be "mudslinging" is to ~prove~ > your liberalism, unexamined use of > maligned stereotypes like this easy > joke's seems very ill-considered, if not > yahoo. The successful propagation of > the "monster" image you are > reenforcing has been a key tactic of the > "repressive" regimes' propaganda that > you're trying to puncture, may I remind > us." > > uh, you are incorrect. you cannot read my mind, and it seems proven by your > statement in quotes above. you share no insight into my motivations. i > might be a bit yahoo, though. > > are you familiar with bush family funding for genocidal programs during the > last 70 years or so across the world? the bushes are monsters. samuel > prescott helped make sure there was a war in germany and sent hitler piles > of moolah before he had any followers. monsters. the FUCKERS made sure to > start a war so they could make piles of money for Brown Brothers Harriman > and their holding companies. that is monstrous. they continued to supply > resources to the nazis through 1943. monsters. i don't know if you are > familiar with the history of the cia, or the history of cocaine and heroin > running in america for the last 40 years, or a big savings & loan crisis, or > the iran contra affair, or so many things, but i can safely say this guy > qualifies as a monster. bushes seem to be monsters. if anything, if HW > were a child molester that might actually dilute his monster standing. > there might be something profoundly tragic about the guy. > > as far as dumya goes, other than his ability to loot the texas population as > the texans smile (the rangers' stadium, anyone) I have no idea how much of a > monster he is. unlike his daddy or granddaddy, i don't think dumya is smart > enough to be a monster. he'll hire monsters instead, because to him it's > like being back in a frat or some silly shit. > > wake up and smell your own breath. i certainly have no need to "prove my > liberalism." evidence? the most economically and militarily right-wing > presidency America has seen is the clinton administration. 33 military > deployments, nafta and the wto add up to that. reagan and bush combined > mustered only 6 military deployments, in comparison. i ain't no > conservuhtive and i ain't no lib neither. > > are you skull and bones? why do you suggest that the allegations i shared > here are "hate mail"? they are allegations, but not hate mail. such a > loaded phrase, "hate mail." you could not even pass my words as slander, > much less as "hate mail." > > most accusations regarding pedophilia are usually based on a need to slander > people, so i see how you jumped to a rather distant conclusion about my > intent. i understand that. you are wrong, however, completely. i also > would beg to differ with you and suggest that pedophiles are not diseased, > and not to be cured. sexuality is much more complicated than that. i see > pedophilia not as a monstrous illness, oh no. i see it instead as a sort of > patheticness, a severe sexual statis that has hints of despotic behavior. > i am a big fan and i see none of that in darger. "Lolita" is one of my > favorite novels, and Humbert Humbert is marked by these very traits of > sexual stasis (brought on by a childhood trauma) and a need for despotic > control. but i do not see pedophilia as necessarily "monstrous." as an > example, I would point you to a Louis Malle film, "Le Souffle au coeur." > > the bush family helped start the first castration/eugenics program in > America, with the Gray family, in Winston-Salem, NC. there's your > castration for you. > > i think you managed to jump to some rather silly and needless conclusions > about me and my intentions. and to lump ron's name here where this was > obviously my responsibility is misguided at best. > > if george herbert walker bush is a pedophile and he is not living under the > terror that you suggest, then he is probably living under the fed-form of > terror that i originally suggest. but the bushes, and the people they > represent, deserve all shame and scorn. bloody monarchs. i thought we were > rid of monarchy in america. i thought wrong. > > i will avoid judgments as to why you feel a need to protect the monarchs. > > Patrick Herron > > -----Original Message----- > From: Jeffrey Jullich [mailto:JJULLICH@claven.gsb.columbia.edu] > Sent: Thursday, December 14, 2000 7:40 PM > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU; patrick@proximate.org > Subject: GHWB: alleged chicken hawk -Reply > > Patrick/Ron: > > I must object that the popular slurs in > your message (>>HW allegedly has a > taste for 12 year old boys, a nasty > nocturnal leftover from his Andover > days,<< etc., below) is a recurrence of > a particular type of > sex-prejudice/vilification that has > passed uncontested in this Poetics List > before. Recently, it was the artist > Henry Darger whom people here were > similarly taking stabs at this way (re: > pedophilia/pederasty). > > Anyone objecting (like me) is of course > placed in the untenable, NAMBLA-ish > position of trying to defend a universal > pariah figure,--- but especially in a > public literary/intellectual forum such as > this where, Patrick, the intention of your > would-be "mudslinging" is to ~prove~ > your liberalism, unexamined use of > maligned stereotypes like this easy > joke's seems very ill-considered, if not > yahoo. The successful propagation of > the "monster" image you are > reenforcing has been a key tactic of the > "repressive" regimes' propaganda that > you're trying to puncture, may I remind > us. > > The pederasts ("chicken hawk") or > pedophiles whom you're sideswiping > are ~real~ people, who by and large > "suffer from" a condition,--- one that > has shown to be quite unresponsive to > all therapies, with almost 100% > recidivism. Your scarecrow "chicken > hawk" here has been the hot-bed, as it > were, of nation-wide "rightist" legal > extremism: the East Coast Megan Law, > California legislation toward chemical > castration of sex offenders, web "Most > Wanted" galleries where the identity > and ~addresses~ of the convicted are > to be posted, etc., etc. I'm surprised > that your frame of reference could be > so narrow as not to know of, personally > by way of social contacts, the terror > that pederasts/pedophiles live under, > constant anxiety over arrest, divided > will, etc. > > You are dragging the bar of discussion > extremely low. This, Henry Darger, --- > go on --- Lewis Carroll? Nabokov? > > --- Chris (Charles B?), I thought the > exclusion of such "hate mail" was one > of the agreed-upon justifications for a > List-monitor. > > To say nothing of Andover...! > > ------------------------------------------------- > > >> Patrick Herron > 12/13/00 > 12:16pm >>> > ron: > > "what they say about that whole side of > the family is far worse > than anything anyone has posted here, > or is likely to" > > Like, that HW allegedly has a taste for > 12 year old boys, a nasty nocturnal > leftover from his Andover days, and > that he does some serious covert work > on > satisfying those tastes? it certainly > helps to have a man in power who has > a certain weakness...it could make him > very controllable, just as it could > make him very controlling. > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Ron > Silliman > Sent: Wednesday, December 13, 2000 > 11:37 AM > To: > POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Dillonesque > > Richard, > > Actually, it was Mr Baker I was thinking > off when I used the term thug, tho > Mr Cheney comes equally to mind. I > haven't figured out what to make of Mrs > Rice -- she has that "deer caught in the > headlights" look every time I see > her on the news, a feature she shares > with George W. > > Speaking of whom (W, that is), I do > have some friends who are members of > the > Bush clan & what they say about that > whole side of the family is far worse > than anything anyone has posted here, > or is likely to. > > Ron > > One more thing. > The continued attacks on Conservative > persons and institutions by members of > this community, as if it were mere > sport, divides and alienates, it rivens > society and poisons the common spring > of language. It is a bullying > behavior because it does not permit a > comeback from the other quarter. Your > wits drive full blast down one way > streets and run over pop up targets > again > and again. The use of "thugs" to > describe people like Mrs. Rice, a > professor at Stanford, is simply > shameless. Shame on you, Ron > Silliman. > You really don't know the quality of > person you insult. Shame. > >From: Ron Silliman > > >Reply-To: UB Poetics discussion > group > > >Date: Mon, 4 Dec 2000 13:26:45 > -0500> To: > POETICS@LISTSERV.ACSU.BUFFALO.EDU > >Subject: The perfect description> > >Jon Carroll, in today's SF Chronicle, > notes that all of W's folks are his > >daddy's thugs from the 88-92 regime > and coins the perfect description of > >his > >shrubness:>> "sock-puppet elect">>> > Ron > ____________________________________________________________________________ > _________ > Get more from the Web. FREE MSN > Explorer download : > http://explorer.msn.com ========================================================================= Date: Wed, 20 Dec 2000 09:54:00 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AERIALEDGE@AOL.COM Subject: new from Edge Books MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit announcing the latest Aerial/Edge publication: _CROW_ edited by Leslie Bumstead & Rod Smith poetry: Anselm Berrigan, Lee Ann Brown, Jean Donnelly, Graham Foust, Lisa Jarnot, Katy Lederer, Bernadette Mayer, Harryette Mullen, Alice Notley, Tom Raworth, Elizabeth Willis, & Amy Wright. From _Under Albany_, a memoir, by Ron Silliman. An Interview with Lisa Jarnot by Rod Smith. From _The Clandestine Jails of El Salvador_ by Ana Guadalupe Martinez, translated by Leslie Bumstead. Cover art by Kimura Hiroshi. 50 pages, stapled. $6 payable to Aerial/Edge, POBox 25642, Washington, DC 20007. forthcoming from Edge Books: _Ace_ by Tom Raworth, with drawings by Barry Hall, perfectbound, 96 pages, $10. ========================================================================= Date: Wed, 20 Dec 2000 12:49:55 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jacques Debrot Subject: Poetry vs. prose MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Has this thread been exhausted already? Here are a few ideas, in any case: Poetry as a literary medium is being used today, it seems obvious to me, for increasingly more specialized purposes. Since modernism, in fact, poetry's development can be characterized as a series of formal renunciations (not only of the various tropes of "poetic language" per se--but, more critically--renunciations of narrative and, for lack of a better word, "argument"). This is true equally, I think, of both "alternative" and mainstream poetry). & all of this while the "theory" of poetry--perhaps in compensation--has become increasingly--& comically--more arcane. Two recent poems have suggested this to me w/ particular force. The first is a longish prose poem incorporating material from Lewis Carrol, Deleuze, & various other sources. What struck me was how diminished the poem seemed in relation to its appropriations. It wasn't the poet's fault--the piece was, in its way, perfectly accomplished--rather it seemed that the genre itself, in its present state, could not accomodate, or assimilate its sources--which are, in fact, much more various, complex, and capacious. The second poem was-- like a lot of others I've read lately--a gorgeous "knock-off" of Frank O'Hara. "Better" than O'Hara, actually. And why not? His technique has been perfected with increasing "success" now for the last 35 years. Gorgeous, in any case, but completely trivial. And if triviality was something a lot *more* than trivial in 1966 (as Paul Carrol argues, for instance), it strikes me as something a lot *less* than trivial now. These are only highly subjective responses. But in both poems, it was the medium that didn't seem to let the poet fly--this being, of course, the very definition of what is meant by a *minor* medium (particularly as compared w/ the contemp. non-mimetic novel--Sebald's novels, for instance, or Gins's, or Bernhard's--or even the contemporary theater--Richard Foreman comes immediately to mind). There are exceptions: Weiner's 707 Scott Street, Juliana Spahr's Spiderwasp, Kent Johnson's Yasasuda impersonations, and others--Gary Sulivan's and Nada Gordon's correspondance, etc. What all of these works share is a tendency not to be books of poems at all--or, at least principally--but rather books which have *assimilated poetry* instead of the other way around. --Jacques ========================================================================= Date: Wed, 20 Dec 2000 11:00:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Fwd: INFO: gwen brooks memorial(s) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" --------------------- >Dear Friends, > >Just wanted to let you know that the Gwendolyn Brooks Center for Black >Literature and Creative Writing will have a memorial service honoring >the life and works of Gwendolyn Brooks on Friday, January 19, 2001, at > > Chicago State University > 9501 S. King Drive > Chicago, Illnois > Robinson University Center, Rms A&B > 6:00 p.m. - 9:00 p.m. > >There is a permanent memorial for Gwendolyn Brooks Blakely on >Legacy.com. Memories, notes, or poems may be sent to : > www.legacy.com > e-mail: info@legacy.com > fax 888-397-3366 > >Juliette Bethea >Washington, DC " Subjects hinder talk." -- Emily Dickinson Aldon Lynn Nielsen Fletcher Jones Chair of Literature and Writing Loyola Marymount University 7900 Loyola Blvd. Los Angeles, CA 90045-8215 (310) 338-3078 ========================================================================= Date: Thu, 21 Dec 2000 15:22:05 -0500 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: @MLA: The Book as Object Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The Book as Object and Metaphor in the Digital Age Friday, Dec. 29, 12 noon -- 1:15pm, Delaware Suite B, Marriott=20 (Washington, DC) In the course of the modern period, and in particular in the twentieth century, a self-consciousness about the book as an object, a metaphor, and an aesthetic instrument has been articulated from a range of disciplinary perspectives (ethnopoetics, textual criticism, historical research, artistic expression). In a recent collection, A Book of the Book, edited by Jerome Rothenberg and Steven Clay, this interest has been charted from Edmond Jab=E8s's contention that "the book is as old as fire and water" to Johanna Drucker's that "the artist's book is the quintessential 20th-century artform." The panel attends to that rich and recently reinvigorated legacy and to the work of poets, scholars, critics, and others who have contributed to this conversation, and it also looks at the ways that current electronic encoding initiatives force to the fore a set of questions about the metalogics of the book and page. Session Chair: Charles Bernstein Johanna Drucker: "Materiality and Metadata: Towards a Metalogics of the Book" Jerome McGann: 'Workers of the Book, Unite!" Jerome Rothenberg: "Editing A Book of the Book: A Return to the Book & Writing"=20 More information on A Book of the Book at http://www.granarybooks.com. =20 ========================================================================= Date: Thu, 21 Dec 2000 15:30:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Lyn Hejinian's Language of Inquiry and MLA panel Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" A great event -- Lyn Hejinian's The Language of Inquiry is now out from University of California Press. For more information: http://www.ucpress.edu/books/pages/8352.html And at the MLA (Washington, DC) -- Lyn Hejinian and Poetics 8:30am-9:45am, Nathan Hale, Marriott: Bob Perelman, session leader "The Politics of Poetic Meditation in Lyn Hejinian and Gertrude Stein," Georgette Fleisher "Lyn Hejinian's and Arkaadi Dragomoschenko's 'Nasturtium as Reality'", Gerard Janecek "Hejinian's Ethics", Barrett Watten "Lyn Hejinian's 'World of the Happy'", Marjorie Perloff ========================================================================= Date: Thu, 21 Dec 2000 15:32:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. Comments: RFC822 error: MESSAGE-ID field duplicated. Last occurrence was retained. From: Charles Bernstein Subject: @MLA: Poetry Division Panels Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The Poetry Division of the MLA is sponsoring three panels: Poetry and Pedagogy Wedesday, Dec. 27, 7pm - 8:15pm, Park Tower Suite 8216, Marriott (Washington, DC) Lorenzo Thomas, Presiding "'And We Will Teach Them How': But How?", Willard L. Spiegleman "An Aesthetic Education", Susan Stewart "'Mushrooms. Teaching Machines,'" Craig Dworkin Respondent: Marjorie Perloff Conversations with Poets: Rosmarie Waldrop Thurs., 28 December, 5:15pm - 6:30pm, Salon 3, Marriott Romarie Waldrop reading and in conversation with Susan Stewart, Lorenzo Thomas, and Roland Green; introduced by Charles Bernstein World Wide Poetry on the Web Friday, December 29, Maryland Suite B, Marriott Presiding: Loss Pequeno Glazier, SUNY-Buffalo "'No One to Drive the Car': Experimental Poetry across Time and Space," Al Filries "Using the William Blake Archive in Teaching Poetryt," Josephine Ann McQuail "Listening to Edit: The Digital Potential and Pitfalls of Webcast Poetry Programs," Martin Spinelli Respondent: Loss Pequeno Glazier For more information: http://epc.buffalo.edu/conferences/00/mla ========================================================================= Date: Thu, 21 Dec 2000 15:47:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Welcome Message 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 08 September 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. The idea is to keep the list to those with specific rather than general interests, and also to keep the scale of the list relatively small and the volume manageable. The Poetics List is a moderated list. Due to the increasing number of subscribers, we are no longer able to maintain the open format with which the list began (at under 100 subscribers). All submissions are reviewed by the moderators in keeping with the goals of the list, as articulated in this Welcome Message. We remain committed to this editorial function as a defining element of the Poetics List. Our aim is to support, inform, and extend those directions in poetry that are committed to innovations, renovations, and investigations of form and/or/as content, to the questioning of received forms and styles, and to the creation of the otherwise unimagined, untried, unexpected, improbable, and impossible. For further information on posting to the list, see sections 3 and 4. below. 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Please note that while this list is primarily concerned with poetry and poetics, messages relating to politics and political activism, film, art, media, and so forth are also welcome. Feel free to query the list moderators if you are uncertain as to whether a message is appropriate. All correspondence with the editors regarding submissions to the list remains confidential and should be directed to us at . We encourage subscribers to post information on publications and reading series that they have coordinated, edited, published, or in which they appear. Such announcements constitute a core function of this list. Brief reviews of poetry events and publications are always welcome. We also welcome discussions of poetry and poetics in keeping with the editorial function of the list. Solicited contributions (by subscribers or non-subscribers) may also appear on Poetics from time to time. The moderators reserve the right to contact any subscriber regarding possible contributions. Send messages to the list directly to the list address: Please do not send messages intended for posting to the list to our administrative address . For further information on posting to the list, see section 4 below. Publishers and series co-ordinators, see also section 9. ------------------- 4. Cautions It may take up to a week or more to respond to your questions or to subscription requests or to handle any other editorial business or any nonautomated aspect of list maintenance. Please do not send attachments or include extremely long documents (1,000+ words) in a post, since this may make it difficult for those who get the list via "digest" or who cannot decode attached or specially formatted files. Messages containing attachments will be presumed to be worm- or virus-carrying and will not be forwarded to the list. Posting on the list is a form of publication. However, please do not publish list postings without the express permission of the author! 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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. To receive the Poetics List in index form, send a one-line message with no "subject" line to The body of the message should contain, for the text-only index: set poetics nohtml index And for the hyper-link index: set poetics html index Your subscription options will be updated automatically. NOTE!! Send these messages to "listserv" not to Poetics or as a reply to this Welcome Message!! ------------------- 6. Temporarily turning off Poetics mail Please do not leave your Poetics subscription "active" if you are going to be away for any extended period of time! Your account may become flooded and you may lose not only Poetics messages but other important mail. You can temporarily turn off your Poetics subscription by sending this one-line message, with no "subject" line, to : set poetics nomail You may re-activate your poetics subscription by sending this one-line message, with no "subject" line, to the same address: set poetics mail When you return you can check or download missed postings from the Poetics archive. (See section 9 below.) ------------------- 7. "No Review" policy For the safety and security of list subscribers, the "review" function of the Poetics List has been de-activated. Non-posting subscribers' email addresses will remain confidential. Please do not ask the list editors to give out subscriber addresses or other personal information. ------------------- 8. What is the Electronic Poetry Center? The World Wide Web-based Electronic Poetry Center is located at . The EPC's mission is to serve as a gateway to the extraordinary range of activity in formally innovative writing and digital media poetry in the United States and around the world. The Center provides access to extensive resources in new poetries. These include our E-POETRY library, our links to digital VIDEO and SOUND (including our award-winning LINEbreak series of radio interviews and performances) as well as e-journals such as lume, Deluxe Rubber Chicken, Alyricmailer, and many others, the POETICS List archives, an AUTHOR library of electronic poetry texts and bibliographies, and direct connections to numerous related electronic RESOURCES. The Center also provides information about contemporary electronic poetry magazines and print little magazines and SMALL PRESSES engaged in poetry and poetics. Visit the EPC's many libraries, the featured resources available on the EPC home page, or its NEW listings, where recent additions are available for quick access. The EPC is directed by Loss Peque=F1o Glazier. ------------------- 9. Poetics Archives at the EPC Go to the Electronic Poetry Center and select the "Poetics" link from the opening screen. Follow the links to Poetics Archives. Or set your browser to go directly to . You may browse the Poetics List archives by month and year or search them for specific information. Your interface will allow you to print or download any of these files. Please note that it is possible to toggle between proportional and non-proportional fonts in viewing archived messages; a feature that may be useful to interpret messages reliant on the neat spacing of a proportional font, or that require the "word wrap" feature of same - and useful, too, for aesthetic reasons. 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, 21 Dec 2000 15:53:18 -0500 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 Country Subscribers ------- ----------- Australia 16 Belgium 2 Canada 41 Finland 1 France 1 Germany 3 Great Britain 21 India 1 Ireland 6 Israel 1 Italy 1 Japan 5 New Zealand 11 Romania 1 Singapore 1 Spain 3 Sweden 3 Switzerland 2 Taiwan 1 Thailand 1 USA 749 Yugoslavia 1 Total number of users subscribed to the list: 874 Total number of countries represented: 22 ========================================================================= Date: Wed, 20 Dec 2000 17:23:38 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Igor Satanovsky Subject: Re: Blast from the Past...... Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Another hoax, ladies and gents. Is this a busy hoax holiday season or what? There is no such quatrain in Nostradamus books. check out Nostradamus search engine at http://www.dreamscape.com/morgana/titan.htm#COMPROPH Igor Satanovsky ______ In a message dated Wed, 20 Dec 2000 4:18:21 PM Eastern Standard Time, Joe Brennan writes: << In 1555, Nostradamus wrote: Come the millennium, month 12, In the home of greatest power, The village idiot will come forth, To be acclaimed the leader. >> ========================================================================= Date: Wed, 20 Dec 2000 19:35:20 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: fiction In-Reply-To: <802569BA.005A01F6.00@notescam.cam.harlequin.co.uk> MIME-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Roger Day wrote: > It's those big old orchestras and opera houses now having to justify their > existence. Why should poetry and fiction differ? Well, although I tend to agree with your Darwinian commentary here, this strikes me as an problematic analogy-- 'big old' orchestral music is only a few hundred years old, as is opera. As is the novel. Poetry, the first form of literature, is thousands. By 'literature' I mean, things said in a particular way and remembered as having been said in that way. For millennia poetry was a technology (using alliteration, caesura, parallelism) that enabled something 'said particularly' to be remembered as such. In the early days, poetry enabled literature to exist. As language began to be recorded, duplicated, and distributed, poetry found an enthusiastic public and developed greater precision. Homer et al had their day in the sun. Then came Chaucer. Then other technologies came along and made poetry less necessary: the printing press, the postal system, then the networked computer. As these technologies have increased in speed and efficiency, the form of poetry (and all literary art) has degenerated. Of course it had to: it was no longer needed. Poetry is being shed from literature like a cocoon; is a butterfly emerging? Probably so, but why not wonder? We who paint the butterfly's wings must wonder. That said, any attempt to compare fiction and poetry to determine which is 'better' is admittedly ludicrous; my initial question was facetious, I had thought, obviously; I don't think that one 'genre' is superior. Though I am fretting about the present and future of literature, I think not without good reason. The first round of non-hateful responses to it was exactly what I was looking for-- Richard's hilarious bit about computer-authors, Patrick's anecdote about the family dinner table, Mr. Bowering's declaration. So the question may stem from a false premise, but the answers are not all meaningless, as Jacques and Marla have pointed out. So Patrick, please maintain your 'narcotic optimism'-- and do not doubt anyone's 'gray matter' -- As Bill put it, a 'fruitless but fun exercise' -- -Aaron P.S. Does anyone know what the oldest recorded poem is? ========================================================================= Date: Wed, 20 Dec 2000 19:59:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Organization: e.g. Subject: Re: fiction MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit Hilton Obenzinger wrote: > This is a very beautiful collection of insights, and the students are > clearly excited, perceptive, and really cooking. But I don't think > that it proves such a qualitative difference between poetry and > fiction. Nor were they meant to -- the comments were in response to the what is poetry question, and students introduced the comparison with fiction, since we'd struggled a bit with some prose poems vs. some flash fiction which sneaked into class, so I thought I'd post the comments. Rgds, Catherine ========================================================================= Date: Thu, 21 Dec 2000 01:54:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Noted Home Schooler and John Birch Republican, William J. Cass, Responds To Ron Silliman and other RadLibbers. In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Communiqu=E9s from the noted John Bircher and Home Scholar, William J. Cass, of Lawrence, Pennsylvania: December 5, 2000 9:22 AM WJC Dear Mr. Dillon, Hello! How are you right now? I am doing well. Have you written any poetry lately? We have this computer game called, "Explorers of the New World." We can learn intensely about Columbus, Cortes, and Magellan. We also can learn about sixty explorers. I am testing for purple stripes on my orange belt tomorrow. Leah is testin= g for her purple belt. Jason will test for orange belt. Hurrah for Bush! The Freedom Fighters have defeated the Nazis (excuse me, Gore camp) twice yesterday (December 5, 2000). It reminds me of that Civil War day (July 3, 1863) when the Union defeated the Confederates at Gettysburg and Vicksburg. Don't you think it is time for Gore to concede? Is there a law in the Constitution or the U.S. Code about once you have conceded anything, you lose rights to it or to a political race? I believe there is, for if Britain came back today and tried to take back Northern Wisconsin or Northern Minnesota, (which it ceded in 1818) it would not be aloud to have it, because Britain lost its right to the land. So it is wit= h Al Gore. Since he conceded on November 8th, he should be done. There should be no question about it. On November 8th, he acknowledged Bush as the winner and gave up his right to contest everything. ---------- Day 22 of election, 11/30/00, Thursday, 5:11 AM ---------- Dear Mr. Dillon, Have you read the story, "Al Gore's New Ballots"? Well, in the story they recount the 10,000 votes in Miami-Dade County that did not have any hole punched through. It really ends up that only a Democrat can see the hole punched: for Al Gore. Your Knowledge Hungry Friend, William J. Cass ///////////////////////////////////////////////////////////////////////////= / Dear William, There are so many laws, William, and so many judges to interpret them, that it may well be true that there is a statute against a competitor in an election contest who throws in the towel and then denies that his concessio= n counted. Children do not permit it, why should adults? Hamilton wrote in the Federalist Papers: "Observe the Electoral College in a tempestuous election. The process may not be pretty but it is MOST EXCELLENT." (My paraphrase save for the final superlative.) (Quoted by Florida Secretary of State, Kathryn Harris, to the Electoral College of Florida, Dec., 17, 2000.) We do not live in a place called "United Felonious Bastards Registered by DemKrats 500 Man LawyerArmy Milling About On Landfill West of France and East of India". We are citizens of "The United STATES of America". A. Armand Gore did not win his HOME STATE. Had he done so, he'd be President today, dealing with the oncoming Clinton/Gore/Reno Recession due to the Justice Dept. attack on Microsoft and the Dot.com Crash that started in March, 2000. (Mr. Gore told us that he has to mend some fences in Tennesse= e and I am sure he will, unless he fulfills the rest of my prophecy written i= n a poem to David Baptiste Chirot, the poet.) ///////////////////////////////////////////////////////////////////////// October 17, 2000 Internet Communiqu=E9 =20 > M. Chirot: >=20 >=20 > More later but I'll toss a tidbit: > URANUS WREAKS HAVOC WITH GORE'S MARS CONJUNCT SATURN THUS REWRITES HIS SIXTH OIKOS > When A. Armand Gore retires from public life > after the beginning > of The Restoration at Scorpio 16, >=20 > he would be well advised to return the toque to his tete >=20 > painting! > he abandoned > under his Dad's pressure > so long ag= o. >=20 > A good move would be to join up with his cousin, Vidal, on the Cote D'Azu= r. >=20 =20 =20 ========================================================================= Date: Thu, 21 Dec 2000 21:29:37 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: geraldine mckenzie Subject: Re: Fiction as Poetry Mime-Version: 1.0 Content-Type: text/plain; format=flowed > >>I need to read the rest of the thread on this I guess >but I wondered if anyone had already or would mind >cataloging some other novels of poetic brilliance for >me (whether to me directly or to the list). Perhaps >others would be interested too? If this has already >been done and I just haven't read that far yet, please >forgive the repetition. > >> > > Marla I don't mind your repetition if you don't mind mine - try Iain Sinclair's Downriver, Nabokov's Ada, anything by Beckett, James Kelman's How late it is, how late - there's a short story by Flaubert too, called The Legend of Julian the Hospitaller (I think), Paddy Clark Hah Hah by Roddy Doyle is also pretty good - anyone who knows these novels wouldn't call them lyrical (I tend to run a mile when a blurb begins - a lyrical evocation...) but poetic as in having the qualities of a poetry? - yes. Philip Sydney's Arcadia is a bit of fun as well. Geraldine _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. ========================================================================= Date: Thu, 21 Dec 2000 10:58:58 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: fill me in In-Reply-To: <200012210510.AAA23705@halo.angel.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hmm. I read this Albion Moonlight thing, regarding Allen Grossman, but am unfamiliar with the other controversy. I'd be delighted if someone would fill me in. In disclosing our choice of Allen Grossman as judge we were simply relaying information that was never a secret. The two Fence book competitions are run in collaboration with two separate organizations. The Alberta Prize is sponsored by the Alberta duPont Bonsal Foundation, whose representative, Tom Thompson, will be my co-judge for the final winner. This is not a secret--we chose not to announce it more in an attempt to avoid many queries as to who is Tom Thompson and etc. For the Fence Modern Poets Series Prize, co-sponsors Saturnalia Books and Fence decided on an "outside" judge, and picked Allen Grossman because we respect him as a poet and scholar. He will be presented with ten finalist manuscripts chosen by the editorial staff of Fence from which to select a winner. In both of these cases the best guide as to what kind of manuscript we will be looking for will be to read Fence, the magazine. While our editorial policy is plurality, we tend to select poems which above all share that familiar yet evasive quality of idiosyncrasy. Rebecca Wolff Editor and Publisher Fence Re: There have apparently been a series of controversies surrounding the two FENCE book competitions, but these are apparently taking place mostly as New York poetry gossip, and I have no information. Therefore, I don't know why these particular book competitions have become so controversial. Rebecca seems nice enough. Allen Grossman judged last year's Colorado Review book prize, apparently to silence. He chose Sally Keith, and the one poem on the Colorado Review site seems philosophical, religious, and Dickinson "updated" by mentioning double wides. I read _Bitter Logic_ and that's pretty much what it seemed. Pound is of course an explosive topic on this list especially. BTW, during the convention, there's a sale for MLA members at Alphaville. I suppose I've been caught at being naive about poetry again, except I would like to point out that not all competitions disclose judges' names, as if the judge does not matter, and that the other FENCE contest did not make such a disclosure (at least to my knowledge). Former Dick Durbin campaign worker, Catherine Daly cadaly@pacbell.net ========================================================================= Date: Thu, 21 Dec 2000 08:28:35 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: spaciality in poetry In-Reply-To: <4.3.2.7.2.20001218215053.00acf260@uclink4.berkeley.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" i am a research phd candidate. i am studying the spaces in which poetry exist. much australian poetry is concerned with mapping landscapes, physical and psychological. since composing hypermedia poetry for cyberspace i have started to re-read published printed poetry and find that whilst most poetry maps a surface of sorts, there is printed poetry which places me in a space(i think it's inside my head), a space for logical thought or imagination. there is also poetry which describes a space 'between' objects, between people rather than mapping surfaces. if anyone can suggest theorists who have already identified 'surface' and 'space' in poetry, i would be very grateful. regards komninos "have fun - whatever you are celebrating" komninos's cyberpoetry site http://student.uq.edu.au/~s271502 cyberpoet@slv site http://www.experimedia.vic.gov.au/cyberpoet/ komninos zervos, tel. +61 7 55 948602 lecturer in cyberstudies, school of arts, gold coast campus, griffith university, pmb 50, gold coast mail centre queensland, 9726 australia. ========================================================================= Date: Thu, 21 Dec 2000 12:19:08 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Shapiro Subject: NYC event on Wed 11/27: Richard Kostelanetz and Jerome Rothenberg MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit New York Literary Event Wednesday, December 27, 2000 FREE 7:00pm Reading & discussion 15 Gramercy Park South (near 20th Street & Park Avenue) New York, New York Take 6 train to 23rd Street For more information, please call (212) 604-4823 or email podium2@aol.com. You are cordially invited to an evening featuring authors Richard Kostelanetz and Jerome Rothenberg who will be reading from their works and discussing the role of manifesto-anthologies Among Richard Kostelanetz's recent books are John Cage, Writer (1992; Cooper Square, 2000), AnOther E. E. Cummings (Liveright, 1996), Radio Writings (1996), Openings (1997), Thirty Years of Critical Engagements with John Cage (1997), Vocal Shorts: Collected Performance Texts (1998), and Political Essays (1999),A Dictionary of the Avant-Gardes (2nd edition, 1999). Among Jerome Rothenberg's recent books are "Poems for the Millennium: The University of California Book of Modern and Postmodern Poetry: From Fin-De-Siecle to Negritude (volumes one and two)," co-edited with Pierre Joris, and "A Book of the Book: Some Works & Projections About the Book & Writing" (Granary Books), co-edited with Steven Clay. His tenth book of poems from New Directions, "A Paradise of Poets," appeared this year. ========================================================================= Date: Fri, 22 Dec 2000 11:05:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: new book published 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, December 21, 2000, 2:47 PM +0000 Henry wrote: > > "...the last shall be first." > > TIME AND AGAIN : POEMS 1940-1997 by Edwin Honig has just been published > by XLibris. For more info, go to: www.xlibris.com/timeandagain.html > > This book will be available shortly from online book vendors. > > Edwin Honig has outlived most of his contemporaries. TIME AND AGAIN is > the most comprehensive collection of his work yet available. Over 600 > pp, includes his long sequence Four Springs (modelled to some extent on > Louis MacNeice's Autumn Journal); the verse play Orpheus Below; hundreds > of poems in a variety of forms & styles; and a dozen of Honig's line > drawings. > > Poet, scholar, WW 2 vet, adolescent anarchist, Brooklynite, translator > of Pessoa, early Lorca, Calderon, knighted by the gov'ts of Spain & > Portugal, trailed by the FBI from the early 40s to the late 50s, > Honig casts a long shadow over 20th-century American literature, > yet his poetry remains to some extent undiscovered country. Like > other poets of his generation, Honig's development can be seen as > antithetical to current trends - moving from formalism to open & > multiple literary explorations. His voice is inimitable and his > remarkable, vast-yet-conversational diction is perhaps unrivaled > in terms of sheer verbal ingenuity & range of vocabulary by anyone > but Stevens. > > This volume has been in preparation & in search of a publisher since > 1995. Its appearance (at last but not least) is a cause for celebration. > > Here are 3 samples from his very late work: > > > THE SNAKE CHARMING BEE > > Passion for the indrawn > long dry creature: > "Don't draw back. > I come for you > to make you > come in me!" > > Outbuzzing hisses > the bee > makes honey reign > however briefly > all over the endless > desert floor. > > > WAPPING 1972 > > The high bird talk > of the bibulous pair > of knickered grass widows > who pause on the green > under the free > flapping Union Jack just > as the Zeppelin > flies out > of the mauve Sunday sky > and the wingless immense > silver gray bird incites > the nose twitching ladies > to squeak higher and higher > remorselessly rousing > the wire-haired terrier > with spick-and-span bone > on the lawn > to bare solemn teeth > and tremble to fly > at their dry tidy thighs > thus turning them back > decrescendo to seek > the elvish old house > by the side of the steeple > dumb as the bird become stone > on the rim of the fountain > drinking the sunlight > that wizens the flag > adroop on the pole > > > HYMN TO HER > > The load you take > is dense, backbreaking > and mistaken. > > It can be otherwise: > and in full light, > wholly undertaken, > > the load is slim, > and to the one that > takes it, bracing - > > owed to none but > for the life > that lifts awakened. ========================================================================= Date: Fri, 22 Dec 2000 11:08:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: FENCE competition 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, December 21, 2000, 6:08 PM -0500 "Tom Thompson" wrote: > >>I was surprised to read Catherine Daly's Mon, 18 Dec. post about "a >>series of controversies surrounding the two FENCE book competitions." >>Surprised because it's the first I've heard of it, and interested >>because I'm the poetry director of the Alberta Bonsal Foundation >>(which supports one of the book prizes). This may be old gossip by >>now -- the only thing I have been paying much attention to the past >>month is my newly-born bouncing (squeaking, grimacing, farting, >>squinting) baby boy. Still, the "controversy" confuses me. If there >>is brouhaha around the selection of the judge, I think Catherine's >>post speaks well to the vagaries of worrying about one judge or >>another or even Grossman in particular. I also agree with Catherine >>that it seems good faith to reveal judges beforehand -- it lets >>entrants know the aesthetics they're being read by. >> >>With the Alberta Prize we didn't announce the judges because the >>judges are simply FENCE and the Foundation - with the screening done >>by the folks at Fence, and the final call made by Rebecca and me. In >>other words, if you know the journal you get the aesthetics (or you >>don't). >> >>I'm curious to know if there is something I am missing about this >>that is controversial. Having unwittingly entered my share of rigged >>contests, I am mighty tired of hearing funny things about a contest >>AFTER I've entered it...so I want to make sure that anyone who has >>sent into FENCE is comfortable with the process for both prizes. >> >>Tom Thompson > > ========================================================================= Date: Wed, 20 Dec 2000 20:25:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Arielle Greenberg Subject: Re: fence MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I don't get it -- what exactly are the "controversies?" My email's been fluky lately, so maybe I just didn't receive the postings in this thread, but I'm unclear as to what is being questioned here. Arielle --- Catherine Daly wrote: > There have apparently been a series of controversies > surrounding the two > FENCE book competitions, but these are apparently > taking place mostly as > New York poetry gossip, and I have no information. > Therefore, I don't > know why these particular book competitions have > become so > controversial. Rebecca seems nice enough. Allen > Grossman judged last > year's Colorado Review book prize, apparently to > silence. He chose > Sally Keith, and the one poem on the Colorado Review > site seems > philosophical, religious, and Dickinson "updated" by > mentioning double > wides. > > I read _Bitter Logic_ and that's pretty much what it > seemed. Pound is > of course an explosive topic on this list > especially. BTW, during the > convention, there's a sale for MLA members at > Alphaville. > > I suppose I've been caught at being naive about > poetry again, except I > would like to point out that not all competitions > disclose judges' > names, as if the judge does not matter, and that the > other FENCE contest > did not make such a disclosure (at least to my > knowledge). > > Former Dick Durbin campaign worker, > Catherine Daly > cadaly@pacbell.net __________________________________________________ Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. http://shopping.yahoo.com/ ========================================================================= Date: Thu, 21 Dec 2000 17:52:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: Marquez hoax In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit me too! > From: ShaunAnne Tangney Humanities > Reply-To: UB Poetics discussion group > Date: Tue, 19 Dec 2000 12:51:55 -0500 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Re: Marquez hoax > > ouch...don't i feel foolish... > --shaunanne > > > > >> It's hard to believe that this piece of sentimental trash could be written by >> Marquez. Obviously, it's a hoax. See Reuters statement below. >> >> Igor Satanovsky >> >> _______ >> >> 'Farewell poem' fools readers >> Reuters >> MEXICO CITY (Reuters) -- A poem published in several Latin American >> newspapers this week and said to be a farewell ode by Colombia's ailing Nobel >> laureate Gabriel Garcia Marquez turned out on Wednesday to be the work of a >> little-known ventriloquist. >> The poem titled "La Marioneta" -- "The Puppet" -- appeared under Garcia >> Marquez's name on Monday in the Peruvian daily La Republica. Mexico City >> dailies reproduced it on Tuesday and it was read on local radio stations. >> "Gabriel Garcia Marquez sings a song to life," read a headline in Mexico >> City's La Cronica, which on Tuesday published the poem superimposed on a >> photo of the novelist on its front page. >> "My God, if I had a bit of life I would not let one instant go by without >> telling the people I love that I love them," read the sentimental poem that >> also circulated on the Internet. >> But like the speech supposed to have been given by U.S. >> novelist Kurt Vonnegut in 1997 urging graduates at the Massachusetts >> Institute of Technology (MIT) to use sun screen, the author of "La Marioneta" >> turn out not nearly as famous as advertised. >> "I'm feeling the disappointment of someone who has written something and is >> not getting credit," ventriloquist Johnny Welch told Mexico's InfoRed radio >> on Wednesday. >> Welch, who has worked for 15 years as a ventriloquist in Mexico and other >> parts of Latin America, said he wrote the poem for his puppet sidekick >> "Mofles." >> "I'm not a writer," he confessed. >> In 1997 a humor column by Chicago Tribune columnist Mary Schmich was widely >> redistributed on the Internet, but was incorrectly billed as an MIT >> commencement address by Vonnegut. >> Garcia Marquez won the Nobel prize for literature in 1982. His seminal work, >> "100 Years of Solitude," has been translated into 36 languages and sold >> millions of copies worldwide. >> In an October 1999 interview with New Yorker magazine, the 73-year-old author >> acknowledged having been treated for lymphatic cancer in the summer of 1999 >> in Los Angeles. Rumors of his failing health have surfaced several times in >> Latin America in recent months. >> Garcia Marquez did not comment publicly on the apocryphal poem, but several >> close associates denied he had anything to do with it. "It's a shame there >> are such good forgeries of paintings but such lousy forgeries of literature," >> Argentine author Tomas Eloy Martinez told Mexico City's Reforma newspaper. >> >> >> >> >> >> In a message dated Thu, 14 Dec 2000 11:22:30 AM Eastern Standard Time, >> Poetics List Administration writes: >> >> << This came to the administrative account. --TS >> >> --On Tuesday, December 12, 2000, 4:27 PM -0500 "ShaunAnne Tangney >> Humanities" wrote: >> >>> >>> sad news...and incredible eloquence... >>> --shaunanne >>> >>> >>> >>> >>> ---------- Forwarded message ---------- >>> Date: Tue, 12 Dec 2000 14:25:20 -0600 >>> Subject: Marquez >>> >>> I got this through a listserv. I thought it was worth passing on... Ruth >>> >>> Gabriel Garcia Marquez* has retired from public life due to health >> reasons: >>> cancer of the lymph nodes. It seems that it is getting worse. He has >>> sent this farewell letter to his friends, which has been translated and >>> posted on the Internet. Please read and forward to any who might enjoy it. >>> This is possibly, sadly, one of the last gifts to humanity from a true >>> master. >>> This short text, written by one of the most brilliant Latin Americans in >>> recent times, is truly moving. >>> >>>> If for an instant God were to forget that I am rag doll >>>> and gifted me with a piece of life, >>>> possibly I wouldn't say all that I think, >>>> but rather I would think of all that I say. >>>> I would value things, not for their worth >>>> but for what they mean. >>>> I would sleep little, dreammore, >>>> understanding that for each minute we close our eyes >>>> we lose sixty seconds of light. >>>> I would walk when others hold back, >>>> I would wake when others sleep. >>>> I would listen when others talk, and >>>> how I would enjoy a good chocolate ice cream! >>>> If God were to give me a piece of life, >>>> I would dress simply, >>>> throw myself face first into the sun, >>>> baring not only my body but also my soul. >>>> My God, if I had a heart, >>>> I would write my hate on ice, >>>> and wait for the sun to show. >>>> Ove the stars I would paint >>>> with a Van Gogh dream >>>> a Benedetti poem, >>>> and a Serrat song. >>>> I would be the serenade >>>> I'd offer to the moon. >>>> With my tears I would water roses, >>>> to feel the pain of their thorns, >>>> and the red kiss of their petals. >>>> My God, if I had a piece of life... >>>> I wouldn't let a single day pass >>>> without telling the people I love that >>>> I love them. >>>> I would convince each woman >>>> and each man that they are my favorites, >>>> and I would live in love with love. >>>> I would show men how very wrong they are >>>> to think that they cease to be in love >>>> when they grow old, not knowing that >>>> they grow old when they cease to be in love! >>>> To a child I shall give wings, >>>> but I shall let him learn to fly on his own. >>>> I would teach the old that >>>> death does not come with old age, >>>> but with forgetting. >>>> So much have I learned from you, oh men... >>>> I have learned that >>>> everyone wants to live on >>>> the peak of the mountain, >>>> without knowing that >>>> real happiness is in how it is scaled. >>>> I have learned that when >>>> a newborn child squeezes for the first time >>>> with his tiny fist his father's finger, >>>> he has him trapped forever. >>>> I have learned that a man has >>>> the right to look down on another only >>>> when he has to help the other get to his feet. >>>>> From you I have learned so many things, >>>> but in truth they won't be of much use, >>>> for when I keep them within this suitcase, >>>> unhappily shall I be dying. >>>> >>>> >>>> GABRIEL GARCIA MARQUEZ >>>> >>>> A QUICK BIO ON THE MASTER: >>>> Colombian author Gabriel Garcia Marquez began his career as a Journalist >>>> for >>>> a series of liberal South American newspapers in the late 1940's. >>>> Although he >>>> toyed with fiction as a young man, his first true efforts were incited >>>> by the >>>> >>>> negative reviews of contemporary Latin-American writers. The result was >>>> the >>>> short story The Third Resignation. The reviews of the story were >>>> positive and >>>> the impact strong; the press heralded The Boom, a econd generation of >>>> Latin-American writers. >>>> >>>> >>>> Garcia Marquez followed with a compilation of short stories (Big Mama's >>>> Funeral) >>>> and three novellas (Leaf Storm, No One Writes to the Colonel, and In >>>> Evil >>>> Hour). These dark, eerie, and sad works were influenced heavily by Franz >>>> >>>> Kafka yet the reveal the voice of an intelligent young writer preparing >>>> himself for larger things. >>>> >>>> >>>> Larger things came to Garcia Marquez in 1967. While suffering From >>>> writer's >>>> block several years earlier, the author suddenly had a vision of his >>>> next >>>> novel-as he has said, the first chapter was as clear as if it had >>>> already >>>> been written. The idea was to tell the story of several generations of a >>>> >>>> Colombian family as his grandmother might have told it: supernatural >>>> occurrences and unbelievable events described with unblinking sincerity. >>>> After eighteen months of seclusion, Garcia Marquez produced his >>>> Masterpiece >>>> One Hundred Years of Solitude, which has been called one of the greatest >>>> >>>> novels in history. >>>> Gabriel Garcia Marquez was awarded the Nobel Prize for literature in 1982. >>>> >>>> >>>> >>>> >>>> >>> >>>> >> > ========================================================================= Date: Thu, 21 Dec 2000 18:47:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: Re: Reading Recommendation In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks, Maria & Damion for your advice! I'm going to dive in somewhere... > From: Maria Damon > Reply-To: UB Poetics discussion group > Date: Mon, 18 Dec 2000 14:49:57 -0600 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Re: Reading Recommendation > > I teach _Cleaned Out_ (Dalkey Archive) pretty often. i think it's terrific. > > At 4:14 PM -0800 12/13/00, Tisa Bryant wrote: >> Hey, all! >> >> If there are any fans or scholars of Annie Ernaux out there, can one (or >> more) of you recommend a book of hers for me to read? >> >> I'd like to check her out, and I don't know where to start. >> >> Thanks! >> >> Tisa > ========================================================================= Date: Thu, 21 Dec 2000 22:50:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Wheeler Subject: Re: POETICS Digest - 16 Dec 2000 to 18 Dec 2000 (#2000-198) In-Reply-To: <200012190511.VAA25763@emu.prod.itd.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" > >Date: Wed, 13 Dec 2000 16:14:51 -0800 >From: Tisa Bryant >Subject: Reading Recommendation > >Hey, all! > >If there are any fans or scholars of Annie Ernaux out there, can one (or >more) of you recommend a book of hers for me to read? The Giraffe ========================================================================= Date: Thu, 21 Dec 2000 22:46:25 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: Basinski on PRYDXL MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Nester Prydxlowski. Born: 1880, Lvov, Russia. Died: 1921, Warsawa, Poland. Nester Prydxlowski was a Polish anarchist who contributions to word liberation include various proclamations including, "Meaning-Smeaning." He claimed that meaning was the result of the necessity for the bourgeois and ruling classes to count the number of grain and wine amphorae stored within their basements. Further, he is reputed to have written that words of meaning imprisoned magic, spiritual beings and sound within a tight, restricted, sadistic slaughterhouse cattle pen, from witch words could only escape and recommune with the imagination by taking only the most extreme measures. He advocated the complete annihilation of poetic text. His revolutionary tools included instantaneous translation, sound scapes, consonant string poems and a ruthlessly chaotic river of poetry that would, that had to, by its nature run over its banks and trap the rich and wealthy poets of the world on small islands or networks that would be incestuously poetic. Prydxlowksi's ideas, known as Prydxl, only survive in second hand accounts. No texts were produced. Nevertheless, Prydxl remains like the festering wound on the chest of the Christ and is a monument to those who treasure creativity beyond the mundane and bourgeois notion of poetry. Prydxlowski decomposed body, which he often referred as his text, was found in a Tatra mountain forest. __________________________________________________________ P R Y D X L (version 4.1) http://net22.com/neologisms/PRYDXL/deflist2.html ========================================================================= Date: Fri, 22 Dec 2000 01:24:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Re: POETICS Digest - 20 Dec 2000 to 21 Dec 2000 (#2000-200) In-Reply-To: <20001222051016.24337.qmail@front.acsu.buffalo.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit _One_ subscriber, from all of India! Date: Thu, 21 Dec 2000 15:53:18 -0500 From: Poetics List Administration Subject: list stats Country Subscribers ------- ----------- Australia 16 Belgium 2 Canada 41 Finland 1 France 1 Germany 3 Great Britain 21 India 1 Ireland 6 Israel 1 Italy 1 Japan 5 New Zealand 11 Romania 1 Singapore 1 Spain 3 Sweden 3 Switzerland 2 Taiwan 1 Thailand 1 USA 749 Yugoslavia 1 Total number of users subscribed to the list: 874 Total number of countries represented: 22 ========================================================================= Date: Thu, 21 Dec 2000 08:37:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Smylie Subject: Homer's Iliad MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit You are, once again, invited to preview an HTML translation of Homer's Iliad: Book Six: Interludes of battle on the field and domestic scenes from ancient Troy. (including is the tale of how Bellerophontes came to marry a princess and live happily ever after) http://barrysmylie.com/iliad/book06/pages/booksix.html (an alligator man carnival side show presentation) ========================================================================= Date: Fri, 22 Dec 2000 05:50:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: snow in usa MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - snow in usa .overnight...cloudy with light snow likely after midnight. a dusting of snow possible. low in the upper 20s. south wind 5 to 10 mph shifting to the west. chance of snow 60 percent. .friday...mostly cloudy with scat- tered snow showers. high in the mid during the afternoon. chance of snow 50 percent. .sunday...partly cloudy. a chance of snow showers late. high in the ....a chance of snow showers in the morning...otherwise 28 74% wsw at 17 29.97 light snow showers ...lake effect snow warning late tonight and friday... .tonight...scattered snow showers for awhile...before a band of lake effect snow becomes established north towards .friday. ..a band of lake effect snow north will drift inches...but a foot or more where lake snows persist. blustery and mph causing blowing and drifting snow along with bitter wind chills. .friday night...mostly cloudy with scattered snow showers. low in the teens. chance of snow 30 percent. snow shower. high in the mid 20s. .saturday night...increasing clouds with a chance of snow showers. .tuesday...chance of snow showers. low in the teens. high near 25. .wednesday and thursday...chance of snow showers. low 15 to 20. ... lake effect snow warning for late tonight and friday... bands of heavy lake effect snow are expected to begin north of morning. the heaviest snow is expected across the metro area a foot in the most persistent lake snows. the combination of heavy snowfall and strong winds will make driving .sunday...turning colder with a chance of snow developing late in snow. lows 5 to 12. highs 15 to 20. .wednesday and thursday...a slight chance of snow. lows 5 below zero .overnight...windy and bitterly cold with blowing and drifting snow. snow...diminishing to around 10 mph late. low around 15 below. light snow late. continued very cold with a high around 5 above. .friday night...cloudy with a 60 percent chance of light snow. .saturday...a 30 percent chance of snow in the morning. high... _ ========================================================================= Date: Fri, 22 Dec 2000 08:13:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Re: @MLA: The Book as Object Comments: To: Yvonne Iden , Aaron Kiely , Alan Davies , Alan White , Andrena Zawinski , Bruce Andrews , David Baptiste Chirot , Barbara , Barney Rosset , Ellen Black , "Dr. Richard Boylan" , Larry Bryant , Ric Carfagna , Ric Carfagna , Ric Carfagna , Lance Culp , Frank Correnti , Dave Sevick , David Baptiste Chirot , Paul Dickman , Small Press Distribution , Ed Schmahl , Nicolle Eluard , Vincent Zepp In-Reply-To: <4.0.1.20001221145358.00f59630@pop.bway.net> Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable > Richard Dillon > ELEMENOPE Productions > 2527 Fox Hollow Drive > Pittsburgh, PA 15237 >=20 >=20 >=20 >=20 >=20 >=20 >=20 > ONE YARD ON THE EDGE OF A YARD >=20 > Rabbit hopped along crack in walk > Car was parked > Sun, hot, was out. >=20 > Why recall this time of all times to tell? > It wasn't as if it was marked > By the clang of a bell. >=20 > It just happened, about all you can say. > Auto bodies were hot > In broiling July day, and June was gone. >=20 > A lady, friend, her name hard for me now > Had answered my question: > "June, it is gone, too fast to comprehend. >=20 > Did we really all live it in single bound?" > She moving in some retail round > Responded on point, "Don't remind me, >=20 > I know all too well about June." > And so it was extinguished for her, as well, > There she went, out, gone, a spell >=20 > In blazing sun where between parked cars I had thought > To remember to remember > A rabbit quick now leaping one yard on the edge of a yard. > From: Charles Bernstein > Reply-To: UB Poetics discussion group > Date: Thu, 21 Dec 2000 15:22:05 -0500 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: @MLA: The Book as Object >=20 > The Book as Object and Metaphor in the Digital Age > Friday, Dec. 29, 12 noon -- 1:15pm, Delaware Suite B, Marriott > (Washington, DC) >=20 > In the course of the modern period, and in particular in the twentieth > century, a self-consciousness about the book as an object, a metaphor, > and an aesthetic instrument has been articulated from a range of > disciplinary perspectives (ethnopoetics, textual criticism, historical > research, artistic expression). In a recent collection, A Book of the > Book, edited by Jerome Rothenberg and Steven Clay, this interest has > been charted from Edmond Jab=E8s's contention that "the book is as old as > fire and water" to Johanna Drucker's that "the artist's book is the > quintessential 20th-century artform." The panel attends to that rich > and recently reinvigorated legacy and to the work of poets, scholars, > critics, and others who have contributed to this conversation, and it > also looks at the ways that current electronic encoding initiatives > force to the fore a set of questions about the metalogics of the book > and page. >=20 > Session Chair: Charles Bernstein >=20 > Johanna Drucker: > "Materiality and Metadata: Towards a Metalogics of the Book" >=20 > Jerome McGann: > 'Workers of the Book, Unite!" >=20 > Jerome Rothenberg: > "Editing A Book of the Book: A Return to the Book & Writing" >=20 > More information on A Book of the Book at http://www.granarybooks.com. >=20 ========================================================================= Date: Fri, 22 Dec 2000 09:17:52 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: PRYDXL Comments: To: mIEKAL aND In-Reply-To: <3A37EA48.EF1BAE5E@mwt.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII prydxl: contemporary colloquial translation of Omen of ancient Oracle who "predicts ill" prydxl: predilection for that which causes "ill" i.e. a person with "bad or nasty habits" prydxl: a pharmecuetical which when taken allows one to become the seer and bearer of bad tidings sometimes taken during the holidays by the perverse, who, instead of "wishing well" prefer to "predicts ill" --david baptiste chirot "the CEOs asked me to versify & diversify instead, i said, i'll perversify" ========================================================================= Date: Thu, 21 Dec 2000 19:53:02 -0800 Reply-To: Office Sender: UB Poetics discussion group From: Office Subject: Mother Earth: Cin(E)-Poetry Tour 2001 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Mother Earth: Cin(E)-Poetry Tour 2001 "Let the voice of the poet be heard throughout the world." http://www.nationalpoetry.org (San Francisco, CA- December 20, 2000) After ten years with the National = Poetry Association, former President George Aguilar is embarking on a = global poetry tour and bringing the NPA=92s critically-acclaimed = collection of Cin(E)-Poems, videopoems and poetry films along with him. = In addition to sharing the Cin(E)-Poetry archive with audiences around = the world, Aguilaris soliciting collaboration with poets to join him in = creating Cinematic (Electronic)-Poems or Cin(E)-Poems, a term he coined = in 1996. As one of the foremost authorities on the genre, Aguilar is = also available to conduct workshops, lectures, and participate on panels = for educational institutions and arts organizations. Mother Earth: Cin(E)-Poetry Tour 2001 will kick off in February in = Vancouver B.C where Aguilar will be joined by International Slam Poetry = Champion, Shane Koyczan. From February to June, Aguilar will be making = his way across the U.S meeting poets, creating new works and streaming = select webcasts of poetry readings, festivals via the Internet. The U.S. = leg of the tour ends with a visit to Dr. Maya Angelou, a long time = supporter of the NPA, in North Carolina. From the home of Dr. Angelou, = Aguilar will journey to South America to attend The XI International = Exhibition of Experimental Poetry Festival in Medell=EDn, Columbia = happening June 2-10. From July to September, Aguilar will travel = throughout Europe with stops in Spain, France, Germany, Italy and = Greece. The tour ends in October, when Aguilar arrives at Mt. Everest to = attempt a high-altitude wireless webcast. Mother Earth: Cin(E)-Poetry Tour 2001 is made possible by the generous = sponsorship of the National Poetry Association, Hellonetwork.com, and = the support of the global poetry community. To learn more about how you = or your organization can participate in the Cin(E)-Poetry tour by = featuring the Cin(E)-Poetry Collection at your venue, creating new works = with Aguilar, hosting a workshop or panel discussion, or webcasting, = please contact Christine Harris, Tour Coordinator at = Coordinator@nationalpoetry.org. Mother Earth: Cin(E)-Poetry Tour 2001 Dates a.. February to early June: Canada, United States=20 b.. June: South America (Columbia, Peru)=20 c.. July to September: Europe (Spain, France, Germany, Italy, Greece)=20 d.. October: Asia (Russia, India, Nepal, China) To help defray the costs of this global tour, Aguilar is asking for room = and board while working with poets to create a Cin(E)=96Poem of their = work or conducting a workshop/panel discussion. For Aguilar=92s bio, = visit http://www.George.Aguilar.com. If you are asking Aguilar to appear = at your venue to conduct a workshop or serve on a panel, a nominal = honoraria is also requested. All newly created Cin(E)-Poems are = copywritten by George Aguilar with his permission to use the poems to = help poets promote their work. Asked why he is undertaking this journey, = Aguilar replied, "If it isn't overly ambitious and it doesn't have a = 99.9% chance of failing spectacularly then it just wouldn't be of any = interest to me.### ========================================================================= Date: Fri, 22 Dec 2000 09:38:24 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: Noted Home Schooler and John Birch Republican, William J. Cass, Responds To Ron Silliman and other RadLibbers. Mime-Version: 1.0 Content-Type: text/plain; format=flowed Your "Knowledge Hungry Friend," the Noted Home Schooler, or "Home Scholar," had better watch his writing as closely as he watches election reportage; to wit-- >for if Britain came back today and tried to take back Northern >Wisconsin or Northern Minnesota, (which it ceded in 1818) it would >not be >aloud to have it, Signed, The Noted Sandinista & "happy genius of my household"* Mark DuCharme *translation, via Williams, of "Home Scholar" _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Fri, 22 Dec 2000 10:02:01 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: Fiction as Poetry Mime-Version: 1.0 Content-Type: text/plain; format=flowed For my money (& I know some of these titles have been mentioned before): both _Ulysses_ & _Finnegan's Wake_ by Joyce certain passages in _Moby Dick_ which, I think, are as gorgeous as Shakespeare, or certainly the "tragic" Shakespeare of King Lear Anything by Kerouac, but (just to pick one particular title) those hefty "prose poem"-like descriptions in the first part of _Visions of Cody_ Also, parts of _Naked Lunch_ (this comes down to a question of WHAT IS "poetic" prose...) Certain stories of Poe's, e.g. "The Masque of the Red Death," when the prose gets (almost too) lush _Tristram Shandy_, which is if nothing else a kind of forerunner to Ashbery Kathy Acker's work generally, but (again just to pick one title) let's say particularly _Kathy Goes To Haiti_ Breton's _Nadja_, which I'm reading now, & which contains great lines like "Don't I love her? When I am near her I am nearer things which are near her." Does anybody know any novels by the Oulipeans? I'm sure they should be added to our list.... Signing out now, Mark DuCharme _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Fri, 22 Dec 2000 17:36:26 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Roger Day Subject: Re: fiction Mime-Version: 1.0 Content-type: text/plain; charset=us-ascii At 12/21/2000 1:35:20 AM, Aaron Belz wrote: # Roger Day wrote: # # > It's those big old orchestras and opera houses now having to justify their # > existence. Why should poetry and fiction differ? # # # Well, although I tend to agree with your Darwinian commentary here, this # strikes me as an problematic analogy-- 'big old' orchestral music is only a # few hundred years old, as is opera. As is the novel. Poetry, the first form # of literature, is thousands. By 'literature' I mean, things said in a # particular way and remembered as having been said in that way. For # millennia poetry was a technology (using alliteration, caesura, parallelism) # that enabled something 'said particularly' to be remembered as such. In the # early days, poetry enabled literature to exist. As language began to be # recorded, duplicated, and distributed, poetry found an enthusiastic public # and developed greater precision. Homer et al had their day in the sun. Then # came Chaucer. Then other technologies came along and made poetry less # necessary: the printing press, the postal system, then the networked # computer. As these technologies have increased in speed and efficiency, the # form of poetry (and all literary art) has degenerated. Of course it had to: # it was no longer needed. Poetry is being shed from literature like a # cocoon; is a butterfly emerging? Probably so, but why not wonder? We who # paint the butterfly's wings must wonder. I agree that the analogy is problematic and, probably, imprecise. Changed, maybe. I'm not too sure about it being "shed from literature" or "having greater precision" or "less neccessary". The technologies that have come along have made poets focus on other things, if I may be so vague. There is certainly wonder about what comes next for poets and poetry. # That said, any attempt to compare fiction and poetry to determine which is # 'better' is admittedly ludicrous; my initial question was facetious, I had # thought, obviously; I don't think that one 'genre' is superior. Though I am # fretting about the present and future of literature, I think not without # good reason. The first round of non-hateful responses to it was exactly what # I was looking for-- Richard's hilarious bit about computer-authors, # Patrick's anecdote about the family dinner table, Mr. Bowering's # declaration. So the question may stem from a false premise, but the answers # are not all meaningless, as Jacques and Marla have pointed out. So Patrick, # please maintain your 'narcotic optimism'-- and do not doubt anyone's 'gray # matter' -- As Bill put it, a 'fruitless but fun exercise' -- My response was, I thought, non-hateful. I was responding in part to the canard about "budweiser" and wine - similar arguments have surfaced in the UK about "dumbing-down". This thread was, I thought, beginning to wander into the shadow of that argument. I, as must be obvious, think the opposite. Roger ========================================================================= Date: Fri, 22 Dec 2000 10:13:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wallis Leslie Subject: oldest poem? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii My vote would be for the Babylonian "Song of Inana." Wallis Leslie --- Aaron Belz wrote: > P.S. Does anyone know what the oldest recorded poem is? __________________________________________________ Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. http://shopping.yahoo.com/ ========================================================================= Date: Fri, 22 Dec 2000 10:03:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Catherine Daly Organization: e.g. Subject: fence MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit As I wrote, I don't know any more. "Controversy" was too strong a word. I do want to clarify that I have not received e-mails regarding FENCE other than the RealPoetik one on this or any other LIST, and I have received positive ones. Rgds, Catherine ========================================================================= Date: Fri, 22 Dec 2000 14:23:43 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Avery Burns Subject: Canessa 1/4/01 Benson & Selland Comments: To: aburns@calfed.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Canessa Park Readings Series 708 Montgomery Street San Francisco, CA 94111 January 4th Thursday Evening at 7:30 pm Steve Benson & Eric Selland Steve Benson and family live on the northern coast of Maine, where he usually works as a clinical psychologist. This fall they spent in San Diego and Steve taught a workshop at UCSD. His most recent book is Roaring Spring (Zasterle, 1998) and before that Reverse Order (Potes and Poets, 1990) and Blue Book (The Figures/Roof, 1988). When he gives poetry readings often there is an interaction between previously written texts and oral improvisation. Eric Selland’s new book, The Condition of Music, is just out on Sink Press. A book length work The Transparencies is available on-line at Black Fire White Fire. His poetry and his translations from the Japanese have appeared in magazines in the U.S., Canada, Japan, and France. His translation of Japanese modernist Yoshioka Minoru’s Kusudama was published by Leech Books. He has also contributed articles an Japanese Modernist poetry to the Chicago review and on translation theory to the Manoa Review. Translations of Hiroya Takagai, Inagawa Masato, Yoshioka Minoru, Hiraide Takashi and Nagata Koi are on-line at Duration Press. A collaboration initiated by Selland between 6 U.S. poets and 6 Japanese poets will appear in lyric& #8. Hope to see you there, Avery E. D. Burns Literary Director __________________________________________________ Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. http://shopping.yahoo.com/ ========================================================================= Date: Sun, 24 Dec 2000 08:45:39 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG: Jackson Mac Low reading January 27, workshop January 28 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit POG presents writer Jackson Mac Low Saturday, January 27, 7pm, Dinnerware Gallery, 135 East Congress Admission: $5; Students $3 Jackson Mac Low is an internationally-acclaimed poet, composer, and writer of performance pieces, essays, plays, and radio works, as well as a painter and multimedia performance artist. Author of twenty-six books, Mac Low was recently awarded the prestigious Tanning Prize of the Academy of American Poets; among many other awards he has also received a Guggenheim and an NEA. Among his recent books are 42 Merzgedichte in Memoriam Kurt Schwitters (1994) and Barnesbook (1995). Reading co-sponsored by Chax Press. In addition to his Saturday evening reading for POG and Chax, Jackson Mac Low will also offer a two hour workshop on Sunday: Making Poetry “Otherwise”: a Workshop with Jackson Mac Low Sunday, January 28, 1-3, St. Philip’s in the Foothills (Vestry Room) (NE corner of River and Campbell) there is no charge to attend this workshop Jackson Mac Low is widely known for his experimental compositional methods. His work makes various use of what he calls “deterministic procedures,” often mixed with other writing modes to produce “liminal” works suggestive of the threshold between the Unconscious and Consciousness. This workshop will offer participants the chance both to talk about such procedures—as well as other ways of writing poems “otherwise”—and to try some out through a variety of activities. Workshop co-sponsored by The University of Arizona Extended University Writing Works Center, The University of Arizona Poetry Center, The University of Arizona English Department, and the journal Arizona Quarterly. For further information about the reading or workshop contact: POG 296-6416 tenney@azstarnet.com POG events are sponsored in part by grants from the Tucson/Pima Arts Council the Arizona Commission on the Arts and the National Endowment for the Arts mailto:tenney@azstarnet.com mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn ========================================================================= Date: Sun, 24 Dec 2000 08:55:47 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG: if you're planning to attend the workshop with Jackson Mac Low.... MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit If you're planning to attend the Jan 28 workshop with Jackson Mac Low, you're invited to send POG a brief sample of your writing which we'll pass on to him soon. you can definitely attend the workshop even if you don't submit work, but Jackson indicates he'd find it useful to have samples from several of the participants (everyone, by the way, "gets in" the workshop: the sample isn't a screening device, but a way for Jackson to have a better idea of the writers he's working with). (the other side of the coin: you should only send work if you're reasonably sure you'll attend the workshop). you can send work via snailmail to: POG 7931 East Presidio Road Tucson, AZ 85750 or via email (slightly preferable). If you send via email: please send as an ATTACHED FILE if possible, since this will preserve your formatting (if you can't do that, cut/paste is ok but such features as line endings will tend to get messed up). and if you email please send the email directly to Tenney Nathanson, and NOT to the listserv address by hitting REPLY to this email. So send to: tenney@azstarnet.com (if your email program is set up to read hotlinks, you can just click on this one: mailto:tenney@azstarnet.com ) (but/and: those who are not writers, but have an interest in attending the workshop, are definitely welcome!) we're looking forward to receiving work from several Tucson writers--and to Jackson's workshop and reading. happy holidays, Tenney mailto:tenney@azstarnet.com mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn ========================================================================= Date: Sun, 24 Dec 2000 23:03:07 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: the count.... Comments: To: Kabalang@aol.com, bburch@bellatlantic.net, corp-focus@venice.essential.org, flpoint@hotmail.com, SLYFOX6@aol.com, ibid1@earthlink.net, mdkoa@yahoomail.com, Cathy.Muse@co.fairfax.va.us, MAOMuzik@aol.com, alphavil@ix.netcom.com, polity@egroups.com, EPOUND-L@lists.maine.edu, subsubpoetics@listbot.com, harrysandy@kreative.net, derekvdt@academypo.fss.fss.pvt.k12.pa.us, Amzemel@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit NOW IT'S UNOFFICIAL: GORE DID WIN FLORIDA ____________________________________________________________________ THE OBSERVER International News Sunday, 24 December 2000 http://www.observer.co.uk/international/story/0,6903,415367,00.html Ed Vulliamy in New York As George W. Bush handed further key government posts to hardline Republican right-wingers, an unofficial recount of votes in Florida appeared to confirm that Bush lost the US presidential election. Despite the decision by the US Supreme Court to halt the Florida recount in the contested counties, American media organisations, includ ing Knight Ridder - owner of the Miami Herald - have commissioned their own counts, gaining access to the ballots under Freedom of Information legislation. The result so far, with the recounting of so-called 'undervotes' in only one county completed by Friday night, indicates that Al Gore is ahead by 140 votes. Florida's 25 electoral college votes won Bush the presidency by two seats last Monday after the Supreme Court refused to allow the counting of 45,000 discarded votes. But as the media recount was suspended for Christmas, the votes so far tallied in Lake and Broward counties have Gore ahead in the race for the pivotal state, and hence the White House. Gore's lead is expected to soar when counting resumes in the New Year and Miami votes are counted. In a separate exercise, the Miami Herald commissioned a team of political analysts and pollsters to make a statistical calculation based on projections of votes by county, concluding that Gore won the state by 23,000. The media initiative is likely to bedevil Bush in the weeks to come, thickening the pall of illegitimacy that will hang over his inauguration on 20 January. It has already led to a face-off between almost all the news media organisations in the state and Bush's presidential team. In the most extreme example of the Bush camp's desperation to avoid a recount, the new director of the Environment Protection Agency, Christine Todd Whitman, has proposed that the Florida ballots be sealed for 10 years. Bush's spokesman Tucker Eskew dismissed the recount as 'mischief-making' and 'inflaming public passions' while his brother, Florida governor Jeb Bush, accused the papers of 'trying to rewrite history'. ========================================================================= Date: Mon, 25 Dec 2000 13:26:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: the count.... (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Mon, 25 Dec 2000 13:00:41 -0500 From: dweiss@earthlink.net To: Philosophy and Psychology of Cyberspace Subject: Re: the count.... (fwd) editorial to go with story below: http://www.observer.co.uk/comment/story/0,6903,415283,00.html >---------- Forwarded message ---------- > > >NOW IT'S UNOFFICIAL: GORE DID WIN FLORIDA >____________________________________________________________________ > >THE OBSERVER >International News >Sunday, 24 December 2000 >http://www.observer.co.uk/international/story/0,6903,415367,00.html >Ed Vulliamy in New York > >As George W. Bush handed further key government posts to hardline >Republican right-wingers, an unofficial recount of votes in Florida >appeared to confirm that Bush lost the US presidential election. > >Despite the decision by the US Supreme Court to halt the Florida recount in >the contested counties, American media organisations, includ ing Knight >Ridder - owner of the Miami Herald - have commissioned their own counts, >gaining access to the ballots under Freedom of Information legislation. The >result so far, with the recounting of so-called 'undervotes' in only one >county completed by Friday night, indicates that Al Gore is ahead by 140 >votes. > >Florida's 25 electoral college votes won Bush the presidency by two seats >last Monday after the Supreme Court refused to allow the counting of 45,000 >discarded votes. But as the media recount was suspended for Christmas, the >votes so far tallied in Lake and Broward counties have Gore ahead in the >race for the pivotal state, and hence the White House. > >Gore's lead is expected to soar when counting resumes in the New Year and >Miami votes are counted. In a separate exercise, the Miami Herald >commissioned a team of political analysts and pollsters to make a >statistical calculation based on projections of votes by county, concluding >that Gore won the state by 23,000. > >The media initiative is likely to bedevil Bush in the weeks to come, >thickening the pall of illegitimacy that will hang over his inauguration on >20 January. > >It has already led to a face-off between almost all the news media >organisations in the state and Bush's presidential team. In the most >extreme example of the Bush camp's desperation to avoid a recount, the new >director of the Environment Protection Agency, Christine Todd Whitman, has >proposed that the Florida ballots be sealed for 10 years. > >Bush's spokesman Tucker Eskew dismissed the recount as 'mischief-making' >and 'inflaming public passions' while his brother, Florida governor Jeb >Bush, accused the papers of 'trying to rewrite history'. Just call me dp and remember: Question Authority-----a 60's Slogan Question Reality------A 90's bumper Sticker Fight the Nader Buchanan Coalition!!! All good conservatives Know that Nader is their best Allie!!!! "Security isn't" Anon. nerd it is claimed that Pablo Picasso once said: "Art is the lie that reveals the truth -- " "Computers are useless. They can only give you answers." "Life can only be understood backwards; but it must be lived forwards." - Soren Kierkegaard ========================================================================= Date: Mon, 25 Dec 2000 21:58:06 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: [webartery] scary calligraphy Comments: To: webartery@egroups.com Comments: cc: BRITISH-POETS@JISCMAIL.AC.UK, poetics UB Poetics discussion group MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I've begun realizing that I am experiencing difficulty working on web pieces be cause of the "absence" of the right tool in Clifford Burke's sense: 'good tools that are used to make beautiful things have a mellowness that is comfortable to live and work with' (_Printing Poetry_ SF, Scarab, 19080, p. 5). he's referring here specifically to a press, but also by extension to the rest of his comments, it would include, pencil, brush, calligraphic pen, and ?typewriter?. It might be that I'm just blocked, but I think that's why I find myself returning to writing and scrawling. I'm not sure any amount of 'flashy ebooks' are going to fill in this absence and apparently I'm not alone. tom bell ----- Original Message ----- From: "Alan Sondheim" To: Sent: Monday, December 25, 2000 1:37 PM Subject: Re: [webartery] scary calligraphy > > > Thanks for this. I couldn't find his name in the Met's calligraphy > catalog. He's mentioned as Chu Ta in Chinese Brushwork in Calligraphy and > Painting, Kwa Da-Wei, Dover. Includes a reproduction. Chu Ta isn't in the > Met catalog either, but there seem to be a number of online entries. > > 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 > CDROM of collected work 1994-2000/1 available: write sondheim@panix.com > > > > ========================================================================= Date: Tue, 26 Dec 2000 09:38:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stefani Barber Subject: (auto-response) Re: oldest poem? Thank you for writing. Since I will be out of the office from December 26, 2000 through January 2, 2001, please expect a slight delay in my response to you. Have a safe and wonderful holiday season. Stefani Barber ----------- Original message follows ----------- My vote would be for the Babylonian "Song of Inana." Wallis Leslie --- Aaron Belz wrote: > P.S. Does anyone know what the oldest recorded poem is? __________________________________________________ Do You Yahoo!? Yahoo! Shopping - Thousands of Stores. Millions of Products. http://shopping.yahoo.com/ ========================================================================= Date: Tue, 26 Dec 2000 09:39:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stefani Barber Subject: (auto-response) Re: fence Thank you for writing. Since I will be out of the office from December 26, 2000 through January 2, 2001, please expect a slight delay in my response to you. Have a safe and wonderful holiday season. Stefani Barber ----------- Original message follows ----------- As I wrote, I don't know any more. "Controversy" was too strong a word. I do want to clarify that I have not received e-mails regarding FENCE other than the RealPoetik one on this or any other LIST, and I have received positive ones. Rgds, Catherine ========================================================================= Date: Sat, 23 Dec 2000 19:22:14 -0800 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 RealPoetik is real pleased to pass along announcement of publication of a book (!) by the formidable Kenward Elmslie, whose fact was ALWAYS stranger than fiction. Always of interest. Skanky Possum as well, ALWAYS of interest. See below for details: Hoa Nguyen To: skankypossum@hotmail.com Subject: Blast from the Past Skanky Possum is proud to announce the release of ::::::::::::::::: Kenward Elmslie's ::::::::::::: ::::::::::::::::: Blast from the Past ::::::::::: Stories, poems, song lyrics and remembrances, _Blast from the Past_ stars master songsmith Kenward Elmslie in a four-course word feast. Cocktails, crushes, hits and near-misses seal these remembrances with kiss-and-tell sweetness, the kind that blurts love in the telling. Poem-songs lift off the page with a pace graced by charm, humor and shadowy, hard-boiled naughtiness. It's a cabaret, starring the author's past, in a blitzkrieg blast of ghosts and folks traipsing through the song-lit head of this naughtiness. It's a cabaret, starring the author's past, in a blitzkrieg blast of ghosts and folks traipsing through the song-lit head of this winning showman. Perfect Bound, 87 pages with 2 lovely black & white photos of John Latouche & Frank O'Hara and 4 color portraits of the author by Ken Tisa on the front and back covers Only $12 Available from http://www.spdbooks.org/ Hurry! Already among SPD's "Best Selling Poetry"! To see our other titles visit http://www.skankypossum.com/ ========================================================================= Date: Mon, 25 Dec 2000 09:41:36 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Lyn Hejinian's Language of Inquiry and MLA panel Comments: cc: bernstei@bway.net, bernstei@acsu.buffalo.edu In-Reply-To: <200012212032.eBLKWvL15735@nico.bway.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" what day is this event on? i lost my program...sorry... At 3:30 PM -0500 12/21/00, Charles Bernstein wrote: >A great event -- > >Lyn Hejinian's > >The Language of Inquiry > >is now out from University of California Press. > >For more information: http://www.ucpress.edu/books/pages/8352.html > >And at the MLA (Washington, DC) -- >Lyn Hejinian and Poetics >8:30am-9:45am, Nathan Hale, Marriott: >Bob Perelman, session leader >"The Politics of Poetic Meditation in Lyn Hejinian and Gertrude Stein," >Georgette Fleisher >"Lyn Hejinian's and Arkaadi Dragomoschenko's 'Nasturtium as Reality'", >Gerard Janecek >"Hejinian's Ethics", Barrett Watten >"Lyn Hejinian's 'World of the Happy'", Marjorie Perloff ========================================================================= Date: Mon, 25 Dec 2000 10:43:34 -0800 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 William (Bill) Allegrezza Bill lives and teaches in Chicago, where he also edits www.moirapoetry.com, which is exactly what it sounds like. He can also be reached at alegr5@ attglobal.net. "quarter tuttle leads environmental placation" la plaz or new orleans "utter banality. oh. oh. oh" "" "asses, this city is being lead by asses." 12 . . . 9 . . . 34 . . . .67 "really not worth the hastle. i mean at 7:15 she calls for the paper. what does she think i am" one man works his way forward on the stage while a woman in bright orange makes clicking noises. another man sits cross-legged on a slightly raised platform (about three feet high). in the background a drum beats the rhythm to taps. "" "have you ever seen something so crazy - just like a live talk show traveling in there" "yo quiero" "do you have the time" ab . . . . d . . . qr "rye stations leave red on the news" "could have been you falling from the rail" * answer the questions. * fold and the staple form 4281 to form 8756. * make sure to sign the bottom of each. * do not include cash. William Allegrezza ========================================================================= Date: Tue, 26 Dec 2000 12:24:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: MLA all over again Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Sorry, Maria, I dropped the time on the Hejinian announcement: Lyn Hejinian and Poetics Thursday, Dec. 28 at the MLA in DC 8:30am-9:45am, Nathan Hale, Marriott The other panels I mentioned (since I forgot to put the time on one of them): Poetry and Pedagogy Wednesday, Dec. 27, 7pm - 8:15pm, Park Tower Suite 8216, Marriott Conversations with Poets: Rosmarie Waldrop Thurs., 28 December, 5:15pm - 6:30pm, Salon 3, Marriott World Wide Poetry on the Web Friday, December 29, 10:15 to 11:30am Maryland Suite B, Marriott The Book as Object and Metaphor in the Digital Age Friday, Dec. 29, 12 noon -- 1:15pm, Delaware Suite B, Marriott and note the two associated readings: Bridge Street Books MLA out-o-towners Group Reading Thursday December 28 7:30 pre-reading reception at Bridge Street 2814 Pennsylvania Ave NW (Georgetown, 5 blocks from the Foggy Bottom Metro stop, two doors from the Four Seasons) 8:30 Group Reading at The Four Seasons Hotel 2800 Pennsylvania Ave NW, Corcoran Ballroom, Salon B 10:30 post-reading reception at Bridge Street MLA DC Poets Night Friday December 29, 8:00 pm Georgetown University, Walsh Black Box Theatre (located in the Walsh Building, just outside the Main Campus of Georgetown University, on 36th St NW between N and Prospect Streets). ========================================================================= Date: Tue, 26 Dec 2000 10:24:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: [webartery] scary calligraphy MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit tom, I can assure you that you are surely not alone. Patrick Herron http://proximate.org/ ----- Original Message ----- From: "tom bell" To: Sent: Monday, December 25, 2000 7:58 PM Subject: Re: [webartery] scary calligraphy > I've begun realizing that I am experiencing difficulty working on web pieces > be cause of the "absence" of the right tool in Clifford Burke's sense: 'good > tools that are used to make beautiful things have a mellowness that is > comfortable to live and work with' (_Printing Poetry_ SF, Scarab, 19080, p. > 5). he's referring here specifically to a press, but also by extension to > the rest of his comments, it would include, pencil, brush, calligraphic pen, > and ?typewriter?. > > It might be that I'm just blocked, but I think that's why I find myself > returning to writing and scrawling. I'm not sure any amount of 'flashy > ebooks' are going to fill in this absence and apparently I'm not alone. > > tom bell > ----- Original Message ----- > From: "Alan Sondheim" > To: > Sent: Monday, December 25, 2000 1:37 PM > Subject: Re: [webartery] scary calligraphy > > > > > > > > Thanks for this. I couldn't find his name in the Met's calligraphy > > catalog. He's mentioned as Chu Ta in Chinese Brushwork in Calligraphy and > > Painting, Kwa Da-Wei, Dover. Includes a reproduction. Chu Ta isn't in the > > Met catalog either, but there seem to be a number of online entries. > > > > 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 > > CDROM of collected work 1994-2000/1 available: write sondheim@panix.com > > > > > > > > > ========================================================================= Date: Tue, 26 Dec 2000 03:28:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: oldest poem Comments: To: aaron@belz.net MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Aaron, I saw your request, and this is what I found below and the full text can be read (along with all the oldies ...) at http://denmark.gq.nu/translations.htm This is a quote from the site: The following 40-verse poem, Hanuman Chaleesa, is a translation from phonetic Sanskrit to Danish (and English) by Bent Lorentzen. Copenhagen (Christiana) poet and leader of a Tibetan volunteer group, Martin Thor Nielsen, helped smoothen the final draft. Tusind tak, Martin. Arguably the oldest poem in the world, it is the telling of an ancient story of the conflict between the archetypes of good and evil in the world, and of love, and of service, and of redemption. All those things to which any surviving culture's spirituality is based. the Ramayana (Song of God), of which the Hamnuman Chaleesa is a crucial part, shows that it matters little what caste one is born to, or what one's deeds were prior to spiritual awakening, anyone can attain unity with God's perfection provided one is willing to embrace his or her deepest roots. That, after all, is what most world religions aspire to. Best, Geoffrey ========================================================================= Date: Tue, 26 Dec 2000 13:48:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: review of Myles' Cool for You Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi Folks, Since hardly anybody I know reads the SF Chronicle Sunday book review section, I thought I'd announce that my review of Eileen Myles' new "nonfiction novel" Cool for You will run January 7. (Once a review got bumped until the following week, but the ETA they give me is usually accurate.) It will also be available online at www.sfgate.com. Even if you don't read the review, read the book. It's fantastic. Dodie ========================================================================= Date: Tue, 26 Dec 2000 22:14:32 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Fw: virus warning Comments: To: Poetryetc , britpo MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I got this and deleted the damn thing without opening it as I do any anon message I pass this on as a warning L ----- Original Message ----- From: "r.l. whyte" To: Sent: 26 December 2000 21:37 Subject: virus warning | Dear wryting list subscribers, | | A blank email has just been BCC'd to the wryting list; this email contains | a virus as an attachment (MEBJNMME.EXE). Please delete the email -- | | Sorry about this -- | | Ryan | | | ========================================================================= Date: Tue, 26 Dec 2000 17:38:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: notice MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ===== notice: postmodernism is an act not a theory consider the opposites fragments or alternatives sullied revolutions there's nothing to believe in any more burning down the house there aren't any homes online or offline we're all packets stuttered and starving in mausoleums silencing of women, arming of children arming of children, silencing of men no one grows up any more, wa wa wa cutting through selves and others in blind fury there's a subcategory cutting through selves and others in pure calculation coldness of steel and steel grips in big and little hands look at creatures everywhere, there's no species anymore postmodernism kills we're the theory of the killers ipseity, we're that ===== ========================================================================= Date: Tue, 26 Dec 2000 18:48:35 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Stolen election Comments: To: Kabalang@aol.com, BBlum6@aol.com, bburch@bellatlantic.net, flpoint@hotmail.com, mdkoa@yahoomail.com, Cathy.Muse@co.fairfax.va.us, subsubpoetics@listbot.com, harrysandy@kreative.net, derekvdt@academypo.fss.fss.pvt.k12.pa.us, Amzemel@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit from (http://www.bushboyzstolethevote.com/cheat.html) Direct testimony -- poll worker tells of Palm Beach irregularities ------------------------------------------------------------------------------ -- Dear friends, I don't normally send emails like this to a large block of people, certainly when it comes to my family, and certainly when the import of the issue makes it seem like the letter might travel far and wide. But so many people have asked about this story that it seems important to send it out. This is the true story of my mother, precinct clerk in Palm Beach county, Florida. My mother was a precinct clerk in Palm Beach county, Florida, election day of 2000. Mom's very good friend Leah was a precinct clerk as well. Both of them were incredibly upset during and after election day, before anyone knew the import of these specific voters. And my mother was convinced there were serious irregularities long before they gained national prominence, and she called me to say so. I note this because some Republicans are now asking if there were these irregularities, how come they were not raised until after the election? In fact, my mother and the other precinct clerks raised these issues from the moment that the polls opened in the morning; the problem is that the person they intially called on was Theresa LePore, elections supervisor of Palm Beach county. She was the source of the ballot confusion, and was uninterested in the issue. First, the paper ballot was extremely confusing to these voters. Although both major parties got a chance to review the card layout, it is not clear if any had a chance to put the actual ballot in an actual machine and punch the holes. The card is laid horizontally as you vote, and it is hard to see the holes as you punch them. And my mother, who supervised the precinct she was in (this is a paid position, and she reported directly to Ms. LePore) said the card did not even fit correctly in the ballot machine, so the holes in the card did not line up with the ballot. Anyone who thinks this was minor voter confusion has never dealt with retirees in a West Palm Beach retirement village in Florida, I promise you. My mother, following the rules, said the poll workers had been told not to help people with the cards, as it might bias the voters. My mother witnessed many, many people who voted incorrectly. Some stayed on a second line and had their cards re-done, some punched the second hole (and thus were probably thrown out), and some found out they voted for Buchanan after they had deposited their cards in the ballot box, and there was thus nothing they could do. Mom called me up to complain about this after the elction, and she called me up again on Thursday, very upset after reading a story in the New York Times (Nov. 9 2000, p. B6). The Times story states: After numerous complaints were received on Tuesday morning, Ms. LePore issued this directive to the county's 106 precincts: Attention all poll workers. Please remind all voters coming in that they are to vote only for one (1) presidential candidate and that they are to punch the hole next to the arrow next to the number next to the candidate they wish to vote for. Mom never received this directive, and she believes that if anyone knew they could have helped people vote their preference, the outcome would have been very different. Instead, my mother and the others were trying to do the right thing, and they felt that helping explain the ballot to these people would have been helping them to vote for Gore, something she didn't feel was proper. These women are honest to a fault. Leah did receive the directive, but not until 4pm on election day, and only by accident; someone was coming to visit from the main office and told her about it. In the mean time, my mother and Leah (and most of the precinct clerks) had been desperately trying to call the county office. They had been given a phone number by Ms. LePore and told that the phone line would be staffed throughout the day. They were told to call if there were any problems. Mom tried to call starting at 7:30am, calling straight through when polls closed, but she got a busy signal the entire time. But mom was at a polling station with only a pay phone, so she had to deposit coins each time, and with long lines waiting for her, she was becoming increasingly frustrated. Leah was precinct chief at the retirement village where they live, and ran a polling station at the clubhouse. Having a more modern facility, Leah tried on the phone as well, and when she couldn't get through, she called the operator to ask her why the phone was busy. Leah had the presence of mind to get the operator's number (history is made by people like Leah) when the operator told her the phone was off the hook, meaning nobody was on the line the entire day. Evidently, the supervisor's office just didn't want to hear the complaints. Leah then faxed the supervisor's office with her concerns at noon and again at 2pm. Nobody called Leah back until 5pm, when she heard from Ms. LePore, with the following words "don't bother me." So as this news starts to be spun and re-spun, let me tell you a few things I am certain to be true: -I can't argue intent either way, but the supervisor's office in Palm Beach county is at the very least unable to carry out an election in which these people have their say. -These people started trying to fix the problem from the moment polls opened, and were fought along the way. This is not about crying about the election once it is over. It pains me to see the issue being politicized by both sides. Gore has no place having his advisor Daley make statements that after a recount, Gore will emerge victorious; and Bush has no place saying that he is the victor, or setting up a transition team. In fact, the idea that Bush and his brother were together on election night, with Jeb Bush promising to "deliver Florida," draws a picture at least to me with the semblance of impropriety, especially now that we have seen the results so askew. I hope everyone will pay attention to the facts here, and let the people of South Florida have the same opportunity to vote that the rest of us had. You are free to send this to anyone you wish. Ben Austin Ed Kent 718-951-5324 (voice mail only) CUNY Debate: http://pnews.org/boards/cuny/ ------------------------------------------------------------------------------ -- Webmaster's comments: A lot of young Republicans are making vicious remarks about "old, stupid, or retarded" voters in West Palm. These seniors are people who worked long and honorably all their lives and retired to Florida. They may no longer be doing Calculus or piloting jet planes, but there is one quality they Do have. They've seen a Lot of elections and heard thousands of politician's lies. So maybe they actually know what the score Really is, unlike the young punks. And that is precisely why GW doesn't want their votes counted. ========================================================================= Date: Wed, 27 Dec 2000 17:34:06 -0800 Reply-To: waldreid@ziplink.net Sender: UB Poetics discussion group From: Diane Wald Subject: summer / Colorado MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Looks like I'm going to be in Louisville, CO, or thereabouts, June 30 through July 7, 2001. I know it's a long shot, but if anyone knows of any readings to give or attend, or any other wonderful things to do there then, please backchannel. Many thanks. Diane Wald ========================================================================= Date: Wed, 27 Dec 2000 17:48:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stefani Barber Subject: (auto-response) Re: oldest poem Thank you for writing. Since I will be out of the office from December 26, 2000 through January 2, 2001, please expect a slight delay in my response to you. Have a safe and wonderful holiday season. Stefani Barber ----------- Original message follows ----------- Hi Aaron, I saw your request, and this is what I found below and the full text can be read (along with all the oldies ...) at http://denmark.gq.nu/translations.htm This is a quote from the site: The following 40-verse poem, Hanuman Chaleesa, is a translation from phonetic Sanskrit to Danish (and English) by Bent Lorentzen. Copenhagen (Christiana) poet and leader of a Tibetan volunteer group, Martin Thor Nielsen, helped smoothen the final draft. Tusind tak, Martin. Arguably the oldest poem in the world, it is the telling of an ancient story of the conflict between the archetypes of good and evil in the world, and of love, and of service, and of redemption. All those things to which any surviving culture's spirituality is based. the Ramayana (Song of God), of which the Hamnuman Chaleesa is a crucial part, shows that it matters little what caste one is born to, or what one's deeds were prior to spiritual awakening, anyone can attain unity with God's perfection provided one is willing to embrace his or her deepest roots. That, after all, is what most world religions aspire to. Best, Geoffrey ========================================================================= Date: Wed, 27 Dec 2000 00:25:38 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: chris stroffolino Subject: BlueXmas(or things to do when you don't get an MLA job interview in your stocking) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Hello those not in DC, I was just reading a piece of scholarly or academic writing-- the kind that is suppossed to succeed at the MLA--- and I started feeling blue, excluded, etc.... UNTIL, that is, I noticed this particular author used the words "visionary" and "sublime" simply as pejorative words---in a very shorthand, dismissive way--- This author seemed to think the words were SYNONYMS! At first I thought I could say, not in bitterness so much as incredulity "oh fie on this author! fie on the literary establishment, etc!" but then i thought----well, what really is the difference between "visionary" and "sublime" ? and realized that part of the game, of course, is coming up with your own definitions of these words..... I guess Kant's definition of sublime is the most cited? (oe perhaps that band that did "wrong way?") But as for visionary, there's many more it seems.... (recently talking t Joshua beckman about why Gerald Stern referred to his book as "visionary?") Anyway, the point is, these words are not synonyms ("visionary," and "sublime")-- so how do YOU, dear reader, understand the difference between these terms? (I'm looking forward to your answers, even if you are at the MLA....) chris ========================================================================= Date: Wed, 27 Dec 2000 17:44:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Happy New Year! Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable New Year's Day at the Poetry Project: MONDAY, JANUARY 1, 2001 from 2 pm until past midnight THE 27TH ANNUAL NEW YEAR=B9S DAY MARATHON READING Welcome the new year with over 120 poets, musicians, dancers, and artists performing and reading new works. The best, most exciting, most innovative poets, writers, performance artists, spoken-word artists, slam poets, musicians, dancers, visual artists, and downtown personalities ring in the new year in their own inimitable styles: by continuing to push the boundaries of the expected in explosions of words, music, sound, light, and movement.=20 New York Magazine writes, "The Annual New Year=B9s Marathon readings, featuring whoever=B9s around, from William Burroughs and Laurie Anderson to Nick Zedd and Paul Beatty, have become required downtown viewing." The Dail= y News calls the Poetry Project event "New York=B9s Other Marathon...not for th= e artistic faint of heart [but] for seekers of something wildly, jaw-droppingly different." The Village Voice describes the event as "...short attention span theater on a marathon loop, with a flotilla of deviant craft kicking out quick, hot flashes of dissidence in the age of prigs and punishers." The poets and performers 2001 include: Patti Smith, John Cale, Jim Carroll, Eric Bogosian, Penny Arcade, Lenny Kaye, Douglas Dunn, John Giorno, Dael Orlandersmith, Elliott Sharp, Nick Zedd, Peter Straub, Eileen Myles, Taylor Mead, Jackson Mac Low, Edwin Torres, Todd Colby, Bob Holman, Tuli Kupferberg, Wanda Phipps, Maggie Estep, Yoshiko Chuma, Laird Hunt, Reg E Gaines, Maggie Estep, Dana Bryant, Victor Bockris, Hal Siriowitz, Lewis Warsh, & Many More! Tickets at the door are $15, $12 for Poetry Project members. Seating is on = a first-come first-served basis. Refreshments will be available. The Poetry Project is located in St. Mark's Church at the corner of 2nd Avenue and 10t= h Street in Manhattan. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information or visit our Web site at http://www.poetryproject.com. * * * ========================================================================= Date: Wed, 27 Dec 2000 20:55:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Zauhar Subject: Re: BlueXmas(or things to do when you don't get an MLA job interview in your stocking) In-Reply-To: <3A496F41.58842EA0@earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I have succeeded at the MLA by finding a great ethiopian restaurant and padding my wife's expense account I can see but that doesn't make me visionary I can be ridiculous which gives me no access to the sublime though a wise man once said it would but that's not the first time I was lied to by my heavy metal album covers And I am not in DC right now so I feel less blue, excluded, etc than I would otherwise unless I was looking at art rather than hanging around at Tweed Central where I would be more likely to worry about precise definitions of key terms, though not necessarily "visionary" and "sublime" Somewhere in Pierre Bordieu I am certain there is a passage that explains why these words express symptoms of mental illness to bureaucrats (a word I use neutrally to explain professorial employment conditions not universal states of professorial mind) But I sold Distinctions and Homo Academicus and two or three others which means I sold whatever authority I could invoke to help me here make my case with distinction to homo academici about the difference between the "visionary" and "sublime" but I feel somewhat comfortable not asserting very forcefully the tentative proposal that one ask, after Wittgenstein "what would a definition of the sublime look like? what would it do?" Same with "visionary" and in both cases I would note that each term means something different to poets and certain critics than it does to critics unsympathetic with poetry and nervous about the nature of language, esp. its habit of changing, shifting, fracturing any definition enshrined in learned journals and cocktail party chatter remembered from MLAs long ago Not a breakthrough, chris, perhaps not even so much as a false start. David Zauhar 632 Cribbs Street Greensburg PA 15601 724/834-8461 "They said we was nowhere Actually we are beautifully embalmed in Pennsylvania" --Philip Whalen, "Chanson d'Outre Tombe" ========================================================================= Date: Wed, 27 Dec 2000 17:50:09 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: tom bell Subject: Re: BlueXmas(or things to do when you don't get an MLA job interview in your stocking) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit would you rather be at MLA or know the sublime? tom bell ----- Original Message ----- From: "chris stroffolino" To: Sent: Tuesday, December 26, 2000 10:25 PM Subject: BlueXmas(or things to do when you don't get an MLA job interview in your stocking) > Hello those not in DC, > ========================================================================= Date: Wed, 27 Dec 2000 21:33:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Poetry on New Year's Day Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hey, I'll be performing poetry with music at the following event. Here's our line-up: Wanda Phipps: vocals Joel Schlemowitz: guitar Nao: guitar Drew Gardner: drums We're on sometime between 6 & 7pm. Hope to see you there! New Year's Day at the Poetry Project: MONDAY, JANUARY 1, 2001 from 2 pm until past midnight THE 27TH ANNUAL NEW YEAR'S DAY MARATHON READING Welcome the new year with over 120 poets, musicians, dancers, and artists performing and reading new works. The best, most exciting, most innovative poets, writers, performance artists, spoken-word artists, slam poets, musicians, dancers, visual artists, and downtown personalities ring in the new year in their own inimitable styles: by continuing to push the boundaries of the expected in explosions of words, music, sound, light, and movement. New York Magazine writes, "The Annual New Year's Marathon readings, featuring whoever's around, from William Burroughs and Laurie Anderson to Nick Zedd and Paul Beatty, have become required downtown viewing." The Daily News calls the Poetry Project event "New York's Other Marathon...not for the artistic faint of heart [but] for seekers of something wildly, jaw-droppingly different." The Village Voice describes the event as "...short attention span theater on a marathon loop, with a flotilla of deviant craft kicking out quick, hot flashes of dissidence in the age of prigs and punishers." The poets and performers 2001 include: Patti Smith, John Cale, Jim Carroll, Eric Bogosian, Penny Arcade, Lenny Kaye, Douglas Dunn, John Giorno, Dael Orlandersmith, Elliott Sharp, Nick Zedd, Peter Straub, Eileen Myles, Taylor Mead, Jackson Mac Low, Edwin Torres, Todd Colby, Bob Holman, Tuli Kupferberg, Wanda Phipps, Maggie Estep, Yoshiko Chuma, Laird Hunt, Reg E Gaines, Dana Bryant, Victor Bockris, Hal Siriowitz, Lewis Warsh, & Many More! Tickets at the door are $15, $12 for Poetry Project members. Seating is on a first-come first-served basis. Refreshments will be available. The Poetry Project is located in St. Mark's Church at the corner of 2nd Avenue and 10th Street in Manhattan. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information or visit our Web site at http://www.poetryproject.com. * * * ========================================================================= Date: Wed, 27 Dec 2000 23:23:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Re: Stolen election In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Look up Gunzberger's methods of counting the votes. You won't but look her up anyway. > From: Joe Brennan > Reply-To: UB Poetics discussion group > Date: Tue, 26 Dec 2000 18:48:35 EST > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Stolen election > > from (http://www.bushboyzstolethevote.com/cheat.html) > > Direct testimony -- poll worker tells of Palm Beach irregularities > > > ------------------------------------------------------------------------------ > > -- > > Dear friends, > > I don't normally send emails like this to a large block of people, certainly > when it comes to my family, and certainly when the import of the issue makes > it seem like the letter might travel far and wide. But so many people have > asked about this story that it seems important to send it out. This is the > true story of my mother, precinct clerk in Palm Beach county, Florida. > > My mother was a precinct clerk in Palm Beach county, Florida, election day of > 2000. Mom's very good friend Leah was a precinct clerk as well. Both of them > were incredibly upset during and after election day, before anyone knew the > import of these specific voters. And my mother was convinced there were > serious irregularities long before they gained national prominence, and she > called me to say so. > > I note this because some Republicans are now asking if there were these > irregularities, how come they were not raised until after the election? In > fact, my mother and the other precinct clerks raised these issues from the > moment that the polls opened in the morning; the problem is that the person > they intially called on was Theresa LePore, elections supervisor of Palm > Beach county. She was the source of the ballot confusion, and was > uninterested in the issue. > > First, the paper ballot was extremely confusing to these voters. Although > both major parties got a chance to review the card layout, it is not clear if > any had a chance to put the actual ballot in an actual machine and punch the > holes. The card is laid horizontally as you vote, and it is hard to see the > holes as you punch them. And my mother, who supervised the precinct she was > in (this is a paid position, and she reported directly to Ms. LePore) said > the card did not even fit correctly in the ballot machine, so the holes in > the card did not line up with the ballot. > > Anyone who thinks this was minor voter confusion has never dealt with > retirees in a West Palm Beach retirement village in Florida, I promise you. > > My mother, following the rules, said the poll workers had been told not to > help people with the cards, as it might bias the voters. My mother witnessed > many, many people who voted incorrectly. Some stayed on a second line and had > their cards re-done, some punched the second hole (and thus were probably > thrown out), and some found out they voted for Buchanan after they had > deposited their cards in the ballot box, and there was thus nothing they > could do. > > Mom called me up to complain about this after the elction, and she called me > up again on Thursday, very upset after reading a story in the New York Times > (Nov. 9 2000, p. B6). The Times story states: > > After numerous complaints were received on Tuesday morning, Ms. LePore issued > this directive to the county's 106 precincts: Attention all poll workers. > Please remind all voters coming in that they are to vote only for one (1) > presidential candidate and that they are to punch the hole next to the arrow > next to the number next to the candidate they wish to vote for. > > Mom never received this directive, and she believes that if anyone knew they > could have helped people vote their preference, the outcome would have been > very different. Instead, my mother and the others were trying to do the right > thing, and they felt that helping explain the ballot to these people would > have been helping them to vote for Gore, something she didn't feel was > proper. These women are honest to a fault. > > Leah did receive the directive, but not until 4pm on election day, and only > by accident; someone was coming to visit from the main office and told her > about it. In the mean time, my mother and Leah (and most of the precinct > clerks) had been desperately trying to call the county office. They had been > given a phone number by Ms. LePore and told that the phone line would be > staffed throughout the day. They were told to call if there were any problems. > > Mom tried to call starting at 7:30am, calling straight through when polls > closed, but she got a busy signal the entire time. But mom was at a polling > station with only a pay phone, so she had to deposit coins each time, and > with long lines waiting for her, she was becoming increasingly frustrated. > > Leah was precinct chief at the retirement village where they live, and ran a > polling station at the clubhouse. Having a more modern facility, Leah tried > on the phone as well, and when she couldn't get through, she called the > operator to ask her why the phone was busy. Leah had the presence of mind to > get the operator's number (history is made by people like Leah) when the > operator told her the phone was off the hook, meaning nobody was on the line > the entire day. Evidently, the supervisor's office just didn't want to hear > the complaints. > > Leah then faxed the supervisor's office with her concerns at noon and again > at 2pm. Nobody called Leah back until 5pm, when she heard from Ms. LePore, > with the following words "don't bother me." > > So as this news starts to be spun and re-spun, let me tell you a few things I > am certain to be true: -I can't argue intent either way, but the supervisor's > office in Palm Beach county is at the very least unable to carry out an > election in which these people have their say. > > -These people started trying to fix the problem from the moment polls opened, > and were fought along the way. This is not about crying about the election > once it is over. > > It pains me to see the issue being politicized by both sides. Gore has no > place having his advisor Daley make statements that after a recount, Gore > will emerge victorious; and Bush has no place saying that he is the victor, > or setting up a transition team. In fact, the idea that Bush and his brother > were together on election night, with Jeb Bush promising to "deliver > Florida," draws a picture at least to me with the semblance of impropriety, > especially now that we have seen the results so askew. I hope everyone will > pay attention to the facts here, and let the people of South Florida have the > same opportunity to vote that the rest of us had. > > You are free to send this to anyone you wish. > > Ben Austin > > Ed Kent 718-951-5324 (voice mail only) > > CUNY Debate: http://pnews.org/boards/cuny/ > > > ------------------------------------------------------------------------------ > > -- > > Webmaster's comments: A lot of young Republicans are making vicious remarks > about "old, stupid, or retarded" voters in West Palm. These seniors are > people who worked long and honorably all their lives and retired to Florida. > They may no longer be doing Calculus or piloting jet planes, but there is one > quality they Do have. They've seen a Lot of elections and heard thousands of > politician's lies. > > So maybe they actually know what the score Really is, unlike the young punks. > And that is precisely why GW doesn't want their votes counted. > ========================================================================= Date: Thu, 28 Dec 2000 06:52:12 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Ammiel Alcalay reading/talk in Vancouver: January 5/6 Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Ammiel Alcalay Responses and Responsibilities--a talk=20 Friday January 5 Room 1800 Simon Fraser University at Harbour Centre 515 West Hastings Street 8pm Free Reading and Launch of A Masque in the Form of a Cento Saturday January 6 Kootenay School of Writing 201 - 505 Hamilton Street 604-688-6001 8pm $5/$3 =85 at the intersection of politics and autobiography, the public and the private, I will explore the ways a writer can respond-as a journalist, translator, editor, literary and political activist, poet and conveyor of local knowledges =85 Ammiel Alcalay is a poet, translator, critic and scholar. He is the author of After Jews and Arabs: Remaking Levantine Culture (University of Minnesota Press 1993), The Cairo Notebooks (Singing Horse Press 1993), and Memories of Our Future (City Lights 1999). During the war in former Yugoslavia he was a primary source for providing access in the American media to Bosnian voices. He edited and co-translated Zlatko Dizdarevic's Sarajevo: A War Journal (Henry Holt 1994) and Portraits of Sarajevo (Fromm 1995). He was responsible for publication of the first survivor's account in English from a victim held in a Serb concentration camp, The Tenth Circle of Hell by Rezak Hukanovic (Basic Books 1996), which he co-translated and edited. He edited and co-translated a major new anthology of contemporary Middle Eastern Jewish writing, Keys to the Garden: New Israeli Writing (City Lights 1996), the first collection of its kind in any language. He has also translated two books by the Cuban poet Jose Kozer, Projimos / Intimates (Carrer Ausias 1990), and The Ark Upon the Number (Cross-Cultural Press 1982). Sarajevo Blues, Alcalay's translation of the Bosnian poet Semezdin Mehmedinovic, came out from City Lights in 1998. His current work-in-progress includes the book From the Warring Factions, portions of which appear in Snare 2 (2000) and jibilat 2 (winter 2000). "Ammiel Alcalay brings to any subject an acute sensitivity to writing and a sophisticated understanding of the way politics works to produce and maintain literature. He is a unique and important figure in contemporary world literature." - Lynne Tillman "Few contemporary intellectuals can boast of as diverse a range of skills as Ammiel Alcalay. His work is cosmopolitan in the best sense: in an epoch of superficial globalism his approach to the cultures he deals with is always rigorous, always meticulously respectful of particularities and differences. There is no one better qualified to explore the meaning of today's 'culture wars,' locally and globally." - Amitav Ghosh Selected writing by Alcalay on-line: "Israel/Palestine 101: A Letter to Robert Creeley" at Big Bridge: www.bigbridge.org/Issue3/alcalay.htm "PhillyTalks" #11, with Tom Mandel: www.english.upenn.edu/~adlevy/phillytalks/archive/pt11.pdf "Israel's Five-Poem War" at MideastLine: www.mideastline.com/Opinion/00-4/op_alcalay_ammiel00-4.htm Additional links to Alcalay's essays, reviews, and poetry may be found at: www.ksw.net Sponsored by the Kootenay School of Writing, Simon Fraser University Institute for the Humanities, and West Coast Line. ========================================================================= Date: Thu, 28 Dec 2000 11:18:28 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eurydice@AOL.COM Subject: Big Allis 9 Poetics MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable Dear List, Just ahead of the real twenty-first century, Big Allis 9 is arrived! Ta da!=20 In hopes of helping spread it around, Editor Melanie Neilson and I would lik= e=20 to make the following offer to the Poetics List (and to anyone else that=20 anyone here might mention it to): If I hear from you by January 17 or so, I'll send you a copy of Big Allis 9=20 for just $9, domestic postage included (versus the $10 cover price). Or, if=20 you sign up for issues 9 and 10 both, at the regular $18=20 two-issue-subscription rate, I'll add a free back issue (regularly $6)--your= =20 choice of 1, 2, 3, 5, 6, 7, or 8 (4 is out of print). Postage to Canada is a= n=20 extra $1 per issue. All checks should be made payable to Deirdre Kovac.=20 Please let me know if you'd like a list of contributors to previous issues=20 (seems a bit long to post here). =20 Big Allis 9 is 104 pages, with work by Deanna Ferguson, Steve McCaffery,=20 Judith Goldman, Gregory Brooker, Amy Sara Carroll, Chris McCreary, Catriona=20 Strang, Linda Russo, Steve Farmer, Andy Levy, Christian B=F6k, Nancy Shaw,=20 Jason Nelson, Aletha Irby, Heather Fuller, and Dorothy Trujillo Lusk. And=20 wonderful. And perfect bound. And a great cover (image by Joyce George;=20 design by Jean Foos). IMPORTANT: Please don't send any messages about this to the Poetics List.=20 All orders, queries, comments, et cetera should be sent directly to me at=20 Eurydice@aol.com (please include your full name, mailing address, and e-mail= =20 address).=20 Or you can contact me via post at: Deirdre Kovac 20 Douglass Street, #3 Brooklyn, NY 11231 All Best and Happy Happy, Deirdre Kovac (Co-editor, Big Allis) Eurydice@aol.com ========================================================================= Date: Thu, 28 Dec 2000 12:39:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Broder, Michael" Subject: Ear Inn Readings--January 2001 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 FREE January 6 Bliss Morehead, Jamie McNeely, Robert Segall January 13 Elizabeth Bassford, Melissa Hotchkiss, Sabra Loomis January 20 Jean Lambert, Ravi Shankar, TBA January 27 Brandel France de Bravo, Jennifer Martelli, Barbara O'Dair The Ear Inn Readings Michael Broder, Director Patrick Donnelly, Lisa Freedman, Kathleen E. Krause, Co-Directors Martha Rhodes, Executive Director The Ear is one block north of Canal Street, a couple blocks west of Hudson. The closest trains are the 1-9 to Canal Street @ Varick, the A to Canal Street @ Sixth Ave, or the C-E to Spring Street@ Sixth Ave. ========================================================================= Date: Thu, 28 Dec 2000 15:01:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marla Jernigan Subject: Wittgenstein's Mistress MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear Poetics List, I've just completed Markson's novel Wittgenstein's Mistress, which someone on this list mentioned. It really is quite good. If perhaps having a few slow parts here and there (and I like art history). Is it simply my perception or does any novel that gives any attention to at all language theory or philosophy get the appellation "experimental"? I wonder if that is justified. Maybe so. Has anyone read Markson's earlier novels? Are they worth searching out as well? He mentions Gaddis a number of times, a novel called The Recognitions. Any views on whether this too would fit into the fiction that is also poetry catalog? Sincerely, M __________________________________________________ Do You Yahoo!? Yahoo! Photos - Share your holiday photos online! http://photos.yahoo.com/ ========================================================================= Date: Thu, 28 Dec 2000 20:38:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stefani Barber Subject: (auto-response) Re: Happy New Year! Thank you for writing. Since I will be out of the office from December 26, 2000 through January 2, 2001, please expect a slight delay in my response to you. Have a safe and wonderful holiday season. Stefani Barber ----------- Original message follows ----------- New Year's Day at the Poetry Project: MONDAY, JANUARY 1, 2001 from 2 pm until past midnight THE 27TH ANNUAL NEW YEAR=B9S DAY MARATHON READING Welcome the new year with over 120 poets, musicians, dancers, and artists performing and reading new works. The best, most exciting, most innovative poets, writers, performance artists, spoken-word artists, slam poets, musicians, dancers, visual artists, and downtown personalities ring in the new year in their own inimitable styles: by continuing to push the boundaries of the expected in explosions of words, music, sound, light, and movement.=20 New York Magazine writes, "The Annual New Year=B9s Marathon readings, featuring whoever=B9s around, from William Burroughs and Laurie Anderson to Nick Zedd and Paul Beatty, have become required downtown viewing." The Dail= y News calls the Poetry Project event "New York=B9s Other Marathon...not for th= e artistic faint of heart [but] for seekers of something wildly, jaw-droppingly different." The Village Voice describes the event as "...short attention span theater on a marathon loop, with a flotilla of deviant craft kicking out quick, hot flashes of dissidence in the age of prigs and punishers." The poets and performers 2001 include: Patti Smith, John Cale, Jim Carroll, Eric Bogosian, Penny Arcade, Lenny Kaye, Douglas Dunn, John Giorno, Dael Orlandersmith, Elliott Sharp, Nick Zedd, Peter Straub, Eileen Myles, Taylor Mead, Jackson Mac Low, Edwin Torres, Todd Colby, Bob Holman, Tuli Kupferberg, Wanda Phipps, Maggie Estep, Yoshiko Chuma, Laird Hunt, Reg E Gaines, Maggie Estep, Dana Bryant, Victor Bockris, Hal Siriowitz, Lewis Warsh, & Many More! Tickets at the door are $15, $12 for Poetry Project members. Seating is on = a first-come first-served basis. Refreshments will be available. The Poetry Project is located in St. Mark's Church at the corner of 2nd Avenue and 10t= h Street in Manhattan. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information or visit our Web site at http://www.poetryproject.com. * * * ========================================================================= Date: Wed, 27 Dec 2000 22:12:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Zimmerman Subject: Re: BlueXmas(or things to do when you don't get an MLA job interview in your stocking) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Chris, It seems to me "sublime" refers to the appetite for mute awe engendered by the grandeur and magnitude of natural phenomena experienced in solitude (e.g., national parks: better--or at least more--than expected, but still just an extension of the familiar), whereas "visionary" specifies encounter with a realm different than expected: not just a scaling up of the natural (Mandelbrot set fractals), but access to the full spectrum at once (as Pound said of the Cantos, a single image), accompanied, crucially, by a guide: Virgil for Dante, Blake for Milton, Spicer's Martians. I see Kent, for one, has riffed more eruditely on this on subsub, but I'll Ockham it for now. Thanks for bringing up the question. Best, Dan ----- Original Message ----- From: chris stroffolino To: Sent: Tuesday, December 26, 2000 11:25 PM Subject: BlueXmas(or things to do when you don't get an MLA job interview in your stocking) > Hello those not in DC, > > I was just reading a piece of scholarly or academic writing-- > the kind that is suppossed to succeed at the MLA--- > and I started feeling blue, excluded, etc.... > UNTIL, that is, I noticed this particular author > used the words "visionary" and "sublime" > simply as pejorative words---in a very shorthand, dismissive > way--- > This author seemed to think the words were SYNONYMS! > At first I thought I could say, not in bitterness so much as > incredulity > "oh fie on this author! fie on the literary establishment, > etc!" > > but then i thought----well, what really is the difference between > "visionary" and "sublime" ? and realized that part of the game, of > course, > is coming up with your own definitions of these words..... > I guess Kant's definition of sublime is the most cited? > (oe perhaps that band that did "wrong way?") > But as for visionary, there's many more it seems.... > (recently talking t Joshua beckman about why Gerald Stern referred > to his book as "visionary?") > > Anyway, the point is, these words are not synonyms ("visionary," and > "sublime")-- > so how do YOU, dear reader, understand the difference between these > terms? > (I'm looking forward to your answers, even if you are at the > MLA....) > > chris > ========================================================================= Date: Thu, 28 Dec 2000 23:16:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Don Summerhayes Subject: Re: Wittgenstein's Mistress MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Marla, You must not miss "Reader's Block". Cheers, Don Summerhayes Marla Jernigan wrote: > Dear Poetics List, > I've just completed Markson's novel > Wittgenstein's Mistress, which someone on this list > mentioned. It really is quite good. If perhaps having > a few slow parts here and there (and I like art > history). > Is it simply my perception or does any novel that > gives any attention to at all language theory or > philosophy get the appellation "experimental"? > I wonder if that is justified. > Maybe so. > Has anyone read Markson's earlier novels? Are > they worth searching out as well? > He mentions Gaddis a number of times, a novel > called The Recognitions. Any views on whether this too > would fit into the fiction that is also poetry > catalog? > > Sincerely, > M > > __________________________________________________ > Do You Yahoo!? > Yahoo! Photos - Share your holiday photos online! > http://photos.yahoo.com/ ========================================================================= Date: Thu, 28 Dec 2000 23:30:04 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: BlueXmas(or things to do when you don't get an MLA job interview in your stocking) In-Reply-To: <005901c0707c$0d706820$2f7ebd18@win98> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Daniel - I traveled to Canyonlands a few days ago. It is, of course, a national park, but also a "scaling up of the natural." Its Monument Basin appears to be one of the most wondrously large and complex basins of attraction (an important feature of fractal patterns) etched in stone. This sublime place came back into my life with a guide of sorts this time. Actually I was attended by the quiet of a guide that died the day the last time I visited the park over four years ago. I guess my experience of Canyonlands just this past Saturday, by your definition, was sublime and visionary. I can assure you it was overwhelming to return after such a murky personal connection to the place. I conclude that the experience of at least one national park can be visionary, unlike what has been suggested by you, Daniel. If you've never seen Canyonlands, go there if you can. I may never see another place as beautiful. Excellent post Daniel. I think you are definitely on to something here. I just had to get my two cents in and keep a certain beautiful park from being cast from the world of immersive visions, a place it most certainly belongs. ;^) Patrick -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Daniel Zimmerman Sent: Wednesday, December 27, 2000 10:13 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: BlueXmas(or things to do when you don't get an MLA job interview in your stocking) Chris, It seems to me "sublime" refers to the appetite for mute awe engendered by the grandeur and magnitude of natural phenomena experienced in solitude (e.g., national parks: better--or at least more--than expected, but still just an extension of the familiar), whereas "visionary" specifies encounter with a realm different than expected: not just a scaling up of the natural (Mandelbrot set fractals), but access to the full spectrum at once (as Pound said of the Cantos, a single image), accompanied, crucially, by a guide: Virgil for Dante, Blake for Milton, Spicer's Martians. I see Kent, for one, has riffed more eruditely on this on subsub, but I'll Ockham it for now. Thanks for bringing up the question. Best, Dan ----- Original Message ----- From: chris stroffolino To: Sent: Tuesday, December 26, 2000 11:25 PM Subject: BlueXmas(or things to do when you don't get an MLA job interview in your stocking) > Hello those not in DC, > > I was just reading a piece of scholarly or academic writing-- > the kind that is suppossed to succeed at the MLA--- > and I started feeling blue, excluded, etc.... > UNTIL, that is, I noticed this particular author > used the words "visionary" and "sublime" > simply as pejorative words---in a very shorthand, dismissive > way--- > This author seemed to think the words were SYNONYMS! > At first I thought I could say, not in bitterness so much as > incredulity > "oh fie on this author! fie on the literary establishment, > etc!" > > but then i thought----well, what really is the difference between > "visionary" and "sublime" ? and realized that part of the game, of > course, > is coming up with your own definitions of these words..... > I guess Kant's definition of sublime is the most cited? > (oe perhaps that band that did "wrong way?") > But as for visionary, there's many more it seems.... > (recently talking t Joshua beckman about why Gerald Stern referred > to his book as "visionary?") > > Anyway, the point is, these words are not synonyms ("visionary," and > "sublime")-- > so how do YOU, dear reader, understand the difference between these > terms? > (I'm looking forward to your answers, even if you are at the > MLA....) > > chris > ========================================================================= Date: Fri, 29 Dec 2000 04:32:10 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Vidaver Subject: Rod Smith reading in Vancouver/KSW: January 7th Comments: To: info@ksw.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Rod Smith reading Sunday Jan 07 2pm Kootenay School of Writing 201 - 505 Hamilton Street 604-688-6001 $5/$3 Rod Smith is the Washington DC poet. His books include In Memory of My Theories (O Books, 96) Protective Immediacy (Roof, 99) & New Mannerist Tricycle (with Lisa Jarnot and Bill Luoma, Beautiful Swimmer, 2000). He is publisher of Edge Books, edits the journal Aerial, and co-ordinates a reading series at Bridge Street Books in DC. Art is no consolation, but it is art. Rod Smith sends us this "thinking event of the pulse fetish tone handle" from America's capital, where each day blank, pig-eyed men, hissing a kind of English, work toward the further redistribution of wealth from the children of the underclasses to the orbiting robots of capital. Tinned and untinned, Smith's art speaks in resistance to treachery, and on behalf of several supressed tendencies and human possibilities, some new, some older than agriculture. "A fringe limitation/structures history," but "no analysand can indent this largesse." -Kevin Davies Smith is the dashing innovator of several important poetic movements including Submodernism, Turtlism, New Mannerism, and Feeled Poetry. In his writing a roving loving perceiving in contingency tells us "The surface, if it's found/ is a symbol" and "what we haven't constructed/ in space is praised by kissing" and "His genius at least includes ceilings." Therefore he is also an architect. smithnotes: submodern: "with so much non-normative history piling up -- modernism, postmodernism-- how explain its apparent lack of impact on discoursive frameworks of power?" turtlism: "The transformation of conflict into musical event gives ground to the activity of the impractical material telepathy." feeled poems: "in 2000 a field poem becomes something else" neo mannerism: the school of forms. ========================================================================= Date: Sat, 30 Dec 2000 02:09:22 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: fiction MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Aaron. So! Now, as to the oldest recorded poem. Its not the Muhabburatta in Sanscrit? Or is it: That poem that is everlastingly rewritten inside every poem. The alert and beautiful eyes of a child. The magic of my beans growing two inches in three days. A suffering, but gentle old person. Death love hate terror joy. My cat, whose "motor starts" when it lies on my stomach and seems to know its alive. A laugh. A cry. Someone laughing, someone crying. Our Struggle. (Not His Struggle) Thought. The sound of rain on any surface. "Nah. Naff off mate, we want the real answer!" All the best, Richard. ----- Original Message ----- From: "Aaron Belz" To: Sent: Thursday, December 21, 2000 2:35 PM Subject: Re: fiction > Roger Day wrote: > > > It's those big old orchestras and opera houses now having to justify their > > existence. Why should poetry and fiction differ? > > > Well, although I tend to agree with your Darwinian commentary here, this > strikes me as an problematic analogy-- 'big old' orchestral music is only a > few hundred years old, as is opera. As is the novel. Poetry, the first form > of literature, is thousands. By 'literature' I mean, things said in a > particular way and remembered as having been said in that way. For > millennia poetry was a technology (using alliteration, caesura, parallelism) > that enabled something 'said particularly' to be remembered as such. In the > early days, poetry enabled literature to exist. As language began to be > recorded, duplicated, and distributed, poetry found an enthusiastic public > and developed greater precision. Homer et al had their day in the sun. Then > came Chaucer. Then other technologies came along and made poetry less > necessary: the printing press, the postal system, then the networked > computer. As these technologies have increased in speed and efficiency, the > form of poetry (and all literary art) has degenerated. Of course it had to: > it was no longer needed. Poetry is being shed from literature like a > cocoon; is a butterfly emerging? Probably so, but why not wonder? We who > paint the butterfly's wings must wonder. > > That said, any attempt to compare fiction and poetry to determine which is > 'better' is admittedly ludicrous; my initial question was facetious, I had > thought, obviously; I don't think that one 'genre' is superior. Though I am > fretting about the present and future of literature, I think not without > good reason. The first round of non-hateful responses to it was exactly what > I was looking for-- Richard's hilarious bit about computer-authors, > Patrick's anecdote about the family dinner table, Mr. Bowering's > declaration. So the question may stem from a false premise, but the answers > are not all meaningless, as Jacques and Marla have pointed out. So Patrick, > please maintain your 'narcotic optimism'-- and do not doubt anyone's 'gray > matter' -- As Bill put it, a 'fruitless but fun exercise' -- > > > -Aaron > > > P.S. Does anyone know what the oldest recorded poem is? ========================================================================= Date: Fri, 29 Dec 2000 08:26:56 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Baptiste Chirot Subject: Re: BlueXmas(or things to do when you don't get an MLA job interview in your stocking) In-Reply-To: <005901c0707c$0d706820$2f7ebd18@win98> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII in chemistry, "to sublime" means to cook off dross leaving only the single element (so that's what all those junkies doing cooking up in spoons--subliming!) (mad alchemists, too--Strindberg's INFERNO) --dbc On Wed, 27 Dec 2000, Daniel Zimmerman wrote: > Chris, > > It seems to me "sublime" refers to the appetite for > mute awe engendered by the grandeur and magnitude of > natural phenomena experienced in solitude (e.g., > national parks: better--or at least more--than > expected, but still just an extension of the > familiar), whereas "visionary" specifies encounter > with a realm different than expected: not just a > scaling up of the natural (Mandelbrot set fractals), > but access to the full spectrum at once (as Pound > said of the Cantos, a single image), accompanied, > crucially, by a guide: Virgil for Dante, Blake for > Milton, Spicer's Martians. > > I see Kent, for one, has riffed more eruditely on > this on subsub, but I'll Ockham it for now. Thanks > for bringing up the question. > > Best, > > Dan > > > ----- Original Message ----- > From: chris stroffolino > To: > Sent: Tuesday, December 26, 2000 11:25 PM > Subject: BlueXmas(or things to do when you don't get > an MLA job interview in your stocking) > > > > Hello those not in DC, > > > > I was just reading a piece of scholarly or > academic writing-- > > the kind that is suppossed to succeed at the > MLA--- > > and I started feeling blue, excluded, etc.... > > UNTIL, that is, I noticed this particular > author > > used the words "visionary" and > "sublime" > > simply as pejorative words---in a very > shorthand, dismissive > > way--- > > This author seemed to think the words > were SYNONYMS! > > At first I thought I could say, not in > bitterness so much as > > incredulity > > "oh fie on this author! fie on the > literary establishment, > > etc!" > > > > but then i thought----well, what really is the > difference between > > "visionary" and "sublime" ? and realized that > part of the game, of > > course, > > is coming up with your own definitions of > these words..... > > I guess Kant's definition of sublime is the > most cited? > > (oe perhaps that band that did "wrong > way?") > > But as for visionary, there's many more it > seems.... > > (recently talking t Joshua beckman about why > Gerald Stern referred > > to his book as "visionary?") > > > > Anyway, the point is, these words are not > synonyms ("visionary," and > > "sublime")-- > > so how do YOU, dear reader, understand the > difference between these > > terms? > > (I'm looking forward to your answers, even > if you are at the > > MLA....) > > > > chris > > > ========================================================================= Date: Fri, 29 Dec 2000 09:00:11 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: Report on Bridge Street Books MLA Group Reading Comments: To: Kabalang@aol.com, BBlum6@aol.com, flpoint@hotmail.com, ibid1@earthlink.net, mdkoa@yahoomail.com, moyercdmm@earthlink.net, Cathy.Muse@co.fairfax.va.us, alphavil@ix.netcom.com, polity@egroups.com, subsubpoetics@listbot.com, harrysandy@kreative.net, derekvdt@academypo.fss.fss.pvt.k12.pa.us, Amzemel@aol.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Subj: Report on Bridge Street Books MLA Group Reading Date: 12/29/2000 8:49:08 AM Eastern Standard Time From: alphavil@ix.netcom.com (R.Gancie/C.Parcelli) Reply-to: alphavil@ix.netcom.com To: subsubpoetics@listbot.com CC: POETRYETC@JISCMAIL.AC.UK, BRITISH-POETS@JISCMAIL.AC.UK Subsubpoetics --------------------------- ListBot Sponsor -------------------------- Start Your Own FREE Email List at http://www.listbot.com/links/joinlb ---------------------------------------------------------------------- Their Bark Had No Tree: If the group reading of 22 poets staged at the Four Seasons Hotel last night is endemic of American poetry today, then American poetry is dead. Barrett Watten read a long poem On Friendship clearly designed to be flagged by the Oxford Book of Poems on Friendship and torpid enough to make it in. My apologies to the Metaphysicals. Watten's meditation was obviously a product of too many idle moments in his lit department office. Bob Perelman did him one snoozier with an interminable, 5 minute piece punctuated by reports of his frequent flyer miles. With a lot of these folks, rebellion seems to have gone the way of their hair, if one can believe they ever had any fire in them to begin with. Johanna Drucker read her "hygenic hardware" poem in a spectaular monotone that resembled HAL the computer in 2001. The poem beats to death a single metaphor and then compounds the felony by having a book designed around it. Juliana Spahr read two poems that rather mechanically and unimaginatively morphed one word into another in bland and fatuous association. Then she grafted an appendix to each poem that by fiat insisted upon the above exercises grave consequences. Very sterile. It was clear that Jerome Rothenberg's contribution to poetry does not come from his own work. And one learns that Loss Glazier and Susan Howe are nervous, frail creatures that one should not stand up and hoot at at poetry readings, no matter how bereft there presentation is of substance or talent. Somewhat the same can be said of the Waldrop's who seem to at least to muster a little intensity for their work even if its not actually in the work. There's no Sturm und Drang in young Faust, Graham Foust that is. Likewise for the others who if they knew anything at all were powerless to communicate it in their poetry. With all the enthusiasm that Pope John now musters for the Confiteor, moderator Rod Smith of Bridge Street and Ariel Magazine kept waking up the audience with his own monotone recital of "what a great reading this is." But a "great" reading it was not. And from audience reaction, it seems certain that if you caught any of them in an honest, Guinness soaked moment they would have communicated their shock at the amateurish nature of the proceedings especially in light of the "all-star" cast. But in the back of the audience's minds rests two concerns; do I write any better? And do I want to offend any of these guys when I might need a job reference? This was the tone that informed the evenings poetry. This is what people mean when they refer to "academic" poetry. The readers went in reverse alphabetical order, so that the grand poobah and frightfully insipid poet, Charles Bernstein could read last. When Charles made his way to the podium, most of the FlashPoint staff made its way to the exits. This was in no way intended as a protest of Bernstein's cruel censorship of the eloquent Henry Gould, the sheepish Gabe Gudding and, now, the endearing and totally innocent, Kent Johnson. We just couldn't stand even 5 more minutes of the poetic drivel. Carlo Parcelli Bob's Big Boy, Bob's Burger Barn, Bob's Brazen Bestiality, Bob's Broad Buttocks, Bob's Billiards and Barbecue, Bob's Bluffalo Bamboozle, Bob's.... ========================================================================= Date: Fri, 29 Dec 2000 12:54:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: Robert Creeley on WriteNet Comments: To: writenet@twc.org MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Come one, come all to the Robert Creeley interview on WriteNet. Go to http://www.writenet.org/poetschat/poetschat.html and click on Creeley. ========================================================================= Date: Fri, 29 Dec 2000 12:07:57 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Felsinger Subject: - V e R T # 2 In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit - V e R T # 2 an on-line x-writing magazine is now up on the web at : http://www.litvert.com Issue: 2 emphasizes the collaborative process and features the work of mIEKAL aND and Maria Damon, Kenneth Sherwood, Stephanie Young and Tanya Brolaski, Andrew Felsinger and Jono Schneider, Lauren Schiffman and Nicole Brodsky, Joseph Noble and Avery E.D. Burns. Additional work by Joseph Massey, Dana Ward, Genevieve Szopa-Monley, Michael Rothenberg, Samantha Giles, and Garin Cycholl. Reviews of Sarah Rosenthal's and Jono Schneider's work. Issue three will feature prose, deadline for submitting is Feb. 20th To submit via e-mail: andrew@litvert.com and samanthagiles@yahoo.com or send manuscript to -VeRT c/o Andrew Felsinger 405 Serrano Dr. #MB San Francisco, CA 94132 ========================================================================= Date: Sat, 30 Dec 2000 09:41:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Stefani Barber Subject: (auto-response) Re: Rod Smith reading in Vancouver/KSW: January 7th Thank you for writing. Since I will be out of the office from December 26, 2000 through January 2, 2001, please expect a slight delay in my response to you. Have a safe and wonderful holiday season. Stefani Barber ----------- Original message follows ----------- Rod Smith reading Sunday Jan 07 2pm Kootenay School of Writing 201 - 505 Hamilton Street 604-688-6001 $5/$3 Rod Smith is the Washington DC poet. His books include In Memory of My Theories (O Books, 96) Protective Immediacy (Roof, 99) & New Mannerist Tricycle (with Lisa Jarnot and Bill Luoma, Beautiful Swimmer, 2000). He is publisher of Edge Books, edits the journal Aerial, and co-ordinates a reading series at Bridge Street Books in DC. Art is no consolation, but it is art. Rod Smith sends us this "thinking event of the pulse fetish tone handle" from America's capital, where each day blank, pig-eyed men, hissing a kind of English, work toward the further redistribution of wealth from the children of the underclasses to the orbiting robots of capital. Tinned and untinned, Smith's art speaks in resistance to treachery, and on behalf of several supressed tendencies and human possibilities, some new, some older than agriculture. "A fringe limitation/structures history," but "no analysand can indent this largesse." -Kevin Davies Smith is the dashing innovator of several important poetic movements including Submodernism, Turtlism, New Mannerism, and Feeled Poetry. In his writing a roving loving perceiving in contingency tells us "The surface, if it's found/ is a symbol" and "what we haven't constructed/ in space is praised by kissing" and "His genius at least includes ceilings." Therefore he is also an architect. smithnotes: submodern: "with so much non-normative history piling up -- modernism, postmodernism-- how explain its apparent lack of impact on discoursive frameworks of power?" turtlism: "The transformation of conflict into musical event gives ground to the activity of the impractical material telepathy." feeled poems: "in 2000 a field poem becomes something else" neo mannerism: the school of forms. ========================================================================= Date: Fri, 29 Dec 2000 16:00:32 -0700 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: 3 new releases from housepress: Paters, Andrews and Mavreas MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit housepress is pleased to announce 3 new releases: Mark Peters "S from Medley" limited editon of 60 handbound and numbered copies with 25% white cotton linen paper and 60lb. card covers. pages folded and handbound japanese style. $6.00 each. Mark Peters is the editor of _Deluxe Rubber Chicken_, an online journal of contemporary poetry(http://writing.upenn.edu/epc/ezines/deluxe/) and is the author of _MEN 27, 31, 42, 49_ (housepress, 2000) and a selection of his work can also be found at http://www.acsu.buffalo.edu/~petersm/mark/ Bruce Andrews PLANS CARRY WEIGHT openpalm series 2.8. visual poem leaflet, limited edition of 70 numbered copies. $1.50 ea. Bruce Andrews' essays were recently collected in _Paradise & Method: Poetics & Praxis_ (Northwestern University Press, 1996) and his LIP SERVICE os forthcoming from Coach House Books in 2001. Billy Mavreas from "This is Science Fiction Part III" openpalm series 2.7. visual poem leaflet, limited edition of 70 copies. $1.50 ea. Mavreas is a montreal cartoonist, illustrator and visual poet whose work has appeared in _MATRIX_, _van_ and _filling Station_ magazines and online at http://www.yesway.com . for more information or to order contact: derek beaulieu housepress@home.com http://www.telusplanet.net/public/housepre ========================================================================= Date: Fri, 29 Dec 2000 19:37:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Meg Brooks Subject: overlooked "censorship" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit So, every library can't stock everything. Harry Potter is not available everywhere--nor should it be. The opinionated stockers are the ones falling to infamy. Y'all just can't carry everything, can you? Are you censors or are you simply responding to the space and budget at hand? Forget about the misleading Potter/Twain/Cleaver examples of "censorship"--let's focus on the real thing: The missing semicolon!!!! It goes like this--or WENT like this at one enlightened time: "This film has been modified from its original version; it has been formatted to fit your screen." THEN what happened? Now the semicolon has been excommunicated and the slogan reads: "This film has been modified from its original version. It has been formatted to fit your screen." Americans can't handle semicolons? !Is this true?! Oh! The humanity! If we can't employ a semicolon, how can we.... Where is my semicolon! Meg Brooks ========================================================================= Date: Sat, 30 Dec 2000 12:00:18 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: overlooked "censorship" MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 12/30/00 7:02:05 AM, mbbrooks@LAKWOD3.CO.HOME.COM writes: Forget about the misleading Potter/Twain/Cleaver examples of "censorship"--let's focus on the real thing: The missing semicolon!!!! It goes like this--or WENT like this at one enlightened time: "This film has been modified from its original version; it has been formatted to fit your screen." THEN what happened? Now the semicolon has been excommunicated and the slogan reads: "This film has been modified from its original version. It has been formatted to fit your screen." Americans can't handle semicolons? !Is this true?! Oh! The humanity! If we can't employ a semicolon, how can we.... Where is my semicolon! Meg Brooks >> How right you are! None of my "college students" knows what to do with the semi-colon. They are lost; they wander a new dark age. Best, Bill ========================================================================= Date: Sat, 30 Dec 2000 13:32:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Judy Roitman Subject: Re: fiction In-Reply-To: <004401c07198$8ffd8c60$e96d36d2@01397384> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Aaron. So! Now, as to the oldest recorded poem. Its not the Muhabburatta >in Sanscrit? Or is it: > I was reading the other day that the Vedas were purposefully handed down only orally for a long time after writing had appeared in their local culture, and that as what we ordinarily understand by meaning became lost this was justified on the grounds that the syllable (= sound) was what mattered, since sound and true meaning were conflated. Is deliberate oral transmission considered a sort of record? Is what I read true? -- --------------------------------------------------------------------------- Judy Roitman | " cats Math Dept., University of Kansas | as much as horses Lawrence, KS 66045 | on the night stairs" 785-864-4630 | fax: 785-864-5255 | Larry Eigner, 1927-1996 ---------------------------------------------------------------------------- http://www.math.ukans.edu/~roitman/ ---------------------------------------------------------------------------- ========================================================================= Date: Sat, 30 Dec 2000 16:24:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Zauhar Subject: Re: overlooked "censorship" (semi-colons) In-Reply-To: <3A4D4A86.2BC0C650@lakwod3.co.home.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Forget about the misleading Potter/Twain/Cleaver examples of >"censorship"--let's focus on the real thing: The missing semicolon!!!! > >It goes like this--or WENT like this at one enlightened time: "This film >has been modified from its original version; it has been formatted to >fit your screen." THEN what happened? Now the semicolon has been >excommunicated and the slogan reads: "This film has been modified from >its original version. It has been formatted to fit your screen." > >Americans can't handle semicolons? !Is this true?! Oh! The humanity! If >we can't employ a semicolon, how can we.... > >Where is my semicolon! > >Meg Brooks I believe George Orwell, in "Politics and he English Language," questions the efficacy of the semi-colon. In his essay on Orwell's essay, Canadianwriter Brian Fawcett repeats this bit of practical advice, writing, "never use a semi-colon. I know I'm repeating Orwell, but this is so important it bears repeating. Semi-colons are absolutely reliable signals that a sentence should be rewritten, generally to make it more direct. And incidently, you should only use a colon if you're wearing a tuxedo or sitting on white porcelain." Brian Fawcett. _Unusual Circumstances, Interesting Times_. Vancouver: New Star, 1991, page 134. And, yes, I did in fact put on a tux to type the bibliographic info. David Zauhar 632 Cribbs Street Greensburg PA 15601 724/834-8461 "They said we was nowhere Actually we are beautifully embalmed in Pennsylvania" --Philip Whalen, "Chanson d'Outre Tombe" ========================================================================= Date: Sat, 30 Dec 2000 20:21:38 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: NYC event on Wed 11/27: Richard Kostelanetz and Jerome Rothenberg In-Reply-To: <75.deb15f3.2773958c@aol.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hi all, is there any chance that someone could report on this discussion? This is an area of particular interest to me - the manifesto that is. Thanks and the best of the season to all, kevin hehir On Thu, 21 Dec 2000, Gary Shapiro wrote: > New York Literary Event > Richard Kostelanetz and Jerome Rothenberg > who will be reading from their works and discussing the role of > manifesto-anthologies ========================================================================= Date: Sat, 30 Dec 2000 20:42:02 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: Fiction as Poetry In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII To List, I'm not really following this thread very closely as I'm trying to take a break from all things electronic (except remote controlled car I found under my tree) for the holidays. But, I gather that there is talk of fiction as poetry. I'll toss in : Ondaatje, Michael, In the skin of a lion : a novel. New York, N.Y. : Penguin Books, 1988, absolutely beautiful. i'm not about to enter the current debate and try to defend my selection. just pick it up and read any page. also very salient for anyone intersted in labour, class and the development of the city in north america. all the bests, kevin ========================================================================= Date: Sat, 30 Dec 2000 22:06:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Lissa Wolshak's email address MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII If anyone has Lissa Wolsak's email address, please backchannel; I'd appreciate it greatly. - Alan, thanks ahead of time Sat Dec 30 22:05:24 EST 2000 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 CDROM of collected work 1994-2000/1 available: write sondheim@panix.com ========================================================================= Date: Sun, 31 Dec 2000 00:04:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Wittgenstein's Mistress In-Reply-To: <20001228230116.85959.qmail@web11206.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > > Has anyone read Markson's earlier novels? Are >they worth searching out as well? I have read all his books except his book on Lowry (of which I have read part), and I am a big fan. I believe that Going Down can be called a great American novel if it makes sense to talk about such a thing. Three early books are "entertainments," two of them terrific hardnose detective books, but really, Markson does not allow these to be reprinted, i think. The bad thing about being a Markson fan is that he lets years go by without publishing a book; you might also want to check out the Markson issue of The review of Contemporary Fiction. gb -- George Bowering Fax 604-266-9000 ========================================================================= Date: Sun, 31 Dec 2000 17:50:17 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: Wittgenstein's Mistress In-Reply-To: <20001228230116.85959.qmail@web11206.mail.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII for more markson try "Reader's Block" - fantastic!! it reads like a derkson poem. good luck, kevin ========================================================================= Date: Sat, 30 Dec 2000 12:40:53 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: chris stroffolino Subject: CALL FOR DOCTORS MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit CALL FOR DOCTORS (both short term and long) Is there a doctor in the house? Is there a doctor on the list, a physical doctor, an M.D.? Or does anybody on this list have a friend who is a physical doctor, an M.D? If so, could you contact me, please, as soon as possible (it would especially help if you're in the new york area) because I would like to offer a trade--- say a poem for an x-ray? Please contact Chris Stroffolino 718-782-2594..... -------- In more general news, to poets: WE GOTTA DO SOMETHING ABOUT THIS MEDICAL CRISIS (not just my specific one right now) But how many of YOU HERE ALSO DO NOT HAVE HEALTH INSURANCE? How many of you here are also so fed up with the way that a PH.D. is not of course considered a real DOCTOR? or the one who may heal physically be considered better than the one who may inspire (and maybe even heal) mentally? (though of course some of you reject the thereapeutic model of poetry-- probably because you already have health care or inheritance or something)... I mean shouldn't we try to CHANGE THIS--- can we join together communally to do this,or at least try? Please contact me, anybody who might be intersted in arranging some way in which poets may give their services in exchange to doctors for theirs-- in this age of privitaization, especially now that bushy poo is "elected" or my friend Noelle wins an NEA grant (which is good---though the government may not let her have her money because of debts in student loans)-- we gotta find some way of solidarity on this--- obviously i am not the only one? chris