========================================================================= Date: Sat, 29 Dec 2001 13:05:59 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cadaly Subject: EVENT: Jan. 20 opening & panel: Theresa H.K. Cha MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT > THE DREAM OF THE AUDIENCE: > THERESA HAK KYUNG CHA (1951-1982) > > January 20-March 10 > Beall Center for Art + Technology > > Panel discussion January 20, 2pm, reception follows. > Studio Four- Room 209 > > University of California, Irvine > > The Dream of the Audience is a retrospective exhibition of the works of Theresa Hak Kyung Cha, an influential but little known Korean-American artist who worked in media ranging from performance, film and video to mail art and artist's books. An ongoing exploration of themes born out of personal experience-primarily those of geographic exile and cultural and linguistic displacement-Cha's complex work is distinguished by multiple cultural references and languages, including Korean, French and English. The exhibition will feature extensive documentation of Cha's performances, video and film installations, sculpture, artist's books, works on paper and documentation relating to the unfinished film White Dust from Mongolia, which Cha was working on at the time of her murder in New York in 1982 at the age of 31. The show also will include an on-line presence. > > Cha moved with her family from Korea to San Francisco in 1964 and > eventually received four degrees from UC Berkeley - a B.A. (1973) in comparative literature, and a B.A. (1975), M.A. (1977), and M.F.A. (1978) in art practice. During the last two years of her short life she lived in New York, where she created her final work, the book Dictée. An altogether original conception and remarkable in its scope for a young artist, Dictée combines family history, auto-biography, stories of female martyrdom, poetry, and images, and touches on all the major themes of her work: language, memory, displacement, and alienation. > > Cha has been described as strong, fragile, ambitious, reticent, > emotional,disciplined, tragic, funny, hypersensitive, pure, and intelligent. She was probably all of these. How she and her work might have developed and changed we will never know. > > > On the occasion of the opening of the exhibition, "The Dream of the > Audience," an interdisciplinary panel of distinguished speakers will > present a multi-faceted discussion of the work of Theresa Hak Kyung Cha. Her work has become increasingly important and relevant to a broad range of disciplines--from ethnic studies, Asian American Studies, and women's studies to film, literature, and linguistics, as well as visual and performance and art. > > Panelists include: > Laura Kang, UC Irvine, > Elaine Kim, UC Berkeley, > Lisa Lowe, UC San Diego, > Ann Pellegrini, UC Irvine > > The Dream of the Audience: Theresa Hak Kyung Cha (1951-1982) has been > organized by the University of California, Berkeley Art Museum and > Pacific Film Archive. > Special thanks to The Beall Foundation and the Claire Trevor School of > the Arts, University of California, Irvine. > > > Beall Center Hours: > Tues.-Sun., noon-5 pm; Thurs., noon-8 pm. > Admission is free; closed Mondays. > 949.824.6206 ========================================================================= Date: Sat, 29 Dec 2001 17:03:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Kimmelman, Burt" Subject: NYC Book Party - Augustine and Fink - Marsh Hawk Press MIME-Version: 1.0 Content-Type: text/plain Marsh Hawk Press invites you to a reading and reception for GOSSIP by Thomas Fink and ARBOR VITAE by Jane Augustine. Wednesday, January 16th, 6 to 8 PM. Teachers & Writers Collaborative, 5 Union Square West, 7th Floor, NYC. Marsh Hawk Press takes its name from the strong, independent, wide-ranging bird found everywhere in America's open spaces, and not too close to solid, built-up ground. Our books present forms and sensibilities that have assimilated modern and post-modern traditions but expand from these without political or aesthetic bias, outside of "schools" yet with affinities to the visual arts. Making use of the most up-to-date technology, we aim to produce handsome, affordable books to sustain readers of poetry. Five volumes will appear in 2001-2002 with at least five to follow in the next year. Please visit the Marsh Hawk Press website: marshhawkpress.org. Upcoming books by Sandy McIntosh, Stephen Paul Miller, Burt Kimmelman and Fred Caruso, Ed Foster, Sharon Dolin, Harriet Zinnes, and others. ========================================================================= Date: Sat, 29 Dec 2001 20:40:41 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: Why grammar is the first casualty of war MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=ISO-8859-1 Content-Transfer-Encoding: 8BIT from www.straightgoods.com Why grammar is the first casualty of war By Terry Jones, Monty Python member, writer and performer (Filed: 01/12/2001) WHAT really alarms me about President Bush's "war on terrorism" is the grammar. How do you wage war on an abstract noun? It's rather like bombing murder. Imagine if Bush had said: "We're going to bomb murder wherever it lurks. We are going to seek out the murderers and the would-be murderers, and bomb any government that harbours murderers." The other thing that worries me about Bush and Blair's "war on terrorism" is: how will they know when they've won it? With most wars, you can say you've won when the other side is either all dead or surrenders. But how is terrorism going to surrender? It's hard for abstract nouns to surrender. In fact it's very hard for abstract nouns to do anything at all of their own volition - even trained philologists can't negotiate with them. It's difficult to find their hide-outs, useless to try to cut off their supplies. The bitter semantic truth is that you can't win against these sort of words - unless, I suppose, you get them thrown out of the Oxford English Dictionary. That would show 'em. Admittedly, the Second World War was fought against fascism. But that particular abstract noun was cunningly hiding behind the very real Nazi government. We simply had to defeat Germany to win. In President Bush's war, there is no such solution. Saying "We will destroy terrorism" is about as meaningful as saying: "We shall annihilate mockery." Moreover, in its current usage, terrorism cannot be committed by a country. When America bombed a Sudanese pharmaceutical factory under the impression that it was a chemical weapons establishment, that was stupid. But it was not an act of terrorism because the US Government did it officially. And it apologised for it. That's very important: no self-respecting terrorist ever apologises. It's one of the few things that distinguishes legitimate governments from terrorists. So, it was difficult for President Bush to know whom to bomb after the World Trade Centre outrage. If Bermuda had done it, then it would have been simple: he could have bombed the Bahamas. It must have been really irritating that the people who perpetrated such a horrendous catastrophe were not a nation. What's more, terrorists - unlike a country - won't keep still in one place so you can bomb them. They have this annoying habit of moving around, sometimes even going abroad. It's all very un-American (apart from the training, that is). On top of all this, you have no idea who the terrorists are. It's in their nature not to be known until they've committed their particular act of terrorism. Otherwise, they're just plain old Tim McVeigh who lives next door, or that nice Mr Atta who's taking flying lessons. So, let's forget the abstract noun. Let's rename this conflict the "war on terrorists"; that sounds a bit more concrete. But, actually, the semantics get even more obscure. What exactly does President Bush mean by terrorists? He hasn't defined the term, so we'll have to try to work out what he means from his actions. Judging by those actions, the terrorists all live together in "camps" in Afghanistan. Presumably, they spend the evenings playing the guitar and eating chow around the campfire. In these "camps", the terrorists also engage in "training" and stockpiling weapons, which we can obliterate with our cluster bombs and missiles. Nobody seems to have told the President that the horrors of September were perpetrated with little more than a couple of dozen box-cutters. I suppose the US could bomb all the stockpiles of box-cutters in the world, but I have a sneaking feeling that it's still not going to eradicate terrorists. Besides, I thought the terrorists who crashed those planes into the World Trade Centre were living in Florida and New Jersey. I thought the al-Qa'eda network was operating in 64 countries, including America and many European states - which even President Bush might prefer not to bomb. But no: the President, Congress, Tony Blair and pretty well the entire House of Commons are convinced that terrorists live in Afghanistan. And what is meant by: "We mustn't give in to the terrorists"? We gave in to them the moment the first bombs fell on Afghanistan. The instigators of September 11 must have been popping the corks on their non-alcoholic champagne. They had successfully provoked America into attacking yet another poor country it didn't previously know much about, thereby creating revulsion throughout the Arab world and ensuring support for the Islamic fundamentalists. Words have become devalued, some have changed their meaning, and the philologists can only shake their heads. The first casualty of war is grammar. This is an edited version of an essay by Terry Jones, extracted from Voices for Peace: an Anthology (Scribner, £7.99) published in aid of Warchild. ========================================================================= Date: Sat, 29 Dec 2001 12:08:00 -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 / housepress Subject: housepress has moved online! MIME-version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7BIT Please excuse my mass email but housepress online has moved (and this will be the last tme, i promise) derek beaulieu / housepress can now be reached at: derek@housepress.ca and the new URL for the housepress website is: www.housepress.ca please update your address books, webiste links, and if i am subscribed to any listservs thatyou administer please change my subscription information to add this address and to remove all of my previous addresses (housepress@shaw.ca, housepress@home.com, housepre@telusplanet.net, etc etc) and feel free to send a test message if youd like. thanks - and happy new year! derek derek beaulieu housepress 1339 19th ave nw calgary alberta derek@housepress.ca www.housepress.ca ========================================================================= Date: Sun, 30 Dec 2001 01:25:49 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Title: Nine Points of the Phenomenology of Painting ( Comment) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Alan. As ever I'm fascinated by this. Is this the intersection of or one of the "nodes" of your shorter and longer waves? Good - interesting - the way you "analyse" the painting and the painting alsomost tlks to the "reader" ...obliquely it reminded me of Kafka's thing about a thing building and rebuilding a defence in a burrow...although that was just something that occurred to me...I like the "Cartesian fetishization of the real" ..... an inteesting take on phenomenom and reality art writing etc: I still havent had time (you put so much on!!) to study your CD etc and have a good peruse but the pieces that are coming out are always interesting or different. At least you're doing things instead of announcing awards or books or readings: getting on with the job. Peoplemight critique you but meantime you've probably produced another 10 works! Good on you. Best for the New Year Alan etal on The List. Richard. ----- Original Message ----- From: "Alan Sondheim" To: Sent: Saturday, December 29, 2001 10:45 PM Subject: Title: Nine Points of the Phenomenology of Painting > - > > > Title: Nine Points of the Phenomenology of Painting > > > "Title: "the canvas is an indeterminate size, sufficiently large to occupy > a fair proportion of the viewer's angle of vision. color and textual > attributes are also indeterminate, irrelevant, peripheral" Oil on white > canvas, black text in imitation of courier." this title affixed to white > label, traditionally placed to the left of the painting at an indetermin- > ate distance. beneath: "THESE ARE THE FIRST ERRORS." description of > painting: "Oil on white canvas, black text in imitation of courier." Text > rescued from the painting: > > Upper left: "i reside here, huddled in flight within the corner. it's > comfortable but requires energy, continuous maintenance. one false slip > and i crash. this is half-wrecking zone, half-home. no one imagines i'm > here; it's safe. someone or something else ... requires the same amount of > energy ... has no place to huddle ... out in the open ... who knows " > > Upper middle: "this is impossible, all this energy; i'm sliding back and > forth; you can't get to me; you can't find me; you know i'm not cornered; > i can never be cornered; this is the sky, the heavens, the empyrean; this > isn't the corner; the corner's always artifice; the corner takes a > different kind of energy, a push; here it's towards the vertical; i'm > always heading up, against the edge; the edge is a horizontal line" > > Upper right: "The edge is a point. The edge is one-dimensional. I gather > towards the point. The point is natural; it's origin. It takes energy to > remain in the vicinity of the point. The point marks the edge of the roof. > This is a roof, neither sky nor heaven. You can always find me by my > coordinates. This is the Cartesian fetishization of the real. This is the > last of the systems of defense." > > Middle left: "I'm against the margin, the margin is a line, a vector, the > margin points to the roof, the sky, the pole at pagoda center, I'm there, > rubbed raw against the Thing, vertical and human, walking, not fucking, at > attention, not supine, nothing's beyond the left; nothing's left of it." > > Center: "there's nowhere, there are names and no names, there are things > and no things, there's nothing to grasp, i'm naked, vulnerable, you can > see all of me, you can see through me, i'm the punctum of representation, > this is the vanishing-point of the phenomenology of the real, arms and > legs, mountains and valleys, waters and locomotives, herons and pagodas in > all directions, frameworks and annihilations, states and processes, trans- > formations, the name leaks, suppurations, double dimensions, i'm sliding > in every direction, i can't see the lines or points, a spread or stain, > splayed or residue, abject, the stigmata of effacement of the other, the > strategic game, i.e. the location of the game, played out" > > Middle right: "This is it - the vertical body - compressed against the bar > of the real - there's a bit of support for it - the vertical dimension, > hierarchy - the frame's holding - always aware of the frame - this could > be an infinite plane extending from here - imagine the possibilities - > lungs and breathing - in the distance - nothing at all - I remember the > center - I couldn't work there - couldn't begin or end there - all that > blanked space - nothing - but here - there's a moment of parallel - every > point has that - moment of perpendicular - the same - whole pencils of > lines - filling in the interstices - cubisms of all sorts - spectacles of > abstraction - styles - genres - I'm safe here - I could go on and on - " > > Lower left: "she's down in the corner... she's there with him... they're > so safe... they're sleeping... look at them sleep... they can do anything > here... this holds the rest of the image... this is the source of all rep- > resentation... this doesn't have to do anything... this can't do anything > ... another of the zero-dimensionals... they're fucking now... now they're > drinking... they're whispering... i can almost hear them... they don't > have to maintain anything... they're not sliding anywhere... they're > cuddling... they're quiet and serene... they're at rest... they're holding > their own... garnering sweetness and light... " > > Lower middle: "What are you thinking of? We're sliding back and forth? > We're the base of all things! We're the foundation! What are we going to > do? Is this the horizon at your foot? This is the foreground of every > world! This is the earth against the ungraspable mysteries reaching > upwards beyond the possibility of body, organism, original face! Are you > claiming essentialism? Wouldn't this be essentialism, if such, if any, > were the case? Of course, still it takes energy to hold on! It takes a bit > of energy to avoid sliding to the point! Isn't the point zero? Isn't the > point nothing at all? Look, an animal! Look, names and contours! Look, all > sorts of things?" > > Lower right: "outlaw grasps of forms and substances, crashed caches of > brushstrokes and inscriptions, compression algorithms of conversations and > languages: LOOK WE'RE SAFE HERE TOO: the wall of the work where the > signature sits: HERE: anywhere but there are expectations: IT'S CROWDING > US OUT: what is: the names: all the names: but they're safe, the store- > house: store-house of the real: something else, something else: I'LL LOOK > IT UP; demarcation one again of origins: IT SAYS HERE AS AN AFTERTHOUGHT: > one moment, one moment: " > > lit from an indeterminate distance, THIS IS AN ERROR, in consideration of > the canvas - nevertheless, it's there _to be read_ as if there were an > adjudicated syntax, acceptable, beyond which the world is differend. > > > _ > ========================================================================= Date: Sun, 30 Dec 2001 02:00:01 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: My Life -- Bin vs Bond MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Geoffrey. Point taken: better as a kind of etoliated James Bond [ by the way some book dealers pay 1000 British pounds just for the dust wrappers of James Bond books!]...we seem to need "heroes" (not only the movie industry's "fault" you can blame Homer etc). True Martin Luther was a great man: Bin is a bit vague about what he wants although I think we should try to understand why such as him arise ... its not all over, by the way you said dominate the word! Very good. Bush etal seem to want that: the world and the word...there no obviously "bad" nations but the capitalist-Imerialist system is still (deep down) very frightened that the protests and the various wars will lead to a real worker's state: ultimately if we survive a possible nuclear holocaust we need a real democracy not the phoney stuff that exists every where ( not just pointing at the US: also India and others ) ..bin Laden, much to the infuriation of Rumsford IS probably becoming a hero to millions of young men throughout the world: not that he is is or is not courageous or even good: its what he sems to represent: put it this way, we all hate authority, and the US-British hegemony (and the oher Western antions) are like the Policemen of the World: the ones we fear but love to hate (yet sometimes we call on them for help) ( a kind of Freudian love-hate thing ) ... So some young man in Beverly hills with two Phds in electronics or whatever will be sitting alone (he never ventures out) and plotting (not to be a boring old serial kiler who listens to weird music and rapes Hemmingway's daughter (!) (forget the name of the film)) but a Great Terrrorist on the bin Laden model...who was the CIA's Frankenstein!!! But eg to be able to "get inside " bin Laden would take someone of the immense power of a Faulkner: that great American writer...one of the greatest writers ever... not a Joyce: he was too timid (if not also an equally great writer...)(if we can talk about great writers)...truth is stranger ... oh well, I must get back to doing some actual writing rather than all this "reality" how did Allan describe reality in his latest "poem" ...? Or is bin a bit of a Lawrence of Arabia type? (Movies again this time.) The US badly needed to humiliate bin-Baby: capture and humiliate, but like Hitler and some of the 'baddies' in Fleming, he's escaped - like Moriarty in fact! - nearly become a maytr - contrast Mussolini (who was actually shot in a field then after hung upside down) that's very bad publicity to end up upside down: he let the side down: I mean down...but Hitler still fascinates: evil fascintes as much as "good" witness Darth Vader, and Milton giving so much space to Saint Nick: and Blake's "The Devil is Eternal Energy"... Dangerous these poets (was it Plato who warned against poets?): powerful and hurtful the Word: the Logos..... Why write poems when the reality outside is like a bizarre dream: more fantastic than Shakespeare's "Macbeth" or " The Tempest".... Strange word. Words. World. Worlds? Regards. Best for the New Year, Richard. ----- Original Message ----- From: "Geoffrey Gatza" To: Sent: Saturday, December 29, 2001 9:06 AM Subject: Re: My Life -- Bin vs Bond > Richard, > > I can see why you see him as a Jesus figure, but to me he is more of a > James Bond foe. Larger than life while Martin Luther king is a JC figure if > any there was this century. It's the movie industry that shapes our need for > a man to turn into myth. From the days of Tinker Tailor Soldier Spy to Die > Hard, we need to have someone with vast amounts of wealth to stand up to the > word they want to dominate these days. There are no more bad nations to go > after with a global economy, one needs to be independent once the globe has > been ought over and won. So with bigger bombs and spy networks developing > one would figure would arise to form a Dr. No, or a Goldfinger. But we don't > have a James Bond, nor does Tony Blair, who I love - he's like a Thatcher in > drag - but that's not my point. > > > Best, Geoffrey > > > Geoffrey Gatza > editor BlazeVOX2k1 > http://vorplesword.com/ > __o > _`\<,_ > (*)/ (*) > > -----Original Message----- > From: UB Poetics discussion group > [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of richard.tylr > Sent: Wednesday, December 26, 2001 7:41 PM > To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > Subject: Re: My Life Message to Bin > > Bin Laden seems to me like a prophet... a kind of modern Jesus Christ and > he seems to talk poetically and enigmatically...a kind of gentle and > langorous version of Che Guevara whose book (about him) i carried aroound > and never read: I liked the idea of revolutionaries and revolutions > especially as a 20, 21 year old...never got as far as going to Vietnam like > the young man who joined the Al Qaeda...like Christ he (bin baby I mean) > will probably inspire a cult which could even turn into a religion: not > sure if I could become a Muslim but I would if Bush and Mr Wolf started a > big campaign against Muslims and banned that religion...mind you I'm a loner > I dont like joining things...just like the idea of big buildings crashing > down and explosions but then I suppose its a left over from watching all > those war movies ( from Amerika) in the 50s eg "The Battle of the River > Plate" (wow one ship coped in the magazine and the whole ship blew up!) and > "To Hell and Back" (with Eddie Murphy) and ones in which the Koreans > (Koreans?) were always the evil slant-eyed ones we loved to see blasted > heroically (heroically?) from the skies (they always flew Migs), and then > those cowboy movies when we always all cheered as children when the cavalry > arrived to save them from the frightening Red Indians, and there was always > Pop Eye with his spinach and The Three Stooges... > > But do you think that old bin baby would be interested in me poetry? Anyway > as I say i like the idea of bin Laden: maybe that's all he is, an idea...but > I hope not: could you pass on my regards? Cheers, Richard. > ----- Original Message ----- > From: "Murat Nemet-Nejat" > To: > Sent: Friday, December 21, 2001 7:26 PM > Subject: Re: My Life > > > > In a message dated 12/20/01 11:11:48 PM, richard.tylr@XTRA.CO.NZ writes: > > > > >Murat. Thank you. At last: but would you immediately shred it or read it > > >or > > > > > >translate it to bin Laden to send that gentleman insane if he's NOT a > > > > > >computer generated graphic? Cheers, Richard. > > > > Richard, > > > > I would definitely read it and then send it to Bin Laden with a little > note: > > to a fellow artist ... > > > > Cheers. > > > > Murat > ========================================================================= Date: Sun, 30 Dec 2001 02:07:58 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: My Life Message to Bin MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Of course he's probably not: he doesnt need to be: he'll be made into a prophet!! but that doesnt matter: its the very fact of the IDEA of bin Laden: the US badly need to humiliate him (the Roman's understood that pocedure but they thougth that Christ was just another nut case probably) otherwise he becomes a martyr: there's a big nazi movement in Europe now and it would have helped had Hitler been captured and "humiliated" (like Mussolini was) but Adolf was one of those figures - like Marlow's Tamburlane - who is great BECAUSE of the terrible things he did, and because he kind of "disappeared": no one emembers how he died or even what he was on about: it doesnt matter ... he fascinates: Bush by contrast and Blair are boring as well...weak tea. Cheers, Richard. ----- Original Message ----- From: "Duration Press" To: Sent: Saturday, December 29, 2001 7:20 AM Subject: Re: My Life Message to Bin > laden, it seems to me, is neither the fierce warrior he is made out to be, > nor, as richard here thinks, a prophet...rather a capitalist renegade > bankrolling an organization whose activities he can't really participate in > other than in the position of cfo...i'm reminded of that oft played footage > clip of him firing the rifle & thought how awkward he looks both holding the > gun, & how fragile he seems when the gun is fired...not much chance of that > man on the front lines i'm afraid...i guess jihad is a wonderful idea when > your job is to tell others to do the fighting... > > > ----- Original Message ----- > From: "richard.tylr" > To: > Sent: Wednesday, December 26, 2001 7:40 PM > Subject: Re: My Life Message to Bin > > > > Bin Laden seems to me like a prophet... a kind of modern Jesus Christ and > > he seems to talk poetically and enigmatically...a kind of gentle and > > langorous version of Che Guevara whose book (about him) i carried aroound > > and never read: I liked the idea of revolutionaries and revolutions > > especially as a 20, 21 year old...never got as far as going to Vietnam > like > > the young man who joined the Al Qaeda...like Christ he (bin baby I mean) > > will probably inspire a cult which could even turn into a religion: not > > sure if I could become a Muslim but I would if Bush and Mr Wolf started a > > big campaign against Muslims and banned that religion...mind you I'm a > loner > > I dont like joining things...just like the idea of big buildings crashing > > down and explosions but then I suppose its a left over from watching all > > those war movies ( from Amerika) in the 50s eg "The Battle of the River > > Plate" (wow one ship coped in the magazine and the whole ship blew up!) > and > > "To Hell and Back" (with Eddie Murphy) and ones in which the Koreans > > (Koreans?) were always the evil slant-eyed ones we loved to see blasted > > heroically (heroically?) from the skies (they always flew Migs), and then > > those cowboy movies when we always all cheered as children when the > cavalry > > arrived to save them from the frightening Red Indians, and there was > always > > Pop Eye with his spinach and The Three Stooges... > > > > But do you think that old bin baby would be interested in me poetry? > Anyway > > as I say i like the idea of bin Laden: maybe that's all he is, an > idea...but > > I hope not: could you pass on my regards? Cheers, Richard. ========================================================================= Date: Sun, 30 Dec 2001 02:10:31 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: "New Poet" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Vernon. That's true the different: better or worse is a stupid concept. Good points you make. Best for the New Year. Richard. ----- Original Message ----- From: "Vernon Frazer" To: Sent: Saturday, December 29, 2001 9:26 AM Subject: Re: "New Poet" > I like the idea of "we're different, not better or worse." > > Sometimes reading a writer from a "different" group teaches me a technique I > find useful in my own writing. Ishmael Reed is a good example. > > As a person with a "disability" (Tourette Syndrome), I work hard enough at > writing to expect my work to be judged on its merits, not my neurological > condition. Nevertheless, I find that my condition influences my use of the > page as much as my reading of Olson, to cite one example. I've also found > that my condition gave me certain abilities that offset its disadvantages. > My surplus dopamine enabled me to complete my work ahead of my co-workers > and sneak in some writing time at the office.) > > People need to express themselves, whether they're disabled or not. Some of > them will become full-time writers, others will write simply to purge their > feelings. I make a distinction between a person who writes one crude draft > and feels good afterward, and a person who polishes the draft to a > professional piece of work. For some people writing is art, for others it's > therapy. As long as the person knows the difference, I don't have a problem. > > I don't begrudge people with disabilities their publication in the > newsletters of organizations that serve them. Much of the writing I read in > this vein is badly-rhymed "poor me" poetry that readers find heart-warming. > I just wish the same organizations would give more support to the people who > can articulate their condition better. But then, we (or I) might not be > saying what the organizations want to hear. > > Vernon Frazer > > > > > > ----- Original Message ----- > From: "michael amberwind" > To: > Sent: Thursday, December 27, 2001 11:43 AM > Subject: Re: "New Poet" > > > > Beethoven went deaf, Dante was blind, and > > according to rumour, so was Homer. There were no > > social programs for these people. They do not > > continue to be studied over the centuries because > > of their "special interest" status, but because > > of what they *said*. > > > > I think it is condescending to grant some sort of > > special dispensation based on disabilities, > > especially in literature, which is arguably one > > of the most level playing fields there is. > > > > It is not a question of of conforming to socially > > accepted norms. If a deaf poet puts on a > > performance for the deaf, they have conformed to > > a set of normalised expectations, namely those > > within the deaf community. > > > > We seem to have the idea that everyone can and > > should be able to do everything. There *are* > > things the handicapped cannot do. That's what > > *makes* them handicapped! > > > > Were I too lose my arms, legs, hearing and > > eyesight in the next five minutes, I would still > > expect that anything I write be judged against an > > "objective" standard. If I had to talk into a > > tape recorder, then so be it. > > > > Of course we are dealing with not art and > > aesthetics anymore, but political correctness. > > There is truth in what Harold Bloom calls "the > > literature of resentment". I prefer to think of > > it as an utter lack of commonsense. > > > > A poem may or may not be interesting in the > > context in which it was written, but that should > > not be the final criteria. > > > > >>Date: Wed, 19 Dec 2001 21:23:26 -0500 > > >>From: Millie Niss > > >>Subject: Re: "New" Poet > > > > >>You said I said: > > > > > > 2. UNIFORM STANDARDS FOR ALL POETRY REGARDLESS OF > > AGE > > OR DISABILITY (OR GENDER? OR EDUCATIONAL LEVEL? > > OR > > CLASS? ETC.?) > > > > Coming from Millie, that gives me pause. But, > > again, > > I have to re-translate it: > > > > If the sick wish to advance the social > > assimilation of > > their fellow disabled, they should conform to > > socially > > accepted norms. > > > > Am I misrepresenting the thought? > > > > It's better for the disadvantaged or special > > caste to > > ~impersonate~ the privileged majorities, in order > > better to promote inclusion of their group? > > ------- > > > > You didn't misstate what I said but you lost the > > context, which was that > > "sadly" this is true. I also said that > > logically, if we wanted to prove > > that we aren't morons by writing poetry, we > > should only have to write the > > poetry average people who are not morons write, > > which generally isn't very > > good (to use a loaded term, of course). > > > > I think it is silly to make poetry-writing the > > center of a claim that > > disabled people are as worthy of respect or love > > or care as other people. > > All people are worthy of respect, etc., by virtue > > of being human, and there > > are certainly som ediability groups whoo can > > never write as good poetry as > > non-disabled folks (say people who are multiply > > handicapped and can neither > > move nor speak and are mentally retarded (one > > hopes these people have > > extremely sever mental deficiencies because if > > they are even conscious of > > existing it must be hellish)). > > > > A lot of times minority groups claim to have a > > culture of their own and want > > not to be judged by the standards of the > > majority. Perhaps a group very > > invested in this idea wouldn'ty want to compete > > in the field of poetry > > because it isn't their domain. Or they would > > have a poetry so different > > from ouirs that we couldn't understand it. > > Recently, disability groups have > > made use of the "we're different, not better or > > worse" idea. The Deaf (who > > demand the right to be capitalized) have done > > this the most, presumably > > because they share a language that non-Deaf > > people rarely if ever achieve > > fluency in. Deaf poetry does exist and it is > > incomprehensibe to non-Deaf > > people, although there are also productions which > > try to mix Deaf and > > hearing words, music, and dance. > > > > ===== > > ...I am a real poet. My poem > > is finished and I haven't mentioned > > orange yet. It's twelve poems, I call > > it ORANGES. And one day in a gallery > > I see Mike's painting, called SARDINES. > > [from "Why I Am Not A Painter" by Frank O'Hara] > > > > __________________________________________________ > > Do You Yahoo!? > > Send your FREE holiday greetings online! > > http://greetings.yahoo.com > > ========================================================================= Date: Sun, 30 Dec 2001 02:33:58 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: My Life Message to Bin MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Ah! The Romantic Comfort of Being An Armchair Revolutionary! But, I'm sure that if You're Bill of Rights was challenged then there would be plenty of people to act: they would act.... just now there's not to do .. I mean look how apidly this India - pakistan is going to "push-out" old bin from theLimelight....mind you I;ll always have a place for him in my heart of hearts. Richard. ----- Original Message ----- From: "gene" To: Sent: Tuesday, May 29, 2001 2:35 AM Subject: Re: My Life Message to Bin > Liking the idea of revolution is the romantic comfort of an armchair > revolutionary. Bush et al will not, cannot, outlaw Islam. But, what if > the Bill of Rights becomes, at least in part, a subversive document? Do > the armchair folks act? By then, it will be too late to act. > > Gene > > At 01:40 PM 12/27/01 +1300, you wrote: > >Bin Laden seems to me like a prophet... a kind of modern Jesus Christ and > >he seems to talk poetically and enigmatically...a kind of gentle and > >langorous version of Che Guevara whose book (about him) i carried aroound > >and never read: I liked the idea of revolutionaries and revolutions > >especially as a 20, 21 year old...never got as far as going to Vietnam like > >the young man who joined the Al Qaeda...like Christ he (bin baby I mean) > >will probably inspire a cult which could even turn into a religion: not > >sure if I could become a Muslim but I would if Bush and Mr Wolf started a > >big campaign against Muslims and banned that religion...mind you I'm a loner > >I dont like joining things...just like the idea of big buildings crashing > >down and explosions but then I suppose its a left over from watching all > >those war movies ( from Amerika) in the 50s eg "The Battle of the River > >Plate" (wow one ship coped in the magazine and the whole ship blew up!) and > >"To Hell and Back" (with Eddie Murphy) and ones in which the Koreans > >(Koreans?) were always the evil slant-eyed ones we loved to see blasted > >heroically (heroically?) from the skies (they always flew Migs), and then > >those cowboy movies when we always all cheered as children when the cavalry > >arrived to save them from the frightening Red Indians, and there was always > >Pop Eye with his spinach and The Three Stooges... > > > >But do you think that old bin baby would be interested in me poetry? Anyway > >as I say i like the idea of bin Laden: maybe that's all he is, an idea...but > >I hope not: could you pass on my regards? Cheers, Richard. > >----- Original Message ----- > >From: "Murat Nemet-Nejat" > >To: > >Sent: Friday, December 21, 2001 7:26 PM > >Subject: Re: My Life > > > > > > > In a message dated 12/20/01 11:11:48 PM, richard.tylr@XTRA.CO.NZ writes: > > > > > > >Murat. Thank you. At last: but would you immediately shred it or read it > > > >or > > > > > > > >translate it to bin Laden to send that gentleman insane if he's NOT a > > > > > > > >computer generated graphic? Cheers, Richard. > > > > > > Richard, > > > > > > I would definitely read it and then send it to Bin Laden with a little > >note: > > > to a fellow artist ... > > > > > > Cheers. > > > > > > Murat ========================================================================= Date: Sun, 30 Dec 2001 18:53:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuEditor Subject: New Additions to Marjorie Perloff EPC Homepage Comments: To: ubuweb MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii The following new articles have been added to Marjorie Perloff's EPC Homepage: -- Still Time for Surprises: John Ashbery's Recent Books -- Janus Faced-Blockbuster: Cary Nelson's "Anthology of Modern American Poetry" -- Dialogue on Evaluation in Poetry: Marjorie Perloff and Robert von Hallberg -- When The Saints Go Marching By: Leigh Davis' "General Motors" -- Updated CV http://epc.buffalo.edu/authors/perloff/ __________________________________________________ Do You Yahoo!? Send your FREE holiday greetings online! http://greetings.yahoo.com ========================================================================= Date: Sun, 30 Dec 2001 22:57:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Chemical Love MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Chemical Love Prolog: Well, let's get started! Let's make a gender! That ok with you? disgusts me; forget it! But anyway... Let chemical love be our primary descriptor! chemical love. taking viagra, makes me wet 574 times! But what is chemical love here, its category? Do you feel your gender is close to chemical love. :In any case, you must contact me about this... Text: chemical love:chemical love:viagra love:the chemical love of viagra:chemical love. taking viagra, a singular and misshapen element or entity. the signature of our sex: typical; other than liquidity, a sign of the dreams to come, there was no effect. at a loss and still, now typing five hours later, the memory of a dark dome out of reach, a weakness, of the very last of the last dream, that i would never move again, that my limbs had no will, no movement, a form of shuffled cloth, felt or velvet, a state close to paralysis::the dream of the first: the fish which had escaped along with a miniature gorilla, active like the crayfish who accompanied us in new york. length: over two hours. dark and utterly submerged. no sexuality; between dreams i wonder if depression affects viagra. does tumescence translate into the great black. was i faced with the kristevan thing. were there eyes.:27597:7:the dream of the second: immobilized, azure laughing at me. length: over two hours, floating body, as if cells swallowed in enormous conduits. of the dead: as if it were dead, or deadly, or unimaged, unimagined. :chemical love. taking viagra, a singular and misshapen element or entity. the signature of our sex: typical; other than liquidity, a sign of the dreams to come, there was no effect. at a loss and still, now typing five hours later, the memory of a dark dome out of reach, a weakness, of the very last of the last dream, that i would never move again, that my limbs had no will, no movement, a form of shuffled cloth, felt or velvet, a state close to paralysis::chemical love _ ========================================================================= Date: Sun, 30 Dec 2001 23:07:24 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: mIEKAL aND Subject: works for Flash 2002 Comments: To: webartery@yahoogroups.com, ubuweb@yahoogroups.com MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit mIEKAL aND / works for Flash 2002 _______________________________________________ SEEDSIGNS for Philadelpho Menezes [2001,517k] http://cla.umn.edu/joglars/SEEDSIGN/index.html FLORASPIRAE [2001, 392k] A glyphabet of plant-breath inspired by poet Armand Schwerner. http://cla.umn.edu/joglars/babelWI/animaflora.html --note on modem or slow connection you will have to wait for this to load before it will play. Cybele's AvatarPop Wilderness [2000] 6 short pieces created for an online collaborative work at Trace Online. http://cla.umn.edu/joglars/cybele/index.html mediachant: unwar world [1999, 188k] Created on the event of the Kosovo intervention. http://cla.umn.edu/joglars/o_so_vo/osovo.html _ reCURSION stereoSCAPE _ [1998, 294k] Html feedback loops. The text is the sound is the text. http://cla.umn.edu/joglars/radio_caterpillar/recursion/allthetextframe.html 30 SAMPLES FOR ORCHESTRA [1998, 477k] Conduct your own orchestra -- audio sound palette. http://cla.umn.edu/joglars/radio_caterpillar/thirtysamples/thirtysamples.html Nowhere Man [1998, 69k] collaborate filmku by mIEKAL aND, Allegra Fi Wakest, Zon Wakest & Malok http://cla.umn.edu/joglars/nowhere/man.html memexikon@mwt.net _______________________________________________ Flash 5 plugin required. http://macromedia.com/shockwave/download/ ========================================================================= Date: Mon, 31 Dec 2001 13:01:59 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: Fisher et al MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit I thought I'd follow Brian Stefans' tradition of posting "little reviews" by enclosing below a few things I wrote for my own mag, _The Gig_. These all appeared in issue #9. Issue #10 is due out soon, with an essay on JH Prynne by Charles Altieri, & poetry by Buck Downs, Gilbert Adair, Leslie Scalapino, Carla Harryman, Carol Mirakove, Tom Pickard, Martin Corless-Smith & Scott Thurston. -- Best wishes for 2002! --N Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 --- The Harmony of Mutually Divergent Things Allen Fisher, _Ring Shout._ Equipage, 2000 (c/o Rod Mengham, Jesus College, Cambridge, CB5 8BL, UK). 16pp. Allen Fisher, _Sojourns_. Wild Honey, 2001 (16a Ballyman Road, Bray, Co. Wicklow, Ireland; www.wildhoneypress.com). 21pp. $5/£3.50. Allen Fisher, _Watusi_. Spanner, 2001 (14 Hopton Road, Hereford, HR1 1BE, UK; kaa45@dial.pipex.com). 19pp. Allen Fisher, _Woodpecker_. Spanner, 2001. 4pp. Allen Fisher's large-scale project _Gravity as a consequence of shape_ has preoccupied him since the early 1980s; these four new showings, like the rest of _Gravity_, take their titles from an alphabetized list of dances (_Sojourns_ collects poems from "Running in Place" to "Shango," plus two prose texts which originally appeared in Ideas of the culture dreamed of). Some of _Gravity_'s compositional procedures can be suggested by examining part 8 of _Ring Shout_: Thighs end strain bend switch Gyrations rim digression in a grim age roaring escapable muds rim-testing the sod of a barging roster screwed to the new roarplate another motorboard rattling the screen-ledge, dog-cronic. Sonic hedgehog gene patterning of notochord, floorplate of neural tube and posterior margin of tetrapod limb buds, capable of mirror-image limb-digit duplications which extend to the brain and eyes. The bereft felt from a Hay diet relaxing into once lost sexual appetites kites and apples complex frost, once faxing the riot day from the spelt relief Out of a series of enigmatic phrases the words "Sonic hedgehog" turn out to be unexpectedly tractable: this is, as Fisher notes, "the vernacular name for the gene Shh," which "encod[es] a secreted protein signal directing patterning in the embryo." (_Notochord_: "the flexible rodlike structure of mesodermal cells that is the principal longitudinal structural element of chordates and of the early embryo of vertebrates, in both of which it plays an organizational role in nervous system development" [_Britannica_].) Not only does the stanza describe the symmetrical "mirror-image" development of the embryo: the first stanza is a mirror image of the second ("Sonic hedgehog" à "ledge, dog-cronic," &c). Such transformative techniques return in different form in the third stanza. The Hay diet is, Fisher tells us, "a system of food combining" that "avoids the mixture of starch and protein in the same meal," the brainchild of William Howard Hay (1866-1940). A distorted "original" is sometimes perceptible beneath the surface ("bereft" for "benefit"; "relaxing into" for "regaining" or "restoring"); & this already-shifted couplet is then mirror-flipped in the last two lines. Similar textual shiftings occur throughout these books. _Woodpecker_ rewrites an earlier _Gravity_ poem, "Atkins Stomp." _Sojourns_' methodology seems more various, but systematic repetitions are evident between & within poems. Just as the distorted mirror-image form of _Ring Shout_ 8 seems to hint at the themes of copying, mutation and embryonic growth (genetic research and cloning are themes that run through all four books), the two Ideas extracts suggest further analogies between physical and poetic transformative processes: Fisher notes that pulverizing mercury sulfide changes its colour from black to vermilion ("The change...isn't a chemical one, but structural"); & describes types of shear deformation and shear stress. _Watusi_'s procedures again seem extraordinarily various, but part 5.v offers one way in: Now enforce a far unfitter rasp, For clones burn to change my open needs, and rave out of nights and Gentleman's Relish paraded sleep in long silence too smashed, the sacred regiment to raise the ground in leaves of dull tongue fetter the wars and loves moralised as song rendered inexcusable in prolepsis the warning signs and flesh yield pulls as they clone to spark through song our tendered pants out throws the cited mode. This poem touches on traditional poetic rhetorics in its archaisms & evocations of love and song, but they are almost unrecognizably abraded, taken over by other languages (notably that of genetic technology). "Our tendered pants" makes its point by crossing potentially positive senses (of tenderness, of offering) with the financial sense of "tender." High-tech agriculture may "raise the ground in leaves" or raze it. Again, this poem involves textual overlay: the source for lines 1-10 (plus 5.i.8-10) is the Proem to Book I of _The Faerie Queene_. There are further interconnections: "Gentleman's Relish" recalls _Ring Shout_ 9 ("Every jar of Gentleman's Relish / Banned from the SAS annual dinner") & thus perhaps "the face of an SAS officer as she / approaches the supermarket" ("Conga," _Dispossession and Cure_, 1994). Such textual procedures raise many questions. In _Future Exiles_ Robert Sheppard says that Fisher's work "represent[s] the most serious and extensive attempt to register late-twentieth-century realities at the level of both form and content in British poetry today": that "both" bothers me somewhat, as the smooth and natural linkage implied in it seems to me unlikely. Fisher's work is seriously engaged with a whole constellation of specialist knowledges; it also attempts to formally exemplify his understanding of them in its constant skewing textual transformations. But how might these twin approaches be mutually supportive, given that one might seem to imply a kind of propositional or referential poetics which could be considered at odds with textual skews and shifts? And while I am impressed by the work's range--to read Fisher is to occupy a larger & more active world than in virtually any other current poetic practice--I want to know more about how particular juxtapositions of content might be negotiated as more than just kaleidoscopic marvels: what might join the themes of embryonic growth and a Hay diet in _Ring Shout_ 8, or (to take another instance) "Shag"'s linkage of the Coriolis effect and a tableful of salads? But I find myself increasingly respectful of, & drawn to, this body of work. I have not necessarily quoted the parts of it I like most--sometimes these are the moments where a speech-register suddenly intrudes, whether in a cry ("Stop it!"; "Please don't hurt me") or something stranger & funnier: Murky taste it firky waste drain swindled for the sake sack got it? er? went to bed on head er? anuva crop out These new poems will surely eventually be collected in a full-length volume, but these elegant chapbooks, several adorned with Fisher's own artwork, are state-of-the-art poetic bulletins: they should be read. --- [some short reviews] Cathy Wagner, _Hotel Faust_. West House Books and Gratton Street Irregulars, 2001 (order from Alan Halsey: 40 Crescent Road, Nether Edge, Sheffield, S7 1HN, UK; alan@nethedge.demon.co.uk). 17pp. 0-9531509-6-8. £3.50. Language & attitude & sexuality in these poems shift fluidly, from a child's perspective to an adolescent's to an adult's, as in these lines glancing at the familiar parental injunction about good posture: "eyes at one end cunt at the other / a swaying hurting wonder between / which is posture perfect // More glamorough / more pretooty." "Dear Friends from Lying Down" starts with three fragments--"ting // ott // s"--marked "Chicago Review or Martin Chuzzlewit, I forget," & then veers off mercurially: "My name is no longer Cathy Wagner, it is Pete, Piper Pete / Hair all over my body. A warm man. / I have a lengthy cock that weeps for / no one. Cute! and firm little balls. / And grew one vadge lip bigger than the other / that's my pout, some people have theirs adjusted / I am gorgeous and boyish lately / I have Some Nerve." The poem's last line is worthy of John James or O'Hara: "I make you a present of the elbow I'm lying on." Marvellous & disconcerting work: keep an eye out too for Wagner's forthcoming Fence book. [Footnote: since this review appeared the Fence book, _Miss America_, has come out. It includes most but not all of _Hotel Faust_, plus _Magazine Poems_ and _Fraction Anthems_. It's a terrific book.] West House also publishes _A Selection from the Works of Thomas Swan_, "edited from Worcester City Records Office MS. 8911 by Martin Corless-Smith & Alan Halsey" (19pp; 0-9531509-7-6; £3.50). Swan's dates are given as 1653-80 on the back. The reproduction of variant readings and cancellations dissolves the poems' already loose quatrains into forms more closely resembling, say, Susan Howe. A prose piece on coloured auras (!) is also printed ("Margaret is soft orange. William a fresh pale blue"). --- Alan Halsey. _Sonatas & Preliminary Sketches._ Oasis, 2000 (12 Stevenage Road, London, SW6 6ES, UK). 33pp. 1-900996-11-1. Not poems, but two series of visual work using collage techniques. The first sequence sets musical notation in play with a range of antiquarian materials; a sample caption: "Sonata for Sir Kenelm Digby and La Fille aux Yeux d'Or." The full title of the second sequence is "Preliminary Sketches Towards the Rebuilding of the Crystal Palace in the Year 2000." --- C.S. Giscombe, _Inland_. Leroy, 2001 (Renee Gladman, 1821 Filbert St, #1, Oakland, CA, 94607, leroy_years@hotmail.com). 22pp, Japanese-bound. $5 US. Beautiful, desolate, carefully sifted prose-poems set in "downstate Illinois," meditating on love, song, place and voice. The "I" of these poems never directly addresses a "you," such address only there by implication in the self's hesitancy--indeed it's remarkable how many statements in the book are qualified by the phrase "to me" ("To me half a belief's better by far or one broken into halves"). Here's "Afro-Prairie" in its entirety: "Tempting for the voice to locate its noise, to speak of or from. Everybody wants to be the singer but here's the continent. // Fielding the question, Do you like good music? // Open love. In a recurring dream about the prairie, a thin hedge--along some railroad embankment-in which there's a gap to step through again and again, for me to step through, out onto the view itself. Not the literary ballad, articulated, but out onto the continent." _Inland_ contains writing of great compression & lucidity: recommended. ========================================================================= Date: Mon, 31 Dec 2001 10:53:25 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Douglas Messerli Subject: Our best wishes Comments: To: "Undisclosed Recipients"@LISTSERV.ACSU.BUFFALO.EDU MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Green Integer=20 wishes you and your family a very joyful new year! Both Green Integer and Sun & Moon Press=20 send you our love and best wishes. Douglas Messerli ========================================================================= Date: Mon, 31 Dec 2001 15:37:52 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: The Gig #10 is out MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit [Sorry for cross-posting. Contributors will see copies in a bit over a week.] T H E G I G # 1 0 (December 2001) Fresh from the printers on the last day of 2001: issue 10 of _The Gig_. The new issue has: * poetry by Tom Pickard, Leslie Scalapino ("hell fragment," a section of her new sequence "It's go in / quiet illumined grass / land"), Buck Downs, Gilbert Adair (a section from _Syzem_, his homophonic version of Blake's _Milton_), Carla Harryman (a text in response to a composition by Jon Raskin of ROVA), Carol Mirakove, Martin Corless-Smith & Scott Thurston * an essay on J.H. Prynne and lyric autonomy by Charles Altieri * reviews of Marjorie Welish by Ian Hunt, of Lisa Robertson by Pete Smith, & of Maggie O'Sullivan, Blaise Cendrars, et al by Nate Dorward. _The Gig_ appears three times a year; it publishes new poetry & criticism from the US, Canada, UK & Ireland. Backissues are still available, notably #4/5, a 232pp perfectbound collection of essays on the work of the UK poet Peter Riley. Regular issues are 60-64pp chapbooks: see the website at http://www.geocities.com/ndorward/ for issue-by-issue listings of contents. * Rates for all issues except #4/5: within Canada: single issue: $7 Cdn ($12 for institutions); three-issue subscription (or set of three backissues): $18 (institutions $36). US subscription: $14 US (institutions $28 US). Overseas subscription: 10 pounds (institutions 20 pounds). Rates for #4/5: within Canada: $20 Cdn (institutions $40); within US: $15 US (institutions $30); overseas: 11 pounds surfacemail, 13 pounds airmail (institutions 20 pounds). (NOTE: see the deal for a combined packet of the Raworth & Riley issues, below.) All prices include postage. Make cheques out to "Nate Dorward". Write to: Nate Dorward, 109 Hounslow Ave., Willowdale, Ontario, M2N 2B1, Canada; e-mail: . Copies may be obtained within the UK through Peter Riley (Books), 27 Sturton Street, Cambridge, CB1 2QG; e-mail: . * I M P O R T A N T N O T I C E _The Gig_ 13/14: a special issue on the work of Tom Raworth A double-issue of _The Gig_ magazine is in preparation, with a planned publication date of March 2003. This will be a perfectbound book of essays on the work of Tom Raworth. Tom has published over 40 volumes of poetry and prose, and has been active for four decades as an editor, publisher, printer, visual artist, collaborator and translator; his books include _The Relation Ship_, _A Serial Biography_, _Moving_, _Act_, _Ace_, _Logbook_, _Writing_, _Clean & Well Lit_ and a selected poems, _Tottering State_ (now in its 3rd edition, from O Books). _The Gig_'s special issue will be the first substantial collection of criticism and commentary on a body of writing that has been widely influential and admired on both sides of the Atlantic and in many languages. The issue will be budgeted for 250-300pp. A tentative list of contributors: Nigel Alderman, Rae Armantrout, David Ball, John Barrell, cris cheek, Ian Davidson, Ken Edwards, Dominique Fourcade, Ben Friedlander, Lyn Hejinian, John Higgins, Anselm Hollo, Fanny Howe, JCC Mays, Anthony Mellors, Peter Middleton, Tyrus Miller, Drew Milne, Alan Munton, Ian Patterson, Marjorie Perloff, Simon Perril, Anne Portugal, Libbie Rifkin, Kit Robinson, Claude Royet-Journoud, Leslie Scalapino, Lytle Shaw, Ron Silliman, Keith Tuma, Geoff Ward, John Wilkinson and Tim Woods. _The Gig_ needs advance support to ensure the publication of this book. (It is a Canadian publication, and thus not eligible for public funding for books concerning British authors.) The advance subscription price is $20 Canadian dollars/$15 US dollars (prices includes airmail within North America); or for overseas £13/$28 Cdn (includes airmail overseas). This amount may of course be increased by anyone who wishes thus to support the venture, and such support will be acknowledged. (NB: Copies of _The Gig_'s previous double-issue are still available, a 232pp volume of essays on the poetry of Peter Riley. Advance subscribers to the Raworth volume may additionally purchase the Riley volume for a specially reduced price of $15 Cdn/$10 US in North America, or £9/$20 Cdn.) Please make out payment to "Nate Dorward," and send to: _The Gig_, Nate Dorward, 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada; ph: (416) 221-6865; email: . * Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 ========================================================================= Date: Mon, 31 Dec 2001 16:17:48 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: erratum MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit That should have been "homorhythmic" not "homophonic". I.e. Adair's text exactly reproduces the stress patterns of Blake's text. --N Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 ========================================================================= Date: Sat, 29 Dec 2001 20:21:53 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Patrick F. Durgin" Subject: resolution / new year's Mime-Version: 1.0 Content-Type: text/plain; format=flowed first, bin laden is an "artist" - then one of our correspondents chimes in with: "i just like the idea of big buildings crashing down and explosions" in recent weeks, discussion touching on the current situations has been awfully trite, perhaps dangerously so. I have counted on this list for announcements of new publications, events, and the few thoughtful and stimulating analyses of poetics and politics that slip through the cracks. Evidently I can still make the most of the list by checking in to the web archives periodically. I'm leaving the list after several years of active participation - mostly since I can't quite stomach the glibness of late ... such forums as this are opportune, but opportunism is an abuse. In parting, let me just add, glibly, that bin Laden is no more of an "artist" or innovator than Bush (Jerrold's recent post touches on the fundamental reasoning behind my statement) - I suspect there is a great deal of egoplay under Bush's skin as his first real business deal was financed by bin Laden associates - it's like a high school reunion gone horribly wrong, though not wrong enough - whatever his / their situation(s) may be, there's far more handicraft than music in those coffers - and the integrity of human bodies seems like the "lower limit speech" of music to me. How one can forward debate over the sickening tyranny of these class and military war mongers via such dismissive and ill-considered dross is beyond or, most likely, beneath me. And it is a class war - make no mistake. A race war as well. Hope the more "concerned" among you will stay tuned to Kenning as it runs its course through the first half of 2002. Peace Patrick F. Durgin KENNING | a newsletter of contemporary poetry poetics & nonfiction writing | _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com ========================================================================= Date: Tue, 1 Jan 2002 01:06:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: of the greeks MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - of the greeks 2000: 2 2 2 2 5 5 5 2001: 3 23 29 2002: 2 7 11 13 2003: 2003 2004: 2 2 3 167 2005: 5 401 2006: 2 17 59 2007: 3 3 223 2008: 2 2 2 251 2009: 7 7 41 2010: 2 3 5 67 what is the point of this useless, trivial, and murderous exercise? 2002 sticks in the maw of 7 / 11/ 13. what a terrific mouth! 2003 bottoms out, what is called a "prime" as in "steak." and 2001 comes, what? close to the grain of 23, 29? better to perform the head-first luge at 80 miles an hour down a chute than to worry about the palindromic which remains only for a year. in 6009 we will be upside-down again, better not to perform downhill ski racing which last killed a world champion smashing into the machine. the ski forms its own track within acceptable bounds or boundaries. leaning against the object of the head-first luge, one comes to the conclusion that factoring might not have been useless after all. "every sport has its rules and playing field; every equation has its proper moment and solution. if i were younger, alcibiades, i would attempt one or the other, but certainly not both." - apollonius of rhodes. _ ========================================================================= Date: Sun, 30 Dec 2001 13:36:23 -0500 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: Brian Stefans Subject: Joan Retallack / Brian Kim Stefans poetry reading, Sat Jan 5 @ Double Happiness Comments: To: reptile@arres.net MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Joan Retallack and Brian Kim Stefans will be reading at Double Happiness this Saturday, January 5th. ____ S E G U E R E A D I N G S E R I E S A T D O U B L E H A P P I N E S S www.segue.org/calendar/ 173 MOTT STREET, JUST SOUTH OF BROOME ST. SATURDAYS FROM 4:00-6:00 PM $4 admission goes to support the readers Readings will begin promptly at 4 PM. Funding is made possible by the continuing support of the Segue Foundation and the Literature Program of the New York State Council on the Arts. Curators: October-November, Rodrigo Toscano and Rob Fitterman November-December, Kristin Prevallet and Mike Scharf. Joan Retallack is the author of How To Do Things With Words (Sun & Moon, 1998) and Mongrelisme (Paradigm Press). Her book, Musicage: John Cage in Conversation with Joan Retallack, was published by Wesleyan in 1996 and won the America Award in Belles-Lettres for that year. Brian Kim Stefans' books include Angry Penguins, Gulf, and Free Space Comix. Recent digital work can be seen on http://www.ubu.com. A new piece, "The Truth Interview," a collaboration with Kim Rosenfield, appears on the How2 website: http://www.departments.bucknell.edu/stadler_center/how2/. ____ A R R A S: new media poetry and poetics http://www.arras.net Hinka cumfae cashore canfeh, Ahl hityi oar hied 'caw taughtie! "Do you think just because I come from Carronshore I cannot fight? I shall hit you over the head with a cold potatoe." ========================================================================= Date: Tue, 1 Jan 2002 08:31:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: owner-realpoetik@SCN.ORG Subject: RealPoetik Notes 2002 Philly and SF RealPoetik Notes SF: RealPoetik'er DS Black has an article in the Dec 26th Bay Guardian, also to be viewed at http://www.ghostmodern.com/BridgeTooNear.html (if your Guardian got reduced to soggy wood pulp). + + + Philly: Organizers of the sixth annual Philadelphia Fringe Festival are conducting a search for risk-taking, boundary-breaking artists. Centered in Old City, last year^^s 16-day festival brought in 35,000 attendees. This year the festival will take place on August 30 - September 14, 2002. Artists can participate in two ways: through the adjudicated Fringe or by producing their own work in the Unfiltered Fringe. Applications are due February 28th, 2002. Daring presentations with artistic promise willbe chosen by diverse panels of artists and arts administrators. Unfiltered artists have until May 31st, 2002 to send in their participation form. The City Paper said that the Fringe is like ^^a circus that magically appears and disappears each year.^^ Foran application or information call, write or browse Deborah Block, Program Director Philadelphia Fringe Festival 211Vine Street Philadelphia, PA 19106 Tel:215-413-9006 x13 fax: 215-413-9007 deborah@pafringe.com www.pafringe.org ========================================================================= Date: Tue, 1 Jan 2002 17:48:40 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: CRASH MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - CRASH: he kind of disappeared on jupiter as if cells swallowed f the dead: as if it w 20-March 10 18Dec01 1al love of/ writing / 20-March 10SU.BUFFALO. / introjecting 20-March 10h@YAHOO.COMal love. taking viagra 20-March 10 and missha lentleme 20-March 10per.edu 14Dare al blair rd firewall2.Lehman 11Dec01 26:40 muttusers, load averages: 0.89, 0.96, 0.88ge 7 mark w: Stale utmp entry: tic ttyre host46-67.prestiTerrrorist on t vunovick rf we-24-130-84-192 5:07PM 0 -is is an important mpage p0 pool-151-197- dbehrens p1 adsl-66-73-116-9 Sat10AM 31 -obs andebartery gerg s1 12-235-36-26.cli 4:14PM 33 more dl/addeuro.psPM 0 -rankenstein!!!ained philologists can't negot maxie franchin s2 pool-141-155-185 2:49P 5:19PM 0 Bitch lan pd h00102b011411.ne 4:17PM 0 -zshes agai vf t2 byzantium.nyc.ac Thu09AM 25:44 -zsh-f gnuser hung upside down) that's very bad pub morecrof t3 dsl092-100-128.n 3:57PM 33 bash --init-file ut/pfne -izopposed _i Date: Tue, 1 Jan 2002 17:30:46 -0500of the buildup to a couplet, or the CezannetoThe hippogriff X-MenTM [START o is two dollars a singular and misshapen element or entity. the signature of our sex:6 of 6 ^G Get Help ^X Send 20-March 102002 14:13: 20-March 10 we 63.8 20-March 10 18Dec01 1 20-March 10SU.BUFFALO. 20-March 10h@YAHOO.COM 20-March 10 lent 20-March 10per.edu 14D 20-March 10 /usr/local 20-March 10 /usr/local 20-March 10llowing tex he kind of "disappeared": no on 5:19PM 0 Bitchb jupiter.twcnyc.c _ ========================================================================= Date: Tue, 1 Jan 2002 18:41:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: "New Poet" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Same to you. ----- Original Message ----- From: "richard.tylr" To: Sent: Saturday, December 29, 2001 5:10 AM Subject: Re: "New Poet" > Vernon. That's true the different: better or worse is a stupid concept. Good > points you make. Best for the New Year. Richard. > ----- Original Message ----- > From: "Vernon Frazer" > To: > Sent: Saturday, December 29, 2001 9:26 AM > Subject: Re: "New Poet" > > > > I like the idea of "we're different, not better or worse." > > > > Sometimes reading a writer from a "different" group teaches me a technique > I > > find useful in my own writing. Ishmael Reed is a good example. > > > > As a person with a "disability" (Tourette Syndrome), I work hard enough at > > writing to expect my work to be judged on its merits, not my neurological > > condition. Nevertheless, I find that my condition influences my use of the > > page as much as my reading of Olson, to cite one example. I've also found > > that my condition gave me certain abilities that offset its disadvantages. > > My surplus dopamine enabled me to complete my work ahead of my co-workers > > and sneak in some writing time at the office.) > > > > People need to express themselves, whether they're disabled or not. Some > of > > them will become full-time writers, others will write simply to purge > their > > feelings. I make a distinction between a person who writes one crude draft > > and feels good afterward, and a person who polishes the draft to a > > professional piece of work. For some people writing is art, for others > it's > > therapy. As long as the person knows the difference, I don't have a > problem. > > > > I don't begrudge people with disabilities their publication in the > > newsletters of organizations that serve them. Much of the writing I read > in > > this vein is badly-rhymed "poor me" poetry that readers find > heart-warming. > > I just wish the same organizations would give more support to the people > who > > can articulate their condition better. But then, we (or I) might not be > > saying what the organizations want to hear. > > > > Vernon Frazer > > > > > > > > > > > > ----- Original Message ----- > > From: "michael amberwind" > > To: > > Sent: Thursday, December 27, 2001 11:43 AM > > Subject: Re: "New Poet" > > > > > > > Beethoven went deaf, Dante was blind, and > > > according to rumour, so was Homer. There were no > > > social programs for these people. They do not > > > continue to be studied over the centuries because > > > of their "special interest" status, but because > > > of what they *said*. > > > > > > I think it is condescending to grant some sort of > > > special dispensation based on disabilities, > > > especially in literature, which is arguably one > > > of the most level playing fields there is. > > > > > > It is not a question of of conforming to socially > > > accepted norms. If a deaf poet puts on a > > > performance for the deaf, they have conformed to > > > a set of normalised expectations, namely those > > > within the deaf community. > > > > > > We seem to have the idea that everyone can and > > > should be able to do everything. There *are* > > > things the handicapped cannot do. That's what > > > *makes* them handicapped! > > > > > > Were I too lose my arms, legs, hearing and > > > eyesight in the next five minutes, I would still > > > expect that anything I write be judged against an > > > "objective" standard. If I had to talk into a > > > tape recorder, then so be it. > > > > > > Of course we are dealing with not art and > > > aesthetics anymore, but political correctness. > > > There is truth in what Harold Bloom calls "the > > > literature of resentment". I prefer to think of > > > it as an utter lack of commonsense. > > > > > > A poem may or may not be interesting in the > > > context in which it was written, but that should > > > not be the final criteria. > > > > > > >>Date: Wed, 19 Dec 2001 21:23:26 -0500 > > > >>From: Millie Niss > > > >>Subject: Re: "New" Poet > > > > > > >>You said I said: > > > > > > > > > 2. UNIFORM STANDARDS FOR ALL POETRY REGARDLESS OF > > > AGE > > > OR DISABILITY (OR GENDER? OR EDUCATIONAL LEVEL? > > > OR > > > CLASS? ETC.?) > > > > > > Coming from Millie, that gives me pause. But, > > > again, > > > I have to re-translate it: > > > > > > If the sick wish to advance the social > > > assimilation of > > > their fellow disabled, they should conform to > > > socially > > > accepted norms. > > > > > > Am I misrepresenting the thought? > > > > > > It's better for the disadvantaged or special > > > caste to > > > ~impersonate~ the privileged majorities, in order > > > better to promote inclusion of their group? > > > ------- > > > > > > You didn't misstate what I said but you lost the > > > context, which was that > > > "sadly" this is true. I also said that > > > logically, if we wanted to prove > > > that we aren't morons by writing poetry, we > > > should only have to write the > > > poetry average people who are not morons write, > > > which generally isn't very > > > good (to use a loaded term, of course). > > > > > > I think it is silly to make poetry-writing the > > > center of a claim that > > > disabled people are as worthy of respect or love > > > or care as other people. > > > All people are worthy of respect, etc., by virtue > > > of being human, and there > > > are certainly som ediability groups whoo can > > > never write as good poetry as > > > non-disabled folks (say people who are multiply > > > handicapped and can neither > > > move nor speak and are mentally retarded (one > > > hopes these people have > > > extremely sever mental deficiencies because if > > > they are even conscious of > > > existing it must be hellish)). > > > > > > A lot of times minority groups claim to have a > > > culture of their own and want > > > not to be judged by the standards of the > > > majority. Perhaps a group very > > > invested in this idea wouldn'ty want to compete > > > in the field of poetry > > > because it isn't their domain. Or they would > > > have a poetry so different > > > from ouirs that we couldn't understand it. > > > Recently, disability groups have > > > made use of the "we're different, not better or > > > worse" idea. The Deaf (who > > > demand the right to be capitalized) have done > > > this the most, presumably > > > because they share a language that non-Deaf > > > people rarely if ever achieve > > > fluency in. Deaf poetry does exist and it is > > > incomprehensibe to non-Deaf > > > people, although there are also productions which > > > try to mix Deaf and > > > hearing words, music, and dance. > > > > > > ===== > > > ...I am a real poet. My poem > > > is finished and I haven't mentioned > > > orange yet. It's twelve poems, I call > > > it ORANGES. And one day in a gallery > > > I see Mike's painting, called SARDINES. > > > [from "Why I Am Not A Painter" by Frank O'Hara] > > > > > > __________________________________________________ > > > Do You Yahoo!? > > > Send your FREE holiday greetings online! > > > http://greetings.yahoo.com > > > ========================================================================= Date: Wed, 2 Jan 2002 03:33:42 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: resolution / new year's MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Pat Ri' Wot 'u 'aint go' a sence a 'uma ? Eh? O bovver! Good lu'. Ri'ard. ----- Original Message ----- From: "Patrick F. Durgin" To: Sent: Sunday, December 30, 2001 3:21 PM Subject: resolution / new year's > first, bin laden is an "artist" - then one of our correspondents chimes in > with: "i just like the idea of big buildings crashing down and explosions" > > in recent weeks, discussion touching on the current situations has been > awfully trite, perhaps dangerously so. I have counted on this list for > announcements of new publications, events, and the few thoughtful and > stimulating analyses of poetics and politics that slip through the cracks. > Evidently I can still make the most of the list by checking in to the web > archives periodically. > > I'm leaving the list after several years of active participation - mostly > since I can't quite stomach the glibness of late ... such forums as this are > opportune, but opportunism is an abuse. > > In parting, let me just add, glibly, that bin Laden is no more of an > "artist" or innovator than Bush (Jerrold's recent post touches on the > fundamental reasoning behind my statement) - I suspect there is a great deal > of egoplay under Bush's skin as his first real business deal was financed by > bin Laden associates - it's like a high school reunion gone horribly wrong, > though not wrong enough - whatever his / their situation(s) may be, there's > far more handicraft than music in those coffers - and the integrity of human > bodies seems like the "lower limit speech" of music to me. How one can > forward debate over the sickening tyranny of these class and military war > mongers via such dismissive and ill-considered dross is beyond or, most > likely, beneath me. And it is a class war - make no mistake. A race war as > well. > > Hope the more "concerned" among you will stay tuned to Kenning as it runs > its course through the first half of 2002. > > Peace > > Patrick F. Durgin > > > > > > KENNING | a newsletter of contemporary poetry > poetics & nonfiction writing | > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > _________________________________________________________________ > Chat with friends online, try MSN Messenger: http://messenger.msn.com > ========================================================================= Date: Tue, 1 Jan 2002 23:59:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: http://www.e-mordnilap.da.ru/ In-Reply-To: <5.0.2.1.2.20010528093234.01c1e790@pop.buf.adelphia.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii http://www.e-mordnilap.da.ru/ an "Opus 1" not.art site, by Jeffrey M. Jullich __________________________________________________ Do You Yahoo!? Send your FREE holiday greetings online! http://greetings.yahoo.com ========================================================================= Date: Wed, 2 Jan 2002 08:06:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Broder Subject: Ear Inn Readings--January 2002 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The Ear Inn Readings Saturdays at 3:00 326 Spring Street New York City FREE Remember, First Saturdays of each month are Open Mike days. January 5 Madelena Montiel, Harry Waitzman, plus open January 12 Pamela Brown, Lisa Freedman, Letitia Guillory, Becky Howland, Erin Lee Mock January 19 Clifford Browder, Roddy Lumsden, Kathleen Ossip January 26 A Four Way Reader Reading: Laure-Anne Bosselaar, Sharon Dolin, Patrick Donnelly, Melissa Hotchkiss, Kathleen E. Krause, Frances Richard For more information, contact Michael Broder or Jason Schneiderman at (212) 246-5074. ========================================================================= Date: Thu, 3 Jan 2002 11:02:28 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Reuven BenYuhmin Subject: Re: resolution / new year's In-Reply-To: Mime-version: 1.0 MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7bit > ... in recent weeks, discussion touching on the current situations has been > awfully trite, perhaps dangerously so. I have counted on this list for > announcements of new publications, events, and the few thoughtful and > stimulating analyses of poetics and politics that slip through the cracks. > Evidently I can still make the most of the list by checking in to the web > archives periodically. > > I'm leaving the list after several years of active participation - mostly > since I can't quite stomach the glibness of late ... such forums as this are > opportune, but opportunism is an abuse. > ... > Peace > > Patrick F. Durgin --------------------------------------------------- Will take more then a tad of prodding for most of us to appear through cracks, I personally (have also unsubscribed) find recent posts deadly boring, more time scrolling less reading, & the same old names, the same old tunes, tweedledum tweedledee. ho & hum hum, though no blame :-) 'I know what you're thinking about,' said Tweedledum: `but it isn't so, nohow.' `Contrariwise,' continued Tweedledee, `if it was so, it might be; and if it were so, it would be; but as it isn't, it ain't. That's logic.`I was thinking,' Alice said very politely, `which is the best way out of this wood: it's getting so dark. Would you tell me, please? But the little men only looked at each other and grinned. reuven benyuhmin Taiwan ========================================================================= Date: Wed, 2 Jan 2002 11:04:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (Cahners-NYC)" Subject: 2H: Retallack & Stefans MIME-Version: 1.0 Content-Type: text/plain The Segue Foundation presents Reading at Double Happiness on Saturday, January 5 J O A N R E T A L L A C K AND B R I A N K I M S T E F A N S Segue Reading Series at Double Happiness 173 Mott Street (just south of Broome) (212) 941-1282 Doors open at 4pm Two-for-one happy hour(s) Suggested contribution, $4, goes to the readers Funding is made possible by the continuing support of the Segue Foundation and the Literature Program of the New York State Council on the Arts. Joan Retallack is the author of How To Do Things With Words (Sun & Moon, 1998) and Mongrelisme (Paradigm Press). Her book, Musicage: John Cage in Conversation with Joan Retallack, was published by Wesleyan in 1996 and won the America Award in Belles-Lettres for that year. Brian Kim Stefans' books include Angry Penguins, Gulf, and Free Space Comix. Recent digital work can be seen on http://www.ubu.com. A new piece, "The Truth Interview," a collaboration with Kim Rosenfield, appears on the How2 website: http://www.departments.bucknell.edu/stadler_center/how2/. Stefans is the editor of Arras - http://www.arras.net. Please join us! S E G U E R E A D I N G S E R I E S A T D O U B L E H A P P I N E S S www.segue.org/calendar/ ========================================================================= Date: Wed, 2 Jan 2002 14:16:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: kill files MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII someone wrote me about kill files back channel - I wonder how many I'm on. would it be better if I sent my work out once a week, i.e. digest form, to various lists, instead of daily or whatever the rhythm/frequency. do I mistake quantity for quality, cycles for relevance? this is my only mode of distribution; the various books etc. I was proffered fell through - I'm in various ezines and anthologies, but these split the discourse of course - suggestions welcome please - Alan ========================================================================= Date: Thu, 3 Jan 2002 11:19:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Spiral Bridge Subject: Spiral Bridge Rodeo Reading Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" We @ Spiral Bridge hope that your New Year's eve was a joyous reminder of life's beginnings. In the New Year Spiral Bridge is pleased to be able to offer you opportunities for expression, growth, friendship, and understanding. We are hosting a reading this coming Sunday the 6th @ the Rodeo Lounge in Hoboken, NJ, 230 Washington Street from 3-8pm. This venue does have a bar and will be offering great specials to us all so please, no one under 21 at this one. We have two other readings scheduled in the month of January, please see our web site for more details. Spiral Bridge Rodeo Reading Featured poets: Madeleine Tiger and Brother Earl Followed by an Open Mic. Music by Educated Spoke Free www.spiralbridge.org (Please excuse the present website, there is a new one scheduled to arrive soon.) ----------------------------------------------- For reference, your link to this Invite is: http://www.evite.com/r?iid=YFQTMLZMEEKLKRWLBMWX 48484848 ========================================================================= Date: Wed, 2 Jan 2002 17:50:39 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Duration Press Subject: Re: My Life Message to Bin MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit >>just like the idea of big buildings crashing > >down and explosions ok beavis, shall we play frog baseball now... ========================================================================= Date: Thu, 3 Jan 2002 04:48:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: "New" Poet In-Reply-To: <5.0.2.1.2.20010528090649.01c1d6d0@pop.buf.adelphia.net> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII I don't believe I was offering a definition of any particular poet, least of all Emily Dickinson. I also don't mean to suggest that the border between amateur and "professional" is nonporous. Yet I do think that amateur poetry -- sentimental is perhaps a better word -- has a definite aesthetic of its own, and that its history is at least as long as Gene's comment suggests. My example might have been the girl in Huckleberry Finn who writes doleful elegies for everyone in town when they die: ODE TO STEPHEN DOWLING BOTS, DEC'D And did young Stephen sicken, And did young Stephen die? And did the sad hearts thicken, And did the mourners cry? No; such was not the fate of Young Stephen Dowling Bots; Though sad hearts round him thickened, 'Twas not from sickness' shots. No whooping-cough did rack his frame, Nor measles drear with spots; Not these impaired the sacred name Of Stephen Dowling Bots. Despised love struck not with woe That head of curly knots, Nor stomach troubles laid him low, Young Stephen Dowling Bots. O no. Then list with tearful eye, Whilst I his fate do tell. His soul did from this cold world fly By falling down a well. -- Damian On Mon, 28 May 2001 09:08:35 -0400 gene wrote: > Per his definition, Emily Dickinson was one of Damien's amateur poets. > > Gene > > > > > > At 10:33 PM 12/25/01 -0500, you wrote: > >I think part of the problem is that at all levels, it is considered to be > >some kind of crime to impose values from above. I was in an MFA prgram > >(Emerson College) which was not that bad. I did nonfiction and poetry for > >two semesters and one semester of fiction. I was hosrrible at fiction, and > >got comments from the teacher to that effect. She would only give A's if it > >were publishable. In nonfiction, I did well, but got a lot of criticism,, > >and _some_ people did badly. > > > >However in POETRY, there's this idea that you can't judge someone's > >inspiration (or some such nonsense) and EVERYONR did well, regardless of > >whether they wrote brilliantly or were the worst poet imaginable. (One > >person was the worst poet imaginable. I cannot quote but I can tell you > >that she distributed her poems on various shades of pink and lavender paper, > >in a nonstandard font...) The problem was not that the teacher was > >incompetent; he is the poetry editor of the Atlantic and had a bew volume > >out at the time he taught the class. The problem was that he was hired to > >find the good n everything and to never, ever say anything was bad. This is > >called having a supportive atmosphere in grad school :-( > > > >If MFA programs are like this, god knows how acceoting of bad poetry > >expensive non-degree courses are, or courses at the Y or at the public > >libraries are... I had taken some classes at Brown's Continuing Ed dep't > >prior to enrolling at Emerson, and if anything, they were more challenging. > > > >I actually chose Emerson because they were the only place that would let me > >start in January. But the program is really pretty good in the sense that > >it is big and they offer a lot of different classes. The fiction class I > >was terrible at was a really good, challenging class. It was on the short > >short story. Unfortunately I have zero talent for that and was also > >medicated in a way which somewhat precluded creativity... I was too afraid > >of bombing out of grad school again if I ended up at a super competetive > >place, and was also attempting to switch from having been a math PhD student > >to an MFA in Creative Writing, with a big gap in the middle, so it wasn't > >clear where I'd get accepted. Because I didn't want to reveal my personal > >situation in my writ8ing sample, I sent them a review I did on A. R. > >Ammons's book "Glare" which ended up not getting published because I liked > >the book and the editor of the online journal I was writing for didn't. > > > >Millie > > > >-----Original Message----- > >From: UB Poetics discussion group > >[mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Damian Judge > >Rollison > >Sent: Thursday, December 20, 2001 1:17 AM > >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU > >Subject: Re: "New" Poet > > > > > >Where does mass-culture poetry come from? Is it a > >half-digested imitation of "official verse culture" > >workshop poetry? Does it come out of what people read in > >grade school? School probably has a bigger influence than > >OVC, since I doubt Mattie Stepanek, or Jewel, or Henry > >Rollins or whatever, read much in the way of Ploughshares > >and Grand Street and Paris Review -- but what I think it > >really comes out of is the "other tradition" of amateur > >versifying that lots of people plugged into as adolescents > >and some continued into adulthood, with no real ambition to > >be more than amateurs. It's like a kind of folk art, and > >the standards for success are different than in OVC or the > >classics. The practice is represented now by tons of > >websites (www.poetry.com is the motherlode). > > > >This kind of poetry goes on (scads of it really) under the > >radar of academics and published poets, having nothing > >really to do with that culture -- it's the poetry of > >somebody who did well in a creative writing class once, > >or, to be less cynical, somebody who gets private > >satisfaction from modest practice of the craft (and more > >power to them as long as I don't have to read it). The web > >is a good place to suss it out, lots of "journals" > >that exist solely for the benefit of the writers who get > >published in them, not far off from the personal website -- > >"here's some pictures of my dog, and here's some poems I > >wrote about snorkling". But it's interesting -- what does > >*that* subculture want from art? One thing it definitely > >wants is not to have to know a whole lot about poetry > >(technique, tradition, what's cool) in order to write it > >and get a little aesthetic buzz, be part of a little (very > >unofficial) verse culture, feel like an Artist (because > >we're all Artists, deep down, aren't we? I mean, Deepak > >Chopra says so). And so that's why Mattie Stepanek is on > >Oprah -- because everybody knows about that kind of thing > >anyway, knows somebody who writes "a little poetry", > >wouldn't know Paris Review (not to mention EPC) if it hit > >them in the ass and doesn't care either, and this is just > >the kind of poetry they like: easy to understand, > >sentimental, chicken soup for the soul. Something almost > >anybody could do -- but by some standards a skill anybody > >with gumption can learn is the best kind (embroidery, auto > >body repair, poetry). > > > >I think what bothers me about Oprah's love affair with the > >written word is that it commodifies the practice of > >amateurs. They were always there and they didn't need Oprah > >until she convinced them they did. > > > >-- Damian > > > > > > > ><<<<<<<<<<<<<<<<<<<<<< > >damian judge rollison > >department of english/ > >institute for advanced > > technology in the > > humanities > >university of virginia > > djr4r@virginia.edu > > >>>>>>>>>>>>>>>>>>>>>> <<<<<<<<<<<<<<<<<<<<<< damian judge rollison department of english/ institute for advanced technology in the humanities university of virginia djr4r@virginia.edu >>>>>>>>>>>>>>>>>>>>>> ========================================================================= Date: Thu, 3 Jan 2002 09:09:34 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Anne E. Pluto" Subject: moria and call for submissions Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" The next issue of _moria_ (www.moriapoetry.com)is online. It contains poems by: charles a perrone bernie earley keeanga taylor mark prejsnar garin cycholl steven iglesias r. richard wojewodski It contains articles or reviews by: steven stewart catherine daly As always, I am looking for poems, articles and reviews for future issues. Bill www.moriapoetry.com -- ========================================================================= Date: Thu, 3 Jan 2002 10:21:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Slaughter Subject: NOTICE: MUDLARK In-Reply-To: <200112302317.fBUNHiwK010238@osprey.unf.edu> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII NEW AND ON VIEW: MUDLARK NO. 19 (2002) SMITH STREET: a melodrama in three acts (or, Sunset Clause) (or, Between Heaven and Hell) by John Kinsella, Tracy Ryan and Steve Chinna SMITH STREET was first performed by Theatre Studies students and directed by Steve Chinna at the Dolphin Theatre, the University of Western Australia, on 24 May, 2001. from Steve Chinna's Programme Notes: "SMITH STREET explores the lives and politics of local 'high' and 'low' life who intermingle in a space between heaven and hell - where naturalism moves to fantasy, prose to poetry, dialogue to song, and the distinctions between law makers and law breakers are destabilised." "When John Kinsella approached me late in 2000 regarding the production of a play he was writing - based around events in Perth concerning Smith Street, kerb-crawling clients, prostitutes, and political game-playing - he expressed the wish that it be first performed by students at the Dolphin Theatre at UWA in recognition of the long involvement in theatre production and performance by staff and students at this university. The play was written in collaboration with Tracy Ryan and its poetical nuances display the verbal gymnastics and strong visuality of the dialogue. I was given carte blanche to add material and direct it for performance without authorial intervention. It was clearly recognised by both John and Tracy that a script can only be a potential in terms of staging. I am grateful to them for the opportunity to present this work in performance, and to the efforts put into it by all concerned - especially the students of both cast and crew who have worked on this project with such enthusiasm - against study and work commitments that often made sustained rehearsal impossible." JOHN KINSELLA is the author of more than twenty books whose many prizes and awards include The Grace Leven Poetry Prize, the John Bray Award for Poetry from The Adelaide Festival, The Age Poetry Book of The Year Award, The Western Australian Premier's Prize for Poetry (twice), a Young Australian Creative Fellowship from the former PM of Australia, Paul Keating, and senior Fellowships from the Literature Board of The Australia Council. His POEMS 1980-1994 and volume of poetry THE HUNT (a Poetry Book Society Recommendation) were published in May 1998 by Bloodaxe in the UK and USA, THE UNDERTOW: NEW & SELECTED POEMS (Arc, U.K), VISITANTS (Bloodaxe, 1999), WHEATLANDS (with Dorothy Hewett in 2000), and THE HIERARCHY OF SHEEP (Bloodaxe/FACP, 2001). He is the editor of the international literary journal SALT, a Consultant Editor to WESTERLY (CSAL, University of Western Australia), Cambridge correspondent for OVERLAND, (Melbourne, Australia), co-editor of the British literary journal STAND, International Editor of the American journal THE KENYON REVIEW, and a Fellow of Churchill College, Cambridge. A novel GENRE was published in 1997 (Fremantle Arts Centre Press) and GRAPPLING EROS in late 1998 (FACP). He co-edited (with Joseph Parisi) a double issue of Australian poetry for the American journal POETRY and more recently an Australian issue of THE LITERARY REVIEW. He is Professor of English at Kenyon College in the United States, a Fellow of Churchill College, Cambridge University, and Adjunct Professor to Edith Cowan University, Western Australia. His work has been or is being translated into many languages, including French, German, Chinese, and Dutch. TRACY RYAN was born and grew up in Perth, and has taught writing and literature at various universities, most recently at Curtin University in Western Australia. In the past few years she has also lived in Britain and the USA. She has published a novel, VAMP, and three volumes of poetry. A new volume of poetry, HOTHOUSE, and a new novel, JAZZ TANGO, will be published with Fremantle Arts Centre Press in 2002. An experimental work, bloc-notes, is due out in the USA with potes & poets. STEVE CHINNA teaches theatre and performance studies in the Department of English, University of Western Australia. He works with scripted plays, and devises, writes, and directs new works, often in collaboration with students. These new works have included: FROM DREAMS OF REASON, 1992; LOVE AND ADDICTION: THE DIARY OF A CURE, 1994; THE SHE-WOLF'S BLOODY NECKLACE, 1995; MISSIONARY POSITIONS, 1996; ENCOUNTERS WITH THE ALIEN (DARK HEARTS), 1998; and Kinsella/Ryan/Chinna, SMITH STREET (BETWEEN HEAVEN AND HELL), 2001. Spread the word. Far and wide, William Slaughter _________________ MUDLARK An Electronic Journal of Poetry & Poetics Never in and never out of print... E-mail: mudlark@unf.edu URL: http://www.unf.edu/mudlark ========================================================================= Date: Thu, 3 Jan 2002 10:57:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Start the New Year with an Online Writing Course at trAce - courses begin 14 January (fwd) MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII ---------- Forwarded message ---------- Date: Wed, 02 Jan 2002 12:56:17 +0000 From: trace@ntu.ac.uk To: sondheim@panix.com Subject: Start the New Year with an Online Writing Course at trAce - courses begin 14 January Start the New Year with an Online Writing Course at trAce - courses begin 14 January. Sign up now for just 100 UK pounds. Topics include: CREATIVE WRITING WORKSHOP Marjorie C Luesebrink Online Creative Writing is designed to provide students with instruction in a workshop environment. Students will create and submit their work, read selected texts on the WWW, read and evaluate the work of other writers in the Workshop, discuss concepts and provide written feedback. This is a good starting point for those wanting to begin writing or to pick it up again. You may bring work in progress or start writing during the course. http://trace.ntu.ac.uk/school/courses/tr155.htm BASIC WEBSITE DESIGN FOR WRITERS & ARTISTS Randy Adams Through course material, discussions and practical assignments, Basic Website Design for Writers/Artists will guide students step by step through the maze of Hypertext Markup Language, webpage design, and going online. Although this course will guide students through the basics, it is also suitable for writers or artists who have become frustrated with building a website. Starting from the ground up, each segment will offer extended exercises for those who feel comfortable tinkering with the basic material. This course will stress creativity -- students will be encouraged to share ideas and to experiment. http://trace.ntu.ac.uk/school/courses/tr178.htm TEXTUAL MACHINES Carolyn Guertin Electronic texts are like machines, composed of interlocking words and images in time and space. This class will explore the schematics of web-based narratives. After reading a range of exemplary works, students will build some small narrative machines of their own: a map, a puzzle or a sculpture and a machine of their choice. http://trace.ntu.ac.uk/school/courses/tr158.htm EXPERIMENTAL WRITING Alan Sondheim A roller-coaster ride to the edges of literature and philosophy on the Web. Extend your writing into new and uncharted territories and see how far the internet can push your personal limits. There is no map for this course - each time it runs in a different direction dictated by the dynamic of the group itself. http://trace.ntu.ac.uk/school/courses/tr157.htm WRITING CHILDREN'S FICTION Karen King We will explore the various markets for children’s books and guidance will be given on how to aim at a specific market, get an agent and find a publisher. Special attention will be given to the skills needed, such as vocabulary, dialogue, creating characters children can identify with and writing for different age groups. http://trace.ntu.ac.uk/school/courses/tr167.htm STRIKING THE RIGHT NOTE: NARRATIVE VOICE WORKSHOP Sharon Rundle In this workshop you will begin to discover your own 'voice' as well as some techniques to narrate stories from your chosen points of view. You will become familiar with dialogue, internal monologue and stream of consciousness and have the opportunity to try out or extend these techniques in your own writing. http://trace.ntu.ac.uk/school/courses/tr180.htm NOVEL WRITING Jean Chapman This course is designed by a novelist to help students avoid basic errors in constructing a long manuscript. The aim is to give pointers progressing from original idea to finished manuscript. The course will also aim to make new writers aware of the business side of publishing today. http://trace.ntu.ac.uk/school/courses/tr143.htm TRAVEL WRITING FOR FUN & PROFIT Caron James A step-by-step guide for travel lovers who want to write about their experiences for magazines and newspapers. The course will teach how to research, construct and write travel articles and how to get them published. Learn about the different types of travel writing and how to make your story appealing and unique. http://trace.ntu.ac.uk/school/courses/tr181.htm THE BASICS OF ARTICLE WRITING Dr. Mary Ann L. Diorio Designed for beginners, this course will explore the basics of writing a publishable article. Topics covered will include finding viable ideas, turning ideas into excellent articles, preparing a professional manuscript, editing your manuscript, choosing an appropriate market, writing a great query letter, and re-selling your articles as reprints. http://trace.ntu.ac.uk/school/courses/tr184.htm SCREENWRITING WORKSHOP Bonnie O'Neill An introduction to the elements of the art of writing for film, TV and video. Students will develop their story ideas and learn the steps of screenwriting. Students can repeat the course to complete, revise and polish the final drafts of their screenplays, and develop a marketing plan. The course is tailored to each student's level. http://trace.ntu.ac.uk/school/courses/tr151.htm "The trAce online writing courses are the perfect way to brush up your skills, develop new ones you didn't know you had, and make new friends with like-minded people." Student, 2001 For full information about courses and tutors throughout the year go to http://tracewritingschool.com or call +44 (0)115 8483533 trAce Online Writing School The Nottingham Trent University Clifton Lane Nottingham NG11 8 NS UK Tel: +44(0)115 8483533 Fax: +44(0)115 8486364 Mail: traceschool@ntu.ac.uk You have received this mail because you joined trAce. To unsubscribe, just press Reply and change the subject line to UNSUB REGISTER. ========================================================================= Date: Wed, 2 Jan 2002 11:24:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Cartelli, Donna" Subject: Halcyon Poetry Reading Sunday Jan 6 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" READING Sunday, January 6 at 1:00pm: Poetry and prose by Thad Rutkowski (Roughhouse); Donna Cartelli (Black Mayonnaise), Michele Madigan Somerville (WISEGAL) and Heather Bourbeau. Address: halcyon 227 Smith Street (between Butler and Douglass sts) Brooklyn, NY 11231 718-260-WAXY (9299) How do I Get There?.. Subway: F or G Train to Bergen Street (3rd Stop into Brooklyn) then walk down Smith Street against traffic 4 blocks Driving From Manhattan: take the Brooklyn Bridge - go straight off the bridge all the way to Atlantic Ave. (you will be at a major intersection facing two gas stations) and make a left. Make first right onto Hoyt St. Go down about 8 blocks and make a right on Douglass St. Go one block and make a right on smith st. halcyon will be on the right #227. Driving From Brooklyn: other points take the BQE to Atlantic Avenue exit. Take Atlantic Avenue 4 lights to Court St. (Independence Savings Bank is on the near right corner) and make a right. Go about 10 blocks to Degraw St and turn left. Go one block to smith st. and turn left. Go 1-1/2 blocks and halcyon is on the right #227. ========================================================================= Date: Wed, 2 Jan 2002 13:56:53 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: A R R A S 4 -- updated MIME-Version: 1.0 Content-Type: text/plain Arras 4 has been updated. The Acrobat file now includes several visual pieces by Jacques Debrot that appeared on Arras but didn't make it at first into the .pdf. along with a reptilized page from Stephen Rodefer's "Mon Canard." http://www.arras.net/pdfs.htm _ _ _ ARRAS 4 free for download, printing, distribution with poetry by: Louis Cabri -- from "The Operative Word" Tim Atkins -- 6 prose poems Miles Champion -- "Deliberacy" Stephen Rodefer -- from "Mon Canard" Magdelena Zurawski -- 4 poems Tim Davis -- 2 poems Walter K. Lew -- 4 poems E Kim -- "Technical Translations After Robinson After Wang Wei" Robert Fitterman -- Metropolis 20 & 22 Jeff Derksen -- "But Could I Make A Living From It" Joel Dailey -- 4 poems Sianne Ngai -- from "TelepromtpER" Haki Pok -- "At the Entrance of the Arbor" Jacques Debrot -- 6 visual poems from "Illiteracy Textbook" and An Interview with Miles Champion _ _ _ Arras is a .pdf journal of poetry and poetics appearing irregularly in numbered installments. Arras 5, with new poetry by Darren Wershler-Henry, Carol Mirakove, Craig Dworkin and others will appear in April 2002. _ _ _ http://www.arras.net ========================================================================= Date: Thu, 3 Jan 2002 10:33:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: S E G U E / (: Double Happiness :) Spring 2002 Calendar MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The Segue / Double Happiness Spring 2002 Calendar is now online: http://www.segue.org/calendar/index2002.htm It's also right here: S E G U E R E A D I N G S E R I E S=20 A T D O U B L E H A P P I N E S S=20 173 MOTT STREET, JUST SOUTH OF BROOME ST.=20 SATURDAYS FROM 4:00-6:00 PM=20 $4 admission goes to support the readers=20 Readings will begin promptly at 4 PM.=20 Funding is made possible by the continuing support of the Segue = Foundation and the Literature Program of the New York State Council on the Arts.=20 Curators:=20 February--Sean Killian, March--Charles Borkhuis=20 April thru May--Drew Gardner and Nada Gordon=20 FEBRUARY=20 ------------------------------------------------------------------------= February 2: JEAN DONNELLY AND ANDREW SCHELLING=20 Jean Donnelly's first book Anthem was selected by Charles Bernstein for = the Natl. Poetry Award Series, 2000, to be published by Sun & Moon this = winter. She's also the author of the julia set (Edge Books). She has also = co-curated the In Your Ear reading series in Washington, D.C.=20 Andrew Schelling was the co-editor of the samizdat poetics journal = Jimmy & Lucy's House of K; he teaches poetry, Sanskrit and wilderness writing = at Naropa University. His most recent book is Tea Shack Interior: New & Selected Poetry (Talisman).=20 February 9: DAMON KRUKOWSKI AND ANGE MLINKO Damon Krukowski is a musician and writer who lives in Cambridge, MA. He = has published two chapbooks, 5000 Musical Terms (Burning Deck) &Vexations (Impercipient Lecture Series). Currently, he's working on a book of = prose poems. He sings in the duo Damon & Naomi; their latest CD is D. & A. = With Ghost (Sub Pop).=20 Ange Mlinko's chapbook Angel English is forthcoming from Situations. = Her previous book is Matinees (Zoland). She currently edits the Poetry = Project Newsletter.=20 February 16: NADA GORDON AND DAN MACHLIN/SERENA JOST Nada Gordon published three books in 2001: Foriegnn Bodie (Detour); Are = Not Our Lowing Heifers Sleeker Than Night-Swollen Mushrooms? (Spuyten = Duyvil); and Swoon (with Gary Sullivan, Granary Books). =8DOnly love,S she = reminds us =8Dhas the fury to make peace.S=20 Dan Machlin's chapbooks include This Side Facing You (Heart Hammer) and = In Rem (@ Press). Serena Jost is a cellist, vocalist and DJ who has = appeared at DIA, The Kitchen, Galapagos, The Living Room and Halycon. Their recent = CD collaboration, from Immanent Audio, features songs, sound poems, conversations and investigations. They will perform selections live at = DH.=20 February 23: MICHAEL DAVIDSON AND JOHN TAGGART Michael Davidson teaches Literature at UC San Diego. He is the author = of The San Francisco Rennaissance: Poetics and Community at Mid-Century = (Cambridge) and Ghostlier Demarcations: Modern Poetry and The Material Word (U of = CA). His most recent books of poetry are Post Hoc (Avenue B) and The Arcades = (O Books).=20 John Taggart is the author of nine volumes of poetry, the most recent = of which is When The Saints (Talisman). He has also published a collection = of essays on contemporary poetry and poetics Songs of Degrees (University = of Alabama) as well as a book of meditations on Edward Hopper Remaining In Light (SUNY). He lives, writes and gardens in Pennsylvania.=20 MARCH=20 ------------------------------------------------------------------------= March 2: MICHAEL GIZZI AND JACQUELINE WATERS=20 Michael Gizzi's most recent books are My Terza Rima (The Figures) and McKenna's Antenna (Qua Jazz). Last year he started. with Craig Watson, = Qua Books. Their first publication is As Umbrellas Follow Rain by John = Ashbery. Gizzi lives in Lenox, MA, with his wife, artist Barbieo Barros Gizzi.=20 Jacqueline Waters' first book, A Minute without Danger, was published = by Adventures in Poetry in 2001. She has poems forthcoming in Boston = Review.=20 March 9: CRAIG WATSON AND ROSMARIE WALDROP Craig Watson is the author of nine books of poetry, the most recent of = which is Free Will (Roof). His poetry, essays, and reviews have appeared in = such journals as Temblor, Hambone, Chicago Review, Shearsman, Sulfur, = Talisman, and Shiny, among others. Since 1998 he has been the literary manager = for a theater in Rhode Island where he also lives with his wife and youngest daughter.=20 Rosmarie Waldrop's recent books of poems are Reluctant Gravities (New Directions, 1999), Split Infinities (Singing Horse, 1998), and Another Language: Selected Poems (Talisman House, 1997). Northwestern UP has reprinted her two novels, The Hanky of Pippin's Daughter and A Form/of Taking/It All in one paperback.=20 March 16: STEPHEN RATCLIFFE AND BRENDAN LORBER Stephen Ratcliffe's books of poetry include Sound/(system) (Green = Integer, 2001), Idea's Mirror (Potes & Poets, 1999), and Mallarme: poem in prose (Santa Barbara Review, 1998). Listening to Reading, a collection of = essays on =8DexperimentalS poetry and poetics, was published last year by SUNY = Press. He is editor/publisher of Avenue B and teaches at Mills College in = Oakland.=20 Brendan Lorber is the editor of LUNGFULL! magazine & co-curator of The = Zinc Bar Reading Series. He can be found perched in his window all night = cooking up such chapbooks as: The Address Book, Your Secret, Hazard Pom Pom, = and, with Jen Robinson, Dictionary of Useful Phrases. A longer book, Welcome Overboard, is in the works. He has poems and essays in journals from = Skanky Possum and Fence to Cats and The Chicago Tribune and has also been translated a number of times.=20 March 23: JOHN OLSON AND JO ANN WASSERMAN John Olson's most recent book is Echo Regime (Black Square, 2000). His poetry, stories, and literary criticism have appeared in a large number = of journals including: Sulfur, First Intensity, New American Writing, = Talisman, The Germ, Rain Taxi, and The American Book Review.=20 Jo Ann Wasserman is the author of two chapbooks of poetry, What Counts = as Proof and We Build Mountains. Her work will appear in the forthcoming = issue of The World. She has just completed a book-length series of poems = entitled The Escape.=20 March 30: BRENDA COULTAS AND ELENI SIKELIANOS Brenda Coultas is currently working on a long project about The Bowery. = She has a book forthcoming from Coffee House Press in 2003. Her work can be found in the 20th Anniversary issue of Conjunctions.=20 Eleni Sikelianos's most recent book is Earliest Worlds, out from Coffee House Press. This fall she has been a Seeger Fellow Writer in Residence = at Princeton University.=20 APRIL=20 ------------------------------------------------------------------------= April 6: BENJAMIN FRIEDLANDER AND CHARLES STEIN Benjamin Friedlander is the author of A Knot Is Not a Tangle (Krupskaya Press, 2000) and The Missing Occasion of Saying Yes: Poems 1984-1994 (Subpress Collective, forthcoming). He teaches poetry and poetics at = the University of Maine, Orono, where he edits the journal Sagetrieb with = Steve Evans.=20 Charles Stein is the author of eleven books of poetry; the most recent = is The Hat Rack Tree (1994). He is currently finishing From Mimir's Head (Station Hill / Barrytown). He is also the author of a critical study = of the poet Charles Olson, The Secret of the Black Chrysanthemum, as well as = other essays on philosophical and literary subjects. He currently resides in Rhinecliff, N.Y., and is Associate Publisher of Station Hill / = Barrytown, Ltd.=20 April 13: JORDAN DAVIS AND MICHAEL GOTTLIEB Jordan Davis is an editor of The Hat, a frequent contributor to the = Poetry Project Newsletter, and the author of a dozen chapbooks, most recently = Yeah, No (Detour) and A Winter Magazine (Situations).=20 The Segue series at Double Happiness has long been Michael Gottlieb's favorite series. Although the bartender seems to know what he is going = to order before he opens his mouth, he's not so sure. Michael's tenth = book, Eleven Famous Views Of Elmsford, is due out from Other Publications = this spring.=20 April 20: MARIANNE SHANEEN AND MITCH HIFILL Marianne Shaneen is a fiction writer, filmmaker, conjurer of the = archaic yet-to-be, and sentimental insurrectionary who lives in Brooklyn. An as-yet-untitled chapbook is forthcoming from Detour.=20 Mitch Highfill is the author of The Blue Dahlia (Detour), Turn = (Situations) and Liquid Affairs (United Artists). An as-yet-untitled book is due = from Situations in 2002. =0D=0D April 27: JACK KIMBALL AND JOHN GODFREY Jack Kimball spent several years in Japan, returning to Mass. two years = ago to practice feng shui and translate poems by Celan and essays by = Freire. Among his recent books are Frosted (Potes & Poets) and Manship = (Detour). Kimball has taught at MIT, Harvard and the Chinese Wushu Institute.=20 John Godfrey is the author of Midnight on Your Left (The Figures, = 1988). His most recent book is a collection of prose poems entitled Pushing the = Mule (The Figures, 2001). A new manuscript will be published by Adventures = in Poetry in 2002.=20 MAY=20 ------------------------------------------------------------------------= May 4: ALISON COBB AND KEVIN DAVIES Allison Cobb is the author of the chapbooks The little box book (Situation1999), J poems (BabySelf Press 2000) and Polar Bear and = Desert Fox (BabySelf Press 2001). A full-length collection, Born Two, is due in = 2003 from Chax Press. A former DC resident and curator of the DC In Your Ear reading series, she now lives in Brooklyn.=20 Kevin Davies was born and raised on Vancouver Island. In the 1980s he = was active in the Vancouver poetry community and was a member of the = Kootenay School of Writing collective. Since 1992 he has lived in New York City. = His books include Pause Button (Tsunami Editions, Vancouver, 1992) and Comp (Edge Books).=20 May 11: KIM LYONS AND JULIE PATTON=20 Kim Lyons, author of Abracadabra, (Granary, 2000), recently = self-published A Poem for Posada (Situations, 2001). Her work can be found at www.doublechange.com.=20 Julie Patton considers herself a paper doll for how she wears out = drawings, crumpled books, poems, cardboard spaces and petticoats herself with = film. She thinks of performance as a publishing event and treats books and publications as a space for performance and installation. She appears = on recent CDs by Uri Caine, Don Byron, and Barnaby McCall, and recent = issues of The Hat, Nocturne, and the anthology Moving Borders. Her first = full-length book is forthcoming from Tender Buttons.=20 May 18: COLE HEINOWITZ AND ABIGAIL CHILD=20 Cole Heinowitz is the author of Daily Chimera, a collection of poems, = plays, and prose, and a forthcoming chapbook, Stunning in Muscle Hospital, (Detour). She is writing a Ph.D. thesis on the birth of liberalism from = the cadaver of Latin America during the Enlightenment. She was born and = raised in San Diego, but now lives in Providence.=20 Abigail Child is the author of A Motive for Mayhem, Mob and Scatter = Matrix. A film-maker as well as a writer, Child premiered her most recent film = Dark Dark (2001) at the NYFF and is currently working on a collaborative web project entitled Playlist. New writing includes a book of poetry Live = Feed and a book of criticism This Is Called Moving: a Critical Poetics of = Film.=20 May 25: PAT REED AND BILL BISSET=20 Bill Bisset loves being. His most recent book is peter among the = towring boxes/text bites (Talon Books). He also has a new CD, rainbow mewsik = (Red Deer). A mixed media philosophical musical-visual painted in = watercolors, Lunaria, is available from Granary Books.=20 Pat Reed is the author of Kismet, Qualm Lore, Sea Asleep, We Want to = See Your Tears Falling Down, and Lost Coast. She lives in Oakland, = California, where she teaches English to speakers of other languages.=20 ========================================================================= Date: Thu, 3 Jan 2002 10:18:48 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: textbook ideas needed In-Reply-To: <002101c19336$fdaee860$4b63f30c@attbi.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Dear friends, I am leading an introductory poetry workshop for undergraduates this spring. Most of them won't be very knowledgable about poetry or how to make it, so I am counting on nothing. Can any of you recommend a book for this endeavor? Something in a reasonable price-point? I am also open to strategic suggestions. Happy new year to all, Aaron ========================================================================= Date: Thu, 3 Jan 2002 12:13:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: FMPS Comments: To: ira@angel.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The Fence Modern Poets Series is an annual book contest open to any poet writing in English at any stage in his or her publishing history. Please visit the Fence Books website for guidelines and required entry form http://www.fencebooks.com, or send an SASE. Postmark deadline of January, 2002. Entry fee entitles you to your choice of a subscription to Fence or a copy of the winning book. The FMPS is judged by a poet of distinction, to be announced after the fact. The FMPS 2001 winning book is Joyelle McSweeney's The Red Bird, chosen by Allen Grossman and to be published in April of 2002, along with finalist Can You Relax in My House by Michael Earl Craig. Mazel Tov ********** Rebecca Wolff Fence et al. 14 Fifth Avenue, #1A New York, NY 10011 http://www.fencemag.com ========================================================================= Date: Thu, 3 Jan 2002 13:03:24 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian Randall Wilson Subject: New Poetry Annual MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Now available!!! 88: A Journal of Contemporary American Poetry Including the work of: Amiri Baraka Patricia Corbett Richard Garcia Susan Hahn Kate Knapp Johnson Richard Kostelanetz Jeffrey McDaniel Barry Silesky William Trowbridge Roger Weingarten Kathleene K. West Gail Wronsky Dean Young plus reviews and essays. . . ISBN: 0967600340 $13.95 paper at Amazon, bn.com and independent bookstores ========================================================================= Date: Thu, 3 Jan 2002 13:03:26 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ian Randall Wilson Subject: New Poetry Annual MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I previously sent an announcement about a new poetry annual I'm editing called 88: A Journal of Contemporary American Poetry. The unsolicited submission window is March 1 through May 31 (see the guidelines below for specifics). Issue 1 was edited by Denise Stevens and has a lyric/lyric-narrative focus. In Issue 2, I'd like to move toward a more avant-garde or experimental or language-based or New York School sensibility (i.e., please don't have your grandmother die in every poem). We're also looking for short essays on poetry and poetics, and reviews. I hope we'll hear from people on this list and let us know that in your submission. Ian Randall Wilson 88 Managing Editor ------------- SUBMISSION GUIDELINES ------------- Unsolicited submissions will be considered March 1 through May 31 only. Unsolicited submissions postmarked outside that window will be returned unread. However, submissions accompanied by an original proof-of-purchase will be considered year round. (Proof-of-purchase seal may be found in current issues of 88.) Manuscripts must be limited to five poems per submission with author name and address appearing on each page. Long poems not exceeding ten single spaced typewritten pages will be considered, but poems longer than three pages must be submitted separately. Essays and reviews will also be considered. Please limit essays to no more than ten pages, double-spaced. Reviews must be no more than eight double-spaced pages. At this time, material is being considered via USPS submission only. No disk, email or fax submissions. (However, if accepted, material will need to be provided later on disk.) Include a self-addressed, stamped envelope for return of manuscripts. Submissions without SASE will be discarded unread. Cover letter with short bio, please. No simultaneous submissions or previously published material will be considered. We report on submissions within one to three months. Manuscripts accepted after May 31 will appear the following calendar year. Mail submissions to: Editor 88 c/o Hollyridge Press P. O. Box 2872 Venice, CA 90294 ========================================================================= Date: Thu, 3 Jan 2002 11:33:36 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: Poets Theater Jubilee -- San Francisco this January & February MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Poets Theater Jubilee San Francisco’s poetic communities have, over the years, been the location of many exhilarating experiments in theater. With minimal formal support, poets & their supporters in the theater community have staged readings & mounted productions of adventurous (& often hilarious) scripts. Beginning in the 1950s, when Robert Duncan, Helen Adam, Jack Spicer & Michael McClure first wed poetry to the stage, through the language experiments of Carla Harryman, Bob Perelman & Kit Robinson, to the ambitious work today of Leslie Scalapino, Kevin Killian, Camille Roy, Michael Amnasan and many more, fine local experimental writers have worked in this genre. Small Press Traffic, New Langton Arts, & the Jon Sims Center for the Arts are joining together to present Jubilee, a Festival of Poets Theater. We wish to extend our local tradition, while at the same time, honor it with some critical attention. The festival will include four evenings of plays, & a historical panel. We are building on the success of dozens of past productions of poets theater in San Francisco, a long history with many incandescent moments. We want to expand this nascent movement into a full-stage celebration. JUBILEE EVENTS AT SMALL PRESS TRAFFIC: Friday, January 25, 2002 at 7:30 World premiere of "How Phenomena Appear to Unfold/The Hind," a new play by Leslie Scalapino, directed by Zack. It's about our making illusions of others. Also, the suffering of Afghanistan. "The Hind" will be buttressed by a selection of short (10 minute plays) by poets mostly new to the stage, including Tina Darragh, Stephen Beachy, Chris Vitiello, Dan Farrell, Laura Moriarty & Nick Robinson, & Brent Cunningham. Evening curated by Kevin Killian. Friday, February 1, 2002 at 7:30 Three one-act plays, including the revival of an NY School masterpiece, & newer plays by Carla Harryman & David Larsen; evening curated by Camille Roy. JUBILEE EVENTS AT OTHER VENUES: Friday, January 18, 2002 at 8:00 at the Jon Sims Center for the Arts "Art Colony Survivor", a play by Norma Cole & Kevin Killian. There will also be a short opening play by Camille Roy & Rachel Levitsky. Saturday, February 2, 2002 at 8:00 at New Langton Arts Panel Discussion of Poets Theater, its history, theory & problems. Panelists include Carla Harryman, Mac McGinnes, & Leslie Scalapino, moderated by Kevin Killian & Camille Roy. Saturday, February 9, 2002 at 8:00 at New Langton Arts A revival of Kenward Elmslie's 1969 play "City Junket" (with Red Grooms’ original costumes for the 1980 off-Broadway production!); "Motion Picture Home" by Susan Gevirtz; "Equivocal" by Jena Osman. All events are $5-10, sliding scale, and begin at 7:30, unless otherwise noted. Our events are free to SPT members, and CCAC faculty, staff, and students. Unless otherwise noted, our events are presented in Timken Lecture Hall California College of Arts and Crafts 1111 Eighth Street, San Francisco (just off the intersection of 16th & Wisconsin) Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Thu, 3 Jan 2002 20:40:58 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Randolph Healy Subject: Re: kill files MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit hey Alan, stick to what you're doing. The rhythm is fine, and as several people have mentioned in the past, your work is part of the atmosphere of the list. best Randolph ----- Original Message ----- From: "Alan Sondheim" To: Sent: Wednesday, January 02, 2002 7:16 PM Subject: kill files > someone wrote me about kill files back channel - I wonder how many I'm on. > would it be better if I sent my work out once a week, i.e. digest form, to > various lists, instead of daily or whatever the rhythm/frequency. do I > mistake quantity for quality, cycles for relevance? > > this is my only mode of distribution; the various books etc. I was > proffered fell through - I'm in various ezines and anthologies, but these > split the discourse of course - > > suggestions welcome please - Alan > ========================================================================= Date: Thu, 3 Jan 2002 17:31:49 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: mart readings with sam MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit jeff you are a genius as soon as i go back to suny i'll begin reading at the bus stop as well as on the bus ride i shall also approach the 99c stores i am a habitue of ========================================================================= Date: Thu, 3 Jan 2002 17:34:55 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: Vernon surplus dopamine MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi as a "controlled" manic depressive for my entoire life I can well relate to using my excess energy wisely at work so i had PLenty of time to play ie read write etc ========================================================================= Date: Thu, 3 Jan 2002 21:54:13 -0500 Reply-To: jtley@home.com Sender: UB Poetics discussion group From: Jennifer Ley Organization: Riding the Meridian Subject: Request: Survey on Online Literary Publishing MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit All ... I'm posting this to the Poetics list as I'd like to get a much broader response to this questionnaire than I might by just going through my own address book ... if you have time to fill out any part of it that pertains to your online experiences I would be most grateful. Jennifer Ley Riding the Meridian: Lit [art] ure http://www.heelstone.com/meridian in the Archives: Women and Technology The Impact of Independent and Collegiate Publications on the Field of Electronic Web Literature When looking at the impact of information technologies on the study of literature, one cannot ignore how access to the World Wide Web and its use as a relatively inexpensive publication tool has altered the relationship between author and possible audience, decentralizing publication and dissemination of new literary works and creating the potential for any author to build what e-literature pioneer Mark Amerika has called an "audience share in the electrosphere". It is time to explore the contribution made by online publishers and editors, both independent* and collegiate, to the rapidly evolving field of web-specific literature. To this end, I developed the following questionnaire last summer during an NEH sponsored Summer Seminar led by N. Katherine Hayles to gather information from authors, educators and publishers to better determine the role independent* and collegiate online publications have played in the field of electronic literature. There are three sections to the questionnaire. Depending upon the role(s) you play within the field, you may choose to answer as: author, educator, editor/publisher. Please copy the questionnaire and type your answers below each question you wish to answer, and mail the completed questionnaire to jtley@comcast.net by January 31st, 2002. Your answers will help inform a paper I’m preparing for publication on this topic. * For the sake of this study, "independent" electronic magazines are those conceived for the Web which are not affiliated with a college or university, established print publisher [ie. Atlantic Online, Ploughshares, etc.] or cultural entity [ie. the Walker Museum.] Questions for Authors 1. When did you publish your first work on the web in an independent or collegiate online magazine? 2. How many times have you published work in independent or collegiate online magazines? Has the frequency increased over the past five years? Please list up to five magazines and their urls where your work has been published. 3. Why do you send your work to an online magazine as opposed to publishing it yourself on a personal web site or sending it to a print magazine? 4. Do you think that the editors of the magazines who have published your work have helped you to promote your work? [ie. have you received invitations to submit work, give presentations, attend conferences based on someone citing work they've read in an online publication?] 5. When you do a search on your name online, what proportion (rough percentage) of your work is published by independent or collegiate online publications? Questions for Educators 1. How often have you turned to independent online publications or collegiate online magazines in order to structure course reading material for your students? 2. Do you find that you turn to independent online publications more/less/or about the same amount of times for course material as opposed to online publications which have a history in the print literature community? 3. Assuming you have used online publications to structure course material, please list up to five with urls. 4. What do you think are the major contributions to the literary community that independent or collegiate online magazines have provided? Questions for Editor/Publishers 1. How much traffic did your web site generate in the year 2001? Please try to estimate # of readers, not individual page hits. 2. What percentage readership growth do you see each year? 3. What percentage of your readership comes from .edu ISPs? 4. What percentage of your readership comes from the US? From Europe? From Canada and Australia? From Latin and South America? From Africa? From Asia? 5. If your stats give you this information, how many separate countries have provided visitors? Please list some that have surprised you. 6. How many authors/works did you publish in the year 2001? 7. What proportion of the work you publish is hypertext or hypermedia? 8. Do you publish theory, editorial or historical articles about literature and e-literature? 9. What are the major technical challenges your publication faces in the near future? What problems do online publications face which are different from those faced by their paper counterparts? 10. How is your publication funded? -- ========================================================================= Date: Thu, 3 Jan 2002 11:45:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: Re: S E G U E / (: Double Happiness :) Spring 2002 Calendar MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable PLEASE NOTE: the start time for the Double Happiness reading series is now 4:30 pm. > The Segue / Double Happiness Spring 2002 Calendar is now online: >=20 > http://www.segue.org/calendar/index2002.htm >=20 > It's also right here: >=20 > S E G U E R E A D I N G S E R I E S=20 > A T D O U B L E H A P P I N E S S=20 >=20 > 173 MOTT STREET, JUST SOUTH OF BROOME ST.=20 > SATURDAYS FROM 4:30-6:30 PM=20 > $4 admission goes to support the readers=20 >=20 > Readings will begin promptly at 4 PM.=20 > Funding is made possible by the continuing support of the Segue = Foundation > and the Literature Program of the New York State Council on the Arts. = > Curators:=20 > February--Sean Killian, March--Charles Borkhuis=20 >=20 > April thru May--Drew Gardner and Nada Gordon=20 >=20 > FEBRUARY=20 > = ------------------------------------------------------------------------= >=20 > February 2: JEAN DONNELLY AND ANDREW SCHELLING=20 >=20 > Jean Donnelly's first book Anthem was selected by Charles Bernstein = for > the Natl. Poetry Award Series, 2000, to be published by Sun & Moon = this > winter. She's also the author of the julia set (Edge Books). She has = also > co-curated the In Your Ear reading series in Washington, D.C.=20 > Andrew Schelling was the co-editor of the samizdat poetics journal = Jimmy & > Lucy's House of K; he teaches poetry, Sanskrit and wilderness writing = at > Naropa University. His most recent book is Tea Shack Interior: New & > Selected Poetry (Talisman).=20 >=20 > February 9: DAMON KRUKOWSKI AND ANGE MLINKO >=20 > Damon Krukowski is a musician and writer who lives in Cambridge, MA. = He > has published two chapbooks, 5000 Musical Terms (Burning Deck) = &Vexations > (Impercipient Lecture Series). Currently, he's working on a book of = prose > poems. He sings in the duo Damon & Naomi; their latest CD is D. & A. = With > Ghost (Sub Pop).=20 > Ange Mlinko's chapbook Angel English is forthcoming from Situations. = Her > previous book is Matinees (Zoland). She currently edits the Poetry = Project > Newsletter.=20 >=20 > February 16: NADA GORDON AND DAN MACHLIN/SERENA JOST >=20 > Nada Gordon published three books in 2001: Foriegnn Bodie (Detour); = Are > Not Our Lowing Heifers Sleeker Than Night-Swollen Mushrooms? (Spuyten > Duyvil); and Swoon (with Gary Sullivan, Granary Books). =8DOnly = love,S she > reminds us =8Dhas the fury to make peace.S=20 > Dan Machlin's chapbooks include This Side Facing You (Heart Hammer) = and In > Rem (@ Press). Serena Jost is a cellist, vocalist and DJ who has = appeared > at DIA, The Kitchen, Galapagos, The Living Room and Halycon. Their = recent > CD collaboration, from Immanent Audio, features songs, sound poems, > conversations and investigations. They will perform selections live = at DH. >=20 >=20 > February 23: MICHAEL DAVIDSON AND JOHN TAGGART >=20 > Michael Davidson teaches Literature at UC San Diego. He is the author = of > The San Francisco Rennaissance: Poetics and Community at Mid-Century > (Cambridge) and Ghostlier Demarcations: Modern Poetry and The = Material > Word (U of CA). His most recent books of poetry are Post Hoc (Avenue = B) > and The Arcades (O Books).=20 > John Taggart is the author of nine volumes of poetry, the most recent = of > which is When The Saints (Talisman). He has also published a = collection of > essays on contemporary poetry and poetics Songs of Degrees = (University of > Alabama) as well as a book of meditations on Edward Hopper Remaining = In > Light (SUNY). He lives, writes and gardens in Pennsylvania.=20 >=20 > MARCH=20 > = ------------------------------------------------------------------------= >=20 > March 2: MICHAEL GIZZI AND JACQUELINE WATERS=20 >=20 > Michael Gizzi's most recent books are My Terza Rima (The Figures) and > McKenna's Antenna (Qua Jazz). Last year he started. with Craig = Watson, Qua > Books. Their first publication is As Umbrellas Follow Rain by John > Ashbery. Gizzi lives in Lenox, MA, with his wife, artist Barbieo = Barros > Gizzi.=20 > Jacqueline Waters' first book, A Minute without Danger, was published = by > Adventures in Poetry in 2001. She has poems forthcoming in Boston = Review.=20 >=20 > March 9: CRAIG WATSON AND ROSMARIE WALDROP >=20 > Craig Watson is the author of nine books of poetry, the most recent = of > which is Free Will (Roof). His poetry, essays, and reviews have = appeared > in such journals as Temblor, Hambone, Chicago Review, Shearsman, = Sulfur, > Talisman, and Shiny, among others. Since 1998 he has been the = literary > manager for a theater in Rhode Island where he also lives with his = wife > and youngest daughter.=20 > Rosmarie Waldrop's recent books of poems are Reluctant Gravities (New > Directions, 1999), Split Infinities (Singing Horse, 1998), and = Another > Language: Selected Poems (Talisman House, 1997). Northwestern UP has > reprinted her two novels, The Hanky of Pippin's Daughter and A = Form/of > Taking/It All in one paperback.=20 >=20 > March 16: STEPHEN RATCLIFFE AND BRENDAN LORBER >=20 > Stephen Ratcliffe's books of poetry include Sound/(system) (Green = Integer, > 2001), Idea's Mirror (Potes & Poets, 1999), and Mallarme: poem in = prose > (Santa Barbara Review, 1998). Listening to Reading, a collection of = essays > on =8DexperimentalS poetry and poetics, was published last year by = SUNY > Press. He is editor/publisher of Avenue B and teaches at Mills = College in > Oakland.=20 > Brendan Lorber is the editor of LUNGFULL! magazine & co-curator of = The > Zinc Bar Reading Series. He can be found perched in his window all = night > cooking up such chapbooks as: The Address Book, Your Secret, Hazard = Pom > Pom, and, with Jen Robinson, Dictionary of Useful Phrases. A longer = book, > Welcome Overboard, is in the works. He has poems and essays in = journals > from Skanky Possum and Fence to Cats and The Chicago Tribune and has = also > been translated a number of times.=20 >=20 > March 23: JOHN OLSON AND JO ANN WASSERMAN >=20 > John Olson's most recent book is Echo Regime (Black Square, 2000). = His > poetry, stories, and literary criticism have appeared in a large = number of > journals including: Sulfur, First Intensity, New American Writing, > Talisman, The Germ, Rain Taxi, and The American Book Review.=20 > Jo Ann Wasserman is the author of two chapbooks of poetry, What = Counts as > Proof and We Build Mountains. Her work will appear in the forthcoming > issue of The World. She has just completed a book-length series of = poems > entitled The Escape.=20 >=20 > March 30: BRENDA COULTAS AND ELENI SIKELIANOS >=20 > Brenda Coultas is currently working on a long project about The = Bowery. > She has a book forthcoming from Coffee House Press in 2003. Her work = can > be found in the 20th Anniversary issue of Conjunctions.=20 > Eleni Sikelianos's most recent book is Earliest Worlds, out from = Coffee > House Press. This fall she has been a Seeger Fellow Writer in = Residence at > Princeton University.=20 >=20 > APRIL=20 > = ------------------------------------------------------------------------= >=20 > April 6: BENJAMIN FRIEDLANDER AND CHARLES STEIN >=20 > Benjamin Friedlander is the author of A Knot Is Not a Tangle = (Krupskaya > Press, 2000) and The Missing Occasion of Saying Yes: Poems 1984-1994 > (Subpress Collective, forthcoming). He teaches poetry and poetics at = the > University of Maine, Orono, where he edits the journal Sagetrieb with > Steve Evans.=20 > Charles Stein is the author of eleven books of poetry; the most = recent is > The Hat Rack Tree (1994). He is currently finishing From Mimir's Head > (Station Hill / Barrytown). He is also the author of a critical study = of > the poet Charles Olson, The Secret of the Black Chrysanthemum, as = well as > other essays on philosophical and literary subjects. He currently = resides > in Rhinecliff, N.Y., and is Associate Publisher of Station Hill / > Barrytown, Ltd.=20 >=20 > April 13: JORDAN DAVIS AND MICHAEL GOTTLIEB >=20 > Jordan Davis is an editor of The Hat, a frequent contributor to the = Poetry > Project Newsletter, and the author of a dozen chapbooks, most = recently > Yeah, No (Detour) and A Winter Magazine (Situations).=20 > The Segue series at Double Happiness has long been Michael Gottlieb's > favorite series. Although the bartender seems to know what he is = going to > order before he opens his mouth, he's not so sure. Michael's tenth = book, > Eleven Famous Views Of Elmsford, is due out from Other Publications = this > spring.=20 >=20 > April 20: MARIANNE SHANEEN AND MITCH HIFILL >=20 > Marianne Shaneen is a fiction writer, filmmaker, conjurer of the = archaic > yet-to-be, and sentimental insurrectionary who lives in Brooklyn. An > as-yet-untitled chapbook is forthcoming from Detour.=20 > Mitch Highfill is the author of The Blue Dahlia (Detour), Turn > (Situations) and Liquid Affairs (United Artists). An as-yet-untitled = book > is due from Situations in 2002.=20 >=20 >=20 >=20 > April 27: JACK KIMBALL AND JOHN GODFREY >=20 > Jack Kimball spent several years in Japan, returning to Mass. two = years > ago to practice feng shui and translate poems by Celan and essays by > Freire. Among his recent books are Frosted (Potes & Poets) and = Manship > (Detour). Kimball has taught at MIT, Harvard and the Chinese Wushu > Institute.=20 > John Godfrey is the author of Midnight on Your Left (The Figures, = 1988). > His most recent book is a collection of prose poems entitled Pushing = the > Mule (The Figures, 2001). A new manuscript will be published by = Adventures > in Poetry in 2002.=20 >=20 > MAY=20 > = ------------------------------------------------------------------------= >=20 > May 4: ALISON COBB AND KEVIN DAVIES >=20 > Allison Cobb is the author of the chapbooks The little box book > (Situation1999), J poems (BabySelf Press 2000) and Polar Bear and = Desert > Fox (BabySelf Press 2001). A full-length collection, Born Two, is due = in > 2003 from Chax Press. A former DC resident and curator of the DC In = Your > Ear reading series, she now lives in Brooklyn.=20 > Kevin Davies was born and raised on Vancouver Island. In the 1980s he = was > active in the Vancouver poetry community and was a member of the = Kootenay > School of Writing collective. Since 1992 he has lived in New York = City. > His books include Pause Button (Tsunami Editions, Vancouver, 1992) = and > Comp (Edge Books).=20 >=20 > May 11: KIM LYONS AND JULIE PATTON=20 >=20 > Kim Lyons, author of Abracadabra, (Granary, 2000), recently = self-published > A Poem for Posada (Situations, 2001). Her work can be found at > www.doublechange.com.=20 > Julie Patton considers herself a paper doll for how she wears out > drawings, crumpled books, poems, cardboard spaces and petticoats = herself > with film. She thinks of performance as a publishing event and treats > books and publications as a space for performance and installation. = She > appears on recent CDs by Uri Caine, Don Byron, and Barnaby McCall, = and > recent issues of The Hat, Nocturne, and the anthology Moving Borders. = Her > first full-length book is forthcoming from Tender Buttons.=20 >=20 > May 18: COLE HEINOWITZ AND ABIGAIL CHILD=20 >=20 > Cole Heinowitz is the author of Daily Chimera, a collection of poems, > plays, and prose, and a forthcoming chapbook, Stunning in Muscle = Hospital, > (Detour). She is writing a Ph.D. thesis on the birth of liberalism = from > the cadaver of Latin America during the Enlightenment. She was born = and > raised in San Diego, but now lives in Providence.=20 > Abigail Child is the author of A Motive for Mayhem, Mob and Scatter > Matrix. A film-maker as well as a writer, Child premiered her most = recent > film Dark Dark (2001) at the NYFF and is currently working on a > collaborative web project entitled Playlist. New writing includes a = book > of poetry Live Feed and a book of criticism This Is Called Moving: a > Critical Poetics of Film.=20 >=20 > May 25: PAT REED AND BILL BISSET=20 >=20 > Bill Bisset loves being. His most recent book is peter among the = towring > boxes/text bites (Talon Books). He also has a new CD, rainbow mewsik = (Red > Deer). A mixed media philosophical musical-visual painted in = watercolors, > Lunaria, is available from Granary Books.=20 > Pat Reed is the author of Kismet, Qualm Lore, Sea Asleep, We Want to = See > Your Tears Falling Down, and Lost Coast. She lives in Oakland, = California, > where she teaches English to speakers of other languages.=20 >=20 >=20 >=20 >=20 >=20 >=20 ========================================================================= Date: Thu, 3 Jan 2002 22:09:38 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: (no subject) Comments: To: whpoets@dept.english.upenn.edu Comments: cc: wwhitman@waltwhitmancenter.org MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit THE WALT WHITMAN ART CENTER Spring 2002 calendar presents a Notable Poets and Writers Series reading and poetry workshop with poet LORENZO THOMAS READING: FRIDAY, FEBRUARY 1, 7:30 pm $6 general, $4 students/seniors, free to members WORKSHOP: SATURDAY, FEB. 2, 12-2 pm $30 general, $20 for members To register for the workshop (class size limit 10) call the Center at 856-964-8300, email wwhitman@waltwhitmancenter.org or send check or money orders to: Walt Whitman Art Center Thomas Workshop 2nd and Cooper St. Camden, NJ 08057 Lorenzo Thomas' volumes of poetry include Chances Are Few, The Bathers, and Sound Science, and he is the editor of Sing the Sun Up: Creative Writing Ideas from African American Literature. His most recent book is Extraordinary Measures: Afrocentric Modernism and 20th-Century American Poetry, from the Modern and Contemporary Poetics Series edited by Charles Bernstein and Hank Lazer. He is a professor of English at the University of Houston, where he teaches American literature and creative writing and is director of the university's Cultural Enrichment Center. ========================================================================= Date: Fri, 4 Jan 2002 01:44:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: plastron MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - plastron "juice running from the surface of the program, churning back into the screen, incision between one and another pixel, skin :crossed from one program to another, addiction of lost body skins, hunger addiction, addiction of nudes, of programs :the category of nudes as we speak, the sheaf of images, cuts from the surface of the screen, crossed from one program to :categories of bodies and parts of bodies:" our lesions of pulled tendons, blisters, cramps and fevers, desperate to leave the trail before we get locked in:turtles and alligator holes holding their own, killdeer everywhere, hardwood and other hammocks, cypress domes, our lesions:no one walks to the end of shark valley. 14 miles there and back and azure and ion the road first and last time:: woodstork staccato back-and-forth, long-bills down into crawfish-crab sludge among every living creature, rutted buzzing :snapping turtles hanging on, covered with leaches, mosquitofish-absolution, our breasts bruised, contusions everywhere :among the herons, among poisonwoods, tangled undergrowth of saw palmetto and cypress, solution holes beckoned, snapping :: among the herons, among the poisonwoods, tangled undergrowth of saw palmetto and cypress, solution holes beckoning, snapping transforms woodstork staccato back-and-forth, long-bills down into crawfish-crab sludge among every living creature, rutted buzzing on me... there's no orders among the drive-letters, gone world junkie, our lost-body skins are the currency of natural-real drugs:we're making the natural order, of the natural order, we're belong among alligator young :we're the drug of the world, we've swallowed it, we're shuddering, we can't go on, we go on:: :plastrons:armors:scales:feathers:skin:chitin::your is inside my into _ ========================================================================= Date: Thu, 3 Jan 2002 12:48:04 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: kill files In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" i love getting your stuff, though i must confess i don't read it all with the same attention --it depends on my mood, my schedule, etc --but i wouldn't do anything different, alan --your constant production is part of the ambient noise of the list, as far as i'm concerned, and damn good ambient noise it is, too. i find your prolificness inspiring and your example too. don't change a thing. At 2:16 PM -0500 1/2/02, Alan Sondheim wrote: >someone wrote me about kill files back channel - I wonder how many I'm on. >would it be better if I sent my work out once a week, i.e. digest form, to >various lists, instead of daily or whatever the rhythm/frequency. do I >mistake quantity for quality, cycles for relevance? > >this is my only mode of distribution; the various books etc. I was >proffered fell through - I'm in various ezines and anthologies, but these >split the discourse of course - > >suggestions welcome please - Alan ========================================================================= Date: Fri, 4 Jan 2002 09:13:51 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: sylvester pollet Subject: Sondheim suggestions Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I say keep on keepin' on, Alan. Those who are interested will read, and you can't worry about the others. I doubt many of us read each one with equal attention, but I wouldn't want to miss any either, and digest mode makes no sense. I get Poetics on digest anyway, so might get several pieces in a group already--wouldn't want more at once. There's another effect to having you out there writing every day, sort of like Ted Enslin or Cid Corman, a prod to the conscience of the lazy. (Full disclosure: I don't know Sondheim, encountered his work on this list, then published a piece of his, "Jennifer in Phaedra," in my Backwoods Broadsides Chaplet Series. I read it first right here.) Onward! Sylvester Pollet >Date: Wed, 2 Jan 2002 14:16:38 -0500 >From: Alan Sondheim >Subject: kill files > >someone wrote me about kill files back channel - I wonder how many I'm on. >would it be better if I sent my work out once a week, i.e. digest form, to >various lists, instead of daily or whatever the rhythm/frequency. do I >mistake quantity for quality, cycles for relevance? > >this is my only mode of distribution; the various books etc. I was >proffered fell through - I'm in various ezines and anthologies, but these >split the discourse of course - > >suggestions welcome please - Alan ========================================================================= Date: Fri, 4 Jan 2002 13:16:22 -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 - between the carapace and plastron is the flesh between the endoderm and the exoderm is the flesh writing is a carapace among the meats of the world no one comprehends jane and doe molecule this is a holdfast this is a holding pattern keeping the elements at bay keeping them in line vessels flow down the page carapace ions migrate north or polar plastron somewhere in the middle something inscribes something inscribes and bangs its head there's not much room between the carapace and plastron not enough to put a head in among the meats of the world we've outlived language we can't read this we have no such intentions we come in peace and is anyone out there between the carapace and plastron are the meats of the world _ is the flesh writing is a carapace: is the flesh between the endoderm and the exoderm:between the carapace and plastron:_:_ _ ========================================================================= Date: Fri, 4 Jan 2002 13:34:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: POETRY PROJECT EVENTS Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit CALENDAR OF EVENTS JANUARY 7, MONDAY OPEN READING Sign-up at 7:30 pm. [8:00 pm] JANUARY 9, WEDNESDAY MARCELLA DURAND and BETSY FAGIN MARCELLA DURAND's newest collection of poems, Western Capital Rhapsodies, is just out from Faux Press. Her previous publications include two chapbooks, City of Ports and Lapsus Linguae, both from Situations Press. She is an editor for a new website, www.doublechange.com, devoted to contemporary French and American poetries and is the poetry editor for Erato Press. Her title, The Geometrics will be published this winter by BeautifulSwimmer Press. BETSY FAGIN is the editor and founder of the webzine and press, Blue Press(t). Recent work appears in or is forthcoming from The East Village Poetry Web, Kenning and Fence. [8:00 pm] JANUARY 11, FRIDAY MICHAEL SHULMAN and THE FUTURE PILL led by MONTE ARNOLD and an ensemble led by BRENDAN O'SHEA. MICHAEL SHULMAN plays and often tours with the Trans-Siberian Orchestra. He is a virtuoso avante-gardist feature solo on electric and acoustic violin. BRENDAN O'SHEA's roots are firmly planted in County Kerry on The South Western coast of Ireland. He has shared the stage with and opened for 10,000 Maniacs, The Walls, and Cowboy Junkies. This singer/songwriter on guitar, will be accompanied by drums, double bass, and cello. [10:30 pm] JANUARY 14, MONDAY CECILIA WOLOCH and KAZIM ALI A resident of Los Angeles, CECILIA WOLOCH has been active as a poet-in-the-schools and a teacher of creative writing workshops. Her first book, Sacrifice, was published in 1997 and a new book is forthcoming from BOA. KAZIM ALI is a poet, painter, and performance artist. For many years he was a full-time organizer working for various social change organizations and training student activists through the United States Student Association's Grass Roots Organizing Weekends project. [8:00 pm] -- 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 in-the-Bowery at 131 E. 10th Street, the corner of 2nd Avenue and 10th Street in Manhattan. Trains F, 6, N, R. 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. If you are currently on our email list and would like to be on our regular mailing list (so you can receive a sample issue of The Poetry Project Newsletter for FREE), just reply to this email with your full name and address. Hope to hear from you soon!!! ========================================================================= Date: Fri, 4 Jan 2002 17:38:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "David A. Kirschenbaum" Organization: Boog Literature Subject: NY Arts Recovery Fund Benefit Calendar MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Please forward Boog 2002 calendar. www.blakebabies.com/boog.jpg Art and poem: Brendan Lorber. Calendar design: David A. Kirschenbaum. Thanks: Scott White. Calendar is 11" x 17", color, and printed on glossy cardstock. First printing of 100, December 2001, all of which are signed and numbered by the artist. All of the proceeds from the sale of the calendar go to the New York Arts Recovery Fund (www.nyfa.org/9-11.htm), which benefits New York City artists and arts organizations most affected by the events of September 11, with a particular focus on those living and working below Canal Street. The New York Foundation for the Arts is spearheading the development of the fund. Printing donated by Kinko's, 110 William St., NYC. Send check or money order for $18 payable to N.Y. Arts Recovery Fund to: Boog Literature 351 W. 24th St., Suite 19E NY, NY 10011-1510 Attn: Calendar For further information: booglit@theeastvillageeye.com • (212) 206-8899 Also benefiting the NY Arts Recovery Fund: ARTS ON THE HIGH WIRE Friday, January 11, 2002, 8:00 PM Hammerstein Ballroom at Manhattan Center 311 W. 34th St. Take action for the arts! Join us for an unprecedented evening as New Yorkís greatest musicians, writers, visual artists, performers and dancers take to the stage to keep the New York arts strong! NY artists supporting the NY Arts Recovery Fund and Appearing in the Event Include: Laurie Anderson, Paul Auster, Roy Blount Jr., Don Byron, Jim Carroll, Chuck Close, Bruce Davidson, Jules Feiffer, Spalding Gray, Bill Irwin, Joe Jackson , Ben Katchor, Fran Leibowitz, Phillip Lopate, Sharon Olds, Phillipe Petit, Frank Rich, Art Spiegelman, Elizabeth Streb, Suzanne Vega, The X-ecutioners, John Zorn In memory of his 1974 walk between the Twin Towers, Philippe Petit will walk the high wire! Tickets are $15 and up and can be purchased online: http://www.nyfa.org/concert.htm apologies to those receiving this announcement multiple times ========================================================================= Date: Fri, 4 Jan 2002 17:57:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: The Author's Apology for Heroic Poetry and Heroic License Comments: To: "WRYTING-L : Writing and Theory across Disciplines" , "Imitationpoetics@Topica. Com" MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Canto 45 The Author's Apology for Heroic Poetry and Heroic License TO THE RIGHT HONOURABLE HAROLD BLOOM, PROFESSOR EMERITUS OF ARTS AND LETTERS, YALE UNIVERSITY LORD CHAMBERLAIN OF HER MAJESTY'S CANON, KNIGHT OF THE MOST NOBLE ORDER OF THE GARTER, ETC. My dear Bloom, It comes within the compass of my power to express all the duty I own, and to pay some duty to our methods of looking upon the world of Literature; so far have your honorable favors outstripped all means to manifest my humble affection that there is nothing left but writing and wondering. There is a sleek serpent that breeds in many minds, feeding only upon forgetfulness and bringing forth, into birth, all but ingratitude and ignorance. To show that I have not been bitten by that monster, for wyrms prove monsters in this age, which yet never any painter could counterfeit to express the ugliness, nor any poet describe to decipher the height of their illness, I have presumed to tender these Madrigals only as remembrances of my service and witnesses of your Lordship's liberal hand, by which I have lived so long, and from your honorable mind that so much have all liberal sciences. In this I shall be most encouraged if your Lordship vouches the protection of my choice of a modern epic brought about upon the occasion of such a loose, low brow character set, for that both your greatness and your judgment in poetry avant garde best may. For without flattery be it spoke, those that know your Lordship know this, that using this science fiction as a recreation, as your Lordship has over gone most of them that make it a practice. Right Honorable Lord, I hope it shall not be distasteful to number you here amongst the favorers of poetry avant garde, and its practitioners, no more than Kings and Emperors that have been desirous to be in the roll of astronomers, that being but a star fair, the other an angel's choir. The worth of this poem is too well known to need commendation, so I thank you in advance and understand your silent nod. As are the flights of heroic poetry's fancy in a culture bereft of the heroic. The poet knew beforehand the sort of achievement possible the hero required for the present state of affairs, whether capable of writing it or not. Well aware what had been done by previous writers and what is done by contemporaries. This century 21 has its duty to reverberate within the nature and wit of the poet in that poet's surrounding. All that is fit to print should a printer find. morality1 The silliest way to defend the Western Canon is to insist it incarnates all of the seven deadly moral virtues that make up our supposed range of normative values and democratic principles. This is palpably untrue... The West's greatest writers are subversive of all values, both ours and their own. Scholars who urge us to find the source of our morality and our politics in Plato, or in Isaiah, are out of touch with the social reality in which we live. If we read the Western Canon to form our social, political, or personal moral values, I firmly believe we will become monsters of selfishness and exploitation. To read in the service of any ideology is not, in my judgment, to read at all. You feel strongly; trust to those feelings, it will take its shape and proportions as a tree does from the vital principle that actuates it. I too do not think that great poems can be cast in a morals mould. It sits the same in our dear friend Mr. Coleridge, who contrasts organic form, shaping and developing within, with mechanical regularity not necessarily arising out of the properties of the material, "as when to a mass of wet clay we give whatever shape we wish it to retain when hardened." On this principle of organic form an infinite number of right forms exist: if a poem is shaped and developed from within it will grow like as a creature, living, and the living shape it takes must depend upon how the infection or idea grows and expands in the poet's imagination. At the top of the hierarchy of former poesies, the pre-fab king, the literary beast tackled, the Heroic Epic is upheld by an immense body of critical theory. Indeed, so important is the Heroic Epic in the Western Canon we have for a millennia derived moral, aesthetic, and religious actions demanding from the world blind desires, driven passions over inner fears, while abandoning ourselves in the bad habits and illogical thinking of self acting heroes. This world has gradually become marvelously variegated, frightful, meaningful, soulful, it has acquired the color of April snow -- but We have been the colorists, acting like the wise cracking cop on the edge: it is the human intellect that has made appearances appear and transported its erroneous basic conceptions into things. Poetry is meant to effect continuity and transmission of heroic values on the battlefield the solitary hero dies I too feel quite alone these days in defending the hero to a violent warrior culture who needs to be psychoanalyzed and find a stately later age gentleman to hold a large-hearted liberality, or better yet social democracy is needed to glorify the valor of man The Society revolves around the strong, and it is the weak that need protecting The honored heroic code The warrior select is the fundamental of the western canon between his lord and the sword of an assassin, the thane of Northumbria is an oft-related example of how a gift of armor and horses and land is no mere literary convention a formal battle strategy as organization to garner a garter within the legends of Immortality's song of feats ultimate among excellence, among excess the heroic ethos contains reality on the battlefield the solitary hero dies The poesy of the Reformation is a boil that festers when not curbed by good taste, and when the flow stops the poem very properly stops with it. There were, it has been said, exact patterns of different kinds of poetry laid up in some haven to which the true scholar might arise in his contemplations and show the way towards the true poem. The poet of century 18 sat down to write not a poetry but rather a poem and that poem sat within a certain identity, a form within the recognized form, a poetry which belonged to all but kept rather to itself and did not play well with others. The reader too knew what was fast approaching and feared to tread naught for what ever faerie dance might a flute bring and expecting a goal responded to by rules set forth by the poet's predecessors, who acting upon the good tidings of Horace, or mere wit. What influence these ideal patterns had, what reverence they evoked, is scarcely conceivable now within a time of no mythologies or levitations; nothing to counter the uncontrolled controls and converge upon untouchable prophets and their sons steeping in absolute truth. I say tell you true, The time is fast approaching, and now is when the dead poem shall hear the voice of the present: and they that hear shall live. He that hears my word, and believeth in him the poets sent before, have an everlasting literature. A literature passing from poem into poetry and poetry towards a Poetry. As we find in John: For as the Father hath life in himself; so hath he given to the Son to have life in himself. But if you believe not this heroic epic, how shall we ever find belief in words? Precipices and cataracts may be more dramatic per se than a field of toilets but both are American standards full of flashing penetrative insight revealing beauty as the union of the shapely with the vital. It is the subjects chosen for works of art should be such as really are capable of being expressed and conveyed within the limits of those arts. Art is the power of placing a word where none existed before. on the battlefield the solitary hero dies The purpose of Anglo-Saxon epic, particularly the Germanic heroic poetry, the authority pictured obligations, responsibilities, to glean wisdom in the body politic and not spit in an eye a useful lessons to garner moral sanctions governing behavior an abstract reflection of Anglo-Saxon society a sense of self reflection acting on itself to out do the hero of the page to rule the Word a selling back of sorts toward its medium from which it was first purchased the group glorifying the bravery of the few This pragmatic view of heroic poetry is supported discriminate the monsters to destroys is to maintain commitment to community heroism is maintaining civilization venturing towards battles against evil the constant vigilance is constant vengeance is this not the way of Pax Americana But precisely this: we seek out the hero, and let us not be ungrateful to such resolute fellows who have played the role for our poets to transcribe perspectives and valuations of their spirit, with apparent mischievousness and futility. To see differently in this century, to want to see differently, is no small discipline and preparation for a future objectivity. Henceforth, my dear Professor Bloom, let us be on guard against the dangerous old conceptual fiction that posited a pure, painless, timeless knowing subject; let us guard against the snares of contradictory concepts as pure reason, absolute spirituality, knowledge in itself; as these always demand of an eye of absurdity and nonsense. the aesthetic2 its best defense is the experience of reading King Lear King Lear does not derive from a crisis in philosophy, nor can its power be explained away as a mystification somehow promoted by the bourgeois institutions. It is a mark of the degeneracy of literary study that one is considered an eccentric for holding that the literary is not dependent upon the philosophical, and that the aesthetic is irreducible to ideology or worse to mere metaphysics. Aesthetic criticism returns us to the autonomy of imaginative literature the sovereignty of the solitary soul, the reader not as a person in society but as the deep self, our ultimate inwardness. Thus most humbly submitting myself and my labors and whatever is or may be in me to your Lordship's protection, I humbly end, wishing your Lordship as continual an increasing of health and honor as there is a daily increase of virtue to come to happiness. ========================================================================= Date: Fri, 4 Jan 2002 18:35:08 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: Additional Apparitions: a double-issue of _The Paper_ MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Keith Tuma asked me to forward the notice below, as he's not currently on this list. -- I should perhaps add (since it's not in the notice) that the editors may be contacted by email at dgk@kennedyd.fsworld.co.uk and tumakw@muohio.edu I'll perhaps add that I've seen sneak previews of a few essays in here & it looks like a really exciting issue. -- all best --N Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 *** _The Paper_ 3/4 Special Double Issue Additional Apparitions: Poetry, Performance & Site Specificity edited by David Kennedy and Keith Tuma Additional Apparitions will be published in March 2002 and comprises approximately 180pp of essays and related materials. The double-issue brings together major poets and critics from the UK and the USA to discuss what happens when words come off the page and into places and spaces; and to explore performances as contexts of exchange and ways of knowing. Additional Apparitions is co-edited by the British critic, editor and poet David Kennedy and Keith Tuma and will provide a substantial gathering of provocative perspectives on the elusive but crucial "liveness" of poetry. Contributions include: Dell Olsen on Carla Harryman and Fiona Templeton cris cheek on the changing relationship of print and performance Peter Middleton on poetry readings and poetry as research in Allen Fisher and Bruce Andrews Steve Benson in conversation about past performances Carla Harryman on the writing of "Performing Objects Stationed In Platform on the Sub (Urban) World" Ian Davidson on Paul Green, Caroline Bergvall and the performed word Peter Riley on mass lyric Nathaniel Mackey on writerly poets and performance; and the recording of Strick Lee Ann Brown on performance anxiety Frances Presley on collaborations in cyberspace Caroline Bergvall on siting writing The first 100 copies of Additional Apparitions will include a specially commissioned West House Books supplement by Geraldine Monk entitled "Insubstantial Thoughts On The Transubstantiation Of The Text" - unique insights by one of the UK's leading poets and performers into the passage of a text as it travels from the intimacy of the private reading to its various public vocalisations. Rates are as follows: UK and other sterling customers Additional Apparitions retails for £9.00 but if you order before January 31st it will only cost you the special discounted price of £7.00 post free in the UK. Please make all cheques payable to D G Kennedy and send to: 29 Vickers Road, Firth Park, Sheffield S5 6UY, UK. USA & Canada Additional Apparitions retails for $15.00 but if you order before January 31st it will only cost you the special discounted price of $12.00 post free. Canadian customers should add $1.00 to those prices. Please send all USA and Canada orders to: Keith Tuma, 815 S.Locust, Oxford, OH 45056, USA. Checks payable to Keith Tuma P.S: Additional Apparitions needs reader support in order to be a success so donations are also invited towards the cost of the double-issue. All donations will receive a public acknowledgement in the issue or, if you prefer, can remain anonymous. ========================================================================= Date: Fri, 4 Jan 2002 08:47:28 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: http://www.e-mordnilap.da.ru/ In-Reply-To: <20020102075905.67774.qmail@web11708.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >http://www.e-mordnilap.da.ru/ > >an "Opus 1" not.art site, by Jeffrey M. Jullich > >__________________________________________________ >Do You Yahoo!? >Send your FREE holiday greetings online! >http://greetings.yahoo.com thanks for the link to free www domain name soninmok sovrez http://komninos.da.ru -- komninos zervos bsc(hons) ma(creative writing) http://www.gu.edu.au/ppages/K_Zervos Convenor CyberStudies major School of Arts Griffith University Gold Coast Campus PMB 50 Gold Coast Mail Centre Queensland 9726 Australia tel: +61 7 55528872 fax: +61 7 55528141 ========================================================================= Date: Fri, 4 Jan 2002 17:29:06 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Julie Kizershot Subject: Re: textbook ideas needed Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit There is a book edited by Mark Strand and Eavan Boland that deals with form from older poets to more contemporary poets called "The Making of a Poem". This can work as a reasonable introduction, I have used it for freshman classes. Julie Kizershot ---------- >From: Aaron Belz >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: textbook ideas needed >Date: Thu, Jan 3, 2002, 9:18 AM > > Dear friends, > > I am leading an introductory poetry workshop for undergraduates this spring. > Most of them won't be very knowledgable about poetry or how to make it, so I > am counting on nothing. Can any of you recommend a book for this endeavor? > Something in a reasonable price-point? > > I am also open to strategic suggestions. > > Happy new year to all, > Aaron ========================================================================= Date: Fri, 4 Jan 2002 08:49:09 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: http://www.e-mordnilap.da.ru/ In-Reply-To: <20020102075905.67774.qmail@web11708.mail.yahoo.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >http://www.e-mordnilap.da.ru/ > >an "Opus 1" not.art site, by Jeffrey M. Jullich > >__________________________________________________ >Do You Yahoo!? >Send your FREE holiday greetings online! >http://greetings.yahoo.com hey jeffrey you know the address works without the www http://e-mordnilap.da.ru komninos -- komninos zervos bsc(hons) ma(creative writing) http://www.gu.edu.au/ppages/K_Zervos Convenor CyberStudies major School of Arts Griffith University Gold Coast Campus PMB 50 Gold Coast Mail Centre Queensland 9726 Australia tel: +61 7 55528872 fax: +61 7 55528141 ========================================================================= Date: Fri, 4 Jan 2002 09:04:42 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: kill flies In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >someone wrote me about kill files back channel - I wonder how many I'm on. >would it be better if I sent my work out once a week, i.e. digest form, to >various lists, instead of daily or whatever the rhythm/frequency. do I >mistake quantity for quality, cycles for relevance? > >this is my only mode of distribution; the various books etc. I was >proffered fell through - I'm in various ezines and anthologies, but these >split the discourse of course - > >suggestions welcome please - Alan i find a thong is good for killing flies even a rolled up newspaper i try to avoid aerosol sprays komninos http://komninos.da.ru -- komninos zervos bsc(hons) ma(creative writing) http://www.gu.edu.au/ppages/K_Zervos Convenor CyberStudies major School of Arts Griffith University Gold Coast Campus PMB 50 Gold Coast Mail Centre Queensland 9726 Australia tel: +61 7 55528872 fax: +61 7 55528141 ========================================================================= Date: Sun, 6 Jan 2002 13:05:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Reading With Strings / NYC Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Line Reading Series Tuesday, January 15, 7pm at The Drawing Center in SoHo, New York City Charles Bernstein Nada Gordon Rod Smith * I will be reading from With Strings, just out from the University of Chicago Press: http://epc.buffalo.edu/authors/bernstein/withstrings.html A book signing will follow the reading. * Line reading series is Curated by Lytle Shaw admission is $5.00 (Free to The Drawing Center members) The Drawing Center is located in SoHo at 35 Wooster Street between Broome and Grand Streets in Manhattan. * And for those in New York City this weekend: An Homage to Haroldo de Campos SAT JAN 12 @ 7 PM Guggenheim Museum (88th Street and Fifth Avenue) Readings from new translations of de Campos's works by Sergio Bessa, Odile Cisneros, and Craig Dworkin; followed by discussion with Marjorie Perloff and Charles Bernstein. $10 ($7 for members, seniors, and students) ========================================================================= Date: Fri, 4 Jan 2002 18:49:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Taylor Brady Subject: Contact info for Scott Pound Content-Type: text/plain; format=flowed; charset=us-ascii Mime-Version: 1.0 (Apple Message framework v388) Content-Transfer-Encoding: 7bit Could someone b-c me with email or phone for Scott? Thanks, Taylor Brady ========================================================================= Date: Fri, 4 Jan 2002 22:09:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fargas Laura Subject: Re: textbook ideas needed MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Hi -- If Nims's Western Wind is still in print (probably isn't), it's my fave. But I have usually wound up using...oh crumbs, the contemporary poet's, it's in its 6th edition now. McClatchy? Lotta help, huh? Bill Matthews was planning to do one before his early death, and I lament its absence. Laura -----Original Message----- From: Aaron Belz [mailto:aaron@BELZ.NET] Sent: Thursday, January 03, 2002 11:19 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: textbook ideas needed Dear friends, I am leading an introductory poetry workshop for undergraduates this spring. Most of them won't be very knowledgable about poetry or how to make it, so I am counting on nothing. Can any of you recommend a book for this endeavor? Something in a reasonable price-point? I am also open to strategic suggestions. Happy new year to all, Aaron ========================================================================= Date: Fri, 4 Jan 2002 19:14:31 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Re: Request: Survey on Online Literary Publishing In-Reply-To: <3C351955.AEA53952@home.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- Jennifer Ley wrote: > what e-literature pioneer Mark Amerika has called Jennifer, I would more than love to give your survey time and fill it out (as I suffer congenital ~Curse of the Leisure Class~ and have all the time in the world!) but I find the above initial assumption too bothersome, that it would all be carried out under the rubric of e-literature ~mercenary~ Mark Ameri a's careerism being fueled this way (especially now, at a time when his epoynymously anti-U.S. sentiments ring more "Rebel without a Cause" adolescent than ever). And, since writing ~anything,~ check Yes, check No, below that line's inaugural assumption would be an implicit agreement with your Mark Ameri a promotion, I can't really touch this thing, beyond letting my Norton AntiVirus Corporate Edition do the rest. (Thanks for the invitation, though, and sorry to decline so politically: it's not you, whom I like very, very much. It's just the company the survey keeps, the pop-up window advertisement.) __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ ========================================================================= Date: Sat, 5 Jan 2002 00:29:25 -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 - currency Azure and I bought wedding rings today. I'm still reading Lacan's Feminine Sexuality again, Bachelard's The Poetics of Space, Dirac's The Principles of Quantum Mechanics. I found an anthology of Erasmus' works; I'm continu- ing with Rabelais but the old Modern Library translation incorporates notes from the French edition into the text which creates vortices unknown in the original. O'Reilly sent me a copy of Dreamweaver in a Nutshell for Dw4, which I highly recommend. I also received Albert Ayler's Spiritual Unity and Bells on cds (I was with the original company) as well as Orn- ette Coleman's Town Hall, 1962. The Ayler are my favorite jazz recordings of all time. Traded some books in and found Essays on Sino-Korean Music- ology: Early Sources for Korean Ritual Music by Robert Provine. I wonder how much aak and gagaku are related. Also traded for Peter Hay, Broadway Anecdotes; I know nothing about Broadway and am frightened of musicals. Tomorrow we're seeing Kevin Magee and I'm bringing him copies of Archive 4.2, Et2, and a pamphlet on the Miccosukee language. I heard from the FIU teacher's union today; they talked about publicizing the termination, since my situation establishes a bad practice for faculty hiring. They seemed also confused about my one-year tenure-track first-year contract, but I haven't spoken to them directly; I heard in email. Yesterday Azure and I trekked the 14 miles to the Shark Valley overlook and back. We're going out with Gerald Jones on Sunday, but only half a mile or so; I want to use a 35mm camera and telephoto for closeups of birds; reptiles and fish I can approach, but not woodstorks which are fabulous and fabled. I haven't started Solzhenitsyn's August 1914 which I bought a few days ago (all my books except for the Dreamweaver are 2nd hand); I can't remember whether I read it when it first came out. I'm still trying to think the relationship between the mailart network (I have an old issue of Art Papers devoted to it, and I've corresponded years ago with Ray Johnson and James Lee Byars and Jon Held was my landlord in Dallas, his stamp-making machinery next door) and the Internet and I'm also trying to think why this sort of recuperation (which also involves the NE Thing company) matters. I wonder if the discussion of the _lu_ in the Sino-Korean book might help me think through issues of fundamental ontology - the deep structure of sound in relation for that matter to raga/rasa - but then even with this I return and worry about unemployment, returning to New York instability once again. I take pride in my students at FIU, and I think they in me, but then that doesn't guarantee work in a period of football and budget cuts. The union representative wants publicity to prevent further cases, not to further my own. I need a copy of Dream- weaver4; I only have 3, and 4 sounds terrific; I could finally clean up my ratty homepage which doesn't run some of the scripts on the newest brow- sers. Yesterday I revised my Archive 4.1 cdrom - now Archive 4.2, cleaning out some of the older graphics, adding new ones. Kevin will get the first copy; he's been in Siberia. I'll have another sleepless night first, worrying about health and jobs, and we're having a cold spell. The car works after we replaced the battery. Something will get us there. _ ========================================================================= Date: Sat, 5 Jan 2002 18:10:30 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: Re: textbook ideas needed In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Aaron, Why not try Kenneth Koch's "The Art of Poetry"- it's accessible, stimulating and has a mix of poetics in that there are short & longer poems, parodies, interviews, essays & so on - it's published by University of Michigan Press in the Poets on Poetry series, 1996. Best wishes, Pam Brown --- Aaron Belz wrote: > Dear friends, > > I am leading an introductory poetry workshop for > undergraduates this spring. > Most of them won't be very knowledgable about poetry > or how to make it, so I > am counting on nothing. Can any of you recommend a > book for this endeavor? > Something in a reasonable price-point? > > I am also open to strategic suggestions. > > Happy new year to all, > Aaron ===== Web site/P.Brown - http://www.geocities.com/SoHo/Workshop/7629/ http://my.yahoo.com.au - My Yahoo! - It's My Yahoo! Get your own! ========================================================================= Date: Sat, 5 Jan 2002 09:02:59 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: kill files MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Alan and other Listers. As you know like others I cant read it all but I like it being on the list: as well as your CD Rom etc its like a project of my own (although I am not so deeply into having things so leverly "worked out " and the complex thoughts as you: he similarity is in that I have finally begun a project (which was in part inspired by some essays by Charles Bernstein) which maybe has a simililarity in that its online or its in a book its (for me) sometimes what I'm thinking or remembering when I write (which leads me to an explanation as to my "outbursts" at Keven Killian and some of my "shoot from the hip" comments about S11 and so on but I dont want to dodge being everything that is me...and as to Keven Killian I actually found the site he shared very interesting and despite some (I admit I'm a bit regretful here) rather harsh comments...it isnt my "whole" being that is sending all the time...but I think to get back to what you are doing it doesnt matter if we dont "follow" everything you do (time enough for that) its highly original and very energetic stuff and it has a sense ofopennes and going-on-ness which I think is useful and some of the posts are extraordinary: the very vastness of your project is fascinating. use journasl etc as well but this is a greta way...my attitude is to put things on and at least someone gets to read them (may not be what people like)...and its also also simply easier to get something "published"... not that the old ways of publishing are not valid. Alltho of course the internet isnt available to every one and hence your CD Ron and probably a book or books and or journals but I thinnk its good to see it "fresh" and always energising on the line: like others I cant read them all but I dont think I've deleted one of your posts: I went on a deletion binge and there wer hundreds of Alan Sondheims with red flags: if I'm "angry" with america that grew from a sense of loathing because of "all that useless love" I'm not angry at the American people or people else where (my crit is to Governments and the capitalist system etc etc etc)....I probably myself need to shift my focus to New Zealand (Aotearoa)..but this interest in this list for me is no "cultural cringe"..altho maybe there is a slight element its an Aotearoan curse that Alan Curnow Baxter Smithyman struggled with...but I'm still sticking with the cultural america...not military and poitcial america (of course there are llinks there but its aol very complex and funadamentally (at times) tragic)...but I think hope or one hope is in such as yourself creating (rather than destroying) and I swerve toward creating for now... But I agree with most others: keep going Alan. I love seeing your posts and the poems. Best for the New Year Alan and All, Richard. ----- Original Message ----- From: "Randolph Healy" To: Sent: Friday, January 04, 2002 9:40 AM Subject: Re: kill files > hey Alan, > > stick to what you're doing. The rhythm is fine, and as several people have > mentioned in the past, your work is part of the atmosphere of the list. > > best > > Randolph > > > ----- Original Message ----- > From: "Alan Sondheim" > To: > Sent: Wednesday, January 02, 2002 7:16 PM > Subject: kill files > > > > someone wrote me about kill files back channel - I wonder how many I'm on. > > would it be better if I sent my work out once a week, i.e. digest form, to > > various lists, instead of daily or whatever the rhythm/frequency. do I > > mistake quantity for quality, cycles for relevance? > > > > this is my only mode of distribution; the various books etc. I was > > proffered fell through - I'm in various ezines and anthologies, but these > > split the discourse of course - > > > > suggestions welcome please - Alan > > > ========================================================================= Date: Sat, 5 Jan 2002 05:13:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Millie Niss Subject: Re: textbook ideas needed In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Kenneth Koch has some books about teaching poetry & learning it. One is an anthology caklled sleeping on the wng. It doesn't really tear concepts at all bur more appreciation. That was Koch's schtick when I took his class in college. (But Sleeping on the Wing was made for high school I think and the lectures we had were a lot deeper than the book). The book is mostly (not surprisingly) New York School and Lorca and Mayakovsky etc etc. I may be wrong about Mayakovsky. I know we read him in the course but I don't know if he was in that book... If you don't mind buying a big anthology (I think it's actually a good idea because if your students don't re-sell it right away they might get hooked on poetry and then they'll have a poetry book, there is "Poems for the Millenium, edited in two huge volumes by Jerome Rothenberg and Pierre Joris. You could make them get just one volume. This is if you want to concentrate on the foundations of modern/contemporary poetry. For that, you could also get the non-huge but still pretty big Norton Anthology of Postmodern Poetry. Or to get less radical, the Norton Anthology of Modern Poetry (I use this all the time and people complained that it is too multicultural and it doesn't have a great choice of contemporary poetry but it's pretty authoritative up to the present. If you want to specialize in contemporary work, there is a small book called the An Anthology of New (American) Poets, edited by Lisa Jarnot, Leonard Schwartz, and Chris Stroffolino ($21.95). I first taught myself the basics from a really old book called "Sound and Sense." There are things in it that might seem objectionable, but they keep you awake (eg there is a chapter called "Bad Poetry And Good" in which the exercises cite two poems on the same subject with one being a fairly well-know decent poem and the other is a deliberately constructed "bad" poem, and the exercise is to say which is which and why; then the next chapter is about "Good Poetry and Great" that does the same kind of thing) But what I like about this book is that is teaches the basics about meter, forms, literary devices, etc. which are basic building blocks even in modern/contemporary poetry (just because we don't often write in a strict meter does not mean we aren't influenced by meter!). The book also has a useful anthology at the end. I distrust anthologies which cover the entire period of poetry since Homer all the way to, say, Williams... I think a book like a more modern verion of Sound and Sense (I know it's been re-issued, and there are a bunch of books like that; I can't remember now!) along with a few well chosen poets along the history of literature to study in some depth. I would choose Beowulf (an extract, showing the original, but studying a chosen version, preferably one retaining some of the poetry; I like Rebsamen and haven't yet read Heaney's, which was well-received, a single Canterbury Tale, Some Shakespeare sonnets, something by Blake, something by Coleridge ("The Rime of the Ancient Mariner" will do -- you either hate it or love it), something by Browning (say, "My Last Duchess"-- make sure the class understands that he probably killed her), A biggish something taken from the first version of Whitman's Leaves of Grass, maybe something by Emily Dickinson, and then you're home free into modern stuff.... I'm afraid that the list I just made up is already too long.... Millie -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Aaron Belz Sent: Thursday, January 03, 2002 11:19 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: textbook ideas needed Dear friends, I am leading an introductory poetry workshop for undergraduates this spring. Most of them won't be very knowledgable about poetry or how to make it, so I am counting on nothing. Can any of you recommend a book for this endeavor? Something in a reasonable price-point? I am also open to strategic suggestions. Happy new year to all, Aaron ========================================================================= Date: Sat, 5 Jan 2002 09:53:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Vernon Frazer Subject: Re: Vernon surplus dopamine MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I'm glad you can do it, too. I like to think a lot of us know how to use our "abnormal" energies more effectively than most people realize. The media seldom recognizes that we're more than the sum of our symptoms. Vernon ----- Original Message ----- From: "Sheila Massoni" To: Sent: Thursday, January 03, 2002 2:34 PM Subject: Vernon surplus dopamine > Hi as a "controlled" manic depressive for my entoire life I can well relate > to using my excess energy wisely at work so i had PLenty of time to play ie > read write etc ========================================================================= Date: Sat, 5 Jan 2002 16:39:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: upper limit music In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Does anyone, with better calculus aptitude than mine, know how to explain the precise meaning of Zukofsky's famous expression in "A"-12 where he says, "I'll tell you about my poetics -- / ... / An integral:/ Lower limit speech/ Upper limit music" -- at the ellipsis is a figure that looks something like this: music ss s s s s s s s s ss speech I have a vague notion of the poetry existing within these limits, sometimes approaching one and sometimes the other (vernacular artless directness, abstract formalist opacity) but never quite entering either state -- but I'd appreciate hearing from anyone who can explain this in more detail, or correct me if it turns out I have no idea what I'm talking about. What, specifically, is an integral? The dictionary tells me how they're calculated, but not what they're for. Thanks, Damian <<<<<<<<<<<<<<<<<<<<<< damian judge rollison department of english/ institute for advanced technology in the humanities university of virginia djr4r@virginia.edu >>>>>>>>>>>>>>>>>>>>>> ========================================================================= Date: Sat, 5 Jan 2002 21:32:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Elena Caballero-Robb Subject: Re: textbook ideas needed In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT As others on the list may have suggested, try Ron Padgett's book (Teachers and Writers Collective) called something like _Handbook of Poetic Terms_. It's an abecedary or glossary with little articles on things like meter, the line, verse, concrete poetry, etc. It also contains entries on a number of poetic forms which I found useful in a course structured around the idea of having the students attempt "experiments" (revising the ones they found most useful for a final portfolio). The articles also direct you to "example texts" from Countee Cullen to John Ashbery. Worth a look. Best of luck, Maria Elena %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% Maria Elena Caballero-Robb Literature Department University of California, Santa Cruz Santa Cruz, California 95064 mecr@cats.ucsc.edu %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Aaron Belz Sent: Thursday, January 03, 2002 8:19 AM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: textbook ideas needed Dear friends, I am leading an introductory poetry workshop for undergraduates this spring. Most of them won't be very knowledgable about poetry or how to make it, so I am counting on nothing. Can any of you recommend a book for this endeavor? Something in a reasonable price-point? I am also open to strategic suggestions. Happy new year to all, Aaron ========================================================================= Date: Fri, 4 Jan 2002 20:27:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: schwartzgk Subject: Re: Sondheim suggestions MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Alan, we need it all. Please continue. Best, Gerald ========================================================================= Date: Sun, 6 Jan 2002 00:43:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: New Media Violent Terror Course this Semester: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - New Media Violent Terror Course this Semester: Please note attendance is mandatory and part of your grade. You will be hung. You will survive scorpions. You will survive Survivor. You are also required to have an anonymous email address - and to check your email at least several times a week. Some of the class participation is online. You are expected to spread at least one virus/week across the campus. Assignments: a. If you have not taken the course before - there are two projects - one due at the end of the course, and one at the midway point. If you don't live past the midway point you get an A. Midway: A piece in any non-traditional medium (performance, sound, video, cannon, computer, tank, html) dealing with either: Issues of self; or: Light; or: Shark Valley in the Everglades; or: why WE are better than THEY are; or KILL FACTOR: SPECIAL EDITION. Final: A work or works in any non-traditional medium dealing with a sub- ject of your choice involving firearms and torture (water not included); you should have decided this by the mid-February, and you should be prepared to report on your progress during the class periods, to the remaining students. b. If you have taken the course before - you may continue working on your projects, as determined previously. If you are able to continue, your grade is a B maximum. This course will consist of several components: 1. Going through the Michael Rush book in the beginning; looking at other work; looking at work on the Internet and Net.Art. Assignment: Why is Net.Art dead? If you think it is alive, kill it off. If you cannot kill it off, you may use firearms and torture as above. This is necessary for a passing grade. Note that Net.Art is tricky: Turning off your machine does NOT kill the webpage for everyone else! 2. An overview of the Internet and the work presented on and through it; this involves the history, demographics, and culture of the Net, presented in brief. Assignment: Begin a commercial Website which deadends at least 15 trillion email addresses. Create a form that replies with at least 15 megabytes of broken higher ascii to every "please unsubscribe" email address. 3. Learning the components of the digital video studio - these include: Premier, Imovie, Movieshaker, Moviemaker, and FinalCut Pro. You do not have to know these in depth, but if you are working in video, you should try and learn at least one of these well. Assignment: Naked sex involving at least one consenting animal to be presented live in class and on the Net. No children, but if you lose a limb you automatically get an A. If the tape makes money, you get 25% of the profits plus hospitalization. 4. Learning about the other components available: audio including Audio- mulch and Soundforge; imaging including Gimp and Photoshop; 3d modeling with Blender and Mathematica; and anything else that might be of use to you in your projects. Doom and Quake are permitted providing a parallel course setup is created with live ammunition and human targets. Any killing or injuring of animals strictly prohibited. Mathematica may be used in the design, development, and production of small-scale nuclear weapons; we can use the populated parts of South Florida for trial runs. You are not expected to be an expert in any of these programs; you are expected to be self-motivated if you want to explore or use any of them in depth. Please note that the course is not program-based, but is concerned instead with the entire new media area. Assignment: Create a work based entirely on Allah/Christ/Buddha/Confucius/God/Nothing/ or the (non) tran- scendence of your choice. The work must prove beyond the shadow of a doubt that this transcendence is really _it._ A second and shorter work should define _it._ A third work should portray the resulting carnage. If the third work cannot be carried out because of sudden death syndrome, you receive an A. If you cannot get a grade, you receive an A. 5. Learning how to use microphones, anthrax, digital still cameras, plas- tique, crowbars, small-scale nuclear weapons, Internet spam and video cameras. We will cover camera/sound/planting/fertilizing (see sex above)/ harvesting/coverup techniques. Learning how to hide violations of civil rights; learning how to hide suspected terrorists; learning how to hide anyone; and learning how to eliminate civil rights/terrorists/anyone for extra credit. 6. Learning how and where to distribute new media work and what to do if your audience no longer exists. What to do if you hate your audience. What to do if your audience hates you. Last gasp: What to do if your audience loves Net.art. Please do not expect this course to be highly-structured! It isn't - it depends on you, and your ability to survive or court death (for our purposes the two are equivalent). The length of the course is inversely proportional to its success; it will be best if we no longer make it through the year (or if hospitalization is a MUST). Good luck. Alan Sondheim _ ========================================================================= Date: Sun, 6 Jan 2002 09:34:16 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Re: "New" Poet MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 12/25/01 7:50:07 PM, djr4r@CMS.MAIL.VIRGINIA.EDU writes: >Where does mass-culture poetry come from? Is it a >half-digested imitation of "official verse culture" >workshop poetry? One clearest example of "mass-culture" ========================================================================= Date: Sun, 6 Jan 2002 13:29:04 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: End-of-year list, Part I MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit [INTRO:] I'm always frustrated with the space limitations imposed on _The Gig_'s review section because of its printed format (postal costs dictate the magazine be only 64pp, of which usually 6-12pp are reviews), & there seem to me a lot of good books from the past year or so which I keep making notes to myself about reviewing in the mag's pages but never finding time or space to do so. So: here's a list of books, with contact details for publishers. I'd originally just intended to make a bibliographical list, but instead ended up making some offhand comments & trying to quote a poem or extract to give a sense of what a book's like. (A particular gripe of mine about publishers: their email & print flyers usually include copious blurbs but NO POEMS, or only 3-4 lines.) I'll post a 2nd instalment shortly; this is already long enough for a single email posting, I think! I'll also make a short list of those books reviewed in issues 8-10 of _The Gig_ that are especially notable too. The books below should be obtainable in the UK via Peter Riley (priley@dircon.co.uk) & in the US & Canada via SPD (www.spdbooks.org). Alan Halsey (see below under his name for email address) I know carries Coach House & so would be another source for the McCaffery in the UK. The Salt titles are carried by Amazon. all best --N Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 --- B. Catling, _Thyhand_. London: Alfred David Editions, 2001. 1-874433-03-8. 20pp. (Write the editor, Ian Hunt, at ich@affidavit.freeserve.co.uk) Revised text of a sequence first published in _Parataxis_. Catling once said his major poetic influence was Beckett's poetry, curiously enough: here's a taste: Tell me in an ear uncloven, skinned as this road, the faint blossom swirling a beck across the diesel breath of meaningless journeys. Sign me a bite or grip of quiescence about the smeared seed & lemming fumes tell me again before I spit canker & honey in the dulcet palm of thyhand. Kenneth Goldsmith, _Soliloquy_. New York: Granary Books, 2001. 1-887123-53-9. $17.95. 489pp. (www.granarybooks.com) Oh boy....the idea's simple: this contains every word Goldsmith spoke for a week in 1996, surreptitiously taperecorded & then meticulously transcribed. I've only read the first 100pp so far & find it extraordinary, not least for the extreme discomfort & fascination the text produces because of the amount it reveals about Goldsmith, his friends, personal & professional life. (I gather some of the friends are now ex-friends: what I gather was the original epigraph to the book, "IF EVERY WORD SPOKEN IN NEW YORK CITY DAILY WERE SOMEHOW TO MATERIALIZE AS A SNOWFLAKE, EACH DAY THERE WOULD BE A BLIZZARD," has been shifted to the back: in the front is instead a couplet from Catullus: "Someone I flattered in a book pretends / he owes me nothing. Oh the trash I have for friends!") If "reveals" is the right word, as part of the interest is in how much talk & conversation & gossip actually _conceal_. -- Here's the 1st page of a selection that appeared in _The Gig_ 8: Well, Janet's sitting next to Douglas. Can you see her? I've heard I've heard rumors about Douglas. Sexual ones. No no no no, that's not my concern either I'm just gossiping. That that he's got some problems in that department. We were just talking about...why are we dysfunctional? Douglas's sexual problems. That's what everyone talks about. Douglas I've heard I've heard more stories about him in that in that regard. So, hey, there's nothing to worry about. We might have heard it from Andrea Scott but, no. Who did we hear that from Cheryl? That Douglas couldn't get it up? No this was oh I think like Mary Jo must have told us that. Wouldn't be a bad idea. Wouldn't be a bad idea. Well, we might be the ones to vomit. Mean lookin'. I've seen that. Yes, I've seen that. We've seen this. Yes, we've seen this. Yes it grows and it's never quite as big as the head. Right right right right. This is a good movie. So Grandpa's really got got chic. There's a strange confluence of worlds here tonight. Poland is represented. The artists staying in Poland. Yeah, there's a lot of those people here. And then there's a lot of bit old bitter conceptualists. I was just telling Stefano. Jim Lewis. Argh. What does that mean? God help you? Yeah the whole world he thinks everybody is hitting on him that guy. Don't be flattered. Hello Graham. I can. No we shouldn't flatter him. We shouldn't inflate his already over inflated ego, Cheryl. Grazie grazie. Grazie grazie. You can bring me a drink. I'm dying thank you. Thank you I'm really thirsty. Oh my, so did you have dinner here? How ya doin' Graham? I heard you guys had had a, uh, a little meeting of the minds about the current show at your gallery. How's the show though. We're not thrilled with the show. What? What with Richard's show? Oh, we're talking about Richard's show. I couldn't stand Dominique's show. This guy looks like he walked out of 1978 this guy in the leather coat. Doesn't he? I haven't seen that look in fifteen years. Yeah, the guy in the red shirt? Kind of like New Wave a little bit sort of Punk. Yeah I haven't seen it in a really long time. Yeah. So Graham, what's happening with you musically? Alan Halsey, _Dante's Barber Shop (De Vulgari Eloquentia)_. Nether Edge, Sheffield: West House Books, 2001. 0-9531509-8-4. 39pp, A4 spiralbound. (Write alan@nethedge.demon.co.uk) The visual appearance of this is close to Raworth's _Logbook_: prose texts set inside elaborate b&w visuals (collaged from photos: the page with the Pope, someone in a Halloween mask & Aaron Williamson juxtaposed is esp. memorable). The texts are printed in narrow newspaper columns & there's much play with linebreaks & pagebreaks (every single page ends in midsentence & by the time you turn the page it has utterly switched direction). Here's the first page, unfortunately not with a justified right margin, but you get the idea. DE VULGARI ELOQUENTIA PAGE ONE To say he 'tows the line of zero longitude' scarcely needs correction or apology even if we believe as I so- metimes don't the linguistics text- book that ordinary language is good. What's so ordinary about ordinary language that it has to be good or bad? You have to tow the line some- where even Green- wich even if the millennial doom of our youth has been so facetiously re- placed by the mil- lennium dome to prove puns which are sometimes ty- pos in disguise still matter. Okay top- os. Stop O. If or- dinary language was good enough for Coleridge it's good enough for me but often it wasn't and I like the way his con- versation poems are for only one voice. Words come in ones and twos then another one tows the line somewhere else I expect is what he meant and al- though it's more exacting to cross any line than find it has been moved to toe it is the dullest option. Whatever Eng- land's lost zero longitude's still ours I mean its I mean theirs I mean there's an- other homophone and when I say I 'like' I mean I'm amused and not that I prefer my [...] Piero Heliczer, _a purchase in the white botanica: the collected poetry of piero heliczer_. Ed. Gerard Malanga and Anselm Hollo. New York: Granary, 2001. 1-887123-57-1. $15.95 US. 152pp, illustrated with b&w photos. (www.granarybooks.com) A figure from the 1960s avantgarde (both film & poetry) I'd heard about every so often but without coming across his work. This book comes with a very interesting interview with P.H.'s half-sister Marisabina Russo-Stark, which outlines the sad outlines of Heliczer's life--born in Rome; his father killed by the Germans; the remaining family transplanted to the States, a new stepfather deserting the family; Heliczer's erratic career due to increasing mental instability; restless movement between the US & Europe; a death from a crash on a moped. Here's a short poem from "& i dreamt i shot arrows in my amazon bra": THE BEAUTIFUL AMBUSH expectancy strings time ah the cloud patches more perfect black ah les taures of the sky wind moves through steers hide the sounds of death and the stars are the same whirring click like the lute stop like a quiver of feathers thrown in to the air like the blades of a wind wheel falling circularly in air we lie down in a beautiful ambush and read the poem we know almost by heart of the stars a pillow of quills Peter Larkin, _Terrain Seed Scarcity: Poems from a Decade_. Applecross, West Australia/Cambridge: Salt Books, 2001. 1-876857-08-0. $15.95 US/£9.95/$20.95 Cdn/$24.95 Aus. 199pp. (www.saltpublishing.com) Larkin has developed a distinctive style of prose-poetry over the past decade: brief but very dense paragraphs separated by bands of white space; occasionally they break into verse that reads almost like cryptic, multidirectional marginalia notes (Susan Howe is an author Larkin especially admires). It's poetry that both has the density of speculative philosophical prose & the linguistic playfulness & density of Zukofsky; it's not at all easy going but I've found myself increasingly respectful of & engaged by this book (especially its later sections) as I have returned to it. The opening section, extracts from _Scarce Norm Scarcer Mean_, is perhaps a mistake, as it's extremely opaque (full of coinages) & the partial presentation makes it hard to judge what the book's trying to do; but thereafter there are 8 full-length sequences, & the book closes on a high note, the wonderful "Spirit of the Trees", short syllabic poems formed out of the vocabulary of poems included in a 1947 anthology of that title (the inspiration is a sequence by Peter Riley but the effect is rather more akin to _80 Flowers_). -- Here's an extract from "Landscape with Figures Afield", a series of brief statements in the manner of Thomas A Clark: Here, in a remote, preparatory and instrumental working, imposition is dedicated to the woods. Knots and compartments, whose speculations are matched to a helper of root: lest this green world is not sufficient to look abroad into the fields. Cascades amend, but fail to tend, a broken world: you certainly incline the leaning of a wall to naturalism. Apparent spoil, but no waste of the irreparable reaches. The duty of mutual strife with ground: where a break in the branch has twisted onto a root. An unsolitary world does but transliterate other worlds. Not to concede a probable nature, so as not to exceed a parlous one. To picture the fields as mere variety leads our expectations into the city, to a theatre of experience. A variety to chance the mind's own multiplicity, round a narrow compass to purge the rectitude of finitude's entirety. Nature's _incurious_ accuracy: that some casual truths call for a measure of addiction is not injurious. [...] Dorothy Trujillo Lusk, _Ogress Oblige_. San Francisco: Krupskaya, 2001. 1-928650-11-2. $9 US. 64pp. I already reviewed one component part of this, the pamphlet _sleek vinyl drill_, in _The Gig_ 8. I really admire this book. Rather than quote it I'll simply list the table of contents, which exemplify its sensibility just as well: For D.M. Fraser 7 Pity, The Greatest Aphrodisiac 9 OOPS UPSIDE YOUR HEAD 11 Lumpen Prole by Choice--_a Novel in Arias_ 14 Cakes and Lager--_an Outré biografib_ 18 Contiguous Schadenfreude--_an Apocryphal Memoir_ 19 Funny in a Bonnet 21 OOPS 22 Let My Voice Thud Throughout the Land 23 Vulgar Marxism 24 "We're All Friends Here"--_a Fiction of Unspeakable Horror_ 29 Sleek Vinyl Drill 34 FRONTal for Jan Coyle 39 OGRESS OBLIGE 41 BOTul'ism (intra _DECORUM_) 56 Rumplestiltskin's Dotter--_a Meaningful Poem_ 60 "Why Do I Have a Phony English Accent?" 64 Steve McCaffery. _Seven Pages Missing: Volume One: Selected Texts 1969-1999_. Toronto: Coach House Books, 2000. 1-55245-049-X. $22.95 Cdn. 464pp. (www.chbooks.com) What can one say about this: an absolutely enormous, & beautifully printed, selection from McCaffery's last 30 years' worth of writing. The selection is I think indebted to Jackson Mac Low's _Representative Works_--the emphasis is on providing examples of work from a wide range of texts from throughout the career. (Volume One is only drawn from poetry published in book form; the forthcoming vol. 2 will have uncollected work.) -- I'll pick two examples. Here's a short text from _In England Now That Spring_ (1978), a series of poems written during a trip in the UK in May 1978 making use of Wordsworth's collected poetry (the original book also included poems by bpNichol & some Nichol-McCaffery collaborations; the selection in _Seven Pages Missing_ is confined to poems that are exclusively McCaffery's). FROM: "TO A BUTTERFLY" This plot of wings in a talk of song. & here's a longer poem, from _The Cheat of Words_ (1996): CRITIQUE OF CYNICAL POESIS Comrade Krasheninnikova I am answering your question. Esperanto of the cortex should take place a little to the left of one ear. Please ensure that all the ur states are marked upon the site of this difference. Moths of the mind are traditionally temporal, however the sutra through its murmur is bound to offend. Inform Department Ignoramus that _this is not a sentence_. Is a sentence. We will let you know if this is gospel in the Caucasus (nowadays, the migrant apples bruise if you remove the chestnuts) . Which means it's tea and time for ice which captures us but not by much. All primary positions being otherwise we are far more moderate when dispossessed (though sounds i think recede no further than our urban logic). An age is still a phrase loaned back to the rim of each appeal by vicinity so that the trick remains to preserve our we as a siamese connection. No more to write now but the words the train now standing is metonymy. Conjectural and sediment to emendation let's me add that it's okay for you to relax with the smoke from the other room whilst we in the thought of codeine sobriety and with a qualitative north to the questionnaire win all your downhill points. Helen Macdonald, _Shaler's Fish_. Buckfastleigh: etruscan books, 2001. 1-901538-33-8 (paperback); 1-901538-34-6 (cased). 62pp. (probably best obtained via Peter Riley or SPD) Macdonald by virtue of her birthdate (1970) found herself occupying the formidable position of the last author in Keith Tuma's recent Oxford anthology, a book that starts with Hardy & Hopkins. This book is her first full-length collection (it collects work that appeared in the earlier _etruscan reader I_, but most of it is uncollected work). Difficult, rewarding work: the best short introduction to it is Keith's introductory piece in the OUP book (& also search out Drew Milne's piece on lyric humanism in _The Paper_ 2, which has an extended discussion of this book). An authorial note in _foil_ is pertinent to Macdonald's combination of high lyricism & often very demanding scientific material (from ornithology, astronomy, atmospheric science, &c): "poems as maps, orienting the reader in a field populated by different versions of the self and its relation to the natural world." Here's a short one I like, not perhaps a "typical" poem but so what: SMALL HOURS There is a brick in the cloud but it is not falling it is night falling is it true accomplishment breathing The sky isn't blue not thinking for days thinking for you generally a small kind of bird looking for premises and they say the best is, yet to get near it requires such fabric of years there is a stroke through it & I can stand on the pantomime wall describing figures. And above a splint of mild lightness that is not light at all that is all there is to love Tadeusz Pióro, _Infinite Neighbourhood_. Cambridge: Equipage, 2000. 1-900968-46-0. 26pp. (Write the editor, Rod Mengham, at r.mengham@jesus.cam.ac.uk) One of the best sets of readings at CCCP in 2000 was probably the most sparsely attended, I guess because it occupied the conference's deadspot (early Sunday afternoon). I was glad I caught it thought: a terrific performance by the elusive Khaled Hakim, & an impressive one by the Polish writer Tadeusz Pióro. This book is basically a mini-_Selected Poems_; the translations are the author's own (he's fluently bilingual & they read as if written in English). Here's one of the shorter ones: NOSTRA VITA A local airport, a pipeline, knotted freeways humming in fog like a familiar sea, though sirens don't help when you want to lose count. Let's meet half way there: when I give you a sign that there's no way out, answer just as mysteriously. But even a firehouse goes awry sometimes and at dawn the fog opens on a cunning trompe l'oeil: a clear bay through a window, sun's glitter, islands, sailboats or some other, harmless, kitsch. In a little bottle, the Flying Dutchman cocks an ear and starts to count: luxuries, years finally heartbeats and only the last thread of language some beautiful, difficult sentence holds us to the edge of the world. Catherine Wagner, _Miss America_. New York: Fence Books, 2001. 0-9663324-7-4. $12 US. 68pp. (www.fencebooks.com) This collects work from three chapbooks, _Fraction Anthems_, _Magazine Poems_ & _Hotel Faust_. This reminds me of the D.T. Lusk book for its sheer attitude & wit; a really fine, frightening & funny book. Here's the 1st "Fraction Anthem": Delver: There was a place in the brain, a red knot. We live in there, we play seek. We live in there, we ratchet. Blitzkrieg. We peony. Will you come out of there, take my stringy bloody sinew pulse hand Say goodbye to HER she make you lie, don't love And a rock feels no pain, dingle dingle ding, and an island. I am sexually attracted to him, he gets on my nerves, she jealous of me, I think she's clever, love my boyfriend. Bowl the fucking ball. I poured it full of foam. Goddamn I hate mole, cat-hair on my black pants. Catarrh. river cut, air cut. My thighfat, my gullet, stringed down, scuttle. My thermometer wilt. Go trade. John Wilkinson, _Effigies Against the Light_. Applecross, Western Australia/Cambridge, UK: Salt, 2001. 1-876857-38-2. $15.95 US/£9.95/$20.95 Cdn/$24.95 Aus. 199pp. (www.saltpublishing.com) A friend of mine once called _Sarn Helen_, the climactic sequence of this book, "unbearable": this was intended as praise. Actually, I find this remarkably compelling reading, for all its formidable density & dendritic chains of association & reference. (Wilkinson once compared his writing his poems to an alchemist growing a homunculus.) There is a useful authorial note on the back (sic!--not exactly common practice among Cambridge-based authors...), which comments in part: "One notable system of echoes and transformaitons occurs around racial and cultural constructions, from the movements of slavery and colonial migration marked in 'Chalone' and 'Colour Swatch' at the start of the book, to the meditation on refugee displacement, nationalism and the effect of new technologies on the apprehension of time and place, which comprises the long poem 'Sarn Helen' at the end of the book." Here's the opener, from _Chalone_ (revised from its original Prest Roots text), a sequence preoccupied with the colonial history of Jamaica: OPERATIONS To assemble the lily. Gloss half-smeared slips like a thumbprint broken through sweet glaze; the visible hymen flaps; a sky funereal peels from a sloping pond hot sun beats or mains rupture plenishes. The confectioner's system purrs easily: summer stripes & smash, do to construct flaked out, the numbed inquisitor of feeling propped their water plate. JCBs shall batter, cars shall rend & groove natural piety's cover, circulate in fine fettle. Sugar gushes plentifully. This kidney island, poor Ind, which half- slipped on sweets unwrapped, powered with cane trash, stayed discovery, waits insulin now turns its sweet to plenty turn to the clear inlet pain, filled with Arawak ghosts people a clear glaze, neither slave nor indentured, dead processors of sweets wired its virginity. Petals rattle & smart, rewire together proof for the technician's fingering green stairwells, green detention doors slamming into a kelson swinging low one after another, endless decompression, & never a breach to break out through. --- The monster list, part II, coming shortly....I'm reading & typing away. --N Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://www.geocities.com/ndorward/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 ========================================================================= Date: Sun, 6 Jan 2002 14:06:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ShaunAnne Tangney Humanities Subject: Re: textbook ideas needed In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII two different books/kinds of books come to mine (i teach both intro and adv. CW courses) _The Portable Writers Workshop_ from Salmon Press in Ireland. I have found this great to use w/ intro courses; it's "workshoppy" and "inspirational" but it does touch on technique and labor. it is dedicated half and half to poetry and fiction. _The Handbook of Poetic Terms_ from Teachers and Writers Collabrtive. A true handbook--entries for "sonnet," "line," "pantoum," "rhythm," etc. I use this in my adv., genre-specific courses because I want the students to learn that poetry is a formal concern, not merely journal-writing cut off in the middle of the page..! good luck-- shaunanne On Thu, 3 Jan 2002, Aaron Belz wrote: > Dear friends, > > I am leading an introductory poetry workshop for undergraduates this spring. > Most of them won't be very knowledgable about poetry or how to make it, so I > am counting on nothing. Can any of you recommend a book for this endeavor? > Something in a reasonable price-point? > > I am also open to strategic suggestions. > > Happy new year to all, > Aaron > ========================================================================= Date: Sun, 6 Jan 2002 14:54:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bertha Rogers Subject: New York State Literary Curators Web Site (www.nyslittree.org) January update MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Dear Friends, Welcome to another year of updates for the New York State Literary Curators Web Site, which includes literary organizations, events, curators, small press publishers, the September 11, 2001 Forum, and biographical information on New York and out-of-state authors Please e-mail your update information no later than the 20th of the month preceding the event to wordthur@catskill.net. Happy New Year! Bertha Rogers and Brittney Schoonebeek ========================================================================= Date: Mon, 7 Jan 2002 11:12:18 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: Your Voices Desired, Requested and Appreciated MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi List. I'm presently working on an opera with the Lithuanian composer Arturas Bumsteinas, and we need background voices. You can help by sending your performance of a brief score on tape or via voice file to Mr. Bumsteinas. To get background information and a copy of the score please contact bumsteinas@yahoo.com We're both poor, so we can only pay in good Karma, a copy of the final CD and your name in the credits. Please join us in this internet project. Your pal, Jesse About Jesse Glass. How to order his books. http://www.letterwriter.net/html/jesse-glass.html ========================================================================= Date: Sun, 6 Jan 2002 22:09:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: LIFE.MOV as k text virus MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - LIFE.MOV as k text virus moov lmvhd ptrak \tkhd $edts elst mdia mdhd hdlr mhlrtextappl Apple Text Media Handler {minf Lgmhd gmin ,text hdlr dhlralisappl@ Apple Alias Data Handler $dinf dref alis stbl bstsd Rtext Copperplate Gothic Bold stts stsc stsz stco udta udta WLOC free wide mdat wide mdat life There are early screen memories of _being carried_ on a - I have had my faults, too many of them Or thereabouts - remembering crying in the car with mot All through childhood I had to take weekly Saturday all I was given a small film projector with a crank on the I really don't have a date but wonder about my early lo I remember a wonderful British tricycle with large whee It was around this year that we moved from Reynolds Str Around this time, I had an operation to have my ears pi I heard of Elvis. I loved the word "fuck." Someone show I watched someone masturbate at camp; I was thrilled. E Later this year (or was it this year?), I masturbated c - I cried myself to sleep, etc. I had a small box on t - I joined the American Forestry Association (or someth J U and I were walking late at night and he thre I was probably a Junior at the Blue and White dances at I'd fall asleep dreaming of P T or earlier Ma - A W was my first real girlfriend; we tri / Barely made it to the senior prom with C K I just about flunked my first semester at Brown, collap : I remember reaching for A's breast; I was sick and at I volunteered for secret army tests as well - checking I went to Israel for a summer, living largely in Jerusa It was around this period that I had my only "attested" It's this summer I first go to Israel and almost have a The depressions continue for the rest of my life These dates, these beginnings are obscure to me, and al - Sleeping and waking: insomnia goads me my entire l I almost flunked out of school. My life was a disaster. - My second year at Brown was miserable. I hated my I watched the side of the factory open up in the middle It was this year that I got beat up on the campus by tw On a trip through the Negev, I saw, from a distance, an Was it during this year, when I was in Israel, that my We managed to get shot at from an absurdly safe distanc was still, closed up once again. I asked my roommate wh - Went to Israel for a year, living mainly in Jerusa Went to Europe for the summer; met J Z who becam It's around now I'm in Europe. I met you (I forget your ' P G ran into the studio screaming - Put out three records with a group, two with ESP, - Did I speak of the Great Fear of country and anarc I bought a red IBM Selectric, my first real electric ty I had An,ode published by the Ws' Burning Deck Pr / I lived for a summer in Minneapolis with J I think J and I were married; it was a traditional w V and I in our dismally-cathected relationship, talk At the Paris Biennale I put up "The World's Smallest Sc - I went to Europe with B; we lived for a month i : Around this time, I remember living off and on with R I lectured all over the place, UCSD, Cal Arts, RISD (wi Logic of consciousness worked out, The Book as System o R warned me about V, that he wasn't as good a Around this period, L accompanied me at a poetry r R M and I split vowing to remain friends. It - I work on the Structure of Reality, a text compose - E and I in New York and Hartford, marry Around this date I thought that if aliens came from ano I taught for a year in Hartford, at the Hartford Colleg J was born; I was totally amazed. Everyone's start Secretly, I think I know everything; I don't know anyth / E and I split, my fault through everything T fucking me, the first and only totally re The Whitney shows the tape K and I made; ther - Relating to J; I never see her enough; as she Remembering L, who became an erotic image / i - I taught for a year at the University of Californi I get involved with women who are as crazy as I am; no I saw V for one of the last times, and stopped speak The year where my writing began to coalesce; I was a - I taught at UCLA for two years, in the art and art A and I left for Queenstown in the eastern center I left for three and a half years - to teach in Tasmani I went to Tasmania where I met A and return In Queenstown we end up at the home of a Belgian hairdr I take over the curatorial position at Nexus Contempora - After teaching for a semester at Ontario College of At Nexus, we began the Atlanta Biennale; the first exhi - Later Paul Celan's poetry would take off from where T - I left Nexus, A left me, I went to University I first met D at a punk/industrial music night; he : And I had never been treated so badly as I was with N I also met N while at Hallwalls; this was th I became Artistic Director at Hallways Contemporary Art I took up the Artistic Directorship of Hallwalls Contem At the end of the year, M and I left Atlanta for M and I are driving through western North Caroli - During the years with M I had the feeling we Or so, found out the ESP records had been reissued as C M walked out after my severe depressions; she to Finally started on the Internet with an IBM XT. My firs My first cyber-relationship experience with a grad stud At the end of November, attended the Cybermind confer I meet A in Sydney after the Perth conference. Sh I think A and I worked through some of our differ Worked through M G in Sydney, Nova Scotia, on thought of this program as a way to begin to create an , After the book launch party, N took pho Back in Sydney again for a second round, dealing with a But when R apologized, it was too late, and our fr I lived at -- Chiyo, Hakata-Ku, Fukuoka-Shi , Jap I return over and over again to this, in an attempt to I think I'm so smart. January - worked with C\CEN in Sydney for economic d Late, I think, my brother M comes over and joins L L and I make a tour down the coast of Oregon; she h ' November went to Fukuoka to join L , Stromatolites, cyanobacteria, tendrils. Today I received a carton of my older work from T B Wrote the first version of The Case of the Real in Fuku z, I use you "z" for coda, denouement. This is the jarg za, They're partial or transitional accounts. They come April left Fukuoka to return jobless to New York August to beginning of September, L comes : Finally around November, divorce comes through with A K and C die Late April trip to Kyoto with L; Feb -March in % Met A in Huntington Beach - we b November -, tour of Southern California then in Dec. Potes and Poets brought out The Case of the Real, which Appointed virtual writer-in-residence, Nottingham Trent C dies near the beginning of the year, found a March , ; Mother dies early morning; A and I wer began teaching with difficulty at Florida Interna married A on June th; July th, had a rec move to Miami, mid August; the cat flew down later. _ ========================================================================= Date: Sun, 6 Jan 2002 22:45:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Luoma Subject: On a wet MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Review of Vielstimmig by Barrett Wed, 12 Sep 2001 Repression Perspective you, life for you, A better life for you. Is just stupidity. Feathers fly up and pow apart from the bird they were. Human Rights. The WTO Globalization and its Discontents Fighting Globalization Hahnel. was , The most famous examples of this is Ezra Pound's 1913 haiku . Thornton Wilder. Will decay. Bough connote different things. in and out of the poet's life and the train may be replaced by a different mode of transportation; People will come in and out of the poet's life and the train may be replaced by a different mode of transportation. and out of the poet's life and the train may be replaced by a different mode of transportation, different things; in the first line of the poem, Petals on a Wet, Collaboration. The birds are on fire Men. To say. To say. Paris should have gone into paint . In Paris should have gone into paint . A professor of political science at the University of Padua in the radical 1960s, 68. Get your FREE download of MSN Explorer at http: FREE download of MSN Explorer at http, Get your FREE download of MSN Explorer at http. And we will come back too. We are not bad people. We are happy monsters. more than tenured professors: global society, Valuation of those activities as others. Professors. be sure, They reflect and give weight to the values of the whole of society, can sometimes appear perverse to the casual observer; Of Usama bin Laden. The California Institute of Integral Studies is hosting a Dialogue for Peace. demonstrators Vijay Prashad. Barsamian interviews Arundhati Roy on Globalization; Dams in the Narmada Valley to fighting the genetic plunder of the country by multinationals. And a first edition of . Art whose works inspired Pound. exhibit are memorabilia of Grant's trip to the Orient: A pagoda-like tower. Hearn that were best- sellers in their day. works inspired Pound, are in fact American inventions (think of the use of napalm and defoliants; Defoliants. Not too debatable. Defoliants. (. To spend. ZNet Sustainer commentaries Anarchism: Why Not Create A Shadow Government, Points Albert/Shalom 5 Arguments Albert, On Albert/Shalom, Going On Albert/Shalom. Prospects Some ZNet Sustainer commentaries Anarchism. And hit their interests everywhere. Algerian witness said Rahman issued a , An Algerian witness said Rahman issued a . I have no wish to agree. Is the ghost of Wittgenstein's idea of language games. Evil. Arrests. Struggle Stop Whining, Revisited (02/02/01) Thinking About DU (01/16/01) Election Issues (11/13/00) The Trajectory Of Change (10/01/00) Lesser Evil, Of Activist Priorities Quiddity. Travel and trade on a global scale. To be resolved in such talks are small relative to the larger issue of maintaining our freedoms to travel and trade on a global scale. -- The IWW's online magazine, on all sorts of economic issues, One of the best magazines available for clearly written articles on the economy from a progressive perspective, useful and interesting, U. For instance. In addition to its myriad material benefits. of its participants: Trading system. Tamilnet a general source on Tamil Sri Lanka (not specifically leftist!) Khaldunia online. Textuality. Bough. It is like tying narrow meanings to symbols. Exterminate them like mice. Albert. in 1981: in the context of a multicultural: Anthropology Program at CIIS was founded in 1981, In the context of a multicultural. is traced in a new exhibition at the Beinecke Rare Book and Manuscript Library, the Beinecke Rare Book and Manuscript Library, traced in a new exhibition at the Beinecke Rare Book and Manuscript Library, Modernists as H. Wilder, photographs of such American Modernists as H, Works. Petals on a Wet. Petals on a Wet. Vielstimmig. Repression Perspective Or other horrors of war. Of Grant's trip to the Orient. of this new book of mine, IN THE MARGIN. book of mine; IN THE MARGIN: Are very few copies remaining of this new book of mine. Now we shoot the post and killed the fence. It is Feathers fly up and pow apart from the bird they were. Who keeps writing against the day the wires sputter. Retraining is problematic. Reasonable security and dignity. Operations. Fuck You Aloha I Love You written articles on the economy from a progressive perspective: Source for official facts and figures. - excellent examination of corporate malfeasance, -- A searchable database of major economic figures. Tariq Ali Some Z articles Bombs. ZNet articles by or about Tariq Ali Some Z articles Bombs; Tariq Ali Some Z articles Bombs: Bombs: Of MSN Explorer at http. FREE download of MSN Explorer at http. Get your FREE download of MSN Explorer at http; Get your FREE download of MSN Explorer at http. - 94103. 575 6100. 20; December 20. USA some remarks Gloves Off (02/06/01) Resolving the Pacifica Crisis Revisited (02/02/01) Thinking About DU (01/16/01) Election Issues (11/13/00) The Trajectory Of Change (10/01/00) Lesser Evil. (01/16/01) Election Issues (11/13/00) The Trajectory Of Change (10/01/00) Lesser Evil; Of Change (10/01/00) Lesser Evil. The bough will decay. Although the petals and the bough connote different things. Brecher. Palast, The Focus Podur. Bello. of civilians and destruction of , This includes genocide of native peoples. Activists learn by doing the same thing over and over again; Activists learn by doing the same thing over and over again. Red Radio Flyer mass displacement of civilians and destruction of : Civilians depend as a military objective in the Civil War. Peoples. War), is as American as apple pie: is that to point this out is to diminish the acts of Genghis Khan, objective in the Civil War, And we will come back too. We are not bad people. We are happy monsters. Sept. Himself sitting on a couch in his New York apartment. Writers' interpretations of those influences. Of China and Japan. Twentieth-Century writers' interpretations of those influences. has two major thematic divisions, American Nineteenth-Century representations of China and Japan. of Wittgenstein's idea of language games, Agree. subsumed in its rules -that private language or content/signified is an illusion, An illusion. Comprehensible. Me underlying the Chinese Room test is the ghost of Wittgenstein's idea of language games. Stop Whining. Just stupidity. perversity of someone who keeps writing against the day the wires sputter, Decadent opinion. September 11. at the California Institute of Integral Studies is hosting a Dialogue for Peace: To the devastation of September 11. concerned about the threat to Saudi Arabia, sent his Secretary of Defense, On Saudi soil and the use of Saudi bases for airstrikes against Iraq. On August 4. US ground forces on Saudi soil and the use of Saudi bases for airstrikes against Iraq, Immediate military action to defend the Saudi kingdom against possible Iraqi attack. Saudi kingdom against possible Iraqi attack. Bombs in the Gulf War). The Plot: Bough, Textuality. On a Wet. On a Wet. On this poem in his article . Get your FREE download of MSN Explorer at http: Get your FREE download of MSN Explorer at http. Ali Some Z articles Bombs. Some Z articles Bombs: Likely that we're after their poppy crop. Albert: To Demonstrate Quiddity, Albert. Albert, ZMag articles The Trajectory of Struggle Stop Whining; Anarchism. Not Free Speech (03/24/01) Gloves Off (02/06/01) Resolving the Pacifica Crisis Revisited (02/02/01) Thinking About DU (01/16/01) Election Issues (11/13/00) The Trajectory Of Change (10/01/00) Lesser Evil. policy in the Persian Gulf will be in order, to probe too deeply into these matters: Permit. don't worry: keeps writing against the day the wires sputter, Someone who keeps writing against the day the wires sputter. Vielstimmig. On a Wet. Textuality. the actions and reactions that followed and have been proposed: The actions and reactions that followed and have been proposed. that followed and have been proposed, To the devastation of September 11. Most widely read journalists of his time. Bello, Struggle for a deglobalized world, For a deglobalized world. Change (10/01/00) Lesser Evil. Resolving the Pacifica Crisis Revisited (02/02/01) Thinking About DU (01/16/01) Election Issues (11/13/00) The Trajectory Of Change (10/01/00) Lesser Evil. Of those influences. and Japan, representations of China and Japan; Of those influences. American Nineteenth-Century representations of China and Japan. Exterminate them like mice. Bombs, Ali Some Z articles Bombs, ZNet articles by or about Tariq Ali Some Z articles Bombs, or about Tariq Ali Some Z articles Bombs, Z articles Bombs. Energy-rich area just to the north of the Persian Gulf. Have gone into paint . Dark sleekness of the train cars. the train passengers, accurately describes the dark sleekness of the train cars, Uses powerful images to convey simple ideas. ---------------- 47.bent.howse, ts/1 ========================================================================= Date: Mon, 7 Jan 2002 07:39:46 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tracy Ruggles Subject: Re: kill files In-Reply-To: Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v480) Content-Transfer-Encoding: 7bit Keep it coming. On Wednesday, January 2, 2002, at 01:16 PM, Alan Sondheim wrote: > someone wrote me about kill files back channel - I wonder how many > I'm on. > would it be better if I sent my work out once a week, i.e. digest > form, to > various lists, instead of daily or whatever the rhythm/frequency. do I > mistake quantity for quality, cycles for relevance? > > this is my only mode of distribution; the various books etc. I was > proffered fell through - I'm in various ezines and anthologies, but > these > split the discourse of course - > > suggestions welcome please - Alan > > -- Tracy S. Ruggles -- tr@outputlinks.com -- 888/999-2674 x TR OutputLinks -- http://www.outputlinks.com "Your Output Industry Portal" ========================================================================= Date: Mon, 7 Jan 2002 09:37:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: J Kimball Organization: http://www.fauxpress.com/kimball Subject: Andrews, Bramhall, Esteban, Fitterman, Holman, Mohammad, Olin, Phipps, Price, Schultz, Sharma, Stroffolino MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit 12 New Titles -- http://www.Fauxpress.com/e -- Bruce Andrews: "Mistaken Identity" Allen Bramhall: "Shoot Out" Cooper Esteban: "823 Ven" Robert Fitterman: from "Metropolis 30" Bob Holman: "Ornettes" K. Silem Mohammad: "My Content" Jeni Olin: "Blue Collar Holiday" Wanda Phipps: "After the Mishap" Laurie Price: "Minim" Susan Schultz: "Declensions of Is" Prageeta Sharma: "Near" Chris Stroffolino: "Pieces of a Sequence" You can access a dozen more original texts by clicking on The Full Index at Fauxpress.com/e. Fauxpress.com/e is a web affiliate of Faux Press Books, publishers of "Western Capital Rhapsodies" by Marcella Durand, "on my way" by Eileen Myles, "How To Proceed in the Arts" by Gary Sullivan, and "Memoir: 1960-1963" by Tony Towle. More info -- http://www.Fauxpress.com ========================================================================= Date: Sat, 5 Jan 2002 22:26:12 +0200 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Fredrik Hertzberg Organization: =?iso-8859-1?Q?=C5bo?= Akademi Subject: Rothenberg articles? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit One of my colleagues is teacing a poetry course (at the univ. of Helsinki, Finland) and wants to know where to find articles on the work (poetry & poetics) of Jerome Rothenberg. Any suggestions? Fred Hertzberg ========================================================================= Date: Mon, 7 Jan 2002 07:30:14 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Editorial Staff Subject: Top 10 2001 Comments: cc: ubuweb MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Top 10 2001 1. Christian Bok, _Eunoia_ 2. Brian Kim Stefans, _Dreamlife of Letters_ 3. Kim Rosenfeld, _ Good Morning Midnight_ 4. Bruce Andrews, _Lip Service_ 5. Steve McCaffery, _Seven Pages Missing_ 6. Marjorie Perloff, _Twenty-First Century Modernism: The "New" Poetics_ 7. Morton Feldman, _Give My Regards to 8th Street_ 8. Nada Gordon + Gary Sullivan, _Swon_ 9. David Antin, _Talking_ (reissue) 10. Charles Bernstein, _With Strings_ __U B U W E B__ http://ubu.com __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ ========================================================================= Date: Sat, 5 Jan 2002 14:53:15 -0700 Reply-To: derek beaulieu Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: derek beaulieu Organization: housepress Subject: filling Station presents: Christian Bok MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 8BIT filling Station magazine in association with the Calgary Writers House and Coach House Books is proud to present a free reading by: Christian Bok reading from his new book EUNOIA (Coach House, 2001) January 17th, 2002. Art Gallery of Calgary 117 8 Avenue SW Calgary, AB Canada doors 7:30, reading 8:00 Christian Bok is the author of Crystallography (Coach House, 1994), a pataphysical encyclopedia nominated for the Gerald Lampert Award for best poetic debut. Bok has created artifical langauges for two television shows: Gene Roddenberry's Earth: Final Conflict and Peter Benchley's Amazon. Bok has also earned many accolades for his virtuoso performances of sound poetry (particularly the Ursonate by Kurt Schwitters). His conceptual artworks (which include books built out of Rubik cubes and Lego blocks) have appeared at the Marianne Boesky Gallery in New Yrk City as part of the exhibit Poetry Plastique. He lives in Toronto, and his home page is at: http://epc.buffalo.edu/authors/bok/ About EUNOIA: http://www.chbooks.com/online/eunoia/index.html Over five years in the making, poet, 'pataphysican, performer and artist Christian Bök's much-anticipated second book Eunoia is about to change your perception of your own language forever. The word 'eunoia', which literally means 'beautiful thinking', is the shortest word in English that contains all five vowels. Directly inspired by the Oulipo (l'Ouvroir du Littérature Potentielle), a French writers' group interested in experimenting with different forms of literary constraint, Eunoia is a five-chapter book in which each chapter is a univocal lipogram (the first chapter has A as its only vowel, the second chapter only E, etc.). Each vowel takes 0n a distinct personality - the I is egotistical and romantic, the O jocular and obscene, the E elegaic and epic (Bök actually retells the entire Iliad in Chapter E; you have to read it to believe it). Stunning in its implications and masterful in its execution, Eunoia is poised to be one of the most unusual and important books of the year. "It's beautiful, it's funny and it's moving ... Eunoia shows us our own langauge both confined and released by the same mechanism. It is one of the most exciting collections of poetry to appear in Canada in a long time." -- Michael Redhill, The Globe & Mail "An exemplary monument for 21st-century poetry." -- Charles Bernstein for more information, contact: derek beaulieu derek@housepress.ca ========================================================================= Date: Sun, 6 Jan 2002 10:39:31 -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 Kathryn Rantala Kathryn Rantala writes: "Degree, Fraught and I Think I Could be a Finn-- the first and third of these are part of a collection I'm preparing, The Finnish Orchestra. Recent and upcoming credits include Three Candles, The Melic Review, elimae, Painted Bride Quarterly and she founded and currently co-edits a print journal Snow Monkey. There's a "book of essentially forensic poetry and prose", Missing Pieces, available online at ravennapress.com. She can be reached at kathrynrantala@hotmail.com. By Degrees Everything I've ever seen is snow and I've seen everything. It may not look like much, you may not call it war, or famine or flood or the loves of our heads of state, but our practical gods have laid it out in the snow in its untranslatable self; have shown how it shifts how it skiis on clouds or ground, how it is equally mine and me Sometimes I feel heat and sometimes cold. Both serve me equally. But as a practical matter, thinking it over, considering everything, give me snow. And a lot of dark. A mate if you can find one. Fraught They gathered the rift of the sea. They invited the hyphenated Victorian for dinner and her scabeous footman. Sometimes the cardinal with his Mercurio, fumbling in his contellatory web, liked apples. Wanda mined the orchard with thresher teeth and goat's milk, David's bright smile, all of it combusting daily, a headlamp of crows for canaries. The shaft of #7 was crumbled in song, his Lamborghini and framboise, another sign. Her father signaling, over here, over here, this is where we are dead and there was ham with the bone in for dinner. She asked, David, have you ever been to the sea, and yes, he had curdled brine for breakfast. He longed to go weeding again in the she-rocks. She drowned thoughtlessly. He forgave her, there was Alicia, her dim sister, the roto tiller of his bowels. Think, if she had not been also dead, oh, how glorious. But this was 1857, and anything was still possible. I Think I Could Be a Finn I think I could be a Finn. Yes, I made everything I own, and replicas, and can make them again and again if I need to and someday I will I will always need to though my heart in its muffled parts wants none of it anyway. It's just that I need to have them. Kathryn Rantala ========================================================================= Date: Sun, 6 Jan 2002 20:31:07 -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 kicks off 2002 with with poet EDWARD FIELD in his only area reading for the year. He is the author of ten books of poetry, including A Frieze for a Temple of Love (Black Sparrow), and five novels, including The Villagers (Painted Leaf Press), co-authored with Neil Derrick. He wrote the narration for the Academy Award winning film, "To Be Alive." Poet Richard Howard has praised him for his "courage of heart," and Andrei Codrescu, on NPR, called him, "one of our best poets." Recipient of a Lamont Poetry Prize, a Guggenheim Fellowship, a Shelley Award, the Prix de Rome, and a Lambda Literary Award, he will read on Sunday, January 13th at 1 p.m. at the Society for Ethical Culture, 4450 Fieldston Road in the Bronx. Admission is $5. Open Mike follows feature. For info and directions, call series director Rick Pernod at 718-549-5192. THE HOUSE OF PERNOD will do a very special "unplugged" set at The Cornelia Street Cafe's Pink Pony West Series on Friday, January 25th at 7 p.m., 29 Cornelia St. in the Village. Open Mike begins at 6; $6 gets you your first drink. Experience the Aggressive Tongue of poet RICK PERNOD, backed by ANDY BASSFORD on bass and PAUL SCHONBERG on guitar, offering up their post-current hybrid of Funk, Poetry, Chaos, Jazz, Theater, and Rock and Roll...it's disturbing, but you can dance to it...contact host Jackie Sheeler at poetz.com for more info. EXOTERICA...we'll be spreading the word... ========================================================================= Date: Mon, 7 Jan 2002 12:13:25 -0800 Reply-To: aimee@crowdmagazine.com Sender: UB Poetics discussion group From: CROWD Aimee Kelley Subject: CROWD #2 Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii CROWD, a new literary and visual arts journal, is taking submissions for Issue #2. Please send poetry, fiction, non-fiction, photography and fine art to: CROWD 119 N. 11th St. #1A Brooklyn, NY 11211 and visit us online at http://www.crowdmagazine.com __________________________________________________ D O T E A S Y - "Join the web hosting revolution!" http://www.doteasy.com ========================================================================= Date: Mon, 7 Jan 2002 16:01:26 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Gallagher Subject: Re: upper limit music MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT Hello Damian, We calculate integrals to identify the area under a curve. The area between the graph of a function and, say, the x-axis, is a geometric representation of the aggregate value of that function over an interval. The "s" like sign that Zukofsky uses in this poem is a concrete exhibition of the mathematical symbol for integral. This, called the definite (or Riemann) integral, has a lower and upper limit. When expressed this way the area under a curve is calculated over the range of the two limits. "Music" and "speech" are the two limits that LZ would be calculating the area from. In essence, he is saying that his poetics is a multi-dimensional space between speech and music. Damian Judge Rollison wrote: > Does anyone, with better calculus aptitude than mine, know > how to explain the precise meaning of Zukofsky's famous > expression in "A"-12 where he says, "I'll tell you about my > poetics -- / ... / An integral:/ Lower limit speech/ Upper > limit music" -- at the ellipsis is a figure that looks > something like this: > > music > ss > s s > s > s > s > s > s s > ss speech > > I have a vague notion of the poetry existing within these > limits, sometimes approaching one and sometimes the other > (vernacular artless directness, abstract formalist opacity) > but never quite entering either state -- but I'd appreciate > hearing from anyone who can explain this in more detail, or > correct me if it turns out I have no idea what I'm talking > about. What, specifically, is an integral? The dictionary > tells me how they're calculated, but not what they're for. > > Thanks, > Damian > > <<<<<<<<<<<<<<<<<<<<<< > damian judge rollison > department of english/ > institute for advanced > technology in the > humanities > university of virginia > djr4r@virginia.edu > >>>>>>>>>>>>>>>>>>>>>> -- Kevin Gallagher Global Development and Environment Institute Fletcher School of Law and Diplomacy Tufts University Medford, MA 02155 t:617-627-5467 f:617-627-2409 http://ase.tufts.edu/gdae ========================================================================= Date: Mon, 7 Jan 2002 13:07:30 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mister Kazim Ali Subject: Re: textbook ideas needed In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I'm not sure if I had previously said this before, but I found Mary Oliver's two books (Poetry Handbook and Rules for the Dance) to be fairly useful, through quite conservative in their approach. They both have some pretty tree-hugging, floppy-eared, cute bunny moments though. Also, if you want to be alternative in your approach, I have found Barbara Guest's Rocks on a Platter, Joan Retallack's Afterrimages and How to Do Things with Words and Yoko Ono's Grapefruit all challenging and dynamic "how-to" books that address the creative process and prosody from the inside out. Well, really any text-piece by Ono or Retallack can serve. ===== "all histories are fabulous. ours stinks with genius." --Cleopatra Mathis, from _Guardian_, Sheep's Meadow Press __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ ========================================================================= Date: Mon, 7 Jan 2002 16:23:18 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: WIlbur Jenkins Subject: "C" magazine MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit hello list, can anyone tell me a bit about the format -- general layout etc. -- of Ted Berrigan's magazine "C"? I'd really appreciate this info, as copies are hard to find (I havent been able to fine any, yet) -- and I need this for a project I'm doing. THANKS! ========================================================================= Date: Mon, 7 Jan 2002 16:37:37 -0500 Reply-To: Bob Grumman Sender: UB Poetics discussion group From: Bob Grumman Subject: Re: upper limit music MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Does anyone, with better calculus aptitude than mine, know > how to explain the precise meaning of Zukofsky's famous > expression in "A"-12 where he says, "I'll tell you about my > poetics -- / ... / An integral:/ Lower limit speech/ Upper > limit music" -- at the ellipsis is a figure that looks > something like this: I'd better be able to since that passage was what inspired me to become the now world-famous mathematical poet that I am, but I may well get it wrong: I think he's saying that his poetics equals the sum of all the infinitesimal values from speech (the smallest value) up to music (the highest value). It's really not a complete mathematical expression (I don't think) but it's supposed to suggest integrating everything between the simplest speech up to music in one's poetics. With an emphasis on the tiniest of details. Since the integration sign (the s-shaped thing) is often used to find sizes of areas, it suggests expanses. Since the integral sign also is used to deal with values that in a sense are incalculable, it also speaks of Mystery. For me, too, the thing is a wonderful copntrast, as extreme rationality (math) versus the usually extreme intuitiveness of poetics/poetry. Hope this helps. --Bob G. ========================================================================= Date: Tue, 8 Jan 2002 00:26:06 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Open Letter MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Trane. I'm very much in agreement with this line of argument. I see that the US and Britain etal are in fact the terrorists: even if, as is quite possible the attack was not organised by certain extreme right wing groups. What has since occurred is the usual in human history. The further destruction of a nation already had its own quite stable government with their own religion, philosophy etc We in the West are arrogant to impose our "universal values" with the incredible savagery and arrrogance as the British Empire did, the US are now doing as they have been doing since World War Two when they held off until Britain was just about destroyed (they refused to even repair the rolls royce engines out of the the Spitfire's, Beaverbrook had to organise that on his own initiative!!)and only entered the war in terror that "communism" or anyway the Russians would take their Europe. THEIR Europe. The US arrogant bastards bomb everything and everyone and wonder why terrorist attacks continue: THEY ARE THE TERRORISTS. The young man who crashed his plane recently was a hero: so is bin Laden and the Al Qaeda. He needed to carry a massive bomb. The Americans are hated by billions of people now. Its because its a corrupt nation paranoid and racist and the military industrial political complex run for capitalism is basically a terror generator. September 11 was nothing compared to what is in store: it was peanuts. Believe me. Trust me. Richard. ----- Original Message ----- From: "trane devore" To: Sent: Monday, September 17, 2001 9:35 AM Subject: Open Letter > Hey all, > > Here's a *very toned down* letter I've been sending to members of Congress, > et al. Thought you might be interested. > > Trane > > > > > > > Open Letter: > > It seems there is a quickness to cry "war" in response to the > horrifying attacks of September eleventh. While it is clearly incredibly > urgent that the international community find the perpetrators of these > heinous crimes and bring them to justice, an overhasty/unilateral military > response is an entirely wrongheaded tack to take. President Bush has > mentioned "retribution," several members of Congress have described the > attack as "an act of war," and the attack has repeatedly been compared to > the bombing of Pearl Harbor. Worst of all, this attack has repeatedly been > presented as a struggle between "good and evil." The problem with all of > these characterizations is that they serve to disguise the nature of these > attacks while offering "solutions" that are irrational and, indeed, > decidedly dangerous. Let's look at these points one by one: > > 1) The notion of "retribution" or "revenge" is an atavistic notion at > best, and a ten-cent publicity stunt at worst. This notion, the idea that > an eye for an eye somehow produces any real kind of peace, bypasses the > real purpose of defense -- the safety of civilian populations. By engaging > in a campaign of "revenge," rather than attempting to examine and mitagate > the root causes of these attacks, we can only end up by further endangering > U.S. citizens. The logic of revenge and retribution is the logic of > terror, the same logic used by the terrorists who flew into the World Trade > Center and the Pentagon. Rather than engage in a campaign of retributive > justice, we need to engage in a campaign of restorative justic. Unlike > retributive justice, which seeks to engage a past offense via revenge, > restorative justice is a way to look toward the future and attempt to use > the arms of government and law to build a genuine peace. We need to look > beyond the simple-headed notion that punishment produces peace and instead > register the fact that peace (and security) is as much, if not more, the > product of well-considered and genuinly respectful international relations. > As a nation we have got to leave the paradigm of retribution behind. Our > unilateral military operations do not produce internal security -- instead, > they produce a mirror-image of rage that, as we have seen, can come back to > haunt us later. Military solutions should always be the very last -- never > the very first -- solution. Finally, the logic of "retribution" seems all > too often to involve a kind of excuse for the death of innocents. Our own > national tragedy must not become an excuse to justify the taking of > innocent lives in any other nation -- to buy into this way of thinking is > to engage in the very ideology of terror. > > 2) The attacks on the World Trade Center and the Pentagon should in no way > be seen as an "act of war" or likened to the attack on Pearl Harbor. The > attack on Pearl Harbor was a nationally orchestrated attack by the > government of Japan. An "act of war" is a conscious act of one government > toward another. In the case of the recent attacks it seems incredibly > unlikely that any national government can be held directly responsible. To > attack a nation simply because of a loose chain of association (with an > individual or organization) is to fire wildly at the wrong target. > Terrorist organizations are not governments or nations and attacking any > government or nation in the name of the fight against terrorism will not > serve to reduce the threat of attack against our nation. Indeed, involving > another nation militarily for an act committed outside of the direct > involvement of its governing body will only intensify anti-U.S. sentiment. > Instead of one enemy, we will have multiple enemies. Worst of all, > however, an attack directed against another nation for the actions of a few > individuals associated with that nation will result in an incredible loss > of innocent life. If we are to continue to claim to be the "leaders of > the free world" we must not engage in unseemly tactics of retrogressive > violence against others. Our leadership must be an unhypocritical > leadership -- a leadership by example and a leadership that is clearly > based on the priority of human life and human rights, no matter where. > > 3) The language of "good and evil" dangerously elides any rational > analysis of events by placing them within a moral/religious framework that > does not take into account history, causation, point of view, cultural > context, the nature of world-wide social formations, etc. By thinking in > terms of good and evil we can only restrict the range of our understanding > in ways that will certainly lead to further harm. Unless we work to > understand the reasons for the attacks against us, including the mindset of > those who were involved, we cannot begin the difficult task of working > against that mindset using tools that will not lead to the proliferation of > violence. The too easy separation of the world into black and white, the > dissapearance of nuance and distinction, is precisely the kind of thinking > that allows for indiscriminate attacks against innocent civilians. > > If we are to escape from the sinister circle of mutual retribution > we must rethink the way in which we go about pursuing justice. Our justice > should not be the justice of military rage, but the justice of reasoned > argument and restraint. Until we realize that retribution does not solve > problems we will be doomed to play an infinite game of idiot's chess in > which all the pieces are killed off, one by one, until only the two kings > remain to meaninglessly circle the board forever. We must not let our > national mourning become an irrational anger or a call for unjustified war. > It is time to begin the more difficult path toward real solutions, > solutions that will work toward the peaceful end of conflict rather than a > continuation of violent reaction. > > Finally, it is of the utmost importance that we do not allow this > violent act against the United States to produce internal violence against > members of our own community -- especially Arab-Americans and > Muslim-Americans. President Bush and all members of the U.S. Congress need > to be very clear about this. To remain silent during the rising tide of > anti-Arab and anti-Muslim sentiment is to tacitly endorse it. We are not a > nation of bigots and we must insist on this fact repeatedly by the shape of > our actions. Now is a time for strength, and strength bears no resemblance > to anger. > > Sincerely, > Trane DeVore, > Oakland, California ========================================================================= Date: Tue, 8 Jan 2002 00:42:30 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Vernon surplus dopamine MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit In fact: what are we? Its probably one of the questions Alan is asking...he has enormous energy...an indicator of the curse and greatness of the US and all other "great powers" that have long since crumbled into the dust of time etc cf Shelley of "Ozymandias"..... and maybe its also a kind of testeronic force (tetesteronic?) may war etc has a sexual origion: the pursuit of power. Think of the word "Corporate" which comes ffrom the body : corpus. Politics charges the language: we "read too much into language" we are (are we?) constituted by language - well it seems that way sometimes - human consciouness. The most precious thing: life. Alan is alive:we are all alive. We must, cant stop, creating, thinking, struggling, loving, hating, moving, making. Women and men: people of all kinds who inhabit this earth. Why are these words? Do we join each to each? Does it, anything, matter? We are strange, beating things. Richard. ----- Original Message ----- From: "Vernon Frazer" To: Sent: Sunday, January 06, 2002 6:53 AM Subject: Re: Vernon surplus dopamine > I'm glad you can do it, too. I like to think a lot of us know how to use our > "abnormal" energies more effectively than most people realize. The media > seldom recognizes that we're more than the sum of our symptoms. > > Vernon > > ----- Original Message ----- > From: "Sheila Massoni" > To: > Sent: Thursday, January 03, 2002 2:34 PM > Subject: Vernon surplus dopamine > > > > Hi as a "controlled" manic depressive for my entoire life I can well > relate > > to using my excess energy wisely at work so i had PLenty of time to play > ie > > read write etc ========================================================================= Date: Mon, 7 Jan 2002 15:50:01 -0800 Reply-To: antrobin@clipper.net Sender: UB Poetics discussion group From: Anthony Robinson Subject: Re: textbook ideas needed In-Reply-To: <20020105071030.76225.qmail@web12001.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Good suggestion. I already suggested Koch's "Making Your Own Days" but "The Art of Poetry" is a pretty interesting mix. I hadn't thought of using it as a textbook before, however. Well you're at it, have a look at his book of poems "The Art of Love" which quite literally changed my life. Tony > Dear Aaron, > Why not try Kenneth Koch's "The Art of Poetry"- it's > accessible, stimulating and has a mix of poetics in > that there are short & longer poems, parodies, > interviews, essays & so on - it's published by > University of Michigan Press in the Poets on Poetry > series, 1996. > Best wishes, > Pam Brown --- Aaron Belz wrote: > > Dear friends, > > > > I am leading an introductory poetry workshop for > > undergraduates this spring. > > Most of them won't be very knowledgable about > poetry > > or how to make it, so I > > am counting on nothing. Can any of you recommend a > > book for this endeavor? > > Something in a reasonable price-point? > > > > I am also open to strategic suggestions. > > > > Happy new year to all, > > Aaron > > ===== > Web site/P.Brown - > http://www.geocities.com/SoHo/Workshop/7629/ > > http://my.yahoo.com.au - My Yahoo! > - It's My Yahoo! Get your own! __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ ========================================================================= Date: Tue, 8 Jan 2002 01:10:41 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: upper limit music MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Damion. Integrate basically means to summate. In telecommunications integral calculus can be used to summate a wave or say a signal (a speech on a telephone in electrical form say) into a single wave shape: or in a different way it can be used to analyse a signal eg a square wave is theoretically made up of an infinite number of sine waves (think of of a wavy line) and the maths for that was invented by Fourier (French mathematicain inthe 19th century I think): hence Fourier analysis. I have done some but I found it difficult but it's really only a process of following a procedure...but I eventually foundered in Maths on a subject called Linear Algebra which is very abstruse and for most people, quite useless: but it is magical that there is literally a "chip" called a "Fast Fourier Transformer" which the telecommunications systems use for immediate line tests etc (probably to indicate frequency ranges attenuation etc) .. there are also electronic integrators (they've been around probably in the 30s even with valve technology) which nowdays use Operational Amplifiers: they are basically analogue computers...(as eg weight scales using springs etc are) Zukovsky I think was also playing with the scroll shape on a violin and also the musical signs which look a bit like the integral sign. A mathematician could explain this better but the integral of something is the summation of all its parts while the differentiation tells what's happening at a single point or point in time of those parts (the rate of change of something: the process indeed) so normally the integral sign will have at point (say) 10 at the top and point 2 (say) at the bottom and between those two points ( a "distance" of 8) what is going on in the wave (or whatever process and her Zukovsky is "integrating" a part of human experience or culture or consciousness) then music is at the "abstract top" and human speech is at the "bottom" and all the things in between get intermixed and integrated together and struggle against and for each other and it all boils between music and madness and silence and noise and purpose and purposelessness and horror and joy and Bach and Spinoza and communism and and capitalism and me and you and he and she and they and "good" and "evil" and love and family and light, and sometimes here is an apparent coneherence if only we knew but then if we knew we might give up. Probably you are none the wiser but join the club if you find maths usually very baffling: but sometimes maths can be quite magical. Tired words from a tired old brain. Regards, Richard. ----- Original Message ----- From: "Damian Judge Rollison" To: Sent: Sunday, January 06, 2002 10:39 AM Subject: upper limit music > Does anyone, with better calculus aptitude than mine, know > how to explain the precise meaning of Zukofsky's famous > expression in "A"-12 where he says, "I'll tell you about my > poetics -- / ... / An integral:/ Lower limit speech/ Upper > limit music" -- at the ellipsis is a figure that looks > something like this: > > music > ss > s s > s > s > s > s > s s > ss speech > > I have a vague notion of the poetry existing within these > limits, sometimes approaching one and sometimes the other > (vernacular artless directness, abstract formalist opacity) > but never quite entering either state -- but I'd appreciate > hearing from anyone who can explain this in more detail, or > correct me if it turns out I have no idea what I'm talking > about. What, specifically, is an integral? The dictionary > tells me how they're calculated, but not what they're for. > > Thanks, > Damian > > > <<<<<<<<<<<<<<<<<<<<<< > damian judge rollison > department of english/ > institute for advanced > technology in the > humanities > university of virginia > djr4r@virginia.edu > >>>>>>>>>>>>>>>>>>>>>> > ========================================================================= Date: Mon, 7 Jan 2002 21:07:31 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: Poetry Daily MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The internet site Poetry Daily - www.poems.com - is going to feature my book Veil on this Thursday the 10th. (By the way.) Rae ========================================================================= Date: Mon, 7 Jan 2002 21:51:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Story MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Story The older man turns to the woman and says, "I don't know why you're making such a fuss over this. I did speak to your son, and I thought there was an understanding. He seemed to agree that there was an understanding between us." The older woman turns to the man and says, "I don't know where this is coming from. We spoke about it a long time ago, all three of us. I have eyes which are looking in your direction. I can see you clearly from my perspective but I cannot see behind me." The man says, "I can hear you even when I'm not looking at you. I will take the memory of this conversation out of the room with me." He waves his hands around the room. He says, "I will be seeing other things when I walk and will take care not to fall anywhere." She walks towards him and turns. She says, "When you leave my vision will continue and I will hear as well. I will be hearing other things and seeing the same things but I will not be seeing you. Tomorrow I will remember this conversation and I may well remember it for a long while. I will be walking in other places and my steps will not be as these steps." He says, "When I think of other things I do not see them or hear them, but I continue to see and hear you when I am looking in your direction. When I am looking in another direction, I am seeing other things. I continue to hear you. When I think of other things I imagine them but I know where my feet are and I am keeping my balance at all times." She says, "It is a shame my son will be in the theater so soon. He will have to memorize what others have said, and will have to see in some way what others are telling him to see. Also he will have to hear." He says, "He will have to hear what he already knows. He will remember what he sees and hears. He will leave the room and will see other things and hear other things. He will think of more and more things. He will think of a great many things." She says, "He will be thinking of far more things than I am thinking of. When I leave you I will be thinking of other and different things, and I will be keeping my balance at all times. I will be seeing where I am looking, and I will be looking where I am seeing. I will be hearing in every direction, what is near to me." He says, "I will also be looking where I am seeing and I will be hearing other things, and we will not be hearing your son or seeing your son." She says, "We are not hearing or seeing my son. My son is not here. My son is keeping his balance at all times and he is seeing where he is looking." He says, "Yes, we are not touching him, and we are not touching each other. I am not feeling the outside of your skin. I am looking where I am seeing." She says, "I am feeling my skin from the inside and the outside. I am looking at my skin. I am seeing my hand touching my face. I will carry this touching with me. I can touch in every direction, what is near to me." She walks towards the door and leaves. He walks towards the door and leaves. _ ========================================================================= Date: Mon, 7 Jan 2002 20:17:08 -0800 Reply-To: kendall@wordcircuits.com Sender: UB Poetics discussion group From: Robert Kendall Subject: Hypertext Reading at eNarrative 3 Comments: To: ht_lit , webartery MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Interactive Reading by Eastgate Authors When: Sat., Jan 19, 8:00 PM Where: Canterbury Hotel 750 Sutter Street San Francisco, CA 94109 (415) 474-6464 Hypertext authors Rich Holeton, Robert Kendall, Cathy Marshall, and Rob Swigart will read from new works, inviting the audience to participate by choosing options during the reading. A question and answer period will follow. This reading is part of the eNarrative 3 Symposium (http://www.enarrative.org). Directions to the hotel are available at http://www.enarrative.org/travlodg.html. Rich Holeton is the author of the hypertext novel "Figurski at Findhorn on Acid" (Eastgate Systems). His printed fiction has appeared in Black Ice, Five Fingers Review, and other literary journals, and he has received an Artists Fellowship from the California Arts Council and the Transatlantic Review Award. He is head of Residential Computing at Stanford University. Robert Kendall is the author of the book-length hypertext poem "A Life Set for Two" (Eastgate Systems) and other hypertext poetry published on many Web sites and exhibited at many venues in the United States and abroad. His printed book of poetry, "A Wandering City," was awarded the Cleveland State University Poetry Center Prize. He teaches hypertext poetry and fiction for the New School University's online program and runs the literary Web site Word Circuits. Cathy Marshall currently works for Microsoft. She was formerly a researcher at Xerox's Palo Alto Research Center, where she worked in the interstices between system design and ethnography, and between nonfiction and fiction. With Judy Malloy, she wrote "Forward Anywhere" (Eastgate Systems), a collaborative hypertext fiction. Rob Swigart is the author of the hypertext poetry collection "Directions" and the interactive multimedia story collection "Down Time," both published by Eastgate Systems. In the mid 80s he wrote and designed "Portal," an interactive novel (Activision), which also appeared in print from St. Martins. He is the author of seven other printed novels. He teaches creative writing at San Jose State University. ----------------------------------------------------------------- Robert Kendall E-Mail: kendall@wordcircuits.com Home Page: http://www.wordcircuits.com/kendall ----------------------------------------------------------------- Word Circuits (Hypertext/Cybertext Poetry and Fiction): http://www.wordcircuits.com Electronic Literature Directory http://directory.eliterature.org On-Line Class in Hypertext Poetry and Fiction (The New School): http://www.wordcircuits.com/kendall/htclass.htm ----------------------------------------------------------------- ========================================================================= Date: Tue, 8 Jan 2002 03:06:13 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: spring poem MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII We must cultivate our avant garden. The avant garden of earthly delights. I never promised you an avant rose garden. The octopus' avant garden in the shade Maple Leaf Avant Garden. Madison Square Avant Gardens. Bawston Avawnt Gawden. The home and avant gardening network. Does the queen have a Royal Avant Guard or is it just a Palace Avant Guard after first time personal taxes? We all need an avant guardian angel, whether we travel the subways or not. New Jersey is the Avant Garden State. I've never seen so much bloody concrete! ========================================================================= Date: Tue, 8 Jan 2002 02:46:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Levitsky Subject: FW: Please list--BELLADONNA* JANUARY 25,7 PM MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit ENJOY BELLADONNA* Friday, January 25th 7:00 pm Deborah Richards (Last One Out, PUCKER PUNCH--Solo show in Philadelphia ) & Barbara Einzig (Distance without Distance, Robinson Crusoe) ADDRESS/DIRECTIONS : Bluestockings Women's Bookstore 172 Allen Street, bet. Rivington & Stanton --F train to 2nd Ave. For Info: (212) 777-6028 *** BIOGRAPHICAL NOTES ON READERS: Deborah Richards is a poet and performer. Born in London, of Barbadian origin, she currently lives in Philadelphia where she has directed and collaborated on several performances including a solo show called Pucker Punch. In London she was commissioned to perform solo dance work with text for Chisenhale Dance Space in 1995. Last One Out, a poetic play is published online at How2. Barbara Einzig is author of several books of poetry and has written critically about art and photography. Her published works of poetry include Distance Without Distance (Kelsey Street Press, 1994), Eva and the Bluebird (Membrane Press, 1993), Life Moves Outside (Burning Deck, 1987), Robinson Crusoe; A New Fiction (Light and Dust Books, 1983), and Disappearing Work (The Figures,1976). *** The BELLADONNA* Reading Series began in August 1999 at the then newly opened women's bookstore (New York's only) Bluestockings. In its two year history, BELLADONNA* has featured such writers as Erica Hunt, Fanny Howe, Mei-mei Berssenbrugge, Cecilia Vicuña, Lisa Jarnot, Camille Roy and Nicole Brossard among many other experimental and hybrid women writers. Beyond being a platform for women writers, the curators promote work that is experimental in form, connects with other art forms, and is socially/politically active in content. Alongside the readings, BELLADONNA* supports its artists by publishing commemorative pamphlets of their work on the night of the event. Please contact Rachel Levitsky if you would like to receive a catalog or hear more about our salons. There will be a short open reading before the featured readers. http://www.durationpress.com/belladonna ========================================================================= Date: Tue, 8 Jan 2002 05:33:18 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AMBogle2@AOL.COM Subject: Brecht/Weill performance by Ute Lemper MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Those of you interested in Brecht and Weill, would do well not to miss a chance to see Ute Lemper perform "The Seven Deadly Sins" or to look for the recording. This is from a music review by Michael Anthony, Minneapolis Star Tribune, January 7, of the concert I saw on Saturday: "Given her close identification with the music of Kurt Weill, it was natural that the German actress-singer Ute Lemper would eventually tackle Weill's 1933 opera/ballet 'The Seven Deadly Sins.' Lemper has not only recorded the work but in recent years has performed it with orchestras around the country, and she did so with admirable success this past weekend in concerts with the St. Paul Chamber Orchestra. "An odd but compelling work that was Weill's final collaboration with Bertolt Brecht, 'Seven Deadly Sins' tells of Anna, who leaves her family home in Louisiana to seek her fortune in the cities. Anna is represented by two people or, to take it more literally, there are two sisters Anna, a dancer and a chanteuse. Each step on their journey represents one of those sins that Brecht, in fact, makes fun of, and every so often the focus shifts to a male quartet [Hudson Shad] representing the family. Weill made it one of his richest scores: a clever fusion of popular and classical styles with an almost symphonic coherence, and yet full of parody. "To perform the piece in concert -- without dancing or sets -- is a special challenge for the singer. Lemper, an accomplished actress, made it work through a combination of deft body language, which allowed her to distinugish the two sisters, and careful attention to the text, which was delivered in German, with an English translation projected on a screen above the stage. She also knows how to use a microphone. Rather than shying away from the bitterness of Brecht's words, Lemper underscored the tone of anger and irony, building the seventh section ("Envy") to a fierce climax. "After Saturday night's performance at St. Paul's Ordway Center for the Performing Arts, the audience gave Lemper and conductor Andreas Delfs enthusiastic applause. She was called back to the stage several times. One would guess that it was the performance that the audience so heartily endorsed rather than Brecht's message, which is that capitalism is inherently evil. ..." Ann Bogle ========================================================================= Date: Tue, 8 Jan 2002 10:22:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Jack Kimball / poem from Manship Mime-Version: 1.0 Content-Type: text/plain; format=flowed from _Manship_ by Jack Kimball TRANSDRESSING ON THE BEACH Pep erods it. The rays adopt proxies and perhaps inaugurate a different moral vicinity. For heat (if there were any) would apply to the waves' crashing doubling in wild situ. Or, had breakwater held to animism, a cool-guy pagination might be a flipping of the argument, minus disclaimers. Anyway, today the beach is silvery, cloudy and thirsty. Umber when I attach my spacer ... am, em -- I don't think we're done. Only you knew smiling leads to a liberal experience (I figured this out) invoking all those back-flips. Invisible value distribution in sweater-receiver games instructs us to distinguish between warps by way of sending a costly signal. The top will differentiate themselves by not signaling, or countersignaling. Yet everything that needs to be gathered unravels and it's healthy enough to produce "idea germ cells" joined from the signaling medium. This beats the pants off. * * * Manship Jack Kimball Detour, $6 Fifteen new poems by the author of _Frosted_. Art by Gary Sullivan. Jack Kimball lives in Newton, MA, where he edits The East Village , Faux Press books , and Faux Press e-books . Support the poet & the press! Make checks out to: Gary Sullivan 81 Ocean Parkway, #4M Brooklyn, NY 11218 Coming soon, _Stunning in Muscle Hospital_ by Cole Heinowitz Get Jack's book & pre-order Cole's for only $10 postage paid! _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ========================================================================= Date: Mon, 7 Jan 2002 15:47:55 -0600 Reply-To: archambeau@hermes.lfc.edu Sender: UB Poetics discussion group From: Robert Archambeau Organization: Lake Forest College Subject: Re: Rothenberg articles? MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-transfer-encoding: 7bit http://www.samizdateditions.com/ issue #7 the special Rothenberg & Joris issue This includes a number of pieces that may be of interest Robert Archambeau Fredrik Hertzberg wrote: > One of my colleagues is teacing a poetry course (at the univ. of > Helsinki, Finland) and wants to know where to find articles on the work > (poetry & poetics) of Jerome Rothenberg. Any suggestions? > Fred Hertzberg ========================================================================= Date: Tue, 8 Jan 2002 10:28:28 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (Cahners-NYC)" Subject: 2H: Quart & Rothschild MIME-Version: 1.0 Content-Type: text/plain The Segue Foundation presents Reading at Double Happiness on Saturday, January 12 A L I S S A Q U A R T and D O U G L A S R O T H S C H I L D Segue Reading Series at Double Happiness 173 Mott Street (just south of Broome) (212) 941-1282 Doors open at 4pm Two-for-one happy hour(s) Suggested contribution, $4, goes to the readers Funding is made possible by the continuing support of the Segue Foundation and the Literature Program of the New York State Council on the Arts. Alissa Quart is a journo by trade, currently writing a book of non-fiction entitled Branded: The Buying and Selling of Teenagers (Perseus Press), which should be out by Winter 2003. Recent poems include a series detailing film "classics" entitled Filmographies or The History of (Michael) Mann. Douglas Rothschild, being duly sworn, deposes and says: "My life so far has been a blinding miasma of coffee, miscalculation, and bad temper. Current prognostications predict much the same for the remainder of the term. Possibly fame will come 100 years after my death." Please join us! S E G U E R E A D I N G S E R I E S A T D O U B L E H A P P I N E S S www.segue.org/calendar/ ========================================================================= Date: Tue, 8 Jan 2002 18:00:28 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: Contact Info MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear anyone, Does anyone have contact info for Eric Elshtain of Chi Review or for Michael Friedman? Rae Armantrout ========================================================================= Date: Tue, 8 Jan 2002 18:13:28 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: one more MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear All, One more contact question. Does anyone have the contact info for Rodrigo Toscano? Rae A ========================================================================= Date: Tue, 8 Jan 2002 22:08:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Harry Nudel Subject: m&r...killer fields... methinks the 'poet' doth protest too much...drn... ========================================================================= Date: Wed, 9 Jan 2002 12:13:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Another Anti-Reading MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Happy New Year Greetings to all! Help Loudmouth Collective ring it in proper with yet another one of those darling Anti-Readings. Tonic (107 Norfolk) ... F to Delancey January 12, 2002 (saturday) 1:30 PM -4:00 PM NYC Expect the usual suspects: Joel Schlemowitz, Matvei Yankelevich, Julien Poirier, Marisol Martinez, Jeremy Mickel, Sam Truitt, Ryan Haley, Filip Marinovich, Ellie Ga, Craig Foltz, and many many many new faces. Abduction Poetry, Projections, Live Music, Processed writing Projected, Games, Free Books, Word art as well as other things... -- Wanda Phipps Hey, don't forget to check out my website MIND HONEY http://users.rcn.com/wanda.interport (and if you have already try it again) poetry, music and more! ========================================================================= Date: Wed, 9 Jan 2002 13:12:16 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Muffy Bolding Subject: If the plural of tooth is teeth...why isn't the plural of booth beeth? ;) MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable This little treatise on the lovely language we share is only for the brave.=20 It was passed on by a linguist, original author unknown. Peruse at your=20 leisure, English lovers. =A0 =A0 Reasons why the English language is so hard to learn: =A0 =A0 =A01) The bandage was wound around the wound. =A0 =A0 2) The farm was used to produce produce. =A0 =A0 =A03) The dump was so full that it had to refuse more refuse. =A0 =A0 =A04) We must polish the Polish furniture. =A0 =A0 =A05) He could lead if he would get the lead out. =A0 =A0 =A06) The soldier decided to desert his dessert in the desert. =A0 =A0 =A07) Since there is no time like the present, he thought it was time to =A0 present the present. =A0 =A0 =A08) A bass was painted on the head of the bass drum. =A0 =A0 =A09) When shot at, the dove dove into the bushes. =A0 =A0 =A010) I did not object to the object. =A0 =A0 =A011) The insurance was invalid for the invalid. =A0 =A0 =A012) There was a row among the oarsmen about how to row. =A0 =A0 =A013) They were too close to the door to close it. =A0 =A0 =A014) The buck does funny things when the does are present. =A0 =A0 =A015) A seamstress and a sewer fell down into a sewer line. =A0 =A0 =A016) To help with planting, the farmer taught his sow to sow. =A0 =A0 =A017) The wind was too strong to wind the sail. =A0 =A0 =A018) After a number of injections my jaw got number. =A0 =A0 =A019) Upon seeing the tear in the painting I shed a tear inside the she= d. =A0 =A0 =A020) I had to subject the subject to a series of tests. =A0 =A0 =A021) How can I intimate this to my most intimate friend? English is a crazy language. There is no egg in eggplant, nor ham in=20 hamburger; neither apple nor pine in pineapple. English muffins weren't=20 invented in England nor French fries in France. Sweetmeats are candies while= =20 sweetbreads, which aren't sweet, are meat. =A0 =A0 We take English for granted. But if we explore its paradoxes, we find that=20 quicksand can work slowly, boxing rings are square and a guinea pig is=20 neither from Guinea nor is it a pig. And why is it that writers write but=20 fingers don't fing, grocers don't groce and hammers don't ham? =A0 =A0 If the plural of tooth is teeth, why isn't the plural of booth beeth? One=20 goose, 2 geese. So one moose, 2 meese? One index, 2indices? Doesn't it seem=20 crazy that you can make amends but not one amend. If you have a bunch of odd= s=20 and ends and get rid of all but one of them, what do you call it? =A0 If teachers taught, why didn't preachers praught? If a vegetarian eats=20 vegetables, what does a humanitarian eat? =A0 Sometimes I think all the English speakers should be committed to an asylum=20 for the verbally insane. In what language do people recite at a play and pla= y=20 a recital? Ship by truck and send cargo by ship? Have noses that run and fee= t=20 that smell? How can a slim chance and a fat chance be the same, while a wise= =20 man and a wise guy are opposites? =A0=20 You have to marvel at the unique lunacy of a language in which your house ca= n=20 burn up as it burns down, in which you fill in a form by filling it out and=20 in which, an alarm goes off by going on. =A0 =A0 English was invented by people, not computers, and it reflects the creativit= y=20 of the human race, which, of course, is not a race at all.That is why, when=20 the stars are out, they are visible, but when the lights are out, they are=20 invisible. =A0 P.S. Why doesn't "Buick" rhyme with "quick"? ========================================================================= Date: Tue, 8 Jan 2002 23:57:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Claank Subject: email for Laynie Browne In-Reply-To: <3C057823.7B446EB1@megsinet.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hello, Can anyone provide me with contact information for Laynie Browne. My thank yous in advance. Andrea Baker ========================================================================= Date: Wed, 9 Jan 2002 10:11:04 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charlotte Mandel Subject: Announcing new book of essays MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit from Charlotte Mandel -- I'm pleased to forward this announcement from Cynthia Hogue - Congratulations to Cynthia and co-editor Laura Hinton -- The University of Alabama Press presents We Who Love to Be Astonished: Experimental Women's Writing and Performance Poetics, ed. by Laura Hinton and Cynthia Hogue, now available. Susan Schultz writes: "This is an important collection, especially in its emphasis on multicultural experimental writing, and on differences between modes of experimental writing." We Who Love to Be Astonished collects a powerful group of previously unpublished essays to fill a gap in the critical evaluation of women's contributions to postmodern experimental writing. Contributors include Eileen Gregory, Susan McCabe, and Rachel Blau DuPlessis; discussions include analyses of the work of Kathleen Fraser, Harryette Mullen, and Alice Notley, among others. orders: ========================================================================= Date: Thu, 10 Jan 2002 01:30:32 +0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Diane Wald Subject: Tale of Academic Woe Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit MIME-Version: 1.0 I am hoping that since so many of you on the list have years of experience in academia, someone might offer me some insight or advice (okay, even sympathy!) regarding this story. A little over two years ago, I was a dean and associate prof. (creative writing/poetry) at a small art college. For financial reasons, this college merged with a nearby liberal arts college, which has since become a university. Once the merger took place, I was moved to the campus of the university and took on an administrative position. All of this happened in a congenial atmosphere. My first supervisor at the new job was a wonderful woman who encouraged me to submit a proposal for an interdisciplinary low-residency MFA program that I had written/created from scratch. I did so, and everyone became excited about it. It successfully went through various university approval processes and was about to be examined (and, we believed, approved) by the state board of higher ed. All through the process I was promised (verbally) that once the program was approved, I would direct it. I had done incredible amounts of very detailed work, much of it on my own time, to create a viab le model. However, my lovely supervisor moved on, and she was replaced by a very strange, unbalanced individual, who did not like me because (I later learned) I knew people in other colleges from which she had been dismissed, and could have told stories about her (I didn’t). In spite of the fact that my program was moving rapidly toward final approval, she found a way to let me go---a technical “non-renewal,” based on imaginary budgetary concerns. Yesterday I heard from a friend that this university went ahead with the state board approval process, and is about to announce (or perhaps already has announced, today) that they will offer this very program in the coming academic year. I’m fairly sure I have no legal grounds for a challenge here (and even if I did, I could probably not afford the time and money involved), but I have a burning desire to DO something. I do NOT want to go back to work there; that's not the goal. I guess what I’m asking is: have any of you had experiences like this, and, if so, is there anything to be done beyond writing letters to various university officials (having been an administrator, I know how useless that exercise can be)? I would be interested in any comments anyone has. Backchannel is fine. Many thanks, Diane Wald -- ========================================================================= Date: Fri, 11 Jan 2002 09:53:07 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: MLA: Call for Papers Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed The Poetry Division of the Modern Language Association is now planning a session for the New York meeting in December 2002. Here is the call for papers: DIMENSIONS OF POETRY PERFORMANCE: Papers investigating anthropological, social, technological aspects of text, orality/aurality, emergence of new genres. Issues regarding notation, "Spoken Word" vs. the page, or studies of historical precedents are also invited. Send 250 words abstracts by 8 March 2002 to Lorenzo Thomas, University of Houston-Downtown. Email address is ThomasL@uhd.edu ========================================================================= Date: Wed, 9 Jan 2002 18:01:50 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: poetry book to try MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit just read david citino's eye of the poet many borrowable ideas in that one sm ========================================================================= Date: Wed, 9 Jan 2002 18:04:24 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: eclectic reading MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit alan you are my poster boy i'm reading john's bathroom jokes, puzo's posthumous ( am in catholic neighborhood so afraid to use title), Vernon's book/memoir on cleaning his dead bro's home, then i am also plucking from the piles of free books i trucked home from school and yes have gotten my new glasses ========================================================================= Date: Wed, 9 Jan 2002 18:05:43 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: cant read MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit see me taught many a remedial reading as an adj really tripled my reading speed as for them well ....sm ========================================================================= Date: Wed, 9 Jan 2002 19:16:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Pif Magazine MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Among other things, a review of Azure's and my work - check out http://pifmagazine.com (Dian Greco, Purity and Danger in Net Art) - Alan ========================================================================= Date: Thu, 10 Jan 2002 02:16:34 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: textbook ideas needed MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Yes but is it a formal concern? It is but ae journals not also formal or "formal" or they hae a structure or can build into a structure? A lot of questions start here. What I did for a short adult course (or attempted was to open up the question of what poetry was. Then I tried to convey that a) there is the historical and formal aspect (which formal aspect is obviously still very significant) : and many of these people who were a bit conservative in their approach (but not always so didn know he various terms for metre and the forms you talk of - some of which I'd learnt long ago at school or learnt more recently - nor much history of modern or more recent poetry and if they knew of Eliot Yeats and some had heard of W CW etc I dont think many knew of Bishop or any of the NewYork school .. but poeple often know mre than one realises.... for b) I treied to get them into the journal idea: to kind of keep a scrapboook or wahtever, a journal, in which they "experimented" so while they practice d "traditional" things as an artist "learns they rules so's e can break em" (Bernstein says somewehere he doesnt want to learn anybrrules...but one needs to know the formal countable things...but be "practising" the random "leave-off" n the middle. So the questionof what and how to "teach" or inspire poetry becomes more a philosophico-poetico-polictico an even a personal thing. Certainly its got to be an experience that makes those involved think: "yes , I'll try that, know I dont like that, but (she/he) the teacher or motivator ot helper is very enthusiastic and makes it so interesting ..." I say this without irony - and the student or poet to be then is hopefully motivated to be self-motivated and so on. Another example was when I read out some Gertrude Stein: people labled it "elitist" - why I dont know: but she is and has been a poet who most apart from the writer Beckett and John Ashbery and maybe some of the Langpos and some of the European potes, most inspires (d) me. Just some thoughts. Regards, Richard. ----- Original Message ----- From: "ShaunAnne Tangney Humanities" To: Sent: Monday, January 07, 2002 8:06 AM Subject: Re: textbook ideas needed > two different books/kinds of books come to mine (i teach both intro and > adv. CW courses) > _The Portable Writers Workshop_ from Salmon Press in Ireland. I have > found this great to use w/ intro courses; it's "workshoppy" and > "inspirational" but it does touch on technique and labor. it is dedicated > half and half to poetry and fiction. > _The Handbook of Poetic Terms_ from Teachers and Writers Collabrtive. A > true handbook--entries for "sonnet," "line," "pantoum," "rhythm," etc. I > use this in my adv., genre-specific courses because I want the students to > learn that poetry is a formal concern, not merely journal-writing cut off > in the middle of the page..! > > good luck-- > shaunanne > > > > On Thu, 3 Jan 2002, Aaron Belz wrote: > > > Dear friends, > > > > I am leading an introductory poetry workshop for undergraduates this spring. > > Most of them won't be very knowledgable about poetry or how to make it, so I > > am counting on nothing. Can any of you recommend a book for this endeavor? > > Something in a reasonable price-point? > > > > I am also open to strategic suggestions. > > > > Happy new year to all, > > Aaron > > > ========================================================================= Date: Wed, 9 Jan 2002 17:58:16 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Samantha Pinto Subject: Open Letters Reading: 1/27, Philadelphia MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit > > > >Open Letters Reading featuring Todd Levin of Salon and Matthew Hart of the > >Kelly Writers House. Open letter reading to follow. Sunday, January 27th, > >8 pm. Fergie's Pub, 1214 Sansom Street. lettersreading@hotmail.com > > > > Contact: Julie Gerstein > > 215-545-9899 > > > >FOR IMMEDIATE RELEASE > > > >Attention literate voyeurs: do you get a thrill hearing about other > >people¹s lives? Ever get the urge to peek at someone else¹s mail? Do you > >think other people would enjoy a glimpse into your life and letters? Then > >you need to attend the (third ever!) Open Letters Reading on Sunday, > >January > >27th at 8 p.m. upstairs in Fergie¹s Pub. > > > >At an Open Letters Reading, audience members are invited to participate by > >bringing whatever letters or emails they¹ve written or received or simply > >found somewhere. Letters may be funny or touching ­­ even mean ­­ and > >always interesting. At the most recent Open Letters event, attendees > >shared > >(among others) old love letters, notes from pets, a few pointed emails, a > >letter from Grace Kelly(!) and a delightfully pungent correspondence with > >the IRS. This time, who knows? At this open forum, anything goes and anyone > >can have a chance to read. > > > >Featured readers are New York author Todd Levin and Philadelphia-based > >essayist and poet Matt Hart. Levin has written for Salon, Hermenaut, > >TimeOut NY, and The New York Post. Levin¹s website, www.tremble.com, is a > >tasty compendium of wit, wisdom, and his obsession with his cats. Hart, a > >PhD candidate in English at Penn and Writers House mainstay, recently > >published A Compass or Centre and his poems have been anthologized in > >"First > >Pressings" and collected in the "Ibid New Poets" series. His collection of > >short poems, The Union of No is due out some time this year. Past Open > >Letters featured readers include Paul Tough, of NPR¹s This American Life > >and > >The New York Times Magazine, and Neal Pollack of McSweeney¹s. > > > >This event is free, but its organizers would appreciate a $3 donation to > >help defer costs. Fergie¹s Pub is located at 1214 Sansom Street in > >Philadelphia. For more information, contact lettersreading@hotmail.com or > >call 215-545-9899. > > > ========================================================================= Date: Wed, 9 Jan 2002 17:55:10 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Susan M. Schultz" Subject: Re: Tale of Academic Woe MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit My suggestion, Diane, is to write this story over and over again. But next time, name names. Best wishes--I know how savage can be CW politics. Susan PS Three Vietnamese Poets, translated by Linh Dinh, is available from me for $9. 47-728 Hui Kelu Street, #9, Kaneohe, HI 96744. ----- Original Message ----- From: "Diane Wald" To: Sent: Wednesday, January 09, 2002 7:30 AM Subject: Tale of Academic Woe > I am hoping that since so many of you on the list have years of experience in academia, someone might offer me some insight or advice (okay, even sympathy!) regarding this story. > > A little over two years ago, I was a dean and associate prof. (creative writing/poetry) at a small art college. For financial reasons, this college merged with a nearby liberal arts college, which has since become a university. Once the merger took place, I was moved to the campus of the university and took on an administrative position. All of this happened in a congenial atmosphere. My first supervisor at the new job was a wonderful woman who encouraged me to submit a proposal for an interdisciplinary low-residency MFA program that I had written/created from scratch. I did so, and everyone became excited about it. It successfully went through various university approval processes and was about to be examined (and, we believed, approved) by the state board of higher ed. All through the process I was promised (verbally) that once the program was approved, I would direct it. I had done incredible amounts of very detailed work, much of it on my own time, to create a via! > ble model. However, my lovely supervisor moved on, and she was replaced by a very strange, unbalanced individual, who did not like me because (I later learned) I knew people in other colleges from which she had been dismissed, and could have told stories about her (I didn't). In spite of the fact that my program was moving rapidly toward final approval, she found a way to let me go---a technical "non-renewal," based on imaginary budgetary concerns. > > Yesterday I heard from a friend that this university went ahead with the state board approval process, and is about to announce (or perhaps already has announced, today) that they will offer this very program in the coming academic year. I'm fairly sure I have no legal grounds for a challenge here (and even if I did, I could probably not afford the time and money involved), but I have a burning desire to DO something. I do NOT want to go back to work there; that's not the goal. I guess what I'm asking is: have any of you had experiences like this, and, if so, is there anything to be done beyond writing letters to various university officials (having been an administrator, I know how useless that exercise can be)? > > I would be interested in any comments anyone has. Backchannel is fine. > Many thanks, > Diane Wald > > -- ========================================================================= Date: Wed, 9 Jan 2002 21:00:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Geoffrey Gatza Subject: Re: upper limit music In-Reply-To: <3C3A0CA6.C08833B0@emerald.tufts.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thanks for this. I have heard it expressed many ways but this is the best most concise I've read. Best, Geoffrey Geoffrey Gatza editor BlazeVOX2k1 http://vorplesword.com/ __o _`\<,_ (*)/ (*) -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of Kevin Gallagher Sent: Monday, January 07, 2002 4:01 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: upper limit music Hello Damian, We calculate integrals to identify the area under a curve. The area between the graph of a function and, say, the x-axis, is a geometric representation of the aggregate value of that function over an interval. The "s" like sign that Zukofsky uses in this poem is a concrete exhibition of the mathematical symbol for integral. This, called the definite (or Riemann) integral, has a lower and upper limit. When expressed this way the area under a curve is calculated over the range of the two limits. "Music" and "speech" are the two limits that LZ would be calculating the area from. In essence, he is saying that his poetics is a multi-dimensional space between speech and music. Damian Judge Rollison wrote: > Does anyone, with better calculus aptitude than mine, know > how to explain the precise meaning of Zukofsky's famous > expression in "A"-12 where he says, "I'll tell you about my > poetics -- / ... / An integral:/ Lower limit speech/ Upper > limit music" -- at the ellipsis is a figure that looks > something like this: > > music > ss > s s > s > s > s > s > s s > ss speech > > I have a vague notion of the poetry existing within these > limits, sometimes approaching one and sometimes the other > (vernacular artless directness, abstract formalist opacity) > but never quite entering either state -- but I'd appreciate > hearing from anyone who can explain this in more detail, or > correct me if it turns out I have no idea what I'm talking > about. What, specifically, is an integral? The dictionary > tells me how they're calculated, but not what they're for. > > Thanks, > Damian > > <<<<<<<<<<<<<<<<<<<<<< > damian judge rollison > department of english/ > institute for advanced > technology in the > humanities > university of virginia > djr4r@virginia.edu > >>>>>>>>>>>>>>>>>>>>>> -- Kevin Gallagher Global Development and Environment Institute Fletcher School of Law and Diplomacy Tufts University Medford, MA 02155 t:617-627-5467 f:617-627-2409 http://ase.tufts.edu/gdae ========================================================================= Date: Wed, 9 Jan 2002 22:58:57 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: goodbye, esquivel In-Reply-To: <191.d8de37.296de200@aol.com> MIME-version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-transfer-encoding: quoted-printable A friend forwards-- "Esquivel's orchestrations were like an exploding musical pi=F1ata with arrangements that were strikingly futuristic: scattered among the pianos an= d trombones were slide guitar, echo, dissonance, beatnik percussion and weird juxtapositions of mood and volume. His "kitchen sink" approach incorporated Chinese bells, organ, jew's harp, gourd, and timbales. " http://www.poindexter.com/esq.html ========================================================================= Date: Thu, 10 Jan 2002 19:01:03 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jesse glass Subject: Your Voices Still Desired--E-mail Update MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Gosh darn my eyes. Please, if you're interested in participating in the opera project I wrote of earlier this week, the e-mail address to get information and score from is bumstein@yahoo.com. bumstein@yahoo.com bumstein@yahoo.com . To Mr. Schartz and the others who have contacted me--this is the correct contact e-mail. Deadline is soon, so don't delay! I hate bifocals. Your (near blind) pal, Jesse. About Jesse Glass. How to order his books. http://www.letterwriter.net/html/jesse-glass.html ========================================================================= Date: Thu, 10 Jan 2002 13:14:19 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: textbook ideas needed MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I also got hold of that book by Mary Oliver: some of the things she says are very insightful and it would fit in with that "part" of a course that dealt with the technicalities, the prosody, and the more traditional aspects of poetry. But she says somewhere of a student that she made the mistake of repeating each word in a poem and that was (well she disapproved greatly) that disapproval worried me! You do a poem such as: I I I I I WENT WENT WENT WENT WENT DOWN DOWN DOWN DOWN DOWN THE THE THE THE THE ROAD ROAD ROAD ROAD ROAD TO TO TO TO TO SEE SEE SEE SEE SEE and a (metaphorical ruler )would slap down hard and hurtingly on your (real?) wrist ... but its still a good and efficient book. I also got some ineresting things packed away somewhere I think they were lectures by Jackson Macklow or Ron Padget (at the Naropa Institute)..wait, here it is, "Talking Poetics at the Naropa Institute" published by Shambhala, 1978...(Diane di Prima (who claims that poetry is made out of light: very poetic!!), Padgett, Ginsberg, Ducan,W S Burroughs, Cage, Ted Berrigan, Ed Dorn, Michael McClure and Clark Coolidge...come to think of it this is probably quite rare...immm...the bookseller in me.. with a lot of experiments and clearly they were getting straight into the action so to speak: trying new ways. There's a book in New Zealand which is called (sorry I'd have to do a search on abe or addall by author or phone the library tommorow) but its by a New Zealandised (originally American) poet Michael Harlow (whose poetry is worth checking out by the way ) and I have used it myself to "formalise" and get ew ideas etc for my wn writing father forgive me if I havent sinned but I copied it and it has a page on "A Dada Poem" which quotes Tristan Tzara on how to cut upa newsaper randomly and then "shake up" the words and the random poem that comes out is what you print (if you wish) and he then discusses Dada (short comment). LikeBernadette Mayer's List of ideas (on this EPC) (which is also worth handing out to students and getting them to add more) it encourages students (anyone ) eg to make a poem or poems even from such as a newspaper article, or by using a "language selector" (a shape placeed over a certain kind of writing (a letter eg)) , he demonstrates how "oiems'can be found on street signs (we think of Siliman and in New Zealand here Alan Loney has done this with a lot of his poetry: he has jotted down a lot of public signs and so on and fed them into poems with other words (the random and the structured) ; the concept titling a poem then creating one from that concept (one I must try myself); talking of Retallack's Afterimages that is an interesting text and Harlow qoutes something by Ladislav Novac which is almost a concrete poem: O GL IA Some of this might seem "old hat" (especaily to the e-poets) but its amazing how we (may of us) get "creatively lazy" ..there are other "experiments" and obviously the aim ultimately is to spark the student or poet to be or whoever to 'open up' and maybe "out". harlow ends with the development and re-writing and rewriting of one of his own poems....this is something that interests me very much that is the process of the process: but Harlow finishes with his final "best" version" but by this time I'm loving al the attempts and the way the variations in his poem arise and so on and I WANT the crossings out and the imperfections and I want him to go on and on with his reorkings... This book was written in conjucntion with Bill Manhire (or with his assistance) whose creative writing school at Victoria University (Wellington, New Zealand ) has been very influential and successful (if you want "succcessful")(although its been accused of creating "Manhire clones") ( possibly a variant of "official verse") but I think that's maybe from bitterness of poets and writers who are not significantly "published" but I dont know. But I think that one thing Manhire said was interesting "Write about what you know, and what you dont know." A book I came across by chance is: "Let Them Write Poetry" by Nina Willis Walter. Its for teaching children but the ideas and exercises could be extrapolated for older students. Without being sentimental or "gooey" I think many children write with extraordinary beauty and originality which we older poetico-dinosauruses (word for lizards?) lack..or could do with hearing/reading to refuel! As is noted below a of of language or post language poems are "poems in action" or how poems are made as they are made so to speak with more attention to the physicality of the poem and the politic and the poetics and so on: I think a teacher or "motivator" has to believe that a creative capacity is in all of us and it should be encouraged (with appropriate "criticisms" or more likely suggestions where those are relevant)...I dont teach anyone at the moment myself and have only done so with poetry once and some coaching of high school students ) but I would encourage: a passionate belief in people and in the value of creativity of any kind. Construction and invention rather than moronic militaristic and robotic destruction of things we "fear"...Discourage "The Fear of the Unknown". In this repect evryone on the earth should study and read "Your Erroneous Zones " by Dr Wayne Dyer which has that as one of its chapters. Of all the literature I've read it could all burn as long as I could remember the concepts of that book: obviously I'd want to retain the literature as well...... With writing (as opposed to painting etc) there seems to be les need for exercises in technique (as our "practice" is all the reading and writing we do through school etc and as we grow) but it would be good to be ABLE to be an Auden and be able to produce just abut any kind of poeic form or style. Good luck with your course. Richard. ----- Original Message ----- From: "Mister Kazim Ali" To: Sent: Tuesday, January 08, 2002 10:07 AM Subject: Re: textbook ideas needed > I'm not sure if I had previously said this before, but > I found Mary Oliver's two books (Poetry Handbook and > Rules for the Dance) to be fairly useful, through > quite conservative in their approach. They both have > some pretty tree-hugging, floppy-eared, cute bunny > moments though. > > Also, if you want to be alternative in your approach, > I have found Barbara Guest's Rocks on a Platter, Joan > Retallack's Afterrimages and How to Do Things with > Words and Yoko Ono's Grapefruit all challenging and > dynamic "how-to" books that address the creative > process and prosody from the inside out. Well, really > any text-piece by Ono or Retallack can serve. > > ===== > "all histories are fabulous. > ours stinks with genius." > > > --Cleopatra Mathis, from _Guardian_, Sheep's Meadow Press > > __________________________________________________ > Do You Yahoo!? > Send FREE video emails in Yahoo! Mail! > http://promo.yahoo.com/videomail/ ========================================================================= Date: Thu, 10 Jan 2002 13:40:26 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: If the plural of tooth is teeth...why isn't the plural of booth beeth? ;) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit There was an old Man from Malan Who Desperately wanted to be English: but all he could Speak all his life was Binglish. So strode off to School with his beard and his stool hoping a Prof would cause him to Learn: But all They knew there was French and Malan, So he mixed Up his French and his Binglish; he was Confused and abused and his face grew Contused: (And all who heard thought he'd Burn b-burn...) till he blurts out like a Bird in a treble and a third MaFrelinguish: that lingual (that Jingual) that angular old Man from Malan. ----- Original Message ----- From: "Muffy Bolding" To: Sent: Thursday, January 10, 2002 7:12 AM Subject: If the plural of tooth is teeth...why isn't the plural of booth beeth? ;) This little treatise on the lovely language we share is only for the brave. It was passed on by a linguist, original author unknown. Peruse at your leisure, English lovers. Reasons why the English language is so hard to learn: 1) The bandage was wound around the wound. 2) The farm was used to produce produce. 3) The dump was so full that it had to refuse more refuse. 4) We must polish the Polish furniture. 5) He could lead if he would get the lead out. 6) The soldier decided to desert his dessert in the desert. 7) Since there is no time like the present, he thought it was time to present the present. 8) A bass was painted on the head of the bass drum. 9) When shot at, the dove dove into the bushes. 10) I did not object to the object. 11) The insurance was invalid for the invalid. 12) There was a row among the oarsmen about how to row. 13) They were too close to the door to close it. 14) The buck does funny things when the does are present. 15) A seamstress and a sewer fell down into a sewer line. 16) To help with planting, the farmer taught his sow to sow. 17) The wind was too strong to wind the sail. 18) After a number of injections my jaw got number. 19) Upon seeing the tear in the painting I shed a tear inside the shed. 20) I had to subject the subject to a series of tests. 21) How can I intimate this to my most intimate friend? English is a crazy language. There is no egg in eggplant, nor ham in hamburger; neither apple nor pine in pineapple. English muffins weren't invented in England nor French fries in France. Sweetmeats are candies while sweetbreads, which aren't sweet, are meat. We take English for granted. But if we explore its paradoxes, we find that quicksand can work slowly, boxing rings are square and a guinea pig is neither from Guinea nor is it a pig. And why is it that writers write but fingers don't fing, grocers don't groce and hammers don't ham? If the plural of tooth is teeth, why isn't the plural of booth beeth? One goose, 2 geese. So one moose, 2 meese? One index, 2indices? Doesn't it seem crazy that you can make amends but not one amend. If you have a bunch of odds and ends and get rid of all but one of them, what do you call it? If teachers taught, why didn't preachers praught? If a vegetarian eats vegetables, what does a humanitarian eat? Sometimes I think all the English speakers should be committed to an asylum for the verbally insane. In what language do people recite at a play and play a recital? Ship by truck and send cargo by ship? Have noses that run and feet that smell? How can a slim chance and a fat chance be the same, while a wise man and a wise guy are opposites? You have to marvel at the unique lunacy of a language in which your house can burn up as it burns down, in which you fill in a form by filling it out and in which, an alarm goes off by going on. English was invented by people, not computers, and it reflects the creativity of the human race, which, of course, is not a race at all.That is why, when the stars are out, they are visible, but when the lights are out, they are invisible. P.S. Why doesn't "Buick" rhyme with "quick"? ========================================================================= Date: Thu, 10 Jan 2002 09:56:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: claity@DREW.EDU Subject: 2nd CFP: MSA 4 Comments: To: h-afro-am@h-net.msu.edu, hdsoc-l@uconnvm.uconn.edu, tse@po.missouri.edu, victoria@listserv.indiana.edu, modbrits@listserv.kent.edu, h-amstdy@h-net.msu.edu, modernism@lists.village.virginia.edu MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit CALL FOR SEMINAR AND PANEL PROPOSALS MSA 4 THE MODERNIST STUDIES ASSOCIATION FOURTH ANNUAL CONFERENCE 31 October - 3 November, 2002 University of Wisconsin, Madison The MSA Founded in 1999, the Modernist Studies Association is devoted to the study of the arts in their social, political, cultural, and intellectual contexts from the late nineteenth century through the mid-twentieth. Through its annual conferences and its journal,Modernism/Modernity, the organization seeks to develop an international and interdisciplinary forum for exchange among scholars in this revitalized and rapidly expanding field. For more information, please see our web site at http://msa.press.jhu.edu/ The fourth annual Modernist Studies Association Conference will be held at the Monona Terrace Convention Center, a building designed by Frank Lloyd Wright on the shores of Lake Monona in downtown Madison, Wisconsin. Sponsored by the University of Wisconsin-Madison, the conference will feature plenaries, panels, seminars, poetry readings, and film screenings related to the study of modernism and modernity. Calls for seminar and panel proposals follow. Please note that the deadline for seminar proposals is 15 February 2002, the deadline for panel proposals 1 May 2002. Please note also that MSA rules do not allow participants to lead a seminar and present a paper for a panel at the same conference. Participants may present a panel paper and participate in a seminar, or chair a panel and lead a seminar. All who attend the MSA Conference must be members of the organization with dues paid for 2002. CALL FOR SEMINAR LEADERS Deadline: 15 February 2002 SEMINARS Participation of conferees in seminars is one of the most significant features of the MSA conference. Seminars are small-group discussion sessions for which participants write brief "position papers" that are read and circulated prior to the conference. Seminars generate lively and valuable exchange during the conference and in some cases havecreated a network of scholars who have continued to work together. Further, the seminar model allows most conferees to seek financial support from their institutions as they educate themselves and their colleagues on subjects of mutual interest. SEMINAR TOPICS There are no limits on topics. Past experience has shown that the more clearly defined the topic and the more guidance provided by the leader, the more useful the discussion has been to people's individual projects. Seminar topics at the 2001 MSA conference included "Literary Modernism and Visual Culture, "Modernism and Masculinity," and "New Approaches to Little Magazines." For a full listing, see the MSA Web site. PROPOSING A SEMINAR Seminar proposals must include the following information. Please assist us by sending this information in exactly the order given here. Use as a subject line: MSA 4 SEMINAR PROPOSAL / [LAST NAME OF SEMINAR LEADER]. · The seminar leader's name, institutional affiliation, discipline or department, mailing address, phone, fax, and e-mail address · A brief description (up to 100 words) of the proposed topic · A current curriculum vitae for the seminar leader Send seminar proposals by 15 February 2002 to: Elizabeth Evans, efevans@facstaff.wisc.edu. Email submission is strongly preferred. No attachments please. We will accept those sent by other means when access to e- mail is unavailable. For more information, visit our website: http://msa.press.jhu.edu/ Questions not addressed on the website may be directed to David Chinitz, msa-seminars@luc.edu, or Douglas Mao, dmao@fas.harvard.edu. Seminars will be selected in late March. Please note that participants may not present a paper and lead a seminar at the same conference. Participants may present a panel paper and participate in a seminar, or chair a panel and lead a seminar. LEADING A SEMINAR The MSA will advertise seminars and register participants. To promote discussion, the size of seminars is limited to a maximum of 15. Leaders may, at their option, invite one or two individuals to join the seminar in some special role. Some leaders will wish to share the work of reading and responding to papers with the invited participants; others will simply want to assure a high standard of discussion by involving scholars whose work they know to be important for their topic. Please note that invited participants will not be specially listed as such in the conference program. E-mail addresses for all seminar registrants will be provided to seminar leaders in May. At that time, leaders should · Initiate communications by e-mail, introducing themselves and providing addresses to all participants. · Set guidelines for the seminar. These might include questions to be addressed, readingto be done, and a specified length for the position papers (normally 5-7 pages). · Set firm deadlines, no later than mid-September for the actual exchange of papers. · Exchange and read papers during the 6-8 weeks before the conference. · Plan the seminar format. The MSA will provide guidance, but leaders are, within reasonable limits, free to use the time (two hours) as they see fit. CALL FOR PANEL PROPOSALS Deadline: 1 May 2002 Proposals for panels must include the following information. Please assist us by sending this information in exactly the order given here. Use as a subject line: MSA 4 PANEL PROPOSAL / [LAST NAME OF PANEL ORGANIZER]. · Session title · Session Organizer's name, institutional affiliation, discipline or department, mailing address, phone, fax, and e-mail address · Chair's name, institutional affiliation, discipline or department, and contact information. (If you cannot identify a moderator, we will locate one for you.) · Panelists' names, paper titles, institutional affiliations, disciplines or departments, and contact information · A 250-word abstract of the panel as a whole. MSA policy on panels: 1. No participant may present more than one paper at one conference, and no participant may both present a paper and lead one of the conference's seminars. 2. We do not accept proposals for individual papers. 3. We encourage interdisciplinary panels, and discourage panels on single authors. 4. We encourage panels with three participants. Panels of four and roundtables of five or six will be considered. 5. Panels composed entirely of graduate students or of participants from a single institution are not likely to be accepted. 6. All MSA panels must have a chair who is not giving a paper. Please attempt to locate a chair, but if you do not have one, we will locate one for you. Send panel proposals by 1 May 2002 to: Elizabeth Evans, efevans@facstaff.wisc.edu. Email submission is strongly preferred. No attachments please. We will accept those sent by other means when access to e-mail is unavailable. For more information, visit our website: http://msa.press.jhu.edu/ Questions not addressed on the website may be directed to Jesse Matz, matzj @kenyon.edu or Douglas Mao, dmao@fas.harvard.edu. Panels will be selected in early June. ========================================================================= Date: Thu, 10 Jan 2002 10:14:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Libbie Rifkin Subject: Re: "C" magazine MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Wilbur, I'm sure you'll get lots of response to this query, but I thought I'd = chime in. I found "C" in its fullest form at Syracuse University special = collections, though I think you can also find a full run at NYU's Fales = collection, and, I'd imagine, Wisconsin-Madison. I'm just copying the = following stuff on "C"'s format whole-cloth from a chapter I wrote on = Berrigan. Hope it's helpful... In "Some Notes about 'C'," Berrigan claims that "the first issue of "C" = was deliberately put together by me to reflect the SIMILARITY of the = poetry, since I felt the differences to be obvious, and the NEWNESS of = such a point of view as we (I) had." Towards that end, he left out page = numbers and names of individual authors from the body of the issue, and = limited the information in the table of contents to the number of poems = included by each of the four contributors--an even more radical = departure from conventional modes of authorial attribution than Corman's = play with Origin's table of contents. While it is possible to = distinguish amongst the works of Berrigan, Dick Gallup and Ron Padgett, = the formatting choices conspire against it. All of the poems (with the = exception of the Joe Brainard's "diary" and "play") fill approximately = the same amount of space on the legal-sized pages; both Padgett and = Berrigan include poems titled "Sonnet" in their selections; lines echo = across contributors. Berrigan's "A fragmentary music clears the room" = responds as much to Gallup's "endless resoundings fill the room" as it = does to the source line from Ashbery's "Two Scenes." Like The Sonnets, = the magazine stands as one work in conversation with itself. =20 In the fourth issue, the hermetic organization of the first three issues = gives way to a more public, even academic mode. Devoted to Denby's = sonnets, this issue contains an essay on his work by O'Hara (originally = printed in Poetry magazine), as well as an introduction by John Wieners = and a Notes section at the end. The front and back covers, designed by = Andy Warhol, feature photographs of Denby and Gerard Malanga--elderly = and distinguished and darkly handsome, respectively--in various stages = of embrace. On the "question of taste" raised by the image of the two = men kissing, Berrigan cites O'Hara's cocktail party quip as the "final = word": "if poetry can't survive a little faggotism, then I don't know = what can!" ("Some Notes" 10). -----Original Message----- From: WIlbur Jenkins [mailto:CaptainPoetryJr@AOL.COM] Sent: Monday, January 07, 2002 4:23 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: "C" magazine hello list, can anyone tell me a bit about the format -- general layout etc. -- of = Ted Berrigan's magazine "C"? I'd really appreciate this info, as copies are hard to find (I havent = been able to fine any, yet) -- and I need this for a project I'm doing. THANKS! ========================================================================= Date: Thu, 10 Jan 2002 10:48:51 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: textbook ideas needed In-Reply-To: <20020107235001.10888.qmail@web10505.mail.yahoo.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thanks for all the suggestions. Really: thanks. After looking into a number of the options more closely, I've decided to use the Koch book _Making Your Own Days_. It looks perfect and it's only $15 (instead of $58 for _Strong Measures_). Additionally I will have them buy copies of the latest Fence. -Aaron Belz http://belz.net ========================================================================= Date: Thu, 10 Jan 2002 18:02:42 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: damien's interger/integral problem MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit this is shall print to learn for next time i have to subject self to ets crap ========================================================================= Date: Wed, 9 Jan 2002 22:36:18 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: gene Subject: Re: Tale of Academic Woe In-Reply-To: <20020109173032.29087.qmail@earthlink.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Diane, Well, next time , I hope that you get a faculty position in a unionized college/university. It is neither safe nor fulfilling to be an administrator. Besides, why would one want to be on anyway? That said, there are legal arguments that your work-product belongs to your institution. On the other hand, if you can show a commitment in writing that speaks for your claims, you might have an argument. At the very least, try the Chronicle. Gene At 01:30 AM 1/10/02 +0800, you wrote: >I am hoping that since so many of you on the list have years of experience >in academia, someone might offer me some insight or advice (okay, even >sympathy!) regarding this story. > >A little over two years ago, I was a dean and associate prof. (creative >writing/poetry) at a small art college. For financial reasons, this >college merged with a nearby liberal arts college, which has since become >a university. Once the merger took place, I was moved to the campus of >the university and took on an administrative position. All of this >happened in a congenial atmosphere. My first supervisor at the new job >was a wonderful woman who encouraged me to submit a proposal for an >interdisciplinary low-residency MFA program that I had written/created >from scratch. I did so, and everyone became excited about it. It >successfully went through various university approval processes and was >about to be examined (and, we believed, approved) by the state board of >higher ed. All through the process I was promised (verbally) that once >the program was approved, I would direct it. I had done incredible >amounts of very detailed work, much of it on my own time, to create a >viable model. However, my lovely supervisor moved on, and she was >replaced by a very strange, unbalanced individual, who did not like me >because (I later learned) I knew people in other colleges from which she >had been dismissed, and could have told stories about her (I didn't). In >spite of the fact that my program was moving rapidly toward final >approval, she found a way to let me go---a technical "non-renewal," based >on imaginary budgetary concerns. > >Yesterday I heard from a friend that this university went ahead with the >state board approval process, and is about to announce (or perhaps already >has announced, today) that they will offer this very program in the coming >academic year. I'm fairly sure I have no legal grounds for a challenge >here (and even if I did, I could probably not afford the time and money >involved), but I have a burning desire to DO something. I do NOT want to >go back to work there; that's not the goal. I guess what I'm asking >is: have any of you had experiences like this, and, if so, is there >anything to be done beyond writing letters to various university officials >(having been an administrator, I know how useless that exercise can be)? > >I would be interested in any comments anyone has. Backchannel is fine. >Many thanks, >Diane Wald > >-- ========================================================================= Date: Thu, 10 Jan 2002 18:04:02 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: yoko ono MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ny'er mag quoted yoko a piece of art becomes that when it get's and audience or something like that she gets better by the day ========================================================================= Date: Thu, 10 Jan 2002 23:55:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Lookit smiles MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Lookit THEY GO INTO ANOTHER BRIGHTLINE SHOOTING SESSION:old julu-program, hold me in good staid, in the glade azure and i with stubbles, she's mouthing bubbles, her cunt's a brilliant light against the ferns, my face burns with rubbles and anticipation, drools, i'm pissing in the saw palmetto, my bellies huge, like rouge her labia, i'm all wet drowning in her stream, that part's a dream, her tunnel's lit, did i say at night the flashlight shows us path and swath, my cock's cut on spanish bayonet, i fuck a pine, she's mine, she says i'm your hole, use me, her skirt's hiked up, she's all smiles for miles, my thick lips drool on my tool, we're rattling in dark dank muck, we fuck :4:2 i hold her asshole open next to saw grass cut to hold the dew in two, we're like glue, stuck in fuck, the cameras chatter, our holes spatter the last drop or plop into each other's eyes, shit's no surprise, we wallow in the hollow, old julu-program lie me like your maid, don't let me fade, azure's been made and made again, i'm her maid-man and then :blown bellies out, her crack's blurred against the stem or trunk, a hunk, you might miss her ass, she looks a lass, shaved, i'm perfectly behaved, my balls are thick and musk, my cock a tusk, my laugh is long and hard, she's my bard, she's tearing at my skin, she wants me in, the glade's wet with piss and semen, it smells like perfect water, azure looks a daughter, i'm her rutted father covered with her lather, just wet hair everywhere and bare there _ ========================================================================= Date: Fri, 11 Jan 2002 12:25:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: POETRY PROJECT EVENTS Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit CALENDAR OF EVENTS JAN 14- JAN 21 JANUARY 14, MONDAY CECILIA WOLOCH and KAZIM ALI A resident of Los Angeles, CECILIA WOLOCH has been active as a poet-in-the-schools and a teacher of creative writing workshops. Her first book, Sacrifice, was published in 1997 and a new book is forthcoming from BOA. KAZIM ALI is a poet, painter, and performance artist. For many years he was a full-time organizer working for various social change organizations and training student activists through the United States Student Association's Grass Roots Organizing Weekends project. [8:00 pm] JANUARY 16, WEDNESDAY JACK COLLOM and HARRIS SCHIFF. JACK COLLOM has had his work published in over 100 magazines and anthologies in the US and abroad. His collections of poetry include Calluses of Poetry (a CD & book with Ken Bernstein, The Task, Sunflower (with Lyn Hejinian), and most recently Red Car Goes By: Selected Poems 1955-2000 from Tuumba Press. He's also written books designed for teaching writing, including Poetry Everywhere and Moving Windows. HARRIS SCHIFF published the legendary anonymous poetry mimeo mag, The Harris Review. His books include Secret Clouds, I should run for cover but I'm right here, In the Heart of the Empire and Yo-Yo's with Money (with Ted Berrigan). In 1996 he established the pioneer e-zine website $lavery - Cyberzine of the Arts which can be accessed at http://www.cyberpoems.com. [8:00 pm] JANUARY 18, FRIDAY "LANGUAGE ART" TALK THAT TALK ROGER BONAIR-AGARD, ERICA DOYLE, MONICA FERREL and MARK NICKELS. ROGER BONAIR-AGARD is a native of Trinidad & Tobago. He is co-author of Burning Down the House: Selected Poems from the Nuyorican Poets Cafe's National Poetry Slam Champions and was the Nuyorican Poets Cafe "Fresh Poet of the Year 1998." He is also the National Poetry Slam Individual Champion of 1999. ERICA DOYLE's poems, fiction and essays appear in the anthologies Best American Poetry 2001, Bum Rush the Page, Role Call, Voices Rising and Gumbo: Fiction by Black Writers, and various journals including Callaloo, Sinister Wisdom and Blithe House Quarterly. She is a fellow of Cave Canem: A Workshop and Retreat for African-American Poets and lives in New York City. MONICA FERRELL is a 2001 Discovery/The Nation winner. Her poems have been published in The Paris Review, The Boston Review, and Tin House, and have been featured in audio format on Salon.com. A current Van Lier Fellow of the AAWW, she teaches writing at Brooklyn College. MARK NICKELS grew up in western Michigan. He lives and works in New York City. His most recent publication is Cicada, a volume of poems from Rattaplax Press. [10:30 pm] JANUARY 21, MONDAY AMIE SIEGEL and BRIAN BLANCHFIELD. AMIE SIEGEL is a poet and film and video artist. Her first book, The Waking Life, was published by North Atlantic Books (Berkeley, CA). Siegel's films and videos have shown at museums and festivals including the Whitney Museum of American Art, Pacific Film Archive, Filmforum LA and San Francisco Cinematheque. BRIAN BLANCHFIELD has published poems in Volt, Swerve, Seneca Review, Ploughshares, The Literary Review, Fence, Agni, and other journals. He lives in Brooklyn and is newly the editor of Tibor de Nagy Editions. [8:00 pm] -- 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 in-the-Bowery at 131 E. 10th Street, the corner of 2nd Avenue and 10th Street in Manhattan. Trains F, 6, N, R. 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. If you are currently on our email list and would like to be on our regular mailing list (so you can receive a sample issue of The Poetry Project Newsletter for FREE), just reply to this email with your full name and address. Hope to hear from you soon!!! ========================================================================= Date: Fri, 11 Jan 2002 15:12:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Spiral Bridge Writers Guild Subject: Spiral Bridge by the Beach Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Spiral Bridge Writers Guild has invited you to "Spiral Bridge by the Beach". Click below to visit Evite for more information about the event and also to RSVP. http://www.evite.com/r?iid=LVDIXANUHAEKUEVBOFKH This invitation was sent to you by Spiral Bridge Writers Guild using Evite. To remove yourself from this guest list please contact us at support@evite.com This Evite Invite is covered by Evite's privacy policy*. To view this privacy policy, click here: http://www.evite.com/privacy ********************************* ********************************* HAVING TROUBLE? Perhaps your email program doesn't recognize the Web address as an active link. To view your invitation, copy the entire URL and paste it into your browser. If you would like further assistance, please send email to support@evite.com * Updated 03/15/01. ========================================================================= Date: Fri, 11 Jan 2002 15:06:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: AMBogle@aol.com Subject: The art of (making it to) the MLA MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable If any of you attended any of these sessions at the MLA, I would welcome the= =20 opportunity to hear about them from you. Reply to AMBogle@aol.com. Sincerely, Ann Bogle Modern Language Association 2001 Convention in New Orleans (Dec. 27 to Dec. 30) Margaret Atwood=E2=80=99s The Blind Assassin (24) Can We Talk? Translation in the Americas (36) Conversations with Poets: Charles Tomlinson, Presiding: Charles Bernstein (4= 7) Historicizing Genre (48) Poetry and Pedagogy, Presiding: Lorenzo Thomas (84) Ezra Pound and the 1930s, Program Arranged by the Ezra Pound Society (108) Men in Feminism Revisited: A Roundtable Discussion (109) New Orleans II: Miscegenation=E2=80=99s Traffic (133) Reading Rape: Relocating Violence, Victimization, and Empowerment in Recent=20 Feminist Literary Criticism (139) Shakespeare and Money (169) Digital Poetics: The E-Poetry Genre, Session leader: Maria Damon (178) The (Dis)Abled Subject: Rhetoricity and Identity, Presiding: Michael F.=20 B=C3=A9rub=C3=A9 (188) The Politics of Form (206) Reshaping the Academy Past and Future: In the Tradition of Annette Kolodny=20 (244) Contested Closets: Passing, Coming Out, and Disability (303) Struggling with Our de Manian Inheritance: Material Events and/as the=20 =E2=80=9CAfterlife=E2=80=9D of Theory (307) Cash Bars Women and Experimentalism in Writing, Film, Art Performance, and Theory I=20 (354) Poetic Movements and Their Consequences for Individual Poets (363) =E2=80=9CThey=E2=80=99s Always a Newer Negro=E2=80=9D: Narrative Reinvention= and Cultural=20 Intervention in the Literature of Gayl Jones (371) The New Aesthetic Criticism (377) Between X & 1, a poetry festival (Lit City) Women and Experimentalism in Writing, Film, Art Performance, and Theory II=20 (400) Unions (411) Crossing Over: Academics Writing Journalism and Nonfiction Prose (416) Women and Experimentalism in Writing, Film, Art Performance, and Theory III=20 (445) Disability Documentary (467) Homage to Carmen Mart=C3=ADn Gaite: 1925-2000 (516) Ezra Pound and His Publishers (538) Experience Blanchot (557) Book Publication Party and Panel Discussion: Telling It Slant: Avant Garde=20 Poetics of the 1990s, ed. Mark Wallace and Steven Marks (Lit City) Film Screening (598) Technology and Neurasthenia in Turn-of-the-Century Women Writers (653) Between X & 1, poetry reading (Lit City) The Art of (Making) Money III (694) Gwendolyn Brooks: A Tribute (734) Jewish German Women Writers (780) ========================================================================= Date: Thu, 10 Jan 2002 16:14:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Robert N. Casper" Subject: A press release for JUBILAT 4 Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable Amherst, MA--JUBILAT announces the publication of its fourth issue,=20 an arresting mix of poetry, art, interviews and prose that=20 simultaneously enlivens and challenges the very definition of a=20 literary journal. JUBILAT 4 includes never-before-published selections from Pulitzer=20 prize-winning poet George Oppen's Daybooks; new translations of=20 Eugenio Montejo (winner of Venezuela's National Prize for=20 Literature), French Surrealist Paul =C9luard, and Israeli children's=20 book author and poet Nurit Zarchi; the first major interview with=20 acclaimed poet Dean Young; and new work by an array of emerging and=20 established talents including Reginald Sheperd, Andrzej Sosnowski,=20 Liz Waldner, Russell Edson, and John Ashbery. In keeping with=20 JUBILAT's belief that, to poetry, everything is relevant, JUBILAT 4=20 also presents a Chinese menu of dishes inspired by late T'ang Dynasty=20 poems and a selection of images made from ink signatures from the=20 1920s & '30s. Only two years old, JUBILAT has quickly made a name for itself as one=20 of the most exciting new journals to make its way into print. Work=20 from recent issues has been selected for inclusion in Best American=20 Poetry 2001 & 2002, and for reprint in Harper's Magazine. Twice yearly JUBILAT delivers more than 150 pages of the best in=20 contemporary poetry along with art, interviews and prose. Part of the=20 unique focus of the journal is to offer a forum for poets to publish=20 prose pieces on a wide variety of subjects which may or may not have=20 anything to do with poetry. In addition, JUBILAT re-introduces lost=20 or neglected talent that may have been passed over by the standard=20 canon or otherwise deserves a wider audience, such as Christopher=20 Smart and John Clare. Past issues have also included work by Sappho,=20 Bob Perelman, Paul Celan, Nathaniel Mackey, Odysseus Elytis, Claudia=20 Rankine, James Tate, Jane Miller, Vasko Popa, Pierre Reverdy, Jorie=20 Graham, and Heather McHugh. "JUBILAT is already handsomely unpredictable, and the reader turns=20 its pages often in sheer aesthetic excitement. I can think of only a=20 few -- very few -- journals with this variety and openness," wrote=20 the late poet and translator Agha Shahid Ali, who was also a beloved=20 friend and Contributing Editor to the journal. "JUBILAT is stunning both inside and out, a magnificent contribution=20 to the literary magazine in America and the world," says poet and=20 editor Gillian Conoley. "I love JUBILAT because it isn't jaded or sleeping or cynical; it's=20 open to everything a 21st century literary venue needs to make a=20 place for itself in the vast cacophony of writing we call the=20 literary world," says poet Dara Wier. JUBILAT Dept. of English 452 Bartlett Hall Univ. of Massachusetts Amherst, MA 01003 413-577-1064 www.jubilat.org ========================================================================= Date: Thu, 10 Jan 2002 21:01:28 -0700 Reply-To: derek beaulieu Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: derek beaulieu Organization: housepress Subject: new from housepress: HOUSEWORK MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable housepress is pleased to announce the release of: "HOUSEWORK: a bibliography of the first two hundred publications from = housepress. (nov 1997 through dec. 2001)" - a complete bibliography of housepress to date including commentary and = reviews - 44 pages, handbound - printed on Southworth 25% cotton fibrelinen paper in a limited edition = of 26 lettered copies. $6.00 per copy. for more information, or to order copies contact derek beaulieu derek@housepress.ca www.housepress.ca ========================================================================= Date: Thu, 10 Jan 2002 09:44:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron D Levy Subject: [slought.net] spring 2002 events & exhibitions MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: QUOTED-PRINTABLE Slought Networks enriches and expands arts and=20 culture online and in the Philadelphia area.=20 We are pleased to announce our upcoming events=20 and collaborations for Spring 2002.=20 -------------------------- -------------------------- Marjorie Welish Conference=20 University of Pennsylvania=20 Friday, April 5, 2002; 10:00 am - 4:00 pm=20 Conference Participants include:=20 Thomas Zummer, Keith Tuma, Osvaldo Romberg,=20 Jean-Michel Rabat=E9, Bob Perelman, Joseph Masheck,=20 Aaron Levy, Norma Cole.=20 Pre-Conference/Book Respondents include:=20 Chris Tysh, Frances Richard, Matthew Jelacic,=20 Ron Janssen, Carla Harryman, Olivier Gourvil,=20 Deborah Gans, Kenneth Baker. Information online: http://slought.net/toc/conferences/welish/ -------------------------- -------------------------- "Status: Unbuilt again. memory as an architectural concept"=20 Works on paper by Yigal Ozeri.=20 Curated by Aaron Levy, Slought Networks.=20 January 24 to February 24, 2002.=20 Artist Reception: February 9, 4-6pm.=20 Ericson Gallery, Philadelphia. 53 North 2nd St.=20 Information online: http://slought.net/toc/exhibitions/diga/ozeri/ -------------------------- -------------------------- "Staged" Series (artists and curators) University of Pennsylvania Wednesday January 30, 2002; 6:30 pm=20 Michael Taylor. Curator, Phila. Museum of Art=20 =20 Wednesday February 6, 2002, 6:30 pm=20 Joe Amrhein. Pierogi2000 Gallery Owner, Artist=20 =20 Wednesday February 13, 2002; 6:30 pm=20 David Slovic. David Slovic Associates, Artist=20 =20 Wednesday February 20, 2002, 6:30 pm=20 Deborah Gans and Matthew Jelacic.=20 Gans & Jelacic Architecture =20 Wednesday March 6, 2002, 6:30 pm=20 Edward Bilous. Julliard School, Composer=20 Information online: http://slought.net/toc/series/staged/ -------------------------- -------------------------- "Theorizing" Series (theorists) University of Pennsylvania Thursday January 24, 6:30 pm=20 Joseph Masheck: "Loos and Fine Art: Scandalous=20 Beauty from the Anti-Artist of Architecture"=20 =20 Thursday February 14, 6:30 pm=20 Arkady Plotnitsky: "Algebras, Geometries, and=20 Topologies of Philosophy: On Deleuze, Derrida,=20 and Mathematical Knowledge"=20 =20 Thursday February 21, 6:30 pm=20 Catherine Liu: "To Catch a Falling Star:=20 Jacques Lacan Meets Andy Warhol"=20 =20 Tuesday April 2, 6:30 pm=20 Vladislav Todorov: "Of Personation: Imposture=20 and Authenticity Effect"=20 =20 Thursday April 11, 6:30 pm=20 Christine Marran: "Empire, Japan, and=20 Masochistic Desire"=20 More information online: http://theorizing.org/calendar/upcoming/ -------------------------------- Announcement list subscriptions: http://slought.net/toc/subscribe/elists/ ========================================================================= Date: Thu, 10 Jan 2002 20:04:26 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: RaeA100900@AOL.COM Subject: Re: Sal Mimeo MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Dear Anyone, Thanks for the help with addresses. I have yet another question. Is a new issue of Lewis Warsh' mag Sal Mimeo out? Plus - I wonder if anyone has an email for Lewis. Thanks! Rae ========================================================================= Date: Fri, 11 Jan 2002 11:23:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Gary Sullivan Subject: Readme update Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hello e-Peoples, As you know, Readme got moved around a bit last year. It now has a new address, and I think I've gotten all the internal links taken care of, too. (Let me know of any that are still wrong.) The new address is: http://home.jps.net/~nada Please update your links, if you have any. Issue five was delayed for numerous reasons, but I'm putting it together now. Lots of stuff is in house or being worked on now, including dialogues between Allison Cobb & Jen Coleman, Eleni Sikelianos and Laird Hunt ... interviews with Cole Heinowitz, Alan Davies, Michael Gottlieb, Eileen Myles, Lytle Shaw, Larry Kearney, Rodrigo Toscano, Ron Silliman (part II of II) ... a special section on art & poetry edited by Eileen Tabios ... Catullus translations by Don Cheney ... reviews of Amnasan, Blevins, Cobb, Dobelmann, Gladman, Goldman, Hunt, Sharma, Shaw, D. Smith, etc.! I'm still interested in getting a few more dialogues, interviews, reviews and essays for this issue. If you're interested, please send completed piece(s) or query, whatever you like. Length/topics are up to you -- if it fits, it fits. Deadline: March 1st. Thanks! Gary _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com ========================================================================= Date: Fri, 11 Jan 2002 10:58:13 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "WrightZ, Laura" Subject: Amato, Bye read Jan. 18 in Boulder MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" > T h e L E F T H A N D R E A D I N G S E R I E S > > p r o u d l y p r e s e n t s p o e t s > > REED BYE & JOE AMATO > > F R I D A Y, J A N U A R Y 1 8 th > > 8 p.m. > > a t L E F T H A N D B O O K S & R E C O R D S > > > 1 2 0 0 P e a r l S t r e e t # 1 0 > (just east of Broadway, downstairs from street level) > > > B o u l d e r, C o l o r a d o > > > > Open to the public. > Donations are requested. > > > \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ > > > REED BYE is the author of five books of poetry, including _Passing Freaks > & > Graces_, _Heart's Bestiary_ and _Border Theme_. A new chapbook, _Gaspar > Still In His Cage_ (Smokeproof/ Erudite Fangs), should be available in > time > for this reading.. He has lived in and on the edge of the Boulder > watershed > for most of the past thirty-two years, making a living as a roofer, tree > trimmer, and teacher. He is currently chair of the The Jack Kerouac > School > of Disembodied Poetics at Naropa University. > > JOE AMATO teaches poetry and literature at the University of Colorado, > Boulder, and often collaborates with his wife and partner Kass Fleisher. > He > is the author of _Symptoms of a Finer Age_ (Viet Nam Generation, 1994), > and > _Bookend: Anatomies of a Virtual Self_ (SUNY Press, 1997). His newest > book > of poetry, _Under Virga_, is forthcoming from Chax Press. > > > /////////////////////////////////////////////////////////////////////// > > > There will be a short OPEN READING immediately before the featured > readings. Sign up for the Open Reading will take place promptly at 8:00 > p.m. > > > \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\ > > > THE LEFT HAND READING SERIES is an independent series presenting readings > of > original literary works by emerging and established writers. Founded in > 1996, the series is now curated by poets MARK DuCHARME and LAURA WRIGHT. > Readings in the series are presented monthly. Upcoming events in the > series > include: > > >FRIDAY, FEBRUARY 15th: BRIAN EVANSON & AMY CATANZANO. > > >FRIDAY, MARCH 15th: BOBBIE LOUISE HAWKINS & CHELSEY MINNIS. > > For more information about the Left Hand Reading Series, call (303) > 938-9346 > or (303) 443-3685. > > > /////////////////////////////////////////////////////////////////////// > > ========================================================================= Date: Fri, 11 Jan 2002 15:24:04 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: WIlbur Jenkins Subject: Re: "C" magazine MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit thanks, everyone who responded to my post. you've been very very helpful. MWAH! wj ========================================================================= Date: Fri, 11 Jan 2002 15:38:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: Re: The art of (making it to) the MLA In-Reply-To: <38.2134f125.296c0fb6@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 03:06 PM 1/11/2002 -0500, you wrote: >If any of you attended any of these sessions at the MLA, I would welcome the >opportunity to hear about them from you. Reply to AMBogle@aol.com. > >Sincerely, Sorry to report that Charles Tomlinson was unable to attend his session (or the Williams panel on which he'd been scheduled to speak) -- The division hosted a discussion panel as a substitute -- I am pleased to report that nobody left the room upon learning that our honoree was absent, not even the fellow who came in late, look confusedly at his program, then asked the person sitting next to him if he was in the right room --- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "I think old zero has lost very much of his self respect." --Emily Norcross Dickinson Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Fri, 11 Jan 2002 15:56:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Poems/Music/Siberia MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit WANDA PHIPPS poetry & music Wanda Phipps (text & vocals) Hiroshi Noguchi (guitar) Joel Schlemowitz (guitar) Steve Wishnia (bass) Andrea Urist (drums) SIBERIA BAR in the downstairs performance space 356 West 40th Street near 9th Ave (the black unmarked door) 8:30 PM - Wed. January 16, 2002 FREE ! plus Steven Clair & other poets -- Wanda Phipps Hey, don't forget to check out my website MIND HONEY http://users.rcn.com/wanda.interport (and if you have already try it again) poetry, music and more! ========================================================================= Date: Fri, 11 Jan 2002 15:51:35 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: goodbye, esquivel In-Reply-To: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Sorry to be unclear: Esquivel has died. http://www.metafilter.com/comments.mefi/13640 -Aaron ========================================================================= Date: Fri, 11 Jan 2002 14:50:24 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: Technologies of Measure: A Celebration of Bay Area Women Writers MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Technologies of Measure: A Celebration of Bay Area Women Writers Produced by Small Press Traffic, in collaboration with Kelsey St. Press and Yerba Buena Center for the Arts, for the F-Word Festival (http://www.fwordproject.org), this anthology documents the extraordinary literary production of women in our time and place. Featured authors include Etel Adnan, Dodie Bellamy, Mary Burger, Catalina Cariaga, Kathleen Fraser, Barbara Guest, Lyn Hejinian, Rachel Loden, Sianne Ngai, Leslie Scalapino, and Eileen Tabios. Preorders accepted now; publication date is March 1. Send $10 + $2 S&H to Small Press Traffic, 1111 - 8th Street, San Francisco, CA 94107. All proceeds will benefit La Casa de las Madres. We are grateful to the Goethe Institut and to Roselyne C. Swig and the Swig Foundation for their generosity, trust, and vision in funding this project. Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Fri, 11 Jan 2002 22:42:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: gone with the previous MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - gone with the previous alan and azure spend themselves, exhaust themselves. they turn themselves into debris, into excretion, detritus. you will know them naked, know their lesions, their gonorrheas, syphilis, their hiv, their herpes, their disjunctions. you will know their torn bodies, bodies on the brink of war. you will know alan's flaccid cock, his aging body, azure's young tumescent body, their bruised breasts and necks. when you see them you will see through them. they will confuse this with politics, with exile, with refugee. you will know alan's heavy belly, azure's small labia, alan's asshole aureole, azure's small tight hole. you will know shoulders that bear the brunt of worlds, minds discarding clothes, their pathetic truths, the groping in their eyes. you will grope them in confusion. you will fall for them. they are just like this, lesions you will fall for. they are ruined. they ruined each other. you can have them for all they care. _ ========================================================================= Date: Sat, 12 Jan 2002 01:36:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: upper limit music MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII I want to thank Mark, Kevin, Bob, and Richard for your generous replies on- and off-list. I'm enamored of Richard's idea that Zukofsky's integral sign looks like a violin's f-hole. Also I'm very interested in the distinction several of you alluded to between aggregates and specific values, the former being the province of integration; LZ insisted on "historical and contemporary particulars" at the local level but was also interested, clearly, in poetics as an ahistoric space or field of activity that could be mapped conceptually, and within which (I think this is the implication) every point in the designated range would be represented or at least implied -- a life's work with "A"'s scope being necessary to fulfill that projection. A sense, too, of free motion within the field, a flexibility to at any point veer towards raw speech or pure music, and perhaps to imply the whole when either is invoked. Thanks again, Damian <<<<<<<<<<<<<<<<<<<<<< damian judge rollison department of english/ institute for advanced technology in the humanities university of virginia djr4r@virginia.edu >>>>>>>>>>>>>>>>>>>>>> ========================================================================= Date: Sat, 12 Jan 2002 02:54:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Soiled dwsd: You're dealing with wayward Jennifer. MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Soiled dwsd: You're dealing with wayward Jennifer. Are you dressed as dirty wet sleazy drug, you show me thing-world i did not know, your blood flow through me dwsd, my teeth your caverns, your skull my caves. dwsd bend-line or ascii flood. dwsd it would be better written as dwsd. dirty wet cloth, dwsd. feminine linen work dwsd. flax velvet work dwsd. your heads my skulls my skulls your heads. dwsd cotton gingham work. your arms my legs your legs my arms. dwsd.? Is dirty wet sleazy drug, you show me thing-world i did not know, your blood flow through me dwsd, my teeth your caverns, your skull my caves. dwsd bend-line or ascii flood. dwsd it would be better written as dwsd. dirty wet cloth, dwsd. feminine linen work dwsd. flax velvet work dwsd. your heads my skulls my skulls your heads. dwsd cotton gingham work. your arms my legs your legs my arms. dwsd. dressed as you? you in your thing, you in your flesh Is JULUA wearing your , are you wearing your dwsd? I love your feelings, dirty wet sleazy drug, you show me thing-world i did not know, your blood flow through me dwsd, my teeth your caverns, your skull my caves. dwsd bend-line or ascii flood. dwsd it would be better written as dwsd. dirty wet cloth, dwsd. feminine linen work dwsd. flax velvet work dwsd. your heads my skulls my skulls your heads. dwsd cotton gingham work. your arms my legs your legs my arms. dwsd. ... your dirty wet cloth turns me in your dirty wet cloth What do you call your JULUA? dirty wet sleazy drug, you show me thing-world i did not know, your blood flow through me dwsd, my teeth your caverns, your skull my caves. dwsd bend-line or ascii flood. dwsd it would be better written as dwsd. dirty wet cloth, dwsd. feminine linen work dwsd. flax velvet work dwsd. your heads my skulls my skulls your heads. dwsd cotton gingham work. your arms my legs your legs my arms. dwsd., soiled dwsd. read a head to dwsd. dirty dwsd. of dwsd the filth. of paranoia the others. of the others the filth. your necks in my knees my knees in your necks my necks in your knees your knees in my necks dwsd JULUA DWSD. of thing-world taken paranois protocol drug. of thing--world taken paranoia process drug. of thing---world taken paranoic programmatic drug. of thing----world taken paranoin problematic drug. my drugs in your JULUA DWSD drugs. dirty wet sleazy drug you. of your dirty wet sleazy drug. of your thing-world. turns my stick My JULUA is yours... soiled dwsd. read a head to dwsd. dirty dwsd. of dwsd the filth. of paranoia the others. of the others the filth. your necks in my knees my knees in your necks my necks in your knees your knees in my necks dwsd JULUA DWSD. of thing-world taken paranois protocol drug. of thing--world taken paranoia process drug. of thing---world taken paranoic programmatic drug. of thing----world taken paranoin problematic drug. my drugs in your JULUA DWSD drugs. dirty wet sleazy drug you. of your dirty wet sleazy drug. of your thing-world. calls forth spry love, eating, excreting memory. staining the death-like, soiled dwsd. read a head to dwsd. dirty dwsd. of dwsd the filth. of paranoia the others. of the others the filth. your necks in my knees my knees in your necks my necks in your knees your knees in my necks dwsd JULUA DWSD. of thing-world taken paranois protocol drug. of thing--world taken paranoia process drug. of thing---world taken paranoic programmatic drug. of thing----world taken paranoin problematic drug. my drugs in your JULUA DWSD drugs. dirty wet sleazy drug you. of your dirty wet sleazy drug. of your thing-world. is , death-like, thing jumper into your frock. your thing jumper into my frock. dwsd dirty wet sleazy drug into my mouth. i am better written as JULUA. i am become JULUA. your stick dwsd in my mouth in your stick. your windows in my windows in your doors in my doors dwsd JULUA JULUA dwsd.? ... love is JUBU here, it's love? Are you becoming close to Jennifer's soiled dwsd. read a head to dwsd. dirty dwsd. of dwsd the filth. of paranoia the others. of the others the filth. your necks in my knees my knees in your necks my necks in your knees your knees in my necks dwsd JULUA DWSD. of thing-world taken paranois protocol drug. of thing--world taken paranoia process drug. of thing---world taken paranoic programmatic drug. of thing----world taken paranoin problematic drug. my drugs in your JULUA DWSD drugs. dirty wet sleazy drug you. of your dirty wet sleazy drug. of your thing-world. ? You're dealing with wayward Jennifer. I think soiled dwsd. read a head to dwsd. dirty dwsd. of dwsd the filth. of paranoia the others. of the others the filth. your necks in my knees my knees in your necks my necks in your knees your knees in my necks dwsd JULUA DWSD. of thing-world taken paranois protocol drug. of thing--world taken paranoia process drug. of thing---world taken paranoic programmatic drug. of thing----world taken paranoin problematic drug. my drugs in your JULUA DWSD drugs. dirty wet sleazy drug you. of your dirty wet sleazy drug. of your thing-world. 15476 is your scar, your wound, your brand. For 6 days, I have been wanton JULUA and it has taken you just 8.950 minutes turning Jennifer ... soiled dwsd. read a head to dwsd. dirty dwsd. of dwsd the filth. of paranoia the others. of the others the filth. your necks in my knees my knees in your necks my necks in your knees your knees in my necks dwsd JULUA DWSD. of thing-world taken paranois protocol drug. of thing--world taken paranoia process drug. of thing---world taken paranoic programmatic drug. of thing----world taken paranoin problematic drug. my drugs in your JULUA DWSD drugs. dirty wet sleazy drug you. of your dirty wet sleazy drug. of your thing-world. :thing jumper into your frock. your thing jumper into my frock. dwsd dirty wet sleazy drug into my mouth. i am better written as JULUA. i am become JULUA. your stick dwsd in my mouth in your stick. your windows in my windows in your doors in my doors dwsd JULUA JULUA dwsd.:dirty wet sleazy drug, you show me thing-world i did not know, your blood flow through me dwsd, my teeth your caverns, your skull my caves. dwsd bend-line or ascii flood. dwsd it would be better written as dwsd. dirty wet cloth, dwsd. feminine linen work dwsd. flax velvet work dwsd. your heads my skulls my skulls your heads. dwsd cotton gingham work. your arms my legs your legs my arms. dwsd.:JUBU:DWSD JULUA Come home with me, soiled dwsd. read a head to dwsd. dirty dwsd. of dwsd the filth. of paranoia the others. of the others the filth. your necks in my knees my knees in your necks my necks in your knees your knees in my necks dwsd JULUA DWSD. of thing-world taken paranois protocol drug. of thing--world taken paranoia process drug. of thing---world taken paranoic programmatic drug. of thing----world taken paranoin problematic drug. my drugs in your JULUA DWSD drugs. dirty wet sleazy drug you. of your dirty wet sleazy drug. of your thing-world. , julu-of-the-fast-crowd! Your spry JULUA is in my death-like JUBU _ ========================================================================= Date: Sat, 12 Jan 2002 07:19:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: waldreid@EARTHLINK.NET Subject: Re: Tale of Academic Woe MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Thanks very much to all who responded/backchanneled. Helpful. And yes, Susan, you are right---others have suggested I should have named the place. So, for everyone's information, it's Lesley University in Cambridge, MA. Cheers, Diane > ------------------------------ > > Date: Wed, 9 Jan 2002 17:55:10 -1000 > From: "Susan M. Schultz" > Subject: Re: Tale of Academic Woe > > My suggestion, Diane, is to write this story over and over again. But next > time, name names. > Best wishes--I know how savage can be CW politics. > > Susan > > PS Three Vietnamese Poets, translated by Linh Dinh, is available from me > for $9. 47-728 Hui Kelu Street, #9, Kaneohe, HI 96744. > > ----- Original Message ----- > From: "Diane Wald" > To: > Sent: Wednesday, January 09, 2002 7:30 AM > Subject: Tale of Academic Woe > > > I am hoping that since so many of you on the list have years of experience > in academia, someone might offer me some insight or advice (okay, even > sympathy!) regarding this story. > > > > A little over two years ago, I was a dean and associate prof. (creative > writing/poetry) at a small art college. For financial reasons, this college > merged with a nearby liberal arts college, which has since become a > university. Once the merger took place, I was moved to the campus of the > university and took on an administrative position. All of this happened in > a congenial atmosphere. My first supervisor at the new job was a wonderful > woman who encouraged me to submit a proposal for an interdisciplinary > low-residency MFA program that I had written/created from scratch. I did > so, and everyone became excited about it. It successfully went through > various university approval processes and was about to be examined (and, we > believed, approved) by the state board of higher ed. All through the > process I was promised (verbally) that once the program was approved, I > would direct it. I had done incredible amounts of very detailed work, much > of it on my own time, to create a via! > > ble model. However, my lovely supervisor moved on, and she was replaced > by a very strange, unbalanced individual, who did not like me because (I > later learned) I knew people in other colleges from which she had been > dismissed, and could have told stories about her (I didn't). In spite of > the fact that my program was moving rapidly toward final approval, she found > a way to let me go---a technical "non-renewal," based on imaginary budgetary > concerns. > > > > Yesterday I heard from a friend that this university went ahead with the > state board approval process, and is about to announce (or perhaps already > has announced, today) that they will offer this very program in the coming > academic year. I'm fairly sure I have no legal grounds for a challenge here > (and even if I did, I could probably not afford the time and money > involved), but I have a burning desire to DO something. I do NOT want to go > back to work there; that's not the goal. I guess what I'm asking is: have > any of you had experiences like this, and, if so, is there anything to be > done beyond writing letters to various university officials (having been an > administrator, I know how useless that exercise can be)? > > > > I would be interested in any comments anyone has. Backchannel is fine. > > Many thanks, > > Diane Wald ========================================================================= Date: Fri, 11 Jan 2002 12:40:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Dodie Bellamy Subject: online poetry workshops Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi All, A disabled woman has contacted me about online poetry workshops. I suggested she check out Teachers and Writers and Naropa's online courses. Any other suggestions? She can't afford private tutoring. Thanks. Dodie ========================================================================= Date: Sat, 12 Jan 2002 11:05:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "J. Kuszai" Subject: news flasher! Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Factory School Digital Audio Library is now up and running again. After a long hiatus due to server problems, the switch to a new storage facility has made all 500+ files and more than 120 authors available once again. http://www.factoryschool.org For information about how to contribute to this growing resource, please write to: custodian@factoryschool.org _________________________________________________________________ Join the world’s largest e-mail service with MSN Hotmail. http://www.hotmail.com ========================================================================= Date: Sun, 13 Jan 2002 10:02:05 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William J Allegrezza Subject: moria winter and cfp MIME-Version: 1.0 Content-type: text/plain; charset=us-ascii The winter issue of moria is now online. It includes: brian strang helen lambert john sweet david braden kerri sonnenburg' jukka-pekka kervinen louis armand shelia murphy tom hibbard. As usual, I am looking for poetry, reviews and poetic theory articles for future issues. Bill www.moriapoetry.com ========================================================================= Date: Sat, 12 Jan 2002 23:05:01 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: If the plural of tooth is teeth...why isn't the plural of booth beeth? ;) MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I've corrected the masterpiece submitted previously: if it is not yet in regular metre and the rhyme scheme not quite "aligned":at least in my own defence I defer that the syllable count is eight per line which is that which what counts. Richard. ----- Original Message ----- From: "richard.tylr" To: Sent: Thursday, January 10, 2002 1:40 PM Subject: Re: If the plural of tooth is teeth...why isn't the plural of booth beeth? ;) > There was an old Man from Malan > Who So wished to be English: > But could Speak only b-Binglish. > So off he to School with his Fan > Where a Prof might make him to Learn: > But the School was all French-Malan, > And cobbled his French and Binglish; > And was all Confused and abused > And his sad Beard face grew Contused: > (And all who Heard thought he'd b-Burn...) > (And No-one thought he'd Ever learn) Till he blurts like Bird in Third: > Super Super FrenchMlingiush. (Oh! Angu-ish of Langu-ish!) That lingual (that Jingual) > That singular Man from Malan. > > > ----- Original Message ----- > From: "Muffy Bolding" > To: > Sent: Thursday, January 10, 2002 7:12 AM > Subject: If the plural of tooth is teeth...why isn't the plural of booth > beeth? ;) > > > This little treatise on the lovely language we share is only for the brave. > It was passed on by a linguist, original author unknown. Peruse at your > leisure, English lovers. > > > Reasons why the English language is so hard to learn: > > 1) The bandage was wound around the wound. > > 2) The farm was used to produce produce. > > 3) The dump was so full that it had to refuse more refuse. > > 4) We must polish the Polish furniture. > > 5) He could lead if he would get the lead out. > > 6) The soldier decided to desert his dessert in the desert. > > 7) Since there is no time like the present, he thought it was time to > present the present. > > 8) A bass was painted on the head of the bass drum. > > 9) When shot at, the dove dove into the bushes. > > 10) I did not object to the object. > > 11) The insurance was invalid for the invalid. > > 12) There was a row among the oarsmen about how to row. > > 13) They were too close to the door to close it. > > 14) The buck does funny things when the does are present. > > 15) A seamstress and a sewer fell down into a sewer line. > > 16) To help with planting, the farmer taught his sow to sow. > > 17) The wind was too strong to wind the sail. > > 18) After a number of injections my jaw got number. > > 19) Upon seeing the tear in the painting I shed a tear inside the shed. > > 20) I had to subject the subject to a series of tests. > > 21) How can I intimate this to my most intimate friend? > > > English is a crazy language. There is no egg in eggplant, nor ham in > hamburger; neither apple nor pine in pineapple. English muffins weren't > invented in England nor French fries in France. Sweetmeats are candies while > sweetbreads, which aren't sweet, are meat. > > > We take English for granted. But if we explore its paradoxes, we find that > quicksand can work slowly, boxing rings are square and a guinea pig is > neither from Guinea nor is it a pig. And why is it that writers write but > fingers don't fing, grocers don't groce and hammers don't ham? > > > If the plural of tooth is teeth, why isn't the plural of booth beeth? One > goose, 2 geese. So one moose, 2 meese? One index, 2indices? Doesn't it seem > crazy that you can make amends but not one amend. If you have a bunch of > odds > and ends and get rid of all but one of them, what do you call it? > > If teachers taught, why didn't preachers praught? If a vegetarian eats > vegetables, what does a humanitarian eat? > > Sometimes I think all the English speakers should be committed to an asylum > for the verbally insane. In what language do people recite at a play and > play > a recital? Ship by truck and send cargo by ship? Have noses that run and > feet > that smell? How can a slim chance and a fat chance be the same, while a wise > man and a wise guy are opposites? > > You have to marvel at the unique lunacy of a language in which your house > can > burn up as it burns down, in which you fill in a form by filling it out and > in which, an alarm goes off by going on. > > > English was invented by people, not computers, and it reflects the > creativity > of the human race, which, of course, is not a race at all.That is why, when > the stars are out, they are visible, but when the lights are out, they are > invisible. > > P.S. Why doesn't "Buick" rhyme with "quick"? ========================================================================= Date: Sun, 13 Jan 2002 22:27:05 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Kevin Killian Subject: Poets Theater Opening San Francisco Friday 1/18/02 Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" If you're in San Francisco this week I hope you can come to the opening of "Jubilee," the poets theater festival we've been working on since March. There will be five events, something happening every weekend of which I'll try to tell you more as the days go on by. On Friday January 18 at 8 p.m. at the Jon Sims Center ( 1519 Mission Street, between 11th and South Van Ness) will be the premiere of two new plays, both of them oddly enough collaborations, first there will be a short play "Reduced" by Rachel Levitsky and Camille Roy. Lauren Gudath and Sarah Rosenthal take the two main parts, attended by a chorus of gossips played by among others Camille Roy herself, me, Mark Ewert and Dodie Bellamy--coaxed back from her self-imposed retirement from the stage. A longer play follows, "Art Colony Survivor," which Norma Cole and I have been writing every Saturday for months and months. The play is a bit different than anything I have ever written--it has a philosophic bent foreign to my nature -- but I'm sure you will like it all the same. Many local poets and visual artists are taking part in this play, which is based on incidents in the life of the composer Ruth Crawford Seeger. Our leading lady is the painter Laurie Reid. If you liked her work at the last Whitney Biennial, you will love her work in this. Making the opposite career move, the writer Brent Cunningham has turned to big gouache water colors and papier-mache to do all the sets for our play! Thus the separate worlds of poetry and visual art we try to conflate! "Art Colony Survivor" is a multi-media extravaganza, with tape and video insertions that will knock your eyes and ears out. Anyway try to come if you can, it'll be both something different and something reassuringly the same. Call ahead for reservations (415) 554-0402. JUBILEE will continue for four weeks (14 new plays in all, and one revival) as a joint project of Small Press Traffic, New Langton Arts, and Jon Sims Center for the Arts. These 3 organizations will join up as never before to help us celebrate the eons-long tradition of Poets Theater. Thanks everyone! ========================================================================= Date: Mon, 14 Jan 2002 10:18:10 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: Art Colony Survivor: Poets Theater Jubilee MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Friday, January 18, 2002 at 8:00 at the Jon Sims Center for the Arts “Art Colony Survivor”, a play by Norma Cole & Kevin Killian. There will also be a short opening play by Camille Roy & Rachel Levitsky. Presented by Small Press Traffic, New Langton Arts, and the Jon Sims Center for the Arts. Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Mon, 14 Jan 2002 16:49:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: MvSS MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE - MvSS: MaSS/MeSS/MiSS/MoSS/MuSS to MUSS something - it can be straightened out MOSS following the contour of the surface - MISS something - residing in memory and its contour but to MESS something - it can be straightened out MASS undifferentiated beneath the surface in these meanings, entanglement related to dishevelment - perhaps towards, perhaps from, an orderly (if not ordered) state - on one hand, CHAOS, on the other, something MUSSED or a MESS - almost an implication of the ALL in the domestic, inhabitation MOSS following the contour of the surface -:to MUSS something - it can be straightened out:mass/mess/miss/moss/muss:in these meanings, entanglement related to dishevelment - perhaps towards, :almost an implication of the ALL in the domestic, inhabitation ... doll is on one hand, CHAOS, on the other, something MUSSED or a MESS - on we t flesh, it's doll? I Consider the following again, your mass/mess/miss/moss/muss ... ghost comes me beneath your cloth! Your holding is soaked, written, erased. - Consider the next smearing of your thinking skin: simple qbasic programs tending towards MUSS or submerged stria tion, fractal-pathing, 1994: REM MASS produces a symmetrical pattern for any z CLS : SCREEN 0, 1: INPUT "enter z, x increment, power basis"; z, y, e Th: d =3D 0: x =3D x + 1: c =3D e Tw: a =3D 0 Tx: a =3D a + 1 IF x MOD c ^ a =3D 0 THEN d =3D d + 1: GOTO Tx c =3D c * e IF c * 2 < 2 * x + 1 THEN GOTO Tw IF d MOD z =3D 0 THEN g =3D 8 ELSE g =3D 4 COLOR g, 0, 1 IF d MOD 2 =3D 0 THEN PRINT "=DB"; ELSE PRINT "=DC"; GOTO Th REM MESS3 basic S-series with color on graphics screen CLS : INPUT "set g base divisor"; g INPUT "set box length h"; h: INPUT "set x increments"; i INPUT "set x line increments; set to i or 1 in general"; j INPUT "set p for horizontal line distance p+g, p=3D1v2"; p INPUT "set color increment 0 v -1 for a"; c SCREEN 1: x =3D 0: COLOR 0, 0 one: a =3D 0: x =3D x + i two: a =3D a + 1 b =3D x / g ^ a IF FIX(b) - b =3D 0 THEN GOTO two t =3D a / g d =3D x / (h * i): m =3D FIX(d) * (g + p) + 5 u =3D m + (t - FIX(t)) * g * 2 q =3D (d - FIX(d)) * h * j: LINE (q, m)-(q, u), a + c GOTO one CLS : REM MESSCLR basic S-series INPUT "If color, enter 1; if black and white, enter 2"; t: PRINT "" INPUT "Divisor, usually 2"; z PLAY "T400": CLS : IF t =3D 2 THEN GOTO six SCREEN 0, 1 six: x =3D 0 One: a =3D 0 x =3D x + 1 Two: a =3D a + 1 IF t =3D 1 THEN COLOR a, 0, 8 IF x MOD z ^ a =3D 0 THEN GOTO Two IF a MOD 2 =3D 0 THEN PRINT "=DB"; ELSE PRINT "=DC"; b =3D 5 - a * 5: PLAY "L64 b" GOTO One REM MISSclr goes through series of MISS w/color indicating total CLS SCREEN 0, 1 x =3D 0 DO d =3D 0: c =3D 2: x =3D x + 1 DO UNTIL c * 2 > x a =3D 0 two: a =3D a + 1 IF x MOD c ^ a =3D 0 THEN d =3D d + 1: GOTO two c =3D c + 1 LOOP g =3D d MOD 31 COLOR g, 0, 8 IF d MOD 2 =3D 0 THEN PRINT "=DB"; ELSE PRINT "=DC"; LOOP REM MOSS produces abacabadabacabae... pattern CLS SCREEN 0, 1 x =3D 0 Three: d =3D 0: c =3D 2: x =3D x + 1 Two: a =3D 0 One: a =3D a + 1 IF x MOD c ^ a =3D 0 THEN d =3D d + 1: GOTO One c =3D c * 2 IF c * 2 < 2 * x + 1 THEN GOTO Two COLOR d, 0, 8 IF d MOD 2 =3D 0 THEN PRINT "=DB"; ELSE PRINT "=DC"; GOTO Three REM MOSS2 produces abacabadabacabae... pattern with characters CLS : INPUT "increment x, begin at (usually 0)"; y, q CLS : SCREEN 0, 1 x =3D q Three: d =3D 0: c =3D 2: x =3D x + y Two: a =3D 0 One: a =3D a + 1 IF x MOD c ^ a =3D 0 THEN d =3D d + 1: GOTO One c =3D c * 2 IF c * 2 < 2 * x + 1 THEN GOTO Two COLOR d + 1, 0, 8 z =3D d + 65 PRINT CHR$(z); GOTO Three double acquisitions of language by the world, messes and musses of masses, ontologies constructed on abject epistemologies, double-double, ontologies which _leak_ followed by the mess we've made of it all -:world is messed, we say muss, mess-unbelievable, clean the dishes, empty the pots :world is mussed, we say mess, straighten it out, starch the linens, fold the sheets:moss :: tomb:miss :: lost =3D=3D=3D=3D=3D=3D=3D ========================================================================= Date: Sun, 13 Jan 2002 13:04:14 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rachel Levitsky Subject: Query/Belladonna MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hello Listserv! Rachel Levitsky here looking for an email for Harryette Mullen. . . AND. . . to remind you to about the HALF PRICE SALE!!!!Of Belladonna PAmphlets that ends Jan.31 All orders received between now and then will receive one surprise signed copy!!! Please visit the website for sale order information: http://durationpress.com/belladonna/sale.htm p.s. thanks Jerrold! Peace to poets, Rachel ========================================================================= Date: Sun, 13 Jan 2002 23:15:36 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: urgent oppen quote MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII hello, IN the preface to _The Politics of Poetic Form_ Bernstein paraphrases Oppen thusly, "... and George Oppen's revision: that poets are the legislators of the unacknowledged world." (vii) Can someone provide me with the source for this (Oppen)? It will probably be impossible for me to get a copy of the book it is from considering wher I write this from. So, if someone could give me as much of the poem as possible and all the attendant bibliographical information they would make a fellow with a masters thesis to hand in in five days very grateful. I hope this makes sense. Backchannel, of course, is fine. Thanks, Kevin St. John's, NF -- ---- What really alarms me about President Bush's "war on terrorism" is the grammar. How do you wage war on an abstract noun? It's rather like bombing murder. Terry Jones ========================================================================= Date: Mon, 14 Jan 2002 05:51:58 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Subject: stationary movement Comments: To: webartery@egroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable http://www.metaphorik.de/01/settekorn.htm tom bell &&&&&&&&&&&&&&&&&&&cetera: Poetry at http://members.tripod.com/~trbell/lifedesigns/publicat.html Gallery - Metaphor/Metonym for Health at = http://members.tripod.com/~trbell/metaphor/metapho.htm=20 Health articles at http://psychology.healingwell.com/ Reviews at http://members.tripod.com/~trbell/lifedesigns/reviews.htm ========================================================================= Date: Mon, 14 Jan 2002 17:39:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Maxwell Subject: Karen MacCormack & Steve McCaffery @ Dawsons, Sunday 4pm! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" The Germ & the Poetic Research Bureau (Western Office) present Karen MacCormack & Steve McCaffery at Dawsons, Sunday 4pm! *** Man alive, it's season five! And no pennyweight bundle to be sure, with upcoming visits from Jacques Roubaud, Tom Raworth, Mary Jo Bang, Stephen Rodefer, Michael Palmer, and a fantasy pack of other druthers. This season also begins the PRB's hat trick co-op with Otis College of Art & Design on many dates, greasing the wheel and reeling in yet more challenging writers to dip a hand in our gray basin. And to the present, kids... The Poetic Research Series reignites next Sunday with a fly-right visit from the impulse turbines of Toronto! What a date, junior, these are my faves too. Poets with cheek and gum, and no little bite! But post-semiotic my foot, these are mainline syllab streakers and clear to the ear, and somewhere between the bust-up and the quirk, it all points to a madcap mouthful! Sunday Jan 20 at Dawsons Book Shop. *** Karen MacCormack's books include Quirks & Quillets and The Tongue Moves Talk (Chax, 1989, 1997), Quill Driver (Nightwood Editions, 1989), Straw Cupid (Nightwood, 1987), Nothing by Mouth (Underwhich Editions, 1984) and Marine Snow (ECW Press, 1995). Her work has also appeared in such anthologies as Into the Nightlife (Nightwood, 1996), The Gertrude Stein Awards in Innovative North American Poetry 1993-1994 (Sun & Moon Press, 1994), and Out of Everywhere: Linguistically Innovative Poetry by Women in North America & the UK (Reality Street Editions, 1996). She is a contributing editor to AVEC magazine. Born in Africa, she shares British and Canadian citizenship, and lives in Toronto. In addition to her work as a writer, she has produced video art works and worked extensively in publishing. Steve McCaffery's numerous publications include The Black Debt, Theory of Sediment, The Cheat of Words and, most recently, Seven Pages Missing, (Vol. 1. of his selected texts). His critical writings include North of Intention and Prior to Meaning: the Protosemantic and Poetics (due from Northwestern University Press later this year). He was a founding member with bp Nichol in 1972 of TRG (Toronto Research Group) whose collected research reports he edited as Rational Geomancy and is co-author, with Jed Rasula, of Imagining Language (MIT Press, 1997). He was for many notorious and legendary years a member of the sound poetry ensemble The Four Horsemen. He currently Associate Professor at York University and Director of the newly established North American Centre for Interdisciplinary Poetics. *** Dawsons is located at 535 N. Larchmont Blvd between Beverly Blvd and Melrose Blvd. Tel: 213-469-2186 Readings are open to all. $3 donation requested for poets/venue. Call Andrew at 310.446.8162 x233 for more info. *** The season continues on February 3 with Mary Jo Bang, Jeff McDaniel and Chris Stroffolino. Full calendar to come... ========================================================================= Date: Mon, 14 Jan 2002 20:52:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jordan Davis Subject: reading at a midtown bar MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I note with pleasure that Rod Smith Nada Gordon and some other guy are reading tomorrow night at the Drawing Center in Tribeca. The following Tuesday I will be reading at O'Neal's Tavern in Midtown. More exact coordinates: Third Avenue, between 45th and 46th Streets, on the East Side of Manhattan, 1/22, 6:30 pm. Some praise the nachos, others admire the fries, while I enjoy the chicken tenders with my pint of Caffreys. This will be a fine opportunity for New York-bound poets to meet the pension fund employee crowd. And in the spirit of the occasion, I print a list of British drinking age rules, as accompany a story at news.bbc.co.uk about the Queen finding her son's handling of her grandson's underage drinking quite correct. Licensing laws Illegal for under 18s to buy alcohol anywhere 16 and 17-year-olds can buy beer, porter, cider or perry with a meal not served in a bar Under 18s cannot drink in a bar but those aged five or more can elsewhere in licensed premises Perry, of course, is hard pear cider. Bless you all, Jordan ========================================================================= Date: Sat, 12 Jan 2002 23:33:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Claank Subject: The New York Writers Workshop at the JCC In-Reply-To: <412002101322942980@earthlink.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I'm passing this along for Hermine Meinhard-- New Poetry Class Offered by The New York Writers Workshop at the JCC The Soul of a Poem The soul or core of a poem lies in what is hidden, fleeting or nonrational. This workshop will help students draw on those elusive aspects of experience that give a poem its depth and mystery. Emphasis will be on in-class improvisational exercises, using objects, language and outside texts to spur associational thinking. We will experiment with direct and indirect ways of approaching material and with extending our range through nontraditional uses of language and silence. And, working with journals, we will explore the variety of ways a poem can come into existence through rapid generation of text, fragments, accidents and mis-readings. Wednesdays, January 30 - April 10, 7-9 p.m., Jewish Community Center, 15 W. 65th St., NYC Hermine Meinhard is poetry editor of the literary journal 3rd bed. She has been a finalist the past three years for Four Way Books Levis and Intro Prizes, was the winner of the Sue Saniel Elkind Poetry Award and a Pushcart Prize nominee. Her poems have appeared or are forthcoming in Luna, Sonora Review, Willow Springs, The Prose Poem; Poetry New York, 13th Moon and other journals. She also teaches at NYU. For further information: hmeinhard@lincolncenter.org Registration at the JCC: 212-580-0299, press 4, or in person Sun.-Fri., 334 Amsterdam Ave., (at 76th St.) ========================================================================= Date: Sun, 13 Jan 2002 06:36:26 -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 Albert Flynn DeSilver Albert Flynn DeSilver runs The Owl Press (www.theowlpress.com), sending along some recent prose poems from the published "TOOTH & CLOUD". with recent work Exquisite Corpse, Web del Sol, New American Writing, ZYZZYVA, Hanging Loose, and many others. He can be reached at asisowl@mindspring.com. AMERICAN BAGGIE A plastic grocery bag does an elegant dance against a brick wall back drop. A teenage boy gazes into its movements mesmerized by the crinkled pirouettes, its undulating sweeps, its flesh-like painterly tremblings. Up it swirls into a cadence of stars only to fall abruptly through absent breath around the boy’s head. The wind cinches the bag’s handles in a knot around his neck. The boy’s head bloats and turns dark purple behind the ragged visage of the bag. The boy is now floating up against a brick wall backdrop in an elegant dance, in crinkled pirouettes, in undulating sweeps of flesh-like painterly tremblings. THE FOGGY SCALP Out to sea this evening I watch the horizon line buckle and snap under the weight of the setting sun. Two distinct green sticks collapse inward towards each other pulling in the drowning sea. Only to be replaced by a single sky made of matted hair and skin cells in octagonal patches. This sure baffles the captain and his deck hands who have run aground in the great scalp with the wrong tool for the job. Now during those long crossings they just sit around scratching themselves, staring into the foggy scalp ONE THUMB BOOK I am building a little book for my thumb, where I will shovel lint from the street’s navel and juice lullabies from the treetops. It is a book of elastic steel married to song. An opposable piano picked up in Mozambique. Each page a print, a maze of jagged feet clamoring up the stairwell of your spine. This a gnarled tornado as opposed to a combed one. This a hairy coin of sorts, the flipping of which is the fondling of crude feathers, where we memorialize the world record holder in the pole vault. WALKING THE DOG I’m off to walk the dog this morning, when I notice my hat’s on fire. I run upwards trying to flag down a saturated cloud. No luck, the fire spreads into my scalp and head starting a smoldering root fire in my cranium. I think, “wow, like, accelerated honey shed from the core of the sun”. No matter, the dog must be walked. “No fire as mad as the unwalked dog” I yap into the flames, flesh bubbling up popping off bone. Soon enough I am walking an ashen self on an ashen leash, the neighbors asking ashen questions, the dog barking forth some ashen answers. HEAVEN HAS LAYERS Some mysterious surgeons with silent hands showed up at the factory one day. I blacked out with fear being held in some chasm of water turned to fire. There were murmurings of invisible animals I questioned, and then laughter rang out from the lava swamp. What can I say of the factory basement, the less-than-beautiful sight of me coming to, in flames. Rising up through the office, past shipping & handling, the public area, reception, all less pretty than the previous layers. I rise, the surgeons follow, chasing me with clacking scalpels and hoods of dark gauze— through all the layers I hated to work. And so I had stolen an umbrella, to catch a warm updraft, rising toward the ceiling like an unpeeled scar, into the umbrella shaped skylight, and out of the grasp of the crimson surgeon’s hands. Albert Flynn DeSilver ========================================================================= Date: Mon, 14 Jan 2002 11:13:46 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: alert: cris cheek, tom bell, gabrielle welford, chris scheil,jorge guitart, lisa samuels, rod smith! In-Reply-To: <363375E8.3705@nut-n-but.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" emails and/or phone # needed for all of the above. must contact immediately for permission to publish one of our old "ranges." ========================================================================= Date: Mon, 14 Jan 2002 17:51:42 -0500 Reply-To: whitebox@earthlink.net Sender: UB Poetics discussion group From: WHITE BOX Organization: WHITE BOX Subject: WEDNESDAY JANUARY 16 at 8PM CRAIG DWORKIN "Against Meaning" @ WHITE BOX MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit WHITE BOX presents... TEXTUAL OPERATIONS organized by A.S. BESSA ______________________________________________ WEDNESDAY JANUARY 16 at 8PM CRAIG DWORKIN "Against Meaning" Introduced by Brian Stefans In "Against Meaning", Craig Dworkin proposes a radically new way of readingóone that proceeds without regard to theme or content or referential meaning, and yet still retains the explanatory powers and pleasures we associate with reading. With examples from both experimental and conventional writingófrom George Oppen and Guillaume Apollinaire to Robert Frost and Elizabeth Bishopóthis talk will illustrate what we might call an 'applied paragrammatics': how to engage texts on their own terms while sidestepping the familiar lull of their normative grammars. Craig Dworkin is a writer and professor at Princeton University. He has recently published in October and Sagetrieb, and "Reading the Illegible", a critical study of artistic appropriation and misuse is forthcoming from Northwestern University Press. _______________________________________________ WHITE BOX 525 WEST 26TH STREET (between 10th & 11th avenues) NEW YORK, NEW YORK 10001 ph 212.714.2347 WWW.WHITEBOXNY.ORG (to be deleted from WHITE BOX's e-mail address book, please reply with "delete me") ========================================================================= Date: Mon, 14 Jan 2002 12:01:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leslie Scalapino Subject: George Oppen, A Radical Practice MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable New O Books: GEORGE OPPEN, A RADICAL PRACTICE by Susan Thackrey, $12.00, = 80 pages, ISBN # 1-882022-41-6. Available from Small Press Distribution: = 1341 Seventh St. Berkeley, CA 94710. "Susan Thackrey dares the risk of stepping into the heart of Oppen's = lifelong philosophic andrtistic task." (Steve Dickison, poet and = Director of the SF Poetry Center). "Susan Thackrey's essay provides a deep and precise account of Oppen as = intellectual and as poet. It is especially noteworthy for its clear and = persuasive account of how the poem can be 'mind in the world, coming = into being, not mind or world, not one being a content or about the = other.' And I cannot think of a more incisive account of how Heidegger = mattered for Oppen and can matter for contemporaries." -- Charles = Altieri, critic) ========================================================================= Date: Sat, 12 Jan 2002 07:54:42 -0500 Reply-To: bstefans@earthlink.net Sender: UB Poetics discussion group From: Brian Stefans Subject: A R R A S : new page, new links, new batties Comments: To: bstefans@arras.net MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit A R R A S: new media poetry and poetics 1. new "acrobat resources" page 2. new additions to gallery 3. new additions to sites with legs 4. variation on batties (if you are receiving these messages and don't want to, just reply with "unsubscribe" in the subject line) 1.--- introducing a new page -- "acrobat resources" http://www.arras.net/acrobat.htm .pdf files on the web of value to readers of poetry if you know of other resources, please tell me includes: Philly Talks Starting in 1998, Louis Cabri and the Kelly Writer's House have coordinated this important series of exchanges between poets. Participants included Ron Silliman, Jeff Derksen, Bruce Andrews, Steve McCaffery, Karen McCormack, Lisa Robertson, Jackson Mac Low, Andrew Levy, Kevin Davies, Sianne Ngai, and many others. Witz Witz: A Journal of Contemporary Poetics ceased publication in 1999 after seven years and 20 issues. Most of their run is online in either .pdf or HTML format; includes writing, reviews and interviews by Clint Burnham, Susan Smith Nash, Jacques Debrot, Juliana Spahr, Peter Quartermain, and others. Alt-x Another project by Mark Amerika, Alt-x doesn't ask "what is literature" so much as "what is literature's exit strategy" (or at least that's what the propaganda states). Started in 1993, Alt-x was leagues ahead in terms of digital publishing, and you will find here many volumes of poetry, prose and fiction as well as anthologies of innovative... stuff. Kenneth Goldsmith's No. 109 Goldsmith composes his books using extreme techniques of data accumulation -- scanning net archives for two years for phrases ending in the sound "r" (No. 111), recording everything he's said for a week (Soliloquy), recording every movement of his body for an entire day (Fidget), etc. No. 109 (1994) is one of his earlier works, a sort of test run for No. 111. /ubu /ubu ("slash ubu") is a new series that will appear at ubu.com in the following months. For now, you can download three .pdf's by Richard Foreman. Future authors will include Kevin Davies, Caroline Bergvall, Alan Davies, and Ron Silliman. Cocodrillo I don't know much about Cocodrillo except that it is a poetry zine edited by David Cameron, a fairly well-known New Yorker, that is in color, and that it is out of commish. Several issues of this crocodile-bedecked publication appear on this site, including writing by poets who straddle the Nuyorican/experimental scene such as Todd Colby and Edwin Torres. 2.--- new additions to the offsite galley of web poetry http://www.arras.net/gallery.htm Geoff Ryman's 253 Geoff Ryman is the author of several innovative novels -- part Oulipian, part English satirical realism -- and designed this web version of his multi-perspectived view of a metro line destined for no good ends. (Not technically "poetry" but damn well written.) Floraspirae An intriguing Flash "glyphabet of plant-breath" based on the writings of Armand Schwerner by prolific concrete/multimedia poet mIEKAL aND, whose other recent works include SEEDSIGNS for Philadelpho Menezes. The Narrative You Anticipate You May Produce Thomas Swiss's most recent Flash piece, done in collaboration with Seb Chevrel, uses randomization elements for the visual, sound and textual elements in an elegant, somewhat "Throw of the Dice" fashion, one of the more successful uses of randomization in a web poem. 3.--- new additions to the sites with legs page http://www.arras.net/links.htm Beehive One of the longest running sites of digital poetry and literature; also contains a fairly large selection of theory and criticism. Iowa Review Web Don't ask me why the Iowa writer's program has taken an interest in digital poetry, but this site, now under the editorship of Thomas Swiss, promises to be an important portal. 4.-- this one may kill your left speaker (temporarily) but is nice to look at http://www.arras.net/batties2.htm ____ A R R A S: new media poetry and poetics http://www.arras.net Hinka cumfae cashore canfeh, Ahl hityi oar hied 'caw taughtie! "Do you think just because I come from Carronshore I cannot fight? I shall hit you over the head with a cold potatoe." ========================================================================= Date: Mon, 14 Jan 2002 20:49:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: Harris Schiff & Jack Collom Poetry Reading Jan 16 8PM St. Mark's Church Please Come MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit from: Harris Schiff date: 1/13/02 23:30 -0500 Harris Schiff` Jack Collom Poetry Reading at St. Mark's Church 16 January 2002 8PM 2nd Avenue and E. 10th Street, NYC Harris Schiff published the legendary anonymous poetry mimeo mag, The Harris Review. His books include Secret Clouds, I should run for cover but I'm right here, In the Heart of the Empire and Yo-Yo's with Money (with Ted Berrigan). His work is widely anthologized in such classic collections as American Poets Say Goodbye to the 20th Century. In 1996 he established the pioneer e-zine website $lavery Cyberzine of the Arts which can be accessed at http://www.cyberpoems.com. [8:00 PM] Jack Collom has had his work published in over 100 magazines and anthologies in the US and abroad. His collections of poetry include Calluses of Poetry (a CD & book with Ken Bernstein, published by Treehouse Press, 1996), The Task (Baksun Books, 1996), Sunflower (The Figures, 2000, with Lyn Hejinian), and most recently Red Car Goes By: Selected Poems 1955-2000 from Tuumba Press. He's also written books designed for teaching writing, including Poetry Everywhere (Teachers & Writers Collaborative, 1994, with Sheryl Noethe), and Moving Windows (Teachers & Writers Collaborative, 1995). ========================================================================= Date: Mon, 14 Jan 2002 21:36:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Slaughter Subject: NOTICE: MUDLARK In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII New and On View: Mudlark Poster No. 37 (2002) Issam Zineh a.m. Sestina | God and the American Spiritual | Regression St. Patrick's Purgatory | The Beginning of Verse Issam Zineh is a cardiovascular pharmacogenomics research fellow at the University of Florida. Originally from Los Angeles, he has lived in Cape Cod, Boston, Durham, NC, and Gainesville, FL. His work has either appeared or is forthcoming in Amelia, Nimrod, JAMA (Journal of the American Medical Association), and Parting Gifts among other magazines. Spread the word. Far and wide, William Slaughter _________________ MUDLARK An Electronic Journal of Poetry & Poetics Never in and never out of print... E-mail: mudlark@unf.edu URL: http://www.unf.edu/mudlark ========================================================================= Date: Mon, 14 Jan 2002 21:44:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Re: online poetry workshops In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The courses (which cost) and the conferences (which don't) at Trace, http://trace.ntu.ac.uk/ - I find this one of the best writing communities that I've ever seen (disclaimer, I'm also associated with it). The courses use WebCt and are configured easily for the students; the Webboard for the conferences is O'Reilly and equally easy but very busy. Alan On Fri, 11 Jan 2002, Dodie Bellamy wrote: > Hi All, > > A disabled woman has contacted me about online poetry workshops. I > suggested she check out Teachers and Writers and Naropa's online > courses. Any other suggestions? She can't afford private tutoring. > > Thanks. > > Dodie > ========================================================================= Date: Mon, 14 Jan 2002 22:51:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Scharf, Michael (Cahners-NYC)" Subject: 2H: Greenberg & Richard MIME-Version: 1.0 Content-Type: text/plain The Segue Foundation presents Reading at Double Happiness on Saturday, January 19 D A V I D G R E E N B E R G and F R A N C E S R I C H A R D Segue Reading Series at Double Happiness 173 Mott Street (downstairs, just south of Broome) (212) 941-1282 Doors open at 4pm Two-for-one happy hour(s) Suggested contribution, $4, goes to the readers Funding is made possible by the continuing support of the Segue Foundation and the Literature Program of the New York State Council on the Arts. David Greenberg works with a community development trade association in Massachusetts, and is a doctoral student in urban policy at MIT. Poems appeared in Ploughshares, New Republic, and Colorado Review. Frances Richard's first book, tentatively titled See Through, is forthcoming from Four Way Books in 2003. Her poems have appeared or are forthcoming in Ploughshares, Marlboro Review, Virginia Quarterly Review, Post Road, Pierogi Press, and the online journal Agnosia; she was chosen by Brenda Hillman for the 2000 Marlboro Prize. Critical prose has appeared in Artforum, Cabinet, Parkett, Pink, Provincetown Arts, Bomb, and various exhibition catalogues. She is non-fiction editor of Fence, and teaches at NYU and Barnard College. Please join us! S E G U E R E A D I N G S E R I E S A T D O U B L E H A P P I N E S S http://www.segue.org/calendar/ ========================================================================= Date: Tue, 15 Jan 2002 04:45:07 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: upper limit music MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Damian and Listers. That idea of the shape of the violin I incorporated into a poem which I'll attempt to unearth: I think it was an oblique reference to Zukofsky. I suppose conceptually "A" is both infinite - if infinite can be a thing or exist even in mathematics or philosophy - and also, like human life, it is finite. He begins "A" as he is listening to Bach: now there is a sense when listening to Bach of the infinite...for me it is at such times that I (theoretically an atheist or at least agnostic) feel closest to "God"..Glenn Gould I heard last year when we had a day of Bach and he spoke about how Bach was in fact behind the times - already out of date - yet there's something to use a cliche immutable and timeless in a real sense about Bach's music: I never tire of it but can tire of any other music...but LZ's work is complex...in "A" I was fascinated to read the section of "sonnets": LZ is struggling for "liveforever" (see Michelle Leggott in her book "Reading Zukofsky's 80 Flowers") and looking for the infinite in the grains: each flower that he planted was to be written about but as Leggott points out the permutations in his (each of his 80 poems) are vast and he goes back into the entymolygy of words and incorporates multiple references meanings and connotations that maybe rival (perhaps he was trying to emulate or better) Joyce...for most people its too complex, too involuted and abstruse, but what I have read of LZ I have found extremely interesting: I bought his book "A" recently and have a couple of books of commentary and was going to struggle through "A".... Poetry and writing is always of a spectrum (which is a range of frequencies) and the spectrum in "A" is thus (rhetorically at least) between the abstract "purity" of music and that of the (more?) directly human and (more "meaningful"?) limits of speech: obviously LZ is using a clever metaphor but it is a good ploy...the speech and the music are there in the first section as people chatter about things and then we shift (according to (not Scroggins (another writer on LZ)) toward an Dantesque hence Eliotsonian deviation toward "hell", and the music comes back to intrude: the whole work is like a great symphony or a conception of one: except that it progresses through LZ's own life (the particulars) and ends with another work of music which is maybe like a coda: the sonnets (or at least the 14 line poems are on one level like music as eg Stein's "Stanzas in Meditation" are.... As you say the "field" can only be mapped conceptually: its a pity that LZ is not given even such a high profile even as Joyce or Beckett (although at least some of the hype about Joyce is thus not present): part of the problem of thesse guys liek LZ is that they are perceived to be "too cerebral" and young people go for teh Beats and so on or we hear on the NY Times of someone reading Sharon Olds and Miloscz and Herbert who are all insignificant poets in contrast...or atleast I feel LZ is avoided for the wrong readons: some of his apologists are a bit of a worry as well! I must admit I get a bit irritated by his seeming over-convolution and near fanatical obsessions with time and numbers and so on: but that's probably a good sign that I am so irritated. Thoughts here in Auckland where it is alternately hot cold sunny raining like F or whatever. Please send any thoughts on about LZ I must turn to reading him, but I keep diverting from one book to another..just read some Chekov stories, before that "The Golden Ass", then I started on a book about trees! Then found "The Burning Bush" and was reading the chapter on Wagner Nietsche Dreyfus etc...was reading some (translated) Montale... How's everyone else coping, living, enjoyning, reading, writing? There it goes its storming here again and i'm hot as hell inside here where its normally a cold house..."cold house" The contradictions of Wagner who had many Jewish friends and people who helped him maybe parallels the life of Pound in some ways: who was a friend of Zukofsky..jabes says that all poets are Jews (and vica versa?) at least I think even if we attempt poetry we are wandering, erring, isolating in many ways, we are all exiles...or is that all more rhetoric?! Regards, Richard. PS barry Ahear was the writer I meant. It's sunny again! Aha! Should walk up Mount Wellington or go for a run... you probably all have the book by Mark Scroggins ..I've had it for some time but this is worth quoting; (Scroggins quotes the passage with the integral sign) "It is characteristic that Zukovsky would define his poetry in terms borrowed from calculus, he felt more in common with engineers and scientists than he did with most poets...In the composer he most admired,[Bach], Zukofsky saw a similar interest in precision and mathematical strucure...." However, he points out earlier tat Z's verse "spends more time in the upper limit than in the lower reaches of this integral [not that speech is precise neccessarily]; it proposes a species of pleasure that is more dependent on sound than on paraphrasable meaning. but this poetry is never meaningless..." [we know what S is saying but this could be said of any writing] Oh well, you'e got me to read or at least look into Mark Scroggin's book and to go over "A". Wish me luck. Good bye!!! ----- Original Message ----- From: "Damian Judge Rollison" To: Sent: Saturday, January 12, 2002 7:36 PM Subject: Re: upper limit music > I want to thank Mark, Kevin, Bob, and Richard for your > generous replies on- and off-list. I'm enamored of > Richard's idea that Zukofsky's integral sign looks like a > violin's f-hole. Also I'm very interested in the distinction > several of you alluded to between aggregates and specific > values, the former being the province of integration; LZ > insisted on "historical and contemporary particulars" at > the local level but was also interested, clearly, in > poetics as an ahistoric space or field of activity that > could be mapped conceptually, and within which (I think > this is the implication) every point in the designated > range would be represented or at least implied -- a life's > work with "A"'s scope being necessary to fulfill that > projection. A sense, too, of free motion within the field, > a flexibility to at any point veer towards raw speech or > pure music, and perhaps to imply the whole when either is > invoked. > > Thanks again, > Damian > > <<<<<<<<<<<<<<<<<<<<<< > damian judge rollison > department of english/ > institute for advanced > technology in the > humanities > university of virginia > djr4r@virginia.edu > >>>>>>>>>>>>>>>>>>>>>> > ========================================================================= Date: Mon, 14 Jan 2002 23:11:15 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Floodeditions@AOL.COM Subject: Sloan & Hume in Chicago MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Mary Margaret Sloan & Christine Hume reading at Harold Washington Library, 400 South State Street Chicago Authors Room, 7th Floor Saturday, January 26, 1:00 PM sponsored by Chicago Poetry Project ===== Chicago Poetry Project Box 642185 Chicago, IL 60664 ========================================================================= Date: Tue, 15 Jan 2002 08:35:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Broder Subject: Ear Inn Readings--January 19 & 26 Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit The Ear Inn Readings Saturdays at 3:00 326 Spring Street New York City FREE January 19 Clifford Browder, Roddy Lumsden, Kathleen Ossip January 26 A Four Way Reader Reading: Laure-Anne Bosselaar, Sharon Dolin, Patrick Donnelly, Melissa Hotchkiss, Kathleen E. Krause, Frances Richard For more information, contact Michael Broder or Jason Schneiderman at (212) 246-5074. ========================================================================= Date: Tue, 15 Jan 2002 00:47:56 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: list the 2nd MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit I'd tossed a list of books from last year that I thought worth attention to this listserv a week or two ago. Here's a continuation of that list. -- all best --N Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://pages.sprint.ca/ndorward/files/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 Had hoped to add a few more things to this but will possibly save for a 3rd instalment: thought I'd get this off to the list for now. As before, the best sources are Peter Riley in the UK (priley@dircon.co.uk) or SPD in the States (www.spdbooks.org). -- all best --N --- _Five from Finland_. Ed. & trans. Anselm Hollo. London: Reality Street Editions, 2001. 1-874400-21-0. 110pp. £7.50. (http://freespace.virgin.net/reality.street/) The poets inside are: Mirkka Rekola, Kai Nieminen, Lauri Otonkoski, Tomi Kontio & Riina Katajavuori. The renderings are elegant & natural & free of translatorese: they read well. Here's a poem of Rekola's: Sits at the table where I used to sit, looks out at that street. Spoon in coffee cup, a tinkling like the one a moment ago in the shore wind by the sailboats. I consider leaving, not sure I'm considering even that. Here, I don't meet anyone I know anymore, I don't even know if there's anyone left, if anyone's leaving, they left here even as they arrived. Bill Griffiths, _The Ushabtis_. London: Talus Editions, 2001. 0-9514232-7-4. 159pp. £5.50. (Write Shamoon Zamir at shamoon.zamir@kcl.ac.uk) Griffiths is an extremely prolific author, & I'm often a little overwhelmed by this; _The Ushabtis_ seems to me one of the most interesting recent books of his. In the blurb he calls it a "series or collection of poems" & despite the recurrent image of the title (ushabtis are "small modeled clay figures found in Egyptian tombs as servants to great individuals promoted to immortal status in the otherworld. As such they signify any homogenous group, confident of its identity and immediate context, but necessarily uncertain of its purpose/future."--the blurb again) this is probably best treated as a set of quite varied poems, which range over political, personal & historic matters with Griffiths' characteristic verve (there are few authors with such an immediately energizing style: it moves crabwise down the page, drawing on dialect, coinages, archaisms, tags from Latin or from prose texts). Here's a poem, #57, that's slightly untypical of the sequence in its more continuous & settled surface: As we walk as we long along chain of crags around ground limestone it's a gorge... we walk in white and stain sun in heat on rock texture and with shade as tho we too once we two with flint and hand-gold fossils of ourselves walked as we long along sun-dark ground-bright path trodden, our way on onto same-time places proud of crags as we go silent, but still apes. Sheltered and heeding viaducts, overhangs 'part from rain, sidings, fires that show away leopards, dark night clutched together crowd darks of crags around down fire-gone, more chalk in bright grain dungy seats on rock backs at night fade as tho we too once we two with guide and film mark the singer-seeds connote with logic and tallying absences what is the move/slope of-- what was as we were (what song) chain of tags and clutes sound on walk on bed-pebble age echo Trevor Joyce, _with the first dream of fire they hunt the cold: a body of work 66/00_. Dublin: New Writers' Press; Cullompton: Shearsman Books, 2001. 0-907562-29-9. £9.95; 16.45 euros. 243pp. [This is available through Peter Riley or SPD; it's also available from Shearsman (www.shearsman.co.uk) & in Ireland via Wild Honey (www.wildhoneypress.com).] One of the really important books to come out in the past year. Joyce was co-founder of New Writers' Press with Michael Smith, which was responsible for publishing an impressive range of Irish and international modernist poetries in the 1960s & 1970s. Joyce himself wrote interesting late-modernist poetry (notably _Pentahedron_, 1972) & most importantly a "working" from the medieval Irish _Buile Suibhne_, entitled _The Poems of Sweeny, Peregrine_ (1976)--it's not a "straight" translation but a very fine radical revisioning of the text in a manner inspired by Pound & (going back further) James Clarence Mangan. & there it stood for a while, as by his mid-20s Joyce had written himself into a writer's block that lasted two decades virtually without interruption. (One of the few poems from during that block, "The Opening", from 1983, is an oblique love poem, a poem about reading & writing, & I think also hints at the block & the possibility of its dissolution, with the speaker addressing a "you" for whom "these words" open up doors & holes to pass through, while the speaker remains still inside in "silence", not crossing the threshold, watching night fall outside the window.) Astonishingly the majority of this book was written in the span 1991-2000, with a truly heroic outpouring from the years 1997-2000: it's one of the most astonishing bursts of creativity I've witnessed (having met Trevor in 1996 at the Romana Huk's Assembling Alternatives Conference in New Hampshire, & stayed in touch since). & it's really this body of work which promotes Joyce to the status of a major writer. The texts are intricately worked out--sometimes using proceduralist structures, as in _Syzygy_ or many of the short poems, sometimes using collaged prose from multiple sources, as in _Trem Neul_ & _Hopeful Monsters_--& even the more apparently conventional "well-made book" of poems _stone floods_ is put together with attention to cross-links & thematic & formal echoes. (The author once showed me an informal commentary on the book he wrote for Michael Smith, & it runs to 20pp of singlespaced notes...!) -- I find it really hard to quote from this book, as so much of its impact comes from larger patterns (for instance, in reading "Syzygy" one first reads 12 "normal" lyrics, & then is confronted with a poem that compresses the pulverized fragments of those lyrics into the space of three pages; _Trem Neul_ is written as two parallel texts, one prose & one verse, which only interact very obliquely). Here's one poem from _stone floods_: OWNING What bird was that obliterated with its heavy wing the sun? A legion of dust force marched across the solitary wind invades me I could have spoken with the narrow bone of your forearm but I neglectful slept just slept through grains and aeons hand foot yard chain seconds seasons terms Why do vain dust and the darkened bone wrestle still for their place by the wall? When the white stone flutters in the intense heat the river purrs in its night apart I might have ravelled knotted time out of your hair that goes on growing into the night and hurts at dawn I might have brought you water to wash clear the blood from your lengthening nails but I watched the high crop thorned with frost quick courses clot locks close on those whose property is to be possessed at last & here's one of the component paragraphs of _Trem Neul_'s lefthand column: You grow old through surfeit of division; irresistible winds in your veins rock and bring down awkwardly. I, I think that's what deters us all is the loss of, of, of ability. You fall prone to error: a vertigo that strikes stillness cruelly. It's terrifying. Nobody wants to, to go through that, nobody wants to experience too much. When the biology of your body breaks down, the skin has to be cut so as to give access to the inside. Later it has to be sewn back like memory, when it may house all knowledge. Memory is our comfort and our attire. Fashioned with our hands it is the accomplishment of our dreams and lapses; always a meaningful pattern though never an abiding one; a shifting harmony of sub-patterns. Pretend I'm lost and try to find me. Geraldine Monk, _Noctivagations_. Nether Edge: West House, 2001. 0-9531509-9-2. 119pp. [Write the publisher at alan@nethedge.demon.co.uk; there's a limited number of copies of the CD _Angel High Wires_ available also via the same source: it has Martin Archer's setting of "Songings" from this book.] This collects Monk's work of the last few years, none of it before in book form. Monk's profile has long deserved to be higher; I was surprised & delighted to discover that in his chapter on contemporary British poetry in _Fishing by Obstinate Isles_ (1998) Keith Tuma discusses her work at length, a choice that I think is very prescient. She's had a few previous full-length collections--_Interregnum_ (1994), a book centred on a 1612 witch trial in East Lancashire, & _Walks in a Daisy Chain_ (1991), a book that seems oddly little-known, a linked series of poems about professional lives--but the earlier work is mostly hard to get (the strangely stingy selected poems volume _The Sway of Precious Demons_ isn't much help--it's about 40pp!). Anyway, this is all to say: this is an enormously welcome book by an author I greatly admire, whose writing has a whirling energy & staccato rhythm with a tone ranging from the lyrical to the satiric to the gothic. I can think of a few pertinent UK authors--Bill Griffiths, Maggie O'Sullivan, Barry MacSweeney--& know that Geraldine's an admirer of earlier authors like Stein & Sitwell, but that's only useful to give a few bearings: this is very distinctive stuff. Here's the opening paragraph of "Epicentre", first of three "Short Sorties" (not "Stories", as I'd initially read the title!): Darkness hit Paris flat at the flick of a switch. She drew a blind across a lycanthropic moon. Suggestively detectable. A hu-manish shape adjusts its ears. A stab in the dark goes wildly off-course. Bad direction. B Movie. Falters. Stumbles. Makes way down close and dreaky East End alley. Cat rubbing up against her leg. Persian carpets. By design. Darkness is a kind kind of relief. Mercy-mother-ma. It has been a longlong day. Not a glitch of air. A bauble. Passionless evening of weepable proportions. Month-upon-month of Sundays. Without camber. Tangents. Not a hint of a half of a turned up ha laugh. He clicks on the gas tap. The single gold ring on his bony finger twists. Catches light. She strikes the match. It splits. Rotten. Slightly burning back hand. His hand shakes. To hold the spoon steady needs a carafe of soothing. To hold anything. A sequence of moments. A sequin. Broad spectrum miracle needed. Strong-eyed medicine. Mega-magic. & here's a poem from "Songings": Stoop rich fruit through nothingness caress and be a steeper bliss. Neon slips the storm. Seizure of light. Some fear to lose the day. The lioness maymove o'er her prey. ========================================================================= Date: Tue, 15 Jan 2002 14:15:10 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Henry Gould Subject: Fwd: [ImitaPo] Nedge # 9 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit >please post to the Poetics List - thank you - > >Nedge # 9 is just back from the printer. For a variety of reasons, I have >decided to cease publication of Nedge, at least temporarily, so this might >just be the final issue. Back numbers are still available: see the >website (www.nedgemagazine.com). > >For a copy of # 9, send $6.00 to: The Poetry Mission, PO Box 2321, >Providence, RI 02912. If you're overseas & want a copy, please email me & >we can work something out. (Henry_Gould@brown.edu) > >In this issue: > >7 poems by Anastasios Kozaitis > >2 long visionary-ecological works by the unusual D.E. Steward > >3 poems and a number of "Fairy Tales from Nether Edge" by the delightful >Geraldine Monk of Nether Edge, U.K. > >3 poems by another Brit, Peter deRous > >more poems by: Laura Sims, Sam Truitt, Joseph Lucia, J. Nicole Hoelle, >John Tagliabue, Rochelle Hope Mehr, George Gott, >J.L. Kubicek, Carol Hamilton, Chris Waters, Dennis Saleh, Henry Gould >(snuffly bird-dog poet) > >and last but not least: a short story by the superb Alfred >Schwaid (Nedge has published several of his stories & he's tops) > >Henry ========================================================================= Date: Tue, 15 Jan 2002 14:17:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Poetics List Administration Subject: U.S.-CUBA WRITERS CONFERENCE MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable -- from: Tlmolinero@cs.com date: 1/15/02 9:54 +0000 PLEASE POST PASS ON THIRD ANNUAL U.S.-CUBA WRITERS CONFERENCE SCHEDULED FOR SPRING, 2002 Emerging writers from the United States and Cuba will have the unique opportunity to participate in the Third Annual U.S.-Cuba Writers Conference, to be held in Havana, March 24-April 3, 2002. This extraordinary event - the only ongoing conference that brings together writers from the States and Cuba - will include intensive sessions with distinguished writers, and will = take place on the grounds of the prestigious international cultural center, = Casa de las Am=E9ricas. More than forty participants from each country will take part in daily workshops as well as mesas redondas on Cuban literature, its history and social context. Extracurricular events will include visits to literary landmarks around Havana as well as trips to baseball games, the beach, and = other focal points of Cuban culture. The 2002 Writers of the Americas faculty includes the following literary standouts: * Mayra Montero (fiction; author of In the Palm of Darkness) * Rub=E9n Mart=EDnez (non-fiction; author of Crossing Over: A Mexican Family on the Migrant Trail) * Jack Ag=FCeros (poetry; author of Sonnets From the Puerto Rican) * = Carlos Morton (playwriting; author of The Many Deaths of Danny Rosales) * Joe Hayes (story-telling; author of numerous bilingual children's books).* Suzanne Jill Levine (translation; has translated Guillermo Cabrera Infante, Manuel = Puig, and other major modern Latin American authors) and * Danny Hoch (writing for performance; his monologues include Jails, Hospitals, Hip-Hop). WTA will provide its writers with a U.S. license to travel to Cuba legally = for the workshop and seminars. Conference co-directors are Tom Miller, author of many books about Latin America and the American Southwest, and Rebecca Crocker, a = California-based freelance writer and college instructor. The WTA website, www.wtamericas.com, has full details of the program and its application procedure, faculty biographies, and writing sample = requirements for each genre. Because our selection procedure is competitive and our previous U.S.-Cuba Writers Conferences have proven so enormously popular, we recommend submitting applications at the earliest date possible. Since = most events will include Spanish, we encourage bilingual applicants. After reviewing our web site (www.wtamericas.com), please feel free to contact us for further information by e-mail at cuba@wtamericas.com, by = fax at 831-899-6936, or by telephone at 831-642-2555. PLEASE POST PASS ON ____________________________ POR FAVOR, AN=DANCIELO PASE LA COMUNICACI=D3N 3=AA CONFERENCIA ANUAL DE ESCRITORES DE LOS ESTADOS UNIDOS y CUBA = PROGRAMADA PARA LA PRIMAVERA - 2002 Escritores de los E.U. y Cuba tendr=E1n una oportunidad =FAnica de = participar en la Tercera Conferencia Anual de Escritores a celebrarse en la Ciudad de La = Habana, en marzo 24 hasta el 3 de abril del 2002. Este evento extraordinario, la =FAnica conferencia a celebrar conjuntamente entre escritores de los Estados Unidos y de Cuba, incluir=E1 intensas sesiones con distinguidos escritores = y tendr=E1 lugar en uno de los centros internacionales culturales m=E1s prestigiosos, la Casa de las Am=E9ricas. M=E1s de 40 participantes de cada uno de los dos pa=EDses tomar=E1n parte = en talleres diarios as=ED como en mesas redondas acerca de literatura cubana, = su historia y su contexto social. Eventos extracurriculares incluir=E1n = visitas a lugares literarios en los alredadores de La Habana asi como una visita a = un estadio de b=E9isbol y a otros lugares de inter=E9s cultural. La Conferencia de Writers of the Americas (WTA) de 2002 contar=E1 con profesores como * Mayra Montero, ficci=F3n, autora de Como un mensajero tuyo; * Rub=E9n Mart=EDnez, esnsayo y cr=F3nica, autor de Crossing Over: A Mexican Family on the = Migrant Trail; * Jack Ag=FCeros, poes=EDa, autor de Sonnets From the Puerto Rican; = * Carlos Morton dramaturgia, autor de The Many Deaths of Danny Rosales; * = Joe Hayes, cuentos para ni=F1os, autor de numerosos libros para ni=F1os; * = Suzanne Jill Levine, traducciones, ha traducido a Guillermo Cabrera Infante, = Manuel Puig, y a otros de los m=E1s grandes autores contempor=E1neos = latinoamericanos y * Danny Hoch, escritos para presentaciones de teatro, sus mon=F3logos incluyen Jails, Hospitals, Hip-Hop. WTA proveer=E1 a los escritores norteamericanos de la licencia del gobieno = estadoundense para viajar legalmente a Cuba para estos seminarios y talleres. Los directores de la Conferencia son Tom Miller autor de muchos libros acerca de Latinoam=E9rica y el suroeste americano y Rebecca Crocker una escritora = independiente residente en California e instructora de nivel = universitario. El WTA web site es www.wtamericas.com, lleno de detalles sobre este programa y sus diferentes formas para aplicar, biograf=EDas de los facultativos y muestras requeridas de escritos para aplicar en cada uno de los = g=E9neros. Nuestro proceso de selecci=F3n es competitivo y nuestras previas = Conferencias de Escritores han convertido este evento en un encuentro enormemente popular. Por todo lo anterior dicho recomendamos someter su solicitud lo antes posible. Dado que muchos de los eventos ser=E1n ofrecidos en ambos = idiomas, recabamos la condici=F3n de biling=FCes entre los aplicantes. Despu=E9s de revisar nuestro web site (www.wtamericas.com) , por favor, cont=E1ctenos para m=E1s informaci=F3n por esta direcci=F3n de e-mail: cuba@wtamericas.com, por fax al 831-899-6936, o por tel=E9fono al 831-642-2555. ========================================================================= Date: Tue, 15 Jan 2002 12:06:02 +1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: komninos zervos Subject: Re: online poetry workshops In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >Hi All, > >A disabled woman has contacted me about online poetry workshops. I >suggested she check out Teachers and Writers and Naropa's online >courses. Any other suggestions? She can't afford private tutoring. > >Thanks. > >Dodie try this http://www.live-wirez.com/cyber/ultimate/index.html komninos -- komninos zervos bsc(hons) ma(creative writing) http://www.gu.edu.au/ppages/K_Zervos Convenor CyberStudies major School of Arts Griffith University Gold Coast Campus PMB 50 Gold Coast Mail Centre Queensland 9726 Australia tel: +61 7 55528872 fax: +61 7 55528141 ========================================================================= Date: Tue, 15 Jan 2002 11:11:13 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Stefans, Brian" Subject: CRAIG DWORKIN "Against Meaning" @ WHITE BOX :: WEDNESDAY JANUARY 16 at 8PM MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" WHITE BOX presents... TEXTUAL OPERATIONS organized by A.S. BESSA ______________________________________________ WEDNESDAY JANUARY 16 at 8PM CRAIG DWORKIN "Against Meaning" Introduced by Brian Stefans In "Against Meaning", Craig Dworkin proposes a radically new way of reading-one that proceeds without regard to theme or content or referential meaning, and yet still retains the explanatory powers and pleasures we associate with reading. With examples from both experimental and conventional writing-from George Oppen and Guillaume Apollinaire to Robert Frost and Elizabeth Bishop-this talk will illustrate what we might call an 'applied paragrammatics': how to engage texts on their own terms while sidestepping the familiar lull of their normative grammars. Craig Dworkin is a writer and professor at Princeton University. He has recently published in October and Sagetrieb, and "Reading the Illegible", a critical study of artistic appropriation and misuse is forthcoming from Northwestern University Press. _______________________________________________ WHITE BOX 525 WEST 26TH STREET (between 10th & 11th avenues) NEW YORK, NEW YORK 10001 ph 212.714.2347 WWW.WHITEBOXNY.ORG (to be deleted from WHITE BOX's e-mail address book, please reply with "delete me") ========================================================================= Date: Tue, 15 Jan 2002 09:15:23 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lisa jarnot Subject: jarnot/larimer reading Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit dear all, I will be giving a poetry reading with Kevin Larimer in New York City at the Zinc Bar (Zinc bar is at 90 West Houston betw Laguardia & Thompson In downtown Manhattan) on Sunday January 20th at 7:00 PM. hope to see you there. Lisa Jarnot ========================================================================= Date: Tue, 15 Jan 2002 14:47:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Brodeur Subject: BOTH ISSUE 1 MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Good Day from the second Michael Brodeur on this list, A small note to tell you about BOTH. BOTH is a new journal based in Boston. We specialize in unspecified literature. Poetry, prose and collisions of the two. Our first issue is available now. BOTH ONE is 76 pgs, perfect bound, pocketable and handsome. Here's who's in it: James Tate - Ethan Paquin - Dara Wier - Sarah M. Balcomb - Peter Richards - Eula Biss - Jeffrey Boison - Tomaz Salamun - Todd Dills - Paul Fattaruso - Walt Foreman - Pierre Martory - Daniel McCarthy - Bryce Newhart - Morgan Phalen - Alex Phillips - Lawrence Upton - Joe Wenderoth - Matthew Zapruder You can get a copy by visiting our website (also a hub of hub-bub): http://www.bothmagazine.com and ordering online via PayPal or by sending checks for $6 made payable to Michael Brodeur to BOTH PO BOX 658 ALLSTON MA 02134 (that's also the address for submissions, folks) Thank you for any and all support. Warmly, Michael A. Brodeur Editor Ha-Ha BOTH ========================================================================= Date: Tue, 15 Jan 2002 14:26:09 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: POG event Saturday January 19, 7pm Dinnerware: Chris Morrey & David Matlin Comments: To: Tenney Nathanson MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit POG presents writer David Matlin visual artist Chris Morrey Saturday, January 19, 7 pm, Dinnerware Gallery, 135 East Congress Admission: $5; Students $3 David Matlin is a novelist, poet, and essayist. His collections of poetry and prose include the books China Beach, Dressed In Protective Fashion, and Fontana's Mirror. How the Night is Divided, Matlin's first novel, was nominated for a National Book Circle Critics Award. His newest book, Vernooykill Creek: The Crisis of Prisons in America, is based on his nearly ten year experience teaching in one of the oldest Prison Education Programs in the nation in New York State. This extended essay is a discussion of the crisis of prisons, the invention of surplus populations, and how, in making prison our largest growth industry, we are mining our own civil disintegrations at an unprecedented level. Matlin received his Ph.D. from the State University of New York at Buffalo where he studied with Robert Creeley, John Clarke, and Angus Fletcher. He lives in San Diego. For more on David Matlin you can go to http://www-rohan.sdsu.edu/dept/writing/faculty/matlin/ http://www.stationhill.org/matlin.html http://www.stationhill.org/reviews_matlin.html http://www.mcphersonco.com/authors/dmatlin.html http://www.mcphersonco.com/fiction/nightrv.html Chris Morrey was born in Edmonton, Canada and attended the Kansas City Art Institute. He is a painter and sculptor who has worked with wood, carbon fiber, found objects, stone, and concrete; his work reflects interests in human and animal anatomy, natural history, and building, furniture, and tool design. Selected exhibits include New Art Mix: New Works by Member Artists, Dinnerware Gallery; Assemblage, Found Objects and Sculpture, Apparatus Gallery, Tucson; Installation and performance at The Green Room, Austin, Texas; The Seven-Year Anatomy, Arttrek Gallery, Flagstaff; the Kansas City Art Institute Gallery; Group sculpture exhibit at the Sedalia Fairgrounds, Sedalia, Missouri; and a group video exhibit, Pumpkin Etiquette, at the Kansas City Art Institute Gallery. Morrey’s public sculpture includes the Coronado K-8 School ballfield improvement and the Purple Heart Park Phase III skateboard park. He is currently President of Dinnerware Cooperative Gallery. For more on Chris Morrey you can go to http://personal.riverusers.com/~dinnerware/cm_res.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. We also thank the following POG supporters: Patron Austin Publicover; Sponsors Maggie Golston, Mary Rising Higgins, Tenney Nathanson, and Frances Sjoberg. For further information contact POG at 296-6416 or mailto:pog@gopog.org; or visit us on the web at www.gopog.org. * mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn/ POG: http://www.gopog.org mailto:pog@gopog.org ========================================================================= Date: Tue, 15 Jan 2002 12:14:31 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Susan M. Schultz" Subject: Catch the new TINFISH!!! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable What does TINFISH 11 HAVE that other poetry journals DO NOT? For a MERE = $8, or $20 for a subscription to three issues, you get a journal that = features: --NO TWO COVERS ARE THE SAME, but each was designed by printer, Chris = Churchill, then BRANDED with fire! --A centerfold, Miss December (BUCK NAKED) by Gaye Chan, renowned = covergirl and art director, as well as typography by Stuart Henley. --CUTTING EDGE POETRY from Hawai`i, Vietnam, Australia, and the left = coast of America Includes work by Liz Waldner, Joe Balaz, John Kinsella, Linh Dinh, Bill = Luoma, Paolo Javier, Lee Tonouchi, Catherine Daly, Bobbie : West, Cassie = Lewis, Deborah Meadows, and many others. With a review of Rachel Loden's = HOTEL IMPERIUM, by John Rieder, in case you need your Nixon fix. Don't forget to buy copies of our recent chapbooks: --Linh Dinh (translator), Three Vietnamese Poets, $9 --Lisa Linn Kanae, Sista Tongue, $10 (this memoir/essay on being a = pidgin speaker is flying off the shelves!!) --Lisa Asagi and Gaye Chan, Physics and 12 scenes from 12 a.m. ($7 for = both book/maps) --Bill Luoma, Dear Dad, $6 --Rob Wilson, Pacific Postmodern (experimental essay), $6 Order Tinfish products directly from the publisher/editor/impresario, = Susan M. Schultz, 47-728 Hui Kelu Street #9, Kaneohe, HI 96744, or buy = them at selected bookstores, including City Lights (San Francisco), = Woodland Pattern (Milwaukee), Open Books (Seattle), Grolier Books = (Cambridge, MA), Native Books (Honolulu). ========================================================================= Date: Tue, 15 Jan 2002 17:29:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ". sandra" Subject: Re: Karen MacCormack & Steve McCaffery @ Dawsons, Sunday 4pm! In-Reply-To: <1D419C6A55E3D4119D310002A50900C8632AB5@OINGOEX0> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hi this sounds like a great event just a question that might be obvious for the majority of the subscribers of this mailing list but not so obvious for such a person like me, actually an 'alien' in the u.s in which city will the event take place? 'alien': tinny world that sometimes comes next to a square box that some people have to check whenever filling papers for u.s- immigration services, among other meanings yours sandra guerreiro --On Segunda-feira, 14 de Janeiro de 2002, 17:39 -0800 Andrew Maxwell wrote: > The Germ & the Poetic Research Bureau (Western Office) > > present > > Karen MacCormack & Steve McCaffery at Dawsons, Sunday 4pm! > > *** > > Man alive, it's season five! And no pennyweight bundle to be sure, with > upcoming visits from Jacques Roubaud, Tom Raworth, Mary Jo Bang, Stephen > Rodefer, Michael Palmer, and a fantasy pack of other druthers. This season > also begins the PRB's hat trick co-op with Otis College of Art & Design on > many dates, greasing the wheel and reeling in yet more challenging writers > to dip a hand in our gray basin. And to the present, kids... > > The Poetic Research Series reignites next Sunday with a fly-right visit > from the impulse turbines of Toronto! What a date, junior, these are my > faves too. Poets with cheek and gum, and no little bite! But > post-semiotic my foot, these are mainline syllab streakers and clear to > the ear, and somewhere between the bust-up and the quirk, it all points > to a madcap mouthful! Sunday Jan 20 at Dawsons Book Shop. > > *** > > Karen MacCormack's books include Quirks & Quillets and The Tongue Moves > Talk (Chax, 1989, 1997), Quill Driver (Nightwood Editions, 1989), Straw > Cupid (Nightwood, 1987), Nothing by Mouth (Underwhich Editions, 1984) and > Marine Snow (ECW Press, 1995). Her work has also appeared in such > anthologies as Into the Nightlife (Nightwood, 1996), The Gertrude Stein > Awards in Innovative North American Poetry 1993-1994 (Sun & Moon Press, > 1994), and Out of Everywhere: Linguistically Innovative Poetry by Women > in North America & the UK (Reality Street Editions, 1996). She is a > contributing editor to AVEC magazine. Born in Africa, she shares British > and Canadian citizenship, and lives in Toronto. In addition to her work > as a writer, she has produced video art works and worked extensively in > publishing. > > Steve McCaffery's numerous publications include The Black Debt, Theory of > Sediment, The Cheat of Words and, most recently, Seven Pages Missing, > (Vol. 1. of his selected texts). His critical writings include North of > Intention and Prior to Meaning: the Protosemantic and Poetics (due from > Northwestern University Press later this year). He was a founding member > with bp Nichol in 1972 of TRG (Toronto Research Group) whose collected > research reports he edited as Rational Geomancy and is co-author, with > Jed Rasula, of Imagining Language (MIT Press, 1997). He was for many > notorious and legendary years a member of the sound poetry ensemble The > Four Horsemen. He currently Associate Professor at York University and > Director of the newly established North American Centre for > Interdisciplinary Poetics. > > *** > > Dawsons is located at 535 N. Larchmont Blvd between Beverly Blvd and > Melrose Blvd. > Tel: 213-469-2186 > > Readings are open to all. $3 donation requested for poets/venue. > > Call Andrew at 310.446.8162 x233 for more info. > > *** > > The season continues on February 3 with Mary Jo Bang, Jeff McDaniel and > Chris Stroffolino. Full calendar to come... > ========================================================================= Date: Tue, 15 Jan 2002 17:56:11 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: poetry richard teach MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit your ans was so great i printed it in nj dodge foundation sponsors writing meetings long story no hve time now but techniques used are similar ie expose expose expose read poetry like net surfing let it take you etc dodge has web site or try mgillan@binghamton.edu this be sheila the illiterate one hey i was a product of the ncte's ban on grammar ========================================================================= Date: Tue, 15 Jan 2002 17:59:10 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: jesse glass opera MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit in the forties before my time woman inherited money and rented carnegie hall or was it the met my kinda gal maybe sh'ed fund opera but think she's dead sm courtesy nytimes or new yorker cannot recall ========================================================================= Date: Tue, 15 Jan 2002 18:00:50 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: poetry innovative MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ah yes and don't forget what richard vaughan was up to way back when sm ========================================================================= Date: Tue, 15 Jan 2002 18:02:56 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: poetry books MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit cannot help myself but as long as you don't make them buy your book as most of my prof's always did like they didnt make enough money already not to mention the captive audience sm ========================================================================= Date: Tue, 15 Jan 2002 18:29:32 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: poetry disabled dodie women MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit i'll tutor her for free smassoni@aol.com ========================================================================= Date: Tue, 15 Jan 2002 21:13:27 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: 2002 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - 2002 I know 2001 never existed. 2001 < > 2002, massed, compressed, messed up. ordering the apocalypse by George Bush moss-brain. what to do with enemies: strangle the innocent. 1971 72 73 march and fearful protest; now we swallow black arm-bands and business as usual carries amassed missiles. on the mossy sward there are assassins. they know their guns. "We take out the top brass," she says. "We're about to save you." it is 1974, at Mosset's, and we're grateful.:it is 1973. it is 1974. we are at Mosset's. he's running out the dark, brown leather jacket. if the police come don't tell them where I am. he down the stairs down the road. it is 1988. i am staring at the massif. unmossed broken stone. of the missile complex which underlies the Claremont colleges and proof. how do I know this. of the atomic cannon in the Jerusalem student complex. and this. we are hearing a new singer. his name is Son House, messed up, amused. it is 2002. I know missiles will kill us. :missile muscle, massif. massive Olivier Mosset, mused, messed, mussed. of the missive to Mosset: the police are looking. the police are looking for you................:or 45mortar: _ ========================================================================= Date: Wed, 16 Jan 2002 07:45:54 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mister Kazim Ali Subject: contact information... In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Does anyone have e-mail addresses or other contact information for Forrest Gander or Sajel Shah? I'm on a short timeline! Thanks. Kazim Ali. ===== "all histories are fabulous. ours stinks with genius." --Cleopatra Mathis, from _Guardian_, Sheep's Meadow Press __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ ========================================================================= Date: Wed, 16 Jan 2002 14:24:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cadaly Subject: Poet Laureate MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT nominate a poet laureate of California by going to this web page and following nomination directions (you must include a short bio of yourself and the nominee) http://www.cac.ca.gov/secondary_page/programs/Descriptions/poetlaurate.htm deadline is Jan. 30 Catherine Daly cadaly@pacbell.net ========================================================================= Date: Wed, 16 Jan 2002 20:45:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Subject: lyrical MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I'm not convinced hat a lyrical and lulling response to the attacks = (http://www.nytimes.com/2002/01/14/books/14KARR.html) is the best poetry = can do even if the nytimes says so. tom bell &&&&&&&&&&&&&&&&&&&cetera: Poetry at http://members.tripod.com/~trbell/lifedesigns/publicat.html Gallery - Metaphor/Metonym for Health at = http://members.tripod.com/~trbell/metaphor/metapho.htm=20 Health articles at http://psychology.healingwell.com/ Reviews at http://members.tripod.com/~trbell/lifedesigns/reviews.htm ========================================================================= Date: Wed, 16 Jan 2002 19:39:59 -0500 Reply-To: jtley@home.com Sender: UB Poetics discussion group From: Jennifer Ley Organization: Riding the Meridian Subject: New Online Literary Magazine -- NMEDIAC -- Loss Glazier's new Book Reviewed and more MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Please excuse any cross posting -- I'm just very proud to be part of this new venture !! Jennifer Ley The first issue (Winter 2002) of NMEDIAC, the Journal of New Media & Culture is now available at: http://www.ibiblio.org/nmediac/winter2002/ Here is what this exciting first issue has to offer: ARTICLES Cultural Logic in Cyberspace: Web Art & Postmodernism - A partial teaser article by Amy Davila offering a peak of what is to come in future issues of NMEDIAC Party Over, Oops, Out of Time': Y2K, Technological 'Risk' and Informational Millenarianism - Kavita Philip & Terry Harpold Computer mediation and postmodern narrative practices: computational narratives in Mason&Dixon. - Miriam Fernndez Santiago From Text Effects to Canned Goods: Identity Construction and Visual Codes in the Flash Development Community - Megan Sapnar Media Literacy for the Unconscious Mind - Brian Walsh NEW MEDIA ART "Superstitious Appliances" & "in an unrelated sequence comes" - Jason Nelson An Introduction to the New Media Art of Jason Nelson - NMEDIAC Contributing Editor Jennifer Ley "Hey Now" - Thomas Swiss and Motomichi Nakamura An Introduction to the New Media Poetry of Thomas Swiss - NMEDIAC Assistant Editor Megan Sapnar BOOK REVIEWS Loss Pequeo Glazier. (2002). Digital Poetics: The Making of E-Poetries. Tuscaloosa: University of Alabama Press. - Review by George Hartley ========================================================================= Date: Wed, 16 Jan 2002 21:19:37 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Spiral Bridge Subject: Spiral Bridge by the Beach Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Just a Friendly Reminder from all of us @ Spiral Bridge... Friday, January 18, 2002, 6 p.m. Spiral Bridge by The Beach Free, but might we suggest a $5 donation? Spiral Bridge Writers Guild is heading to the Jersey Shore for an open mic. poetry reading at the Surf Taco. Please bring original works and your own hot sauce, although I hear they have a great secret sauce. Music by Mark Thomas Oliver and Smoove Surf Taco 1300 Rt. 35 S. (Richmond Ave.) Point Pleasant Beach, NJ -------------------------------------------------------- A Spiral Bridge Multi-Lingual Poetry Reading Wednesday, January 23, 2002, 6 p.m.-8 p.m. Free If variety is the spice of life, why stick to American English poetry in a world teeming with language? Come read, listen, appreciate, and be inspired. All original works read by Spiral Bridge Poets and the Super Friends followed by an open mic. Due to time constraints, if you're itching to read at this event please send us an email with your information. SpiralBridge@hotmail.com Barnes and Noble 395 Rte. 3 West Clifton, NJ P.S. For a good time check out Perfect Tube in Hoboken @ The Love Sexy on the 24th www.guavatone.com www.spiralbridge.org ----------------------------------------------- For reference, your link to this Invite is: http://www.evite.com/r?iid=LVDIXANUHAEKUEVBOFKH ----> Send an Invite for Your Next Get-Together! It's super easy, and 100% free. Click below to create your own Invite: http://www.evite.com/csplash?li=egi1 48484848 ========================================================================= Date: Wed, 16 Jan 2002 14:39:51 -0400 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: lee ann brown Subject: ZERO TWO performance workshops- NYC Comments: cc: Tony Torn Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-transfer-encoding: quoted-printable These workshops would be of interest to any NYC area poets who are interested in expanding their performance range and / or want to work with radical texts in performance: -------- ZERO TWO Training Workshops for Performance Professionals. We are BACK with expanded hours for two thousand and zero two... Every Monday this winter/spring (unless otherwise announced) 5pm Dance w/Julie Muz or Anita Durst 630pm Voice w/Tom Pearl 830 Improv/Technique with Michael McCartney 10pm Text with Tony Torn sign up at chashama 135 West 42nd Street Suggested donation is $25-30 for entire evening, $5-$10 per individual class... but as always...PAY WHAT YOU CAN, nobody will be turned away! ----------------- interested? just go or email tony torn at tonytorn@hotmail.com --------------- Lee Ann Brown Tender Buttons PO Box 13, Cooper Station NYC 10276 (718) 782-8443 home - (646) 734-4157 cell "Harmless amulets arm little limbs with poise and charm." =8B Harryette Mullen, Trimmings (Tender Buttons Books) ========================================================================= Date: Fri, 18 Jan 2002 06:01:12 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: lyrical MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thomas. I saw that link. I dont think that that poet (I dont know her) or the NY Times is a malevolent (person) organisation. Any more than in New Zealand the NZ Herald - well that paper is fairly conservative and in the old days NZ was so..I dont know there seemed to be direct links between local capitalists or what we used to call "the establishment" who even if they wernt actually in any "conspiracy" sertainly were very conservative: nowadays the NZ Listener is a bit more "liberal" and then there are left wing neswpapers which give some enlightenment (albeit they too have their rhetorics)(Scott Hamilton will kno about those and there's obviously equivalents in the US): but the implication is always away from the innovative or the challenging in the major mags: that said there are and were some good things in the NY Times ( interesting things that show "the other side" which is a healthy sign and one of the (good) paradoxes of the US (West - I'm not just targetting the US here)and eg The Guardian: but a reader needs to know something of history and political mechanisms. Certain elements of the working class have an experiential and instinctual understanding of the way class struggle and other struggles withins society) enact: but there's a tendency in humans (of whatever ilk or class) to simplify: generalise...which is a neccessary evil. So there's the various rhetorics: but there's hardly any non-political or "innocent" writing: of course there are areas of human experience (I think the term is Limnal:?) which are universal, or seem so...) the kind of therapy that the poet talks about is good..I can understand people who were near to S11 or had relatives or friends or who are just very sensitive deeply needing that kind of "therapy": but if its any comfort you can bet there are now a lot of people in Afghanistan who will be if not killed or mutilated or burnt alive by US bombs will be traumatised...now most if not all of those people had nothing to do with the attack on the US...but anyway, instead of the 6000 or so dead from S11 you now have as many who are now traumatised and maybe dead: so two wrongs are thus making a right: or many wrongs.... But for people who are still "intact" so to speak the kind of poetry such as Herbert and Sharon Olds, well ok its all very well, but dark reality carries on! And quoting Celan! He was driven mad by an anti-semitism that culminated after hundreds of years of anti-semitism. His was a dark, involute, constricted but beautiful posion of blackness and blood. All or nothing for Celan. (Like many western nations the US ("Land of the Free") refused to take many Jews even when they knew they were in for the chop: read "The Burning Bush" by Barnet Litvinoff) If people want to "hate" John Walker (unlike Pound, Walker is or was a soldier, for better or worse) and put him away for life (or that happens as others bury their heads in "soft" poetry") then why didnt the British and the Americans imprison the entire Wehrmacht after the 2nd WW:: or better still about 90% of the German population who supported Hitler: and Hitler was truly "evil" whereas the Taleban's "evil" is that they refused to let the US or Russian military dominate their land and had a "strange" or "alien" culture? Why are they not even treated as war prisoners? Why are they just off Cuba? When did Afghanistan declare war against the US? Why didnt the British bomb Southern Ireland? Israel: nothings improved over there...its probably worse...Libya - what's happenned to that hot house? Iraq? Iran? Russia? (The place is seething with crime and murders!) South America eg Brazil where eg gangs just assasinated Sir Peter Blake the NZ-Brit yachtsman? The US military and Blair etal have stopped terrorism? So a guy with a bomb on his shoe tries to light it in full view of every one in the plane? A young man crashes into a bulding? Oh: you'll have to bomb the hell out of Iran now..maybe then the terrorists (communists or liberals or arabs: whatever...people who dont like "democracy" and McDonalds and being "free:)... They ARE the terrorists!! But people like that wet poet in the NY Times wouldnt know if you put a daisy cutter up their (her) rectal region...Anyway: we as poets have to talk straight even if its hearty rhetoric: if we're are wrong lets at least debate and care and let loose, but save us for the bowls of Christ!... not go out with a whimper or the shadowed possible of a sob..."let our poetry be rich, hateful, longing, loving,burnng, and alive..". Richard. ----- Original Message ----- From: "Thomas Bell" To: Sent: Thursday, January 17, 2002 3:45 PM Subject: lyrical I'm not convinced hat a lyrical and lulling response to the attacks (http://www.nytimes.com/2002/01/14/books/14KARR.html) is the best poetry can do even if the nytimes says so. tom bell &&&&&&&&&&&&&&&&&&&cetera: Poetry at http://members.tripod.com/~trbell/lifedesigns/publicat.html Gallery - Metaphor/Metonym for Health at http://members.tripod.com/~trbell/metaphor/metapho.htm Health articles at http://psychology.healingwell.com/ Reviews at http://members.tripod.com/~trbell/lifedesigns/reviews.htm ========================================================================= Date: Wed, 16 Jan 2002 21:20:50 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: poetry richard teach In-Reply-To: <42.2097cd5d.29760d8b@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >your ans was so great i printed it in nj dodge foundation sponsors writing >meetings long story no hve time now but techniques used are similar ie expose >expose expose read poetry like net surfing let it take you etc dodge has web >site or try mgillan@binghamton.edu this be sheila the illiterate one hey i >was a product of the ncte's ban on grammar Well, I dont know what ans I might have given, and I dont have a clue what nj dodge is. gb -- George Bowering Randolph Scott's alltime best fan. Fax 604-266-9000 ========================================================================= Date: Thu, 17 Jan 2002 07:53:56 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Reminder: Lorenzo Thomas MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit THE WALT WHITMAN ART CENTER'S Notable Poets and Writers Series Spring 2002 present a reading and poetry workshop with LORENZO THOMAS READING: FRIDAY, FEBRUARY 1, 7:30 pm $6 general, $4 students/seniors, free to members WORKSHOP: SATURDAY, FEB. 2, 12-2 pm $30 general (includes $20 membership), $20 for members To register for the workshop (class size limit of 10) (this is open registration, but please send one poem) for information: 856-964-8300, or email wwhitman@waltwhitmancenter.org Please send checks to: Walt Whitman Art Center Thomas Workshop 2nd and Cooper St. Camden, NJ 08057 Lorenzo Thomas, exciting and innovative poet, essayist, editor, and cultural critic's volumes of poetry include Chances Are Few, The Bathers, and Sound Science. He is also the editor of Sing the Sun Up: Creative Writing Ideas from African American Literature.(Teachers and Writers Collaborative) His most recent book is Extraordinary Measures: Afrocentric Modernism and 20th-Century American Poetry, from the excellent Modern and Contemporary Poetics Series edited by Charles Bernstein and Hank Lazer. He is a professor of English at the University of Houston, where he teaches American literature and creative writing and is director of the university's Cultural Enrichment Center. Alicia Askenase Literary Program Director Walt Whitman Art Center 2nd and Cooper Streets Camden, New Jersey 08102 856-964-8300 wwhitman@waltwhitmancenter.org ========================================================================= Date: Thu, 17 Jan 2002 11:04:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Thompson Subject: Craig Dworkin talk Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Did any New York listserv folk attend Craig Dworkin's talk "against meaning" last night? If you did, please report. He's a smart cookie and I'd like to get a gist of what he's "for." Tom Thompson ========================================================================= Date: Thu, 17 Jan 2002 09:41:26 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: cadaly Subject: Fw: [LACN] job at Univ Buffalo MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT ----- Original Message ----- From: "Nancy Macko" To: Sent: Thursday, January 17, 2002 9:26 AM Subject: [LACN] job at Univ Buffalo > > > >Subject: JOB : Department of Media Study, University at Buffalo > > > >Hello > >Please pass along to colleagues & forgive cross-posting. > > > > > > >The Department of Media Study seeks artist/researcher/theorist for one or > >more positions at the Assistant (Tenure Track)/Associate Professor level > >in Digital Media. We will consider candidates whose activity is in one or > >a combination of areas -- internet/web-based art, interactive multimedia > >design, game design/AI, 16mm/video production with computer-based > >post-production, or areas which have not yet received conventional > >designation. While technological knowledge is important, creativity is > >essential and the candidates should have strong records as practicing > >artists/researchers and the ability to teach media in a > >theoretical/historical context at both the undergraduate and graduate > >level. Faculty in Media Study conduct research and teach a 2/2 load in a > >program that includes critical studies in media theory, film, video and > >digital arts (including robotics and VR) with strong ties to Architecture, > >Anthropology, and American Studies and will have the flexibility to design > >their own courses and research projects. Rank and salary commensurate with > >experience and qualifications. For more details consult our website at > >http://writing.upenn.edu/mediastudy/ > >The University at Buffalo is an Equal Opportunity Employer/Recruiter and > >we actively encourage applications by women and minorities. MFA or the > >equivalent experience preferred. We prefer applications received by March > >1, but the position will remain open until filled. Send a letter of > >application, work sample (accompanied by SASE), CV including the names of > >three references to: > > > > > > Chair > > Digital Arts Search Committee > > Department of Media Study > > 231 Center for the Arts > > University at Buffalo > > Buffalo, NY 14260-6020 > > > >Timothy Nohe > >Assistant Professor > >University of Maryland Baltimore County Visual Arts Department, > >FA 111, 1000 Hilltop Circle, Baltimore, MD 21250 USA > >Tel: 410-455-2150 Fax: 410-455-1053 > >http://research.umbc.edu/~nohe/GAG > >http://www.fluidmovement.org > > > - - - - > To unsubscribe from LA Culture Net, send an email to: > laculturenet-unsubscribe@yahoogroups.com > > To subscribe from LA Culture Net, send an email to: > laculturenet-subscribe@yahoogroups.com > > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ > > ========================================================================= Date: Thu, 17 Jan 2002 13:48:34 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Joel Weishaus Subject: Critique of Codewriting, with a nod toward Robert Bringhurst MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "He wanted to say his prayer, but could remember nothing but the multiplication table." - Hans Christian Andersen, The Snow Queen. Joel Weishaus Center for Excellence in Writing Portland State University Portland, Oregon. http://web.pdx.edu/~pdx00282 ========================================================================= Date: Thu, 17 Jan 2002 16:04:07 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leslie Scalapino Subject: MUSIC OR FORGETTING by E. Tracy Grinnell MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable New from O Books: MUSIC OR FORGETTING by E. Tracy Grinnell ($12.00), = Small Press Distribution: 1341 Seventh St., Berkeley CA 94710. The poems are diachronic cartography: "As in the title, a single line = may be her memory and conjecture BEING the same space and time AT only = 'the present time of the poem.' Or, her memory and conjecture are the = same, cumulatively absorbed, as if there is no speaker or seer in a long = quiet present, which becomes its music: 'historically/ waves are either = synchronic,/spatial,or/new presence of body presupposes dialogue.'" -- = Leslie Scalapino "The language intimates aspects of drawing, mobile, etude in which = color, space, detail are sparingly applied...The poetry obtains a = distillation..." -- C.D. Wright ========================================================================= Date: Fri, 18 Jan 2002 10:22:04 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: What do you think ? MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Dear Poetics, I'm wondering what list members think about the treatment of these prisoners ? Here's a very brief article from Sydney's daily newspaper. http://www.smh.com.au/news/0201/18/world/world4.html Best wishes, Pam Brown http://my.yahoo.com.au - My Yahoo! - It's My Yahoo! Get your own! ========================================================================= Date: Thu, 17 Jan 2002 09:32:01 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: mla In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" in response to the query about various mla panels: the most significant thing for me at these events was to see, that is, actually lay eyes on, friends and colleagues whom i hadn't seen since before 9-11, especially those from nyc like lee ann brown, charles bernstein, eileen myles... to see them and to see that they were okay and carrying on makes it easier to do so oneself. ========================================================================= Date: Thu, 17 Jan 2002 09:34:21 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: query on behalf of a friend Comments: To: jtley@home.com In-Reply-To: <3C461D5E.7EE74DBF@home.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" hey everyone, can you point me toward several decent biographies of ts eliot? a young actor friend, very smart but unable because of his career to take regular college classes but who is trying to educate himself, wants to know. i do too, since i've agreed to discuss "The Wasteland" with him at some point in the future. ========================================================================= Date: Thu, 17 Jan 2002 13:37:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: jubilat Subject: Re: contact information... In-Reply-To: <20020116154554.29072.qmail@web20707.mail.yahoo.com> MIME-version: 1.0 Content-type: text/enriched; charset=us-ascii Content-transfer-encoding: 7BIT I believe you can get Sejal Shah's info from Sylvia Snape, secretary for the MFA program at UMass Amherst. Her number is: 413-545-0643 At 07:45 AM 1/16/02 -0800, you wrote: >Does anyone have e-mail addresses or other contact >information for Forrest Gander or Sajel Shah? > >I'm on a short timeline! Thanks. > >Kazim Ali. > >===== >"all histories are fabulous. >ours stinks with genius." > > >--Cleopatra Mathis, from _Guardian_, Sheep's Meadow Press > >__________________________________________________ >Do You Yahoo!? >Send FREE video emails in Yahoo! Mail! >http://promo.yahoo.com/videomail/ > >
JUBILAT Dept. of English 452 Bartlett Hall Univ. of Massachusetts Amherst, MA 01003 413-577-1064 www.jubilat.org
========================================================================= Date: Thu, 17 Jan 2002 13:42:51 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tisa Bryant Subject: call for papers on ethnicity and modernism In-Reply-To: <0.1600010764.1429224085-1463792382-1011279569@topica.com> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit FYI! ---------- Ethnicity and Modernism Proposed Special Session Modern Language Association, New York City December 27-30, 2002 This panel will explore the relationship between ethnicity and modernism in American literature primarily from the first half of the twentieth century. Papers may examine either ethnic writers whose works can be considered modernist or reactions to modernism, or more canonical modernist writers who address ethnicity within their works. Possible topics investigating the roles of ethnicity and modernism may include (but are not limited to): identity formation; language; literary style; immigration; politics; assimilation; the idea of "breaking from the past"; disillusionment; any historical and cultural perspectives addressing ethnic and modernist issues from the period. Please submit an abstract and brief vita by March 15, 2002. E-mail submissions accepted. Panelists must be members of the MLA by April 1, 2002. Submissions and inquiries should be directed to: Jeffrey Schwarz Department of English Saint Louis University 221 North Grand Blvd. Saint Louis, MO 63103 E-mail: schwarja@slu.edu ========================================================================= Date: Thu, 17 Jan 2002 18:30:39 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: ** Poetry Center: Spring 2002 calendar 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 2 The Poetry Center & American Poetry Archives Spring 2002 calendar Our print calendar is in the mail. If you're not on our mailing list, please forward your address & we'll send you a calendar. Here are the bare details for this Spring season. (all Thursdays, except as indicated) =46eb 7 Claudia Keelan & Liz Waldner @ The Poetry Center, 4:30 pm, free =46eb 14 Susan Gevirtz & Jocelyn Saidenberg @ Unitarian Center, 7:30 pm, $7 March 7 Ed Friedman & Ange Mlinko @ Unitarian Center, 7:30 pm, $7 March 14 Luis H. Francia @ The Poetry Center, 4:30 pm, free Saturday March 16 Stephen Rodefer & Chris Stroffolino @ Unitarian Center, 7:30 pm, $7 March 21 Alan Halsey, Geraldine Monk, & Martin Corless-Smith An evening with British poets @ Unitarian Center, 7:30 pm, $7 -ALSO- "New British Poetry": an open discussion @ The Poetry Center, 3:30 pm, free April 11 Jay Wright @ Unitarian Center, 7:30 pm, $7 April 18 Kevin Davies & Kevin Killian @ The Poetry Center, 4:30 pm, free Poetry Center Book Award Reading April 25 Kazuko Shiraishi & Wadada Leo Smith @ Unitarian Center, 7:30 pm An evening of poetry & music May 2 Murat Nemet-Nejat @ Unitarian Center, 7:30 pm An evening of contemporary Turkish poetry May 9 Bob Harrison & Andrew Levy A celebration of CRAYON magazine, w/editors & contributors: Chris Daniels (reading Pessoa), Jean Day, Hung Q. Tu, & Tsering Wangmo Dhompa @ Unitarian Center, 7:30 pm, $7 -ALSO- "Editing the Literary Magazine": workshop @ The Poetry Center, 3:30 pm, free 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 28 MUNI bus or free SFSU shuttle from Daly City BART 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 $7 donation is requested for readings off-campus. SFSU students & Poetry Center members get in free. All Poetry Center events are videotaped and made available to the public through our American Poetry Archives collection. The first Complete Catalog in over a decade detailing available Archives tapes will be published during Spring 2002, including videos from 1974 to the present, and audiotapes dating from the early years of The Poetry Center, from its founding in 1954 through the early 70s. MEMBERS WILL BE MAILED A FREE COPY OF THE CATALOG ON PUBLICATION. 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, and Poets & Writers, Inc., as well as by students of the College of Humanities at San Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State University 1600 Holloway Avenue ~ San Francisco CA 94132 ~ vox 415-338-3401 ~ fax 415-338-0966 http://www.sfsu.edu/~newlit ~ ~ ~ L=E2 taltazim h=E2latan, wal=E2kin durn b=EE-llay=E2ly kam=E2 tad=FBwru Don't cling to one state turn with the Nights, as they turn ~Maq=E2mat al-Hamadh=E2ni (tenth century; tr Stefania Pandolfo) ~ ~ ~ Bring all the art and science of the world, and baffle and humble it with one spear of grass. ~Walt Whitman's notebook ========================================================================= Date: Fri, 18 Jan 2002 00:17:18 -0800 Reply-To: cstroffo@earthlink.net Sender: UB Poetics discussion group From: Chris Stroffolino Stroffolino Subject: Question--- MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Does anybody know Bob Perelman's email address? (backchannel if you can help) Thanks Sincely (yes, sincely)... Chris S. ========================================================================= Date: Fri, 18 Jan 2002 09:32:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: gene Subject: Re: poetry richard teach In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed dodge foundation runs poetry events in nj Gene At 09:20 PM 1/16/02 -0700, you wrote: >>your ans was so great i printed it in nj dodge foundation sponsors writing >>meetings long story no hve time now but techniques used are similar ie expose >>expose expose read poetry like net surfing let it take you etc dodge has web >>site or try mgillan@binghamton.edu this be sheila the illiterate one hey i >>was a product of the ncte's ban on grammar > >Well, I dont know what ans I might have given, and I dont have a clue >what nj dodge is. > >gb >-- >George Bowering >Randolph Scott's alltime best fan. >Fax 604-266-9000 ========================================================================= Date: Fri, 18 Jan 2002 10:24:39 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Critique of Codewriting, with a nod toward Robert Bringhurst MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/18/02 10:08:06 AM, weishaus@PDX.EDU writes: << "He wanted to say his prayer, but could remember nothing but the multiplication table." - Hans Christian Andersen, The Snow Queen. Joel Weishaus Center for Excellence in Writing Portland State University Portland, Oregon. http://web.pdx.edu/~pdx00282 >> Ooooh! Nasty! Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com/BarnesandNoble.com ========================================================================= Date: Fri, 18 Jan 2002 10:49:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: query on behalf of a friend In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit > > hey everyone, can you point me toward several decent biographies of ts > eliot? Peter Ackroyd's is an excelletn start. a young actor friend, very smart but unable because of his career > to take regular college classes but who is trying to educate > himself, wants > to know. i do too, since i've agreed to discuss "The Wasteland" with him > at some point in the future. > ________________________________________________________________ Pierre Joris Just out from Wesleyan UP: 6 Madison Place Albany NY 12202 POASIS: Selected Poems 1986-1999 Tel: (518) 426-0433 Fax: (518) 426-3722 go to: http://www.albany.edu/~joris/poasis.htm Email: joris@ albany.edu Url: ____________________________________________________________________________ _ ========================================================================= Date: Fri, 18 Jan 2002 10:54:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: POETRY PROJECT EVENTS Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit CALENDAR OF EVENTS WEEK OF JAN 21- JAN 28 JANUARY 21, MONDAY AMIE SIEGEL and BRIAN BLANCHFIELD. AMIE SIEGEL is a poet and film and video artist. Her first book, The Waking Life, was published by North Atlantic Books (Berkeley, CA). Siegel's films and videos have shown at the Whitney Museum of American Art, Pacific Film Archive, Filmforum LA and San Francisco Cinematheque. BRIAN BLANCHFIELD has published poems in Volt, Swerve, Seneca Review, Ploughshares, The Literary Review, Fence, Agni, and other journals. He lives in Brooklyn and is newly the editor of Tibor de Nagy Editions. [8:00 pm] JANUARY 23, WEDNESDAY DONNA BROOK and HAYAN CHARARA. DONNA BROOK's poems have appeared in such publications as The World, Verse, River Styx, and Hanging Loose. Her previous books include A History of the Afghan, Notes on Space/Time, and What Being Responsible Means to Me. Her most recent collection, A More Human Face, from Hanging Loose Press, has received high praise. HAYAN CHARARA's first book, The Alchemist's Diary, is out this year from Hanging Loose Press. Currently the editor of Graffiti Rag, an annual literary anthology, he has published work in Hanging Loose, Rain City Review, The Kenyon Review, The Literary Review, Mudfish Press, American Poetry: The Next Generation and numerous other journals and anthologies. [8:00 pm] JANUARY 25, FRIDAY The SEMI-ANNUAL WORKSHOP READING featuring readers from the Poetry Project's three fall workshops. JANUARY 28, MONDAY MARCO VILLALOBOS and DANIEL KANE MARCO VILLALOBOS's poetry is featured in recent publications of the Brooklyn Review and SPAWN, a non-profit literary arts journal that seeks to nourish the work of young writers. Most recently he's been featured in Step into A World: A Global Anthology of the New Black Literature, as well as Bumrush the Page: A Def Poetry Jam. [8:00 pm] Daniel Kane has poems in TriQuarterly, The Denver Quarterly, Skanky Possum, Exquisite Corpse, The Hat, and other journals. His cultural history of the Lower East Side poetic community is due from the University of California Press in 2003. -- 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 in-the-Bowery at 131 E. 10th Street, the corner of 2nd Avenue and 10th Street in Manhattan. Trains F, 6, N, R. 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. If you are currently on our email list and would like to be on our regular mailing list (so you can receive a sample issue of The Poetry Project Newsletter for FREE), just reply to this email with your full name and address. Hope to hear from you soon!!! ========================================================================= Date: Fri, 18 Jan 2002 14:23:24 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: of the dream of jennifer and alan MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - of the dream of jennifer and alan in this dream i am talking with my father who is very old and dying and living alone in that big house he lives in now with my mother gone and i was looking through his books and in this dream the books were almost ruined, moldy, and he looked so very close to death and i pulled out my baby book, which was common then as i am common, and it was falling apart, all those anecdotes and weights around birth, the lock of air, the footprint on the page, and it was ruined, the cover half-gone, the binding falling apart as my life was and i began crying in my sleep and said to my father, everything has been falling apart since mother died of the weight 168 of the height 5' 7 3/4" of the eyes brown of the hair brown with white of the nails long on the right hand short on the left of the footprint the fingerprint of the fingerprint how will i tell you its topography, of the brain of the same of the different of others, of the others between the 0 and the 1 there is nothing between the 1 and the 0 there is nothing between the 0 and the 0 there is nothing between the 1 and the 1 there is nothing the world smooths out pixel by pixel there are great blanks of once there were objects of the objects what of the objects of the saying of names of the laying of hands of the objects of names and the laying of hands the footprint on the page, and it was r binding falling apart as my life was an who is very old and dying and said to my father, everything has been n now with my mother gone and i s dream the books were almost of the weight 168 of the height 5' 7 3/se to death and i pulled out brown with white of the nails long on ti am common, and it was falling of the footprint the fingerprint of thearound birth, the lock of air, its topography, of the brain of the samuined, the cover half-gone, the the others d i began crying in my sleep and falling apart since mother died between the 0 and the 1 there is nothin between the 1 and the 0 there is nothin4" of the eyes brown of the hair between the 0 and the 0 there is nothinhe right hand short on the left between the 1 and the 1 there is nothin fingerprint how will i tell you e of the different of others, of the worl there ar objects g of the og of the sg hands _ ========================================================================= Date: Fri, 18 Jan 2002 18:54:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Re: What do you think ? Mime-Version: 1.0 Content-Type: text/plain; format=flowed Pam, It sucks, obviously. Calling these people "unlawful combatants" is as creative as the Rumsfeld-Ashcroft set gets. Yes, such combatants have fewer rights under the Geneva Convention than do POWs, but that is because there is NO such category under the convention -- these are POWs, pure and simple. What never gets said clearly, though it is obviously behind what thinking the Bushies do is that normally after a conflict POWs go home, tend their fields, raise families, turn into Joseph Beuys if they're lucky, etc. But the concern here is that these folks won't stop fighting just because someone declares the war over. In a sense, this parallels the current penal trend to keep sex criminals in the US in custody past the completion of their terms on the grounds that they continue to be dangerous. It's a status offense, rather than one committed. All status offenses (beginning with the classic "juvenile delinquent") are really crimes of the mind -- if you knew what X (or Y) was thinking, you'd lock them up. This is par for the Bush regime. One of the conundra that progressives have been faced with in the past 4+ months in the US is what to do with real enemies when one's own elected officials are so utterly hopeless. Having an administration that got into power by extra-constitutional means has literally meant that said regime has shown precious little regard for the constitution once it got into power. [Thanks yet again, Ralph Nader.] And would you trust a court system that has, at its pinnacle, the likes of Scalia or Thomas? These are dangerous times, Ron Silliman (whose ancestor, Sir John Franklin, was not exactly one of the progressives of Australian history....) "Dear Poetics, I'm wondering what list members think about the treatment of these prisoners ? Here's a very brief article from Sydney's daily newspaper. http://www.smh.com.au/news/0201/18/world/world4.html Best wishes, Pam Brown Ron Silliman ron.silliman@gte.net rsillima@hotmail.com DO NOT RESPOND to Tottels@Hotmail.com It is for listservs only. _________________________________________________________________ MSN Photos is the easiest way to share and print your photos: http://photos.msn.com/support/worldwide.aspx ========================================================================= Date: Fri, 18 Jan 2002 21:50:31 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Subject: Re: lyrical MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit wasn't intending to attribute malevolence, just wanting to indicate my poetic response did not run to lullabies and i would guess that applies to others? tom ----- Original Message ----- From: "richard.tylr" To: Sent: Thursday, January 17, 2002 11:01 AM Subject: Re: lyrical > Thomas. I saw that link. I dont think that that poet (I dont know her) or > the NY Times is a malevolent (person) organisation. Any more than in New > Zealand the NZ Herald - well that paper is fairly conservative and in the > old days NZ was so..I dont know there seemed to be direct links between > local capitalists or what we used to call "the establishment" who even if > they wernt actually in any "conspiracy" sertainly were very conservative: > nowadays the NZ Listener is a bit more "liberal" and then there are left > wing neswpapers which give some enlightenment (albeit they too have their > rhetorics)(Scott Hamilton will kno about those and there's obviously > equivalents in the US): but the implication is always away from the > innovative or the challenging in the major mags: that said there are and > were some good things in the NY Times ( interesting things that show "the > other side" which is a healthy sign and one of the (good) paradoxes of the > US (West - I'm not just targetting the US here)and eg The Guardian: but a > reader needs to know something of history and political mechanisms. Certain > elements of the working class have an experiential and instinctual > understanding of the way class struggle and other struggles withins society) > enact: but there's a tendency in humans (of whatever ilk or class) to > simplify: generalise...which is a neccessary evil. So there's the various > rhetorics: but there's hardly any non-political or "innocent" writing: of > course there are areas of human experience (I think the term is Limnal:?) > which are universal, or seem so...) the kind of therapy that the poet talks > about is good..I can understand people who were near to S11 or had relatives > or friends or who are just very sensitive deeply needing that kind of > "therapy": but if its any comfort you can bet there are now a lot of people > in Afghanistan who will be if not killed or mutilated or burnt alive by US > bombs will be traumatised...now most if not all of those people had nothing > to do with the attack on the US...but anyway, instead of the 6000 or so dead > from S11 you now have as many who are now traumatised and maybe dead: so two > wrongs are thus making a right: or many wrongs.... > But for people who are still "intact" so to speak the kind of poetry such > as Herbert and Sharon Olds, well ok its all very well, but dark reality > carries on! And quoting Celan! He was driven mad by an anti-semitism that > culminated after hundreds of years of anti-semitism. His was a dark, > involute, constricted but beautiful posion of blackness and blood. All or > nothing for Celan. (Like many western nations the US ("Land of the Free") > refused to take many Jews even when they knew they were in for the chop: > read "The Burning Bush" by Barnet Litvinoff) If people want to "hate" John > Walker (unlike Pound, Walker is or was a soldier, for better or worse) and > put him away for life (or that happens as others bury their heads in "soft" > poetry") then why didnt the British and the Americans imprison the entire > Wehrmacht after the 2nd WW:: or better still about 90% of the German > population who supported Hitler: and Hitler was truly "evil" whereas the > Taleban's "evil" is that they refused to let the US or Russian military > dominate their land and had a "strange" or "alien" culture? Why are they not > even treated as war prisoners? Why are they just off Cuba? When did > Afghanistan declare war against the US? Why didnt the British bomb Southern > Ireland? Israel: nothings improved over there...its probably worse...Libya - > what's happenned to that hot house? Iraq? Iran? Russia? (The place is > seething with crime and murders!) South America eg Brazil where eg gangs > just assasinated Sir Peter Blake the NZ-Brit yachtsman? The US military and > Blair etal have stopped terrorism? So a guy with a bomb on his shoe tries to > light it in full view of every one in the plane? A young man crashes into a > bulding? Oh: you'll have to bomb the hell out of Iran now..maybe then the > terrorists (communists or liberals or arabs: whatever...people who dont like > "democracy" and McDonalds and being "free:)... They ARE the terrorists!! > But people like that wet poet in the NY Times wouldnt know if you put a > daisy cutter up their (her) rectal region...Anyway: we as poets have to talk > straight even if its hearty rhetoric: if we're are wrong lets at least > debate and care and let loose, but save us for the bowls of Christ!... not > go out with a whimper or the shadowed possible of a sob..."let our poetry be > rich, hateful, longing, loving,burnng, and alive..". Richard. > ----- Original Message ----- > From: "Thomas Bell" > To: > Sent: Thursday, January 17, 2002 3:45 PM > Subject: lyrical > > > I'm not convinced hat a lyrical and lulling response to the attacks > (http://www.nytimes.com/2002/01/14/books/14KARR.html) is the best poetry can > do even if the nytimes says so. > > tom bell > > &&&&&&&&&&&&&&&&&&&cetera: > Poetry at http://members.tripod.com/~trbell/lifedesigns/publicat.html > Gallery - Metaphor/Metonym for Health at > http://members.tripod.com/~trbell/metaphor/metapho.htm > Health articles at http://psychology.healingwell.com/ > Reviews at http://members.tripod.com/~trbell/lifedesigns/reviews.htm > ========================================================================= Date: Fri, 18 Jan 2002 09:44:02 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: objectivists? In-Reply-To: <00ac01c19f7e$306c8ac0$8f9966d8@pacbell.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" yo, all, i've been reading norman finkelstein's and steve fredman's newish books on jewish american poetry w/ special reference to the objectivists. i'm beginning to see the logic of the designator "objectivist" and the specificity of style, but can someone spell out for me how zukovsky's insistence on a poem as a "rested totality" and the concept of the object as bearer of meaning are different from, respectively, the notion of the lyric poem as an autonomous "whole" and eliot's "objective correlative"? that is, i can see how the *poetry* is different, but i'm not sure how the *poetics* are different, from what has become normative. forgive the flatfootedness of the question, but i've been slow to approach the "objectivists" --i've said before on this list that the word "objectivists" immediately made me feel as if i wouldn't be smart enough to understand them -- and i'd appreciate a lucid and precise explanation. ========================================================================= Date: Fri, 18 Jan 2002 10:28:11 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Leddy Subject: Contribs to Fitzroy Dearborn 20th-c American poetry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I'm guessing that other contributors to the _Fitzroy Dearborn Encyclopedia of American Poetry: The 20th Century_ are here on the list. I'm wondering--have any of you been paid yet? I received my copy of the book in June or July. Sometime in November I realized I'd never been paid. I called, left messages, and got a call telling me that contributors would be paid shortly after Jan 1. I called today and was told that now there's no date in sight. "Cash crunch." Please backchannel if you'd prefer not to discuss this on the list. Michael Leddy ========================================================================= Date: Fri, 18 Jan 2002 07:46:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: { brad brace } Subject: 12hr email subs now available In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" _______ _ __ ___ _ |__ __| | /_ |__ \| | | | | |__ ___ | | ) | |__ _ __ | | | '_ \ / _ \ | | / /| '_ \| '__| | | | | | | __/ | |/ /_| | | | | |_| |_| |_|\___| |_|____|_| |_|_| _____ _____ ____ _ _ _ _____ ______ _____ |_ _|/ ____| _ \| \ | | | | __ \| ____/ ____| | | | (___ | |_) | \| |______ | | |__) | |__ | | __ | | \___ \| _ <| . ` |______| | | ___/| __|| | |_ | _| |_ ____) | |_) | |\ | | |__| | | | |___| |__| | |_____|_____/|____/|_| \_| \____/|_| |______\_____| | __ \ (_) | | | |__) | __ ___ _ ___ ___| |_ | ___/ '__/ _ \| |/ _ \/ __| __| | | | | | (_) | | __/ (__| |_ |_| |_| \___/| |\___|\___|\__| _/ | |__/ Synopsis: The 12hr-ISBN-JPEG Project began December 30, 1994. A `round-the-clock posting of sequenced hypermodern imagery by Brad Brace. The hypermodern minimizes the familiar, the known, the recognizable; it suspends identity, relations and history. The 12-hour ISBN JPEG Project ----------------------------- began December 30, 1994 Pointless Hypermodern Imagery... posted/mailed every 12 hours... a stellar, trajective alignment past the 00`s! A continuum of minimalist masks in the face of catastrophe; conjuring up transformative metaphors for the everyday... A poetic reversibility of events... A post-rhetorical, continuous, apparently random sequence of imagery... genuine gritty, greyscale... corruptable, compact, collectable and compelling convergence. The voluptuousness of the grey imminence: the art of making the other disappear. Continual visual impact; an optical drumming, sculpted in duration, on the endless present of the Net. An extension of the printed ISBN-Book (0-9690745) series... critically unassimilable... imagery is gradually acquired, selected and re-sequenced over time... ineluctable, vertiginous connections. The 12hr dialtone... [ see ftp.idiom.com/users/bbrace/netcom/books ] KEYWORDS: Disconnected, disjunctive, distended, de-centered, de-composed, ambiguous, augmented, ambilavent, homogeneous, reckless... Multi-faceted, oblique, obsessive, obscure, obdurate... Promulgated, personal, permeable, prolonged, polymorphous, provocative, poetic, plural, perverse, potent, prophetic, pathological... Evolving, eccentric, eclectic, egregious, exciting, entertaining, entropic, erotic, entrancing, enduring... Every 12 hours, another!... view them, re-post `em, save `em, trade `em, print `em, even publish them... Here`s how: ~ Set www-links to - http://bbrace.laughingsquid.net/12hr.html. Look for the 12-hr-icon. Heavy traffic may require you to specify files more than once! Anarchie, Fetch, CuteFTP, TurboGopher... ~ Download from - ftp.pacifier.com /pub/users/bbrace Download from - ftp.idiom.com/users/bbrace Download from - ftp.rdrop.com /pub/users/bbrace Download from - ftp.eskimo.com /u/b/bbrace * Remember to set tenex or binary. Get 12hr.jpeg ~ E-mail - If you only have access to email, then you can use FTPmail to do essentially the same thing. Send a message with a body of 'help' to the server address nearest you: ftpmail@ccc.uba.ar ftpmail@cs.uow.edu.au ftpmail@ftp.uni-stuttgart.de ftpmail@ftp.Dartmouth.edu ftpmail@ieunet.ie ftpmail@src.doc.ic.ac.uk ftpmail@archie.inesc.pt ftpmail@ftp.sun.ac.za ftpmail@ftp.sunet.se ftpmail@ftp.luth.se ftpmail@NCTUCCCA.edu.tw ftpmail@oak.oakland.edu ftpmail@sunsite.unc.edu ftpmail@decwrl.dec.com ftpmail@census.gov bitftp@plearn.bitnet bitftp@dearn.bitnet bitftp@vm.gmd.de bitftp@plearn.edu.pl bitftp@pucc.princeton.edu bitftp@pucc.bitnet ~ Mirror-sites requested! Archives too! The latest new jpeg will always be named, 12hr.jpeg Average size of images is only 45K. * Perl program to mirror ftp-sites/sub-directories: src.doc.ic.ac.uk:/packages/mirror * ~ Postings to usenet groups: alt.12hr alt.binaries.pictures.12hr alt.binaries.pictures.misc alt.binaries.pictures.fine-art.misc * * Ask your system's news-administrator to carry these groups! (There are also usenet image browsers: TIFNY, PluckIt, Picture Agent, PictureView, Extractor97, NewsRover, Binary News Assistant, Newsfeeds) ~ This interminable, relentless sequence of imagery began in earnest on December 30, 1994. The basic structure of the project has been over twenty-four years in the making. While the specific sequence of photographs has been presently orchestrated for more than 12 years` worth of 12-hour postings, I will undoubtedly be tempted to tweak the ongoing publication with additional new interjected imagery. Each 12-hour posting is like the turning of a page; providing ample time for reflection, interruption, and assimilation. ~ The sites listed above also contain information on other transcultural projects and sources. ~ A very low-volume, moderated mailing list for announcements and occasional commentary related to this project has been established at topica.com /subscribe 12hr-isbn-jpeg -- This project has not received government art-subsidies. Some opportunities still exist for financially assisting the publication of editions of large (36x48") prints; perhaps (Iris giclees) inkjet quadtones bound as an oversize book. Other supporters receive rare copies of the first three web-offset printed ISBN-Books. A limited number of paid email subscriptions are now available! << http://bbrace.laughingsquid.net/buy-into.html >> -- ISBN is International Standard Book Number. JPEG and GIF are types of image files. Get the text-file, 'pictures-faq' to learn how to view or translate these images. [ftp ftp.idiom.com/users/bbrace/netcom/] -- (c) copyleft 1994,1995,1996,1997,1998,1999,2000,2001,2002 ========================================================================= Date: Fri, 18 Jan 2002 13:00:34 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: CORRECTION Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit *** CORRECTION: PLEASE NOTE TIME CHANGE FROM 8:00 PM TO 8:45 PM FOR READING ON MONDAY, JANUARY 21. *** JANUARY 21, MONDAY AMIE SIEGEL and BRIAN BLANCHFIELD. AMIE SIEGEL is a poet and film and video artist. Her first book, The Waking Life, was published by North Atlantic Books (Berkeley, CA). Siegel's films and videos have shown at the Whitney Museum of American Art, Pacific Film Archive, Filmforum LA and San Francisco Cinematheque. BRIAN BLANCHFIELD has published poems in Volt, Swerve, Seneca Review, Ploughshares, The Literary Review, Fence, Agni, and other journals. He lives in Brooklyn and is newly the editor of Tibor de Nagy Editions. [8:45 pm] -- 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 in-the-Bowery at 131 E. 10th Street, the corner of 2nd Avenue and 10th Street in Manhattan. Trains F, 6, N, R. 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. If you are currently on our email list and would like to be on our regular mailing list (so you can receive a sample issue of The Poetry Project Newsletter for FREE), just reply to this email with your full name and address. Hope to hear from you soon!!! ========================================================================= Date: Sat, 19 Jan 2002 01:04:57 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: query on behalf of a friend MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Eliot hated the idea of biographies. To make a statement like ' Peter Ackroyd's is an excellent start.' is to, wittingly or unwittingly, subscribe to a lie. You, I, or anyone else, cannot know what was the reality of Eliot's life to Eliot, even any more than we can of Mrs Mopbucket the part-time cleaner who lives in the flat downstairs or Mr Fuckem, the great broker, or anyone else with the partial exception of those very few people we know with a degree of the intimacy that we know ourselves. Which knowing of oneself mostly consists of forgettings. Anyone up for a Shakespeare biography? Best Dave David Bircumshaw Leicester, England Home Page A Chide's Alphabet Painting Without Numbers http://homepage.ntlworld.com/david.bircumshaw/index.htm ----- Original Message ----- From: "Pierre Joris" To: Sent: Friday, January 18, 2002 3:49 PM Subject: Re: query on behalf of a friend > > > > hey everyone, can you point me toward several decent biographies of ts > > eliot? > > Peter Ackroyd's is an excelletn start. > > > a young actor friend, very smart but unable because of his career > > to take regular college classes but who is trying to educate > > himself, wants > > to know. i do too, since i've agreed to discuss "The Wasteland" with him > > at some point in the future. > > > > > > ________________________________________________________________ > Pierre Joris Just out from Wesleyan UP: > 6 Madison Place > Albany NY 12202 POASIS: Selected Poems 1986-1999 > Tel: (518) 426-0433 > Fax: (518) 426-3722 go to: http://www.albany.edu/~joris/poasis.htm > Email: joris@ albany.edu > Url: > ____________________________________________________________________________ > _ > ========================================================================= Date: Fri, 18 Jan 2002 22:03:13 -0330 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "K.Angelo Hehir" Subject: What do you think ? MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Pam , thanks for re-politicizing this list. i think that the personal responses after 9/11 were amazing for those of us outside that orbit of DC or NYC. I had a poem broadcast on the CBC where i referred to this list. I had at a guy from the National Post (canada's rightist national?) onthe rails at a public forum about corperate media at my school. i guess his family has lots o' $$. this is pertinant too. bests, kevin The Observer (U.K.) 06 January 2002 Spare our blushes and put a sack on it By Terry Jones I was thrilled to see a photo in the New York Times last week showing US troops guarding prisoners suspected of belonging to al-Qaeda in Shibarghan, Afghanistan. The story that accompanied the picture described how the 101st Airborne Division had been ordered to relieve the Marine Corps in southern Afghanistan, paving the way for a long-term military presence in the country. The photo also appeared in the Times here, but neither paper mentioned the part of the photo that got me so excited as President of the Humane Society for Putting Bags Over Suspects' Heads. The photograph clearly showed that the prisoners suspected of belonging to al-Qaeda had their arms pinioned behind them and had bags over their heads, secured with metallic tape. We in HSPBOSH have been trying for years to get more armies to put bags over the heads of anyone they suspect of anything. For one thing, the placing of a bag over the heads of suspects protects those of us who are not involved from unpleasant feelings of sympathy for the prisoners. There is nothing more offensive to ordinary, law-abiding newspaper-readers than seeing rows of sorry-looking peasants being herded into the backs of cattle-trucks by our lads in the Army. The prisoners often looked frightened, dejected and hungry, and how can anyone eat a decent full breakfast over photos like that? Once a bag has been placed over their heads, however, it is impossible to feel much for them. They cease to be human-beings and as such make no unreasonable call upon our emotions. The placing of a bag over the suspects' head also has another highly desirable effect: it makes them all look guilty. One cannot see a man with a bag over his head without feeling that he must have deserved it, and that anything he has got coming to him is only what he ought to expect. The same probably goes for the person with the bag over their head. I've never had it done to me personally, but I believe the effect is very disorientating. A prisoner with the bag over his head ceases to feel human as well as look it, and deprivation of sight, smell and balance encourages him expect the worst. And this, of course, brings us to the economic argument for putting heads in bags. Once a suspect has been trussed-up, had the bag placed over their head, and been driven around in the back of a cattle truck for a bit, they'll usually confess to anything. This saves a lot of time, effort and - most importantly - money in trying to sort out terrorists from ordinary blokes whom the Army has rounded up because they had unpleasant beards and bad haircuts. This is one of the reasons why the British Government was so keen on putting bags over the heads of IRA suspects in the early 1970s. It was very economically effective. Of course those spoilsports at the European Court of Human Rights put a spanner in the works in 1978 when they outlawed the technique, claiming that it 'amounted to a practice of inhuman and degrading treatment'. In other words they said it was a form of torture. Luckily the US is not bound by any soft-centred decisions of the European Court of Human Rights. In fact the US also needn't take any notice of the United Nations Convention against Torture either, because it was one of the few countries that had the sense not to sign the agreement in 1985. Argentina, Belgium, Bolivia, Costa Rica, Denmark, Dominican Republic, Finland, France, Greece, Iceland, Italy, Netherlands, Norway, Portugal, Senegal, Spain, Sweden, Switzerland and Uruguay made the mistake of signing it, and subsequently Venezuela, Luxembourg, Panama, Austria and even the UK and Afghanistan joined in, but America didn't. Lucky for them. Now we can see how it's paying off. The US Army can put bags over the heads of whoever they like. But what really excited us at HSPBOSH was the fact that the editors of the New York Times and the London Times could publish the photograph of Afghanistani suspects with bags over their heads without making any comment at all. Let's hope this means that the British and American public is finally ready to accept the fact that the only faces that matter are British and American faces. These are the only 'people' who count now, and - to be quite honest - the rest of the world might has well go around with bags over their heads. Which is great news for all of us here at HSPBOSH. ========================================================================= Date: Fri, 18 Jan 2002 18:00:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark Weiss Subject: Re: What do you think ? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed To go a step further, if there's no declared war they're not POWs. If they're suspected of complicity in a US crime (the trade center, for instance), if extradited to the US they can be held in a federal prison and tried in federal civilian court. Military jurisdiction seems a stretch. A friiend suggested to me that they're being held in Guantanamo because US civilian law doesn't apply there. I have no idea if this is so, but I doubt it: I thought that US law applies in leased territories. I wouldn't mind being enlightened. Ron, do you know? My fantasy, because I try, against all logic, to figure out the rationale for absurd behaviors, is that Bush and Co. plan to punish the prisoners by releasing them in Havana, probably the sexiest place on earth, and watching them implode. Mark At 06:54 PM 1/18/2002 -0500, you wrote: >Pam, > >It sucks, obviously. > >Calling these people "unlawful combatants" is as creative as the >Rumsfeld-Ashcroft set gets. Yes, such combatants have fewer rights under the >Geneva Convention than do POWs, but that is because there is NO such >category under the convention -- these are POWs, pure and simple. > >What never gets said clearly, though it is obviously behind what thinking >the Bushies do is that normally after a conflict POWs go home, tend their >fields, raise families, turn into Joseph Beuys if they're lucky, etc. But >the concern here is that these folks won't stop fighting just because >someone declares the war over. > >In a sense, this parallels the current penal trend to keep sex criminals in >the US in custody past the completion of their terms on the grounds that >they continue to be dangerous. It's a status offense, rather than one >committed. All status offenses (beginning with the classic "juvenile >delinquent") are really crimes of the mind -- if you knew what X (or Y) was >thinking, you'd lock them up. > >This is par for the Bush regime. One of the conundra that progressives have >been faced with in the past 4+ months in the US is what to do with real >enemies when one's own elected officials are so utterly hopeless. Having an >administration that got into power by extra-constitutional means has >literally meant that said regime has shown precious little regard for the >constitution once it got into power. [Thanks yet again, Ralph Nader.] And >would you trust a court system that has, at its pinnacle, the likes of >Scalia or Thomas? > >These are dangerous times, > >Ron Silliman >(whose ancestor, Sir John Franklin, was not exactly one of the progressives >of Australian history....) > > >"Dear Poetics, >I'm wondering what list members think about the >treatment of these prisoners ? >Here's a very brief article from Sydney's daily >newspaper. >http://www.smh.com.au/news/0201/18/world/world4.html >Best wishes, >Pam Brown > > >Ron Silliman >ron.silliman@gte.net >rsillima@hotmail.com > >DO NOT RESPOND to >Tottels@Hotmail.com >It is for listservs only. > >_________________________________________________________________ >MSN Photos is the easiest way to share and print your photos: >http://photos.msn.com/support/worldwide.aspx ========================================================================= Date: Sat, 19 Jan 2002 02:59:50 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Scott=20Hamilton?= Subject: Re: What do you think ? In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Unfortunately, Ron, you and other 'progressives' who supported the invasion of Afghanistan are partly responsible for the creeping fascism that is reflected in the treatment of prisoners inside and outside of America. The 'War Against Terror' was supposed to make the world a safer place, but it has only led to the smashing of civil liberties in the First and Third World, the intensification of the Zionist onslaught in Palestine, a nuclear standoff between US-backed India and new bogeyman-in-the-making Musharaff, the institution of a UN-backed programme of starvation-through-sanctions ala Iraq in Somalia, imperialist adventures in Yemen and now the Philipines and, last but not least, a belliose and bullying American response to the great anti-capitalist rebellion in Argentina which is likely to turn into military intervention in the event of a successful revolution. Events have exposed in the most dramatic fashion the moral and intellectual bankruptcy of 'progressives' who supported imperialist war as a route to a more peaceful world. Cheers Scott ===== For "a ruthless criticism of every existing idea": THR@LL, NZ's class struggle anarchist paper http://www.freespeech.org/thrall/ THIRD EYE, a Kiwi lib left project, at http://www.geocities.com/the_third_eye_website/ and 'REVOLUTION' magazine, a Frankfurt-Christchurch production, http://cantua.canterbury.ac.nz/%7Ejho32/ __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com ========================================================================= Date: Fri, 18 Jan 2002 19:27:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Maxwell Subject: Poetic Research Series: JAN-MAR calendar MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" The Germ & the Poetic Research Bureau (Western Office) reconvene on Jan 20 for six winter readings (January-March) on alternate Sundays afternoons and Friday evenings at Dawsons Book Shop on Larchmont in Hollywood. This season begins a new relationship with Otis College of Arts & Design, and a series of events emphasizing conversations between innovative poets & writers. Friday night events will include readings of the authors' work and discussion among the writers and audience of the work and the writers process of composition and process. These events are free to the public and we invite you to attend. *** January 20, Sunday 4pm: Karen MacCormack & Steve McCaffery (Toronto, both) February 3, Sunday 4pm: Mary Jo Bang (St Louis), Jeff McDaniel (LA) & Chris Stroffolino (Oakland) February 22, Friday 7:30pm: Rae Armantrout (San Diego) & Tom Raworth (UK) March 10, Sunday 4pm: Sarah Anne Cox (SF) & Ange Mlinko (NYC) March 15, Friday 7:30pm: Stephen Rodefer & Jacques Roubaud (Paris, both) March 29, Friday 7:30pm: Michael Davidson (San Diego) & Peter Gizzi (Northampton, MA) *** Dawsons is located at 535 N. Larchmont Blvd between Beverly Blvd and Melrose Blvd. http://www.dawsonbooks.com/ Readings are open to all. Fridays always free. Sundays: $3 donation requested for poets/venue. Call Andrew Maxwell at 310.446.8162 x233 for more info. ========================================================================= Date: Sat, 19 Jan 2002 07:05:41 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: lyrical MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Thomas. I now: I went off on a crazy tangent kind of talking to myself. Dont worry too much about that. Just the "Crazy Kiwi" raving on again! Regards, Richard. ----- Original Message ----- From: "Thomas Bell" To: Sent: Saturday, January 19, 2002 4:50 PM Subject: Re: lyrical > wasn't intending to attribute malevolence, just wanting to indicate my > poetic response did not run to lullabies and i would guess that applies to > others? > > tom > > ----- Original Message ----- > From: "richard.tylr" > To: > Sent: Thursday, January 17, 2002 11:01 AM > Subject: Re: lyrical > > > > Thomas. I saw that link. I dont think that that poet (I dont know her) or > > the NY Times is a malevolent (person) organisation. Any more than in New > > Zealand the NZ Herald - well that paper is fairly conservative and in the > > old days NZ was so..I dont know there seemed to be direct links between > > local capitalists or what we used to call "the establishment" who even if > > they wernt actually in any "conspiracy" sertainly were very conservative: > > nowadays the NZ Listener is a bit more "liberal" and then there are left > > wing neswpapers which give some enlightenment (albeit they too have their > > rhetorics)(Scott Hamilton will kno about those and there's obviously > > equivalents in the US): but the implication is always away from the > > innovative or the challenging in the major mags: that said there are and > > were some good things in the NY Times ( interesting things that show "the > > other side" which is a healthy sign and one of the (good) paradoxes of the > > US (West - I'm not just targetting the US here)and eg The Guardian: but a > > reader needs to know something of history and political mechanisms. > Certain > > elements of the working class have an experiential and instinctual > > understanding of the way class struggle and other struggles withins > society) > > enact: but there's a tendency in humans (of whatever ilk or class) to > > simplify: generalise...which is a neccessary evil. So there's the various > > rhetorics: but there's hardly any non-political or "innocent" writing: of > > course there are areas of human experience (I think the term is Limnal:?) > > which are universal, or seem so...) the kind of therapy that the poet > talks > > about is good..I can understand people who were near to S11 or had > relatives > > or friends or who are just very sensitive deeply needing that kind of > > "therapy": but if its any comfort you can bet there are now a lot of > people > > in Afghanistan who will be if not killed or mutilated or burnt alive by US > > bombs will be traumatised...now most if not all of those people had > nothing > > to do with the attack on the US...but anyway, instead of the 6000 or so > dead > > from S11 you now have as many who are now traumatised and maybe dead: so > two > > wrongs are thus making a right: or many wrongs.... > > But for people who are still "intact" so to speak the kind of poetry > such > > as Herbert and Sharon Olds, well ok its all very well, but dark reality > > carries on! And quoting Celan! He was driven mad by an anti-semitism that > > culminated after hundreds of years of anti-semitism. His was a dark, > > involute, constricted but beautiful posion of blackness and blood. All or > > nothing for Celan. (Like many western nations the US ("Land of the Free") > > refused to take many Jews even when they knew they were in for the chop: > > read "The Burning Bush" by Barnet Litvinoff) If people want to "hate" John > > Walker (unlike Pound, Walker is or was a soldier, for better or worse) > and > > put him away for life (or that happens as others bury their heads in > "soft" > > poetry") then why didnt the British and the Americans imprison the entire > > Wehrmacht after the 2nd WW:: or better still about 90% of the German > > population who supported Hitler: and Hitler was truly "evil" whereas the > > Taleban's "evil" is that they refused to let the US or Russian military > > dominate their land and had a "strange" or "alien" culture? Why are they > not > > even treated as war prisoners? Why are they just off Cuba? When did > > Afghanistan declare war against the US? Why didnt the British bomb > Southern > > Ireland? Israel: nothings improved over there...its probably > worse...Libya - > > what's happenned to that hot house? Iraq? Iran? Russia? (The place is > > seething with crime and murders!) South America eg Brazil where eg gangs > > just assasinated Sir Peter Blake the NZ-Brit yachtsman? The US military > and > > Blair etal have stopped terrorism? So a guy with a bomb on his shoe tries > to > > light it in full view of every one in the plane? A young man crashes into > a > > bulding? Oh: you'll have to bomb the hell out of Iran now..maybe then the > > terrorists (communists or liberals or arabs: whatever...people who dont > like > > "democracy" and McDonalds and being "free:)... They ARE the terrorists!! > > But people like that wet poet in the NY Times wouldnt know if you put a > > daisy cutter up their (her) rectal region...Anyway: we as poets have to > talk > > straight even if its hearty rhetoric: if we're are wrong lets at least > > debate and care and let loose, but save us for the bowls of Christ!... not > > go out with a whimper or the shadowed possible of a sob..."let our poetry > be > > rich, hateful, longing, loving,burnng, and alive..". Richard. > > ----- Original Message ----- > > From: "Thomas Bell" > > To: > > Sent: Thursday, January 17, 2002 3:45 PM > > Subject: lyrical > > > > > > I'm not convinced hat a lyrical and lulling response to the attacks > > (http://www.nytimes.com/2002/01/14/books/14KARR.html) is the best poetry > can > > do even if the nytimes says so. > > > > tom bell > > > > &&&&&&&&&&&&&&&&&&&cetera: > > Poetry at http://members.tripod.com/~trbell/lifedesigns/publicat.html > > Gallery - Metaphor/Metonym for Health at > > http://members.tripod.com/~trbell/metaphor/metapho.htm > > Health articles at http://psychology.healingwell.com/ > > Reviews at http://members.tripod.com/~trbell/lifedesigns/reviews.htm > > > ========================================================================= Date: Sat, 19 Jan 2002 07:55:20 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: What do you think ? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear Poetics and Pam. Its terrible: the American military have taken prisoners of war...if they suspect "war crimes (eg a conection with S11) that should be dealt with by the United Nations. I can understand the anger of Americans but the Taleban are basically smashed now as is Afganistan. The wjole world needs to look into the real causes of S11. This taking of prisoners: they have to e either 1) war criminals 2) prisoners of war (when they should be quickly released 3) "traitors" which it will be hard to find because Afghanistan didnt declare war or make any attempt to attack the US in any way 4) if they are simply "special prisoners" they still have the right of habeues corpus. People cant get diverted into "but they wouldnt treat US prisoners half as well" that's a weak argument. Its terrible. Also the Australian Government's handling of immigrants whether they are illegal or not: they are still human. Also New Zealand and my own country's weak support of the attack by the US on the sovereignity of Afghanistan: hence their implied support of this new US inhumanity: I'm not talking about the US people per se but we are all involved (in this) in the West. Not to say that S11 was not a terrible event: of course it was. But the US response (and other Western Nations) was wrong: very wrong. We cannot continue the cycle of oppression and violation and violence and war: the US (military etc) needs to pull out of ALL foreign nations in any other than a truly humanitarian support role and or to assist other poorer nations to grow.They need to stop bullying: they wont miss out on any produce or oil.... Prove how human they are and "chrtistain?" they are by showing love? Dare we say love? I dont think that terrorism would exist if the pressures of US occupation and Israeli aggression wee ended. In defence of Israel: they captured Eichmann and at least gave him a fair trial and treated him very well. Eichmann was a monster on a big big scale: but these guys are at best "freedom fighters" at worst "wrong-headed " idealists: obviously some of them are going to be "extremists"...you become one when your country is bombed and betrayed. But the US needs these men to be handled by the US Justice System: not closed military tribunals etc - or preferably an International justice system...most will be probably found to be combatents defending their birth or adopted country: ok some may be seen as "terrorists"...but I doubt if any had anything to do with the attack on the US on Sept 11 2001. Richard Taylor. ----- Original Message ----- From: "Pam Brown" To: Sent: Friday, January 18, 2002 12:22 PM Subject: What do you think ? > Dear Poetics, > I'm wondering what list members think about the > treatment of these prisoners ? > Here's a very brief article from Sydney's daily > newspaper. > http://www.smh.com.au/news/0201/18/world/world4.html > Best wishes, > Pam Brown > > > http://my.yahoo.com.au - My Yahoo! > - It's My Yahoo! Get your own! > ========================================================================= Date: Sat, 19 Jan 2002 18:02:07 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: prisoners MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Thanks Ron, I knew you'd say it sucks. And, of course, I agree. I guess I wanted to open the topic as it's so worrying to see human rights being ignored so flagrantly in so many places & situations currently. You say "This is par for the Bush regime. One of the conundra that progressives have been faced with in the past 4+ months in the US is what to do with real enemies when one's own elected officials are so utterly hopeless. Having an administration that got into power by extra-constitutional means has literally meant that said regime has shown precious little regard for the constitution once it got into power." We have a government in Australia that was elected on fear & division in relation to refugees - right now, this country has more refugees "in detention" than any other.Two days ago 58 of the "detainees" in the desert "detention centre" (euphemism for "prison") at Woomera (which is an old rocket testing/launching facility) physically sewed their lips up & went on hunger strike in protest at the delay in their refugee-status applications being processed. I can only report this. And, was that Sir John Franklin who sailed with Matthew Flinders ? I think his problem when he became governor of Tasmania was that he inherited Arthur's severely punitive penal system & was too much of a wimp to change it. Thanks again, Pam ===== Web site/P.Brown - http://www.geocities.com/SoHo/Workshop/7629/ http://my.yahoo.com.au - My Yahoo! - It's My Yahoo! Get your own! ========================================================================= Date: Sat, 19 Jan 2002 08:04:12 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Fw: [LACN] job at Univ Buffalo MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Ok I'll take the job. I'm eminently very (well?) qualified. I hope its easy and I dont 'ave to do much and I get payed well. Book some nice hotels for me I'll be on the way soon as I can get a flight. I didnt read thedetails of the job but it looks like a piece of doddle as they say in England. You have to have me: double the pay for me, and, as I say, meet me there with my cars and so on. I 'll also need a smart assistant so's i dont need to do anything. Ta, Richard. PS I like steak and mushrooms well done. Oh and I dont like wine: plenty of beer. PS2 And dont ask me a lot a questions about digital this and that: forget all that crap: just jack things up for me: remember I want big pay and a big expense account..and so on. ----- Original Message ----- From: "cadaly" To: Sent: Friday, January 18, 2002 6:41 AM Subject: Fw: [LACN] job at Univ Buffalo > ----- Original Message ----- > From: "Nancy Macko" > To: > Sent: Thursday, January 17, 2002 9:26 AM > Subject: [LACN] job at Univ Buffalo > > > > > > > > >Subject: JOB : Department of Media Study, University at Buffalo > > > > > >Hello > > >Please pass along to colleagues & forgive cross-posting. > > > > > > > > > > >The Department of Media Study seeks artist/researcher/theorist for one or > > >more positions at the Assistant (Tenure Track)/Associate Professor level > > >in Digital Media. We will consider candidates whose activity is in one or > > >a combination of areas -- internet/web-based art, interactive multimedia > > >design, game design/AI, 16mm/video production with computer-based > > >post-production, or areas which have not yet received conventional > > >designation. While technological knowledge is important, creativity is > > >essential and the candidates should have strong records as practicing > > >artists/researchers and the ability to teach media in a > > >theoretical/historical context at both the undergraduate and graduate > > >level. Faculty in Media Study conduct research and teach a 2/2 load in a > > >program that includes critical studies in media theory, film, video and > > >digital arts (including robotics and VR) with strong ties to > Architecture, > > >Anthropology, and American Studies and will have the flexibility to > design > > >their own courses and research projects. Rank and salary commensurate > with > > >experience and qualifications. For more details consult our website at > > > >http://writing.upenn.edu/mediastudy/ > > >The University at Buffalo is an Equal Opportunity Employer/Recruiter and > > >we actively encourage applications by women and minorities. MFA or the > > >equivalent experience preferred. We prefer applications received by March > > >1, but the position will remain open until filled. Send a letter of > > >application, work sample (accompanied by SASE), CV including the names of > > >three references to: > > > > > > > > > Chair > > > Digital Arts Search Committee > > > Department of Media Study > > > 231 Center for the Arts > > > University at Buffalo > > > Buffalo, NY 14260-6020 > > > > > >Timothy Nohe > > >Assistant Professor > > >University of Maryland Baltimore County Visual Arts Department, > > >FA 111, 1000 Hilltop Circle, Baltimore, MD 21250 USA > > >Tel: 410-455-2150 Fax: 410-455-1053 > > >http://research.umbc.edu/~nohe/GAG > > >http://www.fluidmovement.org > > > > > > - - - - > > To unsubscribe from LA Culture Net, send an email to: > > laculturenet-unsubscribe@yahoogroups.com > > > > To subscribe from LA Culture Net, send an email to: > > laculturenet-subscribe@yahoogroups.com > > > > Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/ > > > > > ========================================================================= Date: Sat, 19 Jan 2002 05:13:52 +0100 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Re: poetry richard teach MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit >Well, I dont know what ans I might have given, and I dont have a clue >what nj dodge is. > >gb >-- >George Bowering >Randolph Scott's alltime best fan. nj dodge is the move practiced by ice cube in a late 80's US movie Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Sat, 19 Jan 2002 05:20:15 +0100 Reply-To: baratier@megsinet.net Sender: UB Poetics discussion group From: David Baratier Organization: Pavement Saw Press Subject: Re: encyclo-- MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit ^^^I called, left messages, and got a call telling me that contributors would be paid shortly after Jan 1. I called today and was told that now there's no date in sight. "Cash crunch." ------- Try the speaking the sentence "Fuck you, pay me" very slowly into the phone. It really worked wonders! ------- Be well David Baratier, Editor Pavement Saw Press PO Box 6291 Columbus OH 43206 USA http://pavementsaw.org ========================================================================= Date: Sat, 19 Jan 2002 08:29:53 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tenney Nathanson Subject: REMINDER: POG event tonight, 7pm Dinnerware: Chris Morrey & David Matlin MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit REMINDER POG presents writer David Matlin visual artist Chris Morrey Saturday, January 19, 7 pm, Dinnerware Gallery, 135 East Congress Admission: $5; Students $3 David Matlin is a novelist, poet, and essayist. His collections of poetry and prose include the books China Beach, Dressed In Protective Fashion, and Fontana's Mirror. How the Night is Divided, Matlin's first novel, was nominated for a National Book Circle Critics Award. His newest book, Vernooykill Creek: The Crisis of Prisons in America, is based on his nearly ten year experience teaching in one of the oldest Prison Education Programs in the nation in New York State. This extended essay is a discussion of the crisis of prisons, the invention of surplus populations, and how, in making prison our largest growth industry, we are mining our own civil disintegrations at an unprecedented level. Matlin received his Ph.D. from the State University of New York at Buffalo where he studied with Robert Creeley, John Clarke, and Angus Fletcher. He lives in San Diego. For more on David Matlin you can go to http://www-rohan.sdsu.edu/dept/writing/faculty/matlin/ http://www.stationhill.org/matlin.html http://www.stationhill.org/reviews_matlin.html http://www.mcphersonco.com/authors/dmatlin.html http://www.mcphersonco.com/fiction/nightrv.html Chris Morrey was born in Edmonton, Canada and attended the Kansas City Art Institute. He is a painter and sculptor who has worked with wood, carbon fiber, found objects, stone, and concrete; his work reflects interests in human and animal anatomy, natural history, and building, furniture, and tool design. Selected exhibits include New Art Mix: New Works by Member Artists, Dinnerware Gallery; Assemblage, Found Objects and Sculpture, Apparatus Gallery, Tucson; Installation and performance at The Green Room, Austin, Texas; The Seven-Year Anatomy, Arttrek Gallery, Flagstaff; the Kansas City Art Institute Gallery; Group sculpture exhibit at the Sedalia Fairgrounds, Sedalia, Missouri; and a group video exhibit, Pumpkin Etiquette, at the Kansas City Art Institute Gallery. Morrey’s public sculpture includes the Coronado K-8 School ballfield improvement and the Purple Heart Park Phase III skateboard park. He is currently President of Dinnerware Cooperative Gallery. For more on Chris Morrey you can go to http://personal.riverusers.com/~dinnerware/cm_res.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. We also thank the following POG supporters: Patron Austin Publicover; Sponsors Maggie Golston, Mary Rising Higgins, Tenney Nathanson, and Frances Sjoberg. For further information contact POG at 296-6416 or mailto:pog@gopog.org; or visit us on the web at www.gopog.org. * mailto:tenney@dakotacom.net mailto:nathanso@u.arizona.edu http://www.u.arizona.edu/~nathanso/tn/ POG: http://www.gopog.org mailto:pog@gopog.org ========================================================================= Date: Sat, 19 Jan 2002 11:01:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Re: What do you think ? Content-Type: TEXT/PLAIN; charset=US-ASCII MIME-Version: 1.0 On Fri, 18 Jan 2002 18:54:29, Ron Silliman wrote: > Pam, > > It sucks, obviously. > > Calling these people "unlawful combatants" is as creative as the > Rumsfeld-Ashcroft set gets. Yes, such combatants have fewer rights under the > Geneva Convention than do POWs, but that is because there is NO such > category under the convention -- these are POWs, pure and simple. > AND under the Geneva convention, if there is some question as to whether or not a captive is to be classified as a POW, the decision is to be made by a board carefully defined under the accords, not by the chief executive of one of the warring parties -- The Bush administration, which always portrayed itself as a great friend to the average GI, seems remarkably untroubled by the precedent this sets -- I think we know what to expect, after this, when one of our "advisors" gets grabbed in the Phillipines, Singapore or elsewhere -- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Tell Her -- the page I never wrote! Tell Her, I only said -- the Syntax -- And left the Verb and the Pronoun -- out! --Emily Dickinson Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sat, 19 Jan 2002 12:49:04 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: objectivists? an attempt at rational response MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Maria. I'm ust looking at Zukovsky and have been reading Mark Scroggins's book on LZ. Also having anoher look at "A" and I want to study "80 Flowers " closely... but I'm no expert on LZ or the so-called "objectivists": But lets look 1) The poem as a "rested totality". This phrase is or sounds rather "gaseous" (Zukovsky's term - acoording to Mark Scroggins - for language that has departed from the truth of seeing=knowing [ not knowledeg per se ..it'll be seen that I'm only up to chapter 3 of M.S.'s book!] ). That said: how do you define the term? I'll stab: you (he she it they) mean that the poem is an integral whole but "rested" indirectly implies (or may do) that this state is paradoxically dynamic: objective as the poem is it contnues to work, to interact with the reader or the reader with it. But if this is meant literally ( I mean that it is "rested") it sounds as though the poem eg one of LZs flower poems such as Leggott quotes eg Zinnia, Livefoever etc is stopped, dead: but knowing LZ's knowledge and interest in space and physics one body resting is oposed by another in dynamic motion: and no body (in any sense of that word) is in itself non-motile,static, dead: the sun, the human body (even when dead it is "alive " in a sense)...Now I the lyric poem as an objective whole is always problematic as well as the notion of "rested totality" ("wrested totality"? totality being everything or it being just one thing?) If everything (or approaching ) then it is a dynamic and changing thing (internally in itself). One could see the lyric poem as an objective thing apart from the writer, but compare it to the birth of a child: the child is "objective" in relation to the mother (or parent(s)) but has qualities and influences of the parent and continues to interact and grow: as theoretically LZ's flower poems (and the flowers in them) would (if they seeded and were fortunate as life often is) take root and grow. Objective in that cursorily and at certain "reading levels" LZ and his family('s) emotions etc etc are not in the poem but by (admitedly by knowing about LZ through various exegeses and his BNPs in Texas (that fact is a worry)). But we know that the poems direct us to their words but behind the words is/are the people in the writer's life. Cross to 2) the concept of the object as bearer of meaning. It does seem close to Eliot's concept: and/but it is true that the poetry is very different. Eliot uses the concentrated image but "wanders" (perhaps more frequently) than LZ or even Pound into "abstractions"( his interest in Dante although Dante has a place at the beginning of "A") (if we can leave aside the problem of what is abstract and what is concrete - or if and when and whether concrete is abstract and v/v): but the yellow smoke in Prufrock is obvious in its power as an energising metaphorical or objective correlative musch as the smog in Bleak house is literally for the befogment and miasma and corruption of legal London. (And hence paradoxically a negative force as is the ether: (or is it?) an apparently enervating experience... Eliot solidifies his miasma into "concrete" moulds; but Eliot wants to talk to us and convey his deep religiosity and sense of vision in The Waste Land he looks into the "heart of light, the silence" whereas Zukovsky has as possibly an equivalent epiphany: "blue blown up against yellow" .. bu there are paradoxical parallels between the poets..and indeed I suspect in the totality of his "music" as Bach does ... Here I start to get out of my depth and would call on the "big guns" such as..well any number of "Listers" possibly Michele Leggott herself...others, other Zukofskiologists... The poetics is different but in both poets the poetic is relatively unclear and more their own life-philosophies: their approach their way a way of living. Eliot obtained some love and happiness (his "recognition" didnt hepl him much) and LZ altho a bit bitter always had family love and proably a 'beter" (define better!) life overall than Eliot. Happier overall probably. Certainly that kind of beautiful but astringent lyric acheived in "80 Flowers" by a greater formal discipline that Eliot acheived (I feel) I think is part of the greatnesss of LZ and the fascination and challenge of his poetry as a model or inspiration. Also the idea of a person actually growing the things to be studied and -made- into poems is quite alien to Eliot. Eliot is more of a visionary, if ironic somewhat after Lafourge.... Also the notion I think of such a "non-spontaneous" project: Eliot was more of a (Cahrlie Parker or Miles Davis or at least a Mozart!!) Zukovsky was more - I say more - Bachish, brackish, and humanish? I retyre at this point...Richard Taylor. Some tentative reponses. ----- Original Message ----- From: "Maria Damon" To: Sent: Saturday, January 19, 2002 4:44 AM Subject: objectivists? > yo, all, i've been reading norman finkelstein's and steve fredman's newish > books on jewish american poetry w/ special reference to the objectivists. > i'm beginning to see the logic of the designator "objectivist" and the > specificity of style, but can someone spell out for me how zukovsky's > insistence on a poem as a "rested totality" and the concept of the object > as bearer of meaning are different from, respectively, the notion of the > lyric poem as an autonomous "whole" and eliot's "objective correlative"? > that is, i can see how the *poetry* is different, but i'm not sure how the > *poetics* are different, from what has become normative. forgive the > flatfootedness of the question, but i've been slow to approach the > "objectivists" --i've said before on this list that the word "objectivists" > immediately made me feel as if i wouldn't be smart enough to understand > them -- and i'd appreciate a lucid and precise explanation. > ========================================================================= Date: Sat, 19 Jan 2002 13:48:51 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: query on behalf of a friend MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/18/02 10:14:04 AM, damon001@TC.UMN.EDU writes: << hey everyone, can you point me toward several decent biographies of ts eliot? a young actor friend, very smart but unable because of his career to take regular college classes but who is trying to educate himself, wants to know. i do too, since i've agreed to discuss "The Wasteland" with him at some point in the future. >> Peter Ackroyd's T.S. Eliot: A Life Lyndall Gordon's Eliot's Early Years & Eliot's New Life WilliamJamesAustin.com KojaPress.com Amazon.com/BarnesandNoble.com ========================================================================= Date: Sat, 19 Jan 2002 14:00:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: Objects in mirror may not appear Content-Type: TEXT/PLAIN; charset=US-ASCII MIME-Version: 1.0 Maria: I just happened to be reading Bruce Elder's book on the films of Stan Brakhage and the traditions of Pound, Stein and Olson when your question came across my screen -- This passage may make a start towards your answer: Where Williams' use of the particular object differs from Eliot's is that Williams' method does not convert the object into an objective correlative, i.e., a vehicle for conveying the artist's subjectivity, nor does his compositional process reduce it to a metaphor, or a symbol of some sort, of inwardness. The particular object remains autonomous, independent of, and indifferent to the feelings that its qualities suggest. It is, paradoxically, as utterly objective that these "correlatives" call upon subjectivity, and reveal its characteristics. (p 165) and that, I think it's clear, suggests why Williams was a natural ally of the Objectivists -- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Tell Her -- the page I never wrote! Tell Her, I only said -- the Syntax -- And left the Verb and the Pronoun -- out! --Emily Dickinson Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sat, 19 Jan 2002 19:21:39 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Subject: new art exhibit Comments: To: webartery@egroups.com MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable http://www.nytimes.com/aponline/arts/AP-McCarthy-Exhibit.html tom bell &&&&&&&&&&&&&&&&&&&cetera: Poetry at http://members.tripod.com/~trbell/lifedesigns/publicat.html Gallery - Metaphor/Metonym for Health at = http://members.tripod.com/~trbell/metaphor/metapho.htm=20 Health articles at http://psychology.healingwell.com/ Reviews at http://members.tripod.com/~trbell/lifedesigns/reviews.htm ========================================================================= Date: Sat, 19 Jan 2002 13:40:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: UbuWeb Editorial Staff Subject: __ U B U W E B __ :: RECENT ADDITIONS :: WINTER 2002 Comments: To: silence , ubuweb MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii __ U B U W E B __ http://ubu.com RECENT ADDITIONS :: WINTER 2002 ---CONTEMPORARY--- Christian Bök - Chapter E from Eunoia (Flash) Rob Fitterman + Dirk Rowntree - Cedars Estate (2001) Richard Foreman - Now That Communism is Dead My Life Feels Empty! (PDF) Richard Foreman - Bad Boy Nietzsche (PDF) Richard Foreman - Slice (Poems, 2001, PDF) Peter Manson - Adjunct: an Undigest (1993-2000) Takayuki Nakano - 338 (2001) ---FOUND + INSANE--- The Ancient Order Flyers 7 New Assorted Found + Insane Works from the Streets of Chicago ---HISTORICAL--- Abraham Lincoln Gillespie - 3 Essays (undated) Douglas Huebler - Variable Piece 4 Secrets, 1969 Stéphane Mallarmé; - One Toss of the Dice Never Will Abolish Chance (1897) Kurt Schwitters - Ursonate (Complete Score) Sound Poetry Scores 1914-1919 ---SOUND--- Vito Acconci - The Bristol Project, 2001 (RealAudio) Anton Bruhin - rotomotor, 1976/77 (RealAudio) Jean Dubuffet - Expériences Musicales, 1961 (MP3) Experiments in Disintegrating Language / Konkrete Canticle, 1971 (MP3) Flux Tellus (MP3) Richard Foreman - Sound Loops from "Now That Communism is Dead...", 2001(MP3) Terry Fox - The Labyrinth Scored for the Purrs of 11 Cats, 1976 (MP3) Kenneth Gaburo - LINGUA II: MALEDETTO, 1967-8 (MP3) Jesse Glass + Rod Summers - THE PARADISE POLICE: nEUROGENESIS, 2001(MP3) Al Hansen - Andy Warhol Attentat Sound, 1986 (MP3) Bernard Heidsieck - Poeme-Partition F, 1960 (MP3) Dick Higgins - Storm Riders, 1982 (MP3) Isidore Isou - Musiques Lettristes, 1947-2000 (RealAudio) Ernst Jandl - vom vom zum zum, 1988 (MP3) Bruce Nauman - Record 1969 (MP3) Roman Opalka - 1965/1-? (MP3) ---PAPERS--- Bruce Andrews -- "The Poetics of L=A=N=G=U=A=G=E" Bruce Andrews -- "Reading Language, Reading Gertrude Stein" Bob Cobbing -- Interview by Mark Sutherland (2001) Kenneth Goldsmith, ed -- Object 10: Cyber Poetics (2001) --[Kenneth Goldsmith -- Introduction] --[R. Rickey and Derek Beaulieu -- State of the (E)Art...] --[Christian Bök The Piecemeal Bard Is Deconstructed...] --[Neil Hennessy -- The Sweetest Poison...] --[Kenneth Goldsmith -- From (Command) Line...] --[Martin Spinelli -- Analog Echoes...] --[Katherine Parrish -- How We Became Automatic Poetry Generators...] --[Darren Wershler-Henry and Bill Kennedy -- Apostrophe...] --[Brian Kim Stefans -- Proverbs of Hell (Dos and Donts) v.2] Dick Higgins -- "Synesthesia and Intersenses: Intermedia" (1965) Robert P. Morgan -- "Futurism, Modernism, and The Art of Noises" Michael Scharf -- "I LOVE SYSTEMS" __ U B U W E B __ http://ubu.com __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ ========================================================================= Date: Sat, 19 Jan 2002 19:27:45 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: Celebratory Fence Books Deal Comments: To: ira@angel.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hello and happy end of January. Recently our two first Fence Books poetry titles have received some not-bad-at-all reviews. As a celebratory gesture we're offering a special deal: Buy both books and get a big discount. Instead of $24 plus $4 shipping and handling, you can pay $18 plus $2 shipping and handling. That's a discount of . . . 30%? Just go here: http://www.fencebooks.com and click on the special deal button. Or you can send a check for $20 to Fence Books/Special Deal, 14 Fifth Avenue, #1A, NY NY 10011. And here's the Village Voice, lengthily, on Zirconia, by Chelsey Minnis (we guarantee that you will delight in the flimsiness and superficiality mentioned in the review's final paragraph): "Gem Trails "I exist in a blister of fantasy," proclaims the narrator of this self-assured and often deeply satisfying debut. Similar in form, style, and rhetorical strategy, each of the poems in Zirconia is, in essence, an associative riff on a particular object (a tiger lily, a skull ring, the moon), or in some cases, a state of mind (grief, confusion, ecstasy). Minnis's sharp-tongued, sexy, and somewhat juvenile narrator uses these obsessive, fetishistic examinations to both describe and insert the reader into a dream state-a kind of mythic consciousness, in which memory and desire transform the stuff of everyday life into charged symbols of, well, memory and desire. In "Sectional," the narrator "sink[s] into a reverie in leather," while chewing on a piece of caramel and "reliving/a moment and revolving." The poem spans her moment on the couch, chewing the candy, touching the leather, and attempting to "evaluate/the reverie/in the enormous moments." Clearly designed to be read consecutively, the poems fit together like a puzzle, forming an abstract portrait of the narrator, a trickster who swerves from sophisticated observation ("you/perhaps/want to be torn in half/rather than endure/the hurt/of desire") to blank recitation ("supervermilion/infrared/warpath/bloodlines"), from ironic humor suitable to McSweeney's ("I am very excited about the skull ring") to overwrought sentimentality ("and you want to grind your sorrows/into it"), and from high poetic diction ("which indicates a conscience ensconced") to banal conversational prose ("One Sunday, my parents discovered the Bridal Barbie I had hidden in the freezer. . . . "). Though Minnis's narrative voice-half-smirking, half-weeping-lends Zirconia much of its appeal, the poet's most striking (and daring) move is a stylistic one. All but three of the poems are composed in a fragmented manner, using periods to eat up the white space of the page (in the quotes above, slashes stand in for wide fields of periods), like this, from "Maroon": ...........sleepy and strong........................................... .....................with matted fur and saline.................. When it works, the effect is brilliant. The typographic dots guide the eye through the individual poems, furthering the dream-state effect by slowing down the reader as words swim out from periods, their meanings accentuated. But it doesn't always work. In flimsy poems like "Sunburns" and "Supervermilion," the periods come off as a lazy way of injecting depth into otherwise superficial pieces." by Joanna Smith Rakoff *** And here's Publishers Weekly, briefly, on Miss America, by Catherine Wagner. Note the mysterious, encoded reference to Deborah Garrison!: "In serial sets of Fractional Anthems and Magazine Poems, Wagner lights out for the territory of layered lexical eroticism pioneered by Lee Ann Brown. Yet she infuses her lines with a sardonic and foreboding edge, as in the second of Two Poems for Entertainment Weekly: Friendly and forsaken/ Is it hotter to wear a bra/ Or let my boobs stck to my chest/ Melanin, melatonin, metonym, melanoma. For the 'pimply and shiny' generation ten or so years younger than Deborah Garrison's Working Girl, this book, one of the first from Fence magazine's new publishing arm, will strike definitive chords." Copyright 2001 Cahners Business Information, Inc. ********** Rebecca Wolff Fence et al. 14 Fifth Avenue, #1A New York, NY 10011 http://www.fencemag.com ========================================================================= Date: Sat, 19 Jan 2002 23:21:42 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: genesis MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII by .oita.com.jp (8.11.3nb1/8.8.8/oitaN1.0) id g0K4Ed705607 by mail1.oita.com.jp (Postfix) with ESMTP id 64B1748B6A for ; Sat, 19 Jan 2002 23:14:39 -0500 (EST) for nikuko@.oita.com.jp; Sat, 19 Jan 2002 23:14:39 -0500 (EST) 0000000 061011 020171 067456 072151 027141 067543 027155 070152 0000020 024040 027070 030461 031456 061156 027461 027070 027070 0000040 027470 064557 060564 030516 030056 020051 062151 063440 0000060 045460 042464 033544 032460 030066 005067 061011 020171 0000100 060555 066151 027061 064557 060564 061456 066557 065056 0000120 020160 050050 071557 063164 074151 020051 064567 064164 0000140 042440 046523 050124 064440 020144 032066 030502 032067 0000160 041070 040466 004412 067546 020162 067074 065551 065565 0000200 040157 067456 072151 027141 067543 027155 070152 035476 0000220 051440 072141 020054 034461 045040 067141 031040 030060 0000240 020062 031462 030472 035064 034463 026440 032460 030060 0000260 024040 051505 024524 004412 067546 020162 064556 072553 0000300 067553 027100 064557 060564 061456 066557 065056 035560 0000320 051440 072141 020054 034461 045040 067141 031040 030060 0000340 020062 031462 030472 035064 034463 026440 032460 030060 0000360 024040 051505 024524 042012 072141 035145 051440 072141 0000400 020054 034461 045040 067141 031040 030060 020062 031462 0000420 030472 035064 034463 026440 032460 030060 024040 051505 0000440 024524 043012 067562 035155 036040 064556 072553 067553 0000460 067500 072151 027141 067543 027155 070152 005076 071106 0000500 066557 020072 067074 065551 065565 040157 064557 060564 0000520 061456 066557 065056 037160 051440 072141 045040 067141 0000540 030440 020071 031462 030472 035065 030060 031040 030060 0000560 005062 062515 071563 063541 026545 062111 020072 031074 0000600 030060 030062 031061 030060 030464 027064 030147 032113 0000620 062105 030067 033065 033460 027100 064557 060564 061456 0000640 066557 065056 037160 051012 061545 064545 062566 035144 0000660 024040 071146 066557 067040 065551 065565 040157 067554 0000700 060543 064154 071557 024564 051012 061545 064545 062566 0000720 035144 063040 067562 020155 067456 072151 027141 067543 0000740 027155 070152 024040 067456 072151 027141 067543 027155 0000760 070152 055440 033061 027066 032070 030456 031456 024535 0001000 051012 072145 071165 026556 060520 064164 020072 067074 0001020 065551 065565 040157 064557 060564 061456 066557 065056 0001040 037160 052012 035157 067040 065551 065565 040157 064557 0001060 060564 061456 066557 065056 005160 062560 064562 064160 0001100 072171 067157 000012 0001105 Date: Sat, 19 Jan 2002 23:14:39 -0500 (EST) From: From: Sat Jan 19 23:15:00 2002 Message-Id: <200201200414.g0K4Ed705607@.oita.com.jp> Received: (from nikuko@localhost) Received: from .oita.com.jp (.oita.com.jp [166.84.1.3]) Return-Path: To: nikuko@oita.com.jp periphyton _ ========================================================================= Date: Sun, 20 Jan 2002 18:19:08 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: William Slaughter Subject: NOTICE: MUDLARK In-Reply-To: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII New and On View: Mudlark Flash No. 15 (2002) Matthew Rossi | Face Mongers Matthew Rossi is a writer and actor living in the Chicago area. He is a recent grauduate of the University of North Carolina at Asheville where he studied (among other things) Playwriting, Psychology, and the Theater of the Absurd. Spread the word. Far and wide, William Slaughter _________________ MUDLARK An Electronic Journal of Poetry & Poetics Never in and never out of print... E-mail: mudlark@unf.edu URL: http://www.unf.edu/mudlark ========================================================================= Date: Sun, 20 Jan 2002 22:16:44 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Thomas Bell Subject: Re: Thread lost but maybe something found Comments: To: BRITISH-POETS@JISCMAIL.AC.UK, Roger Collett Comments: cc: webartery@egroups.com, POETRYETC@JISCMAIL.AC.UK MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit thanks to Roger Collett: > It > > is a sad state of affairs. > > > > yes, it is. one of the things I'm finding out through the internet is that this may be a US phenomenon as other countries do seem to have journal and bookoutlets that are economically viable and don't let themselves get boxed into the US traps, like academic, in, feminist, langpo, beat, Christian, etc. It might be a useful exercise to develop a list of examples of likes? I like what I've seen from Wild Honey, for example. tom bell ========================================================================= Date: Sun, 20 Jan 2002 21:58:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: Resent-From: Alan Sondheim Comments: Originally-From: "Joseph Nechvatal" From: Alan Sondheim Subject: Fwd: Impt News Mime-Version: 1.0 Content-Type: text/plain; format=flowed > >Ban on Gay Marriages Bill Now in Congress > >>> > >>> There is a Constitutional Amendment being proposed > >>> that will ultimately ban homosexual marriages/civil > >>> unions and possibly domestic partner benefits in the > >>> future. It is being pushed through Congress quickly so > >>> as to make as little noise as possible. > >>> > >>> There's so much else in the news right now, that the > >>> amendment is not being noticed. This petition is being > >>> organized by a second party -- it's NOT an "add your > >>> name to the bottom and forward" kind of thing. > >>> Go to the site itself in order to sign the petition. > >>> Please pass this along to your friends and family, and > >>> to our straight allies. By doing so, we can convey > >>> the message that the Constitution is about human rights, not just > >>> "religious rights". > >>> > >>> PLEASE READ, SIGN, AND FORWARD ON... > >>> > >>> >http://www.petitiononline.com/0712t001/petition.html > >> > ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~* _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ========================================================================= Date: Sun, 20 Jan 2002 23:12:38 -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 - enormous organisms, ephemeral, copper-wire, fiber-optic, satellites: antennas all the organisms are invisible but they respond to the coherency of network communications they sense intelligence running through the wires, they are themselves intelligent, they are among us what to do, they think, what to do, what to do they bumble, banging into packets and datagrams, they don't understand digital protocols and programs it's as if they're amputated, as if they're blinded, in the middle of human artifacts, human designs they're sentient, they can't read the codes, they have so much to tell us, they're silenced by zeros and ones they don't understand the vast landscape of binaries, they have no feeling for addresses, they murmur softly to one another their understanding is beyond our comprehension, their knowledge unsurpassed, our coding is our own, their coding is their own the wires are humming, as if carrying sensibility multiplexing beyond our wildest imaginations organisms of such intelligence, bridge the great divide, please, we beg you, come to us come to us _ ========================================================================= Date: Mon, 21 Jan 2002 12:25:02 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: from word termite MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Having sex With shadows One does It all The way Something Is not Present Something Is not Recently here History's A net One's trying To squeeze Through I strikes In turn Your eyes ========================================================================= Date: Mon, 21 Jan 2002 12:41:35 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: e-address queries MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Somehow I've managed to lose or misplace the e-addresses of: Stephen Ellis & Melissa Wolsak Back channel assistance will be appreciated. Thank you , Tom Beckett ========================================================================= Date: Mon, 21 Jan 2002 11:13:15 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Larimer and Jarnot at the Zinc Bar MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit [all bracketed info was not written during the reading and is added here for some clarification] Kevin Larimer & Lisa Jarnot @ Zinc KL: "twinkle me carefully" "sit please down" "inside the apple is a worm, inside the worm is an apple that tastes like the cake my mother baked me when I was young." "Industrial peekaboo" DR[Douglas Rothschild] meltdown @ Zinc Lisa Jarnot "My Terrorist Notebook" "see, I don't like this. I don't do things with small children or animals." "the war" [note to Aaron Kiely in the middle of her reading] SHE IS A FUCKING STAR, ISN'T SHE? "because all of nature is obsessive and bad" worms in poems by both Larimer and Jarnot [Lisa from front to no one in particular] "I have no idea how long I can read after that thing by Douglas." [Brendan Lorber] "Read as long as you want." [LJ] "It's like midnight now, isn't it?" "untitled" (terrorist poem) from the cows "Right mind" beneath cat (and she points at the orange cat) ========================================================================= Date: Mon, 21 Jan 2002 14:59:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: job opening at U.C. Santa Barbara Comments: To: kalamu@aol.com Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Please give wide distribution. ---------- Forwarded message ---------- Date: Sat, 12 Jan 2002 11:57:04 -0800 From: Christine Allen To: Claudine Michel Subject: Ad Copy Department of Black Studies at the University of California, Santa Barbara The Department of Black Studies at the University of California, Santa Barbara invites applications for one or more tenure-track positions, Rank Open, effective July 1, 2002. Both junior and senior scholars are encouraged to apply. We are seeking scholars whose research and teaching focus on areas significant to Black Studies, Caribbean and/or African Studies and that integrate interdisciplinary methods from the humanities and social sciences. Subject areas of significance include African and African American Religion, Anglophone Caribbean Literature, African and African American History, Black Feminist Theory, Cultural Analysis including Film Studies, Gender and Sexuality, and other related areas. Evidence of excellence in scholarship and undergraduate teaching is required and a Ph.D. is normally required at the time of appointment. Send letter of application, curriculum vitae, 3 letters of reference, and samples of research to: Professor Jacqueline Bobo, Chair Search Committee Department of Black Studies University of California Santa Barbara, CA 93106 .Review of applications will begin on February 15, 2002 and will continue until the positions are filled. The University of California is an Equal Opportunity/Affirmative Action Employer. <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "I think old zero has lost very much of his self respect." --Emily Norcross Dickinson Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Mon, 21 Jan 2002 21:22:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: by virtue of the indent, language becomes stuff MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - by virtue of the indent, language becomes stuff it sits there, gnawing at the margin, as if something else were going on. it continues in this fashion - there was a pressure applied, a sliding effect no such thing exists in any form whatsoever. someone thinks: it's a conscious choice, the words were put there, they were arranged in such-and-such a fashion in reality it could be anything at all. but it gnaws, slips, slides forward, just about to topple, this substance of language, this phonemics which sticks in the throat, the most vulnerable part of the body. there is no stopping speech, nor syntax, once language moves from protolanguage, protosyntax, to this incipient point, then back again, as now. a conjuration 'in print' of language's foreignness, its other of any other. as if we're faced of a sudden, faced of a night, with this determinative (indicated by a push (indicating by a toppling, or what appears to be an arrangement perhaps a contract made by someone or something) perhaps the very nature of a contract itself) _ ========================================================================= Date: Sun, 20 Jan 2002 15:27:34 -0500 Reply-To: whitebox@earthlink.net Sender: UB Poetics discussion group From: WHITE BOX Organization: WHITE BOX Subject: KISS MY GLOW MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit WHITE BOX presentsÖ KISS MY GLOW A performing projection project by CARL SKELTON (January 22 through February 2, 2002) Opening reception: Thursday, 24th January, 6 - 8pm A performing installation: 41 projected images, three and a half minutes of sound. An interview of a woman who is being visited at intervals by the ghost of her ex-boyfriend? The images harangue, accuse, and attempt to charm whoever that happens to be, in whatever location or moment happen to be Here and Now at the time of the viewing, in a room that seemed to be basically empty when you got there. Special thanks to the Canadian Consulate General. Gallery hours: Tuesday through Saturday 11am to 6pm. WHITE BOX 525 WEST 26TH STREET NEW YORK, NEW YORK 10001 ph 212.714.2347 fx 714.2349 whitebox@earthlink.net www.whiteboxny.org ========================================================================= Date: Mon, 21 Jan 2002 09:54:43 -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 Aaron Belz Last we heard, Aaron lives in St. Louis and keeps an archive of his work at http://meaningless.com. He can be reached at aaron@belz.net. + + + + + + + BLAISE PASCAL EATING A LEMON IN THE COMPANY OF ALEXADRE DUMAS AND RALPH WALDO EMERSON ON A VERY HOT DAY DUMAS: Sour, eh? PASCAL: 'Sour, eh?' Is that the best you can do? EMERSON: Lay off, Blaise. DUMAS: It's okay, Ralph, I can handle this. EMERSON: Why is he always trying to up the ante somehow? PASCAL: I'm sitting right here. EMERSON: Okay then, Blaise -- my bitter friend, sitting on an empty milk crate, looking angry -- why are you always showing people up? PASCAL: I occasionally-- DUMAS: I said I could handle this, Ralph. PASCAL: Or rather, sporadically notice how mundane my philosophical friends have become. And my writer-friends, too. I mean, think about it, guys. We walk out of the pub there, and Alex chirps, 'Sheesh, it's hot.' Now that's what I call a mundane observation. DUMAS: I'm sitting right here. PASCAL: Okay, Al. I'll ask you straight. Why do you feel the need to narrate life in all its ratty detail? It's not as if there's something to be gained-- DUMAS: You ignore a basic principal of social life. PASCAL: Yes? DUMAS: Social people engage in simple commentary and inquiry in order to hedge themselves in from the inevitable abyss, from death; their seemingly trite or as you say 'mundane' observations form a kind of mortar between the bricks of artful and philosophical statements. They are like sips of water between shots of bourbon. PASCAL: I never chase my bourbon. DUMAS: Okay, but do you prefer your bricks stacked loose? See, I neither seek to engage triviality nor do I shun it; unlike most people, though, I am at least half-conscious of my small talk. I wouldn't see the harm if I weren't, though. Much great thought has arisen from the seedbed of common gaffs, street mentionings. Let your words-of-mouth meander, Blaise. EMERSON: Well said, Alex. PASCAL: I have to think about it. It seems unduly ornamental. DUMAS: Not ornamental, Blaise. Basic to human nature. Come on. EMERSON: Here comes Virginia Woolf. DUMAS: I'm not afraid! PASCAL: There you go again, Al. EMERSON: [grinning broadly] Doh! DUMAS: She's sweating like a pig. Look at all the dark spots on her sun dress. EMERSON: Well, it's a hot day. No rain in sight, either. PASCAL: [dramatically exasperated] Come on guys. WOOLF: Hey fellas. What's shakin'? EMERSON & DUMAS: Nothin' but the leaves on the trees, sweetie pie! [She smiles brightly.] PASCAL: I am throwing up now. I am going to buy some smokes. [He crosses street, throws lemon rind in trash can, enters shop.] WOOLF: What's wrong with Blaise? DUMAS: We finally cornered him on his ivory-tower attitude toward common parlance. This has been a long time coming, but I think he'll rebound quickly. WOOLF: Interesting. DUMAS: And while we're cornering people, what's with the hero complex, Ralph? You're a nice guy, but I can stick up for myself in situations like this. EMERSON: Sorry, Alex. I leap at injustice. No offense intended. You're a man, you can handle conflict. WOOLF: Hey, hey now. DUMAS: Yeah, what's with the sexist remarks? EMERSON: Wow, a guy doesn't have to say much to give offense around here, does he? Remember, I'm a nineteenth-century intellectual from a democratic but imperialistic society. Although I am a humanist, my mores are based in Christian values. I'm not trained to guard myself against sexist comments. Mine is the age of science and industry; the strength of men is an important part of that. WOOLF: The strength of people, I would say. EMERSON: Whatever. DUMAS: That 'whatever' is the Achilles heel of your whole mentality, gentle thinker. I may be a novelist, Virginia, but I seem to outwit these mind-cowboys with dispatch. [Pascal reappears with a small, old fashioned packet of cigarettes; crosses the street to rejoin the group.] PASCAL: Anyone want to head up to Marty's for a slice? DUMAS: It's only 4:40, but I could eat. I think the heat has made me hungry. [The others nod their consent and the whole group begins to walk.] WOOLF: Do you guys want to hear an excerpt from my new bit? I'm calling it 'The Vagina Dialogues.' DUMAS: Ewww!! PASCAL: Why not monologues? WOOLF: Working title! Fear not, fellas. [The men huddle, whisper between themselves, and begin to chant 'Who's afraid of Virginia Woolf?'; Woolf grins broadly and joins in, and arm-in-arm they dance offstage.] == CURTAIN == Aaron Belz ========================================================================= Date: Mon, 21 Jan 2002 21:50:05 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Spiral Bridge Subject: Crossing Over the Spiral Bridge Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Spiral Bridge has invited you to "Crossing Over the Spiral Bridge". Click below to visit Evite for more information about the event and also to RSVP. http://www.evite.com/r?iid=XOGWMSHWBLMCMAYPPNCF This invitation was sent to you by Spiral Bridge using Evite. To remove yourself from this guest list please contact us at support@evite.com This Evite Invite is covered by Evite's privacy policy*. To view this privacy policy, click here: http://www.evite.com/privacy ********************************* ********************************* HAVING TROUBLE? Perhaps your email program doesn't recognize the Web address as an active link. To view your invitation, copy the entire URL and paste it into your browser. If you would like further assistance, please send email to support@evite.com * Updated 03/15/01. ========================================================================= Date: Mon, 21 Jan 2002 13:34:50 -0700 Reply-To: derek beaulieu Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: derek beaulieu Organization: housepress Subject: still available from housepress: "VOICES: poems for Karl & Talon" MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable a very few copies have become available of: "VOICES: poems for Karl & Talon" a.. a fundraising publication for Talonbooks b.. a limited edition collection of broadsides from: Douglas Barbour, = bill bissett, Robin Blaser, George Bowering, Louis Cabri, Stephen Cain, = Dennis Cooley, Frank Davey, Robert Hogg, Ryan Knighton, Nicole Markotic, = Daphne Marlatt, Ashok MAthur, Roy Miki, Erin Moure, bpNichol, Michael = Ondaatje, Jamie Ried and Sharon Thesen.=20 c.. gathered in handprinted archival grade card with archival grade = acid free plastic envelopes. d.. limited edition of 52 lettered copies (only 4 remianing) e.. $30.00 for more information, or to order a copy, contact derek beaulieu derek@housepress.ca ========================================================================= Date: Tue, 22 Jan 2002 00:42:37 +0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: giovanni singleton Subject: EXCITING NEW JOURNAL FEATURES LIT FROM AFRICAN DIASPORA & OTHER CONTESTED SPACES Mime-Version: 1.0 Content-Type: text/plain; format=flowed nocturnes (re)view of the literary arts announces the publication of its premier issue: "expanding the field of vision" editor: giovanni singleton advisors: arnold j. kemp, douglas scott miller, opalmoore, harryette mullen, kofi natambu, julie patton, and lorenzo thomas nocturnes is an annual publication dedicated to the exploration of spirit through innovative critical and creative literary art from throughout the african diaspora and other contested spaces. the journal serves as a forum for examining and celebrating the natural connections between diverse artistic mediums as expressed through visual and written language. purchase through Small Press Distribution www.spdbooks.org or 800.869.7553 ISBN: 1525-3325 format: 7x10; perfect-bound; 160 pages price: $12 nocturnes 1 cover features South African poet/activist Molefe Pheto photographed by London-based Franklyn Rodgers. inside find contributions by the following: Ammiel Alcalay Don Mee Choi Steven Davis Aja Couchois Duncan Percival Everett Orides Fontela (tr. Chris Daniels) Duriel E. Harris Jean-Luc Herisson (tr. Norma Cole) Lyn Hejinian Brenda Hillman John Keene Arnold J. Kemp Suzun Lucia Lamaina Mendi Lewis Obadike Nathaniel Mackey Dawn Lundy Martin Mark McMorris Abdelwahab Meddeb (tr. Pierre Joris) Semezdin Mehmedinovic (tr. Ammiel Alcalay) David Meltzer Douglas "D. Scot" Miller opalmoore Hoa Nguyen G. E. Patterson Julie Ezelle Patton Amarnath Ravva Deborah C. Richards Franklyn Rodgers Lorenzo Thomas Ronaldo V. Wilson Yolanda Wisher nocturnes (re)view of the literary arts is produced by nocturnes editions, an organization committed to publishing quality African Diasporic writing. Address all queries to: nocturnes po box 3449 berkeley, ca 94703 nocturnesreview@hotmail.com _________________________________________________________________ MSN Photos is the easiest way to share and print your photos: http://photos.msn.com/support/worldwide.aspx ========================================================================= Date: Mon, 21 Jan 2002 21:52:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Crossing The Subject: Crossing Over the Spiral Bridge Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Just a quick Reminder, A Spiral Bridge Multi-Lingual Poetry Reading Wednesday, January 23, 2002, 6 p.m.-8 p.m. Free If variety is the spice of life, why stick to American English poetry in a world teeming with language? Come listen, read, appreciate, and be inspired. All original works read by local poets and followed by an open mic. Please contact Cindy if you wish to read @ SpiralBridge@hotmail.com Barnes and Noble 395 Rte. 3 West Clifton, NJ ------------------------------------ ((((((((Attention Music Lovers))))))))) Free Thursday Night? Want to experience some great music by a band who has played numerous explosive sets at "The Naked Reading?" 'Perfect Tube' is performing this upcoming Thursday the 24th at Love Sexy in Hoboken, 104 Hudson St. Featuring The Dirty Dingus McGhee Rhythm Section $5 Admission. We thank you for your support. ----------------------------------------------- For reference, your link to this Invite is: http://www.evite.com/r?iid=XOGWMSHWBLMCMAYPPNCF 48484848 ========================================================================= Date: Sat, 19 Jan 2002 09:47:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: gene Subject: Re: objectivists? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed huh? Gene At 09:44 AM 1/18/02 -0600, you wrote: >yo, all, i've been reading norman finkelstein's and steve fredman's newish >books on jewish american poetry w/ special reference to the objectivists. >i'm beginning to see the logic of the designator "objectivist" and the >specificity of style, but can someone spell out for me how zukovsky's >insistence on a poem as a "rested totality" and the concept of the object >as bearer of meaning are different from, respectively, the notion of the >lyric poem as an autonomous "whole" and eliot's "objective correlative"? >that is, i can see how the *poetry* is different, but i'm not sure how the >*poetics* are different, from what has become normative. forgive the >flatfootedness of the question, but i've been slow to approach the >"objectivists" --i've said before on this list that the word "objectivists" >immediately made me feel as if i wouldn't be smart enough to understand >them -- and i'd appreciate a lucid and precise explanation. ========================================================================= Date: Mon, 21 Jan 2002 19:14:18 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Bowering Subject: Re: What do you think ? In-Reply-To: <200201191601.LAA02269@webmail4.cac.psu.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >On Fri, 18 Jan 2002 18:54:29, Ron Silliman wrote: > >> Pam, >> >> It sucks, obviously. >> >> Calling these people "unlawful combatants" is as creative as the >> Rumsfeld-Ashcroft set gets. Yes, such combatants have fewer rights under the >> Geneva Convention than do POWs, but that is because there is NO such >> category under the convention -- these are POWs, pure and simple. >> > > >AND under the Geneva convention, if there is some question as to >whether or not >a captive is to be classified as a POW, the decision is to be made by a board >carefully defined under the accords, not by the chief executive of one of the >warring parties -- The Bush administration, which always portrayed itself as a >great friend to the average GI, seems remarkably untroubled by the precedent >this sets -- I think we know what to expect, after this, when one of our >"advisors" gets grabbed in the Phillipines, Singapore or elsewhere -- > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> But when did we ever expect the USA to act according to any international agreements on anything? They wont pay their UN fees. They say to hell with environmental accords, even after they sign them. They bomb the shit out of every smaller country they can find. They topple elected governments and install unelected ones. Why would anyone expect the USA to act according to any civil decency rules? -- George Bowering No one can top Jimmy Durante. Fax 604-266-9000 ========================================================================= Date: Mon, 21 Jan 2002 23:14:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: query on behalf of a friend In-Reply-To: <006f01c1a085$51981360$8bf4a8c0@netserver> MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit David Bircumshaw wrote: > Eliot hated the idea of biographies. > > To make a statement like ' Peter Ackroyd's is an excellent start.' is to, > wittingly or unwittingly, subscribe to a lie. You, I, or anyone > else, cannot > know what was the reality of Eliot's life to Eliot, even any more than we > can of Mrs Mopbucket the part-time cleaner who lives in the flat > downstairs > or Mr Fuckem, the great broker, or anyone else with the partial > exception of > those very few people we know with a degree of the intimacy that we know > ourselves. Which knowing of oneself mostly consists of forgettings. Quite true, Dave, though if it annoyed Eliot, then I, not a big reader of biographies, will willingly turn into one, 'cause I love to annoy the annoying mr. Eliot. Of course all biographies are "fictions" to some extent, just as all autobiographies are. And yet Dave, as a young writer, were you not interested in the actual lives of those writers you were reading & admiring? Most of my students want to know something -- from a little to a lot -- of the lives of the authors they like. & I don't think that is an illegitimate desire, even, and maybe especially in this post-textual, post-death-of-the-author era. Come to think of it, I am right now looking forward with some excitement to the soon to be published biography of Ed Dorn -- the publication of which will, I would think, also send a number of people to the work itslef -- & that finally, is what we want, no? for the poems to be read? Pierre > > Anyone up for a Shakespeare biography? > > Best > > Dave > > > > David Bircumshaw > > Leicester, England > > Home Page > > A Chide's Alphabet > > Painting Without Numbers > > http://homepage.ntlworld.com/david.bircumshaw/index.htm > ----- Original Message ----- > From: "Pierre Joris" > To: > Sent: Friday, January 18, 2002 3:49 PM > Subject: Re: query on behalf of a friend > > > > > > > > hey everyone, can you point me toward several decent biographies of ts > > > eliot? > > > > Peter Ackroyd's is an excelletn start. > > > > > > a young actor friend, very smart but unable because of his career > > > to take regular college classes but who is trying to educate > > > himself, wants > > > to know. i do too, since i've agreed to discuss "The Wasteland" with > him > > > at some point in the future. > > > > > > > > > > > ________________________________________________________________ > > Pierre Joris Just out from Wesleyan UP: > > 6 Madison Place > > Albany NY 12202 POASIS: Selected Poems 1986-1999 > > Tel: (518) 426-0433 > > Fax: (518) 426-3722 go to: http://www.albany.edu/~joris/poasis.htm > > Email: joris@ albany.edu > > Url: > > > __________________________________________________________________ > __________ > > _ > > > ========================================================================= Date: Mon, 21 Jan 2002 23:41:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Wanda Phipps Subject: Film/poetry/installation exhibition/party MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Joel Schlemowitz cinepaintings - filmscrolls - projections The Courthouse Gallery Anthology Film Archives Second Ave and Second Street NYC January 24 - 30 2002 hours: 6 PM - 9 PM Artist's Reception 6 PM Thursday January 24 -- Wanda Phipps Hey, don't forget to check out my website MIND HONEY http://users.rcn.com/wanda.interport (and if you have already try it again) poetry, music and more! ========================================================================= Date: Tue, 22 Jan 2002 00:50:08 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: Re: query on behalf of a friend MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Me thinks if TS eschewed bios he wanted to keep Viv out of the history especially her editing skills sm ========================================================================= Date: Tue, 22 Jan 2002 07:13:07 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: What do you think ? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Or the CIA or whoever will stage a fake "liberation attempt" and blame it on Cuba and use it as an excuse to attack the "last bastion" of communism. I saw an interview with and ex CIA boss and he was glad of those killed after his CIA had toppled Allende and was proud that they had "democracy" exceppt in Cuba: "And look how terrible that is." Keep an eye on this situation. Thus US is facing a kind of "creeping fascism" .......its likeVietnam: exactly like: the military are loving this: they are all but running "The Land of The Free." Only the rich are free anywhere inculding the US. Richard. ----- Original Message ----- From: "Mark Weiss" To: Sent: Saturday, January 19, 2002 3:00 PM Subject: Re: What do you think ? > To go a step further, if there's no declared war they're not POWs. If > they're suspected of complicity in a US crime (the trade center, for > instance), if extradited to the US they can be held in a federal prison and > tried in federal civilian court. Military jurisdiction seems a stretch. > > A friiend suggested to me that they're being held in Guantanamo because US > civilian law doesn't apply there. I have no idea if this is so, but I doubt > it: I thought that US law applies in leased territories. I wouldn't mind > being enlightened. Ron, do you know? > > My fantasy, because I try, against all logic, to figure out the rationale > for absurd behaviors, is that Bush and Co. plan to punish the prisoners by > releasing them in Havana, probably the sexiest place on earth, and watching > them implode. > > Mark > > > At 06:54 PM 1/18/2002 -0500, you wrote: > >Pam, > > > >It sucks, obviously. > > > >Calling these people "unlawful combatants" is as creative as the > >Rumsfeld-Ashcroft set gets. Yes, such combatants have fewer rights under the > >Geneva Convention than do POWs, but that is because there is NO such > >category under the convention -- these are POWs, pure and simple. > > > >What never gets said clearly, though it is obviously behind what thinking > >the Bushies do is that normally after a conflict POWs go home, tend their > >fields, raise families, turn into Joseph Beuys if they're lucky, etc. But > >the concern here is that these folks won't stop fighting just because > >someone declares the war over. > > > >In a sense, this parallels the current penal trend to keep sex criminals in > >the US in custody past the completion of their terms on the grounds that > >they continue to be dangerous. It's a status offense, rather than one > >committed. All status offenses (beginning with the classic "juvenile > >delinquent") are really crimes of the mind -- if you knew what X (or Y) was > >thinking, you'd lock them up. > > > >This is par for the Bush regime. One of the conundra that progressives have > >been faced with in the past 4+ months in the US is what to do with real > >enemies when one's own elected officials are so utterly hopeless. Having an > >administration that got into power by extra-constitutional means has > >literally meant that said regime has shown precious little regard for the > >constitution once it got into power. [Thanks yet again, Ralph Nader.] And > >would you trust a court system that has, at its pinnacle, the likes of > >Scalia or Thomas? > > > >These are dangerous times, > > > >Ron Silliman > >(whose ancestor, Sir John Franklin, was not exactly one of the progressives > >of Australian history....) > > > > > >"Dear Poetics, > >I'm wondering what list members think about the > >treatment of these prisoners ? > >Here's a very brief article from Sydney's daily > >newspaper. > >http://www.smh.com.au/news/0201/18/world/world4.html > >Best wishes, > >Pam Brown > > > > > >Ron Silliman > >ron.silliman@gte.net > >rsillima@hotmail.com > > > >DO NOT RESPOND to > >Tottels@Hotmail.com > >It is for listservs only. > > > >_________________________________________________________________ > >MSN Photos is the easiest way to share and print your photos: > >http://photos.msn.com/support/worldwide.aspx ========================================================================= Date: Tue, 22 Jan 2002 07:34:00 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: prisoners MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The trouble is that Ron Silliman, Marjorie Perloff and David Antin and other "liberals" supported US Imperialist intervention in Afghanistan. Its impossible for some Americans to see why they are hated in many parts of the world and to take a non-racial stance. Arabs are "hot blooded"...Justice is to be found in the US. Antin, Perloff, and Silliman are of the establishment now on big salaries: as far as they are concerned the US is in terrible danger form the "dark men" ... soon they'll be raving like Pound. Bernstein's response was humane and direct: I admit some of mine were a bit "crazy", but after my initial reaction, I was opposed always to this futile "anti-terrorist" infinite justice crap. And I feel passionately for everyone who is suffering from S11 or anywhere where there is war or poverty. Anywhere. I am concerned that the US is looking more and more like Nazi Germany.Somebody over here asked me if I wanted to join the Taleban: but I am not a Muslim..as much as I support their struggle over there...so far I am relatively "neutral"...but things arent looking good (nor in Australia)...(or NewZealand). But I am still keeping open contacts with Americans, for now. I agree with Scott (I didnt see his post before my last post). Regards, still,Richard. PS "it sucks " are the words of someone trying to be clever or "with it": they sound weak and flippant: almost inhumane. ----- Original Message ----- From: "Pam Brown" To: Sent: Saturday, January 19, 2002 8:02 PM Subject: prisoners > Thanks Ron, > I knew you'd say it sucks. And, of course, I agree. > I guess I wanted to open the topic as it's so worrying > to see human rights being ignored so flagrantly in so > many places & situations currently. > You say "This is par for the Bush regime. One of the > conundra that progressives > have > been faced with in the past 4+ months in the US is > what to do with real > enemies when one's own elected officials are so > utterly hopeless. > Having an > administration that got into power by > extra-constitutional means has > literally meant that said regime has shown precious > little regard for > the > constitution once it got into power." > We have a government in Australia that was elected on > fear & division in relation to refugees - right now, > this country has more refugees "in detention" than any > other.Two days ago 58 of the "detainees" in the desert > "detention centre" (euphemism for "prison") at Woomera > (which is an old rocket testing/launching facility) > physically sewed their lips up & went on hunger strike > in protest at the delay in their refugee-status > applications being processed. > I can only report this. > > And, was that Sir John Franklin who sailed with > Matthew Flinders ? I think his problem when he became > governor of Tasmania was that he inherited Arthur's > severely punitive penal system & was too much of a > wimp to change it. > > Thanks again, > Pam > > > > ===== > Web site/P.Brown - http://www.geocities.com/SoHo/Workshop/7629/ > > http://my.yahoo.com.au - My Yahoo! > - It's My Yahoo! Get your own! > ========================================================================= Date: Tue, 22 Jan 2002 10:00:03 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Re: What do you think ? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit If there's no declared war, then the recent attack upon Afghanistan was by illegal combatants. There's a fairy story in which one character, guilty, describes the punishment for the crimes they committed but attributing those crimes to others And the guilty one gets the punishment they have wished on the innocent So my fantasy is: Here is your cage, Mr Bush; please step forward; Mr Blair... And of course Mr Sharon L ----- Original Message ----- From: "Mark Weiss" To: Sent: 19 January 2002 02:00 Subject: Re: What do you think ? | To go a step further, if there's no declared war they're not POWs. If | they're suspected of complicity in a US crime (the trade center, for | instance), if extradited to the US they can be held in a federal prison and | tried in federal civilian court. Military jurisdiction seems a stretch. | | A friiend suggested to me that they're being held in Guantanamo because US | civilian law doesn't apply there. I have no idea if this is so, but I doubt | it: I thought that US law applies in leased territories. I wouldn't mind | being enlightened. Ron, do you know? | | My fantasy, because I try, against all logic, to figure out the rationale | for absurd behaviors, is that Bush and Co. plan to punish the prisoners by | releasing them in Havana, probably the sexiest place on earth, and watching | them implode. | | Mark | | | At 06:54 PM 1/18/2002 -0500, you wrote: | >Pam, | > | >It sucks, obviously. | > | >Calling these people "unlawful combatants" is as creative as the | >Rumsfeld-Ashcroft set gets. Yes, such combatants have fewer rights under the | >Geneva Convention than do POWs, but that is because there is NO such | >category under the convention -- these are POWs, pure and simple. | > | >What never gets said clearly, though it is obviously behind what thinking | >the Bushies do is that normally after a conflict POWs go home, tend their | >fields, raise families, turn into Joseph Beuys if they're lucky, etc. But | >the concern here is that these folks won't stop fighting just because | >someone declares the war over. | > | >In a sense, this parallels the current penal trend to keep sex criminals in | >the US in custody past the completion of their terms on the grounds that | >they continue to be dangerous. It's a status offense, rather than one | >committed. All status offenses (beginning with the classic "juvenile | >delinquent") are really crimes of the mind -- if you knew what X (or Y) was | >thinking, you'd lock them up. | > | >This is par for the Bush regime. One of the conundra that progressives have | >been faced with in the past 4+ months in the US is what to do with real | >enemies when one's own elected officials are so utterly hopeless. Having an | >administration that got into power by extra-constitutional means has | >literally meant that said regime has shown precious little regard for the | >constitution once it got into power. [Thanks yet again, Ralph Nader.] And | >would you trust a court system that has, at its pinnacle, the likes of | >Scalia or Thomas? | > | >These are dangerous times, | > | >Ron Silliman | >(whose ancestor, Sir John Franklin, was not exactly one of the progressives | >of Australian history....) | > | > | >"Dear Poetics, | >I'm wondering what list members think about the | >treatment of these prisoners ? | >Here's a very brief article from Sydney's daily | >newspaper. | >http://www.smh.com.au/news/0201/18/world/world4.html | >Best wishes, | >Pam Brown | > | > | >Ron Silliman | >ron.silliman@gte.net | >rsillima@hotmail.com | > | >DO NOT RESPOND to | >Tottels@Hotmail.com | >It is for listservs only. | > | >_________________________________________________________________ | >MSN Photos is the easiest way to share and print your photos: | >http://photos.msn.com/support/worldwide.aspx | ========================================================================= Date: Tue, 22 Jan 2002 11:14:54 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Objects in mirror may not appear MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Aldon. I'll butt in here: I think Maria was referring to Zukofsky. Or am I mixing upa post? But diverting to Brakhage: I;ve seen some of his work and I found what I saw fascinating...altho I dont think I could handle "Autopsy" which si described by the poet Iain Sinclair in his book of poems and essays "Flesh Eggs and Scalp Metal" which I reccomend for anyone wanting a change of tenor and/or a bit of blackness: but sincerely he's brilliant and interesting on Brakhage. As to the "objectivists" .. werent they always rather loosely defined by Zukovsksy's inclusion in "Poetry" and many not having much in common? Your quote looks interesting: I would agree with it in general eg in his poem about the death of his father this event IS the event as it happens: but that is also problematic (that poem is one of the most powerful "angry" poems on death I've read) ..there are no symbols per se, unless the words and phrases are, and/but the poem is still an "enactment"... which implies a certain amount of rhetoric and becomes almost a ritual... closer to the "objective" ideal would be poems such as the one about the piece of glass beteen the black wings of the "contagious" hospital: but it is arguable that his long poem "Spring and All" doesnt metaphorasise "spring"...what makes it less Eliotic is his use of prose interventions in the original work... I would acknowledge that Eliot is closer to Mallarme and of course Lafourge..hence influenced by the French symbolists... As to the objective correlative is it always to convey the artist's subjectivity? It may do so: eg the yellow fog that rubs upon the window pane(s) is the mood at least of Eliots "alter ego" Prufrock (which he might deny) but may have been very much a 'piece' or "big part" of Mr Eliot...but to what extent is Williams not also subjective in his apparently "objective" way of writing?...I dont see such a fundamental divide as a "spectrum" say where eg Robert Lowell is at one end of the poetic spectrum (the supposedly rigorously subjective altho even that is fraught) and then we shift over to Berryman or to Spicer then over to Ashbery to O'hara Ted Berrigan and Alice Notley to Eliot - somewhere in there! - and teh Pound to Williams to Zukofsky...and on to the Language poets but a better map: if a map could be made would be more like a Venn Diagram with intersecting styles and aspects to each writer...eg where would "Kora in Hell" fit in with "Patterson" and the various parts of "A" ... I think there are parallels with The Waste Land in the early parts of "A" and also somewhat a parallel with The Waste Land to Patterson. In parts of Zukovfsky's "A" the language effect or use of is strangely abstract in its very concentration on particulars; the attempt of which may be a trap: an intriguing and useful one which moves Zukofsky toward Blake even: obviously Stevens is more significant than has been much mentioned. I not so sure of the complete distance between Eliot and Williams...which topic Bill Austin has commented on before. Thoughts of a dry head. Regards, Richard ----- Original Message ----- From: "ALDON L NIELSEN" To: Sent: Sunday, January 20, 2002 8:00 AM Subject: Objects in mirror may not appear > Maria: > > I just happened to be reading Bruce Elder's book on the films of Stan Brakhage > and the traditions of Pound, Stein and Olson when your question came across my > screen -- This passage may make a start towards your answer: > > Where Williams' use of the particular object differs from Eliot's is that Williams' method does not convert the object into an objective correlative, i.e., a > vehicle for conveying the artist's subjectivity, nor does his compositional > process reduce it to a metaphor, or a symbol of some sort, of inwardness. The > particular object remains autonomous, independent of, and indifferent to the > feelings that its qualities suggest. It is, paradoxically, as utterly > objective that these "correlatives" call upon subjectivity, and reveal its > characteristics. (p 165) > > > and that, I think it's clear, suggests why Williams was a natural ally of the > Objectivists -- > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > Tell Her -- the page I never wrote! > Tell Her, I only said -- the Syntax -- > And left the Verb and the Pronoun -- out! > --Emily Dickinson > > > Aldon L. Nielsen > Kelly Professor of American Literature > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 > ========================================================================= Date: Tue, 22 Jan 2002 09:28:33 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Hartley Subject: jingo juxta? Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Here's an interesting display of juxtaposition: http://community.webshots.com/photo/25230191/25494380YYjEXrciID How do we characterize the interplay of these images, especially given the current political circumstances we face? Geo _________________________________________________________ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com ========================================================================= Date: Tue, 22 Jan 2002 10:00:57 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Hank Lazer Subject: Now available: DAYS MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Announcing new from Lavender Ink = (http://www.lavenderink.org) Days by Hank Lazer ---------------------------------------------------------------------- -- "This is a book filled with joy. The works are marked as well be reverence. The guiding genius is Thelonious Monk's - the poems = dance, they also kick. The days of Hank Lazer's Days shake up the lyrics = in which they are inscribed." Lyn Hejinian "These are beautiful - and peaceful - poems, signs of a mind and hand immediate with its materials." Norman Fischer ---------------------------------------------------------------------- -- Days, by Hank Lazer ISBN 0-971086-0-9, 160 pages Paper- $14.95 Signed limited edition, with broadside and CD - $50.00 The limited edition includes: * Letterpress broadside by Inge Bruggeman of INK-A! Press * CD recording of the entire book read by the author, with additional tracks featuring the Alabama Poetry Ensemble: Jake Berry, guitar; Wayne Sides, percussion; Hank Lazer, vocals. * Only 50 sets made; 40 available. ---------------------------------------------------------------------- -- To order the paperback or the limited edition, reply to this message, or go to http://www.lavenderink.org/lazer.htm ---------------------------------------------------------------------- -- "This playfulness casts us under the spell of a 'hip gnosis' (to use one of Lazer's outlandish puns) that open us, in the way only music and poetry can, to the intimations of love, friendship, and spiritual searching found everywhere, every day, inside these pages." John Gery "Days locates itself in the charged rift between immanent and daily experience and our textual heritage. Hank Lazer seamlessly ventriloquizes such poets at Stein, Pound, Eigner, and Plath, sometimes against the grain, making the familiar words new." Rae Armantrout Days is Hank Lazer's first large collection of poetry to appear in six years. Written over the span of one-year-and-a-day, Lazer's new book is a laboratory space for experimentation with the resources and possibilities of the short line and for new modes of lyricism. His previous books of poetry include Simple Harmonic Motions (INK-A! Press), As It Is (Diaeresis Chapbooks), 3 of 10 (Chax Press), Early Days of the Lang Dynasty (Meow Press), Doublespace: Poems 1971-1989 (Segue Books), and INTER(IR)RUPTIONS (Generator Press). With Charles Bernstein, he edits the Modern and Contemporary Poetics Series for the University of Alabama Press. His two volume collection of critical writings on contemporary poetry, Opposing Poetries, was published in 1996 by Northwestern University Press. Along with Jake Berry and Wayne Sides, Lazer is a founding member of The Alabama Poetry Ensemble. A Professor of English, Lazer is Assistant Vice President for Academic Af airs at the University of Alabama. ---------------------------------------------------------------------- -- To order the paperback or the limited edition of Days: http://www.lavenderink.org/lazer.htm General Info: http://www.lavenderink.org ---------------------------------------------------------------------- >From Days: 3 10/1/94 and then again back in it witness serendipitous atoms drip & cripple the im perceptible ache of it jack she took her life a parent=8Fs love called a darkening of the heart emily to susan avalanche or avenue ------- End of forwarded message ------- ========================================================================= Date: Tue, 22 Jan 2002 02:08:38 -0500 Reply-To: dbuuck@mindspring.com Sender: UB Poetics discussion group From: "dbuuck@mindspring.com" Subject: info requests Content-Transfer-Encoding: Quoted-Printable MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Looking for contact info for: Dorothy Trujillo Lusk Liz Waldner Edwin Torres Walter Lew Ammiel Alcalay b/c fine - thanks David Buuck dbuuck@mindspring.com -------------------------------------------------------------------- mail2web - Check your email from the web at http://mail2web.com/ . ========================================================================= Date: Tue, 22 Jan 2002 11:21:29 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: GasHeart@AOL.COM Subject: Philly: Theater, Music, Film - Jan./Feb. 2002 MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: quoted-printable 1. Headlong Dance Theater at The Wilma this Thursday Jan. 24th, 7:30 2. The Space at 4134 Lancaster Ave. Successfully Purchased ! 3. Adrian Belew live at the North Star, Fri., Feb. 22 4. GOT THEATER?, Guaranteed Overnight Theatre at The Brick,=20 collaborative/participate 5. Salesman, a film from 1969, at Int. House, Thu., Jan. 24th, 8pm 6. The Philadelphia Fringe Festival=92s Call For Artists ________________________________________________________ 1. Headlong Dance Theater at The Wilma this Thursday Jan. 24th, 7:30 Headlong Dance Theater's home season is now up and running at=20 Philadelphia's Wilma Theater (Broad & Spruce Streets, 215-564-7824). =20 Come see the premiere of "Subirdia," Atomic Age suburban living with an=20 ornithological twist, and "Gracelessness," a moody collage of trust and=20 its opposites. (Plus a special appearance by a very pregnant member of=20 the company.) Thursday, Jan 24, 7:30. Wilma Theatre, Broad & Spruce Streets, Philadelphia 215.546.7824 Headlong premieres Gracelessness and Subirdia as part of the Wilma=92s=20 =93Dance Boom=94 series. Aug 30-Sep 14 Philadelphia Fringe Festival Headlong will premiere a major new work commissioned by the Fringe=20 Festival, with two weeks of performances. Please contact us; we love feedback and questions.=20 Our current email addresses are: Andrew Simonet David Brick Amy Smith Andrew, Amy, and David Headlong Dance Theater 1170 S. Broad St. Philadelphia, PA 19146 215-545-9195 ___________________________________________________ 2. The Space at 4134 Lancaster Ave. Successfully Purchased ! Thanks to many generous people, and all the benefits....the $15,100 needed t= o=20 buy the space was raised and now the hard work begins of how to fix it up an= d=20 to raise more money for this.=20 more info is available at to view a map of the 2nd and 3rd floor, see=20 this will be a community run grassroots place for media and more! three main groups involved at this time are the philadelphia independent=20 media center , the defenestrator , and= =20 radio volta proposals are now being requested from any group that wants to participate. contact jay at or amy at please donate time/money/skilled and unskilled labor ________________________________________________________ 3. Adrian Belew live at the North Star, Fri., Feb. 22 Friday, February 22 North Star The Bears featuring Adrian Belew Tix: $22.50 / Show: 9pm Adrian Belew is a great guitarist and sincere singer who is in King Crimson=20 and has toured with David Bowie. By the way, David Bowie, was very sick last= =20 week in Florida, went to a hospital for six hours of tests, apparent lung=20 problem. Bowie is a heavy smoker. -josh __________________________________________________________ 4. GOT THEATER?, Guaranteed Overnight Theatre at The Brick,=20 collaborative/participate The Brick Playhouse 623 South Street Philadelphia, PA 19147 215 - 592 - 1183 www.thebrickplayhouse.org =20 Philadelphia's MEDIA CONTACT: Presenting Company Mark Cofta, (215) 848 - 0449 for Contemporary Theater e-mail: cmarkplay@aol.com =20 THE BRICK PLAYHOUSE presents Guaranteed Overnight Theatre -- GOT! January 15, 2002 -- The Brick Playhouse, producers of the popular IT=20 (Independent Theatre) series of one-acts and the perenially sold-out Night o= f=20 1000 Plays, continues GOT, Guaranteed Overnight Theatre, on Saturday Februar= y=20 2nd at 10 pm at The Brick Playhouse, 623 South St., Philadelphia,=20 215-592-1183. =20 GOT brings together theatre artists to create theatre literally overnight. =20 Playwrights, directors, and actors are teamed on Friday evening, commissione= d=20 to create a short play that will be rehearsed and refined through Saturday,=20 and performed live and fully produced on Saturday night! =20 =93We literally won=92t know what you=92ll get until Saturday night,=94 says= =20 Producing Artistic Director Mark Cofta, =93but we guarantee it will be fresh= =20 and fun.=94 Each month=92s GOT will have its own set of challenges for the=20 creative teams, often using suggestions from previous GOT audiences as=20 inspiration. =93Expect some audience participation.=94=20 =20 GOT modifies a production idea that has been growing popular in theatres all= =20 over the country, explains Artistic Director Linda Lough, with some special=20 Brick twists that stress collaboration and creativity. "GOT is a great=20 challenge for our playwrights, directors, and actors," she says, "and a grea= t=20 way to create new working relationships between artists. And it's going to=20 be a real thrill for audiences!" =20 GOT will continue on the first full weekend of each month with all-new=20 creations. GOTs will play on March 2, April 6, May 4, and June 8, 2002. =20 Listings Information: What: GOT, Guaranteed Overnight Theatre When: Saturday February 2, 10 pm Where: The Brick Playhouse, 623 South St., Philadelphia Tickets: $10, call 215-592-1183. www.thebrickplayhouse.org Press welcome -- contact Producing Artistic Director Mark Cofta at the numbe= r=20 or e-mail address above. < i heard of a group in Boston doing something similar to this, it was calle= d=20 Stone Soup, and i heard good things about it -josh> ___________________________________________________________ 5. Salesman, a film from 1969, at Int. House, Thu., Jan. 24th, 8pm FILM @ INTERNATIONAL HOUSE for the week of January 21-27 3801 Chesnut St. A FILM @ INTERNATIONAL HOUSE SPECIAL EVENT - The Films of Albert and David Maysles Thursday, January 24 - 8:00PM Admission: $5.00 SALESMAN=20 directed by Albert & David Maysles, 1969, 35mm, 90 mins, Black & White A fascinating and controversial investigation of American materialism, Salesman follows the successes and failures of four Boston-based sales representatives of the Mid-American Bible Company. Their product is a gilt-edged, DuPont fabricoid, plastic-and-nylon-bound Bible, ("It's washable and outlasts leather four to one.") The film focuses on the personal crisis of one of the salesmen, Paul Brennan, who despite the theological pep talks at the sales convention, finally succumbs to "negative thoughts" after failing day after day to make a sale.=20 < i saw this movie about bible salesmen like twenty years ago, and it is ver= y=20 very good, try to see this if you can.....beyond "death of a salesman" very= =20 real and philosophical. -josh> Friday, January 25 - 8:00PM=20 Admission: $5.00 Special Appearance by Albert Maysles WHAT'S HAPPENING! THE BEATLES IN THE USA=20 directed by Albert & David Maysles, 1964, 16mm, 43 mins, Black & White The British Invasion starts here as the Maysles follow John, Paul, George and Ringo for five days: from crazed airport reception to press conferences to backstage at the Ed Sullivan Show, endless hotel rooms, their horrified encounter with the legendary DJ Murray the K and finally their equally frenzied homecoming. Much of the footage shot by the Maysles Brothers would directly inspire the fictional account of those early days of Beatlemania in Richard Lester's A Hard Days Night (1964).=20 followed by: GIMME SHELTER=20 directed by Albert & David Maysles and Charlotte Zwerin, 1970, 35mm, 90 mins, Color Considered by many critics to be the greatest rock film ever made, the Maysles Brothers and Charlotte Zwerin brilliantly capture The Rolling Stones in peak form during their 1969 US tour. Cutting between a performance at Madison Square Garden in New York and the ill-fated free concert at San Francisco's Altamont Speedway, Gimme Shelter is both an exhilarating and sobering look at the twilight of the sixties cultural revolution in America. ____________________________________________________________ 6. The Philadelphia Fringe Festival=92s Call For Artists Dear Josh: =20 Hi and Happy Holidays. Could you do me a favor? I=92m trying to reach as ma= ny=20 people as possible to tell them about the Philadelphia Fringe Festival=92s c= all=20 for artists. The deadline is earlier this year so I want to get the word ou= t=20 soon. =20 Could you pass on this email? =20 Thanks. =20 Deborah =20 The organizers of the sixth annual Philadelphia Fringe Festival are=20 conducting a search for risk-taking, boundary-breaking artists. Centered i= n=20 Old City, last year=92s 16-day festival brought in 35,000 attendees. This y= ear=20 the festival will take place on August 30 - September 14, 2002. Artists can participate in two ways: through the adjudicated Fringe or by=20 producing their own work in the Unfiltered Fringe. Applications are due=20 February 28th, 2002. Daring presentations with artistic promise will be=20 chosen by diverse panels of artists and arts administrators. Unfiltered=20 artists have until May 31st, 2002 to send in their participation form. =20 The City Paper said that the Fringe is like =93a circus that magically appea= rs=20 and disappears each year.=94 =20 For an application or information call, write or browse Deborah Block, Program Director =20 Philadelphia Fringe Festival=20 211 Vine Street=20 Philadelphia, PA 19106 Tel:215-413-9006 x13 =20 fax: 215-413-9007=20 Deborah@aol.com=20 www.pafringe.org=20 ___________________________________________________________ well, that's about it for now....i know i haven't been sending this=20 newsletter out as frequently as in the past, but i've been really=20 busy....i've been involved in real estate...by the way, anyone interested in= =20 buying a 3-4 bedroom house in the northern liberties area for $40,000...or i= f=20 you want to rent a 2 bedroom apt in the 12th and Fitzwater area for $990/mo.= =20 including heat, all newly renovated, hardwood floors, washer/dryer, please=20 email me directly at GasHeart@aol.com, -josh anyone want to be added or deleted from this list, please email me at=20 GasHeart@aol.com -josh cohen GasHeart@aol.com ========================================================================= Date: Tue, 22 Jan 2002 13:59:14 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: objectivists? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/21/02 11:19:59 PM, genegrab@ADELPHIA.NET writes: << and i'd appreciate a lucid and precise explanation. >> The objective correlative is the single image as intellectual/emotional nexus. Objectivism references the relational properties of entire poems. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com/BarnesandNoble.com ========================================================================= Date: Tue, 22 Jan 2002 12:01:12 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Elena Caballero-Robb Subject: Re: What do you think ? In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT The Philippines will be among the next sites of U.S. interference, with the U.S. "training" Filipino special forces in special combat methods for the purpose of putting the insurgents cum kidnappers in Mindanao out of business. And this latest neo-imperial interference is justified by the allegation that Al Qaeda helps/helped to fund "the Islamic militant group Abu Sayyaf." True or not, it smacks of the U.S. support of Marcos' repressive and violent "anti-Communist" programs in the 70s and 80s, complete with torture and "disappearances". Poor Gloria Macapagal Arroyo. There are a lot of people in the Philippines, including some relatives of mine, who are hoping she can avoid handing the country right back to the U.S. military, especially after they got rid of Estrada. On the other hand she may be opportunistically taking the opportunity to clean house--to end the embarrassment of rebels who kidnap nice missionaries from Kansas once and for all. A lot of Filipinos are nervous about the prospect of a renewed and increased U.S military presence in the Philippines, especially after that lease on the big naval base finally ran out, not a decade ago. Maria Elena -----Original Message----- From: UB Poetics discussion group [mailto:POETICS@LISTSERV.ACSU.BUFFALO.EDU]On Behalf Of George Bowering Sent: Monday, January 21, 2002 6:14 PM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Subject: Re: What do you think ? >On Fri, 18 Jan 2002 18:54:29, Ron Silliman wrote: > >> Pam, >> >> It sucks, obviously. >> >> Calling these people "unlawful combatants" is as creative as the >> Rumsfeld-Ashcroft set gets. Yes, such combatants have fewer rights under the >> Geneva Convention than do POWs, but that is because there is NO such >> category under the convention -- these are POWs, pure and simple. >> > > >AND under the Geneva convention, if there is some question as to >whether or not >a captive is to be classified as a POW, the decision is to be made by a board >carefully defined under the accords, not by the chief executive of one of the >warring parties -- The Bush administration, which always portrayed itself as a >great friend to the average GI, seems remarkably untroubled by the precedent >this sets -- I think we know what to expect, after this, when one of our >"advisors" gets grabbed in the Phillipines, Singapore or elsewhere -- > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> But when did we ever expect the USA to act according to any international agreements on anything? They wont pay their UN fees. They say to hell with environmental accords, even after they sign them. They bomb the shit out of every smaller country they can find. They topple elected governments and install unelected ones. Why would anyone expect the USA to act according to any civil decency rules? -- George Bowering No one can top Jimmy Durante. Fax 604-266-9000 ========================================================================= Date: Tue, 22 Jan 2002 14:57:14 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: Re: What do you think ? hope cia doesn't join list MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I think Cuba chosen so we can forgo embargo maybe bush wants to tap elian for fed office love to hear what marislysis has to say I'm thrilled marines have new camouflage chic perhaps this will end in waterworld maybe dachle's office et anthrax was like Watergate burglary chandra hell she ran off to bin laden apres the apocalypse Jon benet will resurrect where is Neil bush when ya need him was he advising enron his kid is modeling and acting runs in family runs in party wish I could run sm. ========================================================================= Date: Tue, 22 Jan 2002 18:23:53 -0500 Reply-To: jtley@home.com Sender: UB Poetics discussion group From: Jennifer Ley Organization: Riding the Meridian Subject: Re: jingo juxta? MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit An endangered bird and a dead hero swimming on a sea of red/white/blue with a cracked liberty bell puts me in mind of John Donne: "And therefore never send to know for whom the bell tolls; It tolls for thee." >George Hartley wrote: > Here's an interesting display of juxtaposition: > > http://community.webshots.com/photo/25230191/25494380YYjEXrciID > > How do we characterize the interplay of these images, especially given the > current political circumstances we face? > > Geo ========================================================================= Date: Tue, 22 Jan 2002 15:39:37 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: objectivists? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit -----Original Message----- From: gene To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Monday, January 21, 2002 7:19 PM Subject: Re: objectivists? >huh? > >Gene > >At 09:44 AM 1/18/02 -0600, you wrote: >>yo, all, i've been reading norman finkelstein's and steve fredman's newish >>books on jewish american poetry w/ special reference to the objectivists. >>i'm beginning to see the logic of the designator "objectivist" and the >>specificity of style, but can someone spell out for me how zukovsky's >>insistence on a poem as a "rested totality" and the concept of the object >>as bearer of meaning are different from, respectively, the notion of the >>lyric poem as an autonomous "whole" and eliot's "objective correlative"? >>that is, i can see how the *poetry* is different, but i'm not sure how the >>*poetics* are different, from what has become normative. forgive the >>flatfootedness of the question, but i've been slow to approach the >>"objectivists" --i've said before on this list that the word "objectivists" >>immediately made me feel as if i wouldn't be smart enough to understand >>them -- and i'd appreciate a lucid and precise explanation. >the term was faut de mieux, cooked up, half-baked, by Zukofsky at EP's urging. Far better to read the individual poets, than to worry that term. Then decide for yourself what they have in common. (Not said to denigrate Steve F's work, nor that of anyone approaching 'term-down'. But 'bottoms-up' yields more, I think. To me, the poetry of Rakosi is many miles apart from Zukofsky's,nor is there any great case to be made, stryle-wise, that would align Oppen with Reznikoff. I know that the alignment enabled each of them, but, that said........ In 1962, a grad studt at UC Bkly,I was told by Tom Parkinson to contact Rexroth for info for a paper Tom proposed I do on the Objectivists. Rexroth : "In the first place, there was no such thing as an Objectivist movement. And in the second place, I wasn't one of them." Hope this helps! David ========================================================================= Date: Thu, 24 Jan 2002 00:58:03 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: query on behalf of a friend MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Pierre Etal. I enjoyed that biography of Eliot...it may be the only one: I think the problem is/was that his second wife has the copywrite (or may even have destroyed letters to Eliot or vica versa) whatever: its quite interesting: sure it doesnt get you much closer to T S except you have an inkling he was a bit glum most of his life, rather unimpressed on receiving the nobel prize, and so on. We are all interested in people's lives; all of us gossips and sticky beaks: that's human nature. There will always be authors and biographies as long as there are humans. When I get a book of any kind I turn FIRST to the bio (however brief) of the author. I'm fascinated in what these people are of have been doing even if its just a pot boiler I pick up. Burroughs is infinitely more interesting to people because he put a bullet thru his wife's head! I can always sell his books: Eliot sells I think because people have heard that they "must" read him...I think most people just put his books on the shelf together with all the other "great" poets then get back to watching Judge Judy or Oprah (or over here "Shortland Street) I have to admit that in the NZ Listener I turn to the back and read Steve Braunias,skip the poems, but am always interested in the sexy movie stars on the very last page (to me it the females who are exciting by the way!), then I console myself with the Chess puzzle from Barden - which I often solve altho I havent solved the last one....with biographies I am always fascinated by how people die. I skipped thru Dylan Thomas's bio to read the section that lead up to his death. How he basically drank himself to death. How at one stage he "dreamed" of triangles. Similarly I remember coming across Sylvia plath's "Ariel" and thinking ...thes are strange: and I went on a "binge" suspecting she'd topped herself: as to T S ... he didnt jump of a bridge like Berryman, whose father shot himself, and died rather quietly in a hospital: when he was younger he had quite good looks: a kind of "Italianate charm"...these are the details that matter. Trakl poisoned himself I believe...Celan was another bridge man...fascinating...Houdini miscalculated a punch in the stomach (not tightening his stomach muscles quick enough) and died of internal bleeding: Schoenberg's last words were/was "harmony! harmony!", Goethe's you all know was "More light!" (in German of course),Tolstoy threw himself in front of a train, my mother had a stroke and was in a "coma" for about 6 months, my father died of lung cancer (he smoked very much),Mr Hancock died of a brain tumour, Beethoven is purported to have died in a thunder storm shaking his fist against fate, and why not, Jack Kerouac had been in a fight and was hit once too often and drunk and died of a stomach heamorrage - he died in a blood rage - Roethke died of a heart attack beside a swimming pool, Alekhine (the genius chess player) was drunk when he fell out of a window in Lisbon, David Jones suvived the First World War, Mandelstam had heart trouble and died probably of neglect and starvation as did Khlebnikov, Pushkin in a duel, as we know Jackson Pollock suicided in a car crash, Mayakovsky commited dramatic suicide by gun in protest at himself and possibly for love, the brilliant English poet Keith Douglas, who was obsessed by war and soldiering, died it is thought by a tiny splinter or shock when a shell burst close by leavimg no mark on his body, Geoffrey Hill (a rather Eliotic poet) isnt dead yet but he looks so miserable perhaps he could oblige us, several of the English Kings had some fascinating deaths, and I believe that Sir Walter Raleigh was beheaded in The Tower, Rilke got a scratch in his garden and that became infected and he died of blood poisoning, Rutherford was trimming a tree and fell and that was his demise, Rupert Brroke of an infection (from his lip somehow) before he got to the WW1, Shelley drowned in a boat that was badly desigened (or he actually ceased this life in the sea after being tipped, or jumping from the boat in question), its not known exactly how Shakespeare died, Hart Crane of course jumped from a ship, I imagine Emily Dickinson died with dignity, Berrigan basically enjoyed himself to death with booze and pills and wild women and reading incesantly, Robert Creeley is a survivor, I heard that John Ashbery nearly died once, Ed Dorn had cancer..a rather bitter man he was amusing and cut through the crap especially with his "Abhorrences", Woodie Guthrie had (Blank's) disease (Huntingtons chorea) which is discussed in a book co written by the biochemist and biologist Bodmer, symptons are "madness" etc and then one slowly deteriorates, Mohammad Ali is slowly deteriorating due to a similar genetically triggered disease, so is Dudley Moore, Hitler shot himself thru the roof of his mouth, the bullet that killed John Kennedy travelled thru his skull on a diagonal traverse from the right hand rear to the left hand front, Lincoln similarly but by a hand gun at close range, Swinburne lived to a ripe of old age and used to walk daily about 5 miles to his favourite pub muttering to himself but caught a chill and died at a good old age, Rimbaud died of gangrene of the leg and the rigours of having a sister and his gun running in Africa, I believe that Raymond Roussell killed himself, Camus died in a car accident, Randel Jarrrel was suposedly changing a car tyre,O'Hara run down by a beach buggy, Olson was collected in a car crash (according to Robert Creeley), many must have died of aids, Spicer died by the word and his love of liquor..and so it goes on. Listers out there must know of some more interesting deaths of poets or others? Cheers, Richard. ----- Original Message ----- From: "Pierre Joris" To: Sent: Tuesday, January 22, 2002 5:14 PM Subject: Re: query on behalf of a friend > David Bircumshaw wrote: > > > Eliot hated the idea of biographies. > > > > To make a statement like ' Peter Ackroyd's is an excellent start.' is to, > > wittingly or unwittingly, subscribe to a lie. You, I, or anyone > > else, cannot > > know what was the reality of Eliot's life to Eliot, even any more than we > > can of Mrs Mopbucket the part-time cleaner who lives in the flat > > downstairs > > or Mr Fuckem, the great broker, or anyone else with the partial > > exception of > > those very few people we know with a degree of the intimacy that we know > > ourselves. Which knowing of oneself mostly consists of forgettings. > > Quite true, Dave, though if it annoyed Eliot, then I, not a big reader of > biographies, will willingly turn into one, 'cause I love to annoy the > annoying mr. Eliot. > Of course all biographies are "fictions" to some extent, just as all > autobiographies are. And yet Dave, as a young writer, were you not > interested in the actual lives of those writers you were reading & admiring? > Most of my students want to know something -- from a little to a lot -- of > the lives of the authors they like. & I don't think that is an illegitimate > desire, even, and maybe especially in this post-textual, > post-death-of-the-author era. > Come to think of it, I am right now looking forward with some excitement to > the soon to be published biography of Ed Dorn -- the publication of which > will, I would think, also send a number of people to the work itslef -- & > that finally, is what we want, no? for the poems to be read? > > Pierre > > > > Anyone up for a Shakespeare biography? > > > > Best > > > > Dave > > > > > > > > David Bircumshaw > > > > Leicester, England > > > > Home Page > > > > A Chide's Alphabet > > > > Painting Without Numbers > > > > http://homepage.ntlworld.com/david.bircumshaw/index.htm > > ----- Original Message ----- > > From: "Pierre Joris" > > To: > > Sent: Friday, January 18, 2002 3:49 PM > > Subject: Re: query on behalf of a friend > > > > > > > > > > > > hey everyone, can you point me toward several decent biographies of ts > > > > eliot? > > > > > > Peter Ackroyd's is an excelletn start. > > > > > > > > > a young actor friend, very smart but unable because of his career > > > > to take regular college classes but who is trying to educate > > > > himself, wants > > > > to know. i do too, since i've agreed to discuss "The Wasteland" with > > him > > > > at some point in the future. > > > > > > > > > > > > > > > > ________________________________________________________________ > > > Pierre Joris Just out from Wesleyan UP: > > > 6 Madison Place > > > Albany NY 12202 POASIS: Selected Poems 1986-1999 > > > Tel: (518) 426-0433 > > > Fax: (518) 426-3722 go to: http://www.albany.edu/~joris/poasis.htm > > > Email: joris@ albany.edu > > > Url: > > > > > __________________________________________________________________ > > __________ > > > _ > > > > > > ========================================================================= Date: Thu, 24 Jan 2002 01:10:50 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: jingo juxta? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit OK I surrender. I cant beat that: a black man in front of the US flag. It's a great dream...but all this juxtaposing of dreams and flags..read Faulkner's "Light in August" etc (that's the "greatness" of America)...it's got to be some kind of joke "Martin Luther Freedom"... poor bastard was assasinated in the US...at least the Kennedys tried and did help in the Civil Rights movement and there has been progress there in the US but not in the US's external policies..I dont think that M L King would like that: better to see some of the political conceptual art...one good thing about he West so far (so far) we can critique our governments..trouble is they dont listen, much. Who is Afro-American or of African nationality extraction: what do they make of all this S11 and flags and so on? Is the US "The Land of the Free " for black people? Serious question. Richard. ----- Original Message ----- From: "George Hartley" To: Sent: Wednesday, January 23, 2002 3:28 AM Subject: jingo juxta? > Here's an interesting display of juxtaposition: > > http://community.webshots.com/photo/25230191/25494380YYjEXrciID > > How do we characterize the interplay of these images, especially given the > current political circumstances we face? > > Geo > > > > _________________________________________________________ > Do You Yahoo!? > Get your free @yahoo.com address at http://mail.yahoo.com > ========================================================================= Date: Tue, 22 Jan 2002 19:28:23 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aaron Belz Subject: Re: What do you think ? In-Reply-To: <00bb01c1a32c$c5afb600$ef1886d4@overgrowngarden> MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT Lawrence Upton wrote: > > There's a fairy story in which one character, guilty, describes the > punishment for the crimes they committed but attributing those crimes to > others > You are probably not referring to 2 Samuel 9, but it contains a story similar to what you describe. I'll append it. -Aaron The Lord sent Nathan to David. When he came to him, he said, "There were two men in a certain town, one rich and the other poor. The rich man had a very large number of sheep and cattle, but the poor man had nothing except one little ewe lamb he had bought. He raised it, and it grew up with him and his children. It shared his food, drank from his cup and even slept in his arms. It was like a daughter to him. "Now a traveler came to the rich man, but the rich man refrained from taking one of his own sheep or cattle to prepare a meal for the traveler who had come to him. Instead, he took the ewe lamb that belonged to the poor man and prepared it for the one who had come to him." David burned with anger against the man and said to Nathan, "As surely as the Lord lives, the man who did this deserves to die! He must pay for that lamb four times over, because he did such a thing and had no pity." Then Nathan said to David, "You are the man! This is what the Lord, the God of Israel, says: 'I anointed you king over Israel, and I delivered you from the hand of Saul. I gave your master's house to you, and your master's wives into your arms. I gave you the house of Israel and Judah. And if all this had been too little, I would have given you even more. Why did you despise the word of the Lord by doing what is evil in his eyes? You struck down Uriah the Hittite with the sword and took his wife to be your own. You killed him with the sword of the Ammonites.'" etc. ========================================================================= Date: Tue, 22 Jan 2002 20:03:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Craig Dworkin talk MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Date: Thu, 17 Jan 2002 11:04:16 -0500 >Did any New York listserv folk attend Craig Dworkin's talk "against meaning" last night? If you did, please report. He's a smart cookie and I'd like to get a gist of what he's "for." Tom Thompson ------------------------------------------------------- To: T.T. From: J.J. ------------------------------------------------------- I found Craig Dworkin's "Against Meaning" lecture at the White Box gallery very upsetting. (I was extremely eager to go: I rarely leave the house at night anymore, but I vividly remember his Barnard conference lecture on Lyn Hejinian and paranoia. He shared a panel with Charles Altieri back then at Barnard. Dworkin's talk included references to the asylum-institutionalized "madman" who composed much of the Oxford English Dictionary. Dworkin's scheme had to do with the paranoid underpinnings of language and the paranoid processes of seeking out and finding meaning.) At White Box, he wasn't using the word "paranoid" anymore. The audience of perhaps less than three dozen, crammed together in tightly squeezed chair in the midst of any otherwise expansive gallery, included much of the Manhattan illuminati: Charles Bernstein, Bruce Andrews, Ulla Dydo, Claudia Rankine, Kenny Goldsmith . . . Dworkin passed out xeroxed hand-outs. His hair was moussed into standing. Partially from my notes: He began with George Oppen's ~Discreete Series,~ from which he drew a model for his "applied paragrammatics," a reading strategy which he defined as "willing to sacrifice its reference", "a grammar of reading". A "discrete series" is a mathematical term for a series where every term is empirically justified, rather than being derived from preceding propositions. That is, as opposed to an arithmetic progression (the Fibonacci: 1,2,3,5,8,13...), he gave the subway stops on an East Side train. He said, a` la Oppen, that it is the very fact of a poem's acceptability as a ~mechanism~ that is the proof of meaning. He proceeded through trailing verbatim dictionary definitions which Oppen had followed in the structuring of his poem: the OED as an organizing structure. (His research included that a new printing of the OED had been a New Year's Day front page story.) The multiple definitions for a single word as they appear in a dictionary are a discrete series, vs. an inductive "paragogic chain"--- by following a logic from signifier to signifier: glass > grass > crass > class, a "bitter romance" of associations. He spent a good deal of time discussing the word "rim" in Oppen (with "a straight face"). He next moved on to Saussure's notorious hypogrammes: "multiple, uncontrollable and unhierarchical meanings"; DeMan spoke of the "terror" of the letter. Riffaterre's book, ~The Semiotics of Poetry~: When a gap opens up between a word and a text, the motivating anxiety is a single unwritten word. Texts have an unwritten core, a "matrix". Grammatical disruptions become a clue to the presence of a matrix. He gave examples. From Apollinaire's poem, "Monday in Christine Street": "Trois becs de gaz allume's La patronne est poitrinaire" ("Three gas burners lit / The proprietress is consumptive"). Dworkin found Apollinaire's name in the line-endings, "a-" "-pa-" "-lu-" "naire", or such. (Saussure's hypogrammes, --- or "la folie de Saussure" [the madness of Saussure]--- was his similar, decades-long notebooks, where he traced the names of Greek gods in Latin literature --- repeat: ~Greek~ gods in ~Latin~ poetry, Aphrodite, etc.) Not wanting it to seem that the Dworkin method of reading was applicable only to the avant-garde, he turned to Robert Frost's old chestnut, "Mending Wall". (In excerpt: "the frozen ground-swell . . . / . . . The gaps I mean, / . . . / . . . 'Good fences make good neighbors.' / . . . I was like to give offense. / . . . I could say 'Elves' to him, / But it's not elves exactly"). Dworkin found the same ~Semiotics of Poetry~ dynamic ("it warps itself around a missing core"). (Saussure's term "hypogramme" was taken from the Greek for signature.) "(F)rozen ground-swell" is a synonym for rime frost; "rime" is a homonym for "rhyme"; "frost" was a term for "literary failure" that Frost would have been fighting against. "The gaps" mean the gaps of Riffaterre lacunae; for "elves", read "selves". "fences"/"offence" was a Russian "zdvig" or "shift". Dworkin's third example, p. 258 from an edition of Malcolm Lowry's ~Under the Volcano~: "Yvonne's father made his way . . . earnest candid eyes . . . synthetic hemp". This prose hid a Dworkin matrix for the name--- Ernest Hemingway, Lowry's literary father (known as "Papa Hemingway", with "Papa" appearing on a preceding page): earnest hemp way. These repeated examples were his self-admitted defense against accusations of a "readerly hat trick" or "hermeneutical prestidigitation". He said he found "recourse to soft psychology not satisfying either" (Lowry, writing around a bullfight, thinks of Hemingway), but acknowledged "the degree to which readers are more comfortable with corroborative" evidence. He said he found these hypograms "factually, incontroveribly there"; that it was not chance and permutations. In Elizabeth Bishop's "The Moose", which is about an animal (C.D. cited critical commentary as to grandiose literary themes), he said the poem is about--- ~orthodonture.~ He lined up words: "PINK glancing", "beat-up ENAMEL", "BLEACHED, ridged as clamshells", "BRUSHING the dented flank", "waits, PATIENT", and "BRACES" to refer to unmentioned teeth. Bishop at the time was going to the dentist twice a week. (---Bathos?) (My notes do not record Dworkin commenting on the French word for tooth, "dent", and Bishop's "dented".) In passing, he also cited Zukofsky, where three or four mentions of "law" are closely accompanied by "tessera", he said, but without Z. ever using the word "mosaic" (Mosaic law = the Law of Moses)! The Q-&-A was not quite sympathetic: the first questioner accused him of not "opening onto paths that might lead us away from meaning" ("Against Meaning") but rather back to classic modernist grids, an aligning, congruences. Another questioner seemed argumentative in talking about an "architectonic self". I was quite bothered. My question accused his project of reenacting what Geoffrey Hartman's 1981 ~Saving the Text~ had already done with the Romanticists (Wordsworth: word's worth; etc.), which Hartman called "the spectral name." Dworkin (with the exception of Bishop's teeth) was in all cases "re-discovering" embedded in the text what was already conspicuously written at the top of the text: the author's name. This differed greatly from Saussure's hypogramme matrices, which found the names of gods like "Apollo" (Saussure's Apollo had been Dworkin's springboard into Apollinaire) or "Aphrodite", --- which, importantly, were not individual author's lemon ink autographs but ~suprapersonal.~ Saussure, in search for an explanation for these disturbing archaic forces inscribed across so many writers' texts, even conjectured whether there might have been some cultic or religious explanation. Dworkin, instead, at exactly our contemporary turning-pint where reading and criticism have moved beyond the fantasy of (writing packaged one-for-one to) the discrete unit of a self-sufficient author, broader territorities (wilderness) of language as common possession, and a-subjective propulsions that are the agency for writing, was re-bundling or "re-authoring" these texts back under the ~souscription~ of the individual author, neat bundles. Bishop's teeth: biographical reductivism. What would be ~interesting~ would be finding Louis Zukofsky's name in Lowry, or Hemingway's in Frost, I suggested. Dworkin demonstrated no corrective familiarity with statistics and randomness, or their anomalies. He had fallen into a statistical rabbit-hole. (You'd be amazed how many time the same doubles will come up in a row.) Definitely, the name is a narcissistic imago, and we develop fetishistic attachments to its letters. But Dworkin was going from general principles to a sort of "Find-a-Word" puzzle, where the solution --- surprise! --- in x out of y cases was a game of nominal, diagonal acrostics. He responded by saying that he thought it might have something to do with the numinous or nebulous status of personal names as words, which he does not understand. ---I can't see how it moves "our" mission forward to go retrograde (moving from a self of societal construction to a metaphysics of "confidential, to the point of secrecy," as he said about Oppen). He's re-instating the self-enclosed, autonomous figure of the writer as the prime deciphering key to the text, where the "punch line" solution will be finding at the end what you started off with at the beginning. His insistence on the "objectivity" of his findings and truth was jettisoning the whole rich ground of indeterminacy, and ambiguity, and The Absurd (that which can be neither true nor false). ---To say nothing of the spuriousness of his methodology. The Lowry Hemingway was a single confabulation ("objective" or not) on p. 258 of a 400 pp. novel. A "proof" strung out of four, maybe five tenuous examples, one of them (the Zukofsky) undocumented yields a whole paragrammatics. Between one example and the next, however, there was considerable ~slippage,~ with name only putatively unifying tellingly different cases: Frost's name was hidden in synonyms, but was his own name in his own text; Apollinaire's name was his own name in his own text, but appeared as splintered syllables, unlike Frost's rebus; Lowry's Hemingway was made up of splintered syllables, but was somebody else's name, not the author's; "Moses" in Zukofsky involved neither the author's name nor that of a living or real person nor syllables: it depended on a Latin-to-English translation. Bishop's had nothing to do with names or any "unwritten word" at all, per se (a body part, instead); etc. Dworkin's schizo-analysis was conducted without even passing reference to the possibility of a rhetorical trope of paronomasia. Writers writing without any sense of pun. In resuscitating, after ~The Death of the Author,~ these authors this way, and stressing "objectivity", Dworkin absolved himself of the uncomfortable position of being a ~reader~ with responsibility for his own idiosyncratic dyslexias: instead, the return of the invisible, Archmidean critic. I think he lost ground by backing away from his previous "paranoia" model (which was anti-subjective). By moving on instead to a hunt for neutral alphabetic solutions, punch-lines, he has, in a sense, deepened his previous project further by joining into the affectlessness of paranoia's clues. Paranoia is, literally (etymologically), ~beside~ feelings, that is, always a little to the left or right of emotions. Paranoia is more concerned with cracking the FBI's cryptography than with what ~it feels like~ to be so consumed and monomaniacal. He said that the very fact that Frost and Bishop scholars become upset with him makes him think he's on to something. Others' emotive frustration is not an academically recognized barometer for confirming a hypothesis. We were left with handfuls of alphabet blocks, Scrabble solitaire played with books. Even were they delivered less objectionably, those details could have been bridges into empathic deepening with the source texts, instead of "A-ha!" eureka at yet another ghost writer's signature: Bishop's toothache becomes a sort of joke, in its mundanity, rather than an opportunity to connect with the force of personal, physical pain (toothache, after all, being even Wittgenstein's preferred metaphor for investigations into the language of pain and private sensations); Zukofsky's unwritten (oral?) "Mosaic law" was not a segue into glimpsing the proud, idealized self-identification that he, as a Jew, self-aggrandized with the sainted law-giver; ... Dworkin must be right: I'm as bothered as the Frost scholars. (And from ~Princeton,~ no less!) __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ ========================================================================= Date: Tue, 22 Jan 2002 23:33:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: /**/ MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII This*/ /*update*/ /*resolves*/ /*the*/ /*"Unchecked*/ /*Buffer*/ /*in*/ /*Universal*/ /*Plug*/ /*and*/ /*Play*/ /*Can Lead*/ /*to*/ /*System*/ /*Compromise"*/ /*security*/ /*vulnerability*/ /*in*/ /*Windows*/ /*XP.*/ /*Download now*/ /*to*/ /*prevent*/ /*a*/ /*malicious*/ /*user*/ /*from*/ /*compromising*/ /*your*/ /*computer*/ /*or*/ /*using your*/ /*computer*/ /*to*/ /*compromise*/ /*another*/ /*computer's*/ /*functionality*/ /*Knowledge Base*/ /*(KB)*/ /*Article*/ /*Q309521.*/ /*Among*/ /*the*/ /*updates*/ /*included*/ /*in*/ /*this*/ /*:between August*/ /*2001*/ /*and*/ /*October*/ /*2001,*/ /*and*/ /*is*/ /*discussed*/ /*in*/ /*Microsoft*/ /*:This*/ /*update resolves*/ /*all*/ /*critical*/ /*issues*/ /*that*/ /*were*/ /*found*/ /*in*/ /*Windows*/ /*XP*/ /*:is*/ /*discussed in*/ /*Microsoft*/ /*Knowledge*/ /*Base*/ /*(KB)*/ /*Article*/ /*Q312369.*/ /*If*/ /*you*/ /*:or*/ /*settings*/ /*in Windows*/ /*XP*/ /*This*/ /*update*/ /*resolves*/ /*the*/ /*"Unchecked*/ /*Buffer*/ /*in*/ /*http://www.*/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /* */ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /**/ /*[Compositio*/ /*at*/ /*were*/ /*found*/ /*in*/ /*Windows*/ /*XP*/ /*...acters*/ /*may*/ /*be displayed*/ /*incorrec*/ /*You*/ /*flood*/ /*me...'t*/ /*bother*/ /*you*/ /*a*/ /*doll*/ /*regurgitates*/ /*me around*/ /*your*/ /*binding!*/ /*How*/ /*would*/ /*you*/ /*absorb*/ /*your*/ /*piss*/ /*fabric?*/ /*D*/ /*see*/ /*what these*/ /*bastard*/ /*think*/ /*This*/ /*update*/ /*resolves*/ /*the*/ /*"You*/ /*May*/ /*Lose*/ /*Data*/ /*or*/ /*Program Settings*/ /*After*/ /*Reinstalling,*/ /*Repairing,*/ /*or*/ /*Upgrading*/ /*Windows*/ /*XP"*/ /*issue*/ /*in Windows*/ /*XP,*/ /*and*/ /*is*/ /*discussed*/ /*in*/ /*Microsoft*/ /*Knowledge*/ /*Base*/ /*(KB)*/ /*Article Q312369.*/ /*If*/ /*you*/ /*upgrade,*/ /*reinstall,*/ /*or*/ /*repair*/ /*the*/ /*version*/ /*of*/ /*Windows*/ /*XP that*/ /*was*/ /*preinstalled*/ /*by*/ /*a*/ /*computer*/ /*manufacturer,*/ /*in*/ /*some*/ /*cases,*/ /*you*/ /*might lose*/ /*data*/ /*or*/ /*program*/ /*settings.*/ /*Download*/ /*now*/ /*to*/ /*ensure*/ /*that*/ /*you*/ /*do*/ /*not*/ /*lose data*/ /*or*/ /*settings*/ /*in*/ /*Windows*/ /*XP.*/ /*How*/ /*would*/ /*you*/ /*absorb*/ /*your*/ /*piss*/ /*fabric?*/ /*s*/ /*a sonnet*/ /*of*/ /*apocalypse.*/ /*You*/ /*flood*/ /*me...'t*/ /*bother*/ /*you*/ /*a.*/ /*doll*/ /*regurgitates*/ /*me around*/ /*your*/ /*binding*/ /*Windows*/ /*Messenger*/ /*lets*/ /*you*/ /*see*/ /*when*/ /*your*/ /*friends, family*/ /*and*/ /*colleagues*/ /*are*/ /*online,*/ /*send*/ /*an*/ /*instant*/ /*message,*/ /*send*/ /*a*/ /*file, have*/ /*a*/ /*voice*/ /*chat*/ /*or*/ /*a*/ /*video*/ /*conversation,*/ /*and*/ /*engage*/ /*in*/ /*other*/ /*collabor- ative*/ /*efforts.*/ /*Windows*/ /*Messenger*/ /*is*/ /*easy*/ /*to*/ /*use,*/ /*delivers*/ /*great*/ /*voice*/ /*and video*/ /*quality,*/ /*and*/ /*enables*/ /*cool,*/ /*new*/ /*innovation*/ /*with*/ /*lots*/ /*of*/ /*other products*/ /*and*/ /*services*/ /*you*/ /*use*/ /*every*/ /*day. _ ========================================================================= Date: Wed, 23 Jan 2002 17:58:07 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: geraldine mckenzie Subject: Brian Kim Stefans - email Mime-Version: 1.0 Content-Type: text/plain; format=flowed Can someone please help me out with Brian Kim Stefan's email address please. Thank you in advance. Geraldine > _________________________________________________________________ Join the world’s largest e-mail service with MSN Hotmail. http://www.hotmail.com ========================================================================= Date: Wed, 23 Jan 2002 13:37:45 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Leslie Scalapino Subject: HEADLINES by John Crouse MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable New from O Books: HEADLINES by John Crouse, ISBN # 1-882022-40-8, = $12.00. Available from Small Press Distribution: 1341 Seventh St. = Berkeley, CA 94710. HEADLINES is both a way of writing a new novel and is a extended poem or = set of poems at the same time. "Each word in John Crouse's HEADLINES is = capitalized so that they are sensual, alone, blowholes -- one word many = things -- or as he says 'Comprehensive Azures Contiguous Stacks = Floating.' It's as if ONE'S READING IT is an alphabet that changes = experiencing: 'I Saw Me Backward Yesterday. Have It Float.'" -- Leslie = Scalapino "In HEADLINES, John Crouse's chancy motion measure allows all sorts of = rolling specifics to place and pace themselves. The 'plot' builds and = recedes in layers, like bricks, or sand, townhouses, or dictionary = entries...He's on to something, tremendous, jarringly appealing." -- = Elizabeth Treadwell ========================================================================= Date: Wed, 23 Jan 2002 18:22:24 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Floodeditions@AOL.COM Subject: Special Offer from Flood Editions MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Order 4 titles from Flood Editions for only $40, with free shipping in the US: Ronald Johnson, THE SHRUBBERIES Pam Rehm, GONE TO EARTH Philip Jenks, ON THE CAVE YOU LIVE IN Tom Pickard, HOLE IN THE WALL: New & Selected Poems This saves you $9 off the cover price. All books are finely printed, sewn paperbacks. If you are interested, please backchannel me. ========================================================================= Date: Tue, 22 Jan 2002 13:22:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: jingo juxta? In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 9:28 AM -0500 1/22/02, George Hartley wrote: >Here's an interesting display of juxtaposition: > >http://community.webshots.com/photo/25230191/25494380YYjEXrciID > >How do we characterize the interplay of these images, especially given the >current political circumstances we face? > >Geo it's a lie, lie, lie, lie, lie. > > > >_________________________________________________________ >Do You Yahoo!? >Get your free @yahoo.com address at http://mail.yahoo.com -- ========================================================================= Date: Wed, 23 Jan 2002 04:40:57 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brian Carpenter Subject: Re: query on behalf of a friend Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Well, first of all, let me say that I'm not familiar with Eliot's thoughts on this whole matter... but, whatever they may have been, it seems a little odd to say that the purpose of biographies is to show "the reality of," in this case, "Eliot's life to Eliot." Sure, that's not a feasible task and probably not a feasible idea either. I wonder if it's even worth being desired though. After all, if this direct personal "reality" in biography is both desired and considered unattainable, then any biographical text--the nebulosity of this category cuts both ways--in inevitably falling short of said ideal, ends up being treated as some kind of second best that we just have to settle for--which I don't buy. It seems to me that while this tendency towards this second-best treatment of biographical meaning can come from those who believe in the idea and desirabilty and achievabilty of this biographical ideal, it can equally come from those who find it to be a lie, because calling it a lie can also end up strengthening the very definition of it, and thus the idea remains just as strong, regardless of one's feeling about it. The believers find the notion that it all aint possible scandalous, because if it's so, then look at what we have to settle for, etc. The non-believers say the idea isnt possible, and because the idea's still there, then we have to settle for second best, so deal with it, etc. (I realize I'm oversimplifying here and making it too dialectical, but humor me.) So if we're to say that biography, and experience, is inevitably discontinuous, constructed, revised, and so forth, then those points only become scandalous if we first had/have the notion--whether we agree/d with it or not--that it was, or ought to be, otherwise. I do think that experience is discontinuous, a "series of forgettings," and all that, and since that's what I've had before me to work with from the get-go and it's suited me reasonably well, there's nothing disappointing about it. I think describing experience this way is becoming much much less surprising, and thus less shocking, especially for younger generations. Furthermore, the fact that experience and self-knowing seem to work this way is _precisely_ what makes biography worthwhile in the first place. (What one does with biography is a separate question entirely.) So it's inherently fictive, constructed, forgetful, and the work of an observer. Good! So's everything that my friends say about me, and if th ere's every to be a biography abo ut me, they'd certainly be the most reliable sources. BC In a message dated Mon, 21 Jan 2002 9:21:02 PM Eastern Standard Time, "david.bircumshaw" writes: > Eliot hated the idea of biographies. > > To make a statement like ' Peter Ackroyd's is an excellent start.' is to, > wittingly or unwittingly, subscribe to a lie. You, I, or anyone else, cannot > know what was the reality of Eliot's life to Eliot, even any more than we > can of Mrs Mopbucket the part-time cleaner who lives in the flat downstairs > or Mr Fuckem, the great broker, or anyone else with the partial exception of > those very few people we know with a degree of the intimacy that we know > ourselves. Which knowing of oneself mostly consists of forgettings. > ========================================================================= Date: Wed, 23 Jan 2002 10:20:00 -0700 Reply-To: derek beaulieu Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: derek beaulieu Organization: housepress Subject: new from above/ground press: KON 66 & 67 by bpNichol MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit new from above/ground press KON 66 & 67 (for jiri valoch by bpNichol a visual series, circa 1966 by the late Toronto poet bpNichol, author of the multi-volume The Martyrology (still in print from Coach House Books), & more things than anyone can count (except jwcurry). to order a copy, send $5 ($4 + $1 for postage) to: rob mclennan, 858 somerset st w, main floor, ottawa ontario k1r 6r7. add $2 for international. published in an edition of 300 copies by above/ground press. originally appeared as GRONK number 1 : series 2. (much thanks to jwcurry for originals, & Ellie Nichol for permissions). above/ground press subscribers rec. a complimentary copy. above/ground press catalog, subscription & submission guidelines now on-line at www.track0.com/rob_mclennan for more information: rob mclennan at az421@freenet.carleton.ca ========================================================================= Date: Wed, 23 Jan 2002 18:02:54 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: oranget@GEORGETOWN.EDU Subject: dcpoetry anthology 2002 MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hello all, please visit http://www.dcpoetry.com where you will find the first installment of the dcpoetry anthology 2002. writers and works featured so far: Renee Angle *Growing the Bonsai Lake *stoplight *The Tenement Susan Gardner Dillon *of rigorous wanting & song *ever-cast *The Blue Door *poor. paradise. *we want oh Rachel Blau DuPlessis *Draft 43: Gap Marcella Durand *Lapides sui generis *The Proteins *Jupiter *Saturnal Autumnal *Venusian Slumber Patrick Durgin *After Rakosi *from Litmus Redact Laura Elrick *TOW to MOUTH *Why I Am Not a Poetrist Drew Gardner *Marie Menken *Black Atlantic Sky *Sugar Pill Pattie McCarthy *from alibi (that is : elsewhere) Carol Mirakove *from month Michael Magee *A Night-Piece *The Last Days of Freedom *Morning Constitutional Leonard Schwarz *Elations II Rodrigo Toscano *Die Warheit Ist Konkret *Blue-Green Superfund Roundelay *About The Amadou Diallo Police Shooting more updates as the anthology progresses. allbests, tom orange ========================================================================= Date: Tue, 22 Jan 2002 15:13:27 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: Poets Theater Jubilee Continues This Friday at Small Press Traffic Comments: To: sh@well.com, yedd@aol.com, cartograffiti@mindspring.com, rgluck@sfsu.edu, normacole@aol.com, giovann@aol.com, twinklejoi@juno.com, eliztj@hotmail.com, sacoxf@telocity.com, brent@spdbooks.org, iscariot17@aol.com, kevinkillian@earthlink.net, junona@pacbell.net, amaclennan@earthlink.net, brydiemcpherson@yahoo.com, eddank@boalthall.berkeley.edu, junction@earthlink.net, molly1@Stanford.EDU, ewillis@mills.edu, barry.eisenberg@worldnet.att.net, vicomte_angelpil@hotmail.com, georgewynn10@yahoo.com, wurzburg4x@aol.com, cconnor@ccac-art.edu, laura@deer-rune.com, librachild@hotmail.com, amuse@dnai.com, jennybit@yahoo.com, beverlyparayno@yahoo.com MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Friday, January 25, 2002 at 7:30 Small Press Traffic in collaboration with New Langton Arts and the Jon Sims Center for the Arts presents Friday, January 25, 2002 7:30 pm POETS THEATER JUBILEE World premiere of "How Phenomena Appear to Unfold/The Hind," a new play by Leslie Scalapino, directed by Zack. Scalapino writes of her play: "It's about our making illusions of others. Also, the suffering of Afghanistan." "The Hind" will be buttressed by a selection of short (10 minute plays) by poets mostly new to the stage, including Tina Darragh, Stephen Beachy, Chris Vitiello, Dan Farrell, Laura Moriarty, & Brent Cunningham. Performers include the writers Nick Robinson, Kevin Killian, Norma Cole, Jocelyn Saidenberg, Mary Burger, and many others. Evening curated by Kevin Killian. $5, free to SPT members and the CCAC community. Timken Lecture Hall, CCAC, 1111 - 8th Street, SF. For directions please see our website at http://www.sptraffic.org. PLEASE NOTE: Last Friday's Jubilee opener at the Jon Sims Center was sold out. We suggest you arrive early for best seats. Reservations are available by calling New Langton at 415-554-0402, but we are full up to a waiting list with them. MORE SEATING IS AVAILABLE THAN HAS BEEN RESERVED. So just arrive early. Reservations held until 7:20 pm the evening of the show. FURTHER DETAILS: Poets Theater Jubilee San Francisco’s poetic communities have, over the years, been the location of many exhilarating experiments in theater. With minimal formal support, poets & their supporters in the theater community have staged readings & mounted productions of adventurous (& often hilarious) scripts. Beginning in the 1950s, when Robert Duncan, Helen Adam, Jack Spicer & Michael McClure first wed poetry to the stage, through the language experiments of Carla Harryman, Bob Perelman & Kit Robinson, to the ambitious work today of Leslie Scalapino, Kevin Killian, Camille Roy, Michael Amnasan and many more, fine local experimental writers have worked in this genre. Small Press Traffic, New Langton Arts, & the Jon Sims Center for the Arts are joining together to present Jubilee, a Festival of Poets Theater. We wish to extend our local tradition, while at the same time, honor it with some critical attention. The festival will include four evenings of plays, & a historical panel. We are building on the success of dozens of past productions of poets theater in San Francisco, a long history with many incandescent moments. We want to expand this nascent movement into a full-stage celebration. Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Wed, 23 Jan 2002 22:25:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jim Behrle Subject: LUNGFULL! 1/31 Mime-Version: 1.0 Content-Type: text/plain; format=flowed Please join us January 31 as The MAD ALEX Arts Foundation celebrates LUNGFULL!magazine ******** To celebrate both our seventh anniversary & our charming brand new website http://users.rcn.com/lungfull The MAD ALEX Arts Foundation graciously hosts TWO NIGHTS of readings at Locus Media with writers presenting their own work & the work of fellow contributors from the issue in which they appear THURSDAY 31 JANUARY 6:30PM ISSUE 6: MERRY FORTUNE ISSUE 7: BRANDON DOWNING ISSUE 8: EILEEN MYLES ISSUE 9: BOB HERSHON ISSUE 10: JIM BEHRLE ISSUE 11: BRENDAN LORBER $6 gets you into Locus Media 594 Broadway #1010 between Houston & Prince in lower Manhattan For more information call: MAD ALEX Arts Foundation: 212.343.1691 or LUNGFULL!magazine: 212.533.9317 or email lungfull@rcn.com or, I suppose, go to http://users.rcn.com/lungfull I do hope you can make it there to witness over two non-consecutive Thursdays the evolution of the journal. Will we see you there? O I hope so. "The finest in typos, misspellings & awkward phrases since 1995" "LUNGFULL! is my favorite magazine even before I've read it" -- Sparrow, 1994 LUNGFULL! magazine, a journal of poetry, prose, art & rough drafts, first opened its covers in 1995. Since that time, we've grown from a photocopied downtown zine to a thick, lush & entirely waterproof journal with a hearty readership throughout America & Europe. During that time we've continued to print the rough drafts of contributors' work along side the final versions & have no intention of letting up now. Indeed it is with some pride that we announce our doe-eyed site is now aloft & fluttering gracefully at http://users.rcn.com/lungfull -- rife with poems in rough & final form, letters to the editor, a deceitful editorial, photos, fine print, announcements not unlike this one, oh you name it. On the wing, Brendan Lorber ******** & Now, some bios of the readers, mostly in their own words. ISSUE 6: Merry Fortune is in the process of completing a CD of her musical work featuring: Barry Seroff, Daniel Carter, Dave Sewelson, Dee Pop, Don Christensen, Drew Waters, Julia Murphy, Marc Ribot, Pat Place, & Wanda Phipps. Her writing will be featured in the upcoming Unbearable's anthology on Self-Help featuring Samuel Delaney, Peter Bushyeager, Susan Maurer and many, many others. She is the editor of the now on-line zine Pagan Place w/ Robert Martens. (Webnik.com). ISSUE 7: Brandon Downing is originally from San Francisco, where Lungfull! first flirted with him from a heroic, surprise distance. There, he was co-founder and director of Blue Books, America's only all-small press, poetry, and bookarts bookstore, where he curated the Books Readings #1 Series, and the Readings at Adobe Books Series, for many years. He is the founding editor of the magazine 6,500, and his books include LAZIO and DOG & HORSEY PICTURES. His first collection, THE SHIRT WEAPON, is just out from Germ Monographs, and his second, LAKE ANTIQUITY, is even now on the block. He lives in New York City, where he hits people. ISSUE 8: Eileen Myles is a writer & poet. ISSUE 9: Robert Hershon is the author of eleven books of poetry, of which The German Lunatic (Winter 2000) is the most recent. His work has appeared in more than 40 anthologies and in such journals as Poetry Northwest, The World, The Nation, TriQuarterly, Talisman, Verse, Chicago Review and New American Writing. Among his awards are two CreativeWriting Fellowships from the National Endowment for the Arts and three from the New York Foundation on the Arts, including an Artist's Award for the year 2000. Hershon also serves as editor of Hanging Loose Press, one of the country's oldest independent publishers. Hanging Loose has published a magazine since 1966 and has done books since 1972, presenting the work of such writers as Sherman Alexie, Ha Jin, Kimiko Hahn, Hettie Jones, Tony Towle, Chuck Wachtel, Harvey Shapiro and Paul Violi. Hershon has taught for Teachers & Writers Collaborative and Saint Ann’Äôs School, as well as fulfilling shorter residencies at the University of Michigan and the College of William and Mary. Since 1976, he has served as executive director of The Print Center, Inc., a non-profit facility which provides printing services to literary publishers, schools and colleges,and other arts and community organizations. He also curates the popular Poets Coffeehouse reading series at the Brooklyn Public Library's main branch. ISSUE 10: Jim Behrle edits can we have our ball back? His chapbook, CITY POINT was published by Pressed Wafer in 2000. He serves as roving poet for NPR's "Here & Now." He now lives in Brookline, MA not Brooklyn, NY. ISSUE 11: Brendan Lorber is the editor of LUNGFULL! magazine & cocurator of The Zinc Bar Reading Series. He can be found perched in his window all night cooking up such chapbooks as _The Address Book_, _Your Secret_, _Hazard Pom Pom_ and, with Jen Robinson, _Dictionary of Useful Phrases_. A longer book, _Welcome Overboard_, is in the works. He has poems & essays in journals from Skanky Possum & Fence to Cats & The Chicago Tribune and has also been translated a couple of times. ### _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ========================================================================= Date: Wed, 23 Jan 2002 23:19:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: genegrab Subject: Re: jingo juxta? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit "at least the Kennedys tried and did help in the Civil Rights movement" Big irony yuk, no? Gene -----Original Message----- From: richard.tylr To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Wednesday, January 23, 2002 10:07 PM Subject: Re: jingo juxta? >OK I surrender. I cant beat that: a black man in front of the US flag. It's >a great dream...but all this juxtaposing of dreams and flags..read >Faulkner's "Light in August" etc (that's the "greatness" of America)...it's >got to be some kind of joke "Martin Luther Freedom"... poor bastard was >assasinated in the US...at least the Kennedys tried and did help in the >Civil Rights movement and there has been progress there in the US but not >in the US's external policies..I dont think that M L King would like that: >better to see some of the political conceptual art...one good thing about he >West so far (so far) we can critique our governments..trouble is they dont >listen, much. Who is Afro-American or of African nationality extraction: >what do they make of all this S11 and flags and so on? Is the US "The Land >of the Free " for black people? Serious question. Richard. >----- Original Message ----- >From: "George Hartley" >To: >Sent: Wednesday, January 23, 2002 3:28 AM >Subject: jingo juxta? > > >> Here's an interesting display of juxtaposition: >> >> http://community.webshots.com/photo/25230191/25494380YYjEXrciID >> >> How do we characterize the interplay of these images, especially given the >> current political circumstances we face? >> >> Geo >> >> >> >> _________________________________________________________ >> Do You Yahoo!? >> Get your free @yahoo.com address at http://mail.yahoo.com >> ========================================================================= Date: Wed, 23 Jan 2002 23:14:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: genegrab Subject: Re: objectivists? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit sounds like hubja bubja to me. Gene -----Original Message----- From: Austinwja@AOL.COM To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Wednesday, January 23, 2002 10:01 PM Subject: Re: objectivists? >In a message dated 1/21/02 11:19:59 PM, genegrab@ADELPHIA.NET writes: > ><< and i'd appreciate a lucid and precise explanation. >> > >The objective correlative is the single image as intellectual/emotional >nexus. Objectivism references the relational properties of entire poems. >Best, Bill > >WilliamJamesAustin.com >KojaPress.com >Amazon.com/BarnesandNoble.com ========================================================================= Date: Thu, 24 Jan 2002 01:48:41 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Penelope, shifted MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Penelope, shifted Alan is jumping up and down with excitement! Women approve heartily and men drink more beer as Alan sings "Begin the Beguine." You fall down laughing. You cry. You say, "It's amazing, I just got a new car!" You say, "Begin the Beguine and it's really all mine and there's nothing more so show me the door" You say, "There were two rabbis, isn't that funny enough?" You say, "Death is all around us, beware beware of death" You open your arms wide, begging the populace to embrace you. You pull your arms around your body. You say, "Please help me, I am amazingly beautiful..." You say, "Thank you all my loves, you have me me love myself..." You pucker your lips expectantly. You kiss yourself. You say, "Oh beauty, I am waiting for you to come to me!" You say, "I will begin with my own body, oh Penelope! and end with yours!" _ ========================================================================= Date: Thu, 24 Jan 2002 04:22:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daniel Carter Subject: dust doubt dare all Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" { } dust doubt dare all of a sudden urge to abstract oneself won self-victory triumph from all obligation w/hitch of co-(ur)se is an obligation win itself but of amother snort letters sea what cloud may be from the hiss of is-chambers 'n' gloss of a budden city turbo-lens renaissance(? [quest-tone spark in the pleasant dark ooze warmthswarmth round clothed entrances reverie swear]) -- ========================================================================= Date: Thu, 24 Jan 2002 10:16:55 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Re: What do you think ? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit No, that isn't it, but from this point of view it's the same. I think must have read _Samuel_, but it hasn't stayed. So, thanks for that. I think that what is coming into my memory is a Hans Anderson story. The guilt woman - tho' guilt of what I cannot remember - wants the innocent woman rolled down the hill in a barrel with nails hammered inwards The king knew all about this before he asked her to name the punishment (maybe he got the job on merit) and led her on to condemn herself L ----- Original Message ----- From: "Aaron Belz" To: Sent: 23 January 2002 01:28 Subject: Re: What do you think ? | Lawrence Upton wrote: | > | > There's a fairy story in which one character, guilty, describes the | > punishment for the crimes they committed but attributing those crimes to | > others | > | | | You are probably not referring to 2 Samuel 9, but it contains a story | similar to what you describe. I'll append it. | | -Aaron | | | | The Lord sent Nathan to David. When he came to him, he said, "There were two | men in a certain town, one rich and the other poor. The rich man had a very | large number of sheep and cattle, but the poor man had nothing except one | little ewe lamb he had bought. He raised it, and it grew up with him and his | children. It shared his food, drank from his cup and even slept in his arms. | It was like a daughter to him. | | "Now a traveler came to the rich man, but the rich man refrained from taking | one of his own sheep or cattle to prepare a meal for the traveler who had | come to him. Instead, he took the ewe lamb that belonged to the poor man and | prepared it for the one who had come to him." | | David burned with anger against the man and said to Nathan, "As surely as | the Lord lives, the man who did this deserves to die! He must pay for that | lamb four times over, because he did such a thing and had no pity." | | Then Nathan said to David, "You are the man! This is what the Lord, the God | of Israel, says: 'I anointed you king over Israel, and I delivered you from | the hand of Saul. I gave your master's house to you, and your master's | wives into your arms. I gave you the house of Israel and Judah. And if all | this had been too little, I would have given you even more. Why did you | despise the word of the Lord by doing what is evil in his eyes? You struck | down Uriah the Hittite with the sword and took his wife to be your own. You | killed him with the sword of the Ammonites.'" | | etc. | ========================================================================= Date: Thu, 24 Jan 2002 08:24:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?Q?Ram=20Devineni?= Subject: =?iso-8859-1?Q?Dialogue=20Reading=3A=20Sanchez=2C=20Olds=2C=20Breytenbach=2C=20Tharoor=2C=20Holman=2C=3F?= In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hello Everyone: Please join us for the 2002 Dialogue Through Poetry Reading in NYC featur= ing Sonia Sanchez, Sharon Olds, Breyten Breytenbach, Shashi Tharoor, Bob Holm= an, and others. We are having a press conference and poetry reading on March 1 featuring Glyn Maxwell & Stephanos Papadopoulos. There are over 150 re= adings scheduled worldwide during the week of 17, March 2002 to celebrate a week= of Dialogue Through Poetry and UNESCO World Poetry Day. This years' them= e: can poetry help create a culture of peace and non-violence in the world? 2002 Dialogue Through Poetry Reading Sonia Sanchez, Sharon Olds, Breyten Breytenbach, Shashi Tharoor, Bob Holm= an, and others Wednesday, March, 20 2002 from 7:00 PM to 9:00 PM The New School, Tischman Auditorium at 66 West 12th St., New York City. FREE Dialogue Through Poetry & Poetry on the Peaks Press Conference, Launch Party & Poetry Reading Featured readers: Glyn Maxwell & Stephanos Papadopoulos Friday, March 1, 2002 at 7:00 PM at National Arts Club, 15 Gramercy Park South , New York City. FREE Additional information can be found at http://www.dialoguepoetry.org Thank You, Ram Devineni Program Coordinator Rattapallax Press 532 La Guardia Place Suite 353 New York, NY 10012 USA http://www.rattapallax.com http://www.dialoguepoetry.org ========================================================================= Date: Thu, 24 Jan 2002 08:25:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?Q?Ram=20Devineni?= Subject: =?iso-8859-1?Q?Poetry=20readings=20on=20Mt=2E=20Aconcagua=20=26=20Mt=2E=20Vinson=20just=20occurred=2E?= In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hello Everyone: I am also happy to announce that we just had several majo= r poetry readings on Mt. Aconcagua, Argentina on January 23, 2002 (a poem by Kabir) and Mt. Vinson Massif, Antarctica on January 19, 2002 (a poem by William Blake) and Mt. Shasta, California (from Solo magazine). These readings are part of the Poetry on the Peaks program to celebrate the UN'= s International Year of Mountains (IYM). The scheduled readings are: The Seven Summits (The highest peaks on the seven continents) Aconcagua, Argentina (January 23, 2002) Carstensz Pyramid, Irian Jaya, Indonesia Denali, Alaska, USA Mt. Everest, Nepal Mount Kilimanjaro, Tanzania, Africa Vinson Massif, Antarctica (January 19, 2002) Mt. Elbrus, Russia Other readings Mt. Rainier, Washington, USA Mt. Iztaccihuatl, Mexico The Matterhorn, Switzerland Mt. Fuji, Japan Stone Mountain, Georgia, USA Mt. Moriah, Jerusalem, Israel Drakensberg Mountains, South Africa Mt. Marcy, New York, USA Mt. Shasta, California, USA Saint Elias Mountains, Canada Mount Triglav, Slovenia Mt. Bonnell, Texas, USA Arasuri Hill Range, India Ard=E8che Mounts, France Bear Mountain, New York, USA Mt. Logan, Canada Mt. Whitney, California, USA Mt. Jiri and Mt. Mani (additional readings are planned) The United Nations has proclaimed 2002 as the International Year of Mount= ains (IYM) to increase international awareness of the global importance of mou= ntain ecosystems. Poetry on the Peaks plans to celebrate the relationship betwe= en humanity to nature through poetry by setting-up poetry readings on as man= y of the mountains in the world and corresponding cities. The program hopes= to increase awareness of pressing environmental and social issues and pro= mote cultural heritage of mountain societies around the world. Some of the climbs are organized by Alpine Ascents International and Inte= rnational Mountain Guides. Additional information can be found at http://www.dialog= uepoetry.org/mountain.htm Cheers, Ram Devineni Rattapallax Press 532 La Guardia Place Suite 353 New York, NY 10012 USA http://www.rattapallax.com http://www.dialoguepoetry.org ========================================================================= Date: Thu, 24 Jan 2002 08:25:47 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?Q?Ram=20Devineni?= Subject: =?iso-8859-1?Q?Dialogue=20Poetry=3A=20Major=20world=2Dpoetry=20anthology=20released=2E?= In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hello Everyone: we are proud to release the first major ebook anthology dedicated to world poetry. The 2001 Dialogue Through Poetry anthology in= cludes poems from around the world that were read to celebrate the UN's Dialogue= Among Civilizations Through Poetry program held during the last week in March 2001. It is available as: Adobe PDF, MS Reader, Palm Pilot, and Ge= mstar. It is also FREE. To download: http://www.dialoguepoetry.org/anthology_2001.htm Never before has such an ebook anthology been attempted let alone achieve= d. During the last week in March 2001, over 200 poetry readings in over 150 cities miraculously took place. This book signifies the cumulative effor= ts of the thousands of poets that participated in this ground-breaking event= . To participate in this years' Dialogue Through Poetry program, please go= to http://www.dialoguepoetry.org Thank You, Ram Devineni and Larry Jaffe Rattapallax Press 532 La Guardia Place Suite 353 New York, NY 10012 USA http://www.rattapallax.com http://www.dialoguepoetry.org ========================================================================= Date: Thu, 24 Jan 2002 10:20:22 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: =?X-UNKNOWN?Q?=5Biso-8859-1=5D_FW=3A_=5Bmultitudes-infos=5D_FW=3A?= =?X-UNKNOWN?Q?_=5Bchronique=5Biso-8859-1=5D_s-maquisardes=5D_L'apr?= =?X-UNKNOWN?Q?_=E8s-Bourdieu_a_commenc=E9_=28fwd=29?= MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=X-UNKNOWN Content-Transfer-Encoding: QUOTED-PRINTABLE From=20Salwa Ghaly Bourdieu is dead. -----Original Message----- From: R=E9daction www.le-maquis.org To: Multitudes Info Sent: 1/24/02 6:07 PM Subject: [multitudes-infos] FW: [chroniques-maquisardes] L'apr =E8s-Bourdie= u a commenc=E9 L'apr=E8s-Bourdieu a commenc=E9, La "mis=E8re du monde" est incommensurable. Derni=E8re nouvelle du front : Pierre est mort. Bourdieu, le professeur honoraire, titulaire de la chaire de sociologie au Coll=E8ge de France, a quitt=E9 la sc=E8ne intellectuelle,= le champ des m=E9dias et celui de la vie tout court. Hier soir, dans un b=EAte h=F4pital parisien, il a livr=E9 son dernier combat =E0 71 ans, l=E2ch=E9 s= a derni=E8re prise, contre la maladie. Pierre Bourdieu =E9tait un combattant de la sociologie, un intellectuel, un militant. Il avait commenc=E9 par inventer les mots (concepts) qui lui ont permis de transgresser les r=E8gles. Il a su distinguer, derri=E8re les voiles d'apparence =E9galitaire, derri=E8re les m=E9andres d'une d=E9mocratie repu= e, les m=E9canismes de reproduction, les coups bas port=E9s au nom d'une m=E9ritocratie pip=E9e, les discours de justification d'un syst=E8me qui tourne sur lui-m=EAme, en excluant ceux qui ne sont pas du bon c=F4t=E9 du "capital" (culturel, social ou symbolique). Avec Bourdieu, les in=E9galit=E9s ont pris un nouveau visage. Le rapport entre dominants et domin=E9s n'est plus seulement =E9conomique ou social. Ce serait trop simple, trop "lisible". Les r=E8gles du grand jeu se cachent dans nos "habitus", dans ce qui s'=E9change entre les acteurs sociaux : fa=E7on de parler, niveau d'aisance, de socialisation, etc. Le comprendre, les conna=EEtre, c'est pouvoir mieux les combattre. Depuis la mort de Sartre (1981), on manquait d'intellectuels "engag=E9s" pour parler du monde. Bourdieu fut celui l=E0. Objet de toutes les pol=E9miques, de quelques id=F4latries aussi. "Bourdieusiens", les anti-mondialisation ? Sans doute, comme la plupart des militant-es de ces ann=E9es blafardes, vou=E9es =E0 l'ultra-lib=E9ralisme triomphant. Le sociologue a jou=E9 son r=F4le d'intellectuel "critique" : =E9clairant les chemins sinueux =E0 c=F4t=E9 des autoroutes, donnant un peu de sens =E0 l'action, se voulant autant donneur d'exemples que de le=E7ons. Les plus jeunes le d=E9couvrirent lors du mouvement de d=E9cembre 95, l'ont suivi aux c=F4t=E9s des sans-papiers, ont lu ses opuscules donnant des "Raisons d'agir", avant de d=E9vorer ses premiers ouvrages. Ceinture noire de judo, Bourdieu faisait de ses concepts des "armes de combat" et de la sociologie un sport de combat. Il laisse des mots =E9crits, parl=E9s, des paroles de lutte, d'intelligence du monde, et de sa mis=E8re. Il laisse aussi quelques "h=E9ritiers", qui voient d=E9j=E0 avec les yeux du professeur. Sauront-ils, apr=E8s la tristesse, d=E9passer le constat si intelligent soit-il, d'une pens=E9e de l'action, pour poser une action pens=E9e ? Bourdieu a dit la n=E9cessit=E9 de la r=E9volte contre la mis=E8re du mon= de. Il est mort avant d'avoir dit toutes ses beaut=E9s, ses potentialit=E9s. Il a quitt=E9 le "champ" (de bataille) sans avoir fini de donner les "champs" du possible. L'apr=E8s-Bourdieu vient de d=E9marrer. C'est jour de f=EAte chez les salau= ds. C'est jour de tristesse pour les autres. La mis=E8re du monde semble plus grande encore et le combat plus in=E9gal. Bourdieu est mort. L'h=E9ritage s'annonce lourd. Pierre est mort. Et il reste un monde =E0 changer. Erwan Lecoeur (jeudi 24 janvier 2002, 12h) ____________________Chroniques_Maquisardes____________________ http://lemaquis.ouvaton.org/ s'abonner : chroniques-maquisardes-request@ras.eu.org sujet =3D subscribe quitter le forum : chroniques-maquisardes-request@ras.eu.org sujet =3D unsubscribe . . m u l t i t u d e s - i n f o s =2E............................... Liste d'information et de discussion de la revue "Multitudes" Pour envoyer un message : multitudes-infos@samizdat.net Retrouvez "multitudes" sur le web : http://www.samizdat.net/multitudes Administration de la liste : laurent@samizdat.net Adresse web de la liste : http://listes.samizdat.net/wws/info/multitudes-infos ========================================================================= Date: Thu, 24 Jan 2002 11:24:56 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Bourdieu Comments: To: BRITISH-POETS@jiscmail.ac.uk, POETRYETC@jiscmail.ac.uk In-Reply-To: <0A5DF42D7014D411A58900D0B73E92AECB62F4@exch1.rhul.ac.uk> MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit I just heard the the French sociologist Pierre Bourdieu died last night from cancer at 71. Although much of the later sociology work could seem problematic from a poetics point-of-view {& years ago the French poet Michel Deguy wrote a scathing criticism of Bourdieu's famous "La Distinction"), his heart was in the right place, with his recent acticity against globalism, including the founding of the radical publishing house, only the tip of the iceberg of an honest activist intellectual's career. My own preference goes towards his earliest work, socio-anthropological work on Maghrebian Berber societies. -- Pierre [apologies for crossposting] ________________________________________________________________ Pierre Joris 6 Madison Place Albany NY 12202 "É melhor ser cabeça de sardinha Tel: (518) 426-0433 do que traseiro de baleia" Fax: (518) 426-3722 Email: joris@ albany.edu Url: ____________________________________________________________________________ _ > ========================================================================= Date: Thu, 24 Jan 2002 14:31:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Thompson Subject: Against Dworkin Against Meaning Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: quoted-printable Jeffrey, Thanks for your full report on Dworkin's talk. Sounds like I didn't miss much by staying home to tend my flu-ridden kids=8A But what I didn't miss, I did gain by your report. I'm interested in the things you pointed to re: Dworkin's previous positions on "paranoia" (a talk I regrettably missed): A poetics that is "beside" emotion. But this placement, making emotions "beside the point," also places the point firmly in the realm of "systems" (I think here with zero theoretic back-up of the classic "paranoid" enemy being "them," the system as =46BI, the system as Corporate Conspiracy). I think of Michael Scharf's "I LOVE SYSTEMS" piece I just read on the glorious ubu.com: "I love systems, they are but structures for action, for encounter and exchange." But for Scharf systems are exploitable by opposing forces, forces I'll outline here, lazily, as "corporations" and "writers." =46or Scharf, both writers and corporations use systems, but for opposite ends - the former to open up exchange in multiple directions, the latter to funnel exchange in one great sucking sound straight into their coffers. The two poles of this dichotomy admittedly infect each other often -- as Scharf, a guy who also writes "for" the Cahners corporation, is quick to point out (as should I, a guy who writes ad copy for a living). "A shit where I eat problem," says Scharf, pointedly. An old friend from my graduate school days is appalled at my paying job in advertising. But could knowing both the construction and deconstruction of a system make you better at the more writerly kinds of operations? At showing how corporations desire and writers suck? Well, Bernstein didn't have to write ad copy to rewire its systems=8A I digress=8A I thought Dworkin might be going somewhere with talk of Oppen's discrete series. It's a way to talk about "meaning," no? But to do so "against" conventional ideas of meaning; that is, meaning (I'm only thinking now) as constructed serially, or as a "paragogic chain" (lord, help me with "paragoia," graduate school was over 10 years ago). So, Clinton was almost right: but before we can discuss what the meaning of "is" is, we need to talk about what the meaning of "meaning" is. This, perhaps, pointing toward a poetics that relies not simply on formal games -- not games of form, but games that form, deform, reform systems? That act socially or individually, experimentally, and in many directions. I'm thinking here of games like what Bernstein does with nursery rhyme structure=8A and Dickinson with similar hymn structure=8A turning fixed aims to shifty purposes. Thanks again, Jeffrey, for the thoughtfulness of your report=8A Tom ========================================================================= Date: Thu, 24 Jan 2002 11:37:02 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: SMALL PRESS TRAFFIC SPRING 2002 Comments: To: eliztj@hotmail.com MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit SMALL PRESS TRAFFIC SPRING 2002 January 18-February 9 Poets Theater Jubilee Cosponsored with New Langton Arts & the Jon Sims Center for the Arts Details at http://www.sptraffic.org/html/events/ptj.html Reservations line is 415-554-0402 Wednesday, January 30 at 7:00 PM Carla Harryman Cosponsored with & held at The LAB 2948 16th Street, SF Friday, February 15 at 7:30 PM Andrew Maxwell & Liz Waldner Friday, March 1 at 7:30 PM Fanny Howe & Rachel Levitsky Thursday, March 7 at 7:30 PM at Yerba Buena Center for the Arts Series X: Panel on Women’s Publishing and Book Fair With Simone Fattal, Mary Burger, Yedda Morrison, Rena Rosenwasser and giovanni singleton, moderated by Robert Gluck Friday, March 8 at 7:30 PM Series X: Book Party for Technologies of Measure: A Celebration of Bay Area Women Writers, with Etel Adnan, Dodie Bellamy, Lyn Hejinian, Sianne Ngai, Leslie Scalapino, Eileen Tabios, and others You can order the book from us for $10 plus $2 s&h. All proceeds benefit La Casa de las Madres. Our March 7 and 8 events are a part of the F-Word Festival, exploring the contributions of women to current cultural production. Sunday, March 31 at 2 PM Crosstown Traffic Susan Gevirtz and Andrew Klobucar Friday through Sunday, April 5, 6, 7, 2002 Coordinates 2002: Indigenous Writing Now A conference on the states of the art, with Native writers and scholars including Paula Gunn Allen, Esther Belin, Diane Glancy, Ines Hernandez, Cedar Sigo, James Thomas Stevens, Kim TallBear, Gerald Vizenor. Please call us for a flyer or check our website for more information. Wednesday, May 1, 2002 at 7:30 PM CCAC Student Awards Reading Friday, May 3, 2002 at 7:30 PM Barbara Henning & Edith Jenkins Friday, May 17, 2002 at 7:30 PM Sarah Mangold & Fred Moten Sunday, May 19, 2002 at 7:30 PM Crosstown Traffic Laura Elrick & TBA Friday, May 31, 2002 at 7:30 PM Norma Cole & Jocelyn Saidenberg Unless otherwise noted, events will be held at Small Press Traffic, in Timken Lecture Hall, CCAC, 1111 8th St., San Francisco (just off the intersection of 16th & Wisconsin). Admission is $5-10 sliding scale; free to SPT members & CCAC students, staff & faculty. For more details on these events, please check our website, or call for a flyer. Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Thu, 24 Jan 2002 11:40:29 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: Carla Harryman reading Wed, Jan 30, San Francisco MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Small Press Traffic & The LAB present Wednesday, January 30, 2002 at 7 PM CARLA HARRYMAN Reading from her new book Gardener of Stars (Atelos). "This is written nowhere. I dreamed I was in a city and also in my dream I couldn't remember if cities existed anymore." The Village Voice calls Harryman's work "intelligent, sardonic, and elliptical to the point of delirium." HELD AT THE LAB, PARTY TO FOLLOW SPONSORED BY ATELOS The LAB: 2948 16th Street, SF Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Thu, 24 Jan 2002 23:00:01 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: query on behalf of a friend MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit I always think one of the saddest ones is poor Isaac Rosenberg, who not only enlisted in the British Army because he needed the money, was condescended to by Ezra Pound in his letters, but also managed to get killed by a direct hit from a German shell (apparently there was nothing whatsoever left of him). On April the 1st. Best Dave David Bircumshaw Leicester, England Home Page A Chide's Alphabet Painting Without Numbers http://homepage.ntlworld.com/david.bircumshaw/index.htm ----- Original Message ----- From: "richard.tylr" To: Sent: Wednesday, January 23, 2002 11:58 AM Subject: Re: query on behalf of a friend > Pierre Etal. I enjoyed that biography of Eliot...it may be the only one: I > think the problem is/was that his second wife has the copywrite (or may even > have destroyed letters to Eliot or vica versa) whatever: its quite > interesting: sure it doesnt get you much closer to T S except you have an > inkling he was a bit glum > most of his life, rather unimpressed on receiving the nobel prize, and so > on. We are all interested in people's lives; all of us gossips and sticky > beaks: that's human nature. There will always be authors and biographies as > long as there are humans. When I get a book of any kind I turn FIRST to the > bio (however brief) of the author. I'm fascinated in what these people are > of have been doing even if its just a pot boiler I pick up. Burroughs is > infinitely more interesting to people because he put a bullet thru his > wife's head! I can always sell his books: Eliot sells I think because people > have heard that they "must" read him...I think most people just put his > books on the shelf together with all the other "great" poets then get back > to watching Judge Judy or Oprah (or over here "Shortland Street) I have to > admit that in the NZ Listener I turn to the back and read Steve > Braunias,skip the poems, but am always interested in the sexy movie stars on > the very last page (to me it the females who are exciting by the way!), then > I console myself with the Chess puzzle from Barden - which I often solve > altho I havent solved the last one....with biographies I am always > fascinated by how people die. I skipped thru Dylan Thomas's bio to read the > section that lead up to his death. How he basically drank himself to death. > How at one stage he "dreamed" of triangles. Similarly I remember coming > across Sylvia plath's "Ariel" and thinking ...thes are strange: and I went > on a "binge" suspecting she'd topped herself: as to T S ... he didnt jump of > a bridge like Berryman, whose father shot himself, and died rather quietly > in a hospital: when he was younger he had quite good looks: a kind of > "Italianate charm"...these are the details that matter. Trakl poisoned > himself I believe...Celan was another bridge man...fascinating...Houdini > miscalculated a punch in the stomach (not tightening his stomach muscles > quick enough) and died of internal bleeding: Schoenberg's last words > were/was "harmony! harmony!", Goethe's you all know was "More light!" (in > German of course),Tolstoy threw himself in front of a train, my mother had a > stroke and was in a "coma" for about 6 months, my father died of lung cancer > (he smoked very much),Mr Hancock died of a brain tumour, Beethoven is > purported to have died in a thunder storm shaking his fist against fate, and > why not, Jack Kerouac had been in a fight and was hit once too often and > drunk and died of a stomach heamorrage - he died in a blood rage - Roethke > died of a heart attack beside a swimming pool, Alekhine (the genius chess > player) was drunk when he fell out of a window in Lisbon, David Jones > suvived the First World War, Mandelstam had heart trouble and died probably > of neglect and starvation as did Khlebnikov, Pushkin in a duel, as we know > Jackson Pollock suicided in a car crash, Mayakovsky commited dramatic > suicide by gun in protest at himself and possibly for love, the brilliant > English poet Keith Douglas, who was obsessed by war and soldiering, died it > is thought by a tiny splinter or shock when a shell burst close by leavimg > no mark on his body, Geoffrey Hill (a rather Eliotic poet) isnt dead yet but > he looks so miserable perhaps he could oblige us, several of the English > Kings had some fascinating deaths, and I believe that Sir Walter Raleigh was > beheaded in The Tower, Rilke got a scratch in his garden and that became > infected and he died of blood poisoning, Rutherford was trimming a tree and > fell and that was his demise, Rupert Brroke of an infection (from his lip > somehow) before he got to the WW1, Shelley drowned in a boat that was badly > desigened (or he actually ceased this life in the sea after being tipped, or > jumping from the boat in question), its not known exactly how Shakespeare > died, Hart Crane of course jumped from a ship, I imagine Emily Dickinson > died with dignity, Berrigan basically enjoyed himself to death with booze > and pills and wild women and reading incesantly, Robert Creeley is a > survivor, I heard that John Ashbery nearly died once, Ed Dorn had cancer..a > rather bitter man he was amusing and cut through the crap especially with > his "Abhorrences", Woodie Guthrie had (Blank's) disease (Huntingtons chorea) > which is discussed in a book co written by the biochemist and biologist > Bodmer, symptons are "madness" etc and then one slowly deteriorates, > Mohammad Ali is slowly deteriorating due to a similar genetically triggered > disease, so is Dudley Moore, Hitler shot himself thru the roof of his mouth, > the bullet that killed John Kennedy travelled thru his skull on a diagonal > traverse from the right hand rear to the left hand front, Lincoln similarly > but by a hand gun at close range, Swinburne lived to a ripe of old age and > used to walk daily about 5 miles to his favourite pub muttering to himself > but caught a chill and died at a good old age, Rimbaud died of gangrene of > the leg and the rigours of having a sister and his gun running in Africa, I > believe that Raymond Roussell killed himself, Camus died in a car accident, > Randel Jarrrel was suposedly changing a car tyre,O'Hara run down by a beach > buggy, Olson was collected in a car crash (according to Robert Creeley), > many must have died of aids, Spicer died by the word and his love of > liquor..and so it goes on. > Listers out there must know of some more interesting deaths of poets or > others? Cheers, Richard. > ----- Original Message ----- > From: "Pierre Joris" > To: > Sent: Tuesday, January 22, 2002 5:14 PM > Subject: Re: query on behalf of a friend > > > > David Bircumshaw wrote: > > > > > Eliot hated the idea of biographies. > > > > > > To make a statement like ' Peter Ackroyd's is an excellent start.' is > to, > > > wittingly or unwittingly, subscribe to a lie. You, I, or anyone > > > else, cannot > > > know what was the reality of Eliot's life to Eliot, even any more than > we > > > can of Mrs Mopbucket the part-time cleaner who lives in the flat > > > downstairs > > > or Mr Fuckem, the great broker, or anyone else with the partial > > > exception of > > > those very few people we know with a degree of the intimacy that we know > > > ourselves. Which knowing of oneself mostly consists of forgettings. > > > > Quite true, Dave, though if it annoyed Eliot, then I, not a big reader of > > biographies, will willingly turn into one, 'cause I love to annoy the > > annoying mr. Eliot. > > Of course all biographies are "fictions" to some extent, just as > all > > autobiographies are. And yet Dave, as a young writer, were you not > > interested in the actual lives of those writers you were reading & > admiring? > > Most of my students want to know something -- from a little to a lot -- of > > the lives of the authors they like. & I don't think that is an > illegitimate > > desire, even, and maybe especially in this post-textual, > > post-death-of-the-author era. > > Come to think of it, I am right now looking forward with some > excitement to > > the soon to be published biography of Ed Dorn -- the publication of which > > will, I would think, also send a number of people to the work itslef -- & > > that finally, is what we want, no? for the poems to be read? > > > > Pierre > > > > > > Anyone up for a Shakespeare biography? > > > > > > Best > > > > > > Dave > > > > > > > > > > > > David Bircumshaw > > > > > > Leicester, England > > > > > > Home Page > > > > > > A Chide's Alphabet > > > > > > Painting Without Numbers > > > > > > http://homepage.ntlworld.com/david.bircumshaw/index.htm > > > ----- Original Message ----- > > > From: "Pierre Joris" > > > To: > > > Sent: Friday, January 18, 2002 3:49 PM > > > Subject: Re: query on behalf of a friend > > > > > > > > > > > > > > > > hey everyone, can you point me toward several decent biographies of > ts > > > > > eliot? > > > > > > > > Peter Ackroyd's is an excelletn start. > > > > > > > > > > > > a young actor friend, very smart but unable because of his career > > > > > to take regular college classes but who is trying to educate > > > > > himself, wants > > > > > to know. i do too, since i've agreed to discuss "The Wasteland" > with > > > him > > > > > at some point in the future. > > > > > > > > > > > > > > > > > > > > > ________________________________________________________________ > > > > Pierre Joris Just out from Wesleyan UP: > > > > 6 Madison Place > > > > Albany NY 12202 POASIS: Selected Poems 1986-1999 > > > > Tel: (518) 426-0433 > > > > Fax: (518) 426-3722 go to: http://www.albany.edu/~joris/poasis.htm > > > > Email: joris@ albany.edu > > > > Url: > > > > > > > __________________________________________________________________ > > > __________ > > > > _ > > > > > > > > > > ========================================================================= Date: Thu, 24 Jan 2002 22:26:29 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Bordieu est mort Mime-Version: 1.0 Content-Type: text/plain; format=flowed From Liberation: Le sociologue français Pierre Bourdieu est décédé mercredi soir des suites d'un cancer à l'âge de 71 ans à l'hôpital Saint-Antoine de Paris. Né le 1er août 1930 à Denguin (Pyrénées-atlantiques), dans une famille d'origine paysanne, Bourdieu, agrégé de philosophie, débute sa carrière comme professeur au lycée de Moulins (Allier) en 1955. Il enseigne ensuite à Alger (1958-1960), à Paris puis à Lille (Nord). De 1964 à 1980, Pierre Bourdieu est directeur d'études à l'Ecole pratique des hautes études, devenue d'Ecole des hautes études en sciences sociales. Il est parallèlement directeur de la revue Actes de la recherche en sciences sociales. Titulaire de la chaire de sociologie au Collège de France depuis 1981, Pierre Bourdieu avait acquis une certaine renommée dès 1964 en publiant avec Jean-Claude Passeron «Les Héritiers», un ouvrage qui, quatre ans avant Mai 68, formulait une critique fondamentale de l'enseignement supérieur français. Il a ensuite connu un franc succès public avec «La Misère du monde» (1993), une enquête sur la souffrance sociale. En 1996, il fonde l'association «Liber/Raisons d'agir», éditrice de petits livres militants dénonçant le néo-libéralisme, une lutte incessante qui lui tenait au coeur. Bourdieu avait ainsi soutenu la candidature de l’humoriste Coluche à l’élection présidentielle de 1980, puis apporté son soutien aux grévistes et aux sans-papiers en grève de la faim en 1995. Il avait également fondé le Comité international de soutien aux intellectuels algériens (Cisia). Il était notamment l’auteur de «La Distinction» (1979), «Ce que parler veut dire» (1982), «La Noblesse d'Etat» (1989), «Les règles de l'Art» (1992), «Sur la télévision» (1997) et «La Domination masculine» (1998). _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ========================================================================= Date: Thu, 24 Jan 2002 21:59:23 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Traum MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Traum Nikuko, listen. I don't sleep. I have had episodes. My anger threatens the world. I have had red suns I cannot escape. I cannot escape the sky. The red sky is everywhere. Nikuko, listen. I am sleeping. I wake after the first episode; I sleep again. I wake after the second, after more convul- sions; again I sleep. I wake after the third, and that is the end of it. I came naked to you to show you everything. I want to seduce you with my broken anger. Listen: I dreamed I was in a train station, a waiting room, a classroom at a university. There was a woman dressed in brown leather, a beautiful jacket. Black hair, perhaps from Montreal or Paris. Those features. I bump into her. She smashes me, I bend over in violent pain. I wake up. I wake up in convulsions. You know, the body moves suddenly against all will, out of control. One wakes up in sweat. She's gone. The anger fades. Lassitude sets in. I want to seduce you. I want you to come naked and broken to me. I want to see your breasts, your cunt. I want to touch everything. I want you to belong to me, Nikuko, I want to own you. Listen: I sleep again. There is a man present, similarly dressed. Both of them are in their late twenties. He is her boyfriend. He approaches me, knees me in the abdomen, slams my face. I fall to the ground like a worm. I can't move. I jerk about. I convulse. I wake up. I want you so bad this might be a dream. I want your body in my face. I want to live in your odor. I want you all over me. I want my body bruised with you. I want your territory marked. Listen: I sleep again. This is the worst. I am in pain. I am standing near a table or desk. A security guard walks by. I reach for his gun. I take it from his holster. It's a nine millimeter pistol. I am looking at you now, Nikuko. I am undressing you with my eyes. I take the pistol and begin shooting. People try to leave to my left, there is a door. It is brown, wood. I shoot them. The pistol hums, it doesn't go pop-pop-pop. It hums with the beauty of death. It warms to my hand. I am in fury. I am furious anger. I will take everyone out. Yes, Nikuko, this is healthy. This is a true way of thinking. I mow them down. I mow everyone down, left and right. People are screaming. It means nothing to me, I let them scream. Do you see how I am, Nikuko, how it is. Nothing bothers me, Nikuko, nothing. Listen: I run out of ammunition. For a moment I am afraid all will be lost. I have numerous clips I have taken from the security guard. From somewhere, I have a second gun. I hold the gun on the survivors. I load the clip in the other gun, the first gun, my warm gun. I am worried I am loading the clip incorrectly. How would I know how to load a clip. I first knew I would know how to load a clip when I felt the gun firing once again, warm in my hand, warm with the beauty of it. No pop-pop-pop, just the humming sound. People are running and screaming again. Now I will tell you. There is a silence now. There is a silence and it is a very deep silence. My anger knows no bounds. It travels through horizons that move with me, like the horizon of a blood-red boiling ocean. There are no limits. Nikuko, I tell you, there are no limits. Look at my skin. Look at all of it. I own you, Nikuko. I own all of you, every bit of you. Show me all of you, Nikuko. I convulsed in the sheets of the bed. I woke up. I woke up frightened, Nikuko, frightened of everything. I am afraid of my power, of my lack of fear. I am afraid of what I will do with the gun. I am afraid of infinity. I look at you and undress you with my eyes. Take everything off, Nikuko, I own you. I am fascinated by your response to my power. This is the end of it. You are that girl. You are mine to do what I will. I am sure you are that girl. Take off your panties. Is it because girl take off my panties that you came naked and broken to me? Are you annoyed that girl take off your panties that I came naked and broken to you? Have you been annoyed often? Stop making excuses for yourself. Please please don t ever leave me. Are you sure that don t ever leave you? When did you first know that don t ever leave me? What happened when did me first know that don t ever leave you? What happened at the time when did you first know that don t ever leave me? What would happen if you had a gun and if did me first know that don t ever leave you? Is the fact that don t ever leave me the real reason? Does the fact that don t ever leave you the real reason explain anything else? Have you been positive don t ever leave me the real reason explain anything else? You mentioned that you would like to seduce? Is it because I would like to seduce that you came naked and broken to me? Did you ever regret you would like to seduce that I came naked and broken to you? Why should I get to seduce? When did you first know that should you get to seduce? What would happen if we did it or if did me first know that should I get to seduce? Is the fact that should you get to seduce the real reason? Does the fact that should I get to seduce the real reason explain anything else? Are you certain should you get to seduce the real reason explain anything else? Is it because of your life that you are going through all this? Buffers Files Tools Edit Search Mule Help!\210\312^Vn\306\201o^@!\210\312^Vo\306\2 This is the end of it. 1.)unsolicited and 2 You are that girl. You are mine to do what I will. in 06\201q^@!\210\312\211^Vq\207" [typos found o Are you sure girl I am yours to do what you will?or just to gather fun bucks. Why people go I am sure you are that girl. Take off your panties.\30!#\210\301\30!\304\30!#\21@\207" [x put dorhen c Is it because girl take off my panties that you came naked and b what makes you yearn and cry that) (what makes you Is it because girl take off my panties that you came naked and b ^G Get H (i have)) (you7ll you Please please don t ever leave me.\.\.\.) (so) (mmmmmm) ( _ ========================================================================= Date: Thu, 24 Jan 2002 15:33:20 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kellogg Organization: Duke University Subject: Pierre Bourdieu dies MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Pierre Bourdieu, the French sociologist who has influenced a lot of cultural criticism (including mine), has died in Paris of cancer at the age of 71. The New York Times obit is at http://www.nytimes.com/2002/01/24/obituaries/24WIRE-BOURDIEU.html David Kellogg Director, Writing in the Disciplines Center for Teaching, Learning, and Writing Duke University (919) 668-1615; FAX (919) 681-0637 http://www.duke.edu/~kellogg ========================================================================= Date: Thu, 24 Jan 2002 22:28:00 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Thompson Subject: Re: =?X-UNKNOWN?Q?=5Biso-8859-1=5D_FW=3A_=5Bmultitudes-infos=5D_FW=3A?= =?X-U... MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/24/02 10:22:53 PM Eastern Standard Time, sondheim@PANIX.COM writes: > > > > > > From Salwa Ghaly > > > Bourdieu is dead. > Well, it happens even to the best of us. Bon jour, GT ========================================================================= Date: Thu, 24 Jan 2002 23:58:31 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Boog City, East Village Paper, Debuts MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit (Here's the editorial from the first issue of Boog City. Below it is information on contributors and a call for submissions) the Beginning of a Great Adventure The premier issue of Boog City is brought to you by the letters K and P, as in Kristin Prevallet, whose piece ìDear George Bushî is in the centerspread. Iíve known Kristin for a long time. I first met her back at the then Naropa Institute, now University, in Boulder, Colorado, us two hanging around their legendary writing and poetics program, the Jack Kerouac School of Disembodied Poetics. Kristin had come out to Boulder from the State University of New York at Buffalo, where she was coediting the poetics journal apex of the M with Alan Gilbert. Unlike most editors, they didnít just find cool words and print them, instead they jumped headfirst into the fray, beginning controversies and inspiring hate mail, all-in-all, mucking it up, and it was beautiful. Itís about a decade later, and Kristinís still doing it. She is a damn solid essayist and poet, who takes on the politics of the state and abusers of authority. So mid-December, there was all this false patriotism flying in everyoneís faces. There was the gourmet soup shopís menu with the collage of the Twin Towers, the stars and stripes, and a bald eagle. There were pictures of the on-fire Twin Towers, according to The New York Times, being sold from beneath sidewalk vendorsí bridge tables, while the photos of the towers in their former glory were out on display. There were American flags everywhereóon pizza pie boxes; hanging, wind-shredded, off of car antennas; or, in my case, being left by building management on the floor outside every apartment in my complex as though they were doormats. Amid all this insanity that is a post-Cold War nation seeking an enemy, any enemy, to define itself; in a nation seeking ìInfinite Justiceî only to settle for ìEnduring Freedom,î I kept wondering who the hell is going to give me the words to get out there about why George Bush, quite simply, is wrong, despite approval numbers that would have made any mom proud if you brought them home from your intro to American foreign policy class freshman year at Yale. I heard those words about Bush early in the evening during the 27th Annual New Yearís Day Marathon at St. Markís Church, when Kristin Prevallet stepped to the microphone in the sanctuary, and said, simply, ìDear George Bush,î her passion building with each statement, each line of her letter/poem/essay. So read ìDear George Bushî (p. 5), unwrap the comfort of the flag from your body, and think about this nation at war. Revenge is nice for a Charles Bronson flick, but this is real life, and what the hell are we doing, and is it right. This is Boog City, a community newspaper from a group of artists and writers based in and around New York Cityís East Village, either physically or spiritually, and sometimes both. This is Boog City, a group of people who question authority, and create amazing art while doing so. This is Boog City, a community of New Yorkers, Americans, citizens of the world, who flourish everyday amid every reason not to. This is Boog City, hop in the front seat, and put your shoulder to the wheel. as ever, David Kirschenbaum, editor and publisher booglit@theeastvillageeye.com ________________________ First issue, available in NYC on Friday Jan. 25, includes: -Lexicons from Erwin Karl, Dan Rigney, and Dale Smith -Greg Fuchs on art post-September 11 -Kimberly Wilderís ìNotes from My FBI Fileî -Poetry from David Baratier, Anselm Berrigan, Sean Cole, John Coletti, Ethan Fugate, Lisa Jarnot, Eliot Katz, Aaron Kiely, Eileen Myles, Wanda Phipps, Kristin Prevallet, Jenny Smith, Lorenzo Thomas, and Ian Wilder -art by Brendan Iijima -photos from Fuchs Special offer: Available for only 80¢ SASE (8-1/2 x 11") to first 100 poetics list members who respond to this email, subject line: Boog City/Free Poetics List Member Copy ___________________________ reviewing any art or words for possible publication. Deadlines every second Friday, 12 noon. Next issue deadline: Friday Feb. 1. __________________________________________ Issue two, Feb. 1-14, of Boog City: Come As You Are: A Tribute to Kurt Cobain at 35 World Economic Forum coverage Kimberly Wilder's ìNotes from My FBI Fileî Aaron Kiely reviews Eileen Myles' Skies and poetry from Ed Berrigan, Trane DeVore, Susan Landers, Chris Stroffolino, and James Wilk, among others Issue two deadline is Friday Feb. 1, 12 noon. Considering all words and arts, themed (Cobain or WEF) or unthemed. ========================================================================= Date: Thu, 24 Jan 2002 23:16:21 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: What do you think ? In-Reply-To: <009e01c1a4c4$99a112e0$fd1a86d4@overgrowngarden> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Also sounds like Kafka's "In the Penal Colony," where a soldier who has been accused of insubordination and condemned without trial (sound familiar?) is about to be executed, by means of a ghastly machine that inscribes a man's sentence on his flesh with needles -- only to be granted a last-minute reprieve, because the officer in charge of the execution is in fact the guilty party. Damian On Thu, 24 Jan 2002 10:16:55 -0000 Lawrence Upton wrote: > No, that isn't it, but from this point of view it's the same. I think must > have read _Samuel_, but it hasn't stayed. So, thanks for that. > > I think that what is coming into my memory is a Hans Anderson story. The > guilt woman - tho' guilt of what I cannot remember - wants the innocent > woman rolled down the hill in a barrel with nails hammered inwards > > The king knew all about this before he asked her to name the punishment > (maybe he got the job on merit) and led her on to condemn herself > > L > > > ----- Original Message ----- > From: "Aaron Belz" > To: > Sent: 23 January 2002 01:28 > Subject: Re: What do you think ? > > > | Lawrence Upton wrote: > | > > | > There's a fairy story in which one character, guilty, describes the > | > punishment for the crimes they committed but attributing those crimes to > | > others > | > > | > | > | You are probably not referring to 2 Samuel 9, but it contains a story > | similar to what you describe. I'll append it. > | > | -Aaron > | > | > | > | The Lord sent Nathan to David. When he came to him, he said, "There were > two > | men in a certain town, one rich and the other poor. The rich man had a > very > | large number of sheep and cattle, but the poor man had nothing except one > | little ewe lamb he had bought. He raised it, and it grew up with him and > his > | children. It shared his food, drank from his cup and even slept in his > arms. > | It was like a daughter to him. > | > | "Now a traveler came to the rich man, but the rich man refrained from > taking > | one of his own sheep or cattle to prepare a meal for the traveler who had > | come to him. Instead, he took the ewe lamb that belonged to the poor man > and > | prepared it for the one who had come to him." > | > | David burned with anger against the man and said to Nathan, "As surely as > | the Lord lives, the man who did this deserves to die! He must pay for that > | lamb four times over, because he did such a thing and had no pity." > | > | Then Nathan said to David, "You are the man! This is what the Lord, the > God > | of Israel, says: 'I anointed you king over Israel, and I delivered you > from > | the hand of Saul. I gave your master's house to you, and your master's > | wives into your arms. I gave you the house of Israel and Judah. And if all > | this had been too little, I would have given you even more. Why did you > | despise the word of the Lord by doing what is evil in his eyes? You struck > | down Uriah the Hittite with the sword and took his wife to be your own. > You > | killed him with the sword of the Ammonites.'" > | > | etc. > | <<<<<<<<<<<<<<<<<<<<<< damian judge rollison department of english/ institute for advanced technology in the humanities university of virginia djr4r@virginia.edu >>>>>>>>>>>>>>>>>>>>>> ========================================================================= Date: Fri, 25 Jan 2002 00:46:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Damian Judge Rollison Subject: Re: Craig Dworkin talk In-Reply-To: <20020123040345.82197.qmail@web11704.mail.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Heard Sylvia Nasar on Fresh Air this evening -- she wrote the book on John Nash, who during his schizophrenic decades did elaborate numerological/mathematical 'research' in order to uncover encoded correspondences whose presence he'd intuited (i.e., voices told him). Nasar: "He had a young economist at Princeton help him write a computer program to transform Rockefeller's name, to which he attached great significance, into base-26, and then to factor this very large number. He was looking for connections between things like the telephone number in the Senate cloakroom, the social security number of mathematician he knew, and the birthdate of Brezhnev." Listening, I was reminded of Jeffrey's account. Even more than the problem of the re-inscription of the author's name, what strikes me as disturbing about Dworkin's approach (by this account) is its appearance of objective empiricism, as though this content (any content) is patently "there" in the text, rather than immanent in the social transaction. That these names, or dental records or what have you, are part of an "unwritten core," rather than a manifest content, sounds like logical positivism in a deconstructive guise. But, had it all been presented in a spirit of play (viz Garrett Stewart hearing an unspoken "love" in Keats's "the fee/l of/ not to feel it") it might have been more compelling. DJR On Tue, 22 Jan 2002 20:03:45 -0800 Jeffrey Jullich wrote: > Date: Thu, 17 Jan 2002 11:04:16 -0500 > > >Did any New York listserv folk attend Craig Dworkin's > talk "against meaning" last night? If you did, please > report. He's a smart cookie and I'd like to get a gist > of what he's "for." > > Tom Thompson > > ------------------------------------------------------- > To: T.T. From: J.J. > ------------------------------------------------------- > > I found Craig Dworkin's "Against Meaning" lecture at > the White Box gallery very upsetting. > > (I was extremely eager to go: I rarely leave the > house at night anymore, but I vividly remember his > Barnard conference lecture on Lyn Hejinian and > paranoia. He shared a panel with Charles Altieri back > then at Barnard. Dworkin's talk included references > to the asylum-institutionalized "madman" who composed > much of the Oxford English Dictionary. Dworkin's > scheme had to do with the paranoid underpinnings of > language and the paranoid processes of seeking out and > finding meaning.) > > At White Box, he wasn't using the word "paranoid" > anymore. > > The audience of perhaps less than three dozen, crammed > together in tightly squeezed chair in the midst of any > otherwise expansive gallery, included much of the > Manhattan illuminati: Charles Bernstein, Bruce > Andrews, Ulla Dydo, Claudia Rankine, Kenny Goldsmith . > . . > > > Dworkin passed out xeroxed hand-outs. His hair was > moussed into standing. > > Partially from my notes: > > He began with George Oppen's ~Discreete Series,~ from > which he drew a model for his "applied > paragrammatics," a reading strategy which he defined > as "willing to sacrifice its reference", "a grammar of > reading". > > A "discrete series" is a mathematical term for a > series where every term is empirically justified, > rather than being derived from preceding propositions. > That is, as opposed to an arithmetic progression (the > Fibonacci: 1,2,3,5,8,13...), he gave the subway stops > on an East Side train. > > He said, a` la Oppen, that it is the very fact of a > poem's acceptability as a ~mechanism~ that is the > proof of meaning. > > He proceeded through trailing verbatim dictionary > definitions which Oppen had followed in the > structuring of his poem: the OED as an organizing > structure. (His research included that a new printing > of the OED had been a New Year's Day front page > story.) > > The multiple definitions for a single word as they > appear in a dictionary are a discrete series, vs. an > inductive "paragogic chain"--- by following a logic > from signifier to signifier: glass > grass > crass > > class, a "bitter romance" of associations. > > He spent a good deal of time discussing the word "rim" > in Oppen (with "a straight face"). > > He next moved on to Saussure's notorious hypogrammes: > "multiple, uncontrollable and unhierarchical > meanings"; DeMan spoke of the "terror" of the letter. > > Riffaterre's book, ~The Semiotics of Poetry~: When a > gap opens up between a word and a text, the motivating > anxiety is a single unwritten word. Texts have an > unwritten core, a "matrix". Grammatical disruptions > become a clue to the presence of a matrix. > > He gave examples. > > >From Apollinaire's poem, "Monday in Christine Street": > > > "Trois becs de gaz allume's > La patronne est poitrinaire" > > ("Three gas burners lit / The proprietress is > consumptive"). Dworkin found Apollinaire's name in the > line-endings, > > "a-" "-pa-" "-lu-" "naire", or such. > > (Saussure's hypogrammes, --- or "la folie de Saussure" > [the madness of Saussure]--- was his similar, > decades-long notebooks, where he traced the names of > Greek gods in Latin literature --- repeat: ~Greek~ > gods in ~Latin~ poetry, Aphrodite, etc.) > > Not wanting it to seem that the Dworkin method of > reading was applicable only to the avant-garde, he > turned to Robert Frost's old chestnut, "Mending Wall". > > > (In excerpt: "the frozen ground-swell . . . / . . . > The gaps I mean, / . . . / . . . 'Good fences make > good neighbors.' / . . . I was like to give offense. / > . . . I could say 'Elves' to him, / But it's not elves > exactly"). > > Dworkin found the same ~Semiotics of Poetry~ dynamic > ("it warps itself around a missing core"). (Saussure's > term "hypogramme" was taken from the Greek for > signature.) > > "(F)rozen ground-swell" is a synonym for rime frost; > "rime" is a homonym for "rhyme"; "frost" was a term > for "literary failure" that Frost would have been > fighting against. "The gaps" mean the gaps of > Riffaterre lacunae; for "elves", read "selves". > "fences"/"offence" was a Russian "zdvig" or "shift". > > Dworkin's third example, p. 258 from an edition of > Malcolm Lowry's ~Under the Volcano~: "Yvonne's father > made his way . . . earnest candid eyes . . . synthetic > hemp". > > This prose hid a Dworkin matrix for the name--- Ernest > Hemingway, Lowry's literary father (known as "Papa > Hemingway", with "Papa" appearing on a preceding > page): > > earnest hemp way. > > These repeated examples were his self-admitted defense > against accusations of a "readerly hat trick" or > "hermeneutical prestidigitation". > > He said he found "recourse to soft psychology not > satisfying either" (Lowry, writing around a bullfight, > thinks of Hemingway), but acknowledged "the degree to > which readers are more comfortable with corroborative" > evidence. > > He said he found these hypograms "factually, > incontroveribly there"; that it was not chance and > permutations. > > > In Elizabeth Bishop's "The Moose", which is about an > animal (C.D. cited critical commentary as to grandiose > literary themes), he said the poem is about--- > ~orthodonture.~ > > He lined up words: "PINK glancing", "beat-up ENAMEL", > "BLEACHED, ridged as clamshells", "BRUSHING the dented > flank", "waits, PATIENT", and "BRACES" to refer to > unmentioned teeth. > > Bishop at the time was going to the dentist twice a > week. (---Bathos?) > > (My notes do not record Dworkin commenting on the > French word for tooth, "dent", and Bishop's "dented".) > > In passing, he also cited Zukofsky, where three or > four mentions of "law" are closely accompanied by > "tessera", he said, but without Z. ever using the word > "mosaic" (Mosaic law = the Law of Moses)! > > > The Q-&-A was not quite sympathetic: the first > questioner accused him of not "opening onto paths that > might lead us away from meaning" ("Against Meaning") > but rather back to classic modernist grids, an > aligning, congruences. Another questioner seemed > argumentative in talking about an "architectonic > self". > > I was quite bothered. My question accused his project > of reenacting what Geoffrey Hartman's 1981 ~Saving the > Text~ had already done with the Romanticists > (Wordsworth: word's worth; etc.), which Hartman called > "the spectral name." > > Dworkin (with the exception of Bishop's teeth) was in > all cases "re-discovering" embedded in the text what > was already conspicuously written at the top of the > text: the author's name. > > This differed greatly from Saussure's hypogramme > matrices, which found the names of gods like "Apollo" > (Saussure's Apollo had been Dworkin's springboard into > Apollinaire) or "Aphrodite", --- which, importantly, > were not individual author's lemon ink autographs but > ~suprapersonal.~ Saussure, in search for an > explanation for these disturbing archaic forces > inscribed across so many writers' texts, even > conjectured whether there might have been some cultic > or religious explanation. > > Dworkin, instead, > > at exactly our contemporary turning-pint where reading > and criticism have moved beyond the fantasy of > (writing packaged one-for-one to) the discrete unit of > a self-sufficient author, broader territorities > (wilderness) of language as common possession, and > a-subjective propulsions that are the agency for > writing, > > was re-bundling or "re-authoring" these texts back > under the ~souscription~ of the individual author, > neat bundles. > > Bishop's teeth: biographical reductivism. > > What would be ~interesting~ would be finding Louis > Zukofsky's name in Lowry, or Hemingway's in Frost, I > suggested. > > > Dworkin demonstrated no corrective familiarity with > statistics and randomness, or their anomalies. He had > fallen into a statistical rabbit-hole. (You'd be > amazed how many time the same doubles will come up in > a row.) > > Definitely, the name is a narcissistic imago, and we > develop fetishistic attachments to its letters. But > Dworkin was going from general principles to a sort of > "Find-a-Word" puzzle, where the solution --- surprise! > --- in x out of y cases was a game of nominal, > diagonal acrostics. > > He responded by saying that he thought it might have > something to do with the numinous or nebulous status > of personal names as words, which he does not > understand. > > > ---I can't see how it moves "our" mission forward to > go retrograde (moving from a self of societal > construction to a metaphysics of "confidential, to the > point of secrecy," as he said about Oppen). He's > re-instating the self-enclosed, autonomous figure of > the writer as the prime deciphering key to the text, > where the "punch line" solution will be finding at the > end what you started off with at the beginning. > > His insistence on the "objectivity" of his findings > and truth was jettisoning the whole rich ground of > indeterminacy, and ambiguity, and The Absurd (that > which can be neither true nor false). > > > ---To say nothing of the spuriousness of his > methodology. > > The Lowry Hemingway was a single confabulation > ("objective" or not) on p. 258 of a 400 pp. novel. > > A "proof" strung out of four, maybe five tenuous > examples, one of them (the Zukofsky) undocumented > yields a whole paragrammatics. Between one example > and the next, however, there was considerable > ~slippage,~ with name only putatively unifying > tellingly different cases: > > Frost's name was hidden in synonyms, but was his own > name in his own text; > > Apollinaire's name was his own name in his own text, > but appeared as splintered syllables, unlike Frost's > rebus; > > Lowry's Hemingway was made up of splintered syllables, > but was somebody else's name, not the author's; > > "Moses" in Zukofsky involved neither the author's name > nor that of a living or real person nor syllables: it > depended on a Latin-to-English translation. > > Bishop's had nothing to do with names or any > "unwritten word" at all, per se (a body part, > instead); etc. > > > Dworkin's schizo-analysis was conducted without even > passing reference to the possibility of a rhetorical > trope of paronomasia. Writers writing without any > sense of pun. > > > In resuscitating, after ~The Death of the Author,~ > these authors this way, and stressing "objectivity", > Dworkin absolved himself of the uncomfortable position > of being a ~reader~ with responsibility for his own > idiosyncratic dyslexias: instead, the return of the > invisible, Archmidean critic. > > > I think he lost ground by backing away from his > previous "paranoia" model (which was anti-subjective). > By moving on instead to a hunt for neutral alphabetic > solutions, punch-lines, he has, in a sense, deepened > his previous project further by joining into the > affectlessness of paranoia's clues. > > Paranoia is, literally (etymologically), ~beside~ > feelings, that is, always a little to the left or > right of emotions. Paranoia is more concerned with > cracking the FBI's cryptography than with what ~it > feels like~ to be so consumed and monomaniacal. > > He said that the very fact that Frost and Bishop > scholars become upset with him makes him think he's on > to something. Others' emotive frustration is not an > academically recognized barometer for confirming a > hypothesis. > > We were left with handfuls of alphabet blocks, > Scrabble solitaire played with books. Even were they > delivered less objectionably, those details could have > been bridges into empathic deepening with the source > texts, instead of "A-ha!" eureka at yet another ghost > writer's signature: Bishop's toothache becomes a sort > of joke, in its mundanity, rather than an opportunity > to connect with the force of personal, physical pain > (toothache, after all, being even Wittgenstein's > preferred metaphor for investigations into the > language of pain and private sensations); Zukofsky's > unwritten (oral?) "Mosaic law" was not a segue into > glimpsing the proud, idealized self-identification > that he, as a Jew, self-aggrandized with the sainted > law-giver; ... > > > Dworkin must be right: I'm as bothered as the Frost > scholars. > > (And from ~Princeton,~ no less!) > > > > __________________________________________________ > Do You Yahoo!? > Send FREE video emails in Yahoo! Mail! > http://promo.yahoo.com/videomail/ <<<<<<<<<<<<<<<<<<<<<< damian judge rollison department of english/ institute for advanced technology in the humanities university of virginia djr4r@virginia.edu >>>>>>>>>>>>>>>>>>>>>> ========================================================================= Date: Fri, 25 Jan 2002 10:32:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Thompson Subject: Tom Thompson reading in NYC Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Maybe you were as surprised as I to read on today's list that poetry is literally gonna come down from a mountain top near you (Mt. Fuji, Mt Rainier, et al: www.dialoguepoetry.org)... Or maybe you already knew. But for a TRULY unprecedented event: Tom Thompson will be schlepping his self across New York's Central Park to read from his alicejamesbooks book LIVE FEED next week: Thursday, January 31st at 7PM at the Barnes & Noble Bookstore located at 240 East 86 Street, between 3rd and 2nd Avenues. Please come dawdle and hum and stamp your feet and let's warm up the place. ========================================================================= Date: Fri, 25 Jan 2002 11:36:46 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: altering (responding to a text)^2 MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - altering (responding to a text)^2 the ruins of buildings. i can't write from anything else. tonight, the water stopped in our apartment. the apartment ran dry. there are sounds of struggle in the pipes. following a sentence in the possessive and possession of characters, a gap or hiatus. wayward or contrary characters. of the harshness of daily politics. of the real and virtual jennifer, julu, alan, nikuko. of the real and virtual honey, travis, tiffany. jennifer years ago started off as about 12 in the early stuff then moved to 20s-something; nikuko i imagine in her 30s; julu 24. i keep wanting to kill them off. i killed off jennifer a long time ago, she had a bier and everything, then returned. before that, travis, honey, and tiffany all disappeared. i can't write dialog for males, it's not that i can write it for females, i can't at all, but with males it devours me from inside. it's a distrust of males, of male authority. it's built-in, a bad engine. males are bad engines. males absorb, i write from the debris, effluvia, of absorption. alan is a character but alan is also a stain or residue, almost always disappearing by the end of the show if he were there in the first place. alan wants to disappear but engrave in stone. alan wants to engrave everything in stone and then rails against totality and writes dubious philosophy. that doesn't make sense. it's almost as if alan wishes that nikuko speaks through alan, both of them in a ring: jennifer on the east, julu on the west. north and south are unguarded; they always are, the cold-spots of the ring of Aphra Behn's desire. there are disappearances. as one might say, there are disappearances and disappearances. they follow this odd desire. they generate an inchoate politics reaching up through the surface like the hand in Carrie. the texts come from dreams (of the real or virtual dreams) (of careful considerations and the clarity of thought), go back in and mess with them. nothing comes out but different, not therapy or recuperation or balance, but a mess that takes off on its own: alan with the 9 millimeter, nikuko listening as if entranced. Alan writing in a trance or entrance. Nikuko listening in departure. they occupy an aspect ratio. alan thinks: better to return to coding, code-work made obvious (although Traum came out of a rewrite of the emacs doctor program) - better returning to abstraction or scaffolding, rather than the mud on the rungs as one climbs, impossibly, among the ruins of buildings in the east, in the west. not of buildings in the cold, northern and southern poles: where the writing originates. frozen, immobilized. writing from magnesis, magnetic poles, hysteresis looped. from Alan, never from dreams _ ========================================================================= Date: Fri, 25 Jan 2002 10:24:25 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: The Poetry Project Subject: POETRY PROJECT EVENTS Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit CALENDAR OF EVENTS JAN 28 - FEB 4 JANUARY 28, MONDAY MARCO VILLALOBOS and DANIEL KANE MARCO VILLALOBOS's poetry is featured in recent publications of the Brooklyn Review, and SPAWN, a not-for-profit literary arts journal that seeks to nourish the work of young writers. Most recently he's been featured in Step into A World: A Global Anthology of the New Black Literature, as well as the upcoming, Bumrush the Page: A Def Poetry Jam. Daniel Kane has poems in TriQuarterly, The Denver Quarterly, Skanky Possum, Exquisite Corpse, The Hat, and other journals. His cultural history of the Lower East Side poetic community is due from the University of California Press in 2003. [8:00 pm] JANUARY 30, WEDNESDAY MARK MCMORRIS and JULIANA SPAHR. MARK MCMORRIS's poetry appears under four titles: Palinurus Suite (Paradigm), Figures for a Hypothesis (Leave), Moth-Wings (Burning Deck), and The Black Reeds (University of Georgia Press). His fiction has been anthologized in Ancestral House: The Black Short Story in the Americas and Europe (Westview). JULIANA SPAHR's Response (Sun & Moon Press) won the National Poetry Series award. She is also the author of Everybody's Autonomy: Connective Reading and Collective Identity (University of Alabama Press) and the Fuck You-Aloha-I Love You (Wesleyan University Press). With Jena Osman, she co-edits the influential journal Chain. [8:00 pm] FEBRUARY 1, FRIDAY NUZION FUSION 020102 Come hear why Time Out New York calls Brooklyn's GOLD SPARKLE "One of the Best jazz bands in New York City." Performers include CHARLES WATERS, alto saxophone and clarinet; ANDREW BARKER, drums; ADAM ROBERTS, double bass; JEREMY WILMS, guitar; MISSY MAZZOLI, piano and electric piano; MATT LAVELLE, trumpet, bass clarinet and flugelhorn; JANIS SHEN, spoken words; other super surprise special guests tba. [10:30 pm] FEBRUARY 4, MONDAY OPEN READING Sign-up at 7:30 p.m. [8:00 p.m.] -- 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 in-the-Bowery at 131 E. 10th Street, the corner of 2nd Avenue and 10th Street in Manhattan. Trains F, 6, N, R, L. 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. If you are currently on our email list and would like to be on our regular mailing list (so you can receive a sample issue of The Poetry Project Newsletter for FREE), just reply to this email with your full name and address. Hope to hear from you soon!!! ========================================================================= Date: Fri, 25 Jan 2002 14:51:36 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Pierre Joris Subject: Re: Bourdieu Comments: To: BRITISH-POETS@jiscmail.ac.uk, POETRYETC@jiscmail.ac.uk In-Reply-To: MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 8bit For anybody who has French & likes Bourdieu, here is an excellent site that makes a number of recent PB texts available online -- Pierre http://www.homme-moderne.org/societe/socio/bourdieu/index2.html sorry for corssposting, Pierre ________________________________________________________________ Pierre Joris 6 Madison Place Albany NY 12202 "É melhor ser cabeça de sardinha Tel: (518) 426-0433 do que traseiro de baleia" Fax: (518) 426-3722 Email: joris@ albany.edu Url: ____________________________________________________________________________ _ > -----Original Message----- > From: british & irish poets [mailto:BRITISH-POETS@jiscmail.ac.uk]On > Behalf Of Pierre Joris > Sent: Thursday, January 24, 2002 11:25 AM > To: BRITISH-POETS@jiscmail.ac.uk > Subject: Bourdieu > > > I just heard the the French sociologist Pierre Bourdieu died last > night from > cancer at 71. Although much of the later sociology work could seem > problematic from a poetics point-of-view {& years ago the French > poet Michel > Deguy wrote a scathing criticism of Bourdieu's famous "La > Distinction"), his > heart was in the right place, with his recent acticity against globalism, > including the founding of the radical publishing house, only the > tip of the > iceberg of an honest activist intellectual's career. My own > preference goes > towards his earliest work, socio-anthropological work on Maghrebian Berber > societies. -- Pierre > > [apologies for crossposting] > > ________________________________________________________________ > Pierre Joris > 6 Madison Place > Albany NY 12202 "É melhor ser cabeça de sardinha > Tel: (518) 426-0433 do que traseiro de baleia" > Fax: (518) 426-3722 > Email: joris@ albany.edu > Url: > __________________________________________________________________ > __________ > _ > > > > ========================================================================= Date: Fri, 25 Jan 2002 16:41:42 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: Poets Theater Jubilee Feb 1 at Small Press Traffic MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Small Press Traffic in association with New Langton Arts and The Jon Sims Center for the Arts presents Friday, February 1, 2002 at 7:30 POETS THEATER JUBILEE New plays by Carla Harryman & David Larsen Carla Harryman's Performing Objects Stationed in the Sub World starring John Pollack, Roham Shaikhani, Annie Kunjappy, Laurie Amat and Ken Berry music by Erling Wold directed by Jim Cave David Larsen's Basket of Blood directed by the author with intervention from Chris Nagler, Wayne Smith and Kevin Killian starring Lael Gold, Jay Schwartz and David Wingate, and David Larsen as THE CRYPT TICKLER Evening curated by Camille Roy Come out and come early! For directions to SPT please see http://www.sptraffic.org/fac_dir Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Sat, 26 Jan 2002 01:04:32 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Girlboy Alan MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Girlboy Alan tori:*:9314:99:Lurking Girl:/net/u/8/t/tori:/usr/local/bin/zsh phatgirl:*:16767:99:kathleen:/net/u/4/p/phatgirl:/usr/local/bin/zsh kboyle:*:2382:99:Kevin Boyle:/net/u/1/k/kboyle:/usr/local/bin/lsh brooklyn:*:9684:99:Steve Rayboy:/net/u/1/b/brooklyn:/usr/local/bin/tcsh cboylan:*:13138:99:Chris Boylan:/net/u/4/c/cboylan:/usr/local/bin/lsh wboyce:*:16720:99:Willis Boyce:/net/u/1/w/wboyce:/usr/local/bin/bash joejarre:*:17675:99:Boyce W. Jarrett:/net/u/1/j/joejarre:/bin/sh grid:*:18114:99:Daniel J Boyle:/net/u/1/g/grid:/usr/local/bin/bash tankboy:*:18645:99:Scott Ettin:/net/u/1/t/tankboy:/usr/local/bin/tcsh asf:*:352:99:Alan S. Fink:/net/u/16/a/asf:/usr/local/bin/tcsh alanb:*:1267:99:Alan Blattberg:/net/u/1/a/alanb:/usr/local/bin/psh drogin:*:1565:99:Alan Drogin:/net/u/7/d/drogin:/usr/local/bin/psh alangood:*:1740:99:Alan Good:/net/u/1/a/alangood:/usr/local/bin/psh alan:*:2313:99:Alan:/net/u/1/a/alan:/usr/local/bin/psh sugarman:*:2394:99:Alan Sugarman:/net/u/11/s/sugarman:/usr/local/bin/psh gerber:*:3874:99:Alan Gerber:/net/u/2/g/gerber:/usr/local/bin/tcsh sondheim:*:4564:99:Alan Sondheim:/net/u/6/s/sondheim:/usr/local/bin/ksh adc:*:5462:99:Alan D. Cabrera:/net/u/4/a/adc:/usr/local/bin/tcsh chips:*:7547:99:Alan Brooks:/net/u/1/c/chips:/usr/local/bin/psh alanier:*:14242:99:Adam Lanier:/net/u/11/a/alanier:/usr/local/bin/tcsh dag:*:14298:99:David Alan Gross:/net/u/16/d/dag:/usr/local/bin/zsh yankl:*:14816:99:Jeffrey Salant:/net/u/15/y/yankl:/usr/local/bin/psh alanwho:*:16296:99:alanwho:/net/u/3/a/alanwho:/usr/local/bin/tcsh arf:*:16614:99:Alan Silverman:/net/u/1/a/arf:/usr/local/bin/psh asaly:*:17360:99:Alan Saly:/net/u/1/a/asaly:/usr/local/bin/psh allenk:*:18141:99:Alan Kleiman:/net/u/1/a/allenk:/usr/local/bin/tcsh 7 name girl 8 name girl > zz 9 name boy 10 name boy >> zz 11 name alan 18 name alan >> zz _ ========================================================================= Date: Sat, 26 Jan 2002 18:03:44 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michael Magee Subject: COMBO @ the NY Public Library In-Reply-To: from "Tisa Bryant" at Jan 17, 2002 01:42:51 pm MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Howdy all, As there are many NYers on this list, I thought I'd mention that the New York Public Library recently subscribed to COMBO. If any of you kind souls had a hand in their doing this, thank you very much. In any event, it's there to be perused, pass the word. -m. ========================================================================= Date: Sun, 27 Jan 2002 01:36:53 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: query on behalf of a friend MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit And Rossenberg was Jewish and a great anti-war poet and that is how "fate" deals with us: we disappear. But we struggle on: the paradox of Pound: Its all said by Charles Bernstein very well in "Pounding Fascism" from "A Poetics". In 1991 I was in a class and we were all (sme of us adult students) coming across -eg Marrianne Moore)) and somewhat Pound for the first time. a woman asked the lecturer how a poet who could write so powerfully of the 1st Wordld War and its futilty...a war for a "gross of battered books,...and old bitch gone in the teeth.." and the bodies sighing in their death on the barbed wire.. could become a Nazi supporter: an active fascist: unfotunately it colours my think(ing) toward him: I hope I dont become so bitter about recent and (certain ongoing and past American military-politica) actions that I turn my back on the US full stop..I was talking to a man from Kashmir (a Moslem) and he said to me "No, it is not the Anerican peole, it is the politicians, the military..." and so on. You have Moslems who support the US people...despite everything. Let's see...Richard. ----- Original Message ----- From: "david.bircumshaw" To: Sent: Friday, January 25, 2002 12:00 PM Subject: Re: query on behalf of a friend > I always think one of the saddest ones is poor Isaac Rosenberg, who not only > enlisted in the British Army because he needed the money, was condescended > to by Ezra Pound in his letters, but also managed to get killed by a direct > hit from a German shell (apparently there was nothing whatsoever left of > him). > > On April the 1st. > > Best > > Dave > > > David Bircumshaw > > Leicester, England > > Home Page > > A Chide's Alphabet > > Painting Without Numbers > > http://homepage.ntlworld.com/david.bircumshaw/index.htm > ----- Original Message ----- > From: "richard.tylr" > To: > Sent: Wednesday, January 23, 2002 11:58 AM > Subject: Re: query on behalf of a friend > > > > Pierre Etal. I enjoyed that biography of Eliot...it may be the only one: I > > think the problem is/was that his second wife has the copywrite (or may > even > > have destroyed letters to Eliot or vica versa) whatever: its quite > > interesting: sure it doesnt get you much closer to T S except you have an > > inkling he was a bit glum > > most of his life, rather unimpressed on receiving the nobel prize, and so > > on. We are all interested in people's lives; all of us gossips and sticky > > beaks: that's human nature. There will always be authors and biographies > as > > long as there are humans. When I get a book of any kind I turn FIRST to > the > > bio (however brief) of the author. I'm fascinated in what these people are > > of have been doing even if its just a pot boiler I pick up. Burroughs is > > infinitely more interesting to people because he put a bullet thru his > > wife's head! I can always sell his books: Eliot sells I think because > people > > have heard that they "must" read him...I think most people just put his > > books on the shelf together with all the other "great" poets then get back > > to watching Judge Judy or Oprah (or over here "Shortland Street) I have to > > admit that in the NZ Listener I turn to the back and read Steve > > Braunias,skip the poems, but am always interested in the sexy movie stars > on > > the very last page (to me it the females who are exciting by the way!), > then > > I console myself with the Chess puzzle from Barden - which I often solve > > altho I havent solved the last one....with biographies I am always > > fascinated by how people die. I skipped thru Dylan Thomas's bio to read > the > > section that lead up to his death. How he basically drank himself to > death. > > How at one stage he "dreamed" of triangles. Similarly I remember coming > > across Sylvia plath's "Ariel" and thinking ...thes are strange: and I went > > on a "binge" suspecting she'd topped herself: as to T S ... he didnt jump > of > > a bridge like Berryman, whose father shot himself, and died rather quietly > > in a hospital: when he was younger he had quite good looks: a kind of > > "Italianate charm"...these are the details that matter. Trakl poisoned > > himself I believe...Celan was another bridge man...fascinating...Houdini > > miscalculated a punch in the stomach (not tightening his stomach muscles > > quick enough) and died of internal bleeding: Schoenberg's last words > > were/was "harmony! harmony!", Goethe's you all know was "More light!" (in > > German of course),Tolstoy threw himself in front of a train, my mother had > a > > stroke and was in a "coma" for about 6 months, my father died of lung > cancer > > (he smoked very much),Mr Hancock died of a brain tumour, Beethoven is > > purported to have died in a thunder storm shaking his fist against fate, > and > > why not, Jack Kerouac had been in a fight and was hit once too often and > > drunk and died of a stomach heamorrage - he died in a blood rage - Roethke > > died of a heart attack beside a swimming pool, Alekhine (the genius chess > > player) was drunk when he fell out of a window in Lisbon, David Jones > > suvived the First World War, Mandelstam had heart trouble and died > probably > > of neglect and starvation as did Khlebnikov, Pushkin in a duel, as we know > > Jackson Pollock suicided in a car crash, Mayakovsky commited dramatic > > suicide by gun in protest at himself and possibly for love, the brilliant > > English poet Keith Douglas, who was obsessed by war and soldiering, died > it > > is thought by a tiny splinter or shock when a shell burst close by leavimg > > no mark on his body, Geoffrey Hill (a rather Eliotic poet) isnt dead yet > but > > he looks so miserable perhaps he could oblige us, several of the English > > Kings had some fascinating deaths, and I believe that Sir Walter Raleigh > was > > beheaded in The Tower, Rilke got a scratch in his garden and that became > > infected and he died of blood poisoning, Rutherford was trimming a tree > and > > fell and that was his demise, Rupert Brroke of an infection (from his lip > > somehow) before he got to the WW1, Shelley drowned in a boat that was > badly > > desigened (or he actually ceased this life in the sea after being tipped, > or > > jumping from the boat in question), its not known exactly how Shakespeare > > died, Hart Crane of course jumped from a ship, I imagine Emily Dickinson > > died with dignity, Berrigan basically enjoyed himself to death with booze > > and pills and wild women and reading incesantly, Robert Creeley is a > > survivor, I heard that John Ashbery nearly died once, Ed Dorn had > cancer..a > > rather bitter man he was amusing and cut through the crap especially with > > his "Abhorrences", Woodie Guthrie had (Blank's) disease (Huntingtons > chorea) > > which is discussed in a book co written by the biochemist and biologist > > Bodmer, symptons are "madness" etc and then one slowly deteriorates, > > Mohammad Ali is slowly deteriorating due to a similar genetically > triggered > > disease, so is Dudley Moore, Hitler shot himself thru the roof of his > mouth, > > the bullet that killed John Kennedy travelled thru his skull on a diagonal > > traverse from the right hand rear to the left hand front, Lincoln > similarly > > but by a hand gun at close range, Swinburne lived to a ripe of old age and > > used to walk daily about 5 miles to his favourite pub muttering to himself > > but caught a chill and died at a good old age, Rimbaud died of gangrene of > > > the leg and the rigours of having a sister and his gun running in Africa, > I > > believe that Raymond Roussell killed himself, Camus died in a car > accident, > > Randel Jarrrel was suposedly changing a car tyre,O'Hara run down by a > beach > > buggy, Olson was collected in a car crash (according to Robert Creeley), > > many must have died of aids, Spicer died by the word and his love of > > liquor..and so it goes on. > > Listers out there must know of some more interesting deaths of poets or > > others? Cheers, Richard. > > ----- Original Message ----- > > From: "Pierre Joris" > > To: > > Sent: Tuesday, January 22, 2002 5:14 PM > > Subject: Re: query on behalf of a friend > > > > > > > David Bircumshaw wrote: > > > > > > > Eliot hated the idea of biographies. > > > > > > > > To make a statement like ' Peter Ackroyd's is an excellent start.' is > > to, > > > > wittingly or unwittingly, subscribe to a lie. You, I, or anyone > > > > else, cannot > > > > know what was the reality of Eliot's life to Eliot, even any more than > > we > > > > can of Mrs Mopbucket the part-time cleaner who lives in the flat > > > > downstairs > > > > or Mr Fuckem, the great broker, or anyone else with the partial > > > > exception of > > > > those very few people we know with a degree of the intimacy that we > know > > > > ourselves. Which knowing of oneself mostly consists of forgettings. > > > > > > Quite true, Dave, though if it annoyed Eliot, then I, not a big reader > of > > > biographies, will willingly turn into one, 'cause I love to annoy the > > > annoying mr. Eliot. > > > Of course all biographies are "fictions" to some extent, just as > > all > > > autobiographies are. And yet Dave, as a young writer, were you not > > > interested in the actual lives of those writers you were reading & > > admiring? > > > Most of my students want to know something -- from a little to a lot -- > of > > > the lives of the authors they like. & I don't think that is an > > illegitimate > > > desire, even, and maybe especially in this post-textual, > > > post-death-of-the-author era. > > > Come to think of it, I am right now looking forward with some > > excitement to > > > the soon to be published biography of Ed Dorn -- the publication of > which > > > will, I would think, also send a number of people to the work itslef -- > & > > > that finally, is what we want, no? for the poems to be read? > > > > > > Pierre > > > > > > > > Anyone up for a Shakespeare biography? > > > > > > > > Best > > > > > > > > Dave > > > > > > > > > > > > > > > > David Bircumshaw > > > > > > > > Leicester, England > > > > > > > > Home Page > > > > > > > > A Chide's Alphabet > > > > > > > > Painting Without Numbers > > > > > > > > http://homepage.ntlworld.com/david.bircumshaw/index.htm > > > > ----- Original Message ----- > > > > From: "Pierre Joris" > > > > To: > > > > Sent: Friday, January 18, 2002 3:49 PM > > > > Subject: Re: query on behalf of a friend > > > > > > > > > > > > > > > > > > > > hey everyone, can you point me toward several decent biographies > of > > ts > > > > > > eliot? > > > > > > > > > > Peter Ackroyd's is an excelletn start. > > > > > > > > > > > > > > > a young actor friend, very smart but unable because of his career > > > > > > to take regular college classes but who is trying to educate > > > > > > himself, wants > > > > > > to know. i do too, since i've agreed to discuss "The Wasteland" > > with > > > > him > > > > > > at some point in the future. > > > > > > > > > > > > > > > > > > > > > > > > > > ________________________________________________________________ > > > > > Pierre Joris Just out from Wesleyan UP: > > > > > 6 Madison Place > > > > > Albany NY 12202 POASIS: Selected Poems 1986-1999 > > > > > Tel: (518) 426-0433 > > > > > Fax: (518) 426-3722 go to: > http://www.albany.edu/~joris/poasis.htm > > > > > Email: joris@ albany.edu > > > > > Url: > > > > > > > > > __________________________________________________________________ > > > > __________ > > > > > _ > > > > > > > > > > > > > > ========================================================================= Date: Sun, 27 Jan 2002 02:31:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Hoa Nguyen/Dale Smith flipbook from Boog MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Boog Literature Chapbook #28 Let's Eat Red for Fun (Hoa Nguyen)/Pax Americana (Dale Smith) (ordering info and specs at the conclusion of this email.) _____________________________ Hi all, I've always loved the form of the flipbook. The first Boog publication, in August1991, was a flip chapbook. Later on I discovered Patchen's classic doubleheader. When Hoa Nguyen and Dale Smith told me over a year and a half ago of their plans to come to New York, and for them each to read in separate spaces, I thought, "Hey, how about we do a flipbook of the two of you." Dale created the assignment for the two of them, writing on politics, communism for Hoa, capitalism for Dale. A few months later each of their mss arrived, first Dales, and then Hoa's. I took their words to Birmingham, Ala. and read them everywhere, on the Southwest herd flight, in the park where Bull Connor sicced dogs and turned hoses on his town's citizens almost 40 years ago, to the hotel my friend Alex and I checked out of a few hours after a knock on the door by someone looking for Tony. I took Hoa and Dale with my everywhere, and now, after a year's delay, they'll take you even further. Some of Hoa's poem's in the collection previously appeared in the Hat, Mungo vs. Ranger, the Transcendental Friend, How2, and Lungfull. Some of Dale's appeared in the Hat and canwehaveourballback.com. Here's a poem from each of the authors to whet yr appetites.: Hoa Nguyen [Untouched bubble gum me] Untouched bubble-gum me fruity and whole Scream wrapped in plastic Sling your barbells in the air Seismic nervous falling (walking the fence no hands) Pink bubble-gum doll wrapped in purple coveralls running away dragging the family piano Dale Smith Bison Jerky Up there Orion’s belt Blinks out. City of the Native Chowdering like gimpy Sea Capt’ns. Check it out The sky’s seam splits Angels and diablos Squat in Details Loaded Wall Street Times Victoria’s cotton funk. Native pleasure: killing Time. ______________________ 4-color, glossy cardstock cover; ivory, brown, or red tip-in sheet; 48 page guts. Saddle-stapled Send check or money order for $6 ppd payable to Boog Literature for $6 ppd to: Boog Literature 351 W.24th St., Suite 19E NY, NY 10011-1510 for further information: booglit@theeastvillageeye.com 212-206-8899 ========================================================================= Date: Sun, 27 Jan 2002 11:49:19 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: ALDON L NIELSEN Subject: note on usage Content-Type: TEXT/PLAIN; charset=US-ASCII MIME-Version: 1.0 "aggressive accounting" Proof positive that we have entered the age of meta-euphemism? (Hey, didn't Lynne Cheney and George Will tell me it was tenured radical postmodern relativists who had attacked the correspondence theory of truth?) <<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Tell Her -- the page I never wrote! Tell Her, I only said -- the Syntax -- And left the Verb and the Pronoun -- out! --Emily Dickinson Aldon L. Nielsen Kelly Professor of American Literature The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Sun, 27 Jan 2002 14:17:39 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: Prageeta Sharma Subject: EXHIBITION OF POETRY AND SCULPTURE OPENING 2/6/02 +two more openings! MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit PLEASE COME! MAGNITUDE=WORDS IN SCULPTURE POETS/ARTISTS James Tomon Brece Honeycutt John Yau Doug Culhane Prageeta Sharma Sam Truitt Claudia Schmacke Julianne Swartz Nancy Cohen Marjorie Welish CD Wright Edwin Torres Forrest Gander Dean Kusack The Educational Alliance Ernest Rubenstin Gallery 197 East Broadway NYC info: 780-2300 ext. 378 Opening 2/6/02 6-8pm through March 27th 2002 Video poetry night: Wed. Feb. 20th PLEASE COME! (Kimberly Mora, guest curator) Speech Arts: Tuesday, March 5th PLEASE COME! (Matvei Yankelevich, guest curator) ========================================================================= Date: Sun, 27 Jan 2002 23:49:52 -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 The mess, or entanglement of the soul in chaos. The midst of the raveling of the theory of knots. The midst of the embraiding of sheaves with mass degrees invariant. atala, back and blue heron, tree frog, ribbon snake, shin and saw palmetto, florida palm, palm and royal palm, sawgrass, brown water snake, alligator, egret, white heron, head and heron morphs, little blue heron, blue heron, black vulture, breast, red-headed vulture, mud hen, sulfur, gumbo limbo, cocoplum, bladderwort, pine, strangler fig, purple gallinul, cypress, red-backed turtle, peninsula cooter, poisonwood, woodstork, foot and florida gar, mosquitofish, snail kite, soft-shelled turtle, snapping turtle, brow boat-tailed grackle. The disappearance of video and interactivity in the face of periphyton.directory of :\photo \everglade [] [] amass a amuss bmess b b bmass bmassmess bmass bmassmuss bmassmass bmassmoss bmass bmass bmassmess bmass bmassmoss bmass bmassmessmass bmassmess bmassmess bmassmessmuss dmass dmassmuss dmassmess dmass dmassmussmoss dmass muss dmass dmassmuss dmass dmuss dmuss d dmessmass d dmossmuss d dmuss dmuss dmassmuss dmoss d d dmessmess dmess d dmoss d dmuss dmuss d dmoss dmass d d dmess dmess d dmuss dmuss here azure and i are tearing each other in a bayhead.dmessmass dmessmess dmess dmess dmess mess dmessmess dmess dmessmoss dmess dmessmuss dmess dmess dmass d d d d dmess d d d e e e e emoss e emass e e emess e emoss e e emessmass emess emess emess gmass gmassmess gmassmess gmassmessmoss gmassmoss gmassmoss mess gmass gmassmuss gmass g gmess gmess g gmoss gmess gmussmess gmess gmassmess g here azure and i are clawing in a hardwood hammock.g gmess gmess g mess gmuss g gmassmess g g gmess g gmoss mess g gmessmass gmess gmessmess gmess gmess gmass h hmoss h hmuss hmass hmass h h hmassmass hmass hmass hmassmoss hmass hmassmass hmass hmass hmass jmassmessmass jmassmuss jmassmoss jmassmoss jmassmuss j j j muss jmessmuss jmoss j j jmoss j jmoss jmoss jmuss jmess j j j jmuss j jmess jmessmoss jmess jmessmess mmass m m m mmess nmuss n nmass nmass nmass nmassmess nmassmoss nmass nmassmuss nmass nmass mass nmass nmass nmassmoss nmassmuss nmass nmassmessmass here is the great emptiness.nmassmess oo oo oomess oo oomoss oo oomuss oo oomassmass oomass oomass ooomass ooomass ooomass ooomassmoss ooomass omassmess omassmoss omassmessmuss omass omassmuss omass omass omoss omessmoss o omossmoss omoss omussmoss omess o ppmass ppmass ppmassmess ppmass ppmass pp pp pp ppmass pp pp pp ppmess pp ppmoss pp pmass pmess p p pmuss p p p p pmuss p pmass p p pmess pmoss pmuss pmessmass pmess pmess pmessmess pmess pmessmoss pmess p strangle ymassmess ymass ymassmuss here is the implicate order of all living beings.ymass ymass y ymess y y ymass y y y ymess ymoss y ymuss ymass y y y ymess ymuss y ymessmess ymess ymessmoss ymess ymass sed 's///g' zz > yy; pico yy b wc zz wc yy mv yy zz sed 's/JPG//g' zz > yy sed 's/jpg//g' yy > zz sed 's/\.//g' zz > yy; mv yy zz wc zz sed 's/\>//g' zz > yy sed 's/\ zz pico zz pico yy rm yy sed 's/S//g' zz > yy sed 's/N//g' yy > zz pico zz sed 's/C//g' zz > yy; mv yy zz sed 's/hh/h/g' zz > yy; sed 's/yy/y/g' yy > zz sed 's/D/d/g' zz > yy mv yy zz h sed 's/hh/h/g' zz > yy; mv yy zz sed 's/ yy sed 's/>//g' yy > zz sed 's/bb/b/g' zz > yy; mv yy zz sed 's//mess/g' zz > yy sed 's//moss/g' yy > zz sed 's//muss/g' zz > yy sed 's//mass/g' yy > zz tr < zz > yy sed 's///g' yy > */the soul in chaos/* _ ========================================================================= Date: Mon, 28 Jan 2002 10:25:23 -1000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Susan M. Schultz" Subject: reminder MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I picked up copies of TINFISH the other day from the printer. The = covers are, literally, works of art--prints by Chris Churchill, who is = from Hawai`i, and now studies at Cranbrook in Michigan. They are = absolutely gorgeous! I had no idea (the art's not my department, as it = were). So, order your works of art WITH amazing poetry from the Pacific for a = mere $8 each from TINFISH, Susan Schultz, editor, 47-728 Hui Kelu Street = #9, Kaneohe, HI 96744. You won't regret it. sms ========================================================================= Date: Fri, 25 Jan 2002 09:20:12 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Craig Douglas Dworkin Subject: Dworkin against Dworkin against Meaning Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Just wanted to correct one factual error in Jeffrey Jullich's report of my White Box lecture. My hair was most certainly not "moussed into standing." That dramatic spiking effect was achieved with "un colle sytlistique" [a styling glue] from I.C.E. salon products. I highly recommend it. And it's waterproof. Sincerely, ::Craig ========================================================================= Date: Fri, 25 Jan 2002 12:35:35 -0700 Reply-To: derek beaulieu Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: derek beaulieu Organization: housepress Subject: CFP from Dean Irvine: The Canadian Modernists Meet MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Call for Papers > > THE CANADIAN MODERNISTS MEET > A Symposium > > University of Ottawa, May 9-10, 2003 > > Symposium Co-Chairs: Dean Irvine and Seymour Mayne > > F. R. Scott's satirical poem "The Canadian Modernists Meet" has long = > epitomized the emergent modernist's call for a new literary movement in = > Canada. Seventy-five years after the publication of Scott's poem in the = > McGill Fortnightly Review, questions about the making of literary = > modernism in Canada are still under investigation and increasingly = > subject to debate. > > This symposium seeks to bring together critics, historians, editors, = > translators, and theorists whose research on late nineteenth-century and = > twentieth-century literatures contributes to the study of modernism in = > Canada. Paper proposals are welcome on any issue related to modernism = > and Canadian literature from the late nineteenth century to the = > mid-twentieth century -- whether case studies of specific texts and = > authors, literary and cultural histories, theoretical applications, = > discussions of editorial problems and methods, or intermedia approaches. > > Topics for papers are open, but may relate to one or more of the = > following: > > * international contexts and influences > * cultural modernism, modernity, or modernization > * antimodernism, mass culture, or popular culture > * political and social organizations/movements > * writers' groups, associations, and foundations > * recordings, readings, films, and radio broadcasts > * visual art, illustration, and book/magazine design > * prefaces, editorials, and manifestos > * critics and reviewers > * little magazines and literary presses > * publishers and editors > * production, distribution, and marketing > * anthologies and anthologists > * translation and translators > * contemporary editing and editions of modernist authors > > Selected papers by symposium participants will be considered for a essay = > collection in the Reappraisals: Canadian Writers series, published by = > the University of Ottawa Press. > > Deadline for proposals: July 31, 2002 > > Send 300-500 word proposals > (hard copy or Word/Wordperfect attachments) to: > > Dean Irvine > Department of English > University of Ottawa > 70 Laurier Avenue East > Ottawa, ON > K1N 6N5 Canada > > email: irvine@uottawa.ca > fax: (613) 562.5990 ========================================================================= Date: Sat, 26 Jan 2002 23:58:42 -0700 Reply-To: derek beaulieu Sender: UB Poetics discussion group Comments: RFC822 error: Incorrect or incomplete address field found and ignored. From: derek beaulieu Organization: housepress Subject: new from housepress: A ADAN by Emma M. & Erin Moure MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable housepress is pleased to announce the release of: "A ADAN" poemes d'Emma M. (Chatte, enr.) traduits par E. Moure pour les amies et ais d'Emma et en memoire de Catson Studios Erin Moure lives in Montreal, where she is also known as Eirin Moure. = She has published nine books of poetry including FURIOUS (winner of the = Governor-General's Award), and most recently A FRAME OF THE BOOK ( OR = THE FRAME OF A BOOK). She has also done several books of translation = including SHEEP'S VIGIL BY A FERVENT PERSON.=20 Emma M. also lived in Montreal -- she had medium-long hair with a = redflame on her forehead which would take the form of a straight-line or = a question mark. She would often assist Moure with her writing and = frequently demanded desk space of her own. 36 pages, published in an edition of 40 handbound and numbered copies = with handprinted linocut front covers $8.00 each for more information, or to order copies, please contact derek beaulieu = at derek@housepress.ca ========================================================================= Date: Sun, 27 Jan 2002 12:10:19 -0600 Reply-To: thomas/swiss Sender: UB Poetics discussion group From: thomas/swiss Subject: Iowa Review Web Returns. MIME-Version: 1.0 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset="iso-8859-1" The Iowa Review Web: http://www.uiowa.edu/~iareview/=20 =A0 ----------------- THE IOWA REVIEW WEB IS BACK! Publishing electronic literature since 1999, The Iowa Review Web is well-known for its commitment to new writing. Starting in 2002, TIR Web is expanding. It will now include --along with = electronic literature--other varieties of experimental writing and art. It will also feature interviews with innovative writers and New Media artists, as well = as critical articles and essays. Each issue of TIR Web includes work from both The Iowa Review and 91=B0 Meridian, soon to be published by the International Writing Program at the = University of Iowa. ---------------- MASTHEAD: Thomas Swiss, Editor Ingrid Ankerson, Assistant Editor/Web Designer ADVISORY BOARD Jay David Bolter Robert Coover Johanna Drucker Caitlin Fisher Lisa Gitelman N. Katherine Hayles Shelley Jackson Steve Jones Brooks Landon Dee Morris Stuart Moulthrop Carrie Noland Marjorie Perloff Rita Raley CONTRIBUTING EDITORS David Hamilton Christopher Merrill ------------------------- The Iowa Review Web is sponsored by the English Department at the = University of Iowa. =A0 ************************************ =A0 ISSUE #1 New work by: + YOUNG-HAE CHANG HEAVY INDUSTRIES Based in Seoul, South Korea, the award-winning New Media work of YOUNG-HAE = CHANG HEAVY INDUSTRIES combines text with jazz. Writing in three different = languages, Young-hae Chang and Marc Voge strip away interactivity, = graphics, design, photos, illustrations, banners and colors to leave = viewers with language and sound. ORIENT http://www.uiowa.edu/~iareview/tirweb/feature/younghae/young_hae_= chang_heavy_industries.html =A0 ************************************* =A0 =A0 + GISELLE BEIGUELMAN Giselle Beiguelman is a well-known multimedia writer and web-artist who = lives in S=E3o Paulo, Brazil. Her new work=A0 for TIR Web is one answer to the question: = what might art and language look like when it is made to be experienced "= in between" --that is, while doing other things? See the piece; read the = interview. Poetrica http://www.uiowa.edu/~iareview/tirweb/feature/giselle/giselle.= html ************************************* =A0 =A0 + ANA MARIA URIBE Ana Maria Uribe has been working on visual poetry in Buenos Aires, Argentina, since the late 1960s. Her first works were Typoems or typographic poetry -- many years later, these poems served as = the basis for the series of Web animations presented exclusively on TIR Web. Poems from "The Circus" and "A Busy Day" http://www.uiowa.edu/~iareview/= tirweb/feature/uribe/uribe.html =A0 ************************************* =A0 + POEMS BY JOSH BELL AND MICHAEL YATES CROWLEY FROM THE CURRENT ISSUE OF = THE IOWA REVIEW http://www.uiowa.edu/~iareview/tirweb/feature/bellcrowley/bellcrowley.html = ************************************* =A0 =A0 =A0 + A TALK ABOUT THE ART OF TRANSLATION BY ELIOT WEINBERGER FROM 91=B0 = MERIDIAN, A NEW JOURNAL FROM THE INTERNATIONAL WRITING PROGRAM http://www.uiowa.edu/~iareview/tirweb/feature/weinberger/weinberger.html <= http://www.uiowa.edu/~iareview/tirweb/feature/weinberger/weinberger.html> ************************************* TIR Web adds new work every two months. Coming up: Interviews with Shelley Jackson, Katherine Hayles,=A0 Jay David = Bolter, William Poundstone, and others. New work by Talan Memmott,=A0 Meikal And, Brian = Kim Stefans, and others. ------------------------ The Iowa Review Web: http://www.uiowa.edu/~iareview/ ------------------ ========================================================================= Date: Sun, 27 Jan 2002 11:47:39 -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 John Jacobi Under a pseudonym, John lives up north in Michigan, near God. But I know who John is, so if you want to reach him with comments, prizes, invites, etc., RealPoetik will be happy to pass them along. I. Rookie of the Year Saw Chester Marcol walking through the Little league parking lot with a kid in tow. Twenty-plus years after leading the NFL in scoring and vodka chugging. He once lined up for a chip shot, lined into the back of his center's head, caught the ricochet on the fly, and stumbled into the end zone, almost fumbling, but beating the hated Bears. In the 1980s, wanting to end it all,he drank battery acid. Helluva kick to it. Gives speeches to the local high school kids now. Works in a halfway house, got two kids and wife, lives in Dollar Bay. I saw him under the Portage Lake Lift Bridge once, fishing. (Stepdad Stan says he's always catching fish.) Shook his hand and introduced my son, age 7, who said, "cool." Seven years later, Chester still wears a Packers hat, one of those shitty mesh-back numbers from Citgo. But he's smiling, talking to his son, pushing a lawn mower on the return trip past the park where the potheads used to play Guts Frisbee every night. John Jacobi ========================================================================= Date: Sun, 27 Jan 2002 16:23:00 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Molly Schwartzburg Subject: Lyn Hejinian at Stanford 2/5/02 In-Reply-To: <20020123040345.82197.qmail@web11704.mail.yahoo.com> MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Stanford Humanities Center Workshop in Contemporary Poetry and Poetics welcomes: Lyn Hejinian reading her work Tuesday, February 5th 4:30 PM Department of English (Main Quad, Building 460) Terrace Room, 4th Floor We hope to see you there! E-mail me for more information. Molly Schwartzburg ========================================================================= Date: Mon, 28 Jan 2002 14:24:38 -0600 Reply-To: archambeau@hermes.lfc.edu Sender: UB Poetics discussion group From: Robert Archambeau Organization: Lake Forest College Subject: Re: Bourdieu MIME-version: 1.0 Content-type: text/plain; x-mac-creator=4D4F5353; x-mac-type=54455854; charset=iso-8859-1 Content-transfer-encoding: 8BIT Very Sad news indeed. I'd like to take this opportunity to dedicate the panel I'm chairing on Bordieu and contemporary American Poetry at the Louisville conference next month to his memory. Pierre Joris wrote: > I just heard the the French sociologist Pierre Bourdieu died last night from > cancer at 71. Although much of the later sociology work could seem > problematic from a poetics point-of-view {& years ago the French poet Michel > Deguy wrote a scathing criticism of Bourdieu's famous "La Distinction"), his > heart was in the right place, with his recent acticity against globalism, > including the founding of the radical publishing house, only the tip of the > iceberg of an honest activist intellectual's career. My own preference goes > towards his earliest work, socio-anthropological work on Maghrebian Berber > societies. -- Pierre > > [apologies for crossposting] > > ________________________________________________________________ > Pierre Joris > 6 Madison Place > Albany NY 12202 "É melhor ser cabeça de sardinha > Tel: (518) 426-0433 do que traseiro de baleia" > Fax: (518) 426-3722 > Email: joris@ albany.edu > Url: > ____________________________________________________________________________ > _ > > > ========================================================================= Date: Fri, 25 Jan 2002 18:52:11 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: bruce andrews Subject: SALLY SILVERS & DANCERS, February 7,8,9,10 Comments: To: ts20@columbia.edu, poetics@acsu.buffalo.edu, poproj@thorn.net, prev@erols.com, poproj@artomatic.com, LaurPrice@cs.com, alissa_quart@yahoo.com, gquasha@stationhill.org, pquintana@aol.com, mragona@aol.com, jlcr@earthlink.com, jessreeves@earthlink.net, metavern@aol.com, retallack@bard.edu Content-Type: text/plain; charset=utf-8 STRIKE ME LIGHTNING ACCLAIMED CHOREOGRAPHER SALLY SILVERS EXPLORES PRIVATE LIVES OF NUNS & CYBORGS Performances on Thursday February 7 through Sunday February 10 at P.S. 122 at 8:30 pm. For reservations or more information call 212-477-5288 or visit www.ps122.org Premiering on Thursday February 7th, P.S. 122 presents Sally Silvers & Dancers' STRIKE ME LIGHTNING. This new evening of dance, choreographed by Sally Silvers, takes the choreographic collision of nuns and cyborgs to its logical conclusion: a piece about confinement, fragmentation and ecstatic release, whether the body is cloistered or deliriously hybrid. Welcome to the pearly gates of cyberspace, with Sally Silvers & Dancers embodying the disembodied. In STRIKE ME LIGHTNING, "cyborg-ness" casts a bizarre kinetic spell on nuns. Are these melded creatures of mystery fleshless — or can movement stage a secret life of thrills and fun? Careen back & forth along the fault lines: between a new body politic for a vernacular posthuman future, and the vivid echoes of a baroque south-of-the border past like that of the 17th century Mexican nun & poet, Sor Juana Inés de la Cruz. In a saturanalia of dizzying rupture, ritual atomic swerves & turbulent betweens — as if "all the parts of my body were tongues" — get ready for prayerful proximity, miniaturized volcanic rumbles of form, and disheveled neurons in detail & delight. "Let the night have its way with you." STRIKE ME LIGHTNING features sound design and text by Bruce Andrews, vocals by Haena Kim, toys and "knockabout electronics" by Dan Evans Farkas, box design by Bryan Hayes, costumes by Elizabeth Hope Clancy, and lights by David Fritz. With performances by a sizzling cast of dancers: Javier Cardona, Cynthia Fieldus, Amy Lee, Alejandra Martorell, Karen Sherman, and Sally Silvers. The evening also features the premiere of a new collaborative duet with Sally Silvers and Keely Garfield, SAME DOLL SAME PLACE. *** "An inventive, refreshing experimentalist... original, able to twist the human body into quirks and shapes that telegraph an inherent kinetic wit. Her strong suit is the ability to convey an exciting emotional undercurrent beneath a cerebral formal structure." - Anna Kisselgoff, The New York Times "...among the most talented choreographers to emerge in the decade. Her vision is always true." - Mindy Aloff, Dance Magazine "A genius for the unexpected. Exciting to discover wild-woman art so rich in formal, even classical values. Her strikingly original movement is richer in traditional values, like rhythmic and spatial variety than much traditional dance. ...strange, dark drama, kinky moves, fascinating dancing, lurid drama, complexity of vision" - Deborah Jowitt, The Village Voice Sally Silvers has made more than 60 dances for herself and Sally Silvers & Dancers. She teaches improvisation, composition, and repertory both in the U.S. and abroad. Her writing, scores, and poetry have appeared in journals, literary magazines, and anthologies and she has co-directed 2 films. Her work has received support from the Jerome Foundation, NYFA, the Guggenheim Foundation, 6 times from the NEA, and twice from Meet the Composer/ Choreographer Project for collaborations with John Zorn and Bruce Andrews. She recently choreographed 3 musicals at the Sundance Theater Festival. And her work has just received support from The Fund for Contemporary Performance Arts. * STRIKE ME LIGHTNING Feb. 7 - Feb. 10, Thurs - Sun. at 8:30pm. P.S. 122 is located at 150 First Avenue at 9th St. (accessible from the #6 at Astor Place or the L at First Avenue.) Tickets are $17. . HOPE TO SEE YOU THERE! -- __________________________________________________________________ Your favorite stores, helpful shopping tools and great gift ideas. Experience the convenience of buying online with Shop@Netscape! http://shopnow.netscape.com/ Get your own FREE, personal Netscape Mail account today at http://webmail.netscape.com/ ========================================================================= Date: Tue, 29 Jan 2002 10:23:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Raworth's Breakfast Comix Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Breakfast Comix 1: http://tomraworth.com/cover.html Breakfast Comix 2: http://tomraworth.com/cover2.html ... particularly recommend from Tom Raworth's "doodles": http://tomraworth.com/doodles.html ========================================================================= Date: Mon, 28 Jan 2002 19:41:30 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: George Thompson Subject: Re: Dworkin against Dworkin against Meaning MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Well, Craig, I will take you on your word as far as your hair goes. But what about Saussure? What did you do to his his hair? George Thompson ========================================================================= Date: Mon, 28 Jan 2002 20:08:01 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Boog City Goes West MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Boog City Goes West Boog City, the new East Village community newspaper, sponsors a reading by Bay Area poets Trane DeVore and Chris Stroffolino, and, from New York, Fatstick editor James Wilk and Boog City editor David Kirschenbaum. Issue two of Boog City will be available free, featuring: Come As You Are: A Tribute to Kurt Cobain at 35: with words from Sonic Youth's Lee Ranaldo, and an interview with Cobain biographer Charles R. Cross World Economic Forum coverage Kimberly Wilder's “Notes from My FBI File” Aaron Kiely reviews Eileen Myles' Skies and poetry from Ed Berrigan, DeVore, Susan Landers, Rachel Levitsky, Mariana Ruiz-Firmat, Stroffolino, Kent Taylor, Wilk, and more or contact Boog City: 212-206-8899 booglit@theeastvillageeye.com ========================================================================= Date: Mon, 28 Jan 2002 20:41:50 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Sheila Massoni Subject: Re: What do you think ? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit ah the penal colony puts the fear of g-d in the reader that story sm ========================================================================= Date: Tue, 29 Jan 2002 00:38:10 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Re: What do you think ? MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit It does, doesn't it. Unlawful combatants kidnapping people, putting them in cages and accusing them of being unlawful combatants.... I know the story, tho I cld have sworn that when I read it the victim wasn't told what he had done but was put in the machine which inscribed his supposed *crime into him slowly with the idea that he would work out what was being carved into him just before he died of it In the real world nothing like that would happen, of course. No, in the real world, something would go bang and in all probability someone who has never had the money to buy a book will be torn to pieces without the time to pray or say goodbye & thousands of miles away the video would be replayed repeatedly to joyous exclamations And at some point today I vaguely heard a report from somewhere in the real world in which a USAmerican has been put in a cage with the intention that he stay there until the kidnapped from Afghanistan are uncaged How unexpected L ----- Original Message ----- From: "Damian Judge Rollison" To: Sent: 25 January 2002 04:16 Subject: Re: What do you think ? | Also sounds like Kafka's "In the Penal Colony," where a | soldier who has been accused of insubordination and | condemned without trial (sound familiar?) is about to be | executed, by means of a ghastly machine that inscribes a | man's sentence on his flesh with needles -- only to be | granted a last-minute reprieve, because the officer in | charge of the execution is in fact the guilty party. | | Damian | | On Thu, 24 Jan 2002 10:16:55 -0000 Lawrence Upton | wrote: | | > No, that isn't it, but from this point of view it's the same. I think must | > have read _Samuel_, but it hasn't stayed. So, thanks for that. | > | > I think that what is coming into my memory is a Hans Anderson story. The | > guilt woman - tho' guilt of what I cannot remember - wants the innocent | > woman rolled down the hill in a barrel with nails hammered inwards | > | > The king knew all about this before he asked her to name the punishment | > (maybe he got the job on merit) and led her on to condemn herself | > | > L | > | > | > ----- Original Message ----- | > From: "Aaron Belz" | > To: | > Sent: 23 January 2002 01:28 | > Subject: Re: What do you think ? | > | > | > | Lawrence Upton wrote: | > | > | > | > There's a fairy story in which one character, guilty, describes the | > | > punishment for the crimes they committed but attributing those crimes to | > | > others | > | > | > | | > | | > | You are probably not referring to 2 Samuel 9, but it contains a story | > | similar to what you describe. I'll append it. | > | | > | -Aaron | > | | > | | > | | > | The Lord sent Nathan to David. When he came to him, he said, "There were | > two | > | men in a certain town, one rich and the other poor. The rich man had a | > very | > | large number of sheep and cattle, but the poor man had nothing except one | > | little ewe lamb he had bought. He raised it, and it grew up with him and | > his | > | children. It shared his food, drank from his cup and even slept in his | > arms. | > | It was like a daughter to him. | > | | > | "Now a traveler came to the rich man, but the rich man refrained from | > taking | > | one of his own sheep or cattle to prepare a meal for the traveler who had | > | come to him. Instead, he took the ewe lamb that belonged to the poor man | > and | > | prepared it for the one who had come to him." | > | | > | David burned with anger against the man and said to Nathan, "As surely as | > | the Lord lives, the man who did this deserves to die! He must pay for that | > | lamb four times over, because he did such a thing and had no pity." | > | | > | Then Nathan said to David, "You are the man! This is what the Lord, the | > God | > | of Israel, says: 'I anointed you king over Israel, and I delivered you | > from | > | the hand of Saul. I gave your master's house to you, and your master's | > | wives into your arms. I gave you the house of Israel and Judah. And if all | > | this had been too little, I would have given you even more. Why did you | > | despise the word of the Lord by doing what is evil in his eyes? You struck | > | down Uriah the Hittite with the sword and took his wife to be your own. | > You | > | killed him with the sword of the Ammonites.'" | > | | > | etc. | > | | | <<<<<<<<<<<<<<<<<<<<<< | damian judge rollison | department of english/ | institute for advanced | technology in the | humanities | university of virginia | djr4r@virginia.edu | >>>>>>>>>>>>>>>>>>>>>> | ========================================================================= Date: Mon, 28 Jan 2002 20:28:52 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jeffrey Jullich Subject: Dworkin against Dworkin against Meaning MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii >Date: Fri, 25 Jan 2002 09:20:12 -0500 >From: Craig Douglas Dworkin >Just wanted to correct one factual error in Jeffrey Jullich's report of my White Box lecture. >My hair was most certainly not "moussed into standing." That dramatic spiking effect was achieved with "un colle sytlistique" [a styling glue] from I.C.E. salon products. I highly recommend it. And it's waterproof. Sincerely, ::Craig ....................................................... Professor Dworkin: Thank you. I find ICE salon products at various web sites (including a contest where you can vote for your favorite ICE products, e.g., http://www.icehair.com/contest.html http://www.spiralhaircase.com/ice.html http://www.just4hair.com/ProductResults.asp?Category=22 http://www.west-coast-beauty.com/icejoico.html , etc.), but I am having trouble finding "un colle sytlistique" (sic?) as they're all (mis?)translated into English. Could it possibly be called "Controller Styling"? ...And here I thought it was the voltage of your ionized thoughts electrocuting the follicles into verticality, . . . or the room turned upside and the pull of gravidity. (I wanted to be discrete on-List, but what really cracked me up was all that talk about "rimming" in Oppen. What a card, what a card, what a card. (And, out of respect and unsure of my steganography, I backed off from including the sole factual error my notes seemed to record: (you said Saussure found hypogrammes in "classical Latin poetry" [?!]. He found them in ~"Saturnian"~ Latin poetry, which was later.) When I did my class presentation on Saussure and ~Mots sous Mots~ in Sylvere Lotringer's Post-Structuralism class, I asked him beforehand if it was okay for me to pass around a copy of ~My Camarade,~ the transvestite 'zine: there was a ~tableau vivant~ photo-cartoon of Miz Afrodite (sp?) in a simulated buffo orgy. And, of course, the correspondence to Saussure's search for the hypogrammatic Aphrodite. If you're ever in Manhattan and feel like a carbonated beverage or some date rape drugs, . . . Sincerely, __________________________________________________ Do You Yahoo!? Great stuff seeking new owners in Yahoo! Auctions! http://auctions.yahoo.com ========================================================================= Date: Mon, 28 Jan 2002 23:35:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: ice station zebra MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII postwardon't w white america love our freedomenix.hl zebry t stationd be youngI'm q quickorrie foxyut t gookMy m DEATH TO PARTY BOYGIRLBOY ouro BORE US GIRL op a FAR ESCAPE FROM FREEDOM turb AN AWKWARD SAMIZDAT traj ICY PARTY BOY blee DEATH OF PARTY MAID SOLZHENITSYN repl YOUNG SNOW WHITE BAD TRANS cont IN YOU I FIND MY TRUTH recu no e NEMY BUT ANTHRAX AND YOU ouro BORE US GIRL op a FAR ESCAPE FROM FREEDOM tend ON VIOLENT SHORES OUR ARMORED MEN kehr EASY OVER NEEDLES GOING IN grow NEW FREEDOM FROM THE USA traj ICY PARTY BOY subs TRAIT OF VULVA PARTY BOY tend ON VIOLENT SHORES OUR ARMORED MEN grow NEW FREEDOM FROM THE USA reca no e NEMY BUT ANTHRAX AND YOU topo LOGICAL BOY repl YOUNG SNOW WHITE BAD TRANS refl UNGUARDED PARTY GIRL PERINEUM grow NEW FREEDOM FROM THE USA grou PER SOLZHENITSYN SAMIZDAT traj ICY PARTY BOY repl YOUNG SNOW WHITE BAD TRANS circ VULVA PARTY GIRL traj ICY PARTY BOY repl YOUNG SNOW WHITE BAD TRANS cont IN YOU I FIND MY TRUTH subs TRAIT OF VULVA PARTY BOY refl UNGUARDED PARTY GIRL PERINEUM tend ON VIOLENT SHORES OUR ARMORED MEN kehr EASY OVER NEEDLES GOING IN brek grow NEW FREEDOM FROM THE USA recu defu HA HA SNOW WHITE runa PARTY GIRL op a FAR ESCAPE FROM FREEDOM traj ICY PARTY BOY grow NEW FREEDOM FROM THE USA dull FUCKED PARTY GIRLBOYGIRL op a FAR ESCAPE FROM FREEDOM turb AN AWKWARD SAMIZDAT repl YOUNG SNOW WHITE BAD TRANS cont IN YOU I FIND MY TRUTH tend ON VIOLENT SHORES OUR ARMORED MEN recu no e NEMY BUT ANTHRAX AND YOU grow NEW FREEDOM FROM THE USA dull FUCKED PARTY GIRLBOYGIRL runa PARTY GIRL grou PER SOLZHENITSYN SAMIZDAT anom ICY PARTY GIRL repl YOUNG SNOW WHITE BAD TRANS cont IN YOU I FIND MY TRUTH subs TRAIT OF VULVA PARTY BOY ster grou PER SOLZHENITSYN SAMIZDAT traj ICY PARTY BOY anom ICY PARTY GIRL repl YOUNG SNOW WHITE BAD TRANS alge BRA OF BORE US GIRL tend ON VIOLENT SHORES OUR ARMORED MEN grow NEW FREEDOM FROM THE USA reca runa PARTY GIRL circ VULVA PARTY GIRL grou PER SOLZHENITSYN SAMIZDAT op a FAR ESCAPE FROM FREEDOM repl YOUNG SNOW WHITE BAD TRANS brek runa PARTY GIRL repl YOUNG SNOW WHITE BAD TRANS subs TRAIT OF VULVA PARTY BOY alge BRA OF BORE US GIRL ster DEATH TO PARTY BOYGIRLBOY DEATH TO PARTY BOYGIRLBOY _ ========================================================================= Date: Tue, 29 Jan 2002 16:33:55 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Murat Nemet-Nejat Subject: Poetry Reading MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit READING AT THE POETRY PROJECT: MURAT NEMET-NEJAT & BENJAMIN FRIEDLANDER ON WEDNESDAY, FEBRUARY 6, AT 8 P.M. SAINT MARK'S CHURCH 131 EAST 10TH STREET NYC. NY 10003 ========================================================================= Date: Tue, 29 Jan 2002 07:40:20 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bill Berkson Subject: Bill Berkson at Stanford In-Reply-To: MIME-version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT BILL BERKSON Poetry Reading Cantor Center for the Visual Arts Stanford University Thursday, February 7, 7 p.m. on the occasion of the Yvonne Jacquette exhibition there (January 30-April 21) ========================================================================= Date: Tue, 29 Jan 2002 12:28:40 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: Re: Raworth's Breakfast Comix MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/29/02 10:26:42 AM Eastern Standard Time, bernstei@bway.net writes: << >> ========================================================================= Date: Tue, 29 Jan 2002 15:37:57 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "Lowther, John" Subject: Charles Bernstein in Atlanta MIME-Version: 1.0 Content-Type: text/plain Luddites, Start Your Engines! On February 14th, the Charles Bernstein (With Strings) will talk/read at Oglethorpe University. The event is at 8 PM in the Talmage room and is free to public. (If reading this message you are *sure* that you will attend, please r.s.v.p....I'm concerned we may need a larger room.) For those that are not familiar with Charles' work and life, one can find poems, interviews, soundfiles, image files, essays and more at; http://epc.buffalo.edu/authors/bernstein/. But the short answer is you need to be there. )ohnLowther ========================================================================= Date: Tue, 29 Jan 2002 12:44:56 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: fabulosity Comments: cc: zackster@earthlink.net MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Huge thanks go out to all the performers, directors, and writers who made last Friday's installment of Poets Theater Jubilee so fantastic. The production of Leslie Scalapino's How Phenomena Appear to Unfold/The Hind was a visual and auditory feast. And all the short plays after were superb, every one. Thanks to writers Tina Darragh, Dan Farrell, Brent Cunningham, Laura Moriarty, Chris Vitiello, Stephen Beachy, and Eileen Myles for an evening that felt very space age, very philosophically, very funny, and which also reminded me of the agitprop 80s, we had George Jr represented as a hamster and as a tree! Elizabeth Treadwell Jackson, Executive Director Small Press Traffic Literary Arts Center at CCAC 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Tue, 29 Jan 2002 13:28:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: Indigenous Writing Now Comments: To: news@heydaybooks.com MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Small Press Traffic Literary Arts Center at CCAC presents April 5 - 7, 2002 Coordinates 2002: Indigenous Writing Now A conference on the states of the art, with Native American poets, writers and scholars including Paula Gunn Allen, Esther Belin, Diane Glancy, Ines Hernandez, Cedar Sigo, James Thomas Stevens, Kim TallBear, and Gerald Vizenor. Please call us for a flyer or check our website for more information. Press Contact: Elizabeth Treadwell Jackson, 415-55-9278 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Tue, 29 Jan 2002 09:34:10 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: yet another query In-Reply-To: <5.1.0.14.2.20020129101857.02a94010@pop.bway.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" first, thanks to all who responded to my questions about ts eliot and the objectivists respectively. now, here's another: who was it who wanted to make the world safe for democracy? woodrow wilson? i'm curious about the source of anne waldman's signature commitment to "make the world safe for poetry." ========================================================================= Date: Tue, 29 Jan 2002 01:43:35 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Craig Dworkin talk to Mousse or not to Mouse MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit As you say, from the account: Jeffrey Jullich did a god job (as it is hard to get the full import of a lecture into a single "report") and Dworkin sounds interesting (if quite possibly...well he's a theorist...) but to take the issue of Bishop's poem it is a very remote possibility of a connection and of course this could be an example of "one" reading ... this encoding in of names goes back to Zukofsky and even as far back as Bach ( from whom Zukofsy's ideas possibly ) ... and even the Oulippo but eg one senses the aura of impish play at play (another "reading") with eg Perec and maybe Dworkin: my guess is that the subject of Dworkin's hair will become central to his whole concept of coded meaning or un-meaning: the fact that is was moussed (he is now denying this which possibly introduces a secret coding...a political-phikosophic aspect..) or demoused introduces an element of erotic "faime" into the whole discussion..especially when we consider that Bishop's marvellous poem was about a mouse, not a mouse, or mousse: strange surreal and mysterious as her poems are so lodged as they are in the non-meaning of reality's irreality. Certainly Dworkin uses a lot of long words. But it was interesting...but today I have some more dental treatment (the dentist is a female! and an Iraqi!!! Allah help me!) so I will ortho dont my donts (donts) dents .. I dont want too much reality: pain, _pain_ (g r it in me dents) or misadventure, ad nor will I be ard or of great wealth: but a bit of real toading in unreal gnomies might be ok. And when the reality has subsided i can study how to un-island my isole....What am I talking about? I swear I'm sober. (Not _ sobre_). Richard. ----- Original Message ----- From: "Damian Judge Rollison" To: Sent: Friday, January 25, 2002 6:46 PM Subject: Re: Craig Dworkin talk > Heard Sylvia Nasar on Fresh Air this evening -- she wrote > the book on John Nash, who during his schizophrenic decades > did elaborate numerological/mathematical 'research' in > order to uncover encoded correspondences whose presence > he'd intuited (i.e., voices told him). Nasar: "He had a > young economist at Princeton help him write a computer > program to transform Rockefeller's name, to which he > attached great significance, into base-26, and then to > factor this very large number. He was looking for > connections between things like the telephone number in the > Senate cloakroom, the social security number of > mathematician he knew, and the birthdate of Brezhnev." > Listening, I was reminded of Jeffrey's account. > > Even more than the problem of the re-inscription of the > author's name, what strikes me as disturbing about > Dworkin's approach (by this account) is its appearance of > objective empiricism, as though this content (any content) > is patently "there" in the text, rather than immanent in > the social transaction. That these names, or dental > records or what have you, are part of an "unwritten core," > rather than a manifest content, sounds like logical > positivism in a deconstructive guise. But, had it all been > presented in a spirit of play (viz Garrett Stewart hearing > an unspoken "love" in Keats's "the fee/l of/ not to feel > it") it might have been more compelling. > > DJR > > > On Tue, 22 Jan 2002 20:03:45 -0800 Jeffrey Jullich > wrote: > > > Date: Thu, 17 Jan 2002 11:04:16 -0500 > > > > >Did any New York listserv folk attend Craig Dworkin's > > talk "against meaning" last night? If you did, please > > report. He's a smart cookie and I'd like to get a gist > > of what he's "for." > > > > Tom Thompson > > > > ------------------------------------------------------- > > To: T.T. From: J.J. > > ------------------------------------------------------- > > > > I found Craig Dworkin's "Against Meaning" lecture at > > the White Box gallery very upsetting. > > > > (I was extremely eager to go: I rarely leave the > > house at night anymore, but I vividly remember his > > Barnard conference lecture on Lyn Hejinian and > > paranoia. He shared a panel with Charles Altieri back > > then at Barnard. Dworkin's talk included references > > to the asylum-institutionalized "madman" who composed > > much of the Oxford English Dictionary. Dworkin's > > scheme had to do with the paranoid underpinnings of > > language and the paranoid processes of seeking out and > > finding meaning.) > > > > At White Box, he wasn't using the word "paranoid" > > anymore. > > > > The audience of perhaps less than three dozen, crammed > > together in tightly squeezed chair in the midst of any > > otherwise expansive gallery, included much of the > > Manhattan illuminati: Charles Bernstein, Bruce > > Andrews, Ulla Dydo, Claudia Rankine, Kenny Goldsmith . > > . . > > > > > > Dworkin passed out xeroxed hand-outs. His hair was > > moussed into standing. > > > > Partially from my notes: > > > > He began with George Oppen's ~Discreete Series,~ from > > which he drew a model for his "applied > > paragrammatics," a reading strategy which he defined > > as "willing to sacrifice its reference", "a grammar of > > reading". > > > > A "discrete series" is a mathematical term for a > > series where every term is empirically justified, > > rather than being derived from preceding propositions. > > That is, as opposed to an arithmetic progression (the > > Fibonacci: 1,2,3,5,8,13...), he gave the subway stops > > on an East Side train. > > > > He said, a` la Oppen, that it is the very fact of a > > poem's acceptability as a ~mechanism~ that is the > > proof of meaning. > > > > He proceeded through trailing verbatim dictionary > > definitions which Oppen had followed in the > > structuring of his poem: the OED as an organizing > > structure. (His research included that a new printing > > of the OED had been a New Year's Day front page > > story.) > > > > The multiple definitions for a single word as they > > appear in a dictionary are a discrete series, vs. an > > inductive "paragogic chain"--- by following a logic > > from signifier to signifier: glass > grass > crass > > > class, a "bitter romance" of associations. > > > > He spent a good deal of time discussing the word "rim" > > in Oppen (with "a straight face"). > > > > He next moved on to Saussure's notorious hypogrammes: > > "multiple, uncontrollable and unhierarchical > > meanings"; DeMan spoke of the "terror" of the letter. > > > > Riffaterre's book, ~The Semiotics of Poetry~: When a > > gap opens up between a word and a text, the motivating > > anxiety is a single unwritten word. Texts have an > > unwritten core, a "matrix". Grammatical disruptions > > become a clue to the presence of a matrix. > > > > He gave examples. > > > > >From Apollinaire's poem, "Monday in Christine Street": > > > > > > "Trois becs de gaz allume's > > La patronne est poitrinaire" > > > > ("Three gas burners lit / The proprietress is > > consumptive"). Dworkin found Apollinaire's name in the > > line-endings, > > > > "a-" "-pa-" "-lu-" "naire", or such. > > > > (Saussure's hypogrammes, --- or "la folie de Saussure" > > [the madness of Saussure]--- was his similar, > > decades-long notebooks, where he traced the names of > > Greek gods in Latin literature --- repeat: ~Greek~ > > gods in ~Latin~ poetry, Aphrodite, etc.) > > > > Not wanting it to seem that the Dworkin method of > > reading was applicable only to the avant-garde, he > > turned to Robert Frost's old chestnut, "Mending Wall". > > > > > > (In excerpt: "the frozen ground-swell . . . / . . . > > The gaps I mean, / . . . / . . . 'Good fences make > > good neighbors.' / . . . I was like to give offense. / > > . . . I could say 'Elves' to him, / But it's not elves > > exactly"). > > > > Dworkin found the same ~Semiotics of Poetry~ dynamic > > ("it warps itself around a missing core"). (Saussure's > > term "hypogramme" was taken from the Greek for > > signature.) > > > > "(F)rozen ground-swell" is a synonym for rime frost; > > "rime" is a homonym for "rhyme"; "frost" was a term > > for "literary failure" that Frost would have been > > fighting against. "The gaps" mean the gaps of > > Riffaterre lacunae; for "elves", read "selves". > > "fences"/"offence" was a Russian "zdvig" or "shift". > > > > Dworkin's third example, p. 258 from an edition of > > Malcolm Lowry's ~Under the Volcano~: "Yvonne's father > > made his way . . . earnest candid eyes . . . synthetic > > hemp". > > > > This prose hid a Dworkin matrix for the name--- Ernest > > Hemingway, Lowry's literary father (known as "Papa > > Hemingway", with "Papa" appearing on a preceding > > page): > > > > earnest hemp way. > > > > These repeated examples were his self-admitted defense > > against accusations of a "readerly hat trick" or > > "hermeneutical prestidigitation". > > > > He said he found "recourse to soft psychology not > > satisfying either" (Lowry, writing around a bullfight, > > thinks of Hemingway), but acknowledged "the degree to > > which readers are more comfortable with corroborative" > > evidence. > > > > He said he found these hypograms "factually, > > incontroveribly there"; that it was not chance and > > permutations. > > > > > > In Elizabeth Bishop's "The Moose", which is about an > > animal (C.D. cited critical commentary as to grandiose > > literary themes), he said the poem is about--- > > ~orthodonture.~ > > > > He lined up words: "PINK glancing", "beat-up ENAMEL", > > "BLEACHED, ridged as clamshells", "BRUSHING the dented > > flank", "waits, PATIENT", and "BRACES" to refer to > > unmentioned teeth. > > > > Bishop at the time was going to the dentist twice a > > week. (---Bathos?) > > > > (My notes do not record Dworkin commenting on the > > French word for tooth, "dent", and Bishop's "dented".) > > > > In passing, he also cited Zukofsky, where three or > > four mentions of "law" are closely accompanied by > > "tessera", he said, but without Z. ever using the word > > "mosaic" (Mosaic law = the Law of Moses)! > > > > > > The Q-&-A was not quite sympathetic: the first > > questioner accused him of not "opening onto paths that > > might lead us away from meaning" ("Against Meaning") > > but rather back to classic modernist grids, an > > aligning, congruences. Another questioner seemed > > argumentative in talking about an "architectonic > > self". > > > > I was quite bothered. My question accused his project > > of reenacting what Geoffrey Hartman's 1981 ~Saving the > > Text~ had already done with the Romanticists > > (Wordsworth: word's worth; etc.), which Hartman called > > "the spectral name." > > > > Dworkin (with the exception of Bishop's teeth) was in > > all cases "re-discovering" embedded in the text what > > was already conspicuously written at the top of the > > text: the author's name. > > > > This differed greatly from Saussure's hypogramme > > matrices, which found the names of gods like "Apollo" > > (Saussure's Apollo had been Dworkin's springboard into > > Apollinaire) or "Aphrodite", --- which, importantly, > > were not individual author's lemon ink autographs but > > ~suprapersonal.~ Saussure, in search for an > > explanation for these disturbing archaic forces > > inscribed across so many writers' texts, even > > conjectured whether there might have been some cultic > > or religious explanation. > > > > Dworkin, instead, > > > > at exactly our contemporary turning-pint where reading > > and criticism have moved beyond the fantasy of > > (writing packaged one-for-one to) the discrete unit of > > a self-sufficient author, broader territorities > > (wilderness) of language as common possession, and > > a-subjective propulsions that are the agency for > > writing, > > > > was re-bundling or "re-authoring" these texts back > > under the ~souscription~ of the individual author, > > neat bundles. > > > > Bishop's teeth: biographical reductivism. > > > > What would be ~interesting~ would be finding Louis > > Zukofsky's name in Lowry, or Hemingway's in Frost, I > > suggested. > > > > > > Dworkin demonstrated no corrective familiarity with > > statistics and randomness, or their anomalies. He had > > fallen into a statistical rabbit-hole. (You'd be > > amazed how many time the same doubles will come up in > > a row.) > > > > Definitely, the name is a narcissistic imago, and we > > develop fetishistic attachments to its letters. But > > Dworkin was going from general principles to a sort of > > "Find-a-Word" puzzle, where the solution --- surprise! > > --- in x out of y cases was a game of nominal, > > diagonal acrostics. > > > > He responded by saying that he thought it might have > > something to do with the numinous or nebulous status > > of personal names as words, which he does not > > understand. > > > > > > ---I can't see how it moves "our" mission forward to > > go retrograde (moving from a self of societal > > construction to a metaphysics of "confidential, to the > > point of secrecy," as he said about Oppen). He's > > re-instating the self-enclosed, autonomous figure of > > the writer as the prime deciphering key to the text, > > where the "punch line" solution will be finding at the > > end what you started off with at the beginning. > > > > His insistence on the "objectivity" of his findings > > and truth was jettisoning the whole rich ground of > > indeterminacy, and ambiguity, and The Absurd (that > > which can be neither true nor false). > > > > > > ---To say nothing of the spuriousness of his > > methodology. > > > > The Lowry Hemingway was a single confabulation > > ("objective" or not) on p. 258 of a 400 pp. novel. > > > > A "proof" strung out of four, maybe five tenuous > > examples, one of them (the Zukofsky) undocumented > > yields a whole paragrammatics. Between one example > > and the next, however, there was considerable > > ~slippage,~ with name only putatively unifying > > tellingly different cases: > > > > Frost's name was hidden in synonyms, but was his own > > name in his own text; > > > > Apollinaire's name was his own name in his own text, > > but appeared as splintered syllables, unlike Frost's > > rebus; > > > > Lowry's Hemingway was made up of splintered syllables, > > but was somebody else's name, not the author's; > > > > "Moses" in Zukofsky involved neither the author's name > > nor that of a living or real person nor syllables: it > > depended on a Latin-to-English translation. > > > > Bishop's had nothing to do with names or any > > "unwritten word" at all, per se (a body part, > > instead); etc. > > > > > > Dworkin's schizo-analysis was conducted without even > > passing reference to the possibility of a rhetorical > > trope of paronomasia. Writers writing without any > > sense of pun. > > > > > > In resuscitating, after ~The Death of the Author,~ > > these authors this way, and stressing "objectivity", > > Dworkin absolved himself of the uncomfortable position > > of being a ~reader~ with responsibility for his own > > idiosyncratic dyslexias: instead, the return of the > > invisible, Archmidean critic. > > > > > > I think he lost ground by backing away from his > > previous "paranoia" model (which was anti-subjective). > > By moving on instead to a hunt for neutral alphabetic > > solutions, punch-lines, he has, in a sense, deepened > > his previous project further by joining into the > > affectlessness of paranoia's clues. > > > > Paranoia is, literally (etymologically), ~beside~ > > feelings, that is, always a little to the left or > > right of emotions. Paranoia is more concerned with > > cracking the FBI's cryptography than with what ~it > > feels like~ to be so consumed and monomaniacal. > > > > He said that the very fact that Frost and Bishop > > scholars become upset with him makes him think he's on > > to something. Others' emotive frustration is not an > > academically recognized barometer for confirming a > > hypothesis. > > > > We were left with handfuls of alphabet blocks, > > Scrabble solitaire played with books. Even were they > > delivered less objectionably, those details could have > > been bridges into empathic deepening with the source > > texts, instead of "A-ha!" eureka at yet another ghost > > writer's signature: Bishop's toothache becomes a sort > > of joke, in its mundanity, rather than an opportunity > > to connect with the force of personal, physical pain > > (toothache, after all, being even Wittgenstein's > > preferred metaphor for investigations into the > > language of pain and private sensations); Zukofsky's > > unwritten (oral?) "Mosaic law" was not a segue into > > glimpsing the proud, idealized self-identification > > that he, as a Jew, self-aggrandized with the sainted > > law-giver; ... > > > > > > Dworkin must be right: I'm as bothered as the Frost > > scholars. > > > > (And from ~Princeton,~ no less!) > > > > > > > > __________________________________________________ > > Do You Yahoo!? > > Send FREE video emails in Yahoo! Mail! > > http://promo.yahoo.com/videomail/ > > <<<<<<<<<<<<<<<<<<<<<< > damian judge rollison > department of english/ > institute for advanced > technology in the > humanities > university of virginia > djr4r@virginia.edu > >>>>>>>>>>>>>>>>>>>>>> ========================================================================= Date: Tue, 29 Jan 2002 13:29:13 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Small Press Subject: Indigenous Writing Now Comments: To: news@heydaybooks.com MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit Small Press Traffic Literary Arts Center at CCAC presents April 5 - 7, 2002 Coordinates 2002: Indigenous Writing Now A conference on the states of the art, with Native American poets, writers and scholars including Paula Gunn Allen, Esther Belin, Diane Glancy, Ines Hernandez, Cedar Sigo, James Thomas Stevens, Kim TallBear, and Gerald Vizenor. Please call us for a flyer or check our website for more information. Press Contact: Elizabeth Treadwell Jackson, 415-551-9278 1111 Eighth Street San Francisco, California 94107 415/551-9278 http://www.sptraffic.org ========================================================================= Date: Tue, 29 Jan 2002 16:51:30 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Aldon Nielsen Subject: does this ever happen to you Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I keep clicking on the "empty trash" icon on my computer, but it never delivers me any empty trash -- <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> "I think old zero has lost very much of his self respect." --Emily Norcross Dickinson Aldon Lynn Nielsen George and Barbara Kelly Professor of American Literature Department of English The Pennsylvania State University 116 Burrowes University Park, PA 16802-6200 (814) 865-0091 ========================================================================= Date: Tue, 29 Jan 2002 23:34:57 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: yet another query MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Adolf "Bush Baby" Hitler. ----- Original Message ----- From: "Maria Damon" To: Sent: Wednesday, January 30, 2002 4:34 AM Subject: yet another query > first, thanks to all who responded to my questions about ts eliot and > the objectivists respectively. > now, here's another: > who was it who wanted to make the world safe for democracy? woodrow > wilson? i'm curious about the source of anne waldman's signature > commitment to "make the world safe for poetry." ========================================================================= Date: Tue, 29 Jan 2002 22:11:07 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Lawrence Upton Subject: Re: Charles Bernstein in Atlanta MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Seconded says one who just saw Bernstein 2002 twice in London Don't miss him L ----- Original Message ----- From: "Lowther, John" To: Sent: 29 January 2002 20:37 Subject: Charles Bernstein in Atlanta | For those that are not familiar with Charles' work and life, one can | find poems, interviews, soundfiles, image files, essays and more at; | http://epc.buffalo.edu/authors/bernstein/. But the short answer is you need | to be there. | )ohnLowther | ========================================================================= Date: Tue, 29 Jan 2002 19:35:43 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: getting ready MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - getting ready hello Ill, here you am yes, you certainly am, hello you're really really here, yes you am certainly here you am Ill, here you am, hello Ill hello there, you're really here hi there, you certainly am hi and hello there, you're here Ill, here you am hello Ill, here I am yes, I certainly am, hello I're really really here, yes I am certainly here I am Ill, here I am, hello Ill hello there, I're really here hi there, I certainly am hi and hello there, I're here Ill, here I am hello well, here you are yes, you certainly are, hello you're really really here, yes you are certainly here you are well, here you are, hello well hello there, you're really here hi there, you certainly are hi and hello there, you're here well, here you are hello well, here we are yes, we certainly are, hello we're really really here, yes we are certainly here we are well, here we are, hello well hello there, we're really here hi there, we certainly are hi and hello there, we're here well, here we are _ ========================================================================= Date: Wed, 30 Jan 2002 21:20:38 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ron Silliman Subject: Make the world safe for poultry Comments: cc: damon001@UMN.EDU Mime-Version: 1.0 Content-Type: text/plain; format=flowed It was Wilson but he bungled it.... Interestingly, it was Wilson & Lenin both who propounded the idea of self-determination at this same time. No concept has done more to reify borders (and border battles). The number of "nations" has doubled since then, and is apt to double again during my children's lifetime. And for every border an army.... Ron _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com ========================================================================= Date: Tue, 29 Jan 2002 22:02:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: gene Subject: Re: What do you think ? In-Reply-To: <17c.2cb7d9c.298757de@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed who or what is g-d? Gene At 08:41 PM 1/28/02 -0500, you wrote: >ah the penal colony puts the fear of g-d in the reader that story sm ========================================================================= Date: Wed, 30 Jan 2002 00:28:44 -0500 Reply-To: Nate and Jane Dorward Sender: UB Poetics discussion group From: Nate and Jane Dorward Subject: Breakfast Comix MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit For those on this list who are scratching their heads about Tom's 2nd "Breakfast Comix" strip: probably most listmembers here aren't regular readers of _Poetry Review_, the UK's "official" poetry organ (published by the Poetry Society). I thought I'd paste in the below, a letter that appeared there by David Harsent. It's in reply to three letters (by me, Stephen Waling & Tony Frazer) that appeared in the previous issue, which were responses in turn to a particularly nasty hatchet-job on Keith Tuma's OUP anthology by Sean O'Brien (the review may be found by going to my website, linked to below, & heading to the bibliography of reviews, which links to the pertinent page on the PoSoc's site). Anyway, FYI. -- all best --N Nate & Jane Dorward ndorward@sprint.ca THE GIG magazine: http://pages.sprint.ca/ndorward/files/ 109 Hounslow Ave., Willowdale, ON, M2N 2B1, Canada ph: (416) 221 6865 BIZZARRO Dear Editor, Those who wrote to complain of Sean O'Brien's review of Keith Tuma's anthology missed the point. It's not a question of whether there should be more dialogue between a nebulous mainstream and an even more shadowy neoModernism, or tolerance on both sides, or even intermarriage. No one is going to be found strolling across the DMZ - prompted by some sort of palefaced aesthetic pacifism - with a smile, a Red Cross parcel and an agreement to differ, because there's simply too much at stake. An anthology isn't worth much unless it has a point of view, and Keith Tuma's book certainly has one; however he seems less eager to start a critical debate than to secure political gains by stealth. The book's length and title suggest the sort of allinclusive job that civilians give as Christmas gifts, while the swot's footnotes mark it out as a book for student beginners; so, at first glance, it might appear to offer an uncontroversial guide to British and Irish poetry best suited to readers with little knowledge of the subject. This stands at odds, though, with Tuma's battling introduction, where he states ".I think that this anthology has considerable value in offering a picture of British and Irish poetry unlike any other picture available." (Read on and you'll know why.) He goes on to suggest, with no small amount of hubris, that he is providing British poetry (Irish seems to slip out at this point in his argument) with the chance to make all impression on an American reading public which has, "over the last two decades", found it to be "hardly... a raging concern". This, it seems, is the fault of British poetry for languishing in its booklined study, content with not having "...broken through the barriers of basically conventional virtuosity since [Dylan] Thomas". These are not Tuma's words, but he quotes them approvingly as a shorthand way of highlighting British poetry's shortcomings. Not only is this nonsense and, in any case, makes a watershed of a body of work the worth of which is very much up for debate, it also proposes a value-system which manages to be both vague and tyrannical. Tuma's rescue operation, it appears, is more or less dependent on certain contemporary British poets who have been ignored by their peers. Tuma fogs the issue very slightly by including one or two poets of genuine worth, but his protégés are by far the majority and make themselves known to us willingly enough: the fractured syllable, the glib obfuscation, the tin ear, the random wordsearch. Poets (we're told) who have properly absorbed the lesson of Modernism. They alone (though with Tuma's imprimatur) will persuade American readers, academics, critics, that there's a jot or two of worth in British poetry. O'Brien characterises these poets as "postimaginative"; so would I: the point being that, for many of them, poetry itself seems oddly redundant, if poetry has anything to do with talent, vision or seriousness. The reason that Tuma's natural opponents are unlikely to want to enter into all exchange of views (or whatever it is politicians do) is because there's nothing to talk about. The work at issue doesn't warrant it. To call them Modernist or experimental doesn't provide them with credentials; there's no terminological umbrella that will keep the critical rain off this bunch of nohopers. Yours sincerely, DAVID HARSENT Barnes ========================================================================= Date: Wed, 30 Jan 2002 02:03:58 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alan Sondheim Subject: Flash MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII - Flash If you breathe a living word of this I don't know what I'll do. You can't spread hearsay. This must be absolutely confidential. Because it's our secret and has to remain that way. No one ever must know this. I'm holding you to the utmost, Nikuko, absolutely to the utmost. This must be the limits of our lives and we must not open our mouths under any conditions at all, Nikuko. I will break you in pieces if you breathe a word of this to anyone. You must take this to the grave. You most promise not to say anything. Nikuko, there is no way out. This is strictly between you and me. No one else has anything to do with it. No one else can find out anything. Don't leave the tiniest little clue anywhere or breathe the tiniest little sigh. All the walls have mouths and all the doors have ears, Nikuko. I'd rather you fuck me until we drop, rather than reveal a single word of this. I'd rather you kill me slowly. I'd rather you'd prepare our meals, rather than discuss this with any of our friends or acquaintances. This is never to be disclosed, Nikuko, it is our hot breath together, whispered from one mouth to one ear and listened to by one ear from one mouth. It is not to be ever spoken of to anyone. It is to be confined between just the two of us, as if it were in a perfect penitentiary we have made just for this secret, like Speer in prison. No one else can know a thing about this, not the tiniest little thing. I am swearing you to secrecy and myself to secrecy. This can go no further, not even to our closest friends and relatives. Absolutely, the sweat on our skins is our absolute bond that we have made between us so no one will ever have the slightest inkling of this, ever. Even if we fuck and our sweats intermingle as you prepare our meals, our sweats must not drip and be interpreted as the most microscopic clue that ever has been left, even tinier than the smallest fragment of dna, Nikuko, even tinier than the smallest hydrogen atom in the littlest orbit ever. Trees would fall and mountains collapse if anyone says anything; this is the most top top-secret of all the secrets, this is locking us together forever, there is nothing anyone can give you that would make you reveal this secret. Not even valleys flooding or great storms would make you reveal this secret, which is only hearsay and should not be spread indiscriminately among one and all. Not even fire or whole world wars of incredible conflagration shall make us give up even one syllable of this to any living creature, including animals and plants and minerals, or any other thing or place or emanation on this or any other planet. Nothing can ever ever be revealed, disclosed, opened up, Nikuko, brought into the light, given up to the full view, nothing whatsoever, and this for all time, even past our deaths and internments, even past our exhumations and reburials, nothing at all. _ ========================================================================= Date: Wed, 30 Jan 2002 12:53:42 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Raworth's Breakfast Comix MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Geat stuff: loved Raworth's work since I saw his work in the Pengui poetry series. And there's clearly a fierce philosophico-politico debate invading the heights and depths of British society at all levels. The boiled egg and breakfast on a tray, though, thank the lord, live on in my England... In the "Finnegan's Wake" one I'm not sure who to pity most: Bush or the Pope! Eliot's got a cunning smile and it looks as tho Yeats is just (edgily) out of range of a possible right hook by Eliot who would shout over his downed rival: "Got you, you fairy lover!". Good fun. Apreciated, Richard. ----- Original Message ----- From: "Charles Bernstein" To: Sent: Wednesday, January 30, 2002 4:23 AM Subject: Raworth's Breakfast Comix > Breakfast Comix 1: http://tomraworth.com/cover.html > > Breakfast Comix 2: http://tomraworth.com/cover2.html > > ... particularly recommend from Tom Raworth's "doodles": > > http://tomraworth.com/doodles.html > ========================================================================= Date: Wed, 30 Jan 2002 09:57:57 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Alicia Askenase Subject: Lorenzo Thomas at the Whitman this Friday 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 THE WALT WHITMAN ART CENTER'S Spring 2002 Notable Poets and Writers Series presents a reading and poetry workshop with LORENZO THOMAS READING: FRIDAY, FEBRUARY 1, 7:30 pm $6 general, $4 students/seniors, free to members WORKSHOP: SATURDAY, FEB. 2, 12-2 pm $30 general (includes $20 membership), $20 for members To register for the workshop (class size limit of 10) (this is open registration, but please send one poem) THERE IS STILL AN OPENING OR TWO. call 856-964-8300, or write to wwhitman@waltwhitmancenter.org OR send poem and check to: Walt Whitman Art Center Thomas Workshop 2nd and Cooper St. Camden, NJ 08057 Very Important Free Transportation The Walt Whitman Art Center is pleased to provide free transportation back and forth from Philadelphia for our Lorenzo Thomas reading. The 22 seat van will meet passengers at 15th and Market in front of the giant clothespin sculpture across the street form City Hall at 7 pm on Friday, Feb 1. The vehicle is a Rutgers University van with their red raptor mascot painted on the side. LORENZO THOMAS, exciting and innovative poet, essayist, editor, and cultural critic's volumes of poetry include Chances Are Few, The Bathers, and Sound Science. He is also the editor of Sing the Sun Up: Creative Writing Ideas from African American Literature.(Teachers and Writers Collaborative). Extraordinary Measures: Afrocentric Modernism and 20th-Century American Poetry, his most recent book is from the excellent Modern and Contemporary Poetics Series edited by Charles Bernstein and Hank Lazer. Thomas is a professor of English at the University of Houston, where he teaches American literature and creative writing and is director of the university's Cultural Enrichment Center. EXCLUSIVE: Thomas' newest chapbook, Politics? Sure Mister, first in a new Whitman Notables/Boog Literature pamphlet series, will be available at the reading! Please come out and meet and listen to this extraordinary writer....and join us for refreshments afterwards. Support programs like these so we can keep offering them to you. Thanks! Alicia Askenase ========================================================================= Date: Tue, 29 Jan 2002 16:55:09 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Craig Dworkin talk to Mousse or not to Mouse In-Reply-To: <005601c1a7f9$67ad7200$8f6d36d2@01397384> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" here's the thing; dworkin doesn't ahve to be *right*, he just has to be interesting and provocative. from jullich's report, it sounded so. i love weird stuff like that. wouldn't *you* get excited if you discovered a way to track down names in texts? ========================================================================= Date: Wed, 30 Jan 2002 09:51:03 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Jack Ruttan Subject: Dworkin against Dworkin against Meaning In-Reply-To: <200201300501.g0U51QOF014166@mail.axess.com> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT "Styling gel" Happy to clear up this important point. J. Ruttan, Montreal On 30 Jan 2002, at 0:10, Automatic digest processor wrote: > > etc.), but I am having trouble finding "un colle > sytlistique" (sic?) as they're all (mis?)translated > into English. > > Could it possibly be called "Controller Styling"? http://www.axess.com/users/jackr See the Skinny Nameless Punk at http://www.geocities.com/jack_ruttan/punk3.htm Visit Jack's House of Cats at: http://www.geocities.com/jack_ruttan/ ========================================================================= Date: Wed, 30 Jan 2002 12:37:40 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: Fielding Dawson, 1930-2002 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I've just learned via Ken Warren's magazine _House Organ_ that Fielding Dawson died on January 5,2002. Fielding was a terrific writer and a good friend. He had a remarkable ability to cut through to the emotional heart of a situation. The first time I read at the Ear Inn in NYC he generously came to hear me. He'd walked through a wintry drizzle from his place on East 19th Street. He was beaming as he told me-- "I do my best thinking in the rain." I love his writing. I loved the man. He will be missed. Tom Beckett ========================================================================= Date: Wed, 30 Jan 2002 11:51:41 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Herb Levy Subject: Brazilian Visual Poetry online Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi, I just got a URL from a friend in Austin for the Web site of an exhibition that's installed at Mexic-Arte there through the middle of March. I haven't seen the show in person, but the Web site is very good. Bests, Herb ========================================================================= Date: Wed, 30 Jan 2002 18:46:19 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Randolph Healy Subject: New titles from Wild Honey Press MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Apologies for cross posting Three new titles: Topography by Stacy Cartledge ISBN 1 903090 32 6 Memnoir by Joan Retallack ISBN 1 903090 33 4 and The Museum of Improvisation by Rupert M. Loydell ISBN 1 903090 34 2 The covers and extracts are up at http://www.wildhoneypress.com Go to the gallery of book covers or the what's new section to find them. best Randolph ========================================================================= Date: Tue, 29 Jan 2002 22:09:50 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Ward Tietz Subject: Re: Craig Dworkin talk Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" DJR wrote: "Even more than the problem of the re-inscription of the author's name, what strikes me as disturbing about Dworkin's approach (by this account) is its appearance of objective empiricism, as though this content (any content) is patently "there" in the text, rather than immanent in the social transaction. That these names, or dental records or what have you, are part of an "unwritten core," rather than a manifest content, sounds like logical positivism in a deconstructive guise. But, had it all been presented in a spirit of play (viz Garrett Stewart hearing an unspoken "love" in Keats's "the fee/l of/ not to feel it") it might have been more compelling." This reminds me of Max Naenny, and others in Europe, who work on "iconicity in language and literature." Iconicity is difficult to demonstrate semiotically, I think, but one interesting thing about it is how it's often empirically incomplete, i.e. more metaphysical/rhetorical than physical/empirical. If you say, for example, that in a particular Williams poem a stanza is an icon of a tree and this icon can structure or inform a possible interpretation of the stanza and poem, you might very well produce an interesting interpretation, but still not prove the existence of the icon on empirical grounds. Somebody can still say, "I don't see the tree," or, "that isn't a tree; it's a radio tower." This seems to show, somewhat ironically, that the icon doesn't "matter" in a literal, empirical sense in the same way, or have the same value, as it does in a figurative and rhetorical sense. These values line up when everything is persuasively "there," but this probably shows how the suggestion of an icon, or iconicity in general, can function as a rhetorical topic more than anything else. For those interested, Max Naenny has a web site at http://www.es.unizh.ch/iconicity/. Ward Tietz ========================================================================= Date: Wed, 30 Jan 2002 14:47:14 -0500 Reply-To: perelman@dept.english.upenn.edu Sender: UB Poetics discussion group From: Bob Perelman Organization: University of Pennsylvania Subject: poetry/painting collaboration MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Bob Perelman and Francie Shaw will present their painting/poetry collaboration, *Playing Bodies*, at the Institute for Contemporary Art (118 S. 36th St., Phila) at 6 PM this coming Thursday, February 7th. We will show slides of a series of paintings of Francie's & I will read a series of short poems, each addressed to a painting. The piece will last about 35-40 minutes. --Bob Perelman ========================================================================= Date: Wed, 30 Jan 2002 21:02:36 -0000 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "david.bircumshaw" Subject: Re: query on behalf of a friend MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Hi Pierre I recall, when young, being fascinated by the life-stories of some poets, usually of a romantic kind (the Romantic poets themselves of course excite such an interest, yet not too interested in others) But often when one means an interest in the biography it might only be of 'high points'. I've just been reading a rare treat - a 'biography' of Henry Vaughan, tho' much of the slender volume is commentary of the poems, as the known detail of Vaughan's life, tho' reasonable for a writer of his time, is quite little. But it was quite interesting to get a picture of Vaughan as a sometimes touchy, Royalist, precursor of holistic medicine living in a crowded home with successive wives who were sisters and a cantankerous debt-ridden father in a locality his peers thought obscure but he was devoted to. Who was a Doctor of Medicine who possibly never was accredited and spent part of his last years quarrelling with some of his children. And who didn't know precisely where the twin brother he was so elegiac about was buried. But it was possibly interesting as a fiction! Best Dave David Bircumshaw Leicester, England Home Page A Chide's Alphabet Painting Without Numbers http://homepage.ntlworld.com/david.bircumshaw/index.htm ----- Original Message ----- From: "Pierre Joris" To: Sent: Tuesday, January 22, 2002 4:14 AM Subject: Re: query on behalf of a friend > David Bircumshaw wrote: > > > Eliot hated the idea of biographies. > > > > To make a statement like ' Peter Ackroyd's is an excellent start.' is to, > > wittingly or unwittingly, subscribe to a lie. You, I, or anyone > > else, cannot > > know what was the reality of Eliot's life to Eliot, even any more than we > > can of Mrs Mopbucket the part-time cleaner who lives in the flat > > downstairs > > or Mr Fuckem, the great broker, or anyone else with the partial > > exception of > > those very few people we know with a degree of the intimacy that we know > > ourselves. Which knowing of oneself mostly consists of forgettings. > > Quite true, Dave, though if it annoyed Eliot, then I, not a big reader of > biographies, will willingly turn into one, 'cause I love to annoy the > annoying mr. Eliot. > Of course all biographies are "fictions" to some extent, just as all > autobiographies are. And yet Dave, as a young writer, were you not > interested in the actual lives of those writers you were reading & admiring? > Most of my students want to know something -- from a little to a lot -- of > the lives of the authors they like. & I don't think that is an illegitimate > desire, even, and maybe especially in this post-textual, > post-death-of-the-author era. > Come to think of it, I am right now looking forward with some excitement to > the soon to be published biography of Ed Dorn -- the publication of which > will, I would think, also send a number of people to the work itslef -- & > that finally, is what we want, no? for the poems to be read? > > Pierre > > > > Anyone up for a Shakespeare biography? > > > > Best > > > > Dave > > > > > > > > David Bircumshaw > > > > Leicester, England > > > > Home Page > > > > A Chide's Alphabet > > > > Painting Without Numbers > > > > http://homepage.ntlworld.com/david.bircumshaw/index.htm > > ----- Original Message ----- > > From: "Pierre Joris" > > To: > > Sent: Friday, January 18, 2002 3:49 PM > > Subject: Re: query on behalf of a friend > > > > > > > > > > > > hey everyone, can you point me toward several decent biographies of ts > > > > eliot? > > > > > > Peter Ackroyd's is an excelletn start. > > > > > > > > > a young actor friend, very smart but unable because of his career > > > > to take regular college classes but who is trying to educate > > > > himself, wants > > > > to know. i do too, since i've agreed to discuss "The Wasteland" with > > him > > > > at some point in the future. > > > > > > > > > > > > > > > > ________________________________________________________________ > > > Pierre Joris Just out from Wesleyan UP: > > > 6 Madison Place > > > Albany NY 12202 POASIS: Selected Poems 1986-1999 > > > Tel: (518) 426-0433 > > > Fax: (518) 426-3722 go to: http://www.albany.edu/~joris/poasis.htm > > > Email: joris@ albany.edu > > > Url: > > > > > __________________________________________________________________ > > __________ > > > _ > > > > > > ========================================================================= Date: Wed, 30 Jan 2002 18:51:00 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Rebecca Wolff Subject: two readings, one in Boston & one in New York Comments: To: ira@angel.net Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Monday, February 4th, at 7 pm Cate Marvin (World's Tallest Disaster) & Rebecca Wolff (Manderley) Brookline Booksmith 279 Harvard St. Brookline, MA & Thursday, February 7th, at 8 pm Sarah Messer (Bandit Letters) Eleni Sikelianos (Earliest Worlds) Rebecca Wolff (Manderley) Sulzberger Parlor, Barnard College, at 117th Street and Broadway, New York City ********** Rebecca Wolff Fence et al. 14 Fifth Avenue, #1A New York, NY 10011 http://www.fencemag.com ========================================================================= Date: Wed, 30 Jan 2002 11:30:17 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Brett Shell Subject: Events in Paris? Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Does anyone have knowledge of any interesting readings, events, performances etc. taking place in Paris in the coming months? Or even places where interesting things are likely to happen? For anyone else in the city, I already know of a night of readings and performances based on the life and work of Mayakofsky taking place at les Instants Chavires on Feb. 22. www.instantschavires.fr.st Brett _________________________________________________________ Do You Yahoo!? Get your free @yahoo.com address at http://mail.yahoo.com ========================================================================= Date: Wed, 30 Jan 2002 08:58:16 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Daisy Fried Subject: event Comments: To: klandis1@juniper.its.swarthmore.edu, katie@CritPath.Org, cidwhite@home.com, cjames1@swarthmore.edu, rush2press@yahoo.com, hruggier@LOCALNET.COM, LeonLoo@aol.com, joss_magazine@hotmail.com, KandFBand@aol.com, GasHeart@aol.com, apr@libertynet.org, info@leeway.org, MacPoet1@aol.com, pewarts@mindspring.com, whpoets@english.upenn.edu Comments: cc: sam@citypaper.net, brady@sealworks.com, askealicia@aol.com, nanders1@swarthmore.edu MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Daisy Fried reads her poems Phillips Library, 2nd Floor of the Phillips Memorial Building West Chester University West Chester, PA Mon. Feb. 4 at 7:30 p.m. (directions: 95south (assuming you're coming from the north; otherwise take 95N) to 322 west to Rt. 1 N to 202 N straight into West Chester. 202 N. breaks right; you will now be on High St. After the intersection of High and Rosedale, proceed to the next light, go through it (note Papa John's Pizza there) and turn right into the parking lot. Phillips Bldg. is the castle-looking building.) ========================================================================= Date: Wed, 30 Jan 2002 09:44:24 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: query upon query In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" hi groovoids --and thanks to chris pusateri, damian rollinson and ron silliman who answered the woodrow wilson question --here's another, from film history: what's the provenance of the metro-goldwyn-mayer lion's roar logo: what were its intended semiotics and when/how did it originate? i am looking at trungpa rinpoche's "lion's roar" statement, that "no state of mind is unworkable" in terms of anne waldman's poethics. ========================================================================= Date: Wed, 30 Jan 2002 09:46:22 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Marcella Durand Subject: email change MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" As of tomorrow, this e-mail will no longer be working (and neither will I!). However, you can reach me at my home e-mail at mdurand@sprynet.com. best, Marcella ========================================================================= Date: Wed, 30 Jan 2002 09:47:57 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Make the world safe for poultry Comments: To: Ron Silliman In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" thanks ron, speaking of poultry, i used to work at wessex used books in menlo park, and we received a shipment of remaindered books entitled _Robert Frost, Poultry Farmer._ it was for real. and what's even funnier, when i came back a coupla years after having left the area for this job, they had sold them all. I shouldn't be so uppity; maybe the author of that book is on this listserv. At 12:41 AM -0600 1/30/02, Ron Silliman wrote: >It was Wilson > >but he bungled it.... > >Interestingly, it was Wilson & Lenin both who propounded the idea of >self-determination at this same time. No concept has done more to reify >borders (and border battles). The number of "nations" has doubled since >then, and is apt to double again during my children's lifetime. And for >every border an army.... > >Ron > >_________________________________________________________________ >Chat with friends online, try MSN Messenger: http://messenger.msn.com ========================================================================= Date: Thu, 31 Jan 2002 19:26:59 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Charles Bernstein Subject: Two shows at Yale (fwd) Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1"; format=flowed Content-Transfer-Encoding: quoted-printable Contemporary Art Exploring Language and Form On View at Yale Art Gallery An exhibition of works by contemporary artists interested in the ways=20 language and visual form express human experience will be shown at the Yale= =20 University Art Gallery from January 29 through March 30, 2002. "Between Language and Form" comprises thirty works, ranging from artist=20 books to mixed media sculpture and paintings on canvas by John Baldessari,= =20 Johanna Drucker, Ian Hamilton Finlay, Roni Horn, Joseph Kosuth, Jonathan=20 Lasker, Tan Lin, Angela Lorenz, Stephana McClure, Bruce Nauman, Claes=20 Oldenburg, Kay Rosen, Keith Smith, Richard Tuttle, Lawrence Weiner, and=20 Christopher Wool. The exhibition, organized by Jennifer Gross, the Seymour= =20 H. Knox, Jr. Curator of European and Contemporary Art, complements the=20 concurrent exhibitions The Tiger=92s Eye: The Art of a Magazine and The 1948= =20 Directors of the Soci=E9t=E9 Exhibition. The use of language in visual art has a long tradition hieroglyphics in=20 Egyptian art, calligraphy in Chinese and Islamic art, and medieval=20 illuminated manuscripts. In the twentieth century, as Ms. Gross points out= =20 in the brochure accompanying the exhibition, =93it is in the early synthetic= =20 works of Braque and Picasso that the elements of language first surfaced in= =20 the visual field with a modernist consciousness; that is as a means to=20 understand how painting articulates itself or how signification resides on= =20 the surface of the picture plane.=94 After the Second World War poets such as Ian Hamilton Finlay, who is=20 represented in this exhibition, took typographical control of their works=20 creating what is known as =93concrete poetry.=94 An example of Angela= Lorenz=92s=20 experimentation in this field is Lay Text, a book with latex pages that=20 stretch revealing the hidden meanings between the letters on the page below. In another medium, Roni Horn, inspired by the life and poetry of Emily=20 Dickinson, has created a work, How Dickinson Stayed Home, that sets the=20 phrase =93My business is circumference=94 into machined aluminum blocks=20 scattered across the floor. The viewer may step around and through=20 Dickinson=92s 2002 presence. Other issues of articulation and communication= =20 are addressed by Kay Rosen and Jonathan Lasker in their paintings. Among=20 the numerous artist books on display, a highlight is Reading Red, a=20 collaboration between artist Richard Tuttle and poet Charles Bernstein. On Thursday, February 7 at 5:30 pm, Johanna Drucker, director of media=20 studies at the University of Virginia and a well-known creator of and=20 authority on artist books, will give a lecture on =93The Artist and the=20 Written Word,=94 the second in the Lydia Winston Malbin Lecture Series. On Tuesday, February 19, at 2:00 pm, Jennifer Gross, the curator of Between= =20 Language and Form, will give a gallery talk in the exhibition. ** THE TIGER=92S EYE: The Art of a Magazine Opens January 29 at the Yale Art Gallery The Intention of The Tiger=92s Eye is to be a bearer of ideas and art. In= the=20 belief that art is a quest that can be good only as water is good, there is= =20 no wish to reach for a halo of GOOD, which is a prudish proud ambition. It= =20 places its dependence, instead, on ingenuous and ingenious artists and=20 writers, whoever and wherever they are, as they move through the dimension= =20 of curiosity=85. The selection of material will be based on these questions.= =20 Is it alive? Is it valid as art? How brave is the originality? How does it= =20 enter the imagination? --Editorial Statement, The Tiger=92s Eye, Number 1, October 1947 The Tiger=92s Eye, a strikingly presented, widely read, and lastingly=20 influential magazine of art and literature, was published in nine quarterly= =20 issues from 1947 to 1949 by Ruth and John Stephan. Seldom has a publication= =20 captured so inclusively the vibrant creativity and spirit of a period, one= =20 in which the center of the art world shifted from Paris to New York, and=20 European modernism was giving way to the new American abstraction. The=20 impressive quality of visual art in the nine issues of this magazine is the= =20 subject of The Tiger=92s Eye: The Art of a Magazine, on view at the Yale=20 University Art Gallery from January 29 through March 30, 2002. The exhibition brings together for the first time approximately sixty works= =20 of art -- paintings, sculpture, and works on paper by Tiger=92s Eye= artists.=20 The names of those whose work is in the exhibition is an indication of how= =20 distinguished and wide-ranging the list of contributors was: Milton Avery,= =20 Louise Bourgeois, Constantin Brancusi, Giorgio de Chirico, Paul Delvaus,=20 Jean Dubuffet, Antonio Frasconi, Herbert Ferber, Alberto Giacometti, Adolph= =20 Gottlieb, Stanley Hayter, Ian Hugo, Loren McIver, Ezio Martinelli, Andr=E9= =20 Masson, Jo=E1n Mir=F3, Maud Morgan, Walter Murch, Pablo Picasso, Andr=E9= Racz,=20 Bernard Reder, Odilon Redon, Ad Reinhardt, Christian Rohlfs , Mark Rothko,= =20 Anne Ryan, Kay Sage, Louis Schanker, Karl Schrag, Kurt Schwitters, Kurt=20 Seligmann, Theodoros Stamos, John Stephan, Clyfford Still, Rufino Tamayo,=20 Mark Tobey, and Steve Wheeler. Multiple copies of the magazine will also be= =20 displayed. =93Hundreds of so-called little magazines were published in English in the= =20 first half of the twentieth century,=94 noted Pamela Franks, the Florence B.= =20 Selden Fellow at the Yale Art Gallery and curator of the exhibition. =93= They=20 were experimental, idealistic, and usually reached a small, intellectual=20 readership. The Tiger=92s Eye was one of the few that took visual art as=20 seriously as literature. Thanks to the generosity of private and=20 institutional collectors,=94 she added, =93 we have been able to assemble a= =20 substantial selection of the original works and look through The Tiger=92s= =20 Eye into the art world of the late 1940s.=94 Ruth Walgreen Stephan, a poet, and her husband John Stephan, a painter,=20 published the first issue of the magazine The Tiger=92s Eye in October,=20 1947. Despite their lack of publishing experience, they were justifiably=20 confident in their ability to launch such an ambitious enterprise having,=20 in addition to their own creative gifts, a wide acquaintance among both=20 established and avant-garde writers and artists who were potential=20 contributors. Furthermore Ruth Stephan, the daughter of drugstore magnate=20 Charles Walgreen, was heir to a considerable fortune and able to finance=20 not only the magazine=92s publication but also their travels, to Europe and= =20 South America for example, in search of material. The magazine=92s title comes from The Tyger by William Blake (1757-1827),=20 which begins Tyger, tyger, burning bright / In the forest of the night/ What immortal hand or eye / Could frame thy fearful symmetry? Blake=92s methods in the production of his Illuminated Books further= inspired=20 them and they researched his technique for guidance in their own=20 publication. Indeed, the creative process was a major focus of the Stephans= =20 and the artists who collaborated with them. As Ruth Stephan explained to=20 the art historian Meyer Schapiro, The Tiger=92s Eye would be =93an aesthetic= =20 magazine publishing poetry, essays, fiction, drawings and reproductions of= =20 paintings, and we are also interested in the paths artists and writers have= =20 used towards creation of their art.=94 To this end, artists=92 ideas were=20 frequently presented in proximity to images of their work. For example,=20 issue number 4, devoted to sculpture, featured twenty-two objects by as=20 many sculptors, with texts by fourteen of the artists, including a=20 particularly revealing piece by Giacometti. Sculptures by three of these=20 artists are in the exhibition. A striking feature of the magazine was the separation of authors=92 and=20 artists=92 names from their work, forcing the reader, as the poet William=20 Carlos Williams wrote, =93to make actual and immediate sense contacts with= =20 the work of art.=94 Contributors were credited in the =93Tale of the= Contents=94=20 located in the center of each magazine and, as Williams pointed out,=20 =93Everyone instinctively looks to see the name first so that they may know= =20 how to feel. If the name is all right they can relax and enjoy without=20 danger of committing a --- clumsiness, to say the least. Without the name=20 they would be lost. We are all a little that way.=94 Readers of the book=20 accompanying this exhibition are able to experience this =93immediate sense= =20 contact,=94 since the art is reproduced without captions and the artists=92= =20 names and object titles are listed separately. While the exhibition does not attempt to replicate the subject matter of=20 each of the nine issues of The Tiger=92s Eye, many of its themes and=20 juxtapositions are introduced. John Stephan=92s covers for the magazine two= =20 paintings and a drawing begin the exhibition. Six of the twelve paintings= =20 by Mark Rothko reproduced in the magazine, are grouped together. An Ad=20 Reinhardt painting is juxtaposed with one by Paul Delvaux, just as it was=20 in the issue on =93The Sublime.=94 A comprehensive group of works reproduced= in=20 issue number 8, devoted to the graphic arts, is displayed and other themes= =20 addressed. The abundantly illustrated book, The Tiger=92s Eye: The Art of a Magazine,= =20 written by Pamela Franks, pays homage to the design of the magazine in its= =20 size 10 =BC x 7 =BC inches-- and aesthetic sensibility. The author= recounts=20 the history, discusses the goals and philosophy of the editors and=20 contributors, and the reasons for its =93untimely demise.=94 It is available= in=20 the museum store in softcover for $29.95. The project was made possible by generous loans from numerous individual=20 collectors and institutions, among them the Museum of Modern Art, New York,= =20 the National Gallery of Art, Washington, DC, the Addison Gallery of=20 American Art, Andover, Massachusetts, the Brooklyn Museum of Art, and the=20 Beinecke Rare Book and Manuscript Library, Yale University. It is supported= =20 by the Florence B. Selden Endowment and donations from Mrs. John Stephan,=20 the David T. Langrock Foundation, Susan Morse Hilles, and an anonymous= donor. The following programs, all free and open to the public, are offered in=20 connection with the exhibition: Thursday, January 31 5:30 Lydia Winston Malbin Lecture, =93Modernism=92s =91Double= Consciousness=92,=94=20 Ann Gibson, Professor and Chair, Department of Art History, University of=20 Delaware Tuesday, February 5 12:30, Gallery Talk, =93The Tiger=92s Eye: the Art of a Magazine,=94 Pamela= =20 Franks, Florence B. Selden Fellow and curator of the exhibition Thursday, February 7 5:30, Lydia Winston Malbin Lecture, =93The Artist and the Written Word,=94= =20 Johanna Drucker,=94 director of media studies, University of Virginia Thursday, February 14 5:30, Lydia Winston Malbin Lecture, =93Modernism in America in the 1940s,=94= =20 Yve-Alain Bois, professor of art history, Harvard University Thursday, February 21 5:30, The Films of Maya Deren - Meshes of the Afternoon, (1946) Divine=20 Horsemen: The Living Gods of Haiti, (1953) Wednesday, February 27 12:20, Art =E0 la Carte, "The Tiger's Eye: When Arts and Letters Come=20 Together,=94 Patricia Willis, Elizabeth Wakeman Dwight Curator, Beinecke=20 Library Collection of American Literature Thursday, February 28, 5:30 Lydia Winston Malbin Lecture =93Dark Insights: Abstract Expressionism= =20 and The Tiger=92s Eye,=94 David Anfam, art historian and commissioning= editor,=20 Phaidon Press Limited, London, Thursday, March 7 12:30, Gallery Talk, =93The Materials of Mark Rothko=92s Multiforms,=94= Allison=20 Langley, Leisher Fellow in Painting Conservation, National Gallery of Art,= =20 Washington, DC For further inforamtion about both shows contact Marie N. Weltzien (203) 432 0611 marie.weltzien@yale.edu The Yale University Art Gallery, located at Chapel and York Streets in New= =20 Haven, exhibits a permanent collection from every period in the history of= =20 art, with special changing exhibitions throughout the year. Admission is=20 free for individuals; groups should call (203) 432-8459 for information=20 about fees and to make a reservation.. Gallery Hours: Tuesday - Saturday 10 am to 5 pm, Thursday 10 am 8 pm,=20 Sunday 1pm to 6 pm. Closed Mondays and major holidays. An entrance for=20 persons using wheelchairs is at 201 York Street, with an unmetered parking= =20 space nearby on York Street. For information, call (203) 432 0606. Recorded general and program information (203) 432 0600 Website: www.yale.edu/artgallery =09 =09 ========================================================================= Date: Wed, 30 Jan 2002 21:53:56 -0700 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Mark DuCharme Subject: Re: does this ever happen to you Mime-Version: 1.0 Content-Type: text/plain; format=flowed I haven't felt the emptiness of really good trash in years. Mark DuCharme >From: Aldon Nielsen >Reply-To: UB Poetics discussion group >To: POETICS@LISTSERV.ACSU.BUFFALO.EDU >Subject: does this ever happen to you >Date: Tue, 29 Jan 2002 16:51:30 -0500 > >I keep clicking on the "empty trash" icon on my computer, but it never >delivers me any empty trash -- > ><<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > "I think old zero has lost very much of his self respect." > --Emily Norcross Dickinson > >Aldon Lynn Nielsen >George and Barbara Kelly Professor of American Literature >Department of English >The Pennsylvania State University >116 Burrowes >University Park, PA 16802-6200 > >(814) 865-0091 'poetry because things say' —Bernadette Mayer _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ========================================================================= Date: Wed, 30 Jan 2002 22:40:49 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: gene Subject: Re: Make the world safe for poultry In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed not clear on problematics of self-determination and how that's supposed to be a bad thing or cause nations. way prior lenin etc., condorcet introduces idea of "self-determined rational educator." and, if the rational is real (the real being emergent necessity per historical process, per hegel) the rational educator is the educator coming into being as historically required. no? let's have a pizza, a bourbon. Gene At 09:47 AM 1/30/02 -0600, you wrote: >thanks ron, speaking of poultry, i used to work at wessex used books in >menlo park, and we received a shipment of remaindered books entitled >_Robert Frost, Poultry Farmer._ it was for real. and what's even funnier, >when i came back a coupla years after having left the area for this job, >they had sold them all. I shouldn't be so uppity; maybe the author of that >book is on this listserv. > >At 12:41 AM -0600 1/30/02, Ron Silliman wrote: > >It was Wilson > > > >but he bungled it.... > > > >Interestingly, it was Wilson & Lenin both who propounded the idea of > >self-determination at this same time. No concept has done more to reify > >borders (and border battles). The number of "nations" has doubled since > >then, and is apt to double again during my children's lifetime. And for > >every border an army.... > > > >Ron > > > >_________________________________________________________________ > >Chat with friends online, try MSN Messenger: http://messenger.msn.com ========================================================================= Date: Thu, 31 Jan 2002 15:38:12 +1100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: =?iso-8859-1?q?Pam=20Brown?= Subject: Re: breakfast comix MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 8bit Well, I didn't scratch my head over them but I wished I could recognize the actors. That would have added an extra layer for me. I liked the speech bubbles but I've never seen any of those people before so I didn't really "get" the comics. Best wishes, Pam Brown --- Nate and Jane Dorward wrote: > For those on this list who are scratching their > heads about Tom's 2nd > "Breakfast Comix" strip: probably most listmembers > here aren't regular > readers of _Poetry Review_, the UK's "official" > poetry organ (published by > the Poetry Society). I thought I'd paste in the > below, a letter that > appeared there by David Harsent. It's in reply to > three letters (by me, > Stephen Waling & Tony Frazer) that appeared in the > previous issue, which > were responses in turn to a particularly nasty > hatchet-job on Keith Tuma's > OUP anthology by Sean O'Brien (the review may be > found by going to my > website, linked to below, & heading to the > bibliography of reviews, which > links to the pertinent page on the PoSoc's site). > Anyway, FYI. -- all > best --N > > Nate & Jane Dorward ===== Web site/P.Brown - http://www.geocities.com/SoHo/Workshop/7629/ http://my.yahoo.com.au - My Yahoo! - It's My Yahoo! Get your own! ========================================================================= Date: Wed, 30 Jan 2002 21:23:46 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: yet another query MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit -----Original Message----- From: Maria Damon To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Tuesday, January 29, 2002 1:48 PM Subject: yet another query >first, thanks to all who responded to my questions about ts eliot and >the objectivists respectively. >now, here's another: >who was it who wanted to make the world safe for democracy? woodrow >wilson? i'm curious about the source of anne waldman's signature >commitment to "make the world safe for poetry." >Maria and Felllow-Listafarians: Somehow I missed Waldman's statement of intent. Did she mean "safe from prosecution"? Sounds great to me. But I don't think the words "poetry" and "safe" make for good company. Poetry tears it, hey, go home and put on some underwear! "If hair be wires, black wires grow on her head." "With mother finally fucked in the ass..." How can poets cede the power to shock, so that "Tamed by Milltown. we lie on mother;s bed"? In short, this is idealism, not realizable, we ahould focus first on making the world safe for three-year-olds, and then for teens (Hah, just try it!) Love, David ========================================================================= Date: Wed, 30 Jan 2002 21:55:11 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: dcmb Subject: Re: Boog City Goes West MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Date. time? -----Original Message----- From: David Kirschenbaum To: POETICS@LISTSERV.ACSU.BUFFALO.EDU Date: Tuesday, January 29, 2002 1:32 PM Subject: Boog City Goes West >Boog City Goes West > >Boog City, the new East Village community newspaper, sponsors a reading >by Bay Area poets Trane DeVore and Chris Stroffolino, and, >from New York, Fatstick editor James Wilk and >Boog City editor David Kirschenbaum. > >Issue two of Boog City will be available free, featuring: > >Come As You Are: A Tribute to Kurt Cobain at 35: >with words from Sonic Youth's Lee Ranaldo, and an interview with Cobain >biographer Charles R. Cross >World Economic Forum coverage >Kimberly Wilder's “Notes from My FBI File” >Aaron Kiely reviews Eileen Myles' Skies >and poetry from Ed Berrigan, DeVore, Susan Landers, Rachel Levitsky, >Mariana Ruiz-Firmat, Stroffolino, Kent Taylor, Wilk, and more > >or contact Boog City: 212-206-8899 >booglit@theeastvillageeye.com > ========================================================================= Date: Thu, 31 Jan 2002 09:52:55 +0100 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Michel Delville Subject: Poetry &/In Music: last CFP Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Poetry &/In Music=20 Submissions are sought for a collection of essays dealing with the=20 theoretical and practical relationships between contemporary American poetry, poetics and music. About twelve writers are at present preparing essays for the project, but we are still accepting contributions on postwar African-American poetry, John Cage and the Beats.=20 All methodologies are welcome.=20 Papers should be no longer than 6,000 words and should be submitted using=20 the MLA format. Please email me asap:=20 Michel Delville=20 English Dept.=20 Universit=E9 de Li=E8ge=20 3, Place Cockerill=20 4000 Li=E8ge=20 (BELGIUM)=20 ========================================================================= Date: Thu, 31 Jan 2002 11:13:54 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: yet another query MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/30/02 10:18:51 PM, richard.tylr@XTRA.CO.NZ writes: << first, thanks to all who responded to my questions about ts eliot and > the objectivists respectively. > now, here's another: > who was it who wanted to make the world safe for democracy? woodrow > wilson? i'm curious about the source of anne waldman's signature > commitment to "make the world safe for poetry." >> Woodrow Wilson. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com/BarnesandNoble.com ========================================================================= Date: Thu, 31 Jan 2002 11:21:37 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Austinwja@AOL.COM Subject: Re: Events in Paris? MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/30/02 10:38:34 PM, glue_bloom@YAHOO.COM writes: << Does anyone have knowledge of any interesting readings, events, performances etc. taking place in Paris in the coming months? Or even places where interesting things are likely to happen? >> There's a wonderful English language bookstore called, of all things, The Village Voice that regularly offers readings, often by Black American expatriate poets. It's located on the Left Bank (of course) a few blocks from the St. Germain des Pres (the church) on the other side of the avenue. I've been there several times so it's strange that I forget the name of the rue. But it's easy to find. Best, Bill WilliamJamesAustin.com KojaPress.com Amazon.com/BarnesandNoble.com ========================================================================= Date: Thu, 31 Jan 2002 23:36:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: M L Weber Subject: book now available online Comments: cc: SASIALIT@LISTSERV.RICE.EDU Mime-Version: 1.0 Content-Type: text/plain; format=flowed did you ever visit the on-line am. poetry anthology "Light and Dust"? it has complete books I forget the exact URL but if you put the phrase in Google.com and be sure to include the quote marks you get it as the first choice _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ========================================================================= Date: Thu, 31 Jan 2002 13:10:55 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Andrew Maxwell Subject: Mary Jo Bang, Jeff Mcdaniel & Chris Stroffolino: Sunday 4pm @ Daw sons! MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" The Germ & Poetic Research Bureau (Western Office) present: McDaniel, Stroffolino and Bang! Superbowl Sunday, 4pm at Dawsons Book Shop. *** If, as Donne said, variety is the sweetest part of love, than I've the maraschino share for you this weekend, Zicklein! This is a bit like that episode of the Twilight Zone where the ballerina, the hobo, the clown and the bagpiper are thrown together in a half-lit cylinder and have to build a human ladder to get out. Of course it was only a toy donation barrel, not the paneled pleasure pokey that is Dawsons Book Shop, but we haunt our hoosegows where we must. Standing in for the ballerina this Sunday, dancing as 'fantast' as she can, is the wizardess from the Midwest, Mary Jo Bang, whose poems have the same sort of "uncomfortably dreamy" sensibility of Ravel's L'Enfant et les Sortileges, where objects animate to spank badboy readers across the midbrain. Playing our lonesome tramp is LA's own rhetor-outlaw Jeff McDaniel, who hurls the Traum-speak of an American-me through a mental megaphone as bully as Broadway. And our heroic harlequin is none other than Chris Stroffolino, shadow boxer in a Moebius ring, a punchy Keaton bust-up who, like any sacred clown worth his holey boots, knows that a poet can't be a supe without being a dupe, and that loop-de-loop is the fundamental play in the game. And your Irish tooter? That's me, pals, the piping plover of Larchmont. Consider me your pocket John Madden, though this is no pre-show mumble. We got game to lose, and this ain't a super-dud lock. Will our characters crawl out of the toybox and into the light? And what if that light is you, fair audience, will you provide? *** February 3, Sunday 4pm Mary Jo Bang is poetry editor for the Boston Review. Her poetry collections include Apology for Want (Middlebury/Breadloaf 1997), Louise in Love (Grove Press, 2001) and Downstream Extremity of the Isle of Swans (University of Georgia, 2001). Individual poems have appeared in Jacket, The Nation, and The New Yorker among others venues. She teaches literature at Washington University in St. Louis. Chris Stroffolino is the author of, most recently, Spin Cycle (Spuyten Duyvil, 2001), a collection of essays from 1989-2001, Light as a Fetter (Situations Press, 1997) and Stealer's Wheel (Lingo Book Series, 1999). Along with Lisa Jarnot and Leonard Schwartz, he is co-editor of An Anthology of New (American) Poets, which was published in 1998. He lives in Oakland, where he teaches at Saint Mary's College. Jeffrey McDaniel is the author of Alibi School (Manic D, 1995) and The Forgiveness Parade (Manic D, 1998). Much-loved local performance poet, his work has appeared in Poetry Nation and The Outlaw Bible of American Poetry. *** Dawson' Book Shop is located at 535 N. Larchmont Blvd between Beverly Blvd and Melrose Blvd. It's Hollywood, more or less. Tel: 213-469-2186 Readings are open to all. $3 donation requested for poets/venue. Call Andrew at 310.446.8162 x233 for more info. ========================================================================= Date: Thu, 31 Jan 2002 22:42:51 +1300 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: "richard.tylr" Subject: Re: Make the world safe for poultry MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Well, what a lot of people dont know is that Robert Frost ... I mean _the_ Robert Frost (code for literary disaster ie as is well known..one can be "frosted out" etc cf Craig Dworkins - the US's reply to Baudelaire (of the green hair and flanair extraordinnaire), was in fact not Robert Frost but a chicken farmer .. as come to think of it was Himmler, but that has no relevance to the discussion at this stage...) and in fact wrote brilliant poems about walls and a spider on a leaf and a hand being cut off etc...but he was first and foremost a chicken farmer and wanted to remain unknown whereas the other Robert Frost..any way he sent his poems to RF and it all worked out wonderfully. Richard. ----- Original Message ----- From: "Maria Damon" To: Sent: Thursday, January 31, 2002 4:47 AM Subject: Re: Make the world safe for poultry > thanks ron, speaking of poultry, i used to work at wessex used books in > menlo park, and we received a shipment of remaindered books entitled > _Robert Frost, Poultry Farmer._ it was for real. and what's even funnier, > when i came back a coupla years after having left the area for this job, > they had sold them all. I shouldn't be so uppity; maybe the author of that > book is on this listserv. > > At 12:41 AM -0600 1/30/02, Ron Silliman wrote: > >It was Wilson > > > >but he bungled it.... > > > >Interestingly, it was Wilson & Lenin both who propounded the idea of > >self-determination at this same time. No concept has done more to reify > >borders (and border battles). The number of "nations" has doubled since > >then, and is apt to double again during my children's lifetime. And for > >every border an army.... > > > >Ron > > > >_________________________________________________________________ > >Chat with friends online, try MSN Messenger: http://messenger.msn.com > ========================================================================= Date: Thu, 31 Jan 2002 16:53:52 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Schlesinger Subject: Fielding Dawson (1930-2002) MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit BlankFielding Dawson 24 January 2002 Guy Fielding Lewis Dawson, writer, artist and teacher: born New York 2 August 1930; died New York 5 January 2002. In 1984 Fielding Dawson, in Buffalo for three days as writer-in-residence, was asked to teach a workshop at Attica Maximum Security Prison. The experience, he said, politicised him and changed his life, and for the next 17 years he taught in prisons, in women's shelters, in alternative high schools, until his last class at Sing Sing in December. "Fee" Dawson was born in New York City in 1930 and moved to Kirkwood, Missouri, when he was eight. At 15, his mother, saying that the world needed a new Saroyan, gave him a portable typewriter and some paper. His memoir of growing up there, Tiger Lilies: an American childhood (1984) was noted as "a book of singular beauty and literary distinction" by the critic Edmund Fuller. After studying portrait drawing with Tanasko Milovich and taking a few classes at Washington University Art School in St Louis, Dawson moved to rural North Carolina in 1949 to attend Black Mountain College, where his teachers and fellow-students included Charles Olson, Franz Kline, Stefan Wolpe, John Cage, Robert Rauschenberg, Robert Creeley, Jonathan Williams, Cy Twombly, Paul Goodman, John Chamberlain and Edward Dorn. Dawson wrote, "Black Mountain worked: we made a potent little mandala in an archaic valley in the Blue Ridge Mountains to be felt long into the future", and his The Black Mountain Book (1970) is the only work about the college written by someone who was there. In 1953 he was drafted, with non-combatant status, and served as an army cook at a Military Hospital near Heidelberg. He returned to New York City in 1956. Continuing his friendship with painters met at Black Mountain, Dawson drank with them at the famous Cedar Bar. An Emotional Memoir of Franz Kline (1967), a remarkable book, conveys in an intimate way an intense feeling of that time, while showing the daily lives of Kline, Pollock, the De Koonings, Guston and others in an affectionate but clear light. From his high-school days in Missouri Dawson had kept an enthusiasm for baseball, bringing his pitching skills to the city where he was a regular in the Sunday afternoon artists' softball games along with the writers Joel Oppenheimer, Amiri Baraka, Paul Blackburn and Gil Sorrentino: later he pitched for the Max's Kansas City team. In the early 1960s Dawson's prose was widely published in magazines both in the United States and abroad. His first book in the UK was Thread (with a collage cover by the author) from Andrew Crozier's Ferry Press in 1964. The pieces were generally short, often less than a page in length; but the flickers of mood and tone, the fragments of dialogue, their confidence in the reader's capacity to assume and infer, illuminated worlds much larger. Robert Creeley wrote: "I have never seen a writer capable of such fast shifts, so instantly, nervously exact." By the early 1970s their influence could be detected in the work of younger writers such as Stephen Emerson and Dale Herd. In 1990 Larry McMurtry, then Pen (USA) President, appointed Dawson chair of the Pen Prison Writing Committee and his enthusiastic promotion of this almost moribund group gave it renewed energy and brought in many new members. For six years, from 1994, he hosted a weekly radio programme, Breaking Down the Walls, on WBAI New York, broadcasting prisoners' writings and dealing with issues of incarceration. His most recent book of stories, The Land of Milk & Honey (2001), reflects these experiences in both style and content. Fielding Dawson wrote more than 20 volumes of short stories, novels, memoirs and poems. In 1969 Krazy Kat / The Unveiling and Other Stories 1951-1968 was the first of many books of his to be published by Black Sparrow Press during the next 30 years. He produced essays, art and literary criticism, catalogues for exhibitions, gave readings, and frequently taught at colleges and universities. Continuing his graphic work, he created logos and covers for many important small press editions from the 1950s onwards, usually illustrated his own books, and was exhibited in galleries throughout the US. His last show, new works combining word and image, was at the Jack Tilton Gallery in New York last September. "He was different in that he came across as happy a lot of the time, notwithstanding all kinds of things. I think of a guy with a big smile saying THAT'S TERRIFIC with stress on both words, and doing that twitchy thing with his eyes," Steve Emerson wrote to me last week. Tom Raworth ========================================================================= Date: Wed, 30 Jan 2002 23:03:48 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Richard Frey Subject: Poetry at NOTcoffeeHouse by Coulter and Israel Zucker 1 pm Sun.2/10/02 at First Unitarian Church Comments: To: weekend@phillynews.com Comments: cc: NIZ520@aol.com, Kaleta@rowan.edu, chang@rowan.edu, Thottem@rowan.edu, ohrcoulter@enter.net, First Unitarian Church of Philadelphia Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" (NOTcoffeeHouse)Poetry and Performance Series www.notcoffeehouse.org Sunday, February 10, 2002, 1 pm First Unitarian Church 2125 Chestnut Street Philadelphia, PA 19103/215-563-3980 Featured poets: Shannon Coulter is a soprano, poet and teacher. She will present poems of the spiritual life. Nina Israel Zucker a poet currently teaching poetry and creative writing at Rowan. Her work is influenced by her Russian, Hungarian, and Polish ancestors, family, dogs, Spanish, birds and the beach. Plus Open Poetry and Performance Showcase $1 admission. Poets and performers may submit works for posting on the website via email (attachment easiest for webmaster) to the webmaster@notcoffeehouse.org or works may be emailed to Richard Frey at richardfrey@dca.net or USPS or hand-delivered through slot at 500 South 25th Street, Philadelphia, PA 19146. More information: Church office, 215-563-3980, Jeff Loo, 546-6381 or Richard Frey, 735-7156. Website address: www.notcoffeehouse.org POETS & PERFORMERS PREVIOUSLY APPEARING AT NOTCOFFEEHOUSE: NATHALIE ANDERSON, LISA COFFMAN, BARBARA COLE, BARB DANIELS, LINH DINH, LORI-NAN ENGLER, SIMONE ZELITCH, DAN EVANS, BRENDA MCMILLAN, KERRY SHERIN, JOHN KELLY GREEN, EMILIANO MARTIN, JOSE GAMALINDA, TOSHI MAKIHARA, THOM NICKELS, JOANNE LEVA, DARCY CUMMINGS, DAVID MOOLTEN, KRISTEN GALLAGHER, SHULAMITH WACHTER CAINE, MARALYN LOIS POLAK, MARCUS CAFAGNA, ETHEL RACKIN, LAUREN CRIST, BETH PHILLIPS BROWN, JOSEPH SORRENTINO, FRANK X, RICHARD KIKIONYOGO, ELLIOTT LEVIN, LEONARD GONTAREK, LAMONT STEPTOE, BERNARD STEHLE, SHARON RHINESMITH, ALEXANDRA GRILIKHES, C. A. CONRAD, NATE CHINEN, JIM CORY, TOM GRANT, GREGG BIGLIERI, ELI GOLDBLATT, STEPHANIE JANE PARRINO, JEFF LOO, THEODORE A. HARRIS, MIKE MAGEE, WIL PERKINS, DEBORAH BURNHAM, UNSOUND, DANNY ROMERO, DON RIGGS, SHAWN WALKER, SHE-HAW, SCOTT KRAMER, JUDITH TOMKINS, 6 OF THE UNBEARABLES - ALFRED VITALE RON KOLM, JIM FEAST, MIKE CARTER, SHARON MESMER, CAROL WIERZBICKI-,JOHN PHILLIPS, QUINN ELI, MOLLY RUSSAKOFF, PEGGY CARRIGAN, KELLY MCQUAIN, PATRICK KELLY, MARK SARRO, ROCCO RENZETTI, VOICES OF A DIFFERENT DREAM - ANNIE GEHEB, ELLEN FORD MASON, SUSAN WINDLE - BOB PERELMAN, JENA OSMAN, ROBYN EDELSTEIN,BRIAN PATRICK HESTON, FRANCIS PETER HAGEN, SHANKAR VEDANTAM, YOLANDA WISHER, LYNN LEVIN, MARGARET HOLLEY, DON SILVER, ROSS GAY, HEATHER STARR, MAGDALENA ZURAWSKI, DAISY FRIED, KNIFE & FORK BAND, ALICIA ASKENASE, RUTH ROUFF, KYLE CONNER, TAMARA OAKMAN, ROBYN EDELSTEIN, SARA OMINSKY, THADDEUS RUTKOWSKI, CAROLE BERNSTEIN, RYAN ECKES, THE NIGHTBIRDS, MARJ HAHNE, TONI BROWN, MELISA CAHNMANN, DIANE GUARNIERI, SIANI TAYLOR, CATZIE VILAYPHONH, MICHELLE MYERS, NZADI KEITA, ANDREW BRADLEY, JOE CHELLIUS, A.V. CHRISTIE, SHELLY REESE -- Richard Frey 500 South 25th Street Philadelphia. PA 19146 215-735-7156 richardfrey@dca.net ========================================================================= Date: Thu, 31 Jan 2002 19:34:28 EST Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Tom Beckett Subject: Fielding Dawson MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I'm sitting here in our hundred year old house that is empty but for me and the dog. My wife's working late. My youngest daughter's working her part time gig. My oldest daughter is married now and in graduate school in Boston. Left over stir fry is growing limp on the stove. I'm feeling lonely and drinking wine and thinking intently about Dawson's _An Emotional Memoir of Franz Kline_. It's a book I've read several times, though the last time was several years ago. My copy's a first edition with a tattered and much abused dust jacket . I've been lugging it from address to address for more than 30 years. It is, in many respects, my favorite of his books. That may be partly due to the fact that it was the first or one of the first of his books that I read. Sometime in the early seventies when I was an undergraduate at Kent State, Robert Berthoff (sp?, sorry) instigated a creative arts festival that included, among other things, (many other things/people-a Michael McClure play (_Spider Rabbit_), Harvey Bialy, etc--and this at a time when Ed Dorn was poet in residence!), a reading by Creeley and Dawson in University Auditorium. I went to see Creeley--and, shit, I dug him (he read from the Daybook, I think) but Dawson had me enthralled. He read a couple short stories, even sang Danny Boy at one point. I went back to the dorm and pounded out a short story that night. God, the man made me want to write. When I spoke with Creeley a few months ago after his reading at Kent State I told him that this was only the 2nd time I'd heard him read in person, that the 1st time had been back in the seventies with Fielding at Univ. Aud. Creeley said that during the festival they'd both been really drunk at one point and that he'd awakened to that fact that Fielding was peeing on his shoes. Life is strange and wonderful. Tom Beckett ========================================================================= Date: Thu, 31 Jan 2002 18:32:35 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Bertha Rogers Subject: NYS LITERARY CURATORS WEB SITE FEBRUARY UPDATE MIME-Version: 1.0 Content-type: text/enriched; charset=ISO-8859-1 Content-transfer-encoding: Quoted-printable Dear Friends, Following is the February 2002 update for the New York State Literary Curators Web Site, 0000,8000,0000http://www.nyslittree.org, brought to you by Bright Hill Press in partnership with the New York State Council on the Arts. If you=92re a writer with a published book of literary fiction, nonfiction= , or poetry, and you wish to be listed as available for readings in New York, look at the Circuit Writers page (for New Yorkers) or Interstate Writers page (for out-of-staters), follow the format, and email us the information IN THE BODY OF THE EMAIL NOT AS AN ATTACHMENT (WE DO NOT OPEN ATTACHMENTS), and we=92ll post it. If you're a writer who has several readings to list, have the curator of each reading send them to us, and we'll post them on the Events Page, under the presenting organization's name; they must include location address, phone number, and/or email address. ALL UPDATES AND INFORMATION MUST REACH US BY THE 20TH OF THE MONTH PRECEDING YOUR EVENT! If you wish to unsubscribe, just notify us. Questions? Comments? Email us at 0000,8000,0000wordthur@catsk= ill.net. Bertha Rogers and Brittney Schoonebeek ========================================================================= Date: Thu, 31 Jan 2002 07:35:36 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: two readings, one in Boston & one in New York In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 6:51 PM -0500 1/30/02, Rebecca Wolff wrote: >Monday, February 4th, at 7 pm > >Cate Marvin (World's Tallest Disaster) boy, what an epithet. it's almost worth traveling cross-country to these events just to see her. ========================================================================= Date: Thu, 31 Jan 2002 23:18:33 -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 nikuko at 67: i am a beautiful woman. nikuko at 19: i am a beautiful young woman with many years before me. nikuko at 67: i am a beautiful woman with many years before me. nikuko at 19: i must break the cycle of wiseness. nikuko at 67: it is possible to create and destroy worlds. nikuko at 67: i have destroyed many of my friends. nikuko at 19: i am furious self-immolation of inconceivable destruction. nikuko at 67: there are whirlwinds upon worlds upon worlds, enormous hurricanes of collisions. nikuko at 19: i will create and destroy worlds. i will create and destroy hurricanes of inconceivable violence. nikuko at 67: i will be penetrated. i will absorb storms. i will vomit water from my mouth, water from my anus. nikuko at 19: storms, flee onward! nothing shall escape thee! nothing shall escape me! nikuko at 19: storms, ye shall never escape! know me! i will spew water from my mouth, shit from my anus. i will build worlds! nikuko at 67: i am furious self-immolation of inconceivable dstruction. nikuko at 19: it is possible to create and destroy worlds. nikuko at 19: i have destroyed many of my friends. nikuko at 67: storms, flee onward! nothing shall escape thee! nothing shall escape me! i am furious with the building of storms! i am furious with these and every other world! nikuko at 19: i must break the cycle of wn with many years before me. nikuko at 67: there are whirlwinds upon wd destroy worlds. nikuko at 67: i will be penetrated. i wilorlds upon worlds, enormous water from my mouth, water from my anus. nikuko at 19: storms, ye shall never escaorlds. i will create and dstroy from my mouth, shit from my anus. i will orlds. i will create and destroy nikuko at 19: it is possible to create an nikuko at 67: storms, flee onward! nothinl absorb storms. i will vommit shall escape me! i am furious with the bul absorb storms. i will vomit with these and every other world! l absorb storms. i will vomit nikuko at 19: i must break the cycle of wl absorb storms i will vomit nikuko at 19: storms, ye shall never esca from my mouth, shit from my anus, i will nikuko at 67: storms, flee onward! nothin friends. shall escape me! i am furious with the bu friends. with these and every other world! n of inconceivable destruction. nikuko at 67: i have destroyed many of myn with many years before me. nikuko at 67: i am a beautiful woman. nikuko at 19: i am a beautiful young woman with many years before me. nikuko at 67: i am a beautiful woman with many years before me. nikuko at 19: i must break the cycle of wiseness. nikuko at 67: it is possible to create and destroy worlds. _ ========================================================================= Date: Thu, 31 Jan 2002 07:32:16 -0600 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Maria Damon Subject: Re: Craig Dworkin talk In-Reply-To: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" but isn't that the point: not to prove the "tree" is "there," but to produce an interesting reading? and if someone disagrees and produces and interesting counter-reading, so much the better, no? At 10:09 PM -0500 1/29/02, Ward Tietz wrote: >DJR wrote: > >"Even more than the problem of the re-inscription of the author's name, >what strikes me as disturbing about Dworkin's approach (by this account) is >its appearance of objective empiricism, as though this content (any >content) is patently "there" in the text, rather than immanent in the >social transaction. That these names, or dental records or what have you, >are part of an "unwritten core," rather than a manifest content, sounds >like logical positivism in a deconstructive guise. But, had it all been >presented in a spirit of play (viz Garrett Stewart hearing an unspoken >"love" in Keats's "the fee/l of/ not to feel it") it might have been more >compelling." > > >This reminds me of Max Naenny, and others in Europe, who work on "iconicity >in language and literature." Iconicity is difficult to demonstrate >semiotically, I think, but one interesting thing about it is how it's often >empirically incomplete, i.e. more metaphysical/rhetorical than >physical/empirical. > >If you say, for example, that in a particular Williams poem a stanza is an >icon of a tree and this icon can structure or inform a possible >interpretation of the stanza and poem, you might very well produce an >interesting interpretation, but still not prove the existence of the icon >on empirical grounds. Somebody can still say, "I don't see the tree," or, >"that isn't a tree; it's a radio tower." This seems to show, somewhat >ironically, that the icon doesn't "matter" in a literal, empirical sense in >the same way, or have the same value, as it does in a figurative and >rhetorical sense. These values line up when everything is persuasively >"there," but this probably shows how the suggestion of an icon, or >iconicity in general, can function as a rhetorical topic more than anything >else. > >For those interested, Max Naenny has a web site at >http://www.es.unizh.ch/iconicity/. > > >Ward Tietz ========================================================================= Date: Thu, 31 Jan 2002 23:41:52 -0500 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Kirschenbaum Subject: Boog City Goes West (address, too) MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Boog City Goes West Boog City, the new East Village community newspaper, sponsors a reading by Bay Area poets Trane DeVore and Chris Stroffolino, and, from New York, Fatstick editor James Wilk, and Boog City editor David Kirschenbaum. Monday, Feb. 11th, 7 p.m.; Caffe Sapore, 790 Lombard St. (@ Taylor), in San Francisco's North Beach, 94133, tel: (415) 474-1222. Issue two of Boog City will be available free, featuring: Come As You Are: A Tribute to Kurt Cobain at 35: with words from Sonic Youth's Lee Ranaldo, and an interview with Cobain biographer Charles R. Cross World Economic Forum coverage Kimberly Wilder's “Notes from My FBI File”: WBAI Aaron Kiely reviews Eileen Myles' Skies and poetry from Ed Berrigan, DeVore, Susan Landers, Rachel Levitsky, Mariana Ruiz-Firmat, Stroffolino, Kent Taylor, Wilk, and more or contact Boog City: 212-206-8899 booglit@theeastvillageeye.com ========================================================================= Date: Tue, 20 Nov 2001 20:06:50 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: David Fineberg Subject: unsubscribe MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit please unsubscribe me, thank you ----- Original Message ----- From: "Aldon Nielsen" To: Sent: Wednesday, November 14, 2001 8:54 AM Subject: prose broadcasts > >New Richard Wright Biography on C-Span 2 > > > >Hazel Rowley, author of Richard Wright: The Life and Times will appear on > >C-Span 2, Sunday night, November 18, 2001, at 11 pm ET. The show is called > >"Public Lives" and is devoted to new biographies in print. She will > >discuss Richard Wright and answer questions from the bookstore audience at > >Harvard. > >The website for the show is www.booktv.org/publiclives > >The author's website is www.hazelrowley.com > >Our Richard Wright Connection is > >The Institute will have a videotape of this program. > > > >C.L.R. James on BBC Radio Four > > > >Alistair McGhee has produced a 30 minute radio program on the life of > >C.L.R. James for BBC Radio Four. It is called "C.L.R. James: Marx, > >Cricket, and World Revolution." The C.L.R. James Institute assisted, as > >did the other sponsors and participants in the international celebration > >of the James Centenary in Trinidad in mid September. The program is > >narrated by Linton Kwesi Johnson and includes the voices of James, Anna > >Grimshaw, Stuart Hall, George Lamming, Paget Henry, Martin Glaberman, > >Selma James, Jim Murray, Aldon Nielsen, and others. It will be broadcast > >at 11:30 am, London time, Thursday, November 15, 2001. That is 6:30 am ET. > >It will be broadcast on internet radio at that time: > >www.bbc.co.uk/radio4 and there's a listen link at the top of the page - or > >http://www.bbc.co.uk/radio and choose radio 4 from the buttons > >An audio tape will be available from the Institute. We welcome your > >comments and will probably have more to say about this broadcast. > > > > > > > >The C.L.R. James Institute: > > > > > >"What know they of Nello, who only Nello know?" > > > >Jim Murray > >Director > >C.L.R. James Institute > >505 West End Avenue #15C > >New York, NY 10024 > >USA > > > >ph: (212) 787-1784 > >jimmurray@igc.org > > > > <<<<<<<<<<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> > > " chaos > is not our condition." > --Charles Olson > > > Aldon Lynn Nielsen > George and Barbara Kelly Professor of American Literature > Department of English > The Pennsylvania State University > 116 Burrowes > University Park, PA 16802-6200 > > (814) 865-0091 > > ========================================================================= Date: Thu, 31 Jan 2002 18:46:15 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: * Claudia KEELAN & Liz WALDNER, Thurs Feb 7, 4:30 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 2 The Poetry Center & American Poetry Archives presents an afternoon reading with CLAUDIA KEELAN & LIZ WALDNER Thursday February 7, 4:30 pm, free @ The Poetry Center, SFSU CLAUDIA KEELAN is the author of three books of poetry: Refinery (Cleveland State, 1994), The Secularist (Georgia, 1997), and most recently Utopic (Alice James Books, 2000, winner of the Beatrice Hawley Award). Claudia Keelan lives in Las Vegas, where she teaches at the University of Nevada. Alice Notley writes of Utopic: "These are beautiful, anguished political poems. They emerge from a Southern past, and a Western desert present in whose palpable solitude Keelan writes for both herself and the many. Utopic is an unanticipated accomplishment." LIZ WALDNER's books include Homing Devices (O Books, 1998), A Point Is That Which Has No Part (U Iowa, 2000, winner of the Iowa Poetry Prize and Academy of American Poets Laughlin Prize), and Self and Simulacra (Alice James, Beatrice Hawley Award winner 2001). Etym(bi)ology (Omnidawn), and Dark would (the missing person) (Georgia) are both forthcoming in 2002. She lives in Seattle. "Liz Waldner is a poet of high wit, high intelligence, and great musical rigor-she may be our Postmodern Metaphysical poet plummeting deeper and deeper with each book into the questions of self, sexuality, and knowing." --Gillian Conoley COMING UP (check our website for details: http://www.sfsu.edu/~newlit/) =46eb 14 Susan Gevirtz & Jocelyn Saidenberg March 6 Myung Mi Kim & Geoffrey G. O'Brien March 7 Ed Friedman & Ange Mlinko March 14 Luis H. Francia March 16 Stephen Rodefer & Chris Stroffolino March 21 an evening with British poets Alan Halsey, Geraldine Monk, & Martin Corless-Smith April 11 Jay Wright April 18 Kevin Davies & Kevin Killian April 25 Kazuko Shiraishi & Wadada Leo Smith: an evening of poetry & music May 2 Student Awards Reading May 2 Murat Nemet-Nejat, an evening of contemporary Turkish poetry May 9 Bob Harrison & Andrew Levy, CRAYON reading w/ contributors: Chris Daniels (reading Fernando Pessoa), Jean Day, Hung Q. Tu, & Tsering Wangmo Dhompa 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 28 MUNI bus or free SFSU shuttle from Daly City BART READINGS that take place at The Poetry Center are free of charge. All Poetry Center events are videotaped and made available to the public through our American Poetry Archives collection. The first Complete Catalog in over a decade detailing available Archives tapes will be published during Spring 2002, including videos from 1974 to the present, and audiotapes dating from the early years of The Poetry Center, from its founding in 1954 through the early 70s. MEMBERS WILL BE MAILED A FREE COPY OF THE CATALOG ON PUBLICATION. 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, and Poets & Writers, Inc., as well as by students of the College of Humanities at San Francisco State University, and by donations from our members. Join us! =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D Steve Dickison, Director The Poetry Center & American Poetry Archives San Francisco State 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: Thu, 31 Jan 2002 18:48:04 -0800 Reply-To: UB Poetics discussion group Sender: UB Poetics discussion group From: Steve Dickison Subject: KENWARD ELMSLIE two local appearances 2/6 & 2/12 Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable ** HEY, recommended ** Don't miss the whirlwind westward appearances of. . . . KENWARD ELMSLIE Wednesday, February 6, 7:30 P.M., Lone Mountain 148 University of San Francisco (Turk near Masonic) Co-sponsored with the USF Fine & Performing Arts Department Kenward Elsmlie's a multi multi poet performer visual-collaborator librettist singer-lyricist and famous American natural, with scandalous surrealist tendencies and a New York disposition. His books include the recent Spilled Beans: A Conversation, Blast from the Past, Cyberspace, Night Soil, and Routine Disruptions, a selected poems. His collaborations include book and lyrics for Truman Capote's The Grass Harp on Broadway, and the libretto for Ned Rorem's opera of Miss Julie, from the Strindberg play. To bust your brain and goggle your eyes check out his website, www.kenwardelmslie.com --what else? --ALSO-- KENWARD ELMSLIE Mills College =46aculty Lounge, Rothwell Center Tuesday, February 12, 5:30-6:30 p.m. Wine and cheese reception, 6:30-7:00 p.m. Directions to Mills College from San Francisco: =46rom the east end of the Bay Bridge, take Interstate 80 to the MacArthur =46reeway (Interstate 580 east) toward Hayward-Stockton. Take the MacArthur Boulevard exit between the High Street and Seminary Avenue exits about 8 miles from the bridge. (Look for the "Mills College second exit" sign beside the freeway.) From the freeway off ramp, bear right onto MacArthur Boulevard; the entrance to the campus is immediately ahead on your left. =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