========================================================================= Date: Fri, 2 Feb 2001 00:18:05 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: catharsis MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Alan. are you sure you're not a computer yourself or at least an automated digital Text-Maker? Your flood of work is so torrentious. I hope it is cathartic for you. Some very interesting things stilll coming. A doer, a maker, a creator: very clever, hard to keep up. But good on you. but I must say: "It's all lies I tell you! Lies, you swine!" Yours semi-jocosely,Richard Taylor. ----- Original Message ----- From: "Alan Sondheim" To: Sent: Wednesday, January 31, 2001 3:03 PM Subject: catharsis > ============================================================ > 1 1 WE KNOW WHO YOU ARE AND YOUR REAL NAME. > 2 2 WE KNOW WHERE YOUR CHILDREN ARE. > 3 3 WE KNOW THE NAMES OF YOUR CHILDREN. > 4 4 WE KNOW THE NAME OF YOUR PARTNER. > 5 5 WE HAVE PHOTOGRAPHS. > 6 6 WE HAVE PHOTOGRAPHS OF THE TWO OF YOU TOGETHER. > 7 7 WE HAVE PHOTOGRAPHS OF UNSPEAKABLE ACTS. > 8 8 WE HAVE PHOTOGRAPHS OF THE INCIDENT. > 9 9 WE KNOW YOUR PAST INTIMATELY. > 10 10 WE INHABIT YOUR SKIN AND THE SKIN OF YOUR PARTNER. > 11 11 WE FUCK THROUGH YOUR SKINS. WE FIGHT THROUGH THEM. > 12 12 A CHILD IS BEING BEATEN. WE ARE IN YOUR SKINS. > 13 13 WE KNOW YOUR BANK ACCOUNTS AND YOUR PORTFOLIO. > 14 14 WE KNOW YOUR CAR AND THE SMELL OF IT. > 15 15 WE KNOW THE BACKSEATS AND TRUNK OF YOUR CAR. > 16 16 WE KNOW YOUR REAL NAME. WE KNOW ALL YOUR NAMES. > 17 17 WE KNOW WHAT YOU ARE THINKING NOW. > 18 18 WE THINK THROUGH YOUR SKINS. WE SPEAK THROUGH THEM. > 19 19 WE THINK BE AFRAID. BE VERY AFRAID. > 20 20 WE THINK QUESTION AUTHORITY. QUESTION EVERYONE. > 21 21 WE THINK WE ARE YOUR CHILDREN. WE ARE YOUR PARTNER. > 22 22 DO NOT DO THAT WE THINK. DO THUS AND THUS. > 23 23 WE KNOW YOU WILL WAIT FOR US. WE KNOW WE WILL COME. > 24 24 YOU KNOW WHEN WE COME IT WILL BE ALL OVER. > 25 25 IT WILL BE ALL OVER. > 26 1 WE KNOW WHO YOU ARE AND YOUR REAL NAME. > 27 2 WE KNOW WHERE YOUR CHILDREN ARE. > 28 3 WE KNOW THE NAMES OF YOUR CHILDREN. > 29 4 WE KNOW THE NAME OF YOUR PARTNER. > 30 5 WE HAVE PHOTOGRAPHS. > 31 6 WE HAVE PHOTOGRAPHS OF THE TWO OF YOU TOGETHER. > 32 7 WE HAVE PHOTOGRAPHS OF UNSPEAKABLE ACTS. > 33 8 WE HAVE PHOTOGRAPHS OF THE INCIDENT. > 34 9 WE KNOW YOUR PAST INTIMATELY. > 35 10 WE INHABIT YOUR SKIN AND THE SKIN OF YOUR PARTNER. > 36 11 WE FUCK THROUGH YOUR SKINS. WE FIGHT THROUGH THEM. > 37 12 A CHILD IS BEING BEATEN. WE ARE IN YOUR SKINS. > 38 13 WE KNOW YOUR BANK ACCOUNTS AND YOUR PORTFOLIO. > 39 14 WE KNOW YOUR CAR AND THE SMELL OF IT. > 40 15 WE KNOW THE BACKSEATS AND TRUNK OF YOUR CAR. > 41 16 WE KNOW YOUR REAL NAME. WE KNOW ALL YOUR NAMES. > 42 17 WE KNOW WHAT YOU ARE THINKING NOW. > 43 18 WE THINK THROUGH YOUR SKINS. WE SPEAK THROUGH THEM. > 44 19 WE THINK BE AFRAID. BE VERY AFRAID. > 45 20 WE THINK QUESTION AUTHORITY. QUESTION EVERYONE. > 46 21 WE THINK WE ARE YOUR CHILDREN. WE ARE YOUR PARTNER. > 47 22 DO NOT DO THAT WE THINK. DO THUS AND THUS. > 48 23 WE KNOW YOU WILL WAIT FOR US. WE KNOW WE WILL COME. > 49 24 YOU KNOW WHEN WE COME IT WILL BE ALL OVER. > 50 25 IT WILL BE ALL OVER. > ============================================================ ========================================================================= Date: Thu, 1 Feb 2001 09:14:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Kane Subject: contact info MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII looking for contact info for Gerard Malanga and Jack and/or Kathleen Marshall. if you can help, please backchannel to dkane@panix.com. thanks in advance, --daniel ========================================================================= Date: Thu, 1 Feb 2001 11:28:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Brodeur Subject: Both Magazine Submission Call MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Hello All: -a couple things- -Both Magazine is accepting submissions of poetry, prose, hybrid and other for its debut print issue due out in late spring 2001. Please submit between 2 to 5 poems, preferably in MS Word format. Send submissions to editor@bothmagazine.com or to Michael Brodeur Both Magazine 3516 Washington St. #2 Jamaica Plain, MA 02130 flexi-deadline is February 15. But submissions are always welcome, as the web component of Both is regularly updated. A nice segue for topic two: -Both Magazine V 2.0 is up and running. The new online installment features work by Michael Workman, Todd Dills, Lawrence Upton, whitney pastorek, Amanda Spear, J Cox, Zach Barocas and many others. Submissions are always welcome. http://www.bothmagazine.com And, well, that's all for now. Those interesed in joining our sporadic mailer of updates and small gifts can do so by dropping a line to editor@bothmagazine.com . Continue with what we hope are good days, Both Magazine ========================================================================= Date: Thu, 1 Feb 2001 14:00:49 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Blau DuPlessis Subject: Re: National Book Critics Circle Nominees MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear List: Yes, I certainly noticed the nature of the nominees for National Book Critics Circle. I notice continually. And almost continuously. But do we have any clue WHY not a single small press volume is (ever) nominated? Can someone give any information about the processes involved? or the personnel? or the backscratching? What would happen if (o please excuse this political limpness) a letter (wow) were composed collectively by the denizens of this list and some superstar academics (you know who you are Charlie and Marjorie and Bob) inquiring and protesting and so on. I for one am just plain pissed (limp word) at the delegitimation of everything I believe in, whether it is social justice or poetic justice. It would be nice to make some sort of a noise, amid the many other important socio-political noises one assumes people might choose to make soon. Now, in fact. I'd be happy to help compose such a letter and put my hard-earned name to it. Can we have a few facts of the matter from those who might know? After the facts come in, maybe people who could conceive of signing might email suggestions for a statement to the list. I'll be happy to compile something brief and fight about wording (something usually done best with about 5-10 people and not 230 or however many are on the list, so I might have to be a tiny bit peremptory at some point). I don't mean to dither into "procedure" (sometimes the last refuge of scoundrels, but sometimes designed to protect us). You get my general point. Sincerely, Rachel Blau DuPlessis Ron Silliman wrote: > Once again, not a single small press volume is nominated: > > Men in the Off Hours by Anne Carson (Knopf) > The Ledge by Michael Collier (Houghton) > Carolina Ghost Woods by Judy Jordan (Louisiana State University Press) > Talking Dirty to the Gods by Yusef Komunyakaa (FSG) > Ultima Thule by Davis McCombs (Yale University Press) > > Ron Silliman ========================================================================= Date: Thu, 1 Feb 2001 15:20:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: not-sutra of not-negation MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ===== not-sutra of not-negation not-1 not-i not-don't not-know not-if not-there's not-one not-or not-many. not-i not-don't not-know not-if not-there's not-self or not-non-self. not-i not-don't not-know not-if not-one not-or not-many not-or not-one not-and not-many not-are not-an not-illusion. not-i not-don't not-know not-if not-self not-or not-non-self not-are not-an not-illusion. not-i not-don't know not-what not-is not-a not-good not-act not-and not-what not-is not-a not-bad not-act. not-i not-don't not-know not-if not-it makes not-a not-difference. not-i not-don't not-know not-if not-the not-differ- ence not-remains. not-i not-don't know not-if not-there not-is not-rebirth not-or not-ashes. not-i not-don't not-know not-if not-rebirth not-or not-ashes are not-an not-illusion. not-i not-read not-and not-i not-don't not-know. not-i not-meditate not-and not-i not-don't know. not-i not-don't not-know not-if not-speech not-is not-an not-illusion, not-thought not-is not-an not-illusion. i not-don't not-know not-if not-i not-am not-enlight- ened. not-i not-don't not-know not-if not-enlightenment not-is an not-ill- usion. not-i not-don't not-know not-tat not-tvam not-asi. not-i not-don't not-know not-things. not-i don't not-know not-a not-thing. not-2. not-i not-don't not-know not-delusion. not-i not-don't not-know not-if not- delusion not-is not-an not-illusion. not-i not-don't not-know not-angels. not-i not-don't not-know not-the not-angelic. not-i not-don't not-know not-if not-suffering not-can not-be not-alleviated. not-i not-don't not-know if not-alleviation not-is not-an not-illusion. not-3 not-i not-don't not-know not-if not-one not-sees not-or not-another not-sees. not-i not-don't not-know not-the not-great not-perfection. not-i not-don't not-know not-if not-the not-great not-perfection not-is not-an not-illu- sion. not-i not-don't not-know not-if not-my not-senses not-deceive not-me. not-i not-don't not-know not-if not-deception not-is not-an not-illusion. not-i not-don't not-know not-if not-the not-six not-senses not-are not-an not-illusion. not-i not-don't not-know not-the not-condi- tion not-of not-equality. not-i not-don't not-know not-appearance. not-i not-don't not-know not-if not-appearance not-is not-an not-illusion. not-i not-don't not-know not-negation. not-i not-don't not-know not-if not-negation not-is not-an not-illusion. not-see! not-i not-don't not-know not-if not-negation not-modifies not-the not-real. not-i not-don't not- know not-if not-the not-real not-is not-an not-illusion. not-i not-don't not-know not-if not-negation not-is not-a not-function not-of not-one not-variable. not-i not-don't not-know not-if not-variables not-are not-an not-illusion. not-i not-don't not-know not-tat not-tvam not-asi. ===== ========================================================================= Date: Thu, 1 Feb 2001 17:22:20 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Randy Prunty Subject: Re: Poetry Plastique Reading and Symposium (NYC) Comments: To: BobGrumman@nut-n-but.net MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit <> <> gee, bob. you make it sound like a bad thing. i'm guessing a lot more will be going on than that at Poetry Plastique, but even if there wasn't so what? 'doing something new for the sake of doing something new' and being 'weird' can be playful, generative, important practices. > I sure hope someone can tell us what is said at a the symposium on > POETRY PLASTIQUE, moderated by marjorie perloff. Sounds weird to > me. How can anybody "move poetry off the page?" Ten to one it's > just a bunch of people doing something new for the sake of doing > something new. > > ========================================================================= Date: Thu, 1 Feb 2001 00:14:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Smylie Subject: The Iliad MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit You are invited to preview Book 8 of Homer's Iliad (the battle swayed by Zeus). Translated into Flash by Barry Smylie and Jeff Wietor featuring an original poem read by geniwate. http://barrysmylie.com/iliad/iliad000.htm "NOW when Morning, clad in her robe of saffron, had begun to suffuse light over the earth, Zeus called the gods in council on the topmost crest of serrated Olympus. Then he spoke and all the other gods gave ear"... ========================================================================= Date: Wed, 31 Jan 2001 23:25:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Abel Subject: Re: Poetry Plastique Reading and Symposium (NYC) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear Bob, Poetry "off the page" is anything but new; rather, it's archaic (some would say that it's at the very root of the art)--and enduring. Surely you don't have a definition of "poetry" that would exclude an oral composition that had never moved a hand holding pen or stylus? In modern terms (which this exhibition no doubt will be more indebted to), there is no shortage of precedent: the "poem-objects" of the surrealists and after (including works by many current practitioners whose credentials as "traditional" poets are unimpeachable, such as Jiri Kolar and Nicanor Parra); concrete poetry; sound poetry--I'm sure I'm not even scratching the surface. In fact, I'd hazard to say that it's an arena in which it would be very difficult indeed to seem truly novel. Which hardly diqualifies the efforts of the artists involved. Similarly, even if such works often have a relationship to "poetry" that is metaphorical rather than literal, does that remove them from our interest? Yrs, David Abel =============== How can anybody "move poetry off the page?" Ten to one it's just a bunch of people doing something new for the sake of doing something new. --Bob G. ========================================================================= Date: Wed, 31 Jan 2001 23:30:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Abel Subject: Fwd: Seattle readings MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit For the benefit of list members in the Pacific NW, forwarded notice of upcoming readings in the Subtext series in Seattle: Subtext continues its monthly series of experimental writing with readings by David Abel and Craig Van Riper at the Richard Hugo House on Wednesday, February 7, 2001. Suggested donations for admission are $5 at the door on the evening of the performance. The reading starts at 7:30pm. Subtext readings fall on the 1st Wednesday of the month (unless otherwise noted) at the Richard Hugo House, located at 1634 11th Ave on Capitol Hill in Seattle. For information on these and other Subtext events, see our web site: http://www.speakeasy.org/subtext The future Subtext 2001 schedule is: March: Elizabeth Robinson [SF Bay Area] & KT Cutler April: Lisa Robertson [Vancouver BC] & Stacey Levine April 5-6 Workshop w/Lisa Robertson: On Thick Description Moving. [6:30-8:30pm $40; enrollment limited.] Two evenings considering the spatial/technical potentials of descriptive rhetorics in new poetries, in relation to the gradual invention of description in English georgic poetry and the natural sciences. Subtext events are co-sponsored by the Richard Hugo House. ========================================================================= Date: Wed, 31 Jan 2001 23:39:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Abel Subject: Re: Poetry Plastique Reading and Symposium (NYC) MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit A further note, again especially for the benefit of any listmembers in the Northwest: two current exhibitions that very clearly demonstrate the viability of poetry "off the page" (or, perhaps, the enlargement of the notion of the page): Time Spent with Text An installation of Lorine Niedecker's poem, "Paean to Place" by Katherine Kuehn Sheehan Gallery, Whitman College, Walla Walla, Washington January 19-February 23 Gallery Hours: Tues-Fri, Noon to 5:00 pm; Sat-Sun, Noon to 4:00 pm for more information, call Ian Boyden, (509) 527-5249 Text as Image: New Work by Katherine Kuehn and Barbara Tetenbaum L&B Viewing Room, 1714 NW Overton, Portland Oregon 97209 February 7-March 2; Tues-Fri 1-6; Sat 10-4 503-241-4144 or 887-265-9288 (toll free) ========================================================================= Date: Thu, 1 Feb 2001 10:08:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Clay Subject: Joe Brainard!!! Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Joe Brainard: A Retrospective opens at the UC Berkeley Art Museum Feb 7 and runs through May 27, 2001. http://www.bampfa.berkeley.edu The show travels and can be seen at: Boulder Museum of Contemporary Art June 22-Sept 9, 2001 P.S. 1 Contemporary Art Center, a MoMA affiliate, NYC Sept 30-Dec 30, 2001 Donna Beam Fine Arts Gallery, U of NV, Las Vegas, Jan 22-Feb 28, 2002 Click here to read Brad Gooch's article on Joe Brainard in the February issue of Artforum. http://www.artforum.com The accompanying catalog, "Joe Brainard: A Retrospective", contains essays by Berkeley Art Museum Senior Curator Constance Lewallen as well as by John Ashbery and Carter Ratcliff. The catalog is illustrated throughout in color and black and white, it is published by Granary Books and Berkeley Art Museum in association with Mandeville Special Collections Library UCSD. The catalog is $29.95 and is widely available. Check it out here http:www.granarybooks.com where you can also see a description our reprint of Joe Brainard's classic text "I Remember" ($12) Descriptions of a fistful of other new Granary books follows shortly. Thanks! Steve Granary Books 307 Seventh Ave., #1401 [@ 28th St.] NY, NY 10001 http://www.granarybooks.com tel 212 337-9979 fax 212 337-9774 ========================================================================= Date: Thu, 1 Feb 2001 12:38:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Fouhy Subject: Reading: Favorite Love Poems Comments: To: Paul Schonberg , "Paul-Victor L. Winters" , paul_lindstrom , PAULETTE , "pbetjeman@riverdale.edu" , "pdunn@pipeline.com" , "Peele, Tom" , "pembroke9@earthlink.net" , "Perry, Cat" , "Perullo, Jinx" , Peter Giles , PETER PIOPPO/Mauri , "PeterSpiro@aol.com" , "Pinezich, Lyn" , "PolitoR@newschool.edu" , Poncet1212 , "prdanjan@email.msn.com" , "Purcell, Jan" , "RAFoerster@aol.com" , Rainbow Books & Blooms , "Ranney, Kim" , "Remsenman@aol.com" , "reneea@bellatlantic.net" , "rgibbs@riverdale.edu" , Rich Pettibone , "Richardc@bestweb.net" , RicK Pernod , "RinaLanger@aol.com" , Robert Cooper , Robert Mannion , Robert Scrivens , "Robhuncor@aol.com" , "Robin Fields (E-mail)" , Robin Osborne , "Roc12000@aol.com" , Roger Kenny , "Ron Egatz (new)" , Ron Price , Roni , "Ruland, Beau" , Ruth Townsend , "RUTHANDLEN@aol.com" , "Ryanmcnulty@cs.com" , "sales@emsmusic.com" , "Salious1@aol.com" , "SallyH@wittkieffer.com" , "samiruddin@hotmail.com" , "SamSwope@aol.com" , "Sandy Robinson (E-mail)" , "SarabandeB@aol.com" , "sbrd@spiritone.com Kelly" , Schaffner Michael , "Schwartz, Mimi" , "sclearylangley@WorldSpy.net" , "Sean_Bagley@praxair.com" , "Selby, Don" , Shana Monica Ferrell , "Sheard, Norma" , "Sheard, Norma" MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit My Love is Like….. Readings of Favorite Love Poems Mt. Kisco, NY: Monday, February 12, at 7:00 PM The Creative Arts Café Poetry Series at Northern Westchester Center for the Arts proudly presents “My Love is Like…” A reading of favorite love poems selected and read by authors Esmeralda Santiago, Gloria Pinkney, Marisabinna Russo, poets Sally Bliumis, Marilyn Johnson, and a distinguished array of community personalities. Hosted by NWCA’s Literary Arts Director Cindy Beer-Fouhy, the reading promises to be a fun and eclectic montage of poetry, lyrics and music from Shakespeare to Cher. A reception and an open mike for poets in the audience will follow intermission. Joining the list of presenters is actor James Noble, authors Esmeralda Santiago, Marisabina Russo and Gloria Pinkney, poets Marilyn Johnson and Sally Bliumis, former publisher of Women’s News Merna Popper, journalist Eve Marx, writer Lisa Fugard, songwriter/singer Robin Halpin, author Joan Potter, HVWC Executive Director Dare Thompson, former Mt Kisco Book Company’s Chris Kearins, NWCA’s Executive Director Ken Marsolais, Westchester Library System’s Amy Small, NWCA’s Department Directors Jennifer Eyges, Mimi Wallace, Gayle Kenerson, Paul Perez and Ruth Matthews, Nancy Giles and President of Mt. Kisco Chamber of Commerce Mary Lee Fox Roe. Suggested donation is $5.00. The Creative Arts Cafe is located in the gallery of Northern Westchester Center for the Arts, 272 North Bedford Road, Mt. Kisco, on Rte 117, near Staples. For further information, call Cindy Beer-Fouhy at NWCA, 241 6922. ========================================================================= Date: Thu, 1 Feb 2001 13:36:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schaffner Michael Subject: Re: Reading: Favorite Love Poems Comments: To: George Fouhy , Paul Schonberg , "Paul-Victor L. Winters" , paul_lindstrom , PAULETTE , pbetjeman@riverdale.edu, pdunn@pipeline.com, "Peele, Tom" , pembroke9@earthlink.net, "Perry, Cat" , "Perullo, Jinx" , Peter Giles , PETER PIOPPO/Mauri , PeterSpiro@aol.com, "Pinezich, Lyn" , PolitoR@newschool.edu, Poncet1212 , prdanjan@email.msn.com, "Purcell, Jan" , RAFoerster@aol.com, Rainbow Books & Blooms , "Ranney, Kim" , Remsenman@aol.com, reneea@bellatlantic.net, rgibbs@riverdale.edu, Rich Pettibone , Richardc@bestweb.net, RicK Pernod , RinaLanger@aol.com, Robert Cooper , Robert Mannion , Robert Scrivens , Robhuncor@aol.com, "Robin Fields (E-mail)" , Robin Osborne , Roc12000@aol.com, Roger Kenny , "Ron Egatz (new)" , Ron Price , Roni , "Ruland, Beau" , Ruth Townsend , RUTHANDLEN@aol.com, Ryanmcnulty@cs.com, sales@emsmusic.com, Salious1@aol.com, SallyH@wittkieffer.com, samiruddin@hotmail.com, SamSwope@aol.com, "Sandy Robinson (E-mail)" , SarabandeB@aol.com, "sbrd@spiritone.com Kelly" , "Schwartz, Mimi" , sclearylangley@WorldSpy.net, Sean_Bagley@praxair.com, "Selby, Don" , Shana Monica Ferrell , "Sheard, Norma" , "Sheard, Norma" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Help! An evil twin has programmed my computer to do this every time I = get culture-spammed... =20 Damn Poets =20 They hurt my head, they waste my time, they suffer from self importance. And half or more can't even rhyme or write a line that makes some sense. =20 They go to school for their degree and later they write articles about the Fall of Poetry, or poems about the world's ills. =20 I've heard enough pretentious verse echo like farts in catacombs to think that no one could be worse than friends who let their friends write poems. -----Original Message----- From: George Fouhy [mailto:cindyf@bestweb.net] Sent: Thursday, February 01, 2001 12:39 PM To: Paul Schonberg; Paul-Victor L. Winters; paul_lindstrom; PAULETTE; pbetjeman@riverdale.edu; pdunn@pipeline.com; Peele, Tom; pembroke9@earthlink.net; Perry, Cat; Perullo, Jinx; Peter Giles; PETER PIOPPO/Mauri; PeterSpiro@aol.com; Pinezich, Lyn; Poetics List; PolitoR@newschool.edu; Poncet1212; prdanjan@email.msn.com; Purcell, = Jan; RAFoerster@aol.com; Rainbow Books & Blooms; Ranney, Kim; = Remsenman@aol.com; reneea@bellatlantic.net; rgibbs@riverdale.edu; Rich Pettibone; Richardc@bestweb.net; RicK Pernod; RinaLanger@aol.com; Robert Cooper; = Robert Mannion; Robert Scrivens; Robhuncor@aol.com; Robin Fields (E-mail); = Robin Osborne; Roc12000@aol.com; Roger Kenny; Ron Egatz (new); Ron Price; = Roni; Ruland, Beau; Ruth Townsend; RUTHANDLEN@aol.com; Ryanmcnulty@cs.com; sales@emsmusic.com; Salious1@aol.com; SallyH@wittkieffer.com; samiruddin@hotmail.com; SamSwope@aol.com; Sandy Robinson (E-mail); SarabandeB@aol.com; sbrd@spiritone.com Kelly; Schaffner Michael; = Schwartz, Mimi; sclearylangley@WorldSpy.net; Sean_Bagley@praxair.com; Selby, Don; Shana Monica Ferrell; Sheard, Norma; Sheard, Norma Subject: Reading: Favorite Love Poems My Love is Like.....=20 Readings of Favorite Love Poems Mt. Kisco, NY: Monday, February 12, at 7:00 PM The Creative Arts Caf=E9 = Poetry Series at Northern Westchester Center for the Arts proudly presents "My = Love is Like..." A reading of favorite love poems selected and read by = authors Esmeralda Santiago, Gloria Pinkney, Marisabinna Russo, poets Sally = Bliumis, Marilyn Johnson, and a distinguished array of community personalities. Hosted by NWCA's Literary Arts Director Cindy Beer-Fouhy, the reading promises to be a fun and eclectic montage of poetry, lyrics and music = from Shakespeare to Cher. A reception and an open mike for poets in the = audience will follow intermission.=20 Joining the list of presenters is actor James Noble, authors Esmeralda Santiago, Marisabina Russo and Gloria Pinkney, poets Marilyn Johnson = and Sally Bliumis, former publisher of Women's News Merna Popper, = journalist Eve Marx, writer Lisa Fugard, songwriter/singer Robin Halpin, author Joan Potter, HVWC Executive Director Dare Thompson, former Mt Kisco Book Company's Chris Kearins, NWCA's Executive Director Ken Marsolais, Westchester Library System's Amy Small, NWCA's Department Directors Jennifer Eyges, Mimi Wallace, Gayle Kenerson, Paul Perez and Ruth Matthews, Nancy Giles and President of Mt. Kisco Chamber of Commerce = Mary Lee Fox Roe.=20 Suggested donation is $5.00.=20 The Creative Arts Cafe is located in the gallery of Northern = Westchester Center for the Arts, 272 North Bedford Road, Mt. Kisco, on Rte 117, = near Staples. For further information, call Cindy Beer-Fouhy at NWCA, 241 = 6922.=20 =20 =20 ========================================================================= Date: Mon, 5 Feb 2001 09:44:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tim Shaner Subject: RUST TALKS MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Announcing: RUST TALKS 5 Thursday, February 8, 2001 8 pm Rust Belt Books 202 Allen Street BUFFALO, NY 717-885-9535 featuring CHRIS ALEXANDER and MIKE KELLEHER, giving a talk entitled "RAISING KANE: CLIFFORD KANE AND THE POETICS OF THE CRIME SCENE" Chris and Mike's talk will focus on FILM, HUMOR, GANGSTERS and the FBI (Dillinger, Hoover), CRIME SCENE PHOTOS, and maybe, time permitting, POETRY. Note: Clifford Kane was a former student of Louis Zukofsky. Based on the Philly Talks series, RUST TALKS is a dialogue with contemporary writers. The Rust Talks newsletter features a discussion between two literary artists, either responding to each other's work or concerning a topic in contemporary poetics. Rust Talks 5 's newsletter will be available in hard copy on the day of the talk, and will eventually be posted on our web site (http://epc.buffalo.edu/ezines/rust/). "Rust Talks," the event, will present a reading or performance by the authors, followed by a discussion which extends the newsletter conversation to the audience. Upcoming Talks: Laura Penny & Peter Ramos March (exact date to be determined) Rust Belt Books Linda Russo & Greg Kinzer Thursday, April 12 Rust Belt Books ========================================================================= Date: Mon, 5 Feb 2001 10:16:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: The battlefield where the moon says I love you MIME-Version: 1.0 Content-Type: text/plain Hi Ron and others... I discovered a page of Frank Stanford resources here: http://www.clockwerks.com/frankstanford/ Somehow the navigation from the Alsop review is a little difficult, but here's Lorenzo Thomas's essay on Stanford: http://www.alsopreview.com/stanford/thomas.html Sounds like an interesting poet; much to read... Brian ========================================================================= Date: Mon, 5 Feb 2001 11:50:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: A special announcement Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable Tuesday, February 6th at 7 pm A WRITING WORKSHOP TAUGHT BY JAYNE CORTEZ Jayne Cortez was born in Arizona, grew up in California, and lives in New York. Her ten collections of poetry include Somewhere in Advance of Nowhere= , Mouth on Paper, and Congratulations, and with her band, the Firespitters, she has recorded six CD=B9s including the critically acclaimed Cheerful & Optimistic. Her voice is celebrated for its political, surrealistic, dynami= c innovations in lyricism. Gloria Naylor says, "[Her] poems pulsate with a certain rawness that is sometimes bitterly angry but always eloquent, and the results are relentlessly powerful." This workshop has been made possibl= e by a generous grant from the Jerome Foundation. Admission to the workshop i= s $7, $4 for students and seniors, and $3 for Poetry Project members. 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: Mon, 5 Feb 2001 10:19:32 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Summi Kaipa Subject: An Event in the SF Bay Area (Oakland) Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The Alliance of Emerging Creative Artists presents AECA 2001 A multi-disciplinary Evening of Creative Works featuring: A New Film by Tatsu Aoki with live musical accompaniment by Yasuhiro Otani -- electronics & Tatsu Aoki -- bass & Interlope #6 Magazine Release Celebration with literary readings curated by Summi Kaipa including Interlope contributors Alvin Lu, Chris Chen, & Amar Ravva FEBRUARY 24, 2001 AT 8 PM Asia Pacific Cultural Center 388 Ninth Street, Suite 290 Oakland, CA 94607 $8 general/$6 students & seniors For more info, please call 510.208.6088 (or email me, Summi Kaipa, at summikaipa@earthlink.net) www.thisisAECA.org ========================================================================= Date: Mon, 5 Feb 2001 10:54:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Summi Kaipa Subject: an email for Brian Kim Stefans Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed anyone and/or Brian out there who has a pertinent email for BKS? thanks, mucho Summi ========================================================================= Date: Mon, 5 Feb 2001 12:27:55 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG at Antigone: Eileen Myles, Saturday February 10, 7pm Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit POG presents writer Eileen Myles Saturday, February 10, 7pm, Antigone, 411 N 4th Ave, 792-3715 Suggested Contribution: $5; Students $3 “The process of the poem, the performance of it I mentioned, is central to the impression I have that life is a rehearsal for the poem, or the final moment of spiritual revelation.” -- Eileen Myles “How I Wrote Certain of my Poems,” Not Me (1991, Semiotext[e]) Eileen Myles was born in Cambridge, Mass. in 1949, was educated in Catholic schools, and graduated from U. Mass. (Boston) in 1971. She moved to New York in 1974 to be a poet. She gave her first reading at CBGB’s and then gravitated to St. Mark’s Church where she studied with Paul Violi, Alice Notley and Ted Berrigan. She edited a poetry magazine, dodgems, in 1977-79. She ran the Saint Mark’s Poetry Project in 1984-86. She’s written several plays: Feeling Blue, Parts 1, 2 & 3, Modern Art, and Our Sor Juana. Earlier books of poems are Fresh Young Voice from the Plains (New York : Power Mad Press, 1981), Bread and Water (Madras & New York : Hanuman Books), and Not Me (New York : Semiotext[e], 1991). Recently, Black Sparrow Press has published her book of short stories Chelsea Girls (1994) and two books of poems, Maxfield Parrish (1995) and School of Fish (1997). She ran for President of the United States in 1992. Myles’ most recent book is the novel Cool for You (New York: Soft Skull Press, 2000). Dennis Cooper describes Myles as “one of the savviest voices and most restless intellects in contemporary lit.” For further information about Eileen Myles: http://www.naropa.edu/swp/myles.html http://www.thing.net/~sabina/valentine/myles.html http://www.diacenter.org/prg/poetry/96_97/intrmyles.html http://www.echonyc.com/~meehan/MYLES/Myles.html http://writing.upenn.edu/epc/authors/myles/ http://www.writenet.org/poetschat/poetschat_em0199.html 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@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn/ ========================================================================= Date: Thu, 1 Feb 2001 20:30:21 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: BT Henry Subject: Wenderoth Letters to Wendy's reading / Boston and NYC MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii more Joe Wenderoth readings: Joe Wenderoth will read from his new book, Letters to Wendy's, on Tuesday, February 6th, at 4:30 pm at Tufts University, in the East Hall Lounge. Wenderoth also will read from Letters to Wendy's on Thursday, February 8th at 7pm at Housing Works Used Book Cafe, 126 Crosby St, in Manhattan. Housing Works is an organization that raises money for homeless people with AIDS; all the profits from sales of Letters to Wendy's at this reading will go to their organization. For samples, visit www.nerve.com/Poetry/Wenderoth/LettersToWendy Or buy a book from www.versepress.org or your local bookstore. Brian Henry __________________________________________________ Get personalized email addresses from Yahoo! Mail - only $35 a year! http://personal.mail.yahoo.com/ ========================================================================= Date: Thu, 1 Feb 2001 23:15:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Felsinger Subject: -VeRT Call for Submissions Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit -VeRT an on-line writing magazine is interested in PROSE submissions. Deadline : Feb. 20th to e-mit yr submissions click: andrew@litvert.com or send to: -VeRT 405 Serrano Dr. #MB San Francisco, CA 94132 to visit -VeRT set yr browser to : http://www.litvert.com ========================================================================= Date: Fri, 2 Feb 2001 09:26:38 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Wkshp at Walt Whitman Center MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@ww Walt Whitman Cultural Arts Center A NOTE: There is still space in our upcoming Master Class with Harryette Mullen, Saturday, February 17th, 10am-Noon $30/15 members/$30 includes one year membership The deadline has been extended to February 7. She will read on Friday, February 16, 7pm $6/$4students/seniors/members free AN ANNOUNCEMENT Spring 2001 Writing Workshop: POETRY AS BODY ART with poet/performance artist AKILAH OLIVER Saturdays, March 3, 10, 17, and 24**12:30 to 2:30 pm. Akilah Oliver is the author of the she said dialogues: flesh memory, which was honored by the PEN American Center's Open Book Program 'Beyond Margins' category for under-represented writers of color. She is published in numerous journals, magazines and anthologies including Chain, Bombay Gin, High Risk 2, and The Little Magazine, and has read her work throughout the US, most recently at the Poetry Project at St. Mark's Church, NY, and the Jack Kerouac School of Disembodies Poetics, The Naropa Institute, CO where she has been on the faculty for the last three years. As a founding member of the post-feminist performance art group, the Sacred Naked Nature Girls, she has also extensively performed experimental theatre works across the country. This unique up and coming writer comes to us with tremendous energy, skill, and innovative flair. POETRY AS BODY ART: The workshops in this class integrate the continuum of movement to theory (theory as 'the possibilities of language to contract ideas that we can create work from or write in relationship to/with, or make-up ourselves', not as a rarefied, exclusive academic lingo, though that theory is not excluded) back to movement, leading to written work. The class will explore the female/male/re-gendered body/ies, the physical terrain of 'flesh memory' -embodied personal and cultural myths/truths that live in the individual body. The classes are designed to investigate the contentions of memory tricks, useful fictions, gender constructions, and cultural conceptions of the self. Many of these constructions are so multi-layered they reveal themselves in new and surprising ways when language is prompted through creative movement exercises. * The class will also feature writing exercises and critiques. *(what I like about this workshop is that it is fluid, beautiful, accessible to writers of all levels, builds community w/participants and is so much simpler in action than it sounds) A.O. Course fee: $100/$80 members. Class size limited to 10. Deadline: February 17, 2001. Registration cannot be processed without payment. To register for Harryette Mullen or Akilah Oliver Send 5 pages of your writing and payment to: Walt Whitman Cultural Arts Center 2nd and Cooper Streets Camden, NJ 08102 wwhitman@waltwhitmancenter/856-964-8300 ========================================================================= Date: Fri, 2 Feb 2001 10:15:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jonathan Skinner Subject: Hunt/Skinner/Fuhrman at DOUBLE HAPPINESS In-Reply-To: <20010202050917.23046.qmail@front.acsu.buffalo.edu> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit This Saturday 2/3/2001 DOUBLE HAPPINESS (Corner of Mott & Broome) Jonathan Skinner Joanna Fuhrman Laird Hunt 4-6:30 ========================================================================= Date: Fri, 2 Feb 2001 11:11:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Anastasios Kozaitis Subject: David Amram's Tribute to Gregory Corso Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed sorry for cross-posting (with typos and all...) When you've known someone forty five years, its hard if not impossible to ever feel that they have left you forever. If you believe in an afterlife, or the enduring stregnth of the spirit, there is no forever. There is only a seperation in time till you are rejoined with all your old friends. In the case of Gregory Corso, his spirit was/is so strong that during hisfuneral service at Our Lady of Pompei Church in Greenwich Village, where he was born and baptized, his spirit filled the whole church and overflowed into the streets. These were the New York city streets he always loved and remembered no matter where his journeys led him in his life's travels. We met in 1956, and with all the times we spent together in the fifties, walking those same streets of downtown New York City, engaged in heated discussions about music, poetry, Baseball, mutual romances, and how we could survive and pursue our mutual seemingly impossible dreams, there was never a moment that we didnt have fun, laugh, shout, yell, and often share some reverent moments of silence , appreciating the magic spirit that seemed even then to be a part of that amazing era. We knew without even saying it that we were part of something special. The energy filled the air. The new masters of jazz ,painting , poetry, the theater and all related arts were all sharing their gifts with all the rest of us and we had our own reporter to document it in a new novel that told the world about itself, as well as about all of us, In spite of the critical savaging of Jack Kerouac within a year after the publication of his monumental "On the Road", we knew that we had a friend who was opening the door for all of us. And Gregory knew he had a lifelong friend in Jack as well as myself and many ,others who were walking the same path. We were all searching , in our own way, to celebrate the beauty that was all around us thAt was being ignored or destroyed by a loveless society that was screaming out for some soulfulness and joy. Jack always knew that Gregory had a gift that was given to him at birth. Jack, like Gregory, never tried to merchandize his own deep spirituality. Like Gregory, he lived the life of his own spiritual quest. None of us ever asked people to sign up to become members of a cashcow organization designede to make you more holy. All that came later on in the Sixties, and neither Jack, Gregory or myself had anything to do with it. We all had religeous roots that stayed with us for life.The only time Jack ever addressed any of his own feelings of his connection to a higher power was when he told me in a rare immodest moment after he had completed his extraordinary improvised rap-narration for the film "Pull My Daisy" while I jammed behind him, that he, Jack Kerouac, was touched by the hand of God. Gregory never said this about himself, but a few of us then, and many of us now know that his gift was inexplicable, and that he was born to be a poet. His knowledge of his own natural gifts freed him from any doubts about why he was here, and like so many of the major talents of this rich era, he let life take him to wherever he seemed destined to be at the moment, knowing that as long as he could keep writing, he was doing what he was here to do. We talked many times about how we could live our lives pursuing our dreams and still have some kind of family, scince we also shared a mutual love of kids and wanted to have families of our own some day. "Who would be crazy enough to marry either of us?" he often said to me during the wee hours of our late night/early morning field trips down the wilds of MacDougal Street. With surprising frequency, "I would" was immediatly uttered at 6a.m. by a young woman who we had just met an hour ago. Gregory in those days was irresistable to many women, but he always had an intuitive bond that he maintained with whoever he was with at the moment. This innate sensitivity made him more empathetic than most of the rest of us.He took the time to care for others. He was not career oriented in any way, and as a result could talk to anybody about the beauty of the moment, rather than about himself. He knew how to listen, and how to share. This is why in his final few months, his children,my children and so many old friends came to see him so often. The love that he kept in his heart, often hidden to strangers, was as pure as his poetry. He was never comfortable with the whole Beat phenominon .He often said to me that the myth-making about of all of us, which none of us wanted or needed, clouded the whole picture. We all felt our work could speak for itself. He would often poke me with his elbow , when we appeared together in the 80s and 90s, as Kerouac's genius was being rediscovered and we would attend conferences and all kinds of events where we were forced to listen to experts talk about the hidden meaning behind significent events in our lives that never actually occured. "See that Mezz?" Gregory would whisper in my ear, with enough volume to fill up the whole room(My name , Mezz McGillicuddy was the one Jack Kerouac gave to me in the film "Pull My Daisy" that Gregory and I appeared in back in 1959) . "It's the beat mythology shot. They'd rather deal with myths than speak with us and find out what was happening and is still happening.I'm still a poet man. So was Jack, It's all in our books. They can find out all they need to know up there on the shelf where our books lie. We'll be judged by our books on the shelf. Jusyt like you with your symphonies. How can people that weren't even there tell us who we are and what we were thinking? Why don't they ask us first and get it right?" When "Mindfields" was reissued by Thundersmouth Press, I was asked to write a new introduction to accompany the other forwards by Burroughs and Allen. I mentioned the fact that Gregory was such a colorful personality as a performer that people often overlooked his real value as a major poet and one of our true originals. In the last few years as I criss-cross the Globe, in concerts and seminars, young people in many countries(and finally throughout the USA as well) ask me about Gregory. They inquire about his work, and about his life outside the imagery created by his public personna. They say,as they always say about Jack ,that they feel they know him as a result of reading his books. Young people would give me messages, poems, songs and stories to give to Gregory. I always tried in some way to relay these messages of love when I would see him or talk to him on the phone. I was also asked for years why Gregory wasn't acknowledged as much as he deserved to be. I always explained that he was only interested in being ther best that he could be, and that the excellence of his work was all that concerned him. In the past few years he is finally being recognized for his contributions by a larger audience then he ever dreamed of. He often told me how uncomfortable he was having to perform at events where he was supposed to portray the Pecks Bad Boy image, or worse yet ,be the Clown Prince of Beat poetry. "I'm a classicist, Mezz," he used to say, "I'm a lyric poet from the tradition. When are they going to drop this Beat crap and judge me on my merits?" That time has finally arrived. At last, Gregory is emerging in the peer culture as a unique artist whose work can be judged by its own intrinsic merit. Like Kerouac, he is being percieved as an original artist who, by virtue of his lifetime of achievement, can stand alone. No label is necessary to understand either of them. In early Fall when his devoted daughter Sheri took him to Minneapolis and I saw him for the last time in New York, I told Sheri and Roger(his dear friend for so many years} that I would try to ask a group of young poets , musicians and appreciators of Gregory's work to get together and make a video to send him in Minneapolis. This way, he and his family could watch his poetry being read with music, the way we did forty five years ago ,by a whole new generation of young artists. In November, I had the good fortune to be chosen as the honorary chairperson the the first New York Underground Music and Poetry Festival in New York. I asked the organizers, poets Casey Cyr and Ron Whitehead , if we could do this for Gregory while he was still with us. They were nice enough to get the Newyorican Poets cafe to give us a night during the festival where the featured performance would be a reading of Gregory's poetry with music. It went over beautifully, with a lot of joy, and no maudlin or self serving rants. The whole hour was filled with the sunshine of Gregory's spirit, guided by the beauty of his words that we celebrated. The musicians who played with me listened to every second of what was being spoken, and with our old tradition of no rehearsal, it all came out flawlessly because everybody listened to each other.We all respected every line of Gregory's poetry. I mailed him a copy of the video,and he watched it many times in Minneapolis. When I spoke to him on the phone for the last time, he said"Mezz, I understand how you always confused Keats and Shelly, but I forgive you because the video was great. Tell all those people who read and played...Thanks" We talked a little more that night. We remenisced about old times, when we had an unexpected grand reunion,running into each other in SanFranciso with Neal and Allen in 1965 in a tiny bar in Haight Ashbury. We recalled the jam session in 1956 at a famous painter's loft when he played drum beats on a series of pots and pans while Jack and I were scat singing till we were all thrown out at 3am. I reminded him about the great picture taken of him during the program we participated in at the National Portrait Gallery in Washington DC in the late 90s ,where he was photographed reading his poetry under an oil painting of George Washington. And finally we talked about his kids and my kids and how they were all so grown up. "Old times, Dave.Good times. We'll be together soon again.Goodnight Mezz." Those were the last words I heard from Gregory. At the church, after I accompanied Patti Smith in a beautiful version of an old hymn that we both played together for the first time, I spoke briefly.I began by reading touching statements by Laurence Ferlinghetti and Robert Creeley, both of whom I called a few nights before the funeral. They weren't able to come, so they gave me their messages to read. Then I asked the people in the church to remember Gregory's shining spirit,and to celebrate the joy and laughter he brought to our lives. I mentioned that so many of us came from other places to New York and to Greenwich Village, searching for something we knew was there. When we said hello to Gregory for the first time, he told us all that this was where he was born. Now we were in the same place to say goodbye. I also thanked the priest for letting all of us share the place where Gregory began his life journey, and where he told his daughter Sheri he wanted to have his farewell.I reminded everyone that Gregory , Jack and I often would quote to other aspiring artists and dreamers the classic maxims -that an artist must burn with a hard and gem like flame(Ruskin)by your works ye shall be known(the Bible ) and that a thing of beauty is a joy forever(we always argued whether Keats took it from Shelly or Shelly took it from Keats) And I told everyone that we had to remember Gregory's family and treasure the gift to the world of his beautiful children his grandchildren and his relatives that are still with us. The church was full of people who wanted to read a poem, sing a song or tell a story. This will all happen many times in many places for years to come because Gregory's star will shine brightly when all of us are gone. His work will always be here to remind us and future generations that you can follow your heart, and if you remain honest and dedicated to what you dream to set out to do, you can lift peoples spirits and make the world a better place through your work, just as Gregory did. David Amram January 30th 2001 copywrited January 30th 2001 represented by Sterling Lord Literistics 65 Bleeker Street..NY NY 10012 tel 212 780-6050 fax 212 780-6095 Amram's 1968 autobiography "Vibrations" has just been re-issued by Thundersmouth Press and he is currently writing a new book"Collaborating with Kerouac" which includes much about Gregory Corso for the same publisher, to be issued in the Spring of 2002. His website www.davidamram.com contains information and links to other websites that contain accurate information about the era . He is currenltly composing a new setting of the Mass, "Missa Manhatten" with author Frank McCourt for chorous, orchestra and narrator that celebrates 300 years of immigrants and their music to New York and the USA. He continues to compose for and perform with symphony orchestras, as well as tour with his jazz/world music ensemble, including spoken word collaborations with todays young writers, and to encourage young people to study the legacy of Jack Kerouac in order to become inspired enough to continue to pursue their own creative efforts. ========================================================================= Date: Fri, 2 Feb 2001 10:45:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Summi Kaipa Subject: Distribution Poster Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed A while back, a few poetry magazine and press editors got together to put out a GORGEOUS poster of all the various small press publishing available for sale by these editors. It's probably in the $0.55 range in terms of postage & if you send along a self-addressed, stamped envelope (a 9 X 6 or larger), I'd be happy to send you one. Please send along request and money to: Summi Kaipa PO Box 423058 San Francisco, CA 94110 or email me if you've got questions. ========================================================================= Date: Fri, 2 Feb 2001 13:37:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Emily Lloyd Subject: contact info for Nick Flynn? Mime-Version: 1.0 Content-Type: text/plain; format=flowed Does anyone have an e-address for Nick Flynn? If so, please b/c to elloyd74@hotmail.com thanks, em _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Fri, 2 Feb 2001 13:41:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Is it permissable? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I assume it must be permissable. ONWARD! __________________________________________________ Get personalized email addresses from Yahoo! Mail - only $35 a year! http://personal.mail.yahoo.com/ ========================================================================= Date: Sat, 3 Feb 2001 08:41:20 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hlazer Subject: Re: National Book Critics Circle Nominees Mime-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 7bit I second Rachel Blau DuPlessis's proposed protest. More information on how the nominees get selected would help. I appreciate Rachel's offer to begin the process of drafting a letter of protest. Hank Lazer >===== Original Message From UB Poetics discussion group ===== >Dear List: Yes, I certainly noticed the nature of the nominees for >National Book Critics Circle. I notice continually. And almost >continuously. But do we have any clue WHY not a single small press volume >is (ever) nominated? Can someone give any information about the processes >involved? or the personnel? or the backscratching? What would happen if >(o please excuse this political limpness) a letter (wow) were composed >collectively by the denizens of this list and some superstar academics >(you know who you are Charlie and Marjorie and Bob) inquiring and >protesting and so on. I for one am just plain pissed (limp word) at the >delegitimation of everything I believe in, whether it is social justice or >poetic justice. It would be nice to make some sort of a noise, amid the >many other important socio-political noises one assumes people might >choose to make soon. Now, in fact. I'd be happy to help compose such a >letter and put my hard-earned name to it. Can we have a few facts of the >matter from those who might know? After the facts come in, maybe people >who could conceive of signing might email suggestions for a statement to >the list. I'll be happy to compile something brief and fight about wording >(something usually done best with about 5-10 people and not 230 or however >many are on the list, so I might have to be a tiny bit peremptory at some >point). I don't mean to dither into "procedure" (sometimes the last refuge >of scoundrels, but sometimes designed to protect us). You get my general >point. Sincerely, Rachel Blau DuPlessis > >Ron Silliman wrote: > >> Once again, not a single small press volume is nominated: >> >> Men in the Off Hours by Anne Carson (Knopf) >> The Ledge by Michael Collier (Houghton) >> Carolina Ghost Woods by Judy Jordan (Louisiana State University Press) >> Talking Dirty to the Gods by Yusef Komunyakaa (FSG) >> Ultima Thule by Davis McCombs (Yale University Press) >> >> Ron Silliman ========================================================================= Date: Sat, 3 Feb 2001 18:50:24 -0500 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: National Book Critics Circle Nominees MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Ron Silliman wrote: > > Once again, not a single small press volume is nominated: > > Men in the Off Hours by Anne Carson (Knopf) > The Ledge by Michael Collier (Houghton) > Carolina Ghost Woods by Judy Jordan (Louisiana State University Press) > Talking Dirty to the Gods by Yusef Komunyakaa (FSG) > Ultima Thule by Davis McCombs (Yale University Press) > > Ron Silliman Not to mention micro-press volume, but that goes without saying. Not to mention book by a craft-extending poet, but that goes without saying. I'm a member of the organization but stopped wasting time nominating books by uncertified poets a while back. --Bob G. ========================================================================= Date: Sat, 3 Feb 2001 20:21:27 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Fwd: Letters to Wendy's/Housing Works Comments: To: jyas@mindspring.com Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit >Date: Thu, 01 Feb 2001 13:45:04 -0500 >From: Matthew Zapruder >Reply-To: mzapruder@versepress.org >X-Accept-Language: en,pdf >MIME-Version: 1.0 >To: info@versepress.org >Subject: Letters to Wendy's/Housing Works > >Dear Friends, > >Greetings from Verse Press. We wanted to let you know that Joe Wenderoth >will be reading from LETTERS TO WENDY'S at 7pm on Thursday, February 8th at >Housing Works Used Book Cafe, 126 Crosby St., in Manhattan. > >LETTERS TO WENDY'S is the first book released by Verse Press, a new >not-for-profit press devoted to publishing poetry and prose by younger >American >poets. The book is a collection of letters written on comment cards from a >Wendy’s restaurant. Through the letters, the book traces a year in the >life and >thoughts of an unnamed narrator obsessed not only by Biggies and Frosties, but >also by consumerism, pornography, and mortality. > >This is a rare appearance for Joe in NYC, or basically in public at all. >Apparently he lives somewhere in southwest Minnesota, and is walking here. We >all look forward to seeing what he looks like. > >Housing Works is an organization that raises money for homeless people with >AIDS; all the profits from sales of Letters to Wendy's at this reading go to >their organization. If you want to know more about them, or need directions, >check their website at > >http://www.housingworksubc.com > >You can also check out some of the Letters to Wendy's at > >http://webdelsol.com/pbq/issues/64/64_index.htm (click on Wenderoth's name) > >http://www.nerve.com/Poetry/Wenderoth/LettersToWendy > >Thanks very much, hope to see you there, and please feel free to email us with >any questions. > ========================================================================= Date: Sun, 4 Feb 2001 12:54:21 -0500 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Update on my New Website MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I've renamed the website I announced a little while ago. It is now called "The Text Assessment Center." Not a snappy name, but the snappy domain names were all gone by the time I applied for one. I can be visited by typing http://www.text-assessment.com. Or clicking the preceding. Here's my present blurb for it. Do you have a letter-to-the-editor that's too intelligent for the publication you sent it to to print? Or a book review that's too comprehensive for Amazon.com, or on a book that was put out too long ago or is too uncommercial for a "reputable" publisher of book reviews to use? Or do you want to review a book or article (or website) frankly but don't want to sign your name to it because of the enemies it could make you? If your answer to any of the above is "Yes," this is the site for you! Send me some stuff--I want to get my site into a higher gear. So far, it has two reviews of mine, and one dopey one on the Book of Mormon by Anon. that I put up because my intention is to put up everything readable and not too obscene (for Yahoo, not me, for whom nothin's too obscene) that's sent to me. An' tell your friends about it! --Bob G. ========================================================================= Date: Sun, 4 Feb 2001 14:12:28 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mary Burger Subject: Second Sundays poetry salon 2/11 Comments: To: mburger@sfpo.macromedia.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Second Sundays @ The Stork Club (formerly at Blue Bar) presents: STRANGE MODELS: the ways writers look beyond genre or even beyond literature, to other aesthetic/cultural/social/cognitive structures (artworks, idioms, institutions...cliches) for reference points in structuring written works. With Alfred Arteaga, Norma Cole, Susan Gevirtz, and Lauren Gudath. Join in the discussion following brief presentations by our panelists! 2:00 Sunday, Feb. 11. Admission $2.00. The Stork Club is in downtown Oakland, 2330 Telegraph Ave at 23rd St. By BART: get off at 19th St, walk one block west to Telegraph, then up about 5 blocks to 23rd. The Stork Club has a large and vivid sign. ALSO JOIN US FOR UPCOMING EVENTS, THE SECOND SUNDAY OF EVERY MONTH. All events 2:00, $2.00. To receive a charming letterpress-printed calendar, send us your address. >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> March 11: WARREN LIU AND SUSAN MAXWELL read. Warren is currently a graduate student at UC Berkeley, researching experimental Asian-American poetry. Susan is a dancer and writer, currently enrolled in the Iowa Writers Workshop. April 8: CALIFORNIA/COMMUNITY What constitutes a writing community, the diversity of writing communities in California, and how living in California influences writers. With Steve Dickison, Jack Foley, Camille Roy, and others. Join us for discussion! May 13 GREG BROOKER AND CHERYL BURKETT read. Greg, of Los Angeles, will read from Spirit's Measure, a work employing the same "translation" method used by Joseph Smith in the Book of Mormon. Cheryl Burkett lives in San Francisco. Her books include behind the white, Children's Stories, and Passing Through Ninety Degrees. June 10 SURPRISE SALON! Writers and artists? Writers as artists? Filmmakers and musicians with writers? Come see the disciplines mix it up in the final event of The Stork Club Spring 2001 season. ========================================================================= Date: Sun, 4 Feb 2001 22:12:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Quasha Organization: Station Hill / Barrytown, Ltd. Subject: Performing poet, singer Maya Dorn in Kingston, NY MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Performing poet, singer Maya Dorn presents her own original and poignant work in song / language / music -- a work with a sharp, refined ear that finds true speech in the raw and cooks it with a troubadour's passion. She extends and gives a further life to the inimitable poetic discoveries of her father, Edward Dorn, whose Gunslinger has located and sustained a unique domain of being for decades and beyond. Maya finds its outer reaches only a poet of her gender, direct presence, sense of responsibility and humor could tell this way. GQ ————————————————- Subject: Maya Dorn Performance Date: Sun, 4 Feb 2001 11:20:10 -0500 From: "Alternative Books" To: IMPORTANT LAST MINUTE BULLETIN Alternative Books is proud to present Singer/Songwriter Maya Dorn this Tuesday evening, February 6, at 8 pm at the Flying Saucer Café, 33 N. Front St. in Kingston. Admission is $5.00. A songwriter since the age of twelve, Maya has developed her own style and vision. She approaches music from the vantage point of cultural observer and poet, stretching her lyrics in soaring melodies or as spoken word. Maya was first recognized on the national scene as the front woman in the band Skin, on lead vocals and electric guitar. A band for three years this highly creative quartet started a dancing frenzy wherever they went. Now playing solo acoustic and electric, Maya is becoming known for her soulful stage presence and poignant songwriting. Maya has toured nationally as a solo artist and with her band Skin. She has appeared on albums by The Dave Watts Motet, the Afro-Cuban folkloric ensemble, Guauancheros, and Libby Kirkpatrick. Her music has been chosen for three compilation CDs. [Daughter of the late Edward Dorn, author of Gunslinger and other major works of poetry, Maya's work carries on a lineage of transformative American poetics.] Maya’s recordings include: 1995 Acoustic Coffee & News compilation CD 1996 Maya Dorn solo tape 1996 Pack of Dogs compilation CD 1997 Don’t Buy the Man Another Drink Skin album 1999 Women from Mars compilation CD 2000 Driving Away Solo demo CD 2001 Blow it to Rags Solo album “Maya Dorn makes me want to deport myself for the good of all mankind. I want to give her all my money. She is beautiful, soulful, humble, talented, unusual, and sound. I love her music.” -Rose Polenzani Daemon Records recording artist “Thoughtful and provacative songwriting...hints of urban scat and pastoral glide.” -David Kirby Music critic, Colorado Daily “Advice from Rosalie Sorrels: Listen to Maya Dorn! She’s got grace, style and sense of humor. A first rate emerging talent. -Rosalie Sorrels Rounder Records recording artist Please don’t miss this opportunity to hear a truly unique and exciting talent. Pass the word to your friends since there has been little media coverage on this event. Thanks, Gary Wilkie Alternative Books ========================================================================= Date: Mon, 5 Feb 2001 15:01:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Fiona Maazel Subject: RS READING MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Please join us for a reading at the Russian Samovar, on Tuesday, = February 13th: Rick Moody=20 (reads from his new collection, DEMONOLOGY). and Diane Williams=20 (EXCITABILITY: SELECTED STORIES 1986-1996). The Russian Samovar 256 West 52nd St. (btwn 8th and Broad) 7:00pm $3.00 -------------------------------------------------------------------------= ------- If you'd like to be removed from this list, say the word. ========================================================================= Date: Thu, 1 Feb 2001 22:04:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Clay Subject: When will the book be done? Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hot off various presses in Hong Kong, Dexter, Michigan and Chelsea, NYC New titles published by Granary Books in the last couple of months. Fuller descriptions might be found at our website http://www.granarybooks.com but of course it is never completely up to date (nor can it be). In no order: Simon Cutts. A Smell of Printing. Paperback, recent work from this terrific British poet who, with Erica Van Horn, is also the publisher/curator of Coracle, one of the most consistently interesting presses of the last 35 years. Edition of 500, paperback. $15 Edmond Jabes and Ed Epping. Desire for a Beginning Dread of One Single End. Translated by Rosmarie Waldrop, illustrated by Ed Epping. Among the very last substantial texts of Jabes to be translated into English. Intimate work, essential reading. Color images. Paperback. $15 Ed Friedman and Robert Kushner. Away. Texts by Ed Friedman, drawings by Robert Kushner. Edition of 50. Delirious work not for the faint of heart. $2000 (that's right!!) Joe Brainard: A Retrospective by Constance Lewallen with John Ashbery and Carter Ratcliff. Illustrated in color and black and white. Paperback. Do not miss the show this catalog documents if at all possible. Way under priced at $29.95 Joe Brainard. I Remember. Now back in print!!! $12 When will the book be done? Granary's Books. Edited by Steve Clay with an introduction by Charles Bernstein. 200+ pp, full-color, paperback. All that is fit to print. $40 Poetry Plastique, curated by Jay Sanders and Charles Bernstein. You saw the full description a couple of days ago, right? Illustrated. Paperback $20 Johanna Drucker. Night Crawlers on the Web. New work written and illustrated by JD; paperback. $12 Susan Howe and Susan Bee. Bed Hangings. Perfect marriage of text and image, illustrated in black and white, paperback. $14.95 Lyn Hejinian and Emilie Clark. The Lake. Full color 'board book', a eccentric collaboration pushing out from The Traveler and the Hill and the Hill. Edition of 1000. $19.95 Projects are in the works with: J. Hoberman on Jack Smith (recently discovered photographs taken on the set of Flaming Creatures with writings by J. Hoberman) Robert Creeley and Archie Rand (poems and drawings; almost ready for press) Anne Waldman and Lewis Warsh editing Angel Hair Sleeps With a Boy in My Head: The Angel Hair Anthology. Over 500pp of writing. Due summer. Max Gimblett and Alan Loney (Two New Zealanders, Alan Loney now rumored to be heading for a move to Australia; Max Gimblett has been working from his giant studio on the Bowery for 30 years) bill bissett (an illuminated manuscript; this one may well be the end of the book as we know it!!) Jerome Rothenberg and Ian Tyson (to be produced in the south of France this spring) Lyn Hejinian (A Border Comedy; 200+ pp) Leslie Scalapino and Marina Adams (full-color photographs of debating Tibetan monks with writings and additional images) Julie Harrison and Lewis Warsh (images from experimental videos from the late seventies and early eighties with newly written texts) David Antin in conversation with Charles Bernstein (a hundred page email dialogue) Gary Sullivan and Nada Gordon (Swoon. Excerpted from their thousands and thousands of pages of email; the language of survival indeed) Piero Heliczer (compiled and edited by Gerard Malanga and Anselm Hollo) John Ashbery and Anne Dunn (a long new abstract poem with drawings) Kenny Goldsmith (the long-awaited trade edition of his scandal-making Soliloquy) Simon Pettet and Duncan Hannah (terrific collaboration; hand-colored) There is more but that is probably: Enough, or too much!!! Granary Books 307 Seventh Ave., #1401 [@ 28th St.] NY, NY 10001 http://www.granarybooks.com tel 212 337-9979 fax 212 337-9774 ========================================================================= Date: Fri, 2 Feb 2001 09:08:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fred Muratori Subject: Re: National Book Critics Circle Nominees In-Reply-To: <3A79C071.FD783E0F@astro.temple.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed As an NBCC member who reviews quite a bit of off-center poetry (and who thus shares Rachel's frustration with this year's nominations), I can perhaps shed a little light on the subject. NBCC members are sent a ballot with the newsletter in early January, and can nominate as many as five titles in any given genre. Titles appearing on 20% percent or more of the ballots submitted are eligible for the final group of five nominees. (Sometimes more than five titles qualify, so the Board or some subset thereof has to determine who's in and who's out.) For the final decision on a winner, the NBCC Board meets and votes (and argues) until they come to a consensus. So, like many awards systems, it starts as a numbers game and ends up as a committee decision (i.e., an exercise in persuasion). To be fair, the Board does publish a somewhat detailed report on its deliberations in its newsletter after the awards are given. I certainly list out-the-mainstream titles on my ballots, but of course a number of other reviewers need to nominate those titles as well for any of them to get the necessary 20%. Again, as in other aspects of life, the ones with the most PR (ads, reviews in mainstream mags, AWP schmoozing) tend to get the most votes. Angry letters -- while they're great for letting off steam -- probably won't change anything. What's my solution? To all of you on this list who publish reviews in SPT or Am. Book Review or Rain Taxi or other uncommonly eclectic mags, join the NBCC! Send them some clippings, pay the annual dues, and vote for whichever books you think deserve the award. As I said, it's a numbers game, and the more critics who support innovative poetry in the NBCC the better. Whenever I vote for, say, Rosmarie Waldrop or Paul Hoover or C.S. Giscombe I know I'm pretty much alone in my opinions, and that gets discouraging. (In fact, I didn't even bother voting this year.) So please, keep me company, somebody! -- Fred M. P.S. The NBCC has a Web site at: http://www.bookcritics.org/ At 02:00 PM 2/1/01 -0600, you wrote: >Dear List: Yes, I certainly noticed the nature of the nominees for >National Book Critics Circle. I notice continually. And almost >continuously. But do we have any clue WHY not a single small press volume >is (ever) nominated? Can someone give any information about the processes >involved? or the personnel? or the backscratching? What would happen if >(o please excuse this political limpness) a letter (wow) were composed >collectively by the denizens of this list and some superstar academics >(you know who you are Charlie and Marjorie and Bob) inquiring and >protesting and so on. I for one am just plain pissed (limp word) at the >delegitimation of everything I believe in, whether it is social justice or >poetic justice. It would be nice to make some sort of a noise, amid the >many other important socio-political noises one assumes people might >choose to make soon. Now, in fact. I'd be happy to help compose such a >letter and put my hard-earned name to it. Can we have a few facts of the >matter from those who might know? After the facts come in, maybe people >who could conceive of signing might email suggestions for a statement to >the list. I'll be happy to compile something brief and fight about wording >(something usually done best with about 5-10 people and not 230 or however >many are on the list, so I might have to be a tiny bit peremptory at some >point). I don't mean to dither into "procedure" (sometimes the last refuge >of scoundrels, but sometimes designed to protect us). You get my general >point. Sincerely, Rachel Blau DuPlessis > >Ron Silliman wrote: > > > Once again, not a single small press volume is nominated: > > > > Men in the Off Hours by Anne Carson (Knopf) > > The Ledge by Michael Collier (Houghton) > > Carolina Ghost Woods by Judy Jordan (Louisiana State University Press) > > Talking Dirty to the Gods by Yusef Komunyakaa (FSG) > > Ultima Thule by Davis McCombs (Yale University Press) > > > > Ron Silliman ******************************************************** Fred Muratori (fmm1@cornell.edu) Reference Services Division Olin * Kroch * Uris Libraries Cornell University Ithaca, NY 14853 WWW: http://fmref.library.cornell.edu/spectra.html ********************************************************* "The spaces between things keep getting bigger and more important." - John Ashbery ========================================================================= Date: Mon, 5 Feb 2001 15:54:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: M L Weber Subject: Linda Bohe -- Collected Poems now online Mime-Version: 1.0 Content-Type: text/plain; format=flowed For those you who may be interested: Linda Bohe -- Collected Poems -- now on-line Linda Bohe died in 1983 at the age of 33. She lived in Boulder and then NYC. She studied with Alan Dugan, William Matthews and Richard Hugo. Her terse syntax perhaps reminds one of Hugo, but with a more eclectic range of subject matter. Her broad range of poetic taste was shown in the magazine, Attaboy, which she edited with Phoebe MacAdams. visit the book through www.sugarmule.com ---be sure to type in the WWW-- once at the site look for the "books" link on the homepage _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Fri, 2 Feb 2001 11:13:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Call for Papers Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Submissions requested for the panel on Poetry and Poetics at the conference of the Pacific Ancient and Modern Languages Association, which will meet Nov. 9-11 at Santa Clara University (it's in the San Francisco Bay area, next door to San Jose -- heart of Silicon Valley) -- Send 500 word proposal and 50 word abstract to Aldon Nielsen -- Also need a volunteer to chair the session. (It turns out to be the same weekend as American Studies, so I can't go. Hey, Alan, want to change your mind????) " 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: Sun, 4 Feb 2001 19:57:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Gitin Subject: Xenakis, J.J. Johnson MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Dead at 78, 77. ========================================================================= Date: Mon, 5 Feb 2001 06:54:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Romana Christina Huk Subject: Oxford Brookes: 3rd Research Colloquium MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Dear List members and friends: Once again, we invite you who might be in town to take part in the event described below. It will be small -- 50 at most, we hope -- and though many of the paper-delivering spots are spoken for, the conversation will be "the thing." Please let me know if you'd like to join us. Romana Huk __________________________________ The Centre for Modern and Contemporary Poetry at Oxford Brookes University announces its Third Research Colloquium 2-3 April, 2001 The Politics of Presence: Re-reading the Writing Subject in "Live" and Electronic Performance, Television and Theatre Poetry Two days and evenings of papers, discussions and performances focussed on newly locating and understanding writerly subjectivity as it is evidenced in the production of innovative work by poets engaged in new media and performance modes. Poets/performers from the U.K., U.S., Ireland and France will join in the critical discussion as well as demonstrate aspects of their practice. Evening performances will be open to the public (free to conference registrants); others will take place during the days' conversations as input in the ongoing discussion. For a description of the issues to be discussed, please see our website: www.brookes.ac.uk/prc Among those scheduled to perform or offer papers are: Joan Retallack Carla Harryman John Cayley Anthony Joseph cris cheek Patience Agbabi Caroline Bergvall Randolph Healy Helen Kidd Jacques Darras Rodell Olsen Robert Sheppard Brian Hill Vicki Bertram Ian Davidson Tilla Brading Tyrus Miller Nicholas Zurbrugg Molly Thompson Tony Lopez Matthew Hart Alex Goody Keith Jebb Romana Huk Fees for the conference stand at 40 pounds/20 pounds (students and concessions); half that, respectively, for those wishing to attend only one day of the event. We do encourage full participation in this small-group conversation designed to develop over the course of the 48 hours, but welcome all comers. Information about accommodation and conference schedules available from Romana Huk; please contact her by e-mail, preferably (rch@cisunix.unh.edu is the "home" address), or by writing to her at The Humanities Research Centre, Oxford Brookes University, Gipsy Lane Campus, Headington, Oxford OX3 OBP. ========================================================================= Date: Mon, 5 Feb 2001 13:53:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Avery Burns Subject: Fwd: Canessa February MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Canessa Park Reading Series 708 Montgomery Street San Francisco, CA 94111 Admission $5 February 2001 - LA to SF Sunday February 11th @ 5 PM Thérèse Bachand & Martha Ronk Thérèse Bachand majored in Classical Studies/Modern Poetry at UCSC, studying with N.O. Brown. From autumn 1996-2000 she volunteered at Sun & Moon/Green Integer Press. She is the mother of two growing daughters. Martha Ronk is the author of Desire in LA and Eyetrouble from Georgia University Press, Desert Geometries from Littoral, and State of Mind from Sun & Moon. Her chapbooks include Allegories, Emblems, and Quotidian, a+bend 2000. Her most recent fiction appear in The Chicago Review and The Harvard Review, and it too addresses the lack of causality. She is the Irma and Jay Price Professor of English at Occidental College in Los Angeles. Sunday February 25th @ 5 PM Douglas Messerli & Martin Nakell Douglas Messerli is a poet, playwright, and editor of Sun & Moon Books and Green Integer. His recent book of poems is After, and his recent drama is The Walls Come True. Martin Nakell's books include Ramon, a chapbook of fiction, The Myth of Creation, poetry with Parentheses Writing Series, The Library of Thomas Rivka, with Sun & Moon Press, and Two Fields That Face & Mirror Each Other, from Green Integer forthcoming February 2001. Work has been published widely in journals, including Washington Review, Talisman, ReMap, Proliferations, et alia. Martin Nakell has garnered a Gertrude Stein award, fellowships from the State University of New York at Albany, Blue Mountain Arts Center, Gell Writing Fellowship from Writers & Books, an NEA grant. He has read at many venues: NYU, College of the Atlantic, New College, Romepoesia (Rome, Italy), the Trojan Horse (Tel Aviv, Israel), the Arts Lab (London), the New York Writers Institute. He publishes Jahbone Press, and teaches at Chapman University in Orange. He is a founding member of the Los Angeles Experimental Poets Society (LAEPS, and a founding member of the Institute for the Harmony of Science & Poetics. Hope to see you there, Avery E. D. Burns Literary Director Canessa Park Gallery __________________________________________________ Get personalized email addresses from Yahoo! Mail - only $35 a year! http://personal.mail.yahoo.com/ ========================================================================= Date: Wed, 7 Feb 2001 21:56:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: M L Weber Subject: Sugar Mule -- Call for manuscripts Mime-Version: 1.0 Content-Type: text/plain; format=flowed In six issues, Sugar Mule has published: Paul Hoover, Pierre Joris, Lance Olsen, M. L. Weber, Kate Lila Wheeler, Ray Ronci, John Williams, Michael Heller, Jeremy J. Huffman, Linda Bohe, Mark Amerika, Jane Augustine, Michael Coffey, Jana Hays, Bob Harrison, David Golumbia, Andrew Schelling, Fred Muratori, E. McGrand, Michael Heller, Kristen Ankiewicz, Lance Olsen, Peter Wild, Rochelle Ratner, Bill Berkson, Elaine Equi, Laurel Speer, Trevor Dodge, Paul Beckman, Susan Wheeler, James Bertolino, Clayton Eshleman, Sheila E. Murphy, Amie Siegel, Patricia Dubrava, Elizabeth Fox, Brett Evans, H. Kassia Fleisher, Jean Anderson, Sharon Dolin, Laurel Speer, Cheryl Burket, Elsa Cross, and Vandana Shiva. and is looking for new work -- esp. prose (any genre) -- for its seventh issue. Visit the site at www.sugarmule.com ---you NEED to type in the WWW--- to read submission guidelines and the latest issue. Deadline for submissions is April 15, 2001. We also welcome any comments you might have. _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Tue, 6 Feb 2001 02:03:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 2 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ===== Emotional Politics This is fucking disgusting! Stop writing me! Goddamn Internet! I'm fucking attacked on one hand by Nigerian spanners offering me a big piece of 26 million dollars, and attacked on the other hand by corporate assholes who stick banners like knives across the eyeballs; the hackers are our only hope; someone's got to bring the whole fucking system down! We better stop sending cute Bush jokes around! It's like finding funny stuff in Mein Kampf! How the hell do you resist! We're all in the shtetl! We didn't know it! When I walk down that hall, Bush will pull the lever! Just watch! Fuck DNA! I did it! I did it! Whatever it is! Bush and his creepy team can go screw themselves! They've already screwed the rest of the country! Proto fascists, they promised compromise and as soon as they seized power, they showed their true colors as racists and violent fundamentalists! Women's rights will be all but dead in a year or two! We'll all be in jail for un-Amerikkkan activities! The jails, already the largest on earth, will be bursting with blacks, jews, atheists, anyone who doesn't lick the ass of Christ! Fuck Bush! There's a war on; the more Republicans, the more thugs! We're all dead unless we fight back! Who wouldn't love to see Washington DC burn! Goddamned Israelis held hostage by the religious right, Arab kids taking potshots at them! So now we'll have fascist Sharon to contend with; if he's a jew, I'm not! I can't even recognize myself in his murderous fat face! It's the people that look like tailors I fear the most! Meanwhile I'd be scared to live in Jerusalem or just about anywhere in the mid-east and I wouldn't know who the hell to fear! What the hell is going on with the southern region of Russia, rogue gangs and missing plutonium! We'll all go to hell if India and Pakistan don't take us there first! Why can't they get along! Are we really going to bomb the hell out of each other! Bush wants to ride the first bomb down! But radiation's the new abortion! Look at Japan! Singapore! China! Go there! Don't go there! You can't fight burning bodies on the Square! Marx is dead, the left's unarmed and kissing Republican ass! In this coun- try we love Mexico now! All those kids in the aging creaking sweatshop system! With Bush we can rape them! Canada's another story! Fuck Canada! Bush can't even find it! The Quebecois hold everyone hostage! You can't even build a new plant without worrying about the dollar! Look at Europe, racist and smug! Everyone wants a nationalist piece of the pie! Let them eat cake! While I'm writing this, Bush is signing secret orders for concentration camps! Help the Montana economy! North Dakota! Not too many people! A little town called Auschwitz! Look at the agony in Afrika! Why can't the US and Europe give reparations! We just about slaughtered the continent in the 19th-century! Why aren't people armed here! Why is it always right-wing assholes who carry guns! Why don't the Democrats in Congress throw bombs! What are they scared of! They've already lost their jobs, they just don't know it! I want to sell drugs and oil! I want to sell guns and bombs! There's got to be a way to make money in this criminal administration! Fucking thieves! Murderers! Screw them! The US is the so-called most bloated country on earth yet you can't get health care here; half the seniors are going without food so they can afford medication shit out by obscene pharmaceuticals! People eat dogfood here to survive! Fuck them all! The fucking rich are getting richer; they should be on death row! The poor are barely making it! God forbid if you're black or poor and ill or just about anyone other than a rich white male! Fuck Bush! He thinks: Who needs electricity! His ass is glistening with oil! His ass runneth over! So what if California collapses! They didn't vote for him! They're probably fucking jews! arabs! blacks! He'll rob them blind! Fuck Florida! Fuck the fascists just itching to take over the US! They'll show the rest of the world! They've got the fucking weapons and they're not afraid to use them! They'll go to heaven licking Christ's ass in eternal rapture and leave the rest of us to die here! You can already smell the corpses! = Dreams of Authority in the Words of Mouths 401 Unauthorized, when: no authorization information given wrong authentication scheme authentication 300 When dreams failed not authorized to access document 403 Forbidden 313 When words fail: absent document request is forbidden, and authorization won't help 404 Not found 341 When words dream: access to documents requested file doesn't exist; to get this message the user has to have first authenticated himself successfully and be otherwise authorized to access that file (if it existed) 380 When it exists 380: Beg for mouths 200 Document follows dreams and document may be encrypted, depending on protection scheme; this can be determined by looking at the first header lines 110 Authorized when: the unravelling of dreams 401 or 404 given 220 Unauthorized when: 403 or 200 given 230 Anomalous when: 200 or 220 given 110 or 230 given 240 When 300 or 313 or 341 or 380 given: Unauthorization scheme (see 550: unaccountable events) Phenomenology of vi: matrix or field of language: stuttered intervals within it: particle field of commands intersecting semantic field of intended meaning (wave-form). Code as code fragments. Application of processes upon text, not within it (pico for example). Skin of digital languaging. Motion-processing. Set autoindent. wm=8 Anomalous with full-window. Set autoindent. text-motion within screen framework. Autoindent: the code of memory. Mouths. Authority of written. Authorization scheme encoded. Memory of auto- indent. Mind thinking in extruded space. Cellular columns reson- ant with extrusions. Length of space between frame and autoindent: authorization of memory. Memory at 580 or 640. Memory at 640x480. Authorization of memory. Encoding of unaccountancy. Matrix of autoin- dent. Memory of matrix. Mouths. ===== ========================================================================= Date: Tue, 6 Feb 2001 00:32:03 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: National Book Critics Circle Nominees In-Reply-To: <3A79C071.FD783E0F@astro.temple.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Dear List: Yes, I certainly noticed the nature of the nominees for >National Book Critics Circle. I notice continually. And almost >continuously. But do we have any clue WHY not a single small press volume >is (ever) nominated? Can someone give any information about the processes >involved? or the personnel? or the backscratching? What would happen if >(o please excuse this political limpness) a letter (wow) were composed >collectively by the denizens of this list and some superstar academics >(you know who you are Charlie and Marjorie and Bob) inquiring and >protesting and so on. I for one am just plain pissed (limp word) at the >delegitimation of everything I believe in, whether it is social justice or >poetic justice. It would be nice to make some sort of a noise, amid the >many other important socio-political noises one assumes people might >choose to make soon. Now, in fact. I'd be happy to help compose such a >letter and put my hard-earned name to it. Can we have a few facts of the >matter from those who might know? After the facts come in, maybe people >who could conceive of signing might email suggestions for a statement to >the list. I'll be happy to compile something brief and fight about wording >(something usually done best with about 5-10 people and not 230 or however >many are on the list, so I might have to be a tiny bit peremptory at some >point). I don't mean to dither into "procedure" (sometimes the last refuge >of scoundrels, but sometimes designed to protect us). You get my general >point. Sincerely, Rachel Blau DuPlessis You might mention, if such a thing would matter to those people, that in Canada all the book awards are regularly shared among the big presses and the literary presses. -- George Bowering Fax 604-266-9000 ========================================================================= Date: Tue, 6 Feb 2001 09:50:38 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: overlooked "censorship" (semi-colons) Comments: To: richard.tylr@XTRA.CO.NZ In-Reply-To: <000f01c07441$96aa18c0$bb2437d2@01397384> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I forwarded Richard Taylor's entertaining screed to a friend and received this in response. We should all find it instructive, if not even a bit poetic. -Aaron ***** Richard Taylor wrote, re: the semicolon: > whose birth iinto literature was as mysterious (and today for most > souls) as mystifying, as The Word itself I beg to differ. The birth of the semicolon is clearly attested in the manuscript tradition of Latin-speaking Europe. While in some manuscripts of antiquity words were separated by medial points (Latin _punctus_, hence our "punctuation"), most Latin books were written continuously--i.e., with no spaces between words, and no punctuation. While some, such as the 4th-century grammarian Donatus and the 6th-century patron of monastic learning Cassiodorus, suggested a system based on the Greek model, in which short rhetorical sections (called _commas_) were marked by a medial point, longer sections (_colons_) by a point after the bottom of the last letter, and the longest sections (_periodus_) by a point after the top of the last letter, punctuation was abandoned for the most part until the Carolingian period (with the notable exception of the system suggested by Isidore of Seville [d. 636], in which sections ended with points at the top or bottom of the line, while sentences ended with a group of two or three points, one of which might be a comma rather than a simple point). It was under the direction of Charlemagne and his advisor, Alcuin of York, that the Carolingians developed a miniscule script and a system of punctuation that are the ancestors of the script and punctuation we use today. In addition to the interior stops of a sentence indicated by medial points or periods and the groups of points used to indicate the end of sentences, the _punctus elevatus_ (a period with an apostrophe above it) and the _punctus interrogativus_ (our question mark) were employed in order to facilitate the reading of texts. While these marks of punctuation have undergone significant modification since the 8th century, and while they have developed differently in various regions (note, for example, the French use of guillemets >> << instead of quotation marks to indicate direct speech) they nevertheless can be looked to as the direct predecessors of the punctuation we use today. The _punctus elevatus_, which was introduced to indicate a pause greater than that of a comma, but not a full stop, along with an inflection of a voice--the sort of pregnant pause one might want to employ inbetween sentences that treat closely related ideas--is the predecessor of our semicolon. There ... that's not mysterious at all, is it? And see ... those paleography classes I've taken really were worth something after all. pax vobiscum, JDH ps: By the way, I think it is interesting that for much of its history punctuation existed for elocutionary purposes. It was really only in the late 16th century that it was suggested that it ought to be employed for syntactical ends. I'm sure that's somehow related to the fact that for most of the history of the written word, people only read out loud. That makes sense for all of the texts that were written continuously--the only way you can figure out what they are saying is if you sound them out--and also would explain why, when punctuation was introduced, it was for the benefit of reading aloud (silent reading didn't become common until the later Middle Ages). I've heard it suggested that poets and writers of fiction still tend to apply punctuation in an elocutionary manner, while us non-fiction drones tend to be constrained by syntactical models. Fair to say? -------------------------------------- J. Derek Halvorson Loyola University Chicago Department of History http://homepages.luc.edu/~jhalvor/ jhalvor@luc.edu ========================================================================= Date: Tue, 6 Feb 2001 14:00:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Quasha Organization: Station Hill / Barrytown, Ltd. Subject: Carolee Schneemann reading in NYC MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit New York City Thursday February 8th @ 8pm Carolee Scheemann reads from her forthcoming book: Imaging Her Erotics: Essays, Interviews, Projects (MIT Press) at White Box 525 W 26th Street NYC 10001 Where Carolee's exhibit "More Wrong Things" is on until February 10th -- 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: Tue, 6 Feb 2001 14:44:58 -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 ----- we're all happy campers the facilities are outstanding they promise the showers are poison-free that arbeit macht frei refers to minimum wages you can come and go as you please the ovens are for baked goods and delicious smells we were told the townpeople don't like us townpeople, townpeople, we'll stay put we're glad for the food and water we're happy to loan you our girls and boys they can use the rest and relaxation we want to thank you all for your support opportunities come along only once in a lifetime we wouldn't be here without you ===== ========================================================================= Date: Wed, 7 Feb 2001 22:03:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hoa Nguyen Subject: Virtual Poetry Workshop for Youth--free! Mime-Version: 1.0 Content-Type: text/plain; format=flowed Please tell your students about a great workshop opportunity, sponsored by Teachers and Writers! Open to high school aged students, the Winter 2001 Virtual Poetry Workshop, led by poet Hoa Nguyen, begins February 22. Over the course of 8 weeks, participants respond to provocative writing exercises, receive detailed critique, and share their thoughts on poetry and writing. To apply, students must submit an email to Ms. Nguyen at nguyenhoa@hotmail.com by February 20 and include the following: 1. Brief introduction (be sure to include first and last names) 2. A statement describing why they are interested in the class 3. Three poems Students will be asked to commit to the entire 8-week workshop. Notification takes place on February 21. Go to http://www.writenet.org/virtualpoetrywrkshp.html to view the previous poetry workshop. It's fun and it's FREE! _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Sun, 4 Feb 2001 13:14:35 -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 David Lawrence David is one of the folks what put out Mudfish, from NYC. No email address, but he lists 360 E. 72nd Street, NY, NY 10021 as his snailmail address. Good Conversation My brother was running the family business, a chain of funeral homes. When I was young I used to sneak into the Madison Avenue location and speak to the corpses. I felt they had a special wisdom. I once put an apple in a dead old lady's mouth. It fell out dragging her dentures with it, smashing on the floor. I casught hell for that. So with my father in the slammer, my mother recovering from the stress of my father's incarceration by traveling around Europe attending society parties and my older brother adding up the monthly corpses against the overhead, I pretty much had the palatial Park Avenue pad to myself. My dad was doing "vacation" time at Club Fed for tax evasion. He had charged a summer home in East Hampton to the office, pretending it was a business expense. We had a staff of three there who were deducted as office help. My father also deducted his car expenses, his yacht and his helicopter and crew. I loved our summers in the Hamptons. We used to have stables there where we kept polo ponies. One of them drowned in our Olympic sized swimming pool. My dad had it stuffed and mounted it in the entrance hall. The Internal Revenue Service took the home from us. And the yacht and the helicopter. They left us the stuffed polo pony which we moved into our Park Avenue apartment. You have no idea how much this richly furnished fifteen room duplex impressed the girls I met at N.Y.U. where I was majoring in English. I had a sad, sensitive face with dreamy bedroom eyes and a strong chin that a Hispanic girl told me felt great when she ground it against her pelvis. It reminded her of a Fuller brush. She'd warn me not to shave days before she planned to have sex with me. She liked it rough. A beautiful WASP who was modeling for Ford Modeling Agency to pay for her education and majoring in philosophy used to tell me to keep my eyes open when we screwed so that she could look into them and understand the vast deserts of the semetic races. She'd talk the time we screwed about how there was Hebrew in my eyelashes and the Old Testament in my underarms. My penis was the Torah. Just before she'd come she'd yell Jahweh and shout at me to wink. I had long black eyelashes. She said sh'd give her left tit to have them. So I'd flutter my eyelashes and she'd come. After, she'd tell her friends that she didn't get fucked by me, she got lashed. She'd quiver like an ancient sacrifice, roll over and say, "I'm dead." I'd then inspect her asshold for scarebs. I rarely did a girl more than two or three times. I felt that there was a frailty about relationships based on all the time I spent in the mortuary. All things came to a funereal end and there was no sense in my getting too attached to anyone. Better to break off the relationship myself than to find it laid out on a slab at Finkelstein's Funeral Homes. That is, if my family was lucky enough to get the account. By the way, my name's Jonathan Finkelstein. This girlfriend hopscotch stopped when I met Tracie. And looking back at it I still can't figure out why I let all my other girls lapse as I got more and more involved with her. Tracie was no better looking or more intelligent than any of the others., She was a so-so skinny blond with sunny blue eyes and a smiley, spearmint fresh disposition. I liked that about her. I didn't like angry women. If she had a dark side it was so hidden that it might as well not have existed. She never asked me anything challenging, never said anything profound and if the conversation turned political she'd purse her lips and kiss me or let tears well up in her blue eyes and pray for the boys who were dying in Vietnam. I'd stand at attention and give a mock twenty-one gun salute for our dead green berets. Not that I gave a damn about dead soldiers. My family buiness was death. I just wanted to let her feel I was on her side, to keep her hot. Because the sex, if not fantastic, was interesting, spooky and reliable. When my apartment was empty, which was often, she and I liked to screw behind the drapes in the living room. The living room was huge, with high ceilings like a ballroom, and looked out onto Park Avenue on the third floor. The stuffed polo pony stood in the middle of it. It looked out of place. But my father always liked that hourse and without the Hampton home he had no place else to put it. Tracie and I would stand behind the drapes, close the shades and she'd sit on the window sill as I'd hump away between her sweet, milky thights. Once she purposely let the shade up so that elderly peeping Toms from the other pre war coops and the pedestrians on the street could have a gander. I closed my eyes like an ostrich. When she came she whispered, "My king, I am your treasure chest. I have gold coins inside me." All I kept thinking was, "Ducats. Fuck it. Ducats. Fuck it." I reached up to pull the shade down, opened my eyes and saw three construction workers laughing and pointing at us. The shade came off and fell on top of us. We rolled on the floor and got all caught up in it. When I tried to hang the shade back up, I couldn't. That night my mother came home from Europe with sixteen valises, saw the shade all crumbled up on the windowsill and asked me what happened. I said I think ghosts did it. My mom was superstitious and called a spychic, an astrologist and a witch and had them de-ghost the apartment. For a week I wasn't allowed to wear shoes because I might step on the good fairies. Amy was an artistic girl in my painting class. I met her around the time I became involved with Tracie. She was Tracie's opposite. She had brown frizzy hair with black eyes and a zoftig body that was rich and creamy like kugel. She wore long flowing gowns like the Krishnas and had a dark, spiritual, other worldly sense of life. She was a cultist without a cult; a feather flying, detached from a bird. Amy and I sat next to each other in class. She was a great painter. I stank. In high school my teacher had said that I couldn't draw a straight line with a ruler. Then she gave me an "A' for my use of color. I wanted to be a poet not a painter. But I thought that poets should be able to point, that words were little squibs of color, that I should be familiar with a pallet, brush and oils. I admired Amy's work. We became fast friends. We had good conversations together about the meaning of life. We once played Russian roulette with cap guns to get the sense of life's preciousness. She was the most spiritual girl I'd ever met. "The spirt is the water in a goldfish bowl without the bowl. Without the fish," she said to me when we were eating hot dogs by Bethesda Fountain in Central Park. There was a dead fish floating in the fountain. She said a Hindu prayer. I admired her loftiness. Even if I came from a background of mummifying bodies. She had a soul the size of the colliseum. I wanted to sponsor gladitorial events in her. Her spirit rose above the bleechers. I imagined it would be a religious experience to be married to her. If only I could feel sexually attracted to her. I prayed that she'd excite me. I once lit a candle asking God to let her turn me on. I then tried to beat off over the candle thinking about her. But Tracie came into my mind and I burned my dick before the come put the candle out. "That's great," I said looking over at her canvas. She had painted a perfect likeness of the fat, hairy nude who was posing for the class. Blubber behind his arms dripped into spots of muscle, his rounded back sprouted hairs like hill grass and his spread legs caught stale thunder. On top of all this debauched flesh she put an innocent, fresh modest face that seemed to be apologizing for its body. The model was only in his t\wenties. He looked like a nice guy. But I couldn't figure out what he was doing perching himself naked in such degradation. There was a glint in his eye of freindly resignation to his own ugliness. I hadn't painted a line on my canvas yet. All i had done was colorful background. Yellows melding into blues; reds falling onto greens and purples announcing their startling tackiness. "Nice color," Amy said. "You think so?" "Sure. But why are you drawing the background first?" "To let it influence the foreground." "You have to draw the model first." "When it speaks to me." "Giuseppe, speak to him," she said. "What should I say?" the fat model asked. The teacher came over and told him to shut up. I went back to painting the background. The bell rang and I headed down to the cafeteria with Amy to get a snack. We both had Hostess cupcakes and coffee. Her table manners weren't very good. I looked at her mashing a cupcake into her mouth with the cream filling dripping down her lip as she made chewing sounds. I was disgusted. I didn't understand how someone so spiritual could eat like such a slob. Was I wrong to be so repulsed by her lack of etiquette? I told myself I was a bad person to feel this way. That table manners were bourgeois conventions and that Amy was above such nonsense. But when I was a kid table manners were the most important thing in the world to my father. He once bought me a new bicycle when I was six because I was able to explain the difference between the salad fork and the regular fork to my relatives at a Passover Seder. He raised my allowance when I played a trick on my friend, giving him a finger bowl and watching him drink it as if it were soup. He tought that was a sophisticated joke. He wanted me to be a gentleman. I wondered if he now told the cons he was dining with at Allenwood Federal Prison Camp that they shouldn't slurp when drinking their soup. I was tempted to tell Amy that she shouldn't chew with her mouth open. But I had too much respect for her brushstrokes. She was above table etiquette. And yet. And yet if I could reform her debilitated manners I might be able to talk myself into going to bed with her. We could become lovers. I'd drop Tracie and marry her, my true, spirtual soul mate. We'd have good conversation and I'd be enlightened by the headlights of her spirituality. No, no, no. It was not her that had to change. It was me. I had to find the true Amy in the jungle of gestures, the spirit in her flesh's mistakes, the aesthete in the slobber. "I broke up with Gary, you know," she said. "What happened?" She had been going out with Gary for a year. He was a good looking guy who was majoring in economics. This left the field open for me. Did I want to enter? "I couldn't take all those numbers anymore. Life is not a balance sheet. Money, money, money, money! He didn't care about Vietnam, feminism, integration; any of the important things. All we had in common was sex. If you're not a soul mate, there's no sense, is there?" I though of Tracie and how the sex was everything. How I once licked her when she was hanging upside down from the chandelier in the living room. The lights seemed to glow brighter. And how I dry humped her under my fathers stuffed polo pony when she had her period and had tide hermself with shirts to the horse's hooves. "Sex can be the main thing," I said, wishing I could get turned on by her. "You're deeper than that," Amy said. There was a cockroach walking across the table. She squashed it with her finger. I almost puked. "Don't get me wrong. Sex is best with some you love," I said. And I looked at Amy's oval, Modiglianish face and hoped that someone might be her. "Someone like you," Amy said. She took the words out of my mouth. "Someone like you," I said. I stared into her black moon eyes and touched myself under the cafeteria table. Nothing moved. I was jello. She was a little too intelligent to arouse me. I was tuned on by the anamalistic. I didn't want to be swapping spit with an intellect. But maybe if we were in bed together naked? "Jonathan, I've been looking for you," Tracie said as she interrupted us, chewing gum. I'm not sure I minded. If I fell in love with Amy, she might steal my soul. I'd become a zombie. "Tracie, this is Amy. Amy, this is Tracie," I said. "Jonathan, did you forget?" "What?" "We're having a picnic. I have the lunches right here," she said and held up a large plastic bag. "You think I'd forget that?" I had forgotten. We brushed the late spring snow off a bench near the Central Park zoo and opened the lunches. We had Westphallian ham sandwiches and swiss cheese on black bread; gerkins, cole slaw and a few small tomatos. In the cool air the tomatos tasted like they had just come out of the refrigerator. They were fresh as an icicle. An elephant came out of a building, raised his trunk above his head, roared and took a dump. Steam rose from his shit like an exclamation mark. Then he walked back inside. Tracie looked at me cross-eyed like she was overwhelmed with love and sang her favorite song, "I Want to Hold Your Hand." She sounded exactly like Paul McCartney. It was amazing how she could transform her girlish voice into a Liverpudlian male's. She reached out and grabbed my hand, acting out the song. It was so hokey that I blushed, so childish that I liked it. "We ought to get married," she said. I hugged her. I hid behind her shoulder. Why would I want to marry her when I was banging her for free? "We're too young," I said. "My sister got married at seventeen." "But her husband was forty-two," I said. That was disgusting. I hoped Tracie didn't fall for some old sleeze after I dumped her. "I can't wait forever. Better marry me soon or I'm going to start dating." I remembered a few months ago when I thought we were getting too involved. I suggested we start dating. One evening I ran into her at Max's Kansas City dancing with Thurston Muddle. He was the only nerd there with a suit and tie. Everyone else was freaked out in velvet clothes and boots, tripping on acid, dancing to the Doors. It was a typical sixties scene. No way she could have liked Thurston. I told her no more dating. "Alright, I'll marry you," I said. I could always back out later. What was the difference? At least this would stop her from screwing someone else. "He proposed to me. He proposed," she started screaming and crying to the elephant who had come back to wrestle with another turd. The elephant let out a roar. And a fart. The smell traveled across the sidewalk to where we were sitting on the bench. We both gathered our stuff and skiddadled. I took Tracie back to my apratment and made love to her under my mother's bed. It was a raised bed so we were able to screw on the floor under it. There was something nice about doing it there. I felt closer to my parents. Like I was revisiting the birth scene. My mother and brother never came home in the afternoon. It was safe. My brother did't even ring the bell. He just barged in, with his receptionist, Sherry, a big fat black woman in her fifties. I recognized their voices when he entered my mother's room and lay on the bed with her. I guess he liked the primal scene too. The bed slunk down and pressed against us. "Play dead, big mama," he told Sherry. "I'm dead," she said. "Are you sure?" "Really dead." "Good," There was a silence. Then I heard a slap, "Don't touch me. You dirty necrophiliac." "Say it again," my brother said. I could hear him rubbing himself. "You dirty necrophiliac." "One more time." "You dirty necrophiliac." The bed shook. A heavy sigh. My brother said, "I came." "Congratulations," Sherry said. When they left, the bed raised two inches. Tracie kissed me, saying, "My husband. I love the word husband. I'm going to be Mrs. Tracie Finkelstein. You're brother seems very nice.." The next day at art class I spoke to Amy. "I told Tracie I might marry her." "She'll make you dress like the Beatles." "I love you. I think." "I might love you too. I think, " she said, and broke out a tootsie roll and started chewing it with her mouth open. "We're soul mates and our spirits are love's cosmic voyagers," she said, her voice stuttering through the sticky chocolate. "We should see if the sex is good." "We owe it to ourselves." "It's a debt to true love." "An obligation." "I’ll marry you if it works," I said. I didn't want to take Amy to my home. I had too many memories of other women, particularly Tracie, to take her there. I wanted to take her to a place that really meant something to me. A place that made me ponder the meaning of life. I decided to take her to the Finkelstein Funderal Home on Madison Avenue. We found a beautiful, sleek mahogany coffin. Very expensive. Lined in lavender satin, it was scheduled to be the final resting place for Mrs. Gladis Zuckerman,. Gladis was in the refrigerator, waiting to be laid out. We took off our clothes and got into her coffin, laying down sideways. Amy had a bit of an odor like she was already dead. I guess she didn't bathe too well. That shouldn't matter though. I was after her cosmic mind not her body. I could always buy her some perfume. "When I was a kid I spent many nights lying in coffins thinking about the meaning of life," I said. "This is a very weighty place." "You feel grounded." "I never felt so at peace. I think dying is going to be great. My soul is going to set forth in a flying saucer." We hugged each other naked and I would have gotten an erection but she picked her nose and shot it. I wanted to tell her that that wasn't polite. But I didn't think it was polite to say that. I tried to tell myself that I had just imagined she picked her nose. But I could see the boogie hanging off the coffin next to us. "I want to paint the world with your colors," she said and reached down and grabbed my dick. It was embarrassingly soft and had shrunken to the root. I tried to kiss her, thinking I'd get aroused, but her breath stank and I gagged. "What's wrong?" she asked. I should have told her right then and there that she was a slob. I should have taken her in the back room where they washed down the corpses and scrubbed her. Made her clean as her intelligence. Then I could have thmbed through her like the pages of the Bible; intercoursed her pubic wisdom. But I couldn't do it. I couldn't hurt her feelings. "I'm beginning to think of you more as a friend than a love," I said. "It's the delemma of the existentialist to be trapped by his yearnings rather than his spiritual consciousness," she said. "It's my soft penis," I said. "I can't marry a softee." "Maybe it will get hard." "I'm afraid we're not radioactive." "What do you mean?" "Your penis is the test. It's a geiger counter. It didn't register. We're just not meant for each other." "We could have been so perfect together." "We can still be friends," she said. "You can cheat on Tracie with me." "But the sex isn't htere." "We don't need sex." "Then what?" "We'll have good conversation." "That's not cheating." "It is." "How?" "She'll have your body. I'll have your soul," she said and burbed in my face. I threw up and it took me almost a half an hour to clean up Mrs. Gladis Zuckerman's casket. I sprayed it with Lysol so as not to infect the corpse. I wanted to let the old lady lie in germ-free peace. After that evening my talks with Amy just weren't the same. The spirituality of our relationship had been stained by our junket to the funeral home. The corpoereal had pinched our cosmic affection and bruised it. The odor of death hung around us and I was haunted by the vision of her naked in a coffin, belching in my face. So we began to drift apart like we had been through detox. And I became more hooked on Tracie. Tracie and I finally got officially engaged. I put a five caret diamond ring on her finger when we were in my father's hot tub. It down the drain and it cost me a thousand dollars to get a plumber to open up the piping and get it back. Even though our conversations revolved around the Beatles, fashion and nonsense, I found her fresh as a bar of soap and was captivated by her. She had an inner glow that effused from her like laughing gas in a dentist's office. I was high around her. My gums felt good and my molars grew. My dick was straight as a drill. I did a two year tour in Vietnam. Based on my family experience I was assigned to putting dead soldiers in body bags. I felt right at home doing this. Sometimes at night I'd creep into empty body bags with Vietnamese hookers. Once I found a toe in there. I used it to tickle a teenage whore. Because I didn't speak Vietnamese I found the girls even more exciting. The complete lack of understanding was titillating. Their squeaky, high-pitched rapid fire chatter was as good as foreplay. I felt like I was screwing idiots. I felft like I was screwing Tracie. I told our major that I was responsible for bagging five thousand dead soldiers. Who cared if they were Americans? i got a medal and came home a hero. My father was out of jail and back running the family funeral parlor business. He bought the house back in East Hampton. And the yacht. He drowned another polo pony and mounted it, putting it in the foyer to match the one we had in the city. I developed this fetish where I liked to make love to Tracie on the stairwell in the Metropolotan Museum of Art. She broke off our engagement, saying, "I would have preferred the Museum of Modern Art." I said, "I don't have a membership card." "You don't give good conversation. You don't like to talk about fashion and things," she said. I cried. I loved the sex with her and the bubble of nonsense that surrounded her like soap. I particularly liked how wrong she was for me. It was thrilling. A year later I married her. Amy moved to California and wrote to me: "I've fallen in with a group of very profound revolutionaries. I'm living off the land. I found communal love. My brothers and sisters are all very natural and they walk around naked. I don't bathe. I feel like an animal. Isn't that great? You'd love the leader of the commune. He is a short guy with long hair and a beard. He sees deep meaning in simple things. He's a lot like you. And he's been in jail like your dad. He says if you love someone you should kill for that person. That's real committment. He finds messages encoded in music; he told me that the Beatles speak to him. Tracie would like that. She was always a big fan. I did a painting of him where he looks like a cross between, Jesus Christ, Paul McCartney and Adolph Hitler. I think he's going to be famous one day. I spoke to him about you and if you came out you two could have some really good conversation. He's a grety guy. His name's Charlie." David Lawrence ========================================================================= Date: Tue, 6 Feb 2001 16:14:19 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: Hunt/Skinner/Fuhrman at DOUBLE HAPPINESS In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >This Saturday 2/3/2001 > >DOUBLE HAPPINESS >(Corner of Mott & Broome) > >Jonathan Skinner >Joanna Fuhrman >Laird Hunt What city? -- George Bowering Fax 604-266-9000 ========================================================================= Date: Tue, 6 Feb 2001 16:20:57 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: David Amram's Tribute to Gregory Corso In-Reply-To: <5.0.0.25.0.20010202111126.00b17810@mail.earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >We met in 1956, and with all the times we spent together in the fifties, >walking those same streets of downtown New York City, engaged in heated >discussions about music, poetry, Baseball, mutual romances What are mutual romances, exactly? -- George Bowering Fax 604-266-9000 ========================================================================= Date: Wed, 7 Feb 2001 13:21:34 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: overlooked "censorship" (semi-colons) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Omemiseratusdepunctuspuctussanctusdedeumdeusdeatuscoloncolonus anctusfanctusfactorusmarvelosusaurelusaaronusgrammticusbellicosus superbuspcissapientusbullshitusvobisnonigiturpatrisnobiswobisnobilispatronus magnuscomusnavesgraecorusutqueagricolashominesinnominesilentus. That is an example of unpuctuated Latin which Umberto Eco forewarded to me for comment (he's considering writing a totally new kind of novel (or "poem" the Italians dont differentiate I've discovered from my local Pizza Ristorante, but that's another divertimento.....)...actually I... as he is thinking of doing a sequel to "The Name of the Rose" but was running out of grammatical and semiotic or other related arcana...in fact the novel is to be entirely written in punctuation marks: (imagine!)an enormously brilliant and fulmigationous departure which he feels will kind of "clinch" his lit. carreer...he confides that only stupid people want "meaning" (he almost spat that out (if you do meet old Umb have go at getting him going on about meaning and all that kind of stuff.))...actually this is the sort of thing that kind of "proves our" (rather nebulous) "point" (punctus? punctus nobilis insidiosus?) re poetry/prose and my claims for the dictionary as being a poem...which owing to my mispellings appearing to "take the Mickey" caused or gave cause for a person to become troubled (or to troubled their self) ("troublus doublus" as they say) that it was that person whom I was derising but nay!...really I was having fun which leads back to the whole question of launguage and communication and the net...problems of the fact that - as we neither hear nor see each other - we occupy a rather strange and almost inhuman area of soundless speech and near inhuman talking....we may actually, in net communicata, or incommunicata latina magna seriosa morbida, actually be experiencing what it is like to be blind: in fact, quite seriously, (I'll de-humoresque at this punctus), a number of those on the list could be so. But even communicating to a blind person (and I acknowledge I have difficulty with this...I have one very good friend ((young man) who is blind and much as I like him his actual presence disturbs me)) (the old fear of "strangeness"?Eh?)...I just have to see another person's face...and I read (and someone else noted) that St Augustine was amazed to find a friend reading a book without using his lips, (I dont mean that the old latin guys used to actually "eat their words", that WOULD be going too far (as in the Barthelme story)).......... or silently...I think that the impulse to speak is almost overwhelming,or, I should say, the urge to "sound" the words...I'm not alone probably in wanting to read from novels (or poems) aloud...which I do a lot or stop and write something out ...its interesting the way we assume punctuation & grammar (puntus grammaticus) etc as "set in stone" until we think about it...the very word "colon" could make some people ill...but that's the polysemantic nature of our polyhilic and non-polyphemic language, our lingual and psycho-lingual planet that's like an enormous and tormented brain of burning seething dreams and semes and semantic intagliations......etc etc.... I did Latin up to sixth form locally and wish to hell I had continued with Latin Greek languages (as well as other things) as I regret (another of those "carefully caught regrets"!) not having the kind of erudition eg Eliot had (but I dont regret being as miserable as E apparently was)...I have a rather (absurd?) desire to read "everything" but I keep moving from book to unfinished book...but to get back to the topos..by the way I lost my Short (huge Latin Dictionary) circa 1965, should I steal another to kind of compensate?...just a thought......of course my posts have mostly been a touch humoresque but in this I'm signalling (there's that word) back to Eco and his monks and the supression of humour..which Joyce more or less "corrected" and maybe writers like Doctorow,Barthelme,Heller,Brautigan,Eco himself,and Italo Calvino have somwhat redressed...humour being underrated in its deep value...its renewwing and rejuvenating power..."laughter is the best medicine" is not coincidentally a very old phrase...maybe (of the poets) Ted Berrigan and often Frank O'Hara and even (wash me mouth...) Betjemann or Selima Hill...to take some totally disparate and irrelevat and unrelated examples to elucidate whatever I was rambling on about...... has that marvellous joie de vie (or is that de vivre?) so this cyberspace that some writers are obsessed with (I dont mean that derogatively it is an interesting and quite new development and must bring or stimulate new ways of tormenting oneself and possibly (or hopefully?) others..after all..how did old Ash's poem go: "That grew into something monstrous, with all that useless love inclosed in titanuim towers whose sneer holocausts into the tapering evening that so long silent had nothing further to add unless that sigh like a vagrant bubble quiver into the misspent and irridescent afternoon (spent dans la interieur de la fume) could rise only to cloud in pyjama silencio whose mustachio was punctilio hey presto!"?) .....but anycase, forgewt all that, the whole matter's academic: fascinating but ultimately, sub speciae aeternitatis, futile...but, indeed, futility whose very "neant" is its power, its raison d'etre...but these issues are very cogent notwithstanding and I thank Aaron for his kind appellations..indeed the issue raises further matters of... spelling puctuation grammar meaning communication ideation signalling comprehension bafflement fear desire wonder power insidious penetration clinical and linguistic detachment and delusions and dreams and a myriad machinating minds interconnecting...at least those who have the dollars to buy the technology...this pulsing cyber web of electronic and invisible fibre fingers that cleave and clutch and cling to this fearful troubled spheroidic world _punctus_ Warm regards, Richardus Taylorus. That's an ancient Latin ----- Original Message ----- From: "Aaron Belz" To: "UB Poetics discussion group" ; Sent: Wednesday, February 07, 2001 4:50 AM Subject: Re: overlooked "censorship" (semi-colons) > > I forwarded Richard Taylor's entertaining screed to a friend and received > this in response. We should all find it instructive, if not even a bit > poetic. -Aaron > > ***** > > Richard Taylor wrote, re: the semicolon: > > > whose birth iinto literature was as mysterious (and today for most > > souls) as mystifying, as The Word itself > > I beg to differ. The birth of the semicolon is clearly attested in the > manuscript tradition of Latin-speaking Europe. While in some manuscripts > of antiquity words were separated by medial points (Latin _punctus_, hence > our "punctuation"), most Latin books were written continuously--i.e., with > no spaces between words, and no punctuation. While some, such as the > 4th-century grammarian Donatus and the 6th-century patron of monastic > learning Cassiodorus, suggested a system based on the Greek model, in > which short rhetorical sections (called _commas_) were marked by a medial > point, longer sections (_colons_) by a point after the bottom of the last > letter, and the longest sections (_periodus_) by a point after the top of > the last letter, punctuation was abandoned for the most part until the > Carolingian period (with the notable exception of the system suggested by > Isidore of Seville [d. 636], in which sections ended with points at the > top or bottom of the line, while sentences ended with a group of two or > three points, one of which might be a comma rather than a simple point). > It was under the direction of Charlemagne and his advisor, Alcuin of York, > that the Carolingians developed a miniscule script and a system of > punctuation that are the ancestors of the script and punctuation we use > today. In addition to the interior stops of a sentence indicated by > medial points or periods and the groups of points used to indicate the end > of sentences, the _punctus elevatus_ (a period with an apostrophe above > it) and the _punctus interrogativus_ (our question mark) were employed in > order to facilitate the reading of texts. While these marks of > punctuation have undergone significant modification since the 8th century, > and while they have developed differently in various regions (note, for > example, the French use of guillemets >> << instead of quotation marks to > indicate direct speech) they nevertheless can be looked to as the direct > predecessors of the punctuation we use today. The _punctus elevatus_, > which was introduced to indicate a pause greater than that of a comma, > but not a full stop, along with an inflection of a voice--the sort of > pregnant pause one might want to employ inbetween sentences that treat > closely related ideas--is the predecessor of our semicolon. > > There ... that's not mysterious at all, is it? And see ... those > paleography classes I've taken really were worth something after all. > > pax vobiscum, > > JDH > > ps: By the way, I think it is interesting that for much of its history > punctuation existed for elocutionary purposes. It was really only in the > late 16th century that it was suggested that it ought to be employed for > syntactical ends. I'm sure that's somehow related to the fact that for > most of the history of the written word, people only read out loud. That > makes sense for all of the texts that were written continuously--the only > way you can figure out what they are saying is if you sound them out--and > also would explain why, when punctuation was introduced, it was for the > benefit of reading aloud (silent reading didn't become common until the > later Middle Ages). I've heard it suggested that poets and writers of > fiction still tend to apply punctuation in an elocutionary manner, while > us non-fiction drones tend to be constrained by syntactical models. Fair > to say? > > -------------------------------------- > J. Derek Halvorson > Loyola University Chicago > Department of History > http://homepages.luc.edu/~jhalvor/ > jhalvor@luc.edu > > > > ========================================================================= Date: Tue, 6 Feb 2001 20:23:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Arielle C. Greenberg" Subject: Re: The battlefield where the moon says I love you In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII For those interested in gossip on Stanford, check out the long profile of Lucinda Williams that was in the New Yorker awhile back -- anyone remember when? Arielle **************************************************************************** "I thought numerous gorgeous sadists would write me plaintive appeals, but time has gone by me. They know where to get better looking boots than I describe." -- Ray Johnson ========================================================================= Date: Wed, 7 Feb 2001 09:30:57 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Saturday Double Happiness Comments: To: ira@angel.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Saturday the 10th at 4 pm Segue Reading Series at Double Happiness 173 Mott Street, just south of Broome Devin Johnston Lisa Lubasch Rebecca Wolff Reading poetry Get there at 3:45 to get happy hour two for one drinks deal ========================================================================= Date: Wed, 7 Feb 2001 10:56:33 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Devin Johnston Subject: Flood Editions: Special Offer MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable FORTHCOMING IN MAY: PAM REHM & RONALD JOHNSON A SPECIAL OFFER: pre-order and receive the first two books from Flood Editions for just $20. In order to take advantage of this discount, send us your mailing address an= d=20 a check for $20 before April 15th. In May, we will send you both Pam Rehm= =92s=20 GONE TO EARTH and Ronald Johnson=92s THE SHRUBBERIES before they are availab= le=20 in bookstores=97with free shipping for all domestic orders. This offer saves you $4 off of the cover price. Moreover, by placing your=20 order early, you will be demonstrating your support for Flood Editions and=20 its authors. Please make your checks payable to Flood Editions. P.O. Box 3865 Chicago IL 60654-0865 www.floodeditions.com -------------------------------------------------------------=20 Pam Rehm, GONE TO EARTH =20 Rehm is the author of four previous volumes of poetry including To Give It=20 Up, a winner of the 1994 National Poetry Series award.=20 =93...the singular brilliance of this poet. She makes each edge of sound, of= a =20 word=92s various meaning, articulate with impeccable art. Her insistent =20 intelligence is a great light in the all-too-surrounding darkness.=94 =97 Robert Creeley Ronald Johnson, THE SHRUBBERIES =20 This volume represents Johnson=92s final poems, which are condensed and cos= mic=20 meditations on death and the natural world =97 =93the halftones of reality /= of=20 veritable life / a various weave of stuff.=94 "I have always thought Ron Johnson a terrific poet: everything he has writte= n=20 has surprised and delighted me.=94 =20= =20 =97 Thom Gunn ALSO FORTHCOMING: Tom Pickard, HOLE IN THE WALL: NEW & SELECTED POEMS Philip Jenks, ON THE CAVE YOU LIVE IN Robert Duncan, LETTERS ... & more. ========================================================================= Date: Wed, 7 Feb 2001 14:13:39 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hank Lazer Subject: Juliana Spahr's Everybody's Autonomy - Discount offer MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Announcing the latest volume in the series Modern and Contemporary Poetics, edited by Charles Bernstein and Hank Lazer Everybody's Autonomy Connective Reading and Collective Identity Juliana Spahr Everybody's Autonomy is about reading and identity. Contemporary avant garde writing has often been overlooked by those who study literature and identity. Such writing has been perceived as unrelated, as disrespectful of subjectivity. But Everybody's Autonomy instead locates within avant garde literature models of identity that are communal, connective, and racially concerned. Everybody's Autonomy, as it tackles literary criticism's central question of what sort of selves do works create, looks at works that encourage connection, works that present and engage with large, public worlds that are in turn shared with readers. With this intent, it aligns the iconoclastic work of Gertrude Stein with foreign, immigrant Englishes and their accompanying subjectivities. It examines the critique of white individualism and privilege in the work of language writers Lyn Hejinian and Bruce Andrews. It looks at how Harryette Mullen mixes language writing's open text with the distinctiveness of African-American culture to propose a communal, yet still racially-conscious identity. And it examines Theresa Hak Kyung Cha's use of broken English and French to unsettle readers' fluencies and assimilating comprehensions, to decolonize reading. Such works, the book argues, well represent and expand changing notions of the public, of everybody. Juliana Spahr is Assistant Professor of English at the University of Hawai'i, Manoa. "Juliana Spahr's remarkable poetic mind is the refractive prism of her useful and inspiring criticism. This book makes a strong case for the long-standing American tradition of reading as a form of liberation, but it makes it in terms appropriate to Spahr's vision of a utopian democracy of active readers in today's complex cultural environments. Her engagements with Stein, Hejinian, Andrews, Mullen, and Cha enact an informed self-invention of meaning that is both richly nuanced model of agency and constructive affirmation for our inextricably intertwined poly-ethnic-racial-lingual world." -Joan Retallack, Bard College 224 pages, 6 x 9, illustrated ISBN 0-8173-1054-1 $19.95 paper ISBN 0-8173-1053-3 $24.95 cloth SPECIAL OFFER TO POETICS LISTSERV 20% DISCOUNT WHEN YOU MENTION THAT YOU ARE ON THE POETICS LISTSERV OFFER EXPIRES 30 September 2001 To order contact Elizabeth Motherwell E-mail emother@uapress.ua.edu Phone (205) 348-7108 Fax (205) 348-9201 or mail to: The University of Alabama Press Marketing Department Box 870380 Tuscaloosa, AL 35487-0380 Attn: Elizabeth Motherwell www.uapress.ua.edu Spahr/Everybody's Autonomy paper discounted price $19.96 ISBN 0-8173-1054-1 cloth discounted price $39.96 ISBN 0-8173-1053-3 Subtotal _________________ Illinois residents add 8.75% sales tax _________________ USA orders: add $4.00 postage for the first book and $1.00 for each additional book _________________ Canada residents add 7% sales tax _________________ International orders: add $5.00 postage for the first book and $1.00 for each additional book _________________ Enclosed as payment in full _________________ (Make checks payable to The University of Alabama Press) Bill my: _________Visa _________MasterCard Account number _____________________________ Daytime phone_______________________________ Expiration date _______________________________ Full name____________________________________ Signature ____________________________________ Address______________________________________ City _________________________________________ State_______________________ Zip ______________ ========================================================================= Date: Mon, 12 Feb 2001 11:31:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael onslow-osborne Subject: Re: Distribution Poster Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hello, This sounds particularly interesting, but as I live in New Zealand it seems unlikely that $0.55 (particularly in $NZ) will cover the costs of postage. If you could send a pricing for postage to NZ (an estimate is fine) I will happily send the $. Yours, Michael Onslow-Osborne _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. ========================================================================= Date: Mon, 12 Feb 2001 15:21:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Readings in Cambridge, New York, and at Middleton Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I'll be doing two readings and a lecture in the next few weeks: Tuesday, February 20, 5:30 p.m. Poetry Reading at the Exhibition Room of the Houghton Library Harvard University (this reading is for the Woodberry Poetry Room) Cambridge, Massachusetts Saturday, March 3, 4pm Poetry Reading with Hank Lazer Double Happiness 173 Mott (south of Broome) New York, New York Tuesday, March 6, 8pm Spring Term Lecture Series 2001 / "Performance" "The Art of Immemorability" Russell House (corner of Washington and High Streets) Wesleyan University, Middletown, Connecticut ========================================================================= Date: Tue, 6 Feb 2001 16:29:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Broder, Michael" Subject: Lesbian and Gay Valentine's Reading in NYC MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" In Our Own Write presents a reading of erotic poetry and literature featuring Donna Allegra, Michael Broder, Lisa Marie Bronson Boddie, Byron Byron De Wolfe and Vittoria Repetto February 9, 2001 9:00 PM Lesbian and Gay Community Services Center One Little W. 12 Street, off Hudson, near 14th Street New York, New York Suggested Donation, $3.00 ========================================================================= Date: Wed, 7 Feb 2001 17:19:26 -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 This week and next week at the Poetry Project: Wednesday, February 7th at 8 pm TODD COLBY AND JAYNE CORTEZ Among Todd Colby=B9s books are Ripsnort (1994) and Charm Factory: New and Selected Writings (1999). He edited Heights of the Marvelous: A New York Anthology (St. Martin=B9s, 2000). Mr. Colby was the lead singer for the now-defunct band Drunken Boat and has taught several writing workshops at the Poetry Project. His poems are pop, dada, grunge, comic, romantic, and personal. In performance they have been known to explode; on the page they vibrate. Jayne Cortez was born in Arizona, grew up in California, and lives in New York. Her ten collections of poetry include Somewhere in Advance of Nowhere, Mouth on Paper, and Congratulations, and with her band, the Firespitters, she has recorded six CD=B9s. Her voice is celebrated for its political, surrealistic, dynamic innovations in lyricism. Friday, February 9th at 10:30 pm WHAT WILL I SAY NEXT? A NIGHT OF IMPROVISATIONAL POETRY Poets Jen Abrams and Matthew Courtney will perform their improvisational poetry. Following the readings, the audience will be invited to compete for prizes for the best improvisational poem. Two words will be given to each contestant, who will then have one minute to compose a poem and three minutes to deliver it. Monday, February 12th at 8 pm STEFANI BARBER AND KAREN WEISER Born and raised in Los Angeles, Stefani Barber has had work published in Five Finger Review, Kenning, Mungo vs. Ranger, Syllogism and Tripwire, as well as in Step into a World: A Global Anthology of the New Black Literature. A board member of Manifest Press, she now lives in Oakland. Karen Weiser has recently had poems appear in Lungfull! magazine, The Hat, and The Germ. She also has a chapbook from Potes and Poets Press entitled "Beneath the Bright Discus." Her chapbook press, Hophophop Press, has published two titles in the past two years. Wednesday, February 14th at 8 pm RICHARD HELL AND VINCENT KATZ Richard Hell became famous in the mid-seventies as an originator of the pun= k movement. His album Blank Generation (1977) by "Richard Hell and the Voidoids" was chosen by the New York Times as one of the ten best albums of the decade. Mr. Hell is the author of four books of poems and a short novel= , The Voidoid, that he wrote in 1973. In the late 80s he edited the literary magazine CUZ for The Poetry Project. His first full-length novel, Go Now, was published by Scribner in 1996 to excellent reviews. Vincent Katz=B9s new collection of poetry, Understanding Objects, recently appeared from Hard Press. A poet, translator and critic, Mr. Katz has published collaborative books with several artists, including two with the late Rudy Burckhardt. In 1995, he published Charm, a translation from Latin of the first book of poems by Sextus Propertius. Mr. Katz is currently translating the remaining poems of Propertius. Friday, February 16th at 10:30 pm BEYOND SPRING: TRANSLATIONS READ BY JULIE LANDAU Julie Landau will read translations from her book Beyond Spring: Tz=B9u Poems of the Sung Dynasty (Columbia University Press, 1994). Ms. Landau is a writer whose romance with Chinese poetry began years ago while living in Hong Kong. Her translations have appeared in many journals and anthologies. The actor Lu Yu will read the works in the original Chinese. Also performin= g will be Fay Chiang and musician Cao Bao-An. "[Beyond Spring] is a joy =8A the kind of book which will draw the uninitiated into the world of Chinese poetry, motivate the learner to further study, and still provide the specialist with surprises and delights." =ADAsian Affairs 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 The Poetry Project needs CAMERAS!!! Have you thought, "I have this excellent, functional 35MM camera that takes great pictures, but I just don=B9t want it any more! Is there some worthy, noble, non-profit organizatio= n that might be able to use it?" The answer is YES!!! We=B9re going to use the cameras to document our readings=8Bto capture those special moments that woul= d otherwise be lost forever. If you have a camera that you would like to donate, please email us with the details at poproj@artomatic.com, and we=B9ll be happy to take it off your hands. ========================================================================= Date: Wed, 7 Feb 2001 20:48:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Evans Subject: Poetry at UMaine Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The UMaine is pleased to announce its Spring 2001 schedule of poetry readings: 08FEB KRISTIN PREVALLET & DANIEL BOUCHARD 20FEB LEE ANN BROWN 01MAR ROBERT CREELEY [LITTLE HALL 120] 06MAR SYLVESTER POLLET & ROBERT FITTERMAN 29MAR BERNADETTE MAYER 10APR EILEEN MYLES 19APR CONSTANCE HUNTING & JENNIFER MOXLEY 26APR KEVIN DAVIES 27/8APR MAINE POETRY & STORY EXCHANGE* 01MAY DICK LOURIE 03MAY MAINE REVIEW READING 10MAY LAURA MORIARTY RESIDENCIES: 15-22FEB LEE ANN BROWN 25FEB-10MAR, 15-21APR ROBERT CREELEY All readings at 4:30pm in Soderberg Auditorium except where noted. Events are free & open to the public. *A program for the MAINE POETRY & STORY EXCHANGE will be available in coming weeks. The series is sponsored by the UMaine English Department and the National Poetry Foundation with the support of the Lloyd H. Elliott and Cultural Affairs funds. For more information, contact Steve Evans at 207-581-3809 or Steven.Evans@umit.maine.edu, or visit our website (presently under construction) at www.umaine.edu/english/spring.htm. ========================================================================= Date: Wed, 7 Feb 2001 22:32:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Epstein Subject: Bruce Andrews/John Yau reading (NY, 2/20) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Columbia University's F. W. Dupee Poetry Reading Series presents BRUCE ANDREWS and JOHN YAU Tuesday, February 20, 8 PM Ward Dennis Room Lewisohn Hall, 5th Floor Columbia University 116th St. and Broadway Admission Free Reception to follow the reading for information: (212) 854-5121; ukh2@columbia.edu ========================================================================= Date: Wed, 7 Feb 2001 22:48:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: gig in Philly Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" An Evening in Philadelphia Celebrating the Release of The Portable Boog Reader: Wanda Phipps (accompanied by Joel Schlemowitz on guitar) Greg Fuchs Susan Landers Betsy Spivak (singer/songwriter) Matt Hart Holly Bittner Ethan Fugate Ethel Rackin Magdalena Zurawski & bands: Bionic Finger Hoopty Heaven Saturday, February 10, 10pm - 1:30am at La Tazza 108 Chestnut Street, Philadelphia, PA (in Old City between 2nd and Front St.) For more info. call Booglit at 212-206-8899 E-mail booglit@theeastvillageeye.com or call La Tazza at 215-922-7322 ========================================================================= Date: Thu, 8 Feb 2001 00:19:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Dillon Subject: Re: 2: AT LAST! THE EBOLA VIRUS TELLS GASBLASTS ITS JOKE: RADLIBISM ALWAYS CREATES THE EXACT OPPOSITE OF ITS STATED INTENT! In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit > From: Alan Sondheim > Reply-To: UB Poetics discussion group > Date: Tue, 6 Feb 2001 02:03:17 -0500 > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: 2 > > ===== > > > Emotional Politics > > > This is fucking disgusting! Stop writing me! > > Goddamn Internet! I'm fucking attacked on one hand by Nigerian spanners > offering me a big piece of 26 million dollars, and attacked on the other > hand by corporate assholes who stick banners like knives across the > eyeballs; the hackers are our only hope; someone's got to bring the whole > fucking system down! > > We better stop sending cute Bush jokes around! It's like finding funny > stuff in Mein Kampf! How the hell do you resist! We're all in the shtetl! > We didn't know it! When I walk down that hall, Bush will pull the lever! > Just watch! Fuck DNA! I did it! I did it! Whatever it is! > > Bush and his creepy team can go screw themselves! They've already screwed > the rest of the country! Proto fascists, they promised compromise and as > soon as they seized power, they showed their true colors as racists and > violent fundamentalists! Women's rights will be all but dead in a year or > two! We'll all be in jail for un-Amerikkkan activities! The jails, already > the largest on earth, will be bursting with blacks, jews, atheists, anyone > who doesn't lick the ass of Christ! Fuck Bush! There's a war on; the more > Republicans, the more thugs! We're all dead unless we fight back! Who > wouldn't love to see Washington DC burn! > > Goddamned Israelis held hostage by the religious right, Arab kids taking > potshots at them! So now we'll have fascist Sharon to contend with; if > he's a jew, I'm not! I can't even recognize myself in his murderous fat > face! It's the people that look like tailors I fear the most! Meanwhile > I'd be scared to live in Jerusalem or just about anywhere in the mid-east > and I wouldn't know who the hell to fear! > > What the hell is going on with the southern region of Russia, rogue gangs > and missing plutonium! We'll all go to hell if India and Pakistan don't > take us there first! Why can't they get along! Are we really going to bomb > the hell out of each other! Bush wants to ride the first bomb down! But > radiation's the new abortion! Look at Japan! Singapore! China! Go there! > Don't go there! You can't fight burning bodies on the Square! > > Marx is dead, the left's unarmed and kissing Republican ass! In this coun- > try we love Mexico now! All those kids in the aging creaking sweatshop > system! With Bush we can rape them! Canada's another story! Fuck Canada! > Bush can't even find it! The Quebecois hold everyone hostage! You can't > even build a new plant without worrying about the dollar! Look at Europe, > racist and smug! Everyone wants a nationalist piece of the pie! Let them > eat cake! > > While I'm writing this, Bush is signing secret orders for concentration > camps! Help the Montana economy! North Dakota! Not too many people! A > little town called Auschwitz! > > Look at the agony in Afrika! Why can't the US and Europe give reparations! > We just about slaughtered the continent in the 19th-century! > > Why aren't people armed here! Why is it always right-wing assholes who > carry guns! Why don't the Democrats in Congress throw bombs! What are they > scared of! They've already lost their jobs, they just don't know it! I > want to sell drugs and oil! I want to sell guns and bombs! There's got to > be a way to make money in this criminal administration! Fucking thieves! > Murderers! Screw them! > > The US is the so-called most bloated country on earth yet you can't get > health care here; half the seniors are going without food so they can > afford medication shit out by obscene pharmaceuticals! People eat dogfood > here to survive! Fuck them all! The fucking rich are getting richer; they > should be on death row! The poor are barely making it! God forbid if > you're black or poor and ill or just about anyone other than a rich white > male! > > Fuck Bush! He thinks: Who needs electricity! His ass is glistening with > oil! His ass runneth over! So what if California collapses! They didn't > vote for him! They're probably fucking jews! arabs! blacks! He'll rob them > blind! > > Fuck Florida! Fuck the fascists just itching to take over the US! They'll > show the rest of the world! They've got the fucking weapons and they're > not afraid to use them! They'll go to heaven licking Christ's ass in > eternal rapture and leave the rest of us to die here! You can already > smell the corpses! > > > = > > > Dreams of Authority in the Words of Mouths > > > 401 Unauthorized, when: > no authorization information given > wrong authentication scheme > authentication 300 When dreams failed > not authorized to access document > 403 Forbidden 313 When words fail: absent document > request is forbidden, and authorization won't help > 404 Not found 341 When words dream: access to documents > requested file doesn't exist; to get this message the user has > to have first authenticated himself successfully and be > otherwise authorized to access that > file (if it existed) 380 When it exists > 380: Beg for mouths > 200 Document follows dreams and > document may be encrypted, depending on protection scheme; this > can be determined by looking at the first header lines > 110 Authorized when: > the unravelling of dreams > 401 or 404 given > 220 Unauthorized when: > 403 or 200 given > 230 Anomalous when: > 200 or 220 given > 110 or 230 given > 240 When 300 or 313 or 341 or 380 given: > Unauthorization scheme (see 550: unaccountable events) > > Phenomenology of vi: matrix or field of language: stuttered intervals > within it: particle field of commands intersecting semantic field of > intended meaning (wave-form). Code as code fragments. Application of > processes upon text, not within it (pico for example). Skin of digital > languaging. Motion-processing. > > Set autoindent. wm=8 Anomalous with full-window. > Set autoindent. text-motion within screen framework. > Autoindent: the code of memory. Mouths. > > Authority of written. Authorization scheme encoded. Memory of auto- > indent. Mind thinking in extruded space. Cellular columns reson- > ant with extrusions. Length of space between frame and autoindent: > authorization of memory. Memory at 580 or 640. > > Memory at 640x480. > > Authorization of memory. Encoding of unaccountancy. Matrix of autoin- > dent. Memory of matrix. Mouths. > > > ===== > ========================================================================= Date: Thu, 8 Feb 2001 02:05:32 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AERIALEDGE@AOL.COM Subject: New @ Bridge Street, Jarnot, Guest, Inman, Morton Feldman, Olson Letters &&& MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Thanks, Poetics, for your support. Ordering & discount information at the end of the list. 1. _M/E/A/N/I/N/G: An Anthology of Artists' Writings, Theory, and Criticism_, ed Susan Bee and Mira Schor, Duke, $22.95. Amelia Jones, Corinne Robins, Barbara Pollack, Aviva Rahmani, Laura Cottingham, Patricia Cronin, Faith Wilding, Charles Bernstein, Marcia Hafif, Lucio Pozzi, Daryl Chin, Joel Fisher, Johanna Drucker, Vanalyne Green, Tom Knechtel, Nancy Spero, Joseph Nechvatal, Ann McCoy, Richard Tuttle, David Reed, Pamela Wye, Nancy K Miller, Whitney Chadwick, Misko Surakovic, Dominique Nahas, &&&. 2. _The Portable Boog Reader_, ed David K Kirschenbaum, Boog Literature, $10. "73 poets, 28 days, The Portable Boog Reader is an instant anthology of New York City poetry with new work from Anselm Berrigan, Lee Ann Brown, Neal Climenhaga, Brenda Coutas, Jordan Davis, Katie Degentesh, Ethan Fugate, Laird Hunt, Lisa Jarnot, Richard Loranger, Eileen Myles, Wanda Phipps, Chris Stroffolino, Edwin Torres, and John Wright, among others." 3. _Last Words: The Final Journals of William S. Burroughs_, ed James Grauerholz, Grove, $12. "Last night I was going to become a jewel thief. Someone said: 'I envy your hands. They look dead.'" 4. _5 Days That Shook the World: Seattle and Beyond_, Alexander Cockburn, Jeffrey St. Clair, & Allan Sekula, w/ 32 color illustrations, Verso, $20. "In the annals of popular protest in America, these have been shining hours, achieved entirely outside the conventional arena of orderly protest, white paper activism and the timid bleats of the professional leadership of big labor establishment greens. This truly was an insurgency from below in which all those who strove to moderate and deflect the turbulent flood of popular outrage managed only to humiliate themselves." 5. _Conjunctions 35: American Poetry_, ed Bradford Morrow, Bard, $15. Ashbery, Hejinian, Kim, Coultas, Sze, Graham, Palmer, McMorris, Wheeler, Lauterbach, Coolidge, Sobin, Notley, Rumsey, Waldman, Schelling, Gander, Lin, Welish, Browne, Tate, Moore, Scalapino, Ramke, Berssenbrugge, Bernstein, R Waldrop, Bellen, Sacks, Shepherd, Guest, Revell, Hoover, Equi, Cole, Osman, Silliman, Yau, Neilson, Kelly, Mackey, Wright, Gizzi, Moldaw, North, Creeley, Shaughnessy, Markham, Tarn, DuPlessis, Cole, F Howe, Tardos, Tejeda, Mossin, Willis, Shapiro, Guthrie, S Howe, Swensen, K Waldrop, Alexander, Spahr, Sala, Schwartz, Imbriglio, Katz, Field, Taggart, Gladman, Moriarty, Young, Mac Low, Armantrout, & Hollo. 6. _Blast_, Kenward Elmslie, Skanky Possum, $12. "Bubbi starts to fragment. Maintains his coolth, but the yellow shit stroms hitting the fan, my t of o." 7. _Give My Regards to Eighth Street: Collected Writings_, Morton Feldman, ed B H Friedman, afterword by Frank O'Hara, Exact Change, $15.95. "Stockhausen asked for my secret, 'What's your secret?" And I said, "I don't have a secret, but if I do have a point of view, it's that sounds are very much like people. And if you push them, they push you back. So, if I have a secret: don't push the sounds around." Karlheinz leans over to me and says: 'Not even a little?'" 8. _Juice_, Renee Gladman, Kelsey St, $11. "Everyone wants to say they have felt it." 9. _Symbiosis_, Barbara Guest & Laurie Reid, Kelsey St, $17. "Hiss / the wool / fable" 10. _Hambone 15_, ed Nathaniel Mackey, $10. Williams, McKenzie, Gburek, Baus, Osman, Lazer, Mossin, Sobin, Brathwaite, Naylor, Johnson, Harryman, Mosley, Roberson, Taggart, F Howe, Hoover, Ives, Shea, Pearson, Robinson, Alexander, Gardner, Kalamaras, McNaughton, Frumkin, Major, Ragosta, Moriarty, & Finkelstein. 11. _Indivisible: A Novel_, Fanny Howe, Semiotext(e), $11.95. "If the universe is swelling and contracting, it sounds like a woman to me." 12. _amounts. to._, P. Inman, Potes & Poets, $9 (signed copies). "struct. nch." 13. _Ring of Fire_, Lisa Jarnot, Zoland, $13 (signed copies). "terrific, like the radios, the songs, the poems and the stars." 14. _Dear Dad_, Bill Luoma, Tinfish, $6. "Dear Dad, / You did things wrong, procedural things when I was young, and it was embarassing in front of other kids." 15. _Selected Letters_, Charles Olson, ed Ralph Maud, U Cal, $60. "_Craving_ for something so _open_ it hangs like the whole universe itself, in itself--trillions or whatever, who cares." 16. _Left Under a Cloud_, Stephen Rodefer, Alfred David Editions, $20. "Incident to flesh is parchment apposite / Dissolved in anecdotals and the neck / Downing faceprints to mismatched apogees / Of identically hewn briefs" 17. _Aleatory Allegories_, Susan M. Schultz, Salt Publishing, $12.95. "the appropriate heaven of nonce / equations, if it lasts beyond / this island's matrices." 18. _Forthcoming_, Jalal Toufic, Atelos, $12.95. New collection from film theorist, video artist, and author of _Distracted_, _(Vampires) :An Uneasy Essay on the Undead_, and _Over-Sensitivity_."It is only through the ordeal of countless recurrence that we may reach a genuine volition, willing eternal recurrence. Hence Nietzsche's philosophy could be a philosophy of the will only in so far as it was also one of eternal recurrence. Since repetition is a prerequisite of the will, and since according to Heidegger our epoch is that of 'the will to will,' Kierkegaard was quite right in his prognosis: 'This question [whether a repetition is possible and what importance it has] will play a very important role in modern philosophy.'" 19. _Portraits and Maps_, Diane Ward and Michael C. McMillen, NLF Editions, $12.95."Chained to the sky where I pore over your places, measuring the outsides." 20. _Pen Chants or nth or 12 spirit-like impermanences_, Lissa Wolsak, Roof, $9.95. "open the catacoustic forest" Some Bestsellers: _The Language of Inquiry_, Lyn Hejinian, $17.95. _The Sonnets_, Ted Berrigan, intro & notes by Alice Notley, $16. _Means without End: Notes on Politics_, Giorgio Agamben, $17.95. _Other Traditions_, John Ashbery, $22.95. _Antigone's Claim: Kinship Between Life and Death_, Judith Butler, $19.95. _Sunflower_, Jack Collum & Lyn Hejinian, Figures, $8. _Alien Tatters_, Clark Coolidge, Atelos, $12.95. _The Inkblot Record_, Dan Farrell, Coach House, $16.95. _Power: Essential Works Vol. 3_, Michel Foucault, New Press, $30. _American Letters & Commentary #12_, ed Anna Rabinowitz, $6. _Shiny #11_, ed Michael Friedman, $15. _The Big Lie_, Mark Wallace, $7.50. _Career Moves: Olson, Creeley, Zukofsky, Berrigan, and the American Avant-Garde, Libbie Rifkin, $16.95. _Extraordinary Measures: Afrocentric Modernism and Twentieth Century American Poetry_, Lorenzo Thomas, $19.95. _A Wild Salience: The Writing of Rae Armantrout_, ed Tom Beckett, $15. _Threadsuns_, Paul Celan trans Pierre Joris, $13.95. _Paramour_, Stacy Doris, $9. _A Knot Is Not a Tangle_, Ben Friedlander, $9. _The Germ #4_, ed Card & Maxwell, $6. _New Mannerist Tricycle_, Jarnot, Luoma, & Smith, $8. _Mon Canard_, Stephen Rodefer, The Figures, $12.50. _A Book of the Book: Some Works & Projections About the Book & Publishing_, ed Jerome Rothenberg and Steven Clay, Granary, $28.95. _Comp_, Kevin Davies, Edge, $12.50. _Republics of Reality: 1975-1995_, Charles Bernstein, Sun & Moon, $14.95. _Sight_, Lyn Hejinian & Leslie Scalapino, Edge, $12. _Aerial 9: Bruce Andrews_, ed Rod Smith, Edge, $15. _Why Different?_, Luce Irigaray, Semiotext(e), $8. Poetics folks receive free shipping on orders of more than $20. Free shipping + 10% discount on orders of more than $30. There are two ways to order. 1. E-mail your order to aerialedge@aol.com with your address & we will bill you with the books. or 2. via credit card-- you may call us at 202 965 5200 or e-mail aerialedge@aol.com w/ yr add, order, card #, & expiration date & we will send a receipt with the books. We must charge shipping for orders out of the US. Bridge Street Books, 2814 Pennsylvania Ave NW, Washington, DC 20007. ========================================================================= Date: Thu, 8 Feb 2001 10:56:31 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Shemurph@AOL.COM Subject: New from Sheila Murphy Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit CHANCES WITH THE WILLOW is available from Melquiades/BooksOut Press 4717 Old Mill Road, Fort Wayne, IN 46807 - $7.50. a 50-page chapbook of new work. ========================================================================= Date: Thu, 8 Feb 2001 12:15:48 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: happy campers In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit you forgot the music playing at the station to keep us calm and optimistic. "living la vida loca." -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Alan Sondheim Sent: Tuesday, February 06, 2001 2:45 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: ----- we're all happy campers the facilities are outstanding they promise the showers are poison-free that arbeit macht frei refers to minimum wages you can come and go as you please the ovens are for baked goods and delicious smells we were told the townpeople don't like us townpeople, townpeople, we'll stay put we're glad for the food and water we're happy to loan you our girls and boys they can use the rest and relaxation we want to thank you all for your support opportunities come along only once in a lifetime we wouldn't be here without you ===== ========================================================================= Date: Thu, 8 Feb 2001 19:19:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: sutra MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - sutra nikuko wants to know, what does it mean that 'man is the measure of all things'? nikuko wants to know, what does it mean to 'know thyself'? 'we do not speak of the gender of 'man' above; we want to say: 'one is the measure of all things.' surely for one that is true. theory absolves pers- onal history and taste: i do such and such, believe such and such, within the realm of digital explanation; mute, abject, analog description has no place in the world of discourse. it is description that thickens at every turn of the mind or body, always already resisting measure and measure- ment. knowledge, too, is imminent, implicit in the intended gaze; nothing is foresaken, forlorn; something is defined by virtue of the gaze itself. so we would say, not state; talk, not speak; thus to the unfathomability of knowledge.' --- ========================================================================= Date: Fri, 9 Feb 2001 11:52:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: gig in Philly Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Wanda Phipps & Joel Schlemowitz won't be performing at the event mentioned below due to illness. Sorry, hope to see you next time. An Evening in Philadelphia Celebrating the Release of The Portable Boog Reader: Wanda Phipps (accompanied by Joel Schlemowitz on guitar) Greg Fuchs Susan Landers Betsy Spivak (singer/songwriter) Matt Hart Holly Bittner Ethan Fugate Ethel Rackin Magdalena Zurawski & bands: Bionic Finger Hoopty Heaven Saturday, February 10, 10pm - 1:30am at La Tazza 108 Chestnut Street, Philadelphia, PA (in Old City between 2nd and Front St.) For more info. call Booglit at 212-206-8899 E-mail booglit@theeastvillageeye.com or call La Tazza at 215-922-7322 ========================================================================= Date: Fri, 9 Feb 2001 14:47:03 -0700 Reply-To: laura.wright@colorado.edu Sender: UB Poetics discussion group From: Laura Wright Subject: Waldman & Edwards Feb. 15 in Boulder MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit THE LEFT HAND READING SERIES presents a reading by poets * A N N E W A L D M A N * * & * * K A R I E D W A R D S * including a special release party for Ms. Waldman's new CD * ALCHEMICAL ELEGY * * THURSDAY, FEBRUARY 15th * * 8 p.m. * in the 'V Room at the Dairy Center for the Arts 2590 Walnut Street, Boulder CO P L U S A N O P E N R E A D I N G a Donation is requested copies of Ms. Waldman's CD will be on sale For more information about the Left Hand Reading Series, call (303) 938-9346 or (303) 544-5854. *** One of Boulder's most celebrated poets, Anne Waldman is the fast-speaking poetic diva of international renown. Among her recent books are Marriage: a sentence and Kill or Cure, both published by Penguin, and Iovis and Iovis II, both published by Coffee House Press. This summer Coffee House Press will publish Vow to Poetry, a compilation of autobiography, interviews and essays. A co-founder with Allen Ginsberg of the Jack Kerouac School of Disembodied Poetics at what is now Naropa University, Waldman was also assistant director and director of New York's legendary Poetry Project during the seminal period of 1966-1978. A two-time winner of the Heavyweight Championship Poetry Bout in Taos, NM, and recipient of the 1996 Shelley award for poetry, she is distinguished Professor of Poetics at Naropa University and is also on the faculty at the Schule für Dichtung in Vienna. Waldman's new CD features Waldman performing her poetry backed by musicians Steven Taylor, Mark Miller and Elliot Greenspan. The CD also features a vintage recording of Waldman and the late Ted Berrigan reading from their long collaborative poem "Memorial Day" at the Poetry Project in New York City. kari edwards is a poet and artist Born 523 years after Joan of Arc was burnt at the stake. Her book post/(pink) by Scarlet Press was published in of April, 2000. kari's work can also be found in Blood and Tears, an anthology of poetry on the murder of Matthew Sheppard (Painted Leaf Press), The International Journal of Sexuality and Gender Studies and Facture. kari has exhibited her art throughout the United States, including exhibitions at the Denver Art Museum, New Orleans Contemporary Art Museum, University of California-San Diego, and University of Massachusetts- Amherst. She is the poetry editor of Transgender Tapestry. She has taught art at the University of Denver and the Tyler School of Art at Temple University, and has taught literature and art at the University of Colorado- Boulder. kari has lectured at the Lambda Rising Queer Studies Conference, the University of Colorado, and at Regis University. *** The LEFT HAND READING SERIES is an independent series presenting readings of original literary works by emerging and established writers. Founded in 1996 and originally sponsored by Boulder's Left Hand Bookstore, the series is now curated by poets MARK DuCHARME and LAURA WRIGHT. Readings in the series are presented monthly. The Left Hand Reading Series is funded in part by grants from the Boulder Arts Commission and the Arts and Humanities Assembly of Boulder County (AHAB). Upcoming events in the series include: * THURSDAY, MARCH 15th: JANE WODENING, LAURA LEE, & JIM COHN * -- "It is the quality of a poet's affection that matters." --Dale Smith Laura Wright Serials Cataloging Dept. Norlin Library University of Colorado, Boulder (303) 492-3923 ========================================================================= Date: Sat, 10 Feb 2001 01:50:48 -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 --- 1 clear the mirror 2 so that you might see 3 nothing of your body 4 not even clouds 5 there is no mirror 6 there is no body 7 you're blind 8 you can't see clouds 9 clear your body 10 there are no clouds 11 there are no eyes 12 there are no mirrors 13 you see every cloud 14 you see all your body 15 look in the mirror 16 you see all your body 17 you're not a cloud 18 you're not a mirror 19 you're not a body 20 clear away nothing 21 keep the tree off the mirror 22 keep the dust off the tree 23 clean your body over and over 24 you're nothing but a hole 25 you're a cloud in a tree 26 clean the dust off your body 27 look for the tree 28 wipe the mirror clean 29 there is no dirty mirror 30 there's a mirror 31 there's a hole in your body 32 it's another tree 33 you're blind in your mirror 34 you're not a cloud 35 you're always in red dust 36 clean the red dust 37 there's no red dust 38 there's no blue dust 39 clean the mirror 40 there's always red dust 41 don't clean or look 42 there's nothing 43 the other tree's your body 44 look for the tree 45 don't listen to me 46 stop making sense 47 chop down the tree 48 roll in red dust 49 shatter the mirror 50 chop down the buddha 51 shatter the tree 52 stir up the red dust 53 blow away the clouds 54 clouds never move 55 swallow red dust 56 red dust remains 57 don't listen to mirrors 58 listen to clouds 59 stir and listen 60 clouds are red dust 61 don't listen 62 don't hear 63 don't speak 64 don't talk 65 clouds are air 66 mirrors are earth 67 red dust is fire 68 trees are water 69 wipe them away 70 don't wipe them 71 they're not there 72 they're there 73 don't wipe away mirrors 74 don't wipe away clouds 75 you can't wipe mirrors 76 you can't wipe clouds 77 don't wipe red dust 78 don't wipe fire 79 don't wipe mirrors 80 don't wipe earth 81 don't wipe clouds 82 don't wipe air 83 don't wipe trees 84 don't wipe water 85 you can't be you 86 you can't be anything 87 don't do anything 88 don't just sit there 89 there is no you 90 there is no zazen 91 there are mirrors and mirrors 92 there are clouds and clouds 93 there's a lot of red dust 94 there's a tree or two 95 there's always your body 96 there's never your body 97 forget the trees 98 don't wipe and be lazy 99 don't think and don't dream 100 don't just sit there and sit there 101 don't clear the mirror 102 don't look around 103 look around and don't look 104 just don't be anything 105 don't listen or speak 106 don't read and don't write 107 don't do this 108 don't do this 109 vi:x:q ~ ========================================================================= Date: Sat, 10 Feb 2001 10:20:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: More on Amazon - Call for Support Comments: To: Discussion of Women's Poetry List MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Below three emails from Day2/WashTech, the union attempting to orginize Amazon - those Seattle workers who were first hired - and first fired, including a sample letter you can send to Amazon. (geert) For more information: http://www.washtech.org/day2/020801_deadline.php ---------------------------------------------- (1) Dear Day2/WashTech Supporter, We are Amazon.com Customer Service employees in Seattle who have been working to organize a union called Day 2 - affiliated with WashTech/CWA. As you may have heard, the majority of us were informed on Tuesday, January 30, that the Seattle customer service center will be closing in May and that our jobs will cease to exist. We want to make it clear that Day 2 is not finished organizing. Specifically, we are concerned by a "Separation Agreement and General Release" contract that we have been required to sign in exchange for an "Enhanced Severance Package" when we leave in May. If we don't sign this agreement by February 9, 2001, we will receive a drastically reduced package. While Amazon has removed a non-disparagement clause from the contract, there are several other points of concern in this separation agreement regarding basic workers' rights and the right to organize. Certain sections are also in violation of the National Labor Relations Act (NLRA). We are asking as many people as possible to send an email to orders@amazon.com including either the message below or a modified version of it. Lastly, we want to thank you for your amazing support during this union drive. Your words of encouragement have been invaluable in keeping our spirits up and strengthening our resolve in the face of an anti-union campaign on the part of Amazon management. Thank you for your continued support, Day2 WashTech/CWA ------ ***Sample Letter*** Dear Amazon, It has come to my attention that you are asking your laid-off customer service employees to sign a "Separation Agreement and General Release" by February 9, 2001, as a condition of receiving their full severance package. While Amazon has removed a non-disparagement clause from the contract, there are several other points of concern in this separation agreement regarding basic workers' rights and the right to organize. Particularly, sections of this contract restrict these employees' right to file any existing and future claims against the company. Rrequiring these workers to sign this contract before their end date is illegal as it violates subsections 8 (a)(1), (4) and (5) of the National Labor Relations Act. Amazon should not force laid off workers to choose between their severance package and their rights. Sincerely, ---------------------------------------------- (2) Dear Day2 - WashTech/CWA Supporter, We have won a small but very significant victory today! Yesterday we wrote you and asked that you email Amazon.com about the "separation agreements" that laid off employees were asked to sign by this Friday, February 9. Due to your numerous letters to the company and our internal organizing efforts, Amazon.com has decided to extend our deadline to the last day of our employment. While we still have concerns about this agreement, we are pleased that so many people have shown their support through letters and e-mails. We are continuing to organize around specific clauses of the agreement - particularly those that require that we give up our rights in exchange for the severance package we deserve. We encourage everyone to continue to watch our efforts at http://www.washtech.org/day2 . Thanks to continued support from CWA and WashTech, we continue to build power for ourselves through Day 2. Please check out the statement we are releasing about this victory below... In solidarity, The Day 2 Organizing Committee WashTech/CWA ******************************** Day 2 Statement on Extending the Deadline Earlier today, Amazon.com announced that they would no longer be requiring laid-off Customer Service employees here in Seattle to return their signed Separation Agreement by February 9. We now have until our date of termination, either May 4 or May 25, to sign and return this document. Needless to say, we feel that this is a step in the right direction, won by our continued and organized efforts. We are all breathing a collective sigh of relief. We are no longer being pressured into choosing between our rights and our full severance package with such short notice. We would like to thank Amazon.com for their continued good will and willingness to listen to our concerns. Nonetheless, we do have additional concerns, which we hope will be addressed: 1) Many employees have already signed and returned their Separation Agreements. Although Amazon.com has stated that they will return the signed agreements to any employees who request that they do so, we feel that, as this announcement came so close to the now nullified deadline, Amazon.com should return *all* previously signed agreements to its employees. This will give all laid-off employees the chance to continue to seek legal counsel before returning the agreement, regardless of whether they have already returned the agreement. 2) In said Separation Agreement, there are still two clauses that would require us to eliminate our rights. These are clauses #10 and 11, the General Representation General Release by employee clauses, which ask us to sign away our rights to pursue action against the company for legal or compensatory reasons. We ask that these clauses be removed entirely. 3) We would still like to request that Amazon.com make the enhanced severance package available to any laid-off employee who chooses to leave their employ before their official date of termination. Upon consideration of these three demands, we ask Amazon.com management to rescind the separation agreement all-together and to simply provide us with the Enhanced Severance Packages in respect of our dedication and service to the company. Again, we do appreciate the company's willingness to work with its employees in these trying times, and look forward to continued good will between Amazon.com and its laid-off employees. Jeremy Puma Amazon Laid Off CS Employee ---------------------------------------------- (3) Febrary 8, 2001 AMAZON.COM EXTENDS DEADLINE ON SEPARATION AGREEMENT FOR CUSTOMER SERVICE EMPLOYEES (Seattle, WA) Amazon.com will give laid off hourly customer service orkers until May to decide if they want to sign a controversial separation agreement in exchange for an Enhanced Severance Package of 10 weeks additional pay plus $500. While the company had originally given laid-off workers, who ill continue to work at the company through May, a deadline of Friday, February 9, to sign the agreement, the company announced in a department wide e-mail today that the deadline has been extended to the employees' termination date. The announcement comes two days after 50 customer service employes in Seatte staged a 15-minute walkout protesting the companys layoffs and the separation agreement. ========================================================================= Date: Sat, 10 Feb 2001 15:36:53 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dbkk@SIRIUS.COM Subject: Feb. 15: Eileen Myles at Mills College Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Eileen Myles at Mills College (Oakland, CA) Thursday, February 15, 4 - 5 p.m. Free and open to the public in the Pep Lounge (2nd Floor) of Mills Hall EM will read from her new "nonfiction novel" Cool For You and discuss the fuzzy boundaries between fiction and nonfiction--and her experience of writing a novel as a poet. ========================================================================= Date: Mon, 12 Feb 2001 07:55:54 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ramez Qureshi Subject: Hoover contact info MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Cld someone provide me w/contact info (e-mail) for Paul Hoover. Much thanks, Ramez Qureshi ========================================================================= Date: Wed, 7 Feb 2001 12:21:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: George STANLEY & Sharon THESEN, Thurs Feb 8th, 7:30 Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable *** Don't miss The Poetry Center's opening night!! Tomorrow !! *** P O E T R Y C E N T E R 2 0 0 1 The Poetry Center & American Poetry Archives presents A special evening with Vancouver poets GEORGE STANLEY & SHARON THESEN Thursday February 8 7:30 pm, $5 donation @ The Unitarian Center 1187 Franklin (at Geary) San Francisco native GEORGE STANLEY makes a rare return visit to his home town for The Poetry Center's opening evening of its Spring 2001 series. A member of the poetry circles around the late Jack Spicer and the North Beach bohemian scene during the 1960s, Mr. Stanley had his early books published here by the legendary White Rabbit Press. Some of his finest later poems are centered on his personal and family history in San =46rancisco. His amazing long poem "San Francisco's Gone" (in the recent book Gentle Northern Summer) is the most remarkable San Francisco poem to appear within anyone's recent memory. Since 1970 George Stanley has made his home in Vancouver, British Columbia, where he teaches at Capilano College. His recent books, published by New Star Books of Vancouver, include the brilliant volume Gentle Northern Summer and, just out, that book's equally compelling successor, At Andy's. SHARON THESEN is one of Canada's more prominent poets and editors. Recent projects include her edition of The New Long Poem Anthology (Coach House Press, Toronto; new edition forthcoming from Talonbooks), and, co-edited with scholar Ralph Maud, the incredibly illuminating correspondence between the remarkable writer Frances Boldereff and the late great poet Charles Olson-- Charles Olson and Frances Boldereff: A Modern Correspondence (Wesleyan University Press, 1999). Ms. Thesen's books of poetry include Artemis Hates Romance, Aurora (both from Coach House), News and Smoke (Talonbooks, 1999) and, most recent, A Pair of Scissors (Anansi, 2000). She too teaches at Capilano College in Vancouver. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D VERACRUZ In Veracruz, city of breezes & sailors & loud birds, an old man, I walked the Malec=F3n by the sea, and I thought of my father, who when a young man had walked the Malec=F3n in Havana, dreaming of Brazil, and I wished he had gone to Brazil & learned magic, and I wished my father had come back to San Francisco armed with Brazilian magic, & that he had married not my mother, but her brother, whom he truly loved. I wish my father had, like Tiresias, changed himself into a woman, & that he had been impregnated by my uncle, & given birth to me as a girl. I wish that I had grown up in San Francisco as a girl, a tall, serious girl, & that eventually I had come to Veracruz, & walking on the Malec=F3n, I had met a sailor, a Mexican sailor or a sailor from some other country-- maybe a Brazilian sailor, & that he had married me, & I had become pregnant by him, so that I could give birth at last to my son--the boy I love. ~George Stanley from At Andy's (New Star Books, =A9 George Stanley 2000) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D about George Stanley: "The reality that Stanley experiences is so demanding that the poems simultaneously track the experience of the world he's in, the startling play of his mind, and his recurrent, shifting insights about language, which is inseparable from the world." about Sharon Thesen: "The scissors of the title snip through unexpected corners of the world. Like Stanley's, Thesen's poems are animated by an unusually powerful intelligence. They typically begin with a mundane moment . . . but before even a brief poem is over, it cuts into the often ominous, quirky, reality below. . . . Thesen's poems are insistently in the same world as the rest of us." ~Stan Persky, reviewing At Andy's and A Pair of Scissors =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D THE UNITARIAN CENTER is located at 1187 Franklin Street at the corner of Geary on-street parking opens up at 7:00 pm from downtown SF take the Geary bus to Franklin READINGS that take place at The Poetry Center are free of charge. Except as indicated, a $5 donation is requested for readings off-campus. SFSU students & 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 Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State 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: Wed, 7 Feb 2001 12:38:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: *** POETRY CENTER Spring 2001 Calendar *** Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable *** In lieu of our printed calendars (with Joe Brainard's "Flower Painting IV" on front) taped to your refrigerator, here's a refresher course of readings coming up this season. Printed calendars are indeed in the mail, & you should see them soon if you're on our mailing list. *** P O E T R Y C E N T E R 2 0 0 1 The Poetry Center & American Poetry Archives Spring 2001 readings schedule (all Thursdays, except as indicated) * February 8 George Stanley & Sharon Thesen (Unitarian Center, 1187 Franklin, 7:30 pm, $5) * February 15 David Meltzer & Jack Hirschman (Unitarian Center, 1187 Franklin, 7:30 pm, $5) * March 1 Semezdin Mehmedinovic & Ammiel Alcalay (free public conversation @ Poetry Center, 4:30 pm; reading @ Unitarian Center, 1187 Franklin, 7:30 pm, $5) * March 4 (Sunday) Homage to Joe Brainard (at UC Berkeley Art Museum, 2:00-5:00 pm, free w/museum admission) presented by UC Berkeley Art Museum, co-sponsored by The Poetry Center -Six poets featuring: Kenward Elmslie, Ron Padgett, Anne Waldman, Bill Berkson, Barbara Guest, & Dick Gallup * March 15 Benjamin Friedlander & Horace Coleman (Poetry Center, 4:30 pm, free) * March 29 Milton Murayama (Poetry Center, 4:30 pm, free) * April 5 Mark McMorris & Elizabeth Willis (Unitarian Center, 1187 Franklin, 7:30 pm, $5) * April 19 Ernesto Cardenal (The Women's Building, 3543 18th Street, 7:30 pm, $5-10) * April 28 (Saturday) Euro-SF Poetry Festival (Unitarian Center, 1187 Franklin, 7:30 pm, $5) w/Katarina Frostenson (Sweden), Tor Obrestad (Norway), Lutz Seiler (Germany), & Taylor Brady (San Francisco) * May 3 Cole Swensen & Elizabeth Robinson (Poetry Center, 4:30 pm, free) Poetry Center Book Award reading: Cole Swensen, Try (Univ of Iowa, 1999) with award judge Elizabeth Robinson * May 10 Student Awards Reading (Poetry Center, 4:30 pm, free) * May 17 Stefania Pandolfo & Leslie Scalapino (Unitarian Center, 1187 Franklin, 7:30 pm, $5) =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: Mon, 12 Feb 2001 11:31:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fred Muratori Subject: Re: The battlefield where the moon says I love you In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The Williams article, by Bill Buford, was in the Jun 5, 2000 issue of the New Yorker. Stanford's death was the inspiration for a couple of her songs, including "Sweet Old World," one of her most moving. Until I read the article, I had no idea that C.D. Wright had also had a relationship with Stanford. Interesting stuff. -- Fred M. At 08:23 PM 2/6/01 -0500, you wrote: >For those interested in gossip on Stanford, check out the long profile of >Lucinda Williams that was in the New Yorker awhile back -- anyone remember >when? > >Arielle > >**************************************************************************** >"I thought numerous gorgeous sadists would write me plaintive appeals, but >time has gone by me. They know where to get better looking boots than I >describe." -- Ray Johnson ******************************************************** Fred Muratori (fmm1@cornell.edu) Reference Services Division Olin * Kroch * Uris Libraries Cornell University Ithaca, NY 14853 WWW: http://fmref.library.cornell.edu/spectra.html ********************************************************* "The spaces between things keep getting bigger and more important." - John Ashbery ========================================================================= Date: Mon, 12 Feb 2001 13:22:32 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gerald Schwartz Subject: Re: The battlefield where the moon says I love you MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit For those interested in gossip...why not just listen to the Jad Fair tune..."Tongues Wag in This Town."... It's the difference between "Third Watch" where everything's a soap-opera...and "Law and Order" where everything's just a police procedural...give us details of beautiful mechanisms driving the new poetry ... not satin-sheet hopping whatever... Best, Gerald ========================================================================= Date: Mon, 12 Feb 2001 11:46:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kristin A Dykstra Subject: Buffalo - Lienlaf cancellation In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Please note that Leonel Lienlaf's reading, scheduled for Tuesday 1/13 at the UB poetry library, has been cancelled. Thank you. ========================================================================= Date: Mon, 12 Feb 2001 14:18:26 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: Kelsey St. Press MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit On behalf of Kelsey St. Press, I would like to share the following information on Events and Forthcoming Titles: EVENTS: March 4th Barbara Guest, Anne Waldman, Ron Padgett, Bill Berkson, and Kenward Elmslie in homage to Joe Brainard, introduced by Robert Hass. Museum Theater, Berkeley Art Museum, 2625 Durant Ave, Berkeley, CA, 2-5pm. March 24th Mei-mei Berssenbrugge reading at Double Happiness, 73 Mott Street, New York, 4pm April 20th Kelsey St. Book Party and Reading for Renee Gladman and Elizabeth Robinson at Small Press Traffic, CCAC, 7:30pm Timken Lecture Hall, Montgomery Campus May 3rd Elizabeth Robinson reading at San Francisco State University with Cole Swenson, 4:30pm ---------- KELSEY ST. PRESS' NEW BOOKS IN 2001: Publication of The Interrogation of Strangers, prose by Bhanu Khapil Publication of Nude, poetry by Anne Portugal, translated by Norma Cole Publication of Cusp, poetry by Jocelyn Saidenberg, winner of the 2001 Francis Jaffer Book Award Publication of Contingent Ardor, poetry by Denise Liddell Lawson Publication of Cecilia Vicuna's Instan, drawings and poetry by Cecilia Vicuna, in Spanish and English. Publication of Girl Riding Through the Story Garden, poetry by Patricia Dienstfrey --------- Best, Eileen Tabios ========================================================================= Date: Mon, 12 Feb 2001 15:04:23 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Organization: Boog Literature Subject: Belladonna update from Rachel Levitsky MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Hi all, Rachel Levitsky asked if I could forward this. Thanks and hope all is well. as ever, David K. _________________________________________________________________________________________________ Dear Friends, It's been a strange past few months. Moved into a great new space and then began losing critical things. First my fat address book (not email), and two weeks ago my apartment was burgled and my computer was stolen. Everything from the past two years including all my Belladonna communications. If you get this message and would like to be on the soon to be reconstructed list, do send a little email to Levitsk@attglobal.net, with your name and email address. Thank you for your support. I look forward to seeing you soon at one of the events below or yet another. Happy February, Rachel Levitsky BELLADONNABELLADONNABELLADONNABELLADONNA March 2, 2001 at 7:00 pm The BELLADONNA* Reading Series returns!!! Kathleen Fraser [il cuore: the heart (Wesleyan, 1997)] Lisa Jarnot [Ring of Fire, Zoland, 2001] at Bluestockings, New York’s only all women’s bookstore, 172 Allen Street, between Rivington and Stanton on the Lower East Side. For more information, call 212-777-6028. And April 6, 7 pm Claudia Rankine and Rachel Blau DuPlessis same space/number more info later ========================================================================= Date: Mon, 12 Feb 2001 16:15:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hoa Nguyen Subject: POSSUM POUCH EXPIRES! Mime-Version: 1.0 Content-Type: text/plain; format=flowed The January 2001 Possum Pouch, an irregular publication of essays, notes and reviews, will expire on 2/18/01--and will *not* be archived. So get it while it's hot, as they say... Watch out! New contents will be up on February 19th. Yours in poetry, Hoa Nguyen http://www.skankypossum.com/ _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Thu, 8 Feb 2001 10:24:28 -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 - "Initial Dance" by Lawrence Upton MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit housepress is pleased to announce "Initial Dance" by Lawrence Upton printed in an edition of 50 handbound & numbered copies. printed on Southworth 25% cotton fibre watermarked 20 lb. fine bond with 65lb. card covers, "Initial Dance" is now available for $5. contact derek beaulieu at housepress@home.com for more information. ========================================================================= Date: Thu, 8 Feb 2001 10:27:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Baraka Conference in D.C. Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" HOWARD UNIVERSITY CELEBRATES AMIRI BARAKA AND THE ACADEMY AT MILLENIUM A Conference and Tribute Presented by the Department of English February 15, 2001 Howard University is located at 2400 6th Street, N.W. in Washington, D.C. The office of the Department of English is housed in Alain Locke Hall, room 248. Conference events, including the Hearts Day Tribute dinner honoring Amiri Baraka will take place in the Armour J. Blackburn University Center adjacent to Locke Hall. Program (subject to change) 9:00 a.m. Blackburn Forum Coffee and Registration 9:30 11:00 a.m. Blackburn Forum Theorizing Baraka -- Moderator: Onwuchekwe Jemie, Howard University “Amiri Baraka and the Limits of Open Form” Benjamin Lee, University of Virginia “Stage Europeans and a Critique of Whiteness: The Black Nationalist Plays of Amiri Baraka” Carmelina Cartei, Hunter College, City University of New York “The Logic of Retribution: Racial Dialectic in Amiri Baraka” Nita N. Kumar, Mukherjee College, University of Delhi “Sometimes Funny, But Deadly Serious: Amiri Baraka as Political Satirist” Jiton Davidson, Howard University, Publisher of FYAH “Flying Without Airplanes, Cooking Without Stoves: Magic and Pragmatics in the Writings of Amiri Baraka” Ellease Ebele Oseye, Professor of the Literature of African Peoples, Pace University, New York 11:15 a.m. 12:30 p.m. Blackburn Forum The Language of Amiri Baraka-- Moderator: Diane Isaacs, University of Maryland “’One Night Stand’: Rereading Early Baraka” Aldon Lynn Nielsen, Fletcher Jones Chair of Literature and Writing, Loyola Marymount University, Los Angeles “’Hunting is Not These Heads’: The Baraka Critic as Taxidermist” Joe Heithaus, De Pauw University, Greencastle, IN “Amiri Baraka, the Black Arts Movement, and the Poetics of a Popular Avant Garde” James Smethurst, University of North Florida, Jacksonville “Baraka and the Language of Theater” Woodie King, Critic and Anthologist “Performing Baraka” Al Freeman, Howard University 12:30 1:00 p.m. Blackburn Forum Redemptive LanguageKeynote Address Eleanor W. Traylor, Howard University 1:00 2:00 Blackburn Reading Room Lunch with Amiri BarakaModerator: John Reilly, Howard University 2:15 -- 5:30 p.m. Blackburn Forum I. Critics’ and Publishers’ Roundtable --Moderator: James A. Miller, George Washington University William J. Harris, Pennsylvania State University Joe Weixlmann, Editor, African American Review Indiana State University, Terre Haute Wentworth Ofuateh-Kojo, Queens College, City University of New York, Graduate Center Eugene Redmon, Southern Illinois University Theodore Hudson, Professor Emeritus, Howard University II. Poets’ Roundtable--Moderator: Sandra Shannon, Howard University Haki Madhabuti, Co-Founder of Gwendolyn Brooks Center, Chicago State University Sonia Sanchez, Professor Emerita Temple University A.B. Spelman, National Endowment of the Arts Ethelbert Miller, Howard University Lorenzo Thomas, University of Houston 7:30 p.m. Blackburn Ballroom Hearts Day Gala Dinner with Max Roach Ensemble " 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, 8 Feb 2001 14:58:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: joy katz Subject: Looking for Jayne Cortez Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit If anyone has an email address (or a snail mail address) for Jayne Cortez, I would be grateful. Thanks! Joy Katz ========================================================================= Date: Thu, 8 Feb 2001 21:13:16 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: GasHeart@AOL.COM Subject: Philly: Theater, Music, Film - Issue #37 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit 1. film noir rarity THE BURGLAR, secret cinema, fri., 2/16, 8pm, $6 2. an abatross and stinkin' liz and more! sat., 2/17, 6:30pm, $3 3. 7 punk bands at killtime, 2/10, sat., 6pm, $5 4. gate to moonbase alpha. music and performance art fri. 2/16. 8pm-12am, free 5. Roxy Music Reunites! , this summer! 6. no more sundance movie theater at 40th and walnut st.? 7. no more sega dreamcast 8. use of the letter X, X-games, XFL football, Xm radio, X box..... 9. no more converse allstars?!? 10. want to come out and play??? New Games in Clark Park. 11. GypsyBoots event, free music, first fridays 9-2, at Daklak, 4708 Baltimore Ave. 12. call for artists, Frankford Arts Festival 13. call for artists, art auction for arts collective, contact trishy 14. call for artists, 5th annual phila. fringe festival, applications due 3/15 __________________________________________________________ 1. film noir rarity THE BURGLAR, secret cinema, fri., 2/16, 8pm, $6 The Secret Cinema at Moore College of Art and Design presents forgotten Philly film noir rarity THE BURGLAR Friday, February 16 8:00 pm Admission: $6.00 Moore College of Art and Design 20th & Race Streets, Philadelphia made in philly...look for your house in the background! ___________________________________________________ 2. an abatross and stinkin' liz and more! sat., 2/17, sat., 6:30pm, $3 from ed- yanni's band, and my band are playing a show together on feb. 17th @ the fun rama house in west philly. if you're interested in coming, let me know - i'll get you the details! ps - here's some information at that show with albatross and stinking liz: >* STINKING LIZAVETA >* AN ALBATROSS >* THE SOUND OF FAILURE >* CAP'N CRASH >* JAMES LOVE JACKSON ed is in "an albatross", a great band/performance art piece not to be missed....they interact with the audience and that's all i'll say without giving the surprises away, it is hypnotic....yanni is in stinking lizaveta, one of philly's best bands...they rock...yanni's guitar has a distinctive eastern european sound, but sort of jimi hendrix style. by the way, "stinking lizaveta" was a character in a dostoyevsky novel. the show costs a measly $3 and starts at 6:30 pm, 4103 baltimore ave., sat., 2/17, -josh. __________________________________________________________ 3. 7 punk bands at killtime, 2/10, 6pm, $5 Sat, Feb 10th, 6pm, ALL AGES, $5 @Killtime 39th & Lancaster Ave Philadelphia, PA info, contact Michael, Msubvert@aol.com (you can find directions at http://hometown.aol.com/killtimeshows) Trailer Trash UK Thorazine Wasteland Babies The Transfusions (from NJ) The Overprivileged (from VA) No Future Mohawk Barbie (from NJ) --Michael Trailer Trash UK ________________________________________________________ 4. gate to moonbase alpha. music and performance art fri. 2/16. 8pm-12am, free Mistsojorn: like trippy, spacey whirling ambient, dreamy, and experimental electronic tunes? come to gate to moonbase alpha. fri. 2/16. 8pm-12am@the rotunda, 4012 walnut st. philly.more tba...simpletone.com.@the rotunda, 4012 walnut st. philly.more tba...simpletone.com. free! ______________________________________________________ 5. Roxy Music Reunites! , this summer! Roxy Music Reunites!...this is hot off the presses....the glam rock influential group from the seventies is reuniting and will tour the usa this summer....unfortunately it will be without founding member, brian eno, but will include , bryan ferry, andy mackay, and phil manzanera...the other founding members...this show is not to be missed....they're big hit was 'love is the drug', but a lot of their stuff was earth-shatteringly mind-bending. -josh ________________________________________________________ 6. no more sundance movie theater at 40th and walnut st.? robert redford's sundance movie theaters are said to be bankrupt...they were in the middle of building a movie theater at 40th and walnut st. we will see what happens there. apparently, he was building many of these theaters around the country, and they were nice, but expensive, and well, he ran out of money before any of them opened. __________________________________________________________ 7. no more sega dreamcast also bankrupt/shutting down is sega dreamcast....will no longer be produced, good luck getting any cool games for your 'paperweight' in the future. the guy at the store says to hold out for the x box coming out soon, try to skip the playstation 2 which is out now. ____________________________________________________________ 8. use of the letter X, X-games, XFL football, Xm radio, X box..... note: post milennial use of the letter X. the X box is the new video game system.....then there's the X games which are coming to philadelphia by the way, extreme sports, and then there's xmsr, a company launching xm sattelite radio....you heard of am, and fm, well, now there will be xm....there will be special xm radios in cars that will be able to pick up 100 stations, wherever you are in the usa, even rural areas, because it will be beamed down from 2 sattelites, one over the east coast, one over the west coast....the sattelites are named "rock" and "roll", the launch of the first one is scheduled for feb. 28th , the second will be launched in april, and service begins this summer. GM is a major partner and will be factory installing these radios. the launch of the rockets carrying the sattelites will be at sea, on the equator. the monthly fee for this service is $10 a month. the stock's ticker symbol is xmsr. and of course we can't forget......XFL.....extreme football. -josh xgames.com for xgames xmradio.com for xm sattelite radio XFL.com for XFL football XBOX.com for xbox info _____________________________________________________________ 9. no more converse allstars?!? also bankrupt....out of production....converse allstars....stock up now before they're all gone! _____________________________________________________________ 10. want to come out and play??? New Games in Clark Park. Hey Josh, I don't know if you will send out a Gasheart soon, but the next New Games will be starting up again, we meet some sundays at 11 am in Clark Park (in west philly). If you could post the invite, I would appreciate it. Thanks, Milan contact milan for more info _____________________________________________________________ 11. GypsyBoots event, free music, first fridays 9-2, at Daklak, 4708 Baltimore Ave. Josh, They are first fridays, from 9:00 - 2:00, at Daklak Eretrian/Ethiopian restaurant (4708 Baltimore Ave.). There is no cover. For info or dir. call 215-726-6464. This is a GypsyBoots event (GypsyBoots supports local music and builds community.) local musicians get together and share some sounds Thanks for your support. Any of this info. that you can advertise will be greatly appreciated. email gypsyboots2001@yahoo.com for more info.....want to perform? contact rich. Rich __________________________________________________________ 12. call for artists, Frankford Arts Festival Hi Josh! This is GAry Ross from the Frankford Arts Festival and we are mounting this again on may 19, 20. We seek artists performers, all types of street performers . Some pay this year tho!! Could you forward a notice to your list inviting those interested to contact me?? Gary Ross grunnergar@aol.com Thanks for all you do!!!! Gary Ross ________________________________________________________ 13. call for artists, art auction for arts collective, contact trishy CALL FOR ARTISTS & ARTWORK! WHEN DOES ALL THIS HAPPEN? AND HOW DO I GET INVOLVED? The show is tentatively planned for a first Friday showing in April 2001, at a non-traditional space in Old City. To donate/exhibit, please contact Tricia at trishy@groovelingo.com. DEADLINE: March 31, 2001. We're looking for ALL KINDS of visual arts, crafts, sculpture, mixed media, jewelry, etc. ______________________________________ 14. call for artists, 5th annual phila. fringe festival, applications due 3/15 gee whiz, that time of year again? see www.pafringe.com for more info on what the fringe fest is.....to get an application, contact them at 215.413.9006, pafringedb@aol.com it takes place in september...."festival seeks risk-taking, boundary-breaking, performing artists in all disciplines." ________________________________________________________ well, i guess that's all for now..... i love you all....keep those cards and letters coming....i mean.....email me to tell me about upcoming events.....and adds/deletes... -josh ========================================================================= Date: Fri, 9 Feb 2001 12:18:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: REMINDER: POG at Antigone: Eileen Myles, Saturday February 10, 7pm MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit REMINDER POG presents writer Eileen Myles Saturday, February 10, 7pm, Antigone, 411 N 4th Ave, 792-3715 Suggested Contribution: $5; Students $3 “The process of the poem, the performance of it I mentioned, is central to the impression I have that life is a rehearsal for the poem, or the final moment of spiritual revelation.” -- Eileen Myles “How I Wrote Certain of my Poems,” Not Me (1991, Semiotext[e]) Eileen Myles was born in Cambridge, Mass. in 1949, was educated in Catholic schools, and graduated from U. Mass. (Boston) in 1971. She moved to New York in 1974 to be a poet. She gave her first reading at CBGB’s and then gravitated to St. Mark’s Church where she studied with Paul Violi, Alice Notley and Ted Berrigan. She edited a poetry magazine, dodgems, in 1977-79. She ran the Saint Mark’s Poetry Project in 1984-86. She’s written several plays: Feeling Blue, Parts 1, 2 & 3, Modern Art, and Our Sor Juana. Earlier books of poems are Fresh Young Voice from the Plains (New York : Power Mad Press, 1981), Bread and Water (Madras & New York : Hanuman Books), and Not Me (New York : Semiotext[e], 1991). Recently, Black Sparrow Press has published her book of short stories Chelsea Girls (1994) and two books of poems, Maxfield Parrish (1995) and School of Fish (1997). She ran for President of the United States in 1992. Myles’ most recent book is the novel Cool for You (New York: Soft Skull Press, 2000). Dennis Cooper describes Myles as “one of the savviest voices and most restless intellects in contemporary lit.” For further information about Eileen Myles: http://www.naropa.edu/swp/myles.html http://www.thing.net/~sabina/valentine/myles.html http://www.diacenter.org/prg/poetry/96_97/intrmyles.html http://www.echonyc.com/~meehan/MYLES/Myles.html http://writing.upenn.edu/epc/authors/myles/ http://www.writenet.org/poetschat/poetschat_em0199.html 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 gratefully acknowledges the support of the following: Patron: Ted Pope Sponsors: Charles Alexander Sarah Clements Mary Koopman Gene Lyman Cynthia Miller Tenney Nathanson Bob Perelman Jesse Seldess Lusia Slomkowska Kali Tal POG also benefits from the continuing support of The University of Arizona Department of English, The University of Arizona Extended University Writing Works Center, The University of Arizona Poetry Center, the Arizona Quarterly, and Chax Press. For further information contact: POG 296-6416 tenney@dakotacom.net mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn/ ========================================================================= Date: Sat, 10 Feb 2001 00:48:29 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: JYau974406@AOL.COM Subject: Opening--John Yau & Max Gimblett Comments: To: aberrigan@excite.com, eberrigan@hotmail.ACSU.BUFFALO.EDU, Cborkhuis@aol.com, leeann@tenderbuttons.net, LWC43@aol.com, dmt@igc.org, bcormack@uchicago.edu, Lynn2crawf@aol.com, dkane@panix.com, jdonahue@duke.edu, mdurand@sprynet.com, efoster@stevens-tech.edu, friedrich.forssman@kassel.netsurf.de, drewgard@erols.com, juliahaywood@hotmail.com, JhighSasha@aol.com, hell@richardhell.com, mitch.highfill@db.com, tarmac@pipeline.com, hmatt@huskynet.com, outloud@nyct.net, amobilio@earthlink.net, Utopical@aol.com, PRAPRA@aol.com, susan@pierogi2000.com, mdw@gwis2.circ.gwu.edu, jo@jhimit.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit For immediate release Ink Paintings by Max Gimblett Poems in Ink by John Yau and Max Gimblett at Ethan Cohen Fine Arts Max Gimblett's Ink Paintings follow a journey of the self. With spontaneous gesture, Gimblett marks the surface of canvas, gilded wood panels, and paper. He is inspired by life-long studies of calligraphy and his travels to India, Japan, Cambodia, and Burma. He draws with sumi ink, vinyl and acrylic polymers. His motifs include the enso (circle), triangle (self/sail), double square (book), skull, hand, prayer bell, and cauldron. Gimblett's work also engages the history of international contemporary art, particularly abstract expressionism. These works are part of an ongoing project that spans forty years. Gimblett's exhibition follows C.C. Wang's innovative ink painting exhibition at Ethan Cohen Fine Arts last year. Wang's exhibition bridged the tradition of classical Chinese painting and contemporary American art. Gimblett's Ink Paintings cross the bridge from the other side. Born in New Zealand, Gimblett came to the United States in 1964. A child of the South Pacific and formed artistically in the sixties in America, Gimblett considers his true teacher to be Sengai Gibon, the eighteenth-century Japanese master. Accompanying the exhibition of Ink Paintings is Poems in Ink, a collaboration between poet John Yau and Max Gimblett, in the Annex. Self-identified as "Elves in the Factory of Art and Life," they have been creating a stunning range of one-of-a-kind books since 1992. Their collaborations include secret manuals of the doctrines of love, Koans, children's stories, a family album, a non-linear novel, and diaries of dada and orphic figures. As Yau explains, "our research is directed towards ecstatic states of being, flights of mind and eye through the storms of thinking and being. Image and language dance around each other, with each other, and through each other. No one is boss, and everything is." They are, in his words, "alchemists working on a long-term project." "What is the source of vanity's wish? To be brighter than all the rest." John Yau's poems, in the tradition of Zen Koan, respond to Gimblett's drawings. As Yau explains, "The point is to push the words and mark, image and gesture through each other until something explodes in the air of its friction." Artist and poet can be seen working and reflecting on their collaboration in a video in the exhibition. This exhibition is the occasion for releasing their limited edition book, Double-Headed Creature Features, created with Tobin Hines. The book was published in an edition of fifty by Makeshift Press in Atlanta. Max Gimblett has recently exhibited at Haines Gallery (San Francisco) and Margaret Thatcher Projects (New York). Kevin Bruk Gallery (Miami) also represents Gimblett's work. In July 2001, he will exhibit at the Gow, Langsford Gallery (Auckland). An exhibition devoted to his works on paper will open at the Queensland Art Gallery (Brisbane) in 2002. A book about his work, will be issued by Craig Potten Publishing (Nelson) in 2002 and will include essays by Wystan Curnow and John Yau. John Yau is a prize winning poet and critic. For more than two decades, he has published poetry and fiction, as well as reviews and essays on contemporary art, both nationally and internationally. He has curated exhibitions for major museums and alternative spaces. He is one of the few contemporary poets to collaborate extensively with artists, who include Ed Paschke, Robert Therrien, Archie Rand, Pat Steir, Suzanne McClelland, Norman Bluhm, and Jurgen Partenheimer. Ethan Cohen Fine Arts is located at 37 Walker Street, New York, NY 10013. The exhibition will run from February 15 to March 10, 2001. The opening is on February 15, from 6-8 PM. Gallery hours are Tuesday-Friday, 12-6; Saturday 11-4, and by appointment. For further information: 212-625-1250 ethancohen@ecfa.com ========================================================================= Date: Fri, 9 Feb 2001 18:56:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Bassford Subject: EXOTERICA/THE HOUSE OF PERNOD MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit EXOTERICA PRESENTS... DUENDE DOWN BELOW at The Saint...Thursday, February 15th at 9 p.m. Featuring antifolks The PATSY GRACE Quartet; special guest, Urbana power slammer Noel Jones; and THE HOUSE OF PERNOD, with Rick Pernod, Jeff Ganz, Paul Schonberg, and Andy Bassford...funk,poetry,chaos,jazz,theater, and rock and roll..no cover...come on down...The Saint is at 105 Stanton St. @ Ludlow, just below Houston..."A unique and intoxicating energy...your host MC BOOTSY and The Dada Crew....Come in to the house-there's one way in, and no way out.... ========================================================================= Date: Sat, 10 Feb 2001 14:37:20 -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 From solipsis@hevanet.com Thu Jan 11 15:29:02 2001 Subject: RED JESUS GREEN JESUS (ver1.7) To bad we didn't get this in December, but I thought it would make as good an offering for Easter. Solipsis says: Born and raised in the oil-smudged tar-fields of northern texas, I was a poor and innocent songster of glee.. One day I was given a powerful and unknown agent which tranformed me into the powerful and shamanistic word-beast I have become today.. GREAT SKULL ZERO; dark, strange, like a black velvet centipede bursting from the eyesocket of Elvis. I published my new screams in an underground zine for several years called _The Toenail Gazook_, then was latter captured by film-maker Gus Van Sant who put my words into his novel _Pink_. I can now be reached exclusively at www.hevanet.com/solipsis . RED JESUS GREEN JESUS (ver1.6): a Chr[ist}-Mass P{oem] Green Jesus Red Jesus Christ with glistening forehead eye Christ the lord-robot of infinity Christ the flea Christ, the vine Jesus, the abstraction Jesus, the visible Jesus, the symbol of turmoil Christ, the symbol of completion Jesus, the Ankh Christ, the Swastika Jesus, the tetraskelion Christ, the luminous orb Jesus, the Knot Christ, the Soliton Green Jesus Red Jesus Christ the tower of Babel Christ with anti-grav boots Christ the teleology salesman Christ, the Movie Christ, the forgotten Jesus, Lucifer's arch-enemy Christ, the great lucifer Christ, the man Jesus, the woman Skeleton Jesus Cigarette smoking Jesus Whiskey drinking Jesus Jesus, the beer Mutant Jesus Black Jesus Black Panther Jesus AfroChrist Jesus, the X-man Christ's Mass = 47nanograms Christ's Mass = 47billion terragrams Jesus, the feather bearer Christ, the Dove Jesus, the bird man of Easter island Christ, the bird man of Alcatraz Christ, of Christmas Island Jesus, the bird language of Easter Island Jesus Atahualpa Jesus of X-mas Christ of X-tian Jesus, son of X Triple X Christ softcore jesus soft-shelled jesus Crustaceon Christ Devil-fish Jesus Green Jesus Red Jesus Psychadelic Jesus Mushroom Jesus Acid Christ Sci-fi Jesus Grey epileptic jesus clones in pentecostal orgy electrodes on their nipples heads shaved gene-sequence series #'s tatooed like holocaust victims on their wrists nurses videotape the event for blasphemy porn enthusiasts in tight black rubber nun's habits wearing crystalline thorn-crowns and ice-pick sharp stainless steel crucifixes dipped in tetrodotoxin Bondage Christ Painchrist Whipping boy Jesus Christ with pierced tongue Prince Albert Jesus green jesus red jesus Christ hangers for your cashmere sweaters for your new sportscoat for your FILA sweat jacket plasic jesus jesus-mobile supermarket jesus christ in a bottle little jesus abandoned in a shopping cart www.crucifix.org cartoon jesus christ-sticker on a blood-red lava-lamp big fat tatooed jesus jesus, the mexican wrestler Christ, the ladder of abstraction Eesa, the dishdash wearing savior Jesu, the green alien baby fetish green jesus red jesus Giant Christ knocking on the U.N. building Jesus Manson locked up in heaven/prison God staring teary-eyed at dead "indians" Ghosts like cheese in the fridge packed and fermented Jesus the Psycho Jesus the Madman Jesus the Criminal Christ the misapprehended Christ the misunderstood Dead Christ Undead Christ Christ the Vampire, by J.G. Eccarius Christ the Zombi Christ who would not die Corpse Christ Rotten Jesus wind Jesus, the Lycanthropic divinomorph Jesus, the tomb dweller Jesus, the fermented Jesus, the leavened Christ, the foot Jesus, the head Christ, the arisen Necromancer Jesus, the critic-hero Christ, the revolutionary green jesus red jesus Christ of Arvo Part Christ of Penderecki Christ I love to listen too Christ the great Satan of Tonalism Dissonant Christ Christ, The Composer Christ the bloody one Quetzalcoatlichrist feathered-snake-christ Christ the blood letter Christ the Mayan Royal Christ the Android Christ the Heavy Metal Star Christ the extreme athlete Christ the Guitar God Jesus, The Slayer Jesus Harquebusier Christ, The Knight Christ, the Decomposer Christ, the electric savior Jesus, the typewriter Christ, a form of technological innovation green jesus red jesus santa jesus claus satan christ mary transgendered jesus homosexual jesus big-breasted jesus anal-sex jesus stripper jesus Christ, the cock-ring Christ, the pornostar Gay Jesus Lesbian Jesus Long-dong Jesus Double-dong Jesus Heterosexual Christ Jesus, the Lover Jesus, the ladies' man Casanova Jesus Supernova Christ Gentleman Jesus Sir Jesus of Christhamshire commons Neighborhood Jesus jesus the city Metropolitan Jesus Christ, the Cannon Christ, the Canon Christ, the Artillery Jesus, the bullet Christ the child of sweet grace Christ the Indian Saint Christ the Mormon Christ the beloved Christ, the transcendent WW1 jesus WW2 Christ Viet Kong Jesus WarChrist, Jesu of angry blood screams Attila, the HunChrist meditating jesus Jesu-Eesho Jesus Pbuh Jeza-eesa Jesus-Sananda Ewok-Jesus EESHO MASHEEKHA EESA AL-MASEEH AL-MASEEHU EESA Yeshua Christ Christ/Boddhivistva Jesus, Sixth Ray of Devotion and Idealism Christ, the Jew Christ, the Aramaic controversy Christ, the planetary Avatar Christ, the penniless bum Jesus, the King of the 79,000 heavens C3PO-Jesus Christ, the Jedi hungry jesus BBQ jesus ribs Christ the icon of failed dreams Christ the irony Christ the beauty of fragile human understanding Christ the mistake Christ the gentle unreasoning of the mad animal Christ the poor Jesus the little man of the poor Jesus the savior Jesus, the long-haired buddha of the Levant Christ, the glowing monkey Jesus, the wishing well Kissing Jesus on the mouth tasting the red wine he speaking Aramaic over you you see his woolen robe his scarred feet you feel love like a diamond bullet through your skull you hear a faint hindi cinema sweet and high-pitched you realize Jesus is a hindu and has his fierce aspect like any other god he takes you by the hand Let's go an ocean of milk opens before you you are walking with Jesus across the ocean of milk and you can hear nothing but Lata and Mukesh jesus has warm hands the milk is calm and vast merry Christ-mass.. Solipsis ========================================================================= Date: Sat, 10 Feb 2001 15:49:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pam Brown Subject: "overland" magazine back issues MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Sydney, Australia Sunday 11th February Dear Poetics listees - The "overland" editor, Ian Syson, has asked me to post this great offer...As the poetry editor, I'd recommend that you get a copy of Issue 154 - a special issue on 4 poets - John Forbes, Adam Aitken, Coral Hull and Judith Wright plus essays by Gig Ryan, Martin Duwell, John Kinsella and an interview with Adam Aitken by Ouyang Yu, plus reviews & terrific poems. Each issue for the past 5 or so years has great poetry and the more recent issues have Kerry Leves' form guide to the latest Australian poetry publications. "Overland" is the only radical literary magazine in Australia. The back issues are available very cheaply (& the Aussie $ is down to 53cents U.S.) - just phone the office or email - see the foot of Ian's message. Thanks everyone Pam Brown Hello all (and sorry for double posting to some), Overland has a space crisis and we are now looking to offload a number of back issues. We have full runs (well almost full) and will be happy to sell them at a low price. If you want just a few issues to complete your set, we might be able to help there as well. I'd be broken-hearted at the thought of having to pulp perfectly good back issues -- so get in while you can. Some issues are particularly well stocked -- those of you who are teachers might be interested in very cheap class sets of these or whatever. All the best Ian Syson overland Phone 61- 3 - 9688 4163 email overland@vu.edu.au http://dingo.vu.edu.au/~arts/cals/overland/overland.html ===== Web site/P.Brown - http://www.geocities.com/SoHo/Workshop/7629/ __________________________________________________ Do You Yahoo!? Get personalized email addresses from Yahoo! Mail - only $35 a year! http://personal.mail.yahoo.com/ ========================================================================= Date: Sun, 11 Feb 2001 19:46:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: robert fitterman Subject: poetry reading-starting time Comments: To: gilbert_adair@hotmail.com, aaka@earthlink.net, bernstei@bway.net, aberrigan@excite.com, eberrigan@hotmail.ACSU.BUFFALO.EDU, asbessa@peoplepc.com, cborkhuis@aol.com, sab5@PSU.EDU, leeann@tenderbuttons.net, dcarson@earthlink.com, achild@mail.slc.edu, sclay@interport.net, john@NYLONDESIGNS.com, bgcoultas@aol.com, tonyc@wfmu.org, bluesequin@earthlink.net, jdavis@panix.com, timothy.davis@yale.edu, JDebrot@aol.com, jderksen@mindspring.com, rdupless@vm.temple.edu, mdurand@sprynet.com, dworkin@princeton.edu, BEinzig@aol.com, ade3@columbia.edu, dariaf@earthlink.net, dfar@erols.com, fermon@panix.com, afilreis@english.upenn.edu, efodaski@earthlink.net, efoster@stevens-tech.edu, travmar03@email.msn.com, funkhauser@adm.njit.edu, kristing@pobox.upenn.edu, drewgard@erols.com, jgibbons@interport.net, agil@erols.com, revdest@aol.com, mgizzi@massed.net, rootheee@yahoo.com, kennyg@ubu.com, nada@gol.com, nada@jps.net, mgott@tele-monitor.com, jsgray@princeton.edu, vgrenier@twcny.rr.com, mimig@icnt.net, BJHammer@aol.com, hell@richardhell.com, mh7@is2.nyu.edu, henning@mindspring.com, Print225@aol.com, mitch.highfill@db.com, henryh@interport.net, hogue@bucknell.edu, nuyopoman@aol.com, ehunt@newwf.org, Lairdhunt@aol.com, akiko_ichikawa@hotmail.com, jarnot@pipeline.com, psjavier@aol.com, lunardogs@aol.com, ken1@ibm.net, joris@csc.albany.edu, julaly@echonyc.com, JJULLICH@claven.gsb.columbia.edu, JULIANRENE@aol.com, flowgurl@yahoo.com, editor@morningred.com, dkane@panix.com, adeena@compuserve.com, kelly@bard.edu, kimmelman@NJIT.edu, eurydice@aol.com, ewk3@columbia.edu, susanlanders@yahoo.com, nrl@acsu.buffalo.edu, katy@bway.net, steve.levine@ctw.org, aa1@is.nyu.edu, penwaves@mindspring.com, jeanli@interport.net, tananthonylin@hotmail.com, LitLatte@aol.com, lungfull@interport.net, LLubasch@cs.com, dmachlin@sapient.com, tarmac@pipeline.com, mmagee@english.upenn.edu, marzanj@aol.com, bernadette_mayer@excite.com, greg@retail-merchandiser.com, cmorrow@cmorrow.com, marc@admin.con2.com, ENauen@aol.com, pknaylor@bellatlantic.com, jxn8@PSU.EDU, pneufeld@sapient.com, peterneufeld@yahoo.com, josman@ASTRO.OCIS.Temple.edu, perelman@dept.english.upenn.edu, PetersM50@hotmail.com, patrick@netsense.net, wanda@interport.net, jmp@princeton.edu, ts20@columbia.edu, poetics@acsu.buffalo.edu, spound@acsu.buffalo.edu, prev@erols.com, lppl@aol.com, poproj@artomatic.com, aquart@ibm.net, gquasha@stationhill.org, mragona@aol.com, metavern@aol.com, retal@wam.umd.edu, retallack@bard.edu, saregood@aol.com, dirkr@rcn.com, sethrubi@aol.com, Jeromesala@aol.com, csawyer@polshek.com, cs154@columbia.edu, mscharf@CAHNERS.COM, harris4@idt.net, klou@english.upenn.edu, harris4@idt.net, Andrea_Scott@Whitney.org, blair@bway.net, morocco@walrus.com, GShapiroNY@aol.com, prapra@aol.com, shark@erols.com, jsherry@panix.com, sikelianos@aol.com, ron.silliman@gte.net, salsilv@aol.com, salsilv@aol.com, AERIALEDGE@aol.com, ricksnyder@hotmail.com, sondheim@panix.com, pavilion.co.uk.bstefans@earthlink.net, Deborah_Stover@Sundance.org, cstroffo@earthlink.com, readmemag@excite.com, scoutew@aol.com, susan@pierogi2000.com, rjtejada@acsu.buffalo.edu, robertotejada@compuserve.com, tunguska@idt.net, dthomas@fair.org, edwinliz@yahoo.com, RT5LE9@aol.com, morsepartners@msn.com, patvic@interport.net, csw1@idt.net, lwarsh@mindspring.com, jwaters@yahoo.com, junction@earthlink.net, ddub@erols.com, Mac_Wellman@brown.edu, darrenwh@sympatico.ca, susanwheeler@earthlink.com, rwolff@angel.net, WrightCD@aol.com, JYau974406@aol.com, younggeoffrey@hotmail.com, hzinnes@aol.com, jzweig@quicklink.com, Pny33@hotmail.com, andrewsbruce@netscape.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Please note that there was a time discrepancy. This announcement has the starting time for the reading at 7 PM, but some of you received mailing that indicated a 6:30 PM start. As a compromise of sorts, we will be starting promptly at 7:00 PM P O E T R Y R E A D I N G Kim Rosenfield & Rob Fitterman Tuesday, February 13, 7 PM promptly, free New York University, Bobst Library, 3rd Floor, (The Fales Collection) 70 Washington Square South (at LaGuardia Pl.) ========================================================================= Date: Mon, 12 Feb 2001 01:03:17 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jerrold Shiroma Subject: duration press benefit reading Comments: To: Jerrold Shiroma MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit A reading in support of duration press & durationpress.com featuring: Norma Cole Benjamin Hollander Michael Palmer Thursday, February 22nd 7:30 PM New College Cultural Center including a raffle of publications by presses hosted by durationpress.com. $7 admission $10 admission includes 5 raffle tickets for more information about the reading, please contact Jerrold Shiroma at: threeseven@msn.com For more information on duration press, please visit http://www.durationpress.com ========================================================================= Date: Tue, 13 Feb 2001 16:09:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: robert fitterman Subject: kim rosenfield/rob fitterman reading MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit P O E T R Y R E A D I N G Kim Rosenfield & Rob Fitterman Tuesday, February 13, 7 PM, free New York University, Bobst Library, 3rd Floor, (The Fales Collection) 70 Washington Square South (at LaGuardia Pl.) ========================================================================= Date: Tue, 13 Feb 2001 16:10:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lytle Shaw Subject: Drawing Center in New York, Spring and Summer Reading Schedule MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Chris, Here's my spring and summer schedule for The Drawing Center. Spring and Summer Readings at The Drawing Center in New York 35 Wooster Street (between Grand and Broome) Admission is $5 and free to Drawing Center members. Admission to Children's readings is free. Feb 27th, Tuesday at 7pm, in conjunction with the exhibition, "Rosemarie Trockel: Metamorphoses and Mutations," Line Reading presents: Tina Darragh Jennifer Moxley Marjorie Welish Tina Darragh’s most recent book is dream rim instructions (Drogue Press, 1999). Among her other books are on the corner to off the corner (Sun & Moon, 1981), Striking Resemblance (Burning Deck, 1989) and a(gain)2 st the odds (Potes and Poets, 1989). Her work has appeared in such anthologies as In the American Tree (National Poetry Foundation, 1986) and “Language” Poetries (New Directions, 1987). Darragh is employed as a reference librarian at Georgetown University. She lives in Greenbelt, Maryland. Jennifer Moxley’s books of poetry include Imagination Verses (Tender Buttons, 1996) and Wrong Life (Equipage, 1999). Her work has appeared in magazines including Chain, The World, Arras, and The Baffler. With Steve Evans she edited The Impercipient. She now lives in Orono, Maine and teaches at the University of Maine. Marjorie Welish’s books of poetry include Handwritten (Sun Press, 1979), Two Poems (Z Press, 1981), The Windows Flew Open (Burning Deck, 1991), and The Annotated “Here” and Selected Poems (Coffee House, 2000). She is also a well known art critic; her writing has been collected in Signifying Art: Essays on Art After 1960 (Cambridge, 1999). Welish teaches at Pratt Institute and lives in New York City. March 13th, Tuesday at 7pm, in conjunction with the exhibition, "Rosemarie Trockel: Metamorphoses and Mutations," Line Reading Presents: Anselm Berrigan Jean Day Lyn Hejinian Anselm Berrigan’s books of poetry include They Beat Me Over the Head with a Sack (1998), Integrity and Dramatic Life (1999) and the forthcoming Pictures for Private Devotion—all from Edge Books in Washington. His poetry and reviews has appeared recently in Crow, Pharos, The Poetry Project Newsletter and Shark. Berrigan lives in New York City. Jean Day’s books of poetry include Linear C (Tuumba, 1983), A Young Recruit (Roof, 1988), The I and the You (Potes and Poets, 1992) and The Literal World (Atelos, 1998). Her work has been in anthologies such as In the American Tree (National Poetry Foundation, 1986) and From the Other Side of The Century (Sun and Moon, 1994). Day lives in Berkeley. Lyn Hejinian’s books include Writing is an Aid to Memory (The Figures, 1978), My Life (Burning Deck, 1980), Oxota: A Short Russian Novel (1991), The Cell (1992), and The Cold of Poetry (1994), all from Sun and Moon in Los Angeles. Her collaborations include Individuals, with Kit Robinson (Chax, 1988), Sight, with Leslie Scalapino (Edge, 1999) as well as The Traveler and the Hill and the Hill, (1998), and The Lake (2001), both with Emilie Clark and published by Granary Books. Hejinian’s selected essays, The Language of Inquiry, was published in 2000 by the University of California Press. She lives in Berkeley. May 22nd, Tuesday at 7pm, in conjunction with the exhibition, "Between Street and Mirror: The Drawings of James Ensor," Line Reading presents: Kevin Davies Renee Gladman Lisa Robertson Kevin Davies’s books include Pause Button (Tsunami, 1992) and Comp. (Edge, 2000). His writing has appeared in such journals as The Impercipient, Open Letter, Philly Talks and Raddle Moon. A member of the Kootenay School of Writing in Vancouver, Davies now lives in New York and teaches at NYU. Renee Gladman is the author of two chapbooks, Arlem (Idiom, 1996) and Not Right Now (Second Story, 1998), and a collection of prose work, Juice (Kelsey St., 2000). Most recently, her work has appeared in Conjunctions 35, Fourteen Hills, and Mungo vs. Ranger. Gladman lives in Oakland, CA, where she edits the chapbook press, Leroy. Lisa Robertson’s books include The Apothecary (Tsunami, 1991), XEclogue (Tsunami, 1993), The Descent (Meow, 1996) and Debbie: An Epic (New Star, 1997). Her writing has appeared in such journals as Parataxis, Proliferation and Exact Change Yearbook. She is a member of the Kootenay School of Writing in Vancouver, where she lives. June 26th, Tuesday at 7pm, in conjunction with the exhibition, "Between Street and Mirror: The Drawings of James Ensor," Line Reading presents: Adam DeGraff Jackson Mac Low Ange Mlinko Adam DeGraff’s self-published chapbooks include, Uncle (1995) and The Hawaii Poems (2000). Rose Glass Hap is forthcoming from Shark. His poems and essays have appeared in Idiom, Chain, Shark, and Log. DeGraff is an editor of Idiom in San Francisco, where he lives. Jackson Mac Low is author of over 25 books of poetry, including Verdurous Sanguinaria (Southern University, 1967), Asymmetries 1-260 (Printed Editions, 1980), From Pearl Harbor Day to FDR’s Birthday (Sun and Moon, 1982), Twenties (Roof, 1991), Pieces o’ Six (Sun and Moon, 1992), and Barnesbook (Sun and Moon, 1996). His work has been anthologized widely. Also an artist and composer, Mac Low lives in New York City. Ange Mlinko is author of Matinees (Zoland, 1999). Her work has appeared in magazines including The World, Lingo, The Hat and Combo. Mlinko currently edits The Poetry Project Newsletter and lives in Brooklyn. Also Line Reading for Children All readings are on Sundays at 3pm and free Refreshments are served. Recommended ages: 3-6 (though younger and older children frequently attend). March 4th: Bo Zaunders and Roxie Munro Children’s book author Bo Zaunders and illustrator Roxie Munro have previously collaborated on Crocodiles, Camels & Dugout Canoes: Eight Adventurous Episodes. They will be reading from their most recent book, Feathers, Flaps, & Flops: Fabulous Early Fliers. May 20th: Andy Rash Andy Rash’s first children’s book, The Robots are Coming is forthcoming from Scholastic this spring. His cartoons have been published in such magazines and newspapers as American Illustration, The New York Times, Raygun Magazine and The Wall Street Journal. Rash will be reading from The Robots are Coming. June 17th: Megan Montague Cash Megan Montague Cash’s illustrations have been published widely. Her first children’s book, I Saw the Sea and the Sea Saw Me, is forthcoming from Viking. Cash will be reading from this book. ========================================================================= Date: Tue, 13 Feb 2001 16:11:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Ursula K. Heise" Subject: Bruce Andrews Poetry Reading MIME-Version: 1.0 Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: 7bit Bruce Andrews Poetry Reading
You are cordially invited to the next Dupee Poetry Reading at Columbia University,

featuring

        BRUCE ANDREWS

&

JOHN YAU

Tuesday, February 20
8:00 PM
Ward Dennis Rm. (Lewisohn Hall, 5th floor)
Columbia University

Admission free
Reception to follow the reading

Sponsored by the Department of English


Lewisohn Hall is one building away from the 116th St. station of the 1 & 9 subway lines,
on the East side of Broadway (please enter through Columbia main gates).
If you need more detailed information, please call (212) 854-5121
or e-mail Ursula Heise at ukh2@columbia.edu.
========================================================================= Date: Tue, 13 Feb 2001 16:13:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Bruce Andrews Poetry Reading / Heise MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit yipes! sorry about that last one. here it is, legibly this time. Christopher W. Alexander poetics list moderator -- From: "Ursula K. Heise" Date: 2/9/01 9:52 PM -0500 You are cordially invited to the next Dupee Poetry Reading at Columbia University, featuring BRUCE ANDREWS & JOHN YAU Tuesday, February 20 8:00 PM Ward Dennis Rm. (Lewisohn Hall, 5th floor) Columbia University Admission free Reception to follow the reading Sponsored by the Department of English Lewisohn Hall is one building away from the 116th St. station of the 1 &9 subway lines, on the East side of Broadway (please enter through Columbia main gates). If you need more detailed information, please call (212) 854-5121 or e-mail Ursula Heise at ukh2@columbia.edu. ========================================================================= Date: Mon, 12 Feb 2001 17:08:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Broder, Michael" Subject: =?iso-8859-1?Q?Cornelia_Street_Caf=E9--Sunday_Feb_18?= MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Cornelia Street Caf=E9 Sunday Reading Series=20 Sunday Feb 18, 2001 6: 00 pm Michael Broder, Tom Padilla, Ishle Park, Frank van Zant $6 admission includes free drink=20 Cornelia Street Caf=E9 29 Cornelia Street Betw Bleecker & West 4th=20 A,B,C,D,F trains to West 4th-Washington Square 1,9 to Christopher Street http://www.corneliastcafe.com ========================================================================= Date: Mon, 12 Feb 2001 23:19:00 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: overlooked "censorship" (semi-colons) MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/12/01 8:22:02 AM, richard.tylr@XTRA.CO.NZ writes: << he confides that only stupid people want "meaning" >> I find it difficult to believe that Umberto, as well versed as he is in theory, meant this as it is written. Perhaps he was referring to the MEANING some still insist occupies some absolute ground, since Umberto, as well as anyone, knows there is no escape from meaning. Come to think of it, there's no escape from stupidity either. On a third hand, his Misreadings is a little masterpiece, and one of the funniest books I've ever had the pleasure to eat. I recommend it to anyone who, like myself, enjoys theory but still maintains a sense of humor about it all. Best, Bill ========================================================================= Date: Mon, 12 Feb 2001 23:22:55 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: David Amram's Tribute to Gregory Corso MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/12/01 8:21:12 AM, bowering@SFU.CA writes: << >We met in 1956, and with all the times we spent together in the fifties, >walking those same streets of downtown New York City, engaged in heated >discussions about music, poetry, Baseball, mutual romances What are mutual romances, exactly? -- George Bowering Fax 604-266-9000 >> George, it beats the hell out of me. The language is in trouble. First the missing semi-colons, and now this. Best, Bill ========================================================================= Date: Mon, 12 Feb 2001 23:30:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: world MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ===== world (what i stumble towards) (what i have wanted to describe) (what is indescribable) (the tendency of my work) (what characterizes philosophy: "philosophy has no regard") the thickness of the world the idiocy of the real when there is death, the interior of a world disappears there are details, one can see this in any past the smell of a kitchen, the paint on the edges of the chairs do the chairs need repainting certain parts of the backs are worn, he sits there, she here there's a sound they make, different sounds, pulled in and out the dulled reflection of the chairs on the floor when they were new when they began to disappear, the last memory of the chairs the light on them from the window, sounds of rain on the window how high the backs above the table, their reflection on the table the food, when the family may have been together familiality, familiarity when the chairs were comfortable, when they were turned when we turned them facing one another, or moved them aside when one of us left the room and the chairs were moved fly in the window's interior from the chair, tree outside, smaller then, different neighbors sounds from the street coming in the limitlessness of the world, its thickness over and over again, peering around the corner there is the world in uncanny, unaccountable, fullness there is no theory for this, this inaccessible description every explanation, there are heuristics, things glossed over not the things of the world, but their fallen worlds all worlds are fallen for that matter all worlds encompassed with this thickness, inertness, grain untheorizable, hardly memories, reconstructions, reconstitutions with every death, it is a matter of ethics, this disappearance of worlds with every death, loss of world and history with every death, redistribution of materials, severed ties and limbs i return constantly to this in my theorizing, this loss no degree of technological recuperation works in this respect no quantity of text or discourse plays the slightest role what is re-presented is always already 0/1, infinitesimal sometimes in a dream there is a horizon of what is gone it's almost present, not really, you begin thinking of something past you're thinking, it's almost present, almost on the tip of the tongue it's never there, it's not even problematic, controvertible i imagine paths through the world, turning beneath the chairs beneath or around the rungs of the chair or the four brown wooden legs paths opening up to interior surfaces opening up recursively stains beneath the seat of the chair, cobwebs connecting rungs to rungs the smell of the varnish on older paint, flat faded white shown through paths moving among senses, spectra and bandwidths paths moving from generation to generation, imaginary paths paths of the scraping of chairs, people leaving for the very last time paths of chairs pulled in beneath old new people eating, conversing laughter, crying, screams, whispers, talking, singing, filling the air chairs of first and last times, inconceivable speculations inconceivable principles, axiologies, hypothetical, hypotheses not, no ideas but in things themselves not, the last or second-to-last of the ox-herding pictures not, the grain of the real not, the practico-inert or materialist or idealist foundations not, tat tvam asi or fundamental or surface negations not, the interplay of signs, sememes, sign-systems certainly not that interplay of signifiers, semiotics, historiographies nothing that "might be said" to characterize, capture, recuperate something of absolute disappearance, annihilation, of trace turned ash something of charnel-house, but that too has paths, worlds, traces traces upon traces, perhaps i remember 1968 perhaps i remember 1945, 2003, perhaps i remember 1789 perhaps berlin, ankara, grise fjord, kurume, providence, katmandu perhaps street, street-corner, room, field, forest, cliff, lake, tarn perhaps you, perhaps another, perhaps others perhaps events, occurrences, what happened, what happens those anecdotes without endings, well what did she say, what was next receding into pasts, backgrounds, irrelevancies of the present but never irrelevant, always equidistant, equivalent, always inert and present and unaccounted for and present and uncountable and present and unaccountable, all we can theorize is this, collapse of description and uttermost alterity the being of which knows no regard, is obdurate in the world i'd write this, this error of philosophy: "philosophy has no regard" of which is the condition of speech, language, any and all interplay * so that i tend to produce, reproduce, overproduce moving among media, modes, representations - this is all so futile an attempt to pull back from death, from constitution or somewhat of a release among interiority and world negation gnaws at doors and portals chairs and chairs, or wood, or institutions of chairs and wood or ideologies or constructs: one crawls, lifts on the back stumbles to the feet, totters, almost gets it in the air * the thickness of the world the idiocy of the real nothing in a seed but seed nothing obdurate but always in a corner or path everywhere the thickness of which "philosophy has no regard" what has disappeared and for whom and by what means what constitutes the disappearance and the world which disappears what is death "in this regard" who or what, or what of or with writing, what of the calligraphic ** ========================================================================= Date: Tue, 13 Feb 2001 00:25:01 -0500 Reply-To: dbuuck@sirius.com Sender: UB Poetics discussion group From: "dbuuck@sirius.com" Subject: d.oliver Content-Transfer-Encoding: Quoted-Printable MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" looking for penniless (sp?) politics & salvo for africa, both bloodaxe. any tips on where i could find 'em? thanks David Buuck -------------------------------------------------------------------- Mail2Web - Check your email from the web at http://www.mail2web.com/ . ========================================================================= Date: Mon, 12 Feb 2001 21:47:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Berkson Subject: brainard tour MIME-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Joe Brainard: A Retrospective Berkeley Art Museum, University of California, Berkeley February 7 - May 27, 2001, Boulder Museum of Contemporary Art Boulder, Colorado June 22 - September9, 2001 P.S.1, a MOMA affiliate, Long Island City, New York, October 14 - December, 30, 2001 Donna Beam Fine Art Gallery, University of Nevada, Las Vegas, January 22 -February 28, 2002. ========================================================================= Date: Tue, 13 Feb 2001 03:20:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: carapacematerial (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ===== carapacematerial at: http://www.workxspace.de/a/as/ ========================================================================= Date: Tue, 13 Feb 2001 16:20:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: pete spence Subject: Re: "overland" magazine back issues Mime-Version: 1.0 Content-Type: text/plain; format=flowed Dear poetics listees, not only is Overland less than radical its editor ian syson is quite vicious in his response to some writers in Australia, i find Pam Brown as the Poetry Editor a fair person, but who you kidding this mag just get slightly above newspaper standards//pete spence. >> >Sydney, Australia Sunday 11th February >Dear Poetics listees - >The "overland" editor, Ian Syson, has asked me to post >this great offer...As the poetry editor, I'd recommend >that you get a copy of Issue 154 - a special issue on >4 poets - John Forbes, Adam Aitken, Coral Hull and >Judith Wright plus essays by Gig Ryan, Martin Duwell, >John Kinsella and an interview with Adam Aitken by >Ouyang Yu, plus reviews & terrific poems. Each issue >for the past 5 or so years has great poetry and the >more recent issues have Kerry Leves' form guide to the >latest Australian poetry publications. "Overland" is >the only radical literary magazine in Australia. The >back issues are available very cheaply (& the Aussie $ >is down to 53cents U.S.) - just phone >the office or email - see the foot of Ian's message. >Thanks everyone >Pam Brown > >Hello all (and sorry for double posting to some), > >Overland has a space crisis and we are now looking to >offload a number >of back issues. We have full runs (well almost full) >and will be happy >to sell them at a low price. If you want just a few >issues to complete >your set, we might be able to help there as well. I'd >be broken-hearted >at the thought of having to pulp perfectly good back >issues -- so get >in >while you can. Some issues are particularly well >stocked -- those of >you >who are teachers might be interested in very cheap >class sets of these >or whatever. > >All the best > >Ian Syson >overland >Phone 61- 3 - 9688 4163 >email overland@vu.edu.au >http://dingo.vu.edu.au/~arts/cals/overland/overland.html > > > > >===== >Web site/P.Brown - http://www.geocities.com/SoHo/Workshop/7629/ > >__________________________________________________ >Do You Yahoo!? >Get personalized email addresses from Yahoo! Mail - only $35 >a year! http://personal.mail.yahoo.com/ _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. ========================================================================= Date: Tue, 13 Feb 2001 13:22:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Lammies & the small press MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Noting this year's nominations for the Lambda literary awards, I see none of the problems about failing to acknowledge the role of small presses in poetry that is the case with the National Book Critics Circle. There are some good books and hard choices here. So yes there is an FSG & a Norton & a St Martins, but there's also Black Sparrow, Turtle Point & Talisman. There is even a special category just for small presses. Lesbian Poetry Mercy Mercy Me by Elena Georgiou, Painted Leaf The Horse Fair by Robin Becker, University of Pittsburgh A Map to the Next World by Joy Harjo, W.W. Norton On The Eighth Day Adam Slept Alone by Nancy Boutilier, Black Sparrow Signs of Love by Leslea Newman, Windstorm Creative Gay Poetry Boss Cupid by Thom Gunn, FS&G The World in Us ,ed by Michael Lassell and Elena Georgiou, St, Martins Word of Mouth, ed by Timothy Liu, Talisman Plasticville by David Trinidad, Turtle Point Press Pastoral by Carl Phillips, Graywolf Small Press Outline of My Lover by Douglas A. Martin, Soft Skull Press Bridge Across the Ocean by Randy Boyd, West Beach Books Kamikaze Lust by Lauren Sanders, Akashic Between Dances by Erasmo Guerra, Painted Leaf Undertow by Amy Schutzer, Calyx This is what short lists look like when people care enough to do them right. Ron ========================================================================= Date: Mon, 12 Feb 2001 18:05:10 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Meg Brooks Subject: Re: "Democracy, the Last Campaign" MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit i was there too, man. let'sd Kristen Gallagher wrote: > dear kevin and all, > > i was in philly for the protests, working with the independent media > center, interviewing people with my friend "kk" the camerawoman. i cant > write much specifically now but the website has loads of info. i think the > most important thing is the message of the movement - that 1) economic > inequality as a result of IMF/WTO/world bank-style globalizing is leaving > thousands in poverty, frustrated and with a growing sense of little to lose > (hence, i think, the growing numbers of people willing to throw themselves > in harms way) and 2) there are too many issues people are concerned about > in the US and North America which are not getting anywhere near accurate > coverage, or any coverage at all, from the mainstream, corporate-owned > media. the activists want to make a space for ALL of these issues to be > foregrounded. examples which seemed to receive large turnout in phily were > economic inequality, police brutality, the growing prison industrial > complex, threats to education on all levels, and the farcical "democracy" > of our two-look-alike-rotating-figure-headed (they're not so) christian > (or) moral wrong wing. > > for great details, photos, stories, video, etc -- Check out > http://www.phillyimc.org > > this movement is incredibly well organized, well supported and growing > quite large. the things i describe here are things that are going on in > every city where the movement is going on. LA is the next stop, going on > right this minute. and many of these folks are going to prague for the > next IMF meeting in september. if you want to say they're all rich folks > who can afford to go to all these things - not quite. many people are > getting funded by pools of friends, getting rides and roughing it, > borrowing heavily against student loans which they will have to pay back, > or using credit cards likewise. buses are often chartered to bring people > from far away too. when people arrive wherever they arrive, locals have > been set up to take them in. in philly local cooks made vegetarian food > and sold it VERY cheap on-site at various locations. > > the independent media center, where i plugged in, for example, was put > together in a rented space and staffed by about 250 volunteers at any given > hour of the day, though records indicate that hundreds more at least > registered with the IMC. equipment was donated including about 35 > computers, a T1 wireless for ethernet connections, the work of producing > the daily print newpaper, lots of software. the whole thing was set up > about 5 days before the convention began. people showed up with everything > from personal camcorders to "borrowed" school-owned professional cameras. > a pirate radio station, web radio, web tv and a constantly updated website > have been among the things implemented at the IMC to cover the > counter-conventional activities. documentary filmmakers, video artists, > poets and writers, many many hackers and other multimedia revolutionaries > have worked day and night to keep the place functional, and keep coverage > up-to-the-minute. decisions about what stories to present were and are > made democratically by joining the editorial collective and rating stories > as they come in. anyone at all from anywhere can join the editorial > collective and rate stories. > > every day was ruled by bicylces, digital recording and programming devices > and cell phones. teams would set out with recording equipment and note > pads, while others on bicycles would race around looking for breaking news > which was never hard to find. cell phones were used to commmunicate to > each other on the street and also to call in live radio broadcasts and/or > inform the website breaking news editor and the dispatch counter. its > beginning to look a lot like neuromancer. i finally see the importance of > a laptop and a cell phone. -- barring time-travel and speed shuttling, the > bicycle is looking better than ever. > > other incredible aspects of this movement are that there are hundreds who > have volunteered their legal services to defend and witness for arrested > folks. they have their own office much like the IMC. likewise hundreds of > medical folks have donated time and resources to stand by for those who > need medical attention. > > various tactics for civil disobedience are being taught in organized > training sessions. these training sessions are important - as the police > become better trained in how to deal with the new tactics, the tactics have > to change - anyone who wants to do blockades or any other civil > disobedience is strongly urged to attend training sessions BEFORE taking > part in actual, physical activism. > > --On Thursday, August 03, 2000, 12:31 AM -0700 Kevin Killian > wrote: > > > Hi everyone, it's Kevin Killian. If any of you have web access you > > should check out this project that Margaret Crane and Jon Winet are > > doing re the Republican Convention this week. (It will continue > > right through the election). It's called "Democracy--the Last > > Campaign." Here's the URL > > > > http://dtlc.walkerart.org/ > > > > And when you get there and see the stars or twinkling lights or > > whatever they are, click on one of them and that will take you to > > succeeding menus. I'm writing for it, so is Dodie Bellamy, Roberto > > Tejada has been writing, David Levi Strauss, oh, there's quite a few > > of us all giving our opinions on the Republican Convention from > > wherever we happen to be. Margaret and Jon are actually in the press > > booth in Philadelphia streaming video, shooting live interviews, the > > whole nine yards. Margaret called me very excited the other night. > > Apparently up in the press room at the top of the Convention Center > > you get free long distance calls 24 hours a day!!! > > > > Is there anyone in Philadelphia on this list, what's happening, write > > me back channel and tell me! > > > > Thanks everyone > > > > Check it out . . . See you ========================================================================= Date: Mon, 12 Feb 2001 18:00:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: David MELTZER & Jack HIRSCHMAN, Thurs Feb 15th, 7:30 Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable P O E T R Y C E N T E R 2 0 0 1 The Poetry Center & American Poetry Archives presents A reunion of San Francisco legends DAVID MELTZER & JACK HIRSCHMAN Thursday February 15 7:30 pm, $5 donation @ The Unitarian Center 1187 Franklin (at Geary) DAVID MELTZER's new book of poetry, the latest of over 40 books in as many years, is No Eyes: Lester Young (Black Sparrow Press, 2000), "a prolonged meditation on the last year of Lester Young's life." It joins his latest anthology, Writing Jazz (Mercury House, 1999)--representing "African-American perceptions of jazz as a subject and practice"--companion to the earlier Reading Jazz (1994), "a negative critique of white culture's shimmy with black jazz." A new edition of his 1971 book of interviews The San Francisco Poets is forthcoming this spring from City Lights. Mr. Meltzer lives in Richmond, CA, and teaches poetics at New College of California in San Francisco. Since their work together in the 1970s magazine Tree--devoted to poetic explorations of the Jewish Kabbalah--he and JACK HIRSCHMAN have shared a profound internationalist affinity and liberative imaginary ethos. Mr. Hirschman is "dean of S.F.'s Marxist poetry," according to an SF Chronicle front-page story headline last March. His latest collection, Arcani (Multimedia Edizioni, 1999), was published in a beautiful bilingual edition in Salerno, Italy, and presents his recent long poems--impassioned, elegaic works dedicated to, among others, Allen Ginsberg, Pier Palo Pasolini, Bob Kaufman, his late father Stephen, and his son, David Hirschman. Prolific translator from a multitude of languages (Albanian, Russian, Yiddish among them) and poets (Paul Celan, Roque Dalton, Mallarm=E9, Artaud, Neruda), he i= s an active member of the Labor Party, the Union of Left Writers, and since 1973 a resident of North Beach in San Francisco. THE UNITARIAN CENTER is located at 1187 Franklin Street at the corner of Geary on-street parking opens up at 7:00 pm from downtown SF take the Geary bus to Franklin =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D COMING UP: * March 1: Semezdin Mehmedinovic & Ammiel Alcalay (free public conversation @ Poetry Center, 4:30 pm; reading @ Unitarian Center, 1187 Franklin, 7:30 pm, $5) * March 4 (Sunday): Homage to Joe Brainard (at UC Berkeley Art Museum, 2:00-5:00 pm, free w/museum admission: presented by UC Berkeley Art Museum, co-sponsored by The Poetry Center) -Six poets, featuring: Kenward Elmslie, Ron Padgett, Anne Waldman, Bill Berkson, Barbara Guest, & Dick Gallup * March 15: Benjamin Friedlander & Horace Coleman (Poetry Center, 4:30 pm, free) * March 29: Milton Murayama (Poetry Center, 4:30 pm, free) * April 5: Mark McMorris & Elizabeth Willis (Unitarian Center, 1187 Franklin, 7:30 pm, $5) * April 19: Ernesto Cardenal (The Women's Building, 3543 18th Street, 7:30 pm, $5-10) * April 28 (Saturday): Euro-SF Poetry Festival (Unitarian Center, 1187 Franklin, 7:30 pm, $5) w/Katarina Frostenson (Sweden), Tor Obrestad (Norway), Lutz Seiler (Germany), & Taylor Brady (San Francisco) * May 3: Cole Swensen & Elizabeth Robinson (Poetry Center, 4:30 pm, free) Poetry Center Book Award reading * May 10: Student Awards Reading (Poetry Center, 4:30 pm, free) * May 17: Stefania Pandolfo & Leslie Scalapino (Unitarian Center, 1187 Franklin, 7:30 pm, $5) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D= =3D=3D=3D=3D=3D=3D=3D=3D READINGS that take place at The Poetry Center are free of charge. Except as indicated, a $5 donation is requested for readings off-campus. SFSU students & 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 Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State 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, 13 Feb 2001 16:26:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: The M/E/A/N/I/N/G Book Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" M/E/A/N/I/N/G: an Anthology of Artists' Writings, Theory, and Criticism Susan Bee and Mira Schor, editors with a Foreword by Johanna Drucker Book Party: Friday, Feb. 23, from 6-8pm Marianne Boesky Gallery, 535 West 22nd Street, 2nd floor (212-680-9889) M/E/A/N/I/N/G brings together essays and commentary by over a hundred artists, critics, and poets, culled from the art magazine of the same name. The editors, artists Susan Bee and Mira Schor, have selected the liveliest and most provocative pieces from the maverick magazine that bucked commercial gallery interests and media hype during its ten-year tenure (198601996) to explore visual pleasure with a culturally activist edge. With its emphasis on artists’ perspectives of aesthetic and social issues, this anthology provides a unique opportunity to enter into the fray of the most hotly contested art issues of the past few decades: the visibility of women artists, sexuality and the arts, censorship, art world racism, the legacies of modernism, artists as mothers, visual art in the digital age, and the rewards and toils of a lifelong career in art. The stellar cast of contributing artists and art writers includes Nancy Spero, Richard Tuttle, David Humphrey, Thomas McEvilley, Laura Cottingham, Johanna Drucker, David Reed, Carolee Schneemann, Whitney Chadwick, Robert Storr, Leon Golub, Charles Bernstein, and Alison Knowles. This compelling and theoretically savvy collection will be of interest to artists, art historians, critics, and a general audience interested in the views of practicing artists. For more information on contents (full table of contents) and orders, go to: http://www.dukeupress.edu and search for "M/E/A/N/I/N/G " ========================================================================= Date: Tue, 13 Feb 2001 12:22:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ceciliavicuna Subject: Re: poetry at MoMA Comments: To: odile cisneros Comments: cc: bernstei@bway.net, aberrigan@excite.com, eberrigan@hotmail.ACSU.BUFFALO.EDU, asbessa@peoplepc.com, cborkhuis@aol.com, sab5@PSU.EDU, leeann@tenderbuttons.net, dcarson@earthlink.com, achild@mail.slc.edu, sclay@interport.net, john@NYLONDESIGNS.com, bgcoultas@aol.com, tonyc@wfmu.org, bluesequin@earthlink.net, jdavis@panix.com, timothy.davis@yale.edu, JDebrot@aol.com, jderksen@mindspring.com, rdupless@vm.temple.edu, mdurand@sprynet.com, dworkin@princeton.edu, BEinzig@aol.com, ade3@columbia.edu, dariaf@earthlink.net, dfar@erols.com, fermon@panix.com, afilreis@english.upenn.edu, efodaski@earthlink.net, efoster@stevens-tech.edu, travmar03@email.msn.com, funkhauser@adm.njit.edu, kristing@pobox.upenn.edu, drewgard@erols.com, jgibbons@interport.net, agil@erols.com, revdest@aol.com, mgizzi@massed.net, rootheee@yahoo.com, kennyg@ubu.com, nada@gol.com, nada@jps.net, mgott@tele-monitor.com, jsgray@princeton.edu, vgrenier@twcny.rr.com, mimig@icnt.net, BJHammer@aol.com, hell@richardhell.com, mh7@is2.nyu.edu, henning@mindspring.com, Print225@aol.com, mitch.highfill@db.com, henryh@interport.net, hogue@bucknell.edu, nuyopoman@aol.com, ehunt@newwf.org, Lairdhunt@aol.com, akiko_ichikawa@hotmail.com, jarnot@pipeline.com, psjavier@aol.com, lunardogs@aol.com, ken1@ibm.net, joris@csc.albany.edu, julaly@echonyc.com, JJULLICH@claven.gsb.columbia.edu, JULIANRENE@aol.com, flowgurl@yahoo.com, editor@morningred.com, dkane@panix.com, adeena@compuserve.com, kelly@bard.edu, kimmelman@NJIT.edu, eurydice@aol.com, ewk3@columbia.edu, susanlanders@yahoo.com, nrl@acsu.buffalo.edu, katy@bway.net, steve.levine@ctw.org, aa1@is.nyu.edu, penwaves@mindspring.com, jeanli@interport.net, tananthonylin@hotmail.com, LitLatte@aol.com, lungfull@interport.net, LLubasch@cs.com, dmachlin@sapient.com, tarmac@pipeline.com, mmagee@english.upenn.edu, marzanj@aol.com, bernadette_mayer@excite.com, greg@retail-merchandiser.com, cmorrow@cmorrow.com, marc@admin.con2.com, ENauen@aol.com, pknaylor@bellatlantic.com, jxn8@PSU.EDU, pneufeld@sapient.com, peterneufeld@yahoo.com, josman@ASTRO.OCIS.Temple.edu, perelman@dept.english.upenn.edu, PetersM50@hotmail.com, patrick@netsense.net, wanda@interport.net, jmp@princeton.edu, ts20@columbia.edu, poetics@acsu.buffalo.edu, spound@acsu.buffalo.edu, prev@erols.com, lppl@aol.com, poproj@artomatic.com, aquart@ibm.net, gquasha@stationhill.org, mragona@aol.com, metavern@aol.com, retal@wam.umd.edu, retallack@bard.edu, saregood@aol.com, dirkr@rcn.com, sethrubi@aol.com, Jeromesala@aol.com, csawyer@polshek.com, cs154@columbia.edu, mscharf@CAHNERS.COM, harris4@idt.net, klou@english.upenn.edu, harris4@idt.net, Andrea_Scott@Whitney.org, blair@bway.net, morocco@walrus.com, GShapiroNY@aol.com, prapra@aol.com, shark@erols.com, jsherry@panix.com, sikelianos@aol.com, ron.silliman@gte.net, salsilv@aol.com, salsilv@aol.com, AERIALEDGE@aol.com, ricksnyder@hotmail.com, sondheim@panix.com, spinelli@pavilion.co.uk, bstefans@earthlink.net, Deborah_Stover@Sundance.org, cstroffo@earthlink.com, readmemag@excite.com, scoutew@aol.com, susan@pierogi2000.com, rjtejada@acsu.buffalo.edu, tunguska@idt.net, dthomas@fair.org, RT5LE9@aol.com, morsepartners@msn.com, csw1@idt.net, lwarsh@mindspring.com, jwaters@yahoo.com, junction@earthlink.net, ddub@erols.com, Mac_Wellman@brown.edu, darrenwh@sympatico.ca, susanwheeler@earthlink.com, rwolff@angel.net, WrightCD@aol.com, younggeoffrey@hotmail.com, hzinnes@aol.com, jzweig@quicklink.com, Pny33@hotmail.com, andrewsbruce@netscape.net, robert.fitterman@nyu.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The Museum of Modern Art and The Poetry Society of America present: P O E T R Y I N M O T I O N P I C T U R ES Honoring two Award-winning films: Veena Sud's "I Stop Writing the Poem", based on a poem by Tess Gallagher & Jodi Kaplan's "Wall", based on a poem by Gabriela Mistral Katie Ford will read fr. Ms Gallagher's work and Cecilia Vicuna will pay tribute to Gabriela Mistral, the Chilean poet, Nobel Prize l945. February 20, 2001, 6PM MoMA 11 West 53rd St NYC ========================================================================= Date: Tue, 13 Feb 2001 12:54:59 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: Lit City does Mardi Gras! MIME-Version: 1.0 Content-type: text/plain; charset=us-ascii ---------------------------------- * L * I * T * * * C * I * T * Y * ---------------------------------- is pleased to present a special Mardi Gras poetry reading featuring Sheila E. Murphy and Loss Pequeno Glazier 7:30 pm, Thursday, February 22 Ellis Marsalis Jazz Studio New Orleans Center for the Creative Arts (NOCCA) 2800 Chartres (Bywater) New Orleans, LA Free and open to the public. A booksigning and reception will follow the reading. "Come for the poetry, dawlin' ... stay for the red beans & rice!" ******************************* Sheila E. Murphy, who lives in Phoenix, Arizona, has authored numerous books of poetry, most recently _The Indelible Occasion_ (Potes & Poets Press, 2000) and _Falling in Love Falling in Love with You Syntax: Selected and New Poems_ (Potes & Poets Press, 1997). In 1996, Murphy's _Letters to Unfinished J._ (Sun & Moon Press) won the New American Poetry Series Open Competition. Her newest chapbooks include _Arbitrariums_ (Broken Boulder Press, 2000) and _Immersion Tones_ (Luna Bisonte Prods, 2000). John M. Bennett calls Murphy "one of the strongest, clearest, and most distinctive voices writing in English today." ******************************* Loss Pequeno GLazier is Director of the Electronic Poetry Center (http://epc.buffalo.edu/) at State University of New York at Buffalo. Glazier, a native of the Tejano and Mexican-American culture of south Texas, is the author of the poetry collections _Leaving Loss Glazier_ and _The Parts_. Parts of his cyberpoem "Viz Etudes"--a series of performances that present a reading and projection of visual, kinetic, text, and Java-based compositions for electronic space--have recently been performed in San Francisco, New York, Washington DC, Buffalo, Atlanta, Mexico City, London, Salamanco, Spain, and Bergen, Norway. For his reading, Glazier will present his cyberpoetry with a digital projector. ******************************* Books by Sheila E. Murphy and Loss Pequeno Glazier are available at Maple Street Book Shop, 7523 Maple St. Please support this local independent bookseller! For more information about Lit City, please contact Camille Martin at / (504) 861-8832. Lit City is a New Orleans-based 501(c)(3)non-profit organization. Your tax-deductible contributions are gratefully accepted. Checks payable to Lit City may be sent to Lit City / 7725 Cohn St. / New Orleans, LA 70118. ========================================================================= Date: Tue, 13 Feb 2001 13:04:13 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: addresses? MIME-Version: 1.0 Content-type: text/plain; charset=us-ascii Does anyone have addresses, e- or otherwise, for Clark Coolidge & Michael Palmer? Thanks for your help! Camille Camille Martin Lit City 7725 Cohn St. New Orleans, LA 70118 (504) 861-8832 http://www.litcity.net ========================================================================= Date: Tue, 13 Feb 2001 21:13:22 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pam Brown Subject: Re: "overland" magazine back issues In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dear pete, Could you explain what you mean by your email about "overland" please ? Pam --- pete spence wrote: > Dear poetics listees, not only is Overland less than > radical its editor ian > syson is quite vicious in his response to some > writers in Australia, i find > Pam Brown as the Poetry Editor a fair person, but > who you kidding this mag > just get slightly above newspaper standards//pete > spence. > > >> > >Sydney, Australia Sunday 11th February > >Dear Poetics listees - > >The "overland" editor, Ian Syson, has asked me to > post > >this great offer...As the poetry editor, I'd > recommend > >that you get a copy of Issue 154 - a special issue > on > >4 poets - John Forbes, Adam Aitken, Coral Hull and > >Judith Wright plus essays by Gig Ryan, Martin > Duwell, > >John Kinsella and an interview with Adam Aitken by > >Ouyang Yu, plus reviews & terrific poems. Each > issue > >for the past 5 or so years has great poetry and the > >more recent issues have Kerry Leves' form guide to > the > >latest Australian poetry publications. "Overland" > is > >the only radical literary magazine in Australia. > The > >back issues are available very cheaply (& the > Aussie $ > >is down to 53cents U.S.) - just phone > >the office or email - see the foot of Ian's > message. > >Thanks everyone > >Pam Brown > > > >Hello all (and sorry for double posting to some), > > > >Overland has a space crisis and we are now looking > to > >offload a number > >of back issues. We have full runs (well almost > full) > >and will be happy > >to sell them at a low price. If you want just a few > >issues to complete > >your set, we might be able to help there as well. > I'd > >be broken-hearted > >at the thought of having to pulp perfectly good > back > >issues -- so get > >in > >while you can. Some issues are particularly well > >stocked -- those of > >you > >who are teachers might be interested in very cheap > >class sets of these > >or whatever. > > > >All the best > > > >Ian Syson > >overland > >Phone 61- 3 - 9688 4163 > >email overland@vu.edu.au > >http://dingo.vu.edu.au/~arts/cals/overland/overland.html > > > > > > > > > >===== > >Web site/P.Brown - > http://www.geocities.com/SoHo/Workshop/7629/ > > > >__________________________________________________ > >Do You Yahoo!? > >Get personalized email addresses from Yahoo! Mail - > only $35 > >a year! http://personal.mail.yahoo.com/ > > _________________________________________________________________________ > Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. ===== Web site/P.Brown - http://www.geocities.com/SoHo/Workshop/7629/ __________________________________________________ Do You Yahoo!? Get personalized email addresses from Yahoo! Mail - only $35 a year! http://personal.mail.yahoo.com/ ========================================================================= Date: Tue, 13 Feb 2001 21:25:14 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Fence Moody Wheeler Reading Saturday Comments: To: rebecca@bombsite.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Saturday, February 17th, at 7 pm Fence presents Rick Moody and Susan Wheeler reading fiction and poetry at Housing Works Used Book Cafe 26 Crosby Street (take the F to Broadway Lafayette) Admission is free Books will be for sale, with all proceeds going to benefit Housing Works Discount Subscription Vouchers for Fence will be available If you'd like to be taken off this very occasional list please let me know ========================================================================= Date: Wed, 14 Feb 2001 01:50:07 +0000 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Re: David Amram's Tribute to Gregory Corso MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit >George, it beats the hell out of me. The language is in trouble. First the >missing semi-colons, and now this. Best, Bill Damn Amram Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Wed, 14 Feb 2001 23:16:58 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Mail Foerwarded MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Chris. Thanks. that's bang on. Actually reading the messages in a = "continuous flow" had quite an eerie and interesting effect. You might = be able to claim it as a new kind of poem. Alan Sondheim must be just = about on fire! But he sometimes comes up with some fascinating stuff. As = to Max Gimblett, I picked up a book of his work over here and added it = to my collection. Juliana Spahr and Rehm are two poets I "discovered" = over here and alerted a friend and poet here to: in the course of = finding Joan Retallack. Her "After Images" I photocopied entirely from = the Auck Uni Lib. And some interesting stuff. Thanks again, Richard. ========================================================================= Date: Wed, 14 Feb 2001 15:01:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lisa Jarnot Subject: cross-cultural poetics Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit XCP: Cross Cultural Poetics invites contributions to the upcoming issue of STREETNOTES ( http://bfn.org/~xcp/streetnotes.html ) We are currently collecting material for our Spring 2001 Exhibition. We are looking for ethnographic essays, photography, poetry and other projects which explore the the street as an interactive zone. STREETNOTES aims to exhibit experimental forms of social description which blur the boundaries of art and documentation. Exhibitions of STREETNOTES have been published on the internet biannually since 1998. Past exhibitors include Catherine Daly, Sabine Broeck, Rene Rodriguez, Carrie Climer, Evel Gonzalez,Vladik Cervantes, Von Kurt, Robert Fitterman, Marcella Durand, Patricia Ranzoni, David B. Mussen , Ella Veres, Curtis L. Crisler, Sarah Rasmusson and Virgil Suarez. Documents are preserved by the Cross Cultural Poetics Website, a not-for-profit educational institution. GUIDELINES Please send text documents as rich text format documents (*.rtf), or as ascii files (*.txt). Images should be sent as jpeg file (*.jpg) set to 72.dpi and sized no larger than 640x480 plxs. html files are also ok, but please do not include animation, javascripts, or other programming. We are unable to publish video or sound at this time. DEADLINE March 15th, 2001 Please send materials or questions to: David Michalski dmichalski@adm.schoolofvisualarts.edu or Diskettes (PC) and Hardcopies can be sent to: XCP Archive c/o David Michalski P.O. Box 1317 Cooper Station, New York, NY, 10003 ========================================================================= Date: Wed, 14 Feb 2001 12:05:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Next week at Small Press Traffic Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" SAN FRANCISCO: Small Press Traffic -- two events next week -- double your thrill Friday, February 23, 2001 at 7:30 p.m. a reading by Caroline Bergvall & Hoa Nguyen As a performer Caroline Bergvall embodies the European strangeness and appeal Americans once found in the actress Anouk Aimee and for which we now celebrate Bjork. As a poet Bergvall travels light years beyond conventional ideas of the line, the phrase, syntax, language usage and subject matter, exploring as she does a marvelous, scary post-colonial world of broken signs and signals beautiful in decay. Author of Goan Atom and Eclat, she is the Director of Performance Writing at Dartington College of Arts (UK). When Hoa Nguyen left San Francisco for the independent state of Austin, Texas, she left a huge hole in our social and poetic fabric. Her poetry is small in its physical space but looms large in the psychic state, condensing, like Niedecker, a variety of domestic and political details into a web so fine you could pass it through a wedding ring. In Austin she teaches creative writing and co-edits Skanky Possum with the poet Dale Smith. Her books include Dark and Parrot Drum. ******************* Sunday, February 25, 2001 at 2 p.m. CROSSTOWN TRAFFIC Our new multimedia series continues. Award-winning filmmaker Naomi Uman will present several hand-made, hand-processed films, and acclaimed Bay Area poet Stefani Barber will read from new work in progress. Informal discussion to follow, hosted by Yedda Morrison. Both events in Timken Hall @ CCAC; admission $5, free to SPT members California College of Arts & Crafts 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Wed, 14 Feb 2001 16:06:07 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: CD Wright workshop Comments: To: whpoets@dept.english.edu Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac : HARRYETTE MULLEN : Reads at the Center, Friday, Feb. 16, 7 PM! Come and join us for a reading, booksigning and light refreshments in the gallery. and... THE WALT WHITMAN CULTURAL ARTS CENTER is pleased to announce Poet CD WRIGHT leading a Master’s Class in poetry Saturday, March 10, from 10:30 to 12:30 Deadline: March 2, 2001 Guidelines: 1. Send up to five pages of writing. 2. Author’s name must not appear on work. 3. Include a separate sheet with name, address, phone and email. 4. Include appropriate payment ($30/ or $15/members). Application cannot be processed without payment. To ensure consideration of application, please observe deadline dates. Mail and write check or money order out to: Walt Whitman Cultural Arts Center 2nd and Cooper Streets, Camden, NJ 08102 CD WRIGHT, born and raised in the Ozark Mountains of Arkansas, has published nine collections of poetry, most recently Deepstep Come Shining, Tremble, Just Whistle, and String Light, which was awarded the 1992 Poetry Center Book Award. Her Reader’s Map of Arkansas and The Lost Road Project: A Walk-in Book of Arkansas is a book and multi-media exhibition that surveys her home state’s letters from De Soto narratives to the present, and provides an abbreviated bibliographic guide to Arkansas poets, novelists, historians, memoirists, and other state chroniclers. A list of her many awards includes two NEA fellowships, the Witter Bynner Award, Guggenheim and Bunting fellowships, the Whiting Writers’ Award, 1994 State Poet of Rhode Island (a five year post), a Lila Wallace-Reader’s Digest Fellowship and the 1999 Lannan Literary Award. With poet Forrest Gander she is editor of Lost Roads Publishers. PLEASE NOTE!!! CD WRIGHT**PRAGEETA SHARMA**and**DAHLIA ELSAYED Will read from their work Friday, March 9, 2001,7:30 pm Please hold that date; more information to follow!! Walt Whitman Cultural Arts Center 2nd and Cooper Streets Camden, NJ 08201 856-964-8300 wwhitman@waltwhitmancenter.org Consider a membership to the WWCAC for as little as $20. Call Tara Renault at the Center number. ========================================================================= Date: Wed, 14 Feb 2001 15:50:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: Outlet (7) Survey Comments: cc: WOM-PO@listserv.muohio.edu Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Dear all, please please answer our survey, we are getting tremendous variousness and are thrilled by it and want more...pass it on, too...Eds 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: Wed, 14 Feb 2001 02:16:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Tills Subject: Re: POETICS Digest - 1 Feb 2001 to 5 Feb 2001 (#2001-22) MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit She wasn't wearing any clothing at all, but the emperor of writing didn't notice. There was a reason for her otherwise alarming state of undress: pus and blood oozed from sores all over her body's surface and clothing would only have gotten soiled and restricted what little breathing her flesh permitted. To some, she would have been hideous, but there at the colony all inhabitants knew beauty and love when they heard it, for she had taught these things to them with her art and compassion. Naturally, her book was never nominated for an award requiring schmoozing, press conferences, ads, MTV, familiarity with The Survivors Program, or academic affiliations. Her son made the Olympics team in 2012 because he could jump higher than the other contestants in the national tryouts. Her daughter, the scientist, invented an alternative for fossil fuels. Her other daughter invented computer codes that permitted her to extend her mother's life by nearly 20 years. All three siblings had incredibly good taste and they were each in their individuated ways socially graceful and emotionally mature. They chose self-education and declined offers of scholarship to prestigious American universities. Their mother finally succumbed to the leprosy that had ravaged her body for 59 years. She died boundlessly loved and deeply cared for by each and every inhabitant of the small island where she had spent her remarkable and enduring life, albeit completely unknown and unrecognised in any literary circles in the United States. Her book was discovered a hundred years after her death. A businessman discovered it during an archeological expedition he had financed with monies he'd made producing and distributing educational videos. He introduced it to a psycho-social research institution in Mexico City that derived four distinct, statistically and genetically supported theorems explaining language's effects on cognition and self-esteem. Literary circles in Mexico and South America caught wind of the studies but neglected to examine the artifact as a literary object or even re-translate the text back into American-English. Soon practical applications and psychological engineering technologies spawned by the psycho-social research institution's studies and their original theorems were readily adopted by cultures throughout the still economically deprived Central and South Americas. By the middle of the 22nd century, nearly every country below the Mexican-American border had come to enjoy a standard of living equal to that long enjoyed in the United States. And some even argued that Honduras, Brazil, and Quatemala--to name but a few--had surely surpassed the United States, though the argument was forever deemed unuseful since it revolved around matters of taste and other culturally derived, perpetually arbitrary parameters. By the end of the 23rd century, not one of the twelve emperors of writing based evaluations for the International Contests on individual opinions or name values anymore. All twelve used the new scientific methods. Imperfect, perhaps, because all human measuring systems are imperfect, but as mathematically fair and valid as weather forecasts, evaluations were likened by some to open golf championships. Anybody could enter the contests, anybody's writing could be fed into the computers, nobody was required to submit biographical minutia. Anyone, whoever made the best score, would win. Somebody submitted the loved mother's original source text from a computer terminal in Bolivia. It crashed two of the twelve emperors' evaluation computers, but that was not an uncommon occurence the last several years. Steve Tills -----Original Message----- From: Automatic digest processor [SMTP:LISTSERV@LISTSERV.ACSU.BUFFALO.EDU] Sent: Tuesday, February 06, 2001 12:07 AM To: Recipients of POETICS digests Subject: POETICS Digest - 1 Feb 2001 to 5 Feb 2001 (#2001-22) << File: ATT00002.html >> << Message: RUST TALKS >> << Message: The battlefield where the moon says I love you >> << Message: A special announcement >> << Message: An Event in the SF Bay Area (Oakland) >> << Message: an email for Brian Kim Stefans >> << Message: POG at Antigone: Eileen Myles, Saturday February 10, 7pm >> << Message: Wenderoth Letters to Wendy's reading / Boston and NYC >> << Message: -VeRT Call for Submissions >> << Message: Wkshp at Walt Whitman Center >> << Message: Hunt/Skinner/Fuhrman at DOUBLE HAPPINESS >> << Message: David Amram's Tribute to Gregory Corso >> << Message: Distribution Poster >> << Message: contact info for Nick Flynn? >> << Message: Is it permissable? >> << Message: Re: National Book Critics Circle Nominees >> << Message: Re: National Book Critics Circle Nominees >> << Message: Fwd: Letters to Wendy's/Housing Works >> << Message: Update on my New Website >> << Message: Second Sundays poetry salon 2/11 >> << Message: Performing poet, singer Maya Dorn in Kingston, NY >> << Message: RS READING >> << Message: When will the book be done? >> << Message: Re: National Book Critics Circle Nominees >> << Message: Linda Bohe -- Collected Poems now online >> << Message: Call for Papers >> << Message: Xenakis, J.J. Johnson >> << Message: Oxford Brookes: 3rd Research Colloquium >> ========================================================================= Date: Thu, 15 Feb 2001 00:43:00 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit _ON WORD part one_ with contributions from Adrian Clarke, Karen Mac Cormack, Maggie O'Sullivan and Lawrence Upton will be launched by Writers Forum on 10th March 2001 at Betsey Trotwood, Farringdon Rd, London E C 1 3.30 pm for 4 pm ========================================================================= Date: Wed, 14 Feb 2001 21:19:38 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Quasha Organization: Station Hill / Barrytown, Ltd. Subject: Franz Kamin website announced MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit "Franz Kamin is a uniquely multidimensional artist and thinker. A musical composer, poet, and author of prose narratives and performance works combining several media, he playfully and seriously incorporates in much of his work concepts and procedures derived from such fields as topology and linguistics. But withal he's a deeply romantic artist, much of whose work arises from his personal relationships. And after many decades when the musical world has despised program music, he's exuberantly revived it and become one of its foremost exponents. There's no one like him." -- Jackson Mac Low Franz Kamin is the author of many works in music and experimental writing, including ANN-MARGRET LOVES YOU & OTHER PSYCHOTOPOLOGICAL DIVERSIONS and SCRIBBLE DEATH (both from Station Hill Press); other titles and available works listed on the new site below, about which this news has just come in: "This Franz Kamin Home Page has been slowly under construction for a number of months. It is not yet too far along. However the order list - price list which is in pretty good shape contains a number of items that make good gifts (think birthdays, & Christmas is only eight months away.) - At least peruse. Other sections of the Franz Kamin Home Page will get more complete as time goes on (which it does.)" Franz Kamin Home page: at www.ezonline.com/trace/kamin.htm Kamin lives in St. Paul, MN; his e-mail: NORKINSHOT@aol.com -- 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: Wed, 14 Feb 2001 21:21:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: storm: interrupt MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ** storm: incoming cumulonimbus :stratus :cumulocirrus :stratocumulus: what'd i tell you. i'm riding monsoon. you're soaked in the downpour. you've got to hold onto your losses. you've got to follow your shadow. what'd i tell you. my shadow's your shadow. you fit in your dream. i come on like hurricane. i bring on tsunami. i take you on down. what'd i tell you. i take you all down. [anomalous transmission] what'd i tell you. you got tornado in me. you got eye's fury. you've got to follow my dream. you've got to hold onto the whirlwind. you got to move with the rain. you've got to get out of the fog. what'd i tell you. you've got fury and flood. you've got black lightning and thund:35069:5:what'd [breakup] i tell you. i come in like your shadow. you got to follow your dream. i ride in with the storm. what'd i tell you. you got to go out with the breeze. you got to look down from the cloud. i come in like typhoon. i go out like hurricane. high wind on the way, high water on down. :^[[Dwhat'd [static hiband] i tell you. i'm riding monsoon. you're soaked in the downpour. you've got to hold onto your losses. you've got to follow your shadow. what'd i tell you. my shadow's your shadow. you fit in your dream. i come on like hurricane. i come on tsunami. i take you on down. what'd i tell you. i take you all the way down.:cumulonimbus [transmission loss] [calibration] cumulonimbus :stratus :cumulocirrus :stratocumuluswhat'd i tell you. i'm r [noise and line breakdown][recalibration] iding monsoon. you're soaked in the downpour. you've got to hold onto your losse s. [transmission interrupt] you've got to follow your shadow. what'd i tell you. my shadow's your shadow. you fit in your dream. i come on like hurricane. i bring on tsunami. i take you [static discharge] on down. what'd i tell you. i take you all the way down.:what'd i tell you. you [ion interrupt] got tornado in me. you got the eye's fury. you've got to follow my dream. you'v e [line noise] got to hold onto the whirlwind. you got to move with the rain. you've got to g et [retransmission] out of the fog. what'd i tell you. you've got ffury [line noise.echo] and flood. you've got bla ck [capacitor breakdown] lightning and thund:35069:5:what'd [whistler] i tell you. i come in like your shadow. yo u [keyed discharge] got to follow your dream. i ride in with the torm. [cutout] what'd i tell you. you go t to go [stuttered checksum error] out with the breeze. you got to look down from the cloud. i come in like typhoon. i go out like hurricane. high wind on the way, high water on down. wha t'd i [ion discharge] tell you. i'm riding monsoon. you're soaked in the downpour. you've got to [equipment overload and failure] hold onto your losses. you've got to follow your shadow. what'd i tell you. my shadow's your shadow. you fit in your dream. i come on like hurricane. i bring o n [interrupt] tsunami. i take you on down. what'd i tell you. i take you all the way down.:c umulonimbus [interrupt.line down] k:3 -> ========================================================================= Date: Wed, 14 Feb 2001 07:54:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Al Filreis Subject: Kelly Writers House Comments: To: friends@dept.english.upenn.edu MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit On February 28, the Kelly Writers House in Philadelphia will sponsor a reading by and discussion with Joan Retallack. We will be webcasting this program live. We hope you'll join us for the webcast if you can't make it to Philadelphia. To sign up for the webcast, please write to wh@english.upenn.edu For more information about the event, look here: http://dept.english.upenn.edu/~wh/calendar/0201.html#28 For more information about how to connect via webcast, look here: http://www.english.upenn.edu/~wh/webcasts/ To view a sample webcast recording, try our Tony Kushner programs (which took place yesterday): http://www.english.upenn.edu/~wh/webcasts/kushner.html If you are not already on the Writers House e-mailing list, and would like to be added, please write to wh@english.upenn.edu Al Filreis The Class of 1942 Professor of English Faculty Director, the Kelly Writers House University of Pennsylvania << www.english.upenn.edu/~afilreis >> ========================================================================= Date: Wed, 14 Feb 2001 13:12:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schlesinger Subject: Fw: Authentique Plastique MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ----- Original Message -----=20 From: schlesinger=20 To: CORE-L@LISTSERV.ACSU.BUFFALO.EDU=20 Sent: Wednesday, February 14, 2001 9:49 AM Subject: Authentique Plastique These are some informal (collaborative) notes on the Poetry Plastique = Opening this weekend past. The exhibit will be up for a few more weeks = (03.10.01). T.C. & K.S. ______________________________________________________________________ =20 Poetry Plastique=20 Marianne Boesky Gallery=20 Opening February 9 =ADthrough March 10, 2001=20 Curated by Jay Sanders and Charles Bernstein=20 Authentique Plastique: =20 A few jottings from the notebooks of Terry Cuddy and Kyle Schlesinger:=20 The turn out for the opening of the Poetry Plastique exhibition curated = by Jay Sanders and Charles Bernstein at the Marianne Boesky Gallery (535 = West 22nd Street, New York) was pleasantly well attended. The gathering = welcomed an enthusiastic grouping of invested parties, as diverse in = their own ambitions and practices as those who offered their works; = poets, collage artists, bookmakers, fine printers, video artists, film = makers, sculptors, wordsmiths, historians, critics, etc. and those who = would prefer to refrain from such introductions altogether. =20 =20 Sanders writes: "We had a gallery and we wanted to flood it with = poetry. Not with "poetic" artwork, but with actual poetry, made by = poets. But, we had gallery walls, not pages in a book. So we organized = a show of art overrun by poetry and a show of poetry riddled with art." =20 The, "actual poetry" was actually, painting, sculpture, printmaking, = collage, video, conceptual film, digital works, and combinations of the = aforementioned mediums. Upon entering, I found myself as disoriented as = those surrounding. To approach the work was to engage in a particular = type of uncertainty, one unindiginous of libraries and museums yet = indicative of both. =20 =20 Bernstein writes: "Not words and pictures but poems as visual objects = (read: subjects). Not poems about pictures but pictures that are poems. = Not words affixed to a blank page but letters in time. Not works = closed in a book but hanging on a wall or suspended from the ceiling or = rising from the floor or sounding from inside a figure or embedded with = paint on a canvas or written in the sky or flickering on a screen." =20 These "nots" are not only nots but nods, also. As was said often, the = work on exhibition was indicative of the tremendous history of radical = (at once grassroots and revolutionary) poetic forms. With works from = John Cage, Robert Smithson, Tom Phillips, one cannot help but think of = their contemporaries, which would be too exhaustive to get into here. = Nevertheless, here, each work in mind, calls for a procession of works, = which could not be shown. Also, more recent works from such familiars = as Arakawa, Kenneth Goldsmith, Leslie Scalapino, Mira Schor, Nick = Piombino, film by Michael Snow, and our neighbors to the north, = Christian B=F6k and Darren Wershler-Henry (Reading Next Wednesday @ 4 w/ = Jed Rasula). =20 =20 It is equally satisfying to see the newer works of Jackson Mac Low (with = works from 1990 and 1975) and Bob Creeley and Cletus Johnson. The show = was particularly successful in attending to the importance of = representing various collaborations, such as Mei-mei Berssenbrugge and = Kiki Smith, Susan Bee and Charles Bernstein, Johanna Drucker and Brad = Freeman, Madeline Gins and Arakawa, Lyn Hejinian and Emile Clark, = Richard Tuttle and Charles Bernstein, and Clark Coolidge's collaboration = with the late Phillip Guston. Certainly, each gathering such as this = cannot be complete, but rather, demarcates a point in the history of = poetry off the page, and invites more room for alternate exhibitions. The next morning began with two panel discussions. The first panel = included: Robert Grenier, Lyn Hejinian, Emilie Clarke, Nick Piombino, = Leslie Scalapino, Christian B=F6k, Darren Wershler-Henry, Kenneth = Goldsmith, and Steve Clay of Granary Books (the handsome catalogue was = published by Granary http://www.granarybooks.com ). Marjorie Perloff was = the monitor, and is the appropriate author of Poetry On & Off the Page = (Northwestern University Press, 1998) Perloff started off quoting three exhibitors definition of 'Plastique'. 1. Christian B=F6k - "Plastic is the silly putty, with which we = simulate, then supplant, every facet of reality, converting all the = varied elements of the planet into one common emulation . . ." (from the = Poetry Plastique catalog, pg. 66) 2. Johanna Drucker - "'Plastique' is a suggestive word, carrying as it = does, a nostalgic trace of early twentieth century aesthetic fascination = with the power of material. An elastic flexible capability to transform = function into self-conscious awareness through formal properties lies = latent within the concept. A whole universe seems promised in the = imaginative era that the word announced." (from the Poetry Plastique = catalog, pg. 43) 3. Emily McVarish - "Between 'plastic' and 'plastique', a pull has = occurred. Like taffy, the word has been stretched, it's ending = prolonged, its vowels opened and readied to take on a continental = emphasis, an image of malleability, a whole new doubly fashionable = connotation. (from the Poetry Plastique catalog, pg. 81) Perloff's first question to the panel was something to the effect, "How = is the work in this show not concrete poetry?" alternately, "What are = the characteristics that distinguish poetry plastique from the = longstanding tradition of concrete poetry?" I was taking notes as fast as I could. Christian B=F6k mentioned = something about the "exhausted language of the past . . . " Lyn Hejinian = said, "Instead of a passive receiver one is an active negotiator . . . = This work is not attempting to reify into an object . . . illegible . . = . open endedness." Kenny Goldsmith suggests that this work is being = shown in the context of the art world, "at the heart of the art world".=20 Perloff posed a second question to the participants on the first panel, = "What is the difference between a page and a frame?" (Is it the page = that acts as a frame or the chase that acts as the frame off/of the page = or is the frame of the frame of the page a refrain from the frame of the = frame?)=20 Nick Piombino spoke on a personal level about his relationship to paper = mixing saving and pasting together the language & words, "broadened what = a writer can do, not so much what an artist can do." In a sense, = creating new possibilities to understand the relationships possible = between words and images.=20 One asked, (resonating the history of visible language -- art and poetry = of the last 50 years --) "Are the pieces having conversations with = poetry or with art?" I believe it was Kenny who notes that the duration = of the time an average person takes to look at an object of art in a = museum was 5 to 10 seconds. Hejinian rightfully observed that people = often slow down for certain media, and the issue of comprehensibility = came up. Robert Grenier talked about seriality (the difference between = looking at words =AD textuality -- and tactile discrepancy of page = turning reading). Perloff's final question to the first panel evoked a response: "What = does intertextuality do for your work?" Robert Grenier: " . . . literal embodiment of words as facts." Lyn Hejinian said of her collaborations w/ Emilie Clark: ". temporality = strongly governing (my handwriting was illegible) the writing and = reading experience . . . to slow language down . . . frame . . . = sentence. Destabilizing . . . it is a visual poem with a capital P" Someone made the analogy of montage and film and its possible = correlation to collage on paper. Here is an equation I scrawled thinking through the notebook: MONTAGE - FILM - SEQUENCE COLLAGE - PAPER - SURFACE I didn't get a chance to write who said that, or something to that = effect. One of the panelists made reference to Dominique Fourcade's useful = suggestion that, "Visuals reduce the audience". Do pictures = detract/distract the reader/viewer from the text? Dominique Fourcade, "The word is to look at." LOOKING at Gertrude = Stein's pages. "Gertrude Stein is off the page!" Writers trying to work = on-the-page.off-the-page/on- the-page dichotomy. "You lose the charge of = the work." Dominique Fourcade," . . . a distraction" Perhaps this is = what Antin had in mind with his skywriting project, field of blue, = impermanence, word dissolve. Followed with punctual clarity, it was suggested that words need not be = removed from the page, because they already exist off the page (that is, = how could you recognize words on the page if they were not already off = the page?) "Poetry on television? Distracting ...The resonance of the = word" Perloff concludes the first panel, "Poetry is a commercial that doesn't = sell anything"=20 Break The second panel included Michael Snow, Madeline Gins, Tan Lin, Jackson = Mac Low, Susan Bee, Linda McVarish, Mira Schor, Johanna Drucker, and = Brad Freeman. Missed Marjorie's question, but Mira Schor's response referred to her = own work and the idea of monochromatic abstraction and representation of = language. Perloff criticized the idea of tying "an image down to a = particular meaning . . . image and meaning together. Sameness and = multiplicity." Madeline Gins was heard clearly, although possibly clearly = misunderstood, as she called for the necessity of more = "coordinologists". She appointed the organizers of, "Poetry Plastique" = to be coordinologists, but also recognized that there were many poets = and artists in the audience whom she would consider also to be, = coordinologist (A term she and Arakawa developed to move forward in = presenting their desire to "save the species"). She concludes, "The = coordinologist needs to take up the sacred task of poetry". =20 Jackson Mac Low made an extensive and calculated statement about his = work, introducing these pieces as scores for performance. PERFORMANCE. = PERFORMANCE. Memoriam of John Cage. Chance operation and score for = musical performance. Jackson Mac Low's other piece in the show was an = oil painting, "a poem that became a painting". Michael Snow mentioned feedback in respect to "la poesis plastique". = "What was the question?" Historically, "the other side of concrete = poetry is sound poetry". "Text expresses...passage" Through his film = so this is, "figured out what it was all about... reading artworks...the = attempt to make artwork that was translatable is damaging...you want to = read something...read this disk." Madeline Gins stated, "Expressivity is a dirty word." Regardless of = label of artist or philosopher, Gins sees Duchamp as a great poet and = Wittgenstein as a great poet. Brought up the term she created with = Arakawa "kinesthetic graphicality". She was sick of everyone being, = "mortal as hell" because it is, "getting us nowhere". We can reverse = this, "if we accept the task of the coordinologist" Tan Lin said "Gertrude Stein within a single sentence could erase = meaning." Mira Schor said, "Painting is a language of itself." Someone quoted someone else from the Information Show of 1968: "If I can = think of the piece there is no use in doing it." Johanna Drucker spoke with riveting enthusiasm and tremendous clarity = about an emerging consciousness that gives rise to popular future = meanings. She commented on the polemic reality of her world as = "existing between Mallarme and the National Enquirer." It might be = useful to mention that most of her more recent publications, including = Figuring the Word are now available from Granary Books. =20 Jackson Mac Low: "Artists should support each other regardless of = disciplines . . . even though some influence us and some don't." Madeline Gins: "Double the risk . . . coordinologist." Dada - invention. humor. surprising us. Madeline Gins: "Aren't we allowed ruptures and brakes now . . ." Johanna Drucker: "You are." (A rupture?) laughter Madeline Gins smiles (I think). Perloff ends the panel with the statement, "Art is approaching the field = of journalism." Charles Bernstein added, "Poetry is a negative economy" = (As sd. A blank piece of paper is worth a penny, while a piece of paper = with a poem on it is worth about a penny less.) Break until 6pm for Films and slide presentation. Film #1 Michael Snow's "So This Is" Slide Presentation of a David Antin piece Film #2 Hollis Frampton's "Poetic Justice" Poetry readings immediately following, a poem a poet, including: Jackson = Mac Low, Johanna Drucker, Darren Wershler-Henry, Tan Lin, Nick Piombino, = Madeline Gins, Leslie Scalapino, Kenneth Goldsmith, Christian Bok, = Robert Grenier, Lyn Hejinian, Emilie Clark, and Charles Bernstein. ========================================================================= Date: Wed, 14 Feb 2001 10:15:58 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joshua Mckinney Subject: E-mail address for Ann Lauterbach Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Does anyone out there have an e-mail address for Ann Lauterbach? Please backchannel. Josh McKinney ========================================================================= Date: Thu, 15 Feb 2001 22:40:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: announcing lume 2 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. -- TS > the second issue of > > lume > a journal of electronic writing and art > > is now up at > > http://epc.buffalo.edu/ezines/lume > > featuring > > Nepabunna > by geniwate > > The Dreamlife of Letters > by Brian Kim Stefans > > Sailing > by Alan Sondheim and Barry Smylie > > 1999/1969 > by Ian Campbell and Barry Smylie > > fps > by Aya Karpinska > > Meaning Effect > by Tammy McGovern > > Some Notes on Russian Hypertext > by Inna Kouper > > > also, > > lume > > seeks submissions of > > * electronic writing and art, by which is meant written, audio, visual, and intermedia work that uses and is to some degree dependent on the medium of the computer for its existence > * works that use the medium to experiment with the possibilities of translation > * theoretical, descriptive, prescriptive, proscriptive and most importantly post-scriptive essays on electronic writing and art > * reviews of electronic works or sites > * proposals and queries about curating/editing a continuing special section on international and regional electronic work (if you have an idea to curate or edit a special section on electronic writing in a particular country, state or city, please query. we need people to gather and curate thwork and to accompany it with an essay about said work) > DO NOT SEND OLD MEDIA WRITINGS! > > All works, queries, proposals should be submitted electronically via e-mail to mjk@acsu.buffalo.edu or mailed on disk in MAC format only to > > Michael Kelleher > 39 College St., UR > Buffalo, NY 14201 ========================================================================= Date: Thu, 15 Feb 2001 03:26:19 -0500 Reply-To: dbuuck@sirius.com Sender: UB Poetics discussion group From: "dbuuck@sirius.com" Subject: Re: This Week at Small Press Traffic Content-Transfer-Encoding: Quoted-Printable MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" I'd like to second the recommendation for this event. Naomi Uman has done some amazing work, including "Removed," a brief= film that doctors found footage of vintage porn, wherein each frame the female figure(s) is covered/removed via the hand= application of nail polish to the film stock. Her bilingual doc "leche," about a dairy ranch in rural Mexico, is a compe= lling experiment in both film & ethnography. Also, for those in the bay area not familiar with Stefani Barber's work, her= e's a chance to become introduced to an emergent body of work that fuses the socio-political onto experience & identity f= ormation, proving that the so-called "return to subjectivity" needn't necessarily become a retreat from the political int= o the disengaged trenches of private ironies and the conversational poetics of personality. Crosstown Traffic is a new SP= T series co-curated by Taylor Brady & Yedda Morrison, attempting to reinvigorate the strong SF tradition of multidiscipli= nary cross-media work by putting writers' work in conversation with the work of visual & sound artists. check it out if y= ou can... ******************* Sunday, February 25, 2001 at 2 p.m. CROSSTOWN TRAFFIC Our new multimedia series continues. Award-winning filmmaker Naomi Uman will present several hand-made, hand-processed fi= lms, and acclaimed Bay Area poet Stefani Barber will read from new work in progress. Informal discussion to follow, hosted by Yedd= a Morrison. Timken Hall @ CCAC; admission $5, free to SPT members California College of Arts & Crafts 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org -------------------------------------------------------------------- Mail2Web - Check your email from the web at http://www.mail2web.com/ . ========================================================================= Date: Thu, 15 Feb 2001 22:57:29 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: If and When (Inspired by if not connected to Alan Sondheim's "style") Comments: cc: Catherine Daly , Aaron Belz , Scott Hamilton , patrick@proximate.org MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable To the Poetics and some people I have picked out to "unload" my "If = and When" Hi to all.Richard. If and When for Alan = Sondheim If plebian: think of Rodin's peasant. If patrician: then ecstatic to pin. If testicle: then redefine right to wrong. If lunge: then unplug description. =20 If defies: then "It" is it. =20 If before: betake tracks to lighthouse. =20 If pharos: all is computer antithetical and. If after: undo her and place. If then: what is to establish. if not: why not why not fatigue and then when I'll go you. If rape: then zoom enormous what is bad. If locate: then proceed as pips decide. If direction: the zygotes tremble. If shiver: we have sight to captain ho ho silver. =20 If gold: then bags amass. =20 If lug: the sun breaks to green and beyond black. =20 If she: what was I the chemical numbers. =20 When moon: why du Pre did die. =20 When stellar: swift fantastic as fantastic is. =20 When plexus: my son is found. =20 When bark: iron ships do shudder under. =20 When seas: whales are sleek in electron night. =20 When bird: it spears and drops. When crawls: eye turns and corrugate is corruscate. =20 When menstrual: time turns as tide or robot of. =20 When everyone: love holds yet black skeletal black. =20 When ridiculous: he carefulled an egg to spasm sign. =20 When seize: what is felt is forgot and we. =20 When excruciate: terrible niceness. =20 When lift: her hair fine flowed. =20 When contingent: may you by a duck pond lie. =20 When pukeko: you shall be somewhere eternal Tuesday. =20 When irridient: (if word) the blue to flash and red to bang. =20 When funnel: nothing because funicular. When articulate: speech precedes and bones proceed before. When she: then it is happens again and my head is gone. If latch: a dark dark man. If madden: cause to hand on brow. If christ: we wow dont know. If Jacqueline: terrible and wonderful. If cougar: enter and enter to enter my enter. If alpha: a cough is not enough to end. If greek: speak in explosions. If chess: wood is best and leaves are wind. If hand: our land is your land. If remember: then brain is planet and teeth are white to very very yes. =20 Richard Taylor. =20 =20 =20 =20 =20 =20 ========================================================================= Date: Thu, 15 Feb 2001 05:34:39 -0500 Reply-To: BobGrumman@nut-n-but.net Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: Fw: Authentique Plastique MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Thanks for the report. Didn't sound to me like anyone at the gathering was able to distinguish poetry plastique from concrete poetry. --Bob G. ========================================================================= Date: Thu, 15 Feb 2001 12:41:50 -0500 Reply-To: perelman@dept.english.upenn.edu Sender: UB Poetics discussion group From: Bob Perelman Organization: University of Pennsylvania Subject: Reading at Double Happiness MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Charles Borkhuis and Bob Perelman read this Saturday, February 17th, 4 PM, at Double Happiness, 173 Mott, NYC. ========================================================================= Date: Thu, 15 Feb 2001 13:41:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: Ginsberg's "the" MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Dear poetikers, I thought at one point Allen Ginsberg wrote don't use the definite article in poetry. I spent awhile yesterday afternoon trying to locate the place without luck. Does anybody know? Louis ========================================================================= Date: Thu, 15 Feb 2001 16:06:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Wheeler, Source Codes MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" > Source Codes > Susan Wheeler > Salt Press > ISBN: 1--876857--06--4 > Paperback, 104pp. > > Wheeler skirts along the troubled borders where virtual reality and Robert > Lowell's Maine lobster town vie for our central geographic tropes, and > where the "self" is variably a node in a cluster of rhizomic meanings or > enmeshed in an aging, none-too-pretty (but lyrical) body. Each of the new > poems in this startling collection leaps head-first into dizzying, often > very formal, always wackily alliterative, language: "We reassert / the > selves but the Seagrams of the earth they / sift us with silt no mind our > gear in a wind that takes / _going off_ to heart, or what heart a silt > self has / in the greater earth it constitutes." (1) As the fable of > Benny, the beaver who only made a sound with his tail but did no work > ("Benny slapped his tail to bang / A beat on hollow logs / Keen for > external analogs / To the hums within his head."), Wheeler is obsessed > (like Walter Benjamin, about whom this poem may be) with art in a time > when the art object, in this case the poem, has lost its singularity and > direct relationship to "work" and always echoes something else -- a time > when poems can literally be created by computers or be the product of text > dumps from the web. Despite these high-tech concerns, which place her > within the interests of Charles Bernstein in his "Nude Formalist" mode > (the wrong word used just wrongly in a formal/lyric style, floating high > above the essentialism of common lyric conceptions), the technology of the > poems, or Wheeler's "tradition," seems equally inspired by the allusive, > symbolist-tinged, grand style of the Bishop/Lowell/Berryman line, and her > talent for crushing rhymes that expose total disaffection, while owing > something to the Artaudian school of pain as pleasure, take overblown > advantage of what the often pessimistic "Age of Anxiety" strains of these > poets had to offer: "You've been pure trouble since I thought you up, / > Acie, hairnet, glass eye, wormy dick / through stretch pants across a > girth so thick / even your dog don't jump." (18) Wheeler's pantheon of > effects takes in everything from jingles ("Double bubble toil and trouble > / Double, double, double your fun"), very tight syllabic stanzas, the odd > mix of stentorian modes with cartoon-like plasticity that is familiar to > readers of middle-period Ashbery, pseudo-wisdom literature modes ("The > death of peace is no literature / Leisure is death without letters. / > Death is without the leisure of letters. / A lettrist's death is without > peace."), myths, fables, and Surrealist mantras, like this poem which, > with a Swiftian turn right out of Gulliver's Travels, reverses the > trajectory of Breton's famous paean to his wife with red hair: "lover > admires his mistress, though she be very deformed of herself / a swollen > juggler's platter face, or a thin / have clouds in her face, be crooked / > mammis, her dugs like two double jugs / that other extreme, bloody-fallen > fingers / she have filthy, long unpared nails [...] he lovers her once, he > admires her for all this" (12) Source Codes, whose poems are only titled > by numbers but have, on the contents page, what appear to be one-line > citations for each one ("Text: Robert Burton, Anatomy of Melancholy," for > example), is punctuated by a series of interesting, if not as technically > dazzling, collages that place figures in rooms and landscapes so that > their Cartesian coordinates are possible, but socially they are quite out > of place -- a couple necking in a cathedral, for instance. At the end of > the book appear three Appendices, each suggesting, in their own way, how > the presence of the poem as a series of singular marks of ink on a page is > undermined by its "source," hence banishing forever the image of Coleridge > merely transcribing Kubla Khan from his repressed, universal memory: > first, a series of scribbled-over drafts of the poems in the book; second, > a splash of HTML that (as any programmer could see) wouldn't work; and > last, a series of what could be drafts for poems in a new book. This > remarkably subversive book -- in which Frost's "Provide, provide" becomes > the great capitalist mantra "Produce, produce," and the singing > Nightingale "nests in its noose" -- is at once an homage and an > evisceration of what might call the main line of American poetry, not > unlike Lowell's own evisceration of his aristocratic lineage in his early > poems. In any case, Source Codes is one of the few books of poetry that > truly synthesizes, even exhausts, the range of techniques that the 20th > century provided for American lyric verse. > > > ========================================================================= Date: Thu, 15 Feb 2001 16:08:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Gladman, Juice MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Juice Renee Gladman Kelsey Street Press ISBN: 0--932716--55-5 Paperback, 64pp. "About the body I know very little, though I am steadily trying to improve myself, in the way animals improve themselves by licking," starts Gladman in this philosophical but warmly personal first collection of fictional prose poems. Like her fellow San Franciscan, the young writer Pamela Lu (in her book Pamela: A Novel) Gladman is focused on describing an individual/collective identity and the strange dilemma of selfhood in a post-identarian, self-conscious age in which all sorts of structuralist analyses -- psychological, sociological, ideological -- threaten basic ontological certainties. "Translation," only 12 pages long, adopts a "tale of the tribe" breadth to describe a people who "migrated off the 'declining' coast" intent on discovering, via archeology and some odd logistical gestures, the secrets of its occluded past. The sentences themselves, shooting off into several directions, don't respect the norms of a leading-sentence paragraph, so putting things together becomes an archeological feat in itself -- is she alone remembering? has the community really abandoned her? But pushed to the task of native informant by the act of recounting itself, she struggles to explain: "Bear in mind, this is a land without normal science. The Floyds' oldest boy was the only one to decipher that science, but he was sick. I'm trying to tell you how I knew we were a tribe. It was not by the length of our feet or color of skin on the inner sides of our hands that I knew it. We were tribal in our language, in the way ideas came to us." Having surfaced from this nearly cultish communality into individuality, she is at a loss about how to provide her own "feedback," what scales of meaning to use to describe herself: "You can't just walk up to someone, or in my case a plant, and say, 'Hey, look at how I've grown'," and earlier: "There are games one plays while one is waiting for a mass return; they are mostly sexual. I cannot help but be sexual before these mountains, their flirtish behavior and exquisite face. I find that I am moved to ecstasy -- ecstasy being my most treasured activity. I would rather have the town, but will miss the nakedness of these years." In "Proportion Surviving," the "juice" of the book's title is revealed to be an aspect of an identity that has been, at least temporarily, othered, only so that at a later time it can be re-imbibed and returned to a unitary subject -- -- a search for balance when there is nothing "out there" to weigh against. The narrator becomes obsessed with juice -- fresh juice only, but also to the point of stalking the juice aisles at grocery stores: "When my friends came by -- they liked to suddenly show up with all kinds of breads in their hands, thinking they knew what I needed and planning on forcing it on me -- I had to tell them I was busy with my juice."(22) A crisis involving a lover gets her off the juice, and though now she is a "weaker character," she writes: "Today all my ideas are liquid." In "No Through Street," the narrator's sister, who seems some sort of figment of the "evil God" in Descarte's imagination, acquires great fame in constructing useful, if puzzling, signs that have a meaning in their intended geographical locales but don't make sense in a museum context (where the artist has found fame as a "directionalist"), whereas in "First Sleep," the most fragmented but evocative text, a search for a "Mrs. Gladman" is being carried out amidst a series of "sleeps," as if identity itself can only be discerned in the synthetic, but punctuated, moments of the subconscious. Gladman writes as if in a post-apocalyptic world, like a Crusoe on a desert island that is actually populated, but with linguistic signs instead of people. Though one wishes at times for a more vividly descriptive language and perhaps more elaboration of the ideas, this is a rich and unusual collection, like an alien codex from a culture in one's backyard. ========================================================================= Date: Thu, 15 Feb 2001 16:21:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Little Review: Kocot, 4 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" 4 Noelle Kocot Four Way Books paper, 72 ISBN: 1--884800--32--7 A startling debut from this New York-based poet, 4 is a highly technical accomplishment -- free-verse sestinas, rhyming quatrains and other verse forms seem to roll from her pen effortlessly -- and yet it manages to do without the pastiche or irony-drunk qualities of other contemporary quasi-formal versifiers. Her knotty, provocative turn of mind -- part maudit/flaneur, part Kenneth Koch -- mixes darker, often Biblical imagery with a quirky humor, as in these lines from "The Traffic Cop": "I don't know how to say what I'm becoming / But it seems that every time / I consider lolling on the banks of the lake / Of infernal fire, the ice-cream truck / Toddles along, hauling its song." (16) Casting herself as the renegade, even the vagabond, but with benign intentions peeking through, this poem concludes on a defiant absurdist note: "Your brand of peace disgusts me, do you hear? / I am the fugitive who drives the stampede / Of aardvarks across your lawns. / I have come to tip your cows." Swift, intense, image-laden poems like "Ontology Train" are like modern pop versions of Rimbaud's "night in hell": "The night offers no apology / For its marvelous moody technique bathed in the venom / Of so many charged similes that conjure the hagiography / Of man as a vessel caught in a maelstrom / Which is its own blustery hubris pulsing / Through his homesick blood..." (22) But her poems are usually about relationships, about the heavy burden of love and poetic thought that she shares with her interlocutor, a nameless, mystical (because "non-I") "you": "Yet you are concrete / Somehow; I know, I've heard your bee-like buzzing / In all the tiny leaves bursting from their sacs to greet / A magical universe..." (43) Her sestinas offer a lighter view, and probably sway closest to the ironic tones of someone like an Anthony Hecht (in the "Sestina Inverno") if only because the necessary play of the form, as in this brief (fictional?) recounting of a failed affair: "But in all the San Franciscoes / We could conjure in our souls, / Always there was the debris left perhaps by the quake of chiding souls / In the intermediate world, or by some ironic / Sandman reminding us that we were still asleep. San Francisco / Fantasy aside, you have to admit we sucked / As a couple..." (48). "Le Marteau sans maitre," dedicated to Pierre Boulez, has some of the qualities of Ashbery's Prospero-like narrator revealing the codes that lie under reality's deceptive surfaces: "In this way, our reactions to the written word / Open an angle of view increasingly peopled / By our club-shaped shadows, / And by our footprints on the road which lie / In an allegorically restrained / Framework of geometric shapes, as elegantly austere / As the simple arrangement of vessels on a table, " and concludes: "So you see, the scene / Is quite human after all, a liquid legend / Passing through crystalline sunlight / And flooding our well-supported interiors / With an atmospheric clarity emblematic / Of the essential questions blowing here and there / Like remnants of a foreign language..." Kocot's images flow freely, perhaps too rhapsodically for some people's tastes, and one senses that her own style lies ahead of her. She writes unrestrained, and almost approaches a "naive" quality except that her obvious spiritual maturity, not to mention her lexical flexing and formal skill, deflects this impression. Like other young poets, such as Jennifer Moxley and Chris Stoffolino, Kocot has found a language for her emotions that pulls into her universe an abundance of memories, metaphors, and verbal twists, but she is unique in having found a way to mate an urban "post-punk" sensibility -- images of youthful rebellion, cultural disgust, hyperreal love and visceral superworldly elements abound in passionate bursts -- with a highly controlled, even learned form that makes reading her poems both an energizing yet cerebral experience. ========================================================================= Date: Thu, 15 Feb 2001 10:44:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Zimmerman Subject: Re: bring me a shrubbery Comments: cc: Daniel Zimmerman MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT George W Bush = HEW GREW BOGUS -- let's hope so. Dan Zimmerman ----- Original Message ----- From: Aaron Belz To: Sent: Thursday, September 28, 2000 11:16 PM Subject: Re: bring me a shrubbery > > I want it noted that the letters in George Herbert Walker Bush anagram > > perfectly into HUGE BERSERK REBEL WARTHOG. > > > > > I just found out that my name, Aaron Sanderson Belz, anagrams to "A LARDASS > BORNE ON ZEN" -- has everyone seen > http://www.wordsmith.org/anagram/index.html ?? Kind of takes the art out of > anagramming, I guess. > > > Aaron Belz > http://meaningless.com > ========================================================================= Date: Thu, 15 Feb 2001 17:14:52 -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 THIS WEEK AND NEXT WEEK AT THE POETRY PROJECT: Friday, February 16th at 10:30 pm BEYOND SPRING: TRANSLATIONS READ BY JULIE LANDAU Julie Landau will read translations from her book Beyond Spring: Tz=B9u Poems of the Sung Dynasty (Columbia University Press, 1994). Ms. Landau is a writer whose romance with Chinese poetry began years ago while living in Hong Kong. Her translations have appeared in many journals and anthologies. The actor Lu Yu will read the works in the original Chinese. Also performin= g will be Fay Chiang and musician Cao Bao-An. "[Beyond Spring] is a joy =8A the kind of book which will draw the uninitiated into the world of Chinese poetry, motivate the learner to further study, and still provide the specialist with surprises and delights." =ADAsian Affairs Monday, February 19th at 8 pm CHRIS CHEN AND PETER NEUFELD Chris Chen, composer of "Symphony For A Billion," rocket scientist, neurosurgeon, is "Shanghai Slim," the sentimental lead singer of the semina= l 80s New Wave band, "The Hong Kong Cavaliers." He is also the author of the knee-jerk dirge, Uncle Chen's Oriental Slapstick, a 16-part comic book satire of Chinese imperial history published in excerpted form by Incidenta= l Press. He has also published work in The Berkeley Poetry Review, Chain, and Interlope. Peter Neufeld lives in Brooklyn, New York. His work has appeared or is forthcoming in Cello Entry, Lipstick 11, and Booglit. He is an editor of Melodian Press and the soon-to-be-released lit mag Aufgabe. Wednesday, February 21st at 8 pm CHARLOTTE CARTER AND WILLIAM MELVIN KELLEY Charlotte Carter=B9s poetry and prose have been collected in Sheltered Life and Personal Effects. Since 1997 she has published three novels: Rhode Island Red; Coq Au Vin; and Drumsticks (Mysterious Press/Warner Books, 1999). The Detroit Free Press described Coq Au Vin as "Absorbing=8Aa witty, erotic, and moving love song to Paris and its glamorous Black past." Willia= m Melvin Kelley=B9s A Different Drummer, nearly three decades after its first publication, remains one of the most trenchant, imaginative, and hard-hitting works of fiction to come out of the bitter struggle for African-American civil rights. Kelley=B9s other books include the novels A Drop of Patience, Dunfords Travels Everywheres, and dem, which is being republished this year by Coffeehouse Press. He lives in Harlem and is Professor of Creative Writing at Sarah Lawrence College. Friday, February 23rd at 10:30 pm A NIGHT OF TABOO-BOOS: MY MOST EMBARRASSING MOMENT Embarrassing moments=8Bthe kind that leave you cringing with shame for years to come=8Bare the subject of this outrageous, shocking, and downright grotesque celebration of all things humiliating. Come hear fearless, tell-all performers=8Btheatrical rock band The House of Pernod and poets Clar= a Sala, Tim Wells, and Ivan Penaluna=8Bshare their own deepest, darkest, most embarrassing moments. Following their performances there will be an open mike, where audience members will get to air their own dirty laundry as the= y compete for fabulous, embarrassing prizes. The readers with the best "most embarrassing moment" poems win. Unless otherwise noted, admission to all events is $7, $4 for students and seniors, and $3 for Poetry Project members. Schedule is subject to change. The Poetry Project is located in St. Mark's Church at the corner of 2nd Avenue and 10th Street in Manhattan. The Poetry Project is wheelchair accessible with assistance and advance notice. Please call (212) 674-0910 for more information or visit our Web site at http://www.poetryproject.com. * * * ========================================================================= Date: Thu, 15 Feb 2001 15:53:44 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: The Story of O MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" It is, of course, a de-mythologizing time, but nevertheless I've been writing a long poem for the last three years which investigates the myth of Orpheus, going back to Plato, Virgil and Ovid and up to Blanchot, Cocteau and the recent Brazilian remake of "Black Orpheus." Now a large portion of this poem, "The Story of O," has been published on the net at http://www.mythsamongus.com -- (it looks better with Netscape than with IE). I'd be thrilled if any of you had any comments. Thanks, Joe Safdie ========================================================================= Date: Thu, 15 Feb 2001 07:10:11 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: granary book In-Reply-To: <200102141254.HAA15875@dept.english.upenn.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" to whomever sent me that gorgeous GRANARY book that catalogues all their books --THANK YOU, it's breathtaking! bests, md ========================================================================= Date: Thu, 15 Feb 2001 09:02:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Hazel Smith address? In-Reply-To: <002b01c096ca$cea5b3a0$05e9cd80@schlesinger> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" yo, all --anybody got a mailing address for Hazel Smith in australia? ========================================================================= Date: Fri, 16 Feb 2001 16:13:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: poetics list administration Subject: bombing in progress MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit apparently, combined American and British forces have just bombed Iraq; details are sketchy as one would expect. Christopher W. Alexander poetics list moderator ========================================================================= Date: Fri, 16 Feb 2001 16:19:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: poetics list administration Subject: Ted Pelton reading MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Ted Pelton reads from his [very] short fiction, which, I happen to know, is quite enjoyable: Tuesday, 20 February 2001 @ 7:30pm Borders 2015 Walden Ave. Cheektowaga [a kind of Buffalo suburb] New York Those of you who haven't read his book, -Endorsed by Jack Chapeau- (starcherone books), well ought to do so. Christopher W. Alexander poetics list moderator ========================================================================= Date: Thu, 15 Feb 2001 23:00:21 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Re: If and When (Inspired by if not connected to Alan Sondheim's "style") In-Reply-To: <002801c09735$cfdcf880$ca6d36d2@01397384> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit marvellous, richard. Patrick Patrick Herron patrick@proximate.org http://proximate.org/ getting close is what we're all about here! -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of richard.tylr Sent: Thursday, February 15, 2001 4:57 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: If and When (Inspired by if not connected to Alan Sondheim's "style") To the Poetics and some people I have picked out to "unload" my "If and When" Hi to all.Richard. If and When for Alan Sondheim If plebian: think of Rodin's peasant. If patrician: then ecstatic to pin. If testicle: then redefine right to wrong. If lunge: then unplug description. If defies: then "It" is it. If before: betake tracks to lighthouse. If pharos: all is computer antithetical and. If after: undo her and place. If then: what is to establish. if not: why not why not fatigue and then when I'll go you. If rape: then zoom enormous what is bad. If locate: then proceed as pips decide. If direction: the zygotes tremble. If shiver: we have sight to captain ho ho silver. If gold: then bags amass. If lug: the sun breaks to green and beyond black. If she: what was I the chemical numbers. When moon: why du Pre did die. When stellar: swift fantastic as fantastic is. When plexus: my son is found. When bark: iron ships do shudder under. When seas: whales are sleek in electron night. When bird: it spears and drops. When crawls: eye turns and corrugate is corruscate. When menstrual: time turns as tide or robot of. When everyone: love holds yet black skeletal black. When ridiculous: he carefulled an egg to spasm sign. When seize: what is felt is forgot and we. When excruciate: terrible niceness. When lift: her hair fine flowed. When contingent: may you by a duck pond lie. When pukeko: you shall be somewhere eternal Tuesday. When irridient: (if word) the blue to flash and red to bang. When funnel: nothing because funicular. When articulate: speech precedes and bones proceed before. When she: then it is happens again and my head is gone. If latch: a dark dark man. If madden: cause to hand on brow. If christ: we wow dont know. If Jacqueline: terrible and wonderful. If cougar: enter and enter to enter my enter. If alpha: a cough is not enough to end. If greek: speak in explosions. If chess: wood is best and leaves are wind. If hand: our land is your land. If remember: then brain is planet and teeth are white to very very yes. Richard Taylor. ========================================================================= Date: Thu, 15 Feb 2001 22:59:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Karen Kelley Subject: Re: Ginsberg's Hi Louis, I don't know if you need to cite a print source for this, but if you are just trying to verify whether he said it, he did. I was in the MFA program at Brooklyn College with him, and he always tried to get rid of as many articles as possible, both definite and indefinite. It was actually rather humorous--any time he tried to fashion a line of poetry as an example of something he was talking about, it would come out article-free. Karen UB Poetics discussion group wrote: > Dear poetikers, I thought at one point Allen Ginsberg wrote don't use the definite article in poetry. I spent awhile yesterday afternoon trying to locate the place without luck. Does anybody know? Louis ========================================================================= Date: Thu, 15 Feb 2001 22:07:59 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Subject: Re: granary book MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit how does one get on the mailing list for granary book catalogs? tom bell ----- Original Message ----- From: "Maria Damon" To: Sent: Thursday, February 15, 2001 7:10 AM Subject: granary book > to whomever sent me that gorgeous GRANARY book that catalogues all their > books --THANK YOU, it's breathtaking! bests, md ========================================================================= Date: Fri, 16 Feb 2001 04:45:41 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: Don't Throw a Bun at A Grazing Cow and Call it A Hamburger MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii SUCH TIMES WE LIVE IN! the genius must be more abundant in this age than in any other for all of our poets are innovators what - your poetry isn't innnovative? step right up and we have just the Program for you - follow it and you too can join the great flattening in the Aunt Jemima era of poetry where coloured sugar water is passed off as maple syrup that it might be more enjoyable to staple ones own eyelids shut than read L-a=N+g:U'a/g*e poetry does not really matter - if your poem does "what it sets out to do" call the MLA cuz baby - i got a paper to present and it's a doozy! end all innovation! most of what is genuinely innovative at the time is later understood to be a continuation of the work begun long before the said author was born instead we have photographers replacing artists - "sound sculptures" that replace real music and real sculpture because both are too difficult -light verse writers who are inexplicably neither light nor versed - and if a poem impresses our identical twin beside us at a cocktail party as having achieved something ambitious - then of course congratulations are in order __________________________________________________ Do You Yahoo!? Get personalized email addresses from Yahoo! Mail - only $35 a year! http://personal.mail.yahoo.com/ ========================================================================= Date: Fri, 16 Feb 2001 16:51:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: poetics list administration Subject: Jubilat Reading Series Spring Return / Casper MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. Christopher W. Alexander poetics list moderator -- Date: Tue, 13 Feb 2001 16:52:42 -0800 From: "Robert N. Casper" Sender: UB Poetics discussion group From: poetics list administration Subject: Kelly Writers House / Filreis MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This message came to the administrative account. Christopher W. Alexander poetics list moderator -- Date: Wed, 14 Feb 2001 07:54:16 -0500 (EST) From: afilreis@dept.english.upenn.edu (Al Filreis) On February 28, the Kelly Writers House in Philadelphia will sponsor a reading by and discussion with Joan Retallack. We will be webcasting this program live. We hope you'll join us for the webcast if you can't make it to Philadelphia. To sign up for the webcast, please write to wh@english.upenn.edu For more information about the event, look here: http://dept.english.upenn.edu/~wh/calendar/0201.html#28 For more information about how to connect via webcast, look here: http://www.english.upenn.edu/~wh/webcasts/ To view a sample webcast recording, try our Tony Kushner programs (which took place yesterday): http://www.english.upenn.edu/~wh/webcasts/kushner.html If you are not already on the Writers House e-mailing list, and would like to be added, please write to wh@english.upenn.edu Al Filreis The Class of 1942 Professor of English Faculty Director, the Kelly Writers House University of Pennsylvania << www.english.upenn.edu/~afilreis >> ========================================================================= Date: Fri, 16 Feb 2001 13:04:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: Ginsberg's "the" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit It is in Allen Verbatim, lectures on poetry, politics, consciousness. By AG; edited by Gordon Ball. He also has some stupid shit in here about never using certain pieces of language. I don't go by that though. Let the poet turn her own poem. I get squishy inside when hard and fast rules on poetry come up. But Allen is still the man! Geoffrey ----- Original Message ----- From: Louis Cabri To: Sent: Thursday, February 15, 2001 1:41 PM Subject: Ginsberg's "the" > Dear poetikers, > > I thought at one point Allen Ginsberg wrote don't use the definite > article in poetry. I spent awhile yesterday afternoon trying to locate > the place without luck. Does anybody know? > > Louis ========================================================================= Date: Fri, 16 Feb 2001 15:46:00 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ralph Wessman Subject: Re: "overland: magazine back issues Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: quoted-printable In his defence, Syson calls it as he sees it, surely that's a strength. = And with regards standards, how many mags bother to critically explore = left of centre concerns ie the S11 articles in the current issue.=20 Ralph ========================================================================= Date: Fri, 16 Feb 2001 04:00:17 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Romana Christina Huk Subject: Re: Hazel Smith address? In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I'll back-channel with it later on today, Maria -- if the institutional address is okay. She'a at the University of New South Wales. -- R. On Thu, 15 Feb 2001, Maria Damon wrote: > yo, all --anybody got a mailing address for Hazel Smith in australia? > ========================================================================= Date: Thu, 15 Feb 2001 22:44:32 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: quickie query double-pronto In-Reply-To: <3A8C14DE.FA213C8A@english.upenn.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" rush-job --i need a citation for HD's "Oread" --my only copy is in one of those teaching anthologies that doesn't give the original source. back channel please before monday...md ========================================================================= Date: Thu, 15 Feb 2001 15:12:40 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Unmatched parenthesis in address field. 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denis.diclaudio@xlibris.com, nojwolf@juno.com, pazdanz@excite.com, leam8@earthlink.net, GWKershner@aol.com, JanetC87@aol.com, egarrigle@hotmail.com, adrake@jlc.org, mergedinterest@ureach.com, freedrive_99@yahoo.com, hpjr@mindspring.com, DMMUS@aol.com, Gfgiovanni@aol.com, TADTOD@aol.com, riggsda@drexel.edu, theriotgroup@hotmail.com, david@jadelake.com, mrosania@early.com, RealJayCC@aol.com, abrittan@dep.english.upenn.edu, PaganOne@aol.com, Sideshoben@aol.com, scandura@vma1.com, scofieldfille@multimania.com, Idontever@aol.com, d_sherick@yahoo.com, shubintheatre@erols.com, Smolinsky1@aol.com, ETness@aol.com, joytoy13@hotmail.com, jsmith@meyer-associates.com, Leahfeet@aol.com, foio@bellatlantic.net, Dylanbass1@aol.com, jsperling@newyorknet.net, debee38@yahoo.com, Lse664@aol.com, mosss@earthlink.net, contact@saulstokes.com, hlessick@jps.net, talormadeof@yahoo.com, InTheLime@aol.com, siegelf@mail.drexel.edu, Sweldance@aol.com, elena_araoz@hotmail.com, furbanmagii@hotmail.com, luika@astro.ocis.temple.edu, ttreleas@peddie.org, tribalbelllydance@hotmail.com, true_druid@ureach.com, una-pong@hotbot.com, Jamesmen@aol.com, cvecchio@spectrasonic.com, ducklove@earthlink.net, wideopenarts@hotmail.com, chris.wildrick@eudoramail.com, arden@icnt.net, kake12345@yahoo.com, Delia.Stephen@StephenBDelia,amh612@erols.comamh612@erols.com,ddmaguire@hotmail.comDanielMaguire,Bobthepoet@yahoo.comBobSmall,borders@dept.physics.upenn.eduAmyLaub,dlabranche@directweb.comDonaldLaBranche,ekrizek MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit THE FLOATING LOTUS MAGIC PUPPET THEATER PRESENTS THE MYSTICAL ROMANCE OF LAYLA & MAJNUN adapted for the puppet stage by DANIEL ABDAL-HAYY MOORE TUESDAY, FEBRUARY 20, 2001 8 PM admission FREE as part of Cultural Kaleidoscope Week in the Atrium at Cabrini College 610 King of Prussia Road Radnor, PA (610) 902-8513 ------------ THE FLOATING LOTUS MAGIC PUPPET THEATER presentation of THE MYSTICAL ROMANCE OF LAYLA & MAJNUN The ancient story of Layla & Majnun comes from the deserts of nomadic Arabs, elaborated over the centuries and finally put into poetic form by various poets, including Nizami, an Azerbaijani who wrote in Persian in the 12th century CE. It is often thought of as the Arabic "Romeo and Juliet." The Sufi mystics of Islam began referring to Majnun's excessive love for his beloved, Layla, as a metaphor for love of God, and of the single-mindedness necessary to travel the spiritual Path. The Floating Lotus Magic Puppet Theater is a colorful and sophisticated puppet stage of large original hand puppets, vividly sculpted and costumed, who perform the story adapted by contemporary American poet-puppeteer and practitioner of the Path, Daniel Abdal-Hayy Moore. He has taken the text, whose only available translation is in prose, and transformed it into loosely rhymed couplets, in a style that is lively, dramatic, poignant and often comical, but whose basic adult level is aimed at a meditative presentation of the story both faithful to the original and modern in approach. It is not presented as a museum piece, but as a transformed and personally felt poem of quasi-epic proportions acted out by his company of eight puppets, one of which is a representation of the puppeteer himself. Moore, the sole performer, assisted backstage by his wife, also takes on occasional life-sized roles of the same characters as the puppets, in identical costume, with masks identical to their faces, and emerges in front of the audience. The narration is accompanied by music throughout, on zither, harmonica, African marimbas, drums, and a variety of other exotic instruments. Lasting about one hour, the entire play is one of intense love and longing for the Beloved, with the figure of Majnun, the holy madman, as the consciousness of the deepest and highest principles of single-pointed spiritual love. ------------ REVIEW OF THE FIRST PERFORMANCE Po-Puppet Love at the Hands of Daniel Abdal-Hayy Moore "My love for you is close to grief. My heart's been stolen by a thief," mourns the poor common Majnun for the wealthy precious Layla, in the Persian version of an Arabic legend set to puppet-stage by local poet Daniel Abdal-Hayy Moore. The Floating Lotus Magic Puppet Theater is Moore's return to the stage without the hitches he experienced while producing theater years ago at Berkeley: "Puppets don't get pregnant or fall in love and run off." Moore was celebrating his 60th birthday on Thursday, August 3, the day of his one-man show at Main Line Art Center, Old Buck Road and Lancaster Avenue, Haverford, PA, 610.525.0272. The spry sexagenarian narrated "The Mystical Romance of Layla and Majnun" in poetic verse, switching between his live voice and a recording of his voice, the latter of which I, at least, was not aware until Moore intentionally popped his head above the stage to show that his lips weren't moving. Also deliberately comical were some of Moore's word choices to maintain the rhyme scheme. Majnun, an Arabic word for "measure," and Layla, meaning "night" or "the inebriation that comes of drinking first sips of wine," were childhood friends whose lifelong love brought shame to Layla's family name. They recited poetry to each other until Majnun, heartbroken by Layla's arranged engagement to a man her father deemed worthy of her, fled to the barren desert and rocky hills to live wild among the animals. "He who searches for the beloved in his life is not afraid of the world." I won't reveal the rest of the story, except to say that the two lovers find peace knowing that "God's eye that sees all is our wedlock." Moore was delightful: he sang, played harmonica, changed all the beautiful backdrops, and at times emerged from behind the stage, donning mask and garb as the love-mad Majnun. Like the townspeople witnessing the mystical romance of Layla and Majnun, we in the audience could not deny that "the power of poetry is great." --- Marj Hahn (for Poetry/About, Philadelphia) ========================================================================= Date: Fri, 16 Feb 2001 17:05:01 -0500 Reply-To: schwartzgk Sender: UB Poetics discussion group From: schwartzgk Subject: Re: bombing in progress MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Yes, bred in the blood, down the line it all follows: first the bombs. Then, will this time it all advance to cries heard coming from shallow sands? ----- Original Message ----- From: "poetics list administration" To: Sent: Friday, February 16, 2001 4:13 PM Subject: bombing in progress > apparently, combined American and British forces > have just bombed Iraq; details are sketchy as one > would expect. > > Christopher W. Alexander > poetics list moderator ========================================================================= Date: Fri, 16 Feb 2001 17:04:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: Ginsberg's articles In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Thu, 15 Feb 2001, Karen Kelley wrote: > I don't know if you need to cite a print source for this, but if you > are just trying to verify whether he said it, he did. I was in the MFA > program at Brooklyn College with him, and he always tried to get rid > of as many articles as possible, both definite and indefinite. It was > actually rather humorous--any time he tried to fashion a line of > poetry as an example of something he was talking about, it would come > out article-free. Wasn't he ever worried striking the articles might make him sound like a Hollywood Indian? Jordan ========================================================================= Date: Mon, 19 Feb 2001 15:58:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: pete spence Subject: Re: "overland: magazine back issues Mime-Version: 1.0 Content-Type: text/plain; format=flowed > >In his defence, Syson calls it as he sees it, surely that's a strength. And >with regards standards, how many mags bother to critically explore left of >centre concerns ie the S11 articles in the current issue. > >Ralph Ralph, yeah but with the S11 articles they had a chance to do something with some substance in the end it was pithy newspaper journalism, Syson has a good ability to call a few people names all right his behaviour in private to the more marginalised in this country is fairly rude indeed plus Overland agreed to send back a pile of my work a few months ago but haven't so it seems a little bit of court action just might get his ethical standards up a bit heh//pete spence _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. ========================================================================= Date: Fri, 16 Feb 2001 21:51:06 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: despair of routine mission MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ----- despair of routine mission abstract: severed mind. severed thought. severed limbs. severe weather. "unable to write, president bush, i ask you to kill me." ================================== people don't get it. it turns into tension. it leads to lots of hurt feelngs. anxiety and worry hurts careers. worry takes your piece away. let us bomb you. let us bomb you. our worry means nothing. people don't get it. president bush, please bomb me. i will call you president. president bush, please bomb me. i will call you president. take my piece away. i don't want to worry any more. i don't want a career any more. our wants mean nothing. please bomb me, president bush. i lead to hurt feelings. i don't want feelings any more. our feelings mean nothing. people don't get it. ================================== ========================================================================= Date: Sat, 17 Feb 2001 01:21:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Louis Cabri Subject: Re: the funk MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit I am writing a critical prose ditty on the definite article and would appreciate and welcome any thoughts on poems that use it in interestingly reflexive ways. I already have poems/"issues" by the following, in no particular order: Zukofsky, Creeley, M. Gottlieb, Ginsberg, Silliman, Lee Ann Brown, M. Duchamp, Barry McKinnon, McCaffery, Bernstein, Retallack, Coolidge, Russell Atkins. The only "stupid shit" ever pinned on Ginsberg was some bad weed. Think of a poetry so choked on rules that it twitches all over, can never lie still, in fact dies horribly, and repeatedly. In fact can't die, chokes on more. Now *that's* poetry! I had read it an oh so long time ago, long tahm: AG nixed def. articles. So, thanks for proving my memory works -- guess I had bad luck yesterday searching for a citation. Of course, he uses def. articles all over his poetry, just not superfluously, I suppose he would have said. The Louis ========================================================================= Date: Sat, 17 Feb 2001 09:12:50 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joe Brennan Subject: The K-Mart Smithsonian Bowl Comments: To: Kabalang@aol.com, BBlum6@aol.com, flpoint@hotmail.com, ibid1@earthlink.net, mdkoa@yahoomail.com, moyercdmm@earthlink.net, CMJBalso@aol.com, alphavil@ix.netcom.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 Blue Light Special at the Smithsonian By Russell Mokhiber and Robert Weissman Lawrence Small has a great corporate pedigree. For 27 years, Small was a top executive with Citicorp/Citibank. In 1991, he became president of Fannie Mae, the bully on the housing finance market. Last year, he became Secretary of the Smithsonian Institution. He didn't bother resigning from the many corporate boards on which he sits today, including The Chubb Corp., Marriott International, Fannie Mae and Citicorp/Citibank. He's chairman of the financial advisory committee of TransResources International, the parent company of Haifa Chemical, an Israeli firm. We ran into Small this week at the Museum of American History. He had turned over the place to Kmart. Kmart and the Smithsonian had become "partners" in bringing to the public a traveling mobile museum featuring a exhibition titled "Wade in the Water: African-American Sacred Music Traditions 1871-2001." The mobile museum is a 48-foot, double expandable trailer, with giant red Kmart signs emblazoned on each side. The trailer will travel to Kmart stores, schools and elsewhere around the nation. At the auditorium, Small said that he was "delighted to work with Kmart on this important project" and thanked the retailing giant for its "generous donation." Brent Willis, Kmart's "chief marketing officer" made some syrupy statement about the benefits of diversity. We wanted to test Willis' corporate rhetoric against the reality at Kmart. So we asked Valerie Stokes, Kmart's vice president for human resources, and the company's highest ranking African-American, how many of the company's 300,000 employees were African American. Stokes said she didn't know. What about a ballpark number? Couldn't tell you. Are any of Kmart's more than 2,100 stores unionized? No. Have there been attempts to unionize? Couldn't tell you. We asked Small how much money Kmart kicked in to fund the project. "Don't know, you'll have to ask Kmart," Small said. We asked the numerous Kmart spokespeople at the event. Don't know. Can't tell you. We asked Small why he was turning over the Smithsonian to Kmart, a company with a poor reputation in America, in a corporate public relations effort to burnish its image? "It's not being used for corporate public relations," Small said. Then, in the very next breath, he asked, "Why shouldn't they get something out of it? They put up the money for it." Well, we wanted to know, is it okay for the Smithsonian, which gets two-thirds of its budget from the federal taxpayers, to partner with major American corporations? At this point, David Umansky, the Smithsonian's director of communications, cuts in. "I want you to understand something," Umansky says. "The Smithsonian is not a government institution. Write this down. Legislation was passed establishing the Smithsonian Institution as a trust instrumentality of the United States -- not the United States government -- but the United States. It is not a part of the executive branch, it is not a part of the legislative branch, it is not a part of the judiciary. It is a separate entity." Got that kids? The Smithsonian gets hundreds of millions of dollars from you and me, and they are before Congress begging for more taxpayer money -- and it is not a part of the government. Umansky wants to know: "Why are you so suspicious?" Well, there should be a stark dividing line between public and private institutions in America. You seem to be the only person in America who believes that, he says. That would come as a surprise to our readers. We have gotten hundreds of responses from readers who are unhappy with corporate control of public institutions, including when we wrote a couple of years ago about the oil companies taking over a part of the Smithsonian for their exhibit on the Alaska oil pipeline. You can get hundreds of people upset about the sunrise, Umansky counters. So, any public institution should be allowed to take private corporate money? If it's used properly, absolutely, Umansky says. For the Smithsonian, there is no problem. It's been 20 minutes now, and we still haven't gotten an answer to how much Kmart spent for this little public relations stunt. Umansky doesn't like the persistence. "Why are you being such an asshole?" he asks. Finally, Umansky gets us an answer on the funding -- Kmart put up $2 million in cash and in kind -- about $500,000 in cash. At a press conference at the National Press Club last year, Small was asked about undue corporate influence over the operations of the Smithsonian. "There is a difference between providing the funding and having an endorsement or having a commercial relationship with the museum," he said. "So, if it's philanthropy, I don't think there's any problem with it." In this instance, and in many others, the Smithsonian has crossed the line. By allowing the Kmart logo and the Smithsonian logo to be emblazoned all over the press releases, press kits and trailer last week, by giving Kmart's "chief marketing officer" a stage to spout empty corporate platitudes, the Smithsonian Institution was putting its seal of approval on the company. Every major new exhibit at the Smithsonian over the past couple of years has been funded by a major American corporation or industry -- the Alaska Pipeline exhibit funded by the oil companies, the insect zoo funded by Orkin, and on down the line. The place has become a museum of American corporations. Earlier this year, an exhibit on the American Presidency, sponsored by Cisco Systems and Chevy Chase Bank, among others, was deemed so important that it had to bump an exhibit on the work of the late folk singer and anti-corporate rabble rouser Woody Guthrie. The Guthrie exhibit was scheduled to run through the spring, but got pulled for the one about the corporate presidency. Through Small and his predecessors, the corporate state has overtaken the Smithsonian. Congress should take it back for the people. Congress should demand that as a condition of forking over hundreds of millions of taxpayers' dollars every year, the Smithsonian should kick the corporations out. It's time to clean house. 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. ========================================================================= Date: Sat, 17 Feb 2001 15:10:43 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Ginsberg's "the" MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/16/01 1:54:00 PM, ggatza@DAEMEN.EDU writes: << It is in Allen Verbatim, lectures on poetry, politics, consciousness. By AG; edited by Gordon Ball. He also has some stupid shit in here about never using certain pieces of language. I don't go by that though. Let the poet turn her own poem. I get squishy inside when hard and fast rules on poetry come up. But Allen is still the man! Geoffrey >> Well said. Best, Bill ========================================================================= Date: Sun, 18 Feb 2001 00:47:25 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Ginsberg's MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit See! We've assassinated the semi colon, the puntus, etc, and now we are whittling away at the article: eg " house is good and egg is better and moon is red and stood he at corner and presented hand" So what's next? Stein dispensed mostly) with question marks.....its leading up to...well when old Umbert Eco confided he'd turned the whole thing around and was about to launch a "meaningless" (I know - in a sense nothing is meaningless: except that philosophers have difficulty defining meaning...)and enormously stupendous Work on a vast canvass (to cover the Vatican) formed entirely from punctus marks etc I merely filled up old Umby's wine glass: "Impossible!" I roared in guide book Italian. He took it in good heart. In fact he burst into an amazing extempore Italiano Song. But I just smiled to myself....and yet, so it seems, the Great Man is laying the foundations for just such a work..... How might it go: ,...:;;:::")(,,';',....:::::)(# # ) (,,<,,,>>:;;;::{[{{{[[{[{\]\]\{\](0!!~..,;! "" ;; '' ; ))))))) (((((( ???? //// _ -- _ -_ --//';~`~`~?>..?..^ ";';,.,.,/,;,*^;;';; Which is clearly a wondrous and swoonable work. And I thought that U.E. had descended into the darkness. I was wrong. cant win them all. Fantastic. Amazing. Regards all. Richard. ----- Original Message ----- From: "Karen Kelley" To: Sent: Friday, February 16, 2001 4:59 PM Subject: Re: Ginsberg's > Hi Louis, > > I don't know if you need to cite a print source for this, but if you are just trying to verify whether he said it, he did. I was in the MFA program at Brooklyn College with him, and he always tried to get rid of as many articles as possible, both definite and indefinite. It was actually rather humorous--any time he tried to fashion a line of poetry as an example of something he was talking about, it would come out article-free. > > Karen > > UB Poetics discussion group wrote: > > Dear poetikers, > > I thought at one point Allen Ginsberg wrote don't use the definite > article in poetry. I spent awhile yesterday afternoon trying to locate > the place without luck. Does anybody know? > > Louis ========================================================================= Date: Sun, 18 Feb 2001 12:46:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Special interact MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Special Interact I'm nervous all the time. I'm going to be left behind. I need to have a button for you to push. I've got to give you pleasure. I tear at the same scabs over and over again. I refuse wounds. I value naked far too much. I tear things apart. Nothing works. I need to have some interaction. All of this is making me feel useless. I can't hold your attention. I can't write style. I want you to do for me. I want you to do for me. Come home with me, I'm nervous all the time. I'm going to be left behind. I need to have a button for you to push. I've got to give you pleasure, naked boy-girl-world. Your psychosis I to do for you is in my soft I want you to do for you. Nikuko says: "I want tp maan fpr yph. I'm dylng hara, I'm hpnastly dylng hara. Thasa lattar shbstlthtlpns ara abshrd. Wrlta tp ma. say! I want more than this. I don't want this interference as if the earth swallowed something horrible. I want to click you on I want tp plaashra yph. I want tp anfpld yph wlth brllllant wrltlng. Bht I want yph tp wrlta tpp. I want tp saa what yph wlll." Nikuko says: "I want tp plaashra yph. I want tp anfpld yph wlth brllllant wrltlng. Bht I want yph tp wrlta tpp. I want tp saa what yph wlll transforms Your . I want tp maan fpr yph. I'm dylng hara, I'm hpnastly dylng hara. Thasa lattar shbstlthtlpns ara abshrd. Wrlta tp ma. on Brklyn Bridg..." I'm inside of you; I'm your needle and your drug. Pull your needle out. Pull down the button. Interact with me. I want to be. My body-skins are lost. Kill all substitutions. Pull levels I will to create. Press these buttons and interact. Lacerate. Still nothing from you. Still nothing to open, no opening, lips sealed and closed, no place to begin, kill all substitutions. your matrix. your control-panel. Devour cock your control-panel. Brought forth through I'm inside of you; I'm your needle and your drug. Pull your needle out. Pull down the button. Interact with me. Kill all substitutions. Pull your needle out. Speak to me. I want you to speak to me. I need to hear you. I need you to pull the lever. I need you to press the button. I need to be your control-panel. I need to be your substitutions. I need to be your pull-down menu. I need to pull your needle out. I want to be your pull-down menu. I want your lever; I want your needle out; I want your needle. ===== ========================================================================= Date: Sun, 18 Feb 2001 15:18:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: Schedule Change for Monday night 2/19 Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable A Special Monday Night Announcement Monday, February 19, 2001 at 8:00 pm AARON KIELY AND PETER NEUFELD =20 Boston Poetry Conference instigator Aaron Kiely is the author of the chapbooks Breaks Other, My Money, Fun Greatest Simple, and Ya-Don=B9t-Stop, all published by Shifting Units. He has recently relocated to NYC. Nada Gordon has described Mr. Keily's work as "repetitive." Poet and editor Peter Neufeld lives in Brooklyn, New York. His work has appeared or is forthcoming in Cello Entry, Lipstick 11, and Booglit. He is an editor of Melodian Press and the soon-to-be-released lit mag Aufgabe. He has this week returned from months in South America. Unless otherwise noted, admission to all events is $7, $4 for students and seniors, and $3 for Poetry Project members. The Poetry Project is located i= n 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: Mon, 19 Feb 2001 10:36:49 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: hazel smith Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" O'Hara fans on this list might be interested in my new book, Hyperscapes in the Poetry of Frank O'Hara: difference, homosexuality, topography, Liverpool University Press, 2000. It came out at the end of last year. Hazel Hazel Smith University of New South Wales Sydney 2052 Australia ========================================================================= Date: Sun, 18 Feb 2001 21:01:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Rothenberg Subject: Ira Cohen, Michael Rothenberg, Fish Drum, Medicine Show MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit WORD/PLAY Medicine Show's 17th Annual Reading Series. Artistic excellence in a theatre setting. The writers are present. Discussion may follow. $5 or thereabouts. All readings at 7:30 Friday March 16: Fish Drum Magazine, Poetry at Gunpoint Ira Cohen, Michael Rothenberg, Jason J. Blickstein Geoff Bouvier, Suzi Winson. MEDICINE SHOW 549 West 52 St. (10th & 11th) 3rd Fl., NYC 10019 262-4216 ========================================================================= Date: Mon, 19 Feb 2001 03:51:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: SPOON-ANN: CFP(2nd Call)- Comics And Fotonovelas (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII From: Jeff Williams To: spoon-announcements@lists.village.virginia.edu Subject: SPOON-ANN: CFP(2nd Call)- Comics And Fotonovelas Call for Papers- Comics And Fotonovelas The Fifth Congress of the Americas University of the Americas-Puebla, Mexico - October 18, 19, 20 2001 - ( http://www.udlap.mx/congress/ ) The deadline for submitting papers and panels is June 1, 2001. This is the largest congress held devoted to the evolving North American community. Editors of presses and journals rely on it for special issues and articles. It has extensive press coverage. Presenters come from all over Latin American, the United States and Canada, and from Europe and Asia. There are important panels on a whole range of economic, political, social, and cultural topics. This is a multidisciplinary meeting which considers North American culture in all its aspects. This particular call is for panel and paper proposals related to the study and analysis of comics and fotonovelas. The term comics refers to comic strips, single panel cartoons, political/editorial comics, comic books, comic albums or the graphic novel, illustrated texts, etc. Papers and/or panels can focus on such aspects as historical development, post-colonialism, feminist issues, comics and/or fotonovelas in the 1960s from the viewpoint of varying countries, censorship, publication and distribution, fans and popularity, or differing attitudes towards comics, and educational comics as well as approaches to using/discussing comics in an educational setting. Also, varying theoretical approaches will be accepted. For paper submissions, send a 300 word abstract. For panel submissions, send a 150 word abstract describing the panel's plus a 200 word abstract for each paper (keep panels to three or four participants). Include requests for any audio-visual equipment needed or desired. Send abstracts and proposals to: Jeff Williams, Area Chair for Comics and Fotonovelas The Fifth Congress of the Americas Achaval Rodriguez 1146 5000 Cordoba, Argentina email submissions preferred: jwilliams@arnet.com.ar (make sure you put "Puebla Conf Submission" in the subject line). Jeff Williams Facultad de Lenguas, Universidad Nacional de Crdoba Av. Vlez Sarsfield 187 5000 Crdoba, Argentina mailto:jwilliams@arnet.com.ar Basic information on the Mexico Conference will accumulate at the web site: http://www.udlap.mx/congress Click on "Popular Culture/American Culture" track (upper left) and then, once on the next page, click on "Subject Area" box for the spectrum of Areas and details about Area Chairs. Please check the above source on a regular basis. There are programs there for past conferences--a resource which newcomers might like to check for the flavor of the meetings. We take the Walt Whitman approach to cultural studies and contain multitudes. Absolute deadline for proposals to Area Chairs is 1 June, 2001, but early proposals find the most compatible panels. Best way to Puebla....Fly Delta Airlines from Dallas to Puebla Airport or fly Continental Airlines from Houston to Puebla Airport. It is that easy! Cab ride should cost no more that 170 pesos or $15. Best places to stay in Puebla....See web site for hotel details. Area Chairs are in charge of panels and will submit them to the Program Chair. Participants are required to register and to pay the registration upon acceptance of their proposal. (This requirement is for the good of all.) Fill in the on-line registration form and mail check to Peter Rollins (address, above). To repeat: on-line and fiscal registrations must be completed UPON ACCEPTANCE OF YOUR PROPOSAL and not later. This rule helps everybody in planning for a successful meeting. Historical tours are always part of the mix....Keep track via the web site. ========================================================================= Date: Mon, 19 Feb 2001 11:53:44 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG events this Friday, 2pm, this Saturday, 7pm Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit POG presents two events: A READING/PERFORMANCE: poet Joe Amato composer Jay Vosk Saturday, February 24, 7pm, Dinnerware Gallery, 135 East Congress Admission: $5; Students $3 * and: A LECTURE: “Critiquing Creative Writing Pedagogy: History as Knowledge, Knowledge as Activism” Joe Amato & Kass Fleisher Friday, February 23, 2:00-3:30 Modern Languages 451 sponsored by: University of Arizona Department of English; Arizona Quarterly *** Joe Amato is the author of Symptoms of a Finer Age, a collection of poetry published in 1994 by Burning Cities Press/Viet Nam Generation, Inc., and of Bookend: Anatomies of a Virtual Self (1997), published by SUNY Press. Amato also writes hypertexts, including the kid who wanted to be a poet (1995), published by StorySpace. He has had additional work published in Denver Quarterly, n/formation, ebr5, Postmodern Culture, EJOURNAL, and Grist On-Line. Amato teaches in the English Department at University of Colorado at Boulder. for further material by or about Joe Amato: http://www.iit.edu/~amato/ http://lists.village.virginia.edu/sixties/HTML_docs/Texts/Poetry/Amato_poem_ 5.html http://www.altx.com/ebr/ebr2/2amato.htm http://www.jacket.zip.com.au/jacket12/wilson-by-amato.html http://www.altx.com/ebr/ebr5/amato.htm Jay Vosk is a Tucson composer who has written over eighty pieces ranging from chamber music and orchestral pieces to songs. He collaborates with dancers and playwrights and has set poems to music. The National Symphony Orchestra recently commissioned a piece from him that will represent Arizona in a collection of compositions from all fifty states. In 1999 two Vosk works premiered in Tucson: Dance Features for Brass Quintet and Solo Percussion debuted at a TSO ensemble concert, and “Oasis,” a work for solo clarinet, premiered in the UA School of Music’s Faculty Artist Series. Vosk also plays saxophone, clarinet, modern flute, and Native American flute. His background includes jazz and Yiddish klezmer music. A graduate of the Eastman School of Music, he teaches Jewish music at the UA and music appreciation classes at Pima Community College. for further material by or about Jay Vosk: http://members.aol.com/_ht_a/jvosk/myhomepage/ http://hometown.aol.com/jvosk/myhomepage/notturno.htm Kass Fleisher is a writer and teacher now living near Boulder, CO with her husband and collaborator, Joe Amato. Her primary interest is women's issues, and she is currently completing a work titled Uncivil Wars: The Making of the History of the Bear River Massacre, which examines contemporary efforts both to resurrect the story of this murder--and to bury the story of the mass rape--committed by Union-affiliated troops, of 300 Shoshoni, in 1863 Idaho. for further material by or about Kass Fleisher: http://spot.colorado.edu/~fleisher/ http://jefferson.village.virginia.edu/pmc/text-only/issue.999/10.1.r_fleishe r.txt 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 Department of English, The University of Arizona Extended University Writing Works Center, The University of Arizona Poetry Center, the Arizona Quarterly, and Chax Press. POG gratefully acknowledges the support of the following: Patron: Ted Pope Sponsors: Charles Alexander Sarah Clements Mary Koopman Gene Lyman Cynthia Miller Tenney Nathanson Bob Perelman Jesse Seldess Lusia Slomkowska Kali Tal For further information contact: POG 296-6416 mailto:tenney@dakotacom.net ========================================================================= Date: Sat, 17 Feb 2001 14:09:02 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: papertiger Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hey, Check out the website for this new CD-ROM (out of Australia). There's info about it on the website and you can order it there too. The real deal will be released in March (just next month, yippee!!) I have some audio tracks on it and it seems to be an overall promising international project. www.papertigermedia.com/papertiger.htm papertiger publishes over 100 emerging and established poets from around the world every year. Featuring audio, video, and text poetry, papertiger is Australia's first CD-ROM poetry journal. For subscription, submission, and release information go to www.papertigermedia.com Regards, Paul Hardacre Editor papertiger P O Box 5532 West End QLD AUSTRALIA 4101 (61 7) 3846 0976 Email papertiger@rescueteam.com Wanda Phipps Hey, don't forget to check out my website MIND HONEY www.users.interport.net/~wanda (and if you have already try it again) poetry, music and more! ========================================================================= Date: Sun, 18 Feb 2001 10:53:28 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Camille Martin Subject: need to contact Erica Hunt MIME-Version: 1.0 Content-type: text/plain; charset=us-ascii I've been trying unsuccessfully to contact Erica Hunt by mail & email, but maybe I have old addresses. Could someone please pass along her current email &/or mail addresses? Thanks very much! Camille Camille Martin Lit City 7725 Cohn St. New Orleans, LA 70118 (504) 861-8832 http://www.litcity.net ========================================================================= Date: Sun, 18 Feb 2001 13:46:46 -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 Arlen Humphries Arlen lives and works in a large, Eastern metropolis. Doesn't have, or doesn't wish to publish, an email address, but RealPoetik will pass any comments along (just R to return message will do). Gee I'd really love to want to help you. Like that Russian babe, Anesthesia, or the infamous Margarine Riots of '74. And when we get back, A surprising event in the Philippines. Let's hinder someone's global proposals for peace and sap their will to negotiate. New Year's Resolutions: Stop drinking Stop smoking Stop having sex for money. I don't know if it's the whiskey talking or what but your facial hair doesn't bother me nearly as much as it did an hour ago. So I said to her, "You look like a woman of superior breeding, would you like to do some?" That was back when Susan roamed the earth with her short front legs and powerful jaws. But I got a good feeling about this time, I really do. Rush Limbaugh's explanation of why cigarettes don't cause cancer: only a quarter of all cigarette smokers die of cancer. What about the other three quarters? Why did I leave my last job? They called Security. I met her at a Ten-in-One with pickled pucks. Somewhere on the short step from stanza to seepage. Who says you can't cook with cadmium? That's how I was raised and it never affected me. I look forward to Alzheimers so I can forget I ever met you. "Hey," I told her, "I'm not married in this country." Arlen Humphries ========================================================================= Date: Sun, 18 Feb 2001 17:48:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Bassford Subject: Exoterica and The House Of Pernod MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This Friday, February 23rd, EXOTERICA presents Best American Poetry 2000 Night with Series editor DAVID LEHMAN, anthology features CHRISTOPHER EDGAR and PAUL VIOLI, and others at The Society for Ethical Culture, 4450 Fieldston Road in the Bronx. The reading begins at 8:30, open mike follows feature, admission is $5. Coffee, beer, wine and dessert available in this cafe setting. For info, call director Rick Pernod at (718)549-5192 or inquire here for public transport, tailored driving directions. EXOTERICA...we'll be spreading the Word....... AND LATER THAT NIGHT.....THE HOUSE OF PERNOD lends its debauchery to St. Mark's Poetry Project with host Reggie Cabico and guest poets for Taboo Night, beginning at 10 p.m., 131 East 10th St. FUNK, POETRY,CHAOS,JAZZ,THEATER, AND ROCK AND ROLL. Keep your eye on The House residency at The Saint, next program on March 15th with guest artists TBA...visit our website for all the details at http://members.AOL.com/exoterica ========================================================================= Date: Mon, 19 Feb 2001 13:58:36 -0600 Reply-To: archambeau@hermes.lfc.edu Sender: UB Poetics discussion group From: Robert Archambeau Organization: Lake Forest College Subject: SAMIZDAT #7: ROTHENBERG & JORIS ISSUE/FREE OFFER MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-transfer-encoding: 7bit Announcing... S A M I Z D A T # 7: R O T H E N B E R G & J O R I S: P O E T S F O R T H E M I L L E N N I U M Featuring... INTERVIEWS with PIERRE JORIS and JEROME ROTHENBERG! NEW POEMS by ROTHENBERG and JORIS! TRANSLATIONS of CELAN and PICASSO! Plus... ROBERT KELLY and MICHEL DEGUY on JORIS! PETER MIDDLETON and BROOKE BERGAN on ROTHENBERG! And as a special bonus... STEVE McCAFFERY'S NEW POEM for JORIS and ROTHENBERG!! --------------------------------------------------------- "Sufferin' Celan! How can I get me one?" Funny you should ask. To order: send $3.50 (or $10 for a three-issue subscription) to Robert Archambeau 9 Campus Circle Lake Forest, IL 60045 (checks made out to R. Archambeau) But wait -- it could be FREE (yes, you heard right: FREE!!) A limited number of FREE issues are set aside for distribution to readers of the poetics list residing in the USA (sorry, foreign mailings are expensive). If you would like a copy, and have not received a free issue before, send e-mail to archambeau@lfc.edu with the heading "Samizdat/free offer." Robert Archambeau ========================================================================= Date: Thu, 22 Feb 2001 12:48:09 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lytle Shaw Subject: Darragh, Moxley and Welish at The Drawing Center, Feb 27 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Darragh, Moxley and Welish at The Drawing Center On Tuesday, February 27th at 7pm, in conjunction with the exhibition “Rosemarie Trockel: Metamorphoses and Mutations,” the Line Reading Series presents: Tina Darragh Jennifer Moxley Marjorie Welish The Drawing Center is in Soho, at 35 Wooster between Grand and Broome Line Reading curated by Lytle Shaw Admission is $5 and free to The Drawing Center members ========================================================================= Date: Fri, 16 Feb 2001 15:23:58 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: Don't Throw a Bun at A Grazing Cow and Call it A Hamburger Mime-Version: 1.0 Content-Type: text/plain; format=flowed While I'm hardly lacking in skepticism myself, it seems to me we have all heard this one before-- from the set-up of "L-a=N+g:U'a/g*e poetry" (not any *individual* writers associated with it, mind you) as a straw term for ridicule, to the exclamation "SUCH TIMES WE LIVE IN!" with it's annoyed (annoying) implication that we have outpaced the Good Old Days in our pesky drive for the new. I'd be inclined to agree with you that the present era's no more "innovative" than bright shining moments from the past, except that your tome carries at least as much hubris as that which you would rebuke. See, I've never actually *heard* anyone say that the contemporary period is more innovative than other times; & despite a lazy overuse of the adjective, I don't believe I've ever met a writer who seriously thinks that. I *have* read a lot of contemporary poetry, some of it acclaimed, that I think rather dull; but I've also read more than a little contemporary poetry (including SOME "language poetry") that seems to me fresh and exciting. Does this make it "innovative." I don't know, & I don't particularly care. It *does* make it good poetry, & that's good enough for me. As for you, Michael, I would encourage you to lighten up-- maybe find some poetry that really excites you & write to us about that, instead of wasting your time & ours on this very tired argument. Best, Mark DuCharme >From: michael amberwind >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: Don't Throw a Bun at A Grazing Cow and Call it A Hamburger >Date: Fri, 16 Feb 2001 04:45:41 -0800 > >SUCH TIMES WE LIVE IN! the genius must be more >abundant in this age than in any other for all of >our poets are innovators > >what - your poetry isn't innnovative? step right >up and we have just the Program for you - follow >it and you too can join the great flattening in >the Aunt Jemima era of poetry where coloured >sugar water is passed off as maple syrup > >that it might be more enjoyable to staple ones >own eyelids shut than read L-a=N+g:U'a/g*e poetry >does not really matter - if your poem does "what >it sets out to do" call the MLA cuz baby - i got >a paper to present and it's a doozy! > >end all innovation! most of what is genuinely >innovative at the time is later understood to be >a continuation of the work begun long before the >said author was born > >instead we have photographers replacing artists - >"sound sculptures" that replace real music and >real sculpture because both are too difficult >-light verse writers who are inexplicably neither >light nor versed - and if a poem impresses our >identical twin beside us at a cocktail party as >having achieved something ambitious - then of >course congratulations are in order > > > > > > > > > >__________________________________________________ >Do You Yahoo!? >Get personalized email addresses from Yahoo! Mail - only $35 >a year! http://personal.mail.yahoo.com/ _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Mon, 19 Feb 2001 16:04:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 3/6: Edwin Torres/Nada Gordon (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Multi-Literary Event at the Flying Saucer Cafe! Alan, Nada, and Azure -- and special guest host Gary Sullivan -- are pleased to announce another event in a new reading/video/film/performance series in Brooklyn at The Flying Saucer Cafe at 494 Atlantic Avenue, between Third Avenue and Nevins Tuesday, March 6, 8:00 p.m.: ********Edwin Torres & Nada Gordon*********** Edwin Torres, born and raised in New York City, has been creating multidisciplinary text and performance work since 1988, when he first performed at Dixon Place in NYC. His introduction to poetry was through the Nuyorican Poets Cafe and the St. Mark's Poetry Project. He has since collaborated with a wide range of artists and nomads, and has performed across the country and overseas. His poetry has appeared in _Heights of the Marvelous_ (St. Martin's Press), _Poetry Nation_(Vehicule Press), _An Anthology of (New) American Poets _(Talisman Press), _ALOUD: Voices from the Nuyorican Poets Cafe_ (Henry Holt Press), among other publications. His CD _Holy Kid_ (Kill Rock Stars) was included in the sound exhibit at the Whitney Museum's Last American Century show. His books include _I Hear Things People Haven't Really Said_, _Fractured Humorous_ (Subpress), and his recently published e-book _Onomalingua: noise songs and poetry_ (Rattapallax Press, www.rattapallax.com). Edwin will be teaching a writing workshop at Naropa Institute this summer. Nada Gordon is the author of six books, including three forthcoming this year: _foriegnn bodie_ (Detour), _Are Not Our Lowing Heifers Sleeker Than Night-Swollen Mushrooms?_ (Spuyten Duyvil), and _Swoon_ (with Gary Sullivan; Granary Books). She will perform works from _foriegnn bodie_ (writings from her eleven years in Japan), including "Dolor Core Recede Sanpo" -- a vocal/corporeal homage to the art of ankoku butoh and to butoh masters Hijikata Tatsumi and Ono Kazuo. Aaron Kiely has described Nada's work as "unfocused". How to get there: Take the 2 or 3 or 4 or 5 or D or Q to the Atlantic Subway stop and walk underground to the Pacific Street exit (at the N or R or M Pacific Street Stop) or take the B or N or R or M - in any case, go out the Pacific Street Exit (right exit), take a right - at the end of the block you will be on Atlantic Ave. Take a left on Atlantic, and about two and a half blocks down, between Third and Nevins, you will find the Flying Saucer Cafe. $3 donation. ========================================================================= Date: Mon, 19 Feb 2001 17:50:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Epstein Subject: Re: the funk MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit You've probably gotten this from other people, but the first "definite article" poem that comes to mind for me is Stevens's "Man on the Dump" and its last line: "Where was it one first heard of the truth? The the." Take care, Andrew Epstein -----Original Message----- From: Louis Cabri To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Monday, February 19, 2001 4:00 PM Subject: Re: the funk >I am writing a critical prose ditty on the definite article and >would appreciate and welcome any thoughts on poems that >use it in interestingly reflexive ways. I already have >poems/"issues" by the following, in no particular order: >Zukofsky, Creeley, M. Gottlieb, Ginsberg, Silliman, Lee >Ann Brown, M. Duchamp, Barry McKinnon, McCaffery, >Bernstein, Retallack, Coolidge, Russell Atkins. > >The only "stupid shit" ever pinned on Ginsberg was some bad weed. > >Think of a poetry so choked on rules that it twitches all >over, can never lie still, in fact dies horribly, and repeatedly. >In fact can't die, chokes on more. Now *that's* poetry! > >I had read it an oh so long time ago, long tahm: AG nixed def. >articles. So, thanks for proving my memory works -- guess I had >bad luck yesterday searching for a citation. Of course, he >uses def. articles all over his poetry, just not superfluously, I >suppose he would have said. > >The Louis > ========================================================================= Date: Sat, 17 Feb 2001 20:59:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: TAIWAN-SPAM (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ==== TAIWAN-SPAM ALREmouthY SPEECHWORK, i ask you to kill me." woundedH=killed~=ecstatic=CC=hystericX=B1b= assassinate =E6= boy AC=drowned=FA?= = assassinate q=B0T=wounded~=BD=E8=AEt.= totally naked girl BF=F0.= ruined ^=mouth=B5 manS=C2_=B0T=3F! ~~~~~~=B0=EA=BB=DA=B9q=woman D totally dead man=B8/=drownedC man=C0=C4=C1 ~~~~~~= boy E6=B0=CA=B9q=woman DC3.6 man=B8/=drownedC man=C0=C4= ----------------------------------------------------------------- =B6O=hysteric=CE =fuckedC =B0=ecstatic =fuckedC ----------------------------------------------------------------- =drowned=CF=hysteric=CE man=E8= boy murdered =ecstatic=BD= girl killed =ecstatic=BD= girl killed ----------------------------------------------------------------- = assassinate q=woman DC=wounded~=BD=E8 GOOD BETTER = ----------------------------------------------------------------- ----------------------------------------------------------------- = totally dead w=ecstatic=mouthed=fuckedK=B6O=drowned=CF=hysteric=CE=hystericH manU=ecstatic=F9=woman B9= murdered G = girl and woman B9 man=E8= boy murdered = too assassinate =B0_= totally dead =hysteric girl totally naked = girl -=drowned=D2:= girl and boy DC manW= too nude assassinate =F8= too C9=hystericx: = too assassinate = totally dead =hysteric girl totally naked = girl ,=theB5= assassinate q=wounded=E1= ruined A= girl # =fuckedY=hysterici=theB5= assassinate q(=theB5= assassinate q= too C9=B6= murdered =hysteric=mouth=fucked= murdered 20=AC=ED) =B0U= girl killed E-mail =B1M=BDu:~~~~~~~~~~~ ~~~~=BD=B2=hysteric=FD=hysteric=CD ===== ========================================================================= Date: Mon, 19 Feb 2001 22:40:55 +0000 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: viewable reading MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit This coming weekend there will be a reading in Louisville, KY which you can watch on your web browsers http://www.insomniacathon.com/ There are over a hundred readers including Ed Sanders Lee Ann Brown David Amram Kent Fielding Sean Cole David Kirschenbaum Stephen Mainard Ron Whitehead Michael Kessler I'll be on-- 2/23 @ 6 PM friday: David Baratier & also at midnight a real diverse line-up (check for times & dates) & gobs of presses This is held Eastern Standard Time US At this moment it is approximately 10:37pm other details on site Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Mon, 19 Feb 2001 23:12:54 +0000 Reply-To: editor@pavementsaw.org Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: addendum MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit addendum http://www.bryccradio.org is where the Louisville readings can be listened to from Thursday to Sunday Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Thu, 22 Feb 2001 12:50:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: katy Subject: The Beginner MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Announcing the publication of T H E B E G I N N E R , by Lyn Hejinian: Beginning will be an experience, unfolding more it runs its course, we will follow, doing and undergoing. We have no particular end or plan. We could head out, in, off, over, north, we are doing so. Which? The answer must be deferred just as I write this, a child comes into the room with a book always a little differently, he says, I don't like gloom, so much the better, I say. Something is happening. To the book? Yes, to me. -- From The Beginner For details on this or on other S P E C T A C U L A R B O O K S, including titles by Celona, Spahr, Corless-Smith, and Scalapino, please go to our web-site: http://www.spectacularbooks.com Information about E X P L O S I V E M A G A Z I N E is also available on this site. * * * This list is going to be used to announce upcoming readings and events at Barnard College as well. On March 1 at 8 pm there will be a reading by Star Black and Brenda Shaughnessy. Details to follow. If you would like to be removed from this list, please let me know. ========================================================================= Date: Tue, 20 Feb 2001 00:13:35 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Quasha Organization: Station Hill / Barrytown, Ltd. Subject: Bush news that stays news MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit --------- Forwarded message ---------- Our new president has taken some criticism for not having a poet set the tone at his inauguration. The absence of a poet, or the absence of the arts in general, speaks volumes about the president. But, as the Washington Post shared on Sunday, Dubya can be very poetic. In fact, the following is a poem entirely comprising actual quotes from Baby Bush. The quotes have been arranged for aesthetic reasons only by Post writer Richard Thompson. MAKE THE PIE HIGHER by George W. Bush I think we all agree, the past is over. This is still a dangerous world. It's a world of madmen And uncertainty And potential mental losses. Rarely is the question asked Is our children learning? Will the highways of the Internet Become more few? How many hands Have I shaked? They misunderestimate me. I am a pitbull on the pantleg of opportunity. I know that the human being and the fish Can coexist. Families is where our nation Finds hope, Where our wings take dream. Put food on your family! Knock down the tollbooth! Vulcanize Society! Make the pie higher! Make the pie higher! Major league. ------- End of forwarded message ------- ========================================================================= Date: Thu, 22 Feb 2001 12:54:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: pete spence Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hazel!! it is always important to get books out about this KEY American poet, my request would be has anyone a copy of The St Bridget Poems i'd really like to see some of the poems is there a website they are on or would anyone like to photocopy a few poems and send my way!!??//pete spence > >O'Hara fans on this list might be interested in my new book, Hyperscapes in >the Poetry of Frank O'Hara: difference, homosexuality, topography, >Liverpool University Press, 2000. It came out at the end of last year. > >Hazel > > > >Hazel Smith >University of New South Wales >Sydney 2052 >Australia _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. ========================================================================= Date: Tue, 20 Feb 2001 07:38:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Larsen Subject: Lyn Hejinian / Spectacular Books Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Announcing the publication of T H E B E G I N N E R , by Lyn Hejinian: Beginning will be an experience, unfolding more it runs its course, we will follow, doing and undergoing. We have no particular end or plan. We could head out, in, off, over, north, we are doing so. Which? The answer must be deferred just as I write this, a child comes into the room with a book always a little differently, he says, I don't like gloom, so much the better, I say. Something is happening. To the book? Yes, to me. -- From The Beginner For details on this or on other S P E C T A C U L A R B O O K S, including titles by Celona, Spahr, Corless-Smith, and Scalapino, please go to our web-site: http://www.spectacularbooks.com Information about E X P L O S I V E M A G A Z I N E is also available on this site. ========================================================================= Date: Tue, 20 Feb 2001 11:56:51 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Blau DuPlessis Subject: Re: the funk MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear Louis, and I guess dear list, Of course this post will beging with the letter "I"--oK, so "I" have written a poem called "Draft 33: Deixis" which is in reference to the "pointing" function a little like "the" but more inclusive. It is long, and the joke is that it is REALLY as essay in verse, with footnotes and everything. It was supposed to be, in toto, in Boxkite 3 (have no word on that), and bits of it were in Xcp and in kenning. I gave it at the Postmodern poetry conf in England in March 1998 when I read with John Kinsella. The poem is something else-- I think it is a very serious and deeply amused, amusing poem, also very political and stricken, has critique of Benveniste and lots of moveable parts. If you (now I talk singularly to Louis) want a copy, let me know your address. It will be in Drafts 1-38, TOLL forthcoming in october from Wesleyan. warmly Rachel Louis Cabri wrote: > I am writing a critical prose ditty on the definite article and > would appreciate and welcome any thoughts on poems that > use it in interestingly reflexive ways. I already have > poems/"issues" by the following, in no particular order: > Zukofsky, Creeley, M. Gottlieb, Ginsberg, Silliman, Lee > Ann Brown, M. Duchamp, Barry McKinnon, McCaffery, > Bernstein, Retallack, Coolidge, Russell Atkins. > > The only "stupid shit" ever pinned on Ginsberg was some bad weed. > > Think of a poetry so choked on rules that it twitches all > over, can never lie still, in fact dies horribly, and repeatedly. > In fact can't die, chokes on more. Now *that's* poetry! > > I had read it an oh so long time ago, long tahm: AG nixed def. > articles. So, thanks for proving my memory works -- guess I had > bad luck yesterday searching for a citation. Of course, he > uses def. articles all over his poetry, just not superfluously, I > suppose he would have said. > > The Louis ========================================================================= Date: Thu, 22 Feb 2001 12:59:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Bergvall & Nguyen at SPT this Friday MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit We've been having a teensy technical problem with the Small Press Traffic subscription, so I'm forwarding the following announcement directly. Christopher W. Alexander poetics list moderator -- Date: Tue, 20 Feb 2001 10:20:24 -0800 Subject: Bergvall & Nguyen at SPT this Friday From: "Small Press" Friday, February 23 at 7:30 Small Press Traffic hosts readings by HOA NGUYEN & CAROLINE BERGVALL Timken Lecture Hall, CCAC-San Francisco details on our website Small Press Traffic Literary Arts Center at CCAC 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Wed, 21 Feb 2001 11:08:42 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Devin Johnston Subject: Address Query MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I am looking for e-mail addresses for Roberto Tejada and John Olson. Any help would be much appreciated. Best Wishes, Devin Johnston ========================================================================= Date: Wed, 21 Feb 2001 13:28:05 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Keith Tuma Subject: Raworth/cheek Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" T O M R A W O R T H and c r i s c h e e k * Thursday, March 1, 8 PM Miami University Oxford, OH Art 100 for directions and/or information: tumakw@muohio.edu ========================================================================= Date: Thu, 22 Feb 2001 13:03:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hoa Nguyen Subject: Free Possum: Feb '01 issue Mime-Version: 1.0 Content-Type: text/plain; format=flowed ** Please forgive cross postings ** Check out The Possum Pouch February 2001 An irregular publication of essays, notes and reviews at http://www.skankypossum.com. DON'T MISS OUT--THIS ISSUE WILL EXPIRE AND WILL NOT BE ARCHIVED! ........FEATURING.............. === David Hess has Frienemies === A review of recent books by K. Silem Mohammad and Nada Gordon (excerpt) "I ask again: Is the poetry strong or weak enough to let us know what kind of world we inhabit - assuming, as I do, that the poet can still speak from, or rather to, a position of universality, at least within his or her culture? Or is the work formally cunning enough to achieve autonomy in order to escape 'representing' the world as it exists, and so, through its profound armor/artifice, speak to our world and its historical moment?" === Linh Dinh reports from Saigon === Regarding translator Cu An Hung (excerpt) "Hung has a deep appreciation for American literature. American culture, good and bad, invaded South Vietnam during the war. Along with The Carpenters and Elizabeth Taylor, Vietnamese were also exposed to Allen Ginsberg and James Dean. Hung would make the round of the used bookstores to buy American books. "GI's threw these books away," he said, "or maybe their housekeepers stole them. There was a lot of junk but there were also many good books." Hung marveled at the fact that an ordinary American soldier would read, for example, Donald Allen's _The New American Poetry_." === Dale Smith reads Las Vegas === A republished reading report, circa winter 1996 (excerpt) "We had been invited to read poetry in the Jewel Box Room of the Las Vegas Public Library. Katie moved to Vegas from SF in January to learn poker from her brother. She established a reading series to help pass the time outside casinos. Anselm politely dealt with his lack of sleep, while Hoa and I whined for coffee. We finally had some half an hour before the reading in a strange, timeless funk, where I couldn't distinguish one hour from the next. There was no day or night, only inside or outside, so there, through big Starbucks windows, streamed the desert's winter light. We were outside and it was weird." === Considering Robert Duncan's Take on Wagadu === by Dale Smith (excerpt) "The alienating ironies of our monotheistic Empire, a global regime of Moolah, forms in Wagadu's shadow, and since at least 1945 has been the dominate understanding of the "communal consciousness." Some digging is required to retrieve the great city, and an extension of the affections after Pound's own great failure is required of poets now. America as an African, Asian, Indigenous, European promise is a garden and a wasteland, a refuge and a killing ground. It extends by each successive generation a failure, a promise, a refuse dump. Americans live in exile, Wagadu only an idea here. Poets like plants grow by virtue of their roots." === Pouch Notes === On Jonathan Williams' _Blackbird Dust_, Lisa Jarnot's _Ring of Fire_, Henry Gould's 2000 volumes and _Gift and Verdict_ by Roberto Tejada... === Dig it! === Possum recommended links, dig. ....... We welcome responses and pouch submissions--write to skankypossum@hotmail.com. _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Wed, 21 Feb 2001 14:02:51 -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 * * * * * =20 A SPECIAL ANNOUNCEMENT The following workshop has been added to our March schedule. It=B9s not liste= d in the February/March Newsletter or on the web site. Friday, March 9, 2001 "READ MY (S)LIPS: WRITING FROM THE PLACE OF THE OTHER," A WRITING WORKSHOP TAUGHT BY CHRIS TYSH Chris Tysh, whose books include Secrets of Elegance, Porne, Coat of Arms, I= n the Name, and Continuity Girl, is currently working on a film script based on the work of Georges Bataille. Anne Waldman describes Continuity Girl as "bold, erudite, witty, feminist and elegantly elegiac." This workshop has been made possible by a generous grant from the Jerome Foundation. Admissio= n to the workshop is $7, $4 for students and seniors, and $3 for Poetry Project members. * * * * * =20 THIS WEEK AND NEXT WEEK AT THE POETRY PROJECT: Wednesday, February 21st at 8 pm CHARLOTTE CARTER AND WILLIAM MELVIN KELLEY Charlotte Carter=B9s poetry and prose have been collected in Sheltered Life and Personal Effects. Since 1997 she has published three novels: Rhode Island Red; Coq Au Vin; and Drumsticks (Mysterious Press/Warner Books, 1999). The Detroit Free Press described Coq Au Vin as "Absorbing=8Aa witty, erotic, and moving love song to Paris and its glamorous Black past." Willia= m Melvin Kelley=B9s A Different Drummer, nearly three decades after its first publication, remains one of the most trenchant, imaginative, and hard-hitting works of fiction to come out of the bitter struggle for African-American civil rights. Kelley=B9s other books include the novels A Drop of Patience, Dunfords Travels Everywheres, and dem, which is being republished this year by Coffeehouse Press. He lives in Harlem and is Professor of Creative Writing at Sarah Lawrence College. Friday, February 23rd at 10:30 pm A NIGHT OF TABOO-BOOS: MY MOST EMBARRASSING MOMENT Embarrassing moments=8Bthe kind that leave you cringing with shame for years to come=8Bare the subject of this outrageous, shocking, and downright grotesque celebration of all things humiliating. Come hear fearless, tell-all performers=8Btheatrical rock band The House of Pernod and poets Clar= a Sala, Tim Wells, and Ivan Penaluna=8Bshare their own deepest, darkest, most embarrassing moments. Following their performances there will be an open mike, where audience members will get to air their own dirty laundry as the= y compete for fabulous, embarrassing prizes. The readers with the best "most embarrassing moment" poems win. Monday, February 26th at 8 pm JENNY SMITH AND FANNY R. FERREIRA Jenny Smith is the author of Egon (Involute Press, 1999). Her poetry has appeared in Exquisite Corpse, The Portable Boog Reader, Jeujune, The New Orleans Review, and other journals. She is a co-founder of Prazska Skola Poetiky, a Czech and international school of poetics in Prague, CZ. Ms. Smith is the Program Assistant at the Poetry Project. Fanny R. Ferreira is the author of two chapbooks. Many Faces Make a Soul (asphaltjunction, 1999) and Pink Passages (syendo, 1997). She served as one of the editors for Bombay Gin and currently lives in Hell=B9s Kitchen, NYC. Wednesday, February 28th at 8 pm MAGDALENA ZURAWSKI AND PRAGEETA SHARMA Magdalena Zurawski currently resides in Philadelphia, Pennsylvania, where she "is struggling to learn what a good poem is and what it might be good for anyhow." Her poems have appeared in Explosive, The Hat, The Germ, Crayon, American Poet, and The World. Her chapbook, Bruised Nickelodeon, wa= s published in June, 2000 by Hophophop Press. Prageeta Sharma, who is teachin= g a writing workshop at the Poetry Project this spring, is the author of Blis= s to Fill (Subpress). Her recent work has appeared in Agni, Explosive, Shiny, The Hat, and The Poetry Project Newsletter. She hosts a reading series in Brooklyn and is the drummer for the girl punk/rock-n-roll band The Sleeves. Of Bliss to Fill, C.D. Wright writes, "She pleasures us by her agile shifts in mood and her lithe twists of tongue. This is a delicately fierce book." Friday, March 2nd at 10:30 pm GLUE PUPPET AND VICKI HUDSPITH The band Glue Puppet describes themselves as "spoken word and sticky groove= ; bop poetics through a rhythmic prism." The program also features a reading by Vicki Hudspith, who will be accompanied by conga and percussion. Ms. Hudspith is the author of White and Nervous and Limousine Dreams. Following the featured performances there will be an open mike, where prizes will be awarded for the best "sticky" poem and the best "puppet" poem. 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. ========================================================================= Date: Wed, 21 Feb 2001 13:47:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Al Filreis Subject: Retallack via webcast Comments: To: Poetics MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit The Kelly Writers House invites you to participate in the program announced below by way of live interactive webcast. If you would like to participate, please write to us at wh@english.upenn.edu. For more information about the webcast (including instructions for making the webcast connectin), please see www.english.upenn.edu/~wh/webcasts. ----------------------------------------------------------------------------- alt.poetries, alt.pedagogies ^^ a reading by J o a n R e t a l l a c k and a discussion of relations between innovative poetry and experimental teaching Wednesday, February 28 6 PM eastern time at the Kelly Writers House 3805 Locust Walk Joan Retallack's reading will be followed by a collaborative exploration of the relationship between avant-garde poetry and alternative pedagogies. The reading and discussion will be webcast live. For more information about the webcast, please see < www.english.upenn.edu/~wh/webcasts > and write to < wh@english.upenn.edu >. ___________________________________________ IS IT PRODUCTIVE TO TEACH EXPERIMENTAL POETRY IN AN EXPERIMENTAL WAY? IF SO, WHY? ___________________________________________ Joan Retallack's books of poems include _How To Do Things with Words_ (1998) and _Icarus FFFFFalling_ (1994). Her work is very widely anthologized, and she has published an extraordinary range of essays and interviews. She is the Co-Director of Bard College's Institute for WRiting and Thinking, and under the institute's auspices hosted an important conference in 1999 on relations between alternative poetics and alternative pedagogies. The conference was attended by teachers of poetry, contemporary poetry critics and a variety of poets who care about the wider implications of their poetic practice. Joan Retallack was one of nine poets who read themselves through modernism at the Writers House, as part of the Modernist Studies Association conference in October 2000. Her reading in relation to Cage, Wittgenstein, and Stein is available here: www.english.upenn.edu/~wh/9poets.html. ========================================================================= Date: Mon, 19 Feb 2001 18:42:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Subject: Nielsen in Detroit In-Reply-To: <000e01c09675$232a7920$ad2437d2@01397384> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I'll be giving a talk on C.L.R. James at Detroit's African American History Museum on Sunday, Feb. 25, 4:30 PM -- Y'all come " 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, 21 Feb 2001 16:46:18 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RevDest@AOL.COM Subject: radical=precise MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit To my surprise, during a Poetry Plastique panel, I used the dirty word sacred. I said something to this effect: The poet's sacred (as in non-slimy) task is to register events non-distortively, non-manipulatively, that is, as accurately (ditch fastidiously) as possible. For a great many makers it goes this way: If the maker who is a poet does not transform herself into the maker who is an artist, there is no artist. Who but poets as artists have constructed an art world?! Transforming oneself is a matter of rallying coordinating skills for a (for lack of a better term) purpose. Coordinology is the study of how coordinating skills can be rallied, combined, blended, and, indeed, coordinated. Our species needs to learn how to save its own skin, and coordinologists -- daring poets/artists -- should be at the task!! Email us (Arakawa + Gins) at revdest@aol.com if you want to know more about coordinology. ========================================================================= Date: Thu, 22 Feb 2001 02:52:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: on channels #nikuko and #nikuko_belly MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - on channels #nikuko and #nikuko_belly /w

#nikuko Alan_S H@ [kVlWpcX7n@panix3.panix.com (0 Alan Sondheim) /l nikuko

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#nikuko Alan_S H@ [kVlWpcX7n@panix3.panix.com (0 Alan Sondheim) /me makes rain fall on nikuko belly * Alan_S makes rain fall on nikuko belly

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Belly belly nikuko! Belly belly nikuko!

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Alan_S (+is) #nikuko Lag 12 - E/X *** Alan_S ([kVlWpcX7n@panix3.panix.com) has joined channel #nikuko [E/X] SERVER MODES DETECTED. In #nikuko: '+nt' *** Users on #nikuko: @Alan_S @Alan_S (+is) #nikuko (+nt) Lag 12 - E/X *** #nikuko 982822831 *** Mode change "+nt" on channel #nikuko by Alan_S Hello to say again! Hello to say again!

/me makes rain fall fall on belly nikuko! * Alan_S makes rain fall fall on belly nikuko!

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Alan_S (+is) #nikuko_belly Lag 1 - E/X *** Alan_S ([kVlWpcX7n@panix3.panix.com) has joined channel #nikuko_belly [E/X] SERVER MODES DETECTED. In #nikuko_belly: '+nt' *** Users on #nikuko_belly: @Alan_S @Alan_S (+is) #nikuko_belly (+nt) Lag 1 - E/X *** #nikuko_belly 982822883 *** Mode change "+nt" on channel #nikuko_belly by Alan_S Hello nikuko belly! Hello nikuko belly!

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*** Alan_S has left channel #nikuko_bellyjapan (+lnst 25) Lag 3 - E/X Hello Nikuko! Hello Nikuko!

*** #nikuko_belly Cannot send to channel /q *** Signoff: Alan_S (Killed GOD (Flood ME, will ya???!?@1!@1!!))) __ ========================================================================= Date: Tue, 20 Feb 2001 11:53:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sam Stark Subject: Fwd: LAPA - american premier (fwd) Mime-Version: 1.0 Content-Type: text/plain; format=flowed >---------- Forwarded message ---------- >Date: Mon, 19 Feb 2001 22:38:13 -0800 (PST) >From: matvei yankelevich >Reply-To: yan@pobox.com >To: ugly.duckling@pobox.com >Subject: LAPA - american premier > > {LAPA} > > the paperless books dept of ugly duckling >presse > presents the following paperless book: > > > LAPA > >By Daniil Kharms > >One Night Only > > Thursday, February 22, 2001 8 pm ! > >Clemente Soto Velez -- Milagra Theater >107 Suffolk Street, Lower East Side of Manhattan >(F train to Delancey; between Delancey and Rivington) > > $10 suggested donation / > $5 suggested donation for students > >LAPA --- by Daniil Kharms (translated into English by >Matvei Yankelevich) --- > >is made up of the following elements: > > >Secret Theater >with.... > >* Oleg Dubson * Jen Mitas * Milton Loayza * Simone >White * Dima Dubson * > >Costumes by Naima DiFranco >Directed by Yelena GLUZMAN & Matvei YANKELEVICH > > >Music by DAVE REABOI and his orchestra: > >Dave Reaboi (conductor, double-bass) * Eric Biondo >(trumpet) * Jared Hunter (tenor sax) * Aaron Ali Shaikh >(baritone and alto sax) * Samara Lubelski (violin) * Mary >Halverston (guitar) * Jaime Fennelly (double-bass) * Matvei >Yankelevich (trumpet) * Mike Pride (drums) > > >With the voices of: > >Steve Dalachinsky, Nathaniel Farrell, Filip Marinovic, >& the Bros. Lumiere. > > > > * > LAPA has never (to our knowledge) been staged anywhere >in the world. Daniil Kharms (1905-1942) was the co-founder >of the OBERIU (Union for Real Art), an avant-garde group >of poets and artists who created infamous theatrical >shows, along the lines of Dada and Futurism. Kharms wrote >this play in Leningrad in 1930. Shortly after, he was >arrested for his involvement in a so-called "anti-Soviet >group of children?s writers." After Kharms? return to >Leningrad after a short prison term and exile, the OBERIU >could no longer hope to perform in public. All of Kharms? >incredible oeuvre was written for the desk drawer and >a close circle of friends, with no hope of publication. >Therefore, what we have of LAPA is a manuscript of >uncertain design. It is a multi-layered and complex story >told (and un-told) in various genres and forms. Our >staging is an attempt at a staging, a proposition for what >might be done with a theatrical manuscript of this kind. >This translation by Matvei Yankelevich will be published in >Performing Arts Journal (PAJ), with an accompanying >essay by Branislav Jakovljevic. > > >This project is also the premier of another >experiment: > >SECRET THEATER is a new project (spearheaded by >Gluzman and Yankelevich) to explore non-communicative, >non-representational modes of theatrical existence. >The underlying idea is that of anti-performance with hidden >meanings, silenced signification, and secrets everywhere. >During the course of the evening, Secret Theater will be >openly set against performative theater, for contrast and >comparison. We believe that this experiment compliments the >secretive nature of LAPA's hermetic symbolism and the >Kharmsian "non-sense" gesture. > >This is a first attempt at embodying the ideas of >Secret Theater. Soon, we will continue this experiment >with weekly rehearsal/showings in a storefront on 42nd >Street. > >Please come see the ONE NIGHT ONLY performance of LAPA. > >------------------------------------------------------ >*If you don't want to receive notice of future Ugly >Duckling Presse events (6x6, Emergency Gazette, poetry >readings, etc.), let me know, carrots. >*If you simply aren't in the NY area and would like not to >receive NY-only listings, please tell me that, too. Sorry >for any inconvs this has caused. > > > > >===== >Matvei Yankelevich ~~~~~~~~~~~~ ugly duckling presse >yan@pobox.com ~~~~~~~~~~~~ 112 Pioneer Street >718-243-0446 ~~~~~~~~~~~~ Brooklyn, NY 11231 > >*** For more info on Ugly Duckling Presse's essential mission see an >interview at WWW.INSOUND.COM at the following link: >http://insound.com/insoundoff/index.cfm?id=127=1 _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Thu, 22 Feb 2001 12:11:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: language in internet relay chat (internet relay chat) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - language in internet relay chat (internet relay chat) there are three types of languaging: >>hello hello - just where you speak and it appears, and this serves in addition as a declaration of presence; it's speech, nothing more - it may be reply or affirmation or expostulation, interjection or query - there's always the expectancy of the other, always something in return >>/me says hello Alan says hello - thus a performative, Alan performing in conjunction with the assignation of the /me - the inclusion of action - >>/me turns around Alan turns around - the performative connected with a material action - thus _in the virtual realm_ all actions are necessarily performatives - this holding as well with programming - so that semantics are intended as well - /me turns around always already ikonic - attend to this distinction - just as the speaking above is also ikonic - >>/echo it is raining out it is raining out - here the language is itself the material substrate of the world - the world constituted by language - if the /me indicates process, the /echo indicates state - however >>/echo the world burns the world burns - and the state may well be a state-description of an action whose performance is subtexted by the neutrality of the (re)quoted expression here in virtuality all expressions are doubly or triply quoted - in ytalk doubly quoted - i type, transmit, you read elsewhere triply - i type, i read, transmit, you read - three different instantiations - resonances - sheaves >>/echo it is raining out it is raining out - the description of the world is already the state of the world - however the /me in >>/me is taking a walk - there is a separation - as in me < is taking a walk - the expression is piped; in >>/echo it is raining out - here the /echo is a modification on it is raining out - as in e(it is raining out) - or as in e(x) x whereas with /me thinks it is raining out - m(thinks it is raining out) > $n + thinks it is raining out - or as in m(x) $n + x as if there were the construction or constitution of a number series - in any case the presence of the other - that is the name $n as an adjunct or supplement to the string x. where does this lead - to three states - that of enunciation, that of action, that of world-constituting language. if enunciation is declarative - and one might consider an interpolated enunciation here as a shifter - then action is performative - and it is echo, world-constituting language, that becomes deeply problematic, in the sense that it is _separated from intention, from speaker, from source_ - it is an emission above and within the _face of the world, its alterity,_ within which it resides. >>one might think of these languagings as modal; in which case echo references the foucauldian _divinatio,_ but only as index; in fact, echo is _in fact,_ the construal of the world as-if (vaihinger, bentham) there is no presencing, no intentional, no actor, no agency. in another similar sense, echo is the call of a shell command from a perl script; it is ulterior, an existential alterity, legible, readable, or not.<< >>thus i call my book .echo, which acts subtly towards the material completion of a constituted world, however fragile, however thinned (down to the width of a pixel), .echo which reflects, not narcissus, but the very grain of the separated and dismembered voice.<< _ ========================================================================= Date: Thu, 22 Feb 2001 13:10:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: robert fitterman Subject: PRINTONOMY Reading MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit PRINTONOMY: A Reading Series of Poet-Publishers is featuring the journals Big Allis and Aerial DATE: February 26, 7 PM promptly PLACE: The Fales Library, Bobst Library 3rd Floor, New York University, 70 Washington Square South ADMISSION: Free (sales & reception will follow) Deirdre Kovac is the co-editor of Big Allis. Her poetry has appeared in numerous literary journals, and her first book, Mannerisms, is forthcoming this year. Melanie Neilson's books include Civil Noir (Roof Books) and Natural Facts (Potes & Poets). She is the co-editor of Big Allis. Rod Smith, from Washington, DC, is the author of several books of poetry including In Memory Of My Theories (O Books) and Protective Immediacy (Roof Books). ========================================================================= Date: Tue, 20 Feb 2001 15:04:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Nielsen, Aldon" Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Just spotted a library notice for a book by Ann Vickery titled "Leaving Lines of Gender: A Feminist Genealogy of Language Writing," from Wesleyan -- anybody know anything about this book? read it in ms. or heard parts at conferences???? " 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, 20 Feb 2001 14:44:33 -0600 Reply-To: archambeau@hermes.lfc.edu Sender: UB Poetics discussion group From: Robert Archambeau Organization: Lake Forest College Subject: SAMIZDAT #7 MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-transfer-encoding: 7bit Dear Listees, Once again, I'm stunned at how quickly the supply of free issues was snapped up. Those of you who sent in requests can expect for your free issues in a couple of weeks -- thanks for your interest! Copies of the current issue, or of back issues, are still available for purchase. Ordering info and tables of contents for previous issues are available online at: http://durationpress.com/samizdat/ A head's-up on what's in store for future issues: #8: Features Michael Heller #9: Features John Matthias Robert Archambeau ========================================================================= Date: Tue, 20 Feb 2001 17:41:45 -0800 Reply-To: betsy@poetshouse.org Sender: UB Poetics discussion group From: betsy@POETSHOUSE.ORG Subject: Poetry Publication Showcase--SEND BOOKS NOW! MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit This is an urgent last call for submissions of poetry books published in 2000 for inclusion in the Poets House 2001 Poetry Publication Showcase. The February deadline has passed. The Poets House Showcase is an annual exhibit and festival of events celebrating the year's new poetry books. Last year, 1,320 books were included from 488 publishers. Inclusion in the Showcase is absolutely free. Just send two review copies of all poetry books published since January 2000 (exceptions are books that were included in the 2000 Showcase) ASAP to Poets House 72 Spring Street 2nd Floor, New York, NY 10012 . This year, the Showcase will open on March 24, 2001 and run throughout the month of April. Now is the time to submit all poetry books published during 2000. For more information about the Showcase and to browse books that have been included in the Directory over the last three years, please see the Showcase and Directory sections of our website at www.poetshouse.org If you have any questions, please contact me by email, betsy@poetshouse.org Regards, Betsy Fagin Showcase Coordinator Poets House ========================================================================= Date: Thu, 22 Feb 2001 06:12:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barry Smylie Subject: The Iliad MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit You are invited to play an internet translation of: Homer's Iliad, Book 9 (A Visit of Emissaries, the book of Achilles' refusal) http://barrysmylie.com/iliad/iliad000.htm ========================================================================= Date: Thu, 22 Feb 2001 11:18:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Barrett Watten Subject: Demon of analogy Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I'd like to pose a question to the poetics list, formulated in this way. At the dawn of the internet age, there was a significant amount of advance publicity for new forms of authorship and literariness that would be enabled by the technology. I will call the "demon of analogy" the relation between the turn to theory and celebrations of the World Wide Web's implications for literature. The Internet promised a mode of literary experience that is, all at once: nonlinear, rhizomic, postauthorial, intertextual, multivocal, nomadic, nonhierarchical, networking, and feminist (a list of words taken from an opening paragraph in an early anthology of "hypertext theory"). Yet at the same time many of the kinds of literariness that were being predicted had long since been developed by experimental writers. So the question: what is currently the relationship between radical form and the structure of web sites and listserv discussions? How do the implications of radical form translate into the ways that sites are constructed and/or the ways that participants in listservs engage the literature in the ways that the technological analogy would predict? A simpler way of putting this might be: what internet sites reflect the influence of radical forms, and how do they do it? What are some formally innovative sites, and how have they benefited from the insights into form that experimental writing made possible? Conversely, is there a conservative tendency in site construction, so that sites for innovative writing are really organized in very similar ways to sites that have little to do with innovative form? Links would be most welcome, and discussion, either on the listserv or back channel. Thanks, Barrett ========================================================================= Date: Thu, 22 Feb 2001 08:24:57 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: juliana spahr Subject: asian american poetry events in san fran MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit good news from walter lew... === Tomorrow and Saturday there will be two exciting Asian American poetry, music/film, and new writing events in San Francisco--one to celebrate the publication of CRAZY MELON and CHINESE APPLE: The Poems of Frances Chung (Wesleyan U. Press; compiled and introduced by yrs truly) and the other to celebrate the new issue of INTERLOPE. The CRAZY MELON reading is also a fund-raiser: proceeds from the sale of the book will benefit the Wu Yee Children's Services in San Francisco Chinatown. 1. THURSDAY, FEB. 22 / 5:30-7:30 pmJoin the Wu Yee Children's Services and the Bank of Canton for a complimentary reception featuring readings of excerpts from the recently published works of the late NY Chinatown poet Frances Chung.** Guest readers include Ruthanne Lum McCunn, Genny Lim, and Charlie Chin. WHERE: Pacific Heritage Museum (currently displaying the artof An Ho-nien of Taiwan)608 Commerical St.San Francisco, CATIME: 5:30-7:30.For more information or to RSVP, call Ashley Cole at 415-391-4721 / e-mail: . 2. SATURDAY, FEB. 24, 2001 / 8 pmThe Alliance of Emerging Creative Artists presents AECA 2001A multi-disciplinary Evening of Creative Works featuring:A New Film by Tatsu Aoki with live musical accompaniment byYasuhiro Otani (electronics) & Tatsu Aoki (bass) & Interlope #6--Magazine Release CelebrationGuest edited by San Francisco novelist and film critic Alvin Lu (THE HELL SCREENS***)With literary readings curated by Summi Kaipa, including INTERLOPE contributors Alvin Lu, Chris Chen, & Amar Ravva. LOCATION: Asia Pacific Cultural Center (formerly the Oakland Asian Cultural Center)388 Ninth Street, Suite 290 Oakland, CA 94607TIME: 8 pmADMISSION: $8 general/$6 students & seniorsBART: Get off at the 12th St-City Center Station in Oakland. Walk to 9th street and make a left. Go a couple of blocks. It's on your left in a big shopping-center-like building. Go upstairs once you get into the complex. Summi thinks there's a parking garage underneath the building, also. For more info, please call 510.208.6088 or e-mail Summi at . **A fine review of Chung's CRAZY MELON and CHINESE APPLE will appear this Sunday (2/25) in the New York Times Book Review's "Books in Brief" section. Excerpt:"A book that is rich with images and Chung's vital, vibrant voice. This is a world of 'shrimp gray days' in which Chung asks, 'Where is the cockroach who left / its footprint on my bowl?' Many of her poems are compact and oddly moving narratives that give voice to those who are between cultures. This is Chung's greatest gift, as seen in her poem about a Chinese woman who does not understand English yet must ride the subway each day: 'She keeps the right amount of pennies / in one pocket and upon arriving in each / new station along the way she shifts one / penny to her other pocket. When all the / pennies in the first pocket have disappeared, / she knows that she is home.'" ***For a glowing review of Alvin Lu's THE HELL SCREENS in the New York Times Book Review, go to http://www.nytimes.com/books/00/12/24/bib/001224.rv124119.html Excerpt: "An entrancing Taiwanese 'Turn of the Screw'.... This devilish puzzle of a novel...will appeal to anyone who loves the cat-and-mouse games of Nabokov, the playful elegance of Borges or the rarefied dreamscapes of Calvino." (Rev. Philip Gambone) Some of you may may be familiar with Alvin's previous existence as the author of the "City God" column on Asian/Asian American pop & experimental film/music/literature for the San Francisco Bay Guardian.-- Walter K. Lew 11811 Venice Blvd. #138 Los Angeles, CA 90066 ========================================================================= Date: Thu, 22 Feb 2001 13:43:50 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: radical=precise MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/22/01 10:05:16 AM, RevDest@AOL.COM writes: << To my surprise, during a Poetry Plastique panel, I used the dirty word sacred. I said something to this effect: The poet's sacred (as in non-slimy) task is to register events non-distortively, non-manipulatively, that is, as accurately (ditch fastidiously) as possible. >> which, quite obviously, can never be all that "accurate," whatever that word means to us. Language is de facto manipulation/distortion. But the question becomes, manipulation of what? Itself? When we "register events," what events? Are we still slaves to a philosophy of representation? Is there any way out of that? Interesting. Best, Bill ========================================================================= Date: Thu, 22 Feb 2001 13:17:31 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: REMINDER: POG events this Friday, 2pm, this Saturday, 7pm Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit REMINDER REMINDER REMINDER POG presents two events: A READING/PERFORMANCE: poet Joe Amato composer Jay Vosk Saturday, February 24, 7pm, Dinnerware Gallery, 135 East Congress Admission: $5; Students $3 * and: A LECTURE: “Critiquing Creative Writing Pedagogy: History as Knowledge, Knowledge as Activism” Joe Amato & Kass Fleisher Friday, February 23, 2:00-3:30 Modern Languages 451 sponsored by: University of Arizona Department of English; Arizona Quarterly *** Joe Amato is the author of Symptoms of a Finer Age, a collection of poetry published in 1994 by Burning Cities Press/Viet Nam Generation, Inc., and of Bookend: Anatomies of a Virtual Self (1997), published by SUNY Press. Amato also writes hypertexts, including the kid who wanted to be a poet (1995), published by StorySpace. He has had additional work published in Denver Quarterly, n/formation, ebr5, Postmodern Culture, EJOURNAL, and Grist On-Line. Amato teaches in the English Department at University of Colorado at Boulder. for further material by or about Joe Amato: http://www.iit.edu/~amato/ http://lists.village.virginia.edu/sixties/HTML_docs/Texts/Poetry/Amato_poem_ 5.html http://www.altx.com/ebr/ebr2/2amato.htm http://www.jacket.zip.com.au/jacket12/wilson-by-amato.html http://www.altx.com/ebr/ebr5/amato.htm Jay Vosk is a Tucson composer who has written over eighty pieces ranging from chamber music and orchestral pieces to songs. He collaborates with dancers and playwrights and has set poems to music. The National Symphony Orchestra recently commissioned a piece from him that will represent Arizona in a collection of compositions from all fifty states. In 1999 two Vosk works premiered in Tucson: Dance Features for Brass Quintet and Solo Percussion debuted at a TSO ensemble concert, and “Oasis,” a work for solo clarinet, premiered in the UA School of Music’s Faculty Artist Series. Vosk also plays saxophone, clarinet, modern flute, and Native American flute. His background includes jazz and Yiddish klezmer music. A graduate of the Eastman School of Music, he teaches Jewish music at the UA and music appreciation classes at Pima Community College. for further material by or about Jay Vosk: http://members.aol.com/_ht_a/jvosk/myhomepage/ http://hometown.aol.com/jvosk/myhomepage/notturno.htm Kass Fleisher is a writer and teacher now living near Boulder, CO with her husband and collaborator, Joe Amato. Her primary interest is women's issues, and she is currently completing a work titled Uncivil Wars: The Making of the History of the Bear River Massacre, which examines contemporary efforts both to resurrect the story of this murder--and to bury the story of the mass rape--committed by Union-affiliated troops, of 300 Shoshoni, in 1863 Idaho. for further material by or about Kass Fleisher: http://spot.colorado.edu/~fleisher/ http://jefferson.village.virginia.edu/pmc/text-only/issue.999/10.1.r_fleishe r.txt 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 Department of English, The University of Arizona Extended University Writing Works Center, The University of Arizona Poetry Center, the Arizona Quarterly, and Chax Press. POG gratefully acknowledges the support of the following: Patron: Ted Pope Sponsors: Charles Alexander Sarah Clements Mary Koopman Gene Lyman Cynthia Miller Tenney Nathanson Bob Perelman Jesse Seldess Lusia Slomkowska Kali Tal For further information contact: POG 296-6416 mailto:tenney@dakotacom.net ========================================================================= Date: Thu, 22 Feb 2001 12:48:47 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Safdie Joseph Subject: Re: Bush news that stays news MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" George, all true, but these, uh, excursions have been in the public domain quite a while. Much more interesting to me is the recent revelation that there's a poet with an office just a few doors down from Dubya. I refer to Karl Rove, who published this poem recently in *The New Yorker*: Take a look at our agenda. Education. This year, we picked up seven points in the suburbs over '96. Our education plan allows us to make further gains in the suburbs. As people do better, they start voting like Republicans -- unless they have too much education and vote Democratic which only proves there can be too much of a good thing. Look at the course of the campaign. There's a lot of data. I think he was trying to write a sonnet, but couldn't quite compress that couplet at the end. At any rate, I think it's admirable that our public figures start dabbling in poetry; Kenneth Rexroth even pointed to that possibility as one justification for creative writing programs. Joe Safdie -----Original Message----- From: George Quasha [mailto:gquasha@STATIONHILL.ORG] Sent: Tuesday, February 20, 2001 12:14 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Bush news that stays news --------- Forwarded message ---------- Our new president has taken some criticism for not having a poet set the tone at his inauguration. The absence of a poet, or the absence of the arts in general, speaks volumes about the president. But, as the Washington Post shared on Sunday, Dubya can be very poetic. In fact, the following is a poem entirely comprising actual quotes from Baby Bush. The quotes have been arranged for aesthetic reasons only by Post writer Richard Thompson. MAKE THE PIE HIGHER by George W. Bush I think we all agree, the past is over. This is still a dangerous world. It's a world of madmen And uncertainty And potential mental losses. Rarely is the question asked Is our children learning? Will the highways of the Internet Become more few? How many hands Have I shaked? They misunderestimate me. I am a pitbull on the pantleg of opportunity. I know that the human being and the fish Can coexist. Families is where our nation Finds hope, Where our wings take dream. Put food on your family! Knock down the tollbooth! Vulcanize Society! Make the pie higher! Make the pie higher! Major league. ------- End of forwarded message ------- ========================================================================= Date: Thu, 22 Feb 2001 18:00:53 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Angel of Soliloquy Comments: To: b.watten@WAYNE.EDU MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi - Just want to say that yours was a very relevant and thought-provoking post, Barrett. >At the dawn of the internet age, there was a significant amount of advance publicity for new forms of authorship and literariness that would be enabled by the technology. hmm. if you're talking about when the www specifically came to popular culture in the early 90s (as opposed to the early days of the internet at DARPA over a decade before that), a lot of people believed they could define this "hot new medium." at that time many people did not understand that the medium was in fact already in place, and primarily a medium for text. for example, the physics community was already familiar with SGML and so HTML was very much the same thing, albeit easier. But the literary community was poorly informed as to the background and nature of the internet. I believe that this is still painfully true of the literary community when it comes to the majority of poetic work I see on the internet. >"demon of analogy": the relation between the turn to theory and celebrations of the World Wide Web's implications for literature. >The Internet promised a mode of literary experience that is, all at once: nonlinear, rhizomic, postauthorial, intertextual, multivocal, nomadic, nonhierarchical, networking, and feminist (a list of words taken from an opening paragraph in an early anthology of "hypertext theory"). The internet NEVER promised that. As a medium the WWW specifically promised a quick way to share documents, images, etc., (emphasis on speed and wide distribution) and it offered a way to easily surveil not only the distributions but some aspects of their usage. Frankly stated, uninformed or poorly informed people invented these promises you name out of thin air without heed to the medium and its ontogeny. >Yet at the same time many of the kinds of literariness that were being predicted had long since been developed by experimental writers. What was the actual promise then? The WWW wasn't promising anything innovative, then, at all if the innovations had already happened elsewhere, right? Perhaps that is your point, and it is a point that I certainly agree with. One large exception (there's always an exception) is the animated poem, a fine example is Brian Kim Stefans' Dreamlife of Letters (http://www.ubu.com/contemp/stefans/dream/index.html). Animated poetry makes a naive promise in light of what I am describing, but one that actually becomes more and more fulfilled and attainable, and it ceases to be so naive, as it insists upon and invents its own reality. Much kudos to Brian for taking this reasonable possibility to a place very close to perfection. Internet technologies actually made it easier for people who didn't have much $$$ to easily animate text, and make animations of all kinds of course. But as you may be implying, people were already writing, and already able to draw, well before the internet, and were innovating outside of it. I believe the particular promises you describe was shallow, naive, and did not look for expression in light of the potentiality of the internet. The potentiality of a thing is crucial; the acorn becomes the tree, but not the squirrel. Such promises were naive when promised and, I believe, were bound to be unfulfilled. I still believe that most literary works on the internet seem to be unwitting aleatory practices. But like Brian's design linked above, and some others below, it can actually be deliberate, well-crafted, and make some radical formal departures from the poetics a the before-internet age. Mostly, though, the success of these poetries are really either evolutionary or critical, but not revolutionary. >So the question: what is currently the relationship between radical form and the structure of web sites and listserv discussions? >How do the implications of radical form translate into the ways that sites are constructed and/or the ways that participants in listservs engage the literature in the ways that the technological analogy would predict? What is "radical form"? I think I know what you mean. Regardless, multiple links between pages was already innovated in the children's book series "Choose Your Own Adventure," and in text games like Zork in the 80s. Again, the internet promised and still promises mainly to allow people to disseminate and track information rapidly, quietly, without paper. What content is placed on the internet is largely independent of its means for delivery. Radical form, since it is a product of text and *not* a product of the *dissemination* of text, would and still will be innovated *regardless* of the existence of the internet. OK, the internet makes multiple choice narratives easy to complete, but it could also be easily done in a book before the days of the WWW "revolution." As far as listserv discussions, most of us had word processors before listserv access. Again, there's no radical break there; it's just faster. The parameters of plain ASCII text create some radical forms. Alan Sondheim is quite good at this particular "radical form," though again I do believe ASCII illustrations have been around since at least the 70s. Their introduction into poetry, as far as I can see, happens with some of Alan's work. Alan would know the veracity of what I say here, and I am sure I will stand corrected as to the introduction of ASCII forms into poetry. Your questions are good ones, Barrett. >A simpler way of putting this might be: what internet sites reflect the influence of radical forms, and how do they do it? I believe the real radical idea of form on the internet is the one least expected...that the internet is still at best a serial enterprise. Simple designs are the most radical, since they express the most difficult aspects of the internet: namely information architecture. Some websites are out there that try to fulfill such naive promises, and though they might not innovate or clarify, they are expressions of radical forms. for example: http://trace.ntu.ac.uk/newmedia/lexia/index.htm I mentioned Brian's Dreamlife of Letters above. Heavy Industries is a site that crisply articulates the positive side of what I am saying, that the web is at its best and most radical when being used as a means of enhancing speed of delivery combined with animated text, while not requiring or making the web out to be some privileged radicalizer of formal innovation: Young-Hae Chang Heavy Industries http://www.yhchang.com A statement about the Heavy Industries site: "It's essential to break rules and do things "wrong" in art. But it's seemingly necessary to follow rules and do things "right" in making Web art. This is the big problem confronting the Web artist, for the technique --and not the art -- of making Web art necessitates obeying strict rules the flouting of which is punished by absolute failure to create image and sound. One HTML misstep, and nothing works, nothing happens on the screen. With this in mind our Web art tries to break as many rules as possible. In our work there is: no interactivity; no graphics or graphic design; no photos; no illustrations; no banners; no millions-of-colors; no playful fonts; no fireworks. We have a special dislike for interactivity. To us it's a paltry, laughable thing, like getting a kick out of pulling the trigger of a gun: click: bang. We don't get it. When we click on interactive art, we get the feeling we're the rat in the Skinner box, except there's only the miserable reward, not the shock. Art isn't reward, it's shock, or something approaching it, something we would call beauty. Our Web art tries to express the essence of the Internet: information and disinformation. Strip away the interactivity, the graphics, the design, the photos, the illustrations, the banners, the colors, the fonts and the rest, and what's left? The text." I would also include my http://proximate.org as a site that has similar aims as Heavy Industries. My "radical form" in many ways is really a fake radicalism, since the code-stuff is extraneous, a joke on the viewer. (E.g., http://proximate.org/01d3c0d3.htm). I also treat a side-effect of the internet: personalization and the way the internet tries to suck a person in. I try to illustrate the silliness of that side-effect as a consequence of language through confrontational, second-person language, shifting around the person-position of the viewer. I also try to show that there are more direct ways to "get personal," hence all of the faces, a pun on interface. But all of these ruses are still in part about text, or rather, text's shortcomings. Such limitations of text (and transitively, limitations of the internet) challenge us to either try new ways of delivering gestural, extralinguistic information to readers/viewers or just to drop the use of text altogether. There's your radical form for you. How to get gestural extralinguistic information about text across to a viewer, a project that requires use of formal properties. Stefans succeeds in his text animation to codify gestural information in giving words actions that reflect their meanings, though i don't know if getting gesture onto the net was one of his explicit aims. Heavy Industries succeeds at this as well. again, i do not know that it was deliberately explored. Postauthorialism, of which proximate is heavily concerned, is taken a bit farther. The roles of the audience and the teller are constantly changed, and the site has no "cover" with an author's name on it. It's very anonymous. But is this a radical break that cannot be done without the internet? No. It's an evolutionary step from langpo. i also went a step further with proximate into the sociopolitical domain, and tried to show that such efforts to capture gesture on the internet (like when people insist on using exclamation points! in talking to you, yes only you!) can be manipulative, projective, a part of an ugly power struggle & that those efforts at manipulation are what langpo was fighting against, namely, the ugly hegemony of the author-hero. But even for that I have prior innovators to thank, like vito acconci and his confrontational art, or ron silliman and his writing. The cause is evolutionary, not revolutionary, and really then nothing radical. My effort remains more evolutionary than revolutionary even if i go about the hegemony problem of narrative in a somewhat different way than langpo. I think perhaps being quasi-subliminal in text was (01d3c0d3, come closer) the only radical form I innovated. Even then, I wonder if someone else had already tried writing subliminal poetry before. The internet seems best when used to create books or galleries. Such things are best treated linearly. If you want radical writing, radical form, such writing can be captured without the internet in every case. on pencil and paper. or even with a flipbook of stapled paper. Perhaps the speed of production will be compromised if the pieces are put in a book, but that should not matter to a discussion of innovating radical forms. Here are some other sites that express radical form at the intersection of internet and poetry, and do so in a somewhat realistic, mature, and well-constructed fashion: http://www.buffnet.net/~joecow/polysyndeton.html http://www.net22.com/qazingulaza/cybele/telepresence.swf http://www.ubu.com/contemp/bb/log_01.html http://www.ubu.com/contemp/poundstone/poundstone02.html http://www.rtmark.com/exhibit http://beehive.temporalimage.com/content_apps25/skyscratchez/00.html http://www.suffocate.org/s3/shock/ Enjoy, Patrick Patrick Herron patrick@proximate.org http://proximate.org/ getting close is what we're all about here! ========================================================================= Date: Thu, 22 Feb 2001 22:27:05 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Re: Raworth/cheek In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I have never heard Tom Rawarth read but I have to say that cris cheek is _not_ to be missed. i had the fortunity of bringing him to londonOnt a few years ago and it was amazing!! i would love a report on this event. all my best, kevin hehir On Wed, 21 Feb 2001, Keith Tuma wrote: > T O M R A W O R T H > > > and > > > c r i s c h e e k > ========================================================================= Date: Fri, 23 Feb 2001 09:56:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Re: Demon of analogy Comments: To: Barrett Watten MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Perhaps it would be useful to contextualize this discussion by arguing, as I am here, that there is a connection between technological change and artistic change (photography and impressionism etc.), and that early-century experimentation did not occur apart from earlier changes in communications technology such as the typewriter, linotype machine, photocopy machine and so on. I think of this issue especially since, as I view the proceedings, it arose at the recent Poetry Plastique panel discussions, having to do with the difference (if any) between concrete poetry and what was on display at the gallery where the discussions took place. Burt Kimmelman -----Original Message----- From: Barrett Watten To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Sent: 2/22/01 11:18 AM Subject: Demon of analogy I'd like to pose a question to the poetics list, formulated in this way. At the dawn of the internet age, there was a significant amount of advance publicity for new forms of authorship and literariness that would be enabled by the technology. I will call the "demon of analogy" the relation between the turn to theory and celebrations of the World Wide Web's implications for literature. The Internet promised a mode of literary experience that is, all at once: nonlinear, rhizomic, postauthorial, intertextual, multivocal, nomadic, nonhierarchical, networking, and feminist (a list of words taken from an opening paragraph in an early anthology of "hypertext theory"). Yet at the same time many of the kinds of literariness that were being predicted had long since been developed by experimental writers. So the question: what is currently the relationship between radical form and the structure of web sites and listserv discussions? How do the implications of radical form translate into the ways that sites are constructed and/or the ways that participants in listservs engage the literature in the ways that the technological analogy would predict? A simpler way of putting this might be: what internet sites reflect the influence of radical forms, and how do they do it? What are some formally innovative sites, and how have they benefited from the insights into form that experimental writing made possible? Conversely, is there a conservative tendency in site construction, so that sites for innovative writing are really organized in very similar ways to sites that have little to do with innovative form? Links would be most welcome, and discussion, either on the listserv or back channel. Thanks, Barrett ========================================================================= Date: Fri, 23 Feb 2001 10:55:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Orange Subject: vickery book In-Reply-To: <200102230509.AAA15456@gusun.georgetown.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII al, yes it came out in january, it is and will be a pretty important book i think. first account written by somone who was not a participant in the mo(ve)ment, first one to use archival source materials. really demonstrates a whole different set of issues at stake, or maybe how the issues commonly associated with language writing were framed differently and posed different challenges for women writers. the first half focuses more on issues and is more effective to me, the latter half offers readings (some more effective than others) of individual writers. bests, t. table of contents 1. Cities and Communities: Circling Out of Equivalence 2. Poetic Fields and the "Painted Birds" of Language Writing 3. In the Middle of Writing: Feminism's Ruptured Vocabulary 4. Supporting a Scene: Tuumba Press 5. Making Waves: Radio and Susan Howe's Poetry Program 6. Kathleen Fraser's Feminist Alternative: HOW(ever) 7. Models, Manifestoes, and Morphogenesis: The Role of Theory 8. "I Hate Speech": Gendering Poetic Talk 9. Cabinets, Closets, and Consumption, Analyzing the Anthology 10. Desire Not a Saint: The Pathography of Bernandette Mayer 11. Taking a Poethical Perspective: Joan Retallack's Afterrimages 12. Cultural Recovery or Contractual Release: The Shadow-Show of Susan Howe's The Liberties 13. Cutting Corners in Tina Darragh's American Pi 14. "I See Words": Hannah Weiner as a Tribal Spoke Person 15. Attention and Alterity in the Poetry of Rae Armantrout and Fanny Howe 16. The Person as Chronic Text: From Lyn Hejinian's Gesualdo to My Life Conclusion: Moving beyond the Language Maps in Feminist Collaborations ---------- >From anielsen@LMUMAIL.LMU.EDU Fri Feb 23 09:14:09 2001 Date: Tue, 20 Feb 2001 15:04:31 -0800 From: "Nielsen, Aldon" Subject: Just spotted a library notice for a book by Ann Vickery titled "Leaving Lines of Gender: A Feminist Genealogy of Language Writing," from Wesleyan -- anybody know anything about this book? read it in ms. or heard parts at conferences???? ========================================================================= Date: Fri, 23 Feb 2001 14:15:28 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: MIMI Spoken Word Awards MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE this may be of interest to some. kevin poets@wiredonwords.com wrote: > This year is the first that the MIMI award nominations actually > seem to reflect what's happening in the spoken word scene. > > Finalists for the Montreal International Music award for Spoken > Word include: > > - Ian Ferrier, whose Exploding Head Man CD was released by > Wired on Words and Planete rebelle > > - Planete Rebelle's powerhouse author and editor Andre Lemelin > > - the amazing Alexis O'Hara and the amazing Debby Young--both > of whom will be featured on Wired On Words upcoming anthology > CD > > - Patrice Desbiens and > > - Michel Faucher. > > So if you want to cast your vote for any of these fine performers, > you can get to the awards ballot as follows: > > 1. Go to the following URL: http://www.netmusik.com/mimi/ > 2. Click on the Register to Vote option > 3. Register > 4. Vote for the Spoken Word and other artists of your choice. > > Ferrier's "Exploding Head Man" CD received national acclaim at its > release last year, and shot him off to shows in Vancouver, Toronto > and Scandinavia. Andre Lemelin's "Hold Up" was compared to the > work of Ferdinand Celine--no small compliment. Alexis O'Hara had > her busiest year yet, touring and performing with Rob Stephens in > the dynamite duo Jimmy Brain. Debby Young released a fine CD > and seems to have been on the road ever since. > > You can listen to work by Ferrier and Lemelin at the following sites: > > Ian Ferrier with the Exploding Head Band: Exploding Head Man > > http://www.PlaneteRebelle.qc.ca/_livres/explodinghead/index.html > http://wiredonwords.com > http://www.e-poets.net/library/bov/archive/index.html > http://www.canadacouncil.ca/grants/publishing/default.asp > > Andr=E9 Lemelin with Z=E9ro de conduite pour Hold-Up! Contes > du Centre-Sud > > http://www.PlaneteRebelle.qc.ca/_livres/holdup/index.html > > Best to you from Wired on Words, the performance literature label... ========================================================================= Date: Fri, 23 Feb 2001 16:09:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: Daniel Bouchard MIME-Version: 1.0 Content-Type: text/plain Can anyone supply me with recent contact info for Daniel Bouchard? Thanks, Burt Kimmelman ========================================================================= Date: Fri, 23 Feb 2001 15:35:47 -0500 Reply-To: patrick@proximate.org Sender: UB Poetics discussion group From: Patrick Herron Subject: Sad news of John Fahey's death Comments: To: Subsubpoetics MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Guitarist John Fahey passed away yesterday afternoon. A sad day for music and for his friends and family. > >Subj: John Fahey > >Date: Thu, 22 Feb 2001 2:39:56 PM Eastern Standard Time > >From: "Glenn K. Jones" > > > >Hello, > > > >I called the Salem Oregon hospital about a half hour ago and spoke to Tim, > >Fahey's guitar store friend (and a member of the John Fahey Trio). John > >had died just a couple minutes before I called, maybe an hour or so > >ago, now. > > > >Dean Blackwood told me that Fahey had been put on dialysis late Wednesday > >night, due to failing kidneys. > > > >Tim said Fahey had had more open heart surgery this morning, and "things > >got worse and worse" and that they'd finally taken him off life support. > >John had been heavily sedated since the sextuple bypass surgery this past > >Monday. > > > >Tim and Melody (Fahey's ex-wife) and a few other friends were there. The > >change in John's condition came as ashock to all, and there is much to do > >in terms of arranging a service, announcements to the press, dealing > >with Fahey's legal affairs and all that. > > > >I'm sure more information will be forthcoming. > > > >Glenn Jones Patrick Patrick Herron patrick@proximate.org http://proximate.org/ getting close is what we're all about here! ========================================================================= Date: Fri, 23 Feb 2001 16:11:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Balestrieri, Peter" Subject: Oppen, Ashbery, Simic Queries MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Hi Folks, Can someone tell me what collection has Oppen's "Numerous" poem? And does anyone have an email address for John Ashbery or Charles Simic? Please backchannel. Thanks a lot. Pete ========================================================================= Date: Fri, 23 Feb 2001 22:11:58 -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="us-ascii" Visit http://www.fencemag.com for the second installment of Laird Hunt's novel The Impossibly, forthcoming from Coffee House Press ========================================================================= Date: Sat, 24 Feb 2001 11:10:02 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "T. R. Healy and L. MacMahon" Subject: New from Wild Honey Press MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Apologies for Cross Posting Sojourns, Allen Fisher, 8¼ x 5½ inches, 24 pages, deskjet printed, 250g card cover, colour cover illustration by the author, hand sewn binding. ISBN 1 903090 25 3 Stg 3.50 / USD 5 Luminarias, Familiar Hinges, Sheila E. Murphy, 5¾ x 3¾ inches, 28 pages, 250g card cover, colour cover illustration specially commissioned for this edition from Louise Mac Mahon, hand sewn binding. ISBN 1 903090 26 1 Stg3.50 / USD 5 Postage extra. Visa and Mastercard accepted. Wild Honey Press is happy to announce the publication of these two new chapbooks. Both are available from Wild Honey Press, 16a Ballyman Road, Bray, Co. Wicklow, Ireland, or from Peter Riley or Billy Mills. Sojourns is part of Fisher's Gravity as a Consequence of Shape. A work in eight sections, starting with (RED) RED SHIFT 1 and ending with (RED) RED SHIFT 2, its themes of colour and movement are explored with a wide range of registers and reference. Here are two extracts: The ancients used cinnabar, the red sulphide of mercury, for bright red. Zosimus spoke of it coming from the stars. Vermilion is the re-synthesis of mercury and sulphur into the likeness of the cinnabar from which the mercury was extracted. After vapourising and recondensing into the top of a flask, the flask is broken. It's almost black. As it is ground it becomes red. Cennion reckons that if you ground it every day for twenty years the colour would still become finer and more handsome. And rhubatic fummeck thick onto router's roof run Athen fibre screened crogged or laced get it off thar git orf like I sayd yonder hill orogesh miles from here Luminarias, Familiar Hinges consists of twenty one four stanza pieces, each stanza contain four lines. I was immediately struck by the scope, clarity and multiplicity embraced by this work. There is a spiritual quality which gives it a tremendous unity. Here is the opening section: Holy be the quiet of our nest Awash in oils and thin-brushed Eggshell hue that rests even In dark, and blessed be the handsome Furniture, the sparkle of a hundred Watts on glass, an engine rubbed Into commotion where a lamp would be. There are no insects here, The walls remain as rough As paths preceding pavement. All the crooks Forgot to come, and mercy litters Turf and tangibles. The ebb And flow of distance slims The merely artificial space between us, Shaped unfamiliar as The icing on the cake we won't consume. Best wishes Randolph Healy. ========================================================================= Date: Sat, 24 Feb 2001 09:07:08 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Poetry videos Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi, I just received an announcement of new releases from the Downtown Music Gallery in NYC that includes the list below of videos of, primarily, poets & writers. Could anyone on this list tell me anything more about them? Thanks. >DMG STOCKS MOST VIDEOS FROM LOCAL DIRECTOR MITCH CORBER! >Each one sells for $17. and here is a brief description of each title: > > >20. JOHN CAGE: MAN AND MYTH >This riveting 60-min. doumentary features a classic 1989 Cage interview >- interlaced with enlightening visits by Cagean disciples Philip Glass, >Glenn Branca, Allan Kaprow, Richard Kostelanetz, Jackson MacLow, Grete >Sultan and Johnny Reinhard. Pianist Joshua Pierce displays Cage's >'prepared piano' and performs "Sonatas and Interludes." Cage percolates >with zen theory, reads poetry, and plays electric cactus. (1990, 60 >min.) > >21. ALLEN GINSBERG: BEAT LEGEND, Vol.1 >(Captured live 1988-91 - poems performed with mini pump-organ): >CIA Dope Calypso, Spot Anger, Broken Bone Blues, Wales Visitation, Why I >Meditate, Velocity of Money, Going to the World of the Dead, Western >Ballad, Hum Bom, Hard Labor; many more. (1988-91, 85 min.) > >22. ALLEN GINSBERG: BEAT LEGEND, Vol.2 >(More essential Ginsberg) -just released February 2001 >Please Master, White Shroud, Visiting Father and Friends, Report From >China 1985, You Don't Know It, Yahweh and Allah Battle, On the Cremation >of Trogyen Trumpa, A Dream of Gaia, and more. (1991-95, 85 min.) > >23. GREGORY CORSO: BEAT LEGEND- just released also >Ginsberg's lifelong poet pal. Corso, who sadly just passed away, is >remembered best in this charismatic 1991 event. Poems include: Greenwich >Village Suicide, 30-Year Dream, The Whole Mess Almost, Flu Ramblings >'91, Boticelli's 'Spring', Amnesia in Memphis, Last Night I Drove a Car, >Birthplace Revisited, and more. (NYU, 55 min.) > >24. GINSBERG SINGS BLAKE: >A vibrant neo-renaissance concert of a suite of ballads. Having spent >over two decades on this monumental Blake project - to inject - or >re-inject music to poet William Blake's classic 'Songs of Innocence' and >'Songs of Experience' poems. Ginsberg unleashes sheer chanting bliss, by >way of singing, historiciznig and playing mini pump-organ. Ensemble trio >blends fine harmonic vocals of singer-guitarist Steven Taylor and >electric violin of Heather Hardy. (1990, 80 min.) > >25. NY BEAT GENERATION, VOL.3 (MUSIC MOVES THE SPIRIT): >An unforgettable 1994 Beat cabaret hosted by David Amram - an evening of >jazz/poetry central to the Beat ethos. The Doors' Ray Manzarek and poet >Michael McClure collaborate on Kerouac's 'Mexico City Blues'. Allen >Ginsberg sings his jaunty 'Put Down That Cigarette Rag'. Amram and poet >Ted Joans mount a sizzling bebop number dedicated to Bird. Writer Terry >Southern performs a hypnotic prose poem. Charts the wild '50s NY jazz >club explosion. (80 min.) > >26. ED SANDERS/The FUGS Vol.1 >Versatile satiric songwriter Sanders sings poignant political anthems >and homages, lacing spoken word over music: >[The Fugs at the Palladium 1989 w/ Tuli Kupferberg & Steven Taylor] Song >for Abbie Hoffman, Nothing, Protest and Survive. >[Solo] Sunflower Weary of Time, Equal to the Gods, Tale of the Maximus >Myth, The Air in the Hawk's Lung Measures Our Lives. (1994, 55 min.) > >27. AMIRI BARAKA - LIVE >(Poems, Political Songs) >Mind of the President, Black Litany, New Music, Prophets, Wailers (for >Bob Marley), Class Struggle in Music - I & II, Blues for Coltrane, >Ancient Music, and more. (1989-90, 55 min.) > >28. POETS OF GENERATION X, Vol.1 >NY's current downtown scene. Spoken word gems and tone poems on the >cutting edge. Featuring: Emily XYZ, Steve Dalachinsky, Todd Colby, Anne >Elliott, Kathy Acker, Bob Holman, Barbara Barg, Gloria, Craig Silver, >more. (1995, 65 min.) > >29. POETS OF GENERATION X, Vol.2 >More of downtown's hot scene. Spoken word and musical voices. Featuring: >Tish Benson, Eileen Myles, Ed Sanders, Sparrow, Christian X. Hunter, Lee >Ann Brown, Mitch Corber, Thad Rutkowski, many others. (1997, 70 min.) -- Herb Levy P O Box 9369 Forth Wort, TX 76147 817 377-2983 herb@eskimo.com ========================================================================= Date: Sat, 24 Feb 2001 21:56:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Del Ray Cross Subject: SHAMPOO Issue 4 !! MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hello Friends, SHAMPOO Issue 4 is now complete! Have a look-see at: www.ShampooPoetry.com Thanks to poets Andrena Zawinski, Dana Ward, Scott Villarosa, Zinovy Vayman, Penelope Talbert, Eddie Mann, Timothy Liu, Kevin Killian, Jill Jones, Thomas Downing, Mona Lisa Donnelly, Gary Counsil, Justin Chin, Ric Carfagna, Avery E. D. Burns, Janet I. Buck, Bren Bataclan, and J.M. Barnaby for their fabulous poems! Issue 5 is in the works! Stay tooned! Bubble up, Del Ray Cross, Editor SHAMPOO ========================================================================= Date: Sun, 25 Feb 2001 02:16:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: anatomy of world-semantics and messiness of desire MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - anatomy of world-semantics and messiness of desire main() { .e .eanatomy of world-semantics and messiness of desire. .e .ethis time it was beginning with the interior of the sphere. .ethe camera wandered around the swollen form. .ea closeup image of a breast with a swollen nipple was texture-mapped. .ethe mapping was set to .15 to spread the image across the interior. .econtrast was set slightly high and brightness slightly low. .esix lamps skewed to color filters were placed inside. .etwo circular sections were marked on the surface of the sphere. .ethese sections were scaled up and slightly outward from the surface. .etwo other sections were marked at right angles to the first two. .ethese sections were rotated and skewed and slightly indented. .eeverything was slightly awkward while the vertices were subdivided. .eafter several subdivisions the noise control was applied. .ethe noise was a variable dependent on the contrast of the texture-map. .eover and over again noise was added to the sphere. .ethe nipple distended outward and the sphere was transformed. .eduplicated nipples distended inward and the sphere became rougher. .eover and over again noise pummeled the sphere. .eover and over again protrusions and indentations followed the mapping. .esmoothing was applied as much as possible and everything was joined. .ethe camera began its tilted motion around the internal surfaces. .eit was as if a membrane stretched across the universe. .eit was as if the universe were one of organs and skins. .eorgans and skins led to bodies elsewhere on the horizon. .enothing was visible beyond distentions and inundations. .e .ethere was just another time when a sphere and liquid sphere intersected. .ethe camera was outside in absolute darkness and vacuum. .esix lamps skewed to colored filters were placed around the object. .ethe vertices on the sphere were subdivided and an image applied. .ethe image was of an open vagina and anus mapped onto a plane. .ethe mapping was set to .15 and cubic global with high contrast. .ethe image was darkened slightly and mapped across both surfaces. .ethe surfaces were independent but constituted the object. .ethe sphere was blown out and distorted with twisted circular patches. .ethe sphere was extended by selected vertices which were rebundled. .ethe rebundled vertices returned to the interior of the sphere. .ethe noise control was repeatedly applied to the sphere. .ethe anus and vagina began their uneasy work of indentation. .ethe surface became increasingly antagonized and difficult to perceive. .ethe camera was widened to 12 millimeters and a course was established. .ethe course of the camera grazed the surface of the object. .ethe object was constituted by the sphere, liquid sphere, and image. .ethe camera moved smoothly in a calculated flyover. .ethe flyover grazed the interior of the object. .ethe interior of the object refracted light and exterior texture. .ethe camera pulled back after scanning the asteroid almost in full. .eyou could tell the object was situated in uncanny space. .eyou could tell the object had more to offer. .ethe object was permanently flattened in the image. .ethis is what is called a "souvenir." .e .ethere was a time when ice and snow covered the surface of the sphere. .ethe sphere dripped in black-space as world-form. .eit grew mountains and valleys with repeated granular noise. .ethe noise formed from the white ice on the blue ice. .esix suns orbited the world. .ethe camera flew between the mountains and valleys and inside. .einside was a world of refracted ice and brilliant crystals. .ethe camera grazed the crystals and moved out into the black and cold. .eo sphere huddled obsessively within the black and cold. .ethe camera withdrew leaving the sphere an object among none other. .efrom whence comes alterity in the midst of the fixity of worlds. .eo we are all brothers and sisters but none here in emptied residue. .eyou are given license to remember the death and birth of worlds. .eworld, come forth. .ebrilliant stars reflected across surfaces huddling in pitch-black sky. .eeverything in nothing, we live in the "sheaf" of the world. .e .e .e"The conception of the form lies in the desire to distinguish. .e" Granted this desire, we cannot escape the form, although we .e"may use it any way we please." (G. Spencer Brown, Laws of Form.) .e .e .e__ } anatomy of world-semantics and messiness of desire. this time it was beginning with the interior of the sphere. the camera wandered around the swollen form. a closeup image of a breast with a swollen nipple was texture-mapped. the mapping was set to .15 to spread the image across the interior. contrast was set slightly high and brightness slightly low. six lamps skewed to color filters were placed inside. two circular sections were marked on the surface of the sphere. these sections were scaled up and slightly outward from the surface. two other sections were marked at right angles to the first two. these sections were rotated and skewed and slightly indented. everything was slightly awkward while the vertices were subdivided. after several subdivisions the noise control was applied. the noise was a variable dependent on the contrast of the texture-map. over and over again noise was added to the sphere. the nipple distended outward and the sphere was transformed. duplicated nipples distended inward and the sphere became rougher. over and over again noise pummeled the sphere. over and over again protrusions and indentations followed the mapping. smoothing was applied as much as possible and everything was joined. the camera began its tilted motion around the internal surfaces. it was as if a membrane stretched across the universe. it was as if the universe were one of organs and skins. organs and skins led to bodies elsewhere on the horizon. nothing was visible beyond distentions and inundations. there was just another time when a sphere and liquid sphere intersected. the camera was outside in absolute darkness and vacuum. six lamps skewed to colored filters were placed around the object. the vertices on the sphere were subdivided and an image applied. the image was of an open vagina and anus mapped onto a plane. the mapping was set to .15 and cubic global with high contrast. the image was darkened slightly and mapped across both surfaces. the surfaces were independent but constituted the object. the sphere was blown out and distorted with twisted circular patches. the sphere was extended by selected vertices which were rebundled. the rebundled vertices returned to the interior of the sphere. the noise control was repeatedly applied to the sphere. the anus and vagina began their uneasy work of indentation. the surface became increasingly antagonized and difficult to perceive. the camera was widened to 12 millimeters and a course was established. the course of the camera grazed the surface of the object. the object was constituted by the sphere, liquid sphere, and image. the camera moved smoothly in a calculated flyover. the flyover grazed the interior of the object. the interior of the object refracted light and exterior texture. the camera pulled back after scanning the asteroid almost in full. you could tell the object was situated in uncanny space. you could tell the object had more to offer. the object was permanently flattened in the image. this is what is called a "souvenir." there was a time when ice and snow covered the surface of the sphere. the sphere dripped in black-space as world-form. it grew mountains and valleys with repeated granular noise. the noise formed from the white ice on the blue ice. six suns orbited the world. the camera flew between the mountains and valleys and inside. inside was a world of refracted ice and brilliant crystals. the camera grazed the crystals and moved out into the black and cold. o sphere huddled obsessively within the black and cold. the camera withdrew leaving the sphere an object among none other. from whence comes alterity in the midst of the fixity of worlds. o we are all brothers and sisters but none here in emptied residue. you are given license to remember the death and birth of worlds. world, come forth. brilliant stars reflected across surfaces huddling in pitch-black sky. everything in nothing, we live in the "sheaf" of the world. "The conception of the form lies in the desire to distinguish. " Granted this desire, we cannot escape the form, although we "may use it any way we please." (G. Spencer Brown, Laws of Form.) __ ========================================================================= Date: Sun, 25 Feb 2001 13:51:57 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Igor Satanovsky Subject: kojapress.com Comments: To: jbennett@magnus.acs.ohio-state.edu, lolsen@uidaho.edu, atd@hm.spb.su, lkline@mdcc.edu, tonyg@interworld.com, graysonric@yahoo.com, Kuzminsk@ptd.net, donachie@concentric.net, bobgrumman@nut-n-but.net, skogan7@juno.com, mmeskin@nylink.com, hpolkinh@mail.sdsu.edu, vraykin@worldnet.att.net, michael_tsan@mckinsey.com, yan@pobox.com, ikleiman@marcom.de, leozon@yahoo.com, Rkosti@aol.com, script@interport.com MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit KOJA PRESS is proud to announce its new Web site, kojapress.com Check it out for the most up-to-date information on KOJA magazine and KOJA PRESS books. Best, Igor Satanovsky, Assoc. Editor/Art Director KOJA PRESS ========================================================================= Date: Sun, 25 Feb 2001 19:56:34 -0500 Reply-To: alterra@home.com Sender: UB Poetics discussion group From: David Dowker Subject: The Alterran Poetry Assemblage #5 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Announcing: The Alterran Poetry Assemblage #5 Lisa Robertson, Lawrence Upton, Jack Kimball, Nick Piombino, Catherine Daly, Gale Nelson, Stephen Ellis, Trevor Joyce, George Quasha, David Dowker. http://members.home.net/alterra/ (the link at the Electronic Poetry Center is unfortunately no longer functional) David alterra@home.com The Alterran Poetry Assemblage (#1-4): Charles Alexander, Will Alexander, Caroline Bergvall, Allen Bramhall, Laynie Browne, Adam Cornford, David Dowker, Nancy Dunlop, Patrick F. Durgin, Stephen Ellis, Carrie Etter, Allen Fisher, William Fuller, Drew Gardner, Nada Gordon, Henry Gould, Alan Halsey, Matt Hill, David Hoefer, Virginia Hooper, Lisa Jarnot, Andrew Joron, Adeena Karasick, Karen Kelley, Hank Lazer, Bill Luoma, Chris Mann, Peter Middleton, Drew Milne, Robert Mittenthal, Laura Moriarty, Erin Moure, Sheila Murphy, John Noto, Bob Perelman, Kristin Prevallet, Meredith Quartermain, George Quasha, Lisa Robertson, Lisa Samuels, Spencer Selby, Christine Stewart, Gary Sullivan, Fiona Templeton, Christina Thompson, Craig Watson, Lissa Wolsak. ========================================================================= Date: Thu, 22 Feb 2001 12:15:54 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon In-Reply-To: <4.1.20010220150310.009da6e0@lmumail.lmu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 3:04 PM -0800 2/20/01, Nielsen, Aldon wrote: >Just spotted a library notice for a book by Ann Vickery titled "Leaving >Lines of Gender: A Feminist Genealogy of Language Writing," from Wesleyan -- > >anybody know anything about this book? read it in ms. or heard parts at >conferences???? > i have it; it's a series of chapters on what might loosely be called "women language poets". it has a beautiful cover. i've looked thru it, it deals a lot with circles --geographical/metropolitan groupings --new york, calif, dc --which seems an interesting McGannian way to go about things. chapters are more or less on individual writers. there's one on Hannah Weiner, which is the one i read carefullly. ========================================================================= Date: Sat, 24 Feb 2001 10:12:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Language project MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit http://www.rosettaproject.org Fifty to ninety percent of the world's languages are predicted to disappear in the next century, many with little or no significant documentation. Much of the work that has been done, especially on smaller languages, remains hidden away in personal research files or poorly preserved in under-funded archives. As part of the effort to secure this critical legacy of linguistic diversity, the Long Now Foundation is working to develop a contemporary version of the historic Rosetta Stone. In this updated iteration, our goal is a meaningful survey and near permanent archive of 1,000 languages. We have three overlapping motivations in the project: To create an uniquely valuable platform for comparative linguistic research and education. To develop and widely distribute a functional linguistic tool that will help with decipherment and recovery of lost languages in distant futures. To offer an aesthetic object that suggests the great diversity of human languages as well as the very real threats to the continued survival of this diversity. Our 1,000 language corpus expands on the parallel text structure of the original Rosetta through archiving seven distinct components for each of the 1,000 languages. We have selected these components as the "minimum representation" most likely to be useful for future, linguistic archaeology as well as contemporary comparative research. This sketch should be understood as a modest frame that is possible to complete for a very large number of languages - a frame on which more will hopefully be hung later. The seven components are: Meta-data/description for each language: Origin and current distribution of language, number of speakers, family, typology, history, etc. Main parallel text: We are using translations of Genesis Chapters 1-3 as Biblical texts are the most widely and carefully translated writings on the planet. Vernacular origin story with interlinear gloss: A cultural specific counterpoint to the Genesis text with grammatical analysis. We will substitute other vernacular texts if a glossed origin story is unavailable or culturally inappropriate. Swadesh 100 word vocabulary list: A core word list typically collected in linguistic field work. Orthography: The writing system(s) of the language with pronunciation guide. Inventory of Phonemes: The basic sound units of the language. Audio file: Sample of spoken language with transcription and ideally a translation. We have finished the collection of Genesis translations for 1,000 languages as well as parsed the Ethnologue for corresponding language descriptions. We now need text contributions for all the remaining components and invite you to submit in your area of expertise. We also encourage suggestions for languages that currently are not on the list, but should be, given interesting structural features, genetic relationships, isolate status, etc. -- ========================================================================= Date: Mon, 26 Feb 2001 05:10:47 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Subject: Metaphor/Metonym for Health Comments: To: new-poetry@wiz.cath.vt.edu, BRITISH-POETS@JISCMAIL.AC.UK, poetics UB Poetics discussion group , webartery@egroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Excuse cross-posting: Alan Sondheim's "Cancer, Mourning, and Loss" has been added to = Metaphor/Metonym for Health for February as it came to me through the = internet. It has been edited to be read as it deserves to be read rather = than for ease of reading and linking. = http://trbell.tripod.com/metaphor/sond.htm The full text is available = from Alan. For the next issue I am seeking work that explores _Altered egos: how = the brain creates the self_ and self-healing and repair and it would be = nice if it came from a masculine perspective for a change. tom bell ========================================================================= Date: Mon, 26 Feb 2001 09:56:21 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: (no subject) Comments: To: wwhitman@waltwhitmancenter.org, whpoets@dept.english.upenn.edu MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@wwcac@ww The Walt Whitman Cultural Arts Center's Spring 2001 Writing Workshop: POETRY AS BODY ART a unique opportunity to study with AKILAH OLIVER Saturdays, March 3, 10, 17, 24 from 12:30 to 2:30 pm. Akilah Oliver is best known as the founding member of the post-feminist performance art group, THE SACRED NAKED GIRLS which toured extensively both in the US and abroad. She was also a guest artist with the homeless group, The Los Angeles Poverty Department in the early nineties. She is the author of the book, she said dialogues: flesh memory, which was honored by the PEN American Center's Open Book Program 'Beyond Margins' category for under-represented writers of color. She has been on the faculty of the Allen Ginsberg/Anne Waldman co-founded Jack Kerouac School of Disembodies Poetics, The Naropa Institute, for the last several years. POETRY AS BODY ART: This workshop is of interest to multi-discipline artists: writers, performance artists, actors, dancers, or anyone interested in exploring combinations of these approaches to creativity and expression. The class will integrates movement and theory, all leading to written work and will feature experimental and traditional workshop writing exercises and critiques. * (what I like about this workshop is that it is fluid, beautiful, accessible to writers of all levels, builds community w/participants and is so much simpler in action than it sounds) A.O. There are still openings so it's NOT TOO LATE to register: Course fee: $100/$80 members. Class size limited to 8 Registration cannot be processed without payment. To register, send five pages of your writing (optional) and payment to: Walt Whitman Cultural Arts Center 2nd and Cooper Streets Camden, NJ 08102 Questions? Write to wwhitman@waltwhitmancenter.org or contact Alicia Askenase at 856-964-8300 For further information check our website at www.waltwhitmancenter.org ========================================================================= Date: Thu, 22 Feb 2001 11:33:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Walter K. Lew" Subject: Frances Chung & INTERLOPE events in San Francisco Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Tonight (Thursday) and Saturday there will be two exciting Asian American poetry, music/film, and new writing events in San Francisco--one to celebrate the publication of CRAZY MELON and CHINESE APPLE: The Poems of Frances Chung (Wesleyan U. Press; compiled and introduced by yrs truly) and the other to celebrate the new issue of INTERLOPE. The CRAZY MELON reading is also a fund-raiser: proceeds from the sale of the book will benefit the Wu Yee Children's Services in San Francisco Chinatown. 1. THURSDAY, FEB. 22 / 5:30-7:30 pm Join the Wu Yee Children's Services and the Bank of Canton for a complimentary reception featuring readings of excerpts from the recently published works of the late NY Chinatown poet FRANCES CHUNG.** Guest readers include Ruthanne Lum McCunn, Genny Lim, and Charlie Chin. WHERE: Pacific Heritage Museum (currently displaying the artof An Ho-nien of Taiwan) 608 Commerical St. San Francisco, CA TIME: 5:30-7:30. For more information or to RSVP, call Ashley Cole at 415-391-4721 / e-mail: . 2. SATURDAY, FEB. 24, 2001 / 8 pm The Alliance of Emerging Creative Artists presents AECA 2001 A multi-disciplinary Evening of Creative Works featuring: A New Film by Tatsu Aoki with live musical accompaniment by Yasuhiro Otani (electronics) & Tatsu Aoki (bass) & Interlope #6--Magazine Release Celebration Guest edited by San Francisco novelist and film critic Alvin Lu (THE HELL SCREENS***) With literary readings curated by Summi Kaipa, including INTERLOPE contributors Alvin Lu, Chris Chen, & Amar Ravva. LOCATION: Asia Pacific Cultural Center (formerly the Oakland Asian Cultural Center) 388 Ninth Street, Suite 290 Oakland, CA 94607 TIME: 8 pm ADMISSION: $8 general/$6 students & seniors BART: Get off at the 12th St-City Center Station in Oakland. Walk to 9th street and make a left. Go a couple of blocks. It's on your left in a big shopping-center-like building. Go upstairs once you get into the complex. Summi thinks there's a parking garage underneath the building, also. For more info, please call 510.208.6088 or e-mail Summi at . **A fine review of Chung's CRAZY MELON and CHINESE APPLE will appear this Sunday (2/25) in the New York Times Book Review's "Books in Brief" section. Excerpt: "A book that is rich with images and Chung's vital, vibrant voice. This is a world of 'shrimp gray days' in which Chung asks, 'Where is the cockroach who left / its footprint on my bowl?' Many of her poems are compact and oddly moving narratives that give voice to those who are between cultures. This is Chung's greatest gift, as seen in her poem about a Chinese woman who does not understand English yet must ride the subway each day: 'She keeps the right amount of pennies / in one pocket and upon arriving in each / new station along the way she shifts one / penny to her other pocket. When all the / pennies in the first pocket have disappeared, / she knows that she is home.'" ***For a glowing review of Alvin Lu's THE HELL SCREENS in the New York Times Book Review, go to http://www.nytimes.com/books/00/12/24/bib/001224.rv124119.html Excerpt: "An entrancing Taiwanese 'Turn of the Screw'.... This devilish puzzle of a novel...will appeal to anyone who loves the cat-and-mouse games of Nabokov, the playful elegance of Borges or the rarefied dreamscapes of Calvino." (Rev. by Philip Gambone) Some of you may be familiar with Alvin's previous existence as the author of the "City God" column on Asian/Asian American pop & experimental film/music/literature for the San Francisco Bay Guardian. -- Walter K. Lew 11811 Venice Blvd. #138 Los Angeles, CA 90066 ========================================================================= Date: Mon, 26 Feb 2001 10:33:37 -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 - leaning back in languor, formal azure portrait, sullen, open. as if against horizon of dark clouds, around carpet ornament and pillow. the lighting odd, incandescent glimmer of flame playing upon the skin. slightly blurred image, eyes to one side, the beginning of reverie. image turned 90 degrees. sphere created. reverie continued, the upwelling and fragmenting of all things and names. image texture-mapped onto sphere with .15 and no shift. six lamps signaling. noise applied 36 times. continuation of reverie and inward emergence of thinking and thought. still image of extruded image smoothed after severity upon severity. torn jagged skin around legs, muted breasts, fury around carpet. first thinking and then thought. images of the fury of the polar regions of the distorted sphere. images of the relative calm of the equatorial regions. reverie of the heat of the destruction of names and languor. leaning back in languor, formal azure portrait, sullen, open. /[0-9]+/ { print "here there are integers" } /[A-Z]+/ { print "here there be important letters" } /[a-z]+/ { print "here there be letters of no importance" } /[A-z]+/ { print "here there be announcements of some consequence" } /^$/ { print "here there be nothing" } here there be nothing here there be nothing here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there are integers here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there are integers here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there are integers here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence here there be letters of no importance here there be announcements of some consequence ___ ========================================================================= Date: Mon, 26 Feb 2001 11:49:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: dewey and the language projects MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Would any of the charter members of the la Nguage movement consider Dewey an influence on the project(s)? I'm thinking especially of that strain of l-work that investigates progress and knowledge - Watten, Sherry, Hejinian, Perelman, Blank Check, etc etc. Jimmie Bob ========================================================================= Date: Thu, 22 Feb 2001 13:17:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: Semezin =?iso-8859-1?Q?MEHMEDINOVIC=B4?= & Ammiel ALCALAY, Thurs March 1, 7:30 (also, 4:30 talk) Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable P O E T R Y C E N T E R 2 0 0 1 The Poetry Center & American Poetry Archives presents Two events with visiting writers SEMEZDIN MEHMEDINOVIC=B4 & AMMIEL ALCALAY Thursday March 1 7:30 pm, $5 donation reading @ The Unitarian Center 1187 Franklin (at Geary) Also, Thursday afternoon March 1, 4:30 pm free public conversation @ The Poetry Center (SFSU) both events presented in collaboration with Ivri-NASAWI Bosnian poet, writer and filmmaker SEMEZDIN MEHMEDINOVIC=B4 was born in Tuzla, Bosnia, in 1960, and is the author of four books. Sarajevo Blues--"widely considered here to be the best piece of writing to emerge from this besieged capital since Bosnia's war erupted" (Washington Post)--was written at the height of the war that destroyed Sarajevo, and was published outside the country in Ljubljana, then, in English translation by Ammiel Alcalay, in the US by City Lights Books in 1998. Mr. Mehmedinovic=B4, his wife, and their child came to the U.S. as political refugees in 1996. He lives and works in Washington, DC. AMMIEL ALCALAY has become among the most exemplary US writers of his generation. Poet (the cairo notebooks; A Masque in the Form of a Cento), activist, widely-recognized scholar and essayist (After Jews and Arabs: Remaking Levantine Culture; Memories of Our Future: Selected Essays), anthologist (Keys to the Garden: New Israeli Writing), and prolific translator from Serbo-Croatian, Hebrew, Arabic, Spanish--his recent work has been focused particularly on Bosnia and the Middle East. His work-in-progress includes the book From the Warring Factions. One of the original members of the East for Peace movement and NGO in Israel in the 1980s, he has also done a variety of human rights work for Amnesty International, the Palestine Human Rights Data Base and other organizations. Along with Jordan Elgrably, Ruth Behar, and Victor Perera, he is one of the co-founders of Ivri-NASAWI, the National Association of Sephardic Writers & Intellectuals. Currently a visiting scholar at Stanford University, Mr. Alcalay lives in Brooklyn, New York, and teaches at Queens College, CUNY. DATES He was killed January 17th, 1994-- Every day from then on he's been dead he's dead today too it's Friday =46ebruary 24th, 1995. Every day I have a transcendental experience-- When I go to the bathroom at night I notice a shadow rising in the mirror over my left shoulder it isn't mine I turn and what do I see? My eyes open in sleep-- a raven has landed on my table and in a human voice says: Cherries will be ripe in Sarajevo the 17th of May I heard and I'm waiting ~Semezdin Mehmedinovic (tr. Ammiel Alcalay) from Sarajevo Blues "Sarajevo Blues is at once a battle report and a philosophical investigation. In poems, micro-essays, and prose vignettes, Semezdin Mehmedinovic=B4 charts the collapse of a world with heart-breaking clarity and precision. His book conveys the same clear-eyed passion for the truth that one finds in the young Hemingway, the Hemingway of In Our Time." ~Paul Auster "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 LOCATIONS THE POETRY CENTER is located in Humanities 512 on the SW corner of the San Francisco State University Campus, 1600 Holloway Avenue 2 blocks west of 19th Avenue on Holloway take MUNI's M Line to SFSU from Daly City BART 28 MUNI bus or free SFSU shuttle THE UNITARIAN CENTER is located at 1187 Franklin Street at the corner of Geary on-street parking opens up at 7:00 pm from downtown SF take the Geary bus to Franklin READINGS that take place at The Poetry Center are free of charge. Except as indicated, a $5 donation is requested for readings off-campus. SFSU students & 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 Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State 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: Sat, 24 Feb 2001 20:00:01 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Berkson Subject: FW: Joe Brainard: Reading & Remembrances In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Subject: Joe Brainard: Reading & Remembrances Ron Padgett, Anne Waldman, Bill Berkson, Kenward Elmslie, Dick Gallup, Barbara Guest Reading and Remembrances "Joe Brainard: A Retrospective" Berkeley Art Museum Museum Theater 2-5 p.m. Sunday March 4 ========================================================================= Date: Sun, 25 Feb 2001 22:50:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Robert Kelly MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit I'm considering the idea of putting together a volume of essays on the poetry & prose of Robert Kelly -- to my mind one of our major poets who has not had his critical due to date -- and would like to hear from people on the list with any suggestions. Please backchannel (joris@albany.edu). Pierre Joris ________________________________________________________________ Pierre Joris "Let me tell you about Florida politicians. I make them out of 6 Madison Place whole cloth, just like a tailor makes a suit. I get their name in the Albany NY 12202 newspaper.I get them some publicity and get them on the ballot. Tel: (518) 426-0433 Then after the election, we count the votes. And if they don’t turn Fax: (518) 426-3722 out right we recount them. And recount them again. Until they do.” Email: joris@ albany.edu - Edward G. Robinson in Key Largo. Url: ____________________________________________________________________________ _ ========================================================================= Date: Fri, 23 Feb 2001 00:18:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Scott=20Hamilton?= Subject: Re: Don't Throw a Bun at A Grazing Cow and Call it A Hamburger In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit The point about words like 'innovate' is that their meaning is always so context-dependant. The decline of the LANGUAGE thing can probably be traced to the time that its exponents forgot this, and began to fetishise their forms, ie treat them as intrinsically innovative. Nowadays, a new book by, say, Heijinian is, for all its beauty, about as innovative as a sword behind museum glass. What interests me is the possibility of understanding the decline of movements like the Language thing *sociologically* Perhaps the spread of the formal fetishism (which was already evident in Silliman's preface-thing to The American Tree, a preface which featured, alongside some really good insights, outrageous generalisations of the lessons of local practice, generalisations presented in the form of a raft of proscriptions and excommunications ('Vonnegut stylises his acquiescence'-bah!)) corresponded with the (not just academic) institutionalisation of the writing and writers who made up the school. From declassed intellectuals to struggling petit-bourgeoisie, over 10-15 years? Sorry this is very badly put (formal limits imposed by cybercafe time!) Cheers Scott ===== "On the matter of expelling the Mensheviks, Popular Socialists, Kadets and so on...several hundred of such gentlemen must be expelled without mercy. Arrest several hundred without giving reasons. WE WILL CLEANSE RUSSIA!" - Lenin, in a letter to Stalin, 1922. For a left discourse that takes freedom more seriously, visit: http://www.geocities.com/the_third_eye_website/ __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices! http://auctions.yahoo.com/ ========================================================================= Date: Fri, 23 Feb 2001 05:08:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andy Dancer Subject: NYTimes Review of Poetry Plastique MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii New York Times Friday, February 23, 2001 'Poetry Plastique' Marianne Boesky 535 West 22nd Street, Chelsea Through March 10 Art and poetry: made for each other. So it has always been. Poets write about art; artists turn to poetry for ideas. Sometimes the two disciplines meet in collaboration; occasionally that collaboration is forged in the work of a single person. All these variables are aired in "Poetry Plastique," in which image and word are flexibly intertwined. Organized by Jay Sanders, who is on the staff at Boesky, and the poet Charles Bernstein, the selection covers a stretch of recent historical ground. At the early end are scribbly, word-peppered Blakean pages by Robert Smithson from 1962 and a labyrinthine written piece by the arch-Fluxian Jackson Mac Low from 1975. The 1970's are well represented here, with work by Carl Andre, Wallace Berman and text- and-image collaborations by Arakawa and Madeline Gins. Other work is new. Mr. Bernstein collaborates with Richard Tuttle on a witty sculpture made of plump, strung together 3-D letters, and with Susan Bee on a noirish painting in which Emily Dickinson and Mickey Spillane face off. Dickinson's attenuated handwriting finds an echo in Mira Schor's word paintings. The show enters the digital realm in a rich text-and-image work by Johanna Drucker and Brad Freeman, and in Tan Lin's computer-generated poetry pulsing away on three monitors. The day after the show opened, the gallery was host to a series of related panel discussions and readings. Poets and artists participated. A big audience turned up. It was great. The buzz of voices and ideas made the art in the room — and Chelsea itself, for that matter — feel alive and interactive. Some of the pieces really need that charge; they look staid and hermetic without it. But others do fine on their own, and the cross-disciplinary concept behind the show is ripe for further exploration. Perhaps Mr. Sanders and Mr. Bernstein already have further plans along these lines. Meanwhile, art and texts mutually ignite elsewhere in the city these days: in Cy Twombly's not-to-be-missed "Coronation of Sesostris" paintings, based on a poem by Patricia Waters, at Gagosian Gallery (980 Madison Avenue, at 76th Street, through tomorrow); in a collaboration between the painter Max Gimblett and the poet John Yau at Ethan Cohen Fine Art (37 Walker Street, SoHo, through March 10); in a series of collaborative prints by contemporary Puerto Rican artists and poets at El Taller Boricua (Lexington Avenue at 106th Street, through tomorrow); in an exhibition of contemporary text-based works, "A Way with Words," at the Whitney at Philip Morris (120 Park Avenue, at 42nd Street, through March 30); and in a jewel of an exhibition of artists' diaries, with bold little drawings and sonnet-size personal jottings, at the Archives of American Art (1285 Avenue of the Americas, at 51st Street, through May 31). HOLLAND COTTER __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices! http://auctions.yahoo.com/ ========================================================================= Date: Fri, 23 Feb 2001 10:27:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Heller Subject: Overly late notice Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Winter/Spring 2001 Posman Reading Series Michael Heller (Living Root: A Memoir, SUNY Press) D. Nurkse (Leaving Xaia, Four Way) Hal Sirowitz (reading from a memoir-in-progress) SUNDAY, FEBRUARY 25TH at 3 PM POSMAN BOOKS, One University Place ========================================================================= Date: Fri, 23 Feb 2001 12:04:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: info@RATTAPALLAX.COM Subject: Rattapallax Press: Spring 2001 Readings & Events Comments: To: rattapallax_press@yahoo.com MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable RATTAPALLAX PRESS: SPRING 2001 READINGS & EVENTS March 10 at 2 pm--Rattapallax No. 5 Launch Reading Mid-Manhattan Library, 455 Fifth Ave., NYC March 17 at 2 pm--Simone Muench, Kate Light & Elaine Schwager St. Agnes Branch, 444 Amsterdam Ave., NYC March 24 at 2 pm--John Kinsella Mid-Manhattan Library, 455 Fifth Ave., NYC ---------------- Last Week in March 2001--Dialogue Among Civilizations Through Poetry 200 poetry readings in 150 cities Literary conference at the UN moderated by John Kinsella and Poetry Inter= national--Rotterdam. Readings on Mt. Everest, Antarctic and West Philippines Sea. March 29th at 7pm--Yusef Komunyakaa, Joyce Carol Oates and James Ragan United Nations Building, NYC FREE--To get tickets, please go to http://www.dialoguepoetry.org ---------------- April 7 at 2 pm--William Pitt Root, Ron Price & Mark Nickels St. Agnes Branch, 444 Amsterdam Ave., NYC April 11 at 6 pm--Rattapallax Special Reading: Young Poets The Cornelia Street Caf=E9, 29 Cornelia Street, NYC April 21 at 2 pm--Elizabeth Macklin, Samuel Menashe & Michael T. Young St. Agnes Branch, 444 Amsterdam Ave., NYC May 5 at 2 pm--Bill Kushner, Anselm Berrigan & Prageeta Sharma Jefferson Market Library, 425 Ave. of the Americas, NYC May 11, 2001 at 7 pm--Dana Gioia & Ron Price Los Angeles County Museum of Art, 5905 Wilshire Blvd., Los Angeles ------------------ Please visit http://www.rattapallax.com for more details. Ram Devineni, Publisher Stella Padnos, Associate Publisher Some of these event was funded in part by Poets & Writers, Inc. through a grant it has received from New York State Council of the Arts.=20 ========================================================================= Date: Fri, 23 Feb 2001 13:17:07 -0500 Reply-To: bkrogers@catskill.net Sender: UB Poetics discussion group From: Bertha Rogers Subject: Re: Literary READINGS IN NYS In-Reply-To: <3A93EE95.399D6375@erols.com> MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: Quoted-printable TO ALL ON THE LIST: I administer the New York State Council on the Arts/Bright Hill Press Literary Curators Web Site, http://www.nyslittree.org. We welcome your readings series, listings of events, etc. Look at the site, and follow the format for organizations, literary curators, and events; then email the information to wordthur@catskill.net. All updates must be received no later than the 25th of the month preceeding the update/event or they can't be used. This site is a great resource, and we'd like to include you and your events. In addition, you will note that there are a Circuit Writers Page for New York writers with books who want to be listed as willing to read/tour, and an Interstate WRiters Page for out-of- state writers with books who want to be listed as willing to read/tour. Follow the format, then email the information to me at wordthur@catskill.net, no later than the 25th of the month. Questions? Email me. Bertha Rogers wordthur@catskill.net ------------------------------- Date sent: Thu, 22 Feb 2001 12:48:09 -0500 Send reply to: UB Poetics discussion group From: Lytle Shaw Subject: Darragh, Moxley and Welish at The Drawing Center, Feb 27 To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Darragh, Moxley and Welish at The Drawing Center > > On Tuesday, February 27th at 7pm, in conjunction with the exhibition > =93Rosemarie Trockel: Metamorphoses and Mutations,=94 the Line Reading > Series presents: > > Tina Darragh > Jennifer Moxley > Marjorie Welish > > The Drawing Center is in Soho, at 35 Wooster between Grand and Broome > Line Reading curated by Lytle Shaw > Admission is $5 and free to The Drawing Center members > ========================================================================= Date: Fri, 23 Feb 2001 18:44:38 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Claudia Philpott Subject: Re: Bush news that stays news MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Maybe a nice poem about taking payoffs for pardons would be more appropriate? Rolls off the tongue nicely, doesn't it? Claudia Philpott ----- Original Message ----- From: "George Quasha" To: Sent: Tuesday, February 20, 2001 2:13 AM Subject: Bush news that stays news > --------- Forwarded message ---------- > Our new president has taken some criticism for not having a poet set the > > tone at his inauguration. The absence of a poet, or the absence of the > > arts in general, speaks volumes about the president. But, as > the Washington Post shared on Sunday, Dubya can be very poetic. In > fact, > the following is a poem entirely comprising actual quotes from Baby > Bush. The quotes have been arranged for aesthetic reasons only by Post > writer Richard Thompson. > > > MAKE THE PIE HIGHER > > by George W. Bush > > I think we all agree, > the past is over. > > This is still a dangerous world. > It's a world of madmen > And uncertainty > And potential mental losses. > > Rarely is the question asked > Is our children learning? > Will the highways of > the Internet > Become more few? > How many hands > Have I shaked? > > They misunderestimate me. > I am a pitbull on the pantleg > of opportunity. > I know that the human being > and the fish > Can coexist. > Families is where our nation > Finds hope, > Where our wings take dream. > > Put food on your family! > Knock down the tollbooth! > Vulcanize Society! > Make the pie higher! > Make the pie higher! > Major league. > > > > ------- End of forwarded message ------- > ========================================================================= Date: Sat, 24 Feb 2001 10:27:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Henry Subject: AUGHT #5 Now Online Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The latest issue of the poetry e-journal AUGHT is online. It features exciting new work from many innovative poets, including Annabelle Clippinger, Sheila E. Murphy, Michael Farrell, and Ken Sherwood. You can find AUGHT #5 on the Internet at: http://people2.clarityconnect.com/webpages6/ronhenry/aught5.htm Past issues of AUGHT remain online as well, and include work by Jonathan Monroe, Catherine Daly, Rob Faivre, Chris Piuma, Dana Standridge, and David Hunter Sutherland. All issues of AUGHT can be found here: http://people2.clarityconnect.com/webpages6/ronhenry/aught.htm Thanks to all those who have supported AUGHT with their words over the years. AUGHT is always open to submissions of innovative poetry. I anticipate that the next issue, AUGHT #6, will appear this summer. -- Ron Henry / ronhenry@clarityconnect.com Aught, a journal of poetry http://people2.clarityconnect.com/webpages6/ronhenry/aught.htm ========================================================================= Date: Mon, 26 Feb 2001 15:30:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: LIU Reading Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Voices of the Rainbow Celebrating the Oral Tradition Thursday, March 1, 2001 at noon at the Long Island University's Brooklyn Campus in the Library Learning Center, Room 124 Brooklyn, NY Wanda Phipps will be reading accompanied by Joel Schlemowitz & Nao on guitar with Novelist Patricia Chao author of Monkey King Long Island University's Brooklyn Campus invites you to join their continuing poetry and fiction reading series, which has included renowned writers such as Fae Myenne Ng, Yevgeny Yevtushenko, Gloria Naylor, Ntozake Shange, Cristina Garc=EDa, Jessica Hagedorn, Maryse Cond=E9, Junot D=EDaz, Edwidge Danticat, and Ishmael Reed. These free readings are open to the public. =46or more info. call Professor Louis Parascandola or William Burgos at 718-488-1109 or 718-488-1050 Directions to LIU: Flatbush & Dekalb, Aves., Brooklyn. Take D, Q, M, N or R train to Dekalb Ave. or No. 2, 3 4 or 5 to Nevins St. Wanda Phipps Hey, don't forget to check out my website MIND HONEY www.users.interport.net/~wanda (and if you have already try it again) poetry, music and more! ========================================================================= Date: Thu, 22 Feb 2001 19:17:47 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Webster Schultz MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Yes, I just read it, and know Ann and her work. It's a must-read, based on extensive archival work, as well as the writer's knowledge of feminist and other theory. I'm about to write a review of the book for _Verse_, so stay posted! aloha, Susan Schultz ----- Original Message ----- From: "Nielsen, Aldon" To: Sent: Tuesday, February 20, 2001 1:04 PM > Just spotted a library notice for a book by Ann Vickery titled "Leaving > Lines of Gender: A Feminist Genealogy of Language Writing," from Wesleyan -- > > anybody know anything about this book? read it in ms. or heard parts at > conferences???? > > > > " 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, 22 Feb 2001 20:08:06 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Susan Webster Schultz Subject: Fw: Tinfish announcement (fwd) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Susan Schultz" To: Sent: Thursday, February 22, 2001 7:15 PM Subject: Tinfish announcement (fwd) > > > Dear friends: > > Have you been wondering what experimental poetry is coming out of the > mid-Pacific? Here's your chance to find out. > > TINFISH is now at the printer. Order your copies now! ($5 each and $13 > for a subscription to 3). The EPC will not be archiving this issue (or > the past two) for many a moon, so don't expect to get the issue free > anytime soon... > > TINFISH 10 includes work by Irene Cadelina, Joe Balaz, Juliana Spahr, > Caroline Sinavaiana-Gabbard, Steve Bradbury, Paige Wilmeth, and Paul Lyons > (Hawai`i). Other writers include Michele Leggott (New Zealand), joanne > burns, Peter Kenneally, Hazel Smith, Louis Armand, and Ouyang Yu > (Australia), and Eileen Tabios, Elizabeth Robinson, and Aja Couchois > Duncan (California). > > In addition, covergirl Gaye Chan engaged 10 artists to create covers for > our 10th issue, Stuart Henley performed typography and design, Kyle Koza > typed, and Suzanne Kosanke gets a zillion thanks, too. > > You may also purchase chapbooks by such luminaries as Kathy Banggo, Nell > Altizer, Bill Luoma, Rob Wilson and Lisa Kana`e, whose Sista Tongue is > forthcoming. $5 each. > > Susan > > > > > > ______________________________________________ > > > Susan M. Schultz > Associate Professor > Dept. of English > 1733 Donaghho Road > University of Hawai'i-Manoa > Honolulu, HI 96822 > > http://writing.upenn.edu/epc/authors/schultz > http://writing.upenn.edu/epc/ezines/tinfish > > ========================================================================= Date: Fri, 23 Feb 2001 23:45:12 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: michael amberwind Subject: HAMBURGER HELPER MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii AMEN! I REPUDIATE EVERY WORD! LET US NOT BE OVER-RUN BY SEMI-PUBLISHED POETS WITH WILD GENERALITIES! the truth is i was completely drunk when i wrote that - i'm still proud of the title tho - still - yr right about "innovative" being the most over-used of adjectives - more on book blurbs than poets themselves some language poets bore me to tears (Silliman, Bernstein, Palmer) and some are vital voices (egads did i just say that?) (Ashbery(?) Hejinian, Bernstein [do i contradict myself?]) i find a wierd and quirky side of myself - the more "radical" my poetry gets the more "conservative" my poetics gets - each a bulwark of the other - every day and in every way i feel as though i am on the cusp of some great poetic breakthrough that will be like the razing of the Library of Alexander - only more extravagant and fancy free - and no matter what poems i read i feel like i am just reading myself - what a narcissist! so of course there is poetry that excites me - my own! i read and re-read it all the time - i quote it to women in the hopes of seduction (don't try it, it won't work) - in fact i love it so much i sometimes even change it! i would NEVER do that to anyone elses poem - even if i was in a workshop and someone begged me too so let us all be well - and not concern ourselves with whether and argument is tired or not - just put it to bed - pull the blankets up under its cute little chin - kiss it on the forehead and say goodnight for when morning comes - surely the argument will rise and make coffee - maybe even have a morning pee good night my friends - and god bless you every one! > > While I'm hardly lacking in skepticism myself, > it seems to me we have all > heard this one before-- from the set-up of > "L-a=N+g:U'a/g*e poetry" (not any > *individual* writers associated with it, mind > you) as a straw term for > ridicule, to the exclamation "SUCH TIMES WE > LIVE IN!" with it's annoyed > (annoying) implication that we have outpaced > the Good Old Days in our pesky > drive for the new. I'd be inclined to agree > with you that the present era's > no more "innovative" than bright shining > moments from the past, except that > your tome carries at least as much hubris as > that which you would rebuke. > See, I've never actually *heard* anyone say > that the contemporary period is > more innovative than other times; & despite a > lazy overuse of the adjective, > I don't believe I've ever met a writer who > seriously thinks that. I *have* > read a lot of contemporary poetry, some of it > acclaimed, that I think rather > dull; but I've also read more than a little > contemporary poetry (including > SOME "language poetry") that seems to me fresh > and exciting. Does this make > it "innovative." I don't know, & I don't > particularly care. It *does* make > it good poetry, & that's good enough for me. > As for you, Michael, I would > encourage you to lighten up-- maybe find some > poetry that really excites you > & write to us about that, instead of wasting > your time & ours on this very > tired argument. > > Best, > > Mark DuCharme > > > > > > > > > > >From: michael amberwind > > >Reply-To: UB Poetics discussion group > > >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >Subject: Don't Throw a Bun at A Grazing Cow > and Call it A Hamburger > >Date: Fri, 16 Feb 2001 04:45:41 -0800 > > > >SUCH TIMES WE LIVE IN! the genius must be more > >abundant in this age than in any other for all > of > >our poets are innovators > > > >what - your poetry isn't innnovative? step > right > >up and we have just the Program for you - > follow > >it and you too can join the great flattening > in > >the Aunt Jemima era of poetry where coloured > >sugar water is passed off as maple syrup > > > >that it might be more enjoyable to staple ones > >own eyelids shut than read L-a=N+g:U'a/g*e > poetry > >does not really matter - if your poem does > "what > >it sets out to do" call the MLA cuz baby - i > got > >a paper to present and it's a doozy! > > > >end all innovation! most of what is genuinely > >innovative at the time is later understood to > be > >a continuation of the work begun long before > the > >said author was born > > > >instead we have photographers replacing > artists - > >"sound sculptures" that replace real music and > >real sculpture because both are too difficult > >-light verse writers who are inexplicably > neither > >light nor versed - and if a poem impresses our > >identical twin beside us at a cocktail party > as > >having achieved something ambitious - then of > >course congratulations are in order > > > > > > > > > > > > > > > > > > > >__________________________________________________ > >Do You Yahoo!? > >Get personalized email addresses from Yahoo! > Mail - only $35 > >a year! http://personal.mail.yahoo.com/ > > _________________________________________________________________ > Get your FREE download of MSN Explorer at > http://explorer.msn.com > > ------------------------------ > > Date: Mon, 19 Feb 2001 16:04:14 -0500 > From: Alan Sondheim > Subject: 3/6: Edwin Torres/Nada Gordon (fwd) > > - > > > Multi-Literary Event at the Flying Saucer Cafe! > > > Alan, Nada, and Azure -- and special guest host > Gary Sullivan -- are > pleased to announce another event in a new > reading/video/film/performance > series in Brooklyn > > at The Flying Saucer Cafe at 494 Atlantic > Avenue, between Third Avenue and > Nevins > > Tuesday, March 6, 8:00 p.m.: > > ********Edwin Torres & Nada Gordon*********** > > Edwin Torres, born and raised in New York City, > has been creating > multidisciplinary text and performance work > since 1988, when he first > performed at Dixon Place in NYC. His > introduction to poetry was through > the Nuyorican Poets Cafe and the St. Mark's > Poetry Project. He has since > collaborated with a wide range of artists and > nomads, and has performed > across the country and overseas. His poetry > has appeared in _Heights of > the Marvelous_ (St. Martin's Press), _Poetry > Nation_(Vehicule Press), _An > Anthology of (New) American Poets _(Talisman > Press), _ALOUD: Voices from > the Nuyorican Poets Cafe_ (Henry Holt Press), > among other publications. > His CD _Holy Kid_ (Kill Rock Stars) was > included in the sound exhibit at > the Whitney Museum's Last American Century > show. His books include _I Hear > Things People Haven't Really Said_, _Fractured > Humorous_ (Subpress), and > his recently published e-book _Onomalingua: > noise songs and poetry_ > (Rattapallax Press, www.rattapallax.com). Edwin > will be teaching a writing > workshop at Naropa Institute this summer. > > > Nada Gordon is the author of six books, > including three forthcoming this > year: _foriegnn bodie_ (Detour), _Are Not Our > Lowing Heifers Sleeker Than > Night-Swollen Mushrooms?_ (Spuyten Duyvil), and > _Swoon_ (with Gary > Sullivan; Granary Books). She will perform > works from _foriegnn bodie_ > (writings from her eleven years in Japan), > including "Dolor Core Recede > Sanpo" -- a vocal/corporeal homage to the art > of ankoku butoh and to butoh > masters Hijikata Tatsumi and Ono Kazuo. Aaron > Kiely has described Nada's > work as "unfocused". > > > How to get there: Take the 2 or 3 or 4 or 5 or > D or Q to the Atlantic > Subway stop and walk underground to the Pacific > Street exit (at the N or R > or M Pacific Street Stop) or take the B or N or > R or M - in any case, go > out the Pacific Street Exit (right exit), take > a right - at the end of the > block you will be on Atlantic Ave. Take a left > on Atlantic, and about two > and a half blocks down, between Third and > Nevins, you will find the Flying > Saucer Cafe. > > $3 donation. > > ------------------------------ > > Date: Mon, 19 Feb 2001 17:50:10 -0500 > From: Andrew Epstein > Subject: Re: the funk > > You've probably gotten this from other people, > but the first "definite > article" poem that comes to mind for me is > Stevens's "Man on the Dump" and > its last line: > > "Where was it one first heard of the truth? > The the." > > Take care, > > Andrew Epstein > > > -----Original Message----- > From: Louis Cabri > > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > > Date: Monday, February 19, 2001 4:00 PM > Subject: Re: the funk > > > >I am writing a critical prose ditty on the > definite article and > >would appreciate and welcome any thoughts on > poems that > >use it in interestingly reflexive ways. I > already have > >poems/"issues" by the following, in no > particular order: > >Zukofsky, Creeley, M. Gottlieb, Ginsberg, > Silliman, Lee > >Ann Brown, M. Duchamp, Barry McKinnon, > McCaffery, > >Bernstein, Retallack, Coolidge, Russell > Atkins. > > > >The only "stupid shit" ever pinned on Ginsberg > was some bad weed. > > > >Think of a poetry so choked on rules that it > twitches all > >over, can never lie still, in fact dies > horribly, and repeatedly. > >In fact can't die, chokes on more. Now > *that's* poetry! > > > >I had read it an oh so long time ago, long > tahm: AG nixed def. > >articles. So, thanks for proving my memory > works -- guess I had > >bad luck yesterday searching for a citation. > Of course, he > >uses def. articles all over his poetry, just > not superfluously, I > >suppose he would have said. > > > >The Louis > > > > ------------------------------ > > Date: Sat, 17 Feb 2001 20:59:08 -0500 > From: Alan Sondheim > Subject: TAIWAN-SPAM (fwd) > > ==== > > > TAIWAN-SPAM > > > ALREmouthY SPEECHWORK, i ask you to kill me." > woundedH=killed~=ecstatic=CC=hystericX=B1b= > assassinate =E6= boy > AC=drowned=FA?= > = assassinate > q=B0T=wounded~=BD=E8=AEt.= totally naked girl > BF=F0.= ruined ^=mouth=B5 manS=C2_=B0T=3F! > ~~~~~~=B0=EA=BB=DA=B9q=woman D > totally dead man=B8/=drownedC man=C0=C4=C1 > ~~~~~~= boy E6=B0=CA=B9q=woman > DC3.6 man=B8/=drownedC man=C0=C4= > ----------------------------------------------------------------- > =B6O=hysteric=CE =fuckedC =B0=ecstatic > =fuckedC > ----------------------------------------------------------------- > =drowned=CF=hysteric=CE man=E8= boy murdered > =ecstatic=BD= girl killed > =ecstatic=BD= girl killed > ----------------------------------------------------------------- > = > assassinate q=woman DC=wounded~=BD=E8 GOOD > BETTER = > ----------------------------------------------------------------- > ----------------------------------------------------------------- > = > totally dead > w=ecstatic=mouthed=fuckedK=B6O=drowned=CF=hysteric=CE=hystericH > manU=ecstatic=F9=woman B9= murdered G = girl > and woman B9 man=E8= boy > murdered = too assassinate =B0_= totally dead > =hysteric girl totally naked > = girl -=drowned=D2:= girl and boy DC manW= too > nude assassinate =F8= too > C9=hystericx: = too assassinate = totally dead > =hysteric girl totally > naked = girl ,=theB5= assassinate q=wounded=E1= > ruined A= girl # > =fuckedY=hysterici=theB5= assassinate q(=theB5= > assassinate q= too C9=B6= > murdered =hysteric=mouth=fucked= murdered > 20=AC=ED) =B0U= girl killed > E-mail =B1M=BDu:~~~~~~~~~~~ > ~~~~=BD=B2=hysteric=FD=hysteric=CD > > > ===== > > ------------------------------ > > Date: Mon, 19 Feb 2001 22:40:55 +0000 > From: David Baratier > Subject: viewable reading > > This coming weekend there will be a reading in > Louisville, KY > which you can watch on your web browsers > > http://www.insomniacathon.com/ > > There are over a hundred readers > including > > Ed Sanders > Lee Ann Brown > David Amram > Kent Fielding > Sean Cole > David Kirschenbaum > Stephen Mainard > Ron Whitehead > Michael Kessler > > I'll be on-- > > 2/23 @ 6 PM friday: David Baratier > & also at midnight > > a real diverse line-up > (check for times & dates) > & gobs of presses > > This is held Eastern Standard Time US > At this moment it is approximately 10:37pm > other details on site > > Be well > > David Baratier, Editor > > Pavement Saw Press > PO Box 6291 > Columbus OH 43206 > USA > > http://pavementsaw.org > > ------------------------------ > > Date: Mon, 19 Feb 2001 23:12:54 +0000 > From: David Baratier > Subject: addendum > > addendum > > http://www.bryccradio.org > > is where the Louisville readings can be > listened to > > from Thursday to Sunday > > Be well > > David Baratier, Editor > > Pavement Saw Press > PO Box 6291 > Columbus OH 43206 > USA > > http://pavementsaw.org > > ------------------------------ > > Date: Thu, 22 Feb 2001 12:50:57 -0500 > From: katy > Subject: The Beginner > > Announcing the publication of > T H E B E G I N N E R , by Lyn Hejinian: > > > > Beginning will be an experience, unfolding > more it runs its course, we will follow, doing > and undergoing. > We have no particular end or plan. > We could head out, in, off, over, north, > we > are doing so. > Which? > The answer must be deferred just as I > write > this, a child comes into the room with a book > always a little differently, he says, I don't > like > gloom, so much the better, I say. > Something is happening. > To the book? > Yes, to me. > > -- From The Beginner > > > > For details on this or on other > S P E C T A C U L A R B O O K S, including > titles > by Celona, Spahr, Corless-Smith, and > Scalapino, please go to our web-site: > > http://www.spectacularbooks.com > > > Information about E X P L O S I V E M A G A Z > I N E > is also available on this site. > > > > > > > > > * * * > > This list is going to be used to announce > upcoming > readings and events at Barnard College as well. > On March 1 at 8 pm there will be a reading by > Star Black and Brenda Shaughnessy. Details to > follow. If you would like to be removed from > this list, please let me know. > > ------------------------------ > > Date: Tue, 20 Feb 2001 00:13:35 -0800 > From: George Quasha > > Subject: Bush news that stays news > > --------- Forwarded message ---------- > Our new president has taken some criticism for > not having a poet set the > > tone at his inauguration. The absence of a > poet, or the absence of the > > arts in general, speaks volumes about the > president. But, as > the Washington Post shared on Sunday, Dubya can > be very poetic. In > fact, > the following is a poem entirely comprising > actual quotes from Baby > Bush. The quotes have been arranged for > aesthetic reasons only by Post > writer Richard Thompson. > > > MAKE THE PIE HIGHER > > by George W. Bush > > I think we all agree, > the past is over. > > This is still a dangerous world. > It's a world of madmen > And uncertainty > And potential mental losses. > > Rarely is the question asked > Is our children learning? > Will the highways of > the Internet > Become more few? > How many hands > Have I shaked? > > They misunderestimate me. > I am a pitbull on the pantleg > of opportunity. > I know that the human being > and the fish > Can coexist. > Families is where our nation > Finds hope, > Where our wings take dream. > > Put food on your family! > Knock down the tollbooth! > Vulcanize Society! > Make the pie higher! > Make the pie higher! > Major league. > > > > ------- End of forwarded message ------- > > ------------------------------ > > Date: Thu, 22 Feb 2001 12:54:20 -0500 > From: pete spence > Subject: > > Hazel!! it is always important to get books out > about this KEY American > poet, my request would be has anyone a copy of > The St Bridget Poems i'd > really like to see some of the poems is there a > website they are on or would > anyone like to photocopy a few poems and send > my way!!??//pete spence > > > > >O'Hara fans on this list might be interested > in my new book, Hyperscapes in > >the Poetry of Frank O'Hara: difference, > homosexuality, topography, > >Liverpool University Press, 2000. It came out > at the end of last year. > > > >Hazel > > > > > > > >Hazel Smith > >University of New South Wales > >Sydney 2052 > >Australia > > _________________________________________________________________________ > Get Your Private, Free E-mail from MSN Hotmail > at http://www.hotmail.com. > > ------------------------------ > > Date: Tue, 20 Feb 2001 07:38:26 -0800 > From: David Larsen > > Subject: Lyn Hejinian / Spectacular Books > > Announcing the publication of > T H E B E G I N N E R , by Lyn Hejinian: > > > > Beginning will be an experience, unfolding > more it runs its course, we will follow, doing > and undergoing. > We have no particular end or plan. > We could head out, in, off, over, north, > we > are doing so. > Which? > The answer must be deferred just as I > write > this, a child comes into the room with a book > always a little differently, he says, I don't > like > gloom, so much the better, I say. > Something is happening. > To the book? > Yes, to me. > > -- From The Beginner > > > > For details on this or on other > S P E C T A C U L A R B O O K S, including > titles > by Celona, Spahr, Corless-Smith, and > Scalapino, please go to our web-site: > > http://www.spectacularbooks.com > > Information about E X P L O S I V E M A G A Z > I N E > is also available on this site. > > ------------------------------ > > Date: Tue, 20 Feb 2001 11:56:51 -0600 > From: Rachel Blau DuPlessis > > Subject: Re: the funk > > Dear Louis, and I guess dear list, Of course > this post will beging with > the letter "I"--oK, so "I" have written a poem > called "Draft 33: Deixis" > which is in reference to the "pointing" > function a little like "the" but > more inclusive. It is long, and the joke is > that it is REALLY as essay > in verse, with footnotes and everything. It was > supposed to be, in toto, > in Boxkite 3 (have no word on that), and bits > of it were in Xcp and in > kenning. I gave it at the Postmodern poetry > conf in England in March > 1998 when I read with John Kinsella. The poem > is something else-- I > think it is a very serious and deeply amused, > amusing poem, also very > political and stricken, has critique of > Benveniste and lots of moveable > parts. If you (now I talk singularly to Louis) > want a copy, let me know > your address. It will be in Drafts 1-38, TOLL > forthcoming in october > from Wesleyan. warmly Rachel > > Louis Cabri wrote: > > > I am writing a critical prose ditty on the > definite article and > > would appreciate and welcome any thoughts on > poems that > > use it in interestingly reflexive ways. I > already have > > poems/"issues" by the following, in no > particular order: > > Zukofsky, Creeley, M. Gottlieb, Ginsberg, > Silliman, Lee > > Ann Brown, M. Duchamp, Barry McKinnon, > McCaffery, > > Bernstein, Retallack, Coolidge, Russell > Atkins. > > > > The only "stupid shit" ever pinned on > Ginsberg was some bad weed. > > > > Think of a poetry so choked on rules that it > twitches all > > over, can never lie still, in fact dies > horribly, and repeatedly. > > In fact can't die, chokes on more. Now > *that's* poetry! > > > > I had read it an oh so long time ago, long > tahm: AG nixed def. > > articles. So, thanks for proving my memory > works -- guess I had > > bad luck yesterday searching for a citation. > Of course, he > > uses def. articles all over his poetry, just > not superfluously, I > > suppose he would have said. > > > > The Louis > > ------------------------------ > > Date: Thu, 22 Feb 2001 12:59:29 -0500 > From: Poetics List Administration > > Subject: Bergvall & Nguyen at SPT this Friday > > We've been having a teensy technical problem > with the Small Press Traffic > subscription, so I'm forwarding the following > announcement directly. > > Christopher W. Alexander > poetics list moderator > > -- > > Date: Tue, 20 Feb 2001 10:20:24 -0800 > Subject: Bergvall & Nguyen at SPT this Friday > From: "Small Press" > > Friday, February 23 at 7:30 > > Small Press Traffic hosts > readings by > HOA NGUYEN > & > CAROLINE BERGVALL > > Timken Lecture Hall, CCAC-San Francisco > details on our website > > Small Press Traffic > Literary Arts Center at CCAC > 1111 Eighth Street > San Francisco, California 94107 > 415/551-9278 > http://www.sptraffic.org > > ------------------------------ > > Date: Wed, 21 Feb 2001 11:08:42 EST > From: Devin Johnston > Subject: Address Query > > I am looking for e-mail addresses for Roberto > Tejada and John Olson. > > Any help would be much appreciated. > > Best Wishes, > Devin Johnston > > ------------------------------ > > Date: Wed, 21 Feb 2001 13:28:05 -0600 > From: Keith Tuma > Subject: Raworth/cheek > > T O M R A W O R T H > > > and > > > c r i s c h e e k > > > > * > > > Thursday, March 1, 8 PM > > Miami University > > Oxford, OH > > Art 100 > > > > for directions and/or information: > tumakw@muohio.edu > > ------------------------------ > > Date: Thu, 22 Feb 2001 13:03:32 -0500 > From: Hoa Nguyen > Subject: Free Possum: Feb '01 issue > > ** Please forgive cross postings ** > > > Check out > The Possum Pouch > > February 2001 > > An irregular publication of essays, notes and > reviews at > http://www.skankypossum.com. > > DON'T MISS OUT--THIS ISSUE WILL EXPIRE AND WILL > NOT BE ARCHIVED! > > > ........FEATURING.............. > > > === David Hess has Frienemies === > A review of recent books by K. Silem Mohammad > and Nada Gordon > > (excerpt) "I ask again: Is the poetry strong or > weak enough to let us know > what kind of world we inhabit - assuming, as I > do, that the poet can still > speak from, or rather to, a position of > universality, at least within his or > her culture? Or is the work formally cunning > enough to achieve autonomy in > order to escape 'representing' the world as it > exists, and so, through its > profound armor/artifice, speak to our world and > its historical moment?" > > > === Linh Dinh reports from Saigon === > Regarding translator Cu An Hung > > (excerpt) "Hung has a deep appreciation for > American literature. American > culture, good and bad, invaded South Vietnam > during the war. Along with The > Carpenters and Elizabeth Taylor, Vietnamese > were also exposed to Allen > Ginsberg and James Dean. Hung would make the > round of the used bookstores to > buy American books. "GI's threw these books > away," he said, "or maybe their > housekeepers stole them. There was a lot of > junk but there were also many > good books." Hung marveled at the fact that an > ordinary American soldier > would read, for example, Donald Allen's _The > New American Poetry_." > > > === Dale Smith reads Las Vegas === > > A republished reading report, circa winter 1996 > > (excerpt) "We had been invited to read poetry > in the Jewel Box Room of the > Las Vegas Public Library. Katie moved to Vegas > from SF in January to learn > poker from her brother. She established a > reading series to help pass the > time outside casinos. Anselm politely dealt > with his lack of sleep, while > Hoa and I whined for coffee. We finally had > some half an hour before the > reading in a strange, timeless funk, where I > couldn't distinguish one hour > from the next. There was no day or night, only > inside or outside, so there, > through big Starbucks windows, streamed the > desert's winter light. We were > outside and it was weird." > > > === Considering Robert Duncan's Take on Wagadu > === > > by Dale Smith > > (excerpt) "The alienating ironies of our > monotheistic Empire, a global > regime of Moolah, forms in Wagadu's shadow, and > since at least 1945 has been > the dominate understanding of the "communal > consciousness." Some digging is > required to retrieve the great city, and an > extension of the affections > after Pound's own great failure is required of > poets now. America as an > African, Asian, Indigenous, European promise is > a garden and a wasteland, a > refuge and a killing ground. It extends by each > successive generation a > failure, a promise, a refuse dump. Americans > live in exile, Wagadu only an > idea here. Poets like plants grow by virtue of > their roots." > > > === Pouch Notes === > > On Jonathan Williams' _Blackbird Dust_, Lisa > Jarnot's _Ring of Fire_, Henry > Gould's 2000 volumes and _Gift and Verdict_ by > Roberto Tejada... > > > === Dig it! === > > Possum recommended links, dig. > > ....... > > > > We welcome responses and pouch > submissions--write to > skankypossum@hotmail.com. > > > > > > _________________________________________________________________ > Get your FREE download of MSN Explorer at > http://explorer.msn.com > > ------------------------------ > > Date: Wed, 21 Feb 2001 14:02:51 -0500 > From: The Poetry Project > > Subject: Announcements > > * * * * * =20 > > A SPECIAL ANNOUNCEMENT > > The following workshop has been added to our > March schedule. It=B9s not liste= > d > in the February/March Newsletter or on the web > site. > > Friday, March 9, 2001 > "READ MY (S)LIPS: WRITING FROM THE PLACE OF THE > OTHER," A WRITING WORKSHOP > TAUGHT BY CHRIS TYSH > Chris Tysh, whose books include Secrets of > Elegance, Porne, Coat of Arms, I= > n > the Name, and Continuity Girl, is currently > working on a film script based > on the work of Georges Bataille. Anne Waldman > describes Continuity Girl as > "bold, erudite, witty, feminist and elegantly > elegiac." This workshop has > been made possible by a generous grant from the > Jerome Foundation. Admissio= > n > to the workshop is $7, $4 for students and > seniors, and $3 for Poetry > Project members. > > * * * * * =20 > > > THIS WEEK AND NEXT WEEK AT THE POETRY PROJECT: > > Wednesday, February 21st at 8 pm > CHARLOTTE CARTER AND WILLIAM MELVIN KELLEY > Charlotte Carter=B9s poetry and prose have been > collected in Sheltered Life > and Personal Effects. Since 1997 she has > published three novels: Rhode > Island Red; Coq Au Vin; and Drumsticks > (Mysterious Press/Warner Books, > 1999). The Detroit Free Press described Coq Au > Vin as "Absorbing=8Aa witty, > erotic, and moving love song to Paris and its > glamorous Black past." Willia= > m > Melvin Kelley=B9s A Different Drummer, nearly > three decades after its first > publication, remains one of the most trenchant, > imaginative, and > hard-hitting works of fiction to come out of > the bitter struggle for > African-American civil rights. Kelley=B9s other > books include the novels A > Drop of Patience, Dunfords Travels Everywheres, > and dem, which is being > republished this year by Coffeehouse Press. He > lives in Harlem and is > Professor of Creative Writing at Sarah Lawrence > College. > > Friday, February 23rd at 10:30 pm > A NIGHT OF TABOO-BOOS: MY MOST EMBARRASSING > MOMENT > Embarrassing moments=8Bthe kind that leave you > cringing with shame for years > to come=8Bare the subject of this outrageous, > shocking, and downright > grotesque celebration of all things > humiliating. Come hear fearless, > tell-all performers=8Btheatrical rock band The > House of Pernod and poets Clar= > a > Sala, Tim Wells, and Ivan Penaluna=8Bshare > their own deepest, darkest, most > embarrassing moments. Following their > performances there will be an open > mike, where audience members will get to air > their own dirty laundry as the= > y > compete for fabulous, embarrassing prizes. The > readers with the best "most > embarrassing moment" poems win. > > Monday, February 26th at 8 pm > JENNY SMITH AND FANNY R. FERREIRA > Jenny Smith is the author of Egon (Involute > Press, 1999). Her poetry has > appeared in Exquisite Corpse, The Portable Boog > Reader, Jeujune, The New > Orleans Review, and other journals. She is a > co-founder of Prazska Skola > Poetiky, a Czech and international school of > poetics in Prague, CZ. Ms. > Smith is the Program Assistant at the Poetry > Project. Fanny R. Ferreira is > the author of two chapbooks. Many Faces Make a > Soul (asphaltjunction, 1999) > and Pink Passages (syendo, 1997). She served as > one of the editors for > Bombay Gin and currently lives in Hell=B9s > Kitchen, NYC. > > Wednesday, February 28th at 8 pm > MAGDALENA ZURAWSKI AND PRAGEETA SHARMA > Magdalena Zurawski currently resides in > Philadelphia, Pennsylvania, where > she "is struggling to learn what a good poem is > and what it might be good > for anyhow." Her poems have appeared in > Explosive, The Hat, The Germ, > Crayon, American Poet, and The World. Her > chapbook, Bruised Nickelodeon, wa= > s > published in June, 2000 by Hophophop Press. > Prageeta Sharma, who is teachin= > g > a writing workshop at the Poetry Project this > spring, is the author of Blis= > s > to Fill (Subpress). Her recent work has > appeared in Agni, Explosive, Shiny, > The Hat, and The Poetry Project Newsletter. She > hosts a reading series in > Brooklyn and is the drummer for the girl > punk/rock-n-roll band The Sleeves. > Of Bliss to Fill, C.D. Wright writes, "She > pleasures us by her agile shifts > in mood and her lithe twists of tongue. This is > a delicately fierce book." > > Friday, March 2nd at 10:30 pm > GLUE PUPPET AND VICKI HUDSPITH > The band Glue Puppet describes themselves as > "spoken word and sticky groove= > ; > bop poetics through a rhythmic prism." The > program also features a reading > by Vicki Hudspith, who will be accompanied by > conga and percussion. Ms. > Hudspith is the author of White and Nervous and > Limousine Dreams. Following > the featured performances there will be an open > mike, where prizes will be > awarded for the best "sticky" poem and the best > "puppet" poem. > > > > 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. > > ------------------------------ > > Date: Wed, 21 Feb 2001 13:47:52 -0500 > From: Al Filreis > > Subject: Retallack via webcast > > The Kelly Writers House invites you to > participate in the program > announced below by way of live > interactive webcast. > > If you would like to participate, > please write to us at > wh@english.upenn.edu. For more information > about the webcast (including > instructions for making the webcast > connectin), please see > > www.english.upenn.edu/~wh/webcasts. > > ----------------------------------------------------------------------------- > > alt.poetries, > alt.pedagogies > > ^^ > > a reading by J o a n R e t > a l l a c k > > and a discussion of > relations between > innovative poetry and > experimental teaching > > Wednesday, February > 28 > 6 PM eastern time > > at the Kelly Writers > House > 3805 Locust Walk > > Joan Retallack's reading will be followed by a > collaborative exploration > of the relationship between avant-garde poetry > and alternative pedagogies. > > The reading and discussion will be webcast > live. For more information > about the webcast, please see < > www.english.upenn.edu/~wh/webcasts > > and write to < wh@english.upenn.edu >. > > > ___________________________________________ > > IS IT PRODUCTIVE TO > TEACH EXPERIMENTAL > POETRY IN AN > EXPERIMENTAL WAY? > IF SO, WHY? > > ___________________________________________ > > > Joan Retallack's books of poems include _How To > Do Things with Words_ > (1998) and _Icarus FFFFFalling_ (1994). Her > work is very widely > anthologized, and she has published an > extraordinary range of essays and > interviews. She is the Co-Director of Bard > College's Institute for WRiting > and Thinking, and under the institute's > auspices hosted an important > conference in 1999 on relations between > alternative poetics and > alternative pedagogies. The conference was > attended by teachers of poetry, > contemporary poetry critics and a variety of > poets who care about the > wider implications of their poetic practice. > > Joan Retallack was one of nine poets who read > themselves through modernism > at the Writers House, as part of the Modernist > Studies Association > conference in October 2000. Her reading in > relation to Cage, Wittgenstein, > and Stein is available here: > www.english.upenn.edu/~wh/9poets.html. > > ------------------------------ > > Date: Mon, 19 Feb 2001 18:42:29 -0800 > From: "Nielsen, Aldon" > > Subject: Nielsen in Detroit > > I'll be giving a talk on C.L.R. James at > Detroit's African American History > Museum on Sunday, Feb. 25, 4:30 PM -- Y'all > come > > > > " 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, 21 Feb 2001 16:46:18 EST > From: RevDest@AOL.COM > Subject: radical=precise > > To my surprise, during a Poetry Plastique > panel, I used the dirty word > sacred. I said something to this effect: The > poet's sacred (as in non-slimy) > task is to register events non-distortively, > non-manipulatively, that is, as > accurately (ditch fastidiously) as possible. > > For a great many makers it goes this way: If > the maker who is a poet does not > transform herself into the maker who is an > artist, there is no artist. Who > but poets > as artists have constructed an art world?! > Transforming oneself is a matter > of rallying coordinating skills for a (for lack > of a better term) purpose. > Coordinology is the study of how coordinating > skills can be rallied, > combined, blended, and, indeed, coordinated. > Our species needs to learn how > to save its own skin, and coordinologists -- > daring poets/artists -- should > be at the task!! Email us > (Arakawa + Gins) at revdest@aol.com if you want > to know more about > coordinology. > > ------------------------------ > > Date: Thu, 22 Feb 2001 02:52:00 -0500 > From: Alan Sondheim > Subject: on channels #nikuko and #nikuko_belly > > - > > > on channels #nikuko and #nikuko_belly > > > /w

> #nikuko Alan_S H@ > [kVlWpcX7n@panix3.panix.com (0 Alan Sondheim) > /l nikuko

> *** Alan_S has left channel #nikukojapan (+lnst > 25) Lag 2 - E/X /9AM > *** Alan_S ([kVlWpcX7n@panix3.panix.com) has > joined channel #nikuko > [E/X] SERVER MODES DETECTED. In #nikuko: '+nt' > *** Users on #nikuko: @Alan_S @Alan_S (+is) > #nikuko (+nt) Lag 2 - E/X > *** #nikuko 982822747 > *** Mode change "+nt" on channel #nikuko by > Alan_S/w

> #nikuko Alan_S H@ > [kVlWpcX7n@panix3.panix.com (0 Alan Sondheim) > /me makes rain fall on nikuko belly > * Alan_S makes rain fall on nikuko belly

> /me watches nikuko belly splash by rain fall > * Alan_S watches nikuko belly splash by rain > fall

> Belly belly nikuko! > Belly belly nikuko!

Lag 12 - E/X > Belly belly nikuko! > Belly belly nikuko!

> /l nikuko

> *** Alan_S has left channel #nikukojapan (+lnst > 25) Lag 12 - E/X > /j nikuko

Alan_S (+is) #nikuko > Lag 12 - E/X > *** Alan_S ([kVlWpcX7n@panix3.panix.com) has > joined channel #nikuko > [E/X] SERVER MODES DETECTED. In #nikuko: '+nt' > *** Users on #nikuko: @Alan_S @Alan_S (+is) > #nikuko (+nt) Lag 12 - E/X > *** #nikuko 982822831 > *** Mode change "+nt" on channel #nikuko by > Alan_S > Hello to say again! > Hello to say again!

> /me makes rain fall fall on belly nikuko! > * Alan_S makes rain fall fall on belly > nikuko!

> /1AM @Alan_S (+is) #nikuko (+nt) Lag ? - E/X 1 > - E/X > Belly belly nikuko! > Belly belly nikuko!

/l

> *** Alan_S has left channel #nikukojapan (+lnst > 25) Lag 1 - E/X > /j nikuko_belly

> Alan_S (+is) #nikuko_belly Lag 1 - E/X > *** Alan_S ([kVlWpcX7n@panix3.panix.com) has > joined channel #nikuko_belly > [E/X] SERVER MODES DETECTED. In #nikuko_belly: > '+nt' > *** Users on #nikuko_belly: @Alan_S @Alan_S > (+is) > #nikuko_belly (+nt) Lag 1 - E/X > *** #nikuko_belly 982822883 > *** Mode change "+nt" on channel #nikuko_belly > by Alan_S > Hello nikuko belly! > Hello nikuko belly!

> /me makes rain fall on nikkuko > * Alan_S makes rain fall on nikkuko

> Rainy rainy nikuko! > Rainy rainy nikuko!

> /l2AM @Alan_S (+is) #nikuko_belly (+nt) Lag ? > - E/X nikuko3 - > E/X _belly

> *** Alan_S has left channel #nikuko_bellyjapan > (+lnst 25) Lag 3 - E/X > Hello Nikuko! > Hello Nikuko!

> *** #nikuko_belly Cannot send to channel > /q > *** Signoff: Alan_S (Killed GOD (Flood ME, will > ya???!?@1!@1!!))) > > > __ > > ------------------------------ > > Date: Tue, 20 Feb 2001 11:53:47 -0500 > From: Sam Stark > Subject: Fwd: LAPA - american premier (fwd) > > >---------- Forwarded message ---------- > >Date: Mon, 19 Feb 2001 22:38:13 -0800 (PST) > >From: matvei yankelevich > > >Reply-To: yan@pobox.com > >To: ugly.duckling@pobox.com > >Subject: LAPA - american premier > > > > {LAPA} > > > > the paperless books dept of ugly > duckling > >presse > > presents the following paperless book: > > > > > > LAPA > > > >By Daniil Kharms > > > >One Night Only > > > > Thursday, February 22, 2001 8 pm ! > > > >Clemente Soto Velez -- Milagra Theater > >107 Suffolk Street, Lower East Side of > Manhattan > >(F train to Delancey; between Delancey and > Rivington) > > > > $10 suggested donation / > > $5 suggested donation for students > > > >LAPA --- by Daniil Kharms (translated into > English by > >Matvei Yankelevich) --- > > > >is made up of the following elements: > > > > > >Secret Theater > >with.... > > > >* Oleg Dubson * Jen Mitas * Milton Loayza * > Simone > >White * Dima Dubson * > > > >Costumes by Naima DiFranco > >Directed by Yelena GLUZMAN & Matvei > YANKELEVICH > > > > > >Music by DAVE REABOI and his orchestra: > > > >Dave Reaboi (conductor, double-bass) * Eric > Biondo > >(trumpet) * Jared Hunter (tenor sax) * Aaron > Ali Shaikh > >(baritone and alto sax) * Samara Lubelski > (violin) * Mary > >Halverston (guitar) * Jaime Fennelly > (double-bass) * Matvei > >Yankelevich (trumpet) * Mike Pride (drums) > > > > > >With the voices of: > > > >Steve Dalachinsky, Nathaniel Farrell, Filip > Marinovic, > >& the Bros. Lumiere. > > > > > > > > * > > LAPA has never (to our knowledge) been > staged anywhere > >in the world. Daniil Kharms (1905-1942) was > the co-founder > >of the OBERIU (Union for Real Art), an > avant-garde group > >of poets and artists who created infamous > theatrical > >shows, along the lines of Dada and Futurism. > Kharms wrote > >this play in Leningrad in 1930. Shortly after, > he was > >arrested for his involvement in a so-called > "anti-Soviet > >group of children?s writers." After Kharms? > return to > >Leningrad after a short prison term and exile, > the OBERIU > >could no longer hope to perform in public. All > of Kharms? > >incredible oeuvre was written for the desk > drawer and > >a close circle of friends, with no hope of > publication. > >Therefore, what we have of LAPA is a > manuscript of > >uncertain design. It is a multi-layered and > complex story > >told (and un-told) in various genres and > forms. Our > >staging is an attempt at a staging, a > proposition for what > >might be done with a theatrical manuscript of > this kind. > >This translation by Matvei Yankelevich will be > published in > >Performing Arts Journal (PAJ), with an > accompanying > >essay by Branislav Jakovljevic. > > > > > >This project is also the premier of another > >experiment: > > > >SECRET THEATER is a new project (spearheaded > by > >Gluzman and Yankelevich) to explore > non-communicative, > >non-representational modes of theatrical > existence. > >The underlying idea is that of > anti-performance with hidden > >meanings, silenced signification, and secrets > everywhere. > >During the course of the evening, Secret > Theater will be > >openly set against performative theater, for > contrast and > >comparison. We believe that this experiment > compliments the > >secretive nature of LAPA's hermetic symbolism > and the > >Kharmsian "non-sense" gesture. > > > >This is a first attempt at embodying the ideas > of > >Secret Theater. Soon, we will continue this > experiment > >with weekly rehearsal/showings in a storefront > on 42nd > >Street. > > > >Please come see the ONE NIGHT ONLY performance > of LAPA. > > > >------------------------------------------------------ > >*If you don't want to receive notice of future > Ugly > >Duckling Presse events (6x6, Emergency > Gazette, poetry > >readings, etc.), let me know, carrots. > >*If you simply aren't in the NY area and would > like not to > >receive NY-only listings, please tell me that, > too. Sorry > >for any inconvs this has caused. > > > > > > > > > >===== > >Matvei Yankelevich ~~~~~~~~~~~~ ugly > duckling presse > >yan@pobox.com ~~~~~~~~~~~~ 112 Pioneer > Street > >718-243-0446 ~~~~~~~~~~~~ Brooklyn, NY > 11231 > > > >*** For more info on Ugly Duckling Presse's > essential mission see an > >interview at WWW.INSOUND.COM at the following > link: > >http://insound.com/insoundoff/index.cfm?id=127=1 > > > _________________________________________________________________ > Get your FREE download of MSN Explorer at > http://explorer.msn.com > > ------------------------------ > > Date: Thu, 22 Feb 2001 12:11:05 -0500 > From: Alan Sondheim > Subject: language in internet relay chat > (internet relay chat) > > - > > language in internet relay chat (internet relay > chat) > > there are three types of languaging: > > >>hello > hello - just where you speak and it appears, > and this serves in addition > as a declaration of presence; it's speech, > nothing more - it may be reply > or affirmation or expostulation, interjection > or query - there's always > the expectancy of the other, always something > in return > >>/me says hello > Alan says hello - thus a performative, Alan > performing in conjunction > with the assignation of the /me - the inclusion > of action - > >>/me turns around > Alan turns around - the performative connected > with a material action - > thus _in the virtual realm_ all actions are > necessarily performatives - > this holding as well with programming - so that > semantics are intended as > well - /me turns around always already ikonic - > attend to this distinction > - just as the speaking above is also ikonic - > >>/echo it is raining out > it is raining out - here the language is itself > the material substrate of > the world - the world constituted by language - > if the /me indicates > process, the /echo indicates state - however > >>/echo the world burns > the world burns - and the state may well be a > state-description of an > action whose performance is subtexted by the > neutrality of the (re)quoted > expression > here in virtuality all expressions are doubly > or triply quoted - > in ytalk doubly quoted - i type, transmit, you > read > elsewhere triply - i type, i read, transmit, > you read - three different > instantiations - resonances - sheaves > >>/echo it is raining out > it is raining out - the description of the > world is already the state of > the world - however the /me in > >>/me is taking a walk - there is a separation > - as in > me < is taking a walk - the expression is > piped; in > >>/echo it is raining out - here the /echo is a > modification on > it is raining out - as in e(it is raining out) > - or as in > e(x) > x > whereas with /me thinks it is raining out - > m(thinks it is raining out) > $n + thinks it is > raining out - or as in > m(x) > $n + x > as if there were the construction or > constitution of a number series - > in any case the presence of the other - that is > the name $n > as an adjunct or supplement to the string x. > where does this lead - to three states - that > of enunciation, that of > action, that of world-constituting language. if > enunciation is declarative > - and one might consider an interpolated > enunciation here as a shifter - > then action is performative - and it is echo, > world-constituting language, > that becomes deeply problematic, in the sense > that it is _separated from > intention, from speaker, from source_ - it is > an emission above and within > the _face of the world, its alterity,_ within > which it resides. > >>one might think of these languagings as > modal; in which case echo > references the foucauldian _divinatio,_ but > only as index; in fact, echo > is _in fact,_ the construal of the world as-if > (vaihinger, bentham) there > is no presencing, no intentional, no actor, no > agency. in another similar > sense, echo is the call of a shell command from > a perl script; it is > ulterior, an existential alterity, legible, > readable, or not.<< > > >>thus i call my book .echo, which acts subtly > towards the material > completion of a constituted world, however > fragile, however thinned (down > to the width of a pixel), .echo which reflects, > not narcissus, but the > very grain of the separated and dismembered > voice.<< > > > _ > > ------------------------------ > > Date: Thu, 22 Feb 2001 13:10:48 -0500 > From: robert fitterman > > Subject: PRINTONOMY Reading > > PRINTONOMY: A Reading Series of > Poet-Publishers > is featuring the journals Big > Allis and Aerial > > > DATE: February 26, 7 PM promptly > PLACE: The Fales Library, Bobst Library 3rd > Floor, New York University, > 70 Washington Square South > ADMISSION: Free (sales & reception will follow) > > > Deirdre Kovac is the co-editor of Big Allis. > Her poetry has appeared > in numerous literary journals, and her first > book, Mannerisms, is > forthcoming this year. Melanie Neilson's books > include Civil Noir > (Roof Books) and Natural Facts (Potes & Poets). > She is the co-editor > of Big Allis. Rod Smith, from Washington, DC, > is the author of > several books of poetry including In Memory Of > My Theories (O Books) > and Protective Immediacy (Roof Books). > > ------------------------------ > > Date: Tue, 20 Feb 2001 15:04:31 -0800 > From: "Nielsen, Aldon" > > Subject: > > Just spotted a library notice for a book by Ann > Vickery titled "Leaving > Lines of Gender: A Feminist Genealogy of > Language Writing," from Wesleyan -- > > anybody know anything about this book? read it > in ms. or heard parts at > conferences???? > > > > " 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, 20 Feb 2001 14:44:33 -0600 > From: Robert Archambeau > > Subject: SAMIZDAT #7 > > Dear Listees, > > Once again, I'm stunned at how quickly the > supply of free issues was > snapped up. > > Those of you who sent in requests can expect > for your free issues in a > couple of weeks -- thanks for your interest! > > Copies of the current issue, or of back issues, > are still available for > purchase. > > Ordering info and tables of contents for > previous issues are available > online at: > > http://durationpress.com/samizdat/ > > > A head's-up on what's in store for future > issues: > > #8: Features Michael Heller > > #9: Features John Matthias > > > > Robert Archambeau > > ------------------------------ > > Date: Tue, 20 Feb 2001 17:41:45 -0800 > From: betsy@POETSHOUSE.ORG > Subject: Poetry Publication Showcase--SEND > BOOKS NOW! > > This is an urgent last call for submissions of > poetry books published in > 2000 for inclusion in the Poets House 2001 > Poetry Publication Showcase. > The February deadline has passed. > > The Poets House Showcase is an annual exhibit > and festival of events > celebrating the year's new poetry books. Last > year, 1,320 books were > included from 488 publishers. Inclusion in the > Showcase is absolutely > free. > > Just send two review copies of all poetry books > published since January > 2000 (exceptions are books that were included > in the 2000 Showcase) > ASAP to > Poets House 72 Spring Street 2nd Floor, New > York, NY 10012 . > > This year, the Showcase will open on March 24, > 2001 and run throughout > the month of April. Now is the time to submit > all poetry books published > during 2000. For more information about the > Showcase and to browse > books that have been included in the Directory > over the last three > years, please see the Showcase and Directory > sections of our website at > www.poetshouse.org If you have any questions, > please contact me by > email, betsy@poetshouse.org > > Regards, > Betsy Fagin > > Showcase Coordinator > Poets House > > ------------------------------ > > Date: Thu, 22 Feb 2001 06:12:18 -0500 > From: Barry Smylie > Subject: The Iliad > > You are invited to play an internet translation > of: > > Homer's Iliad, Book 9 > (A Visit of Emissaries, the book of Achilles' > refusal) > > http://barrysmylie.com/iliad/iliad000.htm > > ------------------------------ > > Date: Thu, 22 Feb 2001 11:18:57 -0500 > From: Barrett Watten > Subject: Demon of analogy > > I'd like to pose a question to the poetics > list, formulated in this way. At > the dawn of the internet age, there was a > significant amount of advance > publicity for new forms of authorship and > literariness that would be > enabled by the technology. I will call the > "demon of analogy" the relation > between the turn to theory and celebrations of > the World Wide Web's > implications for literature. The Internet > promised a mode of literary > experience that is, all at once: nonlinear, > rhizomic, postauthorial, > intertextual, multivocal, nomadic, > nonhierarchical, networking, and > feminist (a list of words taken from an opening > paragraph in an early > anthology of "hypertext theory"). > > Yet at the same time many of the kinds of > literariness that were being > predicted had long since been developed by > experimental writers. So the > question: what is currently the relationship > between radical form and the > structure of web sites and listserv > discussions? How do the implications of > radical form translate into the ways that sites > are constructed and/or the > ways that participants in listservs engage the > literature in the ways that > the technological analogy would predict? > > A simpler way of putting this might be: what > internet sites reflect the > influence of radical forms, and how do they do > it? What are some formally > innovative sites, and how have they benefited > from the insights into form > that experimental writing made possible? > Conversely, is there a > conservative tendency in site construction, so > that sites for innovative > writing are really organized in very similar > ways to sites that have little > to do with innovative form? > > Links would be most welcome, and discussion, > either on the listserv or back > channel. > > Thanks, Barrett > > ------------------------------ > > End of POETICS Digest - 19 Feb 2001 to 22 Feb > 2001 (#2001-30) > ************************************************************* __________________________________________________ Do You Yahoo!? Get email at your own domain with Yahoo! Mail. http://personal.mail.yahoo.com/ ========================================================================= Date: Wed, 28 Feb 2001 23:25:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: NYC Reading 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, February 26, 2001, 12:04 PM -0500 katy wrote: " " " " " " " " " " Barnard New Women Poets Presents: " " " Star Black " " & " " Brenda Shaughnessy " " " This Thursday, the 1st of March, 8 p.m. " Sulzberger Parlor, 3rd floor, Barnard Hall " Barnard College " At 116th Street and Broadway " (Take the 1/9) " Admission free " " " " " " " " " " " " * * * " " If you would like to be removed from this list, please let me know. " " " " " " ========================================================================= Date: Mon, 26 Feb 2001 16:35:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: Re: dewey and the language projects In-Reply-To: from "Jordan Davis" at Feb 26, 2001 11:49:31 am MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit According to Jordan Davis: > > Would any of the charter members of the la Nguage movement consider Dewey > an influence on the project(s)? I'm thinking especially of that strain of > l-work that investigates progress and knowledge - Watten, Sherry, > Hejinian, Perelman, Blank Check, etc etc. > > Jimmie Bob > Jordan, my experience has been that no, none of the language poets would *consider* Dewey an influence by and large, - but that doesn't mean that Dewey didn't have an influence on language poetry: his influence on Black Mountain poetics and, via WCW and Paul Goodman, on O'Hara was major, so the Language folks were getting Dewey second hand even if they didn't realize it. My article in Kenning 2.2. gets into this. There's a connection too between Dewey (and more generally, pragmatism) and, say, Jameson's various discussions of Narrative as Socially Symbolic Act, that's obviously important to LangPo (the shorthand for this is Althusser + Kenneth Burke = Jameson.) Okay, more to say but gotta go.. -m. ========================================================================= Date: Mon, 26 Feb 2001 17:44:43 -0500 Reply-To: perez@magnet.com Sender: UB Poetics discussion group From: Jamie Perez Organization: Magnet Interactive Subject: Re: Demon of analogy MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit > Barrett Watten wrote asking about many things concerning the internet and authoring and radical form (and having read Patrick's response which made many good points). To piggyback on Patrick's thoughts a little, I often thought much of early hypertext hype was "lame" for a better term, exactly because of my experiences with choose your own adventure books. I didn't see any real "new" thing in it. Of course, I had enjoyed "choose your own adventure" and I enjoyed early hypertext works and its theories in the same way, but didn't see a whole new world. But I do think there are some radical changes happening on the internet and to see them you have to look away from what is going on in overt literature and instead see all the things happening in the environment. First there is the user experience which can be truly post-authorial. The main revelation there is the mosaic-communicator-ie browser. Much more important than the hyperlinks constructed by the author is the users ability to jump to an entirely different location, whether typing in a location (which maybe a search engine) or using their bookmarks or whatever. Again, this is just another element of speed, one was always able to flip from a book to a dictionary and back. But with the element of speed one enhances the possibility of overlapping/additive/synthesizing meanings. Also, I think "personalization" is one of the truly amazing things about the Internet's possibility. Web sites are able to serve up never-ending configurations and choices of elements based on personal profile data. Look at how Amazon.com matches your consumer record (including what books you've bought, your age, sex, where you live, etc. etc.) with a clickstream history (what books you've looked at, what kinds of banner adds have inspired you to click, etc. etc.) to deliver overt and covert advertisements throughout your visit. Now all that is being done in the service of commerce, obviously. Porn was a leading factor in the Internet's usage and "innovation," and commerce picked up on its heels (though less successfully?). So if you are looking for really radical uses of technology look to those sources and find the ways you can bring them into an effort at creating new ways of meaning/new experiences in literature. something of an aside: one of the most radical things I find on the net are those sites that list what people are typing into search engines in near real time, it's a great living snapshot of the "meanings" people are looking for, like the PeepingTom screensaver to me, the radical form of the Internet right now seems to be dynamic publishing, whether behind the scenes or openly: sites/pages/areas that are in constant flux whether controlled by a users decisions (overtly/covertly) or related to happenings around the Internet environment. I really look forward to seeing how various artists use these tools moving forward and how it all comes to effect how we make/partake in meaning/experience. for whatever reason I'm thinking of that Autechre CD where the last track was actually a piece of software that was a visual interface for making music... anybody remember that? In a lot of ways that's a whole 'nother side of what the Internet has done for/to literature. Like what about a kids site (headbone.com) having a poetry section where tones of pre-teens post daily poems/contribute to a functioning literary community, what does that mean for poetry or about poetry? so many tangents to walk down here, apologies for scattering jamie.p ========================================================================= Date: Mon, 26 Feb 2001 18:32:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Broder, Michael" Subject: Ear Inn Readings--Upcoming Events 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 March 3 Claire Curtin, Amy Eisner, David Lehman March 10 Agha Shahid Ali, Star Black, Edmund White 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. For additional information, contact Michael Broder at (212) 246-5074. ========================================================================= Date: Mon, 26 Feb 2001 18:48:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Elizabeth Treadwell Subject: contact--Howe and Moten Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Apologies for the interruption. Anyone have contact info for Fred Moten and/or Fanny Howe and also or Susan Howe? Yes both. All. B/C. Merci beau. Elizabeth ___________________________________________ Double Lucy Books & Outlet Magazine http://users.lanminds.com/dblelucy ___________________________________________ Elizabeth Treadwell http://users.lanminds.com/dblelucy/page2.html ___________________________________________ ========================================================================= Date: Tue, 27 Feb 2001 00:19:51 -0500 Reply-To: couroux@videotron.ca Sender: UB Poetics discussion group From: Marc Couroux Organization: O'Tavip-Xuoruoc Productions Subject: John Fahey (1939-2001) Comments: To: twonewhours@listbot.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit From the New York Times February 25, 2001 John Fahey, 61, Guitarist and an Iconoclast, Dies at 61 By JON PARELES John Fahey, a guitarist who carved out a private corner of Americana only to see it become a foundation of new age music, died on Thursday at Salem Hospital in Salem, Ore., after undergoing sextuple heart bypass surgery, said Mitch Greenhill, the president of Folklore Productions and Mr. Fahey's executor. Mr. Fahey was 61 and lived in Salem. Playing a six-string acoustic guitar, Mr. Fahey used country-blues fingerpicking and hymnlike melodies in stately pieces with classical structures. Wordless and unhurried, his music became a contemplation and an elegy, a stoic invocation of American roots, nameless musicians and ancestral memories. Behind its serene surface, the music was both stubborn and haunted. "I was creating for myself an imaginary, beautiful world and pretending that I lived there, but I didn't feel beautiful," Mr. Fahey said in an interview with The Wire magazine in 1998. "I was mad but I wasn't aware of it. I was also very sad, afraid and lonely." From the beginning, he was an iconoclast and a maverick. He started two independent labels. In 1959 he founded Takoma Records, which released his own albums, blues albums and recordings by other guitarists including Leo Kottke. And in 1995, he and his manager started Revenant Records, dedicated to what it called American Primitive music. Although he didn't sing or write lyrics, Mr. Fahey was a voluble author of liner notes. His albums were crammed with parodies of academic analysis and tales of a fictitious blues guitarist, Blind Joe Death, and his disciple, John Fahey, who purportedly "made his first guitar from a baby's coffin." He shared a Grammy Award for the liner notes to the 1997 "Anthology of American Folk Music" (Smithsonian Folkways). Mr. Fahey was born in Takoma Park, Md., on Feb. 28, 1939. His father and mother both played piano, and his father also played Irish harp. On Sundays, the family went out to hear bluegrass and country music. Mr. Fahey said that hearing Bill Monroe's version of Jimmie Rodgers's "Blue Yodel No. 7" and Blind Willie Johnson's "Praise God I'm Satisfied" changed his life. He started teaching himself guitar when he was 12. He also began collecting and trading old 78-r.p.m. recordings of hillbilly songs, blues, gospel and jazz, going door to door in the rural South to find them. A fellow collector, Joe Bussard Jr., recorded Mr. Fahey on 78-r.p.m. discs for his Fonotone label, under the name Blind Thomas. In 1959 Mr. Fahey recorded his first album and pressed 100 copies, the first Takoma Records album. One side of the LP was credited to "Blind Joe Death," the other to "John Fahey." Mr. Fahey studied philosophy at American University in Washington and then at the University of California in Berkeley, where he played at folk clubs in his first paid engagements. In 1963, he recorded his second album, "Death Chants, Breakdowns and Military Waltzes." He and his partner in Takoma Records, ED Denson, tracked down two Mississippi bluesmen, Bukka White and Skip James, and recorded them for Takoma, bringing them to new audiences on the folk-revival circuit. Mr. Fahey entered a graduate program in folklore at the University of California at Los Angeles in 1964, and wrote his master's thesis about the Delta bluesman Charley Patton. After he received his degree, Mr. Fahey turned to music full time. His compositions expanded, embracing the modalities of raga along with dissonances not found in country or blues; he used unconventional tunings and turned some traditional picking patterns backward. He also experimented with tape collages, often to the annoyance of folk fans. Though hippie listeners may have heard his music as psychedelic, he was a bourbon drinker. Along with his Takoma releases, Mr. Fahey also made albums for Vanguard and Reprise Records. His pristine 1968 solo album of Christmas songs for Takoma, "The New Possibility," sold 100,000 copies initially and has been perennially reissued. Mr. Fahey spent time at a Hindu monastery in India; a 1973 album of extended solo pieces, "Fare Forward Voyager" (Takoma) is dedicated to a guru. Takoma was sold to Chrysalis Records in the mid- 1970's, and in the 1980's Mr. Fahey made albums for the Shanachie and Varrick labels. New age performers like the pianist and guitarist George Winston, who made his first album for Takoma, prospered with a more ingratiating solo-guitar style. Mr. Fahey suffered setbacks in the late 1980's. He divorced his third wife, Melody, and lost his house. He suffered from chronic fatigue syndrome and diabetes. His drinking grew worse. For a time, he lived at the Union Charity Mission in Salem. He often supported himself by scouring flea markets for used classical records to sell to collectors. He sometimes pawned his guitars. But he was rediscovered in the 1990's. Rhino Records compiled a retrospective, "Return of the Repressed," in 1994, and alternative rockers working on "post-rock" instrumental music sought out Mr. Fahey. He sobered up and restarted his career. In 1996 he released "City of Refuge" (Tim/Kerr), followed by two albums in 1997 and one each in 1998 and 2000. He continued to experiment, playing electric and lap steel guitars and freely using electronic effects. Last year, he published a book of loosely autobiographical stories, "How Bluegrass Music Destroyed My Life" (Drag City Press). "I never considered for a minute that I had talent," he wrote in 1994. "What I did have was divine inspiration and an open subconscious." ========================================================================= Date: Tue, 27 Feb 2001 00:04:00 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: Oppen, Ashbery, Simic Queries Mime-Version: 1.0 Content-Type: text/plain; format=flowed "Of Being Numerous" is in the collection by the same name. Don't know if it's in print now as such, but the book is reprinted in the Collected Poems. _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Tue, 27 Feb 2001 02:06:05 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Eileen Tabios Subject: APOGEE MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable On behalf of Apogee Press, I'd like to share information on their recent=20 titles. Ordering and Apogee contact information are below list of titles: ---------------------- Speed of Life (May, 1999) by Edward Kleinschmidt Mayes 72 pages $12.95 ISBN: 0-9669937-0-5 "These poems are at the harsh center of things=E2=80=93in the urban sprawl,=20= in the=20 crucible of action, on the scene of the crime. The marvel is that the poet=20 never forgets the obligations and enchantments of language." =E2=80=93Eavan Boland placing the accents (October, 1999) by Truong Tran 72 pages $12.95 ISBN: 0-9669937-1-3=20 "Clarified American speech slashed with Vietnamese shadow vernacular. Teeth= :=20 word hunger: eating, bitter and fabulous. Truong Tran's first book is a=20 voluptuary of the difficult real. To be entered, and entered. Gratefully." =E2=80=93Kathleen Fraser Human Forest (January, 2000) by Denise Newman 72 pages $12.95 ISBN: 0-9669937-2-1 "Reading Denise Newman is like imbibing a divine elixir, making one realize=20 how thirsty one has been all this time. Perhaps even dead. Her work is=20 intimate, erotic, pantheistic, metaphysical." =E2=80=93Gillian Conoley fine (May, 2000) by Stefanie Marlis 72 pages $12.95 ISBN: 0-9669937-4-8 "These are poems for the mind, and in particular, for the mind that loves=20 language and that feels, along with Marlis, that it is boundless." =E2=80=93Cole Swensen Oh (December, 2000) by Cole Swensen 72 pages $12.95 ISBN: 0-9669937-5-6 "Cole Swensen's brilliant, witty riff on opera as art form refigures baroque= =20 exultation in the most minimal, condensed, and quiet of vocabularies and=20 phrasal units. Oh is opera cool." =E2=80=93Marjorie Perloff All Apogee Press titles are available from: Small Press Distribution 1341 Seventh Street Berkeley, CA 94710-1409 800-869-7553 spd@spdbooks.org www.spdbooks.org Apogee Press PO Box 8177 Berkeley, CA 94707-8177 Contact: Edward Smallfield 510-970-8345 editors@apogeepress.com www.apogeepress.com ========================================================================= Date: Wed, 28 Feb 2001 23:35:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jason Nelson Subject: flash fiction column: looking for guests Mime-Version: 1.0 Content-Type: text/plain; format=flowed Wondering if anyone is interested in submitting flash fiction peices. I'm stumbling for online guest columnists for my column at Ink19 (a music/culture print and online weekly mag). Look around at the flashes I've written, through the archives there, and if you feel even briefly... let me know. http://columns.ink19.com/flashfictions/ cheers, Jason Nelson _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ========================================================================= Date: Mon, 26 Feb 2001 16:30:19 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: Semezdin MEHMEDINOVIC' & Ammiel ALCALAY, Thurs March 1 (4:30 & 7:30) Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable P O E T R Y C E N T E R 2 0 0 1 The Poetry Center & American Poetry Archives presents Two events with visiting writers SEMEZDIN MEHMEDINOVIC' & AMMIEL ALCALAY Thursday March 1 7:30 pm, $5 donation @ The Unitarian Center 1187 Franklin (at Geary) Also, Thursday afternoon March 1, 4:30 pm free public conversation @ The Poetry Center (SFSU) both events presented in collaboration with Ivri-NASAWI Bosnian poet, writer and filmmaker SEMEZDIN MEHMEDINOVIC' was born in Tuzla, Bosnia, in 1960, and is the author of four books. Sarajevo Blues--"widely considered here to be the best piece of writing to emerge from this besieged capital since Bosnia's war erupted" (Washington Post)--was written at the height of the war that destroyed Sarajevo, and was published outside the country in Ljubljana, then, in English translation by Ammiel Alcalay, in the US by City Lights Books in 1998. Mr. Mehmedinovic', his wife, and their child came to the U.S. as political refugees in 1996. He lives and works in Washington, DC. AMMIEL ALCALAY has become among the most exemplary US writers of his generation. Poet (the cairo notebooks; A Masque in the Form of a Cento), activist, widely-recognized scholar and essayist (After Jews and Arabs: Remaking Levantine Culture; Memories of Our Future: Selected Essays), anthologist (Keys to the Garden: New Israeli Writing), and prolific translator from Serbo-Croatian, Hebrew, Arabic, Spanish--his recent work has been focused particularly on Bosnia and the Middle East. His work-in-progress includes the book From the Warring Factions. One of the original members of the East for Peace movement and NGO in Israel in the 1980s, he has also done a variety of human rights work for Amnesty International, the Palestine Human Rights Data Base and other organizations. Along with Jordan Elgrably, Ruth Behar, and Victor Perera, he is one of the co-founders of Ivri-NASAWI, the National Association of Sephardic Writers & Intellectuals. Currently a visiting scholar at Stanford University, Mr. Alcalay lives in Brooklyn, New York, and teaches at Queens College, CUNY. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D COMING UP: * March 4 (Sunday) Homage to Joe Brainard (at UC Berkeley Art Museum Theater, 2:00-5:00 pm, free w/museum admission: presented by UC Berkeley Art Museum, co-sponsored by The Poetry Center-Six poets featuring: Kenward Elmslie, Ron Padgett, Anne Waldman, Bill Berkson, Barbara Guest, & Dick Gallup * March 15 Benjamin Friedlander & Horace Coleman (Poetry Center, 4:30 pm, free) * March 29 Milton Murayama (Poetry Center, 4:30 pm, free) * April 5 Mark McMorris & Elizabeth Willis (Unitarian Center, 1187 Franklin, 7:30 pm, $5) * April 19 Ernesto Cardenal (The Women's Building, 3543 18th Street, 7:30 pm, $5-10) * April 28 (Saturday) Euro-SF Poetry Festival (Unitarian Center, 1187 Franklin, 7:30 pm, $5) w/Katarina Frostenson (Sweden), Tor Obrestad (Norway), Lutz Seiler (Germany), & Taylor Brady (San Francisco) * May 3 Cole Swensen & Elizabeth Robinson (Poetry Center, 4:30 pm, free) Poetry Center Book Award reading * May 10 Student Awards Reading (Poetry Center, 4:30 pm, free) * May 17 Stefania Pandolfo & Leslie Scalapino (Unitarian Center, 1187 Franklin, 7:30 pm, $5) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D LOCATIONS THE POETRY CENTER is located in Humanities 512 on the SW corner of the San Francisco State University Campus, 1600 Holloway Avenue 2 blocks west of 19th Avenue on Holloway take MUNI's M Line to SFSU from Daly City BART 28 MUNI bus or free SFSU shuttle THE UNITARIAN CENTER is located at 1187 Franklin Street at the corner of Geary on-street parking opens up at 7:00 pm from downtown SF take the Geary bus to Franklin THE UC BERKELEY ART MUSEUM is located at 2625 Durant Avenue in Berkeley, near Bowditch parking in the pay-lot on Bancroft opposite the museum from Downtown Berkeley BART walk 2 blocks south on Shattuck, 3 blocks east on Bancroft or take the 51 bus to Durant & Bowditch THE WOMEN'S BUILDING is located at 3543 18th Street between Valencia & Guerrero parking in the pay-lot at 16th below Valencia from 16th St BART walk 1 block west, 2 blocks south on Valencia then west on 18th READINGS that take place at The Poetry Center are free of charge. Except as indicated, a $5 donation is requested for readings off-campus. SFSU students & 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 Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State 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: Mon, 26 Feb 2001 16:36:33 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: Homage to Joe BRAINARD, Sunday March 4th, 2:00-5:00 pm Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable P O E T R Y C E N T E R 2 0 0 1 The Poetry Center & American Poetry Archives with the UC Berkeley Art Museum presents HOMAGE TO JOE BRAINARD Six poets: featuring KENWARD ELMSLIE, RON PADGETT, ANNE WALDMAN, BILL BERKSON, DICK GALLUP & BARBARA GUEST Sunday afternoon March 4 2:00-5:00 pm free with museum admission Special Location @ UC Berkeley Art Museum Theater (2625 Durant Avenue, Berkeley) presented by UC Berkeley Art Museum, co-sponsored by The Poetry Center JOE BRAINARD--painter, collagist, book-artist, author of the incomparable poetic opus I Remember--will be remembered by his poet friends at this special event in Berkeley, in conjunction with the first museum retrospective of his work. Joe Brainard: A Retrospective, curated by Constance Lewallen, runs from February 7 thru May 27 at the UC Berkeley Art Museum. Brainard was born in Arkansas in 1942, and grew up in Tulsa, Oklahoma, moving to New York after graduating from high school--where he became affiliated and associated ever after with the New York School poets, collaborating on many publications and one-off collaborations. He died, from AIDS-related pneumonia, in 1994. Readings by the poets, introduced by Robert Hass, will be followed by a discussion facilitated by Ms. Lewallen. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D COMING UP: * March 1 Semezdin Mehmedinovic' & Ammiel Alcalay (free public conversation @ Poetry Center, 4:30 pm; reading @ Unitarian Center, 1187 Franklin, 7:30 pm, $5) * March 15 Benjamin Friedlander & Horace Coleman (Poetry Center, 4:30 pm, free) * March 29 Milton Murayama (Poetry Center, 4:30 pm, free) * April 5 Mark McMorris & Elizabeth Willis (Unitarian Center, 1187 Franklin, 7:30 pm, $5) * April 19 Ernesto Cardenal (The Women's Building, 3543 18th Street, 7:30 pm, $5-10) * April 28 (Saturday) Euro-SF Poetry Festival (Unitarian Center, 1187 Franklin, 7:30 pm, $5) w/Katarina Frostenson (Sweden), Tor Obrestad (Norway), Lutz Seiler (Germany), & Taylor Brady (San Francisco) * May 3 Cole Swensen & Elizabeth Robinson (Poetry Center, 4:30 pm, free) Poetry Center Book Award reading * May 10 Student Awards Reading (Poetry Center, 4:30 pm, free) * May 17 Stefania Pandolfo & Leslie Scalapino (Unitarian Center, 1187 Franklin, 7:30 pm, $5) =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D LOCATIONS THE POETRY CENTER is located in Humanities 512 on the SW corner of the San Francisco State University Campus, 1600 Holloway Avenue 2 blocks west of 19th Avenue on Holloway take MUNI's M Line to SFSU from Daly City BART 28 MUNI bus or free SFSU shuttle THE UNITARIAN CENTER is located at 1187 Franklin Street at the corner of Geary on-street parking opens up at 7:00 pm from downtown SF take the Geary bus to Franklin THE UC BERKELEY ART MUSEUM is located at 2625 Durant Avenue in Berkeley, near Bowditch parking in the pay-lot on Bancroft opposite the museum from Downtown Berkeley BART walk 2 blocks south on Shattuck, 3 blocks east on Bancroft or take the 51 bus to Durant & Bowditch THE WOMEN'S BUILDING is located at 3543 18th Street between Valencia & Guerrero parking in the pay-lot at 16th below Valencia from 16th St BART walk 1 block west, 2 blocks south on Valencia then west on 18th READINGS that take place at The Poetry Center are free of charge. Except as indicated, a $5 donation is requested for readings off-campus. SFSU students & 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 Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State 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: Mon, 26 Feb 2001 20:11:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brandon Barr Subject: Re: Angel of Soliloquy In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I agree that Stefan's poem pushes the glass ceiling of Flash animation (it is more impressive than I, in my present graphic art-anemic state, could ever hope to be), but the potentialities of digital poetry are just beginning to be approached. After all, while computer animations do improve in speed-of-creation, cost-of-creation, and logistics-of-dissemination over video and film poetry, there is nothing inherently "new" about Flash's animation capabilities (except the fact that its vector-based operations drastically reduce file sizes. Still, Flash seems to me to be the best tool for interactive poetry construction. The problems with HTML from a literary standpoint have been long bemoaned by various fiction writers and critics who all seem to agree that Storyspace has HTML beat. As far as poetry goes, the main problem I see with HTML is that it does not offer a poet adequate control over the temporal elements of their work, especially between elements. As Philippe Bootz has noted, works can vastly differ dependent entirely on the reader's machine (a work can be affected by everything from CPU speed to bandwidth). In general, this does not effect web-based fiction, but to a poet concerned with the musicality of their interactive piece, "linking time" becomes an issue of rhythm. For the first time, (and I know I sound much like Olson here) a poet can, with Flash, have complete "scoring" control of their interactive work in a way only approximated in HTML (this is an issue I'm currently exploring in an article called, appropriately enough "The Digital Projective"). Flash brings capabilities formerly only available in programs like Hypercard to a cross-platform web-based audience. The temporal issue is an important one, especially for poets who are less inclined toward the Concrete side of experimentalism. It only gets stickier with when begins look at potentialities for virtual 3d (VRML) writing spaces (see Matt Kirschenbaum's "Lucid Mapping" or Aya Karpinska's "Ex-Statis" for examples). How can a poet control time between elements and still allow for the explorative possibilities of 3d textual landscapes? As we explore new space, I'm not sure we can't forget time--aren't they intimately related? Brandon Barr barr@mail.rochester.edu >The WWW wasn't promising anything >innovative, then, at all if the innovations had already happened elsewhere, >right? Perhaps that is your point, and it is a point that I certainly agree >with. One large exception (there's always an exception) is the animated >poem, a fine example is Brian Kim Stefans' Dreamlife of Letters >(http://www.ubu.com/contemp/stefans/dream/index.html). Animated poetry >makes a naive promise in light of what I am describing, but one that >actually becomes more and more fulfilled and attainable, and it ceases to be >so naive, as it insists upon and invents its own reality. Much kudos to >Brian for taking this reasonable possibility to a place very close to >perfection. Internet technologies actually made it easier for people who >didn't have much $$$ to easily animate text, and make animations of all >kinds of course. But as you may be implying, people were already writing, >and already able to draw, well before the internet, and were innovating >outside of it. > >I believe the particular promises you describe was shallow, naive, and did >not look for expression in light of the potentiality of the internet. The >potentiality of a thing is crucial; the acorn becomes the tree, but not the >squirrel. Such promises were naive when promised and, I believe, were bound >to be unfulfilled. I still believe that most literary works on the internet >seem to be unwitting aleatory practices. But like Brian's design linked >above, and some others below, it can actually be deliberate, well-crafted, >and make some radical formal departures from the poetics a the >before-internet age. Mostly, though, the success of these poetries are >really either evolutionary or critical, but not revolutionary. > ========================================================================= Date: Tue, 27 Feb 2001 09:14:55 -0500 Reply-To: jls@marianneboeskygallery.com Sender: UB Poetics discussion group From: Jay Sanders Subject: Poetry Plastique screening MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit MORE EVENTS! Thursday, March 1, 8pm Anthology Film Archives 32 2nd Ave, NYC (at 2nd Street) Presented in coordination with the Marianne Boesky Gallery on the occasion of the exhibit, Poetry Plastique (2/9-3/10). "This selection of films all feature writing--primarily writing that becomes poetic text and has a density and complexity that supercedes any narrative function." Paul Sharits WORD MOVIE/FLUX FILM 29 Marcel Duchamp ANEMIC CINEMA Stan Brakhage NOVALIS Wallace Berman ALEPH Jonas Mekas WHEN IN THE COURSE... Plus several other films. Best, Jay Sanders